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Music Theory For Dummies

E-BookEPUB2 - DRM Adobe / EPUBE-Book
336 Seiten
Englisch
JOHN WILEY & SONSerschienen am14.06.20194. Auflage
Tune in to how music really works 

Whether you're a student, a performer, or simply a fan, this book makes music theory easy, providing you with a friendly guide to the concepts, artistry, and technical mastery that underlie the production of great music, You'll quickly become fluent in the fundamentals of knocking out beats, reading scores, and anticipating where a piece should go, giving you a deeper perspective on the works of others - and bringing an extra dimension to your own, 

Tracking to a typical college-level course, Music Theory For Dummies breaks difficult concepts down to manageable chunks and takes into account every aspect of musical production and appreciation - from the fundamentals of notes and scales to the complexities of expression and instrument tone color, It also examines the latest teaching techniques - all the more important as the study of music, now shown to provide cognitive and learning benefits for both children and adults, becomes more prevalent at all levels,
Master major and minor scales, intervals, pitches, and clefs
Understand basic notation, time signals, tempo, dynamics, and navigation
Employ melodies, chords, progressions, and phrases to form music
Compose harmonies and accompanying melodies for voice and instruments

Wherever you want to go musically - as a writer or performer, or just as someone who wants to enjoy music to its fullest - this approachable guide gives you everything you need to hear!



Michael Pilhofer, MM, holds a Master's in Music Education with a Jazz Emphasis from the Eastman School of Music, and a Bachelor of Music degree in Jazz Performance from the University of Miami, Holly Day's work has appeared in Guitar One Magazine, Music Alive!, culturefront Magazine, and Brutarian Magazine,mehr
Verfügbare Formate
BuchKartoniert, Paperback
EUR26,00
E-BookEPUB2 - DRM Adobe / EPUBE-Book
EUR17,99
E-BookPDF2 - DRM Adobe / Adobe Ebook ReaderE-Book
EUR17,99

Produkt

KlappentextTune in to how music really works 

Whether you're a student, a performer, or simply a fan, this book makes music theory easy, providing you with a friendly guide to the concepts, artistry, and technical mastery that underlie the production of great music, You'll quickly become fluent in the fundamentals of knocking out beats, reading scores, and anticipating where a piece should go, giving you a deeper perspective on the works of others - and bringing an extra dimension to your own, 

Tracking to a typical college-level course, Music Theory For Dummies breaks difficult concepts down to manageable chunks and takes into account every aspect of musical production and appreciation - from the fundamentals of notes and scales to the complexities of expression and instrument tone color, It also examines the latest teaching techniques - all the more important as the study of music, now shown to provide cognitive and learning benefits for both children and adults, becomes more prevalent at all levels,
Master major and minor scales, intervals, pitches, and clefs
Understand basic notation, time signals, tempo, dynamics, and navigation
Employ melodies, chords, progressions, and phrases to form music
Compose harmonies and accompanying melodies for voice and instruments

Wherever you want to go musically - as a writer or performer, or just as someone who wants to enjoy music to its fullest - this approachable guide gives you everything you need to hear!



Michael Pilhofer, MM, holds a Master's in Music Education with a Jazz Emphasis from the Eastman School of Music, and a Bachelor of Music degree in Jazz Performance from the University of Miami, Holly Day's work has appeared in Guitar One Magazine, Music Alive!, culturefront Magazine, and Brutarian Magazine,
Details
Weitere ISBN/GTIN9781119575511
ProduktartE-Book
EinbandartE-Book
FormatEPUB
Format Hinweis2 - DRM Adobe / EPUB
FormatFormat mit automatischem Seitenumbruch (reflowable)
Erscheinungsjahr2019
Erscheinungsdatum14.06.2019
Auflage4. Auflage
Seiten336 Seiten
SpracheEnglisch
Dateigrösse6243 Kbytes
Artikel-Nr.4612052
Rubriken
Genre9201

Inhalt/Kritik

Inhaltsverzeichnis
Introduction 1

Part 1: Getting Started with Music Theory 5

CHAPTER 1: What Is Music Theory, Anyway? 7

CHAPTER 2: Determining What Notes Are Worth 13

CHAPTER 3: Giving It a Rest 27

CHAPTER 4: Introducing Time Signatures 35

CHAPTER 5: Playing with Beat 51

Part 2: Putting Notes Together 59

CHAPTER 6: Music Notes (and Where to Find Them) 61

CHAPTER 7: Mastering the Major and Minor Scales 77

CHAPTER 8: Key Signatures and the Circle of Fifths 91

CHAPTER 9: Intervals: The Distance between Pitches 103

CHAPTER 10: Chord Building 127

CHAPTER 11: Chord Progressions 159

Part 3: Musical Expression through Tempo and Dynamics 177

CHAPTER 12: Creating Varied Sound through Tempo and Dynamics 179

CHAPTER 13: Instrument Tone Color and Acoustics 191

Part 4: Musical Expression through Form 197

CHAPTER 14: The Building Blocks of Music: Rhythm, Melody, Harmony, and Song Form 199

CHAPTER 15: Relying on Classical Forms 211

CHAPTER 16: Tapping into Popular Genres and Forms 221

Part 5: The Part of Tens 231

CHAPTER 17: Ten Frequently Asked Questions about Music Theory 233

CHAPTER 18: Ten Keys to Reading a Musical Score 239

CHAPTER 19: Ten Music Theorists You Should Know About 243

CHAPTER 20: Ten Musical Movements That Changed History 251

Part 6: Appendixes 261

APPENDIX A: Audio Tracks 263

APPENDIX B: Chord Chart 267

APPENDIX C: Glossary 305

Index 309mehr
Leseprobe

Chapter 1
What Is Music Theory, Anyway?

IN THIS CHAPTER

Checking out a bit of music history

Getting to know the basics of music theory

Finding out how theory can affect your playing

One of the most important things to remember about music theory is that music came first. Music existed for thousands of years before theory came along to explain what people were trying to accomplish when pounding on their drums. So don t ever think that you can t be a good musician just because you ve never taken a theory class. In fact, if you are a good musician, you likely already know a lot of theory. You simply may not know the terminology or technicalities.

The concepts and rules that make up music theory are much like the grammatical rules that govern written language (which also came along after people had successfully discovered how to talk to one another). Just as being able to transcribe language made it possible for people far away to hear conversations and stories the way the author intended, being able to transcribe music allows musicians to read and play compositions exactly as the composer intended. Learning to read music is a lot like learning a new language, to the point where a fluent person can hear a musical conversation when reading a piece of sheet music.

Plenty of people in the world can t read or write, but they can still communicate their thoughts and feelings verbally just fine. In the same way, plenty of intuitive, self-taught musicians have never learned to read or write music and find the whole idea of learning music theory tedious and unnecessary. However, just like the educational leaps that can come with learning to read and write, music theory can help musicians master new techniques, perform unfamiliar styles of music, and develop the confidence they need to try new things.
Unearthing Music Theory s Beginnings

From what historians can tell, by the time the ancient world was beginning to establish itself - approximately 7000 B.C. - musical instruments had already achieved a complexity in design that would be carried all the way into the present. For example, some of the bone flutes found from that time period are still playable, and short performances have been recorded on them for modern listeners to hear.

Similarly, pictographs and funerary ornaments have shown that by 3500 B.C., Egyptians were using harps as well as double-reed clarinets, lyres, and their own version of the flute. By 1500 B.C., the Hittites of northern Syria had modified the traditional Egyptian lute/harp design and invented the first two-stringed guitar, with a long, fretted neck, tuning pegs at the top of the neck, and a hollow soundboard to amplify the sound of the strings being plucked.

A lot of unanswered questions remain about ancient music, such as why so many different cultures came up with so many of the same tonal qualities in their music completely independent of one another. Many theorists have concluded that certain patterns of notes just sound right to listeners, and certain other patterns don t. Music theory, then, very simply, could be defined as a search for how and why music sounds right or wrong. In other words, the purpose of music theory is to explain why something sounded the way it did and how that sound can be made again.

Many people consider ancient Greece to be the actual birthplace of music theory, because the ancient Greeks started entire schools of philosophy and science built around dissecting every aspect of music that was known then. Even Pythagoras (the triangle guy) got into the act by creating the 12-pitch octave scale similar to the one that musicians and composers still use today (see Chapter 7). He did this via the first Circle of Fifths (see Chapter 8), a device still religiously used by musicians from all walks of life.

Another famous Greek scientist and philosopher, Aristotle, is responsible for many books about music theory. He began a rudimentary form of music notation that remained in use in Greece and subsequent cultures for nearly a thousand years after his death.

In fact, so much music theory groundwork was laid in ancient Greece that substantial changes didn t seem necessary until the European Renaissance nearly 2,000 years later. Neighbors and conquerors of Greece were all more than happy to incorporate Greek math, science, philosophy, art, literature, and music into their own cultures.
Putting the Spotlight on Music Theory Fundamentals

While it would be nice to be one of those people who can sit at any instrument and play beautiful music without any training whatsoever, most folks need some sort of structured instruction, whether from a teacher or from reading a book. In the following sections, we go over the basic information you need to start learning how to read music, play scales, understand key signatures, build chords, and compose with forms.
Understanding the foundation: Notes, rests, and beats

Learning how to read music is essential to a musician, especially one who wants to share his music with other musicians or discover what other musicians are playing. By studying the basic elements, such as time values of each type of written note (see Chapter 2), musical rests (see Chapter 3), time signatures (see Chapter 4), and rhythm (see Chapter 5), you put yourself on the path to mastering music. All these elements come together to establish a foundation that allows you to read, play, and study music.
Manipulating and combining notes

Reading musical notes on both the treble and bass clef staves as well as finding notes on the piano and guitar - the two most common instruments on which people teach themselves to play - are crucial to making and studying music. Chapter 6 gives you the full scoop.

When you can read notes on the staves, you can determine a musical piece s key signature, which is a group of symbols that tells you what key that song is written in. You can use the Circle of Fifths to help train yourself to read key signatures on sight by counting the sharps or flats in a time signature. You can read more about key signatures and the Circle of Fifths in Chapter 8.

After you ve become familiar with key signatures, you re ready to move on to intervals, chords, and chord progressions, which create the complexity of musical sound - from pleasing and soothing to tense and in need of resolution. As we discuss in Chapter 9, you build scales and chords using simple or compound intervals: melodic and harmonic. Chapters 10 and 11 show you everything you need to know about building chords and chord progression, as well as how to build and use extended chords.

LINKING THE KEYBOARD TO MUSIC NOTATION

Prior to the Renaissance period, few truly innovative changes occurred in music technology. Stringed instruments, woodwinds, horns, and percussion instruments had been around for thousands of years, and although they had experienced many improvements in design and playing technique, they were essentially the same instruments used by the people of ancient cultures. It wasn t until the 1300s that a brand new musical interface appeared: the keyboard.

With the invention of the keyboard came the beginning of modern musical notation - written music. The keyboard-notation link was fostered because of the ease of composing for full orchestras on the keyboard. Also, most newly commissioned work was created for keyboard instruments because of the public s perception of the keyboard as a superior instrument.

Fifteenth-century French composers began adding as many lines as they needed to their musical staves (see Chapter 6 to find out about the musical staff). They also wrote music with multiple staves to be played simultaneously by different instruments. Because the keyboard has so many notes available, separate staves for left- and right-handed playing began to be used. These staves are the bass clef and the treble clef.

As noted in Chapter 10, keyboards also had the advantage of being incredibly easy to build chords on. By the 17th century, the five-lined staff was considered standard for most musical instrumentation - probably because it was easier and cheaper to print just one kind of sheet music for musicians to compose on. The system hasn t changed much over the past four centuries, and it probably won t change again until a new, more-appealing instrument interface enters the scene.

Studying musical form and compositions

Most popular and classical music is composed using specific forms. A form is a structural blueprint used to create a certain type of music. The building blocks of form include musical phrases and periods (which we cover in Chapter 14), and rhythm, melody, and harmony enter the picture to create the genre, or style, of a piece of music.

When sitting down to write music, you have to choose what form you re going to follow: for example, classical or popular. You can choose from many different classical and popular forms, including sonatas, concertos, 16-bar blues, and verse-chorus form (Chapters 15 and 16 provide plenty of information on the forms you may encounter). You can create varied sound in whatever form you choose by playing with tempo, dynamics, and instrument tone color (see Chapters...
mehr

Autor

Michael Pilhofer, MM, holds a Master's in Music Education with a Jazz Emphasis from the Eastman School of Music, and a Bachelor of Music degree in Jazz Performance from the University of Miami.

Holly Day's work has appeared in Guitar One Magazine, Music Alive!, culturefront Magazine, and Brutarian Magazine.