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