Affordable Music Theory for Beginning Students of Music
(PDFs also available)
Our books serve as teaching assistants providing step-by-step directions for learning the basics of music theory,
music fundamentals, and basic harmony.
(PDFs also available)
Our books serve as teaching assistants providing step-by-step directions for learning the basics of music theory,
music fundamentals, and basic harmony.
Yes, you can teach yourself with the right information. An essential component of teaching yourself music theory is knowing the right questions to ask yourself at each step in the process when dealing with basic problems in music, such as scale formation, interval recognition, chord construction and vocabulary, identifying parallel relationships between modes, making optimal connections between chords in four-part texture, and developing a solid understanding of voice leading in tonal music—all fundamental issues. What is the most effective teaching method? Obviously, whatever works for you.
If you are new to music theory, these guides will take you through the fundamentals of tonal music, including both basic and advanced concepts in rhythm and meter.
If you have already begun studying music theory but still have questions about some of the fundamental concepts and practices underlying tonal music—if there are still gaps in your knowledge—then please consider taking one of our books with you on your search for musical understanding.
We also invite you to check out some our free material available with the links at the bottom of the page.
If you are new to music theory, these guides will take you through the fundamentals of tonal music, including both basic and advanced concepts in rhythm and meter.
If you have already begun studying music theory but still have questions about some of the fundamental concepts and practices underlying tonal music—if there are still gaps in your knowledge—then please consider taking one of our books with you on your search for musical understanding.
We also invite you to check out some our free material available with the links at the bottom of the page.
From $13.10
Use this link to view a description of Introduction To Music Fundamentals And Lead-Sheet Terminology and a free download of worksheets for Chapter 10.
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From $17.60
The standalone workbook for Finding The Right Pitch: A Guide To The Study of Music Fundamentals is now available at amazon.com and barnesandnoble.com, from $11.93
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From $16.85
The standalone workbook for Finding The Right Pitch II: A Guide To The Study Of Basic Harmony is now available at amazon.com and
barnesandnoble.com, from $11.93 |
In Finding The Right Pitch II and III in particular, you will find answers to questions such as these:
In four-voice texture, when are parallel 5ths acceptable?
In four-voice texture, what unaccented nonharmonic tones correct faulty motion?
How is the chordal skip used to correct faulty motion?
What distinguishes a real chord from an apparent one?
Why is the half-diminished seventh chord of the leading tone not generally used in minor?
How does extended diatonicism bring the total number of seventh chords up to seventeen in major?
How does generic figured bass differ from traditional figured bass?
What are the six types of altered chords and what are their respective operations? How do they work?
What chords arise from the complete interchangeability of the extended major mode with the parallel extended minor mode?
What chords arise from the complete interchangeability of the extended major mode with parallel non-major-minor modes?
What remaining chords arise from chord substitution?
What is the nature of the voice leading for the four general types of harmonic and/or contrapuntal sequences in both major and minor?
What voice-leading problems arise when using certain sequences?
What triad quality and position presents the most difficulties when working with sequences?
In four-voice texture, what unaccented nonharmonic tones correct faulty motion?
How is the chordal skip used to correct faulty motion?
What distinguishes a real chord from an apparent one?
Why is the half-diminished seventh chord of the leading tone not generally used in minor?
How does extended diatonicism bring the total number of seventh chords up to seventeen in major?
How does generic figured bass differ from traditional figured bass?
What are the six types of altered chords and what are their respective operations? How do they work?
What chords arise from the complete interchangeability of the extended major mode with the parallel extended minor mode?
What chords arise from the complete interchangeability of the extended major mode with parallel non-major-minor modes?
What remaining chords arise from chord substitution?
What is the nature of the voice leading for the four general types of harmonic and/or contrapuntal sequences in both major and minor?
What voice-leading problems arise when using certain sequences?
What triad quality and position presents the most difficulties when working with sequences?
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