Student Workbook to Accompany Graduate Review of Tonal Theory

Steve Laitz is Associate Professor and currently chairs the Theory Department and Eastman's new Bachelor of Musical Arts major. He also serves as an Affiliate Faculty Member in Eastman's Chamber Music Department and on the piano faculty at the Chautauqua Institution. He has received various teaching awards, including Eastman's Eisenhart Award for Distinguished Undergraduate Teaching By a Faculty Member. He is the author of The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Second Edition.Chris Bartlette is Assistant Professor of Music Theory at Baylor University. He has published articles in the journal Music Perception and presented papers at Society for Music Theory and Society for Music Perception and Cognition national conferences.

• 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

"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