Bringing together the analytical, aural, and tactile activities that Iomprise a tonal theory curriculum, The Complete Musician, Second dition, relies on a diverse repertoire and innovative exercises to xplicitly connect theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. It provides students with a strong foundation in the principles of writing, analyzing, hearing, singing, and playing tonal harmony and enables them to understand the most important musical forms. Features of the Second Edition: * Enhanced and supplemented by five music DVDs--two packaged with the text, two with Student Workbook I, and one with Student Workbook II. These DVDs contain a total of more than sixteen hours of high-quality recorded examples--from solo piano to full orchestra--of the examples and exercises in the text and workbooks, performed by soloists and ensembles from the Eastman School of Music and the Rochester Philharmonic Orchestra. In addition, examples and exercises are included on the DVDs in downloadable MP3 format. * Significantly revised in order to improve general ordering between large topics (for example, the pre-dominant function is introduced earlier) and organization within chapters (particularly in Parts 1-4) * Offers new topics and expansions: a new chapter (16) devoted exclusively to the motive; new sections on analytical decision-making through Gestalt techniques (Chapters 2 and 7); lead sheet notation (Chapter 6); harmonizing florid melodies (beginning in Chapter 9); and an expanded section on musical texture and harmonic analysis (Chapter 6) * Introduces numerous analyses throughout the book, including thirteen "Model Analysis" sections, that provide extended analyses of canonical pieces * Includes more than 200 new examples, many from wind and brass literature * Explanations and definitions have been carefully revised for clarity, with added summary charts and step-by-step procedures * Offers new types of exercises--in both the text and in the workbooks--including exercises for single-line instrumentalists, listening exercises, and more graduated exercises * Workbook exercises are now structured in a consistent format of discrete assignments (four to eight assignments per chapter) that usually fit on one or two sheets of paper for ease in handing in to the instructor. Each assignment contains a variety of exercises, crafted for students with a wide range of abilities. Supplementary exercises are also included for further practice. * Expanded Instructor's Manual adds model solutions for more than 200 analysis and part writing exercises; each chapter includes teaching guidelines and supplementary analytical, dictation, playing, and writing exercises

Preface PART 1: THE FOUNDATION OF TONAL MUSIC 1. The Pitch Realm: Tonality, Notation, and Scales Charting Musical Sound: Staff and Clef Pitch and Pitch Class The Division of Musical Space: Intervals Accidentals Scales Enharmonicism Scale Degree Numbers and Names Specific Scale Types: Major and Minor Building Scales in the Major Mode Key Signatures and the Circle of Fifths Building Scales in the Minor Mode Key Signatures in Minor Relative Major and Minor Keys Analytical Application: Tonality and Hierarchy in Bach's Violin Partita No. 3, Prelude 2. Pulse, Rhythm, and Meter Rhythm and Durational Symbols Meter Accent in Music Temporal Accents Nontemporal Accents Beat Division and Simple and Compound Meters The Meter Signature Asymmetrical Meters Clarifying Meter More Rhythmic Procedures Metrical Disturbance 3. Intervals and Melody Naming Generic Intervals Tips for Identifying Generic Intervals Naming Specific Intervals Transforming Intervals: Augmented and Diminished Intervals Interval Inversion Generating All Intervals Enharmonic Intervals Consonant and Dissonant Intervals Melody: Characteristics, Writing, and Listening Melodic Dictation 4. Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint First-Species Counterpoint Contrapuntal Motions Rules and Guidelines for First-Species (1:1) Counterpoint Second Species Counterpoint Weak-Beat Consonance Weak-Beat Dissonance Beginning and Ending Second-Species Counterpoint Rules and Guidelines for Second-Species Counterpoint Hearing Two-Voice Counterpoint Review and Synthesis of Terms and Concepts 5. Triads, Inversions, Figured Bass, and Harmonic Analysis Triads Voicing Triads: Spacing and Doubling Triad Inversion Figured Bass Analyzing and Composing Using Figured Bass Triads and the Scale: Harmonic Analysis Roman Numerals Introduction to Harmonic Analysis Harmony and the Keyboard 6. Seventh Chords, Musical Texture, and Harmonic Analysis Musical Characteristics of Seventh Chords Inverted Seventh Chords Analytical Tips Seventh Chords and Harmonic Analysis Lead-Sheet Notation Musical Texture Summary of Part 1 PART 2: MERGING MELODY AND HARMONY 7. Hierarchy in Music: Consonance, Unaccented Dissonance, and Melodic Fluency Consonance and Dissonance The Importance of Textual Analysis Sample Analyses Melodic Fluency 8. Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading The Cadence Introduction to Voice Leading Texture and Register Three Techniques to Create Voice Independence Within a Four-Voice Texture Creating the Best Sound: Incomplete and Complete Chords, Doubling, and Spacing Summary of Voice-Leading Rules and Guidelines 9. The Impact of Melody, Rhythm, and Meter on Harmony, and Introduction to V7 The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and Reduction Embellishment and Reduction The Dominant Seventh and Chordal Dissonance Part Writing with the Dominant Seventh Chord An Analytical Interlude Harmonizing Florid Melodies Summary 10. Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords Chordal Leaps in the Bass: I6 and V6 Neighbor Tones in the Bass (V6) Second-Level Analysis Writing and Playing First-Inversion Triads Passing Tones in the Bass: viio6 Tonic Expansion with an Arpeggiating Bass: IV6 Dominant Expansion with Passing Tones: IV6 Combining First-Inversion Chords Summary 11. More Contrapuntal Expansions: Inversions of V7, and Introduction to Leading Tone Seventh Chords V7 and Its Inversions Voice Leading Inversions of V7 Combining Inversions of V7 Compositional Impact on Contrapuntal Chords Leading Tone Seventh Chords: viio7 and viio7 Elaboration and Reduction Summary of Part 2 PART 3: A NEW HARMONIC FUNCTION AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS 12. The Pre-Dominant Function and the Phrase Model The Subdominant (IV in Major, iv in Minor) The Supertonic (ii in Major, iio in Minor) Pre-Dominants and the Stepwise Ascending Bass Part-Writing for Pre-Dominants Extending the Pre-Dominant Introduction to the Phrase Model T-PD-D-T within the Tonic Prolongation 13. Accented and Chromatic Dissonances The Accented Passing Tone (APT) The Chromatic Passing Tone (CPT) The Accented Neighbor Tone (AN) The Chromatic Neighbor Tone (CN) The Appoggiatura (APP) The Suspension (SUS) The Anticipation (ANT) The Pedal (PED) Summary of the Most Common Tones of Figuration 14. Six-Four Chords and Revisiting IV Unaccented Six-Four Chords I: Pedal Unaccented Six-Four Chords II: Passing Unaccented Six-Four Chords III: Arpeggiating Accented Six-Four Chords Additional Uses of Cadential Six-Four Chords Writing Six-Four Chords Revisiting the Subdominant Summary of Harmonic Paradigms Harmonizing Florid Melodies 15. Invertible Counterpoint, Compound Melody, and Implied Harmonies Invertible Counterpoint Below the Music's Surface Harmonic Implications of Single Melodic Lines: Compound Melody Implied Harmonies 16. The Motive Introduction Motive Types Motivic Repetition Strict Repetition Modified Repetition Additional Pitch Transformations Rhythmic Transformations Developmental Repetitions Intersection and Intermovement Motivic Repetitions Single-Interval Motive Hidden Motivic Repetitions Depth and Surface: Motivic Parallelism Summary of Part 3 PART 4: NEW CHORDS COMPLETE THE DIATONIC SPECTRUM 17. The Phrase Model Refined: Perceptions, Animation, and Expansion Hearing Phrases as Single Entities Listening Guidelines Pre-Dominant Seventh Chords: IV7 (IV 65) and ii7 (ii65) Analyzing Nondominant Seventh Chords The Pre-Dominant in Embedded Phrase Models Contrapuntal Cadences Expansion of the Pre-Dominant Subphrases Composite Phrases 18. The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model The Submediant The Submediant as Bridge in the Descending-Thirds Progression The Submediant in the Descending-Circle-of-Fifths Progression The Submediant as Tonic Substitute in Ascending-Second-Progressions The Submediant as the Pre-Dominant Voice Leading for the Submediant Contextual Analysis The Step Descent in the Bass 19. The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic Relationships The Mediant in Arpeggiations A Special Case: Preparing the III Chord in Minor The Mediant in Descending-Fifths-Progressions Voice Leading for the Mediant More Contextual Analysis General Guidelines for Harmonic Progressions Summary of Part 4 PART 5: CREATING LARGER FORMS 20. The Period Aspects of Melody and Harmony in Periods Representing Form: The Formal Diagram Sample Analyses of Periods and Some Analytical Guidelines A Summary for Analyzing Periods Composing Periods 21. Other Small Musical Structures: Sentences, Double Periods, and Asymmetrical Periods The Sentence: An Alternative Musical Structure The Double Period Asymmetrical Periods 22. Harmonic Sequences: Concepts and Patterns Components and Types of Sequences The Descending-Second (D2) Sequence The Descending-Second Sequence in Inversion The Descending-Third (D3) Sequence The Descending-Third Sequence in Inversion The Ascending-Second (A2) Sequence Another Ascending-Second Sequence: A2 (-3/+4) Writing Sequences 23. Sequences Within Larger Musical Contexts and Sequences with Seventh Chords Composing Sequences Within the Phrase Model Sequences with Diatonic Seventh Chords Composing Sequences with Seventh Chords Sequences with Inversions of Seventh Chords Compound Melody and Implied Seventh Chord Sequences Parallel First-Inversion Triads Sequences versus Sequential Progressions Summary of Part 5 PART 6: CHROMATICISM 24. Applied Chords Applied Dominant Chords Applied Chords in Inversion Hearing Applied Chords Voice Leading for Applied Chords Applied Leading-Tone Chords Incorporating Applied Chords Within Phrases An Example Composition Sequences with Applied Chords The D2 (-5/+4) Sequence The D3 (-4/+2) Sequence The A2 (-3/+4) Applied-Chord Sequence Writing Applied-Chord Sequences Summary of Diatonic and Applied-Chord Sequences 25. Tonicization and Modulation Extended Tonicizations Modulation Closely Related Keys Hearing Modulations Analyzing Modulations Writing Modulations Modulation in the Larger Musical Context The Sequence as a Tool in Modulation 26. Binary Form and Variations Summary of Binary Form Types Variation Form Continuous Variations Sectional Variations Summary of Part 6 Answers to Exercise 26.2 PART 7: EXPRESSIVE CHROMATICISM 27. Modal Mixture Altered Pre-Dominant Harmonies: iio and iv Application: Musical Effects of Melodic Mixture Altered Submediant Harmony: bVI Altered Tonic Harmony: i Altered Mediant Harmony: bIII Voice Leading for Mixture Harmonies Chromatic Stepwise Bass Descents Plagal Motions Modal Mixture, Applied Chords, and Other Chromatic Harmonies Summary 28. Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German Lied Chromatic Pivot-Chord Modulations An Analytical Interlude: Franz Schubert's Waltz in F Major Writing Chromatic Modulations Unprepared Chromatic Modulations Chromatic Common-Tone Modulations Analytical Challenges Modal Mixture and the German Lied Analytical Payoff: The Dramatic Role of bVI 29. The Neopolitan Chord (bII) Common Contexts for bII6 Expanding bII The Neapolitan in Sequences The Neapolitan as Pivot Chord 30. The Augmented Sixth Chord General Features Types of Augmented Sixth Chords Writing Augmented Sixth Chords: Approach and Resolution Hearing Augmented Sixth Chords bVI and the Augmented Sixth Chord Augmented Sixth Chords as Part of PD Expansions The Augmented Sixth Chord and Modulation: Reinforcement The Augmented Sixth Chord as Pivot in Modulations Summary of Part 7 PART 8: LARGE FORMS: TERNARY, RONDO, SONATA 31. Ternary Form Transitions and Retransitions Da Capo Form: Compound Ternary Form Da Capo Aria Minuet-Trio Form Ternary Form in the Nineteenth Century 32. Rondo The Classical Rondo Five-Part Rondo Coda, Transitions, and Retransitions Compound Rondo Form Seven-Part Rondo Distinguishing Seven-Part Rondo Form from Ternary Form Missing Double Bars and Repeats 33. Sonata Form The Binary Model for Sonata Form Additional Characteristics and Elements of Sonata Form Other Tonal Strategies Analytical Interlude: Sonatas of Haydn and Mozart Haydn: Piano Sonata no. 48 in C major, Hob. XVI 35,Allegro con brio Mozart, Piano Sonata in Bb Major, K. 333, Allegro PART 9: INTRODUCTION TO NINETEENTH-CENTURY HARMONY: THE SHIFT FROM ASYMMETRY TO SYMMETRY 34. New Harmonic Tendencies Tonal Ambiguity: The Plagal Relation and Reciprocal Process Tonal Ambiguity: Semitonal Voice Leading The Diminished Seventh Chord and Enharmonic Modulation Analysis Tonal Clarity Postponed: Off-Tonic Beginning Double Tonality 35. The Rise of Symmetrical Harmony in Tonal Music A Paradox: "Balanced" Music Based on Asymmetry Symmetry and Tonal Ambiguity The Augmented Triad Altered Dominant Seventh Chords The Common-Tone Diminished Seventh Chord Common-Tone Augmented Sixth Chords Analytical Interlude 36. Melodic and Harmonic Symmetry Combine: Chromatic Sequences The DM2 (-4/+3) Sequence The Chromatic Forms of the D2 (-5/+4) Sequence The Chromatic Forms of the A2 (-3/+4) Sequence Other Chromatic Step-Descent Basses Writing Chromatic Sequences Chromatic Contrary Motion The Omnibus A Final Equal Division of the Octaves 37. At Tonality's Edge Sequential Progressions Nonsequential Progressions and Equal Divisions of the Octave The Intervallic Cell Analytical Interlude: Chopin, Prelude, op. 28, no. 2 Analytical Interlude: Scriabin, Prelude, op. 39, no. 2 Summary of Part 9 Index of Terms and Concepts Index of Musical Examples and Exercises

Steven G. LaitzAssociate Professor and Chair of the Music Theory Department, Eastman School of Music, University of Rochester