The_Complete_Idiot%27s_Guide_To_Music_Theory

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200 Exercises Part 5: Embellishing Realize, however, that this is one rule that’s definitely meant to be broken. There are so many instances of close harmony out there that it’s hard to argue against the practice. The problem is that this type of close harmony is difficult to pull off; especially for beginners. Wait until you’re more comfortable with your harmony and counterpoint before you try writing voices this close together. The Least You Need to Know ◆ Harmony is a vertical combination of notes within the underlying chord structure; counterpoint is an integrated series of horizontal melodies relating to the underlying chords. ◆ Harmony is facilitated when you vary chord voicings throughout a progression. ◆ Each harmony part must be singable on its own and follow established voice leading conventions. ◆ Each melody within a counterpoint should be able to function as a standalone melody, and at the same time complement the other melodies. ◆ Whether you’re creating harmony or counterpoint, you should generally avoid extended movement in parallel fourths, fifths, or octaves—especially in classical music. (Popular music typically has fewer—and looser— conventions.) Exercise 15-1 Find and correct the voice-leading errors in the following piece of harmony.
Exercise 15-2 Create two-voice harmony for the following melody, using half notes and quarter notes. Exercise 15-3 Create a second melody part in counterpoint to the following melody. Exercise 15-4 Based on the following chord progression, create a two-voice counterpoint. Chapter 15: Harmony and Counterpoint 201
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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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132 Part 3: Tunes Let’s put toget
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134 Part 3: Tunes Note In classical
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136 Part 3: Tunes I-ii-IV-V This pr
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138 Part 3: Tunes Note The blues pr
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140 Part 3: Tunes Old Johann was ab
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142 Part 3: Tunes Writing a Melody
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144 Part 3: Tunes Exercise 10-5 Cre
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146 Part 3: Tunes Parts of a Song W
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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 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 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
Page 249 and 250: 18 Chapter Composing and Arranging
Page 251 and 252: Voice Range (Concert Pitch) Write I
Page 253 and 254: Brass Brass instruments typically a
Page 255 and 256: Transposition Range Sounds Instrume
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Page 259 and 260: Instrument Range (Concert Pitch) Wr
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Page 263 and 264: Exercises Chapter 18: Composing and
Page 265 and 266: Lead Sheets and Scores In This Chap
Page 267 and 268: Make It Simple Even simpler than th
Page 269 and 270: A typical chord sheet. Chapter 19:
Page 271 and 272: A four-part choral arrangement. Jaz
Page 273 and 274: 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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