Suffers from the same problem that all music theory texts seem unable to avoid: they require the reader to simply accept a bunch of random facts to memorize with no context.
Example: memorize the major scale as a series of whole and half steps but we won’t provide you with any context or motivation for why this is so.
Similar: in a major scale all notes are played and none are skipped or repeated. Except if your scale goes D–E–F#–G, in which case you skip F. The only way for this to be correct is apparently we consider F and F# to be the same note for purposes of scales even though this directly contradicts a previous section.
I was expecting a “21st century” music theory reference to have an emphasis on building intuition. Music theorists are apparently allergic to good pedagogy.
Example: memorize the major scale as a series of whole and half steps but we won’t provide you with any context or motivation for why this is so.
Similar: in a major scale all notes are played and none are skipped or repeated. Except if your scale goes D–E–F#–G, in which case you skip F. The only way for this to be correct is apparently we consider F and F# to be the same note for purposes of scales even though this directly contradicts a previous section.
I was expecting a “21st century” music theory reference to have an emphasis on building intuition. Music theorists are apparently allergic to good pedagogy.