The_Complete_Idiot%27s_Guide_To_Music_Theory

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48 Part 1: Tones Tip How can you quickly determine which key signature you’re looking at? It depends on whether the key signature contains sharps or flats. If the key signature includes flats, the key (no pun intended) is to look at the next-to-last flat—the one that’s next to the farthest one on the right. This note determines the key signature. For example, if a key signature has two flats, you look at the next-to-last flat and determine that the key is B-flat, which it is. If the key signature has three flats, you look at the next-to-last flat, and determine that the key is E-flat. It’s pretty easy. But what do you do if there’s only one flat? There’s no next-to-last flat! For the key signature with a single flat, the key is F. You’ll have to memorize that one, as you will the key with no flats or sharps—which is the key of C. If the key signature includes sharps, the method is different. What you want to remember here is that the last sharp in the key signature represents the seventh degree of that particular scale, so that the tonic of the scale is the next note up. In other words, look at the last sharp and the next note up is the key. Take, for example, the key signature with one sharp. That sharp is on the note Fsharp, so the next note up tells you that the key is G. If the key signature has two sharps, the last one is on the note C-sharp, and the next note up is D—which is your key. And so on for all the other sharp key signatures. Minor Keys The key signatures used to indicate major keys also can represent natural minor keys. As you remember from Chapter 3, a natural minor scale is based on the same notes as a major scale, but starts on the sixth note of the scale. This same method applies to keys, so that (for example) the key of A minor uses the same notes—and the same key signature—as C major. The following table shows the 15 minor keys, with their corresponding key signatures and scales. The 15 Minor Keys Same as This Scale Notes Major Key A minor C Major A-sharp minor C-sharp Major B-flat minor D-flat Major
Same as This Scale Notes Major Key B minor D Major C minor E-flat Major C-sharp minor E Major D minor F Major D-sharp minor F-sharp Major E-flat minor G-flat Major E minor G Major F minor A-flat Major F-sharp minor A Major G minor B-flat Major G-sharp minor B Major A-flat minor C-flat Major Chapter 4: Major and Minor Keys 49
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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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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
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: Key Key Signature and Scale D Major
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 …
Page 105 and 106: When you see a fermata, hold the no
Page 107 and 108: Two accent marks and a marcato. Mor
Page 109 and 110: Another navigation technique uses a
Page 111 and 112: writing lots of individual measures
Page 113: 3 Part Tunes Discover how to put to
Page 116 and 117: 92 Part 3: Tunes The complete melod
Page 118 and 119: 94 Part 3: Tunes The melody for Bac
Page 120 and 121: 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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