Open Music Theory 2e

by Mark Gotham et al.

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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.

Description from LibreTexts.

Publisher
VIVA - Virtual Library of Virginia
Subjects
Humanities, Music
Licence
CC BY-SA 4.0, as LibreTexts states it
Who can read
Tweens profiles and older, judged from its title and subjects

Contents

LibreTexts writes equations in TeX, and here they show as TeX; the PDF has them typeset.

  1. Front Matter
  2. TitlePage
  3. InfoPage
  4. Table of Contents
  5. Licensing
  6. Chapter 1: Fundamentals
  7. 1.1: Introduction to Western Musical Notation
  8. 1.2: Notation of Notes, Clefs, and Ledger Lines
  9. 1.3: Reading Clefs
  10. 1.4: The Keyboard and the Grand Staff
  11. 1.5: Half Steps, Whole Steps, and Accidentals
  12. 1.6: American Standard Pitch Notation (ASPN)
  13. 1.7: Other Aspects of Notation
  14. 1.8: Notating Rhythm
  15. 1.9: Simple Meter and Time Signatures
  16. 1.10: Compound Meter and Time Signatures
  17. 1.11: Other Rhythmic Essentials
  18. 1.12: Major Scales, Scale Degrees, and Key Signatures
  19. 1.13: Minor Scales, Scale Degrees, and Key Signatures
  20. 1.14: Introduction to Diatonic Modes and the Chromatic “Scale”
  21. 1.15: Intervals
  22. 1.16: Triads
  23. 1.17: Seventh Chords
  24. 1.18: Inversion and Figured Bass
  25. 1.19: Roman Numerals and SATB Chord Construction
  26. 1.20: Texture
  27. Chapter 2: Counterpoint and Galant Schemas
  28. 2.1: Introduction to Species Counterpoint
  29. 2.2: First-Species Counterpoint
  30. 2.3: Second-Species Counterpoint
  31. 2.4: Third-Species Counterpoint
  32. 2.5: Fourth-Species Counterpoint
  33. 2.6: Fifth-Species Counterpoint
  34. 2.7: Gradus ad Parnassum Exercises
  35. 2.8: 16th-Century Contrapuntal Style
  36. 2.9: High Baroque Fugal Exposition
  37. 2.10: Ground Bass
  38. 2.11: Galant Schemas
  39. 2.12: Galant Schemas – Summary
  40. 2.13: Galant schemas – The Rule of the Octave and Harmonizing the Scale with Sequences
  41. Chapter 3: Form
  42. 3.1: Foundational Concepts for Phrase-Level Forms
  43. 3.2: The Phrase, Archetypes, and Unique Forms
  44. 3.3: Hybrid Phrase-Level Forms
  45. 3.4: Expansion and Contraction at the Phrase Level
  46. 3.5: Formal Sections in General
  47. 3.6: Binary Form
  48. 3.7: Ternary Form
  49. 3.8: Sonata Form
  50. 3.9: Rondo
  51. Chapter 4: Diatonic Harmony, Tonicization, and Modulation
  52. 4.1: Introduction to Harmony, Cadences, and Phrase Endings
  53. 4.2: Strengthening Endings with V7
  54. 4.3: Strengthening Endings with Strong Predominants
  55. 4.4: Embellishing Tones
  56. 4.5: Strengthening Endings with Cadential 6/4
  57. 4.6: Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s
  58. 4.7: Performing Harmonic Analysis Using the Phrase Model
  59. 4.8: Prolongation at Phrase Beginnings using the Leading-Tone Chord
  60. 4.9: 6/4 Chords as Forms of Prolongation
  61. 4.10: Plagal Motion as a Form of Prolongation
  62. 4.11: La (Scale Degree 6) in the Bass at Beginnings, Middles, and Endings
  63. 4.12: The Mediant Harmonizing Mi (Scale Degree 3) in the Bass
  64. 4.13: Predominant Seventh Chords
  65. 4.14: Tonicization
  66. 4.15: Extended Tonicization and Modulation to Closely Related Keys
  67. Chapter 5: Chromaticism
  68. 5.1: Modal Mixture
  69. 5.2: Neapolitan 6th (♭II6)
  70. 5.3: Augmented Sixth Chords
  71. 5.4: Common-Tone Chords (CTº7 and CT+6)
  72. 5.5: Harmonic Elision
  73. 5.6: Chromatic Modulation
  74. 5.7: Reinterpreting Diminished Seventh Chords
  75. 5.8: Augmented Options
  76. 5.9: Equal Divisions of the Octave
  77. 5.10: Chromatic Sequences
  78. 5.11: Parallel Chromatic Sequences
  79. 5.12: The Omnibus Progression
  80. 5.13: Altered and Extended Chords
  81. 5.14: Neo-Riemannian Triadic Progressions
  82. 5.15: Mediants
  83. Chapter 6: Jazz
  84. 6.1: Swing Rhythms
  85. 6.2: Chord Symbols
  86. 6.3: Jazz Voicings
  87. 6.4: ii–V–I
  88. 6.5: Embellishing Chords
  89. 6.6: Substitutions
  90. 6.7: Chord-Scale Theory
  91. 6.8: Blues Harmony
  92. 6.9: Blues Melodies and the Blues Scale
  93. Chapter 7: Popular Music
  94. 7.1: Rhythm and Meter in Pop Music
  95. 7.2: Drumbeats
  96. 7.3: Melody and Phrasing
  97. 7.4: Introduction to Form in Popular Music
  98. 7.5: AABA Form and Strophic Form
  99. 7.6: Verse-Chorus Form
  100. 7.7: Introduction to Harmonic Schemas in Pop Music
  101. 7.8: Blues-Based Schemas
  102. 7.9: Four-Chord Schemas
  103. 7.10: Classical Schemas (in a Pop Context)
  104. 7.11: Puff Schemas
  105. 7.12: Modal Schemas
  106. 7.13: Pentatonic Harmony
  107. 7.14: Fragile, Absent, and Emergent Tonics
  108. Chapter 8: 20th- and 21st-Century Techniques
  109. 8.1: Twentieth-Century Rhythmic Techniques
  110. 8.2: Pitch and Pitch Class
  111. 8.3: Intervals in Integer Notation
  112. 8.4: Pitch-Class Sets, Normal Order, and Transformations
  113. 8.5: Set Class and Prime Form
  114. 8.6: Interval-Class Vectors
  115. 8.7: Analyzing with Set Theory (or not!)
  116. 8.8: Diatonic Modes
  117. 8.9: Collections
  118. 8.10: Analyzing with Modes, Scales, and Collections
  119. Chapter 9: Twelve-Tone Music
  120. 9.1: Basics of Twelve-Tone Theory
  121. 9.2: Naming Conventions for Rows
  122. 9.3: Row Properties
  123. 9.4: Analysis Examples – Webern Op. 21 and 24
  124. 9.5: History and Context of Serialism
  125. Chapter 10: Orchestration
  126. 10.1: Core Principles of Orchestration
  127. 10.2: Subtle Color Changes
  128. 10.3: Transcription from Piano
  129. Chapter 11: Rhythm and Meter
  130. 11.1: Notating Rhythm [crosslist]
  131. 11.2: Simple Meter and Time Signatures [crosslist]
  132. 11.3: Compound Meter and Time Signatures [crosslist]
  133. 11.4: Other Rhythmic Essentials [crosslist]
  134. 11.5: Hypermeter
  135. 11.6: Metrical Dissonance
  136. 11.7: Swing Rhythms [crosslist]
  137. 11.8: Rhythm and Meter in Pop Music [crosslist]
  138. 11.9: Drumbeats [crosslist]
  139. 11.10: Twentieth-Century Rhythmic Techniques [crosslist]
  140. Chapter 12: Anthology
  141. 12.1: Harmony Anthology
  142. 12.2: Meter Anthology
  143. 12.3: Twelve-Tone Anthology
  144. Chapter 13: Workbook
  145. 13.1: Digital Workbook
  146. Chapter 14: Ear Training Appendix
  147. 14.1: The Basics of Sight-Singing and Dictation
  148. 14.2: Examples for Sight-counting and Sight-singing- Level 1
  149. 14.3: Examples for Sight-counting and Sight-singing- Level 2
  150. Back Matter
  151. Index
  152. Glossary
  153. Detailed Licensing