The Complete Musician An Integrated Approach to Tonal Theory, Analysis, and Listening
by: Laitz, Steven G.
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ISBN: 9780199742783 | 0199742782
Edition: 3rdFormat: Hardcover
Publisher: Oxford University Press, USA
Pub. Date: 4/7/2011
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Beginning with music fundamentals, this text covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. The text links each of the tasks that comprise a tonal theory curriculum, explicitly connecting written theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. DISTINCTIVE FEATURES * Presents an outstanding quality, quantity, and diversity ofexercisesgeared toward real music and real music situations *Explores not only ... MOREstandard four-voice harmony, but also other musical domainsincluding melody, counterpoint, and a multitude of textures;the result is a text with applicability and relevance to all musicians * Includesalmost 4,000 musical examplesfrom the common-practice repertoire in the text and workbooks, more than 90 percent of which areon the MP3 files included on the CDs with text and workbooks(all music is performed, recorded, and engineered at Eastman) NEW TO THIS EDITION * Revised with beginning students in mind, this edition contains more basic exercises as well as solutions to selected exercises in the text. Longer and more difficult exercises have been moved to the workbooks. *Streamlined and reorganized with fewer chapters(31, down from 37), the text presents the most commonly taught topics in sequence and moves less-common topics--such as invertible counterpoint, compound melody, and motive (covered in chapters 15, 16, and 23 of the previous edition)--to the appendices, where instructors may access them when their curricula permits, or omit them altogether. * This edition offersa new presentation of fundamentals:the first three chapters provide a review and synthesis for students with experience in music fundamentals, and a 100-page appendix introduces key concepts for students with little or no experience. This allows instructors to choose the pacing that best suits their class and individual students. * New "how-to" sectionsinclude introductions to conducting patterns, sight singing, and dictation. * This edition presentsmore than 250 new literature excerpts and complete worksfor analysis and dictation, including new instrumental combinations. *New theoretical topicsof discussion include sonata-rondo. *New appendicesoffer further support: Appendix 5 coversterms and abbreviationsused in the textand Appendix 6 includesselected answers to exercisesin the text. SUPPORT PACKAGE * The new Companion Website (www.oup.com/us/laitz) provides instructor and student resources that include supplementary drill exercises. * TheInstructor's Manualprovides solutions to all of the dictation exercises, sample solutions for more than 250 writing (e.g., figured bass and melody harmonization) and analytical exercises, supplementary examples, exercises, and teaching guidelines that detail effective strategies for each chapter. * The two workbooks have been significantly reorganized:Workbook 1is now dedicated to written and analytical activities, including figured bass, melody harmonization, model composition, and analysis.Workbook 2covers musicianship skills. Exercises within each chapter of Workbook 2 are organized by activity type: singing arpeggiations of the chord being studied, then within a tune from the literature; two-part singing; dictation; keyboard; then instrumental application.
PART 1: THE FOUNDATION OF TONAL MUSIC
CHAPTER 1: MUSICAL SPACE AND TIME
Tonality in Context: Bach's Violin Partita no. 3, Prelude
Specifics of the Pitch Realm
Pitches and Pitch Classes
Scales
Keys
Intervals
Enharmonic Intervals
Consonant and Dissonant Intervals
The Metrical Realm
Meter Signature
Asymmetrical Meters
Clarifying Meter
More Rh... MOREythmic Procedures
Accent in Music
» Temporal Accents
» Nontemporal Accents
Metrical Disturbance
» Syncopation
» Hemiola
CHAPTER 2: HARNESSING SPACE AND TIME: INTRODUCTION TO MELODY AND TWO-VOICE COUNTERPOINT
Melody: Characteristics and Writing
Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint
First-Species Counterpoint
» Contrapuntal Motions
» Beginning and Ending First-Species Counterpoint
» Rules and Guidelines for First-Species (1:1) Counterpoint
Second-Species Counterpoint
» Weak-Beat Consonance
» Weak-Beat Dissonance
» More on Perfect Consonances
» Beginning and Ending Second-Species Counterpoint
» Rules and Guidelines for Second-Species Counterpoint
CHAPTER 3: MUSICAL DENSITY: TRIADS, SEVENTH CHORDS, AND TEXTURE
Adding Voices: Triads and Seventh Chords
Triads
» Figured Bass
» Triads and the Scale: Harmonic Analysis
» Harmony and the Keyboard
Seventh Chords
Musical Texture
Analytical Method
PART 2: MERGING MELODY AND HARMONY
CHAPTER 4: WHEN HARMONY, MELODY, AND RHYTHM CONVERGE
Tonal Hierarchy in Music
Embellishing Tones
The Importance of Context in Analysis
Analytical Interlude
Melodic Fluency
Melody as Harmony
CHAPTER 5: TONIC AND DOMINANT AS TONAL PILLARS AND INTRODUCTION TO VOICE LEADING
Characteristics and Effect of V and I
The Cadence
Introduction to Voice Leading
Texture and Register
Three Techniques to Create Voice Independence within a Four-Voice Texture
» Technique 1: Smoothness
» Technique 2: Registral Independence
» Technique 3: Contrapuntal Independence
Creating the Best Sound: Incomplete and Complete Chords, Doubling, and Spacing
» Omitted Chord Tones
» Doubled Chord Tones
» Spacing and Voicing
Summary of Voice-Leading Rules and Guidelines
CHAPTER 6: THE IMPACT OF MELODY, RHYTHM, AND METER ON HARMONY; INTRODUCTION TO V7
The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and Reduction
Embellishment
Reduction
The Dominant Seventh and Chordal Dissonance
Derivation and New Melodic Possibilities
Part Writing with the Dominant Seventh Chords
An Analytical Interlude
Harmonizing Florid Melodies
Summary
CHAPTER 7: 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
Passing Tones in the Bass: viio6
Tonic Expansion with an Arpeggiating Bass: IV6
Dominant Expansion with Passing Tones: IV6
Combining First-Inversion Chords
Summary
CHAPTER 8: MORE CONTRAPUNTAL EXPANSIONS: INVERSIONS OF V7, INTRODUCTION TO LEADING TONE SEVENTH CHORDS, AND REDUCTION AND ELABORATION
V7 and Its Inversions
V6/5
V4/3
V4/2
Voice-Leading Inversions of V7
Combining Inversions of V7
Compositional Impact of Contrapuntal Chords
Leading Tone Seventh Chords: viio7 and vii
Voice Leading for viio7
vii
Summary of Contrapuntal Expansions
Reduction and Elaboration: Compositional and Performance Implications
» Reduction
» Elaboration
Summary of Part 2
PART 3: A NEW HARMONIC FUNCTION, THE PHRASE MODEL, AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS
CHAPTER 9: THE PRE-DOMINANT FUNCTION AND THE PHRASE MODEL
The Pre-Dominant Function
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
Analytical Interlude
CHAPTER 10: ACCENTED AND CHROMATIC EMBELLISHING TONES
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 (S)
Labeling Suspensions
Writing Suspensions
Additional Suspension Techniques
The Anticipation (ANT)
The Pedal (PED)
Summary of the Most Common Embellishing Tones
CHAPTER 11: SIX-FOUR CHORDS, REVISITING THE SUBDOMINANT, AND SUMMARY OF CONTRAPUNTAL EXPANSIONS
Unaccented Six-Four Chords
Pedal
Passing
Arpeggiating
Accented Six-Four Chords
Cadential
» Additional Uses of Cadential Six-Four Chord
---- As Part of Half Cadences and Authentic Cadences
---- Preceding V7
---- Within a Phrase
---- Evaded Cadences: Elision and Extension
---- Triple Meter
---- Writing Six-Four Chords
Revisiting the Subdominant
Summary of Harmonic Paradigms
Harmonizing Florid Melodies
CHAPTER 12: THE PRE-DOMINANT REFINES THE PHRASE MODEL
Nondominant Seventh Chords: IV7 (IV6/5) and ii7 (ii6/5)
Analyzing Nondominant Seventh Chords
Embedding the Phrase Model
Contrapuntal Cadences
Expanding the Pre-Dominant
» Passing Chord between ii and ii6 (or between ii6 and ii)
» Passing Chord between IV and IV6 (or between IV6 and IV)
» Passing Chord Moving from IV6 (IV6/5) to ii6/5
» Restate Tonic Material Up a Step
Subphrases
Composite Phrases
Summary of Part 3
PART 4: NEW CHORDS AND NEW FORMS
CHAPTER 13: 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 Progressions
The Submediant as Tonic Substitute in Ascending-Seconds Progressions
Voice Leading for the Submediant
» The Descending-Thirds Progression, I-vi-IV
» The Descending-Fifths Progression, I-vi-ii (or I-vi-ii6)
» The Ascending-Seconds Progression, V-vi
Contextual Analysis
Tonic and Dominant Embellish the Submediant
Apparent Submediants
The Step Descent in the Bass
CHAPTER 14: THE MEDIANT, THE BACK-RELATING DOMINANT, AND A SYNTHESIS OF DIATONIC HARMONIC RELATIONSHIPS
The Mediant (iii in Major; III in Minor)
The Mediant in Arpeggiations
A Special Case: Preparing the III Chord in Minor
Voice Leading for the Mediant
More Contextual Analysis: The Back-Relating Dominant and Synthesis: Root Motion Principles
The Back-Relating Dominant
Synthesis: Root Motion Principles
» Compositional Application
CHAPTER 15: THE PERIOD
Aspects of Melody and Harmony in Periods
Representing Form: The Formal Diagram
Sample Analysis of Periods and Some Analytical Guidelines
Summary for Analyzing Periods
Composing Periods
CHAPTER 16: OTHER SMALL MUSICAL STRUCTURES: SENTENCES, DOUBLE PERIODS, AND MODIFIED PERIODS
The Sentence: An Alternative Musical Structure
The Double Period
Modified Periods
Extensions
Phrase Group
Asymmetrical Periods
CHAPTER 17: HARMONIC SEQUENCES
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)
Sequences with Diatonic Seventh Chords
» Sequences with Inversions of Seventh Chords
Writing Sequences
Summary of Diatonic Sequences
Summary of Part 4
PART 5: FUNCTIONAL CHROMATICISM
CHAPTER 18: APPLIED CHORDS
Applied Dominant Chords
Applied Chords in Inversion
Tonicized Half Cadences
Recognizing 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
CHAPTER 19: TONICIZATION AND MODULATION
Extended Tonicization
Modulation
Closely Related Keys
Analyzing Modulations
Writing Modulations
Modulation in the Larger Context
The Sequence as a Tool in Modulation
CHAPTER 20: BINARY FORM AND VARIATIONS
Binary Form
Simple Sectional Binary
Simple Continuous Binary
Rounded Sectional Binary
Rounded Continuous Binary
Balanced Binary Form
Summary of Binary Form Types
Variation Form
Continuous Variations
Sectional Variations
Summary of Part 5
Answers to Exercise 20.1
PART 6: EXPRESSIVE CHROMATICISM
CHAPTER 21: 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
CHAPTER 22: EXPANSION OF MODAL MIXTURE HARMONIES: CHROMATIC MODULATION AND THE GERMAN LIED
Chromatic Pivot-Chord Modulations
An Analytical Interlude: Schubert's Waltz in F major
Writing Chromatic Modulations
Unprepared and Common-Tone Modulations
Analytical Challenges
Modal Mixture and the German Lied
An Analytical Interlude: Schumann's "Waldesgesprach"
Analytical Payoff: The Dramatic Role of bVI
CHAPTER 23: THE NEAPOLITAN CHORD (bII): CHARACTERISTICS, EFFECTS, AND BEHAVIOR
Writing the Neapolitan Chord
Expanding bII
The Neapolitan in Sequences
The Neapolitan as a Pivot Chord
CHAPTER 24: THE AUGMENTED SIXTH CHORD: CHARACTERISTICS, DERIVATION, AND BEHAVIOR
Types of Augmented Sixth Chords
Writing Augmented Sixth Chords
bVI and the Ger6/5 Chord
Augmented Sixth Chords as Part of PD Expansions
The Augmented Sixth Chord and Modulation: Reinforcement
The Augmented Sixth Chord as Pivot in Modulation
Summary of Part 6
PART 7: LARGE FORMS: TERNARY, RONDO, SONATA
CHAPTER 25: TERNARY FORM
Characteristics
Transitions and Retransitions
Da Capo Form: Compound Ternary Form
Da Capo Aria
Minuet-Trio Form
Ternary Form in the Nineteenth Century
CHAPTER 26: RONDO
Context
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
CHAPTER 27: SONATA FORM
Historical Context and Tonal Background
The Binary Model for Sonata Form
Analytical Prelude: Beethoven, Piano Sonata in G minor, op. 49, no. 1
Transition
Closing Section
Development and Retransition
Recapitulation and Coda
Additional Characteristics and Elements of Sonata Form
Monothematic Sonata Form
The Slow Introduction
Harmonic Anomalies
Other Tonal Strategies
Three-Key Exposition
Extended Third-Related STAs
Sonata Rondo
Analytical Synthesis: Sonatas of Haydn and Mozart
Haydn: Piano Sonata no. 48 in C major, Hob. XVI.35, Allegro con brio
» Exposition
» Development
» Recapitulation
Mozart, Piano Sonata in Bb Major, K. 333, Allegro
» Exposition
» Development
Summary of Part 7
PART 8: INTRODUCTION TO NINETEENTH-CENTURY HARMONY: THE SHIFT FROM ASYMMETRY TO SYMMETRY
CHAPTER 28: NEW HARMONIC TENDENCIES
Tonal Ambiguity: The Plagal Relation and Reciprocal Process
Tonal Ambiguity: Semitonal Voice Leading
Semitonal Voice Leading and Remote Keys
Analytical Interlude
The Diminished Seventh Chord and Enharmonic Modulation
Analysis
Analytical Interlude
Tonal Clarity Postponed: Off-Tonic Beginning
Double Tonality
CHAPTER 29: 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
CHAPTER 30: MELODIC AND HARMONIC SYMMETRY COMBINE: CHROMATIC SEQUENCES
Distinctions between Diatonic and Chromatic Sequences
Chromatic Sequence Types
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
Six-Three Chords
Diminished Seventh Chords
Augmented Sixth Chords
Writing Chromatic Sequences
Chromatic Contrary Motion
The Omnibus
A Final Equal Division of the Octave
CHAPTER 31: 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
Wagner, Tristan und Isolde, "Prelude"
Scriabin, Prelude, op. 39, no. 2
» Intervallic Properties of Key Sonorities
» Compositional Processes:
---- A Traditional View
---- A Radical View
Summary of Part 8
APPENDICES
1: FUNDAMENTALS
a. The Pitch Realm
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
b. Pulse, Rhythm, and Meter
Rhythm and Durational Symbols
Dots and Ties
Meter
» Beat Division and Simple and Compound Meters
» The Meter Signature
c. Intervals
Naming Generic Intervals
Melodic and Harmonic Intervals; Simple and Compound
Tips for Identifying Generic Intervals
Naming Specific Intervals
Transforming Intervals: Augmented and Diminished Intervals
Interval Inversion
Generating All Intervals
» Method 1
» Method 2
d. Triads, Inversions, Figured Bass, and Harmonic Analysis
Triads
» Voicing Triads: Spacing and Doubling
» Triad Inversion
» Figured Bass
---- Analyzing and Composing Using Figured Bass
---- Additional Figured Bass Conventions: Abbreviations and Chromaticism
» Triads and the Scale: Harmonic Analysis
» Roman Numerals
» Introduction to Harmonic Analysis
e. Seventh Chords and Harmonic Analysis
Definitions and Type
Musical Characteristics of Seventh Chords
Inverted Seventh Chords
Analytical Tips
Seventh Chords and Harmonic Analysis
2: INVERTIBLE COUNTERPOINT, COMPOUND MELODY, AND IMPLIED HARMONIES
Invertible Counterpoint
Definitions and Effects
Invertible Counterpoint below the Music's Surface
Harmonic Implications of Single Melodic Lines: Compound Melody
Definitions
Implied Harmonies
3: THE MOTIVE
Introduction
Motive Types
Motivic Repetition
Strict Repetition
Modified Repetition
Additional Pitch Transformations
Rhythmic Transformations
Developmental Repetitions
Inter-Section and Intermovement Motivic Repetitions
Single-Interval Motives
Hidden Motivic Repetitions
Depth and Surface: Motivic Parallelism
4: ADDITIONAL HARMONIC SEQUENCE TOPICS
Compound Melody and Implied Seventh Chord Sequences
Parallel First-Inversion Triads
Sequences versus Sequential Progressions
Composing Sequences within the Phrase Model
5: ABBREVIATIONS AND ACRONYMS
6: SELECTED ANSWERS TO TEXTBOOK EXERCISES
INDEX OF TERMS AND CONCEPTS
INDEX OF MUSICAL EXAMPLES AND EXERCISES
Steven G. Laitz is Professor of Music Theory at the Eastman School of Music at the University of Rochester. He is also an Affiliate Faculty Member in the Chamber Music Department at Eastman. Dr. Laitz is the current editor of the Journal of Music Theory Pedagogy.
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