Corrections

Despite my best efforts, and those of my stalwart editors, some mistakes still somehow manage to find their way into each edition. Well, except for the latest, greatest “over 65,000 copies in print” of the theory book’s 3rd edition, which is PERFECT! Well, hopefully. Sorry. I don’t know how the typo-gremlins gain access to my manuscripts! I really don’t.

If you think you found a typo, please email it to me “edly at edly dot com” so I can post it here, and avoid confusing any additional readers. Please include the edition number, page number, and anything else you think I’ll need to find it. Also, let me know if you’d like to be credited on this page.

Find the corrections for your book and edition:

Edly’s Music Theory for Practical People 3rd Edition | 2nd Edition | 1st Edition (Note: if you have a 3rd Edition that says “over 65,000 copies in print” (as opposed to “over 60,000 copies in print”), then all known typos have already been corrected, and you have no need to spend another second on this page. Yay!)

Edly Paints the Ivories Blue 1st & 2nd Editions

Edly’s Music Theory for Practical People (some 3rd Edition, PDFs, and Level 1 eBooks)

  • Page 2: Midpage should read “It is readily obvious that this chord progression can be applied to any key, whereas, when written in notation, it already is in a specific key.” Not “is already is…” Thanks to reader Augie Medina for finding this one.
  • Page 64: In the paragraph that starts “The bVII chord,” in the second sentence, “five to one) should be changed to “five to one” Thanks to Nora Spiering for this one.
  • Page 66: The second to the last paragraph should read “[…] to think in terms of inverting a tritone rather than inverting a +4 to a °5 or vice versa.” (not “+5 to a °4”) Thanks to eagle-eye reader Joe Bowbeer of Seattle for spotting this one.
  • Page 85: The second paragraph from the bottom (the “How does it work? paragraph) should read “For example, a D7 chord” rather than “For example, A D7 chord”
  • Later in that same paragraph, it should read “This is because the interval of a tritone inverts to a tritone (see page 66),” rather than “(see Chapter 8).”
  • Page 173: Answers to Chapter 2: E Major should be four sharps (F#, C#, G# and D#) Thanks to Brian Hanna.
  • Page 175: Answers to Chapter 11: the relative minor of Bb is Gm, not Dm.
  • Page 178: Answers to Chapter 21: Modes Worksheet #1: Dorian Mode: the F note is a b7 (flat 7), not a natural 7 as shown.

Edly’s Music Theory for Practical People (2nd Edition)

I don’t seem to have any records of typos in this edition, impossible as that may seem… well, to me, at least.

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Edly’s Music Theory for Practical People (1st Edition)

There were actually many reprints of the first edition, without fanfare, but with a number of corrections along the way. Although I’m sure there were many many more, here are the ones I have a record of:

  • Page 14: the second paragraph should read, “Notice that sharps and flats are written from left to RIGHT in the order added.”
  • Page 48, notation example: the fourth chord should be 7b5 rather than mb5.
  • Page 77: notation example: the second chord is actually #iidim7, not #iim7.
  • Page 117: Example 1, second line: Bb is bVII (flat seven), not bVIII.
  • Page 131: Answers to Chapter 3: in the line for 5 flats, the newest flat should be G flat, not A flat.
  • Page 136: Answers to Chapter 25: the root of the Abm11 should, oddly enough, be an A flat rather than an A natural.
  • Page 137: the F# harmonic minor scale’s final “#” is missing. That is, the last note should be F#, not F.
  • Page 138: the root of the Abm11 should, oddly enough, be an Ab rather than an A natural.

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    Edly Paints the Ivories Blue (Book 1) (all editions)

    • Page 26: “Twelfth” is actually spelled “twelfth,” not “twelth.” But if you ask me, it looks funny both ways.

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    Edly's Music Theory for Practical People (some 3rd Edition, PDFs, and Level 1 eBooks)
    • Page 2: Midpage should read “It is readily obvious that this chord progression can be applied to any key, whereas, when written in notation, it already is in a specific key.” Not “is already is…” Thanks to reader Augie Medina for finding this one.
    • Page 64: In the paragraph that starts “The bVII chord,” in the second sentence, “five to one) should be changed to “five to one” Thanks to Nora Spiering for this one.
    • Page 66: The second to the last paragraph should read “[…] to think in terms of inverting a tritone rather than inverting a +4 to a °5 or vice versa.” (not “+5 to a °4”) Thanks to eagle-eye reader Joe Bowbeer of Seattle for spotting this one.
    • Page 85: The second paragraph from the bottom (the “How does it work? paragraph) should read “For example, a D7 chord” rather than “For example, A D7 chord”
    • Later in that same paragraph, it should read “This is because the interval of a tritone inverts to a tritone (see page 66),” rather than “(see Chapter 8).”
    • Page 173: Answers to Chapter 2: E Major should be four sharps (F#, C#, G# and D#) Thanks to Brian Hanna.
    • Page 175: Answers to Chapter 11: the relative minor of Bb is Gm, not Dm.
    • Page 178: Answers to Chapter 21: Modes Worksheet #1: Dorian Mode: the F note is a b7 (flat 7), not a natural 7 as shown.
    Edly's Music Theory for Practical People (2nd Edition)

    I don’t seem to have any records of typos in this edition, impossible as that may seem… well, to me, at least. Sorry

    Edly's Music Theory for Practical People (1st Edition)

    There were actually many reprints of the first edition, without fanfare, but with a number of corrections along the way. Although I’m sure there were many many more, here are the ones I have a record of:

    • Page 14: the second paragraph should read, “Notice that sharps and flats are written from left to RIGHT in the order added.”
    • Page 48, notation example: the fourth chord should be 7b5 rather than mb5.
    • Page 77: notation example: the second chord is actually #iidim7, not #iim7.
    • Page 117: Example 1, second line: Bb is bVII (flat seven), not bVIII.
    • Page 131: Answers to Chapter 3: in the line for 5 flats, the newest flat should be G flat, not A flat.
    • Page 136: Answers to Chapter 25: the root of the Abm11 should, oddly enough, be an A flat rather than an A natural.
    • Page 137: the F# harmonic minor scale’s final “#” is missing. That is, the last note should be F#, not F.
    • Page 138: the root of the Abm11 should, oddly enough, be an Ab rather than an A natural.

     

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    – Ernie Rideout, Keyboard Magazine

    Our Books

    Edly’s Music Theory for Practical People

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    Edly Paints The Ivories Blue Book 1

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    Edly’s Music Theory for Practical People – Level 1

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    Edly’s Music Theory for Practical People – Level 2

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