Building on the same pedagogy that informed The Complete Musician, this Graduate Review of Tonal Theory is the first book to review music theory at a level that is sophisticated enough for beginning graduate students. Steven G. Laitz and Christopher Bartlette address students as colleagues, and thoroughly explore appealing and practical analytical applications. The text also provides a means to discuss the perception and cognition, the analysis and performance, and the composition and reception of common-practice tonal music. Marked by clarity and brevity, Graduate Review of Tonal Theory presents crucial concepts and procedures found in the majority of tonal pieces. Distinctive Features *Integrates two- to three-page "Analytical Extensions" at the end of each chapter, which introduce an additional topic through one or two works from the repertoire, and then develop the topic in a model analysis *Synthesizes the essential concepts of music theory and pieces from the repertoire that expand upon and refine the analytical applications taught in the undergraduate theory curriculum *Includes an in-text DVD with recordings by Eastman students and faculty of musical examples from the text and analytical exercises from the workbook Also Available: A workbook for students (978-0-19-537699-9) that can be packaged with the text at a significant savings! (Package ISBN: 978-0-19-538628-8). This invaluable resource is organized by chapter into discrete assignments (3-5 per chapter), each progressing from short, introductory analytical and writing exercises to more involved tasks. The workbook also includes an appendix of keyboard exercises.

For the Instructor Setting the Stage Introduction Sample analyses PART ONE: Contextualizing Theory and Analysis: Fundamentals Chapter 1: Musical Time and Space The metrical realm The pitch realm Chapter 2: Harnessing Musical Time and Space Species counterpoint First-species (1:1) counterpoint Second-species (2;1) counterpoint Adding voices: Triads and 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 dominant seventh and chordal dissonance Analytical extension: The interaction of harmony, melody, meter, and rhythm Chapter 5: Contrapuntal Expansions of Tonic and Dominant Contrapuntal expansions with first inversion triads Contrapuntal expansions with seventh chords Analytical extension: Invertible counterpoint Chapter 6: The Pre-Dominant, Phrase Model, and Additional Embellishments The pre-dominant functionIntroduction to the phrase model Accented and chromatic dissonances Analytical extension: Revisiting the subdominant 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 Summary of contrapuntal expansions 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) The step descent in the bass Mediant (iii in major; III in minor) General summary of harmonic progression Analytical extension: The back-relating dominant Chapter 9: The Period, Double Period, and Sentence The period The double period The sentence Analytical extension: Modified periods Chapter 10: Harmonic Sequences: Concepts and Patterns Components and types of sequences 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 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 Binary form Analytical extension: Binary form and Baroque dance suites Chapter 13: Expressive Chromaticism: Modal Mixture and Chromatic Modulation Modal mixture Plagal motions Modal mixture, applied chords, and other chromatic harmonies Expansion of modal mixture harmonies: Chromatic modulation Analytical extension: Modal mixture and text-music relations Chapter 14: The Neapolitan and Augmented Sixth Chords The Neapolitan chord The augmented sixth 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 Sonata Analytical extension: Motivic expansion Appendix: Additional Formal Procedures Subphrases and composite phrases Variation techniques Ternary form and the nineteenth-century character piece Rondo Further characteristics of sonata form Glossary Abbreviations and Symbols Index

"I would point to the extremely solid conceptual grounding; the musical utility of the long-range thinking it encourages; the logical progression of topics; the clarity and efficiency of presentation; the quality of analytical insight; and the possibility of having everything you need in one place. The workbook provides a very impressive range of tasks-much more varied and interesting than one usually finds. One gets the sense that the author[s] understand exactly the nature of graduate review courses." -Roman Ivanovitch, Indiana University "[The workbook] exercises are inspirationally clever. . . . I like the wide variety of 'real music' examples as well and I suspect my grad students would be equally appreciative. . . . I like the summaries, point-by-point reminders, and suggestions about matters such 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