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Many people find music theory a tough subject-- but it doesn't have to be! The best-selling Idiot's Guides: Music Theory, Third Edition, is a concise and clear guide that teaches any budding musician (and even more experienced ones) how to read musical notation by navigating the basics of reading and composing music. This book covers: - The basics of tones, including pitches, clefs, scales, intervals, and major and minor keys. - The building blocks of rhythm, including note values, basic notation, time signatures, and tempo, dynamics, and navigation. - How tunes are created, starting with melodies, chords, chord progressions, and phrases and forms. - The basics of accompaniment, including transcribing, accompanying melodies, and transposing to other keys. - Composing and arranging, including coverage of musical genres and forms, how to compose your own music, arranging for voices and instruments, working with lead sheets and scores, and performing your music. - Helpful reference appendixes, including a glossary, chord charts, and instrument ranges. - Exercises at the end of each chapter, and an answer key appendix. - All-new coverage of genres, composing, and arranging. - Expanded online ear-training and transcribing exercise content.… (meer)
Nice book for those who know nothing about music theory and a great refresher for those of us who have forgotten most of what we learned during those dreaded music lessons when we were kids.
I used this to brush up on my theory before I tackled the book on music composition. ( )
I wanted a book that assumed I knew nothing, but in doing so also assumed I could understand (and am interested to know) any nuance or complication in theory -- and proceeds accordingly. This book does that. It appears also to be geared to musicians, which I respect but does not apply to me, so the exercises (which involve memorising and/or recognising scales, notes, key signatures, and so forth) are pretty useless.
What I find instead of a workbook is a systematic explanation of the basic framework of Western twelve-tone scales. Pretty much every page I find an "aha!" insight, such as: each minor key uses the identical notes from a major key, only the minor key begins with the 6th note of the major key's scale. Ah! -- that gives me some insight into why the minor feels different, yet retains a connection to the overall system. After all, without a system, what makes a "key"? Why not simply pick a random set of 8 (or is it 12?) ascending notes? (Answer: that would be a mode, which preceded scales and upon which scales are based.) This book helps make head and tails of such questions as these, though often I must read between the lines to get at my answer.
The accompanying CD fits in with the exercises, which is to say: not terribly useful to me. ( )
Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
Solfeggio is a method of naming musical tones using a set of syllables - do, re, mi, and so on. These syllables come from the initial syllables of the first six words to the Hymn to St. John; the seventh syllable (Ti) is derived from the St. John, in Latin. [7]
Solfeggio and methods of naming tones by number are relative; two people might call two different pitches "Do", so fixed systems are used. "The accepted way of naming specific musical itches uses the first seven letters of the alphabet. [8]
Scientific pitch notation puts a number after the letter (e.g. C1 as lowest on grand piano) to designate which octave is meant. [9]
On a keyboard: F is the white key before the set of 3 black keys; C is the white key before the set of 2 black keys (C and 2 are lower in the alphabet / number line, F and 3 are higher). [9]
The lines you add above or below a staff are called ledger lines. [11]
In addition to notating music in the bass or treble clef, you can combine them as when writing for the piano: this is the Grand Staff. [12]
There really aren't any rules for how to assign instruments to a percussion clef, so you're pretty much on your own. [14]
The smallest interval in Western music is the half step; intervals are typically measured in the number of half steps between the two notes. [18]
Two notes that sound the same but can be spelled differently are called enharmonic notes. [18] - this points up the abstract nature of notation; there is one sound, but the frame used to identify those notes allows for more than one designation depending upon whether a given note is flatted or sharped] There are also enharmonic scales, e.g. C-sharp Major / D-flat MajorHalf steps = semitones / whole step = tone [19]
On a guitar, half step is a single fret [19]
Music from other parts of the world often contains intervals smaller than a half step. Some Indian music, for example, divides an octave into 22 steps, each about half as large as a Western half step. [19]
Degrees of a scale [20] first (root) = tonic second = supertonic third = mediant fourth = subdominant fifth = dominant sixth = submediant seventh = leading note eighth (octave) = tonic
(Mod-12 avoids this by counting half steps, which yields 12 intervals and avoids enharmonics, too.)
Musicians often refer to the intervals between notes in these terms, e.g. "let's raise that note a fourth ..." or "start on the Major 4th ..."
Those are major intervals; the minor intervals are the flats / sharps, "the pitches that fall above or below the basic notes" [21]
Perfect intervals are those which "don't have separate major or minor states (although they can still be flattened or sharpened)" -- the fourth, fifth, and octave intervals.
(When sharpened they're called augmented, when flattened, diminished; this is distinct from a double-flatted note, which is also called diminished.)
There's no such thing as a minor fifth or a major octave.
These are linked to mathematical frequency ratios: a physical / auditory reason for these intervals being different.
A perfect octave has a ratio of 2:1 between the two frequencies, the octave is twice the frequency of the starting pitch.
Put into a series, each increasingly complex interval ratio forms what is called a harmonic series, and the intervals (in order) are called harmonics. [21]
There are lots of different definitions of the word "music", some more poetic than practical. For example, William Shakespeare called music the "food of love", George Bernard Shaw called music the "brandy of the damned", and Gottfried Wilhelm Leibnitz called music "sounding mathematics".
Interesting definitions all, but not really what we're looking here for.
Let's try another definition:
Music is the art, the craft, and the science of organizing sound and silence in the framework of time.
Jazz and blues music often add flatted thirds and sevenths within the designated major key, which give these styles their unique sound.
The problem with using relative naming is that it doesn't tell you what precise pitch to start with. You might start your Do Re Mi on a low pitch, and your neighbor might start hers on a higher pitch, and your duet will end up sounding like two water buffaloes in heat.
And that's not good. (Unless you're a water buffalo, of course.)
You don't want your melodies wandering around all over the place, like a dog looking for a place to do his business. What you want is more of a hunting dog of a melody, one that knows where home is and, at the end of the day, finds its way back there.
Many people find music theory a tough subject-- but it doesn't have to be! The best-selling Idiot's Guides: Music Theory, Third Edition, is a concise and clear guide that teaches any budding musician (and even more experienced ones) how to read musical notation by navigating the basics of reading and composing music. This book covers: - The basics of tones, including pitches, clefs, scales, intervals, and major and minor keys. - The building blocks of rhythm, including note values, basic notation, time signatures, and tempo, dynamics, and navigation. - How tunes are created, starting with melodies, chords, chord progressions, and phrases and forms. - The basics of accompaniment, including transcribing, accompanying melodies, and transposing to other keys. - Composing and arranging, including coverage of musical genres and forms, how to compose your own music, arranging for voices and instruments, working with lead sheets and scores, and performing your music. - Helpful reference appendixes, including a glossary, chord charts, and instrument ranges. - Exercises at the end of each chapter, and an answer key appendix. - All-new coverage of genres, composing, and arranging. - Expanded online ear-training and transcribing exercise content.
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