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Download Techniques and Materials of Music: From the Common Practice by Thomas Benjamin, Michael Horvit, Robert Nelson, Timothy PDF

By Thomas Benjamin, Michael Horvit, Robert Nelson, Timothy Koozin

Designed to function a first-rate textual content for the 1st years of school song idea, recommendations AND fabrics OF track covers the entire fundamentals of composition-including concord, melody, and musical shape. The authors current crucial fabrics of common-practice tune and an summary of twentieth century ideas. quite a few hands-on routines advertise scholars' memorization and retention of key innovations. And the text's concise define layout, which has been more suitable for this version, permits teachers greatest flexibility in settling on which fabrics, ideas, and strategies to stress of their direction. An e-Workbook in PDF layout offers greater than two hundred pages of workouts to counterpoint concepts AND fabrics OF track, seventh variation.

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Additional resources for Techniques and Materials of Music: From the Common Practice Period Through the Twentieth Century

Example text

1. Construct the indicated triads in the indicated voicings and spacings, using root position. Check spacing, doubling, and stem directions. 2. Construct the following triads on the great staff in root position in choral close and open spacings and keyboard voicing, using accidentals as required: D major, B major, F major, A minor, A major, B minor, E minor, G major, C minor, and F minor. Use half notes, observing proper stem directions. TRIADS IN ROOT POSITION 35 2 The Tonic Triad in Root Position I.

IV. At this point, only the root is to be doubled in both the I and the V triads. In any case, doubling the third of the V chord, the leading tone (a tendency tone, or tone that tends to move stepwise to a tone of resolution) is to be avoided. V. There are two basic procedures for the connection of I and V in root position with the root doubled. A. Common-tone connection. 1. The bass takes the root of the second chord. 2. The common tone is retained in the same voice in the second chord.

Realize the following figured basses, using the voicing indicated. Analyze completely, including the roman numerals for all chords and cadence type. Read about figured bass in Part V, Unit 9. The instructor may wish to discuss figured-bass history and practice in more detail. Examples of historical figured basses may be seen in Music for Analysis, Part I, Unit 10, and following units. A note in the bass with no figures under it indicates a root position triad (the given note is the root). Any accidental with no number next to it refers to the third (tenth, seventeenth) above the bass.

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