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T E C H N I Q U E S A N D M AT E R I A L S
of

MUSIC
This page intentionally left blank
T E C H N I Q U E S A N D M AT E R I A L S
of

MUSIC
FROM

T H E C O M M O N P R ACT I C E P E R I O D
Through

T H E T W E N T I ET H C E N T U RY

Seventh Edition

Thomas Benjamin
Peabody Conservatory
The Johns Hopkins University

Michael Horvit
Moores School of Music
The University of Houston

Robert Nelson
Moores School of Music
The University of Houston

Australia · Brazil · Canada · Mexico · Singapore

Spain · United Kingdom · United States
 Techniques and Materials of Music: From
the Common Practice Period Through
the Twentieth Century
Seventh Edition
Thomas Benjamin, Michael Horvit,
Robert Nelson

Publisher: Clark Baxter Executive Art Director: Maria Epes

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trademarks used herein under license. Belmont, CA 94002-3098
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ALL RIGHTS RESERVED. No part of this work covered by
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ISBN-13: 978-0-495-18977-0
ISBN-10: 0-495-18977-4
To our wives, friends, colleagues, and students
This page intentionally left blank
Contents

Preface ix
Suggestions to the Instructor xi

Part I Rudiments
1 The Great Staff and Piano Keyboard 3 5 Key Signatures 15
2 Accidentals 4 6 Triads 17
3 Intervals 6 7 Meter and Rhythm 19
4 Major and Minor Scales 13

Part II Diatonic Materials

1 Triads in Root Position 33 9 Tonic, Subdominant, and Dominant
2 The Tonic Triad in Root Position 36 Triads in First Inversion 73
3 Connection of Tonic and Dominant 10 The Supertonic Triad 82
Triads in Root Position 39 11 Inversions of the Dominant
4 The Dominant Seventh Chord in Root Seventh Chord 88
Position 46 12 Linear (Embellishing) Six-Four
5 Connection of Tonic and Subdominant and Other Chords 96
Triads in Root Position 56 13 Submediant and Mediant Triads in
6 Connection of Subdominant and Root Position and First Inversion 100
Dominant Triads in Root Position 59 14 The Leading Tone Triad 106
7 Cadences Employing the Tonic, 15 Variant Qualities of Triads 110
Subdominant, and Dominant 16 The Sequence 118
Triads in Root Position 63 17 The Supertonic Seventh Chord 123
8 The Cadential Tonic Six-Four 18 The Leading Tone Seventh Chord 128
Chord 68 19 Other Diatonic Seventh Chords 134

Part III Chromatic Materials

1 Secondary (Applied, Borrowed) 4 The Neapolitan Triad 159
Dominants 139 5 Augmented Sixth Chords 164
2 Modulation 146 6 Modulation by Other Means 171
3 Linear (Embellishing) Diminished 7 Ninth Chords 175
Seventh Chords 153

vii
 Part IV Twentieth-Century Materials
1 Twentieth-Century Techniques: 7 Exotic (Artificial, Synthetic) Scales 202
General Comments 181 8 Quartal and Secondal Harmony 206
2 Further Comments for Analysis 183 9 Polyharmony and Polytonality 209
3 Rhythmic and Metric Devices 187 10 Free Atonality 213
4 Tertian Harmony 191 11 Twelve-Tone Serialism 218
5 The Diatonic (Church) Modes 196 12 Additional Contemporary Procedures 224
6 Pandiatonicism 199

Part V Reference Materials

1 Musical Calligraphy 229 12 Models for Expansion and
2 The Harmonic Series 231 Elaboration 250
3 Nonharmonic (Nonchord) Tones 232 13 Cadence and Phrase Structure 252
4 Relative and Linear Motion 234 14 Typical Phrase Variants 254
5 Guidelines for Voice Leading in 15 The Motive 256
Strict Four-Part Writing 235 16 The Sequence 262
6 Guidelines for Doubling in Strict 17 Textures 266
Four-Part Writing 237 18 An Introduction to Tonal Melody 270
7 Checklist for Part-Writing 238 19 An Introduction to Tonal
8 Chord Functions in Tonal Music 239 Counterpoint 275
9 Figured-Bass Symbols 242 20 Form 283
10 Procedure for Harmonizing a 21 Checklist for Analysis 291
Figured Bass 244 22 Composition Checklist 296
11 Procedure for Harmonizing a 23 Instrumental Ranges and
Melody 246 Transpositions 298

Bibliography 301
Index 303

viii CONTENTS
Preface

Techniques and Materials of Music, Seventh Edi- that were gradually refined and reorganized
tion, is intended to be used as a text for the first two until they coalesced into their current form. It
years of college theory courses, not including ear embodies our belief that directness and leanness
training and sight-singing. The subject matter of approach are desirable, as well as a firm con-
includes a study of the rudiments of musical mate- viction that the focus of any music course should
rials; the harmonic, melodic, rhythmic, and basic be on the music itself. Toward this end, the book
formal procedures of the common practice period; is intended to be used with a well-organized
and an introduction to the compositional tech- anthology of graduated musical examples, such
niques developed during the twentieth century. as our Music for Analysis, Sixth Edition (New
Entering students without strong backgrounds York: Oxford, 2006), whose content and organiza-
might need to take a preliminary course in rudi- tion exactly parallel this text. This allows the
ments, or, at minimum, spend the first month or student to see the larger context in which the
so using a separate fundamentals workbook. material under study occurs and to see it used in
This book fills a need that standard theory a variety of styles and textures.
textbooks do not satisfy. Many texts present their The material is organized in outline form. In
material in an elaborate prose format that locks each unit, a general procedure is followed: the
the teacher into the author’s method of presenta- material is described as clearly and concisely as
tion down to the smallest details. This allows for possible, and skeletal examples of the procedures
very little creativity and flexibility in the class- under consideration, in both keyboard and choral
room. It often results in the unimaginative and voicings, are interwoven with the explanatory
educationally unproductive procedure of reading material. The teacher and the students are con-
the text in class together with the students, under- tinually urged to refer to Music for Analysis or
lining or outlining the text to distill its essentials, other anthologies for musical examples that
or ignoring the text as peripheral to the course. employ the techniques under discussion. This is
Many theory teachers who know their material essential to the approach of this book.
well use no text at all because of these drawbacks. The text contains several types of exercises.
Techniques and Materials of Music is a com- There are melodies and figured and unfigured
plete common practice theory text that also cov- basses for harmonization. In this edition, simple
ers contemporary materials. It presents its two- and three-note basses and simple figured
subject matter in concise outline form, enabling basses have now been added to Units 3 through
the teacher to flesh out the course in a personal 8 in Part II. Every effort has been made to
manner. It allows for flexibility and creativity on ensure that all exercises are as musical as pos-
the part of the teacher, which leads to more sible and that the cumulative level of these
direct communication and interaction between exercises reflects and is relevant to the level of
student and teacher. Students are presented with the students’ development. Further, there are
what they need to know in an accessible format. exercises of a more creative, compositional
This text grew out of our classroom experi- nature, such as completing exercises in a given
ences at the University of Houston and the institu- texture or composing small forms, and exer-
tions with which we were previously connected. cises dealing with instrumental textures, both
The result of extensive classroom testing, it keyboard and chamber combinations (intended
originated as a series of mimeographed handouts to be performed in class by the students).

ix
 An essential feature of the book is Part V, which general use in the United States today. Where
presents summaries of several important topics. more than one term is commonly in use, the
Most of this material is developed in a gradual alternate term is also given. Relevance to actual
fashion throughout the text as appropriate to each musical practice has been our primary con-
of the units. Here, however, the students can find cern. That is why we require the use of an
in one place a summary of such topics as dou- anthology: the student should have in hand a
bling, voice leading, chord-choice criteria, and so maximum amount of music literature from
forth. Throughout the text, the student is directed which to learn.
to Part V for such topics as textures, motive and We wish to thank the following persons,
sequence, contrapuntal techniques, and analytical whose comments helped us in planning the
procedures, to name only a few. Seventh Edition of Techniques and Materials of
Part V also contains a complete and concise Music : Matthew Hafar, Winston-Salem State
discussion of form at all levels: phrase and period, University; Charles Leinberger, University of
small forms such as binary and ternary, contra- Texas at El Paso; Ronald Rudkin, North
puntal forms, variations, and large forms such as Carolina School of the Arts, Tom Tallman,
sonata-allegro and rondo. Students are referred to College of DuPage.
the discussion of form at the appropriate point in
the presentation of the harmonic materials. T.B.
The approach is eclectic rather than idio- M.H.
syncratic. The terminology is standard: that in R.N.

x PREFACE
Suggestions to the Instructor

The following comments reflect the way in well as avoid overdependence on the four-voice
which we have used this book and are intended chorale style.
only to be general guidelines.
2. Reference materials
1. Analysis
Continual use of the reference section (Part V)
Many examples from the literature, with as broad for summaries and detailed explanations is
a stylistic scope as possible, must be used in pre- urged. Most of the topics covered in it are
senting the material of each unit; all examples broadly applicable throughout the text. Of par-
must be played in class. For this reason we rec- ticular interest are the units dealing with form
ommend the adoption of a supplementary music (Units 13, 14, and 20)
anthology. Our Music for Analysis contains
excerpts and complete pieces from the common
3. Written work
practice period and the twentieth century and is
organized for use with this book. Several other Statements regarding doubling and voice leading
suitable anthologies are listed in the Bibliography. within Parts II and III apply to strict four-part
The instructor should go beyond mere har- writing. Obviously the musical examples will
monic analysis in discussion. Constant reference exhibit a wider variety of procedures as a result of
should be made in analysis and in criticism of the textures and idioms employed. There are more
student writing to such important matters as exercises in each unit than most instructors will
motivic unity, melodic construction, counter- find practical to use. These exercises range from
point, cadence and phrase structure, harmonic basic part-writing work to exercises in various
rhythm, and any special features of a given work. textures and styles. It is hoped that the instructor
For a more complete listing of elements, see the will make use of a wide spectrum of exercises.
Checklist for Analysis, Part V, Unit 21. In the creative writing exercises the instruc-
Stylistic and historical aspects of the music tor should make use of the various instruments
are in a sense incidental in analysis, but they and voices available in class. He or she should
may be considered to give an extra dimension to discuss all instruments to be used and refer to
the discussion. Problems of performance as they the information on instrument ranges found in
are clarified by analysis often interest students. Part V, Unit 23.
In class discussion the instructor should All student writing in which there is any
emphasize the organic nature of music—that is, degree of creativity should be played in class
the interactions of line, rhythm, harmony, and and discussed. Musicality, as well as technical
so on. It may be pedagogically useful to treat all competence, should be emphasized.
elements separately at first, but the unifying A complete collection of supplementary exer-
aspects should be brought out as early as possi- cises can be found in an e-Workbook at the
ble. Complete short works should be studied premium web site for Techniques and Materials
periodically to show large-scale applications of of Music, 7th edition. Go to www.thomsonedu
various materials and techniques. .com/login and use the pass code provided
For analysis the instructor should choose with your book to access this resource. If stu-
music that exhibits a wide variety of textures, dents are using used copies of the book, they
instrumental idioms, and harmonic rhythms, as can purchase access to the e-Workbook at

xi
www.thomsonedu.com/music. This e-Workbook Materials of Music. The instructor should stress
in PDF format provides more than 200 pages of the importance of listening to both written
exercises to complement this textbook. Included and analytical assignments before students hand
are preliminary exercises, melodies for harmo- them in.
nization, figured and unfigured basses, and
compositional exercises that explore a wide vari-
ety of textures and styles. This comprehensive
6. Improvisation
collection of graded exercises covers the full Three types of exercises in this book lend them-
range of tonal harmony and post-tonal tech- selves to classroom improvisation: melodies for
niques introduced in the textbook. harmonization, figured-bass exercises, and
phrase-chord formats. These may be done with
4. Keyboard applications piano alone, piano plus instruments, or groups of
instruments without piano.
Keyboard application of all basic material in
this text is strongly recommended. Any of the
available keyboard harmony textbooks may 7. Rudiments of music
be used.
Part I is intended as a review of musical fundamen-
tals. When dealing with a class whose background
5. Sight-singing and ear training in rudiments is not strong the instructor may wish
to use a fundamentals text. Many of these texts now
It is assumed that sight-singing is an integral part come with CDs containing computer exercises that
of the theory program. We suggest doing as much allow the students to drill on their own.
part-singing as possible. Several good collections
of music for singing, such as the authors’ Music
8. Analytical symbols
for Sight-Singing, Fourth Edition (Belmont:
Schirmer/Thomson, 2005), are available. The analytical system used throughout employs
Both sight-singing and ear-training work roman numerals to indicate chord function and
should be coordinated with the theory course. quality, together with traditional figured-bass
Instructors may wish to use Music for Ear symbols that show inversion, precise interval
Training: CD-ROM and Workbook, Second Edition structure, and chromatic alterations. The
(Belmont: Schirmer/Thomson Learning, 2005). instructor may of course use any modification of
This book is also coordinated with Techniques and this system desired.

xii SUGGESTIONS TO THE INSTRUCTOR

 Part I
Rudiments
This page intentionally left blank
1 The Great Staff and Piano Keyboard

3
2 Accidentals

I. An accidental is a sign at the left of a musical note that indicates a change in the note’s pitch.

A. A sharp raises the pitch of a note one half step above its natural pitch.

 one half step higher than

B. A double sharp raises the pitch of a note two half steps above its natural pitch.

 two half steps higher than

C. A flat lowers the pitch of a note one half step below its natural pitch.

 one half step below

D. A double flat lowers the pitch of a note two half steps below its natural pitch.

 two half steps below

E. A natural cancels an accidental previously in effect.

*This pitch is G natural.

*This pitch is F natural.

4
II. To restore a double sharped or a double flatted note to its original pitch, a single accidental is sufficient.

*This note is C sharp.

*This note is D flat.

III. Accidentals are often carelessly written, even in some printed music. The following observations on the
proper use of accidentals in tonal music should be carefully noted.

A. Accidentals do not carry into other octaves in the same measure; one should specify the
desired accidental.

B. Though a bar-line technically cancels an accidental from the preceding measure, one should
specify the desired accidental in the new measure, in parentheses.

C. If there is an accidental early in a measure, it is wise to restate it parenthetically later in the

same measure.

IV. Pitches that sound the same but are spelled differently are called enharmonic.

ACCIDENTALS 5
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