The_Complete_Idiot%27s_Guide_To_Music_Theory

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210 Part 5: Embellishing Note Some jazz musicians refer to turnarounds as turnbacks. Turnarounds Chapter 10 also presented a concept of the phrase-ending cadence. Well, in the fields of jazz and popular music, you find a similar concept called a turnaround. A turnaround typically is a two-bar phrase, with two chords per measure, that functions much the same as a traditional cadence, “turning around” the music to settle back on the I chord at the start of the next phrase. There is a wide variety of chord combinations you can use to create an earpleasing turnaround, some of which go outside the underlying key to circle back around to the tonic. Here are just a few you might want to try: Common Chord Turnarounds Turnaround Example (in C) I-IV-iii-ii I-vi-ii-V iii-VI-ii-V I-vi-♭vi-V I-♭VII-iii-ii IV-iii-ii-♭ii I-vi-♭vi-♭II I-VI-♭V-♭III
Turnaround Example (in C) I-♭III-♭VI-♭II I-♭VII-♭III-♭II Note that some of these outside-the-key chords take traditionally minor chords and make them major, so pay close attention to the uppercase and lowercase notation in the table. (For example, the III chord is an E Major chord in the key of C; not the expected E minor.) Also pay attention to flat signs before a chord; this indicates to play the chord a half step lower than normal. For example, a ♭vi chord in the key of C is a half step lower than the standard A minor vi chord, which results in the A♭ minor chord instead. You can use these turnarounds in any of the songs you write or arrange. It’s an easy way to add harmonic sophistication to your music, just by changing a few chords at the end of a phrase! The Least You Need to Know ◆ When you don’t want to play a boring old chord progression, you can use one of several techniques to make the chord progression sound more harmonically sophisticated. ◆ The easiest way to spice up a chord progression is to change triads to seventh chords or extended chords (such as sixths, ninths, elevenths, or thirteenths), and add sevenths and other extensions to the basic chords. ◆ Another way to change the sound of a chord is to alter the bass note—to either signal a different inversion, or to introduce a slightly different harmonic structure. ◆ Substituting one chord for another also can make a chord progression more interesting. The most common chord substitutions are diatonic, in which you replace a chord with the diatonic chord either a third above or below the original chord. ◆ You can also perform a chord substitution based on chord function. Any chord fulfilling a tonic, subdominant, or dominant function can be replaced by any other chord fulfilling the same function. ◆ You can add interest to a chord progression by introducing a two-measure turnaround at the end of the main phrase; these chords circle around and lead back to the I chord at the start of the next phrase. Chapter 16: Chord Substitutions and Turnarounds 211
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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
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150 Part 3: Tunes ◆ Mass A vocal
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152 Part 3: Tunes Exercises Exercis
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12 Chapter Transcribing What You He
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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
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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: Substitution Example (for the G7 ch
Page 237: Exercise 16-6 Add a two-measure tur
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Page 242 and 243: 218 Part 5: Embellishing Tip If you
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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
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
Page 275 and 276: A score for full orchestra. Chapter
Page 277 and 278: Today, thanks to computer technolog
Page 279 and 280: The Least You Need to Know ◆ Lead
Page 281 and 282: Performing Your Music In This Chapt
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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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