I’m new to music theory
Start with notation and fundamentals, then choose a direction such as rhythm, pitch, or harmony.
Start with: I. Fundamentals
RedLectern topic
Learn to read, hear, describe, and analyze musical pitch, rhythm, harmony, and form.
For: Learners at any starting point, including people who read music and people who learn by listening.
After this page you can: Choose a starting path and explain how selected musical details shape a passage.
Page reviewed
Music theory is a set of ways to describe and explore how music is organized. In this hub, the focus is on musical notation, pitch and scales, rhythm, harmony, and form. The focus is a useful starting map rather than a claim that every musical tradition uses the same concepts: the MIT fundamentals course covers notation, intervals, scales, meter, harmony, and score reading, while MIT’s Harmony and Counterpoint course names its focus as Western music, principally eighteenth-century central European classical music. You can begin with one concept you want to understand, such as how a rhythm is written or how a chord relates to a key.
Theory can be studied by reading and writing notation, listening, singing, playing, and analyzing examples. The MIT fundamentals course combines notation with singing, ear training, rhythmic and melodic dictation, and score reading; its syllabus also names daily practice and individual and ensemble work. Open Music Theory’s table of contents lists fundamentals including notation, rhythm, pitch, scales, intervals, and chords, as well as sections on harmony and form. For a practical loop, choose a short musical passage, listen for one feature, describe it with a term from the relevant section, and check the description against a score or by singing or playing it. No single path through theory is required here: choose the section that fits your current question, then return to another when you are ready.
Start with notation and fundamentals, then choose a direction such as rhythm, pitch, or harmony.
Start with: I. Fundamentals
Use the MIT fundamentals syllabus to revisit the skills it groups together, from ear training to score reading.
Start with: Fundamentals of Music
Begin with harmony and counterpoint, then use the harmony section below for key-relative chord labels.
Start with: Harmony and Counterpoint I
Rhythm concerns musical durations, and notation uses note values, rests, dots, and ties to represent them.
This reading explains durations, rests, dots, ties, and their relation to simple and compound meter.
Rhythm
The combination of long and short durations in time.
Tie
A notation mark connecting adjacent notes of the same pitch to lengthen their duration.
A quarter note lasts as long as two eighth notes. How many eighth-note durations equal a dotted quarter note?
Three eighth-note durations: the dot adds half the quarter note’s duration.
Scales arrange pitches in steps, while intervals describe the distance between two pitches.
This reading explains interval distance, interval quality, and the distinction between melodic and harmonic intervals.
Scale
A succession of pitches ascending or descending in steps.
Interval
The distance between two pitches, usually measured as a number of steps on a scale.
The pitches C and E are three letter names apart when counting both endpoints. What generic interval do they form?
A third: the counted letter names are C, D, and E.
A triad is a three-note chord whose pitches can be arranged in thirds. Roman numerals label a chord’s root scale degree in a key.
This reading covers triad structure and quality, lead-sheet symbols, and Roman numerals.
Triad
A three-note chord whose pitch classes can be arranged as thirds.
Roman numeral
A label that can designate the scale degree of a chord’s root within a key.
In a major key, a triad has its root on scale degree five. What Roman numeral labels its root scale degree?
V, because Roman numerals designate the chord root’s scale degree in the key.
Musical form can be understood as a hierarchy of units. In tonal music, cadences often mark the ends of phrases.
The chapter describes musical form as hierarchical grouping and outlines how to mark phrase components.
Motive
A regularly recurring unit of music, typically smaller than an idea.
Phrase
A relatively complete musical thought that moves toward a goal and a sense of closure.
Listen to a short passage twice. Name one brief musical idea that recurs, then mark where a larger phrase seems to close.
A recurring brief idea can be described as a motive; a phrase ending may be marked by a cadence.
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Mark Gotham, Kyle Gullings, Chelsey Hamm, Bryn Hughes, Brian Jarvis, Megan Lavengood, and John Peterson · 2021
A wide-ranging, openly available text for connecting core theory topics with jazz, popular music, and orchestration.
Steven G. Laitz and Michael R. Callahan · 2023
Its integrated approach links written theory, analytical work, and practical musicianship.
Kent Kennan · 1999
The text grounds style-based counterpoint writing in analysis of contrapuntal music.
Stefan Kostka, Dorothy Payne, and Byron Almén · 2018
A course text that moves from fundamentals and diatonic harmony through chromatic and post-tonal topics.
Edward Aldwell and Carl Schachter · 2002
Pairs the study of tonal harmony with close attention to melodic lines and larger progressions.
Of the courses with “music theory” in their title or in a topic tag, these are listed as Music Theory courses: