Music Theory Workbook for All Instruments, Volume One: Chord and Interval Construction

FREQUENTLY ASKED QUESTIONS

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QI've decided I want to go with your approach.

I can devote the following time slots for my practice schedule:

On weekdays, I spend half an hour each day walking back and forth from the train station to the office (15 minutes each way) during which I usually listen to tapes or CDs on my Walkman. I should be able to spare an additional 30 minutes during lunch break listening privately to tapes or CD instruction.

Also during weekdays, I can spare 2 hours every night playing with my MIDI controller keyboard at home . Right now, I practice using Band-in-a-Box and/or Yamaha PSR arranger accompaniment, though I really would like to play the keyboard more like a regular piano than as an electronic instrument . But I'm thinking of getting a drum machine because metronome work is kind of boring.

Thus, I would like to use the piano as my main instrument.

I also have done a fair amount of reading and self-study on music theory, so I can use a fake book and read a single note melody on the treble clef. I also use the chord symbols above the treble clef to play accompaniment. I am familiar with pitch and rhythm as well (note duration, tempo, the various keys, etc.) However, I have neglected to use the bass clef since I rely mostly on chord symbols for my left hand work.

I know about the circle of fifths, how chords are formed, i.e., minor, 7th, 6th, major, diminished, augmented, chord progressions, etc., at least in theory, but I have not yet memorized all the chords in all the keys since I do most of my practice in the key of C.

My single biggest challenge, and the reason why I find your approach so appealing, is being able to play on the fly, i.e., without referring to a chord sheet or notation. In other words, solely by ear. I can do that with single note melodies. My problem is on the chord progression side where I am unable to distinguish different chord "colors" to the point where I can know what chord shape or progression goes with what melody note in progress. Otherwise, using a fakebook is no problem.
AI would recommend listening to the Ear Training One Note CDs 4 to 5 times a day for 5 to 10 minutes. This will work great as you walk to and from a train station or other places that you can use a discman to listen. I would spend two 15 minute periods of your 2 hour practice time singing out of the Fanatic's Guide. You can join the "member area" of the muse-eek.com website to download some sample lessons. These lessons would be a good place for you to start.

If you can within one second say the correct answers to these 6 questions then you don't need the Music Theory Workbook. (answers at bottom of email)

1. What is the flatted 6th degree of Gb?
2. What is the sharped 4th degree of Db
3. What is the flatted 3rd of Bb

4. E is the flatted 6th of what key?
5. Gb is the flatted 7th of what key?
6. E is the sharped 4th of what key?

With my ear training it is important that you have quick recognition of these crucial music theory questions. If not you need to develop your music theory to the point that it is like the English language to you and you don't have to think very hard to get the correct answer fast. If you are using the piano I would recommend the Music Theory Workbook for All Instruments if you feel you need to quicken your response.
 
QI am very new to music theory so am finding it all a bit hard. Do you know what the difference is between a diatonic and a non-diatonic chord is?
A The notes of a C major scale C, D, E, F, G, A, B are commonly referred to as the diatonic notes of the key of C major. If we had the key of D major the diatonic notes would be D, E, F#, G, A, B, C#. Because many pieces of music are written using only the diatonic chords of a key it is a very common practice among musicians to learn the diatonic chords of every key using numbers and letters to aid in the memorization and quick learning of new songs. So the C scale would be:

C, D, E, F, G, A, B
1, 2, 3, 4, 5, 6, 7

I would recommend if you don't have my Music Theory Workbook for Guitar Volume One or Music Theory Workbook for All Instruments this would be a great source for you to first understand music theory but more importantly give you many many pages of exercises so you can engrain this information into you head and hands so you can effectively use it when you are try to understand music.
 
QI am a singer, wanting to improve my sight singing abilities (to improve my capabilities as a session singer). I am not quite sure about which of your books I should get. I have had some theory and can squeak by with sight reading... I think I would consider myself a beginner.
AI think the best course of study for you would be studying out of 3 books.

Ear Training One Note Complete
Fanatic's Guide to Sight Singing and Ear Training
Music Theory Workbook for All Instruments.

The two ear training books will get you going on a course of learning to reprogram your ears to hear correctly and therefore sing better. The theory book will help you develop your knowledge of music so it becomes more natural for you. If you feel like this is the course of study you want to do contact me after you get the books and I'll help you with a practice schedule.
 
QI'm interested in getting back into choral music singing, and I was never anything beyond a beginner. You recommended the following to another singer:

Ear Training One Note Complete
Fanatic's Guide to Sight Singing and Ear Training
Music Theory Workbook for All Instruments

I'm guessing that those are the books you would recommend. Is there any rhythm work in the sight singing book or would I have to buy the rhythm primer to get rhythm practice?

I also wondered whether you had any plans to come out with software versions of your books. As a language student, I've found software drills to be really helpful - especially for generating random drills of Greek verb forms. If you aren't planning to make one, is there a software program that you would feel comfortable recommending for a Mac User - that wouldn't interfere with your system? Are you familiar with Ars Nova's Practica? http://www.ars-nova.com/practica.html
ACurrently we are not developing a computer version of our ear training program. We do have plans to do this in the future though. The books you mentioned would be a good place to start with the ear training. It will get you started with the ear training on two fronts and the Music Theory will help you process music and ear training much faster.

For rhythm studies I would start with Rhythm Primer and then proceed at least through Rhythms Volume One and Two. I do have more advanced books after that like Odd Meters but unless your going to be doing some advanced choral music you probably won't need a book like that.

I also have a choral ear training book called LINES but I wouldn't work on this book until you have worked through Ear Training One Note Complete and Key Note Recognition. You first need to understand how you hear before attempting to part sing. I also many times recommend one of my guitar books for ear training. Single String Studies for Guitar Volume One and Two are excellent books to use for developing your ability to sight sing. You have to do some octave adjustments but other than that it's a real good book to help develop key retention. I wouldn't use these books until you have finished Ear Training One Note Complete.

I know the program Ars Nova's Practica and I wouldn't recommend it as a replacement or as an additional program to my method until you have completed Ear Training One Note Complete, Key Note Recognition and the Two Note Ear Training Books. By the time you have gone through these books you will realize how you can use any program in the right way to improve your ear training ability. I will say that one thing nice and useful about the CDs that go with my books is you can do them anywhere as opposed to a computer program which can only be used when you have a computer with you. A little hard to do when you are taking a walk.
 
QI began studying bass guitar about 6 months ago and absolutely love it. I have played piano for 15 years, but unfortunately didn't have a teacher who taught intense music theory, so I really only have the basics of theory down. I've been looking for a book that would incorporate learning detailed music theory into my skill progression on bass guitar. After looking at your site for a while, I have decided to go with the Single String Studies Volume 1 and 2 for Bass Clef, but I also wanted to ask you if your Theory Workbook For All Instruments would be beneficial for a bass player? I don't know how the book is set up, so I wasn't sure if it would apply correctly to a bass clef instrument or if it is geared primarily towards treble clef instruments.
AWhat I've been recommending for bassists is to get Music Theory Workbook for Guitar Volume One and just fill in the exercises and change the clef to bass clef. This book has the answers in the back of the book but they would be in treble clef. I unfortunately haven't had time to make a bass edition to this book but this is really what you need. You should keep in mind that a bassist should really know treble clef too so Xeroxing each page and doing it in bass clef and treble is really the best. You really should learn music theory directly applying it to the bass. With a little fudging this book could work for you and be very beneficial. Also keep in mind that when you get into larger chords there may be some places where you run out of room on the fretboard diagram. If that is a problem let us know and we will send you a larger diagram.

The Music Theory Workbook for All Instruments would work but you wouldn't have the benefit of applying it directly to the bass.
 
QI followed your advice (a bit more I admit) and I now have in my possession your following books:

Ear Training One Note Complete Method
A Fanatic's Guide to Ear Training and Sightsinging
Rhythm Primer
Rhythms Volume One
Music Theory for All Instruments (Will arrive in 2 weeks from amazon)

So now that I have the books I'll be glad to receive some study plan for them so I can be organized with my studies. I already for 2 days listen to the One Note CD trying to identify notes.

I just want to stress that my sole (soul) aim right now in the musical world is to be able to read/sing from a music sheet as if I was reading a text book. I know it's a high aim right now but I'm willing to work hard to attain it provided the working plan is clear in my mind. I'll appreciate any advice you could give.
AHoping that you would have a couple of hours a day to practice. Here is the schedule I would recommend.

Rhythm primer and Rhythms Volume One do 3 pages a week. Read the rhythms at a tempo that you feel you are getting about 80% of the rhythms right. Use the midifiles or the mp3 files for these books found on the muse-eek.com website under the books title to aid your progress. Use a metronome. You can start with the metronome on every beat but over time you want to work towards using the metronome on beat 2 and 4 especially with the Rhythms Volume One book. You should also read the suggested ways of study in the Rhythm Primer for a more detailed practice schedule.

Music theory for all instruments I would do one page a day. You may have to build up to that but that is your goal.

With the Fanatic's Guide and the Ear Training One Note Complete you should work from these books many times throughout the day. They are good books to work with when you are taking a brake from practicing or anytime when you have 5 to 10 minutes.
 
QI looked through your FAQ section and found some great information, but I do have a question for you regarding my specific situation. I am a classically trained vocalist looking to improve my sight reading skills. I also have some experience playing piano, and guitar, mostly self-taught by ear. My strong suit is that I have always been able to learn music when I hear it, have strong relative pitch and good pitch recognition, but because of it, my sight reading skills have suffered. I would like to be able to sight read music off the sheet, so I can learn music more easily without always having to hear a recording of it, and so I can do this better at auditions that require it, etc ... I found your books and website, and would like to implement your program but I have a couple of questions:

1. I am planning on going back to university to get my degree in music in a few months. I have had some musical theory training, enough to know the basics, but not enough to say I learned the interval training method that is most taught in schools today. If I begin with your course of study, will I be totally confused when I then take a college music class where they teach the other method? I have about 4 months or so of lead-in time, do you think this would be enough time to get grounded in some of the basics of your program with diligent practice?

2. Which books would you recommend I start with, and how should I use them? I would like to order them ASAP so I can get started. I am not afraid to work hard at it, I love music, have just started to get back into lessons again and am excited to be back on the musical path again after being absent from it for several years. I just want to be the best musician that I can be in every aspect.
AI would work out of the following books:

1. Music Theory Workbook for all Instruments. This will help you get your theory working quicker which will help in all aspects of musical training.

2. Ear Training One Note Complete. I'd start with the intermediate CD (book contains 3 CDs).

3. Fanatic's Guide to Sight Singing and Ear Training. Both of the previous mentioned books will go against your learning in school. I look at school as a place to learn as much as you can and to also realize that everything that is taught is not particularly to your advantage but is dictated by poorly run programs and poorly educated teachers. Don't let their mistakes be yours. Always question everything you learn and remember the best place to hang out at school is the library. The library will give you alternate sources of education to help you find the truth.

4. I'd work through the Rhythm Series of books to get your rhythm totally happening. I'd start with

Rhythm Primer
Rhythms Volume One and Two

If you can play/sing the rhythms in these books you will be well on your way to feeling comfortable with the common rhythms you will run into. I'd also recommend you work through Odd Meters once you get these basic rhythms together.

With the Music Theory Work try to do one page a day. With the Ear Training do it many times through out the day in 15-20 minute increments. With the Rhythm books spend 15 minutes a day working from each book.

This will really give you an advantage on your musical ability. It won't always jive with what you are required to do at school but it will make you a better musician. I think being a better musician should be your goal not how well you do in school. Unfortunately they don't always coincide.
 
QDo we have to memorize all the intervals from one note to another note or just use the scale and count it up and down? I often visualise the keyboard controller with the scale and use it when doing the theory... is that okay?
AAt first you can just use the scale and count up or down to notes. Overtime you should start to recognize the intervals on the piano so you don't have to count you just recognize the distance.
 
QSome time ago I wrote to you and that was just when I was starting out with this method of ear training. It's been very challenging but like you said with patience and time I have gotten lots better at it and I continue to look forward to the progress I'm making each day.

Thanks for all the effort and experience that must have gone into making a self-study course like this that works!

As I begin to hear pitches relative to the key and as I continue to sing, I realise that to really be able to apply the new skills that I have picked up, my music theory needs to be up to scratch.

I've just taken some theory and an exam (ABRSM Grade 5), but since I've always been singing and never quite played the piano extensively, at this point if I stop and think for quite a while I will be able to figure out say in the key of Bb Major, the augmented 4th is an E, but to be able to listen, identify the pitch and name the note within a second as you suggested, I need to be much quicker.

Is there any way that I can work on this? I suppose lots of theory practice in different egs. would help. I recall you suggesting the Music Theory Workbook for Guitar Volume 1, but is this going to be directly relevant since I won't be doing stuff with the guitar? And the focus should be more on scales, intervals and keys right?
AYou are correct that you need to improve your music theory in order to use your ear training efficiently. I would use the Music Theory Workbook for All Instruments Volume 1 to improve your note recognition if you don't play guitar. Once you have worked through that book you shouldn't have any problem theoretically with the ear training.
 
QMy Music Theory Workbook for All Instruments refers to a small booklet that can be downloaded from the member's page. I'll be darned if I can find it. I'm a trumpet player. Can you direct me to where this can be downloaded?
AYes I could see how you might have that problem. The files are in the "Help Files for Music Theory Workbook for Guitar" Folder. Some of these files are specifically for guitarists but some would pertain to you.

I would start with these files and I'm sure you will find some good stuff.

Music Theory Additional Lesson
Applying Music Theory to Your Instrument
Music Theory Video Files
Music Theory Interval Lesson
 
QWould you be willing to explain a couple of answers from your workbook. I am challenged when it comes to music, engineer by profession. I was working the 1st lesson basic intervals on pg 16. MInor 6th: Starting note G, 8 1/2 steps I said D#, your answer Eb. Because it is a minor I would use the flat not the sharp?

Augmented 6th: Starting note A, 10 1/2 steps I said G, your answer Fx??

Tritone: starting note A 6 1/2 steps, I said D#, your answer Eb
AMusic theory has a few little rules it follows which can be confusing at first.

If you need a Minor 6th above the note G it's going to have to be some sort of E because E is the 6th degree above G:

G=1
A=2
B=3
C=4
D=5
E=6

So you always need to count up the letter names of the alphabet to first get the right letter name and then you alter it to make your interval. Let's look at another one.

An Augmented 6th above A

A=1
B=2
C=3
D=4
E=5
F=6

An F is 8 half steps above A
An F# is 9 half steps above A
An FX (double Sharp) is 10 half steps above A or an Augmented 6th

One more example:

A tritone can be either an augmented 4th or a diminished 5th. So a tritone above A equals could be either a D# or and Eb

Historically a tritone meant 3 whole steps above a note

A to B to C# to D# so it should be a D#. But some will argue that It is common practice among musicians to call either a D# or an Eb a tritone. So you can go either way with that one. But that is the only exception.