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

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  • Edition: 2nd
  • Format: Hardcover
  • Copyright: 2007-06-18
  • Publisher: Oxford University Press
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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

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
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
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
Triads, Inversions, Figured Bass, and Harmonic Analysis
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
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
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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