POST BURNING SITE

[Michael in Athens]

Haydn, when asked according to what rule he had introduced a certain harmony, replied that "the rules were all his very obedient humble servants"; and when we find that in our own time Wagner, or Brahms, or Dvorak breaks some rule given in old text-books there is, to say the least, a very strong presumption, not that the composer is wrong, but that the rule needs modifying.

[Michael in Athens]

In other words, practice must precede theory.

[Michael in Athens]

The inspired composer goes first, and invents new effects; it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master.

[Michael in Athens]

It is a significant fact that, even in the most recent developments of the art, nothing has yet been written by any composer of eminence which a sound theoretical system cannot satisfactorily account for; and the objections made by musicians of the old school to the novel harmonic progressions of Wagner are little more than repetitions of the severe criticisms which in the early years of the present century were launched at the works of Beethoven.

[Michael in Athens]

It is from this point of view that the present volume has been written.

[Michael in Athens]

The rules herein given, though in no degree inconsistent with the theoretical system expounded, are founded, not upon that, nor on any other abstract system, but upon the actual practice of the great masters; so that even those musicians who may differ most widely from the author's theoretical views may still be disposed to admit the force of practical rules supported by the authority of Bach, Beethoven, or Schumann.

[Michael in Athens]

The system of theory propounded in the present volume is founded upon the dictum of Helmholtz, quoted in Chapter II. of this work (42), that "the system of Scales, Modes, and Harmonic Tissues does not rest solely upon unalterable natural laws, but is at least partly also the result of aesthetical principles, which have already changed, and will still further change with the progressive development of humanity."

[Michael in Athens]

While, therefore, the author follows Day and Ouseley in taking the harmonic series as the basis of his calculations, he claims the right to make his own selection, on aesthetic grounds, from these harmonics, and to use only such of them as appear needful to explain the practice of the great masters.

[Michael in Athens]

Day's derivation of the chords in a key from the tonic, dominant, and supertonic is adhered to, but in other respects his system is extensively modified, its purely physical basis being entirely abandoned.

[Michael in Athens]

It will be seen in Chapter II. (§ 44) that by rejecting altogether the eleventh and thirteenth notes of the harmonic series, and taking in their place other notes produced among the secondary harmonics, the chief objection made by the opponents of all scientific derivation of harmony that two of the most important notes of the scale, the fourth and the sixth, are much out of tune has been fully met.

[Michael in Athens]

In the vexed question of the minor tonic chord, Helmholtz is followed to a considerable extent; but Ouseley's explanation of the harmonic origin of the minor third is adopted.

[Michael in Athens]

Truth is many sided; and no writer on harmony is justified in saying that his views are the only correct ones, and that all others are wrong.

[Michael in Athens]

No such claim is made for the system herein set forth; but it is hoped that it will at least be found to be intelligible, perfectly consistent with itself, and sufficiently comprehensive to explain the progressions of the advanced modern school of composers.

[Michael in Athens]

It has been thought desirable to separate as far as possible the practical from the theoretical portions of this work.

[Michael in Athens]

The latter are therefore printed in smaller type; and it will be found advisable for beginners, who may take up this work without any previous knowledge of the subject, to omit at least Chapters II. and III., dealing with the Harmonic Series and Key or Tonality, until some considerable progress has been made in the practical part of the volume.