{"id":995,"date":"2023-06-02T15:58:58","date_gmt":"2023-06-02T15:58:58","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/?post_type=back-matter&p=995"},"modified":"2025-06-18T21:11:53","modified_gmt":"2025-06-18T21:11:53","slug":"index-of-supplemental-resources","status":"publish","type":"back-matter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/index-of-supplemental-resources\/","title":{"raw":"Index of supplemental resources","rendered":"Index of supplemental resources"},"content":{"raw":"

Staff paper<\/h1>\r\n12-stave<\/a> from musicca.com\r\n

PDF converters<\/span><\/h1>\r\nAdobe Scan PDF Scanner<\/a> (ios)\r\nAdobe Scan PDF Scanner<\/a> (android)<\/span>\r\n

Notation programs<\/h1>\r\nMusescore<\/a>\u00a0\u2022 free notation app that operates on computers\r\nFlat.io<\/a> \u2022 free notation app that operates on mobile devices<\/span>\r\n

Online metronome<\/h1>\r\nMetronome online<\/a>\r\n

Online keyboards<\/h1>\r\nQwerty to staff notation keyboard<\/a>\r\nOnline piano<\/a><\/span><\/span>\r\n

Keyboard apps for mobile\r\n<\/strong><\/span><\/h1>\r\nPiano for iphone<\/a>\r\nVirtuoso Piano Free<\/a>\r\nPiano<\/a><\/span>\r\n

Open educational resources\r\n<\/strong><\/span><\/h1>\r\nOpen Music Theory<\/a>\r\nTimothy Chenette \u2022 Foundations of Aural Skills<\/a>\r\nRob Hutchinson \u2022 Music Theory for the 21st-Century Classroom<\/a>\r\nAndre Mount \u2022 Fundamentals, Function, and Form<\/a>\r\n<\/span>\r\n

Drills and tutorials<\/span>\r\n<\/span><\/h1>\r\n8 Notes<\/a>\u2028 \u2022 tutorials, fundamentals drills, and ear training\r\nFree Music Dictations<\/a> \u2022 ear training\r\nG Major Music Theory<\/a> \u2022 fundamentals\r\nGood Ear<\/a> \u2022 ear training\r\nMatthew Heap's Theory Game<\/a> \u2022 mobile app (apple)\r\nMusic Tech Teacher<\/a>\u2028\u2022 fundamentals drills and games\r\nMusictheory.net<\/a> \u2022 lessons and exercises\r\nMusic Theory Materials<\/a> \u2022 handouts, videos, and ear training\r\nTeor\u00eda<\/a>\u2028\u2022 tutorials, exercises, and ear training\r\nTheta Music Trainer<\/a> \u2022 tutorials\r\nTone Savvy<\/a> \u2022 music theory and ear training\r\n<\/span>\r\n

Videos<\/h1>\r\n

Seth Monihan's Youtube Channel<\/a> \u2022 videos on many topics\r\nDr. Kati Meyer Music Theory<\/a> \u2022 videos on many topics\r\nMichael Berry's Youtube Channel<\/a> \u2022 videos on many topics\r\nMusic Theory at York College CUNY<\/a> \u2022 videos on fundamentals & more\r\nJohn Paul Ito's Theory Website<\/a> \u2022 videos on fundamentals\r\nDr. C's Music Theory Land<\/a> \u2022 videos on many topics<\/span><\/p>\r\n\r\n

Note reader apps for mobile<\/h1>\r\nComplete Music Reading Trainer<\/a> (android)\r\nClefs Music Reading Trainer<\/a> (android)<\/span>\r\n

Index of supplemental resources with URLs by chapter<\/h1>\r\n<\/colgroup>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
Chapter<\/td>\r\nTitle<\/td>\r\nURL<\/td>\r\n<\/tr>\r\n
1<\/td>\r\n8Notes primer on the staff, clefs, and ledger lines<\/td>\r\n\r\n
<\/td>\r\nAndre Mount\u2019s chapter on pitch notation<\/td>\r\n\r\n
<\/td>\r\nRob Hutchison\u2019s chapter on basic concepts<\/td>\r\n\r\n
<\/td>\r\nBarbara Murphy\u2019s primer on musical notation<\/td>\r\n\r\n
<\/td>\r\nGilbert DeBenedetti\u2019s chapter on the keyboard and the treble clef<\/td>\r\n\r\n
<\/td>\r\nGilbert DeBenedetti\u2019s chapter on the bass clef<\/td>\r\n\r\n
<\/td>\r\nChelsea Hamm's chapter on Western music notation (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nChelsea Hamm's chapter on notation of notes, clefs, and ledger lines (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nChelsea Hamm's chapter on reading clefs (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nChelsea Hamm's chapter on the keyboard and the grand staff (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nChelsea Hamm and Bryn Hughes's chapter on octave designations (Open Music Theory)<\/td>\r\n\r\n
2<\/td>\r\nAndre Mount\u2019s intro to rhythm & meter<\/td>\r\n\r\n
<\/td>\r\nAndre Mount\u2019s chapter on simple meters<\/td>\r\n\r\n
<\/td>\r\nChelsey Hamm, Kris Shaffer, and Mark Gotham's chapter on simple meter and time signatures (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nTimothy Chenette's chapter on simple meter (Foundations of Aural Skills)<\/td>\r\n\r\n
3<\/td>\r\nGilbert DeBenedetti\u2019s chapter on major scales<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson\u2019s chapter on major scales & key signatures<\/td>\r\n\r\n
<\/td>\r\nAndre Mount's chapter on major scales<\/td>\r\n\r\n
<\/td>\r\nChelsey Hamm and Bryn Hughes's chapter on major scales, scale degrees, and key signatures (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nTimothy Chenette\u2019s chapter on solfege (Foundations of Aural Skills)<\/td>\r\n\r\n
4<\/td>\r\nAndre Mount's chapter on major key signatures<\/td>\r\n\r\n
<\/td>\r\nGilbert DeBenedetti's chapter on key signatures<\/td>\r\n\r\n
<\/td>\r\nBarbara Murphy's primer on key signatures<\/td>\r\n\r\n
5<\/td>\r\nTheta Music Trainer chapter on intervals<\/td>\r\n\r\n
<\/td>\r\nAndre Mount's chapter on intervals<\/td>\r\n\r\n
<\/td>\r\nBarbara Murphy's primer on intervals<\/td>\r\n\r\n
<\/td>\r\nGilbert DeBenedetti's chapter on intervals<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson's chapter on intervals<\/td>\r\n\r\n
<\/td>\r\nChelsey Hamm and Bryn Hughes's chapter on intervals (Open Music Theory)<\/td>\r\n\r\n
6<\/td>\r\n8Notes primer on minor scales<\/td>\r\n\r\n
<\/td>\r\nGilbert DeBenedetti's chapter on natural minor scales and key signatures<\/td>\r\n\r\n
<\/td>\r\nGilbert DeBenedetti's chapter on writing minor scales<\/td>\r\n\r\n
<\/td>\r\nGilbert DeBenedetti's chapter on reviewing minor scales<\/td>\r\n\r\n
<\/td>\r\nAndre Mount's chapter on minor scales<\/td>\r\n\r\n
<\/td>\r\nAndre Mount's chapter on minor key signatures<\/td>\r\n\r\n
<\/td>\r\nBarbara Murphy's primer on major & minor scales<\/td>\r\n\r\n
<\/td>\r\nChelsey Hamm and Bryn Hughes's chapter on minor scales, scale degrees, and key signatures (Open Music Theory)<\/td>\r\n\r\n
7<\/td>\r\nAndre Mount's chapter on compound meters<\/td>\r\n\r\n
<\/td>\r\nBarbara Murphy's primer on notes, rhythm, & meter<\/td>\r\n\r\n
<\/td>\r\nChelsey Hamm and Mark Gotham's chapter on compound meter and time signatures (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nTimothy Chenette's chapter on compound meter (Foundations of Aural Skills)<\/td>\r\n\r\n
8<\/td>\r\nBarbara Murphy's primer on modes & other scales<\/td>\r\n\r\n
<\/td>\r\nChelsea Hamm's chapter on diatonic modes and the chromatic \u201cscale\u201d (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nMark Gotham and Megan Lavengood's chapter on diatonic modes (Open Music Theory)<\/td>\r\n\r\n
9<\/td>\r\nRobert Hutchinson's chapter on triads<\/td>\r\n\r\n
<\/td>\r\nAndre Mount's chapter on triads & Roman numerals<\/td>\r\n\r\n
<\/td>\r\nGilbert DeBenedetti's chapter on triads<\/td>\r\n\r\n
<\/td>\r\nChelsea Hamm's chapter on triads (Open Music Theory)<\/td>\r\n\r\n
10<\/td>\r\nRob Hutchinson\u2019s chapter on seventh chords<\/td>\r\n\r\n
<\/td>\r\nBarbara Murphy\u2019s primer on seventh chords<\/td>\r\n\r\n
<\/td>\r\nChelsea Hamm's chapter on seventh chords (Open Music Theory)<\/td>\r\n\r\n
11<\/td>\r\nMegan Lavengood's chapter on chord symbols (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson's chapter on lead-sheet symbols<\/td>\r\n\r\n
12<\/td>\r\nChelsey Hamm and Samuel Brady\u2019s chapter on inversion and figured bass (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nBarbara Murphy\u2019s primer on figured bass<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson\u2019s chapter on figured bass<\/td>\r\n\r\n
13<\/td>\r\nSamuel Brady and Mark Gotham's chapter on texture (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson's chapter on texture<\/td>\r\n\r\n
<\/td>\r\nDanny Stevens's chapter on texture (Foundations of Aural Skills)<\/td>\r\n\r\n
14<\/td>\r\nSamuel Brady and Kris Shaffer's chapter on Roman numerals (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nAndre Mount's chapter on triads & Roman numerals<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson's chapter on Roman numerals<\/td>\r\n\r\n
15<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
16<\/td>\r\nRobert Hutchinson's chapter on cadences<\/td>\r\n\r\n
<\/td>\r\nBarbara Murphy's primer on cadences<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson's chapter on harmonic progression<\/td>\r\n\r\n
<\/td>\r\nAndre Mount's chapter on cadences<\/td>\r\n\r\n
<\/td>\r\nJohn Peterson's chapter on harmony, cadences, and phrase endings (Open Music Theory)<\/td>\r\n\r\n
17<\/td>\r\nRobert Huchinson's Melody (phrase) examples<\/td>\r\n\r\n
18<\/td>\r\nAndre Mount's chapter on sequences by 5th<\/td>\r\n\r\n
<\/td>\r\nAndre Mount's chapter on other sequences<\/td>\r\n\r\n
19<\/td>\r\nRobert Hutchinson's chapter on periods<\/td>\r\n\r\n
<\/td>\r\nJohn Peterson's chapter on the phrase, archetypes, and unique forms (Open Music Theory)<\/td>\r\n\r\n
20<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
21<\/td>\r\nKris Shaffer and Mark Gotham's chapter on species counterpoint (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nAndre Mount's chapter on two-voice writing<\/td>\r\n\r\n
22<\/td>\r\nBryn Hughes and Megan Lavengood\u2019s chapter on harmonic schemas in pop music (Open Music Theory)<\/td>\r\n\r\n
23<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
24<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
25<\/td>\r\nMichael Berry's video on part writing<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson\u2019s chapter on voice leading triads<\/td>\r\n\r\n
<\/td>\r\nDavid Newman\u2019s \u201cSol Ti Re Fa Dominant 7 Song\u201d<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson\u2019s chapter on voice leading seventh chords<\/td>\r\n\r\n
<\/td>\r\nAndre Mount\u2019s chapter on the dominant seventh chord<\/td>\r\n\r\n
26<\/td>\r\nJohn Peterson's chapter on the cadential six-four (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nJohn Peterson's chapter on other six-four chords (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nDavid Newman's \"Second Inversions Song\"<\/td>\r\n\r\n
27<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
28<\/td>\r\nAndrew Hugill's Orchestra Manual (mobile friendly)<\/td>\r\n\r\n
29<\/td>\r\nRobert Hutchinson's chapter on non-chord tones<\/td>\r\n\r\n
<\/td>\r\nAndre Mount's detailed chapter on non-chord tones<\/td>\r\n\r\n
30<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
31<\/td>\r\nJohn Peterson and Megan Lavengood\u2019s chapter on tonicization (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nAndre Mount\u2019s chapter on applied chords<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson\u2019s chapter on secondary dominants<\/td>\r\n\r\n
32<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
33<\/td>\r\nJohn Peterson's chapter on modulation to closely related keys (Open Music Theory)<\/td>\r\n\r\n
34<\/td>\r\nBrian Jarvis\u2019s chapter on binary form (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson\u2019s chapter on creating contrast between sections<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson\u2019s chapter on binary and ternary forms<\/td>\r\n\r\n
35<\/td>\r\nRobert Hutchinson's chapter on binary and ternary forms<\/td>\r\n\r\n
<\/td>\r\nBrian Jarvis's chapter on ternary form (Open Music Theory)<\/td>\r\n\r\n
36<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
37<\/td>\r\nRobert Hutchinson's chapter on form in popular music<\/td>\r\n\r\n
<\/td>\r\nBryn Hughes and Megan Lavengood's chapter on form in popular music (Open Music Theory)<\/td>\r\n\r\n
38<\/td>\r\nMark Gotham's chapter on mediants (Open Music Theory)<\/td>\r\n\r\n
39<\/td>\r\nBryn Hughes's chapter on chromatic modulation (Open Music Theory)<\/td>\r\n\r\n
40<\/td>\r\nBrian Jarvis's chapter on mode mixture (Open Music Theory)<\/td>\r\n\r\n
41<\/td>\r\nBrian Jarvis's chapter on the Neapolitan sixth (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nVideo on the history and early uses of the Neapolitan sixth (Early Music Sources)<\/td>\r\n\r\n
<\/td>\r\nEron F. S.'s video-article \"Flat 2 as Hotness in Post-Millennial Pop\" (SMT-V 8.5)<\/td>\r\n\r\n
42<\/td>\r\nPrimer video on augmented sixth chords (Dry Erased Theory)<\/td>\r\n\r\n
<\/td>\r\nDr. Kati Meyer\u2019s video with musical examples and practice problems<\/td>\r\n\r\n
<\/td>\r\nDetailed video on augmented sixth chords (Dr. C\u2019s Music Theory Land)<\/td>\r\n\r\n
<\/td>\r\n\"International Chords Song\" by David Newman<\/td>\r\n\r\n
43<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
44<\/td>\r\nBryn Hughes's chapter on chromatic modulation (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nDrew Nobile's enharmonic modulation video<\/td>\r\n\r\n
45<\/td>\r\nBryn Hughes's chapter on chromatic modulation (Open Music Theory)<\/td>\r\n\r\n
46<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
47<\/td>\r\nBryn Hughes\u2019s chapter on altered and extended chords (Open Music Theory)<\/td>\r\n\r\n
48<\/td>\r\nBrian Jarvis's chapter on common tone chords (Open Music Theory)<\/td>\r\n\r\n
49<\/td>\r\nBrian Jarvis's chapter on sonata form (Open Music Theory)<\/td>\r\n\r\n
<\/td>\r\nRobert Hutchinson's chapter on sonata form<\/td>\r\n\r\n
\r\n
https:\/\/musictheory.pugetsound.edu\/mt21c\/SonataIntroduction.html<\/a><\/div>\r\n<\/div><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","rendered":"

Staff paper<\/h1>\n

12-stave<\/a> from musicca.com<\/p>\n

PDF converters<\/span><\/h1>\n

Adobe Scan PDF Scanner<\/a> (ios)
\nAdobe Scan PDF Scanner<\/a> (android)<\/span><\/p>\n

Notation programs<\/h1>\n

Musescore<\/a>\u00a0\u2022 free notation app that operates on computers
\nFlat.io<\/a> \u2022 free notation app that operates on mobile devices<\/span><\/p>\n

Online metronome<\/h1>\n

Metronome online<\/a><\/p>\n

Online keyboards<\/h1>\n

Qwerty to staff notation keyboard<\/a>
\nOnline piano<\/a><\/span><\/span><\/p>\n

Keyboard apps for mobile
\n<\/strong><\/span><\/h1>\n

Piano for iphone<\/a>
\nVirtuoso Piano Free<\/a>
\nPiano<\/a><\/span><\/p>\n

Open educational resources
\n<\/strong><\/span><\/h1>\n

Open Music Theory<\/a>
\nTimothy Chenette \u2022 Foundations of Aural Skills<\/a>
\nRob Hutchinson \u2022 Music Theory for the 21st-Century Classroom<\/a>
\nAndre Mount \u2022 Fundamentals, Function, and Form<\/a>
\n<\/span><\/p>\n

Drills and tutorials<\/span>
\n<\/span><\/h1>\n

8 Notes<\/a>\u2028 \u2022 tutorials, fundamentals drills, and ear training
\nFree Music Dictations<\/a> \u2022 ear training
\nG Major Music Theory<\/a> \u2022 fundamentals
\nGood Ear<\/a> \u2022 ear training
\nMatthew Heap’s Theory Game<\/a> \u2022 mobile app (apple)
\nMusic Tech Teacher<\/a>\u2028\u2022 fundamentals drills and games
\nMusictheory.net<\/a> \u2022 lessons and exercises
\nMusic Theory Materials<\/a> \u2022 handouts, videos, and ear training
\nTeor\u00eda<\/a>\u2028\u2022 tutorials, exercises, and ear training
\nTheta Music Trainer<\/a> \u2022 tutorials
\nTone Savvy<\/a> \u2022 music theory and ear training
\n<\/span><\/p>\n

Videos<\/h1>\n

Seth Monihan’s Youtube Channel<\/a> \u2022 videos on many topics
\nDr. Kati Meyer Music Theory<\/a> \u2022 videos on many topics
\nMichael Berry’s Youtube Channel<\/a> \u2022 videos on many topics
\nMusic Theory at York College CUNY<\/a> \u2022 videos on fundamentals & more
\nJohn Paul Ito’s Theory Website<\/a> \u2022 videos on fundamentals
\nDr. C’s Music Theory Land<\/a> \u2022 videos on many topics<\/span><\/p>\n

Note reader apps for mobile<\/h1>\n

Complete Music Reading Trainer<\/a> (android)
\nClefs Music Reading Trainer<\/a> (android)<\/span><\/p>\n

Index of supplemental resources with URLs by chapter<\/h1>\n\n\n\n\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Chapter<\/td>\nTitle<\/td>\nURL<\/td>\n<\/tr>\n
1<\/td>\n8Notes primer on the staff, clefs, and ledger lines<\/td>\n\n
<\/td>\nAndre Mount\u2019s chapter on pitch notation<\/td>\n\n
<\/td>\nRob Hutchison\u2019s chapter on basic concepts<\/td>\n\n
<\/td>\nBarbara Murphy\u2019s primer on musical notation<\/td>\n\n
<\/td>\nGilbert DeBenedetti\u2019s chapter on the keyboard and the treble clef<\/td>\n\n
<\/td>\nGilbert DeBenedetti\u2019s chapter on the bass clef<\/td>\n\n
<\/td>\nChelsea Hamm’s chapter on Western music notation (Open Music Theory)<\/td>\n\n
<\/td>\nChelsea Hamm’s chapter on notation of notes, clefs, and ledger lines (Open Music Theory)<\/td>\n\n
<\/td>\nChelsea Hamm’s chapter on reading clefs (Open Music Theory)<\/td>\n\n
<\/td>\nChelsea Hamm’s chapter on the keyboard and the grand staff (Open Music Theory)<\/td>\n\n
<\/td>\nChelsea Hamm and Bryn Hughes’s chapter on octave designations (Open Music Theory)<\/td>\n\n
2<\/td>\nAndre Mount\u2019s intro to rhythm & meter<\/td>\n\n
<\/td>\nAndre Mount\u2019s chapter on simple meters<\/td>\n\n
<\/td>\nChelsey Hamm, Kris Shaffer, and Mark Gotham’s chapter on simple meter and time signatures (Open Music Theory)<\/td>\n\n
<\/td>\nTimothy Chenette’s chapter on simple meter (Foundations of Aural Skills)<\/td>\n\n
3<\/td>\nGilbert DeBenedetti\u2019s chapter on major scales<\/td>\n\n
<\/td>\nRobert Hutchinson\u2019s chapter on major scales & key signatures<\/td>\n\n
<\/td>\nAndre Mount’s chapter on major scales<\/td>\n\n
<\/td>\nChelsey Hamm and Bryn Hughes’s chapter on major scales, scale degrees, and key signatures (Open Music Theory)<\/td>\n\n
<\/td>\nTimothy Chenette\u2019s chapter on solfege (Foundations of Aural Skills)<\/td>\n\n
4<\/td>\nAndre Mount’s chapter on major key signatures<\/td>\n\n
<\/td>\nGilbert DeBenedetti’s chapter on key signatures<\/td>\n\n
<\/td>\nBarbara Murphy’s primer on key signatures<\/td>\n\n
5<\/td>\nTheta Music Trainer chapter on intervals<\/td>\n\n
<\/td>\nAndre Mount’s chapter on intervals<\/td>\n\n
<\/td>\nBarbara Murphy’s primer on intervals<\/td>\n\n
<\/td>\nGilbert DeBenedetti’s chapter on intervals<\/td>\n\n
<\/td>\nRobert Hutchinson’s chapter on intervals<\/td>\n\n
<\/td>\nChelsey Hamm and Bryn Hughes’s chapter on intervals (Open Music Theory)<\/td>\n\n
6<\/td>\n8Notes primer on minor scales<\/td>\n\n
<\/td>\nGilbert DeBenedetti’s chapter on natural minor scales and key signatures<\/td>\n\n
<\/td>\nGilbert DeBenedetti’s chapter on writing minor scales<\/td>\n\n
<\/td>\nGilbert DeBenedetti’s chapter on reviewing minor scales<\/td>\n\n
<\/td>\nAndre Mount’s chapter on minor scales<\/td>\n\n
<\/td>\nAndre Mount’s chapter on minor key signatures<\/td>\n\n
<\/td>\nBarbara Murphy’s primer on major & minor scales<\/td>\n\n
<\/td>\nChelsey Hamm and Bryn Hughes’s chapter on minor scales, scale degrees, and key signatures (Open Music Theory)<\/td>\n\n
7<\/td>\nAndre Mount’s chapter on compound meters<\/td>\n\n
<\/td>\nBarbara Murphy’s primer on notes, rhythm, & meter<\/td>\n\n
<\/td>\nChelsey Hamm and Mark Gotham’s chapter on compound meter and time signatures (Open Music Theory)<\/td>\n\n
<\/td>\nTimothy Chenette’s chapter on compound meter (Foundations of Aural Skills)<\/td>\n\n
8<\/td>\nBarbara Murphy’s primer on modes & other scales<\/td>\n\n
<\/td>\nChelsea Hamm’s chapter on diatonic modes and the chromatic \u201cscale\u201d (Open Music Theory)<\/td>\n\n
<\/td>\nMark Gotham and Megan Lavengood’s chapter on diatonic modes (Open Music Theory)<\/td>\n\n
9<\/td>\nRobert Hutchinson’s chapter on triads<\/td>\n\n
<\/td>\nAndre Mount’s chapter on triads & Roman numerals<\/td>\n\n
<\/td>\nGilbert DeBenedetti’s chapter on triads<\/td>\n\n
<\/td>\nChelsea Hamm’s chapter on triads (Open Music Theory)<\/td>\n\n
10<\/td>\nRob Hutchinson\u2019s chapter on seventh chords<\/td>\n\n
<\/td>\nBarbara Murphy\u2019s primer on seventh chords<\/td>\n\n
<\/td>\nChelsea Hamm’s chapter on seventh chords (Open Music Theory)<\/td>\n\n
11<\/td>\nMegan Lavengood’s chapter on chord symbols (Open Music Theory)<\/td>\n\n
<\/td>\nRobert Hutchinson’s chapter on lead-sheet symbols<\/td>\n\n
12<\/td>\nChelsey Hamm and Samuel Brady\u2019s chapter on inversion and figured bass (Open Music Theory)<\/td>\n\n
<\/td>\nBarbara Murphy\u2019s primer on figured bass<\/td>\n\n
<\/td>\nRobert Hutchinson\u2019s chapter on figured bass<\/td>\n\n
13<\/td>\nSamuel Brady and Mark Gotham’s chapter on texture (Open Music Theory)<\/td>\n\n
<\/td>\nRobert Hutchinson’s chapter on texture<\/td>\n\n
<\/td>\nDanny Stevens’s chapter on texture (Foundations of Aural Skills)<\/td>\n\n
14<\/td>\nSamuel Brady and Kris Shaffer’s chapter on Roman numerals (Open Music Theory)<\/td>\n\n
<\/td>\nAndre Mount’s chapter on triads & Roman numerals<\/td>\n\n
<\/td>\nRobert Hutchinson’s chapter on Roman numerals<\/td>\n\n
15<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
16<\/td>\nRobert Hutchinson’s chapter on cadences<\/td>\n\n
<\/td>\nBarbara Murphy’s primer on cadences<\/td>\n\n
<\/td>\nRobert Hutchinson’s chapter on harmonic progression<\/td>\n\n
<\/td>\nAndre Mount’s chapter on cadences<\/td>\n\n
<\/td>\nJohn Peterson’s chapter on harmony, cadences, and phrase endings (Open Music Theory)<\/td>\n\n
17<\/td>\nRobert Huchinson’s Melody (phrase) examples<\/td>\n\n
18<\/td>\nAndre Mount’s chapter on sequences by 5th<\/td>\n\n
<\/td>\nAndre Mount’s chapter on other sequences<\/td>\n\n
19<\/td>\nRobert Hutchinson’s chapter on periods<\/td>\n\n
<\/td>\nJohn Peterson’s chapter on the phrase, archetypes, and unique forms (Open Music Theory)<\/td>\n\n
20<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
21<\/td>\nKris Shaffer and Mark Gotham’s chapter on species counterpoint (Open Music Theory)<\/td>\n\n
<\/td>\nAndre Mount’s chapter on two-voice writing<\/td>\n\n
22<\/td>\nBryn Hughes and Megan Lavengood\u2019s chapter on harmonic schemas in pop music (Open Music Theory)<\/td>\n\n
23<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
24<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
25<\/td>\nMichael Berry’s video on part writing<\/td>\n\n
<\/td>\nRobert Hutchinson\u2019s chapter on voice leading triads<\/td>\n\n
<\/td>\nDavid Newman\u2019s \u201cSol Ti Re Fa Dominant 7 Song\u201d<\/td>\n\n
<\/td>\nRobert Hutchinson\u2019s chapter on voice leading seventh chords<\/td>\n\n
<\/td>\nAndre Mount\u2019s chapter on the dominant seventh chord<\/td>\n\n
26<\/td>\nJohn Peterson’s chapter on the cadential six-four (Open Music Theory)<\/td>\n\n
<\/td>\nJohn Peterson’s chapter on other six-four chords (Open Music Theory)<\/td>\n\n
<\/td>\nDavid Newman’s “Second Inversions Song”<\/td>\n\n
27<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
28<\/td>\nAndrew Hugill’s Orchestra Manual (mobile friendly)<\/td>\n\n
29<\/td>\nRobert Hutchinson’s chapter on non-chord tones<\/td>\n\n
<\/td>\nAndre Mount’s detailed chapter on non-chord tones<\/td>\n\n
30<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
31<\/td>\nJohn Peterson and Megan Lavengood\u2019s chapter on tonicization (Open Music Theory)<\/td>\n\n
<\/td>\nAndre Mount\u2019s chapter on applied chords<\/td>\n\n
<\/td>\nRobert Hutchinson\u2019s chapter on secondary dominants<\/td>\n\n
32<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
33<\/td>\nJohn Peterson’s chapter on modulation to closely related keys (Open Music Theory)<\/td>\n\n
34<\/td>\nBrian Jarvis\u2019s chapter on binary form (Open Music Theory)<\/td>\n\n
<\/td>\nRobert Hutchinson\u2019s chapter on creating contrast between sections<\/td>\n\n
<\/td>\nRobert Hutchinson\u2019s chapter on binary and ternary forms<\/td>\n\n
35<\/td>\nRobert Hutchinson’s chapter on binary and ternary forms<\/td>\n\n
<\/td>\nBrian Jarvis’s chapter on ternary form (Open Music Theory)<\/td>\n\n
36<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
37<\/td>\nRobert Hutchinson’s chapter on form in popular music<\/td>\n\n
<\/td>\nBryn Hughes and Megan Lavengood’s chapter on form in popular music (Open Music Theory)<\/td>\n\n
38<\/td>\nMark Gotham’s chapter on mediants (Open Music Theory)<\/td>\n\n
39<\/td>\nBryn Hughes’s chapter on chromatic modulation (Open Music Theory)<\/td>\n\n
40<\/td>\nBrian Jarvis’s chapter on mode mixture (Open Music Theory)<\/td>\n\n
41<\/td>\nBrian Jarvis’s chapter on the Neapolitan sixth (Open Music Theory)<\/td>\n\n
<\/td>\nVideo on the history and early uses of the Neapolitan sixth (Early Music Sources)<\/td>\n\n
<\/td>\nEron F. S.’s video-article “Flat 2 as Hotness in Post-Millennial Pop” (SMT-V 8.5)<\/td>\n\n
42<\/td>\nPrimer video on augmented sixth chords (Dry Erased Theory)<\/td>\n\n
<\/td>\nDr. Kati Meyer\u2019s video with musical examples and practice problems<\/td>\n\n
<\/td>\nDetailed video on augmented sixth chords (Dr. C\u2019s Music Theory Land)<\/td>\n\n
<\/td>\n“International Chords Song” by David Newman<\/td>\n\n
43<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
44<\/td>\nBryn Hughes’s chapter on chromatic modulation (Open Music Theory)<\/td>\n\n
<\/td>\nDrew Nobile’s enharmonic modulation video<\/td>\n\n
45<\/td>\nBryn Hughes’s chapter on chromatic modulation (Open Music Theory)<\/td>\n\n
46<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
47<\/td>\nBryn Hughes\u2019s chapter on altered and extended chords (Open Music Theory)<\/td>\n\n
48<\/td>\nBrian Jarvis’s chapter on common tone chords (Open Music Theory)<\/td>\n\n
49<\/td>\nBrian Jarvis’s chapter on sonata form (Open Music Theory)<\/td>\n\n
<\/td>\nRobert Hutchinson’s chapter on sonata form<\/td>\n\n
\n
https:\/\/musictheory.pugetsound.edu\/mt21c\/SonataIntroduction.html<\/a><\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"author":3,"menu_order":11,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"back-matter-type":[39],"contributor":[],"license":[],"class_list":["post-995","back-matter","type-back-matter","status-publish","hentry","back-matter-type-index"],"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/995","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/back-matter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":27,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/995\/revisions"}],"predecessor-version":[{"id":6873,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/995\/revisions\/6873"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/995\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=995"}],"wp:term":[{"taxonomy":"back-matter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter-type?post=995"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=995"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=995"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}