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The Musician S Guide To Theory and Analysis Workbook Third Edition The Musician S Guide Series Jane Piper Clendinning Available Instanly

The Musician's Guide to Theory and Analysis Workbook, Third Edition, by Jane Piper Clendinning, is a comprehensive resource designed to enhance students' understanding of music theory through hands-on assignments. It includes a variety of exercises covering elements of music, diatonic harmony, chromatic harmony, and modern music analysis, with a focus on engagement and practical application. The workbook is accompanied by innovative online resources to support learning and assessment.

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0% found this document useful (0 votes)
536 views165 pages

The Musician S Guide To Theory and Analysis Workbook Third Edition The Musician S Guide Series Jane Piper Clendinning Available Instanly

The Musician's Guide to Theory and Analysis Workbook, Third Edition, by Jane Piper Clendinning, is a comprehensive resource designed to enhance students' understanding of music theory through hands-on assignments. It includes a variety of exercises covering elements of music, diatonic harmony, chromatic harmony, and modern music analysis, with a focus on engagement and practical application. The workbook is accompanied by innovative online resources to support learning and assessment.

Uploaded by

toriumishe2579
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© © All Rights Reserved
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CH00_MGTA3_SWB_FM_26462  page A 3 February 2016   12:40 PM   Fifth Pages
CH00_MGTA3_SWB_FM_26462  page B 3 February 2016   12:40 PM   Fifth Pages
WOR K B O OK F OR

The Musician’s Guide to


Theory and Analysis
THIRD EDITION

CH00_MGTA3_SWB_FM_26462  page i 3 February 2016   12:40 PM   Fifth Pages


CH00_MGTA3_SWB_FM_26462  page ii 3 February 2016   12:40 PM   Fifth Pages
WOR K B O OK F OR

The Musician’s Guide to


Theory and Analysis
THIRD EDITION

Jane Piper Clendinning


Florida State University College of Music

Elizabeth West Marvin


Eastman School of Music

W. W. N O R T O N & C O M PA N Y
NEW YORK • LONDON

CH00_MGTA3_SWB_FM_26462  page iii 3 February 2016   12:40 PM   Fifth Pages


W. W. Norton & Company has been independent since its founding in 1923, when William Warder
Norton and Mary D. Herter Norton first began publishing lectures delivered at the People’s
Institute, the adult education division of New York City’s Cooper Union. The Nortons soon
expanded their program beyond the Institute, publishing books by celebrated academics from
America and abroad. By mid-century, the two major pillars of Norton’s publishing program—trade
books and college texts—were firmly established. In the 1950s, the Norton family transferred control
of the company to its employees, and today—with a staff of four hundred and a comparable number
of trade, college, and professional titles published each year—W. W. Norton & Company stands as
the largest and oldest publishing house owned wholly by its employees.

Copyright © 2016, 2011, 2005 by W. W. Norton & Company, Inc.

All rights reserved

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

ISBN 978-0-393-26462-3 (pbk.)

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

CH00_MGTA3_SWB_FM_26462  page iv 3 February 2016   12:40 PM   Fifth Pages


Contents

Preface vii

Part I Elements of Music


1. Pitch and Pitch Class 3
2. Simple Meters 13
3. Pitch Collections, Scales, and Major Keys 25
4. Compound Meters 35
5. Minor Keys and the Diatonic Modes 47
6. Intervals 59
7. Triads 71
8. Seventh Chords 81
9. Connecting Intervals in Note-to-Note Counterpoint 93
10. Melodic and Rhythmic Embellishment in Two-Voice Composition 107

Part II Diatonic Harmony and Tonicization


11. From Species to Chorale Style: Soprano and Bass Lines 129
12. The Basic Phrase in SATB Style 141
13. Dominant Sevenths, the Predominant Area, and Chorale Harmonization 153
14. Expanding the Basic Phrase 165
15. New Cadence Types and Diatonic Root Progressions 177
16.
17.
Embellishing Tones 187
ø
Voice-Leading Chords: viiL6, viiL7, vii 7, and Others 199
18. Phrase Structure and Motivic Analysis 209
19. Diatonic Sequences 221
20. Secondary Dominant and Leading-Tone Chords to V 233
21. Tonicizing Scale Degrees Other Than V 243

Part III Chromatic Harmony and Form


22. Modulation to Closely Related Keys 257
23. Binary and Ternary Forms 269
24. Invention, Fugue, and Baroque Counterpoint 281
25. Variation 293
26. Modal Mixture 311
27. The Neapolitan Sixth and Augmented-Sixth Chords 321
28. Vocal Forms 335
29. Popular Music 347

CH00_MGTA3_SWB_FM_26462  page v 3 February 2016   12:40 PM   Fifth Pages


vi Contents

30. Chromatic Harmony and Voice-Leading 359


31. Chromatic Modulation 371
32. Sonata, Sonatina, and Concerto 385
33. Rondo, Sonata-Rondo, and Large Ternary 401

Part IV The Twentieth Century and Beyond


34. Modes, Scales, and Sets 421
35. Rhythm, Meter, and Form in Music after 1900 433
36. Music Analysis with Sets 447
37. Sets and Set Classes 461
38. Ordered Segments and Serialism 477
39. Rhythm, Meter, and Form after 1945 505
40. Recent Trends 523

Credits 535
Index of Music Examples 539

CH00_MGTA3_SWB_FM_26462  page vi 3 February 2016   12:40 PM   Fifth Pages


Preface

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

CH00_MGTA3_SWB_FM_26462  page vii 3 February 2016   12:40 PM   Fifth Pages


viii Preface

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.

Jane Piper Clendinning


Elizabeth West Marvin

CH00_MGTA3_SWB_FM_26462  page viii 3 February 2016   12:40 PM   Fifth Pages


WOR K B O OK F OR

The Musician’s Guide to


Theory and Analysis
THIRD EDITION

CH00_MGTA3_SWB_FM_26462  page ix 3 February 2016   12:40 PM   Fifth Pages


CH00_MGTA3_SWB_FM_26462  page x 3 February 2016   12:40 PM   Fifth Pages
PART
I

Elements of Music

CH01_MGTA3_SWB_26462_001_012  page 1 30 December 2015   7:19 PM   Third Pages


CH01_MGTA3_SWB_26462_001_012  page 2 30 December 2015   7:19 PM   Third Pages
1 Pitch and Pitch Class

NAME ___________________________________________________

Assignment 1.1 This assignment covers elementary fundamentals and may be skipped.

I. Identifying letter names from the keyboard


A. Count letter names above the pitches labeled on the keyboard (e.g., 3 above C). Be sure to count the
given note (C–D–E). Write the letter name of the new pitch (E) on the appropriate key and in the blank
provided.

C E A C D F G D E F G B

(1) (2) (3) (4) (5) (6)

(1) 3 above C E (2) 4 above A D (3) 4 below F C

(4) 6 above G E (5) 3 above D F (6) 3 below B G

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

(1) E or D (2) E (3) G or A (4) D (5) F or G (6) G

(7) B (8) C or D (9) E (10) F (11) A or G (12) B or A

CH01_MGTA3_SWB_26462_001_012  page 3 30 December 2015   7:19 PM   Third Pages


II. Identifying whole and half steps at the keyboard
Locate each pair of pitches on the keyboard below in any octave. Write their names on a white key or above
a black key. Then, in the blank provided, write W (whole step), H (half step), or N (neither).

(a) A #–B H (b) F–E H (c) G b –A N

(d) B b –C W (e) G #–G n H (f ) D b –C b W

(g) F #–G # W (h) E–F b N (i) G b –G n H

G A F G B D G

E/
G B E F C C F G A

(j) B–C H (k) G–A # N (l) C #–D # W

(m) E b –E n H (n) A–B W (o) A b –G b W

(p) B b –C # N (q) E b –F W (r) A b –A n H

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.

III. Enharmonic pitches


Circle any pair of pitches that are not enharmonic.

(a) F #–G b (b) B ‹ –C (c) A #–B b (d) C b –B (e) G bb –F (f ) D–E bb

(g) E #–F b (h) A bb –G (i) D ‹–E (j) C ‹–D (k) B b –C bb (l) A ‹–B b

4 Part I Elements of Music

CH01_MGTA3_SWB_26462_001_012  page 4 30 December 2015   7:19 PM   Third Pages


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