The_Complete_Idiot%27s_Guide_To_Music_Theory

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164 Part 4: Accompanying The real test comes when you play your chords against the original recording. Be especially careful to match where your chords change with where the chords change in the original song. It’s not uncommon to accidentally skip a chord change or two, so listen closely to make sure you picked up on all the changes. Writing It All Down If you’ve followed the exercises carefully, you’ve ended up with a complete transcription of the melody and chords for a specific song. Congratulations! It’s a lot of work, I know, but this newfound skill is one you’ll use again and again as you progress in the music field. You can further develop this skill by transcribing other parts of the song, not just the melody. If the song has a horn section, try to figure out and transcribe each individual horn part. If there’s an orchestral backing, work on transcribing the string parts. If there’s a fancy rhythm section, isolate and transcribe the rhythms played by each individual percussionist. Further developing your transcribing skill is especially important if you choose to pursue the fields of composing or arranging. You can certainly challenge yourself by transcribing an entire big-band arrangement for your high school jazz band, a full choral arrangement for your church choir, or a string quartet for your community orchestra. There’s value in this skill—and a great sense of accomplishment when you get it right. The Least You Need to Know ◆ Ear training is necessary for those times when you don’t have written music to work with—or when you want to figure out a song you’ve recently heard. ◆ The key to transcribing a song is to listen, process what you’ve heard, and then document what you’ve processed. ◆ To accurately analyze a piece of music, you have to learn how to actively listen—to isolate and then remember the individual parts of the song. ◆ As part of the ear training process, you must develop your intrinsic tonal, interval, and rhythmic memory, so that you can remember and replicate the pitches, rhythms, and melodies you hear. ◆ Once you’ve transcribed the entire melody, you can more easily figure out the song’s key signature and its underlying chord structure.
Exercises Exercise 12-1 Play each of the following notes on your instrument, wait for thirty seconds, and then sing them back. Exercise 12-2 Sing each of the following ascending intervals, starting on any note you like. ◆ Major third ◆ Minor second ◆ Perfect fifth ◆ Minor third ◆ Perfect fourth ◆ Octave ◆ Major second ◆ Tritone Exercise 12-3 Sing each of the following descending intervals, starting on any note you like. ◆ Minor third ◆ Perfect fourth ◆ Major second ◆ Major seventh ◆ Perfect fifth ◆ Major third ◆ Major sixth ◆ Minor sixth Chapter 12: Transcribing What You Hear Exercise 12-4 Sing all the notes of the following chords, one after another. (Start on any root note you like.) ◆ Major chord ◆ Major seventh chord ◆ Minor chord ◆ Minor seventh chord ◆ Diminished chord ◆ Dominant seventh chord ◆ Augmented chord ◆ Major ninth chord Exercise 12-5 Transcribe the rhythm (only) of “I Got Rhythm.” 165
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Music Theory Second Edition by Mich
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Contents at a Glance Part 1: Tones
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Contents Part 1: Tones 1 1 Pitches
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Finding Your Way ..................
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Instrumental Solo .................
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Good Keys and Bad Keys ............
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During the summer of 2001, I taught
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xvi The Complete Idiot’s Guide to
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xviii The Complete Idiot’s Guide
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xx The Complete Idiot’s Guide to
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xxii The Complete Idiot’s Guide t
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Pitches and Clefs In This Chapter
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Some instruments produce a broader
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If you’re reading ahead and want
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Notes on a Piano Keyboard A good wa
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Above—and Below—the Staff The b
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The grand staff looks like this: Th
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Exercises Exercise 1-1 Write the na
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Intervals In This Chapter ◆ Chang
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Two half steps equal one whole step
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Major and Minor Intervals When you
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Beyond the Octave You don’t have
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And take special note of those inte
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Scales In This Chapter ◆ Putting
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The Intervals of the Major Scale No
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Tip When you’re playing a piece o
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Scale Notes D minor D-sharp minor E
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Scale Notes E minor F minor F-sharp
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Scale Notes F minor F-sharp minor G
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The Intervals of the Ionian Note Ha
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F Lydian mode is relative to the ke
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B Locrian is relative to the key of
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Major and Minor Keys In This Chapte
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Key Key Signature and Scale D Major
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Same as This Scale Notes Major Key
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Accidents Will Happen When you assi
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How to change to the key of C. The
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2 Part Rhythms You don’t have to
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58 Part 2: Rhythms Taking the Measu
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60 Part 2: Rhythms Definition A not
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62 Part 2: Rhythms How to count var
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64 Part 2: Rhythms Tip Another way
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66 Part 2: Rhythms Exercise 5-4 Wri
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68 Part 2: Rhythms Note Classical m
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70 Part 2: Rhythms When you have an
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72 Part 2: Rhythms Tip In most musi
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74 Part 2: Rhythms Exercises Exerci
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Tempo, Dynamics, and Navigation In
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Italian Tempo Terms Tempo Means …
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When you see a fermata, hold the no
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Two accent marks and a marcato. Mor
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Another navigation technique uses a
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writing lots of individual measures
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3 Part Tunes Discover how to put to
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92 Part 3: Tunes The complete melod
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94 Part 3: Tunes The melody for Bac
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96 Part 3: Tunes Definition A passi
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98 Part 3: Tunes A four-measure mel
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100 Part 3: Tunes A simple four-not
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102 Part 3: Tunes Note Ironically,
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104 Part 3: Tunes Simplifying a rhy
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106 Part 3: Tunes You can achieve t
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108 Part 3: Tunes Note See Chapter
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110 Part 3: Tunes Exercise 8-3 Comp
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112 Part 3: Tunes Note The notes of
Page 138 and 139: 114 Part 3: Tunes Note In this and
Page 140 and 141: 116 Part 3: Tunes Chord Extensions
Page 142 and 143: 118 Part 3: Tunes Minor seventh cho
Page 144 and 145: 120 Part 3: Tunes Seventh, ninth, a
Page 146 and 147: 122 Part 3: Tunes Note In classical
Page 148 and 149: 124 Part 3: Tunes Changing chords i
Page 150 and 151: 126 Part 3: Tunes Exercise 9-3 Writ
Page 152 and 153: 128 Part 3: Tunes Let’s use the k
Page 154 and 155: 130 Part 3: Tunes Note These exampl
Page 156 and 157: 132 Part 3: Tunes Let’s put toget
Page 158 and 159: 134 Part 3: Tunes Note In classical
Page 160 and 161: 136 Part 3: Tunes I-ii-IV-V This pr
Page 162 and 163: 138 Part 3: Tunes Note The blues pr
Page 164 and 165: 140 Part 3: Tunes Old Johann was ab
Page 166 and 167: 142 Part 3: Tunes Writing a Melody
Page 168 and 169: 144 Part 3: Tunes Exercise 10-5 Cre
Page 170 and 171: 146 Part 3: Tunes Parts of a Song W
Page 172 and 173: 148 Part 3: Tunes Tip When you have
Page 174 and 175: 150 Part 3: Tunes ◆ Mass A vocal
Page 176 and 177: 152 Part 3: Tunes Exercises Exercis
Page 179 and 180: 12 Chapter Transcribing What You He
Page 181 and 182: Listening—Actively Before we get
Page 183 and 184: Hearing Intervals Lesson 2, Track 1
Page 185 and 186: Interval Song-Specific Phrase Major
Page 187: many measures long the melody is, a
Page 191 and 192: Accompanying Melodies In This Chapt
Page 193 and 194: A chord sheet—no melody. Working
Page 195 and 196: Block Chord Accompaniment The easie
Page 197 and 198: The benefit of this approach is tha
Page 199 and 200: Once you’ve figured out the chord
Page 201 and 202: 14 Chapter Transposing to Other Key
Page 203 and 204: These scenarios are more common tha
Page 205 and 206: The chord progression transposed to
Page 207 and 208: or hold to their original pitches.
Page 209: 5 Part Embellishing Discover how to
Page 212 and 213: 188 Part 5: Embellishing Note This
Page 214 and 215: 190 Part 5: Embellishing A common c
Page 216 and 217: 192 Part 5: Embellishing Making Har
Page 218 and 219: 194 Part 5: Embellishing Definition
Page 220 and 221: 196 Part 5: Embellishing The lower
Page 222 and 223: 198 Part 5: Embellishing Avoid exte
Page 224 and 225: 200 Exercises Part 5: Embellishing
Page 227 and 228: Chord Substitutions and Turnarounds
Page 229 and 230: Altering the Bass Here’s another
Page 231 and 232: Replacing the I chord (C Major) wit
Page 233 and 234: Substitution Example (for the G7 ch
Page 235 and 236: Turnaround Example (in C) I-♭III-
Page 237: Exercise 16-6 Add a two-measure tur
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216 Part 5: Embellishing Definition
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218 Part 5: Embellishing Tip If you
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220 Part 5: Embellishing What’s c
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222 Part 5: Embellishing Exercise 1
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18 Chapter Composing and Arranging
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Voice Range (Concert Pitch) Write I
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Brass Brass instruments typically a
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Transposition Range Sounds Instrume
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listed (they’re grouped by family
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Instrument Range (Concert Pitch) Wr
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Instrument Range (Concert Pitch) Wr
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Exercises Chapter 18: Composing and
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Lead Sheets and Scores In This Chap
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Make It Simple Even simpler than th
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A typical chord sheet. Chapter 19:
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A four-part choral arrangement. Jaz
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A score for big band. Note A marchi
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A score for full orchestra. Chapter
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Today, thanks to computer technolog
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The Least You Need to Know ◆ Lead
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Performing Your Music In This Chapt
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That means you need to know a littl
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3 1 Conducting in three. Finding th
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Just because you’re done with thi
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The Complete Idiot’s Music Glossa
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The Complete Idiot’s Music Glossa
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key A combination of a tonic and a
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pitch The highness or lowness of a
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transposition Translating pitch. tr
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276 Appendix B
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Answers to Chapter Exercises Here a
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Exercise 2-3 Exercise 2-4 Exercise
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Chapter 4 Answers to Chapter Exerci
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Exercise 5-7 Exercise 5-8 Chapter 6
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Exercise 9-7 Exercise 9-8 Chapter 1
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Exercise 14-2 Exercise 14-3 Exercis
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Exercise 17-7 Chapter 18 Exercise 1
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294 Appendix D 11. Lesson Two: Inte
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296 Appendix D 31. A 32. C 33. G 34
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298 Appendix D Scale Exercises (Tra
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300 Appendix D Melody Exercises (Tr
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302 Appendix D Chord Exercises (Tra
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Index Symbols/Numbers I chord, 130-
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preparations, 257-258 rehearsal rou
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Lydian mode, 40-41 lyrics melodies,
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performing music, conducting 2/2 ti
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tacet (dynamic marking), 83 tempo,
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