The_Complete_Idiot%27s_Guide_To_Music_Theory

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308 The Complete Idiot’s Guide to Music Theory, Second Edition G-sharp minor harmonic minor scale, 35 melodic minor scale, 37 minor keys, 49 natural minor scale, 33 glissandos, 219 grace notes, 217-218 grand motets, 149 grand staffs, 12-13 grave tempos, 79 Gregorian chants, 150 grouping beats, time signatures, 72-73 guitar tabs, 124 guitars accompaniment, 174-175 instrumental arrangements, 228 H half notes, 59-60, 71-72 half step intervals, 18-19, 23-25 half-step modulation, 52 harmonic minor scale, 34-35 harmonic tension (melody), 104-105 harmonics, 21 harmony counterpoint, 187 note combinations to avoid big leaps, 198-199 dissonant intervals, 199 parallel movements, 198 swapping notes, 192 voice leading, 192-193 voicing and inversions, 189-191 head arrangements, 148 Hearing and Writing Music: Professional Training for Today’s Musician, 156, 263 hearing skills (ear training) chords and chord progressions, 163-164 intervals, 159-160 keys, 163 melodies, 162-163 pitch, 158 rhythms, 162 high-pitched tones, 4 holding notes (fermata), 80-81 home chords, returning to, 130-131 home pitch, memorable melodies, 97-98 hooks, memorable melodies, 99-100 I imperfect cadences, 133-134 incalzando (dynamic marking), 83 indefinite pitch clefs, 14 instrumental arrangements characteristics brass, 229 guitars, 228 keyboards, 229 percussion, 229-230 strings, 227 woodwinds, 228 good and bad concert keys, 232 ranges, 232-236 solos, 147 transposing instruments, 230-232 instruments melodies, 108 MIDI (musical instrument digital interface), 253 unpitched, 4 internalizing music, 158 interrupted cadences, 134 interval-based transpositions, 181-182 intervals Aeolian mode, 42 chromatic, 103 degrees of the scale, 19-25 augmented, 22 compound, 23 half steps, 23-25 major and minor, 21 perfect, 21 dissonant, 199 Dorian Mode, 39 exercises, 25 half steps, 18-19 harmonic minor scale, 34 hearing, 159-160 Ionian mode, 39 Locrian mode, 42 Lydian mode, 40 major scales, 29 melodic minor scale, 36 melodies, 102-103 Mixolydian mode, 41 Mod-12 system, 24 natural minor scale, 32 Phrygian mode, 40 sharps and flats, 17-18 tones, 6 introductions, songs, 146 inversions, chords, 189-191 inverted chords, 122-123 first inversion, 122 root inversion, 122 second inversion, 122 Ionian mode, 38-39 Italian musical terms, 78-79 J–K jazz band music, 247-248 keyboards instrumental arrangements, 229 ranges, 236-237 keys, 45 changing, 52-53 circle of fifths, 50 concert, 178 good and bad concert keys, 232 transpositions, 231 exercises, 53 hearing, 163 key signatures changing keys, 52-53 outside the key notes (accidental), 51-52 overview, 46 sharps and flats, 48-50 major keys, 46 minor keys, 48-49 outside the key notes (accidental), 51-52 transposition. See transposition L larghetto tempo, 79 largo tempo, 79 lead sheets, 168, 242 leading notes, 34 ledger lines (staff), 11 leggiero (dynamic marking), 83 lento tempo, 79 lieders, 149 listening (ear training), 155-164 active listening skills, 157-158 developing hearing skills, 158-164 resources, 156 transcribing music, 156, 164 Locrian mode, 42-43 low-pitched tones, 4
Lydian mode, 40-41 lyrics melodies, 107-108 notating, 220-221 M madrigals, 149 Maelzel’s Metronome. See MM major chords notation, 113 substitutions, 207 triads, 113 major intervals, 21 major keys, 46 major scales intervals, 29 overview, 28-30 major seventh chords, 117 mancando (dynamic marking), 83 marcato (dynamic marking), 83 marches, 149 markings dynamics, 81-83 notes staccato mark, 217 tenuto mark, 217 turn mark, 218 martellato (dynamic marking), 83 “Mary Had a Little Lamb,” chord progressions, 141 masses, 150 measures repeat signs, 85 rhythms, 58 time signatures changing, 72 eighth-notes, 69 grouping beats, 72-73 half-notes, 71-72 meters, 67 quarter-notes, 68-69 melodic minor scales, 35-37 melodies accompaniment. See accompaniment chord progressions Canon in D, 140 “Mary Had a Little Lamb,” 141 “Michael, Row the Boat Ashore,” 139 Minuet in G, 139-140 New World Symphony, 140 writing tips, 141-142 combining tones and rhythms, 91-92 composing, 95-97 hearing, 162-163 melodic techniques Canon in D, 95 “Michael, Row the Boat Ashore,” 94 Minuet in G, 93-94 New World Symphony, 92-93 memorable melodies 2/4/8/16 rule, 100-101 call and response, 105 chord progressions, 106-107 contour, 101 endings, 98 form, 107 harmonic tension, 104-105 home pitch, 97-98 hooks, 99-100 instruments, 108 intervals, 102-103 lyrics, 107-108 pentatonic scale, 99 range, 102 repetition, 106 rhythm, 103-104 scales, 98-99 skip-wise motion, 101-102 step-wise motion, 101-102 symmetry, 105-106 time signatures, 104 uniqueness, 108 varying motifs, 100 vocals, 108 overview, 91 resources, 108-109 Melody in Songwriting: Tools and Techniques for Writing Hit Songs, 263 memorable melodies. See melodies memory rhythmic, 162 tonal, 158 meters, time signatures, 67 metronome, 78 mezza voce (dynamic marking), 83 mezzo forte (dynamic marking), 81 mezzo piano (dynamic marking), 81 “Michael, Row the Boat Ashore” chord progression, 139 melodic techniques, 94 Index 309 MIDI (musical instrument digital interface), 253 minor chords notation, 114 substitutions, 207-208 triads, 114 minor intervals, 21 minor keys, 48-49 minor scales harmonic, 34-35 melodic, 35-37 natural, 31-33 minor seventh chords, 117-118 Minuet in G chord progression, 139-140 melodic techniques, 93-94 minuets, 150 Mixolydian mode, 41 MM (Maelzel’s Metronome), 78 Mod-12 system (intervals), 24 moderato tempo, 79 modes Aeolian, 41-42 Dorian, 39 Ionian, 38-39 Locrian, 42-43 Lydian, 40-41 Mixolydian, 41 Phrygian, 40 modulating keys fourth, 52 half-step, 52 Molehill Group website, 264 molto vivace tempo, 79 morendo (dynamic marking), 83 motets, 150 motifs, memorable melodies, 100 motion contour melodies, 101 skip-wise, 101-102 step-wise, 101-102 multiple-measure rest sign, 86-87 music. See also composing, songs, written music adding chords, 123-124 classical music forms, 149-151 conducting, 258-262 defining characteristics, 3-4 head arrangements, 148 internalizing, 158 keys, 45-53 navigation techniques, 83-87 notating lyrics, 220-221
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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
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Hearing Intervals Lesson 2, Track 1
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Interval Song-Specific Phrase Major
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many measures long the melody is, a
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Exercises Exercise 12-1 Play each o
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Accompanying Melodies In This Chapt
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A chord sheet—no melody. Working
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Block Chord Accompaniment The easie
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The benefit of this approach is tha
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Once you’ve figured out the chord
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14 Chapter Transposing to Other Key
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These scenarios are more common tha
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The chord progression transposed to
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or hold to their original pitches.
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5 Part Embellishing Discover how to
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188 Part 5: Embellishing Note This
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190 Part 5: Embellishing A common c
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192 Part 5: Embellishing Making Har
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194 Part 5: Embellishing Definition
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196 Part 5: Embellishing The lower
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198 Part 5: Embellishing Avoid exte
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200 Exercises Part 5: Embellishing
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Chord Substitutions and Turnarounds
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Altering the Bass Here’s another
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Replacing the I chord (C Major) wit
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Substitution Example (for the G7 ch
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Turnaround Example (in C) I-♭III-
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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
Page 281 and 282: Performing Your Music In This Chapt
Page 283 and 284: That means you need to know a littl
Page 285 and 286: 3 1 Conducting in three. Finding th
Page 287 and 288: Just because you’re done with thi
Page 289 and 290: The Complete Idiot’s Music Glossa
Page 291 and 292: The Complete Idiot’s Music Glossa
Page 293 and 294: key A combination of a tonic and a
Page 295 and 296: pitch The highness or lowness of a
Page 297: transposition Translating pitch. tr
Page 300 and 301: 276 Appendix B
Page 303 and 304: Answers to Chapter Exercises Here a
Page 305 and 306: Exercise 2-3 Exercise 2-4 Exercise
Page 307 and 308: Chapter 4 Answers to Chapter Exerci
Page 309 and 310: Exercise 5-7 Exercise 5-8 Chapter 6
Page 311 and 312: Exercise 9-7 Exercise 9-8 Chapter 1
Page 313 and 314: Exercise 14-2 Exercise 14-3 Exercis
Page 315: Exercise 17-7 Chapter 18 Exercise 1
Page 318 and 319: 294 Appendix D 11. Lesson Two: Inte
Page 320 and 321: 296 Appendix D 31. A 32. C 33. G 34
Page 322 and 323: 298 Appendix D Scale Exercises (Tra
Page 324 and 325: 300 Appendix D Melody Exercises (Tr
Page 326 and 327: 302 Appendix D Chord Exercises (Tra
Page 329 and 330: Index Symbols/Numbers I chord, 130-
Page 331: preparations, 257-258 rehearsal rou
Page 335 and 336: performing music, conducting 2/2 ti
Page 337 and 338: tacet (dynamic marking), 83 tempo,
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