During the summer of 2001, I taught a class at the University of Indianapolis
for our School for Adult Learning. The class was Introduction to Music Theory
for Nonmusicians. The students would be 24 years old or older and have no
experience with music or performance other than their pleasure in listening. As
time for the class to begin neared, I felt uneasy about how I would approach
teaching and selecting a text. When the class began, I tried to cover the basics
of pitch and rhythm. But I soon realized that what I really needed to do was
start where the students were and with music with which they were familiar.
I also realized that everyone has music inside himself or herself. Music is in
time.It is regular. It occurred to me that humans all walk in time.We all speak
in time.Our bodies have a natural rhythm. We only need to find out how to
take advantage of these abilities we all share.
We have all had the experience of playing something back on our internal tape
recorder. Everyone has a memory of some piece of music. I can close my eyes
and internally hear “Take Five,” the song that Michael mentions in Chapter 6.
I first listened to it as a youngster. I still have it locked in my head. Everyone
can hear “Happy Birthday” internally. Mike will show how this trait will help
you to understand the theory of music.
Music theory is part of the written language of music. It is the written word of
this aural art, music. It is not something only intended for music students. We
don’t have to use it only to analyze a Bach fugue. It is a living part of all music.
I wish Michael’s book had been available for my class.
Music isa language. It has its own vocabulary. I teach several classes in jazz the-
ory each year. One point I like to make to my students is that they need to have
the ability to communicate with the rest of the free world. This means using
the same nomenclature all musicians use. Michael has done an outstanding job
of teaching you to speak music as musicians speak it. He also has used several
styles of music to teach the language. This stuff is not just for academe.
I was excited to read Chapter 12, “Transcribing What You Hear.” Musicians would
agree that listening and practice are of equal importance. Step by step, Michael
leads you through all the basics you need to realize the music inside you. It
doesn’t matter if you like classical, jazz, rock, or any other genre of music. This
book will allow you to understand the principles by which music is organized.
This book is not just another music theory text. This is a book about the nuts and
bolts of the music language. The presentation of material in “learnable” chunks
allows you to understand everything about the language. He is right on with the
“Least You Need to Know” section of each chapter. The exercises at the end of
each chapter serve as meaningful and helpful ways to understanding by doing.
I am convinced this book will lead you to new abilities, understanding, and
enjoyment of music.
—Harry Miedema, Assistant Professor, Director, Jazz Studies, University
of Indianapolis