![]() Complete each measure with one note.Ĥ 38 Å Kö Kö Å 64 ú. Rewrite this melody using the values expressed by the new meter signatures. Do not change the letter name of the tone.īw #w w ºw bw #w = & w w bw #w = Write your answers here: Raise each pitch one half step by either adding or deleting an accidental. W bw #w w Üw b w w #w = ? w #w Write your answers here: Do not change the letter name of the tone. Lower each pitch one half step by either adding or deleting an accidental. Write the letter name for each tone and indicate the octave identification. Also add proper meter and key signatures. Rewrite this melody using the clef provided. These tests allow the student to identify areas of strength and weakness before in-class examinations. Answers for all chapter tests are contained in a section beginning on page 161. Each chapter concludes with a sample chapter test covering the essential concepts of the chapter. The guided review sections present a step-by-step process involving reading, playing musical examples, and writing, which will help ensure success in learning the material. Students often find that the study skills they have developed for other courses don’t work well in learning music theory. Each chapter contains a suggested strategy for reviewing and learning the material. The workbook/anthologies include guided review and self-testing sections. If the devices that were drilled and analyzed can be successfully manipulated in a composition, one of the most important goals in the study of music theory will have been achieved. After the extensive drill and comprehensive analysis assignments, students are encouraged to try employing musical ideas, chord progressions, phrase relationships, and so on in their own musical compositions. These exercises will also improve sight-reading ability and dexterity in analysis. This type of assignment acquaints students with music literature, permits them to view chapter material in its actual setting, and allows them to observe conformity to as well as digression from the norm. Learning to spell chords in various keys, distinguishing between chords in isolation, and identifying musical designs in artificially prepared situations are examples of drill exercises. This type of assignment acquaints students with the material in the corresponding chapters of the text. The workbooks contain three different types of assignments: 1.ĭrill. The pieces in the anthology sections are referred to in the assignments, but the instructor is free to use these pieces in any way he or she feels is appropriate. The chapters of the workbooks bear the same titles as those of the texts and are directly correlated with them. P REFACE The workbook/anthologies to accompany Music in Theory and Practice, volumes 1 and 2, provide assignments to augment those printed in the texts and additional music for study. C ONTENTS Preface iv 1 Notation 1 2 Scales, Tonality, Key, Modes 7 3 Intervals and Transposition 17 4 Chords 27 5 Cadences and Nonharmonic Tones 33 6 Melodic Organization 43 7 Texture and Textural Reduction 63 8 Voice Leading in Two Voices 69 9 Voice Leading in Four Voices 73 10 Harmonic Progression and Harmonic Rhythm 83 11 The Dominant Seventh Chord 97 12 The Leading-Tone Seventh Chords 109 13 Nondominant Seventh Chords 119 14 Modulation 131 15 Secondary Dominants and Leading-Tone Chords 141 16 Two-Part (Binary) Form 157 17 Three-Part (Ternary) Form 159 Answers to Self-Tests 161 Anthology 175
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