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Graduate Review of Tonal Theory

A Recasting of Common-Practice Harmony, Form, and Counterpoint

Steven G Laitz and Chris Barlette

April 2009

ISBN: 9780195376982

240 pages
Hardback
252X202mm

In Stock

Price: £32.99

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Description

Based on The Complete Musician, the text goes beyond the undergraduate level to address students as colleagues and explores analytical applications that are appealing and practical. The text provides a means to discuss the perception and cognition, the analysis and performance, and the composition and reception of common-practice tonal music. Each chapter ends with two- to three-page "Analytical Extensions," which introduce one new topic through one or two works from the repertoire, and then develop the topic in a model analysis. Appendixes include keyboard exercises, model composition strategies and assignments, and sample solutions.

  • The first music theory review text designed for beginning graduate students
  • Pulls together the essential concepts of music theory and pieces from the repertoire that expand upon and refine the analytical applications taught in the undergraduate theory curriculum
  • Innovative, chapter-ending 'Analytical Extensions" introduce one new topic through model analysis
  • Accompanying workbook (and included DVD) is organized by chapter into discrete assignments, each progressing from short, introductory analytical and writing exercises to more-involved tasks. DVD provides recordings by Eastman students and faculty of musical examples from the text and analytical exercises from the workbook.

About the Author(s)

Steven G Laitz, Associate Professor and Chair of Music Theory, Eastman School of Music, University of Rochester, Rochester, NY USA, Author, and Chris Barlette, Assistant Professor of Music Theory, Baylor University, Waco, TX, USA, Author

Table of Contents

    Preface

    Setting the Stage
    Part One: Contextualizing Theory and Analysis; Fundamentals
    Chapter 1: Musical Time and Space
    The metrical realm
    Accent in music
    Temporal accents
    Non-temporal accents
    Metrical disturbance
    The pitch realm
    Pitches and pitch classes
    Scales
    Keys
    Intervals
    Consonance and dissonance
    Melody: Characteristics and writing
    Chapter 2: Harnessing Musical Time and Space
    Species counterpoint
    First-species (1:1) counterpoint
    Contrapuntal motions
    Rules and guidelines
    Second-species (2;1) counterpoint
    Rules and guidelines
    Adding voices: Triads and seventh chords
    Triads
    Figured bass
    Triads and the scale: Harmonic analysis
    Seventh chords
    Musical texture
    Chapter 3: Making Choices: When Harmony, Melody, and Rhythm Merge
    Tonal hierarchy in music
    Tones of figuration
    Melodic fluency
    Part Two: Diatonic Harmony: Functions, Expansions, and the Phrase Model
    Chapter 4: Composition and Analysis: Using I, V, and V7
    Tonic and dominant as tonal pillars and introduction to voice leading
    The cadence
    Introduction to voice leading
    Texture and register
    Spacing
    Summary of voice-leading rules and guidelines
    The dominant seventh and chordal dissonance
    Part writing with the dominant seventh chord
    Analytical extension: The interaction of harmony, melody, meter, and rhythm
    Embellishment
    Reduction
    Second-level analysis
    Chapter 5: Contrapuntal Expansions of Tonic and Dominant
    Contrapuntal expansions with first inversion triads
    Chordal leaps in the bass: I6 and V6
    Neighboring tones in the bass: V6
    Structural and subordinate harmonies
    Passing tones in the bass: vii°6 and IV6
    Tonic expansion with arpeggiating bass: IV6
    Contrapuntal expansions with seventh chords
    V7 and its inversions
    Voice leading inversions of V7
    Leading-tone seventh chords: vii°7
    Analytical extension: Invertible counterpoint
    Invertible counterpoint below the music's
    surface
    Chapter 6: The Pre-Dominant, Phrase Model, and Additional Embellishments
    The pre-dominant function
    The subdominant (IV in major; iv in minor)
    The supertonic (ii in major; ii° in minor)
    Part writing pre-dominants
    Extending the pre-dominant
    Introduction to the phrase model
    Accented and chromatic dissonances
    Accented and Chromatic passing tones
    Accented and Chromatic neighbor tones
    Appoggiatura
    Suspension
    Labeling suspensions
    Writing suspensions
    Anticipation
    Pedal
    Analytical extension: Revisiting the subdominant
    Contrapuntal expansion with IV
    Plagal cadence
    Part Three: Elaborating the Phrase Model and Combining Phrases
    Chapter 7: Six-Four Chords, Non-Dominant Seventh Chords, and Refining the Phrase Model
    Six-Four Chords
    Unaccented six-four chords
    Accented six-four chords
    Writing six-four chords
    Summary of contrapuntal expansions
    Non-dominant seventh chords: IV7 (IV65) and ii7 (ii65)
    Partwriting non-dominant seventh chords
    Embedding the phrase model
    Analytical extension: Expanding the pre-dominant
    Chapter 8: The Submediant and Mediant Harmonies
    Submediant (vi in major; VI in minor):
    As bridge in the descending third
    progression
    In the descending circle of fifths progression
    As tonic substitute in the ascending second
    progression
    As pre-dominant
    Voice leading for the submediant
    The step descent in the bass
    Mediant (iii in major; III in minor)
    A special case: Preparing the III chord in
    minor
    Voice leading for the mediant
    General summary of harmonic progression
    Analytical extension: The back-relating dominant
    Chapter 9: The Period, Double Period, and Sentence
    The period
    Types of periods
    Period labels
    The double period
    The sentence
    Analytical extension: Modified periods
    Chapter 10: Harmonic Sequences: Concepts and Patterns
    Components and types of sequences
    The "descending fifths" sequence (-5/+4)
    The (-5/+4) sequence in inversion
    The "Pachelbel" or "descending 5-6"
    sequence
    The (-4/+2) sequence in inversion
    The "Ascending Fifths" sequence (+5/-4)
    The "Ascending 5-6" Sequence: (-3/+4)
    Sequences with diatonic seventh chords
    Writing sequences
    Analytical extension: Melodic sequences and
    compound melody
    Chapter 8: The Submediant and Mediant Harmonies
    Submediant (vi in major; VI in minor):
    As bridge in the descending third
    progression
    In the descending circle of fifths progression
    As tonic substitute in the ascending second
    progression
    As pre-dominant
    Voice leading for the submediant
    The step descent in the bass
    Mediant (iii in major; III in minor)
    A special case: Preparing the III chord in
    minor
    Voice leading for the mediant
    General summary of harmonic progression
    Analytical extension: The back-relating dominant
    Chapter 9: The Period, Double Period, and Sentence
    The period
    Types of periods
    Period labels
    The double period
    The sentence
    Analytical extension: Modified periods
    Chapter 10: Harmonic Sequences: Concepts and Patterns
    Components and types of sequences
    The "descending fifths" sequence (-5/+4)
    The (-5/+4) sequence in inversion
    The "Pachelbel" or "descending 5-6"
    sequence
    The (-4/+2) sequence in inversion
    The "Ascending Fifths" sequence (+5/-4)
    The "Ascending 5-6" Sequence: (-3/+4)
    Sequences with diatonic seventh chords
    Writing sequences
    Analytical extension: Melodic sequences and
    compound melody
    Part Four: Chromaticism and Larger Forms
    Chapter 11: Applied Chords and Tonicization
    Applied dominant chords
    Applied chords in inversion
    Voice leading for applied dominant chords
    Applied leading-tone chords
    Extended tonicization
    Analytical extension: Sequences with applied chords
    Chapter 12: Modulation and Binary Form
    Modulation
    Closely related keys
    Analyzing modulations
    Writing modulations
    Modulation in the larger musical context
    The sequence as a tool in modulation
    Binary form
    Summary of binary form types
    Analytical extension: Binary form and Baroque dance
    suites
    Chapter 13: Expressive Chromaticism: Modal Mixture and Chromatic Modulation
    Modal mixture
    Altered pre-dominant harmonies: iv and ii°
    Altered submediant harmony: bVI
    Altered tonic harmony: i
    Altered mediant harmony: bIII
    Voice leading for mixture harmonies
    Plagal motions
    Modal mixture, applied chords, and other chromatic harmonies
    Expansion of modal mixture harmonies: Chromatic
    modulation
    Chromatic pivot-chord modulations
    Writing chromatic pivot-chord modulations
    Unprepared and common-tone
    chromatic modulations
    Analytical extension: Modal mixture and text-music
    relations
    Chapter 14: The Neapolitan and Augmented Sixth Chords
    The Neapolitan chord
    Writing the Neapolitan chord
    Other uses for the Neapolitan chord
    The augmented sixth chord
    Types of augmented sixth chords
    Writing augmented sixth chords
    bVI and the Ger 65 chord
    The augmented sixth chord as a pivot chord
    Analytical extension: Prolongation with bII and +6
    chords
    Augmented sixth chords as part of PD
    expansions
    Chapter 15: Ternary and Sonata Forms
    Ternary form
    Transitions and retransitions
    Da capo form: Compound ternary form
    Minuet-trio form
    Sonata
    The binary model for sonata form
    Transition
    Closing section
    Development and retransition
    Recapitulation and coda
    Analytical extension: Motivic expansion
    Exposition
    Development
    AppendixA: Additional Formal Procedures
    Subphrases and composite phrases
    Variation techniques
    Ternary form and the nineteenth-century character
    piece
    Rondo
    Further characteristics of sonata form
    Appendix B: Glossary of Abbreviations
    Appendix C: Terminological Equivalents
    Index of Terms and Concepts
    Index of Musical Examples and Exercises