The_Complete_Idiot%27s_Guide_To_Music_Theory

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14 Part 1: Tones Tip There really aren’t any rules for how to assign instruments to a percussion clef, so you’re pretty much on your own. It’s probably a good idea to consult a few drummers or look at a few percussion parts to get a better idea of how to use the percussion clef. Although there are several other specialty clefs (including the baritone, subbass, and French violin clefs), you probably won’t run into them too often; they’re not widely used. However, you might run into what is called an octave clef, which looks like a normal treble or bass clef with the number 8 either above or below the clef. When you see this type of clef, you’re supposed to transpose the normal treble clef notes either up (if the 8 is above the clef) or down (if the 8 is below the clef ) an octave. Octave clefs. The Percussion Clef There’s one more clef you should know, and it’s really the easiest of them all. This clef is used when you’re writing for drums and other percussion instruments— those that don’t play a fixed pitch. It’s called either the percussion clef or the indefinite pitch clef, and it can be written one of two ways: The percussion clef—version one and version two. The neat thing about this clef is that the lines and spaces don’t correspond to any specific pitches. Instead, you assign different instruments to different parts of the staff. For example, if you’re writing for drum set, you might assign the bass drum to the bottom space, the snare drum to the third space, and two tom-toms to the second and fourth spaces; you can put the ride cymbal on the top line of the staff. The Least You Need to Know ◆ Music is a succession of tones arranged in a specific pattern; a tone is a sound that is played or sung at a specific pitch. ◆ There are many different ways to describe a specific pitch. You can describe a pitch by its vibration frequency, by where it lies numerically compared to other pitches, or by using the Do Re Mi (Solfeggio) method. ◆ Established music notation assigns letters to the seven basic pitches, A through G. The letters repeat as you generate higher pitches. ◆ Pitches are assigned to specific keys on a piano keyboard, and to specific lines and spaces on a musical staff. ◆ The clef placed at the start of a staff determines which notes appear where on the staff. The most used clef is the treble clef; the bass clef is used for lower-pitched instruments and voices.
Exercises Exercise 1-1 Write the name of each note below the note. Exercise 1-2 Write the name of each note below the note. Exercise 1-3 Write each note on the staff. Exercise 1-4 Write each note on the staff. Exercise 1-5 Draw the indicated clefs on the staff. Chapter 1: Pitches and Clefs 15
Page 3 and 4: Music Theory Second Edition by Mich
Page 5 and 6: Contents at a Glance Part 1: Tones
Page 7 and 8: Contents Part 1: Tones 1 1 Pitches
Page 9 and 10: Finding Your Way ..................
Page 11 and 12: Instrumental Solo .................
Page 13: Good Keys and Bad Keys ............
Page 16 and 17: During the summer of 2001, I taught
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Page 27 and 28: Pitches and Clefs In This Chapter
Page 29 and 30: Some instruments produce a broader
Page 31 and 32: If you’re reading ahead and want
Page 33 and 34: Notes on a Piano Keyboard A good wa
Page 35 and 36: Above—and Below—the Staff The b
Page 37: The grand staff looks like this: Th
Page 41 and 42: Intervals In This Chapter ◆ Chang
Page 43 and 44: Two half steps equal one whole step
Page 45 and 46: Major and Minor Intervals When you
Page 47 and 48: Beyond the Octave You don’t have
Page 49 and 50: And take special note of those inte
Page 51 and 52: Scales In This Chapter ◆ Putting
Page 53 and 54: The Intervals of the Major Scale No
Page 55 and 56: Tip When you’re playing a piece o
Page 57 and 58: Scale Notes D minor D-sharp minor E
Page 59 and 60: Scale Notes E minor F minor F-sharp
Page 61 and 62: Scale Notes F minor F-sharp minor G
Page 63 and 64: The Intervals of the Ionian Note Ha
Page 65 and 66: F Lydian mode is relative to the ke
Page 67 and 68: B Locrian is relative to the key of
Page 69 and 70: Major and Minor Keys In This Chapte
Page 71 and 72: Key Key Signature and Scale D Major
Page 73 and 74: Same as This Scale Notes Major Key
Page 75 and 76: Accidents Will Happen When you assi
Page 77 and 78: How to change to the key of C. The
Page 79: 2 Part Rhythms You don’t have to
Page 82 and 83: 58 Part 2: Rhythms Taking the Measu
Page 84 and 85: 60 Part 2: Rhythms Definition A not
Page 86 and 87: 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
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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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The_Complete_Idiot%27s_Guide_To_Music_Theory

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