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Music Compositionis Sure To PR EFACE . Dom e the past fewyears we have seenthe beginning ofa reactionary n f i eriod inthe art creations and inth e teachi o th e arts and sc ences. p g . At u a time it is to be ex ected t at t ere ill be extremists suc as s ch , p h h w h we see among the creators of some of our futuristic prod ucts of art and music ; but this upheaval is encouraging to those wh o have seenth e futility of many of our pedagogical methods. Modernpsychologists and educators have abandoned th e old ways of th e me t od of startin ever student re ardless of a e and teaching h g y , g g nis n personality with the rudiments of th e mecha m of the subject at ha d . It has come to be recognized that very few persons are endowed with s ffi i nt en si sm to ri e over t is ir some sometimes almost u c e thu a b dg h k , unintelli i le eriod of stud to th e time ensome at enli tened g b , p y wh , wh gh , t e n r i n enter into th e attractiveness of th e su ect h y ca app ec ate a d bj . One of the most conspicuous examples of the old order inpedagogy is inm i om osi on For ear t at a student ould ma e r m us c c p ti . f h w k g a ” matical errors th e su ect h as eentau t a series of rules ineni , bj b gh by g ’ ously made by academicians a series ofdonts which too ofteninhibited en nstead ofallo in th e stu ent t ex ress allspontaneit y inth e stud t . I w g d o p imsel idin him inhis self ex ressionth e old met od ve th e h f , and gu g p , h ga student his set f rules and woe to him wh o diso e ed t em et er o o , b y h wh h r not inso doin th e result was artistic . , g, This indirect method of teaching harmony consists of giving th e constructionof chords and formulating rules according to their gram l e t r r on ne to not e s ll matical y corr c p og essi o a h r. U ua y a bass part is iven n the student rites th e c ords a ve th e ass Th e inevi le g a d w h bo b . tab result is a mechanical correctness inwhich th e student wh o is mathe matica lly inclined will be infinitely more successful thanth e one wh o is Th e t ent ites c in e musically inclined . s ud wr ha aft r chainof chords in ic t ere is no meanin no orm and no sense of relative l All wh h h g, f , va ues. the vitality and art inmusic are removed and the student usually be com nt rtist but a mec anici n erm re es o ana a . urt o e st e , , h F h , th ud nt learns all the forbiddencombinations and progressions of th e conserva tive t rists but enturnin to th e or s of th e m e i heo , wh g w k od m sts and even to th e r of th e older m sters h e is conronte it wo ks a , f d w h parallel perfec t m PREFA iv CE. fift s c ross- relations au mented ro ressions unresolved dissonances h , , g p g , , two or more ro ressions of a ourt or fift insame direc tionet cetera p g f h h , Music pedagogs canprofit much by a study of th e changes going on inth e methods of pres enting other subjects ; of th e way many other subjects have benefited by taking cognizance of data which modern c olo n eda o o o fer psy h gy a d p g gy have t f . Th e direct method inth e teaching of music compositionis sure to e is is llow r he stud ent me . ur t s a a ou a e t co O nd enc to com ose. e h , g p W would not think of forbidding our childrento write letters until such time as they h ad learned th e entire contents of anunabridged Webster earned all th e rules of nlis r mm at er eno r e and h ad l E g h g a ar. R h we c u ag th e child to exp res s himself with what ever vocabulary h e happens to ve t ou t ere are a roximatel r e ha . Al h gh h pp y wo ds inth English lan a e a es eare used but and Milton gu g , Sh k p e ollo in text h as een ritten it th e a ove t i Th f w g b w w h b hes s inmind . ’ e and donts ave eenavoided inso far as seeme ossi l Th e Rul s h b d p b e . indirec t method h as beenresorted to only where the direct method fails in rint ecause insuc laces th e ersonal actor is tenne o cessar . p , b h p p f f y ll students ofcom ositioncannot be com osers but all canbe trained A p p , ne n n inter ret th e or t reciate u d rsta d a d s of com sers. o app , , p w k po h et er or not th e stud ofmusic rammar alone will rin t suc W h y g , , b g abou h t be ar rammar h as its l ce in e e f results will no gued . G p a any sch m o proced ure ; but its place should not necessarily be th e initial presenta th e o t im nt ontaneit interest n r i on tionnor m s orta . a d a ec ati , p Sp y, , pp are th e desired goals and th e prevalent method of teaching is a menace i ie ow and t ena enius esca e b t eni to t ese t ree ual t s. N s u uses h h q h g p , g in i are ina startling m or ty . Int is met od th e aut or o es to ma e th e stud of armon nt h h , h h p k y h y o th e dr and difficult su ect ic so man roclaim it but anatt active y bj wh h y p , r th e or e and manner of resentation ermit n neit subject . If d r p p spo ta y n l ex ressionth e o ect of th e or h as eenaccom lis e ven se d . a d f p , bj w k b p h E if int is text academic considerations are sacrifi ced to s ontaneit , h , p y, inte e t and a reciation th e or h as not ailed but th e aut or r s , pp , w k f ; h i r e believes that no such sacrifice w ll ac c u . h e ut or afiectionatel extends his ratitude to his fe arion T a h y g wi , M r f r h er s m t etic id criticism e ar e o a a and s stions. DillonG dn , y p h , , ugg C . E . G. m nmonMass 1 1 C , , 9 7 TE TS CON N . PART 1. xviii Compass of the Pianoforte . I . Tu m m; Tom . II . T e Positionand Inversions Root . nth Ninth Inv T e anersions. Sev d riad , , , d ne ons Root Positionan I v rsi . i Exerc ses, Group 6 The Major Seventh Chords Tm: Sm mmc Cnonn. V . n T v th inth Inversions n N an . riad , Se e , , d e ses Grou Ex rci , p 7 Tn urnamm m Cnonn VI . S i Gro Exerc ses u . , p 8 Tm: Mnmm r Cnoxn nd Seventh N inth and Inversions h i , , , . er ises G u Ex c , ro p 9 II TanS nr omc aoxn V I . u C nth and Inversions Triad , Seve , . e Grou t o Ex rcises, p vi CON TEN TS . Chap ter - XI . N ON CEORDAL TONES Passin A o iatura N ei h orin Tone Antici ator Sus ension g , pp gg , g b g , p y , p , Retardation Or anPoint and Com ound N ou- h ordal T ne , g , p C o s. 1 2 Exercises, Group . I A TERED HO S XI . L C RD ItalianSixth Ch ord GermanSixth Chord French Sixth Ch ord Additional Augmented Sixth Chords N eapolitanSixth Ch ord h h Ot er Altered C ord s . e i es 1 Ex rc s , Group 3 I E EVENTH AND THIRTEENTH GII ORDS AND MODE NITIES XII . L R PA T II R . MODU ATION AND TRANSITION XIV . L Exer ises Grou 1 c , p 4 . THE VARIOUS STYLES OP WRITIN G Pianofort e Strin uartet Orch estra . ( , g Q ) D uplicationOf Factors ro 1 Exercises , G up 5 BIN ARY AND TERNARY FORMS Exe ses rou 1 6 rci , G p EPISODE AND CODA X II .
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