C 
158 J 
[Sept. 1 9 
NEW MUSIC AND THE DRAMA. 
a 
Practical Hints for acquiring Thorough- 
Bass ; by F. J. Klose. 
NHERE is no object of musical 
instruction that has more en- 
gaged private attention, and employed 
the public press, than that of dissemi- 
nating the rules of thorough-bass, or 
Jawsofharmony. Mr. Klose, however, 
thinking that even after all the nu- 
merous publications in this path of 
tuition, from Holder and Pasquela to 
Kollman and Crotch, there still re- 
mained something to do, (and perhaps 
he was riglt,) has produced a work 
under the above modest and unpre- 
suming title, which, if by its very na- 
ture it can contain nothing new, does 
at least throw a somewhat clearer light 
on the general principles of harmonic 
combination. 
To render his work as generally 
useful as possible, Mr. K. commences 
with giving a view of the very elements 
of the musical science. T'rom the elu- 
cidation of the intervals, as expressed 
by the tones of the piano-forte, he pro- 
ceeds to the consideration of the first 
and simplest construction of harmony ; 
viz. that of the common chord, in the 
several ways in which it is capable of 
being formed; and to the explanation of 
the figural signsby which it is indicated. 
The exemplifications exhibited in rota- 
tion are of a nature to satisfactorily 
illustrate the verbal instruction, and 
we think it nearly impossible that the 
attentive studentshould findhimself ata 
loss to comprehend and reduce to 
practice the rules Jaid down. The 
subject-matter of the book is com- 
prised in twenty chapters, the first 
three of which are dedicated to the 
initiatory objects which are to com- 
municate the principles of the con- 
cord; the fifth, sixth, and seventh, ex- 
plain the relative nature ef the com- 
mon-chord when it is made the ac- 
companiment of a bass-note, of which 
it is not common-chord, and- describe 
the formation and use of the discord of 
the seventh. © These seven chapters 
constitute the first of the two parts into 
which the work is divided. In the se- 
cond part, or remaining thirteen chap- 
ters, all the different chords, both har- 
monic and inbarmonic, are treated of, 
and illustrated both by precept and ex- 
ample. ‘The practical lessons are nu- 
merous, and so constructed as to serve 
the double purpose of informing the 
mind and providing exercise for the 
finger. Of the “ Appendix,” with 
which the work closes, we cannot 
speak in terms of commendation, be- 
cause we cannot perceive its utility. 
Had it consisted of any thing. more 
than a partial recapitulation of what is 
presented to the reader in the previous 
pages, we should, at least, have had to 
acknowledge so much im its favour: 
but that satisfaction we are denied ; 
and have to regret that any part of a 
generally useful book should be unpro- 
fitably occupied. 
** Hail, beauteous Stranger.’ 
by Joseph de Pinna. 2s. 
“Hail, beauteous Stranger,” is a 
ballad of two verses. While its pas- 
sages, separately regarded, are fanci- 
ful and attractive, the general effect, if 
not of the newest character, claims our 
respectful report. Mr. de Pinna, in 
vocal composition, obviously possesses 
a free and fertile imagination, and 
would, we think, prove successfal in an 
operatical attempt. A certain ease 
and smoothness pervades his melodies, 
that will scarcely ever fail to gratify 
the cultivated as wellas the less.refined 
ear. This observation forcibly applies 
to the air we have before us ; the pre- 
vailing good qualities of which sanc- 
tion our saying, that it only wants 
more originality and distinction of fea- 
ture, to form one of the best songs of 
its species, that, for a long while, has 
come under our critical notice. 
“ Wake, Rosa, wake!’ A Serenade, 
withan Accompaniment for the Piano. 
Forte. Composedby C. S. Evans. 1s.6d. 
““Wake, Rosa, wake,” without any 
distinguishing marks of excellence in 
its style, is of a cast to please the lovers 
of smooth, casy, and familiar melody. 
The passages are flowing and natural ; 
and, from their congeniality and uncon- 
strained succession, an effect is pro- 
duced, that gives the song a respecta- 
ble rank among the vocal compositions 
of the day. The accompaniment, as in 
our opinion is the most proper for 
ballads in the lighter style, is the most 
simple imaginable, and the bass such 
as to induce us to think it must have 
been very little studied, perhaps the 
first that offered itself to the composer’s 
mind. Asa chamber song, this little 
production is entitled to our respectful 
report, and we recommend it to the 
attention of young vocalists. 
baer 
? 
Composed 
