The_Complete_Idiot%27s_Guide_To_Music_Theory

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13 Accompanying Melodies 167 Time to sit down at the piano (or guitar) and play a few chords! 14 Transposing to Other Keys 177 When one key isn’t good enough, you have to move the notes to another key. Part 5: Embellishing 185 15 Harmony and Counterpoint Or, where you find out background vocals are more than just ooohs and aaahs and acting like a Pip or a Supreme. 187 16 Chord Substitutions and Turnarounds If you don’t like the chords as written—change ’em! 203 17 Special Notation All sorts of fancy notation that didn’t fit anywhere else in this book. 215 Part 6: Arranging 223 18 Composing and Arranging for Voices and Instruments Learn how to write for specific voices and instruments—the proper ranges, and whether and how they need to be transposed. 225 19 Lead Sheets and Scores Turn here to see some examples of lead sheets, chord sheets, vocal scores, big band scores, and full-blown orchestral scores. 241 20 Performing Your Music Up, down, left, right—how to set the tempo and start conducting! 257 Appendixes A The Complete Idiot’s Music Glossary 265 B The Complete Idiot’s Chord Reference 275 C Answers to Chapter Exercises D The Complete Idiot’s Guide to Music Theory, Second Edition, Ear 279 Training Course CD 293 Index 305
Contents Part 1: Tones 1 1 Pitches and Clefs 3 Understanding Musical Tones ............................................................4 Tones Have Value ..............................................................................5 What’s the Frequency, Kenneth? ........................................................5 Play by Numbers ..............................................................................6 Do Re Mi ..........................................................................................7 Tones Have Names ............................................................................8 Learning the ABCs ..........................................................................8 Notes on a Piano Keyboard ................................................................9 Notes on a Staff ................................................................................9 Above—and Below—the Staff ........................................................11 Different Clefs ..................................................................................11 The Treble Clef ..............................................................................11 The Bass Clef ..................................................................................12 The Grand Staff ............................................................................12 Specialty Clefs ................................................................................13 The Percussion Clef ........................................................................14 2 Intervals 17 Be Sharp—or Be Flat ........................................................................17 Steppin’ Out … ................................................................................18 A Matter of Degrees ........................................................................19 First Things First ............................................................................19 Major and Minor Intervals ............................................................21 Perfect Intervals ..............................................................................21 Augmented and Diminished Intervals ..............................................22 Beyond the Octave ..........................................................................23 Intervals and Half Steps ..................................................................23 3 Scales 27 Eight Notes Equal One Scale ..........................................................27 Major Scales ......................................................................................28 Minor Scales ......................................................................................31 Natural Minor ................................................................................31 Harmonic Minor ............................................................................34 Melodic Minor ................................................................................35 In the Mode ......................................................................................38 Ionian ............................................................................................38 Dorian ............................................................................................39 Phrygian ........................................................................................40 Lydian ............................................................................................40 Mixolydian ......................................................................................41
Page 3 and 4: Music Theory Second Edition by Mich
Page 5: Contents at a Glance Part 1: Tones
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
Page 18 and 19: xvi The Complete Idiot’s Guide to
Page 20 and 21: xviii The Complete Idiot’s Guide
Page 22 and 23: xx The Complete Idiot’s Guide to
Page 24 and 25: xxii The Complete Idiot’s Guide t
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 and 54: The Intervals of the Major Scale No
Page 55 and 56: 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
Page 111 and 112:
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
Page 195 and 196:
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
Page 201 and 202:
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
Page 231 and 232:
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
Page 295 and 296:
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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