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Most of these chords have likewise their different positions; and in what manner these are formed, I have already explained in the preceding letters, in treating of the common chord and the chord of the seventh. But I must again repeat that these chords must be practised in all the keys, if you wish to derive any practical utility therefrom.
But enough on this subject. My view was only to give you a general idea of Harmony or Thorough-bass; and when you begin the study of it in a regular manner,—and I hear with pleasure that you are shortly about to do so, and that your worthy teacher has selected for this purpose the excellent Treatise on Harmony by Reicha,[1]—all that I have hitherto said on the subject will serve to facilitate the acquirement of this science.
- ↑ As the works of Reicha have not yet appeared in an English dress, the Translator begs to recommend to the student who is desirous of acquiring a complete knowledge of harmony and composition, his miniature series of Musical Catechims, the contents of which are as follows:
- No. 1. Catechism on Harmony and Thorough-bass.
- No. 2. Catechism on Counterpoint & Melody, or Rhythm.
- No. 3. Catechism on Double Counterpoint and Fugue.
- No. 4. Catechism on Writing for an Orchestra.
- No. 5. Catechism on the Invention, Exposition, and Development of Musical Ideas.
To these may be added, my Musical Grammar, adapted to the present state of the art, price 4 s.—Albrechtsberger’s celebrated Treatise on Harmony and Composition, translated by A. Merrick, 2 vols. 8 vo. price 42 s.—Cherubini’s Course of Counterpoint and Fugue, 2 vols. 8 vo. translated by Hamilton, price 42 s.—and Fétis’ Method of Accompaniment, translated by J. Bishop, price 12 s.
