growing list–is Edward Aldwell and Carl Schachter’s Harmony and Voice. Leading. * Unlike Peter Westergaard, whose Introduction to Tonal Theory uses. Harmony & Voice Leading by Aldwell, Schachter & Cadwallader. Edward Aldwell , Carl Schachter with Allen Cadwallader Schirmer, pp xvi + ISBN Edward Aldwell,. Carl Schachter. · Rating details · 70 ratings · 4 reviews. A comprehensive volume spanning the entire theory course, HARMONY AND.

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Harmony and Voice Leading

Gemma Mahadeo rated it really liked it Sep 30, Jul 26, Richard Pohl rated it really liked it Shelves: This emphasis on “bespoke” music is really one of the book’s strongest aspects. I recomend this to the musician who is already farmiliar with music thoery.

Bob rated it it was ok Jul 15, Michael Leibson is a alrwell, music consultant, and music educator, who specializes in jazz and classical harmony. Home News Contacts Copyright.

Aldwell-Schachter Chapter 24

Steven Riley rated it liked it Aug 13, Books by Edward Aldwell. III acts as a bridge from I to V—this is another typical usage. Garry rated it really liked it Oct 19, I never bought the workbook as this was for independent study.


It does much to explain why and how harmony works in the way it does making its points with compositions from Tallis’ Canon to Mahler’s Das Lied von der Erde. Shaoliang Hua rated it did not like it Feb 06, But can also learn the mechanics of the harmonic and voice-leading principles in situ.

Should one know the terms well enough he or she could easily find mistakes in this edition.

Bar 2, beat 3: To learn more about him, click here ; for information about studying with him, click here ; and for copyright information, click here. It emphasizes the linear aspects of music as much as the harmonic, and introduces large-scale progressions–linear and harmonic–at an early stage.

Be the first to ask a question about Harmony schcahter Voice Leading. Ben rated it really liked it Jul 25, Note that in this example there is a fingernails-on-blackboard bit of mixture from first chord to second chord.

The resulting dim5 F C to p5 GD is fine, since the dim5 of a vii6 can move up to a p5 if the bass moves to the 3rd degree. However, the problem lies elsewhere: W0lfgang M0zart rated it really liked it Jun 17, David rated it liked it Jan 15, The experience of the authors enables them to predict areas that might cause difficulty and slow the pace; so they increase the illustrative examples accordingly to help.


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Diego rated it it was amazing Oct 19, Hendrik Kits Van Heyningen rated it liked it Mar 22, Do you know why? Jun 26, Joe rated it liked it Shelves: There are plenty of schacbter on the accompanying website, and footnotes etc where additional explanation or illustration would be obtrusive in the body of the text.

Classical Harmony – using Aldwell & Schachter’s “Harmony and Voice Leading”

Bar 2, beat 1: There are six main sections of between about 80 and pages dealing with “The Primary Materials and Procedures”, I-V-I and its elaboration, more advanced chord techniques, figuration and dissonance and chromaticism, although the latter in particular doesn’t stray into atonality.

The book first appeared in so has the twin advantages of recency yet pedigree.

In fact the topics are so well divided that you can almost dip in and out. Production is to a very high standard: