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Summer Assignment 2016 Music in Theory (College in High School) Summer Assignment 2016 Music in Theory (College in High School) Welcome to Music Theory! In preparation for the upcoming semester in Music Theory, please read and review, Introduction, Music Fundamentals and Chapter 1 of our textbook, Music in Theory and Practice- Benward/Saker attached below and complete Assignment 1.1, 1.2 and 1.3. The key concepts presented in this chapter are the foundation of our work in Music Theory. Assignments will be collected in the first week of class. If you have any questions, please feel free to contact me: [email protected] I am looking forward to working with you in the fall. Miss Salandro Music IN THEORY AND PRACTICE V OLUME I 3711_ben01877_fmppi-xii.indd i 4/11/08 11:22:45 AM 3711_ben01877_fmppi-xii.indd ii 4/11/08 11:22:46 AM Music IN THEORY AND PRACTICE V OLUME I Eighth Edition Bruce Benward Late of the University of Wisconsin–Madison Marilyn Saker Eastern Michigan University ben01877_fm.indd iii 2/16/09 10:43:52 AM Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2009, 2003, 1997, 1993, 1989, 1985, 1981, 1977. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 QPD/QPD 0 9 8 ISBN: 978-0-07-310187-3 MHID: 0-07-310187-7 Editor in Chief: Mike Ryan Publisher: William Glass Sponsoring Editor: Christopher Freitag Marketing Manager: Pamela Cooper Editorial Coordinator: Marley Magaziner Production Editor: Holly Paulsen Manuscript Editor: Barbara Hacha Design Manager: Cassandra Chu Text Designer: Glenda King Cover Designer: Ashley Bedell Photo Research: Brian Pecko Media Project Manager: Jessalyn Clark Supplements Producer: Louis Swaim Production Supervisor: Randy Hurst Composition: 10/12 Times Roman by Thompson Type Printing: PMS 162, 45# New Era Matte Plus, Quebecor World Cover: Digital Vision/Getty Images Credits: The credits section for this book begins on page 395 and is considered an extension of the copyright page. Library of Congress Cataloging-in-Publication Data Benward, Bruce. Music in theory and practice / Bruce Benward, Marilyn Saker.—8th ed. p. cm. ISBN-13: 978-0-07-310187-3 ISBN-10: 0-07-310187-7 1. Music theory. I. Saker, Marilyn Nadine. II. Title. MT6.B34 M9 2008 781—dc21 www.mhhe.com 3711_ben01877_fmppi-xii.indd iv 4/21/08 3:22:55 PM Contents Preface ix Pitch Class 27 Diatonic Scales 28 Scale Degree Names 28 Major Scale 29 Introduction The Materials of Music: Tetrachord 29 Sound and Time xiii Transposition 30 Key Signature 30 Sound xiii Minor Scale 32 Vibration xiii Scale Relationships 35 Compression and Rarefaction xiii Tonality 39 Frequency xiv Key 40 The Four Properties of Sound xiv Other Scales 40 Pitch xiv History 44 Intensity xiv Applications 46 Duration xiv Pitch Inventory 47 Timbre xv Assignments 49 Summary xvi CHAPTER 3 PART A Intervals and Transposition 55 The Fundamentals of Music 1 Important Concepts 55 Intervals 55 CHAPTER 1 Perfect, Major, and Minor Intervals 56 Consonance and Dissonance Notation 3 58 Augmented and Diminished Intervals 58 Important Concepts 3 Enharmonic Intervals 59 Notation of Pitch 3 Inversion of Intervals 59 The Staff 3 Compound Intervals and Simple Intervals 61 Letter Names 3 History 61 The Clefs 4 Applications 62 Octave Identifi cation 6 Fluency with Intervals 62 Accidentals 7 Melodic and Harmonic Intervals 63 Interval 7 Transposition 64 Enharmonic Equivalents 8 Methods of Transposition 64 Half-Step Motion 8 Assignments 67 Notation of Duration 8 The Tie 9 CHAPTER 4 The Dot 9 Irregular Division of Notes 10 Chords 73 Rhythm 10 Meter Signatures 10 Important Concepts 73 Dynamic Markings 14 Harmony 73 History 15 Chord 73 Applications 16 Triad 73 Some Directions for Notation 16 Triad Root 73 Assignments 21 Major Triad 74 Minor Triad 74 Diminished Triad 74 CHAPTER 2 Augmented Triad 74 Triad Stability 75 Scales, Tonality, Key, Modes 27 Triad Names 75 Important Concepts 27 Primary Triads 75 Scale 27 Triad Position 75 v 3711_ben01877_fmppi-xii.indd v 4/11/08 11:22:47 AM Root Position 75 History 150 Triad Inversion 76 Applications 151 First Inversion 76 Analysis of Texture 151 Second Inversion 76 Textural Reduction 155 Other Tertian Chords 77 Assignments 157 Seventh Chords 77 History 77 CHAPTER 8 Applications 77 Roman Numeral Analysis 78 Species Counterpoint 163 Triad Position Symbols 78 Seventh-Chord Position Symbols 80 Important Concepts 163 Figured Bass 80 Species Counterpoint 163 Figured-Bass Symbols 81 The Cantus Firmus 163 Macro Analysis 83 The Counterpoint 163 Popular-Music Symbols 85 First Species Counterpoint 163 Summary 86 Second Species Counterpoint 164 Assignments 87 Third Species Counterpoint 164 Fourth Species Counterpoint 164 Fifth Species Counterpoint 165 PART B History 165 Applications 166 The Structural Elements of Music 95 Modal Scales 166 Melodic Characteristics 167 CHAPTER 5 Writing First Species Counterpoint 168 Writing Second Species Counterpoint 172 Cadences and Nonharmonic Tones 97 Writing Third Species Counterpoint 175 Writing Fourth Species Counterpoint 177 Important Concepts 97 Writing Fifth Species Counterpoint 179 Phrase 97 Assignments 183 Harmonic Cadence 97 Rhythmic Cadence 99 History 100 CHAPTER 9 Nonharmonic Tones 102 Unaccented Nonharmonic Tones 103 Voice Leading in Four-Part Chorale Accented Nonharmonic Tones 104 Writing 191 Accented versus Unaccented Nonharmonic Tones 109 Nonharmonic Tones Involving More Than Three Important Concepts 191 Four-Voice Texture Pitches 109 191 History Summary of Nonharmonic Tones 111 192 Assignments 113 Applications 192 Analysis of the Chorale Phrases 194 Stylistic Practices 194 CHAPTER 6 Root Position 195 First-Inversion Triads 198 Melodic Organization 119 Second-Inversion Triads 200 Important Concepts 119 Exceptions to Stylistic Practices 201 The Motive 119 Unstylistic Departures 201 Sequence 121 Voice Ranges 203 Phrase 123 Voice Spacing 203 Period 125 Assignments 205 Modifi cation of the Phrase 129 Melodic Structure 131 CHAPTER 10 History 133 Assignments 135 Harmonic Progression and Harmonic Rhythm 213 CHAPTER 7 Important Concepts 213 Harmonic Progression 213 Texture and Textural Reduction 145 The Relationship of Chords 214 Important Concepts 145 Chord Progressions 214 Texture 145 Harmonic Rhythm 219 Texture Types 147 History 220 vi Contents 3711_ben01877_fmppi-xii.indd vi 4/11/08 11:22:47 AM Applications 222 History 295 How to Harmonize a Tonal Melody 222 Assignments 303 Assignments 225 CHAPTER 15 CHAPTER 11 Modulation 315 The Dominant Seventh Chord 235 Important Concepts 315 Important Concepts 235 Modulation 315 Dominant Seventh Chord 235 Closely Related Keys 315 Macro Analysis Symbol 237 Common-Chord Modulation 316 History 237 Chromatic Modulation 316 Applications 239 Phrase Modulation 317 Resolution of the Dominant Seventh Chord 239 Other Modulation Types 317 Circle Progression 239 Modulations in Period Construction 318 Noncircle Progressions with Resolution 241 Analytical Symbols for Modulations 319 Nonresolution of Seventh Factor 241 Macro Analysis 320 Stylistic Practices for Voice Leading in V7 Chords 242 History 321 Assignments 243 Applications 321 Harmonizing Melodies That Modulate 321 Assignments 325 CHAPTER 12 The Leading-Tone Seventh Chords 255 CHAPTER 16 Important Concepts 255 Two-Part (Binary) Form 337 Leading-Tone Seventh Chords 255 Progressions from viiØ7 and vii ø7 256 Important Concepts 337 Resolution of Tritone and Seventh Factors 257 Formal Divisions 337 Macro Analysis Symbols 258 Open versus Closed Formal Divisions 337 History 258 Simple versus Compound Forms 337 Applications 261 Two-Part Form 337 Voice Leading and the viiØ7 and vii ø7 261 History 344 Some Pitfalls to Avoid 261 Assignments 347 Assignments 263 CHAPTER 17 CHAPTER 13 Three-Part (Ternary) Form 353 Nondominant Seventh Chords 271 Important Concepts 353 Important Concepts 271 Three-Part Form 353 Nondominant Seventh Chords 271 Expanded Ternary Form 358 Roman Numeral Symbols 271 Rounded Binary Form 358 Seventh Chords in Major and Minor Keys 272 History 360 Macro Analysis Symbols 273 Assignments 365 History 274 Applications 276 Appendixes Nondominant Seventh Chords in Circle A. Summary of Part-Writing Practices 373 Progressions 276 B. Macro Analysis Symbols 375 Resolution of the Seventh Factor 276 C. Popular Music Chord Symbols 377 Noncircle Treatment 277 D. History 379 Voice Leading of Nondominant Seventh Chords 278 E. Expression Marks 383 Assignments 279 F. Instrument Ranges, Transpositions, and Foreign Names 385 CHAPTER 14 Glossary 389 Secondary Dominants and Leading-Tone Chords 287 Credits 395 Important Concepts 287 Secondary Dominants 287 Indexes Secondary Leading-Tone Chords 290 Musical Example Index 397 Macro Analysis 293 Subject Index 401 Contents vii 3711_ben01877_fmppi-xii.indd vii 4/22/08 10:58:43 AM 3711_ben01877_fmppi-xii.indd viii 4/11/08 11:22:48 AM Preface TO THE STUDENT Before you begin your study of music theory, we would like to discuss the subject in gen- eral and explain what you may expect to gain from its study. You have probably had little previous experience in music theory, and you may be wondering why you should occupy your time with it. If you are typical of most young musicians beginning a serious study of your art, you already play an instrument or sing well, but you are interested in acquiring further techni- cal skills and interpretive insights. You probably have been a performer for some years and have had success in public concerts either as a soloist or as part of a group (band, orches- tra, or chorus). From these experiences you have developed a keen musical intuition and want to strengthen it further.
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