BASIC MUSIC THEORYHOW TO READ, WRITE, AND UNDERSTAND WRITTEN MUSICIn the early fifteenth century, music was read from scrolls like the one depicted above by Giovannino di Grassi.Sol-Ut Presswww.sol-ut.comBasic Music Theory 1Learning CenterCHAPTER35BMT Table of ContentsBMT IndexSheet Music Recorded MusicBooksMusic TheoryBiographiesInstrument MakingFake BooksHome RecordingJazz BooksClassical MusicJazz trumpetClassical trumpetRockFolkBluesBluegrassCountryFull ScoresBasic Music Theory: How to Read, Write, and Understand Written MusicPublished by Sol-Ut PressA Music Education Businesswww.sol-ut.comCopyright 2001 Questions, Ink. All rights reserved. No part of this book, including interior design, cover design, and icons, may be reproduced or transmitted in any form, by any means (electronic, photocopying, recording, or otherwise) without the prior written permission of the publisher.Questions, Ink and the Q.I. logo are trademarks of Sol-Ut Press.send E-mail regarding this book to BMT@QuestionsInk.comLCCN: 2001086279ISBN: 0-9707512-9-XFor general information about this book or Sol-Ut Press, visit our web site at www.QuestionsInk.com or www.sol-ut.com.Publishers Cataloging-in-Publication(Provided by Quality Books, I nc.)Harnum, Jonathan.Basic music theory : how to read, write, andunderstand written music / Jonathan Harnum. -- 1st ed.p. cm.Includes index.LCCN 2001086279ISBN 0-9707512-9-X1. Music Theory.2. Conducting.3. Musical notation.I. Title.MT6.H37 2001 781QBI01-700378Fun and engaging. A real winner!Terrie Lyons, PhD, P.C.Jonathan Harnum has taken an overly complicated subject matter and made it learnable for anyone. And I do mean anyone! Harnum de-cryptifies all that is involved with music theory for the non-musician. But this book is not just for the non-musician. I have been a student of music for more than 13 years and a teacher for 3 and I found myself finding new and interesting (and humorous) facts about music theory. This book can teach anyone music theory and keep a smile on their face the entire time. Robin Gibelhausen, music teacher, IllinoisBasic Music Theory by Jonathan Harnum is an excellent book for people of all levels. I have played various instruments over 24 years and because of Harnum's matter of fact, conversational tone, this book has lent more to my understanding of basic music theory than all my private instructors combined.Solstice 1221, Anon. reader in LARead what folks have to say about the Music Theory book versatile enough to be used by middle schools, universities, and adults!The eBook version of Basic Music Theory 1st ed. is hyperlinked. Navigate the book with the Table of Contents, Book Index and all Cross-References. $4.95Learn faster and smarter when information you need is just a click away. If youre online, click anywhere in this message to orderI appreciate the clever and humorous ways that you introduce many of the concepts.The illustrations and pictures are very helpful. Can't wait to get to the bookstore to get a copy for myself.Dave Larsen, elementary teacher, Hawarden, IABasic Music Theory is an ideal and highly recommended text for anyone of any background wanting to become proficient in the reading, composing, and performance of written and notated music.Midwest Book Review (5 stars, highest rating)This is a book that covers lots of ground without ever appearing "difficult."It is written in a breezy, conversational manner, so one "talk" naturally drifts into the next.KLIATT Library Review Service EVEN LISTENING TO MUSIC IS PROVEN TO MAKEYOU SMARTER! NO JOKE. One important center of this research has been the University of California at Irvine, where Drs. Gordon Shaw and Fran Rauscher have found that active music making improves childrens math skills. Shaw is a physicist who found that the inner working of the human brain operates in patterns that resemble musical structures, and he suspects that music may be the key to understanding intelligence. Other research supports similar conclusions: at McGill University in Canada, researchers found that kids who take piano lessons showed improved general and spatial cognitive development, and studies at a Miami Veterans Administration hospital indicate that music making may improve the brains natural production of regulatory hormones like melatonin. And most amazingly, an experiment by Rauscher showed that listening to the first ten minutes of the Mozart Concerto for Two Pianos in D Major (K. 448) improved the listeners spatial-temporal reasoning!In the days of the New England singing-schools, people believed in teaching and learning music because it was good for the soul. Weve learned a lot since then. If music really can make a person better at math, science and engineering, and if just listening to music can make you smarter, why wouldnt anyone want to benefit from music? As we begin a new century, there is proof about the power of music education.And its still good for your soul.For more information about music and the brain visit:www.QuestionsInk.com/brainJUST AS THERE CAN BE NO MUSIC WITHOUT LEARNING, NO EDUCATION IS COMPLETE WITHOUT MUSIC.T H I S B O O K I S D E D I C A T E DT O A L L M Y T E A C H E R S , A N DT O M Y S T U D E N T S , WH O A R EA L S O M Y T E A C H E R S .T H A N K Y O U .The Table of Contents in the eBook version of Basic Music Theory 1st ed. is hyperlinked. Navigate the entire book quickly and easily using the Table of Contents, Book Index and all Cross-References. $4.95Learn faster and smarter when information you need is just a click away. If youre online, click anywhere in this message to orderor go towww.sol-ut.comBasic Music TheoryvBasic Music TheoryTable of Contents0 The Chapter Everyone Skips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Welcome to Basic Music Theory!........................... 2Why Basic Music Theory? ................................3Whats Inside.......................................3The Icons.........................................5Basic Music Theory: Overview..............................6How to Use the Special Features ............................9Moving On ........................................9PART ONE: START ME UP1 An Ultra-brief History of Musical Notation . . . . . . . . . . . . . . . . . . . .13Hear, There, Everywhere..............................14Music Performed .................................... 15The Future ....................................... 20Moving On ....................................... 212 Lines, Lines, Everywhere Theres Lines . . . . . . . . . . . . . . . . . . . . . . .23The Staff.......................................24Moving On ....................................... 25Chapter 2 Study Guide................................. 253 More Lines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27No Holds Barred...................................28What? More Lines? .................................. 28Moving On ....................................... 29Chapter 3 Study Guide...............................304 The Wind-up and the Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Spaced Out and Lined Up ..............................32The High and the Lowly................................ 33Moving On ....................................... 34Chapter 4Study Guide................................ 34Home, Home on the Ranges ............................365 A Note by Any Other Name Would Sound as Sweet. . . . . . . . . . . . . . .37Whats in a Name? .................................38Moving On ....................................... 39viChapter 5 Study Guide...............................40Part I Review..........................41Whew! You Made It................................... 41The Review ...................................... 41Moving On ....................................... 44PART TWO: CLEF NOTES6 Going Over the Clef. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47Whats a Clef?....................................48The Clefs ........................................ 49Moving On ....................................... 52Chapter 6 Study Guide................................. 527 No Trouble with Treble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55Golly G .......................................56Moving On ....................................... 58Chapter 7 Study Guide................................. 588 The Bass of the Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61This Clef is Not a Fish! ...............................62Nmore Mnemonics ................................... 63Moving On ....................................... 64Chapter 8 Study Guide...............................659 To Fathom the Rhythm Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67No Letters With this Staf...............................f 68Why No Note Names? ................................. 68The One-Line Staff with Rhythm Clef ......................... 68Instruments, not Pitches ................................ 69The 5-Line Staff with Rhythm Clef........................... 69Moving On ....................................... 71Chapter 9 Review................................... 71Part II Review.........................73Whew! You Made It................................... 73The Review ...................................... 73Moving On ....................................... 77Basic Music TheoryviiINTERLUDE: COMING TO TERMS10 Musical Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79Musical Terms are Directions............................80Tempo......................................... 80Dynamics........................................ 81Articulations...................................... 82General Musical Terms................................. 84Pete and Repeat .................................... 85Moving On ....................................... 87PART THREE: YOU GOT RHYTHM11 Wheres the Beat?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91The Beat Goes On .................................92The Notes....................................... 92Note Anatomy 101 ................................... 93The Stem........................................ 94Moving On ....................................... 95Chapter 11 Review................................... 9512 The Sound of Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97Take a Rest.....................................98The Rests of the Story ................................. 98Moving On ....................................... 99Chapter 12 Review................................... 9913 Meter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101Not the Metric System............................... 1024/4 Time.......................................1032/4 Time.......................................1043/4 Time.......................................104Moving On ......................................104Chapter 13 Review..................................10514 Down With the Count . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107Can You Count to 4?............................... 108Tap Your Foot ....................................108Quarter Note Count .................................109Half Note Count ...................................109Whole Note Count..................................110Count the Rest ..................................... 111All Together Now .................................... 111Moving On ......................................112viiiChapter 14 Review..................................11215 New Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113Eighth Notes and Rests .............................. 114Sweet Sixteenth Notes ................................116How to Figure out a Tough Rhythm.........................118Moving On ......................................118Chapter 15 Review..................................11916 Seeing Dots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121You Are Not Seeing Things............................ 122The Dotted Whole Note...............................122The Dotted Half Note.................................123The Dotted Quarter Note...............................123Dotted Eighth Note..................................124Dotted Rests .....................................125Moving On ......................................126Chapter 16 Review..................................12617Triplets! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127General Tuplet Information............................ 128Eighth Note Triplet..................................128Sixteenth Note Triplets ................................129Quarter Note Triplets .................................130Moving On ......................................131Chapter 17 Review..................................131Part III Review ........................ 133Whew! You Made It .................................133The Review .....................................133INTERLUDE: TO PLAY OR NOT TO PLAY18 Dont Say Practice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141Dont Say the P Word................................142Come on Baby, Light my Desire ...........................144How to Get Better ..................................145Start a New Habit...................................146Where to Do It....................................147How to Do It.....................................148The Ideal Session..................................150Other Ways to Play..................................154Some Instruments..................................156Basic Music TheoryixPART FOUR: SEE SHARP OR BE FLAT19 Accidentals On Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159Accidentals Are No Accident ........................... 160General Accidental Information ...........................160Flats.........................................161Sharps........................................161Naturals .......................................162More Accidental Rules ................................162Moving On ......................................163Chapter 19 Review..................................16320 The Piano Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165Why Learn the Keyboard?............................. 166Note Names on the Keyboard ............................166Flat Notes on the Keyboard.............................167Sharp Notes on the Keyboard ............................168Enharmonic Notes ..................................168Half Steps and Whole Steps .............................169The Chromatic Scale.................................169Moving On ......................................170Chapter 20 Review..................................17021 Major Scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173The Major Scale .................................. 174The C Major Scale ..................................174Octave........................................175Scales with Accidentals...............................176Major Scales with Many Accidentals .........................177Moving On ......................................178Chapter 21 Review..................................17822 Unlock the Secret of Key Signatures . . . . . . . . . . . . . . . . . . . . . .179Key Signatures .................................. 180Flat Key Signatures .................................181Find the Name of a Flat Key .............................181Construct a Flat Key .................................182Sharp Key Signatures................................183Find the Name of a Sharp Key ............................183Construct a Sharp Key ................................184The Key of C .....................................184The Keys to the Kingdom ............................. 185Moving On ......................................186Chapter 22 Review..................................187xPart IV Review........................ 189Whew! You Made It..................................189The Review .....................................189PART FIVE: INTERVAL TRAINING23 Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197Intervals by the Number .............................. 198Interval Quality ....................................199Altering Perfect Intervals ...............................200Altering Major Intervals................................201Finding an Interval..................................202A Brief Note on Ear Training .............................204Moving On ......................................204Chapter 23 Review..................................20524 Minor Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207General Minor Scale Info............................. 208The Natural Minor Scale ...............................208The Harmonic Minor Scale..............................211The Melodic Minor Scale...............................212Moving On ......................................213Chapter 24 Review..................................21325 Scales a la Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215What is a Mode? ................................. 216The Modes ......................................216Finding Modes in Other Keys ............................219Moving On ......................................220Chapter 25 Review..................................22026Blues To Bebop and Beyond . . . . . . . . . . . . . . . . . . . . . . . . . . .221General Blues Scale Info............................. 222The Blues Scale...................................222Other Crazy Scales .................................224Moving On ......................................226Chapter 26 Review..................................226How to Sing the Blues (Not Really) .........................227Part V Review......................... 229Whew! You Made It..................................229The Review .....................................229Basic Music TheoryxiINTERLUDE: CONDUCTING YOURSELF27 Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235General Conducting Information..........................236Conducting Patterns .................................238The Left Hand....................................240Moving On ......................................242PART SIX: STRIKE A CHORD28 Triads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245General Chord Info................................ 246The Triad .......................................247Major Triads.....................................248Minor Triads.....................................249Diminished Triads..................................249Augmented Triads..................................250Moving On ......................................250Chapter 28 Review..................................25129Chord Extensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253General Chord Extension Info ........................... 254Seventh Chords...................................254Ninth Chords .....................................256Other Chords.....................................256Moving On ......................................257Chapter 29 Review..................................25730Chord Inversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .259More General Chord Info............................. 260First Inversion....................................261Second Inversion...................................262Inverting Seventh Chords..............................263How to Find a Chords Name ............................263Moving On ......................................263Chapter 30 Review..................................26431Chord Progressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267What is a Chord Progression?........................... 268Chord Progression General Guidelines.......................268The I IV V7 I Progression...............................270The ii V7 I Progression ................................272The iii vi ii V7 I Progression .............................273The 12 Bar Blues...................................273xiiMoving On ......................................274Chapter 31 Review..................................275Part VI Review........................ 277Whew! You Made It..................................277The Review .....................................277PART SEVEN: MORE OF THE SAME32Faster Notes and Double Dots. . . . . . . . . . . . . . . . . . . . . . . . .287Shorter Notes................................... 288Double Dotted Notes .................................289Moving On ......................................289Chapter 32 Review..................................29033Double Flats, Double Sharps. . . . . . . . . . . . . . . . . . . . . . . . . .291Double Your Fun ................................. 292Double Flats.....................................292Double Sharps ....................................292A Werd on Spelling Kords..............................293Moving On ......................................294Chapter 33 Review..................................29434More Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295Beyond 4/4 Time ................................. 296Cut Time, or 2/2 Time................................2966/8 Time.......................................296Odd Meters......................................298Moving On ......................................299Chapter 34 Review..................................299Part VII Review 301Whew! You Made It..................................301The Review .....................................30135 What Comes Next. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .305So Much More................................... 306Theory Aint Everything ...............................306Drop Me An E-mail ..................................306Basic Music Theory 1Learning CenterCHAPTER35BMT Table of ContentsBMT IndexSheet Music Recorded MusicBooksMusic TheoryBiographiesInstrument MakingFake BooksHome RecordingJazz BooksClassical MusicJazz trumpetClassical trumpetRockFolkBluesBluegrassCountryFull Scores