A traditional music theory text for music majors in the required two-year long theory course. Based on the Shenkerian approach to music theory, Harmony and Voice Leading, Second Edition, provides a coherent point of view in teaching theory. Well chosen musical excerpts exemplify the theory under discussion, and all units have a generous quantity of exercises, more carefully graded in this edition to progress from easy to difficult. Workbooks provide additional drill and practice. The Second Edition features a one volume format so professors can more easily sequence their course when using the book. The workbooks continue in a two-volume format, each corresponding roughly to the first and second year of study.
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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.
Carl Schachter has taught music theory and analysis at Mannes College since 1956. He has served as the Chair of the Techniques of Music Division, and he was Dean of the College from 1962 to 1966. In July 1996 he retired as Distinguished Professor of Music at Queens College and the CUNY Graduate School, where he had taught since 1971. Following his retirement from Queens College, he joined the faculty of The Juilliard School. He has lectured and taught in France, England, Italy, Germany, Austria, Spain, Finland, Estonia, Holland, Mexico, and Australia as well as the U.S. and Canada.
"The Exercises are first rate."
"The Exercises are also extremely good. In many chapters there are more lengthy exercises than most instructors could possibly use, but it's nice to be able to choose the ones one likes best."
"I consider HARMONY AND VOICE LEADING to be without question the preeminent harmony book on the market today. ... It offers instruction on a high musical and intellectual level that does not condescend to students, but rather encourages growth in the subject that is both rapid and profound."
"(I use HARMONY AND VOICE LEADING because of) ... the marvelous organization of the material; the authors' impressive mastery of the material; the musicianly quality of the presentation, which conveys the necessary information very effectively...but never mechanically; the high quality of the exercises and excerpts for analysis, which are thought-provoking for the teacher as well as the student; and the extremely well-chosen musical examples."
"The concepts are approached from a musical standpoint as I mentioned earlier. In addition, the coverage is incredibly thorough and logically presented. My personal favorite is that the homework exercises are largely compositional in nature, as opposed to 'fill in the blank' harmonic exercises. I believe that through composition and melody harmonization students best learn harmony and voice leading principles. Most importantly, through composition, students will make the transition to counterpoint studies more easily."
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Book Description Schirmer, 1988. Hardcover. Book Condition: New. Never used!. Bookseller Inventory # P110155315196
Book Description Harcourt, 1988. Hardcover. Book Condition: New. 2nd. Bookseller Inventory # DADAX0155315196