Music Theory for the 21st-Century Classroom Posted on September 10, 2026 by newsflashtom Front Matter Colophon Acknowledgements Preface 1 Basic Concepts 1.1 Pitch 1.2 Notation 1.3 Octave Registers 1.4 Accidentals 1.5 Enharmonic Notes 1.6 Practice Exercises 2 Major Scales and Key Signatures 2.1 Half Steps and Whole Steps 2.2 The Major Scale 2.3 Major Key Signatures 2.3.1 Identifying Key Signatures 2.4 Practice Exercises 3 Minor Scales and Key Signatures 3.1 Minor Scales 3.2 Minor Key Signatures 3.3 Scale Degree Names 3.4 Practice Exercises 4 Basics of Rhythm 4.1 Time Signature 4.2 Durational Symbols 4.3 Dots and Ties 4.4 Meter 4.5 Tuplets 4.6 Common Rhythmic Notation Errors 4.7 Practice Exercises 5 Intervals 5.1 Introduction to Intervals 5.1.1 Numeric Size of Interval 5.1.2 Interval Quality: Perfect versus Major/Minor 5.2 How to Identify Perfect, Major, and Minor Intervals 5.3 How to Write Perfect, Major, and Minor Intervals 5.4 Inversion of Intervals Explained 5.5 Augmented and Diminished Intervals 5.6 Practice Exercises 6 Triads 6.1 Introduction to Triads 6.2 Lead-Sheet Symbols 6.3 Inverted Triads 6.3.1 “Slash” Chords 6.4 Analyzing Chords 6.5 Simple “Sus” Chords 6.6 Summary 6.7 Practice Exercises 7 Roman Numerals and Cadences 7.1 Roman Numeral Chord Symbols 7.2 Diatonic Chords in Major 7.3 Diatonic Chords in Minor 7.4 Cadences 7.4.1 Examples of Authentic Cadences 7.4.2 Examples of Plagal Cadences 7.4.3 Examples of Deceptive Cadences 7.4.4 Examples of Half Cadences 7.5 Practice Exercises 8 Seventh Chords 8.1 Introduction to Seventh Chords 8.2 The IV/5 “sus” chord 8.3 Roman Numerals of Diatonic Seventh Chords 8.4 Practice Exercises 9 Harmonic Progression and Harmonic Function 9.1 The Circle of Fifths Progression 9.2 Harmonic Rhythm 9.3 Shorter Progressions from the Circle of Fifths 9.3.1 II-V-I 9.3.2 VI-II-V-I 9.3.2.1 vi-ii-V-I 9.3.2.2 I-vi-ii-V 9.3.2.3 ii-V-I-vi 9.3.3 III-VI-II-V 9.4 Harmonic Function 9.4.1 The Harmonic Flowchart 9.4.2 Tonic-Dominant-Tonic Progression 9.4.3 Tonic-PreDominant-Dominant-Tonic Progression Photo: XT7 Core / Pexels 9.4.4 The Tonic-Tonic Prolongation-PreDominant-Dominant Progression 9.4.4.1 I–vi–IV–V 9.5 Exceptions Created by Harmonic Sequences 9.6 The Subtonic VII Chord in Popular Music 9.7 The Best-Seller Progression 9.8 The i–VII–VI–VII Progression 9.9 Practice Exercises 10 Non-Chord Tones 10.1 Introduction to Non-Chord Tones 10.2 Passing Tones 10.3 Neighbor Tones 10.4 Appoggiatura 10.5 Escape Tone 10.6 Double Neighbor 10.7 Anticipation 10.8 Pedal Point 10.9 Suspension 10.10 Retardation 10.11 Incomplete Neighbor 10.12 Practice Exercises 11 Melodic Analysis 11.1 Motive 11.2 Melodic Alteration 11.2.1 Inversion 11.2.2 Intervallic Change 11.2.3 Augmentation and Diminution 11.2.4 Rhythmic Change 11.2.5 Ornamentation 11.2.6 Extension 11.2.7 Retrograde 11.3 Fragment 11.4 Phrase 11.5 Subphrase 11.6 Practice Exercises 12 Form in Popular Music 12.1 Verse-Chorus Form 12.2 AABA Form 12.3 ABAC Form 12.4 The 12-Bar Blues 12.5 Harmonically Closed and Open Sections 12.6 Practice Exercises 13 Phrases in Combination 13.1 The Perfect Authentic Cadence 13.2 The Sentence 13.3 The Period 13.3.1 Conclusiveness of Cadence 13.3.2 Examples of the “Less Conclusive-More Conclusive” Cadential Formula 13.3.3 Antecedents and Consequents 13.3.4 Parallel and Contrasting Periods 13.3.5 Repeated Phrase Advertisement 13.4 The Asymmetrical Period 13.5 The Double Period 13.5.1 Repeated Period 13.6 Phrase Groups and Phrase Chains 13.7 The Elision 13.8 Summary of Phrases in Combination 13.9 Practice Exercises 14 Accompanimental Textures 14.1 Texture 14.2 Chorale Texture 14.3 Arpeggiated Accompaniments 14.3.1 Arpeggios 14.3.2 Alberti Bass 14.4 Block Chord Accompaniments 14.4.1 The “1 (2) &” Rhythm 14.4.2 The “Barbara Ann” Rhythm 14.4.3 Repeated 8th-note Chords 14.4.4 Repeated Quarter-note Chords 14.5 Afterbeats and Offbeats 14.5.1 Afterbeats 14.5.2 Offbeats 14.5.2.1 Polka 14.5.2.2 Reggae 14.6 The 3–2 Son Clave 14.6.1 The 3+3+2 Rhythm Advertisement 14.6.1.1 Habanera and Reggaeton 14.6.2 3+3+3+3+2+2 14.6.3 8 Groups of 3 Plus 4 Groups of 2 14.6.1 Other Combinations of 3s and 2s 14.7 Distinctive Bass Lines 14.7.1 Distinctive Guitar Riffs 15 Creating Contrast Between Sections 15.1 The Elements of Music 15.2 Mozart, Eine kleine Nachtmusik, K. 525, II. 15.3 “Rude” by MAGIC! 16 Figured Bass 16.1 Historical Context 16.2 Figured Bass Inversion Symbols 16.3 The Cadential Six-Four Chord 16.4 Other Occurrences of Six-Four Chords 16.5 Additional Information 16.6 Practice Exercises 17 Secondary Dominant Chords 17.1 Examples with Secondary Dominants 17.2 Tonicization 17.3 Secondary Dominants in Major and Minor 17.4 Analyzing Secondary Dominants 17.5 Writing Secondary Dominants 17.6 Irregular Resolutions of Secondary Chords 17.7 Practice Exercises 18 Secondary Diminished Chords 18.1 Secondary Diminished Chords 18.2 Secondary Diminished Chords in Major and Minor 18.3 Analyzing Secondary Diminished Chords 18.4 Writing Secondary Diminished Chords 18.5 Practice Exercises 19 Mode Mixture 19.1 Mode Mixture 19.2 Harmonization of Borrowed Scale Degrees 19.3 Analyzing and Writing Borrowed Chords 19.4 The Deceptive Cadence with ♭(left.text{VI}right.) 19.5 The Picardy 3rd 19.6 Practice Exercises 20 The Neapolitan Chord 20.1 The Neapolitan Chord 20.2 Examples of the Neapolitan Chord 20.3 Practice Exercises 21 Augmented Sixth Chords 21.1 Augmented Sixth Chords 21.2 Types of Augmented Sixth Chords 21.3 Analyzing Augmented Sixth Chords 21.4 Lead-Sheet Analysis of Augmented Sixth Chords 21.5 Examples with Augmented Sixth Chords 21.5.1 The Italian Augmented Sixth Chord 21.5.2 The French Augmented Sixth Chord 21.5.3 The German Augmented Sixth Chord 21.5.4 The Enharmonic German Sixth 21.6 Distingushing Between Chromatic Harmonies 21.7 Descending Chromatic Bass Lines 21.8 Chromatic Pre-Dominant Chords 21.9 Practice Exercises 22 Modulation 22.1 Modulation 22.2 Tonicization versus Modulation 22.3 Key Relationships 22.4 Modulations with Diatonic Pivot Chords 22.4.1 Determining Common Chords Between Keys 22.4.2 Harmonic Functions of Diatonic Pivot Chords 22.5 How to Recognize a Key After a Modulation 22.6 Modulations with Chromatic Pivot Chords 22.6.1 Secondary Common Chord 22.6.2 Borrowed Common Chord 22.6.3 Neapolitan Common Chord 22.6.4 Augmented Sixth Common Chord 22.7 Modulations Without Pivot Chords 22.7.1 Direct Modulation 22.7.2 Common-Tone Modulation 22.7.2.1 Chromatic Mediants 22.7.3 Sequential Modulation 22.8 Practice Exercises Photo: Shreyaan Vashishtha / Pexels 23 Enharmonic Modulation 23.1 Enharmonic Modulation 23.2 The V7 and Ger+6 as Pivot Chords 23.3 The Fully Diminished Seventh as Pivot Chord 23.4 Practice Exercises 24 Binary and Ternary Forms 24.1 Binary and Ternary Form 24.2 Sectional versus Continuous 24.3 Balanced Binary 24.4 Rounded Binary 24.5 Simple Binary 24.6 Binary Principle 24.7 Ternary Form 24.7.1 Compound Ternary 24.8 Distinguishing between Rounded Binary and Ternary 24.8.1 Written-Out Repeats 24.9 Practice Exercises 25 Sonata and Rondo Forms 25.1 Sonata Form 25.1.1 Diagram of Sonata Form 25.1.2 Sonatina Form 25.1.3 Sonata Principle 25.1.4 The Monothematic Sonata 25.2 The Four Structural Functions in Music 25.2.1 Expository Function Advertisement 25.2.2 Transitional Function 25.2.3 Developmental Function 25.2.4 Terminative Function 25.3 Rondo Form 25.3.1 Sonata Rondo Form 25.4 Rondo Character 25.5 Standard Forms in a Multimovement Classical Piece 25.6 Practice Exercises 26 Voice Leading Triads 26.1 Voice Leading 26.2 Types of Motion 26.3 Objectionable Parallels 26.4 Voice Ranges 26.5 Rules of Melody 26.6 Rules of Spacing 26.7 Voice Leading Root Position Triads in Four Parts 26.7.1 Bass movement of the interval of a 3rd or 6th 26.7.2 Bass movement of the interval of a 4th or 5th 26.7.3 Bass movement of the interval of a 2nd 26.7.4 Repetition of the bass note 26.8 Voice Leading First-Inversion Triads 26.8.1 Voicing a First Inversion Chord 26.9 Voice Leading Second Inversion Triads 26.10 Special Situations 26.11 Types of Six-Four Chords 26.12 Summary of Doubling Rules for Triads 26.13 Practice Exercises 27 Voice Leading Seventh Chords 27.1 Voice Leading Seventh Chords 27.2 Voice Leading Successive Seventh Chords 27.3 Voice Leading the (left.text{V}^{7}right.) to (left.text{I}right.) Progression 27.3.1 Voice Leading (left.text{I}^{6}_{4}right.) to (left.text{V}^{7}right.) 27.4 The Special Resolution of vii(left.text{}^{circ}{}^{7}right.) (and vii(left.text{}^ø{}^{7}right.)) 27.5 When to Use Seventh Chords 27.6 Practice Exercises 28 Voice Leading With Non-Chord Tones 28.1 Voice Leading With Non-Chord Tones 28.2 Avoiding Objectionable Parallels 28.3 Adding Non-Chord Tones to a Chord Progression 28.4 Practice Exercises 29 Voice Leading Chromatic Harmonies 29.1 Voice Leading Secondary Chords 29.2 Voice Leading Borrowed Chords 29.3 Voice Leading the Neapolitan Chord 29.4 Voice Leading Augmented Sixth Chords 29.5 Practice Exercises 30 Introduction to Counterpoint 30.1 Species Counterpoint 30.2 First Species Counterpoint 30.3 Second Species Counterpoint Advertisement 30.4 Third Species Counterpoint 30.5 Fourth Species Counterpoint 30.6 Fifth Species Counterpoint 30.7 Invention Expositions 30.7.1 How to Write an Invention Exposition 30.7.2 Altering Themes to Fit the Harmonies 30.7.3 Adding Counterpoint to the Theme Statements 30.8 Fugue Analysis 30.9 Practice Exercises 31 Introduction to Jazz Theory 31.1 Jazz Chord Basics 31.2 Chord Symbol Specifics 31.3 Altered Dominant Seventh Chords 31.4 Chord Labels 31.5 How to Write Jazz Chords 31.6 How to Analyze Jazz Chords 31.7 Jazz Chord Voicings 31.7.1 Guide Tones 31.7.2 Jazz Chord Voicings 31.8 Standard Chord Progressions 31.8.1 II–V–I 31.8.2 III–VI–II–V 31.8.3 The Blues Progression 31.9 Scales 31.9.1 The Blues Scale 31.9.2 The Bebop Scale 31.9.3 Table of Scales 31.10 How to Determine Chord-Scale Relationships 31.10.1 List of Chord-Scale Relationships 31.11 Harmonizing the Bebop Scale 31.12 Practice Exercises 32 Impressionism and Extended Tonality 32.1 Impressionism 32.2 Pandiatonicism 32.3 Quartal, Quintal, and Secundal Harmony 32.4 Polychords 32.5 Practice Exercises 33 Set Theory 33.1 Set Theory 33.1.1 Atonal Music 33.1.2 Integer Notation for Pitches 33.1.3 Integer Notation for Intervals 33.1.4 Pitch-Class Sets 33.2 Normal Form 33.3 Prime Form 33.3.1 Application of Normal Form and Prime Form 33.3.2 Segmentation 33.4 Interval Vector 33.5 Forte Numbers 33.5.1 Z-Relations 33.6 Lists of Set Classes 33.7 Transposition (T(text{}_{n})) 33.8 Inversion (T(text{}_{n})I) 33.8.1 Identifying T(text{}_{n})I for Inversionally-Related Sets 33.9 Practice Exercises 34 Serialism 34.1 Twelve-Tone Technique 34.1.1 Row Forms 34.1.2 Transposition Numbers 34.2 Determining Row Forms 34.3 Writing Row Forms 34.4 Twelve-Tone Matrix 34.5 Row Form Presentation in Music 34.6 Non-Twelve-Tone Serialism 34.7 Practice Exercises 35 Minimalism 35.1 Additive Minimalism 35.2 Phase Shifting 35.3 Homework Assignments Back Matter A Answers to Practice Exercises B GNU Free Documentation License Index Colophon Read More
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