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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
8-1-1919 Volume 37, Number 08 (August 1919) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 37, Number 08 (August 1919)." , (1919). https://digitalcommons.gardner-webb.edu/etude/660
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t '"AUGUST Tj * THE ETUDE
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Triumphal March. .60 9944. Spieller. H. Awakening of Spring JO I207S. Peabody, A. J. Play of the Wares JO Well-Known Piano Solos—How to Plav Them By CHARLES W. WILKINSON price $1 75 THEO. PRESSER CO. THE ETUDE THE ETUDE Page 470 AUGUST 1919 A “Miniature Catalog” of Important Music Publications An Extremely Helpful List for the Progressive Teacher, Suggesting Many Valuable Works for Modernizing Material Now for the Fall Teaching Season i PIANO COLLECTIONS r VOCAL COLLECTIONS ARTISTIC VOCAL ALBUM FOR HIGH VOICE, JUVENILE SONC BOOK. ARTISTIC VOCAL ALBUM FOR LOW VOICE .. L1EURANCE. THURLOW. India* J CECILIAN CHO.R. Sacred two part Senga (or MEN’S CLUB COLLECTION MATHEWS. Standard First and Second Grade SACRED DUETS. Fee all Voko. BACH, j. S. Album ol Favorite Piece.. SINGER'S REPERTOIR. 36 .Song BEETHOVEN. Selection, from Piano Work.. 1 " Standard Third and Fourth Grade Pieces I STANDARD SONG TREASURY 4 _ “ Easier Piano Composition.. ■' Standard Filth and Siath Grade Pieces. STANDARD VOCALIST 50 hongt BOHM, C. Album ol Favorite Compositions . . . GALLOWAY, TOD B. Seren Memory Song. BUGBEE-DAVIS, L. A. Merry Rhyme, lor Child¬ Large collection, for teaching and recreation TWO PART SONGS. Women's vei . 1 GLEE SINGERS’ COLLECTION. Mixed v, WOMEN'S CLUB COLLECTION hood Times. Vocal or Instrumental '• Standard Compositions, Vol. I, Grade I to CELEBRATED COMPOSITIONS Bf FAMOUS Vol. VII, Grade VII, each ... . CHAMINADE. C. Album ol Favorite Com| MENDELSSOHN. Song. Without Word. (Com- CHOPIN, F. Complete Waltse.. ORGAN WORKS “ Eludes lor the Pianoforte. MODERN DANCE ’ ALBUM!.' “ Lighter Compositions lor Piano. MODERN DRAWING-ROOM PIECES. 1 MOSZKOWSKI M. Favorite Compositions. AMERICAN ORGANIST. ORGAN REPERTOIRE. Pipe Orgea Cell MOZART, W. A. Sonata., 2 vole., each. 1 Preludes, postludes and offertories for church PRESSER. THEO. Velocity Studies, f CLEMENTI, M. 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Fir.I Studio, in M..« t SUNDAY PIANO MUSIC. 1 Quiet piano music, especially useful for the KROmCMANN,'c!rW.C' FHe-NoteRermation.. Ten TREBLE CLEF ALBUM. 20TH CENTURY D\NCE ALBUM. VERY FIRST PIECES, THE. GROVE’S DICTIONARY OF MUSIC AND MUSI¬ WILKINSON C. V WACHS, PAUL. Album of Favorite Compositions 1 CIANS. 5 toIs., 4,099 nav-s I m ol Celebrated Work. ' HEACOX, ARTHUR E. Ear Training_ VOCAL METHODS AND STUDIES TEACHERS’ SPECIALTIES GREENE, H. W. Standard Graded Course ol SIEBER, F. Elementary Eiercises, 36 8- BILLS OR RECEIPTS. Package of 100. * Studies, Op. 92, Soprano. BLANK BILLS. Large size (50). MARCHES!,2 sf 20 Elementary and Progressive ” “ Op. 93, Mezro-Soprano . BLANK MUSIC BOOKS. 6 staves, 32 pages STANDARD PRACTICE SLIPS. , Vocalise, lor Medium Voice, Op. IS. I 8 staves, 32 pages. STANDARD LESSON RECORD “ Op. 94. Alto. STUDENT'S HARMONY TABLET MVER, EDMUND 1. Vocal Instructor. A practical VACCAI, N. Practical Italian Vocal Melhi 8 staves', 64 TIME CARDS. 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Piano 5tpri\ Oniric )) The Theodore Presser Company cheerfully opens accounts with responsi¬ Book for Violin Music, Hand Book for Pirr end Rrrd Orcan Chrtr nnrl ( ble individuals, grants liberal discounts to the profession and offers many Hand Book, Hat'd Book for 4. 6. 8 and 12 Hands. Catalog < f Juvenile Mu« I other advantages, such as the “On Sale” Plan, to the Mail-Order music buyer. Publications. Thematic Catalogs and complete Catalogs rf Vrral and lr... mental Music will be sent to .you on request, without obliracng y ou o • ! form will be sent gratis upon request Our Octavo Catalog is extensive and comprehensive. conuminlK mrrr • . with many notable accessions. We publish anthems, rhoru -e- nnd part •. •... » 1 all styles, and in all degrees cf difficulty. We aim to aasist in every v» ; < - , r j mKyTouTc Philadelphia, Pa. the busy organist and choral director. -ANNUAL SUBSCRIPTION $1.75- THE ETUDE 472 AUGUST 1919 THE ETUDE AUGUST, 1919 Single Copies 20 Cents VOL. XXXVII, No. 8 “Aim at the Mid-Day Sun” said to have sold from five to fifty dollars apiece. The multi¬ True, Harold Bauer aimed to be a great violinist and be¬ tude waited for the great moment. A thin line of mounted came a great pianist; True, Galli-Curci aimed to be a piano police came up the street, then a few mounted men in khaki, then virtuosa and became a great singer: True, Sembrich aimed to others on foot, and finally, after more than five or ten minutes be a violiniste and became a prima donna, but note ye, young a band. The crowd began to realize that the parade had begun. folks, one and all, and old folks of twenty, thirty, forty, fifty, There were a few more bands breaking up the long line of 19,000 sixty and seventy, all of these celebrities aimed at a high ideal. men. They were the Army’s own bands, it is true, and this, per¬ More than that they became surprisingly efficient in what they haps, was the dignified military way of conducting such a parade. The result was, however, that without music the public- started out to do. Perhaps tlie musical career, more than any other, calls for found it so lacking in the urge to enthusiasm that before Hit¬ a definite aim. More than that, it calls for an exalted aim. The parade was half over, thousands and thousands became so tired childhood of the masters was spent in hours of dreams of celes¬ that they started homew-ard. Surely this was the time for great tial achievement. Their aim has been infinite in its height. joy—such joy as only music can express, and at the end of a One of the reasons for mediocrity is that most of those who war in which music has played an acknowledged important part permit it have never aimed very high above the ground. Here such as never before in the history of mankind: it »nt obviously is a line from Sir Philip Sidney that is so worth while, that we a serious omission. It did serve, however, to indicate the im trust a great many Etude readers, who do not consider them¬ portance of music to the public mind, and it was the common selves past the vernal line of hope, will copy, and place upon talk of the town for days—the one thing that marred a great their music desks for daily leavening, historic occasion. “Who shoots at the mid-day sun, though he be New Audiences for Delibes sure he shall never hit the mark; yet as sure as he is, Leo Delibes, the composer of so many fascinating Ballets, he shall shoot higher than he who aims at a bush.” is known to pianists through a few pieces selected from these Enlightened America Ballets, such as “Sylvia,” “Coppelia,” “Xailu" and others. The Pizzicato from “Sylvia,” is particularly effective with th< We have always held our heads aloft, here in America, when brittle staccato of jthe piano and makes a very good teaching the matter of illiteracy was discussed. Here we were in the home piece. Other excerpts from the Ballets should be used more and of education looking down upon benighted Europe. It was a more at the keyboard. Just now, however, we hear so many Infinitely Better Tone pleasant pose, but it was one of the things which the world war compositions of Delibes that are not at all suited to the piano. cast into the great holocaust. Some of his compositions lose immensely in charm without or Of the soldiers enlisted during the war in America, there is From Records Heard on The Brunswick chestral color. Parts of “La Source” sound “while" upon tin- a government report revealing that one-fourth could neither piano, wliereas in the orchestra they are gorgeously prismatic. read nor write the English language. In some States in the ANUFACTURERS realized long ago that the A Scientific Tone-Chamber Numerous excellent records of Delibes’ music are now obtain¬ M South the percentage ran as high as 48—doubtless due to the secret of perfect reproduction of musical able for sound-reproducing machines. They may la- made a In a delicate, vibrant throat, the remarkable tones large percentage of negro population. In New York, however, sounds lay in the phonograph itself, as well very interesting adjunct of the teachers’ studio work. Your of The Brunswick are developed. This is called the the percentage mounted to seventeen. as in the records. Harsh, metallic quality of tone editor used a talking machine successful!}- in his teaching rou¬ Brunswick Amplifier. Moulded holly-wood alone, This is certainly good news for teachers, although a very had prejudiced many lovers of music. And all mak¬ tine and found it extremely helpful. is used, shaped to conform to acoustic laws. By bad showing for the country. It represents just so much virgin ers strove to improve it. soil to be cultivated—just so many wonderful opportunities for eliminating all metal from the construction of the A Studio Beacon the spread of all kinds of education. Remember, these opportu¬ The coming of The Brunswick and the Brunswick Amplifier, it was found that metallic sounds were We know of a family—one of the happiest families we lm\> nities are growing just at our own doorsteps—not ’way off in Method of Reproduction displaced old conceptions. banished. ever heard of—who have, on their way down stairs from the la-d- China, Africa or Sumatra. Prejudices melt away when the clear, true tone of room floor to the dining-room, a fine lmll window through which When Etude readers ask us what we think of the possibili¬ Hear The Brunswick Yourself the bright rays of the early morning sun gleam gloriously. On this matchless instrument is heard. ties of the profession in America we think of things like this, There is a Brunswick Dealer in your the wall just by this window there is a large cardboard with the Now millions of friends praise The indicating that we have hardly scratched the surface as yet. locality who will gladly play your favorite heading: “The Mobxihq Light.” Brunswick unstintingly. Its freedom records for you on The Brunswick. He On this board members of the family pin any clipping or from metallic harshness is a revelation How Lack of Music Marred a Historic Event will explain to you the advantages of When the 28th Division, the “Iron Men” (nearly every saying or quotation that may have impressed them during tin- to them. And they are delighted at the other one of them with a wound stripe on his arm), came back day. It is a bulletin of good cheer, good sense and inspiration charm and beauty of its case designs. the Brunswick Method of Reproduction. to the Keystone State, Philadelphia naturally decided to turn that may be read with bright eyes and upward looking thoughts. A single hearing will convince you. itself upsidedown to greet them. Accordingly, a line of parade It is a kind of beacon for the new day, even if the day is a You, too, will pronounce The Brunswick Plays All Records was laid out over nine miles long, so that all would have a chance cloudy one or a cold, cheerless one. the ultimate phonograph. It will give to see the men who had fought so valiantly and successfully for The teacher in the studio can have no more inexpensive The Ultona, pictured above, is a sim¬ you a new standard for judging tone humanity. The Liberty Bell was brought out of the old State or practical aid than a good bulletin board. Every teacher ple invention. Yet it is a tremendous reproduction. House, and solemn and beautiful memorials were laid at its should have one. The Etude and other papers just teem with stride forward in the phonographic art. base in memory of the vast number of splendid men who died in good thoughts for students that can he copied and placed upon By a turn of the hand it presents the The Brunswick-Balke- battle. Two million people from Philadelphia and thereabouts such a board. The quotation from Sir Philip Sidney. “Who proper needle and diaphragm to any Collender Company ' turned out to greet the home-coming heroes. Grandstands were aims at the sun,” etc., is one that may change the whoh i make of record. It permits you to.choose erected here and there along the line of march, and seats are of somfe young person. General Offices: CHICAGO and NEW YORK from the lists of all producers. It brings all the artists, without limitation. SEPTEMBER PROMISES TO BE ONE OF THE MOST ACTIVE MONTHS IN AMERICAN MUSICAL HISTORY THE ETUDE' Page tfU AUGUST 1919 Intimate Glimpses of Grieg and Dvorak pedal is to fit in (and out), harmoniously. And, of The Cause of Satisfactory Piano course, the beat—at whatever tempo and even during FkeDerick Bridge, in his-recently published “A Playing ’’rabato”—must be held steady, in pulsation from Warminster Pilgrim,” tells of his meeting w.th Grieg accent to accent, as the tick of a clock, however vari¬ Wh 1 ith Dvorak. From previously printed biographies By Eleanor P. Sherwood able its proportionate, fractional or multiple tone or AestcompoTeVs it would be as difficult to think of rest values. And these necessitate: either consequent Grieg as being severe and exacting as it would be to Miss Sh 'rwood was associated as an assistant for touch lightness and prompt finger lifting from key to think of Dvorak as being bucolic. many years with her brother, W. H. Sherwood. key, relative to evanescent passing effects; or else, due ‘•U was at the Birmingham Festival that I met both That not all hand-made piano playing is satisfactory touch energizing and sustaining—whether by touch or Grieg and Dvorak. Grieg was rather a terror to the is evident from the widespread preference for machine pedal—for long, sonorous tones, when these are records. However, there arc still master pianists whose designed to permeate the music atmosphere. Nor do personal concerts are preferred; whose tides of musical the irregularities of distance and of black or white the°nuances in his music, he kept the band hard at it eloquence, spontaneous as miracles, sway even a sophis¬ key level, to be encountered in transfer of duly poised fr r a verv long while, when he had finished appearing ticated audience with their irresistible emotional positions from point to point across the keyboard, a complete wreck from his exertions. He was a very impulse. Yet th's sp •ntaneity, upon investigation, is facilitate keeping the beat steady. In ■ fact, precisely fragile looking man, and he died rather prematurely. found to result from that superlative degree of com¬ how, how far and when—at which beat or at which f “Dvorak was a man of different build; also he had mand in which art conceals art. And when piano fraction thereof—to transfer position, without disturb¬ much natural simplicity. I remember a remark he playing gives complete satisfaction there is a reason. ance of either muscular balance or even time-keep.ng made which serves to sustain this impression. During Not instinct, ear and temperament, nor knowledge, nor —are considerations more obviously necessary, than The festival week a large party was entertamed at technic, can suffice alone to produce desired result, but intelligently controlled. Yet both pitch accuracy and luncheon at the house of Mr. G. Hope Johnstone, who the proportionate happy conjunction of all matters con¬ interpretative tone production depend upon their was a member of the Festival Committee. It came on cerned, is always imperative. command. to rain rather heavily, at which most of us were in¬ Those who have the education Complex embarrassments of rhythmic tone detail clined to be sorry. But Dvorak turned animatedly to Often lack the inspiration. abound. In order that it be heard duly fitted into Mr Alfred Littleton—who sat between Dvorak and Those with ear and inspiration. whatever inspired composition design may be in ques¬ myself—and made a remark in German, which I did Sometimes, need more education. tion, it is imperative that all proportionate music no't understand, hut which seemed to amuse Mr. Lit¬ values, no less than the mere pitch of tones penetrate The Doctor of Music is an encyclopoedic repository tleton very much. I asked him later what it was, from competent conception—gained through analysis, of scientific lore. when it appeared the composer expressed h’s delight rooted in knowledge—to interpretation touch and The gifted composer accumlatcs essential knowledge, at seeing the rain, saying that it would he good for less for its own sake, than for its inexhaustible possi- pedaling. the potatoes in his garden at home. Next day I trav¬ With all requisite conditions coordinated, the master, hilities of artistic application. Also, relative to piano eled up to London with Dvorak. He was somewhat at last oblivious to past efforts, becomes a susceptible composition, for those opportunities for ingenious, disappointed with the reception of his work, and I medium for the communication of music’s innermost enharmonic camouflage—afforded by the compromise did my best to cheer him up. But it was a difficult mysteries. Their own inexhaustible fertility of sugges- of pure acoustic science in even temperament. task, for, to tell the truth, the work was a failure. It tion—all sufficient to fire the imagination and tempera¬ Neither music doctors, nor inspired composers are ' was his oratorio, St. Ludmilla, in which the composer ment of the fully equipped artist—thus finds spontan¬ necessarily master pianists. Quite frequently they are made the mistake of writing music that he thought eous expression in creative piano playing, which is at neither Liszts, nor Rubinsteins. Nor were these impas¬ once authoritatively interpretative and satisfactory. would appeal to English folk, rather than giving rc;n sioned virtuosi composers of the Helmholtz or Tyn¬ to h;s own genius, as he had done in his noble Stabat dall type ..i acoustician. It is seldom, if ever, that Mater. St. Ludmilla was a copv, to a great extent, of the same musician is supreme as theorist, composer Handel’s style, and did not reflect the real genius of and technical interpreter; a live wire in the art of Beethoven’s Tardy Fame transmitting music’s every shade of psychic meaning. For owing to the brevity of human life and to the Great as was his genius, unsurpassed his power and vast scope of the science of music; to its multiform widely promiscuous his productiveness, he had very Habit Lessens Fatigue applications in the art of composition; and to the formidable rivals during his lifetime in Spohr and Che¬ rigorous exactions imposed by its adequate technical rubini ; and after his death Mendelssohn threatened not interpretation, musicians, like other artists, do well to rob him of his fame but to share it with him. I By D. G. Woodruff to specialize. In the opinion of the late William H. can myself recall an older world than the world of to¬ “What’s the good of all these finger exercises and Sherwood, a thoroughly enlightened, technical trans- day, which ranked Mendelssohn on the same level with infinitely versatile spirit, which char¬ him, while a somewhat previous generation worshipped scales?” quite naturally' asks the pupil -who is bored by acterize.; piano repertory, is as fine an art as that of at the shrines of Spohr and Cherubini as at his. The a little concentration and digital work. composition, itself—an art quite as worthy of mastery, outstanding popularity of Beethoven is of comparatively One very good answer is to explain to the pupil that yet one less frequently mastered—no doubt owing to recent growth. the men who have made a study of the mind—the the severe conditions involved in expressing the elusive It is probably not too much to assert that, though psychologists—have found that habit lessens fatigue. essence of wbrdless music through the material medium musicians love their Beethoven for his quartets, and Take the case of the little child starting to walk. The of muscular control. Yet practically to fulfill all of the though the cultured amateur loves him for his sym¬ first efforts soon tire it. The man starting to play conditions imposed l>y diverse interrelations of music phonies, it is by his pianoforte sonatas that he has tennis for the first time cannot keep up with the boy elements, in each specific composition, is at once the unlocked the door which leads to the hearts of the whose muscles are habituated to playing tennis. He aim of the interpretative pianist and, when attained, world at large. Had. he written half a dozen Fidelios becomes tired after a comparatively few strokes of the the cause of his satisfactory playing. Directly con- instead of the one, and had he composed twenty sym¬ racquet. ducivc to this aim is the habit of placing mentality and phonies instead of nine, but no sonatas, he would have Finger exercises make playing habits very quickly psychic perception back of ear discipline of technic— counted his worshippers by the thousand instead of and they save the fatigue which would otherwise result. a habit of coordinate study and practice which cannot by the million, as he does. No pianist of to-day may Scales are advantageous because they form habits of he formed too soon. And, on this indispensable basis confess ignorance of Beethoven’s sonatas, and no re¬ fingering in each key so that when the pupil plays a of proportionate correlation, every composition shou’d citer can possibly claim eminence till he has demon¬ new piece all the little details of fingering do not have be jointly studied and practiced, in accordance with its strated how he handles his Beethoven. Even so, it is to be studied over and over again. They are really uli u a| peal to the ear and imagination, as con¬ only some half-dozen out of Beethoven’s thirty-two great time savers and the pupil should know this. ditioned by its specific artistry in applying essential sonatas that work this startling miracle: the “A flat” knowledge of allied theory and technic. with the Funeral March, the Moonlight, the Pathetique, Many, however, disinclined to mental effort and the Appossionata and the Wadlstein. A Beethoven That Awkward Fourth Finger trusting instinct and temperament to carry them minus these would be as impossible as a Shakespeare through arc content to play superficially—heedless of without Hamlet, Othello or Macbeth. By H. E. Delarey promiscuous tone consequences which result, when pro¬ One has been told that Beethoven was jealous of portion. itc values of combined music elements neccssar- Rossini. But the latter could never have been his r;val More pupils have 'worried over that awkward fourth :■ ..Miit touch and pedaling—are disre¬ seriously, for he only wrote operas, whereas Beetho¬ finger than anything else. There was a time when the garded. The pianist whose playing satisfies, on the ven’s one work of this kind is not the foundation on operation of cutting the tendon which binds the finger other hand, commands not only the catch-what-one- which his fame rests. He may have felt jealous of the was very popular. It was in a sense a profitless opera¬ can. sight r. a ling habit of sketching a composition Italian’s financial and social success, but surely not of tion, as many of the world’s greatest performers never but also penetrates to the root of the matter by analyz¬ his musicianship. had it done. ing proportionate notes and rests—as precisely condi¬ The case was widely different with Spohr and Cheru¬ There is no reason for worry if the fourth finger tioned by the given music, however complicated may bini. In these he had adversaries worthy of his steel. ( it- combined thematic and refuses to rise as h5gh as the others. Nature's intent They were richly provided with musicianship, and had wtth this finger is evidently that of grasping and hold¬ attendant parts—and then proceeds—through ear- they been endowed with the feu sdcre in equal pro¬ directed touch and pedal’ control—to vitalise these ing. Notice that when vott carry anv heaw weight, portion to the art they had acquired, their music would such as a pail of water, the burden of the weight is otherwise, insignificant note and rest symbols of music be sounding in our ears to-day, as does that of hCT ™7e b-v this finger’than any other. in!,) their proportionate equivalents of rhythmic tone Beethoven and Mozart.—Francesco Berger in the Lon¬ lhe fourth finger may be made to move quite as and no loss pulsating silent time, in each beat, meas¬ don Monthly Musical Record. ure. phrase-member and series of connected phrases. rapidly as any other, even though it does not go quite Simultaneous control over various independent mus¬ so nigh. As a matter of fact it is utilized in playing in conjunction with the hand, and the fact that it cular activities, in effecting proportionate connections Paganinni is said to be the first violinist to use cannot be elevated higher than the other fingers is not and contrasts inherent in the phras’ng of mus'c, may double stopping. He wrote a Capriccio founded on noticed in actual playing. It may be injured seriously be demanded at the merest fraction of a beat; activi¬ the Irish air. St. Patrick’s Day in the Morning, which ties which concern not only independence between right could be exchanged for God Save the King when occa¬ \ . ‘s stral.ned. The 'writer had a pupil who strained and left hand, but also between different fingers of sion demanded. And th;s composition is said to have Lifrt ge7mv.SU,Ch a manner that a large lump devel¬ each hand and between hand and foot technic—if the been the first one in which double stopping was used. op a su j °f tllC band> requiring the attention THE ETUDE Page It76 AUGUST 1919 THE ETUDE AUGUST 1919 Page 4?> CLAYTON JOHNS I listened to a very eminent pianist of the present believe all of us have some pupils who will be very Distinguished American Composer and Teacher ot Pianoforte, day. He had as big a technic as Liszt. Did he play fond of Rule IV1 Rule V might read as follows, in Playing at the New England Conservatory. like Liszt? No, he did not. Far from it. Why not? order to include, in a sense, relaxation: Ten Famous Rules Ten Years After All of the rules seem practical and essential but I What was the difference; what was the matter; what Remember that the mind must govern all mus¬ would suggest as Rule I, Relax; and as Rule II, Con¬ did he lack? What he lacked was back of his fingers. cular motions and conditions. {Continued from the Previous Page) sider the quality and quantity of your touch of every “As a man thinketh in his heart, so is he” and so is Also, an addition to Rule VI might be made: note in a phrase. I would have Rule VIII read: his playing. Walk the straight and narrow path of Always listen intently to your own playing. Determine your own fingering according to the sense course, but with many, very many people this path is (Ear training.) OSCAR BERINGER of the phrase, and do not employ any other fingering just a rut which they have worn so deep they can’t It almost seems that, in any set of practice rules for PERCY GRAINGER lems THAT THEY CAN SOLVE THEMSELVES UNCONSCIOUSLY until the piece has been mastered. see over the sides. the present day, one rule should touch Relaxation - Professor of Piano Playing, Royal Academy of Music, To Rule IX, I would add: Always practice in strict Eminent I’lanlst and Composer. and without effort. In other words, I think of marked London. Technic is a matter of the mind—concentration. Art some such rule as this; fingerings, expression marks, and conscious effort in time according to the sense of the phrase. is primarily a matter of the heart. Watch Pader¬ I think the question of rules for successful piano Number I of the rules is all right; and also Rules Mentally sense some relaxation exercises every practicing, as I think of surgical operations; something To Rule X, I would add: Devote a portion of the ewski. He has consecrated his life to something practice a very interesting one, and the ten rules you II III, IV, V, and VI. Number VII might be ampli¬ day. to be avoided if possible, but, if of proven necessity, practice time each day to memorizing—memorizing higher even than art. He has obeyed the heavenly propose do, 1 am sure, represent the consensus of fied to include ; Avoid crossing your legs while sit¬ Perhaps the addition to Rule V will cover it. An¬ then as skillful, as experienced, above all as exhaus¬ phrases, not notes. vision. Only a Wagner, Liszt or Paderewski is capable opinion of most of the best teachers. Unfortunately other rule I find very important: tive, as possible. ting at the keyboard. Do not curl your legs under of such a surrender to the higher, to the heavenly niv opinion* on these matters are so very radical, so The sensation coming into the mind in practice Those are my sincere views, though I am not ad¬ the stool or the piano chair. These are faults which J. LAWRENCE ERB very much at variance with the opinion of almost all vision. As Mark Hambourg says, you must be in ' should be the same as the player expects to use in vancing them as being of any value to anyone but occur very frequently and many teachers pay no atten¬ Professor of Music, University of Illinois. sympathy with the life all about you. If your soul artists and teachers 1 have ever met, that I am afraid real playing. myself—not putting them forward as suitable material tion whatever to them. Number IX cannot always be Twice President of the Music Teachers’ National Association. my ideas would not add to the purpose you have in is alive you will do your bit against injustice and dis¬ to your valuable discussion. applied, as it is surely necessary to practice rubato I have read your ten rules very carefully many times, tress, and try to leave the world a little better than mind, and would only obscure the issue. Nevertheless, EUGENIO DI PIRANI and I believe they are both practical and essential. .you found it. I add a very rough exposition of' my ideas, just to passages not in strict time. If these rules are fo apply RUDOLF GANZ The only omission that I can see that belongs in the Noted Pianist and Composer. show you that 1 am not indifferent to the very inter¬ only to beginners or pianists not far advanced, of Then your finger dexterity will be consecrated to Eminent Pianist. same category is some provision for the development To show you the warm interest I take in your “Sug¬ esting issues your questions raise, and without any course number IX is all right. Number X ought to something higher than mere display of self, or worldly I think that the ten rules still hold good, though I of the musicianly side of the pianist’s training. For gestions for Successful Piano Practice," I add to the feeling that these ideas of mine are any more true have after "memorizing”—“sight reading.” One might ambition, which, in the long run, never can satisfy the personally would change No. 2 to read: “Always prac¬ instance, the important matter of sight reading has long article 1 sent you yesterday: “New Ideals in than the opposite set of ideas so much more frequently add to rule number III—all difficult passages should be inner craving of the soul. You want to be more, to tice systematically and with an aim to accomplish. been omitted, together with transposition, improvisa¬ Pianistic Art” some more detailed comments con met with. practiced with each hand separately. develop and expand. Well, then, be humane. Write No. 8, I would say: “A difficult passage is entitled tion and ensemble. With regard to the last named, cerning your “ten points.” 1 feci that everything to do with art, be it crea¬ to some friendless prisoner in jail; interest yourself it might be just to say that ensemble does not strictly The given rules are so far practical, but they omit tion <>r reproduction, should be as instinctive, as to be tried with several fingerings.” One has to de¬ in societies for the prevention of cruelty to children, EDWIN HUGHES fall under the term “piano practice,” but I do not be¬ an essential pont; that, even in practicing, the beauty si bconsi ious as possible. I admit that our reason cide individually upon fingering. to dumb animals, including trained animals, the insane, Pianist and Teacher. lieve that the same objection can be made to the other of tone ought never to be forgotten. As I pointed out helps us in piano practice, but only to the very As to No. 9: “Always practice in strict time if you the poor and unfortunate. So, I say, relax, concen¬ suggestions. Perhaps improvization might be ruled out, in my article- the mere striving after techncial per¬ most limited deukee, to my mind. Occasionally are a ‘Rubato’ fiend; and not in strict time if you are I certainly think that such a compilation of practice trate and grow. but my purpose in including improvization was that it fection would to-day (even more than was the cave one wants to look at a fingering or pedal mark, a military person, or inclined that way.” suggestions such as you have indicated would, beyond provides the very best method of learning to think at some years ago—before the appearance of the auto¬ occasionally one wants to think deeply and very any doubt, prove a most valuable monitor for all piano HANS SCHNEIDER the keyboard, and is to my mind the very best way in matic piano-player), be a very poor aim for tha accurately and .consciously about such things, but HELEN HOPEKIRK students. I w ould recommend the use of the word Teacher and Conservatory Director. the world to become acquainted with the instrument pianist. Even the most simple exercise ought to be (and this is the whole crux of the matter for me) Noted Pianiste, Composer, Teacher. “Maxims,” in place of “Rules” or “Suggestions.’’ All I can say is that these rules are very good, and in an intimate, masterful fashion. Improvization in¬ practiced with constant consideration of the quality MEKELV AS A SUPPLEMENT not tile MAIN BODY of One’s I think the rules very good, as we understand them; I approve of them. It is a very practical scheme to “Maxims for the Piano Student,” or “Maxims for the cludes, too, the very important training in applied har¬ of sound. That is one of the reasons why I do not pianistic equipment, which is in the main, to my mind, but for the average student, I am sure they are not get up something in this line, that the pupils can have Practice Period.” mony. I am aware that the beginnings of it must be approve of practicing at the dumb keyboard. What unconscious, unreasoning, unconcentrated, effortless; definite enough. To tell anyone who has not had before them at all times; and it will ultimately mean The “Rules” as you send them to me are too cut- crude, but so are the beginnings of piano playing. enormous difference between an exercise played merely I in other words, the result of blind habit and a million training, to “think,” is like telling a man always to a great saving of time and nervous force on the part and-dried in their phraseology to accomplish the best I like your idea of making your set consist of ten technically correct, and the same when special atten¬ repetitions, just as in our mother tongue, and every¬ speak good English—when he does not know what of both teacher and pupil. results. A series in more or less epigrammatic form rules. Therefore, instead of suggesting an eleventh, tion is given to beauty of tone. What charm in a thing that is most lasting and reliable in our every¬ good English is. And I must say regretfully, that the You are on the right track in strongly emphasizing would make ten times the impression. The following simple scale! The double evenness. I mean in the day manners. When we find ourselves slipping to present system of education does not seem to develop my thought would be to add to the tenth the words the practical side of teaching in The Etude. We have equal distance of the notes from each other and in the death d.iwn a mountainside we act instinctively. We thinking power. I am supposed to work only with is an attempt. You may succeed in improving on it: SIGHT READING, TRANSPOSITION AND IMPROVIZATION, or, if a plethora of “musicians,” and they all practice and equal intensity of tone, suggesting a perfectly graded clutch at a passing tree (1 did it once in Norway) by so-called “advanced” students, and it takes a long anything must be omitted, certainly add sight reading. practice and play soul-deadening exercises for hours I. Concentration means Success. pearl necklace—form a highly artistic goal, as well movements and subconscious reasoning that only years time and much patience to make them realize even Perhaps my attitude toward piano teaching is not to improve their mechanical dexterity, when it would II. System brings Results. for beginners as for advanced students. What fasci¬ of unthinking repetitions are able to build up. If slightly, what thinking means. They neither know quite orthodox, since my work for many years has be much more profitable to their pupils and—perhaps nation in a smoothly-rolling, perfect scale! these instincts did not lie there ready to come to the how to think, nor do they know for a long time how III. Slow Practice mean's Fast Progress. inclined me to the view that no specialty may legiti¬ their bank amounts—to improve their mentality, too, But what difficulty in playing it! Alone the passing surface when need arises, we would simply not catch to listen to their own playing. As to correct position, IV. The Mind is Captain of the Fingers. mately be developed excepting on the background of and become as well-trained teachers as they are per¬ of the thumb, which should not be noticed at all by the tree and would die instead. At least so I see it. musicians differ. Those who teach their pupils almost musicianship. Possibly my friends, the artist-teachers, formers. V. Self-Criticism, Constantly Applied, is the High- the listener—not heard and not seen, as if the hand 1 maintain that a reliable technic is built up by such entirely the use of the fingers, ignoring the arm, advo¬ and so on, will insist that my point of view is wrong. I had an idea like yours years ago, and printed Road to Artistic Achievement. were possessed of an unlimited number of fingers, countless UNTHINKING repetitions as those that build cate a low seat and a low wrist often; while those Nevertheless if I understand the policy of The Etude the enclosed folder. If anything in this folder appeals VI. Fingering, Phrasing, Pedaling Marks of Ex¬ enabling the performance of the scale with a graceful, up the habits of walking and speech, and that a reliable (the minority) who know how necessary the arm is in correctly it is to help the great army of earnest music to you, help yourself and use it* pression. are Matters to be Memorized also, habit of memory, the habit of reading music, and the modern piano playing, advise another position which students, rather than the very, very small group of perfectly even touch—this alone constitutes an ohject not merely Notes. * Mr. Schneider's rules were published in the June for continuous study. power to transpose reliably and quickly have, all of gives more freedom. aspirants for virtuoso honors. If so, I feel justified Etude. There are many suggestions which would really VII. “In the Beginning was Rhythm.”—Bulow. in my point of view. Just this attention to beauty of tone takes away the them, similar origins. LE ROY B. CAMPBELL help. For instance, to point out the necessity of know¬ dullness, the tediousness of practicing, which is one Therefore,- I would advise students to avoid system VIII. Intelligent, Attentive Effort Accomplishes in Teacher and Conservatory Director. and concentration above all things, to read a book (or ing scales intimately, with mind and fingers, in all JOHN ORTH of the most insidious danger-rocks in piano instruc¬ Minutes the Task over which Thoughtless The ten suggestions for practice I should say will otherwise take their mind off their task) while playing. rhythms, as every piece is built on scales—and hosts Pupil ot Franz Liszt. tion. For this way—listening carefully for tone beauty Repetition Spends Hours in Vain. be a capital idea, especially if they could be made in I also believe that beauty of tone in playing is best of other suggestions not so general -as those sent. —exercises can dc made attractive, and the students IX. First the Conception of the Musical Ideas in Yes, these rules are all right, fine, very fine as far the form of a card to hang near the piano, as an ever¬ arrived at unconsciously or subconsciously, and that, Every student has had these things said to him many (especially the young ones) would cease to revolt your Inner Ear. then its Expression through as they go, and they go a good ways. They all help present reminder of essential points. in consequence, wc should Avoin listening too much times; and the thing is to help the student towards against them and even hfern to like them. One of the the Means of Execution at your Command. the student to build a good cellar. After that, what It would be difficult, indeed, to leave any of these to our playing and just let our subconscious sense for thinking, but something more definite. Memorizing secrets of successful teachers is to make matters as kind of an edifice is he going to build ? Isn’t that the rules out. Of course, other rules—and very important tonal l-cauty act without the interference of our also, to me is not a separate part of study. That comes X. It is the Tone which Makes the Music. Only agreeable as possible for the pupils. question ? ones—could be added, but the ones given are fine. I MIND. naturally as the faculty of attention develops . We , through Beauty of Tone Production and In¬ (Signor Pirani's article follows:) For similar reasons I do not believe in thinking always remember what we are most interested in, and telligent, Expressive Phrasing, is the Final about fingering except in exceptional cases. I believe so I think it would be more to the point to advise Goal of Emotional Eloquence at the Piano in just taking whatever fingering comes natural with¬ students to devote a part of each day to studying to be Reached. out thinking about it and letting habit (formed by away from the piano, so developing inner hearing, at¬ continual repetitions of the passage in question) select tention, and—memory! the best, or at any rate a serviceable, fingering. What However, all these things that one inculcates in New Ideals of Pianistic Art lessons, are hard to condense into rules. Let me say that of the ten rules, I do not think No. 2 I do believe in, is thousands and millions of hours essential. OF PLAYING. READING MUSIC, PERFORMING IN PUBLIC By Eugenio di Pirani (whether at important crncerts or in orchestras or ARTHUR SHATTUCK By practicing too “systematically,” such things as our movies), and the more effortless, the more unthinking, American Piano Virtuoso, architectural and other surroundings, as well as the The ideals of pianistic art have undergone in the the lc«s conscious, the less the student tries, the My own suggestion would be that the student spend light of the particular hour of the day, are only too ten fingers—some of them (the fourth and fifth) im¬ How to accomplish that? apt to associate themselves with our work, and this last few years a great change, owing to the invention perfectly developed and weaker than the others; one more 1 would expect whatever inborn talents (great less time at the instrument in planning out his inter¬ Take one of the best grand pianos and strike a key has fie disagreeable consequence that when we have to of the automatic player-piano. of them (the thumb) crooked and much shorter— or small) he or she has to come to the surface, and pretations. with an intense pressure. You will be astonished to personal tastes to assert themselves. do our work under different surroundings and at a Some time ago a virtuoso who excelled in any tech¬ make the poor pianist, I repeat, feel like an insignifi¬ Seated in a comfortable chair with the score before notice how long the vibration of the string lasts, in This docs not mean that I do not believe in elabo¬ one, the mind is far freer and more creative than when liferent hour, we feel somewhat upset by the change. nical specialty won general admiration and became cant wretch in comparison. full force. And even when the vibration Ix-gins to rately edited editions or in teaching of a very detailed, „ J;°’ 10 °f y°ur rules I would preface by saying famous. Transcending difficulties—passages in thirds, The result of the new invention is that, technically, the attention is distracted by technical complications, weaken, a pressure of the pedal will revive it and nature, for 1 do—moke than most people. But I re¬ and the ear disturbed by sound. w ile practicing the technical part of a piece.” sixths, octavos and still broader intervals; performing the pianist is left in an appalling inferiority. In com¬ arpeggios and other musical figures with the utmost prolong it. Rubinstein used to prolong the duration gard such editions, such teaching, as a mere appendage A composition worked out in this way invariably o your third question, “What all-important roles positions where agility and rapidity are the highest of a note ad infinitum through to the bed-rock work of study. Out of a million tech¬ proves more intelligible to the listener. ave been omitted?” I can give only a negative answer. rapidity were among the chief specialties of the piano goal, the best-trained pianist cannot surpass the auto¬ nical problems that come to us without thought or In closing let me say that my objection to co-oper¬ virtuoso. Think what amount of technical training is matic piano. bing of the key, just as the vibration began to weaken. effort will always be found a few problems that do ALEXANDER LAMBERT ation with others is based upon the fact that the list required to master the purely mechanical part of piano Through it the spring was brought into further, deli playing! not resolve themselves without thought or effort or Celebrated Piano Pedagogue. your rtnbutors t0 ,his Particular set of rules Artistic Tone cate resonance, and you would hardly have noticed guidance from the outside (a different set of problems You may add to Rule 3: Always practice slowly at “,nTs ,he names of at least seven teachers with Nowadays all those neck-breaking gymnastics have But there is one thing which remains still the un¬ that the prolongation was due to this clever manq.u to each student, of course). It is for these com- first. And each hand separately. To Rule 10: * * * is not am dlstmctly disinclined to be ranged. This become a mere trifle for the automatic player-p:ano. restrained domain of the pianist: The beauty of toqe; lation. These machines can perform all the formerly most parativcly rare problems (that have to be solved con¬ every day to memorizing and reviewing your last les¬ amour xJT u °f COnCeit but of Perfectly legitimate the singing touch; the artistic conception. In this Now, if you understand how to use the wonderful sciously. with effort) that we go to teachers and instruc¬ son. ProPre, because whatever reputation a man pos- dreaded passages as though they were mere “child’s realm he remains undisputed sovereign. To reach per¬ tonal mechanism offered by the modern grand pian.. play.” tive editions; and since the problems vary with each The ten rules are just as modern to-day, as they and h S* le, pr0(^uct of long-continued, honest work, fection in this specialty, must become now his supreme you can obtain such a beautiful tone; and variety of individual I advocate editions in which the greatest No wonder, because the player-piano has a hand have been a decade ago. One more rule could be hefhg lowered6y.*"*' jusutified in guarding it against aim. Now more than ever it will be necessary for the expression ?nd tone color; such a poetic reprnHtjcUnu Nt miur of problems are solved consciously, though I with eighty-eight fingers, all equally built, all equally added, and that is: Practice with only as much not win, tL d y ?Gmg thrown into one and the same pianist—if he would not see his very existence im¬ of melody that jou will have little cause to envy the strong, which can strike the whole keyboard at once, would advise pupils to ignore all outside help to prob¬ strength as you can with a loose wrist. perilled—to strive to emulate the singer in the sus¬ human voice or‘ the other instruments capable of sus¬ 7hah„ iSiTown hOSe reputati0n 0r Standing is Sti" if necessary and make the poor pianist (who has only C taining and undulation of the tone. tained tone. a AUGUST 1910 Page 4:9 THE ETUDE THE ETUDE Page 478 AUGUST 1919 Mentally Photographing Music Tone Color Readers of The Etude know that my belief in the By Gertrude H. Truman possibilities of tone coloring goes so far as to lead me to assert confidently that the pianoforte, besides its "memorizing will help cultivate all of these good quali- There is an old adage which runs, "There are more own iii*livnlii 1 ..• ’ .in. through a variety of ways of killing a cat than one.” There are dozens o touches, develop an unlimited wealth of colors, and tlfHaving chosen your piece and secured pencils and a ways in which t > memorize. Some succeed 'With the at times almost transform itself into another instru¬ tablet of manuscript paper, proceed to work anywhere Birds as Inspiration for Great Composers method in which others fail dismally. The psychologist ment, as 1 tried to demonstrate with my “Variations on contends that the way to memorize quickest is to keep but at the piano, preferably up in .the orchard or down 'America.' " in which 1 offered an imitation of the tone reading a recitation over and over or playing a. piece by the brook. color, peculiarities and effects of such instruments as over and over time and again until it sticks. He insists Next decide how many measures you can grasp at a the flute, cello, trumpet, organ, harp, string quartet, By EDWIN HALL PIERCE that piecemeal memorizing is the longest way. Very time, then learn the first two, three or four, as the case and orchestra. well,—but what about the folks 'who try the psycho¬ may be. Now resort to pencil and paper and see how Of course I do not mean that the pianist may now logical plan and fail at it. There must be other ways, much of these measures you can write, without refer- neglect technique. On the contrary, he will be spurred Farewell all joys—O death, conic close my eyes— and it is the purpose of this article to state one which ring to the music. You may not get it all down cor¬ A few years ago, when The Etiuif. offered a prize by his new rival to still higher attainments, but he must M ore geese Ilian swans no if live. has “worked” finely with the writer of this article. It for the best cover design, a large number of the efforts not make of them "false gods” as formerly. rectly the first time, but try, try again, and above all More fools than wise!" is a plan for making mental photographs of small things, do not proceed until you have written this much submitted embodied a representation of birds, showing It is a far cry from the mood of this "hi madri¬ Where the Player-Piano Excels section and then putting the sections together. correctly, at least once. the popular belief that birds are in some way connected We cannot all be like Von Billow, who, we are told, gal (composed 1612) to Sibelius, the great Finnish When one has to cope with a powerful competitor, Each day begin at the beginning, writing what has with the idea of music. The same thing crops out in. memorized Rheinberger’s “Chase” and “Fugue” on the composer, of our own day, and his wonderful -yin- it is manifestly foolish to tincover one’s weakest points. already been learned before memorizing new measures, the common expression “she sings like a bird,” which cars, while traveling from Dresden to Hamburg, and phonic poem The Swan of Tuonela,* This is the case with the pianist of to-day. If he tries and never going on until the review is perfect. This may is intended to be a compliment of tbe best sort, played them the same night without notes, and without In the folk-lore of Finland, Tuonela is that mystical to compete with the automatic player in the overcoming sound like tiresome work, but if tried, will be found whereas any singer whose repertoire was as limited and previously trying them on the piano; but we can take river in the dim border-land 'which lies between this of technical difficulties, he is at a great disadvantage. most interesting, and memorizing in the future will be monotonous as that of even the most highly accom¬ a lesson from his experience and profit thereby. world and the next. The ancient Greeks knew it tinder Try to outdo the automatic player in the rendering of much easier and more interesting, even though this Select a piece worthy of the time to be expended plished bird would have no chance whatever on tbe the name of the River Styx, hut it is surely in Finland^ such pieces as the “Perpetuum Mobile,” by Weber; process is not resorted to every time. upon it, yet simple enough to be within your present concert stage. Between the most melodious outpour¬ Or one may find himself reminded of the less well- that land of lakes and marshes, of leaden sky and the "Campanella.” by Liszt; the “Thirds-Etude” or the When the whole piece can be written perfectly, open knowledge of harmony; for harmony, concentration ing of the nightingale and the simplest folk-song sung known but very graceful lines of James G. Percival: dim, pearly mist, of vast, lonely, silent distances—rather "Sixths-Etude," by Chopin—and you never will be able the piano—and lo ! you will find you, self playing, with¬ and a liking for good, healthy, plodding work are the by a peasant-girl, there lies the impassable gulf between than in sunny Greece, that a composer might find inspi¬ to equal the rapidity and the mechanical perfection of out notes, a piece you never played before. “On thy fair bosom, silver lake, most helpful requisites for memorizing; and, also. instinct and reason. Each species of bird has at most ration for such a theme, and it is no wonder that The the music r«H. The wild swan spreads his silver sail, a few short phrases; these have ]yeen studied and col¬ And round his breast the ripples break Swan of Tuonela is one of Sibelius' strongest works. lected by lovers of bird-life and written down, as far In the orchestral score a wonderful panning in lone- Art and Mechanics As down he bears before the gale.” as may be, in musical notation. They serve the bird to a color which defies any attempt at adequate transcription On the other hand, you will be unconquerable in the “ Luck ” and Success limited extent in lieu of speech, and are to the human for the piano—the Cor Anglais (English Horn) is interpretation of the classics, on which beauty of tone, ear agreeable animal noises, but only by a wide license entrusted with the solo picturing the swan song. correct phrasing, purity of style are of the utmost im¬ By Thomas B. Empire of language can they be called “song.” Birds have It is more than doubtful whether the parting song of portance. Also in the rendering of polyphonic music, inueed served a a one important source of inspiration the swan lias any foundation whatever in dull, sober where the thematic detail must be brought into sculp¬ envy other people their easy conquest of the world The careers of many famous artists read like fairy to many great composers, but oftener through the fact, yet if not. why has it been so persistently be¬ tural relief; where the different parts must be made tales. It would seem that some of them have only had artistic—'what have you done to arrive? Have you poetic ideas connected with them than through the lieved, for so many centuries? Is it not because most prominent through different kinds of touch—here the to stand at the corner of a street and warble, or draw practiced early and late, whether you had the money of us have the same feeling as that little child Ruskin bird’s own musical outpourings.' As an illustration of pianist will retain undisputed superiority. the bow across the strings, to attract the attention of for a teacher or not ? Have you set out to make more tells of in his Lillies of the Dust, who said in regard to this last statement, take the case of the swan; we doubt It is just the warm feeling, the powerful emotion, the world-renowned impresario 'who “just happens” to than a pretty accomplishment of music’ As to the some other charming old myth: "It is so beautiful, it whether one reader in a thousand has ever heard a which deeply impresses the audience: and this alone be passing by. And the rest of the pleasing drama is appearance of the impresario at the precise moment, must be true.” Plato evidently thought so—writing swan or knows whether he makes a sound, rtiusical or will prevent the interest in pianistic productions from already foretold—the gift of study under the best have you put your pride into your pocket and sung about 410 B. C., he reports these words as part of the fading away, as unfortunately seems to be. the trend otherwise, yet he appears to have furnished far more masters, the launching out of the at fistic ship upon the under discouraging auspices, as did these artists whom conversation of Socrates: nowadays. Technical mastery alone is no more capable smooth waters of public approval - presto! the poor, inspiration to composers than any other bird. For this you now envy? How many times, do you suppose, deserves to be even better known than it is, though “You think that upon the score of foreknowledge of captivating the attention of an audience. Everybody obscure musician has "arrived,” to the tune of a small very reason we find ourselves impelled to devote a even they sang their hearts out in the lonely streets, the sentiment is of a nature so mystical and elusive as and divining I am infinitely superior to the swans. When finds out sooner or later that the player-piano he has fortune for each and every appearance. J t looks easy, perhaps disproportional amount of attention to him in they perceive opproaehing death they sing more merrily at home can do the tricks "better and quicker” than doesn’t it? But there is much that lies behind these and got nothing for it? How many times was the what follows: scarcely to appeal to a large or casual public. The words are originally from the Norwegian of the great than before, because of the joy they have in going lo the pianist. delightful phenomena. In the first place, there was hanging of a window their only applause’ How often dramatist Ibsen, and the several existing translations the God they serve!" Try to infuse into your instrument all your soul; study—work of some kind, probably without the stim¬ did they play out their longing and their hunger pangs, The Swan and the “Swan Song” in Music differ widely from each other, indicating that the From the fabled swan-song to the prosaic cackle of all your enthusiasm; let it express your love, your ulus of lessons under a teacher. And every student while the impresario lingered unkindly miles away, a hen is a step from the sublime to the ridiculous, yet joys, vour woes and you will see the interest and the knows how difficult it is to keep up interest, unless one instead of being close at hand with the star of glory The Swan seems to have had a perennial attraction author’s meaning was somewhat enigmatic in the first place, though it undoubtedly has allusion to the swan’s one of the first examples that occurs to us in seeking sympathy of the listeners suddenly revived. You will has the urge of definite lessons to practice and to play in his right hand and a ticket for lessons in his left, for both poets and musicians, not simply because it for imitations of bird-notes is a piece railed La Panic. cast again the magical spell on the hearer; you will for the one who has set them. In the second place, ready to bestow at the conclusion of the free recital? is a beautiful sight floating mirrored in the still fabled death-song. In England the swan was regarded with superstitious by the old French composer Couperin, built up on some suhdup him as of yore; you will invite his soul to there was the financial necessity for making this gift Other people’s achievements are apt to look easy to us. water, but for the peculiar and mystic traditions and such phrase as this: veneration in early centuries; its eggs were protected vibrate together with yours. For to this field the count as a money-maker. But they pay—they pay, as every son and daughter of superstitions woven around it from time immemorial. player-piano can never follow you. by stringent laws, and in the days of Henry VII (1485- You, who think you have not had a chance—who Adam pays—for all they have. In early Roman mythology the god, Jupiter, enam¬ ’ Ml ion. fellow-pianists, leave the 1509) none but the king might own a swan, save by ored of the nymph, Leda, assumed the guise of a vulgar pyrotechnic "stunts” to the automatic players, royal permission. When such permission was granted, swan; in Norse mythology the Valkyries, those super¬ it was accompanied with special ceremony. A genera¬ and reserve for yourself the most ideal, the most Schubert’s little-known song The Quail furnishes a natural maidens hovering in the lurid skies above the tion or two later Orlando Gibbons, that matches com¬ poetic part of the piano playing: the “singing.” The A Plan of Musical Study for the Busy quaint instance of a composer's effort to reproduce battle to carry the souls of fallen heroes away to Val¬ poser of both madrigals and church music, well deserv¬ connoisseur will then he ahlc to tell, even from distance, the actual call of a bird. Both the poet and the com¬ ing the appellation of “the English Palestrina,” com¬ if it is a machine which belabors the piano, or a tone- By H. K. Jackson halla, could change themselves to swans at will. When poser rather strain a point to hear in the cheerful "Bob- posed a beautiful five-voice madrigal, The Silver Swan, poet who imparts to the instrument his pulsating life, the Norse warrior chanced to see a flight of wild white,” various pious ejaculations such as "Fear thou which has survived the changing tastes of centuries and his divine inspiration! One of the problems which present themselves to tered a time is set apart for a recital in private, with swans over the field of carnage it is easy to imagine God,” “Love thou God,” etc. is still found in the repertoire of the best choral the music lover is the question of continuing practice or without listeners. The program is played over the weird premonition that quickened his pulses. Haydn, in The Seasons, introduces a very realistic even when he or she is engaged the greater part of only once, putting as much expression and interpreta¬ *The legend of the Swan Knight was familiar in the imitation of the crowing of the cock, thr ><• Ik-iiir the the day in business. It is scarcely to be expected, after “Let There be Tunes” tion into the rendition as possible. After this formal folklore of the Lower Rhine for centuries before Wag¬ instrument used : working hard all day, that one should sit down to prac¬ recital of the first program, the second is treated in ner embodied it in the plot of his opera, Lohengrin. By Rose Frim tice scales by the hour. It is, on the other hand, un¬ necessary to give up musical study entirely, as is too a similar manner. Most of us have read in our childhood, the adven¬ In classes in pedagogy prospective teachers are frequently the case. A happy medium may be struck When all the programs have been studied, instead tures of the young swan in Hans Andersen’s Ugly urged to bark back in their memories until they can by devoting about fifteen (more if possible) minutes of starting at the beginning again, an entirely new Duckling—the young swan who did not even know he picture periods in their early youth when they be¬ to one’s instrument each day. A surprising amount arrangement of the piece is made. Although the same was a swan, but grew up among the ducks and other came acquainted with certain sense impressions. This of work can be done in this musical moment if it is selections are practiced the novelty of the second set ignoble fowls, .odd, lonely and persecuted, until on a is believed to be one of the best ways in which to done systematically. A short period of music will fill of lists will prevent the danger of becoming tired of day of happy fate be saw other swans, glided gladly develop in the more mature mind an understanding in admirably after the evening meal, and will not only them. The object of this plan is to accomplish a con¬ across the water to join them, was at once hailed as a Saint-Saens, in his Danse Maealne. alsq introduces and sympathy with child life. Merely observing chil¬ be a happy mode of relaxation, but will help the diges¬ siderable amount of practice at a sacrifice—if it be a fellow-swan and thenceforth tasted whatever happiness a cock-crow to signify the approach of sunrise, which dren, without re-living the life of the child, is not tion of the dinner as well. sacrifice—of little time. Variety—and concomitantly the Heavens have allotted to swans. A pretty story puts a sudden end to the weird dance of specters and enough. You must “think as a child.” Theorizing A great deal of pleasure may be derived from a sys¬ —interest are secured by the change of pieces from for children; but one in which Anderson hid a deeper skeletons. upon what the child should have, is not at all suffi- tematic plan for this musical hour. About twenty-one week to week. New selections may be added, care meaning—a parable of the young artist in a deadening The note of the cuckoo is easily imitated, being almost of the most attractive and not too difficult pieces being taken that they are not too difficult. The system, philistine environment. (though not exactly) the interval of a major third. It Can you remember your first pieces? Can you re¬ with which one is familiar may first be selected. These the variety, the pleasure of composing the programs But to return to the subject—the influence of the has been used countless times by various composers, member with what delight you picked out your first are divided into small programs containing from two takes away all monotony, while the little mock recitals swan idea on composers—in our own day, possibly the but mostly in small pieces intended for children. tunes at the keyboard? Bohm’s Market Maid may seem to'five numbers (depending upon the length and tech¬ supply the necessary end in view. lik" a very trite and inconsequential piece to you now, most familiar example is The Swan, by Saint-Saens. nic). The programs should be drawn up care¬ This plan makes it possible to keep a number of pieces by. can you not remember the time when such pieces Originally an orchestral number, it has been transcribed The words of this madrigal, by an anonymous author fully, so as to offer an interesting variety in key, mode constantly at the tips of one’s fingers. It is an established were full of charm and novelty to you? Do you re¬ and form, no two selections being similar in these effectively for organ, for violin and piano, for ’cello —perhaps Gibbons himself—are not of a melancholy or fact of psychology that one is learning one program while There arc two great difficulties in the way «.f the member tbe passionate delight with which you played palticulars. If the arrangements are well made, the and piano and various other combinations of instru¬ a mystical cast, but have a downright old English practicing another. It will he found on coming hack actual use of bird-song in music. The first i-. that the your first suspension of the third of the scale over attractiveness of the program for the day will be a ments. It is an exceedingly graceful piece, appealing heartiness and humor: to a piece two or three weeks later, that it will he intervals do nni conform exactly to those found in tbe dominate seventh? Didn’t it wring your child-soul pleasure to look forward to. Another advantage is powerfully to the imagination; one can close the eyes played with greater ease and more intelligence than “The silver swan, who living had no note, any musical scale used by human beings; the second, with the very beauty of the thing? that there is a definite plan outlined, and the fact that and picture the white swan on the surface of the water before. If this method of musical study is followed When death approached, unlocked her silver throat; (hat the quality of tone is often impossible to repro- Remember that the child music-nature calls out certain pieces are to be played is a marked improvement in Wordsworth’s poem: Leaning her breast against the reedy shore, for tunes. Let the child hear them and play them the busy will find it possible to enjoy the satisfaction over the slipshod method of taking any piece that comes “The swan . . . floats double, swan and shadow.” Thus sang her first and last, and sang no more. • Pronounced Twon'-e-la. and learn to love them. of accomplishing something definite in spite of the litni' to hand. When the first list has been fairly well mas¬ tation of time. THE ETUDE AUGUST 1919 Page 1,81 Page W AUGUST 1919 THE ETUDE Page 486 AUGUST 1919 She inspired him with glowing letters fall r. THE ETUDE AUGUST 1919 Page 487 ence: jhmIs but they never met each other. In April, 1S74, he went to Italy. His se,^ont„' 1865 Nicholas Rubinstein, the brother of the famous P°fCf their days, they never exchanged a word Z ■> dieting impressions of Venice are very Pecu * T . pianist, founded a conservatory in Moscow and en¬ b^letter. Their whole intercourse was confined,/: gaged Tschaikovsky as a professor of harmony at the wrote once: “Venice is a place in which-1had :1 “ remain for long—I should hang myself on the fifth d y : modest emolument of 25 dollars a month. On occasion V1nmon0eUSofCOtI^0 letters Nadejda wrote to hi„ of a cantata he had composed for the prize distribu¬ from sheer despair. The entire life of the p tion at the end of the school year, Laroche wrote to tres in the ‘Piazza S. Marco/ To venture further ui "A- any direction is to find yourself in a labyrinth of stinK- sonal acquaintance, but Tschaikovpky: “In you 1 see the greatest, or rather the shrink from knowing you, ^ A Year in the Fundamentals of Musical Composition sole, hope of our musical future.” ing corridors which end in some cul de sac, so t y cinate me the more I t have no idea where you are or where to go, unless y think of you from a distance ', In 1868 Tschaikovsky fell in love with Desiree Artot, are in a gondola. A trip through the ‘Canal Grande heareyou speak, and so be at < with you in m The Minor Key and Other Musical Matters the renowned singer, who was visiting Moscow with an well worth making, for one passes marble palaces, eac Italian opera company, at the head of which was the one more beautiful and more dilapidated than the last. rnU0nce ’when he would not accept her generous o8e By FREDERICK CORDER impresario Mcrelli. Laroche describes her thus: Desiree Venice—I repeat—is very gloomy and like a dead city. Artot has been trained by Pauline Viardot-Garcia. of a remittance of 3,000 roubles, she writes: T !f Professor of Composition at the Royal Academy of Music, London, England There are no horses here and I have not even come Her voice is powerful and adapted to express intense looking after you for my own sake. My most precis across a dog.” Later, however, he changed his opin¬ dramatic pathos. Besides its dramatic quality, her voice beliefs and sympathies are in your keeping, y0Ur vm ion as follows: “Venice is a fascinating city. Every is suitable for florid vocalization and her lower notes existence gives me such enjoyment, for life is tht were so good that she could take many mezzo soprano day I discover some fresh beauties. Yesterday we better for your letters and your music. I want to keep parts, consequently her repertory was almost unlimited. went to the church of the Frati, in which, among other vou for the service of the art I adore. So, you see, ny ■publication of an installment in the February issue but the series was continued in March and hds appeared in every ETUDE since then. Each article is inde¬ It is not too much to say that in the whole world *bf treasures, is the tomb of Canova. It is a marvel of thought for your welfare is purely egotistical and x pendent of the others to a remarkable degree in a series of this kind. The next installment will deal with “Part Writing.") beauty. But what delights one most is the absolute music, in the entire gamut of lyrical emotion, there lon How to Understand Conflicting Accidentals A< every student of Musical History is aware, our Cortot) the G# applies to the eighth note, the Gb to uses a sharp and a natural before two note heads on musical notation is not the complete and logical con¬ the quarter note, and both are struck together. the same stem and on the same line of the staff. This trivance of some single clever brain, but the gradual Is perfectly intelligible in this instance, but it is, per¬ growth of centuries, and those who devised its first haps, well that it is not used very commonly, as it crude elements could have had no inkling whatever of would be apt to suggest to a rapid sight-reader the bS the. demands to be laid upon it in later and more used to cancel a double sharp and substitute a single erudite days. For this reason there are occasional cases which occur in which the clear expression of the composers' intention becomes a very awkward Some modern French composers have hit upon a problem, and writers and editors of music do not method which, to all appearances, is clearer and more always agree on any one best solution. logical than any yet mentioned, but which has not been One of the most perplexing cases to manage is that Chaminade’s Valse Finale, from Callirhoe (Example in general use long enough to be familiar to every¬ where a natural and a sharp, or a natural and a flat 4) is on the same principle as Example 2 (from Lia- body. In this, to save crowding, the two accidentals doff)), but the stems of the notes are printed in a of the same note occur together in the same hand. are placed directly above the notes, instead of before There arc at least six different ways to express this, slightly different way. them. We give an example from Arabesques, Op. 12, and if the young piano student is familiar with them all it will save him from some inward puzzling and possibly No. 6, by Edmond Laurens. some audible errors. * , In Example 1, from Chopin’s Douse Etudes, Op. io, tit, No. n. i £=u- 'k==? F—-- Schumann, in his Bunte Blatter, Op. pp, No. 12, uses another device: the bracket connecting the Cb and Cb indicates that they are struck together. In closing, we give an example of a peculiar and extreme case, which occurs in a March by Oscar Hatch Hawley: in the third chord Bb, Ab and Ah are all struck to¬ gether. only with a quick, rigorous arpeggiando effect. In Example 2, from I.iadoff’s Quatre Preludes. Op. 13, No. e, the Eo and Eb in the first group are struck exactly together. (We quote from memory, not having the copy at Alkan, in his Douse Etudes Mineures, Op. 39, No. 12. hand at present writing.) Here the Bb, Bb and Ab all sound together as one quarter-note chord on the second beat of the measure—a harsh, but perfectly logical progression, which may be explained in this way: the upper voice has the melody Bb, Bb ; C, D. etc.; the lower voice has Bb, Ab, Ab, etc., while a middle In Example 3, from Chabrier’s Trois Vaises Roman- voice has a persistent Bb (the dominant of the key), tiques, (in its transcription for four hands, by Alfred as a stationary tone. THE KTUM Page 492 HUGEST-1919 AUGUST 1919 Jhge 493 THE ETUDE MARGOT’S WOODEN SHOES LES GROS SABOTS DE MARGOTON ED.POLDINI,Op.78,Nof2 W3- 5-?'* ! THE DRUM MAJOR L.A.COERNE A comic-number, suggesting the rub a dub of the-drum corps,with its strutting drum major. Grade 2$ In inarch time, with military precission British Copyright secure Copyright 1919 by Theo.Presser Co. 4 Pa ft 494 AUGUST 1919 THE ETIIUz GRACEFUL BEAUTY A useful “running waltz" with some neat contrasts in rhythm, together with good finger work. Grade 2% JOSEPH ELLIS THE ETUDE AUGUST 1919 Pa ft 495 MARCH OF THE MUMMERS A very useful rhythmic study. The units must be mathematically exact, not thusJV'but: J73 -Grade 2^* Copyright 1919 byThe’o Presser Co. British Copyright »*■< urrd THE ETbm Tour 4UH . trai'ST iW THE ETUDE AUGUST 1919 Pop 497 IN THE PAVILION IN THE PAVILION THE ETUDE AUGUST 1919 Page 499 THE ETUDE CARILLON Page 498 AUGUST 1919 CARILLON “And changing like a poet’s rhymes, Rang the beautiful wild chimes From the Belfry in the market Of the ancient town of Bruges.” Longfellow Krum agroup of five four-hand pieces entitled“In Friendly LandiTC arillori representsBelgiuffl, Grade S. ASHFORD EIELD DAY MARCH I.W.RUSSELl m ~ # May be played in D by changing signaturesjtj’s become f’s^b’s become Ij’s. TUT ETUDE TEE ETUDE AUGUST 1919 Page 503 Page 502 AUGUST 1919 Piu animato COREOPSIS LESTER W._KE ITH A graceful drawing-room piece in the modern intermezzo style. Play in the“singing style throughout. Grade 4 INTRO. MoOerato m.m.«|=108 mol to rit. ^ A 1/ if T m n /£u * 3 J r eresc. —- - t a ten ^ 3 ^ ^7^ PUSSY’S LULLABY Go to sleep my little Pussy, Pussys gone to sleep Where its nice and warm: In her Missis’ lap; If you cuddle down so cosy How she purred,and purred and purred I Nothing can you harm. “The darling little cat.” Also published for two pianos, 4 hands. Grade MARY HELEN BROWN Slowly m.m. J = poco rtt. ATT* » < ^ )»A ^ * ♦ p ♦ l« f-l / : ■ff t ■; - 4—= 5=- 4 _- — S J 6~~T^ Copyright 1919 by Theo.Presger Co. British Copyright se«fted Copyright 1919 by Theo.Presser Co J THE ETUDE THE ETUDE AUGUST 1919 Page 505 P»g» 504 AUGUST 1919 CHANSON SLAVE C. W. KERN, Op. 370 A dignified characteristic number with a noble opening theme. Grade 5. gesrtcffEayl Moderate M.M.J = 72 \ cresc. ’’J h h ^ : fr > > i > > 1 , !_ s-T5~a 1 2 ^ * ' a_—__ f [ccrca»[jgBEr pa ■* r . -L *« -*4. __ni ; cv___—, ; -- «--- £_ 8 _‘ fl 5 , a 4 5 cresc. pi ypp £=dgffi. f. ■ j^tf. .J:., / i2 / i * |» ' » * 1 r>/ 3 l morendo ^ . ^rit. 1 ? 4 Edwin L. Sabin KATY DID mf con tenerezza RECITATION WITH MUSIC WALTER HOWE JONES Musical recitations are proving very popular nowadays. This one would make a good encore number. It may be pluyed also as an instrumental piece. Grade 3. I was strolling thro’ thegloam, I glimpseda maid-en ' fan; ‘‘Oh mis 'ress.may I see you home? You starswerepeeping ’midstthe blue,But none savethemde-scried.Just broad e-noughthe path for two, If cheekwith blushes woo’d me oft, As slow - ly on we paced; Her mouthwas like cher- ry soft. # fcon passione m "• ^-ti—y- need protecting 'care.’ She dropp’d her eyes in sweet de-mur;Said she, We’ve never in’t al-low it, gal-lant sir. Andyet, anriyrt.and yet, Katy close-ly side-by-side. My arm in half, a cir - cle lay Her waist with-in its .. she: “I nev-erwalkthatwav,Andthen,andthen,andthr.n.K*ty vit-ingoneto taste. I deft - ly stoop’d.Shecried,“Alack! All kiss-ingprayfore - j she:“I must notkissyouback;But oh, but oh, but oh, Katy calmato JPpuna corda ». : t| ;?b; _ygf 1 « i t] ■T T r* 7trv . r did! Katy did, did, Katy said she couldnt, Katy said she couldnt, Katy said she couldn't, but she did,did,did.2.The did! Katy did did Katy said she didn’t, Katy said she didn’t, Katy said she didn’t, but she did,did,did.3.Her • did! Katy did, did, Katy said she wouldn’t,Katy said shewouldrit,Katy said she wouldn’t but she I I ^ I , Copyright 1918 by Theo.Presser Co. i^’ ijW’i ,m ’ Copyrightm 1919 by Theo Presser Co. British Copyright securer British Copyright secured THE ETUDE P*ge 506 AUGUST FROM FRAGMENT VIOLIN SONATA^ TJTE ETUDE AUGUST 1919 E'ge 507 IN ii seems almost like an original piano piece'. Graded This transcription from a famous vviolin and piano sonata is so beautifully ma_ MANDOLINATA Adagio cantabile PARAPHRASE C.SAINT SAENS This melody,injEolk-songj3tyle,js by^Paladilhe, himself a distinguished French composer, born 1844. This is one of the finest of <11 concert pieces in whichAhe mandolin imitations are introduced. Grade 8 Allegro .m.m. J=iOO _ „ * ■ ... H .I ?-—5—,»?. • i • * * . ! hr^if A ^.«> k. uJ" f rUi rif-j f-ulrilf Tfttrrijr -1 A -,-J h .-r-ir-j-t—r-\- —- __r-fc. « rJWc i _|!l r3' it w .—— •rlrt ,^r; 1? hfll:1 11 fffir Dfm. £f— Copyright 1919 by Theo. Presser Co. Copyright 1910 by Theo.Presser Co. THE ETUDE AUGUST 1919 Pap* 511 the etude Page 510 AUGUST 1919 Gladys Lacy SOME DAY I SHALL HEAR YOU CALLING The latest song by the popular writer of Somewhere a Voice is Calling and Dreaming of Love and You. A companion song to both of HUMORESQUE ye ^ the rjppling character of the violin part. Humoresque as applied to this piece refers to a certain cheerfulness and ' . . . ARTHUR F TATE Oradi GEO. NOYES ROCKWELL Faint-ly come steal-ing from o - ver the sea; Fac - es long vanished and voic-es now stiff, Voic - es i lov’d and so Longs for your voice and your smile as of yore, Then I re-mem-ber your message so sweet, Joy fills my heart love shall dear once to me. Some-day I shall hear you call-ing As in days of yore. Some - day I shall live ev- er-more. -m- 1^—^ i — Copyright 1919 by Theo. Presser Co. International Copyright secured Copyright 1919 by Theo Presser Co. British Copyright s*^r THE ETtfbti THE ETUDE AUGUST 1919 Pngt 513 Pag, 5i2 AUGUST im HAT TP DAY ADAM GEIBEl U1N -LLi -L/XV. . heart. To be sung in declamatory style, r into which the writer of the words and mu8*c has thrown his whole he . . ^ , _ „ British Copyright secured ^ From the French of OCTAVE CREMAZIE the" flag of carillon ch w sabat1er by DAVID BISPHAM CH. W. SABA1 ltK A real singer’s song, with a splendid sweeping refrain. Edited by DAVID BISPHAM ) Broadly home in this new coun - try Ne’er shalt thou be As on that glo-ripus day, When on thy walls ty } dear-est hopes re - viv - ing Nour - ish for hearth and home my fond-est love. Toward this new land TEE ETUDE AUGUST 1919 Page 515 THE JTUhi The Piano vs. Instruments of Small Repertoire From time to time we have inquiries poser has written for it, and even many, from some who are considering the tak¬ works not originally written for piano, ing up of one of the less familiar instru¬ have been transcribed for it with such ments, such as the zither, the chromatic skill and genius as to be idiomatic for, harp, the flageolet, or what not. Or again, the instrument. Take Liszt's transcrip¬ those who have become enamored of the tion of some of Schubert’s songs; Schu¬ charms of the banjo, the guitar, the man¬ mann’s transcription of Pagannini’s violin dolin or the ukelele, and wish advice as to commencing the study of one or other Caprices, and others. of these now quite well-known smaller The repertoire of the violin, violoncello instruments. and viola is (as solo instruments) much It is more or less embarassing to be smaller than that of the piano, but this asked to give advice of this kind, be¬ is counterbalanced by the wonderfully" cause good advice is like a good glove- rich field these instruments find in or¬ designed to fit one particular hand, not chestral music, as well as quartets, trios, hands in general. It is a safe axiom that etc. The same statement might be made, everyone knows his own business best, with even more force, with regard to the and no one, however intelligent or sym¬ flute, oboe, clarinet, etc. Again, certain pathetic, can fully understand the tastes or the plans of another. other instruments, as the tympani, and' the double bass, have practically no solo However, we are convinced that the The most beautiful reason advice is sought, is that people not repertoire whatever, yet are worthy and in the musical profession are generally necessary members of the orchestra or possession tvilh which quite at sea in regard to the musical band and take an important part in the the home is adorned standing of an instrument—the character performance of the world’s great music. of the music which is available for it, When we come to the mandolin, banjo, THE mechanism in the Kranich the estimation in which it is held by etc., however, we find them in much the & Bach Player Grand Piano composers in particular and musicians in position of the less-known languages— general. To them, a musical instrument they have a vital significance to those is not of the usual clumsy kind to mar its graceful lines. is a musical instrument—their ideas on people to whom they are the natural It produces all the loveliness of tone possible to hand the subject are as cloudy as those of the medium of expression, but they have no .playing and even a child can play it entertainingly. new recruit who asked which ranked the great treasury of wonderful compositions higher, a “quartermaster general” or a by the great composers of yesterday and These are the motives that impel the selection of the plain “general.” to-day. To be sure, Mozart used the mandolin in one number of Don Juan. The Literature of a Language M^nich^rach A certain expert banjo player of some j^^^a^r^nrWPlANO ' Possibly we can make what we are twenty years ago used to play his own about to say clearer by a little comparison transcription of the Mendelssohn Violin famous throughout the world in actual musical quality. with the subject of languages. There Concerto in a way to command serious are over two hundred different languages attention, etc., etc., but one swallow does KRANICH & BACH spoken on the face of the earth. A little Convenier Catalogue not make a summer. Terms of 235 East 23rd Street book in the present writer’s possession Payment. Harlem: J6 West I25th St. Request. gives sample verses from 164 different The Place of the Informal Instrument translations of the Bible printed and cir¬ NEW YORK CITY culated by the Bible Society, and this list The entire repertoire of all these in¬ has largely been added to since the date struments consists practically of these of this catalogue. But most of these three things: languages have little or no literature of 1. Old folk songs and dances. their own; in some cases, a translation 2. Modern popular music of a very low of the Bible or of part of it, represents type, or at best commonplace and with¬ HARMONY STUDY MADE ENJOYABLE nearly the only thing available for read¬ out distinctive character. ing; and again, in some of these same 3. Arrangements of familiar selections A knowledge of the elements of Harmony is, of course, of para¬ cases, the language itself is such a poor from the classics, pruned and abbreviated mount importance to all who desire to compose, and this knowl¬ and faulty medium of expression, that to suit the limited scope of the instru- edge can in many instances be obtained at the expense of a the translators have been put to some little regular, persistent effort without a teacher(natu rally, bet¬ straits to render the meaning faithfully. The first is wholly commendable, but ter with a teacher) by means of the very successful new work No one in his right mind would ever limited;'the second, self-condemned by its dream of studying Lap, Maltese, Mala¬ gasy or Maori, unless he had some strong description; of the third, we would sim¬ practical reason for needing to communi¬ ply say that these pieces are all much Harmony Book for Beginners cate directly, constantly and personally more effective in their original form. with the inhabitants of Lapland, Malta, But just as one may wish to acquire By PRESTON WARE OREM Price Postpaid $1.00 Madagascar or New Zealand, as the case even some language that has no litera¬ might be. The great literature of the ture, for the sake of hob-nobbing with Many foremost musicians and teachers have endorsed this world is concentrated into some half- the natives, so one may wish to take up book most enthusiastically, but best of all, hundreds of dozen languages. One' does not study the banjo, guitar or the like, for the sake students report great success with it. French, for instance, merely to talk with of playing in a club, or for use on a Frenchmen, but so as to read Balzac, boat, in a tent, on a journey or elsewhere Read These Testimonials: Victor Hugo, Moliere, Verlain, Maeter¬ when a more cumbersome instrument John Philip Sousa, Famous Composer and Conductor linck, etc. would be out of the question. The system adopted in your Harmony Book is admirably adapted (or the itudcnt *ho requires an instruction bt>ok that is “as plain as a pike." 'I he text it to lucid that The Repertoire of a Musical Instrument All these things are worth considering; “he who runs may read”—a decided virtue in any text book. Now for the application. The piano but as regards genuine musical culture— has the richest “literature” of any in¬ “if one wants to do business, he must go Charles Wakefield Cadman, Successful American Composer, and Specialist in Indian Music strument. Practically every great com¬ where business is.” Published by The Pleasure of Memorizing THEODORE PRESSER COMPANY, PHILADELPHIA, PA. By Ben Venuto Cicero tells us “Memory is the treas¬ the benefit does not stop there. A really ury and guardian of all things.” To have musical person often takes great pleasure J\tP HairPins memorized a number of really noble and in recalling a melody to the mind, when beautiful pieces of music, is to have not at the instrument at all, just as a added immensely to one’s inward wealth religious person might meditate on a and to have enriched one’s personality. verse of Scripture while engaged in Keep the Hair in Place f To have a good repertoire at one’s finger- every-day occupations. fferenl Size-Stand KX Packages Evtryvkert ends for use in public or in the social Be careful to fill your musical memory UMP HAIR PIN MFC. CO.' circle is a desirable object in itself, but with what is worth while, not with trash. Please mention THE ETUDE when addressing our advertisers. THE ETUDE THE ETUDE AUGUST 1919 Page 517 Page 616 AUGUST 1919 bility is that it was planned for Guiseppe voice which “for volume, compass, and Boschi, the most celebrated basso of the quality was one of the most majestic ever eighteenth century, who is said to have heard.” Myron Whitney (1836-1910), the sung afterwards the part of Polyphemus celebrated American basso, had a com¬ in Handel’s later cantata, Acis and Gala- pass extending one degree lower than tea, produced at Canons, near London, in that of Formes. 1721, and who created the bass parts in As a great deal of notice—a large por¬ Department for Voice and Vocal Teachers many of Handel’s earlier operas. Half tion of which is quite unmerited—is be¬ a century later we hear of Ludwig Fis¬ ing bestowed upon the eccentric and Edited by Experts in Vocal Culture cher (1745-1825), who is described by somewhat ineffective Russian church Otto Jahn, the biographer of Mozart, as music of recent date, it may be well to VoiceSr— SHAKESPEARE “an artist of extraordinary gift for com¬ state here that the Russian Church vocal “Thank You for Your Most Sweet pass, power, and beauty of voice, and contrabassi descend to GGG, a third lower artistic perfection both in singing and than that of the compass last mentioned,but playing, probably the greatest German ■ these remarkable voices have a singularly bass singer of his age.” Fischer was a limited range. In 1843, three generations personal friend of Mozart, who often of Russian Jews performed in London, Vocal Compass: Extensive and Extraordinary spoke of his “splendid voice”; and it the grandfather of the party being able was for this singer that Mozart wrote the to “go one better” than the compass An Ideal part of Osmin in his Entfuhrung aus dem By Dr. Orlando A. Mansfield, F.R.C.O., F.A.G.O., etc., etc. above named, he descending to AAA, on Medium-Size Grand Recent Serail. Fischer’s compass was 2% oc¬ the third ledger line below the bass staff, extended to F on the 5th line of the taves, from DD below the bass staff to A But much of the charm of these voices That vocal compass is a matter more solo, The Pangs of Hell. Aloysia en- ion subsequent treble staff, e. g., in Bellini’s I Puritani; Pipe Organ Pieces in the second space in the treble, and it is lost when away from their proper en¬ or le;s contingent upon physical and tech- joyed a sweep of from B1 below the^rrt he . “the Swedish mghtm- and for his voice Donizetti wrote toD flat has been described as “well-rounded, vironment—a large and lofty church or nical development, is a fact of which ledger line below the treble staff to A times. ^ ^ equaled by many in Don Sebastian, and Bellini and Rossini by Popular Writers even, and in tune.” other ecclesiastical building, sparsely fur¬ every well-informed teacher and student above the fourth ledger line S possibly, surpassed by a few. to D natural in La Sonnambula and ZeU 16274—SABIN, WALLACE A. Bouree in D More than half a century later comes nished, and stone-built, with vaulted roof. nttra respectively. Rubini will be remem¬ (In the Old Style) Price .60 Carl Stronmever (17.70-1845), of Gotha Then, when all is said, the fact remains of the art of singing is perfectly aware, ^^dginl ftomtntSora^ "deed 5,/might have been rivaled by A fine concert piece from the Amer¬ and Weimar. He possessed a range one bered as the teacher of Mario, and the ican Series, edited byE.H.Lemare. that the great singers of history have la the case of ordinary vocalists or records> she thoroughly deserved the par- the sub-hui^n creatures, for in first to make use of the vocal vibrato. degree less high than that of Fischer, and 16292—COLBY, FRANK H. Old Dance Price .60 retained their place as such, by virtue of chorus singers, the compass of the voice which Mozart exhibited towards number of The Etude we were Amongst baritones, the pride of place is honored by being mentioned in Spohr’s is more or less limited, seldom exceeding J** 'Sthble German so- that Tamaki Miura, the Japanese soprano, their quality rather than by the compass for compass must be given to Antonio iimai^rnew^erSf ^ TOm Autobiography. Another celebrated Ger¬ possessed a parrot whom she had taught of their vocal organs. An abnormal This beautiful instrument seems the interval of a 10th or of a 12tli. But. Q was Gertrud Elisabeth Mara (1749- Tamburini (1800-1876), who had a work¬ 15422-PEASE, SIBLEY G. Swing Song Price .30 man basso was Carl Formes (1810-1889), sing scales and arpeggios ascending to vocal compass may startle; it can, and as nearly perfect as skill, experi¬ with exceptional physical gifts, and with lg33)> with a compass from G below the ing compass of two octaves but, by the A pretty, soft voluntary, with effec- who visited London and died in America. intensive vocal training, many profes- trebjJ,’ staff tQ E on the 3d ledger line theme very G which we have already notnote always will excite temporary interest; but employment of falsetto, he could even His compass was from CC to F in the ence, and manufacturing facili¬ sional vocalists have widely exceeded this afeove the same> We ougbt to mention as-»«“*| marking the upward limits of Jennylenny 15396—PEASE, SIBLEY G. Solace Price .40 of vocal quality combined with style it take a soprano part. And if that cele¬ first space in the treble staff, the compass ties can make it. compass, while others have actually dou- here Richard Wagner’s sister-in-law, Lind’s remarkable voice. brated Frenchman, Jean Baptiste Faure of the modern organ pedal-board. And may well be said (with all due apologies bled it. and a very few have soared to E,sie Gollmann. wife 0f his. brother Al- Its tone is purely that of the (1830-1914), had no phenomenal com¬ 15859—LACEY, FREDERICK Lamenta¬ as these letters formed his initials he in¬ to Shakespeare for our adaptation) that even greater heights or descended to con- b who possessed a compass two de- The Male Alto tion and Consolation Price .50 pass, his upper F sharp, “marvelously troduced them into his crest. A man of “Age cannot wither, nor custom stale Concert Grand, having great viderably lower depths. Two octaves, s beyond 3 octaves, and sang the Concerning the male alto lice, now prepossessing appearance, he possessed a Its infinite variety.” power and sympathetic qualities. however, may be considered an excellent parts of Rossini>s Tancredi and Mozart’s England, facile and mellow,” has become almost almost exclusively cultivated 15496—STULTS, R.M. Processional March Price 50 working range for almost any soloist; a Queen 0f Might with equal effect. Re- eagerly historical. where the best specimens Basso Profundos Brilliant and vigorous,easy toplay.. Dealers in Principal Cities few vocalists have a practical compass ,urni to the Itajian soprani we have secured for the Cathedral choirs 15944—GALBRAITH, J. LAMONT An¬ Echoes from the Past of 2!, or 3 octaves ; but any really useful Angelica Catalani (1779-1849), the bra- music for which, at least down to u*c In range the bass and basso profundo dante Pastorale Price 50 Graceful and pleasing, displaying extension beyond these limits is quite yura soprano_ wh0_ frequently. . ascended end of the eighteenth century, the alto voices rival in some cases the compass solo stops. Emerson Piano Co. phenomenal and, as we shall see pres¬ By D. A. Clippinger - pres‘ to G »« altissimo; also Giuditta Pasta vojce plays a most important part, espe¬ of the sopranos and tenors, which is the 16103—GALBRAITH, J. LAMONT An ently, a rare event in musical history. (1798-1865), for whom Bellini wrote La cially solos and verse passages,—v more surprising when we remember the Evening Melody Price .40 Mass. A few years ago a claim for the great- A quiet nocturne, with broad and Tpsi (1647-1727) seems to have been a sisted of five commas and the minor Boston ------, , . Sonnambula and Norma, and Donizetti note that in the church music heavier organisms in the former cases. flowing melodies. ^vocal^ compass recorded^was made by his Anm Boiena_ pasta’s voice ranged voice teacher with a conscience. When semitone consisted of four commas. This of the Elizabethan age the parts for this The first bass to have a compass of his¬ 16361—SIDDALL, LOUISE At Even Price .60 __ Olive Harcourt," ‘ an Englishu- i..u vocal¬- jrom A below the treble staff to C and E trying the voice of a prospective pupil he meant singing five-ninths of a whole step voice occasionally descended to E in the torical importancce was the Rev. John admonishes the teacher as follows: “But or four-ninths, as the case might be. I ist, who stated in the columns of the _.i the second and third ledger lines TINDALF. MUSIC CABINETS 4th space in the bass clef, while Gs and Gostling (1650-1733), a gentleman of the above all let him hear with a disinter¬ fancy modern ears would find this some¬ Musical Times that she possessed a above it, although this upward compass Just what you Fs contiguous thereto were fairly com¬ Chapel Royal, London. England, a sub¬ ested ear whether the person desirous to what puzzling, but they thought nothing ranging from C sharp in the second has been exceeded by Madame Patti, who We will be pleased to send any of the above mon. This low compass is probably due dean of St. Paul's Cathedral, and the learn hath a voice and a disposition; that of it then and insisted that singers be space of the bass staff to the highest C ^ e time| could reach F, three degrees numbers for examination have been wanting to the fact that the ecclesiastical pitch of most famous singer of his time. His he may not be obliged to give a strict able to do it. on the seven-octave pianoforte, and occa- bigber that period was at least a tone higher Will keep your music voice extended easily down to CC, on the THEO. PRESSER CO. account to God of the parents’ money ill Tosi rebukes those ancient and modern sionally one or two semitones higher ' T InH.c Fin, Ran0£. than the modern standard. As a rule the in order, free from still. Another English musical paper J y & second ledger line below the bass staff; spent, and the injury done to the child teachers who believe in always singing male alto can .attain to C and D.in the 1712 Chestnut Street damage and where you claims the highest sound produced by a But all these great artists were eclipsed and in his anthem. They who go dow by the irreparable loss of time which with full voice. In one of his rules for upper part of the treble staff. The writer PHILADELPHIA, PA. soprano voice for a Miss Ellen Beach by Jenny Lind, Madame Goldschmidt to the sea in ships, the immortal Henry might have been more profitably em¬ practice he says: “Let him take care, can easily find it. Var¬ remembers hearing, during the progress Yaw. who sung E, two octaves above E (1820-1887), “the Swedish nightingale,” Purcell wrote for him down to EE and ployed in some other profession.” “The however, that the higher the notes, the ious sizes, holding 200 incidental music given at a in the fourth space of the treble clef. as she was so often called. In her case , ,, v , o-. DD. Gostling, who afterwards partici¬ master must want humanity if he advises more it is necessary to touch them with to 1200 pieces or more. Both these statements appear to have the available compass was from B below ingjie was once_addressing in the Bir pated in the coronation ceremonies oi A Grand Home Song a scholar to do anything to the prejudice softness to avoid screaming.” Oak or Mahogany. been fairly well authenticated. Other- the treble staff to G on the 4th ledger minghamIS Town Hall, England, a male alto James II and of William and Mary, was IN THE HUSH OF THE of the soul.” On the subject of attack lie says: “Let Send far Catabg I wire we should have to conclude that the line above—2 octaves and a 6th. The of exceptional merit successfully negoti¬ a prime favorite at the court of Charles Tosi insisted that the vocal student him teach the scholar to hit the intona¬ TINDALE CABINET CO . 6 But 34* S*.. Nw Ywt country for “tall tales" is England rather most remarkable tone in the head regis- ate several contralto songs reaching two II of more or less infamous memory. TWILIGHT HOUR should be a good sight-reader before he tion of any interval in the scale perfectly than America! ter of the great songstress was F sharp on or three semitones higher than the limits Indeed Purcell’s anthem just mentioned went to a master of singing. He should Words and Music by ADAM GEIBEL and readily keep him strictly to this Descending from these dizzy and doubt- the 5th line of the treble staff. This was last mentioned. was especially written to commemorate have a “fund of knowledge sufficient to Amongst female contraltos we ought Price, 40 cents important lesson, if he is desirous he D. A. CLIPPINGER ful heights to the more prosaic regions the “clarion F sharp” which possessed Gostling’s deliverance from a storm which perform readily any of the most difficult , author ok not to forget Mrs. Billington (1768-1818), should sing with readiness in a short of recognized musical history, we can- such an irresistible charm for Mendel- overtook him while on a sail in Charles compositions.” The Head Voice & Other Problems, Prke SUM) not imagine ourselves or anyone else ssohn, and for which he wrote so re¬ the great English operatic contralto, with IPs yacht. And so partial was Charles to In the matter of ear-training his de¬ writing a paper on vocal compass without markably in his Hear Ye, Israel, and I am a compass of 3 octaves, from A below Gostling's voice that he once said, “You mands would be rather severe on modern These and many other equally interest¬ Systematic Voice Training making some mention of the celebrated He Tha Schomacker Piano Co. Philadelphia, Pa. fhza rpturn nf vniitVi. there is a p-had replaced his locks and resumed MUSICAL AMERICA usely Illustrated Price; for One Year: ^First ^ Grade Teaching Pieces Tte MUSIC TRADES ItTHEODORE 2S&i£SteTT$1SS PRESSER COMPANY, PHILADELPHIA. PA I^SJSSSV^ s S2SKW&5KSS 3 IM w,.K„.,lo, w-gogo* with the hirsute property guise. P- fore. Looking his opponent up and down The Best Singers in America PARKER’S- realized the situation in a flash, and for a second, he gasped out, Les, sir; IAIR BALSAM swiftly reclaimed his wig from the fast d-n you, sir!’ and ran. MOONDAWN,'by Frank H. Grey TSs Sir Frederick Bridge’s Blind Critic Sue Harvard, Sophie Braslau, Amparito Farrar. Olive Kline. Edna de Lima, Marie Rappold, Barbara Maurel. Martha Atwood. Florence Macbeth. Your Music Is Torn! Madame Schumann-Heink, May Peterson. Vera Curtis. Merle Alcock, Yvonne de Treville, Clara Edmunds Hemingway. Paul Althouse. Arthur ‘The Middelton, Reinald Werrenrath, John Barnes Wells and many other artist. " ''Tng Tape Piano 6 Orjjsn Purchaser’s Guide For 1919 Z^viskl Brothers MUSIC PRINTERS anB ENGRAVERS THE ETUDE THE ETUDE AUGUST 1919 Page 521 Page 520 AUGUST 1919 duty to read, while he plays, every word The “fermata” (pause, or hold) is a Of the lines his orgafi accompanies, So as criminal nuisance and an inveterate to be exact in his own phrasing, and re¬ enemy of congregational singing. For 1919 sponsive in his accompaniment. Many example, consider the ragged edges of hymns will offer no climax at all; which “He leadeth me,” Or of “St. Ann’s,” or is very delightful, for the effect of a cli¬ of any other hymn when it is mutilated max comes not from the climax itself, by frequent “fermata” signs; and imme¬ receiving contracts ETUDE but from its absence for a considerable diately we hive warrant enough for dis¬ for very large memo¬ length of time. regarding them entirely in ninety-nine Department for Organists The pedal can be omitted occasionally per cent, of their appearances, and for rial organs for Pueblo, PRIZE for a phrase, or perhaps a line or two; holding them out in absolutely strict mea¬ Col., and Melrose Mass., the strings can predominate occasionally., sured rhythm in all others. One of the the Austin Company is and then the flutes, or the 2' and 4' reg¬ real effective things an organist Can do is Practical Articles from Organists of Wide Experience given another proof of CONTEST isters, or possibly the reeds, though they to tide a congregation safely over these are very poor mixers with voices; all of thread-bare, clap-trap places with a its pre-eminence in the which changes must find full warrant in strong, steady rhythm that seems to gain ‘ The eloquent organ waits for the master to wak FOR organ world. These con¬ a change of sentiment in the poem itself. tremendous swing and impetus entirely tracts came after ex¬ PIANOFORTE Florid additions to the written notes are by the disregard of these empty-shelled very rarely effective, not because they are nuisances. haustive investigation of “ To You of the Chorus Choir ” COMPOSITIONS not heard, but that they are felt too A medium-length standard interval of the field. plainly. A whole-hearted enthusiasm for time between verses will soon become By Sibley G. Pease good congregational responsiveness is the felt, and enable a congregation to pre¬ *700.00 best inspiration any organist can have for pare for each succeeding verse with some those recollections. And, 1 m not a nun- Well, there are numerous rewards for an otherwise dull and uninviting task. measure of assurance that it will come (Austin Organ Co!j Dd you realize how important a place selves witn a nymn dook, a Duiieuu ui, dred years old yet, but that’s what I when they expect it, and not, like trials your service well worth these sacrifices Unison Singing ^Woodlan^t^^^^^hirtford^ConJ y6u have in the Church by your member¬ perchance, a real fan, is no signal for know to be true. WE TAKE pleasure in mak¬ and tribulations, at every other time. and your thoughtfulness. First, your di ing the following offer in¬ ship in the Choir? Any church will be you to do the same. In the first place, it is The influence of the Church and the The men of the average congregation An indefatigable, never-say-die “amen” useless. You won’t feel one degree rector appreciates you, because what can good music you have learned to love stituting our new Etude believe heartily in the theory of letting l more effective church with you than a director do if he didn’t have you to is an abomination unto mankind. Why cooler, and you waste a lot of energy that will always be with you. Prize Contest, being convinced of the women do the work; but it is not it could be without you. direct? Then there is the appreciation the real value of a contest of this say “amen” every time we say anything might better be spent in singing. It looks Just a word to the “paid” singer who their innate laziness or indifference that Robert Schumann said: "If all would from the church and your own knowledge nature in arousing a wider interest real good? Cultivate the habit of talking bad and distracts your attention and that is out of a position. Don’t be so “stuck is to blame, iot they are all naturally less, and speaking only the truth, and the Guilmant play first violin, we could get no or¬ that you are doing something worth while. in composition and of stimulating of others. Another thing: don’t whisper up” that you think you would be lower¬ proud of their voices, and would delight chestra. Respect each musician, there¬ Under a competent director you can re¬ the efforts of composers. In this “amen” is superfluous. What is more during the service. If you do, then the ing yourself professionally to join a contest all are welcome without re¬ to display them in singing. What sounds fore. in his place.” If every singer who ceive much valuable instruction and ac¬ dreary and doleful on a rainy Sunday one next to you is going to talk, too (he chorus. You started out in a chorus strictions of any kind and we can more exhilarating than a large congrega¬ has some little talent thought he or she quaintance with good music. You are than to hear a congregation of half¬ Organ School was good enough to command a salaried can’t resist, either) ; then there are two quite likely. Join a good chorus until you assure the contestants of a respect¬ tion of singing men ? Rather is their fail¬ hearted people and half-empty pews associating three or more times a week ful hearing and an absolutely im¬ DR. WILLIAM C. CARL, Director people talking. Remember the organist get another position. It won’t hurt you. ure our fault for expecting them to sing, (mostly the latter) droll out a pathetic, position in a quartette, where in the with others who are there with the same partial final judgment. is your friend in time of trouble. He has Your voice will get rusty if you don’t either a high E or F which they cannot 100 Graduate* Holding Position* world would we get a chorus to back up panic-stricken, apologetic “amen” after Six Free Scholarships helped you out of trouble many a time. spirit and who are congenial. ' take, a bass of tenor part which they the quartette? Most operas have the Read James Whitcomb Riley’s The keep it working. A piece of machinery Seven Hundred Dollars each hymn! Please do not acquaint us When you are not singing and he is that’s been out of commission for a cannot read, or an improvised mixture of soloists supported by a chorus, and I Bovs of the Old Glee Club. There you will be divided among the successful with anything worse, for we, as yet, do Fall Term October 7th playing be courteous enough to be still every note Under the sun, which they believe that most o>f the best choral com- will find his value on friendships that while takes a lot of greasing to get back composers in the following manner: not know such incarnation of wicked-- CATALOG READY and listen. Talking bothers him and he feel (also look) about as comfortable positons can have a better and more im¬ are made in such an organization, and into shape. But seriously, you had bet¬ ness;—and we know enough as it is. will appreciate your attention. CLASS 1. Concert over as the lobster does over the fry-pan. New Address : 17 EAST Elevanlh St. pressive rendition when given by a how .the characteristics of each one ter join a good chorus where you can NEW YORK Your director not only , wants you to For the thru best Concert pieces for The conclusion is that every hymn-set¬ Conclusion chorus. lingered in his memory through all the keep in touch with music in the churches, The choir occupies a more important learn the music but the words, too. Learn piano solo ting must be transposed so as to make D Why the minister should monopolize where you can keep your voice in trim, FIRST PRIZE .... $100.00 position in the church than any other them I Robert Burdette has said: years. the joy (?) of hymn selecting is beyond Over my desk there hangs a group pic¬ where you will be before the public more SECOND PRIZE . . . 75.00 or Eb the upward limit of the melody, and organization within the church. It means then have the choir, if it be anything less our feeble comprehension. Hymns are "Yet though I’m filled with music ture of forty-seven men and boys of the than you would by sitting around home THIRD PRIZE .... 60.00 much personal sacrifice to be a good than a forty or fifty voice organization, selected by him for their words,—and As choirs of summer birds, Choir of Trinity Episcopal Church in or walking all over looking for a “job.” chorus member, and unless you can and CLASS 2. sing entirely in unison at all times. Uni¬ 7 cannot sing the old songs’— Toledo, Ohio. This was taken in 1901. It’s quite probable that you might be Parlor then promptly and gleefully, almost tor- will do this for your church, through the For the best three Drawing Room pieces son leading, medium compass, inviting I do not know the words." The late Charles H. Thompson was learning something more that will be mentingly, sung by the choir and congre¬ choir, you had better not join the choir for piano solo rhythm, supporting (but not overpower¬ choirmaster, and every one of us boys of help to you when you get your next FIRST PRIZE .... $75.00 gation for their music! Would it not be at all You must be regular in your at¬ I’ve heard one director say many a ing) organ accompaniment, and attract¬ loved him. Yes, we hoys look quite dif¬ position. Yes, you've taken money from SECOND PRIZE ... 50.00 well, then, to select them from the same tendance at services and rehearsals, be time. ‘‘Sing English”; yes. certainly as ferent now, but what memories that pic¬ the churches—now give some of your THIRD PRIZE .... 40.00 ive, sturdy hymn settings will very soon viewpoint by which they are to be sung, there promptly, give close attention to long as we are living in America. Your induce the congregation to sing. ture revives. Out here in Los Angeles efforts. Those in the chorus are doing not read? As long as a minister knows your director, and do nothing during music must come first in your thoughts— CLASS 3. Dance it. It won’t hurt you in any way. Think not his own place, or is not able to fill it service to make yourself disagreeably not yourself—for remember, "Sweetest once in a while, too seldom though, I For the four best piano pieces in Attack and Rhythm conspicuous. A little thoughtless act can the strain when in the song the singer see one of the old boys, and we have a Dance Form, such as Waltz, March, It is necessary neither to begin each (which is usually the case with the med¬ Here’s something more cheerful. Out mar the effect of a composition or spoil has been lost.’’ (Elizabeth Stuart Phelps.) dandy time talking over old choir days. Mazurka, Polka, verse with an upward look-out-I’m-com- dlesome kind), just so long will bad sing¬ of a chorus of about twenty-five mem¬ $50.00 some fine place in another part of th* A choir of just ordinary voiced singers “Now, what’s become of Paul?” and FIRST PRIZE ing roll, nor a high anticipated here-I- ing continue, and good singing remain bers that I had eight years ago. in one 40.00 —just plain folks—can take just a fair “What’s Roscoe doing now?” SECOND PRIZE . am-take-me soprano note, in order to in¬ at home on Sundays. We would not ar¬ NO TEACHER service. year’s time nine of us got married. THIRD PRIZE . 35.00 While in the choir-loft be composed, composition and, by careful, attentive re¬ What’s my point? This is it: The sure attack; but rather with a straight, gue for the exclusion of the “dear old Some found their wives and husbands FOURTH PRIZE . 25.00 calm, dignified and act as though you hearsals, watching the little details and choir is like a big family. You in the firm chord Stroke lead right off into the hymns,” nor for the adoption of many enjoyed your part in the service and yet with good behavior during service can chorus are making your history now. right in the choir. Why isn’t that a CLASS 4. Elementary hymn-rhythm without introduction and of the modem kiln-dried tunes that drop realized your responsibility. Don’t fan “put over” a finished rendition far more You are forming associations and friend¬ pretty good reason for some eligible ones For the four best easy grade teaching without break. One of the strangest into our hymnals from the bleak and yourself during service. Just because effective than a lot of noisy, cock-sure ships that you will carry all through life, to join a chorus? You see there is more piece in any style for the piano things about church music is the fashion bare skies; a little homely melody is not Moller Pipe Organs some of the congregation whack at them¬ professionals. and later you wouldn’t take the world for than one bright side to a choir. FIRST PRIZE ... $50.00 a half-bad thing for a hymn tune, nor Twenty-five Hundred in me. The higher! grade SECOND PRIZE . . . 40.00 in which this old bit of folly holds so te¬ naciously to the hymn attacks; we have is tunefulness always to be condemned,— inetrumente. Gold Medal! and Diplomat at Sia THIRD PRIZE .... 35.00 International Etpoaltlona. Satiilactrao mia’aneed FOURTH PRIZE . . . 25.00 never yet found one congregation any¬ no, not even in 1917. Catalog!, specification! and climates on request. Good singing, then, will come as soon Making the Hymns a Real Part of the Service where in the civilized world that secured M. P. MOLLER llajerslown, Maryland any the better beginning for it. A little as we prepare, not the congregations, but church visiting will prove this. ourselves and our ministers. By Godfrey Buhrman CONDITIONS Competitors must comply with the follow STUDY HARMONY ing conditions: and COMPOSITION The hymns are at once the most im¬ A proper music setting is one that not compass. The average man is perfectly florid embellishments, it defeats its own The contest will close October 1, 1919. portant and the most neglected portion of only fits the poem in accent and stress, at home up to D and £b; but unless the purpose. Generally speaking, the accom¬ The contest Is open to composers of The Organist in the Small Church tlonS* anthem’ "impel u u but also—which is vastly more important every nationality. an organist’s duties. We have never ac¬ singing be exceptionally vigorous and paniment should be on full swell, except¬ All entries must be addressed to “THE „.irrp,scn— quired ft new position without first play¬ —in sentiment and “atmosphere.” The responsive, an E or F is fatal, in our ing the most brilliant registers, whether ETUDE PR1ZECONTEST,1713 CHEST¬ By Norman H. Harney rssrcs ing some hymns for the Committee: and plaintive setting of “Lead kindly light” stiffened sit-and-stare Sunday Clubs! NUT STREET, PHILADELPHIA, PA„ ALFRED WOOLER. M«a. they happen to be the 2', the Mixture, or A m W. Uliea Si.. Bull tie, N. T we have never occupied a church position would no more match the strenuous char¬ Tempi, at one time, were entirely too the Cornopean, or all three together; with I 'We may find occasionally that a young people of his congregation, being unaccus¬ without receiving more comments on the acter of “Onward, Christian soldiers,” slow, and are so yet in many localities; full choir, all but imitative reeds; and “EOR THE ETUDE P organist, as a result of exceptional ability tomed to anything better than a rather hymns than on everything else put to¬ than Saul’s armor would fit David; but occasionally they are too fast. On the with the Great, up to and including the .4513333 combined with influence and good luck, low standard of church music, fail to ap¬ HiHlESj gether. we have in every hymnal many cases of average they are highly satisfactory, both 8' Diapasons and one 4' Flute; but ex¬ succeeds at the very beginning of his preciate his best efforts. He argues, that The chief essential is a proper music just such misfits. The organist’s first . for enthusiasm in singing and from clusive of the 16'. 2', mixtures, reeds, page of each manuscript submitted. Plano compositions only will be consic career in obtaining a position in a large, if they are satisfied with a class of music setting. No matter how trivial the words, duty is to evade these pitfalls; his sec¬ interpretative aspects. There is no par¬ and, as a rule, exclusive of the 4' Diap¬ ered in this competition. Do not sen ond is to provide a setting the melody of prominent and well-to-do church. The which can be produced with very little PF a proper setting may redeem them; no ticular piety in slowness,—at least not ason (“Principal”). Such an average songs, organ pieces, violin pieces or oi which shall never descend below middle chestral Works. great majority of aspirants, however, are preliminary study, why spend the time, |Keeps Skin Smooth, Firm, Fresh matter how sublime in thought, an inap¬ in this kind! Brisk, but not hur¬ organ leaves an abundance of reserve Involved Contrapuntal treatment of propriate setting will make a mockery of C (and rarely go that low), nor rise compelled to begin their professional work thought and energy necessary for the — Youthful Looking ried; meditative, but not funereal; and on which to draw as the climax is built themes and pedantic efforts should be them It thus far has been a physical above upper Eb. B’s and F’s have choked avoided. in one of the humbler, though by no proper lendering of something more ar¬ To dispel the tell-tale tinea ot very, very mildly rubato; but never un¬ up in succeeding verses and gives op¬ No restriction is placed upon the length and mental impossibility for one set of our congregations all out of voice; hymns means less important, positions. tistic? der any circumstances accompanied by a portunity for variety in intermediate of the composition. r;tts.r-■ i editors to succeed in wedding proper mu¬ are a silly waste of time if they are not No composition which has been pub¬ Unfortunately, it sometimes occurs that Part of the reward of a musical career miserable and exaggerated ritard on the verses. It is perfectly- safe to conclude lished shall be eligible for a prize. sic to every poem in the hymnal; tastes sung by the congregation. Compositions winning prizes to become a young organist, who believes his abili¬ comes in the form of appreciation, ex¬ last line of every last verse! Mediocrity that, no matter how small the organ or and ideals of men differ the world over. Transposition is an organist’s best as-, the property of THE ETUDE and to ties entitle him to a more prominent place, pressed or understood, and in the con¬ is ever accompanied by exaggeration; how large the auditorium, the full organ be published In the usual sheet form. It is. therefore, highly advisable for the set; for by it he can utilize many settings therefore, avoid it. permits himself through lack of enthusi¬ sciousness of having brought a certain should be much less than this full organ. organist to make sure of the point, by the that otherwise should be forever impos¬ The organ should support, lead, and en¬ The Etude, Philadelphia, Pa. asm for his position to fall into a per¬ amount of beauty and joy into the lives In building up climaxes, the only guide, substitution of fitting music when neces¬ sible. Few and far between are the hance the singing. If it drowns it out THEO. PRESSER CO., Publishers functory manner of discharging his du¬ of others. It becomes quite natural, and, in fact, the only warrant, is in the sary.. hymns that demand, or support, such a f of hearing, outshines it in brilliancy or ties. He believes (and in many cases per¬ therefore, for a musician to give his context of the poem; it is the organist’s audiences what he believes they will en- Please mention THE ETUDE when eddraatfar Please mention T haps is justified in the belief) that the THE ETUDE THE ETUDE AUGUST 1010 Page 023 Page 022 AUGUST 1010 SPECIAL! Great Offer to Teachers and Musicians Study Sherwood Piano Lessons and Harmony Under Rosenbecker and Protheroe Sherwood Normal Piano Lessons and University Extension Lectures On the Art of Teaching Music Enthusiastic Letters from ETUDE Readers Calling vs. Hiring Great Pianists on Pianoforte Playing By Jam, fan* Coofc. P,ta. $2.25 An incomparable work for summer home study Harmony Teaches You To s3v 115 ££us !t.HEERVo,NNE USSS0" 5S"!d! Ibr HP S «r music for bands and orchestras. the ones written are inconvenient to play. sSSSSr History of Music ‘Weak Finger Joints and How to Cure Them” its wsshks Violin Advanced Composition mmm r3F“ Obtain Records for Your Talk¬ ing Machine by Mail sssssss A Large and Exceptional Stock of Victor Record. I Innyprpdpntorl Q-!~1 0££ —• yourm^t^in, Mental Fatigue THEO. PRESSER CO., Talking Machine Dept., Philadelphia, Pa. Harmony, Anvanced Composition, Public School Music and cfcornl ondnetT.., Com mJ&fz 6 *■— °rt posi,i°* - - »' UNIVERSITY ^TENSION CONSERVATORY TEE ETUDE the etude AUGUST 1919 Pagr 525 Page 524 AUGUST 1919 A Concertmaster’s Duties Richard Czerwonky, one of the most works he studies—not necessarily master fm prominent violinists in the United States, them, but enough so he may get an idea who has had much experience as concert- of what is going on while he plays the I Free master of leading symphony orchestras, violin part; second, he should study by all Department for Violinists as well as a violin soloist and teacher, means, theory and harmony, etc., so he . has much of interest to say regarding WuRlTTZER' Trial may know the grammar of the language 600 ^ears of instrument mattingi Edited by ROBERT BRAINE these three branches of the profession, :-e is speaking. Although it is called the »— R. SCHUMANN in an interview in the New York Musical universal language, I always find it quite “/f All Would Play First Violin We Could Get No Orchestra Together: Courier. Of the duties of the concert- pitiful when I think of musicians who do Week master he says: not know their A B C’s; in other words, refuse such requests, although they take ™J??nwn^?mre choice of more than 2,000 instruments for a week's trial in “The concertmaster should be the right do not master the language they speak The choice of bow and violin, as re¬ The All-Conquering Steel E up much of his time. It is also to the at our expense. Trial does not cost you°apenny. this* big ofT«r * " U* * hand of the conductor. He should have a every day. The Right Size advantage of the teacher to have his gards size, should be left entirely to an String thorough knowledge of the orchestra as In the case of children and young experienced violin teacher. Age has pupils get through their public perform¬ “It is not always true that a great Convenient Monthly Payments Since the publication in a recent num¬ to score, reading, orchestration and con¬ violin students it is of the greatest im¬ nothing to do with it, since the length ances with as little string trouble as pos¬ teacher must be a great artist himself. ^ n^nufactureFs priceat therate ber of The Etude of an interview with portance to have the violin and bow of of arm differs so much in children at sible, and this, at least, the steel E string ducting and should be able at any time to There are many great artists that could Jacques Thibaud, the eminent French the right size. People buy suits, shoes, various ages. The aim in choosing the ensures. take the conductor’s place should the lat¬ not teach, principally perhaps because violinist, in which he stated that most hats, etc., of the ^proper size for their size of the violin and bow should be that The music dealer is foolish to fight ter be unable to appear for various rea¬ they are ljot interested enough in it and of the best-known concert violinists, in¬ Send the Coupon / children as a matter of course. They the young performer may be easily able the popularity of the steel E, because it sons. A concertmasfer should study the have their thoughts too much on their cluding himself, are using the steel E do not have them wearing things sev¬ to play in the same position, as regards will decrease his sale of gut and silk T scores of all the standard symphonies and now* Please state whSfiwtTOm^reSS°n couP°n s°ju* string, in preference to gut or silk, for concert work. I know of teachers who, eral sizes too large because they happen right and left arms, as that assumed by strings, for the reason that what he will at all times be familiar with everything 160-page bwk free ?nd pre their most important solo work, advices while their pupils play, look out of the to have them on hand, or have bought the adult performer with his full-sized lose in string trade will be more than that i,s to be played by the orchestra. In The Rudolph Wurlitzer Co. / ,, them cheap at a rummage sale. When from all over the country indicate an windows and study the life of the stree't; intrument. made up by the increased sale of violins, some orchestras he holds many rehears¬ Dipt. C230 / Aom'- it comes to the choice of a violin and enormous increase in popularity of the others memorize their concert pieces and East Fourth Street, Cincinnati, Ohio, f Addm There are thousands of young per¬ bows, cases and accessories, as a result als, so as to relieve the conductor from South Wabash Avenue, Chicago, Ill. / Ia„ bow, they often reason from an entirely steel E string. A prominent Western so on, but I should think such people formers struggling with violins and bows of the decreased string trouble. some of his work, for a great conductor different standpoint, either through ig¬ teacher writes to the Violin Department. ought not to teach. They should leave of the wrong size, and acquiring habits works very hard; particularly those who norance of the injury done to the pupil “I have constantly fought the wire E teaching to those who make a study of (bad habits) of position which will cling make the orchestra play and use it as an by using a wrong-sized instrument and string, but The Etude interview con¬ this kind of work and are really inter¬ LET US SEND YOU SOME OF OUR to them through life, simply to save a Selecting Wood for Violin instrumentalist uses his instrument. Take, bow. or because they do not feel like vinced me that I was wrong, so I am ested in it and obtain results. Take, for little money. I have frequently had The shape, design, construction and for instance,'a piano; this is l wonderful spending the money for an outfit of the switching to the use of the steel E, to¬ and Modern A Volume young pupils come for lessons, who had gradation of the violin, and the loca¬ instrument! Now, how to play on it. instance, great men like Joachim, Auer, VIOLINS correct size, when they already have one been playing for a certain length of gether with my entire class of fifty violin tion, size-and shape of the bass bar and Very few can get the soul out of it, and Sevcik. These are real pedagogues, AT NON-PROHIBITIVE PRICES which is too large or small for the time, and who, according to their parents, students,” of One sound post and other accessories of the although lots of persons play it. It is and they have proven it to the world. pupil. could not be induced to take any interest Other teachers have written in the VIOLINS^^^-,^ violin once settled, there is little doubt even truer with the orchestra; the con¬ We often see a tiny pupil struggling in the violin, and who were making no same strain. Music dealers declare that Turning Down the Kaiser their sale of steel E strings, and the that the tone of the instrument will de¬ ductor who draws the very soul from the Hun¬ with a full-sized violin, and a bow which progress whatever. In many of these pend principally on the vibratory quali¬ “Speaking of Joachim reminds me of pleasure to send them (or trial and inspection. is six inches or a foot too long for his attachment to the tail-piece, by which human instrument is the great man. cases it was found that the pupils had ties of the wood used in its construction. the violinist and the Kaiser. The Kaiser The world-renowned “Gemiinder arm. thereby acquiring faulty habits they are tuned, is increasing by leaps and Art” Violins $200.00 to $500.00 each. dred violins and bows of the wrong size, or Stradivarius, Guarnerius and the other Must Be a Leader asked Joachim to teach two of his sons which will cling to him through life. If the instruments were not in good play¬ bounds. Old family relica repaired and restored. great Cremona makers of violins seem to the violin. Joachim replied: ‘Your the violin is too large, the pupil will in¬ ing order. When violins and bows of The most trivial circumstances often “The above mentioned duties of the have had an uncanny, almost supernat¬ majesty, I fully appreciate the honor of and fallibly acquire a faulty position of the the proper size and in first-class playing lead to tremendous consequences. It is concertmaster are not all that are re¬ ural, intuition in selecting wood which 1 b it hand and fingers. In the case of a order were given them, the effect was certain that the general use of the steel quired. He must be, first, a very accom¬ teaching your sons but I am very sorry to would give forth tones of matchless Twenty-seven Pages child pupil the violin should be small magical. The pupil began to take greater E string will have a very great result plished violinist, if possible above the rest say that all my time is so taken up with beauty. The selection of the wood from enough so that he can hold the left elbow interest and to make real progress. Even on the future of violin playing. There of violinists in that organization. He is talented students that I find it impossible OF supplies of supreme excellence, to which HUGU5T GEMUNDER 8? 50N5 f. “HAVE I IMPROVED THIS YEAR?” (Idea sent in by Marjorie J. Techt, Who Knows? (Prize Winner) aged 13) Running on Schedule Time Bobby and the Metronome 1. What is a fife? This question is easy for me.to answer. 2. Who wrote the opera “Thais”? How many kinds of characters used in You know everything must be managed By Anna S. West “Evefy day that we spend without learn¬ 3. Of what nationality was d’Albert? musical notation can you find on this with regularity. Trains and boats must ing something is a day lost.” This say¬ 4. When was Weber born? ing of Beethoven has helped me very musical temperament? leave when they are scheduled to leave, ” faltered Bobby, “I suppose it is” 5. What is meant by “Da Capo" ? entertainments and meetings must take Poor little Bobby! What a dreadful Wes, that is strange,” said the much. place when they are scheduled t< ,ke thing it was to have to count aloud to Well no' 1 think it is great fun 6. What is a double flat ? I have improved in my scales, the ways “keep time” in his music. “I just cannot funny little 7. What is a grace note? of producing tones, my fingering, my read¬ Peace—Enormous Harvests— place, schools and music lessons must be aloud' myself. Now, if do it," he pouted, and he did not look a 8. What is meant by Legato ? ing notes more quickly, and the greatest arranged by the clock, and everything would count aloud until you get just the bit like the nice little boy he really was. 9. What is a cadence? of all, I Lave learned to put my mind upon must move according to a fixed plan. right time and understand what each note Returning Heroes "Why what is the matter, Bobby?” my playing instead of thinking of some¬ So please do not think that the counts you would be all right. Just hear 10. What is this * ? 3 the thing else. Sometimes I can hear the petitions exception to this rule asked big sister Nar me count aloud now,” and on he went, sounds of babbling brooks and birds sing¬ Will Bring a Rebirth, a Renaissance to All of order. shaking his long, funny finger at Bobby, [Answers to Last Month’s When the competition is announced to “Oh, I just cannot count this old piece, tick-tock, tick-tock, one, two, three, four. ing. Lines of Activity in America Next Season dose on the twentieth of the month, it that’s all,” answered Bobby. “I just bet Questions 1 have found out that success in a will close on the twentieth, and contri¬ you don’t have to count aloud as I do.’ 1. Bach and Handel both died blind. musical career is entirely up to the in¬ butions received after that date cannot "Oh, don’t I though! You just wait 2. Chimes are large sets of bells, each dividual, and that time is precious to- me, be considered. till you come to Mozart sonatas and one being tuned to a degree of the scale as I have many things to crowd into a Please remember this, because some you’ll see whether you have to count so that melodies may be played upon day if I mean to do standard work and very good contributions come aloud, or not. Of course, I have the them. 3. Con grasia means gracefully. 4. do it well. which might have been prize winners metronome t help me, but it is a great Saint-Saens wrote Samson and Delilah. To improve the things T have learned had they been received on time. lV/fUSIC, which has accomplished more during the war deal better t be a metronome yourself. 5. A madrigal is a secular composition this year will require courage, courage to The contributions arc sorted out, and : my metronome to-day for ■1 ^ than even its greatest enthusiasts dreamed, will re¬ I’ll lpt you u for three or more parts, written for do my best always. the successful ones sent to the printer a treat.” chorus, unaccompanied. 6. The national Ove Emerson (Age 13), ceive an enormous impetus. the day after the competition closes, “What, that old tick-tack thing that will anthem of France is L’ Marseillaise. 7. Copan, Okla. if your contributions arc too late, they never stop ]ong enough to let you fix A metronome is a small mechanical in¬ simply miss the train, as it were! wrong note?” asked Bobby. EACHERS, every moment this summer is precious. strument with an adjustable swinging “HAVE I IMPROVED THIS YEAR?” T It is too bad, but it cannot be helped. ’.‘Yes, but you must not make it tick s Part of every day should be devoted to the study of pendulum used to mark strict time. 8. (Prize Winner) Then another thing. If you make fast that you will make a mistake,” Dvorak was a Bohemian, died in 1904. 9. our catalogues and our new music, so that on the day the The question that is uppermost in my mistake or a blot u will Nannie, and off she went to get her Harmonics are tones produced by lightly season opens you may have an ample stock of music on mind has been asked on the Junior Etude have a I nntng a prize metronome. (She always kept it put touching a vibrating string at certain hand to meet the immediate needs of your pupils. page. ' if you rc-copy your work instead of away from her little brothers and sis- “Oh, well, I suppose I will have to try points. 10. Trumpet. rubbing or scratching it out. ters.) , toIU tickUCK. CUUUSalong evenly, just as you do, Mr. (Owing to an oversight In the July answers When I first started taking music les¬ This has been mentioned before, hut ‘Now then, said Nan, we 11 let tne Metronome Man,” said Bobby, No. 10 should have read trombone instead of sons I practiced very little, but now that 7E WANT TO HELP YOU in every way but we will nevertheless a great many papers are re¬ metronome man beat time for you very “gurej that’s the way to talk,” said the the girls my own age are taking lessons W”especially appreciate it if you will write your orders ceived each month with actual' holes slowly and I’m sure you will have a fine little man> and then he began to tick 1 am trying very hard to keep ahead. and your requests for information as soon as possible so rubbed in them, and when neatness is one lesson to-morrow.” slowly and more slowly and still more A Medley The word “competition” is one that that you may avoid the rush from which the late-comer stands high among words that have led of the conditions of the competitions— Off went the little tick-tack, one, two, s[ow]y> and then—why then—in came Sis- Weber Farrar sometimes suffers. By Minnie Olcott Williams me to try to do my best in music. I am well, you know what wc mean! three, four, and off went Bobby's little ter Nan again. Bauer Homer lingers, one, two, three, four just as »why Bobby( wake up» gbe cr;ed. “I sure that 1 have improved in determina¬ That summer day was a Musical Ileller Tresscr tion to make good this year. nicely as could be. . . left you with my metronome to help you Medley in several keys. While kneading Hollaender Tapper PROSPERITY FOLLOWS HUGE HARVESTS. This is In the summer I would rather play out Letter Box After Bobby bad been practicing for w;tb y0Ur practicing, and you’ve been my dough in the morning, I was highly U the greatest economic truth that has come down to us — hour he thought he would take a rest asleep all this time ;n that b;g armchair.” of doors than practice, but when I remem¬ entertained by a Symphony from a road- through the centuries from the time of the Pharaohs. Our Dear Junior Etu for a few moments, and he went over to ber what music will mean to me when I i writing to tell you that our club “Indeed I have not,” said Bobby, trying machine in the neighborhood. Every time Enigma harvests are now the greatest in our history. the window and leaned his head back on grow older I put the wrong thought out has knitted squares for The Junior to get his eyes open. its deafening noise stopped and there was To my name, when you hear it, pray lis- the soft cushion. He had just thought he would take a of irty mind and practice with a will. > -ike Etude blankets and we are sending them a is I was sure that some of die kiddie, Pianette in the story I can play better He looked tip at the metronome and— little rest you remember, and he fell fast Write to-day and tell us the kind of Music you need most why—what was that on top of the piano: playing about would utter a | of distress than my friends, but for that reason I It gives you the best of advice, I thought you might be interested in asleep and dreamed that the little man in For without it your friends and compan- (Easy Grades, Medium, Advanced); thousands of teachers .... A funny little man, with a funny little the|__ metronome had talked_ to him. But_ from under those noisy wheels, which should work to keep my place. our club, too. Because St. Cecilia it Therefore, because I have tried, I feel in all parts of the country have formed the habit of doing patroness of music, we call it the St. face, shaking his funny long finger back be was very glad that he had dreamed with Ray, my husband, so fall away was that I can answer “yes” to the question Will find you not nearly so nice. this each year at this time. They have learned the wisdom Cecilia Junior Music Club. We meet and forth. _ the queer little dream, and after that he no minor matter to me. La! how it did and profit of prompt action and the advantage of our “On ,,ncr month ("r music and a short lec- Presently he spoke with a funny little really and truly did count aloud carefully, rack my soul. I could see nothing, though “Have I improved this year?” I’m a square-built, compact litlc fellow, Sale” “Home Music Store” Idea. turr One half of the program is fur- voice—“I understand that you do not like and he found that it was not such a very I kept a t lookout for hitb. The tempo Mildred Bailey (Age 12), Greencastle, Mo. My complexion is certainly pale. nished by any pupil who has seven pieces to count aloud, Bobby. Ahem—is that hard job after all, when he tried of that machine was presto, the movement I have a long list of relations ready to play from memory. I have n the right way. fortissimo agitato. I could no longer be In ascending and descending scale. eight violin pieces ready, and will give Executing a run in search of the Bass “HAVE I IMPROVED THIS YEAR?” Your order for the opening of text teaching season ci , „„„ ______Jn Sale” portion as we the recital soon. Each time we give a Staff in charge of that instrument of tor¬ (Prize Winner) In print I am seen very often, be sent to you at any specified date—settlement wher recital wc move up one point in the club. ture; with a quaver in my voice, I tried to After my brother went to war he sent Though I rarely appear in you* books, Everyone that has knit a square has Once Upon a Time me the new war songs. That was about And when you obey my injunctions, their name put on our honor roll. hold theMajorand ask him to ~the the first of the year, and I tound that I I* add very much to your looks. Your friend, Once upon a time Once upon another time could play only the very easiest parts, so I Lyall Edward Coner, There was a little girl There was road no longer but j3 j3 up the engine Another little girl began practicing ani working harder on I’m not to be found in the water, Fairfax, Minn. Who took music lessons Yet close by my side is the sea. Who took music lessons and proceed upon the even tenor of his my music and now I can pick up a piece THEODORE PRESSER COMPANY But When tried, if I’m true, I’m required And of music and play it very easily. She did not practice Then, meeting a b refusal, tones could 1 also had a hard time with my scales To live in accord with the D. The Egyptians are conceded to have She practiced hard 1710-1712-1714 Chestnut Street And not express the measure of my wrath. until I read in my Etude how to practice been the first people to develop music. And She never learned scales, so I have been naming over the And now in the effort to guess me No one knows just when the first music She learned PHILADELPHIA, PENNA. With a whose > was not all har¬ tones of my scales without touching the Let no wrinkles mar your fair face. was performed or sung, but it is known To play To play beautifully keys with my fingers, then playing them You’ll be clever to name, yet to live me, that 4.000 years before the birth of Christ And And mony, I returned to find my dough had with my eyes closed. Now my scales are Will bring you a' far greater grace. music was heard in the valley of the Nile. Nobody loved her! Everybody loved her! risen to the highest pitch. improving wonderfully. m. THE ETUDE AUGUST 1919 Page 529 THE ETUDE Wagner, or Mozart. (Choice of one, Page 528 AUGUST If) 10 Introductory Polyphonic New Indian Song Collection Teaching Song Pictures from Holiday Land Studies for the Pianoforte By Thurlow Lieurance pocket size.) Etude Album Standard Song Treasury, 48 Selected By Slater Mr. Lieurance’s “Album of Indian Prize Contest The volume on counterpoint and poly¬ We have in preparation a volume of Songs. We will print a new volume by David Songs,” published some time ago, has We desire to call the attention of our phonic playing, which we announced in songs that are especially appropriate for Standard Brilliant Album, Z7 Piano Dick Slater, who has already had two suc¬ last month’s issue, is one that has been achieved remarkable popularity. Since teaching purposes. Every voice teacher Pieces. readers to our new ETUDE PRIZE CON¬ somewhat neglected, that is the study of it the publication of this volume Mr. Lieu¬ has a certain line of songs which are espe¬ TEST for pianoforte pieces, lull an¬ cesses along this line. He has been par¬ Selected Classics, Violin and Piano. has been somewhat neglected, or, at least, rance has written a number of song suc¬ cially adapted for the formative period of nouncement of which will be found upon ticularly apt in these small pieces. Beethoven’s Easier Piano Compositions. Although Mr. Slater ranks as one of the not the importance has been attached to it cesses, among them the concert song en¬ the singer. The compass of these songs is This offer is good only during the month another page of this issue. Our ETUDE titled “By the Waters of Minnetonka.” not usually large, nor the intonation diffi¬ PRIZE CONTESTS in the past have been leading composers that Great Britain has that it deserves. There are very few of August. It offers 'an unusual value. produced in our time, he has shown great books that especially treat of part-play¬ This new Indian Song Collection will con¬ cult, and all difficulties of execution are We suggest that you bring it to the notice very successful and they have brought tain some of these later song successes. avoided. These songs have a particular forth a number of composers and have aptness in producing pieces for children. ing, and there is no better mental drill of your friends. than this. The literature is very scant. The volume will be prefaced by an intro¬ use in teaching, and this volume will be produced many desirable pieces. We wish Each of these pieces has an appropriate Outside of the Kunz Canons, and the early duction by Mr. Lieurance, in which various welcomed by almost every voice teacher. to give the utmost publicity to this con¬ verse under the title. These also are orig¬ matters concerning the Indian’s songs, Our special introductory price will be 40 test, as all composers are welcome, the studies of Bach, there is very little known. inal with Mr. Slater and add to the inter¬ This volume of ours will contain a definite customs, etc., will be discussed. The vol¬ cents, postpaid. young and aspiring as well as the mature est of the piece itself. The “Pictures ume will be beautifully illustrated. artist. In all --uses manuscripts are given course, commencing from the very begin¬ From Holiday Land” are a delightful set ning. It will be part original and part The special introductory price in ad¬ Standard American Special Notices the most serious consideration and abso¬ of these pieces which we will produce selected, and almost every teacher will vance of publication is 50 cents per cop., Album lutely impartial judgment and awards are during the summer months and have ready postpaid. NEW WORKS. Next Season’s Supplies made. We have been asked if one composer find use for a volume of this kind. Possi¬ S3 ANNOUNCEMENTS for the early Fall teaching; pieces of the This collection is one of the series may be represented in more than one c,ass bly the reason that we have not more printed from special large plates consist¬ Advance of Publication Offers— Order Now second grade, containing not more than and we would state that there is abso¬ studies of this kind is that the great study Waltzes for the Pianoforte ing entirely of pieces which have appeared Special Everything points to a busy teaching two pages each. writers, such as Czerny, Loeschhorn, Ber- lutely no restriction as to this. One com¬ By J. Brahms. Op. 39 in The Etude. Id this volume many WANTED and FOR SALE August, 1919 season for 1919-20. We knotv from years poser may lie represented in one or all of Our special advance price is but 40 ens, Clementi, etc., have sidestepped it. American writers will be represented and of experience that many teachers take We are continuing during the current Rate 10c per word the classes. Piano solos only, however. cents postpaid. They have paid very little attention to this the pieces in point of difficulty will range Advanced Study Piece!.36 unnecessary chances in the matter of pro¬ month the special introductory offer on important branch, and this volume to a from grades two to six, with the inter¬ Album o( American Composera.60 viding themselves with supplies of sheet certain extent will fill this vacancy. this new volume of the Presser Collection. Brahms' Hungarian Dances. Four Hands, music and miscellaneous teaching material Advanced Study Pieces This volume contains 1G waltzes, which mediate grades predominating. Vol. 1 « Our special introductory price on this An unusually large number of pieces and that much disappointment follows Finger Gymnastics 1 or the Pianoforte volume will be 40 cents, postpaid. may, if desired, be played in sequence. Brahms' Waltzes, Op. 39.20 They are highly idealized waltz rhythms, will be printed. when, too late to get the best service, .he MUSIC TEACHERS WASTED for Difficult Four-Hand Album.60 By Philipp We are continuing during the current but each one has a genuine melodic charm The special introductory price in ad¬ Dsrld Bispbam's Album of Songs.60 orders are sent in just when the music it¬ Spaulding Album Schools and Courses; contracts watting. Na¬ self is wanted for instant use. We, there¬ This volume we are in hopes to have on month our special introductory offer on of its own. In point of difficulty they lie vance of publication is 50 cents per copy, tional Teachers Agency; l'MIn., Pa. Favorite Old-Time Tunes. V. & P.20 the market in time for the Fall teaching. our new volume of Advanced Study For the Pianoforte postpaid. fore, urge all teachers to place their fall chiefly in grades four and five. TEACHER of five years' experience de¬ Finger Gymnastics. Philipp.60 It is one of those unusual volumes that Pieces for the Pianoforte. This volume L Introductory Polyphonic 8tudlcs.40 supply orders now. Orders sent to us in We will continue for one month longer The special introductory price in ad¬ sires position as teacher of Piano In College August will be filled as rapidly as possible makes its appearance in the technical Magazine Bargains next school term. Address "A," care of Part Songs for Men's Voices.30 designed to supply a wen-rounded collec¬ the special introductory price in this col¬ vance of publication is 20 cents per copy, and deliveries made in time to meet the world only r.t long intervals. Gradus ad tion of pieces having a real musical value postpaid. Soon Gone Etude. New Indian Song Collection. Lleurance. .60 Parnassum was one of these works. The lection. Mr. Spaulding’s work is so uni¬ needs of pupils when they begin work. and at the same time decided educational versally popular that a Spaulding Album Because the Postal Zone law has greatly YOUNG MAX. experienced Pedal Book, Bloae.60 This includes both “On Sale” and regular studies of Pischna was another, and Han- unterpoint, desires po> Pictures from Holiday Land. Slater.40 features. They are pieces which are good hardly needs an extended comment. It is Standard Elementary Album increased the Postal rates for mailing r&tfi1 orders. Teachers who are not familiar on's studies is the latest one. We thor¬ Spaulding Album for the Pianoforte.25 oughly believe that this volume by Isi- to hear and at the same time excellent to sufficient to say that this album will con¬ For the Pianoforte magazines, it will become necessary for with our order-filling system should ask tain the very best and most successful of Standard American Album .50 dor Philipp will also be epoch making. It study. A volume of this type may be Our new Standard Elementary Album nearly all magazines, sooner or later, to for catalog and information. Our regular all Mr. Spaulding’s intermediate grade Standard Elementary Album.30 is the most original work on technique taken up in conjunction with any technical will be full of good things for the young increase their rates. July 1st a still greater patrons recognize and appreciate our serv¬ pieces of the most melodic character. They Teaching Song Album.40 that we have come across. Some of these student. It will contain an unusually increase in rates became effective. We Ferrin, Independence ice standard. Remember, we are asking course and be used to good advantage. are interesting to play and good to hear. Verdi. Child's Own Book, by Tapper. . . .12 exercises are taken from works which are large number of first and second grade can offer the following magazine bargains, all teachers everywhere to make ready for Composers of all periods will be repre¬ The special introductory price in ad¬ but we reserve the right to refund your ANTED for the Culver Military Acad- an active season. neglected at the present time, by such sented. The pieces will lie of moderate teaching pieces, all printed from special Band, musicians between the ages of writers as Dreyschock, Pacher, Stamaty, vance of publication is 25 cents per copy, large plates, and including some of the money if the rates on magazines listed Jute-..en and nineteen for the school year be- Settlement length, lying chiefly in the fourth and fifth postpaid. have increased before your order is ginning September, 1019. Scholarships will Bertini, etc. Others are by more modern most successful pieces of the kind ever _ 1 to competent performer*. E flat of Accounts Advance in Prices writers, such as Heller, Saint-Saens, G. grades. written. The pieces will be in all styles, received. Bass and E flat Clarinet are particularly de¬ Mathias. Most of them are new. The The special introductory price in ad¬ Reg. Our sired. Only players who are familiar with Have you returned the On Sale music On the first of July we have been Difficult Fout-Hand Album including Dances, Characteristic Pieces, standard music will lie considered. Prefer¬ you cannot use? In both the June issue work is not one for a beginner, and is only vance of publication is 35 cents per copy, Reveries, Nocturnes, etc. It will he one obliged to advance our prices on all of our For the Pianoforte THE ETUDE . ence given to those who double In string. of Tint Error, and with the June first publications. In the past year we have adapted to the earnest, hard-working am¬ postpaid. of the best books of the kind ever pub¬ Peoples’ Pop. Monthly Address Bandmaster, Culver Military Acad¬ statement, detailed information was given added 20 per cent, to the existing prices, bitious student. It is not a work that can Our new four-hand album is very nearly lished. 3$1.80 'nc emy. Culver, lnd. be taken through serially, but should form ready, but the special introductory offer The special introductory price in ad¬ you ns to the proper procedure in regard but from July on we have issued a new David Bispham’s standard price on every book we publish. a portion of the daily studi-s in technique will be continued during the current vance of publication is 30 cents per copy, to the return of nil On Sale music which month. There has long been a demand Woman's' World''. ANNOUNCEMENTS had not l*een used nnd the settlement of This advance is not in every case 20 per of the student. Do not neglect to procure Album of Songs postpaid. 3$2.00 »r cent. In some cases it is only 10 per cent. a copy of this work while it is at the spe¬ for an album of this nature, and we feel all accounts. We are glad to say that Incessant demands forced Mr. Bispham certain that those who order any advance most of our customers have followed these In some cases it has not been changed at cial price. to give more and more of his time from Valuable Rewards THE ETUDE . JSIC COMPOSED- Send words. Mann- Our special advance price is 50 cents. copies will not be disappointed. Both McCall’s Magazine ... corrected. Harmony, correspondent Instructions, but there are still some who all, and in others it has been almost dou¬ operatic work and concert work to teach¬ bled, but none of the most popular works original duets and arrangements are in¬ For Getting Subscriptions g}$2.25 T5*T Dr. Wooler. Buffalo. N. Y have failed to respond. ing. His wide experience and great art in our catalogue has been advanced more cluded, but in all cases the pieces have in¬ We have a great many extraordinary CORRESPONDENCE HARMONY Mod We wont to again emphasize the impor¬ Compositions by American quite naturally have brought him innumer¬ THE ETUDE . than 20 per cent. dependent work for both players. Among rewards to offer readers of The Etude To-day’s’ Housewife ... era, with Important new features. Carl tance of marking nil packages of music Composers for the Pianoforte able students courting liis valuable advice. the composers represented are Dvorak, for a little work in interesting new gj$2.25 ’soT Hoffman, .XI West Aslunead Place. Phlln., Pn. bring returned to us with the sender's We were absolutely obliged to do this. Costs have been increasing this year every This new volume is very nearly ready, We asked Mr. Bispham to pick out those Grieg, Moszkowski, Raff, Gottschalk and readers. Musical supplies, music books name and address plainly printed in ink songs which every • conscientious student many others. and albums and many pieces of useful THE ETUDE . month. We were in hopes that we could but the special introductory offer will be Peoples’ Home Journal on tile outside of the wrapper for identi¬ continued during the current month. This of singing should have in his library, and The special introductory price in ad¬ merchandise are given to people who will fication purposes. So many of our cus¬ pull through without advancing our prices, Jg|}$2.45'loT but along comes the printer, and the volume will contain representative works then add a certain number of rare “gems,” vance of publication is 50 cents per copy, point out the unusual service that The tomers fail to do this with the result that by some of our best American composers, postpaid. Etude renders to people who are inter¬ THE ETUDE . they are not promptly credited with hinder, with repeated advances in prices. such as those which have given originality past and present. Such pieces as— ested in music. Modern Priscilla. music returned because we do not know The paper has almost doubled in price and charm to Mr. Bispham’s recitals. If g}$2.75,ros'c" Caprice Characteristic, by Homer N. the name of the shipper. I f you have not within the last four years, and the salaries you went to this famous American master Child’s Own Book of For ONE Subscription. OPEN FOR FIVE MORE PUPILS received a credit memorandum for music also have almost doubled. In fact, every¬ Bartlett; of Bel Canto and paid him personally for Great Musicians—Verdi Album of Favorite pieces. J. S. Bach. THE ETUDE . Blandishment, by Charles Wakefield Delineator ^. returned advise us at once, telling us the thing in the conduct of business has h! • services in selecting a list for you, you -First Dance Album. 26 selections. LESCHETIZKY METHOD taught by greatly increased, so we have been obliged Cadman; This is one of the most interesting of all g}$3.15 ’eoT date on which shipment was made nnd the could not secure a better collection for your the books Mr. Tapper has prepared in this Mathews Standard Graded Course of ALBERT WINSTON, Steinway Hall, New York after July. 1st to issue a new price list, Toccatina, by Benson; purposes. There will lie about fifty songs THE ETUDE . Four and half man under penonat direction of route by which it came forward. If your fine series of practical lesson work mate¬ Studies. Any one grade. Prof. Thcodon LachclUku shipment has been received unidentified which we will he very glad indeed to send Scottish Tone Picture,-by E. A. Mac- by composers of all nations, and the Eng¬ Three-piece Shirt Waist Set, consisting Pictorial Review. Dowell; rial for children. Teachers like these, g}$3.25 ’ffc we may l>e aide to locate it, and if it our patrons upon request. lish translations in many instances are of bar pin 2>/2 inches in length and two Danse Bustique, by Wm. Mason; books because they provide something to has not liecn received we will advise you being prepared under Mr. Bispham’s per¬ small pins each one inch long; gold filled. Triumphal March, by E. R. Kroeger; show the parent actual accomplishment. THE ETUDE ..... A Striking Concert Novelty so that you can start a tracer or make sonal direction especially for this collec¬ Hanger Sets. Something new; collapsi¬ Part Songs for Men’s Voices Concert Polka, by Lansing, Each book has a series of pictures for claim on the transportation company if tion. The collection is rapidly approach¬ ble coat and skirt hanger; comes folded in gf}$3.25 "soT and many others are included. It will be “cut-out” purposes, and these are pasted American Indian Rhapsody By W. Berwald ing completion. Piano teachers will find small compact case. Can be carried in for an intermediate or moderately ad¬ in their right places by the little ones. THE ETUDE . In view of the extremely liberal policy this a useful volume to have at hand to handbag. Indispensable on vacation trips. On Themea Recorded and Suggested This new collection for men’s voices is vanced player, and is a real collection of They put the play spirit in study as few Woman’s Home Comp. By THURLOW LIEURANCE of carrying accounts for members of the suitable for Glee Clubs, Men’s Choruses study accompaniments and to possess when other things could. The books already Lingerie Sets. Consists of a pair of g}$3.25 ’loc" profession for it whole year, we will appre¬ singers “drop in.” The advance of publi¬ and Singing Societies. Mr. Berwald’s The special introductory price in ad¬ published are Baeh, Beethoven, Chopin, lingerie clasps and two dainty oval shaped By Preston Ware Orem ciate that settlements which were not cation price is 50 cents. pins. Useful and attractive. THE ETUDE . work as a writer of anthems, part-songs vance of publication is 50 cents, postpaid. Wagner, Handel, Haydn, Mendelssohn, American Boy. Price, 11.00 made on or about June first be taken care nnd choruses is well known. This new vol¬ Mozart, Schumann, Schubert, which may ;-§}$3.25'1or For TWO Subscriptions. of at thin time so that we can start a ume contains some of his best works. Pedal Book be had for 18 cents apiece. Order one of This is the first genuine American fresh page for each one on our ledger with There arc some particularly good part- Advance of Publication the Verdi books now, in advance, and send Concert Album. F. Liszt. THE ETUDE'. the opening of the fall season. By Dr. J. M. Blose Christian .Terald _ Rhapsody—an attempt to idealize the songs in it, all bright and melodious in Offers Withdrawn only 12 cents. It will be sent to you imme¬ Nocturnes. Chopin. g}$3.50,7£" Small orders receive the same pains¬ character, suitable for encore numbers. diately upon publication. Beginners’ Book for the Pianoforte. aboriginal themes in a like manner as With This Issue This work has at last gone to press and taking care given to larger ones. A single The special introductory price in ad¬ will appear from the binder in a short Theo. Presser. has been done with other national and Send orders direct to composition order is handled with the vance of publication ie 30 cents per copy, The works named below having "been time. However, we will still hold open Silver Thimble. Sterling silver, heavy folk themes. The result is a brilliant snme discriminating judgment given to a Brahms’ Hungarian and beautifully chased. Any size. postpaid. sent out to advance subscribers they are the special offer during the current and forceful composition which has hundred-sheet order. We are : orrv to say, now obtainable only at the regular prices, Dances Manicure Brush. Fine horsehair bris¬ The Etude month. The work has passed through THEODORE PRESSER CO.. Publishers already received the endorsement of however, that many of our friends are far either on outright order or for examina¬ another revision in order to straighten These characteristic dances and folk tles, twisted in wire. Can’t come out. more remiss in settling small balances Favorite Old-Time Tunes many pianists of note. tion. out some doubtful points. We look for¬ songs are among the most popular of all PHILADELPHIA, PA. than in paying their large accounts. A For Violin and Piano four-hand music. They have character For THREE Subscriptions. chnrge of forty or fifty cents seems almost “L’Art Du Clavier,” by Theo. Lack ward for a very popular future for this Seven Memory Songs. Tod B. Gallo¬ THEO. PRESSER C0„ Phil*., Pa. book. This work is a systematic study and originality, and are musically ar¬ Unusual Offer too small an amount for which to draw a There is always a demand for the old Which presents new and interesting ranged. We understand that Brahms way. special cheek. Great oaks from little Jigs and Reels and other folk dances ar¬ of this much neglected branch of technic- Choir and Chorus Conducting. F. W. For Renewing Now forms of piano study of a technical yet The pedal receives more abuse from the arranged these dances originally for four acorns grow and in the course of a year’s ranged in popular and playable form for elegant character. Every progressive hands. The other editions, such as the Wodell. To readers of The Etude who will send An Excellent Violin Number time thousands of little charges accumulat¬ violin and piano. This new volume will average player than any other thing, in Standard History of Music. J. F. in their renewals this month, and enclose teacher should make its acquaintance. fact there has been no systematic atten¬ solo and eight hands, etc., are arrange¬ ing on our Iwoks represent a large sum of contain an extensive collection of the very Price, $1.50. ments of this edition, making this volume Cooke. 20 cents in addition to the regular $1.75 Tambourine Ballet by F. P. Atherton money. We will appreciate the courtesy best instruments and most used numbers, tion given to the pedal in our system of Your own subscription FREE for three subscription price, we will give their PRICE 60 CENTS teaching the piano. The instruction hooks practically original four-hand music. They of prompt settlement of these small all easy to play on the part of both in¬ "Sunny Day Songs,” by Helen C. Cramm are suitable for the parlor, concert, room, others at full price. choice of the following (this makes th- have rarely touched upon it. Dr. Blose monthly balances on receipt of the regu¬ struments. A very desirable volume for Containing a dozen and one bright, easy or for educational purposes. The Primo Cake Knife. Sterling silver handle; lat¬ total price $1.95 in United States and tlie library of any violinist. has given us a work which we feel will lar statement. Very few postage stamps piano numbers with words betw-en the and Secondo are about equal in difficuitv. est thread design. $2.45 in Canada) : turn our very modest margin of profit on The special introductory price in ad¬ go a long way on the artistic side of piano Lady’s Silk Handbag. In black, navy Life and Works of Handel, Haydn, staves, to be played or sung. Excellent playing. Our special introductory price is 40 these little balances into a loss—something vance of publication is 20 cents per copy, recreation material for little players and cents, postpaid. blue and taupe. Weber, Beethoven, Mendelssohn, Liszt, Please mention THE ETUDE when addrtsdng we fear too few of our customers realize. postpaid. singers. .75 cents. Gur special introductory price in ad¬ onr advent sera. vance of publication is 50 cents, postpaid. THE ETUDE the etude AUGUST 1919 Page 631 Page 630 AUGUST 1910 What is “Popular Music”? = = 0 By Norman H. Harney iSi^fsdrooI.-A and Colledes^^ljji If a music teacher were to ask one of able men and women, and which has his young boy pupils what he understands brought them joy and inspiration. Schools and Collo^^s Mac Phail School By Joseph George Jacobson Cost of Living ART, PUBLIC SCHOOL MUSIC r, Affommoditlou (or UOIo. 68 Teachers Send for Free Catalc FALL TERM OPENS SEPT. 8th so that the most satisfactory accommodations for board of Music, The origin of the violin dates back had such an accompaniment as a chin- and room may be had at $60.00 per quarter of 12 weeks. 806 Nicollet Avenue, Minneapolis, Minn. to a very remote age. It ranks among __cala| Training appearance wiih orchestral accompanlr the most , ancient of instruments in The Grecian lyre had seven strings. For Free Catalog Address use at the present day. As to the prin¬ As it was very small it was held in one Henry Kinsey Brown, President, Box E, University Hall, Minneapolis School of Music, ciple of construction, it has been found hand. The Egyptian flute was only a Address Ralph L. Flanders, General Manager Valparaiso, Ind. Michigan State Normal College ORATORY AND DRAMATIC ART that its earliest form was not very cow’s horn with four holes. The Jewish unlike the modern. It appeared both trumpets which shattered the walls of Conservatory of Music with and without the frets. On some Jericho, were ram’s horns. The Jews Forty-seventh Year Opens Sept. 23, 1919 of the representations seen in stone carv¬ had no other instruments but percus¬ Ypsilanti, Michigan Send for hand.omVcaUlogue to tl BEETHOVEN CONSERVATORY ings at Thebes in Egypt, there were some sion instruments. They use a small tri¬ Courses in singing, piano, organ, violin One of the oldest and best Music Schools in the United States 4525 OIiv^St reeP's tT L^ui. Mo and theory. with and some without holes in the top, angular harp which was struck with an Courses for training supervisors and some with three, some with five and some iron needle. The timbrel was the tam¬ teachers of public school music. with eight strings. These strings were bourine ; the dulcimer was a horizontal Graduation leads to a life certificate REX ARLINGTON, Director made sometimes of sheep’s intestines, harp. We are told that two hundred PITTSBURGH I1NINTFR I CIMVA NATIftNAI 1 ILtJNAL CATIONALmusical and AGENCY edu- valid in most states of the union. sometimes of linen thread and sometimes thousand musicians played at the dedica¬ Total living expenses need not exceed MUSICAL INSTITUTE, Inc. Courses Offered: violin piano,voice,harmony,HiSTORYQOFMusic!pauBuc The Courtright System of Musical Kindergart of wire. The neck resembled a guitar. tion of the Temple of Solomon. Con¬ /"OFFERS Teaching Positions, CoU five dollars per week. Tuition and fees --Xiiu SCHOOL MUSIC, LANGUAGES, EXPRESSION and DRAMATIC ART OVER 500 STUDENTS IN ATTENDANCE exceptionally low. Write for catalog. The ancient name was kinura. The Per¬ sidering that the Jews had no written leges. Conservatories, Schools. AltoChurch and Concert Engagements Dir. CONSERVATORY OF MUSIC, sian kmura was played in the manner of music, the noise should have satisfied the Fall Term, September 8, 1919 a bass viol with a bow resembling a ears of even our most modern futurist BOX <>, YPSILANTI, MICHIGAN. m desired. Address, Box 512 - - - HUNTINGTON, INDIANA 4259 FIFTH AVENUE - PITTSBURGH CARNECIE HALL, NEW YORK shooting how. None of the old violins musicians. Please mention THE ETUDE when addressing our advertisers, Plfease THE ETUDE when addressing THE ETUDE the etude AUGUST 1919 Page 533 Page 532 AVGUST 1919 Indispensable Foundation Stones Schools and Colleges , By Edward Ellsworth Hipscher SOUTHERN PHILADELPHIA AND CHICAGO In all the student’s years of study no one thing more than another, it is that teacher ever will have quite the respon¬ almost invariably the one counting in sibility of the one who lays the founda¬ silence allows her playing to guide her tion. On this all future success must counts instead of making her counting V* riRGIL PIANO CONSERVATORY stand or fall. Because of laxness at this a guide for her playing. Insist on much period many pupils must later retrace tOMBi slow practice, dividing the whole counts y/ th Season) (28 their steps and do much belated “prepara¬ into halves by the use of “and.” Unless tory” work before they are fitted to re¬ the beat divisions are very simple, often ceive the advantages of the instruction CONSERmTORYyRuSIC it is wise to change 2/4 measure to 4/8. VIRGIL METHOD OF TECHNIC of the advanced teacher who undertakes Greatest of all teaching methods SCHOOL FOR PARTICULAR STUDENTS to initiate them into the secrets of true This not only assists the pupil to keep PHILADELPHIA the movement steady, but also, for the one RESULTS TELL EmbracinsC all Branches of 35th YEAR OPENS SEPTEMBER 15th _ EXPRESSION art languages Now, no allusion is here made to those who is inclined to go faster than she can Superior Instruction in Piano, Harmony, Theory, MUSIC — — execute the notes with neatness, it has a high ideals, breadth of^culture and moderate cost, combined with efficient management. th< Public School Music and Teachers Trainin^Course questions of method, of execution, or COMBS CONSERVATORY affords opportunities not obtainable elsewhere for • compleL Public Performance interpretation, which necessarily vary tendency to retard her rush for speed and FACULTY OF NOTED ARTISTS AND TEACHERS to enable her to play with much more All Branches. Normal Training Course for Teachers. Public School Music Supervision Tw< Foundational and Advanced Courses with the viewpoint and personality of the Complete Pupils’ Symphony Orchestras. Reciprocal relations with University of Pennsylvania dormitory for girls individual teacher. But there are certain accuracy. TEACHERS’ CERTIFICATES DIPLOMAS Individual Training Personal Attention essentials on which all agree, which all Along with these things we must de¬ A SCHOOL OF INDIVIDUAL INSTRUCTION Which keeps the management s velop neatness of execution. For this For Particulars, Address Which means to the student what per faculty in -'—**—*. '—««■*■ atari good teachers expect of their pupils and A SCHOOL OF PUBLIC PERFORMANCE nothing accomplishes results faster than (Foot Pupils’ Recil Sm^tarefh^ for the doing of which the latter teacher MRS. A. M. ViRGIL :: 11 W. 68th St., New York f/honl will shower his blessings on the one who the giving of little exercises (to the stu¬ Faculty: Gilbert Raynolds Combs, Pianc, bT.Vi.loic.lk: Ns a P“YntntJ,oreaitr ““ ** “ ** °XhaUh^ZZTwhUe hie. A. Chesnutt, Voice; Russell King Miller, Organ; \vwiam ueiger, i«u». oac., violin, ana io auuiwi had charge of the early training of his dent it is better to call them finger plays) to be performed without the notes, the THE SCHRADIECK VIOLIN SCHOOL pupil. Organized, developed, and for 22 years conducted under the personal direction of Henry S Much Depends Upon Where You Go ar*si^U^SSu“n First, accuracy in reading is essential. mind to be centered on the proper posi¬ dieck, the world’s greatest violin teacher. tion of the fingers and use of their Under William Geiger, Mus. Bac., for many years Schradieck’s colleague, the school is and about your own success in the profession you will investigate this institution. By this we mean that the pupil should ducted along the identical lines originated by the late master. INSTITUTE OF MUSICAL ART 1 school building solely upon the success of its students. Its interests and yourr — have repeated practice in naming the muscles. These studies may be original All the assistant teachers are graduates of the school and were personally trained by Schra OF THE CITY OF NEW YORK notes till she is able to do so readily. Not ■ with the teacher or selected and memor¬ ized from the book. Make them short, DORMITORIES FOR WOMEN J. Wesley McClain only on the staff, but also, as she ad¬ n addition to delightful, homelike surroundings in a musical and inspirational atmo.pher*\ the LOUISVILLE, KY. vances, she must be able to name accu¬ then insist on their being done in the itory pupils have advantages not afforded elsewhere: Daily Suiberviacd Practice*. Daily FRANK DAMROSCH, Director, “iStfSKW* bery best manner. A one-measure study, les in Technic. Musical Science. Theory. Concentration and Memory Training. Physical Culture. rately and with reasonable promptness 1 and Instrumental Ensemble and Public Performance. any notes which may be written on the repeated four times without a mistake added lines above or below the staves. requires concentration, is pot taxing to remember, and usually accomplishes more Mere reading by positions will not do, Illustrated Year Book Fnc SKIDMORE good than longer ones. One of these at ESTABLISHED 1857 because herein lurks a large part of the SCHOOLOFARTS mischief of later days. Unless the letter- each lesson is a good system. Then, ob¬ GILBERT RAYNOLDS COMBS, Direct ' names of the degrees of the staff arc well serve that they make use of their bene¬ CHARLES HENRY KEYES, Ph D., President CONSERVATORY fits when playing from the notes. mastered there always will be more or ZECKWER-HAHN ANNA M TOMLINSON PEABODY BALTIMORE, MD. less of a muddle in the pupil’s mind as Many young teachers have asked, “How HAROLD RANDOLPH, Director to just how to associate the sharps and shall I begin teaching?” Whatever else Hand Development and Technic 1 Studies. Athletic field. Non-sectarian. flats of the key signatures with their you do or fail to do, let not yourself be PHILADELPHIA S-j DEGREE GIVEN One of the oldest and most noted Music Schools in America. proper tones in the key. Then, too, read¬ satisfied until your beginners or other 1617 Spruce Street, Philadelphi jar courses lead to B. S. Degree. Two- and pupils are accurate readers, good time¬ ear Normal Courses command teachers and ing by position leaves the notes on the added lines and spaces forever in a state keepers and make careful use of their Eastern Conservatory of Music fingers. They must know, not guess, ’ but true mer session will be sent on application8 OPENS SEPTEMBER 30th of uncertainty. So, teacher of beginners, rd to concert work, for special mer Session SARATOGA SPRINGS, N. Y. ^ (A Department of Eastern College) give much time to the reading of notes, what are thq names of the notes. How¬ and frequently recur to it that you may ever slowly they, go—and they cannot do y being actively nwtociated ’with too much slow practice—their counts and g Entertainment Bureau and hav- be sure your pupil’s mind is clear on that particular feature of her study. divisions of counts must be accurate and Id. Ithaca Oouacrvatory students Crane Normal Institute of Music Training School (or Superviiort of Music DR. H. U. ROOP, Pres Secondly, see to it that the pupil learns even. There must be no thumping from mertca. Graduates arc qualified BOTH SEXES to keep time accurately. And, for the a stiff wrist; but they must draw from male In New York State Public ^ Voice culture, sight-singing, car-training, harmony, average student—in which class about the piano a good musical tone by the use course lor teachers of physical ^aTt\c^teac~hing?’’Gra(L|rate'8 hold Important ° ’’ MR. and MRS. CROSBY ADAMS nine-tenths of the pupils of most of us of the finger muscles with the hand and -unuaual demand for teachers Annual Summer Classes for Teachers of Piano wrist relaxed. When these are accom¬ country. Large School of Ex- fall—no method has yet produced such id Dramatic Art. 53 MAIN ST.,' y POTSDAM, NEW YORK for the Study of Teaching Materii reliable timeists as the good, old-fash¬ plished your future work, to any grade ll piano and organ, violin, singing, MONTREAT, N. C. whatever, will be but a process of gradual July 10-25 August 6-21 ioned way of counting aloud. Insist on Write lor booklet c the counting being done aloud because, if development of and from these funda¬ mentals. SCHOOL MONTREAT, NORTH CAROLINA the writer’s experience has proven any SUMMER Pifnists » p.treinenta Terms moderate. Catalog. THE REGISTRAR. Ithara Caaaervatory of Mu.ic, COURSE Accompanists || Piano Sense DeWitt Park. Ithaca. N. Y. CARNEGIE HALL, NEW YORK HAHN 1VIUSIC SCHOOL | CONSOLIDATED WITH F*hii_,lif>s University By p. O. Prouse \ The American Institute of Applied Music I Unexcelled Advantages for Music Students. Write for Catalogue. ENID, OKLA. c\ (METROPOLITAN COLLEGE OF MUSIC) It is often a matter of very great con¬ to come. What an advantage to one, to o] 212 West 59th Street New York City venience for the pupil who lives far be able to remove a string. Practice may Complota i m«, Stringed Instruments, Public from some great center where tuners are go on until your tuner comes to replace School Music, Theo and Historical branches School of Music Atlanta Conservatory of Music hard to reach, to have the teacher rem¬ the Ad. one. Teachers, teaching in their Send for circulars and catalogue edy some little defect in the instrument own homes, or visiting their pupil’s SHORT KATE S. CHITTENDEN, Dean THE FOREMOST SCHOOL OF FINE ARTS IYCEUM i SHENANDOAH COLLEGIATE « IN THE SOUTH and so to make the piano playable until homes have a chance for "acquaintance Pedagogical Music Course INSTITUTE Advantages Equal to Those Found 1 the tuner arrives. Every teacher should with their instruments. Once, when vis¬ LEADING SCHOOL OF MUSIC^IN THE SOUTH Fall Session Begin. " - 1 SflLRTS W By EFFA ELUS PERF1ELD The National Conservatory of Music of America En3”thmye«^ns2Vct.°2C know a little about the instrument so iting a home, I immediately found the The only School of Music in the U. S. chartered by Congress Catalog. GEO. F. LINDNER, Director that trifling repairs can he made in an damper pedal seriously ill. Upon inquiry Conservatory JEANNETTE M. THURBER, Founder & Pree.) Ad. Sec., 126-128 W. 79th St., N. Y. City Peachtree and Broad Streets, Atlanta, Gcorgii emergency. the young mother said, “I’ve been trying Ask tor BookietFREE.8 S-cfCBOxTlODAYTON, VA. Elias DAY, director Watch a piano tuner when he comes to to get a tuner to fix it. The children i's&F 'sjjspE “Definite Preparation for a Definite Work” 4 Melodic Dictation ^ j)»eU your house to tune ? Look at the mechani¬ won’t practice without it.” A superior faculty, tearhing every branch of 6. Ketetonp Use cal make-up of your piano; how the front A batvhad loosened and worked off, Music and Dramatic Art. | 7 'mfc’^MclaUOD7’* u- and lower pieces are removed. Qcca- leaving the pedal completely useless. In REGISTRATION DAYS, Sept. 8 to 13 1 *• “ 'ZiliZ&Z onally a string breaks, especially when a few seconds, with the aid of the family NEW YORK SCHOOL OF MUSIC AND ARTS Price: $25.00 C..h $35.00 i» he piano has been exposed to dampness. screwdriver, the pedal was ready for use- FALL TERM OPENS, Sept. 15, 1919 Opposite Central Park, cor. 95th St., New York City :s RALFE LEECH STERNER, Director J Address: ELLA ELLIS PERFIELD MUSIC SCHOOL IHC. The noise frightens the performer, he “Easy enough to fix,” remarked the Address Frank A. Morgan. Manager. New York City’s most beautiful and home-like School devoted to Music and the Allied Arts with UNSURPASSED BEAUTY lumps from the bench and says, “Now mother, “when you know how.” Dept. E OF SCENE FACING CENTRAL PARK I ve broken a string and can’t play or Another instance, in a doctor’s home, a 600-610 LYON & HEALY BLDG., Chicago pT Tele*keae, Bryant MAT key most used, refused to work. I found No advance in rates and w ith the same celebrated faculty including Arthur Friedheim, Ralfe Leech Sterner, Aloys Kremer, Harold A. Fix Clarance de Vaux Rover, practice until the tuner comes 1” llluminato Mi.erendino, Frank Howard Warner, S. Reid Spencer, Mable Rivers Schuler, Mme. Clara Lopez, Helen Wolverton dnd othe“ A child might miss several lessons for that one of the hammers, which are very this reason, or a similar one. He can’t close together, slightly touched the next, WESTERN CONSERVATORY ,H,",7«,TH DORMITORIES IN SCHOOL BUILDINGS AND PROPER CHAPERONAGE WITH MANY SOCIAL AND RECREATION ADVANTAGES. OPEN THE FNTTHF „„„„ c MAY ONE OF THE OLDEST MUSIC SCHOOLS IN CHICAGO SNTER ANY DAY. TWO PUBLIC CONCERTS EVERY WEEK. TERMS, INCLUDING TUITION, BOARD, PRACTICING' Off PUPILS MAY enough to stick. I twisted the hammer use the instrument satisfactorily, as it is. Send for Catalog E. H. SCOTT, mHio»t KIMBALL HALL. CHICAGO SEND FOR BOOKLET AND TEACHERS’ BIOGRAPHIES ’ 1 C ” ON APPLICATION. Often a tuner is out of town, pr top busy just enough to remove the friction. MEHL1N PIANO USED EXCLUSIVELY Please mention THE ETUDE when addressing our adrertleere. Please mention THE ETUDE when addressing our advertisers. THE ETUDE the etude AUGUST 1919 Page 535 Page 53k AUGUST 1919 Practicing Away From the Piano What About Schools and Colleges DETROIT, ILLINOIS (EL CALIFORNIA Recreation f Musical The painters had come to Dorothy’s Chicago College Detroit Conservatory of house, and she could not get into the par¬ FELIX BOROWSKI, President Dr. F. ZIEGFELD. President Emeritus lor to practice. Are you taking advantage of Suddenly Dorothy remembered what these beautiful Summer days to 44th YEAR 54th Year her teacher had said one day: ‘‘Did you relax—to throw of the cares of Finest Conservatory In the West MUSIC ever try practicing away from the The Leading and Largest College of Music and Dramatic Art in America ‘ ‘ ’ almost memorize a piece the work-a-day world? Why Offers to earnest students courses of study based upon the best modern and educational principles. Renowned faculty of 70. Students orchestra, jou can think your scales. not spend an hour or two each FALL TERM OPENS SEPTEMBER^ 15 concerts and recitals. Diplomas and degrees conferred. Teachers' _ _them, and learn, the sharps a.id day at tennis—winning a nut- certificates. Desirable Boarding Accommodations. Faculty of More than 100 Teachers including the following noted artists; 1, fiats and fingerings, too.” brown complexion and a sound So, just for fun, she thought she would PIANO VOCAL VIOLIN Fall Term Opens September 15, 1919 RUDOLPH REUTER ADOLF MUHLMANN LEON SAMETjNI UNRIVALED FREE ADVANTAGES try it. She wrote down her new scale digestion from Mother Nature? ALEXANDER. “ RAAB MRS. O. L. FOX_ MAX F1SJCHEL and practiced it on the table while she HAROLD MICKWITZ EDOARDO SACERDOTE MAURICE GOLDBtATT EDWARD COLLINS BURTON THATCHER LOUISE FERRARIS Public School Music and Drawing was waiting for lunch. KARL RECKZEH MABEL SHARP HERDIEN RAY HUNTINGTON The next day at school she practiced Tennis MAURICE ARONSON ROSE LUTIGER GANNON THERE is a constantly growing demand for women teachers of public school LOUIS VICTOR SAAR JOHN B. MILLER ORGAN * mu ic and drawing and many responsible appointments are open to graduates it again on her desk—both hands. One Racket HARRY DETWEILER LOUIS VICTOR SAAR ERIC DeLAMARTER of the it courses as supervi sors or departmental teachers—positions which are espe¬ place bothered her. Where did that last C. GORDON WEDERTZ GENEVRA JOHNSTONE-BISHOP C. GORDON WEDERTZ VERA KAPLUN-ARONSON ELIAS BREDIN HELEN W. ROSS cially attractive as to working conditions as well as remuneration. sharp belong? She looked it up when she got home at noon. Yes, the new HARMONY, COMPOSITION, COUNTERPOINT, CANON AND FUGUE The Detroit Conservatory of Music sharp was D sharp—it was the E Major FELIX BOROWSKI LOUIS VICTOR SAAR HAROLD MARYOTT LAURA D. HARRIS BARTON BACHMANN offers an excellent training for these places, and recommends them to its graduates. TEACHERS’ NORMAL COURSES REPERTOIRE CLASSES The course requires two years and in many instances credit is given to those who Then Dorothy thought of the piece she JULIA LOIS CARUTHERS (Piano) RUDOLPH REUTER ALEXANDER RAAB have had sufficient teaching experience, music study, college or university work HAROLD B. MARYOTT (Vocal) MAX FISCHEL (Violin) EDWARD COLLINS had’ begun to memorize. She could re¬ MAUD F. DONOVAN (Expression and Dramatic Art) which enables students to complete the course in one year. member the first three measures, but MINA MAE LEWIS (Expression) I he special features of the course are: Sight reading; ear training and dictation; what was the fourth measure? She ran methods: song interpretation; harmony; chorus conducting; psychology; practice PUBLIC SCHOOL MUSIC to the music-cabinet to get the piece, and Send us four HAROLD B. MARYOTT teaching, etc. 1-year sub¬ took it into the library. “Doesn’t it seem Examination Free. For Catalog and Other Information, Address scriptions to TOE, BALLET, INTERPRETIVE AND CLASSICAL DANCING funny to see my tnusic away from the ANDREAS PAVLEY, MLLE. de VALMASEDA, MAE STEBBINS REED, GLADYS PRICE. All Orchestral Instruments Taught JAMES H. BELL, Sec., Box 7 1013 Woodward Ave.,'Detroit, Mich. The Etude at piano?” she said to herself, and her uncle 31-75 each, heard her. • and we will ‘‘Dorothy, do you know what mental send you a splendid Tennis ->$< FREE SCHOLARSHIPS AND PRIZES' — D ETROIT J NSTITUTE OP MUSICAL ART photography is?” he asked. “Get your Racket. It Is of the latest music-writing book, arid I will show you. and most popular shape. 60 Free and 140 Partial Scholarships to be awarded Sept. 1; Application blank on request. Mason & Hamlin Grand Piano, presented for competition in the Post Graduation Class by the Mason & Hamlin Company. Conover Grand Piano, presented for competition in the Graduation and Senior Diploma Classes by the Cable Piano C °mpany. "Strongest Faculty in the Middle West” Now, how much do you know of that The frame is strongly made and attractively designed, 1 11 Violin presented for competition in the Violin Department by Lyon and Healy. Free Public Recital presented for competition in the Vocal Department I ncae fourth measure?” asked Uncle John. with stringing oi high qual¬ 11 be competed for in Orchestra Hall, Chicago, before world-renowned musicians as judges. Opera Scholarships. Forty-six Diamond. Gold and Silver Medal*. “What r ity gut. Slade in Ii;' ‘ DORMITORY ACCOMMODATIONS A School which offers every advantage “I know three notes in the treble,” said and medium weights. incidental to a broad musical education. Dorothy, after thinking a Given for four I-year subscriptions CARL D. KINSEY, Manager (Next to Biackstone Hotel) 620 SOUTH MICHIGAN AVENUE j Uncle John covered up all but the THE ETUDE at f1.75 each, without a Fifty artist teachers. Highest standards. fourth measure. “Now, pretend you a with case for five 1- year subscriptions. Artistic environment. ' going 1 your For Catalog Address thirty Tennis Balls GRACE CHAMBERLIN, Business Manager write /COLUMBIA SCHOOL of 1117-1119 WOODWARD AVENUE - DETROIT, MICHIGAN CLARE AMERICAN OSBORNE BURROWES COURSE of music study L MUSIC Conservatory & Music Kindergarten and Primary Correspondence or Personal Instruction Nineteenthseasonopens September 15,1919—B egistrationweek be gins September 8 THIRTY-FOURTH SEASON •>)U-S*ll.fw4 P.r.nl. P. Tudma. Claim are doubled bj u» of Ibis method A SCHOOL FOR THE SERIOUS STUDY OF MUSIC Karleton Hack Eaihu.... JOHN J. HATTSTAEDT, "President Adolph W.ldi, Katharine burrowes Faculty of seventy-five eminent Artists and Teachers H.niot Levy HIGHLAND AVE.. H. P., - - - - DETROIT, MICH. Every Branch of Music: PIANO, THEORY, VOICE, VIOLIN Chicago’s Foremost School of Music delight easier to take ‘ ship tov.namc-ts of the National Lawn Located in spacious quarters in the new Kimball Hall ^W^niversity Tennis A- sociationand has been theadopted Building in the heart of Chicago's Musical Centre. Public School “All I have to do is to use my mind Ball of the Association for the past 30 years. (®/$ehool cfMusic instead of my fingers,” she said. Given for two new 1-year subscriptions to UNSURPASSED FACULTY OF NINETY ARTISTS Music and Drawing THE ETUDE at $x.75 each. MARTA MILINOWSKI, B. A., Director practiced so much with your mind,” said Free Atfuqntqges Modem Courses in: FALL TERM, AUGUST 29th A Musical School with Colley Standards. Uncle John, “but the more your mind is Piano, Voice, Violin, Organ, Harp, Orchestral Instru¬ used the stronger it grows.” Premo Junior StafaifTorSm (Freg) ments, Musical Theory, Public School Music, Etc. The next day Dorothy did four more measures in the same way, and reviewed Cam Students’ Chorus (Free) -o,.. ...fa*. .1 *u fa.-,™™. School of Expression and Dramatic Art School of Opera day before. On Certificates, Diplomas and Degrees by authority of the STATE OF ILLINOIS. ay she found a piece of is of the box in the country, supplies teachers for schools and colleges. the floor. “I wonder if type with universal fo¬ of that piece,” she cus lens. Size Public School Music surprise she found she of picture A MUSICAL BUREAU FOR SECURING POSITIONS could remember the first two lines with MARY STRAWN VERNON, Principal 2 Vt x 3 X. rs of Public School. Musi Many Fra. Advanta,es Excellent Dormitory Accommodations scarcely a mistake. Loads in day- growing demand for Men and Women te J. L. THOMAS L. A. THOMAS School professional ucrative positions are open to graduates or mis course as supervisors oi When music lesson day came around light with ese Positions pay good salaries under ideal working conditions. Thirty-Fourth School Year Opens Thursday, September 11,1919 Premo Film The Columbia Scho ,1 AAncir- an excellent training for these places and assists ita Thomas Normal Training School of icture Playing her teacher certainly was surprised and lployment agency. Pack, and all ins through the School Catalog Moiled Free on Application Ettablithcd 33 Year9 Individual and ela»s instruction. Practical work pleased, for Dorothy had memorized the whole first page of the piece, besides 'is ready. Simple instructions ai by sufficient teaching experience, music tudy. College or University’ Given for six subscriptions, express chargti thereby to graduate and secure their Di AMERICAN CONSERVATORY 571 K,MBALL HUX‘ 1196 Woodward Are., Detroit, Mich. Sure employment.(or graduates. Send For folder. the scale, away from the piano. The special features of the cour a?eaMTth£dsVMr WABASH AVENUE AND JACKSON BOULEVARD, CHICAGO, ILL. P. O. Box 582. LOS ANGELES, California Orchestra Conducting, Chorus,. extent Premo Junior No. 3 — Picture Iff x 4l4- r book free on request. Address Given for eight subscriptions,express charge* It is poor economy thus to save a few COLUMBIA SCHOOL OF MUSIC, 460 Ohio Building, 509 South Wabash Avenue, CHICAGO MILLIKIN CONSERVATORY of MUSIC The feraKIunoIs'rsity dollars for tuning when a comparatively SEND ORDERS ONLY TO Mas ran Lawrn Swarthout. Director Don,Id M. Swarthout, Associate Director small expenditure for the services of a “A SCHOOL OF RECOGNIZED STANDING” reliable tuner three or four times a year THE COSMOPOLITAN SCHOOL OF MUSIC TEACHERS : PIANISTS : ORGANISTS : SINGERS l.nr..ll:ncnt for I9IA-I9. 754-tke largr-t in the history of the school. Diploma and Certificate Courses The Etude will develop and preserve that sense of MStaS? Mu,lc- Wc"ufi“t' CoursM Publi‘ Sch°°> .-a pitch, without which the most fluent tech¬ Theo. Presser Co., Publishers AND DRAMATIC ART Your Name Should Appear in PROFESSIONAL DIRECTORY ... , , sevEV7-Ee.yr« year will open September is, im Dr. Carver Williams, President nic falls short of true musical interpreta- PHILADELPHIA PENNA. Kimball Building, Chicago, Ill. Itia.rrn.d r .si..h.r OS..I l.tw.h.-. seal aa Address: ADA E. LINDSAY, Secretary irofitable ACADEMIC COURSE of high grade, of (S« page 536) The cost is small. The advantage is inestimable. Plsasc mention THE ETUDE token addressing o advertisers. Please mention THE ETUDE THE ETUDE Page 536 AUGUST 1919 Your Eyes and Hands, DUNNING SYSTEM Friends or Strangers? Postage Rates Advanced July 1st A Group of Nearly every magazine in America will in. M^*fci««°.U,plEr.STego^^A17th^Scago RIlLf^XsJ1919^AUKEE’ crease its price sooner or later, as a result. New 5 Noteworthy ssH-as Music Book Publications teULfteu^-Kana-Sept-3di Topeka’ Kar “ rS M«iHwr;iY ApriI 20thi De—Co,°-June STJ2.00 '-J? Birthday Jewels Paul Wachs' Album Album of Compositions - OR INSTRUMENTAL FOR THE PIANOFORTE BY WOMAN COMPOSERS * “ c,a-Naw York City> r 28th‘ “78 w'103d st” Reg- Price I ' - ’ if &, T^i" fSSEfi^SK THE ETUDE 1.75 Price, 75 cents Price, $1.25 Price, $1.25 .new volume of little piano A LL lovers of good drawing-room music will WOMAN composers have made wonderful ‘ verses which may be sung ad. be delighted with this excellent collection strides in the domain of art. There is ANI»iirses are pleasing and of the of the most popular pieces by Paul Wachs. a delicacy, a refinement and a tender¬ £Ls2.00 4r >e .that appeals Uto the juvenile. The pleasing The collection has been prepared with the great- ness displayed in the compositions of woman mber for the mot>nth of June has the following 1, and contains the following gems: composers. This album contains some of the best Balancelle, Myrtles, representative compositions by successful woman Ballet Mignon, Pendant La Mazurka, composers, such as Mathilde Bilbro, E. L. Ash¬ Hurrah for summer’s glory. The Bee, Promenade Champe- ford, Matilee Loeb-Evans, H. Chrctcin. Agatha The roses are in bloom, Echoes du Tyrol, Backer-Grondahl, Margaret Ruthvcn Lang. Lily Professional Directory raullfie & All nature sings a story pairy Fingers, Rosy Fingers, Ruegg Button, C. Chaminade, Theodora Dutton, About cold winter’s doom ; In a Whirl, Shower of Stars, Lily Strickland, Marie Crosby, Paula Szaltt. H. .1. *-!Ts If you were born in June-time, Italia. Une Soiree Chez Andrus, Teresa Carreno, Amy Titus W orthing- S&SffiL* Now be you boy or girl, Les Muscadins, Chopin, ton, H. L. Cramm, Sadye Sewell, Mrs. Ord Bo- ir2-* If you’d enjoy both health and wealth, Madrilena, False Etude, hannan. BEECHWOODBKSdS AMERICAN Then always wear a pearl. March of the Flower Venetian Gondolas, A novel and interesting program of composi¬ of the book indicates, there is a With Lofty Stride. tions by Woman Composers could be arranged r each month of the year with The numbers in this collection are chiefly of from the numbers in this collection, and would COMBS •■ ARNOLD *^Saax, intermediate grade (Grades III-V), Wachs is one of the foremost French salon composers, be ideal for Women’s Clubs, etc. By the use of 1|$2^ & biographies and other data an excellent lecture BROWN and this collection is, indeed, a notable one in DUNNING S.SSS i;«2S»rtedv2 music publications. recital could be developed. CHICAGO ssssas F&BRI S-SnSSaS CINCINNATI aS^-Sisa Album of Descriptive Pieces Comprehensive Violin Method HAWTHORNE .~“:v, E PIANOFORTE Price, $1 COLUMBIA “SwSwis... ? the characteristic style of the pieces, which afford a chan O from the conventional forms of composition, this album will noV££ w to every pian__ . .. _ _ _ ^ i this oral but the exmt p< kriens tabcr. various moods, pictures, scenes and occurrences. DAHM-PETERSENrsJ^ - indeed, unique, and the pieces are within the control a book which boos something toward lightening ?5U‘3.15 "Jr aIbUm^cPo0S, instruction. Besides the usual scales and exeroli 1, the book, contains 100 « of the average play„J~.. There is no end to the uses to which these numbers duets for violin and piano, including many old-tin MOULTON rH-^SI DETROIT Saw numbers could be put, and the collection should be in the exercises are selected from standard works. In s “7.7? versatile pianist. minded appreciation of the young pupil's needs. NEW YORK ■SS&wfffe KNOX ""rrr-^rg, ™ri™. m 5325 £ ROGERS MARLOWE Favorite Compositions Presser’s Standard Music Lovers' Duet Book FOR THE PIANOFORTE FOR THE PIANOFORTE 8 '3- 6 Carl Bohm Price, 75 cents Orchestra Book Price, 75 cents VIRGIL WESTERN Price of each part, 25 cents ilC supplies the kind of ma- AN album of twenty-six four-hand pieces. -.'■S 1 is invaluable in teaching pu- Piano Accompaniment, 50 cents This collection is one of the best obtain- KL™Dlc B demand melodies. Many of COLLECTION of fourteen gems that L able for general use in ensemble practice, '3- S contain melodies so near the A sightreading practice and recreation playing. hey necessarily have become every average orchestra organization should possess. The orchestrations are The duets are both original four-hand pieces and BRYANT SSKB^SR CONVERSE COLLEGESsTw: remely popular. The following is a list of transcriptions from classic, modern and contem¬ contents in this volume: exceedingly well made and are of easy or in¬ termediate difficulty throughout. There are stir¬ porary writers. They are largely of intermedi¬ An Exercise for Shaping the La, Polacca Brillante, ring marches, pleasing waltzes, and reveries that ate grade and well balanced throughout. Seguidilla, will be well accepted wherever used. Each part Includes excellent numbers by popular is a separately bound book, and the following writers such »» Sousa, Holst, Stults, Music Masters Shower of Gold, parts may be had: Morrison, Lindsay and others. A few Silver Stars, Violin I, Clarinet I, classics by Mozart, Schubert, Cluck, Staccato Etude, Clarinet II, etc., are also included. Throwing Kisses, Violin II, Cornet I, False Mignon, Viola, Cello, Cornet II, The mechanical production of the book is ex¬ Vivandiere, The, cellent, being well bound and well printed <>n Wanda, Bass, m- Flute (Piccolo) Trombone, good paper. When placed on a piano the pages With Song and Mirth, Drums, etc., lay well, and it is not necessary to break the Zingara, La. Oboe, Bassoon, Piano Acc. binding as in so many cases with poor bindings. All Book Prices Temporarily Advanced Twenty Per Cent. Opportunity to Ascertain the Real Worth of the Publications of the Theodore Presser Company i:i3^reytidT8Fr^:du^ I a better opportunity of judging the genuine value of the books listed on this page we will f°f““ list in the selection of music, we have catalogs covering every classtfication. We will gladly send any of these gratis. Send Orders Only to MUSIC PUBLISHERS. DEALERS AND IMPORTERS pUI| ADFIPHIA PA The etude THEODORE PRESSER CO. 1710-1712-1714 CHESTNUT STREET 1 iTlLi/AL/LiL,I IIir\y X r\. Theo. Presser Co., Pub’s IKSsffir• Alice Brady in “Marie Ltd." seems that talk over the s going to terminate in a of temper. Alice with her his. is apparently hent on the trouble. Bur the are that she is the cause Select Photoplay Oct. 30, 1917 F. F. INGRAM CO. \ well-kept complexion is, of course, * necessity to one who faces the merciless camera in daily photoplay work. So naturally, I must be positive that 1 have the correct cream to use. No other cream could win me from Ingram's Milkweed Cream because it has properties that keep the texture of the skin fine and smooth and in proper condition all of the time, as well as being soften¬ ing and cleansing. I am most appreciative of it. G&-tg. Inc/fam's Milkweed Cream Charming complexions like fine teeth are largely a matter of proper care. Not only does the skin need to be kept well cleansed and soft but it also needs to be kept toned up and healthful. 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Room Sizes. perfume. Four tint*—White, Pink, Delicately, perfumed. Solid cake. Three Or, sample of Milkweed Cream, Rouge, Flesh and Brunette—30c. shades—Light, Medium and Dark—oOc. or Velveola Souveraine Face Powder mailed free on receipt of > postage stamp. FREDERICK F. INGRAM COMPANY Established 1885 r S A. Residents, address: Frederick F. Ingram Co., 43 Tenth St., Detroit, Mich. Frederick F. Ingram Co., Windsor, Canada