Practical Beginning Theory: A Fundamentals Worktext / Edition 8

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The phrase ‘practical theory’ may seem to be a contradiction, but it is a term that Practical Beginning Theory has, since it’s first edition in 1963, sought to embody by providing a comprehensive introduction to basic level theory that can be used in any teaching situation, even if other resource materials are limited or unavailable.

In the new edition, the text continues its mission to be an all-in-one coursebook for music fundamentals. A third author has been added to revise and update the exercises in popular music and to integrate new electronic supplements into the text. A new chapter has been added to address jazz, pop, and blues and a CD of ear-training examples is now included with each copy of the book. The software package of the prior edition has been coordinated to the new CD and mounted to the Internet and exercises throughout the text have been revised to further emphasize real music instead of artificial textbook examples.

In all, Practical Beginning Theory prepares students completely for the first semester of major-level music theory. In can be used at two- and four- year colleges and it is appropriate for pre-college students who are preparing to enter a music major or for advanced high school music theory courses.

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Product Details

  • ISBN-13: 9780697343970
  • Publisher: McGraw-Hill Higher Education
  • Publication date: 7/20/1999
  • Edition description: New Edition
  • Edition number: 8
  • Pages: 336
  • Sales rank: 609,318
  • Product dimensions: 8.50 (w) x 10.80 (h) x 0.60 (d)

Meet the Author

Bruce Benward has been widely regarded as one of the most gifted music theory pedagogues since his textbooks first appeared in the 1960s, and has exerted a wide influence on the teaching of music theory both through his writings and through the generation of teachers that he taught. He recently retired from the University of Wisconsin at Madison.
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Table of Contents

PART I: The Musician’s Raw Materials

Chapter 1 The Properties of Individual Sounds

Chapter 2 The Notation of Musical Sounds: Pitch

Chapter 3 Pitch and the Keyboard

Chapter 4 The Notation of Musical Sounds: Rhythm

Chapter 5 Other Notational Signs
PART II: Combinations of Materials to Create Tonality, Scales, Key Signatures, Intervals, and Triads

Chapter 6 Introduction to the Tonal Center

Chapter 7 The Major Scale, Major and Minor Seconds

Chapter 8 Intervals: Unison, Octave, and Major and Minor Thirds

Chapter 9 The Major Triad and the Interval of the Perfect Fifth

Chapter 10 The Circle of Fifths and the Key Signatures of the Major Scales

Chapter 11 The Natural Minor Scale

Chapter 12 Intervals: Fourths, Fifths, and the Tritone

Chapter 13 The Minor Triad

Chapter 14 More Intervals: Major and Minor Sixths and Sevenths, and More Augmented and Diminished Intervals

Chapter 15 Harmonic and Melodic Minor Scales

Chapter 16 Augmented and Diminished Triads, The Whole Tone Scale

Chapter 17 Inversion of Intervals, Compound Intervals
PART III: Rhythm and Meter, Melody and Harmony

Chapter 18 Simple Duple, Triple, and Quadruple Meters

Chapter 19 Syncopation

Chapter 20 Triplets

Chapter 21 Compound Meters
PART IV: Melody

Chapter 22 Movement and Rest in Melody

Chapter 23 Conjunct and Disjunct Motion, Melodic Direction

Chapter 24 Rhythmic and Melodic Motives, Melodic Repetition and Sequence
PART V: Harmony

Chapter 25 Triad Arrangements

Chapter 26 Triads in Succession

Chapter 27 Nonharmonic Tones

Chapter 28 Harmonizing a Melody

Chapter 29 Further Harmonizations Using I, ii, ii7, IV, V, and V7

Chapter 30 Chord Symbols and Their Application in Jazz, Blues, and Popular Music
Appendix 1 Introduction to Musical Forms
Appendix 2 Keyboard Harmony Supplement
Appendix 3 Fingerboard Harmony for Guitar
Index to Musical Examples
General Index
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