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Workbook
115
Kyle Gullings
At the end of each chapter, you may find Assignments linked for that chapter. Those same assignments are also gathered here in a single table for convenient browsing.
Use arrows in the cells on the header row to sort the table alphabetically. Use the “Search” function to filter by the words in your search.
Last updated: September 18, 2023 4:09 pm
Book order
Part
Chapter
Assignments
1
I. Fundamentals
Introduction to Western Musical Notation
Inventing a Notation System (.pdf, .docx); Rubric (.pdf, .docx)
2
I. Fundamentals
Notation of Notes, Clefs, and Ledger Lines
Writing Noteheads, Clefs, and Ledger Lines (.pdf, .docx)
3
I. Fundamentals
Reading Clefs
Writing and Identifying Notes Assignment #1 (.pdf, .mscx)
Writing and Identifying Notes Assignment #2 (.pdf, .mscx)
4
I. Fundamentals
The Keyboard and the Grand Staff
White Keys on the Piano and the Grand Staff (.pdf, .docx)
The Piano Keyboard and the Grand Staff with Ledger Lines (.pdf, .docx)
Imitative writing in the 16th-century contrapuntal style. These exercises provide at least one complete part for reference, and one part with missing passages to complete in a suitable style. Original note values are used, with modern time signatures for those values ([latex]\mathbf{^4_2}[/latex]), some editorial accidentals (), and only G and F clefs.
Lassus: Benedictus from the Missa Venatorum. 2 voices. .mscz, .pdf
Palestrina: Benedictus from the Missa Brevis. 3 voices. .mscz, .pdf
Palestrina: Surge Propera a 4 (excerpt). 4 voices. .mscz, .pdf
29
II. Counterpoint and Galant Schemas
High Baroque Fugal Exposition
In the Bach C minor fugue shown above, the answer is “tonal.” Given what has been said about tonal answers in this chapter, try explaining how the subject and answer differ, and why.
Pick another fugue, identify how many “voices” there are, and locate each voice’s entry and the end of the exposition.
Try writing your own answers and countersubjects. The template file below provides the subjects for all 48 fugues in both books of the Well-Tempered Clavier. An empty second staff is provided for your practice. (Note that the last note in many of the fugue subjects is given without a stem to indicate the pitch without specifying the duration rhythm.) If you know some of these fugues well, you may want to work on ones you’re less familiar with.
Once you are feeling confident with writing answers and countersubjects, try writing up a full exposition. Again, you may wish to work on fugues you’re less familiar with.
30
II. Counterpoint and Galant Schemas
Ground Bass
A simple, predominantly diatonic harmonization of the ground, with simple block chords, making sure to follow good voice-leading practice. Use this as a prototype.
A set of alternative harmonizations including tonicizations of other keys and re-harmonizations of the first note in particular to vary the apparent ph