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9780195095678

The Complete Musician An Integrated Approach to Tonal Theory, Analysis, and Listening Includes 2 CDs

by
  • ISBN13:

    9780195095678

  • ISBN10:

    0195095677

  • Format: Hardcover
  • Copyright: 2003-03-20
  • Publisher: Oxford University Press
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Supplemental Materials

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Summary

Bringing together the analytical, aural, and tactile activities that comprise a tonal theory curriculum, The Complete Musician relies on a diverse repertoire and innovative exercises to integrate theory (writing and analysis), skills (singing, playing, and dictation), and music-making outsidethe theory class. Key Features * Common practice literature is the driving force of the text and comprises the bulk of the harmonic dictation component. * Musical examples range from Schutz to Scriabin and from solo vocal and instrumental music to orchestral ensembles. They include popular and folk music. * Topics covered run the gamut from rudiments to compositional processes of the late nineteenth century. * Exercises are interspersed throughout and increase in pedagogical complexity, ranging from passive identification activities to active composition. * The 2 CDs packaged with each text include more than 300 recorded textbook examples performed by students and faculty from the Eastman School of Music. (A separate set of 8 CDs offers nearly 2000 more examples--from solo piano to full orchestra--of the exercises in the text and workbooks, playedby the same performers.) * The premise of the text is that students can learn to hear, comprehend, and model the structure and syntax of the music they love, and that simple processes, which are fleshed out in diverse contexts, underlie tonal music. An innovative text, The Complete Musician makes the study of tonal theory as engaging and as musical as possible. It provides students with a strong foundation in the principles of writing, analyzing, hearing, singing, and playing tonal harmony and enables them to understand the most importantmusical forms. Students can then apply these principles to their performances and to any tonal pieces that they encounter throughout their musical careers. Accompanying Supplements Instructor's Manual: 0-19-509568-5 Student Workbook, Volume I: 0-19-516059-2 Student Workbook, Volume II: 0-19-516060-6 8-CD Set: 0-19-509569-3

Table of Contents

Preface
The Foundation of Tonal Musicintroduction
Tonality, the Musical Center
Setting the Scene: Bach's Violin Partita No. 3, Prelude
Pitch and Pitch Class
Charting Musical Sound: Staff and Clef
The Division of Musical Space: Scales
Members of the ScaleScales and the Keyboard
Scale Types and Steps
Building Scales in the Major Mode
Key Signatures and the Circle of Fifths
Building Scales in the Minor Mode
Pulse, Rhythm, and Meter
Rhythm and Durational Symbols
MeterMusical Accent
The Meter Signature
Clarifying Meter
Intervals and Melody
Interval SizeConsonant and Dissonant Intervals
Specific Interval SizesInterval Inversion
Diatonic and Chromatic Half Steps
Melodic Writing and Listening
Controlling Dissonance and Consonance
Two-Voice Counterpart
First-Species Counterpoint
Second-Species Counterpoint
Triads, Inversions, Figured Bass, and Harmonic Analysis
TriadsTriads and Voicing, Spacing, Doubling
Chord Inversion
Figured BassTriads and the Scale: Harmonic Analysis
Roman Numerals
Introduction to Harmonic Analysis
Seventh Chords, Texture, and Musical Hierarchy
Inverted Seventh Chords
Analytical TipsMusical Texture
Seventh Chords and Harmonic Analysis
Hierarchy in Music: Consonance and Unaccented Dissonance
Sample Analyses
The Tonic and the Dominant, Voice Leading, and Harmonic Rhythm
The Interaction of Harmony, Melody, Meter, and Rhythm
Embellishment and Reduction
The Cadence
Introduction to Voice Leading and
Part Writing
Texture and Range
Comparison of Examples
Doubling and Spacing
The Dominant Seventh and Chordal Dissonance
Writing the Dominant Seventh Chord
An Analytical InterludeSummary of Part 1
Tonic and Dominant Expanded
Introduction
Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords
Chordal Skips: The Bass
Neighboring and Passing Tones in the Bass and Second-Level Analysis
Voice Leading with Six-Three Chords
Playing and Writing Six-Three ChordsA New Expanding Harmony: vii06
Voice Leading and Figured Bass of vii06
Tonic Expansions Using IV6
Dominant Expansions Using IV6
More Contrapuntal Expansions and Their Impact on Composition
Inversions of V7, vii07, and Introduction of the MotiveV7 and Its Inversions
Voice Leading for Inversions of V7A Tortured Contrapuntal Chord
The Diminished Seventh Chord (vii07)Uses of vii07
Voice Leading vii07
MotivesHarmonic Cells
Accented Dissonances, Six-Four Chords, and Revisiting IV
The Accented Passing Tone (APT)Accented Neighbor Tones (AN)
The Suspension
Characteristics and Stages of the Suspension
The Anticipation (ANT)
The Pedal (PED)
The Appoggiatura (APP)
Summary of the Most Common Tones of Figuration
Six-Four ChordsUnaccented Six-Four Chords I
NeighboringUnaccented Six-Four Chords II
PassingUnaccented Six-Four Chords III
ArpeggiatingAccented Six-Four Chords
Writing Six-Four Chords
Revisiting the Subdominant
Invertible Counterpoint and Compound MelodyHarmonic Implications of Single Melodic Lines
Compound MelodySummary of Part 2
New Chords That Complete The Diatonic Spectrum
Introduction
The Pre-dominant Function and the Phrase ModelThe Subdominant (IV)The Supertonic (ii)Introduction to
Part Writing for Pre-Dominants
Extending the Pre-Dominant: The IV-ii Complex
Extending the Phrase: Postponing the Cadence
Introduction to the Phrase Model
The Phrase Model Continued: Perceiving, Animating, and Expanding It Using New Pre-Dominant Possibilities
Memory and Longer Musical SpansPre-Dominant Seventh Chords: IV7 (IV6 5) and ii7 (ii6 5)
The Pre-Dominant-Dominant within Tonic Expansions
Contrapuntal CadencesExpansion of the Pre-Dominant
FunctionSubphrasesComposite Phrases
The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model
The SubmediantThe Submediant as Bridge in Descending Third Progressions
The Submediant Extends the Circle of Fifths in Descending Fifth Progressions
The Submediant as Tonic Substitute in Ascending Second Progressions
Contextual Analysis: Tonic and Dominant Embellish the Submediant
The Submed
Table of Contents provided by Publisher. All Rights Reserved.

Supplemental Materials

What is included with this book?

The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.

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