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Overwhelmed with how much you need to learn? Then this is for you! Music is only 12 notes. It's that simple. So, Ray made a PDF of essential hacks, which is everything you need to know to make music. Over 10,000 producers use this as their studio handbook. If you're a beginner, first read Hack Music Theory, Part 1.

Pop Music Theory Pdf Free

Ray's life-changing book! Understanding theory is easy with this. Drawing on decades of teaching experience combined with his world-renowned "hack" method, Ray breaks down theory into its simplest form via a series of easy hacks, deep insights & bad jokes! Download includes PDF, EPUB & MOBI for eReaders.

Open Music Theory Version 2 (OMT2) is an open educational resource intended to serve as the primary text and workbook for undergraduate music theory curricula. As an open and natively-online resource, OMT2 is substantially different from other commercially-published music theory textbooks, though it still provides the same content that teachers expect from a music theory text.OMT2 has been designed inclusively. For us, this means broadening our topics beyond the standard harmony and atonal theory topics to include fundamentals, musical form, jazz, pop, and orchestration. And within those traditional sections of harmony and atonal theory, the authors have deliberately chosen composers who represent diverse genders and races. The book is accessible. And perhaps most importantly, the book is completely free and always will be.The text of the book is augmented with several different media: video lessons, audio, interactive notated scores with playback, and small quizzes are embedded directly into each chapter for easy access.OMT2 introduces a full workbook to accompany the text. Almost every chapter offers at least one worksheet on that topic. Some chapters, especially in the Fundamentals section, also collect additional assignments that can be found on other websites.Version 2 of this textbook is collaboratively authored and edited by Mark Gotham, Kyle Gullings, Chelsey Hamm, Bryn Hughes, Brian Jarvis, Megan Lavengood, and John Peterson.","image":"https:\/\/viva.pressbooks.pub\/app\/uploads\/sites\/12\/2021\/07\/OMT-cover-lower-res-1.png","author":["@type":"Person","contributor_first_name":"Mark","contributor_last_name":"Gotham","name":"Mark Gotham","slug":"gotham","@type":"Person","contributor_first_name":"Kyle","contributor_last_name":"Gullings","name":"Kyle Gullings","slug":"gullings","@type":"Person","contributor_first_name":"Chelsey","contributor_last_name":"Hamm","name":"Chelsey Hamm","slug":"hamm","@type":"Person","contributor_first_name":"Bryn","contributor_last_name":"Hughes","name":"Bryn Hughes","slug":"hughes","@type":"Person","contributor_first_name":"Brian","contributor_last_name":"Jarvis","name":"Brian Jarvis","slug":"jarvis","@type":"Person","contributor_first_name":"Megan","contributor_last_name":"Lavengood","name":"Megan Lavengood","slug":"lavengood","@type":"Person","contributor_first_name":"John","contributor_last_name":"Peterson","name":"John Peterson","slug":"peterson"],"editor":["@type":"Person","contributor_first_name":"Erin","contributor_last_name":"Maher","contributor_user_url":"https:\/\/erinkmaher.com","name":"Erin K. Maher","slug":"erinmaher-2"],"translator":[],"reviewedBy":[],"illustrator":[],"contributor":["@type":"Person","contributor_first_name":"John","contributor_last_name":"Kocur","name":"John Kocur","slug":"kocur","@type":"Person","contributor_first_name":"Samuel","contributor_last_name":"Brady","name":"Samuel Brady","slug":"brady","@type":"Person","contributor_first_name":"Brian","contributor_last_name":"Moseley","name":"Brian Moseley","slug":"moseley","@type":"Person","contributor_first_name":"Kris","contributor_last_name":"Shaffer","name":"Kris Shaffer","slug":"shaffer","@type":"Person","contributor_first_name":"Levi","contributor_last_name":"Langolf","name":"Levi Langolf","slug":"levi-langlof"],"about":["@type":"Thing","identifier":"AVA","name":"Theory of music and musicology","@type":"Thing","identifier":"AVLA","name":"Art music, orchestral and formal music","@type":"Thing","identifier":"AVLP","name":"Popular music","@type":"Thing","identifier":"AVLM","name":"Music of film and stage","@type":"Thing","identifier":"AVQ","name":"Musical scores, lyrics and libretti","@type":"Thing","identifier":"AVS","name":"Techniques of music \/ music tutorials \/ teaching of music","@type":"Thing","identifier":"MUS041000","@type":"Thing","identifier":"MUS041000"],"audience":"@type":"Audience","name":"adult","datePublished":"2021-07-01","license":"@type":"CreativeWork","url":"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/","name":"CC BY-SA (Attribution ShareAlike)","code":"CC BY-SA","bookDirectoryExcluded":false,"language":"@type":"Language","code":"en","name":"English"}:root--primary:#3d6db4;--accent:#3d6db4;:root--reading-width:48em;(function(i,s,o,g,r,a,m)function(),i[r].l=1*new Date();a=s.createElement(o),m=s.getElementsByTagName(o)[0];a.async=1;a.src=g;m.parentNode.insertBefore(a,m))(window,document,'script',' -analytics.com/analytics.js','ga');ga('create', 'UA-146613314-1', 'auto');ga('send', 'pageview');Skip to contentToggle MenuPrimary Navigation

OMT2 has been designed inclusively. For us, this means broadening our topics beyond the standard harmony and atonal theory topics to include fundamentals, musical form, jazz, pop, and orchestration. And within those traditional sections of harmony and atonal theory, the authors have deliberately chosen composers who represent diverse genders and races. The book is accessible. And perhaps most importantly, the book is completely free and always will be.

OMT2 offers thorough coverage of current topics in music theory, and can easily serve as a textbook for fundamentals courses, standard undergraduate theory sequences, and introductions to post-tonal theory. Not all of its chapters are complete...

OMT2 offers thorough coverage of current topics in music theory, and can easily serve as a textbook for fundamentals courses, standard undergraduate theory sequences, and introductions to post-tonal theory. Not all of its chapters are complete (some are short, or lack sample homework assignments), but the authors promise continued revision and expansion, and the book is probably the most extensive OER currently available in music theory. It offers very little material for sight-singing/ear training, but instructors can easily supplement with other free resources (such as freemusicdictations.net) or paid ear training books.

OMT2 combines a variety of current approaches to the field: a traditional (yet relevant and modern) course in diatonic and chromatic harmony, up-to-date research on counterpoint and form, and a digestible introductions to post-tonal and twelve-tone theory. It also includes units on popular music and jazz. The book takes diversity and inclusion seriously, incorporating both canonical names and historically marginalized composers throughout its chapters, workbook, and anthology.

The book is clear and accessible, and flows in a logical and conversational style. It is also full of musical examples, many of which can be clicked on and listened to for immediate clarification and reinforcement. As in any music theory textbook, there is a great deal of technical terminology, but mouse-over links on many terms produce pop-up windows with glossary entries, making the jargon easy to understand.

OMT2 includes all the resources necessary to teach a fundamentals course in music theory, as well as common undergraduate courses in tonal theory (including basic diatonic harmony, modulation, and chromatic techniques), and post-tonal theory. The content is organized in broad topics (diatonic harmony, chromatic harmony, form, popular music, jazz), and many instructors will find themselves mixing and matching sections from these different units as they assemble their syllabus: a little bit of harmony, some basic formal archetypes, some popular music, back to diatonic harmony, and so forth.

OMT2 comes in numerous forms, both online and PDF/EPUB formats. I highly recommend the html, web-based forms, which use an expandable table of contents and section directories. The book's interactive resources, musical examples, YouTube videos, and other pieces of media are best experienced online. Its pdf/print versions are somewhat lacking in layout and visual style, and they unfortunately omit the media resources that students will find the most useful and engaging.

OMT2 makes a strong effort to prominently include musical examples by women and composers of color, and features them prominently in its structure rather than including them as afterthoughts. The book also includes chapters on popular music and jazz, making its content and coverage a bit more accessible and relevant to students. There is still more that could be incorporated (topics in world music analysis are absent, for instance), but the book clearly strives for accessibility and inclusion, and will help students and instructors to engage with current discussions in the field of music theory.

Open Music Theory Version 2 (OMT2) is an open educational resource intended to serve as the primary text and workbook for undergraduate music theory curricula. As an open and natively-online resource, OMT2 is substantially different from other commercially-published music theory textbooks, though it still provides the same content that teachers expect from a music theory text.