Any deviation from certain well-known points of design in the construction of a musical instrument is liable to result in failure. Maker and musician have long vied with each other in their efforts to suggest modifications and improvements without materially altering the original form, which consists of a vibrating body re-inforced by sounding-boards or resonant cavities in endless variety. They are all, however, poor copies of the original instrument, the human harmonium. While musical literature abounds with accurate scientific descriptions of musical instruments in general, next to nothing can be found regarding the science and art of voice melody and oratory, and still less treating of the design of the organs themselves.
The pianist, as he skilfully runs over the keyboard of an instrument, quickly perceives its good or bad points and indicates them with a degree of precision that clearly shows a knowledge of its construction. The expert organist