Everything about Music theory

WHY MUSIC THEORY MATTERS
Composing without music theory is like mixing without EQ. It’s possible, but I don’t recommend it.
The main problem with ignoring theory is that, chances are, you’ve grown up surrounded by Western music. And your ears probably prefer Western music norms. So the music you inherently prefer to compose will follow the rules of Western music. And by “rules of Western music,” I mean music theory. To break the rules, you have to realize you unconsciously follow them, which requires learning them. Once you learn theory well, you’ll see how to treat the “rules” instead as “guidelines.”
Also, a tip on “studying” the theory concepts in this pdf: USE THEM. Write songs for the sole purpose of exploring diatonic chords, or do whatever you need to do to make things stick. Just use theory in any way you can and push into territory you’re uncomfortable with as often as you can in order to make it familiar and easy
TL;DR: STFU and learn music theory


TABLE OF CONTENTS


1. Basic Melody
a. Major scale
b. Minor Scale
c. Intervals  
d. Relative/parallel scales
e. Harmonic and Melodic Minor Scales
f. Compound intervals
g. Inverted intervals
h. Modes
i. Pentatonic Major and Minor
j. Describing melodies

Neighboring and passing tones, pedal points,  and chordal skips/arpeggios  

2. Basic Harmony
a. Triads + 7th chords
b. Chord Inversions and Variations
c. Diatonic Major  
d. Diatonic Minor
e. 5-6 Technique
f. Partial Chords
g. Extended Chords
h. Dominants

3. Intermediate Melody
a. Contrapuntal Motion (“Counterpoint”)
b. Phrygian Dominant
c. Diminished scales
d. Whole tone scale
e. Altered scale
f. How to harmonize a melody
g. Melody over chord progressions
h. Melodic Chromaticism  

4. Intermediate Harmony
a. Secondary Dominants
b. Altered Chords
c. Applied Chords
d. Mixture I: “What is it?”
e. Mixture II: “Why use it?” and Example I (Viva la Vida)
f. Mixture III: Example II (Loud Pipes)
g. Mixture IV: Example III (Get Lucky)
h. Mixture V: Concluding Remarks
i. Phrygian II (Neapolitan chord)
j. Suspensions
k. Anticipations
l. Chord Movement Patterns
m. Modulation
n. Chromaticism
o. How to Analyze a Chord Progression

5. Rhythm
a. Rhythmic notation
b. Syncopation
c. Polyrhythms I: “What are they?” and 2 V. 3
d. Polyrhythms II: 3 V. 4
e. Polyrhythms III: Other polyrhythms and How to use them
f. Polyrhythms IV: Polyrhythm variations

6. Other
a. Time Signatures
b. How to Apply Theory Numbers to Notes
c. How Keys Work
d. The Circle of Fifths

7. Further materials

To Read full download: 

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WRITTEN BY: SAM MATLA 

  

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