Skills and Musicianship Workbook to Accompany The Complete Musician: Workbook 2 AN INTEGRATED APPROACH TO TONAL THEORY, ANALYSIS AND LISTENING

Designed specifically for greater flexibility of use, the two workbooks that accompany The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Third Edition, feature a new organization. Workbook 1: Writing and Analysis is dedicated exclusively to written and analytical activities. Workbook 2: Skills and Musicianship focuses on musicianship skills. Between the two workbooks—each of which is packaged with a CD—there are more than 2,000 recorded analytical and dictation examples and fifteen hours of recorded music (all music is performed, recorded, and engineered at Eastman). Additional supplementary material is available on the new companion website (www.oup.com/us/laitz). Features of Workbook 2: Skills and Musicianship * Accompanied by a CD (packaged FREE with workbook) containing high-quality MP3 recordings of nearly all the music in the workbook (performances range from solo piano to full orchestra) * Presents a variety of crucial skill-development exercises that unfold in a consistent order for each chapter, organized by activity type: singing (one- and two-part), listening (dictation, correction, analysis and notation, etc.), and keyboard (including sing and play examples) * Offers more than 300 melodies, organized by harmonic device * Provides more introductory level musicianship exercises * Includes specific guidelines and notational information for the dictation activities

1: Musical Space and Time; 2: Harnessing Space and Time: Introduction to Melody and Two-Voice Counterpoint; 3: Musical Density: Triads, Seventh Chords and Texture; 4: When Harmony, Melody, and Rhythm Converge; 5: Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading; 6: The Impact of Melody, Rhythm, and Meter on Harmony; Introduction to V7; 7: Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords; 8: More Contrapuntal Expansions: Inversions of V7, and Leading-Tone Seventh Chords; 9: The Pre-Dominant Function and the Phrase Model; 10: Accented and Chromatic Dissonances; 11: Six-Four Chords, the Subdominant, and Summary of Contrapuntal Expansions; 12: The Pre-Dominant Refines the Phrase Model; 13: The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model; 14: The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic Relationships; 15: The Period; 16: Other Small Musical Structures: Sentences, Double Periods, and Asymmetrical Periods; 17: Harmonic Sequences; 18: Applied Chords; 19: Tonicization and Modulation; 20: Binary Form and Variations; 21: Modal Mixture; 22: Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German Lied; 23: The Neapolitan Chord (bII); 24: The Augmented Sixth Chord; 25: Ternary Form; 26: Rondo; 27: Sonata Form; 28: New Harmonic Tendencies; 29: The Rise of Symmetrical Harmony in Tonal Music; 30: Melodic and Harmonic Symmetry Combine: Chromatic Sequences; 31: At Tonality's Edge; Appendix 1: Fundamentals; a. The Pitch Realm; b. Pulse, Rhythm, and Meter; c. Intervals; d. Triads, Inversions, Figured Bass, and Harmonic Analysis; e. Seventh Chords and Harmonic Analysis; Appendix 2: Invertible Counterpoint, Compound Melody, and Implied Harmonies; Appendix 3: The Motive; Appendix 4: Additional Harmonic Sequence Topics; Appendix 6: Selected Answers to Textbook Exercises

Steven G. Laitz is Professor of Music Theory at the Eastman School of Music at the University of Rochester. He is also an Affiliate Faculty Member in the Chamber Music Department at Eastman. Dr. Laitz is the current editor of the Journal of Music Theory Pedagogy.