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Music Theory Games with Musicplay Online

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Music Theory Games with Musicplay Online

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My students love using Musicplay Online for interactive music theory practice! It offers engaging games for note recognition, rhythm patterns, and musical symbols. Perfect for grades 3-5, but can be adapted for younger learners.

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MusicplayOnline is a versatile teaching tool that encourages active music making in and out of the classroom. Whether you are at school or at home, our resources are designed to fit your teaching needs!

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GoNoodle is my go-to for movement breaks and rhythm activities. The 'Flow' channel has great guided movement activities set to music that help develop rhythmic awareness while getting the wiggles out!

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Milkshake Song + More Dance Alongs Songs for Kids | GoNoodle

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Chrome Music Lab's rhythm maker is fantastic for creating and exploring patterns. I use this with my K-2 students to visualize rhythm and create their own musical sequences.

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How were these built?

All our experiments are all built with freely accessible web technology such as Web Audio API, WebMIDI, Tone.js, and more. These tools make it easier for coders to build new interactive music experiences. You can get the open-source code to lots of these experiments here on Github.

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Music is for everyone. Play with simple experiments that let anyone, of any age, explore how music works.

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This wonderful podcast series from Classical MPR introduces young students to classical music through storytelling. Great for quiet listening activities or music appreciation centers!

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An amazing resource for teaching about composers and musical periods. Their interactive timeline and composer biographies are perfect for grades 3-5. The weekly programs are short and engaging!

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Welcome Back! Classics for Kids has returned with our new Fun Facts videos, worksheets and lesson plans!https://youtu.be/7BjOMa7NvzIFun Facts: Marian Andersen https://youtu.be/OBnHXKNDqXUFun Facts: Yo-Yo Ma Explore More Composers Learn More Worksheets [...]

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When we can't all be at real instruments, this virtual piano is great for demonstrating concepts. Students can also practice at home! Works well on interactive whiteboards for whole-class activities.

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Virtual Piano - Online Piano Keyboard | OnlinePianist

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Use a computer keyboard, mouse or touch screen to play a virtual piano keyboard. Our virtual piano simulates a real piano keyboard experience.

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My students absolutely love creating their own music with Incredibox! It's perfect for teaching about layers in music, beat-making, and composition. The free version has plenty of features for classroom use.

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A fun, interactive music experience
Incredibox is a music app that lets you create your own music with the help of a merry crew of beatboxers.Choose your musical style among 9 impressive atmospheres and start to lay down, record and share your mix.

Where making music is child's play!

Part game, part tool, Incredibox is above all an audio and visual experience that has quickly become a hit with people of all ages. More than 80 million players worldwide have already enjoyed it. The right mix of music, graphics, animation and interactivity makes Incredibox ideal for everyone. And because it makes learning fun and entertaining, Incredibox is now being used by schools all over the world.

Create a mix

Drag and drop icons onto the avatars to make them sing and start to compose your own music. Find the right sound combos to unlock animated choruses that will enhance your tune.

Share it

Once your composition sounds great, just save it and you will get a link to your mix. You can easily share it with anybody so they can listen and even vote for it.

Be a legend

If you share your mix a lot and get enough votes from other users, you may go down in Incredibox history by joining the Top 50 chart. Ready to show your stuff?

Ready to lay down
your mix?

';

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Incredibox is a music app that lets you create your own music with the help of a merry crew of beatboxers. Choose your musical style among 9 impressive atmospheres and start to lay down, record and share your mix.

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This site has wonderful music quizzes and worksheets that can be completed online. Great for formative assessment and independent practice time. I especially love the note naming and rhythm counting quizzes.

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Music Tech Teacher includes quizzes, games, lessons, worksheets and other resources for teachers and students interested in using technology to enhance music education.

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I've created several Kahoot! quizzes for music theory concepts. Students get so excited about review games when they're competitive! Search for existing music theory games or create your own.

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Get the mobile app for the best Kahoot! experience!

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Free interactive lessons on notes, rhythms, intervals, and more.

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Introductory and intermediate music theory lessons, exercises, ear trainers, and calculators.

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Explore composers by era with fun facts and music clips.

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Learn more about all of the instruments played by our Dallas Symphony Orchestra musicians.

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Watch instruments and sounds come to life.

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Teaching artists and educators encourage youngsters to make and play instruments and sing.

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Compose original songs using a grid-based synthesizer.

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BeepBox is an online tool for sketching and sharing instrumental music.

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Create drum patterns using a visual pizza interface

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Groove Pizza is a playful tool for creating grooves using math concepts like shapes, angles, and patterns. Start working with one of the special pizza presets and add/remove toppings to adjust the groove, or click on the Shape Pizza tab and drag various shapes onto the big circle to play and explore math-inspired grooves.

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Interactive quizzes for ear training and sight-reading.

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Fun quizzes on instruments and composers.

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Kids Games Click the Play Games button to learn more about music, rhythm and composers. Play Games Fun Facts Videos Watch Classics For Kids Fun Facts videos featuring kids like [...]

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Drills for notes, intervals, chords, and more.

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Introductory and intermediate music theory lessons, exercises, ear trainers, and calculators.

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Free and open-source digital textbook for music fundamentals.

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Reviewed by William O'Hara, Assistant Professor, Gettysburg College on 11/5/22

Comprehensiveness rating: 5 see less

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.

Content Accuracy rating: 5

The book seems to be high quality and without errors.

Relevance/Longevity rating: 5

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.

Where relevant, the book uses terminology clearly and consistently throughout, although its sections are written by multiple authors, and address topics that are separate enough that vocabulary does not always overlap.

The book is broken into short, digestible chapters, which instructors could easily assign and re-order as necessary.

Organization/Structure/Flow rating: 4

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.

Grammatical Errors rating: 4

OMT2 is well-written and well-edited, though contains the occasional typo.

Cultural Relevance rating: 5

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.

The original Open Music Theory (https://github.com/openmusictheory) appeared in 2014. A collaborative effort by music theorists Bryn Hughes, Brian Moseley, and Kris Shaffer, the book brought the idea of open educational resources to prominence within the discipline of music theory. Open Music Theory Version 2, which features significant contributions by more than half a dozen scholars, builds on the original text with a mountain of new content, moving beyond the "prose-y lecture notes" of the original to offer a resource that is nearly ready to serve as the core of an undergraduate music theory curriculum. Among the most notable additions are extensive annotated musical examples (which were sparse in the original), even more interactive demonstrations and practice modules, an accompanying workbook, and a growing set of annotated links that function as a distributed score anthology.

At its best moments, OMT2 is a fully fledged textbook, easily able to take its place alongside (or, as is often the goal of OERs, to more affordably replace) any of the field's canonical undergraduate books. It includes content that is appropriate for introductory "Fundamentals" classes, for the three- or four-semester-long sequence of tonal theory classes offered by most institutions, and for the post-tonal theory courses that often end such sequences, or serve as advanced electives. The book also offers some resources that would be useful in advanced counterpoint or analysis courses, though it does not offer enough content to serve as a sole textbook for those topics. Beyond traditional theory and the Classical repertoire, the book offers an excellent chapters on pop-rock harmony (which turn the original OMT's already-useful unit into a thorough and well-developed resource) and a new chapter on jazz theory. In recent years, such units have appeared (in some form) more and more often in undergraduate courses, and OMT2 might provide the resources necessary to convince interested instructors to take the leap and incorporate them into their own teaching. The book also emphasizes diversity and inclusion, offering strong representation of historically marginalized composers, both in its main body chapters and particularly in its supplemental materials.

The "Fundamentals" section is highly detailed and well-illustrated, offering an accessible introduction to staff notation, rhythm and meter, scales and chords, and other basic topics. It also includes a series of YouTube videos by the chapter author (Chelsey Hamm), helping it to stand as a self-study resource for students who may be preparing for a music theory entrance exam. OMT2 also offers chapters on diatonic harmony (including harmonic function and prolongation, embellishing tones, up through tonicization and modulation) and chromatic techniques that run the gamut from basic chromatic chords (Neapolitans, augmented sixths) through altered dominants, Neo-Riemannian progressions, and fully diminished sevenths). The counterpoint chapter includes not only traditional species instruction and some resources (though not a complete manual) for imitation and fugue, but also more current approaches based on galant schema theory-most notably a concise and very useful guide to common schemas, categorized by their function (opening gambits, sequences, and so forth).

The "Form" chapter might be the best exemplar of OMT2's ecumenical and modern approach to its reference material. The chapter covers basic concepts such as motive and subphrase, up through periods and sentences, and on to full-movement forms like sonata and rondo. Sensibly, the authors draw from both of the discipline's most popular recent treatises on form, William Caplin's Classical Form (1998) and James Hepokoski & Warren Darcy's Elements of Sonata Theory (2006). OMT2 draws on the strengths of each book, building a theory of phrases up through Caplin's writings, and then offering a clear and useful digest of Sonata Theory when the time comes to study complete movements. Gathering these resources together without trying to hew to a single approach or reinvent the wheel leads to a chapter which closely resembles how many professional theorists think and talk about form amongst themselves, and offers undergraduates a window onto the current state of the field rather than attempting to distill the parts of the sonata into some simpler form, or attempting to construct a single formal system that can accommodate all levels of phrase and form.

Open Music Theory 2 comes in multiple formats, including EPUB (for e-readers such as the Kindle), a digital-first PDF, and a PDF intended for printing. Perhaps its best and most useful format, however, is simply the HTML format on the text's website. Online, OMT2 benefits from hyperlinks between chapters and mouse-over glossary entries that quickly introduce or clarify technical terms. Introductory chapters abound with examples in interactive notation (powered by MuseScore), which students can click on and listen to. Later chapters embed PDF scores for perusal, and most of the book's sections end with links to the book's own harmony anthology, its workbook, and resources from around the internet. Compared to this, the PDF format leaves out much of OMT2's dynamic appeal. The PDF versions exclude media examples and interactive modules, replacing them with nondescript boxes that instruct readers to look online. While some instructors who use OERs have them printed and bound for students, I would caution against this approach with OMT2. In its PDF form, the book is nearly 1100 pages, and is laid out much more like a printed website (with large, double-spaced text and mile-wide margins) than a typeset book. While its prose passages wind up the perfect size when printed two pages per sheet, side by side, many of the illustrations end up unreadably small. So while it might be useful for a student or an instructor to have an archival pdf to which they can refer when internet access is unavailable, Open Music Theory Version 2 is best experienced on its website, in HTML format. This format honors the authors' intentions toward accessibility too; the foreword notes that the text is meant to be legible to screenreaders, and the online version is undoubtedly the best way to take advantage of that commitment.

Another interesting aspect of OMT2 is the book's "Harmony Anthology," a resource based on contributing author Mark Gotham's Open Score Lieder Corpus. As its name suggests, the collection is based on a broad body of art songs, mostly from the nineteenth century. The collection is extensive and diverse, presenting music by Johannes Brahms, Cecile Chaminade, Samuel Coleridge-Taylor, Fanny Hensel, Johanna Kinkel, Franz Schubert, Clara and Robert Schumann, and others. It makes use of links to the Internet Score Library Project (IMSLP) to provide complete scores for the included works, and often points to multiple examples of a given concept within the same work. Unfortunately, the Harmony Anthology is somewhat limited: like some other aspects of the book, it is incomplete, and it tends towards the kinds of advanced topics that might be encountered in a third-semester theory class (including augmented sixth chords, augmented triads, mode mixture, and Neapolitan chords). Unlike some anthologies of musical examples, however, the noted phenomenon is clearly identified by measure number, making it ideal for instructors who want to collect potential examples quickly. If and when it is eventually made more comprehensive, OMT2's harmony anthology will be a truly exceptional resource. A parallel anthology of rhythmic and metric examples is similarly promising, though even less complete, serving only as a collection of interesting and suggestive examples for analysis.

OMT2 is explicitly a work in progress, and its team of authors promise continued updates (though not, notably, during the school year when the book might be in active classroom use). While many sections are complete, others are less developed; towards the second half of some units, assignments are marked "coming soon," and there is a varied collection of chapters marked "in development" at the end of the book. These promise greater coverage of sight-singing; new topics that are often addressed in undergraduate theory but not always present in textbooks (like hypermeter); and more advanced topics that might be suitable for form & analysis or a proseminar setting (such as "metrical dissonance"). It already offers strong coverage of commonly taught music theoretical topics, and an extensive resource of example that serves as a useful supplement to other resources already available in print and online. As its authors continue to develop and revise it, OMT2 will continue to become ever more useful, and even more attractive, for both instructors and students.

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Open Music Theory - Version 2 - Open Textbook Library

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Open Music Theory is a natively-online open educational resource intended to serve as the primary text and workbook for undergraduate music theory curricula. OMT2 provides not only the material for a complete traditional core undergraduate music theory sequence (fundamentals, diatonic harmony, chromatic harmony, form, 20th-century techniques), but also several other units for instructors who have diversified their curriculum, such as jazz, popular music, rhythm, counterpoint, and orchestration.

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 Yale Music Appreciation Course (eBook & Video)

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 Yale Music Appreciation Course (eBook & Video)

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Includes lecture notes and listening guides.

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This course fosters the development of aural skills that lead to an understanding of Western music. The musical novice is introduced to the ways in which music is put together and is taught how to listen to a wide variety of musical styles, from Bach and Mozart, to Gregorian chant, to the blues.

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Musical U’s Free Ebook: Musicality Guide

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Musical U’s Free Ebook: Musicality Guide

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Introductory guide to becoming a more musical listener and performer.

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The Musicality Book Archives - Musical U

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Learn more about the Musicality book, your all-in-one guide to learning music like a natural-born prodigy. Covering every essential topic in modern musicality, including Musicality, Musical Mindset, Audiation, Singing, Active Listening, Superlearning, Ear Training, Relative Pitch, Solfa, Intervals, Chord Progressions, The Beat, Rhythm, Improvisation, Playing By Ear, Songwriting, Expression, Performance, and more! Learn more and get your copy at MusicalityBook.com.

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Offers chord charts for guitar, ukulele, bass, and piano.

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ULTIMATE GUITAR TABS - 1,100,000 songs catalog with free Chords, Guitar Tabs, Bass Tabs, Ukulele Chords and Guitar Pro Tabs!

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Your #1 source for chords, guitar tabs, bass tabs, ukulele chords, guitar pro and power tabs. Comprehensive tabs archive with over 1,100,000 tabs! Tabs search engine, guitar lessons, gear reviews, rock news and forums!

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Student Jam zone has charts available for instruments in Modern Band. Includes beginner, intermediate, and advanced charts.

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Boomcards are a great way to practice skills you have learned already. There are endless resources available.

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Boom Cards - Treble Clef Note Names, Set 3 | BASIC LINES and SPACES

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BoomLearning.com - Amazing authors make awesome learning content!
Ear training is an essential part of developing music literacy. And, Music Boom Cards make learning simple for teachers and fun for students. Students will listen and identify pitches moving upward, downward, or staying the same. Students may listen as many times as they want. When they make a mistake, they should listen again and correct their answer. How to Use Our Boom Cards
- Whole-class activities (pair with sign language or signals)
- Centers or stations
- 1:1 Activities
- Homeschool and/or Private Studio
- Practice
- Assessment Learning Objectives
- I can identify melodic direction as pitches moving upward, downward, or repeated pitches. NAfME National Music Standard
- MU:Pr4.2 – Students can analyze the structure and context of varied musical works. (Simplified) Enjoy!

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Here are the refernces for my curated digital library.