The Essentials of Music Theory, Essentially

Music Theory I feel like it's very interesting and while I understand some of this from piano lessons and the like, I don't think I've ever been on a proper

music

theory

course before and while this book probably won't give you all the answers. to the universe of life and everything that is called The fundamentals of

music

theory

. It has to have useful information, so I'll read this book, tell everything I learned from it, and hopefully we'll have a video that has the Fundamentals of Music Theory. I'll also link this book because I mainly get my information from here, so let's get into it. this unit, one of the basics and I mean the basics, the first lesson is called the staff, the notes and the tones, and you I don't believe what it says musical notes are c d e f g a b why did I put C first?

Well, I just said it because you know that on a piano the note C is in the middle and we go from there outwards, although I suppose you could start with a, if you want, just go to ABCD FG ABC EFG, the next two lessons are about the iconic treble clef and base clef, if you're not familiar with these two, these are the most common treble clefs in music for our purposes here today, honestly, I didn't really know. We know that the G cliff and the key of Bas were originally an overzealous G and F, but they wouldn't be complete without the grand staff that is taught right after this and then adds Ledger lines to help better explain the connection between the two staves and then places beyond their light after these lessons, ends with the test which I don't have access to half of because I didn't get a CD with this book, the other half was pretty good, although the test I took ended with a bit of a line about naming individual notes to spell a sentence d to b in general I would say unit one is like when you restart something and it feels infinitely more tedious because you generally understand the shared concepts but not rushing was nice.

I learned some fun facts, yes. It was a little boring though, but if you're not familiar with the music, there's a reason they start with this anyway in unit 2, unit 2, if unit one was the intro to unit 2, the Unit 2 was the introduction to Unit 3, that is, like What Do You Know? Knowledge is composed and built upon itself, but it begins with the introduction of note values: a whole note, a half note, and a quarter note with stems in any direction that occupies the entire staff. Now this makes you wonder what are we comparing? length of a note for uh, oh, it's the time signature in the house, but only 44 right now.

I'll be honest, it was a little hard to understand this, mainly the bottom number, but I think I understand it now, so let me explain. The bottom number is the value of a beat, in this case a quarter note, also something I learned. They have a different name if you are British. The complete note is semi-brief. I'm probably saying this wrong. I'd say I'm sorry, but I'm not. I know how to say that in British, apparently I'm sorry, the half note is minimal, the quarter note is flattened, cred crot crotchet crotchet and the eighth note is an eighth note and then the numerator represents how many beats will make up a full measure, a measure helps make the music.

It is easier to read and divides it by the time signs that the numerator says. This unit then goes into full rests, half rests, and quarter rests that sound like this and that's unit 2. Well, I'll say it. The denominator thing was much more confusing than I originally said. Honestly, I don't think I understood it. I don't know, it just didn't click in my brain. The different terms didn't help either, but for now I've escaped denominator hell. To be fair, we were exclusively at 44 during this unit, so maybe they'll explain this whole numerator denominator thing a little better a little later.

This unit was primarily an introduction to time and not simple fractions. Anyone who allows us to move on to unit three remember the time signatures, well, they are Back in unit 3 it's 2 4 and we introduce three4 The Dashing bastard and then we introduce the new dotted half. Now great, this guy thinks he's special because he gets extra beat just because he has a DOT. I looked it up and guessed what this point is. Basically the half version of whatever node it represents, the half node is 2 + 1, so a full note would be 4 + 2 and a quarter note would be 1+ half at least for 44 sorted.

I'd also like to say that I was tricked into doing Simple. algebra with the notes I was fine with I was fine with that I'm really really good at algebra you guys okay next lesson links and trails um okay sure the links are basically making a note super long with two equal notes. tones oh that's why they made me do simple algebra music theory omen goes crazy insults are what really bad words sound like well basically when the notes are slurred it means there should be no silence between them so instead of that, this is also known as leg and this unit was basically when I realized, oh, I don't know as much as I thought, that was done in the Krueger effect, well, my ego started to collapse a little and boom, that's the unit three, unit four begins with repeated signals first. endings and second endings are fine, so if you see the repeat symbol, it's a double bar with two dots with the colon on the left, nothing more, you repeat from the beginning if there is a repeat symbol with the colon on the left. right, ignore it until you find the one with the dots on the left and then go back to the one with the dots on the right.

The first and second simple endings are like finishing a game and then doing New Game Plus and getting the real secret final boss that you repeat from the first ending, but once you come back, skip it and go to the second. I know this is to help make the pieces less page-long and I totally get that, but it's definitely something I can forget if I don't have it in mind. The following is possibly the most iconic note of all time. It is the eighth note. This note is like the musical note and its premises. Well, I mean, it's half a black one, which makes sense when you pair these bad boys, although you do get one. do it above the notes or below them depending on the situation.

Oh, and since this unit has about octaves, let's introduce the scariest of all and the rest. I've noticed that everyone makes it clear that it's 2 out of 4, 3 out of 4, and 4 out of 4. I wonder what? That could mean that the next lesson was on dotted quarter notes, which makes me feel like I probably didn't need to do that preliminary research a little earlier. Well, I learned that a dotted quarter note is usually followed by an eighth note, which you already know. make a full quarter out of half a quarter okay the numbers are getting a little small at the same time as long as they don't get smaller I think we'll be fine this unit ends with a test and now they have me rewriting minuette oh joy I'll be honest, I'm getting a little more terrified the further we go here, but let's keep moving forward, unit five, okay, okay and Dynamic cues that indicate volume or how soft or loud the music is.

It should be played in Italian and English, I guess, but I've been talking about it all this time, so there's piano, which means soft Forte, which means high mesop. Piano meaning meso Forte moderately soft, meaning moderately loud. Pismo is very soft and Pismo is very strong. but that's not all if a song changes to gradually increase in volume it has this sign called cresendo but if we soften with the music then we go diminuendo or cresendo this lesson ends with a short story that asks me to describe the actions of the characters speaking high or low using these new terms, it was for sure a lesson, the next lesson is about tempo markings, which is the speed at which the music is played, we have Largo Adagio Andante marito algro and Vivan Viv VI Vias I I I don't know this one last Viv and then to explain the gradual changes there is a slower para and an accelerando for faster, which are a lot of Italian terms for music, we can thank the Catholic church for that, but that's a conversation for another day.

The following is the articulation of these. They are special symbols used for notes that you have to articulate any way they say. This is what was introduced in this part and now we move on to the more advanced repeats DC DS Koda and DC fine means deapo, which means repeat from the beginning segno. rhythms to repeat from the sign B fine is the ending Koda is an additional ending all of these are used in various ways to make the music less long from playback to the end and back to the symbol and then to fine and then play the The Koda's secret ending was very much Italian.

Many of these words are very useful in indicating how a piece should be played, from speed to pitch. This unit had a lot of little details that are important to give a more human feeling to a I feel like I will definitely have to re-read a lot of these terms because I don't know if I can remember all of this at once, but now the information is here and writing it down and say it, it probably also sticks out a little better in unit 6, suddenly we left Italian and now we're learning about flats and sharps, basically, if your note is natural and you play the key directly to the left, it's flat and with sharps it's any key the right and then there are the neutrals, which is a return to the normal note, but why would you need something like that?

Well, there's something called accidentals which is basically a rule that states that any note that has a sharp or a flat affects all other notes the same. sharp or flat in the same measure, so you can get a neutral to change that or just wait for the next measure and then restart unless a note is joined between measures. The other thing that was taught in this unit was the full step St and the semitones which are quite simple, a half step is a jump to the key right next to each other and a full step is a jump to the key two notes away. original this information will be useful later, believe me, there are also enharmonic notes which are when this same note has two different names C Shar d flat D sharp E flat and so on this unit ends with a crossword puzzle actually this crossword puzzle makes a lot of sense very fun I highly recommend quickly what is a cross the track is connected without problems ah thanks Legato I was right, sorry, that was also Dora the Explorer coded for you.

Well, she's one of my biggest inspirations, so I'll need you to take care of it anyway. That's the end of unit 6, unit 7, the beginning of the second act. The power is. increasing and so is the overwhelming nature of this whole theory. This unit begins by teaching us about Tetra strings and major scales. Tetra is equal to 4. A Tetra chord consists of four notes that go in a pattern of one whole step, one whole step, half step, so it has a major scale. eight notes with the steps in the whole half the whole half whole or two Tetra chords with a whole step connecting lamp the notes in a scale are called degrees this lesson begins only with the C major chord C Tetra g The Tetra chord but In the next lesson titled acute scales we are introduced to the G Major G Tetra string and the D Tetra string and the D Major D Tetra string and a Tetra string these are called acute scales because they have sharp notes on this lesson page there was a little text that said important important and contained a fact that said that starting with the C major scale the second Tetra string is always the first Tetra string of the next high scale this overlapping pattern continues in all major scales this is important believe me next lesson is about flat scales F and B flat major F major Tetra string The C Tetra string, if you can see, connects to the C major scale, so that's the scale that goes before C major in B flat B flat Tetra Chord The F Tetra chord connects to F major in a similar way to the connections between Tetra chords that begin with the C major scale.

The fourth degree of the scale is always the first degree of the next flat scale and this pattern continues through throughout all flat major scales. Are you still up to date? Don't worry, next lesson. It's about making the music a little easier to read. Key signature, so a key signature is used so that you don't have to keep writing the sharp or flat sign next to each note if you place a sharp next to the respective letter in the next measure. For treble or Bas Clu, any note played that matches that letter, for example an F will be a fshp unless a natural symbol is used.

This book says that the sharps written in the key signature appear in a specific order, so it's probably important to maintain that. Note that there is some useful information here: if you go up half a step from the last sharp in the key signature, you can find out what the key f major is G major C Shar D major, this is important because now, when I look at your music, I can understand better It's not done yet, thoughThere are also flat keys that function similarly to sharps. You place them right next to C to indicate which notes will be played flat.

Similarly, the flats written in the key signature will also be in a specific order and It also has an important fact that says that to find out the name of a major key from the key signature, remember that a flat is the key. of f for two or more flats, the penultimate flat is the name of the key, as an example. The key signature of B flat and E flat would be the key of B flat major bada boom, okay, I'm getting dizzy with all this information right now, but we'll keep moving forward, it's a lot of information that you'll need to keep applying. in your head, but I think we can do it.

This unit ended with another test where I was asked to write down some scales and relate some notes. This unit was laying the foundation for scales and strings. This information may seem overwhelming, but a lot of it is simply little tips to help you in difficult situations, so keep those important facts in mind as we move on to Unit 8. Well, Unit 8 begins with an information dump of the remaining major scales on their armor. How nice that you give some useful advice. with the order of sharps and flats as the acronym fororder of sharps in the key signature fat cats go down Alley's eating bread or the saying for Flats bead plus GCF is fine, they didn't really even try with that one.

I got a better one, be excellent and don't save the right Flats. Honestly, I don't know how you remember this acronym, there are 15 scales, but only 12 of them are single, harmonic scales that work the same as enharmonic notes, you know that C is the same as D flat and so on. I'm really going to want to make sure you understand what notes are in the Bass and Treble Club. I know I just dissed the acronym, but for some reason I've always remembered the face and Every Good Boy Deserves Fudge for the Highs and All Cows Eat Grass and Good.

Boys always deserve a fudge for the bass. The next lesson is about the chromatic scale, which is just each note, so exclusively halftones throughout the piano, there are 12 cones for each key until you go back to the one you started with, just different, like above. octave there's not much more to this so let's move on to intervals buckle up because this one might be a dummy that was a fun word anyway okay intervals an interval is the distance and pitch between two notes , these intervals are named with a number with the beginning being one and the name of the second being the name of the distance between one, so it could be 2 3 4 5 6 7, not eight or one again as they have special names for this situation when you are on the same note also known as one again it is known as Unison or Prim interval if you jump eight you jump a whole octave like eight oh honestly I don't know why I never realized that an octave is was referring to a jump of an interval of eight or maybe I didn't forget I don't know, the point is that I learned I relearned something new today intervals also come in two different types: melodic intervals when they are played at different times and harmonic intervals when they are played At the same time, they also make sure to talk about even and odd intervals and how the jump is from line to space, from space to even line or from line to line, from space to odd space, this is probably so that it is easier to make them. on the fly now the next part of this unit is very important the circle of fifths shows the relationship between each key by adding flats and sharps.

I'm going to go over this real quick since it's information we've already talked about. add more sharps as you go clockwise and flats counterclockwise with the keys having the same order as we saw before the sharp f c g d a e b flat b e e a d g CF the tetra chord rule applies here as you go up and down at this point a lot of the information is indicated here There are many methods to get to certain keys and all that, but what do we do with these keys and this information? Well, that's when we move on to unit 9.

Okay, remember the intervals from about 30 seconds ago. Well, let's talk about them, some more perfect intervals. They are the intervals between the key note of a major scale in unison fourth fifth or octave of that scale why they are called perfect, according to this website, apparently perfect intervals sound in a way that other intervals do not. A guy named Pythagoras was the first person in the West to explore this interesting observation. He is responsible for incorporating it into our current musical language and practice, which is why we can think of Pythagoras for the so-called perfect intervals.

There are also major intervals found between the key note of a major scale and the second third sixth. or seventh, both intervals fall into the category of dionic intervals, which is when the Kino and the top note of the interval are from the same scale. All dionic intervals in the major scale are perfect or major perfect one major 2 major 3 perfect 4. Perfect 5 major 6 major 7 perfect 8 Now, if we take a major interval and decrease the second note by half a step, we get a minor interval. Major intervals can be converted to minor intervals. We're not done with intervals, although we introduce augmented intervals, which happens.

When you make a second major or perfect interval note larger by a half-step, there are also diminished intervals, which are when you make a perfect or minor interval smaller by a half-step, except in perfect unison, because it would inadvertently increase in size each time it is played. the key and the top note of the interval is not from the same scale it is called the chromatic interval the final lesson of unit 9 was on sulage and transposition sulage is when you give a syllable to each note do re me fa so la do you can move this You can do this depending on what key you're in and they even write a little name here.

Mobile, although how nice the transposition is when you take a melody and move it to another key, this makes it easier to sing or play on a different instrument. The easiest way to transpose is by interval and that is unit 9. This one makes the most sense to me. There are a lot of things to remember, but I feel like it's not too difficult to remember that a half step above a major is a soup-augmented interval. it also helps identify different intervals again, there's just a lot of information you'll need to come back to this information probably won't stay at exactly the same time, but that's a night for everyone Unit 10, you might be wondering why this unit has that subtitle, remember the eighth notes, these are now the sixteenth notes, oh my goodness, they have two flags in this root, this is crazy, it is counted as one, two, three and four, they have double rays and it can also be combined with eight notes and not you can have a sixteenth note without a rest 16.

The rest 16 could be put in a piece of modern art called The Grind. You know, because that's the break they get. Yeah, I don't know, I don't have anything else for this 16th note rest, what is that? No, come on, no, you didn't, you really didn't, oh my god, eighth note, you didn't have to settle, you were perfectly fine just the way you were without the other half of yourself, but I guess here we are. They are dotted eth notes 34 seconds of a beat maybe it sounds absurd but it is very practical below common time and cut time common time is the measure of 44 but it can also be written as C suff wait no no no no no no no cut the beat or Al also known as 2 over two when a half note receives one beat per measure, this makes all the notes worth half and that is Unit 10, one of the shortest for sure, but it ended with signs of what is coming.

Unit 11 begins with the introduction of time signatures 3 and 68, okay, so in this time signature an eighth note is worth a beat. Here are some examples. This book goes on to tell us about 38 and 68 in fast tempos where now, instead of an octave, it's worth a beat. okay 1/3, my brain hurts a little with this one, so I'll continue with the 8th note triplets, basically when you get three above or below the notes. It's a triplet, a triplet is three notes played in time with two notes of the same value 1 2 1 2 3 this one is a little hard to understand at first but once it clicks it's not too complex notes this is basically a musical omen or how to start a sentence and basically some pieces have an incomplete measure they will end later by finishing it later syn aati when the accent of the music is on the weak rhythm instead of the strong rhythm, okay, there is unit 11, today they were taught some complicated timing teachings two tempo T signatures tones two the value of a whole rhythm based on different rhythms it's like math no it's actually just math that sounds good literally like music sounds good okay I'm moving on it's crazy the amount of things that build on themselves, I mean, make I feel like knowledge is simultaneously being exposed outwards and upwards and, although it's been difficult to understand all of this, I think I'm still holding on, so let's get to it. unit 12.

Triads are how we started and they are big so when you put three or more notes together at once the combo creates a chord when you have a chord with the third and fifth root note you get a triad. Each triad also has a name. These names are based on the root note. You can build them in any note that this lesson only focuses on the C major scale, so here are some examples. This book says that the most important triads are built in the first fourth and fifth degrees of a major scale. They are called primary triads or primary chords.

These are important. because together they contain all the tones of the major scale, these triads are also known as major triads because they have the root from a major third to a perfect fifth remember the intervals remember how we have been calling the degrees of the scale with numbers, well, They have names apparently the first degree of the scale is called the Tonic because it is the lowest and highest tone of a scale. The second is called supertonic because it is right above it. The third is called through because it is halfway above the tonic and below the dominant.

The fourth is called subdominant. It is called that because it is the same distance below the tonic as the dominant is above the fifth it is called dominant because it is one fifth above the tonic the sixth tone is known as submiddle because it is halfway between below the tonic and Above the dominant the seventh is called the main tone or sometimes the subtonic. It's so called because it often leads into the tonic and that brings us to B7, the dominant seventh chord that is known as the replacement for the SL dominant fifth triad, although it is not a triad. because it has fourth notes, but sometimes we remove the fifth from V7, so we have 1 4 and V7.

I feel like we're just getting started with these triads and this book does this thing where it usually half-presents a concept. just the main part and you just have to trust the process and have that knowledge in mind. That being said, we have six units left, imagine how fun it would be if we rearrange the root note so that it is on the top instead of the bottom, that's what we call a first inversion and if these quarter notes spaced within a octave they refer to them as closed position, if they are spaced further apart it is in open position, oh but it doesn't end there, we can take any first inversion and get this, we can invert it again by moving the lowest note up and then if you do it again with the new bottom note, uh oh, we're back in route position, so the V7 chord can also be inverted, but this time. has three inv versions because it has four notes, this brings us to a calculated base which from a quick overview of the page looks like it's something that isn't used that often and from what I can gather online it really isn't it's used.

Mainly just classical pieces and schools to teach this sort of thing, but we're learning it, so calculated bass is a way of indicating which chord inversion you're going to use. It originally looked like this. The top number indicates the distance. between the lowest base note on the top note, the bottom number was the distance between the low note and the middle note, eventually this was shortened to is6 by simply dropping all three completely, V7 chords do something similar to this but with four positions again. it was shortened to include only the distance to the top from the base, okay, here's a great major chord progression, basically, when you start wanting to do several chords in succession, you get a chord progression for this lesson, they keep us in major and they make us use one four. and five because they have all the notes of the major scale, remember that however most of the time they use V s instead of five, also mention that if you play four or five or V7 in route position, it can sound choppy. so they usually move the four chord to the second version and the V7 sl5 to theFirst, when they make these inversions they also keep it an octave lower so that it stays in the general range.

I have a feeling this is one of the most important ones. Getting in okay, that's all for unit 13, move on to the next one. Remember the major scales we talked about. Did you know that for every major key there is a relative minor key that has exactly the same key signature? Unit 14 introduces us to minor scales and You can find these relative minor scales by starting on the sixth note of a relative major scale, so C major becomes a minor, oh, and if you want to find the relative major scale again, go up three from the relative minor scales. natural harmonic and melodic minor scales the natural minor scale uses only tones of the relative major scale the harmonic minor scale raises the ascending and descending seventh tones the melodic minor scale raises the sixth and seventh tones while ascending but descending the same as the natural minor scale this book says that the harmonic minor scale is the one used most often remember the diatonic intervals well these are them in the harmonic minor scale remember we have perfect major triads and minor minors you get a minor triad rooted to a minor third and fifth perfect, you can create your own minor triad by putting a major third on top of a minor third and vice versa for major triads with the root in the second third and sixth degree of a major scale are also minor triads or, if you have a major triad and take the third and lower it half a step, you will get a minor triad, speaking of changing triads for other triads, here there are augmented and diminished triads, you can make an augmented triad by raising the fifth by half a step. step in a major triad or adding a major third into a major third, you can make a diminished triad by lowering the fifth half a step from the A minor triad or you can build one by adding a minor third into a minor third, so with this information If We construct triads from all the degrees of a major scale, we would have the first fourth and fifth degrees of the scale as major triads, the second third and sixth as minor triads and the diminished seventh, but with that information we have already learned it.

You can create an augmented or diminished major minor triad very easily. just make sure you understand which one you are starting with, the distance between the notes in a major is three and two, then if you lower the third half a step you get a minor and then lower the fifth half a step and they decrease you or if you go back to Major and go up the fifth instead they increase you and this goes back to different scales and so on and well, it seems like we are starting to have some bigger concepts, it's a little strange in my brain. how these concepts are starting to come together, you know there are still some parts where I'm not 100%, but I feel like the information is there, I just need to keep seeing it, analyzing it, using it and all that, and it will make more It makes sense, but that's Unit 14.

Remember we talked about major triads and major keys. Well, now we have the primary triads for the minor keys, so the most important triads of a minor key are from the first fourth and fifth scale degrees of a minor. oh oh scale, you also remember how we did the major triad scale. We also have the harmonic minor triad scale. The first and fourth degrees of the scale are minor. The fifth and sixth triads are major. The second and seventh triads are diminished and the third scale degree is. augmented after that remember major chord progressions, well now we have minor chord progressions and then as major chord progressions we move the minor fourth chord to the second inversion and then 5/V7 to the first inversion.

Okay, it looks like we have something interesting coming up, so it's modes one mode is an eight note scale in alphabetical order starts at any scale degree using the key signature of the main scale there are seven modes and each one has a G note name Greek we have three modes that relate to the major scale and four that relate to the natural minor scale starting with major we have the Ionian mode just a major scale mixes a lyan mode a major scale with the lowered seventh half a step Lydian mode major scale with the fourth raised half a step, then the natural minors we have the aolan mode only a natural minor scale Dorian mode natural minor scale with the six raised half a step fragen mode a natural minor scale with the second half step down and finally the local mode to scale natural minor with the second and fifth lowered half a step, this one also comes with a statement saying it wasn't used in ancient times, okay, I thought you should know that I guess, and yes, that's unit 15, this one ends the quest of words in I was a little confused at first with these puns, but I understand why at this point there are so many music theory dog-play terms that it's hard to keep them all in mind.

There have been several points now where I have had to relearn. terms I wrote about above just because there are a lot of them, but the more these terms are used, the more they will stick in my brain. I'm going to apply them to the music now, but we're not done yet, let's look at the rest of this. information harmonize a melody in a major key harmonize a melody by creating chords to accompany it remember how the 1 4 and 5/V7 chords have all the same notes in a major scale, well, you can combine almost any major melody with these three chords there a little guide on which chord you can use depending on the scale degree in which the major key is played.

The next step is the broken chords and the arpeggiated accompaniment. Broken chords occur when you separate a chord so that it is no longer played at the same time and on one side. The note before breaking is known as a block chord. When you play the notes of a chord sequentially, it is called an arpeggio. Here are some examples that happen in neighboring shades. Melodies generally include tones that are not in the chord used for harmony. called non-harmonic tones, well we have two different types here today when a melody goes from one place to another but with a non-harmonic tone in the middle we get the passing tone, when a melody goes to a non-harmonic tone then it goes back to where it started we have a neighboring tone that comes in a variety of two upper and lower tones, these tones usually occur in a weak rhythm and should not take into account your choice of chord to harmonize the melody or they may be I don't know.

I know the rules are made up. I don't like it when you tell me what not to do. Book to finish this unit. We have a lesson called composing a melody in the major key. How elegant. Basically, you can make a melody for one already. chord progression created here is the three step guide step one analyze the chord progression write the numbers below the chords step two add the chord symbols above the staff step three use the chord tones and non-harmonic tones to compose your melody itself remember that the first and last notes of a melody are usually the root of the first in Unit 17, harmonizing a melody in a minor key similar to a major, but now we have first minor minor fourth and even major v/V7 To compose a melody in a minor key, you do more or less the same things as in a major key, again, the Roman numerals are in lower case, sometimes 12 Bar Blues chord progressions.

Blues is music that has a deep history with songs from Africa and harmonies from Europe, but that is a conversation for another. day the blues chord progression is 12 bars there are many different variations this book keeps it traditional well this is where it gets fun now here is a Blue scale you improvise them with a matching Blues cord and you get some rhythms that sound sweet like Oh, dear. It's glorious, this lesson started specifically to make the pieces fit together a little more in my mind, a way to make all the different sounds work on all the different systems and still make sense of it all.

I'll just say that the blues hit my brain. a little bit of Brain Blast basically anyway Here's the final unit so we're here on unit 18 and this unit tells us how to take all this information and write Music Motif and Phrase is the first lesson in this final unit a motive SL Motive is a brief melodic harmonic rhythmic wait I mean a rhythmic idea used throughout a piece it is like an idea in a story in the form of Music a phrase is the sentence of Music it can have a complete idea or an incomplete idea but it is finds a phrase by the little pauses between each one to take a breath, a pause like a sentence, so what do we do with these phrase forms?

We will start with binary AB forms, when you combine several phrases you get one full part which with another part creates a two part AB Form, so the first section contrasts with the second, but they will share similarities but remain distinct to create what we call a song. The ab form has a verse and a chorus. A verse changes with each repetition, while the chorus is the chorus, the repeating part of a song, next you have the ABA form, which is very similar to perhaps, but now there is another a to carry the song home, this is what makes up a lot of music and then in the final lesson, they talk. about the Rondo form a Rondo form bounces between sections it all comes back to a basic game a b a b a b a c a a b a c a b a there are many other forms, although at least this Wikipedia page is full, but that's it, that's where this book ends, that's it the

essentials

, so that's it.

This book I have learned a lot of things from this I think I mean, I know I have it, it just feels good, how can I show that I have learned something? Maybe I am not a master in this music theory thing, but I have taken the first step and now I just have to take the second and the third and I understand that it is a mixture of methods created for music theory and now I have to discover all these new things, it's going to be difficult. but just one step at a time and we will create amazing things.

Goodbye, you're a strange town porelite, that's the basics, the fundamentals, the fundamentals of music theory, if you find a mistake or something that should have been expanded on, let me know in the comments. but I was thinking where I should go from here. There are a few different musical routes I could take, but I don't know if you have any suggestions for me, let me know and well, I guess I'll move on.