The complete musician: an integrated approach to tonal theory, analysis, and listening
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York [u.a.]
Oxford Univ. Press
2008
|
| Ausgabe: | 2. ed. |
| Schlagworte: | |
| Online-Zugang: | Publisher description Table of contents only Inhaltsverzeichnis |
| Beschreibung: | Includes indexes. |
| Beschreibung: | XXIV, 888 S. graph. Darst., zahlr. Notenbeisp. 2 CDs (12 cm) |
| ISBN: | 9780195301083 |
Internformat
MARC
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| 100 | 1 | |a Laitz, Steven G. |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a The complete musician |b an integrated approach to tonal theory, analysis, and listening |c Steven G. Laitz |
| 250 | |a 2. ed. | ||
| 264 | 1 | |a New York [u.a.] |b Oxford Univ. Press |c 2008 | |
| 300 | |a XXIV, 888 S. |b graph. Darst., zahlr. Notenbeisp. |e 2 CDs (12 cm) | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes indexes. | ||
| 650 | 4 | |a Music theory |v Textbooks | |
| 650 | 4 | |a Tonality | |
| 650 | 4 | |a Musical analysis | |
| 650 | 0 | 7 | |a Harmonik |0 (DE-588)4129030-6 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Musikalische Analyse |0 (DE-588)4040814-0 |2 gnd |9 rswk-swf |
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| 942 | 1 | 1 | |c 781 |e 22/bsb |
Datensatz im Suchindex
| _version_ | 1804136555803049984 |
|---|---|
| adam_text | CONTENTS
Preface
xvii
PART
1
THE FOUNDATION OF TONAL MUSIC
The Pitch Realm: Tonality, Notation, and Scales
3
Charting Musical Sound: Staff and Clef
3
Pitch and Pitch Class
5
The Division of Musical Space: Intervals
5
Accidentals
6
Scales
7
Enharmonicism
8
Scale Degree Numbers and Names
9
Specific Scale Types: Major and Minor
9
Building Scales in the Major Mode
10
Key Signatures and the Circle of Fifths
11
Building Scales in the Minor Mode
13
Key Signatures in Minor
15
Relative Major and Minor Keys
16
Analytical Application: Tonality and Hierarchy in Bach s Violin Partita
No.
3,
Prelude
28
Pulse, Rhythm, and Meter
33
Rhythm and Durational Symbols
33
Meter
38
Accent in Music
40
Temporal Accents
40
Nontemporal
Accents
41
Beat Division and Simple and Compound Meters
49
The Meter Signature
52
Asymmetrical Meters
54
Clarifying Meter
57
More Rhythmic Procedures
59
Metrical Disturbance
61
Intervals and Melody
70
Naming Generic Intervals
70
vii
CONTENTS
Tips for Identifying Generic Intervals
72
Naming Specific Intervals
72
Transforming Intervals: Augmented and Diminished Intervals
76
Interval Inversion
78
Generating All Intervals
81
Enharmonic Intervals
82
Consonant and Dissonant Intervals
82
Melody: Characteristics, Writing, and Listening
86
Melodic Dictation
90
Controlling Consonance and Dissonance: Introduction to
Two-Voice Counterpoint
94
First-Species Counterpoint
99
Contrapuntal Motions
100
Rules and Guidelines for First-Species
(1:1)
Counterpoint
103
Second Species Counterpoint
106
Weak-Beat Consonance
107
Weak-Beat Dissonance
107
Beginning and Ending Second-Species Counterpoint
109
Rules and Guidelines for Second-Species Counterpoint
110
Hearing Two-Voice Counterpoint
113
Review and Synthesis of Terms and Concepts
115
Triads, Inversions, Figured Bass, and Harmonic Analysis
116
Triads
116
Voicing Triads: Spacing and Doubling
117
Triad Inversion
118
Figured Bass
122
Analyzing and Composing Using Figured Bass
122
Triads and the Scale: Harmonic Analysis
129
Roman Numerals
130
Introduction to Harmonic Analysis
130
Harmony and the Keyboard
132
Seventh Chords, Musical Texture, and Harmonic Analysis
138
Musical Characteristics of Seventh Chords
139
Inverted Seventh Chords
142
Analytical tips
142
Seventh Chords and Harmonic Analysis
143
Lead-Sheet Notation
144
Musical Texture
148
Summary of Part
1 159
PART
2
MERGING MELODY AND HARMONY
7
Hierarchy in Music: Consonance, Unaccented Dissonance,
and Melodic Fluency
162
Consonance and Dissonance
162
CONTENTS ix
The Importance of
Textural
Analysis
166
Sample Analyses
170
Melodic Fluency
172
8
Tonic and Dominant as Tonal Pillars and Introduction to Voice
Leading
183
The Cadence
186
Introduction to Voice Leading
191
Texture and Register
192
Three Techniques to Create Voice Independence Within a Four-Voice
Texture
194
Creating the Best Sound: Incomplete and Complete Chords, Doubling,
and Spacing
196
Summary of Voice-Leading Rules and Guidelines
199
9
The Impact of Melody, Rhythm, and Meter on Harmony,
and Introduction to V7
203
The Interaction of Harmony, Melody, Meter, and Rhythm:
Embellishment and Reduction
203
Embellishment and Reduction
203
The Dominant Seventh and Chordal Dissonance
213
Part Writing with the Dominant Seventh Chord
216
An Analytical Interlude
217
Harmonizing Florid Melodies
219
Summary
221
10
Contrapuntal Expansions of Tonic and Dominant: Six-Three
Chords
226
Chordal Leaps in the Bass: Lj and V(,
226
Neighbor Tones in the Bass (V6)
230
Second-Level Analysis
232
Writing and Playing First-Inversion Triads
233
Passing Tones in the Bass: vii°6
235
Tonic Expansion with an Arpeggiating Bass:
TV¿
237
Dominant Expansion with Passing Tones: IV6
238
Combining First-Inversion Chords
239
Summary
240
11
More Contrapuntal Expansions: Inversions of V7,
and Introduction to Leading Tone Seventh Chords
246
V7 and Its Inversions
246
Voice-Leading Inversions of V7
251
Combining Inversions of V7
251
Compositional Impact on Contrapuntal Chords
253
Leading Tone Seventh Chords: vii°7 and vii07
259
Elaboration and Reduction
266
Summary of Part
2 272
CONTENTS
PART
3
A NEW HARMONIC FUNCTION
AND ADDITIONAL MELODIC
___________
AND HARMONIC EMBELLISHMENTS
12
The Pre-Dominant Function and the Phrase Model
280
The
Subdominant
(IV in Major,
iv
in Minor)
281
The Supertonic (ii in Major, ii° in Minor)
283
Pre-Dominants and the Stepwise Ascending Bass
284
Part Writing for Pre-Dominants
285
Extending the Pre-Dominant
290
Introduction to the Phrase Model
291
T-PD-D-T within the Tonic Prolongation
294
13
Accented and Chromatic Dissonances
302
The Accented Passing Tone (APT)
304
The Chromatic Passing Tones (CPT)
305
The Accented Neighbor Tone (AN)
306
The Chromatic Neighbor Tone (CN)
307
The
Appoggiatura (APP)
309
The Suspension
(SUS)
309
The Anticipation (ANT)
315
The Pedal (PED)
315
Summary of the Most Common Tones of Figuration
316
14
Six-Four Chords and Revisiting IV
324
Unaccented Six-Four Chords I: Pedal
324
Unaccented Six-Four Chords II: Passing
326
Unaccented Six-Four Chords III: Arpeggiating
327
Accented Six-Four Chords
328
Additional Uses of Cadential Six-Four Chords
330
Writing Six-Four Chords
334
Revisiting the
Subdominant
335
Summary of Harmonic Paradigms
336
Harmonizing Florid Melodies
338
15
Invertible Counterpoint, Compound Melody, and Implied
Harmonies
349
Invertible Counterpoint Below the Music s Surface
352
Harmonic Implications of Single Melodic Lines: Compound
Melody
356
Implied Harmonies
360
16
The Motive
364
Introduction
364
Motive Types
365
Motivic Repetition
367
Strict Repetition
367
Modified Repetition
369
CONTENTS
Additional Pitch Transformations
373
Rhythmic Transformations
376
Developmental Repetitions
379
Intersection and Intermovement Motivic Repetitions
381
Single-Interval Motives
387
Hidden Motivic Repetitions
392
Depth and Surface: Motivic Parallelism
393
Summary of Part
3 402
PART
4
NEW CHORDS COMPLETE THE DIATONIC
_______________________
SPECTRUM
____________________
17
The Phrase Model Refined: Perception, Animation,
and Expansion
404
Hearing Phrases as Single Entities
404
Listening Guidelines
405
Pre-Dominant Seventh Chords: IV7 (TV65) and ii7 (iif
) 406
Analyzing
Nondominant
Seventh Chords
408
The Pre-Dominant in Embedded Phrase Models
411
Contrapuntal Cadences
412
Expansion of the Pre-Dominant
413
Subphrases
416
Composite Phrases
418
18
The Submediant: A New Diatonic Harmony, and Further
Extensions of the Phrase Model
425
The Submediant
425
The Submediant as Bridge in the Descending-Thirds
Progression
425
The Submediant in the Descending-Circle-of-Fifths-
Progression
427
The Submediant as Tonic Substitute in
Ascending-Second-Progressions
428
The Submediant as the Pre-Dominant
429
Voice Leading for the Submediant
430
Contextual Analysis
436
The Step Descent in the Bass
439
19
The Mediant, the Back-Relating Dominant, and a Synthesis
of Diatonic Harmonic Relationships
446
The Mediant in Arpeggiations
446
A Special Case: Preparing the III Chord in Minor
447
The Mediant in Descending-Fifths Progressions
448
Voice Leading for the Mediant
449
More Contextual Analysis
451
General Guidelines for Harmonic Progressions
453
Summary of Part
4 454
CONTENTS
PART
5
CREATING LARGER FORMS
20
The Period
462
Aspects of Melody and Harmony in Periods
463
Representing Form: The Formal Diagram
468
Sample Analyses of Periods and Some Analytical Guidelines
470
A Summary for Analyzing Periods
472
Composing Periods
472
21
Other Small Musical Structures: Sentences, Double Periods,
and Asymmetrical Periods
477
The Sentence: An Alternative Musical Structure
478
The Double Period
483
Asymmetrical Periods
485
22
Harmonic Sequences: Concepts and Patterns
495
Components and Types of Sequences
497
The Descending-Second (D2) Sequence
497
The Descending-Second Sequence in Inversion
499
The Descending-Third (D3) Sequence
499
The Descending-Third Sequence in Inversion
501
The Ascending-Second (A2) Sequence
501
Another Ascending-Second Sequence: A2 (-3/+4)
502
Writing Sequences
509
23
Sequences Within Larger Musical Contexts and Sequences with
Seventh Chords
514
Composing Sequences Within the Phrase Model
514
Sequences with Diatonic Seventh Chords
519
Composing Sequences with Seventh Chords
520
Sequences with Inversions of Seventh Chords
521
Compound Melody and Implied Seventh Chord Sequences
522
Parallel First-Inversion Triads
523
Sequences versus Sequential Progressions
525
Summary of Part
5 526
________________
PART
6
CHROMATICISM
24
Applied Chords
538
Applied Dominant Chords
539
Applied Chords in Inversion
540
Hearing Applied Chords
541
Voice Leading for Applied Chords
541
Applied Leading-Tone Chords
545
Incorporating Applied Chords Within Phrases
545
An Example Composition
546
Sequences with Applied Chords
551
The D2
(-57+4)
Sequence
551
CONTENTS xiii
The D3 (-4/4-2)
Sequence
553
The A2
(-ЗАні)
Applied-Chord Sequence
554
Writing Applied-Chord Sequences
555
Summary of Diatonic and Applied-Chord Sequences
555
25
Tonicization and Modulation
563
Extended Tonicizations
563
Modulation
569
Closely Related Keys
571
Hearing Modulations
572
Analyzing Modulations
572
Writing Modulations
574
Modulation in the Larger Musical Context
575
The Sequence as a Tool in Modulation
576
26
Binary Form and Variations
587
Summary of Binary Form Types
593
Variation Form
598
Continuous Variations
598
Sectional Variations
603
Summary of Part
6 610
Answers to Exercise
26.2 612
__________
PART
7
EXPRESSIVE CHROMATICISM
__________
27
Modal Mixture
616
Altered Pre-Dominant Harmonies: ii° and
iv 618
Application: Musical Effects of Melodic Mixture
619
Altered Submediant Harmony:
ťVI
619
Altered Tonic Harmony:
і
620
Altered Mediant Harmony:
ЩІ
622
Voice Leading for Mixture Harmonies
623
Chromatic Stepwise Bass Descents
627
Piagai
Motions
628
Modal Mixture, Applied Chords, and Other Chromatic
Harmonies
630
Summary
632
28
Expansion of Modal Mixture Harmonies: Chromatic Modulation
and the German Lied
637
Chromatic Pivot-Chord Modulations
637
An Analytical Interlude: Franz Schubert s Waltz in
F
Major
639
Writing Chromatic Modulations
641
Unprepared Chromatic Modulations
643
Chromatic Common-Tone Modulations
644
Analytical Challenges
647
Modal Mixture and the German
Lied
650
Analytical Payoff: The Dramatic Role of Wl
658
CONTENTS
29
The Neapolitan Chord (HI)
661
Common Contexts for
1>II6
662
Expanding
ÜI 668
The Neapolitan in Sequences
671
The Neapolitan as Pivot Chord
671
30
The Augmented Sixth Chord
678
General Features
679
Types of Augmented Sixth Chords
680
Writing Augmented Sixth Chords: Approach and Resolution
681
Hearing Augmented Sixth Chords
682
(IOVI
and the Augmented Sixth Chord
685
Augmented Sixth Chords as Part of PD Expansions
686
The Augmented Sixth Chord and Modulation: Reinforcement
690
The Augmented Sixth Chord as Pivot in Modulations
691
Summary of Part
7 699
PART
8
LARGE FORMS: TERNARY, RONDO, SONATA
31
Ternary Form
702
Transitions and
Retransitions
707
Da Capo Form: Compound Ternary Form
709
Da Capo Aria
711
Minuet-Trio Form
715
Ternary Form in the Nineteenth Century
718
32
Rondo
730
The Classical Rondo
732
Five-Part Rondo
732
Coda, Transitions, and
Retransitions
737
Compound Rondo Form
737
Seven-Part Rondo
740
Distinguishing Seven-Part Rondo Form from Ternary Form
740
Missing Double Bars and Repeats
740
33
Sonata Form
752
The Binary Model for Sonata Form
753
Additional Characteristics and Elements of Sonata Form
759
Other Tonal Strategies
762
Analytical Interlude: Sonatas of Haydn and Mozart
765
Haydn: Piano Sonata no.
48
in
С
major, Hob.
XVI. 35,
Allegro
con brio
765
Mozart, Piano Sonata in
Bt
major, K.
333,
Allegro
775
Summary of Part
8 785
CONTENTS
PART
9
INTRODUCTION TO NINETEENTH-CENTURY
HARMONY: THE SHIFT FROM ASYMMETRY TO
_______________________
SYMMETRY
_____________________
34
New Harmonic Tendencies
790
Tonal Ambiguity: The
Piagai
Relation and Reciprocal Process
790
Tonal Ambiguity: Semitonal Voice Leading
793
The Diminished Seventh Chord and Enharmonic Modulation
801
Analysis
803
Tonal Clarity Postponed: Off-Tonic Beginning
805
Double Tonality
806
35
The Rise of Symmetrical Harmony in Tonal Music
810
A Paradox: Balanced Music Based on Asymmetry
810
Symmetry and Tonal Ambiguity
812
The Augmented Triad
813
Altered Dominant Seventh Chords
817
The Common-Tone Diminished Seventh Chord
820
Common-Tone Augmented Sixth Chords
821
Analytical Interlude
822
36
Melodic and Harmonic Symmetry Combine: Chromatic
Sequences
829
The DM2 (-4/+3) Sequence
830
The Chromatic Forms of the D2
(-5/44)
Sequence
833
The Chromatic Forms of the A2
(-3/44)
Sequence
834
Other Chromatic Step-Descent Basses
836
Writing Chromatic Sequences
840
Chromatic Contrary Motion
843
The Omnibus
845
A Final Equal Division of the Octave
846
37
At Tonality s Edge
852
Sequential Progressions
852
Nonsequential Progressions and Equal Divisions of the Octave
855
The Intervallic Cell
859
Analytical Interlude: Chopin, Prelude, op.
28,
no.
2 861
Analytical Interlude: Scriabin, Prelude, op.
39,
no.
2 865
Summary of Part
9 875
Index of Terms and Concepts
877
Index of Musical Examples and Exercises
884
|
| adam_txt |
CONTENTS
Preface
xvii
PART
1
THE FOUNDATION OF TONAL MUSIC
The Pitch Realm: Tonality, Notation, and Scales
3
Charting Musical Sound: Staff and Clef
3
Pitch and Pitch Class
5
The Division of Musical Space: Intervals
5
Accidentals
6
Scales
7
Enharmonicism
8
Scale Degree Numbers and Names
9
Specific Scale Types: Major and Minor
9
Building Scales in the Major Mode
10
Key Signatures and the Circle of Fifths
11
Building Scales in the Minor Mode
13
Key Signatures in Minor
15
Relative Major and Minor Keys
16
Analytical Application: Tonality and Hierarchy in Bach's Violin Partita
No.
3,
Prelude
28
Pulse, Rhythm, and Meter
33
Rhythm and Durational Symbols
33
Meter
38
Accent in Music
40
Temporal Accents
40
Nontemporal
Accents
41
Beat Division and Simple and Compound Meters
49
The Meter Signature
52
Asymmetrical Meters
54
Clarifying Meter
57
More Rhythmic Procedures
59
Metrical Disturbance
61
Intervals and Melody
70
Naming Generic Intervals
70
vii
CONTENTS
Tips for Identifying Generic Intervals
72
Naming Specific Intervals
72
Transforming Intervals: Augmented and Diminished Intervals
76
Interval Inversion
78
Generating All Intervals
81
Enharmonic Intervals
82
Consonant and Dissonant Intervals
82
Melody: Characteristics, Writing, and Listening
86
Melodic Dictation
90
Controlling Consonance and Dissonance: Introduction to
Two-Voice Counterpoint
94
First-Species Counterpoint
99
Contrapuntal Motions
100
Rules and Guidelines for First-Species
(1:1)
Counterpoint
103
Second Species Counterpoint
106
Weak-Beat Consonance
107
Weak-Beat Dissonance
107
Beginning and Ending Second-Species Counterpoint
109
Rules and Guidelines for Second-Species Counterpoint
110
Hearing Two-Voice Counterpoint
113
Review and Synthesis of Terms and Concepts
115
Triads, Inversions, Figured Bass, and Harmonic Analysis
116
Triads
116
Voicing Triads: Spacing and Doubling
117
Triad Inversion
118
Figured Bass
122
Analyzing and Composing Using Figured Bass
122
Triads and the Scale: Harmonic Analysis
129
Roman Numerals
130
Introduction to Harmonic Analysis
130
Harmony and the Keyboard
132
Seventh Chords, Musical Texture, and Harmonic Analysis
138
Musical Characteristics of Seventh Chords
139
Inverted Seventh Chords
142
Analytical tips
142
Seventh Chords and Harmonic Analysis
143
Lead-Sheet Notation
144
Musical Texture
148
Summary of Part
1 159
PART
2
MERGING MELODY AND HARMONY
7
Hierarchy in Music: Consonance, Unaccented Dissonance,
and Melodic Fluency
162
Consonance and Dissonance
162
CONTENTS ix
The Importance of
Textural
Analysis
166
Sample Analyses
170
Melodic Fluency
172
8
Tonic and Dominant as Tonal Pillars and Introduction to Voice
Leading
183
The Cadence
186
Introduction to Voice Leading
191
Texture and Register
192
Three Techniques to Create Voice Independence Within a Four-Voice
Texture
194
Creating the Best Sound: Incomplete and Complete Chords, Doubling,
and Spacing
196
Summary of Voice-Leading Rules and Guidelines
199
9
The Impact of Melody, Rhythm, and Meter on Harmony,
and Introduction to V7
203
The Interaction of Harmony, Melody, Meter, and Rhythm:
Embellishment and Reduction
203
Embellishment and Reduction
203
The Dominant Seventh and Chordal Dissonance
213
Part Writing with the Dominant Seventh Chord
216
An Analytical Interlude
217
Harmonizing Florid Melodies
219
Summary
221
10
Contrapuntal Expansions of Tonic and Dominant: Six-Three
Chords
226
Chordal Leaps in the Bass: Lj and V(,
226
Neighbor Tones in the Bass (V6)
230
Second-Level Analysis
232
Writing and Playing First-Inversion Triads
233
Passing Tones in the Bass: vii°6
235
Tonic Expansion with an Arpeggiating Bass:
TV¿
237
Dominant Expansion with Passing Tones: IV6
238
Combining First-Inversion Chords
239
Summary
240
11
More Contrapuntal Expansions: Inversions of V7,
and Introduction to Leading Tone Seventh Chords
246
V7 and Its Inversions
246
Voice-Leading Inversions of V7
251
Combining Inversions of V7
251
Compositional Impact on Contrapuntal Chords
253
Leading Tone Seventh Chords: vii°7 and vii07
259
Elaboration and Reduction
266
Summary of Part
2 272
CONTENTS
PART
3
A NEW HARMONIC FUNCTION
AND ADDITIONAL MELODIC
_
AND HARMONIC EMBELLISHMENTS
12
The Pre-Dominant Function and the Phrase Model
280
The
Subdominant
(IV in Major,
iv
in Minor)
281
The Supertonic (ii in Major, ii° in Minor)
283
Pre-Dominants and the Stepwise Ascending Bass
284
Part Writing for Pre-Dominants
285
Extending the Pre-Dominant
290
Introduction to the Phrase Model
291
T-PD-D-T within the Tonic Prolongation
294
13
Accented and Chromatic Dissonances
302
The Accented Passing Tone (APT)
304
The Chromatic Passing Tones (CPT)
305
The Accented Neighbor Tone (AN)
306
The Chromatic Neighbor Tone (CN)
307
The
Appoggiatura (APP)
309
The Suspension
(SUS)
309
The Anticipation (ANT)
315
The Pedal (PED)
315
Summary of the Most Common Tones of Figuration
316
14
Six-Four Chords and Revisiting IV
324
Unaccented Six-Four Chords I: Pedal
324
Unaccented Six-Four Chords II: Passing
326
Unaccented Six-Four Chords III: Arpeggiating
327
Accented Six-Four Chords
328
Additional Uses of Cadential Six-Four Chords
330
Writing Six-Four Chords
334
Revisiting the
Subdominant
335
Summary of Harmonic Paradigms
336
Harmonizing Florid Melodies
338
15
Invertible Counterpoint, Compound Melody, and Implied
Harmonies
349
Invertible Counterpoint Below the Music's Surface
352
Harmonic Implications of Single Melodic Lines: Compound
Melody
356
Implied Harmonies
360
16
The Motive
364
Introduction
364
Motive Types
365
Motivic Repetition
367
Strict Repetition
367
Modified Repetition
369
CONTENTS
Additional Pitch Transformations
373
Rhythmic Transformations
376
Developmental Repetitions
379
Intersection and Intermovement Motivic Repetitions
381
Single-Interval Motives
387
Hidden Motivic Repetitions
392
Depth and Surface: Motivic Parallelism
393
Summary of Part
3 402
PART
4
NEW CHORDS COMPLETE THE DIATONIC
_
SPECTRUM
_
17
The Phrase Model Refined: Perception, Animation,
and Expansion
404
Hearing Phrases as Single Entities
404
Listening Guidelines
405
Pre-Dominant Seventh Chords: IV7 (TV65) and ii7 (iif
) 406
Analyzing
Nondominant
Seventh Chords
408
The Pre-Dominant in Embedded Phrase Models
411
Contrapuntal Cadences
412
Expansion of the Pre-Dominant
413
Subphrases
416
Composite Phrases
418
18
The Submediant: A New Diatonic Harmony, and Further
Extensions of the Phrase Model
425
The Submediant
425
The Submediant as Bridge in the Descending-Thirds
Progression
425
The Submediant in the Descending-Circle-of-Fifths-
Progression
427
The Submediant as Tonic Substitute in
Ascending-Second-Progressions
428
The Submediant as the Pre-Dominant
429
Voice Leading for the Submediant
430
Contextual Analysis
436
The Step Descent in the Bass
439
19
The Mediant, the Back-Relating Dominant, and a Synthesis
of Diatonic Harmonic Relationships
446
The Mediant in Arpeggiations
446
A Special Case: Preparing the III Chord in Minor
447
The Mediant in Descending-Fifths Progressions
448
Voice Leading for the Mediant
449
More Contextual Analysis
451
General Guidelines for Harmonic Progressions
453
Summary of Part
4 454
CONTENTS
PART
5
CREATING LARGER FORMS
20
The Period
462
Aspects of Melody and Harmony in Periods
463
Representing Form: The Formal Diagram
468
Sample Analyses of Periods and Some Analytical Guidelines
470
A Summary for Analyzing Periods
472
Composing Periods
472
21
Other Small Musical Structures: Sentences, Double Periods,
and Asymmetrical Periods
477
The Sentence: An Alternative Musical Structure
478
The Double Period
483
Asymmetrical Periods
485
22
Harmonic Sequences: Concepts and Patterns
495
Components and Types of Sequences
497
The Descending-Second (D2) Sequence
497
The Descending-Second Sequence in Inversion
499
The Descending-Third (D3) Sequence
499
The Descending-Third Sequence in Inversion
501
The Ascending-Second (A2) Sequence
501
Another Ascending-Second Sequence: A2 (-3/+4)
502
Writing Sequences
509
23
Sequences Within Larger Musical Contexts and Sequences with
Seventh Chords
514
Composing Sequences Within the Phrase Model
514
Sequences with Diatonic Seventh Chords
519
Composing Sequences with Seventh Chords
520
Sequences with Inversions of Seventh Chords
521
Compound Melody and Implied Seventh Chord Sequences
522
Parallel First-Inversion Triads
523
Sequences versus Sequential Progressions
525
Summary of Part
5 526
_
PART
6
CHROMATICISM
24
Applied Chords
538
Applied Dominant Chords
539
Applied Chords in Inversion
540
Hearing Applied Chords
541
Voice Leading for Applied Chords
541
Applied Leading-Tone Chords
545
Incorporating Applied Chords Within Phrases
545
An Example Composition
546
Sequences with Applied Chords
551
The D2
(-57+4)
Sequence
551
CONTENTS xiii
The D3 (-4/4-2)
Sequence
553
The A2
(-ЗАні)
Applied-Chord Sequence
554
Writing Applied-Chord Sequences
555
Summary of Diatonic and Applied-Chord Sequences
555
25
Tonicization and Modulation
563
Extended Tonicizations
563
Modulation
569
Closely Related Keys
571
Hearing Modulations
572
Analyzing Modulations
572
Writing Modulations
574
Modulation in the Larger Musical Context
575
The Sequence as a Tool in Modulation
576
26
Binary Form and Variations
587
Summary of Binary Form Types
593
Variation Form
598
Continuous Variations
598
Sectional Variations
603
Summary of Part
6 610
Answers to Exercise
26.2 612
_
PART
7
EXPRESSIVE CHROMATICISM
_
27
Modal Mixture
616
Altered Pre-Dominant Harmonies: ii° and
iv 618
Application: Musical Effects of Melodic Mixture
619
Altered Submediant Harmony:
ťVI
619
Altered Tonic Harmony:
і
620
Altered Mediant Harmony:
ЩІ
622
Voice Leading for Mixture Harmonies
623
Chromatic Stepwise Bass Descents
627
Piagai
Motions
628
Modal Mixture, Applied Chords, and Other Chromatic
Harmonies
630
Summary
632
28
Expansion of Modal Mixture Harmonies: Chromatic Modulation
and the German Lied
637
Chromatic Pivot-Chord Modulations
637
An Analytical Interlude: Franz Schubert's Waltz in
F
Major
639
Writing Chromatic Modulations
641
Unprepared Chromatic Modulations
643
Chromatic Common-Tone Modulations
644
Analytical Challenges
647
Modal Mixture and the German
Lied
650
Analytical Payoff: The Dramatic Role of Wl
658
CONTENTS
29
The Neapolitan Chord (HI)
661
Common Contexts for
1>II6
662
Expanding
ÜI 668
The Neapolitan in Sequences
671
The Neapolitan as Pivot Chord
671
30
The Augmented Sixth Chord
678
General Features
679
Types of Augmented Sixth Chords
680
Writing Augmented Sixth Chords: Approach and Resolution
681
Hearing Augmented Sixth Chords
682
(IOVI
and the Augmented Sixth Chord
685
Augmented Sixth Chords as Part of PD Expansions
686
The Augmented Sixth Chord and Modulation: Reinforcement
690
The Augmented Sixth Chord as Pivot in Modulations
691
Summary of Part
7 699
PART
8
LARGE FORMS: TERNARY, RONDO, SONATA
31
Ternary Form
702
Transitions and
Retransitions
707
Da Capo Form: Compound Ternary Form
709
Da Capo Aria
711
Minuet-Trio Form
715
Ternary Form in the Nineteenth Century
718
32
Rondo
730
The Classical Rondo
732
Five-Part Rondo
732
Coda, Transitions, and
Retransitions
737
Compound Rondo Form
737
Seven-Part Rondo
740
Distinguishing Seven-Part Rondo Form from Ternary Form
740
Missing Double Bars and Repeats
740
33
Sonata Form
752
The Binary Model for Sonata Form
753
Additional Characteristics and Elements of Sonata Form
759
Other Tonal Strategies
762
Analytical Interlude: Sonatas of Haydn and Mozart
765
Haydn: Piano Sonata no.
48
in
С
major, Hob.
XVI. 35,
Allegro
con brio
765
Mozart, Piano Sonata in
Bt
major, K.
333,
Allegro
775
Summary of Part
8 785
CONTENTS
PART
9
INTRODUCTION TO NINETEENTH-CENTURY
HARMONY: THE SHIFT FROM ASYMMETRY TO
_
SYMMETRY
_
34
New Harmonic Tendencies
790
Tonal Ambiguity: The
Piagai
Relation and Reciprocal Process
790
Tonal Ambiguity: Semitonal Voice Leading
793
The Diminished Seventh Chord and Enharmonic Modulation
801
Analysis
803
Tonal Clarity Postponed: Off-Tonic Beginning
805
Double Tonality
806
35
The Rise of Symmetrical Harmony in Tonal Music
810
A Paradox: "Balanced" Music Based on Asymmetry
810
Symmetry and Tonal Ambiguity
812
The Augmented Triad
813
Altered Dominant Seventh Chords
817
The Common-Tone Diminished Seventh Chord
820
Common-Tone Augmented Sixth Chords
821
Analytical Interlude
822
36
Melodic and Harmonic Symmetry Combine: Chromatic
Sequences
829
The DM2 (-4/+3) Sequence
830
The Chromatic Forms of the D2
(-5/44)
Sequence
833
The Chromatic Forms of the A2
(-3/44)
Sequence
834
Other Chromatic Step-Descent Basses
836
Writing Chromatic Sequences
840
Chromatic Contrary Motion
843
The Omnibus
845
A Final Equal Division of the Octave
846
37
At Tonality's Edge
852
Sequential Progressions
852
Nonsequential Progressions and Equal Divisions of the Octave
855
The Intervallic Cell
859
Analytical Interlude: Chopin, Prelude, op.
28,
no.
2 861
Analytical Interlude: Scriabin, Prelude, op.
39,
no.
2 865
Summary of Part
9 875
Index of Terms and Concepts
877
Index of Musical Examples and Exercises
884 |
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| author | Laitz, Steven G. |
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| callnumber-subject | MT - Instruction and Study |
| classification_rvk | LR 55170 |
| ctrlnum | (OCoLC)70864527 (DE-599)DNB 2006050725 |
| dewey-full | 781.2 |
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| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.2 |
| dewey-search | 781.2 |
| dewey-sort | 3781.2 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| edition | 2. ed. |
| format | Book |
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| id | DE-604.BV022469313 |
| illustrated | Illustrated |
| index_date | 2024-07-02T17:43:55Z |
| indexdate | 2024-07-09T20:58:16Z |
| institution | BVB |
| isbn | 9780195301083 |
| language | English |
| lccn | 2006050725 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015676828 |
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| physical | XXIV, 888 S. graph. Darst., zahlr. Notenbeisp. 2 CDs (12 cm) |
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| publisher | Oxford Univ. Press |
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| spelling | Laitz, Steven G. Verfasser aut The complete musician an integrated approach to tonal theory, analysis, and listening Steven G. Laitz 2. ed. New York [u.a.] Oxford Univ. Press 2008 XXIV, 888 S. graph. Darst., zahlr. Notenbeisp. 2 CDs (12 cm) txt rdacontent n rdamedia nc rdacarrier Includes indexes. Music theory Textbooks Tonality Musical analysis Harmonik (DE-588)4129030-6 gnd rswk-swf Musikalische Analyse (DE-588)4040814-0 gnd rswk-swf Harmonielehre (DE-588)4129028-8 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Musikalische Analyse (DE-588)4040814-0 s Harmonielehre (DE-588)4129028-8 s 1\p DE-604 Harmonik (DE-588)4129030-6 s 2\p DE-604 http://www.loc.gov/catdir/enhancements/fy0725/2006050725-d.html Publisher description http://www.loc.gov/catdir/enhancements/fy0725/2006050725-t.html Table of contents only Digitalisierung UB Regensburg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015676828&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Laitz, Steven G. The complete musician an integrated approach to tonal theory, analysis, and listening Music theory Textbooks Tonality Musical analysis Harmonik (DE-588)4129030-6 gnd Musikalische Analyse (DE-588)4040814-0 gnd Harmonielehre (DE-588)4129028-8 gnd |
| subject_GND | (DE-588)4129030-6 (DE-588)4040814-0 (DE-588)4129028-8 (DE-588)4151278-9 |
| title | The complete musician an integrated approach to tonal theory, analysis, and listening |
| title_auth | The complete musician an integrated approach to tonal theory, analysis, and listening |
| title_exact_search | The complete musician an integrated approach to tonal theory, analysis, and listening |
| title_exact_search_txtP | The complete musician an integrated approach to tonal theory, analysis, and listening |
| title_full | The complete musician an integrated approach to tonal theory, analysis, and listening Steven G. Laitz |
| title_fullStr | The complete musician an integrated approach to tonal theory, analysis, and listening Steven G. Laitz |
| title_full_unstemmed | The complete musician an integrated approach to tonal theory, analysis, and listening Steven G. Laitz |
| title_short | The complete musician |
| title_sort | the complete musician an integrated approach to tonal theory analysis and listening |
| title_sub | an integrated approach to tonal theory, analysis, and listening |
| topic | Music theory Textbooks Tonality Musical analysis Harmonik (DE-588)4129030-6 gnd Musikalische Analyse (DE-588)4040814-0 gnd Harmonielehre (DE-588)4129028-8 gnd |
| topic_facet | Music theory Textbooks Tonality Musical analysis Harmonik Musikalische Analyse Harmonielehre Einführung |
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