Graduate Review of Tonal Theory

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