The Complete Idiots Guide to Music Theory, Music Books (thanx ElSumo)
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Music Theory
Second Edition
by Michael Miller
A member of Penguin Group (USA) Inc.
This book is dedicated to Beth Ogren, who has been a good friend for more years than
I remember. She’s been waiting a long time for me to write a book about a topic she’s
interested in—so here it is, Beth
ALPHA BOOKS
Published by the Penguin Group
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sion of Pearson New Zealand Ltd)
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Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England
Copyright © 2005 by Michael Miller
All rights reserved. No part of this book shall be reproduced, stored in a retrieval system, or transmitted
by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission
from the publisher. No patent liability is assumed with respect to the use of the information contained
herein. Although every precaution has been taken in the preparation of this book, the publisher and
author assume no responsibility for errors or omissions. Neither is any liability assumed for damages
resulting from the use of information contained herein. For information, address Alpha Books, 800 East
96th Street, Indianapolis, IN 46240.
THE COMPLETE IDIOT’S GUIDE TO and Design are registered trademarks of Penguin Group
(USA) Inc.
International Standard Book Number: 1-4295-1388-8
Library of Congress Catalog Card Number: 2005926982
Interpretation of the printing code: The rightmost number of the first series of numbers is the year of
the book’s printing; the rightmost number of the second series of numbers is the number of the book’s
printing. For example, a printing code of 05-1 shows that the first printing occurred in 2005.
Note:
This publication contains the opinions and ideas of its author. It is intended to provide helpful and
informative material on the subject matter covered. It is sold with the understanding that the author and
publisher are not engaged in rendering professional services in the book. If the reader requires personal
assistance or advice, a competent professional should be consulted.
The author and publisher specifically disclaim any responsibility for any liability, loss, or risk, personal or
otherwise, which is incurred as a consequence, directly or indirectly, of the use and application of any of
the contents of this book.
For details, write: Special Markets, Alpha Books, 375 Hudson Street, New York, NY 10014.
Publisher:
Marie Butler-Knight
Product Manager:
Phil Kitchel
Senior Managing Editor:
Jennifer Bowles
Senior Acquisitions Editor:
Renee Wilmeth
Development Editor:
Jennifer Moore
Production Editor:
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Copy Editor:
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Cartoonist:
Shannon Wheeler
Cover/Book Designer:
Trina Wurst
Indexer:
Tonya Heard
Layout:
Becky Harmon
Proofreading:
John Etchison
Contents at a Glance
Part 1:
Tones
1
1 Pitches and Clefs
3
Sing high, sing low—and learn how to describe all those different
pitches you can sing.
2 Intervals
17
What’s the shortest distance between two tones? It’s called an interval!
3 Scales
27
Do, a deer, a female deer … which happens to be as good a way as
any to describe a scale.
4 Major and Minor Keys
45
We’re not talking car keys here; nope, this chapter is all about
major and minor keys, as well as some seven-note modes that date
all the way back to the ancient Greeks.
Part 2:
Rhythms
55
5 Note Values and Basic Notation
57
If you can count to four, you can figure out most rhythms—and
write them down, on paper.
6 Time Signatures
67
It looks like a fraction, but it’s not a fraction—it’s a time signature!
7 Tempo, Dynamics, and Navigation
77
How do you describe how fast and how loud a song should be
played? Read here to find out!
Part 3:
Tunes
89
8 Melodies
91
When you put tones together with rhythms, what do you get?
(Hint: You can sing it!)
9 Chords
111
Major, minor, diminished, augmented—whatever you call ’em,
chords are just three notes played together.
10 Chord Progressions
127
Did you know that most folk, rock, and country music can be played
with just three chords? Now that’s a popular chord progression!
11 Phrases and Form
145
ABAC isn’t an acronym—it’s a way to describe in what order you
play all the different sections of a song.
Part 4:
Accompanying
153
12 Transcribing What You Hear
155
The music goes in one ear, bounces around your brain, and ends up
written down on paper—if you do it right.
13 Accompanying Melodies
167
Time to sit down at the piano (or guitar) and play a few chords!
14 Transposing to Other Keys
177
When one key isn’t good enough, you have to move the notes to
another key.
Part 5:
Embellishing
185
15 Harmony and Counterpoint
187
Or, where you find out background vocals are more than just ooohs
and aaahs and acting like a Pip or a Supreme.
16 Chord Substitutions and Turnarounds
203
If you don’t like the chords as written—change ’em!
17 Special Notation
215
All sorts of fancy notation that didn’t fit anywhere else in this book.
Part 6:
Arranging
223
18 Composing and Arranging for Voices and Instruments
225
Learn how to write for specific voices and instruments—the proper
ranges, and whether and how they need to be transposed.
19 Lead Sheets and Scores
241
Turn here to see some examples of lead sheets, chord sheets, vocal
scores, big band scores, and full-blown orchestral scores.
20 Performing Your Music
257
Up, down, left, right—how to set the tempo and start conducting!
Appendixes
A The Complete Idiot’s Music Glossary
265
B The Complete Idiot’s Chord Reference
275
C Answers to Chapter Exercises
279
D
The Complete Idiot’s Guide to Music Theory, Second Edition, Ear
Training Course CD
293
Index
305
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