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.

Preface ; Setting the Stage ; Part One: Contextualizing Theory and Analysis; Fundamentals ; Chapter 1: Musical Time and Space ; The metrical realm ; Accent in music ; Temporal accents ; Non-temporal accents ; Metrical disturbance ; The pitch realm ; Pitches and pitch classes ; Scales ; Keys ; Intervals ; Consonance and dissonance ; Melody: Characteristics and writing ; Chapter 2: Harnessing Musical Time and Space ; Species counterpoint ; First-species (1:1) counterpoint ; Contrapuntal motions ; Rules and guidelines ; Second-species (2;1) counterpoint ; Rules and guidelines ; Adding voices: Triads and seventh chords ; Triads ; Figured bass ; Triads and the scale: Harmonic analysis ; 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 cadence ; Introduction to voice leading ; Texture and register ; Spacing ; Summary of voice-leading rules and guidelines ; The dominant seventh and chordal dissonance ; Part writing with the dominant seventh chord ; Analytical extension: The interaction of harmony, melody, meter, and rhythm ; Embellishment ; Reduction ; Second-level analysis ; Chapter 5: Contrapuntal Expansions of Tonic and Dominant ; Contrapuntal expansions with first inversion triads ; Chordal leaps in the bass: I6 and V6 ; Neighboring tones in the bass: V6 ; Structural and subordinate harmonies ; Passing tones in the bass: vii 6 and IV6 ; Tonic expansion with arpeggiating bass: IV6 ; Contrapuntal expansions with seventh chords ; V7 and its inversions ; Voice leading inversions of V7 ; Leading-tone seventh chords: vii 7 ; Analytical extension: Invertible counterpoint ; Invertible counterpoint below the music's ; surface ; Chapter 6: The Pre-Dominant, Phrase Model, and Additional Embellishments ; The pre-dominant function ; The subdominant (IV in major; iv in minor) ; The supertonic (ii in major; ii in minor) ; Part writing pre-dominants ; Extending the pre-dominant ; Introduction to the phrase model ; Accented and chromatic dissonances ; Accented and Chromatic passing tones ; Accented and Chromatic neighbor tones ; Appoggiatura ; Suspension ; Labeling suspensions ; Writing suspensions ; Anticipation ; Pedal ; Analytical extension: Revisiting the subdominant ; Contrapuntal expansion with IV ; Plagal cadence ; 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 ; Unaccented six-four chords ; Accented six-four chords ; Writing six-four chords ; Summary of contrapuntal expansions ; Non-dominant seventh chords: IV7 (IV65) and ii7 (ii65) ; Partwriting 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): ; As bridge in the descending third ; progression ; In the descending circle of fifths progression ; As tonic substitute in the ascending second ; progression ; As pre-dominant ; Voice leading for the submediant ; The step descent in the bass ; Mediant (iii in major; III in minor) ; A special case: Preparing the III chord in ; minor ; Voice leading for the mediant ; General summary of harmonic progression ; Analytical extension: The back-relating dominant ; Chapter 9: The Period, Double Period, and Sentence ; The period ; Types of periods ; Period labels ; The double period ; The sentence ; Analytical extension: Modified periods ; Chapter 10: Harmonic Sequences: Concepts and Patterns ; Components and types of sequences ; The "descending fifths" sequence (-5/+4) ; The (-5/+4) sequence in inversion ; The "Pachelbel" or "descending 5-6" ; sequence ; The (-4/+2) sequence in inversion ; The "Ascending Fifths" sequence (+5/-4) ; The "Ascending 5-6" Sequence: (-3/+4) ; Sequences with diatonic seventh chords ; Writing sequences ; Analytical extension: Melodic sequences and ; compound melody ; Chapter 8: The Submediant and Mediant Harmonies ; Submediant (vi in major; VI in minor): ; As bridge in the descending third ; progression ; In the descending circle of fifths progression ; As tonic substitute in the ascending second ; progression ; As pre-dominant ; Voice leading for the submediant ; The step descent in the bass ; Mediant (iii in major; III in minor) ; A special case: Preparing the III chord in ; minor ; Voice leading for the mediant ; General summary of harmonic progression ; Analytical extension: The back-relating dominant ; Chapter 9: The Period, Double Period, and Sentence ; The period ; Types of periods ; Period labels ; The double period ; The sentence ; Analytical extension: Modified periods ; Chapter 10: Harmonic Sequences: Concepts and Patterns ; Components and types of sequences ; The "descending fifths" sequence (-5/+4) ; The (-5/+4) sequence in inversion ; The "Pachelbel" or "descending 5-6" ; sequence ; The (-4/+2) sequence in inversion ; The "Ascending Fifths" sequence (+5/-4) ; The "Ascending 5-6" Sequence: (-3/+4) ; 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 ; Applied chords in inversion ; 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 ; Closely related keys ; Analyzing modulations ; Writing modulations ; Modulation in the larger musical context ; The sequence as a tool in modulation ; Binary form ; Summary of binary form types ; Analytical extension: Binary form and Baroque dance ; suites ; Chapter 13: Expressive Chromaticism: Modal Mixture and Chromatic Modulation ; Modal mixture ; Altered pre-dominant harmonies: iv and ii ; Altered submediant harmony: bVI ; Altered tonic harmony: i ; Altered mediant harmony: bIII ; Voice leading for mixture harmonies ; Plagal motions ; Modal mixture, applied chords, and other chromatic harmonies ; Expansion of modal mixture harmonies: Chromatic ; modulation ; Chromatic pivot-chord modulations ; Writing chromatic pivot-chord modulations ; Unprepared and common-tone ; chromatic modulations ; Analytical extension: Modal mixture and text-music ; relations ; Chapter 14: The Neapolitan and Augmented Sixth Chords ; The Neapolitan chord ; Writing the Neapolitan chord ; Other uses for the Neapolitan chord ; The augmented sixth chord ; Types of augmented sixth chords ; Writing augmented sixth chords ; bVI and the Ger 65 chord ; The augmented sixth chord as a pivot 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 ; Transitions and retransitions ; Da capo form: Compound ternary form ; Minuet-trio form ; Sonata ; The binary model for sonata form ; Transition ; Closing section ; Development and retransition ; Recapitulation and coda ; Analytical extension: Motivic expansion ; Exposition ; Development ; AppendixA: Additional Formal Procedures ; Subphrases and composite phrases ; Variation techniques ; Ternary form and the nineteenth-century character ; piece ; Rondo ; Further characteristics of sonata form ; Appendix B: Glossary of Abbreviations ; Appendix C: Terminological Equivalents ; Index of Terms and Concepts ; Index of Musical Examples and Exercises