Comparisons are ever futile, and it is rarely profitable to compare one composer with another. Suffice it to say that we may claim Taylor as a native born composer, who needs no apology, no qualifying adjectives, no patriotic propaganda, no press agenting, and no circus methods for gaining recognition. He has gained recognition not because of or despite the fact that he is an American, but merely because he has written beautiful music, worthy to rank with the great works of the world. On several occasions Taylor has given advice to young composers, either through interviews or articles written by himself. The doctrine he expounds is tersely summarised in an article in “The Musical Digest,” as follows:— 1. Get to be a professional. 2. Make everything you do count. 3. Try not to avoid criticism, and not to mind it. 4. Try not to make the same mistake twice. This is not easily given advice to be disregarded by the giver; it is his own creed, reflected in every work in his list. He has written no “pot-boilers,” made no concessions to the caprice of a fickle public, followed no easy paths to a facile popularity. In an interview in “The Musical Observer” he once stated: “I think this country will produce some very bad composers and a few very great ones. Bad ones, because it is so easy to be popular here. You can please so many people by attaining a certain level—a level which requires very small gifts. A few great ones because anyone who has the nerve to be a good composer in this country and is so recognized, must be big enough to appeal to everybody, as the popular composer is bad enough to appeal to everybody.” VII Taylor’s songs and choral works are by-words on recital programs and his shorter works are household words in concert hall and studio. Those that have had the greatest vogue are _Mayday Carol_ and _Captain Stratton’s Fancy_. _Mayday Carol_ is a setting of an Essex folk-song in which the arranger has kept the warmth and simplicity of the original, and yet given it a sophisticated background. The harmonization is rich, and the counter melodies dextrously woven. _Captain Stratton’s Fancy_ is a setting of the poem by John Masefield, and the combination has proved a song that has been the delight of hundreds of baritones. The spirit of the rum-loving pirate, “the old bold mate of Henry Morgan,” is rollickingly emphasized by the music. _Banks o’ Doon_ to a poem of Robert Burns, shows Taylor’s lyric talent at its best. He has achieved the distinction of composing a melody which has all the attributes of a folk-song. There is simplicity, restraint, and yet a poignancy which brings out all the tender warmth of the exquisite poem.