With a focus on music in context and a wealth of in-text and online exercises, The Complete Musician offers a complete program for teaching and learning undergraduate music theory. Rather than rote learning of concepts and memorizing terms, the text asks students to explore the ways in which theory informs and responds to the work of performers and composers, underscoring its relevance to students' wider musical lives. New to this edition, interactive Skill Check exercise within the Enhanced e-Book give students instant feedback as they learn, and assignable, online warm-up exercises help students develop skills before they put pencil to paper.
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The Complete Musician is a comprehensive theory textbook with a linear approach, with aural skills and keyboard, and numerous activities and examples that illustrate each topic well."-David Thurmaier, University of Missouri-Kansas City This textbook makes important concepts in music theory accessible to the student in a way that is both clear and concise. Laitz's knowledge of both music-theory pedagogy and the repertoire is superlative, which results in a text that is beneficial to use in the entirety of the music-theory sequence."-Michael Chikinda, University of Utah
PREFACE
PART 1: FOUNDATIONS
CHAPTER 1A Musical Space: Pitches, Scales, and Keys
CHAPTER 1B Musical Time: Meter and Rhythm
CHAPTER 1C Musical Distance: Intervals
CHAPTER 2 Pitch and Meter Combine: Melody and Counterpoint
CHAPTER 3 Triads, Seventh Chords, and Texture
PART 2: FUSING MELODY, HARMONY, AND COUNTERPOINT
CHAPTER 4 The Role of Context: Embellishing Tones and Melodic Shape
CHAPTER 5 Tonic, Dominant, and Voice Leading
CHAPTER 6 V7 and Two-Level Analysis
CHAPTER 7 Expanding Tonic and Dominant with First-Inversion Triads
CHAPTER 8 Inversions of V7 and Leading-Tone Seventh Chords
PART 3: ESTABLISHING, EXPANDING, AND EMBELLISHING THE PHRASE MODEL
CHAPTER 9 The Pre-Dominant Function and the Phrase Model
CHAPTER 10 Accented and Chromatic Embellishing Tones
CHAPTER 11 Six-Four Chords and Plagal Motions
CHAPTER 12 Pre-Dominant Seventh Chords and Embedded Phrase Models
CHAPTER 13 The Submediant and the Step-Descent Bass
CHAPTER 14 The Mediant and the Back-Relating Dominant
PART 4: SMALL FORMS
CHAPTER 15 Periods
CHAPTER 16 Sentences, Double Periods, and Asymmetric Periods
AN INTERMEZZO ON MUSICAL MOTIVES
PART 5: EXPRESSIVE COLOR THROUGH CHROMATICISM
CHAPTER 17 Applied Chords
CHAPTER 18 Modulation
CHAPTER 19 Harmonic Sequences
CHAPTER 20 Binary Form and Variations
CHAPTER 21 Modal Mixture
CHAPTER 22 Chromatic Modulation and Text-Music Relations
CHAPTER 23 Neapolitan Chords
CHAPTER 24 Augmented-Sixth Chords
PART 6: LARGE FORMS
CHAPTER 25 Ternary Form
CHAPTER 26 Rondo Form
CHAPTER 27 Sonata Form
PART 7: NEAR, AT, AND PAST THE EDGES OF TONALITY
CHAPTER 28 Tonal Ambiguity and Symmetrically Constructed Harmonies
CHAPTER 29 Symmetry Stretches Tonality: Chromatic Sequences and Equal
Divisions of the Octave
CHAPTER 30 Centricity, Extended and Non-Tertian Sonorities, and Collections
CHAPTER 31 Analysis with Sets
CHAPTER 32 Metrical and Serial Techniques
GLOSSARY
CREDITS
INDEX OF TERMS AND CONCEPTS
INDEX OF MUSICAL EXAMPLES AND EXERCISES
Steven G. Laitz is chair of the Music Theory and Analysis department at The Julliard School.
Michael R. Callahan is Associate Professor of Music Theory and Chair of the Music Theory Area in the College of Music at Michigan State University.
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