Student Workbook to Accompany Graduate Review of Tonal Theory: A Recasting of Common Practice Harmony, Form, and Counterpoint

by Steven G Laitz, Christopher Bartlette

Overview

This Student Workbook accompanies Graduate Review of Tonal Theory. Authors Steven G. Laitz and Christopher Bartlette have devised sixty-one diverse exercise sets that correlate with material in the text. These assignments include writing and analytical exercises that enable students to further integrate harmony and counterpoint through visual and aural tasks. These exercises begin at the introductory level and progress incrementally in difficulty and complexity. There is also a separate section of keyboard activities at the end of the workbook.

Designed to accommodate graduate review courses of various lengths, the workbook's assignments are numbered discretely, leaving instructors free to adapt the workbook to best suit their courses. A DVD—packaged with the text—features recordings by students and faculty from the Eastman School of Music. Icons in the workbook indicate which examples are recorded and where to find them on the DVD; there is also a full track listing at the end of the textbook. The nearly four hours of excerpts and complete pieces on the DVD provide students and instructors with immediate access to hundreds of examples drawn from more than three centuries of music.

Product Details

ISBN-13:	9780195376999
Publisher:	Oxford University Press
Publication date:	03/27/2009
Edition description:	Student
Pages:	288
Product dimensions:	8.50(w) x 10.80(h) x 0.60(d)

Table of Contents

PrefaceChapter 1: Musical Time and SpaceAssignment 1.1: Rhythm, Meter, and AccentAssignment 1.2: More Metrical Issues, Scales, and Key SignaturesAssignment 1.3: More Scales, IntervalsAssignment 1.4: More intervals and MelodyChapter 2: Harnessing Musical Time and SpaceAssignment 2.1: Contrapuntal Motions and 1:1 CounterpointAssignment 2.2: 1:1 and 2:1 CounterpointAssignment 2.3: 2:1 Counterpoint, TriadsAssignment 2.4: Triads and Figured BassAssignment 2.5: Figured Bass and Harmonic AnalysisAssignment 2.6: Seventh ChordsAssignment 2.7: Seventh Chords, TextureChapter 3: Making Choices: When Harmony, Melody, and Rhythm MergeAssignment 3.1: Tones of Figuration and Harmonic AnalysisAssignment 3.2: Melodic FluencyAssignment 3.3: EmbellishmentChapter 4: Composition and Analysis: Using I, V, and V7Assignment 4.1: Writing and Analyzing I and VAssignment 4.2: More Writing of Tonic and DominantAssignment 4.3: V7Chapter 5: Contrapuntal Expansions of Tonic and DominantAssignment 5.1: Six-Three ChordsAssignment 5.2: More Six-ThreesAssignment 5.3: V7 and viio7Assignment 5.4: More Seventh ChordsChapter 6: A New Harmonic Function; Additional Melodic and Harmonic EmbellishmentsAssignment 6.1: The Pre-DominantAssignment 6.2: More Pre-DominantsAssignment 6.3: Accented Tones of FigurationAssignment 6.4: All Tones of FigurationChapter 7: Six Four Chords, Non-Dominant Seventh Chords, and Refining the Phrase ModelAssignment 7.1: Six-Four ChordsAssignment 7.2: More Six-Four Chords and Non-Dominant Seventh ChordsAssignment 7.3: More Non-Dominant Seventh ChordsAssignment 7.4: Embedded Phrase ModelsChapter 8: The Submediant and MediantAssignment 8.1: The SubmediantAssignment 8.2: Submediant and MediantAssignment 8.3: More Submediant and MediantAssignment 8.4: Paradigms and CompositionChapter 9: The Period, Double Period, and SentenceAssignment 9.1: Period and SentenceAssignment 9.2: CompositionAssignment 9.3: Period, Sentence, and Double PeriodChapter 10: Harmonic Sequences: Concepts and PatternsAssignment 10.1: Triadic SequencesAssignment 10.2: More Triadic SequencesAssignment 10.3: Triadic and Seventh Chord SequencesChapter 11: Applied ChordsAssignment 11.1: Spelling, Recognizing, and Writing Applied ChordsAssignment 11.2: Applied viio7Assignment 11.3: Harmonization and Applied Chord SequencesAssignment 11.4: Extended TonicizationChapter 12: Modulation and Binary FormAssignment 12.1: Closely Related Keys, Pivots, and ModulationAssignment 12.2: More Modulation; More WritingAssignment 12.3: Two-Voice Modulations, Modulation, and Binary FormAssignment 12.4: Modulation and Binary FormAssignment 12.5: Binary FormChapter 13: Expressive Chromaticism: Modal Mixture and Chromatic TonicizationAssignment 13.1: Melodic and Harmonic MixtureAssignment 13.2: Plagal motionsAssignment 13.3: Chromatic TonicizationAssignment 13.4: Prepared and Common-Tone Chromatic ModulationsChapter 14: The Neapolitan and Augmented Sixth ChordsAssignment 14.1: Identifying and Writing the Neapolitan ChordAssignment 14.2: More NeapolitanAssignment 14.3: Tonicization of the NeapolitanAssignment 14.4: Augmented Sixth ChordsAssignment 14.5: More Augmented Sixth ChordsAssignment 14.6: More Writing of Augmented Sixth Chords, +6 in ModulationChapter 15: Ternary and Sonata FormsAssignment 15.1: Analysis of TernaryAssignment 15.2: Ternary and Binary FormsAssignment 15.3: SonataKeyboard Exercises

Editorial Reviews

"The exercises are inspirationally clever. . . . I like the wide variety of 'real music' examples as well and I suspect that my grad students would be equally appreciative. . . . I like the summaries, point-by-point reminders, and suggestions about such matters as how to figure a bass or how to write a sequence. Students will find such lists to be both very clear and very comforting."—Neil Minturn, University of Missouri

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