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The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening | 
 enlarge | Author: Steven G. Laitz
Publisher: Oxford University Press, USA
Category: Book
List Price: $89.95
Buy New: $66.37
You Save: $23.58 (26%)
New (27) Used (16) from $54.02
Avg. Customer Rating:  2 reviews
Sales Rank: 562501
Media: Hardcover
Edition: 2
Number Of Items: 1
Pages: 912
Shipping Weight (lbs): 3.9
Dimensions (in): 10.1 x 8.1 x 1.4
ISBN: 0195301080
Dewey Decimal Number: 781.2
EAN: 9780195301083
ASIN: 0195301080
Publication Date: June 18, 2007
Availability: Usually ships in 1-2 business days
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Condition: IN STOCK, ships within 24 hours... brand new, great buy!!
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Product Description
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
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| Customer Reviews:
 Excellent textbook... September 29, 2006
4 out of 5 found this review helpful
...comprehensive, detailed but nevertheless succinct and to the point...the writing is a bit dry but after all it is a textbook.
 An excellent linear approach to common-practice harmony April 2, 2005
26 out of 27 found this review helpful
This book is best for those who have already taken a full course in tonal harmony and understand it well from a functional perspective but want to understand it better from a linear perspective.
It is a very complete course in common practice tonal harmony. It is in many ways an updated successor to Aldwell & Schachter in that it pays attention to every minute detail of voice leading and part-writing. Varieties of V-I take over 100 pages alone. For those interesting in mastering the common practice writing style, this is much better than, for example Benward or Piston, which focus more on the functional aspects of harmony, but neglect the linear. If you have this, W. A. Mathieu's Harmonic Experience, Bert Ligon's Jazz Theory text, and Ludmila Udmela's text on contemporary harmony you have 90% of what you need to know about tonal harmony.
Who is this book not for? It is not for those interested in learning harmony in Jazz, Pop, or 20th century styles. Also, the title "Complete Musician" is a misonomer. It is only common-practice harmony.
This book requires a solid foundation of the basics of music theory to absorb--I can imagine it being very confusing if used for unprepared college freshmen, because it doesn't spend much time on fundamentals.
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