Edly's Music Theory for Practical People / Edition 3

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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!

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Editorial Reviews

Keyboard Magazine
So unusual and fun, even an ex-grad student can get excited. could make all the difference to the student whose eyes glaze over at the mention of theory.
Sheet Music Magazine
A light-hearted yet no-nonsense approach to a subject that often plagues the music hobbyist and professional alike. The book proves that music theory doesn't have to be a hair-pulling, nail-biting experience; it can actually be fun!
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Product Details

  • ISBN-13: 9780966161663
  • Publisher: Musical EdVentures
  • Publication date: 9/1/2010
  • Edition description: Revised
  • Edition number: 3
  • Pages: 196
  • Sales rank: 289,069
  • Product dimensions: 8.50 (w) x 10.90 (h) x 0.50 (d)

Table of Contents

Notation Examples III
Diagrams, Charts... Other Examples V
Prelude i
To Students, Teachers, and Other Potential Readers i
About Reading Music... or Not iii
Business Stuff iii
Acknowledgements iv
Abbreviations iv
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
"Newest Accidentals" 11
Key Signatures 13
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
Ear-Training Preview 20
Chapter 6 Diatonic Harmony 21
Harmonizing a Major Scale 21
Diatonic Triads 23
Chapter 7 Chord Inversion 26
Determining the Root and Chord Type of an Unknown Chord 28
Chord-Tone Doubling 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
Blues Chordology 34
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
Ear-Training Methods 64
Chapter 17 Secondary Dominants and Other Secondary Chords 65
Secondary Dominants 65
Other Secondary Chords 66
Multiple Secondary Dominants 67
Modulating with Secondary Chords 71
Chapter 18 Transposition 72
Transposition and "Transposing Instruments" 74
Transposing by Changing Clefs 76
Chapter 19 Cadences 77
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
Pentatonic Scales 94
The Blves Scale 95
Chapter 23 More Scales 97
"Artificial" or "Unnatural" Modes 97
"Exotic" Pentatonics 99
Whole-Tone and Diminished Scales 99
Modes from Mercury 103
Chapter 24 Chords: 9ths, 11ths, and 13ths 104
Ninth Chords 104
Diatonic Ninth Chords 105
Eleventh Chords 106
Thirteenth Chords 107
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
Coda 130
Answers 131
Glossary and Index 137
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To Students, Teachers, and Other Potential Readers

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!

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