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A Player's Guide to Chords and Harmony: Music Theory for by Jim Aikin PDF

By Jim Aikin

ISBN-10: 0879307986

ISBN-13: 9780879307981

This booklet leads readers in a step by step, easy-to-understand approach in the course of the fundamentals of musical durations, scales, triads, extra advanced chord voicings, and the types of chord progressions utilized in millions of recognized songs. whereas firmly grounded in conventional tune thought, it addresses the desires and pursuits of readers who're more well-off with pop song. not like a few "chord and scale encyclopedia" books released for guitarists and jazz gamers, which provide you loads of scales and licks with no explaining the place they arrive from, Chords andHarmony "opens up the box" to give an explanation for why a few chords and scales paintings good jointly whereas others conflict.

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Additional resources for A Player's Guide to Chords and Harmony: Music Theory for Real-World Musicians (Backbeat Music Essentials)

Example text

Quod illos meo judicio non injuria fecisse puto. Est enim inter Tactus pastes depressionem & elevationem certa proportio. , sigs. AaL-Aa2'. Praetorius, Syntagma musicurn, rrr, pt 2, ch. 7, p. 52. Praetorius is probably referring to Adriano Banchieri's Cartella musicale, document 5 , pp. 29-30. According to P. Aldrich, Rhythm in Seuenteenth-Century Italzan ,Monody (New York, 1966), pp. 30-5, Antonio Brunelli (Regule utilzssime per li sculari (Florence, 1606)) likewise advocates a literal interpretation of all types of sesquzaltera and hemzolia proportions.

2 (':Illto Per-c'han r m - p r e la vol-p'e'l tar - l'in se - Per-c'han sem-pre la vol-p'e'l tar-l'in se 1111. In - - no. a l're - 110. za l're - no. ZR Irr - 1111 era - te, dis - le - a - I'e sen - I - te. I - Ir - :I - I'e scn - that preserves the uniformity of tempo in the first phrase and makes the two phrases identical to each other. This meaning could not have been expressed by simply writing the phrase in half-values without changing the binary sign, because the first three bars of the proportion would have taken nine minims, the cadences would have fallen on the fourth and second minims of the breve tempus, and the following phrase (bar 70) would have begun on the second minim of the tempus.

12, sig. Giij'; trans. J. Dowland (London, 1609), p. 57 69 iil " Omithoparchus, ltlusice active micrologus, bk 2, ch. 11, sig. Giij'; trans. Dowland, p. 57; '4 Compendium of Musical Practice, pp. 67 and 177. Gaffurius says nothing about coloration as duple proportion in bk 2, ch. 2, of the Practica musicae, but in bk 2, ch. 4, sig. aaiiij' (trans. Miller, p. 76), he refers to Tinctoris's definition of black minims (called 'semiminims' by others) as 'minims in duple proportion'. Tinctoris discusses the terminology in Proportionale musices, ch.

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A Player's Guide to Chords and Harmony: Music Theory for Real-World Musicians (Backbeat Music Essentials) by Jim Aikin


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