The complete musician : an integrated approach to theory, analysis and listening / Workbook 2

Focuses on music in context, describing composers' works and disussing how theory concepts developed through musicPresents an outstanding quality, quantity, and diversity of exercises geared toward real music and real music situationsIncludes almost 4,500 musical examples from the common-practice repertoire and nearly 20 hours of streaming music, performed by the students and faculty of the Eastman School of MusicNew to this Edition:Coverage of twentieth-century and contemporary music theory to meet the needs of professors who want to integrate post-tonal music into their coursesA consolidated introduction to fundamentals at the beginning of the bookEnhanced pegagogy and design, including: a new two-color design; New Chapter Openings featuring Chapter Overviews; Additional subheads; and End-of-chapter Review Questions300 new exercises and examples accompanied by recordings provide additional emphasis to help students and teachers focus on key conceptsAn expanded Companion Website at www.oup.com/us/laitz now includes streaming audio for nearly all examples and exercises plus supplementary drill exercisesThe accompanying Anthology contains eighty-four complete scores, many of which are newly recorded and available on the Companion Website Cover 1 CONTENTS 12 PREFACE 28 PART 1 THE FOUNDATIONS OF TONAL MUSIC 38 CHAPTER 1A: Musical Space 40 Chapter Overview 40 Tonality in Context: Bach's Violin Partita no. 3, Prelude 41 Specifics of the Pitch Realm 44 Terms and Concepts 78 Chapter Review 79 CHAPTER 1B: Musical Time: Pulse, Rhythm, and Meter 81 Chapter Overview 81 Rhythm and Durational Symbols 82 Meter 86 More Rhythmic Procedures 98 Accent in Music 101 Metrical Disturbance 109 Terms and Concepts 113 Chapter Review 114 CHAPTER 2 Harnessing Space and Time: Introduction to Melody and Two-Voice Counterpoint 115 Chapter Overview 115 Melody: Characteristics and Writing 116 Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint 121 Counterpoint in History 123 Two-Voice Counterpoint as Musical Foundation 124 Terms and Concepts 140 Chapter Review 141 CHAPTER 3 Musical Density: Triads, Seventh Chords, and Texture 143 Chapter Overview 143 Adding Voices: Triads and Seventh Chords 144 Seventh Chords 160 Musical Texture 167 Terms and Concepts 174 Chapter Review 175 Summary of Part 1 177 PART 2 MERGING MELODY AND HARMONY 178 CHAPTER 4 When Harmony, Melody, and Rhythm Converge 180 Chapter Overview 180 Tonal Hierarchy in Music 181 Embellishing Tones 183 The Importance of Context in Analysis 185 Analytical Interlude 188 Melodic Fluency 191 The Arch and Nested Lines 194 Melody as Harmony 196 Terms and Concepts 200 Chapter Review 201 CHAPTER 5 Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading 203 Chapter Overview 203 Characteristics and Effect of V and I 204 The Cadence 208 Introduction to Voice Leading 211 Summary of Voice-Leading Rules and Guidelines 219 Terms and Concepts 220 Chapter Review 221 CHAPTER 6 The Impact of Melody, Rhythm, and Meter on Harmony; Introduction to V7; and Harmonizing Florid Melodies 223 Chapter Overview 223 The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and Reduction 224 The Dominant Seventh and Chordal Dissonance 234 V[sup(7)] and I Chords 238 Harmonizing Folk-Type Melodies 241 Summary 244 Terms and Concepts 246 Chapter Review 246 CHAPTER 7 Contrapuntal Expansions of Tonic and Dominant: Six- Three Chords 248 Chapter Overview 248 Chordal Leaps in the Bass: I[sup(6)] and V[sup(6)] 249 Neighbor Tones in the Bass (V[sup(6)]) 253 Second-Level Analysis 255 Passing Tones in the Bass: vii°[sup(6)] 258 Tonic Expansion the Long Way: Descending a Sixth from 1 to 3 through V or IV[sup(6)] 260 Dominant Expansion with Passing Tones: IV[sup(6)] 261 Combining First-Inversion Chords 262 Summary 263 Terms and Concepts 266 Chapter Review 266 CHAPTER 8 More Contrapuntal Expansions: Inversions of VTonic Expansion the Long Way: Descending a Sixth from 1 to 3 through V or IV[sup(7)], Introduction to Leading-Tone Seventh Chords, and Reduction and Elaboration 268 Chapter Overview 268 V[sup(7)] and Its Inversions 269 Leading-Tone Seventh Chords: vii°[sup(7)] and viiø[sup(7)] 277 Compositional Impact of Contrapuntal Chords 283 Summary of Contrapuntal Expansions 285 Reduction and Elaboration: Compositional and Performance Implications 287 Terms and Concepts 294 Chapter Review 295 Summary of Part 2 296 PART 3 A NEW HARMONIC FUNCTION, THE PHRASE MODEL, AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS 298 CHAPTER 9 The Pre-Dominant Function and the Phrase Model 300 Chapter Overview 300 The Pre-Dominant Function 301 Introduction to the Phrase Model 310 Terms and Concepts 316 Chapter Review 316 CHAPTER 10 Accented and Chromatic Embellishing Tones 317 Chapter Overview 317 Unaccented Tones of Figuration 318 Accented Tones of Figuration 319 Specifics of Unaccented and Accented Tones of Figuration 319 Accented Embellishing Tones 320 The Accented Passing Tone (APT) 320 The Chromatic Passing Tone (CPT) 321 The Accented Neighbor Tone (AN) 323 The Chromatic Neighbor Tone (CN) 324 The Appoggiatura (APP) 325 The Suspension (S) 326 The Anticipation (ANT) 332 The Pedal (PED) 333 Summary of the Most Common Embellishing Tones 334 Terms and Concepts 338 Chapter Review 338 CHAPTER 11 Six-Four Chords, Revisiting the Subdominant, and Summary of Contrapuntal Expansions 340 Chapter Overview 340 Unaccented Six-Four Chords 341 Accented Six-Four Chords in Cadences 345 Summary of Harmonic Paradigms 355 Harmonizing Florid Melodies 355 Terms and Concepts 359 Chapter Review 360 CHAPTER 12 The Pre-Dominant Refines the Phrase Model 361 Chapter Overview 361 Nondominant Seventh Chords: IV[sup(7)] (IV6/5) and ii[sup(7)] (ii6/5) 362 Embedding the Phrase Model 366 Contrapuntal Cadences 369 Expanding the Pre-Dominant 370 Subphrases 374 Terms and Concepts 380 Chapter Review 381 Summary of Part 3 381 PART 4 NEW CHORDS AND NEW FORMS 382 CHAPTER 13 The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model 384 Chapter Overview 384 The Submediant (vi in Major, VI in Minor) 385 Voice Leading for the Submediant 390 Contextual Analysis 392 The Step Descent in the Bass 395 Terms and Concepts 401 Chapter Review 402 CHAPTER 14 The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic Relationships 403 Chapter Overview 403 The Mediant (iii in Major, III in Minor) 404 More Contextual Analysis: The Back- Relating Dominant 409 Synthesis: Root- Motion Principles and Their Compositional Impact 411 Summary 413 Terms and Concepts 414 Chapter Review 414 CHAPTER 15 The Period 415 Chapter Overview 415 Form as Process 416 Aspects of Melody and Harmony in Periods 417 Representing Form: The Formal Diagram 421 Sample Analyses of Periods and Some Analytical Guidelines 424 Composing Periods 426 Terms and Concepts 428 Chapter Review 428 CHAPTER 16 Other Small Musical Structures: Sentences, Double Periods, and Modified Periods 430 Chapter Overview 430 The Sentence: An Alternative Musical Structure 431 The Double Period 437 Modified Periods 439 Terms and Concepts 444 Chapter Review 444 CHAPTER 17 Harmonic Sequences 446 Chapter Overview 446 Components and Types of Sequences 449 Writing Sequences 460 Terms and Concepts 466 Chapter Review 467 Summary of Part 4 468 PART 5 FUNCTIONAL CHROMATICISM 470 CHAPTER 18 Applied Chords 472 Chapter Overview 472 Applied Dominant Chords 474 More-Extensive Tonicizations of Nontonic Harmonies 475 Applied Leading-Tone Chords 480 Incorporating Applied Chords Within Phrases 481 Sequences with Applied Chords 487 Summary of Diatonic and Applied-Chord Sequences 492 Terms and Concepts 496 Chapter Review 496 CHAPTER 19 Tonicization and Modulation 498 Chapter Overview 498 Extended Tonicization 498 Modulation 504 Terms and Concepts 517 Chapter Review 517 CHAPTER 20 Binary Form and Variations 519 Chapter Overview 519 Binary Form 520 Variation Form 530 Terms and Concepts 538 Chapter Review 538 Answers to Exercise Interlude 20.1 540 Summary of Part 5 541 PART 6 EXPRESSIVE CHROMATICISM 544 CHAPTER 21 Modal Mixture 546 Chapter Overview 546 Altered Pre-Dominant Harmonies: ii° and iv 549 Altered Submediant Harmony: bVI 550 Altered Tonic Harmony: i 551 Altered Mediant Harmony: bIII 553 Voice Leading for Mixture Harmonies 554 Chromatic Stepwise Bass Descents 557 Plagal Motions 559 Modal Mixture, Applied Chords, and Other Chromatic Mediants 561 Summary of Third Relations 563 Terms and Concepts 566 Chapter Review 566 CHAPTER 22 Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German Lied 568 Chapter Overview 568 Chromatic Pivot-Chord Modulations 569 Unprepared and Common-Tone Chromatic Modulations 574 Analytical Challenges 579 Modal Mixture and the German Lied 580 Terms and Concepts 589 Chapter Review 589 CHAPTER 23 The Neapolitan Chord (bII) 591 Chapter Overview 591 Characteristics, Effects, and Behavior of the Neapolitan Chord 591 Writing the Neapolitan Chord 593 Expanding bII 596 The Neapolitan Chord in Sequences 599 The Neapolitan Chord as a Pivot Chord 599 Terms and Concepts 604 Chapter Review 604 CHAPTER 24 The Augmented Sixth Chord 605 Chapter Overview 605 Characteristics, Effects, and Behavior of the Augmented Sixth Chord 606 Types of Augmented Sixth Chords 608 Writing Augmented Sixth Chords 609 (b)VI and the Ger6/5 Chord 612 Augmented Sixth Chords as Part of PD Expansions 612 The Augmented Sixth Chord and Modulation: Reinforcement 618 The Augmented Sixth Chord as Pivot in Modulations 620 Terms and Concepts 626 Chapter Review 626 Summary of Part 6 628 PART 7 LARGE FORMS: TERNARY, RONDO, SONATA 630 CHAPTER 25 Ternary Form 632 Chapter Overview 632 Characteristics 632 Transitions and Retransitions 634 Da Capo Form: Compound Ternary Form 637 Da Capo Aria 639 Minuet-Trio Form 639 Ternary Form in the Nineteenth Century 642 Terms and Concepts 651 Chapter Review 651 CHAPTER 26 Rondo 653 Chapter Overview 653 Context 653 The Classical Rondo 654 Terms and Concepts 666 Chapter Review 666 CHAPTER 27 Sonata Form 667 Chapter Overview 667 Historical Context and Tonal Background 668 The Binary Model for Sonata Form 669 Additional Characteristics and Elements of Sonata Form 675 Other Tonal Strategies 679 Sonata-Rondo Form 682 Analytical Synthesis: Sonatas of Haydn and Mozart 685 Terms and Concepts 695 Chapter Review 695 Summary of Part 7 697 PART 8 INTRODUCTION TO NINETEENTH-CENTURY HARMONY: THE SHIFT FROM ASYMMETRY TO SYMMETRY 698 CHAPTER 28 New Harmonic Tendencies 700 Chapter Overview 700 Tonal Ambiguity: The Plagal Relation and Reciprocal Process 701 Tonal Ambiguity: Semitonal Voice Leading 704 Tonal Clarity Postponed: Off-Tonic Beginning 707 Double Tonality 707 Symmetry: The Diminished Seventh Chord and Enharmonic Modulation 711 A Paradox: "Balanced" Music Based on Asymmetry 717 Symmetry and Tonal Ambiguity 719 The Augmented Triad 720 Altered Dominant Seventh Chords 724 The Common-Tone Diminished Seventh Chord 726 Common-Tone Augmented Sixth Chords 727 Terms and Concepts 729 Chapter Review 729 CHAPTER 29 Melodic and Harmonic Symmetry Combine: Chromatic Sequences 731 Chapter Overview 731 Distinctions Between Diatonic and Chromatic Sequences 732 Details of Chromatic Sequences 733 Chromatic Sequence Types 734 Other Chromatic Step-Descent Basses 740 Writing Chromatic Sequences 744 Chromatic Contrary Motion 745 A Final Equal Division of the Octave 748 Sequential Progressions 750 Nonsequential Progressions and Equal Divisions of the Octave 753 The Intervallic Cell 755 Terms and Concepts 761 Chapter Review 761 PART 9 TWENTIETH-AND TWENTY-FIRST-CENTURY MUSIC 764 CHAPTER 30 Vestiges of Common Practice and the Rise of a New Sound World 766 Chapter Overview 766 Centricity 774 Form and Process 778 Always the Same, but Never in the Same Way: Melodies, Motives, Harmony, and Line 781 Triadic Extensions 789 Pitch Classes (PCs) and Collections 799 Pitch-Class Collections with Six Members #1: Whole- Tone Collection 808 Pitch-Class Collections with Six Members #2: Hexatonic Collection 813 Eight-Note Collections: Octatonic 815 Form 821 Terms and Concepts 824 Chapter Review 824 CHAPTER 31 Noncentric Music: Atonal Concepts and Analytical Methodology 827 Chapter Overview 827 A New Sound World 828 A First Analysis 829 Pitch and Pitch-Class Space 832 Equivalence 833 Integer Notation 836 PC Sets and Modular Arithmetic 836 More on Equivalence Classes 839 Computing and Comparing: P and PC Space 841 P Sets and PC Sets with Three or More Members 843 A Systematic Approach 851 Symmetrical Sets 856 Terms and Concepts 862 Chapter Review 863 CHAPTER 32 New Rhythmic and Metric Possibilities, Ordered PC Relations, and Twelve-Tone Techniques 865 Chapter Overview 865 Meter and Rhythm 866 Twelve-Tone Music 875 Transforming the Row: Twelve-Tone Operators (TTOs) 883 Application of Twelve-Tone Rows 885 Berg, Lyric Suite 889 Multiple Row Forms 892 The Twelve-Tone Matrix 893 Simultaneous Row Forms: Combinatoriality 897 Schoenberg's Signature Procedure: Inversional Combinatoriality 899 Variance Versus Invariance 904 Summary 909 Terms and Concepts 910 Chapter Review 910 GLOSSARY 914 A 914 B 915 C 915 D 917 E 919 F 919 G 920 H 920 I 921 K 921 L 922 M 922 N 923 O 923 P 924 Q 925 R 925 S 926 T 926 U 929 V 929 W 929 Z 929 CREDITS 930 INDEX OF TERMS AND CONCEPTS 932 A 932 B 933 C 933 D 935 E 936 F 937 G 937 H 938 I 938 J 939 K 939 L 939 M 940 N 941 O 941 P 942 Q 943 R 943 S 944 T 946 U 947 V 947 W 948 Z 948 INDEX OF MUSICAL EX AMPLES AND EXERCISES 950 A 932 B 933 C 933 D 935 E 936 F 937 G 937 H 938 I 938 J 939 K 939 L 939 M 940 N 941 O 941 P 942 Q 943 R 943 S 944 T 946 U 947 V 947 W 948 Z 948 Beginning with music fundamentals, this text covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. The text links each of the tasks that comprise a tonal theory curriculum, explicitly connecting written theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. Distinctive Features: * Presents an outstanding quality, quantity, and diversity of exercises geared toward real music and real music situations * Explores not only standard four-voice harmony, but also other musical domains including melody, counterpoint, and a multitude of textures; the result is a text with applicability and relevance to all musicians * Includes almost 4,000 musical examples from the common-practice repertoire in the text and workbooks, more than 90 percent of which are on the MP3 files included on the CDs with text and workbooks (all music is performed, recorded, and engineered at Eastman) New to this Edition: * Revised with beginning students in mind, this edition contains more basic exercises as well as solutions to selected exercises in the text. Longer and more difficult exercises have been moved to the workbooks. * Streamlined and reorganized with fewer chapters (31, down from 37), the text presents the most commonly taught topics in sequence and moves less-common topics--such as invertible counterpoint, compound melody, and motive (covered in chapters 15, 16, and 23 of the previous edition)--to the appendices, where instructors may access them when their curricula permits, or omit them altogether. * This edition offers a new presentation of fundamentals: the first three chapters provide a review and synthesis for students with experience in music fundamentals, and a 100-page appendix introduces key concepts for students with little or no experience. This allows instructors to choose the pacing that best suits their class and individual students. * New "how-to" sections include introductions to conducting patterns, sight singing, and dictation. * This edition presents more than 250 new literature excerpts and complete works for analysis and dictation, including new instrumental combinations. * New theoretical topics of discussion include sonata-rondo. * New appendices offer further support: Appendix 5 covers terms and abbreviations used in the text and Appendix 6 includes selected answers to exercises in the text. Support Package * The new Companion Website (www.oup.com/us/laitz) provides instructor and student resources that include supplementary drill exercises. * The Instructor's Manual provides solutions to all of the dictation exercises, sample solutions for more than 250 writing (e.g., figured bass and melody harmonization) and analytical exercises, supplementary examples, exercises, and teaching guidelines that detail effective strategies for each chapter. * The two workbooks have been significantly reorganized: Workbook 1 is now dedicated to written and analytical activities, including figured bass, melody harmonization, model composition, and analysis. Workbook 2 covers musicianship skills. Exercises within each chapter of Workbook 2 are organized by activity type: singing arpeggiations of the chord being studied, then within a tune from the literature; two-part singing; dictation; keyboard; then instrumental application. PrefacePart 1: The Foundations of Tonal MusicChapter 1A: Musical SpaceChapter 1B: Musical Time: Pulse, Rhythm, and MeterChapter 2: Harnessing Space and Time: Introduction to Melody and Two-Voice CounterpointChapter 3: Musical Density: Triads, Seventh Chords, and TexturePart 2: Merging Melody and HarmonyChapter 4: When Harmony, Melody, and Rhythm ConvergeChapter 5: Tonic and Dominant as Tonal Pillars and Introduction to Voice LeadingChapter 6: The Impact of Melody, Rhythm, and Meter on Harmony Introduction to V7 and Harmonizing Florid MelodiesChapter 7: Contrapuntal Expansions of Tonic and Dominant: Six-Three ChordsChapter 8: More Contrpuntal Expansions: Inversions of V7, Introduction to Leading-Tone Seventh Chords, and Reduction and ElavorationPart 3: A New Harmonic Function, The Phrase Model, and Additional Melodic and Harmonic EmbellishmentsChapter 9: The Pre-Dominant Function and the Phrase ModelChapter 10: Accented and Chromatic Embellishing TonesChapter 11: Six-Four Chords, Revisiting the Subdominant, and Summary of Contrapuntal ExpansionsChapter 12: The Pre-Dominant Refines the Phrase ModelPart 4: New Chords and New FormsChapter 13: The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase ModelChapter 14: The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic RelationshipsChapter 15: The PeriodChapter 16: Other Small Musical Structures: Sentences, Double Periods, and Modified PeriodsChapter 17: Harmonic SequencesPart 5: Functional ChromaticismChapter 18: Applied ChordsChapter 19: Tonicization and ModulationChapter 20: Binary Form and VariationsPart 6: Expressive ChromaticismChapter 21: Modal MixtureChapter 22: Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German LiedChapter 23: The Neapolitan Chord (bII)Chapter 24: The Augmented Sixth ChordPart 7: Large Forms: Ternary, Rondo, SonataChapter 25: Ternary FormChapter 26: RondoChapter 27: Sonata FormPart 8: Introduction to Nineteenth-Century Harmony: The Shirt from Asymmetry to SymmetryChapter 28: New Harmonic TendenciesChapter 29: Melodic and Harmonic Symmetry Combine: Chromatic SequencesPart 9: Twentieth and Twenty-First-Century MusicChapter 30: Vestiges of Common Practice and the Rise of a New Sound WorldChapter 31: Noncentric Music: Atonal Concepts and Analytical MethodologyChapter 32: New Rhythmic and Metric Possibilities, Ordered PC Relations, and Twelve-Tone TechniquesAppendicesAppndix 1: Invertible Counterpoint, Compound Melody, and Implied HarmoniesAppendix 2: The MotiveAppendix 3: Additional Harmonic-Sequence TopicsAppendix 4: Abbreviations and AcronymsAppendix 5: Selected Answers to Textbook ExercisesGlossaryIndex