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| Tones | |
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| Pitches and Clefs | |
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| Understanding Musical Tones | |
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| Tones Have Value | |
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| What's the Frequency, Kenneth? | |
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| Play by Numbers | |
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| Do Re Mi | |
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| Tones Have Names | |
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| Learning the ABCs | |
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| Notes on a Piano Keyboard | |
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| Notes on a Staff | |
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| Above-and Below-the Staff | |
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| Different Clefs | |
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| The Treble Clef | |
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| The Bass Clef | |
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| The Grand Staff | |
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| Specialty Clefs | |
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| The Percussion Clef | |
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| Intervals | |
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| Be Sharp-or Be Flat | |
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| Steppin' Out | |
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| A Matter of Degrees | |
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| First Things First | |
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| Major and Minor Intervals | |
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| Perfect Intervals | |
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| Augmented and Diminished Intervals | |
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| Beyond the Octave | |
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| Intervals and Half Steps | |
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| Scales | |
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| Eight Notes Equal One Scale | |
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| Major Scales | |
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| Minor Scales | |
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| Natural Minor | |
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| Harmonic Minor | |
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| Melodic Minor | |
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| In the Mode | |
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| Ionian | |
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| Dorian | |
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| Phrygian | |
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| Lydian | |
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| Mixolydian | |
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| Aeolian | |
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| Locrian | |
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| Major and Minor Keys | |
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| Keys to Success | |
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| Using Key Signatures | |
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| Major Keys | |
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| Minor Keys | |
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| The Circle of Fifths | |
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| Accidents Will Happen | |
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| Changing Keys | |
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| Rhythms | |
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| Note Values and Basic Notation | |
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| Taking the Measure of Things | |
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| Taking Note-of Notes | |
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| Whole Notes | |
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| Half Notes | |
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| Quarter Notes | |
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| Eighth Notes | |
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| Sixteenth Notes | |
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| Taking Count | |
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| Taking a Rest | |
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| Taking a Note-and Dotting It | |
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| Taking Two Notes-and Tying Them Together | |
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| Taking the Beat and Dividing by Three | |
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| Time Signatures | |
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| Measuring the Beats | |
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| Quarter-Note Time | |
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| Eighth-Note Time | |
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| Half Time | |
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| Changing the Time | |
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| Grouping the Beats | |
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| Tempo, Dynamics, and Navigation | |
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| Taking the Pulse | |
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| Beats per Minute | |
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| Italian Tempo Terms | |
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| Speeding Up-and Slowing Down | |
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| Hold That Note! | |
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| Getting Loud-and Getting Soft | |
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| Dynamic Markings | |
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| Changing Dynamics | |
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| Play It Harder | |
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| More Dynamics | |
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| Finding Your Way | |
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| Repeating Sections | |
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| Repeating Measures | |
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| Repeating Notes | |
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| Repeating Rests | |
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| Tunes | |
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| Melodies | |
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| Combining Tones and Rhythms | |
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| Common Melodic Techniques | |
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| Dvorak's New World Symphony | |
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| Bach's Minuet in G | |
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| Michael, Row the Boat Ashore | |
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| Pachelbel's Canon in D | |
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| Composing Your First Melody | |
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| What Makes a Melody Memorable? | |
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| Center on a Pitch | |
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| Make Sure You End Up at Home | |
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| Stay Within the Scale | |
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| Use the Big Five | |
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| Find the Hook | |
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| Create Variations | |
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| Write in Four-or Eight, or Sixteen | |
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| Make It Move | |
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| Take Small Steps | |
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| Stay in Range | |
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| Avoid Unsingable Intervals | |
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| Keep the Rhythm Simple | |
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| Stay in Time | |
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| Set Up-and Resolve-Tension | |
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| Set Up a Call and Response | |
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| Establish Symmetry | |
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| Balance Repetition and Variety | |
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| Follow the Chord Progressions | |
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| Follow the Form | |
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| Follow the Words | |
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| Write for a Specific Instrument or Voice | |
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| Be Unique | |
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| Learn More About Composing | |
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| Chords | |
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| Forming a Chord | |
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| Different Types of Chords | |
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| Major Chords | |
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| Minor Chords | |
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| Diminished Chords | |
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| Augmented Chords | |
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| Chord Extensions | |
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| Sevenths | |
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| Other Extensions | |
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| Altered, Suspended, and Power Chords | |
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| Altered Chords | |
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| Suspended Chords | |
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| Power Chords | |
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| Inverting the Order | |
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| Adding Chords to Your Music | |
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| The Complete Idiot's Chord Reference | |
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| Chord Progressions | |
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| Chords for Each Note in the Scale | |
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| Creating a Progression | |
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| It's All About Getting Home | |
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| One Good Chord Leads to Another | |
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| Ending a Phrase | |
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| Perfect Cadence | |
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| Plagal Cadence | |
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| Imperfect Cadence | |
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| Interrupted Cadence | |
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| Common Chord Progressions | |
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| I-IV | |
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| I-V | |
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| I-IV-V | |
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| I-IV-V-IV | |
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| I-V-vi-IV | |
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| I-ii-IV-V | |
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| I-ii-IV | |
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| I-vi-ii-V | |
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| I-vi-IV-V | |
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| I-vi-ii-V7-ii | |
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| IV-I-IV-V | |
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| ii-V-I | |
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| Circle of Fifths Progression | |
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| Singing the Blues | |
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| Chords and Melodies | |
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| Fitting Chords to a Melody | |
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| Writing a Melody to a Chord Progression | |
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| Phrases and Form | |
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| Parts of a Song | |
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| Introduction | |
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| Verse | |
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| Chorus | |
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| Bridge | |
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| Instrumental Solo | |
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| Ending | |
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| Putting It All Together | |
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| Head Cases | |
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| Classical Music Forms | |
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| Accompanying | |
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| Transcribing What You Hear | |
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| Training Your Ear | |
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| Listening-Actively | |
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| Developing Superhearing | |
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| Hearing Pitch | |
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| Hearing Intervals | |
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| Hearing Rhythms | |
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| Hearing Melodies | |
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| Hearing Keys | |
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| Hearing Chords and Chord Progressions | |
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| Writing It All Down | |
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| Accompanying Melodies | |
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| What's the Score? | |
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| Working from a Lead Sheet | |
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| Working from a Chord Sheet | |
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| Working from a Melody | |
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| Working from Nothing | |
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| Working the Form | |
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| Playing the Part | |
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| Block Chord Accompaniment | |
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| Rhythmic Accompaniment | |
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| Arpeggiated Accompaniment | |
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| Moving Bass | |
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| One Good Strum Deserves Another | |
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| Transposing to Other Keys | |
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| Move Your Notes Around | |
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| Why You Need to Transpose | |
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| Four Ways to Transpose | |
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| Step-Wise Transposition | |
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| Degree-Wise Transposition | |
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| Interval-Based Transposition | |
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| Software-Based Transposition | |
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| Embellishing | |
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| Harmony and Counterpoint | |
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| Two Ways to Enhance a Melody | |
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| Living in Harmony | |
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| Voicing and Inversions | |
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| Making Harmony Parts More Melodic | |
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| Voice Leading | |
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| Making a Point-with Counterpoint | |
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| Creating Your First Counterpoint | |
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| What to Avoid | |
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| Avoid Extended Parallel Movement | |
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| Avoid Big Leaps | |
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| Avoid Dissonant Intervals-Unless They Resolve | |
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| Chord Substitutions and Turnarounds | |
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| Extending a Good Thing | |
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| Altering the Bass | |
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| Two Chords Are Better Than One | |
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| One Good Chord Can Replace Another | |
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| Diatonic Substitution | |
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| Major Chord Substitutions | |
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| Minor Chord Substitutions | |
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| Dominant Seventh Substitutions | |
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| Functional Substitutions | |
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| Turnarounds | |
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| Special Notation | |
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| Throwing a Curve | |
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| Ties | |
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| Slurs | |
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| Phrases | |
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| The Long and the Short of It | |
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| Tenuto | |
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| Staccato | |
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| When Is a Note More Than a Note? | |
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| Grace Notes | |
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| Turns | |
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| Trills | |
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| Glissandos | |
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| Arpeggiated Chords | |
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| Getting Into the Swing of Things | |
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| Getting the Word | |
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| Arranging | |
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| Composing and Arranging for Voices and Instruments | |
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| Vocal Arranging | |
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| Voice Characteristics | |
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| Vocal Ranges | |
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| Instrumental Arranging | |
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| Instrument Characteristics | |
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| Transposition | |
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| Good Keys and Bad Keys | |
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| Instrumental Ranges | |
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| Lead Sheets and Scores | |
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| Follow the Rules | |
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| Take the Lead | |
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| Make It Simple | |
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| Chord Sheets | |
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| The Nashville Number System | |
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| Sing It Loud | |
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| Jazz It Up for Big Bands | |
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| Strike Up the (Concert) Band | |
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| Make the Big Score-for the Symphonic Orchestra | |
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| Use the Computer | |
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| Performing Your Music | |
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| Preparing the Parts | |
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| Rehearsal Routines | |
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| How to Conduct Yourself | |
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| Conducting in Four | |
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| Conducting in Two | |
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| Conducting in Three | |
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| Finding the Beat | |
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| Practicing in the Real World | |
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| Coda | |
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| Appendixes | |
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| The Complete Idiot's Music Glossary | |
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| The Complete Idiot's Chord Reference | |
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| Answers to Chapter Exercises | |
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| The Complete Idiot's Guide to Music Theory, Second Edition, Ear Training Course CD | |
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| Index | |