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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
10-1-1941 Volume 59, Number 10 (October 1941) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 59, Number 10 (October 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/245
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/P YOU CAN PLAY * J MUSI OW MACKJOE ^ * O* WITH ONE FINGER THE WOTT x/
and VITTORIO GIANNINI, composer STEWART, well known con- A N D IN will give REGINALD HERE. THERE EVERYWHERE brother of Dusolina Giannini, conductor, has been and al " pianist and composition, scoring, cert THE MUSICAL WORLD courses in of the Peabody Con- School of Mu- minted director ranging at the Manhattan Music, to succeed Otto Ort- this winter. Hugo servatory of sic in New York City resignation became effective course in conduct- maim whose Kortschak will give a founded educa- first. Mr. Stewart GUY MAIER'S notable summer on September FRITZ KREISEER has been commis- ing. Orchestra eight North Caro- Toronto Symphony sioned to write the music for a new alma tional assembly in Asheville, ,l,e for OF Nil - and remained its conductor of Wis- lina, during August, brought together THE NATIONAL ASSOCIATION WORLD OF MUSIC.. rears ago mater song for the University he ten- outstanding which held a conven- August of this year, when Dykstra, former presi- one week some of the most SIC merchants, YOUTH 'until consin. Clarence AND MUSIC also established artists through- at the Hotel New his resignation. He university and now' director talent and w'ell known tion in mid-summer HchooJ . dered dent of the Mu-1-- pianists who York City, r®P°^® Society of Toronto and organ- in the country. Among the Yorker, in New the Bach of Selective Service, was Instrumental out editorial were. Secretary, Mr. W. Promenade Symphony concerts, Kreisler's services. appeared at the daily recitals through its Executive The Munjt-al I'ltinueaiyi ized the obtaining Mr. held at Stewart taught piano Deifenthaeler and Roland Mennie, that the great banquet ftr ten years Mr. Margaret A. MUSIC AND CULTURE Boyd eclipsed in attend- at the Toronto Conserva- Dittl of Milwaukee, duo-pianists; the Waldorf Astoria Our Mualr-nl iI.hxI f-ri conducting VLADIMIR HOROWITZ will introduce a \dft -pianist, and event. The con- Munir An a Elf,. Ringo, well known composer ance any such previous AMet . tory of Music. “Sixth Piano Sonata” by Prokofieff dur- TTw all of the CoiupllralloSi in the »i, . both of the Uni- rooms took up MhhIi \| u 1941-42 concert season. The score his wife, Helen Ringo— vention display hI Ltfr in a 'aim ing the Tulsa, Oklahoma—who New Yorker from the mez- Better It<»uli« In composer to Hor- versity of Tulsa, floors in the Choral <
Editorial Youth and Music he city of Cleveland—or at least the School Music Broadcast eastern section of it called Collinwood Tseemed to three trainees at Camp Shelby the most enticing spot in the United States. First and Dhe Whisica C Pliarmcicopoetci most important it was home; second, it was a thousand miles away; and, third, the day was Sunday. At that nostalgic part of the week Collin- Everywhere average wood connoted not only home but Shangri-la. PHARMACOPOEIA is a book bearing official approval, by have been reduced amazingly. Fifty years ago the Two of them lay stretched out on their cots, the describing their potenti- of relatively few medicines, mostly giving a list of medicines and physician had a repertory third reached for the tuner button on the radio; quinine, A use. The first pharmacopoeia came out in inorganic salts and crude vegetable extracts, such as he found a New Orleans station and a program ality and the Government in 1542. aconite, nuxvomica, belladonna, rhus tox, laudanum, castor just going off the air. And then something hap- and was published by Germany knew how and pened that surprised the boys as much as if the enu drugs and medicines has been subject to many oil, salts, and a few others. He did the best he E, non sale of BUcL X The colonel of their regiment had burst into their tent to and nature. Once they were sold in England by grocers, and when trusted destiny and greeted them by their first names: the New cvcles. music has at some of our modern drug stores—which It never seems to occur to some teachers that Orleans station announced the “Music and Amer- « come to look those called a vast pharmacopoeia, composed of June each year this zigzagging Conti coming in from other cities. soda fountain, grocery, notion counter, what might be ican Youth” program which, that morning', was through The h,. combine restaurant, South. To tho e have brought about be known as accurately and originating at the auditorium of linking West, East, North and a game of fnendlyT^ store, candy store, magazine and book teaching materials which should Collinwood High hardware store, toy can remember when the right side of .t which boys and girls ask materia medica. These School, Cleveland, Ohio. who themsek« -J; and dry goods store—we realize that the thoroughly as the doctor knows his optical goods county scarcely knew what the left side was d do we slack up alongside New store, The eyes of the three astonished alumni met; Orleans’ ^ the sale of drugs works are to be found listed in the catalogs of the best pub- to Charter of 1617, which restricted grins spread over their faces. “Turn it musically, this is a phenomenal change And think we re anywhere near as good English up a little,” m fe-'t teacher worthy of the name not only should themselves, being radio • Suppose we’ll (who later came to be called chemists) has lishers. Every urged the one who had played a horn in the Col- the young participants click the way Tacoma to apothecaries dlTfc that is, the standard linwood High School Orchestra. performers and part of such a co&St-to-cou.st never seen their In London to-day, the stores of Boots, be familiar with the important things— competitors, but theyhait long been forgotten. of a student must be On the program there were selections by the series is an exciting arrangement that ithlHllltW competition. And still competition. different from any of a dozen types of chain works, without which the education Ltd., are hardly salon orchestra; selections by a radio them to do their best throughout each school year Work, gctthig as very un- choir chosen up early, traveling mils looked upon lag drug stores one may find from the school’s large choral club; familiar songs a broadcast— things such also should as these have preS balanced—but by Ohio composers; a solo Criticisms Are Analyzed throughout various parts by a Collinwood girl. deterrent to enthusiasm in any locality. d* know the hundreds of It was a fine program, splendidly America. presented—that How good that best is is decided by them aft. i the different time zones In of our own the country, boy which may be at least would be the opinion of other works an ordinary their broadcast, for praise and criticism and com- girts, in some instances, have The backbone of any been forah special pur- listener. To ears admittedly prejudiced by the fact ments of all sorts pour in from relatives and prescribed for up before daylight; In other cases they ta. drug store in that it legitimate came from Collinwood, however, it was a friends both near and far. poses. He cannot hope to Each student brings to to take an overnight trip But nothing iste is the U. S. program that would never be excelled it our country ; was the school the things he has heard about in his the per ness for the “Music and American Youth’te record all of these greatest half hour’s entertainment ever to come formance, Pharmacopoeia. Every and, according to musical dlreetOi cast has ever been displayed. must have out of a loud speaker. memory. He flaws and weak spots are large country has its own discussed as readily as The only t In other hing that dampens their quits ts reference files, where he ‘pup” tents the “Music and American the highlights and strong points of the perform porarily and that their pharmacopoeia. There is Youth” program has roused similar — of leaden, too-il can find in short order just enthusiasm ance. In some cases recordings of the not only on broad have to change their sealing arrangawff no international pharma- that Sunday morning but on others, are made and the work he wishes to pre- brought to the classroom so that cause of for the program’s point of origination space limitations In the broadcast copoeia; but the Dor- changes students may hear themselves as others scribe. Considering the each week. Each heard studio or because the man in the tonal* Sunday, at 10.30 A.M., Central them; vault’s Officine, the French and a recording deals with all publi- actuality not thinks they it vast number of Standard Time, eight months out of the he will get better results if twelve, flattery. Cadex, the British and the music presented by various grouped In a different way. Where JdufSfl cations in the catalogs of schools throughout Started in 1934 under the auspices of the U, S. Pharmacopoeias are the country goes over Music fectly sure of hts with George on is: a coast to coast network of Educators’ National part the publishers of the stations. Conference these programs iai the On the West coast there is a variation and Babs on his left and Charlie behind most widely used out- in were intended to demonstrate world, there are probably the schedule; there they the progress in sometimes net if - are presented on Satur- music education becomes confused when side of the Teutonic coun- day afternoons among students in far more entries than in at 5.30, Pacific Coast public and familiar sounds from Margie or Sac; Time. private schools come tries. No physician at- To name in the country—to give the medical pharmaco- the cities that constitute these points to school Henry who have now become his closest:®- r°n tempts, in of origination Xpayeis concrete 0 the study of would sound like evidence of train- But rehears^ poeia. Very few musicians reading from an ingfni andH "i?v?ability. hts leader knows that extra atlas. But some They have succeeded mteria medica, to grasp idea of the way radio is admirably overcome he knows he s Ger- able to m doing that and have that handicap. And have ever seen the ignore distance, to in addition roore and go from school to school, given to the count on hts strive einsSt" than a relatively young people all over young charges to man Yearly Catalog of may be gained from this group the country a of cities represent- powerful i ! wholeheartedly orient themselves *s small number of the ed in centive to work and to to names Specifications of Music, the first month of last year’s schedule: progress. For in thene seve first years m which the seven as possible. of the thousands and thou- program, Detroit, Michigan; second, nroeram iMC k '' issued first by Friedrich Atlantic Citv The over-exuberance. the.’ New. Jersey; young people’s sands of drugs third, Maywood, Illinois; which have of Leipzig in fourth San ousness self-discipline have ins®;- Hofmeister Francisco, and their teen California. And from employed in the cure November --srrsSr*on their stances directors Professional Necessity 1844 and continued yearly schoo! and that been so marked that Catalogs Are a win not"e of disease, but 12 compelled to seize any pretext to smottB!® he must to date. This enormous ‘ their handkerchief A' know as many faces In hand or as possible, old, is bound in sets of six ? catalog, now ninety-seven years from a musical director to quibble with s in order to meet the needs of special cases. Both the doctoi making sixteen huge volumes. These list, with the of going broadcasts^ an issues, "all out" to make a d the pharmacist, are obliged to have access to however, meticulous Teutonic care, practically all of the thou- but when a boy comes to a Sunday some are most large reference book in which the rarer drugs sion tie ^ compositions published in Germany and in the sur- on the air dressed in white pait sands of cataloged. The use of such a book becomes an integral is a bit startling even to a person sehoo»® rounding countries and give specific information about them. 6 their added surprises him. Tint practical scientific training. New drugs are youth may hand to complete set is virtually priceless, as many of the volumes to tar A one young performer did—dressed the pharmacopoeia incessantly. The use of ether, coal are out of print. Lucky is the publishing house which can formal attire patent lew* derivatives, salts and from collar to intra-muscular injections of bismuth editor has ( of having all of the volumes. Your been —so that his debut ina-'J boast he could make ^ antimony blue, organic salts, the organic arsenicals, trypan Next in significance ting an instrumentalist who would s®* obliged to refer to them continually. sodium, aurithiosulphate, strychnine, chloramine-T, going places with a topnotch symphony®'.. among the great universal catalogs of the world is that of feylresorcinol, nitroglycerine, digitalis, Less polite than the director, his alkaloid emetine, Pazdirek of Vienna, which unfortunately is not in all cases ^ sulfanilamide, group, the stopped, broadly antitoxin looked and—grinned, Chalmoogra oil, the as Hofmeister. But, if you wish to find the history Mud m- so accurate the dopes! group (including the vitamin group, the ^ insulin), of an important piece of German origin, when and where ‘it More of a realist was a small girl einal scores of othei [#- disinfectant group, x-ray therapy, and published, and similar information, all you need to do the her W , was studio with an apology for urn' biologica therapeutic in the chemical and developments it up in Hofmeister. But to the average American and it was dirty. The reason, she a is to look °'atories have commonplaces in the modem excitement and sleeplessness during tl* * now become teacher and musician German catalogs are of no practical Practice disease, there- of sl:= of medicine. and death from Continued on Page 714 the night followed by too heavy ^ Disease, dirt*®" Broadcast of it was time to get up. “But the the Kansas Ct,y, ^ Mluouri. Public siK Schools she reasoned happily. "And I can JJju f with a dirty face.” (Continued <•* 655 °(Tober $'' 1941 rut — tc
Music and Culture Music and Culture Our Musical Music As A Life Asset
incongruity in a Conference with N THESE DAYS there is no or an art police officer engaging in a science I the work of the practical Neighbor" as an avocation, since “Good Pol different premise penologist is based upon a wholly predecessors. He aj Of in _a arner from that of his old fashioned m with the weapons of now tracks down the criminal Eminent Penologist and well as An Interview with the chemical and physical laboratory, as Virtuoso Pianist with a rifle or an automatic. which The old conception of a police officer, a some- most of us had as children, was that of what crude and unscrupulous political henchman C^lsie J4ouaU rarely on hand when in a blue uniform, who was wanted. wanted and usually' on hand when not IJisliuguished du- Brazilian Sr Supposedly, he obtained his results through was a plicity and cruelty; in other words, he adults suspicious individual whom children and SECURED E:\PHE\sU roR THE ETlbE should avoid. remarkably, and a wholly H » I F.R\ 4 4RHI All this has changed or different type of man is entering the profession preserving public welfare. The calling of the mod- execu- ern police officer is that of carrying out the tion of the laws and protecting human life. In difficult doing this, he must master a definite and Elsie Houston Is related to that Virginia family from fir came Texas’ liberator, second President, first Sender « Governor. That Is to sap that she is a great-grandnmsjk Etude Houston, famous Texan Her father emigrated to Rio it Ik Secured Expressly for the half a centurp ago, and married a Braiilian girl of Pvtipu descent. The child of this romantic union mu so mwtatltt by DOUGLAS NELSON LLOYD ELSIE HOUSTON at the age of six she leas allowed to study the piano it fjtss her unusual voice attracted attention and she began toimb it. At twenty, tehen she went to Germany, she studied / a year with Lilli Lehmann. After returning to Brasil \ express are afraid of Strauss, a fear How can I — — -UQy SINGERS Music and Culture upon the student. of actb impression Music in the hoi ° can readily understand. mstiument 0{ . one and Culture an 1 I for Music You are thinking of studying * unquestionabw? h this’ the upbringing of i and “Elektra,” you spend one hiWren. like “Salome” the say the piano. Perhaps I earnest Works St us every child in th« M and expressions of the you are throug h r t operas, practice. When , rIies hundred hours in aSWS that it advantage. Then- ® of his creative life, demand the same, save er i 0d : science, exactly a] p ar ; in which the latest discoveries in the piano remains for the police if well as vocal and artistic you are not the same. this were th physical as sociology, and abnormal psychology play a neces- may need to be tuned. But S something musical friends has a way take almost two hours for per- Complications sary part. quite different! You have done of savinT-p!^ nce Both You are enduran • have trained in a band and save him from is n0 intermission or rest The work calls for courage, great concentration, mind and your body. You beintaC* to your forces. in a again. “If you want to keep one’s Moreover, incessant alertness, human understanding, loy- your mind and your body to coordinate yoUf saloon bars rs long dance, while the orches- It is lost. It is always and prison bars. demands a alty, high character, honesty, and patriotism. delicate operation. This is never me ,1” Ime” S so full and loud as looks That is. the bars." I heartily endorse is sometimes no job for an ordinary type of person who there. It needs only to be awakened. these Er* ‘‘Elektra” the Strauss tri!I1 Music of Richard in all seriousness. 6 impossible for the voice to be individual. Everything . tually upon the criminal as an object for persecution and training remains subconsciously in the I jt vir f tonl problems and difficulties the calling indicates that iatter, sometimes brutal handling. Anything that any ertme is very j the la™ , h Relaxes ' are likewise enormous. Not the State force has done in his per- Practice that a gradual letting down 1 singing member of of the goodoldt f”L and voice, of timbre sonal development, which will contribute to the of morality and ° constant change of s INTEREST in choral HE PRONOUNCED Music and Culture ” has asserted itself in the past sing that not the result of faddism (as Music and Culture fw years is fashions are) but of a vital, in- - musical »an people need to express them- ^ nee(j stl remains the foundation and group singing S expression. As far back as Chaucer’s musical fil3 0 seen cycles of group singing wax Better Results Musical Life We have The most serious decline covers the d wane 3 the develop- from 1830 to 1930, when efntiry instruments gave rise to the cult of t of ;l1 ® , great composers centered their ras i^e in Choral Group Work interest in Cairn on orchestral work; popular Mention large halls were built to house followed them; orchestras; wealthy patrons perpetuated A Conference he With endowing more such halls with own memories by From a Conference their otherwise have been built. than might the elaboration of orches- this encouraged Jruin cyCancL All (j au through Brahms, Wagner, Debussy, tral music, Strauss, to Stravinsky’s “Le Sacre of the Glee ^Jrarrij aijer and Richard Distmauished American Composer— Director beyond which further elabora- du Printemps,” difficult. It led also to the comparative tion seems Amencaa Cumerl Pianist. »ho ensembles—which could neglect of the smaller large halls—and of the choral groups, three years Head of the Cimserv not fill the layman himself had a chance to SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN WEST in which the Music in the Egyptian capital participate. The depression, however, ushered in era. Overhead costs worked havoc with a new leader’s Qualifications of the Director gift of transm tting enthusiasm. The many orchestras; people could not always afford ability through in the degree of interest to exist, yet chief requisite of the choral group director comes to hear those that continued and The Mr. Harry Mayer was born tn Philadelphia, ithere he rehearsals. M all, is know his business! That consists in with which he invests those people wanted music Most of they that he with Constantin von Sternberg. Andre Uaquarre, and PhilipGotj) certain degree of monotony is the bugbear wanted the participative element of self-expres- familiarity with repertory and directorship, and A eighteen he went to the famous Conservator At the age of ) il fit to the individual of every choral rehearsal. Each choir of voices sion in music. Thus, choral group singing began the ability to this knowledge became a pupil Professor Robert Leipzig, where he of TeichnSe his group. As a rule, amateur groups must be taken through its own part separately to come back into its own—as it was bound to needs of After tours of Europe and America he received an offer to ki they have less trained at least once; and, while the tenors are singing, do, sooner or later, since it fills a natural human are less fluent readers; the piano department at the Conservatoire de Musiqve iuCm in the re- the other choirs may get restless. The choir- need. Excellent work is being done by amateur voices, and they are more interested He went immediately to the Egyptian capital, where heremcui itself. leader avoid this by explaining and directing and professional choral groups throughout the sults of the work than in the work Instead may for several years, returning to the United States in JWO-Editss the practice in such a way that the routine of country, and a fine upswing of musical taste of criticizing these points, the director must ac- Note. each unit contains some point of value for all and awareness is resulting from this. More and cept them at the start and strive to rectify them. the the others. Furthermore, interest is secured by more, choral music is on the return. This requires tremendous enthusiasm, plus giving the group a certain amount of semi- popular music to sing; music that is hardly against the ravages America. They even go in for football great, but which will never harm the formation of time. It is a land hockey, and other games familiar to ikG of good taste. (As examples of such music, I sug- which no one can States. gest, Sylvia, Turkey in the Straw, Water Boy, ?! visit without ponder- The population of Cairo, the largest Deep River, I Dream of Jeanie, Grieg’s Barn Song, ing upon the mys- Africa, is estimated at over a ir.iUtt- o* a and any of the American folk airs that carry teries and greatness, two hundred thousand are residents o(L the feel and spirit of the people.) People enjoy as well as the follies, extraction. The two populations mil singing the numbers they know and, at the HE LURE OF CAIRO is measured of the past. The and intermarriage is very rare. outset at least, interest is stimulated by familiar- in millenniums. The name in pyramids, for in- The larger part of the European p#* ity. It is also helpful to give brief solo bits—if T Arabic, “El Kahira,” means “the parttbefets stance, which the Greek, and it Is for the most only a bar or two in duration—to members of victorious.” People from all over the Pharaohs erected for control the restaurants, cafes, and the group. The leader should also make possible world have been attracted by the their glory, are mon- After the come the Italians one or two public performances a year, with strange, cryptic mysticism which sur- Greeks uments to the in- Armenians, the English-®- all the excitement and luster of a “real concert.” rounds this little spot on the earth, and then the credible cruelties large Russ®' Local school and church authorities are most where once Khufu, Mentuholtep, Amen- in- French. There is also a fairly flicted upon slaves. helpful in granting the use of their auditoriums, hotep were already ancient history be- Americans are very few. It is said that con) and interest is spurred, not only the fore the Rameses were born. Surely, every It is to this ethnological among stone in the its singers but in the community as a whole. Cairo is victorious over the centuries. HARRY MAYER pyra- music in Cairo must make The mids represents s modern city of Cairo, however, is the our Conservatory was in every Collective Singing Improves Pitch surrounded by the ancient evidences sacrifice of a human The problems of the teacher of a remote lif e- civilization. It mat of a slave of b- ;n is almost like a modern television some nationality. as it meant appealing to many Perhaps the chief technical point to be stressed receiver perched upon a hill in the grand alities and tastes. The language in group singing is accuracy of pitch. The average canyon A City of It is a land of the Contrasts impossible, the unbelievable C mostly French, since the prevail singer (especially the amateur) is not always In no place in the he is a stran e quarteJj world is the very ancient thL t£tv! S contrast in every - grunge spoken in the foreign certain of his pitch. He tends to try out his brought into such haS f d° With close contact with the verv educat »°n. Here we find despite English protection. It haste* pitch before singing, requiring many such trials modern. J the j?most important Moslem university to world, in thp tional policy of England not before he achieves dependable and perfect co- The American visitor to the University of Azhar. Cairo has in his mind It ^thronged w im language, religion, or social custoBHj ordination between his mind and his voice. The first of all, a trip to the pyramids and the nearby in which she is interested. best way to improve pitch is to insist upon col- Sphinx, i hose who are less superficial travelers lective listening. The individual singers should will go deeper into the Egyptian country Conservator* and see At the J not listen to themselves nearly so much as they e huge horizontal statue of Rameses II at Classes at our Conservatory u* listen to the others. Also, the piano should be Sakkara in the midst of a forest of palms where The little as possible there are nine o'clock in the morning. used as during rehearsals. Once also many pyramids. They K°ran on his may also go la P- studying selected bT*’ the initial pitch has been established, to Karnak to visit hour after hour o it used by the pupils were the singers the overwhelming ruins of thp teachers, were very should be “on their own,” keeping pitch them- Temple of Thebes, with its eerie but rules atmosphere of presence wha« lotus blooms and institutions and of such in my own teaching I used selves and listening to (and blending with) the the magical charm of the God customs ental flavor *1 preserve* the desirable. others. Even if the final performance of the song dess Isis. Here, in a relatively small for Cairo in on- was psychologically territory We find, Cair see the unceasing battle on the other ° one wUI employed was very similar to tW* requires instrumental accompaniment, the prac- of the pride of man at hand tempting which, in Egyptlan University such as P ticing should be done independently. The to preserve his memory for its equipment Ph! America and Germany, piano posterity 0* „ as Czerny. Behringer, and others. may possibly save some ( Continued on Page 710) STS'**™? Hall 660 the Radio City Music Irving Landau and the Male Choir at 0 661 cTOBEr. 1941 ; on this program; and both singers, Music in the Home tured in a duet arranged Music in the Home by Roland producer and director of the show V. is completely ette a product of Amer^ the cast of which includes Alice Faye, John Payne, culture. One of her 1 proudest boas--. Cesar Romero, and Cobina Wright, Jr. The songs resisted every suggestion ^ of the to comnletn Music Silver Screen by Mack Gordon r,e: for the production are written studies In Europe. 5 Broadcasts of and Harry Warren. One of them is a Cuban jungle Musical Gladys Swarthout. the popular mez^ dance, based on Voodoo rites imported from the Metropolitan Opera roster hasfor* Africa. It is called “The Nango” (pronounced program called “The Family •" to work on the number, Hour rJ^onafcl Nyango) . Before going soloist. This broadcast, which writers secured from Cuba acetate re- claims to > the song an unusual style In which they have and Studio Interest musicai enters? cordings of the jungle rhythms Home heard on Sundays from song. 5:00 to 5 Vpn~' incorporated into the ‘ Columbia network. Deems likes to joke about the manner in which Taylor acts - Gordon of ceremonies, and employs RELEASES make a promis- tion of Charles Previn. and his song writing partner manage to catch a style similar^ ABLY AUTUMN Joe Pasternack produces he which he adopted in by centering interest in two the film, the lilt locale of their “geographic” numbers. Walt Disney's *fw ing beginning cast of which includes Robert Cum- the and In this program popular stars of the musical mings, melodies are supple©^ / of the most Margaret Tallichet, Richard Carle, and "Locale" to Order dramatizations of will be seen in “Almost An Charles Coleman. the stories which ther Deanna Durbin “Almost An Angel” marks the films. In parts, or which inspired (Universal), her first picture since her return of Charles Laughton to the Universal “When we wrote the songs for ‘That Night the compose Angei” « ” went to Monterey ^4tiJ jCinMay Wcorcein selection; and a humorous on April 18th, to Vaughn Paul, and her Studios, for the first time since he made his Rio,’ Gordon pointed out, “we character. marriage, the there. Taylor and other members to be directed by Henry Koster. American debut there in 1932. Laughton was in- and took, an isolated cottage on bay of the cast 'vL sixth picture this writing, is putting the troduced to American in see, Rio is also on a bay!” musical terms and composing dates Carmen Miranda, at audiences “The Old Dark You ilCte provided the in As early as 1930 and his orchestra, Ross touches to “Week-End In Havana” House,” a mystery Whether the bay alone OT ALL OF THE ORCHESTRA programs are American Academy Rome. he Graham, barite* > finishing which promises to follow play. Following inspiration, or whether the opportu- of mixed voices 1 broadcast over the largest networks. For attracted attention while conducting European chorus complete the aj (20th Century-Fox), N earlier Hollywood suc- his suc- nity for creative solitude added its N example, there is the City Symphony orchestras, including the symphony orchestra in F*amily Hour" addresses its appeal the attractions of her Broadway toerm^ up Night In Rio.” cess in “Payment share, the songs turned out there were Orchestra of New York, which Eastern listeners Helsingfors, where his all-Sibelius programs won ber of the family, from Junior tograndiiti cess, “That co-stars with Charles Laughton in Deferred,” Laugh- acclaimed by the Brazilian ambassador have picked up on Sundays from 1:30 to 3:00 the praise of the composer. In 1934 he conducted material presented ranges from a Beether- Miss Durbin as “typically Brazilian.” Now, Gordon P.M. through Station and more important the New York to the acting film which introduces music without ton accepted a WNYC, Philharmonic-Symphony Orche. phony most popular product of an five Cuban still, the strict sense. The story and Warren have completed the program of the National Youth Admini- tra, and later was the conductor of the Baltimore alley. being a musical in contract from film. Asked stration hat-check girl, who is in- Jesse L. Lasky, songs for the new Miranda Orchestra, conducted by Fritz Mahler, Symphony Orchestra for two seasons. I deals with a penniless This month the NBC Symphony Orthes millionaire in about the inspirational authenticity of which has been heard on the same station on years he has been active in motion picture troduced into the home of an aging and a role “The work. scheduled to resume its regular Time sec Wednesday evenings gentleman is Devil and The these, Gordon said: at 8:30 P.M. The programs For the past five weeks on Sundays from as his son’s fiancee, when the old 11:05 programs on Saturday nights from 9:31 tt 7* “I feel confident of turning out a of the NYA Symphony Orchestra have been un- to noon (Columbia to be dying and desires to meet the girl Deep.’’ When network) the world famous on the Blue network. At the time of stS believed usually veil good job I’ve been smoking Havana made, due to the imagination of its Budapest String Quartet have whom his son is to marry. The film develops the Laughton arrived, — been engaged in leading conductor has not been a conductor. To one who followed not cigars for fifteen years!” has the work of playing the quartets of Beethoven. liking of the old father for the girl, his disappoint- the script was In a series of but high hopes were still being held cc ft this orchestra, its Miranda came to progress in the past year has ten concerts, this ment when the well-meant deception is uncov- yet ready, and he Although Carmen Toscanini, ret S been encouraging. When stop this country with a reputation as a we to consider that group will play all ered, just long enough to straighten out was loaned to six- centlyreturaedM and lasts the orchestra is composed of singer of Brazilian songs, she gave so young players from teen of Beethoven’s the romantic angle so that the girl finally marries Universal for the country franfes seventeen to twenty-four years of age, v/e good an account of herself as a dancer are even string quartets the son. film which intro- and Si more appreciative gagements ic of the work it accomplishes. also his that Miss Durbin is pri- duced him to in her previous film that 20th Century- “Grand America, nit Director Koster feels Fox is now according her a full “build Fugue.” All the con- marily a fine actress and sume his leafeli A Pacific Coast Broadcast up” as dancer. Her chief terpsichorean certs originate from secondarily a fine singer, worth fit® Fritz A “spot” is the aforementioned Nango, Mahler, the conductor, has been heard the Library of Con- and has accordingly 1st* with prominent of programs the Cuban name for which is “El Di- orchestras from time to time, and gress in Washington, shifted the emphasis SatEds? he has conducted over D. cently on ablito.” Roughly translated, it means both the National and C., and are given from music to acting. For Columbia Broadcasting networks. from 5:30 toi® “The Dance of The Little Devils.” Miss A nephew of under the auspices of one thing, he is having the famous Gustav Mahler, over the Miranda has learned some English for he was a leading the Gertrude Clarke Miss Durbin play her operatic conductor for five network & picture, on an interesting fiscal years in his native Whittall Foundation. own the sW® accompaniments to Austria and later became leading conductor Officials presenting basis. The studio promised that, for of a of the Colum- her songs. His purpose is prominent radio station in Berlin. bia certs girenbyi^'- of He came to Broadcasting Sys- not to display each bona fide and usable word this the youth- country early in 1936. All players of the tem are ual memtes English Miss Miranda added to her vo- NYA quite right in ® ful star’s accomplish- Symphony Orchestra were trained in the SBC SymptaJ increase her sal- NYA marking these con- ments as pianist, cabulary, they would Radio jW* but to Workshop—a Government organization certs distinguished (Above) Fred Astaire and his new part- cents. During spring as one of the rule out the ary by fifty the and they receive customary ner, Rita Hayworth, in "You'll Never Get twenty-two dollars a month for more as John and summer, the volatile star acquired ambitious at- orchestral (Left) Deanna Durbin sings again sixty hours of background. Rich." playing time. The idea behind flutist: BW*® this tempts in the history The prevailing in "Almost an Angel." four hundred new words, and earned work is, routine, of course, to provide the young harpist: players of American in motion a “raise” of two hundred dollars! with real radio to pictures, is to experience, so that when they Brenner, pi®®' have an present the complete ®pply American pictures. Upon completion of the picture, Miss Miranda opportunity to play with orchestral accom- an established symphony works vey Shapift to Broadway, to enter a new show for the of one of the paniments, whether Throughout the film, returns orchestra they can point out that they the have had great music cellist: Jr sequences Miss Durbin wears her Schuberts. Another potential Schubert star is so many hours of active masters call for a vis- participation in in Boiognini. a full a given field. _ ible wedding ring, but Carmen’s twenty-year-old sister, Aurora Miranda. sized orchestral group. orchestra or not. own have fa® *| the audience will not be Aurora ranks second only to Carmen in Brazil, An orchestral concert that is confined to the A Pioneer recitals j Miss Durbin is about prove herself in America. acific Radio Star these Her Own aware of it. In the se- and to Coast, and which has attracted much Jessica Emma , Accompanist quences of the picture, favorable comment in the Dragonette. past year, is that pre- A New Dance Team who is billed Cuban sop®* “The Miss Durbin is not mar- sented Thursdays as , story from 8:00 to 9:00 P.M. over the radio’s of 'Almost pioneer 1 but, posing as the Columbia’s “You’ll Never Get Rich,” with music Mutual-Don Lee network, soprano star Sundays MJ* Angei especially ried by the Janssen Sym- * ,, calls phony broke a long 12:30 over ^ eanna ’ son’s fiancee, wears a and lyrics by Cole Porter, and starring Fred As- Orchestra, directed by the highly radio s “ting to be talented silence 0*® 1,J refuses taire and Rita Hayworth, is due for national re- American conductor-composer, recently Red DeW important engagement ring. Since Miss Durbin . ruby Werner Janssen . . byuv EMMA OTERO than her singing,” explains Mr. joining Kosterwsipf . . - . - - -• ring, property men devised lease on September 26th. Miss Hayworth was Janssen knows how to the and W2, 0" j-is remove her wedding arrange programs tint' “Saturday “ noted“'JLCU for*oi innovations in his film****** to technf « ring, originally Rita Cansino, a member of the inter- meet the tastes won®^g. C over-size engagement of a wide audience. ‘ has Tllat is a specially made, Rarely does C0 ' Umb,a why we are having her play her he »«««*-,:« own » gold wedding ring, is nationally famous family of Spanish dancers, and present a concert which does loflSP.MTasthl nationwide radio listeners for CC °mpanitnents which fits over the plain not contain - limiting the some 8' 11 ^ We h e that Is ’"1 solol5t «>'J accom °P and covers it com- proves herself a worthy partner for the agile unusual and colorful novelty the singer's ' This Ing. In the Pa limen in place by invisible tape, besides a standard sixwemh^ea? This artist was bom *' to the piano will keep the songs held ’ ^ arnn]r [ Astaire. Porter’s principal song symphonic r and dance num- work, as well as of music a 1 etel studied . . one Havana. “j^s Utnonethe pi y. . or She . two effective.” . „ selections. popular part in Cai- bers are The Boogie Barcarolle, Dream Dancing, Janssen has spent graduating £ nUrbin jive” plays an important a lot of time and r. Conservatory there— sings five songs in the picture. “Voodoo ^ They . In Havana,” Shooting the Works for Uncle Sam, So Near money getting his orchestra ““ “S orc hestra. for Miranda’s new film, “Week-End and together, and radio Bill pianist. At first she sang only ^ord’s Prayer by Albert Malotte; men critics The Yet So Far (a languorous rhumba which agree that he has was at um“ tz captures now one of the best and at amateur musicales. It * ^ from “The Ballet, by Sleeping Beauty’’ the picture’s most haunting melody) symphony orchestras T , Since I on the air. He acquired cert that Beniamino Gigli, the ten* ai kowsky Sam his - with special lyrics by musicai doctor’s ^ Turner , Kissed My Baby Goodbye, and The Wedding Cake degree from the to V University of her, and advised her to come Clavelitos b Valverde; Goin’ Home by California, Dvorak- y Walk. In the preparation of Porter’s music, and later won a fellowship sing® and MUSICAL FILMS Co- to' the RADIO study. Prior to the war. the Viene la Con a hy Valdesti. Miss csPt IW’ S lumbia has assembled ( Continued on Page 714) with great in the leaf as recorded direc- 662 ,«fV" these songs under the nlltd 0* Europe After returning < Conti ° CTOBEg 663 , »'- desired, being unable Home to allow lor Music in the of dynamic effects. Coppola the Home takes theta?**' Music in more slowly than do most conductor Spring Symphony the rhythmic beat in the timpani rath the solo instruments, „pi Eleanor Painter was appearing in a procedure . „ , n v th ? said to have endorsed but which “ and in light opera (Victor Herbert we f era Etude a The ? 8 for her) she Reveal role of Princess Pat Records t d the New A Symphonic Work by on of theater-goers, who prob- thousands American C- wmed c gifts. In The attractively scored 9 suspected her unusual literary Essay /oror* V “ever 15 told in the young American composer, “Spring Symphony,” she has Bookshelf Samuel f ‘pi Lovers n her Music has been given a tonally vivid, now tender, the story of the superb performs^ n’ow Beauty ® romances, that of Robert Tonal Eugene Ormandy and the of all musical New Philadelphia iv est Wieck. The work shows re- (Victor Disc 18062. . Clara The music is well? Schumann and Any book here whose biography of may vestigating. for it grows on worthy of a Hashanyi, reviewed one with J,- sell ‘ be secured from *:! performances. while following the life of the master MUSIC Franz Liszt, ’HE ETUDE so conceals the study of MAGAZINE at the Two Entr'acte Pieces from amazing- accuracy, Mozart's scon W th price given plus Gelber’s play. "Thamos. King variety of sources that it seems to be postage. (J3u Jducjli Peed of Egypt n infinite f^eter nervous intensity piece of fiction. In making this with by Mitropouias rather an inspired $ high compliment is paid to Minneapolis 8ymphony Orchestra comparison a very (Columb; a this 11578-D. The music, although Painter. Your reviewer found work not too im Eleanor (Mrs. Charles H. Strong) a Sir Thomas’ revival of this music. ts interesting for its anticipation Eleanor Painter issued be grateful for of tfe. of NE OF THE FINEST RECORDINGS significant and in- the “Symphony poser's "Magic Flute.” delightful story, with year, in of the one One of Haydn’s finest works is most this commemoration It should be a Clock” because Fritz Reiner, conducting the musical interest throughout. CaJ,man No. 101 in D major,” called “The Pittsburg spired O hundred and fiftieth anniversary of Mo- 8. MUM section of every home musical & accompaniment in the slow phony, gives a languishing of the fiction zart’s death, is the new Victor Album (M-794) of of the pendulum-like performance* part Wiener Blut .Vienna movement. A modern recording of this work ha« Blood Waltz, by library. casts, one of the the composer’s “Concerto No. 20, in D minor” Jet members of the Savoy Company performance Strauss .Columbia Disc Symphony” Savoyards Ahoy! (K. 466) played and conducted by Jose Iturbi and long been needed, and therefore the 11579-D*. ui& “Spring best known musically being Nelson Eddy. Painter Barlow recent By: Eleanor stories of this long the Rochester Philharmonic Orchestra. This con- by Howard Oman; Certainly the most remarkable non-professional This unusual book gives the is and the Columbia sion, which Pages: 362 productions and is, therefoie, certo is not only one of Mozart’s greatest, but is opera company of which your reviewer has ever series of memorable $2.50 to one of the finest examples of the classical con- Broadcasting Sym- this presents & Price: Philadelphia of distinct interest and value to libraries and Brothers heard is the Savoy Company of to phony (Columbia Set score. Publishers: Harper & opera companies, to say certo, the form of which Mozart developed a The reecrfi: which has been in continuous, prosperous exist- other non-professional all greater degree than any previous composer. M-459 ) is welcome. sumptuous. and Sullivan “fans” in had ence since 1901. It would be an injustice to call nothing of the Gilbert The impassioned intensity and drama of the The earlier set by Tos- Brahms' M this company an amateur organization because parts of the world. opening movement illustrate Mozart’s genius at canini dates from 1929, Festival of the Savoy Company” Owist its public presentations of the Gilbert and Sulli- “A History its greatest, as do the beauty and the passionate and hence does not do Ferguson, Jr. one writer hs a van operettas, influenced by years of study of the Author: William C. interlude of the second. Iturbi plays with breadth full justice to the con- reflects an sc remarkable circumstances, political, musical and Pages: 293 and rare emotional sensibility. The magnitude of ductor’s interpreta- phere that dramatic, which brought these works into being, Price: $4.00 the work allows for the broad and modern pro- tion. Barlow gives an The Savoy Company removed make the performances in most instances far Published by portions given it in this realistic, full-voiced re- exhilirating reading, man superior to the usual revivals of the great Savoy cording. But this performance does not entirely one in which nothing new satirical stage works. Surprising and Unexpected Book erase the memory of the earlier A ones by Edwin is exaggerated. Per- John has just ap- A history of this accomplishment has come Fischer and Bruno Walter. The Fischer set was a haps there is room for So much European war propaganda the New Yort ft peared. The author is William C. Ferguson, Jr., fine, scholarly exposition of the score; the Walter more to the writer’s desk that he is warrantably sus- graciousness in harmonic -SjBE It contains much historian of the Savoy Company. across a more romantic and in part more intimate read- a performance of this picious of many new books received from Orchestra (Cot precious information developed through the years ing. But neither set displayed the tonal quality or music, the Atlantic. “Hammer, Sickle and Baton,” the but the fact dfcfc gay clas- Set X-200. in the study and performance of these the dramatic import of the Iturbi version. that Barlow allows English publishers assure us, was written by a iiant reproduce:- The founder of the Savoy Company was Dr. Koussevitzky’s performances of Mozart’s “Sym- Haydn to sics. German conductor who had at one time also been speak for good pfci distinguished Philadel- phonies No. in some Alfred Reginald Allen, a 29, A major (K. 201) and No. 34, in himself is conductor of the British Broadcasting Cor- worthy of k- composer. He a 338)” But the older neurologist, musician and C major (K. are brilliant and objective, in praise, for phia poration Orchestra in London. The author, Heinz here is W' f of Infantry. the Victor Album M-795. by Bruno served in the world war as a Major Comparisons with the Haydn at his loqua- Unger, gives his experiences as a conductor who which takes tv injured during the Meuse-Argonne earlier performances of the same works He was fatally S. by that cious best. The record- Eleanor Painter with a group of artistic friends. Left to right, has made thirteen successful tours of the U. eminent Mozartean, ord faces to in September, 1918. Sir Thomas Beecham, are ing is loscha Heifetz, Beryl Rubinstein, Eleanor Painter, Artur offensive reviewer in these days full and reso- distinguished socially S. R. So skeptical is your unavoidable. Beecham takes six sides for rolli's three. Rodzinski and Arthur Loesser. So many Philadelphians, each nant and may require this of the Ogpu and the Gestapo, that we looked up symphony, smoothly & have had an active part in whereas Koussevitzky takes four for some and musically, musical encyclopedia manipulation 1 hesitates to name one Heinz Unger in the latest the “A major” and five for the “C major.” transcript company that your reviewer The for the best results. and found no record of any such person. Russian conductor’s choice of tempi disagrees Bach's Si Polyphonic Singing without naming all. Toscanini’s re-re- On his first journey in 1924, he describes the considerably Gnu. Of of the Savoy Company was with Beecham’s. In the first move- cording Safely The first production of the Pre- The cloistered beauty of the works of the choral Cricket Club, unmentionable filth, poverty and inefficiency ment of the “A major,” (Wfl*8 given at the Merion Koussevitzky virtually ludes . birolli. “Trial by Jury,” to Act I and Act writers of the sixteenth and seventeenth cen- mounted each which all travelers at that time encountered in doubles the time taken JOSE record a roster of operas by Beecham, and the slow III of iturbi fourth Mav 4th 1901 The Verdi’s “La Tra- turies Is among the richest treasures of the musi- “Trial by Jury,” five the Soviet land. He formed a real attachment for movements are also spaced faster. In the im- The ponpH year since that time follows: 8 cal world. These rare and chaste compositions S. Pina- the members of the Russian orchestras which perious and "801 ' Sir three years; “H. M. more dramatic “C major Symphony,” wh“ March by years- “The Sorcerer,” SIMS'S “-p-- »ith Imperial, A Coronation «ere sung demanded in symphony concerts. Koussevitzky is “r.; a cappella and therefore of Penzance,” four he conducted most at home, although ti years; “The Pirates his stress Walton, written for the coronation fore ’’’four of brass therein does Met contrapuntal bonds, which remain to-day one year; “Patience, The book bears the atmosphere of verity, and not conform with the com- Adrian vears' “The Grand Duke,” in 1937. Is well played by Sir the background art. have no reason to believe that all of this poser’s intentions. There is no question of a great and beautiful five years; “Princess Ida,” we that, from B.B.C. Orchestra (Victor five years; “Iolanthe,” the reproductive aspects, Symphony A renowned musicologist, Hans Theodore David, four years; “Yeoman amazing tale is not true. The author, with his the present perform- car, years; “The Mikado,” but the music, although effective, has three ances are more imposing. Indeed, ^ delved deep into ancient archives and and “The Gondoliers,” German inclination for discipline and prompt- the recording is most Guard,” two years; S 0l called one of the composer's of the superb. But those who intimately er SU te Produced “The Art of Polyphonic Song.” Le ness, is baffled on all sides by the incessant pro- know '; - and love cl«S „‘ P W' UOn to flV6 VGEirS. Sl s t e »* efforts. Jeune, the music of Mozart will do well y s am„ hi? Sweelinck, Palestrina, Orlando Di Lasso, of each work were given crastination and irritating confusion of the Rus- to make com- 4 enduri °* performances The slow "g works There quite a number Several been Ludwig i parisons between the Beecham and movement riiSf have * p# Senfl, Praetorius, Morley, Weelkes, Fer- most delightful of these sians. What does one call them now, when you Koussevitzkv beauty. B Chian enthua* each year. Among the approaches to This score to delight the chamber music rabosco, and the scores. has teen weuV/ t all are represented in this excellent open air performances given at the can’t call them comrade? Sovieteers or Ussran- London fortforth, b *lie Beetho have been the Beecham is not only String Orchestra Y this list are the recordings of scholarly with Dupont, a widely admired interpret p collection, which is presented sylvan theater of Mr. Pierre S. ians?) He pays full tribute to the genius of the d,recti°" 18, N®- beautiful er of Mozart, but also of G°ehr in »' tet No. 2. in O major” (Op. 'ill copious works are were followed past and splendid intel- Handel. The suite which is 2 and valuable annotations. The Pennsylvania. These great Russians of the the k y™ at Longwood. he has arranged from Album Mozart s for as foun- Handel’s opera, “The Faith- 18 We M-601) and two to eight singing parts. The collection of the famous illuminated lectuals who have escaped famine and the purge. “ >>'»*«. Set * exhibitions ful Shepherd,” <>y the (Columbia p by and which he has aSSSSS D minor.” K. 421 whole is musical scholar- those of Versailles m the whole, the reviewer found this a surpris- played with the a valuable addition to far transcend On London Philharmonic of Kero Stnng Quartf“ tains which Orchestra in Columbia played by the Budapest ship in this country translations are extent. ingly interesting book. Set The English their beauty and M-458, is most delightful play the opening °>°”y by been music. The serene beauty —3WSR2J2JR.-; of melody in Willis Wager. Many distinguished Philadelphians have “Hammer, Sickle and Baton” of the adagio is memorable, is someuro The and the remaining Beethoven work, which Art of Polyphonic Song” By: Heinz Unger fugal and dance numbers delightful^* are also highly eniov- “Compliment Quartet." is ited by Hans David Pages: 275 able. Theodore Handei himself moveme i uges: thought highly of the and the beauty of the slow ‘LT ;if :' in but the music l (Octavo) Price: $2.50 opera was not successful. long Ptlce: BOOKS There is cause to records vealed. The Mozart work, $1.25 Publishers: The Cresset Press, Ltd., (London) the Publisher mast : 664 indisputable g. Schirmer, Inc. ture. is revealed with 665 .:: : . ' Music and Study Music and Study Hound The Teacher's Table How to Get Up a Syncopated Pieces Musical Paper Can you recommend some syncopated pieces. Grade I to V. which X can use in and my teaching? I do not mean out Conducted Monthly out jazz, but I do not object to good & students the jazzy rhythms. I And that my aoed complication 1 SPEAKING occupies and Handel, for of note*'' PUBLIC discussing Bach interested if I give them mod- nu_ keep more Devi r simple ’ ' finding ' 5 place in our Bach, who with syncopation in them. exercises r an important example, show how ern numbers By h#»r B., Nebraska ^ Music clubs, works —F. modemrtf life. led a quiet life, produced rations—ail Ofefen “Full of «>nc in “blMjJ conventions, and Ofiphunt $ ate$ and reflec- Yes, here are some: Garman, classes, 3 are introspective music that •n. Also me flash * (Gr. II, good tap dancing stuff) Wjaif cards all offer the was al- Fun” gatherings while Handel—who public tive, < 2 . at ber colorful Eckstein, Pickaninny Serenade (Gr. I, at- mixkrj J musician an opportunity to ways before the public, learning 1' and spread alert syncopation for beginners ) out tractive tenj.T and publicity. In to people produced (ja't Noted Pianist might Tb* pin prestige So many club leaders and students are asked to pre- how to cater — Berna, Chiquito (Gr. II, a fine little Eight Chordal hJ! a most valu- appeal to more by Wa *» Avoid addition to forming pare musical papers, or give musical talks, works that tango); Mihailoff, Chica (Gr. II, an at- Music Educator thin, sapp;,- pjjf that ice feel public speak- of people, and are more “Tem- mer ••Sonatinas." able advertisement, that these suggestions may prove classes tractive fandango) ; Templeton, valuable.—Editor’s Note. if ^ poise and person- and popular than those peraments” (Gr. Ill, colorful, beautiful, ing develops brilliant 1'" original jazz pieces, especially Lavender md studies ability to read dT***J and the of Bach. Ho ksor» ality, Blue, Hazy and Blue, and As You Like sctl It nt ‘‘Six Oc and to think clearly A few thoughts well developed Ing habit of dealing rapid intelligently, It) Gershwin-Levine, The Man I Love lh ; fact, public speaking pro- average many points of notea In a wa V that I did no and independently. In mentality, and. average ability to focus will be remembered longer than (Gr. Ill) Theme Rhapsody in and from from anyone c!m and have nut dis- their idea from four vides such a good intellectual training and attention and retain what they hear. sketched briefly. If you cover one Blue (Gr. Ill) ; Mowrey, Lazy Pickaninny anyone else uae: I refer to the the increased mental capacities alone Instead of the sample paragraph quoted above, sides, you “put it over,” but if you merely (Gr. Ill, fine for high school age) Wey- of using theae w ord. tor a beat Smoll Honds cipline that may ; and Badmonj sixteenths, "one- and •then -a” i< to justify earnest effort serious suppose we say like this: ideas, you may miss out alto- bright, Prelude in D (Gr. II, good, short ate sufficient and something skirt a great many analogy of the device of * one-and-*' rhythmical study) Schaum, Isle of Pines Pupils “Handel’s significant contribution to the world gether. ; which I have often heard used on trip- (Gr. II, excellent an idea an rhumba); Price, Correspondents with this Depart lets i; I have even found helpful ihu Some fine musicians, in preparing a talk, seem of music was his development and perfection of Sometimes it is not enough to cover 1 . 1 but* t child ot neirtrlas Rabbit. Foot II, simple ment are requested to limit Letter- verbalization of the single beat (Gr. attractive to cover totally ignorant of the differences the oratorio, which he elevated to be one of the four sides. You must even cover each side Words to be important from to One Hundred and Fifty a slxthlet lor however you *pell it, * syncopation) Ruben, Jolo (Gr. II. short WlIIU«n* ', ; Book Three bn stT. in his repeat, and then "one-and-a-half-and-a." in style between the talk and the written article. noblest of musical forms. The choruses several times. In other words, tango) ; Templeton. Mozart Matriculates Great artists Insist on scrupulous ob- *19 OCt These distinctions will greatly influence botli the oratorios are the finest examples of choral music repeat again. In speaking we use much more (Gr. Ill, written for Benny Goodman, servance of note value, even a* a b»ii choice of subject matter, and the manner of de- in all the literature of music. Handel’s ‘Messiah’ repetition than in writing. But, of course, this an amusing take-off, sure to “wow" ’em!) to life is tempestuous and passionate in for later liberties. Tv,- known many per- critics the greatest camouflaged. Never contrast to the serene, fatalist accept- formers whose shading wna angelic, but velopment. We shall consider first, tire effect is considered by many to be repetition must be shrewdly who constantly annoyed you because Ihc ance of the classicist. The romantic's re- upon the choice of subject matter. and best loved of oratorios.” say the same thing over again in exactly the whirring of their wings was out of time' . r 2 I hj&t {to puplU. fjfil ic£ should What Is a Romanticist? action to creative stimuli is dynamic, the It has long seemed to that While this paragraph is simple enough to be same way. Each restatement of an idea me of all rourvtea and ilitnolititiai classicist’s contemplative; musical skills, perfect Avoid Text Book Information Several of my serious students of ’teen he is more time conscious- J.ktt remembered by any child, it nevertheless con- be presented in new form and new dress. age came to recently concerned with ness Is not the fimt thing a person me and asked. “Can immediate, temporal as- utik of no tounti a 2st tains information that is more interesting and 1 >arnK. but the very last.— <1 J Since those who listen to a talk have no op- you tell me exactly what a ‘romantic' pects than with remote, eternal values. K 8 The Importance of Illustrations composer is?” Iowa portunity more valuable than the first paragraph. Impor- “What is the difference in ftp to study or re-read, it is important to His invention (imagination) is human ifktu of the to m between a romantic and a classic necessarily more com- I can't resist pftfcil to Bttl*. 1 hiflQT fem use only tant information is not any Both in enlarging and in restating thoughts, poser?” in contrast to the mental or spiritual using your letter even such material as can be remembered “Why is Schumann more roman- the |«i though it difficult to remember than unimportant material. tic than Brahms?” And several other invention of the classicist. doesn't ask a question. After after one hearing. Heavy and technical infor- one of the most valuable devices is the use of to tUH > omm tad jrtt : tawtMffr questions equally baffling. all, th" function entirely possible for the talk to I am ashamed He is concerned with living, of a Round Tnbie is not I know to laurvct fetaaltat mation, figures and statistics, It is, therefore, illustrations. Illustrations will make your ideas contem- | dates, lists of com- to say that I could not give them a di- porary values; only to answer questions but to Thcj ttta to ojor c educational as the printed page, pro- rect he is a daydreamer, an stimulate positions, and difficult be quite as come to life and have definite shape and color. answer, and put on a poor show of bay to* names have their place illusionist; discussion; and that Is Mu ar Club, and wui often overwhelmed Just what this in planning what to say you constant- “hem and haw” without convincing them. by emo- text books where they can be given close study vided that in One good illustration will often give your hearers Can you throw any light on the sub- tional surge; subject “counting" subject has stirred to swift change of up Your i way). Do pu in keep in mind the essential rule of speaking— kind i the class ly a more definite mental picture than an hour ject?—A. B., Illinois. "beat-ful" room, or at home, but they will not conviction; Is illogical, wayward, ideas are original, In fact. to odkr tn a cue 19» ddd-2 emotion- be consider your hearer. illustration, they have remembered in a talk. of abstract explanations. An which You have my heartfelt sympathy, for ally restless, quite unpredictable in the scored a beat for us Round L j. VineteU Ta biers! In discussing Handel's makes an abstract theory concrete, has the same I know just what a spot you were in! trend of his creative activity; strongly Readers, please note that our “Messiah,” to name all Details Must Be Carefully Chosen correspondent 1. Tn one of the WagowBrtW the places refreshing and enlightening effect upon an audi- You were as embarrassed, no doubt, as influenced by the sentimental, the fan- is not an instrumental and dates where it has been given sane of the easier Gdoct^ the jittery tastic, the teacher. Just 2 or 3 : aho "ill cause the selection of material is also ence that a beautiful picture has upon those parent whose child, suddenly eccentric, the violent. These shows, doesn't it, how much people to go away without remember- What is true of we prniiQnl Don't neglect develop confronting him, asks point blank to be biases and excesses often cause him can learn from someone outside mg anything. But true of the manner of handling this material. reading a book. to our arpe£?xs«^ if you say that the advance told the facts of life! cut the traces of line. All honor stretch. Chords and tradition and burst the to G. J. E. S. for "beating" sale of seats You must again consider your hearer. Some of Comparisons and contrasts make effective Give be for the first performance was so But don’t worry, you are not the only bonds of convention. us to it! beat spwin developers Seat that the principles of composition which apply espe- speech material. For example, let us compare ini a2®; the newspapers published a notice victim. I recently heard a well known To sum up: the romanticist As you say. those •rpttrk», both in close is sub- excessive Tempo 015 requesting development of a talk are: Handel’s “Messiah” with Haydn’s “The Creation.” radio jective, diminished seieM the ladies not to hoops, and the cially to the commentator on music get into the or personal, in his approach Rubatoers are an positions. wear to unmitigated nuisance s® Sentlemen details. The “Messiah” is generally considered to be one 1 in il 1. Beware of unrelated same hot water art; the If • each hand 7 not to bring you were in, trying to classicist, objective or universal any one wants overwhelming tour tonr* in their swords, in order evidence ° few points. of the finest oratorios ever written. It is nobler, define the term, “romanticist.” It is always difficult to prove that and rerv short, lixht ocurf-^® accommodate a larger audience, listeners 2. Develop only a to label a com- great artists play in time your We must remember poser. One like Robyn's "Chert Ct* will take important thoughts. more sublime than “The Creation.” But “The that, like these Brahms will be prepon- just let him put his metronome else* El amine | away a vivid picture of the popularity 3. Repeat “facts of life,” on the CM*' some terms are not sus- derantly romantic, records and isness' The E*h! ,UCCeSS illustrations. Creation” is so vigorous, so filled with joy, its yet with a strong of Toscanini. Rachmaninoff Wa erf°rrnance of the “Mes- 4. Include many ceptible to exact streak et nl P definition la of classicism; . siah’ a Webster. another, . The and comparisons. melodies so bright and beautiful, and its or- like Schu- rhythmic liberties taken 5. Use contrasts Ideas like “romantic” connote bert, clings closer such by have rather to the artists 2. Ala». all of us ff you style. chestration so richer borderline be- usually ) arei 6. Cultivate an informal much and more modern than define. They tween come within the speaking of Handel’s life and works, bring classic ones , up whole series and romantic. metronomic two girl il They are the I suppose measure, and are "ot mclud skillful use of details is an important than that of the “Messiah,” that it can hold its of thoughts and images, both often even nxtt 118:4 e a paragraph like this: The each individ- Schumann and so slight ttk> music teacher Chopin can that the down [ talk. If you use details beside ually be deviation 1 success of a place the “Messiah” as a great masterpiece. true, but inadequate; called ’ can scarcely 1 ^ WaS b° factor in the the sum of pure romantics. Yet, be detected. roanMned Pranklr. m 011 the twenty-third °f Feh- in spite of others niarv'uf object in view, your talk By thus placing the them all is necessary this ' 85 a special works of Handel and for ’ carefully, with one’s grasp of common label, their et the ailment;-^ at Halle in Saxony. studied theory, artistic outputs Sta t pftttace* for liam He the concept. In the following are worlds " neW s“*" n W1U. ' i, concreteness and effectiveness. But Haydn under the spotlight together, we are able paragraphs, apart. GJEsG.J.E.S. ’T v mrt organ will gain in Count, none." Have you ’ violin and oboe under Fried- I first, last ain't fich shall try to give you some “leads” If I were you, nnd „nw ~ wiT’ together numerous unrelated de- to draw a vivid and a concrete picture. I would apprefl*3 lm if you jumble ’fess im music ®. Zachau organist Frauen- esson into a ’ of the which I hope will students kirch stimulate you to de- that it is ^ e *t plan or purpose, your message In speaking we use more padding, filling in, impossible to for 5*® - n 1707 he tails, without any velop define i lovely music brought out his first Italian your own understanding the term laying ^ 0 of the “romantic”; but by p e certain failure. Nothing is more or warming up material than in writing. Jokes, word, some such Hcmd? That bsttt® Rodri80 -’ In will be doomed to “romanticist,” device as the above Do Not Coordi scril its historic 1108 he wrote ‘Agrippina.’ show them note Handel w difficult to remember, than un- anecdotes, and interesting stories may serve not Tow its 1 What type* >ote anthems, two passions, ninety-four boring, or more Can be illu of your ™inateTl give a *tudehrof TOti organ details. Instead of burdening only to wake up a nodding audience and put suie then quick T Vv^tTT Z?** * symmetry, I concertos, organized comprehension j 1 who of bnlane 51 violin sonatas, harp Lines ° 1 PUno one s®* sichord everything a composei in spirits, on a Romanticist spouse will mme' ?.' year and^Bni Do nil SUltes audience by enumerating them good but also to throw a light surprise content? ' overtures for ten pas- you li orchestra, pl * CCi0 compositions which have on the life and character of the A romanticist puts sages *2* 5 ’ Some those composer, and content above form; fluently?' Kn hand" give them their lessons serenatas wrote, ferret out not c art# I and songs, forty-two he fits the form a rtne I history, examine them thus have a deep and vital part in to his expression, while Ulty to re*d chailen* and seventeen given him a place in your discus- the Beats TTvTa? h rhich oratorios. Handel died in classicist fits Jiis expression All! lon and bring out the char- sion. For example, the story is told that Schubert, to the out? Dc > April 14 .” a microscope, form. technic la irotted 1759 through 1 0 iacK.s ted. hut w>ht distinguish them fiom the on hearing one of his own songs, Mm . is remarked, clan, mateUr mus *- and tlmr \ pieces togei- Wr°ng acteristics which Puiity, clarity, precision, wlth^bout twelve ve ... or two Dialio with this Paragraph? The in- economy, bal- who :pe lence urinf Nation and make them master- “That’s not a bad song. plays ' j composers Who wrote it?” This ance, symmetry violoncello ? '; Do you k»n Uwn lm P°rtant, works of other all ST ab I — the than °minabh life but it sounds too much concepts of the other , string „ at tec*- a— all the places in which incident shows how prolific was Schubert’s gift formal classic also truments av Instead of naming beauty are piano - and history, pieces reshaped and and pipe 0 Of ary or, even worse, a diction- terest 7 chlef 0 f all the teachers with whom of melody, and with what rapidity recast to serve the romantic’s however is slnglne in- US ianS composers lived, and he composed. purposes. an? vocal ners LI '““ ' ^ contains too lists, ducting. I am con- Sonatinas.” and C5 many incidents The rather i . anr] only those which Can you imagine Beethoven, romantic rebels where the low tIOna grade. She P as a difflcultT studied, include who worked for classic but that ‘ IeI " sight readflL. Do they has never “lert with names for a talk. Someone accepts. The romanticist is counting, k“Dt me and whl and far reaching influence months to perfect a theme, not recognizing a crusader- verbally fron > healthv most direct one and strt£i 4 ^ deve e , ' Music and Study Music and Study Box at the Your Private Operi & 2)r. O. Jf. CJ.Ut Rameau’s Editor of Radio Today to attend performances people are able of the .fi Relatively few thousands of erropoiffn. yellow brick opera house at Broadway and Thtrty-eight Opera Company at the old s(reeJ® gone, but the social lure is still New York City. The Golden Horseshoe is there. Inspired Thoughts the stars cannot be sent over the ether except the costumes and the presence of by the atmosphere of the opera through spoken reports of ingeniously projecting on the opera goes out to millions who only a few years of the performance. Thus ago wth Caldwell has given heard a fine operatic performance. Dr. O. H. to Th* Etvde a veryfrgSM Note. description of hoio this is done.—Editor s on if: for television. cventuaUr, aa( .. | K for coaxial cable are aiready over fc- which the scene# aftht Milton Cross, World Famous Announcer (ft later be transmitted to in Your Private Box at the Opera. the cafe Voice Culture vision studios In Radio City. ife; however, this televtaton" oooBi 1«8 used by the Latin-ta®; N THE OPERA HOUSES of Europe, nouncer, to follow the opera in i, the reigning king or emperor always and Portuguese for short-iax. Eu ^9rene E9lbbd I had reserved for his own use a pri- from Havana to Buena) Aire. vate —box in the center of the first bal- cony “best place in the house.” But, The Nerve Control in the great Metropolitan Opera House that there is no also attempted to do for vocal science. Behind the central conW ml in New York City, the imperial box genuine method of Nevertheless, Rameau’s method seems to have which U the "nerve center’d; squarely in the center of the first tier voice production attracted little notice, if any. The principle Magic at the "Met,'’ are the net is appropriately reserved for radio. In whatsoever, that reason for this is possibly that it consists of but Radio Magic apparatus, tie ssEi this huge American opera house, the the ability to pro- a single chapter, hidden away in a volume which and terminal equipment ftrtfe:. "royal” position—at the focus of fashion duce from the voice is devoted, in the main, to the science of harmony erous programs, signal and t» te- and beauty—is occupied by the radio beautiful musical and accompaniment. This volume is “The Code nds used In the Saturday Biaefe control room through which ten to tones is not the re- de Musique Pratique,” published in 1760. The broadcasts. The control dak, tail fifteen million people hear the opera sult of any system title of the chapter in question is, “Method of dapsi each Saturday afternoon. For here sit the pick-up of orchestra and of training, but is producing from the voice the most beautiful occupies a ss-’ the musically-trained engineers who nine microphones, entirely the gift of sounds of which it is capable, of increasing its preside over the mixing panels that directly behind a window am&\ nature. range and rendering it flexible.” combine the sounds picked up by the an unobstructed view of tie SM JEAN PHILIPPE RAMEAU In such difficulty Rameau has a few preliminary remarks to nine microphones in the footlights the advantage of and is here that one is eager to wel- make on style, which are important enough to orchestra pit. It is here, too, that by speaker monitoring is found St* authentic deserve quotation. He begins in his incisive, HAT IS training come additional light from any alertly 5 THE BEST METHOD of twirling their controls the en- fective in guiding adjustments W trenchant way “Singing masters, especially in the quarter. gineers are voice?" This is a question which able to “follow the action” various points of pick-up-in’^* excellent France have always taught style in singing, with- W may It so happens that one of the most be answered in many ways by all of the opera, and so to bring to the p®®*] radio lights, high above in who vocal science is hard- out concerning themselves much with the means claim any knowledge of the subject, and little works ever written on listeners a flowing dramatic sequence commentator's s®. '' to procure it, neglecting to perceive arch. In the °thers author is none other than the illus- on what a of the “story who know little or nothing of the sub- ly known. Its in music.” Thus, in its new 'Continued m W genuine style really depends: every lesson on backstage. ject, it is Philippe Rameau, who was certainly broadcasting indeed something about which the most trious Jean booth at the “Met,” radio, Your Private Box at the Opera style meaning, therefore, so conflicting musical genius of the first order. much waste of time after nine opinions exist. There are methods an analytical seasons of reporting the and effort.” ®hich may born in France in 1683, and died opera, finally has be termed scientific, empirical, physi- Rameau was a room of its own. With the performer Rameau goes on to say: But, above all, diogical, 1764. He became celebrated as a 1940-41 term the National the advantage lies in sensational, and methods without in Broadcasting Com- “For what use is a style that is not working W1th “fctliod. organ and on the clavicord, and was based on pany’s opera staff permanently installed The physiologist stands aghast at the on the is now comfortably and effi- equip- feeling, and ment inside Presumption the foremost musical theorist of how otherwise can it be procured? ciently installed in a scientifically built of those who would attempt to train recognized as a modern radio booth squarely sound Style in song is like bor tory e voice one of the greatest musical gesture in the actor. What in the middle - Until this season without having a single his time as well as of , seen or made the great auditorium. , NBC’s staff is true f experiment day. His compositions became and natural is easily distinguished from For the broadcasters, UCt Us broadcasting with the laryngoscope, or without innovators of his the new radio section almost operas held the that which is merely imitation. Let a piece be surreptitio°n^sun eptitiously prrag studied enormously successful. His , so means conclusive recognition of radio’s as not to annoy the in the most thorough manner the place in dience. au- years, and in recognition of ever so well rendered, unless it is based on Now, for f Parisian stage for the new order in American opera. the first time, the y ° tbe larynx and become acquainted For it is engi- with°fv, raised him to the nobility, genuine feeling there will always be a certain tmough broadcasting the functions his ability the king that on ,, , of its different parts. The opera property of their f„T something which all — speakers in exempted him and his family from the usual makes the difference, but the few in the old days—has i”*an acoustically isolated points triumphantly to the old Italian and now become booth everything a sch°0l It was not so much to what on which depends. A little more, or weekly rich pllcate singing, taxation for all time. experience in the lives home listening jw, and wants to know how much of millions conditions foice tete a little less, a little sooner, or little ThP ^ as his admirable do , a later; in fiom Maine to Hawaii, e adjustments r Porpora Fetis describes from Canada to the Ar to balance the vol- ° knew about the anatomy ofth i remarkable “discoveries” fact that exact precision which the expression, gentine. umen? P 1 arynx that Rameau owes his UPS ' OVer an intricate Another thinks it is all a matter of mil t~ network of a/ that he was endowed with an ex- the situation depends and demands, failing at rophones thus U iCS and He as to the fact becomes infinitelymnueiy pins faith on resonance. any one point, everything Permanent easierpa sip and 'rould° vf mind, of keen musical penetration, becomes insipid, and Installation more precise ave all singing thoroughly traordinary ,, , ,v' masters be D His work as a musical the effect is lost. At the theater, this man, for 6ir and power of perception. new Metropolitan broadcasting Helmh°ltz. One considers that deep quarters breatv>- such vital importance that neither example, to whom nature has given a good voice, the ng * theorist is of NBC engineering staff now finds S he a11 important thing; another it easier to has ^ hesitated to eulogize him pleases me less than this other, who is not so operate SE di' Fetis nor Riemann has and maintain equipment red that the whole secret lies in the that is per- c real science of harmony. favored in this respect, because the manently b mtivatio n as the founder of the latter puts installed, rather than p head voice; and still another assembled unit recon£° Rameau did for the science of harmony his soul into all his expressions.” by unit for each broadcast. &£ oX„ endS as the And what They have also S f tbe only Possible method, is been W»U thrown to its fundamental principles, he It evident that Rameau is here declaiming able to introduce of masonry 1 of by reducing it technical five i® the tone parts improvements tet tS’ of towards different here tjj against the stilted artificiality which was too tofore impossible, to raise ody and the quality of’ by allowing one’s self to be guided opera th common a characteristic of his time. broadcasts. The view nSati of the stage is °n ex erienced and so on "ad definitely ihflnitum ” P > It is also the dramatic composer who speaks, better from the new quarters than it was from the composer who carried on so well the work side box 44, the old center aS a of operations. logical and natural climax to this Lully, mediev^f begun by and ( Continued on Page 704) The b0°th conflicting “ ** Herbert Uvenedfje. R „ PERIOD OF YEARS The ETUDE has Study V R A Music and Music and Study hed inquiries from readers concern- pub j is organs for the home. No doubt 0 U ree(j to hear about one that the writer W U id like ttiey p° modernized, both in rebuilt and ap- Musical (j Moment method of operation, and at no prance and My Most Momentous , Rebuilding a Small of keys gives the instrument ^whilTthe number musical limitation, we feel that the H finite 3 _Ueijllul converting the organ was worth while, DoU to Idoie of mellow upper tones and vibrant m haunting Organ us. Home have captivated to prepare for the basses substitute. It was the fir Third Act. And advertisement in a local paper, stating that was chosen as that still ti* An out front continued, I was no newer than the rest more urgent foot-pumped organ was for sale, started I had sung in which mortk small Tibbett I took part In full increased now by cheering days later this quaint old Lawrence of the cast; the first for which that con? adventure. A few Further, every through the doors and the basement. ensemble rehearsals. corridors cf in our of my stage and O organ stood he most momentous moment the house. It the cast would be subjected to that went on for seventeen^ pipe test amazed us. The organ was 2nd, 192o. member of A tuning M k J4. S.eymour musical life took place on January is generally reserved my little room. I heard It and be played with our piano. In :/" critical scrutiny that marveled pitch; it could r of detailed ?. V T during the Second Act of a performance in principal singers. Thus. I was well awar of the musicians came to me in however, the instrument was in a rather at the Metropolitan Opera for the excites.? general, Verdi’s “Falstaff,” • role of Ford meant a great opportunity They are shouting for you'” he The bellows the beginning of that performance, I that the tried sorry state. House. At of felt to the key bottoms roads lay ahead of me! Because I lime they yell Tibbett. Tibbett!' holes; the which vary the by gluing little squares struggling young aspirant for But rough Maestro J were full of was an unheralded, the valve rods. and inexperienced, several members wishes you to come out alone!" worn off the amount of air ad- where they contacted honors, entrusted only with secondary roles. By was unknown carpet was reeds When the organ was finished I carried it up- of the cast wished to I couldn't believe it and I didn't tom*, boards. Stops mitted to the the end of the Second Act, pumping weighed about two- have pie removed from do. I dared not go out without crazy dis- thus producing soft stairs alone, since it then I become the recipient Oatti’s pesa stood out at had left the suction the part. In favor of From the wings, then, he saw brackets or loud tones. The thirds of its original weight. We of a public ovation which me and!*? tances. Shelves, connected it older artist. Time me to come The Third Act ornaments two aprons control mechanism in the basement and far exceeded my wildest an had been de!r^ and wooden rehears- call-curtain the upper and lower to the organ with a non-collapsible hose. The dreams of triumph. In ret- and again at had been lifted, all hands I®,* towered loosely above registers respec- electric switch for control of the suction motor rospect, I look upon that als, I was asked to Ing to go on with the opera; and I steggi main case which receded the organ. This switch connects to side of before the great giving the tively and indepen- was placed on night, not merely as a mo- step the the gold curtain, alone, mi at the base, dently. to the vacuum machine below through a base- ment of success, but as a stage while some most momentous musical moment, themes whole structure a top- a fifth stop plug outlet behind the organ. A music rack was sharply demarcated bridge other singer tried out erous ever accorded an unknown beginner heavy appearance. You When is pulled, two notes made of strong light-weight wood. A bench was between obscurity and the role. Up to the day After the performance, I had aboxlds could have torn the in- the original to- made in proportion to the new cabinet. something vastly more im- before the dress re- a dairy lunch room and telegraphed strument to pieces with — alterations. portant than personal ac- the gether with an oc- Only three things caused minor hearsal, I was not at to my mother. The next morning, 1 see bare hands because claim the responsibility of tave—are played by First, we could hear the vacuum machine even — glued joints were frantically throogh pow- pressing- though it was in the basement. To overcome keeping faith with my pub- dry. merely newspaper tor ihe ri dery The varnished lic. down one key. This this we built a box with holes bored in it for column and (omd-tdi oak of the case was octave coup- breathers. The suction machine was put inside To begin at the begin- thirsty is the Ing! But. on the fesl from age. But we ning! I entered the Metro- ler. The superim- this box; and the box placed on chunks of rub- page, among the fell in love with our politan the previous ] mechanism of ber. That problem was solved. season. acquisition. posed news items, 1 rai® I had had considerable ex- the octave coupler Second, we could hear the suction release at amazed me mete flat perience in concert, ora- The Work Begins is a unit by itself. the back of the organ after the bellows pulled did anyone else—tto;i torio, and dramatic stage One glance at it and in. This produced a hiss. We fastened this release unknown young!®* During the next month v.ork, but very little in you can see how it valve down tightly on the bellows and installed singer named la® we spent our weekends opera. Consequently, I was functions. Mrs. Sey- a suction relief in the basement section of hose. Tibbett had fl77rei'!f> planning and working. assigned minor roles and, in mour made fibre A draft adjuster such as is used on oil burning there W2S3B35 Previously we had never time, a few secondary parts. that, washers, glued loose stoves was used. srysff seen the diate demand for inside of any As a start, this work looked valve spindles, Third, after the suction was adjusted to be organ. hopeful; ices, chiefly intte H®* We had only the as a career, it sandpapered and right for the majority of tones several were Lawrence Tibbett few meant as Rigoletto work for which I common tools pos- obscurity forever. So painted as we both found to be sluggish. The reeds are removable sessed by I gave myself five self least prepared most house- years in worked; and our from the front, using ordinary pliers. Adjustment bei* 12 holds. First, we which to assert myself. I had worked took the If at the end of that time all organ gradually can be made by slight pressure of a fingernail certain of being orSan I was still cast for every apart completely. subordinate parts, I determined allowed devoted became an entity. against the reed. Usually the reed had to be to to appear in % that I mean leave the opera and energy I no single return to my native Cali- the P®*®. plugged into opened a trifle. A brief amount of experimenta- public perform- •* Piece was The Remodeled Organ We fornia, to secure what faith left attached engagements I could. Thus ance. keeping bellows with a tion brought satisfactory results. having When a fright- to anything the set a time limit to my chance in opera, public that tiaa^ else. The ened t0 side of In the case of a small organ, it is important young beginner P with hooked it to the suction I worked hard to gain me eJ its shelves and brackets was discarded. rubber hose and sufficient experience to go ously given to have arrangements of faces his big The. vacuum cleaner. This machine good music. There are ahead. chance my*'' two suction bellows were eliminated, and an ordinary house That is why of under the in that the foot tieadles many good books organ music published now. It was not easy. tension of pieces of now created the suction Operatic routine is such means m®' wood were fastened over the valve that insecurity, ment" had an electrically op- While all the notes, especially the pedal bass, the standard, something t0 seal them. re- used to produce. We now frequently-repeated . The main bellows were performances happens than merely were can not be played on a single keyboard organ, offer a to him; either cnied as switch snapped. Keys beginner little scope and less critical a reservoir for the mechanical suction erated suction. A atten- he acclaim. WJ it is challenge tion. Since weakens, or he came forth. It worked. a to one to select by experiment the principal singers are appreciate Panned. Leaks repaired depressed. Music thoroughlv feels Harold Bau«r can in the fabric were the best combinations. conversant with his backbone at th» keyboard rubb originally had a swell pedal which their roles, there are few er cement and strips of cloth. After The organ stage changing Our rebuilt organ is a modern and ensemble rehearsals; into a rod Wemg with the right knee. We removed piece of furni- a newcomer must sat- on a design, the new sides were sawed was operated isfy he pedal to per- ture. It produces pleasing music. Everyone who himself chiefly with n Str0 y b substituted a small foot piano rehearsals, T Serafl ''' the and—the curves with a keyhole saw. this and and has seen and heard it likes it. the hope of some te.ZX dec“ ?d , Bauer The Another foot pedal was And it cost us special, more fully h.tTWas l ° Harold cabinet was form the function. rehearsed I determined keep the role, reassembled, using woodscrews twenty dollars. performance later on. that operate the octave coupler in con- the °re musical plue ^ we bad no clamps. We bought installed to other singers My ‘most momentous one Among the organ books suitable for use Such a performance was miehtght | s® a stop. These two pedals were on such scheduled be ’ none H sheet with its in the re- prepared. should be better *ut. sta*5„ t- of quarter-inch plywood for the junction vival of “Falstaff.” around my American d front by rods and an instrument are these; Presser’s Two-Staff The opera had not been center. of wood and are connected given as it cut out in New York in would never have developed move the Organ Book, Compiled by William M. Felton; years, and nearly everyone While the to the point where they in the weUM’hen! Act pianm ^ — first coat of Paint was drying on bell cranks cast approached went quite accidentally become a th e ea It all Classic and Modern Gems; Murray’s One his part as a completely 86 swell hood respectfully. Hun- new one SetZ?e ®^ cond ’ We attacbed was stop lever and the scene Act. became the mechanism. There That meant extensive stage which t j came the proper place to begin. I nothin dred Voluntaries, Edited by James R. Murray; and ensemble re- Complicated very smoothly. the Antonio chose a P* about it. Suction from the worked hearsals, and anyone taking Falstaff. At Scottl. because a Czar of Russia ,# bellow? was drying on Reed Organ Player, Compiled by Walter Lewis; part in them was sure the ^nd o^t^the mes the final coat of enamel of Monologuewlogue great JealousyJi starttof up through a series of holes in While advantageous in , After a fiat One Hundred Voluntaries, coaching. I had mymv part ment at which to die. t ?1 the keys. They were at Preludes, and Inter- hoped to be cast ’ hep i ab etop lined up house jr ^ - the case, we ‘ box. tumult broke ' 0ver this top is the valve for some small role of into a native En? fi Ea C ludes, by C. H. Rinck; in “Falstaff,” but applaud v cert violinist in my h t alignment was accomplished Practical Voluntaries by was ' . 0 not sur- nde standab # e Pas a valve closed various heights. This prised all thought it l>'. while. I by which is normally when the parts went to was meant y Scottt to Paris where, for a a Favorite Composers; Laus Organi, Vol. 2, by J. P. more exneri for hls share£ 16 spring Backstage, lr» - the enced singers. , the sc< *d When one presses a key Then, shortly before the Mr Gatti m * rather rough. I had always h * action Weston; Laus Organi, Vol. 3, by J. P. Weston; perform! or %*^| PenS a ance, the he kept lhe lar c valve that connects the reed artist cast for the secondary ! same, piano and taught myself to P hamber Reed Organ Selections for Church Use; Crown role of Mr for had Ford ill solo the suction the reed vibrates became and bows. c of anf > and Folio of a substitute was And th annl ™n upon days when I was glad tuodiicing^a Organ Voluntaries, and Parish Har- needed. I .K ORGAN a t, ' J whUe, then ‘ accompanied monies, by J. W. Simpson. wen^ ment. I occasionally tjf or gan 670 has four stops that control two aprons Zl piano. After one such (Continued °CrOBEi? 671 j 1941 Music and Study RANCES DENSMORE, whose gay smile and bright spirit give the lie to half her seventy- She Collects War Fthree years, lives quietly in the small Minne- sota town of Red Wing—so quietly in fact that neighbors in nearby towns have never heard of her. Yet her name is honored throughout the world, wherever scientists, historians or musicians J3u clward (Lt\ gather to discuss the American Indian. For since 1907 Miss Densmore has collected the music and St,ewa rt legends of the Indians. The seal-hunting Abori- gines of British Columbia and the White Indians songs in thirty of us. since:e a of Panama are her good friends, while throughout tion of over twenty-five hundred measure In three-four^, languages and the writing and publishing of likely to be followed by Mr. Steivart presents a practical picture of the School Instru- North Dakota she is known as the White Buffalo another^a the tempo. St.'. Iowa. Perhaps an endless of Chief Fox. twenty most informative books. Moreover, Tuneltleless to many mental Music Program of Mason City, Woman, daughter Red people, fife this humble young piano teacher recorded were sung nth unmovmg amount of reseach would show that Mason City is an average Miss Densmore was born in Red Wing; she at- music lips, throuthtx. of that small town music store slightly separated. American community; or it might be the typical Midwestern city tended Oberlin College, studied music with a Har- in the back room Most seem to be any case, the plans, the vard professor, and during the nineties taught was later played by the Flonzaley Quartet and the key and exceedingly mournful of comparatively small population. In Minneapolis, Chicago and methods, the philosophy of the Mason City music leaders, are of piano and organ in St. Paul and Red Wing. The symphony orchestras of Many songs arc wordless; othen interest in or connection with work of Theodore Baker, German scientist who in Kansas City, and furnished the themes and in- or three words In the interest to anyone ivho has any middle of the"*' 1880 had studied the music of the Seneca Indians spiration for many songs by Cadman and Lieu Frequently, the the Music Program of America.—Editor's Note. words may be In the vate dream language, In an archaic tec a code known only to members of a seosj^ School Music Building. Mason City, Iowa Moreover, finest type of music literature, and they have no popular joepyj ments assigned to form the songs; and they never sing Personnel the individual. Such strive for musical perfection at all of the con- merely for esie ment. Their music Is always are with a view to embouchure, certs. From the two groups music and entertain- designed feij ACCORDING TO THE LAST CENSUS, Mason changes made pose. Children sing when playing and characteristics of the youthful ment are furnished for all high school and junior gam A City, Iowa, has a population of twenty- tendencies success. A trial council, begin- with an empty tag ia seven thousand. Just last year the school aspirant. New sings a song In honor of a wealthy arrangement was changed from an eight-four ning students are also is expected to rise and to instru- dance to the mst,a plan to a six-three-three plan, administered by assigned then contribute some of his “white cetftt tee schools: the Mason City High School with ments in the junior council. But primarily the an Indian smjstaics an enrollment of 1.050: the Monroe Junior High high grades. In food, as In his rain, hunting and fishing ® School (enrollment 601 »: the Roosevelt Junior junior high, the es- monies, or In order to dispel disease so High School (enrollment 575); and eleven grade sentials of good per- may enjoy a long life. schools, with varying enrollment. formance are early No theory of supernatural interstates The Board of Educa- impressed upon all stu- behind these songs. The Indian feels iasteii tion employs five full- dents: appreciation of every object In nature, himself incMatta time music teachers to good balance, famili- certain wisdom and power called trada-Bys handle the instrumental arity with good litera- ing the song of the deer at a crucial program for the school ture, understanding of can borrow the deer’s power. Appar system: Carleton Lee tonal colorings, and Is psychological, for he says: “I can led tit? Stewart, in charge of development of tech- flowing through me" high school band and nical facility. While organi- Thus an Indian's music is is orchestra; Marjorie the junior high feed to his medicine, his religaaE- Smith, in charge of zations do finally High School Band. Mason City, Iowa history. For this reason, Is S string instruments; J. J- the high school groups, en- more's discoveries are of B©- Fitzgerald, Monroe they have separate basketball games, for all Gfei activities, and have a program vital college football and interest to such men as Junior High Band and tities and serve the community in what- other high school and community activities as Franz Boas, father of aW® Orchestra; Lee Chris- unto itself. They of the needed. They serve the community not only as Many® capacity they may, and aie a part The material heritage Carleton L. Stewart. man, Roosevelt Junior ever Seminole Indians in Florida Director life. small; far richer is the stats' of High Band and Orches- community Instrumental Music, transmitted from one school Marjorie Smith gives dom Mason tra. and high m New York, first aroused City. atten- her interest in the sub- to another. Marching Band; and ier complete ject. And ranee as well as the with the encouragement of ion to the string in- Alice nucleus of W. A. Storer. in charge Fletcher, pioneer collector an en- and Best®* of Indian Photographer all ternment players of the music, Miss tire opera, grade schools throughout the community. e '1 more be the work gan to take down In and as- . by ear the songs done general, as ligh school, /f of an Densmore has the duties of these teachers are of Minnesota’s Sioux and Italian com- Miss Chippewa Indians dur- W®* •lows: ists in the string prob- ing her poser. record music, patiently Mr. Storer encourages and promotes the summer holidays. The results high did not it tivities of the junior isfy sat- painstakingly analyze of all grade-school students with ability ems her, however, for no tinkling she piano could Difficult to publications »'| (d inclination Hav- chools. Often duplicate the voice about it for such to play on an instrument. of the Indian, the clack of start pupils on the Understand Musicology. I begun on an these pupils re- telps to an °f the Journal of instrument, P drUm ’ She soon I,e in ^alized cl ass nusical instruments that theth p , Miss has gone forth lessons and are entered either in the only accurate way to preserve Densmore is She Indian one ginning ;rade schools. It is her nusm was to make of the few per- men to dig up plants group or advanced ensemble. No effort phonograph records. So well a to or- did she sons who During her ade in the grade secure or adhere esponsibility succeed that, in 1907, she was genuinely the songs. schools to designated MISS FRANCES sfce^ 1 drill the collaborator” enjoys DENSMORE states,, standardized instrumentation, but ;anize and by Washington’s ancient unadulter- through thirteen balanced and ated •yry effort string ensembles, i nany august Smithsonian Institution Indian music. come a competent is made to teach beginners the proper inner and 1* - of ind to direct Scurried at once to Detroit 5 making visual as a® w producing tone, the essentials of Lakes, near the Little White Earth Indian qu^tefher and ^ and a naintain also a reservation in northwestern SritedefinS records of Indians and Indian feeling for cooperative instrumen- Minnesota. the Indlan se Waying. theatre Orchestra, There she set up pandemonium music is the past thirty-three years she has These pupils often appear in per- shop in the of a small h " High School Orchestra, Mason City, Iowa back ance at plays loom of a music ni si1 vhich serves store, cranked up .** * of In Indian agents’ offices, in coal before their school audiences, and the the old-fash ih | 51 high ioned cylinder begins 10551 IndianIn Of & jced ;iven by both the recording machine and “ high andr.H ...... T bake ovens, and once—in a jail. group gives at least one public concert. a»C fa SIS!* persuaded' scale Is stearinly^ community. a large ensemble, but, on proper occasion, with her Indian - down ®e ichool and the friends to sing into the Usually the last the junior high schools, Mr. Chrisman and mouthpiece, n11nof»°te is the he says: and the orchestia pei- soloists and small ensembles. It is the duty of „ ZS entirp . p band !nIn this manner didaja entire work. l0WeStlowest in azgerald high school she rescue ' the the"’ ad- The from oblivion sonsrs Percussion is^the “First of all, I put curtains at organize a band and orchestra, the high school band and orchestra director which were being ment, y ^ " to sung in America and frequently ^eompani- walls, even g a correct closely as long before ?he the drums u hang pictures on the office instrumentation as see that these obligations and activities are ful- white man rhythm a 0 ' J° ever set foot on than the difTprent four Naturally uuai the American soil solo vofces ^fvtvf^ a woodshed. I spend three or thesetue&e groupsgruupb are fedicu from filled with greatest enjoyment and Her record of portant ORCHESTRA advantage those years included than melody * more im ~ medicine schools; and, careful BAND and her to on the and , in some cases, after collec- on the She S chiefs, elders to student, school, and community alike. subject ‘ tff °f d . the 672 seen? h^ - tribe. For. unless they're convinced pupil, changes are made in instru- worthy, iContinuet I might as well TOBER. 673 ° copied by many Rus- Study and early sixties, and were Music and Study and later. Pupil Idling at sian composers, including Tschaikowsky, the the Pi,, Russian Themes, Financing and Budgeting Teaching Thus Balakireff’s Overture on more particu- the symphonic poems, Russia, and orchestra is not run, and does A good band or />>/ JLrriet “sources” for Borodin and Costs are Play Distinctly R larly Tamara served as not exist, without financial backing. to /^Jj piano Rimsky-Korsakoff. Most of Balakireff s equipment, for proper housing, for many—for the category of refined salon must be met. Whitson-Jlofmes Paderewski once music belongs in trips, for salaries—and those costs JL StetL “Islamey,” a fan- other Nationalist Composers music. A shining exception is An instrumental program begun on any fault most generaJ Russian in its face the problem of tasy on Georgian themes, highly original mediocrity and eventual teachers constantly but with professior assumption is doomed to Music spontaneous and convinc- plays indistinctly. And, although pianistic style, the most extinction. ie child who as a pastime inste for familiar relaxed muscles all his works, albeit too difficult it a to play with ing of Any worth while enterprise brings with the child is taught is no instrument t instances there approach. sort of sacrifice or some sort of full arm weight, in many need for some and idle away time as fdij dSurhuicj curie beloved of Tschaikowsky, are produced improvement. In such cases, the Edward Jf-M Balakireff’s songs, payment. Goods and services must be seems to be no the study of it as exception something very far curious rather than effective. A notable and paid for. One of the great problems of music cause of indistinct playing is into the habit of looking upon Song, significant on account of of technical knowledge, it as is A Georgian directors and administrators, in the past, has removed from any lack certainly merit, idling away hours in II Eastern atmosphere, and constitutional timidity in the pa^* PART its authentic been to convince educational leaders and com- it may well be a * — from one thlr- provocative of Konchakovna’s aria in Borodin s munity leaders that the music program performs she speak clearly? She does not. Is child. Does end In a sma Balakireff’s collection of Russian is prob- detailed criticism that Borodin and Rimsky-Kor- “Prince Igor.” an important service. Discussion over whether she a “mixer” type among children? She amount of fa y n sakoff should not pass unmentioned. Tamara, justified that you will Alexeievitch Balakireff actually completed their assignments, de- folk songs the expense of the music program is ably not. Actually, she is afraid Mily Lermontoff s it comes to p spite the added handicap of their professional a symphonic poem suggested by gone it. has been long and varied, and cannot be hear her play and does not realize GENUINELY NATIONALISTIC music were the middle If students tFA work. Balakireff furthermore suggested subjects verses, was of slow incubation from into at great lengths, but every director who has give this type of child self-con- pioneer foundations How shall we unthinkable without the felicitously, Balakireff likely to incur by this pi | for symphonic poems or other works to his pupils, sixties to 1883. Beginning had to face the problem of meeting costs will That is our task. First let us make her the useful stress on dra- fidence? I Glinka, and ' during the long period they would do Ic laid by furnished models in his own overtures and sym- lost freshness of approach admit that it has been a cause for worry. De- of her. Let us her; approve 1 Dargomyzhsky, feel that we like recitative emphasized by is too much repetition, a of those who h matte phonic poems. of its composition. There mands made by the director that expenses be everything she does well, and in the formation of praise glowingly more was accomplished development obscuring a satisfactory Plano playing 1 still But Balakireff’s circle, ironically termed “The too involved met, in numerous cases have brought antagon- criticize her if shi learn, we idiom by Balakireff while we must specifically Nationalistic Borodin, Moussorgsky and Rimsky- that 'Eternal v a Mighty Handful,” could not remain united forever. climax. But isms and misunderstandings. Therefore, it is im- made these criticisms must be . Born in Nishni Nov- will remember that iba-la-ke'-ref) (1837-1910) Korsakoff had learned portant to the cause of music education that Careless playi in the very friendliest spirit. the center of Russia, Balakireff in their gorod, almost in and stored thought be given many bud habiti | to a program of raising money Such a pupil will gain confldi education, including some Balakireff’s received a fair general memories which will not rrmiml* t ihiii some t endanger the popularity or secur- material very easy. It will Musically his reading. Make the at the University of Kazan. early improvisations ity of the program with the community and the labor iiaird to eradicate study impress upon her, as nothing else will, that she haphazard, although early training was mainly for Tamara. Pages in administrators over will have} a period of years. actually play creditably. teacher to work ver folk song can quite The training in piano playing and zeal for “Prince ( Borodin’s Finances, then, must be treated differently in u*acner > will see at once the fruits of this device, because highly formative. Several years spent in the Rimsky-Kor- the future were Igor,” in in many school music systems. In reverence». Give u your t> the child will play these pieces much more loudly household of Oulibisheff, the biographer of Mo- sakoff’s “Sadko,” “An- Mason City, the problem was approached first than the ones up to grade. thought and concert m Balakireff had zart, were extremely valuable since tar” and even “Sche- by considering the facts to common school music It you cannot take 1 Next, she must be given a chance to compare of classical scores and no little finances, and access to a library herazade” testify to then by adapting a good system of then be your own teac herself with other pupils. Being a conscientious ; in conducting. During these years he exer- fund-raising to needs. experience the inspiration own fievt•rest critic. Y type, it will not be diffcult for her teacher to acquired an intuitive knowledge of harmony, work of Some apparent facts about funds available cised by this find other pupils far you can go with yot form. are: who have studied longer and counterpoint, orchestration and musical their master. Thus, de- made less progress. By having the shy child A toadtier once. said u shortcomings as 1. Funds from community taxation for edu- spite lesson follow one of these and asking course of a piano less Balakireff in St, Petersburg and com- cation purposes are usually limited; the allow- her to a teacher come a few minutes ahead of time, what Is Uacre before yot When scarcely than a lad of eighteen, at- ance made to the music program by the Board she will hear more poser, Balakireff one of them play. When this pupil need a teacher for that Balakireff came to St. Petersburg (Leningrad) historic signifi- of Education is therefore proportionately small, has gone, the tains teacher I can tell her how long he has had been blind to mark where he was not long in making Glinka's ac- cance in that he was and sometimes dependent upon the good will studied that is enough. Ml. of the Board members. This type of child will make the by the com poser. The It quaintance. Glinka soon proclaimed the young actually responsible deduction for to play a. I behalf 2. Funds raised by organizations herself. Repeat the process by s the compos*T man destined to continue his own work in for the style, technical (Commercial letting her hear, if possible, do Justice’ compc of Nationalism a year or and Service Clubs, Business Concerns, and the playing of those to the in Russian music. Only approach and emo- who have studied two Cesar other groups) tend to obligate as long as she has, but who later Balakireff found a new friend— tional background of school organiza- MILY BALAKIREFF cannot play so well. Cui, half of for- CESAR CUI tions to participate in commercial ventures. Do anything that will raise Russian, half French, a professor his distinguished her in her 3. Funds raised by own estimation, and she will tification, who kept a boarding school for students younger contempo- subscription tend to draw show at one from marked improvement. in the Imperial officers. He was only to Glinka. the same individuals, year 1 School for future raries. As a leader he is second after year. This Win pupil friends attained self-reliance and 0 also As his may become burdensome., ’ aUy pupil who plays keenly interested in music, and composed for and the music pro- npIrtT’ ^ indistinctly will Balakireff’s work as a promoter ' success, & gleat its own artistic Critic gram subject to withdrawal of support. deaJ about dynamics, satisfaction. Balakireff and Cui often met real- Cesar Cui as a makek h to done. This he was pathetically unable to 4. Funds h r m°re tone ‘ consc Teacher to discuss musical later joined was raised by Mothers Music Clubs and i°us. Have her play Mv problems. They were friends did not consult Cesar Cui (1835-1918) is, on account of his mixed her ^ f ize, took it amiss that his similar clubs are of great SGVeral degrees of by a young guardsman named Modeste Moussorg- important as a Nationalist, but material aid but tone-pLm and finally became totally alienated parentage, far less cannot meszo/ormezzoflrtete, 7forte, who facility. him as before, assume this burden indefinitely, and fortissimo—being played the piano with uncommon Balakireff laid his influence is by no means negligible. With a nor careful jRu singtts It is easy to see where can the e e a al To these from them. music department place its future P a5,1 '’ e repre“' were later added a young chemist, his French father and a Lithuanian mother, his in gauging U >*"» open to criticism as a teacher through the hands of S«» Sin? theil,e «;others from! Alexander Borodin, naval cadet, himself an organization which is con- this. Comparinc and a young technical foun- literary tastes led him often to France for operatic C tone trained nan give them an adequate stantly changing n h He was a splendidly JjMolas failure to in personnel and leadership, PeeCh production Rimsky-Korsakoff. Shortly afterwards, suffered in this subjects, although he set to music “The Prisoner ore "ill make Austrian his teachers Borodin and Moussorgsky and which may be stronger Lfm tone co C1( ancestry. Among Balakireff undertook informal dation. or weaker ; USe ?Uf as to give his friends of The Caucasus” and “A Feast in Time of Plague” from voice the natural was w their artistic careers. Rimsky- year to year. p as sof't n no less than Lcschetizky. He instruction respect throughout 1937- G T & in certain aspects of musical art, in time by Pushkin. Rimsky-Korsakoff has recounted, loud.' oh. thi recognized his shortcomings The1938-solution 'The pupU his behavior at all times, but ®iefly Korsakoff to the fund-raising problem wm be very apt analyses of form and thematic develop- repaired during his apprentice period, the painfully slow ,, in to^falTh V* that self-discipline virtually Mason1939- pipe ®ent energetic City public schools was Perhaps It was a villainous ' In his of My and by 1940- the establishment hei autobiography, “The History Balakireff failed in an processes of composition, his difficulties with part ol Sengtl natlI!a > times to his technic. If a Laboratory Fee.” Every ^ his studio and employed at Musical Life,” the gaps in student taking in- ^sen^ft T**° f Rimsky-Korsakoff has given a clear personally writing and his lack of interest in orchestration. teacher But the Per® respect, he was nevertheless strumental music in the system until it looked like a smokehouse. unflattering teaching, essential pays a ,, account of Balakireff’s younger His opera, “William Ratcliff,” the fruit of ten years fee of C W e e ch« musical style of the nine dollars per ^ over-matured c hasty responsible for the year, payable difflCUUy some garlic -flavored, dismissal dog- in three terms sbe ^eks to _ of many great names, his had foiged toil, is one of those arduous pioneer works from or In e ?Le th Russian Nationalists. He in three payments of °InTJ7addition, give ever it so disagreeable a ic and generation of three dollars each. This’ hf»r tvi^ was. it became imperious prescriptions for his pupils. precepts and ex- the ruins of which greater music has arisen. Cui is Problem for ° continuing Glinka’s a cost of about twenty-five surmounting of not not hard aving at this idiom, cents per pupil for distance. Go into stand it. It was an early age acquired an instinctive propulsive en- composed operas, orchestral suites and songs of each school and have the Ilext patient analysis and week, and entitles her ul av room another fine training ®mand of ample, with him to the privi- her S° teacher with a technical procedures, he overlooked paternalistic advice, no somewhat ambiguous racial traits. His famous leges of hear them. that you o Without his the Music Department, This can insult objectionable ^ f couragement. as well as its fast deviel? his pupils with °r similar studies in his friends. Cui, manifestation of Orientale for violin and piano is more unequivocal. training the that wi " With®vc style, no such and activities. teacher a tip *l Rive hod Jeft PlS such unity of as to rhe me when I stated why I ^ramab* c sense, was expected only to been forthcoming Perhaps his greatest service in behalf of Rus- difficulty, n CaUSe 0f » coin vitality would have ° f C°Uections duri if the pupiUs the teacher that had a personal fear opera, equally ob- esthetic Nationalism lay in his frank and often acrid the last Hmii h *' he Moussorgsky, despite of high talent rather sian fomyears- ^ alone ' ayin composer in the room P * while generous suppo Balakireff was a Ts ant to £ an offense, and kept a •tff I°r the stage, was made to attempt but nearly all his criticisms of the music of his fellow pupils. He 38 ment over & SIeat unquestioned greatness, her work improve- had a P‘ ic than of $2,610.50 with thu deodorizing mouth wash that ™ Movements. Borodin, devoted to cham- qualities which his friends was equally outspoken in regard to Tschaikowsky. Anything at b stylistic 39 to give " her pupik works possessed 2.797.50 the inJi J^f which would not disturb his Wasnot unwilling if totally unprepared The practice of ca- But his writings brought his friends to the atten- Player to assimilated. 40 self-confidence « re ater suspect’ m’ Unconsciously 3,301.82 will be Many teachers who do not 6 a symPh°ny. Rimsky-Korsakoff, almost combination of tion of the public, they strengthened each in his 41 tis USefUl total!!-!) the contrapuntal most satisfying drive ndle treatment, 3,623.30 to ^.ce little personal habits which 'destitute of theoretical knowledge and or diminu- own convictions, and actually made for unity and For the this SeSV 3 tiamn augmentation kind, situ employing year 1940-1941 the and ation of who s Pered by themes often disbursements the teacher The writer knows one man. inability to play the piano, was also orchestral effects were continued self-assertion. Cui’s “La Musique en were as follows:11 feel ^ sett species of ( Continued on gratified ^^pUshes it studen 7on and many Page 7ii) to know 7°> income, but who finally lost n a symPhony. Yet such was the con- late eighteen fifties Russie,” now rather rare, (Continued on Page 719) happy a C teein Balakireff in the naturally h&S made c °f in originated by 674 unhappy child. disgusted his pupils with joilw Balakireff’s personality and his skill collars. °V0BER THl 2 4 3 — UALITIES are needed Music and Study Music and Study n SUPER-Q study. Only those phys- in violin ' mental endowments an(j with ical position of IXED RHYTHMS usually occur when, parent should wish a child Holding the bow, or the Mixed , melodies heard simultaneously, the Mastering There still is the bow, can be easily two Rhythms necessary. the hand on nnssess are accents do not coincide; or there occur some old-time fal- quickly learned by the following M belief in and fneral Why Not Study right arm instances of syncopation, retardation or suspen- exaggerated thejiifficulties simple directions. Extend the that hang sion; also one group of odd against a group of & r^dthis instrument. Con- to the front while letting it the irregularity in shoulder. Turn the even notes to a given beat; or any “ of the violin is no more loosely from the artistry the contrary to simple regularity. Perseverance in than that of the pi- forearm easily so that the palm of to obtain l! bring the use of system, science and mathematical hesitates to study the half-closed hand lies upward, and ! Yet no one tests together with slow, thoughtful and correct 3 instru- the Violin? gently curved thumb opposite the ~s$u3tin ol er difficulties of the two the ^ J(eefe no The application will this position of the hands on the keyboard J different. A violin pupil second finger. The hand in cts are just enable the player accurately to master all mixed teacher ready for the bow. The hand and the “ complained to her artist is rhythms. e until the of a certain techni- arm remain loosely passive reason the difficulty In examining Chopin’s Valse in A-flat, Opus 42, out the problem by about position. Then the Measure 17 arithmetic “On the piano that bow is placed in MTnmn u tt«o Snn. «« passage, saying, example 1 we have three sixteenS al a, .a,meij turned as in preparation as rolling off a log.’ au hand may be Ex. I be as easy sixteenths, giving 1 would us sufficient .w,.!? “and on the to play. ” came the retort, ,lop «yes de- i « log.” This is the time to observe all the sriss as easy as falling off a it is srthree rsixteenthsr“ Ti0lin bow, so are thought position as the of as fill fail to take into ac- tails of the Then too, some value of six thirty-seconds, Ellen Amey, Pianist, Violinist, Pedagog, was is ready to swing then and varied potential- lightly suspended, ^ count the many three thirty-seconds bom in western New York. She received her early The active members will fit exacth the violin or to be drawn. vf for the violinist and of ities musical training in Hornell, New York, studying second the sixteenths in the left of the hand are the first and hand of iS other instrument offers to Robert Schumann’s Des Abends also should be student. No Frone This is a perfect way to piano, violin, and harmony with Dr. M. La fingers which with the thumb hold the visualize the so much pleasure in the studied for such effects resulting from special the amateur fn execution, Merriman. Later, in Berlin, she studied piano little finger, the tip of we And a regular one must feel that activities as bow, and the waltz rhythm, in the left hand appearance the participation of musical accents and from a simultaneous with Philipp and Scharwenka, violin with Mari- balance it. teenth (of the group of which rests on the stick to of which beat one has a strong accent. In the three sixteeijas while to the professional of contrasting rhythms going on at one and the the violin, Ahna, and right hand) is anna Scharwenka-Strezow and De To the teacher is left the responsibility right hand there is a melodic accent on beat one divided equally, pr™ J limitless field of opportuni- same time. there is a Philipp Scharwenka. Her musical posi- and the left hand sixteenths harmony with of placing the bow in the correct on the second half of beat two. Actually, the exactly one which to choose. ©a ties from Barth, Klind- be right plus the first half associates were pupils of Raif, tion. The passive exercise should hand plays two quarter notes of melody (an Ex. of the middle one <&s Prospective Students worth, Moszkowski and Joachim. After returning continued until the pupil is able to even group of two quarter notes) against the sixteenths, for the first sixteenth Exercises for of a* Oswald left hand’s of to America, she studied piano with A. pick up the bow and by a single move- three quarter notes of accompaniment two sixteenths of the left the left hand In time hand; In violin study the Leipzig Con- (an odd group of Bauer, formerly connected with ment adjust the hand at the same time. three quarter notes) at the second one of this group gets the the mechanic and the right becomes violin with Clifford Schmidt and guiding the same time. It is possible to think of that servatory; Then, with the teacher of each melodic middle sixteenth of the right becomes the artisan. The first ini' hand tone production and vocal cul- in draw- quarter note of the right hand along the other Richard Arnold; movements, passive exercises with the sixteenth. In Measure 12, lessons, as a matter of course, must & ©g ture with Frederick W. Kraft, a pupil of Lam- begin. First exercise two eighth notes of subordinate is just d ing the bow may accompaniment reversed. To facilitate executim focus on getting the machine in work- ‘a she zvas instructor of piano the left as a triplet—with the melody note passages, perti. For four years the bow arm alone, then with C sustained one might couni aloud ing teaching the pupil how in this a order and Hollins, Virginia; the and with D-flat also sustained. This and violin in Hollins College, arm in place as though holding would to operate it. For success in study, a Note, in the two measures shown director of music the amount to two triplets of eighth notes In Ex. 2. and for one year she acted as violin. Analyzing the movements of against violin pupil should have a good physique how the accent completely varies young women, Dallas, three divi- the three quarter notes of the left the melody V 4 in Oak Cliff School for arm will resolve them into hand. But and well-proportioned arms, hands and and rhythm with the identical notes. has been active in the or heel there Chopin’s tempo is three quarters; Note, m l Texas. Since 1897 she sions. Starting at the nut hence we Villi fingers. pupils, adults and • More both positively the Schumann (Ex. 3), that the * 0 0 ) teaching piano and forearm, must count one, two, three for each eighth notes musical life of New York, will be first the arm, then the give l| children, have had to give up violin measure one the effect of three melodic K conducting choruses very slight to preserve the characteristic waltz and rhythmic violin, coaching singers and then an extension and a beats study because of short upper arms and rhythm. In the rignt resulting from what is in string instrument classes. Miss Amey has depression of the everloose wrist with hand, against these three mathematical 1 • •**•«!• and construction stocky fingers than for the lack of a beats, we actually hear but two triplets. Here associated at different times zoith such an outward pull of the whole arm, as in but two beats which, we have in m.t* been for practice, sound three rhythmic “musical ear.” Proportionate strength as Erich one could count: one-trip-let beats against two; yet, well known musicians and pedagogs using the whole bow. After this, the V l I and the ability strength two-triplet for C, as we must count three in to control that Dr. Henry G. Hanchett, the on D-naturai, E-flat and D-flat’ the Chopin Valse in • • w Rath, Mrs. Stuart Close, passive exercise of drawing bow A-flat, are necessary factors in violin playing. E-natural, F. This will give Opus 42, SO in Des Abends, and Richard Arnold. At present strings should begin. The bow the correct rhythm we must count ii J \ Clifford Schmidt the open two 0 0/ One great violinist stressed this point and melodic as Schumann . Note. line for the right hand. indicated so exactly. she resides in Brooklyn, N. Y Editor’s at all times should be drawn parallel in When playing The foregoing examples I • Uf >«!• these terms. “All other things equal, both hands, two different of mixed rhythms were with the bridge. The sensation when rhythms are mixed as a that violinist who has the greatest heard at one and the result of note values, special drawing the bow should resemble a same time- accent a yet there are but two and phrasmg, largely The player may use whatever phrasec& strength will play the best.” stroke and a eighth notes in the right affecting the melodic line pulling with the down hand against We had even aid him, tempo and fiJtM Ught gymnastic exercises that call each quarter of the left mathematical distribution so long as pushing with the up stroke. hand of notes - for tfe relaxation which must be quite m all of these. But correct. For example, he may try and the use of the arms even. Here mixed rhythm in the ensuing rest periods are abso- This kind of preparation records on the mind example we* are hence frequent a d’/ do not. The syllable a good preparation for violin study. The left quickly, apparently, with absolutely even problems vary in complex^ wordage of rather psychology! ^ of the violin pupil a clear impression of the correct te values ? 1 hand position the lutely necessary. that prove mathematically. cance: "Not dif-fi-cult," one-tiw-tt* may be made sure through both for the left and the right hand. To make Uneven various problems which later will be en- position this celebrated Valse sound Mathematical Distribution else 0** following exercise. Extend the arms to the front The artistically pleasine of Notes count one-two-three-four-five-si the violin may cause many and while letting countered in playing rhythmically perfect, discussion trip# them hang loosely at the shoulders. The Violin Bow Is Like the Singer's Breath each hand mSt per concerns two counts for each note of the logical principles remain. feet mixed rhythms Koep modifications, but the its respective JtYr tw the fingers in slightly curved position as rhythm and the melodic which will give each note of the a provides the power of Passive exercise for bowing, under the guidance quarters notes 11 though wrist automatically must be stressed in singing for fitting the three ready to play the piano. Let the arms The tone. The hands, togelugeiner.her counts. , reaches and adjustments of the teacher, records the physical sensation flist beat mean BTthiBy this weWe swing when unusual of the left hand is three against * toward each other that the elbows touch balance accented, but two four After these are fitted together so of the so- is of more importance than the mental the ’ aeainNg nst three groups This position is one which other two other and ^u ®hile the are to be made. must ’- be light and combinations. ia forearms, with palms of the hands unstress^; slowly at first, the player should count the in the first lessons picture. He soon responds to the gradually in- whSe ®ned fatiguing requirements ptW inward, are thrown into a position of called , fashion, sure the objective been accom- creased pressure of the first and second fingers, transcrtpuon, malting a Consider what has ““ the „ TOII out forty-five out- of violin study. & original beats, degrees. Swing the elbows nszs song. exactly the strong covers a compass as the bow is pulled from the nut to the point, rrus f 1 together on fard position rOU8hOUt 4, we meet Measure and plished This hand the three ! again after touch- in the rinhf others naturally.B inward. This time, fingers gradual release of pressure as the bow effect <“ £ in appear to fall in octaves. Within reach of the and the the the two „“a‘ZfhS5 left; and in two ^ elbows, ease the position of the left arm of over MeasuS 12 t physical aid three Ups with may be found. More- moves toward the nut. However, more individu- In Chopin’s the meet to Up ntl1 combinations Fantaisze Impromptu, right hand two ln 11 laches degrees many chord Opus 66 vjp against Thro on while WJ® ; an angle of about twenty immobile as a ality and freedom in movements will show in the have a similar these inreeee lnin thethl your knee, or even a Uble, hand never rigid, but as instance, • left. ^vertical. the in Measure 13 QT1 ,q examples fh! ?A ‘T In Keep loosely curved over aCCentsts with versa- all the fingers closing movement bow arm than would be allowed in the machine- Measure 17, of •“ coincide,coi ncide, the other hand and vice , machinery, may by a the composer’s problemProblem is to fitm ~„.... but the “dnS the to a piece of use 2 ® . thumb, which is still curved, violin hand. The is like the accents giving Special gr°UPS °f Chopin’s Fantaisie Impromptu, Op-' shifted on the neck of the like left arm and bow us varying melodic uneven groups tWo against opposite in of the arm be of three. the first finger. With the arm the third po singer’s breath. Through it are reflected all the four sixteenths in the right band a#* up to and including P°Siti°n natural to any degree ’ the left clavical forms a be sh.pif of the hand or the emotions of the violinist, so sensitive is this Ex. eights in the left. This could without any change 11 is on rests. sition, slowly this shelf that the violin the fourth position, there fragile stick to pressure through muscle and Ex. Measure 13 to the beat, thus: fingers. Beginning with Serves ifc in place ' Measure 13 as a clamp t0 hold hand on the neck, nerve reaction. Through its control it is possible - In th change of the 5 0 m Pr is a gradual — - °P er posi lightly ~r tion, the violin neck order to allow the to carry every shade of expression. The funda- p Ct< touche- moves inward in 00 s the and the arm first or root joint of the index finger. under the mentals of correct bowing on which this mastery Tne carried more and more . .• to be ; • thumb thumb Provides a counter for the pressure of higher positions. depends can be learned only through the careful - " the passes into the etc. » m stopping neck as the hand a fingers, and thus it becomes a training and watchfulness of the teacher. » ansins of V • • - of supports of gripping. Playing “ ^ rather than that in tune or correctness of pitch in stop- When there hand n°W and bbie are th ^ read * or bbie vi°dn ’ ping the strings depends more on the ability Pracr N aea ‘ ns * tw° holdin begin. It is retain the left hand > 676 - <>„. „ * S the violin may to (Continued on Page 708 C0UId «« .*5 M T10 keep ’ We in very must a* W mind that the arm tires three-a-four. or. in (Continued 67 7 0(:t ober 1941 4 ! Music and Study fourth tone Uj titf Lt relationship Music and Study of B-flT, f F to C. P-iharp ’ can bew l same way. * The ttttoor third a rati, I Music Study Now The Analysis of C hords and 1*" «ft*r »* Questions P the major Q. Please analyze the following chords: heln« M.themuJ rd 6 F “ihor third* in D W P,E, the G.A 10C S mm r °, major triads^' ample Great National Asset Answers ^chord^orr^S^ »»« ^ »»'>“ *»'» “in- —d. s. p. E-flat gives E-fla ^ It Does It t in C arssr»:« What Music Does to Your Character and How miner and pianissimo re- , rights isolated Service C 1 fortissimo A. It is difficult to analyze Information *“ve , the jieSlGO ; A Music an. t_ „ oil fhiQ Hnpc snnriri a.PTPP- Tonic, Ootninant chords intelligently. Had you sent a copy and S chords •re harmonically of the measures in which these morf ** occur, or named the compositions from than C major and goal to do only pleasant, amus- A minor m l^plendid which they are taken, it would have been Conducted By constituted that un- JLowes But life is so 3 thin p-s. 1 ML possible to give you a more satisfactory UUa was not ... oinnor tnn and amusement. realized tmth I answer. mem of harmony en* etnphaa^ for. There is a suspicion ro-aay be paid The first chord is probably just I (P, • l»en music mtsto was all years are melodic it due. The free QAd payment is coining tendency in A, C) in the key of P, with the D and G be realized “genius” or the chance of performance and ap- And scale work! There has been a \k). Zi in a threatened softening of added. Tire added sixth iD) occurs fre- Herewtiii their toll quarters to take the dullness out of scales are given sane plause, the study of music itself inculcates habits some quently in jazz music, though the added *, Twenty years ago, we did not want hi the chord oral fibre into a sort of game. To for the mos; that stand one in good stead throughout life. by sugar-coating them ninth is found less often. If jiJ Jj things; twenty years (G) the G irksome Tliene ratios are as do difficult, approach seems funda- thej wou!d» Indeed, the motto of The Etude, “Music Study this observer, such an is not sustained as long as the rest of the natural may be quite unfitted to tackle them scale While sea*,,, epee we mentally unsound. Scales are not a game, make- chord, it is merely a non-harmonic tone. Exalts Life,” has deep significance. That exalta- tile alierauoos in , or otherwise. They are, The second chord is a ninth chord on pjy, Why France Fell tion means more than the “thrill” of listening believe, sugar-coated, Professor of School Music. “re so slight E-flat (E-Flat, that n*turjj quite simply, the most secure highroad into tech- G, B-flat, D-flat, . ^ inherent P) The tell that one to charming sounds; it means that the atiU determine value* Experienced news analysts us A may be considered as the eleventh of herlin College Rrhiit!- enjoyment, of music nical facility. Anyone who desires technical fa- tween citordt France capitulated in the discipline, as well as the are determined >ason why mighty the chord, or else regarded simply as a ie In this sense, then, they life richer, more flexible, more orderly. cility must master them. of chord roots to penny- ., of thirty-eight days is makes non-harmonic tone added for the sake a ncredibly short space of Musical Editor, Webster’s New are one of the earliest and least painful lessons and can be gotten ’ extra color. from it people were weakened by a false lull- mt the What Pieces Do to You In overcoming those other un-game-like obstacles International Dictionary ratio* given previously spiritual dis- of ease, fun, freedom. Their ig music pre- that lie all along the road of what insurance ex- unpleasant facts degen- For instance, the regular study of iciination to attack finger Some Acoustical Questions regular hours of regular practice. That perts call life expectancy. Scales perfect defeatism. Whether or not that esti- supposes these ratios can be used to express satis- rated into, technic; they also perfect the basic technic of Q. I wonder If it may be possible for itself is a step toward character building. You it is well worth thinking about, in me to obtain just this factorily our ideas of beauty, emotion, Motor is accurate, information (spe- in terms of regularity; overcoming obstacles. Any obstacles! Go at your cifically) from some do not must arrange your day individual or school and similar subjects, through music. fe do not want it to happen here! We best scales in an orderly campaign, remembering (without buying several books and a lot E— you plan for the hours at which practice Much the same process has determined rant to develop into a nation too soft to face of extra literature), or if perhaps some- assume re- that each improved, more fluent repetition does what like o-« fits in, and you keep to them. You one in your organization can definitely we to see, to touch, to smell, ardships; too pleasure-minded to stand up the more for you than it does for your fingers. Re- name a book which actually contains the and to develop the language C— sponsibility for the same amount of work at we speak. gainst unpleasantness. The “something” which information I seek. that the fact of your not “liking” A culture alien to ours might have time, every day, regardless of heat, cold, member, too, The questions to which I seek answers an two decades failed to give us is the same entirely them is of no importance except to yourself. are: different set of relationships to ball games, or movies. By acquitting yourself of — holesome discipline that exercises the soft 1. Where and how does express their obstacle for no the human ear ideas of the same tilings. responsibility, you accomplish more than For, by turning away from an acquire its this information, experience, and . tissue from our minds. However comforta- 2. There are no such figures. itself. better reason than that you “don’t like” it, you authority for recognizing and passing The be measured by the actual practicing we may live, we still need the spiritual equiv- can judgment upon musical octave can be divided into any Pom TL Dot. expose your spiritual muscles to the censure of harmonies? number are forming the habit of concentrated, con- 2. What are of of You the actual figures showing parts, and sometimes is. It is food roughage; the salt of struggle that just that will to your aid in flabbiness. why there are twelve chromatic tones twelve o B-flat B-fo i trolled regularity; it come half -steps have proved to N question a ill it atuueted in THf f Tl flavor to living and strengthens the back- to the octave (I do not mean be best PI the figure for expressing mtt0m tJ *» toll name O G-sbO everything else you undertake. 1.059463 which is the 12th root of our ideas to our own satis- andaZj*Luaddress fV 2, and „/ inquner. Only , nit,eh by which faction, or E E work you do brings advantages of Music Helps You Study Yourself mathematicians show the “our” being used in the sense of pseudonym giten, u ill pnUnhd The actual value of the half-step C after they have referring to our ancestors Spiritual Strength Through Discipline development that reach deeper than taken for granted and our own character that there are twelve music study advances, it offers splendid op- tones esthetic sense as related to Each time you read through a As in the octave)? music. The The surest means of acquiring spiritual the music itself. 3. What is the source of chromatic tempered scale of person you are. portunities for prompt self-criticism. In many of the tone developed in a trength piece, you reveal the sort which distinguishes the way is through discipline. But we do not new seventh chord something like this: note relation- to get at the fun of our activities, effort and decision must await time from the namely: ike taking plunge in headlong major chord (I mean what ships are because experience and ev orders, being regimented. All the bet- Do you Is the source determined by frequency ratios: Pom, are working for the result; how will the letter be answered, of. and how do tion er whether you mod- have proved - That leaves the sound, forgetting ern the simplest ratios that a scale 1 us the free choice of disciplin- theorists explain the note B-flat in were used first be- will the examination paper be marked, how twelve half-steps B-flat or three, whether you are count- how the Seventh chord C, E, a, B-flat)? cause they would to the octave ourselves. Descartes that freedom con- in two sharps be the easiest under- B-SK said will the friend react? We must wait to find out. 4. What is the source of the note stood. equally tempered O-flat or six-eighths; having to look which in the course best serves the pun >• not in ing three-quarters distinguishes the minor of time, these ratios G following the will-o’-the-wisp of chord from the were for which we wish to E —40 you first familiarize In music, you have an immediate answer—pro- major (I completed in such use It as to make sure? Or do mean, in the minor chord C, a way as to form E-UK y°u please,” but in being able to discrim- back E-flat, the 3. Just as scale-tone —32 on the page, vided you recognize it. You sing or play a phrase G. how is the relationship Natural or Physical relationships " every printed “must” of scale These C between right and wrong and voluntarily yourself with E-flat to C explained)? ratios are: determined by frequency instructions with- and there, at once, you know all about it. Can ratios hnp yourself to carry out I have read a lot of material which choid reiationships the right. The goal of education, after training was supposed by frequency r» can be made over you criticize yourself? Can you measure the di- to explain all of these is to The first habit “f ‘ ,fil root-s teach us so to ourselves that out reminder? questions, but so - 80 are regulate far all such material E P . . chord tones di- application. And vergence between the way it really sounds and B i concentrated was all around the C mmed by may function into the second by subject but never their frequency 7th efficiently under all circum- a real and ratios to Dim. you have done more the way you want it to sound? Can you analyze logical explanation of the U Ch aices, it is so made over, 1 4 °rd Ext>e,1<-'>oe regardless of their pleasure value. We when P ntS ln Wh ‘ Ch 1 WaS interested _5 5 is 2 has tau -ii« have strength- this divergence, putting your finger down - 3^ Ihata °r\cl ' h A e of music; you :' olds art* not go than read a sheet —G^E °D most generally satis! through college to acquire such edu- O-flat -1» Twenty years hence, squarely on its cause? Can you then synthesize 8 4 ~8 1 ° f we mental habits. A. I have 3 2 3 U,lrds •» have only to ourselves ened your submitted your questions to P» E-flat -I»> pitch into else wifi your findings into a practical lessening of the EuseThe mln. °r habits more than anything an acoustical engineer, and th ‘ rd »• 'he smnl your mental he gives me hiterval ! C -IS and divergence? If you cannot; if you have con- the frequency loyous Self line between success following answers: °f ratio Lx sn Discipline in Music Study mark the dividing Steps: enoueh stantly to be told about your errors and coached 1. Strictly mlo^onel^fromcto llS l° accept speaking, the ear acquires B,ld grasp eas ijdiscipiine failure. ,, e ppartlytly hi takes many forms, and each one no experience D ; 0E because chords into setting them right, some business employer, or authority; it /”S,“°a,TZr, thus built will aecide merely „ on his °wn brand. Making ourselves acts ?r , Imperative as the medium l0 wh Scale Routine later in your life, may find your services con- for conveying audi- at tory . must be done, cultivating orderliness sensations to the brain, A ltai Is a Mixed mental, is an excellent siderably less than satisfactory. and the e time, aloud or mind functioning «y’ denying ourselves some pleasure Counting through the I WUl you kindly otth loses his Spotting the troublesome phrase in a compo- brain ac- Q. , precision. The performer who quires the minor sou of another’s, set- •ill in experience. So, substituting trst* s murd helping at chores, is all sition is excellent exercise in row times on each page an developing your mind or 1. I hst* >«ii for " a half-dozen intelligence for “ear" in leSSOns living il avoid mpo your TrrmlnoiorT ling and up to ’ proof of a lack of powers of classification and ingenuity. From question, Souilon sad distract^ . publishing we would say it acquires consciously its in- Wh°le tones where I cun t* . beginning task that cannot formation and having ' tWI me no printed symbols of music are among all the measures of the piece, you must and experience twelve halTsf 1 The mostly ' llsnusl' a control. through PS (01 " "Esr Trsintn* .. y completed* •derly forming tones, to the half ini 1 ~» <*** v»—MUall theseU1COV aitare partyi** v ofV* the The student classify the hard ones and the easy ones. Next, opinions octave . instructions. about what it hears th^h Se rest VLSSJTS,' ill no . _ _ . - erelv the composer’s were rictions B ' n‘' “mixed" minor 6 WhicJl if gives by removed f the A. 1. A a ’ regularly followed, practical and academic training Then t0 O scale. ,„id person'^ value of sixty-fourth notes, you must devise and perfect your own system of and y "e Was even 8givfl,**' e it overlooks the perhaps in any key In usable name, a sepan Dtnblnc5 two of tl* " grip lls ho partly as a race heritage. whin as the H hwh ^ 0n own Powers and ^ or carelessness, making the hard ones easier to handle. Perhaps More PPeared ' he r With 1U willfulness gain Tlle ^ early emi harmonic. metodK ( 6 hether through specifically, the relationships harmoniSlly was ich c major scale ° rigtnsl. j leasure °f self-respect that no that exist m S softer ?, inefficient in carrying out you will accomplish this by a slow taking apart the loss is ,h -sharp. more16 himself to be between melodically 01 . B. D. E. F easdy" lows chords and scale tones are The approximate^ C. gotten pleasure ever can quite de- ^latt** B fi fl I reaches a game- and examining; by sheer repetition; proved to be latter ^ha « flat;? 'he ratio Nch"” the time he by mental termined by very B to E. D By frequency ratios. Our own slielu t! C is 15 « ?. (-sharp. F. istructions. than actual, Tetic f B nat to possum-^ ^ office, the chances are that association. At all events, you will experience particular ^ 7 type of culture has found to mos? 4. which makes 14 8 xnblnat:ons are eld or a business that to of^TV^° B fl°a , r pleasantest forms of self-discipline your two is B. scale. there. the satisfaction of ( Continued on Page 726) the same as Also the key *° C ,h ic “mixed minor will also be inefficient „f p u bo» V, music from e 678 h>n,c ^ secure thef study. Quite apart ! You may £?££* n from the publisher 679 — — ru 4 Music and Study CLASSIC AND CONTEMPORARY SELECTIONS HIS AIR IS an EXCERPT from Bach’s orchestral “Suite in D.” Generally known as PRELUDE, INC MINOR T the Air on the G String, it is played by Johann Sebastian Bach by and at violinists the world over. It was written in the Air Abram Chasins was born in New York in 1903. He studied at the Ethical Culture School, the Curtis Institute, the Juilliard Foundation, last, or Leipzig period and first pre- composer’s Columbia University. Among his teachers were Josef Hofmann, Ernest Hutcheson, and Rubin Goldmark. His compositions are modern, brilliant, and sented by the “Collegium musicum,” a musical Silber vigorous, as this vivacious prelude indicates. Accent the descending passage played by the thumb in the left hand part. Grade 6. society of that city conducted by the immortal Transcribed for Piano by Sidney CHASINS, Op. 13, No. 1 cantor St. School. scoring of the . ABRAM of Thomas The Tr | r Vivace M. M. J.= 132-144 . “Suite” calls for strings, oboes, bassoon, trumpets A A A AAA and drums. A MASTER LESSON A That Bach’s contemporaries were wholly un- k 3-5 i aware of his titanic genius and grossly neglected *=2-1 W 9 * his work are notorious facts of musical history. fPPf tellato mar f t| Yet “the Father of Modern Music” does not seem (j3ij ~SicLneij SitLr J" dim. to have been chagrinned by the neglect of his i music during his lifetime. “We find in him,” 1 ler and William Braid White. They are writes Abdy Williams, “little of that desire for “Poetry of delivery lies in the variety of tone- unanimous & their conclusions which, briefly, $ recognition which is usually one of the strongest colors called forth by the touch. A sudden stroke in are as follows: motives in an artist.” To cite Bach’s own words: invariably produces a hard, mechanical tone, be- 1. Tone in the piano is made by the hammer the string with different “The sole object of all music should be the glory cause the jerk of the hammer unfavorably in- striking degrees of force. LS LU LLT Ul_r LLT of God and pleasant recreation.” fluences the vibration of the string and its result- 2. Loudness of tone depends solely on the speed In 1829—seventy-nine years ing quality of tone-color. with which the hammer strikes the string. The after his passing—Mendels- “The songful musical tone is, greater the speed, the greater the loudness. sohn revived the “St. Matthew on the contrary, obtained 3. Quality of tone depends solely on its loudness, Passion,” thereby inaugurat- when the key is not driven that is, on the speed with which the hammer ing a universal Bach cult down suddenly, but is subject- strikes the string. which even to-day shows no ed to a gradual pressure which 4. Tones of the same loudness are always of the signs of abatement. continues -until the entrance same quality. Tones of different loudness are of the succeeding tone. always of different quality. Each loudness has its Piano Transcriptions “Perfect mastery of finger own unchangeable quality. The piano has the largest movement is, of course, neces- and most varied literature of sary in the attainment of The Piano's Tone Qualities any musical instrument; yet such a stroke, as will produce All of the above is undoubtedly true of single the majority of these composi- a noble, musical tone. Let tones. What about many simultaneous sounds? tions would be more effective these technical preliminary These findings may be applied to the latter as if rescored played and on conditions be once conquered well; but the student’s problem is how to produce other instruments. The fact is A and nothing hinders the ex- these multiple, musical sounds—this moving, JL that very little of so-called pression of individual senti- kaleidoscopic fabric, this appeal and stimulus to - piano music is idiomatic. Only h T 7 ment.” our esthetic sense. One and the same piano, -»— i the genius of Chopin, Schu- Thalberg, in his monument- PR played by a number of great artists presenting PH-m- m P mann, Mendelssohn, Debussy, cresc. al work, “The Art of Singing the same composition under identical conditions, Ravel, Godowsky and a few Applied to the Piano,” has this sounds quite differently, although each interpre- • -{TW others enabled them to take v T to say: “This art is the same tation is beautiful. Here, then, we become aware into fullest account the instru- & to whatever instrument it is of the real lure of the piano; for no two artists M ment’s inherent imperfections m‘ 5 3 applied. Neither sacrifice nor present the identical, simultaneous hammer hy n and shortcomings, minimiz- Johann Sebastian Bach at the Age concession should be made to speeds. R of Twenty-Four. Artist Unknown. The act of touch is as sure a means of W ing these while sublimating the special mechanism. Inter- identification of an artist as are human finger- the piano’s potentialities and pretation is the bending of prints. Touch is charms. strictly individual and personal. And thus master works were created. mechanism to the demands of art. Since, literally There are no exact duplicates! A » A In my opinion, the true glory of the piano con- speaking, the piano cannot give that which is A first reading of the present transcription re- d l . • sists in its availability to one player as a medium most perfect in singing— »# r:a J the power of F=- * prolonging veals that the melody must always predominate J" - £=f i for presenting all types of music; for all music, the tones—this imperfection must be remedied I 1= *i= - M over all other factors of sound production. This, & irrespective of texture or tonal mass may be re- by skill i and art and the illusion produced both however, TT= does not of the dim. f— imply that all tones r= duced, rearranged f- and made playable for two of tones sustained and prolonged and of swelled melody are to be produced by equal pressure or j hands while still retaining much of its musical tones, these being 4 the first conditions of obtaining weight. Quite 1 quality. the contrary! The effect on the ear <-* Well wrought transcriptions, then, offer a breadth of execution, a fine * * * P tone-quality and of such procedure 7— ft* =1 If Wf would be sameness and mono- f i — — ^=4 means of broadening — — —0 — 0 and deepening our musical great variety in the production of tone which tony is always inimical to artistic, musical rendi- “TTl — and artistic perspective. __ ___ necessitates freeing one’s self from all rigidity. tion. It is particularly so in the matter of “sing- It is indispensable that the fore-arm, Lyricism the wrists ing on the piano.” ff and the fingers possess as much suppleness and uis l_ The art of “singing Even the best pianos have but two tone quali- on the piano” is the most as many diverse inflections as does the voice of a ties built into them. quality difficult, yet intriguing chapter in its skillful They are the tone complete singer. In large, dramatic and noble songs, produced when the left (shift) pedal is stationary mastery. The present transcription presents a it is necessary to sing from the chest, to demand and vice challenge which can be successfully versa. How, then, are so many other, met only by much from the instrument, and to draw out all different tone qualities produced the greatest solving the problems of tone-production and the tone that it can by give, without ever striking pianists? style. Many students, in their quest for digital the keys, but by an attack very close and going The answer skill, agility, speed and brilliance, utterly overlook deep into them, pressing them is: by means of discriminative with vigor, energy emphasis, the basic requirements of the most satisfying and sometimes called plastic touch. It is the warmth. In simple songs, sweet and graceful, ability to effect music-making—which is lyricism. Music is essen- the piano many, differing, simultaneous must, so to speak, be kneaded, squeezed hammer tially an aural and a lyric art. It is easier speeds. It would be erroneous to con- to state with a boneless hand and velvet fingers. The in keys clude that words how not to produce a “singing tone” on in this case, should be this can be accomplished solely felt rather than struck.” through the piano than the reverse. Later, a number of scientific, mechanical or physical means. Varying practical “don’ts” will be enumerated. Recent Research on Tone-Quality tone qualities are unmistakably products of August Oetiker, in his essay entitled individual musical imagination and feeling, “Points on Three distinguished physicists have LlJ LIS LLT given us as well as of Oscar Raif’s New Method of Piano Playing,” in many interesting digital cunning. answers to the question of tone- discussing how to make While it is impossible analysis a songful tone, says: quality. They are: Otto Ortmann, to make an exact Dayton C. Mil- covering every phase ( Continued on Page 715) Copyright MCMXXVIII Company International Copyright secured 680 by Oliver Ditson OCTOBER THE ETUDE lya 681 682 British Copyright secured THE ETUDE AWAY TO THE CHASE! Copyright MCMXLI by Oliver Ditson Company secured British Copyright secured International Copyright Copyright 1941 by Theodore Presser Co. 684 685 THE ETUDE OCTOBER 1941 t s1 ^ 1 4 — 1 l > >_ — —.. > L > " || « * \> A A f - ft ft ft f p ft ft -0 • : •—4 r— *—k ^ S- F= : "ft ^ g F= » t i o&- = ^— ! -ft , i t i >- > >rit. > l 0 > ft ft 9- ft • i ik • 9 » 3 • * • — -ft- — » i i U f=#f e=z 9 9 0— y-7 HfM r M ft * “ __ t ritanlando 0 HH ± •. — . H 0 : N ft it & 4 4^ ^ 4p=j 5 somewfuit slower and noisily 7 -f- P-l ... ±= 3= d= -6 i a • a f — * , v *_ — " J . 1ft " JH «H -J E. l ) marcato ncf f^rf/r j ft— ir~ 7- rT 2 t= -fl./s J t 5= ft f=r= ’F «=hI— J=l= * - f_p — f= — -6- ^ :: ,9-i ri 1 British Copyright secured Copyright '1940 by Theodore Presser Co. Copyright MCMXXXV by Oliver Ditson Company British Copyright secured 687 686 OCTOBER 1941 THE ETUDE ) ) )) ))))) ) )) ) )) ) ) ) ) ) ) PRICES tm[ wori n’S GREATEST OPERA AND WALTZ COLLECTIONS AT INCREDIBLY LOW e appreciation to of S d opportunity to express itsi j^**™*^* ”,™a Kiss Waltzes Strauss Sounds from the Rhine Always or Never ( Waldteufel ) ( ( Strauss AIDA (17) FAUST (16) PAGLIACCI (10) Artist’s Life ( Strauss of Prologue Sunny Spain ( Alberti Heav’nly Aida Calf Gold Lagoon ( Strauss April Smiles ( Depret Pity, Kind Heaven Flower Song Ballateila and Spring (Waldteufel) Sunshine and Shadow Vesti la Giubba Love Grand March Salut Demeure (Henrique) Ballet Music Jewel Song Minuet Lovely May (Strauss) Bacio, II Arditi Final Duet Soldiers’ Chorus Gavotte ( Sympathy (Mezzacapo) Love’s Dream ( Czibulka Holy Angels Punchinello No More Blue Danube ( Strauss BARTERED BRIDE (9) Love’s Dreamland (Roeder) Country Dance HANSEL AND GRETEL (11) RIGOLETTO (10) Tales from Vienna Woods Furiant Susy, Little Susy Ballata Dolores ( Waldteufel (Strauss) It Must Succeed Monte Cristo Kotlar Dance Duet Minuet Schutt ( Comedians’ March Dream Love ( and One Nights Children’s Prayer Caro Nome Papers Strauss Thousand Comedians’ Dance Morning ( Sandman New Hope Renewed Dream on the Ocean ( Gungl ) (Strauss) (Waldteufel) Castle Woman is Fickle My Dream BOHEMIAN GIRL (10) O Magic Tout-Paris (Waldteufel) Quartet Soldier’s Life Witch Waltz My Treasure (Becucci) Emperor Strauss Tres Jolie (Waldteufel) I Dreamt I Dwelt ( LOHENGRIN (13) TANNHAUSER (11) Heart Bowed Down Enchantment ( Alberti ) Treasure Waltzes ( Strauss ) Then You’ll Remember Swan Song Beloved One, Come! New Vienna (Strauss) Waldteufel O King of Kings Ever I’ll Praise Thee Espana ( Fair Land of Poland Nymphs of Danube (Strauss) Wandering Breezes Oh, Hall of Song Valse Bleue (Margis) Estudiantina ( Waldteufel BORIS GODOUNOFF (9) Prelude to Act III Grand March and Chorus QfiattcL OpebaA in Sto/w and Muiic Coronation Scene Valse Rose ( Margis Bridal Chorus Pilgrim Chorus (Rosas) Boris’ Monologue Over the Waves In Distant Land Evening Star AIDA LOHENGRIN Flirtation ( Steck ) Vienna Beauties (Ziehrer) Polonaise BARTERED BRIDE MANON ALBERTI IVANOV 1C I Love Duet ARDIT1 .JAXONE STECK Vienna Blood (Strauss) MANON (10) TRAVIATA (12) BOHEMIAN GIRL MARTHA from South (Strauss) Death of Boris BECUCC1 KOTLAR STEGER Roses Laughing Trio Drinking Song BORIS GODOUNOFF PAGLIACCI Gipsy, The Bucalossi ) Violets (Waldteufel) BRAHMS l.ANNER STRAUS. O ( Mademoiselle! Monsieur! Ah! Was It Him? CARMEN RIGOLETTO Silver Lehar Voices of Spring (Strauss) CARMEN (15) BUCALOSSI LEHAR STRAUSS. U* Gold and ( Habanera The Dream Sempre Libera CAVALLERIA RUST1CANA TANNHAUSER Santiago (Corbin) CORBIN MARG1S STRAUSS. Sr. Waldteufel Ah! Depart, Vision Fair Di Provenza FAUST TRAVIATA Golden Rain ( Seguidilla CZIBULKA MEZ7.ACAPO TSCHAJKOWSK Schonbrunner (Lanner) Ah ! Love Me Again Gipsy Song HANSEL AND GRETEL TROVATORE Waltz Dream, A (Straus) Toreador Song Gondolier ( Roeder Death of If E’er DEPRET ROEDER VOLLSTEDT Flower Song Manon You Meet Serenata, La ( Jaxone ) GUNGL ROSAS WALDTEUFEL Waltzes, Op. 39 ( Brahms If You Love Me tnuAic (Dvuinijed fat eiiAiA. on AMUpru^ Sirens, The (Waldteufel) (14) ptayivu^ HENRI QUE SCHUTT MARTHA TROVATORE (14) Happiness ( Steger Waves of Danube (Ivanovici) CAVALLERIA RUSTICANA (10) See What Grace Anvil Chorus The (Waldteufel) Skaters, and Song Siciliana When to Life I Woke Upward the Flames Wine, Woman HAMPTON T PUBLICATIONS Sleeping Beauty Carter’s Song Last Rose of Summer Tempest of the Heart Mew York Impassioned Dream (Rosas) (Strauss) Easter Hymn Porter Song Soldiers’ Chorus ( Tschaikowsky ) Intermezzo Like a Dream Miserere (Strauss) Fellows (V ollstedt) Sounds from Home (Gungl) You and You Drinking Song Heav’n May Grant Pardon Home to Our Mountains Jolly 224 Pages — Price $1.00 192 Pages — Price 75c DID YOU READ ABOUT THESE GREAT SONG AND PIANO COLLECTIONS IN THE AUGUST "ETUDE”? 300 SONGS — 36 KINDS 125 PIECES — 85 COMPOSERS If you were away on vacation, or haven’t read your August “Etude,” you will find it well worth ALBENIZ DRDLA GRANADOS MACDOWELL SCHARWENKA AMERICAN FRENCH MINSTREL MASCAGNI SCHUBERT American Home Song Home AMANI DRIGO GRIEG BALLADS GILBERT-SULUYAN NURSERY while to read our announcement of The Album and The American AUBERT DURAND HANDEL MASSENET SCHUMANN CHILDREN GRAND PATRIOTIC BACH dvora'k HARTHAN MENDELSSOHN SEBEK OPERA thirty-six the MOSZKOWSKI SIBELIUS CHRISTMAS HAWAIIAN POPULAR Piano Album in the center of that issue. The different classes of songs are listed in BEETHOVEN ELGAR, HAUSER BIZET FAURE HAYDN MOZART SPENDIAROW COLLEGE HILL-BILLY RUSSIAN HERBERT OFFENBACH STOJOWSKI section to your left this and the name?|of the eighty-five composers of the piano pieces BOCCHERINI FIBICH COMIC HOME SACRED on page, BOHM FIELD HOUAENDER PADEREWSKI STRAUSS. R. CONCERT BRAGA FRANCK ILYINSKY PERGOLESI SULLIVAN HYMNS SEA on the right, the August “Etude” lists contents of both POLDINI THOMAS COSTER but the announcement in the complete BRAHMS FRANKE JUNGMANN IRISH SOUTHERN CHAMINADE GABRIEL-MARIE KJERULF RACHMANINOFF THOME COWBOY ITALIAN SPANISH books. Bear in songs in The American Home Song cost you only 75c CHOPIN GILLET LANGE RAFF TSCHAIKOWSKY mind that the 300 Album RAMEAU VERDI CUBAN LIGHT OPERA SPIRITUALS CUI GIORDAN 1 LEMARE American DEBUSSY GLUCK LEONCAVALLO RIMSKY'WJRSAKW VILBAC ENGLISH LOVE STEPHEN FOSTER or Vac each, and the 125 piano pieces in The Home Piano Album only 75c or He each. RUBINSTEIN VON BLON FOLK MEXICAN SONGS DELIBES GODARD LISZT WALTZ DITTERSD0RF GOSSEC LUIGINI SAINT-SAENS WAGNER DONIZETTI GOUNOD MACBETH SAPELLNIK0FF WILSON dealer for the books; on your piano, these volumes will your local music immediately, or- become your most treasured pos- if you can’t get them will gladly supply session. You will never be without HAMPTON PUBLICATIONS der direct and We ONCE you. them you will never partwith them. ; 400 Madison Avenue New York City GINGERETTE AUTUMN SHADOWS Grade 4. m ^ o r~ r i\l* ] i «•- * 0 i-J* |— fmM^ *7*jg. = = U r r~~j m f -+ ± ) J J ! i * r V - nit- :t#-i— >):| (\^Z_L L 'n 1 J l i i \. U- A-^-- E= U- L r j. 1 1 1 1 i i L, . 1 T Copyright 1941 by Theodore Presser Co, 690 British Copyright secured THE ETUDE British Copyright secured Copyright 1940 by Theodore Presser Co. 691 OCTOBER 1941 - - y —— COMPOSITONS TENOR VOCAL AND INSTRUMENTAL MUTE OH! SUSANNA STEPHEN C. FOSTER Chang Fang-sheng Preset Century) ! DEEP TONE Arranged by John Finke, (4th , J Tr Waley {BRILLIANT Translated by Arthur SAILING HOMEWARD ELINOR REMICK WARREN rangement of a well-k nown Foster Etude subscribers who have acquired a Solovox will be delighted with this most effective and original ar Song. Slowly and broadly Poco moderato * V -0- -0- vf # f 0 m J m ~ J • . P rfs va7 ri 4 yt— : — 1 ~=i ri= l¥ d i f MN i«7 1 • ^ m -0— • |V |V A* A r -J i Crp m .“r • f=F=tR • 7 TFP i'3 1—7 » J -1 / ADD\ PIA NO /SOI/) vox 'bass/ 'BASS OFF )vf Sands— that are white through Lake that stretch- es a hun - dred miles With - out a wave j 14 f- =F=feJ =*4= =5=1 ii > - T • [r-#— \ * A p-x_ < y t4-y f=§=/-5_ -I ~r~ p — r y A a— p i A A r? 1-U A"" — P i ~ J J .. . 0 . Ff^Tf * LJ 0 Jq» Nu — Is- \1f- 4r r h>. ^ - J~ : 1- ft J)7 1 3 444j i W-H- Tempo di Valse pause, that for- ev - er flow— and Streams ~ — 1 q P ; -1 t -i— i: \i 1 mp 3* — 5* r Y l s* 1 1 * 1 1 _J - 4=4 ! - — :-i i l—a w J —0 -5 r h — * : 1r 1 H Your vows have kept, You have sud - den - ly Trees that for twen-ty thou-sand years n “a?— vr 1 -0 0 *1 ^ r cresc. mareat0 t..,. :: J -4— ; * t jSl — i— j =S^ -# * _ ^ ' % ^ 1 7r International Copyright secured Copyright MCMXL by Oliver Ditson Company 693 THE ETUDE OCTOBER 1941 PRAYER IS THE SOUL’S SINCERE James Montgomery DESIRE International Copyright 695 THE ETUDE OCTOBER 1941 HUNGARIAN DANCE HUNGARIAN DANCE No. 9 No. 9 SECONDO PRIMO Allegro non troppo JOHANNES BRAHMS JOHANNES BRAHMS CODA 697 THE ETUDE OCTOBER 1941 . — . p m Sw. fulKno cornopean) SCHERZINO COME BACK TO ERIN Gt . full (no reeds) 8' Ped. 16’and IVith Hammond Registration Sw. to Gt. ! Gt. to Ped JAMES H. ROGERS - — : H5E=i — 1:3 J =i»— ‘r-»P tlPl r j Z J- — ILJ +" ! =J T p —Up -J 1 rP f-—1 - f— r-j-j n L_i-ess P_im m ^=l - ^^-—4 j: 3-i; #><*• t* ^ r r jr r*- 3=1- -i i ' 1 i—-i«—Urj1—*-# '|tt J i m m - m m 9 w m ; J^l.j J== *o ris : :: -d F- Jv—. • ' 1 zAm===^*=A=mzz — = R \ ‘ f L — r j__ j r ^ r * m E LjT Hr^lTT^ £ = m.if rit. f a tempo - - = -p i v F F=r -z+g 5 VW *• 3?' a#" ^*2 r. rit. in mf tempo m « • ** / AO ,s' 1 1 .77 a £ £ £ fcJ- 1 i ) DELIGHTFUL PIECES FOR YOUNG PLAYERS V/URUlZER Technic of the Month The a name famous in music for over 200 years THE WURLITZER SPINETTE MODEL 340 IS FINISHED IN BLEACHED Conducted by MAHOGANY AND THE NEW WURLITZER PLASTIC FABRIC . . . ALSO AVAILABLE IN MANY OTHER BEAUTIFUL COMBINATIONS THAT WILL ADD DECORATIVE AND MUSICAL CHARM TO ANY HOME. SEE AND PLAY THE NEW FULL TONE WURLITZER SPINETTES AT YOUR WURLITZER DEALER. Two-note Phrase Groups (Czerny, Opus 335, No. B) Isn’t it shocking to discover that more effectively played if 2-3 or 3-2 most students do not know how to are used. play two-note phrase groups? In all (9) that swift two-note figures are the years of my teaching I have sel- impossible without a light, floating dom come across pianists who take elbow. the trouble to play such figures well. (10) that, in practice, there should Why is this? Simply because teachers be a slight overlapping of the are notoriously slipshod in clearing- two tones, the first note held over up, technically as well as musically, ( legato for an instant as the second this important point. is sounded. Without good two-note phrase Whew! I’m sure you are as sur- technic it is impossible to play Bach, prised as I am to find so much to Beethoven, Mozart, in fact any com- think about in playing those persist- poser adequately. All music abounds ent little figures! in slow and rapid figures like these: Practice the Czerny study on the Ex. l opposite page as follows: (1) Very slowly in straight legato eighths, disregarding the two-note phrasing: 3 A a- i m. * z im m a* To play such groups well is a ^ ub highly complicated process. Every- etc. one knows, of course, that the first - ft 4 . (strong) tone is stressed, and that L \ -/y v * — 1 ’CONTENTS' the second (weak) one is lightened. But we must also remember: (2) Then slowly, with very exag- Aloha Oe Queen Lillnokalani Annie Laurie Lady John Scott (1) that the first tone is usually gerated •'down-up” phrasing, playing Arkansaw Traveler American Tune Auld Lang Syne...... Scotch Song played with a down touch, with arm (4)the down tone long, legato and forte, Folk SOLOVOX Autumn Cecile Chaminaile in slow tempo; with finger in rapid the up tone late, pianissimo and very Believe Me, If All Those Endearing Young Chaims Old Irish Ait- speeds. short. Berceuse A. Iljinsky Carry Me Back To Old Yirginny, (2) that the first tone is not only James A. Bland Come Back To Erin, louder but slightly longer in time Mrs. C. Barnard (Claribel) Dance of the Kosebuds. . . Frederick Keats duration than it would be without ALBUM Evening Prayer E. Humperdinck Flow the phrase line. Gently. Sweet Afton Scottish Folk Song Home On the Range American Cowboy Song (3) that, consequently, the second A COLLECTION How Can I Leave Thee V . Thuringian Folk Song In the Gloaming .Annie F\ Harrisoi tone Juanita is played later, and is, of course, OF FAVORITE MELODIES Spanish Air much Last Night Halfdan Kjerulf shorter. IN SPECIAL ARRANGEMENTS Last Rose Of Summer, The .... English Air Loch Lomond Scottish Folk Song * 4) that in rapid 1 tempos the sec- (3 Same way, but more rapidly in FOR TLIE HAMMOND SOLOVOX Londonderry Air Old Irish Melody Long, Long Ago Thomas H. Bayly ond is played exaggeratedly softly, sixteenths. Melody of Love II. Engelmann sometimes staccato, and often almost Oli! Susanna Stephen C. Foster Compiled and Arranged by Old I-'olks At Home Stephen C. Foster to the point of inaudibility. Pavane Maurice Ravel JOHIS F1NKE, Rocked In the Cradle Of the Deep, (5) that the second is played with Jr. Joseph 1*. Knight an up Romance Anton R ubinstein touch, arm or finger. Salute To the Colors. . . .Bert R. Anthony Silhouette John I’inke, Jr. ( 6) This first collection for the Solovox, the new that no two-note phrase “feel” For lightness, and paper-weight # Then You'll Remember Me. .M. W. Balfe electrical instrument (attached to the piano), Turkey In the Straw . . . American is possible if Time both tones are played arm, play the twotones exactly to- contains more than thirty numbers. Arrange- Viennese Refrain Folk Melody with the same touch. gether with delicate staccato (from ments of folk songs, opera gems and •I) that any excess movement, or the key-tops). Be sure to play the melodies, classic standard pieces are included additional preparation of arms or two tones simultaneously, and don’t among its pages, and the reg huger, istration most suitable to each after the first note is played stress either; watch correct finger- pi events the proper piece, be it brass, flute, string execution of the ing. or reed quality, is indicated. second note. In other words, two- Provision has been made for ’ Ex.6 . note phrase figures are played simply S’ a variety of tonal coloring, £ of this resource- "down-up” A * l j and players ful instrument will delight in the effects to be obtained etc. Ex. 2 pp through these pieces. The mu- (5) Left hand alone, for instance, re- sic is printed on two staves. laxed, hand-flipping preparation. The upper carries the melody for Solovox while the lower LJ contrast, play the first (6) Now, for carries the bass and accom- and not “down-up-down, “up- tones as grace notes to the second. paniment for piano. The Solovox registration is Published by down indicated at the beginning of each piece, with -up,” or any other way. accent the second notes, but THEODORE PRESSER CO. Don’t changes suggested throughout the music. 1 ) that 1712 Chestnut St., Philadelphia, Pa. rapid successions of two- gently rotate your forearm toward no e phrase groups in scales are (Continued on Page 706) ETUDE THE OCTOBER, igjfj 703 : : ) : — — — V/URUlZER The Technic of the Month -a name famous in music for over 200 years THE WURUTZER SPINETTE MODEL 340 IS FINISHED IN BLEACHED by MAHOGANY AND THE NEW WURLITZER PLASTIC FABRIC ... ALSO Conducted aier WILL ADD m AVAILABLE IN MANY OTHER BEAUTIFUL COMBINATIONS THAT DECORATIVE AND MUSICAL CHARM TO ANY HOME. SEE AND PLAY THE NEW FULL TONE WURLITZER SPINETTES AT YOUR WURLITZER DEALER. Two-note Phrase Groups (Czerny, Gpus 335, No. 6) shocking to discover that more effectively played if 2-3 or 3-2 Isn’t it do not know how to are used. most students phrase groups? In all (9) that swift two-note figures are iy two-note teaching I have sel- impossible without a light; floating „,e years of my pianists who take elbow. dom come across to play such figures well. 1 10) that, in practice, there should the trouble Simply because teachers be a slight overlapping . of the Why is this? slipshod in clearing two tones, the first note held over are notoriously as well as musically, ( legato for an instant as the second U technically p r KF.ji point. is sounded. this important Without good two-note phrase Whew! I’m sure you are as sur- prised as I to find so to technic it is impossible to play Bach, am much Beethoven, Mozart, in fact any com- think about in playing those persist- ent little figures! poser adequately. All music abounds in slow and rapid figures like these Practice the Czerny study on the opposite page as follows: (1) Very slowly in straight legato eighths, disregarding the two-note phrasing Ex.H , £2.’ -= 3 5 ’ 0 = ! Li 5 * i* fit f To play such groups well is a THE RUDOLPH WURLITZER COMPANY, DE KTALB, ILL. Every- highly complicated process. etc. one that the first * knows, of course, 1 f *):*-! (strong) tone is stressed, and that 1 CONTEXTS Xpr » .j . _d f i j the second (weak) one is lightened. exag- Aloha Oe Queen Liliuokalanl But we must also remember (2) Then slowly, with very Annie Laurie Lady John Scott playing Arkansaw Traveler American Tune (1) that the first is usually gerated “down-up” phrasing, tone Auld Lang Syne...... Scotch Folk Song Autumn Cecile Chaminado played with a down touch, with arm the down tone long, legato and forte, SOLOVOX Believe Me, If All Those Endearing very Young Charms Olcl Irish Air in slow tempo; with finger in rapid the up tone late, pianissimo and Berceuse A. Iljinsky speeds. short. Carry Me Back To Old Virginny, James A. Bland ® that the first tone is not only Come Back To Erin, Ex'* Mrs. C. Barnard (ClaribeB louder but slightly longer in time Dance of the Rosebuds. . Frederick Keats ALBUM Evening Prayer E. Humperdinck duration than it would be without Flow C.ently, Sweet Alton Scottish Folk Song Home On the Range American Cowboy Song the phrase line. How Can T Leave Thee?.Thuringian Folk Song A COLLECTION In Gloaming Annie F\ Harrison *3) that, consequently, the second the MELODIES Juanita Spanish Air tone OF FAVORITE Last Night Halfdan Kjerulf is played later, and is, of course, Last Rose Of Summer, The .... English Air much shorter. IN SPECIAL ARRANGEMENTS Loch Lomond Scottish Folk Song Londonderry Air Old Irish Melody •f) rapidly in SOLOVOX > but more HAMMOND that in rapid tempos the sec- < 3 Same way, FOR THE Long, Long Ago.. Thomas H. Bayly Melody of Love . .H. Engelmann ond is played exaggeratedly softly, sixteenths. Oh! Susanna Stephen C. Foster sometimes Old Folks At Home Stephen C. Foster staccato, and often almost Compiled and Arranged by Pavane .... Maurice Ravel to the point of Rocked In the Cradle Of the Deep. inaudibility. JOHN TINKE, Jr. Joseph P. Knight 15) Romance. Anton Rubinstein that the second is with played Salute To the Colors .Bert R. Anthony :’n up touch, Silhouette John Finke, Jr. arm or finger. Solovox, the new £ This first collection for the Then You’ll Remember Me ..M. W. Balfe ( 6) that lightness, and paper-weight piano), no two-note phrase “feel” (4) For electrical instrument (attached to the Turkey in the Straw . American Tune Viennese Refrain Folk Melody 18 exactly to- contains more than thirty numbers. Arrange- Possible if both tones are played arm, play the twotones ments of folk songs, opera w'th the delicate staccato (from same touch. gether with melodies, classic gems and play the included . Be sure to pieces are J? ^at any excess movement, or the key-tops) standard A SPECIMEN SHOWING SOLOVOX PART FOR THE RIGHT HAND don’t its pages, and the reg- ACC. THE LEFT HAND ““ditional tones simultaneously, and among AND THE PIANO FOR preparation of arms or two istration most suitable to each ‘‘= ei’' correct finger- Pavane a/ter the stress either; watch piece, be it brass, flute, string iCOXTRALTO . first note is played }mcte Chanson Triste MAURICE RAVEL reed quality, is indicated. (BRIU.1AXT tde proper of the ing. or execution Provision has been made for Moderate on“ - ; note - — in of tonal coloring, lhi*H 1 ^ 1 J I. other words, two- a variety g -* * W— L „ t , e 1 «J SOLOVOX ~ Phrase figures are played simply and players of this resource- down-up” ful instrument will delight in - ; L, -•*'«* - . the effects to be obtained , \£ I-p T~ through these pieces. The mu- f *.F4I ?TfeeeTOn Ex. 2 I Cop?YSffct FrTVodor, alone, for instance, le- sic is printed on two staves. (5) Left hand the melody preparation. The upper carries - PRICE $1.25 laxed, hand-flipping for Solovox while the lower play the first carries the bass and accom- (6) Now, for contrast, W paniment for piano. The Solovox registration is Published by ‘ grace notes to the second. (W down-up-down," “up- tones as indicated at the beginning of each piece, with THEODORE PRESSES* CO. second notes, but changes suggested throughout the music. 01 any other way. Don’t accent the 1712 Chestnut St., Philadelphia, Pa. 18) th at your forearm toward rapid successions of two- gently rotate note v, Pn ras on Page 706) e groups in scales are (Continued 0Cr 703 °BER. 1941 — » T^1" — 1 — arrive. capable musician ap- does and upon a are made to con- hind the taken: great efforts lainmem of the Broadcasts by the Committee rests obi School Music pointed Useless cares: a considerable ‘But whether —or not the tinue. th6Se as tomj — ’ decision Despair sets in. and the strengthstrpnTvT! kai? time is lost. of ! group auditioned shall be granted tone, range! Everywhere only consolation one can find is in of voice, privilege of broadcasting. One depend on the T1 neither attributing to nature, faults which or Principles: ™* 654) interesting discovery is that ‘Train ( Continued from Page habits." nor its have their roots in bad avoid constraint,’ the size of the community not Jr few points The spirit of seasoned troupers weight in Let us now consider a throat itself, -Answered L, DR. location seems to have any but in ever?. NICHOLAS DOUTY the stoical calm of martyrs about posture: the position of the ted>’. which even determining the worth of the presen- should be!? was evinced by one group of young body, and here again, we quote lifeless, during tation as demonstrations of music the ? tin? VIEW No question will be answeredin THE ETUDE unless accompanied by the full name people when, during a broadcast, ex- breath is ^ in schools. Rameau. omitted." and address the training the CAT. MAY 19. 1915 of inquirer. Only initials, or pseudonym given, will be published. for of held grace- P I” 1 citement proved too much one Already rehearsals are under way “The body should be APR.”- the players he became ill un- should feel the great- To Combat and — series of programs; fully, and one Premdi for the 1941-42 ce fortunately, suddenly and patently in all its parts. schedules are being made, soloists est possible flexibility Rameau remarks that b t,. The Baritone Who Tried to Sing First Tenor difficult the circumstance surrounding your ill. He remained as inconspicuous as and Indeed this is a general principle of have entered Master-Key chosen, musical numbers selected into such She lives in Kansas City, it is always the little low andana terms are —ea£>'- Don't miss imple- Missouri, more, or between the vocal chords was too books of opportunities ut oto which the breath is the aperture voice; some teachers prefer certain ment Radio alone offers good singers thousands emitted for the equipment In many today. where community interest in this the little less, which makes all great and you either could not sing at all as teachers quite different ones. Our pay. Write for free information pro- the formation of tone," says and other GRANVILLE SCHOOL OF VOICE Rameau. does not always hear i thirteen years ago, or your of vocalises gram is so extensive difference. It the result was own opinion is that the book 100 East Ohio Street Chicago, jjinojs that it is broad- is the difference be- through Dept. 717 voice sounded as if you were "Singing selected is not of nearly so much importance need for his growth i cast from the stage of tween the harsh, does the Municipal grating tone of the Breath Only, Is Controlled a comb wrapped in tissue paper’’ as it as the method of voice production adopted. Auditorium. a thinker, so that if he does: thorough laryngoscopic The program of songs is uncultured singer, pianist, or violin- now. Please have a Try to find someone who will teach you how “The including sent breath, indeed. Is the develop some vocal techracfe examination of your entire throat control your breath rather than waste it. into every elementary and junior ist, as the case may be, arid only to the full, the larynx by the best throat doctor in your to sing easily rather than how to thing in voice production purpose how high school in the city months limpid singing, or over which turn it to some useful constant clearing of the vowels and con- before brilliant tone of we have neighborhood. Your scream, and how to form PIANO the big day, and the any control. With regard Is pupil after pupil, to say i throat suggests some nasal catarrh, but one sonants without interfering with your tones. with a copy of the accomplished artist. It is the without an examination. If less mere question of program to the muscles of to cannot be sure The rest is more or a goes a letter which tells difference the larynx, all we of the singers, to whom of between the work of an find catarrh, have it cured also. That your Practice.” can do is THE SECRET Hiir getting thin? Bothered you "Studio the forthcoming broadcast artist to allow them liberty and poetry of a song mean* OF this grueling experience at all. and ex- which fills us with to hy dandruff? Don’t waste time voice survived enthusiasm, HEALTHY for you plains that follow their etios HAIR suggests that there may he some hope Canadian Mother those children who show and of that which natural movements. Their whole thought is moping or doping your hair, A Letter from a Worried leaves us cold wike your cords nor the muscles the When up your scalp, sec the difference, fed the results. and that neither girl eight, whose voice has best advancement and the breath Is of certain te* need Q. I have a of musically will uninspired. This emitted from the the production Let the new electric are incurably strained. You exact and vital driven VITABRUSH answer your of the larynx promise and who has sung in our little concert be lungs worries. after- chosen for the broadcast. precision, with too much expressed 5000 vitalizing strokes per minute. Restful. attention of a good doctor and This ar- on which everything force, the throat whether or not they first the meetings since she was three. We live on a 1 will de- 5* Satisfying. Takes only 3 minutes a day. Recom- lessons from a teacher who rangement becomes j wards some no one to tell me anything. makes the broadcast pends, can, compressed, their singing does®' mended farm, and there is im- to a certain extent, and the voice thing by by scaip authorities. Satisfaction guaranteed. your true range, and show you how be ' discover her piano from that portant is lte hare been teaching to teachers, robbed of i °0 Tor full It, com- I students, prin- taught, but in the its flexibility. On the parently. cause them ^ information and money-back to produce your tones well within Every Day." higher manifesta- otier. Hershey splendid book, ‘-Music Play for cipals, and to other Mfg. Co., 153 So. LaSalle Street, Chicago easily. the community at tions hand, any ilf E fortably and low B-flat to high D. Are there large of art, it cannot be reduced constraint caused This is the true cai She sings from —for is to She likes to sing what of interest to by anxiety for to any rules for her to follow? the chil- an exact science, a proper gracefulness tistic failures. The singer dren but is due to the to Help an Inferiority Complex the place at the top of her voice, so in the schools is or style, How around it’s carried with aesthetic sense for an appropriate the making® I her a quarter of a mile away. simple as A B C of the artist. inflection enough so far as Q. I am a girl of almost fifteen and one can hear them into the homes. of xcant her After the voice: ! operatic career. Un- that strain her voice? I do these preliminary efforts which are not goes, but nobody takes anJ BLONDES am studying for an Won't C. K. Because the sentences handicap. I have no to grow up with a nice voice.—Mrs. J. National Broadcasting recognized I A (veupivt? lint of unusual gp^ Ialties fortunately I hare a Rameau proceeds to as efforts because singing. Why? think t oT)ouMc cn give in his whenever I issues of Company, over an exposi- of ac- I designed for blonde?, and those w ho want self confidence at all, and A. You may have read, in various whose red tion bad I to be blonde. copy network of his vocal ^ed habits, these tones tote*' Send for your FREE that someone is listening to me, Eti'oe, our advice to several anxious he method of producing are the true merely makes lof booklet: "EVERYTHING FOR or know Thb programs are voice shakes. I so, please read broadcast, has St obstacles to beauty BLONDES", describing the many dls- my throat closes up and my parents. If you have not done beautiful of tone, something. Wl»» gf still tfu> Jtlci iiniflo studios tones and flexi- Ing about tinrtlre blonde never sold this while I am of eight, is unde- in large cities, possible creation* — want to overcome it. A child, especially a girl these popula- SrnVTi? 0 V ’' s om the voice. e The about a { thry stores, including the famous br rrrg grateful if you physically, mentally The ' should way, tonP 1 every ‘ I in tion centers summary audience care LECHLER'S ‘ INSTANT HAIR young, and veloped are the points of our ‘ 560 what of origina- author’s throaty,h oat v“ Ththe lightener & ••S69" hair light- rise me through The Etude vocally. Until she has turned into a With your knowledge of the piano, it’s amaz- method, its voice production.® ENING would ad and tion for trembles, method of tone ; SHAMPOO oj the performances. fundamental and self-consciousness . Some condition which varies with ingly to the marimba and with In many principle, U t0 HLrB to do for my young woman, a easy master — may be set e bffomes may ha'* sto BROADWAY,Mn..!;!9 laboratories has been inraluable which usually occurs instances, however, forth m the impossible or with whom he DEPT. EB NEW YORK you r ad rice to others the individual, but such mastery comes an entirely new world of suburban and aX f0 The m«v ? articles on vocal work thirteen and sixteen, you rural pupils ulated °ld ItaUan persons out® to me, also the other somewhere between musical pleasure. are also participants. Rameau him! staging Ninety-nine voice to be “settled.” You • It selfseinass follows:f™ masters Tv? of all kinds—S. S. W. cannot expect her “Train the tone -" the slip can edu- The marimba is portable take it with you amf Stly imP°ssible to yourself to ^ 'he cor- hundred are not in DENISON’S- our answers In the May. cannot hurry her development. You — pick up TeTot ^ UTen, A Please read cn^l l avoid constraint” ® A k Song*, Musical Reading* Inquirers only in the usual school studies, in anywhere. The marimba is fascinating all the schools in (Prendre la our a««ntion. Interested in MI I V C of The Etude, to other cate her the country, and pe in e Tv?' T all our gree kft I g Musical Comedies, Operetta* 1939. issue watch over her so de n en point wmwil, should n a similar trouble^ You music and in languages, makes a hit with young and old. The ma- the work prendre) be sap W* D*%fetfanr aanostaar. Drabn’s pta* are suffering with of selecting . This n directed touwrH? they wish the who in- manners, her associates, and those that are n things: OCCASIONS ore produced everywhere, ('onvpl-te inferiority complex, an health, her rimba is versatile gives new life and color ciple he emitting min»trel to have an — 1*® material. Free Catalog. seem to give repeats the breath ™ e*? |Te n . others^ control her tendency to scream as best you performances is again and almost give them -^lzg_n| 9Qn&Co.. N. criticism of to any type of music. And the marimba, as r.ble to 203 Wahaah p, t Chicago fear of the done by a aS' -ame the p 73. ordinate harm their voice during Music manner as an awkward age A girl at can. Few children Education Broadcast when we wish to beauty, show them the Fifteen is rather childhood. Their vocal muscles the "livest" of musical instruments, provides Commit- k longer a child and is still the period of tee, a group of m«S“s reaLeT h the that time is no and they seldom strain a golden opportunity to "make" school or- men and women who r SpPak *r “ great artists have done, woman. As you grow °ld a are very resilient, on!y quite a . are a .OM o, wUh n de not the®J ghls After fourteen, her real voice-training chestras and bands, play club, lodge and representative of six tZg° thought can a* ^dverti semen ts are and more freely with them. ™ but . central con- Orth"' he appreciate p V, associate more should be careful, from singers expre^V*express, to can u age. a great deal may commence. She radio engagements, perhaps even become a ference groups, in who are In too the tones Splendid Buy- (and boys, too) of your own she turn representative great I of the If the sing® ea that period on, how she sings, when professional. to reach hurryhorn Vo,cevnW are themselves. mS Opportunities - - - self-consciousness will amDiwuu* o-wv came so successful in his U a concert, she is ” day, just before write in larger forms. There time slips away. solo- to Many' WORLD’S baritone thiis,, THE MUSICAL Our Musical to me saying that the tale of a composer UP. and was unable also an amusing in the end TEMPO ist for that same evening in Brazil to realize Ohgan mu Choih Ulestuins o/ PERFECT his reputation that STANDARD soprano, would who made one’s tWl!? tsforif “Good Neighbor” Policy to sing and that I, a Chilean song, putting one sown. him. Together by taking a Nevertheless, 0!®* I have to substitute for publishing lishes Brazilian words to it and a great deal ^ (Continued Page 656) the new score, tiying here fa T accurate from we went over v/as sued, but by “Your WICKS CONVENIENT shape in it as his ov/n. He State Department frantically to get it into he was many / DEPENDABLE suit was over leading i -JnxaiereJ Lc, S. Mus. Doc. remained. The the time the American --' HENRY FRY, singing songs for the next Carnival. the few hours that tour famous! Latin America, given on schedule, and just ^ The people choose the ones they like concert was singing Ex-Dean of the Pennsylvania Chapter of the A. G. O. United States 1 although "The people of these here in North and continue to sing them until the I sang the baritone solo w' about 10 bring 5 end. have many misconceptions your culture next Carnival is over in December, I was mentally exhausted at the to tu Only one person in ences. It is but it was Latin America. to be hoped when they start on a new round of It was a difficult task, full in Brazil artist V No questions will be answered in THE ETUDE unless accompanied by the exercise that a hundred knows that who goes there songs for the following year. such wonderful mental name and address of the inquirer. Only initials, or pseudonym given, will be pub- instead of learn to Now, Portuguese is spoken love our lished. Naturally, in fairness to all friends and advertisers, we can express no opinions “Other Brazilian songs come from I was grateful for it afterward. music air surprised it back as to the relative qualities various instruments groups who Spanish. Some people are to his audiences of the Indians, and there are also the when I rehearse with he that we have no I am growing dif- when they hear to -• ip romantic or satirical ‘fados’ stem- are preparing to present these appreciate for racial prejudices, but then they go the songs written by ming from Portuguese settlers. Some ficult Villa-Lobos compositions your co-- extreme and think and am of the percussion instruments used orchestra and chorus, I often have to the opposite planning to sine in Brazil, besides drums, are the sing all the parts: soprano, tenor, that all Brazilians are negroes! This, concert soon. Some give tiie full power of to North . in format ion as knee swells should ELECTRONOMS Aje Q. Con gou send me some alteration of the stops rTraefe Mark Reg. U.S. Pat. Off.) growling puita, rattling sort of of course, is not true, although many composers even fit the stops of a Hammond organ differ the organ without the xucalhos, alto, baritone at times—a have said how be another instrument and HO forth t drawn. The tremulant stop should not the and recoreco. it our cultivated people are will write from METRONOME macumba the prompter for the chorus. I enjoy of most songs especially drawn when the "full organ” is used. Since ELECTRIC v 10. M. A and “Heitor 1 from stops are divided between treble Villa-Lobos, whom I have because it teaches me to think colored. Our lack of prejudice 3 "It is this sort of A message the Jo play even the most difficult com- must- your perusal of “Dictionary the use It is easy A. We suggest bass, soio effects may be secured by composer known since I was about eighteen, quickly. Another wonderful experi- shown in our music to the extent procity that will Stops" by Irwin and key- positions in the exact tempo the assist t& SEATTLE, Washington of Hammond Organ of a louder stop on one portion cf the l either of when your timing is is not Brazil’s only talented composer ence years I recognize tre- Neighbor' ••Playing the Hammond Organ.” accompaniment on a softer stop originally indicated, was mine many ago. that we openly the W Policy materially board with secured from the publishers These "the metronome fhat operates of serious music, his which may be in another portion of the keyboard. controlled by but talent is have always been grateful for the mendous influence that negro music musicianan im?,, - to with and music if too*«t lonsvd softer satisfied users say: •far litentut cf The Etude. solo stops .may be accompanied by a electrically". Read what far to*w <» Importonl plots by the most outstanding. He is fact that life once forced (Kite 4' provided the ac- me to has had on Brazilian music as a country a >d in Lai por- 8 tone, or a or 2 tone, hr itody asd rs/srssts teacher. i, Ibror, arose among oar the head Q. Hr t en tig a discussion be covered by of musical instruction I os. lots, notes can in the earn a living singing in nightclubs, whole. In North America, well toyprogreniyo cgowtl. companying negro music as evt ry concert posei. interlude being played of ,oon 01 on , irrinfi.cn tin In an softer stop being used. doubt if it I public rflraU dm cosInbuUon range of the “It’s the last word; schools of Rio de Janeiro and I ' congregational for there learned how to hold an has also had a tremendous of Iftstotors. rrrses of a hymn Jar for anotherther 1 influence from one cc try to sducoftonof imlwmml heltreen will be surpassed lia. be- ” has trained the » aid cat, I a a, which selling reed I children and soldiers ,in,, in,I. is Ihi an Please send (i list of firms century audience of people who had come the creative G.s*sst, to. ton. 6A.G.0- Q. on output of a large per- cultural a Sosd Jons* H rally used? ' ..l.t.otON I, III, I, d. nr is il still yen, C.W. to sing. In fact, everyone sings in ii.inl en, I, nut organ parts and accessories.— merely to chat and drink, and how centage of the leading composers, President PROFESSIONAL. ..• your communicating with Brazil now. By dint of hard work, to keep them asking for encores. A. We suggest It some of whom are glad to admit it interesting the interlude be- are sending you in- in (Con \mued on Ho regular mailing list for this A. We doubt whethe. reed organ builders and I can see the improvement he has succeeded in having choruses itr you on ilis general use the builder of tempo.” was one of the best lessons I ever Month'' folder* Il not, send of the hymns Is in formation by mail. Perhaps my feeling for solid and some of whom either deny it pur- A "'Wicks Organ ol the tween verses of it is used will recital (program of as many as sixty thousand voices ond it will bo sent to you with- time. Whether or not the organ used for the f learned, and the training was rigor- pur name and oddreis at this posely or inadvertently overlook it. church in is located in your this folder brings you a now the authority of the which you enclosed), who He has set obligation. Each month depeucl on become a politician as well ous and beneficial. we information. STUDENT... Gershwin, lolost developments and newest Personally, very infrequently give you necessary Jacques Wolfe. Virgil end interesting story of question city, can as a composer. Some have written Technic of the equivalent of the verse of the “Hard pieces are easier to play installations by the Wicks Company. improvise the Thomson, Harold Morris and John certain choirmaster of when we know our tempo that he is not appreciated in Brazil hymn (generally once only) between 0 I ant an organist and Many Other Writers for hare a three right.” Powell are some of the white order to make it long enough the Cathedral line, and wc 4 as is com- verses, in he in other parts of the world. Two-note Phrase Groi often resort to organ— installed twenty-fire years ago its purpose, but we do not manual wind er weaken; just plug-in and flip “That Villa-Lobos is the posers who recognize the source of For the past, fire No springs to This is not quite true. first, recognized tabular pneumatic type. right while At per- this use. — instru- the switch. And you change the tempo ' winter months, this much of 7( near., daring the - trial leader in Brazil their ( Continued from Paoe 5 hand ! Six day FREE haps, some there can be no inspiration, while in Sticking it’s running — with one Brazilians who were not a lal of trouble with - offer. hr glad to hare ment derelops risk. Send for details of money back doubt. In one men like William O. A group of us would During the at our familiar with his idiom other country in Latin Grant Still. Clar- had on notes ciphering and so forth. did not un- nettle a discussion which wc ha re ence ana the eh arch is healed only when seer- America there is a composer Cameron White and others ill I he winter derstand. Now they are hearing his who the them. Hand should be kept qs the planing of the accompaniments temperature GRETSCH MFG. CO. will. 1 iccs arc held, and sometimes the FRED. is recognized influence is illustration enclosed Since as the obvious Messiah:- The services . Instrument Makers 1883 music more than leader purely because they are is ten below zero. When Musical before, and are *’ problem clear la you Is the e in the church ^ .'! make oar because of his ability actually .. think, temperature is in the neighbor- N. Y. learning of the esteem to push himself colored. ,. , accompaniment to this are held, the 60 BROADWAY, BROOKLYN, in which the J nil published organ degrees above forward, hood of sixty-fire or seventy world holds him. while actually the creative “The music-loving public is so oratorio T.B. and, con- They are very much — zero. Da you thiol: the expansion work of others is larger here HIGHLAND* ILLINOIS accompaniment is cause the trouble -J.H. proud of him and of his work. superior to his. than in South America A. Assuming that the traction is the of in both in- This is ' organ, we, not the case with Villa-Lobos^ that it is not easy to to lie played on the Assuming that your heating conditions make com- ( 7 > As written. Note how ini' sustained inter- A PIANO! the more the SWING Prolific His stances prefer have not changed during lor tree Home A Composer music alone creates the parisons. In o£ and so forth Learn to play real Swing Piano. Send atmos- general the audiences 6 in fuff AND are quoting part y the organ, sounds like number ; pretation. We °F since the installation of write for business offer phere of greatness; in PIANO TUNING ALLIED TAUGHT illustration—our preference period Studv Folder. TEACH F.RS: “This composer his talent is these United States ARTS example as an conditions in the instrument STUDIOS, 52 Kimball Hall. Chicago has a great ca- out- are grateful. play very fast, the twovaysi.’f? it may be that CHRISTENSEN standing. to pianists and other musicians accompaniment No. 2. needing pacity for production. That is to say, being have changed—such as pneumatics He has com- one enjoys Use 1 Bebool performing tically indistinguishable officially approved by Steinway A our suggestion would be that There Sons, renewal—and posed more than are many other for them. W. W. Kimball Co., Baldwin Co., etc. examine fourteen hundred composers They are curious of to expert organ mechanic to see occasional brief dabs TFrtlf for information you have an works. of genuine talent make a frank report on Sometimes he has literally in Brazil. Some what each new artist brings, ^ Dr. William Braid White. Principal the instrument and now have and pedal, and much soft present condition. PREMATURE GRAY HAIRS? drawn his musical material passed on, leaving they are School of its from all us with eager to learn 14 Pianoforte Technology a fine more about ulously observe the sixteenth the people who tradition to follow. their 5149 AGATITE AVE-. CHICAGO organ with me- without dye- comprise Brazil, but Others are neighbors to the 0 I play a two manual White hairs concealed South. They is a 16' more still with us. chanical action. The only pedal stop ing. Costs less than 5c per week. often his tendency is to Both Francisco are sometimes 16 alter Braga not as =®** which i. rather loud Could n Write for interesting folders. Use who discriminating Czerny’s own tempo, 1 Bourdon a folk wrote The , li- service. tune as he employs it in Angels’ Serenade, as one Licbliell Gedeekt be added la the our free matching a and would like, but fotjo® musical pedal Carlos that is not too fast. Try It, and see POPFIt1 BI1 extension of some manual major composition. His Gomez, who SLIDE RULE st, iimcnl. as an main instru- composed II occasioned by or S' lack of taste. with rsP- cis the stopped Diapason ment is Guarany, It is If you have difficulty HARMONY Stop such LECHLER LABORATORIES the violoncello. Although were Brazilian caused & ARRANGING AT SICI1T idea uf the cost. he by the r Please give me some York composers lack of ^tale«. Violin t 560 Broadway Dept. EP New does who a certain edu- you are not pbr* Chords, Keys, Trin»po*ilio:t, Instrument Alton G.R.C. not claim to be a guitarist, had Negro blood. cation note groups, — he Fructosa in modern 1 PRICE also Vianna, musical fare In for Kto? $1.00 (with instruction?*) soft Lieblich plays that instrument Lorenzo nomically enough; send, is possible to obtain a well. He Fernandez and concerts, the the second example you A It Ca- same compositions' ara^ At your dealer or «?imilarilv in pedal stop as an extension of the is, however, such an excellent margo Guarnieri are are are using too much more -stahted accompmr.ment Gedeekt mu- also Brazilian played over ftf Music we'prefer the Diapason 8', but we suggest and over 8 Co., 152 West 42 St.. New York, N. Y. the manual Stopped sician that he composers of again, so that touches are not s® ? the suggestion that organ mechanic can take any instru- splendid talent. udiences down-up with that you cousult a practical Jayme here have cost of ment in the very little op- are pWj*’ in- builder as to the practicability and orchestra and play it S IB,tecl P contrasted, or you or 8' 8ultarlst portunity to hear extension on your instrument. The when he needs wentSent toto"'L„ ,? and cultivate Don’t iL -“ ££ en tl such to demonstrate how London to work love a tones too evenly. terpretation. bu lower not be a proper stop for use m in govern for unusual ^®^ non0tes in °the Violin would the music ment music. Then effectiveness preferred, the eighth " Gedeekt extension, unless should go! An amusing service. When he to be the charm and VE YOUR PLAYING We do securing a Lieblich returned to nderStand bass covering the range incident Biazil -> 00 it has a stopped happened here in he brought of depend , Pianists Send for free booklet shot the United with er^Ir ^m mo£ phrase-groups — the use of the pedal board. him manv art > one ing how you may greatly Improve jottr necessary for States when one of imaginative must know tone for “The Messiah. Definite your major sym- compositions thoroughly equality in time and 0 technic, accuracy, memorizing. sigM' paniment A for ^ piano f°rms elected Director id Practical Sy'lem phony orchestras 106 ’ and be passage on Fame time ago I was was ’ and information o scheduled to f°r sym hony with “SSS2 notes. A straight you ghc me some giving the num- P orches- Sth :theh°eTlives ' ri *nd n Will in my church. When which ALL Piano Students play ti°I p, *nuu ' ,e*ch Basic one of his compositions. tra. Nepumoceno,n and thoughts af tin, I hare With of Brazilian t a- of those Pastor for the Bail, Investigate «* bers to the d Teachers Should the IN iSiM Sluiist. n specials by their score tpl . 61.) C.lilorni. and orchestral parts them In Cu.ina. list hut the singers of were North America — hem Barg Smith, sent thereto 'J names. For example: 5 two . . . 1.00 large boxes of Brazilian ly pe le first Joe Green. Vol. 1—For Beginners thl u. °P w ho give little H. E. IT. 'soprano: Jean Brown. Alto; percussive instruments thought to bj g ' Bass. Hare had no com- Vol. 2—For Students with with instruc- the arts. Answering Etude Adver- to assist you - Bill Jones. They are a winwill euutaendeavor Tenor 5 absorbed A. We about them in this way Fair Knowledge . . 1.00 tions in Portuguese. Brazil, general information plaints until now I listed Unfortunately who “frying to obtain tisements ing you some experiment choir winch I g^sto^B^aSi^^ money always pays because directors of . from Vol. 3—Advanced Students '1 .00 no one in that city _ and sugg understood ngs a h organ stops. ® speak at nor- dour so and I thought it eon ret. the harmonization rc r J^nd de'iq effects. 8 pJ P mime hael which hts the er. them for il unprofes- instruments or the is ant read with 4 stops speak a rule about this ! Is language, and a no ' P Is there so the exact and pitch fssme as P- to write Mrs. PIANO IMPROVISING which does s^„ r mal s twQ octaves or would it be preferable SHEFTE S h to situation 2 ^ sional, never was solved not lose highet. an ? to everv- the original one octave is a so forth — t . M. V. FOR ALU flavor of th» on Ml be happy. on the reed^g^organ Smith and Mr. Green and one’s satisfaction. HlS On the higher. Vox Humana charming there are othefhS producing an ^ we do not know of any set “My special small songs many musicTngraving tremulant, bringm-mgs into A While Piano teachers friend was with rh ^ who patronize nr,h Octave couplerIer matter, our preference, like your Villa-Lobos’ 1 used. the write us accompaniments ' Practice “d ^’.^hestra and Octavo work. We Stops being rule in should wife, go the SDeciaV octa ^ list the singers as Mary Smith an excellent well arts is to for special adver- pianist wi^™ * ze ln notes one swell opinion, who helped and lf k°°k work; titles. action sjcie knee hesitate ences after thought 6 also engraved forth, although we would tising plan. hei gifted husband they have to the being played. Tire tone pro- and so a great deal. hea‘*d T'”' spiritual a nrt n^’ hd your ^^methe of "Joe" and “Bill" as suggested One d cult ural mss. for estimate. generally increases while the about using but necessities of ^ being sed would be 'Joseph and 21« SO. WABASH AW. he Ufe °TTO A. from the stops lnto Our preference CHICAGO 706 C. NULSEN luced ^f brlngs FORSTER • “This country B W 0n both ••William-” U so ”^ ne stops. Opening busy and !l Cincinnat, 0h„ anth e speaking so ^A ac t ,on 707 °°0fi£R. 1941 5 * : ; m ‘ ai»o —— amateur group of men opera is There is no experimental frequency- MUSICIANS! YOU CAN NOW profession that NEC’s new Why Not Study and women of one at the top doctors modulation transmitter the efforts of the aisles or Music can equal the Building, twelve ] Violin QuestiIvis Insure Your Sheet sym- of the Empire State think that — the Violin? of the country in organized somebodyT^ AGAINST LOSS OR DAMAGE hundred and fifty feet above Fifth Into It phonic work. However, there is grow- ear. ( Continued from Page 677) high-fidelity organized Avenue, to test the Both the ing more and more an it 3ndantly possibilities of this new system. Find position, while making finger adjust- extend popular participa- thesound-proj^^ effort to measures of the L, ROBERT BRAINE precision, of music. In Estimates and recently been JnswerJ ments with mathematical tion in the performance tested Beautiful New TONKabinet ends Time-Wasting audience each Saturday after- In ^ Music than on a “musical ear.” The hand performances the con- opera the Metropolitan Searches through Mixed-up stacks of all amateur excluswe temp^.^ indicate that it totals from ten r Get this attractive6 music room TONKabmet: “ and fingers for this effect of the noon he ) sheets of music may be prepared cern is not for the 0rShipof iving ^FINDING system tot St^bouT ^O 't“ answered in THE ETUDE unless accompanied by the full name music. Holds about to fifteen million persons—one of ®«mt.me n t be Clarscuhicu.lassified byuy wmpuovi,composer, or^ux typevj of work, and they will develop a cer- listeners, but for the the.r ^ initials, or music on the Rockefeller^ the inquirer. Only pseudonym given, will he published. as as a piano bench. of much i C oiur fl v the of his Island. From the begin- tly tested great Optra can be given (counterfeit). Alessandro. A peculiarity at the , Better show the violin to an the son of PIANO JAZZ like dance and ning to An interesting mV° line of purfling. play the end, she must be feature of a Radl° unaKss* expert before concluding that you have a work was his ornamental information radio players. Quick mail course. Informa- capable the new device * fectiveness hitherto violins some SINGING MADE EASY: For all taIlati wheT^ genuine. from a large number of Chambersburg, tion free. Erskine Studio, Dept. B, 2228 m the things °n iS enables Maggini violins vary In price He mal Eastern Studio, she would the the artist " i S ! address— have her ™isfon oT stng- sl.500 with Stra lva Rosedale Ave., Oakland, Calif. an t ing on to $4,000, according to quality, beauty, of which are fitted ,V most advanced pupil TnMc 6 Slgnal great Stage . Strads.f BBesidesgEes Pa. attain. The ex- astern, linking 10 j”d Ke bet- tone, and so on. In Brescia, nnd are sold as genuine afinil ththe f ter Sow h Maggini worked Glojanffi Bat- cellence of the teacher booths, backstage Italy. these mentioned, there was a plus the abil- points and have worked at his ity of tista who is said to the one taught — this Is not will determine Hb Wont (Italy); but ' Our Musical Josef Klotz trade to Cremona the result. - S2KS B- C. 1.—Josef of the famous Gagliano Klotz. of the 1 \ the work What awaits r° klotz family ^SpeclEenTof the violin student i It 8ram wodicw"'"' eighbor Poto in Germany, made some of his Arnencan vloUn dealers N “est are offered by is “lach f violins family not a question what the 'slT from 1782 to" 1795. While not the Gagliano $5,000, pupil has “oat famous as follows. Ferdlnando to ($uu a Y]ew jf^iano 2 done, or of the Klotz family. Josef (of Inferior quality) what he will • Continued fro wotz ola $4 500 Ferdlnando do with his continuing made some excellent violins. 2.—If you by lesse^ crafts- until April ooo and then on down what the the Mptre write to the publishers of The Etude S music has done tan family as low as $600. doesn't buy a new piano every day and to invest in one is a problem, „“ °pera throughout the u™ they will men of the One with the pupil. broadcasts so Burris-Mever o Women quote you the price of the book, highly esteemed ? P serious thought so that he Music is never static. “T‘ llano violins are upon which the average musician needs to give two rxpert inaugurate ? and It”, by a value is variable,w Instead, it hundred Stevens of in their dubs, ,, How to Make violinists, but their ETUDE has tried to help by publishing is a dynamo of stations ,“1“’" Institute Master sional can get the most for his money. THE develop- , th ~ Tec ta- of the Instrument. figures show. operation C0 idea hnology would hear the above enlightening little booklet entitled ment constantly throwing of the Texas Pnn, of surrn th? wherein they as an interesting and off bv- ComPany the aw“ sponsor. as singer „ 5 actor learn t Quotation products. It was an old The two v, with bors' music and from Gladstone surgeon who a " i'' ** Vincenzo Panormo TO BUY A NEW PIANO" of the USt ‘ C wbo “ G ~Tbe you re- vlviolin011I "HOW wisely said tailored enveIo teachers fa, \ quotation to which noted that if spec,V to P<’ countries: - Panormo. T j he had a son XirS, order Probably Wil- D Vincenzo who ~ Th*These sefi® that written by the late considered in making a satisfactory choice was dude in new public !i It gives the important facts to be to follow in some one ^ aids for acoustic vately or in the art 3 his footsteps sincere Gladstone, “Even the locomotive g ls manner, free from any mention of he stations and forty Ca, n , violin of a piano in a dear understandable would have him on the the stage * pla«* on more greater marvel of mechanism than study music NBC Lr acquire a Is th ^ r have a copy upon request without charge. pref- diree , i specific makes. You may stations 5 ' these Gladstone was the Prime Min- erably ot al i the violin. This the from a ^ Singer curate knowledge your letter to good man had c®IdtanT"br point fifty L IHH ,„°„ he British Government for many Address ni mmd the mg system, °adcast- to f 1t awa> ®-'- ye He ready trained fingers and a be invisible - 50 with a view to bringmf was also a great admirer of the & for in °f stati to the &hd resemble skillful work. South America °ns violin playing. quallty HltlUs CXla Unwittingly he which Before he ing to their pupils- they are of poor an named opera n UP devl£J^sed ,t times Hibsons, THE ETUDE MUSIC MAGAZINE asset for from the the , the everyone M“ ic was the Stradivarlus. resourcefulness NbS-r a velope p acoustic en “In this way Study in America model among C ° d d 1712 Chestnut Street, Philadelphia, Pa. modern beam P Werful -v bl3 medicos that is transmitter *rx Bsvlng looked forward all your George, any reliable unchallenged. Wnrt designed to produce hemispw llfe'tn 5f „f" Jm^rit Jget °n ° S°Und eral 17.78 PeraUng rop years of violin study In Eu- megacycles -Projecting e | This ment foror equip- music, 100 us lay through bad ' now that you are flnan- 70S season the P s. Which claliv „!? sound can of t0 gratify that the come make comes all barriers Wbb your desire, from ^ world any 5 war should be In progress. Part of the former misunderstanding 709 October, J941 6 ; ;' : ) . concluding scene is a celestial the woman The Terrified and penitent, great cascade Better feet transfiguration. A Results Music Program Plans and Works her husbandIs. i, The and members of Bond SING these Beautiful The Complications in flings herself at forth from a rift in the moun- UXH4A- GIuMmA have not done it rushes “Barak! I his wife Choral with Bond Accompaniment. crying each side Barak and Group ( Continued from Page 674) Compositions me. I have tain. On 1 tongue betrayed and. the Music Jyet My the steep paths, ^ JJ ” Bu~But he are descending (Continued tj "with my mind only.” to from mm sinned woman holds out her arms the as the new music. . $700.00 schedule of classes is different from to her nor to repairs and Strauss listens neither shadow lies blue For of Richard her husband, her Ume jn high those of certain other cities. BAND the children. As he is maintaining am, new instruments Many pleading of Barak cries exultant- utate For earth. p:: the sword is upon the jj Ut ^ raise economyw, nnniBi replacements 500.00 educators may claim that the entire to strike the blow, in n, school PATRIOTIC MEETINGS, BOOK i Continued from Page 659) about shadow brings PEP and shadow, your school burden by John Paul Jones hand. ly, “The The singers listen on junior high should be shared equally by Etc. from his for FOOTBALL, BASKETBALL. School and mysteriously torn the in- the rib payment • Well-known you.” On high College Choruses along with me back to new instru- the members of the community The Mont Interesting Collection thunder shakes the room *,£*» nurchase of the princess, she dissolves into the A clap of for School Bonds Ever Offered visible unborn children sing, "Mother, 1.200.00 through adequate torrent ensemble • . taxation. But the way, and a group t air. The anguished voices of five chil- the earth gives Look! Your (vocal T crum- you have your shadow! mental, contests of band and plan has been successful in Mason bursts through the stands or falls to Bands dren are heard coming from the fry- of water as it,, JTrips For •lunior or Senior School is coming to you!” City for fourteen and his wife are husband bers listen to plus inci- years, and has ing pan. They are afraid of the dark bling walls. Barak each other Trjy orchestra, CONTENTS Suddenly the woman's shadow >-220.00 made possible the growth while the others manage must stress collective of a fully AMERICA, CARRY ON and beg that the door of life may be enveloped listenings! dentals PEP— (Vocal March) CARRY ON, into a golden By H. O'REILLY CLINT is lengthens and turns revenue, the instrumented High School By MOORE princess first task system of Band and MARION with words that fit opened to them. to save themselves. The of his group. this A thrilling, patriotic melody Bv arrangement is in the correct key for use used with Barak Twf This band these strenous times. In correct key to be spans the abyss. High School T. B. her at- bridge which is supported by a Symphony Orchestra, vith chorus arrangements. Unison. S. A. and T. for chorus i into and determined to give up pitch high" helps department S. A. Choral arrangement, also available Barak comes the room now to music York. Neb cross it and embrace be- Published by I A. Parks Co.. and his wife * two funds-each sep- two junior high school bands and two Price 15c Per Copy finds the table prepared for him tempt to secure the shadow. curacy. combination of MARCH PATRIOT gaze of the prince Doodle," “America." "Dixie," “Red. White cell neath the happy is the expense borne junior high school orchestras, and HIGH SCHOOL CHEER SONG “Yankee alone. She refuses to give any expla- Act 3 shows an underground There use almost every program. arate By ALICE LARRY WOODCOCK and Blue." For on princess who are embracing fifty thick wall. In and the Explain the made from taxa- one hundred and more students This band arrangement is in the- correct key for use STICKS nation, but tells him that she has divided into two by a Music w the allocation SWINGING bridge above. The scene closes taking instrumental music with the unison chorus. Bv JOHN PAUL JONES sits absorbed in pain- on the the school board, and in grade Published by Theo. Presser Co.. Philadelphia. Pa. solo, it always brings tremendous applause taken into her service two women one half Barak The conductor tion funds by A drum must make price 13c Per Copy audience and makes a hit with the band sits his in an apotheosis of celestial light. it*, laboratory fees, schools. All of these groups are, from the who will be there only for three days. ful thought; in the other at the first borne by total rehecrsal that ^ BOOSTING THE OLD HIGH SCHOOL BLUE TROMBONE foT DEAN resigned retires, while wife. Neither knows that the covers definite types of moreover, fully equipped, and the By VINCENT ENGLEDINCER By HAROLD The husband weeping thority fund th„ number, bring 'he rests with ach key for use A trombone novelty. For Kaleidoscopic Score the leader This band arrangement is in the correct stand A 2 department as a whole is very active. trombones to the front of the band or have them the symbolic song of the night watch- other is there. The woman is suddenly as follows: with chorus, S.A.T.B. arrangement. with him alone. expenses if the band is seated. He makes Co.. York. Neb. the Published by J. A. Parks unrav- fc ' In this is heard of the heard within her Now that I have somehow to Department period, the high school band Per Copy man reminding man startled; she has slons Funds allocated Price 13c THREE TRUMPETERS and he must be obeyed. procreative mission of life. the voices of her unborn children. elled the complicated story. I want to If a community taxation has attended eleven National Contests FOOTBALL SONG By JOHN PAUL JONES cannot through The three trumpeters should step to the front upon accc mpllsh this, he By EDWIN VAILE McINTYRE best effect. Very effective for foot- longing for something of the music. Strauss is tg salaries and the high school orchestra has introduction for the She is seized by a great say For teachers’ This band arrangement is in the correct key ror use field in formation, with trumpets in front. wrong for 1. ball The Story Develops man the group. Phrajd with the chorus S.A.T.B. arrangement. for her husband, whom she himself believes that perhaps only in (rehearsal been present at nine national MATER (School We Love) them and 2. For housing Published by the Willis Music Co.. Cincinnati. Ohio ALMA interprets ns. Suitable for use by any school or college. Uc dynamic gradaSo, Price 13c Per Copy Act 2 begins with Barak leaving the now knows she can never forget. At twenty or thirty years will audiences rooms, or music building) gatherings. In addition, other groups tonal colorir _ gs—all must reflect Compositions Contained in "SING-O-PEP BAND BOOK" house, his back bent beneath the this moment there appears to them come to understand this work I, how- & maintenance (lights, in the system have attended many Other Attractive 3. For BANNERS HIGH leader's com eption of ROLL OH TO VICTORY weight of the nn&| PAUL JONES the merchandise which the both an illuminated stairway, up ever, feel more optimistic. As one water, and so on) state, district, and sub-district con- By JOHN PAUL JONES By JOHN Is difficult to give any FIGHT princess, disguised as a servant, has which they mount, while from above expect, since “Die Frau" fol- hints u: labora- tests. Some of the trips have been DOWN THAT LINE FIGHT, FIGHT, might Funds available through By JOHN PAUL JONES how this is to be By JOHN PAUL JONES helped to load unto his shoulders. As a voice sings: “Go! There is the lows “Der Rosenkavalier." dis- accomplished 6 long, but all expenses have been met. the tory fees: TRIUMPHANT TEAM SWING ALONG leader of By LUAP SENOJ soon as he is gone, the nurse hastens road!” any group should pcs Yet to-day, community interest in By LUAP SENOJ sonance of “Elektra” is almost en- 1. For new instruments It N to renew the wife’s desire once more those qualities of enthusiasms is INST r MENTATIO tirely the music program of Mason City 3rd and 4th Eb 3rd Trombone T, C. left behind. The music of the 2. For maintenance and repair Ob Piccolo Approaching the C flute to behold the young man whom the Climax victlon, and magnetism that pi: greater than it has ever been. Their unborn children, depicting as it does of instruments Eb Clarinet Sopra s Saxophone nurse caused her to meet with for leadership, lit Bb Clarinet ” and The next scene brings him beside hat® : interest has accumulated with the Saxophone us back to an unformed state, is the really literature 2nd Bb Clarinet J,d ®b "o n.'* only 3. For music fb 2nd Alto 3rd 9b Clarinet whom she has fallen in love. Saxophone tb aiio nora madly the princess who, in spite thorough knowledge and a foil nr department. Principal Alto Clarinet of the dissonant music of trips Na- growth of the Bb Tenor Saxophone 2nd Eb Alto Horn the score. 4. For (State and Bast Clarinet The woman vainly tries liana andana Violinvionn Parts 35caac wcu.each. Piano• Part. w.60c to pretend nurse’s efforts to ceptlon of the music is to dte school very Band mu prevent her, is re- As in his other works, Strauss he tional activities) James Rae of the high that she has forgotten him. But, turning FKKE — Complete Cornet (t'ooducior, Part. .Mailoil I'pon »e<|nosl. to the Kingdom of the before he arrives at the firs it- points out that the program clothes each character In a motif, It may be that the system being wisely through the nurse’s magic, he sud- Spirits, where her father, Keikobad, hearsal. In addition, his rs;K instrumental music has even giving to the princess a second used in Mason City is not practical of financing Jenkins Music Company ^ Kansas City, Mo. denly appears before her. After an is waiting to judge her. But the prin- reasonable, and expiafiec stabilized to the point that it motif descriptive of her former state should be tor every community, just as its been attempt to flee, the woman at last cess does not fear punishment. can k She as a falcon. to the others in terms that ( Continued on Page 716) holds out her The composer's mastery arms to him, but at this now understands S. COMPANY the destiny fa- HAYNES of man, for realistic description readily understood and dearly WM. moment he is Is so true made to vanish since his struggle and final redemption to that, when the crippled children are lowed. On the other hand, he d* Flutes of Distinction Barak is returning. eternal life. noisy or the not talk too much! Long eipto- The dyer has fallen into woman sings of her un- STERLING SILVER—GOLD—PLATINUM a deep Inside the temple of her father, the happiness, there lions and discussions are fata! w-' sleep under the influence of a is no mistaking the Reveal New Tonal Beauty Catalog on request powder princess stops before the central New Records intention, even if the interest of the rehearsal. given him by the nurse. Thus he can- words are not Boston, Mass. throne—which is enclosed by great ®- 108 Massachusetts Avenue, not remember that the understood. The leader should explain (Continued from Page 664 princess was hanging curtains—and asks him to hand techti - with him nor know that his wife is fully the type of pronounce her fate. Meanwhile, the An spending Intense Score strive to mate work is most many hours uses. and then an . Tonally this with another. custodian of the temple emotional rightness that would be Set M-460) Rebuilt Band & repeatedly alrajs^ the In the meantime both the Barak’s music is hands talk for him. It is hard for the composer uses woman advises her to take the woman’s particularly in- to match. The mood of this work arresting, Orchestra Instruments and the princess shad- tense, deep instnt®- instrument are oppressed with and full of feeling. vlsable to divide manual is tragic, piano as a contrasting ow while there is yet time And yet its unfoldment does not their thoughts. and thus it is The intellec- HONESTLY REBUILT— FULLY GUARANTEED The wife feels that always melodic. The between the two hands. leave one throughout. Here, again, the save herself and the prince music given saddened; its effect instead Please specify instrument you are in- she cannot really who has to the this is terested in and we will quote prices. betray her husband, already woman and the hand should concern itself * s uplifting, tual side is paramount. But been turned to stone. nurse— which both emotionally and Distributors King Band Instruments. and the princess is In is really Ttefc- Piston s Dept. E- 10. 1613 Chestnut miserable over the a polite word metronomic beat spiritually. compelling music than U/CVM Allll on order to do this, for witch is with the more UU. street, Philadelphia. Pa. misfortune she must drink the p- WtTmMnri she has brought to the naturally more shadings. the opening bars of the water of the golden spring, complicated. When hand should indicate Walter Piston’s “Violin Sonata” sonata; from the Water ‘ poor dyer’s household. the woman is <»hai * are aware of the of Life, which angry or sad. she sines ings. durations, and 'Columbia Set X-199i seems to us first movement we Barak’s home is &t h r in- IMPORTS plunged into tragic feet against the orchestra. attacks#* more of the composer s But aT she Clears thTLth f When she is greatest importance' intellectually than emotionally purposefulness Brand new, English darkness, which neither .® desPerate happy writ- he nor even she is all n* richness of the RECORD POLYDOR-SERIES voices of Barak a S l rewarded with attacks and Prompted. The spiration. The f less diffi- leases. All composer tells us that records never before sold at these prices. Sur- the nurse or the princess can explain. ’ Wh ° are cult lines. resourcefulness, — Jow seekiL efch in e >las sought ing, the technical faces superior to domestic records. Finest artists and o^her sS J‘ prepared .. to “clarity of ’ n< should be p convey Suddenly the wife, ^ * yield outstanding classics. 10" records only orchestras in unable to stand he or or of the to the temptarion hhestra is so come in on ®, simplicity and the thematic economy the large that often t he singers are to and directness of Your Marketing Place 75 Send today for new, FREE catalogue containing suspense any longer, or her ,JH • Make THE ETUDE hus The loudspeakers duratnc style, our admiration. The hundreds of selections. Exclusive with curtain is drawn are employed the rhythmic and continuity of melodic ex- music sustain band’s irritating tranquility, aside, and it for the down-beat, Etude Advertisers Open the Doors to Real cynically is chorus to l ‘ despite some dis- The GRAMOPHONE SHOP, Dept. E now seen not to be be heard. The note should l* pression.” Few would that the mood of the work, bursts out that for three Keikobad but Instrumental the preceding deny Opportunities 18 East 48th Street, New York days she the petrified color changes composer largely from latter- has figure of the like a kaleidoscow an exact prepar**®. has achieved his ends, but sonance, derives been with a beautiful stranger. prince His from pied with sec- a the very * lere is romanticism. Each 0ne seem shrill solely . room German *» to . for day She also confesses that she can ^ ai.vc Do® the very S wm beat, which serves differences of opin- never invoking every ‘on quintet has a not always have me 1-” necessary that concerning the value appeal tion of the any children because she Embolic the up (or choir' and of has princess,p,°Lt IT and title. The performance sold her cannot‘Tsave ” psychological nuance entrance m usic. His technical ability is convincing lusic Printers shadow at a high price. you" Once derfu! Two ^11- cour narks its . Quartet sections d*) mirable, by the Kaufman The infuriated husband, oai “ tempt ih include the Never should but the purely intellectual this music goaded be- cess. ' Sr the duet in with it -offs. and con- ButB„t second Quality is expert yond sr rto no avail; act. when tNN of his work and the composer endurance, cries she the * cut-offs leaves one without out that she has re man" a,1da nH sudden nounced her own woman sing totreivim- W* e sire to must have happiness sounds return to it very often. In vincing. gone mad. The children 'able, barkine per- BM'^ks and e recording, Novaes gives us fine scream, “It is as nhis wife’s. Cd** the plays the Guiomar she says. She has °L , At of singers. composer no noim^Vhl^ , x>up ^ Evocation and shadow!” Part and formances of Albeniz’ Blind with rage, Barak the k°u ‘ s Krasner the Engravers calls the end iiii red by vior° “Iberia for princess thrV which Tlle from the delightful a sack of stones that he bcg,L end i# Performance and record- Triana may tie the enr* v»o c JuSTheZan to? •horal phrases * i*' 71171-D). y ch ^ Disc 3 his wife to it antment y th t cleave little Suite” (Columbia " and drown her. P Ce - ,h a to be desired. i#' As he prince The „"’ ' "" of Quality plus this artist s J Lithographers raises descends from Pr”cci 1 e recording makes his right arm to the’ tIlr „ ju r Austrian Modern swear that throneone •j , composer, Ernst he moves toward the and desirable than the Write to us about anything in this line will ’ WlK> more have his revenge, a glittering princess. has made this country his renditions .boveX "a 1 de: •er cu hrm Rubinstein, SEND FOR ITEMIZED PRICE LIST sword falls into sincec versions by Artur his hand from above. Zp? ™7'o, 1934,1 is represented for older ar are the the ™ “»ou„ci„ s <„ pn there is much to admire m g Lelr present H u> time on discs b his “Quin- although “.If the” tetf!^ y 716) 710 r Piano (Continued on Page = and f PflS Strings” Columbia 7 11 °ct ober. 194l ” ° their almond eyes, stations devote with Egyptianunyi/iaii radio ~ that th to ~’ 1 ancient Egyptians . it ' j . the __ „ i ; ArabicA VO pro- like Life Lilo ofUt therue, time to Musical four-fifths appear to have stepped directly from ing rehears one-fifth to European. STUDY? grams and on an obelisk. well to Piano Aelurdion WHERE SHALL I GO TO i the design The in Cairo can hear muc Cairo Thus,Tnus, anyone m ., concert and in does Cairo has an active exotic music. However, it of this opera season. The Palestine Orches- 660) quite in character, coming- ( Continued frovi Page not seem concerts which are This is tra comes for sound a bu of a Pliilco or an RCA set. artificial out packed houses. Toscanini out at ^ heard by by the time '' when the Egyp- >, closed at one in the afternoon and especially the case with huge the h Accordion Practice Suggestions to inform conducted this orchestra resumed at four o’clock. In the middle tian takes it upon himself FREDERIC FREEMANTEL success. Cortot, Backhaus. Rubin- Clear";;,t le<»r attack. ROSE OUGH of the day, as in other subtropical neighborhood that he has a new The end the oft; B.j Pietro 2>eiro VOICE Voice Instruction the stein, Heifetz, Hubermann, and other * 0U “ ** countries, business quietly goes to turns up the power on distinctly Former Assistant to Lazar S. Samoiloff available through radio and heard; (Partial vocal scholarship give successful concerts in Hollywood Council. Inc.) such artists * Votng Students Advisory sleep; but the shops keep open from plaintive tunes until they bellow and should at The Music ^ never Reopened Her Voice Studios opera house that the Studios: 205 West 57th Street four until eight. whine like an enraged bull. If you there. The ^ As Told to ElVera Collins 1931 —8TH AVENUE OAKLAND, CALIFORNIA our readers have Glencourt 6115 Ph°" e C!rcle Z-5420 Verdi of Telephone New York City ! Regular students’ recitals were Egyptian music un- Khedive built and for which ome would have your No blar outline a definite practical asked us to given at the Conservatory. The pro- visit an Egyptian wrote his “Aida” is still In for impaired, you must coloring and practice schedule. spend another hour or two delving JONAS lasting several phrasm* S accordion EDNA GUNNAR PETERSON ALBERTO grams were much the same as those cafe. There, surrounded by groups of use. A season of opera, must be left entirely like asking a phy- into the subjects of solfeggio, ear Piano Virtuoso to very much Pianist Artist Teacher Celebrated Spanish is given each year, usually by & This is Concert — one might hear in New York, Phila- men wearing tarbouches, or turbans, weeks, discretion Teacher of many famous pianists of the a diet for the training, harmony, composition, mu- Angeles, Calif. K4uei to prescribe 229 So. Harvard Blvd. Los N. Y. C. Tel. Endicott 2-8920 delphia, and Boston. The teacher is narghilihs (water Italian troupes. The Comedie Fran- , sician 19 WEST 85TH ST., and smoking portant question sical history and the study of the FE. 2597 of choral public. He could comply by 132 South 18th Street. really at an advantage with the pipes) as they drink the almost solid qaise likewise comes there for a few ( general On Thursdays in Philadelphia, , actually. Into two are good works and lives of great composers. Tel. Victor 1577 or Locust 9409 categorie certain foods which varied population, because the pro- tea, you weeks of every year. listing connected with any Conservatory. Turkish coffee or over-brewed S. SAMOILOFF Not there U the Individual general diet could not In fact, these are subjects which LAZAR portion tout all; but a of talents is likely to be may hear a singer wailing out an in- And so, in this city of the old, old for Individual singers. to the numerous every accordionist should study if the Voice teacher of famous singers The chon to apply SYRENE LISTER greater with many nationalities than describably queer tune to the ac- world where the most casual passerby be expected EDITH to them. Those rudiments to professional engagements should neve cases which need special time can be devoted From AUTHENTIC VOICE PRODUCTION with those of but one nation. Rela- companiment of a string instrument is made constantly aware of centuries individual Beginners accepted. Special teachers' courses with this. who wish to teach should not be con- 405 Carnegie Hall, New York City tively T1 or curative diets. few Egyptians are interested in which resembles a cross between a gone by, the music of the corrective So. Van Ness Ave., Los Angeles, Cal. Teacher with the late W. past to give lessons but should 6IC Collaborator and Associate with practice. In our tent merely Dr. Floyd S. Muckey European music; and most of them guitar and a banjo. The chief joy of mingles with the music of the mod- And so it is Warren Shaw and Endorsed by nd th accordionists acquire thorough competence, so Troup Music Studio, Lancaster, Pa. revert eventually to the peculiar article we urged Wednesday: na- the audience seems to be that of erns almost as completely last SIMPSON Philadelphia, Pa. as in any gain and maintain the ELIZABETH Thursday: 309 Presser Bldg., tive music. Egyptian the particular branch of they can music differs keeping time to choose by clapping the hands. other cosmopolitan city still un- They Author of "Basic Pianoforte Technique" ity is the in which they respect of their students. (Ernesto) so radically from any music with The Egyptian accordion playing (Frank) government is mak- touched by war. to Teacher of Teachers. Coach of Young Artists. then to work should grasp every opportunity Courses LaFORGE-BERUMEN STUDIOS which readers of The Etude might be ing great wished to major and Pupils Prepared for Concert Work. Class advances in various lines Normal fine orchestras and artists ac- in Technique, Pianistic Interpretation, acquainted that it is next to potent. As a that goal rather than merely hear Voice—Piano impos- but, with the primitive customs, this toward Methods for Piano Teachers. complished on every instrument. Frank LaForge teacher of Lawrence Tibbett since 1922 sible to describe it. In their to refrain fit practice aimlessly. Therefore, York music is by no means easy. The educated to 609 Sutter St., San Francisco; 1100 Park Ave., Corner 89th St., New are preparing Cal. they have fourths, fifths, Better Results in for a practice Accordionists who 2833 Webster St., Berkeley, Te!. Atwater 9-7470 unisons and Egyptian of the higher order has had solo or c when we are asked octaves, but ask a for professional playing must also no thirds or sixths. It is the finest opportunities until ih< schedule we, in turn, must for European a McCLANAHAN most interesting from a of ac- plan to study at least four hours Private Teachers (Mid-West) RICHARD rhythmical Chornl 1 questions. What branch education and culture. He is a Group Work placed few Representative TOBIAS MATTHAY very specialize in tech- standpoint, but the harmony is you preparing day. They must Private lessons, class lessons in Fundamentals pa- fine and polished gentleman. One, this is n cordion playing are (Continued from Page 710) considerable SCHULTZ Lecture-demonstrations for teachers thetically scant. There are, 4. , I, nic and must also spend ARNOLD of course, however, for what is your vocation while need only step a short dis- cosvs, m and 806 Steinway Bldg., New York City quarter intervals. time in memorizing and interpreta- Teacher of Piano tance into the oriental der'stand you are studying? Are you in school revolutionary treatise on quarter to preparation of his effects, should Author of the note and his day? What tion. Orchestra accordionists piano techniaue an amazing lack of respect an<1 vole or employed during the FRANTZ PROSCHOWSKI Bach a Great Favorite for sign-language should be so clear-cut practice time to "The Riddle of the Pianists' Fingers" rapidly allot a part of their University of Chicago Press Teacher sanitation. For instance, I gro is your age? Do you progress published by the Vocal saw one and understandable up m ers suen m New York Strangely enough, that the chorus study of harmony and arranging. FINE ARTS BLDG. CHICAGO, ILL. 200 W. 57th St., Egyptians are day an old nral, in music, or must you work hard the 622 Egyptian woman selling can follow cou will mitigate Tel: COlumbus 5-2136 quick to enjoy the his wishes with a mini- hours may seem like a lot of melodies of Bach. bread in the street. for every step advanced? These and Four She had at least mum of harming their voices. Tte k They will listen for verbal explanation. There of our accordion readers, ALLYN SMITH, Ph.B., A.A.G.O., hours to his works, twelve loaves, about one numerous other questions must in- time to some RAYMOND THE RIZZI STUDIOS foot in di- can be no ity of the group as a whole, i Dean whereas they are less explanations at a public is practically nothing when we attracted by ameter, which she fluence our answer to questions but it Y.M.C.A. College Voice (Bel Canto Method) Piano-Coach carried on a tray performance, is a very different matter. B Central composers who we think are and every rehearsal compare it to the eight and School of Music Rizzi—Operatic Dramatic Soprano more ob- upon her head. She about practice programs. stop to Mme. Gemma stumbled, and should quality should be resins degrees. Coeduca- Rizzi Organist-Choirmaster-Composei vious in their melodies. strive to approach practice often required of Complete courses leading to Prof. Augusto — Their own her whole stock perform- ten hours’ or Evening. Low tuition. President—Young America Grand Opera Co., Inc fell into the dust i tional. Fully accredited. Day melodies, and ance standards. single thing, as though it of in some instances, It is not General Rules for Practice Chicago, Illinois Both Graduates of the Royal Conservatory Naples bear a dirt of the street. She advisable pianists. Kimball Hall, 306 S. Wabash Ave., quickly recov- to STerling 8-0763 * remote resemblance to Bach themes; ered work the singers too hard. composed of many lndiratal time for adults who take 278—6th Avenue, Brooklyn, N. Y. her stock, dusted it Even Here are a few general rules for Practice off, and in outstaafc but they are, to our ears, largely my own work at For this reason, as a hobby is an mo- nothing daunted, the Radio City- practice which applicable to all up the accordion FRANCIS L. YORK went on calling her are DR. EDWARD E. TREUMANN notonous reiterations of Music Hall, where voices are harmful rather matter. It is un- Interpretation and the Theory work the same wares, “Esh! Esh! I enjoy the except entirely different Advance Piano Esh!” The advan- young children. A two hour Bach., Mus. Mas., Concert Pianist Artist-Teacher tune, over and over Arab is tage of ful to group work. Th of such required for the degrees of Mus. — again. They, how- a warm-hearted, coaching that the majority Emil Von Sauer, Moritz Moszkowski professional > rr 5 hospitable, cordial voices schedule should be rigidly adhered derstood and P Recommended by ever, find ecstatic we rehearse singing depends! business Ro'J T iN STITUTE OF MUSICAL ART Josef Hofmann. delight in the person. Ages of concentratedly of group follow some other ^ ET and living in for twenty to every day in the week. One hour adults Detroit, Mich. Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. slight quarter unsanitary or emphss tone variations conditions twenty-five very absence of solo and social obli- 5-4357 New York City which make minutes, and of this during the daytime, Tel. Columbus him immune then rest should be devoted to technical to Apply now, seem out to s Summer Master Class—June Sept— of tune to us. Bartok, things for ten the ideal choral group is share of their which might minutes, during work gations often occupy a Hindemith, send others5 to10 which no such as scales, arpeggios, Teachers (Eastern) and others attended the singmg goes of average to mediocre rate suggest a Private a hospital. on, even for For them we will musicological private prac- chords, octaves, thirds, sixths, five- evenings. Private teachers in the larger cities find congress in Cairo some 6 through collective list® practice schedule, their ™ i hl finger one hour ihis column quite effective in advertising !’ Cairo ’ an exercises difficult daily years ago, to ascertain ‘a indescrib- and more be- KATE S. CHITTENDEN whether the 6 blend into each other. in the morning before courses to the thousands of Etude readers 10U somethln technical exercises such as those by preferably Appreciation Egyptian music could be £ which Good Enunciation Pianoforte — Repertory — who plan to pursue advanced study with an modernized, haunts thethTv? i ^ A choral activities. Teachers visitor from Necessity The worst fault of Czerny. the day’s 7th AVE., but they were the first dav The remaining hour may be ginning THE WYOMING, 853 established teacher away from home unable to develop a ra- Good, clear these adults He hears enunciation is they always tea divided plan lessons for tional ’ for Is one that into practice for new should XXXZl! plan. of iheT!; ^stance of time can .S^^««X »IZIlllill ZXll llIXlZAlXXXlX The Book of problems tha that much ground Much of the the Dead” and of choral sing- mezzoforte. To correct selections and memorizing and re- carefully, so alleged Egyptian music “Odes to the ing TT amount Sun.” He hearsing with a minimum and ask them to give heard m western ,' feels secure greater color selections already learned. be covered Tell vour Music Loving Friends about THE ETUDE countries is purely ““ of should be as- subscriptions. myriads of ies Selections privilege of sending in their fictitious. Composers— vSe of group tone, the When practicing new selections, diffi- of practice. yon the as did send the men and women 1C d technical pas- Ask for Catalog of Rewards for subscriptions you man who are nr, S d Slnglng spend time at e cult passages signed which embody ’ LUi some gini in more - ,end* should be segregated ’ to the “Egyptian In the quiet of Wur clSt the time on 1712 Chestnut Street Philadelphia. Pa. BalletBadef + , the night «« y^? ^, to reducing ETUDE _may take an he " fiction in practicing an extreme P receive special attention. It is well sages, thereby THE Egyptian theme see faces ° CrsST'r. «. interest- which 1 many and give it as quality ^ to bear There are a setting so thoroughly tu nss “ « - necessary as without loss of in mind that there should exercises. ago that vocal drlif; have the A 11 which See THE SUPER Etude Europeanized that ' ““fthought Benedict never be compositions Answering Adver- TJ no Egyptian could staggering is required in the a repetition without a ing exercises recognize reason. of dexterity it. Verdi permitted h “Missa Solemnis'' of Beethff Two hours of thoughtless finest kind tisements always pays h the B-onp ,, *« ™< ‘re Adults acme: sp themes. York and Luigini ballet ak Practice, their lovely Sole New to be fortisst^ while hidden in ladelphia Agents introduced tSu resonant the fingers work and Ph i delights the reader. JL] in the Mystery of also a hear I and second the he the neighbors PIETRu DLIRU ACCuRDIOM act of “Aida” and Ages fooused mind wanders, as do not mind if in this the tone, in without shouting. will not bring f ® el HEADQUARTERS era strict these, but Greenwich Ave., N.Y.C. great Italian rhythm of t®the ®uch result practicing 46 , master the improves as a half hour of con- them Write for Free Catalog dled han- take the* S has mu-c< these lines playing^lengthy J certain themes, trohe been re eentrated about Accordion Co., Inc. reputedly Egyp- Peated a8 of the gre# practice while the mind self-conscious A: me JUST OUT! ? th ?itimes,^ number of tonal quality advocate this 43 w. 16 th ST., N. V. C. tian, with entrances ls that we 6th Aves.} his accustomed and ana'ytic exercises. Note (Bet. Sth & skill Dr come emphasis the leader must and the ears listen for study Hans Hickmann unified be- only for adults who wrote an lla and aw * program ‘‘Egyptian stand ^ stars to °rdS the genera ^ n n°te and tone, tim Suite for orchestra out with an stand out Z whose practice Jpearn to play the 17 MAGNANTE which cleaflv 1 foregoing a hobby and was done the “real,,,. In ^,Hw,thout high notes and drag merely covers gen- as accordionists ACCORDION BY MAIL! distant further i lowever, on true indications a Student Egyptian tunes from0 tv practice. is limited. ACCORDION It Cairo, 1 ° f ” '«*der. the first Now let us consider was European old and new. ^ that these can in every teacher realizes Better Hesults musical exerted from the wrists (down or up for the cost, i u. to The Musical be obtained without p, P ,, How Get Up movements) allow your arms to fall \\/nrl'* ; teachei I ) Uln this, the 0/(11 I J f ( ) | asking. More than L,il J freely, yet controlled. Black keys with the nf a Pharmacopoeia should become acquainted Home and Musical Paper should frequently be depressed by St, out monthly, 71” > new issues which come (Continued from Page perfectly straight (outstretched) fin- The pub- ( Continued from Page 667) ( Continued from Page 655) as supplements to catalogs. gers, the point of contact being the these new Interest lishers’ leaflets, describing i 0aMtr fleshy portion of the finger-tip. „ , et hjm for man ^ ^ ^ i your talk, learn it sufficiently well carefully kept ^ be . defi- value for studio reference. works, should „ roUD holdhold- 4. Do not cover up keyboard ready sponsible leadint h HP™* to deliver it without the use of notes. This may take a little time, over- It would be impossible for a book reference. and ciencies with careless and them i People would rather stay at work, but no business mg Pat, home dealer of any prominence to operate patience, and pedaling. psychologically—and and read, or turn on the radio, than man would dream of failing to pre- pedals are acces- without the United States Book Cata- memoiit: Conversely: the —important rec- flagging 1st in to listen to a speaker whose face log (published for many decades by serveOCi VO OMJ.carefullyVXUilJ such X the musical sories. When properly used, they long phrases are required c is buried in papers. Difficulty in ords. Neglect of these details is often Where opened the sublimate piano sound; the H. W. Wilson Co.) . Thousands of KewTurkS magnify and failure. (notably, in 18th century choruses), 132 Page s memorizing may be caused from pages in this catalog’ are devoted to responsible for Since then she hi; but that sound must first be started the privilege excellent results may be obtained by some of the following faults in your the descriptions of books and where Your editor has had fully with orchestra* 9 x 12 Regular on the keyboard. If keyboard manip- of visiting foremost industrial labora- teaching the group to "stagger" its address: will still to get them. The price of such a cata- prominent radio pr^ Sheet Music ulation is waulty, the pedals organi- Half of one choir takes 1. Too many figures, dates, lists, log runs to one hundred and twenty tories and other fact finding breathing. magnify—but not sublimate—your zations and has marveled at the great breath at a given point, the other Old statistics or technical material. ibVa COPY ic 4 dollars. Friends Betun errors Mi lot ini Canada IMP preservation of of the 2. Bad organization. Perhaps you All of this overture is to point out care given to the half breathes at the end next October Note: one of the few exceptions to marks the rwa need some literary “glue” to paste parents to keep up that the music teacher must have a valuable information. In this modern bar; the same process is worked out many the above “don’t” (1) is found in TEACHERS-.—You can encourage prominent hard covers lessons it 1 1 feature® laminated children’s music ! ' carry in his your thoughts together. music. CtMUIij, j-i'-'nV EL)iiiU-NFnrnffs knowledge of what might be termed age no one can expect to for the other choirs—and the tone Piano marked “martellato” (ham- them with the cost of Columbia Album of Favorite music a minimum * School of Book No. 201— —at only 15c—keeps the cost of pieces at the tk piano language. any nay. a “Musical head the myriad number of things goes forever! Drill is Contains 62 most popular 3. The use of borrowed of Rach- doesn't restrict your teaching in Pharmacopoeia.” on also needed Solos. . opening bar —yet, When iu dally work, easy mered) The tor one tbct They are all graded from very price lias not been one considers all needed in our progressive lives. This so'os If you copy whole sentences and minor Remember, this standardized of the well nigh for a good, neat group staccato— al- Includes such numbers as maninoff’s Prelude in C-sharp printing an inferior Edition. If .'ou are new musical to medium. achieved by program this, we would urge jou limitless | "Fairy Wedding." "Humor- parrot fashion, you will at all skeptical regarding array of musical publica- knowledge must be organized and ways difficult VfataU" paragraphs, example. Here the fingers sake and for the benefit much more to achieve Coppersmith and 58 others. is a good mast earnestly, for your own South American esque," Jolly copy of Cen urv tions, it carefully musknii trouble in learning S vow sUidents. that you secure a is, as we have said, reason- catalogued in the most ac- is arranged beautifully. In- not only have not the rest of edition which than a legato. The trick la to steer Every number may be stiffened (but it with any other existing on Tuesdays. and compare are The Metropolii edited and fingered. or may be familiar with, and we able to assume that they cessible manner possible. terestingly. them, but also appear stilted and un- resulting- mavhave are greater . and con a course between a limp cut-off of the hand and arm) The certain ‘that Century will prove positively lions of the Air art 200-Album of Favorite Songs. in number than the scta-v Book No. Always express youi;self in clusively that it has no superior. items in the tone and a sharp bark. complete songs and words. natural. sounds are not unsympathetic be- Staccato tone lurn (Contains 127 suitable classics and a mu lt;tude °f Stand- on All the . > October 19th. , ’ medical & for all instruments. are available In pharmacopoeia. As with the Arranged your own words. the keys struck are in the low ard modern compositions must be focused, but shortly and cause standardized 15c price, irrespective months before the Favorite Piano TURY” at this medical pharmacopoeia, lira i Book No. 201—Album ol of these de- Edition contains two or twenty much of this Music of the If you discover any of the piano. If the same as to whether the sharply cut off. at the same moment. 62 most popular piano registers broadcast of an opera Solos (Contains pages. huge amount of material is continu- fras j your speech, get a blue pen- to the by solos) fects in abrupt attack were applied few selected at random from our prepared signal. of Here are a ally becoming Silver Screen the Metropolitan On Album ol Favorite Strauss para- catalogue obsolete. The average Sc Book No. 202— cil. scratch out the offending upper register, the strings would most (Contains 25 complete Strauss music teacher does not need a great Continued 2:00 Pit. NBC -Red netwed Waltzes write something you can PIANO SOLOS, ea. from Page 663) Value oi Enthusiasm Waltzes! graphs, and likely snap! CENTURY 15c international IltaeW s nH His r> pharmacopoeia but he Book No. 203—Album ol Famous Waltzot you cannot expect what is probably the learn—because (Capital letter indicates key—number the grade.) largest staff of Even moderate drill in the most popular waltzes.) does need, as a daily necessity, prepar- (Contains 53 one op- an musical your hearers, who have but Practical Hints on Preparation 132 Amaryllis (Air of Louis XIII). E—4....Ghy3 experts ever to work on ation of No. 204—Album ol Favorito Piano Ac- a effects can work wonders Book 746 Avalanohe. Am— •••••• • • • adequate file of catalogs. No teacher f chamber music for strar complete Piano what you single picture. cordion Solos IConlalns 70 portunity, to remember and try 1321 Barcarolle (Tales of Hoffm’n). i —3.0flenbach Morris Stoloff, the in improving Let us now go to the piano Strauss can consider the singing of amateur Accordion Solos) 514 Beautiful Blue Danube. D—i himself well equipped with ample time .Martin studio's music head, cannot remember these things. First, con- 1606 Betty’s Waltz. C— 1 assigned six- groups. But if Book No. 205—Album oi Favorite Children out some of The. 1 Hppk n * in a one 2750 Big Bass Fiddle. C— I business "must" 1 way without such a file. were to Mutuals New York teen well known arrangers, be suio, Piano Solos (Contains 139 Bnesl piano solos for preparation. melody, indicated in this 147 Black Hawk Waltz. Eb—2 ...Walsh Your scorers, emphasized before sider the 2416 Blue Butterflies. Valse Cap.. I>—4. Leon liore publisher issues catalogs all others. It for children.) ma- and eccnlJy a wesis and . .Wagner coaches, and recording announced If, in choosing subjects noteheads. Play it 516 Bridal Chorus (Lohengrin), lib—3. supervisors to would edition by large Daisies, A, Valse. (J—1 Martin presents them to you gratis, unquestionably be enthu iiUAni Write for Complete Catalogue 1963 Bunch of for the meluurmg the mlaritj & i talks, and in preparing The, Etude. Em 5 Laval^le the film. This poi 21 Atsorttd Boofcz terial for your end with both 999 Butterfly. — of . to number includes only The wide _ from beginning 3 Merkel asking. Because of this, interest in group si feel 1704 Butterfly. Op. 81. No. 4. D— many teach- OKing prt i toehskfxr you always Caprice. 4...... Lester chiefs,” many of whom grams. The and delivering them, taking the left hand one oc- 968 Crimson Blushes. G— ers carelessly have assist- Indicates that C'TfTlf hands, 2973 Dance of Goldenrods, F—3 1 ltzpatrick leave their catalogs this enthusla nn is audi- ants of their own. the method ol randoim -e'-ofo: relationship with your in the text. 2671 Dark Eyes, l>m—3 Grooms The potential “hit” there. a close tave lower than indicated .... •Grooms around, stick them away in desk M. M. COLE keep 2541 Deep River (Transcription). C 3 crc2 constantly 4 . .T anderbeck value of the score is attested hout regard for a$e ence, and- if you playing the Air through to the 1385 Edelweiss Glide. Waltz. Eb— drawers, mix them up by the That spirit By 2738 El Choclo (Tango Argentine). Dm 6 .\ llloldo with piles of of enthusiasm foi PUBLISHING CO. and mental 4 .... Massenet fact that, while the picture r the UFOups and subslit ute$ nSE' their likes and dislikes with occasional damper and 1018 Elegie (Melody). Op. 18. Em— sheet music, or was still end, 1614 Elizabeth Waltz. C— 1 Martin worse yet, let them 2611 Indiana Ave. Chicago, W-| your ini its early production thing first continued mo in mind, and adapt pedals, you will gain a 1225 Fairy Wedding. Waltz. C—2 Turner fall into stages, a na capacities shift (left) Reverie. 4 ..Truax waste paper baskets. They require- 1304 Falling Waters. Eb— tionally endeavor«« nu:..- local by perso. individual 209 Fifth Nocturne. Op. 52. Ab— 4 Leybach known maker of radio groups words to meet the “long-range view” of the general Martin do not realize that phonograph tain , 1959 Floral Parade. The. Valse. C—1 the publisher has Parts which recordsunade view the wOR sjse. A Revealing New Book in Two group before damper 217 Flower Song. Op. 39. F—3 .....Lange invested an offer for the 0 Using ments of each sweep and movement. The 4..Iveiser not only many thousands im- Music ^ 1070 Flowers and Ferns. Tone Poem. G— of Sil oiee PARAGON C0UHTING rich mediate release au?*^ that a wealth eft OF RHYTHMIC you will reap the especially service- 1109 General Grant's March. F—3 dollars of the music. our contended you appear, pedal will be found Benr in the preparation and pub- De- group is FOR ALL RHYTHMS 238 Gypsy Encampment. Am—2 spite prepared keener Rondo. 3 Ha d the fact that to undertake informatios x closer attention, long notes. 628 Gypsy G— ^ ?. ? lication of not a note •» . inaccessible reward of able in prolonging the 1 Burilick catalogs, but also has had vet moment’s PARAGON OF HARMONIZING 2379 Hanon Virtuoso. Pianist. Part been notice appreciation Hungarian Dance. No. 5. 5...... Brahms heard by such i greater 2203 A— taken the public, the works as the audiences and a further interest, and take the accompaniment sepa- 5-...Bendel months and years of the time manu- Cantata applied to Now 1645 Hungarian Rhapsody No. 2. Cm— facturer was willing from Beethoven's £ hear your message. 1013 In Rank and File. C—2 Lange of experts to to risk the “Ninth factors and situatiocs FOUR KINDS OF HARMONIZATIONS those who With the Air in mind, you Rubinstein codify and classify the $3,500 from rately. 1015 Kamennoi Ostrow. Fit—5 cost of initial Symphony.” the J The Swallow. G 3..Serradell material. waxing. latest song hit habits can be mC- A Send for explanatory circular accompanist— person 2097 La Golondrina, — in a listening now are the a 2694 Let ’Er Go! (March) F—3 Wood popular EFFA PERFIELD Aldrich The Radio Pictures arrangement, or Americas F- f ELLIS with the soloist,” 1319 Love and Flowers. Em—3 large music . has a difficult Thc interest In 103 East 1 “goes along (Liebestraum). 6 Liszt publishing houses Tf? signed modern - 86th St. Park Avc. New York City who 2117 Love Dreams Ab— Adolphe Menjou for work, such after) 313 Melody In F. F—4 Rubinstein constantly one of the as the />.„>,„* t been not “follow” (come employ clerks who major < he airways has but does 1891 Menuet In G. No. 2. G—2 Beethoven are ex- r| T S ’' Hungarians MT TnTTTTTTVTTyr T-TT W W V Mozart SynC0Pat,0n by f* fluctuation in 1813 Minuet (Don Juan), G—2 perienced specialists a Kodaly If ever since Howard Bari* Air by Every slightest 64. No. 3.. Chopin in helping the Picturiza- Tt i new games for nursery him. 1175 Minute Waltz. Op. 1. Db— ;:°Thon ofJTTthe a d Moonbeams on the Lake. O 3 Fitzpatrick customer origin of jazz hat - a * thc ennhnrv nTchwHS and MUSICAL KINDERGARTEN SCHOOLS movement, and in- 2972 — to find what he wants. music, to be ,‘ Ha,", on the. . tonal inflection, 1186 Moonlight Sonata. 02m—6 Beethoven The Glee hi Brightly colored and intensely interesting Bach produced and SefcClubh Sebastian 328 Morning Prayer, Melodle. F—2. . . .Strenbbog customer, on the directed by occasionally Johann be taken into account. Kinkel other hand, William has to of the Columbia B: L C' CARD tensity must 1226 Mountain Belle. Schottische, F—2 whether Dieterle, form per- III Edno Ave. Bridgeport. Conn. he deals with Jackie a popular 352 Over the Waves. Waltzes. G—3 Rosas in person or by Cooper number ntfl important: the accompaniment Overture. 4 .Suppe correspond- Bonita andand Ser on the works of from Page 680) Most 361 Poet and peasant. D— ence, may Granville playing US °P<*atic 0Continued discreetly in the help these experts the music on the the spac Of I must always remain and mantic To dJ° - :u> io, posers in secure leads, and semi cla ’• VIOLIN AND PIANO DUETS, ea. greater satisfaction by featuring Robert ssical music in r service of background. 1 5 C intelli- Benchiey. Trm at t weeks. The recent! INCREASE YOUR production in the gent reference Immediately ’ say of tone bits of coun- for Violin Piano to catalogs. The following > a benefit— he Concerning the small Each number has separate parts & abil- completion the tWf° ° all u--< "New American M INCOME! “don ts may p ity to of or three the following j Very easy to medium go to such a file “Playmates” a’f days-it Easily -Substantially—Pleasantly art, found in Measures 3, 4, 6, 9, A—1 to A—3 and pick out thf nT shre* terpoint to difficult the same studios, comes instance of a — students: B— 1 to B—3 Easy desired piece, David Butler aPParent Take Subscription* for — aspiring these represent C 1 to C—3 Medium to concert solos just as a physician will pro that these nOf* n sink 10, 13, 14 and so on— — duce ° f ' gram for giving keys by goes to his and direct ances P THE ETUDE not attack the reference “Hit The ’ coulc* MUSIC MAGAZINE 1. Do episodes, paren- Beautiful Blue Danube. 3 Strauss file and Deck Tn' never m-ii.!. . To incidental musical 2178 A— gets in- be hea ^ ogt production is the hli:h chance to — Writs 1272 Boat Song, A— 1 formation about planned Professional for particulars — them abruptly. Caprice. 2 Lester rare drugs, as a * ing as it were, which should 1144 Crimson Blushes. B— is most mndTrdern quality l 'T bee- 1712 you theses, romantic musical, ences ° whleh ®udl- broadcast has not CHESTNUT ST. PHILADELPHIA. PA. see to it that 2667 Dark Eyes. B—2 _. Grooms important. Nothing making are -» Conversely: with Shepherdess. 1 Labitzky impresses the ami ? be en- occupy the middle ground. Only 1835 Dream of the C— Previous it may your Waltz. 1 - - Vogt pupil or the hit tune HaP tt0m Music but we believe relaxed throughout 1275 Dream A— pupil’s parent “Tke a Souris perfectly foreground, middle—and 2408 Hungarian Dance. No. 5. B—3 Brahms more than H IVT 1 - definite and 0 which l®® (which La Paloma, 3 or B—2 Yradier this kind of orderly adding a tremend not for tW# response, in playing mechanism 1457 A— system complement 0 f T*' ous entl-m"^ «iy tire background will your tonal picture 1745 Love and Flowers, A—3 or B—2 Aldrich was wrists, arms 1 Beethoven Files are very joy or <««. vited to be critics, fingers, hands, 1890 Menuet in G. A—3 or B— durable. The alpha- •?.!? ««i£i ISta Schools— Sudes have perspective, plasticity and 1460 Over the Waves. Waltz. A—3 Rosas sy*. this r- Colleges Stiffness always Poet and Peasant. Overture. B—3 Suppe betical index ing. If you liked generally) . 2129 cards last surprisingly s a he Ienn| and body 1151 Star of Hope, Reverie, B— 1 Kennedy dom to o* par charm. long, Oakie. ) Jack ! m pleasure lo might help the cause glassy sounds, 500 Traumerei and Romance. B—2 Schumann when they are ^nothUlate 1j bc'de SCHOOL harsh, of good quality. “* <*«.wdM produces 2666 Two Guitars. B—2 Grooms details the *‘ngi„g Nab"? OF upper Offenbach Files may nal sent upon that the pedals should not be order direct to us. Our com- documentation Plctorial be und quality can - clude supply you. send your page of this on ertaken. Randall discriminative catalogue will be mailed you FREE on request. editorial is Jj azz f” ButDU recently asked results fron/ plete reasonable and ° * used otherwise to good effect. As with boogie Patl0n Slcians most mu 5 CONSERVATORY move m cost. woogie ’ like * on finger * this rt to Sln second sympb® rely solely thls dePartm g. and whose OF MUSIC 3. Do not so many other factors in piano play- CENTURY MUSIC PUBLISHING CO. entersmm a vote * SHENANDOAH Wrh L- Miller. Pr«- of laige, As for the catalogs, ,o; a :ers of the the production we assume that praised as one to ments for and music-maxing, “it all de- 254 Wes* 40 St.. New York. N. Y. som the R if, Cnnrw** leading ing I ever p a 1 ‘ Rat<*s 4 *115 works of its kind 'WWMhuV "! B Mlls - Ed- degree. r0 (Continued on Page 721) 714 rpv, Oat !1 w „ tip Uv t, 75*' heart the Shenandoah pressure w Tniiev of of The rest is chamber opera ?* ”aTtoh, Converlefy- ^ake^se up to him. write a Li Virginia. winter cast this coming 71 5 0c TOBER, 1941 “ : of suu.uuu « — system com amount .. 10 Sjci, h periods, with a rotation a short period, but un- album ofui ‘•r-qtiu- „ Ho-.-. country, haps high for orazilian Music Program monly used throughout the economical over the long The taking doubtedly enabling any single student Fih;tt i: ii Instruments be m a^ small range. Plans and Works instrumental music to City High owns some sev- four to six Mason class (preferably with the junior enty-five instruments, and abUit ( Continued from Page 711) there are ^£’ students). In such a class about seventy, AMERICAN have individual atten- high schools advantages both of used In the grade is not necessary to take valuable time These stu- with fifteen more tion and class teaching. Practice Hints for Guitarists to organize money-raising cam- each schools. andU.eT.SSl dents meet for one full period irrita- one laments 1 paigns, nor to run the risk of the fact CONSERVATORY to piesent than? week with the instructor, 15 tion and antagonism which such Summary not provided (J3u Cjeorge d. ^J\ricli which they have prepared. translations ; campaigns engender. material on conditions songs. Since We cannot generalize there is This period is useful in promoting much Mason City schools have been for- music programs it is suggested ^ existing for school that one orMUSIC individual development along text- a*. makes perfect,” every note of the chord. The strings tunate in their Mothers’ Music Club. throughout our land, but they do aIbum trough ractice lines, and not in preparation of at a but when we on the guitar being close together, 56th SEASON It has sponsored parties, bake book an old saying, CHICAGO card have problems in common. The is specific numbers for forthcoming in connection with it often happens that a finger of the sales, dances, recitals, and other must be •'sold" Kerstin P speak of it for pre- school administration Thorborg gives Conserva- concerts. The “sectionals” onec the guitar or for that left hand, resting on a certain string, Hattstaedt, today The American events, and each year has a “tag strongest study of Founded in 1886 by John J. on the program; the community recorded the for music education paring definite parts are added re- perform^ instru- will accidentally touch the one next tory of Music is outstanding among institutions day.” It is the policy of the club any other musical Honor with it completely. Financ- Ooethe- Wolf’s matter to be found occupying positions ot hearsals which take place either be- must be IlignoK-Ktm with to it and thereby muffle the tone of this country. Its graduates are not to solicit funds directly, nor to we should add, “if done Das < ment every department of music. ing in Mason City is on an equitable Land? Victor Disc and responsibility in after school hours. l8o;s ' exert pressure for raising money. It fore or and if based on tiied and that string. To correct this fault a Is one intelligence basis and one that will insure se- of Wolf* rmw National Association of Schools of Music assumes no definite obligation to the The Mason City High School hfis methods.” It is universally student should be forever on the Member of the curity; equipment and housing are correct MlgEfsti to Teaching Engagements music department, but actually a six-period schedule daily, the sixth S hours daily are alert, listen attentively for every note hundred and thirty Professional and con- conceded that many The Faculty—One does not in- —Although the management excellent, and constantly expanding; •hash. The artist teachers, many of national and tributes a great deal to its welfare. period being a “retaining” period. y mechanical repeti- of the chord and see to it that the it has been most wasted through ternational reputation, including pian- guarantee positions, mood assisting students to find schedules are carefully worked out, . in In the past the funds avail- The first period every morning is which rw> could be offending finger is placed in its ists: Heniot Levy, Rudolph Reuter, Al- successful made of exercises that remunerative situations in colleges, acad- student-school-community re- tion len Spencer, Edward Collins, Kurt able by this club have been used for used by the director to rehearse the and the time proper position. One of the best ex- Tomford Har- emies, music schools and in concert, mastered in a fraction of Wanieck, Louise Robyn, train others opera, radio, orchestra, lyceum and choir did. But the stormed by Wolf ris, Earl Blair, Mabel Osmer and ; paying hotel bills and meal expenses band; the strings rehearse at the into & would use his ercises for the playing of the chords spent, if the student Voice: Theodore Harrison, Charles La- work. city feci that drania and intensity on trips, same in All This Elaine De Sellem ; and in time adjoining room. i first in the form Wilcox, addition a contribu- an as he does his hands. is to practice them Berge, John the head as much Weicher, Herbert Butler, Tuition is reasonable in keeping with cult Ming to Violin : John tion has been made permanently of the other daily periods are under ccurrlng, mid interpret, and repeti- of arpeggi that is to play consecu- Organists times and may be paid in convenient in- not mean that — Scott Willits, Stella Roberts ; By this we do particulars given m Eigenschenk ; stallments. Complete each year to the Music the rotation system, •ordance wUh Thor borg does it veil, Frank Van Dusen. Edward Building. wherein small manr exercises is not neces- tively the group of notes of which which will be mailed on request. tion of certain Theory: Leo Sowerby, John Palmer, catalog >*.*»•. . The Mothers’ Music Club has pre- classes get together as in the junior :>ds. For that that her stvle is chord consists. For example, in Irwin Fischer. School Music— C. Di.ssin- but before beginning to play the sary; ger, Ann Trimingham, Henry Sopkin. Students* Self Help—The management sented to the system such splendid high schools. Full orchestra rehearsal pt ubreaiif of open Chord needy the exercise carefully and the Second Book of “Foden’s makes every endeavor to assist look over Accredited Courses are offered in Piano, employment. equipment as a radio-phonograph, is held every the methods id< students to find part-time a Monday and Thursday and s used by aii intend Method,” let us turn to the page con- Vocal, Violin, Organ, Orchestra and Band teachers, accom- try to find out just what you Many find work as large portable recording machine, a during the sixth period, and all sec- uslc pro* chords in the key of C Instruments, Public School Music, Chil- panists or part-time positions working accomplish by mastering it. For taining the Piano Work, Class Piano, Musical moving picture to dren’s for commercial houses, etc. camera (with pro- tionals are held after school. hey have been Now, instead of playing them Theory, Dramatic Art and Dancing. Arcnrriion Pract example you may have realized that major. jector and screen), Dormitories—Desirable living and board- and has fur- In the matter of equipment, it is able to adapt such ld< is. or par15 OI written, in whole notes, practice Degrees—Bachelor of Music, Bachelor third finger of the right hand as ing accommodations can be secured at nished discs the of Music Education. Master of Music and films as needed. important for a school system rris. arpeggi, the the Conservatory Dormitories at moder- to and the Suggestions strengthening. So them in the form of and Master of Music Education are con- is weak and needs rates. Particulars on request. The fine relationship between realize that authority of the State of Illi- ate the instrumental music Into a u'ork- third and notes of each chord consecutively ferred by for this purpose select the nois and recognized as a guarantee of department and this club is needs •Continued from Pcp\ Students enrolled at any time. spon- adequate space for instrument able system. first, second and third accomplishment etudes of the “Carcassi, Op. with thumb, taneous, amiable, and has brought storing, for rehearsing, fourth for office, for all *5 playing each group four intern ted , 60." Both etudes are in arpeggio fingers, address John R. Hattstaedt, President about an increased enthusiasm library, The eight ot even the sm For free catalog and for practicing. Adequate This should be done for sev- plan wn«cn 4trunlent m2Kf5 ** form, and most of the high notes times. community spirit in all that the housing includes acoustical problem- or longer if necessary, un- Hall, Chicago, 111. s fine nlust- '$ are to be played eral days, 576 Kimball music program child pocturt be obserrec i in each measure embodies. solving, proper lighting, be heating, and cal organizations d til every note in the chord can Individual as the music A comet pUr with the third finger of the right ventilation. At Mason City, is to Schedules the situa- is first heard distinctly. The next step and Equipment not one t lire in childhood msurai hand. Play them over slowly at tion is exceptionally good, since there the usual manner t each chord in One of the methodless Parent; until the correct right hand fingering play most important factors is a complete one jin later life. Music Building. In 1935 using four chords to each contributing is left hand four times, to the success of a music a vote was taken ni tided that a valuable part established and the to bond the city foresight, and energy measure, and then to play them as nORTfl PARHLCOLLEGE program is the schedule have done the consists^; moves smoothly from one chord to —especially for the building of this all child's practice the edifice, to job, and will continue written, keeping the left hand E. Clifford schedule on which the to do It In aac' another, at the same time placing K>ckool instruc- the extent of $23,000.00. r him play for friends finger- tor It is a com- the future. pressed firmly on the Toren, 50th must operate. No nri. some emphasis on the notes played fingers matter how plete musical lives as soon as he has 1 Director plant, and is located counting four to each ( ) Year talented a teacher, he must with third finger. You should always board, while follow one block from the high first little tune. Those who & chords a carefully school. It chord. This method used on conceived schedule in has about never have to® be sure to concentrate on what you eighteen rooms, including this way will keys contained in Trains students for active musical careers in order . . . other to make himself _ tvrebt T are be in all the Progressive faculty. Conserv- effective and large and small New Records Reveal nervousness anu siage up striving for, and it will not A Professional their chosen field. in rehearsal rooms, for a few months, will atory occupies own building. Piano, voice, order that the activities library, long before you begin to feel grati- this volume, which fountain, playing in public as they Music violin, cello, reed and brass instruments, church he wash rooms, and decided improvement School of and controls may function fied efforts. bring about a and choral music, theory, music education smoothly. storage rooms. he & with the results of these It is equipped New lonal Practice time should tone volume. expression. Fall semester begins September 16. Basically, the with Beauty in tone quality and " a University Environment teacher must have indirect lighting, Now we admit that every pupil is both Tn and has two Into periods with a rest time*- mainly of Write E. CLIFFORD TOREN, Dir. tegular contacts large we have spoken Free Bulletins Write Northwestern University with students in power anxious to play pieces at the earliest So far, For Avenue, Chicago. Illinois. fans for summer and (Continued from Page These periods should be ft® student 3201 Foster each of three winter 711) matters. As the of Music. EVANSTON. ILLINOIS ways—individually, in use possible moment, but to do the job technical School m ventilation and of concentration necessary small class, and in heating The by the power technically it is large ensemble. building is the latter s well a certain amount of technical advances of brick and work, particularly at no tune and Too many schedules are tile, and its the individual, and to develop musically, OF MUSIC crowded and lines are more brilliant 35 drill is indispensable, and even ad- for him MILLIK1N CONSERVATORY attractively left-hand playing. after “Etudes, ELLISON-WHITE so set up that the director simple. Walls the practice continue purpose we have the DECATUR, ILLINOIS must use are constructed The late Leopold vanced students should allot about for this the full in accordance Oodowskv ar- concentrate. Ferdinand Sor Conservatory oi Music rehearsal period whh possible to 35,” of in music. Courses leading to for all of pioper ranged several one third of their period to Op 31 and Offers thoro training acoustical of the a practice Diploma and Certifi- Ariel Rubstein, Director his teaching. A rehearsal requirements waltxes of Whenever mentioning P contain some technical Bachelor of Music Degree. must be ' technical Etudes Organ. Public School a C Stl a n StraUSS exercises and etudes. These cate in Piano, Voice. Violin. All Branches of Music—Outstanding Faculty Uments whic tor 1 he stress the-- primarily Methods culmination of unending activity h belong °N keyboard schedule we always but are intended Music Methods and Music Kindergarten Courses leading to B. Mus., M. Mus. and in totn^hfthe w T TheseT T can The left hand always points, Artists Diplomas school often safely be fingers must upon request small groups and present a termed among tance of a daily program. musicality of the stu- Bulletin sent free with individual problem the ^ be trained to develop the AVE., PORTLAND, OREGON to the director; they most difficult to drop onto the frets in in- W. ST. CLARE MINTURN. Director 1539 N. E. 10TH players; in it the training must be mail selections i„ the Sunday should oe onw prepare him for the results . the and to tamed, accounted proper manner; a. thorough dent will be manifest. The for anrt \ ,«P«tolro. The larger compositions full rehearsal allow nature of the a knowledge terpretation of f0r . of the finger board is, of a complete DaV>d Sa be*« entire yeai s VOICE TRAINING course, a and P° ru>n . roust fourth Theatre prime part of the baiancTd corded has re- physical strengi h must later. For third and in- Alviene Academy and instrumentation. thpbe 1 be acquired gradually; and Est 1894 for Serious Students and Teachers schedule; but, Mason arrangement fl* and teaching: used alone, it City h as folf 1_ n . l of Artists to artistry “Etudes Op. 6 Ooera Drama. Dance. Music. Study for: culture: cannot lowed Life n in addition nothing dents the ’ Radio. New York ap- the policy Waltz and is better for this purpose “ J, nv a career. Stage, Screen. Platform. LOUISE WEICESTER produce and of buvina tn! the ert Etudes Private and class courses. pa te maintain fine Oodowskv trld coup^ the C°nc pearances. J?St.. Jj^YorkNew YorK. 160 WEST 73d STREET NEW YORK groups best Y of the Instrument than Ferdinand Sor, Catalog. Sec'y Schubert. 66 W. ||85 year after grade of instrument? P n the playing of scales. Passages those dept- year. ^hp of P* Giuliana and also struments -vE; triple combination °f scales by Mauro The belonging to Sum° M^6 in thirds, sixths, octaves schedule for classes and a schoofuui of r^e Coste are high y music remain n „ ortenen board bass button W* ®d Napoleon in the extraordinary tenths are occur in al- by in Etude advertising columns periods must be adapted system for demands* apt to Excellent merchandising opportunities are to be found to the regu- man „ for both most and they must ’ Player, bellows action every and ommended. lar curriculum schedule, be built and it can be guitar composition, communication fiom and must wen anda re ~ said to mam in tune. re ton meets thaTs™ senttal that there be prepared student In a recent at the same time meet the While in tv, them. However for them the the question was needs of run Sh °rt the SXT, should of our readers Fall Term Begins October 1st the music less instruments warmth in pay particular attention to one to department. It is can be his necessary for me needless from ^ performances h>s “What is to say that an alloted fund, tave phase of technic. asked the administrators of over orchestra guitanst the Period it The to become an n CONSERVATORY school is much g Pieces playing of chords requires a do fo must be in complete accord more el Oodowskv practicing the gmtai FARfifiY and wise al hS^nfla^d P'oat been BALTIMORE, MD. with its assignments. to buy the ^ deal of thought and study, and I’ve »n- i LlAJDv/LJ 1 Schedules better" have been of instruments. grade of tn years, but so tar fSP REGINALD STEWART, Director the junior In to how hands care- two high schools fact . - must be watched orchestra. of Mason City with an e SC ‘ pract ce * to connect run 01 W° value has any ring n orc* able Noted Music Schools in America. parallel. Each school has rk was ’started other than er to produce a round having this One of the Oldest and Most seven ch 1* flu anyone chasease of?f° new pianlstic 3,1 hidex tone. We advise instruments ability of The greatest difficulty in Page 718) 716 to the ne (Continued on Admirers beginning clearly of Vocal nuance is to bring out 717 and col- d Z C . nativo Indians. was in the days of the She Collects War WTioop no such vivid dramatic theme made me wonder as the My Most Momentous Still, such talk Nationalist growing remorse, madness and death the Boston Sym- Russian mightily. After all, of Boris. was recognized as (Contin phony Orchestra Composers During the last years of his Musical Moment I life, ERICOURT the world; surely,. DANIEL theme lincscfinest xuin Moussorgsky waged an unequal con- country which support- French-American Pianist thought, the from Page 675) flict with poverty and disease, a bat- distinguished ( Continued Page 670) ntWed from not be entirely savage! they’ll never (Co ed it could leave, because tle further complicated by chronic with considerable hu- of me. I then wait in of the Thus, I came their opinion first hand account is now a member , „hip as a over-indulgence in alcohol. Some of performance, a man introduced him- mility. I wanted to make a fine im- for singers to appear. Everj my office historical developments Moussorgsky’s friends deny this, and important self to myself,’ to xplay ' sss-j*. v. ex- me as a manager and asked pression,pieadAUll, toLU UiBiauiavi/ingratiate “V ^ Indian 12>is piiJU,paid, andtlllVl we first decide If JJlUMWI alible language. attribute his premature death to ARTIST FACULTY whether I would go on a long tour thing with this finest if he is just the right ac tiy how much. Sometimes, S other maladies. Having long since re- of Russia, as accompanist to another orchestra in the world. What would veryver suspicioussuspicious, I have to pay him the Individualist y Moussorgsky, signed from his regiment, Moussorg- of the singer. I was delighted, until it de- it be? Not Beethoven; everybody after each song. Moussorgsky fMoo-sorg*- sky entered government employ to veloped that I should also be required probably, played Beethoven. Not too Modeste possessed more of support himself. Since this latter oc- 1 - 1881 ) to play piano solos in the intervals of brilliant a work; that would look like ( 1835 Difficult Details as “genius” than any cupation took too much time from is known A the program. Having no piano reper- immodest showing off. Seeking some- I t music school Miss Densmore usually remaii or was it merely greater music, Moussorgsky cut this last prop toire, I could not do this; but rather thing that would reveal earnest, seri- Ifihis group— emotional sensibility-- from beneath him and sank lower sHFRwnno locale for about one month, V V U let one U • than the chance go by, I proposed ous musicianship without seeming too amaticand " \ • CHICAGO marked defects of and lower. A trip to Southern Russia MICHIGAN AVENUE playing the singer’s accompaniments, then goes on to the next reserva unteracted by 41 2 SOUTH Schools of ambitious, I hit upon the Brahms ational Association of Balakireff used to say that as an accompanist for a singer, Ma- Member of the N and then filling in with violin The following year she makes a character. Institutional solos, “D-minor Concerto,” and Mr. Geh- •• Leonova, did not mend his for- for which accompanists would turn trip, when, she confides, “Near- had -weak brain, dame be en- ricke accepted it. So that was settled. ££U life health. Moussorgsky died gaged for first few years of his tune nor his me in the cities to which Upon arriving in Boston, however, ly always I find everything much Spending the peasants, age of forty-one. SMOP we came. The plan was accepted, easier. Among the Chippewa, a country among the at the and medi- in the ^ I found to my horror that my modest 2usie folk tales and Moussorgsky left behind him his / indenvvood L SCHOOL OF (he tour was arranged. cine and dances, Oxford hopes of making a good impression man, who'd been rather sus- their songs SHIRLEY GANDELL, M.A.. an ideal foundation masterpiece, “Boris Godounov,” two University, England, President. Then the Czar of Russia sickened picious on the first trip, volt superstitions was Offers courses had stirred up a hornets’ nest! It CONSERVATORY OF MUSIC 38th year. Accredited. composer. unfinished operas, “Khovanstchina” branches of ^rnsic CertllleateR, and died. Because of the strict showed herbs future Nationalist in all board court appeared that Brahms was not liked me used in his n for the Divisionof LindenwoodColleoe diplomas and degrees. Deniable many prepara- Located in down and Liszt,” M. and “The Fair at Sorochinsky,” for Women. Thorough ing accommodations. mourning, no public entertainments scngs when I his book, “Borodin in Boston; no one had dared to per- came back. Ali« In careers in music under musical center. ... song-cycles, tion for town Chicago. were Moussorgsky songs including three B.Al. 306 S. Wabash Avc.. permitted for some five weeks I have Habets describes a distinguished faculty. Box E, form this particular concerto there made thirteen trips Alfred diploma and our guards- “The Nursery,” “No Sunlight” and degree, certificate and tour gave evidences of speedy somewhat fatuous young voice, violin, organ, because the senior critic, Mr. Philip Chippewa, recording more song as a in piano, dissolution. ladies at eve- “Songs and Dances of Death,” as well harp, other instruments, pub- But our manager got time.” who delighted the theory, har- Hale, took the performance of any Since she has never s man lic school music, BALDWIN-WALLACE around the situation his skillful as the orchestral fantasy, “Night on mony, history and appreciation by dealing with any of receptions with stu- Brahms work as a major personal the thirty Indian lant ning of music. Well-equipped CONSERVATORY OF MUSIC the piano on private clubs instead from “II Tro- the Bare Mountain,” and dios, beautiful buildings of with concert affront. she has performance of extracts (suburb of Cleveland) The Boston public was well encountered. Miss Den 138 acres near St. Louis with BEREA, OHIO impresarios. his “Pictures from an Exhibition.” operas, Liberal Arts At that time, there was and “La Traviata.” But pieces, its frequent concerts, Affiliated .vitli a first class aware of this; has to depend greatly vatore” to degiees. 1 singing a mr- nano, a mistake occurred in uie Coronation to stop the hemor- t ness, the second the whole ceremony was prologue restore motion. monial song, U a much She Collects rhage, the third to beginning, and the music Mastering Mixed Rhythms the repeated from the in Rimsky-Korwv *» The fourth was used to make sure at fault forced to pay a heavy although he a pa- person added ( Continued Page 676) ” War Whoops first three worked. Frequently snm from really good singer was ex- u res of his ^ WuL given medicine to admin- fine. A own to bZ! 'Beit Sell 718) tient was correctly after and ( Continued from Page Medicine pected to sing a song well-nigh ister to himself. The Grand illiterate three or four times, sorgsky’s the action, “Not so merely to chance. All time values r f it only befitting Chippewa accepted hearing music. But tw fords / Society of the must be accounted for. erS C^uenj where. medicine man to treat him and make found her re- episodes j looks. Sometimes ( incj! IbeaL Miss Densmore it / thanks some tobacco sent by a Hence in which Mon-* as him stop.” Usually such songs have with respected must solve these prob- expression marks, such as cadenza and told cording machine highly inal conceptions The student sick man, sent him a drum seem smfN or libitum, come from the whites, and are asso- it learn finding the common ad or some similar mark, making among the Indians. "How did sky -Korsakoff exactly, by him to beat it. The man did, was a es ciated either with intoxication or said one. "That J?* This step impresses the will be of great help. as he went along, and was the song so quickly?” practical experience denominator. disappointment. The only love music up a song calls into Never give up a composition just Works song." alterations system and thus Piano Educational cured. was a hard of time ind and of the Indians was that played on signal calculation. However, in because it contains a difficult pas- Densmore found their reper- l.v real In some tribes every ailment from Mss made for Cj|4eease “In flutes. according to Miss Dens- min sage; solve by . . And Indian sang execution, the effect must always each difficulty to smallpox to a “hangover” had its own toire often amazing. One Those who have he final more one of the most beautiful melo- heard fan, smooth and natural your complete satisfaction. Even in song. Sufferers from the latter among all night for four consecutive nights, of Boris Godounov” Ind simple, LOUISE ROBYN dies ever uni'ecorded. ‘ she heard went * - ackilcow»» awkward it seemed so-called popular songs, the problem this one; without repeating a single song. From far greater matter how “'One night I heard wild, sweet, the San Bias heard effectiveness no of k! attempted. Correct prac- of three against two is encountered. MASON another, she obtained seventy-five Korsakoff, when first MARY BACON haunting melodies coming from the I sweet-smelling flowers and orchestration^ bring in an ability which In most cases, if the player remem- songs. On her return visit the Indian will result edition in ‘ tice guardhouse and determined to record pat them in water; which Boris bers that common time has two Go-;'. well up from within the BERNARD WAGNESS them. sang twenty-five more. And as he ha, held the seems to The next morning I asked my I dip a cloth in the water and put stage for strong beats, such spots become j cooperate harmoniously interpreter started the twenty-sixth, he stopped forty years. soul and why he hadn’t told me of it around your head.. It is, however simplified. Instead of counting one, JOSEPHINE HOVEY PERRY n& brain. Only perfect practice such men. ‘Those and said, “I sang that for you last usual for rith the men are drunk,’ he Then I bring a comb, part your hair the works of three, four for a c®-. perfect execution of mixed two, year, so I won’t repeat it.” He then will make replied. ‘If you recorded their songs, smoothly and make it pretty; become known and gain perfect fitting of odd ROBYN the old chiefs began a new song. rhythms or LOUISE would have nothing- Everyone comes to see you get recognition in editions 50.75 ” ilud;*- against even groups. Eventu- Ex. TECHNIC TALES—Book 1 more to do with you.’ Since some old men are said to from the groups essential principles in first year better. composer sorigtaaii' Introduces 15 player will feel the complex coordinating mind, eye, and hand. From the old ally, the piano technic chiefs she learned know three hundred to four hundred Rimsky- Korsakoff J J J J One tribe, at least, is left rirtaalv Illustrated. healing known to have quite as naturally as he secrets that white doctors songs, many are lost forever when a touched the rhythms TEACHER’S MANUAL TO TECHNIC TALES had a corps of “specialists.” The pa- songs and "Picitv- waltzes, marches .75 have only recently does the most simple Book 1 rediscovered. In tribal patriarch dies. Because of this an .75 tient first visited a doctor who, after Exhibition.’’ Of the tot® two strong beats may be counted TECHNIC TALES—Book 2 1939, for on. for sec- instance, Dr. Edward Podol- and so Continuation of Book 1 with 15 lessons Miss Densmore collected songs as more significant careful diagnosis, advised a visit “to are thoa & “Nocturnes” we often thus: ond year study including marcato chords, sky wrote a book, “The Doctor Pre- rapidly In Chopin’s as possible on her early trip* with triads, two-note slurs, etc. Running Deer who knows the songs peasant life; their rems cadenza-like clusters scribes Music,” in which he told how At the meet groups of TEACHER'S MANUAL TO TECHNIC TALES moment she has paused to result .75 of the buffalo.” When the patient of the composers persca Ex.S Book 2 fast music increases metabolism be distributed against an even to . and assort and put her findings Book 3 (Chord Craftersl . .75 in shape ’ TECHNIC TALES— later returned, a little weaker in servatlon. In the satiric muscular and seep ornaments are Book I .75 energy, steps rule, these I I ROBYN-HANKS HARMONY— up heartbeat Four of her books now await publica- bass. As a J J none too good a temper, the diagnos- Classicist iwilh a quotatir -- mm** A Junior Course, for students of any age, in and blood pressure. Soft by the printer where they music, he tion by the placed two trip let written harmony, keyboard harmony, and ear- tician shook his head sagely, Smithsonian Institution, "Sadko” to show one and declared, has a definite and an- the evil performed, but not always. training. anesthetic and as many are to be nounced “Your case is more have yet to be ern" ROBYN-HANKS HARMONY—Book 2 effect; and in Bellevue’s very serious. music) . The Peep Skosiu notes and psychiatric written. In any case, count the ROBYN-HANKS HARMONY—Book 3 You need not only the Her chief ambition, however, Seminarist, be ward Schubert’s Ave songs of the Moussorgsky ires always mak- or the words of the lyric may KEYBOARD TOWN Maria has been is to have distribute. them evenly, buffalo, but the songs of the her music transferred from the tune, while Includes more than 75 little melodies for early used to quiet maniacs. coyote.” mordant irony quite unique it they fitted to the notes of He also the ing certain—in places where training in note reading. Thus, by the time the old-fashioned cylinders to mod- perfect. ROBYN-CURLITT .75 reported certain subtle chemical diagnostician sian music. In a class by Uhls that the harmonic the bass is kept rhythmically ern discs and do come together— ROBYN-HANON .75 changes in had gone through the songs of the made available to musi- are practice to secure muscles and glands, too the songs in ‘The Nursery.’'i the emotional It is also good ROTE CARDS .75 cians to effect is consistent and slight to deer and the eagle, down through — men like Lieurance and to records be measured, but indicated the mures of delicate introspection and scores and count aloud Cadman, or dramatic action comfortable by the fact that alphabet to quail, his patient and Dr. F. Melius Christian- concerts. shrill music played had child life, made more graphic itr these matters or to radio MARY BACON MASON likely sen of St. natural. Never leave near an egg for either died or recovered. Olaf's famed choir, 1.00 half a minute will The In- who skilfully declamatory retitiSi? FOLKSONCS AND FAMOUS PICTURES dian wants to study First instruction in notation, rhythm, scales, coddle it. doctor was unusually persistent. voices unaffected by vivid piano background N: pictures and flash cards add inter- One of civilized etc. Cut-out A woman, who them explained, “I sing man’s unnatural scale; est and value. spent thirty-one until to light" and “Bangs and Dance the patient modern FIRST CLASSICS AND FOUNDATION years playing music in has withered away and composers interested in the 1.00 New York hos- Death” are morbid and indeed ai HARMONY pitals, only his clothes are Indian s disregard Second year material including simplified found that Land of the Sky left. Then I give for conventional Bach up.” intervals psychopathic, but their xp Air by Johann Sebastian classics and elementary harmony. Blue Water helped and his use of .75 relieve pain and the five types rai BOY MUSIC of and dramatic eloquence for 16. insomnia, and By the Although most doctors five-tone scales listed A first piano method especially boys 8 to Waters of Min- were men by Helm- mis Page 715) APPROACH TO THE PIANO 1.00 netonka medicine women holz; and summit of Moussorgskys (Continued from ADULT was effective against paraly- were not unknown! to lovers of the curious FLASH CARDS 1.00 Nearly and give him the position of tis all Indian singing, however want to compare the songs of ”K is one of many examples: was done by men ing Russian song composer. pends” on many considerations and BERNARD WAGNESS and usually in' th_* ot —w bat four equal in even 1 from Exldblcson-Exhibition" «n»J conditions, are Ex. Medicine Men and Songs chorus. When an Indian sang S lrom an„ some of which PIANO COURSE—PREPARATORY BOOK .50 alone gS cover ng as procedures based on it meant that the many as positeness the imagination of ft unpredictable. To state the case New, logical, and practical Indian medicine men convinced song was his own’ seventeen the laws of physiology, psychology, and ped- because he tist, Victor Hartmann, who**1 scientifically, artistic pedal usage de- agogy leading to real achievements with Miss had inherited it. Such a nmipci . Densmore that they had long- paid one beginners. * task pends upon physiological n eS for jt yet. It torn, their musical physical, Book 1 1.00 recognized this effect in ?° ’ or because it had PIANO COURSE— music. It is nsmorf three octaves, rhythmic significant come to him in a smile, and P* sky has never been so spccti* and psychic conditions, and these Reading cards covering that Indian dream.” heard hher »eii drills, keyboard harmony, etc. Interesting music used in " ‘ n «- treating 'h to thr* must determine and reflect the in- pieces to play. the sick is almost against trS« ! •««!»» without The Unsung d ot ENSEMBLE BOOK—Supplementary to Piano exception Songs long After less worthy attempts Iff dividual player’s musical discretion, soothing. “Very -w- journeys wTthZ Course, Book 1 75 often it has 1 a Some of these chine these * taste and style. admonish PIANO COURSE—Book 2 1.00 peculiar rhythm that seems dream songs forever burr>Pmg up **»! immortalized It is safe to hyp- a , a PIANO COURSE—Book 3 1.00 remained 1 the inexpert the notic in effect. It lulls unsung. An Indian dead h air-seal ™ orchestral version M player to adhere to TECHNIC FUNDAMENTALS 40 the patient, as dreamed X in does the of war, might whlle b v Koussewltxsky) present indications until such time SECOND YEAR ETUDES 75 rhythm- of train hold the she trudged - — wheels sons war alomrsinl For developing style and accuracy. making him m reserve ,or » **> their Slavic as he feels that much pedal is forget his pain and leav- crisis that ne™ her and only to intensify too THIRD YEAR ETUDES .75 ing came, in ’’ being EICHT CHORDAL ATTACKS .75 him more which case it 1,uresres y, ° was indubitaW used, or the reverse. It is good susceptible to the went with y°uu don’t * Moussorgsky doc- gr him ^ doubtdonht for a ! advice on the delivery of Fourth grade material covering all chord- tor’s V6 ’ T momenX Baa taste ) word of suggestions. ° that ’ to corda A Apparently, music show his neighbors sh e’H accompli genius" of “The Mighty use the shift ( una come attacks. twnthat he vf P tL*1 1 s may not wasu Sed primarily had such a song one last need an ao®- Pedal in conjunction damper literal repetitions in treating mental outside hie but even geniuses with the each sec- house he erected pedal not try to repeat organic diseases, a pdef’to order to develop tW on both repetition sections of amiss.. Do JOSEPHINE HOVEY PERRY ll and as whfch he technic in Is it not air anesthetic. lner this in the same manner. PLEASURE PATH TO THE PIANO 1.00 One medicine be*rl Was it composition. tion man told ”‘ sym" to the utmost. you pre- material using the black keys as the Miss Densmore, bol onns song. reasonable to assume that if Pre-school “I have the patient Russian steadfast objections to a youi first approach. Familiar rhymes and stories in- S h Nationalist The Accompaniment each section adequately, troduce foundation instruction. 1 °ut a“ bad grounding or sent notiuo„! »»?»*»> of technical you the first time? BUSY WORK FOR BECINNERS 60 thVma£.“ ae”r‘ weshoul In the Usteners heard A writing book furnishing entertaining and in- Lompusers lazy disposition that original scoring, the accom- presenting Even surprise them by structive busy-work for young piano beginners. when herbs were Wh ‘ Ch >co„ t,„ paniment is played plucked strings Why not 75 used medi- for thl aed lrom Fagc for the latter's shortcoming by and dlff« MORE BUSY WORK cine men used SSSabto”’ 'Pizzicato). repetitions in a new THE HOUSE THAT JACK BUILT 75 song. While they dug Undoubtedly^^, Such a staccato to a the he p.ant equipment? This can be effected by Clever preparatory material covering reading and w„„ 1 sustained while they without fl* melody very dry ent light? and playing in four octaves. Attractive little cooked it Protestation share the responsibility. sounds pedal in con- they sang, from 1 and shift (left) pieces and illustrations. “This is for a ‘ tn® uninteresting reproduced uslg the good pur- must be admitted in the songs, in Pictures when damper pedal Pe U Wil1 be °n the junction with the \° ^cessful." in a large,rce piano. Hence, most of the ac- •nee SomeSom; rt Exhibition' and repetition. Nor doctors employed a whole fissSas-™* *«* eo©paniment throughout each be should porta- of series “Boris Godounov" that be played occasional use songs. One Indian en prevent you from who had been NeteffR ? *° tbAlf staccato or half legato) this wounded in take do himself justice. even m the to* Oliver Oitson Co the chest heard " a ‘ a ^ ome °t of the shift pedal a series » 11* the tones in of 3Vor to f1* , fundamental of the foui . the first SreTSs tonalities. of certainc would not hesitate t slight slackening Theodore Presser Co Distributors, 1712 Chestnut St., Phila Pa. to revive conscious- And he J should sustained statement. A 1 even be accel Accuracy ® ' unas»« slight was changes 03115 sorgsky lofty and * (sometimes a highly prized, in made a ^ n the movement 720 .for if Moussora^ iailf damper pedal until the tlon as an uncompfl>© ry °t the next fundamental. Here irreplaceable Nationalist- 721 October, 194; -» 1 ; 1 ) The Junior Etude will Play, Play, Class A, fifteen to eight- Which Is More Fun to (Ski award three worth while een years of age Class Junior Etude ; or Duets ? ' or Duels' prizes each month for the Solos Solos B, twelve to fifteen ; Class in Class A) most interesting and C, under twelve years. (Prize winner in Class B) raser iDinner (Prise original play duets than stories or essays Names of all of the prize like solos better than duets because, when .. more fun to I ts “0 a think it mistake in on a given subject, Contest myself, I think I can produce Green stood on change. It j n maKi;s a and winners and their con- playing by Jack and Nancy has had so erso of manv If or any other better tone and have a much wider range add, solos. as flngeiing for correct answers to tributions will appear on looking up at the Pen- other playing myself I do not have the corner, - pW*"* to good playing, the keys. When by hlndmiFrance puzzles. Contest is open to all boys and this page in a future issue of The other player, and I am queer old house. “It Is tominon thg trouble te> ^ ls to think about the nerty’s sa?* especially tells h ^ girls eighteen age, This is under years of whether Etude, contributors at ease. player one who makes the mD- The thirty next best therefore more pity they are going to "What if the far advanced. I certainly a house great MP * swiftly true of pupils who are not and vo®,. > be progresses more a Junior Club member or not. Contestants will be given a rating of honorable men- .andtlier feel I always getting ahead or said Jack. ing are disconnected' tlte good {or beginners myself am move,” i “ aUy are grouped according to age as follows : tion. Ktnusic. n *1 correct time. behind the other player. hardly bear it.” Nancy Nancy sighed. to keep seem “Oh, I can “I suppose hZ game with some- When playing in public, some players *° TJore fun to play a playing with “I guess they have lived there well as people must fun to have SUBJECT FOR THIS MONTH to make mistakes if they are agreed. foiTS « Is also more ' aone had this ex- 1 piano. someone else. 1 myself have all their lives.” “I guess the house ""^when playing the play solos is kii perience, so I decidedly prefer to ’ Frankfurt (Age 15). could remember, key, the way Robert Ling jicirt in ior than duets. As long as they Mr. Pennerty District of Columbia Oa jun WLic CLL programs rather Walter Mann (Age 12). gone to the Pennerty's playing U. He not they had says it's b«a»> All mu*t l*€* received at tlie Junior Etude Office, 1712 Chestnut Street. Philadelphia. Pa., North Carolina later than October 22. W inners will appear in the January issue. where Jack took his weekly violin too lazy to look at the SguJ More I nn to Play. weekly WliiJi Is lesson and Nancy took her Those Pennertys always CONTEST RULES say A Solos or Duets' Mr. Pennerty was a *he> think, 1. Contributions must contain not over one hundred and fifty words. Is It More Fun to Sing or to piano lesson. that's one thing" in 2. IS a me, a fte and class ( B, or C) must appear in upper left corner and your address (.) A, sister. Miss Angela, trill ner in Class of paper. If you need more than one sheet of paper, be violinist, and his Just then Mr. Pennerty - (Prise the upper right corner your Play an Instrument ? cams sure to do this on each sheet. solos better because, in play- a fine pianist. the pathway, walking Hike to plav a typewriter. winner in Class B with nits- 3. W rite on one side of paper only and do not use (Prize the other person makes a i,» duets if 4. Do not have anyone copy your work for you. “It is Miss Angela who wants to speed and calling, if do both singing and playing instru- “Angela, the whole piece, even you 5. schools are requested to hold a preliminary contest and to submit not more than I enjoy 1 lt mins Clubs or yourself. In solos a mis- class). ments equally well. I play the clarinet and move,” said Nancy. “She says the The children felt sure mate a mistake six entries (two for each he had iot for prizes. the radio a « piece, too. but it <>. Entries which do not meet these requirements will not be eligible the piano, and T have sung on might ruin the whole house is going to fall down.” heard their last remark. use few times. There are times when a person fault and you do not feel that Xour own voice in song, thank- : feels he must raise his “What is the matter with this “What is it. Father?" anybody elsc’s part. Dear Junior Etude Miss tea ™ are spoiling native Junior Club Outline because you umann Square Puzzle Our club is celebrating its first anniversary ing God for life, or singing of our are much harder to play Sch house?” asked Jack. “I think it is called, from the little Duets week. Club meetings are held each month instrument affords bine to" Another hard thing in this land, America. Playing an to keep together. the homes of our late By Stella M. Havlden on (lie third Saturday at fun, too, but at different times and a fine house, close to the sea and the over the front porch. you make a mistake, you business meeting much “Hare jit nets is that, if members. We have a short plQ>C6S. Assignment for October correct it because It will get and members hold various offices. Following bus line, and it has a beautiful flower found a house for us?” cannot stop to Beginning anywhere In the square, move can sit down is a program consisting ol I am always happy when I player out. so you have to go right each meeting there [he other Irom one letter to the next In any direction I don’t think a per- garden. What does she think is the "No. I do not have to. music numbers, musical games, and talks or and play the piano, and Biography The arete good thing in duets ls that It makes items Terms an. One and spell the answers to the following discussions on worthy composers. At our rneet- son could ever be lonely or unhappy if he well. I think duets arc matter with it, anyway?" says he can fix ton learn them very be used this up. so it iSk concerning Schumann (letters may would just tell his troubles to his comforting Some of the great composers who - like solos much better. : but I (d) Give in your own words a “I don’t blame her for wanting a as Q , more than once): friend, his piano. And then, what could be lived good as new." (Age 10). during the life time of Johann Betsy Wulsln in an orchestra or definition of Rhythm. Ohio more fun than playing Sebastian Bach were his two sons, “That is good news, sir," said te J A L Y N O marching in the school band? It thrills me (e) Select the two best definitions K U T E X S top of head to the tips of my Wilhelm Friedemann Bach and Karl "Ye*, indeed, and do you taunt; from the my presented C E N R A N toes to think that I am a small part of a and write them in your the architect can Philipp Emanuel Bach; the French do that?" Mr Pe Honorable Mention for April I L N E D F is music to gladden the notebook. band that making Pianists ami Pianists A R O B O hearts of others. These are my reasons for composers, Couperin (koo-per-ahn) nerty seemed quite excited as s Essays: W (f) What is the meaning of accel- Z I P A U R saying that singing and playing an instru- and Rameau (rah-mo) the Italians, ; By 1 .iliac M. Jordan enjoyable. The time and erando? Harriet Ruby Gross; Marjorie Welsman: ment are equally Corelli Schumann's birthplace: 2. bis birth opinion, are the main fac- (cor-reh-lee) , Tartini (tar- Joyce Koebbe; Janet Curl; Catherine Lynch; 1. the place, in my (The above Do you ever wife’s first name; 4. his piano assignments may be wonder why so many Cora Walter; Carol Chlpman; Sybil Frances month; 3. his tors in deciding which is the most fun. tee-nee), Alessandro Scarlatti and wrote; teacher; 5. number of symphonies he Hazel Lee Craig (Age 14), completed by each member of the people study the piano. Instead of Kimbrig; Lucile Patton Ellis; Marjorie Ann his son, Domenico Scarlatti; and the 6 Instrument on which he studied; 7. month Utah club, Pettit; Geraldine Kelley; Louise Bonelll; Ann or the assignments some other instrument? It is died; 8. his first name; 9. pro- English composer, Purcell. may be not so Carnevale; Helen Marie Lyberg; Mary Eliza- In which he divided fession bis mother wished him to follow; 10. (a) Give the among the club members). romantic looking as the harp; you beth Long; Anna Elson; Alice Hutchins: dates of these com- 11. town near which he Betty Nace; his middle name; record- Books for reference: cannot put it in Lou Steel; Hilda Ward; Alden ing this month, we shall hear electrical Natural History posers. “Standard His- a case and carry it died; 12. province In which he was born. Jessie Allen; Albert Johns; Lillian Page; Mary ings of great artists anti composers which we tory of Music," by with you. time. The games (b) Tell Cooke; “Keyboard as you can a Belle Waters; are studying at the present By Walter Wallace Smith why each one is famous. violin; you Ivy Saunderson ; Marie Gold generally at the close of the meeting, and Harmony for Juniors." by E. cannot put it Aletha Hicks; Ralph Anderson: Alice Hawkes; are Gest; In your top drawer, as are then followed by refreshments. A SHARP goes always half -step up: Edna Woodman. Keyboard Harmony “What Every Junior Should you can a flute; We use the Junior Etude as a guide for our While half -step down is FLAT; Know it is not so easy to thoroughly. En- to club meetings and enjoy it A NATURAL is up or down, (c) Play the following about Music,” by E. Gest. learn as Is It Fan to Sing or our last club meet- pattern in a saxophone or a More closed picture was taken at So there you are! That’s that! tambou- might like to hear all major keys without stumbling. rine; you Honorahle Mention Instrument.' ing. Our club thought you cannot take it to a picnic, for May Play an us. from _ . . „ . , friends. as you can a mouth Musical Tour musical Musical Program organ or a Alphabet Puzzle: (Prise winner in Class C) The McAllen Music Appreciation Club. “uke.” Dwight Eunice Elser. reporter (13). Reneker; Mama Kunstmann, Ernest fun to play an instrument. McAllen, Texas The musical Goldflne; It is lots more program may include But the pianist Betty Litschert; Ruth Messlnger; high notes it has a great ad- I think, because when singing compositions Pvanertri House »ncy Bemis; Marjorie Ann Pettit; Audrey you are by Johann Sebastian vantage over other strains the vocal cords too much. If instrumentalists; hW; Norma Jean Billman; Elaine Lombard; enlarges the Bach, continued the 8oW playing a blowing instrument. It from last month- piano is complete in Frankfurt; Edith Otaka; Lealys Oll- Scout and itself and chest; and If you want to be a Boy also The Alarm Louis Bonelll; te a Sing or to Clock, by does not need this hot® ® Dorothy West; Eva or cornet, you can Is It More Fun to The numerals Couperin! any accompaniment: spoke. "It is because ,ns can play a trumpet refer to scale degrees; Tambounn, ™; Mary Elizabeth Long: Mildred Playing an instru by Rameau; it is the ; bugler. I plav the trumpet. thus, in the Pastorale by one perfect instrument, splendid foundation. The WMMlPrlscMa Morlshlge; Harold Blcknell: ‘“^ors Play an Instrument? key of C, C (the first D. Scarlatti; in a ment furnishes great enjoyment Solfeggietto this ^“““"Rhodes; Eafhara degree) is I; by Karl respect. Of course, Little bf Jean Dye! Margaret at least It does for (Prize winner in Class A) G (the fifth degree) the organ can be easily altered. when it ls raining; - Dear Junior Etude: Philipp ’ Jean Schweitzer; ta Emanuel Bach. UnTi Peggy Prichard; children in our rielg individual formed club call the is V. Use record- answers these can see Sometimes the the likes and dislikes of the We have a which we requirements, too but it will be improved; I 1Ieriln Eules; Marie Guertln: and it sounds By ings also, if ‘ amateur hour, it fun to sing B-sharp, and we meet once a month. JVe have possible. not tr et Ru hood have an can the question, “Is more many young net »r Gross; Maryann Griffith. music when only picnic supper and then a business meeting. people the latest improvements, If we keep up in our Instrument?” be answered. But, a have a very well. or to play an from Ce to work our way I Then we play pieces memory and have learn t0 possihk^' we are older it helps me. It is fun to sing and play. When Play an <*«»• and everything, all going to hare Oh, to some other pieces for sight reading. We are Then to through college. I know I am also sing, and sometimes find myself many of ww* l hope play I now preparing for our recital. the Sreat compo- my grandfather took the way through college and fairly screaming, for I sitionsSuon’, to work my ng singing so loud I am From your friend. played band of my own. So plas to my Enigma by orchestras can lav a splendid foundation.” to have a small can feel the rhythm from my head Nancy Todd (Age 13), be more fun to me than of ye he an instrument is much toes. Sometimes I am even accused jump- South Dakota. By LeRoy Judson Pia ”°' wh,ch home after cables On the way Singing. ing around on the piano bench. But let me you to°eetto get $ ft M. (Age ID. My first is in acquainted “Not J * Keith Stiver when you get that good old spirit river, but not in lake, with these lessons, Jack said, Illinois tell you, My tenth is in it has to get out some way! nin9 3,1 by 1 s'1 Inside of vou My second’s6 in pie, butout is ’ but n°t y°Urs€lf improved. ! Honorable Mention for May v™, not in cake;cake: foundfounri in E'ory house is to be it do not think it is more fun to sing ™J °ScSanTaest a P!ayer i If you M, third is cherry, can play the something aboUt at than sing or play, just try doing Essays on Singing or Playing M also to My eleventh’sSSiSt,T^ „ ^ piano should do “T „„d play in June, same time. You will find out and peach. but is not in too. You W* i both at the h - ing our playing, I i&i rf'oBrW helping me, too, because my de- Instruments: Sri™ ese ^We^e'sendiarivou a picture you will be My fourth is in teacher, 'S™plan °: found**!® singers and players filling and also in My twelfth the 50 vin »» both have splendid sire is to see more George G. Kassarda; Robert Frankfurt; teach; is in preach, great L ours than there have but is not in viollnlst ust^a up this old world of Barbara Jean Dye; Kathryn Bishop; Ruth singers ^ and the Pennertys gave s» all AA _iM ever been before. Harrstick; My fifth is in train, but is musicians Martha Louise Johnson; Barbara not in ship • begin can improve lone Dawkins (Age 15), Mv thhdepntiv the® pfano on "Yes, we ms Jean Smith; Vivian Proctor; Mary Elizabeth My sixth is in travel, m picture 8® Arkansas and also in trip > and also U they as they’re ‘ Long; John Harris; Gladys Sorensen; J'ume,A ,! UP other Uke every week, just ,rI j Betty "Mvy seventh’sS in tiiiri-«o.. u..*. instrume^ tne prot,r»u»i Anne Morgan; Kathryn Ruth Walker; Esther b “* SUr group. After v.i.ri.Ao* average on * d house.” lv: 1 1 n° do with the T 1 * h « whole musician members 1 a ‘ Baker; Harriet Cross; in light, mote sorae to the I ' Refresh- Ruby Alvin Shulman; E”»; operas considers J ^ £ t0 rin . which himSf t v happened that all lessons during tl P permits, Priscilla King; Marna Kunstmann; brought him good ' Tmy And so it and if tm Madge My eighth is in wrestle, much fame. musician unto»V ments are then serve. . The Musical Alphabet Puzzle McLawliorn; Bernice but is not in kT house went lot^- or ^ Gay Rooney; Beatrice work on the musical contests station calls fight; rnd i 0 Prize winners (each had more than fifty Kammetzky; Peggy Pritchard; Virginia Del- two busy builders. Jack with the musical alphabet) vah Hardie; Wilda Young; Corrine Bush; My ninth is in water, but Answer: words spelled never in ice direc Marilyn Hagen (Age 16), Illinois Althea Bonbright; George Messersmith; Richard Wagner progressed in another S U Class A, (vakh’-ner) ^ Etcok magazines.. Reneker (Age 12), Pennsylvania Pauline Johnston; Elmer Connisher; Patsy tas Ing friends Class B, Roy you it is hard to tell who From your ,. . f'i rn, California. Greenough. neverTnoVwhere'it^y T m: PnocnF.ssi' E riANOjJ.t;,”-N 0 Class C, Esther Bell (Age 10), satisfied with the results 723 'jfTOBER. 194 1 ; r known to thousands in line which, in single of t Their involvement a is presented together with short no- should be read and studied by every of thirteen anthems onhnts — this nUe beginners tbe created by tations popular success. For THE COVER FOR THIS MONTH—We ale through of situations regarding the formal structure of singer voice student. form, have won S?** f ludicrous and high Inc. Plano pieces for the Robots, the work. believe it will hold a indebted to the Paramount Pictures, child pompous King of The instrument carrying the While the book is in course of prepara- reason we same fre and on the author also fussy Pre- melody is choir directors everywhere for the privilege of reproducing has his austere but always clearly indicated in this tion, a single copy may be ordered at the place with onT^ o ills ways. the successful piano d prove useful in many cover of this issue of The Etude class a” of romance ending with score so that the reader may more easily special advance price of $1.25 postpaid. that it will entitled „i,« a bit are several portrait of Miss Mary Martin. All in One. ®ier and escape pro- follow the melody as it Among the works included ’ pursues charming wned elopement its course In Little use, including Easter, picture somewhat idealizes the ro- Players 8 for successful through the various sections for special seasonal This , essentials a of the or- CHILDHOOD DAYS OF FAMOUS COM- which ut., u of the Christmas. mantic era of this country, when many °“®n # Eleven princi- chestra. Ells- Harvest, Thanksgiving, and book with . entertainment. POSERS—The Child Mozart, by Lottie f S ws Geibel An- filled the evening hours with the singing slightly under 7 et five tenors, The six books series A single copy of the Adam inches high required, including previously published worth Coit and Ruth Bampton—This instru- 10 f®£, now be ordered in ad- of songs individually enjoyed and wide, the authors and two basses. Of the carry a price of 35 cents, but a single of stories and musical compositions from them Book may ^ \ ritnnes cash price of mentally supported by accompaniment P«*rof attractive tWee over- copy of the of vance of publication at the little TS’nmnbers with the new book—No. 7—may now the childhood days concertina, or Deliveries will be made upon the guitar, mandolin, apparent. Little ^ be ordered at the special advance composers is de- 25 cents postpaid. pieces of great Before a™ are received from the some other portable instrument. help the : r.:"— when the books piano teacher &-•' ® of course, a number publication price of 25 cents, postpaid. signed by the authors to to ® quartet with, and after the Civil War days as the playing a press. ability of the help instill in the minds Stephen Poster songs were growing in combination love of rote and of pubUcation this new LAWRENCE KEATING’S JUNIOR CHOIR of children a deeper their appeal, these songs and other heart Hotel* ^advance tlon Tlie majority special price of 40 BOOK One problem confronting of music. The initial book- 0f the JT* offered at the — the SUITE by Tschaikowsky, A songs played a great part in filling the J* is NUTCRACKER lustra ted and these 1 placed now will choirmaster today is that of finding suit- let in this series deals UlustratSw postpaid. -An order icith Music for Piano, Arranged by leisure hours of the American people. cents Story with text* life and music of accompanying delivery of a copy to you as able materials for the Junior Choir. It with the Richter has had re- pfe-r; sure the Ada Richter—Mrs. the detail of the off press. was with this in mind that Mr. Keating Mozart, and in addition music taco Jr the book is markable success in making adaptations MUSIC FOR THANKSGIVING—That fam- mb as simplified familiar to the average compiled and arranged this Junior Choir to story material contains five limits of small iliar saying that “Fore- child, to J to the and ever true ' 1 solo and one cedure* make full use BOOK OF GREAT MUSI- Book. Every consideration has been given arrangements for piano And now, in this warned is forearmed” prompts this re- of then*. CHILD’S OWN . hands. Tbonia. selection arrangement of all unusual feature which is also stlncuve feeling for rhythm, hn Sou ‘“' Tap- the and the duet. An new second and third minder that Thanksgiving is less than det*fc CIANS, l° th* Amer- choruses found in this compilation and included in this series is the dramatiza- of a two months away and that shortly there rhythmic tense through s«w -The addition of the beloved grade arrangement fr stage. activities a* conductor. John every precaution used to keep each num- tion of the story on a miniature she has will be much in the way of preparation skipping, stepping, composer and band prime favorite, ican for ing, or swaying Sousa, to the ber within the vocal abilities of the Complete diagrams and directions success in for that day of feasts and gladness. And from side tosidt Philip equalled that voice. staging the play are included in each certainly The last but not least Child’s Own Book series young '1L every way. among the many plans “a- and Sing; My Piano Book; and My Own Book—Part Two may be ordered now at festettf-s (Jfm book win news to the A noteworthy feature of this collection volume. Nutcracker Suite is brewing” will be those for the right mu- Hymn Book. the special advance of publication cash be the fact thst iafcs is welcome w The The Child Mozart, hand- sical programs. will be eery reasonable. many music teachers ev- is the excellent two-part arrangements This .book, derived from a stage work, Orders for single copies of. Stunts for price, 25 cents postpaid. Dudnglkyr sug- have used of the sacred compositions of Men- somely illustrated and containing in two acts The completely equipped and justly Piano are now being taken at the ad- aration a single copy nuybcotel; erywhere who Casse-Noisette, a Fairy Ballet gestions for use with children of varying famous Mail Order Department of the the advance of thousands of copies of the delssohn, Sibelius, Handel, Liszt, Tschai- scenes, composed originally in vance of publication cash price of 25 CHRISTMAS Ml SIC—Now that we are publication tulijnst and three Grieg, Bach, Schubert, and Bee- ages, as well as a list of recordings of located Theodore Presser Co. stands ready to as- cents, 20 cents, postpaid, If nineteen books already kowsky, 1891 for the Imperial Opera, then postpaid. Delivery will be made on midway of fall we mast anticipate and the order isVr this collection Mozart’s music which children would en- sist you in making your musical plans publication. now with the understand^ issued covering nineteen thoven. Included also in in St. Petersburg. Today, however, the bear in mind the approach of the Christ- tbs t special for settings of some of the fa- joy, can be ordered now at our original Thanksgiving. Whatever your needs livery wUl be made as great musicians. are original only music we hear from the mas season. And what better time la soon u j»ij cash price of 20 —cantatas, shorter choral numbers, vocal from the vorite gospel texts, and inspiring settings advance of publication comprising tins MY PIANO BOOK, PART TWO, by A.la there than the pres- U ready. The inspiration alone gained ballet are the numbers solos, vocal duets or trios, organ music, of The Beatitudes, The Lord’s Prayer and cents, postpaid. Richter—When advance subscribers re- ent for laying plana biography of the composer of so many lovely suite. or items in other classifications, we are ceived marches warrants Six Prayer Responses. The festive sea- Richter’s arrangement of this de- their copies of Part One of this for musical celebra- IONURT stirring and patriotic Mrs. prepared to take care of them. TRlWRimoN. OFWii of the church year are cared for CHEER! Band Book, by James M. Ful- fully the freshness book recently, they the possession of this book by every sons LET’S licious music retains immediately recog- tions of that glad- MAS, In case you have already decided on ITI ID /or Htnn, b) (bmU for Christmas, Thanksgiv- Major Ed. Chenette—And many a one finds nized its superior young music student. Added to this, how- with anthems ton and and charm of the original. Here merit some day. Musician*, Pianists your program, we can fill your orders for num— contributing thartik director will cheer when Christmas ever, pictures, pertaining ing, etc. school band the favorites, such as the and many wrote in to tell and especially those are a sheet of all specific titles without delay. If your plans to the church service till vteh single copy of this volume may be copies of this new collection of 16 spar- Soldiers; Dance the publishers to the life of the March King, to cut out A Ballet; March of the Toy are how de- responsible for music as yet incomplete we can serve you volume of asset!! at the special advance of publi- kling marches is ready for his organiza- Dance of the Reed lighted they were with the and paste in spaces throughout the story, ordered of the Candy Fairy; with in the churches it«i a selection of material “On Ap- scriptlons of price of 25 cents, postpaid. Copy- tion. The noted arrangers who have made Waltz of the Flow- brand-new piano material blank space for the child to write in his cation Pipes; Chinese Dance; proval,” from which a good choice can should find this a hymn tunes. Xot d sale of this stuck entirely to orig- for very om words the story the composer, right restrictions limit the this, book have not ers; and others. The engaging story is be young children. particularly good time to of made. Definite quantity orders can calmly select have the hymns a is States and its Pos- inal compositions; they have included young The author’s and a needle and silk cord with complete book to the United also given for the enjoyment of then be quickly practical and decide upon their Yuletlde taken care of and the programs volume been esps’Jjf several jolly “old” tunes with texts for lovely illustrations experience in teaching instructions for use so that the child can sessions. musicians, and the not-used “On A request addressed to shaht Approval” music returned the Mail Order ranged but they singing by some of the band members grown-ups. youngsters, actually bind the paper cover and loose will delight both children and for full credit. letter combined with Department of the A or postcard stating Theodore Presser Co. been carefully ctei WALTZES, for Piano when desired. radio, has a flair for writing pages together, making it his or her very STRAUSS ALBUM OF Every child who, through his your needs will bring our tuneful will receive prompt and skillful prompt re- melodies, attention Kohlmann is posseit appeal of and the This is just the kind of material many music, and makes her educational material own book. The ever-popular come to love this enchanting sponse. Mail it today and you will solve With the full resources of our are seeking, pleasing to teachers famous a rare muswlliie- continued demand for the irresistible school and college directors the thousands who revelled in Walt Dis- your Thanksgiving music and students alike. catalog at hand. Anyone not familiar with this unique problems. In addition to those of Strauss makes this lively marches to pep up the crowd at The use of some tunes series waltzes of Johann ney’s colorful presentation in Fantasia, familiar to little the Oliver Ditson should not miss this opportunity to ones Co. and the John of piano and collection a football games, at assembly, and at all edition almost from the cradle obtain a copy of the Sousa booklet now forthcoming will welcome a copy of this new STUNTS FOR PIANO, A Very First Exercise and the Church Co., nursery we will do the rest. Simply delved with t#® addition to the school athletic events. These are not also fascinates children positions and has offered in welcome of this suite used in that production. Or- Book, by Ada Richter never studying specify advance of publication at the —We cease to the your needs and the kinds of operetta^. The fol- pieces” for beginning bands, but piano. ma- cess into the field of special pianist’s library. “baby ders for single copies at the advance of marvel at the terial price of 10 cents, postpaid. constant freshness of Mrs. in which you are iht^ band will find no Modern teaching methods interested, and sands know Mr Kohlmann as lowing selections of the the average school publication cash price of 25 cents post- Richter's ideas. Her fertile brain con- make it pos- you will receive in them; sible for young one of our splendid auditorium it King”, contained especially difficult passages Immediately tinues to folk to begin piano study “On 1st at the great SYMPHONIC SKELETON SCORES, A Lu- “Waltz paid are now being received. evolve one useful plan after Approval” shipments, easily can be read at an early age. from which your this collection, lend most of the numbers copies will be delivered. another for Frequently, talented Orove. N. J. leneri Guide for Radio and Concert, by Yio- in on publication the advancement of the program can - instru- youngsters be selected. Quantity inclaw h — “ recital and and played at sight. A complete advance too orders Some of the hymns fet Katzner. themselves to young pianist—all, of course, the rapidly for the can t result then even material be filled on i to will be published so that that is available. a definite Saviour. Lie w So. programs and mentation of her wonderfully These books nta volume are: 7, Symphony 4 dance productive teaching basis and the unused No. in F Minor can play the marches, but ADVANCE OF PUBLICATION OFFERS bridge the gap between single copies sent Chrirrifl* programs fostering music massed bands experience. the pre-school On Lead Us; Omcard, Af- Tschaikowsky WITHDRAWN—Two important publica- or kindergarten, Approval" returned for Soto/iP; of the arrangements are so well done that In piano full credit. Tell the Story; In and life in the Vienna view of the child’s usual rebellion method and the Lore to response to an ever-increasing dt- appreciation tions come off the press this month: piano Do this now while yet Life, of limited size will find their ren- against study material that there Is time. The oond the South; Artists bands technical work, Mrs. Richter has has been writ- and many others. we are pleased to announce an- old: Roses from The Infant Holy, Cantata for Christ- ten for ** dition of them most satisfactory. long felt pupils of grammar concert variety. other Song; Sounds from a need for studies which would school age though of the addition to our Symphonic Skele- Wine, Women and Louise E. Stairs is the most re- and they LITTLE PLAYERS, „ Pi„ Beautiful advance of publication copies of the mas, by lay solid accomplish this n „ r well wldiin ton and On the In groundwork for technical de- with the most difficult and star Score series. The series, to date, has the Vienna Woods; cent composition of this prolific com- effective material Beginner., by RnGort range various parts may be ordered at the spe- velopment and sustain the possible, little \„U „ Kerr- and four. iJ rj «en increased The compositions pupil’s inter- pieces of grades three to include the following Blue Danube. each; the poser who so well understands the needs that children delight how much foui. cial introductory price, 20 cents est at the same time. In this, her in playing. the creator of dynamics, pedaling, and symphonies: grade three to grade latest Of haS from book at 30 cents. These of the average church choir group and work, she course, teachers incorPorated In K volume may be Piano-Conductor has produced such who have it to delight °- !> copy of this a series. It started been marked. Symphony No. 5 in C Minor A single books will be whose gift of melody has produced for pupils in My Piano ! olmg Piano of publi- are postpaid prices, and the comprises eighteen little studies in Book-Part beginners, and at the publics!!® 8 the special advance the will One soon mem J In advance of - Beethoven ordered at them so many attractive, practical can- first want copies time provide 8 delivered when published. grade. Each was of this follow-up teachers with or#" “°’ 2 cents, postpaid. written and material be ’ of 40 con- them. book k of this volume may Symphony No. 6 in B Minor cation price tatas and anthems. This musical telling structed around a definite A single copy of definUe Pr°8ress purpose with My Piano toJllesson. special cash price of Tschaikowsky For Choirs of the beautiful Christmas story abounds a resultant s^n TheTh name of ^ Lazar S. ADAM GEIBEL ANTHEM BOOK, - . by well-balanced series of the author Unui y 3, HANDBOOK, easy is well- Copyright restrictions Symphony in D Minor Franck THE SINGER’S of Amer- in variety. Price, 60 cents. studies. inter- of Mixed Voices—In the annals The child is here introduced Sts °’ 4 book, by an to to the United ’ Symphony Samoiloff—This new the this book No. 1 in C Minor Church music, few names have won Symphony in G Minor, by W. A. Mo- various phases of elementary technic --Advance known authority on voice ican of Possessions. Brahms nationally achieved by that of Adam zart (Symphonic Skeleton Score, No. 6) is in a pleasant and most imaginative PuLficalion advice on almost the renown way Offers o. Symphony gives information and Dr. latest contribution of Violet Katzner r> r II in B Minor (Un- Doc. Prolific and gifted, the Among the studies and n r T n ~ , „ successful ar- Geibel, Mus. technical points OCTOBER 19 fl“shed necessary to a 4 1 > everything excellent series, first one finds A// flgrrrtn Schubert Geibel produced a long succession of to her the few vol- the important staccato of the book in IN ROBOT LtNIt, (( personality, touch + this list ^ ' Musicianship, ' Symphony tistic career. of which during the past season exemplified in low Advance L I- in g Minor Mozart religious works, the results of his own de- umes Running on Tiptoes; some I dm. Im T—w (rrr, by of laI u wi" be intelligence, a knowledge ^' proved so helpful to music lovers excellent Delivery (postp roliiciwe. augmented by the addi- to the Church. His musical con- listen- “jumping” exercises for the triguing meioc tim stand, how J°to walk, votion Paragraphs -d/Ud’.lhen the xo* TSChaikowsky 4 how to dress, how, to received, ing to symphony programs. These single- hand in Hurdles; describing *r , ... bookzip: ,1 esse s Symphony No. tributions were always warmly scale work in Rope KS each * r* Publithcd. humor, and taPif- behave before the publication g °r speak, how to ’ wbicb to true melodic -line presentations of the Climbing; y.“ m G' ib ! Anthem appear ° n has long been a favor- h°w they were ever touched with the famous hand-over-hand , t Book thet bot for playing in CHHdhood * pages. make this soon- to- ite nf in a mannei Doy, of Famous 25 Little 0nCert - all are covered symphonies indicate the various Relay Race; and Compos,- Ployers— PJ goers and radio Usteners public— spirit of religion and, at the same time, move- a first study in exten- q ° Method.... eveJLu hiS vas exper Child's M K*rr .20 here and logical. From entrances sion in Stretch °„„ Book of •20 y Piono Book, p and *s now available in excel- sound : in the less pretentious style ments, the and progressions of Yourself. ff jwrt Ifm i Di. composed Other titles are Great^Musicicms— choi ctor. Its le™ singer and teacher Nutcroci-er .25 low-price ience both as to greater num- the instruments and instrument families Somersaults; Skipping Rope; Soit*_r«rk„-tho,k recordings. voi that made them useful a Broad ConcertoRonsc.iptions o, Favorite^ with Music °wsk aiiritPnCC discusses the speaking Jump; and Pole Vaulting. for p;o?' Ske!eton Scores were designed Samoiloff of choirs. Endowed with that unebb- as they take up the melody, make un- All are most KicMtf to gives lists of ber In Robot Land mann .40 The Singer's -25 the co ,,if\ problems, and appealing subjects to —Men's" Operetta Handbook 16 musical public better un- teaching flow of melody which marked this necessary the frequent turning of pages, the juvenile mind derstani* a various types ing Stunts for Piono 1-25 to voices of and we predict the same success .40 an^ a &reater enjoyment of “suitable noted musician’s every effort, his works and, in general, make it possible for a for this Strauss RicMvr -25 in clear English, .25 Album of registers. Written lover with book that has been accorded the Wolties of symphonic literature, and have been heard and enjoyed by congre- music merely a meager knowl- same Band Symphonic «0 and of form and climax, composer’s My First Books, Each Sk.l.,on u eVe and with a sense the whole land over. edge of music notation to follow the play- Song Book; Play Piano MO. 7— r end the author has tl ° gations - Conductor Symphony No. 4 can file esortPHf is r e® a forthcoming book P “®^ here offered is made up ing of the entire work. Price, 35 simPle Plan of melodic this literatuie The collection cents. TlcHaikawiky analvsi i addition to voice^ 724 ® w^ch the melodic be a valuable Advertise unbroken ml nt 725 °CT0fiFP w 2 I . . —• . so. Give each factor ulor * e Air by du arUslic rec S 1 °gniti0n - WINCED HARP PINS Music Study Now subordinate, sublimate \,7S Novel Sebastian Bach have TEACHING MATERIAL Johann a living organism V OUTSTANDING PIANO a Great National All of Page 721) which is but ( Continued, from another, Recommended by BERNARD WAGNESS saying: Try first Cjjrtetmas flex/ to reD™ Asset textual any Piano Method or Course of Study welcome change In indications— For use with eration) gives a no?^ . . task Remembrances Clasp Pin Clasp Pin Clasp Pin differ- even in so-called ( Continued from Page 679) repetitions. Sometimes w.®* No. 14 No. 15 No. 16 literal 7 Vol. I and II Having digested FIRST YEAR ETUDES ORIGINAL CLASSICS— accent or emphasis, or dy- and The “Winged Harp” and the “Lyre and Wreath” ences of designs are quite popular with music club, Wagness t hem—interpret. society, By Bernard Wagness Edited by Bernard are perfectly legiti- and class members and with choir folk. Both designs working out the problem in your namic difference, are frequently used and Wonti as prizes as Christmas re- A collection of sixteen These two collections Musical membrances. On Nos. 15 and 18 in’tials will be en- of surmounting the ob- artistic. own way; mate and graved at a small extra charge. These designs are very simple musical present the most Metronomic Classics Morkini following I Original stacle through your own ingenuity The following example illustrates obtainable in the qualities: study pieces for de- simple numbers of -S3S • Metronomic A—10K Gold $2.00 classical Selected and Edited forget of this composi- indications -Sterling Silver veloping reading and various and perseverance. You may how many portions B 50 BERNARo' wAGNESS helpful C Gold Killed 75 control. writers, beautifully l aids in determine ILlBT YEAR ETUDES keyboard ... Jewelry the piece of music in time, but you should be projected: D Gold Dipped 30 tion presents engraved with large ETUDE OF THANKSGIVING age rate of E Sllvei Dipped 30 FUR DEVELDPIKC Each etude will never lose the discipline value AN speed with Exact Sixe) (Illustrations TECHNICS STYLE one specific principal notes and expert gloriously in America who have been so vldual sounds follow grooved into your mind with each We Ex. upon J LYRE and WREATH PINS of piano technic with phrasing and finger- blessed have a special meaning for Thanks- which we other. It would be teaching ing. Many of these step of the process. Every obstacle giving this year, and THE ETUDE erroneous^ Order explanatory breathes this spirit. How to pub- have prepared for you to observe any hints. Large notes. numbers are overcome makes for greater confi- metronome in iica,e J in ordciinR to this country the numbers f Very attractive il- lished in without desired. W here Icners occasional n i s dence in tackling the next one. We accderain, ,-hich style P> the first time and after num- Mil lustrations to stimu- for Qualities, write one | retard. Sameness are of great say that the next step is always of any wanted. ( • in- interest. therefore kind a Wtt mica.e the quality > late pin has a .x.itctv catch. valuevcuuu to teacherscA-aw.w* search of out-of-thc- easier. Actually, it is not. The diffi- rigor of any kind are always s „.,><• that clasp cents an&r! engraved on Nos. 15 or 18, Clasp Pin Price, 60 2nd and 3rd year Special Initials ordinary materials. For culty or easiness of a technical pas- nlstlc to good music Federal taxes arc extra. No. 17 making, S cent* extra. study. sage is inherent in the passage. What A railroad trip Vol. I and II cents, each is somewhat vi* THE BACH FAMILY— Price, 60 happens is that you become stronger. lous. When we MOTTO PINS LYRE or CROSS IN say that a train Arranged by Bernard Wagness et;. Motto Pin# Each musical gain roots into you, plctes its The Novelty ENAMELED FIELD volumes the ADVANCING PIANIST run with an average h«re »re (creot f»'»r These two MUSIC for ni; shown Many making you surer, more fluent. After f speed, lies with pupils. A--10K Gold $2.00 which contain the Bernard Wagness of. say seventy-fire them for intll- Arranged by teacher# u»e Sterling Silver .50 or aw aril# and *B— most simple composi- a student has devised and carried per hour, ail of us rldual prize# understand their Gold Plated . . •30 large volume is tk not a few organize Clasp Pin D— Clasp Pin tions composed by This through his each M*a#<»n' Into an own system of perfect- pupil# Sliver Plated . .30 No. 85 there have been quite Always B Natural No. 87 E five of the intended to be used a conad®) •*Alw»y» U Natural Club* members andwt-ighi >