Customer Reviews (3)

Where is my book!!
It hasn't happened before! I am still waiting for a book I ordered and paid for at the beginning of March, strange, as on the same day I ordered 2 other books from different sources which arrived over 3 weeks ago.
What's next?

Good
Not as good as Kennan's. Also the edition and style are really old. Doesn't have the same stature as Piston's Harmony.

The Broader View
Probably the most inspirational and thought-provoking counterpoint textbook. Walter Piston notes that all music is contrapuntal to some degree. He admonishes students not to make a 'fetish' of counterpoint, anddiscusses appositely (if tersely) the problem of twentieth-centurycounterpoint. I recommend this book to all musicians, but I would probablyprefer to teach counterpoint with Kent Kennan's textbook.

Alsorecommended: PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns ... Read more

Product Description
This fifth edition of Harmony marks the forty-fifth year of its successful use.Years after Walter Piston's death, his students and their students can still take great pride in the enduring vitality of his teaching. By now it is plain that the book is different from what it used to be, but its essential approach and its basic substance remain as they were.

The major departure of the fourth edition was the addition of seven new chapters, including four on the complicated subject of harmony after common practice, which had not been discussed in the first three editions.However, then as now, the core of the book remains the exhaustive treatment of common-practice harmony, the subject of most one-year or two-year courses in tonal harmony. In the present edition, the entire text has been carefully revised with a view to clarifying the language and illuminating the essential principles. Wherever possible, the text has been "opened up" to allow the reader to adopt a more leisurely pace through what had been a terse and detailed presentation. The results will also be perceived in the more spacious design of this edition.

New exercises have been added to the early chapters as well as some fresh music examples. There is an entirely new chapter on musical texture that serves to clear up many difficult points encountered by the beginning student. Another innovation is the rearrangement of the chapters dealing with harmonic rhythm and the structure of the phrase as well as the inclusion of a short summary of analytical method.

This book has long been known as an introductory textbook, but because of its comprehensive range, it also serves as an invaluable reference book. The acquisition of an consummate knowledge of composers' practice—the goal of any study of harmony—is admittedly an endless assignment. Ars longa, vita brevis, but consolation may be derived from the thought that intellectual and artistic rewards are to be found at all stages along the way. ... Read more

Customer Reviews (26)

One of the Best out there
I didn't like some reviews....let me tell you this, I have MANY Harmony Books because I've always been extremely interested in the subject, besides being a composer myself. I learned from all of them but I have to admit this is the most "Complete" and detailed Harmony book I own.

It has many examples from the literature (ok no CD but you can play some of them at the piano), and it even includes the "rare" exceptions like for example the use of the Augmented Triad on the 3rd degree of a minor scale. This book is simply a MUST for anyone SERIOUS (not those who want a simple theory book with some chord progressions).......enough said.

The Best Music Theory Book!
If you are a music student, or know some theory and want more, or you're new to theory--THIS IS THE BOOK!!!It doesn't matter what instrument(s) you play.Extremely readable, clear and complete.The author starts with the basics and takes the mystery out of scales, key signatures, dominant chords, 7th chords, etc.Each section starts with a concise, to-the-point definition of the topic and incorporates musical examples to show you what it's all about.I was very pleased that I could figure out a melody in a selected key in just the first few days after receiving the book.My group instructor was shocked!This book is worth more than the modest price being charged.Plus, Amazon got the book to me within 3 days, in perfect, shrink-wrapped condition.

a very good book on the subject
I just finished looking through my scores and marking them with Piston's comments.It took me three hours.Those examples which can be marked in the scores in my limited music library are only a small part of over 650 examples in this book.Unlike many other music theory books, one cannot say that Piston's harmony textbook only discusses music in the abstract.

Piston makes the study of harmony more meaningful by exploring the grey area between non-harmonic tones and separate chord classifications.For example, he explains a I-six-four chord as a dominant seventh with two non-harmonic tones.

He also relates the chord classifications with each other.He explains a diminished chord on the leading tone as an incomplete dominnat seventh.He explains a half-diminished seventh as an incomplete dominant ninth.

There are a few gaps, however.In his discussion on suspensions, he does not break suspensions down into their most common varieties, such as 9-8 and 4-3.

Also, he does not mention retardations, which are like suspensions, except that they resolve directly to a consonance instead of a dissonance.Scarlatti was fond of retardations, and the Bach Saint Matthew Passion ends on a retardation.

a very good book on the subject
I just finished looking through my scores and marking them with Piston's comments.It took me three hours.Those examples which can be marked in the scores in my limited music library are only a small part of over 650 examples in this book.Unlike many other music theory books, one cannot say that Piston's harmony textbook only discusses music in the abstract.

Piston makes the study of harmony more meaningful by exploring the grey area between non-harmonic tones and separate chord classifications.For example, he explains a I-six-four chord as a dominant seventh with two non-harmonic tones.

He also relates the chord classifications with each other.He explains a diminished chord on the leading tone as an incomplete dominnat seventh.He explains a half-diminished seventh as an incomplete dominant ninth.

There are a few gaps, however.In his discussion on suspensions, he does not break suspensions down into their most common varieties, such as 9-8 and 4-3.

Also, he does not mention retardations, which are like suspensions, except that they resolve directly to a consonance instead of a dissonance.Scarlatti was fond of retardations, and the Bach Saint Matthew Passion ends on a retardation.

a very good book on the subject
I just finished looking through my scores and marking them with Piston's comments.It took me three hours.Those examples which can be marked in the scores in my limited music library are only a small part of over 650 examples in this book.Unlike many other music theory books, one cannot say that Piston's harmony textbook only discusses music in the abstract.

Piston makes the study of harmony more meaningful by exploring the grey area between non-harmonic tones and separate chord classifications.For example, he explains a I-six-four chord as a dominant seventh with two non-harmonic tones.

He also relates the chord classifications with each other.He explains a diminished chord on the leading tone as an incomplete dominnat seventh.He explains a half-diminished seventh as an incomplete dominant ninth.

There are a few gaps, however.In his discussion on suspensions, he does not break suspensions down into their most common varieties, such as 9-8 and 4-3.

Also, he does not mention retardations, which are like suspensions, except that they resolve directly to a consonance instead of a dissonance.Scarlatti was fond of retardations, and the Bach Saint Matthew Passion ends on a retardation. ... Read more

Product Description
In this book Walter Piston again displays those qualities that distinguished his earlier books, Harmony and Counterpoint.Again he draws upon his own wide knowledge and experience as composer and teacher to present all phases of the subject. No practical aspect of instrumentation for the orchestra is neglected, and comprehensive treatment is given to each significant component.

The author approaches orchestration from the premise that the principles can best be presented by analysis of music as it has been written.The essentials of instrument combination discussed here are those which can be observed operating in the scores of great composers from Haydn, Mozart, and Beethoven down to our own day.

Orchestration is notable for the clarity and logic of its organization. From a consideration of the individual instruments and their technical problems the author skillfully develops his analysis of orchestration, covering his analysis of orchestration, covering instrumentation of primary and secondary melodies, part-writing, chords, and contrapuntal techniques. Finally, he discusses typical problems in orchestration together with some examples of their solutions.

Orchestration is profusely illustrated with hundreds of musical examples and with drawings of the various musical instruments that make up the modern orchestra. ... Read more

Customer Reviews (17)

Excellent Reference Book
This is an invaluable reference and research tool for any composer. All major orchestral instruments are reviewed in great detail. The descriptions of the builds, ranges, tonal characteristics, mechanics, and technical strengths and limitations of each instrument are carefully reviewed. The language is clear and efficient. The book is in 3 parts.

1-the instruments of the orchestra (divided by section, with each instrument reviewed separately)
2-analysis of orchestration (reviews the basic characteristics of instrumental combinations in different melodic/harmonic situations)
3-problems of orchestration (deals specific textural considerations. ex: orchestration of melody, scoring of chords, etc.)

I love the layout of the book and it has proven very useful. I highly recommend it.

Quick and easy read to whet your appetite.
A very brief review primarily to correct a few misconceptions proposed by some of the five-star reviewers below. I don't have a problem with this rating, btw (you noticed that I also gave this book five stars), but I'd like to add a proviso -- 'cause if you're not a right reader, this book will be much less valuable and maybe even unnecessary. Here it is: the book is very nice but it doesn't go into any degree of depth: it will give you a good idea of what orchestration involves and that's it. You will NOT become an arranger after reading this book -- you will need to continue with other books and study materials (and btw, the author is totally open and clear about that). People who try to sell this book as some sort of best-ever, deep, and all-encompassing instrumentation treatise are lying.

Basically, this book consists of two sections/themes: an extended overview of the traditional orchestral instrumentarium (ranges, transposition, bad notes, etc.) and then, in the second section, a few examples of simple score analysis (different orchestral textures: tutti, melody+accompaniment, part writing, polyphony -- this sort of thing, a chapter per type).

Another complaint I saw here is about the boring, "academic", etc. writing style. There _is_ something to this, but so little, you shouldn't worry. I read all Piston books and know how he writes: while his style _is_ in fact somewhat ungraceful, it's neither abstruse, nor superfluous. He's easy to read and he's always to the point. Plus he never fattens his books in any way; I guess in those times publishers did not insist on any magic number of pages (this book isn't thick).

Bottom line: not as good as his _Harmony_ (and about the same as his _Counterpoint_), this is a perfect first book on orchestration; can be read in one sitting; to a beginner very enlightening w/o being burdensome. In fact it's a perfect book for someone who, w/o further-looking plans, simply wants to get an idea of what orchestration is: simple, clear, doesn't cost an arm and a leg (and it's rather old, so you can find a discounted copy online). Not a must read by any means, but for a right reader a pleasant option.

Outstanding informative book on orchestration despite being written in 1955
I found this book outstanding! It explains how to write well for each instrument and for the orchestra as a whole. Pleasure to read!!

Great!
Mr Piston is one of the few authors I have come across who has a thorrough understanding of the limitations of the instruments he chose to write about. One can see this especially through hid portrayals of reach, uses, effects, etc.

However, it is worth noting that he could have used a bigger variety of examples from different composers. He also abides to the most common and stereotypical manners of combinations, etc.

Second best orchestration book available
The best book on this subject, the one that I actually sometimes refer to when composing, is Kennan's.Piston's book, however, should definitely be carefully studied by anyone wanting to master the art of classical orchestration.Piston goes deeper into each instrument than Kennan does, establishing a root level of knowledge on top of which Kennan can then serve as a handy daily reference.Piston relies heavily on examples from the core classical repertoire (well into the early 20th century but not beyond), so access to a good CD library will go a long way in bringing this book to life. ... Read more

Product Description
Walter Piston was a Professor at Harvard University when this book was written. There are musical examples on nearly every page in the book.Contents:? Introduction? Scales & intervals? Triads? Harmonic progression? Tonality & modality? Chords of the 6th - the figured bass? The harmonic structure of the phrase? Harmonization of a given part? Nonharmonic tones? The six four chord? Cadences? Harmonic rhythm? Modulation? The dominant 7th chord? Secondary dominants? Irregular resolutions? The diminished 7th chord? The incomplete major 9th? The complete dominant 9thy? The sequence? Nondominant harmony - 7th chords? 9th, 11th, & 13th chords? The raised supertonic & submediant? The Neapolitan 6th? Augmented 6th chords? Other chromatic chords? Extension of tonality? Conclusion ? Supplementary exercises ... Read more

Customer Reviews (2)

An Harmony classic booc
The Walter Piston music books are a classical ones. You can buy other more modern Harmony books, of course, but those of Walter Piston I think should be studied and to be in the library of all musicians.

a very good book on the subject
I just finished looking through my scores and marking them with Piston's comments.It took me three hours.Those examples which can be marked in the scores in my limited music library are only a small part of over 650 examples in this book.Unlike many other music theory books, one cannot say that Piston's harmony textbook only discusses music in the abstract.

Piston makes the study of harmony more meaningful by exploring the grey area between non-harmonic tones and separate chord classifications.For example, he explains a I-six-four chord as a dominant seventh with two non-harmonic tones.

He also relates the chord classifications with each other.He explains a diminished chord on the leading tone as an incomplete dominnat seventh.He explains a half-diminished seventh as an incomplete dominant ninth.

There are a few gaps, however.In his discussion on suspensions, he does not break suspensions down into their most common varieties, such as 9-8 and 4-3.

Also, he does not mention retardations, which are like suspensions, except that they resolve directly to a consonance instead of a dissonance.Scarlatti was fond of retardations, and the Bach Saint Matthew Passion ends on a retardation.
... Read more

Product Description
One of the finest American composers of the 20th century, Walter Piston (1894-1976) taught for over thirty years (1926-1960) at Harvard, where he guided the education of such diverse, well-known composers as Elliott Carter, Leroy Anderson, Arthur Berger, Gail Kubik, Irving Fine, Harold Shapiro, Leonard Bernstein, Daniel Pinkham, Gordon Binkerd, Robert Moevs, Samuel Adler, Karl Kohn, John Harbison, and Frederic Rzewski. This book profiles the biographies, major accomplishments, stylistic development, and technical resources of 33 of these students, including four women. Special emphasis is placed on their relation to Piston and to each other. ... Read more

Customer Reviews (1)

Full of musical examples showing how Piston approached harmony
Although the kind of harmonic analysis (i.e. labeling chords with Roman numerals) has become rather passé, it is still more useful than its detractors will readily admit.It is easier to learn than Schenkerian and contrapuntal approaches (however powerful they may be) and many people hear and follow the chord changes more easily than they hear the counterpoint.

The purpose of this book isn't to teach the application of Roman numerals.Rather, it is to provide a background of harmonic treatment during what used to be called the "common practice period" in order to prepare the 1930s music student for handling the music of his own time.It is primarily a selection of musical examples of the treatment of different types of chords and later how harmony is used in types of counterpoint.Modulation techniques are shown in a separate chapter.The short chapter on the 20th century is only text.The appendix is a series of examples of complete short pieces with the kinds of analysis demonstrated in the chapters.

It is an interesting book and I can't imagine a student not wanting to read through it.However, I can imagine some devotees of certain theoretical approaches rejecting it because it isn't a part of their orthodoxy.However, Piston was a solid composer and an important 20th century pedagogue and writer on music.Learning what he thought has to be worth more than the petty pronouncements of so many whose primary musical accomplishment was acquiring tenure somewhere. ... Read more

Product Description
This digital document is an article from Notes, published by Music Library Association, Inc. on March 1, 1994. The length of the article is 1319 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Harvard Composers: Walter Piston and His Students, from Elliott Carter to Frederic Rzewski.
Author: Bill F. Faucett
Publication: Notes (Refereed)
Date: March 1, 1994
Publisher: Music Library Association, Inc.
Volume: v50Issue: n3Page: p988(3)

Article Type: Book Review

Distributed by Thomson Gale ... Read more

Product Description
This book provides a comprehensive introduction to the operation and maintenance of aircraft piston Engines. ... Read more

Product Description
Written in 1953, this viola and cello duet bears the identical title of another Piston piece written in 1972 for cello and piano. Born in 1894, Piston was influenced by Ravel and Stravinsky, taught at Harvard and his students included Bernstein and Carter. He was awarded the Pulitzer twice. ... Read more