Library of Congress Cataloging-in-Publication Data Laitz, Steven G. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press.
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Oxford University Press is a department of the University of Oxford. New York Oxford OX FOR D UNIV ERSIT Y PR ESS Laitz Eastman School of Music and The Juilliard School
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PrefacePart 1: The Foundations of Tonal MusicChapter 1A: Musical SpaceChapter 1B: Musical Time: Pulse, Rhythm, and MeterChapter 2: Harnessing Space and Time: Introduction to Melody and Two-Voice CounterpointChapter 3: Musical Density: Triads, Seventh Chords, and TexturePart 2: Merging Melody and Harmon圜hapter 4: When Harmony, Melody, and Rhythm ConvergeChapter 5: Tonic and Dominant as Tonal Pillars and Introduction to Voice LeadingChapter 6: The Impact of Melody, Rhythm, and Meter on HarmonyĪnd Harmonizing Florid MelodiesChapter 7: Contrapuntal Expansions of Tonic and Dominant: Six-Three ChordsChapter 8: More Contrpuntal Expansions: Inversions of V7, Introduction to Leading-Tone Seventh Chords, and Reduction and ElavorationPart 3: A New Harmonic Function, The Phrase Model, and Additional Melodic and Harmonic EmbellishmentsChapter 9: The Pre-Dominant Function and the Phrase ModelChapter 10: Accented and Chromatic Embellishing TonesChapter 11: Six-Four Chords, Revisiting the Subdominant, and Summary of Contrapuntal ExpansionsChapter 12: The Pre-Dominant Refines the Phrase ModelPart 4: New Chords and New FormsChapter 13: The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase ModelChapter 14: The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic RelationshipsChapter 15: The PeriodChapter 16: Other Small Musical Structures: Sentences, Double Periods, and Modified PeriodsChapter 17: Harmonic SequencesPart 5: Functional ChromaticismChapter 18: Applied ChordsChapter 19: Tonicization and ModulationChapter 20: Binary Form and VariationsPart 6: Expressive ChromaticismChapter 21: Modal MixtureChapter 22: Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German LiedChapter 23: The Neapolitan Chord (bII)Chapter 24: The Augmented Sixth ChordPart 7: Large Forms: Ternary, Rondo, SonataChapter 25: Ternary FormChapter 26: RondoChapter 27: Sonata FormPart 8: Introduction to Nineteenth-Century Harmony: The Shirt from Asymmetry to Symmetr圜hapter 28: New Harmonic TendenciesChapter 29: Melodic and Harmonic Symmetry Combine: Chromatic SequencesPart 9: Twentieth and Twenty-First-Century MusicChapter 30: Vestiges of Common Practice and the Rise of a New Sound WorldChapter 31: Noncentric Music: Atonal Concepts and Analytical Methodolog圜hapter 32: New Rhythmic and Metric Possibilities, Ordered PC Relations, and Twelve-Tone TechniquesAppendicesAppndix 1: Invertible Counterpoint, Compound Melody, and Implied HarmoniesAppendix 2: The MotiveAppendix 3: Additional Harmonic-Sequence TopicsAppendix 4: Abbreviations and AcronymsAppendix 5: Selected Answers to Textbook ExercisesGlossaryIndex Citation previewĪ N I N T E G R AT E D A PPROAC H TO T H E ORY, A N A LY S I S, A N D L I S T E N I NG
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