Features
- Cover Type: Paperback with 336 pages
- Published by: Alpha; 2 Pap/Cdr edition September 6, 2005
- Written in: English
- ISBN 10 Number: 1592574378
- ISBN 13 Number: 978-1592574377
-
Book Dimensions:
10.8 x 8.5 x 0.9 inches
- Weighs: 1.6 pounds
Book Description
A music theory book that hits the high note … This updated and expanded edition of
The Complete Idiot’s Guide® to Music Theory breaks down a difficult subject in a simple way—even for those who think they have no rhythm or consider themselves tone deaf. With clear, concise language, it explains everything from bass-clef basics to confusing codas. This new edition includes:
-A brand-new CD
-A comprehensive ear-training section
-Musical examples of intervals, scales, chords, and rhythms
-Aural exercises so readers can test their ear training and transcription skills
About The Author
Michael Miller is the author of several successful music guides, including
The Complete Idiot’s Guide to Songwriting, Second Edition, The Complete Idiot’s Guide to Solos and Improvisation, The Complete Idiot’s Guide to Playing Drums, Second Edition, and
The Complete Idiot’s Guide to Music Composition.
Reader Reviews
This review is from: The Complete Idiot's Guide to Music Theory (Paperback)
Music theory is often seen as unnecessary and boring to even the most musically inclined persons. Many see it as a hindrance to their natural creativity. However, without a sense of music theory, nobody will progress from playing music, to understanding and even writing music. I took a music theory class in college and used a textbook that tried to say the same things that Miller says, only the textbook was far more confusing. I think this book would actually make a fine textbook for an "Intro to Music Theory" class. He covers most basic topics, even assuming that the reader has no music knowledge. This is good for beginners, but for me it meant that I only skimmed the first few chapters. He does cover more advanced topics such as harmony, counterpoint, transcribing from audio, and transposing. At the end of each chapter, he has quizzes to review and test what was learned in the previous chapter. He includes most important topics in music theory, including scales, pitches, rhythm, melodies, chords, chord progressions, phrases, transcribing, arranging, writing lead sheets, and performing. At the end, the book has a glossary, a guitar and piano chord reference section, and answers to the quizzes at the end of each chapter. Overall, this book has many good qualities. It is very readable and interesting. He also is able to convey difficult topics in an understandable way without sacrificing his point. Most music theory textbooks cannot do this, and overwhelm the reader. I would say this book is best for students who need an easy-to-understand book to complement a more advanced book, to clarify what they have learned in a music theory class. It is also good for musicians who don't want to be experts in music theory, but who wish to further their musical abilities. However, as I have said, it also works on its own, and I believe rivals many textbooks that are five times as expensive.
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