the concert-room would be replaced by definite experiences.

* * * * *

'Mental analysis is not, of course, the main object in listening to
music, but it is a most powerful aid to full appreciation. It is the
failure to perceive any definite relation between the parts and the
whole that baffles so many people, and sends them away from the
concert-room remarking that they cannot understand "classical" music.'




CHAPTER XI

THE TEACHING OF TRANSPOSITION


A great many musical people will not take up the subject of
transposition seriously, because they have no idea of the lines along
which to work. They all agree that the knowledge would be most useful to
them, especially from the point of view of song accompaniment, but the
path seems to be beset by so many difficulties, and the results of their
first attempts are so pitifully small, that they generally give up all
hope, and all effort. Then again, some of the books published on the
subject are not very helpful to the average student. Some of them seem
to start with the assumption that the student is very musical, and can
do a great deal by instinct. They therefore give only the roughest
directions. Others begin sensibly enough, but leave out so many steps in
the work that a student may be forgiven for throwing them aside in