It was an inestimable advantage to hear him teach singers of various capacities. During the period I was under him I had the privilege of hearing him give many lessons; for though I was the last pupil to receive the full four years' training, he was still teaching a few specially favoured amateurs,--in most cases the children or grand-children of former pupils. His ear was most accurate and unerring, while he was exceedingly quick of observation, and equally ready with a helpful remark, given in precise terms, a simile, a little anecdote, or even a slight gesture or a look. In his lessons he was ever ready to give the most interesting information on any scientific questions or theories, and would discuss a point with the greatest animation. He was particularly annoyed at the way the _coup de la glotte_ was misunderstood and exaggerated beyond all recognition by many musicians. In his 'Hints on Singing' he defines the _coup_ as the neat articulation of the glottis that gives a precise and clear start to a sound. In reality, as taught by him, it simply meant that he wished one to get straight on to a note, without any uncertainty or feeling about for it, instead of slurring up to it (a very common fault), or taking it too sharp and having to sink to the proper pitch. His works mark an epoch in a branch of human knowledge which one day may be called a science. They deserve to be most carefully studied by any one who wishes to gain a clear insight into that interesting subject--the human voice. They are the fruit of a great mind and of wonderful experience, written in a very lucid style, simple and terse, full of interest to the musician as well as to the voice trainer. He expounds his views fearlessly but modestly, with logical cogency. Nearly every page bears evidence how cautious, discerning, and progressive a teacher he was. As showing the importance which Manuel Garcia attached to poetic interpretation of all vocal music, I give three quotations from his 'Hints on Singing,' the extracts being taken from the section headed "Preparation of a piece." "The pupil must read the words of the piece again and again till each finest shadow of meaning has been mastered. He must next recite them with perfect simplicity and self-abandonment. The accent of truth apparent in the voice when speaking naturally is the basis of expression in singing. Light and shade, accent, sentiment, all become eloquent and persuasive. The imitation of instinctive impulse must, therefore, be the object of this special preparation."