Write the songs that make the whole world sing. A step-by-step guide to writing music, this book shows musicians how to compose simple chord progressions and melodies, and leads them through more advanced compositional techniques and musical forms. 
   Designed for composers of all types of music, it includes instruction on composing stand-alone melodies, using different scales and modes, themes and variations, orchestration, and composing for film, theater, and videogames. 
   Includes a comprehensive glossary of musical terms, as well as an appendix of various computer-based composition tools -

About the Author

   Michael Miller attended the prestigious Jazz Studies Program at the Indiana University School of Music. A former percussion instructor and working drummer, he is also an accomplished composer and arranger. He is the author of more than 30 books, including The Complete Idiot’s Guide to Playing Drums, Second Edition, The Complete Idiot’s Guide to Music Theory, Second Edition, The Complete Idiot’s Guide to Singing, and The Complete Idiot’s Guide to Solos and Improvisation.
 

Think of a song that resonates deep down in your being. Now imagine sitting down with someone who was there when the song was recorded and can tell you how that series of sounds was committed to tape, and who can also explain why that particular combination of rhythms, timbres and pitches has lodged in your memory, making your pulse race and your heart swell every time you hear it. Remarkably, Levitin does all this and more, interrogating the basic nature of hearing and of music making (this is likely the only book whose jacket sports blurbs from both Oliver Sacks and Stevie Wonder), without losing an affectionate appreciation for the songs he's reducing to neural impulses. Levitin is the ideal guide to this material: he enjoyed a successful career as a rock musician and studio producer before turning to cognitive neuroscience, earning a Ph.D. and becoming a top researcher into how our brains interpret music. Though the book starts off a little dryly (the first chapter is a crash course in music theory), Levitin's snappy prose and relaxed style quickly win one over and will leave readers thinking about the contents of their iPods in an entirely new way.