T E C H N I Q U E S A N D M AT E R I A L S

of

MUSIC
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T E C H N I Q U E S A N D M AT E R I A L S
of

MUSIC
FROM

T H E C O M M O N P R ACT I C E P E R I O D
Through

T H E T W E N T I ET H C E N T U RY

Seventh Edition

Thomas Benjamin
Peabody Conservatory
The Johns Hopkins University

Michael Horvit
Moores School of Music
The University of Houston

Robert Nelson
Moores School of Music
The University of Houston

Australia Brazil Canada Mexico Singapore

Spain United Kingdom United States
 Techniques and Materials of Music: From
the Common Practice Period Through
the Twentieth Century
Seventh Edition
Thomas Benjamin, Michael Horvit,
Robert Nelson

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To our wives, friends, colleagues, and students
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Contents

Preface ix
Suggestions to the Instructor xi

Part I Rudiments
1 The Great Staff and Piano Keyboard 3 5 Key Signatures 15
2 Accidentals 4 6 Triads 17
3 Intervals 6 7 Meter and Rhythm 19
4 Major and Minor Scales 13

Part II Diatonic Materials

1 Triads in Root Position 33 9 Tonic, Subdominant, and Dominant
2 The Tonic Triad in Root Position 36 Triads in First Inversion 73
3 Connection of Tonic and Dominant 10 The Supertonic Triad 82
Triads in Root Position 39 11 Inversions of the Dominant
4 The Dominant Seventh Chord in Root Seventh Chord 88
Position 46 12 Linear (Embellishing) Six-Four
5 Connection of Tonic and Subdominant and Other Chords 96
Triads in Root Position 56 13 Submediant and Mediant Triads in
6 Connection of Subdominant and Root Position and First Inversion 100
Dominant Triads in Root Position 59 14 The Leading Tone Triad 106
7 Cadences Employing the Tonic, 15 Variant Qualities of Triads 110
Subdominant, and Dominant 16 The Sequence 118
Triads in Root Position 63 17 The Supertonic Seventh Chord 123
8 The Cadential Tonic Six-Four 18 The Leading Tone Seventh Chord 128
Chord 68 19 Other Diatonic Seventh Chords 134

Part III Chromatic Materials

1 Secondary (Applied, Borrowed) 4 The Neapolitan Triad 159
Dominants 139 5 Augmented Sixth Chords 164
2 Modulation 146 6 Modulation by Other Means 171
3 Linear (Embellishing) Diminished 7 Ninth Chords 175
Seventh Chords 153

vii
 Part IV Twentieth-Century Materials
1 Twentieth-Century Techniques: 7 Exotic (Artificial, Synthetic) Scales 202
General Comments 181 8 Quartal and Secondal Harmony 206
2 Further Comments for Analysis 183 9 Polyharmony and Polytonality 209
3 Rhythmic and Metric Devices 187 10 Free Atonality 213
4 Tertian Harmony 191 11 Twelve-Tone Serialism 218
5 The Diatonic (Church) Modes 196 12 Additional Contemporary Procedures 224
6 Pandiatonicism 199

Part V Reference Materials

1 Musical Calligraphy 229 12 Models for Expansion and
2 The Harmonic Series 231 Elaboration 250
3 Nonharmonic (Nonchord) Tones 232 13 Cadence and Phrase Structure 252
4 Relative and Linear Motion 234 14 Typical Phrase Variants 254
5 Guidelines for Voice Leading in 15 The Motive 256
Strict Four-Part Writing 235 16 The Sequence 262
6 Guidelines for Doubling in Strict 17 Textures 266
Four-Part Writing 237 18 An Introduction to Tonal Melody 270
7 Checklist for Part-Writing 238 19 An Introduction to Tonal
8 Chord Functions in Tonal Music 239 Counterpoint 275
9 Figured-Bass Symbols 242 20 Form 283
10 Procedure for Harmonizing a 21 Checklist for Analysis 291
Figured Bass 244 22 Composition Checklist 296
11 Procedure for Harmonizing a 23 Instrumental Ranges and
Melody 246 Transpositions 298

Bibliography 301
Index 303

viii CONTENTS