You can teach yourself with the right information.
Affordable Music Theory for Beginning Students of Music (including PDFs)
Our books serve as teaching assistants providing step-by-step directions for learning the basics of music theory,
music fundamentals, and basic harmony.
Our books serve as teaching assistants providing step-by-step directions for learning the basics of music theory,
music fundamentals, and basic harmony.
From $18
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 $18
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From $18
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Yes, you can teach yourself with the right information. A significant 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.
Have you tried to read some of the other theory books only to discover that you remain unequipped to proceed forward in your studies of music? Despite having paid a hefty sum for a book full of elegant (and expensive) artwork and other frills and flourishes, the actual presentation of the material, the pedagogy itself, has failed to make a connection with you.
Do you feel as if you are just "getting by" with the theoretical component of your musical training?
If you still have questions about some of the basic 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.
Have you tried to read some of the other theory books only to discover that you remain unequipped to proceed forward in your studies of music? Despite having paid a hefty sum for a book full of elegant (and expensive) artwork and other frills and flourishes, the actual presentation of the material, the pedagogy itself, has failed to make a connection with you.
Do you feel as if you are just "getting by" with the theoretical component of your musical training?
If you still have questions about some of the basic 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.
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?
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?
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