I first encountered "Elementary Training for Musicians" when I was a teenager, several decades ago. It was recommended by a couple of professional musicians whom I admired as role models. They must have had a grudge against me. I approached the book with an open and eager mind, as if it were the Bible, and by the fifth page it had absolutely dashed my hopes and dreams. This book would have represented a major setback for me, had I not had the courage to say, "Hindemith, you're full of [it]," and moved on with my life.

As I got to know my musician friends better, I could see that what made them good had little to do with the torturous training in this turgid tome. I suspect that the same is true of Hindemith, who probably wrote his music with his right brain, and wrote this book with his left. I think he secretly penned this particular monument to obtuseness to dumbfound his professor peers, as if to say, "You see? This is what is 'elementary' to a genius like me."

You probably won't take to this book unless you happen to have perfect pitch and an appetite for unmusical exercises. Even if the latter description fits you, you would probably find the layout boring and confusing, a relic from the pre-War era, when pools of type swam in undifferentiated masses on the page. In this case, the pools are notes. The type enshrines an authorial voice that is professorial and pedantic. There is little sympathy on Hindemith's part for the "beginner's mind" -- yours, presumably -- so if you are really a beginner at music, seek your elementary training elsewhere. I would suggest going to the bookstore of a major university and seeing what is available now in music fundamentals. Avoid all texts that do not have at least one accompanying CD. Why be cruel to yourself? Your progress will be easier and faster if you can hear what the symbols mean.

One other recommendation: David Lucas Burge's Relative Pitch Ear Training Course (I have no financial interest in Burge's courses). Burge seems to be a bit of a showman, but this course is indeed meticulously worked out. I think there are some drawbacks to it, but it is truly Elementary Training for Musicians, and it will serve you well for a lifetime. As for his Perfect Pitch course, there may be something to it, but I haven't seen (or heard) any confirmation.

Good luck!

This is by far the best book on its subject that I've ever worked with. For some reason it wasn't used until the second year second semester of Ear Training where I went to school, and I wonder why the college made us waste time and money on previous texts when this one had it all.

That being said, it's definitely written without self-teaching in mind. From Hindemith's mindset, and that of many pedagogues both living and deceased, the idea of teaching oneself musicianship is about as nuts as teaching oneself surgery or carpentry. Even if it were possible, the same results could be achieved with less time and effort through proper instruction, which Hindemith sought to facilitate with this text. So if you're looking for a self-teaching text, look elsewhere - you are outside the scope of this book.

My only concern about this book, and this could be simply the edition I have, is that it's in desperate need of a facelift. Taking advantage of computer layout techniques could make the exercises easier to read and the pages easier to navigate. Other than that, it's a teacher's dream for working on the nuts and bolts of musicianship.

Paul Hindemith is probaly the greatest teacher, composer, and author of the 20th Century. This Book gives insight to many students (such as myself). It is a great source of help for music theory and composition, history and literature majors. Buy the Book and I gurantee you will not regret it!!!!!!!!!!!!!!!!!!!!

I strongly believe that this book could easily create misunderstandings to a student of Harmony. i found this book almost chaotic when I studied it as a Harmony sudent. In comparison to Walter Piston's Harmony this book has not a straight and organised method of teaching and I only recommend it for advanced students.

In this book Hindemith first refers to the core of the classical harmony (I, IV, V chords) and then expands them to the a whole body of amazing possibilities (chord inversions, dominant chord, alteration, modulation , ...). The approach is very interesting and practical and the book provides lots of exercises for hard working readers. Hindemith showed me the right approach to the harmony without memorizing the rules and a way to writing harmony with the minimum material! It is of course for patient and hard working people and you have to feel comfortable with the basic theory to enjoy this book. It is a shame that the book has been out of print for such a long time!

Lots of exercises for the budding composer. Those who wish to write the great art music of the 21st century should try to get a copy. By the end of the book, all the classic rules of harmony are repealed, because one has learned when to break them, and when to follow.

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This is an excellent book. It is a MUST-READ for any serious composer...however, it reflects a rather narrow-minded viewpoint. In order to get the true meaning out of this book, one needs to take all the theoretical knowledge and apply it in a more open-minded manner. For many though, this book will provide a very different, and useful way of looking at music and harmony.

Paul Hindemith was a master of all aspects of music, including composition. In his three-volume set of compositional theory and exercises, he shows how the "old" music really works, and how modern practices don't disregard harmony, but how they simply expound on it. His other books of exercises are a must for any serious student of composition, or for anyone trying to see what makes Hindemith's works tick.

The literary style is a bit dry but the rhetoric and ideas are a solid read. Hindemith opens with a philosophical discussion of the nature of hearing and performing music and lays down the poles of Western thought between Boethius and Augustine, that music is considered to have moral force to shape the mind or that the mind imposes order on sound to create the mental impression of music. He tries to avoid being dogmatic about either and proceeds to an explanation of musical memory and emotional association.

Where he gets a bit cranky is explaining the American musical education establishment and the bad habits of performers. He's also very unforgiving to popular music and music made in totalitarian states (e.g. Shostakovich and music written for fascist regimes). But his comments about the shortcomings of American musical education are salient today and his critique of mass-marketing of music is also still relevant.

One of my teachers told me that letters by famous people are usually very dull. Sad to say this seems to be the case here.

Skelton wrote a book on Hindemith and while that's great these selected letters seem to be missing a lot, a possibility suggested when Skelton says he didn't include material he considered of too personal a nature. I don't know if the Hindemith institute asked this or not but excerpts of some of the most interesting letters are missing, particularly the "moral conquest" letter he sent enclosed with Ludus Tonalis (which you can get in the Urtext edition); there he wrote scathing remarks about the Leningrad symphony and the American policy of promoting Russian music over German or italian music during the war years. The read is so dry I haven't even finished it yet and I get the strong sense that you wouldn't learn much more from this book than Skelton's earlier book. I've read A Composer's World and other books by Hindemith and can't shake the suspicion that Hindemith's letters were dull or, at least as likely, Skelton and co. wouldn't let us see the most readable parts.