Harmony and Voice Leading: Workbook: 2 [Paperback]

When I was a student at the University of Michigan School of Music in the late seventies and early eighties, we used the then brand new first edition of this book. I thought it was quite good then, and I believe this third edition to be an even better book. It treats the subjects of tonal harmony and voice leading quite well. There have been some solid improvements in the way a few things are explained and some changes in the musical examples. However, it is still fundamentally the same sound course for undergraduate music theory it has been since 1978. However, it now comes in one volume instead of the two volumes of the first edition.

The text begins with a quick review of the basics of musical grammar, a brief introduction of the rudiments of musical notation, intervals, rhythm (and meter), chords, and four-part harmony. Part II talks about the powerful relationship between the tonic and dominant chords, chord progressions elaborating that relationship, and even the dominant as a key area (whether you call it tonicization or modulation is up to you). Part III discusses the implications of root position, first inversion, and second inversion chords in elaborating harmonies and in sequences. Part IV is actually about contrapuntal issues, but is framed in a discussion of melodic figuration. Part V introduces chromaticism, modal mixture, and extends the discussion on uses of seventh chords. Part VI extends the discussion of chromaticism and includes ninth and eleventh chords, Phrygian II (Neapolitan chords), augmented sixths, and more types of mixture. There is also important discussion of the implications all this has for voice leading and modulation to other key areas.

Some might wish that it contained some treatments of graphical (Schenkerian notation), and I am one of them, but that is a quibble compared to this book's many strengths. The counter argument is that until the students really have a handle on the basics of harmony and how voice leading is handled through the music of the early twentieth century, there really isn't a way for them to grasp the meaning of the larger structures Schenker's graphical notation was created to represent. I think that is a fair point, but still think there are some basics in notation that could be introduced early in the process when talking about the basic structure of melodies and supporting harmonies and candential formulas.

The explanations are clear and the musical examples apt. In fact, someone could actually work through this book on his own and grasp what is being presented. Of course, an instructor is helpful to check work and explain things that remain unclear in the student's mind, but that is really true for any book on any subject.

There are some wonderful materials to supplement this text. The most important are the two work books (WB I - ISBN 0-15-506226-3 / WB II - ISBN 0-15-506234-4. They are useful exercises that help the student learn the material by actively working through the application of the materials discussed.

Another resource that should not be overlooked is the two-CD set (ISBN 0-534-52216-5) that contains performances of the hundreds of musical examples in the textbook (not the workbooks). It can really help a student to listen to examples that are unclear. If a student can play them herself or hear them in his head, so much the better, but these discs can enrich reading through the textbook and making sure that you understand what is being presented to you.

Kudos to Professors Aldwell and Schachter for this wonderful text and supporting materials.

One thing to understand about this book - it was not written with amazon.com beginners in mind. It is a college-level theory textbook, and is probably one of the few books that present basic theory concepts in a coherent, unified fashion. The "restrictions" some reviewers complain about, are actually part of a time-honored approach to teaching theory (think "species counterpoint"). To understand the book, a teacher needs to understand something of the ideas and approach of Heinrich Schenker (Schachter was one of Schenker's students). Unlike many theory books, which are into quick summaries and labels, this book is based on a deep understanding of how western tonal music works (at least from the Schenkerian perspective). Even basic concepts like scale degrees, intervals, and triads, are presented in such a way that important relationships among tones become evident. Chords are not merely chunks of notes that deserve a label, but are part of a larger, contrapuntal whole. Sticking with the early chapters, and especially getting a good grasp of the contrapuntal nature of even the most basic chords (insights gained into the similar "passing chord" functions of the V4/3 and viio6 chords, for example) are well worth the effort. Upon successful completion of the first 10 or 11 chapters, a student should have a new understanding of how tonal music works.

This is actually Workbook II which accompanies the textbook of Harmony and Voice Leading. Workbook I is simply under the description of 'Harmony and Voice Leading' (Paperback).

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