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Understanding Basic Music Theory PDF; ePub; Online I thought that this textbook covered too much for a music appreciation/intro to music theory non- music. Free download of Introduction to Music Theory by Catherine Schmidt-Jones. Available in PDF, ePub and site. Read, write reviews and more. Epub Music Theory: From Beginner To Expert - The Ultimate Step-By-Step Guide to Understanding and Learning Music Theory Effortlessly by Nicolas Carter.


Music Theory Epub

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Title: Ebooks download Music Theory for Computer Musicians Forman EPUB PDF, Author: RuqayyahDuggan, Name: Ebooks download Music. Topics music theory, art, music. PublisherConnexions. Collection opensource_textbooks; additional_collections. Contributorhst. Language. Michael Pilhofer,Holly Day: Music Theory For Dummies Description Many people grimace at the sound of music theory. It can conjure up bad.

If you love the science and art of songwriting, it is a fascinating book. And so much fun to read. I love Wayne Chase's writing style. It's so easy to digest and humorous at the same time, while still educating in a deep manner. No other book has ever explained these subjects to me like this before. I would never have learned some of the topics in a hundred years of formal courses. The chapter on rhythm and meter is worth the price of the book alone! No double talk, no confusion, and humor to boot!

I already had a reasonable knowledge of theory and fairly good skills at writing and arranging but the way these concepts are presented is unique in my experience and very refreshing. What an awesome book, I just can't get over how detailed it is I am a nuts and bolts type of person—don't just tell what it is, tell my why and how. This is where How Music Really Works comes into play This book has made my journey into music one of awe and amazement. It is a brand new world for me The writing, and sense of humor have just hit home with me.

The light has come on, and now I can't wait to explore further with the knowledge I have acquired so far It has had an impact on me that has changed the way I look at and listen to music. Though I've studied for years, I find this take on it refreshing and truly helpful.

It's a goldmine of info and as a composer and teacher, I know I will find many concepts of great importance to my work. I'm not kidding when I say unbelievably good. The depth, breadth and sheer eloquence I am immensely grateful for this book. It has opened my eyes and ears way beyond what I could have ever expected. I've been searching and searching for a decent book on song writing and nothing compares to this book.

I am truly grateful that Wayne took the time to write it and I will be indebted to him for giving me the tools to work the kinks out of my craft..

Thank you Thank you Thank you!! You've now made a world of difference in my life. I've bought and read through a pile of Music Theory books in the last few months. Some of them never quite take on the complexities they seem not to really appreciate them , while others are unreadably pompous and over-intellectualized. This book is the only one that comes across as a confident adult addressing an intelligent, motivated student.

I've been able to raise my level of understanding enormously. Music is an enormous influence in my life and occupies much of my thought and energy on a regular basis. Much of that thought and energy is spent on figuring out how to become a better musician and what activities I can engage in to derive a deeper understanding of music—outside of playing live of course!

I have always known that there are aspects of my musicianship that are lacking and have always had an underlying suspicion that someone out there knows what I'm going through and knows how to help me identify and fill the gaping holes in my knowledge. My searches on the web have consisted of strings like what every guitar player MUST know or essential skills for musicians. Most of the hits are fairly generic and are an overlap of my ever-growing library of musical studies books.

Many sites have wild claims about what their material will do, yet offer no samples of that material—danger! One day I entered how music really works into Google and the Roedy Black site came up. For the next few hours I pored through the first six chapters of this book and was floored by the breadth and comprehensive depth of what is covered, how well presented the material is I have a great affinity for well-written material; this book is incredibly well-written.

Finding it was like finding gold. Sure, the text is modular, but in its present state, modularity works against it. I believe there is a balance to be struck between modularity and linearity of presentation -- the development of topics should build on what comes before.

This text may be too modular, to the point of disjunction.

Music Theory From Beginner.epub

For example, relative minor is mentioned in part 1, but the main treatment of it does not appear until part 4. On page 38, compound meter is introduced without definition in that section. Similarly, intervals are discussed without definition or introduction early in the book, but treated in earnest in part 5.

The discussion of enharmonics should at least make a nod toward issues of temperament, brass, and fretless stringed instruments much sooner. Also, it may not be necessary to reinvent the wheel in terms of organization: Many conventional theory texts model an effective progression of concepts.

As already noted, the text's modularity is in some cases counterproductive, thwarting a linear progression of ideas that build upon one another. Within smaller sections of the text, there are also instances where a discussion could be consolidated, such as the disjointed discussion of accents on pages 57 and The discussion of enharmonics on pages 21 and 22 seems redundant with that of page It seems like the text was not edited to combine, rearrange, expand, and contract what was originally entered into the word processor.

The choice of font is not easy on the eyes, at least in the current PDF presentation. It should be a consistent black, rather than the varying shades of black to gray the PDF currently renders. Inconsistencies in the font and the use of too many fonts in examples detract from the presentation of the text. The text also links to a multitude of file formats of questionable audio quality midi, mp3, swf.

It would help at least to pick a format and use it consistently. The larger problems are stylistic and typographical. I've already noted the apparent bias toward the guitar as the dummy of the stringed instrument family; the other item that jumped out at me was the implication of a single, monolithic African-American tradition on page I would also strongly discourage the word "jazzy," which causes actual jazz musicians such as myself to cringe inwardly.

The discussion of ragas and international music is not wrong, but seems general, perfunctory, and does not add much value in terms of detail. This text urgently needs to be proofread, edited, re-organized, and rigorously held to a style manual for matters like the placement of punctuation inside quotation marks, the use of "p.

Again, I regret to put too fine a point on things, but the text as it stands now is not a credit to the noble goal of the open textbook initiative. The text covers the basics of music theory as laid out in the table of contents in four of six sections with some additional peripheral material in the other two sections.

While some subjects are well covered, including the most important basics This makes an instructor an essential element in terms of how to present the material, how much of it to present, in what order to present it, and what perhaps is better left to another course.

The introduction explains the rationale to the book and suggests the many ways it could be used. The table of contents is very well organized presenting topics and sub-headings that function as keywords. The index was less useful as it was a bit confusing, in some cases referring generally to sections but not necessarily specific to the item being looked up. Terms were generally given a specific page, but some were missing.

A glossary would have been helpful. Content is up-to-date, but not in a way that will quickly make the text obsolete within a short period of time.

Sometimes the text is clear, straight forward and easily accessible, unfolding complex ideas in a clear step-by-step manner that aids in overall comprehension. At other times, however, the text is wordy and confusing, introducing terms that are not always explained, and often requiring the reader to jump about to receive those explanations. Some of the more basic yet difficult to grasp ideas, as for example the basics of rhythm such as downbeat and upbeat, are more easily shown by example, perhaps a video link, in the event the book is being used in a class where musical demonstration might not be available by the instructor.

The text is not consistent in terms of terminology and framework, some chapters are very advanced but incomplete, while others are clear and lucid. The first module on notation seemed the most complete, being comprehensive, clear and well laid out in terms of organization and unfolding of the topic.

This is the strongest suit of the book, being well sectioned and in such a way that modules can be arranged and re-arranged with sub-headings also referenced numerically, i. The topics in the text are often, but not always, presented in a logical and clear fashion.

It is sometimes necessary to jump about to get a more comprehensive understanding of a topic. Some very advanced concepts are introduced in an incomplete manner and then dropped, perhaps better to be left for another course. Other ideas seem to interrupt rather than complement what is being presented.

To be fair, the author states up front that people have different needs and are at different levels, and what might suit one might not do as well for another. That is the beauty of the modular organization, that it can be refitted in so many ways, but it will require that insight from an instructor, so this is not a book to be recommended for those who wish to be self-taught.

There are many music examples given in the text which display what is going on, and there are often links to sound or score samples of music that demonstrate the various concepts under discussion. Not all of the links worked, but that is something that can be addressed as the work undergoes review and revision.

While the theory of music is culturally neutral, the examples that underscore draw from an inclusive of a variety of races, ethnicities, and backgrounds, and styles, and from popular, rock and jazz as well as classical musics. This is such an enormous venture to undertake that I can only express deepest admiration and congratulations for the fine work that has been presented thus far, acknowledging that this book has the potential to reach a very wide audience of potential converts to the wonderment of the musical arts through an understanding of the structures and ideas that form the basis of musical creation, musical performance, musical listening, and musical enjoyment.

Kudos and much thanks. This book is meant to be an introduction to music theory, presenting to the learner the basics of how music is composed, performed, and interpreted. This book accomplishes this task, as it explores rhythm, pitch, notation, form, analysis, with a This book accomplishes this task, as it explores rhythm, pitch, notation, form, analysis, with a helpful glossary at the back of the book. However, it deals with subjects that I find are not necessary for the beginner when it comes to trying to understanding music theory, such as the entire section upon the physics of sound and harmonics.

The information in the book is accurate.

Understanding Basic Music Theory

The way some terms are used in the book I question, however, such as the use of "downbeat" to refer to all of the beats in a measure, as outlined in the time signature discussion, as opposed to just the first beat of a measure, but in general the information as presented is correct.

The content is up to date, and makes a special effort to try to have examples from more popular musical artists and genres. This aids in making the material more relatable for individuals that don't listen to musical in the Western Classical tradition. The text is easy to understand and straightforward. Sometimes I found the terminology used occurred a bit earlier in the text than was needed to help explain a point. For instance when discussing rhythm and time signature, the author chose to discuss tempo in terms of the Italian terminology, such as allegro, which had yet to be explained, instead of simply using the number of beats per minute method.

By adding the Italian terminology, fairly early in the book, and not yet having explained what these terms mean, it created another layer of complexity, that was not needed when trying to discuss note duration and rhythms. This text is readily divisible into smaller sections, making it a great asset for excerpting. A wonderful aid for use in many different course settings. This I found to be the weakest part of the book, as it was organized in a manner that often took a certain amount of knowledge, on the part of the reader, for granted, especially after it states that it is specifically designed for the beginner.

I think some things were not explained in the correct order, to allow for greatest understanding by the reader. The interface works well. It is best to not view as a PDF, but instead via "ePub" as this allows for the links to work, allowing for one to quickly jump around to different sections of the book to find examples. This book often lists many different concepts in a block of text, and then has all the examples on the next page. Overall, it accomplishes its goal and is user friendly. The use of art music and, also popular music, as examples, make this book more inclusive than others.

A fine text, but would require significant lecture time, and supplemental examples, to ensure that the material was firmly understood by the student and that they were able to apply this knowledge to actual musical practice. I found this text to be very comprehensive in scope of teaching basic music theory.

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I found a great deal of emphasis was put on naming notes, scales, and rhythms, which is perfect for a introductory text. The other sections, such as Harmony and The other sections, such as Harmony and Form were very surface level, allowing the reader to familiarize them self with the topic and not get too bogged down in the details. I would say this text is best suited for an adult students brand new to reading music.

I found the content to be very accurate and clearly articulated. The examples were easy to read and easily understood. This book is mostly a summary of basic musical concepts, and to that end I suspect will remain relevant for some time. I think it would be necessary for a student to look into additional material for any sort of historical context or a further understanding of form and harmony.

I feel that the terminology is defined very well in the text and the material provided is quite clear in meaning. The format and layout of the text is very plain and clear to read. The language used in this text, the formatting, and the work examples are very consistent throughout the text.

The material in each chapter is organized well and presented clearly. The examples and images provided are engraved very well. I think this book would absolutely be modular. Were I to teach out of this text, I could definitely see myself picking some material to use while supplementing or omitting some other sections.

I think one could very easily use these sections to fit their particular needs. As mentioned early, I think this book is very well put together.

Each chapter is organized in a similar and well articulated fashion, and is sequenced well to cover the basic music theory material. There are definitely no distractions from this text.

I think the layout and formatting are consistent, but very plainly done. It would have been nice to see some even minimal graphic design done to this book. As such, it reads more like a pedagogical dissertation.

Even though I find the material accurate and structured well, this book is quite dull to look at graphically. Quite comprehensive for its stated purpose of covering "only the bare essentials of music theory.

I loved the chapter on "The Physical Basis" of music. This perspective is missing from many classic books on music theory, and I would use this chapter by itself even in an advanced undergraduate theory course. I also very much enjoyed the sections on tuning and tuning systems, another subject which is usually glossed over. No complaints in this regard.

The author's approach to terminology is broad enough e. I was satisfied with the brief mention of raga theory, a subject about which I know more than a little. It's easy to mischaracterize raga, and the author did a better job than most. The section on tuning was well researched and clearly written, although I doubt anyone who reads it will be intrigued enough to investigate Partch's or Harrison's writings on the subject.

The content is up-to-date, but in terms of relevance it is geared more toward pop or jazz musicians than classical musicians.

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That said, musicians who are totally new to the basics of music theory will find plenty of material they can apply to their existing understanding and practice.

All jargon is well-contextualized, both in-text and with links. Absolutely consistent. The author's broad approach eschews ironclad terminology for a more diffuse approach, which supports a certain robustness. On occasions when the author does make an unequivocal decision e. Very customizable. Each chapter is self-sufficient, especially in an electronic format; asides and explanations can be skipped or investigated with a click. I would happily use just the chapters on acoustics and tuning.

Total newcomers could use the first two chapters as a primer on self-study in notation as preparation before beginning a term this is something I might assign for summer or winter break reading.

Considered as a linear book, too much time is spent early on in explaining notation and other rudimentary concerns before arriving at the meat of music theory as such. The e-book format somewhat obviates this problem.

The chapters themselves are well organized. The musical examples - both written and recorded - are too few and too disparate. It would be best to create a companion site to host all of it. The book is explicitly written with practitioners of the Western tradition in mind. Other traditions are mentioned, if only passingly. The important thing is that the author takes care to emphasize when a topic under discussion is a Western-normative practice and not a universal rule.

This is an improvement over many other theory texts. The book could use a lot of editing; there are huge blocks of text that don't need to be so long or so wordy. A book of this nature should either have a lot more exercises or a whole separate workbook, and there should be vastly more musical examples drawn from the real world.

There is practically nothing in the way of music school level theory - no figured bass, almost no roman numeral analysis, very little discussion of cadences, harmonic rhythm, and all the other things that make theory so interesting to students of the Western art music tradition. It may only be my bias: I learned first-year theory from Piston.

However, this textbook could be great in an introductory or survey course intended for non-majors. A rock guitarist, jazz pianist, or pop singer who wants to learn the bare minimum of musical knowledge to improve their understanding of popular music and ability to communicate with other musicians will find this book comprehensive and very useful. This book covers a variety of topics needed for a basic understanding of music theory. Topic include notation fundamentals, acoustics, scales, forms, cadences and even transposition, modulation and an introduction to ear training.

Well-informed, this book attempts to cover a wide knowledge base for music theory, with more complex terms being introduced in less detail that would typically occur in an advanced text. Very clear writing. Although a bit conversational as other authors have pointed out, I believe the audience for this text would appreciate the tone.

Well organized for the most part, although some finer points seemed less logical. For example, a discussion of the harmonic series appears both the "Notes and Scales" and "The Physical Basis" chapters.

Interface is strong.

Multiple colors are used for examples, but the choice of colors seems a bit arbitrary. The book attempts to appeal to a varied audience, and makes use of popular and more classical, and occasional non-Western styles. While the fundamentals of how music is read, written, and functions are indeed covered clearly, there is no mention whatsoever of the common Practice Period, which is the source of modern basic music theory. Not presenting that historical context Not presenting that historical context is a distinct shortcoming in this text.

What is presented is accurate, but really the scope to this reviewer is far too broad to be useful in a semester-long introduction class. The book presents accurate information.

I have personal problems with some of the definitions of articulations e. But, in general, the information here is good. I sincerely appreciate the author's consistent reference to popular music forms, harmony, and instruments. Using these references is culturally relevant, and will stand a pretty long test of time. Overall, the information is presented clearly. The tone is occasionally too conversational for my taste the use of conjunctions abound, there are informal turns of phrase.

This is, I think, the books greatest strength. While I would not choose to use exclusively this text for a beginning theory class, I would eagerly excerpt it for either that kind of class or even for a general education music appreciation class.

This caused quite a lot of navigation problems, and needed the use of a very large number of browser tabs. A single website with clearly organized links to click related to each chapter would have helped a great deal. Again, the use of popular music as well as art music references makes this text more culturally relevant than others. There is good content in this book, but i would not use it as the sole basis for an intro music theory class.

As an excerpt-able document, it could be a strong addition to either a brick-and-mortar theory or music appreciation class, or for an online class of the same content. The cut-and-paste requirement for the examples was a major nuisance.

The text covers all basic introductory material of Music Theory. From the Introduction, it is clear that the author intends this text to be an introduction to Music Theory and not a comprehensive text for advanced concepts. I would like to have I would like to have seen more depth and detailed exercises to practice the concepts, such as key signatures, scales, intervals, etc. Music theory content is unchanging and does not need updating. The "Challenges" chapter at the end is a nice addition to include some contemporary concepts and non-western music.

The text generally introduces concepts in a well-organized manner. I would like to have seen Diatonic chords in major and minor introduced earlier in the text, with more practice examples concerning how to recognize and write them.

This is an excellent text for beginning Music Theory. The book by Catherine Jones is condensed and takes on many aspects of music theory even the physics of sound.

Her comment regarding its peripheral states; "The course is about a better understanding of where the basics come from and will lead to a Her comment regarding its peripheral states; "The course is about a better understanding of where the basics come from and will lead to a better and faster comprehension of more complex ideas. The book reads like a thesis with graphs that appear like a lecture series.

The distance between the last note the minor 7th and the first note in the next octave is one full ste p. Now check again what is underlined above. In this case it s the minor pentatonic scale for mula. A scale formula simply represents a unique set of intervals found within e ach scale.

It is written just by simply using tones and semitones and a combina tion of the two - TS. Just by knowing a scale formula you can start on any of the 12 notes on any inst rument, apply the formula, and easily figure out how to play any scale.

When put in context: For example, if we start from an A. This is one of the first, if not the first, scale that many people particularly guitarists learn, and once learned it can be used very quickly.

If you place the root of this scale on the root of virtually any chord especial ly minor and dominant chords , then the other notes in the scale will almost alw ays sound good. If youre playing the blues, then all you need to do is make sure the root of this scale is the same note as the key that the song is in. What Is a Mode It is worth using the minor pentatonic scale to demonstrate an important concept. We saw that this scale consists of a collection of 5 notes, and that when they are oriented around the root, there is a particular set of intervals that defin e the scale.

But what if we take those same exact 5 notes - for instance, the A minor pentato nic scale A, C, D, E and G - and re-orient them. In other words, what if rathe r than calling A the root, we treat this same collection of notes as a C scale, treating C as the root. Now the notes have different names: C is no longer the minor 3rd of A , it is now the Root. So the new set of notes is: A Root, Major 2nd, Major 3rd , Perfect 5th, Major 6th; or: R, M2, M3, P5, M6 This is a completely different abstract collection of notes than the A minor pen tatonic scale - even though it consists of the same 5 tones - because it is now a completely different set of intervals.

Major Pentatonic Structure By using the same pattern, but beginning at a different note, we have created a different scale.

The scale that we have created is called the C major pentatonic scale, and is also an important, very common scale in blues, rock, pop, etc. Fig 5: Major pentatonic structure on piano in C What we have created by re-orienting the scale is called a "mode" We can say tha t the major pentatonic scale is a mode of the minor pentatonic scale, or that th e minor pentatonic scale is a mode of the major pentatonic scale we usually say the major pentatonic is derived from the minor pentatonic because it is the mos t used one in virtually all blues and rock.

So major pentatonic scale is derived from the minor pentatonic structure, only i t begins on what was the 2nd note of the minor pentatonic. Like the minor pentatonic scale, the major pentatonic scale is simple and recogn izable, and most of us know it without realizing it. This scale has a brighter, happier sound than its minor cousin, which is a result of the fact it is a major scale.

The notes of the major pentatonic scale are all contained in the major s cale, and so it is useful whenever that scale can be used. Because there are 5 notes in the minor pentatonic scale, there are 5 different n otes that can act as the root of different modes. For each note in the collectio n, there is a different mode, in which that note is the root and the 4 other not es are defined with respect to it. This concept will be extremely important when it comes to 7-note scales.

Modes of the Minor Pentatonic Scale From what we ve learned so far, we can easily list all of the modes of the minor pentatonic scale. There are five of them. The first mode of the minor pentatonic scale is just the minor pentatonic sca le. It consists of a Root, a minor 3rd, a Perfect 4th, a Perfect 5th and a minor 7th. The second mode of the minor pentatonic scale has a special name.

It is the M ajor pentatonic scale, as we ve seen in the previous section. The third mode begins on D and consists of a Root, a Major 2nd, a Perfect 4th , a Perfect 5th and a minor 7th. The fourth mode begins on E and consists of a Root, a minor 3rd, a Perfect 4t h, a minor 6th and a minor 7th. Finally, the fifth mode begins on the 5th note of the minor pentatonic scale, which in this case is G. To sum it up, here s what we have: Table 1: Minor pentatonic modes in A with all their notes and note relationshi ps.

Notice how each mode has the same notes only starting on a different note We will now move on to 7-note scales, but first Term Diatonic, what does it mean A scale is diatonic when it is a mode, or variation, of the major scale.

This in cludes the natural minor scale and all 7 of the diatonic modes of which the maj or and minor scales are two. The word diatonic is Greek, and it means across the octave. The name refers to the f act that the structure of diatonic scales is such that there is an even distribu tion of 7 notes across the note octave.

There is never, in any diatonic scale , more than a full whole step between two notes, and there are never 3 half st eps in a row. While there are 7 diatonic scales - called the diatonic modes, which includes th e major scale and the minor scale - there is only one diatonic structure.

This is because all 7 of those scales are defined in terms of one another. In fa ct, they are generated from one another though in most cases they are said to b e generated from the major scale because it is the most fundamental scale. Since there is only in fact one diatonic structure, it is possible to talk both about diatonic scales meaning the modes of the major scale and also about THE diatonic scale as in the underlying structure of those modes.

These two scales form the harmonic and melodic bedrock that Western music lays o n and has laid on for a very long time, and similar scales are found throughout the history of world music in traditional Indian music, for instance.

It is worth noting now that just like with the minor pentatonic and major pentat onic, natural major and natural minor scales are simply the modes of each other, but with major scale being thought of as the most fundamental diatonic scale. Also worth noting is that the 5-note major pentatonic scale is just like the 7-n ote natural major scale, except that two notes are omitted.

Same goes for the mi nor pentatonic and the natural minor scale.

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These pentatonic scales came from the desire to remove the intervals that are a semitone apart in the diatonic structure. Because of that, minor and major penta tonic scales are essentially simplified and safer sounding minor and major scale s. See scale comparison chart later in the book and this will be crystal clear. It is also the first scale most of us, even at a young age, can recognize. It is the foundation in Western music, and virtually all 7-note scales are deri ved from it in one way or another - it is the yardstick against which they are d efined.

For all of these reasons, it is often the first piece of real music theo ry that instructors introduce to beginning musicians. The major scale is the scale that results when you sing that familiar do, re, me, fa, sol, la, ti, do singing notes in this way is referred to as solfege.

It is generally described as a happy, uplifting scale, and it is easy to produce high ly consonant melodies using it. For this reason, many pop songs are written usin g the major scale. The intervals that define any given scale are described according to their relat ionship to the intervals that make up a major scale. In other words, all scales are in some way measured against the major scale. This 7-note scale is the foundation for all diatonic harmony; all of the variati ons of the major and natural minor scales can be generated by the major scale, a nd since all non-diatonic harmony can be seen as diatonic harmony that has been altered chromatically in some way, there are virtually no scales that arent som ehow derivable from the major scale and its variations.

In most types of Western music, from classical to celtic to pop, major scale for ms the foundation of the harmony. Minor pentatonic might be regarded as the kin g in all blues music, but even that scale is derived from the natural minor sca le, which is again derived from the major scale more on this later. In Western music everything relates back to major scale in one way or another an d that s why it is the most important scale to learn.

Understanding Major Scale Structure The major scale is a 7-note scale so it consists of seven notes. The structure o f a major scale is relatively even the consequence of being a diatonic scale ; it consists of: 1.The most common major sca le do-re-me and natural minor scale are both 7-note diatonic scales. The text is imbalanced in proportion. Sections are clear; subheadings are frequent, examples are peppered throughout, and everything is graphically pleasing.

Notice how each mode has the same notes only starting on a different note We will now move on to 7-note scales, but first While the fundamentals of how music is read, written, and functions are indeed covered clearly, there is no mention whatsoever of the common Practice Period, which is the source of modern basic music theory.

I am a nuts and bolts type of person—don't just tell what it is, tell my why and how. As an introductory survey of music-theoretical concepts, however, I would call this very comprehensive. It may only be my bias: Education and teaching Physics languages Mathematics.

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