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The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening with CDROM

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The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening with CDROM Cover

 

Synopses & Reviews

Publisher Comments:

Bringing together the analytical, aural, and tactile activities that comprise a tonal theory curriculum, The Complete Musician, Second Edition, relies on a diverse repertoire and innovative exercises to explicitly connect theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. It provides students with a strong foundation in the principles of writing, analyzing, hearing, singing, and playing tonal harmony and enables them to understand the most important musical forms.

Features of the Second Edition:

* Enhanced and supplemented by five music DVDs--two packaged with the text, two with Student Workbook I, and one with Student Workbook II. These DVDs contain a total of more than sixteen hours of high-quality recorded examples--from solo piano to full orchestra--of the examples and exercises in the text and workbooks, performed by soloists and ensembles from the Eastman School of Music and the Rochester Philharmonic Orchestra. In addition, examples and exercises are included on the DVDs in downloadable MP3 format.

* Significantly revised in order to improve general ordering between large topics (for example, the pre-dominant function is introduced earlier) and organization within chapters (particularly in Parts 1-4)

* Offers new topics and expansions: a new chapter (16) devoted exclusively to the motive; new sections on analytical decision-making through Gestalt techniques (Chapters 2 and 7); lead sheet notation (Chapter 6); harmonizing florid melodies (beginning in Chapter 9); and an expanded section on musical texture and harmonic analysis (Chapter 6)

* Introduces numerous analyses throughout the book, including thirteen "Model Analysis" sections, that provide extended analyses of canonical pieces

* Includes more than 200 new examples, many from wind and brass literature

* Explanations and definitions have been carefully revised for clarity, with added summary charts and step-by-step procedures

* Offers new types of exercises--in both the text and in the workbooks--including exercises for single-line instrumentalists, listening exercises, and more graduated exercises

* Workbook exercises are now structured in a consistent format of discrete assignments (four to eight assignments per chapter) that usually fit on one or two sheets of paper for ease in handing in to the instructor. Each assignment contains a variety of exercises, crafted for students with a wide range of abilities. Supplementary exercises are also included for further practice.

* Expanded Instructor's Manual adds model solutions for more than 200 analysis and part writing exercises; each chapter includes teaching guidelines and supplementary analytical, dictation, playing, and writing exercises

Table of Contents

Preface

PART 1: THE FOUNDATION OF TONAL MUSIC

1. The Pitch Realm: Tonality, Notation, and Scales

Charting Musical Sound: Staff and Clef

Pitch and Pitch Class

The Division of Musical Space: Intervals

Accidentals

Scales

Enharmonicism

Scale Degree Numbers and Names

Specific Scale Types: Major and Minor

Building Scales in the Major Mode

Key Signatures and the Circle of Fifths

Building Scales in the Minor Mode

Key Signatures in Minor

Relative Major and Minor Keys

Analytical Application: Tonality and Hierarchy in Bach's Violin Partita No. 3, Prelude

2. Pulse, Rhythm, and Meter

Rhythm and Durational Symbols

Meter

Accent in Music

Temporal Accents

Nontemporal Accents

Beat Division and Simple and Compound Meters

The Meter Signature

Asymmetrical Meters

Clarifying Meter

More Rhythmic Procedures

Metrical Disturbance

3. Intervals and Melody

Naming Generic Intervals

Tips for Identifying Generic Intervals

Naming Specific Intervals

Transforming Intervals: Augmented and Diminished Intervals

Interval Inversion

Generating All Intervals

Enharmonic Intervals

Consonant and Dissonant Intervals

Melody: Characteristics, Writing, and Listening

Melodic Dictation

4. Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint

First-Species Counterpoint

Contrapuntal Motions

Rules and Guidelines for First-Species (1:1) Counterpoint

Second Species Counterpoint

Weak-Beat Consonance

Weak-Beat Dissonance

Beginning and Ending Second-Species Counterpoint

Rules and Guidelines for Second-Species Counterpoint

Hearing Two-Voice Counterpoint

Review and Synthesis of Terms and Concepts

5. Triads, Inversions, Figured Bass, and Harmonic Analysis

Triads

Voicing Triads: Spacing and Doubling

Triad Inversion

Figured Bass

Analyzing and Composing Using Figured Bass

Triads and the Scale: Harmonic Analysis

Roman Numerals

Introduction to Harmonic Analysis

Harmony and the Keyboard

6. Seventh Chords, Musical Texture, and Harmonic Analysis

Musical Characteristics of Seventh Chords

Inverted Seventh Chords

Analytical Tips

Seventh Chords and Harmonic Analysis

Lead-Sheet Notation

Musical Texture

Summary of Part 1

PART 2: MERGING MELODY AND HARMONY

7. Hierarchy in Music: Consonance, Unaccented Dissonance, and Melodic Fluency

Consonance and Dissonance

The Importance of Textual Analysis

Sample Analyses

Melodic Fluency

8. Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading

The Cadence

Introduction to Voice Leading

Texture and Register

Three Techniques to Create Voice Independence Within a Four-Voice Texture

Creating the Best Sound: Incomplete and Complete Chords, Doubling, and Spacing

Summary of Voice-Leading Rules and Guidelines

9. The Impact of Melody, Rhythm, and Meter on Harmony, and Introduction to V7

The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and Reduction

Embellishment and Reduction

The Dominant Seventh and Chordal Dissonance

Part Writing with the Dominant Seventh Chord

An Analytical Interlude

Harmonizing Florid Melodies

Summary

10. Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords

Chordal Leaps in the Bass: I6 and V6

Neighbor Tones in the Bass (V6)

Second-Level Analysis

Writing and Playing First-Inversion Triads

Passing Tones in the Bass: viio6

Tonic Expansion with an Arpeggiating Bass: IV6

Dominant Expansion with Passing Tones: IV6

Combining First-Inversion Chords

Summary

11. More Contrapuntal Expansions: Inversions of V7, and Introduction to Leading Tone Seventh Chords

V7 and Its Inversions

Voice Leading Inversions of V7

Combining Inversions of V7

Compositional Impact on Contrapuntal Chords

Leading Tone Seventh Chords: viio7 and viio7

Elaboration and Reduction

Summary of Part 2

PART 3: A NEW HARMONIC FUNCTION AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS

12. The Pre-Dominant Function and the Phrase Model

The Subdominant (IV in Major, iv in Minor)

The Supertonic (ii in Major, iio in Minor)

Pre-Dominants and the Stepwise Ascending Bass

Part-Writing for Pre-Dominants

Extending the Pre-Dominant

Introduction to the Phrase Model

T-PD-D-T within the Tonic Prolongation

13. Accented and Chromatic Dissonances

The Accented Passing Tone (APT)

The Chromatic Passing Tone (CPT)

The Accented Neighbor Tone (AN)

The Chromatic Neighbor Tone (CN)

The Appoggiatura (APP)

The Suspension (SUS)

The Anticipation (ANT)

The Pedal (PED)

Summary of the Most Common Tones of Figuration

14. Six-Four Chords and Revisiting IV

Unaccented Six-Four Chords I: Pedal

Unaccented Six-Four Chords II: Passing

Unaccented Six-Four Chords III: Arpeggiating

Accented Six-Four Chords

Additional Uses of Cadential Six-Four Chords

Writing Six-Four Chords

Revisiting the Subdominant

Summary of Harmonic Paradigms

Harmonizing Florid Melodies

15. Invertible Counterpoint, Compound Melody, and Implied Harmonies

Invertible Counterpoint Below the Music's Surface

Harmonic Implications of Single Melodic Lines: Compound Melody

Implied Harmonies

16. The Motive

Introduction

Motive Types

Motivic Repetition

Strict Repetition

Modified Repetition

Additional Pitch Transformations

Rhythmic Transformations

Developmental Repetitions

Intersection and Intermovement Motivic Repetitions

Single-Interval Motive

Hidden Motivic Repetitions

Depth and Surface: Motivic Parallelism

Summary of Part 3

PART 4: NEW CHORDS COMPLETE THE DIATONIC SPECTRUM

17. The Phrase Model Refined: Perceptions, Animation, and Expansion

Hearing Phrases as Single Entities

Listening Guidelines

Pre-Dominant Seventh Chords: IV7 (IV 65) and ii7 (ii65)

Analyzing Nondominant Seventh Chords

The Pre-Dominant in Embedded Phrase Models

Contrapuntal Cadences

Expansion of the Pre-Dominant

Subphrases

Composite Phrases

18. The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model

The Submediant

The Submediant as Bridge in the Descending-Thirds Progression

The Submediant in the Descending-Circle-of-Fifths Progression

The Submediant as Tonic Substitute in Ascending-Second-Progressions

The Submediant as the Pre-Dominant

Voice Leading for the Submediant

Contextual Analysis

The Step Descent in the Bass

19. The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic Relationships

The Mediant in Arpeggiations

A Special Case: Preparing the III Chord in Minor

The Mediant in Descending-Fifths-Progressions

Voice Leading for the Mediant

More Contextual Analysis

General Guidelines for Harmonic Progressions

Summary of Part 4

PART 5: CREATING LARGER FORMS

20. The Period

Aspects of Melody and Harmony in Periods

Representing Form: The Formal Diagram

Sample Analyses of Periods and Some Analytical Guidelines

A Summary for Analyzing Periods

Composing Periods

21. Other Small Musical Structures: Sentences, Double Periods, and Asymmetrical Periods

The Sentence: An Alternative Musical Structure

The Double Period

Asymmetrical Periods

22. Harmonic Sequences: Concepts and Patterns

Components and Types of Sequences

The Descending-Second (D2) Sequence

The Descending-Second Sequence in Inversion

The Descending-Third (D3) Sequence

The Descending-Third Sequence in Inversion

The Ascending-Second (A2) Sequence

Another Ascending-Second Sequence: A2 (-3/+4)

Writing Sequences

23. Sequences Within Larger Musical Contexts and Sequences with Seventh Chords

Composing Sequences Within the Phrase Model

Sequences with Diatonic Seventh Chords

Composing Sequences with Seventh Chords

Sequences with Inversions of Seventh Chords

Compound Melody and Implied Seventh Chord Sequences

Parallel First-Inversion Triads

Sequences versus Sequential Progressions

Summary of Part 5

PART 6: CHROMATICISM

24. Applied Chords

Applied Dominant Chords

Applied Chords in Inversion

Hearing Applied Chords

Voice Leading for Applied Chords

Applied Leading-Tone Chords

Incorporating Applied Chords Within Phrases

An Example Composition

Sequences with Applied Chords

The D2 (-5/+4) Sequence

The D3 (-4/+2) Sequence

The A2 (-3/+4) Applied-Chord Sequence

Writing Applied-Chord Sequences

Summary of Diatonic and Applied-Chord Sequences

25. Tonicization and Modulation

Extended Tonicizations

Modulation

Closely Related Keys

Hearing Modulations

Analyzing Modulations

Writing Modulations

Modulation in the Larger Musical Context

The Sequence as a Tool in Modulation

26. Binary Form and Variations

Summary of Binary Form Types

Variation Form

Continuous Variations

Sectional Variations

Summary of Part 6

Answers to Exercise 26.2

PART 7: EXPRESSIVE CHROMATICISM

27. Modal Mixture

Altered Pre-Dominant Harmonies: iio and iv

Application: Musical Effects of Melodic Mixture

Altered Submediant Harmony: bVI

Altered Tonic Harmony: i

Altered Mediant Harmony: bIII

Voice Leading for Mixture Harmonies

Chromatic Stepwise Bass Descents

Plagal Motions

Modal Mixture, Applied Chords, and Other Chromatic Harmonies

Summary

28. Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German Lied

Chromatic Pivot-Chord Modulations

An Analytical Interlude: Franz Schubert's Waltz in F Major

Writing Chromatic Modulations

Unprepared Chromatic Modulations

Chromatic Common-Tone Modulations

Analytical Challenges

Modal Mixture and the German Lied

Analytical Payoff: The Dramatic Role of bVI

29. The Neopolitan Chord (bII)

Common Contexts for bII6

Expanding bII

The Neapolitan in Sequences

The Neapolitan as Pivot Chord

30. The Augmented Sixth Chord

General Features

Types of Augmented Sixth Chords

Writing Augmented Sixth Chords: Approach and Resolution

Hearing Augmented Sixth Chords

bVI and the Augmented Sixth Chord

Augmented Sixth Chords as Part of PD Expansions

The Augmented Sixth Chord and Modulation: Reinforcement

The Augmented Sixth Chord as Pivot in Modulations

Summary of Part 7

PART 8: LARGE FORMS: TERNARY, RONDO, SONATA

31. Ternary Form

Transitions and Retransitions

Da Capo Form: Compound Ternary Form

Da Capo Aria

Minuet-Trio Form

Ternary Form in the Nineteenth Century

32. Rondo

The Classical Rondo

Five-Part Rondo

Coda, Transitions, and Retransitions

Compound Rondo Form

Seven-Part Rondo

Distinguishing Seven-Part Rondo Form from Ternary Form

Missing Double Bars and Repeats

33. Sonata Form

The Binary Model for Sonata Form

Additional Characteristics and Elements of Sonata Form

Other Tonal Strategies

Analytical Interlude: Sonatas of Haydn and Mozart

Haydn: Piano Sonata no. 48 in C major, Hob. XVI 35,Allegro con brio

Mozart, Piano Sonata in Bb Major, K. 333, Allegro

PART 9: INTRODUCTION TO NINETEENTH-CENTURY HARMONY: THE SHIFT FROM ASYMMETRY TO SYMMETRY

34. New Harmonic Tendencies

Tonal Ambiguity: The Plagal Relation and Reciprocal Process

Tonal Ambiguity: Semitonal Voice Leading

The Diminished Seventh Chord and Enharmonic Modulation

Analysis

Tonal Clarity Postponed: Off-Tonic Beginning

Double Tonality

35. The Rise of Symmetrical Harmony in Tonal Music

A Paradox: "Balanced" Music Based on Asymmetry

Symmetry and Tonal Ambiguity

The Augmented Triad

Altered Dominant Seventh Chords

The Common-Tone Diminished Seventh Chord

Common-Tone Augmented Sixth Chords

Analytical Interlude

36. Melodic and Harmonic Symmetry Combine: Chromatic Sequences

The DM2 (-4/+3) Sequence

The Chromatic Forms of the D2 (-5/+4) Sequence

The Chromatic Forms of the A2 (-3/+4) Sequence

Other Chromatic Step-Descent Basses

Writing Chromatic Sequences

Chromatic Contrary Motion

The Omnibus

A Final Equal Division of the Octaves

37. At Tonality's Edge

Sequential Progressions

Nonsequential Progressions and Equal Divisions of the Octave

The Intervallic Cell

Analytical Interlude: Chopin, Prelude, op. 28, no. 2

Analytical Interlude: Scriabin, Prelude, op. 39, no. 2

Summary of Part 9

Index of Terms and Concepts

Index of Musical Examples and Exercises

Product Details

ISBN:
9780195301083
Subtitle:
An Integrated Approach to Tonal Theory, Analysis, and Listening
Author:
Laitz, Steven
Author:
Laitz, Steven G.
Author:
null, Steven G.
Publisher:
Oxford University Press, USA
Subject:
Composition
Subject:
Theory
Subject:
Musical analysis
Subject:
Tonality
Subject:
Instruction & Study - Theory
Subject:
Music | Music Theory, Analysis,
Subject:
Music | Music Theory, Analysis, and Composition
Subject:
History & Criticism *
Subject:
Music theory
Subject:
Music | Music Theory, Analysis, & Composition
Subject:
Music-Theory and Composition
Copyright:
Edition Number:
2
Publication Date:
20070618
Binding:
Hardback
Grade Level:
College/higher education:
Language:
English
Illustrations:
Y
Pages:
912
Dimensions:
8.2 x 10.1 x 1.4 in 4.388 lb

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