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Keywheel Music Theory System
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Purchase the System
$65.00 + $5.00 shipping!
This is a college-level music theory course for chordal/improvisational
musicians that a grade schooler can understand. Concepts are clearly
explained in step-by-step order and visually represented. (Reading music
is not required.) Twenty-one chapters cover basic definitions, the musical
system, major scales, thirds and triads, the diatonic progression, the
anatomy of a key, circle of fifths, the number system, transposing, modes,
modal progressions, improvisation, conceptual learning, time organization,
perfect practice, and music as self improvement. The course Includes a
50-minute audio tape, 120-page workbook, and Keywheel (patented working
scale model of the circle of fifths) with manual.
FORWARD
The KEYWHEEL™ THEORY SYSTEM is a quick effective course in diatonic
(seven-note) music theory for "ear" musicians. It covers the "nuts-and-bolts"
of scale and chord construction without having to read music*. If you already
know some music theory you will find that the KEYWHEEL™ THEORY SYSTEM
will fill in your "gaps" with new understanding and insight.
*Reading music is a valid skill, however, it is not necessary for most popular band situations.
It does have value for playing classical music, learning songs you have never heard, and for
playing complicated melody lines that are too complex to differentiate by ear. Also, some
ensembles and studios require that musicians be able to read written charts.
Music theory deals with music as measurement and concerns musical
structures. In the KEYWHEEL™ THEORY SYSTEM every concept is explained,
shown with visual representation, and related to the whole. Unlike other
theory courses it is completely hierarchical and in context as one musical
concept integrates with others to form a logical matrix. Most musicians who
play popular music (rock, country, folk, blues, jazz) do not rely upon reading
music. Because of the simplistic and improvisational forms of these types of
music "pop" musicians rely instead upon hearing , memorization, and under-
standing. This course focuses on the musical elements that need to be
understood to be successful at playing and improvising with popular music.
The explicit goals of this course are to: 1) learn the anatomy of a key;
2) analyze chord progressions in the context of a key; 3) understand how to
use modes (scales) to improvise with chord progressions.
A common myth concerning accomplished musicians is that they are "gifted"
and did not have to work to achieve their ability. This misconception defies
the law of cause and effect. A musical instrument is an honesty machine--
the level of a musician's proficiency is the direct result of focused effort.
Having taught and played with hundreds of musicians I have observed a clear
distinction between the musical abilities of those who have exerted the effort
to learn and apply theory and those who have not. (A conceptual person will
always outperform one who is non-conceptual.) The material in this course
requires two kinds of effort, intellectual and applied . The exercises are
designed to consciously ingrain musical concepts. They are simple at first
then gradually become more complex as the musical ideas expand and
integrate with previous concepts. If you currently understand how to play
half steps, whole steps , and octaves on your instrument you will probably
have success in applying the concepts without the aid of an instructor.
However, if you do not comprehend these three basic concepts on your
instrument then you should seek the help of a qualified theory-based
instructor.
COURSE OUTLINE
Listen to the KEYWHEEL™ cassette tape before you start the course
to get an overall sense of what music theory is all about. The tape can also
be used at any time as a "refresher".
MUSIC = NOTES + TIME + CONSCIOUSNESS
The most obvious element of music are notes . Their relationship to each
other and the musical structures which they create are the crux of music
theory and are the subject of Chapters 1-14. Like mathematics music
theory must be learned in a hierarchical order, therefore these chapters
must be completed in order. (At the end of some chapters a short quiz will
test your knowledge before you advance to the next chapter.) Occasionally
written exercises are to be completed in the Appendix , a series of circular
key-charts in the back of the book. These exercises will recreate the
information from every key on the KEYWHEEL™ .
Another obvious element of music is time . Chapter 19 (Time Organization)
should be referred to before you practice any musical structure (by
completion of Chapter 2).
The third, least obvious element of music is consciousness . Chapter 18
(Conceptual Learning) applies to all other chapters. It may be read before
you begin the course and should be reviewed ocasionally. Chapter 21(Music
As Self-Improvement) deals with subjects of a psychological nature in
regards to practicing and performing.
IMPROVISATION
Chapters 15-17 are on improvisation, or how to use musical structures in a
creative sense. Directions to refer to these chapters will be given as the
information becomes applicable. Chapter 20 (Perfect Practice) explains how
to practice musical structures to get maximum benefit for the purpose of
improvisation.
A manual is included at the back of the book that explains the data on the
KEYWHEEL™ and musical calculations that can be performed with it.
TABLE OF CONTENTS
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