Samenvatting
Tired of fighting with your fellow band members because you don't understand each other's instruments? Music Theory: the Language of Sound demystifies guitar and bass in a straightforward, easy to read manner. Writer KarrArikh Tor explains: “Music theory is a common musical language for Western music traditions that musicians use to communicate musical ideas between instruments. In most cases, music theory is written from the piano, because it is easier to see chords and understand which notes are sharp or flat. Unfortunately, a guitarist or bassist can do little with this information, because they have no black and white keys and do not see chords in the same manner.” The graphics in Music Theory: the Language of Sound tie the fretboards of the guitar and bass guitar to the keyboard and staves, making it a valuable tool not just for guitarists and bassists but for every member in a band. Learn how to easily find 'boxes' on the fretboard and play leads like a professional. Find out how to take your musical ideas and write it them onto paper so anyone can play along. See the patterns on the fretboards and learn the positions to play scales in any Key. Head out to the associated video channel and hear variations played while you read along with the sheet music.
Chapter One explains the basic theory behind Western Musical Traditions, treating music theory like a language [Introduced in this chapter are: Octave divisions, Whole steps, Halfsteps, Accidentals, Clefs, Grand staff, Treble staff, Bass staff, Alto staff, Tenor staff, Time signature, Note types, Rests, Tempo]. Chapter Two shows where the natural notes on a piano are located on the guitar and bass guitar fretboards and on the Grand Staff [Introduced in this chapter are: Standard tuning, Tablature]. Chapter Three examines scales, particularly the Major Key scale, showing how we develop our scales from a tonic note, and where to find Major scales on the fretboards of guitars and bass guitars [Introduced in this chapter are: Ascending scale, Descending scale, Chromatic scale, Tonic note, Tonic scale names, Diatonic scales, Enharmonic Notes and Keys, Scale degrees, 15 Major Keys, Intervals]. Chapter Four defines chords, showing all the chords that can be built from a root note [Introduced in this chapter are: Chords, Note stacks, Triad chords (including Major, minor, diminished and augmented chords), Chord Qualities, Chord Inversions, Seventh chords (including Dominant, Major, minor-Major, minor, augmented, diminished, and half-diminished seventh chords), Suspended chords, Added note chords, Extended chords (including Ninth, Eleventh, and Thirteenth chords)]. Chapter Five continues from chapter four, defining and building chords naturally found in a Major Key scale [Introduced in this chapter are: Chords built from scale degrees (including all Major, minor, diminished, suspended, added note, and extended chords occurring naturally in a Major Key), Bar Chords for both guitar and bass guitar, Power Chords, how to use bar chords]. Chapter Six examines how to use the 15 Key Signatures and how modes are built from the Major Key scale [Included in this chapter are: 15 Major Keys, Key Signatures, Circle of Fifths, Circle of Fourths, Modes, Ionian mode, Dorian mode, Phrygian mode, Lydian mode, Mixolydian mode, Aeolian mode, Locrian mode, Natural minor Key, Harmonic minor Key, Melodic minor Key]. Chapter Seven examines additional notations that can be used on staves or in tablature [Introduced in this chapter are: Dynamic symbols (including Forte, Piano, Crescendo, Diminuendo, Fermata, Marcato, Sforzato, Tenuto, Portato, and Staccato), Octave shifts (using 8va, 8vb, 15ma, 15mb, 22ma, 22mb), Grace notes (Acciaccatura, and Appoggiatura), Tied notes, Slurs, Repeat measure symbol, Barlines, Brackets, Braces, Prima Volta, Seconda Volta, D.C. (Da Capo), D.S. (Dal Segno), Fine, Coda, Segno]. Chapter Eight examines adding chord arrangements to a melody, transposing songs, and working with modes in a chord arrangement. Chapter Nine examines naming chords, choosing between enharmonic chord names, and naming a group of notes as a chord. This book has it all, and will no doubt become the standard for guitarists, bassists, and band members everywhere.
Inhoudsopgave
Table of Contents
Chapter One
Why do we need Music Theory? 1
Beginning with the language 2
Dividing the Octave 6
Writing the language onto paper 9
Treble Staff/Bass Staff 12
Alto/Tenor Staff 14
How do we measure Time on a Staff 15
When to use the Grand Staff 27
Chapter Two
Working with String Instruments and Tablature 29
Notes found on a standard tuned Guitar 30
Notes found on a standard tuned Bass Guitar 33
What is Tablature? 37
Chapter Three
What is a Scale? 45
Whole-Whole-Half-Whole-Whole-Whole-Half 47
Positions to play the C Major scale 53
Pattern 1 55
Pattern 2 56
Pattern 3 57
Pattern 4 58
Pattern 5 59
Looking at Intervals & the Major Key Scale 61
Chapter Four
What is a Chord? 70
Inversions of C Major 74
Chords built from the Root 75
Triad Chords
The Major chord 75
The minor chord 77
The diminished chord 78
The augmented chord 79
Seventh Chords 81
Suspended Chords 86
Add Chords 87
Extended Chords 88
Ninth Chords 89
Eleventh Chords 91
Thirteenth Chords 92
Enharmonic Chords 93
Chapter Five
Chords built from our Major Key scale 96
Chords occurring in the Key of C Major 99
Triad chords in the Key of C Major 100
Seventh chords in the Key of C Major 101
Suspended chords in the Key of C Major 102
Added chords in the Key of C Major 103
Extended chords in the Key of C Major 104
Finding Chords on Guitar and Bass Guitar fretboards 106
Chords for the Guitar 106
Bar chord Form I 108
Bar chord Form II 109
Chord Form III 111
Power Chords 113
Chords for the Bass Guitar 114
Bass chord Form I 115
Bass chord Form II 116
Bass chord Form III 117
Extended Chords 118
Chord chart 121
Using Chord Forms 124
Chapter Six
Using Key Signatures 133
Sharp Major Keys 135
Flat Major Keys 137
Circle of Fifths/Circle of Fourths 139
Modes of the Major scale 141
Modified minor Keys (Harmonic & Melodic minor) 147
Advanced Chapters
Chapter Seven
Additional Notations for our Staff 151
Staff volumes – Forte, Mezzo-forte, Piano,
Mezzo-piano 152
Crescendos and Diminuendos 153
Fermata, Sforzato, Staccato, Tenuto, Portato,
Marcato 154
Octave shifts using 8va, 8vb, 15ma, 15mb,
22ma, 22mb 155
Grace notes – Acciaccatura, Appoggiatura 157
Tied notes and Slurs 158
Repeat measure symbol 159
Barlines, Brackets, Braces 159
Prima Volta, Seconda Volta 161
D.C. (Da Capo), D.S. (Dal Segno), Fine, Coda,
Segno 162
Additional Notations for Tablature 166
Chapter Eight
Adding chord arrangements to a melody 169
I-IV-V7 chord progression in C Major 169
Adding Bass… 171
Adding other instruments… 172
Transposing songs from one Key to another 175
Running through Modes with Guitars 180
Twinkle Twinkle Little Star Variations in G Major 187
Chapter Nine
Naming Groups of Notes as Chords 194
Examples of naming note groupings into chords 196
Chord One 196
Chord Two 197
Chord Three 199
Chord Four 199
Chords Five/Six/Seven 201
Appendices
Appendix One – 15 Major Key Signatures
A♭ / A / B♭ 212
B / C♭ / C / C♯ 213
D♭ / D / E♭ / E 214
F / F♯ / G♭ / G 215
Appendix Two – Open chords for guitar
A, A7, Am, Am7, Asus2, C 216
CM7, D, D7, Dm, Dsus4, E, E7, Em, Em7, G, G7 217
Appendix Three - Tempo Chart for setting effects
60 bpm – 76 bpm 218
78 bpm – 130 bpm 219
132 bpm – 184 bpm 220
Bibliography / Acknowledgements 221
Index 222
Thuiswinkel Waarborg