Understanding the Fundamentals of Music

by Robert Greenberg

We all know that beneath the surface of music, beyond the joy or excitement or even heartache that this beautiful language of sound can stir within us, lies the often mysterious realm of music theory—a complex syntax of structural and instrumental resources that composers may draw on.

No matter what kind of music we listen to—symphony or string quartet, saxophone solo or vocal ballad, hip hop or Gregorian chant—we feel the impact of that music and have done so all our lives, even though we may not know how such impact is achieved, or understand the fundamental processes of musical composition.

But what if we did understand how certain musical effects were achieved? What if we could learn to follow the often-intimidating language of key signatures, pitch, mode, melody, meter, and other parts of musical structure used by composers? What if we could recognize these various components at work as we listened to our favorite music? What if we could "speak" the language of Western music?

In this course, Professor Greenberg offers a spirited introduction to this magnificent language—nimbly avoiding what for many of us has long been the principal roadblock, the need to read music.

For anyone wanting to master music's language, being able to read musical notation is a necessity. But this course, as Professor Greenberg notes, is a basic course, designed to introduce you to music's language in a way that is similar to the way you learned your own native language, by "discovering and exploring musical syntax through our ears—by learning what the parts of musical speech sound like—rather than what they look like on paper."

By sidestepping the necessity to read music, these lectures represent an extremely rare opportunity in musical education—an opportunity to experience a solid introduction to music theory's basics in a way that is not technically intimidating, yet provides a substantial grounding in the fundamentals. As such, Professor Greenberg has devised a highly individualized approach to music theory. There is simply little or no literature in this field that can teach as much without recourse to music notation. Thus, it can appeal to those who are not learning, or even planning to learn, to play a musical instrument or to compose. It can even be beneficial to musicians who do not play a keyboard instrument and may have had difficulty grasping some of the more abstract concepts of music. As much as anything else, the course is designed to help deepen and intensify the experience of Professor Greenberg's other Teaching Company Courses, currently 21 in number.

Genres: Music, Nonfiction, Audiobook, Education, Art, History

Audio CD

First published January 1, 2007

About the author

Robert M. Greenberg is an American composer, pianist and musicologist. He has composed more than 50 works for a variety of instruments and voices, and has recorded a number of lecture series on music history and music appreciation for The Teaching Company.

Greenberg earned a B.A. in music, magna cum laude, from Princeton University and received a Ph.D. in music composition from the University of California, Berkeley. He has served on the faculties of UC Berkeley, Californiz State University, East Bay, and the San Franciso Conservatory of Music, where he was chairman of the Department of Music History and Literature as well as Director of the Adult Extension Division. Dr. Greenberg is currently Music Historian-in-residence with San Francisco Performances.

Reviews

[Magen - Inquiring Professional Dog Trainer · Rating 3 out of 5]

While I highly recommend all of Robert Greenberg's Teaching Company Great Courses, this one I'd suggest to those who really want to understand the specific funamentals of music. This course dives into the nitty gritty of timbre, beat, tone, etc. While I found it incredibly informative, it's not quite as interesting or engaging as his other courses. I do however highly recommend if for those who are committed to fully understanding how to listen to and understand great music. I'd recommend listening to this audiobook before his amazing How to Listen to and Understand Great Music. I'd also recommend listening to this more than once, as Robert Greenberg himself recommends.

[Jared Gillins · Rating 4 out of 5]

In general, the lectures got harder to follow and really process as they progressed. I simply don't have much depth of background in music theory. But Greenberg assures the listener that you're not supposed to just get it all on your first listen, that the course was designed for repeat listening, and I can appreciate that. It's one of the Great Courses I'd actually like to own (as opposed to just borrowing them from the library).

As always, very well constructed and lectured extremely well.

[Michael · Rating 5 out of 5]

Very good intro. to music theory. This series would be excellent to listen to several times as it takes repetition to learn this material. Impressive attempt to explain music theory without musical notation.

[Graeme Newell · Rating 3 out of 5]

If you've ever been curious about the nitty-gritty details of music without being bogged down by too much jargon, this might just be the book for you.

The Good Stuff:

First and foremost, Greenberg’s writing style is definitely engaging. If you've ever tried picking up a music theory book and been immediately discouraged by the weighty terms and confusing diagrams, you’ll find Greenberg’s approach a breath of fresh air. He's got a knack for breaking down complex topics into understandable chunks. The examples he provides are relatable, which I personally appreciate.

The organization of the book is also on point. Each chapter builds upon the last, meaning you’re not thrown into the deep end without a life jacket. It starts with the basics, like rhythm and pitch, and progresses to more advanced topics like harmony and musical form. By the end of it, you're looking at music with a fresh set of eyes (or should I say ears?).

Greenberg’s inclusion of historical tidbits and anecdotes breathed life into what might have otherwise been a dry topic.

Not-So-Stellar Points:

However, while there's a lot to love about this book, it isn’t without its shortcomings. There was the assumption that the reader has a certain base knowledge of classical music. There were moments when Greenberg would reference a concept or a piece of music as though it were common knowledge. For someone new to the world of music theory, these instances might be a tad confusing or intimidating.

Also, while I mentioned that the book covers a wide range of genres, there's a discernible bias towards Western classical music. I get it; it's a huge part of music history and has shaped many genres we hear today. But I couldn’t help but wish for a broader exploration of world music. A little dip into modern pop, African rhythms or the intricacies of Indian music would've given the book a more rounded perspective.

In Conclusion:

All in all, this book does what it sets out to do - offer a solid foundation in music fundamentals in an engaging manner. It might not be the be-all-end-all guide to all things music, but it's a worthy read for anyone looking to start their journey into understanding the beautiful language of music.

If you're on the fence about diving into the world of music theory, give this book a shot. It won't magically turn you into Mozart, but you'll certainly be nodding along the next time someone starts talking about diminished chords or sonata form. Happy reading (and listening).

[Camelia Rose (on hiatus) · Rating 5 out of 5]

The full set of Robert Greenberg’s music courses are available on Hoopla. Understanding the Fundamentals of Music is the first course. I find it extremely insightful and entertaining. Yes it helps if you already have a rudimentary understanding of western music, but it’s not mandatory. What you definitely need is the love for music and the desire to understand western music language. I have a piano at home, which helps a lot. Some chapters I have listened to several times. Chord progression is one of the topics I struggle with.

[Illiterate · Rating 2 out of 5]

Musical theory without notation.

[Dave · Rating 4 out of 5]

Although a lot of this was over my head (and beyond my ear), I still enjoyed hearing about the ways that great (and even not-so-great) musical pieces are built. Professor Greenberg's sense of humor and wit add a great deal to the entertainment value.

Be forewarned, if you are a musical novice (or even higher), a lot of what is in this course will be very challenging, and you will need to plan on listening to it more than once (as is recommended by the Professor) to get a decent grasp of many of the concepts and relationships.

[Mary Pat · Rating 5 out of 5]

Even though I knew a lot of the concepts already, as I never really had a structured music theory class, it helps having lectures that put it all together. Even better, this is something that does not depend on reading music (though I can read music -- I have played guitar, piano, and clarinet). You can do these lectures simply via audio without needing any visuals.

My favorite part were the lectures on rhythm, because I was not used to the concept of additive and compound meter, and using Dave Brubeck to demonstrate was great.

So yes, this covers basic concepts in music, with loads of musical examples ranging from medieval to 20th century (I don't think there were any 21st century examples, but I could be wrong.) I think this helps one synthesize how Western music has worked for at least 500 years.

[Yaaresse · Rating 3 out of 5]

All Dr. Greenberg’s courses are excellent; however, this one was difficult for me to get into. There really isn’t a great way to make counting beats all that interesting for a non-musician unless you utilize some good graphics. This course was made back when The Teaching Company’s graphics were barely bare-bones Powerpoint slides. I would describe this course as informative, but not that interesting.

[Mark · Rating 5 out of 5]

Fabulous review of key topics to understand great music. Not a one time read.

[Feng Ouyang · Rating 5 out of 5]

“Understanding the Fundamentals of Music” is a 16-lecture course by Robert Greenberg, my favorite music educator. More information about the course can be found here: https://www.thegreatcourses.com/cours.... This entry-level music course brings the audience from no music knowledge to basic-level music literate. The course is deliberately accessible through its scope, depth, and delivery choices.

As its title implies, “Understanding the Fundamentals of Music” focuses on the basic knowledge required for music appreciation. As such, the course adheres to a clearly stated limited scope. It is about music in the Western tradition and up to the romantic period. The author sometimes mentions practices in modern music, African and Eastern music, and, especially, Jazz to make the audience realize “there is more.” Nonetheless, the course stays in the “comfort zone” of Western classical music. By limiting the coverage, the author achieved conciseness and clarity. It is always difficult for erudite experts to limit the scope of deliberation, as all knowledge is intricately connected in their minds. The author was successful in making the course self-contained and understandable to beginners.

The goal of accessibility is also facilitated by the thoughtful selection and arrangement of topics. Starting from the most intuitive concept of timbre, the author moves to beat, tempo, and meter. For this topic, the author begins by inviting the audience to “feel” with body reaction before introducing formal concepts and notations. After that, the author told the story of Pythagoras’ discovery of overtone theory and introduced pitch, tone, and mode. He then moved to more theoretical side tonality, key signature, and the circle of Fifths. In these discussions, the author was careful and successful in introducing the terminologies carefully while keeping everything as simple as possible.

Armed with the basic concepts so far, the author moves a level up and talks about the sequence of tones over time, the melody. He describes four types of melodies in chronological order: word melody, vocal melody, vocally conceived instrumental melody, and instrumental melody. The first three types are intuitive for someone with minimal singing experience. However, the last type requires more explanation on thematic development, which the author touches upon. While staying at the most basic level to accommodate the novice, the author also conveys that no melodic rules are cast in stone; there is always room for creativity and experimentation. Melody is a way for the music to move tones in the “horizontal” direction – over time.

Then, the author moves to the “vertical” direction and examines how multiple tones are stacked together simultaneously, the topic of texture and harmony. The author provides a background by reviewing several types of texture (how different music parts interact and coexist (monophony, polyphony, homophony, and heterophony). The rest of the course focuses on homophony and explores the structure and theory of harmonies.

The author starts by revisiting the intervals. The “natural” intervals have simpler fractions in Pythagorean overtone theory. Other than the “trivial” unison (same tone) and octave (1/2 division), the commonly used intervals include the fifth, the fourth, and the third. The Fifth is the most “stable” and pleasing because it has one of the simplest frequency ratios (3/2), and the Fourth is close (4/3). They are thus called “perfect fifth” and “perfect fourth.” The third (frequency ratio 5/4 for major and 6/5 for minor) is also commonly used. The nomenclature for intervals is complex, but the author presented simplified rules for beginners.

• Perfect intervals: unison (first interval), fourth, fifth, and octave (eighth)
•
• Major and minor intervals are non-perfect intervals (second, third, sixth, and seventh). Major intervals are those in the major scale (from the root node). Minor intervals are half-step smaller than the major ones
•
• Augmented and diminished intervals are perfect intervals raised or lowered by a half-step. They sound dissonant and unstable.
•
• One can also name “diminished minor” and “augmented major” for minors lowered by a half-step or majors raided by a half-step. However, these names are seldom used because they are usually perceived as the next interval. Only diminished and augmented perfect intervals sound associated with the perfect intervals and are thus so named.
•
• Complementary intervals are those that add up to an octave. Complementary intervals have similar effects in harmony. So we just need to focus on one of them. This means we pay more attention to second to fifth intervals. Note that perfect fifth and perfect fourth are complementary intervals.
•
• The tritone is a stack of two major thirds, forming an augmented fifth. It is dissonant, and so is the stack of two minor thirds. An octave is divided into two tritones. The only tritone using “white keys” is B-G.
•
• Because of their unique roles in a scale, the fifth and fourth keys in a major scale are called dominant and subdominant, respectively.
•
Note that the same node combination may have different names (e.g., diminished fourth and major third, augmented fourth or diminished fifth). The actual name and audio effects depend on the context and music notation (e.g., whether it is E or Fb).

With intervals as building blocks, the author moves to triads, the harmony of three nodes. A triad stacks a major and a minor third interval. It can be a major or minor triad, depending on the first third interval. A triad can start from any note, which is called the root of the triad. The other two members are the third and the fifth. Besides major and minor triads, which all contain perfect fifth, there are two other types of triads: diminished (two minor thirds stacked) and augmented (two major thirds stacked). They are all dissonant.

Triads have different names depending on their roots. The most important ones are

• If it starts with the root node of the scale, it is a tonic triad, the most stable “home” of triads. It is noted as I.
•
• The dominant and subdominant triads (rooting on the fifth and fourth keys) provide tension that needs to be resolved on the tonic. They are noted as V and IV and are both major triads. Tonic, dominant, and subdominant triads are called primary triads and are most commonly used.
•
• The other triads are supertonic (II), mediant (III), submediant (VI), and subtonic (VII). Note the (supertonic, subtonic) and (mediant, submediant) are pairs with complementary root keys and share some common keys. These are called auxiliary or supportive triads and are less common. They are all minor triads, except for subtonic, which is diminished.
•
In addition to triads, another commonly used harmony is the dominant-seventh chord, noted as V-7 or G7. It is a G triad (dominant triad) added the 7th key from G, the F. It is strongly dissonant because it contains a tritone (B-F). But it also contains the leading tone B, which makes it “want to” resolve to the tonic triad. It is often used to create a harmonic movement in a music piece, often between keys.

In fact, the leading tone (half-tone below the root) is very important in harmony. However, it does not exist in the minor scale (e.g., A minor using all white keys), also called natural minor. Therefore, people created melodic minor and harmonic minor scales to restore the leading tone.

Of course, harmonies can be more complex than triads and dominant seventh. But these are the most commonly used and the only ones the course covers.

So far, we can consider beats and tones as bricks for the music building. Meters, intervals, and triads are modules. The next step (the concluding step of the course) is the local architecture with modules: harmonic progression, cadence, and modulation. These sequences of harmonies control the music movement. Through tension and resolution, we achieve pause and ending of music units (progression and cadence). Modulation allows us to transition from one key to another through seamless harmonic sequences, enriching the music vocabulary.

Music basic tutorials abound. However, this course is unique in its delivery. Taking advantage of an audio course, Greenberg uses many demonstrations through piano playing and excerpts of familiar musical works. Through a mixture of lectures and demonstrations, the course is not only more intuitive but also more interesting than a lecture-only format.

Music theory is hard to teach because it is a knowledge net, not a thread. Concepts depend on each other in revealing their meanings and importance. Greenberg puts in much thought into how to construct a linear conceptual progression that is both sensible and rigorous. For example, he introduces the minor mode when talking about scale. Later, after introducing intervals and harmonics, Greenberg returns to the topic and introduces melodic and harmonic minor scales. He also visits intervals twice in the context of scales and harmonics. As a well-composed music piece, the lectures flow convincingly and meaningfully, making learning both effective and enjoyable.

Most importantly, Greenberg conveys not only knowledge but passion through the lectures. Through stories and personal disclosures, he inspires the love of music and shows how basic knowledge can help the audience enjoy and appreciate music works. This course is both an effective entry point and a motivational push for people who wants to start learning music beyond intuitions.

[Just Plain Neddy · Rating 5 out of 5]

Robert Greenberg is one of the best TGC teachers I've found and he is a joy to learn from. Having enjoyed a few of his other courses via Audible I finally got round to shelling out for this one on TGC itself, since it's not on Audible (yet, anyway). For someone like me who already knows quite a bit of music theory, but has picked it up in dribs and drabs from playing instruments and singing rather than studying it directly, it was really interesting to go through the subject from the very simplest first principles and work up from there. It was exactly what I wanted. I have to say though - as much as this is presented as an introductory course, if you don't have any knowledge of music theory whatsoever when you pick it up, you're probably going to find yourself out of your depth very quickly. It may start off along the lines of "here's a violin and this is what it sounds like" but it leaves that stuff behind fast. If you really do want to get this course with no prior knowledge, I'd suggest getting the version with visuals because they become increasingly important as it goes on, and be prepared to go through the lectures more than once to get your brain around things. Good luck! You're brave.

[Dhs Sparrell]

A *listening* course in music / orchestra. Not a music notation course. I'm listening as I go to and from work.

It's stirring up my urge to listen to more classical music: I'm listening for things I've heard about from prof. Greenberg. Greenberg! Whoa, pedigree: Rogers Sessions->Andrew Imbrie-->Robert Greenberg. Impressive.

Fun course.

Nice sample passages to illustrate this and that. Get you fired up about the music. And not just sloppy simple picks, like say only things from Vivaldi's four seasons, but Nielsen, a Beethoven quartet, Mahler's first symphony, and the like.

[Kristi Richardson · Rating 5 out of 5]

I will have to listen to these lectures again and again because it is like a foreign language, trying to figure out what Professor Greenberg is talking about.

I have to admit that I am tone deaf so listening for the beats or the rhythms are very difficult for me.

However, I did find this the most comprehensive series about music fundamentals in which I have ever listened.

I highly recommend this course and any course by Robert Greenberg. He is the best Professor the Great Courses has.

[Skip (David) Everling · Rating 4 out of 5]

Music Theory taught with dramatic flair by Robert Greenberg. Covers Timbre, Beat & Tempo, Meter, Pitch & Mode, Intervals, Tonality, Key Signature, Melody, Harmony, and Texture. Applies particularly to western Classical music, which Greenberg plays great works of throughout the course to illustrate each subject.

[Hlöðver Sigurðsson · Rating 5 out of 5]

As a musician, this sharpened my sens of musical understanding. I am amazed how Greenberg manages to make these lectures on the hearing aspect of music without making it unaccessible to the average Joe.

[Nicolás Díaz · Rating 4 out of 5]

Very complete and a great introduction to the fundamentals of western music. Despite the complexity of the subject, it is never arid given Robert Greenberg enthusiasm and the focus on telling by example.

[Chuck · Rating 3 out of 5]

Started out good, but went over my head about half-way through. Will need to listen to it more than once to grasp it all.
Robert Greenberg does an excellent job, though. His enthusiasm is inspiring all on its own.

[Tamminh · Rating 5 out of 5]

Truly "fundamental" concepts, explained clearly and entertainingly. Wish I had listened to this book prior to the other ones by Prof. Greenberg, since the terminology here would have helped a lot with my understanding of the other ones.

[Helen · Rating 4 out of 5]

This is a fantastic video course! The author/speaker requires no understanding of written music. He starts from the beginning , so you need know nothing about music theory, but he advances to advanced concepts in it! Great for all students of music!

[Kelly · Rating 5 out of 5]

Excellent!

[Alexis · Rating 3 out of 5]

A little hard to follow with no visual aids, but still great.

[Evgeniy Vasilev · Rating 5 out of 5]

Have to listen to it for several more times.

[منال · Rating 4 out of 5]

I like the Key Signature & The Circle of Fifth the most!.
It takes me long time to understand it while practicing and I just got it now!
Merci Monsiuer Robert :)

[Sergey Georgievich · Rating 5 out of 5]

Very useful, listened to it three times.

[Nina Braden · Rating 4 out of 5]

Excellent but very technical and at times rather difficult. Adding more lessons and slowing the pace might help.

[Jim A · Rating 3 out of 5]

Lots of information in this. When I critiqued a piece of modern music to my music degree holding fiancé, she told me not to be a music snob lol

[Michael]

This course ratchets up in difficulty around Lecture 7, and by Lecture 10, you're going to need more than a passing interest in music theory to keep up. I also had the audio CDs rather than the DVDs, and while Greenberg makes sure he describes everything he's doing for the listening audience, I think there's a good chance you'll get lost in thickets of keys and pitch letters that don't really mean anything unless you *see* what he's playing. Once he brought out the (sub)dominant chords and the diminished 7ths, I just took his word for it.

For that reason, this is my least favorite of Greenberg's courses that I've listened to thus far, but his lecturing style remains as engaging and cheerfully hokey as ever. Onto the next one!

[Joseph VanBuren · Rating 5 out of 5]

This is an enlightening course about the different dimensions of music mostly from a listener's point of view rather than a musician's or composer's. The professor's enthusiasm for the subject is infectious, and his jokes are actually pretty funny. Sometimes his voice reminded me of Lewis Black just without the f-bombs. As a long-time but never-classically-trained music artist, some of what he said went over my head. On the flip side, his approach to music as a language to be learned offered revelations for me in topics like pitch, rhythm, melody, harmony, etc. Overall, I thoroughly enjoyed this course and believe it has improved my understanding of how certain musical elements work together, especially in classical music.

[Gebo · Rating 5 out of 5]

This is an excellent course you could listen to over and over again and still find new nuggets. All the less than 4* reviews are from people who didn't listen when he said that you'll probably need to listen to it a few times to really get the material. Music theory is complicated. And though I know a lot about it and have taken classes in it, this was still fresh, interesting, and well worth listening to. Gave me tons of ideas, taught me several things I didn't know, and was also a great refresher for theory training so long ago.