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 A Creative Approach to Music Fundamentals 10th Edition
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 Music Fundamentals in Action
Improve your skills at your own pace and on your own schedule online.
Prepare for quizzes with personalized practice sessions designed to help you.

Featuring
Focus on Fundamentals
• PreTests to help you evaluate your beginning skill level
• Interactive Practice Exercises in basics, rhythm, pitch, scales, intervals, triads, and
progressions
• Progress indicators that give you feedback on your expanding skills

Plus
• Problem solving Tips for Learning
• fun FM audio of musical examples and Duckworth’s Lets Talk About Music
• fun TV video demonstrations
• Music in Action topics

All this and more, online at www.cengage.com/music

A CREATIVE APPROACH TO

Music FU N D A M E N T A L S
This page intentionally left blank
A CREATIVE APPROACH TO

Music FU N D A M E N T A L S

TENTH EDITION

William Duckworth
Bucknell University

Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States
 A Creative Approach to Music © 2010, 2007 Schirmer, Cengage Learning
Fundamentals, Tenth Edition
ALL RIGHTS RESERVED. No part of this work covered by the copy-
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1 2 3 4 5 6 7 13 12 11 10 09
For Will, Katherine, and Alison,
who grew up with many
of the songs in this book
This page intentionally left blank
 Brief Contents

Preface xv

Introduction xix
CHAPTER 1 The Basics of Music 1
CHAPTER 2 Rhythm I: Simple Meter 31
Focus on Skills I 47
CHAPTER 3 Rhythm II: Compound Meter 51
CHAPTER 4 Pitch 73
Focus on Skills II 91
CHAPTER 5 Major Scales 95
CHAPTER 6 Major Key Signatures 115
CHAPTER 7 Intervals 125
Focus on Skills III 155
CHAPTER 8 Minor Key Signatures 159
CHAPTER 9 Minor Scales 171
CHAPTER 10 Pentatonic and Blues Scales 203
Focus on Skills IV 215
CHAPTER 11 Triads 219
CHAPTER 12 Triads in a Musical Context 239
CHAPTER 13 Chord Progressions 261
Focus on Skills V 279
CHAPTER 14 Writing a Song 283
Appendices 301
Glossary 345
Subject Index 351
Index to Musical Examples 357

vii
This page intentionally left blank
 Contents

Preface xv

Introduction xix
The Elements of Music xix
The Characteristics of Musical Sound xx
Musical Talent, Musical Knowledge xxi
A Theory of Music xxii
How to Practice xxiii

1
CHAPTER 1 The Basics of Music
Rhythm 1
Pulse 2
Meter 3
1

Measures 4
Note Values 4
Rests 8
Pitch 9
The Staff 9
Noteheads 9
Clefs 11
The Keyboard 15
The White Keys 16
The Black Keys 17
Musical Distances 18
Accidentals 19
Practicing Revisited 20
Focus 21
Practice Materials 23

2
CHAPTER 2 Rhythm I: Simple Meter
Dotted Notes
Time Signatures
Simple Meter
31

32
32
31

ix
 x A Counting Method for Simple Meters 33
The Basic Pulse 33
CONTENTS
Divisions of the Pulse 34
Conducting Simple Meters 36
Common Time and Alla Breve 38
Beams in Simple Meter 38
Tempo 40
Focus 41
Practice Materials 43

Focus on Skills I 47

3
CHAPTER 3 Rhythm II: Compound Meter
Compound Meter

The Primary Pulse 54

Divisions of the Pulse 54
51
A Counting Method for Compound Meters 54
51

Beams in Compound Meter 55

Pulse and Beat 57
Conducting Compound Meters 58
Ties 59
Syncopation 60
Repeat Signs 61
Triplets and Duplets 62
A Counting Method for Triplets and Duplets 63
Keeping the Beat 65
Focus 66
Practice Materials 69

4
CHAPTER 4 Pitch
Enharmonic Pitches
Ledger Lines
The Octave Sign
73
75
76
74

Octave Identification 77
Stems 78
Dynamics 79
Articulations 80
How to Read a Musical Map 80
Focus 83
Practice Materials 85
 Focus on Skills II 91 xi
Contents

5
CHAPTER 5 Major Scales
Scales as Interval Patterns
Elements of the Major Scale
Tetrachords 98
95
95
96

Naming Scale Degrees 103

Ear Training 104
Focus 105
Practice Materials 107

6
CHAPTER 6 Major Key Signatures
The Key Signature
Sharp Keys 116
Flat Keys 117
Enharmonic Keys
115

119
115

The Circle of Fifths: Major Keys 119

Focus 120
Practice Materials 121

7
CHAPTER 7 Intervals
Interval Size 126
125
Interval Identification

Interval Quality 128

Perfect Intervals 129
125

Major and Minor Intervals 131

Compound Intervals 136
Harmonic Inversion of Intervals 136
Focus 138
Practice Materials 141

Focus on Skills III 155

8
CHAPTER 8 Minor Key Signatures
Related Keys 159
Minor Key Signatures
Parallel Keys 163
160

The Circle of Fifths: Minor Keys 165

159

Focus 166
Practice Materials 167
 xii
CONTENTS

9
CHAPTER 9 Minor Scales
Natural Minor Scale
Harmonic Minor Scale
Melodic Minor Scale
173

180
Minor Scales in Actual Music
171
177

182
How to Sing Minor Scales 183
Focus 187
Practice Materials 189

10
CHAPTER 10 Pentatonic and Blues Scales
The Pentatonic Scale 203
Major Pentatonic 204
Minor Pentatonic 207
The Blues Scale 209
203

Focus 210
Practice Materials 211

Focus on Skills IV 215

11
CHAPTER 11 Triads 219
Basic Structure of Triads
Major and Minor Triads
Close and Open Positions
Augmented and Diminished Triads
220
220
222
224
Triads and Scales 227
Inversions of Triads 228
Labeling Inversions 228
Focus 231
Practice Materials 233

12
CHAPTER 12 Triads in a Musical Context
Labeling Triads 239
Roman Numeral Analysis
Chord Symbols 242
Guitar Tablature 243
239
239

Seventh Chords 244

Dominant Seventh Chords 245
Diatonic Seventh Chords 246
Inversions of Seventh Chords 246
 Lead Sheets 247 xiii
Recognizing Triads in Actual Music 248 Contents
Block Chords 248
Arpeggiations 249
Focus 253
Practice Materials 255

13
CHAPTER 13 Chord Progressions
Tendency Tones

Cadences 264
261
The Dominant/Tonic Relationship

The Authentic Cadence 265

261
263

The Plagal Cadence 266

The Half Cadence 267
The Deceptive Cadence 267
Simple Chord Progressions 270
Two-Chord Progression 270
Three-Chord Progression 272
12-Bar Blues Progression 273
Focus 275
Practice Materials 277

Focus on Skills V 279

14
CHAPTER 14 Writing a Song
Primary and Secondary Chords
Harmonizing a Melody
Tips for Harmonizing
Musical Form 290
284
287
283
283

Strophic Form (12-Bar Blues) 291

Binary Form (AB) 291
Ternary Form (ABA) 292
32-Bar Song Form (AABA) 294
Focus 296
Practice Materials 297
 xiv Appendices
CONTENTS

APPENDIX A Graded Rhythms for Counting

and Performing 301

APPENDIX B Graded World Rhythms in Two

and Three Parts 306

APPENDIX C Syllables for Sight Singing Scales

and Modes 311

APPENDIX D Graded Melodies for Sight Singing

and Playing 313

APPENDIX E Chromatic Scale and Major Scale

Fingerings for Keyboard
Instruments 318

APPENDIX F The C Clef 321

APPENDIX G Other Scales and Modes 325

APPENDIX H Transposing the Modes 332

APPENDIX I A Brief Introduction to Timbre 337

APPENDIX J A Brief Discussion of Acoustics 341

APPENDIX K Basic Guitar Chords 343

Glossary 345
Subject Index 351
Index to Musical Examples 357
 Preface

To Students
As you start to study music in a more formal way, it might be helpful to know that
you can take multiple pathways through the material you want to learn. No one right
way to study music will ensure success. Instead, there are many parallel paths—some
in this book, others online—all of which require about the same amount of commit-
ment, dedication, and hard work. So as you go forward, don’t do so by rote. Endless
practice with little to show for it over time is not a formula for success. If one method
of study doesn’t seem to work for you, try another. The goal is the same: to achieve
your potential.

Materials

That is where this book and its online practice materials can help—by offering, as they
do, alternate ways for you to practice and learn. The text, A Creative Approach to Music
Fundamentals, includes written work and listening examples to improve your musical
skills, as well as periodic comprehensive quizzes to help measure your progress. In
addition, an interactive website contains thousands of Focus on Fundamentals prac-
tice materials, as well as sound files of musical examples in the text. Now, online at the
Music Fundamentals in Action website, mfa.focusonfundamentals.com, you can prac-
tice the material you need learn at a pace that’s right for you.
In this tenth edition, you have a package of practice materials that will not only
allow your teacher to focus class attention on the topics that are most important to
the group, but also allow you to customize your own individual learning experience to
better suit your schedule. What you need to learn may be fixed, that is, the funda-
mentals of music; but how you set about acquiring this knowledge is now, more
than ever, in your hands. Though regular practice and study are still absolutely
necessary—no musician ever gets any better otherwise—the variety of musical expe-
riences and practice materials in this courseware package will make your work seem
easier and less repetitive and, perhaps, go a little faster as well.

How to Practice

We will begin to learn music by learning how to practice. Nothing is more significant;
it is the most important activity a musician undertakes. The good ones practice
every day. And you will need to as well, if you want to improve. So regular practice
is emphasized, and specific techniques for how to practice are discussed throughout
the text. You will also find plenty of practice exercises designed to help you grow and
improve musically, plus skill assessment materials to help you gauge your progress
along the way.

xv
 xvi Being Musical
PREFACE
It is equally important that you experience the more creative aspects of music—the
listening, performing, and composing activities—as early in your studies as possible.
This, after all, is the fun side of music, the part that makes all the studying and prac-
ticing worthwhile. In the Music in Action exercises, found both in the textbook and
online, a variety of activities are available that will encourage and enable you to
become musically engaged, both on your own and as a class. As you proceed through
this material, all the way to writing a song in Chapter 14, remember that music isn’t
something you begin to make after you complete the class. It can, should, and must
happen all along the way.

Focus

The focus of your work in music fundamentals will be to understand and learn to use
the basic set of musical building blocks, or elements, that inform all music. This is
important regardless of the type of musician you consider yourself to be, because no
matter what the style, the fundamentals of music always stay the same. What
changes are the many different ways that composers have emphasized and combined
these elements. To put it more succinctly, musical styles change over time, the fun-
damentals of music do not. So no matter what kind of music you listen to, and want
to write and play, the way to begin is to learn the fundamentals. You will always be
able to apply them to any style of music you may come to love, including ones that
haven’t even been imagined yet.

To Instructors
For instructors who have used A Creative Approach to Music Fundamentals in a pre-
vious edition, the most obvious change in this new tenth edition is the moving of the
Focus on Fundamentals practice exercises from a companion CD-ROM to an integrated,
interactive website, mfa.focusonfundamentals.com. (The website, incidentally, has
other teaching and learning features you’ll want to explore.) This move was made to
give instructors more possibilities in choosing topics and activities for their classes and
to offer students additional flexibility in designing their individual out-of-class practice
activities.
Another important change in this tenth edition is that the Practice Materials
located at the end of each chapter have now been coordinated with the Class Work sec-
tions within the text. Students needing extra work in a particular area will now be
directed to the Practice Materials that will help them most. In addition, the Practice
Materials have been made a bit more user-friendly through the expansion of their
instructions to include additional tips and suggestions for completing the work suc-
cessfully. All this was done to better integrate the Class Work and Practice Materials
sections with the text. It should also be noted that the Practice Materials for Chapters 9
(Minor Scales) and 11 (Triads) have been reduced somewhat, without removing any
of the various types of exercises, since the sheer amount of practice material had
grown too large and unwieldy for many students to complete.
You will also notice that the Rhythm Revisited sections that were spread through-
out the text in the ninth edition have all been returned to the two chapters on rhythm
near the front of the book. This was done to ensure that all the information on rhythm
is easily accessible, and that later topics are not interrupted by the need to introduce
unrelated material.
Finally, new topics have been added to individual chapters, including sections on
Articulations (Chapter 4, Pitch), Tetrachords, (Chapter 5, Major Scales), Lead Sheets
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