Harmonic Materials in Tonal Music: A Programed Course, Part 1 (Harmonic Materials in Tonal Music) [Paperback]

Paul O. Harder (Author), Greg A. Steinke (Author)

Book Description

Publication Date: June 1994

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Editorial Reviews

From the Back Cover

Paul Harder originally wrote these "classics" to provide a more efficient way to learn basic music theory and harmonic practice-through self-paced instruction. from the wealth of clearly-laid out lessons and exercises, readers receive continual feedback and reinforcement as they work through the sequence at their own pace. New material includes: increased definition of terms and finely-tuned examples, notations, and exercises. Includes a set of musical examples on cassette that provides an aural experience of tonal and harmonic material used in the books. Music teachers or those looking for a self-paced set of instruction. --This text refers to an out of print or unavailable edition of this title.

About the Author

Dr. Paul O. Harder (1923-1986) received a Master of Music degree in Music Theory from the Eastman School of Music, University of Rochester, where he performed as oboist with the Rochester Philharmonic Orchestra. Later, as a fellowship student at the University of Iowa, he received his Ph.D. in Music Composition. He studied composition with Mlle. Nadia Boulanger at the École des Beaux Arts de Fountainbleau, France, sand at the Royal Academy of Music in Copenhagen, Denmark.

Dr. Harder held the post of Chairman of Music Theory at Michigan State University before becoming Assistant Vice President and Professor of Music at California State University, Stanislaus. He was a Professor Emeritus at Michigan State University.

In addition to approximately fifty compositions for a variety of media including orchestra, band, chorus, and chamber groups, Dr. Harder was the author of Harmonic Materials in Tonal Music, Parts I and II, through the fifth edition; Basic Materials in Music Theory, through the sixth edition; Music Manuscript Techniques, Parts I and II; and Bridge to Twentieth Century Music, through the first edition.

Dr. Greg A Steinke (b. 1942) holds a Bachelor of Music degree from Oberlin Conservatory, a Master of Music degree from Michigan State University, a Master of Fine Arts degree from the University of Iowa, and a Doctor of Philosophy degree from Michigan State University.

Dr. Steinke retired in June 2001 as Chair of the Art and Music Departments, Associate Dean for Undergraduate Studies, and holder of the Joseph Naumes Endowed Chair in Music at Marylhurst University in Oregon. Formerly, he was Dean of the College of Fine Arts and Professor of Music at Millikin University, Director of the School of Music and Professor of Music at Ball State University, Assistant Director of the School of Music at the University of Arizona, Chairman of the Music Department at San Diego State University, Director of the School of Music at the University of Idaho, Chairman of the Music Department at Linfield College, and a faculty member at Northern Arizona University, The Evergreen State College, California State University, Northridge, and the University of Maryland. Currently, he is a freelance composer, writer, oboist, and conductor. Dr. Steinke is the author of numerous articles, has done the revisions to Paul Harder's Basic Materials in Music Theory (seventh through tenth editions), Harmonic Materials in Tonal Music (sixth through ninth editions), and Bridge to Twentieth Century Music (revised edition). He holds membership in a number of professional organizations and served for nine years (three terms) 1988-97 as the President and National Chairman of the Society of Composers, Inc. Professor Steinke is active as a composer of chamber and symphonic music with a number of published works, as a speaker on interdisciplinary .arts, and as an oboe soloist specializing in contemporary music.

--This text refers to an out of print or unavailable edition of this title.

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Product Details

• Paperback: 364 pages
• Publisher: Allyn & Bacon; 7th edition (June 1994)
• Language: English
• ISBN-10: 0205158021
• ISBN-13: 978-0205158027
• Product Dimensions: 10.9 x 7.9 x 0.9 inches
• Shipping Weight: 1.6 pounds
• Average Customer Review: 4.2 out of 5 stars  See all reviews (6 customer reviews)
• Amazon Best Sellers Rank: #2,387,893 in Books (See Top 100 in Books)

Customer Reviews

Most Helpful Customer Reviews

26 of 26 people found the following review helpful:

5.0 out of 5 stars As good as learning gets., May 2, 2000

By 

Gerald E Sparrow (Indianapolis,Indiana USA) - See all my reviews

This review is from: Harmonic Materials in Tonal Music a Programmed Course, Part 1 (Paperback)

Paul Harder has created the best book on music theory I have ever had the privelege to use. His systematic course will take the reader from basic chordal theory to Voice leading, and beyond. I have been searching for just such a book for almost twenty years. My composition instructor and I have used this book to teach me the proper "rules" one needs to create tonal compositions of any scale. This book allows one to find their weaknesses and their strengths through it's well thought out structure, and the answers set in to the margins. By covering the answers with a sheet of paper and doing the excercises, then removing the paper to check his/her results the student can immediately identify his/her weaknesses and strengths. Supplemental and mastery excercises help the student achieve the level of knowledge necesary for the creation of their own masterpieces. Long standing as a mainstay of instruction for Harmony, Dr Steinke, through his thoughtful revisions, has assured that "Harmonic Material in Tonal Music, A Programmed Course part 1" will continue to teach many more up and coming composers.

6 of 6 people found the following review helpful:

5.0 out of 5 stars A proven and practical way to get the basics on harmony quickly, February 21, 2008

By 

Craig Matteson (Saline, MI) - See all my reviews
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This review is from: Harmonic Materials in Tonal Music: A Programed Course, Part I (9th Edition) (Paperback)

FOR SOME STRANGE REASON, AMAZON HAS THE REVIEWS FOR PARTS 1 & 2 LINKED.

I first used this book as a freshman music major at Michigan State University in 1972 and had its original author, Paul O. Harder as the lecture professor. He was a wonderful man, a fine teacher, and this text helped me get familiar with the rudiments and basic language of musical and harmonic grammar.

The way the text works is you turn to a page, cover up the column of answers, read the question and answer the question, fill in the blank, label the chords, or whatever is asked of you. You then slide down the cover and immediately see whether you were correct or wrong in your answer. The idea is that when you take very small incremental steps in such an interactive way the material becomes ingrained as you use the material as part of subsequent learning. I think it works. However, with this book you do not get a sustained treatise on musical harmony. It is a simple nuts-and-bolts method to teach you the grammar of common practice harmony and it pulls that off pretty well.

No, it doesn't deal with voice-leading in the Schenkerian or contrapuntal sense, however you do get the basics of 4 part chorale writing. But the book was never intended to be a book on voice-leading or counterpoint.

PART 1 starts with some basic definitions about music grammar, the structure of tonality, triads in root position, voice-leading triads (avoiding parallel 5ths, etc - chorale writing), triads in first and second inversion, seventh chords, phrase structure and cadences, non-harmonic tones, harmonic progression, and concludes with the technique of harmonization. All pretty basic stuff. So, if you can read music in both the treble and bass clefs, have a basic idea of what the key signatures mean, and some clue about how music notation works, you can use this book to teach yourself harmonic grammar to the point of understanding basic 4 voice chorales. Which is a pretty helpful thing to know.

PART 2 covers seventh chords and the function of the dominant seventh, non-dominant seventh chords, altered (inflected) nonharmonic tones & secondary dominants, modulation to closely related keys (yes, I know that Schenkerians become dyspeptic at this notion), borrowed chords, augmented sixth chords, the Neapolitan Sixth, altered dominants, and diminished seventh chords, chromatic third-relation harmony, modulation to foreign keys, and chords with ninths, elevenths, and thirteenths.

Each chapter ends with some mastery frames to prove that you understood what was being taught, some supplementary assignments if you want a bit more than the chapter provided, and there are four appendices. They are on chord symbols, piano styles (figurations to support melodies), Glossary of terms (very handy), orchestra chart (ranges and transpositions). There is also a bibliography for further study, and index of musical examples used in the text, a subject index, and a note about Harder and another about Steinke.

I think Steinke has done a fine job in improving the text and yet retaining its central strengths and purpose.

A solid and useful preparatory text and I recommend it for the beginning musician or anyone trying to get their hands around basic harmony and wants to learn it in a quick and practical way.

Reviewed by Craig Matteson, Ann Arbor, MI

Depending on which item you are viewing and need the other - go to:

Part 1
Harmonic Materials in Tonal Music: A Programed Course, Part I (9th Edition)

Part 2
Harmonic Materials in Tonal Music: A Programed Course, Part II (9th Edition)

5.0 out of 5 stars excellent book, April 11, 2009

By 

Robert I. Biederwolf (Marshfield, Wisconsin USA) - See all my reviews
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This review is from: Harmonic Materials in Tonal Music: A Programed Course, Part I (9th Edition) (Paperback)

Harmonic Materials in Tonal Music is an excellent book. I don't use it as a text book, but as a supplement. For this I think it is extremely useful I wish that a new edition were available!
Robert I. Biederwolf. Professor Emeritus, U. Wisconsin.