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Enhanced offline versions of our animated lessons. learn more buy, the staff, clefs, and ledger lines, learn about the staff, treble and bass clefs, and ledger lines., note duration, learn about five types of notes and how flags affect note duration., measures and time signature, learn about measures and how many notes each can contain., rest duration, learn about the different types of rest., dots and ties, learn how dots and ties modify the duration of notes., steps and accidentals, learn about half steps, whole steps, and the different types of accidentals., simple and compound meter, learn how basic time signatures are classified., learn about more complex time signatures., the major scale, learn how to construct the major scale., the minor scales, learn how to construct the three different types of minor scales., scale degrees, learn the special names for each note of a scale., key signatures, learn about key signatures and the special ordering of accidentals., key signature calculation, learn a method for mathematically calculating key signatures., generic intervals, learn how two notes are measured on the staff., specific intervals, learn how two notes are specifically measured., writing intervals, learn how to correctly spell intervals with a three-step process., interval inversion, learn how to invert intervals., introduction to chords, learn about the four types of triads., triad inversion, learn how to invert triads., seventh chords, learn about the five types of seventh chords., more seventh chords, learn about three additional types of seventh chords used in popular music and jazz., seventh chord inversion, learn how to invert seventh chords., diatonic triads, learn how a scale's notes form special triads., roman numeral analysis: triads, learn how diatonic triads are identified., diatonic seventh chords, learn about the diatonic seventh chords of major and minor scales., roman numeral analysis: seventh chords, learn how seventh chords are identified in roman numeral analysis., composing with minor scales, learn how the natural and harmonic minor scales combine., voicing chords, learn how composers arrange the notes of chords., analysis: o canada, watch an analysis of o canada., nonharmonic tones, learn about the different types of nonharmonic tones., phrases and cadences, learn about musical phrases and the different types of cadences., circle progressions, learn about root motion and circular chord progressions., common chord progressions, learn how chord progressions tend to follow a common pattern., triads in first inversion, learn how first inversion triads are commonly used in chord progressions ., triads in second inversion, learn how second inversion triads are commonly used in chord progressions ., analysis: auld lang syne, watch an analysis of auld lang syne., building neapolitan chords, learn how to build a neapolitan chord., using neapolitan chords, learn how a neapolitan chord in first inversion is commonly used., analysis: moonlight sonata, watch an analysis beethoven's moonlight sonata (measures 49-51)..

Music Theory for the 21st-Century Classroom

(3 reviews)

Robert Hutchinson, University of Puget Sound

Copyright Year: 2017

Publisher: Robert Hutchinson

Language: English

Formats Available

Conditions of use.

Free Documentation License (GNU) Free Documentation License (GNU)

Learn more about reviews.

Reviewed by Alek Palmersmith, Assistant Professor, Old Dominion University on 7/27/23

The book is detailed, with a lot of information, with a clear index, but it's missing a glossary. read more

Comprehensiveness rating: 4 see less

The book is detailed, with a lot of information, with a clear index, but it's missing a glossary.

Content Accuracy rating: 5

The content is clear and accurate.

Relevance/Longevity rating: 3

While the fundamental concepts of music theory have stood the test of time, I believe this book could have included more modern examples from various genres to make it more relevant to students learning music theory now.

Clarity rating: 4

It is concise, which is helpful. It does however use some jargon that can get in the way of easy understanding and real-world application.

Consistency rating: 5

It's very consistent in formatting, content, and terminology.

Modularity rating: 5

It's easy to jump from one section to another to get the information you need. In fact, it is probably best used as a reference guide instead of read cover to cover.

Organization/Structure/Flow rating: 5

It's well-organized with clear chapter and sub-chapters.

Interface rating: 4

It's pretty clean, but could be a little more visually appealing.

Grammatical Errors rating: 5

I found no errors while reading this book.

Cultural Relevance rating: 4

Nothing was offensive and it is inclusive. However, I think it could include examples from more styles of music.

Solid overall book, helpful for learning the concepts of music theory.

Reviewed by Cherise Leiter, Professor, Metropolitan State University of Denver on 8/17/22

Overall, this text is quite comprehensive, including the topics generally covered in a 4-semester theory sequence. There are a few instances where there is not as much detail as I am used to (for instance, I couldn't find mention of the Phrygian... read more

Overall, this text is quite comprehensive, including the topics generally covered in a 4-semester theory sequence. There are a few instances where there is not as much detail as I am used to (for instance, I couldn't find mention of the Phrygian half cadence), but the text includes a significant amount of pop and jazz music theory which many texts do not cover. Both the index and glossary are easy to use and by using links, send one immediately to the correct place in the text.

The accuracy is very good. I did not see any obvious mistakes.

Relevance/Longevity rating: 4

The text had a nice balance of examples from art music, popular, and jazz music styles. Personally I would have liked to see a few more examples from the musical theatre genre, since at our school music theatre majors have to take two semesters of music theory. More examples from female composers would also be a relevant element.

Clarity rating: 5

The text utilizes succinct explanations of concepts and employs clear language overall. The examples are easy to follow and relate clearly to the topic under discussion.

The text employs consistent language, style, and layout in each chapter.

The text is well organized into modules that can be re-ordered quite easily. In some cases, the modules for certain topics occur later than typically found, but are presented in their module in a way that would allow an instructor to utilize it earlier. However, some modules would need to be broken up, but the subheadings generally make that possible.

Organization/Structure/Flow rating: 4

The text is fairly well organized. There are some instances where I would prefer a topic be separated out or placed in a different module (for example, modes, whole-tone scale and octatonic scales are only listed in a chart in the jazz theory chapter) but overall, the text flows in a logical manner.

Interface rating: 5

I did not notice any interface issues.

The text was well written and contained no grammatical errors.

Overall I appreciated the breadth and variety of musical examples used in the text and homework assignments. As stated above I would like to see more examples by women and other underrepresented groups, particularly when giving examples of art music.

I very much appreciated the ancillary materials such as homework assignments and practice tests. Not all OER music theory texts include them, and these were in-depth and creative. I also found the practice exercises at the end of each chapter helpful, with answer keys at the end of the text. There were also several chapters included in this text that are not normally found in music theory textbooks that I thought were a good inclusion, such as the chapter on Accompanimental Textures.

Reviewed by Geoffrey Cunningham, Adjunct Music Lecturer, Holyoke Community College on 6/28/21

The text is very comprehensive. Each chapter is concise and clear, without being overly verbose as some music theory textbooks can be. The index is very effective, in that you can just click on the link next to each term or topic and it will give... read more

Comprehensiveness rating: 5 see less

The text is very comprehensive. Each chapter is concise and clear, without being overly verbose as some music theory textbooks can be. The index is very effective, in that you can just click on the link next to each term or topic and it will give you the section being referenced with also a link to navigate you right to the location in the book where it is cited for full context. In a way, this index functions as a glossary as well by giving such quick access to descriptions and definitions.

There are 35 chapters in this book, and I have yet to find any errors.

Relevance/Longevity rating: 5

Content is up-to-date and relevant. It covers all of the traditional topics usually covered in music theory courses 1-4. Anything that needs updating should be quite easy to implement, as the chapters are all organized and divided into neat and tidy subunits.

As I had commented before, the writing is clear and concise without using any unnecessary language. The book does a good job of including great visual graphics and charts, along with several imbedded musical examples in every chapter to help illustrate the concepts.

Yes, terminology is consistent from chapter to chapter.

This books seems to have been structured with modularity in mind all along. Each chapter is divided into smaller sub chapters that would make it easy to divide and reorganize topics and subjects within. I plan on using this textbook in the coming year, but will likely change the order of chapters to match the order I usually present these topics in. Thankfully, there is not much cumulative/chronological overlap between chapters, so it makes it easy to do things in a different order. For example, the part-writing section which is covered later than usual (Ch 26) doesn't include practicing the chromaticism covered in earlier chapters (Ch 19 - 23) until the very end of the unit, so it makes it easy to use that chapter earlier in the semester.

Organization is very clear, logical, and easy to navigate.

Interface is clear and without issues.

The grammar is clear without any glaring errors.

Cultural Relevance rating: 5

I am very impressed with the cultural and stylistic diversity presented in the musical examples throughout this textbook. Too many traditional theory books lean so heavily on the music of 18th Century European classical composers. This book will illustrate a concept equally with examples from Bach, Mozart, the Beatles, Bruno Mars, and Cee Lo Green, all in the same chapter!

Table of Contents

• 1 Basic Concepts 
• 2 Major Scales and Key Signatures 
• 3 Minor Scales and Key Signatures 
• 4 Basics of Rhythm 
• 5 Intervals
• 6 Triads 
• 7 Roman Numerals and Cadences 
• 8 Seventh Chords 
• 9 Harmonic Progression and Harmonic Function 
• 10 Non-Chord Tones 
• 11 Melodic Analysis
• 12 Form in Popular Music 
• 13 Phrases in Combination 
• 14 Accompanimental Textures 
• 15 Creating Contrast Between Sections 
• 16 Figured Bass 
• 17 Secondary Dominant Chords
• 18 Secondary Diminished Chords 
• 19 Mode Mixture 
• 20 The Neapolitan Chord
• 21 Augmented Sixth Chords 
• 22 Modulation 
• 23 Enharmonic Modulation
• 24 Binary and Ternary Forms
• 25 Sonata and Rondo Forms 
• 26 Voice Leading Triads 
• 27 Voice Leading Seventh Chords 
• 28 Voice Leading With Non-Chord Tones 
• 29 Voice Leading Chromatic Harmonies 
• 30 Introduction to Counterpoint 
• 31 Introduction to Jazz Theory 
• 32 Impressionism and Extended Tonality 
• 33 Set Theory 
• 34 Serialism 
• 35 Minimalism

Ancillary Material

• Robert Hutchinson

About the Book

Music Theory for the 21st–Century Classroom is an openly–licensed online four–semester college music theory textbook. This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase. In my opinion, this led to students having difficulty with creating melodies, since the training they are given is typically to write a “melody” in quarter notes in the soprano voice of part writing exercises. When the assignments in those texts ask students to do more than this, the majority of the students struggle to create a melody with continuity and with appropriate placement of harmonies within a phrase because the text had not prepared them to do so.

In Music Theory for the 21st–Century Classroom, students learn about motive, fragment, phrase, and subphrase, as well as types of melodic alteration like inversion, intervallic change, augmentation, diminution, rhythmic change, ornamentation, extension, and retrograde. By understanding motive and subphrase (also known as “phrase segment” or “phrase member”), I believe students will better understand the logic and construction of melodies, which will aid them in creating their own music.

This text is meant to take the student from the basics of reading and writing pitches and rhythms through twelve–tone technique and minimalism over the course of four semesters. Whenever possible, examples from popular music and music from film and musical theater are included to illustrate melodic and harmonic concepts, usually within the context of the phrase.

About the Contributors

Robert Hutchinson , University of Puget Sound

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Recently Asked Music Questions

• Q 1 : 5. Notate the intervals of an octave, a fifth and a fourth up from C4 on the staff below. See Answer
• Q 2 : 1. Using letter names, label a pentatonic set that spans two octaves on the the keyboard. See Answer
• Q 3 : Music Blog This module's focus was on music and/as politics as expressed through Reggae, Rasta,and Ruddies. Using Hebdige's article as your critical reference, post a music video from the period and analyze how or why it is representative of this black British phase that you just studied.But do not post a video that has already been posted.Write your critical analysis of the music in about 450-500 words. See Answer
• Q 4 : 7. What are the harmonic and arithmetic means of the set {1,3}? Show your work. See Answer
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• Q 6 : 9. Answer the same question as in the last problem, but for a nine-note scale having the same property. See Answer
• Q 7 : Greetings! If you find you are unable for any reason to attend a live concert, I do have approved videos that I will allow you to watch and then write a report as if you were actually at the concert. Note that if you are going to use one of these alternate online concert videos, I expect a complete report that comments on all aspects of the viewing/listening experience, including comments about the beginning, middle, and end of the concerts. Just as with live concerts, I expect you to watch the entire show. While it is the intention of the assignment to have you attend a live show, I know that it is not always possible. Therefore, I have made these available. Click the link below to stream the approved concert. • Link: The T.A.M.I. Show, 1964 See Answer
• Q 8 : 1. Identify the names of the following notes (5 marks). #o to bo See Answer
• Q 9 : 2. Provide a single rest (notated) that is equivalent to the duration provided (5 marks). A O See Answer
• Q 10 : 3. Draw the closest enharmonic equivalent of the note (5 marks). to PO/n3. Draw the closest enharmonic equivalent of the note (5 marks). to PO See Answer
• Q 11 : 4. Draw the note one chromatic half-step below the given note (5 marks). e be O O See Answer
• Q 12 : 5. Draw the note one diatonic half-step above the given note (5 marks). bo to See Answer
• Q 13 : 6. Draw the key signature for the following major keys (5 marks). D flat major F sharp major D major C major 9 F major See Answer
• Q 14 : 7. Identify the following major scales and the scale degree term (ie. tonic, dominant etc.) for the selected note (10 marks). Scale: Scale-step term:_ Scale: Scale-step term: 9:# Scale: Scale-step term: 0 少带。 Scale: Scale-step term: Scale: Scale-step term:_ 0 o See Answer
• Q 15 : 8. Draw out the following major scales ascending and descending in whole notes, using a key signature (not accidentals) (10 marks). G flat Major C Major 9 A flat Major A Major F Major See Answer
• Q 16 : 1. Identify the quality and size of the following intervals (5 marks). 200 0 0 #8 lob O See Answer
• Q 17 : 2. Draw the following melodic intervals above the given notes (8 marks). 9: #0 P5 9: bo M2 m6 d4 M7 O M6 0 m3 M6 See Answer
• Q 18 : 3. Draw the correct order of the seven sharps as found in a key signature (7 marks). See Answer
• Q 19 : 4. Identify both the major and the minor key associated with each key signature (10 marks). Major: Minor: Major: Minor: Major: Minor: Major: Minor: Major: Minor: See Answer
• Q 20 : 5. Draw the following scales ascending and descending in whole notes using a key signature (10 marks). 9 9 B major C sharp harmonic minor D melodic minor E major F natural minor See Answer

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While there isn’t a one-size-fit-all approach to this, let us help you narrow down some of the best genres for you to try:

Here are the five best music for homework to help you increase your productivity:

Having the right music matters, even for top athletes. Source: Tiziana Fabi/AFP

1. Classical music

When picking music for homework, you’ve probably heard how classical music can increase your focus when studying.

There’s a theory dubbed “The Mozart Effect” that suggests this genre of music can enhance brain activity and arouse your brain to focus.

There are also several studies done where students listening to classical music did better on quizzes than students with no music.

Suggestions:

• ClassicFM  (a free radio streaming platform that plays famous classical pieces)
• “Study Playlist: Classical Music” on Spotify
• “Classical Music for When You’re on a Deadline” on YouTube

2. Video game music 

This might surprise you but video game music is actually one of the best music for homework. According to Orion Academy , video game music is designed to keep you absorbed and focused — which is also great for memorising. 

When your brain is focused on just melody, it’s taking a break from trying to break down the lyrics of a song and thus increases your performance .

Video game music tends to stay at a relatively low, constant volume too, preventing you from becoming distracted by sudden increases in volume.

Since video game music is generally fast-paced, your brain will be constantly engaged in the task at hand.

• “Video game soundtracks” on Spotify
• “Video game music for studying” on YouTube
• Choose favourites from this list and create your own playlist!

3. RnB 

If you’re someone who easily gets distracted, RnB may not be the best music for homework for you. There’s a high chance that you might spend too much time jamming to the lyrics of the song instead of focusing.

Though music under his genre generally has lyrics, many RnB fans reported feeling more relaxed, focused, and less stressed, which may have a positive impact on their ability to focus and learn.

• “Study R&B Smooth Songs ” on Spotify
• “Chill R&B Beats Mix – Beats to Relax and Study (Vol.1)” on YouTube

4. Nature sounds 

It’s been shown that nature sounds relax our nervous system. Researchers at Rensselaer Polytechnic Institute  have also discovered that natural sounds boost moods and focus.

The study found employees were more productive and had more positive feelings when nature sounds were playing in the background while they worked.

Nature sounds include the soothing sounds of the rain, ocean waves on the beach or even the jungle. Some prefer listening to bird calls and animal noises, so feel free to explore if nature sounds aren’t the right music for homework for you. 

Relaxing Nature Sounds for Sleeping – Natural Calm Forest Waterfall Music Meditation Sound for Study on YouTube

“Nature Sounds For Concentration” on Spotify

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A: Answers to Practice Exercises

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• Robert Hutchinson
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A Answers to Practice Exercises

Chapter 1 basic concepts, 1.6 practice exercises, chapter 2 major scales and key signatures, 2.4 practice exercises, chapter 3 minor scales and key signatures, 3.4 practice exercises, chapter 4 basics of rhythm, 4.7 practice exercises, chapter 5 intervals, 5.6 practice exercises, chapter 6 triads, 6.7 practice exercises, chapter 7 roman numerals and cadences, 7.5 practice exercises, chapter 8 seventh chords, 8.4 practice exercises, chapter 9 harmonic progression and harmonic function, 9.9 practice exercises, chapter 10 non-chord tones, 10.12 practice exercises, chapter 12 form in popular music, 12.6 practice exercises, chapter 13 phrases in combination, 13.9 practice exercises, 13.9.1. mozart, “ein mädchen oder weibchen,”the magic flute., 13.9.2. mozart, piano sonata k. 333, i., 13.9.3. edmond dédé, chicago, grande valse à l'américaine., chapter 16 figured bass, 16.6 practice exercises, chapter 17 secondary dominant chords, 17.7 practice exercises, chapter 18 secondary diminished chords, 18.5 practice exercises, chapter 19 mode mixture, 19.6 practice exercises, chapter 20 the neapolitan chord, 20.3 practice exercises, chapter 21 augmented sixth chords, 21.9 practice exercises, chapter 22 modulation, 22.8 practice exercises, chapter 23 enharmonic modulation, 23.4 practice exercises, chapter 24 binary and ternary forms, 24.9 practice exercises, chapter 25 sonata and rondo forms, 25.6 practice exercises, chapter 26 voice leading triads, 26.13 practice exercises, chapter 27 voice leading seventh chords, 27.6 practice exercises, chapter 28 voice leading with non-chord tones, 28.4 practice exercises, chapter 29 voice leading chromatic harmonies, 29.5 practice exercises, chapter 30 introduction to counterpoint, 30.9 practice exercises.

First and Second Species Exercises

Species Counterpoint: Day Two

Invention Expositions

Fugue Analysis

Chapter 31 Introduction to Jazz Theory

31.12 practice exercises, chapter 32 impressionism and extended tonality, 32.5 practice exercises, chapter 33 set theory, 33.9 practice exercises, chapter 34 serialism, 34.7 practice exercises.

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Music theory is quite mathematical, but one of our music theory specialists here at 24HourAnswers.com is quite human - always ready to help students with whatever they need. This is an article he wrote recently on chords:

As I sit in front of my piano, pondering what I want to play next, I doodle around in the key of C and start to play some chords. The C major triad takes me back to my early days as a musician, when I was just figuring out harmony and melody; but as I add the seventh my thoughts change to what the weather will be like today. I bet you're wondering what made my thoughts shift so dramatically? Well, a major seventh chord has a completely different feeling then a major triad, to me anyway, but I'm getting ahead of myself. Chords come in all shapes and sizes and the most basic of those is a major triad . A triad is a group of three notes played together and a major triad is formed by playing the first, third, and fifth scale degrees in a major scale. Major triads are the most stable, as far as chords go, and tend to be bright or happy sounding. If I take the third scale degree and flat it (lower it by one half step), then I have made a minor triad . Minor triads sound slightly darker and sadder then their major triad cousins. The last type of triad chord is called a diminished triad and it is formed by flatting the third and fifth scale degrees. These chords have a tendency to sound suspenseful and are great for adding tension to a piece. Triads, however, are not the only types of chords we musicians have at our disposal. Let's revisit the added seventh that led to my earlier abrupt change of thought. I began by playing a C major triad and then I added the seventh scale degree to the chord. This formed a C major seventh chord and led to my thoughts on the weather. Whenever I turn to the weather channel on the TV they are always playing some type of smooth jazz. Smooth jazz is notorious for its use of major seventh chords which gives it that relaxed, easygoing kind of feel. It also leads us to the world of seventh chords, a tool that composers have used for centuries to add variety and interest to their music. When we take a major seventh chord and flat the seventh scale degree a major minor seventh chord is the result. Most musicians don't refer to this chord as a major minor seventh, however, because the name is just too long. Most call it either a dominant seventh chord or just a plain seventh chord. The term dominant seventh comes from the common progression of chords in western music, but that's a subject for a different article. Jazz musicians have used seventh chords for the past hundred years or so making the chord synonomus with the genre. As we move on through our chordal journey we come to the minor seventh chord . This chord is formed by flatting both the seventh and the third scale degrees. This chord is also used heavily in jazz music and the addition of the flat seven to the minor triad makes this chord sound less sad then the minor triad alone, while also providing natural motion to the chord progression. All seventh chords allow for a feeling of movement and expectancy because they are naturally less stable then their triad counterparts. This is due to the addition of the seventh scale degree which makes the chord top heavy. The general rule of thumb is that the less harmony the more stable the chord and by adding the seventh scale degree we are in essence adding extra harmony. Our final two chords are known as half diminished and fully diminished chords . A half diminished chord is formed by adding a flat seventh to a diminished triad while a fully diminished chord is formed by adding a double flatted seventh. A double flatted seventh is a seventh that is lowered by a whole step as opposed to a half step. Both of these chords are very unstable due to the addition of the seventh scale degree and the natural dissonance of the chords. These types of chords have been used since the time of Bach to add suspense and dread to compositions. As I go back to my piano to write some music, I keep all of these chords in mind. Using the different harmonies and tendencies of each of these chords opens up a world of musical combinations. I could take a minor triad, follow it up with a dominant seventh chord, and finish with a major triad to form a neat little cadence to finish off a phrase of music. Music has its own set of rules, and learning them all (and when to break them!) can be a challenge. Scales, keys, chords, rhythms, notation, articulations, harmonic theories, compositional practices—yes, it’s a lot, and yes, an understanding of basic music theory is absolutely critical. After all, if you can’t read music, you can’t study it. Fortunately, there are plenty of helpful websites that offer tutorials in every aspect of music theory. Ricci Adams' musictheory.net provides excellent overviews and helpful exercises in basic music theory; the site teoría offers articles and analysis in addition to lessons and exercises. The Society for Music Theory provides many useful resources as well, including access to Music Theory Online , an academic journal for music theory.

To fulfill our tutoring mission of online education, our college homework help and online tutoring centers are standing by 24/7, ready to assist college students who need homework help with all aspects of music theory. Our music tutors can help with all your projects, large or small, and we challenge you to find better online music theory tutoring anywhere.

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Our tutors are just as dedicated to your success in class as you are, so they are available around the clock to assist you with questions, homework, exam preparation and any Music Theory related assignments you need extra help completing.

In addition to gaining access to highly qualified tutors, you'll also strengthen your confidence level in the classroom when you work with us. This newfound confidence will allow you to apply your Music Theory knowledge in future courses and keep your education progressing smoothly.

Because our college Music Theory tutors are fully remote, seeking their help is easy. Rather than spend valuable time trying to find a local Music Theory tutor you can trust, just call on our tutors whenever you need them without any conflicting schedules getting in the way.

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