From the FOREWORD. In writing this book my aim has been not only to
show the student how to manage and use the various possibilities,
but also when to introduce them - a point which is obviously of
prime importance. One so often encounters students who can talk
glibly about the "" treatment "" of all kinds of chords, but who
seem not to have the slightest idea of when to use them, or how to
know when their use is implied in a given part. While the
harmonisation of a melody or a bass is to a great extent dependent
on the musical sensibility of the student, it has to be realised
that certain melodic progressions imply, normally, certain definite
harmonies, and these implications I have tried to make clear.
Elementary work, at least, is largely compounded of commonplaces,
and my object has been as far as possible to show how the
underlying commonplace may be ""spotted."" The treatment of certain
matters has been deliberately restricted and limited for the sake
of clarity and simplicity.
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