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E-raamat: Music Fundamentals: A Balanced Approach

3.75/5 (4 hinnangut Goodreads-ist)

Sumy Takesue (Santa Monica College, USA)

Formaat: 530 pages
Ilmumisaeg: 22-Sep-2017
Kirjastus: Routledge
Keel: eng
ISBN-13: 9781317225485

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Formaat: 530 pages
Ilmumisaeg: 22-Sep-2017
Kirjastus: Routledge
Keel: eng
ISBN-13: 9781317225485

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Music Fundamentals: A Balanced Approach, Third Edition combines a textbook and integrated workbook with an interactive website for those who want to learn the basics of reading music. Intended for students with little or no prior knowledge of music theory, it offers a patient approach to understanding and mastering the building blocks of musical practice and structure. Musical examples range from Elvis Presley songs to Filipino ballads to Beethoven symphonies, offering a balanced mixture of global, classical, and popular music.

The new edition includes:

Additional vocabulary features and review exercises
Additional musical selections and 1-, 2-, or 3-hand rhythmic exercises
The addition of guitar tablature
A revised text design that more clearly designates the different types of exercises and makes the Workbook pages easier to write on
An improved companion website with added mobile functionality

The author’s balanced approach to beginning music theory engages student interest while demonstrating how music theory concepts apply not only to the Western classical canon but also to popular and world music. With the beginner student in mind, Music Fundamentals: A Balanced Approach, Third Edition is a comprehensive text for understanding the foundations of music theory.

Companion website soming soon!

Until then, please visit the website for the second edition: http://www.routledgetextbooks.com/textbooks/9780415621960

A Visual Tour of Music Fundamentals: A Balanced Approach

Preface

xiii

Module 1 Basics Of Pitch

(46)

The Musical Alphabet

(2)

The Keyboard

(1)

White Keys

(2)

The Staff

(1)

Clefs

(1)

The G Clef (Treble Clef)

(1)

The Octave

(1)

Ledger Lines

(2)

Note Reading in the G Clef

(4)

Relating the Treble Clef to the Keyboard

(2)

Introduction to Singing-Why Sing?

(1)

Singing in the Treble Clef

(2)

The F Clef (Bass Clef)

(1)

Note Reading in the F Clef

(3)

Relating the Bass Clef to the Keyboard

(2)

Singing in the Bass Clef

(2)

The Grand Staff

(3)

Further Study of Ledger Lines

(2)

Octave Higher (8va) or Octave Lower (8vb)

(5)

Workbook

(12)

Module 2 Basics Of Rhythm

(26)

Pulse: Feeling the Beat

(1)

Types of Rhythmic Values

(1)

Stems and Flags

(2)

Rhythmic Patterns with Beams

(3)

Time Signature, Bar Line, Double Bar Line

(1)

Meter

(1)

Simple Meter

(1)

Comparing a Melody in Different Meters

(1)

Conducting Patterns

(8)

Workbook

(8)

Module 3 Basics Of Rhythm: Extending Duration, Anacrusis, Rests

(32)

Tied Notes: Extending Duration

(2)

Slurs

(1)

Dotted Notes: Extending Duration

(5)

Fermata

(1)

Anacrusis

(2)

Rests

(10)

Workbook

(12)

Module 4 Accidentals

105

(26)

Sharp, Flat, Natural

105

(3)

Drawing Accidentals on the Staff

108

(1)

Relating Accidentals on the Staff to the Keyboard

109

(1)

Enharmonic Spellings

110

(1)

Diatonic and Chromatic Half Steps

111

(1)

Chromatic Scales

112

(3)

Whole Steps

115

(4)

Double Sharp, Double Flat

119

(4)

Workbook

123

(8)

Module 5 Rhythm: Simple Meter Expanded

131

(34)

Subdividing the Quarter Note

131

(1)

Counting Sixteenth Note Patterns

132

(4)

Syncopation

136

(5)

Changing the Pulse Note in Simple Meter: The Half Note

141

(2)

Changing the Pulse Note in Simple Meter: The Eighth Note

143

(3)

Composing Rhythms

146

(5)

Workbook

151

(14)

Module 6 Major Scale

165

(28)

What Is a Major Scale?

165

(1)

Writing Major Scales: Using Tetrachords

166

(3)

Writing Major Scales: Using Whole and Half Steps

169

(2)

Scale Degree Names-Major Keys

171

(2)

Changing the Tonic-Singing

173

(4)

Transposition

177

(1)

Enharmonic Scales-Major Keys

178

(3)

Workbook

181

(12)

Module 7 Major Scale Key Signatures

193

(28)

Major Scale Key Signatures

193

(2)

Major Scales with Sharps

195

(2)

Finding the Tonic Note in a Major Scale with Sharps

197

(3)

Major Scales with Flats

200

(2)

Finding the Tonic Note in a Major Scale with Flats

202

(3)

Circle of Fifths-Major Keys

205

(3)

"Courtesy" Accidentals

208

(1)

Transposition: Using a Key Signature

209

(2)

Workbook

211

(10)

Module 8 Rhythm: Compound Meter

221

(34)

Melodies in Compound Meter

221

(2)

First Method of Counting Compound Meter

223

(2)

Second Method of Counting Compound Meter

225

(1)

Rests

226

(1)

Beams

227

(2)

Dividing the Dotted Quarter

229

(6)

Comparing 6/8 and 3/4

235

(3)

Two-part Rhythm Exercises

238

(1)

Further Exercises in Compound Meter: Dotted Eighth Note Rhythms

239

(4)

Rhythm Review-1-, 2-, 3-part Exercises

243

(4)

Workbook

247

(8)

Module 9 Minor Scale

255

(36)

Minor Key Signatures

255

(1)

Relative Major and Minor Key Signatures

256

(1)

Finding the Tonic Note in a Minor Key with Sharps

257

(2)

Finding the Tonic Note in a Minor Key with Flats

259

(2)

Parallel Major and Minor Key Signatures

261

(1)

Circle of Fifths-Minor Keys

261

(2)

Three Forms of Minor Scales

263

(3)

Musical Examples in the Three Forms of Minor Scales

266

(3)

Comparing Pieces in Major and Minor Keys

269

(5)

Scale Degree Names in Minor

274

(3)

Workbook

277

(14)

Module 10 Intervals

291

(38)

Identifying Intervals

291

(4)

Consonance and Dissonance

295

(1)

Defining Quality

296

(1)

Intervals of the Major Scale: Perfect and Major

296

(3)

Interval Shortcuts

299

(3)

Changing Major Intervals: Minor

302

(5)

Changing Major and Minor Intervals: Augmented, Diminished

307

(2)

Changing Perfect Intervals: Augmented, Diminished

309

(4)

The Tritone

313

(1)

Simple and Compound Intervals

313

(2)

Descending Intervals (Interval Inversion)

315

(4)

Workbook

319

(10)

Module 11 Triads

329

(26)

Defining and Drawing Triads

329

(3)

Qualities of Diatonic Triads

332

(1)

Major Triad

332

(1)

Constructing Major Triads

333

(2)

Harmonizing Music Using Major Triads

335

(2)

Minor Triad

337

(1)

Constructing Minor Triads

338

(5)

Diminished Triad

343

(1)

Constructing Diminished Triads

344

(1)

Augmented Triad

345

(1)

Constructing Augmented Triads

346

(2)

Augmented and Diminished Triads Using Double Sharps and Double Flats

348

(1)

Workbook

349

(6)

Module 12 Rhythm: Compound Meter Expanded

355

(22)

Changing the Pulse Note in Compound Meter: The Dotted Half Note and Dotted Eighth Note

355

(3)

The Triplet

358

(7)

The Duplet

365

(2)

Workbook

367

(10)

Module 13 Triads: Roman Numerals

377

(16)

Triads of the Major Scale: Use of Roman Numerals

377

(3)

Primary and Secondary Triads of the Major Scale

380

(3)

Harmonizing Music in a Major Key Using Roman Numerals

383

(1)

Triads of the Harmonic Minor Scale: Use of Roman Numerals

384

(2)

Primary and Secondary Triads of the Harmonic Minor Scale

386

(1)

Harmonizing Music in a Minor Key Using Roman Numerals

386

(3)

Workbook

389

(4)

Module 14 Inversions Of Triads

393

(28)

Defining Inversions: Root Position, First Inversion, and Second Inversion

393

(3)

Harmonizing Music Using Inversions

396

(3)

Triads in Open and Close Position

399

(2)

Figured Bass Symbols

401

(1)

Constructing and Identifying Triads Using Figured Bass Symbols

402

(2)

Harmonizing Music Using Roman Numerals and Figured Bass Symbols

404

(2)

Drawing Chord Progressions in Close Position

406

(3)

Workbook

409

(12)

Module 15 Seventh Chords

421

(18)

Qualities of Seventh Chords

422

(1)

Dominant Seventh Chords

423

(1)

Two Methods of Writing Dominant Seventh Chords

424

(2)

Harmonizing Music in Major Keys Using Triads or Dominant Seventh Chords in Root Position

426

(1)

Inversions of Dominant Seventh Chords

427

(1)

Figured Bass Symbols for Seventh Chords

427

(2)

Harmonizing Music in Major Keys Using Inverted Dominant Seventh Chords

429

(1)

Chord Progressions Using Dominant Seventh Chords in Major Keys

429

(2)

Dominant Seventh Chords in Minor Keys

431

(2)

Workbook

433

(6)

Module 16 Form In Music

439

(30)

Phrase Structure: Antecedent, Consequent

439

(2)

Cadences: Authentic, Half, Plagal, Deceptive

441

(1)

Authentic Cadence

441

(3)

Half Cadence

444

(2)

Plagal Cadence

446

(1)

Deceptive Cadence

447

(1)

Forms

448

(1)

Binary Form: Two-part Form

449

(1)

Ternary Form: Three-part Form

450

(1)

32-Bar Form (AABA)

451

(2)

12-Bar Blues

453

(1)

Repeat Signs

454

(2)

First Ending, Second Ending

456

(1)

Da Capo al Fine

457

(1)

Dal Segno al Fine

458

(1)

Coda

459

(2)

Workbook

461

Appendices

Appendix 1 Musical Terms

469

(6)

Appendix 2 Acoustics

475

(3)

Appendix 3 C Clefs (Alto and Tenor)

478

(4)

Appendix 4 Modes

482

(10)

Appendix 5 Other Seventh Chords (Major, Minor, Half Diminished, Diminished)

492

(4)

Appendix 3 Basic Guitar Chords

496

(5)

Credits

501

(4)

Track Listing

505

(4)

Index

509

Sumy Takesue is an Instructor at Santa Monica College, teaching theory and class piano. She has taught at the University of Hawaii (Hilo) and the University of Southern California.

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