circumstance of the drama, is also a matter of extreme importance. How
often has the effect of a highly-interesting suicide been destroyed by an
injudicious use of the trombone; and a scene of domestic distress been
rendered ludicrous by the intervention of the double-drum!

If our musical composers would attend more closely than they have been in
the habit of doing, to the minutiæ of the scene which is intrusted to them
to illustrate, and study the delicate lights and shades of human nature, as
we behold it nightly on the Surrey stage, we might confidently hope, at no
very distant period, to see melo-drama take the lofty position it deserves
in the histrionic literature of this country. We feel that there is a wide
field here laid open for the exercise of British talent, and have
therefore, made a few desultory mems. on the subject, which we subjoin;
intended as modest hints for the guidance of composers of melodramatic
music. The situations we have selected from the most popular Melos. of the
day; the music to be employed in each instance, we have endeavoured to
describe in such a manner as to render it intelligible to all our readers.

Music for the entrance of a brigand in the dark, should be slow and
mysterious, with an effective double _bass_ in it.

Ditto, for taking wine--an allegro, movement, with _da capo_ for the second
glass.

Ditto, for taking porter, beer, or any other inferior swipes--a similar
movement, but not _con spirito_.

Ditto, for the entrance of an attorney--a _coda_ in one sharp, 6-8 time. If
accompanied by a client, an accidental _flat_ may be introduced.