For Beginners LLC 155 Main Street, Suite 211 Danbury, CT 06810 USA www.forbeginnersbooks.com Copyright © 2015 by R. Ryan Endris Illustrations Copyright © 2015 Joe Lee This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher's prior consent in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser. All rights reserved. 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, or otherwise, without prior permission of the publisher. A For Beginners® Documentary Comic Book Copyright © 2015 Cataloging-in-Publication information is available from the Library of Congress. ISBN # 978-1-939994-46-2 Trade Manufactured in the United States of America For Beginners® and Beginners Documentary Comic Books® are published by For Beginners LLC. First Edition 10 9 8 7 6 5 4 3 2 1 www.redwheelweiser.com www.redwheelweiser.com/newsletter CONTENTS List of Figures Foreword Preface Introduction: The Elements of Music I. No Pitches Allowed—Rhythm, Beat, Tempo, and Meter Chapter 1: The Building Blocks of Rhythm Chapter 2: Meter, the Framework for Rhythm II. Musical Notation Chapter 3: Notating Pitch (and What Pitch Is) Chapter 4: The Evolution of Musical Notation III. Scales and Keys Chapter 5: Major Scales and Keys Chapter 6: Minor Scales and Keys Chapter 7: More Scales! IV. Intervals and Harmony Chapter 8: Intervals Chapter 9: Sweet, Sweet Harmony V. Putting (Music) Theory into Practice Chapter 10: Writing Harmonies Chapter 11: Writing Melodies Chapter 12: The Syntax of Music Epilogue Glossary Further Reading About the Author and Illustrator List of Figures 1.1. Rhythmic values of sound as represented in musical notation 1.2. Rhythmic values of silence (rests) as represented in musical notation 2.1. Simple meter demonstrating a division of two eighth notes per quarter note 2.2. Simple meters with a different rhythmic value receiving one beat 2.3. Duple, triple, and quadruple simple meters 2.4. Duple, triple, and quadruple compound meters 2.5. The use of ties to create syncopation against a quarter note beat 3.1. Empty staff 3.2. Noteheads on an empty staff 3.3. Piano keyboard and letter names 3.4. Grand staff with treble clef on top staff and bass clef on bottom staff 5.1. Ascending and descending chromatic scales 5.2. C major scale 5.3. The pattern of whole and half steps that comprise a major scale 5.4. F major scale showing the pattern of whole and half steps 5.5. A-flat major scale showing the pattern of whole and half steps 5.6. A-flat major scale using a key signature 5.7. The order of sharps for major key signatures 5.8. The order of flats for major key signatures 5.9. The circle of fifths for major keys 6.1. Example of relative major and minor keys 6.2. Example of parallel major and minor keys 6.3. F minor and its relative major, Ab major 6.4. Key signatures for minor keys with sharps in the key signature 6.5. Key signatures for minor keys with flats in the key signature 6.6. The circle of fifths with both major and minor keys 6.7. F (natural) minor scale 6.8. F harmonic minor 6.9. F melodic minor, ascending and descending scales 7.1. Major pentatonic scale with C as tonic 7.2. “Auld Lang Syne” as example of the major pentatonic scale 7.3. Minor pentatonic scale on A 7.4. Minor pentatonic scale on A (variation with half steps) 7.5. The blues scale 7.6. The whole-tone scale demonstrated in its two forms 7.7. Octatonic scales 8.1. Harmonic intervals (top staff) and melodic intervals (bottom staff) 8.2. Examples of intervals of a first through fifth 8.3. Interval qualities and abbreviations 8.4. Interval qualities and their respective sizes, in half steps 8.5. Interval sizes and qualities within the major scale, as related to the tonic 8.6. Compound intervals 8.7. Using simple intervals to determine compound intervals 8.8. Intervals and their inversions 9.1. G-major triad in root position (first chord); G-major triad in altered positions (second and third chords) 9.2. Triads and qualities created within the context of the major scale 9.3. Triad labels in F major 9.4. Triads labels in E minor (both natural and harmonic) 9.5. F-major triad in root position, first inversion, and second inversion 9.6. Dominant seventh chords 9.7. G dominant seventh chord in its root position and three inversions 10.1. Exclusive use of dominant and tonic to establish tonality 10.2. The 12-bar blues chord progression 10.3. Chord progression in major keys 10.4. Chord progression in minor keys FOREWORD MUSIC THEORY FOR BEGINNERS by Ryan Endris fills a need for the serious music lover who wants to go beyond mere listening and seeks to understand the way music is composed and notated. Through lively and well- organized chapters, Endris addresses the rules of melody, harmony, and rhythm that became consolidated in Western European music after 1700 in what is known as the Common Practice. These principles revolve around the implementation of major and minor scales, duple and triple meters, and structures made of a combination of expository musical material, followed by departures or variations and repetitions or recapitulations. Out of these elements the grand structures of Western music have been built, including symphonies, operas, oratorios, concertos, and string quartets. At the same time, many popular songs that we love for their directness and tunefulness also represent these principles in pristine fashion. Even after the modernist revolutions that surged around the time of World War I, and through the dominance of urban popular dances and song genres from the Americas, the principles of the Common Practice have survived to the present day, forming the core of musical composition. Even when composers use materials outside the Common Practice, they still may reinforce it. In this work, Professor Endris has taken care to include a brief survey of alternate ways of organizing music, succinctly addressing the emergence of notation in the Middle Ages and experimental scales in the twentieth century, providing a glimpse of how the new has departed from the old and continues to establish itself in opposition to a canonized system. One of the reasons for the chasm between classical and popular music is the daunting prospect of reading music and analyzing it according to formulas that have the appearance of mathematical equations. The art of reading music is not transferred as commonly as it used to be. Classical music established its high cultural position partly on the edifice of music theory, including the achievement of a notation system that allowed composers to free themselves from the challenges of memorization. This liberation led to ever longer and more complex compositions of art music, performed by ever larger ensembles of virtuoso players and singers, culminating in full symphony orchestras and opera companies. By contrast, popular music has been established on the foundations of folk traditions, ritual practices, and urban social dances that can