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  • Cover The Language of Sound – in colour – Volume 2
    The Language of Sound – in colour – Volume 2 (boek)
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    The Language of Sound – in colour – Volume 3 (boek)

The Language of Sound – in colour – Volume 1

KarrArikh Tor • Boek • hardback

  • Samenvatting
    Music Theory: The Language of Sound, reveals the secrets of the guitar and bass guitar. It can be scary to get into music theory for a guitarist or bassist but this is a great place to start. You will never need another chord book or theory book again. The Language of Sound teaches you how to build chords from the root and play melodies in any Key. The graphics tie the fretboards of a guitar and bass guitar to the piano keyboard and sheet music, making it a valuable tool not just for guitarists and bassists but for every member in a band. Fast and handy for any music theory student. Includes the 'boxes' and repeating patterns on the fretboards, positions for all chords, and positions to play scales in any Key. The Language of Sound teaches how to arrange chord progressions to a melody, and how to transpose any song from one Key into another easier to perform Key. Easy to use and valuable for guitarists, bassists, and keyboard players.

    The Language of Sound - In Colour - Volume 1: contains chapters 1-3, and appendices from the full textbook

    Chapter 1 - introduction, Grand Staff and basic symbols
    Chapter One explains the basic theory behind Western Musical Traditions, treating music theory like a language. Introduced in this chapter are: Octave divisions, Whole steps, Half-steps, Accidentals, Clefs, Grand staff, Treble staff, Bass staff, Alto staff, Tenor staff, Time signature, Note types, Rests, Tempo.

    Chapter 2 - standard tuning, notes on frets, tablature
    Chapter Two shows where the natural notes (white keys) on a piano are located on the guitar and bass guitar fretboards and also on the Grand Staff. Introduced in this chapter are: Standard tuning, Tablature.

    Chapter 3 - scales, Major Key scale, positions on fretboards, Intervals
    Chapter Three examines scales, particularly the Major Key scale, showing how we develop our scales from a tonic note, and where to find Major scales on the fretboards of guitars and bass guitars. Introduced in this chapter are: Ascending scale, Descending scale, Chromatic scale, Tonic note, Tonic scale names, Diatonic scales, Enharmonic Notes and Keys, Scale degrees, 15 Major Keys, Intervals.
  • Productinformatie
    Binding : Hardback
    Distributievorm : Boek (print, druk)
    Formaat : 200mm x 280mm
    Aantal pagina's : 79
    Uitgeverij : Dark World International
    ISBN : 9789082853643
    Datum publicatie : 06-2022
  • Inhoudsopgave
    Table of Contents

    Chapter One
    Why do we need Music Theory? 1
    Beginning with the language 2
    Dividing the Octave 6
    Writing the language onto paper 8
    Top of the Grand Staff - the Treble Staff 11
    Bottom of the Grand Staff - the Bass Staff 11
    What joins the Treble Staff and Bass Staff 11
    How we measure Time on a Staff 13
    Dotted and Tied notes 18
    Note names and their time values 19
    When to use the Grand Staff 24

    Chapter Two
    Working with String Instruments and Tablature 26
    Notes on the strings of a standard tuned Guitar
    1st string 27 2nd string 27 3rd string 28
    4th string 28 5th string 29 6th string 29
    Notes on the strings of a standard tuned Bass Guitar
    1st string 30 2nd string 30 3rd string 31
    4th string 31
    What is Tablature? 33

    Chapter Three
    What is a Scale? 40
    Whole – Whole – half – Whole – Whole – Whole - half 42
    15 Major Keys in Western Traditional Music 45
    Positions to play the C Major scale on fretboards 46
    The Key of C Major – Open position – Pattern 1 49
    The Key of C Major – 2nd fret position – Pattern 2 50
    The Key of C Major – 4th/5th fret position – Pattern 3 51
    The Key of C Major – 7th fret position – Pattern 4 52
    The Key of C Major – 9th/10th fret position – Pattern 5 53
    The Key of C Major – 12th fret position – Pattern 1 (repeated) 54
    Looking at Intervals & the Major Key scale 55
    12 Intervals on staves, keyboards and fretboards 56

    Appendices
    Appendix One – all Major Keys 63
    Appendix Two – Open string Chords 67
    Appendix Three – Tempo Chart for setting effects 69

    Bibliography / Acknowledgements 72
    Index 73
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Fragment

To summarise Dividing the Octave, on a piano keyboard there are no black keys between the B and C notes and the E and F notes. The black keys are named with letters and a sharp or flat symbol. The symbol for a sharp note is ♯, and the symbol for a flat note is ♭. Notes can have more than one name (this will be expanded later on). Each black key commonly has two names, one sharp and one flat. This is one of the first areas of Music Theory where we just need to memorise. It is uncommon to divide anything like we divide octaves; it is only found in Western Traditional Music.

Writing the language onto paper
If we have a melody in our head and wish to write it down, knowing the notes which make up the melody can help us record it to paper. We begin looking at the song “Twinkle Twinkle Little Star”, because we can play this melody with just six notes. If we begin our melody on the C note, the melody goes:

C C G G A A G F F E E D D C G G F F E E D
G G F F E E D C C G G A A G F F E E D D C

Each letter stands for one performed note in the song (even though nothing in our notation tells us this). If a performer knows this melody, they would be able to play the song from this notation, but only in the manner they think it should be. Two people may have two different views on how the melody should sound. If we did not know the song, we would not know the octave that each note should be played, nor understand how fast or slow the notes should be played. If a writer wishes to make a quick notation for their own use, using a simple method like this may work, but information is missing. All the notes look the same length in this manner; the timing of the melody is missing from our notation. The original melody has the first note as the lowest note in the melody. We could write:

C4 C4 G4 G4 A4 A4 G4 -, F4 F4 E4 E4 D4 D4 C4 -, G4 G4 F4 F4 E4 E4 D4 -,
G4 G4 F4 F4 E4 E4 D4 -, C4 C4 G4 G4 A4 A4 G4 -, F4 F4 E4 E4 D4 D4 C4 -.

This may show the melody rising from the C note and may give the impression that all note durations are not the same (with the dash used in our layout), but it is still vague and unclear. Music Theory gives us suggestions how to show notes clearly, in a uniform manner that can be read and performed by many instruments. Notice how clean Twinkle Twinkle Little Star can look when written onto a treble staff. Now we can see that all notes are not the same.



So far, we have learned it is possible to write a progression of notes onto paper using only letters with octave numbers, but this method looks unclear in writing long progressions or using more than one note at a time. Two instruments performing together need to see their parts clearly and quickly. Music Theory uses a Staff to write notes down. A Staff is five lines running parallel across a page.



Each line and space represents only one note, a single frequency. A single staff can also be referred to as a stave, but two or more are called staves, not staffs. To read a staff and understand the notes, we need to define how a staff is used.



Symbols are placed at the beginning of the Staff, to tell us what notes the lines represent. A Grand Staff has two staves placed on top of each other and joined on the left and right side, for a total of ten parallel lines (eleven lines if we include the middle C). We read a staff from left to right and a sheet of music is read from top to bottom.
Notes on a piano are comparable to notes on a guitar fretboard and on the Grand Staff. The top five lines record higher pitched notes, while the lower five lines record bass notes. Once a melody is written onto staff paper, the octave number is no longer written down. Both the octave number and the letter name of a note are known by the placement of the note symbol on the staves. Each line or space (between two lines) represents one letter. These lines and spaces represent white keys on the piano keyboard.
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