The complete musician : an integrated approach to tonal theory, analysis, and listening /
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| Author / Creator: | Laitz, Steven G. (Steven Geoffrey) |
|---|---|
| Edition: | 2nd ed. |
| Imprint: | New York : Oxford University Press, 2008. |
| Description: | xxiv, 888 p. : ill., music ; 27 cm. + 2 DVDs (4 3/4 in.) |
| Language: | English |
| Subject: | |
| Format: | Print Book |
| URL for this record: | http://pi.lib.uchicago.edu/1001/cat/bib/6429293 |
Table of Contents:
- Preface
- Terms and Concepts are included at the end of every chapter
- Part 1. The Foundation Of Tonal Music
- 1. The Pitch Realm: Tonality, Notation, and Scales
- Charting Musical Sound: Staff and Clef
- Pitch and Pitch Class
- The Division of Musical Space: Intervals
- Accidentals
- Scales
- Enharmonicism
- Scale Degree Numbers and Names
- Specific Scale Types: Major and Minor
- Building Scales in the Major Mode
- Key Signatures and the Circle of Fifths
- Building Scales in the Minor Mode
- Key Signatures in Minor
- Relative Major and Minor Keys
- Model Analysis: Tonality and Hierarchy in Bach's Violin Partita No3, Prelude
- 2. Pulse, Rhythm, and Meter
- Rhythm and Durational Symbols
- Meter
- Accent in Music
- Temporal Accents
- Nontemporal Accents
- Beat Division and Simple and Compound Meters
- The Meter Signature
- Asymmetrical Meters
- Clarifying Meter
- More Rhythmic Procedures
- Metrical Disturbance
- 3. Intervals and Melody
- Naming Intervals
- Tips for Identifying Generic Intervals
- Specific Interval Size
- Transforming Intervals: Augmented and Diminished Intervals
- Interval Inversion
- Generating All Intervals
- Enharmonic Intervals
- Consonant and Dissonant Intervals
- Melody: Characteristics, Writing, and Listening
- Model Analysis: Mozart, Piano Sonata in A minor, K310
- Melodic Dictation
- 4. Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint
- First-Species Counterpoint
- Contrapuntal Motions
- Beginning and Ending the Counterpoint
- Rules and Guidelines for First-Species (1:1) Counterpoint
- Second Species Counterpoint
- Weak-Beat Consonance
- Weak-Beat Dissonance
- Beginning and Ending Second-Species Counterpoint
- Rules and Guidelines for Second-Species Counterpoint
- Hearing Two-Voice Counterpoint
- Review
- 5. Triads, Inversions, Figured Bass, and Harmonic Analysis
- Triads
- Voicing Triads: Spacing and Doubling
- Triad Inversion
- Figured Bass
- Analyzing and Composing Using Figured Bass
- Additional Figured-Bass Conventions: Abbreviations and Chromaticism
- Triads and the Scale: Harmonic Analysis
- Roman Numerals
- Introduction to Harmonic Analysis
- Harmony and the Keyboard
- 6. Seventh Chords, Musical Texture, and Harmonic Analysis
- Musical Characteristics of Seventh Chords
- Inverted Seventh Chords
- Analytical Tips
- Seventh Chords and Harmonic Analysis
- Lead-Sheet Notation
- Musical Texture
- Model Analyses: Beethoven Violin Sonata No3 in Eb major, Op12, No3, and Mozart, "Madamina" from Don Giovanni, Act 1, Scene 4
- Summary of Part 1
- Part 2. Merging Melody And Harmony
- 7. Hierarchy in Music: Consonance, Unaccented Dissonance, and Melodic Fluency
- Consonance and Dissonance
- The Importance of Textual Analysis
- Model Analyses: Clementine and God Save the King
- Melodic Fluency
- 8. Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading
- The Cadence
- Introduction to Voice Leading
- Texture and Register
- Three Techniques to Create Voice Independence Within a Four-Voice Texture
- Creating the Best Sound: Incomplete and Complete Chords, Doubling, and Spacing
- Summary of Voice-Leading Rules and Guidelines
- 9. The Impact of Melody, Rhythm, and Meter on Harmony, and Introduction to V7
- The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and Reduction
- Embellishment and Reduction
- The Dominant Seventh and Chordal Dissonance Part Writing with the Dominant Seventh Chord
- Model Analysis: Beethoven, Piano Sonata in D minor, Op31, No2 "Tempest"
- Harmonizing Florid Melodies
- Summary
- 10. Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords
- Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords
- Chordal Leaps in the Bass: I6 and V6
- Neighbor Tones in the Bass (V6)
- Second-Level Analysis
- Writing and Playing First-Inversion Triads
- Passing Tones in the Bass: viio6
- Tonic Expansion with an Arpeggiating Bass: IV6
- Dominant Expansion with Passing Tones: IV6
- Combining First-Inversion Chords
- Summary
- 11. More Contrapuntal Expansions: Inversions of V7, and Introduction to Leading Tone Seventh Chords
- V7 and Its Inversions
- Voice Leading Inversions of V7
- Combining Inversions of V7
- Compositional Impact on Contrapuntal Chords
- Leading Tone Seventh Chords: viio7 and viio7
- Elaboration and Reduction
- Summary of Part 2P
