The Complete Musician 8-CD Boxed Set An Integrated Approach to Tonal Theory, Analysis, and Listening

by Laitz, Steven G.

• ISBN13: 9780195095692
• ISBN10: 0195095693
• Format: CD
• Copyright: 2003-08-28
• Publisher: Oxford University Press

Summary

This 8-CD set accompanies The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. It offers nearly 2000 recorded examples--from solo piano to full orchestra--of the exercises in the text and workbooks, performed by students and faculty from the Eastman School of Music.

Table of Contents

Preface

Terms and Concepts are included at the end of every chapter

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

Model Analysis: Tonality and Hierarchy in Bach's Violin Partita No3, 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 Intervals

Tips for Identifying Generic Intervals

Specific Interval Size

Transforming Intervals: Augmented and Diminished Intervals

Interval Inversion

Generating All Intervals

Enharmonic Intervals

Consonant and Dissonant Intervals

Melody: Characteristics, Writing, and Listening

Model Analysis: Mozart, Piano Sonata in A minor, K310

Melodic Dictation

Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint

First-Species Counterpoint

Contrapuntal Motions

Beginning and Ending the Counterpoint

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

Triads, Inversions, Figured Bass, and Harmonic Analysis

Triads

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

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

Model Analyses: Beethoven Violin Sonata No3 in Eb major, Op12, No3, and Mozart, "Madamina" from Don Giovanni, Act 1, Scene 4

Summary of Part 1

Merging Melody And Harmony

Hierarchy in Music: Consonance, Unaccented Dissonance, and Melodic Fluency

Consonance and Dissonance

The Importance of Textual Analysis

Model Analyses: Clementine and God Save the King

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

Model Analysis: Beethoven, Piano Sonata in D minor, Op31, No2 "Tempest"

Harmonizing Florid Melodies

Summary

Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords

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

Writing and Playing First-Inversion Triads

Passing Tones in the Bass: viio6

Tonic Expansion with an Arpeggiating Bass: IV6

Dominant Expansion with Passing Tones: IV6

Combining First-Inversion Chords

Summary

More Contrapuntal Expansions: Inversions of V7, and Introduction to Leading Tone Seventh Chords

V7 and Its Inversions

Voice Leading Inversions of V7

Combining Inversions of V7

Compositional Impact on Contrapuntal Chords

Leading Tone Seventh Chords: viio7 and viio7

Elaboration and Reduction

Summary of Part 2P

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