Weinlig had no special method, but he was clear headed and practical. Indeed, you cannot teach composition... all you can do is, to point to some working example, some particular piece, set a task in that direction, and correct the pupil's work. This is what Weinlig did with me. He chose a piece, generally something of Mozart's, drew attention to its construction, relative length and balance of sections, principal modulations, number and quality of themes, and general character of the movement. Then he set the task: you shall write about so many bars, divide into so many sections with modulations to correspond so and so, the themes shall be so many, and of such and such a character. Similarly he would set contrapuntal exercises, canons, fugues — he analysed an example minutely and then gave simple directions how I was to go to work. With infinite kindness he would put his finger on some defective bit and explain the why and wherefore of the alterations he thought desirable. I readily saw what he was aiming at and soon managed to please him ... music should be taught all round on such a simple plan.