The Complete Idiot''s Guide to Music Theory

14 Transposing to Other Keys In This Chapter ◆Understanding transposition ◆Discovering when you need to transpose a song ◆Learni ...

178 Par t 4:Accompanying When you transpose a note or a melody or a chord, you take it from one key, and instead play the equiva ...

Chapter 14:Transposing to Other Keys 179 These scenarios are more common than you’d think—which means you better learn how to tr ...

Par t 4:Accompanying The second chord is a G Major. If you move this chord up three half steps, it becomes a B
Major chord. Wh ...

Chapter 14:Transposing to Other Keys 181 The chord progression transposed to the key of F. Voilà! You’ve just transposed the ent ...

182 Par t 4:Accompanying Now, you start composing your “new” melody in the new key. The first note in the new key (which you hav ...

Chapter 14:Transposing to Other Keys 183 or hold to their original pitches. It’s a lot easier than trying to transpose each part ...

184 Par t 4:Accompanying Exercise 14-2 Use the degree-based method to transpose this chord progression from the key of A
to the ...

Discover how to fill out your music with lush harmonies and interesting counter- point, and how to jazz up a tune with fancy cho ...

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15 Harmony and Counterpoint In This Chapter ◆Understanding the differences—and similarities—between harmony and counterpoint ◆Cr ...

188 Par t 5:Embellishing Two Ways to Enhance a Melody Two notes sounded together make a harmonic interval; three or more notes s ...

Chapter 15:Harmony and Counterpoint 189 Living in Harmony Harmony is like playing chords behind a melody, only using other instr ...

Par t 5:Embellishing Let’s consider the harmony you play as piano accompaniment. If you recall, we used the following chord prog ...

Chapter 15:Harmony and Counterpoint 191 Not only does this make the chord progression easier to play (all the notes are closer t ...

192 Par t 5:Embellishing Making Harmony Parts More Melodic Of course, you’re not limited to having your voices follow the strict ...

Chapter 15:Harmony and Counterpoint 193 When you’re writing harmony, there are three key voice-leading conventions to keep in mi ...

194 Par t 5:Embellishing Making a Point—with Counterpoint Counterpointis simply the art of combining two or more simultaneous mu ...

Chapter 15:Harmony and Counterpoint When you put your two melodies together, you should make sure they both fit within the notes ...

Par t 5:Embellishing Now things get interesting. We need to come up with a second, higher, melody that doesn’t clash with the lo ...