Alfred Day (1810-49) first published this controversial work in
1845 to substantial negative criticism. He was encouraged in his
enterprise by the composer George Alexander Macfarren (1813-87) who
remained a staunch supporter of Day's theories. The work begins
with an introduction to Day's new approach to the figured bass and
then moves on to set out his concept of diatonic (or strict)
harmony and chromatic (or free) harmony. Each is discussed in
depth, with sections devoted to common chords and their inversions,
discords, pedals and modulation together with a large number of
musical examples. This second edition of 1885 by Macfarren includes
an additional preface discussing the genesis of the work and
supporting its basic premise, together with an extensive appendix
presenting his additions and differences of view, developed during
the intervening period. Despite its complexity, Day's thinking had
considerable influence on later writers on harmony.
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