Open Music Theory

by Robin Wharton and Kris Shaffer eds.

This textbook is meant to support active student engagement with music in the theory classroom. That means that this text is meant to take a back seat to student music making (and breaking). It is not the center of the course. The three original authors use this textbook in the context of “inverted” or “flipped” courses, often following an inquiry-based model. As a result, most of the pages in this textbook do not read like a typical twentieth-century textbook.

Description from LibreTexts.

Publisher
Hybrid Pedagogy Publishing
Subjects
Humanities, Music
Licence
CC BY-SA, 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. About Open Music Theory
  5. Table of Contents
  6. Licensing
  7. 1: Fundamentals
  8. 1.1: Triads and Seventh Chords
  9. 1.2: Types of Contrapuntal Motion
  10. 1.3: Basic Notation
  11. 1.4: Meter and Time Signatures
  12. 1.5: Protonotation
  13. 1.6: Rhythmic Values
  14. 1.7: Beams and Borrowed Divisions
  15. 1.8: Pitches and Octave Designations
  16. 1.9: Scales and Scale Degrees
  17. 1.10: Key Signatures
  18. 1.11: Intervals and Dyads
  19. 2: Voice-Leading and Model Composition
  20. 2.1: Introduction to Strict Voice-Leading
  21. 2.2: Strict Two-Voice Composition (Species Counterpoint) - Composing a cantus firmus
  22. 2.3: Strict Two-Voice Composition - Composing a First-Species Counterpoint
  23. 2.4: Strict Two-Voice Composition - Composing a Second-Species Counterpoint
  24. 2.5: Strict Two-Voice Composition - Composing a Third-Species Counterpoint
  25. 2.6: Strict Two-Voice Composition - Composing a Fourth-Species Counterpoint
  26. 2.7: Strict Four-Voice Composition - Introduction to Thoroughbass
  27. 2.8: Strict Four-Voice Composition - A Brief History of basso continuo Keyboard-Style Voice-Leading
  28. 2.9: Strict Four-Voice Composition - Generating Roman Numerals from a Figured Bass Line
  29. 2.10: Strict Four-Voice Composition - Composing in basso continuo Style
  30. 2.11: Strict Four-Voice Composition - Style and Tendency
  31. 2.12: Strict Four-Voice Composition - Tendency Tones and Functional Harmonic Dissonances
  32. 2.13: Strict Four-Voice Composition - Realizing a Figured Bass in Strict basso continuo Style
  33. 2.14: Strict Four-Voice Composition - Melodic Keyboard-Style Voice-Leading
  34. 2.15: Strict Four-Voice Composition - Keyboard-Style Voice-Leading Schemata
  35. 2.16: Strict Four-Voice Composition - Realizing a Figured Bass Line in Melodic Keyboard Style
  36. 2.17: Strict Four-Voice Composition - Realizing an Unfigured Bass Line
  37. 2.18: Strict Four-Voice Composition - Embellishing Tones
  38. 3: Harmony
  39. 3.1: Introduction to Musical Functions
  40. 3.2: Harmonic Functions
  41. 3.3: Harmonic Syntax - The Idealized Phrase
  42. 3.4: Harmonic Syntax - Prolongation
  43. 3.5: Performing a Harmonic Analysis
  44. 3.6: Classical Cadence Types
  45. 3.7: Chromatically Altered Subdominant Chords
  46. 3.8: Applied Chords
  47. 3.9: Modal Mixture
  48. 3.10: Modulation
  49. 3.11: Handouts and Charts
  50. 4: Form (I) - Thematic Structure in the Classical Style
  51. 4.1: Classical Theme Types - The Sentence
  52. 4.2: Classical Theme Types - The Period
  53. 4.3: Classical Theme Types - Hybrid Themes
  54. 4.4: Classical Theme Types - Compound Period
  55. 4.5: Classical Theme Types - Compound Sentence
  56. 4.6: Classical Theme Types - The Small Ternary
  57. 4.7: Classical Theme Types - The Small Binary
  58. 4.8: Classical Theme Types - Reference
  59. 4.9: Classical Theme Types - Thematic Function Reference
  60. 4.10: Techniques of Phrase Rhythm - External Expansions
  61. 4.11: Techniques of Phrase Rhythm - Internal Expansions
  62. 5: Form (II) - Other Forms and Thematic Structures
  63. 5.1: Sonata Form - Introduction to Sonata Theory
  64. 5.2: Sonata Form - Exposition Types
  65. 5.3: Sonata Form - Structural Points of Arrival
  66. 5.4: Sonata Form - Thematic Modules
  67. 5.5: Sonata Form - The Recapitulation
  68. 5.6: Sonata Form - The Development
  69. 5.7: Sonata Form - Framing Modules (Introduction and Coda)
  70. 5.8: Rondo Form - Introduction
  71. 5.9: Rondo Form - Thematic Function in Rondo Form
  72. 5.10: Rondo Form - Five-Part Rondo Form
  73. 5.11: Rondo Form - Sonata Rondo
  74. 5.12: Other Formal Structures in the Classical Style - Minuet Form
  75. 5.13: Galant Schemata - Opens and Closes
  76. 5.14: Galant Schemata - Continuation Patterns
  77. 5.15: Galant Schemata - Summary
  78. 5.16: Galant Schemata - Improvising a Sentence with Galant Schemata
  79. 6: Post-Tonal Music (I)
  80. 6.1: Pitch (class)
  81. 6.2: Interval (class)
  82. 6.3: Modulo Arithmetic
  83. 6.4: Organizing Forces - Collections and Scales
  84. 6.5: Organizing Forces - Symmetry and Centricity
  85. 6.6: Set Theory - Normal Order
  86. 6.7: Set Theory - Transposition
  87. 6.8: Set Theory - Inversion
  88. 6.9: Set Theory - Set Class and Prime Form (1)
  89. 6.10: Set Theory - Set Class and Prime Form (2)
  90. 6.11: Set Theory - Complements
  91. 6.12: Set Theory - Common Tones under Transposition
  92. 7: Post-Tonal Music (II)
  93. 7.1: Twelve-Tone Theory - Basics
  94. 7.2: Twelve-Tone Theory - Operations
  95. 7.3: Twelve-Tone Theory - Intervallic Structure
  96. 7.4: Twelve-Tone Theory - Derived Rows
  97. 7.5: Twelve-Tone Theory - Invariance
  98. 7.6: General Post-Tonal Resources - Analyzing a Post-Tonal Piece from Scratch
  99. 7.7: General Post-Tonal Resources - Analyzing Atonal Music
  100. 7.8: General Post-Tonal Resources - Analyzing 12-Tone Music
  101. 7.9: General Post-Tonal Resources - Glossary of Atonal Musical Terms
  102. 7.10: General Post-Tonal Resources - Sheet of Blank Chromatic-Scale Clock Faces
  103. 8: Pop
  104. 8.1: Pop/Rock Music
  105. 8.1.1: Rhythm - Syncopation in Pop
  106. 8.1.1.1: Rhythm - Syncopation in Pop/Rock Music
  107. 8.1.2: Harmony - Harmony in Pop
  108. 8.1.2.1: Harmony - Harmony in Pop/Rock Music
  109. 8.1.3: Harmony - The "50s doo-wop" Progression
  110. 8.1.4: Harmony - The Singer
  111. 8.1.4.1: Harmony - The Singer/Songwriter Chord Progression
  112. 8.1.5: Harmony - The "Puff" Progression
  113. 8.1.6: Harmony - The Blues Progression
  114. 8.1.7: Harmony - The Lament Progression
  115. 8.1.8: Harmony - Circle-of-fifths Progression, Minor Mode
  116. 8.1.9: Harmony - Plagal Progressions
  117. 8.1.10: Form - Overview
  118. 8.1.11: Form - Terminology and Basic Concepts
  119. 8.1.12: Form - Formal Containers and Module Structures
  120. 8.1.13: Form - Formal Functions
  121. 8.1.14: Form - Analytical Notation
  122. 9: Text and Music
  123. 9.1: Analyzing Poetry
  124. 10: Technology
  125. 10.1: Using Trinket
  126. Back Matter
  127. Index
  128. Index
  129. Glossary
  130. Detailed Licensing