Works with Sounds Online

Music Theory
Music Theory – I: Melody
5 Topics | 1 Quiz
What is a Melody?
Quantifying a “good” melody – Note Repetition
Quantifying a “good” melody – Interval Repetition
Quantifying a “good” melody – Phrase Repetition
Conclusion
Music Theory – I: Melody
Music Theory – II: Harmony
4 Topics | 1 Quiz
What is Harmony?
Where do Chords come from?
How can we classify chord progressions?
Conclusion
Music Theory – II: Harmony
Music Theory – III: Rhythm
4 Topics | 1 Quiz
What is Rhythm?
Cyclical rhythms
Non-Cyclical Rhythms
Conclusion
Music Theory – III: Rhythm
Music Theory – IV: Form
4 Topics | 1 Quiz
How Does Musical Form Work?
Distinguishing between sections
Common Small Forms
Conclusion
Music Theory – IV: Form
Music Theory – V: Texture
3 Topics | 1 Quiz
What is musical texture?
How has Musical Texture Developed Over Time?
Conclusion
Music Theory – V: Texture
Music Theory – VI: Timbre
4 Topics | 1 Quiz
What is Timbre?
Instrument Families
Can instruments have more than one timbre?
Conclusion
Music Theory – VI: Timbre
Arranging
Arranging – I: Melody
3 Topics
What are the key characteristics of a melody?
How can we transform a melody without losing sight of the original?
Conclusion
Arranging – II: Harmony
4 Topics
Can Harmony Tell a Story?
Reharmonization
Non-Diatonic Chords
Conclusion
Arranging – III: Rhythm
4 Topics
What is an Accompaniment Pattern?
Common Accompaniment Patterns
Moving Beyond “Stock” Patterns
Conclusion
Arranging – IV: Form
4 Topics
Why is repetition important in music?
How does repetition affect arranging?
How can I make repetition more interesting?
Conclusion
Arranging – V: Texture
4 Topics
What is Homophony?
What is a counter melody?
How can we use texture creatively?
Conclusion
Arranging – VI: Timbre
4 Topics
What are some common small ensembles?
How do we choose an ensemble?
How can we use timbre creatively?
Conclusion
Ethnomusicology
Ethnomusicology – I: Melody
4 Topics
Is melody important to music derived from non-European traditions?
How is melodic development handled by various cultures?
What can we learn from the study of non-European musical traditions?
Conclusion
Ethnomusicology – II: Harmony
4 Topics
Why are there harmonic similarities between cultures?
What is a drone and is it harmony?
Is there a systematic approach to parallel harmony?
Conclusion
Ethnomusicology – III: Rhythm
4 Topics
Is meter universal?
What can we learn from the rhythm and meter of other musical traditions?
What is macro-meter?
Conclusion
Ethnomusicology – IV: Form
4 Topics
What are some ways music has a function?
How does the function affect the form?
Does functional music exist in popular culture?
Conclusion
Ethnomusicology – V: Texture
4 Topics
How does Homophonic Polyphony work?
What exactly is Heterophony?
Why is Homophony so prevalent?
Conclusion
Ethnomusicology – VI: Timbre
4 Topics
How do timbral expectations change from one culture to the next?
How can you hear the differences in these timbral expectations?
Is there such a thing as a universally “good” tone for vocalists?
Conclusion
Acoustic Composition
Acoustic Composition – I: Melody
4 Topics
Which instruments in an orchestra typically play the melody?
Can any melody be played by any instrument?
What’s the best way to write idiomatically correct parts for instruments?
Conclusion
Acoustic Composition – II: Harmony
4 Topics
Are there rules when voicing a chord across a mixed ensemble?
What are the most important notes in a chord?
What are the “proper” names of non-chord tones?
Conclusion
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Music Theory – IV: Form

Works with Sounds Online Music Theory – IV: Form Conclusion Music Theory – IV: Form

In this quiz we’ll be using an excerpt of an aria from Treemonisha the 1911 opera by the Pulitzer Prize winning composer, Scott Joplin.