Without selecting examples from a number of his works, one may call attention to the study in C-sharp minor, opus 25, No. 7, to the various treatments of the melodic material in the fourth ballade, to the whole Barcarolle, especially to the imitations in the middle section and in the coda. By means of this the piano speaks with a voice made sonorous by its own peculiar abilities, and Chopin’s melodies stand apart from melodies for violin or voice. What has been said of his ability to give to rapid notes a genuinely musical significance applies in general to the ornaments which now and again are brought into his music. Of the older standardized ornaments which were thickly sprinkled through the music of Couperin and Emanuel Bach, only a few survived the harpsichord, to which they were appropriate. The turn, the trill and the grace-note are the chief of these, all of which, it will be noted, are used as frequently in music for other instruments as in music for the pianoforte. The others were expanded into much greater form or gave way entirely to a new sort of ornament which covered wide intervals and a wide range, and was intended less to add grace to the melodic line than to introduce a variety of sonority into the music. These more pretentious frills were added _ex tempore_ by men like Hummel, Field, and even Liszt, not only to their own music but to that of other composers. Liszt, in his remarks prefatory to an edition of Field’s ‘Nocturnes,’ said that the little pieces as they appeared on the engraved page hardly gave more than a suggestion of the richness which their composer gave to them by means of his improvised adornments. Whatever may have been the practice of Chopin in playing, he angrily resented the addition of extemporized ornaments to his own music by any player whatsoever, even one so brilliant as Liszt. It seems likely that such ornaments _d’occasion_ were pretty conventional stuff. Liszt has filled up his music with a great deal of them, laboriously written out. Chopin’s ornaments rarely lack the distinction which is characteristic of his style in general; that is to say they are rarely a series of figures, oftenest a tracery of melody. Those such as we find in the nocturne in F-sharp major, the impromptu in the same key, and even in the first polonaise, are finely and carefully drawn, and their effect in the piece, like the effect of the piece as a whole, calculated down to the smallest note. Even in this regard Chopin’s music is perfected, and the addition of extra notes, especially of the breathless, virtuoso kind, cannot, as Chopin himself well knew, but distort its proportions. There is practically none of these passages which is massive, which has not a value in detail that the pianist must reveal.