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Harmony and Voice Leading
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About the Author
Edward Aldwell received his bachelor's and master's degrees from The Juilliard School where he studied piano with Adele Marcus. He studied theory and analysis privately with Carl Schachter and later with Ernst Oster. He has been a member of the Techniques of Music department at Mannes since 1969 and a member of the piano department since 1973. He has taught theory at The Curtis Institute of Music since 1971 and is currently Chairperson of the theory department. He has given recitals and master classes throughout the United States as well as in Israel, England and Germany, many of them devoted to the works of Bach. Recordings include both books of THE WELL-TEMPERED CLAVIER, GOLDBERG VARIATIONS and FRENCH SUITES OF BACH, as well as works of Hindemith and Faure.
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Product details
Hardcover: 736 pages
Publisher: Cengage Learning; 4 edition (March 11, 2010)
Language: English
ISBN-10: 0495189758
ISBN-13: 978-0495189756
Product Dimensions:
8.2 x 1.2 x 10.2 inches
Shipping Weight: 3.2 pounds (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
16 customer reviews
Amazon Best Sellers Rank:
#759,562 in Books (See Top 100 in Books)
This text is extremely deep and challenging. I did find it irritating how the authors chose to abandon some conventions. Most irritating was the use of upper case Roman numerals for all chords regardless of quality. A barrier to learning for me, as the subject matter is difficult enough without having to deal with that quirk. The authors do explain their reasons for this, but it's a pain in the butt. Additionally there are other labelings of certain types of progressions that I found a bit confusing. I've used a few theory books in my career, but this one is by far the most in-depth and challenging. If you are required to take theory and this is your text for the course, stand by, you are in for a ride. If you have an excellent professor (I did), it's do-able.
The fourth edition of Aldwell and Schachter remains the best available reference for writing harmony. The organization of the chapters makes this book perfect for when you want ideas for how to harmonize a particular note or phrase.I imagine this would also be a great text for students of harmony as well. The explanations are clear, and the examples are all "good music", (mostly from before 1900).I recommend the CD as well, since the examples are performed well on it.
Great Book for who is interested in self-learning.The problem is: it's not available for Kindle, although it would be for this pourpose, and I'm reading it in my iPad, in the Kindle app.
The best book I have found to explain the foundation of music theory. All the others on Amazon are worthless compared to this one plus I can trade it in for almost full price because this is the book every good conservatory uses in the USA. Buy and study this book it will help your skill set immeasurably
Warning: Please be advised that when you purchase this book on Amazon, it *does not* include access to the "premium website" as advertised. In order to have access to the online accompanying materials for this book, you need to purchase a "Course Mate Code" from the manufacturer for an additional $65.
Excellent
The primary strength of this book is the way in which it structures the theory curriculum. Early on, the authors effectively impress the importance of voice leading as a basis for harmony. Even within the first few units, students begin to distance their analytical thinking from the chord-to-chord recognition-based approach popular among other methods. (The authors dispense with that silly pedantic harmony "flowchart" many other texts use.) In later chapters, they present meaningful analysis of pretty complex chromaticism for a survey textbook; the units on sequences and voice exchanges are especially interesting. The authors consistently choose excellent examples, and their analysis is always first rate. By the end of the book, students are ready to begin Schenkerian analysis and upper-level theory curriculum.The book's shortcomings concern the style of prose and the flow of topics within individual units. Each chapter is a kind of bullet-point list, lending a kind of taxonomic organization to individual topics that can be hard to follow. Some of the more complex topics, like suspensions, are rather convoluted. Students reading the book can easily feel overwhelmed and may have a hard time sorting out the important information from the many asides.Also, this book is, as the title suggests "Harmony and Voice Leading." It is not "The Complete Musician." There is essentially no discussion of musical form (outside of large-scale harmonic organization). The book also concerns the tonal system only (with one rather rushed tangent on sixteenth century counterpoint); there is no discussion of twentieth century music, such as you might find in many similar textbooks designed for the standard four-semester sequence. While this is not a shortcoming of the book per se, it does mean that in order to use the book for a standard theory sequence, the instructor will need to supplement this text with outside sources (which is probably a good idea anyway).Still, I recommend this book highly for intellectually inquisitive students. The authors don't dumb down the subject. They do an excellent job structuring the curriculum so as to build a strong foundation for students in theory.
Daughter needed for college. Priced less than the school bookstore.
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