The_Complete_Idiot%27s_Guide_To_Music_Theory

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68 Part 2: Rhythms Note Classical musicians tend to refer to the organization of beats as “meter,” while jazz and pop musicians tend to refer to it as “time,” as in “4/4 meter” or “4/4 time.” Note In most rock and pop music, the second and fourth beats of a measure are accented, typically by the drummer, like this: one TWO three FOUR, one TWO three FOUR. (When you clap your hands to a song, you’re probably clapping on two and four.) This heavy “backbeat” is what gives rock-and-roll its rolling rhythm; it is so common that it’s noticeable when it is absent. Let’s take the four-quarter-notes-to-a-measure form we used in the previous chapter. Because we have four beats in a measure, the top number in the time signature is a four. Because the basic beat is a quarter note, the bottom number is a four (as in the 4 in 1/4). So the standard form we’ve been using is called “four four” time (because of the 4 on top of the 4), and looks like this: The time signature for 4/4 meter. Other time signatures follow this same form. For example, if our measures have three beats instead of four, and still use a quarter note for the beat, we have a 3/4 time signature. If you have three beats per measure but the basic beat is an eighth note instead of a quarter note, that time signature is “three eight,” or 3/8. Read on to learn more about the different types of time signatures you’re likely to encounter in the world of music. Quarter-Note Time The most common types of time signatures use a quarter note for the base beat. However, you’re not limited to just four beats (quarter notes) per measure; quarter-note time signatures can have as few as one beat per measure, or as many as … well, as many as you like! Although 4/4 is the most common quarter-note time signature, you’ll almost definitely run into its close cousin, 3/4. In 3/4 time, you have three quarter notes per measure; the measures are counted “one two three, one two three.” If you’ve ever heard a waltz, you’ve heard 3/4 time. Another common quarter-note time signature is 2/4 time. This time signature is common in marches and other fast music, and is very easy to play. After all, two measures of 2/4 add up to one measure of 4/4! Less common are quarter-note time signatures with more than four beats per measure. For example, 5/4 time feels a little awkward, especially if you’re used to feeling the “backbeat” in a 4/4 pop song. But jazz musicians play a lot of 5/4—just listen to the Dave Brubeck Quartet’s famous recording of “Take Five” if you want to hear a good example of playing in five. The following table shows some of the more common quarter-note time signatures.
Quarter-Note Time Signatures Time Signature Beats per Measure By the way, 4/4 time is sometimes called common time, and indicated by a large “C” for the time signature, like this: 4/4 time is common time--indicated by a big “C.” Eighth-Note Time Not all music uses a quarter note for the beat. A lot of music—especially classical music—is based on an eighth-note beat. Chapter 6: Time Signatures 69
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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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xx The Complete Idiot’s Guide to
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xxii The Complete Idiot’s Guide t
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Pitches and Clefs In This Chapter
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Some instruments produce a broader
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If you’re reading ahead and want
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Notes on a Piano Keyboard A good wa
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Above—and Below—the Staff The b
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The grand staff looks like this: Th
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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 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 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
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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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