or desirable.

If we understand the process rightly, the only difference between this and the common course is, that the student registers his steps, and can visually ascertain his improvement. We cannot perceive how it adds one single advantage to the mode of practising. The exercises themselves are diversified, copious, and progressive in difficulty.

Mr. Meyer has appended a treatise on practical harmony; we may therefore remark, that he has not been sufficiently careful to purge his examples from error in the harmonies. In the first three bars of the ground we find consecutive fifths. This passage is carried through fourteen or fifteen pages in different shapes, but from the harmonies being more separated, the effect is not so bad as to be inadmissible. In his exposition of the first root (bar 1, page 88) there is the same error.

The second root.-He has doubled the 7th, which makes octaves with the derived base in the chord of. One chord will not suf fice as an example for the different inversions of the discord of the 7th, because in the 1st inversion, 3, the 3d of the root should be omitted, in the and other sounds should not be doubled. Therefore his plan of making the full chord do for all the figurings

cannot be correct.

Page 88. Example of the 9th, prepared and resolved.—At bar 1 Mr. M. has G with a 7, which is of course dominant to the C which follows at the end of the second bar. Now the major 3d of the dominant must ascend, and he gets rid of it entirely in the resolution. This might have been avoided by taking the 3d of the root in the base. In the 4th bar of the same example he has doubled the 3d in the chord of the 6th.

Example 4. Page 89.-"The extreme sharp 6th is sometimes accompanied with, as follows." Now the E in the base should be flattened by an accidental, or it is not an extreme sharp 6th.

Many similar inaccuracies are discoverable, which though not absolutely inadmissible in such music, might still have been avoided. But we are quite willing to allow Mr. Meyer the fullest latitude which exercises permit.

The same reasoning which applies to notation, &c. in the first part of the book applies, in truth, to the last. If Mr. Meyer had intended (which we presume he does not) to instruct the student in

the theory of harmony, his brief instructions are of course insufficient; if he intends merely intends to shew how certain figures are to be interpreted, his instructions are unnecessarily long. The valuable parts of the book, then, are those which essentially relate to the harp, and these are sufficiently good to recommend it.

God Save the King, with Variations for the Piano Forte, with Accompaniments for the Flute and Violoncello (ad lib.) by J. F. Burrowes. London. Chappell and Co. and Goulding and Co.

Independently of the production of a good lesson, Mr. Burrowes will deserve the acknowledgments of every loyal subject for giving not only novelty but variety to "the national anthem," for in sooth the national anthem has become the most tiresome of all possible things, from its eternal repetition. Do we walk the streets? we hear the national anthem from all the itinerant musicians of the metropolis. If a dancing bear, or a corps de ballet of monkeys visit the village to which we have retreated, the hand organ grinds out the national anthem. Do we attend a public dinner? we have the national anthem? Do we visit the theatre? here again the national anthem ?-and it must be encored and sung thrice over at least, if any poor unhappy radical should be fool enough to determine to keep his hat on. Thus has this fine and simple melody been thrust into the ears and out of the hearts of the bulk of his Majesty's liege subjects, by the inveterate determination to keep it there. God save the King! say we in all sincerity, except when we hear "the national anthem,” and then we wish ourselves any where else.

But we repeat Mr. Burrowes deserves well of his country for diversifying this never ending theme both agreeably and skilfully. There are seven variations, and the middle one, which is entitled "preghiera," (why not call it a prayer in plain English Mr Burrowes?) is very clear and expressive. Indeed throughout the composer appears to us to have aimed at an approach to the different sentiment of the song in its several verses. As a whole it is a pleasing lesson, and will we doubt not be as popular as it merits.

Book 1, of Preparatory Exercises for the Piano Forte, calculated to form the Hand, and to give a correct idea of Fingering, chiefly intended as an Introduction to the Studies of Cramer, Kalkbrenner, Ries, Steibelt, Woelfl, &c. composed and fingered by D. Bruguier. London. Chappell and Co.

This little book, although it may appear on a perusal of its title page, to assume much, nevertheless does not promise at all more than it fulfils. It must, we think, have been long apparent to masters, especially to those at a distance from the metropolis, that the studies to which this purposes to be introduction, are composed of such passages and combinations, and are each in so varied a style as to render the just comprehension and execution a task only adapted to considerable proficients. With a little previous initiation, however, into their leading difficulties, particularly with respect to a correct mode of fingering, these certain guides to the higher mysteries of the art might be rendered considerably easier of attainment, thereby sparing the pupil much labour, and smoothing his way towards the accomplishment of those powers of execution and expression which, when gained, make the art so truly delightful. This has been Mr. Bruguier's object, and the plan he has pursued is judicious, and promises ultimate success.

The present number of his work commences with passages of the easiest kind, and continues gradually introducing the more difficult ones, comprising exercises on the scales, the shake, on thirds variously arranged, triplets, octaves, chromatic passages, and passages for extending the hand. They are fingered according to the best mode, and ascend so gradually from the easiest to the more difficult, that they may be given without the least hesitation to the earliest beginner, and cannot fail to assist materially in overcoming those obstacles which are in general conquered with difficulty by the more advanced student, who is unprepared by such practice.

Musical Sketch, in which is introduced the Scotch Air of Wandering Willie; by Frederick Kalkbrenner. London. Chappell and Co. Rondo alla Polacca on Amor possente Nome, for the Piano Forte, with Accompaniments (ad lib) for the Flute; by Camille Pleyel. London. R. Cocks and Co.

Introduction and Rondo on Aurora che sorgerai, for the Piano Forte, with an Accompaniment for the Flute; by Camille Pleyel. London. R. Cocks and Co.

Impromptu on Auld Robin Gray; by Cipriani Potter Birchall and Co.

Mr. Kalkbrenner's lesson is the first number of a set to be published under this novel title, and gives fair promise of a great treat to the admirers of the brilliant and characteristic music of this composer. It is however in a much easier style than Mr. K. usually adopts, but it possesses in a degree the innate fire and imagination which illumines the productions of his genius. The only peculiarity in the introduction is a beautiful and somewhat novel cadence at its conclusion. The theme selected is an old and expressive air, and from its own character, and the effective manner of its arrangement, requires more care and attention from the performer than almost any other part of the lesson. The whole piece is apparently written for effect, and is calculated more for amusement than practice. Of passages of deep feeling, in consonance with the air, it contains but few, but it is easily discovered to be from a superior hand, and is a lesson of very general attraction.

Mr, Pleyel's two lessons will be both effective and agreeable to those who are fond of showy execution. This is their characteristic, and though it would not perhaps be a recommendation to finished performers of correct taste, yet they display so much ingenuity, and contain so much that is agreeable, if the subjects alone be considered, that we have no hesitation in recommending them to notice.

Mr. Potter's Impromptu contains much that is good, and not a little that is out of place. The introduction is of the former kind, but the air we must think ineffectively arranged, which, putting

every thing else aside, is scarcely sound policy-as if an old favourite, like Auld Robin Gray, is introduced to us in an unpleasing form, so as to disturb old associations, we are apt to be prejudiced against what is to follow. The second, third, and fourth variations contain much that is original and attractive, particularly the last, which alone would do a great deal for the composer's advancement; we do not like the concluding part of the lesson.

Popol d'Egitto, ecco ritorno a voi, Recit. e Coro, e Cara mano dell' amore, Cazatina—

Sperar? si quel fanciullo, Recit, è Giovinetto Cavalier, Romanza

e terzetto

Va gia varcasti indegno, gran duetto

All from Il Crociato in Egitto, composed by Mayerbeer. London. Birchall and Co.

So justly celebrated an opera as the work of Mayerbeer, must necessarily demand of us a detailed and complete examination. We purpose therefore no more in this article than to point out that these are amongst the most popular and beautiful parts of this fine composition. The first is for a soprano, the second for two sopranos and a contralto, and the duet for a tenor and soprano. They are full of character, and may be recommended as giving great scope to expression.

Grand' Aria, Ola l'arresta! as sung by Madame Catalani, expressly composed for her by Pio Cianchettini. London. Willis and Co. New Mazurka, with Variations, as sung by Madame Catalani; the Theme by Madame Catalani—the Variations, with an Accompaniment for a Violin, and Flute Obligato, expressly composed for her by Pio Cianchettini. London. Lavenu and Co.

The pre-eminent female for whom these things are "expressly composed," has differed in one particular from most others. It has VOL. VII. NO. Xxvi.—June, 1825.

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