•
USIC
IN THEORY AND PRACTICE
VOLUME
Eighth Edition
Bruce Benward
Late of the University of Wisconsin-Madison
Marilyn Saker
Eastern Michigan University
B Higher Education
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Library of Congress Cataloging-in-Publication Data
Benward, Bruce.
Music in theory and practice/ Bruce Benward, Marilyn Saker.-8th ed.
p. cm.
ISBN-13: 978-0-07-310187-3
ISBN-10: 0-07-310187-7
1. Music theory. I. Saker, Marilyn Nadine. II. Title.
MT6.B34 M9 2008
781-dc21
www.mhhe.com
Contents
Preface ix Pitch Class 27
Diatonic Scales 28
Scale Degree Names 28
Major Scale 29
Introduction The Materials of Music: Tetrachord 29
Sound and Time xm Transposition 30
Key Signature 30
Sound xiii Minor Scale 32
Vibration xm Scale Relationships 35
Compression and Rarefaction xm Tonality 39
Frequency xiv Key 40
The Four Properties of Sound xiv Other Scales 40
Pitch xiv History 44
Intensity xiv
Applications 46
Duration xiv Pitch Inventory 47
Timbre xv Assignments 49
Summary xvi
CHAPTER 3
PART A
Intervals and Transposition 55
The Fundamentals of Music
Important Concepts 55
Intervals 55
CHAPTER 1 Perfect, Major, and Minor Intervals 56
Consonance and Dissonance 58
Notation 3
Augmented and Diminished Intervals 58
Important Concepts 3 Enharmonic Intervals 59
Notation of Pitch 3 Inversion of Intervals 59
The Staff 3 Compound Intervals and Simple Intervals 61
Leuer Names 3 History 61
The Clefs 4 Applications 62
Octave Identification 6 Fluency with Intervals 62
Accidentals 7 Melodic and Harmonic Intervals 63
Interval 7 Transposition 64
Enharmonic Equivalents 8 Methods ofTransposition 64
Half-Step Motion 8 Assignments 67
Notation of Duration 8
The Tie 9
CHAPTER 4
The Dot 9
Irregular Division of Notes 10 Chords 73
Rhythm 10
Meter Signatures 10 Important Concepts 73
Dynamic Markings 14 Harmony 73
History 15 Chord 73
Applications 16 Triad 73
Some Directions for Notation 16 Triad Root 73
Assignments 21 Major Triad 74
Minor Triad 74
Diminished Triad 74
CHAPTER 2 Augmented Triad 74
Triad Stability 75
Scales, Tonality, Key, Modes 27
Triad Names 75
Important Concepts 27 Primary Triads 75
Scale 27 Triad Position 75
V
Root Position 75 History 150
Triad Inversion 76 Applications 151
First Inversion 76 Analysis of Texture 151
Second Inversion 76 Textural Reduction 155
Other Tertian Chords 77 Assignments 157
Seventh Chords 77
History 77
CHAPTER 8
Applications 77
Roman Numeral Analysis 78 Species Counterpoint 163
Triad Position Symbols 78
Seventh-Chord Position Symbols 80 Important Concepts 163
Figured Bass 80 Species Counterpoint 163
Figured-Bass Symbols 81 The Cantus Firmus 163
Macro Analysis 83 The Counterpoint 163
Popular-Music Symbols 85 First Species Counterpoint 163
Summary 86 Second Species Counterpoint 164
Assignments 87 Third Species Counterpoint 164
Fourth Species Counterpoint 164
Fifth Species Counterpoint 165
PART B History 165
Applications 166
The Structural Elements of Music 95
Modal Scales 166
Melodic Characteristics 167
CHAPTER 5 Writing First Species Counterpoint 168
Writing Second Species Counterpoint 172
Cadences and Nonharmonic Tones 97 Writing Third Species Counterpoint 175
Writing Fourth Species Counterpoint 177
Important Concepts 97
Writing Fifth Species Counterpoint 179
Phrase 97
Assignments 183
Harmonic Cadence 97
Rhythmic Cadence 99
History 100 CHAPTER 9
Nonharmonic Tones 102
Unaccented Nonharmonic Tones 103 Voice Leading in Four-Part Chorale
Accented Nonharmonic Tones 104 Writing 191
Accented versus Unaccented Nonharmonic Tones 109
Important Concepts 191
Nonharmonic Tones Involving More Than Three
Four-Voice Texture 191
Pitches 109
History 192
Summary of Nonharmonic Tones 111
Applications 192
Assignments 113
Analysis of the Chorale Phrases 194
Stylistic Practices 194
CHAPTER 6 Root Position 195
First-Inversion Triads 198
Melodic Organization 119 Second-Inversion Triads 200
Important Concepts 119 Exceptions to Stylistic Practices 201
The Motive 119 Unstylistic Departures 201
Sequence 121 Voice Ranges 203
Phrase 123 Voice Spacing 203
Period 125 Assignments 205
Modification of the Phrase 129
Melodic Structure 131 CHAPTER 10
History 133
Assignments 135 Harmonic Progression and Harmonic
Rhythm 213
CHAPTER 7 Important Concepts 213
Harmonic Progression 213
Texture and Textural Reduction 145
The Relationship of Chords 214
Important Concepts 145 Chord Progressions 214
Texture 145 Harmonic Rhythm 219
Texture Types 147 History 220
vi Contents
