Giannis Grampsas
Musicologist, MSc, Aristotle University, Thessaloniki
Professor of Advanced Theory
Principalofthe “ContemporaryConservatoire”, Larissa
Keyboard Harmony, one of the most important aspects of the study of harmony, is a significant component of harmony examinations as well. Unfortunately,
Greek musical literature still lacks specialized textbooks which provide a complete and in-depth study of the subject; as a result, students not only have great
difficulty with harmonizing on the piano,but also perform poorly in the oral part of their harmony graduation examinations. The book that Nikos Tsiantas
gives us today is an excellent contribution to the study of harmony; by presenting the material in practical, effective ways, it leads teachers and students alike
towards a thorough understanding of the functional laws, underlying logic, and evolution of tonal music.
Dimitris Dimopoulos
Professor of Piano and Theory
Pianist, A.R.C.M. London
Principal of “Dimitris Dimopoulos” Conservatoire
Conductor of the Orchestra of the Aristotelian University of Thessaloniki
It is with great pleasure that I received Keyboard Harmony, the two-volume textbook written by Nikos Tsiantas, an exceptional colleague and wonderful friend. The
work covers the requirements of harmony courses as defined by the Program of Study. My initial enthusiasm was further enhanced by the quality of the material,
its impressive quantity and, moreover, by the author’s meticulous handling of a difficult field of study, which has, until now, often been ignored due to the lack of
a manual providing sufficient depth and direction.
Nikos Tsiantas succeeds in restoring our lost faith in harmonizing accurately and with ease, according to the rules commonly practiced today. He leads the student
step-by-step through the chapters, so as to understand the nature of melodic intervals, chord progressions and, indeed, all harmonic phenomena. A marvelous and exemplary feature of the book is the inclusion of all tonalities in the examples, given that the level of pianistic technique and experience varies greatly among students.
The gradual overall presentation of the material, at the same time both explicit and musically valid, and the impeccable layout and division of chapters per year of study make Keyboard Harmony a uniquely useful textbook for the teacher, a valuable companion for the student, and an essential part of the libraries of Conservatoires and Music Schools.
Finally, it entrusts the author with the responsibility of, perhaps, more projects in the future. In anticipation, therefore …….”.
CostasTsougras
Composer, Musicologist
This book by Nikos Tsiantas fills a considerable gap in the musical education at Conservatoires in respect
of practical application on the piano of tonal harmony and figured bass. This subject is very important for the completion of harmony courses; it connects theory and practice, introducing students to the sonic aspects of harmony. At the same time, the semi-improvisational nature of harmonizing a melody or bass on the piano offers them an especially useful and valuable skill for their professional musical life -a springboard for any kind of music.
Nikos Tsiantas’ approach to keyboard harmony, as presented in this handbook, is the result of many years of both teaching experience and practical application.
It is designed very carefully, and covers the harmony syllabus progressively in a systematic manner, thus remedying this educational lack in the best way possible.
I hope this book will offer constructive, practical knowledge, and become a useful tool not only for teachers of theory but also for students at Conservatoires and Music Schools as well.
Michalis Oikonomou
Conductor, Composer
Boston University, MM-DMA
Until recently, Keyboard Harmony was regrettably missing from the bibliography of the Greek conservatory musical education, despite being a basic, mandatory course in the syllabus of American and European Music Departments. With the present two-volume work, Nikos Tsiantas greatly succeeds in filling this gap. “Keyboard Harmony”
is a thorough, rich in content and comprehensible book, full of wonderful musical examples. I am certain that the book will provide a valuable addition to the existing conservatory music literature and be valued by our Music Departments as well. Good luck to the new book!
Natassa Papastathi
Professor of Piano, Voice, and Theory
I have studied this book in depth and I am deeply impressed. It is written with fascinating simplicity, but is, at the same time, so rich, starting from the very basics,
the obvious and the improvisational and reaches the most demanding paths of sound combinations. Here we have the book that was missing from the “busy” daily
reality of our harmony instruction. Let us enjoy it, then, and recommend it to our students, honouring our dearest colleague Nikos!