fundamental of music 6 ed

INSTRUCTOR’S MANUAL

Earl Henry

Jennifer Snodgrass, Appalachian State University

Susan Piagentini, Northwestern University

Fundamentals of Music

Rudiments, Musicianship, and

Composition

Sixth Edition

Upper Saddle River, New Jersey 07458

Copyright © 2012 Pearson Education, Inc., Upper Saddle River, NJ 07458. All rights reserved.

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© 2012 by PEARSON EDUCATION, INC.

Upper Saddle River, New Jersey 07458

All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system, or transmitted, in any form or by any means,

electronic, mechanical, photocopying, recording, or otherwise, without

the prior written permission of the publisher.

10 9 87 65 43 21

ISBN 10: 0-13-244827-0

ISBN 13: 978-0-13-244827-

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Copyright © 2010 Pearson Education, Inc., Upper Saddle River, NJ 07458. All rights reserved.

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Instructor’s Manual Contents

About the Sixth Edition 3

What’s New in the Sixth Edition

MySearchLab – Exposition Music

Analysis in Context

Emphasis on Listening, Composition and Performance

Expanded Aural Skills Materials and Methods

Using the Instructor’s Manual 6

The Compact Discs

Organization of the Text 6

Review Sets

Calligraphy

A Step Further

Tricks of the Trade

Building Skills Exercises

Creative Projects

Analysis in Context

Musicianship Exercises

Other Notes on the Sixth Edition 7

Musical Examples

World Music References

Traditional Western Music

Chapter Quizzes

Course Planning

Learning Objectives

Chapter Guides

Chapter 1 12

Chapter 2 14

Chapter 3 19

Chapter 4 23

Chapter 5 26

Chapter 6 29

Chapter 7 35

Chapter 8 40

Chapter 9 43

Chapter 10 47

Chapter 11 52

Chapter 12 55

Chapter 13 57

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WHAT’S NEW IN THE SIXTH EDITION

The sixth edition of Fundamentals of Music has been thoroughly revised and expanded, yet maintains the

intent of its original author Earl Henry. Virtually all topics from the fifth edition were retained, with slight

reorganization of the overall format of the text. This edition includes a broader range of musical examples

and styles, and revised and expanded aural skills methods and exercises. Some of the new, highlighted

features of the sixth edition include:

MySearchLab – Exposition Music. MySearchLab, powered by Exposition Music, provides opportunities

for students to practice their skills and receive immediate feedback. We’ve developed a set of assessments

for each chapter, including a pretest, post-test, and chapter review. Separate drills are also included for

practice in ear training. These online assessments offer more than typical multiple choice question tests.

Exposition Music format invites students to drag and drop notation on a staff, and listen to their choices.

Students not only identify intervals or key signatures – they construct them. For melodic and harmonic

examples, the software then produces instant audio examples so students can hear what they notate.

Analysis in Context. A new feature of this edition is the inclusion of a complete score at the end of each

chapter representing one of a variety of styles of music, including folk, classical, jazz, rock and musical

theater. The accompanying study questions encourage students to apply the concepts from each chapter in

the context of a piece of music. After students work through the study questions, we encourage class

discussion and synthesis of their experiences with each score. The goal is that students see concepts in

each chapter not as isolated labels, but ones that combine to inform performance and ultimately shape the

listener’s experience.

Chapte

r

Analysis in Context Title Composer Page

1 Amazing Grace Unknown (Lyrics by John Newton) 25

2 Vom Schlaraffenland Robert Schumann 47

3 Flight of the Bumblebee N. A. Rimsky-Korsakov 73

4 Love Me Tender Elvis Presley & Vera Matson 107

5 Sonatina in C Major Muzio Clementi 133

6 The Glory of Love Billy Hill 167

7 Dashing Away With a Smoothing Iron Traditional English Folk Song 199

8 Flow My Tears John Dowland 237

9 The Sun Whose Rays Are All Ablaze W. S. Gilbert & A. Sullivan 273

10 Ach lieber Herre Jesu Christ Johannes Brahms 307

11 Will You Wear Red Traditional American Folk Song 341

12 Prelude in C Major J. S. Bach 371

13 They Long to Be Close to You Burt Bacharach 409

Emphasis on Listening, Composition and Performance. The sixth edition maintains Earl Henry’s goal of

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encouraging creative composition as a means to demonstrating understanding of concepts. While it is not a

manual for composers, one or more original songs or harmonizations can be the ultimate goal if all thirteen

chapters are covered. Each chapter includes Creative Projects that ask students to create music and share it

with the class. This can be accomplished by bringing performers to class, having their peers perform, or

the instructor playing the example.

Alongside this emphasis on composition is a thorough coverage of chord symbols. By the end of the text,

students compose text and music (or music to a given text) through a lead sheet. The point in these studies,

after all, is to help students have fun with music; the excitement that comes from creating a successful

project and sharing it with the class is perhaps as important as the final written examination.

Chapter Page Composition Related Activity

1 23-24 Composition of a clapping duet and two different rhythmic solos.

2 45-46 Flute solos based on the ordering of eight melodic and rhythmic

segments.

3 71 Composition of (nontraditional) melodies that progress stepwise

from a given pitch toward a goal.

4 100 Complete a rhythmic duet.

4 102 Complete a rhythmic duet.

4 104-106 Set short verses as rhythmic solos.

5 131 Compose four-measure phrases from specific instructions.

6 166 Compose eight-measure melodies in given keys

and with suggested interval types.

7 190 Complete second voice of rhythmic duet (compound meter)

7 195 Correct notation, then compose new voice to complement

rhythmic line given.

7 197 Compose two sixteen-measure rhythmic solos (one in simple, the

other in a compound meter).

8 235 Compose eight-measure melodies with given key and meter

8 236 Compose eight-measure rhythmic solo for given text, then set as

a melody.

9 264 Compose sequences, both ascending and descending

9 269-272 Set verses of two different poems as a sixteen-measure double

period. Suggested approach is in four related phrases.

10 305-306 Complete four different eight-measure melodic phrases using

functional chords specified.

11 340 Compose two different eight-measure melodic phrases using

functional chords specified or supplied.

12 369 Continue/Compose eight-measure periods or phrase groups both

with and without supplied chords.

13 407-408 Two different melodies are given for harmonization.

Expanded Aural Skills Materials and Methods. The expanded aural skills examples now include an

introduction to movable DO solfege, scale degree numbers, and Takadimi and numeric rhythm syllables.

The flexible format allows for a variety of teaching approaches and methods. This edition includes

additional material for sight singing. We’ve added more short melodies to encourage student practice and

performance.

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USING THE INSTRUCTOR’S MANUAL

In addition to the chapter quizzes, instructors will find ideas for approaching concepts in each chapter,

possible supplementary areas, and teaching suggestions.

The Compact Discs. The teaching suggestions in this manual assume that students will have the CD set for

use at home. Encourage students to include listening to examples as a habit when working through the text.

Model the importance of making a connection between visual score and audio file by playing examples in

class, or even performing examples as a class.

We have completely revised and newly recorded all examples on the CD and added many new tracks.

There are now 181 recorded examples spread over 137 tracks and a complete track list can be found both

on the back cover of the CD booklet and also on Pages ix-xii of the text.

Instructors are encouraged to use the CD for class discussion and drill, but might remember also that if

other exercises are used in class, the recorded material may be assigned for homework.

All Musicianship drills and dictation materials are on the CD and on the MySearchLab website. Additional

ear training drills are also available on MySearchLab.

ORGANIZATION OF THE TEXT

Each chapter of the text is divided into several parts culminating with skill building exercises, composition

projects, and analysis in context of a complete score.

Review Sets. Students need immediate and consistent reinforcement as they study the materials of music.

This type of exercise, called Review Set, is intended to furnish this needed feedback. Each chapter has three

or four Review Sets at more or less equal intervals. Present the material in class, then use the Review Set to

let students work problems individually or collectively. There are usually two lines of problems for each

item covered. Consider working the first line of problems as a class, then letting students do others on their

own (in class or at home). Check the answers before moving on to the next text material. Where there are

more Review Set problems than time allows to be completed, they can be assigned as homework. Most

Review Sets begin with one sample problem solved. At the end of many Review Sets, students are directed

to one of the Building Skills exercise Pages (see below). In addition to Review Sets, there are also

assessment tools (pretest, post test, and chapter review) for every chapter on MySearchLab.

Calligraphy. A wide range of music notation software is available today. We have retained instruction in

hand calligraphy, however, because all professional musicians should have some basic instruction in this

art. Several sections about note size and shape, stems and flags, beaming, and so on appear throughout the

early chapters of the sixth edition.

A Step Further. Sections labeled, “A Step Further” highlight some specialty topics. Some of these can be

omitted if desired (or assigned for home study), but others do contain relevant material that is less common

in popular music (the thirty-second and sixty-fourth notes, for example, and counting syllables).

Tricks of the Trade. While we emphasize memorization and thorough learning throughout the text,

several sections identified as “Tricks of the Trade” offer alternate methodology, shortcuts, and other

learning tools.

Building Skills Exercises. Like the text itself, the tear-out exercises have been edited and enlarged in

scope. Each chapter has at least four Pages of exercises; some have as many as eight Pages. These Pages

can be removed from the text without loss of instructional content.

Creative Projects. Each chapter is accompanied by one or more Creative Projects that center on analysis,

comparison, composition, or arrangement. Some instructors will not assign all Creative Projects.

Remember, however, that some in the series are designed for the eventual goal of original composition. If

this is a course aim, consider assigning all of the projects.

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Analysis in Context. As discussed above, the Analysis in Context section offers students the opportunity

to practice newly learned terms and concepts in the context of a complete score. Recordings of these

pieces are found on the CD, but the class may also wish to perform from these scores.

Musicianship Exercises. The Musicianship exercises represent a sampling of skills needed for music

study at the college level. Most of them are recorded either on the Web site or the accompanying CD.

While fingering patterns for the major scales (one octave) are included in the text, patterns for minor scales

are on the MySearchLab website.

OTHER NOTES ON THE SIXTH EDITION

While we have expanded the size of text to offer more student work space in the sixth edition, we have also

reorganized and adapted some materials. For example, the chapter, “Modes and Other Scales” from the

fifth edition has been moved to the online site in order to make room for the Analysis in Context exercises.

We have also added instruction on diatonic and chromatic half steps to Chapter 3 – The Keyboard. In

addition, Chapter 12 - Seventh Chords has been expanded to include all types of seventh chords.

Musical Examples. We maintained most musical examples from previous editions, which represented

Western folk tunes and traditional “classical” literature. In addition, we’ve added some pop, rock and

American musical theater examples in order to represent a variety of musical styles and composers. As you

move forward in the text, we encourage you to review examples that appear in earlier chapters to

supplement class activities. This scaffolding of concepts builds a deep ownership of a piece as you use it to

study related concepts throughout a course. For example, we can first view a score first to practice note

reading in bass and treble clefs, later return to focus on melodic line and cadence, and eventually cadence

types and form. After multiple views of that score, the student moves from a surface level view point as a

mere ‘exercise’ of note reading, to a more formal representation of the structure by the end of the term.

World Music References. There are frequent references in the text to the music of other world cultures.

These are self-contained and intended only to make students aware that outside the West, not every meter is

limited to three or four beats and not every scale has seven pitches. Instructors might supplement these

references, or just let them stand-alone. You might play Indonesian gamelan music as an example of

exceptional scale construction and longer metric patterns; African drumming to illustrate layering and

ostinato; and Japanese shakuhachi flute solos as examples of alternative scales and approaches to tone

quality

Traditional Western Music. In keeping with Henry’s intent, we have maintained the term “traditional

Western music” in this text to avoid comparisons between “art” and “pop,” for example. While the

ethnomusicologist’s divisions of folk/art/pop have some value, the point of the text is to build an

understanding of how music is organized and enjoyed in the West—regardless of style. However, this

approach does not preclude discussions of differences among musical systems. Play a recording of music

from India, for example, with a discussion of keyboard (Chapter 3) to emphasize that our divisions are

merely choices to help explain why Western music sounds like it does. Likewise, a recording of African

drumming will help illustrate the relative simplicity of our metric system. But most important, the emphasis

on traditional Western music as a familiar system will help students understand that whether the music is

folk, art, or pop, the materials and their organization are more common that they are different.

Chapter Quizzes. There are two quizzes in this manual for each chapter. Instructors are at liberty to

duplicate quizzes and other pages in the Instructor’s Manual as they see fit. Two quizzes are provided so

that instructors may offer make-ups or test twice on the same material. In most cases, test problems are

quite similar. These quizzes are offered in addition to the online materials provided on MySearchLab –

Exposition Music. The online quizzes are not a mere paper version of the online assessments.

Course Planning. Because students choose basic music courses for many different reasons, Fundamentals

of Music is designed to accommodate a variety of course plans. The sixth edition maintains the creative

emphasis started in the fifth edition, with composition projects. It adds an expanded emphasis on

musicianship skills with more sight singing and aural drill practice examples. Whether your fundamentals

course is designed as a preparatory course for music majors, or an introductory course for non-majors,

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materials can be strategically selected (or omitted) for your purposes, and not lessen the effectiveness of the

text.

Fundamentals of Music is designed to fit a single sixteen-week semester. Some of the thirteen chapters will

take more class time than others. Chapters 1 and 2 might be completed in a total of four hours (assuming

more advanced students). The later chapters (11, 12, and 13), however, may require four hours each. Actual

course plans will vary from one institution to another and depend upon whether the Musicianship exercises

are included and how much emphasis is placed on performance of student compositions. In general we

suggest this plan for a complete coverage of the text. The plan includes 45, rather than 48 hours assuming a

final exam week.

CHAPTER CLASS

HOURS

CHAPTER 1: NOTATING RHYTHM 2

CHAPTER 2: NOTATING PITCH 2

CHAPTER 3: THE KEYBOARD 3

CHAPTER 4: SIMPLE METERS 3

CHAPTER 5: MAJOR SCALES AND KEYS 3

CHAPTER 6: INTERVALS 4

CHAPTER 7: COMPOUND METERS 3

CHAPTER 8: MINOR SCALES AND KEYS 4

CHAPTER 9: INTRODUCTION TO FORM 4

CHAPTER 10: TRIADS 4

CHAPTER 11: CHORDS AND SYMBOLS 4

CHAPTER 12: TONALITY 4

CHAPTER 13: HARMONIZATION 4

Learning Objectives

Chapter 1 – Notating Rhythm

1.1 Identify note/rest values and time signatures

1.2 Notate a musical passage with appropriate barlines and beaming

1.3 Understand rhythmic values within the context of a musical passage

1.4 Complete musical passages with various rhythmic values

Key Concepts: tempo, rhythm, measure, notation, barline, time signature

Chapter 2 – Notating Pitch

2.1 Identify and/or notate pitches and clefs on the appropriate staff

2.2 Identify and/or notate pitches based on octave designation

2.3 Aurally identify variance in pitch

2.4 Notate pitches correctly on staff using appropriate stem and flag direction

2.5 Notate musical examples in various octaves

2.6 Discuss the differences between 32-bar song form and 12-bar blues form in jazz compositions

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Key Concepts: staff, pitch, ledger lines, octave, octave designation, clefs, register

Chapter 3 – The Keyboard

3.1 Locate various pitches on the keyboard

3.2 Identify intervals in terms of half step and whole step

3.3 Notate accidentals on staff

3.4 Identify and/or notate enharmonic pitches

Key Concepts: design of keyboard, whole step, half step, enharmonic pitches, accidentals, flat, sharp,

and natural

Chapter 4 - Simple Meters

4.1 Describe various metric accents, including simple meter and compound meter

4.2 Describe the basic metric patterns of simple meter in terms of duple, triple, and quadruple

meter

4.3 Perform rhythmic passages written in simple meter

4.4 Identify simple meter when given musical passage

4.5 Identify subdivisions of beats for various simple meters

4.6 Understand and perform examples of syncopation

4.7 Perform rhythmic passages using counting syllables

4.8 Transcribe rhythmic passages to other simple meters using other units of beats

Key Concepts: meter, beat division, beat subdivision, duple meter, triple meter, quadruple meter,

syncopation, accent

Chapter 5 – Major Scales and Keys

5.1 Notate a major scale when given various tonics

5.2 Identify scale degrees

5.3 Recognize major scales when played

5.4 Perform major scales at keyboard

5.5 Identify and/or notate major key signatures

5.6 Describe the Circle of Fifths

5.7 Sight sing scale and stepwise patterns using solfege and/or numbers

Key Concepts: scale, scale degree, major mode, key signature, transposition, solfege

Chapter 6 – Intervals

6.1 Identify and/or notate intervals on the staff (both size and quality)

6.2 Correctly place intervals in terms of location on keyboard

6.3 Recognize intervals when played

6.4 Notate intervals when given inversion

6.5 Identify intervals within a musical context

Key Concepts: interval, interval quality, interval size, interval inversion, compound interval

Chapter 7- Compound Meters

7.1 Describe basic metric patterns of compound meter - duple, and quadruple meter

7.2 Determine note values in compound meter

7.3 Perform rhythmic passages written in compound meter

7.4 Identify compound meter when given musical passage

7.5 Identify subdivisions of beats for various compound meters

7.6 Perform rhythmic passages using counting syllables

7.7 Notate in compound meter with appropriate barlines and beaming

7.8 Describe borrowed division and identify uses in various meters

Key Concepts: compound meter, borrowed division, triplet, and duplet

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Chapter 8- Minor Scales and Modes

8.1 Notate a minor scale when given various tonics

8.2 Identify scale degrees within a minor scale

8.3 Identify all three types of minor scales

8.4 Recognize minor scales when played

8.5 Perform minor scales at keyboard

8.6 Identify and/or notate minor key signatures

8.7 Describe the Circle of Fifths in terms of minor keys

8.8 Describe the relationship between parallel and relative minor keys

8.9 Sight sing scale and stepwise patterns using solfege and/or numbers

Key Concepts: harmonic minor, natural minor, melodic minor, relative relationships, parallel

relationships

Chapter 9-Introduction to Form

9.1 Describe phrases and cadences in terms of terminal and progressive

9.2 Describe motivic development in terms of repetition, variation, contrast, and sequence

9.3 Describe and identify periods and phrase groups

9.4 Describe the following forms: Da Capo, Verse and Refrain, and Thirty- two bar form

Key Concepts: form, phrase, cadence, terminal cadence, progressive cadence, and motive

Chapter 10-Triads

10.1 Identify and/or notate major, minor, augmented and diminished triads on the staff

10.2 Describe arpeggiation

10.3 Recognize triad quality when played

10.4 Describe and notate inversions of triads

10.5 Notate and identify both closed and open position of triads in both inversions

10.6 Sight singing major and minor triads

10.7 Perform major and minor triads at keyboard

10.8 Identify uses of triads within a musical context

Key Concepts: triad, arpeggiation, qualities of triad, open vs. closed position, root and root position,

inversions

Chapter 11-Chords and Symbols

11.1 Identify chords within a musical context

11.2 Recognize chord quality when played

11.3 Identify chords with varied spacing and doubling

11.4 Notate chords when given popular chord (lead sheet) symbols

11.5 Analyze chords using popular chord symbol

11.6 Notate chords when given roman numeral

11.7 Analyze chords using Roman numerals

11.8 Notate chords using figure bass symbols for inversion

11.9 Analyze chords using figured bass symbols

Key Concepts: spacing, doubling, popular chord symbol, roman numerals, figured bass

Chapter 12-Tonality

12.1 Describe texture in a musical composition

12.2 Identify active and stable pitches within a musical context

12.3 Sight sing short passages focusing on tendency tones

12.4 Describe tonic, predominant and dominant functions

12.5 Identify function of chords within a musical example

12.6 Analyze seventh chords with roman numerals and lead sheet symbols

12.7 Identify triads and seventh chords when played

Key Concepts: texture, active pitch, stable pitch, dissonance, function, seventh chord

Chapter 13-Harmonization

13.1 Describe authentic, deceptive, plagal, and half cadences

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13.2 Identify cadences within a musical excerpt

13.3 Notate cadences in various keys

13.4 Describe harmonic rhythm and how it is used in a musical composition

13.5 Identify non-chord tones (neighbor and passing tones)

13.6 Harmonize a given melody with phrase structure, harmonic rhythm, cadences, and chord

function

Key Concepts: authentic cadence, deceptive cadence, plagal cadence, half cadence, harmonic rhythm,

nonchord tone

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Chapter 1

Notating Rhythm

As notated in the opening paragraphs, the text seeks to discuss musical elements used in all genres of

Western music, including classical, jazz, pop, and folk. Although the text includes many examples of

music literature, we encourage the instructor to bring in musical examples that are currently being played or

listened to by your students.

One of the best ways to master notating rhythm is to perform rhythm. We highly encourage performance

of all of the examples presented in this chapter.

Note Values (Page 2) The note value “tree” is one of the best tools used for students to understand the

relationship of each note value. Before the discussion regarding beats, it is imperative to spend class time

talking about the relationship between values.

Ritardando (Page 3) Take the time to introduce musical examples of ritardando and accelerando. If your

classroom is equipped with a computer, YouTube provides the opportunity for students to see and hear a

performance. This encourages great conversation.

Ritardando

Bach, Jesu, Joy of Man’s Desiring

Debussy, Rêverie

Puccini, O mio babbino caro

Menken, Beauty and the Beast

Accelerando

Tchaikovsky, 1812 Overture

Marcello, Quella Fiamma

Dexy’s Midnight Runners, Come On Eileen

Performance (Page 8) Many students will be familiar with time signatures using the quarter note as the

main unit of beat. In order to understand other note values as beat units, spend more time performing the

exercises using the half note and eighth note.

Completion of Measures (Page 9) A type of exercise common through the chapters on rhythm and meter

asks students to study four-measure phrases and to determine whether or not individual measures are

complete. If not complete, they should add one note or rest as

directed. This often requires the students to compute dot values.

Musical Phrase (Page 11) This brief introduction to the notion of the musical phrase is discussed in great

length in chapter nine.

Beams and Flags (Pages 16-17) The brief discussion of beams and flags as used in vocal and instrumental

music is not discussed in the text. Some instructors may want to mention this difference. The principles of

correct beaming may need additional explanation. Have students compose a short musical example using

incorrect beaming and ATTEMPT to perform the examples as a class. Typically this fun exercise

demonstrates the essential need for correct beaming!

Building Skills (Pages 19-22) Building Skills 1-1 includes problems involving values as small as one-

quarter beat, although there is no discussion of beat division or subdivision. Approach these lines as

exercises in counting beats and fractions of beats. Discussion on counting methods is presented in chapter

four.

Building Skills 1-2 is largely an exercise in calligraphy, encouraging students to rewrite entire measures to

indicate proper beaming or complete measures. Be sure to explain vertical alignment to students with

numerous in-class examples.

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Creative Projects (Page 23) This exercise does not include beat division and students might be reminded

to use only beat and multiple-beat patterns. Emphasize the importance of repetition and variation. If time

permits, choose a few of these solos and copy or scan for the class. Students will quickly see the advantages

both of simplicity and accurate calligraphy.

Analysis in Context (Page 25) For each Analysis in Context exercise, a complete performance is available

on the accompanying CD. The streaming audio is also available on MySearchLab. Before beginning the

assignment, remind students to listen to the performance several times.

Side note! Stem placement, in terms of placement on the actual staff, is not presented until chapter 2 (Page

29.) For this assignment, students should not be responsible for correct stem placement in terms of staff

position until the second chapter, unless the instructor would like to include this information earlier.

Answers to Analysis in Context, Chapter 1:

1. ¾

2. Quarter note equals one beat

3. Half note

4. No

5. Nine and Eleven

6. Six

7. Quarter note

8. Ten

9. Tie

10. Sixteen

MySearchLab

Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within

MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can

compare their increase in knowledge with the corresponding posttest. The twenty questions available on

the chapter review test are similar to those questions found in the building skills sections of the text;

however, students are afforded immediate feedback at the conclusion of the test.

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Chapter 2

Notating Pitch

Many important, fundamental concepts are included in this chapter: pitch notation, clefs, stem placement,

the octave, and introduction to ear training. Information regarding C clefs can be found in Appendix C

beginning on Page 419. This chapter introduces pitch placement. Octave identification is presented in

chapter 3 (Page 52).

Pitch Placement (Page 28) Have students hum along with the recording on track 10. By singing along

with the movement, students will have a better understanding on how pitches change based on placement

on the staff.

Many students will need to memorize the names of the lines and spaces for both the treble and bass clef.

Take the time in class to recite the patterns together. (EGBDF, FACE, GBDFA, and ACEG). Many

websites and smart phone applications are available to help students quickly master the naming of pitches

on the staff. Some of the most popular include teoria.com, musictheory.net and Smartphone apps such as

Music Theory Pro and Music Theory Flashcards. Consider including timed note naming “quizzes” into

your syllabus at this point in the study.

Stem Direction (Page 29) After discussing appropriate stem direction, return to the Analysis in Context

exercise in chapter 1 (Page 25). Several stems are incorrect in this example. Have students rewrite each

pitch that is incorrect in terms of stem direction.

“Simple Gifts” is provided in the key of G major to illustrate stem direction not

available in C major. Accordingly, instructors may or may not want to explain the F# in measure 5.

The Octave (Pages 33-34) The concept of the octave is crucial. Consider dividing the class into two groups

to sing harmonic as well as melodic octaves. Stress the feeling of stability; compare the octave with less

stable intervals played on an instrument.

After listening to Track 19, consider playing the example without the octave sign in order for students to

hear the difference.

Musicianship 2-1 (Page 37) This introduction to ear training is essential for musicians of all levels.

Encourage your students to sing several pitches on the piano before beginning the exercise. If the student is

having difficulty in determining which pitch is higher or lower, encourage them to sing back the pitches

played. Some students may prove to be embarrassed by this exercise, so consider integrating the kazoo.

Many students are less intimidated to “sing” into the kazoo and the results are similar.

All of the exercises presented on track 21 are shown below. It is up to the instructor if they would like to

use the CD audio examples for ear training or play them individually in class. Students can and should use

the CD for additional practice outside of class. Answers to all musicianship exercises are included in

appendix D. Additional ear training exercises are available on MySearchLab.

Musicianship 2-1, Ear Training: Pitch Discrimination

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Musicianship 2-1, Ear Training: Pitch Discrimination (continued)

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Building Skills (Pages 39-44)

Building Skills 2-1 includes identification of pitches, both with and without ledger line notation. Additional

practice in calligraphy is given to allow students to practice correct stem placement in terms of pitch

placement on the staff.

Building Skills 2-2 focuses on transposing a given line up and down an octave. Students are given the

opportunity to use ledger lines of the octave sign.

Creative Projects (Pages 45-46) Like Building Skills, the creative project is largely for practice in

calligraphy. Students can arrange the eight patterns with quite different results. Playing a few of these in

class (preferably on the flute) is essential to make the point that order is crucial in composition. For another

twist, mention aleatoric music and devise a random means of ordering the segments. Stress that random

patterns usually sound random to Western ears if they lack anticipated ending points. In giving instructions

for this project, be sure to emphasize the value of repetition.

Analysis in Context (Page 47-48) For each Analysis in Context exercise, a complete performance is

available on the accompanying CD. The streaming audio is also available on MySearchLab. Before

beginning the assignment, remind students to listen to the performance several times.


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5. Measures 2, 5, 7, 10, 15, and 16

6. Grand staff (see label in score)

7. Measures 1-15; middle C is the most frequently occurring; others are B and D

MySearchLab






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Chapter 3

The Keyboard

Perhaps one of the most valuable tools in teaching music theory, the keyboard is presented in a visual

manner throughout this chapter. (A foldout keyboard is provided in the back of the text to encourage

kinesthetic ties to this material in a traditional classroom.)

Acoustics (Page 49) In order to better understand acoustics, all information regarding the principles of

frequency, sound, and overtones are included in Appendix A (Page 413).

Octave Placement and Designation (Pages 51-52) When discussing octave placement, be sure to play

through the octaves on the keyboard with your class. Particular emphasis should be given to the repeated

pitches at the octave.

Many students will be comfortable with octave identification while some students will not understand the

need for the process. Spend some time in class discussing why it is important for all musicians to have a

common language and vocabulary.

Musicianship 3-1 (Pages 55-57) Many instructors will not be able to teach a course in a fully equipped

piano lab; however, the keyboard exercises presented in this and future chapters can be practiced using one

instrument. Have students come up to the piano in pairs to practice the five-fingered patterns shown.

Students will have a fun time improvising together! If a keyboard is not readily available, encourage your

students to download a keyboard app on a smart phone. You can also use the foldout keyboard in the back

of the text for kinesthetic reinforcement of these skills.

Accidentals (Page 57) The musical excerpt by Liszt indicates the importance of cancelling accidentals.

Track 25 clearly exhibits this principle.

Musicianship 3-2 (Page 64) Before attempting to understand how to identify whole and half steps aurally,

have students perform whole and half steps on the piano or on the kazoo. The exercises given in

musicianship 3-2 can easily be transposed to various keys.

All of the exercises presented on track 26 and 27 are shown below. It is up to the instructor if they would

like to use the CD audio examples for ear training or play them individually in class using the answers.

Students can and should use the CD for additional practice outside of class. Answers to all musicianship

exercises are included in appendix D. Additional ear training exercises are available on MySearchLab.

Musicianship 3-2: Ear Training – Hearing Half and Whole Steps

Predominantly Half Steps

20

Predominantly Whole Steps

Musicianship 3-2: Ear Training – Hearing Half and Whole Steps (continued) Whole and Half Steps

21

Directed Listening

Building Skills (Pages 67-70)

Building Skills 3-1 includes identification of whole and half steps (both diatonic and chromatic). Students

also have the opportunity to identify intervals within the context of a short, musical excerpt.

Building Skills 3-2 focuses on enharmonic equivalents and notation of pitches on the staff. Students are

given the opportunity to use ledger lines and the octave sign.

Creative Projects (Pages 71-72) Like Building Skills, the creative project is largely for practice in

calligraphy. Students are asked to link whole and half steps together in order to create a musical line. The

rhythmic patterns are given in order to avoid an excessive number of note values. Be sure to play the

melodies for each other during class time. Encourage students to bring their applied instrument with them

22

to class for sight reading practice.

Analysis in Context (Pages 73-75) For each Analysis in Context exercise, a complete performance is




1. Two beats in each measure; a quarter note equals one beat

2. E6

3. Half step

4. Measure 23

5. Bass clef

6. None

7. Three

8. One; between the E and F# starting on beat 2

9. None

10. The quickly moving half steps emulate the buzzing sound of a bee in flight

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Chapter 4

Simple Meters

This chapter presents a performance-based approach to teaching simple meter. Instructors are encouraged

to clap through the examples given, paying close attention to the counting methods given in the

musicianship sections.

Introduction (Page 77) One of the most effective ways to introduce the concept of simple meter is to clap

along with music that is familiar. Divide the class in half and have one half of the class tap the beat while

the other taps the subdivision. Choose current music from the billboard charts. This material changes

every week and links to the audio are available for free from http://www.billboard.com/#/charts/hot-100.

The majority of popular music is written in simple meter, although there are exceptions!

Anacrusis (Page 79) Take the time to have students count along and tap with track 31. Take the time to

discuss other familiar tunes that use an anacrusis (Star Spangled Banner, Happy Birthday, Amazing Grace)

Notation (Page 81) Remind students that many choices in notation are largely editorial, but that all

such decisions result from improved communication with the performer—always the ultimate goal.

Tricks of the Trade: Using Counting Syllables (Page 83) Additional counting syllables appear on Page

94. However, for this opening exercise, we have opted to use only beat counting. Instructors may choose

to introduce another counting method at this point in the text. When counting is introduced, one group can

sing while another counts the beat, beat division, or beat subdivision. Performing the music as an ensemble

experience increases comprehension

“Grandfather’s Clock” (Page 86) Have students separate into three groups to perform “Grandfather’s

Clock.” The first group will tap (or kazoo) the melody, the second group will tap (or kazoo) the beat, and

the third group will tap (or kazoo) the beat division. Have each group complete one task. Complete the

same task in four groups for “Old MacDonald” on Page 88. Consider having one student conduct the entire

ensemble!

Correct Beaming (Page 93) The principle of correct beaming can be difficult to understand until a student

attempts to perform an excerpt that is beamed incorrectly. Take extra time to attempt to perform the

incorrect beaming examples. Have students compose a short rhythmic exercise on the board that is beamed

incorrectly and then have the class attempt a performance.

Tricks of the Trade: Counting Syllables (Page 94) Three of the most common counting methods are

included throughout the text, all of which are introduced on Page 94. As opposed to the beat counting

method used on Page 83, the additional counting methods shown here help students to understand patterns

and subdivisions. The first method (McHose/Tibbs) includes divisions and subdivisions within the

framework of a specific beat. The takadimi system encourages students to think in patterns, chunking the

material into a more musical manner. The final system presented is most often used in the American public

school system and many students will be familiar with this particular counting style. Similar to the

McHose method, it allows students to focus on the placement of each subdivision within the beat.

It is up to the instructor to choose a method that is most appropriate for their particular audience; however,

it is HIGHLY encouraged that instructors choose one method and use that same method throughout the

remainder of the course. Additional information on the takadimi method can be found at

www.takadimi.net.

Musicianship 4-2, Ear Training (Page 98) All of the exercises presented on track 38 are shown below. It

is up to the instructor if they would like to use the CD audio examples for ear training or play them

individually in class. Students can and should use the CD for additional practice outside of class. Answers

to all musicianship exercises are included in appendix D. Additional ear training exercises are available on

MySearchLab.

24

Building Skills (Page 99) Building Skills 4-1 and 4-2 give the student the opportunity to work with barlines

and time signatures within the context of musical excerpts or composition. Students will also be able to

indicate their understanding of the relationship between beat, division, and subdivision. For the

composition exercise, remind students how beats should line up between the two parts. Have students

perform their responses in class.

Creative Projects (Page 103) Be sure to clarify the term “transcription” and make sure that students

understand this is a difference in notation and not in sound. A good discussion question is whether the

audience is aware of differences in notation.

Encourage students to be creative on letter B and C. How many patterns can be created within the given

framework and text? Have students perform their compositions with words and also with counting

syllables.

Analysis in Context (Page 107) For each Analysis in Context exercise, a complete performance is




1. 4/4

2. Quadruple

25

3. Treble clef

4. Two beats

5. One beat

6. A

7. One___ Three and Four and; One___ Three te Four te; Ta___ Ta di Ta di

8. Four beats

9. Tie

10. One Two Three__ and; One Two Three__ te; Ta Ta Ta__ di

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Chapter 5

Major Scales and Keys

Several topics in chapter 5 are essential to the understanding of those found in subsequent chapters. The

concept of a tonic, for example, is essential to later discussions of tonality and key. Likewise,

differentiating between diatonic and chromatic half steps should precede a discussion of the major vs.

minor effect.

Memorization (Page 109) Encourage students to memorize the major scale pattern (WWHWWWH). This,

and other formulas in music serve as the foundation for other topics. Just as one does not sound out every

letter in a word, students’ musicianship should be based on ownership of these basic skills so that they are

an automated part of their language. Encourage students to practice with flash cards or web-based drills

found on MySearchLab.

Scale terminology (Page 111) The concepts of tonic, scale degree numbers, and scale degree names are

essential to later discussions of tonality, key, and Roman numerals. We as instructors can encourage

ownership of these terms by using them throughout our instruction in appropriate contexts. Create

opportunities for students to use the terms: write a major scale on the board. “Which pitch is the mediant in

this scale?”, or “The pitch A is what scale degree? “

Transposing major scales (Page 112) Use aural skills to support written tasks. When students begin

writing and transposing scales, put basic pitches A-A on the board and have students check both the written

and the sound between each set of adjacent pitches. (You may also use the fold out keyboard to form

kinesthetic awareness of the scale patterns.) Beginning on A, for example, play A-B and ask if the pattern

is correct for the start of the major scale. Add the basic written pitch C, and play A-B-C. Students should

correct the pattern (A-B-C#) and sing. Continue the process until the scale is complete.

Musicianship 5-1: Ear Training - Major Modes (Page 112) As indicated in the preface to the text (Page

xviii), the ear training exercises are intended to be representative of aural skills classes. Supplementary

work can be done in class. This and other assessments should be taken through the MySearchLab website.

Use this section a follow-up to the scale transposition exercise. Students are asked whether a 3-note pattern

(1-2-3) fits the sound of the major scale. Students identify these patterns as M (major) or o (other). The

sound file is found on track 44, and answers to these exercises appear in Appendix D. You can use these

exercises in class or as follow-up homework.

Ascending Patterns

Musicianship 5-1: Ear Training - Major Modes (Page 112) continued

Descending Patterns

27

Ascending and Descending Patterns

The process of building major scales based on the interval patterns will serve as the foundation for

understanding key signatures as a collection of accidentals needed to inflect the basic (white) notes.

Musicianship 5-2 (Page 115) Solfège. We have expanded the singing examples in the text with both scale

degree numbers and moveable DO solfege as suggested methods. Keep it simple – encourage students to

start by practicing the 5 note patterns based on any starting note using either system.

The exercises on Pages 115-116 illustrate systems of singing scale fragments. Due to range limitations in

inexperienced voices, singing complete scales may be taxing for some while natural for others. Assure

students that their natural musical abilities will emerge and improve with experience.

Key Signatures (Page 117) Once students demonstrate understanding of the structure of the major scale

(through writing, singing, and/or aural identification) encourage memorization of the order of sharps and

flats, the placement of those accidentals on the staff, and the key signatures of the fifteen major keys.

In addition to tips of going up a diatonic half step from the last sharp for example, encourage simply

knowing the number of sharps or flats as associated with a given tonic, i.e., (5) sharps is the key of B

Major. Encourage students to make flash cards with the notated key signature on one side and the name of

the major keys on the other; or one could write only the number of sharps or flats on one side, with the

name of the major key on the other. Refer students to the interactive drills on uppervoices.com, or other

theory web sites.

Circle of Fifths (Pages 120-121) We have included an explanation of Circle of Fifths with new diagrams

and information on calculating keys using this method. Because intervals of a fifth have not been

introduced yet, we recommend this chart as a visual reference. You can return to this chart after chapter 6,

and reflect on the structure and meaning of the circle.

Musicianship 5-3 (Page 124)

Keyboard. For those instructors who prefer a more comprehensive course, we have included fingering

patterns for the fifteen major scales in the text. Fingerings for minor scales are on the MySearchLab

website.

28

Solfege. Once students become comfortable with a system in the fragment examples in Musicianship 5-2,

they will be ready to explore the longer, stepwise exercises and melodies in this section. Encourage them

to keep a steady tempo, and sing lightly as they ascend in a range that is less comfortable for them.

Building Skills 5-1 (Page 127) Encourage students that ownership of the major scale will be helpful to

build and compare other scales they will encounter. Building Skills 5-2 (Page 129) emphasizes scale

degrees in different keys. Once students are comfortable with these exercises, ask students to name the

scale degree of a given pitch in a variety of keys. For example, the pitch A is scale degree 2 in G major;

scale degree 5 in D major, etc.

Creative Projects (Page 131) In addition to calligraphy, the most important goal for these short

composition exercises is for students to use a key signature and create diatonic patterns with specified

rhythms. Ask students to discuss their reasons for choosing particular pitch patterns. Encourage class

performance of a variety of student phrases and provide a gentle critique.

For the final item in this series, be sure to ask students to speculate about the construction. Is the first

phrase complete or incomplete? Play the melody using different pitches at the cadences. Which pitches

produce an effect similar to F and B-flat?


1. C major

2. cut time; there are two beats in each measure and a half note gets one beat

3. octave

4. D; scale degree 2; supertonic

5. diatonic half step

6. no

7. yes; ET

8. half steps

9. G; 5; dominant

10. Whole Step

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Chapter 6

Intervals

Melodic comparison of three melodies (Page 137) The opening comparison of melodies from Mozart,

The Beatles and Jelinek emphasizes the universal importance of the interval as providing framework and

overall character of a melody. Start by playing the Mozart and Beatles lines and ask students to comment

on what they hear. Write the list for each on the board and compare.

Composer Rhythm Range Highest/lowest Meter For

discussion in

this portion

of the text

Mozart Slower rhythms,

consistent values

10th

E4-G5 Triple Mostly

stepwise

Beatles Dotted-eighth

sixteenth, syncopation

m. 7-8, rests on

accented beats,

repeated patterns

10th G4-B5 Quadruple Mostly

stepwise

Jelinek Dotted-quarter eighth,

m. 3 syncopation,

Two

octaves

D4 – Db6 Quadruple Mostly leaps;

many wide

Next, add the Jelinek melody as a contrast. Encourage the same types of comparisons. Students may be

led to commenting that the excerpt is ‘disorganized’ because of the lack of familiarity with the style. Part

of this discussion should include the idea that there are many ways to organize music, and that tonal design

represents only one.

Interval Size (Page 139) (Users of past editions will note the change from interval ‘type’ to interval ‘size’

throughout this edition.) A helpful guide for students should include the idea that odd-numbered (simple)

intervals involve either lines or spaces while those in the even-numbered categories fall over lines and

spaces.

Encourage quick visual identification of interval size – a third has a distinct visual field from line-to-line or

space-to-space. A fifth is similar, but has an ‘empty’ line or space between. A fourth is distinct with notes

space to line, or line to space.

Interval Quality (Page 142) Begin by writing and identifying a major second on the board (G-A, for

example). Throughout this exercise, have students ‘play’ the same interval on their foldout piano in the text

to form a kinesthetic tie to the activity. Play the interval both melodically and harmonically. Ask students

how many half steps are involved between the two pitches. Next, make the A an A-flat and point out that

while G-A flat is still a second, it is now narrower than before. Finally, return to the interval G-A, and then

play G flat-A. Now there are three half steps in the second. The point of this activity is to emphasize that

quality is a traditional label to identify sounds more precisely.

Enharmonic equivalents often puzzle students who do not understand that while two intervals may sound

the same, only one notation is appropriate. Suggest that spelling “cat” with a “k” (“kat”) is a similar process

in spoken and written English. The two words sound exactly the same, yet we all understand that “kat” is

an incorrect spelling. In music, composers choose a spelling of an interval depending on its context in a line

and how the note will continue or resolve.

Categories of Intervals (Page 143) Emphasize the two main categories “perfect” and “major/minor” to

classify intervals. Remind students that intervals may be perfect or may be major or minor depending on

size. The important point to emphasize is the exclusivity of the two categories: perfect intervals can never

be altered to become major or minor; major or minor intervals can never be altered to be perfect in quality.

30

Half-Step Content (Page 143) Make sure that students understand that written notation is precise. The

interval C-F# sounds the same as C-G-flat, yet one is a fourth and the other a fifth. The half-step content

section is summarized later in the chapter in a table on Page 151. While this information is important to an

understanding of intervals, ultimately a quick method of identifying intervals should be implemented.

Major-Scale Comparison (Page 143) As mentioned before, we recommend requiring students to

memorize the major key signatures and approach all fundamental materials from this perspective. Counting

half steps takes too long and offers the potential for error at every step. One can identify any interval by

comparing it to the major scale. Begin with the lower pitch since all diatonic intervals above a scale tonic

are perfect or major.

Guidelines for Interval Construction and Identification. The tritone (Page 152) Briefly discuss the

tritone as naturally unstable. The idea of an interval being unstable will not be readily apparent to students

who judge these from their ‘modern’ ears. Compare the sound and half step content with the perfect fifth.

Play the resolution of the interval to demonstrate the unstable nature of the interval.

Interval exceptions (Page 153) A revised method must be used when the bottom pitch of an interval is not

the starting pitch of a major scale. Encouraging use of the foldout keyboard at the end of the text can be

helpful in this activity. Given the interval E# - B, the pitch E# is not a tonic note of a major scale.

Temporarily visualize the interval without the sharp, E-B. This is a perfect fifth based on the E Major

scale. Emphasize that the sharp ‘contracts’ the interval making it one half-step smaller. The resulting

interval is a diminished fifth. Students can feel this by fingering E-B on the keyboard, and then moving

their lower finger to E#. Interval inversion (Page 158) Interval inversion can often be helpful in determining the size and quality of

wider intervals. For example, when given the interval C-Ab, one can invert the interval, making it Ab-C.

The smaller interval is often more quickly recognized, in this case a major third. Once identified, the

interval quality of the larger interval is determined as its inversion. In other words, the Major third inverts

to become a minor sixth. Demonstrate this principal with a variety of interval sizes and walk them through

the principals.

Musicianship 6-2 (Page 145) All of the exercises presented on track 51 and 53 are shown below. It is up

to the instructor if they would like to use the CD audio examples for ear training or play them individually

in class. Students can and should use the CD for additional practice outside of class. Answers to all

musicianship exercises are included in Appendix D. Additional ear training exercises are available on

MySearchLab.


Perfect Intervals

31


Major and Minor Seconds


Major and Minor Thirds

32

Major and Minor Seconds and Thirds


Perfect Intervals, Seconds and Thirds

33

Building Skills 6-1 (Page 159) In addition to typical interval identification and construction exercises,

Building Skills 6-1 (Page 160) includes interval identification within the context of melodies. Use melodies

from other chapters throughout the text as class activities. Ask students to identify the meters, indicate

which pitches are diatonic and non-diatonic, identify the interval between consecutive pitches, and so on.

Creative Projects (Page 165) One of the goals of this exercise is to help students view music as a line

instead of consecutive intervals. The question, “How many different interval types occur in this melody?”

may have two or more correct answers depending on whether reiterations are counted as unisons or as the

same pitch (and discounted). Instructors might give additional instructions depending on how they want the

exercise approached.

For the composition exercise (project B, Page 165), help students understand that where a crucial interval

occurs (on a strong beat, in the middle of a phrase) may be more important than how many fifths or sixths

are used. Some students will construct nontraditional melodies for this exercise. If some student phrases

can be played in class, differences will be better appreciated.

Analysis in Context “The Glory of Love” (Page 167) The study questions ask students to identify specific

intervals in given measures. Class discussion should follow this assignment, putting the results into context

of the phrases of the piece. The use of seconds vs. thirds, along with the rhythmic elements act to shape the

various sections of the song. In addition, the gradual growth process of the initial lines of text in measures

1-3 (d-b; d-c; d-d) is a salient characteristic of this tune. Encourage students to reflect on how the melody

evolves from phrase to phrase.


1. P8

2. M3

3. m3

34

4. m2

5. two

6. two

7. P5

8. M3

9. unison

10. m2

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35

Chapter 7

Compound Meters

This chapter presents a performance-based approach to teaching compound meter. Instructors are

encouraged to clap through the examples given, paying close attention to the counting methods given in the

musicianship sections.

Introduction to Compound Meters (Page 169-170) Similar to the approach in chapter 4, begin talking

about compound meters by using pieces that the students have heard several times, whether on the radio,

TV, or in the recital hall. Some examples to include that are readily available on YouTube include:

“Memory” from Cats

“Unchained Melody”

“Greensleeves”

“Lacrimosa” from Requiem

“Pastoral Symphony” from Messiah

“Hallelujah” by Leonard Cohen

Remind students that in compound meters, parts of beats are more often thirds and sixths rather than halves

and quarters. By showing the basic patterns that occur in compound meter, students will be able to

understand how division is accomplished in compound meter.

Compound Time Signatures (Page 171) When discussing compound time signatures, remind students that

any time signature with a 6, 9, or 12 as the top number is a compound meter signature. The number of

beats per measure is quickly understood by dividing that top number by 3! Remind students that the

bottom number represents the division. In order to find the note value that equals one in compound meter,

double the note value and add a dot. For example, in 6/8 time if you double an eighth note and add a dot

your result would be a dotted quarter, the “beat” in 6/8 time.

Subdivision in Compound Meter (Page 174) In order for students to understand the principle of

subdivision in compound meter, consider creating a note value tree similar to that presented on Page 2 of

the text. By visualizing the relationship (and the division of the beat into 3 equal parts), students will

understand the fundamental differences between compound and simple meter.

Counting in Compound Meter (Page 178-179) Similar to the counting methods presented in chapter 4

(Page 94), the compound meter counting systems follow the same methods of counting beats and the

subdivision (McHose method) or pattern recognition (takadimi). The American method has been removed

from this chapter so that students will not be tempted to focus on subdivisions rather than the beat. For

example in 6/8, many students would count 1 and 2 and 3 and 4 and 5 and 6. This method does not clearly

articulate the division into 3 equal parts. The McHose method and takadimi use different syllables for

compound meter, and therefore students are able to clearly see the distinction. Takadimi uses a separate

syllable for each subdivision while the McHose Method separate the division with the syllable “ta.”

It is up to the instructor to choose a method that is most appropriate for their particular audience; however,

it is HIGHLY encouraged that instructors choose one method and use that same method throughout the

remainder of the course. Additional information on the takadimi method can be found at

www.takadimi.net.

Performance is one of the best ways for students to understand the concept of compound meter. Spend

time going through the rhythmic exercises presented in Musicianship 7-1. Have students conduct while

they say the rhythmic syllables or have the students move side to side, feeling the beat as they sing the

syllables together. Students can be broken up into two groups in which one group claps the beat while the

other group taps or speaks the rhythm.

36

Borrowed Division (Page 182) Introduce the concept of borrowed division by performing a simple pattern

and asking students to substitute a group of three notes in the fourth measure for the two eighths in the

second measure.

Suggest to students that the rhythms are easy and natural; notation is the problem (since with the three

eighth notes there are too many beats in the measure). The triplet can then be introduced simply as a special

marking for a rather familiar pattern.

By using the counting methods, students will be able to understand how borrowed division uses groupings

from the other meter. Page 186 offers examples of counting methods using borrowed division. Before

attempting the review set in this section, have students practice counting. The notation will be clearer after

the student performs the examples given.

Musicianship 7-2, Ear Training (Page 188) The examples below are not available on the audio CD. The

instructor can play them individually in class for assessment and discussion purposes. It also may be an

option to hand out the melodies to a student and have a student play them on their applied instrument.

Answers to all musicianship exercises are included in appendix D. Additional ear training exercises are

available on MySearchLab.

Musicianship 7-2, Ear Training (Page 188)

Duple Meters

37

Musicianship 7-2, Ear Training (Page 188) Triple Meters

38

Building Skills (Pages 189-192) These exercises are drill and mostly self-explanatory. Several of the

exercises include audio from the CD, so encourage your students to listen to the excerpts before attempting

to insert barlines. On Exercise D (Page 190), remind students of the lead and accompanying roles,

respectively, of the two lines. The lower line is an accompaniment, but suggest that where eighth notes

occur in the lower line, the upper might rest or include a longer value. Help students see this exercise as

three four-measure phrases. The first and third should be about the same with the second contrasting. Play

the lower line on the piano with students performing the upper part as composed by their colleagues.

Emphasize calligraphy and vertical alignment.

Creative Projects (Pages 195-199) The result of project A (Page 195) will be a duet. Students begin by

revising the notation of the given line to reflect traditional beaming in compound meter. No instructions are

given for the composition of the lower line. Encourage students to avoid random patterns. Warn students to

avoid intricate rhythms in their newly-composed part. Have students perform the compositions using both

39

rhythmic syllables and/or instruments.

Project B (Page 196) is a transcription. The third project on Page 197 is an open-ended rhythmic solo in

different meters that can be shared with the class. Emphasize repetition and variation.

Analysis in Context (Page 199) English Folk Song “Dashing Away With The Smoothing Iron” For

each Analysis in Context exercise, a complete performance is available on the accompanying CD. The

streaming audio is also available on MySearchLab. Before beginning the assignment, remind students to

listen to the performance several times. After the students complete the assignment, clap and intone the

rhythm syllables of the song. Another exercise is to tap the division of the beat along with the recording;

when they are comfortable with this, direct students to move to different levels of rhythm hierarchy (from

dotted quarter to eighths to sixteenths).


1. E-flat major

2. 5–1 or sol–do

3. Compound duple

4. Dotted quarter note

5. Dotted quarter followed by an eighth note

6. Ta da OR One le

7. No

8. P4

9. m3

10. M2

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40

Chapter 8

Minor Scales and Keys

While the difference between the major and minor effects was emphasized in Chapter 5, a focus in the

present unit can be on the difference between a subtonic and a leading tone, and of understanding the three

forms of minor and the reasons behind them. Having students memorize the whole- and half-step pattern

for the natural minor scale is recommended only as a first step to learning. As with other materials in this

text, we recommend that students memorize the fifteen minor key signatures.

Help students understand that they are already familiar with the sound of minor keys. Play familiar tunes in

minor, then the same tunes in major. “We Three Kings,” “Hava Nagila”, or “When Johnny Comes

Marching Home” are three useful examples. Likewise, play a familiar melody in major, and then perform

the same melody in natural minor. Perform major and minor versions of other melodies and ask students

which is the familiar one.

Whole- and Half-Step Pattern (Page 203) Have students learn the pattern and compare it to the one

learned for major. Show students how this scale is simply a rearrangement of notes and as a result

whole/half-steps. Remember to have students listen and sing to reinforce the visual score!

The Parallel Relationship (Page 204) We’ve moved the parallel relationship to the beginning of this

section, as many students find it easier to relate the construction of the minor scale as an alteration of the

major scale.

Transposing Minor Scales (Page 204) Use the same kinesthetic/aural process used for major scales in

chapter 5. Do an example on the board that begins with the basic pitches D to D. Work up the scale,

asking students if the note pattern follows the whole step/half step expectations, and adjusting notes as

needed to match that pattern. Have students follow by fingering on the foldout keyboard and listening as

you play the two notes.

Minor Key Signatures (Page 206) Our emphasis on major and related minor keys comes from a time (ca.

1650-1875) when major and minor were employed as virtually the only choices. Explain that we can have

other relationships in music today (major and Lydian; minor and Phrygian, and so on).

Remind students that if they memorize the minor key signatures, finding relative majors and minors will be

much easier—without the tedious counting as discussed. Students regularly falter at this point in the course

for two basic reasons: (1) they have not memorized the major key signatures, and/or (2) when they begin to

associate relative and parallel majors and minors, they confuse the processes. The text material and

exercises are designed to establish a step-by-step approach to avoid such confusion.

Circle of Fifths in Minor Keys (Page 210) Review the circle of major keys (Page 121), then show students

that the same principles work with minor. Knowing the pairing of major and minor keys associated with

each key signature is important. Students may also work towards knowing the major key signatures and

being able to quickly find the relative minor from that information.

Musicianship Exercises (Page 211) Musicianship 8-1 is a five-finger exercise on scale degrees 1-5, the

basis of all three forms of minor. Fingering patterns for minor scales are available on MySearchLab.

Variants of Minor (Page 212) Many students will have an understanding of the three forms of minor from

previous ensemble experience or from private lessons. Rarely, however, are forms of minor presented as

choices. First, help students understand that major and minor are only two of many choices. To illustrate

this, play “America” in C major and then in C natural minor. Now play the tune in Mixolydian, Phrygian,

and Lydian modes. Next, play “America” in minor first without, then with a leading tone. Ask students

which version gives a clearer sense of emphasis on the pitch C.

While we have not used the term in the text, show the concept of a “complete” minor scale (with lowered

and raised sixth degree as well as lowered and raised seventh). Write this “complete” minor scale on the

board:

41

Now discuss goals as the fifth scale degree and the tonic pitch. Begin with as ascending series and mark

arrows from the pitch G through A♮, B♮, and C. Ask students to sing these pitches. Now explain that if the

series does not ascend, neither the raised sixth or seventh is needed. F-A♭-C and G-B♮-D, the A♭ and the

B♮ can be set in different voices. The “melodic” form is used when the leading tone would be preceded by

the natural sixth scale degree. Finally, help students understand that all three forms of minor may appear

consecutively and even simultaneously in different voices. Composers write in D minor, for example, and

not in D natural, melodic, or harmonic minor.

Musicianship 8-2 (Page 219) asks students to discern between major and minor using scale degrees 1-5.

Answers for these exercises appear in the back of the text so that students may use these for practice.

Exercises B and C (Page 220) are on the MySearchLab site and not on the CD. These exercises center on

scale degrees 1-5 in major and minor keys. Exercise C deals with the upper tetrachord (a term not used in

the text) of the minor scale (5-6-7-8). Students are asked to differentiate between a leading tone and a

subtonic. A sampling of the exercises presented on track 77 is shown below. It is up to the instructor if

they would like to use the CD audio examples for ear training or play them individually in class using the

notation shown below.

Musicianship 8-3 (Pages 220-222) begins as a series of sight singing drills on scale degrees 1-5 in minor

keys. Later examples in this section include short, stepwise melodies in major. Encourage students to use a

pitch source such as piano to find the starting pitch and check the last pitch. Often playing a tonic drone as

they practice will help students maintain the original key in the exercise.

Creative Projects (Page 235) These lines include given pitches to guide students to the appropriate

cadential choices. Remind them that they should maintain the given motive, but that other rhythms are

possible. For the text setting (Page 236) suggest to students that they should make each line of text four

measures in length (they may consider an anacrusis). Working out the rhythmic plan is a good first step,

42

followed by melodic line in the minor mode. Do a sample in class that emphasizes the tonic and dominant

scale degrees, ending on the tonic. Use repetition as an organization tool and to streamline their work.

Be sure to play or sing several in class and let students serve as supportive critics. Expect that some

melodies will not be tonal since the finer points to structure have yet to be discussed.

Analysis in Context (Page 237) Encourage students to listen to the audio file for “Flow My Tears” as they

complete the study question assignment. Engage the class in a discussion of their answers to the study

questions, playing the selected measures. Lead a discussion asking students to consider how the mode,

rhythm and melodic choices portray the meaning of the text.


1. A minor

2. melodic minor

3. F# and G# throughout much of the piece, particularly in ascending melodic lines

4. simple duple

5. half note

6. Ta di__ ka di

7. M2

8. C major

9. Relative major; no - G# and it starts on “do” of the relative major key

10. Ta mi Ta ka di

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Chapter 9

Form

The study of form is included in Fundamentals of Music as a means to encouraging students to think of the

cumulative relationships among elements of music that make up a piece.

Building Phrases (Page 241) Emphasize that a phrase is complete, but may or may not have a definitive

effect. Phrases end with cadences. Explain to students that we can formulate guidelines about melodic

cadences, but that melodic, metric, and harmonic elements work together to clarify whether the effect is

final or intermediate.

Progressive and Terminal Cadences (Page 241-242) In identifying phrases as terminal or progressive,

stress the duality of the first and third degrees. Emphasize that the tonic pitch is the strongest, but that we

also hear the third degree as relatively final. That being said, explain that all other pitches used as a cadence

have a less definite (progressive) effect. Stress the fact that the cadential pitch usually coincides with a

strong beat.

Write the first two phrases of a melody on the board and ask students to choose either a terminal or

progressive cadence. Now, write the cadential pitch and have students fill in the third measure to provide an

interesting and stepwise approach to the cadence. Use this model for both terminal and progressive

cadences:

Unifying and Extending Phrases (Page 244) These studies are mostly self-explanatory. On Page 245,

contrast the Beethoven and Ritchie cadences in terms of metric placement. Beethoven’s is clear-cut and

occurs on the first beat of the measure. In “The Magic of Love,” the pitch B♭ is on its way to the next

phrase. The fourth scale degree is unusual, in fact, as a cadential point. Remind students that the fifth scale

degree is associated with a progressive effect.

Sequence (Page 246) Use examples of diatonic sequence to provide students with a strong basis for their

own composition. Provide one measure (the first sequential “leg”) and ask students to create a sequence.

The choice of a progressive or melodic cadence will determine the direction of the cadence. Explain that

they may need to vary intervals in the third leg to smoothly lead to the chosen cadence pitch.

Suggested sequence activity:

44

The Period (Page 249) Terms such as “period” and “phrase group” have been substantially clarified by

theorists in the past few decades. Where once we had various definitions, we have used only one in this

text: A period has a weak-strong cadential structure. Any design other than this is a phrase group.

According to the definitions we have employed, there is no three-phrase period. While instructors are at

liberty to revise these guidelines as they choose, beginning students find them helpful. Remind students that

if a phrase is merely repeated, there is no cadential variety and, therefore, no period structure. The main

problem for students is in locating cadences. Remind them that while there are many exceptions, the four-

measure phrase and the eight-measure period are the norm. Many cadences are circled in text exercises,

making the problem less significant. In addition, we have emphasized in this text that there are relatively

fewer differences between “classical” structures and rock. Popular music usually includes numerous clichés

such as syncopation and weak-beat cadences, but the same forms can be found in both styles.

Phrase Group (Page 252) If two phrases are not antecedent/consequent in structure, they do not comprise

a period. Accordingly, anything not a period is a phrase group. We can view a double period (weak-weak-

weak-strong) as a phrase group, but because it is longer, we employ the other term. With a restrictive

definition of “period” and an encompassing one for “phrase group,” little disagreement (and little

confusion) occurs among analyses. As students gain confidence, they will be able to locate cadences

themselves and make decisions about metric position, and so on.

Because there is no standard, we have avoided a more restrictive term for the weak-weak-weak-strong

double period. Instructors might refer to this arrangement as “full,” “traditional,” “common” or the like

with the term “sectional double period” reserved for any and all variants (most commonly, the weak-

strong-weak-strong arrangement). Help students see the growth of musical idea from motive to phrase, to

period (phrase group) and finally, to double period for a complete melody.

Other Forms (Page 257) With the emphasis on song writing, we have added information on verse and

refrain and also on “thirty-two-bar song form.” Help students understand that composers rarely have as a

goal the blind adherence to a traditional form. Measures are added here and deleted there. Remind students

throughout these studies that repetition is the cornerstone of composition. Only eight of the thirty-two

measures in song form, for example, are contrasting. The remaining twenty-four measures are phrase

repetitions.

Building Skills 9-1 (Page 263) There are two types of exercises in this section. The first will take most

students very little time to complete. Keys are given; once the scale degree has been identified, the melodic

cadence type is clear. The second page of the exercise is more open-ended. What are principal motives in

these melodies? For the first (Schubert), we could argue that the four measures comprise a simple motive.

On the other hand, the two dotted half notes might be another logical answer. In the Berlioz line, there are

numerous motives; the first of these is the one we remember. Be sure to point out the vast difference

45

between Schubert and Berlioz melodies in terms of variety. The “Spinning Wheel” melody opens with a

four-note motive immediately heard in sequence. The Corelli begins with a four-note motive, and we would

probably agree that the African phrase (number 5) begins with a motive of three notes.

Part C of Building Skills 9-1 (Page 264) plays on earlier exercises in which students plan a cadence

(terminal or progressive) and then arrive at that cadence through sequence. Remind students that it’s

common to vary the third statement before the cadence. Encourage creativity and have students work in

pairs to create solutions. Follow this by playing their composition in class.

Building Skills 9-2 (Page 265) Ask students to identify the scale material heard (minor pentatonic for

Robert Johnson, minor for Schumann, and major for “Cruel War,” the Haydn symphony, and “American

Pie”). In form, “Ramblin’” is a phrase group; the Schumann, a traditional period. We might argue that

number 3, “Cruel War” is a period because the first cadence is on the third scale degree and the second

more final on tonic; “phrase group” is also an acceptable answer. The Haydn example is a period.

“American Pie” is three phrases and, therefore, a phrase group. Use the recordings on the CD or perform in

class as you discuss each excerpt.

Building Skills 9-3 (Page 267) The German folk song is a sectional double period. Gershwin’s “I Got

Rhythm” is a traditional song form, but with an extra two measures (measures 31-32) that delay the final

cadence and ask the central question (“Who could ask for anything more?”) not once, but twice. This form

is a sectional double period followed by a full double period. As always, emphasize the strength of

cadences. We ask students to comment on their conclusions to each exercise in a paragraph (this may

require another sheet of paper). This writing exercise is an important step in learning to communicate

about music using appropriate terminology. Encourage students to embrace this new musical language and

their ability to describe events in meaningful ways.

Creative Projects (Page 269) There are really three different projects with this chapter. The first (“When

Tyrants Tremble”) takes students step-by-step through the composition of a melody to set the first stanza of

a text. This exercise might be completed in class with a discussion of each phase: (1) planning rhythm and

meter, (2) creating motives and planning cadences, and (3) completing the four phrases. The second and

third projects are open-ended songs to be set and modeled on “Tyrants.” Instructors may want to substitute

a popular ballad for setting or to let students write their own text. In any case, include performance in the

classroom, or invite students to use a notation program in order to play their composition for the class.

Analysis in Context (Page 273) “The Sun, Whose Rays Are All Ablaze.” Lead a class discussion based on

their answers to the questions about cadences. Invite students to perform the song, or invite a guest

performer to class. Guide students through a discovery of the relationship between phrases and the overall

form of the song.


1. G major

2. measure 4

3. terminal melodic cadence

4. measure 6

5. progressive cadence

6. P5

7. terminal melodic cadence

8. P4

9. progressive cadence

10. Ta di Ta di Ta ka di mi Ta

46

Musicianship. There are no musicianship exercises in this chapter. If supplements are desired, play a

variety of periods, phrase groups, and double periods, with students asked to identify the form.

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47

Chapter 10

Triads

This chapter invites students not only to construct and/or identify stacked vertical triads, but also

encourages them to consider harmonic implications within melodies that may outline triads.

Harmony (Page 279) To illustrate the thickening of a melody, ask the class to sing a familiar tune, then

while they sing this, play or improvise an embellished version. Consider playing one or two examples of

layered music from Indonesia or Africa. Make sure that students understand that tertian is only one type of

triad; play some quartal and secundal chords to emphasize other choices.

Triad quality (Page 280) Traditional instructions for triad construction based on component intervals are

followed by instructions for relating major and minor triads to key signatures for construction and

identification of materials. It is important to provide multiple tools for reaching the same goal. Major and

minor triads are presented first with augmented and diminished introduced beginning on Page 283.

Triads and Stability (Page 285) This discussion provides a bit of groundwork for a later understanding of

triad inversions. Explain that the perfect fifth keeps us from hearing a triad as active’ but with diminished

fifth, there is a strong tendency to resolve. To illustrate resolution further, play scale degrees 1-7 of a major

scale and leave students “hanging.” This is the need for resolution produced by conditioning.

Inverted Triads (Page 286) explain that inverted triads are inherently less stable than those in root position

due to the lack of a perfect fifth above the root. First and second inversions are usually easy to grasp, but

help students to understand why, in traditional music, composers carefully considered inversions

(especially second inversion with the fourth between the bass and an upper voice). In a preparatory theory-

oriented course, instructors should stress the varying interval content in root position and inverted triads

and the relative stability of the triads might be discussed. This is an important concept and helps students

understand why we spend so much time analyzing and discussing inversions in traditional tonal music (as

opposed to jazz and commercial music where inversion is not as critical). Root-position triads are stable

because they include a perfect fifth (the most stable interval after the octave) between root and fifth. The

first inversion triad lacks the fifth, and in second inversion, the relatively unstable perfect fourth is present.

Instructors might be prepared to comment further on the considerable instability of the diminished triad.

Open and Closed Position (Page 288) Approach these new terms as ways we can differentiate among

sounds that contain the same pitches. Explaining open and closed position helps students understand the

affect of spacing on a triad. Remind students that spatial position has no affect on inversion.

Triads With a Given Third or Fifth (Page 290) this activity takes time to master, depending on the

students’ mastery of intervals in earlier chapters. Encourage visualization of the triad in root position –

finding the root from the given third, and then assembling the three tones.

Building Skills 10-2 (Page 297) For Building Skills 10-2, remind students that working out problems in

root position on another sheet is acceptable in the beginning. Notice that problem C (Page 298) introduces

the practice of identifying triads by their component intervals. It’s a good idea to go through a few

examples of these as a class before making an assignment.

Creative Projects Project A (Page 299) is actually analysis, although students assess rhythmic values as

well as pitch. The triads are bracketed, making the process relatively simple. Once this section is complete,

play the sustained chords while performing the melodic line. In Project B, students write periods based on

triad outlines. The triads are given in order to produce a functional progression. Ask students to limit

themselves to pitches in the triads and to plan the final pitch of the first phrase as a progressive cadence and

the end of the second phrase as terminal. Suggest to students that the cadential pitch in each phrase should

match terminal and progressive models.

48

Analysis in Context (Page 307) “Ach lieber Herre Jesu Christ.” Once students have completed their

answers to the questions, lead a class activity discussing the harmonic makeup of the chorale. Depending

on the strengths of the class, you may have them sing the outermost voices while you fill in the inner

voices; or sustain each chord at the piano and ask students to consider the various qualities and inversions

of chords. The discussion should highlight momentum or progression in music, a product in part of the

varying quality and position of chords.


1. D major

2. G major

3. root position

4. F# minor

5. root position

6. G major

7. first inversion

8. C# diminished

9. first inversion

10. 4; half

MySearchLab







A sampling of the exercises presented on the MySearchLab website is shown below (These examples are

not on the audio CD). It is up to the instructor if they would like to use the audio examples on the website

for ear training or play them individually in class using the notation shown below.

49

Musicianship 10-2 (Page 285) Ear Training: Triads of All Qualities

These exercises provide practice opportunities in discerning between the various triad qualities. A

sampling of the exercises presented on track 103 is shown below. It is up to the instructor if they would

like to use the CD audio examples for ear training or play them individually in class.

Part I

50

Part II


51

Musicianship 10-4 (Page 292) is intended to facilitate additional exercises and not as an end in itself.

Practice in class as the model suggests, but recommend to students that they sing in all areas of their natural

ranges. Specify a neutral syllable or a system of solmization.

52

Chapter 11

Chords and Symbols

Before beginning this chapter, it is essential that students have mastery of the fundamentals presented in

previous chapters. Take a moment before beginning this chapter to drill students in key signatures,

intervals, and triads. Additional exercises in drill are also available on MySearchLab.

This chapter includes an introduction to Roman numeral analysis and lead sheet notation, two skills that are

critical for more advanced study in music theory. While many guitar players will be familiar with lead

sheet notation, Roman numeral analysis will be a bit more challenging. Have students bring examples of

lead sheet notation to class. Guitar chords for most popular and folk songs are easy to find using a web

search.

Voicing (Page 312) Have students listen to track 107 and discuss the various voicing of the E minor chord.

It is important for students to understand that all methods are acceptable, but the difference is found in the

texture of the chord. To demonstrate voicing, play the D major chords in each inversion. Which doubling

is preferred to the student? Why?

Approach to Analysis (Page 313-314) Assure students that the tedious approach to analysis is a model of

approach. In actual practice, if students have mastered triads, they will develop a method that is fast and

accurate. Emphasize the necessity of using marginal notes or sketches on another sheet when necessary.

Musicianship 11-1, Ear Training (Page317) All of the exercises are included on track 109. No graphic is

provided for this example; however, instructors are encouraged to perform triads in a variety of

registers." Answers are found in appendix D. Students can and should use the CD for additional practice

outside of class.

Chord Symbols (Page 318) Because jazz musicians are familiar with the jazz (handwritten) font, this type

style is retained in the text. Likewise, we have formatted exercises involving chord symbols with answers

above the chord. Explain to students at the outset that symbols comprise a shorthand method of labeling

chords. Chord symbols are the stock-in-trade of musicians who improvise and a short history of this

practice may be useful. Remind students that chord symbols tell the performer which pitches to use and

emphasize in improvisation. Mention also that augmented triads are considerably more common in jazz and

popular music than they are in traditional music. The caveat, however, must be that where traditional music

tends to be explained on the basis of a harmonic concept (a simple triad with 9-8 suspension, for example),

jazz and popular symbols often absorb dissonant pitches into the chord (a ninth chord or sus9 instead of the

9-8)

Have students bring examples of lead sheet notation to class. Guitar chords for most popular and folk

songs are easy to find using a web search. Although some lead sheets will include chords not discussed in

this chapter, it will not be difficult to explain the make up of any chord once the student understands that

the lead sheet symbol indicates the root and the quality. Any numbers added to the lead sheet symbol

indicate a scale degree to be added to the chord.

Roman Numerals (Page 320) When introducing Roman numerals, the most effective method is to draw a

major scale on the board and build triads. Before discussing how the Roman numeral represents the scale

degree on which the chord is based, list the lead sheet symbols above the staff. Quality for each Roman

numeral is easily seen when the lead sheet symbol accompanies the chord.

An exercise where a single chord is viewed in a number of different keys is always useful. Consider a

single triad and ask students whether this triad is tonic, supertonic, mediant, and so on. Considering only

major keys, because the triad is major, the given chord must be tonic, subdominant, or dominant. Consider

a range of keys to emphasize that some triads can function in two or more keys while others remain

nondiatonic.

53

Diatonic Chords in a Major Key (Page 321) Remind students that in a major key, all chords on the major

scale will be diatonic and no additional accidentals are necessary!

Figured Bass Symbols (Page 323) When introducing figured bass symbols, it is important to note that the

symbols were used in such a manner that continuo players of the Baroque era could improvise when given

just a bass pitch. The Arabic number actually refers to the intervals that need to be “composed” above the

given bass. Too often students look at figured bass as a short hand for inversions only. While this is true,

the figured bass represents the interval make up of the chord in relationship to the bass.

Musicianship 11-2 (Page 326) If your classroom is not equipped with a keyboard, have students come up

to the piano one or two at a time to play the chords indicated in Musicianship 11-2. By including this

hands on approach, students will have a better understanding as to how inversions work in the context of

the chord as a whole.

Chords within context (Page 327) In order to better understand how chords are altered within the context

of the three minor scales, draw the three types of minor scales on the board. Notate triads on each scale

degree and have students call out the quality of each chord. Play each scale with the appropriate triads in

succession on the piano. Have students talk about the role of the leading tone in both the mediant,

dominant, and leading tone chord? How does the raised 7th

affect the overall sound of the chords?

Building Skills (Pages 331-338) Building Skills 11-1 and 11-2 gives students the opportunity to work with

lead sheet symbols, Roman numerals, and figured bass. Remind students that the lowest staff in the opening

exercise is for reference/draft work and not a part of the final answer. Building skills 11-3 asks the student

to use both lead sheet symbols and Roman numerals to analyze the given chord. Students will need to

indicate quality of the chord in the Roman numeral as well.

Creative Projects (Page 339) The creative projects presented in this chapter include both analysis and

composition. Be sure to perform the final compositions in class. Have the class talk about how similar

chord progressions can lead to a different melody entirely. For another in class discussion, begin talking

about the common progression I-v-IV-V. See how many songs that students can name that use this

progression.

Analysis in Context (Page 341) Folk Song, “Will You Wear Red?”

For each Analysis in Context exercise, a complete performance is available on the accompanying CD. The


listen to the performance several times.

The D7 chord presented in the analysis in context exercise will be discussed in greater detail in chapter 12.

However, using lead sheet symbols only, students should be able to understand that the missing note in #4

is C. If you have any students who play guitar, have them strum along to the chords as students sing the

entire excerpt.


1. G major

2. G, B, and D

54

3. root position

4. D, F#, C

5. root position

6. C major

7. C, E, and G

8. two; half

9. simple duple

10. Ta di Ta di Ta Ta

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55

Chapter 12

Tonality

This chapter provides an introduction to several important topics of music theory, including texture,

seventh chords, and function. Before beginning this chapter, have your students listen to a variety of

musical examples from their own literature and discuss what they hear in the music. Guided listening is

always an important skill in the music theory classroom. The skills presented in this chapter are setting the

framework for compositional exercises and song writing.

Melodic Tendencies (Page 346-347) Explain to students that they already know melodic tendencies from

their familiarity with Western music (in most styles and periods). The study is relatively less difficult if

they understand that these are not arbitrary “rules,” but the tendencies by which traditional melodies are

written. Have students sing or kazoo through the scale shown on Page 346 and 347. Where do the pitches

want to go?

Within the text, the term stable pitch refers to a pitch belonging to the tonic triad, or do-mi-sol. Ask

students to outline the triad on solfege and then outline the V chord? How does the pitch sol sound stable

within the tonic chord and unstable in the dominant chord?

The text discussion is relatively complete, so not much needs to be added here. As always, remind students

that composers may ignore harmonic as well as melodic tendencies to create an affect or to delay an arrival.

Folk music abounds with V-IV progressions, for example, and some choices in contemporary popular

music rest of guitar fingerings) of a single generative triad or chord.

Cycle of Progression (Page 355) After discussing the cycle of progressions, have students create their own

progressions and have a student improvise the chords on keyboard or guitar. Be sure to write both the

Roman numerals and the lead sheet symbols on the board as students call out the appropriate chord.

Another interesting approach to teaching progression can be found in the following statement from the

Leonard Cohen Song, “Hallelujah.” “It goes like this, the 4th

the 5th

, the minor fall, the major lift.” The

progression listed in the lyrics of the song is the falling 5th

or the ascending 4th

, followed by the fall of the

3rd

, and the ascending 2nd

. Many popular songs follow this progression exactly I-IV-ii-vii (V)-I. Students

are very familiar with this particular piece and it encourages a discussion on harmonic progression beyond

the circle presented in the text. The song “Run Around” by Blue Traveler is an excellent example of a I-

IV-ii-V progression.

Dominant Seventh Chord (Page 359) Although the dominant seventh chord (Mm7) is the most used in

music, it is important to discuss the other types of seventh chords found in music. Beyond identification of

quality, take the time to talk with the students about how each seventh chord can be found within the

context of a given key. Similar to the approach for Roman numerals, write out the major scale and build

seventh chords on each scale degree. Have students identify the correct quality and assign the appropriate

Roman numeral. Complete the same process using the minor scale.


This exercise consists of triads and seventh chords. All of the examples in this section appear on Track 120

of the CD. No graphic is provided for these examples; however, instructors are encouraged to perform

seventh chords in a variety of registers. Instructors may choose to incorporate a variety of seventh chords

or focus only on the dominant seventh chord. Answers are found in appendix D.

Building Skills (Page 363) This chapter includes a great deal of music from literature, incorporating

classical, folk and popular genres. Encourage students to listen to each excerpt before answering the

questions. Building Skills 12-2 (Page 365) asks students to identify the function after identifying the

appropriate chord. Remind students to use Roman numerals as a way to better understand the function of

each chord. Building Skills 12-3 (Page 367) focuses on identification and notation of seventh chords. Be

sure to review the figured bass symbols for seventh chords before beginning the assignment.

56

Creative Projects (Page 369) By “periodic melodies” in the instructions to Project A (Page 369) means

that each melody should be a period with antecedent and consequent phrases. Suggest the use of repetition,

sequence, and variation as well as contrast. The third melody is unstructured. Make sure that students

understand that their work in Project A is the basis for a song setting in Project B.

Analysis in Context (Page 371) The Well Tempered Clavier, Book 1, Prelude no. 1 in C Major

For each Analysis in Context exercise, a complete performance is available on the accompanying CD. The


listen to the performance several times.

This familiar piece by Bach incorporates all of the seventh chords discussed in this chapter. For a more

detailed analysis assignment, ask students to complete a lead sheet analysis for the entire piece.


1. Homophonic

2. Once per measure

3. D minor-minor seventh (third inversion)

4. ii 4/2

5. G Major-minor seventh (first inversion)

6. V 6/5

7. E fully-diminished seventh

8. Tonic-predominant-dominant-tonic. This progression establishes the key by providing momentum away

from and back to tonic.

9. 20; dissonant seventh chords create a need for resolution; since the majority of the piece is made up of

seventh chords, there is a forward momentum towards harmonic goals

10. C is a dissonant suspended pitch over a G Major-minor seventh chord

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57

Chapter 13

Harmonization

Henry directed the activities in this text towards a final goal of writing a song. While this project can be as

long or as short as desired, a double period is both a reasonable and practical goal so that all or some of the

song can be performed in class. The majority of the material in this chapter is a step-by-step guide to

writing a song.

Harmonic Cadences (Page375) While students have learned that a melodic cadence is usually the final

pitch in a phrase, advise them that a harmonic cadence is the final two chords in the phrase. The melodic

cadence, then, is the pitch that coincides with the second of the two chords in a harmonic cadence. We have

not differentiated between “perfect” and “imperfect” authentic cadences in this text. Deceptive, half, and

plagal cadences are discussed briefly with one or more examples. For additional reinforcement, improvise

phrases at the keyboard ending with various cadences. Ask students to choose the cadence from a list,

encouraging them to listen to the melodic ending based on their previous experience with melodic

cadences. Next, lead them through listening to the bass line, and matching the various cadence types.

Planning Cadences in a Melody (Page 382) Go though this material explaining and illustrating all

possibilities for “Go Down Moses” and reinforcing the reasons that various choices were made. Choose a

similar melody (a folk or children’s song) and go through the entire process again with students

contributing to determining phrase structure, possible cadences, the best cadences, then choosing particular

chords to create those ending points.

Tennyson’s poem “Lost Love” (Page 383) is an opportunity to plan an entire song setting. Help students

grasp how to determine whether a line begins with an anacrusis or not and how to use variation and other

techniques to mold phrases.

Harmonic Rhythm (Page 386) Students should begin with the slowest logical harmonic rhythm in a

setting, adding additional chords as necessary to create functional progressions. Review other melodies

given in the text with and without analysis and ask students to determine the harmonic rhythm.

Nonchord Tones (Page 392) Students will find passing and neighbor tones useful to smooth out a melodic

line. We have also mentioned anticipations because they are relatively obvious and frequent in popular

music. On the other hand, students can use other types of nonchord tones that “sound right” without

knowing exactly how they are identified formally. These examples will facilitate a discussion, but the best

approach is probably to suggest to students that if a pitch does not fit the chord and if they cannot identify

that pitch as a PT, NT, or ANT, they should not use it.

Vocal Ranges (Page 394) Use singers in the class to show the class how exceptionally higher and lower

pitches in various ranges sound. Emphasize the importance of ‘singable’ lines, and how extremes of range

can affect tone color and performance.

Transposition (Page 394) Several previous exercises have centered on this activity. Make students aware

that in planning their key, they need to consider the highest and lowest pitches and do not necessarily have

to write out the entire melody. Mention tessitura (a term not included in the text) and note the difference

between passages of exceptionally high or low notes on the one hand and a pitch or two that form the

climax of a phrase.

Planning the Harmony (Page 396) Henry suggests a five-step process to planning a harmony. These steps

should be taken in order, but as we suggest throughout out the text, practicing composers often do this

planning intuitively and not in the given order. The process of identifying all possible chords within a

phrase, then choosing the most appropriate is worthwhile for most beginning composers. The step requires

them to think about their choices and pull together several important skills from this and earlier chapters.

58

Recommend, however, that they plan cadences throughout the composition before filling in chords within

the phrase.

“The Bells” (Page 394ff.) is a sample of what a satisfactory student final project might look like. This song

is a three-phrase group, but other texts could be set as double periods. Stress legible calligraphy (and it is

best to disallow a submission with computer software), harmonic function, and general simplicity of style

and approach. Whenever possible, students should be able to hear their work performed.

Musicianship (Page 401) Musicianship 13-1 includes keyboard exercises that introduce the four remaining

major scales (F, B-flat, E-flat and A-flat).

Building Skills (Page 403) Explain in Building Skills 13-1 that while we have provided drills on

construction of various cadences types, authentic and half are the most common. While Part B employs

chord symbols, we do so in the context of a key. Remind students to ignore the smaller notes (non-chord

tones) in exercise C. The cadence in line 1 (Schubert) is half; line 2 (Berlioz) is authentic; and line 3 can be

plagal, deceptive, or authentic depending on how the chords are interpreted. The important questions

regarding “Spinning Wheel” are how do the choices sound? Does this particular cadence work with those

of other phrases to form a unified melody?

Building Skills 13-2 (Page 405) Have students use either a note value or words (every beat, every measure,

and so on) to describe the harmonic rhythm in the space provided. The first melody is a period; the second,

a phrase group; and the third, a repeated phrase. For “phrase construction,” we would describe the folk

song as contrasting (despite a similarity in the opening measure of both phrases); the second as more

clearly contrasting, and the third as identical (repetition)

Creative Projects (Page 407) Henry’s goal for this chapter (and the entire text) is a brief song

composition. Students will profit from the harmonization of given melodies as a midpoint in these studies.

You may choose to use one of the melodies as a class activity and assign the other for homework (Pages

407 and 408).

Analysis in Context (Page 409) (They Long To Be) Close To You

After students answer the study questions for homework, use the score “Close To You” to look at how

Bacharach uses various elements, such as rhythm and melody to shape the sections of the text. This type of

discussion should encourage students to review their final composition and consider ways to shape their

work.


1. C minor

2. fermata

3. half cadence

4. authentic cadence

5. passing tone

6. neighboring tone

7. grace notes

8. C4 to F5

9. soprano

10. answers will vary

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