an open, interactive, online textbook for college music theory
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Table of Contents
1) Pitches, Clefs, and Intervals
1a Overview - Pitches and Clefs
1a Examples - Pitches and Clefs
1a Lesson - Pitches and Clefs
1b Overview - Labeling Pitches
1b Examples - Labeling Pitches
1b Lesson - Labeling Pitches
1c Overview - Identifying and Labeling Intervals
1c Examples - Identifying and Labeling Intervals
1c Lesson - Identifying and Labeling Intervals
2) Scales, Keys, Triads, and Seventh Chords
2b Overview - Scales and Scale Degrees - Major, Minor, and Chromatic
2b Examples - Scales and Scale Degrees - Major, Minor, and Chromatic
2b Lesson - Scales and Scale Degrees - Major, Minor, and Chromatic
2c Overview - Key Signatures
2c Examples - Key Signatures
2c Lesson - Key Signatures
2d Overview - Triads
2d Examples - Triads
2d Lesson - Triads
2e Overview - Seventh Chords
2e Examples - Seventh Chords
2e Lesson - Seventh Chords
2f Overview - Leadsheet Notation
2f Examples - Leadsheet Notation
2f Lesson - Leadsheet Notation
3) Rhythm and Regular Meters
3a Overview - Simple Meters
3a Examples - Simple Meters
3a Lesson - Simple Meters
3b Overview - Compound Meters
3b Examples - Compound Meters
3b Lesson - Compound Meters
3c Overview - Rhythmic Values
3c Examples - Rhythmic Values
3c Lesson - Rhythmic Values
3d Overview - Beams and Borrowed Divisions
3d Examples - Beams and Borrowed Divisions
3d Lesson - Beams and Borrowed Divisions
3e Overview - Syncopation
3e Examples - Syncopation
3e Lesson - Syncopation
Beams and borrowed divisions
Meter and time signatures
Rhythmic values
Syncopation in pop/rock music
4) Counterpoint 1
4a Overview - Types of Contrapuntal Motion
4a Examples - Types of Contrapuntal Motion
4a Lesson - Types of Contrapuntal Motion
4b Overview - Composing a Cantus Firmus
4b Examples - Composing a Cantus Firmus
4b Lesson - Composing a Cantus Firmus
4c Overview - Composing a First-species Counterpoint
4c Examples - Composing a First-species Counterpoint
4c Lesson - Composing a First-species Counterpoint
4d Overview - Composing a Second-species Counterpoint
4d Examples - Composing a Second-species Counterpoint
4d Lesson - Composing a Second-species Counterpoint
4e Overview - Composing a Third-species Counterpoint
4e Examples - Composing a Third-species Counterpoint
4e Lesson - Composing a Third-species Counterpoint
Composing a cantus firmus
Composing a first-species counterpoint
Types of contrapuntal motion
Composing a second-species counterpoint
Introduction to strict voice-leading
Composing a third-species counterpoint
5) Counterpoint 2 and Embellishing Shapes
5a Overview - Composing a Fourth-species Counterpoint
5a Examples - Composing a Fourth-species Counterpoint
5a Lesson - Composing a Fourth-species Counterpoint
5b Overview - Embellishing Shapes
5b Examples - Embellishing Shapes
Embellishing tones
Composing a fourth-species counterpoint
6) Introduction to Harmonic Analysis
6a Overview - Figures, Figured Bass, and Bass Position Symbols
6a Examples - Figures, Figured Bass, and Bass Position Symbols
6a Lesson - Figures, Figured Bass, and Bass Position Symbols
6b Overview - Roman Numerals in Harmonic Analysis
6b Examples - Roman Numerals in Harmonic Analysis
6b Lesson - Roman Numerals in Harmonic Analysis
6c Overview - Generating Roman Numerals from Bass Position Symbols
6c Examples - Generating Roman Numerals from Bass Position Symbols
6c Lesson - Generating Roman Numerals from Bass Position Symbols
6d Overview - Voice-leading Considerations in Chorale-style Harmony
6d Examples - Voice-leading Considerations in Chorale-style Harmony
6d Lesson - Voice-leading Considerations in Chorale-style Harmony
6e Overview - Cadences
6e Examples - Cadences
6e Lesson - Cadences
Generating Roman numerals from a figured bass line
A brief history of basso continuo keyboard-style voice-leading
Composing in basso-continuo style
Classical cadence types
Style and tendency
Introduction to thoroughbass
7) Harmonic Function
7a Overview - Tonic, Dominant, and Predominant Functions
7a Examples - Tonic, Dominant, and Predominant Functions
7a Lesson - Tonic, Dominant, and Predominant Functions
7b Overview - Diatonic Progressions Derived from Circle-of-fifths Voice-leading
7b Examples - Diatonic Progressions Derived from Circle-of-fifths Voice-leading
7b Lesson - Diatonic Progressions Derived from Circle-of-fifths Voice-leading
7c Overview - Performing a Harmonic Analysis
7c Examples - Performing a Harmonic Analysis
7c Lesson - Performing a Harmonic Analysis
Realizing a figured bass in strict basso continuo style
Introduction to musical functions
Performing a harmonic analysis
Harmonic functions
Harmonic syntax - the idealized phrase
Harmonic syntax - prolongation
8) The Overtone Series
8a Overview - The Overtone Series
8a Examples - The Overtone Series
8a Lesson - The Overtone Series
9) Voice-leading Using Root Position and First-inversion Triads
9a Overview - Tendency Tones and Chordal Function
9a Examples - Tendency Tones and Chordal Function
9a Lesson - Tendency Tones and Chordal Function
9b Overview - Voice-leading Between Root-position Triads
9b Examples - Voice-leading Between Root-position Triads
9b Lesson - Voice-leading Between Root-position Triads
9c Overview - Voice-leading for First-inversion Triads
9c Examples - Voice-leading for First-inversion Triads
9c Lesson - Voice-leading for First-inversion Triads
Tendency tones and functional harmonic dissonances
10) Voice-leading Using Seventh Chords and Second-inversion Chords
10a Overview - Voice-leading for Seventh Chords
10a Examples - Voice-leading for Seventh Chords
10a Lesson - Voice-leading for Seventh Chords
10b Overview - Second-inversion Chords in Common Practice Harmony
10b Examples - Second-inversion Chords in Common Practice Harmony
10b Lesson - Second-inversion Chords in Common Practice Harmony
11) Non-chord tones and embellishments
11a Overview - Non-chord Tones
11a Examples - Non-chord Tones
11a Lesson - Non-chord Tones
11b Overview - Using Non-Chord Tones to Inform Harmonic Analysis
11b Examples - Using Non-Chord Tones to Inform Harmonic Analysis
11b Lesson - Using Non-Chord Tones to Inform Harmonic Analysis
Embellishing tones
12) Phrasing and Texture
12a Overview - The Phrase, Sub-phrase, and Motive
12a Examples - The Phrase, Sub-phrase, and Motive
12a Lesson - The Phrase, Sub-phrase, and Motive
12b Overview - The Period
12b Examples - The Period
12b Lesson - The Period
12c Overview - The Sentence
12c Examples - The Sentence
12c Lesson - The Sentence
12d Overview - Combining Periods and Sentences
12d Examples - Combining Periods and Sentences
12d Lesson - Combining Periods and Sentences
12e Overview - Musical Textures
12e Examples - Musical Textures
12e Lesson - Musical Textures
Compound period
Compound Sentence
Hybrid themes
The period
The sentence
13) Sequences and Voice-leading Exceptions in Diatonic Harmony
13a Overview - Diatonic Sequences
13a Examples - Diatonic Sequences
13a Lesson - Diatonic Sequences
13b Overview - Exceptions in Common Practice Harmonic Progressions
13b Examples - Exceptions in Common Practice Harmonic Progressions
13b Lesson - Exceptions in Common Practice Harmonic Progressions
14) Instrument Ranges, Transposition, and Score Reduction
14a Overview - Voice and Instrumental Ranges
14a Examples - Voice and Instrumental Ranges
14a Lesson - Voice and Instrumental Ranges
14b Overview - Instrumental Transposition
14b Examples - Instrumental Transposition
14b Lesson - Instrumental Transposition
14c Overview - Score Reading and Reduction
14c Examples - Score Reading and Reduction
14c Lesson - Score Reading and Reduction
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2017.
Inquiry-Based Music Theory
OER Text Book
1b Examples - Labeling Pitches
Accidentals and Enharmonic Equivalence
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Labeling Octaves and Clef Relationships
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