List Books » The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Vol. 2
Authors: Steven G. Laitz
ISBN-13: 9780195301106, ISBN-10: 0195301102
Format: Paperback
Publisher: Oxford University Press, USA
Date Published: November 2007
Edition: 2nd Edition
Eastman School of Music, University of Rochester
This Student Workbook accompanies The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Second Edition. The second of two volumes, it provides 104 separate assignments that accompany chapters 24-37 of the textbook. The second edition features a new layout: 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.
The Complete Musician, Second Edition, is enhanced and supplemented by five music DVDstwo packaged with the text, two with Student Workbook I, and one with this Student Workbook. These DVDs contain a total of more than sixteen hours of high-quality recorded examplesfrom solo piano to full orchestraof 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.
Preface | ||
Pt. 1 | The Foundation of Tonal Music | |
1 | Tonality, the Musical Center | 3 |
2 | Pulse, Rhythm, and Meter | 25 |
3 | Intervals and Melody | 47 |
4 | Controlling Dissonance and Consonance: Two-Voice Counterpoint | 63 |
5 | Triads, Inversions, Figured Bass, and Harmonic Analysis | 71 |
6 | Seventh Chords, Texture, and Musical Hierarchy | 88 |
7 | The Tonic and the Dominant, Voice Leading, and Harmonic Rhythm | 109 |
8 | The Dominant Seventh and Chordal Dissonance | 135 |
Pt. 2 | Tonic and Dominant Expanded | |
9 | Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords | 149 |
10 | More Contrapuntal Expansions and Their Impact on Composition: Inversions of V[subscript 7], vii[degree][subscript 7], and Introduction of the Motive | 162 |
11 | Accented Dissonances, Six-Four Chords, and Revisiting IV | 181 |
12 | Invertible Counterpoint and Compound Melody | 199 |
Pt. 3 | New Chords that Complete the Diatonic Spectrum | |
13 | The Pre-dominant Function and the Phrase Model | 217 |
14 | The Phrase Model Continued: Perceiving, Animating, and Expanding It Using New Pre-Dominant Possibilities | 238 |
15 | The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model | 259 |
16 | The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic Relationships | 280 |
Pt. 4 | Creating Larger Forms | |
17 | The Period | 295 |
18 | Other Small Musical Structures: Sentences, Double Periods, and Asymmetrical Periods | 310 |
19 | Harmonic Sequences: Concepts and Patterns | 328 |
20 | Sequences within Larger Musical Contexts and Sequences with Seventh Chords | 349 |
Pt. 5 | Chromaticism | |
21 | Applied Chords | 371 |
22 | Tonicization and Modulation | 393 |
23 | Binary Form and Variations | 415 |
Pt. 6 | Expressive Chromaticism | |
24 | Modal Mixture | 439 |
25 | Expansion of Modal Mixture Harmonies: Chromatic Tonicization and Modulation | 460 |
26 | The Neapolitan Sixth chord ([actual symbol not reproducible]II[subscript 6]) | 485 |
27 | The Augmented Sixth Chord | 504 |
Pt. 7 | Large Forms: Ternary, Rondo, Sonata | |
28 | Ternary Form | 529 |
29 | Rondo | 559 |
30 | Sonata Form | 582 |
Pt. 8 | Introduction to Nineteenth-Century Harmony: The Shift From Asymmetry to Symmetry | |
31 | New Harmonic Tendencies | 619 |
32 | The Rise of Symmetrical Harmony in Tonal Music | 641 |
33 | Melodic and Harmonic Symmetry Combine: Chromatic Sequences | 661 |
34 | At Tonality's Edge | 685 |
Index of Terms and Concepts | 707 | |
Index of Musical Examples | 712 |