The Musician's Guide Workbook

by Clendinning, Jane Piper; Marvin, Elizabeth West

• ISBN13: 9780393976533
• ISBN10: 039397653X
• Edition: Workbook
• Format: Paperback
• Copyright: 2004-11-05
• Publisher: W. W. Norton & Company

Summary

This useful student resource provides the writing and analysis exercises students need to master the concepts in The Musician's Guide to Theory and Analysis . Each chapter includes three main sections: "Basic Elements," "Writing Exercises" (such as harmonizing melodies), and "Analysis" (of brief excerpts and complete works).

Table of Contents

Preface	xiii
Part I Building a Musical Vocabulary: Basic Elements of Pitch and Rhythm
Pitch and Pitch Class	2	(9)
Basic Elements	2	(3)
Using keyboard diagrams	2	(1)
Staff notation	3	(2)
Writing Exercises	5	(3)
Arranging	5	(2)
Composing melodies	7	(1)
Analysis	8	(3)
Beat, Meter, and Rhythm: Simple Meters	11	(12)
Basic Elements	11	(3)
Meter signatures	11	(2)
Divisions and subdivisions with different beat units	13	(1)
Writing Exercises	14	(6)
Incomplete measures (brain teaser)	14	(1)
Anacrusis notation	15	(1)
Dots and ties	16	(1)
Beaming to reflect the meter	17	(1)
Inserting bar lines	18	(1)
Rhythmic compositions	19	(1)
Analysis	20	(3)
Pitch Collections, Scales, and Major Keys	23	(10)
Basic Elements	23	(3)
Writing scales	23	(1)
Key signatures	24	(1)
Scale degrees	25	(1)
At your instrument	26	(1)
Writing Exercises	26	(2)
Writing melodies from scale degrees	26	(1)
Composing your own melody in a major key	27	(1)
Analysis	28	(5)
Brief analysis	28	(3)
Extended analysis	31	(2)
Minor Keys and the Diatonic Modes	33	(10)
Basic Elements	33	(5)
Writing minor scales: Relative major and minor	33	(2)
Forms of the minor scale	35	(1)
Writing the diatonic modes	36	(1)
Scale degrees in minor	37	(1)
Playing and singing minor scales	38	(1)
Writing Exercises	38	(2)
Writing melodies from scale degrees	38	(1)
Composing your own melodies in minor keys	39	(1)
Analysis	40	(3)
Brief analysis	40	(2)
Extended analysis	42	(1)
Beat, Meter, and Rhythm: Compound Meters	43	(12)
Basic Elements	43	(3)
Meter signatures	43	(2)
Divisions and subdivisions with different beat units	45	(1)
Writing Exercises	46	(5)
Incomplete measures	46	(1)
Anacrusis notation	47	(2)
Beaming to reflect the meter	49	(1)
Inserting bar lines: Simple and compound meters	50	(1)
Rhythmic compositions	50	(1)
Analysis	51	(4)
Pitch Intervals	55	(10)
Basic Elements	55	(4)
Writing generic intervals (melodic)	55	(1)
Writing major and perfect pitch intervals	55	(1)
Writing major, minor, and perfect pitch intervals (harmonic)	56	(1)
Writing diminished and augmented pitch intervals (melodic)	57	(1)
Enharmonically equivalent intervals	57	(1)
Interval inversion	58	(1)
Interval class	58	(1)
Writing Exercises	59	(1)
Writing intervals	59	(1)
Analysis	60	(5)
Harmonic and melodic intervals	60	(2)
Melodic intervals, compound intervals, and interval class	62	(3)
Triads and Seventh Chords	65	(11)
Basic Elements	65	(5)
Building triads above a scale	65	(1)
Spelling isolated triads	66	(1)
Scale-degree triads	66	(1)
Building seventh chords above a scale	67	(1)
Spelling isolated seventh chords	68	(1)
Scale-degree triads and seventh chords in inversion	69	(1)
Analysis	70	(6)
Brief analysis	70	(2)
Examining a lead sheet	72	(4)
Part II Linking Musical Elements in Time
Intervals in Action (Two-Voice Composition)	76	(13)
Basic Elements	76	(3)
Opening and closing patterns in note-against-note counterpoint	76	(1)
The resolution of chordal dissonances	77	(1)
Note-against-note to 2:1 counterpoint	78	(1)
Writing Exercises	79	(4)
Writing note-against-note counterpoint	79	(2)
Writing 2:1 counterpoint	81	(2)
Analysis	83	(6)
Analysis of note-against-note counterpoint	83	(3)
Analysis of 2:1 counterpoint	86	(3)
Melodic and Rhythmic Embellishment in Two-Voice Composition	89	(12)
Basic Elements	89	(3)
From note-against-note to 4:1 or 3:1	89	(1)
Chains of suspensions	90	(1)
Suspensions from note-against-note	91	(1)
Writing Exercises	92	(3)
Writing 4:1 counterpoint	92	(2)
Writing a fourth-species counterpoint	94	(1)
Analysis	95	(6)
Brief analysis	95	(3)
Extended analysis	98	(3)
Notation and Scoring	101	(8)
Basic Elements	101	(1)
Beams and flags in vocal and instrumental music	101	(1)
Writing Exercises	102	(2)
Making an open score from a keyboard four-voice score	102	(2)
Analysis	104	(5)
Studying rounds	104	(1)
Examining four-part settings	105	(4)
Voicing Chords in Multiple Parts: Instrumentation	109	(11)
Basic Elements	109	(5)
Doubling in triads	109	(1)
SATB seventh chords	110	(1)
Voicing and doubling	111	(3)
Voice-leading	114	(1)
Writing Exercises	114	(1)
Making a quartet setting from SATB	114	(1)
Analysis	115	(5)
Reading a full score	115	(5)
Part III The Phrase Model
The Basic Phrase Model: Tonic and Dominant Voice-Leading	120	(13)
Basic Elements	120	(3)
Spelling tonic and dominant	120	(1)
Spelling dominant seventh chords	120	(1)
Resolution of V7	121	(1)
Cadences with I and V or V7	122	(1)
Writing Exercises	123	(2)
Basic phrases	123	(1)
Melody harmonization	123	(1)
Piano arrangement	124	(1)
Creative writing	124	(1)
Analysis	125	(8)
Brief analysis	125	(1)
Extended analysis	126	(7)
Embellishing Tones	133	(12)
Basic Elements	133	(3)
Labeling embellishing tones	133	(2)
Writing embellishing tones	135	(1)
Writing Exercises	136	(2)
Part-writing	136	(1)
Folk melody harmonization	137	(1)
Analysis	138	(7)
Brief analysis	138	(1)
Extended analysis	139	(6)
Chorale Harmonization and Figured Bass	145	(6)
Basic Elements	145	(2)
Setting melodic fragments	145	(1)
Cadences with figured bass	146	(1)
Writing Exercises	147	(4)
Chorale melody harmonization	147	(1)
Embellished chorales	148	(1)
Figured-bass realization	148	(3)
Expanding the Basic Phrase: Leading-Tone, Predominant, and 6/4 Chords	151	(14)
Basic Elements	151	(5)
Writing and resolving vii06	151	(1)
Writing and resolving vii07 and vii07 and their inversions	152	(1)
More leading-tone chords (vii06, vii07, vii07 and their inversions)	152	(1)
Predominant chords	153	(1)
Voice exchange with predominants	153	(1)
Cadential 6/4	153	(1)
Other 6/4 chords	154	(2)
Writing Exercises	156	(4)
Folk melody harmonization	156	(1)
Chorale melody harmonization	157	(1)
Figured-bass realization	158	(1)
Figured-bass realization from music literature	158	(2)
Analysis	160	(5)
Further Expansions of the Basic Phrase: Tonic Expansions, Root Progressions, and the Mediant Triad	165	(10)
Basic Elements	165	(3)
Tonic expansion	165	(1)
Figured bass with passing chords	165	(1)
Melody fragments	166	(1)
Part-writing with mediants and submediants	167	(1)
Part-writing phrases	167	(1)
Writing Exercises	168	(3)
Melody harmonization	168	(1)
Rule-of-octaves harmonization	169	(1)
Scalar melody harmonization	170	(1)
Analysis	171	(4)
The Interaction of Melody and Harmony: More on Cadence, Phrase, and Melody	175	(10)
Basic Elements	175	(1)
Part-writing cadences	175	(1)
Writing Exercises	176	(3)
Melody harmonization	176	(1)
Writing consequent phrases	177	(2)
Composing complete parallel periods	179	(1)
Analysis	179	(6)
Brief analysis	179	(2)
Extended analysis	181	(4)
Diatonic Sequences	185	(10)
Basic Elements	185	(2)
Writing sequences	185	(2)
Writing Exercises	187	(3)
Creative writing	187	(1)
Figured-bass realization	188	(2)
Analysis	190	(5)
Brief analysis	190	(1)
Extended analysis	191	(4)
Intensifying the Dominant: Secondary Dominants and Secondary Leading-Tone Chords; New Voice-Leading Chords	195	(14)
Basic Elements	195	(3)
Spelling secondary dominant and leading-tone chords to V	195	(1)
Secondary dominants	195	(1)
Secondary leading-tone chords	196	(1)
Dominant expansions	197	(1)
Chromatic voice exchange	197	(1)
Writing Exercises	198	(3)
Part-writing	198	(1)
Melody harmonization	198	(1)
Figured-bass realization	199	(2)
Analysis	201	(8)
Brief analysis	201	(2)
Extended analysis	203	(6)
Phrase Rhythm and Motivic Analysis	209	(21)
Basic Elements	209	(4)
Connecting and expanding phrases	209	(2)
Motivic transformations	211	(2)
Writing Exercises	213	(2)
Motivic transformations	213	(2)
Analysis	215	(15)
Brief analysis	215	(4)
Extended analysis	219	(11)
Part IV Further Expansion of the Harmonic Vocabulary
Tonicizing Scale Degrees Other Than V	230	(9)
Basic Elements	230	(1)
Spelling secondary dominant and leading-tone chords	230	(1)
Resolving secondary dominants	230	(1)
Resolving secondary leading-tone chords	231	(1)
Writing Exercises	231	(5)
Part-writing	231	(1)
Folk melody harmonization	232	(1)
Chorale harmonization	233	(1)
Figured-bass realization	234	(2)
Analysis	236	(3)
Brief analysis	236	(1)
Extended analysis	237	(2)
Modulation to Closely Related Keys	239	(14)
Basic Elements	239	(3)
Pivot chords	239	(1)
Modulating phrases with pivot chords	240	(1)
Melody harmonization	241	(1)
Writing Exercises	242	(4)
Part-writing	242	(1)
Melody harmonization	242	(1)
Figured-bass realization	243	(3)
Analysis	246	(7)
Brief analysis	246	(4)
Extended analysis	250	(3)
Binary and Ternary Forms	253	(22)
Basic Elements	253	(1)
Writing binary forms: The second section	253	(1)
Writing Exercises	253	(6)
Part-writing	253	(1)
Melody harmonization	254	(1)
Figured-bass realization	255	(4)
Analysis	259	(16)
Brief analysis	259	(7)
Extended analysis	266	(9)
Color and Drama in Composition: Modal Mixture and Chromatic Mediants and Submediants	275	(12)
Basic Elements	275	(1)
Spelling exercises	275	(1)
Two-chord pairs with mixture	275	(1)
Writing Exercises	276	(3)
Part-writing	276	(1)
Figured-bass realization	276	(2)
Melody harmonization	278	(1)
Analysis	279	(8)
Brief analysis	279	(4)
Extended analysis	283	(4)
Chromatic Approaches to V: The Neapolitan Sixth and Augmented Sixths	287	(15)
Basic Elements	287	(2)
Spelling the Neapolitan sixth and augmented-sixth chords	287	(1)
Neapolitan sixth	288	(1)
Augmented sixths	288	(1)
Figured-bass progressions featuring N6 and A6	288	(1)
Writing Exercises	289	(3)
Part-writing	289	(1)
Figured-bass realization	289	(3)
Melody harmonization	292	(1)
Analysis	292	(10)
Brief analysis	292	(3)
Extended analysis	295	(7)
Part V Musical Form and Interpretation
Popular Song and Art Song	302	(11)
Basic Elements	302	(1)
Reading chord symbols	302	(1)
Writing blues scales	302	(1)
Analysis	303	(10)
Brief analysis	303	(5)
Extended analysis	308	(5)
Variation and Rondo	313	(12)
Writing Exercises	313	(1)
Continuous variations	313	(1)
Sectional variations	313	(1)
Analysis	314	(11)
Analysis of variation movements	314	(8)
Analysis of rondo forms	322	(3)
Sonata-Form Movements	325	(22)
Analysis	325	(22)
Chromaticism	347	(21)
Basic Elements	347	(5)
Writing chromatic sequences	347	(3)
Writing chromatic elaborations of voice exchanges	350	(1)
Writing other chromatic embellishments	351	(1)
Writing Exercises	352	(2)
Writing a chromatic introduction	352	(1)
Chromatic modulations	352	(2)
Analysis	354	(14)
Brief analysis	354	(2)
Extended analysis	356	(12)
Part VI Into the Twentieth Century
Modes, Scales, and Sets	368	(19)
Basic Elements	368	(3)
Mode and scale identification	368	(2)
Pitch-class integer notation	370	(1)
Writing Exercises	371	(2)
Writing modal melodies	371	(1)
Writing accompaniments to modal melodies	372	(1)
Analysis	373	(14)
Brief analysis	373	(3)
Extended analysis	376	(11)
Music Analysis with Sets	387	(12)
Basic Elements	387	(6)
Transposing pitch sets	387	(1)
Transposing and inverting pitch-class sets	388	(1)
Interval-class vectors	389	(2)
Tn/Tn I relationships	391	(2)
Writing Exercises	393	(1)
Melody writing	393	(1)
Harmonic writing	393	(1)
Analysis	393	(6)
Brief analysis	393	(3)
Extended analysis	396	(3)
Sets and Set Classes	399	(10)
Basic Elements	399	(4)
Trichord identification	399	(2)
Prime form	401	(2)
Writing Exercises	403	(1)
Melody writing	403	(1)
Analysis	403	(6)
Brief analysis	408	(1)
Extended analysis	408	(1)
Ordered Segments and Serialism	409	(12)
Basic Elements	409	(4)
Identifying ordered pitch segments related by serial operations	409	(1)
Identifying ordered pitch-class segments related by serial operations	410	(1)
Serial operations on ordered pitch segments	411	(1)
Serial operations on ordered pitch-class segments	412	(1)
Writing Exercise	413	(1)
Serial composition	413	(1)
Analysis	413	(8)
Brief analysis	413	(3)
Extended analysis	416	(5)
Twelve-Tone Rows and the Row Matrix	421	(16)
Basic Elements	421	(4)
Making a row matrix	421	(3)
Finding combinatorial row pairs	424	(1)
Writing Exercises	425	(1)
Serial composition	425	(1)
Analysis	425	(12)
Brief analysis	425	(5)
Extended analysis	430	(7)
New Ways to Organize Rhythm, Meter, and Duration	437	(20)
Basic Elements	437	(8)
Identifying changing meter, asymmetrical meter, ostinato, and polymeter	437	(3)
Metric modulation, additive rhythm, and time-line notation	440	(5)
Writing Exercises	445	(2)
Short rhythmic exercises	445	(1)
Two-part rhythmic exercises	446	(1)
Writing phrases	446	(1)
Writing two-part counterpoint	447	(1)
Analysis	447	(10)
Brief analysis	447	(3)
Extended analysis	450	(7)
New Ways to Articulate Musical Form	457	(12)
Basic Elements	457	(1)
Defining ``music''	457	(1)
Defining form without tonality	457	(1)
Analysis	457	(12)
Brief analysis	457	(5)
Extended analysis	462	(7)
The Composer's Materials Today	469	(6)
Writing Exercises	469	(1)
Exploring contemporary counterpoint	469	(1)
Analysis	470	(5)
Brief analysis	470	(1)
Extended analysis	471	(4)
Index of Music Examples	475