Graduate Review of Tonal Theory A Recasting of Common-Practice Harmony, Form, and Counterpoint

by Laitz, Steven G.; Bartlette, Christopher

• ISBN13: 9780195376982
• ISBN10: 0195376986
• Format: Hardcover
• Copyright: 2009-03-27
• Publisher: Oxford University Press

Summary

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.

Author Biography

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

Preface

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 Nontemporal

Accents Beat Division and Simple and Compound Meters

The Meter Signature Asymmetrical

Meters Clarifying

Meter More Rhythmic Procedures

Metrical Disturbance

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

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

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

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