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MusicTheory4th Editionby Michael Pilhofer, MMand Holly Day
Music Theory For Dummies , 4th EditionPublished by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.comCopyright 2019 by John Wiley & Sons, Inc., Hoboken, New JerseyPublished simultaneously in CanadaNo part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by anymeans, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Requeststo the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions.Trademarks: Wiley, For Dummies, the Dummies Man logo, Dummies.com, Making Everything Easier, and relatedtrade dress are trademarks or registered trademarks of John Wiley & Sons, Inc., and may not be used without writtenpermission. All other trademarks are the property of their respective owners. John Wiley & Sons, Inc., is notassociated with any product or vendor mentioned in this book.LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NOREPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTSOF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIESOF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES ORPROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOREVERY SITUATION. THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGEDIN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE ISREQUIRED, THE SERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THEPUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT ANORGANIZATION OR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OFFURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATIONTHE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READERSSHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEAREDBETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ.For general information on our other products and services, please contact our Customer Care Department withinthe U.S. at 877-762-2974, outside the U.S. at 317-572-3993, or fax 317-572-4002. For technical support, please es.Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included withstandard print versions of this book may not be included in e-books or in print-on-demand. If this book refers tomedia such as a CD or DVD that is not included in the version you purchased, you may download this material athttp://booksupport.wiley.com. For more information about Wiley products, visit www.wiley.com.Library of Congress Control Number: 2019942839ISBN 978-1-119-57552-8 (pbk); ISBN 978-1-119-57554-2 (ebk); ISBN 978-1-119-57551-1 (ebk)Manufactured in the United States of America10 9 8 7 6 5 4 3 2 1
Contents at a GlanceIntroduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Part 1: Getting Started with Music Theory. . . . . . . . . . . . . . . . . . . . . 5CHAPTER 1:CHAPTER 2:CHAPTER 3:CHAPTER 4:CHAPTER 5:What Is Music Theory, Anyway?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Determining What Notes Are Worth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Giving It a Rest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Introducing Time Signatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Playing with Beat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Part 2: Putting Notes Together. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Music Notes (and Where to Find Them). . . . . . . . . . . . . . . . . . . . . . . . . . . . 61CHAPTER 7: Mastering the Major and Minor Scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77CHAPTER 8: Key Signatures and the Circle of Fifths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91CHAPTER 9: Intervals: The Distance between Pitches . . . . . . . . . . . . . . . . . . . . . . . . . 103CHAPTER 10: Chord Building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127CHAPTER 11: Chord Progressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159CHAPTER 6:Part 3: Musical Expression through Tempoand Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177Creating Varied Sound through Tempo and Dynamics. . . . . . . . . . . . . 179CHAPTER 13: Instrument Tone Color and Acoustics. . . . . . . . . . . . . . . . . . . . . . . . . . . . 191CHAPTER 12:Part 4: Musical Expression through Form. . . . . . . . . . . . . . . . . . .CHAPTER 14:197The Building Blocks of Music: Rhythm, Melody, Harmony,and Song Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199Relying on Classical Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211CHAPTER 16: Tapping into Popular Genres and Forms. . . . . . . . . . . . . . . . . . . . . . . . . 221CHAPTER 15:Part 5: The Part of Tens. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231Ten Frequently Asked Questions about Music Theory. . . . . . . . . . . . . .Ten Keys to Reading a Musical Score . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHAPTER 19: Ten Music Theorists You Should Know About. . . . . . . . . . . . . . . . . . . . .CHAPTER 20: Ten Musical Movements That Changed History. . . . . . . . . . . . . . . . . . .233239243251CHAPTER 17:CHAPTER 18:
Part 6: Appendixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261APPENDIX A: AudioTracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263APPENDIX B: Chord Chart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267APPENDIX C: Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309
Table of ContentsINTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1About This Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Foolish Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Icons Used in This Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Beyond the Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Where to Go from Here . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12333PART 1: GETTING STARTED WITH MUSIC THEORY . . . . . . . . . . . 5CHAPTER 1:What Is Music Theory, Anyway? . . . . . . . . . . . . . . . . . . . . . . . . 7Unearthing Music Theory’s Beginnings . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Putting the Spotlight on Music Theory Fundamentals. . . . . . . . . . . . . . . 9Understanding the foundation: Notes, rests, and beats. . . . . . . . . . 9Manipulating and combining notes . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Studying musical form and compositions. . . . . . . . . . . . . . . . . . . . . 11Seeing How Theory Can Help Your Music . . . . . . . . . . . . . . . . . . . . . . . . 11CHAPTER 2:Determining What Notes Are Worth. . . . . . . . . . . . . . . . . . 13Meeting the Beat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Recognizing Notes and Note Values. . . . . . . . . . . . . . . . . . . . . . . . . . . . .Examining the notes and their components. . . . . . . . . . . . . . . . . . .Looking at 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. . . . . . . . . . . . . . . . . . . . . . . . . . . . .Using dots to increase a note’s value. . . . . . . . . . . . . . . . . . . . . . . . .Adding notes together with ties . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mixing All the Note Values Together . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHAPTER 3:141515171819202022222323Giving It a Rest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Getting to Know the Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Whole (semibreve) rests. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Half (minim) rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Quarter (crotchet) rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Eighth (quaver) rests and beyond. . . . . . . . . . . . . . . . . . . . . . . . . . . .Extending the Break with Dotted Rests. . . . . . . . . . . . . . . . . . . . . . . . . .Practicing Beats with Notes and Rests. . . . . . . . . . . . . . . . . . . . . . . . . . .Table of Contents28282930303232v
CHAPTER 4:Introducing Time Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Decoding Time Signatures and Measures. . . . . . . . . . . . . . . . . . . . . . . . 35Keeping Things Easy with Simple Time Signatures. . . . . . . . . . . . . . . . . 37Using measures to count in simple time. . . . . . . . . . . . . . . . . . . . . . 38Practicing counting beats in simple time. . . . . . . . . . . . . . . . . . . . . . 40Working with Compound Time Signatures . . . . . . . . . . . . . . . . . . . . . . . 41Using measures to count in compound time . . . . . . . . . . . . . . . . . . 42Practicing counting beats in compound time. . . . . . . . . . . . . . . . . . 43Feeling the Pulse of Asymmetrical Time Signatures. . . . . . . . . . . . . . . .44A Short Discussion about Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . 46The beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Phrasing, articulation, and dynamics. . . . . . . . . . . . . . . . . . . . . . . . . 49Cueing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49CHAPTER 5:Playing with Beat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Creating Stress Patterns and Syncopation . . . . . . . . . . . . . . . . . . . . . . .Placing stress: Knowing the general rules. . . . . . . . . . . . . . . . . . . . .Syncopation: Hitting the off-beat . . . . . . . . . . . . . . . . . . . . . . . . . . . .Getting a Jump on Pick-Up Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Exploring Irregular Rhythms: Triplets and Duplets . . . . . . . . . . . . . . . .Adding interest with triplets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Working with duplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51525254555657PART 2: PUTTING NOTES TOGETHER . . . . . . . . . . . . . . . . . . . . . . . . . . 59CHAPTER 6:Music Notes (and Where to Find Them) . . . . . . . . . . . . . . 61Meeting the Staff, Clefs, and Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62The treble clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63The bass clef. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63The grand staff and middle C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64C clefs: Alto and tenor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Identifying Half Steps, Whole Steps, and Accidentals . . . . . . . . . . . . . . 65Working with half steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Taking whole steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Changing pitch with accidentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Finding the Notes on the Piano and the Guitar . . . . . . . . . . . . . . . . . . . 72Looking for notes on the piano. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Picking out notes on the guitar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Using Mnemonics to Help Remember Notes . . . . . . . . . . . . . . . . . . . . . 75viMusic Theory For Dummies
CHAPTER 7:Mastering the Major and Minor Scales . . . . . . . . . . . . . . . 77Following Major-Scale Patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Working with major scales on piano and guitar. . . . . . . . . . . . . . . .Listening to the major scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Discovering All That Minor Scale Patterns Have to Offer . . . . . . . . . . .Playing natural minor scales on piano and guitar . . . . . . . . . . . . . .Having fun with harmonic minor scales on piano and guitar. . . . .Making great music with melodic minor scales onpiano and guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Listening to the minor scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHAPTER 8:7879828283848688Key Signatures and the Circle of Fifths . . . . . . . . . . . . . . . 91Understanding the Circle of Fifths and Recognizing MajorKey Signatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Sharps: Father Charles Goes Down and Ends Battle. . . . . . . . . . . . 93Flats: Battle Ends and Down Goes Charles’s Father. . . . . . . . . . . . . 94Finding Minor Key Signatures and Relative Minors . . . . . . . . . . . . . . . . 95Visualizing the Key Signatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96C major and A natural minor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96G major and E natural minor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97D major and B natural minor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97A major and F sharp natural minor . . . . . . . . . . . . . . . . . . . . . . . . . . 98E major and C sharp natural minor . . . . . . . . . . . . . . . . . . . . . . . . . . 98B/C flat major and G sharp/A flat natural minor. . . . . . . . . . . . . . . . 99F sharp/G flat major and D sharp/E flat natural minor . . . . . . . . . . 99C sharp major/D flat and A sharp/B flat natural minor. . . . . . . . . 100A flat major and F natural minor. . . . . . . . . . . . . . . . . . . . . . . . . . . . 101E flat major and C natural minor. . . . . . . . . . . . . . . . . . . . . . . . . . . . 101B flat major and G natural minor . . . . . . . . . . . . . . . . . . . . . . . . . . . 101F major and D natural minor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102CHAPTER 9:Intervals: The Distance between Pitches. . . . . . . . . . .103Breaking Down Harmonic and Melodic Intervals. . . . . . . . . . . . . . . . .Quantity: Counting lines and spaces . . . . . . . . . . . . . . . . . . . . . . . .Quality: Considering half steps . . . . . . . . . . .
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Classical Music Perspective Classical music usually refers to music that was written in the Classical music period, which lasted from about 1750 to 1825. There usually is a misconception about this fact. In general, people refer to music from all periods of music history as classical music. However, other musical periods do exist, and they .
