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Cover

Student Workbook to Accompany Graduate Review of Tonal Theory

A Recasting of Common Practice Harmony, Form, and Counterpoint

Steven G Laitz and Christopher Bartlette

Publication Date - March 2009

ISBN: 9780195376999

288 pages
Paperback
8 1/2 X 11 inches

In Stock

Retail Price to Students: $44.95

This Student Workbook accompanies Graduate Review of Tonal Theory and features sixty-one diverse exercise sets that correlate with material in the text.

Description

This Student Workbook accompanies Graduate Review of Tonal Theory. Authors Steven G. Laitz and Christopher Bartlette have devised sixty-one diverse exercise sets that correlate with material in the text. These assignments include writing and analytical exercises that enable students to further integrate harmony and counterpoint through visual and aural tasks. These exercises begin at the introductory level and progress incrementally in difficulty and complexity. There is also a separate section of keyboard activities at the end of the workbook.

Designed to accommodate graduate review courses of various lengths, the workbook's assignments are numbered discretely, leaving instructors free to adapt the workbook to best suit their courses. A DVD--packaged with the text--features recordings by students and faculty from the Eastman School of Music. Icons in the workbook indicate which examples are recorded and where to find them on the DVD; there is also a full track listing at the end of the textbook. The nearly four hours of excerpts and complete pieces on the DVD provide students and instructors with immediate access to hundreds of examples drawn from more than three centuries of music.

Reviews

"The exercises are inspirationally clever. . . . I like the wide variety of 'real music' examples as well and I suspect that my grad students would be equally appreciative. . . . I like the summaries, point-by-point reminders, and suggestions about such matters as how to figure a bass or how to write a sequence. Students will find such lists to be both very clear and very comforting."--Neil Minturn, University of Missouri

Table of Contents

    Preface
    Chapter 1: Musical Time and Space
    Assignment 1.1: Rhythm, Meter, and Accent
    Assignment 1.2: More Metrical Issues, Scales, and Key Signatures
    Assignment 1.3: More Scales, Intervals
    Assignment 1.4: More intervals and Melody
    Chapter 2: Harnessing Musical Time and Space
    Assignment 2.1: Contrapuntal Motions and 1:1 Counterpoint
    Assignment 2.2: 1:1 and 2:1 Counterpoint
    Assignment 2.3: 2:1 Counterpoint, Triads
    Assignment 2.4: Triads and Figured Bass
    Assignment 2.5: Figured Bass and Harmonic Analysis
    Assignment 2.6: Seventh Chords
    Assignment 2.7: Seventh Chords, Texture
    Chapter 3: Making Choices: When Harmony, Melody, and Rhythm Merge
    Assignment 3.1: Tones of Figuration and Harmonic Analysis
    Assignment 3.2: Melodic Fluency
    Assignment 3.3: Embellishment
    Chapter 4: Composition and Analysis: Using I, V, and V7
    Assignment 4.1: Writing and Analyzing I and V
    Assignment 4.2: More Writing of Tonic and Dominant
    Assignment 4.3: V7
    Chapter 5: Contrapuntal Expansions of Tonic and Dominant
    Assignment 5.1: Six-Three Chords
    Assignment 5.2: More Six-Threes
    Assignment 5.3: V7 and viio7
    Assignment 5.4: More Seventh Chords
    Chapter 6: A New Harmonic Function; Additional Melodic and Harmonic Embellishments
    Assignment 6.1: The Pre-Dominant
    Assignment 6.2: More Pre-Dominants
    Assignment 6.3: Accented Tones of Figuration
    Assignment 6.4: All Tones of Figuration
    Chapter 7: Six Four Chords, Non-Dominant Seventh Chords, and Refining the Phrase Model
    Assignment 7.1: Six-Four Chords
    Assignment 7.2: More Six-Four Chords and Non-Dominant Seventh Chords
    Assignment 7.3: More Non-Dominant Seventh Chords
    Assignment 7.4: Embedded Phrase Models
    Chapter 8: The Submediant and Mediant
    Assignment 8.1: The Submediant
    Assignment 8.2: Submediant and Mediant
    Assignment 8.3: More Submediant and Mediant
    Assignment 8.4: Paradigms and Composition
    Chapter 9: The Period, Double Period, and Sentence
    Assignment 9.1: Period and Sentence
    Assignment 9.2: Composition
    Assignment 9.3: Period, Sentence, and Double Period
    Chapter 10: Harmonic Sequences: Concepts and Patterns
    Assignment 10.1: Triadic Sequences
    Assignment 10.2: More Triadic Sequences
    Assignment 10.3: Triadic and Seventh Chord Sequences
    Chapter 11: Applied Chords
    Assignment 11.1: Spelling, Recognizing, and Writing Applied Chords
    Assignment 11.2: Applied viio7
    Assignment 11.3: Harmonization and Applied Chord Sequences
    Assignment 11.4: Extended Tonicization
    Chapter 12: Modulation and Binary Form
    Assignment 12.1: Closely Related Keys, Pivots, and Modulation
    Assignment 12.2: More Modulation; More Writing
    Assignment 12.3: Two-Voice Modulations, Modulation, and Binary Form
    Assignment 12.4: Modulation and Binary Form
    Assignment 12.5: Binary Form
    Chapter 13: Expressive Chromaticism: Modal Mixture and Chromatic Tonicization
    Assignment 13.1: Melodic and Harmonic Mixture
    Assignment 13.2: Plagal motions
    Assignment 13.3: Chromatic Tonicization
    Assignment 13.4: Prepared and Common-Tone Chromatic Modulations
    Chapter 14: The Neapolitan and Augmented Sixth Chords
    Assignment 14.1: Identifying and Writing the Neapolitan Chord
    Assignment 14.2: More Neapolitan
    Assignment 14.3: Tonicization of the Neapolitan
    Assignment 14.4: Augmented Sixth Chords
    Assignment 14.5: More Augmented Sixth Chords
    Assignment 14.6: More Writing of Augmented Sixth Chords, +6 in Modulation
    Chapter 15: Ternary and Sonata Forms
    Assignment 15.1: Analysis of Ternary
    Assignment 15.2: Ternary and Binary Forms
    Assignment 15.3: Sonata
    Keyboard Exercises