no longer be distinguished; the very elements of the art seem to be confused and blended; the roar of the bass is heard, while passages of strange import flash across the scale with the rapidity of lightning, and vanish from the ear to be succeeded by still more confused and tempestuous strains. By degrees this whirlwind of sound subsides; the music becomes more calm, but plaintive like the last murmurs of a storm, till finally gracefully modulating into the original key it closes in the same cheerful strain with which it commenced.

A complete knowledge of the science of modulation is invaluable to the extempore player. We will not undertake at this time to give any detailed account of this complicated and vast science; we will merely inform such of our readers as may be ignorant of it, that there are certain combinations of notes or chords guided by fixed rules, by which we may change (while playing on the pianoforte or organ) from one key to another, in such a manner as not to offend the ear by the abruptness of the transition. The number of these combinations is perhaps unlimited, but the performer is well rewarded for whatever labor he bestows on the science, by the new wonders and beauties which constantly present themselves as he advances. After having played the aria which his ear dictates, the extempore performer will find that the effect of his music is greatly enhanced by modulating imperceptibly to some other key, on which he may repeat the aria with no other change than the character of the key shall indicate. For instance, the key of F major, or as it is often called, the key of one flat, is characterised by Mr. Gardiner as "rich, mild, sober, and contemplative." Supposing the performer to have commenced on this key, and in closing the air to have modulated to the key of A major, or the key of three sharps, which is called "golden, warm, and sunny"; if he repeats the air on this key the effect will be extremely pleasing, the original melody will be heard and yet its character will be changed, it will sound less solemn and less impressive, perhaps to a sad heart less agreeable, because it may now be more cheerful and light, approaching to playfulness, but at least warm and genial. Thus the player may go on through all the keys, giving to the melody at each change the peculiar character of the key into which he modulates. The effect of such changes in performing any pleasing air is analogous to that produced by looking into a kaleidoscope. The bits of colored glass are the same all the time, but at every turn of the instrument some new form is presented, in which the combinations produce a different effect from those seen the mo

ment before, while at the same time some general similarity in figure and color may be traced throughout all the changes.

Mr. Gardiner has mentioned the characteristics of all the different keys, with the corresponding minor of each. The subject is interesting to all lovers of music; and in connection with the remarks we have just made, we will follow him through the scale and endeavor to illustrate the truth of his descriptions. He begins with F major. This is often called the key of nature, as the cries of animals, the buzzing of insects, the roar of storms, the murmurs of rivulets, the roll of the surge, and all the varied natural sounds are found to be in this harmony. As we have seen above, this key is spoken of as "rich, mild, sober and contemplative." Among a variety of airs, which would confirm these characteristics, none occurs to us, more to the point, than the well known song "Days of Absence," or "Rousseau's Dream," as it is often called. When sung to those beautiful words of Moore's, "As a beam o'er the face of the waters may glow," it is a very perfect illustration of Mr. Gardiner's remark. The relative minor of this, D, is spoken of as possessing the same qualities, "but of a heavier and darker cast; more doleful, solemn and grand." The majestic Dead March in the melo-drama of Ella Rosenberg, is in this key.

C major is described as "bold, vigorous and commanding ; suited to the expression of war and enterprize." Two pieces occur to us in this key, which are marked by these qualities. They were both composed by Haydn. The first is the grand chorus in the oratorio of the Creation, "The Heavens are telling." The composer seems to have intended, in this noble piece, to represent the very motion of the heavenly bodies as they roll on in their path, orb within orb, and system within system, and at the same time to express the divine harmony of the sphere music. There seems to be a grand outline, which is filled up with varying passages of exquisite sweetness and grace; a full revolution terminating at regular intervals with the same majestic cadence. The same leading idea is perceptible throughout, pursuing its ceaseless course as firmly as the Sun, while at the same time there are lesser circles of rhythm, and a more delicate melody within these larger orbits; till at the close, the whole heavens utter their united voice of thanksgiving and praise in one full burst of choral harmony.

The other piece is a grand military movement: a piece which we wish was more commonly known than it seems to be. It is arranged with consummate art, giving to the piano or organ, for which it is

written, the effect of a full band. The bass drum and trumpet mingle with the full harmony, and are admirably imitated. When the minor movement is introduced, the music becomes mournful without being plaintive; and loses nothing of its majesty.

G major "is gay and sprightly; being the medium key, is adapted to the greatest range of subjects." The well known air "Di tanti palpiti" is written in this key; so is Pergolesi's famous "Gloria in Excelsis," which is peculiarly lively and rapid in the movement.

Dis ample, grand, noble. Having more fire than C, it is suited to the loftiest purposes. Handel's grand hallelujah chorus, to which we have already referred, the loftiest flight of lyric harmony, is in this key. The overture to Tancredi, arranged by Rossini himself for the piano forte, is in the key of D, also the chorus in the same opera "Plaudite O Popoli." The old psalm tune, "Denmark," which is certainly "ample, grand and noble" is in D. The character of this key is well known. It is universally allowed to be the most suitable for lyric compositions, and for loud and spirited pieces to be performed by the full orchestra or band. Handel was very fond of this key, and used it for most of his choral and other grand compositions; his magnificent march in Deidamia, and the famous water-music, are proofs of its capacities.

A, as we have already seen, is "golden, warm, sunny." One of the prettiest things we have ever met with in this key, is Pleyel's sweet sonata, commonly known as "Henry's Cottage Maid." Those who have heard this music will do justice to our author's correctness in describing this key..

E major. "Bright, pellucid, feminine; adapted to brilliant subjects." In illustration of this description, we have only to mention that the bewitching air in the opera of "La Gazza Ladra,” “Di Piacer," which we hold to be the most perfect of Rossini's compositions, is in the key of E. There can be no happier comment upon Mr. Gardiner's enumeration of its qualities. B flat, major, is said by the author to be "the least interesting of any. It has not sufficient fire to render it majestic or grand, and it is too dull for song." Certain it is that this has not been a favorite key with the great composers; yet occasionally we find it used by the first masters. Haydn's exquisite andante, sometimes called the Blacksmith's, because he is said to have taken the idea from a blacksmith whom he overheard whistling at the forge, is in this key. Haydn also used it occa

sionally for loud choruses. The relative minor of this, G, is said to be "meek and pensive; replete with melancholy." The "Miserere" by Allegri, which we have described above, is in this key.

E flat, major. Mr. Gardiner describes this as "full, mellow, soft and beautiful." It is a key in which all musicians delight; though less decided in its character than some of the others, the regularity of its beauty renders it a general favorite. This key has been used with wonderful effect by Haydn on one occasion. It is undoubtedly well known to many of our readers, that Haydn composed a set of pieces which were intended to represent the last scene in the life of our Saviour. They are commonly called "The seven last words." Seven different expressions or exclamations, reported by the different Evangelists as having been uttered by our Saviour in his last hours, are taken as the subjects of these. The last but one of these is written for the words, "Into thy hands I commend my spirit," and the key of E flat has been selected as best fitted to give them expression. Never was a more serene and soothing, yet deeply solemn melody, conceived; it conveys to us the peace of a spirit, whose last agony has passed away, and which is about to ascend to heaven. There is nothing, in this portion, of the heart-rending pathos and despair, or the bursts of terrible suffering which have made us shudder in the former parts of the composition: all is gentle, composed and tranquil; and as the sounds fade away, we feel that our hearts are comforted, and that the effect of the other portions would have been too powerful but for the soothing influence of this.

A flat, major. Described as "the most lovely of the tribe, unassuming, gentle, soft, delicate, and tender." This key will be easily recognised by most of our readers, as a great number of the psalm tunes in Zeuner's collections of sacred music are composed in it. Among the more remarkable and best known are Hummel and the Missionary Chant. The relative minor of this key, F, is said to be "religious, penitential, and gloomy." In the "Seven last words," Haydn has selected this as best fitted for the words "My God, my God, why hast thou forsaken me?"— and it is by far the most solemn and pathetic part of the whole composition; the cry of agony and the sound of wailing are expressed with fearful power in this wonderful piece. That fine old air, "Roslin Castle," a universal favorite, is enough to make known the characteristics of the key of F minor.

We cannot close our remarks without one piece of advice to

organists namely, that they should never attempt to play extempore unless they have some sentiment distinctly felt to which they wish to give utterance. Nothing is more stale, flat, and unprofitable, than the vague running over the keys of the instru ment, or modulating from key to key without any definite object. All the science in the world, and even a fine ear for music will be of little avail unless the organist has the proper spirit for his duty. He should be deeply impressed with the sacredness of his task; he should feel that he is not a mere hireling engaged to do a certain amount of drudgery, but that he is called upon to offer up to God a sublime tribute of adoration. Inspired with holy reverence and awe, he should seek to pour out his soul in praise to the Almighty. And if he comes to the work with such feelings, he will find the noble instrument not wanting in the power to give utterance to his devotion.

ART. IV. Remains of the late Right Reverend Daniel Sandford, D. D. Oxon. Bishop of Edinburg in the Scottish Episcopal Church; including Extracts from his Diary and Correspondence, and a selection from his unpublished Sermons, with a memoir by the REV. JOHN SANDFORD, Vicar of Chillingham. Edinburg: 1830. 2 vols. 8vo.

THERE is little likelihood, we apprehend, of an American reprint of these volumes containing the Remains of Bishop Sandford, and a memoir of his life by one of his sons. The enterprise of publishers, in common with others, has been obstructed by commercial disorders. But even when the current of republication is flowing with a full tide, the channel is very apt to be choked with the light rubbish of the foreign press-court gossip and trashy novels―apocryphal travels and biographies of vagabond players-memoirs of men of abandoned character and of women not much better. It is however, by no means our intention to imply that when a publisher gives to a work calculated to win an innocent though short-lived popularity a preference over others of more substantial merit but of less certain success,