{"product_id":"music-theory-for-dummies","title":"Music Theory for Dummies","description":"\u003ctable align=\"center\" border=\"0\" cellpadding=\"2\" cellspacing=\"0\" width=\"100%\"\u003e\n\u003ctr\u003e\n\u003ctd class=\"productDetailSmallElements\"\u003e\n\u003cp\u003e\n\u003cstrong\u003eTable of Contents\u003c\/strong\u003e:\u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003cb\u003e 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eAbout This Book 1\u003c\/p\u003e\n\u003cp\u003eFoolish Assumptions 2\u003c\/p\u003e\n\u003cp\u003eIcons Used in This Book 3\u003c\/p\u003e\n\u003cp\u003eBeyond the Book 3\u003c\/p\u003e\n\u003cp\u003eWhere to Go from Here 3\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePart 1: Getting Started with Music Theory 5\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 1: What Is Music Theory, Anyway?\u003c\/b\u003e\u003cb\u003e 7\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eUnearthing Music Theory's Beginnings 8\u003c\/p\u003e\n\u003cp\u003ePutting the Spotlight on Music Theory Fundamentals 9\u003c\/p\u003e\n\u003cp\u003eUnderstanding the foundation: Notes, rests, and beats 9\u003c\/p\u003e\n\u003cp\u003eManipulating and combining notes 9\u003c\/p\u003e\n\u003cp\u003eStudying musical form and compositions 11\u003c\/p\u003e\n\u003cp\u003eSeeing How Theory Can Help Your Music 11\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 2: Determining What Notes Are Worth\u003c\/b\u003e\u003cb\u003e 13\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMeeting the Beat 14\u003c\/p\u003e\n\u003cp\u003eRecognizing Notes and Note Values 15\u003c\/p\u003e\n\u003cp\u003eExamining the notes and their components 15\u003c\/p\u003e\n\u003cp\u003eLooking at note values 17\u003c\/p\u003e\n\u003cp\u003eChecking Out Whole (Semibreve) Notes 18\u003c\/p\u003e\n\u003cp\u003eHoming in on Half (Minim) Notes 19\u003c\/p\u003e\n\u003cp\u003eConsidering Quarter (Crotchet) Notes 20\u003c\/p\u003e\n\u003cp\u003eExamining Eighth (Quaver) Notes and Beyond 20\u003c\/p\u003e\n\u003cp\u003eExtending Notes with Dots and Ties 22\u003c\/p\u003e\n\u003cp\u003eUsing dots to increase a note's value 22\u003c\/p\u003e\n\u003cp\u003eAdding notes together with ties 23\u003c\/p\u003e\n\u003cp\u003eMixing All the Note Values Together 23\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 3: Giving It a Rest\u003c\/b\u003e\u003cb\u003e 27\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eGetting to Know the Rests 28\u003c\/p\u003e\n\u003cp\u003eWhole (semibreve) rests 28\u003c\/p\u003e\n\u003cp\u003eHalf (minim) rests 29\u003c\/p\u003e\n\u003cp\u003eQuarter (crotchet) rests 30\u003c\/p\u003e\n\u003cp\u003eEighth (quaver) rests and beyond 30\u003c\/p\u003e\n\u003cp\u003eExtending the Break with Dotted Rests 32\u003c\/p\u003e\n\u003cp\u003ePracticing Beats with Notes and Rests 32\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 4: Introducing Time Signatures\u003c\/b\u003e\u003cb\u003e 35\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDecoding Time Signatures and Measures 35\u003c\/p\u003e\n\u003cp\u003eKeeping Things Easy with Simple Time Signatures 37\u003c\/p\u003e\n\u003cp\u003eUsing measures to count in simple time 38\u003c\/p\u003e\n\u003cp\u003ePracticing counting beats in simple time 40\u003c\/p\u003e\n\u003cp\u003eWorking with Compound Time Signatures 41\u003c\/p\u003e\n\u003cp\u003eUsing measures to count in compound time 42\u003c\/p\u003e\n\u003cp\u003ePracticing counting beats in compound time 43\u003c\/p\u003e\n\u003cp\u003eFeeling the Pulse of Asymmetrical Time Signatures 44\u003c\/p\u003e\n\u003cp\u003eA Short Discussion about Conducting 46\u003c\/p\u003e\n\u003cp\u003eThe beat 47\u003c\/p\u003e\n\u003cp\u003ePhrasing, articulation, and dynamics 49\u003c\/p\u003e\n\u003cp\u003eCueing 49\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 5: Playing with Beat\u003c\/b\u003e\u003cb\u003e 51\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCreating Stress Patterns and Syncopation 51\u003c\/p\u003e\n\u003cp\u003ePlacing stress: Knowing the general rules 52\u003c\/p\u003e\n\u003cp\u003eSyncopation: Hitting the off-beat 52\u003c\/p\u003e\n\u003cp\u003eGetting a Jump on Pick-Up Notes 54\u003c\/p\u003e\n\u003cp\u003eExploring Irregular Rhythms: Triplets and Duplets 55\u003c\/p\u003e\n\u003cp\u003eAdding interest with triplets 56\u003c\/p\u003e\n\u003cp\u003eWorking with duplets 57\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePart 2: Putting Notes Together 59\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 6: Music Notes (and Where to Find Them)\u003c\/b\u003e\u003cb\u003e 61\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMeeting the Staff, Clefs, and Notes 62\u003c\/p\u003e\n\u003cp\u003eThe treble clef 63\u003c\/p\u003e\n\u003cp\u003eThe bass clef 63\u003c\/p\u003e\n\u003cp\u003eThe grand staff and middle C 64\u003c\/p\u003e\n\u003cp\u003eC clefs: Alto and tenor 64\u003c\/p\u003e\n\u003cp\u003eIdentifying Half Steps, Whole Steps, and Accidentals 65\u003c\/p\u003e\n\u003cp\u003eWorking with half steps 66\u003c\/p\u003e\n\u003cp\u003eTaking whole steps 68\u003c\/p\u003e\n\u003cp\u003eChanging pitch with accidentals 70\u003c\/p\u003e\n\u003cp\u003eFinding the Notes on the Piano and the Guitar 72\u003c\/p\u003e\n\u003cp\u003eLooking for notes on the piano 73\u003c\/p\u003e\n\u003cp\u003ePicking out notes on the guitar 73\u003c\/p\u003e\n\u003cp\u003eUsing Mnemonics to Help Remember Notes 75\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 7: Mastering the Major and Minor Scales\u003c\/b\u003e\u003cb\u003e 77\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eFollowing Major-Scale Patterns 78\u003c\/p\u003e\n\u003cp\u003eWorking with major scales on piano and guitar 79\u003c\/p\u003e\n\u003cp\u003eListening to the major scales 82\u003c\/p\u003e\n\u003cp\u003eDiscovering All That Minor Scale Patterns Have to Offer 82\u003c\/p\u003e\n\u003cp\u003ePlaying natural minor scales on piano and guitar 83\u003c\/p\u003e\n\u003cp\u003eHaving fun with harmonic minor scales on piano and guitar 84\u003c\/p\u003e\n\u003cp\u003eMaking great music with melodic minor scales on piano and guitar 86\u003c\/p\u003e\n\u003cp\u003eListening to the minor scales 88\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 8: Key Signatures and the Circle of Fifths\u003c\/b\u003e\u003cb\u003e 91\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eUnderstanding the Circle of Fifths and Recognizing Major Key Signatures 92\u003c\/p\u003e\n\u003cp\u003eSharps: Father Charles Goes Down and Ends Battle 93\u003c\/p\u003e\n\u003cp\u003eFlats: Battle Ends and Down Goes Charles's Father 94\u003c\/p\u003e\n\u003cp\u003eFinding Minor Key Signatures and Relative Minors 95\u003c\/p\u003e\n\u003cp\u003eVisualizing the Key Signatures 96\u003c\/p\u003e\n\u003cp\u003eC major and A natural minor 96\u003c\/p\u003e\n\u003cp\u003eG major and E natural minor 97\u003c\/p\u003e\n\u003cp\u003eD major and B natural minor 97\u003c\/p\u003e\n\u003cp\u003eA major and F sharp natural minor 98\u003c\/p\u003e\n\u003cp\u003eE major and C sharp natural minor 98\u003c\/p\u003e\n\u003cp\u003eB\/C flat major and G sharp\/A flat natural minor 99\u003c\/p\u003e\n\u003cp\u003eF sharp\/G flat major and D sharp\/E flat natural minor 99\u003c\/p\u003e\n\u003cp\u003eC sharp major\/D flat and A sharp\/B flat natural minor 100\u003c\/p\u003e\n\u003cp\u003eA flat major and F natural minor 101\u003c\/p\u003e\n\u003cp\u003eE flat major and C natural minor 101\u003c\/p\u003e\n\u003cp\u003eB flat major and G natural minor 101\u003c\/p\u003e\n\u003cp\u003eF major and D natural minor 102\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 9: Intervals: The Distance between Pitches\u003c\/b\u003e\u003cb\u003e 103\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eBreaking Down Harmonic and Melodic Intervals 104\u003c\/p\u003e\n\u003cp\u003eQuantity: Counting lines and spaces 104\u003c\/p\u003e\n\u003cp\u003eQuality: Considering half steps 106\u003c\/p\u003e\n\u003cp\u003eNaming intervals 107\u003c\/p\u003e\n\u003cp\u003eLooking at Unisons, Octaves, Fourths, and Fifths 107\u003c\/p\u003e\n\u003cp\u003ePerfect unisons 108\u003c\/p\u003e\n\u003cp\u003eAugmented unisons 108\u003c\/p\u003e\n\u003cp\u003eOctaves 108\u003c\/p\u003e\n\u003cp\u003eFourths 110\u003c\/p\u003e\n\u003cp\u003eFifths 111\u003c\/p\u003e\n\u003cp\u003eRecognizing Seconds, Thirds, Sixths, and Sevenths 112\u003c\/p\u003e\n\u003cp\u003eSeconds 112\u003c\/p\u003e\n\u003cp\u003eThirds 115\u003c\/p\u003e\n\u003cp\u003eSixths and sevenths 117\u003c\/p\u003e\n\u003cp\u003eBuilding Intervals 117\u003c\/p\u003e\n\u003cp\u003eDetermining quantity 118\u003c\/p\u003e\n\u003cp\u003eEstablishing the quality 118\u003c\/p\u003e\n\u003cp\u003eShowing Major and Perfect Intervals in the C Major Scale 120\u003c\/p\u003e\n\u003cp\u003eChecking Out Compound Intervals 121\u003c\/p\u003e\n\u003cp\u003eCreating a compound interval 121\u003c\/p\u003e\n\u003cp\u003eReturning a compound to its simple state 122\u003c\/p\u003e\n\u003cp\u003eThe Nashville Number System 123\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 10: Chord Building\u003c\/b\u003e 127\u003c\/p\u003e\n\u003cp\u003eCreating Triads with Three Pitches 128\u003c\/p\u003e\n\u003cp\u003eRoots, thirds, and fifths 128\u003c\/p\u003e\n\u003cp\u003eMajor triads 130\u003c\/p\u003e\n\u003cp\u003eMinor triads 132\u003c\/p\u003e\n\u003cp\u003eAugmented triads 133\u003c\/p\u003e\n\u003cp\u003eDiminished triads 135\u003c\/p\u003e\n\u003cp\u003eExpanding to Seventh Chords 136\u003c\/p\u003e\n\u003cp\u003eMajor sevenths 137\u003c\/p\u003e\n\u003cp\u003eMinor sevenths 138\u003c\/p\u003e\n\u003cp\u003eDominant sevenths 139\u003c\/p\u003e\n\u003cp\u003eMinor 7 flat 5 chords 139\u003c\/p\u003e\n\u003cp\u003eDiminished sevenths 140\u003c\/p\u003e\n\u003cp\u003eMinor-major sevenths 141\u003c\/p\u003e\n\u003cp\u003eLooking at All the Triads and Sevenths 141\u003c\/p\u003e\n\u003cp\u003eA 142\u003c\/p\u003e\n\u003cp\u003eA flat 142\u003c\/p\u003e\n\u003cp\u003eB 142\u003c\/p\u003e\n\u003cp\u003eB flat 143\u003c\/p\u003e\n\u003cp\u003eC 143\u003c\/p\u003e\n\u003cp\u003eC flat 143\u003c\/p\u003e\n\u003cp\u003eC sharp 144\u003c\/p\u003e\n\u003cp\u003eD 144\u003c\/p\u003e\n\u003cp\u003eD flat 145\u003c\/p\u003e\n\u003cp\u003eE 145\u003c\/p\u003e\n\u003cp\u003eE flat 145\u003c\/p\u003e\n\u003cp\u003eF 146\u003c\/p\u003e\n\u003cp\u003eF sharp 146\u003c\/p\u003e\n\u003cp\u003eG 146\u003c\/p\u003e\n\u003cp\u003eG flat 147\u003c\/p\u003e\n\u003cp\u003eManipulating Triads through Voicing and Inversion 147\u003c\/p\u003e\n\u003cp\u003eTaking a look at open and close voicing 147\u003c\/p\u003e\n\u003cp\u003eIdentifying inverted chords 148\u003c\/p\u003e\n\u003cp\u003eExploring Extended Chords 150\u003c\/p\u003e\n\u003cp\u003eNinth chords 151\u003c\/p\u003e\n\u003cp\u003eMinor ninth chords 152\u003c\/p\u003e\n\u003cp\u003eMajor ninth chords 152\u003c\/p\u003e\n\u003cp\u003eNinth augmented fifth chords 153\u003c\/p\u003e\n\u003cp\u003eNinth flatted fifth chord 153\u003c\/p\u003e\n\u003cp\u003eSeventh flat ninth piano chords 154\u003c\/p\u003e\n\u003cp\u003eAugmented ninth chords 154\u003c\/p\u003e\n\u003cp\u003eEleventh chords 154\u003c\/p\u003e\n\u003cp\u003eThirteenth chords 156\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 11: Chord Progressions\u003c\/b\u003e\u003cb\u003e 159\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eReviewing Diatonic Chords, Chromatic Chords, \u003c\/p\u003e\n\u003cp\u003eand Minor Scale Modes 160\u003c\/p\u003e\n\u003cp\u003eIdentifying and Naming Chord Progressions 161\u003c\/p\u003e\n\u003cp\u003eAssigning chord names and numbers 161\u003c\/p\u003e\n\u003cp\u003eLooking at chord progressions in major keys 162\u003c\/p\u003e\n\u003cp\u003eChecking out chord progressions in minor keys 164\u003c\/p\u003e\n\u003cp\u003eAdding a Seventh Chord to a Triad 165\u003c\/p\u003e\n\u003cp\u003eSeeing (and Hearing) Chord Progressions in Action 167\u003c\/p\u003e\n\u003cp\u003eApplying Chord Knowledge to Fake Books and Tabs 169\u003c\/p\u003e\n\u003cp\u003eModulating to a New Key 170\u003c\/p\u003e\n\u003cp\u003eReaching a Musical Cadence through Chord Progressions 170\u003c\/p\u003e\n\u003cp\u003eAuthentic cadences 172\u003c\/p\u003e\n\u003cp\u003ePlagal cadences 173\u003c\/p\u003e\n\u003cp\u003eDeceptive cadences 175\u003c\/p\u003e\n\u003cp\u003eHalf-cadence 175\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePart 3: Musical Expression through Tempo and Dynamics 177\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 12: Creating Varied Sound through Tempo and Dynamics\u003c\/b\u003e\u003cb\u003e 179\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eTaking the Tempo of Music 180\u003c\/p\u003e\n\u003cp\u003eEstablishing a universal tempo: The minim 180\u003c\/p\u003e\n\u003cp\u003eKeeping steady time with a metronome 181\u003c\/p\u003e\n\u003cp\u003eTranslating tempo notation 181\u003c\/p\u003e\n\u003cp\u003eSpeeding up and slowing down: Changing the tempo 183\u003c\/p\u003e\n\u003cp\u003eDealing with Dynamics: Loud and Soft 183\u003c\/p\u003e\n\u003cp\u003eModifying phrases 184\u003c\/p\u003e\n\u003cp\u003eChecking out other dynamic markings 185\u003c\/p\u003e\n\u003cp\u003eExamining the piano pedal dynamics 186\u003c\/p\u003e\n\u003cp\u003eLooking at the articulation markings for other instruments 188\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 13: Instrument Tone Color and Acoustics\u003c\/b\u003e\u003cb\u003e 191\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDelving into Tone Color 192\u003c\/p\u003e\n\u003cp\u003eAttack: Checking out the beginning sound of a note 192\u003c\/p\u003e\n\u003cp\u003eTimbre: Hearing the body of a note 193\u003c\/p\u003e\n\u003cp\u003eDecay: Listening for the final sound of a note 194\u003c\/p\u003e\n\u003cp\u003eBuilding the Band: An Acoustics Lesson 195\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePart 4: Musical Expression through Form 197\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 14: The Building Blocks of Music: Rhythm, Melody, Harmony, and Song Form\u003c\/b\u003e\u003cb\u003e 199\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eEstablishing Rhythm 200\u003c\/p\u003e\n\u003cp\u003eShaping the Melody 201\u003c\/p\u003e\n\u003cp\u003eComplementing the Melody with Harmony 203\u003c\/p\u003e\n\u003cp\u003eWorking with Musical Phrases and Periods 204\u003c\/p\u003e\n\u003cp\u003eLinking Musical Parts to Create Forms 206\u003c\/p\u003e\n\u003cp\u003eOne-part form (A) 207\u003c\/p\u003e\n\u003cp\u003eBinary form (AB) 207\u003c\/p\u003e\n\u003cp\u003eThree-part form (ABA) 207\u003c\/p\u003e\n\u003cp\u003eArch form (ABCBA) 209\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 15: Relying on Classical Forms\u003c\/b\u003e\u003cb\u003e 211\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCounterpoint as a Classical Revelation 211\u003c\/p\u003e\n\u003cp\u003eSussing Out the Sonata 212\u003c\/p\u003e\n\u003cp\u003eStarting with the exposition 213\u003c\/p\u003e\n\u003cp\u003eMoving on to something new: Development 214\u003c\/p\u003e\n\u003cp\u003eTaking a rest with recapitulation 214\u003c\/p\u003e\n\u003cp\u003eRounding Up the Rondo 215\u003c\/p\u003e\n\u003cp\u003eFiguring Out the Fugue 216\u003c\/p\u003e\n\u003cp\u003eCombining Forms into a Symphony 217\u003c\/p\u003e\n\u003cp\u003eObserving Other Classical Forms 218\u003c\/p\u003e\n\u003cp\u003eConcerto 219\u003c\/p\u003e\n\u003cp\u003eDuet 219\u003c\/p\u003e\n\u003cp\u003eEtude 219\u003c\/p\u003e\n\u003cp\u003eFantasia 219\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 16: Tapping into Popular Genres and Forms\u003c\/b\u003e\u003cb\u003e 221\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eFeeling the Blues 222\u003c\/p\u003e\n\u003cp\u003e12-bar blues 222\u003c\/p\u003e\n\u003cp\u003e8-bar blues 224\u003c\/p\u003e\n\u003cp\u003e16-bar blues 224\u003c\/p\u003e\n\u003cp\u003e24-bar blues 224\u003c\/p\u003e\n\u003cp\u003e32-bar blues ballads and country 225\u003c\/p\u003e\n\u003cp\u003eHaving Fun with Rock and Pop 226\u003c\/p\u003e\n\u003cp\u003eImprovising with Jazz 228\u003c\/p\u003e\n\u003cp\u003eTwelve-Tone Compositions 228\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePart 5: The Part of Tens 231\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 17: Ten Frequently Asked Questions about Music Theory\u003c\/b\u003e\u003cb\u003e 233\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eWhy Is Music Theory Important? 233\u003c\/p\u003e\n\u003cp\u003eIf I Can Already Play Some Music, Why Bother Learning Music Theory? 234\u003c\/p\u003e\n\u003cp\u003eWhy Is So Much Music Theory Centered on the Piano Keyboard? 234\u003c\/p\u003e\n\u003cp\u003eIs There a Quick and Easy Way to Learn to Read Music? 235\u003c\/p\u003e\n\u003cp\u003eHow Do I Identify a Key Based on the Key Signature? 235\u003c\/p\u003e\n\u003cp\u003eCan I Transpose a Piece of Music into Another Key? 236\u003c\/p\u003e\n\u003cp\u003eWill Learning Music Theory Hinder My Ability to Improvise? 236\u003c\/p\u003e\n\u003cp\u003eDo I Need to Know Theory if I Just Play Drums? 237\u003c\/p\u003e\n\u003cp\u003eWhere Do the 12 Musical Notes Come From? 237\u003c\/p\u003e\n\u003cp\u003eHow Does Knowing Theory Help Me Memorize a Piece of Music? 238\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 18: Ten Keys to Reading a Musical Score\u003c\/b\u003e\u003cb\u003e 239\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eThe Basics 240\u003c\/p\u003e\n\u003cp\u003eLead Sheets 240\u003c\/p\u003e\n\u003cp\u003eFull Scores 240\u003c\/p\u003e\n\u003cp\u003eMiniature Scores 240\u003c\/p\u003e\n\u003cp\u003eStudy Scores 241\u003c\/p\u003e\n\u003cp\u003ePiano Scores 241\u003c\/p\u003e\n\u003cp\u003eShort Scores 241\u003c\/p\u003e\n\u003cp\u003eVocal Scores 241\u003c\/p\u003e\n\u003cp\u003eTablature 242\u003c\/p\u003e\n\u003cp\u003eFigured Bass Notion 242\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 19: Ten Music Theorists You Should Know About\u003c\/b\u003e\u003cb\u003e 243\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePythagoras (582-507 BC) 243\u003c\/p\u003e\n\u003cp\u003eBoethius (480-524 AD) 244\u003c\/p\u003e\n\u003cp\u003eGerbert d'Aurillac\/Pope Sylvester II (950-1003) 245\u003c\/p\u003e\n\u003cp\u003eGuido D'Arezzo (990-1040) 246\u003c\/p\u003e\n\u003cp\u003eNicola Vicentino (1511-1576) 246\u003c\/p\u003e\n\u003cp\u003eChristiaan Huygens (1629-1695) 247\u003c\/p\u003e\n\u003cp\u003eArnold Schoenberg (1874-1951) 247\u003c\/p\u003e\n\u003cp\u003eHarry Partch (1901-1974) 248\u003c\/p\u003e\n\u003cp\u003eKarlheinz Stockhausen (1928-2007) 249\u003c\/p\u003e\n\u003cp\u003eRobert Moog (1934-2005) 249\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 20: Ten Musical Movements That Changed History\u003c\/b\u003e\u003cb\u003e 251\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e800 AD -- England, Gregorian Chant 251\u003c\/p\u003e\n\u003cp\u003e1100 AD -- Organum\/European Polyphony 252\u003c\/p\u003e\n\u003cp\u003e1649 -- England, the Diggers 253\u003c\/p\u003e\n\u003cp\u003e17th Century: Italy, Opera 254\u003c\/p\u003e\n\u003cp\u003e1789-1799: The French Revolution 255\u003c\/p\u003e\n\u003cp\u003e1913 -- Atonal Music and Igor Stravinsky's \"The Rite of Spring\" 255\u003c\/p\u003e\n\u003cp\u003e1950-1990: Latin America and the Iberian Peninsula, \"Nueva Canción\" (the New Song Movement) 256\u003c\/p\u003e\n\u003cp\u003e1960s: U.S Civil Rights Movement 257\u003c\/p\u003e\n\u003cp\u003e1980s: Estonia Singing Revolution 258\u003c\/p\u003e\n\u003cp\u003e2010-2012: Arab Spring 259\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePart 6: Appendixes \u003c\/b\u003e\u003cb\u003e261\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eAppendix A: Audio Tracks 263\u003c\/p\u003e\n\u003cp\u003eAppendix B: Chord Chart 267\u003c\/p\u003e\n\u003cp\u003eAppendix C: Glossary 305\u003c\/p\u003e\n\u003cp\u003eIndex 309\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003eBiographical Note\u003c\/strong\u003e:\u003cbr\u003e\n\u003cp\u003e\u003cb\u003eMichael Pilhofer, MM, \u003c\/b\u003e 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.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHolly Day's\u003c\/b\u003e work has appeared in \u003ci\u003eGuitar One Magazine, Music Alive!, culturefront Magazine, \u003c\/i\u003e and Brutarian Magazine.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003eJacket Description\/Back\u003c\/strong\u003e:\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eIdentify the building blocks of music\u003c\/li\u003e\n\u003cli\u003eUnderstand music when you're playing, writing, or analyzing it\u003c\/li\u003e\n\u003cli\u003eListen to audio tracks online\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cb\u003eTune in to how music really works\u003c\/b\u003e \u003c\/p\u003e\n\u003cp\u003eWhether 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. \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eInside...\u003c\/b\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaster major and minor scales, intervals, pitches, and clefs\u003c\/li\u003e\n\u003cli\u003eUnderstand basic notation, time signatures, tempo, and dynamics\u003c\/li\u003e\n\u003cli\u003eEmploy melodies, chords, progressions, and phrases\u003c\/li\u003e\n\u003cli\u003eCompose harmonies and accompanying melodies for voice and instruments\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003ePublisher Marketing\u003c\/strong\u003e:\u003cbr\u003e\n\u003cp\u003e\u003cb\u003eTune in to how music really works\u003c\/b\u003e \u003c\/p\u003e\n\u003cp\u003eWhether 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. \u003c\/p\u003e\n\u003cp\u003eTracking to a typical college-level course, \u003ci\u003eMusic Theory For Dummies\u003c\/i\u003e 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.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaster major and minor scales, intervals, pitches, and clefs\u003c\/li\u003e\n\u003cli\u003eUnderstand basic notation, time signals, tempo, dynamics, and navigation\u003c\/li\u003e\n\u003cli\u003eEmploy melodies, chords, progressions, and phrases to form music\u003c\/li\u003e\n\u003cli\u003eCompose harmonies and accompanying melodies for voice and instruments\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eWherever 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!\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\n\u003cbr\u003e\n\u003cbr\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003cp\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Pilhofer, Michael\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e For Dummies\u003cbr\u003e\u003cb\u003eBinding:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003ePub Date:\u003c\/b\u003e 2019-07-11\u003cbr\u003e\u003cb\u003eBISAC:\u003c\/b\u003e Music \/ Instruction \u0026amp; Study \/ Theory|Music \/ Instruction \u0026amp; Study \/ Composition\u003cbr\u003e\u003cb\u003eSubjects:\u003c\/b\u003e Music theory|Instruction and study|Thaeorie musicale|AEtude et enseignement|Informational works|Documents d'information\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.0 lbs\u003cbr\u003e\u003cb\u003eISBN:\u003c\/b\u003e 9781119575528\u003cbr\u003e\u003cb\u003eASIN:\u003c\/b\u003e -\u003cbr\u003e\u003cb\u003eSKU:\u003c\/b\u003e SP-9781119575528\u003c\/p\u003e","brand":"For Dummies","offers":[{"title":"Default Title","offer_id":52375884923161,"sku":"SP-9781119575528","price":37.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0913\/0380\/5209\/files\/9781119575528_spiral.png?v=1778510629","url":"https:\/\/westbindery.com\/products\/music-theory-for-dummies","provider":"West Bindery","version":"1.0","type":"link"}