Tonal Harmony Hardcover – 1 Jul 2003
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From the Publisher
New Larger trim size which will make the text easier to read.
Notational Highlights (indicated in second color)point out important and specific passages in the notational examples. We are the only theory book on the market that does this.
"Variation" New in-text element found at the end of each chapter pointing students to the OLC to expand on specific topics.
Species counterpoint will be on the OLC.
Updated Twentieth Century coverage: There are now more contemporary music examples.
Two sets of CD recordings: With one set for students and another set for instructors, Kostka-Payne offers a huge collection of music for theory classes. Each recording is performed using the instruments mentioned in the written example.
Top customer reviews
Many of these USA texts also come with their respective Online Learning Centres and Instructor's Manuals.
Currently there is NO UK text that can rival the tonal harmony resources that the USA is in abundance of.
I am a professional piano and its associated subjects pedagogue of thirty years standing, worldwide performer of gospel music, ex music examiner-possessing all the major texts and their ancillary resources (Instructor's Manuals etc) and have spent many years aiding students to understand tonal harmony from an audiation stance whereas the UK tonal harmony / theory of music texts from the UK examination boards do NOT provide mandatory listening components within their meagre offerings to aid the development of these underestimated and lacking musicianship skills not found in many professing musicians today.
Don't take my word for it but take the word of so many musicians around the world who passionately adhere to the fact that the internalization of sounds is paramount to a musicians' development.
DM LGSM LTCL LLCM ALCM
Most helpful customer reviews on Amazon.com
That said, this is the best music theory text in existence. It uses simple, clear language to explain the concepts of notating organized sound and it does so brilliantly.
The fundamental core of tonal understanding can be best understood through the redundancy of four part writing and Kosta makes it very clear on the do's and don'ts. One critic felt that two part writing would be easier, but to come down to guide tone lines (the chromatic 3rds and 7ths) requires a complete knowledge of four part writing, which couldn't be better explained than here.
I chose my own listening examples and never used the accompanying recordings. Knowing what to use in a text book is part of being a good teacher. Using this book, every student I had who took the AP Theory exam got a 5. At least 50% of my many students took the exam and I never taught to the test.
At the halfway point Kosta introduces the dominant 7 chord which by itself can (and should) take a full semester as the pivotal understanding of Western Harmony is about secondary dominants. Studying atonalism and row tones are here too, and beautifully explained for the advanced student but the first five chapters will create very competent composers.
The book opens with rhythm which can be daunting. Touching upon it and returning often will keep momentum. The best way to teach rhythm is with a pair of drumsticks and hemiola best displayed with the work of Stephen Sondheim. Composing and music theory is craft-not art and "Tonal Harmony" is the finest, comprehensive book on music theory in print.it's wonderful in class; just as great for self study. The accompaning workbook is handy but hardly necessary.
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