The_Complete_Idiot%27s_Guide_To_Music_Theory

Recommendations

Info

54 Part 1: <strong>To</strong>nes Exercise 4-4 Create the indicated minor key signatures. Exercise 4-5 Using the initial key signature as a guide, label each note in the following example. Exercise 4-6 Determine what key signature you could use to write this melody without accidentals, and enter that key signature at the beginning of the staff. Exercise 4-7 Determine what key signature you could use to write this melody without accidentals, and enter that key signature at the beginning of the staff. Exercise 4-8 Following the circle of fifths, add the appropriate number of flats to each successive major key signature, and then label each key signature.
2 Part Rhythms You don’t have to be a drummer to feel the beat. This section shows you how to notate any type of rhythm, from simple whole notes to sixteenth note syncopations. You’ll also learn all about time signatures, tempo, and dynamics—as well as how to navigate your way through a piece of music.
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
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
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: How to change to the key of C. The
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
Page 122 and 123: 98 Part 3: Tunes A four-measure mel
Page 124 and 125: 100 Part 3: Tunes A simple four-not
Page 126 and 127: 102 Part 3: Tunes Note Ironically,
Page 128 and 129:
104 Part 3: Tunes Simplifying a rhy
Page 130 and 131:
106 Part 3: Tunes You can achieve t
Page 132 and 133:
108 Part 3: Tunes Note See Chapter
Page 134 and 135:
110 Part 3: Tunes Exercise 8-3 Comp
Page 136 and 137:
112 Part 3: Tunes Note The notes of
Page 138 and 139:
114 Part 3: Tunes Note In this and
Page 140 and 141:
116 Part 3: Tunes Chord Extensions
Page 142 and 143:
118 Part 3: Tunes Minor seventh cho
Page 144 and 145:
120 Part 3: Tunes Seventh, ninth, a
Page 146 and 147:
122 Part 3: Tunes Note In classical
Page 148 and 149:
124 Part 3: Tunes Changing chords i
Page 150 and 151:
126 Part 3: Tunes Exercise 9-3 Writ
Page 152 and 153:
128 Part 3: Tunes Let’s use the k
Page 154 and 155:
130 Part 3: Tunes Note These exampl
Page 156 and 157:
132 Part 3: Tunes Let’s put toget
Page 158 and 159:
134 Part 3: Tunes Note In classical
Page 160 and 161:
136 Part 3: Tunes I-ii-IV-V This pr
Page 162 and 163:
138 Part 3: Tunes Note The blues pr
Page 164 and 165:
140 Part 3: Tunes Old Johann was ab
Page 166 and 167:
142 Part 3: Tunes Writing a Melody
Page 168 and 169:
144 Part 3: Tunes Exercise 10-5 Cre
Page 170 and 171:
146 Part 3: Tunes Parts of a Song W
Page 172 and 173:
148 Part 3: Tunes Tip When you have
Page 174 and 175:
150 Part 3: Tunes ◆ Mass A vocal
Page 176 and 177:
152 Part 3: Tunes Exercises Exercis
Page 179 and 180:
12 Chapter Transcribing What You He
Page 181 and 182:
Listening—Actively Before we get
Page 183 and 184:
Hearing Intervals Lesson 2, Track 1
Page 185 and 186:
Interval Song-Specific Phrase Major
Page 187 and 188:
many measures long the melody is, a
Page 189 and 190:
Exercises Exercise 12-1 Play each o
Page 191 and 192:
Accompanying Melodies In This Chapt
Page 193 and 194:
A chord sheet—no melody. Working
Page 195 and 196:
Block Chord Accompaniment The easie
Page 197 and 198:
The benefit of this approach is tha
Page 199 and 200:
Once you’ve figured out the chord
Page 201 and 202:
14 Chapter Transposing to Other Key
Page 203 and 204:
These scenarios are more common tha
Page 205 and 206:
The chord progression transposed to
Page 207 and 208:
or hold to their original pitches.
Page 209:
5 Part Embellishing Discover how to
Page 212 and 213:
188 Part 5: Embellishing Note This
Page 214 and 215:
190 Part 5: Embellishing A common c
Page 216 and 217:
192 Part 5: Embellishing Making Har
Page 218 and 219:
194 Part 5: Embellishing Definition
Page 220 and 221:
196 Part 5: Embellishing The lower
Page 222 and 223:
198 Part 5: Embellishing Avoid exte
Page 224 and 225:
200 Exercises Part 5: Embellishing
Page 227 and 228:
Chord Substitutions and Turnarounds
Page 229 and 230:
Altering the Bass Here’s another
Page 231 and 232:
Replacing the I chord (C Major) wit
Page 233 and 234:
Substitution Example (for the G7 ch
Page 235 and 236:
Turnaround Example (in C) I-♭III-
Page 237:
Exercise 16-6 Add a two-measure tur
Page 240 and 241:
216 Part 5: Embellishing Definition
Page 242 and 243:
218 Part 5: Embellishing Tip If you
Page 244 and 245:
220 Part 5: Embellishing What’s c
Page 246 and 247:
222 Part 5: Embellishing Exercise 1
Page 249 and 250:
18 Chapter Composing and Arranging
Page 251 and 252:
Voice Range (Concert Pitch) Write I
Page 253 and 254:
Brass Brass instruments typically a
Page 255 and 256:
Transposition Range Sounds Instrume
Page 257 and 258:
listed (they’re grouped by family
Page 259 and 260:
Instrument Range (Concert Pitch) Wr
Page 261 and 262:
Instrument Range (Concert Pitch) Wr
Page 263 and 264:
Exercises Chapter 18: Composing and
Page 265 and 266:
Lead Sheets and Scores In This Chap
Page 267 and 268:
Make It Simple Even simpler than th
Page 269 and 270:
A typical chord sheet. Chapter 19:
Page 271 and 272:
A four-part choral arrangement. Jaz
Page 273 and 274:
A score for big band. Note A marchi
Page 275 and 276:
A score for full orchestra. Chapter
Page 277 and 278:
Today, thanks to computer technolog
Page 279 and 280:
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 and 332:
preparations, 257-258 rehearsal rou
Page 333 and 334:
Lydian mode, 40-41 lyrics melodies,
Page 335 and 336:
performing music, conducting 2/2 ti
Page 337 and 338:
tacet (dynamic marking), 83 tempo,
show all

The_Complete_Idiot%27s_Guide_To_Music_Theory

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?