Solution Manual For The Musician's Guide to Fundamentals, 3rd Edition

The Musician’s Guide to Fundamentals Third EdiTion Answer Key The Musician’s Guide to Fundamentals Third EdiTion Answer Key Jane Piper Clendinning Florida State University College of Music Elizabeth West Marvin Eastman School of Music Joel Phillips Westminster Choir College of Rider University B W. W. NortoN & CompaNy • NeW york • LoNdoN W. W. Norton & Company has been independent since its founding in 1923, when William Warder norton and Mary d. herter norton first published lectures delivered at the People’s institute, the adult education division of new York City’s Cooper Union. The firm soon expanded its program beyond the institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of norton’s publishing program—trade books and college texts—were firmly established. in the 1950s, the norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2017, 2014, 2012 by W. W. norton & Company, inc. All rights reserved Third Edition W. W. norton & Company, inc., 500 Fifth Avenue, new York, nY 10110 wwnorton.com W. W. norton & Company, Ltd., 15 Carlisle Street, London W1d 385 Contents Chap ter 1 Pitch Notation and the Grand Staff 1 Chap ter 2 Accidentals and Half and Whole Steps Chap ter 3 Simple Meters Chap ter 4 Beat Subdivisions and Syncopation Chap ter 5 Major Scales and Keys Chap ter 6 Compound Meters 67 Chap ter 7 Minor Scales and Keys Chap ter 8 Intervals Chap ter 9 Triads and Seventh Chords Chap ter 10 Melody Harmonization and Cadences make musiC a Write a Folk Song 158 make musiC b Write a Blues Song 167 make musiC C Write a Popular Song 13 23 35 50 83 101 123 141 176 v Chapter 1 Apply It Because singing and playing piano can help you understand and remember musical concepts, these performing activities will make up a significant part of your study. When singing: • Don’t be shy; sing out with enthusiasm! • Don’t worry about the quality of your voice. Sing every chance you get. Everything improves with practice. • Sing a warm-up pattern first (like the one given next) to orient your voice and ear. When playing on a keyboard: • Keep your fingers curved. • Don’t depress any pedals for now. • Typically, play different notes with different fingers. If you don’t have access to a piano: • Practice on any keyboard app. • Practice on the foldout keyboard in the front of the book. A. Sing at Sight 1. Point and sing When your teacher or a partner points to a note, sing the pitch with any of the “lyrics” shown beneath the staff. If you have a keyboard, sing and play using the left-hand (L.H.) and right-hand (R.H.) finger numbers. & œ L.H. B2 & 7^ tiœ B 7^ ti w w w 1 C R.H. 1 D C w w œ œ6^ ^ wre2 D 3^ w mi wfa4^ w5^ sol la 2^ re 3^ mi 4^ fa 5^ sol 6^ la R.H. 1 2 œ5 w^3 mi w4 w^2 re w ^1 w do w ^1 HOME do ^2 re ^3 mi 1^ w do 1^ do E2 E 3 F F 4 G G 5A A 3 54 2 2 3 45 1 1 HOME L.H. 2 ?œ ? 7œ^ B ti B 7^ ti w 1 w C D C B E D C D E E F G 3 w^5 œA6^ w4^ F G fa sol la 4^ fa ^5 sol 6^ la F G A A 7^ 1^ 2^ ^3 4^ 5^ 6^ ti do re mi fa sol la HOME Apply It 1 (15) 2. Warm-ups For each warm-up, sing in a comfortable range on the “lyrics” beneath the staff. Try to achieve an open, free sound. If you have a keyboard, sing and play using the finger numbers. Warm-up 1 R.H. 1 &w 2 3 w & w^1 Ee w ^2 re do Ee ?œ œ ah. Hee, hee, hee, hee, hah. sol fa mi re do Hee, sol hee, sol sol hee, hee, sol hah. w ^3 mi fa ah. œ4 œsol5 fa4œmi3 re2œ do1 œ fa œ ^ œ1 œ ^ ^ ^ ^ ^ œ ? œEe œ ^2 1^ re 3 mi 4^ fa 5^ sol 4^ fa 3 mi re 1^ do ^2 re ^3 mi 4^ fa 5^ sol 4^ fa ^3 mi ^2 re do Ee œ^ 2 œ^ œ^2 3 4 w 5 œ5^ œ4^ œ^3 œ^2 w^1 w4^ w w 5 4 3 2 1 w ^1 ^2 ^3 Warmdoup 2 re mi L.H. 5 4 3 2 œ œœœœw 4 w5^ 5^ sol œ w 5 5 w5^ œ 5^ sol œ^ w5^ œ œ 5^ sol w œœœœw 5 œ œ1 w5^ œ 5^ sol œ 5 4 3 2 1 œ5^ œ4^ œ3^ œ2^ w1^ sol fa mi re do œ 5^ 4^ 3^ 2^ ^1 sol fa mi re do œ^ œ w œ^1 œ^2 re 3 mi 4^ fa 5^ sol 4^ fa 3 mi œ^2 ah. re ^1 do ^2 re ^3 mi 4^ fa 5^ sol 4^ fa ^3 mi ^2 re ^1 do 5 ah do ah 4 3 2 2 3 4 w^1 5 do ah. 3. Melodies Play the first pitch, then sing each melody in a comfortable range with each set of “lyrics” beneath the staff. Sing the hollow notes longer than the filled notes. Check your pitches by listening to the recording or playing them on a keyboard. Melody 1 &w &w 1^ œ œ ww œ1^ œ2^ 3^ 1^ re 2^ do do 1^ do do re Melody 2 mi 3^ mi œ œ ww œ œ ^ ^ ^ 3 4 4^ mi 3^ fa mi fa 5 sol 5^ sol œœ œ œ ww ^ ^ ^ 4 3 ^3 fa 4^ mi fa mi 2 ^2 re re &w œœœw œœœw œœœw & w œ w^1 œ^1 œ^2 œ^3 w^2 ^œ2 œ^3 œ4^ ^5 ^5 4œ^ ^œ3 w^2 œ œ œœ œœ œœ œœ œœ œ w œ œ w œ1^ œ2^ ^3 4^ 5^ 4^ ^3 œ^2 w^1 œ^1 œ7^ w1^ ^3 fa ^3 re ^2 do ^1 2^ mi 4^ sol 5^ fa 4^ mi do 1^ re do re mi fa sol fa mi re do ^1 ti7^ do do ti do 1^ do œ œ œ œœ œœ œœ œ ww œœ œœ œœ w œœ œœ œ w œ^1 œ^2 ^3 4^ ^5 ^6 5^ ^5 4^ ^3 w^2 ^4 ^3 œ^2 w^1 ^1 re ^2 mi ^3 re ^2 do do re mi re ^2 mi ^3 fa ^5 sol ^5 fa ^3 re ^2 4^ sol 4^ mi re re mi fa sol sol fa mi re ^1 re ^2 mi ^3 fa ^5 la ^6 sol do 4^ sol 5^ do re mi fa sol la sol ^5 fa ^3 re ^2 sol 4^ mi sol fa mi re ^4 mi ^3 re ^2 do ^1 fa fa mi re do 1 1^ do do 2^ 3^ 4^ 5^ 2^ mi 3^ fa 4^ sol 5^ re re mi fa sol 6^ 5^ 4^ 3^ 6^ sol 5^ fa 4^ mi 3^ la la sol fa mi do 1^ do 3^ re 2^ do 1^ fa 4^ mi fa mi re do 1^ re 2^ do 1^ ti7^ do ti do re do 1 do 1^ do 3 mi 3^ mi ^1 do do Melody ? 3 ? ww ^ œ œ œœ ww œœ œœœw œœœw œœœw œœœw 4^ 3^ 2^ 3^ 4^ mi 3^ re 2^ mi 3^ fa fa mi re mi w œ œ œ œ w œ œ œ œ ww ww ww w ?w w œ œ œ œ w œ œ œ œ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ Melody ? 4 2 (16) 4 3 2 1 2 fa 4^ mi 3^ re 2^ do 1^ re 2^ fa mi re do re 1 2 3 4 5 do 1^ re 2^ mi 3^ fa 4^ sol 5^ do re mi fa sol 6 5 la 6^ sol 5^ la sol Ch A p t e r o n e pitch notation and the Grand Staff w œ œ œœ ww œœ œœ œ w œ œ œ w w^ œ^ œ^ ^ ^ ^ ^ œ^ w^ œ^ œ^ œ^ w^ 1 2 3 4 5 4 3 2 1 7 1 2 1 3^ fa 4^ sol 5^ re 2^ mi re mi fa sol w w œœœœw œœœœw w w œ œ œ œ w œ œ œ œ w w ww w 5^ 3^ 2^ 3^ 4^ 5^ 4^ 5^ 4^ 3^ 2^ 1^ 7^ 1^ 3^ fa 4^ sol 5^ fa 4^ mi 3^ re 2^ do sol 5^ mi 3^ re 2^ mi 4^ sol 5^ fa 1^ ti7^ do 1^ sol mi re mi fa sol fa sol fa mi re do ti do a c t i v i t y : t e a c h i n g s t r at e g i e s Apply It A.1 (Point and sing) may be projected onto a classroom screen. This activity will help students to: (1) learn common melodic patterns; (2) associate letter names, piano keys, and pitches with each other and with melodic patterns; and (3) notate melodic patterns from memory. • Establish home by playing middle C. You might also sing (or play) a key-establishing pattern. For example, sing C–E–G–F–D–B–C–G–C (or play I–ii6–V–I) in C major. & www ww w ww w ww w ?w w w w C: I ii 6 V I • To create a melody, point to a succession of letters, pitches, or piano keys. As soon as you point to an item, students should sing the pitch with its letter name. • The staff notation gives the pentachord C–D–E–F–G as whole notes. These should be the primary tones of your melodies. The neighbor tones below (B) and above (A) are shown as filled note heads to indicate their subsidiary role as embellishments. • Make the lines musical, with a balance of rising and falling motions. • Begin with simple three-to-five-note patterns, and increase the number of notes as the class becomes more proficient. • Include some skips to test students’ association of pitch, letter name, and piano key. • Repeat a melody until students memorize it. • Ask the class to write your melody with letters names or pitches on a treble or bass staff. • Eventually, hide an item, such as the letter names, and have students perform another item without the help of the hidden one. • As students become more proficient, point to a sequence of three to five items (letters, pitches, or piano keys) and ask students to refrain from singing until you have completed the sequence. Once you signal that the pattern is complete, students sing it back to you. This helps develop students’ musical memory. • Students can practice creating and notating patterns at home with the foldout keyboard in the text, or a piano keyboard app. Call on a few students to play their patterns for the class. Apply It 3 (16a) Listen and Write 1.1 A. Listen to each example. Then write letter names and/or “lyrics” in the blanks beneath the staff, as directed. Finally, notate the pitches with open note heads. 1. & w w C 1^ do C 1^ do C 1^ do D 2^ re 2. & w B 7^ ti C 1^ do 3. & w C 1^ do C 1^ do w w D 2^ re w w w E 3^ mi w w w D 2^ re w E 3^ mi C 1^ do w w w w E 3^ mi D 2^ re w w w w F 4^ fa G 5^ sol A 6^ la G 5^ sol C 1^ do w E 3^ mi C 1^ do ?w w w w w w w C 1^ do D 2^ re C 1^ do D 2^ re E 3^ mi D 2^ re C 1^ do 4. 4 (17) Ch A p t e r o n e pitch notation and the Grand Staff ?w w w C 1^ do D 2^ re E 3^ mi 5. w w w w w w w G 5^ sol F 4^ fa E 3^ mi D 2^ re E 3^ mi D 2^ re C 1^ do B. Hearing and writing a folk song Listen to part of a melody. It consists of four segments. Segments 1 and 2 each include four pitches. Segments 3 and 4 each have three pitches. (See p. 6 for score. You may wish to begin this exercise as a class activity and ask students to finish it at home.) 1. Focus on segment 1, the first four pitches. Which of the following best diagrams the contour of the segment? (a) (b) (c) (d) 2. Focus on the ending. Which of the following best diagrams the contour of segment 4? (a) (b) (c) (d) 3. Which of the following best describes how the segments are organized? Segment 1 Segment 2 Segment 3 Segment 4 (a) idea 1 idea 1 repeated idea 2 idea 1 returns (b) idea 1 idea 1 repeated idea 2 idea 2 repeated (c) idea 1 idea 2 idea 3 idea 4 4. On the staff to the left, notate segment 1 (four notes) with the pitches C, D, and E. On the staff to the right, notate segment 4 (the final segment of three notes) with the pitches E, F, and G. &˙ ˙ ˙ &˙ ˙ ˙ ˙ 5. On the following staff, notate the pitches of the entire melody. segment 1 segment 2 segment 3 segment 4 &˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Listen and Write 1.1 5 (18) “Are You Sleeping?” (teacher’s score) & 42 œ Are œ you œ sleep – ing, segment 1 6 (18a) œ œ Are œ you œ œ sleep – ing, segment 2 Ch A p t e r o n e pitch notation and the Grand Staff œ œ œ Bro – ther John, segment 3 œ œ œ Bro – ther John? segment 4 Workbook AssiGnmEnt 1.1 A. Letter names Fill in the letter name requested. Remember to count the letter you begin with. (1) 6 above C: A (2) 3 above G: B (3) 2 below F: E (4) 7 below A: B (5) 4 above D: G (6) 2 above E: F (7) 4 below D: A (8) 5 below E: A (9) 7 above C: B (10) 5 below B: (11) 7 above G: F (12) 3 below A: F E B. Identifying notes on the keyboard On the following keyboards, write each letter name on its corresponding key. (1) C, D , G , B (2 ) E , F, A , B C D G B E F A B On the following keyboards, write each letter name on every key with that name (in three octaves). (3) C, E, A C E A C E A C E A (4) G, B, D D G B D G B D G B C. Drawing clefs (1) Trace the treble clefs given as dotted lines, then draw additional clefs. Workbook Assignment 1.1 7 (19) (2) Trace the bass clefs given in dotted lines, then draw additional clefs. D. Reading notes in treble and bass clefs Write the letter name of each pitch in the blank provided. (1) —— C (2) —— E (3) —— B (4) —— E (5) —— F (6) —— G (7) —— A (8) —— D (9) —— (10) —— (14) —— (16) —— E (11) —— C (12) —— A (13) —— A F (15) —— F D B E. Reading notes in music In each blank, write the letter name of the note above. (1) Stevie Wonder, “You Are the Sunshine of My Life,” mm. 5–11 & 44 Œ 5 œ œ ‰ œJ œ You are 6 the sun – C —— 8 9 & Œ ‰ œJ œ That’s why œ œ J j œ ˙. œ œ œ J J Œ 7 shine of my life D —— B —— A —— G —— 10 œ œ œ œ J œ œ œ œ J I’ll al be a – round E —— D —— C —— low œ œ J You œ œ. J E —— B —— D —— C —— – ways F —— œ œ œ ˙. 11 (2) Lennon and McCartney, “Hello, Goodbye,” mm. 17–21 œ œ &J 17 I say D —— j &œ œ 20 I A —— 8 (20) say œ ˙ J œ œ J 18 high You F —— C —— œ œ œ J J I don’t C —— E —— œ J say w œ ˙ J 21 know G —— Ch A p t e r o n e pitch notation and the Grand Staff 19 say why j œ and Workbook AssiGnmEnt 1.2 A. Identifying pitches with ledger lines For each pitch notated on the staff, write its number on the correct key of the keyboard in the correct octave. Write the letter name on the blank beneath the staff. 1 2 C 3 4 5 6 7 middle C (1) —— F 8 9 (2) —— B (3) —— F 10 11 (4) —— A 12 13 (5) —— D (6) —— G (7) —— B F (13) —— A (14) —— 14 middle C (8) —— C F (9) —— B (10) —— G (11) —— E (12) —— Beneath each pitch, write its letter name and octave number. (15) —— A4 (16) —— D6 (17) —— G3 (18) —— E5 (19) —— B3 (20) —— G5 (21) —— C5 (22) —— A1 (23) —— D4 (24) —— F2 (25) —— G4 (26) —— E2 (27) —— G1 C4 (28) —— Workbook Assignment 1.2 9 (21) B. Identifying pitches with ledger lines and octave numbers in music In the following passages, write the letter name and octave number for any ledger-line note marked by an arrow. œ œ œ œ œ œ (1) Mozart, Variations on “Ah, vous dirai-je Maman,” mm. 1–8 œ ?2 œ 4 1 2 3 C4 —— E4 —— F4 —— 4 5 E4 —— œ œ D4 —— 6 œ œ 7 œ œ 8 .. ˙ C4 —— (2) Mozart, Variations, Var. VII, mm. 187–192 œ 191 œ œ œ # œ œ œ œ œ œ 188œ n œ # œ œ œ œ œ 189 n œ œ œ œ œ œ 190 œ œ 192œœœ œ œ œ œ œ œ œ œ Œ .. & 187 E6 —— D6 —— C6 —— B5 —— (3) Mozart, Variations, Var. XII, mm. 293–296 ? œ# œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ .. œ œ œ œ œ # œ n œ œ œ œ œ œ œ œ # œ n œ œ œ œ nœ œœœ œ œ œ œ œ 293 294 D2 —— 295 B1 —— A1 —— 296 F1 —— G1 —— C2 —— C. Writing pitches with ledger lines and octave numbers For each number on the keyboard, write the corresponding note on the staff below it in the correct octave. 1 2 3 4 5 middle C 10 (22) Ch A p t e r o n e pitch notation and the Grand Staff 6 7 8 9 middle C 10 Workbook AssiGnmEnt 1.3 A. Writing pitches with ledger lines, stems, and octave numbers For each note requested, neatly write a hollow note head on the correct line or space of the staff, then add a stem that extends in the correct direction. (1) &˙ & E4˙ ? (2) ˙ ? ˙ F2 ˙ ˙ A5 ˙ ˙ C4 ˙ ˙ C6 ˙ ˙ B2 ˙ ˙ ˙ G4 ˙ A3 ˙ ˙ F3 G5 ˙ ˙ D2 E4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙E5 ˙ ˙ ˙ B3 ˙ G3 ˙ ˙ F6 C4 ˙ ˙ F4 C2 ˙ ˙ ˙ ˙ ˙ G3 ˙ ˙ ˙ B3 G2 For each pitch given, rewrite in the octave specified. (3) Rewrite exactly two octaves lower. ?w w w w w w w w w w w w w w w w w w w w (4) Rewrite exactly two octaves higher. Assignment 1.3 11 (23) B. Arranging: Changing clef and octave Rewrite the pitches of each melody down one or two octaves as specified, on the staff provided. Copy the original notation (even the symbols that are unfamiliar to you) but change stem direction as needed. You do not need to copy the lyrics. (1) Stephen Foster, “Jeanie with the Light Brown Hair,” mm. 5–8. Write the music down one octave. jb œ j‰ œ œ œ. 4 œ œ . œ œ œ œ œ œ˙ œ œœ œœœœ &4 œ 5 6 7 8 œ œ œ. œ œ. œ bœ œ œ œ œ œ œœœ œ ? 44 œ ˙ œ ‰ œ J J œ I dream of Jea – nie with the light brown hair, Borne, like a va – por, on the sum-mer air; (2) Billy Joel, “Piano Man,” mm. 72–78. Write the music down two octaves. œ œ œ œ . Jœ œ œ . Jœ œ œ ˙ Œ Œ œ œ œ œ œ œ ˙ . 3 &4 œ 72 Well we’re all in 73 74 the mood for a 75 76 mel – o – dy 77 And you’ve got us 78 feel in’ al – right. ? 43 œ œ œ œ . Jœ œ œ . œ œ œ ˙ Œ Œ œ œ œ ˙. œ œ J œ œ (3) Rewrite the beginning of “Amazing Grace” up one octave, as though scored for violin or flute. You’ll need to use ledger lines. . & 43 œ ˙ œ œ ˙ œ ˙ œ ˙ œ ˙ œ œ ˙ œ ˙ 1 2 3 4 5 6 7 œœ ˙ œ ˙ œ œ ˙ œ ˙. ˙ ˙ œ ˙ œ 3 œ &4 A – maz – ing 12 (24) grace, how sweet the sound That saved Ch A p t e r o n e pitch notation and the Grand Staff a wretch like me! 8 ˙ ˙ Chapter 2 Apply It A. Sing at sight Mark the half steps with brackets, as shown in Melody 1. Then perform the melodies with the lyrics shown. Sing the hollow notes longer than the filled notes. Vary your performance in the following ways: ● ● Echo melodies after your teacher or the recording. Play on a keyboard and sing along. Melody 1 1^ ^2 1^ 7^ 1^ do re do ti do 1^ do 1^ ^2 ^3 ^2 1^ do re mi re do 1^ do 1^ ^2 ^3 4^ 5^ do re me fa sol 5^ sol 5^ 4^ ^3 ^2 1^ sol fa mi re do 1^ do Melody 2 1^ 7^ 1^ ^2 ^3 4^ 5^ do ti do re mi fa sol 5^ 6^ 5^ 4^ ^3 ^2 1^ sol la sol fa mi re do Melody 3 1^ ^2 ^3 4^ 5^ do re mi fa sol 4^ ^3 ^2 1^ 7^ fa mi re do ti 1^ 7^ 1^ ^2 1^ do ti do re do Melody 4 1^ 7^ 1^ ^2 ^3 ^2 ^3 4^ 5^ 6^ 5^ 4^ ^3 4^ ^3 ^2 do ti do re mi re mi fa sol la sol fa mi fa mi re 1^ ^2 ^3 4^ 5^ 4^ ^3 ^2 1^ do re mi fa sol fa mi re do Melody 5 1^ do 1^ ^2 ^3 ^2 ^3 4^ do re mi re mi fa 5^ sol 5^ 6^ 5^ sol la sol 5^ 4^ 5^ 4^ ^3 ^2 1^ 7^ 1^ ^2 1^ sol fa sol fa mi re do ti do re do Apply It 13 (37) B. Play and sing 1. For each of the following pitches, first play on a keyboard, then sing in a comfortable range: ● the pitch and a half step above and below ● the pitch and a whole step above and below C#, A b, E b, F#, B, E#, D b Practice in class by calling out additional pitches. 2. Start with the given pitch, then move your finger on a keyboard (or keyboard diagram), following the pattern of whole and half steps indicated. Write the name of the pitch at the end of the sequence. Compare your result with a partner. A (a) Begin on C: down W, down H, down W, up H, up H = (b) Begin on E: up W, up H, up W, down H, up W, up W = C (c) Begin on F#: down W, down W, up H, down W, down H, up W = D (d) Begin on Ab : up W, up W, up W, down H, up W, up W = F Have students compare their answers with a partner. Then have each student create a new pattern for the partner to complete. C. Identify half and whole steps Listen to the following pairs of notes (played in class or on the recording). The pitches make either a half step (H) or whole step (W). Write H or W in the blank, and ↑ for ascending or ↓ for descending. W ↑ F#4–G#4 H ↓ E2–D#2 H ↑ G5–A b5 (a) __________ (b) __________ (c) __________ (d) __________ W ↑ A3–B3 H ↓ D5–C#5 (e) __________ W ↑ C#5–D#5 (i) __________ H ↓ F#4–E#4 (f) __________ H ↑ A#3–B3 (j) __________ W ↑ D2–E2 (g) __________ W ↓ A3–G3 (h) __________ H ↑ B2–C3 (k) __________ W ↓ Bb4–A b4 (l) __________ Practice in class by playing additional whole and half steps on the piano. D. Create a melody with whole and half steps On your own or with a partner, write a short melody in bass clef. ● Choose a “home” pitch for your melody. Start and end your melody on this pitch. ● Include 10–12 pitches in each melody. Make a pleasing contour. ● Keep most pitches on the staff, with few ledger lines. Use only adjacent letter names (e.g., F–G–A–G). ● Notate an accidental for every pitch. ● Notate with note heads only. Mix hollow and filled note heads. ● Prepare to sing or play your melody in class. Sample melody ? Your melody Have students perform their melodies in class: ● Sing on a neutral syllable (such as “la”) or with letter names. ● Play or sing hollow notes longer than filled ones. ● Play the melodies on a keyboard or another instrument. 14 (38) Ch A p t e r t w o Accidentals and half and whole Steps Bb = home