Tonal Harmony

I know that not all theory teachers like this text book, but I thought it was excellent! From a learning standpoint, Kostka and Payne did a great job of explaining information very clearly and giving relevant examples. I also used the "Harmony in Context" book, and Tonal Harmony was definitely the better of the two for me. It had a great progression of learning that seemed much more natural than some other texts. I'm not an expert, because I'm a student, not a teacher. But the textbook is supposed to help the student learn the material, and this one definitely accomplished that!

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 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!

This is a great workbook for someone who is trying to learn music theory either on their own or with a tutor. I would recommend it to everyone!