Solutions Manual For

Solutions Manual For Music in Theory and Practice (Volume 2) 10 th Edition By Bruce Benward (All Chapters 17-35, 100% Original Verified, A+ Grade)

All Chapters Arranged Reverse:

35-17 This is The Original Solutions Manual For 10 th Edition, All other Files in The Market are Fake/Old/Wrong Edition. 1 / 4

367Workbook Solutions Manual, Vol. 2

• Refer to Krenek’s Etude from Eight Piano Pieces, op. 110, no. 1 (1946), on page 433. Have a pianist play this work or

listen to a recording.

• Find the row, which is stated in the first three measures of the right hand.
• Make a matrix for this row using the instructions in Chapter 35 of the textbook.
• Analyze the pitch content of the work by labeling all the row forms and numbering the pitches.
• Describe how the row is used in this work. What is the basic texture?
• How does the row influence phrasing and form?
• Make an arrangement of this work for four woodwind or string instruments. Perform the arrangement in class.

Compare your arrangement to the original piano form. Which best expresses the ideas of the piece?

• Refer to Dallapiccola’s Quartina, No. 11 from Quaderno Musicale di Annalibera, on page 409. Have a pianist play this

work or listen to a recording.

• Find the prime row.
• Make a matrix for this row using the instructions in Chapter 35 of the textbook.
• Analyze the pitch content of the work by labeling all the row forms and numbering the pitches.
• Describe how the row is used in this work. What is the basic texture?
• How does the row influence phrasing and form?

Review

• Write a twelve-tone row of your own choosing. (Choose notes at random if you prefer.) Create a matrix for this row

using the instructions on pages 743–746 of the textbook. Write a melodic line using two forms of the row.

• Study the specimen analysis (Figure 35.1 on pages 741–742 of the textbook), making certain that you understand each

analytical symbol.

• Define each of the terms at the head of the chapter (page 739 of the textbook) in your own words. Check your definitions

with the definitions in the chapter.

CHAPTER 35

Twelve-Tone Technique 2 / 4

368 PART G The Nineteenth and Twentieth CenturiesWorkbook Solutions Manual, Vol. 2 Test Yourself 35 Answers are on page 491.The following composition is written in serial technique. Find the row (in the first five measures of the voice) and form a matrix. Do a serial analysis along the lines of the specimen analysis in this chapter (Figure 35.1).

Dallapiccola: Goethe-Lieder, no. 2, for Mezzo-Soprano and E-flat Clarinet.

& & 4 3 4 3 Canto Clar. picc.* (Mi b)

ŒŒœ#

- Die ∑ f Sostenuto; declamando ( q = 58 ) con molto accento .œn > .œn Son ne ∑ ‰ .œn 3 œn œn ‰ kommt!∑ S Œ‰œnœb œb EinPrachter ∑ f .œb.œn œ# R œ ≈ schei nen!∑ lunga -- - ^ U & & œnœ#œb 3 œnœ# ‰ Der Si chel ∑ F 3 œn œb œb œb mond um ∑ corta J œn œn ‰ œnœn klam mert ŒŒ œ# - poco rall. . . . . . . .dolce; sost.π ≈ .J œn

‰‰

.J œn ≈ sie. Wer .œn - .œn π sempre dolicissimo

- -- -

U , & & œnœn ‰ œnJ œn konntesolchein ‰ .œn 3 œn œn ‰ più tranquillo ( q = 54 ) œb 3 œb œb œn Paar,solcheinPaar Œ‰ œnœb œb 3 ‰ œ#œnœb œ#œn verei nen?.œb.œn œ# R œ ≈ corta corta ≈R œ# - œ .œn .œb Dies Rätsel, œn

• œ#

œb 3 œnœ# ‰ dolciss.-- -- U U & & œb œbœn‰Œ wieerklärt, 3 œn œb œb œb -

• La parte del Clar. picc. è scritta in suoni reali.

(The E-flat Clarinet part is written at sounding pitch.) piùπ breviss.breviss.3 ‰ œn œn .œn -.œn - ‰ wieerklärtsich’s?J œn œn ‰ œnœn piùπ .œn .œn Wie?≈ .J œn - ŒŒ ∏ mormorato ∏ œ# ŒŒ ∑

• min. 25 seconds

breve pausa -- U U , MTP Workbook Vol. 2 35 Test Yourself Dallapiccola: Goethe-Lieder no. 2 for Mezzo-Soprano and E-flat Clarinet. 3 / 4

365Workbook Solutions Manual, Vol. 2

• Following are five sets in scrambled order.
• On the staff provided, rearrange the notes in prime form and indicate pitch-class numbers on the blanks below.
• After you have determined the prime form of each set, write the inversion on the staff below.

&w wb wb wb 1.wb w# w wb 2.w# w# w w 3.wb wb w w# 4.wwb w#w# 5.& wbwbw wb

___0___2___4___7

1.

Prime form:

ww# wbwb

___0___3___5___6

2.w w#w#w

___0___4___6___7

3.w# wwbwb

___0___2___4___6

4.wwbw#w#

___0___1___5___6

5.& wbwwwb

___0___3___5___7

1.

Inversion:

wwww

___0___1___3___6

2.ww# ww

___0___1___3___7

3.wbwbwbw

___0___2___4___6

4.w#www

___0___1___5___6

5.

Benward & Saker, Music in Theory and Practice: Volume II,

Workbook 17A

• Analyze the following two excerpts by labeling the pitch classes as sets (refer to the labeling method used for Bartók’s

Chromatic Invention from Mikrokosmos, vol. III, no. 91 on pages 728–729 of the textbook).

1.  Bartók: Diminished Fifth from Mikrokosmos, vol. IV, no. 101, mm. 1–11.

& ?4 2 4 2 1 ‰

œœœ

023 ˙b

p Con moto q = 1102 œ œ

• 0

J œ œbœbœ 532 3 j

œœœœ

023 ˙b

4

œœœœ

5320 J œœbœœb 023 5

œœœ

‰ 320 œb J œb‰

• 0

6 ‰ œb œœb 023 ˙ 5 & ?7 œb œb

• 0

J œ

œœœ

023 8 j œœbœœb 023 œ œ

• 0

9 œbœbœœb 5320

œœœœ

023 10 œœbœbœ 2302 .œ J œ#

• 4

11 œbœbœb ‰ 530 œ J œ ‰

• 2

MTP Workbook Vol. 2 Ch. 17-B1 Bartok

CHAPTER 34

Pitch-Class Set Theory

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