Download e-Workbook TECHNIQUES AND MATERIALS OF MUSIC Part I

e-Workbook
for
TECHNIQUES AND MATERIALS OF
MUSIC
From the Common Practice Period Through the
Twentieth Century
ENHANCED SEVENTH EDITION
Part I: Rudiments
Assignments in worksheet format by
Thomas Benjamin
Michael Horvit
Timothy Koozin
Robert Nelson
Part I: Rudiments
Preface
3
1 The Great Staff and the Piano Keyboard
5
2 Accidentals
5
3 Intervals
7
4 Major and Minor Scales
10
5 Key Signatures
12
6 Triads
14
7 Meter and Rhythm
19
2
Preface
This e-Workbook is intended to supplement the exercises found in Techniques and
Materials of Music, enhanced 7th edition. Instructors will find these exercises useful in
several ways:
•
•
•
•
Intensive study of particular topics
Extra work for students having difficulty with selected topics
Remediation, particularly for transfer students
As a source of exercises for quizzes and tests
There are four types of exercises:
• Preliminary exercises. These exercises introduce new material in simple contexts,
to help students get started with the basics of part writing.
• Melodies for harmonization.
• Figured and unfigured basses.
• Compositional exercises. These exercises establish a particular texture for the
completion of the harmonization, or, in some instances, the composition of one to
two phrases in the style of the given measures.
Exercises are graded and cumulative and are intended to incorporate all the harmonic
vocabulary introduced to that point.
All exercises are presented with the necessary blank staves. In the early units, choral
voicing or keyboard voicing is specified; in later units the student or instructor is given the
choice of voicing. For the sake of simplicity, all the basic part-writing exercises have been
notated with stems up in the soprano and stems down in the bass. If an exercise is realized
in keyboard voicing the student will need to adjust the stem directions to reflect common
notational practice.
The textural exercises are thoroughly edited. When doing these exercises it is
important that the student approach them as if writing real music. Attention must be paid
to continuing the articulations as in the given measures. The student may wish to add
additional dynamic markings such as crescendos and diminuendos to support the shape of
the music.
3
Suggestions for the Student
Before doing these exercises, it will be important to study with care the matching
explanatory pages in Techniques and Materials of Music, and the corresponding examples
found in Music for Analysis (7th edition, Oxford University Press).
In each exercise, carefully analyze the given material in terms of its harmonic and
melodic content as well as all aspects of patterning, so that your work is logical and
consistent in terms of the given. If the exercise involves harmonizing a melody, analyze (or
perhaps discuss in class) the implied harmonic rhythm and the harmonic and cadential
implications of the given line; if an unfigured bass, analyze and discuss the harmonic
implications of each note in the bass, paying close attention to typical bass-line scaledegree idioms; if a texture/stylistic exercise, pay close attention to all aspects of patterning
and style in the given. Hearing and analyzing similar examples from Music for Analysis
will be especially helpful with these more compositional/stylistic exercises.
It is important in all your writing both to analyze and understand the choices you are
making, and to produce a result that is pleasing and musical to the ear.
Part I on musical rudiments is new to this edition. These written exercises provide for a
review of musical fundamentals that many students need in order to be successful with the
more advanced material to follow.
For the exercises in Part III: Where there is chromaticism, be sure you understand the
harmonic implications of each altered scale-degree before starting to work out the exercise.
Which notes might be non-harmonic tones? Which imply secondary dominants or other
chromatic vocabulary? What is the implied harmonic rhythm? What patterns of
chromaticism can you find?
For the exercises in Part IV, it is especially important that you study the relevant
chapters from Techniques and Materials of Music, and analyze examples from Music for
Analysis before you undertake the writing of the exercises, as they cannot be well done
without a good deal of knowledge of both technique and style. Analyze with care the given
materials in each exercise in terms of all the musical aspects: scale or pitch collection,
harmonic vocabulary, rhythmic organization and all aspects of patterning. Your result
should as closely as possible match the sound of the given material.
4
e-Workbook for Techniques & Materials of Music
Part I, Unit 1. The Great Staff and the Piano Keyboard
Name _______________________
1. Label the names of the pitches shown below. Be specific, using octave numbers (middle C = C4) or traditional
names (contra, great, etc.), as preferred by your instructor. (Notice the changes of clef.)
&w
w
bw
w
D4 (or d1) b. _______ c. _______
a. ________
B
w
i. _______
w
w
d. _______
bw
j. _______ k. _______
w
B
?
bw
w
w
e. _______ f. _______ g. _______
bw
w
#w
l. _______ m. _______ n. _______
o. _______
h. _______
w
p. _______
Part I, Unit 2. Accidentals
1. Correct the ambiguities, using cautionary (courtesy) accidentals where needed or otherwise appropriate.
& œ bœ bœ œ
&
œ
œ
bœ œ
œ œ
œ #œ œ œ
œ œ œ œ œ œ œ œ
2. Supply a note enharmonic to each given pitch.
&w
?w
bw
bw
#w
‹w
#œ #œ #œ œ
œ
œ bœ
œ
w
w
œ œ œ
œ œ œ
w
bw
5
e-Workbook for Techniques and Materials of Music
Part I, Unit 2. Accidentals
Name_____________________________
3. Correct the ambiguities, using cautionary (courtesy) accidentals where needed or otherwise appropriate.
?œ
œ bœ bœ
? œ #œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ #œ œ
œ
œ
œ bœ
4. Supply a note enharmonic to each given pitch.
& ‹w
#w
?
w
w
bw
œ
œ bœ bœ
#w
#w
bw
B bw
w
bw
B #w
‹w
w
#w
bw
œ
œ
œ
∫ w
#w
bw
#w
6
e-Workbook for Techniques & Materials of Music
Part I, Unit 3. Intervals
Name _______________________
1. Identify the intervals between the following pairs of pitches.
a.
&w
?w
b.
w
bw
B bw
c.
Bw
d.
w
#w
w
w
#w
w
bw
#w
#w
w
bw
w
w
#w
w
bw
bw
bw
w
#w
#w
bw
w
#w
#w
bw
#w
#w
#w
w
w
w
w
bw
2. Write the notes that form the indicated intervals above the given pitch.
a.
&w
P5
w
? bw
b.
A2
c.
M3
B #w
Bw
d.
m2
M7
m6
bw
P4
#w
m6
w
d5
w
P5
bw
m2
#w
M2
w
M7
w
M3
bw
m6
#w
A4
w
m3
w
w
m2
bw
d5
#w
w
M6
M3
w
M7
bw
M7
#w
w
A4
d5
w
M6
bw
M2
#w
w
m7
A6
w
d5
bw
M6
#w
w
P5
m2
w
m3
bw
A4
#w
w
M3
A3
A6
bw
m7
#w
w
P5
7
e-Workbook for Techniques & Materials of Music
Part I, Unit 3. Intervals
Name _______________________
3. Identify the intervals between the following pairs of pitches.
a.
&
?
w
b.
w
w
bw
w
B w
B
d.
bw
bw
bw
bw
#w
bw
w
c.
w
bw
bw
#w
#w
w
w
bw
#w
w
w
#w
w
#w
#w
w
#w
bw
w
bw
bw
bw
bw
w
bw
w
bw
4. Write the notes that form the indicated intervals above the given pitch.
a.
M3
P5
m2
& #w
w
bw
?
bw
#w
b.
d5
w
Bw
M7
B
M3
c.
d.
bw
m3
A6
bw
m6
#w
#w
P5
#w
m2
w
d7
M3
#w
P4
w
m2
P4
bw
M2
bw
d5
w
m7
bw
w
M3
m6
w
P5
bw
P5
#w
bw
M7
#w
m2
M6
bw
w
A4
M7
bw
M6
bw
P4
w
M7
#w
A4
bw
m6
bw
A3
w
bw
P4
#w
M6
bw
#w
M6
m3
m3
#w
#w
M3
8
e-Workbook for Techniques & Materials of Music
Part I, Unit 3. Intervals
Name _______________________
5. Write the notes that form the indicated intervals below the given pitch.
a.
P4
& bw
m6
bw
? w
w
#w
#w
b.
c.
B
M3
M3
B w
d.
A4
M7
d5
bw
w
m6
M2
bw
w
M7
m2
P5
#w
#w
m7
M3
P5
w
w
M7
w
M7
bw
m2
m2
bw
A4
P5
bw
M6
m3
bw
P5
w
w
w
w
#w
#w
#w
#w
P4
m2
w
A2
m6
w
d5
M7
w
d7
bw
w
A6
m6
#w
d5
P4
w
A6
w
A4
bw
m7
w
#w
m3
M6
w
6. Invert the given intervals. Identify both the given and inverted inervals.
& b ww
#w
# w
? w
bw
#w
b w
B b ww
# # ww
a.
b.
c.
b ww
# ww
#w
w
b b ww
bw
#w
#w
w
b ww
bw
bw
# # ww
9
e-Workbook for Techniques & Materials of Music
Part I, Unit 4. Major and Minor Scales
Name _______________________
1. Write major scales ascending one ocave with the given pitch as tonic. Use accidentals as they are required to
form the proper interval series. Do not use key signatures.
a.
&
?
c.
b.
w
bw
d.
w
bw
Bw
f.
B
h.
e.
g.
bw
w
bw
2. Write the three forms of the minor scale ascending from the given pitch. Write the melodic minor descending
as well. Use accidentals as they are required to form the proper interval series. Do not use key signatures.
Natural Minor
Harmonic Minor
Melodic Minor
a.
&w
w
w
? #w
#w
#w
w
w
w
#w
#w
#w
b.
c.
B
d.
B
10
e-Workbook for Techniques & Materials of Music
Part I, Unit 4. Major and Minor Scales
Name _______________________
3. Write major scales ascending one ocave with the given pitch as tonic. Use accidentals as they are required to
form the proper interval series. Do not use key signatures.
a.
b.
& bw
w
? #w
c.
d.
w
w
B bw
f.
B
h.
e.
g.
#w
bw
4. Write the three forms of the minor scale ascending from the given pitch. Write the melodic minor descending
as well. Use accidentals as they are required to form the proper interval series. Do not use key signatures.
Natural Minor
a.
Harmonic Minor
Melodic Minor
& bw
w
bw
? bw
bw
bw
#w
#w
w
w
b.
c.
B #w
d.
B w
11
e-Workbook for Techniques & Materials of Music
Part I, Unit 5. Key Signatures
Name _______________________
1. Using key signatures and accidentals as needed, write the three forms of the minor scale ascending from the
indicated pitches in both clefs. Write the melodic minor descending as well.
&
?
Natural
Harmonic
Melodic
w
w
& #w
? #w
&
?
B
B
B
B
bw
bw
w
w
#w
#w
12
e-Workbook for Techniques & Materials of Music
Part I, Unit 5. Key Signatures
Name _______________________
2. Using key signatures and accidentals as needed, write the three forms of the minor scale ascending from the
indicated pitches in both clefs. Write the melodic minor descending as well.
&
?
&
?
&
?
B
Natural
Melodic
w
w
bw
bw
#w
#w
w
B
B w
B
Harmonic
w
w
13
e-Workbook for Techniques & Materials of Music
Part I, Unit 6. Triads
Name _______________________
1. Construct triads of the indicated quality in each staff.
a. Root given.
&
?
Major
Diminished
w
#w
#w
w
Minor
bw
bw
Augmented
bw
bw
b. Third given.
&
Minor
#w
Diminished
w
#w
w
c. Fifth given.
Minor
Major
?
&
#w
?
#w
d. Root given.
Major
B
bw
B
bw
bw
bw
Minor
w
w
Major
bw
Augmented
w
bw
w
Diminished
Augmented
w
w
Augmented
bw
bw
w
w
Diminished
#w
#w
14
e-Workbook for Techniques & Materials of Music
Part I, Unit 6. Triads
Name _______________________
2. Construct triads of the indicated quality in each staff.
a. Root given.
Augmented
Diminished
w
#w
&
?
w
#w
b. Third given.
Minor
&
?
bw
bw
c. Fifth given.
Major
&
?
bw
bw
d. Third given.
Augmented
B
B
w
w
e. Fifth given.
Diminished
B
B
#w
#w
Diminished
bw
bw
Minor
bw
bw
Minor
bw
bw
Minor
bw
bw
Major
Minor
bw
w
bw
w
Major
Augmented
#w
w
#w
w
Diminished
Augmented
#w
w
#w
w
Major
Diminished
w
#w
w
Augmented
w
w
#w
Major
bw
bw
15
e-Workbook for Techniques & Materials of Music
Part I, Unit 6. Triads
Name _______________________
3. Using key signaures, write the major scale ascending on both staves from the given pitch. Construct triads
using each note of the scale as root and label the quality of each.
&
?
w
w
bw
bw
4. Using key signatures and accidentals as needed, write the three forms of the minor scale on both staves
ascending from the indicated pitch. Write the melodic minor descending as well. Construct triads using each
note of the scale as root and label the quality of each.
Natural
& w
?
Harmonic
w
Melodic
&
?
Natural
&
Harmonic
#w
? #w
Melodic
&
?
16
Name _______________________
e-Workbook for Techniques & Materials of Music
Part I, Unit 6. Triads
5. Using key signaures, write the major scale ascending on both staves from the given pitch. Construct triads
using each note of the scale as root and label the quality of each.
& bw
? bw
w
w
6. Using key signatures and accidentals as needed, write the three forms of the minor scale on both staves
ascending from the indicated pitch. Write the melodic minor descending as well. Construct triads using each
note of the scale as root and label the quality of each.
Natural
&
?
Harmonic
#w
#w
Melodic
&
?
Natural
&
?
bw
Harmonic
bw
Melodic
&
?
17
Name _______________________
e-Workbook for Techniques & Materials of Music
Part I, Unit 6. Triads
7. Using key signaures, write the major scale ascending on both staves from the given pitch. Construct triads
using each note of the scale as root and label the quality of each.
B
B
w
w
w
w
8. Using key signatures and accidentals as needed, write the three forms of the minor scale on both staves
ascending from the indicated pitch. Write the melodic minor descending as well. Construct triads using each
note of the scale as root and label the quality of each.
Natural
B w
Harmonic
B w
Melodic
B
B
Natural
B
B
w
Harmonic
w
Melodic
B
B
18
e-Workbook for Techniques & Materials of Music
Part I, Unit 7. Meter and Rhythm
Name _______________________
1. Complete the following:
a. Identify the following meter signatures by indicating the number of beats, the note value receiving the
beat, the division of the beat, and the terminology of the meter:
2
4
3
2
9
8
4
2
12
16
2
8
3
16
6
4
4
8
Meter
Beats
two
Unit of Beat
q
Background Unit
e
Terminology
simple duple
b. Complete the chart below:
Meter
3
4
12
8
9
4
Beats
four
two
three
three
Unit of Beat
q
q.
Background Unit
Terminology
e
compound triple
q
simple _________
x
simple _________
19
e-Workbook for Techniques and Materials of Music
Part I, Unit 7. Meter and Rhythm
Name_____________________________
2. The following examples are given ungrouped and without measure bars. Add measure bars and group eighth
notes and smaller values with beams as they would normally appear in the given meter. the first note is
always the downbeat.
a.
44 ˙
r r r r j j
jjjj
œ œ œœœœœ œ œ œ œ œœ œœ œ œ ˙
98 œj œj œj œ
b.
c.
j
C œ œ
j
œ œ
j
œ œ.
j r r r r
œ œ œ œ œ œ
j
œœ
œ
jj
j
œœ‰ œ œ
e.
f.
24 ‰ œ œj œrœrœrœrœj œj œ .
68 œ œj œj œ
rrj j j
œœœ œ œ œ
r r j r r j
œ œ œ œ œ œ œ
j j j j
œ œ œ œ Œ
˙
KK
38 œj œr œr œj œr œr ‰ œj œr œr œr œr ≈ ‰
d.
j jjr r r r
œ œ ‰œ œ œ œ œ œ œ
Kr Kr Kr Kr r r
œ œ œ œ œ œ ‰
rr rj rj r
œœ œœ œœ . œ œ œ
j j rrj j j j
œ œ œ œœ œ œ œ œ œ.
˙
r r
œ œ œ
jj
œ œœ ˙
jj
œ œœœ
˙.
20
e-Workbook for Techniques and Materials of Music
Part I, Unit 7. Meter and Rhythm
Name_____________________________
3. What meter signature does each of the following patterns suggest? Examine the patterns, determine the
meter signature of each, add this signature at the beginning of each example, and draw in measure bars.
Each example will be four measures.
a.
b.
c.
d.
e.
œ.
j
œ œ
j
j
œ œ œ œ œ œ œ œ œ œ œ.
j
œ ˙
j
œ œ
œ
œœœœœ œ
˙.
œ œ œ œ.
w
œ œ
j
œœœ œ œ œ ‰ œ ‰ œ œ œ
œ
Œ
j
œ œœ œœœœœ œ
j
œ œ œ œ œ œ œ œ œ œ.
œ ˙
j
œ œ œ œœœœœœœ œ
j
œ œœœœœ
˙
j
œ œ œœœ œ œ
œ œ œ œ œ œ œ œ œ œ œœœœŒ
œ œ œœœ
œ.
j j
œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ ˙.
f.
œ œœœ œ œœœ
j
Œ œ œ.
œ
œ œ w
j
œ œ œ œ ≈ œ œ œ œ œ .
21
e-Workbook for Techniques and Materials of Music
Part I, Unit 7. Meter and Rhythm
Name______________________________
4. In the following exaamples, replace the ties with dotted notes wherever possible. The duration of each note
should remain the same.
a.
44 ˙
b.
68 œ
c.
43 œ œ œ œ
d.
98 œ œ œ œ œ œ œ œ œ œ œ
e.
48 œ
f.
32 ˙
g.
9 ‰
16
h.
C œ
œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœ œ œ œ œœ œ
j
j
œ œ œ œœ œ œœ œ œ œ œ
˙
œ
j
œ œ
j
œ œœ œ
j
œ œ œ œœœ
œ œœ œ œ
˙
j j
œ œ œ
œ
j
œ
œ œ œ œ œ œ œ œ œœ œ ˙
j
œ œ œ œ Œ
j
œ œ
j
œ œ
j
œ
j
j
j j
j j j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ
œ œ ˙
œ œ œœ˙
œ œ œ œ œ œ œ œ œ œœœ œ œ œœœ ˙
r
œ œ œ œœœ œœœ œœœ œœœ œ œ œ
œ
œ
œ œœ Œ œ ˙
œ œ œœœ œœœ
œ
œŒ
œ œ œ œ œ œ
œ œ œ ˙
Œ
22
e-Workbook for Techniques and Materials of Music
Part I, Unit 7. Meter and Rhythm.
Name___________________________
5. Notate the following examples in the related meters indicated. In other words, keep the same number of
notes in each measure and the same rhythmic relationships, only changing the note values to fit the meter.
Example:
68 œ .
œ
j
6
16 œ .
46 ˙ .
œ œ
œ
œ
˙.
œ
œ
œ.
œ.
œ
w.
œ
œ
j
œ.
œ
˙.
˙
j
œ
œ.
œ
j
œ.
j
œ.
œ
˙.
˙.
3
3
a. Rewrite the following example in 2 and 8.
43 œ
œ œ œ œ
˙
œ
œ.
œ œ œ œ œ œ
˙.
œ œ œ œ œ œ œ œ œ
˙.
œ
32
38
6
6
b. Rewrite the following in 4 and 16.
68 œ .
œ œ œ
œ
j
œ œ.
46
6
16
23
4
4
c. Rewrite the following example in 8 and 2.
44 œ
œ œ ˙
œ
œœœœœ œ œ
œ œ œ œ œ œ œ œœœ œ ˙
48
42
9
9
d. Rewrite the following in 8 and 16.
j j
9
. œ.
œ
œ
œ
œ
16
œ œœœ œ œ œ œ œ œœœ œ œ
œœœ
œ œ.
j
œ.
98
49
24
e-Workbook for Techniques and Materials of Music
Part I, Unit 7. Meter and Rhythm.
Name___________________________
6. Rewrite the following examples in the equivalent compound meter.
Example:
c œ
12
8 œ.
œ œ œ.
œ œ œ.
2
a.
43 œ œ œ
b.
32 w
c.
d.
c œ.
3
j
œ œ œ œ œ œ œ
œ œ œ œ œ œ.
2
2
œ œ
œ œ œ œ.
3
j
œ œ œ
œ œ œ œ œ ˙.
3
j 3
œ œœœœ œ ˙
3
j
28 œ œ œ œ œ œ œj
œ
œ
œ.
œ
j
‰ œ ˙.
j
‰ œ ˙.
œ.
2
j j
œ œ œ ‰ œ œ ‰
3
Œ
Œ.
œ. œ œ ˙
3
3
j
œ Œ œ. œ œ œ œ œ œ w.
3
œ œ œ œ œ œ œ œ œ œ.
3
œ. œ œ œ.
œ
˙.
3
œ œ œ œ œ œ œ
œ œ
25
e-Workbook for Techniques and Materials of Music
Part I, Unit 7. Meter and Rhythm.
Name___________________________
7. Rewrite the following examples in the equivalent simple meter.
j
œ œ
Example:
68 œ
42 œ
3
j
œ
a.
98 œ .
b.
46 œ œ œ ˙
c.
12
8 œ.
d.
68 œ œ œ œ œ
œ
œ
3
œ
œ
2
œ
œ
œ
œ œ œ
3
œ
œ œ œ
2
œ œ œ œ œ
œ œ œ œ œœœ œ œ
œ
œ
œ œ œ œ œ Œ.
2
2
œ
2
œ œ œ œ.
2
2
˙.
œ
œ œ œ œ.
2
˙.
œ
˙
j
œ œ ˙.
œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ.
2
˙.
œ
2
œ œœœ œ
w.
œ œ œ œ.
j 2
œ œ œ œ.
œ.
˙.
j
œ œ œ.
26