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Open Music Theory 2e

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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.

MusicHumanities
Author
Mark Gotham et al.
Publisher
VIVA - Virtual Library of Virginia
Source
LibreTexts
License
CC BY-SA
Language
EN
Read online Download PDF (open licence)
Contents· 144 sections
  1. 01: Fundamentals
  2. 1.01: Introduction to Western Musical Notation
  3. 1.02: Notation of Notes Clefs and Ledger Lines
  4. 1.03: Reading Clefs
  5. 1.04: The Keyboard and the Grand Staff
  6. 1.05: Half Steps Whole Steps and Accidentals
  7. 1.06: American Standard Pitch Notation (ASPN)
  8. 1.07: Other Aspects of Notation
  9. 1.08: Notating Rhythm
  10. 1.09: Simple Meter and Time Signatures
  11. 1.10: Compound Meter and Time Signatures
  12. 1.11: Other Rhythmic Essentials
  13. 1.12: Major Scales Scale Degrees and Key Signatures
  14. 1.13: Minor Scales Scale Degrees and Key Signatures
  15. 1.14: Introduction to Diatonic Modes and the Chromatic Scale
  16. 1.15: Intervals
  17. 1.16: Triads
  18. 1.17: Seventh Chords
  19. 1.18: Inversion and Figured Bass
  20. 1.19: Roman Numerals and SATB Chord Construction
  21. 1.20: Texture
  22. 02: Counterpoint and Galant Schemas
  23. 2.01: Introduction to Species Counterpoint
  24. 2.02: First-Species Counterpoint
  25. 2.03: Second-Species Counterpoint
  26. 2.04: Third-Species Counterpoint
  27. 2.05: Fourth-Species Counterpoint
  28. 2.06: Fifth-Species Counterpoint
  29. 2.07: Gradus ad Parnassum Exercises
  30. 2.08: 16th-Century Contrapuntal Style
  31. 2.09: High Baroque Fugal Exposition
  32. 2.10: Ground Bass
  33. 2.11: Galant Schemas
  34. 2.12: Galant Schemas Summary
  35. 2.13: Galant schemas The Rule of the Octave and Harmonizing the Scale with Sequences
  36. 03: Form
  37. 3.01: Foundational Concepts for Phrase-Level Forms
  38. 3.02: The Phrase Archetypes and Unique Forms
  39. 3.03: Hybrid Phrase-Level Forms
  40. 3.04: Expansion and Contraction at the Phrase Level
  41. 3.05: Formal Sections in General
  42. 3.06: Binary Form
  43. 3.07: Ternary Form
  44. 3.08: Sonata Form
  45. 3.09: Rondo
  46. 04: Diatonic Harmony Tonicization and Modulation
  47. 4.01: Introduction to Harmony Cadences and Phrase Endings
  48. 4.02: Strengthening Endings with V7
  49. 4.03: Strengthening Endings with Strong Predominants
  50. 4.04: Embellishing Tones
  51. 4.05: Strengthening Endings with Cadential 6 4
  52. 4.06: Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s
  53. 4.07: Performing Harmonic Analysis Using the Phrase Model
  54. 4.08: Prolongation at Phrase Beginnings using the Leading-Tone Chord
  55. 4.09: 6 4 Chords as Forms of Prolongation
  56. 4.10: Plagal Motion as a Form of Prolongation
  57. 4.11: La (Scale Degree 6) in the Bass at Beginnings Middles and Endings
  58. 4.12: The Mediant Harmonizing Mi (Scale Degree 3) in the Bass
  59. 4.13: Predominant Seventh Chords
  60. 4.14: Tonicization
  61. 4.15: Extended Tonicization and Modulation to Closely Related Keys
  62. 05: Chromaticism
  63. 5.01: Modal Mixture
  64. 5.02: Neapolitan 6th (II6)
  65. 5.03: Augmented Sixth Chords
  66. 5.04: Common-Tone Chords (CT7 and CT6)
  67. 5.05: Harmonic Elision
  68. 5.06: Chromatic Modulation
  69. 5.07: Reinterpreting Diminished Seventh Chords
  70. 5.08: Augmented Options
  71. 5.09: Equal Divisions of the Octave
  72. 5.10: Chromatic Sequences
  73. 5.11: Parallel Chromatic Sequences
  74. 5.12: The Omnibus Progression
  75. 5.13: Altered and Extended Chords
  76. 5.14: Neo-Riemannian Triadic Progressions
  77. 5.15: Mediants
  78. 06: Jazz
  79. 6.01: Swing Rhythms
  80. 6.02: Chord Symbols
  81. 6.03: Jazz Voicings
  82. 6.04: iiVI
  83. 6.05: Embellishing Chords
  84. 6.06: Substitutions
  85. 6.07: Chord-Scale Theory
  86. 6.08: Blues Harmony
  87. 6.09: Blues Melodies and the Blues Scale
  88. 07: Popular Music
  89. 7.01: Rhythm and Meter in Pop Music
  90. 7.02: Drumbeats
  91. 7.03: Melody and Phrasing
  92. 7.04: Introduction to Form in Popular Music
  93. 7.05: AABA Form and Strophic Form
  94. 7.06: Verse-Chorus Form
  95. 7.07: Introduction to Harmonic Schemas in Pop Music
  96. 7.08: Blues-Based Schemas
  97. 7.09: Four-Chord Schemas
  98. 7.10: Classical Schemas (in a Pop Context)
  99. 7.11: Puff Schemas
  100. 7.12: Modal Schemas
  101. 7.13: Pentatonic Harmony
  102. 7.14: Fragile Absent and Emergent Tonics
  103. 08: 20th- and 21st-Century Techniques
  104. 8.01: Twentieth-Century Rhythmic Techniques
  105. 8.02: Pitch and Pitch Class
  106. 8.03: Intervals in Integer Notation
  107. 8.04: Pitch-Class Sets Normal Order and Transformations
  108. 8.05: Set Class and Prime Form
  109. 8.06: Interval-Class Vectors
  110. 8.07: Analyzing with Set Theory (or not)
  111. 8.08: Diatonic Modes
  112. 8.09: Collections
  113. 8.10: Analyzing with Modes Scales and Collections
  114. 09: Twelve-Tone Music
  115. 9.01: Basics of Twelve-Tone Theory
  116. 9.02: Naming Conventions for Rows
  117. 9.03: Row Properties
  118. 9.04: Analysis Examples Webern Op. 21 and 24
  119. 9.05: History and Context of Serialism
  120. 10: Orchestration
  121. 10.01: Core Principles of Orchestration
  122. 10.02: Subtle Color Changes
  123. 10.03: Transcription from Piano
  124. 11: Rhythm and Meter
  125. 11.01: Notating Rhythm crosslist
  126. 11.02: Simple Meter and Time Signatures crosslist
  127. 11.03: Compound Meter and Time Signatures crosslist
  128. 11.04: Other Rhythmic Essentials crosslist
  129. 11.05: Hypermeter
  130. 11.06: Metrical Dissonance
  131. 11.07: Swing Rhythms crosslist
  132. 11.08: Rhythm and Meter in Pop Music crosslist
  133. 11.09: Drumbeats crosslist
  134. 11.10: Twentieth-Century Rhythmic Techniques crosslist
  135. 12: Anthology
  136. 12.01: Harmony Anthology
  137. 12.02: Meter Anthology
  138. 12.03: Twelve-Tone Anthology
  139. 13: Workbook
  140. 13.01: Digital Workbook
  141. 14: Ear Training Appendix
  142. 14.01: The Basics of Sight-Singing and Dictation
  143. 14.02: Examples for Sight-counting and Sight-singing- Level 1
  144. 14.03: Examples for Sight-counting and Sight-singing- Level 2