In view of the surprising history of this Manual of Harmony it is hardly necessary for the Publishers to apologize for offering an entirely new English edition to the musical public of A merica. The first German edition was issued in 1853; the twenty-fifth German edition, in 1907. Thus, after being subjected for over half a century to the sharp criticism and severe tests of German musical scholarship, to say nothing of the competition of very numerous newer text-books, this remarkable work is still so highly considered at home as to warrant the publication of an edition newly reset from beginning to end. It seems probable that this twenty-fifth German edition, from which our present translation was made, is practically a definitive one. Like all the more recent issues, it was revised and edited by the Author sson, Alfred Richter, whose experienced hand has progressively added much of lasting value to the original treatise. Chief among these additions should be mentioned the chapter on Forms of theM usical Close; and, furthermore, the separate volume of Additional Exercises (A ufgabenbucK). Despite all gradual accretions, the method of theM anual (which might be described as genial empiricism )has been left unaltered. In its voluminous array of illustrative examples it still remains unrivalled. What was thought by many instructors to be a paucity of exercises for working out, has been remedied by the above-mentioned volume of Additional Exercises, with its Key. To the exercises contained in theM anual itself, aK ey in English has also been published. Con sequently, aids of an unusually helpful sort are offered to both teacher and student. There is also retained, of course, the tendency to occasional digression into subjects rather beyond the ken of the average harmonypupil. And just here the judicious teacher has to assert himself restraining, correcting, sug
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