By Jim Aikin
This ebook leads readers in a step by step, easy-to-understand manner throughout the fundamentals of musical periods, scales, triads, extra complicated chord voicings, and the categories of chord progressions utilized in millions of famous songs. whereas firmly grounded in conventional tune concept, it addresses the desires and pursuits of readers who're more well-off with pop song. in contrast to a few "chord and scale encyclopedia" books released for guitarists and jazz gamers, which provide you masses of scales and licks with no explaining the place they arrive from, Chords andHarmony "opens up the box" to give an explanation for why a few chords and scales paintings good jointly whereas others conflict.
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Extra resources for A Player's Guide to Chords and Harmony: Music Theory for Real-World Musicians (Backbeat Music Essentials)
Sample text
Gesellschaft und Musik. Wege zur Musiksoziologie, Berlin 1992, S. 27–53. ), Mittelalter. Neue Wege durch einen alten Kontinent, Stuttgart/Leipzig 1999, S. 333–367. ), Soziale Horizonte von Musik. Ein kommentiertes Lesebuch zur Musiksoziologie, Kassel 2006, S. 120–136. Christian Kaden, Das Unerhörte und das Unhörbare. Was Musik ist, was Musik sein kann, Kassel 2004. Christian Kaden, »›Gesungenes Weinen, geweinter Gesang‹. Kunst der Verwandlung in einer Stammeskultur auf Papua-Neuguinea«, in: Kaden, Des Lebens wilder Kreis.
10 f. Was ist Musik? Eine interkulturelle Perspektive 23 Rudolf M. ), Von der Vielfalt musikalischer Kultur (Festschrift für Josef Kuckertz), Anif/Salzburg 1992, S. 43–79. Bruce Chatwin, Traumpfade, München 1990. Mihaly Czikszentmihalyi, Flow. Das Geheimnis des Glücks, Stuttgart 1992. Mihaly Czikszentmihalyi, Kreativität. Wie Sie das Unmögliche schaffen und Ihre Grenzen überwinden, Stuttgart 1997. , Wilhelmshaven 1985. Hans Peter Duerr, Traumzeit. Über die Grenze zwischen Wildnis und Zivilisation, Frankfurt a.
Galler Handschrift des 10. s zwar unter dem Titel »Notation« zu verbuchen, aber die Differenz zwischen den Phänomenen ist so beträchtlich, dass uns das Trennende in die Augen fällt, bevor wir das Verbindende ausmachen können. , S. 49–57. Eggebrecht, Musik im Abendland, S. 37. Die Textstelle ist ausgiebig analysiert in: Rotter-Broman, Komponieren in Italien um 1400. Studien zur Satztechnik in dreistimmigen Ballaten und Madrigalen, Kap. 5: »Geschichtsbild und Analyse«. Warum schreibt man über Musik?
