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.

One word on voluntaries. These should be chosen with great care and the
deepest respect for the church and the instrument, and kept well within
the powers of the player. Amateurs do not as a rule obtain much control
of their nerves, and the greatest help in the world is given by the