Preface
Part 1: The Foundations of Tonal Music
Chapter 1A: Musical Space
Chapter 1B: Musical Time: Pulse, Rhythm, and Meter
Chapter 2: Harnessing Space and Time: Introduction to Melody and
Two-Voice Counterpoint
Chapter 3: Musical Density: Triads, Seventh Chords, and Texture
Part 2: Merging Melody and Harmony
Chapter 4: When Harmony, Melody, and Rhythm Converge
Chapter 5: Tonic and Dominant as Tonal Pillars and Introduction to
Voice Leading
Chapter 6: The Impact of Melody, Rhythm, and Meter on Harmony;
Introduction to V7; and Harmonizing Florid Melodies
Chapter 7: Contrapuntal Expansions of Tonic and Dominant: Six-Three
Chords
Chapter 8: More Contrpuntal Expansions: Inversions of V7,
Introduction to Leading-Tone Seventh Chords, and Reduction and
Elavoration
Part 3: A New Harmonic Function, The Phrase Model, and Additional
Melodic and Harmonic Embellishments
Chapter 9: The Pre-Dominant Function and the Phrase Model
Chapter 10: Accented and Chromatic Embellishing Tones
Chapter 11: Six-Four Chords, Revisiting the Subdominant, and
Summary of Contrapuntal Expansions
Chapter 12: The Pre-Dominant Refines the Phrase Model
Part 4: New Chords and New Forms
Chapter 13: The Submediant: A New Diatonic Harmony, and Further
Extensions of the Phrase Model
Chapter 14: The Mediant, the Back-Relating Dominant, and a
Synthesis of Diatonic Harmonic Relationships
Chapter 15: The Period
Chapter 16: Other Small Musical Structures: Sentences, Double
Periods, and Modified Periods
Chapter 17: Harmonic Sequences
Part 5: Functional Chromaticism
Chapter 18: Applied Chords
Chapter 19: Tonicization and Modulation
Chapter 20: Binary Form and Variations
Part 6: Expressive Chromaticism
Chapter 21: Modal Mixture
Chapter 22: Expansion of Modal Mixture Harmonies: Chromatic
Modulation and the German Lied
Chapter 23: The Neapolitan Chord (bII)
Chapter 24: The Augmented Sixth Chord
Part 7: Large Forms: Ternary, Rondo, Sonata
Chapter 25: Ternary Form
Chapter 26: Rondo
Chapter 27: Sonata Form
Part 8: Introduction to Nineteenth-Century Harmony: The Shirt from
Asymmetry to Symmetry
Chapter 28: New Harmonic Tendencies
Chapter 29: Melodic and Harmonic Symmetry Combine: Chromatic
Sequences
Part 9: Twentieth and Twenty-First-Century Music
Chapter 30: Vestiges of Common Practice and the Rise of a New Sound
World
Chapter 31: Noncentric Music: Atonal Concepts and Analytical
Methodology
Chapter 32: New Rhythmic and Metric Possibilities, Ordered PC
Relations, and Twelve-Tone Techniques
Appendices
Appndix 1: Invertible Counterpoint, Compound Melody, and Implied
Harmonies
Appendix 2: The Motive
Appendix 3: Additional Harmonic-Sequence Topics
Appendix 4: Abbreviations and Acronyms
Appendix 5: Selected Answers to Textbook Exercises
Glossary
Index
Steven G. Laitz is chair of the Music Theory and Analysis department at The Juilliard School and Professor of Music Theory at the Eastman School of Music. He serves as Director of the Gail Boyd de Stwolinski Center for Music Theory Pedagogy at the University of Oklahoma and Executive Editor of Music Theory Pedagogy Online.
"The best book on the market. It has a superior balance of basic and complex concepts, terms, exercises, and examples." - Peter Susser, Columbia University"I love teaching out of The Complete Musician." - Don Traut, University of Arizona"The Complete Musician provides a more holistic approach to theory than other texts. This text will absolutely help students' performing abilities and how they approach and understand music." - Alex Nohai-Seaman, Suffolk County Community College"This text is comprehensive, extremely thorough, and sophisticated." - Jeffrey Loeffert, Oklahoma State University
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