Now, granted, another one of my issues with this book might simply be my own personal bias. I am not a Schenkerian. I have never seen the importance in reducing everything interesting in tonal music to I-V-I and mi-re-do. To this end, I have found much of this book completely useless. The harmony is introduced far too slowly with over-emphasis placed on voice-leading reductions rather than "real" music. I would suggest that anyone who actually wants to somewhat learn theory, especially those not in a classroom situation, look into something along the lines of the Kostka/Payne book. I also know one review stated the Gauldin text was vastly superior to the Piston/DeVoto. In that, I have to agree. Simply adding some actual musical examples makes this book a better choice than the Piston. However, I still do not recommend this book to anyone wanting to learn theory.


A Comprehensive Theory Text for Modern Students...   July 7, 2001
 11 out of 11 found this review helpful

I quite enjoy professor Gauldin's harmony text. It was comprehensive and yes, as the publisher's review states concise. Personally, I studied theory/harmony out of several different texts (Benjamin, et.al.; Siegmeister; Kostka; Piston) as an undergraduate and on my own time and I find Gauldin's to be one of the best I have come across. While in theory pedagogy class I was able to study and dissect over two dozen texts from various regions and time periods. "Harmonic Practice..." is a modern text which is great today for the modern student. The use of basic Schenker reductions is an excellent idea and one that helps the students realize linear aspects of the music that many past harmony texts either ignore or too briefly discuss. Gauldin gives a nice balance of both the vertical and linear aspects of music throughout this text (it reminds somewhat,although much better, of Elie Siegmeister's "Harmony & Melody"). The overall appearance of the book is very similar to many of the current high school texts that students use today. This is a comfortable approach for students coming into theory for the first time or with little background in the area. Many of the reviews I have read seem to be critical in areas they know little of. Yes, Gauldin presents the basics (scales, chords, etc.), but many, many undergraduate level texts do so in order for review. Also, many critics have discussed professor Gauldin's scale building on 5ths. While this is in the text it is not the primary focus on scale construction, merely a footnote (p. 27). Overall this is a very good theory text for undergrauates which could and eventually will use some improvements (the misprint in the bass of the second mm. in Ex. 10 p. 107). This book gives much insight into many aspects of beginning theory, basic Schenker principles, voice-leading, form (the excursions are a great idea), and analysis that many other books in this field often neglect. Like most popular theroy texts, "Harmonic Practice" is excellent for an undergrad program, so long as the students have a teacher with a strong foundation in theory. I highly recommend this text.