The Girl's Own Paper, Vol. VIII: No. 353, October 2, 1886. Various

from sheer sadness of heart. I had always so longed to be trained in a hospital, and then I could nurse wounded soldiers or little children. I always loved little children.

      But this idea must be given up, and yet it would not have mattered in a hospital if I had spelt "all-right" with one "l." I am quite sure my bandages would have been considered perfect, and that would have been more to the point.

(To be continued.)

      THE AMATEUR CHURCH ORGANIST

By the Hon. VICTORIA GROSVENOR

      We believe that young people generally have a desire to be useful. Sometimes not an actually formulated desire, but a vague intention which they mean some day shall have a practical issue, when and how they do not quite know, or in what way. It is proposed in this article to point out one means of eminent usefulness—i.e., that of amateur organ playing in our churches. It is scarcely necessary to show what a large field of good useful work is open to amateurs in this direction. We all know that on the one hand parishes wholly agricultural—the other suburban parishes in large towns—are utterly unable to pay for the services of a professional player; while there is nothing so calculated to lift up the heart of the congregations such as these are likely to obtain, as good music. Would it not therefore be a pleasant duty for anyone gifted with musical talent and leisure to qualify in the best manner possible for this ennobling and helpful occupation?

      The intending organ-player must ascertain that he or she has a gift for music, and this need not be of the highest order, as even a small portion of the gift can be improved with care, and fostered into usefulness. A first rate ear can be a snare to those who trust to it too much—although it is undoubtedly the best of servants, if kept in its proper sphere of work. A very ordinary measure of talent, supplemented by calm and good sense, clear power of thought, and determined perseverance, will be a good foundation to start with. Good sense and attention have more to do with the good music of ordinary persons (as opposed, we mean, to remarkably clever ones) than people are apt to think. It was said of Mendelssohn that music was the accident of his being; and there are many of whom the same could be said, with this meaning—i.e., that the powers which make them succeed in music would enable them to succeed in other great things if attempted.

      We will therefore suppose the case of a young lady possessing a moderate gift for music, desiring to improve it and herself, and to take up organ playing with a view to real usefulness. She should first find out whether her playing on the piano is perfectly correct, taking the easiest possible music to exercise herself upon, and trying whether her musical ear is competent to be her teacher in the matter of correctness. If neither steady attention nor ear enable her to discover mistakes, she had better consider that music is not the talent God has given her to use to His glory. A musical ear may, however, be much improved by its possessor. With even the smallest of voices she should join a choir or madrigal society and learn to sing at sight. She should, when listening to a musical performance, try to guess its key. She should endeavour to know, without seeing, the sound 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 simplest description is the best.