On Musical Shorthand. 381 



It now only remains to give a specimen of an analysis expressed 

 in these symbols (vide p. 382). The piece chosen is the familiar 

 opening theme of Beethoven's sonata with the Funeral March 

 (Op. 26). It will be apparent how easily a sketch of the analysis 

 may be first made, to be afterwards filled in by adding the changes 

 of key, dissonances, inversions, and crowning notes. Waving orna- 

 ments and runs are indicated by an undulating line. 



It will be understood that the object of this paper is not to 

 suggest that these symbols should continue to be written by the 

 student of harmony ; the object is to enable him to dispense with 

 all aids at the earliest possible moment, which will arrive when he 

 can without effort read off the analysis by eye on seeing music, 

 and by ear when he hears it — 



" Untwisting all the chains that tie 

 The hidden soul of harmony." 



This is an end well worth aiming at, for it is undoubtedly true 

 as the same great poet has elsewhere said, that — 



" He that of those delights can judge, and spare 

 To interpose them oft, is not unwise.'' 



