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(Music Instruction). Unique, conversational and sometimes humorous, this is a theory book people will actually want to read! Presented in a full-color format with illustrations, charts, diagrams and workbook exercises, Edly's Music Theory for Practical People applies to all instrumentalists and singers, from teens to adults. Topics include: notation, natural & chromatic alphabets, scales, keys & key signatures, intervals, chords, ear-training, and much more. This third edition also features new advanced topics, such as: voicings, chord extensions & alterations, voice leading, reharmonization, melodic harmonization, and harmonic analysis. This book transforms the topic that music students love to hate into something they can't help but enjoy!
|Diagrams, Charts... Other Examples||V|
|To Students, Teachers, and Other Potential Readers||i|
|About Reading Music... or Not||iii|
|Edly's Quick Guide to Notation||v|
|Chapter 1||The Musical Alphabets--Natural and Chromatic||1|
|The (Natural) Musical Alphabet||1|
|Half-Steps, Whole-Steps, and Octaves||1|
|The Importance of Scales: A Pep Talk||3|
|The Chromatic Scale||3|
|Chapter 2||The Major Scale||5|
|Double Sharps and Double Flats||8|
|Chapter 3||Major Keys and Key Signatures||10|
|Determining the (Major) Key from a Key Signature||14|
|Key Signature Memory Aids||15|
|Chapter 4||Diatonic Intervals||16|
|Chapter 5||Chords: Triads||18|
|Overview of Basic Chord Anatomy||18|
|Creating Minor Intervals||19|
|Chapter 6||Diatonic Harmony||21|
|Harmonizing a Major Scale||21|
|Chapter 7||Chord Inversion||26|
|Determining the Root and Chord Type of an Unknown Chord||28|
|Chapter 8||Chromatic Intervals||30|
|Chromatic Alteration of Intervals||30|
|Less Common Enharmonic Soellings of Intervals||30|
|Chapter 9||I, IV, V and the Twelve Bar Blves||31|
|Twelve Bar Blues Part I||33|
|Blues Phrase Structure||33|
|Chapter 10||iim, iiim, vim, and vii Chords... Intro to Chord Substitution||36|
|Common Diatonic Progressions Which Inclvde iim, iiim, and vim||38|
|Chapter 11||Minor Scales and Keys||39|
|The Major's Sad Covsin: the Relative Minor, Your Cousin Alice... and the Natural Minor Scale||39|
|The Natural Minor Scale||40|
|Using the Major Scale to Define Other Scales||41|
|The Harmonic Minor Scale||42|
|The Melodic Minor Scale||43|
|Chapter 12||The Circle of Fifths (and Fourths)||44|
|Chapter 13||Chords: 7ths (& 6ths)||48|
|Symmetrical Chords and Functions||51|
|Chapter 14||Diatonic Chords and Functions||54|
|Diatonic Seventh Chords||54|
|Diatonic Chord Functions in Major Keys||55|
|Diatonic Chord Functions in Minor Keys||57|
|Chapter 15||Interval Inversion||59|
|Chapter 16||Intervals for Ear-Training||62|
|General Sound of Various Intervals||64|
|Chapter 17||Secondary Dominants and Other Secondary Chords||65|
|Other Secondary Chords||66|
|Multiple Secondary Dominants||67|
|Modulating with Secondary Chords||71|
|Transposition and "Transposing Instruments"||74|
|Transposing by Changing Clefs||76|
|Cadence Types & Definitions||78|
|Chapter 20||Tritone Substitution||79|
|The "Substitute iim7" chord||81|
|Chapter 21||Natural Modes||82|
|The Importance of Modes: Another Pep Talk||82|
|Summary of the Modal Discovery Process||93|
|Chapter 22||Pentatonic and Blues Scales||94|
|The Blves Scale||95|
|Chapter 23||More Scales||97|
|"Artificial" or "Unnatural" Modes||97|
|Whole-Tone and Diminished Scales||99|
|Modes from Mercury||103|
|Chapter 24||Chords: 9ths, 11ths, and 13ths||104|
|Diatonic Ninth Chords||105|
|Chapter 25||Chords: Summary and Exceptions||108|
|Chapter 26||Diatonic Modal Chords||113|
|Modal Chord Functions||115|
|Chapter 27||Blues Structure Part II||116|
|Chapter 28||Some Other Common Song Forms||119|
|Song Anatomy 101||119|
|Chapter 29||Improvisation Ideas||122|
|Scale/Mode Choices in Improvisation||126|
|Chapter 30||By Ear||127|
|Glossary and Index||137|
Do you play an instrument or sing-at any level, and want to know more about what makes music tick? Do you want to deepen your appreciation of music? Are you a rock 'n' roller who wants to broaden your horizons? Are you a jazzer needing more knowledge of the chords and scales which make up your music? Are you classically trained and wanting to branch into popular styles? Do you want to read from fake books?
If you answered yes to any of those questions, then this book is for you. It is intended for anyone, teen to adult, who wants to learn about what's going on inside music. It starts at the very beginning by introducing the notes and explaining basic terms. It then takes you through scale and chord building from simple to advanced. It introduces you to standard song forms, improvisation, and ear-training. After reading this book, you will have a very solid grounding in melody and harmony. At that point, if you wish, you can continue your study with books that focus on your specific areas of interest.
Throughout, I have tried to present the material clearly, informally, and even with some sense of humor (perish the thought) where possible. I hope this helps make the material more palatable and the reading more fun.
Why the title "Music Theory for Practical People"? The reason is that there is nothing theoretical about most music "theory"-especially that contained in this book. So-called music "theory" is concrete, immediately applicable, and practical. Understanding music's patterns and formulas makes everything a musician does easier. Learning theory will help you become a better musician, regardless of your musical specialty. Learning theory is a very, very, practical thing to do.
There are musicians who make wonderful music without having any analytical understanding of what it is that they are doing, or how the music they make is constructed. I strongly believe in the power of intuition in making music. I also believe that the combination of intuitive and analytical understand- ing is even more powerful. One need not rule the other; they work together, sharing the brain and musical ear.
In writing this book, I do not in any way hope to dictate how you make your music. Rather, I intend to begin to demystify the structure of music. I want to give you tools that you can use to understand the music that you and others make. I further hope that you will expand your ways of making music because of that understanding. While reading, I strongly encourage you to experiment with and use the material you are covering. The 'rules' in this book are merely descriptions of how things are conventionally done. Learn these conventions, but feel free-and even invited-to break any 'rule' in this book!
The musical language in this book is that of twentieth-century popular music-jazz, rock, and their various spinoffs. But be assured, although the language may be that of the vernacular, many of the concepts hold true over the ages and across styles. Therefore, a musician with previous classical theory training (harmony or counterpoint, etc.) will probably find some of this material familiar. Those moving in the other direction will find that classical theory will come more easily after reading this book. It's all connected, after all.
Throughout the book, each new topic comes with a packing slip with explanations of what it is, why it's important (and why a student should bother to learn it), and how it's made. More advanced topics also often include an explanation of who might find it helpful. Certain topics are revealed only gradually, encouraging you to participate more actively in the discovery process. There are workbook exercises scattered throughout the book. Have fun with them. Consider writing your answers in pencil, and fear not, there's an Answers chapter in the back. Teachers, if you prefer to correct your students' work yourself, rip or cut out the Answers chapter.
Feel free to skip around the book. Read a chapter's introduction; skim the chapter, and then use your good judgment to decide if you want to skip ahead, rather than getting bogged down in something you don't immediately need. You can always come back.
Do-it-yourselfers: this book was written to stand on its own. You will learn a lot by snuggling up alone with the book. But a good teacher would be a great help in bringing some of the harder concepts to life and clearing up any problems you come across. Either way, good luck!