The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening

890 Pages·2011·47.43 MB·English

by  Steven G. Laitz

THE COMPLETE MUSICIAN

AN INTEGRATED APPROACH TO TONAL
THEORY, ANALYSIS, AND LISTENING

Third Edition

Steven G. Laitz
Eastman School of Music

New York
Oxford
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Library of Congress Cataloging-in-Publication Data

Laitz, Steven G. (Steven Geoffrey)
The complete musician: an integrated approach to tonal theory,
analysis, and listening/Steven G. Laitz.-3rd ed.
p.cm.
ISBN 978-0-19-974278-3 (hardcover)
1. Music theory-Textbooks. 2. Tonality. 3. Musical analysis. I. Title.
MT6.L136C66 2012
781.2-dc22

Printing number: 9 8 7 6 5 4 3 2 1

Printed in the United States of America
on acid-free paper

2011005659

To my family:

Anne-Marie, Madeleine, and, of course, Willow and Winn-Dixie

iv

BRIEF CONTENTS

Preface xii

PART 1 THE FOUNDATION OF TONAL MUSIC 1

1
Musical Space and Time 2
2 Harnessing Space and Time: Introduction to Melody
and Two-Voice Counterpoint 41
3
Musical Density: Triads, Seventh Chords, and Texture 64

PART 2 MERGING MELODY AND HARMONY 83

4 When Harmony, Melody, and Rhythm Converge 84
5 Tonic and Dominant as Tonal Pillars and Introduction
to Voice Leading 103

6 The Impact of Melody, Rhythm, and Meter on Harmony;
Introduction to V7; and Harmonizing Florid Melodies 120

7 Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords 142
8 More Contrapuntal Expansions: Inversions of V7, Introduction
to Leading-Tone Seventh Chords, and Reduction and Elaboration 160

PART 3 A NEW HARMONIC FUNCTION,
THE PHRASE MODEL, AND ADDITIONAL MELODIC
AND HARMONIC EMBELLISHMENTS 189

9 The Pre-Dominant Function and the Phrase Model 190
10
Accented and Chromatic Embellishing Tones 206

11
Six-Four Chords, Revisiting the Subdominant, and Summary
of Contrapuntal Expansions 227
12
The Pre-Dominant Refines the Phrase Model 246

PART 4 NEW CHORDS AND NEW FORMS 267

13
The Submediant: A New Diatonic Harmony,
and Further Extensions of the Phrase Model 268
14
The Mediant, the Back-Relating Dominant, and a Synthesis
of Diatonic Harmonic Relationships 286
15
The Period 297
16
Other Small Musical Structures: Sentences, Double Periods,
and Modified Periods 310

17
Harmonic Sequences 325

BRIEF CONTENTS

PART 5 FUNCTIONAL CHROMATICISM 347

18
Applied Chords 348
19
Tonicization and Modulation 371

20
Binary Form and Variations 389

PART 6 EXPRESSIVE CHROMATICISM 417

21
Modal Mixture 418
22
Expansion of Modal Mixture Harmonies: Chromatic Modulation
and the German Lied 437
23
The Neapolitan Chord (~II) 460

24
The Augmented Sixth Chord 472

PART 7 LARGE FORMS: TERNARY, RONDO, SONATA 493

25
Ternary Form 494
26
Rondo 521
27
Sonata Form 537

PART 8 INTRODUCTION TO NINETEENTH-CENTURY
HARMONY: THE SHIFT FROM ASYMMETRY TO SYMMETRY 585

28
New Harmonic Tendencies 586
29
The Rise of Symmetrical Harmony in Tonal Music 606
30
Melodic and Harmonic Symmetry Combine: Chromatic Sequences 624
31
At Tonality's Edge 648

APPENDICES

Appendix 1
Fundamentals
A. The Pitch Realm 681
B. Pulse, Rhythm, and Meter 699
C. Intervals
713
D. Triads, Inversions, Figured Bass, and Harmonic Analysis 726
E. Seventh Chords and Harmonic Analysis 744
Appendix 2
Invertible Counterpoint, Compound Melody,
and Implied Harmonies 754
Appendix 3
The Motive 768
Appendix 4
Additional Harmonic-Sequence Topics 804

Appendix 5
Abbreviations and Acronyms 811
Appendix 6
Selected Answers to Textbook Exercises 815

Index of Terms and Concepts 866

Index of Musical Examples and Exercises 872

v

xii

PREFACE

M usic students often suffer through their theory and aural skills courses,
viewing them as not particularly relevant-perhaps even painful-side-
lines of their musical studies. This is a shame, since an unsatisfying experience
early on frequently has a negative effect on students' attitudes in subsequent
academic courses. Some students express the concern that much of the theory
and aural skills curriculum has little bearing on their music making. Students
often view part writing and figured bass as arcane and antiquated activities,
and ear training and dictation-activities that should be intimately linked to
music making-as scarcely more meaningful. Intervals out of context and
chords strung together in disembodied harmonic progressions strip music of
its very life. Analysis-arguably the most important component of any music
theory curriculum-is sometimes reduced to nothing more than roman nu-
merals and form labeling.
There's little question that reading and comprehending theory texts can be
especially daunting, given their encyclopedic nature and the number of de-
tails that represent exceptions rather than the norms of tonal music. This third
edition of The Complete Musician is specifically designed to quell students'
fears by making the material more accessible and more immediate to their ex-
perience as musicians, resulting in a most engaging, musical, and integrated
tonal-theory text for music majors.

Underlying Approach

The Complete Musician is founded on three simple premises. First, I believe stu-
dents can learn to hear, comprehend, and model the structure and syntax of
the music they love. Second, I hold the opinion that the same simple processes
underlie all tonal music and that they are fleshed out in wondrously diverse
ways. Third, I believe that students will rise to the challenge when all of their
senses are stimulated and they are immersed in instrumental and vocal music
from the tonal repertoire.
A hierarchical approach that illuminates how the harmony of a given pas-
sage emerges from the combination of melodic lines is central to The Complete
Musician. The book's premise of tonal music as a fusion of melody, counter-

PREFACE
Xlll

point, and harmony will appeal to single-line players and singers as well as
keyboard players. The text presents a multistage writing and aural process
through which students consider a passage's outer-voice counterpoint and
metrical setting in order to discern its harmonic flow. With a foundation of the
tonal norms, students should be able to connect their basic musical instincts
with what they hear and see. For example, students will learn to notate the
missing cello line of a string quartet when the given score contains only the
upper instruments, but the recorded performance includes all four instru-
ments. By integrating an understanding of tonal procedures, analytical strate-
gies, and the ability to read music with singing, playing, and listening, stu-
dents should emerge from the course as independent and well-rounded
musicians.
The book's user-friendly and multitiered analytical approach stresses the
distinction between description (i.e., labeling a given sonority according to its
scale degree relation to the tonic using roman numerals and figured bass) and
interpretive analysis (i.e., exploring the metric-rhythmic placement, spacing,
voicing, duration, and possible motivic context of a sonority in order to deter-
mine its function). Interpretive analysis, then, draws heavily on the students'
musical instincts and experiences. Students should be given significant re-
sponsibility in class and, thereby, discover that successfully negotiating an ex-
ercise depends more on a series of well-supported musical decisions than on
"yes" or "no" answers. The students' roles as active participants-whose
opinions matter-are central to the spirit of this text.

Audience

The Complete Musician should appeal to music majors with varied levels of
competency. The text assumes that there are as many levels of student experi-
ence and background as there are students using the text. To that end, every
topic is presented in a graduated fashion and tailored to meet specific student
needs. For those with a limited background in music theory, a new funda-
mentals unit in Appendix 1 presents a basic introduction to important con-
cepts and terminology with numerous straightforward exercises to help rein-
force learning. For students with a broader exposure to music theory,
Chapters 1-3 provide both a review of fundamentals and an introduction to
more-advanced concepts, including rhythmic and metric dissonance, melody,
species counterpoint, and musical texture.
Instructors will find that the third edition can be implemented with a vari-
ety of curricula. As an integrated text, it can be used for both written theory
and aural skills classes. Given the detailed chapters on musical form (periods,
binary, ternary, rondo, and sonata), an instructor can choose to incorporate
them as the class progresses through harmonic topics or defer them until later
in the curriculum. For instructors with students who desire to learn what hap-
pens beyond the usual end of the common-practice harmonic spectrum (ca.
1820), the final four chapters of the text introduce nineteenth- and early twen-
tieth-century tonal practices. Indeed, entire chapters on motivic structures,
compound melody, and invertible counterpoint appear in the Appendices,
and may or may not be broached, depending on the student population and
curricular requirements of the institution.

XIV
PREFACE

Musical Examples

The driving force behind the book is the music literature, since, obviously, this
is what theory illuminates. The included repertoire ranges from Wipo's
eleventh-century setting of "Victimae pachali laudes" to John Coltrane's
"Giant Steps," from solo vocal and instrumental music to the orchestral reper-
toire, from Haydn's "London" Symphonies to Scriabin's later piano preludes.
The inclusion of music from an entire millennium (focusing on the common-
practice repertoire) dramatically underscores the fact that finite and specific
contrapuntal and harmonic procedures are a common thread that runs
through the stylistic differences of this music. Further, though examples in a
purely homophonic texture tidily illustrate common-practice harmonic id-
ioms, they do not develop the students' ability to negotiate the array of tex-
tures and styles fundamental to the repertoire they listen to and perform.
More than 600 recorded examples and exercises in high-quality mp3 format
are included on a CD free with each copy of the textbook; more than 3,900 ad-
ditional examples are presented in mp3 format on the CDs included free in
each of the two workbooks (1,500 examples on the CD in Workbook 1: Writing
and Analysis, and 2,400 on the CD in Workbook 2: Skills and Musicianship). The
music is performed by soloists and ensembles from the Eastman School of
Music and the Rochester Philharmonic Orchestra.

Integration

The Complete Musician integrates the tasks that comprise a tonal-theory cur-
riculum, explicitly connecting written theory (part writing, composition, and
analysis), musicianship skills (singing, playing, improvisation, and dictation),
and music making outside of theory class. The text emphasizes tonal harmony
and includes an array of musical examples drawn from the literature (both ex-
cerpts and complete pieces), as well as detailed treatment of both small and
large forms and keyboard application. This new edition includes more than
300 new sight-singing examples.

Introduction and Pacing ofTopics

The Complete Musician includes a thorough introduction to fundamentals
(which includes discussions of melody writing and analysis, hierarchy, and
species counterpoint). In addition to diatonic and chromatic procedures, other
dimensions of the tonal tradition receive full treatment, including small for-
mal structures (the motive, phrase, period, and sentence) as well as larger
forms (binary, ternary, rondo, and sonata-and, new to this edition, sonata-
rondo), and stylistic distinctions between eighteenth- and nineteenth-century
tonal practice.
The Complete Musician is neither an overview of the high points of music
theory nor a survey of every topic associated with tonal music. Rather, it
strives to develop a deep understanding of concepts by devoting one or more
chapters to crucial topics related to the tonal tradition, such as sequences,
compound melody, the motive, and invertible counterpoint. The materials are
presented at a pace that maximizes learning. Concepts are introduced in their
most common musical contexts and then are immediately reinforced with a

PREFACE

Steven Harper, Georgia State University
Brian Head, University of Southern California
Aine Heneghan, University of Washington
Roman Ivanovitch, Indiana University
David Marcus, Georgia State University
Jonathan McNair, University of Tennessee at Chattanooga
Jeffrey Miller, California State University, East Bay
Neil Minturn, University of Missouri-Columbia
Rachel Mitchell, University of Illinois at Urbana-Champaign
Jeff Perry, Louisiana State University
Boyd Pomeroy, University of Arizona
Brian Post, Humboldt State University
Alex Reed, University of Florida
Toby Rush, University of Northern Colorado
Ciro Scotto, University of South Florida
Jim Scully, California State University, Bakersfield
Michael Slayton, Vanderbilt University
Eliyahu Tamar, Duquesne University
Reynold Tharp, University of Illinois at Urbana-Champaign
Don Traut, University of Arizona
Leigh VanHandel, Michigan State University

XIX

I also extend my thanks to the staff at Oxford University Press for their
continued faith in this project. Jan Beatty, executive editor, has been dedicated
to this project for more than ten years. She regularly provided insightful, cre-
ative, and savvy guidance. Barbara Mathieu, production editor, has carefully
shepherded this complex project through the many stages of production-
thank you. I am especially indebted to Debbie Nichols, musician and copy ed-
itor, who painstakingly worked through every word and musical symbol on
nearly 2,000 pages of dense, rewritten manuscript with an amazing eye for
clarity, consistency, and correctness.
I also wish to express my deep gratitude to the Eastman School of Music,
which has supported this project in countless ways. Douglas Lowry, Dean of
the Eastman School, and Jamal Rossi, Eastman's Senior Associate Dean, have
been sources of inspiration.
I express my deep gratitude to the Eastman faculty and students, who
played and sang the 20 recorded hours of musical examples so artfully. Cen-
tral to the newly recorded examples were Catherine Cowdrick (Soprano),
Robert Swensen (Tenor), David Brickman and Patricia Sunwoo (Violin),
Melissa Matson (Viola), Margery Hwang (Cello), and Diane Walsh (Piano).
Performers for previous editions include:

Antonova, Natalya
Piano
Boover, Alta
Alto
Arciola, Marissa
Bass
Brooks, Liz
Mezzo Soprano
Beaudry, Chris
Bass Trombone
Cheetham, Andy
Trumpet
Berkebile, Jennifer
Mezzo Soprano
Chen, Po Yao (Richard)
Bassoon
Bezuidenhout, Kristian
Piano, Harpsichord,
Choi, Hyunji
Cello
Forte-Piano
Dawson, Andrea
Violin

Binkley, Jennifer
Horn
Franco, Allison
Oboe

Block, Christina
Clarinet
Fuller, Valerie
Horn

WORKBOOK 1

PREFACE
XV

broad array of exercises that include singing, writing, analyzing, listening,
and playing. Exercises progress from more-passive written, aural, and tactile
activities (such as identifying, correcting, and comparing) to those requiring
active understanding (such as unfigured basses, melody harmonization,
model composition), carefully arranged so that the skills the students develop
lead from mere identification to substantive composition.
Topics such as voice-leading norms and harmonic usage are presented in
order of importance so that students never feel overwhelmed by endless rules,
nor misled that all harmonies occur with equal frequency and are of equal im-
portance. The emphasis on varied styles and genres illuminates the ways in
which a small number of consistent contrapuntal and harmonic procedures
are immutable throughout the tonal tradition. To counter any misconception
that tonal pieces are cut from the same musical cloth with a limited range of
compositional possibilities, emphasis is placed on motivic relationships that
make a given work unique. Students learn that only through active study of
the score can one discover such musical processes.

New to the Third Edition

Greater Accessibility, Flexibility, and Ease of Use
Reorganized, with fewer chapters Instead of the 37 chapters in the previous
edition, this edition has 31. The most commonly taught topics are presented in
sequence, with less common topics-such as invertible counterpoint (Chapter
15 in the previous edition), compound melody (Chapters 15 and 23 in the pre-
vious edition), and motive (Chapter 16 in the previous edition)-moved to the
Appendices, where instructors may access them when their curricula permits
or omit them altogether.

Streamlined throughout I looked carefully at every sentence in the text with
an eye toward simplifying the prose and seeing where I could best highlight
important points by utilizing lists. With the new organization and appendices,
the body of the text of this third edition is 200 pages shorter than the previous
edition.

A new presentation of fundamentals For the student with limited experi-
ence with fundamentals there is a 75-page section in Appendix 1 that intro-
duces key concepts and basic terminology. For the student with a broader ex-
perience in fundamentals (and for those who worked through the
fundamentals section in the Appendix), the first three chapters present are-
view and synthesis consisting of a concise (and higher-level) overview of fun-
damentals that is combined with topics not presented in the fundamentals
section in the Appendix. These topics include: musical accent, metrical distur-
bance, consonance and dissonance, sample analyses, melody, two-part coun-
terpoint, voicing, and musical texture.

Additional and shorter introductory writing and listening exercises These
introductory writing and listening exercises focus on writing and hearing in
the shortest musical contexts. Examples can be seen in Chapters 6, 7, 17, 18,
and 19. Longer and more-involved written exercises are now found in Work-
book 1: Writing and Analysis. Icons in the margin (like the one shown here)
refer to specific assignments in Workbook 1, each of which usually contains
three or four varied exercises.

XVI
PREFACE

More notational information given for dictation exercises To help students
who need more prompts, I've added supplemental information for many of
the exercises (including notational templates and guiding pitches).

Solutions to selected exercises available in the Appendix Appendix 6 con-
tains solutions to more than 100 exercises in the text so that students will have
immediate feedback on how they are progressing. Exercises that are solved
are marked with a marginal notation: Solved/ App 6.
New "how to" sections Within chapters of Workbook 2: Skills and Musician-
ship, students will find quick overviews of topics such as conducting patterns,
sight-singing, melodic and harmonic dictation, melodic writing, and analysis
guidelines and procedures.
Helpful annotations Numerous musical examples include guiding annota-
tions, and I have also provided textural and structural reductions of more-
complex musical examples.

An Appendix that provides a list of abbreviations and acronyms

Greater Coverage
More than 250 new musical examples These examples include: sample
analyses (e.g, the "Prelude" to Wagner's Tristan und Isolde), many new exam-
ples (e.g., Lohengrin, Coltrane's "Giant Steps," and Tasca), and additional large
analytical projects (e.g., the last movement of Beethoven's Pathetique; Haydn's
String Quartet, op. 74, no. 3; and the last movement of Beethoven's D major
Violin Sonata).

New exercise offerings include:

• Additional basic and easier exercises, designed to prepare students for
the more-involved figured bass and composition exercises.

• Written exercises for specific topics, such as melody completion/
composition.

• More synthetic exercises that combine activities (Workbook 2: Skills and
Musicianship).

• New aural exercises, such as correcting a notated melody, series of
chords, or bass line based on what is heard (Workbook 2: Skills and
Musicianship).

• Much more singing, ranging from simple position-finding scale degree
patterns to melodies from the literature (Workbook 2: Skills and
Musicianship).

• New keyboard exercises, including easy (5-finger) harmonically ori-
ented examples, outer-voice harmonic paradigms, and creative sing-
and-play activities (Workbook 2: Skills and Musicianship).

New conceptual topics These include the tonicized half cadence (Chapter 18)
and sonata-rondo form (Chapter 27).

New skills component Workbook 2: Skills and Musicianship includes one- and
two-voice sight-singing excerpts with more than 300 melodies, 200 of which
are taken from the literature. These are organized by harmonic device (for ex-
ample, in the augmented sixth chapter, 12 examples contain that chord). Em-
phasis is placed on hearing tunes with harmonic underpinning. To that end,
left-hand pitches (including figured bass symbols in some cases) or chords are
occasionally included to guide the student in the sing-and-play activities.

PREFACE
XVII

More than 400 new recordings of excerpts and complete works These ap-
pear on the CDs that accompany the text and workbooks.

New and Improved Ancillaries
Significantly reorganized workbooks While The Complete Musician still es-
pouses a highly integrated presentation of theoretical, analytical, composi-
tional, and musicianship activities, I have reorganized the workbooks to give
instructors more options to match their curricula.

• Workbook 1: Writing and Analysis is now dedicated to written and ana-
lytical activities, including figured bass, melody harmonization, model
composition, and analysis.

• Workbook 2: Skills and Musicianship contains musicianship skills. Exer-
cises within each chapter of Workbook 2 are organized by activity type:
both by singing arpeggiations of the chord being studied and then
within a tune from the literature, two-part singing, dictation, keyboard,
then instrumental application.

• Over 150 new literature excerpts and complete works for analysis and
dictation appear in the workbooks. These include new instrumental
combinations, as well as more-accessible and wider stylistic examples
(e.g., Kreisler's Preludium and Allegro and a passage from Faure's
Pavane).

• More analytical and notational space is included in both workbooks for
students to supply answers.

Recordings included in simplified format About 4,500 musical examples,
many from the common-practice repertoire, are included in the text and work-
books. More than 90 percent of these are high-quality mp3 files, which are
recorded on the CDs that are furnished with the text and with each workbook.
(All music is performed, recorded, and engineered at Eastman.) Having the
mp3 files on CD will allow both students and instructors to easily locate the
track they want to hear. (An icon appears in the margin of the text next to mu-
sical examples that are included on the CD.)

More sample solutions and teaching guidelines in the Instructor's Manual
A 500-page Instructor's Manual provides solutions to all of the dictation exer-
cises; sample solutions for more than 250 writing (e.g., figured bass and
melody harmonization) and analytical exercises; and supplementary exam-
ples, exercises, and teaching guidelines that detail effective strategies for each
chapter.

A new companion website-www.oup.com/us/laitz This website contains
supplemental analytical and writing exercises that focus on the basics of each
newly presented concept. For example, substantial drill on triad identification
and roman numerals in varied spacings and textures will help single-line
players and singers develop crucial fluency in various musical settings.

Terminology and Scope

The Complete Musician aims to take a neutral, and hopefully ecumenical, path.
For example, no particular system is espoused for singing melodies. Students
should employ whatever system is used in class, whether it is scale degree
numbers, movable or fixed do solftge, and so forth. Whenever possible, I use

XVlll
PREFACE

commonly accepted terminology in the text. On occasion, however, when I felt
that currently popular terminology was insufficient or vague, I've departed
from and added to what is usually taught. For example, considerable atten-
tion is devoted to harmonic sequences, given the ubiquitous presence and cru-
cial role they play in tonal music. In order for students to master hearing (and
writing) sequences, I have devised a nomenclature system that captures both
the general rise and fall of sequences, and the chord-to-chord root intervals
that create these motions.
Another reason to depart occasionally from conventional terminology re-
sults from my desire to reveal tonal music's hierarchical processes and to
model how we hear various harmonic motions. To that end, the analytical
method employed in The Complete Musician involves considering a chord's rel-
ative importance within a given musical context. For example, a dominant
harmony that leads conclusively to tonic as part of a strong authentic cadence
is a different type of dominant from one that occurs within a phrase and
merely helps to connect tonic and submediant, or one that occurs at the half
cadence, but which does not actually move to the following tonic. It might be
more logical, then, to view such a dominant as referring back to the initial
tonic and therefore not moving the progression ahead. By distinguishing be-
tween such functions, students should learn that analysis is a creative enter-
prise that embraces their instincts and which has implications for their own
music making.
Some topics that are commonly found in other theory texts are not in-
cluded here but are replaced by new pedagogical approaches. For example,
there is no discussion of ninth and eleventh chords, since such sonorities are
usually more apparent than real in common-practice music. On the other
hand, topics such as two-voice counterpoint, invertible counterpoint, com-
pound melody, and late-nineteenth-century intervallic motivic cells receive
detailed treatment, since they are crucial compositional procedures in eigh-
teenth- and nineteenth-century music. Knowledge of the application of these
concepts will not only affect students' ability to hear harmony in time but will
also have a profound impact on their playing and singing.

Acknowledgments

I wish to thank my students and colleagues who provided support and guid-
ance in the creation of this new edition. They include my Eastman colleagues,
Jonathan Dunsby and William Marvin, and-for the many arguments for and
against the existence of sonata-rondo form-Gordon Sly at Michigan State
University. Thanks also to Michael Callahan for his work on the sample solu-
tions. Ann Drinan gracefully edited portions of the text and Jennifer Gliere did
a wonderful job designing the Instructor's Manual.
I thank the following reviewers, who made more than one pass through
versions of this new manuscript, and provided sage theoretical and pedagog-
ical advice:

Reginald Bain, University of South Carolina
Vincent Benitez, Pennsylvania State University
Stefan Eckert, University of Northern Colorado
Gretchen Foley, University of Nebraska-Lincoln

XX
PREFACE

Fulton, John
Baritone
Nulty, Dennis
Tuba
Gliere, Jennifer
Soprano
Orlando, Courtney
Violin
Grandey, Ali
Soprano
Ou Yang, Angel
Violin
Hennings, Dieter
Guitar
Penneys, Rebecca
Piano

Hermanson, Brian
Clarinet
Pritchard, Jillian
Timpani
Hileman, Lynn
Bassoon
Prosser, Doug
Trumpet
Jin, Min
Tenor
Qian, Jun
Clarinet
Jorgensen, Michael
Violin
Salatino, Mark
Trombone
Karney, Laura
Oboe
Salsbury, Josh
Trombone
Kellogg, Mark
Bass Trombone
Schneider, Nicolas
Cello
Kelly, Mike
Tenor
Schumacher, Tom
Piano

Kim, Sophia
Flute
Shaw, Brian
Trumpet
Kohfeld, Cheryl
Viola
Sheldrick, Braunwin
Viola
Laitz, Madeleine
Violin
Shewan, Paul
Trumpet
Laitz, Steve
Piano
Slominsky, Johnandrew Piano

Lange, Amy
Bassoon
Sugitani, Mune
Baritone
Leung, Chun Chim
Violin
Traficante, Sara
Flute
(David)
Wensel, Ben
Cello
Liu, Liu
Piano
Widmer, John
Trombone
Manolov, Emanouil
Violin
Wilcox, Kathy
Oboe

Marks, Matt
Horn
Winchell, Katie
Flute
Martin, Rob
Violin
Wood, Lindsey
Horn
Mayumi Matzen
Piano
Zabenova, Ainur
Violin

Mike Farrington, recording engineer and supervisory editor for all three
editions has, for nearly 10 years, consistently done a magnificent job; he is a
true artist. Thanks also go to Helen Smith, Director of Eastman's Recording
Services, for her help and support.
I continue to thank Carl Schachter and the late Edward Aldwell for their
artistic models of scholarship, musicality, and pedagogy, which play no small
role in the philosophic undergirding of this book.
Finally, to my wife of nearly 35 years, Anne-Marie Reynolds, and my
extraordinary daughter, Madeleine, I'm indebted to you both for teaching me
something every day.