Author's Note. APPEALED to from many sides, and frequently called upon to make public the method of teaching adopted by me during many years of instruction in the theory of music, I at last came to the conclusion to have my experiences, gathered through self-study and through practice in teaching, published in the form of three books. At present the first appears under the title of "Manual of Harmony"; the instruction in Simple and Double Counterpoint, in Canon and Fugue, will follow as soon as possible. It would lead ...
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Author's Note. APPEALED to from many sides, and frequently called upon to make public the method of teaching adopted by me during many years of instruction in the theory of music, I at last came to the conclusion to have my experiences, gathered through self-study and through practice in teaching, published in the form of three books. At present the first appears under the title of "Manual of Harmony"; the instruction in Simple and Double Counterpoint, in Canon and Fugue, will follow as soon as possible. It would lead too far if I should here indicate what new statements I have made both in the explanation of the chords and their connections, and in the method of instruction; this is clearly expressed in the present volume. Let me not however omit to call attention to the fact that examples are added in the appendix, which are worked out in accordance with the rules contained in the different chapters, and can be constantly referred to as a guide. Experience in practical instruction has taught that, in many cases, it is not sufficient to show the pupil the application of a rule by itself, i. e. apart from its connection with an organically formed piece of music, however small. The proper understanding of the rule is obtained more easily and surely by nearly every pupil, if he sees its application brought before his eyes in the condensed form of one or more small pieces of music The manifold and peculiar difficulties in the instruction of the theory of music almost demand such a proceeding. Whatever we call our rules, we deduce from the works of the classic masters; but at the same time we find so large a number of exceptions to the rule, that the latter often seems to be quite doubtful to the pupil. Let us take but one instance. The pupil first hears that the seventh of a chord of the Seventh must resolve downward by a step. Soon after he learns that, in very many cases, it may ascend by a step, or be sustained, or enharmonically changed, or even be led by a skip downward to the tones of other chords. In consequence of this, there remains for him of the first stated rule nothing but the principle that the seventh is led downward a step, when the following chord and the correct leading of the voices admit of it. If the pupil were shown examples from the classic masters, in which occur in great numbers all the exceptional cases mentioned, - provided the material for it were always at hand - he would, in the beginning, scarcely quite perceive and understand these examples taken from larger compositions, and would possibly regard them as licenses which a genius is permitted to take, whereas these exceptions, just as the rule itself, are established in the nature of things.... I have given to the present first part of my work the customary title of "Manual of Harmony"; but in the book itself I have not used the word "harmony," but exclusively the term "chord." Experience in instruction also induced me to adopt this resolution. Before the pupil begins the study of theory, the term "chord" is known and familiar to him from the beginning of his practical instrumental, or vocal musical training. Everyone knows what is meant by this word in music. The term "harmony" is generally used in a different sense from that used in older text-books. It astonishes the pupil, that dissonant chords also are called "harmonies," - as for instance, the augmented and diminished triads, and all chords of the Seventh. It astonishes him furthermore that the term "harmony" is used only for the fundamental position of the chords, that their inversions, however, are always called "chords" and not "harmonies," while both expressions are used in exactly the same sense for the fundamental position of the chords. The words "Chord of the Sixth," "Chord of the Sixth and Fourth," "Chord of the Sixth and Fifth," of the "Fourth and Third" and of the "Second" are used as technical terms....
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Add this copy of Manual of Harmony (a Course of Instruction in Pure to cart. $12.60, good condition, Sold by Anybook rated 5.0 out of 5 stars, ships from Lincoln, UNITED KINGDOM, published 1898 by Breitkopf and Hartel.
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Volume 3. This is an ex-library book and may have the usual library/used-book markings inside. This book has hardback covers. In good all round condition. No dust jacket. Octavo, clothbound. Title and author in gold on spine. Title, author, and publisher in gold on cover surrounded by black decorations. Sixth edition. Translated by Torek and Pasmore. Covers loose. Cloth scuffed. Corners bumped. Backstrip frayed at ends. Please note the Image in this listing is a stock photo and may not match the covers of the actual item, 550grams, ISBN:
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