<p>This book presents figured harmony as a form of aural training. It seeks to make the student more keenly aware of chord-relationships as actual sound. It will increase the student's power to form an inward realization of what a page of music is going to sound like without having actually heard it.</p>

Figured Harmony at the Keyboard, Part 1

Arts & Photography

R. O. Morris

Music

Oxford University Press

<p>The Oxford Harmony is designed to give a complete practical course of instruction in all branches of the subject. It consists of two volumes, of which this is the first. The author deals only with diatonic harmony in three and four parts. He starts with three-part harmony, having found by experience that many beginners can not only think more clearly, but hear more clearly, in three parts than in four. The book is, however, so arranged that it can be used equally well by those who prefer the exclusively four-part method of teaching and learning harmony. English musical scholar, teacher, and composer Reginald Owen Morris (1886-1948), almost universally cited in sources and referred to even by his friends by his initials, as 'R.O. Morris', was born in York. He was educated at Harrow School, New College, Oxford, and the Royal College of Music, where he joined the teaching staff. On the outbreak of World War I he enlisted in the Duke of Cornwall's Light Infantry, along with his friends George Butterworth and Geoffrey Toye. In 1926 he was appointed head of the department of theory at the Curtis Institute in Philadelphia but left after two years, returning to England and teaching at the RCM until his death. He became famous as an exceptional teacher of counterpoint and his books, all published by Oxford University Press, came from long teaching experience and are skillfully designed to satisfy the needs of the average student: Figured Harmony at the Keyboard (1931), The Structure of Music (1935), and Introduction to Counterpoint (1944). His first book, Contrapuntal Technique in the Sixteenth Century (1922), has had a lasting influence on teaching in England and elsewhere. It broke new ground by drawing a clear distinction between national schools of composition and by insisting that the study of counterpoint should be based on the works of the composers who wrote it rather than on arbitrary rules invented by later theorists.</p>

The Oxford Harmony

Oxford University Press Music

Contrapuntal Technique in the Sixteenth Century (Classic Reprint)

Excerpt from Contrapuntal Technique in the Sixteenth CenturyThe general scope and purport of this volume is set forth in the opening chapter, and this preface need only concern itself with the textual procedure adopted.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Forgotten Books

Contrapuntal technique in the sixteenth century

The New York Public Library

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