Workbook to Accompany Music in theory and practice / Bruce Benward, Marilyn Saker.

Previous edition: 2009.

Includes bibliographical references and index.

Volume I: Introduction. The materials of music, sound and time -- Part A. The fundamentals of music: Notation ; Scales, tonality, key, modes ; Intervals and transposition ; Chords -- Part B. The structural elements of music: Cadences and nonharmonic tones ; Melodic organization ; Texture and textural reduction ; Species counterpoint ; Voice leading in four-part chorale writing ; Harmonic progression and harmonic rhythm ; The dominant seventh chord ; The leading-tone seventh chords ; Nondominant seventh chords ; Secondary dominant and leading-tone chords ; Modulation ; Two-part (binary) form ; Three-part (ternary) form -- Appendixes: A. Summary of part-writing practices ; B. Macro analysis symbols ; C. Popular music chord symbols ; D. Expression marks ; E. Instrument ranges, transpositions, and foreign names ; F. History --

VOLUME TWO : Preface -- A. THE RENAISSANCE AND BAROQUE PERIODS -- 1. Late Renaissance polyphony [Important concepts {Modes -- Consonance -- Dissonance -- Melody -- Rhythm and meter -- Cadences -- Parallel motion -- Text setting -- Form -- History} -- Applications {Mode -- Melody -- Vertical intervals -- Cadences -- Text setting -- Form} -- Assignments] -- 2. Two-voice eighteenth-century counterpoint [Important concepts {Counterpoint -- Two-part invention -- Bach inventions -- History} -- Applications {Writing two-voice counterpoint -- General suggestions} -- Assignments] -- 3. The fugue [Important concepts {Exposition -- Episodes and entries -- Variants of subjects and answers in an entry -- Final part of a fugue -- History} -- Applications {Form} -- Assignments] -- B. CHROMATIC HARMONY -- Macro analysis -- 4. Borrowed chords [Important concepts {Borrowed chords in major keys -- History} -- Applications {Doubling and voice leading} -- Assignments] -- 5. Neapolitan 6th chords [Important concepts {Characteristics -- Some exceptional uses of the Neapolitan -- History} -- Applications {Doubling and voice leading} -- Assignments] -- C. THE CLASSICAL PERIOD -- 7. Variation technique [Important concepts {Continuous variation -- Theme and variation -- History -- Summary} -- Assignments] -- 8. Sonata form [Important concepts {General pattern -- Exposition -- Development -- Recapitulation -- History} -- Application {General comments -- Phrases -- Harmony -- Summary} -- Assignments] -- 9. Rondo forms [Important concepts {Refrain -- Episode -- Transition -- Retransition -- Rondo types -- Departures from standard rondo form -- History} -- Application {Refrain 1 -- Episode 1 -- Refrain 2 -- Episode 2 -- Refrain 3 -- Coda -- Summary} -- Assignments] -- D. EXTENDED AND CHROMATIC HARMONY -- 10. 9th, 11th, and 13th chords [Important concepts {Characteristics -- History} -- Applications {Voice leading -- Popular music chord symbols} -- Assignments] -- 11. Altered dominants [Important concepts {Characteristics -- History} -- Applications {Doubling and voice leading} -- Assignments] -- 12. Chromatic mediants [Important concepts {Similar spellings -- Characteristics -- History} -- Applications {Doubling and voice leading} -- Assignments] -- E. THE NINETEENTH AND TWENTIETH CENTURIES -- 13. The Romantic period [Important concepts {Expanded chord vocabulary -- Modal mixture -- Modulation -- Foreign modulation -- Unresolved dissonance -- Nonfunctional harmony -- Chromaticism -- Increased dissonance -- Enharmonic spelling -- Common-tone diminished 7th chords -- German 6th chords} -- Assignments] -- 14. The post-Romantic style [Important concepts {Tonal instability -- Nonfunctional harmony -- Omnibus progression -- Blurred cadence -- Augmented triads -- Summary} -- Assignment] -- 15. Impressionism and related styles [Important concepts {Scale resources -- Chords -- Cadences -- Textural considerations -- History} -- Applications {Scale vocabulary -- Chord vocabulary -- Suggested approach to analysis -- Specimen analysis} -- Assignments] -- 16. The early twentieth century [Important concepts {Major styles -- Tonal basis -- Harmony -- Rhythm -- History} -- Applications {Marche du Soldat by Stravinsky -- Chromatic Invention by Bela Bartok} -- Assignments] -- 17. Twelve-tone technique [Important concepts {Twelve-tone technique -- History} -- Application {The matrix -- Selected forms and transpositions -- Segments -- The text -- Strophes -- Form -- Accompaniment -- Rhythmic and harmonic figures -- Dynamics and tempo indications} -- Assignments] -- Postlude: Music since 1945 [Musical developments from 1945-1970 {Serialism -- Indeterminacy -- Improvisation -- Electronic and computer music -- Sound mass -- Extended techniques -- Rock 'n' roll and rock music} -- Music since 1970 {Eclecticism -- New accessibility -- Minimalism -- Performance art -- MIDI technology -- Computer-assisted composition -- Sampling systems -- Post-1970 rock -- New Age music -- Ambient music -- World music} -- Conclusions] -- Appendixes [A. Summary of part-writing practices -- B. Macro analysis symbols -- C. Popular music chord symbols] -- Glossary -- Credits -- Indexes [Musical example index -- Subject index].

"This best-selling text gives music majors and minors a solid foundation in the theory of music. Music in Theory and Practice strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of this text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I covers topics from basic elements through diatonic harmony, while Volume II covers chromatic harmony along with elements of styles and forms from Gregorian chants through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level"--