ISBN-10:
0966161661
ISBN-13:
9780966161663
Pub. Date:
09/01/2010
Publisher:
Musical EdVentures
Edly's Music Theory for Practical People / Edition 3

Edly's Music Theory for Practical People / Edition 3

by Ed Roseman, Peter Reynolds

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Overview

(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!

Product Details

ISBN-13: 9780966161663
Publisher: Musical EdVentures
Publication date: 09/01/2010
Edition description: Revised
Pages: 196
Product dimensions: 8.50(w) x 10.90(h) x 0.50(d)
Age Range: 12 Years

Table of Contents

Notation ExamplesIII
Diagrams, Charts... Other ExamplesV
Preludei
To Students, Teachers, and Other Potential Readersi
About Reading Music... or Notiii
Business Stuffiii
Acknowledgementsiv
Abbreviationsiv
Edly's Quick Guide to Notationv
Chapter 1The Musical Alphabets--Natural and Chromatic1
The (Natural) Musical Alphabet1
Half-Steps, Whole-Steps, and Octaves1
The Importance of Scales: A Pep Talk3
The Chromatic Scale3
Chapter 2The Major Scale5
Double Sharps and Double Flats8
Chapter 3Major Keys and Key Signatures10
"Newest Accidentals"11
Key Signatures13
Determining the (Major) Key from a Key Signature14
Key Signature Memory Aids15
Chapter 4Diatonic Intervals16
Chapter 5Chords: Triads18
Overview of Basic Chord Anatomy18
Creating Minor Intervals19
Ear-Training Preview20
Chapter 6Diatonic Harmony21
Harmonizing a Major Scale21
Diatonic Triads23
Chapter 7Chord Inversion26
Determining the Root and Chord Type of an Unknown Chord28
Chord-Tone Doubling28
Chapter 8Chromatic Intervals30
Chromatic Alteration of Intervals30
Less Common Enharmonic Soellings of Intervals30
Chapter 9I, IV, V and the Twelve Bar Blves31
Twelve Bar Blues Part I33
Blues Phrase Structure33
Blues Chordology34
Chapter 10iim, iiim, vim, and vii Chords... Intro to Chord Substitution36
Common Diatonic Progressions Which Inclvde iim, iiim, and vim38
Chapter 11Minor Scales and Keys39
The Major's Sad Covsin: the Relative Minor, Your Cousin Alice... and the Natural Minor Scale39
The Natural Minor Scale40
Using the Major Scale to Define Other Scales41
The Harmonic Minor Scale42
The Melodic Minor Scale43
Chapter 12The Circle of Fifths (and Fourths)44
Chapter 13Chords: 7ths (& 6ths)48
Symmetrical Chords and Functions51
Chapter 14Diatonic Chords and Functions54
Diatonic Seventh Chords54
Diatonic Chord Functions in Major Keys55
Diatonic Chord Functions in Minor Keys57
Chapter 15Interval Inversion59
Chapter 16Intervals for Ear-Training62
General Sound of Various Intervals64
Ear-Training Methods64
Chapter 17Secondary Dominants and Other Secondary Chords65
Secondary Dominants65
Other Secondary Chords66
Multiple Secondary Dominants67
Modulating with Secondary Chords71
Chapter 18Transposition72
Transposition and "Transposing Instruments"74
Transposing by Changing Clefs76
Chapter 19Cadences77
Cadence Types & Definitions78
Chapter 20Tritone Substitution79
The "Substitute iim7" chord81
Chapter 21Natural Modes82
The Importance of Modes: Another Pep Talk82
Summary of the Modal Discovery Process93
Chapter 22Pentatonic and Blues Scales94
Pentatonic Scales94
The Blves Scale95
Chapter 23More Scales97
"Artificial" or "Unnatural" Modes97
"Exotic" Pentatonics99
Whole-Tone and Diminished Scales99
Modes from Mercury103
Chapter 24Chords: 9ths, 11ths, and 13ths104
Ninth Chords104
Diatonic Ninth Chords105
Eleventh Chords106
Thirteenth Chords107
Chapter 25Chords: Summary and Exceptions108
Chapter 26Diatonic Modal Chords113
Modal Chord Functions115
Chapter 27Blues Structure Part II116
Chapter 28Some Other Common Song Forms119
Song Anatomy 101119
Chapter 29Improvisation Ideas122
Scale/Mode Choices in Improvisation126
Chapter 30By Ear127
Coda130
Answers131
Glossary and Index137

Preface

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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