Part I: The Primary Materials and Procedures. 1. Key, Scales, and Modes. 2. Intervals. 3. Rhythm and Meter. 4. Triads and Seventh Chords. 5. Procedures of Four-Part Writing. Part II: I-V-I and Its Elaborations. 6. I, V, and V7. 7. I6, V6, VII6. 8. Inversions of V7. 9. Leading to V, IV,II, and II7. 10. The Cadential 6/4. 11. VI and IV6. 12. Supertonic and Subdominant Seventh Chords. 13. Other Uses of IV, IV6, and VI. 14. V as a Key Area. 15. III and VII. Part III: 5/3, 6/3, and 6/4 Techniques. 16. 5/3-Chord Techniques. 17. Diatonic Sequences. 18. 6/3-Chord Techniques. 19. 6/4-Chord Techniques. Part IV: Elements of Figuration. 20. Melodic Figuration. 21. Rhythmic Figuration. Part V: Dissonance and Chromaticism I. 22. Leading-Tone Seventh Chords. 23. Mixture. 24. Remaining Uses of Seventh Chords. 25. Applied V and VII. 26. Diatonic Modulation. Part VI: Dissonance and Chromaticism II. 27. Seventh Chords with Added Dissonance. 28. The Phrygian II (Neapolitan). 29. Augmented Sixth Chords. 30. Other Chromatic Chords. 31. Chromatic Voice-Leading Techniques. 32. Chromaticism in Larger Contexts. Appendix I: Keyboard Progressions. Appendix II: Score Reduction. Index of Musical Examples. Subject Index.
"(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."
"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."
"The Exercises are first rate."
"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."
"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 Fauri."
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