The Musician S Guide To Theory and Analysis Workbook Third Edition The Musician S Guide Series Jane Piper Clendinning Available Instanly
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WOR K B O OK F OR
W. W. N O R T O N & C O M PA N Y
NEW YORK • LONDON
Third Edition
Manufacturing by Quad–Taunton
Associate project editor: Michael Fauver
Production manager: Jane Searle
Book design: Rubina Yeh
Composition, layout, and music setting: David Botwinik
Copyeditor: Jodi Beder
Proofreader: Debra Nichols
W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110
www.wwnorton.com
W. W. Norton & Company, Ltd., Castle House, 75/76 Wells Street, London WIT3QT
1 2 3 4 5 6 7 8 9 0
Preface vii
Credits 535
Index of Music Examples 539
T
he study of music theory is not a spectator sport. To learn musical elements
and how to analyze them requires action—personal engagement with com-
positions. This workbook is designed to accompany The Musician’s Guide
to Theory and Analysis, providing hands-on, minds-engaged assignments
for students to complete outside of class or for use in class, as the teacher chooses.
Assignments are arranged in chapter order, so that you will have enough information
to complete the first homework assignment on a given topic even if you have only cov-
ered the first part of that chapter. Assignments include fundamental skills such as chord
spelling, style composition—from melody writing to figured bass to composing music in
complete small forms—and music analysis. Many chapters ask for short, prose responses
to questions about the music you are studying. By practicing each new skill from a variety
of perspectives, you will have a better and more well-rounded understanding.
Our text’s approach to learning music theory is a “spiral” one, in which we revisit the
anthology’s core repertoire from chapter to chapter as new concepts are introduced; the
workbook continues the spirals established in the text, revisiting anthology scores in a
series of analytical explorations, as well as introducing additional compositions. We hope
that by examining aspects of these works as you learn analytical methods, you will even-
tually be able to hear anthology pieces in your head—as you do familiar songs—and also
understand why the pieces sound the way they do.
In this third edition, we have incorporated the ideas of helpful reviewers, colleagues,
and students, while retaining the musicality and richness of content of the first two edi-
tions. New for this edition is Know It? Show It!, an innovative online pedagogy that helps
students develop music theory fluency:
œœ First, students watch video tutorials that explain key concepts through animated
graphics showing how to approach each task.
œœ Then, formative quizzes—powered by Norton InQuizitive—help students develop
the skills they’ll need to complete assignments. InQuizitive asks students ques-
tions—many featuring musical notation—until they demonstrate mastery, while
robust feedback to incorrect responses points students back to the textbook and
tutorials for review.
œœ Finally, students are ready to complete assignments in either the printed or online
workbook. With the online workbook, students can easily hear the results of their
work, and teachers can grade and return assignments electronically.
These new resources are all designed to be easily employed in any theory class and to help
students succeed.
vii
Our Thanks to . . .
A work of this size and scope is helped along the way by many people. We are especially
grateful for the support of our families—Elizabeth A. Clendinning, Rachel Armstrong,
and Bill Iliff; and Glenn, Russell, and Caroline West. Our work together as coauthors has
been incredibly rewarding, and we are thankful for that collaboration and friendship. We
also thank Joel Phillips (Westminster Choir College) for his many important contribu-
tions—pedagogical, musical, and personal—to our project, and especially for the coordi-
nated aural skills component of this package, The Musician’s Guide to Aural Skills with
Paul Murphy (Muhlenberg College), who has become a key member of our team. While
working on the project, we have received encouragement and useful ideas from our stu-
dents at Florida State University and the Eastman School of Music, as well as from music
theory teachers across the country. We thank these teachers for their willingness to share
their years of experience with us.
We are indebted to the W. W. Norton staff for their commitment to The Musician’s
Guide series and their painstaking care in producing these volumes. Most notable among
these are Justin Hoffman, who steered the entire effort with a steady hand and enthusi-
astic support; Susan Gaustad, whose knowledge of music and detailed, thoughtful ques-
tions made her a joy to work with; and Maribeth Payne, whose vision helped launch the
series. Michael Fauver project edited the workbook, Jodi Beder copyedited the manu-
script and checked the assignments, and Debra Nichols proofread it. David Botwinik set
the text and Workbook, and Andy Ensor and Jane Searle oversaw the production of this
multifaceted project through to completion. We are grateful for Norton’s forward-think-
ing technology editor Steve Hoge, who coordinated the development of the online work-
book, with the assistance of Stephanie Eads, Courtney Hirschey, and Meg Wilhoite. Our
sincere gratitude to one and all.
Elements of Music
NAME ___________________________________________________
Assignment 1.1 This assignment covers elementary fundamentals and may be skipped.
C E A C D F G D E F G B
B. Write the letter name for each numbered white or black key in the blank. Choose either enharmonic
name for black keys.
1 3 5 8 11 12
2 4 6 7 9 10
G A F G B D G
E/
G B E F C C F G A
B /A
E D /E
C G A
B C E G A B F A
For speed and simplicity, instructors may simply grade the answers students write in the blanks and
use the markings on the keyboard to troubleshoot incorrect answers.
(g) E #–F b (h) A bb –G (i) D ‹–E (j) C ‹–D (k) B b –C bb (l) A ‹–B b
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