0495119350_78635

8/2/2019 0495119350_78635

1/63

e-Workbook

for

Techniques & Materials of Music

From the Common Practice Period Through the

Twentieth Century

Seventh Edition

Part IV: Twentieth-Century Materials

Assignments in worksheet format by

Thomas BenjaminMichael Horvit

Timothy Koozin

Robert Nelson

Edited for electronic publication by

Timothy Koozin

8/2/2019 0495119350_78635

2/63

Part IV: Twentieth-Century Materials

2 Further Concepts for Analysis 3

3 Rhythmic and Metric Devices 44 Tertian Harmony 5

5 The Diatonic (Church) Modes 11

6 Pandiatonicism 19

7 Exotic (Artificial, Synthetic) Scales 27

8 Quartal and Secondal Harmony 35

9 Polyharmony and Polytonality 41

10 Intervals in Twentieth-Century Music 47

11 Twelve-Tone Serialism 53

12 Additional Contemporary Procedures 59

Blank Score Paper 61

8/2/2019 0495119350_78635

3/63

&?

a. wwwbbb

wb

b.

wwwwb

c.

wwwwb#b wwn#

&?

d. wwwbbwwwb

Which examples above are equivalent in their interval content? (There are two such pairs.)

__________________________

e.

ww##ww#

f.

www## w

&?

a.

2. Write transpositions for Examples 1a1d above that each yield an entirely new collection of notes.

It is not possible to do this for Examples 1e and 1f. Why? ________________________________

Hint: For help on this exercise, read about the transposition factorin Part IV, Unit 1.

b. c. d.

e-Workbook forTechniques & Materials of Music Name ______________________

Part IV, Unit 2. Twentieth-Century Materials: Further Concepts for Analysis

1. Analyze the folowing chords employing the Hanson, Persicheti, and Hindemith (root designation) system

as well as pitch- and interval-class theory. Be sure to play and listen to the qualities of each chord.

3

8/2/2019 0495119350_78635

4/63

& 45a. (3 + 2) (2 + 3)

& 87b. (4 + 3) (3 + 4)

& 812c. (3 + 3 + 2 + 2 + 2)

& 86 42 85 42d.

&a. j j jb Jb .n

2. Apply bar lines and metric indications as appropriate to the following examples. Consider the use of

changing meters.

Jb JR Jb b J# J# J# J# # n J

&b.

& j j j j .


Part IV, Unit 3. Twentieth-Century Materials: Rhythmic and Metric Devices

1. Create your own melodies following the given metrical patterns. Be sure to include all necessary musica

markings (tempo, articulation, dynamics, etc.) so that the melodies are ready to perform.

4

8/2/2019 0495119350_78635

5/63

&?

a.

b.

6

b b

N

c.

#

d.

Nbb

e.

##

&

?

f.

g.

bbbb

h.

####

i.

N b b bbb

j.

##

& b cWith lighly swung eighths

j J> bFmaj7

jb J# n

> D9

nG9 #9 C9 #5

& bFmaj7 F9 b9 b5 Bbmaj9 D9 b5

& bG9 b5 Cb9 #5 Fmaj9


Part IV, Unit 4: Tertian Harmony

1. Identify the given chords, using lead sheet chord symbols.

2. Complete the melody in the same style using the chords given.

5

8/2/2019 0495119350_78635

6/63

&

?

c

c

Wolfishly

F

# # b b #

&?

.

b b b n # #

&?

# . # # n

&?

b b F # # n w

Tertian Harmony Name ______________________

3. Add an accompaniment to the following melody.

6

8/2/2019 0495119350_78635

7/63

&?

b

b

43

43

Con amore

p

n

cresc.#

Dmaj7

&?

b

bP

.Gmaj7

dim.

.#Amaj7

Cmaj7

&?

bbp .

j

Fmaj7

.

j

Bbmaj7

cresc.

#

Ebmaj7

&

?

b

bP

n #Gmaj7

dim.

N #Bbmaj7

p.

Dmaj7


4. Complete the accompaniment based on the given chords.

7

8/2/2019 0495119350_78635

8/63

&?

##

##4

3

43

Avec movement et sans poire

P

..

. j

.j

..

&?

####

..

&

?

##

##

&

?

##

##

.


5. Analyze the harmonic content of the accompaniment, then complete the melody.

8

8/2/2019 0495119350_78635

9/63

&

?

43

43

Andantino

p

J

&

?

J

&?

J J J

&

?


6. Complete the accompaniment in the same style as the opening measures.

9

8/2/2019 0495119350_78635

10/63

&?

c

c

Mit Sehnsucht

F# b

#

wwwggggg

.bb n

j #

wwwgggg wwwggggsimile

wwwb wwwbb

&? wwwbb

wwwwwwww www

www

&

&

?

b

b

b

C

C

C

Moderato

P# n

P

b # #

#n#

nbn #

b n # b n b


7. Analyze the harmony, then complete the upper parts.

8. Complete the accompaniment and analyze fully.

10

8/2/2019 0495119350_78635

11/63

&

a. Phrygian

w&

b. Mixolydian

wb

&

c. Aoelian

w

&d. Dorian

w

&e. Lydian

w

&f. Locrian

w#

?g. Dorianw

?h. Mixolydianw

?i. Phrygianw#


Part IV, Unit 5: The Diatonic (Church) Modes

1. Construct the indicated modes on the given tonic pitches. Use key signatures.

11

8/2/2019 0495119350_78635

12/63

&

?

#

#

87

87

Con animaa.

f - - J

&?

## - -

cresc.

-.-

&

?

#

#

jf

.- F .

The Diatonic (Church) Modes Name ______________________

2. Harmonize the following melodies using modal harmony.

12

8/2/2019 0495119350_78635

13/63

&

?

#

#

83

83

Tempo di Valseb.

P

J J .# j

&

?

#

# . # # J j

&?

## J J

.n

&

?

#

#

J J . n .


13

8/2/2019 0495119350_78635

14/63

&

?

b

b

43

43p

Melancoliquea.

. j

..

&?

b

b

.

&?

b

b

. J

&

?

b

b

. J . .


3. Complete the following exercises in the same style as the opening measures.

14

8/2/2019 0495119350_78635

15/63

&

?

bb

bb

83

83

b. Gracieuse

P

J

.

j

J

&

?

bb

bb

. .

&?

bb

bb j .

&?

bb

bb j . .


15

8/2/2019 0495119350_78635

16/63

&

?

86

86p

Moderatoc.

j J

J J

. j

J J

. .

&

?

j

J

. .

. .

&?

4343

pComodod.

Al le

b lu iah,bb

Al le

lu iah,

(etc.)

b- - - - - -

&

?

b b b b . .


16

8/2/2019 0495119350_78635

17/63

&

?

45

45 F

Allegro lunaticoe.

#

#

&

?simile

&?

&

?

....


17

8/2/2019 0495119350_78635

18/63

&

?

bb

bb

43

43

Andantino

P

f.

. J. j

. J . j

3

. j 3

&

?

bb

bb

.j

3

. j

&?

bbbb

3


18

8/2/2019 0495119350_78635

19/63

&?

c

c

Con moto

p(SATB)

b

Oooo

b b .

b b . b .. b

b

&?

b b b wb

&

?

c

c

Andantino

2. Provide accompaniment for the given melody.

&

?

43

43

c

c

w


Part IV, Unit 6: Pandiatonicism

1. Complete the lower voices in the texture and style of the opening measures.

19

8/2/2019 0495119350_78635

20/63

&

?

b

b

c

cf

Maestoso

...j

3. Complete the example in the texture and style of the opening measures.

&?

b

b

.

&?

b

b

&

?

b

b

. j w

Pandiatonicism Name ______________________

20

8/2/2019 0495119350_78635

21/63

&

?

b

b

43

43

Languidly

p

&

?

b

b

&?

b

b

&

?

b

b


4. Continue in the same style for at least 20 additional measures.

21

8/2/2019 0495119350_78635

22/63

&

?

42

42

Like a fanfarea.

f

RrR

.

&?

43

4342

42

b.

.

b

&

?

c

c

Pesante

f bb

b

b

ww

b b b

&

? . b w w


5. Complete the given music in the same style.

22

8/2/2019 0495119350_78635

23/63

&

?

85

85

86

86

85

85

86

86

Con brioc.

J

. .j

... ...

.

....

j

&

?

85

85

86

86

85

85

86

86

j .

.

. . . .


23

8/2/2019 0495119350_78635

24/63

&?

b

b

c

c

Con forzaa.

> > >

>

> >

ww

> > >

>

> >

> > > > >

>

> >

>>>>ww

&?

b

b

&

?

b

b

&

?

b

b


6. Continue in the same style for 10 to fifteen measures.

24

8/2/2019 0495119350_78635

25/63

&

?

b

b

43

43P

Glissantb.

&

?

b

b

&

?

b

b

&

?

b

b


25

8/2/2019 0495119350_78635

26/63

&

?

b

b

c

c

Joyeuxc.

f

.

. .

&

?

b

b

&

?

b

b

&

?

b

b


26

8/2/2019 0495119350_78635

27/63

&

a. whole tone

w&

b. octatonic

wb w

&

c. pentatonic

w

&d. Hungarian minor

w

&e. octatonic

w wb

&f. pentatonic

w

?g. whole tone

w

?h. Hungarian minor variant

w

?i. whole tone

w#

e-Workbook for Techniques & Materials of Music Name _______________________

Part IV, Unit 7: Exotic (Artificial, Synthetic) Scales

1. Construct the indicated scales on the given tonic (center) pitches.

27

8/2/2019 0495119350_78635

28/63

&?

4242

a. Heftig

f b b .n J#

#

&

?

.# j # b b

&

?

# b bF

b b b b b P

Exotic (Artificial, Synthetic) Scales Name _______________________

2. Determine the scale of the given melodies, then write accompaniments. Experiment with different

harmonic structures and different textures.

28

8/2/2019 0495119350_78635

29/63

&

?

b

b

86

86

b. Amabile

# j

&?

bb

#

j

# .

&?

b

b

# # j

&

?

b

b

# # j .


29

8/2/2019 0495119350_78635

30/63

&

?

43

43

Assez lentc.

b b

&

?

b . j b . jb

&?

.# j

. j

b b b

&?

. j .b .


30

8/2/2019 0495119350_78635

31/63

&?

bbbbbb

bbbbbb

c

cF

Andantea.

ww

&?

bbbbbb

bbbbbb

&

&

42

42

b. Poco agitato

P j#

b

b b

poco a poco cresc. #

b b n b b F #

&

&

# n dim.

n b bP b

p#


3. Continue the accompaniment in the same style as the opening measures.

31

8/2/2019 0495119350_78635

32/63

&

?

43

43

Avec lan

P

a.

4. Continue the pattern as indicated.

&

?

bbbb

bbbb(bass line given)

(same pattern continues)

rr

(Ab pentatonic)r

&?

bbbb

bbbbnnnn

nnnnr(C pentatonic)

r r

&

? r r


32

8/2/2019 0495119350_78635

33/63

&

?

83

83

84

84

83

83

84

84

Allegro barbarossab.

j#> j>

bb > > >

Jbb>

J>

J>

#> #> > >

Jn# >

J>

n> nbn > >

Jb>

J>

n> b> >

>

&

?

83

83

84

84

83

83

(same pattern continues)

(C whole tone scale) (G whole tone scale)

&

?

84

84

83

83

84

84

(C whole tone scale)


33

8/2/2019 0495119350_78635

34/63

&?

42

42

Lento

p #b

#b

5. Continue the music in the same style.

b

j#

#

b

b

b

j#

&?

&

?

&

?


34

8/2/2019 0495119350_78635

35/63

&?

4343

a. Feierlich

f . j .b - .b jb .

b -

&?

.nj b - b - -

.

jb

b- b -

b-

&

?

.b>

b .b> b b

&

?

.n> - b - b -f

. .


Part IV, Unit 8: Quartal and Secondal Harmony

1. Harmonize the following melodies using quartal and secondal harmony.

35

8/2/2019 0495119350_78635

36/63

&

?

42

42

b. Lebhaft

f

b b b bjb b b .

&

?

b # #

&?

.

3

b

Quartal and Secondal Harmony Name ______________________

36

8/2/2019 0495119350_78635

37/63

&

?

45

45

Largamentec.

F

. j .j b .b

jb b bf

.n

&

?

a.

.b jb b n n . j # # . j b

F

.

&?

c

c

Steadily

.b j bb

b .b j # # . .n

&

?

P

b . # # .n b # n b - b - w-


2. Complete the following exercises in the style and texture of the opening measures.

37

8/2/2019 0495119350_78635

38/63

&

?

c

c

b. Maessig Bewegt, mit Kraft

f

. r . . .

..

. . R . .

.Jb

bb bb ..

&

? ... ...bbb bbb b n

wwww

&&

ccP

Slowly, moodilyc.

(pitch collection: C D Eb F F# G#A B)

b

#

#

n

...##

...##

n ##

&

? ##n #n nb bn

poco rit.

bn n& # www#


38

8/2/2019 0495119350_78635

39/63

&?

42

42

Leicht bewegt

P

3. Analyze the given music, then continue for another 6-12 measures, ending in a strong cadence. Continue

the canon as long as is practical.

J

&?

&?

&

?


39

8/2/2019 0495119350_78635

40/63

&?

b

b86

86

Langsam, aber nicht schleppend

p

. .b

b - J- bbb

-J-

. b b .

b - Jbbb- - J

-

&?

bb

&?

b

b

&

?

b

b


4. Continue for ten to fifteen measures.

40

8/2/2019 0495119350_78635

41/63

&?

wwwwwwwwb

www#

#

ww wwwbwwwb

www#wwwn

&

?

42

42P

Tanguettea.

#

. .

#

. n . .

.simile

.

&

? .b b .b b

b .b bb .b b

&

? . .

. .

#U


Part IV, Unit 9: Polyharmony and Polytonality

1. Analyze the following chords with any appropriate system, then resolve.

2. Complete the exercise in the same style as the opening measures.

41

8/2/2019 0495119350_78635

42/63

&

?

1612

1612 f

Con fuocob.

b

b

n #

n

b n

n

b b b n#

n

&

?

(left hand chords)

(maintain pattern and continue same type of harmony in both hands)

? ...##...#n

...n...bb

&

?...

#

nn ...n

&

& ...bb ...###....

Polyharmony and Polytonality Name _______________________

42

8/2/2019 0495119350_78635

43/63

&

&

c

c f

Pesantec.

n

b

nn

b bb bn

&

&

43

43n b? b bb b

&?

c

c43

43

c

cn n

bnbb

bbb bnb

bn

b

wwwwwnggggggggg


43

8/2/2019 0495119350_78635

44/63

&

?

c

c

Con forzaa. >

>

> >

> >

>

>>> >

>>

>

>

> >

>

> >

>

>>>>

> >>

>

- -

>

>

>

>

--

> >

&?

J

>

j>

&?

&

?


3. Continue the examples in the same style for 10-15 measures.

44

8/2/2019 0495119350_78635

45/63

&

&

#

bbb

42

42

b. Allegro ma non troppo

p

. j

. J

&

&

#

bbb

&&

#bbb

&

&

#

bbb


45

8/2/2019 0495119350_78635

46/63

&

?

86

86

c. Siciliano

P

bj bb

j

bb J bb J

b . J bb

j

bb J bb J

&

?

&?

&

?


46

8/2/2019 0495119350_78635

47/63

&?

4343

Schizando

b

. b -

-

#. J

#

. # -

-# #

. # -

- . J

. -

-> >

bb>

>

## >

## >

>

> >

&?

&

?

&

?


Part IV, Unit 10: Intervals in Twentieth-Century Music

1. Extend the exercise in the same style for 10-15 measures.

47

8/2/2019 0495119350_78635

48/63

&?

ccp

Lightly, lyrically

set A . Jb.

J

#.

b. set B

# j

j

Jb . #

j

Jb . j.

&?

&

?

&

?

Intervals in Twentieth-Century Music Name _______________________

2. Continue the exercise by alternating and layering set A with set B. End with a retrograde of the original

pitch material. set A: D F F# A Bb Db set B: G# B C D# E G

48

8/2/2019 0495119350_78635

49/63

&?

8484

8383

8484

(source set)

wwwbnwwwn#

Brutishlynbb>

>

>

>

#>

> >

>

bnn

> nbb>

>

n##> n#

> > J

bn>

b>n>

Jn#> b>

>

&

?

&

?

&

?


3. Continue the exercise, using the source set and its transpositions and mirror sonorities. Conclude with a

strong cadence.

49

8/2/2019 0495119350_78635

50/63

&

&

44

44

43

43

44

44

Sehr langsam und innig

set A

set B

# # . b

-.

j- .

n

jb - # .

set B

set A

Jn - J-

# # n

&

&

&

&

&

&


4. Continue in the same style, using similar sonorities derived from each set. End with a clear cadential

gesture. set A: F A Bb G F#G# set B: E C B D Eb Db

50

8/2/2019 0495119350_78635

51/63

& c

Langsam

Solo B

bclarinet

. # b b .jb

& b b .j b

b


5. Continue the exercise for 10-15 measures.

51

8/2/2019 0495119350_78635

52/63

& wn wb wn wn w#


6. Compose a short piece using the following set:

52

8/2/2019 0495119350_78635

53/63

&?

43

43I0

P0

A la vienne

F b

# .b J n

bbNb

b

#

# n b b b

&

?

&

?

&

?


Part IV, Unit 11: Twelve-Tone Serialism

1. Extend the exercise for another 10-15 measures, incorporating basic principles of serialism. The opening

row forms are given.

53

8/2/2019 0495119350_78635

54/63

B43

P0

Stark

f

Solo trombone.

J # b b

.b

J #

B b b

. Jb b N

B

B

B

B

B

Twelve-Tone Serialism Name _______________________

2. Using serial techniques, continue the exercise for 10-15 measures.

54

8/2/2019 0495119350_78635

55/63

& w w wb w# w w w# w# wn w w# w

&

?

43

43

Mit Kraft

fJbn3

J#

b b .(retrograde)

.. b n 3

b b

#n

b

#

n

&

?

&

?

&

?


3. Compose a brief work for piano or instruments in your class based on this all-interval row and its associa

row-forms, continuing the opening given below.

55

8/2/2019 0495119350_78635

56/63

& w wb w ww w# wb wb w

wb wn w

&

&

c

cmolto legato

Mesto e misterioso

una corda 3

b -

- - -

3## #3

-

# - -

3# n

# -

&

&

&

&

&

&


4. Compose a brief work for piano using this row and its associated row-forms, based on the given opening

56

8/2/2019 0495119350_78635

57/63

& w w w# w# wn w w w w# wbwn w#

&

?

&

?

&

?

&

?


5. Compose a short piece using this row and its associated row-forms.

57

8/2/2019 0495119350_78635

58/63

& w w# w# w# w wn wn wb wn w w# wn

&

?

&

?

&

?

&

?


6. Analyze the inner structure and combinatorial properties of the following all-combinatorial row by

Webern. Then compose a brief work for piano or instruments in your class.

58

8/2/2019 0495119350_78635

59/63


Part IV, Unit 12: Additional Contemporary Procedures

1. Using the examples below as models, compose original music for instruments available in class.

a. With abandon

b. Hysterically

59

8/2/2019 0495119350_78635

60/63

.. .. # n # # #

# #

# # # # # #b b b

b bb n

Additional Contemporary Procedures Name _______________________

2. The Compleat Canon

This canon may be performed by an infinite number of people, each voice entering at any time interval.

Each voice determines the clef to be used and the durations of the individual notes. It is suggested that a

maximum variety of rhythmic values and articulations be employed. The various canonic voices may

imitate earlier voices freely or may ignore the others entirely. The pitch sequence may be read forwards,

backwards, upside-down, or upside-down and backwards. The canon is to be terminated when apredetermined threshold of boredom is attained.

3. Listen to, perform, and study such controlled-improv, open-form, "process" works as Riley's "In C." The

compose a group-improv work for the class, using this approach. Experiment with varying degrees and

methods of controlling various musical elements. Be sure to shape the piece in some way.

4. Listen to and study one or more classic examples of "minimalism," including works by Glass, Reich,

Eno, and Adams. Write a piece, experimenting with small musical cells, phase-shifting, drones,

subtly-shifting consonant harmony and various color elements. Some controlled improv might be used. All

or most of the piece may be pre-planned. Be sure to shape the work.

# # #

60

8/2/2019 0495119350_78635

61/63

61

8/2/2019 0495119350_78635

62/63

62

8/2/2019 0495119350_78635

63/63

Documents

0495119350_78635