The Complete Idiot''s Guide to Music Theory

Part 5:
Embellishing
Exercises
Exercise 16-1
Write out the notes for the following slash chords.
212
Exercise 16-2
Write out the notes for the following compound chords.
Exercise 16-3
Write two substitute chords for each chord shown.
Exercise 16-4
Rewrite the following chord progression (on the second staff), using extended chords.

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Chapter 16:
Chord Substitutions and Turnarounds
213
Exercise 16-6
Add a two-measure turnaround to the following chord progression.
Exercise 16-5
Rewrite the following chord progression (on the second staff), using various types of chord substitutions.

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17
Special Notation
In This Chapter
◆
Discover how to notate phrasing with slur marks
◆
Find out how to write and play embellished notes, including turns, trills,
and grace notes
◆
Learn how to play music with a swing feel
◆
Figure out how to fit words to music
There are some aspects of music theory that don’t fit neatly within traditional
categories. Still, you need to know about them, so I have to include them some-
where in this book.
That somewhere is this chapter. It’s kind of a grab bag of more advanced tech-
niques, mainly relating to notation, that you need to have at your fingertips—
even if you won’t use them every day.
So settle back and read about some of the oddball aspects of music theory, and
that popular musical style we call 
swing.
Throwing a Curve
When you’re writing music, you sometimes need to connect two or more notes
together. You might literally connect them together to form a single, longer
note; or you might simply want them played together as a smooth phrase. In
any case, whenever you connect two or more notes together, you use a notation
effect that looks like a big curve—and is called, alternately, either a 
tie
or a 
slur.
Ties
You learned about ties back in Chapter 5. When two notes of the same pitch
are tied together—either in the same measure, or across measures—the notes
are played as a single note.
Chapter

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