By Andrew Surmani

ISBN-10: 0882848976

ISBN-13: 9780882848976

Alfred's necessities of song thought is designed for college kids of any age, no matter if listeners or performers, who are looking to have a greater figuring out of the language of tune. during this all-in-one thought path, you'll examine the necessities of song via concise classes, perform your tune analyzing and writing abilities within the routines, increase your listening talents with the ear-training CDs (available individually or as a ebook & CD combo), and try your wisdom with a overview that completes each one unit.

The scholar entire e-book contains Books 1-3 in a spiral-bound layout.

Book 1 (Lessons 1-25): employees, Notes and Pitches
* Treble & Bass Clefs
* Grand employees & Ledger traces
* observe Values
* degree, Bar Line and Double Bar
* 2/4, 3/4 & 4/4 Time Signatures
* entire, part & sector Notes/Rests
* Dotted part & sector Notes
* Ties & Slurs
* Repeat signal, 1st & second Endings
* 8th Notes & Rests
* Dynamic symptoms, pace Marks & Articulation
* D.C., D.S., Coda & effective
* residences, Sharps & Naturals
* entire & part Step, Enharmonic Notes.

Book 2 (Lessons 25-50): Tetrachords & significant Scales
* Key Signatures
* Chromatic Scale
* periods, Circle of Fifths
* ideal, significant & Minor periods
* Augmented & decreased durations
* Solfège & Transposition
* 16th Notes & Rests
* Dotted 8th Notes & 8th notice Triplets
* universal Time & minimize Time
* 3/8 & 6/8 Time Signatures
* Pick-up Notes & Syncopation
* fundamental & significant Triads
* Scale measure Names
* Dominant seventh Chord.

Book three (Lessons 51-75): 1st & 2d Inversions of Triads
* Inversions of V7 Chords
* Figured Bass
* significant Chord Progressions
* Minor Scales, Minor Triads
* Augmented & decreased Triads
* basic Triads in Minor Keys
* Minor Chord Progressions
* Modes
* Harmonizing a Melody in significant and Minor Keys
* damaged Chords & Arpeggiated Accompaniments
* Passing and Neighboring Tones
* Composing a Melody in significant and Minor Keys
* 12-Bar Blues Chord development & Blues Scale
* easy different types of tune.

The entire line of Alfred's necessities of tune idea contains pupil Books, a Teacher's solution Key, Ear-Training CDs, Double Bingo video games, Flash playing cards, Reproducible Teacher's job Kits, and interactive software program for college students and academics in deepest research, studio and community environments.

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Additional info for Alfred’s Essentials of Music Theory, Complete

Sample text

In his interpretation, Figaro had his plan, and nothing could possibly derail it — or so he thought. The interpretation worked extremely well. Even those in the audience who spoke not a word of Italian enjoyed the cocksure way in which he did it. Composers almost never specify a speed for recitative lines! They assume that the singer will understand every word they are singing and inflect them accordingly. There are, however, questions that arise. One of the first questions concerns written rests in the recitative.

The required volume for recitative is not great — in fact, most singers tend to oversing secco recitative. Even Mozart complained that singers “sang” too much, so the problem is not new. However, the solution is not talking on pitches, because a voice must be supported and produced properly in order to project to the back wall. When a voice is accompanied only by the continuo, great volume is simply not required. The easiest solution to the problem is the elimination of legato “line,” the lyric binding together of notes in a smooth and uninterrupted phrase.

Even great singers have confessed to rote learning. However, if a singer of the role of Adina sings “d’isparmi” instead of “d’ispirarmi” in the first duet with Nemorino, it is simply careless study and must be corrected. Some corrections are necessary, too, where doubled consonants make a difference. In Le Nozze di Figaro, if Cherubino (in “Non so più”) sings “ogni dona” instead of “ogni donna,” the difference is important. ” While Cherubino may indeed think of every woman as a gift, it is still not what he is singing.

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Alfred’s Essentials of Music Theory, Complete by Andrew Surmani


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