The Major and Minor scales in every variety of form must now be continued; and the pupil would derive great advantage from uniting with their practice the study of each key in an arpeggio form.

Modern music abounds in such passages; and when practised in every scale and in the three different inversions of the chord, it forms an exercise which is truly valuable, facilitating, in a considerable degree, the acquirement of a neat execution of the compositions now and henceforth to be introduced.

Compositions by Moscheles, Goria, Schulhoff and Rosellen, with some of Beethoven's Sonatas may now be studied.

At this period of study, and as preparatory to the easy execution of Thalberg's splendid compositions, every major and minor scale should be practised as an octave exercise until it can be played with brilliant rapidity. Great care must be taken that the octaves are not played with a stiff wrist, or instead of brilliancy, heaviness and monotony of style will be the result. Every shade of intensity, crescendo, diminuendo, pianissimo, fortissimo, &c., should accompany this octave exercise. Suffer the wrist to be loose and unrestrained and the tone may be varied according to the will of the performer.

Thalberg's compositions commencing with his "Andante," "Straniera" and "Airs Russes" should now be introduced.

In addition to the major and minor scales in their various forms, the pupil would now derive much advantage if she were, each day, to practise a few keys, major and minor, in thirds and sixths:—that is, as an exercise on double notes.

In practising Döhler's studies, the one introducing the shake must be very carefully performed; and it will be found to be a study of singular beauty. The combined sounds of the tema and the accented note of the shake must always be clearly articulated, or not only is the object for which the exercise is written destroyed, but the ensemble effect of air and shake, in imitation of the flute and voice, is destroyed likewise. If a flute player were to accompany an air, it must be remembered that he would not pause in the shake every time the notes of the melody were sounded.

The above-mentioned works generally rank as the highest class of Piano-Forte compositions; but as the effective performance of concertos requires the aid of orchestral accompaniments, some pieces more available for drawing-room playing would be of greater use to an amateur performer.

A selection from the most celebrated fantasias of her favourite authors, including those compositions which may appear best adapted to the now developed style of the pupilwhether it be the sostenuto or the leggiero-the brilliant or the grave-should now be offered; and during this last year of musical study I would particularly advise that, as far as possible, the pupil herself should have a voice in the selection of her pieces.

D

The array of studies here presented may seem an alarming perspective, until reference be made to any collection of music, resulting from a nine years' course of instruction, and the comparison will then leave a considerable balance in my favour, for pleasing pieces to be introduced ad libitum.

And, as the first idea of all method consists in a progressive transition from one step to another, the pursuance of a classified series of such progressions will, it is presumed, tend to a satisfactory termination of those years of study, which are too frequently passed away in the mere frivolity of playing pretty and popular pieces.

An hour may be taken twice a week for the repetition of pieces already learnt; and this deduction from the regular practice will be counterbalanced by the two hours' lesson received during the week.

An encouraging system of drawing-room prac