At the end of each chapter, you may find Assignments linked for that chapter. Those same assignments are also gathered here in a single table for convenient browsing.
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Last updated: June 30, 2021 3:38 pm
Part
Book order
Chapter name
Assignments
Fundamentals
1
Introduction to Western Musical Notation
Inventing a Notation System (.pdf, .docx). View rubric (.pdf, .docx).
Fundamentals
2
Notation of Notes, Clefs, and Ledger Lines
Writing Note Heads, Clefs, and Ledger Lines (.pdf, .docx)
Fundamentals
3
Reading Clefs
Writing and Identifying Notes Worksheet 1 (.pdf, .mscx)
Writing and Identifying Notes Worksheet 2 (.pdf, .mscx)
Fundamentals
4
The Keyboard and the Grand Staff
White Keys on the Piano and the Grand Staff (.pdf, .docx)
The Piano Keyboard and the Grand Staff with Ledger Lines (.pdf, .docx)
Intro to Roman Numerals. Asks students to identify Roman numerals in a chorale texture (modified Bach chorales). Available in three variations/versions:
Imitative writing in the 16th-c. contrapuntal style. Provides students with at least one complete part for reference, and one part with missing passages to complete in a suitable style. These exercises use original note values, modern time signatures for those values (4/2), some editorial accidentals (), and (with apologies to the purists) only G- and F- clefs.
Lassus: Benedictus from the Missa Venatorum. 2 voices. .mscz
Palestrina: Benedictus from the Missa Brevis. 3 voices. .mscz
Palestrina: Surge Propera a 4 (excerpt). 4 voices. .mscz
Counterpoint and Galant Schemas
29
High Baroque Fugal Exposition
In the Bach C-minor fugue shown above, the answer is ‘tonal’. Given what has been said about tonal answers in this chapter, try explaining how the subject and answer differ, and why.
Pick another fugue, identify how many ‘voices’ there are, locate each voice’s entry and the end of the exposition.
Trying writing your own answers and countersubjects. The template file below provides the subjects for all 48 fugues in both books of the Well-Tempered Clavier. An empty second stave is provided for your practice. (Note that the last note in many of the fugue subjects is given without a stem to indicate the pitch without the specifying the duration rhythm). If you know some of these fugues well, you may want to work on ones you’re less familiar with.
Once you are feeling confident with writing answers and countersubjects, try writing up a full exposition. Again, you may wish to work on fugues you’re less familiar with.
Counterpoint and Galant Schemas
30
Ground Bass
A simple, predominantly diatonic harmonisation of the ground, with simple blocks chords, making sure to follow good voice-leading practice. Use this as a prototype.
A set of alternative harmonizations including tonicizations of other keys and re-harmonizations of the first note in particular to vary the apparent phrase length (as discussed above in reference to the ‘cheat sheet’);
Melodic parts that fit with the bass and create more interesting textures. Seek out ways of writing upper parts that can recur in another voice in imitation. We’ll see how Purcell approaches this below.
Finally, combine the best of your ideas into an overall piece that balances textural and harmonic interest and charts an overall trajectory. Why not try a piece with 6 iterations of the ground, of which the first and last are simple and alike.
Counterpoint and Galant Schemas
31
Galant schemas – The Rule of the Octave and Harmonizing the Scale with Sequences
Bernhard Crusell – Clarinet Quartet, Op. 7, III, Menuetto (.pdf, .docx). Access score and audio.
Josephine Lang – Traumbild, Op. 28, No. 1 (.pdf, .docx). Access score and audio.
Form
40
Auxiliary Formal Sections
Coming soon!
Form
41
Sonata Form
Maria Hester Park, Sonata, Op. 7, I Allegro Spirito (.pdf, .docx). Access score and audio.
Form
42
Rondo
Joseph Bologne, String Quartet, Op. 1, No. 4, ii, Rondeau (.pdf, .docx). Access score and audio.
Diatonic Harmony, Tonicization, and Modulation
43
Introduction to Harmony, Cadences, and Phrase Endings
Introduction to harmony, cadences, and phrase endings (.pdf, .docx). Asks students to write and identify cadences using only I (or i) and V chords in major and minor.
Diatonic Harmony, Tonicization, and Modulation
44
Strengthening Endings with V7
Strengthening Endings with V7 (.pdf, .docx). Asks students to write and resolve V7 chords and provide analysis of cadences in select passages.
Diatonic Harmony, Tonicization, and Modulation
45
Strengthening Endings with Strong Predominants
Strengthening Endings with Strong Pre-Dominants (.pdf, .docx). Includes part writing from Roman numerals and figures, analysis of phrase endings, and a discussion question of a number from Hamilton.
Diatonic Harmony, Tonicization, and Modulation
46
Embellishing Tones
Embellishing tones (.pdf, .docx). Asks students to write embellishing tones in a two-voice texture and label embellishing tones in an excerpt.
Diatonic Harmony, Tonicization, and Modulation
47
Strengthening Endings with Cadential 6/4
Strengthening Endings with Cadential [latex]^6_4[/latex] (.pdf, .docx, .mscz of score). Includes unfigured bass exercises and analysis.
Diatonic Harmony, Tonicization, and Modulation
48
Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s
Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7 (.pdf, .docx). Asks students to write from Roman numerals and figures and complete a guided analysis. Download score.
Diatonic Harmony, Tonicization, and Modulation
49
Performing Harmonic Analysis Using the Phrase Model
Performing Harmonic Analysis Using the Phrase Model (.pdf, .docx). Asks students to analyze three short excerpts.
Diatonic Harmony, Tonicization, and Modulation
50
Prolongation at Phrase Beginnings using the Leading-tone Chord
Prolongation at Phrase Beginnings using the Leading-tone Chord (.pdf, .docx). Asks students to write from Roman numerals, complete analysis, and realize figured bass.
Diatonic Harmony, Tonicization, and Modulation
51
6/4 chords as forms of prolongation
[latex]^6_4[/latex] chords as forms of prolongation (.pdf, .docx). Asks students to review previous concepts, write from Roman numerals, write from figures, and analyze excerpts.
Diatonic Harmony, Tonicization, and Modulation
52
Plagal Motion as a Form of Prolongation
Plagal Motion as a Form of Prolongation (.pdf, .docx). Asks students to identify bass lines and analyze an excerpt. Download audio (.mscz).
Diatonic Harmony, Tonicization, and Modulation
53
La (scale degree 6) in the bass at beginnings, middles, and endings
La [latex](\hat6)[/latex] in the bass at beginnings, middles, and endings (.pdf, .docx). Asks students to analyze bass lines, write from figures and Roman numerals, harmonize an unfigured bass, and analyze an excerpt.
Diatonic Harmony, Tonicization, and Modulation
54
Mi (scale degree 3) in the bass at beginnings
Mi [latex](\hat3)[/latex] in the bass at beginnings (.pdf, .docx). Asks students to realize unfigured bass, analyze, and do a transcription with analysis.
Diatonic Harmony, Tonicization, and Modulation
55
Predominant Seventh Chords
Pre-dominant Seventh Chords (.pdf, .docx). Asks students to realize figured bass and analyze.
Diatonic Harmony, Tonicization, and Modulation
56
Tonicization
Applied chords worksheet (.pdf, .mscx). Asks students to identify and write applied V, V7, viio, viio7, and viiø7 chords.
Applied chords worksheet without ø7s (.pdf). Asks students to identify and write applied V, V7, viio, and viio7 chords.
All applied chords (.pdf, .docx). Asks students to write from Roman numerals and figured bass, a longer figured bass, and analyze a complete piece with discussion questions.
Diatonic Harmony, Tonicization, and Modulation
57
Extended Tonicization and Modulation to Closely Related Keys
Extended Tonicization and Modulation to Closely Related Keys (.pdf, .docx). Asks students to review tonicization, identify closely-related keys and pivot chords, analyze, and create a modulating progression.
Chromaticism
58
Modal Mixture
Modal Mixture Assignment (.pdf, .docx). Includes spelling, figured bass realization, 4-part voice-leading with Roman numerals, and analysis of musical excerpt. Access audio.
Chromaticism
59
Neapolitan 6th (♭II6)
Neapolitan 6ths (.pdf, .docx). Asks students to spell [latex]\textrm{\flat II^6}[/latex], realize figured bass, write 4-part voice-leading with Roman numerals, and analyze a musical excerpt.
Common-Tone Chords (.pdf, .docx.) Asks students to spell common tone chords, realize figured bass, complete 4-part voice leading with Roman numerals, and analyze a musical excerpt. Access audio (excerpt begins at 0:25).
Chromaticism
62
Harmonic Elision
Harmonic Elision (.pdf, .docx.) Asks students to spell chords, realize figured bass, write 4-part voice leading with Roman numerals, and analyze a musical excerpt.
Chromaticism
63
Reinterpreting Augmented-Sixth Chords
Coming soon!
Chromaticism
64
Reinterpreting Diminished-Seventh Chords
Coming soon!
Chromaticism
65
Augmented Options
Coming soon!
Chromaticism
66
Equal Divisions of the Octave
Coming soon!
Chromaticism
67
Chromatic Sequences
Coming soon!
Chromaticism
68
Parallel Chromatic Sequences
Coming soon!
Chromaticism
69
The Omnibus Progression
Coming soon!
Chromaticism
70
Altered and Extended Dominant Chords
Coming soon!
Chromaticism
71
Neo-Riemannian Triadic Progressions
Worksheet on Neo-Riemannian Transformations (.pdf, .mscx, .musicxml). Asks students to perform , , , SLIDE, , and on individual triads, to realize chains of transformations, and find a transformation chain to connect two chords.
Jazz
72
Swing rhythms
Swing Rhythms video (.pdf, .mscx). Asks students to make a video with a partner performing idiomatic swing rhythms. Download backing track
Jazz Rhythms by Jamey Aebersold. Make a recording in which you perform these rhythms. Pick three rhythms that create syncopation in different ways, and explain how the beat is obscured to create syncopation (through ties? rests? etc.).
Jazz
73
Lead sheet symbols
Lead sheet symbols basics worksheet (.pdf, .mscz). Asks students to identify and write triads and seventh chords with lead sheet symbols.
Lead sheet symbols with extensions (.pdf, .mscz). Asks students to identify and write extended chords with lead sheet symbols.
Jazz
74
Jazz voicings
Voicing worksheet (.pdf, .mscz). Asks students to identify common voice leading patterns in a voiced jazz texture, and asks students to write voiced chord progressions with good voice leading.
Jazz
75
ii–V–I
Jazz
76
Embellishing chords
Swing-style composition (.pdf, .docx). Asks students to build on knowledge of swing rhythms, ii–V–I, embellishing chords, and substitutions to create a composition in a bebop style.
Worksheet on 12-bar blues (.pdf, .mscz). Asks students to write basic and jazz 12-bar blues progressions, voiced and unvoiced, and to analyze altered blues progressions. Worksheet playlist
Jazz
80
Blues melodies and the blues scale
Blues scales worksheet (.pdf, .mscz). Asks students to spell scales and transcribe a melody that uses the blues scale. Worksheet playlist
Improvising with the blues scale (.pdf, .mscz). Video assignment. Asks students to pair off and create videos with call-and-response improvisation. Backing track available here.
Blues composition (.pdf, .docx). Asks students to synthesize information about blues harmony and blues melody.
Popular Music
81
Rhythm and Meter in Pop Music
Transcribing rhythms worksheet (.pdf). Asks students to transcribe and identify straight syncopations as well as tresillo rhythms in “Sorry” by Beyoncé (2016).
Pop Music Form — The Shape of Music Around You (.pdf). Writing assignment which students to find songs on their own; identify them as strophic, AABA, or verse-chorus; name the sections of the song; and justify their analyses using form vocabulary.
Listening to Pop Forms (.pdf, .docx). This worksheet uses two unusual verse-chorus form songs to challenge students’ analytical abilities. Uses Audacity to have students mark the form of .mp3s. Purchase “Terrified” and purchase “Broken Clocks” as .mp3s.
Popular Music
86
Introduction to Harmonic Schemas in Pop Music
Popular Music
87
Blues-based schemas
Listening for blues-based schemas (.pdf, .docx). Asks students to identify blues-based schemas, their use, and any variations in three pop songs. Worksheet playlist
Popular Music
88
4-chord schemas
Identifying Four-Chord Schemas (.pdf, .docx). Students must identify which schema is used in a number of songs, each of which clearly presents the schema. Spotify playlist
Variations on Four-Chord Schemas (.pdf, .docx). Using songs that put slight variations on the schemas discussed in this chapter, asks students to identify schemas and variations on the schemas. Spotify playlist
Popular Music
89
Classical schemas (in a pop context)
Worksheet on classical schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use classical schemas. Worksheet playlist
Popular Music
90
Puff schemas
Puff schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use the puff schema. Worksheet playlist
Popular Music
91
Modal schemas
Identifying Modal Schemas (.docx, .pdf). Ask students to aurally identify various modal schemas. Spotify playlist
Intervals (.pdf, .docx). Asks students to identify interval types (integer notation) within pieces of music. Worksheet playlist
20th- and 21st-Century Techniques
96
Pitch Class Sets, Normal Order, and Transformations
Worksheet on normal form and transformations (.pdf, .docx). Asks students to calculate normal form of various sets, and to calculate Tn/In relationships in “Nacht” by Arnold Schoenberg.
Composition prep worksheet (.pdf, .docx). Prepares students for the set class composition by asking them to find sets and transformations.
20th- and 21st-Century Techniques
97
Set Class and Prime Form
Set Class Composition prep worksheet (.pdf, .docx). Prepares students for the set class composition by asking them to find sets and transformations.
Set Class Composition (.pdf, .docx). Builds on the prep worksheet. Asks students to compose and analyze a 24-bar ABA form piece for unaccompanied solo instrument using set classes.
20th- and 21st-Century Techniques
98
Interval Class Vectors
Coming soon!
20th- and 21st-Century Techniques
99
Analyzing with Set Theory (or not!)
Guided analysis of “Wie bin ich Froh!” by Anton Webern (.pdf, .docx). Recording
Segmentation worksheet (.pdf, .docx). Asks students to justify the given segmentations by explaining what the grouped pitches have in common.
Atonal analysis using pc sets (.pdf, .mscx). Open-ended prompt asks students to use set theory to analyze an excerpt.