[18] Another well-known example is the first theme of the first movement of the Sonata in F minor (Appassionata) op. 57. This the student can look up for himself.
[19] For some additional comments on this broad principle see the first Chapter (passim) of Parry's Evolution of the Art of Music.
[20] Everyone has experienced the agony of hearing the beginner practice, in an adjoining room, the same piece for hours at a time!
[21] For an eloquent presentation of the significance of Folk-music see the article by Henry F. Gilbert in the Musical Quarterly for October, 1917.
[22] For an able account of the important role that folk-melodies are taking in modern music see Chapter V of La Chanson Populaire en France by Julian Tiersot.
[23] The same statement is true of the Oriental nations, the Arabians, Persians and Greeks, who are left out of the enumeration only because their development in many respects has been along different lines from ours. For suggestive speculations as to early music among all nations see Primitive Music by Richard Wallaschek.
[24] For illuminating comments on the Folk-music of all the English-speaking peoples see Chapter XII of Ernest Walker's History of Music in England. The famous Petrie collection of Irish Folk-tunes should also be consulted.
[25] In counting the measures of a phrase always consider the first complete measure,—never a partial measure—as one.
[26] The chief reason for this leading tone, in addition to the natural tendency of singers to raise their voices as near as possible to the upper tonic, was so that the dominant chord, the third of which is always the 7th degree, might invariably be a Major Triad.
[27] For many suggestive comments on the whole subject see his book English Folk-Song.