There may be a few other combinations of figures used occasionally, but the above are the principal. If other figures do occur, all the pupil will have to do is to count up from the base; and if he then will not be enabled to play the chord right, he had better look to the intermediate parts, when he will be sure to get the right notes. The pupil should seldom double the third of a chord, as it often leads to bad progressions, &c.

* A Sharp, Flat or Natural placed before a figurc has the same effect as agh placed before a note.

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signify the chord should be continued.

CONCERT MUSIC

THIS is the field which presents the greates mare of evelopment in the treatment of individual ins" do bris, as well as the whole of them conjointly.

The Symphony is the highest climax of ineinenta music-a combination of several instruments, in which every one appears in more or less rivalship with the other to participate in the general co-operation for melody and harmony. A brilliant, animated, rich style, grand and vigorous melodies in well-poised alternation with soft and tender thoughts, striking and decisive bases, energetic modulations, the boldest interlacements and imitations melodies and rhythms, the utmost successive changes, and the most varied union of the instruments, co-operating in the general effect, at one time individually, at another simultaneously-now as principals, now as accompaniment, or reinforcing and filling up the score-such are the characteristic features of the symphony. In order to satisfy these requisites, great mastery of harmony, and knowledge of all the instruments, will be found to be indispensable.

In the Overture, the requisites pointed out for the symphony are called for in a less degree. In cases, moreover, where the overture serves as introduction to a work of greater extent, such as an opera, oratorio, &c. its nature and character is defined by the contents of the work itself; inasmuch as its object ought to be to indicate the contents of the composition which it ushers in. 'The sym phony, on the contrary, is an independent, entirely unfet tered creation of musical imagination.

The Concerto is destined to display the character and capabilities of an instrument, supported and accompanied by the rest of the orchestra, all the instruments of which however are not requisite in such co-operation. It s

therefore, essential and natural that the instrument in question should act a prominent part, whether it be by means of impressive delivery or mechanical skill. That, on such an occasion, the character of the instrument should be carefully attended to, and its mechanical treatment fully understood by the composer, is a matter of course. A composer and virtuoso, whose aim is a mere accumulation of mechanical intricacies, and who affords no opportunity of gratifying the feelings of his hearers by genume touches of expression, does not come within tue pale of the foregoing definition; and much less so, if he conceives the non plus ultra of "virtuosity" to consist in striving to render things possible which militate against he nature of the instrument. Feats of this kind are retty much of a piece with those of a rope-dancer &

CHURCH MUSIC.

THE object of church music is to assist in the worship of the Almighty, to fill the mind of the hearer with reli gious feelings, and to raise his thoughts above all earthly considerations. This can only be effected if the melody is simple and of a noble character, scorns all unneces sary, tinselly ornaments, and refrains from everything which merely enables the singers or players to exhibit their mechanical dexterity.

It is here that the powers of harmony should be rendered available in their greatest energy, without, however, indulging in artificial modulations, or injuring the purity and clearness of the melody by combinations of too complex a nature, and an accumulation of dissonances without object; for that which is truly great must present itself to the mind in the simplest and clearest form.

Church music occurs in a two-fold form, viz., as chora music and as figurate music.

In choral-chant, the melody moves in the most simpl and easy intervals of tone, without any passing notes which might serve the purpose of ornament, in steps at once slow and solemn, and mostly of equal duratic n.

As the choral melody is to be sung by the who e congregation, the extent of its range ought not to be great; but limited, if possible, within the space of an octave. Care is also to be taken that the air does not ascend too high or drop too low, in order to render its execution prac ticable to an assembly composed of voices of sc differen n pitch. The limits we should be inclined to propose, would be dore for the lowest, andē or at the utmost J, for the highest notes.

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Let the harmonic accompaniment, in sacred tunes of several vocal parts as well as for the organ, be simple, noble and energetic, and in accordance with the character of the poetry. It ought neither to be showy and inclining to parade, lest it turn off the attention from the melody nor too meagre of interest. Do not seek to surprise the hearer by too frequent a use of dissonances, unusual turns, modulations, and transitions; but be careful, at the same time, not to convert simplicity into monotony, by employ ing, exclusively, fundamental chords and their first inversions.

It is in figurate music, where the congregation does not co-operate, that the chorus is of primary importance; and here the composer finds ample scope for displaying the powers and capabilities of harmony in their full extent It is here that an elaborate harmonic development, sucn as the fugue displays in the highest perfection, will be in its right place, and may be resorted to with the greatest Buccess. But to produce a work of this description, in which, instead of artificial contrivance constituting its only merit, the inspiration of genius shall, throughout, predomi nate over the highest efforts of mere art, is the greatest

This is not the ase in this country, yet still the remarks will apply to om choirs generally.

problem in musical composition; a problem which, successfully solved, presents the highest masterpiece of which the art is capable.

The vocal solo, which, if ably apphed, forms a happy contrast with the energies of the chorus, should not aim at displaying the mechanical dexterity of the singer, which ought to be considered as merely the means of attaining the end proposed. It should breathe the language of that genuine pious feeling which is a stranger to all outward show, and seeks to appear before the Eternal Being in submissive humility. Hence we cannot but condemn, as contrary to the object in view, the arias in several cantatas of no very remote date, in which tasteless and unmeaning divisions, roulades, and other fringe-work distract the attention, and tear and distend the words of the text in the clumsiest manner.

If the student is desirous of practically knowing how the genuine vocal solo for the church ought to be constituted, let him consult some of the arias in Handel's Mes siah-above all, the admirable soprano song, I know that my Redeemer liveth;" also the solos in Mozart's Requiem, several solos in the masses of Haydn, and in his oratorio, the Creation.

Figurate music, with instrumental accompaniments, ought only to be resorted to on extraordinary and solemn festivals; while pure vocal music, in combination with the organ, should alone be employed on common occasions. It would also be highly desirable that, in the Protestant Church, music were brought into more intimate union with the divine service, and that the hymns of the con gregation were more frequently relieved by choir singing, for it cannot be denied that, in the Catholic Church, mu sic, when it is employed, appears as an essential and integral part of the service, and thus produces a much greater impression than is the case in Protestant communities, into which it is rather admitted by sufferance, and where it stands as it were an insulated stranger. At the same time, we are willing to admit that many of the modern compositions for the Catholic Church are exceedingly frivolous, and far from corresponding with the dignity of gersine church music.