"Since, my good sir, what has ap- The raptures they from novels glean.

Mrs. BUMPKIN.

"You have my happiness in view,
And I must feel the same for you.
I have a very pleasing friend,
Whom to your thoughts I shall commend;
And if my judgment do not err,
In form, and age, and character,
Dear Mrs. Hyacinth will prove
An object fit for you to love.
She in retirement's peaceful dell
Doth in her widow'd cottage dwell,
Though, if her thoughts to me are known,
She wishes to live less alone.

Her mind employs the quiet hours
In study, and in nursing flowers;
For, as I hope, you soon will see,
She has a taste for botany;
And her delight, as well as glory,
Is in her gay conservatory.
Nor is this all, for you will find,
That with chaste manners is combin'd
A well-form'd and accomplish'd mind.
At all events, my friend may call
To make his bows at Tulip Hall;
(For by that name the place is known,
Which she is proud to call her own:)

While I, its mistress, will prepare
To give you a kind welcome there;
And much I wish that Heaven may bless
My friends with mutual happiness;
That flowers which sweetest fragrance
breathe,

May form an hymeneal wreath,
With fairest hopes your life to crown,
When this fair dame may be your own."
The Doctor promis'd to obey,
And in high spirits more than gay,
He joyous kiss'd the lady's hand,
And bade her all his soul command.
Brief was the evening's calm repast;
The time of rest arriv'd at last,
When the sage pass'd its balmy hours
In dreams of Hymen crown'd with flowers.

We with difficulty restrain ourselves from quoting more, but our space will not allow us to indulge ourselves or our readers further.

In a future number we shall not fail to give some further specimens of the third Tour of this entertaining adventurer.

MUSICAL REVIEW.

An Introduction to the elementary || dicating chords by figures, or the
Principles of Thorough- Bass and
Classical Music, by J. F. Danne-
ley.

theory of chords itself, or the science of accompaniment, or even the wide field of composition in general, Mr. D.'s book does not treat. It is true, he promises in the preface two further works on chords, cadence, rhythm, &c.; but the one before us, being a distinct publication, ought more strictly to have limited the title to its actual

INSTEAD of adopting this very comprehensive title, Mr. D. would have done better to call this little treatise, A concise view of the nature and formation of the major and minor scales in all the keys; including directions for ascertaining the key-note of a musical composition, illustrated by examples, With regard to the matter actuand by a brief analysis of Steibelt's ally propounded, we observe in sonatas, op. 50. These constitute Mr. D.'s book a laudable degree of the precise contents of the publi-method, and a zealous desire to cation. Of thorough - bass, whe-initiate the pupil, step by step, in ther that vague term be understood the first rudiments of that branch to imply a short-hand system of in- of music which is confined to mere

contents.

melody. The plan he has adopted clearness are indispensable requi

sites.

There is a section on "Enharmonic intervals in major and minor scales." Whatever the moderns may wish to understand by the term "enharmonic," which has been engrafted on our system from that of the Greeks, where its meaning was defined, and different from that with which we use it*, we must observe that neither the major nor minor scale, in any one key, has an enharmonic interval. An interval is the distance between two sounds; and if we have any enharmonic intervals, the distances between C sharp and D flat, D sharp and E flat, &c. (commonly called enharmonic diesis), belong to that class. Mr. Danneley conceives that, in the scale of C sharp major, E sharp is an enharmonic interval. Here E sharp is a ma

is by question and answer. The questions are judiciously arranged and framed; and the answers, in general, appear satisfactory, although occasionally we miss sufficient precision and perspicuity. The definition of a musical composition, viz. "a correct combination of two scales, viz. major and minor," appears to us rather singular: it puts us in mind of the definition of man by the Greek philosopher, who described our species to be beings with two legs and a smooth skin; upon which a wag of a disciple set loose a cock, picked to the skin. Upon the whole, perhaps, Mr. D.'s definition might as well have been omitted altogether, and the term scale clearly explained instead of it. Another question, "What constitutes a scale" is obscurely answered: "Every interval being a tone, ex-jor third, and a major third has cept the fourth and octave." Here the term interval is confounded with degree. In some few instances, we have perceived ambiguities, which might lead the || pupil into error. Of this descrip- itself occasionally in our compositions. tion is, among others, the sentence For instance, let the ascending notes C, p. 7. which states "the dominant or C, D, be accompanied by the upper fourth of a minor key to become thirds E, E, F (a progression of frequent tonic to the next." May not this occurrence): although in this instance, be easily misunderstood by a be- no distinction is made between the first ginner? Even if we substitute and second E, even on the violin, we "subdominant" for " 4th," it is think the latter is precisely the second questionable whether the scholar sound of the enharmonic tetrachord E, will readily know, that the domi-E, F, A; i. e. higher than the first sound, will readily know, that the domi-E, and lower than the third, F. In exenant is for the sharp signatures, and the subdominant for the flat ones. We should forbear adverting to minor imperfections like these, were it not that in elementary books the greatest precision and Vol. X. No. LIX.

nothing to do with enharmonic. No good violin-player would think

Although the enharmonic genus of the Greeks forms no part of modern musie, a glimmer of it, we think, presents

cuting it thus on a violin, or with the voice, simultaneously with the lower thirds C, &c. a peculiar, strange, yet not unpleasing effect is produced. We are aware that this harmony is explained on other grounds in modern science.

RR

of calling that third an enharmo-ence to harmony, any analysis is nic interval; and the imperfection of keyed instruments, which compels us to play it on the key of F natural, does not alter the matter.

almost premature, imperfect, and, indeed, liable to misconceptions. Thus, to select one or two instances from the rondo in Son. 1., if Mr. D. will reconsider line 6, he will find that neither bar 3, nor the last triplet of bar 5, is in G major, as he states.

As Mr. D. proposes to enter upon the science of harmony in a future work, we hope he will recur to these sonatas, with a view to give a complete analysis of their compo

In the 5th section, "Rules to find a key-note," Mr. D. has taken considerable pains in illustrating the object he had in view by the help of the dominant and characteristics. In the course of our own experience with learners, we never met with any difficulties in this respect. The pupil knew from the signature, that the piece must besition. The path which he has either E flat major, or C minor, we will say when he had played a bar or two, he knew from ear, that he was playing in a minor mood, and the inference followed logically in an instant. In the case of changes of key, the harmony was made to be the guide; the prevailing common chord, or its inversions, were soon discovered,

and we knew where we were. To ascertain the key-note from the melody alone, we found to be a much more intricate attempt for the pupil; there are cases indeed where the same melody may answer to different keys.

found, to lead his pupils through
the domain of the art, is so good, so
practically useful, that it ought by
all means to be re-entered, as soon
as ever he shall have duly prepar-
ed them for the journey.
"How sweet to see young roses
blooming," a Ballad, written, and
adapted to a favourite Air by Mo-
zart, by D. A. O'Meara, Esq.;
the Symphonies and Accompani-
ments composed by N. Smith.
Pr. 1s. 6d. (C. Wheatstone,
Strand.)

This, and some previous adaptations of a similar nature, exhibit Mr. O'Meara's taste to advantage. In singing his verses to melodies beforehand provided by classic composers, rather than run the risk of obtaining original compositions for his labour, the chances are greatly in his favour. In the present instance he has been particu

The book concludes with a melodic analysis of six sonatas of Steibelt, op. 50. This method of illustration is so excellent, that we regret the previous theoretical part, which is confined to scales and mere melody, did not allow its being extended to harmony likewise.larly successful. The air of MoMen like Steibelt do not compose zart from L'Enlevement du Serail, melodically, but harmonically; that if we may trust our memory, is one is to say, their ideas are imagined, of those lightsome, simple, innoand come forth at once, with all cent, and graceful inspirations of their harmony: perhaps the latter genius, which fascinate a child as is the parent of the melody itself well as the adept; and the poetry in most instances. Without refer-appears-what may be literally the

fact-as if absolutely made for it. || A careful inspection of the Mr. Smith's accompaniment and adaptation of this symphony enasymphony are correct and apt;bles us to speak of it in unqualified here and there, perhaps, a little too florid, considering the simplicity of character. One thing, and an essential one, he has omitted: it is the indication of time. Few, we fear, will take it sufficiently quick. It should be, according to the Metronome, 126 for crotchets. Hodsoll's Collection of Duets for two Performers on one Piano-forte. No. 48. Pr. 3s. (Hodsoll, High Holborn.)

terms of commendation. Mr. R. as he goes on in his praiseworthy undertaking, appears to us to augment his exertions, and to avail himself of the accumulating experience which a man of sense cannot fail to store up in the course of continued occupation of this description. His piano-forte edition of Mozart's Symphonies, three of which have now appeared, will form a valuable addition Many of the preceding num- to the musical library. As the tibers of this collection have, from tle of the symphony before us is time to time, appeared in our cri- too general, a circumstance which tical catalogue; and few, if any, we have regretted on other occawithout some mark of approbation. sions, we shall mention the sucThe work, as it proceeded, acquir-cessive movements: adagio Ebed additional interest, both from allegro, Eb-andante Abthe good choice of the subjects, minuetto Eb-allegro Eb and the merit of their treatment." The Thanet Quadrille," composed By a mixture of the light and fan- by Miss Harriet Ann Madocks, ciful with pieces of the higher or- and arranged as a Rondo for the der, every taste was suited in turn. Piano-forte by John Parry. Pr. The present number is of the lat- 1s. 6d. (Hodsoll, High Holborn.) ter class; it contains the overture The fair composer of this quadto" Le Nozze di Figaro," arranged rille has modelled her motivo upfor four hands by Mr. Rimbault. on that of Haydn's "Surprise," Like other adaptations by this gen-which, we are happy to find, makes tleman, it avoids overcharging the a lively dance by being a little mescore, contenting itself with the tamorphosed into time. Mr. preservation of what is essential, Parry has had the gallantry to furlest by exacting too much from ther metamophose Miss Madocks's performers not arrived at perfec- quadrille into a rondo of light textion, discouragement might marture, but sufficiently sprightly and their exertions and zeal. entertaing to merit all the comMozart's celebrated grand Sympho-mendation which he can fairly claim ny adapted for the Piano-forte, at our hands for a production of with Accompaniments for a Flute, this class. Violin, and Violoncello (ad libi-Three favourite Waltzes for the Pitum), by S. F. Rimbault. Pr. 6s.; without Accompaniments, 4s. (Hodsoll, High Holborn.)

ano-forte, with an Accompaniment for the Flute or Violin (ad libitum), composed, and inscribed to Miss