The_Complete_Idiot%27s_Guide_To_Music_Theory

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182 Part 4: Accompanying The original melody, marked up with intervals. Transposing your melody one interval at a time. Now, you start composing your “new” melody in the new key. The first note in the new key (which you have to manually figure out) is a C, and the interval between that note and the second note is a major second—which makes the second note a D. The next interval is another major second, which makes the next note an E. The next interval is a major second down, which makes the next note a D. And so on, until you’re done. This method doesn’t work as well when you’re transposing chords, because it doesn’t tell you what type of chord comes next—major, minor, or other. I suppose you could augment this interval-based approach by noting the chord type from the original version, but that gets a tad complex; there are easier ways to transpose chord progressions. Software-Based Transposition Thanks to modern computer technology, you may be able to avoid manual transposition completely. Almost all computerized music notation programs, such as Finale and Sibelius, let you enter your music in concert key; all you have to do is click a button (or select a menu item) to automatically transpose one or more staves to another key. For example, the Finale program (from Coda Music Technology) has a drop-down menu option that enables you to determine whether a given part is noted in concert key or the instrument’s native key. Depending on the option you select, your score can show all instruments in concert key, or the specific keys for each instrument. The nice thing about this option is that you can do your original composing in concert key and then automatically transpose the parts to their own keys when you’re done writing—which is easier than trying to manually transpose all the parts while you’re composing. Finale also lets you transpose a part from any one key to any other key, just by selecting a few options in a dialog box. When you want to change keys, you can instruct the program to transpose the original notes up or down, as appropriate,
or hold to their original pitches. It’s a lot easier than trying to transpose each part on your own! Finale’s Key Signature dialog box; the Transposition Options section lets you choose between transposing the notes when you change keys and holding the notes to their original pitches. The Least You Need to Know ◆ Transposition is the art of moving notes and chords from one key to another. ◆ You need to learn transposition for those times when a singer requests a song in a different key, you or other musicians can’t play in the original key, or you’re composing or arranging for instruments that don’t play in concert key. ◆ You can transpose a melody by counting the half steps from one key to another, noting the scale degrees of the original melody and chords, or using the intervals between the notes of the melody. ◆ Many computerized music notation programs will automatically transpose your music for you with the click of a mouse. Exercises Chapter 14: Transposing to Other Keys 183 Note Learn more about music notation programs in Chapter 19. Exercise 14-1 Use the step-based method to transpose this melody from the key of F to the key of G. (Watch the change from flats to sharps!)
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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
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114 Part 3: Tunes Note In this and
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116 Part 3: Tunes Chord Extensions
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118 Part 3: Tunes Minor seventh cho
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120 Part 3: Tunes Seventh, ninth, a
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122 Part 3: Tunes Note In classical
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124 Part 3: Tunes Changing chords i
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126 Part 3: Tunes Exercise 9-3 Writ
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128 Part 3: Tunes Let’s use the k
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130 Part 3: Tunes Note These exampl
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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 and 188: many measures long the melody is, a
Page 189 and 190: Exercises Exercise 12-1 Play each o
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: The chord progression transposed to
Page 209: 5 Part Embellishing Discover how to
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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
Page 240 and 241: 216 Part 5: Embellishing Definition
Page 242 and 243: 218 Part 5: Embellishing Tip If you
Page 244 and 245: 220 Part 5: Embellishing What’s c
Page 246 and 247: 222 Part 5: Embellishing Exercise 1
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Page 251 and 252: Voice Range (Concert Pitch) Write I
Page 253 and 254: Brass Brass instruments typically a
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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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