Tonal Harmony, with an Introduction to Twentieth-Century Music

I was kind of surprised by all the bad reviews. I think this book is very helpful to music theory students for the basic essentials of music. Of course there is more to music than tonal harmony and that's where one's own creative mind comes in, not an author's. I've been affiliated with several other theory books and this one by far is the most organized, understandable, and useful. The book is divided into sections based on broad categories, new terms are described in detail, several visual and audio examples are given, and there are several self-tests to test out the new knowledge. I definitely recommend this book to any music major or to anybody who just loves music. :)

Recommended by my piano teacher, I have found this book very helpful for the theory I never studied when I began piano lessons over 20 years ago. I wish I had read this book when I began playing the piano. My practice time would be much more efficient if I had.

This is an excellent introduction, covering most aspects of theory thoroughly. It is also MUCH easier to read than Walter Piston's Harmony. The problem is that this book is much more abstract than piston's book, breezes over inversions of chords much too quickly and is a tad lax in the rules of voice leading. I do suggest you consider that text as well. It's still a good introduction that you will ACTUALLY READ. It covers all triads, seventh chords, chord functions, chromatically altered chords like Neapolitan and Augmented sixth chords, covers non-harmonic tones, and even goes off onto other (more abstract) topics. As to the reviewer below who pointed out that it neglects counterpoint and focuses too much on the vertical aspect of music (for example, in the exercises EVER note is a different chord and almost no non-harmonic tones are employed): this is an ELEMENTARY HARMONY text. Counterpoint is generally approached after the student has mastered all that is contained in this book. The exercises are meant to teach voice leading and chord functions. Fux's treatise on Counterpoint from Gradus Ad Parnassum clearly states that what is learned in the "first part" on Harmony still applies in writing counterpoint. The horizontal aspect of music can be taught better if the the vertical aspect is understood first. Multiple times Fux also says that exercises, whether those in the book on counterpoint or those in this text, are designed to instruct and make future writing of music easier, but aren't the same as writing music.

I thought this was a very good text. I have also had a wonderful theory professor who made great use of the book.

I wish I could buy the 3rd Ed. with the ultra cool cover on the 4th Ed. As far as it being difficult for college students to understand, I think that is absolutely ridiculous and insulting to MY intelligence. If they can't understand this text, maybe you should send them back to high school. Also, I like the additions to the introductory 20th century material that the 4th Ed. offers. I am quite annoyed though that I have had to wait until the last semester of undergrad theory before getting to dive into some atonality. Freshmen should get to learn about this stuff, it's great! Unfortunately, I read earlier that some people think it should be saved for grad students. Maybe they're the ones who had trouble understanding the text and need that long to let it all sink into their grey matter.......My thought for them, quit teaching! Go make cheeseburgers! You had better not burn my fries either!