Preface.
Having
no wish whatever to add to the defects of this little work by the
insertion of the orthodox apologetical preface, the Author proposes
to confine himself in the limited space allowed him to a short
explanation of the purpose, style and theory of THE STUDENT’S HARMONY.
As
implied by its title the book is essentially designed for students; but while primarily intended to ensure success in examination work,
it claims to be equally adapted to give the student a knowledge
of chord construction and progression sufficient to enable him to
analyse the harmonic structure of the classics and to solve the
problems contained in some of the finer progressions of the great
masters.
In style while endeavouring to avoid the Scylla of pedantry, every effort has been made not to fall into the Charybdis of superficiality,
remembering that a student’s harmony should be instructive first
and readable afterwards. The divisions into sections and the frequent
use of cross references will it is hoped be of immense service
in refreshing the memory as to the meaning of the terms employed
in the tex and removing the difficulties which may occur in the
working of the exercises. In the latter there has been no attempt
at originality; only an honest effort to acquaint the student with
ordinary harmonic progressions. Nor should the exercises be regarded
as models of musical composition, the idea of the writer being to
introduce therein as many examples as possible of the particular
chord or chords to which the chapters preceding the various exercises
are devoted. The original examples occurring in the text apply almost
exclusively to vocal harmony, it being believed that after the acquisition
of this art the student will find no great difficulty in writing
under the freer conditions of instrumental music. A series of selected
illustrations numbering over 400 has also been inserted in the
compilation of which every effort has been made in the direction
of eclecticism, the examples being cited less as authorities than
as proofs that the rules laid down in this work are based upon the
practice of all good classical and modern composers.
For quotations from his own humble contributions to musical literature the Author
makes no apology. These examples are simply inserted to show the
student how a fellow student has endeavoured to carry out the rules
he suggests for the guidance of others. In all cases preference
has been given to examples illustrating as simply and concisely
as practicable the chord or progression under discussion, and containing
as few chords as possible which at that particular stage of his
progress must be unfamiliar to the student. The connection should
in all cases be consulted and efforts made to discover similar
illustrations to those given in the text. Those assigned to the
appendix are considered of secondary importance or contain instances
of exceptional treatment or progression. The hints upon the harmonisation
of melody form another special feature of the work and one which
has been lamentably neglected in several larger and more pretentious
text books. Finally, the questions at the end of each chapter are
designed to assist both teacher and student in preparing for examinations
in the theory and practice of harmony.
The theory adopted in this work is one which subject to the modifications dictated by increased knowledge and observation, the Author adopted
many years ago at a time when the student had not access to so
many excellent manuals as are now to be obtained. This theory, despite
its want of originality, he has been using with more or less success
ever since and it is satisfactory to find that it is in general
agreement with the works of Macfarren, Prout, and others. Ignoring
any scientific basis it leaves the student perfectly free to accept
any other system upon which his private judgement may ultimately
decide and its adoption in the present work is entirely due to
the fact that it is convenient and can be made to satisfactorily
explain the harmonic progressions of the great composers. Beyond
this no system of harmony should be required to go.
Orlando A. Mansfield.
February 1896
Torquay.
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