The first of these, the German school, is especially characterized by the importance given to the use of the pedals, the feet being called upon to execute passages of equal melodic value with that assigned to the fingers. This renders it the school of schools for those who would really attain a mastery of the instrument, and gain that independence of foot and finger so difficult to acquire. In fact, it is only possible by a thorough study of the great masters in this school of playing, to destroy that sympathy which exists between the left hand and the feet. This sympathy lies in the fact that should a pedal passage _ascending_ occur in conjunction with a left-hand passage _descending_, the natural inclination of the left hand is to follow the pedal, instead of executing its own independent part. Of course the same trouble is experienced if the conditions, as just stated, should be reversed. This is the great difficulty of the _obbligato_, or independent mode of treating the pedals, to conquer which may fairly be termed a life-study. For this reason the earnest student should always begin his studies in this school, and not deviate therefrom until such time as a reasonable degree of skill has been attained, and the sympathy between hands and feet, before alluded to, measurably overcome. And here let me say that far too many of those who feel themselves drawn towards the study of the organ, approach such study unprepared. The organ, as a keyed instrument, has all the main points of technique in common with the piano. All the varied forms of scales, arpeggios, &c., together with the necessary independence of finger requisite to play in the _legato_ style, should first be learned upon the piano, where, by the way, it can be more speedily acquired. Pupils who, having accomplished this, proceed to the study of the organ, can at once begin with the peculiarities and characteristic difficulties of the instrument, and as far as the pedal is concerned, will make far more rapid progress if fair manual players. They are thus enabled to concentrate their attention upon that which is new and strange to them. Such would undoubtedly be the testimony of all those who have had experience in this branch of teaching. Without questioning the pre-eminence of the German school in all matters of technique and pure science, although educated in that school myself, I would not claim for it, as do some, that it is the Alpha and Omega of all true organ playing. Viewed in relation to the modern organ as it exists to-day, especially in France, England, and America, it seems to me that the instrument is in advance of the school, or that the school is weak in the two following points:--