DOCSLIB.ORG

Guitar Chords for Dummies‰

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

back cover = 132mm plus spine score area spine score spine=21mm front cover=148mm =14mm All the chords you need Music ™ to become an accomplished Making Everything Easier! guitarist Want to learn chords ranging from minors and majors to Guitar Chords Guitar power chords and diminished 7ths? With easy-to-follow Open the book descriptions and clear photos of every chord, as well as and find: chord voicings for a variety of purposes and playing styles, you’ll be an expert in no time. This handy lay-flat guide • Coverage of the full will help you increase your guitar confidence and add range of chords hundreds of chords to your repertoire. • Clear photos of the Guitar Chords finger positions needed • Create the perfect sound — use the photographs to for every chord position your fingers correctly every time • Break a chord down — understand the theory of • New sounds and styles how a chord is put together to explore • Follow complete and illustrated walkthroughs — get going with a step-by-step guide through all the • Ways to improve your sharps, flats, minors and majors posture and playing style • Hone your skills — become more accurate and improve your playing technique • How to read tab Go to Dummies.com® Learn to: for videos, step-by-step photos, how-to articles, or to shop! • Play over 600 chords in all 12 keys • Perfect your technique with a detailed photograph of every chord • Experiment with new styles US $16.99 / UK £9.99 / CN $19.99 ISBN 978-0-470-66603-6 • Work out names of chords and read chord boxes Antoine Polin was born in Paris and studied music at Berklee College of Music in Boston. He is a professional guitarist, teaching jazz guitar, harmony and conducting at the Jazz à Tours school. Antoine Polin Polin Professional guitarist and teacher Guitar Chords FOR DUMmIES‰ 01_666036-ffirs.indd i 3/18/10 7:32 PM Guitar Chords FOR DUMmIES‰ By Antoine Polin A John Wiley and Sons, Ltd, Publication 01_666036-ffirs.indd i 3/18/10 7:32 PM Guitar Chords For Dummies® Published by John Wiley & Sons, Ltd The Atrium Southern Gate Chichester West Sussex PO19 8SQ England Email (for orders and customer service enquires): [email protected] Visit our Home Page on www.wiley.com ©Éditions First, 2008. Publié en accord avec Wiley Publishing, Inc. Translation copyright © 2010 John Wiley & Sons, Ltd, Chichester, West Sussex, England Published by John Wiley & Sons, Ltd, Chichester, West Sussex First published by Éditions First, 2008 All Rights Reserved. This translation published under license with the original publisher John Wiley & Sons, Inc. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except under the terms of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, W1T 4LP, UK, without the permission in writing of the Publisher. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, England, or emailed to [email protected], or faxed to (44) 1243 770620. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates in the United States and other countries, and may not be used without written permission. All other trade- marks are the property of their respective owners. Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book. LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE CONTENTS OF THIS WORK ARE INTENDED TO FURTHER GEN- ERAL SCIENTIFIC RESEARCH, UNDERSTANDING, AND DISCUSSION ONLY AND ARE NOT INTENDED AND SHOULD NOT BE RELIED UPON AS RECOMMENDING OR PROMOTING A SPECIFIC METHOD, DIAGNOSIS, OR TREATMENT BY PHYSI- CIANS FOR ANY PARTICULAR PATIENT. THE PUBLISHE, THE AUTHOR, AND ANYONE ELSE INVOLVED IN PREPARING THIS WORK MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITA- TION ANY IMPLIED WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. IN VIEW OF ONGOING RESEARCH, EQUIPMENT MODIFICATIONS, CHANGES IN GOVERNMENTAL REGULATIONS, AND THE CONSTANT FLOW OF INFOR- MATION RELATING TO THE USE OF MEDICINES, EQUIPMENT, AND DEVICES, THE READER IS URGED TO REVIEW AND EVALUATE THE INFORMATION PROVIDED IN THE PACKAGE INSERT OR INSTRUCTIONS FOR EACH MEDICINE, EQUIP- MENT, OR DEVICE FOR, AMONG OTHER THINGS, ANY CHANGES IN THE INSTRUCTIONS OR INDICATION OF USAGE AND FOR ADDED WARNINGS AND PRECAUTIONS. READERS SHOULD CONSULT WITH A SPECIALIST WHERE APPRO- PRIATE. THE FACT THAT AN ORGANIZATION OR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ. NO WARRANTY MAY BE CREATED OR EXTENDED BY ANY PROMOTIONAL STATEMENTS FOR THIS WORK. NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR ANY DAMAGES ARISING HEREFROM. For general information on our other products and services, please contact our Customer Care Department within the US at 877-762-2974, outside the US at 317-572-3993, or fax 317-572-4002. For technical support, please visit www.wiley.com/techsupport. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. British Library Cataloguing in Publication Data: A catalogue record for this book is available from the British Library ISBN: 978-0-470-66603-6 Printed and bound in Great Britain by Scotprint Ltd 10 9 8 7 6 5 4 3 2 1 01_666036-ffirs.indd ii 3/18/10 7:32 PM About the Author Antoine Polin studied music at Berklee College of Music in Boston from which he emerged as a cum laude graduate. Performing regularly as a professional guitarist he won the ‘Young Paris Talent’ prize in 2004 for the recording of his second album. The holder of the French State Diploma in jazz, he also teaches the guitar and conducts musical ensembles on both amateur and professional training courses at the School of Jazz in Tours. 01_666036-ffirs.indd iii 3/18/10 7:32 PM Publisher’s Acknowledgments We’re proud of this book; please send us your comments through our Dummies online registration form located at www.dummies.com/register/. Some of the people who helped bring this book to market include the following: Acquisitions, Editorial and Composition Services Media Development Project Coordinator: Lynsey Stanford Project Editor: Rachael Chilvers Layout and Graphics: Joyce Haughey, Content Editor: Jo Theedom Rashell Smith, Erin Zeltner Assistant Editor: Ben Kemble Proofreader: Laura Albert Commissioning Editor: David Palmer Indexer: Ty Koontz Production Manager: Daniel Mersey Cover Photos: © Carsten Reisinger/ Alamy 01_666036-ffirs.indd iv 3/18/10 7:32 PM Contents at a Glance Introduction ................................................1 Part I: C-family Chords ..............................23 Part II: Db/ C#-family Chords ......................53 Part III: D-family Chords ...........................79 Part IV: Eb/D#-family Chords ....................113 Part V: E-family Chords ............................139 Part VI: F-family Chords ..........................165 Part VII: F#/Gb Chords ..............................193 Part VIII: G-family Chords ........................219 Part IX: Ab/G# Chords ..............................247 Part X: A-family Chords ...........................273 Part XI: Bb/A#-family Chords ....................299 Part XII: B-family Chords .........................325 Index ......................................................351 02_666036-ftoc.indd v 3/18/10 7:33 PM 02_666036-ftoc.indd vi 3/18/10 7:33 PM Table of Contents Introduction .................................................1 Foolish Assumptions .......................................................... 1 About This Book ..................................................................2 Family names ........................................................... 3 Diagrams ...................................................................4 Photos .......................................................................6 Icons ..........................................................................6 A Little Theory . ..............................................................7 The skeleton .............................................................7 Embellishments ....................................................... 9 Final stage: Intervals ............................................. 11 Chord Notation ..................................................................16 Defining Some Technical Terms ......................................19 Being a Canny Reader .......................................................20 Becoming an Efficient Musician ...................................... 21 Part I: C-family Chords ...............................23 Cmaj (M)* ...........................................................................24
Recommended publications
  • Getting Started with the Tonalities Music Analysis Software

    Getting Started with the Tonalities Music Analysis Software

    Getting Started with the Tonalities music analysis software Anthony Pople, University of Nottingham, March 2002 (v6.25/03) The support of the AHRB for the Tonalities project is gratefully acknowledged. Overview This software is part of a larger project that lays stress on the multiplicity of tonal systems in music, focusing particularly on Western music of the late 19th and early 20th centuries. It allows you to analyse passages of music in terms of differing tonal systems that may be configured to a high level of detail from a range of supplied options. To use the software effectively, it is important to have an understand of the basic concepts of the underlying theory, above all: · segmentation · prolonging gamut · connective gamut · the distinction between spelled and unspelled matches of chords and gamuts · the distinction between functional and inclusive chords and gamuts These concepts are explained briefly in what follows, but it is not the purpose of the guide to present the music theory component of the Tonalities project in full. The remainder of this user guide also assumes you are familiar to some extent with Microsoft Windows and Microsoft Excel. The software has been developed in Excel 97 and will not run under earlier versions (though it seems to run under later versions up to and including Excel 2002 – the version supplied in Office XP). I have run it under Windows 98 and Windows Me, though not Windows NT, 2000 or XP. Installing the software If the software has been pre-installed, please skip this section. The Tonalities software is supplied as an Add-In to Microsoft® Excel, running under Microsoft® Windows®.
  • Glossary of Musical Terms PDF - Ricmedia Guitar

    Glossary of Musical Terms PDF - Ricmedia Guitar

    Glossary of musical terms PDF - Ricmedia Guitar Glossary of musical terms PDF Compliments of Ricmedia Guitar guitar.ricmedia.com Copyright © Ricmedia A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A Accent A beat or note that is significantly louder than the others Action The space or distance between the fretboard and strings usually of a guitar Acoustic An instrument that creates it’s own amplification by passive means, not electric Ad Lib (Ad Libitum) Musical directive that gives the musician the ability to improvise or omit a section of music Arpeggio A series of notes derived from a chord, aka: broken chord Augmented Any note that has been raised by a semitone from it’s normal position B Banjo A stringed instrument characterized by a round body and a unique twangy sound Bass Mosty referring to a bass guitar but can be referencing to any instrument in the bass tonal range Bass Clef A musical symbol that indicates the piece should be played in the bass tonal range, or F clef Bass Drum Generally the largest drum in a drummers kit that sits on it’s side and is played via a foot pedal Beat The main pulse of the music, the rhythm of the music Blue Note Generally referring the the sharp fourth/flat fifth in the blues scale, aka: tritone Blues file:///I|/guitar.ricmedia.com/Cat_Miscellaneous/Music-glossary/glossary-of-musical-terms.html[21/07/2013 4:48:07 PM] Glossary of musical terms PDF - Ricmedia Guitar A large genre of music characterized by strong rhythms, improvisation and guitar centric music Brass The name given to a large range
  • Ninth, Eleventh and Thirteenth Chords Ninth, Eleventh and Thirteen Chords Sometimes Referred to As Chords with 'Extensions', I.E

    Ninth, Eleventh and Thirteenth Chords Ninth, Eleventh and Thirteen Chords Sometimes Referred to As Chords with 'Extensions', I.E

    Ninth, Eleventh and Thirteenth chords Ninth, Eleventh and Thirteen chords sometimes referred to as chords with 'extensions', i.e. extending the seventh chord to include tones that are stacking the interval of a third above the basic chord tones. These chords with upper extensions occur mostly on the V chord. The ninth chord is sometimes viewed as superimposing the vii7 chord on top of the V7 chord. The combination of the two chord creates a ninth chord. In major keys the ninth of the dominant ninth chord is a whole step above the root (plus octaves) w w w w w & c w w w C major: V7 vii7 V9 G7 Bm7b5 G9 ? c ∑ ∑ ∑ In the minor keys the ninth of the dominant ninth chord is a half step above the root (plus octaves). In chord symbols it is referred to as a b9, i.e. E7b9. The 'flat' terminology is use to indicate that the ninth is lowered compared to the major key version of the dominant ninth chord. Note that in many keys, the ninth is not literally a flatted note but might be a natural. 4 w w w & #w #w #w A minor: V7 vii7 V9 E7 G#dim7 E7b9 ? ∑ ∑ ∑ The dominant ninth usually resolves to I and the ninth often resolves down in parallel motion with the seventh of the chord. 7 ˙ ˙ ˙ ˙ & ˙ ˙ #˙ ˙ C major: V9 I A minor: V9 i G9 C E7b9 Am ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ The dominant ninth chord is often used in a II-V-I chord progression where the II chord˙ and the I chord are both seventh chords and the V chord is a incomplete ninth with the fifth omitted.
  • The Thirteenth Amendment: Modern Slavery, Capitalism, and Mass Incarceration Michele Goodwin University of California, Irvine

    The Thirteenth Amendment: Modern Slavery, Capitalism, and Mass Incarceration Michele Goodwin University of California, Irvine

    Cornell Law Review Volume 104 Article 4 Issue 4 May 2019 The Thirteenth Amendment: Modern Slavery, Capitalism, and Mass Incarceration Michele Goodwin University of California, Irvine Follow this and additional works at: https://scholarship.law.cornell.edu/clr Part of the Constitutional Law Commons Recommended Citation Michele Goodwin, The Thirteenth Amendment: Modern Slavery, Capitalism, and Mass Incarceration, 104 Cornell L. Rev. 899 (2019) Available at: https://scholarship.law.cornell.edu/clr/vol104/iss4/4 This Article is brought to you for free and open access by the Journals at Scholarship@Cornell Law: A Digital Repository. It has been accepted for inclusion in Cornell Law Review by an authorized editor of Scholarship@Cornell Law: A Digital Repository. For more information, please contact [email protected]. THE THIRTEENTH AMENDMENT: MODERN SLAVERY, CAPITALISM, AND MASS INCARCERATION Michele Goodwint INTRODUCTION ........................................ 900 I. A PRODIGIOUS CYCLE: PRESERVING THE PAST THROUGH THE PRESENT ................................... 909 II. PRESERVATION THROUGH TRANSFORMATION: POLICING, SLAVERY, AND EMANCIPATION........................ 922 A. Conditioned Abolition ....................... 923 B. The Punishment Clause: Slavery's Preservation Through Transformation..................... 928 C. Re-appropriation and Transformation of Black Labor Through Black Codes, Crop Liens, Lifetime Labor, Debt Peonage, and Jim Crow.. 933 1. Black Codes .......................... 935 2. Convict Leasing ........................ 941
  • Impro-Visor Tutorial

    Impro-Visor Tutorial

    Impro-Visor Tutorial keyed to Impro-Visor Version 4 and later Bob Keller Harvey Mudd College 19 February 2010 Table of Contents (also hyperlinks) 1. Copyright and 37. Simple vs. 73. Starting a Fresh Trademark Harmonic Note Leadsheet 2. Acknowledgment Entry 74. Opening Another 3. Support 38. Undo and Redo Leadsheet 4. Purpose 39. Selecting Slots w/o 75. Saving an Open 5. Downloading Entering Notes Leadsheet 6. Before Installing 40. Summary of 76. Exporting MusicXML 7. Releases Selection 77. Exporting MIDI Files 8. Installing Sequences 78. Getting Advice 9. No-Installer Version 41. Selecting or 79. Scale Choices 10. Release Folder Unselecting 80. Cell Choices Contents Everything 81. Idiom Choices 11. Launching 42. Adding Rests 82. Lick Choices 12. Splash Screen 43. Lengthening Notes 83. Rectification 13. Initial Leadsheet 44. Moving a Bunch of 84. Saving licks Screen Notes 85. Generating Licks 14. Loading a Leadsheet 45. Transposing a 86. Grammar Choices 15. More Leadsheets Bunch of Notes 87. User Preferences 16. Playing a Leadsheet 46. Harmonic 88. Global settings 17. Playing with Count-In Transposition 89. Leadsheet settings 18. Tempo Slider 47. Uniform 90. Chorus settings 19. Playback Location Transposition 91. Style settings Slider 48. Melody Drawing 92. MIDI settings 20. Tracker Delay 49. Transposing Chords 93. Drawing settings 21. Got Sound? 50. Toggling 94. Lick Generator 22. Playback Transpose Enharmonics Settings 23.Positioning the Cursor 51. Copying, Cutting 95. Grammar Editor on the Staff and Pasting 96. Grammar Learning 24. Slots Melodies 97. Solo Generator 25. Changing the Slot 52. Cutting and Pasting 98. Style editor Spacing Across Leadsheets 99.
  • Logic-Based Modelling of Musical Harmony for Automatic Characterisation and Classification

    Logic-Based Modelling of Musical Harmony for Automatic Characterisation and Classification

    Logic-based Modelling of Musical Harmony for Automatic Characterisation and Classification Amélie Anglade Thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy of the University of London School of Electronic Engineering and Computer Science Queen Mary, University of London January 2014 2 I, Amélie Anglade, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Date: January 29, 2014 Details of collaboration and publications: All collaborations and earlier publications that have influenced the work and writing of this thesis are fully detailed in Section 1.4. 3 Abstract Harmony is the aspect of music concerned with the structure, progression, and relation of chords.
  • Affordant Chord Transitions in Selected Guitar-Driven Popular Music

    Affordant Chord Transitions in Selected Guitar-Driven Popular Music

    Affordant Chord Transitions in Selected Guitar-Driven Popular Music Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Gary Yim, B.Mus. Graduate Program in Music The Ohio State University 2011 Thesis Committee: David Huron, Advisor Marc Ainger Graeme Boone Copyright by Gary Yim 2011 Abstract It is proposed that two different harmonic systems govern the sequences of chords in popular music: affordant harmony and functional harmony. Affordant chord transitions favor chords and chord transitions that minimize technical difficulty when performed on the guitar, while functional chord transitions favor chords and chord transitions based on a chord's harmonic function within a key. A corpus analysis is used to compare the two harmonic systems in influencing chord transitions, by encoding each song in two different ways. Songs in the corpus are encoded with their absolute chord names (such as “Cm”) to best represent affordant factors in the chord transitions. These same songs are also encoded with their Roman numerals to represent functional factors in the chord transitions. The total entropy within the corpus for both encodings are calculated, and it is argued that the encoding with the lower entropy value corresponds with a harmonic system that more greatly influences the chord transitions. It is predicted that affordant chord transitions play a greater role than functional harmony, and therefore a lower entropy value for the letter-name encoding is expected. But, contrary to expectations, a lower entropy value for the Roman numeral encoding was found. Thus, the results are not consistent with the hypothesis that affordant chord transitions play a greater role than functional chord transitions.
  • Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19 Kenneth L

    Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19 Kenneth L

    Document généré le 1 oct. 2021 12:21 Canadian University Music Review Revue de musique des universités canadiennes --> Voir l’erratum concernant cet article Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19 Kenneth L. Hicken Numéro 1, 1980 URI : https://id.erudit.org/iderudit/1013738ar DOI : https://doi.org/10.7202/1013738ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Hicken, K. L. (1980). Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19. Canadian University Music Review / Revue de musique des universités canadiennes, (1), 130–146. https://doi.org/10.7202/1013738ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1980 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ TONAL ORGANIZATION IN SCHOENBERG'S SIX LITTLE PIANO PIECES, OP. 19 Kenneth L. Hicken What is the nature of Schoenberg's so-called atonality? Does his atonal organization of pitch truly involve abandonment of tonality and tonal functions, as is widely believed? Or can and should this type of organization be understood as an exten• sion of traditional tonal practice? An appropriate work to examine in consideration of these questions is the Six Little Piano Pieces, Op.
  • Music Theory for Young Students

    Music Theory for Young Students

    Longy School of Music Music Theory for young students designed for use in Creative Music Theory classes in the Preparatory Division by John Morrison Emily Romm Jeremy Van Buskirk Vartan Aghababian Teen Theory I and II second revision fall 2011 © 2011 Longy School of Music of Bard College The creation of this text was supported over a four-year period by the generous donation of Mr. John Carey. Introduction Dear student! You are about to start learning music theory. Music theory is a study of music; it helps to understand how music works. It will teach you to read, write, and compose music. What is music? It is something that can change your mood, make you move faster or slower, it can even change your heartbeat! Music can make you imagine things, sometime nice and sometimes scary, and when it gets stuck in your head, it simply won’t leave! It is everywhere – on the radio, in a concert hall, in church or temple, in school – but it only lives while it sounds. You need a composer to make music, a performer to play it, and a listener to enjoy it. To students, parents, and private instructors: This portion of the theory text, where we explain and demonstrate basic concepts of music theory, is the same in Levels 1, 2, and 3 of the text for Creative Music Theory classes at Longy. As such, it will go further than a student in Level 1 will progress during a year. It will allow those starting their study of music theory at Level 2 or 3 to have all the background information they will need for a solid start in theory.
  • Transfer Theory Placement Exam Guide (Pdf)

    Transfer Theory Placement Exam Guide (Pdf)

    2016-17 GRADUATE/ transfer THEORY PLACEMENT EXAM guide! Texas woman’s university ! ! 1 2016-17 GRADUATE/transferTHEORY PLACEMENTEXAMguide This! guide is meant to help graduate and transfer students prepare for the Graduate/ Transfer Theory Placement Exam. This evaluation is meant to ensure that students have competence in basic tonal harmony. There are two parts to the exam: written and aural. Part One: Written Part Two: Aural ‣ Four voice part-writing to a ‣ Melodic dictation of a given figured bass diatonic melody ‣ Harmonic analysis using ‣ Harmonic Dictation of a Roman numerals diatonic progression, ‣ Transpose a notated notating the soprano, bass, passage to a new key and Roman numerals ‣ Harmonization of a simple ‣ Sightsinging of a melody diatonic melody that contains some functional chromaticism ! Students must achieve a 75% on both the aural and written components of the exam. If a passing score is not received on one or both sections of the exam, the student may be !required to take remedial coursework. Recommended review materials include most of the commonly used undergraduate music theory texts such as: Tonal Harmony by Koska, Payne, and Almén, The Musician’s Guide to Theory and Analysis by Clendinning and Marvin, and Harmony in Context by Francoli. The exam is given prior to the beginning of both the Fall and Spring Semesters. Please check the TWU MUSIc website (www.twu.edu/music) ! for the exact date and time. ! For further information, contact: Dr. Paul Thomas Assistant Professor of Music Theory and Composition [email protected] 2 2016-17 ! ! ! ! table of Contents ! ! ! ! ! 04 Part-Writing ! ! ! ! ! 08 melody harmonization ! ! ! ! ! 13 transposition ! ! ! ! ! 17 Analysis ! ! ! ! ! 21 melodic dictation ! ! ! ! ! harmonic dictation ! 24 ! ! ! ! Sightsinging examples ! 28 ! ! ! 31 terms ! ! ! ! ! 32 online resources ! 3 PART-Writing Part-writing !Realize the following figured bass in four voices.
  • 5 String Banjo Chord Chart

    5 String Banjo Chord Chart

    Open Chord Shapes Closed (movable position) Chord Shapes Open chord shapes are those that feature an open string. MAJOR TRIADS MINOR TRIADS MAJOR TRIADS MINOR TRIADS Closed or Movable shapes are those that feature no open strings and can The Big 3 be slid around the fingerboard to produce the same type of chord but F A D Fm Am Dm with a different note value (Dm can G C D E Em Dm Cm be slid up 7 frets to become an Am). O O O O O O O O O O O When building a triad, there are only 3 different closed SHAPES for each type of chord. All Inversions For a F Major Triad What is the difference between the major and minor chord F F F F shapes of the same name? (ex. D vs Dm ) (1st inversion - uses a “D” shape) (2nd inversion - uses an “A” shape) (3rd inversion - uses a “F” shape) (4th inversion - uses a “F” shape) 13 17 DOMINANT 7TH CHORDS 10 5 G7 D7 B7 E7 A7 O O O O O O O O These two inversions are repeating shapes since we have now gone up one octave. When constructing 7th chord shapes (or higher such as 9ths, 11ths, and 13ths) every note in the chord does not need to be featured. The TRITONE (the 3rd and 7th) All Inversions For a F Minor Triad of the chord is the meat of the chord and should be featured. MINOR 7TH CHORDS Fm Fm Fm Fm The root and 5th of the chord are (1st inversion - uses a “Dm” shape) (2nd inversion - uses an “Am” shape) (3rd inversion - uses a “Fm” shape) (4th inversion - uses a “Fm” shape) Gm7 Dm7 Bm7 Em7 Am7 ‘weak’ chord tones and can be left off.
  • The Strategic Half-Diminished Seventh Chord and the Emblematic Tristan Chord: a Survey from Beethoven to Berg

    The Strategic Half-Diminished Seventh Chord and the Emblematic Tristan Chord: a Survey from Beethoven to Berg

    International Journal ofMusicology 4 . 1995 139 Mark DeVoto (Medford, Massachusetts) The Strategic Half-diminished Seventh Chord and The Emblematic Tristan Chord: A Survey from Beethoven to Berg Zusammenfassung: Der strategische halbverminderte Septakkord und der em­ blematische Tristan-Akkord von Beethoven bis Berg im Oberblick. Der halb­ verminderte Septakkord tauchte im 19. Jahrhundert als bedeutende eigen­ standige Hannonie und als Angelpunkt bei der chromatischen Modulation auf, bekam aber eine besondere symbolische Bedeutung durch seine Verwendung als Motiv in Wagners Tristan und Isolde. Seit der Premiere der Oper im Jahre 1865 lafit sich fast 100 Jahre lang die besondere Entfaltung des sogenannten Tristan-Akkords in dramatischen Werken veifolgen, die ihn als Emblem fUr Liebe und Tod verwenden. In Alban Bergs Lyrischer Suite und Lulu erreicht der Tristan-Akkord vielleicht seine hOchste emblematische Ausdruckskraft nach Wagner. If Wagner's Tristan und Isolde in general, and its Prelude in particular, have stood for more than a century as the defining work that liberated tonal chro­ maticism from its diatonic foundations of the century before it, then there is a particular focus within the entire chromatic conception that is so well known that it even has a name: the Tristan chord. This is the chord that occurs on the downbeat of the second measure of the opera. Considered enharmonically, tills chord is of course a familiar structure, described in many textbooks as a half­ diminished seventh chord. It is so called because it can be partitioned into a diminished triad and a minor triad; our example shows it in comparison with a minor seventh chord and an ordinary diminished seventh chord.