The Complete Musician The Essentials

Based on Steven G. Laitz's highly acclaimed The Complete Musician, this volume offers a streamlined and exceptionally approachable introduction to key topics of music theory. In a brief package that includes a workbook, online recordings of all examples, and two online video demonstrations for each chapter, it covers the core concepts of the standard curriculum, but with a deep focus on their roles within a musical context.

Available from leading higher education eBook retailers, The Complete Musician: The Essentials interactive eBook brings the text's narrative to life with a rich assortment of audio and video resources.

Steven G. Laitz is Chair of Music Theory and Analysis and Assistant Dean for Curricular Development at the Juilliard School in New York.

Susan de Ghizé is Assistant Professor of Music Theory at Texas A&M University-Corpus Christi.

Ian Sewell is a PhD student at Columbia University.

Each chapter ends with Terms and Concepts.
Preface
PART 1. FUNDAMENTALS
Chapter 1. Fundamentals of Musical Notation: Rhythm and Pitch
Introduction to Rhythm
Introduction to Pitch
More Notational Symbols
Chapter 2. Musical Time
Meter
Rhythmic and Metric Divisions
Accent and Metrical Disturbance
Chapter 3. Scales and Keys
Two Fundamental Scales
Major Scales and Keys
Scale Degrees
Minor Scales and Keys
Major and Minor Relations
Chapter 4. Intervals
Naming Intervals: Perfect, Major, and Minor
Transforming Intervals: Augmented, Diminished, and Inverted
Generating Intervals
Transposition
Consonant and Dissonant Intervals
Chapter 5. Triads and Seventh Chords
Introduction to Chords: Triads
Figured Bass
Harmonic Analysis
Seventh Chords
Arpeggiation and Distribution
Summary of Part 1
PART 2. DIATONIC HARMONY AND VOICE LEADING
Chapter 6. Introduction to Melody and Two-Voice Counterpoint
Melody: Characteristics and Writing
Introduction to Two-Voice Counterpoint
First-Species Counterpoint
Second-Species Counterpoint
Fourth-Species Counterpoint
Chapter 7. Textural and Melodic Embellishment
Musical Texture
Embellishing Tones: Chord Tones and Nonchord Tones
Melodic Embellishment and Reduction
Chapter 8. Tonic and Dominant Chords: The Pillars of Tonal Music
Characteristics and Effects of I and V
Introduction to Voice Leading
Chapter 9. Second Level Analysis and Contrapuntal Expansions of I and V: Six-Three Chords
Second-Level Analysis
Chordal Leaps in the Bass: I6 and V6
Neighbor Tones in the Bass: V6
Passing Tones in the Bass: viio6
IV]6 Expands I and V
Revisiting Second-Level Analysis
Chapter 10. V7 and its Inversions
The Dominant Seventh and Chordal Dissonance
Voice Leading for V7
V]7 in Inversion
Chapter 11. Leading-Tone Seventh Chords
Leading-Tone Seventh Chords in Minor Keys: viio7
Leading-Tone Seventh Chords in Major Keys: viio7 and vii]o7 Summary of Contrapuntal Expansions
Summary of Part 2
PART 3. THE PHRASE MODEL
Chapter 12. The Pre-Dominant and the Phrase Model
Harmonic Function and the Predominant
Predominant Chords
Expanding the Predominant
The Phrase Model
Chapter 13. More Embellishing Tones
Unaccented versus Accented Embellishing Tones
Accented and Chromatic Embellishing Tones
Appoggiatura and Escape Tone
Suspension
Anticipation
Pedal
Summary of the Most Common Embellishing Tones
Chapter 14. Six-Four Chords, Revisiting the Subdominant, and Summary of Contrapuntal Expansions
Unaccented Six-Four Chords
Accented Six-Four Chords in Cadences
Revisiting the Subdominant
Summary of Harmonic Models
Chapter 15. Pre-Dominant Sevenths and Embedded Phrase Models
Predominant Seventh Chords
Embedding the Phrase Model
Contrapuntal Cadences
Expanding the Predominant with Sevenths
Terms and Concepts
Summary of Part 3
PART 4. NEW CHORDS AND FORMS
Chapter 16. The Submediant and Mediant: New Diatonic Harmonies
Submediant Chord (vi in Major; VI in Minor)
Mediant Chord (iii in Major; III in Minor)
The Step Descent in the Bass
Chapter 17. Small Musical Structures: Periods and Sentences
The Period
Types of Periods: Melody and Harmony
Labelling and Diagramming Periods
Sample Analysis and Analytical Guidelines
Periods with Two of the "Same" Cadence
The Double Period
The Sentence
Chapter 18. Harmonic Sequences
Analyzing Sequences
Type of Sequences
Adding Seventh Chords
Writing Sequences
Summary of Diatonic Sequences
Summary of Part 4
PART 5. CHROMATIC HARMONY (I): TONICIZATION AND MODULATION
Chapter 19. Tonicization
Applied Dominant Chords
Applied Leading-Tone Chords
Sequences with Applied Chords
Chapter 20. Modulation
Modulation versus Tonicization
Modulation to Closely Related Keys
Pivot Chords
Modulation via Sequences
Pivot Areas
Modulation and Tonicization in the Larger Musical Context
Chapter 21. Binary Form and Variations
Binary Form
Types of Binary: Themes and Harmony
Labeling and Diagramming Binary Form
Theme-and-Variation Form
Summary of Part 5
PART 6. CHROMATIC HARMONY (II): MIXING MODES
Chapter 22. Modal Mixture and Plagal Motion
Altered Predominant Harmonies: iio and iv
Alerted Submediant Harmony: bVI
Altered Tonic Harmony: i
Alerted Mediant Harmony: bIII
Chromatic Stepwise Bass Descents
Modal Mixture in Plagal Motions
Chapter 23. The Augmented Sixth Chord
Types of Augmented Sixth Chords
Writing Augmented Sixth Chords
Other Characteristics and Uses of Augmented Sixths
Chapter 24. The Neapolitan Chord (]bII) and Chromatic Modulation
Expanding bII
Chromatic Modulations
Unprepared and Chromatic Common-Tone Modulations
Summary of Part 6
PART 7. LARGE FORMS
Chapter 25. Ternary Form
Types of Ternary Form
Transitions and Retransitions
Ternary Form in Multimovement Works
Ternary Form in the Nineteenth Century
Chapter 26. Sonata Form
Elements of Sonata Form
Other Approaches to Sonata Form
Chapter 27. Rondo Form
The Classical Rondo
Five-Part Rondo
Seven-Part Rondo
Sonata-Rondo Form
PART 8. NINETEENTH-CENTURY HARMONY
Chapter 28. Nineteenth Century Harmonic Techniques
Common-Tone Expansions
Altered Dominants
Tonal Ambiguity
Chapter 29. New Chromatic Procedures: Tonality's Edge
Harmonic Transformations
Chromatic Sequences
Terms and Concepts
Summary of Part 8
PART 9. TWENTIETH-CENTURY HARMONY
Chapter 30. Beyond the Common Practice: Twentienth-Century Chords and Scales
Triadic Extensions and Quartal/Quintal Chords
Diatonic Scales Beyond Major and Minor
Chromatic Collections
Chapter 31. Atonality and Set Theory
Naming Notes in Atonal Music: PC Numbers
Intervals between pc Numbers
pc Sets
Set Classes: (Best) Normal Order and Prime Form
Segmentation and Analysis
Chapter 32. Twelve-Tone Music
Twelve-Tone Music: Rows and Row Forms
Writing and Using Twelve-Tone Rows
Analyzing Twelve-Tone Rows
Summary of Part 9
Glossary