eTextbook 978-0393263053 The Musician’s Guide to

Theory and Analysis (Third Edition) digital download

Get your copy at ebookmass.com

( 4.7/5.0 ★ | 247 downloads )

https://ebookmass.com/product/etextbook-978-0393263053-the-
musicians-guide-to-theory-and-analysis-third-edition/
eTextbook 978-0393263053 The Musician’s Guide to Theory and
Analysis (Third Edition)

EBOOK

Available Formats

■ PDF eBook Study Guide Ebook

EXCLUSIVE 2025 ACADEMIC EDITION – LIMITED RELEASE

Available Instantly Access Library

Contents

Preface xxi
To Our Students: Why Study Music Theory? xxxi

Part I Elements of Music

Chapter 1 Pitch and Pitch Class 2
Introduction to Pitch: Letter Names 3 • Pitch Classes and Pitches 4
The Piano Keyboard 5 • White Keys 5 • Black Keys: Flats and Sharps 5 •
Enharmonic Equivalents 6 • Intervals: Half Steps and Whole Steps 6 •
Double Flats and Sharps 8
Reading Pitches from a Score 8 • Staff Notation 8 • Treble Clef 9 • Bass
Clef 11 • C-Clefs 12 • Naming Registers 13 • Ledger Lines 13 • Writing
Pitches on a Score 16
Dynamic Markings 17
Style Periods 18
Did You Know? 19
Terms You Should Know 19 • Questions for Review 20

Chapter 2 Simple Meters 21

Dividing Musical Time 22 • Beat, Beat Division, and Meter 22 •
Conducting Patterns 23 • Tempo 24 • Rhythm and Meter 25
Rhythmic Notation for Simple Meters 25 • Rhythmic Values 25 • Meter
Signatures 26
Counting Rhythms in Simple Meters 28 • Beat Subdivisions 30 • Stems,
Flags, and Beaming 30 • Counting Rests and Dots 32 • Slurs and Ties 34 •
Metrical Accents and Syncopation 35 • Hemiola 37 • Anacrusis Notation 38
Beat Units Other Than the Quarter Note 40

vii

FM01_MGTA3_26305_i_xx  page vii 11 December 2015   2:40 AM   Final Pages

viii Contents

Implications for Performance: Metric Hierarchy 42

Did You Know? 43
Terms You Should Know 43 • Questions for Review 44

Chapter 3 Pitch Collections, Scales, and Major Keys 45

Chromatic and Diatonic Collections 46
Scales: Ordered Pitch-Class Collections 47 • Scale Degrees 49 • Spelling
Major Scales 50 • Spelling Chromatic Scales 52
Major Keys 54 • Key Signatures 54 • The Circle of Fifths 56 • Identifying
a Key from a Key Signature 57 • Writing Key Signatures 58 • Identifying the
Key of a Piece 59 • Scale-Degree Names 62
The Major Pentatonic Scale 63
Implications for Performance 64
Did You Know? 65
Terms You Should Know 66 • Questions for Review 66

Chapter 4 Compound Meters 67

Hearing Compound Meters 68
Meter Signatures 68
Rhythmic Notation in Compound Meters 70 • The Dotted-Quarter Beat
Unit 70 • Subdividing the Beat 72 • Beat Units Other Than the Dotted
Quarter 74
Syncopation 76
Mixing Beat Divisions and Groupings 77 • Triplets 77 • Duplets,
Quadruplets, and Polyrhythm 79 • Hemiola in Compound Meter 81
Metric Accent and Implications for Performance 82
Did You Know? 83
Terms You Should Know 83 • Questions for Review 83

Chapter 5 Minor Keys and the Diatonic Modes 85

Parallel Keys: Shared Tonic 86
Relative Keys 88 • Relative Minor: Shared Key Signatures 88 • Finding the
Relative Minor and Major Keys 89
Variability in the Minor Scale 92 • The “Forms” of Minor 93 • Identifying
the Key of a Musical Passage 95 • Hearing Minor Scale Types 96 • Writing
Minor Scales 97

FM01_MGTA3_26305_i_xx page viii 11 December 2015   2:40 AM   Final Pages

 Contents ix

Scale Degrees in Minor 100

The Minor Pentatonic Scale 101
Modes of the Diatonic Collection 102 • The “Relative” Identification of
Modes 104 • The “Parallel” Identification of Modes 105 • Spelling Modal
Scales 105 • Twentieth-Century and Contemporary Modal Practice 106
Did You Know? 107
Terms You Should Know 108 • Questions for Review 108

Chapter 6 Intervals 109

Combining Pitches 110 • Interval Size 110 • Melodic and Harmonic
Intervals 111 • Compound Intervals 112
Interval Quality 114 • Major, Minor, and Perfect Intervals 115 • Inverting
Intervals 116
Spelling Intervals 117 • Smaller Intervals: 2, 3, and 4 117 • Larger
Intervals: 5, 6, and 7 119 • Semitones and Interval Size 121 • Augmented
and Diminished Intervals 121 • Enharmonically Equivalent Intervals 123
Consonant and Dissonant Intervals 124 • Analyzing Intervals in Music 125
Did You Know? 127
Terms You Should Know 127 • Questions for Review 127

Chapter 7 Triads 129

Chords and Triads 130 • Triad Qualities in Major Keys 131 • Triad
Qualities in Minor Keys 133
Spelling Triads 135 • By Interval 135 • By the C-Major Method 136 •
By Key Signature 136
Triad Inversion 137
Figured Bass 139
Triads in Popular-Music Notation 142
Did You Know? 144
Terms You Should Know 144 • Questions for Review 144

Chapter 8 Seventh Chords 146

Seventh Chords 147 • Diatonic Seventh Chords in Major Keys 148 •
Seventh Chords in Inversion 150 • Diatonic Seventh Chords in Minor
Keys 152 • Spelling Seventh Chords 153
Seventh Chords in Popular Styles 155 • Less Common Seventh Chords 156

FM01_MGTA3_26305_i_xx  page ix 11 December 2015   2:40 AM   Final Pages

x Contents

Triads and Seventh Chords in Musical Textures 157 • Arpeggiated Triads

and Seventh Chords 157 • Triads and Seventh Chords in Transposing
Scores 159 • Seventh Chords and Musical Style 162
Did You Know? 162
Terms You Should Know 163 • Questions for Review 163

Chapter 9 Connecting Intervals in Note-to-Note Counterpoint 165

Species Counterpoint 166
Connecting Melodic Intervals 167
Connecting Harmonic Intervals 169 • Four Types of Contrapuntal
Motion 170 • Consonant Harmonic Intervals 171
Writing Note-to-Note Counterpoint in Strict Style 175 • Beginning and
Ending a First-Species Counterpoint 175 • Completing the Middle 175
Did You Know? 179
Terms You Should Know 179 • Questions for Review 180

Chapter 10 Melodic and Rhythmic Embellishment

in Two-Voice Composition 181
Melodic Embellishment in Second-Species (2:1) Counterpoint 182 •
Passing Tones 183 • Consonant Skips 184 • Neighbor Tones 184
Writing 2:1 Counterpoint 186 • Opening and Closing Patterns 186 •
Melodic Considerations 187 • Harmonic Considerations 189
Further Melodic Embellishment in Third-Species (4:1) Counterpoint 191
Writing 4:1 Counterpoint 194
Rhythmic Displacement in Fourth-Species Counterpoint 197 • Types of
Suspensions 198 • Rhythmic Character of Fourth Species 199 • Breaking
Species and Tying Consonances 199 • Chains of Suspensions 200
Writing Fourth-Species Counterpoint 201
Fifth Species and Free Counterpoint 203
Did You Know? 205
Terms You Should Know 205 • Questions for Review 205

FM01_MGTA3_26305_i_xx  page x 11 December 2015   2:40 AM   Final Pages

 Contents xi

Part II Diatonic Harmony and Tonicization

Chapter 11 From Species to Chorale Style:
Soprano and Bass Lines 208
Note-to-Note Counterpoint in Chorale Style 209 • Contrapuntal
Motion 210 • Chordal Dissonance 211 • Characteristics of Bass and Melody
Lines 214 • Writing Counterpoint with a Given Line 220
Melodic Embellishment in Chorale Textures 223 • Passing Tones, Neighbor
Tones, and Consonant Skips 223 • Suspensions 225
Did You Know? 227
Terms You Should Know 227 • Questions for Review 227

Chapter 12 The Basic Phrase in SATB Style 228

The Basic Phrase 229 • Defining the Phrase Model: T–D–T 230 •
Establishing the Tonic Area 230 • Cadential Area and Cadence Types 232
The Notation of Four-Part Harmony 235 • Writing for Voices: SATB 235
Connecting the Dominant and Tonic Areas 242 • Resolving the Leading
Tone in V and V6 242 • Perfect Consonances 243
Melody and Accompaniment 245 • Writing for Keyboard 245 •
Harmonizing a Melody 247 • Creating an Accompaniment 248
Did You Know? 251
Terms You Should Know 252 • Questions for Review 252

Chapter 13 Dominant Sevenths, the Predominant Area,

and Chorale Harmonization 254
Writing V7 and Its Inversions 255 • Resolving the Leading Tone and
Chordal Seventh 255 • Approaching Perfect Intervals 257
Expanding the Basic Phrase: T–PD–D–T 261 • Predominant Function:
Subdominant and Supertonic Chords 261 • Voice-Leading from Predominant
to Dominant 262 • Predominant Seventh Chords 264 • Harmonic Function
and Principles of Progression 265
Realizing Figured Bass 266
Harmonizing Chorale Melodies 268 • Soprano-Bass Counterpoint and
Chord Choice 269 • Completing the Inner Voices 270
Did You Know? 273
Terms You Should Know 273 • Questions for Review 273

FM01_MGTA3_26305_i_xx  page xi 11 December 2015   2:40 AM   Final Pages

xii Contents

Chapter 14 Expanding the Basic Phrase 275

Expanding Harmonic Areas with 46 Chords 276 • The Cadential 46 276 •
The Pedal or Neighboring 46 279 • The Arpeggiating 46 282 • The
Passing 46 283 • The Four 46 Types 286
Other Expansions of the Tonic Area 287 • The Subdominant in Tonic
Expansions 287 • The Dominant in Tonic Expansions 288 • Contexts for the
Submediant 290 • Embedding PD–D–T Within the Tonic Area 292 •
Extending the Final Tonic Area 293
Did You Know? 295
Terms You Should Know 295 • Questions for Review 295

Chapter 15 New Cadence Types and Diatonic

Root Progressions 297
New Cadence Types 298 • The Deceptive Cadence and Resolution: V–vi
(or V–VI) 298 • The Plagal Cadence and Extension: IV–I (or iv–i) 301 • The
Phrygian Cadence: iv6–V 304
Basic Root Progressions 306 • Root Motion by Descending Fifth 306 •
Root Motion by Descending Third 309 • Root Motion by Second 312
Other Diatonic Harmonies 314 • About Mediant Triads 314 • The Mediant
and Minor Dominant in Minor Keys 316 • Parallel 63 Chords 318
Did You Know? 319
Terms You Should Know 319 • Questions for Review 319

Chapter 16 Embellishing Tones 321

Embellishing a Harmonic Framework 322 • Passing and Neighbor Tones in
Chorale Textures 323
More on Suspensions 326 • Suspensions in Four Parts 326 • Suspensions
with Change of Bass 327 • Combining Suspensions 328 • Embellishing
Suspensions 329 • Retardations 331
More on Neighbor and Passing Tones 332 • Chromatic Neighbor and
Passing Tones 332 • Incomplete Neighbors 333 • Double Neighbors 335 •
Passing Tones, Chordal Skips, and Scales 336
Other Types of Embellishments 338 • Anticipations 338 • Pedal Points 339
Embellishing Tones in Popular Music 341
Did You Know? 343
Terms You Should Know 344 • Questions for Review 344

FM01_MGTA3_26305_i_xx  page xii 11 December 2015   2:40 AM   Final Pages

 Contents xiii

Chapter 17 Voice-Leading Chords: vii 6, vii 7, vii 7, and Others 345

Dominant Substitutes: Leading-Tone Chords 346 • Contexts for the viiL6,
ø
vii 7, and viiL7 Chords 346 • Writing and Resolving viiL6 350 • Writing and
ø
Resolving vii 7, viiL7, and Their Inversions 352
Voice-Leading 42 Chords 356
Did You Know? 359
Terms You Should Know 359 • Questions for Review 359

Chapter 18 Phrase Structure and Motivic Analysis 361

Phrase and Motive 362 • Motives and Motivic Analysis 363 •
The Sentence 366
Phrases in Pairs: The Period 368 • Phrase Diagrams 369 • Parallel and
Contrasting Periods 369 • Writing Parallel and Contrasting Periods 372 •
Other Period Types 373
Phrase Rhythm 376 • Phrase Structure and Hypermeter 376 • Linking
Phrases 378 • Phrase Expansion 379
Did You Know? 383
Terms You Should Know 384 • Questions for Review 384

Chapter 19 Diatonic Sequences 385

Sequences 386
Descending Sequences 389 • Descending-Fifth Sequence 389 • Pachelbel
Sequences 398 • Descending Parallel 63 Chords 402
Ascending Sequences 404 • Ascending-Fifth Sequence 404 • Ascending
Parallel 63 Chords 405
Did You Know? 407
Terms You Should Know 408 • Questions for Review 408

Chapter 20 Secondary Dominant and Leading-Tone Chords

to V 409
Intensifying the Dominant 410
Secondary Dominants to V 411 • Spelling Secondary Dominants 411 •
Tonicization and Modulation 414 • Secondary Dominants to V in the Basic
Phrase 416 • Writing and Resolving 418 • Cross Relations 419
Secondary Leading-Tone Chords to V 420 • Writing and Resolving 421
Secondary-Function Chords in Dominant Expansions 423

FM01_MGTA3_26305_i_xx  page xiii 11 December 2015   2:40 AM   Final Pages

xiv Contents

Did You Know? 426

Terms You Should Know 426 • Questions for Review 426

Chapter 21 Tonicizing Scale Degrees Other Than V 427

Secondary-Function Chords Within the Basic Phrase 428 • Identifying
Secondary Dominant and Leading-Tone Chords 429
Secondary-Function Chords in Musical Contexts 432 • Tonicizing
Harmonies Within a Phrase 432 • Providing a Temporary Harmonic
Diversion 434 • Creating Forward Momentum 434 • Evading an Expected
Resolution 435 • Text Painting 436
Spelling Secondary Dominant and Leading-Tone Chords 438
Resolving Secondary Dominant and Leading-Tone Chords 440 • Irregular
and Deceptive Resolutions 441
Secondary Dominants in Sequences 443
Did You Know? 444
Terms You Should Know 444 • Questions for Review 444

Part III Chromatic Harmony and Form

Chapter 22 Modulation to Closely Related Keys 448
Common Pivot-Chord Modulations 449 • Modulation or
Tonicization? 450 • Modulation from a Major Key to Its Dominant 451 •
Modulation from a Minor Key to Its Relative Major 452 • Closely Related
Keys 456
Other Pivot-Chord Modulations 458 • From a Minor Key to v 458 • From
a Major Key to ii, iii, IV, and vi 459 • Writing a Pivot-Chord Modulation 461
Direct Modulations 461 • Modulations Introduced by Secondary
Dominants 463
Locating Modulations 464
Modulations in Musical Contexts 464 • Harmonizing Modulating
Melodies 466
Did You Know? 468
Terms You Should Know 468 • Questions for Review 469

Chapter 23 Binary and Ternary Forms 470

Binary Form 471 • Phrase Design 471 • Sections 475 • Tonal
Structures 476 • Writing Binary-Form Pieces 480

FM01_MGTA3_26305_i_xx  page xiv 11 December 2015   2:40 AM   Final Pages

 Contents xv

Simple Ternary Form 484

Binary Forms as Part of a Larger Formal Scheme 486 • Composite
Ternary 486 • Composite Binary 487
Did You Know? 488
Terms You Should Know 488 • Questions for Review 489

Chapter 24 Invention, Fugue, and Baroque Counterpoint 490

Baroque Melody 491 • Fortspinnung 491 • Compound Melody and Step
Progressions 492
Invention and Fugue: The Exposition 493 • The Subject 494 • The
Answer and Countersubject 495
Episodes and Later Expositions 500
Special Features 503 • Double and Triple Fugues 503 • Stretto 506 •
Inversion, Augmentation, Diminution, and Other Subject Alterations 507 •
Canon 509 • Vocal Fugues 510
Did You Know? 512
Terms You Should Know 513 • Questions for Review 513

Chapter 25 Variation 514

Continuous Variations 515 • Formal Organization 517
Sectional Variations 520 • Themes and Formal Organization 520 •
Variation Procedures 521
Musical Topics 526
Performing Variations 528
Did You Know? 528
Terms You Should Know 529 • Questions for Review 529

Chapter 26 Modal Mixture 530

Harmonic Color and Text Setting 531
Mixture Chords 532 • The Spelling and Function of Mixture Chords 534 •
Tonicizing Mixture Chords 538 • Embellishing Tones 540 • Mixture and
the Cadential 46 Chord 540 • Intonation and Performance 542 • Mixture in
Instrumental Music 543
Mixture and Modulation 544
Did You Know? 546
Terms You Should Know 546 • Questions for Review 547

FM01_MGTA3_26305_i_xx  page xv 11 December 2015   2:40 AM   Final Pages

xvi Contents

Chapter 27 The Neapolitan Sixth and

Augmented-Sixth Chords 548
Chromatic Predominant Chords 549
The Neapolitan Sixth 549 • Spelling and Voicing 550 • Voice-Leading
and Resolution 551 • Intonation and Performance 556 • Tonicizing the
Neapolitan 556
Augmented-Sixth Chords 558 • Voice-Leading, Spelling, and
Resolution 561 • Italian, French, and German Augmented Sixths 562 •
Approaches to Augmented-Sixth Chords 563 • Aural Identification and
Performance 564 • Less Common Spellings and Voicings 564 • Secondary
Augmented-Sixth Chords 566
Did You Know? 567
Terms You Should Know 567 • Questions for Review 567

Chapter 28 Vocal Forms 569

Three-Part Vocal Forms 570 • Aria da capo 570 • Other Ternary
Arias 572 • Recitatives 574
Text and Song Structure 577 • Strophic Form 579 • Text Painting 581 •
Analysis and Interpretation 583
Other Vocal Forms 584 • Modified Strophic Form 584 • Through-
Composed Form 585 • French Mélodie 589
Did You Know? 591
Terms You Should Know 591 • Questions for Review 591

Chapter 29 Popular Music 593

Popular Song 594 • Quaternary and Verse-Refrain Forms 594 • Harmonic
Practices 596 • Suspensions and Rhythmic Displacement 600 • Altered
Fifths and Tritone Substitutions 600
The Twelve-Bar Blues 602 • Pentatonic and Blues “Scales” 602 • Blues
Harmonic Progressions and Phrase Structure 604
Post-1950 Popular Song 606 • New Elements of Form 606 • Harmony
and Melody 612
Did You Know? 616
Terms You Should Know 616 • Questions for Review 616

Chapter 30 Chromatic Harmony and Voice-Leading 618

Chromatic Elaboration of Diatonic Frameworks 619 • Chromatic
Sequence Patterns 619 • Descending Chromatic Bass Lines 621 • Chromatic

FM01_MGTA3_26305_i_xx  page xvi 11 December 2015   2:40 AM   Final Pages

 Contents xvii

Voice Exchanges and Wedge Progressions 625 • Common-Tone Diminished

Seventh and Augmented-Sixth Chords 627 • The Raised Chordal Fifth 632
Chromatic Mediant Relations 633
Did You Know? 639
Terms You Should Know 639 • Questions for Review 639

Chapter 31 Chromatic Modulation 641

Chromatic Modulation Employing Common Tones 642 • By Common
Tone 642 • By Common Dyad and Chromatic Inflection 644 • Through
Mixture 645 • Enharmonic Modulation with Augmented-Sixth
Chords 646 • Enharmonic Modulation with Diminished Seventh Chords 650
Chromatic Modulation with Sequences 653 • By Descending-Fifth
Sequence 654 • Other Chromatic Sequences 655
Linear Chromaticism 656 • Chromaticism and Voice-Leading Chords 656 •
Intentional Harmonic Ambiguity 658 • Analyzing and Performing Chromatic
Passages 660
Did You Know? 661
Terms You Should Know 661 • Questions for Review 661

Chapter 32 Sonata, Sonatina, and Concerto 663

Sonatas and Sonata Form 664
Classical Sonata Form 664 • The First Large Section: Exposition 664 •
The Second Large Section: Development and Recapitulation 669
Sonata Form in the Romantic Era 674 • Increasing Length and
Complexity 674 • Key Areas and the Organization of the Exposition 674 •
The Development Section 679 • The Recapitulation and Coda 681
Related Forms 684 • Sonatina 684 • Concerto Form 686
Performing and Listening to Sonata-Form Movements 688
Did You Know? 690
Terms You Should Know 690 • Questions for Review 690

Chapter 33 Rondo, Sonata-Rondo, and Large Ternary 692

Five-Part Rondo 693 • Refrain (A Section) 693 • Episode (Contrasting
Section) 694 • Transition and Retransition 695 • Coda 697
Seven-Part Rondo and Sonata-Rondo 698
Large Ternary Form 699
Did You Know? 705
Terms You Should Know 706 • Questions for Review 706

FM01_MGTA3_26305_i_xx  page xvii 11 December 2015   2:40 AM   Final Pages

xviii Contents

Part IV The Twentieth Century and Beyond

Chapter 34 Modes, Scales, and Sets 708
Listening to Twentieth-Century Compositions 709
Pitch-Class Collections and Scales Revisited 709 • Analyzing Mode and
Scale Types 712 • Composing with Diatonic Modes 713 • Sets and Subsets 719
Other Scale Types and Their Subsets 721 • Pentatonic Scales 721 •
Whole-Tone Scales 723 • Octatonic Scales 725 • Hexatonic Scales 726
Did You Know? 728
Terms You Should Know 728 • Questions for Review 728

Chapter 35 Rhythm, Meter, and Form in Music after 1900 730

Rhythm and Meter 731 • Asymmetrical Meter 731 • Perceived and Notated
Meter 733 • Changing Meter and Polymeter 734 • Ametric Music 736 •
Additive Rhythm 738
Form after the Common-Practice Era 740 • Scale Analysis and Formal
Design 740 • Form and Register 742 • Substitutes for Tonal Function 744 •
Canon and Imitation 745 • The Fibonacci Series 746
Did You Know? 747
Terms You Should Know 747 • Questions for Review 747

Chapter 36 Music Analysis with Sets 749

Relationships Between Sets 750 • Listing the Elements of a Pitch-Class Set 751
Pitch and Pitch-Class Intervals 753 • Pcset Transposition and mod12 •
Arithmetic 755 • Interval Classes and the Interval-Class Vector 759
The Inversion of Pitch Sets and Pitch-Class Sets 762 • The Inversion of
Pitch Sets 763 • The Inversion of Pitch-Class Sets 764 • Identifying
Transposition and Inversion 766
Did You Know? 770
Terms You Should Know 770 • Questions for Review 770

Chapter 37 Sets and Set Classes 772

Set Classes and Their Prime Forms 773 • Finding Prime Form 774 •
Set-Class Labels 779
Characteristic Trichords of Familiar Scales and Modes 780 •
Whole Tone 780 • Pentatonic 780 • Hexatonic 781 • Octatonic 782 •
Chromatic 783

FM01_MGTA3_26305_i_xx  page xviii 11 December 2015   2:40 AM   Final Pages

 Contents xix

Reading Set-Class Tables 784 • Complementary Sets 784 • Using

ic Vectors 786
Set Classes and Formal Design 789
Did You Know? 791
Terms You Should Know 792 • Questions for Review 792

Chapter 38 Ordered Segments and Serialism 793

Serial Composition 794 • Ordered Pitch Segments 794 • Labeling Pitch-
Class Segments 797 • Operations on Pitch Classes 797
Twelve-Tone Rows 799 • Labeling Rows 801 • Choosing Row
Forms 803 • Hearing Row Relationships 804
Realizing Twelve-Tone Rows 805 • The Row Matrix 807 • Heaxchordal
Combinatoriality 809 • Finding Combinatorial Row Pairs 811
Serialism and Compositional Style 814
Serialized Durations 819
Did You Know? 821
Terms You Should Know 821 • Questions for Review 821

Chapter 39 Rhythm, Meter, and Form after 1945 823

New Approaches to Traditional Form 824 • Sectional Forms 824 • Canon
and Imitation 825
Variants on Traditional Rhythmic Notation 830 • Ametric Music 830 •
New Approaches to Meter and Polymeter 832 • Metric Modulation 834
New Developments in Musical Form and Notation 837 • Time-line,
Graphic, and Text Notation 837 • Moment Form and Mobile Form 841 •
Indeterminacy and Chance 843 • Minimalism and Form as Process 844
Analyzing Form in Recent Music 846
Did You Know? 847
Terms You Should Know 847 • Questions for Review 848

Chapter 40 Recent Trends 849

Contemporary Composers and Techniques of the Past 850 • Materials
from the Pretonal Era 851 • Materials from the Baroque, Classical, and
Romantic Periods 855 • Materials from the Twentieth Century 860
A Look Ahead 867
Did You Know? 868
Terms You Should Know 868 • Questions for Review 868

FM01_MGTA3_26305_i_xx  page xix 11 December 2015   2:40 AM   Final Pages

xx Contents

Appendixes
1. Try it Answers A1
2. Glossary A47
3. The Overtone Series A68
4. Guidelines for Part-Writing A70
5. Ranges of Orchestral Instruments A74
6. Set-Class Table A78

Credits A81
Index of Music Examples A83
Index of Terms and Concepts A87

FM01_MGTA3_26305_i_xx  page xx 11 December 2015   2:40 AM   Final Pages

Preface

W
e are pleased to bring to you the third edition of The
Musician’s Guide to Theory and Analysis and its accompa-
nying Workbook, Anthology, and media. With each revision,
we hear from many colleagues around the country about
what works best for their students, and we are proud to retain these features
while introducing something new to each edition. Among the key pedagogical
approaches that characterize the Musician’s Guide series are
œœ student-centered pedagogy that features clearly written prose, recorded
musical examples throughout, and multiple opportunities for reinforce-
ment both in the text and online;
œœ introduction to each new topic through musical repertoire, using a
spiral-learning approach that revisits familiar works while adding new
layers of understanding;
œœ consideration of how analysis might impact performance decisions;
œœ incorporation of counterpoint and form chapters so that students can
study complete works;
œœ reliance on the basic phrase model to teach principles of harmonic
progression; and
œœ comprehensive coverage that extends through music of the twentieth and
twenty-first centuries.
The Musician’s Guide series is the most comprehensive and flexible set of
materials available for learning music theory. For theory classes, this textbook
and its accompanying Workbook cover a wide range of topics—from fundamen-
tals to harmony, form and analysis, popular music, and twentieth and twen-
ty-first century works. An Anthology features core repertoire for study along with
recordings for each work. In this edition, we have added a new Know It? Show
It! pedagogy, which provides unprecedented opportunities for online learning.
Meanwhile, the accompanying Musician’s Guide to Aural Skills offers complete
coordination between theory and aural skills courses, so that the two are mutu-
ally reinforcing. Instructors can mix and match the components that are ideal for
their classroom.

xxi

FM02_MGTA3_26305_xxi_xxxii  page xxi 2 December 2015   4:51 PM   Final Pages

xxii Preface

Features
œœ Each chapter of the text begins with an Outline and an Overview para-
graph, which serve as a chapter preview.

œœ The Repertoire list specifies which pieces are featured in the chapter. The
Musician’s Guide uses real music to explain every concept. Each time stu-
dents encounter a piece from the Anthology, their understanding deepens, as
does their knowledge of masterworks of music.
œœ Boldface type signals a new and important term. These terms are listed
together at the end of the chapter and defined in the Glossary in Appendix 2.
In the ebook, students can simply mouse over or tap on a term to retrieve its
definition.

FM02_MGTA3_26305_xxi_xxxii  page xxii 2 December 2015   4:51 PM   Final Pages

 Preface xxiii

œœ Key Concept and Summary boxes in every chapter identify the most
important ideas and summarize key information so that it is instantly
available.

œœ Try it boxes, scattered through every chapter, provide immediate oppor-

tunities to practice every core concept. Many of these exercises preview
upcoming Workbook assignments. Answers appear in Appendix 1 or can be
revealed by clicking the “reveal answers” button in the ebook.

œœ Listening icons ( ) identify opportunities for listening—either to the

excerpt immediately at hand or to a complete work in the Anthology. These
recordings are all accessible online; in the ebook, a click on the icon brings
you immediately to a recording of the example shown.

FM02_MGTA3_26305_xxi_xxxii  page xxiii 2 December 2015   4:51 PM   Final Pages

xxiv Preface

œœ Since many theory concepts can be learned in more than one way, Another
Way boxes offer alternative explanations.

œœ Did You Know? boxes at the end of each chapter explain certain historical
developments, fill in background for composers and pieces featured in the
chapter, or supply more advanced information. These are a source of enrich-
ment and come from stories that we have told in class to our students.

œœ Terms You Should Know and Questions for Review provide essential
end-of-chapter review.

FM02_MGTA3_26305_xxi_xxxii  page xxiv 2 December 2015   4:51 PM   Final Pages

 Preface xxv

Workbook
Each Workbook chapter is organized so that ideas are reinforced in the same
order they were presented in the chapter. Each assignment consists of a tear-out-
and-turn-in worksheet. The Workbook includes the following:
œœ Short exercises such as chord spelling and two- or three-chord
connections.
œœ Opportunities to write music—through melody harmonizations, figured
bass realizations, or other short composition projects—most based on
passages from music literature rather than contrived practice exercises.
This edition features even more opportunities for composition.
œœ Analyses, from short passages to phrases, periods, and entire works.
Longer analyses are often taken from works in the Anthology, allowing
you to revisit the core repertoire and hear these works again.

We provide a Teacher’s Edition that includes all answers, formatted to match

the student pages, for easy grading. Contact your Norton representative to
receive your copy.

Online Resources
An ebook, included with every new copy of the text, allows students to read on
a wide variety of devices. Recordings of music examples are only a click or tap
away.
Along with the ebook, there is a new Know It? Show It! online pedagogy,
designed to enhance student learning.
œœ As they read each chapter, students watch short video tutorials, created
by Brad Osborn (University of Kansas) and Anna Gawboy (Ohio State
University), keyed to each topic discussed in the text. Tutorials show
students how to work through the problems they will encounter in their
Workbook assignments.
œœ Students take carefully graduated adaptive online quizzes to deepen
their understanding and demonstrate mastery of the material.
InQuizitive, a new formative assessment tool, with questions written by
Philip Duker (University of Delaware) and Sarah Sarver (Oklahoma City
University), asks students questions until they’ve demonstrated that they
understand the chapter material. When students have trouble, tailored
feedback points them back to specific spots in the book and video tutorials.
And once students complete the activity, data about their performance
can be reported to your campus learning-management system to help you
assess which topics need more review and which are well understood.

FM02_MGTA3_26305_xxi_xxxii  page xxv 2 December 2015   4:51 PM   Final Pages

xxvi Preface

œœ In addition to the print version, the online Workbook makes nearly

all exercises available in Noteflight, an online notation program that
allows students to complete their homework and send it to their instruc-
tor electronically. Instructors can grade work and return it to students
paperlessly.

With Total Access, all students who purchase a new book—regardless of

format—will receive access to all the media, including the ebook and Know It?
Show It! pedagogy. Students can access the media in a variety of ways:
œœ The ebook includes links to all accompanying media.
œœ With Norton Coursepacks, instructors can bring the media into their
campus learning-management systems.
œœ At digital.wwnorton.com/guidetotheory3, students and instructors can
launch all the online resources included with this text.

Anthology
Study of the Anthology works is integral to the book’s approach to learning
music theory—we strongly believe that the concepts we teach must emerge from
the music itself. We have chosen music that we like, that many of our students
have performed, and that they (and we) have enjoyed exploring together (see
the complete list at back of book). Some works should be familiar to students
(“Greensleeves,” “The Stars and Stripes Forever”), while others will probably be
new (Edgard Varèse’s Density 21.5, Clara Schumann’s Romanze). There are clas-
sics of the repertoire (Mozart and Beethoven piano sonata movements, German
Lieder selected from Schubert and Schumann song cycles, and groundbreaking
compositions by Schoenberg and Webern); pieces for varied performing ensem-
bles (solo flute, cello, and violin; chamber orchestra, string quartet, band, and
choir, among others); and pieces in contrasting musical styles—from American
popular songs to French mélodie, from piano ragtime to minimalist music, from
marches for band to hymns and anthems for choirs. While the Anthology includes
gems of familiar repertoire, we have also included wonderful but less familiar
works by women and African American composers (Fanny Mendelssohn Hensel,
Clara Schumann, Scott Joplin), as well as diverse works written within the last
century.
Every chapter begins by discussing one or two examples from the Anthology.
With the text’s spiral-learning approach, students return to Anthology selections
again and again. A single piece might be used to illustrate scales, triads, cadence
types, secondary dominants, common-chord modulation, sequence, and binary
form. Because the Anthology works hand-in-hand with the text, revisions to the
chapters in the third edition have provided opportunities to explore new reper-
toire. For example, we have expanded coverage of early twentieth-century music

FM02_MGTA3_26305_xxi_xxxii  page xxvi 2 December 2015   4:51 PM   Final Pages

 Preface xxvii

before the advent of atonality; the Anthology now includes new songs by Ives
and Debussy, Ravel’s Pavane pour une infant défunte, and a movement from
Stravinsky’s piano transcription of Petrouchka.
Anthology recordings, performed by musicians at the Eastman School of
Music, are included with each new copy of the text and are available online.

Aural Skills
The Musician’s Guide to Theory and Analysis is the only theory book that is
accompanied by a fully integrated companion text: The Musician’s Guide to
Aural Skills. This text consists of two volumes that can be used together with
this text or on their own. Taken together, the two volumes provide all the mate-
rials needed for the aural skills sequence, from fundamentals to post-tonal ear
training.
œœ The Sight-Singing volume features over 800 carefully selected melodies,
rhythms, improvisation activities, and keyboard exercises.
œœ The Ear-Training volume includes hundreds of short, self-grading Try
it dictations that help students identify common tonal gestures. Over
400 contextual-listening questions guide students through the process of
taking dictation from performances of real music.
œœ New for this edition, both volumes of The Musician’s Guide to Aural
Skills have been organized in 40 chapters to match exactly the chapters
of The Musician’s Guide to Theory and Analysis, so that students can
study the same concepts simultaneously in theory and aural skills. This
coordination ensures that all terminology and pedagogical concepts
match between the “written” and aural texts.

What’s New?
We have worked to incorporate the ideas of many helpful reviewers, while retain-
ing the key features of an effective pedagogical strategy.
œœ With new Know It? Show It! pedagogy, students get access to multiple
short video tutorials for each chapter, adaptive written and aural quizzes,
and an online Workbook free with every new copy of the text.
œœ Throughout the text, the prose has been streamlined, making important
points even easier to grasp.
œœ Every chapter in the book has undergone revision, replacing repertoire
from the second edition with fresh new pieces. We have revised and reor-
ganized material in the chapter on sequences, introduced topic theory to
our discussion of variation and sonata forms, and made countless small

FM02_MGTA3_26305_xxi_xxxii  page xxvii 2 December 2015   4:51 PM   Final Pages

Random documents with unrelated
content Scribd suggests to you:
 Medicine - Lab Report
Summer 2023 - Program

Prepared by: Professor Jones

Date: August 12, 2025

Module 1: Problem-solving strategies and techniques

Learning Objective 1: Literature review and discussion
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Learning Objective 2: Current trends and future directions
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 2: Diagram/Chart/Graph]
Learning Objective 3: Ethical considerations and implications
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Learning Objective 4: Interdisciplinary approaches
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Learning Objective 5: Interdisciplinary approaches
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Important: Key terms and definitions
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 6: Interdisciplinary approaches
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Definition: Ethical considerations and implications
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 8: Diagram/Chart/Graph]
Note: Research findings and conclusions
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Assessment criteria and rubrics
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Chapter 2: Interdisciplinary approaches
Remember: Practical applications and examples
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Interdisciplinary approaches
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 12: Diagram/Chart/Graph]
Remember: Practical applications and examples
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Important: Theoretical framework and methodology
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Example 14: Ethical considerations and implications
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Example 15: Experimental procedures and results
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Interdisciplinary approaches
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Key terms and definitions
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
[Figure 18: Diagram/Chart/Graph]
Practice Problem 18: Comparative analysis and synthesis
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Literature review and discussion
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Topic 3: Practical applications and examples
Practice Problem 20: Interdisciplinary approaches
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Important: Problem-solving strategies and techniques
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 22: Diagram/Chart/Graph]
Note: Theoretical framework and methodology
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 23: Diagram/Chart/Graph]
Definition: Best practices and recommendations
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 24: Practical applications and examples
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Key Concept: Historical development and evolution
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Research findings and conclusions
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Practice Problem 27: Key terms and definitions
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Example 28: Study tips and learning strategies
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Example 29: Theoretical framework and methodology
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Conclusion 4: Statistical analysis and interpretation
Note: Learning outcomes and objectives
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 31: Diagram/Chart/Graph]
Example 31: Theoretical framework and methodology
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Comparative analysis and synthesis
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Practical applications and examples
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 34: Literature review and discussion
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Comparative analysis and synthesis
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 36: Diagram/Chart/Graph]
Practice Problem 36: Research findings and conclusions
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 37: Fundamental concepts and principles
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Key Concept: Statistical analysis and interpretation
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Remember: Theoretical framework and methodology
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Results 5: Key terms and definitions
Practice Problem 40: Fundamental concepts and principles
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 41: Diagram/Chart/Graph]
Note: Problem-solving strategies and techniques
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Assessment criteria and rubrics
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Literature review and discussion
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 44: Diagram/Chart/Graph]
Practice Problem 44: Historical development and evolution
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Case studies and real-world applications
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Key terms and definitions
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Theoretical framework and methodology
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Remember: Comparative analysis and synthesis
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Interdisciplinary approaches
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Section 6: Study tips and learning strategies
Important: Practical applications and examples
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 51: Diagram/Chart/Graph]
Important: Experimental procedures and results
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.

More than just a book-buying platform, we strive to be a bridge

connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.

Join us on a journey of knowledge exploration, passion nurturing, and

personal growth every day!

ebookmass.com