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Harmony and Voice Leading
Product Description 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. See all Editorial Reviews
624 pages, Hardcover
First published December 1, 1988
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About the author
Edward Aldwell
17 books3 followersEdward Aldwell (January 30, 1938 in Portland, Oregon – May 28, 2006 in Valhalla, New York) was an American pianist, music theorist and pedagogue.
He was particularly renowned for his Bach interpretations, and he recorded several albums, most notably the complete Well-Tempered Clavier of Bach for Nonesuch, and Bach's French Suites for Hanssler Classics. He taught at The Curtis Institute of Music in Philadelphia and at the Mannes College of Music in New York City.
As a theorist, he was an expert in Schenkerian analysis, and he was the co-author (with Carl Schachter) of one of the standard theory textbooks used throughout the United States, Harmony and Voice Leading (first published in 1979). While driving an all-terrain vehicle, on May 7, 2006, near his country home in Kerhonkson, New York, he suffered serious injuries when it overturned. He died from those injuries in Valhalla, New York, three weeks later.
He was particularly renowned for his Bach interpretations, and he recorded several albums, most notably the complete Well-Tempered Clavier of Bach for Nonesuch, and Bach's French Suites for Hanssler Classics. He taught at The Curtis Institute of Music in Philadelphia and at the Mannes College of Music in New York City.
As a theorist, he was an expert in Schenkerian analysis, and he was the co-author (with Carl Schachter) of one of the standard theory textbooks used throughout the United States, Harmony and Voice Leading (first published in 1979). While driving an all-terrain vehicle, on May 7, 2006, near his country home in Kerhonkson, New York, he suffered serious injuries when it overturned. He died from those injuries in Valhalla, New York, three weeks later.
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Displaying 1 - 6 of 6 reviews
December 11, 2008
Simply the best composition/analysis book I've ever found. Instead of recapitulating the development of tonal harmony in the guise of pedagogy, they start with the Schenkerian basic relationship of the dominant to the tonic and spiral outward in ever increasing complex relationships. The CD set sold separately is a requirement. I never bought the workbook as this was for independent study.
March 19, 2025
I'll map out how this re-read of my old college theory textbook went:
Chapters 1-4: alright triads and seventh chords, we're doing well so far
Chapters 5-6: okay needed a refresher on species counterpoint but it's coming back
Chapters 7-11: hey inversions, I remember those! we love a good third inversion dominant seventh chord that resolves to I6 am I right
Chapters 12-16: okay a bit rusty on those mediant chords but not terrible so far
Chapters 17-22: *war flashbacks...Dr. Damschroder from Theory III appears in front of me, staring over his glasses as he asks for a copy of my harmonic dictation*
Chapters 23-27: *the flashbacks continue - Damschroder scrutinizing my dictation with a red pen while muttering "not nearly enough of a SURGE here in measure 13"*
Chapters 28-29: hey I remember the Neapolitan chord, that was easy enough
Chapter 30: AHHH AUGMENTED SIXTH CHORDS I HATED THESE SO MUCH FUCK WAGNER FOR MAKING US TALK ABOUT THESE
Chapters 31-33: brain is mush
fun fact: Damschroder was the only professor I've ever had whose idea of an extra credit assignment was to *watch him play a piano recital in his own home*. what a madman. college was wild, man
Chapters 1-4: alright triads and seventh chords, we're doing well so far
Chapters 5-6: okay needed a refresher on species counterpoint but it's coming back
Chapters 7-11: hey inversions, I remember those! we love a good third inversion dominant seventh chord that resolves to I6 am I right
Chapters 12-16: okay a bit rusty on those mediant chords but not terrible so far
Chapters 17-22: *war flashbacks...Dr. Damschroder from Theory III appears in front of me, staring over his glasses as he asks for a copy of my harmonic dictation*
Chapters 23-27: *the flashbacks continue - Damschroder scrutinizing my dictation with a red pen while muttering "not nearly enough of a SURGE here in measure 13"*
Chapters 28-29: hey I remember the Neapolitan chord, that was easy enough
Chapter 30: AHHH AUGMENTED SIXTH CHORDS I HATED THESE SO MUCH FUCK WAGNER FOR MAKING US TALK ABOUT THESE
Chapters 31-33: brain is mush
fun fact: Damschroder was the only professor I've ever had whose idea of an extra credit assignment was to *watch him play a piano recital in his own home*. what a madman. college was wild, man
November 13, 2020
Where did the exercises go?
From the time that I purchased this digital copy to now, the publisher has deemed the exercises that were initially included are not necessary. I can tell you that the sole purpose of my purchasing this book was to use the exercises for employ the skills they train. I have read the footnote that was added, and that does not suffice as an explanation.
It is a predatory behavior to purchase digital content and retroactively deem material “non essential”
With this type of business model,I look forward to a future where behavior like this is noted and penalized.
Blake Hinson
Professor of Double Bass, Stony Brook University
New York Philharmonic, assistant principal bass
From the time that I purchased this digital copy to now, the publisher has deemed the exercises that were initially included are not necessary. I can tell you that the sole purpose of my purchasing this book was to use the exercises for employ the skills they train. I have read the footnote that was added, and that does not suffice as an explanation.
It is a predatory behavior to purchase digital content and retroactively deem material “non essential”
With this type of business model,I look forward to a future where behavior like this is noted and penalized.
Blake Hinson
Professor of Double Bass, Stony Brook University
New York Philharmonic, assistant principal bass
June 26, 2008
This book is a step up from the kaftka book titled Tonal Harmony. I recomend this to the musician who is already farmiliar with music thoery. It is unnecessarily verbose and complex. Should one know the terms well enough he or she could easily find mistakes in this edition.
July 26, 2011
While reading through, so far seems to be the most comprehensive book on tonal harmony I've seen...
Displaying 1 - 6 of 6 reviews