The Complete Idiot''s Guide to Music Theory

Part 4:
Accompanying
153
12 Transcribing What You Hear
155
The music goes in one ear, bounces around your brain, and ends up
written down on paper—if you do it right.

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q">13 Accompanying Melodies
q">167
Time to sit down at the piano (or guitar) and play a few chords!
q">14 Transposing to Other Keys
q">177
When one key isn’t good enough, you have to move the notes to
another key.
q">Part 5:
q">Embellishing
q">185
q">15 Harmony and Counterpoint
q">187
Or, where you find out background vocals are more than just ooohs
and aaahs and acting like a Pip or a Supreme.
q">16 Chord Substitutions and Turnarounds
q">203
If you don’t like the chords as written—change ’em!
q">17 Special Notation
q">215
All sorts of fancy notation that didn’t fit anywhere else in this book.
q">Part 6:
q">Arranging
q">223
q">18 Composing and Arranging for Voices and Instruments
q">225
Learn how to write for specific voices and instruments—the proper
ranges, and whether and how they need to be transposed.
q">19 Lead Sheets and Scores
q">241
Turn here to see some examples of lead sheets, chord sheets, vocal
scores, big band scores, and full-blown orchestral scores.
q">20 Performing Your Music
q">257
Up, down, left, right—how to set the tempo and start conducting!
q">Appendixes
q">A The Complete Idiot’s Music Glossary
q">265
q">B The Complete Idiot’s Chord Reference
q">275
q">C Answers to Chapter Exercises
q">279
q">D
q">The Complete Idiot’s Guide to Music Theory, Second Edition, Ear
q">Training Course CD
q">293
q">Index
q">305

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Contents