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Designed specifically for greater flexibility of use, the two workbooks that accompanyThe Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Third Edition, feature a new organization. This volume--theWriting and Analysis Workbook--is dedicated exclusively to written and analytical activities. The other volume--theSkills and Musicianship Workbook--focuses on musicianship skills. Between the two workbooks--each of which is packaged with an audio CD--there are more than 2,000 recorded analytical and dictation examples and fifteen hours of recorded music (all music is performed, recorded, and engineered at Eastman). Additional supplementary material is available on the new companion website (www.oup.com/us/laitz). Features of the Writing and Analysis Workbook * Accompanied by an audio CD (packaged FREE with workbook) containing high-quality MP3 recordings of nearly all the music in the workbook (performances range from solo piano to full orchestra) * Presents a variety of written and analyticalactivitiesincluding figured bass, melody harmonization, model composition, and analysis * Includes better focused and shorter assignments(each chapter is organized into discrete assignments, usually four assignments per chapter) * Contains carefully graduated exercises,ranging from basic, introductory tasks, to more active writing exercises, and finally to creative compositional projects
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.
Table of Contents
1: Musical Space and Time
2: Harnessing Space and Time: Introduction to Melody and Two-Voice Counterpoint
3: Musical Density: Triads, Seventh Chords and Texture
4: When Harmony, Melody, and Rhythm Converge
5: Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading
6: The Impact of Melody, Rhythm, and Meter on Harmony; Introduction to V7
7: Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords
8: More Contrapuntal Expansions: Inversions of V7, and Leading-Tone Seventh Chords
9: The Pre-Dominant Function and the Phrase Model
10: Accented and Chromatic Dissonances
11: Six-Four Chords, the Subdominant, and Summary of Contrapuntal Expansions
12: The Pre-Dominant Refines the Phrase Model
13: The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model
14: The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic Relationships
15: The Period
16: Other Small Musical Structures: Sentences, Double Periods, and Asymmetrical Periods
17: Harmonic Sequences
18: Applied Chords
19: Tonicization and Modulation
20: Binary Form and Variations
21: Modal Mixture
22: Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German Lied
23: The Neapolitan Chord (bII)
24: The Augmented Sixth Chord
25: Ternary Form
27: Sonata Form
28: New Harmonic Tendencies
29: The Rise of Symmetrical Harmony in Tonal Music
30: Melodic and Harmonic Symmetry Combine: Chromatic Sequences
31: At Tonality's Edge
Appendix 1: Fundamentals
a. The Pitch Realm
b. Pulse, Rhythm, and Meter
d. Triads, Inversions, Figured Bass, and Harmonic Analysis
e. Seventh Chords and Harmonic Analysis
Appendix 2: Invertible Counterpoint, Compound Melody, and Implied Harmonies
Appendix 3: The Motive
Appendix 4: Additional Harmonic Sequence Topics
Appendix 6: Selected Answers to Textbook Exercises