Semester Plans using - W. W. Norton & Companywwnorton.com/NRL/music/theory2/SampleSemesterPlans.pdfThe Semester Plans provide coverage of all essential topics, but the materials provided

Semester Plans using

The Musician’s Guide to Theory and Analysis

Textbook, Workbook, and Anthology

How to Use these Semester Plans

These Semester Plans are intended to provide a starting point for those who are using this book for the

first time, and to ease the transition for those who have been teaching from the first edition. For those

considering adopting this book, these Semester Plans can help you consider how the second edition of

The Musician’s Guide to Theory and Analysis could work in your own classes. These Semester Plans

show how the entire course can be taught using only materials included in The Musician’s Guide to

Theory and Analysis textbook, workbook, anthology, and DVDs.

If you start with the Semester Plan that seems closest to your typical plan for your courses and adapt the

materials to your school’s semester schedule, before long you will be shaping these semester plans to suit

your needs and those of your students. Each Semester Plan is based on a 15-week semester, with the

class meeting three times a week for 50 minutes; if your courses are on the quarter or trimester system, or

if your class meets two days a week instead of three, you will need to distribute the materials in a slightly

different way. You can use these Semester Plans to get started on sequencing and distributing the

materials for those term lengths, as well by starting with the Semester Plan (schedule and assignments)

that includes the materials you normally cover, adapting it to the specifics of this year’s academic

calendar, and incorporating any changes you want to make to the topics or assignments. Having a pre-

prepared starting point for a course saves a lot of time!

The Semester Plans provide coverage of all essential topics, but the materials provided in The Musician’s

Guide to Theory and Analysis package can be used in a variety of ways beyond those shown in these

sample Semester Plans to meet student needs and teacher expectations for first- and second-year music

theory courses. Experienced teachers may wish to incorporate their own favorite teaching pieces,

assignments, or other special course materials that they have developed, if they are not already included in

The Musician’s Guide Workbook or Anthology. If you wish to emphasize composition-based

assignments, see the Assignments for Creative or Composition Activities after the Semester Plans that

includes a list by chapter of assignments appropriate for this emphasis. There are also many composition

and improvisation assignments included in The Musician’s Guide to Aural Skills. If your program has an

intensive writing or “Writing across the Curriculum” emphasis, see the Assignments for Writing

Intensive or Writing Across the Curriculum after the Semester Plans, listing by chapter assignments

from The Musician’s Guide to Theory and Analysis that are particularly appropriate for those emphases.

The following types of Semester Plans are included:

• First Year, First Semester for Intensive Fundamentals: This plan sticks with fundamentals

and two-part counterpoint for the entire first semester, covering Chapters 1–10. Students may

have weak or uneven backgrounds in music rudiments; this plan’s pacing allows for students to

learn these rudiments for the first time and to review and gain mastery of concepts. Those

selecting this plan follow the Semester Plans for the curriculum without Intensive Fundamentals

by units to complete the two-year sequence: for Second Semester, start with Unit 3 (Chapters 11–

13) from the First Year, First Semester Plan, then proceed to the first two units of First Year,

Second Semester (Chapters 14–17 and Chapters 18–21), or end with Chapter 20. For Second

Year, include Chapter 22 in the first unit (Chapters 22–24) and continue with the Semester Plans

as shown through Second Year. If you finish freshman year on Chapter 20, then start Second

Year with a unit on Chapters 21–22 and continue as indicated in the Semester Plans, ending

Second Semester with only one unit of twentieth-century materials, or, if a fifth semester is

available for twentieth-century techniques, the tonal music materials may be presented at a slower

pace.

• First Year, First Semester (with a pre-semester Fundamentals placement test): This plan

briefly reviews fundamentals for the first six weeks to make sure all students understand all of the

essential concepts, then proceeds to two-part counterpoint in species and eighteenth-century

styles, and continues to beginning steps in diatonic harmony, covering Chapters 1–13. Those

wishing to have an abbreviated treatment of fundamentals (three to four weeks) can pull forward

a unit from the First Year, Second Semester and Second Year, First Semester plans to end with a

full semester of twentieth-century techniques (see the last Semester Plan below).

• First Year, Second Semester: This semester continues with study of diatonic harmony,

including phrase analysis and diatonic sequences, then introduces secondary (applied) dominants

and leading-tone chords and modulation to closely-related keys, prior to concluding with binary

form. This term covers Chapters 14–23.

• Second Year, First Semester: Starting with a review of binary form and modulation, the topics

in this term include chromatic harmony and form, covering Chapters 23–30. This Semester Plan

and the one that follows are based on the ways I have used the The Musician’s Guide to Theory

and Analysis materials in my own classes and those I supervise at Florida State University. They

do not exactly match what we have done in previous years but are my revision of the first edition

Semester Plans to include all of the second edition materials, many of which have been field-

tested in my classes for the last several years.

• Second Year, Second Semester: This term begins with variation, rondo, and sonata forms, then

includes two units of twentieth-century techniques, covering Chapters 31–40.

• Second Year, Second Semester or a full semester upper-division course on Twentieth-

Century Techniques: This plan is for schools that have an abbreviated treatment of

fundamentals in the First Year, First Semester or those with a fifth semester or an upper-division

undergraduate course devoted to twentieth-century techniques.

The Musician’s Guide to Theory and Analysis, Second Edition—Semester Plan Semester 1 (Intensive Fundamentals) 15-week semester, class meets three times a week, separate aural skills course

Prepared by Jane Piper Clendinning

Unit 1—Weeks 1–5 Music Fundamentals: Pitch Notation, Simple Meter, Compound Meter, and Major Scales

Week Day Class Discussion Topic Reading

MGTA 2e Written Assignment Due from MGTA WB

Repertoire/Notes

1 1 Introduction to the course; review Syllabus, Schedule, and other materials; start on Chapter 1 concepts.

Can start with the example at the beginning of Chapter 1 to start the topic of letter names.

2 Review pitch and pitch class, piano keyboard, whole and half steps, flats and sharps, clefs, staff notation, ASA octave designations.

Chapter 1 Ass. 1.1 and 1.2 Focus on accuracy and speed in reading pitches from musical scores and writing pitches with correct notation. Review Ass. 1.2 in class (and 1.1 if needed).

3 Introduce simple meters: the beat and its divisions, conducting patterns, notation of durations.

Chapter 2 Ass. 1.3 and 1.4 Timed (5–10 minute) in-class mastery quiz on reading pitches (with octave designations, treble, and bass clefs).

2 1 Meter signatures, counting systems. Ass. 1.5

Focus on correct notation, including stems and placement of flags and beams.

2 Beat subdivisions, rhythm notation, syncopation, hemiola, and beat units other than the quarter note.

Ass. 2.1 and 2.2

Review Ass. 2.6, Part I in class.

3 Introduction to diatonic and chromatic collections, and major scales.

Chapter 3 Ass. 2.3 and 2.4

3 1 No Class—Labor Day Holiday 2 Key signatures and scale degrees. Ass. 2.5 and 3.1 3 Major scales and the major pentatonic. Ass. 3.2 and 3.3

Timed (5–10 minute) in-class mastery quiz on major scales.

4 1 Introduction to compound meters: meter signatures, notation, counting.


2 Notes and rests in compound meters. Ass. 4.1 3 Syncopation in compound meters,

mixing beat divisions. Ass. 4.2 and 4.3 Review Ass. 4.6 in class.



Repertoire/Notes

5 1 Completion of Chapter 4. Ass. 4.4 and 4.5 Timed (5–10 minute) in-class mastery quiz on simple and compound meter signatures and basic rhythmic notation.

2 Review for Unit 1 Exam. Review Chapters 1–4

Complete Practice Exam Review and completion of topics using Practice Exam.

3 Exam Unit 1 Exam covers Chapters 1–4.

Unit 2—Weeks 6–10 Music Fundamentals: Minor Scales, Compound Meter, Intervals, Triads, Seventh Chords



Repertoire/Notes

6 1 Introduction to minor scales: parallel and relative minor.

Chapter 5

2 Key signatures, three “forms” of minor, scale degrees.

Ass. 5.1 Review Ass. 5.3 in class.

3 Continuation of Chapter 5, including minor pentatonic and diatonic modes.

Ass. 5.2 and Ass. 5.4, Parts I and II

Timed (5–10 minute) in-class mastery quiz on key signatures and major and minor scales. Not all students will have studied minor pentatonic or the diatonic modes.

7 1 Introduction to interval labeling systems; identifying and writing intervals

Chapter 6 Ass. 5.5 and 5.6 Emphasize interval size and quality. Focus on the various ways to spell intervals. Complete Ass. 6.1 in class.

2 Diminished and augmented intervals; inversion; enharmonic intervals and interval class.

Ass. 6.2 and 6.3

3

Concluding topics in Chapter 6. Ass. 6.4 and 6.5 Timed (5–10 minute) in-class mastery quiz on interval writing and identification.

8 1 Introduction to triads. Chapter 7 Ass. 6.6 Writing triads above scales. 2

Triads in a key context, including Roman numerals and inversion.

Ass. 7.1 Focus on the various ways to spell triads.

3

Chord symbols and figured bass for triads.

Ass. 7.2 and 7.3 Timed (5–10 minute) in-class mastery quiz on triads. Review Ass. 7.1 and start Ass. 8.1, Part 1 in class.

9 1

Introduction to seventh chords. Chapter 8 Ass. 7.4 and 7.5 Writing seventh chords above scales, quality, inversion, and Roman numerals.

2 Identifying and writing seventh chords. Ass. 8.1 and 8.2 Focus on the various ways to spell seventh chords. 3

Roman numerals for seventh chords, inversion, popular music chord symbols.

Ass. 8.3 and 8.5

10 1

Conclude triads and seventh chords. Ass. 8.4 and 8.6 Timed (5–10 minute) in-class mastery quiz on seventh chords.

2 Review for Unit 2 Exam. Review Complete Practice Test

Chapters 5–8 3 Exam Unit 2 Exam covers Chapters 5–8

Unit 5—Weeks 11–15 Introduction to Species Counterpoint



Repertoire/Notes

11 1 Introduction to first-species (note-to-note) counterpoint.

Chapter 9 Ass. 9.1

Introduce first species and review Ass. 9.1 in class.

2 First-species counterpoint. Ass. 9.2 and 9.3 Look over assignments and answer questions; examine Ass. 9.4 in class.

3 First-species counterpoint. Ass. 9.5 Review student counterpoints in class; show students how to use Chapter 9 Checklist.

12 1 Introduction to second-species counterpoint

Chapter 10 Ass. 9.6

Opening and closing a second-species counterpoint.

2 Second-species counterpoint Ass. 10.1

Review student solutions for assignment; show them how to write a complete counterpoint.

3 Second-species counterpoint Ass. 10.2 Review student counterpoints in class; show students how to use Chapter 10 Checkpoints.

13 1 Introduction to fourth species counterpoint.

Ass. 10.3

Review Ass. 10.4 in class; prepare students to write a fourth-species counterpoint.

2 Fourth-species counterpoint. Ass. 10.5 Review student counterpoints in class. 3 No Class—Thanksgiving Holiday 14 1 Third- and fifth-species counterpoint. Ass. 10.6 and 10.7 Review student homework and discuss Ass. 10.7 in

class. 2 Review for Unit 3 Exam. Review

Chapters 9–10

Complete Practice Test Review practice test in class.

3 Exam Unit 3 Exam covers Chapters 9–10 15 Comprehensive Final Exam Comprehensive Final Covers Chapters 1–10 NB: From this point, you can follow the Semester Plans for the curriculum without Intensive Fundamentals by units to complete the two -year sequence.

• For Second Semester, start with Unit 3 (Chapters 11–13) from the First Year, First Semester Plan, then proceed to the first two units of First Year, Second Semester (Chapters 14–17 and Chapters 18-21), or end with Chapter 20.

• For Second Year, include Chapter 22 in the first unit (Chapters 22–24) and continue with the Semester Plans as shown through Second Year. If you finish freshman year on Chapter 20, then start Second Year with a unit on Chapters 21–22 and continue as indicated in the Semester Plans, ending Second Semester with only one unit of twentieth-century materials.

The Musician’s Guide to Theory and Analysis, Second Edition—Semester Plan Semester 1 (First Year, Fall Term) 15-week semester, class meets three times a week, separate aural skills course

[Students must pass a timed Fundamentals Test to enter this level] Prepared by Jane Piper Clendinning

Unit 1—Weeks 1–6

Music Fundamentals Review

Week Day Class Discussion Topic Reading MGTA 2e

Written Assignment Due from MGTA WB

Repertoire/Notes

1 1 Introduction to the course; review Syllabus, Schedule, and other materials; overview of materials to be reviewed in this unit.

Not all students will have had all terminology and concepts in these chapters. Move quickly through all chapter contents to be sure all students are familiar with them.

2 Review pitch and pitch class, piano keyboard, flats and sharps, half and whole steps, clefs, staff notation, ASA octave designations.

Chapter 1 Optional: Ass. 1.1 and 1.2

Focus on accuracy and speed in reading pitches from musical scores and writing pitches with correct notation. Review Ass. 1.2 in class (and Ass. 1.1 if needed).

3 Review simple meters: the beat and its divisions, conducting patterns, notation of durations of sound and silence, meter signatures, counting systems.

Chapter 2 Ass. 1.3 and 1.4 Timed (5–10 minute) mastery quiz on reading pitches (with octave designations, treble and bass clefs).

2 1 Continuation of review of Chapter 2 materials, including beat subdivisions, notation of rhythmic elements, syncopation, hemiola, and beat units other than the quarter note.

Ass. 2.1 and 2.2

Focus on correct notation, including stems and placement of flags and beams. Review Ass. 2.5, Part I and Ass. 2.6, Part I in class.

2 Review compound meters: hearing compound meters, meter signatures, notation, counting.


Review parts of Ass. 4.1 and 4.6 in class.

3 Syncopation in compound meters, mixing beat divisions, and other Chapter 4 topics.

Ass. 2.5, Part II, 4.2, and 4.3

Timed (5–10 minute) mastery quiz on simple and compound meter signatures and basic rhythmic notation. [NB: Not all students will have studied duplets, triplets, syncopation, and hemiola.]



Repertoire/Notes

3 1 No Class—Labor Day

2 Review the diatonic and chromatic collections, and major scales.

Chapter 3 Ass. 4.4 and 4.5 Not all students will have studied collections and the major pentatonic. Review parts of Ass. 3.1 in class.

3 Review key signatures, solfège or scale degree numbers, and major pentatonic.

Ass. 3.2 and 3.3

4 1 Review minor scales: parallel and relative minor, key signatures, three “forms” of minor.

Chapter 5 Ass. 3.4 and 3.5 Review parts of Ass. 5.1 and 5.3 in class.

2 Continuation of Chapter 5, including minor pentatonic and diatonic modes.

Ass. 5.2 and 5.4 Timed (5–10 minute) mastery quiz on key signatures and major and minor scales. Not all students will have studied minor pentatonic or the diatonic modes.

3 Review interval labeling systems. Chapter 6 Ass. 5.5 and 5.6 Review parts of Ass. 6.1, 6.2, and 6.5 in class. 5 1 Review triad and seventh chord

locations within a scale context, quality, spelling, and labeling.

Chapters 7 and 8

Ass. 6.3 and 6.4 Use Ass. 6.6, Parts I and II as a timed (5–10 minute) in-class mastery quiz on interval writing and identification. Review Ass. 7.1 and Ass. 8.1, Parts I and II in class.

2 Focus on triads, including Roman numerals, inversion, figured bass, popular music chord symbols.

Ass. 7.2 and 7.3 Review assignments in class.

3 Focus on seventh chords, including Roman numerals, inversion, popular music chord symbols.

Ass. 7.4 and 7.5 Review Ass. 8.1, Part II and 8.2 in class.

6 1 Review of triads and seventh chords. Ass. 8.3 and 8.5 Review assignments in class. 2 Review for Unit 1 Exam. Review

Chapters 1–8 Complete Practice Exam Practice Exam is identical to the Unit Exam in

instructions, tasks, overall content, and length; usually slightly more challenging in difficulty. Allows students to practice reading the instructions and helps students review for the test. Review Practice Exam with students in class; address any remaining questions.

3 Exam Unit 1 Exam covers all fundamentals topics.

Unit 2—Weeks 7–10 Two-Part Counterpoint



Repertoire/Notes

7 1 Introduction to first-species (note-to-note) counterpoint.

Chapter 9 Ass. 9.1

Introduce first species and review Ass. 9.1 in class.

2 First-species counterpoint. Ass. 9.2 and 9.3 Look over assignments and answer questions; examine Ass. 9.4 in class.

3 First-species counterpoint. Ass. 9.5 Review student counterpoints in class; show students how to use Chapter 9 Checklist.

8 1 Introduction to second-species counterpoint.

Chapter 10 Ass. 9.6

Opening and closing a second-species counterpoint.

2 Second-species counterpoint. Ass. 10.1

Review student solutions for assignment; show them how to write a complete counterpoint.

3 Second-species counterpoint. Ass. 10.2 Review student counterpoints in class; show students how to use Chapter 10 Checkpoints.

9 1 Introduction to fourth-species counterpoint.

Ass. 10.3

Review Ass. 10.4 in class; prepare students to write a fourth-species counterpoint.

2 Fourth-species counterpoint Ass. 10.5 Review student homework. 3 Third- and fifth-species counterpoint Ass. 10.6 Overview of third and fifth species. 10 1 Review all species. Ass. 10.7 2 Review for Unit 2 Exam. Review

Chapters 9–10

Complete Practice Test Review Practice Test in class.

3 Exam Unit 2 Exam covers Chapters 9–10

Unit 3—Weeks 11–15 The Basic Phrase (SATB), Dominant Sevenths, and the Predominant Area



Repertoire/Notes

11 1 Introduction to soprano and bass lines in eighteenth-century style.

Chapter 11 (reading assignment only) Examine Ass. 11.1, Part I, some of Ass. 11.1, Part II, and 11.2 in class to compare eighteenth-century style counterpoint with first-species settings.

2 Soprano and bass lines in eighteenth-century style.

Complete Ass. 11.1 and 11.2

Examine Ass. 11.4 in class; passing and neighbor tones and suspensions in eighteenth-century style.

3 Melodic embellishments in eighteenth-century style.

Ass. 11.3 and 11.5 Chorale-style soprano and bass-line writing.

12 1 Introduction to SATB writing; spelling chords in four voices.

Chapter 12 Ass. 11.6 Spacing, voicing, doubling in SATB style.

2 Figured bass; the basic phrase. Ass. 12.1

Identifying chords in an SATB context, realizing figured bass.

3 Connecting tonic and dominant harmonies; cadence types.

Ass. 12.2 and 12.3 Writing and identifying HC, IAC, and PAC.

13 1 Introduction to V7 and its inversions; the predominant area.

Chapter 13 Ass. 12.4 and 12.5, part I

Complete Ass. 13.1 in class; V7 and predominants.

2 Expanding the basic phrase. Ass. 13.2 and 13.3 Connecting predominant and dominant harmonies. 3 No Class—Thanksgiving Holiday 14 1 Harmonizing chorale melodies. Ass. 13.4 and 13.5 Complete Ass. 13.6, Part II, A and B in class. 2 Completion of topics. Ass. 13.6, Part I, and Part

II C, D Analysis of basic phrases and chorale melody harmonization.

3 Review for Final Exam. Review Chapters 1–13

Complete Practice Test Review Practice Test in class.

15 Comprehensive Final Exam

The Musician’s Guide to Theory and Analysis, Second Edition—Topics and Assignments Schedule Semester 2 (First Year, Spring Term) 15-week semester; class meets three times a week


Unit 1—Weeks 1–5 Expanding the Tonic and Dominant Areas, Diatonic Harmonies, Embellishing Tones, Leading-Tone Chords



Repertoire/Notes

1 1 Introduction to the course; cadential 6/4s.

Chapter 14

Use pieces from the textbook to introduce expansions of the tonic and dominant areas.

2 Neighboring (or pedal), arpeggiating, and passing 6/4s.

Ass. 14.1 and 14.2 Introduce the other common 6/4 progressions.

3 Analysis of 6/4s. Ass. 14.3 and 14.4 Emphasize the two-level Roman numeral and contextual analysis system.

2 1 Completion of chapter topics. Ass. 14.6

Perform some of the students’ harmonizations of the melodies in class.

2 Introduction to deceptive, plagal, and Phrygian cadences.


Emphasize part-writing details and where each type of cadence is typically used.

3 Root progressions and the basic phrase. Ass. 15.1 and 15.2 Emphasize part-writing details and where each type of chord progression is typically used.

3 1 No Class—MLK Holiday 2 Embellishing tones in four voices Chapter 16 Ass. 15.3 and 15.4 Examine Ass. 16.1 in class; refer back to

embellishing tones in two-voice counterpoint. 3 Reduction of embellished textures. Ass. 16.2 and 16.3 Show students how to “reduce out” embellishments. 4 1 Completion of chapter topics. Ass. 16.4 and 16.5 2 Introduction to leading-tone chords. Chapter 17 Ass. 16.6 Emphasize resolution of tendency tones. 3 Leading-tone seventh chords; passing

and neighboring chords. Ass. 17.1 and 17.2 Emphasize where these chords appear in the basic

phrase. 5 1 Setting scalar melody and bass lines. Ass. 17.3 and 17.4 Examine Ass. 17.5 in class. 2 Review for Unit 1 Exam. Review

Chapters 14–17

Complete Practice Test Expansions of tonic and dominant, cadences, root progressions, embellishing tones, and leading-tone chords.


Unit 2—Weeks 6–10 Phrase Analysis, Diatonic Sequences, Secondary Dominants



Repertoire/Notes

6 1 Introduction to phrase analysis and motivic transformation.

Chapter 18 (reading assignment only) Work with musical examples to help students learn phrase analysis terminology.

2 Writing phrases. Ass. 18.1 and 18.2 Examine parallel and contrasting consequent phrases.

3 Analyzing phrases and periods; hypermeter.

Ass. 18.3 and 18.4 If possible, perform student parallel periods in class.

7 1 Introduction to diatonic sequences. Chapter 19 Ass. 18.5 and 18.6 Emphasize sequence frameworks—how to write and identify them.

2 Diatonic sequences. Ass. 19.1 and 19.2 Recognizing sequences in figured bass. 3 Analyzing diatonic sequences. Ass. 19.3 Identifying sequences visually and aurally in

analysis. 8 1 Introduction to secondary dominants

(applied dominants). Chapter 20 Ass. 19.4

If students can write V7–I correctly in various inversions, they can voice-lead secondary dominants! Must watch for quality and add accidental to V7/V, though!

2 Secondary dominants and leading-tone chords to V.

Ass. 20.1 Emphasize that V7/V goes where ii does in the basic phrase; introduce secondary leading-tone chords.

3 Analysis of secondary dominants to V. Ass. 20.2 and 20.3 More practice spelling, resolving, and analyzing secondary dominants.

9 1 Tonicizing scale degrees other than V. Chapter 21 Ass. 20.4 and 20.5 Review Ass. 21.1 in class as an introduction to the topics.

2 Part-writing and analysis of secondary dominants.

Ass. 21.2 and 21.3 Expand concepts of Chapter 20 to tonicize chords other than V.

3 Chromatic sequences. Ass. 21.4 Show how diatonic sequences can be chromaticized. 10 1 Completion of topics. Ass. 21.5 and 21.6 More practice spelling, resolving, and analyzing

secondary dominants. 2 Review for Unit 2 Exam. Review

Chapters 18–21

Complete Practice Test Phrase analysis, diatonic and chromatic sequences, secondary dominants.



Modulation to Closely Related Keys and Binary Form Week Day Class Discussion Topic Reading


Repertoire/Notes

11 1 Introduction to modulation to closely related keys; pivot chords.

Chapter 22 (reading assignment only)

Examine pieces discussed in the chapter (or examples of teacher’s choice).

2 Modulation to closely related keys. Ass. 22.1 Work with students on identifying possible pivots chords.

3 Modulation to closely related keys. Ass. 22.2 Perform Ass. 22.2, Part II in class with flute and continuo (piano and cello or bassoon).

12 1 Modulation to closely related keys. Ass. 22.3

This assignment will be combined with Ass. 23.2 to make a little binary-form composition.

2 Modulation to closely related keys. Ass. 22.4

Ass. 22.4, Part I is challenging—may want to work on it in class.

3 Modulation to closely related keys. Ass. 22.5 Perform student settings in class. 13 1 Introduction to binary form. Chapter 23

(to p. 478) Ass. 22.6 Examine pieces discussed in the chapter (or

examples of teacher’s choice). 2 Binary form. Ass. 23.1 Examine pieces discussed in the chapter (or

examples of teacher’s choice). 3 Binary form. Ass. 23.2 except Part II,

C Give students corrections on Ass. 23.2 and 22.3 to prepare for their completed binary composition.

14 1 Binary form. Ass. 23.3 Perform Ass. 23.3 in class with violin (or flute or oboe) and continuo (piano and cello or bassoon)

2 Binary-form compositions. Ass. 23.2, Part II, C Perform compositions in class. 3 Review for Final Exam. Review

Chapters 14–23

Complete Practice Test Modulation to closely related keys and binary form.

15 Final Exam Can be a Unit 3 Exam on Chapters 22–23 or a Comprehensive Exam.

The Musician’s Guide to Theory and Analysis, Second Edition—Topics and Assignments Schedule Semester 3 (Second Year, Fall Term) 15-week semester; class meets three times a week


Unit 1—Weeks 1–4 Binary and Ternary Forms; Invention, Fugue, and other Contrapuntal Genres



Repertoire/Notes

1 1 Introduction to the course; review Syllabus, Schedule, and other materials.

[Students were introduced to Chapter 23 at the end of First Year, Spring Semester.]

2 Review binary form, Roman numeral analysis, modulation, and figured bass.

Chapter 23 (reading assignment only; may start on Ass. 23.4)

In-class quiz on reading; examine pieces discussed in the chapter (or examples of teacher’s choice).

3 Review binary form and figured bass; review simple ternary form.

Ass. 23.4 Perform in class using two violins or flutes with keyboard and cello continuo; review close analysis.

2 1 Review binary and simple ternary form. Ass. 23.5

Mozart, Minuet in F Major, K. 2 and Schumann, “Wilder Reiter”; other favorite short binary or simple ternary pieces.

2 Review binary and composite ternary forms.

Ass. 23.6

Mozart, String Quartet in D Minor, K. 421, third movement; another favorite composite ternary movement.

3 Composite forms in marches and ragtime.

Ass. 23.7 Joplin, “Pine Apple Rag” and Sousa, “The Washington Post March”; other favorite marches or rags.

3 1 Introduction to contrapuntal genres; Baroque melody, subject and imitation.

Chapter 24 (reading assignment only) In-class quiz on reading; Listen to Baroque melodies (I like to play part of one of the Brandenburg Concertos) and a Bach Invention (D minor).

2 Invention and fugue—subjects, countersubjects and the exposition.

Ass. 24.1 Bach, Prelude, from Cello Suite No. 2 in D Minor; Work with Ass. 24.2 in class and compare to invention subject (typically answered down an octave).

3 Invention and fugue—episodes and later expositions.

Ass. 24.3, and Ass. 24.4 Bach, Invention in F Major; also Fugue in G Minor.

4 1 Invention and fugue—special features.

Ass. 24.5 and Ass. 24.6 Bach, Fugue in D# Major; other favorite fugues chosen by teacher.



Repertoire/Notes


Complete Practice Test Include a short binary or ternary piece to analyze (can ask for Roman numerals or just go for formal analysis); or could focus on invention or fugue.

3 Exam Unit 1 Covers Chapters 23–24


Modal Mixture, Augmented Sixth Chords and Neapolitan Chords, Vocal Forms Week Day Topic Reading


Repertoire/Notes

5 1 Introduction to modal mixture; spelling and identifying mixture chords.

Chapter 25 Examine pieces discussed in the chapter (or examples of teacher’s choice).

2 Part-writing and analysis of mixture chords.

Ass. 25.1 Examine pieces discussed in the chapter (or examples of teacher’s choice).

3 Part-writing and analysis of mixture chords.

Ass. 25.2 Review students’ part-writing homework in class; view YouTube video of Bernstein’s “One Hand, One Heart” from West Side Story and discuss analysis.

6 1 Part-writing and analysis of mixture chords.

Ass. 25.3

2 Analysis of mixture chords. Ass. 25.4 3 Introduction to Neapolitan sixth and

augmented-sixth chords. Chapter 26 Ass. 25.5 (Part I or Part II

or both) Examine pieces discussed in the chapter (or examples of teacher’s choice).

7 1 N6 chords. Ass. 26.1 Work with students on spelling and resolution. 2 N6 chords. Ass. 26.2 Examine pieces discussed in the chapter (or

examples of teacher’s choice). 3 Introduction to A6 chords. Ass. 26.3, Part I and Ass.

26.4 Examine pieces discussed in the chapter (or examples of teacher’s choice).

8 1 A6 chords. Ass. 26.5 Work with students on spelling and resolution. 2 Complete N6 and A6 chords. Ass. 26.6 Examine pieces discussed in the chapter (or

examples of teacher’s choice). 3 Introduction to vocal forms;

text analysis and form. Chapter 27 Ass. 26.7 Discuss Ass. 27.1 in class.

9 1 Song forms. Ass. 27.2 Examine song in assignment. 2 Song forms. Ass. 27.3 Examine song in assignment. 3 Recitative, French mélodie. Ass. 27.4 Discuss Ass. 27.6, Part I in class. 10 1 Complete song forms. Ass. 27.5 Examine song in assignment. 2 Review for Unit 2 Exam. Review

Chapters 25–27

Complete Practice Test


Unit 3—Weeks 11–15 Popular Music, Chromatic Harmony, Chromatic Modulation



Repertoire/Notes

11 1 Introduction to popular music analysis; quaternary song form and the blues.


Look over pieces from chapter or Ass. 28.1 in class.

2 Blues. Ass. 28.2 and Ass. 28.4

View the video for “Cruella de Vil” from 101 Dalmatians from YouTube.

3 Blues and post-1950s popular song. Ass. 28.3, Part II Perform students’ blues compositions in class. 12 1 Recent popular songs. Ass. 28.5 2 Introduction to chromatic harmony and

voice-leading; chromatic sequences and voice exchanges.

Chapter 29 Ass. 28.6

Review Ass. 29.1 and 29.2 in class.

3 Analysis of chromatic voice-leading; chromatic embellishments.

Ass. 29.3 and Ass. 29.4 Examine the homework pieces in class; if desired, review Ass. 29.5 in class.

13 1 Chromatic modulatory procedures; chromatic chords as pivots.

Chapter 30 Ass. 29.6 Review Ass. 30.1 in class.

2 Modulations to distant keys. Ass. 30.2 Students will likely need assistance to complete Ass. 30.2, Part II—can review in class.

3 Modulations to distant keys. Ass. 30.3 Examine the excerpts in the context of the entire song.

14 1 Chromaticism and form. Ass. 30.4 Examine the excerpts in the context of the entire song.

2 Chromaticism and form; intentional harmonic ambiguity

Ass. 30.6 Discuss examples from Chapter 29 in class.


Complete Practice Test Can use Ass. 30.5 as test material or model for text format.

15 Final Exam Can be a Unit 3 Exam or Comprehensive Exam.

The Musician’s Guide to Theory and Analysis, Second Edition—Topics and Assignments Schedule Semester 4 (Second Year, Spring Term) 15-week semester; class meets three times a week

Three Units—One Unit of Form and Chromatic Harmony; Two Units of Twentieth-Century Techniques Prepared by Jane Piper Clendinning


Variation, Rondo, and Sonata Forms Week Day Class Discussion Topic Reading


Repertoire/Notes

1 1 Introduction to the course; introduction to variation procedures.


Look at Ass. 31.1 in class.

2 Analyzing sectional variations. Ass. 31.2 Examine sectional variation sets of teacher’s choice from Anthology and Chapter 31.

3 Continuous variations. Ass. 31.3 Examine continuous variation sets of teacher’s choice from Anthology and Chapter 31.

2 1 Variations and rondo. Ass. 31.4 Conclude variations; introduce rondo. 2 Variations and rondo. Start on Ass. 31.5, Part I,

A or B, as assigned; Ass. 31.6

Students will work on their variation project for the next several weeks; examine rondos in class.

3 Rondo. Ass. 31.7 Review Clarke, Trumpet Voluntary from assignment and other rondos.

3 1 Introduction to sonata form. Chapter 32 Ass. 31.8; Listen to Mozart, K. 283, Mvt. 1

Review Mozart, K. 283, first movement from Chapter 32 and Anthology.

2 Sonata form in the Classical era; sonatina.

Ass. 32.1 Discuss assignment—Mozart, K. 545, first movement—in detail.

3 Sonata form in the Classical era; sonatina.

Ass. 32.2 Discuss assignment—Mozart, K. 421, first movement exposition and recapitulation sections.

4 1 Complete classical sonata; introduce sonata form in the Romantic era.

Ass. 32.3 ,Part I Discuss assignment—Mozart, K. 421, first movement sonata development section and overall form.

2 Sonata-rondo and concerto forms. Ass. 32.3, Part II and/or Ass. 32.5

Discuss assignment—Mendelssohn, Violin Concerto in E Minor, first movement and Beethoven, Pathètique Sonata, third movement.

3 Large ternary. Ass. 32.6 Discuss assignment—Brahms, Intermezzo in A Major, Op. 118, No. 2.



Repertoire/Notes

5 1 Variation set performances in class. Ass. 31.5, Part I 2 Review for Unit 1 Exam. Review

Chapters 31–32

Complete Practice Test Variation, rondo, and sonata form; can use Clementi’s Sonatina in C Major, Ass. 32.4 as a test item.


Unit 2—Weeks 6–10 Modes, Scales, Sets, and Set Classes



Repertoire/Notes

6 1 Introduction to listening to twentieth-century compositions; introduction to scales and modes.

Listen to Bartók, Webern, and other examples discussed in Chapter 33 (or examples of teacher’s choice).

2 Introduction to scales and modes; using pitch-class integer notation.

Chapter 33 (reading assignment only) Introduce chromatic, whole-tone, octatonic collections, pc integers, and review diatonic modes.

3 Scales and modes in music analysis.

Ass. 33.1, 33.2, Part I; Listen to Debussy, “La cathédral engloutie”

In-class timed quiz on reading pc integers; use materials from Ass. 33.6, Part A to illustrate use of scales, modes, and centers in creating form.

7 1 Analysis—scales, pitch and pitch-class centers, form.

Ass. 33.3 Parts I and II; Ass. 33.4

Review assignment; examine a piece of the teacher’s choice.

2 Analysis—scales, pitch and pitch-class centers, form.

Ass. 33.5 Examine analysis examples from homework—Bartók and Ravel.

3 Music analysis with sets; pc sets in integer notation and transposition.

Chapter 34 Ass. 33.6, Part B

8 1 Pc intervals and the interval vector. Ass. 34.1 2 Inverting pitch and pitch-class sets; Tn

and TnI relationships. Ass. 34.2

3 Analysis with pitch-class sets. Ass. 34.3 and Ass. 34.4, Part I

Go over homework carefully in class—students find inverting sets somewhat challenging!

9 1 Introduction to set classes and segmentation.

Chapter 35

Ass. 34.5 Discuss homework assignment piece in class; use it to talk about segmentation.

2 Normal order and prime form. Ass. 35.1 and 35.3 3 Analysis with pitch-class sets. Ass. 35.2 and 35.5 Analysis with pitch-class sets; use Ass. 35.6, Part III

to illustrate. 10 1 Analysis with pitch-class sets. Ass. 35.4 and 35.6, Part I 2 Review for Unit 2 Exam. Review

Chapters 33–35

Complete Practice Test Include a short atonal piece to analyze, or could focus on specific tasks (making an interval vector, normal order, prime form).


Unit 3—Weeks 11–15 Ordered Segments and Serialism, Rhythmic Procedures and Form, Recent Trends



Repertoire/Notes

11 1 Introduction to ordered segments and serialism; pitch and pc segments.


Examine Tavener “The Lamb” or pieces discussed in the chapter (or examples of teacher’s choice).

2 Operations (T, R, I, and RI) on pitch and pitch-class segments

Ass. 36.1 and Ass. 36.2, Part I

Use Ass. 36.5 to illustrate the operations.

3 Analysis with pitch and pc segments; 12-tone rows and the row matrix.

Chapter 37 Ass. 36.3 and 36.4 Examine analysis from homework—Stravinsky “Full Fadom Five”; use Ass. 37.1 for row matrix.

12 1 Analysis of serial compositions using a row matrix.

Ass. 37.2, Ass. 37.3, Part I, and Ass. 37.4, Part I

Examine analysis from homework—Webern, Symphonie, Op. 21, second movement.

2 Analysis of serial compositions using a row matrix.

Ass. 37.5 and Ass. 37.6

Examine analysis from homework—Webern, Op. 23, Nos. 1 (“Das dunkle Herz:”) and 3 (“Herr Jesus mein”); discussion of combinatoriality optional.

3 Introduction to rhythmic and metric procedures for early twentieth-century music.

Chapter 38 (reading assignment only; listen to examples!)

13 1 Rhythm and meter after 1945. Ass. 38.1 and Ass. 38.2

2 Analysis of rhythm and meter. Ass. 38.4, Ass. 38.5, Part I, and Ass. 38.6

3 Form in twentieth-century compositions.

Chapter 39 Ass. 38.7, Part I Look at Ass. 39.1 in class.

14 1 New approaches to musical form. Ass. 39.2 Consider Ass. 39.3B in class; Discuss “What is music?” from Ass. 39.4, Part IIA.

2 Recent trends. Chapter 40 Ass. 39.3A Use Ass. 40.1, 40.2, 40.3. and 40.4 in class. 3 Review for Final Exam. Review

Chapters 36–40

Complete Practice Test Include a short serial passage to analyze (make a matrix and label rows; identify form) and/or tasks such as row operations and labeling rhythmic features.

15 Final Exam Can be a Unit 3 Exam or Comprehensive Exam.

The Musician’s Guide to Theory and Analysis, Second Edition--Topics and Assignments Schedule Semester 4 (Second Year, Spring Term) 15-week semester; class meets three times a week

Three units on Twentieth-Century Music or a Semester Course on Twentieth-Century Music


Unit 1—Weeks 1–6 Modes, Scales, Sets and Set Classes



Repertoire/Notes

1 1 Introduction to the course; introduction to the unit—listening to twentieth-century compositions.

Listen to Bartók, Webern, and other examples discussed in Chapter 33 (or examples of teacher’s choice).

2 Introduction to scales and modes; using pitch-class integer notation.

Chapter 33 (reading assignment only) Introduce chromatic, whole-tone, octatonic collections, pc integers, and review diatonic modes.

3 Scales and modes in music analysis.

Ass. 33.1, 33.2, Part I; Listen to Debussy, “La cathédral engloutie”

In-class timed quiz on reading pc integers; use materials from Ass. 33.6, Part A to illustrate use of scales, modes, and centers in creating form.

2 1 Analysis—scales, pitch and pitch-class centers, form.

Ass. 33.3, Parts I and II; Ass. 33.4

Review assignment; examine a piece of the teacher’s choice.

2 Exploring scales and modes through composition.

Ass. 33.2, Part II and 33.3, Part III

Play student composition exercises in class; compliment and critique.

3 Analysis—scales, pitch and pitch-class centers, form.

Ass. 33.5 Examine analysis examples from homework—Bartók and Ravel.

3 1 Music analysis with sets; pc sets in integer notation and transposition.

Chapter 34 Ass. 33.6, Part B

2 Pc intervals and the interval vector. Ass. 34.1 3 Inverting pitch and pitch-class sets; Tn

and TnI relationships. Ass. 34.2

4 1 Inverting pitch-class sets. Ass. 34.3 and Ass. 34.4, Part I

Go over homework carefully in class—students find inverting sets somewhat challenging!

2 Analysis with pitch-class sets.

Ass. 34.5 Discuss homework assignment (Berg, “Sahst du nach dem Gewitterregen,” Op. 4) in class.



Repertoire/Notes

3 Introduction to set classes and segmentation.

Chapter 35

(reading assignment only)

5 1 Normal order and prime form. Ass. 35.1 and 35.3 2 Analysis with pitch-class sets. Ass. 35.2 and 35.5 Analysis with pitch-class sets; use Ass. 35.6, Part III

to illustrate. 3 Analysis with pitch-class sets. Ass. 35.4 and 35.6, Part I 6 1 Composing with pitch-class sets. Ass. 35.6, Part II Play student composition exercises in class;

compliment and critique. 2 Review for Unit 1 Exam. Review

Chapters 33–35

Complete Practice Test Include a short atonal piece to analyze (can ask for labels for circled sets or just focus on scales, collections, and centers), or could focus on specific tasks (making an interval vector, normal order, prime form).


Unit 2—Weeks 7–10 Ordered Segments and Serialism



Repertoire/Notes

7 1 Introduction to ordered segments and serialism; pitch and pc segments.


Examine Tavener “The Lamb” or pieces discussed in the chapter (or examples of teacher’s choice).

2 Operations (T, R, I, and RI) on pitch and pitch-class segments.

Ass. 36.1 and Ass. 36.2, Part I

Use Ass. 36.5 to illustrate the operations.

3 Analysis with pitch and pc segments; 12-tone rows, introduce the row matrix

Chapter 37 Ass. 36.3 and 36.4 Examine analysis from homework—Stravinsky “Full Fadom Five”; use Ass. 37.1 to introduce row matrix.

8 1 Analysis of serial compositions using a row matrix.

Ass. 37.2, Ass. 37.3, Part I, and Ass. 37.4, Part I

Examine analysis from homework—Webern, Symphonie, Op. 21, second movement.

2 Analysis of serial compositions using a row matrix.

Ass. 37.5 and Ass. 37.6

Examine analysis from homework—Webern, Op. 23, Nos. 1 (“Das dunkle Herz:”) and 3 (“Herr Jesus mein”); discussion of combinatoriality optional.

3 Twelve-tone serial composition exercise.

Ass. 37.3, Part II Play student composition exercises in class; compliment and critique; use Ass. 37.7, Part I to introduce combinatoriality.

9 1 Introduction to rhythmic and metric procedures for early twentieth-century music.

Chapter 38 Ass. 37.4, Part II

2 Analysis of rhythm and meter. Ass. 38.1 and Ass. 38.2

3 Rhythmic composition. Ass. 38.3 or Ass. 38.5 Part II

Play student composition exercises in class; compliment and critique.

10 1 Rhythm and meter after 1945. Ass. 38.4, Ass. 38.5, Part I, and Ass. 38.6


Complete Practice Test Include a short serial passage to analyze (make a matrix and label rows) and/or tasks such as row operations and labeling rhythmic features.


Unit 3—Weeks 11–15 Form and Recent Trends



Repertoire/Notes

11 1 Form in twentieth-century compositions.

Chapter 39 Ass. 39.4 Part IIB

2 Analytical graphing and musical form. Ass. 39.1 Also include examples from chapter. 3 Analysis of form. Ass. 39.2 Also include examples from chapter. 12 1 Analysis of form. Ass. 39.3, Part A Also include examples from chapter. 2 Discuss “What is Music?” Ass. 39.3, PartB and

Ass. 39.4, Part IIA Text scores and graphic scores.

3 New approaches to musical form. Ass. 39.4, Part I Also include examples from chapter. 13 1 Form analysis. Ass. 39.5

Also include examples from chapter.

2 Focus on recent compositions Chapter 40 Ass. 40.1 Examine analysis from homework— Pärt’s Magnificat—and pieces of teacher’s choosing.

3 Focus on recent compositions Ass. 40.2 Examine analysis from homework—Corigliano “Come now, my darling”; perhaps watch video of The Ghosts of Versailles.

14 1 Focus on recent compositions Ass. 40.3 Examine analysis from homework—Ligeti “Désordre”—and pieces of teacher’s choosing.

2 Focus on recent compositions Ass. 40.4 Examine analysis from homework—Takemitsu “Rain Tree Sketch”—and pieces of teacher’s choosing.


Complete Practice Test Can be a Unit 3 Exam or Comprehensive; if a final paper is assigned, Unit 3 Exam is given on last day of class and Practice Test can be moved up a day.

15 Final Exam or Final Paper Can be replaced with a final analytical paper.

The Musician’s Guide to Theory and Analysis, Second Edition Assignments for Writing Intensive or Writing across the Curriculum


There are writing assignments included in many of the Workbook Chapters. I’ve listed them here by Chapter. If you need others, use these as models to add a series of writing questions to any of the longer analysis assignments. Chapter Assignment Composer/Piece/Topic Teaching Notes 3 Ass. 3.5, Part IIC Leven, “Cruella de Vil” and

Webern, “Herr Jesus mein,” Op. 23, No. 3

Comparing two pieces that use the chromatic collection; instructions are to write a few sentences, but could be expanded to a paragraph.

4 Ass. 4.6 Various Questions are provided that could be answered in a paragraph. 5 Ass. 5.5, Part II Bach, Inventions No. 2 and 7 Questions are provided that could be answered in a paragraph. 6 Ass. 6.6, Part III Webern, “Herr Jesus mein,” Op.

23, No. 3 Essay prompt provided.

9 Ass. 9.1, Part II Evaluating species counterpoint Questions are provided that could be answered in a brief essay. 11 Ass. 11.1, Part I Analysis of chorale-style

counterpoint Essay prompt provided.

Ass. 11.5, Part I Analysis of chorale-style counterpoint

Essay prompt provided.

12 Ass. 12.2 Analyzing SATB voicing and spacing

Teacher notes provide directions for prompts that could be answered in a brief essay.

13 Ass, 13.3, Part III Mozart, “Sull’aria” Questions are provided in teacher notes that could be answered in a brief essay.

Ass, 13.5, Part II Chopin, Mazurka, Op. 33, No. 2 Questions are provided that could be answered in a brief essay. 14 Ass. 14.7, Part IIA Anonymous, Minuet in D Minor Essay prompt provided. 17 Ass. 17.2, Part III Clementi, Sonatina in G Major,

Op. 36, No. 5, third movement Essay prompt provided.

18 Ass. 18.5 Beethoven, Sonata for Violin and Piano in C Minor, Op. 30, No. 2, first movement

Essay prompt provided.

Ass. 18.6 Haydn, Piano Sonata No. 13 in E Major, second movement

Questions are provided that could be answered in an essay; includes prompt for consideration of “normalized” phrases.

Chapter Assignment Composer/Piece/Topic Teaching Notes 20 Ass. 20.4, Part III Clarke, Trumpet Voluntary Questions are provided that could be answered in an essay. 21 Ass. 21.2, Part III Schubert “Erlkönig” Essay prompt provided. Ass. 21.6, Part II Mozart, Variations on “Ah, vous

dirai-je Maman” Questions are provided that could be answered in an essay.

22 Ass. 22.3, Part II Joplin, “Pine Apple Rag” Questions are provided that could be answered in a brief essay. 23 Ass. 23.7, Part B Sousa, “The Washington Post

March” Questions are provided that could be answered in an essay; includes prompt for comparison of two or more recordings.

24 Ass. 24.3, Part IIC Bach, Invention in F Major Essay prompt provided. 25 Ass. 25.5, Part II Hensel, “Neue liebe” Essay prompt provided. 26 Ass. 26.3, Part I Loeillet, Sonata in F Major, Op. 1,

No. 2, fourth movement (Giga) Questions are provided that could be answered in a brief essay.

Ass. 26.4, Part A Schubert, “Erlkönig” Questions are provided that could be answered in a brief essay. 27 Ass. 27.2 Brahms, “Die Mainacht” Questions are provided that could be answered in an essay. Ass. 27.3 Hensel, “Bitte” Questions are provided that could be answered in an essay. Ass. 27.4, Part II Faure “Après un rêve” Questions are provided that could be answered in a brief essay. Ass. 27.5 Schubert “Der Neugierige” Questions are provided that could be answered in an essay. Ass. 27.6, Part II Hensel, “Neue liebe” Essay prompt provided. 28 Ass. 28.4 Levin, “Cruella de Vil” Questions are provided that could be answered in an essay. 29 Ass. 29.3 Mozart, String Quartet in D

Minor, K. 421, third movement Questions are provided that could be answered in an essay.

30 Ass. 30.6 Chopin, Mazurka in F Minor, Op. 68, No. 4

Questions are provided that could be answered in an essay.

31 Ass. 31.5, Part II Chance, Variations on a Korean Folk Song or Purcell, “When I am laid in earth”

Complete instructions are provided for a written analysis assignment.

Ass. 31.7 Clarke, Trumpet Voluntary Questions are provided that could be answered in an essay. Ass. 31.8 Beethoven, Sonatina in F Major,

Op. Posth., second movement Questions are provided that could be answered in an essay.

32 Ass. 32.1 Mozart, Piano Sonata in C Major, K. 545, first movement


Chapter Assignment Composer/Piece/Topic Teaching Notes Ass. 32.2 and Ass.

32.3, Part I Mozart, String Quartet in D Minor, K. 421, first movement

Questions are provided that could be answered in an essay; large essay instructions provided in Ass. 32.3, part IC.

Ass. 32.6 Brahms, Intermezzo in A Major, Op. 118, No. 2


33 Ass. 33.5, Part B Ravel, “Aoua!” Part (2) gives questions for class discussion or a short essay. Ass. 33.6, Part B Barber, “Sea-Snatch” Questions are provided for an essay assignment. 34 Ass. 34.5 Berg, “Sahst du nach dem

Gewitterregen” Op. 4 Questions are provided for an extended essay assignment.

35 Ass. 35.6, Part III Webern, String Quartet, Op. 5, third movement

Questions are provided for an extended essay assignment.

36 Ass. 36.3 and Ass. 36.4

Stravinsky, “Full Fadom Five” Questions are provided that could be answered in an essay.

37 Ass. 37.2, Ass. 37.3, Part I, and Ass. 37.4, Part I

Webern, Symphonie, Op. 21, second movement

These exercises could be addressed in an essay on this movement; other variations are also interesting and accessible.

Ass. 37.4, Part II Schoenberg, Klavierstück, Op. 33a Essay prompt provided. Ass. 37.6 Webern, Op. 23, No. 3 Questions are provided that could be answered in an essay. 38 Ass. 38.2, Part B Bartók, “Song of the Harvest” Questions are provided that could be answered in an essay. Ass. 38.5, Part I Berio, Sequenza I for flute Questions are provided that could be answered in an essay. Ass. 38.6 Crumb, “Los muertos llevan alas

de musgo” Questions are provided that could be answered in an essay.

Ass. 38.7, Part I Berberian, Stripsody Questions are provided that could be answered in an essay. 39 Ass. 39.2, Part A Bartók, Bagatelle, Op. 6, No. 2 Questions are provided that could be answered in an essay. Ass. 39.2, Part B Hovhaness, “Sicut locutus est” Essay prompt provided. Ass. 39.3, Part A Stravinsky, “Bransle Gay” Questions are provided that could be answered in an essay. Ass. 39.3, Part B Young, Composition 1960, No. 2 Essay prompt provided. Ass. 39.4, Part I Webern, “dies ist ein Lied,” Op. 3,

No. 1 Questions are provided that could be answered in an essay.

Ass. 39.4, Part IIA Defining music Essay prompt provided. Ass. 39.4, Part IIB Form without tonality Essay prompt provided. 40 Ass. 40.2 Corigliano “Come now, my Questions provided could be answered in an essay instead of a

darling” list.

The Musician’s Guide to Theory and Analysis, Second Edition Assignments for Creative or Composition Activities


There are creative compositional assignments included in many of the Workbook Chapters. I’ve listed them here by Chapter. There are also many composition and improvisation assignments included in The Musician’s Guide to Aural Skills. Chapter Assignment Task Teaching Notes 1 Ass. 1.5, Part I Arranging and transposition Transposition of a melody up an octave; renotating it for various

clefs. This exercise is preparatory to arranging for nontransposing instruments.

Ass. 1.5, Part II Composing a melody using half and whole steps

This exercise does not require use of rhythmic notation, though students who know how to notate rhythms may include them.

2 Ass. 2.6, Part II Creating a rhythmic canon Write a four-part rhythmic canon in simple meter. 4 Ass. 4.4, Part II Writing rhythmic duets Compose a second rhythmic line in compound meter to go with a

given one. Ass. 4.5, Part IIB Creating a rhythmic canon Write a four-part rhythmic canon in compound meter. 5 Ass. 5.4, Part III Composing a melody using

minor or minor pentatonic scales

This exercise could be adapted for Chapter 3 (using major and major pentatonic scales).

9 Ass. 9.2 1:1 species counterpoint Opening a first-species counterpoint. Ass. 9.3 1:1 species counterpoint Closing a first-species counterpoint. Ass. 9.5 1:1 species counterpoint Writing complete first-species counterpoints. Ass. 9.6 1:1 species counterpoint Writing complete first-species counterpoints. 10 Ass. 10.1 2:1 species counterpoint Opening and closing a second-species counterpoint. Ass. 10.2 2:1 species counterpoint Writing complete second-species counterpoints. Ass. 10.3 2:1 species counterpoint Writing complete second-species counterpoints. Ass. 10.5 Fourth-species counterpoint Writing complete fourth-species counterpoints. Ass. 10.6 Fourth-species counterpoint Writing complete fourth-species counterpoints. 11 Ass. 11.3 Note-to-note counterpoint Soprano-bass counterpoint in eighteenth-century style. Ass. 11.6 Chorale-style counterpoint Soprano-bass counterpoint in eighteenth-century style. 12 Ass. 12.5, Part II Writing basic phrases Prepare a keyboard setting.

Chapter Assignment Task Teaching Notes Ass. 12.6 Folk melody harmonization Includes writing an accompaniment (in Part II). 14 Ass. 14.4, Part II Melody harmonization Chorale-style SATB. Ass. 14.6 Melody harmonization with

keyboard accompaniment Given melodies are “Scotland the Brave” and Brahms’s “Lullaby”; staves for instrumental melody and keyboard accompaniment.

18 Ass. 18.3, Part I Writing consequent phrases Parallel and contrasting periods with a given antecedent phrase. Ass. 18.3, Part II Composing parallel periods Complete instructions provided. 19 Ass. 19.5 Sequence-based composition Instructions for a song or solo with accompaniment, an

unaccompanied solo, or a keyboard solo. 22 Ass. 22.3, Part I Writing modulating phrases Combines with Ass. 23.2 to make a little binary-form minuet. Ass. 22.5, Part B Writing a keyboard

accompaniment Mozart melody is provided; students harmonize it and write a keyboard accompaniment.

23 Ass. 23.2 Writing a small binary piece Combines with Ass. 22.3 to make a little binary-form minuet. 26 Ass. 26.4, Part A Melody harmonization Harmonize a melody by Schubert. 28 Ass. 28.3, Part I Melody harmonization and

accompaniment patters Harmonize late nineteenth-century quaternary song forms.

Ass. 28.3, Part II Twelve-bar blues Instructions for lyrics, melody, and harmony for lead sheet to compose a blues song.

29 Ass. 29.2, Part III Writing a chromatic introduction

Write an introduction in the style of Joplin.

31 Ass. 31.5, Part IA Writing sectional variations Compose sectional variations. Ass. 31.5, Part IB Writing continuous variations Compose continuous variations. 33 Ass. 33.2, Part II Writing modal melodies Compose modal melodies; includes option of arranging for

performance with an accompaniment. Ass. 33.3, Part III Writing melodies with

symmetrical scales Compose melodies based on symmetrical scales.

34 Ass. 34.4, Part II Melody writing using pc sets Includes option of scoring for a solo with accompaniment. 35 Ass. 35.6, Part II Composing with sets Includes melodic and harmonic writing. 36 Ass. 36.2, Part II Serial melodies Uses hexachords. 37 Ass. 37.3, Part II Serial composition Uses Webern rows for which students have prepared matrices. Ass. 37.7, Part II Combinatorial serial

composition Uses Webern and Schoenberg rows for which students have prepared matrices.

Chapter Assignment Task Teaching Notes 38 Ass. 38.3 Rhythmic composition Short one-part and two-part rhythmic compositions, using various

techniques discussed in the chapter. Ass. 38.5, Part II Writing duets with collections

or modes and rhythmic devices

Combines materials in this chapter with previous ones.

Ass. 38.7, Part II Composing with a graphic score

Based on Berberian’s Stripsody.

40 Ass. 40.5A Modal melody and counterpoint

Based on Reich’s Proverb.

Ass. 40.5B Modal melody and harmonic materials

Based on Pärt’s Magnificat.

Ass. 40.5C Composing with spoken phrases to generate motives

Based on Reich’s City Life.

Semester Plans using - W. W. Norton & Companywwnorton.com/NRL/music/theory2/SampleSemesterPlans.pdfThe Semester Plans provide coverage of all essential topics, but the materials provided

Documents