Full Description
Designed specifically for greater flexibility of use, the two workbooks that accompany The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Third Edition, feature a new organization. Workbook 1: Writing and Analysis is dedicated exclusively to written and analytical activities. Workbook 2: Skills and Musicianship focuses on musicianship skills. Between the two workbooks-each of which is packaged with a 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 Workbook 1: Writing and Analysis * Accompanied by a 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 analytical activities including figured bass, melody harmonization, model composition, and analysis * Includes more-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
Contents
PART ONEHarnessing Space and Time: Introduction to Melody and Two-Voice Counterpoint ; 3: Musical Density: Triads, Seventh Chords and Texture ; PART TWO: MERGING MELODY AND HARMONY ; 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 ; PART THREE: A NEW HARMONIC FUNCTION AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS ; 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 ; PART FOUR: NEW CHORDS AND NEW FORMS ; 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 ; PART FIVE: FUNCTIONAL CHROMATICISM ; 18: Applied Chords ; 19: Tonicization and Modulation ; 20: Binary Form and Variations ; PART SIX: EXPRESSIVE CHROMATICISM ; 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 ; PART SEVEN: LARGE FORMS: TERNARY, RONDO, SONATA ; 25: Ternary Form ; 26: Rondo ; 27: Sonata Form ; PART EIGHT: SYMMETRY ; 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 ; c. Intervals ; 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 ;
