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´Ë²¿·Ö¹²[12]Ò³£º 1>> 2>> 3>> 4>> 5>> 6>> 7>> 8>> 9>> 10>> 11>> 12>> ¡¼The Complete Idiot's Guide To Music Theory (2005, 2nd Edition) by Michael Miller¡½£¨ÒôÀÖÀíÂÛÈëÃÅÖ¸ÄÏ£© ¡¡¡¡¡¡¡¡Part Four: Accompanying ¡¡¡¡¡¡¡¡¡¡¡¡Chapter Twelve: Transcribing What You Hear ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Training Your Ear ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Listening¡ªActively ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Developing Superhearing ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Hearing Pitch ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Hearing Intervals ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Hearing Rhythms ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Hearing Melodies ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Hearing Keys ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Hearing Chords and Chord Progressions ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Writing It All Down ¡¡¡¡¡¡¡¡¡¡¡¡Chapter Thirteen: Accompanying Melodies ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡What¡¯s the Score? ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Working from a Lead Sheet ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Working from a Chord Sheet ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Working from a Melody ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Working from Nothing ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Working the Form ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Playing the Part ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Block Chord Accompaniment ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Rhythmic Accompaniment ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Arpeggiated Accompaniment ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Moving Bass ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡One Good Strum Deserves Another ¡¡¡¡¡¡¡¡¡¡¡¡Chapter Fourteen: Transposing to Other Keys ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Move Your Notes Around ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Why You Need to Transpose ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Four Ways to Transpose ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Step-Wise Transposition ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Degree-Wise Transposition ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Interval-Based Transposition ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Software-Based Transposition ¡¡¡¡¡¡¡¡Part Five: Embellishing ¡¡¡¡¡¡¡¡¡¡¡¡Chapter Fifteen: Harmony and Counterpoint ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Two Ways to Enhance a Melody ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Living in Harmony ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Voicing and Inversions ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Making Harmony Parts More Melodic ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Voice Leading ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Making a Point¡ªwith Counterpoint ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Creating Your First Counterpoint ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡What to Avoid ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Avoid Extended Parallel Movement ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Avoid Big Leaps ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Avoid Dissonant Intervals¡ªUnless They Resolve ¡¡¡¡¡¡¡¡¡¡¡¡Chapter Sixteen: Chord Substitutions and Turnarounds ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Extending a Good Thing ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Altering the Bass ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Two Chords Are Better Than One ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡One Good Chord Can Replace Another ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Diatonic Substitution ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Major Chord Substitutions ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Minor Chord Substitutions ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Dominant Seventh Substitutions ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Functional Substitutions ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Turnarounds ¡¡¡¡¡¡¡¡¡¡¡¡Chapter Seventeen: Special Notation ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Throwing a Curve ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Ties ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Slurs ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Phrases ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡The Long and the Short of It ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Tenuto ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Staccato ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡When Is a Note More Than a Note? ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Grace Notes ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Turns ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Trills ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Glissandos ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Arpeggiated Chords ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Getting Into the Swing of Things ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡Getting the Word ´Ë²¿·Ö¹²[12]Ò³£º 1>> 2>> 3>> 4>> 5>> 6>> 7>> 8>> 9>> 10>> 11>> 12>> ¡¼The Complete Idiot's Guide To Music Theory (2005, 2nd Edition) by Michael Miller¡½£¨ÒôÀÖÀíÂÛÈëÃÅÖ¸ÄÏ£© |
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