Table of Contents

For the Instructor
Setting the Stage
Introduction
Sample analyses
PART ONE: Contextualizing Theory and Analysis: Fundamentals
Chapter 1: Musical Time and Space
The metrical realm
The pitch realm
Chapter 2: Harnessing Musical Time and Space
Species counterpoint
First-species (1:1) counterpoint
Second-species (2;1) counterpoint
Adding voices: Triads and seventh chords
Musical texture
Chapter 3: Making Choices: When Harmony, Melody, and Rhythm Merge
Tonal hierarchy in music
Tones of figuration
Melodic fluency
PART TWO: Diatonic Harmony: Functions, Expansions, and the Phrase Model
Chapter 4: Composition and Analysis: Using I, V, and V7
Tonic and dominant as tonal pillars and introduction to voice leading
The dominant seventh and chordal dissonance
Analytical extension: The interaction of harmony, melody, meter, and rhythm
Chapter 5: Contrapuntal Expansions of Tonic and Dominant
Contrapuntal expansions with first inversion triads
Contrapuntal expansions with seventh chords
Analytical extension: Invertible counterpoint
Chapter 6: The Pre-Dominant, Phrase Model, and Additional Embellishments
The pre-dominant functionIntroduction to the phrase model
Accented and chromatic dissonances
Analytical extension: Revisiting the subdominant
PART THREE: Elaborating the Phrase Model and Combining Phrases
Chapter 7: Six-Four Chords, Non-Dominant Seventh Chords, and Refining the Phrase Model
Six-Four Chords
Summary of contrapuntal expansions
Non-dominant seventh chords:
Embedding the phrase model
Analytical extension: Expanding the pre-dominant
Chapter 8: The Submediant and Mediant Harmonies
Submediant (vi in major; VI in minor)
The step descent in the bass
Mediant (iii in major; III in minor)
General summary of harmonic progression
Analytical extension: The back-relating dominant
Chapter 9: The Period, Double Period, and Sentence
The period
The double period
The sentence
Analytical extension: Modified periods
Chapter 10: Harmonic Sequences: Concepts and Patterns
Components and types of sequences
Sequences with diatonic seventh chords
Writing sequences
Analytical extension: Melodic sequences and compound melody
PART FOUR: Chromaticism and Larger Forms
Chapter 11: Applied Chords and Tonicization
Applied dominant chords
Voice leading for applied dominant chords
Applied leading-tone chords
Extended tonicization
Analytical extension: Sequences with applied chords
Chapter 12: Modulation and Binary Form
Modulation
Binary form
Analytical extension: Binary form and Baroque dance suites
Chapter 13: Expressive Chromaticism: Modal Mixture and Chromatic Modulation
Modal mixture
Plagal motions
Modal mixture, applied chords, and other
chromatic harmonies
Expansion of modal mixture harmonies: Chromatic modulation
Analytical extension: Modal mixture and text-music relations
Chapter 14: The Neapolitan and Augmented Sixth Chords
The Neapolitan chord
The augmented sixth chord
Analytical extension: Prolongation with bII and +6 chords
Augmented sixth chords as part of PD expansions
Chapter 15: Ternary and Sonata Forms
Ternary form
Sonata
Analytical extension: Motivic expansion
Appendix: Additional Formal Procedures
Subphrases and composite phrases
Variation techniques
Ternary form and the nineteenth-century character piece
Rondo
Further characteristics of sonata form
Glossary
Abbreviations and Symbols
Index

About the Author

Steven G. Laitz is Associate Professor of Music Theory and Affiliate Faculty Member in Chamber Music at the Eastman School of Music, and serves on the piano faculty at the Chautauqua Institution. He has received various teaching awards, has presented and published work on nineteenth-century music and pedagogy, and is the author of The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Second Edition (OUP,
2007).

Christopher Bartlette is Assistant Professor of Music at Binghamton University. His research in music cognition and performance has led to articles and presentations at national and international conferences in music theory, perception, and cognition.

Reviews

"I would point to the extremely solid conceptual grounding; the musical utility of the long-range thinking it encourages; the logical progression of topics; the clarity and efficiency of presentation; the quality of analytical insight; and the possibility of having everything you need in one place. The workbook provides a very impressive range of tasks-much more varied and interesting than one usually finds. One gets the sense that the author[s] understand
exactly the nature of graduate review courses." -Roman Ivanovitch, Indiana University

"[The workbook] exercises are inspirationally clever. . . . I like the wide variety of 'real music' examples as well and I suspect my grad students would be equally appreciative. . . . I like the summaries, point-by-point reminders, and suggestions about matters such 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