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Building on the same pedagogy that informed The Complete Musician, this Graduate Review of Tonal Theory is the first book to review music theory at a level that is sophisticated enough for beginning graduate students. Steven G. Laitz and Christopher Bartlette address students as colleagues, and thoroughly explore appealing and practical analytical applications. The text also provides a means to discuss the perception and cognition, the analysis and performance, and the composition and reception of common-practice tonal music. Marked by clarity and brevity, Graduate Review of Tonal Theory presents crucial concepts and procedures found in the majority of tonal pieces. Distinctive Features *Integrates two- to three-page "Analytical Extensions" at the end of each chapter, which introduce an additional topic through one or two works from the repertoire, and then develop the topic in a model analysis *Synthesizes the essential concepts of music theory and pieces from the repertoire that expand upon and refine the analytical applications taught in the undergraduate theory curriculum *Includes an in-text DVD with recordings by Eastman students and faculty of musical examples from the text and analytical exercises from the workbook Also Available: A workbook for students (978-0-19-537699-9) that can be packaged with the text at a significant savings! (Package ISBN: 978-0-19-538628-8) This invaluable resource is organized by chapter into discrete assignments (3-5 per chapter), each progressing from short, introductory analytical and writing exercises to more involved tasks. The workbook also includes an appendix of keyboard exercises.
Steven G. Laitz is Associate Professor of Music Theory and Affiliate Faculty Member in Chamber Music at the Eastman School of Music, and serves on the piano faculty at the Chautauqua Institution. He has received various teaching awards, has presented and published work on nineteenth-century music and pedagogy, and is the author of The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Second Edition (OUP, 2007).
Christopher Bartlette is Assistant Professor of Music Theory at Baylor University. His research in music cognition and performance has led to articles and presentations at national and international conferences in music theory, perception, and cognition.
Table of Contents
|The Foundation Of Tonal Music|
|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|
|Pulse, Rhythm, and Meter|
|Rhythm and Durational Symbols Meter|
|Accent in Music Temporal|
|Accents Beat Division and Simple and Compound Meters|
|The Meter Signature Asymmetrical|
|Meter More Rhythmic Procedures|
|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|
|Controlling Consonance and Dissonance: Introduction to Two-Voice 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|
|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|
|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|
|Merging Melody And Harmony|
|Hierarchy in Music: Consonance, Unaccented Dissonance, and Melodic Fluency|
|Consonance and Dissonance|
|The Importance of Textural Analysis|
|Sample Analyses Melodic Fluency|
|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|
|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 In|
|Table of Contents provided by Publisher. All Rights Reserved.|