Efnisyfirlit

• Cover
• Introduction
  • About This Book
  • Foolish Assumptions
  • Icons Used in This Book
  • Beyond the Book
  • Where to Go from Here
• Part 1: Getting Started with Music Theory
  • Chapter 1: What Is Music Theory, Anyway?
    • Unearthing Music Theory’s Beginnings
    • Putting the Spotlight on Music Theory Fundamentals
    • Seeing How Theory Can Help Your Music
  • Chapter 2: Determining What Notes Are Worth
    • Meeting the Beat
    • Recognizing Notes and Note Values
    • Checking Out Whole (Semibreve) Notes
    • Homing in on Half (Minim) Notes
    • Considering Quarter (Crotchet) Notes
    • Examining Eighth (Quaver) Notes and Beyond
    • Extending Notes with Dots and Ties
    • Mixing All the Note Values Together
  • Chapter 3: Giving It a Rest
    • Getting to Know the Rests
    • Extending the Break with Dotted Rests
    • Practicing Beats with Notes and Rests
  • Chapter 4: Introducing Time Signatures
    • Decoding Time Signatures and Measures
    • Keeping Things Easy with Simple Time Signatures
    • Working with Compound Time Signatures
    • Feeling the Pulse of Asymmetrical Time Signatures
    • A Short Discussion about Conducting
  • Chapter 5: Playing with Beat
    • Creating Stress Patterns and Syncopation
    • Getting a Jump on Pick-Up Notes
    • Exploring Irregular Rhythms: Triplets and Duplets
• Part 2: Putting Notes Together
  • Chapter 6: Music Notes (and Where to Find Them)
    • Meeting the Staff, Clefs, and Notes
    • Identifying Half Steps, Whole Steps, and Accidentals
    • Finding the Notes on the Piano and the Guitar
    • Using Mnemonics to Help Remember Notes
  • Chapter 7: Mastering the Major and Minor Scales
    • Following Major-Scale Patterns
    • Discovering All That Minor Scale Patterns Have to Offer
  • Chapter 8: Key Signatures and the Circle of Fifths
    • Understanding the Circle of Fifths and Recognizing Major Key Signatures
    • Finding Minor Key Signatures and Relative Minors
    • Visualizing the Key Signatures
  • Chapter 9: Intervals: The Distance between Pitches
    • Breaking Down Harmonic and Melodic Intervals
    • Looking at Unisons, Octaves, Fourths, and Fifths
    • Recognizing Seconds, Thirds, Sixths, and Sevenths
    • Building Intervals
    • Showing Major and Perfect Intervals in the C Major Scale
    • Checking Out Compound Intervals
    • The Nashville Number System
  • Chapter 10: Chord Building
    • Creating Triads with Three Pitches
    • Expanding to Seventh Chords
    • Looking at All the Triads and Sevenths
    • Manipulating Triads through Voicing and Inversion
    • Exploring Extended Chords
  • Chapter 11: Chord Progressions
    • Reviewing Diatonic Chords, Chromatic Chords, and Minor Scale Modes
    • Identifying and Naming Chord Progressions
    • Adding a Seventh Chord to a Triad
    • Seeing (and Hearing) Chord Progressions in Action
    • Applying Chord Knowledge to Fake Books and Tabs
    • Modulating to a New Key
    • Reaching a Musical Cadence through Chord Progressions
• Part 3: Musical Expression through Tempo and Dynamics
  • Chapter 12: Creating Varied Sound through Tempo and Dynamics
    • Taking the Tempo of Music
    • Dealing with Dynamics: Loud and Soft
  • Chapter 13: Instrument Tone Color and Acoustics
    • Delving into Tone Color
    • Building the Band: An Acoustics Lesson
• Part 4: Musical Expression through Form
  • Chapter 14: The Building Blocks of Music: Rhythm, Melody, Harmony, and Song Form
    • Establishing Rhythm
    • Shaping the Melody
    • Complementing the Melody with Harmony
    • Working with Musical Phrases and Periods
    • Linking Musical Parts to Create Forms
  • Chapter 15: Relying on Classical Forms
    • Counterpoint as a Classical Revelation
    • Sussing Out the Sonata
    • Rounding Up the Rondo
    • Figuring Out the Fugue
    • Combining Forms into a Symphony
    • Observing Other Classical Forms
  • Chapter 16: Tapping into Popular Genres and Forms
    • Feeling the Blues
    • Having Fun with Rock and Pop
    • Improvising with Jazz
    • Twelve-Tone Compositions
• Part 5: The Part of Tens
  • Chapter 17: Ten Frequently Asked Questions about Music Theory
    • Why Is Music Theory Important?
    • If I Can Already Play Some Music, Why Bother Learning Music Theory?
    • Why Is So Much Music Theory Centered on the Piano Keyboard?
    • Is There a Quick and Easy Way to Learn to Read Music?
    • How Do I Identify a Key Based on the Key Signature?
    • Can I Transpose a Piece of Music into Another Key?
    • Will Learning Music Theory Hinder My Ability to Improvise?
    • Do I Need to Know Theory if I Just Play Drums?
    • Where Do the 12 Musical Notes Come From?
    • How Does Knowing Theory Help Me Memorize a Piece of Music?
  • Chapter 18: Ten Keys to Reading a Musical Score
    • The Basics
    • Lead Sheets
    • Full Scores
    • Miniature Scores
    • Study Scores
    • Piano Scores
    • Short Scores
    • Vocal Scores
    • Tablature
    • Figured Bass Notion
  • Chapter 19: Ten Music Theorists You Should Know About
    • Pythagoras (582–507 BC)
    • Boethius (480–524 AD)
    • Gerbert d’Aurillac/Pope Sylvester II (950–1003)
    • Guido D’Arezzo (990–1040)
    • Nicola Vicentino (1511–1576)
    • Christiaan Huygens (1629–1695)
    • Arnold Schoenberg (1874–1951)
    • Harry Partch (1901–1974)
    • Karlheinz Stockhausen (1928–2007)
    • Robert Moog (1934–2005)
  • Chapter 20: Ten Musical Movements That Changed History
    • 800 AD — England, Gregorian Chant
    • 1100 AD — Organum/European Polyphony
    • 1649 — England, the Diggers
    • 17th Century: Italy, Opera
    • 1789-1799: The French Revolution
    • 1913 — Atonal Music and Igor Stravinsky’s “The Rite of Spring”
    • 1950-1990: Latin America and the Iberian Peninsula, “Nueva Canción” (the New Song Movement)
    • 1960s: U.S. Civil Rights Movement
    • 1980s: Estonia Singing Revolution
    • 2010-2012: Arab Spring
• Part 6: Appendixes
  • Appendix A: Audio Tracks
  • Appendix B: Chord Chart
  • Appendix C: Glossary
• Index
• About the Authors
• Connect with Dummies
• End User License Agreement

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