The_Complete_Idiot%27s_Guide_To_Music_Theory

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30 Part 1: Tones The 15 Major Scales (continued) Scale Notes F Major F-sharp Major G-flat Major G Major A-flat Major A Major B-flat Major B Major C-flat Major Note that several of these scales are enharmonic. (Remember that word from Chapter 1? It means two notes that are identical, but spelled differently.) So C-sharp Major and D-flat Major are just different ways of describing the same notes, as are F-sharp Major and G-flat Major, and B Major and C-flat Major.
Tip When you’re playing a piece of music, you typically stay within the notes of the designated scale. Any notes you play outside the scale are called chromatic notes; notes within the scale are said to be diatonic. For example, in the C Major scale, the note C is diatonic; the note C-sharp would be chromatic. Even though chromatic notes might sound “different” than the normal scale notes, they can add color to a piece of music. (That’s where the term comes from, by the way; chroma means “color.”) Minor Scales Minor scales sound a little less “up” than major scales. This is partly because the third note of the minor scale is a minor interval, whereas the third note of the major scale is a major interval. That little half step between a minor third and a major third makes all the difference in the world! Not to confuse you; however, whereas there was a single type of major scale, there actually are three types of minor scales: natural, harmonic, and melodic. We’ll look at each scale separately. Natural Minor The easiest minor scale to construct is the natural minor scale. You can think of the natural minor in terms of its corresponding major scale. When you start and end a major scale on the sixth note, instead of the tonic, you get a natural minor scale. Here’s an example: Play a C Major scale (C D E F G A B C). Now move up to the sixth note—or just move down two notes. (It’s the same thing—up six or down two—both put you on the A.) Now play an eight-note scale, but using the notes in C Major. What you get—A B C D E F G A—is the A minor (natural) scale. As you can see, each natural minor scale shares the same tones as a specific major scale. The following table shows you which minor scales match up with which major scales. Relative Major and Minor Scales Major Scale Related Natural Minor Scale C Major A minor C-sharp Major A-sharp minor D-flat Major B-flat minor D Major B minor E-flat Major C minor E Major D-flat (C-sharp) minor continues Chapter 3: Scales 31 Note If you start your natural minor scale on A (the A minor scale), you will play all white keys on the piano. The A natural minor scale is the only minor scale that uses only the white keys; all the other scales have black keys in them.
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 and 38: The grand staff looks like this: Th
Page 39 and 40: Exercises Exercise 1-1 Write the na
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: The Intervals of the Major Scale No
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
Page 88 and 89: 64 Part 2: Rhythms Tip Another way
Page 90 and 91: 66 Part 2: Rhythms Exercise 5-4 Wri
Page 92 and 93: 68 Part 2: Rhythms Note Classical m
Page 94 and 95: 70 Part 2: Rhythms When you have an
Page 96 and 97: 72 Part 2: Rhythms Tip In most musi
Page 98 and 99: 74 Part 2: Rhythms Exercises Exerci
Page 101 and 102: Tempo, Dynamics, and Navigation In
Page 103 and 104: 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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