Nguồn ngoài
Open Music Theory 2e
Open Music Theory is a natively-online open educational resource intended to serve as the primary text and workbook for undergraduate music theory curricula. OMT2 provides not only the material for a complete traditional core undergraduate music theory sequence (fundamentals, diatonic harmony, chromatic harmony, form, 20th-century techniques), but also several other units for instructors who have diversified their curriculum, such as jazz, popular music, rhythm, counterpoint, and orchestration.
- Tác giả
- Mark Gotham et al.
- Nhà xuất bản
- VIVA - Virtual Library of Virginia
- Nguồn
- LibreTexts
- Giấy phép
- CC BY-SA
- Ngôn ngữ
- EN
Mục lục· 144 mục
- 01: Fundamentals
- 1.01: Introduction to Western Musical Notation
- 1.02: Notation of Notes Clefs and Ledger Lines
- 1.03: Reading Clefs
- 1.04: The Keyboard and the Grand Staff
- 1.05: Half Steps Whole Steps and Accidentals
- 1.06: American Standard Pitch Notation (ASPN)
- 1.07: Other Aspects of Notation
- 1.08: Notating Rhythm
- 1.09: Simple Meter and Time Signatures
- 1.10: Compound Meter and Time Signatures
- 1.11: Other Rhythmic Essentials
- 1.12: Major Scales Scale Degrees and Key Signatures
- 1.13: Minor Scales Scale Degrees and Key Signatures
- 1.14: Introduction to Diatonic Modes and the Chromatic Scale
- 1.15: Intervals
- 1.16: Triads
- 1.17: Seventh Chords
- 1.18: Inversion and Figured Bass
- 1.19: Roman Numerals and SATB Chord Construction
- 1.20: Texture
- 02: Counterpoint and Galant Schemas
- 2.01: Introduction to Species Counterpoint
- 2.02: First-Species Counterpoint
- 2.03: Second-Species Counterpoint
- 2.04: Third-Species Counterpoint
- 2.05: Fourth-Species Counterpoint
- 2.06: Fifth-Species Counterpoint
- 2.07: Gradus ad Parnassum Exercises
- 2.08: 16th-Century Contrapuntal Style
- 2.09: High Baroque Fugal Exposition
- 2.10: Ground Bass
- 2.11: Galant Schemas
- 2.12: Galant Schemas Summary
- 2.13: Galant schemas The Rule of the Octave and Harmonizing the Scale with Sequences
- 03: Form
- 3.01: Foundational Concepts for Phrase-Level Forms
- 3.02: The Phrase Archetypes and Unique Forms
- 3.03: Hybrid Phrase-Level Forms
- 3.04: Expansion and Contraction at the Phrase Level
- 3.05: Formal Sections in General
- 3.06: Binary Form
- 3.07: Ternary Form
- 3.08: Sonata Form
- 3.09: Rondo
- 04: Diatonic Harmony Tonicization and Modulation
- 4.01: Introduction to Harmony Cadences and Phrase Endings
- 4.02: Strengthening Endings with V7
- 4.03: Strengthening Endings with Strong Predominants
- 4.04: Embellishing Tones
- 4.05: Strengthening Endings with Cadential 6 4
- 4.06: Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s
- 4.07: Performing Harmonic Analysis Using the Phrase Model
- 4.08: Prolongation at Phrase Beginnings using the Leading-Tone Chord
- 4.09: 6 4 Chords as Forms of Prolongation
- 4.10: Plagal Motion as a Form of Prolongation
- 4.11: La (Scale Degree 6) in the Bass at Beginnings Middles and Endings
- 4.12: The Mediant Harmonizing Mi (Scale Degree 3) in the Bass
- 4.13: Predominant Seventh Chords
- 4.14: Tonicization
- 4.15: Extended Tonicization and Modulation to Closely Related Keys
- 05: Chromaticism
- 5.01: Modal Mixture
- 5.02: Neapolitan 6th (II6)
- 5.03: Augmented Sixth Chords
- 5.04: Common-Tone Chords (CT7 and CT6)
- 5.05: Harmonic Elision
- 5.06: Chromatic Modulation
- 5.07: Reinterpreting Diminished Seventh Chords
- 5.08: Augmented Options
- 5.09: Equal Divisions of the Octave
- 5.10: Chromatic Sequences
- 5.11: Parallel Chromatic Sequences
- 5.12: The Omnibus Progression
- 5.13: Altered and Extended Chords
- 5.14: Neo-Riemannian Triadic Progressions
- 5.15: Mediants
- 06: Jazz
- 6.01: Swing Rhythms
- 6.02: Chord Symbols
- 6.03: Jazz Voicings
- 6.04: iiVI
- 6.05: Embellishing Chords
- 6.06: Substitutions
- 6.07: Chord-Scale Theory
- 6.08: Blues Harmony
- 6.09: Blues Melodies and the Blues Scale
- 07: Popular Music
- 7.01: Rhythm and Meter in Pop Music
- 7.02: Drumbeats
- 7.03: Melody and Phrasing
- 7.04: Introduction to Form in Popular Music
- 7.05: AABA Form and Strophic Form
- 7.06: Verse-Chorus Form
- 7.07: Introduction to Harmonic Schemas in Pop Music
- 7.08: Blues-Based Schemas
- 7.09: Four-Chord Schemas
- 7.10: Classical Schemas (in a Pop Context)
- 7.11: Puff Schemas
- 7.12: Modal Schemas
- 7.13: Pentatonic Harmony
- 7.14: Fragile Absent and Emergent Tonics
- 08: 20th- and 21st-Century Techniques
- 8.01: Twentieth-Century Rhythmic Techniques
- 8.02: Pitch and Pitch Class
- 8.03: Intervals in Integer Notation
- 8.04: Pitch-Class Sets Normal Order and Transformations
- 8.05: Set Class and Prime Form
- 8.06: Interval-Class Vectors
- 8.07: Analyzing with Set Theory (or not)
- 8.08: Diatonic Modes
- 8.09: Collections
- 8.10: Analyzing with Modes Scales and Collections
- 09: Twelve-Tone Music
- 9.01: Basics of Twelve-Tone Theory
- 9.02: Naming Conventions for Rows
- 9.03: Row Properties
- 9.04: Analysis Examples Webern Op. 21 and 24
- 9.05: History and Context of Serialism
- 10: Orchestration
- 10.01: Core Principles of Orchestration
- 10.02: Subtle Color Changes
- 10.03: Transcription from Piano
- 11: Rhythm and Meter
- 11.01: Notating Rhythm crosslist
- 11.02: Simple Meter and Time Signatures crosslist
- 11.03: Compound Meter and Time Signatures crosslist
- 11.04: Other Rhythmic Essentials crosslist
- 11.05: Hypermeter
- 11.06: Metrical Dissonance
- 11.07: Swing Rhythms crosslist
- 11.08: Rhythm and Meter in Pop Music crosslist
- 11.09: Drumbeats crosslist
- 11.10: Twentieth-Century Rhythmic Techniques crosslist
- 12: Anthology
- 12.01: Harmony Anthology
- 12.02: Meter Anthology
- 12.03: Twelve-Tone Anthology
- 13: Workbook
- 13.01: Digital Workbook
- 14: Ear Training Appendix
- 14.01: The Basics of Sight-Singing and Dictation
- 14.02: Examples for Sight-counting and Sight-singing- Level 1
- 14.03: Examples for Sight-counting and Sight-singing- Level 2