Basic Music Theory: How to Read, Write, and Understand Written Music 2nd (second) Edition by Harnum, Jonathan published by Sol Ut Press (2005)

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Extra info for Basic Music Theory: How to Read, Write, and Understand Written Music 2nd (second) Edition by Harnum, Jonathan published by Sol Ut Press (2005)

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108 108 109 109 one hundred ten . 111 . 111 112 easy track thought ix Chapter 14 evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 15 New Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 8th Notes and Rests . . . . . . candy 16th Notes . . . . . . . how one can determine a difficult Rhythm relocating On . . . . . . . . . . . . . bankruptcy 15 evaluate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 . 116 . 118 . 118 . 119 sixteen Seeing Dots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 you're not Seeing issues The Dotted entire observe . . The Dotted part observe. . . . The Dotted area notice . . Dotted 8th observe . . . . . Dotted Rests . . . . . . . . relocating On . . . . . . . . . bankruptcy sixteen evaluate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 122 123 123 124 a hundred twenty five 126 126 17 Triplets! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 basic Tuplet details 8th be aware Triplet . . . . . 16th notice Triplets . . . region observe Triplets . . . . relocating On . . . . . . . . . bankruptcy 17 overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 128 129 a hundred thirty 131 131 half III evaluate . . . . . . . . . . . . . . . . . . . . . . . . 133 Whew! You Made It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 The evaluate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 INTERLUDE: TO PLAY OR to not PLAY 18 Don’t Say perform. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Don’t Say the P be aware . . . . . Come on child, mild my wish tips on how to get well . . . . . . . begin a brand new behavior. . . . . . . . the place to Do It . . . . . . . . . the way to Do It . . . . . . . . . . the perfect consultation . . . . . . . alternative routes to Play. . . . . . . a few tools . . . . . . . x . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 a hundred and forty four a hundred forty five 146 147 148 one hundred fifty 154 156 PART 4: SEE SHARP OR BE FLAT 19 Accidentals On function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Accidentals aren't any twist of fate . common unintentional details residences . . . . . . . . . . . . . . Sharps . . . . . . . . . . . . . Naturals . . . . . . . . . . . . extra unintentional principles . . . . . relocating On . . . . . . . . . . . bankruptcy 19 assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one hundred sixty a hundred and sixty 161 161 162 162 163 163 20 The Piano Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one hundred sixty five Why examine the Keyboard? . . be aware Names at the Keyboard Flat Notes at the Keyboard . Sharp Notes at the Keyboard Enharmonic Notes .

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