Publisher's Synopsis
Excerpt from Rudiments of Musical Grammar
The history of an art or science may often be brought to bear prao tically on the process of teaching it and the order in which discoveries or improvements have been made will often suggest that in which a knowledge of them may best be communicated. So that the considera tion even of exploded theories and obsolete forms may not be without its use, as keys to those which have superseded them. The musical student, for instance, will never appreciate the special merits of modern, unless he have learnt something of ancient, tonality: nor would it be easy to devise any shorter or more simple method of explaining the nature of a mode, than through acquaintance with the fact that, though but two modes are used by modern musicians, the number of modes possible is'only limited by that of the sounds of the natural scale. This latter fact is brie?y alluded to in an early chapter, and more fully treated in a later one the object of which has been rather to excite than to satisfy curiosity on a very interesting branch of musical science.
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