and name of single notes on the piano,
practising herself with her eyes shut. It is good practice, also, to
take an easy chant or hymn tune, hitherto unknown, and try to get some
idea of its melody and harmony without playing it. When all this is
done, one of the most important tasks remains: that of mastering time in
all its branches. Slovenliness in this particular is fatal to all music,
above all to that for the organ, which is meant to guide and control. A
feeling for rhythm and a quick-sighted accurate knowledge of time, may
be much improved by playing with others, either duets on the piano, or
accompaniments to voice or instrument. The player should compel herself
to account for the time reason of every passage slowly, until she is
able to do so with rapidity and precision at sight. At this point it may
be well to begin lessons on the organ, taking great pains to become
familiar with the technical part of the instrument, the names of stops
and meaning of these names, mechanism and its use. Then will come the
careful practice of pedals, which are at first so absolutely bewildering
that amateurs are filled with despair at the apparent impossibilities
they are asked to face with hope.

Into the teacher's work it is not our province to go; but we would ask
the learner to be armed with courage and perseverance, and to practise
patiently. Success is more than likely.

We now proceed with advice to one possessed of some knowledge of
organ-playing and some acquaintance with its technical capabilities.
First, we should say--Play on all available instruments, as no two are
alike, and the stops are called by many different names, which must be
identified quickly as emergencies arise. Then acquire a knowledge of
harmony, specially useful in accompanying church music with dignity, and
enabling the player to fill in chords which the vocal score (or voice
parts) have left thin and ineffective. Volumes might be written on
accompaniments; but on this subject we would advise amateurs to consult
heart, head, and common sense, and we would recommend them to read Dr.
Bridge's "Organ Accompaniment," one of Novello's music primers, which
will open out to them many possibilities, on the use of which they must
decide for themselves according to their technical ability and the
effect they aim at. It may be they can only try to pull a few weak
voices through the singing allotted to them--in which case a strong,
steady accompaniment of the