PREFACE preceding volumes of this series have dealt chiefly with matters of musical theory, though theory and practice are so closely connected that it is impossible to draw a hard and fast line of demarcation between them. The present volume, on the other hand, is almost entirely practical, and points of theory are hardly touched upon. None of the earlier works of the series have involved anything like the amount of labour in their preparation that has been useful for this one. Very little is to be found in English musical literature concerning the subjects which occupy the greater part of the volume and the materials had to be compiled partly from large German treatises on composition, which, however interesting and instructive, can certainly not be considered as light reading, and, to a still larger extent, from the careful and often minute analysis of the works of the great masters. This, it is hoped, will be deemed a sufficient apology for the deIay in the appearance of the...

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