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Workbook
115
Kyle Gullings
At the end of each chapter, you may find Assignments linked for that chapter. Those same assignments are also gathered here in a single table for convenient browsing.
Use arrows in the cells on the header row to sort the table alphabetically. Use the “Search” function to filter by the words in your search.
Last updated: September 18, 2023 4:09 pm
Book order
Part
Chapter
Assignments
1
I. Fundamentals
Introduction to Western Musical Notation
Inventing a Notation System (.pdf, .docx); Rubric (.pdf, .docx)
2
I. Fundamentals
Notation of Notes, Clefs, and Ledger Lines
Writing Noteheads, Clefs, and Ledger Lines (.pdf, .docx)
3
I. Fundamentals
Reading Clefs
Writing and Identifying Notes Assignment #1 (.pdf, .mscx)
Writing and Identifying Notes Assignment #2 (.pdf, .mscx)
4
I. Fundamentals
The Keyboard and the Grand Staff
White Keys on the Piano and the Grand Staff (.pdf, .docx)
The Piano Keyboard and the Grand Staff with Ledger Lines (.pdf, .docx)
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.
Lassus: Benedictus from the Missa Venatorum. 2 voices. .mscz, .pdf
Palestrina: Benedictus from the Missa Brevis. 3 voices. .mscz, .pdf
Palestrina: Surge Propera a 4 (excerpt). 4 voices. .mscz, .pdf
29
II. Counterpoint and Galant Schemas
High Baroque Fugal Exposition
In the Bach C minor fugue shown above, the answer is “tonal.” Given what has been said about tonal answers in this chapter, try explaining how the subject and answer differ, and why.
Pick another fugue, identify how many “voices” there are, and locate each voice’s 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 is given without a stem to indicate the pitch without specifying the duration rhythm.) If you know some of these fugues well, you may want to work on ones you’re 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 you’re less familiar with.
30
II. Counterpoint and Galant Schemas
Ground Bass
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 “cheat sheet”).
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?
31
II. Counterpoint and Galant Schemas
Galant Schemas – Summary
32
II. Counterpoint and Galant Schemas
Galant schemas – The Rule of the Octave and Harmonizing the Scale with Sequences
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:
writing them out on paper (start with a blank scale)
playing them from memory
Both with the music and (when you’re ready) from memory, try embellishing these basic patterns.
33
II. Counterpoint and Galant Schemas
Galant Schemas
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:
writing them out on paper (start with a blank scale)
playing them from memory
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’re confident with individual cases, try piecing them together, according to their usual position and ordering. Start by using templates like these:
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. Worksheet 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).
36
III. Form
Hybrid Phrase-Level Forms
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. Worksheet playlist
Analyzing forms with multiple possibilities (.pdf, .docx). Asks students to identify preferred and plausible alternative interpretations for several excerpts. Also includes band music. Worksheet 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.
37
III. Form
Expansion and Contraction at the Phrase Level
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
Bernhard Crusell – Clarinet Quartet, Op. 7, III, Menuetto (.pdf, .docx). Access score and audio.
Josephine Lang – Traumbild, Op. 28, no. 1 (.pdf, .docx). Access score and audio.
41
III. Form
Sonata Form
Maria Hester Park, Sonata, Op. 7, I Allegro Spirito (.pdf, .docx). Access score and audio.
42
III. Form
Rondo
Joseph Bologne, String Quartet, Op. 1, no. 4, ii, Rondeau (.pdf, .docx). Access score and audio.
43
IV. Diatonic Harmony, Tonicization, and Modulation
Introduction to Harmony, Cadences, and Phrase Endings
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.
44
IV. Diatonic Harmony, Tonicization, and Modulation
Strengthening Endings with V7
Strengthening Endings with V7 (.pdf, .docx, spotify playlist). Asks students to write and resolve V7 chords and provide analysis of cadences in select passages.
45
IV. Diatonic Harmony, Tonicization, and Modulation
Strengthening Endings with Strong Predominants
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.
46
IV. Diatonic Harmony, Tonicization, and Modulation
Embellishing Tones
Embellishing tones (.pdf, .docx). Asks students to write embellishing tones in a two-voice texture and label embellishing tones in an excerpt.
47
IV. Diatonic Harmony, Tonicization, and Modulation
Strengthening Endings with Cadential 6/4
Strengthening Endings with Cadential [latex]^6_4[/latex] (.pdf, .docx, .mscz of score). Includes unfigured bass exercises and analysis.
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
Performing Harmonic Analysis Using the Phrase Model (.pdf, .docx). Asks students to analyze three short excerpts.
50
IV. Diatonic Harmony, Tonicization, and Modulation
Prolongation at Phrase Beginnings using the Leading-Tone Chord
Prolongation at Phrase Beginnings using the Leading-tone Chord (.pdf, .docx). Asks students to write from Roman numerals, complete analysis, and realize figured bass.
51
IV. Diatonic Harmony, Tonicization, and Modulation
6/4 Chords as Forms of Prolongation
[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.
52
IV. Diatonic Harmony, Tonicization, and Modulation
Plagal Motion as a Form of Prolongation
Plagal Motion as a Form of Prolongation (.pdf, .docx). Asks students to identify bass lines and analyze an excerpt. Download audio (.mscz).
53
IV. Diatonic Harmony, Tonicization, and Modulation
La (Scale Degree 6) in the Bass at Beginnings, Middles, and Endings
La [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.
54
IV. Diatonic Harmony, Tonicization, and Modulation
The Mediant Harmonizing Mi (Scale Degree 3) in the Bass
Mi [latex](\hat3)[/latex] in the bass at beginnings (.pdf, .docx). Asks students to realize unfigured bass, analyze, and do a transcription with analysis.
55
IV. Diatonic Harmony, Tonicization, and Modulation
Predominant Seventh Chords
Predominant Seventh Chords (.pdf, .docx). Asks students to realize figured bass and analyze.
56
IV. Diatonic Harmony, Tonicization, and Modulation
Tonicization
Applied chords worksheet, available in three slightly different versions:
Version A (.pdf, .mscx). Asks students to identify and write applied V, V7, viio, viio7, and vii∅7 chords with Roman numerals and figures.
Version B—without ∅7s (.pdf, .mscz). Asks students to identify and write applied V, V7, viio, and viio7 chords with Roman numerals and figures.
Version C—jazz/pop focus (.pdf, .mscz). No ∅7s or figured bass; all chords in root position. Students identify and write chord symbols in addition to notation.
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.
57
IV. Diatonic Harmony, Tonicization, and Modulation
Extended Tonicization and Modulation to Closely Related Keys
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.
58
V. Chromaticism
Modal Mixture
Modal Mixture Assignment (.pdf, .docx). Includes spelling, figured bass realization, 4-part voice-leading with Roman numerals, and analysis of musical excerpt. Access audio.
59
V. Chromaticism
Neapolitan 6th (♭II6)
Neapolitan Sixths (.pdf, .docx). Asks students to spell ♭II6, realize figured bass, write 4-part voice-leading with Roman numerals, and analyze a musical excerpt.
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).
62
V. Chromaticism
Harmonic Elision
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.
63
V. Chromaticism
Chromatic Modulation
Coming soon!
64
V. Chromaticism
Reinterpreting Diminished Seventh Chords
Coming soon!
65
V. Chromaticism
Augmented Options
Head to the section on augmented chords in the Harmony Anthology chapter and pick one (or more) of the repertoire examples listed in which an analyst has identified the use of an augmented chord.
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.
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?
66
V. Chromaticism
Equal Divisions of the Octave
Coming soon!
67
V. Chromaticism
Chromatic Sequences
Coming soon!
68
V. Chromaticism
Parallel Chromatic Sequences
Coming soon!
69
V. Chromaticism
The Omnibus Progression
Coming soon!
70
V. Chromaticism
Altered and Extended Dominant Chords
Coming soon!
71
V. Chromaticism
Neo-Riemannian Triadic Progressions
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.
72
V. Chromaticism
Mediants
Harmonic analysis: analyse the first 10 measures of the Holmès example above using whichever you prefer of Roman numeral and Functional labels.
Identify the type (name or grade) of mediant that Holmès keeps using.
Do this step 1 analysis using the other terminological system (Roman numeral or Functional labels, which you disprefer and didn’t use before).
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.).
74
VI. Jazz
Chord Symbols
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.
75
VI. Jazz
Jazz Voicings
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.
76
VI. Jazz
ii–V–I
77
VI. Jazz
Embellishing Chords
Bebop composition. Asks students to build on knowledge of swing rhythms, ii–V–I, embellishing chords, and substitutions to create a composition in a bebop style.
Bebop composition. Asks students to build on knowledge of swing rhythms, ii–V–I, embellishing chords, and substitutions to create a composition in a bebop style.
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
81
VI. Jazz
Blues Melodies and the Blues Scale
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.
82
VII. Popular Music
Rhythm and Meter in Pop Music
Transcribing rhythms worksheet (.pdf, .mscz). Asks students to transcribe and identify straight syncopations as well as tresillo rhythms in “Sorry” by Beyoncé (2016). Worksheet Playlist
83
VII. Popular Music
Drumbeats
Drumbeats (.pdf, .mscz). Asks students to identify features of drumbeats and transcribe them. Worksheet playlist
84
VII. Popular Music
Melody and Phrasing
Worksheet on Section Structures (.pdf, .docx). Asks students to identify two-, three-, and four-part phrase organizations within sections. Worksheet playlist
85
VII. Popular Music
Introduction to Form in Popular Music
86
VII. Popular Music
AABA Form and Strophic Form
AABA and Strophic Form (.pdf, .docx). Uses BriFormer web app to create form diagrams of pop songs in AABA or strophic form.
87
VII. Popular Music
Verse-Chorus Form
Pop Music Form—The 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.
88
VII. Popular Music
Introduction to Harmonic Schemas in Pop Music
89
VII. Popular Music
Blues-Based Schemas
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
90
VII. Popular Music
Four-Chord Schemas
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
91
VII. Popular Music
Classical Schemas (in a Pop Context)
Worksheet on classical schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use classical schemas. Worksheet playlist
92
VII. Popular Music
Puff Schemas
Puff schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use the puff schema. Worksheet playlist
93
VII. Popular Music
Modal Schemas
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’s “Desperado” (2016) with modal schemas.
94
VII. Popular Music
Pentatonic Harmony
Coming soon!
95
VII. Popular Music
Fragile, Absent, and Emergent Tonics
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.
96
VIII. 20th- and 21st-Century Techniques
Twentieth-Century Rhythmic Techniques
97
VIII. 20th- and 21st-Century Techniques
Pitch and Pitch Class
Pitch and pitch class (.pdf, .mscz). Asks students to translate between pitch class integers, note names, and staff notation.
98
VIII. 20th- and 21st-Century Techniques
Intervals in Integer Notation
Intervals (.pdf, .docx). Asks students to identify interval types (integer notation) within pieces of music. Worksheet playlist
99
VIII. 20th- and 21st-Century Techniques
Pitch-Class Sets, Normal Order, and Transformations
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 “Nacht” by Arnold Schoenberg.
Composition prep worksheet (.pdf, .docx). Prepares students for the set class composition by asking them to find sets and transformations.
100
VIII. 20th- and 21st-Century Techniques
Set Class and Prime Form
Set Class Composition prep worksheet (.pdf, .docx). Prepares 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.
101
VIII. 20th- and 21st-Century Techniques
Interval-Class Vectors
Worksheet on Interval-Class Vectors (.pdf, .docx). Asks students to calculate interval-class vectors for several sets.
102
VIII. 20th- and 21st-Century Techniques
Analyzing with Set Theory (or not!)
Guided analysis of “Wie bin ich Froh!” 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
Worksheet on collections (.pdf, .mscz). Asks students to spell one example of each of the collections from this chapter.
Analyze Lili Boulanger’s resplendent Hymne au Soleil. Identify modes and collections used, along with related techniques. Scores can be found on IMSLP and MuseScore. Both include the original French text and an English translation in the underlay.
105
VIII. 20th- and 21st-Century Techniques
Analyzing with Modes, Scales, and Collections
Analyze Lili Boulanger’s resplendent Hymne au Soleil. Identify modes and collections used, along with related techniques and materials, and linking these (where you consider it appropriate) to possible “meanings” of the work. Scores can be found on IMSLP and MuseScore. Both include the original French text and an English translation in the underlay.
The row matrix with all 48 row forms (i.e., with numbers on the grid as shown above)
P0, R0, I0, RI0 in musical notation
107
IX. Twelve-Tone Music
Naming Conventions for Rows
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!)
108
IX. Twelve-Tone Music
Row Properties
Head to the Twelve-Tone Anthology and pick any row listed in the sections on derived rows (e.g., “6x Same Dyad (interval)” or “4x Same Trichord”).
Write out the full row in musical notation.
Put slur lines over each repeated segment (e.g., 4 x 3 notes in the “4x Same Trichord”).
Separately (e.g., below), write out those subsegments as chords.
109
IX. Twelve-Tone Music
Analysis Examples – Webern Op. 21 and 24
110
IX. Twelve-Tone Music
Composing with Twelve Tones
Try your hand at something similar to the above:
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.
Don’t be shy. Whether or not you think of yourself as “a composer,” it’s always useful to learn by doing, and composition is a great case in point.
111
IX. Twelve-Tone Music
History and Context of Serialism
112
X. Orchestration
Core Principles of Orchestration
Dovetailing: transcribe the sixteenth-notes part (piano right hand) of Louise Reichardt’s Unruhiger Schlaf (12 Gesänge, no. 6) for two clarinets, dovetailing regularly every quarter or half note. A score is available online here and for download here.
Look at the extract from Hensel’s Overture in C major below. How does the combination of bassoon and ‘cello relate to topics discussed in this chapter?
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 .
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.).
122
XI. Rhythm and Meter
Rhythm and Meter in Pop Music [crosslist]
Transcribing rhythms worksheet (.pdf, .mscz). Asks students to transcribe and identify straight syncopations as well as tresillo rhythms in “Sorry” by Beyoncé (2016). Worksheet Playlist
123
XI. Rhythm and Meter
Drumbeats [crosslist]
Drumbeats (.pdf, .mscz). Asks students to identify features of drumbeats and transcribe them. Worksheet playlist