The Complete Musician Student Workbook, Volume II An Integrated Approach to Tonal Theory, Analysis, and Listening

by Laitz, Steven G.

• ISBN13: 9780195160604
• ISBN10: 0195160606
• Edition: Workbook
• Format: Paperback
• Copyright: 2003-05-15
• Publisher: Oxford University Press

Summary

This student workbook accompanies The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening . The second of two volumes, it provides exercises that accompany chapters 20-34 of the text.

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

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