Solutions Manual For

Solutions Manual For Music in Theory and Practice (Volume 1) 10 th Edition By Bruce Benward (All Chapters 1-17, 100% Original Verified, A+ Grade)

All Chapters Arranged Reverse:

17-1 This is The Original Solutions Manual For 10 th Edition, All other Files in The Market are Fake/Old/Wrong Edition. 1 / 4

165Workbook Solutions Manual, Vol. 1

A. For each of the compositions listed below:

• Perform the composition on the piano or sing the entire work as written (sing the notes on a neutral syllable, such

as lu, la, or ta).

• Provide a complete harmonic, melodic, and formal analysis of each composition.
• Compare the form and construction of the works listed here.
• Have members of the class arrange the compositions for three or four instruments (such as a bassoon and two

clarinets). Perform the arrangements in class.Schumann: “Erinnerung” (“Remembrance”) from Album for the Young, op. 68, no. 28. (See page 230.)

Beethoven: Sonata in E-flat, op. 31, no. 3, III. (See page 181.)

Grieg: “Volkweise” (“Folk Song”), op. 38. (See page 195.)

Gurlitt: “Ernste Stunde” (“Serious Moments”), op. 130, no. 23. (See page 197.) Schumann: “Fröhlicher Landmann” (“Happy Farmer”) from Album for the Young, op. 68, no. 10. (See page 231.) Schumann: “Wilder Reiter” (“Wild Rider”) from Album for the Young, op. 68, no. 8. (See page 234.)

• Write a short composition in three-part form.
• Pattern the form after “Wilder Reiter” (section A above) by Schumann.
• The composition should be homophonic (a clearly defined melody with harmonic and rhythmic accompaniment).
• Use only the harmonic vocabulary studied to date.
• Employ compositional procedures found in Chapter 10 of the text, “Harmonic Progression and Harmonic Rhythm.”
• Write the composition for any instrument, voice, or combination thereof that class members can play.
• When the composition is completed, each student should perform, or have his or her work performed, in class.
• Each composition should be critiqued by class members.
• The compositions listed below are examples of rounded binary (incipient three-part) form.
• Provide a complete harmonic, melodic, and formal analysis for each composition.
• Compare the construction of the compositions listed here.
• Arrange one or more of the compositions for three or four instruments.
• Perform the arrangements in class.

Beethoven: Thema from Sechs Variationen in D Major, op. 76. (See page 184.)

Corelli: Largo from Concerto grosso in D Major, op. 6, no. 1. (See page 190.)

Haydn: Sonata in C Major, Hob. XVI:35, III: Finale. (See page 215.) Mozart: Sonata in A Major, K. 331, I: Andante grazioso. (See page 222.)

• Make a complete analysis of the Andante Cantabile, the second movement of the Sonatina, op. 88, no. 2, by Kuhlau

(see page 216).

• Analyze the harmonic, melodic, and formal elements of the movement.
• Write a short paper of 200–500 words summarizing your analysis.
• Describe how circle progressions, chromatic chords, modulations, and key relationships shape the harmonic

flow of the composition.

• Include information about motives, phrases, and the form.

CHAPTER 17

Three-Part (Ternary) Form 2 / 4

166 PART B The Structural Elements of MusicWorkbook Solutions Manual, Vol. 1 Review Chapter 17, like the previous chapter, deals with larger areas of musical structure. This chapter can be studied in much the same way as Chapter 16.

• Play or listen to a recording of each of the compositions analyzed in this chapter. Carefully examine the analysis of

each composition, including the analytical statements in the scores themselves and the summary analysis that follows.Make certain that you understand each analytical statement. If certain items are not clear to you, reread the pertinent section of the chapter or look in previous chapters for an explanation. If you still have problems, discuss them with your instructor or a fellow student.

• Define each term listed at the head of the chapter (page 359 in the text) in your own words. Compare your definition

with the definition of the glossary and see if you can improve your definition. Consider how the terms can be applied to the compositions in the chapter.Test Yourself 17 Answers are on page 246.

• Examine measures 1–16 of Figure 17.2 on pages 361–362 of the textbook. Would you describe the form of this section

as open or closed? Why?

• Examine measures 17–32 of Figure 17.2 on page 362 of the text. Would you describe the form of this section as open

or closed? Why?

• Describe the function of the B section of a three-part (ternary) form.
• In this chapter a form called rounded binary form was discussed. How does the rounded binary form differ from a

three-part (ternary) form?

• A ternary form may be expanded in two ways: by repetition of a section or by the appearance of auxiliary formal

members. Name three auxiliary members that may be added to the basic three-part design. 3 / 4

163Workbook Solutions Manual, Vol. 1

A. For each of the two-part compositions listed below:

• Play the composition or listen to a performance.
• Make a complete harmonic analysis of each composition.
• Bracket each phrase.
• Name the type of cadence at the end of each phrase.
• Circle motives or themes that appear in both the A and B sections.
• In your own words, indicate the relationship between the two sections.
• Compare the form and construction of the compositions listed here.

Bach: Sarabande from French Suite no. 1 in D Major, BWV 812. (See page 176.)

Corelli: Corrente from Concerto grosso in F Major, op. 6, no. 9. (See page 188.) Farnaby: “The New Sa-Hoo” from the Fitzwilliam Virginal Book. (See page 194.)

Handel: Air from Harpsichord Suite in E Major, G. 148. (See page 198.)

Handel: Gigue from Harpsichord Suite in B-flat Major, G. 33. (See page 199.)

Handel: Sarabande from Harpsichord Suite in E Minor, G. 166. (See page 207.)

Handel: Sarabande from Harpsichord Suite in E Minor, G. 161. (See page 209.)

Haydn: Sonata in E-flat Major, Hob. XVI:28, II: Trio. (See page 213.) Haydn: Sonata in E Minor, Hob. XVI:34, III: Vivace molto. (See page 214.)

Schubert: German Dance in D Major, D. 975. (See page 227.)

Schubert: Ländler, op. 171, no. 3, D. 790. (See page 228.)

Schumann: “Kleine Romanze” (“Little Romance”) from Album for the Young, op. 68, no. 19. (See page 232.)

B. Write a composition using the following outline:

Phrase Measures Keys Cadences Relationships Remarks Part A 1–4 Bb major Half in Bb a 5–8 Bb major Authentic in F ap Parallel structure modulating to F major Part B 9–12 F major Half in F aʹ Development of a motive or idea from phrase a 13–16 F major Authentic in Bb b Different material modulating to Bb major

• Write a composition in two-part form.
• There are no restrictions on the content of this composition whatsoever, except that it must be in two-part form.
• The composition should be of at least sixteen measures.
• Write the composition for any instrument, voice, or combination of the two.
• Play the composition in class.

CHAPTER 16

Two-Part (Binary) Form

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