Harmony and Ear Training

Harmony and Ear Training

By William Alfred White

1907, 1911

This is a renowned e-work in the history of piano education. Once
a hard to find work. Now, it’s yours for your learning experience in music and
piano education and training… as well as in its presentation and use of ear
training.

Here you will find a plain presentation of the actual facts
and effects in music and the training of the ear, based upon the universal
use of musical material by composers. That’s “piano education” at its
finest. Piano as practiced by the masters. The only knowledge required or
presupposed on the part of the student (for this ear training development in
any prior piano education or training experience) is acquaintance with the two
staves and clefs used in piano music, with the pitch-names of musical tones,
and with their positions on the piano keyboard.

Piano education and ear training must emphasize the
following:

1) The importance of individual tones in keys and chords.
This is fully explained.

2) Modulation, though not in the table of contents, is dealt
with during the presentation of scales, and an exhaustive treatment of it is a
distinctive feature in Chapter III. A knowledge of the functions of Points of
Repose, Quality Tones, characteristic Tones and Insistent Tones also involves a
knowledge of certain essentials of modulation.

3) In chapter V will be found an extended treatment of
intervals from many points of view. No “rules” or “exceptions” are given;
therefore no confusing contradictions need be expected.

4) For development of part-writing the student may begin
with the making of simple chorals and hymns in four parts, gradually extending
his efforts in various forms of composition, as far as his abilities will
admit. Chapter VII on “Melody-Formation” is worthy of note.

5) All persons seriously studying music from any standpoint
should acquire a knowledge of the fundamental facts in harmony, just as they
study the grammar of a language. Ninety-nine percent of music student have no
capacity whatever for creative work. The ability to compose is a gift which the
rules and exceptions of harmony cannot supply; without this gift, and without
skill in harmonizing melodies, all attempts in this direction will end in
nothingness, or in what is worse—machine made music. But for the ninety-nine
percent who have no capacity as composers, as well as the one percent who have,
a thorough grasp of harmonic knowledge is absolutely essential; and its
immediate application in analysis is the most important feature of the study.

6) The sections devoted to “Ear Training” offer an original
and efficient system of perceptional mental development. This system of ear training,
if followed according to directions, will result in highly developed perception of
tones and of harmonic and melodic progressions, as well as in a keen
appreciation of tone color. The consistent use of the three and four part
exercises at the piano has repeatedly shown remarkable results in the
perceptional development of hearing, both in the author’s classes and in those
of other teachers using this material. This is ear training at its very best,
from the training of a master musician.

7) Chapters X, XI, XII, and XIII have an extended treatment
of chord progression. XV, with “Tone Color” offers and extended view of the
subject. Most persons have an instinctive feeling for tone color and musicians,
particularly composers, have this sense highly developed; yet the subject is so
elusive it is a very difficult one to deal with in words. Nevertheless the author
has for several years, had classes in which rapid development of this sense has
been accomplished.

8) An extensive system of cross reference in paragraphs and
exercises is a valuable feature of this book, showing the growth of basic
principles. In conclusion let it be said that this work in piano
education---novel as it may appear to many in its plan of presentation, in its ear
training exercises, in its rejection of some archaic methods and approaches–is
not an experiment. Rather, it represents the natural results of the author’s
experience in piano education and its attendant ear training exercises… and
that of other teachers, in school and college.October, 1907.

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