easy instrument to learn; this is a mistaken notion, for, to be a good performer upon it, requires as much time as does the piano-forte. The mere theory of music is for all instruments the same; the practice is essentially different. There are so few preceptresses who are qualified to teach this accomplishment, that it is almost unnecessary, as well as presumptuous, in me to enlarge upon it, as the young lady will undoubtedly have the advantage of a master; I shall, therefore, only offer a few words upon the subject, and leave it to my superiors. When the learner is placed to the harp, particular care should be taken that her position be easy, unconstrained, and regulated by elegant propriety; the left arm should be rounded and raised, so as to be above the right in playing; the elbow must be propped and kept from sinking into a square, and she should sit rather high and near the edge of the stool, to have the feet at liberty to touch the pedals. The keys, or strings, of this instrument are soon learnt; the red are C, from octave to octave; the black are F. They take their rotation as the notes of the piano-forte. To bring the tone from the strings requires some strength, and an attentive observance to withdraw the finger, and to clear the space from which we desire the vibration; but if the finger be not prepared for the next note, as a commanding Harp. Hnrp. manding point; if it be spreading, and weakly fixed, we may make a noise, yet we produce no tone. Nearly every string should be possessed and in the power of the appointed finger, before we resign it for effect; and as the bow is more or less bent, previous to the discharge of the arrow, according to the velocity with which the latter is destined to travel, the same degree do we grasp the strings and reject them when we desire the softness of pathos, or the pomp, majesty, and swell of energy. It is the opinion of one of the most eminent harp professors now living, Mr.Phillip James Meyer (to whom I am grateful for whatever I know of this instrument) that the lessons should be, if possible, learnt off by heart, as it is not easy to play entirely without looking upon the strings. This may be accomplished with a tolerable memory. We first pick out the notes, one by one, and play a few bars over several times, then a few lines, till we can thoroughly understand them, and recollect the fingering; and then we may endeavour to play without the notes. Thus we may gain a little confidence, and be at liberty to give some attention to the finger, as well as to the paper, which will be of great assistance in the progress of the study. Till very lately the natural key of the harp was E flat major; the instrument is now brought to such a pitch of excellence, that every modulation lation of key is perfectly practicable. Every whole tone, every semi tone, is complete. The key of the harp is C natural, as in the pianoforte, and every note is susceptible of a natural, a flat, and a sharp; which, before this great improvement, was found impossible. Persons used to be entirely confined to a few keys of the minor and major scales; but, upon the harps of which I am speaking, they may play in any one of the twenty-four. To mention here the indefatigable exertions of the gentleman, to whom all who practice the improved patent harp are so much indebted, is no more than common justice; and, I trust, that, should this page ever meet his observation, he will not disdain the trifling acknowledgment it offers to his merit. To Mr. Sebastian Erard, whose talents in architecture and mechanism have been so appreciated in his own country, the improvement of the harp is .solely due.After a very close application, and the most minute attention, he has succeeded in remedying the former defects of this instrument; and every friend of science and harmony cannot but unite in wishing him an ample remuneration for the pains he has taken, to the injury of his fortune and of his health, in accomplishing his views, and at length completely triumphing over every difficulty, and rendering to this instrument Harp. Harp. Singing. The words are of more than music in songs. instrument the excellence it at present is entitled to.. Singing.-Young singers should be generally confined to the sol, fà, as the vocal gamut is called. The notes are given in Italian to shew the different sounds of the vowels. A few minutes every day, merely to strengthen the tones and expand the chest, will be sufficient; for children should be taught to sit, or stand, upright, espe cially when they sing, that the sound may ascend and fill the room; otherwise, they will make a rattling noise in the throat, which will be hurtful to themselves and unpleasant to others. The single notes may be played first, very slowly, and then thirds; afterwards four notes may follow one another, and prepare the octave up and down: more difficult passages will follow, and the singing book of Corri, which is considered a very excellent work for young people, will present lessons in almost every variety. When the young lady is to sing songs, it is to importance be presumed some discreet person will rather look over the words than the music, as there are many verses highly discreditable, and such as should not be pronounced by the lips of any young woman who has a character for delicacy and purity to sustain. I have heard gentlemen (who are, in general, nice observers of modest and unaffected female dignity, and are ever oblig ed ed to respect its influence) often speak with disdain of many fashionable songs, and declare, whilst the young lady is uttering the most impassioned expressions as she warbles, that no daughter of theirs, or wife, should sing them; and they have, when the music ceased, approached the piano-forte to deliver in their quota of praise with an irony and freedom, of which the lady little suspects the real cause. Well were it if she did, perhaps; she would be proudly indignant, and keenly stung. But the lesson would be one never to be effaced, and she might learn to respect herself in the manner and conversation of others with her; for nothing so much shews us our degree of merit as the behaviour we meet with in the world. Never can that man be wholly destitute of virtue, who is treated by several with unfeigned respect, fidelity, affection, esteem, confidence and honour. Singing. CHAPTER VII. GEOGRAPHY AND ASTRONOMY. THE knowledge of the principal divisions and particular places in the earth, is understood by simple geography. Universal geography, in its wide range, takes a gigantic view of the labour or |