Primary Navigation
Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.
Book Contents Navigation
Introduction
Brian Moore
Acknowledgments
Statement on Spotify Usage
Glenn Korff School of Music
Instructor Resources
Changelog
Helpful documents
1. Introduction to Western Musical Notation
Chelsey Hamm
2. Notation of Notes, Clefs, and Ledger Lines
3. Reading Clefs
4. The Keyboard and the Grand Staff
5. Half Steps, Whole Steps, and Accidentals
6. American Standard Pitch Notation (ASPN)
Chelsey Hamm and Bryn Hughes
7. Other Aspects of Notation
Chelsey Hamm and Mark Gotham
8. Rhythmic and Rest Values
Chelsey Hamm; Mark Gotham; and Bryn Hughes
9. Simple Meter and Time Signatures
Chelsey Hamm; Kris Shaffer; and Mark Gotham
10. Compound Meter and Time Signatures
11. Other Rhythmic Essentials
Bryn Hughes; Mark Gotham; and Chelsey Hamm
12. Major Scales, Scale Degrees, and Key Signatures
13. Minor Scales, Scale Degrees, and Key Signatures
14. Introduction to Diatonic Modes and the Chromatic "Scale"
15. The Basics of Sight-Singing and Dictation
Kris Shaffer; Chelsey Hamm; and Samuel Brady
16. Intervals
17. Triads
18. Seventh Chords
19. Inversion and Figured Bass
Chelsey Hamm and Samuel Brady
20. Roman Numerals and SATB Chord Construction
Samuel Brady and Kris Shaffer
21. Texture
Samuel Brady and Mark Gotham
22. Introduction to Species Counterpoint
Kris Shaffer and Mark Gotham
23. First-Species Counterpoint
24. Second-Species Counterpoint
25. Third-Species Counterpoint
26. Fourth-Species Counterpoint
27. Fifth-Species Counterpoint
28. Gradus ad Parnassum Exercises
Mark Gotham
29. 16th-Century Contrapuntal Style
30. High Baroque Fugal Exposition
31. Ground Bass
32. Galant Schemas
33. Galant Schemas – Summary
34. Galant schemas – The Rule of the Octave and Harmonizing the Scale with Sequences
35. Foundational Concepts for Phrase-Level Forms
John Peterson
36. The Phrase, Archetypes, and Unique Forms
37. Hybrid Phrase-Level Forms
38. Expansion and Contraction at the Phrase Level
39. Formal Sections in General
Brian Jarvis
40. Binary Form
41. Ternary Form
42. Sonata Form
43. Rondo
44. Introduction to Harmony, Cadences, and Phrase Endings
45. Strengthening Endings with V7
46. Strengthening Endings with Strong Predominants
47. Embellishing Tones
48. Strengthening Endings with Cadential 6/4
49. Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s
50. Performing Harmonic Analysis Using the Phrase Model
51. Prolongation at Phrase Beginnings using the Leading-Tone Chord
52. 6/4 Chords as Forms of Prolongation
53. Plagal Motion as a Form of Prolongation
54. La (Scale Degree 6) in the Bass at Beginnings, Middles, and Endings
55. The Mediant Harmonizing Mi (Scale Degree 3) in the Bass
56. Predominant Seventh Chords
57. Tonicization
John Peterson and Megan Lavengood
58. Extended Tonicization and Modulation to Closely Related Keys
59. Modal Mixture
60. Neapolitan 6th (♭II6)
61. Augmented Sixth Chords
62. Common-Tone Chords (CTº7 & CT+6)
63. Harmonic Elision
64. Chromatic Modulation
Bryn Hughes
65. Reinterpreting Diminished Seventh Chords
66. Augmented Options
67. Equal Divisions of the Octave
68. Chromatic Sequences
69. Parallel Chromatic Sequences
70. The Omnibus Progression
71. Altered and Extended Dominant Chords
72. Neo-Riemannian Triadic Progressions
73. Swing Rhythms
Megan Lavengood
74. Chord Symbols
75. Jazz Voicings
76. ii–V–I
77. Embellishing Chords
78. Substitutions
79. Chord-Scale Theory
John Kocur
80. Blues Harmony
Bryn Hughes and Megan Lavengood
81. Blues Melodies and the Blues Scale
82. Rhythm and Meter in Pop Music
Bryn Hughes; Kris Shaffer; and Megan Lavengood
83. Melody and Phrasing
84. Introduction to Form in Popular Music
85. AABA Form and Strophic Form
86. Verse-Chorus Form
87. Introduction to Harmonic Schemas in Pop Music
88. Blues-Based Schemas
89. Four-Chord Schemas
Megan Lavengood and Bryn Hughes
90. Classical Schemas (in a Pop Context)
Bryn Hughes and Kris Shaffer
91. Puff Schemas
92. Modal Schemas
93. Pentatonic Harmony
94. Fragile, Absent, and Emergent Tonics
95. Pitch and Pitch Class
96. Intervals in Integer Notation
Brian Moseley and Megan Lavengood
97. Pitch-Class Sets, Normal Order, and Transformations
98. Set Class and Prime Form
99. Interval-Class Vectors
100. Analyzing with Set Theory (or not!)
Mark Gotham and Megan Lavengood
101. Diatonic Modes
102. Collections
Mark Gotham; Megan Lavengood; Brian Moseley; and Kris Shaffer
103. Analyzing with Modes, Scales, and Collections
104. Basics of Twelve-Tone Theory
Mark Gotham and Brian Moseley
105. Naming Conventions for Rows
106. Row Properties
107. Analysis Examples - Webern Op. 21 and 24
108. History and Context of Serialism
109. Core Principles of Orchestration
110. Subtle Color Changes
111. Transcription from Piano
112. Harmony Anthology
113. Meter Anthology
114. Twelve-Tone Anthology
115. Digital Workbook
Kyle Gullings
116. PDF Workbook
Appendix
V. Chromaticism
Previous/next navigation
Open Music Theory - Fall 2023 Copyright © 2021 by Mark Gotham; Kyle Gullings; Chelsey Hamm; Bryn Hughes; Brian Jarvis; Megan Lavengood; and John Peterson is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License, except where otherwise noted.