Workbook

Digital Workbook

Kyle Gullings

At the end of each chapter, you may find Assignments linked for that chapter. Those same assignments are also gathered here in a single table for convenient browsing.

Use arrows in the cells on the header row to sort the table alphabetically. Use the “Search” function to filter by the words in your search.

Last updated: May 24, 2022 2:45 pm

Part Book Order Chapter Name Assignments
I. Fundamentals 1 Introduction to Western Musical Notation

  1. Inventing a Notation System (.pdf, .docx); Rubric (.pdf, .docx)
I. Fundamentals 2 Notation of Notes, Clefs, and Ledger Lines

  1. Writing Note Heads, Clefs, and Ledger Lines (.pdf, .docx)
I. Fundamentals 3 Reading Clefs

  1. Writing and Identifying Notes Assignment #1 (.pdf, .mscx)
  2. Writing and Identifying Notes Assignment #2 (.pdf, .mscx)
I. Fundamentals 4 The Keyboard and the Grand Staff

  1. White Keys on the Piano and the Grand Staff (.pdf, .docx)
  2. The Piano Keyboard and the Grand Staff with Ledger Lines (.pdf, .docx)
  3. Generic Intervals (.pdf, .docx)
  4. Grand Staff Note Names with Ledger Lines (.pdf, .docx)
I. Fundamentals 5 Half- and Whole-steps and Accidentals

  1. Black Keys on the Piano (.pdf, .docx)
  2. Half- and Whole-steps on the Piano Keyboard (.pdf, .docx)
  3. Writing Accidentals (.pdf, .docx)
  4. Writing and Identifying Accidentals (.pdf, .docx)
  5. Half- and Whole-steps in Staff Notation (.pdf, .docx)
  6. Enharmonic Equivalence (.pdf, .docx)
I. Fundamentals 6 American Standard Pitch Notation (ASPN)

  1. Writing and Identifying ASPN Labels (.pdf, .docx)
I. Fundamentals 7 Other Aspects of Notation

  1. Dynamics, Articulations, Tempi, Stylistic Periods, Structural Features (.pdf, .docx)
I. Fundamentals 8 Rhythmic and Rest Values

  1. Note and Rest Values (.pdf, .docx)
  2. Dots and Ties (.pdf, .docx)
I. Fundamentals 9 Simple Meter and Time Signatures

  1. Notes, Rests, Bar Lines (.pdf, .docx)
  2. Re-beaming (.pdf, .musx)
I. Fundamentals 10 Compound Meter and Time Signatures

  1. Notes, Rests, Bar Lines (.pdf, .docx)
  2. Re-beaming (.pdf, .musx)
I. Fundamentals 11 Other Rhythmic Essentials

  1. Triplets and Duplets, Hypermeter, Syncopation (.pdf, .docx) Worksheet playlist
I. Fundamentals 12 Major Scales, Scale Degrees, and Key Signatures

  1. Writing Major Scales (.pdf, .mscx)
  2. Key Signatures: Major (.pdf, .mscx)
I. Fundamentals 13 Minor Scales, Scale Degrees, and Key Signatures

  1. Writing Minor Scales (.pdf, .mscx)
  2. Key Signatures: Minor (.pdf, .mscx)
I. Fundamentals 14 Introduction to Diatonic Modes and the Chromatic “Scale”

  1. Writing Modes Assignment #1 (.pdf, .mscx)
  2. Writing Modes Assignment #2 (.pdf, .mscx)
  3. Writing Chromatic “Scales” Assignment #1 (.pdf, .mscx)
  4. Writing Chromatic “Scales” Assignment #2 (.pdf, .mscx)
I. Fundamentals 15 The Basics of Sight-singing and Dictation

  1. Solfège and Scale Degree Identification (.pdf, .docx)
  2. Solfège and Scale Degree Identification in a Melodic Context (.pdf, .docx) Worksheet playlist
I. Fundamentals 16 Intervals

  1. Writing and Identifying Intervals Assignment #1 (.pdf, .mcsz)
  2. Writing and Identifying Intervals Assignment #2 (.pdf, .mcsz)
  3. Writing and Identifying Intervals Assignment #3 (.pdf, .mcsz)
I. Fundamentals 17 Triads

  1. Triads Assignment #1 (.pdf, .mcsz)
  2. Triads Assignment #2 (.pdf, .mcsz)
  3. Triads Assignment #3 (.pdf, .mcsz)
I. Fundamentals 18 Seventh Chords

  1. Seventh Chords Assignment #1 (.pdf, .mcsz)
  2. Seventh Chords Assignment #2 (.pdf, .mcsz)
  3. Seventh Chords Assignment #3 (.pdf, .mcsz)
I. Fundamentals 19 Inversion and Figured Bass

  1. Triadic Inversions (.pdf, .mcsz)
  2. Seventh Chord Inversions (.pdf, .mcsz)
I. Fundamentals 20 Roman Numerals and SATB Chord Construction
I. Fundamentals 21 Texture

  1. Identifying Textures (.pdf, .docx) Worksheet playlist
II. Counterpoint and Galant Schemas 22 Introduction to Species Counterpoint

  1. Cantus firmus A (.pdf, .mscx). Asks students to critique one cantus firmus and write their own.
  2. Cantus firmus B (.pdf, .mscx). Asks students to critique one cantus firmus and write their own.
  3. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
II. Counterpoint and Galant Schemas 23 First-species Counterpoint

  1. First Species Counterpoint A (.pdf, .mscx). Asks students to compose a first species example and do error detection.
  2. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
II. Counterpoint and Galant Schemas 24 Second-species Counterpoint

  1. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
II. Counterpoint and Galant Schemas 25 Third-species Counterpoint

  1. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
II. Counterpoint and Galant Schemas 26 Fourth-species counterpoint

  1. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
II. Counterpoint and Galant Schemas 27 Fifth-Species Counterpoint

  1. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
II. Counterpoint and Galant Schemas 28 “Gradus ad Parnassum” Exercises
II. Counterpoint and Galant Schemas 29 Sixteenth Century Contrapuntal Style

  1. Imitative writing in the 16th-c. contrapuntal style. These exercises provides at least one complete part for reference, and one part with missing passages to complete in a suitable style. Original note values are used, 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, .pdf
    • Lassus: Bicinum IV. 2 voices. .mscz, .pdf
    • Palestrina: Benedictus from the Missa Brevis. 3 voices. .mscz, .pdf
    • Palestrina: Surge Propera a 4 (excerpt). 4 voices. .mscz, .pdf
II. Counterpoint and Galant Schemas 30 High Baroque Fugal Exposition

  1. 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.
  2. Pick another fugue, identify how many ‘voices’ there are, locate each voice’s entry and the end of the exposition.
  3. 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.
  4. 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.
II. Counterpoint and Galant Schemas 31 Ground Bass

  1. 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.
  2. 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’);
  3. Melodic parts that fit with the bass and create more interesting textures. Seek out ways of writing upper parts that can recur in another voice in imitation (and refer back to the Purcell analysis above for ideas!).
  4. 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.
II. Counterpoint and Galant Schemas 32 Galant schemas – Summary
II. Counterpoint and Galant Schemas 33 Galant schemas – The Rule of the Octave and Harmonizing the Scale with Sequences

  1. Begin by playing through these examples from the files provided, preferably in a range of different keys. (NB: As mentioned above, you can transpose scores in MuseScore with the ‘Notes’ menu: Notes/Transpose).
  2. See if you can memorise the patterns. Test yourself by:

    • Writing them out on paper (start with a blank scale)
    • Playing them from memory.

  3. Both with the music and (when you’re ready) from memory, try embellishing these basic patterns.
III. Form 34 Galant Schemas

  1. Playing: Begin by playing through these examples from the files provided, preferably in a range of different keys. (NB: you can transpose scores in MuseScore with the ‘Notes’ menu: Notes/Transpose).
  2. Memorization: See if you can memorise some of these patterns. Test yourself by:

    • Writing them out on paper (start with a blank scale)
    • Playing them from memory.

  3. Embellishment: schemas help to structure music, but they are not really musical pieces in themselves: it takes a lot of fleshing out to get from these skeletons to real music. That being the case, try improvising embellishments of these basic patterns. Start with simple turns, passing notes and the like, then move on to more ambitious changes.
  4. Full pieces: When you’re confident with individual cases. Try piecing them together, according to their usual position and ordering. Start by using templates like these:

III. Form 35 Foundational Concepts for Phrase-level Forms

  1. Coming soon!
III. Form 36 The Phrase, Archetypes, and Unique Forms

  1. Analyzing sentences (.pdf, .docx). Asks students to compare excerpts to the archetypal sentence, provide form diagrams, and optionally, provide harmonic analysis for any given excerpt.
  2. Analyzing archetypes and unique forms (.pdf, .docx). Asks students to identify excerpts that are archetypes (periods, sentences, compond periods) or unique forms, and to diagram those that are archetypes. Optionally, students can harmonically analyze the excerpts.
  3. Composing melody-only sentences (.pdf, .mscx). Students compose four-measure sentences from a given basic idea (melody only).
  4. Composing fully realized sentences (.pdf, .mscx). Students select from a bank of basic ideas to compose an 8-measure sentence with full texture (accompaniment and melody).
III. Form 37 Hybrid Phrase-level Forms

  1. Analyzing hybrid forms (.pdf, .docx). Provides excerpts and asks students to indicate which term best describes the first and second half of each. Optional harmonic analysis included.
  2. Analyzing forms with multiple possibilities (.pdf, .docx). Asks students to identify preferred and plausible alternative interpretations for several excerpts. Also includes band music.
  3. Composing phrase-level forms (.pdf, .docx). Asks students to compose a phrase-level form given a description. Provides a basic idea bank to give students a start.
III. Form 38 Expansion and Contraction at the Phrase Level

  1. Analyzing expansion techniques (.pdf, .docx). Asks students to name: segment and label the form of excerpts and identify the location of any expansion technique(s). Optional harmonic analysis included.
  2. Analyzing multiple expansion techniques (.pdf, .docx). More complicated examples than in worksheet 1. Each excerpt is significantly expanded.
  3. Recomposing to remove expansions (.pdf, .docx). Asks students to recompose excerpts from worksheet 1 to remove the expanded portion of the archetypal form.
III. Form 39 Formal Sections in General
III. Form 40 Binary Form

  1. Binary Form Analysis Assignment (.pdf, .docx).

  2. Guided Composition (.pdf, .docx, .mscx). 
III. Form 41 Ternary Form

  1. Bernhard Crusell – Clarinet Quartet, Op. 7, III, Menuetto (.pdf, .docx). Access score and audio.
  2. Josephine Lang – Traumbild, Op. 28, No. 1 (.pdf, .docx). Access score and audio.
III. Form 42 Sonata Form

  1. Maria Hester Park, Sonata, Op. 7, I Allegro Spirito (.pdf, .docx). Access score and audio.
III. Form 43 Rondo

  1. Joseph Bologne, String Quartet, Op. 1, No. 4, ii, Rondeau (.pdf, .docx). Access score and audio.
IV. Diatonic Harmony, Tonicization, and Modulation 44 Introduction to Harmony, Cadences, and Phrase Endings

  1. 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.
IV. Diatonic Harmony, Tonicization, and Modulation 45 Strengthening Endings with V7

  1. Strengthening Endings with V7 (.pdf, .docx, spotify playlist). Asks students to write and resolve V7 chords and provide analysis of cadences in select passages.
IV. Diatonic Harmony, Tonicization, and Modulation 46 Strengthening Endings with Strong Predominants

  1. 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.
IV. Diatonic Harmony, Tonicization, and Modulation 47 Embellishing Tones

  1. Embellishing tones (.pdf, .docx). Asks students to write embellishing tones in a two-voice texture and label embellishing tones in an excerpt.
IV. Diatonic Harmony, Tonicization, and Modulation 48 Strengthening Endings with Cadential 6/4

  1. Strengthening Endings with Cadential [latex]^6_4[/latex] (.pdf, .docx, .mscz of score). Includes unfigured bass exercises and analysis.
IV. Diatonic Harmony, Tonicization, and Modulation 49 Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s

  1. Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7 (.pdf, .docx, recording). Asks students to write from Roman numerals and figures and complete a guided analysis. Download score.
IV. Diatonic Harmony, Tonicization, and Modulation 50 Performing Harmonic Analysis Using the Phrase Model

  1. Performing Harmonic Analysis Using the Phrase Model (.pdf, .docx). Asks students to analyze three short excerpts.
IV. Diatonic Harmony, Tonicization, and Modulation 51 Prolongation at Phrase Beginnings using the Leading-tone Chord

  1. Prolongation at Phrase Beginnings using the Leading-tone Chord (.pdf, .docx). Asks students to write from Roman numerals, complete analysis, and realize figured bass.
IV. Diatonic Harmony, Tonicization, and Modulation 52 6/4 chords as forms of prolongation

  1. [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.
IV. Diatonic Harmony, Tonicization, and Modulation 53 Plagal Motion as a Form of Prolongation

  1. Plagal Motion as a Form of Prolongation (.pdf, .docx). Asks students to identify bass lines and analyze an excerpt. Download audio (.mscz).
IV. Diatonic Harmony, Tonicization, and Modulation 54 La (scale degree 6) in the bass at beginnings, middles, and endings

  1. 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.
IV. Diatonic Harmony, Tonicization, and Modulation 55 Mi (scale degree 3) in the bass at beginnings

  1. Mi [latex](\hat3)[/latex] in the bass at beginnings (.pdf, .docx). Asks students to realize unfigured bass, analyze, and do a transcription with analysis.
IV. Diatonic Harmony, Tonicization, and Modulation 56 Predominant Seventh Chords

  1. Pre-dominant Seventh Chords (.pdf, .docx). Asks students to realize figured bass and analyze.
IV. Diatonic Harmony, Tonicization, and Modulation 57 Tonicization

  1. Applied chords worksheet A (.pdf, .mscx). Asks students to identify and write applied V, V7, viio, viio7, and viiø7 chords.
  2. Applied chords worksheet B without ø7s (.pdf, .mscz). Asks students to identify and write applied V, V7, viio, and viio7 chords.
  3. 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.
IV. Diatonic Harmony, Tonicization, and Modulation 58 Extended Tonicization and Modulation to Closely Related Keys

  1. 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.
V. Chromaticism 59 Modal Mixture

  1. Modal Mixture Assignment (.pdf, .docx). Includes spelling, figured bass realization, 4-part voice-leading with Roman numerals, and analysis of musical excerpt. Access audio.
V. Chromaticism 60 Neapolitan 6th (♭II6)

  1. 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.
V. Chromaticism 61 Augmented Sixth Chords

  1. Augmented Sixth Chords (.pdf, .docx.) Asks students to spell augmented sixth chords, realize figured bass, write 4-part voice-leading with Roman numerals, and analyze a musical excerpt. Audio 1 - Frederic Chopin, Audio 2 - Scott Joplin (excerpt starts at 0:56).
V. Chromaticism 62 Common-Tone Chords (CTº7 & CT+6)

  1. 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).
V. Chromaticism 63 Harmonic Elision

  1. 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.
V. Chromaticism 64 Reinterpreting Augmented-Sixth Chords

  1. Coming soon!
V. Chromaticism 65 Reinterpreting Diminished-Seventh Chords

  1. Coming soon!
V. Chromaticism 66 Augmented Options

  1. Head to the section on augmented chords in the Harmony Anthology chapter, and pick one (or more) of the repertoire examples listed in which an analyst has identified the use of an augmented chord.

    • For that passage, make a Roman numeral analysis of the measure in question and or one two on either side (enough to establish a chord progression and some context).
    • Create one such harmonic analysis including the augmented triad provides (figure and key are given on the table).
    • If you disagree with that reading (as you may well do) then provide an alternative harmonic analysis without it.

  2. Do step 1 for several cases and identify any that seem similar to each other, and to the above. For instance, for the cases given as V+ in the anthology, are many of them similar to the chromatic passing motion in the Hensel, above? Can you find any dramatic examples like the Bach? Do you see any other recurring practices not described in this chapter?
V. Chromaticism 67 Equal Divisions of the Octave

  1. Coming soon!
V. Chromaticism 68 Chromatic Sequences

  1. Coming soon!
V. Chromaticism 69 Parallel Chromatic Sequences

  1. Coming soon!
V. Chromaticism 70 The Omnibus Progression

  1. Coming soon!
V. Chromaticism 71 Altered and Extended Dominant Chords

  1. Coming soon!
V. Chromaticism 72 Neo-Riemannian Triadic Progressions

  1. Worksheet on Neo-Riemannian Transformations (.pdf, .mscz). Asks students to perform , , , SLIDE, , and on individual triads, to realize chains of transformations, and find a transformation chain to connect two chords.
  2. Composing with Neo-Riemannian Transformations (.pdf, .mscz). Asks students to use the Cube Dance and other Neo-Riemannian cycles to compose a short minimalist piano solo.
VI. Jazz 73 Swing rhythms

  1. Swing Rhythms video (.pdf, .mscx). Asks students to make a video with a partner performing idiomatic swing rhythms. Download backing track
  2. 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.).
VI. Jazz 74 Chord symbols

  1. Chord symbols basics worksheet (.pdf, .mscz). Asks students to identify and write triads and seventh chords with chord symbols.
  2. Chord symbols with extensions (.pdf, .mscz). Asks students to identify and write extended chords with chord symbols.
VI. Jazz 75 Jazz voicings

  1. 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.
VI. Jazz 76 ii–V–I
VI. Jazz 77 Embellishing chords

  1. 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.

    • Complete instructions + template (.pdf)
    • Template for lead sheet (.pdf, .mscz)
    • Template for voicings (.pdf, .mscz)
VI. Jazz 78 Substitutions

  1. Bebop 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.

    • Complete instructions + template (.pdf)
    • Template for lead sheet (.pdf, .mscz)
    • Template for voicings (.pdf, .mscz)
VI. Jazz 79 Chord-Scale Theory
VI. Jazz 80 Blues harmony

  1. 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
VI. Jazz 81 Blues melodies and the blues scale

  1. Blues scales worksheet (.pdf, .mscz). Asks students to spell scales and transcribe a melody that uses the blues scale. Worksheet playlist
  2. 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.
  3. Blues composition (.pdf, .docx). Asks students to synthesize information about blues harmony and blues melody.
VII. Popular Music 82 Rhythm and Meter in Pop Music

  1. Transcribing rhythms worksheet (.pdf). Asks students to transcribe and identify straight syncopations as well as tresillo rhythms in “Sorry” by Beyoncé (2016).
VII. Popular Music 83 Melody and phrasing

  1. Worksheet on Section Structures (.pdf, .docx).
VII. Popular Music 84 Introduction to Form in Popular Music
VII. Popular Music 85 AABA form and strophic form

  1. AABA and Strophic Form (.pdf, .docx). Asks students to identify formal sections and any variations to the form. Worksheet playlist
VII. Popular Music 86 Verse-chorus form

  1. 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.
  2. 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.
VII. Popular Music 87 Introduction to Harmonic Schemas in Pop Music
VII. Popular Music 88 Blues-based schemas

  1. 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
VII. Popular Music 89 4-chord schemas

  1. Identifying Four-Chord Schemas (.pdf, .docx). Students must identify which schema is used in a number of songs, each of which clearly presents the schema. Worksheet playlist
  2. Variations on Four-Chord Schemas (.pdf, .docx). Using songs that put slight variations on the schemas discussed in this chapter, asks students to identify schemas and variations on the schemas. Worksheet playlist
VII. Popular Music 90 Classical schemas (in a pop context)

  1. Worksheet on classical schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use classical schemas. Worksheet playlist
VII. Popular Music 91 Puff schemas

  1. Puff schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use the puff schema. Worksheet playlist
VII. Popular Music 92 Modal schemas

  1. Identifying Modal Schemas (.docx, .pdf). Ask students to aurally identify various modal schemas. Worksheet playlist
  2. Modal reharmonization composition project (.mscx, .musicxml, .pdf). Asks students to reharmonize Rihanna’s “Desperado” (2016) with modal schemas.
VII. Popular Music 93 Pentatonic harmony

  1. Coming soon!
VII. Popular Music 94 Fragile, Absent, and Emergent Tonics

  1. Coming soon!
VIII. 20th- and 21st-Century Techniques 95 Pitch and pitch class

  1. Pitch and pitch class (.pdf, .mscz). Asks students to translate between pitch class integers, note names, and staff notation.
VIII. 20th- and 21st-Century Techniques 96 Intervals in Integer Notation

  1. Intervals (.pdf, .docx). Asks students to identify interval types (integer notation) within pieces of music. Worksheet playlist
VIII. 20th- and 21st-Century Techniques 97 Pitch Class Sets, Normal Order, and Transformations

  1. 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.
  2. Composition prep worksheet (.pdf, .docx). Prepares students for the set class composition by asking them to find sets and transformations.
VIII. 20th- and 21st-Century Techniques 98 Set Class and Prime Form

  1. Set Class Composition prep worksheet (.pdf, .docx). Prepares students for the set class composition by asking them to find sets and transformations.
  2. 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.
VIII. 20th- and 21st-Century Techniques 99 Interval Class Vectors

  1. Worksheet on Interval Class Vectors (.pdf, .docx). Asks students to calculate interval class vectors for several sets.
VIII. 20th- and 21st-Century Techniques 100 Analyzing with Set Theory (or not!)

  1. Guided analysis of “Wie bin ich Froh!” by Anton Webern (.pdf, .docx). Recording
  2. Segmentation worksheet (.pdf, .docx). Asks students to justify the given segmentations by explaining what the grouped pitches have in common.
  3. Atonal analysis using pc sets (.pdf, .mscx). Open-ended prompt asks students to use set theory to analyze an excerpt.
VIII. 20th- and 21st-Century Techniques 101 Diatonic Modes

  1. Identifying modes (.pdf, .mscz). Asks students to identify 20th-c. modes versus major/minor, circle inflected pitches, and explain how a pitch center is articulated. Music examples are transcribed from the TV show Great British Bake Off (music by Tom Howe, © Accorder Music Publishing, used with permission). Worksheet playlist
  2. Additional beginner’s worksheets can be found in Introduction to Diatonic Modes and the Chromatic “Scale.”
VIII. 20th- and 21st-Century Techniques 102 Collections

  1. Worksheet on collections (.pdf, .mscz). Asks students to spell one example of each of the collections from this chapter.
  2. Analyze Lili Boulanger’s resplendent Hymne au Soleil. Identify modes and collections used, along with related techniques. Scores can be found on IMSLP and MuseScore. Both include the original French text and an English translation in the underlay.
VIII. 20th- and 21st-Century Techniques 103 Analyzing with Modes, Scales, and Collections

  1. Analyze Lili Boulanger’s resplendent Hymne au Soleil. Identify modes and collections used, along with related techniques and materials, and linking these (where you consider it appropriate) to possible “meanings” of the work. Scores can be found on IMSLP and MuseScore. Both include the original French text and an English translation in the underlay.
IX. Twelve-Tone Music 104 Basics of Twelve-Tone Theory

  1. Coming soon!
IX. Twelve-Tone Music 105 Naming Conventions for Rows

  1. Coming soon!
IX. Twelve-Tone Music 106 Row Properties

  1. Coming soon!
IX. Twelve-Tone Music 107 Analysis Examples – Webern op. 21 and 24
IX. Twelve-Tone Music 108 Composing with twelve tones

  1. Try your hand at something similar to the above:

    • Pick one or more row/s that appeals to you.
    • Compose some music with those properties in mind
    • Think about balancing strict constraints with free writing.

    Don’t be shy. Whether or not you think of yourself as ‘a composer’, it’s always useful to ‘learn by doing’ and composition is a great case in point.
IX. Twelve-Tone Music 109 History and Context of Serialism
X. Orchestration 110 Core Principles of Orchestration

  1. Coming soon!
X. Orchestration 111 Subtle color changes

  1. Coming soon!
X. Orchestration 112 Transcription from piano

  1. Coming soon!

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OPEN MUSIC THEORY by Kyle Gullings is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License, except where otherwise noted.

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