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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: 9780195376982

288 pages
8 X 10 inches

In Stock

Retail Price to Students: $89.99

Graduate Review of Tonal Theory is the first book to review music theory at a level that is sophisticated enough for beginning graduate students.


Building on the same pedagogy that informed The Complete Musician, this Graduate Review of Tonal Theory is the first book to review music theory at a level that is sophisticated enough for beginning graduate students. Steven G. Laitz and Christopher Bartlette address students as colleagues, and thoroughly explore appealing and practical analytical applications. The text also provides a means to discuss the perception and cognition, the analysis and performance, and the composition and reception of common-practice tonal music. Marked by clarity and brevity, Graduate Review of Tonal Theory presents crucial concepts and procedures found in the majority of tonal pieces.

Distinctive Features

*Integrates two- to three-page "Analytical Extensions" at the end of each chapter, which introduce an additional topic through one or two works from the repertoire, and then develop the topic in a model analysis
*Synthesizes 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
*Includes an in-text DVD with recordings by Eastman students and faculty of musical examples from the text and analytical exercises from the workbook

Also Available:
A workbook for students (978-0-19-537699-9) that can be packaged with the text at a significant savings! (Package ISBN: 978-0-19-538628-8). This invaluable resource is organized by chapter into discrete assignments (3-5 per chapter), each progressing from short, introductory analytical and writing exercises to more involved tasks. The workbook also includes an appendix of keyboard exercises.

About the Author(s)

Steven G. Laitz is Associate Professor of Music Theory and Affiliate Faculty Member in Chamber Music at the Eastman School of Music, and serves on the piano faculty at the Chautauqua Institution. He has received various teaching awards, has presented and published work on nineteenth-century music and pedagogy, and is the author of The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Second Edition (OUP, 2007).

Christopher Bartlette is Assistant Professor of Music at Binghamton University. His research in music cognition and performance has led to articles and presentations at national and international conferences in music theory, perception, and cognition.

Table of Contents

    For the Instructor
    Setting the Stage
    Sample analyses
    PART ONE: Contextualizing Theory and Analysis: Fundamentals
    Chapter 1: Musical Time and Space
    The metrical realm
    The pitch realm
    Chapter 2: Harnessing Musical Time and Space
    Species counterpoint
    First-species (1:1) counterpoint
    Second-species (2;1) counterpoint
    Adding voices: Triads and 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 dominant seventh and chordal dissonance
    Analytical extension: The interaction of harmony, melody, meter, and rhythm
    Chapter 5: Contrapuntal Expansions of Tonic and Dominant
    Contrapuntal expansions with first inversion triads
    Contrapuntal expansions with seventh chords
    Analytical extension: Invertible counterpoint
    Chapter 6: The Pre-Dominant, Phrase Model, and Additional Embellishments
    The pre-dominant functionIntroduction to the phrase model
    Accented and chromatic dissonances
    Analytical extension: Revisiting the subdominant
    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
    Summary of contrapuntal expansions
    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)
    The step descent in the bass
    Mediant (iii in major; III in minor)
    General summary of harmonic progression
    Analytical extension: The back-relating dominant
    Chapter 9: The Period, Double Period, and Sentence
    The period
    The double period
    The sentence
    Analytical extension: Modified periods
    Chapter 10: Harmonic Sequences: Concepts and Patterns
    Components and types of sequences
    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
    Voice leading for applied dominant chords
    Applied leading-tone chords
    Extended tonicization
    Analytical extension: Sequences with applied chords
    Chapter 12: Modulation and Binary Form
    Binary form
    Analytical extension: Binary form and Baroque dance suites
    Chapter 13: Expressive Chromaticism: Modal Mixture and Chromatic Modulation
    Modal mixture
    Plagal motions
    Modal mixture, applied chords, and other
    chromatic harmonies
    Expansion of modal mixture harmonies: Chromatic modulation
    Analytical extension: Modal mixture and text-music relations
    Chapter 14: The Neapolitan and Augmented Sixth Chords
    The Neapolitan chord
    The augmented sixth 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
    Analytical extension: Motivic expansion
    Appendix: Additional Formal Procedures
    Subphrases and composite phrases
    Variation techniques
    Ternary form and the nineteenth-century character piece
    Further characteristics of sonata form
    Abbreviations and Symbols