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.
Preface Chapter 1: Musical Time and Space Assignment 1.1: Rhythm, Meter, and Accent Assignment 1.2: More Metrical Issues, Scales, and Key Signatures Assignment 1.3: More Scales, Intervals Assignment 1.4: More intervals and Melody Chapter 2: Harnessing Musical Time and Space Assignment 2.1: Contrapuntal Motions and 1:1 Counterpoint Assignment 2.2: 1:1 and 2:1 Counterpoint Assignment 2.3: 2:1 Counterpoint, Triads Assignment 2.4: Triads and Figured Bass Assignment 2.5: Figured Bass and Harmonic Analysis Assignment 2.6: Seventh Chords Assignment 2.7: Seventh Chords, Texture Chapter 3: Making Choices: When Harmony, Melody, and Rhythm Merge Assignment 3.1: Tones of Figuration and Harmonic Analysis Assignment 3.2: Melodic Fluency Assignment 3.3: Embellishment Chapter 4: Composition and Analysis: Using I, V, and V7 Assignment 4.1: Writing and Analyzing I and V Assignment 4.2: More Writing of Tonic and Dominant Assignment 4.3: V7 Chapter 5: Contrapuntal Expansions of Tonic and Dominant Assignment 5.1: Six-Three Chords Assignment 5.2: More Six-Threes Assignment 5.3: V7 and viio7 Assignment 5.4: More Seventh Chords Chapter 6: A New Harmonic Function; Additional Melodic and Harmonic Embellishments Assignment 6.1: The Pre-Dominant Assignment 6.2: More Pre-Dominants Assignment 6.3: Accented Tones of Figuration Assignment 6.4: All Tones of Figuration Chapter 7: Six Four Chords, Non-Dominant Seventh Chords, and Refining the Phrase Model Assignment 7.1: Six-Four Chords Assignment 7.2: More Six-Four Chords and Non-Dominant Seventh Chords Assignment 7.3: More Non-Dominant Seventh Chords Assignment 7.4: Embedded Phrase Models Chapter 8: The Submediant and Mediant Assignment 8.1: The Submediant Assignment 8.2: Submediant and Mediant Assignment 8.3: More Submediant and Mediant Assignment 8.4: Paradigms and Composition Chapter 9: The Period, Double Period, and Sentence Assignment 9.1: Period and Sentence Assignment 9.2: Composition Assignment 9.3: Period, Sentence, and Double Period Chapter 10: Harmonic Sequences: Concepts and Patterns Assignment 10.1: Triadic Sequences Assignment 10.2: More Triadic Sequences Assignment 10.3: Triadic and Seventh Chord Sequences Chapter 11: Applied Chords Assignment 11.1: Spelling, Recognizing, and Writing Applied Chords Assignment 11.2: Applied viio7 Assignment 11.3: Harmonization and Applied Chord Sequences Assignment 11.4: Extended Tonicization Chapter 12: Modulation and Binary Form Assignment 12.1: Closely Related Keys, Pivots, and Modulation Assignment 12.2: More Modulation; More Writing Assignment 12.3: Two-Voice Modulations, Modulation, and Binary Form Assignment 12.4: Modulation and Binary Form Assignment 12.5: Binary Form Chapter 13: Expressive Chromaticism: Modal Mixture and Chromatic Tonicization Assignment 13.1: Melodic and Harmonic Mixture Assignment 13.2: Plagal motions Assignment 13.3: Chromatic Tonicization Assignment 13.4: Prepared and Common-Tone Chromatic Modulations Chapter 14: The Neapolitan and Augmented Sixth Chords Assignment 14.1: Identifying and Writing the Neapolitan Chord Assignment 14.2: More Neapolitan Assignment 14.3: Tonicization of the Neapolitan Assignment 14.4: Augmented Sixth Chords Assignment 14.5: More Augmented Sixth Chords Assignment 14.6: More Writing of Augmented Sixth Chords, +6 in Modulation Chapter 15: Ternary and Sonata Forms Assignment 15.1: Analysis of Ternary Assignment 15.2: Ternary and Binary Forms Assignment 15.3: Sonata Keyboard Exercises
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.
Reviews for Student Workbook to Accompany Graduate Review of Tonal Theory: A Recasting of Common Practice Harmony, Form, and Counterpoint
<br> 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<p><br>
