Complete Musician An Integrated Approach to Tonal Theory, Analysis, and Listening

ISBN-10: 0199742782

ISBN-13: 9780199742783

Edition: 3rd 2012

Authors: Steven G. Laitz

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Book details

List price: $104.95
Edition: 3rd
Copyright year: 2012
Publisher: Oxford University Press, Incorporated
Publication date: 4/7/2011
Binding: Hardcover
Pages: 832
Size: 8.25" wide x 10.25" long x 1.50" tall
Weight: 4.312
Language: English

György Buzsáki is a Board of Governors Professor of Neuroscience at Rutgers University. His primary research interests are in brain oscillations, sleep and memory, and with more than 200 papers published on these topics, he is among the top 250 most-cited neuroscientists. Dr. Buzsáki is a Fellow of the American Association for the Advancement of Science and honorary member of the Hungarian Academy of Sciences, and he sits on the editorial boards of several leading neuroscience journals.Steven G. Laitz is Associate 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 .

The Foundation Of Tonal Music
Musical Space And Time
Tonality in Context: Bach's Violin Partita no. 3, Prelude
Specifics of the Pitch Realm
Pitches and Pitch Classes
Enharmonic Intervals
Consonant and Dissonant Intervals
The Metrical Realm
Meter Signature
Asymmetrical Meters
Clarifying Meter
More Rhythmic Procedures
Accent in Music
Temporal Accents
Nontemporal Accents
Metrical Disturbance
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
Musical Density: Triads, Seventh Chords, And Texture
Adding Voices: Triads and Seventh Chords
Figured Bass
Triads and the Scale: Harmonic Analysis
Harmony and the Keyboard
Seventh Chords
Musical Texture
Analytical Method
Merging Melody And Harmony
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
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
Registral Independence
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
The Impact Of Melody, Rhythm, And Meter On Harmony; Introduction To V7
The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and 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
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
More Contrapuntal Expansions: Inversions Of V7, Introduction To Leading Tone Seventh Chords, And Reduction And Elaboration
V7 and Its Inversions
Voice-Leading Inversions of V7
Combining Inversions of V7
Compositional Impact of Contrapuntal Chords
Leading Tone Seventh Chords: viio7 and viio7
Voice Leading for viio7
Summary of Contrapuntal Expansions
Reduction and Elaboration: Compositional and Performance Implications
Summary of Part 2
A New Harmonic Function, The Phrase Model, And Additional Melodic And Harmonic Embellishments
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
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
Six-Four Chords, Revisiting The Subdominant, And Summary Of Contrapuntal Expansions
Unaccented Six-Four Chords
Accented Six-Four Chords
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
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
Composite Phrases
Summary of Part 3
New Chords And New Forms
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
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
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
Other Small Musical Structures: Sentences, Double Periods, And Modified Periods
The Sentence: An Alternative Musical Structure
The Double Period
Modified Periods
Phrase Group
Asymmetrical Periods
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
Functional Chromaticism
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
Tonicization And Modulation
Extended Tonicization
Closely Related Keys
Analyzing Modulations
Writing Modulations
Modulation in the Larger Context
The Sequence as a Tool in Modulation
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
Expressive Chromaticism
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
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
The Neapolitan Chord (Bii): Characteristics, Effects, And Behavior
Writing the Neapolitan Chord
Expanding bII
The Neapolitan in Sequences
The Neapolitan as a Pivot Chord
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
Large Forms: Ternary, Rondo, Sonata
Ternary Form
Transitions and Retransitions
Da Capo Form: Compound Ternary Form
Da Capo Aria
Minuet-Trio Form
Ternary Form in the Nineteenth Century
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
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
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
Mozart, Piano Sonata in Bb Major, K. 333, Allegro
Summary of Part 7
Introduction To Nineteenth-Century Harmony: The Shift From Asymmetry To Symmetry
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
Analytical Interlude
Tonal Clarity Postponed: Off-Tonic Beginning
Double Tonality
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
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
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
The Pitch Realm
Charting Musical Sound: Staff and Clef
Pitch and Pitch Class
The Division of Musical Space: Intervals
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
Pulse, Rhythm, and Meter
Rhythm and Durational Symbols
Dots and Ties
Beat Division and Simple and Compound Meters
The Meter Signature
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
Triads, Inversions, Figured Bass, and Harmonic Analysis
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
Seventh Chords and Harmonic Analysis
Definitions and Type
Musical Characteristics of Seventh Chords
Inverted Seventh Chords
Analytical Tips
Seventh Chords and Harmonic Analysis
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
Implied Harmonies
The Motive
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
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
Abbreviations And Acronyms
Selected Answers To Textbook Exercises
Index Of Terms And Concepts
Index Of Musical Examples And Exercises
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