VI. Jazz
80
Bryn Hughes and Megan Lavengood
Key Takeaways
- Blues harmony differs from tonal and jazz harmony in a number of important ways, especially in the treatment of the dominant seventh chord.
- In a standard 12-bar blues, all chords are dominant seventh chords.
- The blues is a schema that can have many alterations without ceasing to qualify as “a blues.”
- Common variations on the 12-bar blues are the 16-bar blues, the minor blues, and the jazz blues.
- The jazz blues blends jazz and blues harmonic languages together.
The blues is an extraordinarily important genre in U.S. popular music. Not only is the tradition itself very old, with roots reaching back to the music of enslaved African Americans, but it continues to exert influence on 21st-century popular music.
The documentation on the history of the blues is quite limited due to its age, but the earliest blues songs existed in the late 1800s, and it seems to have grown out from earlier African American musical styles, such as field hollers and work songs, as well as microtonal and rhythmic characteristics of West African music. In this sense, although jazz musicians very frequently play the blues, the blues as a tradition has distinct origins from jazz. Jazz developed first in New Orleans through a mix of African, Caribbean, and European influences. The result of this distinction is that many of the truisms of jazz or tonal music do not hold true in the blues. Among the biggest harmonic differences are:
- Dominant-quality seventh chords can have any function (tonic, dominant, or subdominant).
- Plagal cadences provide structural closure, instead of authentic cadences.
- Major and minor thirds are freely mixed together, and even used simultaneously (sometimes written in chord symbols as a major/dominant chord with a ♯9 extension).
This chapter introduces some of the most common forms of the blues encountered in the 20th and 21st centuries.
12-Bar Blues
The blues is a schema: a frame of reference for understanding lots of different chord progressions. Blues progressions can all be understood as outgrowths from a basic prototype.
The 12-bar blues progression is composed of three phrases, typically four bars each. A major difference between the blues and more traditionally tonal music is that it emphasizes plagal cadences instead of authentic cadences. At its most basic, the harmony progresses as shown in :
- The first phrase is entirely tonic harmony (I).
- The second phrase contains two bars of subdominant (IV) and two bars of tonic (I).
- The final phrase begins with one bar of dominant (V) followed by one bar of subdominant (IV) and two bars of tonic (I).
- All chords are dominant seventh chords and do not fit into a single key.
https://musescore.com/user/32728834/scores/6595108/embed
This is the simplest version of the 12-bar blues, but innumerable variations exist upon these changes. One of the most common additions is that the second bar may move to IV, then return to I in the third bar. Another especially common trick is to employ some type of turnaround in the final bar or two of the progression, from something as simple as a V7 chord to a full III–VI–II–V progression. It can be difficult to find a blues tune that doesn’t make some alteration from the basic form shown in . “You Can’t Do That” by the Beatles (1964) is nearly the same, but it does add a V chord in the final bar as a turnaround.
Closely related is the 16-bar blues progression, which is composed of four 4-bar phrases, usually two iterations of tonic followed by subdominant and dominant ( ). “Hoochie Coochie Man” by Muddy Waters (1954) is one example of a 16-bar blues. Notice that the final phrase may or may not end with a turnaround. The 16-bar blues is not as common as the 12-bar blues, but it has somewhat heightened frequency in blues-based rock music.
Most commonly, the blues is in “major” (which, in this context, simply means that the tonic harmony has a major third above it—many pitches in a major blues fall outside the major scale). But another common variation on the blues is a minor blues. In a minor blues, the i and iv chords are minor sevenths instead of dominant sevenths; the V stays dominant. Because the motion from the major V to the minor iv can sound anticlimactic, the minor blues also typically replaces the V–IV–I motion in the third phrase with a ii–V–I ( ).
https://musescore.com/user/32728834/scores/6610362/embed
Jazz Blues
As mentioned in the introduction to this chapter, the blues treats harmony differently from jazz, and one of the large differences is the reliance upon plagal rather than authentic cadences. The jazz blues is a variant of the 12-bar blues that mitigates this somewhat by adding several ii–V progressions to the blues.
Like the 12-bar blues, the jazz blues is composed of three 4-bar phrases. A basic version of the jazz blues is presented in
.Notice that the jazz blues mixes typical blues harmony (i.e., the use of non-V dominant seventh chords and plagal resolutions) with jazz harmonic schemas: specifically, it uses ii–Vs and turnarounds. In bar 8, instead of remaining on tonic, there is an applied ii–V that leads to the ii chord in bar 9. And in the third phrase, the V–IV–I of the standard blues is replaced with a ii–V–I more common to jazz.
https://musescore.com/user/32728834/scores/6595125/embed
One recording that performs the blues this way is the Lincoln Center Jazz Orchestra performing Duke Ellington’s “C Jam Blues.” This is easiest to hear during the solo sections; however, not every repetition of this blues contains every chord shown in .
Examples of Variations
The blues can be varied extensively yet still qualify as the blues. This chapter’s Spotify playlist goes through several tracks that have some slight variations on the schemas outlined above:
- “Runaway Blues” by Ma Rainey (1928) uses a IV in the first tonic phrase, and it also embellishes the final V with an applied V/V.
- “Empty Bed Blues, Pt. 1” by Bessie Smith (1928) follows a basic 12-bar blues but precedes most new harmonies with a tonicizing ii–V progression.
- “Surfin’ USA” by the Beach Boys (1963) presents a 16-bar blues, but the first two phrases each begin with two bars of V before two bars of I.
- “The Thrill is Gone” as recorded by B.B. King (1970) is in minor, and it replaces the ii–V of the final phrase with ♭VI–V.
Musicians who have developed a familiarity with the blues will have no trouble recognizing the blues in a tune even with these variations and more.
- Worksheet on 12-bar blues (.pdf, .mscz). Asks students to write basic and jazz 12-bar blues progressions, voiced and unvoiced, and to analyze altered blues progressions. Worksheet playlist
- Worksheet on 12-bar blues, no jazz (.pdf, .mscz). Same as Assignment 1, but simplified: aks students to write basic 12-bar blues progressions, voiced and unvoiced, and to identify unusual chords in altered blues progressions. Worksheet playlist
A seventh chord in which the triad quality is major and the seventh quality is minor.
A prototypical chord progression or formal structure.
A variation on the 12-bar blues progression. Typically composed of four four-bar phrases, usually two iterations of tonic, followed by subdominant and dominant. The final phrase may or may not end with a turnaround.
[["Book order","Part","Chapter","Assignments"],["1","I. Fundamentals","Introduction to Western Musical Notation","
\n"],["2","I. Fundamentals","Notation of Notes, Clefs, and Ledger Lines","
\n"],["3","I. Fundamentals","Reading Clefs","
- \n
- Writing and Identifying Notes Assignment #1 (.pdf, .mscx)
- Writing and Identifying Notes Assignment #2 (.pdf, .mscx)
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\n"],["4","I. Fundamentals","The Keyboard and the Grand Staff","
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- White Keys on the Piano and the Grand Staff (.pdf, .docx)
- The Piano Keyboard and the Grand Staff with Ledger Lines (.pdf, .docx)
- Generic Intervals (.pdf, .docx)
- Grand Staff Note Names with Ledger Lines (.pdf, .docx)
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\n"],["5","I. Fundamentals","Half Steps, Whole Steps, and Accidentals","
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- Black Keys on the Piano (.pdf, .docx)
- Half and Whole Steps on the Piano Keyboard (.pdf, .docx)
- Writing Accidentals (.pdf, .docx)
- Writing and Identifying Accidentals (.pdf, .docx)
- Half and Whole Steps in Staff Notation (.pdf, .docx)
- Enharmonic Equivalence (.pdf, .docx)
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\n"],["6","I. Fundamentals","American Standard Pitch Notation (ASPN)","
\n"],["7","I. Fundamentals","Other Aspects of Notation","
\n"],["8","I. Fundamentals","Notating Rhythm","
\n"],["9","I. Fundamentals","Simple Meter and Time Signatures","
\n"],["10","I. Fundamentals","Compound Meter and Time Signatures","
\n"],["11","I. Fundamentals","Other Rhythmic Essentials","
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- Triplets and Duplets, Hypermeter, Syncopation (.pdf, .docx) Worksheet playlist
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\n
\n"],["12","I. Fundamentals","Major Scales, Scale Degrees, and Key Signatures","
\n"],["13","I. Fundamentals","Minor Scales, Scale Degrees, and Key Signatures","
\n"],["14","I. Fundamentals","Introduction to Diatonic Modes and the Chromatic \u201cScale\u201d","
- \n
- Writing Modes Assignment #1 (.pdf,\u00a0.mscx)
- Writing Modes Assignment #2 (.pdf,\u00a0.mscx)
- Writing Chromatic \u201cScales\u201d Assignment #1 (.pdf,\u00a0.mscx)
- Writing Chromatic \u201cScales\u201d Assignment #2 (.pdf,\u00a0.mscx)
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\n"],["15","I. Fundamentals","Intervals","
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- Writing and Identifying Intervals Assignment #1 (.pdf, .mcsz)
- Writing and Identifying Intervals Assignment #2 (.pdf, .mcsz)
- Writing and Identifying Intervals Assignment #3 (.pdf, .mcsz)
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\n"],["16","I. Fundamentals","Triads","
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- Triads Assignment #1 (.pdf, .mcsz)
- Triads Assignment #2 (.pdf, .mcsz)
- Triads Assignment #3 (.pdf, .mcsz)
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\n"],["17","I. Fundamentals","Seventh Chords","
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- Seventh Chords Assignment #1 (.pdf, .mcsz)
- Seventh Chords Assignment #2 (.pdf, .mcsz)
- Seventh Chords Assignment #3 (.pdf, .mcsz)
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\n"],["18","I. Fundamentals","Inversion and Figured Bass","
\n"],["19","I. Fundamentals","Roman Numerals and SATB Chord Construction",""],["20","I. Fundamentals","Texture","
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- Identifying Textures (.pdf, .docx) Worksheet playlist
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\n"],["21","II. Counterpoint and Galant Schemas","Introduction to Species Counterpoint","
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- Cantus firmus A (.pdf, .mscx). Asks students to critique one cantus firmus and write their own.
- Cantus firmus B (.pdf, .mscx). Asks students to critique one cantus firmus and write their own.
- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum chapter.
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\n"],["22","II. Counterpoint and Galant Schemas","First-Species Counterpoint","
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- First-Species Counterpoint A (.pdf, .mscx). Asks students to compose a first-species example and do error detection.
- First-Species Counterpoint B (.pdf, .mscx). Asks students to compose a first-species example and do error detection.
- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum\u00a0chapter.
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\n"],["23","II. Counterpoint and Galant Schemas","Second-Species Counterpoint","
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- Second-Species Counterpoint A (.pdf, .mscx). Asks students to compose a second-species example and do error detection.
- Second-Species Counterpoint B (.pdf, .mscx). Asks students to compose a second-species example and do error detection.
- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum chapter.
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\n"],["24","II. Counterpoint and Galant Schemas","Third-Species Counterpoint","
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- Third-Species Counterpoint A (.pdf, .mscx). Asks students to compose a third-species example and do error detection.
- Third-Species Counterpoint B (.pdf, .mscx). Asks students to compose a third-species example and do error detection.
- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum chapter.
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\n"],["25","II. Counterpoint and Galant Schemas","Fourth-Species Counterpoint","
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- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum\u00a0chapter.
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\n"],["26","II. Counterpoint and Galant Schemas","Fifth-Species Counterpoint","
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- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum\u00a0chapter.
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\n"],["27","II. Counterpoint and Galant Schemas","Gradus ad Parnassum Exercises",""],["28","II. Counterpoint and Galant Schemas","16th-Century Contrapuntal Style","
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- Imitative writing in the 16th-century contrapuntal style. These exercises provide at least one complete part for reference, and one part with missing passages to complete in a suitable style. Original note values are used, with modern time signatures for those values ([latex]\\mathbf{^4_2}[/latex]), some editorial accidentals (), and only G and F clefs.\n
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- Lassus: Benedictus from the\u00a0Missa Venatorum. 2 voices. .mscz, .pdf
- Lassus: Bicinum IV. 2 voices. .mscz, .pdf
- Palestrina: Benedictus from the Missa Brevis.\u00a03 voices. .mscz, .pdf
- Palestrina: Surge Propera a 4 (excerpt).\u00a04 voices. .mscz, .pdf
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\n"],["29","II. Counterpoint and Galant Schemas","High Baroque Fugal Exposition","
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- In the Bach C minor fugue shown above, the answer is \u201ctonal.\u201d Given what has been said about tonal answers in this chapter, try explaining\u00a0how the subject and answer differ, and why.
- Pick another fugue, identify how many \u201cvoices\u201d there are, and locate each voice\u2019s entry and the end of the exposition.
- Try writing your own answers and countersubjects. The template file below provides the subjects for all 48 fugues in both books of the Well-Tempered Clavier. An empty second staff is provided for your practice. (Note that the last note in many of the fugue subjects\u00a0is given without a stem to indicate the pitch\u00a0without specifying the duration rhythm.) If you know some of these fugues well, you may want to work on ones you\u2019re less familiar with.
- Once you are feeling confident with writing answers and countersubjects, try writing up a full exposition. Again, you may wish to work on fugues\u00a0you\u2019re less familiar with.
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- A simple, predominantly diatonic harmonization of the ground, with simple block chords, making sure to follow good voice-leading practice. Use this as a prototype.
- A set of alternative harmonizations including tonicizations of other keys and re-harmonizations of the first note in particular to vary the apparent phrase length (as discussed above in reference to the \u201ccheat sheet\u201d).
- Melodic parts that fit with the bass and create more interesting textures. Seek out ways of writing upper parts that can recur in another voice in imitation (and refer back to the Purcell analysis above for ideas!).
- Finally, combine the best of your ideas into an overall piece that balances textural and harmonic interest and charts an overall trajectory. Why not try a piece with six iterations of the ground, of which the first and last are simple and alike?
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\n"],["31","II. Counterpoint and Galant Schemas","Galant Schemas \u2013 Summary",""],["32","II. Counterpoint and Galant Schemas","Galant schemas \u2013 The Rule of the Octave and Harmonizing the Scale with Sequences","
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- Begin by playing through these examples from the files provided, preferably in a range of different keys. (Note: As mentioned above, you can transpose scores in MuseScore with the Notes menu: Notes/Transpose).
- See if you can memorize the patterns. Test yourself by:\n
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- writing them out on paper (start with a blank scale)
- playing them from memory
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- Both with the music and (when you\u2019re ready) from memory, try embellishing these basic patterns.
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\n"],["33","II. Counterpoint and Galant Schemas","Galant Schemas","
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- Playing: Begin by playing through these examples from the files provided, preferably in a range of different keys. (Note: you can transpose scores in MuseScore with the Notes menu: Notes/Transpose).
- Memorization: See if you can memorize some of these patterns. Test yourself by:\n
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- writing them out on paper (start with a blank scale)
- playing them from memory
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- Embellishment: Schemas help to structure music, but they are not really musical pieces in themselves: it takes a lot of fleshing out to get from these skeletons to real music. That being the case, try improvising embellishments of these basic patterns. Start with simple turns, passing notes and the like, then move on to more ambitious changes.
- Full pieces: When you\u2019re confident with individual cases, try piecing them together, according to their usual position and ordering. Start by using templates like these:\n
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\n"],["34","III. Form","Foundational Concepts for Phrase-Level Forms","
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- Coming soon!
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\n"],["35","III. Form","The Phrase, Archetypes, and Unique Forms","
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- Analyzing sentences (.pdf, .docx). Asks students to compare excerpts to the archetypal sentence, provide form diagrams, and optionally, provide harmonic analysis for any given excerpt. Worksheet playlist
- Analyzing archetypes and unique forms (.pdf, .docx). Asks students to identify excerpts that are archetypes (periods, sentences, compond periods) or unique forms, and to diagram those that are archetypes. Optionally, students can harmonically analyze the excerpts.\u00a0Worksheet playlist
- Composing melody-only sentences (.pdf, .mscx). Students compose four-measure sentences from a given basic idea (melody only).
- Composing fully realized sentences (.pdf, .mscx). Students select from a bank of basic ideas to compose an 8-measure sentence with full texture (accompaniment and melody).
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\n"],["36","III. Form","Hybrid Phrase-Level Forms","
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- Analyzing hybrid forms (.pdf, .docx). Provides excerpts and asks students to indicate which term best describes the first and second half of each. Optional harmonic analysis included.\u00a0Worksheet playlist
- Analyzing forms with multiple possibilities (.pdf, .docx). Asks students to identify preferred and plausible alternative interpretations for several excerpts. Also includes band music.\u00a0Worksheet playlist
- Composing phrase-level forms (.pdf, .docx). Asks students to compose a phrase-level form given a description. Provides a basic idea bank to give students a start.
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\n"],["37","III. Form","Expansion and Contraction at the Phrase Level","
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- Analyzing expansion techniques (.pdf, .docx). Asks students to name, segment, and label the form of excerpts and identify the location of any expansion technique(s). Optional harmonic analysis included. Worksheet playlist
- Analyzing multiple expansion techniques (.pdf, .docx). More complicated examples than in worksheet 1. Each excerpt is significantly expanded. Worksheet playlist
- Recomposing to remove expansions (.pdf, .docx). Asks students to recompose excerpts from worksheet 1 to remove the expanded portion of the archetypal form. Worksheet playlist
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\n"],["38","III. Form","Formal Sections in General",""],["39","III. Form","Binary Form","
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- Binary Form Analysis Assignment (.pdf, .docx).\n
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- Audio Example\u00a01 \u2013 Franz Schubert, \u00c9cossaise, D. 529, No. 3 (Starts at 1:07)
- Audio Example\u00a02 \u2013 Franz Joseph Haydn, Piano Sonata no. 37, III, theme
- Audio Example\u00a03 \u2013 Johann Sebastian Bach, Sarabande from Violin Partita no. 1, BWV 1002
- Audio Example\u00a04 \u2013 Franz Schubert (1797-1828), Piano Sonata in E major, D. 157, II (mm. 1\u2013 16)
- Audio Example\u00a05 \u2013 Franz Schubert (1797-1828), Symphony no. 2 in B\u266d major, D. 125, II
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- Guided Composition (.pdf, .docx, .mscx).\u00a0
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\n"],["40","III. Form","Ternary Form","
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- Bernhard Crusell \u2013 Clarinet Quartet, Op. 7, III, Menuetto (.pdf, .docx). Access score and audio.
- Josephine Lang \u2013 Traumbild, Op. 28, no. 1 (.pdf, .docx). Access score and audio.
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\n"],["41","III. Form","Sonata Form","
\n"],["42","III. Form","Rondo","
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- Joseph Bologne, String Quartet, Op. 1, no. 4, ii, Rondeau (.pdf, .docx). Access score and audio.
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\n"],["43","IV. Diatonic Harmony, Tonicization, and Modulation","Introduction to Harmony, Cadences, and Phrase Endings","
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- Introduction to harmony, cadences, and phrase endings (.pdf, .docx). Asks students to write and identify cadences using only I (or i) and V chords in major and minor.
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\n"],["44","IV. Diatonic Harmony, Tonicization, and Modulation","Strengthening Endings with V7","
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- Strengthening Endings with V7 (.pdf, .docx, spotify playlist). Asks students to write and resolve V7 chords and provide analysis of cadences in select passages.
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\n"],["45","IV. Diatonic Harmony, Tonicization, and Modulation","Strengthening Endings with Strong Predominants","
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- Strengthening Endings with Strong Predominants (.pdf, .docx). Includes part writing from Roman numerals and figures, analysis of phrase endings, and a discussion question about a number from Hamilton.
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\n"],["46","IV. Diatonic Harmony, Tonicization, and Modulation","Embellishing Tones","
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- Embellishing tones (.pdf, .docx). Asks students to write embellishing tones in a two-voice texture and label embellishing tones in an excerpt.
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\n"],["47","IV. Diatonic Harmony, Tonicization, and Modulation","Strengthening Endings with Cadential 6/4","
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- Strengthening Endings with Cadential [latex]^6_4[/latex] (.pdf, .docx, .mscz of score). Includes unfigured bass exercises and analysis.
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\n"],["48","IV. Diatonic Harmony, Tonicization, and Modulation","Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s",""],["49","IV. Diatonic Harmony, Tonicization, and Modulation","Performing Harmonic Analysis Using the Phrase Model","
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- Performing Harmonic Analysis Using the Phrase Model (.pdf, .docx). Asks students to analyze three short excerpts.
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\n"],["50","IV. Diatonic Harmony, Tonicization, and Modulation","Prolongation at Phrase Beginnings using the Leading-Tone Chord","
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- Prolongation at Phrase Beginnings using the Leading-tone Chord (.pdf, .docx). Asks students to write from Roman numerals, complete analysis, and realize figured bass.
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\n"],["51","IV. Diatonic Harmony, Tonicization, and Modulation","6/4 Chords as Forms of Prolongation","
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- [latex]^6_4[/latex] chords as forms of prolongation (.pdf, .docx). Asks students to review previous concepts, write from Roman numerals, write from figures, and analyze excerpts.
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\n"],["52","IV. Diatonic Harmony, Tonicization, and Modulation","Plagal Motion as a Form of Prolongation","
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- Plagal Motion as a Form of Prolongation (.pdf, .docx). Asks students to identify bass lines and analyze an excerpt. Download audio (.mscz).
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\n"],["53","IV. Diatonic Harmony, Tonicization, and Modulation","La (Scale Degree 6) in the Bass at Beginnings, Middles, and Endings","
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- La\u00a0[latex](\\hat6)[/latex] in the bass at beginnings, middles, and endings (.pdf, .docx). Asks students to analyze bass lines, write from figures and Roman numerals, harmonize an unfigured bass, and analyze an excerpt.
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\n"],["54","IV. Diatonic Harmony, Tonicization, and Modulation","The Mediant Harmonizing Mi (Scale Degree 3) in the Bass","
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- Mi\u00a0[latex](\\hat3)[/latex] in the bass at beginnings (.pdf, .docx).\u00a0Asks students to realize unfigured bass, analyze, and do a transcription with analysis.
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\n"],["55","IV. Diatonic Harmony, Tonicization, and Modulation","Predominant Seventh Chords","
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- Predominant Seventh Chords (.pdf, .docx). Asks students to realize figured bass and analyze.
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\n"],["56","IV. Diatonic Harmony, Tonicization, and Modulation","Tonicization","
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- Applied chords worksheet, available in three slightly different versions:\n
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- Version A (.pdf, .mscx). Asks students to identify and write applied V, V7, viio, viio7, and vii\u22057\u00a0chords with Roman numerals and figures.
- Version B\u2014without \u22057s (.pdf, .mscz). Asks students to identify and write applied V, V7, viio, and\u00a0viio7\u00a0chords with Roman numerals and figures.
- Version C\u2014jazz/pop focus (.pdf, .mscz). No \u22057s or figured bass; all chords in root position. Students identify and write chord symbols in addition to notation.
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- Tonicization Voice Leading and Score Analysis (.pdf, .docx). Asks students to write from Roman numerals and figured bass, write from a longer figured bass, and analyze a complete piece with discussion questions.
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\n"],["57","IV. Diatonic Harmony, Tonicization, and Modulation","Extended Tonicization and Modulation to Closely Related Keys","
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- Extended Tonicization and Modulation to Closely Related Keys (.pdf, .docx). Asks students to review tonicization, identify closely related keys and pivot chords, analyze, and create a modulating progression.
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\n"],["58","V. Chromaticism","Modal Mixture","
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- Modal Mixture Assignment (.pdf, .docx). Includes spelling, figured bass realization, 4-part voice-leading with Roman numerals, and analysis of musical excerpt. Access audio.
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\n"],["59","V. Chromaticism","Neapolitan 6th (\u266dII6)","
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- Neapolitan Sixths\u00a0(.pdf, .docx). Asks students to spell \u266dII6, realize figured bass, write 4-part voice-leading with Roman numerals, and analyze a musical excerpt.
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\n"],["60","V. Chromaticism","Augmented Sixth Chords","
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- Augmented Sixth Chords (.pdf, .docx.) Asks students to spell augmented sixth chords, realize figured bass, write 4-part voice-leading with Roman numerals, and analyze a musical excerpt. Audio 1 \u2013 Frederic Chopin, Audio 2 \u2013 Scott Joplin (excerpt starts at 0:56).
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\n"],["61","V. Chromaticism","Common-Tone Chords (CT\u00ba7 & CT+6)","
- \n
- Common-Tone Chords (.pdf, .docx.) Asks students to spell common tone chords, realize figured bass, complete 4-part voice leading with Roman numerals, and analyze a musical excerpt. Access audio (excerpt begins at 0:25).
\n
\n
\n"],["62","V. Chromaticism","Harmonic Elision","
- \n
- Harmonic Elision (.pdf, .docx.) Asks students to spell chords, realize figured bass, write 4-part voice leading with Roman numerals, and analyze a musical excerpt.
\n
\n
\n"],["63","V. Chromaticism","Chromatic Modulation","
- \n
- Coming soon!
\n
\n
\n"],["64","V. Chromaticism","Reinterpreting Diminished Seventh Chords","
- \n
- Coming soon!
\n
\n
\n"],["65","V. Chromaticism","Augmented Options","
- \n
- Head to the section on augmented chords in the\u00a0Harmony Anthology chapter and pick one (or more) of the repertoire examples listed in which an analyst has identified the use of an augmented chord.\n
- \n
- For that passage, make a Roman numeral analysis of the measure in question and one or two on either side (enough to establish a chord progression and some context).
- Create one such harmonic analysis including the augmented triad provided (figure and key are given in the table).
- If you disagree with that reading (as you may well do), then provide an alternative harmonic analysis without it.
\n
\n\n
\n\n
\n
\n
\n
- Do step 1 for several cases and identify any that seem similar to each other, and to the above. For instance, for the cases given as V+ in the anthology, are many of them similar to the chromatic passing motion in the Hensel above? Can you find any dramatic examples like the Bach? Do you see any other recurring practices not described in this chapter?
\n
\n\n
\n
\n"],["66","V. Chromaticism","Equal Divisions of the Octave","
- \n
- Coming soon!
\n
\n
\n"],["67","V. Chromaticism","Chromatic Sequences","
- \n
- Coming soon!
\n
\n
\n"],["68","V. Chromaticism","Parallel Chromatic Sequences","
- \n
- Coming soon!
\n
\n
\n"],["69","V. Chromaticism","The Omnibus Progression","
- \n
- Coming soon!
\n
\n
\n"],["70","V. Chromaticism","Altered and Extended Dominant Chords","
- \n
- Coming soon!
\n
\n
\n"],["71","V. Chromaticism","Neo-Riemannian Triadic Progressions","
- \n
- Worksheet on Neo-Riemannian Transformations (.pdf, .mscz). Asks students to perform , , , , , and on individual triads, to realize chains of transformations, and find a transformation chain to connect two chords.
- Composing with Neo-Riemannian Transformations (.pdf, .mscz). Asks students to use the Cube Dance and other Neo-Riemannian cycles to compose a short minimalist piano solo.
\n
\n\n
\n
\n"],["72","V. Chromaticism","Mediants","
- \n
- Harmonic analysis: analyse the first 10 measures of the Holm\u00e8s example above using whichever you prefer of Roman numeral and Functional labels.
- Identify the type (name or grade) of mediant that Holm\u00e8s keeps using.
- Do this step 1 analysis using the other terminological system (Roman numeral or Functional labels, which you disprefer and didn\u2019t use before).
\n
\n\n
\n\n
\n
\n"],["73","VI. Jazz","Swing Rhythms","
- \n
- Swing Rhythms video (.mscz; PDFs for C instruments, B\u266d instruments, E\u266d instruments, F instruments, and bass clef instruments). Asks students to make a video with a partner performing idiomatic swing rhythms. Download backing track
- Jazz Rhythms by Jamey Aebersold. Make a recording in which you perform these rhythms. Pick three rhythms that create syncopation in different ways, and explain how the beat is obscured to create syncopation (through ties? rests? etc.).
\n
\n\n
\n
\n"],["74","VI. Jazz","Chord Symbols","
- \n
- Chord symbols basics worksheet (.pdf, .mscz). Asks students to identify and write triads and seventh chords with chord symbols.
- Chord symbols with extensions (.pdf, .mscz). Asks students to identify and write extended chords with chord symbols.
\n
\n\n
\n
\n"],["75","VI. Jazz","Jazz Voicings","
- \n
- Voicing worksheet (.pdf, .mscz). Asks students to identify common voice leading patterns in a voiced jazz texture and to write voiced chord progressions with good voice leading.
\n
\n
\n"],["76","VI. Jazz","ii\u2013V\u2013I",""],["77","VI. Jazz","Embellishing Chords","
- \n
- Bebop composition. Asks students to build on knowledge of swing rhythms, ii\u2013V\u2013I, embellishing chords, and substitutions to create a composition in a bebop style.\n
- \n
- PDF: Complete instructions + template
- MSCZ: Template for lead sheet, template for voicings
- DOCX: instructions only
\n
\n\n
\n\n
\n
\n
\n
\n
\n
\n"],["78","VI. Jazz","Substitutions","
- \n
- Bebop composition. Asks students to build on knowledge of swing rhythms, ii\u2013V\u2013I, embellishing chords, and substitutions to create a composition in a bebop style.\n
- \n
- PDF: Complete instructions + template
- MSCZ: Template for lead sheet, template for voicings
- DOCX: instructions only
\n
\n\n
\n\n
\n
\n
\n
\n
\n
\n"],["79","VI. Jazz","Chord-Scale Theory","
- \n
- Coming soon!
\n
\n
\n"],["80","VI. Jazz","Blues Harmony","
- \n
- Worksheet on 12-bar blues (.pdf, .mscz). Asks students to write basic and jazz 12-bar blues progressions, voiced and unvoiced, and to analyze altered blues progressions. Worksheet playlist
- Worksheet on 12-bar blues, no jazz (.pdf, .mscz). Same as Assignment 1, but simplified: aks students to write basic 12-bar blues progressions, voiced and unvoiced, and to identify unusual chords in altered blues progressions. Worksheet playlist
\n
\n\n
\n
\n"],["81","VI. Jazz","Blues Melodies and the Blues Scale","
- \n
- Blues scales worksheet (.pdf, .mscz). Asks students to spell scales and transcribe a melody that uses the blues scale. Worksheet playlist
- Improvising with the blues scale (.pdf, .mscz). Video assignment. Asks students to pair off and create videos with call-and-response improvisation. Backing track available here.
- Blues composition (.pdf, .docx). Asks students to synthesize information about blues harmony and blues melody.
\n
\n\n
\n\n
\n
\n"],["82","VII. Popular Music","Rhythm and Meter in Pop Music","
- \n
- \n
- \n
- Transcribing rhythms worksheet (.pdf, .mscz). Asks students to transcribe and identify straight syncopations as well as tresillo rhythms in \u201cSorry\u201d by Beyonc\u00e9 (2016). Worksheet Playlist
\n
\n
\n
\n
\n
\n
\n"],["83","VII. Popular Music","Drumbeats","
- \n
- Drumbeats (.pdf, .mscz). Asks students to identify features of drumbeats and transcribe them. Worksheet playlist
\n
\n
\n"],["84","VII. Popular Music","Melody and Phrasing","
- \n
- Worksheet on Section Structures (.pdf, .docx). Asks students to identify two-, three-, and four-part phrase organizations within sections. Worksheet playlist
\n
\n
\n"],["85","VII. Popular Music","Introduction to Form in Popular Music",""],["86","VII. Popular Music","AABA Form and Strophic Form","
- \n
- AABA and Strophic Form (.pdf, .docx). Uses BriFormer web app to create form diagrams of pop songs in AABA or strophic form.
\n
\n
\n"],["87","VII. Popular Music","Verse-Chorus Form","
- \n
- Pop Music Form\u2014The Shape of Music Around You (.pdf). Writing assignment that asks students to find songs on their own; identify them as strophic, AABA, or verse-chorus; name the sections of the song; and justify their analyses using form vocabulary.
- Verse-Chorus Form (.pdf, .docx). Uses BriFormer web app to create form diagrams of pop songs in verse-chorus form. One straightforward example, and one challenging example.
\n
\n\n
\n
\n"],["88","VII. Popular Music","Introduction to Harmonic Schemas in Pop Music",""],["89","VII. Popular Music","Blues-Based Schemas","
- \n
- Listening for blues-based schemas (.pdf, .docx). Asks students to identify blues-based schemas, their use, and any variations in three pop songs. Worksheet playlist
\n
\n
\n"],["90","VII. Popular Music","Four-Chord Schemas","
- \n
- Identifying Four-Chord Schemas (.pdf, .docx). Students must identify which schema is used in a number of songs, each of which clearly presents the schema. Worksheet playlist
- Variations on Four-Chord Schemas (.pdf, .docx). Using songs that put slight variations on the schemas discussed in this chapter, asks students to identify schemas and variations on the schemas. Worksheet playlist
\n
\n\n
\n
\n"],["91","VII. Popular Music","Classical Schemas (in a Pop Context)","
- \n
- Worksheet on classical schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use classical schemas. Worksheet playlist
\n
\n
\n"],["92","VII. Popular Music","Puff Schemas","
- \n
- Puff schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use the puff schema. Worksheet playlist
\n
\n
\n"],["93","VII. Popular Music","Modal Schemas","
- \n
- Identifying Modal Schemas (.docx, .pdf). Asks students to aurally identify various modal schemas. Worksheet playlist
- Modal reharmonization composition exercise (.mscz, .pdf). Asks students to reharmonize Rihanna\u2019s \u201cDesperado\u201d (2016) with modal schemas.
\n
\n\n
\n
\n"],["94","VII. Popular Music","Pentatonic Harmony","
- \n
- Coming soon!
\n
\n
\n"],["95","VII. Popular Music","Fragile, Absent, and Emergent Tonics","
- \n
- Reharmonizing to avoid tonic (.pdf, .mscz). Asks students to reharmonize a song that uses the singer/songwriter schema to instead use fragile, absent, or emergent tonic techniques.
\n
\n
\n"],["96","VIII. 20th- and 21st-Century Techniques","Twentieth-Century Rhythmic Techniques",""],["97","VIII. 20th- and 21st-Century Techniques","Pitch and Pitch Class","
- \n
- Pitch and pitch class (.pdf, .mscz). Asks students to translate between pitch class integers, note names, and staff notation.
\n
\n
\n"],["98","VIII. 20th- and 21st-Century Techniques","Intervals in Integer Notation","
- \n
- Intervals (.pdf, .docx). Asks students to identify interval types (integer notation) within pieces of music. Worksheet playlist
\n
\n
\n"],["99","VIII. 20th- and 21st-Century Techniques","Pitch-Class Sets, Normal Order, and Transformations","
- \n
- Normal form and transformations (.pdf, .docx). Asks students to find normal form of various sets, calculate transformations of sets, and identify Tn/In relationships in \u201cNacht\u201d by Arnold Schoenberg.
- Composition prep worksheet (.pdf, .docx). Prepares students for the set class composition by asking them to find sets and transformations.
\n
\n\n
\n
\n"],["100","VIII. 20th- and 21st-Century Techniques","Set Class and Prime Form","
- \n
- Set Class Composition prep worksheet (.pdf, .docx).\u00a0Prepares students for the set class composition by asking them to find sets and transformations.
- Set Class Composition (.pdf, .docx). Builds on the prep worksheet. Asks students to compose and analyze a 24-bar ABA form piece for unaccompanied solo instrument using set classes.
\n
\n\n
\n
\n"],["101","VIII. 20th- and 21st-Century Techniques","Interval-Class Vectors","
- \n
- Worksheet on Interval-Class Vectors (.pdf, .docx). Asks students to calculate interval-class vectors for several sets.
\n
\n
\n"],["102","VIII. 20th- and 21st-Century Techniques","Analyzing with Set Theory (or not!)","
- \n
- Guided analysis of \u201cWie bin ich Froh!\u201d by Anton Webern (.pdf, .docx). Recording
- Segmentation worksheet (.pdf, .docx). Asks students to justify the given segmentations by explaining what the grouped pitches have in common.
- Atonal analysis using pc sets (.pdf, .mscz). Open-ended prompt asks students to use set theory to analyze an excerpt. Recording
\n
\n\n
\n\n
\n
\n"],["103","VIII. 20th- and 21st-Century Techniques","Diatonic Modes","
- \n
- Identifying modes (.pdf, .mscz). Asks students to identify 20th-century modes versus major/minor, circle inflected pitches, and explain how a pitch center is articulated. Music examples are transcribed from the TV show Great British Bake Off (music by Tom Howe, \u00a9 Accorder Music Publishing, used with permission). Worksheet playlist
- Additional beginner\u2019s worksheets can be found in\u00a0Introduction to Diatonic Modes and the Chromatic \u201cScale.\u201d
\n
\n\n
\n
\n"],["104","VIII. 20th- and 21st-Century Techniques","Collections","
- \n
- Worksheet on collections (.pdf, .mscz). Asks students to spell one example of each of the collections from this chapter.
- Analyze Lili Boulanger\u2019s resplendent Hymne au Soleil. Identify\u00a0modes\u00a0and collections used, along with related techniques. Scores can be found on IMSLP\u00a0and MuseScore. Both include the original French text and an English translation in the underlay.
\n
\n\n
\n
\n"],["105","VIII. 20th- and 21st-Century Techniques","Analyzing with Modes, Scales, and Collections","
- \n
- Analyze Lili Boulanger\u2019s resplendent Hymne au Soleil. Identify\u00a0modes\u00a0and collections used, along with related techniques and materials, and linking these (where you consider it appropriate) to possible \u201cmeanings\u201d of the work. Scores can be found on IMSLP\u00a0and MuseScore. Both include the original French text and an English translation in the underlay.
\n
\n
\n"],["106","IX. Twelve-Tone Music","Basics of Twelve-Tone Theory","
- \n
- Chose any row from the Twelve-Tone Anthology that interests you and write out:\n
- \n
- The row matrix with all 48 row forms (i.e., with numbers on the grid as shown above)
- P0,\u00a0R0,\u00a0I0,\u00a0RI0\u00a0in musical notation
\n
\n\n
\n
\n
\n
\n
\n
\n"],["107","IX. Twelve-Tone Music","Naming Conventions for Rows","
- \n
- Chose any row from the Twelve-Tone Anthology that interests you and write out the row matrix with all 48 row forms (i.e., with numbers on the grid as shown above) in each of the three ways shown above. (Then choose your favorite method and never do this again!)
\n
\n
\n"],["108","IX. Twelve-Tone Music","Row Properties","
- \n
- Head to the\u00a0Twelve-Tone Anthology and pick any row listed in the sections on derived rows (e.g., \u201c6x Same Dyad (interval)\u201d or \u201c4x Same Trichord\u201d).\n
- \n
- Write out the full row in musical notation.
- Put slur lines over each repeated segment (e.g., 4 x 3 notes in the \u201c4x Same Trichord\u201d).
- Separately (e.g., below), write out those subsegments as chords.
\n
\n\n
\n\n
\n
\n
\n
\n
\n
\n"],["109","IX. Twelve-Tone Music","Analysis Examples \u2013 Webern Op. 21 and 24",""],["110","IX. Twelve-Tone Music","Composing with Twelve Tones","
- \n
- Try your hand at something similar to the above:\n
- \n
- Pick one or more rows that appeal to you.
- Compose some music with those properties in mind.
- Think about balancing strict constraints with free writing.
\n
\n\n
\n\n
\n
\n
\nDon\u2019t be shy. Whether or not you think of yourself as \u201ca composer,\u201d it\u2019s always useful to learn by doing, and composition is a great case in point.
\n
\n
\n
\n"],["111","IX. Twelve-Tone Music","History and Context of Serialism",""],["112","X. Orchestration","Core Principles of Orchestration","
- \n
- Dovetailing: transcribe the sixteenth-notes part (piano right hand) of Louise Reichardt\u2019s Unruhiger Schlaf (12 Ges\u00e4nge, no. 6) for two clarinets, dovetailing regularly every quarter or half note. A score is available online here\u00a0and for download here.
- Look at the extract from Hensel\u2019s Overture in C major below. How does the combination of bassoon and \u2018cello relate to topics discussed in this chapter?
\n
\n\n
\n
\n"],["113","X. Orchestration","Subtle Color Changes","
- \n
- Coming soon!
\n
\n
\n"],["114","X. Orchestration","Transcription from Piano","
- \n
- Coming soon!
\n
\n
\n"],["115","XI. Rhythm and Meter","Notating Rhythm [crosslist]","
\n"],["116","XI. Rhythm and Meter","Simple Meter and Time Signatures [crosslist]","
\n"],["117","XI. Rhythm and Meter","Compound Meter and Time Signatures [crosslist]","
\n"],["118","XI. Rhythm and Meter","Other Rhythmic Essentials [crosslist]","
- \n
- Triplets and Duplets, Hypermeter, Syncopation (.pdf, .docx) Worksheet playlist
\n
\n
\n"],["119","XI. Rhythm and Meter","Hypermeter","
- \n
- Coming soon!
\n
\n
\n"],["120","XI. Rhythm and Meter","Metrical Dissonance","
- \n
- Grouping Dissonance Composition Exercise (.pdf, .mscz). Asks students to compose two mini pieces with repeating motives of different lengths, creating grouping dissonance. References the and .
\n
\n
\n"],["121","XI. Rhythm and Meter","Swing Rhythms [crosslist]","
- \n
- Swing Rhythms video (.mscz; PDFs for C instruments, B\u266d instruments, E\u266d instruments, F instruments, and bass clef instruments). Asks students to make a video with a partner performing idiomatic swing rhythms. Download backing track
- Jazz Rhythms by Jamey Aebersold. Make a recording in which you perform these rhythms. Pick three rhythms that create syncopation in different ways, and explain how the beat is obscured to create syncopation (through ties? rests? etc.).
\n
\n\n
\n
\n"],["122","XI. Rhythm and Meter","Rhythm and Meter in Pop Music [crosslist]","
- \n
- \n
- \n
- Transcribing rhythms worksheet (.pdf, .mscz). Asks students to transcribe and identify straight syncopations as well as tresillo rhythms in \u201cSorry\u201d by Beyonc\u00e9 (2016). Worksheet Playlist
\n
\n
\n
\n
\n
\n
\n"],["123","XI. Rhythm and Meter","Drumbeats [crosslist]","
- \n
- Drumbeats (.pdf, .mscz). Asks students to identify features of drumbeats and transcribe them. Worksheet playlist
\n
\n
\n"],["124","XI. Rhythm and Meter","Twentieth-Century Rhythmic Techniques [crosslist]","
- \n
- Coming soon!
\n
\n
\n"]]
[["Book order","Part","Chapter","Assignments"],["1","I. Fundamentals","Introduction to Western Musical Notation","
\n"],["2","I. Fundamentals","Notation of Notes, Clefs, and Ledger Lines","
\n"],["3","I. Fundamentals","Reading Clefs","
- \n
- Writing and Identifying Notes Assignment #1 (.pdf, .mscx)
- Writing and Identifying Notes Assignment #2 (.pdf, .mscx)
\n
\n\n
\n
\n"],["4","I. Fundamentals","The Keyboard and the Grand Staff","
- \n
- White Keys on the Piano and the Grand Staff (.pdf, .docx)
- The Piano Keyboard and the Grand Staff with Ledger Lines (.pdf, .docx)
- Generic Intervals (.pdf, .docx)
- Grand Staff Note Names with Ledger Lines (.pdf, .docx)
\n
\n\n
\n\n
\n\n
\n
\n"],["5","I. Fundamentals","Half Steps, Whole Steps, and Accidentals","
- \n
- Black Keys on the Piano (.pdf, .docx)
- Half and Whole Steps on the Piano Keyboard (.pdf, .docx)
- Writing Accidentals (.pdf, .docx)
- Writing and Identifying Accidentals (.pdf, .docx)
- Half and Whole Steps in Staff Notation (.pdf, .docx)
- Enharmonic Equivalence (.pdf, .docx)
\n
\n\n
\n\n
\n\n
\n\n
\n\n
\n
\n"],["6","I. Fundamentals","American Standard Pitch Notation (ASPN)","
\n"],["7","I. Fundamentals","Other Aspects of Notation","
\n"],["8","I. Fundamentals","Notating Rhythm","
\n"],["9","I. Fundamentals","Simple Meter and Time Signatures","
\n"],["10","I. Fundamentals","Compound Meter and Time Signatures","
\n"],["11","I. Fundamentals","Other Rhythmic Essentials","
- \n
- Triplets and Duplets, Hypermeter, Syncopation (.pdf, .docx) Worksheet playlist
\n
\n
\n"],["12","I. Fundamentals","Major Scales, Scale Degrees, and Key Signatures","
\n"],["13","I. Fundamentals","Minor Scales, Scale Degrees, and Key Signatures","
\n"],["14","I. Fundamentals","Introduction to Diatonic Modes and the Chromatic \u201cScale\u201d","
- \n
- Writing Modes Assignment #1 (.pdf,\u00a0.mscx)
- Writing Modes Assignment #2 (.pdf,\u00a0.mscx)
- Writing Chromatic \u201cScales\u201d Assignment #1 (.pdf,\u00a0.mscx)
- Writing Chromatic \u201cScales\u201d Assignment #2 (.pdf,\u00a0.mscx)
\n
\n\n
\n\n
\n\n
\n
\n"],["15","I. Fundamentals","Intervals","
- \n
- Writing and Identifying Intervals Assignment #1 (.pdf, .mcsz)
- Writing and Identifying Intervals Assignment #2 (.pdf, .mcsz)
- Writing and Identifying Intervals Assignment #3 (.pdf, .mcsz)
\n
\n\n
\n\n
\n
\n"],["16","I. Fundamentals","Triads","
- \n
- Triads Assignment #1 (.pdf, .mcsz)
- Triads Assignment #2 (.pdf, .mcsz)
- Triads Assignment #3 (.pdf, .mcsz)
\n
\n\n
\n\n
\n
\n"],["17","I. Fundamentals","Seventh Chords","
- \n
- Seventh Chords Assignment #1 (.pdf, .mcsz)
- Seventh Chords Assignment #2 (.pdf, .mcsz)
- Seventh Chords Assignment #3 (.pdf, .mcsz)
\n
\n\n
\n\n
\n
\n"],["18","I. Fundamentals","Inversion and Figured Bass","
\n"],["19","I. Fundamentals","Roman Numerals and SATB Chord Construction",""],["20","I. Fundamentals","Texture","
- \n
- Identifying Textures (.pdf, .docx) Worksheet playlist
\n
\n
\n"],["21","II. Counterpoint and Galant Schemas","Introduction to Species Counterpoint","
- \n
- Cantus firmus A (.pdf, .mscx). Asks students to critique one cantus firmus and write their own.
- Cantus firmus B (.pdf, .mscx). Asks students to critique one cantus firmus and write their own.
- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum chapter.
\n
\n\n
\n\n
\n
\n"],["22","II. Counterpoint and Galant Schemas","First-Species Counterpoint","
- \n
- First-Species Counterpoint A (.pdf, .mscx). Asks students to compose a first-species example and do error detection.
- First-Species Counterpoint B (.pdf, .mscx). Asks students to compose a first-species example and do error detection.
- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum\u00a0chapter.
\n
\n\n
\n\n
\n
\n"],["23","II. Counterpoint and Galant Schemas","Second-Species Counterpoint","
- \n
- Second-Species Counterpoint A (.pdf, .mscx). Asks students to compose a second-species example and do error detection.
- Second-Species Counterpoint B (.pdf, .mscx). Asks students to compose a second-species example and do error detection.
- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum chapter.
\n
\n\n
\n\n
\n
\n"],["24","II. Counterpoint and Galant Schemas","Third-Species Counterpoint","
- \n
- Third-Species Counterpoint A (.pdf, .mscx). Asks students to compose a third-species example and do error detection.
- Third-Species Counterpoint B (.pdf, .mscx). Asks students to compose a third-species example and do error detection.
- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum chapter.
\n
\n\n
\n\n
\n
\n"],["25","II. Counterpoint and Galant Schemas","Fourth-Species Counterpoint","
- \n
- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum\u00a0chapter.
\n
\n
\n"],["26","II. Counterpoint and Galant Schemas","Fifth-Species Counterpoint","
- \n
- For the complete set of Fux exercises, see the\u00a0Gradus ad Parnassum\u00a0chapter.
\n
\n
\n"],["27","II. Counterpoint and Galant Schemas","Gradus ad Parnassum Exercises",""],["28","II. Counterpoint and Galant Schemas","16th-Century Contrapuntal Style","
- \n
- Imitative writing in the 16th-century contrapuntal style. These exercises provide at least one complete part for reference, and one part with missing passages to complete in a suitable style. Original note values are used, with modern time signatures for those values ([latex]\\mathbf{^4_2}[/latex]), some editorial accidentals (), and only G and F clefs.\n
- \n
- Lassus: Benedictus from the\u00a0Missa Venatorum. 2 voices. .mscz, .pdf
- Lassus: Bicinum IV. 2 voices. .mscz, .pdf
- Palestrina: Benedictus from the Missa Brevis.\u00a03 voices. .mscz, .pdf
- Palestrina: Surge Propera a 4 (excerpt).\u00a04 voices. .mscz, .pdf
\n
\n\n
\n\n
\n\n
\n
\n
\n
\n
\n
\n"],["29","II. Counterpoint and Galant Schemas","High Baroque Fugal Exposition","
- \n
- In the Bach C minor fugue shown above, the answer is \u201ctonal.\u201d Given what has been said about tonal answers in this chapter, try explaining\u00a0how the subject and answer differ, and why.
- Pick another fugue, identify how many \u201cvoices\u201d there are, and locate each voice\u2019s entry and the end of the exposition.
- Try writing your own answers and countersubjects. The template file below provides the subjects for all 48 fugues in both books of the Well-Tempered Clavier. An empty second staff is provided for your practice. (Note that the last note in many of the fugue subjects\u00a0is given without a stem to indicate the pitch\u00a0without specifying the duration rhythm.) If you know some of these fugues well, you may want to work on ones you\u2019re less familiar with.
- Once you are feeling confident with writing answers and countersubjects, try writing up a full exposition. Again, you may wish to work on fugues\u00a0you\u2019re less familiar with.
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\n"],["30","II. Counterpoint and Galant Schemas","Ground Bass","
- \n
- A simple, predominantly diatonic harmonization of the ground, with simple block chords, making sure to follow good voice-leading practice. Use this as a prototype.
- A set of alternative harmonizations including tonicizations of other keys and re-harmonizations of the first note in particular to vary the apparent phrase length (as discussed above in reference to the \u201ccheat sheet\u201d).
- Melodic parts that fit with the bass and create more interesting textures. Seek out ways of writing upper parts that can recur in another voice in imitation (and refer back to the Purcell analysis above for ideas!).
- Finally, combine the best of your ideas into an overall piece that balances textural and harmonic interest and charts an overall trajectory. Why not try a piece with six iterations of the ground, of which the first and last are simple and alike?
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\n"],["31","II. Counterpoint and Galant Schemas","Galant Schemas \u2013 Summary",""],["32","II. Counterpoint and Galant Schemas","Galant schemas \u2013 The Rule of the Octave and Harmonizing the Scale with Sequences","
- \n
- Begin by playing through these examples from the files provided, preferably in a range of different keys. (Note: As mentioned above, you can transpose scores in MuseScore with the Notes menu: Notes/Transpose).
- See if you can memorize the patterns. Test yourself by:\n
- \n
- writing them out on paper (start with a blank scale)
- playing them from memory
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- Both with the music and (when you\u2019re ready) from memory, try embellishing these basic patterns.
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\n"],["33","II. Counterpoint and Galant Schemas","Galant Schemas","
- \n
- Playing: Begin by playing through these examples from the files provided, preferably in a range of different keys. (Note: you can transpose scores in MuseScore with the Notes menu: Notes/Transpose).
- Memorization: See if you can memorize some of these patterns. Test yourself by:\n
- \n
- writing them out on paper (start with a blank scale)
- playing them from memory
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- Embellishment: Schemas help to structure music, but they are not really musical pieces in themselves: it takes a lot of fleshing out to get from these skeletons to real music. That being the case, try improvising embellishments of these basic patterns. Start with simple turns, passing notes and the like, then move on to more ambitious changes.
- Full pieces: When you\u2019re confident with individual cases, try piecing them together, according to their usual position and ordering. Start by using templates like these:\n
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\n"],["34","III. Form","Foundational Concepts for Phrase-Level Forms","
- \n
- Coming soon!
\n
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\n"],["35","III. Form","The Phrase, Archetypes, and Unique Forms","
- \n
- Analyzing sentences (.pdf, .docx). Asks students to compare excerpts to the archetypal sentence, provide form diagrams, and optionally, provide harmonic analysis for any given excerpt. Worksheet playlist
- Analyzing archetypes and unique forms (.pdf, .docx). Asks students to identify excerpts that are archetypes (periods, sentences, compond periods) or unique forms, and to diagram those that are archetypes. Optionally, students can harmonically analyze the excerpts.\u00a0Worksheet playlist
- Composing melody-only sentences (.pdf, .mscx). Students compose four-measure sentences from a given basic idea (melody only).
- Composing fully realized sentences (.pdf, .mscx). Students select from a bank of basic ideas to compose an 8-measure sentence with full texture (accompaniment and melody).
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\n"],["36","III. Form","Hybrid Phrase-Level Forms","
- \n
- Analyzing hybrid forms (.pdf, .docx). Provides excerpts and asks students to indicate which term best describes the first and second half of each. Optional harmonic analysis included.\u00a0Worksheet playlist
- Analyzing forms with multiple possibilities (.pdf, .docx). Asks students to identify preferred and plausible alternative interpretations for several excerpts. Also includes band music.\u00a0Worksheet playlist
- Composing phrase-level forms (.pdf, .docx). Asks students to compose a phrase-level form given a description. Provides a basic idea bank to give students a start.
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\n
\n"],["37","III. Form","Expansion and Contraction at the Phrase Level","
- \n
- Analyzing expansion techniques (.pdf, .docx). Asks students to name, segment, and label the form of excerpts and identify the location of any expansion technique(s). Optional harmonic analysis included. Worksheet playlist
- Analyzing multiple expansion techniques (.pdf, .docx). More complicated examples than in worksheet 1. Each excerpt is significantly expanded. Worksheet playlist
- Recomposing to remove expansions (.pdf, .docx). Asks students to recompose excerpts from worksheet 1 to remove the expanded portion of the archetypal form. Worksheet playlist
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\n"],["38","III. Form","Formal Sections in General",""],["39","III. Form","Binary Form","
- \n
- Binary Form Analysis Assignment (.pdf, .docx).\n
- \n
- Audio Example\u00a01 \u2013 Franz Schubert, \u00c9cossaise, D. 529, No. 3 (Starts at 1:07)
- Audio Example\u00a02 \u2013 Franz Joseph Haydn, Piano Sonata no. 37, III, theme
- Audio Example\u00a03 \u2013 Johann Sebastian Bach, Sarabande from Violin Partita no. 1, BWV 1002
- Audio Example\u00a04 \u2013 Franz Schubert (1797-1828), Piano Sonata in E major, D. 157, II (mm. 1\u2013 16)
- Audio Example\u00a05 \u2013 Franz Schubert (1797-1828), Symphony no. 2 in B\u266d major, D. 125, II
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- Guided Composition (.pdf, .docx, .mscx).\u00a0
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\n"],["40","III. Form","Ternary Form","
- \n
- Bernhard Crusell \u2013 Clarinet Quartet, Op. 7, III, Menuetto (.pdf, .docx). Access score and audio.
- Josephine Lang \u2013 Traumbild, Op. 28, no. 1 (.pdf, .docx). Access score and audio.
\n
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\n"],["41","III. Form","Sonata Form","
\n"],["42","III. Form","Rondo","
- \n
- Joseph Bologne, String Quartet, Op. 1, no. 4, ii, Rondeau (.pdf, .docx). Access score and audio.
\n
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\n"],["43","IV. Diatonic Harmony, Tonicization, and Modulation","Introduction to Harmony, Cadences, and Phrase Endings","
- \n
- Introduction to harmony, cadences, and phrase endings (.pdf, .docx). Asks students to write and identify cadences using only I (or i) and V chords in major and minor.
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\n"],["44","IV. Diatonic Harmony, Tonicization, and Modulation","Strengthening Endings with V7","
- \n
- Strengthening Endings with V7 (.pdf, .docx, spotify playlist). Asks students to write and resolve V7 chords and provide analysis of cadences in select passages.
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\n"],["45","IV. Diatonic Harmony, Tonicization, and Modulation","Strengthening Endings with Strong Predominants","
- \n
- Strengthening Endings with Strong Predominants (.pdf, .docx). Includes part writing from Roman numerals and figures, analysis of phrase endings, and a discussion question about a number from Hamilton.
\n
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\n"],["46","IV. Diatonic Harmony, Tonicization, and Modulation","Embellishing Tones","
- \n
- Embellishing tones (.pdf, .docx). Asks students to write embellishing tones in a two-voice texture and label embellishing tones in an excerpt.
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\n"],["47","IV. Diatonic Harmony, Tonicization, and Modulation","Strengthening Endings with Cadential 6/4","
- \n
- Strengthening Endings with Cadential [latex]^6_4[/latex] (.pdf, .docx, .mscz of score). Includes unfigured bass exercises and analysis.
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\n"],["48","IV. Diatonic Harmony, Tonicization, and Modulation","Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s",""],["49","IV. Diatonic Harmony, Tonicization, and Modulation","Performing Harmonic Analysis Using the Phrase Model","
- \n
- Performing Harmonic Analysis Using the Phrase Model (.pdf, .docx). Asks students to analyze three short excerpts.
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\n"],["50","IV. Diatonic Harmony, Tonicization, and Modulation","Prolongation at Phrase Beginnings using the Leading-Tone Chord","
- \n
- Prolongation at Phrase Beginnings using the Leading-tone Chord (.pdf, .docx). Asks students to write from Roman numerals, complete analysis, and realize figured bass.
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\n"],["51","IV. Diatonic Harmony, Tonicization, and Modulation","6/4 Chords as Forms of Prolongation","
- \n
- [latex]^6_4[/latex] chords as forms of prolongation (.pdf, .docx). Asks students to review previous concepts, write from Roman numerals, write from figures, and analyze excerpts.
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\n"],["52","IV. Diatonic Harmony, Tonicization, and Modulation","Plagal Motion as a Form of Prolongation","
- \n
- Plagal Motion as a Form of Prolongation (.pdf, .docx). Asks students to identify bass lines and analyze an excerpt. Download audio (.mscz).
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\n"],["53","IV. Diatonic Harmony, Tonicization, and Modulation","La (Scale Degree 6) in the Bass at Beginnings, Middles, and Endings","
- \n
- La\u00a0[latex](\\hat6)[/latex] in the bass at beginnings, middles, and endings (.pdf, .docx). Asks students to analyze bass lines, write from figures and Roman numerals, harmonize an unfigured bass, and analyze an excerpt.
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\n"],["54","IV. Diatonic Harmony, Tonicization, and Modulation","The Mediant Harmonizing Mi (Scale Degree 3) in the Bass","
- \n
- Mi\u00a0[latex](\\hat3)[/latex] in the bass at beginnings (.pdf, .docx).\u00a0Asks students to realize unfigured bass, analyze, and do a transcription with analysis.
\n
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\n"],["55","IV. Diatonic Harmony, Tonicization, and Modulation","Predominant Seventh Chords","
- \n
- Predominant Seventh Chords (.pdf, .docx). Asks students to realize figured bass and analyze.
\n
\n
\n"],["56","IV. Diatonic Harmony, Tonicization, and Modulation","Tonicization","
- \n
- Applied chords worksheet, available in three slightly different versions:\n
- \n
- Version A (.pdf, .mscx). Asks students to identify and write applied V, V7, viio, viio7, and vii\u22057\u00a0chords with Roman numerals and figures.
- Version B\u2014without \u22057s (.pdf, .mscz). Asks students to identify and write applied V, V7, viio, and\u00a0viio7\u00a0chords with Roman numerals and figures.
- Version C\u2014jazz/pop focus (.pdf, .mscz). No \u22057s or figured bass; all chords in root position. Students identify and write chord symbols in addition to notation.
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- Tonicization Voice Leading and Score Analysis (.pdf, .docx). Asks students to write from Roman numerals and figured bass, write from a longer figured bass, and analyze a complete piece with discussion questions.
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\n"],["57","IV. Diatonic Harmony, Tonicization, and Modulation","Extended Tonicization and Modulation to Closely Related Keys","
- \n
- Extended Tonicization and Modulation to Closely Related Keys (.pdf, .docx). Asks students to review tonicization, identify closely related keys and pivot chords, analyze, and create a modulating progression.
\n
\n
\n"],["58","V. Chromaticism","Modal Mixture","
- \n
- Modal Mixture Assignment (.pdf, .docx). Includes spelling, figured bass realization, 4-part voice-leading with Roman numerals, and analysis of musical excerpt. Access audio.
\n
\n
\n"],["59","V. Chromaticism","Neapolitan 6th (\u266dII6)","
- \n
- Neapolitan Sixths\u00a0(.pdf, .docx). Asks students to spell \u266dII6, realize figured bass, write 4-part voice-leading with Roman numerals, and analyze a musical excerpt.
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\n"],["60","V. Chromaticism","Augmented Sixth Chords","
- \n
- Augmented Sixth Chords (.pdf, .docx.) Asks students to spell augmented sixth chords, realize figured bass, write 4-part voice-leading with Roman numerals, and analyze a musical excerpt. Audio 1 \u2013 Frederic Chopin, Audio 2 \u2013 Scott Joplin (excerpt starts at 0:56).
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\n"],["61","V. Chromaticism","Common-Tone Chords (CT\u00ba7 & CT+6)","
- \n
- Common-Tone Chords (.pdf, .docx.) Asks students to spell common tone chords, realize figured bass, complete 4-part voice leading with Roman numerals, and analyze a musical excerpt. Access audio (excerpt begins at 0:25).
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\n"],["62","V. Chromaticism","Harmonic Elision","
- \n
- Harmonic Elision (.pdf, .docx.) Asks students to spell chords, realize figured bass, write 4-part voice leading with Roman numerals, and analyze a musical excerpt.
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\n"],["63","V. Chromaticism","Chromatic Modulation","
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- Coming soon!
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\n"],["64","V. Chromaticism","Reinterpreting Diminished Seventh Chords","
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- Coming soon!
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\n"],["65","V. Chromaticism","Augmented Options","
- \n
- Head to the section on augmented chords in the\u00a0Harmony Anthology chapter and pick one (or more) of the repertoire examples listed in which an analyst has identified the use of an augmented chord.\n
- \n
- For that passage, make a Roman numeral analysis of the measure in question and one or two on either side (enough to establish a chord progression and some context).
- Create one such harmonic analysis including the augmented triad provided (figure and key are given in the table).
- If you disagree with that reading (as you may well do), then provide an alternative harmonic analysis without it.
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- Do step 1 for several cases and identify any that seem similar to each other, and to the above. For instance, for the cases given as V+ in the anthology, are many of them similar to the chromatic passing motion in the Hensel above? Can you find any dramatic examples like the Bach? Do you see any other recurring practices not described in this chapter?
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\n"],["66","V. Chromaticism","Equal Divisions of the Octave","
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- Coming soon!
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\n"],["67","V. Chromaticism","Chromatic Sequences","
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- Coming soon!
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\n"],["68","V. Chromaticism","Parallel Chromatic Sequences","
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- Coming soon!
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\n"],["69","V. Chromaticism","The Omnibus Progression","
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- Coming soon!
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\n"],["70","V. Chromaticism","Altered and Extended Dominant Chords","
- \n
- Coming soon!
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\n"],["71","V. Chromaticism","Neo-Riemannian Triadic Progressions","
- \n
- Worksheet on Neo-Riemannian Transformations (.pdf, .mscz). Asks students to perform , , , , , and on individual triads, to realize chains of transformations, and find a transformation chain to connect two chords.
- Composing with Neo-Riemannian Transformations (.pdf, .mscz). Asks students to use the Cube Dance and other Neo-Riemannian cycles to compose a short minimalist piano solo.
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\n"],["72","V. Chromaticism","Mediants","
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- Harmonic analysis: analyse the first 10 measures of the Holm\u00e8s example above using whichever you prefer of Roman numeral and Functional labels.
- Identify the type (name or grade) of mediant that Holm\u00e8s keeps using.
- Do this step 1 analysis using the other terminological system (Roman numeral or Functional labels, which you disprefer and didn\u2019t use before).
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\n"],["73","VI. Jazz","Swing Rhythms","
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- Swing Rhythms video (.mscz; PDFs for C instruments, B\u266d instruments, E\u266d instruments, F instruments, and bass clef instruments). Asks students to make a video with a partner performing idiomatic swing rhythms. Download backing track
- Jazz Rhythms by Jamey Aebersold. Make a recording in which you perform these rhythms. Pick three rhythms that create syncopation in different ways, and explain how the beat is obscured to create syncopation (through ties? rests? etc.).
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\n"],["74","VI. Jazz","Chord Symbols","
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- Chord symbols basics worksheet (.pdf, .mscz). Asks students to identify and write triads and seventh chords with chord symbols.
- Chord symbols with extensions (.pdf, .mscz). Asks students to identify and write extended chords with chord symbols.
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\n"],["75","VI. Jazz","Jazz Voicings","
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- Voicing worksheet (.pdf, .mscz). Asks students to identify common voice leading patterns in a voiced jazz texture and to write voiced chord progressions with good voice leading.
\n
\n
\n"],["76","VI. Jazz","ii\u2013V\u2013I",""],["77","VI. Jazz","Embellishing Chords","
- \n
- Bebop composition. Asks students to build on knowledge of swing rhythms, ii\u2013V\u2013I, embellishing chords, and substitutions to create a composition in a bebop style.\n
- \n
- PDF: Complete instructions + template
- MSCZ: Template for lead sheet, template for voicings
- DOCX: instructions only
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\n"],["78","VI. Jazz","Substitutions","
- \n
- Bebop composition. Asks students to build on knowledge of swing rhythms, ii\u2013V\u2013I, embellishing chords, and substitutions to create a composition in a bebop style.\n
- \n
- PDF: Complete instructions + template
- MSCZ: Template for lead sheet, template for voicings
- DOCX: instructions only
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\n"],["79","VI. Jazz","Chord-Scale Theory","
- \n
- Coming soon!
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\n"],["80","VI. Jazz","Blues Harmony","
- \n
- Worksheet on 12-bar blues (.pdf, .mscz). Asks students to write basic and jazz 12-bar blues progressions, voiced and unvoiced, and to analyze altered blues progressions. Worksheet playlist
- Worksheet on 12-bar blues, no jazz (.pdf, .mscz). Same as Assignment 1, but simplified: aks students to write basic 12-bar blues progressions, voiced and unvoiced, and to identify unusual chords in altered blues progressions. Worksheet playlist
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\n"],["81","VI. Jazz","Blues Melodies and the Blues Scale","
- \n
- Blues scales worksheet (.pdf, .mscz). Asks students to spell scales and transcribe a melody that uses the blues scale. Worksheet playlist
- Improvising with the blues scale (.pdf, .mscz). Video assignment. Asks students to pair off and create videos with call-and-response improvisation. Backing track available here.
- Blues composition (.pdf, .docx). Asks students to synthesize information about blues harmony and blues melody.
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\n"],["82","VII. Popular Music","Rhythm and Meter in Pop Music","
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- \n
- \n
- Transcribing rhythms worksheet (.pdf, .mscz). Asks students to transcribe and identify straight syncopations as well as tresillo rhythms in \u201cSorry\u201d by Beyonc\u00e9 (2016). Worksheet Playlist
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\n"],["83","VII. Popular Music","Drumbeats","
- \n
- Drumbeats (.pdf, .mscz). Asks students to identify features of drumbeats and transcribe them. Worksheet playlist
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\n"],["84","VII. Popular Music","Melody and Phrasing","
- \n
- Worksheet on Section Structures (.pdf, .docx). Asks students to identify two-, three-, and four-part phrase organizations within sections. Worksheet playlist
\n
\n
\n"],["85","VII. Popular Music","Introduction to Form in Popular Music",""],["86","VII. Popular Music","AABA Form and Strophic Form","
- \n
- AABA and Strophic Form (.pdf, .docx). Uses BriFormer web app to create form diagrams of pop songs in AABA or strophic form.
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\n"],["87","VII. Popular Music","Verse-Chorus Form","
- \n
- Pop Music Form\u2014The Shape of Music Around You (.pdf). Writing assignment that asks students to find songs on their own; identify them as strophic, AABA, or verse-chorus; name the sections of the song; and justify their analyses using form vocabulary.
- Verse-Chorus Form (.pdf, .docx). Uses BriFormer web app to create form diagrams of pop songs in verse-chorus form. One straightforward example, and one challenging example.
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\n"],["88","VII. Popular Music","Introduction to Harmonic Schemas in Pop Music",""],["89","VII. Popular Music","Blues-Based Schemas","
- \n
- Listening for blues-based schemas (.pdf, .docx). Asks students to identify blues-based schemas, their use, and any variations in three pop songs. Worksheet playlist
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\n"],["90","VII. Popular Music","Four-Chord Schemas","
- \n
- Identifying Four-Chord Schemas (.pdf, .docx). Students must identify which schema is used in a number of songs, each of which clearly presents the schema. Worksheet playlist
- Variations on Four-Chord Schemas (.pdf, .docx). Using songs that put slight variations on the schemas discussed in this chapter, asks students to identify schemas and variations on the schemas. Worksheet playlist
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\n"],["91","VII. Popular Music","Classical Schemas (in a Pop Context)","
- \n
- Worksheet on classical schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use classical schemas. Worksheet playlist
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\n"],["92","VII. Popular Music","Puff Schemas","
- \n
- Puff schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use the puff schema. Worksheet playlist
\n
\n
\n"],["93","VII. Popular Music","Modal Schemas","
- \n
- Identifying Modal Schemas (.docx, .pdf). Asks students to aurally identify various modal schemas. Worksheet playlist
- Modal reharmonization composition exercise (.mscz, .pdf). Asks students to reharmonize Rihanna\u2019s \u201cDesperado\u201d (2016) with modal schemas.
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\n"],["94","VII. Popular Music","Pentatonic Harmony","
- \n
- Coming soon!
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\n"],["95","VII. Popular Music","Fragile, Absent, and Emergent Tonics","
- \n
- Reharmonizing to avoid tonic (.pdf, .mscz). Asks students to reharmonize a song that uses the singer/songwriter schema to instead use fragile, absent, or emergent tonic techniques.
\n
\n
\n"],["96","VIII. 20th- and 21st-Century Techniques","Twentieth-Century Rhythmic Techniques",""],["97","VIII. 20th- and 21st-Century Techniques","Pitch and Pitch Class","
- \n
- Pitch and pitch class (.pdf, .mscz). Asks students to translate between pitch class integers, note names, and staff notation.
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\n
\n"],["98","VIII. 20th- and 21st-Century Techniques","Intervals in Integer Notation","
- \n
- Intervals (.pdf, .docx). Asks students to identify interval types (integer notation) within pieces of music. Worksheet playlist
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\n
\n"],["99","VIII. 20th- and 21st-Century Techniques","Pitch-Class Sets, Normal Order, and Transformations","
- \n
- Normal form and transformations (.pdf, .docx). Asks students to find normal form of various sets, calculate transformations of sets, and identify Tn/In relationships in \u201cNacht\u201d by Arnold Schoenberg.
- Composition prep worksheet (.pdf, .docx). Prepares students for the set class composition by asking them to find sets and transformations.
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\n"],["100","VIII. 20th- and 21st-Century Techniques","Set Class and Prime Form","
- \n
- Set Class Composition prep worksheet (.pdf, .docx).\u00a0Prepares students for the set class composition by asking them to find sets and transformations.
- Set Class Composition (.pdf, .docx). Builds on the prep worksheet. Asks students to compose and analyze a 24-bar ABA form piece for unaccompanied solo instrument using set classes.
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\n"],["101","VIII. 20th- and 21st-Century Techniques","Interval-Class Vectors","
- \n
- Worksheet on Interval-Class Vectors (.pdf, .docx). Asks students to calculate interval-class vectors for several sets.
\n
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\n"],["102","VIII. 20th- and 21st-Century Techniques","Analyzing with Set Theory (or not!)","
- \n
- Guided analysis of \u201cWie bin ich Froh!\u201d by Anton Webern (.pdf, .docx). Recording
- Segmentation worksheet (.pdf, .docx). Asks students to justify the given segmentations by explaining what the grouped pitches have in common.
- Atonal analysis using pc sets (.pdf, .mscz). Open-ended prompt asks students to use set theory to analyze an excerpt. Recording
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\n"],["103","VIII. 20th- and 21st-Century Techniques","Diatonic Modes","
- \n
- Identifying modes (.pdf, .mscz). Asks students to identify 20th-century modes versus major/minor, circle inflected pitches, and explain how a pitch center is articulated. Music examples are transcribed from the TV show Great British Bake Off (music by Tom Howe, \u00a9 Accorder Music Publishing, used with permission). Worksheet playlist
- Additional beginner\u2019s worksheets can be found in\u00a0Introduction to Diatonic Modes and the Chromatic \u201cScale.\u201d
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\n"],["104","VIII. 20th- and 21st-Century Techniques","Collections","
- \n
- Worksheet on collections (.pdf, .mscz). Asks students to spell one example of each of the collections from this chapter.
- Analyze Lili Boulanger\u2019s resplendent Hymne au Soleil. Identify\u00a0modes\u00a0and collections used, along with related techniques. Scores can be found on IMSLP\u00a0and MuseScore. Both include the original French text and an English translation in the underlay.
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\n"],["105","VIII. 20th- and 21st-Century Techniques","Analyzing with Modes, Scales, and Collections","
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- Analyze Lili Boulanger\u2019s resplendent Hymne au Soleil. Identify\u00a0modes\u00a0and collections used, along with related techniques and materials, and linking these (where you consider it appropriate) to possible \u201cmeanings\u201d of the work. Scores can be found on IMSLP\u00a0and MuseScore. Both include the original French text and an English translation in the underlay.
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\n"],["106","IX. Twelve-Tone Music","Basics of Twelve-Tone Theory","
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- Chose any row from the Twelve-Tone Anthology that interests you and write out:\n
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- The row matrix with all 48 row forms (i.e., with numbers on the grid as shown above)
- P0,\u00a0R0,\u00a0I0,\u00a0RI0\u00a0in musical notation
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\n
\n"],["107","IX. Twelve-Tone Music","Naming Conventions for Rows","
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- Chose any row from the Twelve-Tone Anthology that interests you and write out the row matrix with all 48 row forms (i.e., with numbers on the grid as shown above) in each of the three ways shown above. (Then choose your favorite method and never do this again!)
\n
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\n"],["108","IX. Twelve-Tone Music","Row Properties","
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- Head to the\u00a0Twelve-Tone Anthology and pick any row listed in the sections on derived rows (e.g., \u201c6x Same Dyad (interval)\u201d or \u201c4x Same Trichord\u201d).\n
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- Write out the full row in musical notation.
- Put slur lines over each repeated segment (e.g., 4 x 3 notes in the \u201c4x Same Trichord\u201d).
- Separately (e.g., below), write out those subsegments as chords.
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\n"],["109","IX. Twelve-Tone Music","Analysis Examples \u2013 Webern Op. 21 and 24",""],["110","IX. Twelve-Tone Music","Composing with Twelve Tones","
- \n
- Try your hand at something similar to the above:\n
- \n
- Pick one or more rows that appeal to you.
- Compose some music with those properties in mind.
- Think about balancing strict constraints with free writing.
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\nDon\u2019t be shy. Whether or not you think of yourself as \u201ca composer,\u201d it\u2019s always useful to learn by doing, and composition is a great case in point.
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\n"],["111","IX. Twelve-Tone Music","History and Context of Serialism",""],["112","X. Orchestration","Core Principles of Orchestration","
- \n
- Dovetailing: transcribe the sixteenth-notes part (piano right hand) of Louise Reichardt\u2019s Unruhiger Schlaf (12 Ges\u00e4nge, no. 6) for two clarinets, dovetailing regularly every quarter or half note. A score is available online here\u00a0and for download here.
- Look at the extract from Hensel\u2019s Overture in C major below. How does the combination of bassoon and \u2018cello relate to topics discussed in this chapter?
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\n"],["113","X. Orchestration","Subtle Color Changes","
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- Coming soon!
\n
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\n"],["114","X. Orchestration","Transcription from Piano","
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- Coming soon!
\n
\n
\n"],["115","XI. Rhythm and Meter","Notating Rhythm [crosslist]","
\n"],["116","XI. Rhythm and Meter","Simple Meter and Time Signatures [crosslist]","
\n"],["117","XI. Rhythm and Meter","Compound Meter and Time Signatures [crosslist]","
\n"],["118","XI. Rhythm and Meter","Other Rhythmic Essentials [crosslist]","
- \n
- Triplets and Duplets, Hypermeter, Syncopation (.pdf, .docx) Worksheet playlist
\n
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\n"],["119","XI. Rhythm and Meter","Hypermeter","
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- Coming soon!
\n
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\n"],["120","XI. Rhythm and Meter","Metrical Dissonance","
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- Grouping Dissonance Composition Exercise (.pdf, .mscz). Asks students to compose two mini pieces with repeating motives of different lengths, creating grouping dissonance. References the and .
\n
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\n"],["121","XI. Rhythm and Meter","Swing Rhythms [crosslist]","
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- Swing Rhythms video (.mscz; PDFs for C instruments, B\u266d instruments, E\u266d instruments, F instruments, and bass clef instruments). Asks students to make a video with a partner performing idiomatic swing rhythms. Download backing track
- Jazz Rhythms by Jamey Aebersold. Make a recording in which you perform these rhythms. Pick three rhythms that create syncopation in different ways, and explain how the beat is obscured to create syncopation (through ties? rests? etc.).
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\n"],["122","XI. Rhythm and Meter","Rhythm and Meter in Pop Music [crosslist]","
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- Transcribing rhythms worksheet (.pdf, .mscz). Asks students to transcribe and identify straight syncopations as well as tresillo rhythms in \u201cSorry\u201d by Beyonc\u00e9 (2016). Worksheet Playlist
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\n"],["123","XI. Rhythm and Meter","Drumbeats [crosslist]","
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- Drumbeats (.pdf, .mscz). Asks students to identify features of drumbeats and transcribe them. Worksheet playlist
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\n"],["124","XI. Rhythm and Meter","Twentieth-Century Rhythmic Techniques [crosslist]","
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- Coming soon!
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\n"]]
A tone that exists outside of the twelve-tone equal-tempered scale (for example, quarter tones).
The role that a musical element plays in the creation of a larger musical unit.
A plagal cadence uses the harmonies IV–I.
A cadence with the harmonies V–I. The harmonies are typically in root position. Authentic cadences can be further distinguished by their melody note in the I chord: an authentic cadence ending on 1̂ in the melody is a perfect authentic cadence, while one with 3̂ or 5̂ in the melody is an imperfect authentic cadence.
A type of jazz/pop score that typically notates only the melody and the chord symbols (written above the staff).
Typically comprises three phrases of four bars each. The first phrase is entirely tonic harmony (I). The second phrase contains two bars of subdominant (IV) and two bars of tonic (I). The final phrase begins with one bar of dominant (V) followed by one bar of subdominant (IV) and two bars of tonic (I). The third phrase may or may not end with a turnaround.
The use of a non-tonic chord (usually dominant) at the end of a harmonically closed unit to transition into the beginning of the following on-tonic unit. In jazz, the term "turnaround" often refers to the progression vi–ii–V–I. The exact qualities of these chords are highly variable, and one or more of the chords may be substituted with a different, related chord.
A mode with a range of a fifth above and fourth below its tonic.
In church modes, authentic modes are those that range from final to final.