INSTRUCTIONS FOR THE PIANO-FORTE, &c., including a variety of Fingered Exercises, favourite Airs, &c. &c., by R. W. KEITH. (Keith, Prowse, and Co.)

THIS, it appears, is the fifth edition of the work, though the first that ever fell under our notice. But the word ‘edition’ is not always construed in the same manner by music publishers as by publishers of literature. By the former, a second, &c. impression, of perhaps a hundred copies from the same plates, is sometimes called an edition, though, in point of fact, two thousand copies are always taken from one set of plates, if there is a demand for so many. Correctly speaking, then, an edition of a musical work, printed from pewter plates, and that has a large sale, is never under two thousand; and if, in announcing the present as the ‘fifth edition’ is meant that eight thousand copies have already been sold, we can only express our surprise at never having met with the work till now. Comparing it with many other publications of the same nature, it certainly is entitled to commendation, though far from being perfect; indeed, as we have more than once hinted, a good elementary work: a work which, in method, perspicuity, and accuracy of definition, may rival the didactic publications of the present day in other arts and sciences, is still a desideratum.

Mr. Keith is correct in his principles: his examples, though not always judiciously selected, are well fingered, and his annotations are, for the most part, accurate and useful; but his language is frequently not sufficiently precise, his punctuation often involves him in obscurity, and his definitions are sometimes erroneous. For instance, he tells us (page 16), that a bar ‘determines the place on which the accent is laid.’ Now, a bar has nothing whatever to do with determining the accent, it only assists in pointing out the note which is to be accented. Again, in the same page, it is said, that ‘a crescendo is effected on the piano-forte, by pressing down the key immediately after it is struck.’ But the truth is, that loudness, or softness, wholly depends on the force with which the key is struck; pressure after the key is down is useful in the legato style, but cannot, by any possibility, increase or diminish the degree of sound. At page 19, and in many other parts of the book, we read of a ‘grave angle!’ The only representative, in our mind, of a grave angle, is the corner of a tomb-stone. There is but one angle used as a sign in music, and that is an acute angle.

We protest most strongly against Mr. Keith’s mode of accompanying the scale, both major and minor: his seventh, on the rising sub-mediant of the former; his minor third, on the dominant of the latter, and his change from the perfect chord to that of 42 on the octave, are opposed to the best authorities, differ from universal practice, are at variance with theory, and, in our opinion, hostile to good taste.

In his dictionary of Italian words we likewise find objectionable points. The orthography of several words stands in need of amendment, and the explanation of some is incorrect. Here, also, is a want of that strict definition, which is of so much importance in education. A child, while even learning music, might, if instructed by a well-informed, sensible master, incidentally have her mind opened on many other subjects.

We call the author’s attention to these defects, considering them remediable. If amended, his book will, we repeat, be found equal to most of the kind, and superior to many.

VOCAL.—DRAMATIC.

  1. AIR, ‘La trompette guerrière,’ dans l’opera Robert le Diable de MEYERBEER. (Chappell.)
  2. AIR, ‘Hark! the trumpet,’ ditto ditto ditto.
  3. AIR, ‘Dès qu’une amie,’ in La Bayadère, composed by AUBER. (Chappell.)
  4. BALLAD, ‘I never can forget thee,’ from the Operetta of The Fancy Ball; the Poetry by EDWARD MORTON, Esq.; composed by ALEX. LEE. (Dean.)
  5. BALLAD, ‘O! where are the joys?’ Ditto ditto ditto.
  6. BALLAD, ‘Of love beware.’ Ditto ditto ditto.

THE first and second of the above are one and the same air: it is in three movements; the two last of the bravura kind, and all requiring a voice of great compass and flexibility. The opening reminds the hearer of the most famous of all the Tyrolian airs; and there are passages in the air which at once father it on the composer of Il Crociato. The whole is energetic, and full of dramatic effect.