cessity, to open the eyes of all who are not absolutely indifferent to the progress of musical education. MR. BURROWES has levelled the outworks cautiously and successfully. MR. Jousse has boldly attacked some of the stronger positions and endeavoured to beat down at once some of the new defences and he does this without regarding the means of a more regular approach,

MR. JOUSSE'S mode of explanation by problems is new to us, and appears calculated to answer the purpose of fixing in the mind certain parts of theoretical science, without any connecting link with the reasoning upon which they depend, and by which they are com. bined with each other. We would (seriously) undertake to make a machine to compose either a melody to a bass, or a bass to a melody, upon the principles MR. JOUSSE lays down.

We have said that the book wants order and explanation, and we shall proceed to the proofs. Problem 6, page 12, conveys a very erroneous notion of transposition. The definition is imperfect, inasmuch as it fails to express any process beyond the mere addition of the flats and sharps at the signature. The problem is also placed before instead of after that relating to intervals, which appears to us to be an inversion of the natural order,

Problem 8 is very ill expressed. The problem is not, in point of fact," to find in a piece of music every interval," but to facilitate the knowledge of the distance between any two notes,

The word "accidents" is introduced without any definition of its meaning, which cannot fail to be unintelligible to those for whom it is designed. In the same page Mr. J. says, "the leading note is essential"; what can one uninstructed in harmony unders stand from this sentence?"

Plate 15. A definition of "enharmonically" is wanted, before the circles, which, in themselves however, are a clever and simple contrivance, taken from KOLLMAN.

Page 30. A definition of "Tetrachord" is wanting to the passage, Page 39. MR. JOUSSE says, "a succession of chords constitute barmony." If this be intended to define harmony it is erroneous: since a single chord constitutes harmony.

To these we could add many other examples, which prove, either that MR. JOUSSE has put together his materials in haste, or that he designs to prove no more than what we have before ventured to con jecture, viz. that certain effects, which indicate an apparent ac

quaintance with the principles of harmony, may be produced, with out any real or solid knowledge of those principles. If this be the sum of his intent, we think he has accomplished his purpose in a good degree; but beyond this, his work promises little or nothing, from the obscurity which necessarily attends any attempt to communicate by short notices what can only be attained by study of some duration. For in learning the theory of music, the time is not consumed by the abstruse nature of what is necessary to be understood, but by the quantity of rules which (like those of the grammar of a language) must be committed to the memory. He who shall reduce these rules to the shortest compass with accuracy and perspicuity, will be the ablest instructor in theory, and in this sentence lies all the mystery.* MR. BURROWES has done more towards

The simplest instructions for playing Thorough Bass that ever fell under our observation, were those delivered by the late Dr. BECKWITH of Norwich, a very able theoretical and practical musician, and a scholar of the Hayes's of Oxford. We do not say that they will apply to ALL cases, but they are so plain and só generally excellent, that we cannot forbear submitting them to the choice of students.

Thorough Bass without figures.

I. The seven intervals of every key are divided into fundamental and derived Basses.

II. Fundamental basses in every key are the key note, the 4th of the key, and 5th of the key.

III. Derived Basses are the 3ds above each fundamental.

IV. The 2d of the key is also derived from the 5th of the key.

V. To every fundamental bass a common chord must be struck. N. B. a common chord is the 3d, 5th and 8th reckoning from the bass note upwards. VI. Every derived bass must have the chord of its respective fundamental. Rules for figured notes.

* Discords are resolved into concords by descending one interval.
Double figures are either additions or exceptions.

With play an 8.
8.

—— Means a continuation or repetition of the preceeding chord.

this than any other writer that has fallen under our observation. MR. JOUSSE has not done this, because he appears to have devoted his attention, not to explaining the reasoning upon which many of his problems depend, but to show how the effects may be produced with scarcely any reasoning at all. In few words, therefore, the one will always be radically and essentially useful, and the other frequently amusing, while it may occasionally serve to confirm knowledge acquired from purer sources, and perhaps, in some instances, (such as the circles, modulation, and others,) clear the understanding with respect to parts of science generally made difficult of comprehension by the obscure way in which they are discussed and explained.

A stroke through a figure means greater, that is, the figure must be removed further from the Bass note one semitone.

A sharp, flat, or natural under or over any note or figure, shews that the 3d of such bass note must be made sharp, flat, or natural, the bass note itself not being affected.

Double figures in succession require no addition.

To these rules DR. BECKWITH added plain instructions for modulation, transposition, and accompaniment.

Six Progressive Sonatinas for the Piano Forte. Composed by T. Howell. London. Power.

This is a useful production, and exceedingly well calculated to lead on pupils after they have overcome the very first difficulties that attend the Piano Forte. It is no slight matter to render the early parts of the task pleasant, at the same time to contrive to introduce sufficient exercise for the eye and hand to keep alive attention, and the belief that the growing powers of the young artist are not wasted unworthily, together with a due gratification for the ear. Graceful melody, variety of passages demanding changes of position and requiring continual effort to surmount, are therefore capital requisites. These, MR. HOWELL has uniformly preserved. The sonatinas are not destitute of elegance, and an uncommon portion of variety prevails throughout. The bass is perpetually changing, and we rarely, if ever, remember to have seen any production of the sort that contained more passages for practice so continually and so judiciously interrupted and broken by fresh calls upon the industry of the pupil. Beside these particular effects, which we deem to take the foremost place, the sonatinas are composed in different styles, speaking generally. Upon the whole, we prefer the first and second movements of the third lesson. But the entire set deserves recommendation.

MR. HOWELL has appended instructions for fingering, to some of which we object, as disturbing general rules without any adequate purpose being gained. In the half bar, commencing the second division of the Andantino, (Son. 1.) we should have preferred to have taken the first two notes with the thumb and first finger, instead of the first and third, because the hand is taken off, which ought to be avoided wherever possible.

In the tenth bar from the close of the Allegretto, (Son. 2.) the third finger would have been better than the thumb, as it keeps the hand in a more easy position.

-The same fingering, as that we object to, is also used in the first movement of Sonata 5.

In the first movement of Son. 4, ninth bar from the end, tlie solo passage of the bass is fingered so as to throw the hand into an unne eessarily awkward position. A's the passage begins after a rest, there is no restraint from what precedes. The notes are d, c, b, a, g, f, and those which follow the f require the fourth. MR. HOWELL fingers 3,+, 1,2. Surely 1,+, 1,2, would have been better.

The Composer has indicated, with great frequency and care, the manner of expression-a circumstance which cannot be too minutely attended to. We close our commendatory notice with what at this time of day, when a taste for expensive printing is becoming universal, ought to be esteemed highly praiseworthy both in the author and publisher. The Sonatinas are excellently and cheaply printed-for we have 21 pages of music, independent of the title, and which serves for a wrapper, for four shillings.

Sacred Songs, by Thomas Moore, Esq. and Sir John Stevenson, Mus. Doc. London. Power.

The success which has attended the first conjoint publications of these gentlemen, appears to have led them to new enterprizes, similar in principle, though different in kind. The Irish Melodies may be supposed to have opened the way to the National Airs, the beautiful little book we have before noticed, and these again to a Number of Sacred Songs. The idea of the present work is the same with this slight variation-the melodies are partly selected from the works of classical authors-MARTINI, BEETHOVEN, HAYDN, and AVISON, and partly supplied by SIR JOHN STEVENSON and MR. MOORE-the words entirely by the latter.

The number before us is published with the superior excellence visible in every thing that issues from MR. PowER's house. It is far more difficult to describe the poetry. The subjects are sacred, but the manner of treating them partakes not in the slightest particular of that sublime simplicity, that solemn severity, that chastity of thought and expression, which not only among devout persons, but among men of sound taste, are always felt to be the symbols of the deep awe that inspires our prayers to the creator and preserver of all