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9-1-1922 Volume 40, Number 09 (September 1922) James Francis Cooke

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1922-1923 Music Teaching Season Single copy, Price 25 cents. The Task of Securing the Best Publications for Teaching Purposes During the 1922- 1923 Season will be Easy for the Teacher Taking Advantage of the Liberal Examination ^ DISCONTINUANCES.—Owing to the^educational sms Privileges of the Presser “On Sale” Plan. Decide on Material Now for Fall Needs. Thousands of Teachers of All Branches—Piano, Voice, Organ, Violin, Theory and Other Branches Have Found Ushers are pleased to extend credit covering a Twelve V.I ggSg&aS&sxSSSSB the Presser “On Sale” Plan and the Other Features of Presser’’s Mail Order Service to Music Buyers the Most Con¬ venient and Most Economical Method of Securing Necessary Materials. Best Professional Discounts on All Publications, Liberal Examination Privileges, Convenient Charge Accounts, — and Prompt, Accurate Service as Given by the Theodore Presser Co., Save the Teacher Time and Money. Details of the “On Sale” Plan as (Pell as Graded and Classified Catalogs on any Branch Desired Will be Furnished Cheerfully on Request. The World of Music Material for Strengthening and Modernizing Piano Teaching Systems FIRST GRADE STUDIES FIRST STUDIES IN OCTAVE PLAYING

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3ES3 Theodore Presser Co. mo-mi.mi chestnut st. Philadelphia, Pa. SEPTEMBER 1922 Page 588 THE ETUDE THE ETUDE Page 582 SEPTEMBER 192: ^t= Schools and Collides Schools and Collides CHICAGO and MINNEAPOLIS CHICAGO ^ Chicago Musical College IF YOU MAKE UP YOUR MIND FELIX BOROWSKI, President Dr. F. ZIEGFELD, President Emeritus The Leading and Largest Conservatory of Music and Dramatic Art in America To continue the study of music, look around and select your school carefully FALL TERM OPENS SEPTEMBER 11 Faculty of More than 100 Teachers including the following noted artists: (Alphabetically Arranged) PIANO VOCAL VIOLIN Find Out What it is You Want LOIS DYSON MAURICE ARONSON BELLE FORBES CUTTER MAX FISCHEL | MOISSAYE BOGUSLAWSKI EDOUARD DU FRESNE FREDERIK FREDERIKSEN EDWARD COLLINS ROSE LUTIGER GANNON MAURICE GOLDBLATT Then Make Sure of Getting it HARRY DETWEILER MABEL SHARP HERDIEN RAY HUNTINGTON LILLIAN POWERS DR. FERY LULEK ALEXANDER LEHMANN MAX KRAMM JOHN B. MILLER LEON SAMETINI Education in Music under Ideal Conditions is offered by the ‘ ALEXANDER RAAB ADOLF MUHLMANN ORGAN LOUIS VICTOR SAAR EDOARDO SACERDOTE CLARENCE EDDY C. GORDON WEDERTZ BURTON THATCHER HELEN W. ROSS C. GORDON WEDERTZ HARMONY, COMPOSITION, COUNTERPOINT, CANON AND FUGUE COLUMBIA SCHOOL OF MUSIC FELIX BOROWSKI LOUIS VICTOR SAAR HAROLD B. MARYOTT LAURA D. HARRIS PAULINE HOUCK CLARE OSBORNE REED, Director TEACHERS’ NORMAL COURSES JULIA LOIS CARUTHERS (Piano) REPERTOIRE—INTERPRETATION CLASSES One of America's Foremost Institutions Devoted to Music Education along Modern Progressive Lines HAROLD B. MARYOTT (Vocal) MAX FISCHEL (Violin) MOISSAYE BOGUSLAWSKI (Piano) WALTON PYRE (Expression and Dramatic Art) RUTH AUSTIN (Dancing) BURTON THATCHER (Vocal) LEON SAMETI! All branches taught Vocational Advantages Emphasized Splendi^l Equipment PUBLIC SCHOOL MUSIC SCHOOL OF OPERA HAROLD B. MARYOTT EDOARDO SACERDOTE DRAMATIC ART AND EXPRESSION EMINENT FACULTY OF 60 ARTISTS WALTON PYRE MINNA MAE LEWIS 1 Orches1 a Taught OF THE TOTAL VALUE Fall Term Begins September 11 SEND FOR CATALOG Students May Enter at Any Time SCHOLARSHIPS OF $20,000 75 Free and 140 Partial Scholarships to be awarded Sept. 1. Application blank on request. Mason & Hamlin Grand Piano, presented for competition in the Post Gradua¬ tion Class by the Mason & Hamlin Co. Conover Grand Piano presented for competition in the Graduation and Senior Diploma Classes by the Cable Piano Company. Address Room 401 Valuable Violin presented for competition in the Violin Department by Lyon and Healy. Entire Musical Education for competition in the Vocal Department. These (-] •ill • ' ' ' r-v--r —— U-U r-L:-t~*—-,J—-"owned musicians as judges and with Chicago S—“'-k-ri—i—■— 'n-c L ' ■- ,p ,iJ nd Silver Medals. Dormitory Accommodations COLUMBIA SCHOOL OF MUSIC, 509 South Wabash Ave., Chicago CARL D. KINSEY, Manager, Open all the year 620 SOUTH MICHIGAN AVENUE CHICAGO, ILLS.

Lake Forest (Qt TliE A\A1ILLINOIS Music Season 1922-1923 Opens September 11th SCHOOL OF MUSIC AMERICAN CONSERVATORY 4 MARTA MILINOWSKI AND rcollegiate standing ai DRAMATIC ART CHICAGO’S FOREMOST SCHOOL OF MUSIC ^Breytspraak 1YCEUM Violinist; Robert W. Stevens, The Glenn Dillard Gunn DR. CARVER WILLIAMS, President Gillup, Organ; Hans Hess, Cel Harpist: Ethel Murray, Solfeggio S%RTS School of Music, Inc. An eminent faculty of 60 artists. Offers to 37th Session Commences September 11, 1922 prospective students courses of study based upon Desirable dormitory accommodations. rOMSERVATORY 1254 Lake Shore Drive :: Chicago t e tighest standards of education; a'so courses Offers superior courses in all branches of music and dramatic art, including Master School. Diplomas, Degrees and ( INCORPORATED) m collegiate studies for students unable to attend LAK EF OREST SC HOOL OF MUSIC A SCHOOL OF MUSIC AND DRAMATIC ART university. Diplomas, Degrees and Teachere' Box 14 Lake Forest, Illinois Courses in all branches—Master Faculty Including PIANO VOICE Certificates. JMany free advantages. Teachers’ Certificates granted by authority State of Illinois. Thorough preparation for concert, opera and teaching EUas Day, President and D ector; Marta Milinowski, VIOLIN THEORY Eidan G. positions. Many special features, recitals, lectures. lie Stevenson, ’Paget-Langer, Samuel Dolnick' Lewis; Mable W. Osmer; Mary 1 Trinity ne ^Boyd,^ James Hamilton, Anna Imig and Sweeney; Helen Ashley; Marie Henr Two Excellent Dormitories Offer Accommodations at Moderate Rates Normal Training in All Branches Daisy Waller Stephen; Cordon Camp¬ Principle iattc ^t^Jea<$ng°to d?plomas/0degrees and bell; Theodore Militzer; Evelyn M Chase; Lillian Magnuson; Helen UNSURPASSED FACULTY OF ONE HUNDRED ARTIST-INSTRUCTORS Pedagogy A Faculty of Distinguished Artists Thomas; Dorothy Liebe. rmitories and studios in our own beautiful build¬ Inner Feeling \ Ear ing in the heart of new art, center two blocks from Fall Term SOW VOCAL—William C. Williams; Mrs. W. S. Among them might be mentioned Labe MUshlgan^North Side. ^ Bracken; Shirley M. K. Gandell; Wm. Reasoning > Eye Opens Sept. 11 catalogue H. Knapp; Mrs. J. T. Beach; Mrs. Ru- PIANO—Heniot Levy, Allen Spencer, Victor Gar¬ ORGAN — William Middelshulte, Frank Van PUBLIC SCHOOL MUSIC—O. E. Robinson. JEANNE HOWARD, Box E, 1160 N. Dearborn St., Chicago, Illinois bee DeLamarter; William Philips; Eliz¬ wood, Silvio Scionti, Louise Robyn, Kurt Dusen, Herbert E. Hyde. Drills ) Touch abeth Dicks; Dwight Cook; Flora Waalkes; Violet Gahlbeck. Wanieck, Earl Blair, May Doelling. MUSICAL THEORY. COMPOSITION — HARP—Enrico Tramonti, Clara L. Thurston. VIOLIN—M e 1 v i n Martinson; Mary VOICE—Karleton Hackett, E. Warren K. Howe, Adolf Weidig, Arthur O. Andersen, John SCHOOL OF ACTING AND EXPRESSION Charles La Berge, Elaine De Sellem. Palmer, Leo Sowerby. —Letitia Kempster Barnum, A. Louise Suess. VIOLIN—Jacques Gordon, Herbert Butler, Adolf VIOLONCELLO — Robert Ambrosius. Stage Training, Public Reading, Physical Ex¬ Weidig, Ramon Girvin, Hans Muenzer. and many others. pression, Dancing. GUEST INSTRUCTORS, 1922—Josef Lhevinne, William S. Brady, George H. Gartlan, David Clippinger A dvirtVltrt (TP C • Including admission to Conservatory Recitals (by members of the faculty and advanced pupils); Teachers’Normal TrainW 1 fwvaniages. School; Lectures; Students’ Orchestra; Vocal Sight Reading Class and A Capella Choir! 25 free competitiv^cholarshios (Examinations from Sept. 5 to Sept. 8. Apply .or examination blank.) A Musical Bureau for securing positions. ■ Lyceum and Chautauqua engagements secured Bradley Conservatory of Mnsii

AMERICAN CONSERVATORY, 571 Kimball Hall, Wabash Avenue and Jackson Blvd. Chicago All Branches of Music JOHN J. IIATTSTAEDT, President—Karleton Hackett, Adolf Weidig, Heniot Levy, Associate Directuis THE ETUDE -ANNUAL SUBSCRIPTION, $2.00 Page 58Jf . SEPTEMBER 1922 COMBS r-;-- ' T 1 Sherwood CONSERVATORY/MUSIC Music THE ETUDE PHILADELPHIA SEPTEMBER, 1922_Single Copies 25 Cents VOL. XL, No. 9 Established 1885 Fifty Galloping Horses of awakening his energies through the recognition of the fact School that in the past he has used only one-horse-power, instead of The measure of mechanical energy is horse power. the infinite forces that the Almighty has given him. Founded 1895 The greatest thrill of motoring is the consciousness of power, the feeling that one has twenty, thirty, forty, fifty gal¬ William H. Sherwood loping horses ahead, tense on the bit, pulling one out through Regenerating the Race Through Music the world at the command of the brain. With minds elevated to higher thoughts, the wonderful The consciousness of power! That, perhaps, is also the Georgia Kober - - - President inspiring force of Music will lead to a regeneration of the race secret of the world’s achievement,—especially in music. along nobler lines. Home of the Sherwood Music School Walter Keller - - - Director Directed brain power—or if you choose to call it by a Notwithstanding the fact that Dr. Haweis wrote one of the shorter word—will has, in late years, become the net of char¬ most interesting of books in the literature of Music called latans always ready to sell to the public some expensive method “Music and Morals” (which by the way has very little “morals” for developing this energy by some secret process, which just in it) we have never been able to agree with the emotional folk Announces Addition gets past the Post Office Inspectors. who have made themselves believe that Music by itself has a But it is all so simple, so easy. We all know that we moral value. have latent forces and it is largely a matter of stimulating our Music is moral only when it is associated with noble, eleva¬ of imaginations to realize them, to develop them, to make them GILBERT RAYNOLDS COMBS ting ideals, words or actions. Then its importance in the human Founder and Director do our will. drama is transcendent. But Music by itself is like Fire, Water The 38th year opens September 11th, 1922 Perhaps your mind, up to the time of reading this print, and Electricity, enormously valuable when properly used, but has been a poor, tired, weak, old, broken-down one-horse¬ disastrously destructive when not properly used. Music may be SIDNEY power and you have never realized it. You have always un¬ used to degrade, as it is used in brothels all over the world. A School of Individual Instruction consciously pitied yourself for the lack of opportunity, for But when it is associated with men and women and children your health obstructions, for lack of capital, lack of social con¬ Theoretical and Applied Branches Taught Privately and in Classes under conditions enabling them to absorb the beauties of the art nections, anything to excuse your lack of success. Meanwhile, without any degrading tendencies, its value is infinite. your greater horse-power has remained latent, undeveloped; A School of Public Performance SILBER The mind saturated with the best music has very little dwindling away like a little stream which, if dammed up by the Four Pupils’ Recitals are given each week throughout cerebral space for unworthy, degrading thoughts. Naturally will might develop a horse-power of amazing force. the term. These, together with numerous concerts in it turns toward higher things and that is perhaps the great the conservatory and elsewhere, afford unusual oppor¬ Distinguished Concert Pianist and Teacher Of course, in music, as in everything else, staunch health human advantage of the best music whether it comes to you tunity for gaining experience in public performance. is an immense asset; but even your health, to a very large ex¬ via a great symphony concert, the point of a phonograph tent, depends upon your will and upon your determination to needle, the voice of some great prima donna, or the audion of to its Unsurpassed Faculty of more than Sixty Teachers, harness your life to those beneficent forces which lead upward Normal Training School for Teachers the radio. including many of International Reputation A comprehensive course covering all phases of teach¬ instead of downward. In the Golden Hour plan of character building in the Consider for a moment the case of Chopin. Here was un¬ ing along scientific, psychological and sound pedagog¬ public schools through specific instruction and inspiration ical lines. In this course definite principles are taught, limited mental and spiritual musical force harnessed to a poor, with a background of beautiful Music, thousands and thousands the reasons for them, and practical experience afforded All Departments of Music Taught hectic body, tearing it through life like a runaway horse, but of children are now being led toward higher standards of citizen¬ for applying them, thus assuring a logical and sure nevertheless accomplishing marvels in tone. Special Department for Public School ship. Music seems to have a value almost miraculous in inten¬ plan of procedure. Think of Wagner—physically almost a dwarf, but with Music . sifying the child mind. Without Music such a period as the a gigantic horse-power which pulled his genius to the loftiest Public School Music Supervision Two-Manual Practice Organ for Stu¬ Golden Hour would be as tedious as a cinema picture shown heights of Walhalla. dents without music. A complete course in accordance with the new and ad¬ Think of Schumann, Beethoven, Weber—all fighting for vanced requirements as proposed by the Commissioner Excellent Dormitory Accommodations a great part of their lives. of Education, Washington, D. C., and recently estab¬ Moderate Tuition Rates Is it poverty that is holding you back? Think of Mozart, Raising Our Professional Status lished by the Pennsylvania State Department of Edu¬ Recently at a meeting of experienced teachers the ques¬ cation. Combs Conservatory Certificate in Public Positions Guaranteed to Qualified Schubert and hundreds of others who, despite poverty, have at¬ School Music Supervision entitles holder to Pennsyl¬ Graduates tained immortality. tion was brought up, “WHAT CAN WE DO TO RAISE vania and other State Certificates, without examination. We have repeatedly seen one-horse-power musicians who, THE STATUS OF OUR PROFESSION?” Scholarships and Many Free Advan¬ One of America’s most experienced and distinguished au¬ tages by quickening their minds to a realization of the great fact Two Pupils’ Symphony Orchestras that the consciousness of power comes through grasping the thorities on musical education replied in the following direct Two complete Pupils’ Symphony Orchestras with ac¬ reins of the imagination and controlling the God-given forces and convincing manner: tual instrumentation—one of 110 pieces, the other of within themselves, have developed to become men and women of “The factors of foremost importance in raising the status 100, offer the rare privilege of orchestra routine and the FALL TERM BEGINS surprising force, character and accomplishment. of professional music teaching in America are: exceptional opportunity of public performance with Do you work as though you had at your command fifty “That which will lift and dignify the calling. orchestral accompaniment. Tuesday, September 5, 1922 powerful steeds ready to carry you to your life’s goals, or do “That which will make music more of a necessity as a you work as though you were lolling back in a rickety one- factor of education. Dormitories for Women “That which will create a greater loVe of music by the Catalog Mailed on Request horse chaise? Delightful and home-like surroundings in a musical Just to know, to feel that you have these forces within public at large. and inspirational atmosphere. Daily supervised prac¬ you, that you can begin to pick up the reins and control them “That which will make music a necessity in every home. tice and daily classes in Technic. For detailed information address in one direction, is one of the great joys of existence. “What is it that will bring about this condition? “It may be a combination of several things, such as: Faculty of 95 Six Spacious Buildings Let any one laugh who chooses. Thousands of successes Dept. E have been due to the same consciousness of power, well directed “Better pay for the music teacher. Year Book and Dormitory Catalog sent free of charge, upon request. and employed through right and just means for the welfare “Getting rid of the “pin money” teacher. of others. We have seen this happen so many times in music “Proper credits for music work in Public Schools. Gilbert Raynolds Combs it has the quality of an axiom to us. “A National Conservatory of Music. Director Sherwood Music School Time and again we have witnessed some obscure music “More Public School education in music. “The music supervisor of the future. Broad and Reed Streets Fine Arts Building CHICAGO worker living amid discouraging conditions, come to the point

Please mention THE ETUDK when addressing our advertis SEPTEMBER 1922 Page 587 THE ETUDE 4 4 T^kERHAPS your readers will think I am UT UUCKY is he who discovers that he has yJ talking too much upon craftsmanship, real talent; but most unlucky is he who -L but I want to make it clear that it is 1 imagines that he has talent and finds Then comes music in its educational sense—its valde in L all essential and that the only way to get it is “But that does not answer in the present case the ques¬ after it is too late that he has only a tendency.” training the mind has now been recognized by great psychol through technic, Czerny, Cramer, dementi and tion of the greatest need. We must know what is the greatest This distinction is not original with me because others. My old biffs at music stores will tell gists everywhere. This may be done in a measure by hearing Goethe phrased it long ago. It applies,_ how¬ factor, the greatest force, that will bring the above condition the story of what kind of stuff I used. , good music, but is never fully recognized until the individual ever, to many people who would be musicians. about. In my opinion it is this: “Not having the craft, it soon became neces¬ has learned to play some instrument or has learned to sing cor- It also accounts for much wasted effort. The “It is the quality of the force, the brains in the profession, professional musicians should be developed from sary after a time to do all I could without it. on which everything depends. If the music profession is such those who have real talent, not merely those who This meant slurring over difficulties; but I did that no one but mediocre people will enter, you cannot expect Then comes Music in its economic sense, its combination have the tendency. not let it spoil my fun in music. My left hand much from it. I say this in all kindness and in no spirit of with industry and civic events, the usefulness of ^hich is now “The splendid thing is, however, that nearly missed fire every now and then, but I got the criticism. recognized by our biggest men from coast to coast. everyone has the tendency for music, can enjoy spirit of things and it has added a thousand per cent, to my delight in life. I advise every young “A calling cannot rise above its disciples arid devotees. Finally and most significant of all is music used m con¬ music and may, with a little delightful work, enormously increase their interest in one of the person to get at least enough music to be able The stream cannot rise above its source. The strength of the nection with day-school work, to stimulate the child to higher . - * - i iinu /"I 1J_o/-» /iffon most exquisite of all the joys of life.—Music. to enjoy it. Do not be misled by all that I have whole structure depends upon the pillars that uphold it. said about craftsmanship. Craftsmanship and “The music profession has no limit to which it cannot discussed in The Etude. Music for Every Man musical vision do not always go together. The rise. It can become the most desirable, the most remunerative, We want our readers to know that after a careful survey “The day of confining music to the large city vision, the understariding is the most important. Take, for instance, the case of the very skillful th" most dignified of all professions; more even than the pro¬ of the musical field, we sincerely believe that the opportunities is now happily past. We are in a new musical vaudeville player who can do almost anything fession of law, or medicine, or the pulpit. erai Of course one must have a great opera in music are greater to-day than ever before. There is far more imaginable with his fingers but who has no musi¬ “The music profession has made the greatest progress of house to make the dramatic spectacles con¬ future in music for the young person n®w than there was twenty- nected with music that we label opera; but, cal feeling and no brain power. all professions. In Haydn’s day musicians were classed with five years ago. bless you, opera is only a very small and to “One of the proudest moments of my life was other family servants. Even in Liszt’s day the chalk line that Surely, we are on the threshold of the Age of Music. my mind quite uninfluential part of the whole when I found that I could play through the divided the guests from musicians was not removed. big scheme of nip .ic. With the constant spread Sonata Pathetique acceptably (to myself at “There are callings that are held down by natural bar¬ of information by means of the “reproducers;” least). It was all a matter of love and persist¬ My To-Morrow whether it be the printing press reproducer,, the ence. You see, I loved the Sonata and wanted riers, such as the barber’s (which was once held in quite high My to-morrow in music will be an edifice built of to-days. phonograph reproducer, the playet*-piano re¬ to do it very, very much. Any bumple pup who esteem), the skilled entertainer’s, such as jugglery, leger- producer or the radio reproducer, matters little; has the time, inclination and sticktoitiveness demairs etc.; these callings cannot rise above a certain height. Nearly everything I do before sun-down to-day will have the fact is that the little fellow way off yonder can do at least that if he keeps at it long “There is a magnificence about music which no other its effect upon my to-morrow. now has a chance to get almost as much music enough. profession possesses. It reaches heavenward. If it has any If I play Beethoven, Chopin and Liszt to-day it will as he is willing to work for. Don’t fool yotir- seld by thinking that the home of talent must make me a better musician than if I play trite music. Taking on Wagner at Forty-Five barrier it is that special endowment and rare gifts are re¬ be getting as close to Albert Hall, the Gewartd- If I play carelessly to-day, I may reform to-morrow; but quired to rise to great heights. haus, La Scala, the Auditorium or Carnegie “As more and more activities came into my “Therefore, the greatest need is very obviously that of why play carelessly to-day when it can do me no good? Hall as possible. Culture does not stand at the life I was obliged to give up music-teaching and raising the personal equipment, the ideals, the enthusiasm and Remember the significant words of James Lane Allen: corner of Forty-Second Street and Broadway, my interest in music since then has been largely nor only in the halls of Harvard, Princeton, a matter of appreciation. I have constantly tried the standards of musicianly attainment and scholarship of the “Every thought seed thrown or allowed to fall into the Yale or Columbia. 1 The educated men and to keep myself familiar with musical thought rank and file as well as of the great leaders in professional mind, and to take root there, produces its own blossoming sooner women of tomorrow, as always in the past, will in the modern sense, through reading, attend¬ or later into act and bearing its own fruitage of opportunity Dr. Frank Crane work. Everything depends upon the character, the education, not be limited to those who have had the opportunities, ing concerts, the phonograph and so forth. I and circumstances. Good thoughts bear good fruit,—bad but will include those who mould the opportunities out of the individual force of the men and women who adopt the pro¬ was forty-five years of age before I began to get an the white metal of life. Another quotation from Goethe fession of music.” thoughts bad fruit.” understanding of Wagner. I was a Mainstreeter and is right to the point: “Es bildet ein talent sich in der Music—The Joy and stille” (Talent is developed in retirement). glad of it. My wife and I came from our home on a The Age of Music Music for the Helpless “The difference today is that the “reproducing” oppor¬ visit to New York and we heard Tristan and Isolde at the Metropolitan. I was not merely bored but I was The world-wide awakening in Music is, to our mind, prov¬ “Though I speak with the tongues of men and of angels tunities I have mentioned are so enormously greater. It Need of Every Man is being shown everywhere. Only one who tried to study indignant to think that such a cacophony could be called idential. The hand of the Almighty is certainly in this. Civili¬ and have not charity, I am become as sounding brass, or a tink¬ music by himself as I did years ago can realize the An interview secured expressly for Etude music. I went away disgusted with Wagner in every zation has been passing through a reign of terror which makes ling cymbal.” I Corinthians XIII: 2. enormous difference. I had no lessons and no chance to sense of the word. Later we went to live abroad for the French Revolution seem like a back-alley fight. Following Music Magazine, with Men work their lives out accumulating capital and when get lessons. The reason? We were a large family and some time, and I was attracted to the great number of it, like a choir of Angels of Peace, has come music,—music all their means permit, some give bounteously of their acquired our father was a clergyman. Yet I had a tremendous people who attended the performances of Wagner at the tendency toward music. Nothing could have stood in the DR. FRANK CRANE over the world. wealth to those who they believe, by dint of their services or Prinzregenter Theatre at Munich and the Festspiel Thea¬ way of a tendency like that. I simply had to play. Music is one half of the inspiration of the hour. Every day Publicist—Clergyman—Journalist—Musician their just deserts, are entitled to generous consideration. Often When you have that feeling strong enough you will play tre at Beyreuth. I said to myself, ‘There can’t be any¬ brings new indications of the world-wide awakening in music, the gift is to strangers or to those who may not be born for a in time unless someone cuts your hands off; thing wrong with Wagner; it is you, Frank Crane, who or woman. He has mastered the craft of writing but here are just a few:—' century to come. This is called philanthropy—loving mankind. “Unfortunately for me, I never had anyone to provide must be wrong.’ So I determined to get an understand¬ New York Street Cleaners celebrate Music Week me with the proper kind of craftsmanship. What do I could never govern, despite his learning and vision, in ing of Wagner and possibly an appreciation. I went to The musician may or may not acquire large capital in political matters. Lloyd George is the man for that— by having an immense concert and sing in a New York mean? I mean sharp tools and the knowledge of how the book shop and bought all the books in German and money. Some musicians become immensely rich in these days. he is a; born governor. President Wilson, with his vision City Armory. to Use them to best advantage. I plunged right into music French I could find that pertained to Wagner in the Others manage to secure a competence for life and enough to itself, playing difficult music but never attending to the and ideajs, was possibly the biggest man at the Peace sense I wanted to grasp. I played and memorized the Danish Pianist named Philipson makes a success¬ care for their loved ones. But every musician worthy of the getting of craftmanship. That is, I never had anyone to Table; but as a governor he was not- in the same class motifs of all his operas. Then I started to attend the ful tour, of the Holy Land, reporting that he finds name accumulates a treasure in music which he may bestow upon insist upon my training my hands, my tools, sharpening with Lloyd George. Wilson knows the rules and regu¬ performances. I was sincere with myself but tried not good music schools, string quartets, and an apprecia¬ them on five finger exercises, scales, arpeggios, poly¬ others with a kind of spirit of philanthropy quite as valuable lations ; but Lloyd George knows his clay. to be obstinate. At first I could not grasp the immensity phonic exercises and studies. I had the tendency, I “Every great artist aspires for higher and higher tive public. in its place as hard cash. of Wagner’s great musical idioms, but finally during a think I had the vision and possibly some talent for music, craftsmanship. Michelangelo was . irritated by certain Ketchikan, Alaska, sends in a program of the performance of Meistcrsingcr it all seemed to come to This is what we mean: The following are^a few words but I lacked the guidance of-a good teacher. However, limitations of his'craft and always sought to overcome Community Symphony Orchestra Concert, not the from the forty-ninth annual report of the Philadelphia Home when I started to teach music myself years later, I real¬ them. Leonardo da Vinci, likewise, worked years and me. Since then I have had an ever-growing Wagner New York Symphony or the Boston Symphony, to appetite. for Incurables, referring to the greatest of American singing ized that students should have that very craftsmanship years for the Mona Lisa smile, so that there seems to that I had skipped and I dosed them with all kinds of lurk a similar smile in nearly everything he did. “This case is fairly illustrative, in degree, of the be sure, but a really interesting program. men—the late David Bispham. The Russian Opera Company recently touring technical exercises that seemed in any way necessary “In my case I had plenty of musical ideas; but I didn’t average man who is living on one musical plane—let us “Care of the; bodies of the invalids in the Home does not to me. have the trained ■ fingers. As a consequence my music the United States played in Tokyo to a very appreci¬ say the Jazz plane—but who wishes to climb higher. It exclude provision for the spiritual needs. Every Sunday a ser¬ “It is all very well to do as I did in studying—that is, soon developed into music teaching; because there, while is hard to realize that certain millions do not care ative audience. taking a Beethoven Sonata or a Schubert Moment Musi¬ craftsmanship was desirable, it was not strictly neces¬ vice is held to which a longing little congregation gathers to enough for the best music to induce them to buy that Harvard Glee Club tours Europe with enormous cal, picking it to pieces and devouring it a little chunk sary. I had a big class and continued it even while I hear the promise of life abundant and blessed. One glorious instead of musical bubbles that hardly live long enough success, singing compositions equal in difficulty to at a time, memorizing the pieces and reading books about was in the ministry because I enjoyed it so much. Sunday, last December, was the day Mr. David Bispham came to take form. It is a fact, however. But almost any those sung by the Vatican Choir, and astonishing Eu¬ the pieces; but sooner or later you will find that the fel¬ . [Editor's Note : Dr. Frank Crane’s reputation in his out and sang for the patients. It is impossible to say what this low who has just acquired the craftsmanship will do the own country has been a matter of constant but not par¬ man has an inclination for good music. The main thing ropean critics. ticularly rapid development. During the last few years, is to give folks the inclination. The situation is so much act meant to them. Their joy at hearing this great singer was same pieces just a little better and often in much shorter however, the enormous popularity of his articles and editor¬ These are just straws showing the advance of the world in only equaled by their pride when he shook hands with them.” ials have brought him to the attention of a large and ever- better today and there are so many forces for musical music. increaBing audience which is often surprised to learn of his good working to help the great cause along that there Just a little while later Mr. Bispham passed on to the life tnltpy activities in’ the past. That he was a musician and Hundreds of millions of dollars are annually spent for Handling the Clay music teacher for years, will certainly be news to thousands is no excuse in these days for the fellow who insists upon “abundant and blessed.” Your opportunity to give of your “While the things that make the great artists are of Etude readers. Frank Crane was born at Urbana, 111.. music in the United States. Considered merely from the stand¬ May 12, 1861. He was a student at the Illinois Western eating a meal of musical garbage like the hound dog on music riches is always at hand. Grasp it now, next year may be University and at the Nebraska Wesleyan University. He Vision, Spiritual Insight, Great Love for Mankind, and the back steps. point of an industry, its importance is immense. too late. was ordained for the Methodist Ministry in 1882 and was other higher qualities of the soul, the music student, successively pastor of many exceptionally successful Meth¬ “Some people seem to think that good music is the To our mind the greatest value of Music is providing in¬ whether he inspires to be an interpretative artist or a odist and Congregational churches. In 1909, seeking a still larger congregation and a broader literary and public field, result of social advantages of class. Nonsense! Much spiration and refreshment for everybody in as abundant a Forward! creative artist, must not forget tljat he cannot become he entered journalism, his articles being syndicated ii papers all over the United States. Meanwhile he had found of the best music is made in the ghettos of Europe. The manner as possible. This means music in every home, via per anything until he has the ability to handle the clay. time to write a small library of inspirational books upon millworkers of the north of England all sing. Some¬ formers, singers, talking machines, plater pianos, radio, every¬ Some people never acquire this ability. Sotne do not such subjects as The Religion of Tomorrow, The Song of the Infinite, Human Confessions. God and Democracy. Lame times they have complete little opera companies and give thing. need to acquire it. One of the greatest minds of the and Lovely, Footnotes to Life, War and World Government, Just Human, Adventures in Common Sense, The Looking performances of Gilbert and Sullivan operas in fine style. times is that of H. G. Wells. He could have no stronger Glass, Christmas and the Year Round. He speaks contin¬ Music and money are no longer Siamese twins. This is admirer of his ‘History’ than I am. I think that it ually to a larger audience than a thousand clergymen, and his influence for good at the present upset time, is rational, surely the age of music for every man. should be in the possession of every growing young man practical, vigorous and immense.] THE ETUDE SEPTEMBER 1922 Page 589 Page 588 SEPTEMBER 1922 the etude for liberty bonds than they would without a song. This Real Music in the Schools own heart. Sing and the world sings with you. That is now being transferred to business, and you will fjnd “I would like to talk to seme of those committeemen— is the reason why the government found that is was so everywhere in groups of men’s clubs that song is being Staccato Marks, Touches and Tones self-constituted educators who have never taught any¬ immensely valuable to have singing leaders connected used to bring the men closer together m the higher thing in all their lives—who used to look upon music with the Army and Navy—that singers at public meet¬ as a kind of fad which might easily be dispensed with ings could inspire men and women to subscribe far more brotherhood of man. By ORVILLE A. LINDQUIST in school. I taught school for some time when 1 was Professor of Pianoforte Playing, Oberlin Conservatory fighting for an education myself; and I want to tell you that I had music in my school—not once a day, but Getting There Without a Teacher portant, however, and that is that the fingers should be get a pupil to miss them with the pedal would be to plenty of it. I know what a wonderful thing music is There are three kinds of staccatos: mark them staccato. To be sure, these tones are played to wake up the children, rest their minds, keep them in Staccato, kept very firm at the tips. Putty fingers make clean staccato work a hopeless task. with a staccato touch, but if we mark all such places discipline and inspire them to higher efforts. Why! Portamanto and What under the sun is there that can equal it? It les¬ Another very necessary condition is that the piano must staccato where would we end? Even MacDowell’s To a Staccatissimo. Water Lily is played with just such a touch. sened my school duties fifty per cent. I had music half pressions. Nine cut of ten of these ideas may prove To be mathematically exact, a plain staccato is sup¬ have good “shut-off” dampers, for without these, although a dozen times a day. It was like turning on new force, We read in our Musical Histories of the splendid Another case where staccato markings are superfluous worthless, but the mental effort required to discover their posed to sound one-half the length of the note’s value; all other conditions be perfect, a good staccato is impos¬ new brain energy. The children loved it and so did I. results which were brought about by the individual and is in the extreme treble of the keyboard; although, as a unaided efforts of such musicians as Bach, Handel, worthlessness is not without value, and the tenth idea the portamento is held for three-fourths, and staccatis¬ sible. Even after all these conditions have been met, a It would be a fine thing if there was more and more rule, no great harm is done by such markings because simo for only one-fourth. perfect staccato, excepting in the middle register, is still music in factories. Not merely an occasional stilted Haydn, Beethoven, Wagner and others of their kind, may be preserved for future use. The following markings for staccato are used: Stac¬ often impossible because there are no dampers for the the strings at this end of the piano have no dampers and concert by the factory choral society, but music for the during their student years; and some of us seem to cato . .; portamento .'. .T , and staccatissimo upper treble, and in the low bass the strings have such are open, so that tones are the same whether the key is people themselves. That means that the folks will have be quite unmindful of the fact that the principle of self- The Club Idea a strong resonance that the dampers are not dsually quickly released or held down. to be trained in school as they are in other countries. help applies very extensively to all degrees of talent. Normal people, especially young persons, are so con¬ equal to the task of making a clean shut-off of tone. It is interesting to see the pains that are sometimes Why, do you know, I once went to a church in England Teachers, schools, supervised organizations of all stituted that it is difficult to enjoy a good thing alone. The player has to decide for himself a great deal as kinds as well as text books of various sorts are of course to which of the three kinds he should use, as composers When the piano key is released the damper in a fine in¬ taken with the fingering up at this end of the keyboard, where the whole audience, to my surprise, rose and sang The club idea has a strong appeal to all ages and classes very necessary to most if not all students; but there lies are often very careless in marking their staccatos. About strument touches the string and stops the tone imme¬ in order that a good legato by key connection might be Handel’s Hallelujah Chorus. They all knew it by heart. and may be put to good use by pupils in their teens as How many congregations of 3,000 people could be in all of these the danger of destroying or greatly limit¬ the only thing that we can be sure of is that when we see diately. obtained. Of course, whether keys were connected or well as adults who regard themselves eligible to profes¬ brought together to do that in America? The church ing the natural impulse on the part of the student to take a staccatissimo mark we know that the composer wants It is surprising how little importance is given this not at this end of the piano would have no effect upon care of himself. One must of course avoid extremes sional or semi-professional organizations. Such clubs, ! is a wonderful place for the dissemination of good the note very short, and when we see a portamento mark matter of shut-off dampers even by piano houses of very- the legato. good reputation. In their advertisements they are not music. Once when I came back from Europe I arranged in the matter; but the difficulty arises when the teacher to be effective,' should be established and directed with we know that he doesn’t Want it very short. Some com¬ An especially amusing case of this kind is found in a some Wagner motifs as Amens. The congregation liked or the text is expected to do it all. It will rarely if ever as little assistance as possible on the part of teachers and posers never use the staccatissimo mark at all, and over-modest about telling of the beautiful tone, the ex¬ rarely the portamento, so that when we see a plain stac¬ certain edition of Sgambati’s Nocturne in B Minor. The them far better than all the gospel jazz hymns that could work; sooner or later the student must make an effort parents. The club may be large or small; it may or cellent action, exquisite case or any other good point cato used we must use our own judgment in the matter only measure in the entire composition that is fingered have been foisted upon them. to assume a certain amount cf personal responsibility, may not include those who like mu ic but do not per¬ that the piano may have, but never a word about damp¬ as it is liable to mean any one of the three kinds. ers. Is it possible that they don’t realize what it means is one way up in the treble beyond the range of the ' and; it is well not to delay this attitude too long. form; its programs may be entirely musical—pian >, piano Music is Life to the player to have a piano with good dampers? You dampers. The fingering is purposely made very awkward “Music is Life,” wonderful vibrating life. It ener¬ The first attempts should be well considered and ration¬ and orchestral instruments, vocal solos and part songs— Three Kinds of Staccato can get neither a good legato nor staccato without them. so that a perfect key connection might be obtained in gizes the greatest machine in the world, the human ally carried forward. The student should cultivate the or it may include the reading of excerpts from books From the standpoint of execution we also have three Verily I say unto you, that though a piano have all the order to get a good legato. machine. At home in our family music was not merely habit of being wide awake to the way things arc; done or magazine articles, with or without discussion, bearing kinds of staccatos: other good qualities of the finest instrument in the world, There are some excellent musicians who contend that a kind of a parlor “what-not" exhibited to the visitors by those who know how. Recitals and concerts- afford upon some phase of music. Finger staccato. and hath not good shut-off dampers, it becometh as so tones struck staccato on open strings sound different as a museum of bad taste. Music came in all the time. a convenient opportunity for careful and critical .(Obser¬ The writer has in mind a club of this sort which con¬ Wrist staccato and much sounding brass or a tinkling cymbal. from those that are played legato. In a sense, this is There were six brothers of us and we always sang when vation (they should not always be regarded merely as tinued a profitable existence for several years. It was Arm staccato. true, because in staccato work there is apt to be more we came together. Once they gave Bradbury’s cantata, amusements or entertainments). The student should made up almost entirely of music pupils in their teens. Finger staccato, as its name would imply, calls for When to Play Staccato force applied to the key than when playing legato. How¬ Queen Esther, in school, and one of our favorite choruses also attempt to devise plans or methods of his own During its period of usefulness its activities wre car¬ action from the knuckle joint, although a little wrist “When shall I play staccato staccato ?” was once asked ever, if the same tones were played and given the same was “More Wine, More Wine”—a strange sentiment for me by a much-perplexed pupil. It is a wonder that this making to take care of problems or difficulties which ried on exclusively by its own membership. Its musical action can also be used with it. Two kinds of finger force as when played staccato, the effect would be iden¬ a Methodist minister’s home. Sometimes the spirit action can be used: a straight up-and-down action, or a question isn’t more often asked, considering the care¬ arise from time to time. And, last but not least, the programs were frequently supplemented by discussions tical in both cases. would take us at the dinner table and we would all start pulling in of the fingers—a sort of wiping the keys, so lessness of composers and editors in marking staccatos. quest for the short-cut should be promptly abandoned. of articles appearing in musical magazines, and occa¬ If, in the example given below, the notes marked stac¬ to sing. Hang etiquette! Why shouldn't one sing as to speak. This latter action is often spoken of as being For instance, one edition will have a plain staccato mark Such incidents as Handel wearing depressions in the sionally The Etude furnished both music and discussion cato were played legato and with the same degree of well as talk at the dinner table? best for a real quick staccato. I think, however, that at the end of a certain phrase; another will mark it material for an entire program. Outside assistance was force as when played staccato, I defy anybody to tell “We had an old melodeon, and in some way I got hold keys of his harpsichord, Beethoven revising passages as this is a case of the eye deceiving the ear, for the action with a staccatissimo, while a third will have no mark the beginning of the end, and the end came when entire in which of the two ways the notes were played. It is of Mozart’s Twelfth Mass. It was like heaven to me. many as ten or a dozen times, and Wagner copying out of the fingers for a real staccatissimo must be so very after it at all. This wouldn’t be so bad if the same programs were, given by professional (usually exploited) important, however, that the listener turn his back to I will not venture to say what it seemed like to the other the entire score of the “Ninth” Symphony (for study quick that it doesn’t seem that the finger could possibly marks were adhered to throughout the composition, but musicians in no way connected with the organization. the player, for here we have an interesting illusion. If members of the house; but I do know that before I got purposes only) should not be forgotten. There is also have time to take a toboggan slide on the key while as likely as not in the very next measure the same type through I had driven most of the members of my family Such groups can scarcely be expected to become at all the player took these staccato notes with a quick upward no reason why the student should not follow Beethoven making so short a tone. of phrase will be met with and not be marked at all. out of doors. A twelve year old boy, with Mozart’s permanent; but much good may be derived fnmt ac¬ thrust of the wrist, you couldn’t convince the looker- in the use of a note book, if not to jot down actual In wrist staccato the action is from the wrist, while When the last note of a phrase falls on an accent it is Twelfth Mass and an old melodeon can create a lot of cepting certain responsibility and then “seeing the tiling on that they were not cut off short. A clear case of the at the same time a slight finger action is used. Wrist made staccato, and the stronger the accent is the sharper commotion. Finally I learned it and even my parents musical themes, at least to record musical ideas or im¬ through,” even if it be but for a single year. staccato is used a great deal—perhaps as much as the should the staccato be. If the pupil will but follow this eye deceiving the ear. were proud to have me play it for visitors. finger staccato by many players, and no doubt many rule, he will not be bothered by inconsistent staccato “Making music and having music made for you are Ex. 2 Valse in E Minor, Chopin times when a finger staccato would be more practical. markings at the ends of phrases. two different things. That is why I am so greatly in Vivace Don’t “Stuff” the Pupil Especially is this true in rapid staccato work. There is favor of congregational singing. Let us have the best Sometimes a phrase that should be cut off short is also great danger that the pupil will make too excessive music obtainable in our choir lofts; but let us not deny spoiled by too prolonged pedaling. If the pedal is used motions in executing the wrist staccato—an all too com¬ the pew-holders the joy of making music themselves. By Edward Ellsworth Hipsher on a phrase that is to be cut off staccato, it should be mon fault with phrasing in general. The way some If the pew-holders do not take an interest in making released, not on the staccatoed note, but just before it. hands fly up in the air makes me think of what Mark The way phrasing in general is neglected would lead music they may not develop an interest in hearing it. A kind hearted farmer told his neighbor that he might through, is the height of folly. Then, to allow tin pupil Twain said of the ant. Mark thought the ant was given one to believe that it is a very difficult feat to perform. Much church music in America is awfully bad just for have all the apples that he could carry m the sack in his to go on to other work before the last has been mastered a great deal more credit for its wisdom that it really de¬ The opposite is true, however, for when a phrase is that reason. People do not go to church to be sung at; hand. The neighbor, thinking that apples so easily is but to court dissatisfaction and loss of confid nee in obtained might as well be taken in good measure, went served. properly made the finger is left free to prepare itself they go to sing. They want, first of all, beautiful your ability. SSk * * under the tree and filled his sack till it could barely be “What other animal,” he says, “when it found a tele¬ over the next key. melodies coming out of their own throats before they Give the pupil a reasonable amount of work to do and tied. Then, with the rack on his shoulder, he started phone pole in its path, would crawl up to the top, over It is a poor plan for the teacher to keep his eyes want complicated harmonies. John Wesley had the then let him understand that you expect this to be well Many players have about the same idea of phrasing and down the other side to get by ?” constantly on the pupil’s hands or on the printed page right idea. Many church musicians seem to think that down the road towards home. Before he had gone far prepared. It is rare that any pupil will be able to net the and fingering that some people have of the Ten Com¬ the strain of the sack bending over his shoulder caused The greater the artist, the fewer of these aerial flights of the piece that he is playing. He should frequently divine worship should be about ninety-five per cent, real value out of a study of any sort in a single lesson, mandments. They think of them as they would of the it to burst and the apples were scattered over the hard do we see in his playing. turn his back on the pupil and listen. If the teacher sacred concert and not any too sacred, at that. Fortun¬ the first time, it is more likely that scarcely more than four walls of a jail—a something that hedges them in ground and many of them bruised or crushed beyond use. In arm staccato the action is at the elbow. There can who hasn’t been in the habit of doing this will but try it, ately the great body of church-goers in America have the skeleton (the notes and time) will be learned. Luckv and takes away all their freedom.. Of course the con¬ enough common sense to think differently. Mind you, Just so it is when we overfill the mind of the pupil. also be a little action at the wrist; the latter being kept he will quickly realize the truth of the old adage, “All teacher lucky student, when more is done. No, almost trary is true. They will pot have less freedom, but a I consider myself a musician familiar with the best, and Each mind has its capacity. If we go beyond that limit in a tense or relaxed condition according to the conveni¬ things are not always as they seem.” as a rule, there will be points of finish overlooked, even great deal more, if they will obey the marks of phrasing our standards of music in the church must be high, but we put a strain on it that it will not bear, at least not ence of the player. and fingering. For this reason I think it is a mistake to Sometimes we have to play staccato in order to obtain if he notes have been accurately performed, which will you can never have a musical church until the people profitably. There is a limit to which it will carry a load However, in playing staccato the manner of doing it a better legato. For instance, when two or more voices make it well worth the student’s while to give the lesson have a pupil learn the notes first and then get the phras¬ themselves are inspired to take part in the services. I both with pleasure and advantage; but beyond that it is is only of secondary importance. The average pupil ing afterwards. are to be played legato, all repeated notes are made stac¬ folly to venture. a second period of study. The limit is more apt to be hears too much about how this or that touch should be cato. This, however, is only true in rapid tempos. In have said that Music is life. Perhaps, one of the beyond than below a second study Marking notes staccato that are also marked to be reasons why some churches are dying is that there is no The mind has its capacity, limited in many directions. made. There are too many kinds of touches and tones. sustained by the pedal is a very common fault in many slower tempos the repeated notes are let up on the last All these must be studied by the teacher. All these must The amount the pupil L able io do well is limited The pupil reads of so many that he is bewildered. If the half or quarter of the notes’ value. In Example III the “giving-out” upon the part of the singers in the pews. often by physical conditions. The student with low editions and often very troublesome to pupils. Many Revivalists depend upon getting the people to sing. Let be measured. To know just when the boundary line eyes were closed and the ears opened, these one thousand varieties of this fault might be shown if space would repeated E-flats in the alto and soprano voices are all and one different touches would dwindle down to about the choir hold up the musical standards, but don’t forget beyond which it is dangerous to venture has been reached permit. (See Ex. 1.) played staccato. is one of the faculties which the successful teacher must a half-dozen more or less—certainly not more. that worship means participating, fourth-putting, Minuetto, Op. 2, No.l, Beethove Nocturne, Op. 9, No. 2, Chopin £x “giving-out.” develop. In fact, without this, failure is almost already If we go to the mill to have some wood cut into cer¬ at the door, regardless of preparations and natural =a “rs tain lengths we don’t care what kind of a saw is used— “It is psychologically right to regard church music aptitude in other directions. 5nTetdhbutP^al StrCngth t0 maSter' Such a course handsaw, bucksaw or crosscut saw; but we do care that in this light. All the pleasures that are constructive First, each pupil has his limits as to the amount of N n lY SCOn?gemCnt and ,05s of interest. the dimensions are exact. pss and helpful are “out-going.” Did you ever think of work he can master profitably in the time allotted with the honl 7? ?Vpi' throueh a >°‘ books that? Opium, alcohol and vice of many kinds are not between lessons. Certainly enough should be assigned to to the hope of fooling him into the belief that he ic The Part the Dampers Play “out-going.” The higher love of a fine man for a noble fill his scheduled practice hours full of earnest effort. ™eP the"sg't Wt°ndcrful things' Some day he will Almost any staccato can be played with any of the Uaii woman is a matter of devotion. The greater the de¬ Interest is whetted only when there is something to be three above-mentioned touches. Of course, if the stac- you forlt r- ‘tS real Hght and wdl desPisc All repeated notes in rapid tempo are played staccato. done that challenges the very best that is in the worker’s the pupil at thfc 3 rf.as°na^Ie amount of work. Keep ■ cato was rapid, we naturally would want to employ the votion the greater the joy. Precisely the same thing Staccato markings over such passages are usually un¬ exists in music. Go to opera, go to fine concerts, hear power. But care must be exercised that the impossible r££i Sy shorter levers—finger staccato; if a great deal of is not asked. There must be a probability that the pupil ™ strength was needed the arm staccato would be best; It is hard enough for teachers to get their pupils to necessary, unless it is done with the idea of enlightening the best music, but always remember that the loftiest the pupil as to the spirit of the passage. But this is shall be able to prepare the assigned work at least Thf jtmyu i—IUUKS IO>o me but the all-important thing in playing staccato is for the pedal these fundamental basses clearly without being pleasures in music will come to you through the music rarely necessary. The danger here is that when the reasonably well. To assign pages of new material, which be of a nature to ii 5 a ri&ht to expect these to pupil to think a tone short and then listen to see if he is hampered by the staccato marks. Of course, if these that you make yourself,—the song that comes from your at the best can be scarcely more than read or stumbled him^ to the most careful work. pupil sees the staccato marks he is apt to over staccato And careful work requires time. getting it so. In other words, depend upon the ear rather tones are caught by the pedal they will sound the same than the eye. One thing in playing staccato is very im¬ whether played staccato or not; but the surest way to the passage, thereby losing his freedom or repose, a 1 THE ETUDE Page 590 SEPTEMBER 1922 THE ETUDE SEPTEMBER 1922 Page 591 The Basis of Musical Imagination thing so necessary for him to retain in rapid playing. strength and velocity. In practicing for velocity it is The following example from Beethoven will be found important that only a pure finger-staccato is used and marked staccato in most editions. not a combination of wrist and finger-staccato. By Austris A. Wihtol How to Get a Start in Chautauqua Some teachers would eliminate the legato touch en¬ tirely, claiming' that, owing to the pressure touch used, By CLAY SMITH it is a hindrance rather than a help in gaining speed. s well' understood that there can not be any Since it There is no’ question that too 'much pressufe playing A practical article from one who really knows that will answer hundreds of inquiries upon this subject. such thing ass ana intelligent interpretation without the aid has a tendency to make the fingers stick in rapid tech¬ of imagination; is also understood that by discussing nic ; but why eliminate all legato practice because the Who Is Clay Smith? imagination, we e making plain certain things relative pressure legato is bad? Legato touches vary from the to interpretation. You may not know Clay Smith, but there are literally millions of things as he saw them. Succeeding in seeing many interesting things, what strongest fortissimo played from arm weight to the would easily note, that With a little observation one people who do. He is one of the shining graduates of the University of he put down zvas interesting. Next he became interested in the possibilities' faintest pianissimo with no weight, and scarcely any ac¬ in reality twin sisters, imagination and memory are Hard Knocks, which boasts among its alumni several presidents of the of Chautauqua in its modern or canvas-back sense and organized an excel¬ tion of the fingers. Imagination is nothing more n or less than one’s own All melodies at the lower end of the keyboard, except United States, to say nothing of such unusual personalities as Andrew lent company known as the Smith-Spring-Holmes Company, which has those in slow tempo, should be played staccato, or at (natural) way of arranging, c r putting together, the Stop, Play, Listen Jackson, Abraham Lincoln, Mark Twain, Thomas Edison, Charles Dickens, since then played almost everywhere the railroad reaches. Meanwhile he least semi-staccato, to insure clearness. Such melodies different things that one has seel i, heard, learned, or ex- I believe that every teacher will agree that, in prac¬ William Dean Howells, Richard Wagner, Edward Elgar and a few others. learned the saxophone and studied composition. He has written some played legato would cause more or less of a muddle ticing a passage slowly, the same muscular actions perienced. Clay Smith’s life story is almost as interesting as his exposition of Chautau¬ extremely successful songs of the order of ‘‘Dear Little You” and ‘‘Sorter owing to the strong vibrations of the bass strings. should be used as are used when playing the passage Knowing that an impression i made by the blood In an article on staccato work very little can be said at a fast tempo. There might be more action used in vessels as they are rebuilding the brain under outside in¬ qua life and Chautauqua music which began in The Etude last month and Missed You.” about the use of the pedal, since when the pedal is de¬ the slow tempo but it would be of the same type as fluence, and knowing also that a recollection is made by ends this month. He knows the music of Chautauqua from the Alpine Artists to the pressed it is impossible to make a staccato tone. ' Care that used in the fast tempo. the blood expanding, or otherwise placing the brain, in Starting some years ago at Greencastle, Indiana, to play a horn in a Zingani. He has told what he knows to The Etude Music Magazine. should therefore be taken, when playing a piece con¬ As I understand the action of the fingers in legato— the same contact and relation with the nerve system as it band, he soon adopted the trombone and studied with several famous and he has told it in his ozvn zvay. Thousands of young musicians have taining much staccato work, to see that too much pedal not legatissimo-playing, it is in brief, this: One finger was at the time when the impression was made, it would teachers. For a while he played in a circus band. Then he commenced to written us about the possibilities of Chautauqua. This article and the one isn’t being used. not be difficult to understand the following explanation. or key ascends exactly at the same instant that the other write for The Lyceum, Billboard, etc., putting down in his own language last month give the facts.—Editor of The Etude. Staccatos put life into a composition while pedalling descends, just as the opposite ends of the teeter-totter Imagination is influenced by a free and often feebly has the opposite effect—not always, but usually. Take would do; or like the working of a two cylinder engine. controlled stream of blood, flowing through the different The great progress and' phenomenal growth of the out that they were underpaid. When I found that they only two solos on the program—but she would have to Example V, for instance: It is the natural thing for I can’t see how it would be possible to play at a very parts or departments of the brain and reviving im¬ lyceum and Chautauqua movement during the past dec¬ were only drawing $40 and $45 per week, I offered to play the piano accompaniments for the tenor and that the pupil to want to pedal this second measure, in fact, great rate of speed with any but a legato finger action. pressions, often in such art order, as they were never ade has naturally caused a -great many students to be¬ intercede with the producer myself and see if I could seventy-five was all the position would pay. She would to look at it one might be inclined to think that the This question could easily be solved to the satisfaction received originally. The freer, the less controlled, is the come interested in this work. The all-absorbing ques¬ not get them a raise. not consider it for a moment. I wired the company and proper thing to do, since the harmony is perfectly clear. of all if we could but get a slow-motion picture of a blood flow, the stranger is the order of the revived im¬ tion to the young aspirant is ‘.‘How to get into the work?” Now here is the producer’s story. He said: “Yes, they stretched a poipt and agreed to pay $80, but sbe If this measure were in a piece of the Nocturne type trill as played by any of our great artists. Perhaps I am pressions, the wilder “the flight of imagination.” Let Therefore, I am going to deal largely with this phase of I am getting the boys cheap this first season and on the must play their accompaniments. She would not con¬ it would be better pedalled; but as this particular com¬ wrong, but I am of the opinion that the camera would me once more make it clear to the layman, that there is the question and .employ cold facts to help these very face of it, it may look as though I have taken advantage sider it at all; and, as I write this one year later, she position needs to be played with lots of spirit it would, show that a legato finger action was being used. If so, no thinking without brain action; there is no brain action people. of them now that they are a ‘going concern’ and a suc¬ is still in the same picture house at less than $50 a week in this case, be better not to pedal it. Study the mood that would be the touch that should receive most atten¬ without blood flow, and the blood flow by itself cannot In the first place, generally speaking, the amateurs cess; but, mind you, I assumed all this hazard. Let me. awaiting her “opportunity.” of a passage before deciding how it should be pedalled. tion in slow practice. produce any intelligent thought, other than is caused by tell you the story. The first tenor was clerking in a I have come across this snobbish idea of not wanting reviving previous impressions, made by different outside who knock at our doors are burdened with two great Scarf Dance, Chaminade Since this article is on staccato work, no doubt some cigar store at $12 per week, and had a hard time to tq play the accompaniments or participate in any of the influences. That is the reason why, we have to study handicaps. The first is an inflated idea of their worth, reader will be disappointed because more hasn’t been pay for one lesson per week. I started him at $45. The ensembles before, and I cannot understand it. Of course, from other people, or preceding generations. and the second is that they are either without a reper¬ said about how the various staccatos are made. To toire or, if they have one, it smacks of the threadbare, bass was trying to write life insurance and wasn’t earn¬ I know this, too, is inspired by the teacher; but I cannot One, conclusion to be drawn from the above is i 1 jJiB such a one I would say as at first: Think a note short academic teachers. It would be hard to say which is the ing his salt, to use his own expression. I gave him $45. reconcile myself to the idea. w and let your ears be the judge as to whether it is so or that those much cherished compositions of ours are not greater of the two evils. The second tenor was a taxi driver, who wished to get Little Chance for Mere Accompanist not. It is an excellent thing to have a keen eye for nearly so original as we ourselves think them to be. In The exaggerated idea of their superiority is largely a foothold in something better. He didn’t have much everything on the printed page, but it must be left for every composer’s life there are, roughly speaking, two brought about by their teachers and relatives. A teacher of a voice, but I saw possibilities in him through his In the Lyceum and Chautauqua work, as indeed in most concert work, one should be willing to double in any the ear to decide as to how the playing sounds. periods; a period of imitation and a period of original¬ who charges $5 and up per lesson certainly must hold other attributes, so I gave him $40. The second bass way possible to further the success of the program. STOP! LOOK! LISTEN! has done wonders to¬ ity. With some composers the period of imitation is out some future financial reward for the pupil in pro¬ was night clerk in a, small hotel at $$ a week and his Don’t be afraid that it will cheapen you. It will have In the Example below (Example 6) it would seem wards making careless people more careful. Would shorter than with others; but it is there just the same. portion to his charges. This idea is always reinforced in room and board. I started him at $40. I gave four more of a tendency to raise your stock in trade. In that to mark the treble notes staccato and at the same that every piano pupil might have a LOOK! PLAY! Do you suppose that the reason why publishers semi our the pupil’s mind by inflated statements about what so weeks of my own time putting a program in shape, fact, it is expected and demanded in most cases. If you time expect'to catch the bass tone with the pedal was LISTEN! sign somewhere on the piano, in plain sight. compositions back is, that the older men see too much of and so of his acquaintance is getting, etc., until when he which service, if they had had to pay for it, would have are a soloist and can play the piano well enough to do also a mistake. This is not so, however. The effect is Five minutes of real listening will do more towards de¬ our imitation period about them? Let us think about is ready to make his application for a position he (and cost them a pretty penny. After assuming all these re¬ the accompanying for the other members, many times made by hanging on to the bass note with the finger veloping a good staccato than hours of striving after that. The period of originality is also by no means a in this case “he” embraces “she,” as the old wheeze sponsibilities I consider they are being paid all that is you can get more salary for this. Even though you do and depressing the pedal after the staccato has been certain hand movements or conditions. HEAR YE period of creation, (as we understand this term; ome- goes) asks for a great deal more salary than he can coming to them.” HEAR YE, and PROFIT THEREBY! not get extra money, it will enhance your opportunity thing made out of nothing,) but rather a period of se¬ possibly get, and the chances are a- great deal more than I agreed with him. Wouldn’t you? for a position. For example, suppose a position is open lection. The difference in originality is accounted for he is worth. Last year I was looking for a violinist for a certain by the difference with which the different brains are sub¬ for a contralto; ten people are under consideration; On my desk, as I write tjiis, are some twenty letters company. I heard of a good one. Her teacher said she Undisturbed Practice ject to impressions. So if any of us youngsters really was playing in a small picture house, while waiting for three out of the ten can play piano or double in some froin folks wishing to get into this work, and most of other way. Don’t you see they have a great advantage? wish to compose something worth while, it seems that them mention a salary from $60 to $125 per week. Now, . something worth while. I looked her up, heard her play, the best thing for us to do would be to get acqua ated liked her work and asked her what salary she wanted In fact it is almost impossible for a “straight accom¬ this is all right. I believe in trying to get as much as panist” who can do nothing else to get a position in our By Lillian B. Martin with as much musical material, such as is employed by one can, but this is more than is generally paid for a for 16 weeks. $100 per week was her answer. I ex¬ good composers, as possible. plained to her that this was a trio company, that they field at any price. There are a few high class recital totally unknown person and no doubt is the reason why trios who are using an accompanist; but in these cases In order to develop, or seemingly to create, an artistic many letters to managers are never answered. were fine people and her work would be very easy- - Parents should refrain from disturbing their children conception, the brain must be “fed” with the kind of the pianist must be far above the average and be able Chautauqua musical performers have recently adopted during the practice hour, if the desired results are to be material that it requires to draw the imaginary tone pic¬ to take a place on the program as a soloist. a uniform contract which gives $40 per week as a mini¬ Mention has already been made in this article of the obtained. Calling Mary or John away from their les¬ tures. For instance, a certain composer lives in a cer¬ Here is the reason for this: The bureau managers mum wage. This is a little better than the minimum staccato touch being used in MacDowell’s “To a Water sons to answer the door or to bring in a stick of wood tain period, when there are certain instruments that pro¬ estimate that it costs $40 per week per person (on an salary in the contract adopted by the “Equity” (the asso¬ Lily.” The opening chords in this composition, although does more to destroy the desire for study than anything duce a certain quality of sound or music. The customs average) for carfare alone. Then if this person carri.es ciation of actors and musicians in the theatrical field). whole notes, are left immediately as if they were quarter else in the world, and parents should realize that music and the habits of that period are such and such and the a trunk it will average $160 per season. All this must It is low enough, I grant you, and I wish it were raised or even eighth-notes. The idea is of course to get away cannot be properly learned when the child is constantly people and life treat the composer in a certain way. Un¬ be considered before the salary of the performer is con¬ to $60 minimum, but in my 23 consecutive years of ex¬ from one chord quickly in order to get the fingers pre¬ interrupted. der all the different outside influences the composer writes sidered at all. Put this at the minimum even, and you perience I believe fully nine-tertths of the beginners pared ready to play the next chord, the pedal being used Father does not want to be annoyed when he is writ¬ a composition, thereby expressing his moods and feelings have a cost of almost $100 per week for each extra per¬ were amply paid at the $40 minimum. to connect them legato. The use of the staccato touch ing, neither does Mother want to be pestered while en¬ in terms of the day. Unless the student is familiar with son you add, so you see it stands them in hand to engage for preparation in this manner is exceedingly common. gaged in her needlework; but neither parent is confronted all these things, he has little chance to reproduce the some people who can double on piano or in some other The Danger of Asking Too Much Everybody is familiar with it, but it is surprising how with such difficulties in their respective pursuits as is composer s thoughts above Reproach, or to do justice to way. many real good players needlessly keep their fingers frequently encountered in the study of music. Children the composer by his “interpretation.” Just a few days ago I wag approached, by a violinist A common double is a vocalist who does readings. A “glued” to the keys. This is a fault that should not be are often pronounced “backward” in their music when “Study history and musical history,” is an old com¬ who was very anxious to get a position for this summer good reader is a “life-saver” for many of the average overlooked in a pupil because, next to stiffness, it is the their failure to progress more rapidly may really be mand; I should repeat it. and very emphatically stated she would not consider a companies, as a reader can fill twenty minutes with a chief cause of lack of freedom at the keyboard and the attributed to inconsistency on the part of the parents. A large part of interpretation has to do with an under- salary less than $65 per week, although she was then selection, while, if you tried to put over a musical selec¬ player who is not free in his playing can never hope to Parents should assist to the utmost of their ability in standing first of the principks of expression and then an working in one of the big department stores for $15. tion of the same length under a hot tent, they would all reach a very great height. promoting the musical education of their children; they appreciation of the historical background. She had never appeared a half-dozen times in public, “go home on you.” A reader is always popular, espe¬ The use of this preparation-staccato in practice is should be interested in music, should listen attentively to although she had been studying violin several years. cially one who is clever in child dialect and humorous excellent, especially is it so for skips or rapid chord the child’s execution of a selection, and should also en¬ Wouldn’t it have been much better for her, if she had selections. There are also singers who can take up a few moments on a program with something like a crayon work. The heavy chord work in Rachmaninoffs Prelude courage the child to practice. The parents’ co-operation Marche Aux Flambeaux been willing to accept something at almost any price, in C Sharp Minor furnishes us with a good example helps both the pupil and teacher and is one of the most above the minimum, and then, if she had the “goods,” drawing or whistling, or in fact, any sort of a novelty for practice of this kind. Practice in this manner: important factors in bringing the pupil’® musical educa¬ „JT is not surprising that such an alluring title as she would soon have been able to demonstrate it, and to Tireak the steady run of music and add variety to a Count four on each chord, leaving the chord immediately tion to a successful termination. Torcfilight Dance” should have been used V many the greater salary would logically follow. In fact, she program, thereby making themselves the more valuable’. I would like to cite an example of a very fine trio so that on count three the fingers are already prepared If parents require their children’s assistance around thoT7SM Pr°KbabIy the best k"°wn at this day are would be able to dictate terms better after she had the house they should emphasize the fact before the that went out last summer, which I think illustrates how over the next chord. After this becomes fairly easy German te^^P ,Rubit?stein a”d Guilmant. (The “shown ’em.” to do, try preparing the chords on count two. A little practice hour begins, or, if duties have been neglected, German term is Fackeltanz.) The Fackeltanz is a very A few years ago a certain producer organized a male essential it is for each one to double and work for the practice of this kind will soon convince the player. It remind the child immediately after the practice period. old dance usually introduced at weddings in the royal quartet and booked it at $200 per week. It was com¬ success of the program rather than for the individual. not only develops a quick movement but also makes one But under no circumstances should the pupil’s attention posed of four young fellows of good appearance, and. One of the finest tenors I have ever heard signed with be distracted while he is absorbed in his work. the” weddfnf haH t0r,ches in ha"d marching around a bureau for the season of 18 weeks. He had no say think, and as a man thinketh so playeth he. the nnlnn u The form of the dance resembles while there wasn’t a really first-class voice among the Most of our piano technics are written, to be played the polonaise in three-quarter measure. It was usually four, still their voices were evenly balanced and blended in hiring the other two members of the trio, only stipu¬ lating that the violin soloist and pianist should be ill legato. Pupils will find, however, that they will be Broad paths are open to every endeavor, and a well. The quartet introduced quite a bit of comedy into fove" W the" s “'I miiHtary bani Mc>'erbeer, whose caliber equal to himself and not merely cheap fillers. greatly benefited if a liberal dose of finger-staccato is sympathetic recognition is assured to every one who their program, and it wasn’t long until it was running The bureau engaged a young violinist (who is one of applied to them. The practice of finger-staccato will consecrates his art to the divine services of a con¬ smoothly, and they were making quite a hit as a male o£fs the coming American violinists) and a pianist of note. be found a great help in the development of clearness, viction of a consciousness. Liszt. quartet generally does if it is at all passable. Jlist as soon as success began to hover around their None of the three had ever met until they got together “hangar” they commenced to fed dissatisfied and figured Clay Smith for rehearsal. After two weeks’ rehearsal they had THE ETUDE SEPTEMBER 1922 Page 598 Page 592 SEPTEMBER 1922 THE ETUDE Chautauquas start as early as March first, or as late as their program all blocked out and committed. In the The same goes for the musician. Search for songs that t , The longer circuits of a hundred towns or middle of this program the tenor wanted to sing a group are different. It is just as bad form to use a song, be it J y St in the far south in March or April, while the Abuses the Teacher Should Not Tolerate of songs with violin obbligato and also wanted to close ever so meritorious, which is being used by everybody Ztef^Scuits (many times composed of better towns) the program with a song using a violin obbligato which as it is to give a reading that has been messed over in start as late as July first and only run eight weeks. Re- By J. LAWRENCE ERB would bring the three on the stage together for their every local declamatory contest in the past ten years. mpmher all the talent for these chautauquas is usually close. The second week out the violinist decided that A few years ago a certain bureau conceived the idea for . year *»* When .he ch,„„n,;a President Music Teachers’ National Association this cheapened him, and he would only appear as a of putting out a super-male quartet, something bigger eta. the object i. to tall « to the tan «ton fo, ,!» soloist. It was hard for the management simply to dis¬ in this line than had ever been attempted. They engaged next summer before you ever leave the town, and each his advertising matter which his competitors took the four of the most prominent singing teachers in New Like the "occupational diseases” which so seriously then expect full time and full results. But the tardy charge him and get some one else after all the advertis¬ superintendent is supposed to do this Now, he must pupil expects the full hour or half-hour just the same, or, trouble to investigate and which they found false. He York, paid the company a salary of $1,000 per week and handicap the men or women engaged in certain indus¬ ing was out showing him, etc.; so they let him get away have something to show the local committee or they will if not so unreasonable, at least expects the same musi¬ was confronted with the evidence and within a few with it for a while. Soon the program began to fall advertised each individual name to the limit. They ex¬ tries are the “occupational,” or, if you prefer, profes¬ not feel like putting their names on the dotted line for. cal results at the end of the term as if the teacher had days found it wise to announce his retirement from the down dreadfully. While each of the three were very pected their names and reputations to draw the crowds sional, abuses which, parasite-like, sap the vitality of a good guarantee to bring it back next summer; and this had full time to do his work. The teacher has every field. fine artists, the program as a whole suffered tremen¬ and give the circuit a prestige among the musical clien¬ certain professions. The music-teacher soon discovers is why the bureaus are forced to engage the bulk of their right to finish the lesson at the time scheduled. Other¬ A second case has to do with unethical methods in dously, bad reports came in day after day, until the tele of the town. Bear in mind, these men were great that his vocation is not immune from them, but rather talent a year in advance. They must have the adver¬ wise his other pupils will be inconvenienced and his in¬ securing advertisements for the music page of a metro¬ management had to cancel the tour, and send out a sub¬ artists as well as great teachers. They took the en¬ grows a particularly sturdy crop, all its own, to plague tising folders and pictures of their next year’s talent come curtailed; for, his time is worth money, otherwise politan newspaper. The attempted policy promised to stitute company. The snobbish violinist lost out, as gagement more as a summer’s lark than anything else. him. These are due in large part to the nature of his to show right then. The lyceum talent is also engaged he has no business trying to sell it. work serious harm to the many reputable teachers who well as the other members of the trio. The bureau is apologizing for the company yet. Their relations with his clients. a year ahead, as eight-tenths of all the lyceum courses did not care to advertise, and it was so devised that A detailed report of a company and each member of program lacked everything it should have had. They The music-teacher is in frequent personal contact with for the following winter are sold in January and Feb- the company is mailed into the bureau every day; while selected material that had been tabooed in our work for his pupil. Musical expression, with its intimate revela¬ Delayed Payments they seemed helpless to defend themselves. But an the local committee promoting the lyceum or Chautauqua years. I remember their bid for comedy was that grand tions of personality, places the teacher in a relation to Theoretically, every music-teacher exacts payment in organization of the teachers in one field, which was ^A^reat many managers secure the bulk of their talent in the town also fills out a printed report sheet on each old fossilized relic, “The Boy Sat on a Tack.” Another his pupil which is much like a combination of physician advance for a term of lessons—at least, all circulars take particularly affected, boldly defied the . music-critic at the International Lyceum and Chautauqua C > nven- attraction, which is published in the magazines and is one was “Philosophy or the Bee.” Both good numbers and confessor, or, at least, confidential advisor. Uncon¬ pains to inform the public that this is the case; and responsible for the policy and came out in the public tion, which is held annually, in September, and for the open to the world. for an audience who had not been listening to them for sciously, that business-like reserve, which is so important surely, no self-respecting teacher would, especially in prints in signed statements denouncing the plan and past’ few years has been held in Chicago. The I nterna- We have two extremes in the lyceum and chautauqua. the past decade, but liable to give the chautauqua audi¬ an asset of- the professional man in other lines of ac¬ print, make a statement which is contrary to the facts. pledging themselves not to fall in with it, thereby safe¬ tional Lyceum and Chautauqua Association is an rgan- Some of the largest salaries ever paid have been paid ence mental indigestion. They had given no thought tivity, melts away; for in the nature of the case, the Yet one cannot avoid the conclusion that the Wise Man guarding their reputation and professional standing and ization made up of most every one worth while who is in this field, likewise some very low ones. Success in whatever to the continuity of their program and all in emotional content which breathes the breath of life into of the Scriptures must have spoken, in a flash of fore¬ circumventing what looked like a polite method of black¬ connected in any way with this movement. Talen of all this field lies in sticking with it until you have gained all people came to hear them filled with anticipation but all truly artistic production of music, can not be evoked sight, with direct reference to present-day divergence mailing the music-teaching fraternity. Public opinion kinds, field representatives, managers and commit: emen. a reputation in this particular field and have thus devel¬ went away filled with disappointment. where there is too much repression. between statement and practice when he said, “All men is sensitive to any attempt at blackmail; and there is oped some drawing power as an attraction. I believe They all get together once a year for a genei I goed Expression and repression arc mutually contradictory are Liars.” For the custom of strictly-cash-in-advance- no weapon like publicity to expose the “grafter” and the Avoid Lengthy Programs this also applies to almost any field. For instance, do time—hand shaking and stunt-fest. The coi ention terms. So the personality of the pupil becomes an open payments is more honored in the breach than in the ob¬ “quack.” you suppose the vaudeville managers would give up Don’t give numbers that are too long; seven or eight usually runs a week. The morning sessions ar given book for the trained teacher to read at will. But the servance among music-teachers. It is not quite clear to The Rolling-Stone Pupil $3600 per week to Eva Tanguay for what she does with¬ minutes is the limit. Remember at all times you are over to business and the afternoons to regular ctures student is not the only one who reveals himself in the me why any teacher should deviate from the accepted The purpose of teaching is education, and education out a struggle? No! No! kind sir. It is only because singing to a mixed audience and should eliminate songs and concert programs. The best talent in the mntry studio; consequently, the teacher too, willy-nilly, lets business usage of sending out or presenting a bill upon is a process which takes time and proper feeding and Eva can pull enough shekels into the box office to make- in a foreign tongue. A few years ago you could “get consider it quite an honor to be invited to appear on this down the bars, as it were, and becomes to the pupil often the completion of the first lesson of the term, which, proper leading. Every teacher has his own way of pro¬ it worth while. away with it,” but it is getting harder all the time. The program without financial' remuneration. This ar the a most valued and esteemed friend, but, by the same technically, marks the definite completion of the “sale,” ducing results. That the goal is virtually the same in great artists like McCormack are cutting them out, so convention will be held at the Drake Hotel, licago, token, suffers a diminution of that awe which would make and of expecting payment within thirty days at the most. most cases does not alter (he fact that no two teachers The Case of William Jennings Bryan why should the lesser lights try to impress with them ? and President Harding—who by the way is an 1 norary him more feared, and would therefore place him in a Perhaps the situation would be improved if the music- are likely to approach it in the same way. It is a A parallel case in our work is Wm. Jennings Bryan. It is an insult to a mixed audience to sing in a foreign president of this Association—makes the open ng ad¬ position of greater advantage where business-matters teacher, like a large proportion of business-men, should commonplace, therefore, that whenever a pupil changes I have heard the Bureau managers condemned many times tongue and to leave them gasping and wondering what dress. This is an excellent place to meet all tl e man¬ are concerned. offer a discount of 2 per cent for cash within ten days. teachers, there ensues a readjustment of processes which by some of our lecturers for the enormous price they it is all about. They will tolerate it, but they resent it. agers, make their acquaintance and possibly show what Or, as is done in some schools, a 5 per cent discount for results in a temporary cessation of progress. Such a pay for Mr. Bryan’s lecture. But, if you could see The Zealous Teacher Artists should try singing in English in Germany, France you can do. payment in advance for the entire school-year serves as readjustment at long intervals will probably do no forty acres of Fords parked in a meadow at 10:30 A. M. You will not be able to get on the regular program, but Then, too, the zeal of the music-teacher for the pro¬ or Italy and see what would happen. You would be an incentive to the frugal-minded student. But if harm, especially if the change is made after careful on “Bryan Day” you would realize that he is drawing there is an informal hour each day for the new o s who gress of his pupil, or the desire to help the struggling hissed down early in the game; the heckler would rise neither of these expedients produces the desired result investigation and reflection. But if the changes come his fee at the gate and therefore has no trouble in get¬ right up and shout his disapproval. They cannot under¬ wish “to show their wares.” but impecunious, or the anxiety to insure for himself —prompt payments—there remains the alternative of too frequently the effect is like that of uprooting and ting what he demands regardless of its intrinsic merit. stand you and will soon tell you so. It is fast coming the moulding of a promised talent, lead him too often prompt discontinuance of lessons upon completion of the transplanting a tender plant too often. Morever, un¬ The larger proportion of his fee is paid for his reputa¬ to this point in the lyceum and the chautauqua field. Watch the “Joker” to minimize the business aspect of his relations and to tion and consequent drawing power. make him his own most serious competitor, bidding term of credit agreed upon, whether ten or thirty days or less the transplanting is done to the proper soil, the plant Select good, clean ballads with interesting words which There are several jokers in some of the print'd con¬ what not. Cash strickly in advance, literally interpreted, will wither and die. Not all plants improve with trans¬ Every year in this work increases your worth, pro¬ have the human appeal, heart interest and plenty of ■ against himself. Those who have to deal with music- tracts; but it would be impossible to take them all up is rather an ideal than a practical possibility. Cash, as planting, and some can stand it much oftener than viding, of course, you are making a conscientious effort vocalistic possibilities. Be sure the song fits your voice. teachers know how hard it is to hold them to anything here. You are supposed to be endowed with the v. rage the business world understands it, is a thoroughly prac¬ others. So, in every case, intelligence must be exer¬ to build up a reputation, to make friends and to capital¬ Every one should know that a song may be wonderful like a business view of their own affairs. The lack of intelligence and should be able to draw the red ink tical plan and one to which nobody accustomed to busi¬ cised or the operation is disastrous rather than ize every point possible in advertising. for one singer and all wrong for another who is equally business sense in musicians is well illustrated in the re¬ through anything that seems inequitable. For • mce, ness methods can object The musiq-teacher, like the In securing an engagement in lyceum SEPTEMBER 1922 A Musical Biographical Catechism world in the person who, whenever opportunity offers as an industry, it assumes vast proportions. Vast indus¬ Bring Out the Main Thought in Piano Playing (or can be made) undergoes an examination by each new tries demand efficient administration that they may serve Tiny Life Stories of Great Masters teacher or musician who happens along. He is always the public most effectively. There is no more pressing How the Suppression of the Superfluous Helps most solicitous -to know “just v^hat you think” .about need in the great “industry” of musical education (or, his i talent,' prospects,' previous graining pfid Whaf- np$,- if you prefer it, the “profession” of music-teaching) Franz Peter Schubert By THU EL BURNHAM As a matter of fact, he is not usually after information. than a mutual recognition upon the part of the teacher What he wants is to have his vanity flattered, first, by and taught of the fundamental business relations, the Prepared With the Co-operation of Russell Wragg the time and attention which he manages to filch from more flagrant violations of which have been briefly con¬ By Mary M. Schmitz his victim, and, second, by any words of praise or near¬ unprogressive, the indifferent and many other undesir¬ sidered in this discussion. Dr. William Mason once gave me a bit of excellent given even more thorough practice than the melody, for praise which may result or be extracted from the inter¬ If the butcher and baker and candlestick-maker, the able natures are all revealed to us in startling nakedness advice, when as a small youngster I studied with him, with this suppression there must be absolute clarity and view. He is a nuisance, a time-and-nerve-consumer, a dry goods merchant and the coal-dealer, cannot exist through the medium of the finger tips. Observe it the and as it has been the nucleus for much and continued balance in order to advance the complete significance of parasite. The cure for his kind is to insist upon a fee, without a business understanding between them and their sa ffttysws.’at f-Sv'™. ttwssss next time you are playing and see if it does not even¬ and The Standard History of Music.} thought ever since, on my part, and because it is so the piece to the listener. large enough to mean something, for all examinations patrons, neither can the music-teacher. The laborer is Q. Where and when was Franz Peter Schubert tually result in helpfulness. and professional interviews. In cases where the inter¬ worthy of his hire. It is his privilege and his duty to see exceptionally complete within itself, I have planned to Another suggestion which might better be termed born? view or examination results in a term of lessons, the make it the basis of this article. the suppression of the insignificant is applicable to pass¬ The “A-flat Etude” to it that his efficiency is conserved, for the highest good A. 'Lichtenthal, a suburb of Vienna, January SI, fee may be deducted wholly or in part from the fee for of the community, by the removal of all unnecessary “Learn to suppress the superfluous always, my lad,” ages where the writing is uninspired and uninteresting. There is an etude which is so often mis-played that the term, though there is no valid reason why even this handicaps due to carelessness or indifference in the busi¬ 1797. he said, “not alone in your piano playing, but in your Here it is better to quicken the tempo in order that one I am going to take time in this article to give my Q. Was Schubert’s family a musical one? concession should be made. It has been honestly earned ness relations which are, wjth him as with everybody life.” may be saved the criticism of being commonplace and impression of it. This is the Chopin “A flat Etude,” Opus A. Yes, the family used to have musical parties and should be insisted upon, in advance if necessary. else, a matter of necessity. The good music-teacher be¬ I believe that it was Byron or Goethe who once tiresome. 25, a familiar number to all the readers and yet rarely The doctor and lawyer charge for examinations and con¬ every Sunday afternoon, at which the string quartettes given the full amount of charm which “suppression” comes a better music-teacher by being a good business- said, “Genius is the power for the suppression of the An example of such a passage may be found in the sultations. Why not the music-teacher? of the great composers were played. Schubert haft a superfluous,” and then again it was our contemporary only can give. lovely voice and the director of St. Stephen's Cathedral Beethoven Sonata, opus 90—(N. B.). (N. B.)—It is extremely difficult to furnish an The Chaperoned Lesson novelist, Philip Gibbs, who said, “Success to the novelist secured him admission to the choir and also to' the results in his capacity for picking out .the essentials.” adequate single illustration of this point, since one An abuse so common that it has ceased to attract at¬ Encourage Melody Writing Court School, where, beside the regular branches, he And so on one can find a score of great men who have should have many in order to obtain the correct perspec- tention in many cases is the habit of mothers or other was taught music thoroughly. said as much in as many different ways and yet always - hi tive.) persons “sitting-in” at the music-lesson. No teacher (\H% By s. m. c. Q. How long did he stay in these school - ? hinging upon this one, reliable, common truth. Upon the music of this composition it is designated objects to an occasional visit—upon proper invitation— IH?1 ■ “ IC-LJ L ;..t;.!■ ■ r A. Until his voice broke, then for tlir, c years he It is an ideal which we all may have intentions of fol¬ that the upper or melody notes are to be brought out but the habitual presence of an outsider, no matter who, Melody writing is of great importance to the music assisted his father, who was a school t, a, her. He lowing and yet its unrealization lies in the fact, I think, with a stronger tone than the rest, although, in view of in the room while the lesson is going on is detrimental. student, because a knowledge of the laws of melody con¬ taught reading and arithmetic in his father school. that very few know exactly what is superfluous and the fact that piano students almost always play the There are, doubtless, mothers who help their children struction forms a natural preparation for a successful rTpIT.^* Q. Who was president of the United States when what is not. accompaniment at forte, the melody tones are forced between lessons by their oversight; but they are in the study of sight-singing or reading, harmony, counterpoint, Schubert was a month old? It is not my intention to dwell at length upon varied into being heavy and materialistic. Can you visualize decided minority. If teachers would speak frankly, few form, instrumentation and interpretation. The best re¬ phases of this thought, but to deal only with that which crystalline sprays of music with tiny silver balls bobb¬ would have anything but condemnation for the interfer¬ sults wilUbe gained by taking up the subject early in A. John Adams. has to do with the pianist, although a musician can learn ing at their tips? ence, active or passive, of the third person. If the life, using it as a stepping stone to harmony, or simul¬ Q. What great Musicians were living in Vienna teacher is not capable of handling the situation, the taneously with it, as a collateral study. when Schubert was born? much from the actor, the poet, the novelist, the painter Allegro sostemito and the sculptor to further his own individual calling. sooner the parents find it Out the better; but they can Even a very young pupil may be taught that the A. Haydn, who was 65, and Beethoven, ho was 27 never know so long as they, by the injection of their major scale is a perfect melody, that there are active and years old. Here are a few illustrations which show the applica¬ personality, interfere with the progress of events. If inactive scale tones, that certain tones have an upward Q. Did Schubert show his musical ability very tion of the same principles to different professions the teacher is capable, a third party, no matter how well- and others a downward tendency. They can be taught young ? An actress playing the stellar role in a theatrical pro¬ disposed, can do no good. Moreover, I have heard par¬ that “melody consists of a well-ordered succession of A. Yes, ivhen he was eleven years old bis teacher duction will oftentimes insist upon her confederates ents boast that they have derived as much benefit from single sounds of varied pitch and possessing definite ton¬ of harmony said of him. "He has learned everything playing their parts with not too much abandon, or in other words to suppress their roles, for she has learned the lessons as has son or daughter. In that case they ality and rhythm.” They will then be able to judge for and God has been his teacher.” It is a great art within itself to be able to pick out with much experience that through this plan her lines have been doing the teacher an injustice in not paying themselves that a succession oft single tones of the same; Q. Did Schubert write much music? the salient points in a composition and to suppress their a fee for the instruction, though it is a fair question pitch, repeated a number of times, does not produce & stand out in relief from the rest and carry considerably A. Yes, from the time he «'ar thirteen years old inferiors, and in proportion to one’s ability in this If you are able to do this you have the correct effect whether both parent and child would not have fared melody; that a succession of tones at unmusical inter¬ more conviction with them than they otherwise would. until his death he wrote about one thou and com¬ quality is he or she an interesting or uninteresting for this Etude for although the accompaniment must better with individual attention. Parents can be of real vals, having no known scale for its basis, cannot be positions. Also the poet, who has a volume to tell in a verse, pianist. Passage work and ornamentations are, as a at all ti les be distinct to perfection, it must be played assistance by insisting upon regularity and faithfulness called good melody; finally, that melody without rhythm Q. What kind of music did Schubert writ ? must exercise his powers of suppression to a remarkable in practice and punctuality at lessons; but it is a mis¬ is lifeless. degree in order that his creations be not overburdened rule, much more effectively played when “suppressed” in a covered tone. A. He wrote nine symphonies and m my string Another suggestion of importance is for the doing taken kindness to the pupil and often a source of irrita¬ Teachers of sight-singing in some schools have pro¬ with the verbose. and as a pianist grows in his art he discovers more and quartettes. away of finger changing in a rapid succession of tones tion-concealed for reasons of policy—to-the teacher for duced surprising results in teaching the art of melody more the other places which need it. ,Q. Did Schubert write any songs? on a single note. If teachers would only allow their them to be present in the studio while the lesson is going writing, tiny tots between the ages of seven and ten Highlands and Lowlands A. Yes, his songs arc his greatest works he wrote Unfortunately in the cases of many people who pupils to follow their own inclinations to a certain on. The teacher should not permit it, and the parent years to inventing tuneful melodies of four and more about six hundred. He is considered one of the greatest The clever novelist can give you the lifetime of a stumble through life at fortissimo, one finds it a degree when the question of fingering arises, the should not ask it. measures, correctly written, with the greatest facility. song vrriters of all time. group of characters within the precincts of the first page strenuous task to instill suppression into their playing. troubles of both would be amazingly simplified. This, however, is the case only in schools where the by instinctively and wisely separating the mountain tops The Competition of High School and College Q. Name some pf Schubert's songs. There is no accomplishment on earth so reflecting of The old-fashioned idea of set fingering and set regu¬ teacher? are adequately prepared, take a live: interest in from the lowlands, while the average art gallery spec¬ A. “The firl King.” "Hedge Roses,” The W anderer” one’s true character as that of piano playing, and if we lations must naturally give way to the modern era of Here we tread upon dangerous ground. Not that the subject, and devote to it a regular period every day. “Hark, Hark the Lark.” tator will never know how much of importance lies our case is necessarily weak, but that we are in a region would only read the menacing things which our fingers pianoforte playing which deals with the individual where Q. What is one of Schubert’s greatest smigs? within the background of a painting or a piece of reveal to us upon the keyboard and have the courage formerly all were instructed alike. With this set rule of perpetual storm and stress. The school and college -1C Ul I\lllg L sculpturing, so carefully and advantageously is it A. “The Erl King.” for the rapid "hanging of fingers must go, of course, authorities cannot agree among themselves about the That these ideal conditions are by no means univer¬ and ambition to erase them, then would the piano Q. Tell the legend of how it happened to be suppressed. unnecessary ana fatiguing hours of practice and then, relative merits and importance of the traditional elements sal, most of us can testify who receive pupils from large published. However, the interpreter has more to contend with treble in usefulness. of an academic education. It is hardly to be wondered when all is ready for the performance, the pianist is city schools, where music is regularly and supposedly A. A great singer went to call on Schubert, and than the creator for where he has a work to do that The lie is shown, the slip-shod, careless nature, the at, therefore, that Music,, the educational step-child, unduly unnerved in anticipation of this and like well taught, but without any appreciable improvement of while he teas waiting lor Schubert to come in he saw remains intact, he must mold his material at each per¬ indolent, the sly, the irresponsive, the egotistic of the should find a thorny path to travel. . Every authority undesirable fingering and usually muddles his effects. the pupils’ knowledge of the mere fundamentals of a manuscript of music! itt^Jhc 'waste basket. Taking it formance and so must be ultra-sensitive to such errors upon the material education stresses the necessity for a With but little practicing one can train the single music. Only last week a bright eighth-grade pupil came out he tried it over oW '/id) piano and was so pleased as over-playing or under-playing a passage or making balanced curriculum, with sufficient of the inspirational, finger to take the complete responsibility and once it is with a manuscript wrapped up with her music. It was imth it that he sang it that night at his concert. Then an inferior accompaniment too marked and prominent. the idealistic, the esthetic to leaven the purely intellec¬ upon the correct note there can be little uncertainty of entitled Battle of King Lear, and was evidently placed it was published. Schubert wrote this song in a day, And so to be prepared he must drill continually into tual or vocational; but, when it comes to organizing the a clean, rhythmic result. there to attract my attention. I examined the paper and when he Was only eighteen years old. his mentality the points which are of great importance curriculum so as to include the artistic (most commonly found first a chord, then a downward scale passage in Tell where and when he wrote the song .“Hark, and the ones which are of lesser consequence, a few of represented by music) which best exemplifies these at¬ single notes, followed by another succession of chords, Hark the Lark.” ' which, in this limited article, I will bring to the reader’s tributes— that is another story. or rather notes, piled one on top of the other. There wn' wrote 1n Twenty minutes on the back of a attention while the study and following of them should However, it is only fair to state that the educational were no bars, no time or measure signature, and every¬ out-of-fare in a restaurant while waiting for his break give one keys to many others. authorities have been quite as ready as the music-teachers thing was written in whole notes. This child said, “I It was my experience, a short time ago, to have a to correct the wrong conditions. Too often the music- want to learn how to write music.” No doubt, with a pupil whom I believe had studied with every known teacher has made no practical attempt to improve the little direction and encouragement, she will accomplish piano ?^rC any Sc'luk€rt's s°ngs arranged for the status. No ambitious teacher can be satisfied under the at least something. pedagogue in the whole of Europe, at one time or another, and with her variety of touches and tones handicap of the customary curriculum and student activ¬ Children take great pleasure in self-expression and m XKri’ Prmz **iszt ,ranscribed many of them. y. What symphony of Schubert’s was left incom- gave vent to her inner soul with an almost malicious ities; but no worth-while teacher will sit still and vent , any little productiontof their own means infinitely more pleted? attack, playing arpeggios, scales, accompaniments, his dissatisfaction in complaints. Intelligent suggestion to them than the far more perfect work of others. Why A. The Unfinished Symphony in B minor It has cadenzas and fortissimo passages with impartial and cooperation with the school authorities and parents, not say to your pupils, “For your next lesson write an only two movements and is often played, but it was uniformity. She told me that she attended the orches¬ will in reasonable time produce results in the direction original melody”? They will be delighted, and, if this not Ins last symphony. tral concerts continually because she found there such of a place and recognition for music-study that will be practice is continued, you may lay the foundation upon wonderful help in separating the several voices of a equally welcome and beneficial to all concerned. It is which the superstructure of intelligent musicianship may best? two syrnP*1°nies are considered Schubert’s not the music-teacher’s loss alone when the high school be erected. piano composition and in this way keeping her playing A. The Unfinished and the C Major Symphony. or college work and activities crowd out music. The from becoming monotonous. I have wondered since „y'. ,Where and when did Schubert die, and who what orchestras she could have heard that would have whole community is the poorer for such a condition; “Not Like a King” erected a monument to his memory? While upon the subject of concert distractions I and the whole community will be the gainer correspond¬ possibly taught anyone to bring out the accompaniment Of the musical royalty of the past there are few might mention the difficulty in which one will find him¬ ingly when the contrary proper condition prevails. JL HJ dteJ m Vienn« on November 19, 1828, the of Beethoven’s Sonata Pathetique, second movement, figures more picturesque than Louis Ferdinand (Prince year after Beethoven died, and was buried in the self while playing before audiences if he allows super¬ Music contributes to the social life of a community with the same dynamic as the melody. Friederich Christian Ludwig Ferdinand), nephew of fluous thoughts to enter his mind during the perform¬ to an extent that few realize. The all-pervasive influence An accompaniment, as we all know, is just as beau¬ Frederick the Great. Beethoven thought that Ferdinand reverenced T?T/) "T Beclhove»’ «*«»« * 9rca,ly ance. In letting the mind follow its own free course of music in every phase of our life, outside the purely nhZrZ, ‘C Male Choral Union of Vienna erected tiful, if not more beautiful than the melody, but in was a better pianist than Himmel and later said that one is apt to dwell upon such thoughts as these: I won¬ business activities can only be sensed when one attempts practically all compositions having the melody line, Ferdinand did not play in any way like a King but like a parktvTe°nZment Sekuberft mcmor7 in 1872 *'* der if the audience is pleased or displeased with my to imagine life entirely musicless and mute. Under the ' especially in the classic and semi-modern music, it is a thorough pianist. Ferdinand published some fifteen playing. Shall I be able to play the next cadenza per¬ circumstances, musical education, or, as it is more com¬ more pleasing to the ear and infinitely more interesting compositions, mostly chamber music, which were highly fectly? I missed several notes on that last scale—how monly expressed, music-teaching, becomes a most im¬ to have this part of the work subdued, i. e., pianissimo. regarded in their day. What he might have become had dS ZTr W°uk the comPOSer has to solve the Thuel Burnham can I possibly handle the next one which is much more portant element in the social 'scheme. Viewed purely It is for this reason that the accompaniment must be he been a professional musician can only be conjectured. THE ETUDE Page 596 SEPTEMBER 1922 SEPTEMBER 1922 Page 59? THE ETUDE difficult? If I should forget what can I do? And Another great fault of many amateur pianists is the while one is anticipating an improvisation to cover up extreme movements at the keyboard while playing, a possible failure of memory the much dreaded This is a very serious habit and should be lassoed, How to Develop Legato Without Using the Pedal catastrophe usually comes. thrown and shackled before it has become master of Banish everything from your mind but the one the performer, A Real Test of Your Ability at the Keyboard measure at hand and it is almost a certainty that the re- Ragtime players affect this bouncing and squirming maining ones will follow with precision. orgy, no doubt to intensify their exaggerated rhythm There are always disturbances to contend with when until it finally becomes their second and controlling By LAURA REMICK COPP the auditorium is once quieted for the recital and there- nature; but for the legitimate pianist it has no place It has been my personal experience that students of fore it is part of a pianist’s training to learn the art and only tends to displease an audience, intervals must be considered. It is well to play all of talent acquire many of the correct rudiments of the Why do you use the pedal while playing every note, of detachment from immediate surroundings. The virtuoso, as I have said, sits at apparent ease one kind, thirds, sixths, etc., before trying combinations pedal, and in some cases find new ones, without con¬ or practically so, as the vast majority of students and I played several years ago in the Colosseum of one of before his instrument and in only extreme instances of various sizes as occur in the F Minor Fantasie of the Western cities at the time when the troops were makes a noticeable movement sidewise or upwards, stant’supervision and assistance. As one becomes more many very good pianists do? By practicing without it Chopin first beginning their mobilization, and, unfortunately, Every movement which one makes commands brain and more identified with his instrument these little so much can be gained in hand development, phrasing, things creep in without their recipient knowing the the armory was at the back of the auditorium, directly work and nerve force and as the artist at the keyboard indirectly, quality of tone, and most of all that wonder¬ time and manner of their arrival. off the balcony. You can imagine the effect of the is using all possible strength and mentality for his per- ful asset legato. When the greatest artists play, who Schumann Romanza against the apparently never ceas- forniance, it follows that he would be forced to detract There are many places where the pianist must use his among us does not love to hear the beautiful cantabile, ing March step of several hundred soldiers 1 from his playing if he indulged in superfluous antics. own judgment in regard to pedaling, forming some con¬ This is only one experience out of hundreds that all Then, too, the attention of the listeners is menaced ception of the composition for himself, apart from the the luscious singing tone and a legato so perfect that it The notes G and E-flat in measure 1 are to be played artists must undergo during their concert season on the greatly through this unnecessary eccentricity, for the analytical phrasing upon the manuscript. lulls us into that dolce far niente, where we forget our with more force and made to sound above the two road and the one remedy for them all is detachment utter restlessness of the pianist must of course separate In the following measures from the Chopin Scherzo in earthly struggles and pass far beyond and above them, E-flats in alto and a like effect obtains in measures 2, and concentration. their minds from the soul of the playing. Don’t do it, C sharp minor, the artist uses a new pedal upon each our very souls afloat upon a sea of tone and rhythm? 3 & 4, where double notes occur. Upon trial it will be A well-known artist confided to me at one time that for one needs all the repose that he can muster to succeeding measure despite the fact that most edi- A lovely dream! and one that can be assisted to realiza¬ found the tune can easily be carried without assistance from the pedal. Also in the Venetian Gondolier’s Song before entering the arena (for such the concert hall is to become a really efficient and spiritual pianist, of this work have the pedaling marked for holding. tion in our own work by striving to obtain without the near the beginning, where such a fascinating melody is No. 6 the virtuoso), he was obsessed with the fear of forget- Naturally, there are a few artists who are not calmly pedal the effect it produces, for one is more dependent found. Necessarily one must be expert in fingering, ting his program and sometimes dexterous in slipping, exchanging, sliding one over the 1 so overcome with poised while performing, but be assured that they become upon this than he thinks. Ex. 3 dread that he was unable to ei remember the key successful despite their faults and not because of them. other, backwards and forwards, as so often is neces¬ Some cannot even play when the prop is removed, but of his first number. sary in Bach before this interval playing minus the However, it is a rare occasion when even this i the fingers must rely on other sources and they will. Consequently he would oftentimes enter the stage in and therefore one must profit by the failures of the pedal will sound artistic. Such a study also brings out a fever of apprehension. He asked ma what attitude Let them sing the melody alone and see how quickly majority, not expecting to be among the few who do the idea of the oberstimme or upper voice, which I affected before my entrance to the platform. I told they will try their best to approximate the smoothness survive. usually carries the melody above the other parts and him that, for my own part, I never under any cir¬ that was present heretofore. If they do not see that Another much misused and over-worked practice to cumstances allowed myself to think of the program, they do with the ear acting as guide, for the gap left takes a well-balanced touch to make it more prominent obtain effects is the use of the pedals. True, many from a technical standpoint, after once leaving my prac¬ by omitting the pedal must be filled by tone, resonant than the rest. students underuse them, but the majority, I have and vibrant. After experimenting this new way try the the D, F-natural, E-flat, D, in measures 3, 4 and S can Nothing could be more beautiful to develop this tice piano, but dwelled entirely upon the sentiment of found, use them to excess. each number until I had finished playing it. old again, then return to the new, endeavoring to arrive be sustained entirely by fingers, while the two-note principle than Mendelssohn’s Song Without Words, No. There is another attitude towards my audience which New Pedal Ideas at the same result both times as near as possible. Play¬ phrases are played and with the same hand. The com¬ 22 (Ex. IX). At first glance it looks like a single note pass is not over an octave and being free from tension I adopt at all of my concerts and which. _j,.has proved ____ Pianissimo does not require the instantaneous ing and stopping to think it over is a very beneficial way melody, as the Chopin Nocturne was, but the upper notes a good tone can be kept. The first number in Songs an invaluable help in “putting ' " the' slangster fumbling for the left pedal in all cases, and likewise to practice and leads to concentration and more attentive in the bass clef are taken by the right hand, which attitude. Carefully listen and hear mentally what is Without Words, measures 3, 4, etc., ' o accurately states it. This forget, so far as is fortissimo does not always demand the immediate reveals the need of bringing out the highest voice wished for, then make another attempt, pausing possible, that I have any power of speech but that I manipulation of the right, above these supplementary ones. Small and full chords frequently to compare and criticise. It is helpful to take have a message, or rather a series of messages, which I The terms, soft and loud pedals, pre misnomers as must have attention, too, and here the binding tone will must pass on to my audience with the great sonorous often used in piano vernacular to denote the right and the passage partway through with pedal, then remove make such playing without the pedal possible, that is Steinway as my only medium of expression. left pedal. It is much more self-explaining to say, the and continue without it, for the fingers with the listening It is amazing how closely bonded the audience and sustaining pedal and the covering pedal, and in view of power to assist them will sooner or later acquire nearly one tone is held over after all of the others have been pianist become through this musical “public speaking” the fact that the majority of piano pupils have as smooth a finish as when the damper was used. This released and while the next position is being prepared and, for the _ s stage fright is put into extremely hazy idea about pedals and their uses, I feel necessary and beautiful adjunct to piano playing has this one still sounding will keep the chords from seem¬ “cold storage,” so to speak. that these explanatory names are a necessity. been abused lately with the income of so much modern ing disconnected and form the closest kind of legato. music, the talk of overtones, harmonics, holding of Muscular Concentration As we all know, the sustaining pedal is often used in shows a melody of quarter notes over a broken chord This idea is also applicable to interval playing, so it unlike chord formations together, and so forth, so that It might be well to add that public performances are extremely pianissimo passages where crystalline clear¬ accompaniment lying between both hands and equally should be employed in the practice, previously a little caution as to its omission may not be untimely. not the sole places where the suppression of superfluous ness is sought after, but perhaps it is new information divided, two notes for each. The very useful art of mentioned, of thirds, sixths, and other combinations. Pupils, therefore, get an entirely wrong idea of the However, this sketch refers to the use in practice and thoughts is necessary and vital. Practicing, too, must be to some that the covering pedal is used for certain finger slipping enables one while holding the tune notes When phrases have large reaches in them a lateral effect to be produced and feel that because the whole especially to improve legato. Early classics, such as included in the same class, for without the rapt atten¬ qualities of tone in the most decided fortissimos. An to reach the others, which must be played continuously movement of the wrist is of wonderful benefit to cover passage is upon one chord, it must necessarily follow Rameau, Couperin, Scarlatti and Bach will do much to tion of the student to his work he falls with ease into enormous volume of tone can be produced at such times showing no break where the hands join. In the distances without sacrificing smoothness. With a free that the manuscript directions are adequate ami correct cultivate clearness and to prevent overuse. ruts which are deep, and_ treacherous. Playing JRL. and in such passages as the following from the Beet- Played in this fashion, however, the fine fillet of tone introduction of No. 3 arm and relaxed elbow move the wrist back and forth position over once with the mind concentrated uponup that fi°ven Sonata, Opus 57, and Debussy’s Reflets dans Veau, becomes a material, meaty thing, abruptly ending with The Keynote of Modern Piano Technic to aid the fingers in getting more directly over the keys. particular score means much' more advancement‘ for the' this pedal can be used to produce an unusually beautiful a break when the pedal is released at the conclusion of Necessarily, when one tries by the mere fingers, Employ all of the means possible to obtain legato; pupil than a thousand “wool gathering” seances. tone effect. the above illustration. unassisted, to produce a flowing tone the mechanical practice much without the pedal, for when one does not Gymnasium trainers tell us that no exercise is really ., flayed with change of pedal in accordance with the means whereby it is done are brought up for considera¬ depend on it he will resort to other ways and take effective without the mind being wholly and uncon¬ ythmic pulse, each succeeding measure becomes imbued tion and discussion. The source means much toward pains to make the most of them. ditionally upon those muscles or section of the anatomy wtth more and more mystery, until the passage finally success and since the day of the pressure touch is for which the exercise is being taken. In painting there is a brush called “sky-blender,” that terminates into all but ether and therefore carries out practically past one does not bear down, but lets the is used to put on the finishing touch—all pigments have Therefore it reasonably follows that no work upon the spirit of the traditional Scherzo-a thing of elfin weight of a relaxed arm on the keys cause the sound, been applied, all coloring done, in fact, everything the piano is really worth our efforts if our minds are which starting from the shoulder comes down the entire not concentrated upon it. fleetness and weird whisperings. This illustration I necessary is completed, but a few light strokes with this g ve not so much for itself as for similar effects which arm, expressing itself through the fingertips and using short runs intersperse the longer lengthed notes and special brush will add a softer, more mingled look, a Another practice disease with which so many piano come so often in piano literature. them as a point of egress. Imagine a lifting up from must be smoothly played. Mendelssohn’s Duetto No. 18 students are afflicted is the malady of vain repetitions. sort of glow that was not to be seen before. It the keys at the same time the downward movement is shows a still beautifies by blending, and so let us use the pedal, doing This, among pianoforte ailments, is one of the deadliest -hlng’ ,which really does not come within the anna!s of piano playing and yet which needs suppression felt and a fine touch control is acquired. The keynote much of the ground-work without it, not depending upon and most aggravating. However, even this can be cured of modern piano playing is relaxation, not only of the hL™ * '2 unaeUre’ is the metronome. Here is an it to aid deficient technic, nor do what the fingers should with determination and perserverance if the patient will wrist as used to be so insisted upon in the yesterdays, only realize the seriousness of his or her trouble. be able to accomplish almost entirely of themselves, but short nTt,Wwh, apparcnlly has a11 ‘he tradition for but of the arm, and one might almost add the body as Playing a passage once at a slow tempo combined with believe U £elpfulness anc> which, on the contrary, I learn to play independently, save its use for more of a well, and when gained such freedom from tension surety, thought and precision is worth a week’s practice finishing touch and apply as an artist does the sky- tory results^ f°rebearer of long roads and unsatisfac- results that it liberates the tone, which can then be at the same passage with uncertainty and haste. blender. colored and made musically to correspond to the mental _ Undue effort in producing a forte effect upon the becorne^n"*"6’ Wbl1® Using tbe me‘r°nome, does rhythm concept one has for it. piano is also a thing which students must guard against, is rmaAUn-C°"SCIOUS attrihutc to oneself. Always it There are, too, the usual devices for mastering legato, for the simple way is usually the surest way. Many and oC r10 -S aVCfy °f keeping time,” which can, important among which is the almost overlapping tone. more extended accompaniment under sustained melody pianists, especially the feminine, when confronted with since them'er,fere with true rhythmic freedom, This idea can perhaps best be put into execution in some notes. Pieces of a more technical character that run a forte passage will immediately stiffen as if in prepara¬ develon It "nT S1{ 135 ncvcr a cha"ce ‘° reveal and composition having a single note melody, such as a around a good deal can be most advantageously tion for moving the piano, instead of playing upon it. In nhe rtU[al rhythmic tendencies. practiced without any pedal and a real purling touch Thereupon they will raise themselves from their seat Chopin Nocturne, e. g., Op. 27 No. 2. “pulse” or th kC metr0nome 1 use what I term the gained when the tone is properly placed and balance and fall with the force of a meteor from heaven, allow¬ is in fingertips with not too much arm-weight released. ing every muscle in their entire body to become rigid and strained. The Chopin Impromptus The effect is nerve wrenching and the performer is Let us cater to the needs of the ignorant for amuse¬ always, as a rule, dissatisfied with her own efforts and ment. What satisfaction is there for the mujik who moment"^ ^ageld^lf ** conductor’s foot during a disheartened over the outcome of her labors. pays fifteen kopecks to see himself caricatured on the In watching the artist at the keyboard one is orchestra’s ensemble He waywafd rhythm in the stage as a drunkard in sheepskin, or one of his fellows the foot beat to strenolh U"“nsc,°us,y Spends upon astounded to see what enormous results he obtains with from the pot house. If the opera house is to be a in bringine ahn.o t g.then thc authority of his baton With free, relaxed arm make beautiful tones carrying no apparent bodily movement or tension. The secret medium of education, let it be above the people. It may Players precisI°" and unity to his band of one over and almost on to the next entirely unaided and is that he depends upon his wrist movements and the be that at first, the lower classes will find such places with exquisite mental attention to each. The result weight of his relaxed arms to send the volume of sub¬ dull and uninteresting; but believe me, they will ere stantial, well rounded tone from his instrument. More¬ difficulty; Notice* his V!m'n ir,rtUOSO during a rh-vthmic ■should be a singing quality, clear, round, luminous and and Schubert E-flat are examples of this. MacDowell’s The trio oHhe n ' rtenm^,a,te resort the ^un¬ not dependent upon any outside sustaining and blending Perpetual Motion, Chopin Waltzes, etc., have like melo¬ long learn to appreciate their beauties. The theatre over there is practically no limit to the amount of force essential in their conee^6 find. ,tlle foot heat almost as will then become an instrument of civilization for the which he can muster through these same means. power. To demand more skill use the same kind of dies but of a different nature and having shorter and the consulting physician ilTth1^ 6 as tlle heart l)eat '-s t0 melody with an underlying accompaniment, as in more equal note values. masses. Both give noteof th/” the exam>nation of a patient. Anton Rubinstein. he necessary attunement to life. Mendelssohn's Songs Without Words No. 14. Legato in double notes, thirds and various other the ETUDE SEPTEMBER 1922 Page 599 Page 598 SEPTEMBER 1922 TEE ETUDE The Value of Chords for Beginners Making Small Hands Fit Octaves By Addison Briscoe By Lucille Collins s the palms of the hands gain Just What is a Fugue? How often is the piano teacher confronted with this decidedly worthw expansion thereby. I wonder if the majority of teachers realize the value problem! A young pupil sufficiently advanced in every By EDWIN HALL PIERCE of using chords in the early stage of a child’s other way, but hands too small to undertake octave Second Exercise—Arches music study. After a few weeks of music lessons have work. Frequently too, older pupils, because of diminu- The object of this exercise is to train the hand so them pick out the notes of each “scale ladder,” as I hands, face the same handicap. that the pupil can take the octave D space below treble call them, with one finger, watching carefully where the After many years of experimenting, I have found staff to the fourth line D above, and with the keys Why Imitate at the Fifth? half steps come. Use no other scale work for many the following exercises excellent for developing small firmly depressed, push the hand back toward the name A Fugue is a piece of music formed by the recurrence months. Then have them, begin forming the common Sometimes pupils of an inquiring mind ask the ques¬ hands until their expansion is sufficient to play octaves board until the thumb and fifth finger are between the of the same theme in several different voices, according chords of each scale ladder, using the simpler ones, of properly. black keys D-flat and E-flat. The fingers should be so to certain strict laws of imitation. These laws have not tion, “Why pick on the fifth as an.interval of imita¬ course, for the very young pupils. First Exercise—Octave Stretches arched that the octave upon white keys D and D are been invented by composers or theorists any more than tion?” “Why not use some other interval for variety?” Use these chords in a variety of ways and with dif¬ the laws of wave-forms have been invented by mathe¬ This exhibits rhythm easily attracting the attention. As a good illustration that Fugue rests on natural laws, Right thumb depresses middle C; fifth finger of firmly pressed down with thumb and fifth finger, while ferent expression. Have them played in simple waltz maticians. They have simply been discovered. Theo¬ Ex. 5 Bach, Organ Fugue in E Minor and not on the arbitrary say-so of theorists, it seems same hand then depresses the C one octave higher. This the black keys D flat and E flat are in no way depressed time, using the first note of each chord as a single note Small hands cannot do this, so I begin with the rists record them, not to place a limit on the possibility interesting to answer this question. Imitation of one in the bass, then in % and % time, also with crossed can usually be done even if the pupil cannot play suc¬ of musical creation, but as a guide and help to young seventh (middle C to third line B). Press silently if voice by another is possible at any interval, and ex¬ hands. How they love to do them that way 1 cessive octaves. If the stretch is too much, however, composers. In listening to a fugue, it is not at all you wish to avoid the dissonance. Push the hand back with the thumb sustaining its hold on middle C, let the necessary to pleasure that one should understand these amples may be found at the Unison, Second, Third, In each instance have them begin with the Tonic fol¬ with the white keys, C and B, firmly depressed. If the This has a peculiar openiug-and-shutting effect, re¬ fifth finger depress third line B above. This may be laws. One is simply conscious of the surging motion of Fourth, Fifth, Sixth, Seventh or Octaves. lowed by the Sub-Dominant and Dominant and coming finger and thumb form a good arch, and do not de¬ done silently. music and Underlying unity. The reason many people do minding one of a pair of scissors. Of these, we may dismiss the Unison as being lacking back to the Tonic. In this way they get what they call a press the D flat and B flat immediately within their Generally a fugue subject is quite brief. If it is longer, complete “little piece.” Also have them learn the Then, with the fifth finger still holding down the not enjoy fugues, is that they are accustomed to listen in variety. The Octave is in fact in use, but is more span, well and good. If they do depress these black it is usually in rapid time and contains “sequences” chords in an original way as a “surprise” to you. They third space C (or third line B as the case may be), draw for a single predominant melody as in a song for a solo convenient for the third voice than the second. The keys, then begin this exercise with middle C and second (repetitions of the same motive a degree higher or always enjoy the feeling that they are doing something the little finger to the right-hand corner of the de¬ voice, the harmony being to them only for enrichment, Fourth actually is more or less in use in certain parts pressed key. Reverse the hand, that is, turn the palm space A above. lower.) without help from their teacher. like the gravy on meat. Not that a fugue has no melody of “tonal” answers. That reduces us to the Second, upward—it does not matter if the knuckles depress the This exercise should be practiced daily, but never to —the trouble is, in fact, that is is all melody—soprano, Bach, Organ Fugue in G Minor Third, Sixth and Seventh. Let us experiment a little My little pupils have found so much pleasure in their keys, and with the fifth finger still holding down its a point of strain or fatigue. The pupil soon acquires alto, tenor and bass alike—and the inexperienced ear with the Seventh. We give a subject and a choice of chord work at a time when music study is apt to be a key, stretch with the thumb to the C octave above (sec¬ little dull. I am hoping other teachers may find it equally ease and endurance, and I have found no way in which cannot take in so much at once. two different answers: The first keeps the proper rela¬ ond leger line above staff ) and press it down. If this useful. small hands are developed to cope with octave playing When a pianist hears the word “fugue” he instinctively tive intervals, but takes us into so remote a key that C cannot be reached with the little finger still depress¬ more quickly or more effectively. recalls Bach’s Well-Tempered Clavier; but the first it will be very clumsy trying to get back again for the ing its key, they try B or even A below if the hand is When the interval middle C to A, second place treble, fugues were vocal, not instrumental. Even in speaking Planning a Recital quite a small one. entry of the next voice. The second keeps in the of instrumental fugues we still use the term “voices” same key; but the character of the theme is lost by the At first a couple of times is sufficient; but later the can be done properly, I pass to the interval C to B, which may take some weeks, and then to the octave to describe the different parts which enter one by one at change in position of the semitones. By Marjorie Gleyre Lachmund pupil will be able to do it as many as eight times with¬ different pitch. In Handel’s Messiah, Haydn’s Creation middle D to D, fourth line. It is very seldom that a theme drawn from a song, out fatigue, and still later will be able to take the D and other of the older oratorios, nearly all the choruses The same exercises apply to the left hart I—only of dance, modern hymn tune or other music of a modern above in like manner with the thumb while the fifth are vocal fugues with orchestral accompaniment. As Too often in planning a recital the teacher merely type would be suitable for a fugue subject; because finger still depresses its key, third space C. course in the stretches—with left thumb on middle C we approach our own day, fugue writing becomes less decides to give one and puts the pupils down on the pro¬ such a theme contains within itself the laws of periodic . Use this exercise very sparingly at first, and at no the expansion is in the opposite direction to that of the frequent. Mendelssohn and Gounod, for instance, use gram for whatever piece they happen to have finished. construction. It has a regular recurrence of cadences, time push it to the point of fatigue; but the results are right hand. it only occasionally. Much of the ancient church music, How infinitely better to think far enough ahead so that whereas the very essence of a good fugue is its great for instance the Masses of Palestrina or of Byrd, is in the pieces may be selected especially for the event. flow and its almost entire avoidance of cadences and the form of unaccompanied vocal fugues. The organ Give each pupil a piece which shows him off to the best marked divisions of any kind. To realize this, you Some Safe Short Cuts in First Piano Teaching is a particularly grateful medium for the presentation advantage, a piece which has opportunities for his strong only have to try to take half a fugue for a lesson, points and avoids his weak ones. For instance, do not of fugues. By Sarah Howland Murdock and see if you find any good place at which to stop! let a pupil with a stiff wrist play a piece with much stac¬ We now come to the technical structure of the fugue. cato. If a pupil has a specially fine tone in chords, give Too many complex problems presented simultane¬ b. They learn to discover different fnrn him a piece which calls for tH!s tone. ously cause beginners’ failures. Faster progress can The “Subject” The “Answer” these chords may appear, as below: A similar problem would be met with, even if less be made by breaking up the appalling blur of confusing On the other hand, outside of recitals it is, of course, Fugues are written for a certain definite number of At the close of the “subject” (sometimes slightly extreme, in case of the Second, Third and Sixth. advisable to give pupils pieces which call for the exer¬ difficulties into simple, separate problems each of which “voices,” from two to five, but the favorite number is before the close) a second voice starts in with the is to be considered separately. Another good reason for the choice of the intervals cise of their weak points. In this way they develop four—soprano, alto, tenor and bass. Any -voice may “answer.” The Answer is essentially nothing but the For the right hand this might work as follows: of imitation in common use is the fact that in vocal evenly. begin, according to the composer’s fancy, and the first subject transposed into the key a fifth higher, or, which 1. Location of tones on the keyboard. fugue they are peculiarly convenient for the require¬ thing it sings is the Subject. For a vocal fugue, the first is the same thing, a fourth lower. But there are cer¬ E. g. Guided by the black key groups, children find ments of the human voice. The compass of basses requirement is that it be singable in character and not tain licenses allowed and indeed required, in order to Getting a Start in Chautauqua all A’s, B’s, C’s on the keyboard, then play a, b, and tenors differs by about the interval of a fifth, and too great in compass. This, to begin with; but there are keep the answer from leading on to a more distant (Continued from Page 592) c, d, e, f, g and g, f, e, d, c, b, a at any octave. so does the compass of sopranos and altos. The com¬ several other considerations which an experienced com¬ and undesired key, as the entry of the third voice, pass of basses and altos differs by about an octave, and 2. Location of pitch names of tones on the staff. which has presently to take place, must be in the original Rough It But Thrive 2. Notation of the left hand. Chiidrm read by poser learns to take into account. For instance, its so does the compass of tenors and sopranos. Hence E. g. Away from piano, children- write and read key. The exact determination of these licenses is of Prepare yourself for roughing it. There will be occa¬ entire measures and by chords, rather than b. individual fitness for an “answer” and its opportunities for a nothing could be more convenient. such words as bag, egg, etc., using Sutor’s Note a highly technical nature and to enter fully into a dis¬ sion when no conveyance is obtainable and you will be P1™1 names, each mentioned separately. possible “stretto”—two things which we will explain Speller, later doing exercises at the teacher’s dic¬ cussion'of them would lead us too far afield. Suffice compelled to walk, sometimes as much as a mile “across ' More detailed reading of the left hand part and later. The “Counter-subject” tation. it to say that the tonic (first note of the scale) is an¬ lots” to the depot. This will occur possibly when the 3. Relationship between keyboard and staff. study of the necessary meters and rhythms similarly Ex.l Jadassohn,tooffi Psalm as for right hand. swered by the dominant (fifth note in the scale,) and, When the second voice begins the answer, the first air is crisp and hovering around the zero mark, and you E. g. Children play what they have read or written, conversely, the dominant by the tonic, notwithstanding voice continues as a sort of accompaniment to it. If may feel terribly abused at the moment; but it is this but without meter or rhythm. 4. Playing of the left hand part correctly. This com- the fact that in the first case the interval is a fifth and what it sings is a real new theme and is used again (supposed) hardship that keeps you healthy, vigorous 4. Notation of Meters and Rhythms. p,e Cj mastery (partial memorization) of the essential and in the other case only a fourth. One may com¬ repeatedly by other voices for a similar purpose, it is chords by relieving eye-strain otherwise cau,ed by the and makes the road life the healthiest life extant. I (a.) Regardless of pitch of tones. Child recognizes pare it to “foreshortening” in drawing. A round called a Counter-subject, but if it is of no great signifi¬ printed page, will leave children’s mii.ds freer to attack have seen frail, anemic looking girls of 85 or 90 pounds and plays different meters and rhythms, using one wheel, seen from in front, is a circle; seen from a little cance and is changed freely later on, or other material tone only. problems of the right hand. finish the season 10 to 15 pounds heavier and looking at one side it is an ellipse. Occasionally one finds a substituted, it is better to call it simply “counter point (b.) Use tones of different pitch. and lelt ^anfl Parts may be combined, like different persons. The very exercise they are forced subject which can be answered without the least to the subject.” In the former case, the fugue is 5. Problems of pitch, rhythm and meter are com¬ f °V1 >tbat’ instead of aimlessly and futilelv repeat- change. The fugue is then called a "real fugue;" but called “strict;” in the latter, “free.” to take every day, rain or shine, is their physical sal¬ bined in new exercises. ng mistakes, children shall be led to discover what their vation. the term is unfortunately chosen, as the greater number After the “answer” is completed there often inter¬ For much of this analysis of teaching of right hand are (wither of pitch, rhythm or In short the lyceum and Chautauqua field is similar to of good fugues are of the other kind, called “tonal vene a few notes, and then a third voice takes up the melodies, we are greatly indebted to the methods of nrfet' a Sha return t0 those siraPle exercises first other great movements in this respect. The amount you fugues,” and are just as genuine fugues. subject In due time a fourth voice takes the answer, teaching music in the public schools. For teaching of Frnmd ^ the.SC Particular difficulties, and (if there are so many) a fifth voice the subject. get out of it will depend upon what you put into it. If the left hand we rely largely upon keyboard harmony. ward 0n’ 4116 chi’d’s own growing confidence will you have ability and enthusiasm, and get joy out of your L Children learn the forms of the CEG, FAC and Drornw d‘s“uragement and lead him to seek further The “Exposition” and What Follows work, you’ll “register 100 per cent.” If you are only a GBD chords and their inversions, by playing them on pointlint;,!.!"' We may tru,y sav that the first danger barnacle, you’ll find your proper level in this work as the keyboard without aid of the printed page. - „!Jbeglnncr’s stru8gle with the piano has been When all the voices have had their chance at the safely passed. in any other, and that is on the bottom of the ship im¬ (This last example illustrates the somewhat rare case subject or answer, the “Exposition” is said to be com¬ peding the progress of everyone. of a double subject, starting what is called a Double plete. There follows a shorter or longer bit of free Facility, the Dread Enemy Fugue.) writing, and then the subject and answer begin to re¬ In an instrumental fugue, as it is more difficult to pre¬ appear again, one at a time, in the various voices. The structure of this part of the fugue is very free. By Marion G. Osgood serve the individuality of the voices, the composer takes Of these two examples, the first shows a “tonal” great pains usually to devise a subject which has a answer, the second a “real” answer, so-called. There is usually more modulation, and the entries may . “She learns so easily!” Thus reports a fond parent be in any order; only in good fugues, whenever a in a tone of pride. “She will soon rise to the top. She strongly marked character, so that it may be easily Besides the change of interval that takes place in recognized no matter how concealed among the “voices.” voice has a rest, it usually enters again with the sub¬ learns so easily.” Thus speaks her music teacher with the^ft oTfacilit^^-6 °f - readiness to ,earn\“ tonal fugues, there is another license occasionally need wU received in this spirit a teacher ject or answer. Bits of free writing intervene here a deep sigh. “She’s sure to run to seed. I’ll wager my This “character” may consist in unusual melodic intervals, found in “answers”: the first note may be shortened. and there, called “Episodes.” In short fugues, these last dollar she’ll never amount to a row of pins 1” peculiar rhythm, or anything else which serves the de¬ to succeTd wrr fr-,hiS PUpiI’S future: he is sure E*-8 Subject are scarcely distinguishable in style from the rest of This gift of learning quickly, this facility in absorb¬ sired purpose. We give a few examples:— i.. hand with patient end^"^ ,earnin8 -cocs hand the fugue, except for the fact that they are neither ing knowledge, should be to a pupil a keen incentive nize the possessor Ts W°r'd is ,ike,y to ^ Ex. 3 1130,161 pnnm subject nor answer. In. long instrumental fugues, for toward practice; it should be to the possessor a glad however u ,aS gemus- Nine times out of ten, EsEE^E 3 instance Bach’s E minor organ Fugue (Peters book II,) promise of future attainment through endeavor. gift a< ' „W ° kas this facility is satisfied with the 41" r j r id lELfitnrmN the episodes are brilliant little bits of free writing not The strong hint to be conveyed to such a pupil, is mulberry bush^sm* Wa'ks around and around the o«j„ Ansr. in any way related to the subject, but giving N an entire CHILDREN S DAY AT CHAUTAUQUA that his way up the hill of knowledge may be more This exhibits a striking character in the intervals Pi* above meSty ^ COntent He 'wil1 “ ** of the melody. contrast. TEE ETUDE SEPTEMBER 1922 Page 601 Page 600 SEPTEMBER 1922 THE ETUDE The “Stretto” What Does MusicMean To You ? Toward the latter part of most fugues it is the cus¬ The Teachers’ Round Table tom to have the answer follow the subject at a shorter interval of time; overlapping it. Sometimes there are Conducted by N. J. COREY several successive strettos, in which case, the closer pleasure in the experience of music is apparently rather ones come last. Some subjects afford no chance of a What are your feelings when you hear the sort of common among these young people. This department is designed to help the teacher upon questions pertaining to “How to Teach,’’ “What to Teach,’’ etc., and not technical stretto. If a composer wishes one, he generally plans music you most appreciate? One young woman says of the kind of music that she problems pertaining to Musical Theory, History, etc., all of which properly belong to fie Musical Questions Answered for it when he is inventing the subject. Sometimes he Several hundred college students who have been asked likes best: “It arouses a sad emotion that nearly suff0. Full name and address must accompany all inquiries. even writes the stretto first I department. a similar question have responded with a wide variety cates me, but I like it.” Another speaks of “a sweet of descriptions of their feelings, sensations, images, pain that is pleasurable,” (an expression reminding one Progress Computing Getting Started in Teaching and emotions. It is clear that music, to most of them Music Credits in School of a medieval Saint Theresa) while a variety of sim- “1. Is it necessary for a thorough training for a “I am moving to a strange town, and although at least, means more than mere audition.. It involves “Can you give me any information as to tlie I have been teaching for five years, would like your ilariy vivid expressions indicate the commonness of the student to take all the selections named in the advice upon the following points : images in terms of various senses, tendencies to follow course of study required for piano in High Schools ? classified graded list, or will Matthews’ Graded experience. What is required for a certificate in scales, studies Course for the first four grades,__.j. Czerny- “1. What should be used with beginners? the music with rhythmical movements, throat tensions, Another young woman, when listening to a great and standard pieces? I am trying to map out a Liebling, Cooke’s, Mastering ...jt'-- Scalesa- and Ar- “2. How should technic be taught? peggios, Mason’si Touch and Technic and e some and a great variety of' complexes of sense and feeling. orchestra, feels as though her chest and throat would course in the High School in which I am teach¬ “3. When should scales, history and harmony be Visual images frequently accompany the hearing of ing.”—H. E. pieces (- introduced to beginners? burst. Some say the whole body seems in a tension, many pieces in the Graded Course? music. Thus one young man reports a fairly constant 2. I am using Clarke’s Theory and Harmony “4. What should be giveh to slow progressing but most frequently the tensions mentioned are located Prqgbess for school credits in music has hardly pupils? visual image, really a memory image from his childhood, Lessons. How much should be given in these in the chest. In many cases, perhaps generally, these advanced beyond the agitation period. There are scatter¬ grades? “5. What studies should be standardized to the which comes to him when he hears a violin—a picture fifth grade? tensions depend upon the sort of music heard, and music ed cities here and there which are adopting music credits, 3. What other Histories, Biographies, Phrasing of an old man sitting cross-legged before a fire. . A studies, etc., should be used? “6. How many different studies should I give to of another sort might possibly induce a feeling 0f pupils who would become good musicians? young woman, who evidently has similar memories, but the custom is as yet confined to a few. The regular __* v long does_ it ... ~a good' pupil to com¬ plete a grade?”—B.•ado?”—~ S. M. “7. What special effort should be made ii describes an image of a group sitting about a fireside, relaxation. routine course of study for piano is usually adopted and to gain pupils In a strange town? Many persons describe a feeling of buoyancy and Near the end of a fugue there is often a low note in “not saying a word, but simply gazing into the fire.” divided into grades, with stich differences as you will 1. The classified graded list of pieces and studies “8. Should advertising be given to local news¬ papers?”—G. J. the bass, held for several measures, on the dominant. Color images are reported in a few cases. One inner expansion, often marked by localized feelings of find peculiar to the preferences of individual teachers. is a catalogue of available material from which to expansion in the body. This reacts in a complex de¬ choose, not a course. A teacher with many pupils will This is called a Dominant Pedal. At the very end student, who is depressed by beautiful music, sees the Many are hoping that in the ’course of time there may be The foregoing questions are of interest to all teachers scribed as a feeling of elation, bodily lightness, “an not want to give the same pieces to all pupils, and some¬ there may be a similar long-held note on the tonic. world as a blue-gray color. Another, on hearing a standardized and universal course of study adopted by who are starting, whether in a new town or not. The airy, far-away feeling,” floating, or being lifted up. times will wish to change the etudes, especially with These may come after the Stretto, but more often it William Tell, describes a visual image of purple and all cities. Many others are opposed to this, not being beginning teacher has a helpless sort of feeling until ex¬ Thus many persons, in hearing a concert, fed as though slow pupils who need to go over some of the ground a is combined! with one or both of them. Neither a gray. One young woman says that when she hears in favor of a single course pf study to be fitted to every perience has been acquired and a list of standardized second time. When it is necessary to give students Stretto nor a Pedal is absolutely necessary to a fugue, Indian music, “all is red—maddening red.” Others elevated into space, where they are unconscious of every¬ kind of individual temperament, as a shoe or hat is fitted material made. The Etude has so many of these ques¬ but they add greatly to its effectiveness if well-placed, thing except the music. The state of ecstasy, so fre¬ more work in a grade it is not always necessary to tell describe merely a dark or bright color. to various people. Meanwhile your course should not be tions every new season among its readers, that all will forming a climax. quently associated with mysticism, is seen here, and is them that they are not being advanced rapidly. Pro¬ Many describe processions, marching men, dancing too difficult or demand too much of a student during a be interested in answers to the foregoing, although space Another device to form a climax to a fugue, and fessional students should always be able to make good fairies, etc., suggested by the music. In one case hear¬ not at all uncommon as part of a musical xperience. necessitates great brevity. often used by Handel—never so far as we know, by year. With it should be adapted a series of questions progress. Others are often completely satisfied so long^ ing music is inextricably associated with seeing a land¬ Sometimes the feeling of buoyancy is accompanied by 1. You cannot do better than use Presser’s Beginner’s Bach—is to suddenly cease from contrapuntal writ¬ covering all points of elementary musicianship. Killough’s as they are learning a list of pleasing pieces, inasmuch scape, so that either experience brings imaginal repre¬ visual images, as in the case of one young .man who Book. Pupils who have done a little study, but must ing and present the subject simply harmonized with Catechism of Music, and Evans’ Primer of Facts about as they only intend their music for a pastime. Experience sentations of the other. Another case is especially vivid seems to be in the tree-tops looking down . n the fairy begin again, may use Presser’s First Steps in Pianoforte dignified and majestic chords. Music will help you in devising this series of examination and close study of your pupils should enable you to de¬ in its visual imagery: dance in the shade below, but very commonly there Study. A few very short simple pieces may be intro¬ questions. For the small sum of ten cents you can also termine just what is best for each pupil. The studies Unusual Examples in the Art of Fugue seems to be a recession of distinct sense • periences, duced after the pupil is well under way. “Music arouses a tense nervousness, a tightening of the get Church’s Juvenile Examination Questions which will and technic you name will make a good foundation muscles, a quickening Of the pulse and the breathing. That even the music often seeming to drift into the dis¬ 2. It is the best plan to take pupils to a table for their Sometimes exceptional forms of imitation are found, give you many hints. I am not aware that certificates are upon which you may plan your teaching. The Graded either in the Exposition or Stretto; for instance, imita¬ is, the kind of music that is peculiarly appealing. The tance. A few papers mention the feeling as of coming first finger movement technic. Lay their hands across being given for completion pf music courses in connection Course does not contain all the pieces you will need. tion in contrary motion. commonplace is veiled and it creates a visual world that Is to earth with a distinct thud or jolt at the cessation a book about one inch thick. Shape the fingers with back Even in the first grade, which may pretty well cover unreal and rose-colored. There Is a shifting of light and of the music. with the public schools. I think that you will find that of hand arched. Show them how fingers should be Jadassohn tone, and whirling figures. To me music is highly visual. the earlier stages, you will stimulate your pupils by After all, are not the highly appreciated music- students finishing a given amount of study in a satis¬ raised up and down. Give them the first exercises for It calls out a kaleidoscopic imagery—dancing figures, and experiences of a sensitive soul ineffable? Can we fully factory manner are given credit marks which are included giving them little pieces in sheet form. They should be shaping and action to be practiced on table if possible. figures in hooded black with heads bowed, triumphal pro¬ very short, however. cessions—and innumerable such pictures. describe them? We may be able to identity certain in their regular total credit tnarks. Then repeat on keyboard. Show how hand moves up elements, such as have been mentiond abo.. , but the 2. The amount of Harmony to be taken by a pupil and down with wrist as hinge. Then for forearm Many of these papers indicate such characteristic most vital and feelingful elements cannot be expressed At the Very Beginning is purely relative. It depends upon the amount of time, movement, raise up and down from the book with fingers organic reactions as thrills, either cold, warm, or neutral, through language. In the words of Carlyle, “I am a young teacher of piano and started my and the facility with which it is understood. Some resting on their tips on table. Gradually introduce same changes in pulsation and respiration, or even a feeling of beginners with The First Melody Booh. When _“Who is there that.at. In logical words, con • 'press the keyboard facility should be developed before it is be- at keyboard as they are ready for it. suffocation. Music seems to bring to some an actual they have finished it what should they take up >on us? A kind of Intuit next? How soon should I take up the scales and 3. Introductory work for scales may be begun during feeling of pain. A paradoxical mingling of pain and hich leads to the edge of I 3. Delightful books to use with children are: First tents case Into that !" just in what way with children?”—M. N. the last third of either of above books. Some begin this In Bach’s Organ Fugue in C major (Peters Book ,’rt Studies in Music Biography, Music Talks with Children, at the very start. Proceed gradually. History should be II), the subject is I am not familiar with the book you mention, but Child’s Own Book of Great Musicians, and Pictures made very simple with children. Use some of Tapper’s assume from the name that it probably covers about from the Lives of Great Composers, all by Thomas Ex. 13 Do You Know ? the same ground as Pressor’s Beginner’s Book. children’s history books. Harmony may be begun after Do you know that history accords to Luzercia Agu¬ Tapper. Much interest can be aroused by having a some facility is attained, about the third grade. six line staff was used extensively for organ, virginal, Presser’s Student’s Book is excelled by none that I weekly class meeting, when a composer may be taken up iar. known as La Bastardella, (1743-1783), the distinc¬ 4. No change in the foregoing need be made for slow and flute music. The four line staff is still used for the am at present familiar with, hence will admirably for a little study, and simple things played by you or tion of having had the highest soprano voice? It is said pupils. After Beginner's Book let them review First music of the plain song. The universal staff for nearly serve your purpose. In it you will find the scales any pupil that may be studying any little piece from a and the pedal keyboard of the organ is not used until that she^ could sing with ease the C one octave above Steps. Keep them in first grade by using many very two centuries has been the five line staff. taken up in rotation. You should teach your pupils, given composer. This can be arranged in advance. near the end of the fugue, when the subject is heard “high C,” or the note on the sixth space above the treble simple pieces until fluency is acquired. They will flourish Read something interesting to the weekly general class. in the deep pedal notes for the first time, but played staff. Mozart was an admirer of Agujari. Her voice Do you know that even at the time of their manufac¬ however, to know these without referring to the notes. better on these than too many exercises and studies. The Anecdotes of Musicians, by Gates, and Imaginary Bio¬ twice as slow had three octaves. Ellen Beach Yaw, the American ture, (1644-1737), Stradivarius violins bn mdit fancy Beginning with C, teach them that the thumb plays F duller the pupil the more he will need very melodious graphical Letters by Cox and Chapin, will provide singer, possessed a voice of four octaves. prices? Antonio Stradivari, through his thrift and his in the right hand, and G in the left, when ascending material to work with. Ex.14 Augmentation splendid material for this also. All these books will Do you know that the five line staff is the survival of enormous industry, became so well off that he was an one octave; also that the thumb of each hand takes C 5. The Standard Graded Course is a fine compendium help in developing the idea, and keep you going for many different kinds of staves? The first dating from object of comparison to his neighbors, who coined the when another octave is added. After they can play of progress. Use it as a sort of measuring rule, or test years. about the year 900, was a single line drawn across the phrase ricco come Stradivari (rich as Stradivari). Once this with some ease, teach jts formation in steps and of ability. Most usual Etudes, Second grade; Czerny- page. Then came staves of two, three, four, five, six 4. About two grades a year would be a good average. while the hands keep up the usual lively movement. he paid £840 for a home, an amount possibly equal to half steps. They will understand the explanation Liebling, Selected Etudes, Book I. Third grade, Czerny- eight, twelve, fifteen, and even twenty-four lines. The This is called “augmentation,” and must not be con¬ $40,000 now. better after the scale is learned. For the sharp scales Phrasing Liebling, Book II, Heller, Op. 47. Fourth Grade, fused1 with what we have described as the “Pedal” in rotation teach the pupil to count up five degrees on “I have a pupil whose former teacher taught her Czerny-Liebling continued, Heller, Op. 46 and 45. Pres- to lift the hand at the end of every slur for ser, Octave Studies. Fifth grade, begin Cramer, Fifty of a fugue, which is a long sustained note in the bass. the scale then being practiced, to find the tonic of each phrasing. Is this correct? No teacher ever re¬ Examples are said to exist of “diminution”—the Musical Tit-Bits quired me to do this. Please recommend a good Selected Studies, Heller, Op. 16. new one. With flats, count up four degrees for each book on Phrasing, as well as one on the Pedals.” “answer” coming on the scene at double the speed, new one. A plan that serves as an admirable prelim¬ F. H. 6. The number of studies given has nothing to do with but I do not recall any instance worth quoting. By Joseph George Jacobson inary during the first book of instruction is to teach The subject is confusing, on account of the lack of the musicianship of a pupil. This depends altogether on Bach was the greatest of fugue writers; since his the quality and thoroughness of the work done. It is Have you thought what an important role the figun the pupil the scale of D flat. Make no explanations a uniform system among publishers for indicating phras¬ day there has been a reaction and the art is less better to have a given number well done than a long list even plays in our musical notation ? The interval between the sixth and sharped-seven except that the fingers play all the black keys beginning ing. In modern music printing, the slur is more and and less cultivated, yet it has never been allowed to die. skimmed over. 1. There are seven notes: C, D, E, F, G, A, B, ones of the minor scale is unmelodic and therefore with the lower of the group of two, and that there are more used to indicate phrases, whereas in former days is raised to F sharp when ascending, which gives us t 7. Identify yourself with church and social interests Suggestions for Study 2. There . . ... values of notes: whole, half, two white keys, F and C, which are played by the it was applied solely to legato. Meanwhile the rule quarter, eighths, melodic minor scale. applied by the teacher you mention is a safe one as re¬ and become acquainted as fast as possible. Mail a Bach’s Well Tempered Clavier, is naturally one of the sixteenths, thirty-seconds, sixty- thumb. No one can go astfay on this. The pupil by descriptive circular to a selected list. If you play well fourths. Lower the third and sixth tones of the major sea gards educational music published in recent years. It is most convenient as well as most valuable books for study. it will be taught to hold the hand well up on the key¬ enough, give a recital. When you have secured a suffi¬ For the organ-student, we have not only the surpass¬ 3. There are St n values of rests, the s is the you have the tonic harmonic minor scale. F a subject too extensive to treat in the little space we have notes. example: board, instead of with the thumb hanging over the edge at command, and one to which you can well devote a cient number of pupils and they are making satisfactory ing treasures of Bach’s numerous organ fugues, but as is the first prevalent habit, the fingers taught to progress, give a pupil’s recital. If you have a studio, 4. There-degrees of mechanical or dynam¬ great deal of study. It calls for musicianship, especially those of Handel, Mendelssohn, and scores of lesser Chords of G major: C E G B D F sharp A studio recitals at frequent intervals are always helpful. composers. ical forces: ppp-pp-p-mp or mf-f-ff-fff. hold a well rounded shape over the black keys. The in the interpretation of the printed page. An exceedingly Many make a success of calling on suggested prospects Take the tonic-chord of any key whether major or G minor: C Eb G Bb F sharp A high position of the hand thus enforced will simplify valuable book is The Theory of Interpretation by A. J. It would seem that the violin would be a particularly and personally presenting their claims to consideration. minor and fill in the intervals between the tones with the passing of the thumb underneath, and help toward Goodrich. A mine of information is The Principles of unlikely medium for fugue; yet, in Bach’s Six Sonatas When momentum is once established, and your pupils are passing tones, and you have the scale. Use the tones Quality16 haS f°Ur properties: Length, Pitch, Pow securing correct motion for this when the hand is Expression in Pianoforte Playing, by Christiani. The for Violin Unaccompanied, there are at least two or doing nicely, your ability will be talked of from one to three completely developed fugues, while in the old of the dominant and sub-dominant chords. For ex- placed flat on the white keys. Make no scale forma¬ Pedals of the Pianoforte, by Hans Schmitt, will give you A note is a visible sign made for the tone you hea another. ample: C major. Supply the tones of the dominant what you desire on that topic. Also Pedal Book, by J. M. Italian violin composers, particularly Tartini, fugues tion explanations at this time, but leave them for later 8. It is always a good plan to place an attractive are by no means uncommon. chord D and B to fill in and F and A of the subdom- tonedlfferen« between a tone and a noise is this. when the pupil will better understand. In turning Blose, which can be used in second year. Illuminating mant chord. a sound which possesses a certain definite pitc articles on these subjects frequently appear in the columns advertisement in the local paper. It will reach the at¬ Singers who take part in oratorio choruses will around to descend at the top D flat, let the pupil use tention of many people not attainable in any other way. _ n°1Se 15 a sound ^ which no pitch is perceptible. of The Etude. derive a real help from the understanding of fugue, the third finger in each hand as a better pivot. This Many teachers make a fall announcement through the as their “entries” after rests are almost always with scale will also help the pupils to feel that black keys “It is time that is at once the most necessary, the advertising columns of the press, one, two, or three the subject, answer, or countersubject, when the chorus "If the musician is a good reasoner, people say he ought to haTO k are simply a matter of course, and not something most difficult and the most essential requisite in months, as may seem best. A reading notice is also is of fugal character. they say what an editor was spoiled. If he leads a clean, upright lit ", 3 >wver- If he knows the languagi say he should have been a preacher. The true musician in the community, the wise on formidable when they are first encountered. music.” A. W. Mozart. generally accorded musical advertisements. THE ETUDE

GET A MUSICAL PERSPECTIVE SEPTEMBER 1022 Pagti 603 M0ZAR7 AND THE CHEESE¬ “I Like only modern music,” said a pale, THE ETUDE MONGER HORN-PLAYER priggish young music student of our ac¬ Beethoven had his butt, the violinist quaintance. Whereby he showed an alarm- BALLET MINIATURE Schuppanzigh, concerning whom he wrote The Musical Scrap Book ing ignorance of music, and no knowledge the immortal canon, “Schuppanzigh ist ein whatever of musical history. There are Anything and Everything, as Long as it is Instructive Lump, Lump, Lump”) but it appears that many such. A little investigation might Mozart also had a musical friend upon and Interesting reveal to them the surprising fact that whom he delighted to play tricks. This Conducted by A. S. GARBETT all—or nearly all—the great composers was Josef Leutgeb, a fine horn-player of were “moderns.” . They are nearly all Vienna. They had met in Salzburg famous for composing music of a kind (Mozart’s birthplace), but Leutgeb came never heard before they came, and usually to Vienna and opened a cheesemonger’s THE END OF THE VIENNA CAFE arousing violent criticism. shop, which apparently did not interfere Bach, the father of all modern music, with his horn-playing. Mozart wrote four The Vienna cafe, we learn with regret, maze of houses called Freihaus, in the write his Forty-eight Preludes and Fugues Concertos for him, and a Quintet, showing is passing in favor of the club. The heart of Vienna, witnessed the birth or to show what could be done with the then that Leutgeb must have been a good per¬ Vienna correspondent of the Manchester many of the loveliest passages in “new” Tempered Scale of Twelve Semi¬ former. Guardian is resposible for the statement in Magic Flute. Near the Neue *-ar , 1 tones (a far more pregnant discovery than “There must have been something at¬ an article too long to quote in full, but the Plankengasse, stood up till a fjw years the “modern” Whole-Toned Scale). tractive about Leutgeb,” says Sir George worth quoting in part. ago a dirty little place called Silberne Hadyn’s symphonies were true novelties, Grove, “for with no one does Mozart “More than in any other sphere, the Cafe.’ Here Schubert composed many of exceedingly “modern” at the time they appear to have played so many tricks. Vienna cafe played a rcle in the art life of his sweetest songs and here he came to were composed. When Leutgeb called to ask how his the city, and especially in music. Gluck meet his friends — Beethoven and the Mozart was blamed for “impossible" pieces were getting on, Mozart would and Haydn belpnged to the pre-cafe time; famous Austrian playwright Grillparzer, harmonies in his string quartets, and took cover the floor with loose leaves of scores but Beethoven wae fond of the cafe. He Brahms, the other of the great^ Vienna a decided step forward in opera. He also and parts of symphonies and concertos, was a restless soul; he changed his resi- musicians, often visited the cafe Apfel, stretched the symphony a point beyond which Leutgeb must pick up and arrange dences in and around Vienna constantly; behind the Technical High School. An- Haydn, notably in the three composed in in exact order, while the composer was and as often as he changed his residence, other man fond of cafes and billiards was writing at his desk as fast as pen could the summer of 1788. changed his cafe. The little cafes around jobann Strauss, the ‘Waltz King,’ com- Beethoven was violently criticised for travel. On one occasion he was made to the Schwarzspanierhaus have the richest r of the BJue Danube. He was ac- crouch down behind the stove till Mozart his bold innovations, going far beyond any¬ memories of him. Many concords of customed t0 meet his friends in the Cafe thing Haydn, almost his contemj >iry, had had finished. The margins of the concer¬ sweet sounds were conceived in these Dob nd every afternoon he watched a tos are covered v-ith droll remarks—‘W. dingy little places, where Beethoven came ’ ...... ,. .. . , ., done. A. Mozart has taken pity on Leutgeb, ass to sip his Mocha Schwartz. Mozart, too, §ame °f bllbards between his friends, the You will look in vain for such songs as ox, and fool, at Vienna, March 27, 1783,’ was restless. Yet we know that the little comedians Girardi and Blasel, sometimes Schubert wrote among even the best of etc. The horn part is full of jokes—‘Go cafe in one of the courtyards of the old taking part himself.” his contemporaries. it, Signor Asino’—‘take a little breath’— And so it goes—Chopin, Schumann, ‘wretched pig’—‘thank God here’s the end’ Liszt, Wagner, Brahms and all the really —and much more of the like. One of LUCK IN MUSIC great composers to the present day each the pieces is written in colored inks, black, contributed something utterly new. red, green and blue, alternately.” Musicians who wait, like Mr. Micawber, prepared for it by writing masterpieces. No music student can afford to neglect “Leutgeb,” Grove concludes, “throve on for “something to turn up,” may have a Mendelssohn was lucky before he was the study of musical history, for without his cheese and his horn, and died richer long time to wait. Luck—both good and born. He selected the right parents and it he can never play or hear the music of than his great friend, Feb. 27, 1811.” bad—unquestionably plays a part in every was born rich. He was unlucky, however, the great composers in the right perspec¬ man’s career. Many of the world’s great¬ in being born at the wrong time. He died tive. Music is fundamental—one of the great est musicians were born unlucky and suf¬ too soon, brokenhearted over the death of sources of life, health, strength and happi- fered in consequence. Though he never his sister Fanny, from a nervous disorder. knew it, Schubert was, as they say in the Had he lived in modern times, the chances WAS TSCHAIKOWSKY MERCEN¬ Luther Burbank. West, “plumb unlucky.” He thought he are that his life would have been saved by ARY? was in luck whenever he got a square an up-to-date psycho-analyst. Those who believe that a composer meal, and was always rejoicing whenever The luckiest of all composers was Liszt, "WE MUST ALWAYS WORK" should wait till he is smitten with an in¬ he got enough paper on which to transcribe who never suffered want, never lacked spiration before he writes a ma-terpiece, “We must always work,” observes Tschai- the musical ideas teeming in his brain. He recognition, and lived to a grand old age, might learn something from the matter-of- kowsky in a letter to N. F. von Meek, was distinctly out of luck; the world owed a fine, noble, generous man and musician fact view Tschaikowsky took of the “busi¬ “and a self-respecting artist must not fold him something more than music paper on to the end. ness.” For business it was with him, to his hands on the pretext that he is not in which to write immortal songs. Verdi was lucky also. He lived over some extent. “I shall not stir a finger the mood. If we wait for the mood with¬ Wagner had to wait about forty years until I get a positive commission,'' he wrote out endeavoring to meet it half-way, we before his “luck” broke. He never really four-score years in a grand crescendo of to P. I. Jurgenson, in 1880. “If nething easily become indolent and apathetic. We emerged from obscurity until a lunatic saw achievement. vocal is required of me, I must Ik supplied must be patient and believe that inspiration what others failed to see, and Ludwig of Lucky or not, however, they all worked with a suitable text (when it is a question will come to those who can master their Bavaria, a crazy king, gave him a chance. with terrific energy, regardless of the ele¬ of an order I am ready to set an advertise¬ disinclination. This was luck indeed; but Wagner at least ment of chance. “A few days ago I told you I was work¬ ment of corn-plasters to music) : if it is to ing every day without any real inspiration. be an instrumental work, I must have Had I given way to my disinclination, un¬ A RADIO MIX-UP some idea of the form it should take, and doubtedly I should have drifted into a long what it is intended to illustrate. period of idleness. But my patience and An amusing article by George S. Chap¬ tors, we will be surrounded by tumult and “At the same time a definite fee must be faith did not fail me, and today I feel that pell in a recent “Vanity Fair” promises shouting, a new world-struggle for air su¬ offered, with a definite agreement as to inexplicable glow of inspiration of which I some weird musical happenings by radio in premacy. A sample interval of what used who is responsible for it, and when I shall told you, thanks to which I know before¬ the near future. After telling of the con¬ to be, in the old days, a quiet morning will receive it. I do not make all these de¬ Copyright 1922 by Theo. Presser Co. British Copyright secured hand that whatever I write today will have sternation of a quiet family of Bostonians be something like this : mands from caprice, but because I am not “ ‘O, Celeste Aida.. .Shut up you’re on a in a position to write these festival works the power' to make an impression, and to who tried to get Beethoven’s Fifth Sym¬ INDIAN DANCE touch the hearts of those who hear it.” busy wave.. .0 Celeste-Hello... is this without having some positive instructions phony and got “the Demi-Virgin”—a scan¬ This extra source of energy which Los Angeles singing?-Brrr...ik, ik, ik. as to what is required of me. Avery useful study piece in A minor. Grade 1^. PRANCES TERRY Tschaikowsky calls “inspiration” is simply dalous Broadway playlet—instead, he ...a cello solo by... Go to H-l... .Asleep “There are two kinds of inspiration: part of the untapped resources of the warns us that “Filtering through our tele¬ on the Deep!!-Brrr_Dites moi_lk, One comes direct from the soul, by free¬ Subconscious. We all have it, and can use phones, oozing out of faucets and radia¬ ik, ik-blaahl— dom of choice, or other creative impulse; it even in facing the drudgery of scale- the other comes to order. Matters of busi¬ practice. William James has said that “the ness must be put very clearly and plain fact remains that men the world over SOME OPERA FACTS distinctly.” possess amounts of resource which only In proof of his contention it may be “Dafne,” the first Italian opera, was troduced a musical “Intermezzo” betwi very exceptional individuals push to their said that many of Tschaikowsky’s most produced by Count Bardi in 1597. From the acts of the serious Drama to g extreme use.” And again: "we may find popular works were commissioned, the thence forward, Opera made such progress relief. They carried the custom i beyond the very extremity of fatigue-dis¬ most notable of these being the “1812” that by 1699 there were no less than eleven Opera. And as time went on the Int tress, amounts of ease and power that we Overture. Many of his best known piano opera-houses in Venice. Each had its own mezzo in Opera became a little opera never dreamed ourselves to own.” pieces were written to order. The “Pa- staff of singers, and frequently its own itself, of light and breezy character. It Tschaikowsky may have been one of composer, or staff of composers. The not stop there, however, but was finally , thetique” presumably came “from the soul, those “very exceptional individuals” who by freedom of choice.” present population of Venice is around larged so that an act of the serious op< make the most of themselves by using 160,000, and that of the Venetian province One can’t help wishing, however, that their stored-up energy. In the above letter, alternated with an act of a totally differ about three million. In 1699 it was prob¬ lighter opera into which the “Intermez; somebody had taken Tschaikowsky' at his however, he shows how others may do the ably much less. The population of Amer¬ word, and given him an “advertisement of same: “We must always work.” had swollen. A break was inevitable, j ica today is about 110,000,000, but there are finally there came into existence the’t corn-plasters” to set to music! not eleven theatres exclusively devoted to sorts of Italian Opera which long ruled “I am what I am because I was indus¬ opera in the whole country. We prefer stage—Opera Seria and Opera Buffa. Sp< A good book is the precious life-blood trious ; whoever is equally sedulous will be movies. an interesting ten minutes with your Gr< of a master-spirit embalmed and treas¬ equally successful.”—Bach. The Italians in their plays frequently in¬ Dictionary reading about the “Intermezz ured up on purpose to a life beyond Hfe.” —Milton. SEPTEMBER 1922 Page 605 THE ETUDE THE ETUDE Page 604 SEPTEMBER 1922 MELODY IN D T.D.WILLIAMs In the form of a meditation. Alreadv ooDUlar as a violin number or Trio. Grade 4.

British Copyright secured Copyright 1922 by Theo. Presser Co. Copyright 1920 by Theo.Presser Co. British Copyright secured THE ETUDE SEPTEMBER 1922 Page. 607 tiOh SEPTEMBER 1922 THE ETUDE MOONLIGHT REVELS 5 i > Grave m.m. J = so EXTRAVAGANZA j»y | ilm , *4 #7 > “If you will patiently dance in our round and see our moonlight revels, go with us; J Act II. Scene I. Midsummer Nights Uream. 3 '9 • T* & Octaves art lib. . A characteristic drawing-room piece, which might be used also for aesthetic dancing. Grade 3L. IB u § if-

Vivace m.m.J = U6 (The Fairies continue their dance) - r-»i—v • rr^^ i-<—-■ 15'T”^ * 2N 3 3 j._ \ P 7 P

"ine revels OCX UlCJ tfiP; hour of dawniilor dav is near.” ^Andante (The Village Clock.iv V.UUUOB;chimes) —^ | 4 ITS i 5 r?\ ^43^ 4 5 5m- 3 j —. * 3 \ m rt t a .. j ^' rfT.a,H 3j i*

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■i 1 2 0 s'* s * m h r p ' r m J y B«r7~T~?..J -J i i , i tWi**" si is !jjt 5 6 .55 £ £ * SPRING DANCE In the style of a vigorous mazurka,suggesting the leaping steps of the danters. Grade 3. EUGENE F. MARKS "iti r 4 jgjrfn- Tempo di Mazurka m.m.J = 126 ^ am_ tL.-. 3 , ii -j.1 m nf ] i i JTk / A ft w it a-p i tti

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It DC :>_ ^ > " 11 ~ r ■■■* i * & 4 1 B 45 Copyright 1922 hy Theo Presser Co # From here go back to $ and play to * then play Trio. Copyright 1922 by Theo. Presser Co. British Copyright secured the ErrH SEPTEMBER 1922 Page 609 Page 60S SEPTEMBER 1922 THE ETUDE BUGLE CALLS BUGLE CALLS MARCH MARCH

PIE EKE RENARD A brilliant military march, to be played in orchestral style, with strong accent. THE ETUPg SEPTEMBER 1922 Pnge 611 Page 610 SEPTEMBER 1922 THE ETUDE I SECONDO tT"^4. a

MINUET FROM “DON JAUN” uftamm MINUET FROM “DON u^.ns< The most typical of all minuets, in a W. A. MOZART Transcribed by M^MOSZKOWSKI W. A. MOZART new and illuminating transcription. SECONDO PRIMO Allegretto M.M.J=iae Allegretto

> >■ . . . . | j ■ ffrrr^ \i~i 1 H j't 1 r —i I i- j 1 - ..I ii 1 1 ^ < dim. e rit. | moltop a tempo 1 4V_4 - k. ^ ^ L . i rr*i (m l m - .- J j > T T T T f 5 3__ _ 3^,- 1 i- ♦iTV

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THE ETUDE Fate 012 SEPTEMBER 1922 THE MAIDEN’S BLUSH WALTZ L. M. GOTTSCHALK

Tn Oottschalk’s best style, brilliant and scintillating, but always with a freshness of melodic invention. To be played in dashing ma n r with little let-up in the pace. Grade 4. Vivare

Copyright 1307 by 1 hco.Pres.ter SEPTEMBER 1922 Page 615 the etude

AMERICA’S MOST OUTSTANDING PIANO WORK The Original of all the Graded Courses of Piano Studies STANDARD GRADED COURSE OF STUDIES IN TEN GRADES

Compiled by W. S. B. MATHEWS

Price, $1.00 Each Grade

One Hundred Thousand Students Annually are Now Using This Work with Splendid Results. Adopted as a Part of the Curriculum of the Standard Conservatories and Institutions of Learning Throughout the Whole Country become a household musical word in America, it is but This is the first and best compilation of studies culled natural that many other courses, series, etc., should spring from the works of all of the world’s greatest writers and up from time to time; but in spite of all this, The Standard pedagogues, all selected with extreme care and brought to¬ Graded Course continues to grow both in use and in popu¬ gether in. logical and progressive order. larity. No imitation ever equals or supplants the original. This is a work of to-day, not of-the past; since, in addi¬ Although this course is complete in itself, from the tion to the imperishable things of the past, the gems of very beginning up to artistic perfection, it may be used also modern thought and inspiration are being added contin¬ as the basis for the most exhaustive study of piano music; ually, each volume being enlarged for that purpose. 1 he since each volume contains carefully prepared lists and active advice and cooperation of many of the world’s great¬ directions for expanding and supplementing the work of its est teachers and players have been, and are being, enlisted respective grade. in this compilation. The Standard Graded Course may well be used as the It has been said that “Imitation is the sincerest form back-bone of any legitimate method or system of piano of flattery."'’ Hence, The Standard Graded Course having instruction. WHAT EACH GRADE DOES

GRADE FIVE. The Trill is featu GRADE ONE. After Is this volume, also more extended art wprk. But, best of all, an interest!! vance is made into polyphonic playing. o Chaminade and Handel, Mendelssohn, Schumann, GRADE EIGHT. Seriov Saens are represented, together wit both classic and modern, lea( famous pedagogues Czerny, Loesc ficiency in concert playing, Doring, Hiinten, Wolff and others. by Jadassohn, Schytte, Ber Henselt, Raff, Moszkowski, fugue by Bach. THESE VOLUMES and the supplementary material listed in each volume for every educational contingency, can be obtained, from any music GRADE NINE. Introducing the Bravura store anywhere for the regular list price and subject to the best professional style, with composers from Bach to Rach¬ discounts, or any or all of the ten volumes or the supplementary material maninoff represented, and including concert etudes by Seiss, Seeling, Leschetitsky, Hen- style and interpretation. will be sent for examination and comparison to any interested teacher, selt Godard. subject to return, with no cost but that of postage. The volumes are well GRADE FOUR. Introduces octaves ai more advanced passage-work. Classic wr printed on good paper, strongly and durably bound for hard usage but sold GRADE TEN. Virtuoso equipment, in¬ ers represented are Bach, Handel, Mende at our usual large professional sheet music discount. cluding concert etudes by Liszt, Chopin, Schulhoff, Schumann. All famous works. Heller, Henselt, Schytte, Lack and others. All Tending to Develop the Best of Technic and Musicianship with a Minimum of Trouble Melodious, Interesting and Stimulative Throughout THEODORE PRESSER CO., Publishers, Philadelphia, Pa. THE ETUJJE THE ETUDE SEPTEMBER 1922 Page 611 Page 616 SEPTEMBER 1922 Because It Plays All Records It Brings All Artists, All Music, into the Home

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THE ETUDE Page 619 the ftude SEPTEMBER 1922 A Beginners Book RUB-A-DUB-DUB george f. hamer From a new set of teaching pieces: Mother Qoose Land. The text need not be sung, but may be recited or omitted altogether, it is pur y JUST BUBBLING WITH lustrative. Grade DELIGHTFUL INSTRUCTION Allegro moderate^ M.M.J- = 88 4 rT\

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STANDARD HISTORY OF MUSIC

A FIRST HISTORY OF P : FOR STUDENTS AT ALL AGES THE ETUDE SEPTEMBER 192? Page 620 RECREATION WALTZ

With a pretty, flowing melody, to be sung by the left band. Grade 2% • Q. M. SCHOEBEL

2^- '-„ 1 8 8 1 8 4 i rr* 8^-. n i i —8 i *44 * >7 " ^ ,i» ■ Tf7 Si. S 4 4 1 4 1 5 4^- 5 4 8 *

TRIO 5 1 4 ^

5- Tf ™ I sonot-e^J^—

3 h 1 4 3 i 3 * . — 1 5

British Copyright secured Copyright 1922 by Theo.Presser Co. SEPTEMBER 1922 THE ETUDE the ETUDE Page 622 SEPTEMBER 1922 PILGRIMS’ CHORUS FROM WAGNER'S “TANNHAUSER” FRITZ SPINDLER

)Bt popular transcriptions of this glorious melody, not difficult to play but giving

Copyright 1897 by Theo.Presser SEPTEMBER 1922 Page 625 THE ETUDE THE etude Page, 624 SEPTEMBER 1922 VALSE VENITIENNE LEON RINGUET, Op.41 A graceful waltz movement, exemplifying the arpeggio style, now so popular. Grade 3* SEPTEMBER 1922 Page 627 THE etude THE ETUDE CLING TO THE CROSS tfuw Menai '«•*» SEPTEMBER 1922 AUTUMN GLORY An dramatic sacred song. Intense in fervor and splendid to sing. DANIEL PROTHEROE Moderato con espressione Serving admirably to display the singing qualitiesof the violin. M.L.PRESTON

British Copyright secured Copyright 1922 byTheo. Presser Co.

Copyright 1922 byTheo. Presser Co. British Copyright THE ETUDE SEPTEMBER 1922 HOW IT HAPPENED

ANON WILLIAM STICKLES A story song.Catchy,bright and very singable.

Copyrightl922 by Theo. Presser Co. British Copyright secured SEPTEMBER 1922 Page 631 the ETUDE A Tireless and Faithful Musical Servant THE ETUDE Page 630 SEPTEMBER 1922 A By Leslie Fairchild BY THE WATERS OF MINNETONKA Why is it that many students, teachers tive knowledge as to our progress in¬ and artists condemn the use of the metro¬ stead of guess work. ANINDIAN L0VE S0NG thurlow lieurance nome when a proper knowledge of its use (3.) Acts as an incentive for the pupil A most popular number,surprisinglyeffectiveon the organ. would be of such value to them? Even to gain velocity. If the pupil has gained the knowledge Andante moderato ad time, play an octave higher to those who have established a fine sense of rhythm, the metronome offers many that he can play, say, ninety quarter other advantages. notes a minute, it is a great temptation Below will be found five important for him to slip the metronome weight ooints on the use of the metronome which down a notch at a time to see if he can¬ the conscientious pupil or teacher cannot not beat his previous record and play afford to overlook. 150 or 200 quarter notes per minute. Manual The metronome: Of course, the metronome is recording (1.) Establishes a correct sense of accurately this actual gain in speed.. rhythm. (4.) Helps to overcome the stopping Faulty rhythm destroys the very fibre habit. of a composition. It is, therefore, im- What is more exasperating than the perative that we acquire as near a per¬ pupil who has the stopping habit? Hard¬ fect rhythm as possible. It is not per¬ ly a line is played through without hesi¬ fect rhythm that makes our playing tating or stopping. It is really a great sound mechanical; it is the lack of evil and can be entirely overcome by ritardandos and accellerandos, crescen¬ the proper use of the metronome. dos and diminuendos, combined with The remedy: Start the metronome at different varieties of touch. a very slow speed, so that there will The metronome may be laid aside when be no need of the; pupil hesitating, and one feds quite satisfied that a perfect as soon as the piece can be played rhythm has been established and all through without a break, the speed can the attention then given over to the be gradually increased until the desired interpretive side. tempo of the composition has been (2.) Records actual gain in velocity reached. from day to day. (5.) Helps greatly in working out new ' In these days of efficiency, it is quite pieces and etudes. necessary that we keep accurate records It enables you to work out difficult of our work. Would it be possible for rhythms and bring the composition up us to keep very accurate records of our to the correct tempo. It also gives av daily existence without the aid of such general idea as to the proper tempo of The Princess Grand instruments as the watch, thermometer, a composition. electric meters, speedometers, etc.? So The proof of the above assertions will This beautiful small Grand is the suc¬ it is in music; an accurate record show¬ be found only in working the five points ing' from day to day our actual gain in out for yourself as I have done, and I feel cessful result of half a century’s constant sure that all those who give it their earnest velocity requires an instrument such as endeavor to materialize the highest ideals of the metronome. This gives us a posi¬ efforts will be greatly benefited. fine piano building. Birthday Cards Its charming tone quality, exquisitely By S. Janie Bolin responsive touch and chaste beauty of design

I dropped into the studio of a very pop¬ you try. Children adore their birthdays and finish represent the highest attainment and often speak of them. When they do, ular young teacher and found her absorbed in its type. in an address book and an assortment of I ask the date and write it on anything attractive cards. I naturally inquired what convenient, while I talk to them of some¬ she was doing. “Oh, just addressing the thing else. When they are gone I copy r It «f -HieFFi 1 tag lirfl the date on a page of my address book 7 \J4m birthday cards that I have to send out this H devoted to that purpose. I keep on hand a ■-H month to my pupils,” she said. I knew she ^-" Fine had an immense class and I said, “You stock of birthday cards and, by an occa¬ rH sional reference to my birthday page, usual¬ 1VERS & POND _ surely do not remember them all on their birthdays?" "I try to,” she replied. “They ly manage to remember them all. I find naturally expect to be remembered at that it pleases the grown-ups as well. I Christmas; but when you remember their also send cards to pupils who have discon¬ zi "—^ birthdays, they feel that you are taking a tinued lessons and it frequently brings PIANOS special interest in them.” “How do you them back for more study. It is such a get the dates?” I asked. “Do you require little thing to do and yet it pays many whether smallest upright or largest grand, are timps over for the effort, both in good will those, with the addresses?” “Oh, no,” she of one quality only—the finest. Their laughed mirthfully. “It is easy enough if and financially.” supremacy in the musical world is witnessed Throwing Pebbles by their use in more than 500 conservatories and schools and 70,000 cultured homes. By Katherine Morgan But, if the work has been done with an A pleasant story is told of Turner, the observant mind, the day will come when Leading dealers throughout the United States great English landscape painter. the “ripples” of tone will be ours for the sell Ivers & Pond pianos. Where no dealer sells When out with a company of his fellow- reaching after them; and they will be them we quote lowest prices and ship direct from students, he spent the whole day sitting the Factory. Easy payment plans. Liberal upon a rock, casting pebbles into the lake. finished, complete. A ship may be sunk as well by an over¬ allowance for old pianos in exchange. For cata¬ The evening came and his companions had weight of mustard seed as by massive large sketches to show for the day’s work, log and full information write us today. blocks of stone or lead. Just so, little acts but Turner had nothing to exhibit with of carelessness may wreck our musical them. Years afterward there was a great paint¬ lives. ,. , , ,, u. If in our practice, we think of getting ing on view; and in it Turner had portray¬ it over and done,” we are wrong. No ed rippling water as no other English Ivers & Pond Piano Co. hour hurries another. We may think we artist had ever done. The day, years have parted forever from things past. before, spent in throwing pebbles in the 141 Boylston St. Boston, Mass. True they are behind us. But work poorly lake, had borne its fruit. done must be met again. Nothing dies. Much work of the piano student may be The musician springs forth as if by magic, likened to the day of pebble throwing. we think. But he reaps exactly as he has Days sometimes seem so useless; at the sown The life that towers is made up close there is so little to show for the work of trifling things well done; just pebbles done. The little exercises, gone over and dropped into the lake and observed with over, seem so much like a waste of time. a keen eye. There is no picture of tones to be shown. ETUDE when addressing 01

Copyright 1921 by Theo.Presser Co. British Copyright secured SEPTEMBER 1922 Page 633 THE ETUBE fflE ETUDE “Vour natural tones are excellent," ^ sk if I bad any trouble with my back. I dared to say I had never been troubled Page 632 SEPTEMBER 1922 began, “but My exercises at home consisted of trying a moment, even while he fixed me with a “But you will have to spend a long time to roll a piano across the. room, or to push stern eye. 14 O home and undress, lie flat on undoing what has been done wrong," \ down the wall of the house (to exercise “But you must have awful headaches,” I x your back, hold a mirror before back muscles) and meditating on the loca¬ he assured me. ^ your face, prop a half of a match glibly finished. tion and control of my diaphragm. But I felt to be remiss in this was a crime, between your teeth, take a deep breath and “Exactly 1” she beamed, and I could see at the close of the second term my dia¬ yet I confessed vulgarly: say ‘Ah’ as long as you can.” The Singer’s Etude she thought that an extraordinarily ^ phragm still refused to “set” or my back “Only when I over-eat.” These were not the words Of a psycho¬ telligent remark. He looked at me in pity. pathic doctor wishing to amuse a hopeless “Your sides should swell as though yofl to sing. This last winter I met a young woman patient, but the directions I got from my were pushing an elastic belt out. Y0ll “You will never have resonance in sing¬ Edited Monthly by Noted Specialists with a lovely soprano voice, trained by Mrs. first singing teacher. Wild as they sounded, should feel the sound buzzing through ing unless you have that deflected septum Vanitas, the assistant of my first professor they were as A B C to later ones. ^ y0ur nose. It should shpot up back 0{ in your nose straightened,” he pronounced. in Washington. I sought this lady whose When I first started to study “vocal” I your front teeth into that little place that The operation will cost you $50. Is your business eye looked me through and voice worth it?” thought that two years would put me, if A Vocalist’s Magazine Complete in Itself aches when you eat too much ice cream not on the concert stage, at least in a com¬ and where you rub mutton suet when y0„ through. Her speaking voice was raucous I wavered, and while the doctor answered fortably paying church position, to stop have a cold,” she told me. and husky, and her torso of that massive¬ the telephone in the next room, I weighed there until my voice cracked with age. I And the neighbors heard me wail “Maw. ness which I am told is the inevitable ac¬ the question. The door blew gently open chose for a teacher a certain crabbed old maw-maw-maw” like a poor talking doll companiment of vocal genius. and I could hear the physician’s low man in Washington, who I thought must that had been wound up and forgotten. “I have very little time to talk to you,” voice at the instrument. Suddenly I be a genius—he was so cranky. And so I Some Vocal Fakes I Have Known My nose began to ache and the sinuses felt she jerked out. “But since you ask whom straightened up. I consider the best teacher in the city, and bowed meekly when he cruelly mimicked as though filled with small balls clicking “Yes, Mrs. Vanitas,” he was saying, That Elusive Ah—Spot are willing to pay me for my opinion, I my tones though I yearned instead to cry. back and forth. “yes, she’s here now. That is the third He would take me up to B flat or C and But inconsiderate Uncle Sam ordered will tell you.” this month. I’ll figure it up and send you By Abby R. Townsend “Who?” I hopefully cried. then say disconcertingly: “Did you feel my family backbacK 10to Washingtonvvasningion beforeuei< the a check. Of course it depends on how “I am, and I have no more time to talk. that go through?” , i *r*nr nnrl T had tn find o many visits there are. You’re doing bully.” “Go through what?” I would blankly ask Do you take from me or do you not?” Utterly cowed I whispered I would take. -Go through go long as ,h. breath lasted. I. ■*“ '° ““ic g„|,r .eented to me to be a taiB Three Voices Mrs. Vanitas tested my voice and grunted: through! he wouldth ° l.ans you will very interesting to my family, who could y‘ { , palpitating under your filiation of incorruptibility andmusical The great surgeon had not removed the “You have a limpid mezzo soprano; doesn’t tell you what that means you w. understand my going about the house Dojutee P ^ dia knowiedge, so I looked him up in his little blockade from my nose, but he had plucked never learn to sing! ^ T did ^ puffed cheeks, emittmg sorrowful she gravely asked, as I den bacU of his piano stop He twisted trained ?” the beam from my eye. When he got back “Yes, of course,” I murmured. Now I wanted to lea n g’ • fal sighs. For this advice the lady s fee * P for breatb bis mustache in deep reflection. After a to the outer office I was far down the “What’s that?” street, and Mrs. Vanitas never saw my “I said I felt sure it had been ‘trained face again. Neither did I pay her for wrong,’ ” 1 innocently explained. telling me who was the best teacher of At the second lesson she gazed appre¬ Nothing quite effaces voice in the city 1 I learned later that each hensively down my throat and up my nose. sm- « fts and every one of her pupils had, strange After about twenty sessions with this bred lessons there, I found j ask you fairly, ought I or ought I not way the town could < l'rocuredher “I’ve been afraid of this,” she said to say, been brought into the world with a irascible gentleman I could say “ah” nicely, Washington, and still yearn- to know of clicks and palpitations going waJ through the lllncs i in son in Mash- gravely. “You can never sing until you that momentary disappointment deflected septum which Dr. Wiseman only with all accompaniments of propped match, !"yse v0;ce l went to the great Con- on in my own diaphragm, and beneath Y jngton, requiring her ' mp-rary sojourn have had your septum cut.” mirror and flattened tongue, though it was mz iarge and imposing, 'own sternum, better than any vocal teach tberc. The piano dealei thought so much My septum? Oh, the queer places I had could correct. about as easy to feel the proper relaxation certo. jt and soft white on earth? But it seems I did not. o{ ber methods that he was even placing been harboring “unbeknownst.” And that is all. My vocal lessons are INSTINCTIVELY—perhaps without even stating it to him¬ during this process as it would be m walk- wi ; dly quaked as I asked for his own young daught- ,U, her over. I have a voice, oh yes, I have three self—a man expects to find daintiness, charm, refinement m ine a tight-rope. About this time my first ban“s. I mwar^r u An Idiotic Express.on The day was not an h ur older before I Dr. Wiseman of them, a dramatic soprano, a rich con¬ tralto, and a limpid mezzo soprano. But the women he knows. professor fell sick, instead of me, and I hl* h° * ? any but an honest opinion,” I took ten lessons from Miss Echo, and had madc dcfinite arrangements with the She made out a small card of intro¬ after four years I cannot sing a scale with And when some unpleasant little detail mars this conception had to change instructors. he retorted in insulted-accents. He pushed then fate sent me to Kansas. 1 gave P Boston wonder. duction. any of them without falling into the pit- of what a woman should be—nothing quite effaces his involun¬ Number two was a young and pretty button ^ his deski and there appeared a all hope of singing, for I felt sure * “Throw your tones at yur ah-spot! she “Go to Dr. Wiseman, and let me know teacher whom I foolishly chose because she . dark „;rl wkh a face of indetermin- great Splenderosa’s methods had_ not screamcd at me the first b >M>n. Havent falls that snared me in my first lesson. My when he is through with you.” tary disappointment. lower tones are those of an unhappy cow sang well herself, and her terms were mod- looking lines. She stood at breasted the waters of the Mississippi, and you found your ah-sis.t vet ? ’ I sought the great nose specialist in his moaning the taking away of her young, Don’t let a neglected condition of your skin give an impres¬ est She tested my voice and said You ate^n my ten lessons if they had expounded My ah.spot? Sorrowfully 1 replied tint mahogany and crystal knobbed offices. and my upper ones are like the hoot of a sion of untidiness in your toilet. Any girl caw have a smooth, are a dramatic soprano, but aim s «Miss' £cho ” demanded the artist, “I nothing else, had made it plain that bplen- ^ a), my wandcri„gs ..ml sittings at the Solemnly he peered down my throat im¬ asked with a sniff who had instructed me. ^ ^ you_.Ws0 Tells the derosa’s methods were the only ones. feet of wisdom I had » t mind my ah-spot. world-weary and pessimistic owl. clear skin, free from little defects and blemishes. Each day pressively he caused small round instru¬ your skin is changing-old skin dies, and new takes its place. I grovelingly explained that toe only Truth?”’ In the little town of Kansas where I Wherc> ob wherc had my ah-spot gone? ments to sneeze into my nose, relentlessly I read in the paper the other day of a By giving this new skin the right care, you can keep it flawlessly son I had gone to Number One^wa ..You do,” came the parrot-like response. sojourned for a year, I heard,of a young It seems ,hat the elusive little spot is he propelled twisted wires through my new teacher whose terms are within the I had not yet heard ot her, an s „If j say a person has a voice, what woman who had a large class in vocal locatcd in thc atm0spherc directly in fruit skull, and sorrowfully he gave his verdict. reach of all. It was said by a great tenor smooth and clear. lessons. . for about it?” music. She came twice a week from Kan- 0f my mouth, wherever I go. It is like “Your nose is not shaped right.” that watching a dog bark would give one If you have the type of skin that is continually breaking out I went to Number Two twice a^k^ “They have a voice,” asserted Miss Echo, sas city, which was our gateway to the Jerome.s stagdand sn . • nn, following a better idea of the proper way to breathe I rubbed the insulted member tenderly, with ugly little blemishes, use the following simple treatment: six months, and each t.meor more convinced than grammatical. world. i Went to see her one day, and m- ,he heroinc al! over tlu- stage. VVherW and I was flippant with the great man. in singing than any amount of teaching. I sister came imnrovement of my I thrilled. I had a voice. Prof. Con- qU;red jnto her methods. Were they j g0 my all-spot ge e-, and yet, located “Yes, I know, its pug,” I admitted. “It went out on the back porch and poked Just before retiring,wash your facewith warm waterandWoodbury’s over th5 ™ a^d with closed eyes ceito said so, and Conceito told the truth, qSplenderosa-s? blunder my nose a is, I had never could never change the world’s geography, Csesar with an umbrella until he remon¬ Facial Soap, finishing with a dash of cold water. Them dip the tips tonewor . > ^ and carolled for Miss Echo said so. “Splenderosa? Who is Splenderosa? become acquainted with it. Many were as Cleopatra’s did.” strated politely by seeking another spot. A of your fingers in warm water and rub them on the cake of Woodbury s 1 iS °°i “T ab bav-dah-may-nah-pay-too” M fh , she puzzled. the tones I now blindly pitched at it, W “You must have the inner wall oper¬ second poke however resulted in a re¬ until they are covered with a heavy, cream-like lather. Cover each the entiehalfhour It never va- The Splenderosa Method ^ ^ breathing ^ ^ ^ ^ hR ^ My vt,R,. bccame shrill and ated on,” he went on, ignoring my silli¬ proachful bark, and I gazed interestedly blemish with a thick coat of this and leave it on for ten minutes. rild SThe shutting of the eyes was for The great man magnanimous y requisite of singing? buzzy; my husband looked at me unpleas- ness. “Don't you have great difficulty in at his heaving waistline. And I am not Then rinse very carefully, first with clear hot water, then with cold. sure but that Caesar beats them all. concentration and the dismantling process that I could karn as^muc Far from it. She paid little attention to antly. and faith in thc Boston one grew breathing ?” for The T-and-down wanderings of my at a dollar and a hMf a les^ ^uM ^ would come natural,y. shaky. And then came the day when I Use this treatment until the .blemishes have disappeared. Then Adam’s apple. from him at *ree dollars. ^ I his was Tone pkdng wag the first ^ Yes> she ,earned that the piano dealer’s daughter continue to give your face, every night, a thorough bath m the “Do vou feel dizzy ?” Number Two was I had told him tha would test my voice. Oh, it was splendid 1 was receiving her lessons gratis in return Tetrazzini regular Woodbury way, with Woodbury’s Facial Soap and warm wont to inquire. “My best pupil, who is my limit that of the great Italian -but in the rough. It had been trained for the great faith in the Boston teacher (Pronounced Tett-rah-tzeen-ee) water, ending with a dash of cold. singing with Squeezerinski now, used to „ hg exclaimed. “It may be diametrically opposite to her ideas. A rich expressed by papa t. I inquirers. An Luisa Tetrazzini (Signora Bazelli) ried Signor Bazelli, and soon after made This treatment and other special treatments for all the differ¬ faint frequently on her high not«‘ that vou will take a dozen lessons before I contralto like mine— that day I folded up my music roll was born in 1874 at Firenze (Florence). her debut as “Inez” in L’Africaine in ent types of skin are given in the booklet wrapped around every Me faint? If fainting were f nermit you to sing a note. Breathing is all. A rich contralto! A dramatic soprano 1 silently stole away, Italy. Her eldest brother is a tenor and Florence. After appearing at Rome and cake of Woodbury’s Facial Soap. Get a cake of Woodbury s to becoming a singer I felt was when vou can breathe you can sing.” Oh, well. _ stage director, and her sister is also, a the other large cities of Italy, she toured today and begin tonight the treatment your skin needs. A 25 disqualified. From^ e age o knged My first lesson with Miss Echo consisted I went twice a week to the studio of the Sing \\ ith I our c [ singer, Mme. Cleofante Campanini. Russia, Spain and South America, mak¬ cent cake lasts a month or six weeks for general toilet use, When Tetrazzini was a child she used to the nOTe!\17hb;tDtte nearest I ever got of her writing down the name of the great wise one frora Kansas City, with a beauti- 1 ‘vied a pious piano-man, so ing a short visit to the United States and including any of the special Woodbury treatments. to swoon a y> oacious bosom of an Splenderosa’s book of instruction, which fuj ieatber music roll filled with tender wandered into the store of on ^ listen to her sister practicing her oper¬ Mexico. Her London debut was in La '°. 'I y™l Q+ipnHant and was the result of cost me four dollars. She listened sympa- songSi aTld i learned to warble arpeggios ,)c the °PP°sl,e. Good voices atic roles, and before she was twelve Traviata at Covent Garden, when she ^tooStimate sequence of a Turkish bath thetically to my story of former teadiers while slowly stooping to pick up a handker- stantl>’ developed. I d j ^ years of age little Luisa had memorized was engaged by Oscar Hammerstein for A complete miniature set of the f fta ‘!Sers which was “some different” methods, and shook her head with pity be- chief from the floor This wa$ fm the wrong with my nose or throat, and ^ the words and music of La Gioconda, the New York operatic season. Her Woodbury skin preparations Faust, Un Ballo in Maschera, and froL fainting on high notes, you see. cause of the “butchering my voice ha loosening of tbe mouth and throat, for tended s,nK' Jhe ,5Ohio. 1Jyou live in 6 “You to’t mean to tell me you studied was one in physiology, on the construc^°^ proper relaxation of>f the mouth. After six In a suit of ,arlarge^c rheckschecks,’ witiiwavjW'th Definite synchronising of music and film of the picture, having been photographed Canada, address The Andrew Jergens Co., Limited, 5000 bef7r°eV^she marveled, after Ihad timig «• 1 had Sieved only £ is now claimed by a German film company. simultaneously with the scenes of the play. Sherbrooke Street, Perth, Ontario. English agents: xl. O. given her a sample_ o„of my“O_ vocal acrobatics . in the ^ghthEighth Grade,Grade. *«£»**»£t ^ ^ =idiotic expression.—m ^ ^ ^ ^ mi Singers and orchestra take part in the per¬ Quelch & Co., 4 Ludgate Square, London, E C. 4. “Dear me!” She clicked her tongue m rosas nose and throat may have been ^ ^ & ^ ^ ^ q loudly on his piano to hide my defects The first film opera of this kind is ‘Be¬ yond the Stream," by Professor Hummel, formance, the conductor keeping his eye pity. “Well, IhuToTtrafehten ' Miss Echo spent some moments instruct- teacher heard me in a timid solo in the Cned * says a press report. (We wonder if this upon the changing ribbon of music. With ™5,-« how to breathe. It seems the way boarding house parlor — Professor Hummel is related to the Hum¬ one hand he operates an automatic relay w!lM“%?*££?• _ TSZkif+v.S “moc franklv observed T S,"£ 3?th S?>55 mel of Beethoven’s day.). The synchroni¬ which retards the film whenever the action sation is obtained by a narrow ribbon bear¬ is too fast for the tempo. ,h«t oy rn,hSh'; “ ifc » be Zisef defab* bet«een parted feet, km I left Number Ft« £ ££ 1 "d f„ f,«d of ing the music zvhich appears at the bottom Z * Please mention THE ETUDE when addressing our advertisers. Cop] —TSk? ?dro„ nj .brow .be a™, forward a, drou.h „.dy with dt. yeWtd « ‘** ,1, ^ ^ SEPTEMBER 1922 Page 635 TEE ETUDE TEE etude E Question and Answer Department

Conducted by Arthur de Guichard

of Life is nd A and for- »SPsind&W1PuSdni. Leoncavallo Micagni; why shouldbe jew _S: sn&txs* 1 ^SSt£XM«&S»^Sttl ~,fc.-- -- _ sin order simply to perfect self in the graces of the classm sty , or in the mastery of vocal emDroiu mmm fc 61 Why indeed, unless he loves art better than lucre? Only such a Grip Hose Supporters on 3

XESZ reason why j ist who are able to sing such parts as Almaviva in The Barber of Seville is that few tenors are willing to un- ===s=:» s» th°?matter)8 efprSTthaTs'and’grat- SUCCeSS in the music of ROS- lucky, and of living Only for the day. Complete te on (fc PuUUm.

^ 7t *: r i,rc r‘ 13,1 “y T7-in CHI - |aaris0fthSetUlygaand For Pucdrd^ D. A. CLIPPf^ciR pSior.Ttc-^^t ^y,enats”anthaSt Mascagni sucL preparation maybe of thl “^terh;|®a JeristiTo f ThT age rm HEAD VOICE AND OTHER PROBLEMS, $1.25 SupX“»lrS; l* —1 £ »IC VOICE training, w ofPtheir dtfficuitieaortheiuimmentof { and Mozart are, as the get the best that:isin us unto tne — j^^-wse — t—-to be able to filer the but no artist wnowho ownwpdoes not get this““=> Arranging and Correction of L. ^ nerform with- best will ever ' = toiWf£:0£r.s0™:S cept as Vsyrntoian/a warning.” fc **-* is a far different propo- I say to the young ^r-work. —-====TT fSJrlron singing the Racconto W. ne,” where the singer has time to prepare for • If you are an artist you must first be e“ at0 Seem to be one; and for this a honest with yourself and the first Sger must go through daily the requisite of artistic honesty is un- hardest sort of vocal

What’s the Matter With Our Folk-Songs

By Myron Wood ■H”£rl2r“sHM

tiling and free samples of knitting, i

can come from any nation of Eu- “ , ... rope, from Mexico or South America; _father, mother; grandmother and grand. but it must not come from AmenM.^^ father, ^who, rickened by the artificiality

have Iwy more*charm, have any more fas- the™ ear old melocfe thaT come from the

THE ETUDE aims to mak magazine in its specialty with contri1 artists and thinkers in the profession. SEPTEMBER 1922 Page 687 THE ETUDE the ETUDE

Whether such a condition is either right or What about the organist? We hear it ing-week (remember, one-half of the time Page 686 SEPTEMBER 1922 necessary is beside the point. familiarly said that the organist has spent I have charged up to the church is prepara¬ many years in the preparation for his specific tion time, and at least one-fourth of the We have Sacred Writ for it that “the work. Is h really true? How many remainder is practice, or rehearsal-time). Is the Organist Underpaid ? laborer is worthy of his hire, yet I doubt -n organist of your acquaintance—or mine Does our city church-organist receive a sal¬ By merit alone— whether there has been a topic more dis¬ In view of the foregoing discussion, it is —has exclusively devoted himself to the ary fairly representing one-fifth of his total cussed, pro and con, in the whole economy The Organist’s Etude a fair question whether or not the organist study of the organ and church-music for income? And how much more does he re¬ of the musical profession than the com¬ is underpaid. Certainly in the vast major¬ a period of seven years to parallel the min¬ ceive indirectly from the congregation? pensation for church-musicians; or, per¬ Chiropractic Edited by Noted Specialists ity of cases, he must or thinks he must- ister’s college and seminary course ? Where Certainly if his salary is $1,000 or over, he haps/more properly, for church-music. It supplement his income from his church in is the school that offers the facilities? I can hardly complain. is probably true that in the distinction be¬ order to make a living wage; for certainly am fairly well acquainted with musical edu¬ But, the $1,000 man in the church-organ has grown from an idea in the mind of one tween the two (church-musicians and cation in America, and I know of no place / y man in 1905 to the second largest health pro- purveyors-of-church-music) lies the crux he cannot, like the minister, depend for his field represents the aristocracy and is only entire support upon the church which he where he could possibly, with any good cited as representing the more-favored of the whole matter. The verdict would Edited for September by J. LAWRENCE ERB Jr fession in the world. serves. Many organists feel that an in¬ sense whatever, do such a thing; for there minority. The great mass of organists re¬ depend largely upon whether the music of is no place that offers the training. It is There are now approximately 15,000 prac¬ the church is properly a peculiar field, de¬ justice is done them and that they should ceive no such sum. Whether they are or not enough to say that most musicians have manding a special type of Personality and be paid enough by the church that they are not adequately paid for the service ren¬ titioners, more than a hundred schools and studied music since their early childhood. training, or whether it is an added activity, could feel free to devote themselves en¬ dered, depends upon a number of circum¬ True, but so have they studied English and about 10,000 students. filling out the musician s week and adding The Organist’s Income tirely to their church work and such other stances and could not be determined off¬ activities as would properly grow out of it. Mathematics and a dozen other subjects in hand. It would, however, be as entirely Twenty-one state governments have recog¬ to his income. _ . '* Undoubtedly, if the amount and character the public school and college curriculum. fair to say of church-musicians as of min¬ nized the science as distinct and different from of the church work are such as to require The bulk of the musical training which isters that as a class, considering their in¬ anything else on earth. historicalp«i°b sanction.“S' “«< The priestly conception {act) organlsts in such churches «• are ^ radicallyjtjse. as occasionally *• happens—* d“- the entire time—or most of it—of a spe¬ they have undergone does not deserve to vestment and the requirements, they are of religious music dates back to the begin- what js a fair return for the proportion notsporadicaHy their week-days cially trained man, he is justified in expect¬ rank any higher than the Primary school decidedly under paid. A fair index is the This growth in less than seventeen years has and Grammar school work in the other ed¬ supply of candidates. Here there can be pings of history and is particular* prev- P{ ^ ^ which they expcn(I m them pursuits and confine ing a commensurate return. But I am in¬ been, not only without the aid of other pro¬ clined to feel that the question is not often ucational branches. It is foundational, re¬ little question that the lack of serious as¬ discussed upon its merits. Too usually the lating to general culture, rather than pro¬ pirants for the career of church organist fessions engaged in getting the sick well, but organist argues the case as he would like fessional. As for the practice after the indicates a general feeling upon the part of in spite of their utmost efforts to prevent. olic,” but also strongly represented among confessed that the number erf tate to state how. The condition is not to have it, not as it really exists. What professional career has begun, that is only music students that there is not sufficient the older Protestant denominations On tremely small when compared * new. Even in colonial times, the organist Chiropractic has never had a single dollar are the facts? . . the counterpart of the reading and study compensation to justify the investment. If the other hand, many, if not all, of the 0n the other hand within a fortnig t ^ ^ ^ sorts of expedients to In the first place, the vast majority of which every professional man undergoes, the servant is worthy of his hire, either the of endowment from state or national govern¬ American churches do not furnish sufficient especially in such a profession as the min¬ congregations will have to be content with ments. It has overcome the prejudice of the musical activity to keep the organist busy istry. a decidedly perfunctory and uninspired sort public, the opposition of other professions more than a small proportion of his time, of church music-—which, as a steady diet t&ZSTJgSlZSSt especially with the kind of work that he is The Organist’s Perquisites is scarcely likely—or else they will have to intent on its extermination, and adverse laws literature or the janitor, without ounaay, in ° , student ist and dancing-master, bcarcely less in the habit of associating with his “job.” There is another phase to the discus¬ do something, and do it soon, to make in every state in the Union. church music more attractive to students as Ask Your might^be gX a^pt the position at the Quite true, it is easy enough to suggest sion. The organist receives perquisites pro¬ It has recruited its patients from among ways in which the congregation might, if portionately much greater than those of a real career. Chiropractor those upon whom other methods failed, and it cared to do so, make work sufficient to the minister. Such, for example, are the keep him busy; but it is a fair question “This Story Teaches—” with these failures of other methods upon but it is a fair rejomer to state that a ^ desire to serVe the church. facilities often available for using some “The Last Word” whether the organist could or would in part of the church-building as office or Church Salaries student, as the term is ordinarily under Etude articles are meant to be construc¬ which to prove its efficiency, it has grown like such case fit into the scheme. After all studio without charge. Then, it is only tive, therefore it would never do to end with stood, would not have qualified. It is true Side-Lines a green bay tree. A reasonably wide acquaintance witn regions, for obvious reasons, the facilities for the training of church fair to remember that the organist is in the such a discussion with the feeling that the musicians and the standards governing position of musical-advisor to the congre¬ world is out of joint. If the world is some¬ Urile for information regarding Chiropractors or Schools to the church music in this country are still so gation, but with this advantage over the what topsy-turvy, it is out business to help chaotic that, with the best intentions in the minister that he is able in acting as advisor it go right. Therefore, I should not be con¬ UNIVERSAL CHIROPRACTORS ASSOCIATION, DAVENPORT, IOWA quisiie , uui, iin-t tuv. vj , < world, a congregation looking for a first- to build up his class of pupils, if he chooses; tent to stop without at least a word of coun¬ multitude more on the lower levels than class man to act as a real “musical-pastor, and here is a very important contribution,, sel to the organ-student who contemplates MUSIC BUYERS:—OurS^HEO^OReT’r^SSER^^CO^PH^LADLITHIA^PA.'^^ * ue will Interest You...... _r .U- .—«,,• Tt was not t:sten too closely when such amateurs per- ;s muslc teaching, usually piano, often in the solitude of the upper. It was not and justifying the payment of a full-time indirect, it is true, but nevertheless real, church playing. so many years ago that a clergyman, a“ form Here, surely, it is fair to exclaim, voice, occasionally organ and theory, salary, has a long and difficult task ahead from the congregation to his income. It It is undoubtedly true that too many per¬ that time widely known for certain popular “Don’t shoot the organist. He is doing his Md not infrequently (and here the of it, beside which the selection of a new all depends, of course, upon the attitude, sons attempt church playing long before books, but at this writing almostaimosi cuu.completelyF..-v best„ And perhaps here the salary and immortal John Sebastian Bach _ minister is child’s play. ’ . of the organist, but the opportunity is there, they are ready. This brings about a condi¬ Do You Read Music Easily? forgotten, came out flatly in a published ^the service rendered pretty fairly balance.t-1—' an example) academic subjects. Con¬ Compare the present—not possible—duties and many an organist has, after all, re¬ tion where unskilled labor is competing in V A11 Pan Wonderful Discovery teaches you all notes, bass, treble and lines, article for strictly voluntary, unpaid ducting, especially of choruses, is also of the minister with those of the organist. ceived from the congregation a very con¬ point of salary with skilled, with the result I UU UhII in about two hours, easily. Positively a child of 7 can do this. church-musicians. Considering the tYP6 Service Expected ar. engaging side-line, as well as musical The minister is at the beck and call of the siderable proportion of his “living wage.” that not only are wages brought down but No puzzling after, result sure. No talent required—just average intelligence. Besides, his position gives him, if he cares of “church-music” to which many of the . . . nrtrpnist’s comoen- journalism and composition. But the congregation seven days of the week, at standards are shattered so that hope of lift¬ NaIa Chas. Wakefield Cadman, composer, has seen this lesson given many The discussion of the OTist^^mp^ ,g ^ by any means limited t0 to use it, a pleasant social status (and ing the wage rate becomes constantly less. Protestant clergy were (and are) any hour of the day or night, nor are s llUlw times, and sa iys enthusiastically “This lesson will revolutionize music s entirely logical, sation concerns in t e semi-pro- such activities. He can, for instance, play energies confined to his “flock.’ And he classes are often most profitably built up For that reason, if for no other, such or¬ study.” And the cost—only that of one ordinary lesson. Will you waste years through social connections, or, if one is not ganizations as the American Guild of Or¬ when the remedy is so simple? Fo?TtedoehsiSseemWal shameful waste of number ofot Pprofessional”* or^""more sem. pro in a hotel or restaurant, or even in the is not paid “by the job.” In fact, he is the ™ a teacher, the social life often provides en¬ money to pay for the singing or Playing fessiona musicmns themselves “movies” (if he can qualify) where, thanks underpaid servant of the entire community; ganists are doing a work of incalculable “The Efficiency Idea”—cloth $2.45 postpaid and the few little perquisites which come gagements for artists), which adds in many benefit to the serious church musician. The of the gospel-hymns and much of the so- or less «y ^ and tc the Union, he gets a living wage. While his way hardly serve to buy hi' necessary ways to the fullness and profitableness of congregation ought not to encourage the Winifred Sfone Heaton, 725 S. Rampart Blvd., Los Angeles, Calif. called “sacred-music” of the evangelistic ^ upon by the congregations I am not of those who indorse the whole- new books. The organist almost invaria¬ life. And I am not even mentioning the immature student to begin public work; school. Such “music” might better be left lo° £ bdng paid a fair return sale stampede of organists to the p.c ure- bly has a definite amount of work of a purely professional possibilities of the or, once that he is in the harness, it takes to amateurs and volunteers, and if there is which t y . * organists are ex- theaters, it is hardly in my heart to blame most specific character for which he is church connection from the standpoint of early all his time to keep abreast of the SUMMY’S CORNER need for compensation, the old-fashioned {or thel”er serious musicians whoSe them. As one of them said to me not long paid a specified sum. For anything asi e publicity and outside engagements. ervices, let alone grow. It is like child- method of “passing the hat would prob- pected o b ^ SQ {ar as ag(^and he is a high-minded church- from the stipulated duties he expects “But,” you urge, “what should the or¬ ibor, in so far as its evils are concerned. ably raise as much money as the music is Sunday o J ^ they are as a musician at heart-“I have served the be paid over and above the regular salary, ganist receive as his compensation? I be¬ Moreover, if church-music is to improve— gin to suspect that you think a good many worth. (Unless it should happen, as once “«ssa ^ T h place in the social church as long as I can afford to. My and his interest, usually, is confined strictly nd we all hope it may—the preparation of “JUST THE RIGHT MATERIAL” organists are over-, not under-paid.” My he student must include much more ele- with the writer, when as a young profes eyen thougb their salaries may family must be provided for, and I can do to the music for the public services of tne Too often the pursuit of “just the right materiaU’ means wading answer is, “It all depends.” lents of musicianship that at present. sional, he turned an honest penny as a pay their r00m-rent. It is not jt pleasantly and successfully in the congregation oftentimes omitting the mi through a mass of unimaginative music seemingly written to conform Such an equipment as is represented by the member of an orchestra which was en- ^ qUestion whether they are receiv- movies.” week or prayer meeting services as no 0 to the popular notion that writing “for the child” means writing sufficient importance; and, as for the One-Fifth of a Week’s Work tssociateship of the Guild is just about gaged to play for a church-supper. The . a fa;r saiary for the work they do. In Some organ;sts are, week-days, successful /hat any person should possess who intends “down to the child.” day-school or the young people’s meetings Let us take, for example, a city church fee had been agreed upon in advance, but many caseS: they are. The trouble is that business men meeting the problems of the a enter upon the career of a church-organ- —perish the thought 1 where, presumably there is enough money when it came time to pay the musicians the church in most cases, while demanding ^ as inteUigently as though they did ;t. If he hopes to advance, then much available in the congregation to pay the Summy Service the ladies of the Committee passed the hat, a high grade of abihty and rather 3ealouty ^ to the “impracticai” profession, lore must be added unto this before he really necessary expenses on an adequate Preparation Compared lay expect to secure and hold the better is justly famed. Here you are offered teaching material combining first announcing that they would I have known of a very good combination scale. Let us assume two services each with the members of the orchestra, a ing, selves hs control, does not afford sufficient of architect and organist. The combi- Then compare the preparation. The min Sunday with one choir rehearsal per week, ositions. the most progressive educative ideas with the keenest appreciation “Now we’ll see how much you think your under ifc control, U ^ nation of arts in this case was most satis- ister after a high-school and College totalling perhaps four hours per week of Unskilled labor is always the lowest paid of technical needs expressed in terms of beautiful music. music is worth.” The sum a£r®e up°” musici&tis to devote themselves to church- factory to the artist and turned out well University course has undergone a P°s actual professional activity. Assuming a nd the least respected, perhaps the dieap- st thing, everything considered, in the Arranged as to was raised without difficulty, bu e n woric as a profession. While offering pro- Hna.ncia.lly. I know of one case of an organ- graduate training, often of the finest intel¬ full half-day per week for preparation /orld. But the man Vho has mastered is Grade amount to the musicians shrun consi er fessjonaHy much the same opportunities as .gt wbo bas most successful as an lectual quality, for three years or m°^' (four hours), eight hours per week may ably after they had deducted what they & reception or afternoon-tea, the church advertising man Another is a success{ul fairly be assigned to the church-work and i a position to dictate terms. The secret And then he has worked up from the ra f improved status in every social group or Style had been badgered into contributing for demands much more of its musicians The teacher of Mathematics-can or through the rural charges until, at its actual preparation. General prepara¬ ■ i every trade or profession is superiority, Rhythmic Moods he may be so fortunate as to receive . tion does not count, but is pre-supposed as ‘^The^proper'sliy for the organist de- £2?0f Se'ss"receive'serious con- you imagine it? Another is the business eal or apparent. The musician has pro- or even $5,000 per year; for which he » having been covered in the educational pro¬ cess. A business man’s week consists usu¬ •ressed far from the status of the servant Degrees of Facility Ji:pends, then,tPhTto to SIa considerable extent upon sideration.deration from ecclesiastical bodies. — £ a ^ £ scholar, orator, community advisor, cxp« ally, if he has the Saturday half-holiday, of vhich he once occupied; and his social and conomic recognition will improve as he what is expected of h‘ . , Income Outside the Profession wuuaij.contrary. Inm i»i,fact, accepting the>.iic fact,iaci, j-ui counsellor, financier, educator, and, in ^ e from forty to forty-four hours. For pur¬ All leaching needs anticipated church with an ela ora e es ’ . nrarti the words (I believe) of President Cleve- words of Paul, “all things to all men, * poses of argument, let us say forty hours. nakes himself worthy to the extent that manding a highly specialized training and a Wtat tappens, of course, is that pract, „A CQndition and not a ^ con. CLAYTON F. SUMMY CO., Publishers all times, with no real vacations, f°r ^ The church-organist, if my figures are not he careless world at large can see it. Cul- •large amount of time—to say nothing of an church-musicians, while trained „ R . fe h . .. / , . _ _g'am vision and a se^co 429 S. WABASH AVE., CHICAGO, ILL. or FROM YOUR OWN DEALER can never get away entirely from the se unfair to him, devotes to his church-posi¬ unusual musicianship should ^ct to pay \ Ug to find h^v many fieldsTre S^ of duty, no matter how he may P|an tion the equivalent of one-fifth of his work¬ Please mention THE ETUDE when addressing our advertisers. well. It is only fair to say that the most ^Xr^nd baker and candlestick-maker” ent satisfactorily filled by organists. quit his accustomed haunts for a while- conspicuous salaries are usually to be found “butcher and baker and candlestick-maker” SEPTEMBER 1922 Page 6S9 THE ETUDE the ETUDE

Page 638 SEPTEMBER 1922 Handel’s Anger into growth and action, take the organist Spinels, it is worth our out of the class of the underpaid. Perhaps «ir succes^and .{PPel{.iraprovement wUl [AUSTIN ORGANS) By Romain Rolland The Best is None too Good it is not entirely true that a man is wo ’ that those opinions are fav° SINCE the contract for the 145 stop orjan Handel’s huge mass of flesh was often for we cannot so describe his position of what he is paid and no more; bu it cer- he P, to s n will certamly help ^ fnr Eastman Cc shaken by fits of fury. He swore almost teacher to the princesses. The important For Young America’s Music Education received over thirty contracts. Glancing with every phrase.' In the orfchestra “when musical posts about the Court and the fat through the list it is noticed that the more pensions were .never bestowed upon him, important ones come from cities w ere our his great white periwig was seen to quiver And so you will find only the best in the Clayton F. Summy Co. organs are Inown. used, respected and en¬ the musicians trembled.” When the choirs even after.his naturalization as an English Catalog. Keeping up with the newest pedagogic ideas as expressed The Organist’s Standard joyed. Wherever Austin organs are placed were inattentive, he had a way of shouting citizen; they were conferred upon indif¬ in the Highest Terms of Educative Efficiency is necessary to TEACH¬ reputation grows stronger. It it the best CHORUS!!!! at them in a terrible voice ferent composers. He took no pains to ING SUCCESS. The works listed here are just a few of the many test of our factory output. which made the public jump. Even at re¬ humour these; he spoke of his English By Mildred K. Heppe best selling music study books from our catalog. hearsals of his oratorios at Carhop House, colleagues with contemptuous sarcasm. In¬ w there is much question about their best thoughts the Ideal, differently educated, apart from music, he Just n AUSTIN ORGAN Col before the Prince of Wales, if the prince or princess did hot appear punctually he despised academies and academic musi¬ THE VERY FIRST LESSONS AT THE PIANO 158 Woodland St. Hartford, Conn. | .Price, 90 cents cians. He was not a doctor of Oxford By Mrs. Crosby Adams. •-r,r^.rc £ trg Sfeswu took no trouble to conceal his anger; and Everything the child needs to learn in the beginning is I if the ladies of the court had the mis¬ University, although the degree was offered progressively while taking into account the child s natur The Art of him. It is recorded that he complained: to enlov Used and endorsed by thousands of teacher; fortune to talk during the performance STANDARD INSTRUCTION BOOK FOR BEGINNERS. a^ttMrss gi--rs£fH he was not satisfied with cursing and “What the devil! should I have had to “Tta organist is .ho ...van. of the donly So Weafarf would Pipe Organ Playing swearing but addressed them furiously by spend my money in order to be like those THE CHILD AT THE PIANO. By Meda Z. Steele -Price, 75 c Presents all the elementary principles of music—Ear-Training, cSd. and, a. such, has, » i=»« —“^Ua, Sine, the name. “Chut, chut!” the princess would idiots? Never in this world.” Theory, Sight Reading, Rhymth—STEP-BY-STEP— in logical se¬ responsibility resting on his shoulders, not br g t the material world, To Motion Pictures say upon these occasions, with her usual t And later in Dublin, where he was en¬ quence. A book in which understanding'precedes expression. 100 short pieces supply all music material needed. Are our organists serving or hinder! g PhePJ)rganistSshould go with them. The By M. M. Mills, Organist, Stanley Co. Staff indulgence, “Handel is spiteful!” titled Dr. Handel on a placard, he was an¬ A Complete Guide Designed to Alt noyed by the mistake and promptly had it Planistsand Church ^Organists t< All his life he enjoyed a wonderful the0pSing the Jurch,. the^rstnamr- loT^t^to S^W; it of freedom. He hated all restric- i corrected on the programs, which announ-

music, then,^must hel^p to^stein^that un- ^ ‘^fil serve to ^ strength i IN SHARPS. _3 IN FLATS. . never have that effect. Several other kinds thevice^as^insidre^in6 them, and will will, however. Soft, appealing music wi them down to their world, also, invariably raise one’s thoughts . Above all the organist should remember Ideal. Sad, brooding music will inspire servanf 0{ God/helping to; do meditation. The organist has e • WOIk in H;s Church. He is simply In most services the offertory is piay tool with which the Master works, under the same conditions, and the hg should consider only the people STUDENTS _ I rule will hold. ... ,nd their needs, and the way that God CHURCH SERVICE STILLMAN’S 1 However, the postlude should P Jd have him help them. This is a and RECITAL FRECKLE CREAM All work of true service.

“I Can’t Afford It” guilmant ORGAN SCHOOL S' thTI’-hiM. "isolated from tjioseTar- without breeding. Their habits of life PRELIMINARY STUDIES IN KEYBOARD HARMONY.

free for all, you Carrie Derr, a student w; of girls a conservatory. “I’d like to!” i— <=>-— from here ami there. Aj|| ad_ parents “d oftoTphysioIogicalTundle swcelTwT d all have gone!” admitted Carrie, ggsgffiisn manu- never wanted to go to anything i y laughed Hattie. “You would as badly as I want to goto :,/h^ebeen disgusted with me and I You can dance with anybodyand ry and au of Us with the rest of n@dar body and there will be a high old and we>d have had miserable lessons \cJr Vs* WAX Why won’t you go, Hattie, uaa y ^ set back months. I’ll tell you 1 £* if L0UWS can’t afford it. I’m what! All come over to my house Friday The New Member of the “I’ve said why—i can a ^ seven. r]1 try to have sorae 0f the here trying to get into my y i)rofessors and We’H have a good time O-Cedar Family. Tell Your principles of Peautuui mu . iL._ „1irop1vps—nlentv of fun with noth- all, in a w ™ir5P thing—mu Boy About This! Boys, you can earn money each

THE BOYS’ MAGAZINE You get a big commission on every copy you sell and you get full ere it for all unsold copies. Write us to¬ day for three copies for a starter. LOOSE-LEAF JOURNAL LEDGER. It is a ti

The Scott F. Re Co., Ii 7239 Main St.,

Fully Guaranteed SEPTEMBER 1922 Page 61fl TEE ETUDE the ETTJDE

Page 6Jfi SEPTEMBER 1922 taken to avoid soiling the hair with the in tune, and hold his instrument correctly, NOTHING CAN EXCEL THE oil The hair should be slackened when and how it can be managed when a class WORK OF THE lNDIVIDUA.L- Violins The Violin Bow and Its the bow is not in use. Under no circum¬ of twenty or .more pupils are playing in TEACHER WITH THE INDIVIDU- Selection stances must turpentine, methylated spirits unison, is more than I can imagine.” AL PUPIL. Wonderful Specimens or other substances than almond oil be used About Rosin During the slack summer months we By Robert Alton The Violinist’s Etude for cleaning the stick. Otherwise the var¬ have completed our stock of violins. nish will be ruined. . A little lubricating oil There is a right and a wrong way to bow must be rosined when it needs it. We have on hand a remarkable collec¬ The choice of a good violin or cello bow applied to the screw will make it work do everything in this world. Especially is An experienced professional knows just tion of rare instruments, as well as a is a matter which requires some amount Edited by ROBERT BRAINE this the case in violin playing and the care wheri'his“b<5w needs rosin, and how much large selection of fine old imported ones. to apply. The pupil gets this knowledge of judgment, and not a little precise knowl¬ ^ Do not trust the re-hairing of the bow of the violin. Inattention to a single Our prices on all of these are very low— by experience. edge It is not possible to walk into a A Violinist’s Magazine Complete in Itself to any one but a first class bow or violin seemingly unimportant detail often spells quality considered. music store and select, haphazard, a fine The bow should be rosined at least maker, as it is easy to destroy the cambre the difference between success and failure. We suggest that you call to look over stick • nor does it follow that the payment every day, and not once a week, as is the or spring of a good bow by poorly done One of these details is rosining the bow. our stock, if you are in or near New of a heavy price will enable the purchaser Many violin students play for years with¬ custom with so many pupils. The pupil re-hairing, owing to an unequal side-pull York. If not, write at once for a com¬ to obtain a fine bow. Of course, a duly out knowing just how to go about keep¬ who practices an hour a day will likely plimentary copy of our latest catalog, authenticated masterpiece of Tqurte. or examining a bow, look carefully to see if on the stick. find that drawing the bow over the rosin be too thick. There are arbitrary stand¬ ing their bows properly rosined. Many just issued. Tubbs can be relied upon to answer every the ribbon of hair comes out from the teachers consider such things too trivial cake twenty-five or thirty times every day ards for different parts of the stick, from Do this at once before the stock is demand made upon it, but such a bow can¬ hole over the top end of the wedge in a to formally teach their pupils, and leave will be enough. If the rosin dust collects the peak to the head or nut, but these Teaching the Violin in Classes broken into by sales. This will insure not always be obtained, nor is it by any perfectly even line, as any deviation causes them to find them out for themselves. In on the belly of the violin at the bridge, it measurements are of little use without you of a full selection to choose from. means easy to obtain a satisfactory guar¬ a side-pull which is injurious to good this they err; nothing that relates to the is a sign that the rosin is coming off the calipers, and would be of no value to any By Theodore Lehmann antee of genuineness. Some knowledge of playing. All fittings should be securely proper playing condition of the violin or cake properly. This rosin should be JOHN FRIEDRICH & BRO., Inc. one other than a bow-maker. However, bow qualities is therefore advisable in the attached and in good working order, and bow is too trivial. wiped off the violin each day with a cloth, 279 Fifth Ave., New York City In view of the fact that so very many absence of expert and disinterested advice. the balance of the bow, together with the under no circumstances should the Irog In the first place there is the choice of ( as if it is left, it eats into the varnish and people who contemplate studying music, The violin bow, after many years of in¬ test for correctness of spring, will go far rock on the stick, but should slide smooth¬ Some pupils use common, crude forms an unsightly patch, which inter¬ understand little or nothing of what con¬ fancy, was brought to perfection by Fran¬ towards settling the question of correct ly as the screw is turned. commercial rosin, which is not properly feres with the free vibration of the belly. stitutes proper musical instruction (no! libers played by fan cis Tourte, the genius of a family ot taper. The proper place for the center adapted for violin playing. Specially pre¬ It is a good idea to clean the accumula¬ Choose a Straight Grain taking the time to acquaint themselves with Victor Records Gemunder French bow-makers. He was apprenticed of gravity of a good bow stick is 754 and BrunswicK Records pared rosin, which is just the proper tion of rosin from the strings after play¬ Choose a stick with as straight grain as the reliability of the school or conservatory 1846 the VIOLIN NAME OF FAME 19M to the clockmaking trade by his father, inches from the nut or frog end of the lie vioHn solos or any other numbers degree of hardness, gives the best result. ing, also. This can be done with any who was also an excellent bow-maker. possible, as a stick which exhibits badly they attend, or the qualifications of the ALL KINDS OF VIOLINS stick. To test for spring and taper, pro¬ -•s gladly.^ Our stock Is exceptional Most of the prepared rosins on the blunt instrument, such as the blunt side For all Kind. of Playera twisted fibres or large knots will seldom teacher they engage), they are easily duped Francis, however,' soon gave up clock¬ ceed as follows; Screw up the stick to market are good, so that really the choice of a pocket knife blade, but care must be MODERN USED & ANTIQUE prove reliable. The direction of the grain by misleading advertisements of unscrupu¬ making and devoted himself to the family normal playing tension, and glance along Co., Talking Mch. Dept., PhiIa.,Pa. of rosin resolves itself more as to the taken not to scratch the surface of the may be plainly seen under the varnish. lous schools, conservatories and teachers, trade, and he soon discovered and reme¬ its length. It should be quite straight, no shape in which it is put up than the prin¬ string. died several serious drawbacks which Sometimes a straight-grained stick can be advertising somewhat in this manner; twist or inclination either to right or left, cipal brand selected. From long expe¬ the bows of his time labored under. He discovered in the cheaper grade of bows. “We Will Teach You to Play in Ten Too Much Rosin for the whole of its length. Now con¬ rience I have found that rosin put up in found that the requisite 'qualities of The various styles of bowing are useful If too much rosin is-used, the rosin tinue to screw up the hair until the stick Lessons,” wide gutter-shaded wooden boxes, is the strength, spring and lightness were only guides to the value of a bow. This espe¬ Zaejei Bij^frHERS Co. M clogs (he; string, and interferes with a is practically straight, or parallel with the “Instruments Given Away Free With most satisfactory, and that put up in to be obtained by the use of the red dye- cially refers to staccato bowing from end good clean, free attack of the hair on hair. Glance along it again; it should Lessons,” round boxes the least. Rosin in very HUBU5T GEMtiNDER S? 50N5 wood being imported into France from still be straight. Now place the bow down to end of the bow, which will indicate the “Class Lessons Given,” Music ^ Printers II the string. When the bow gets in this degree of control obtainable by the player. narrow wooden boxes should also not be Pernambuco, and known by that name. on a table with the hair uppermost and And many other such fallacious state¬ N GRAVEwS AMO L|THOORARH«AS j| state some of the surplus rosin can be In some parts of the world this wood is There is in many bows a kind of “awkward selected, as it wears down rapidly, and wiped from the hair with a cloth. placing the finger on the hair close to the ments. called Sandalwood, and the wood itself is corner” which betrays lack of correct bal¬ the hair and stick of the bow catch in the The pupil should be taught not to strike, frog, press the hair downwards towards It seems as if each year there are more ITEMIZED PRICE LIST end SAMPLES gutter formed where the rosin has worn extensively used in dyeing. the stick. If the stick twists out either to ance. Every bow should be severely test¬ the metal band at the frog against the■ and more violin schools, conservatories and THE MUSIC SUPPLEMENT OF THIS MAGAZINE IS PRINTED BY US down. In the case of rosin which comes the right or left, at the point where it does ed for the purpose of discovering this rosin, as this chips the rosin cake just as Pernambuco Wood Found the Best teachers throughout the country who are WRITE TO US ABOUT ANYTHINC IN THIS LINE in round cakes, a very small surface of so, lies the weak spot. If the bow will “awkward corner,” should it be present. a chisel would, and causes it to .wear out For the violinist, the first thing to be This can only be done, of course, by actual adapting the method of teaching the violin rosin is offered to the hair of the bow, stand all these tests without any sign of in classes. Any reliable teacher knows that twice as fast as it would otherwise. This looked for in a Pernambuco bow is work on the violin with the bow. PHILADELPHIA. PA. which makes the rosining a slow process. can be prevented by holding the thumb a kink or twist, the stick is evidently a good in general class instruction it is impossible The rosin dust also gets on the fingers straightness of grain. The wood itself, as one. The last test is very severe and only After playing, the stick should be wiped little in advance of the nut, so that the for proper musical training, and results unless the rosin cake is held in a cloth imported, is anything but straight-grained, first class'bows will stand it successfully. clean with a soft cloth. If it gets caked thumb strikes the rosin cake instead of only in discouraging the pupil. or piece of chamois. With the large and much of it would make but very ordi¬ The hair is fastened into the mortices with rosin, almond oil, persistently used, the nut of the bow. J When parents begin their children with oblong-shaped cakes in a wooden box, the nary bows, even in the hands of an expert at each end by small wooden wedges. In will remove the rosin, but care must be Many teachers instruct their pupils to the study of the violin, the greatest mis¬ bow-maker. Good, straight-grained sticks SPECIAL NOTICES fingers are protected by the wooden sides hold the bow in the left hand the rosin in are difficult to obtain. The wood is full take is to send them to a school or teacher of the box, and the large oblong cake the right hand while rosining. This is a 1 of cracks, heart and ring shakes, and How the Modern Orchestra is Seated where class instruction is given, for it is offers a large surface of rosin to the hair, good practical idea, since the flying rosin knots, and the grain is frequently so absolutely impossible for a pupil to be which can be rosined in a very short space gets on the fingers of the right hand, twisted that it is impossible to split the Orchestral directors, particularly ama¬ 52—59 Contra-basses taught correctly in a class of twenty or ANNOUNCEMENTS of time. where it does not matter, instead of the log in any one direction. Yet this class teurs, are often puzzled to know how to 60—62 Flutes more. Each individual pupil reeds the Scrape the Rosin fingers of tfie left, where it makes the of stuff is often sawed into strips and arrange their players to best advantage. 63 Piccolo careful personal guidance of an ex¬ The surface of a new cake of rosin fingers gummy, which interferes seriously made into bows of a kind. The violinist perienced teacher, according to th< various The following is the seating arrangement 64 English Horn WANTED and FOR SALE presents a smooth glossy appearance, and with the fingering. should avoid such bows as a good work¬ of the Cleveland Symphony Orchestra, 65—66 Oboes musical temperaments displayed. This is it should be scratched with a pin or the The hair of a new how, or one newly Concert Transcriptions man avoids bad tools. especially true in the early stage- >f study, point of a pocket-knife blade, so that the Nikolai Sokoloff, conductor. Other con¬ 67—68 Clarinets re-haired, should not be applied directly For Violin and Piano But straightness of grain alone is not the ductors occasionally make minor changes 69 Bass-clarinet when bad habits may be easih formed, hair will “take hold.” I have known to the cake until the hair has been thor¬ sole requisite for a good bow. The cambre, By SOL. MARCOSSON from the plan as given below, but in the 70i—71 Bassoons which in later years will be d iicult to pupils to rub the hair lightly over the oughly .rubbed with powdered rosin, which or spring, balance, and graduation of the The arrangements of these immortal works main this is the seating plan followed in 72 Contra-bassoon eradicate. In a class of twenty or more glossy surface of a new cake of rosin the pupil can make for himself by crush¬ stick are all highly important matters. have been done in a most effective and artistic the case of symphony orchestras every¬ 73—77 French-horns pupils, how can the teacher listen to each V i i; -Adolph Adler violin 1907 for weeks, without getting a bit of rosin ing a bit of rosin to powder with a manner for recital use. Ask for these arrange¬ The cambre, or spring, is put into the where. The positions of the various 78—80 Trumpets individual and hear who is playing the on the hair. They wondered why their hammer in a little dish. ments. You will find them preferable. stick by dry heat. First of all the stick ■r'-|,‘i!ld Cpriie,T°$508$0e,Pdl Shipped No Tide Composer Price groups of instruments, to give the best 81—83 Trombones false notes, using the wrong fingering, •it'll privilege of inspection. Money violins played so hard and made such The young violinist should be con¬ is (or should be) cut out of the plank “squeaky” tones. Many pupils let their 14233 Ave Maria F. Schubert $0.50 effect, have been ascertained by much ex¬ 84 Tuba etc.? satisfled. Chester A. Quear, Wind stantly cautioned not to touch the hair of 8630 To Spring E. Gneg .60 in the direction of the grain, i. e., with the 8631 Etude, Op. 25. No. 7 Fr. Chopin .65 periment by symphony directors for the 85 Kettledrums In a recent article in the Musical Ob¬ rosin lie around out of the case until it the bow with his fingers, as the perspira¬ grain of the wood running as straight as server, on “Teaching the Violin in Class¬ gets dirty and greasy and a gloss forms last hundred years. 86—87 Instruments of percussion tion, and natural oil of the hand combine THEODORE PRESSER CO. possible from end to end. The stick is es,” Mr. Edmond Severn, one of New over the surface, so that the rosin no 1 Conductor (Bass-drum, Snare-drum, cym¬ ANNOUNCEMENTS with the rosin and make the hair gummy, Music Publishers and Dealers now heated throughout its thickness in a York’s most distinguished teachers of the longer comes off. When the rosin gets 1710:1712-1714 CHESTNUT STREET 2—17 First Violins bals, triangle, xylophone, bells, dirty and greasy. The hair should never bunsen flame, or similar apparatus, and violin, says in part: in this condition, the surface should be PHILADELPHIA, PA. 18—31 Second Violins etc.) be held against the ;face or hair, or when thoroughly heated is given the requi¬ “I have noted that many pupils start in scratched or scraped as is the case with 32—41 Violas 88—89 Harps against any object, nor should the bow be site spring or bend. This bend is a per these classes, and occasionally a talented a new cake, until a good clean grinding Id T1M~ feet sweep, and moreover, its greatest an¬ 42—51 Violoncellos 90 Celesta allowed to lie around out of the case, for pupil proves his adaptability for the in¬ surface is formed from which the rosin Duplex Wound G Violin String for $1.00 gle from the parallel stick or horizontal the same reason. If the hair gets grease strument, and finds his way to a private comes off freely. line is put where the stick shows any sign SEATING PLAN OF THE ORCHESTRA spots on it, the tone stops when these MUSICAL SUPPLY CO. teacher. In my opinion the quicker this MOVING PICTURE PLAYING— The The hair of the bow should be drawn spots are peached, and the player finds 4416 Groveland Ave., :: Baltimore, Md of weakness or lack of spring. There is no Art of Pipe Organ Playing to Motion Pic¬ over the rosin moderately fast, and suffi¬ fixed spot for this; the workman places happens the lie‘ter for the future career of himself making many involuntary rests in tures," a complete guide and reference worK. cient pressure should be used to make the the greatest amount of curve in that por¬ the pupil. I can see,” says Mr. Severn, "bow Wm. James, 4437 Chestnut St., Phila., Pa. consequence. rosin dust come off the cake freely. A FINE OLD VIOLINS tion of the stick where his experience in pupils in a class MIGHT be taught to Dirty bow hair can be washed with a great many young violinists do not use bows tells him it will be required. It takes hold their instruments correctly (kindly MUSIC COMPOSED—Send words. Manu¬ lather of soap-suds, applied with a tooth On Easy Payments scripts corrected. Harmony, correspondence enough pressure, with the result that prac¬ much experience or great genius to be able notice that I use the word ‘might/ be¬ brush. It must then be rinsed thoroughly 30 Days Free Trial lessons. Dr. Wooler. Buffalo, N. Y. tically no rosin comes off, and the bow is to feel this inequality in the resistance of¬ cause of the great difficulty teachers have and dried at least twenty-four hours. in making one pupil hold his violin and never sufficiently rosined. No exact rule fered throughout the length of the stick, MUSIC ARRANGED FOR PIANO AND Powdered rosin is then applied, after bow correctly, and of course, class instruc¬ ORCHESTRA—Mimeograph copies of music can be laid down as to just when or how and a good bow-maker will often reject YM tt/ln / rtn tnn\ b _AY ml V Sh which it can be rosined on the cake of a stick which might seem excellent to the- tion multiplies the difficulty), and I can see often the bow should be rosined. A razor , rich, mellow tone and It will must be sharpened when it is dull, and a rosin. a a desire to master It. layman. It follows therefore that the in¬ how the rudiments of music, such as 4 A Free! Magnificent experienced bow-buyer runs the danger of rhythm (in its simpler forms) can be suc¬ are You Organizing an Orchestra or Band? cessfully taught in this way; but I cannot «---, . .vuii yOIISH LUUt win *’ -J Album-Catalog buying a stick which possesses the fatal violin varnish We are expert finishers and Remember we are leading publishers of easy Or¬ defect of being badly sprung. understand how any really fine work can *111 guarantee to improve the tone of your chestra and Band Books ROOT’S BEGINNERS 7l®jln by our new discovery in violin finishing. When the stick has been sprung, it must possibly be done in teaching a pupil i“*°" Ail work positively guaranteed. M. Maneh & us In H1B_WOTkshop.”cand 4ho be thicknessed and tapered, and this taper nation in such a manner, since the ability Sons, Stanton. Va. USAS is a very exacting business. Many sticks to listen to oneself is rendered difficult » not impossible by class work.” arranging and correction of are worked out so thin that control of the MSS, a sp-eialtv. A. W. Borst. 3600 Ham- e" LROOT & SONS, 1530 E. 55lh Si- chiego, 111. bow by the player is practically impos¬ Mr. Severn rightly says, “It is difficult iltoulSt.. Philadelphia. Pa. sible. This also happens should the stick enough to teach one pupil to play perfectly please mention THE ETUDE when addressing our advertisers. THE ETUDE SEPTEMBER 1922 Page 6J>3

TEE ETUDE The Fall Needs of Choristers To Help Us Serve You Better Page GW SEPTEMBER 1922 James Tubbs, Bowmaker and Chorus Directors jliiIn anticipation of- an-- unprecedented-- de-* We haV<5 the P“bl'Cation , - T o rowing, as fie once said, for a characteris- mand for octavo music, both sacred and the Etude Music Magazine for the first of Improved Music Study “In a cramped little house in ^ tic reason—the physical exertion of row- secular, this Autumn, we have planned to of each month and are making every effort great craftsman died the ° has ing tended to throw out of gear the deli- meet all requests for material with musical to deliver it on that date. It is absolutely dunning system maker of violin bows that ,E^, of cate.balance of hand which was the secret compositions of a high order of artistic necessary, in view of the fact that we must merit and exactly suitable for the pro- start printing and shipping weeks in ad- The Demand for Dunning Teachers Cannot Be Supplied. Why? produced. The uns“rPasse‘! J* the per- Uf his skill in his craft, grams contemplated. vance, that the subscriber in the event of the bows that ^ bb* Xed the elm" ' “Latterly every particle of material that fection with 'which they realized the elu tQ %e making 0f a bow was Throughout the Summer, our octavo a change of address, give us notification NORMAL CLASSES AS FOLLOWS: stock has been augmented with excellent early enough to enable us to make the sive mean between pliancy a ■ g . . ’ T,ejghed by him as a check upon his own works submitted by the most popular change before the mailing list for the new MRS CARRE LOUISE DUNNING, Originator, 8 We.l 40th St., New York City, Normal Claw Aug. lit, 1 the delicacy of their carvature . . o{ accuracy. But aside from that—even in composers, and we feel justified in believ- address is printed. We should have the Breckuen 354 Irring St., Toledo, Ohio. fine finish in detail made them t J y ^ o)d age_be could sense by the hand mg we can fulfill every order intrusted to change of address at least four weeks in Harriet Baron MacDonald, 82S Orche.tr. Hall, Chic.,., lll.-Dall.i, Tea.., Sopt., Noe., January. ,1o«c Ihe minute diff.ra.a .1 s to the entire satisfaction of choir and advance to make the necessary correction Ann. Craig Bate., 732 Pierce Bid,., St. Loui. Mo. choral associations. We would also records. Jeanette Currey Fuller, 50 Erion Creicent, Roche.ter, New York. .... mind you our discounts are most liberal. A number of subscribers are under the Mr. Jean Warren Carrick, ISO E. 68th St., Portland, Oregon, Saptember and March b„« .k, »*”-»< W"fk,“ brcS. you you, „„ impression that a short preliminary notice Tubbs made, but there V ws to repair/ said a violinist ot ce. The Oratorios and cantatas for general Mr.! Wesley Porter Ma.on, 5011 Worth St., Delia., Tea... made under the most experienced and for the special occasions of the church to their" ‘ Postmaster" 1 or ILetter Carrier or of confusion to those w ^ man put out his hand for the bow and The Annual September necessary. This is Jr^^"^BIdg.,Chicago,Cla..e. held monthly through the year (Chicago). supervision.lervision. Our catalog has grown so yyearear may now- be__ -had on our “on sale to us is all that is nec ’borSTo worked on wilhc. even a gta*. * * M4 « down Money Saving ers matthat «it lanestakes care oiof almost any necessity iplanJlal‘ for u>ywwMinspection “““and selection. Choir- ---not ~ .. , ,. , wiser_ and better not to Stella Hnffmeyer Seymour, 1219 Garden St., San Antonio, Tea... Summer Cla«». _ ..._ . , , nnz nnfi,Amc cnilnLl#* fnr musical leav Mattie D.Willis,915 Carnegie Hall, New York City, New York, Aug. 14th, Sep^20th and erery month thereafter. Each September for a number of years cf musical ■ education. We have almost motets and anthems suitable for musical eave it at all to your .Postmaster. The ^^".“.otirie": "!? ne.ec -da he ,,d. He it has been o-r custom to place final low twenty-five thousand sets of plates in our services will be found listed in our cata- best course to pursue^ is to write direct Laura Jonea Rawlinaon, 554 Ererelt St., Portland, Oregon; Aug. 1, Seattle, Waah. introductory prices on recent publications, vault. logs; also anthems for the regular Sunday to the Subscription Department, Etude Mrs. Ura Wrinkle Synno'tt, 824 North Ewing Ave., Dallas, Tea... his hand till he pronounced it gpod. Lat- shuffled to a case and taking down one of gumsgiving music. - buyers. exceptional. bargainsv, jfv. the music.uu.iv teacherw>>vw> cvir school under services. Music Magazine, 1712 Chestnut street, Rubv France. Jahn, Dallas Academy of Mu*, Dallas, Teaas. , J „ terly he would even buy back, again at hjs own bows passed it to the violinist. . r for the Philadelphia, Pa. Maud Ellen Littlefield, Kansas City Con.err.tory ol Mu.ic, 1515 Lmwood Bird., Kan... City, Mo. and unusual value for their money. ThatThat whosewWp eye this notice comes has not yet Many choir leaders plar higher prices than he ever got for them “For a few minutes the little shop was these offers have been satisfactory is at- sent jn their stock order, be it large or entire season’s music and we believe this Cara Matthews, San Marcos, Teaas. tested by the fact that thousands of our with which to open the coming procedure has many advantages over the When Renewing Isabel M. Tone, 469 Grand View St., Lo. Angel.., Cal. his own old bows from the sheer pleasure transformed into a concert hall and then: Mrs. Beatrice S. Eikel, Kidd-Key Con.., Sherman, Tea... of rehandling them and knowing them “ ‘I- thought- • il• ..'iolin that 1 patrons expectantly await them each year. seaSon, please do not hesitate to send it haphazard weekly selection. Remember, , be careful to Five vour name Numerous requests began to reach us in to-day. It is most satisfactory; in fact, nothing will hold the interest of choir Mrs. H. R. Watkins, 124 Ea.t 11th St., Oklahoma City, Okie. needed,’ said the violinist, ‘but I know July for circulars of this year s September it almost means better success for the members better than a liberal supply of ^.Qn recorcj Qf course if we have II rtsvson Talbot 3068 Washington Boulerard, Indianapolis, Indiana. “The old man (he was 86) was an that v/hat j wanted was the perfect Adda C. Eddy, 136 W. Sandusky Are., Bellelontaine, Ohio; Bellelontaine, Sept.; Wichita, Kan.as, Nor. expert oarsman in his youth and haa ~ . Offers as soon as same were ready. season to start off well, ready for business, new music and systematically arranged ^ wronff on this last record_call our Mrs. Anna W. Whitlock, 1100 Hurley Are., Fort Worth, Tea... cups to attest his prowess. He gave up bow. -Exchange. The low postpaid cash prices _at which with a stock Of music on hand. programs. _ attention to the fact. It is well to print Mrs. S. L. Van Nort, 2815 Helena St., Hou.ton Tea... these works arc offered causes the query For directors of Community Singing your name| and address, thus obviating as to where the Theodore Presser Com- Qn Sale Societies and Choral Clubs, we list many Jany posslDllltypossibility of0I misinterpretingmlsmterpret.ng hand-nana- Addle'Yeareain Hall (Mrs. William John Hall), Musical Arts Bldg., or 145 W. 45th St., New York City, N. Y. Violin Questions Answered pany profits. hese offers, in addition to M • attractive numbers and are always glad Whayt may be entirely clear to Ad<,yBu«aL,8N?Y . Aug Is.; Jefierson City, Mo., Sept. 11th, 1922. giving our patrons the best kind of bar- iV1“S1L to suggest numbers suitable for any group J possibly n^t be quite *0 cIear to • — ■* —at value in introducing This is so important that a separate of singers to render Our help has been > , ^dressed copies either in INFORMATION AND BOOKLET ■ —I do not know of any school where "making is taught. The best way how long it would take you to bee. new public Long ago we discovered note is mkde of it m connection with the ■ valuable to others; it may prove valuable name or ^ number J town bri be tor you to work in the shop of a — — an apprentice. 2— ished artist without knowing you H the merit; lUing music works and above. The way to use our ‘ On Sale to you. Our various lists comprise chor- irritation, confusion and disappoint- •eed or ftot svoula de¬ and hearing you play. If, at sevn volumes n valuable, satisfactory system to the best advantage is to give uses for mixed voices, mens voices and ment ^ non_delive of c ies. ‘x*his is al ability, \ngenuity, play the Kreutzer and Rode Cnpi 1.1 possible and introducing us the number of expected pupils and for treble voices in two, three or four eas. avoided , /follow/„ the above Ho business; 3—Ini- Rode Concertos, in a thoroughly ;ni would take to ner, you have nothing to worry ab" copies at postpaid about their grades and allow us to make parts, operettas and cantatas. special SUffires^jQn your aptitude. depends upon how well you play prices that „ ■ered the cost of up a package of such sheet music and catalogs and groupings will be furnished g]low * few d for delayed copies. r selection l would advise you to go to < I n paper, printing and binding. There- would books- -Sometimes the Post Office^is^pnessed with which is near your home, and play be no profit in this if each publication - their’’ * long experience would be of the schools. We are making a study of school the Italian for Jo- two of the leading violin autlmni "’ll1 but JosepI ‘lanuM-ias. tin- famous vio- and get their advice on your i.-i not prepared with ’ ‘ ~ “"tie of the best methods of needs and publishing material that will —*-3r of Cremonaaia useduocu “Joseph’' — --- _ ... .. assistance ii _j. Other Italian makers sometimes use Dance orchestra work ought not !.. making it a leader l its class. to mention “pieces such as” meet the requirements of teachers engaged 7 we invite suggestion to improve < ... such introductory methods and to include, one spelling and sometimes another. Thus ul popular only benefit ‘dB’ ih this wort. . . service-help usTo serve you better. we find Thomas Balestrieri, on some oi tnis fi^/&^.h0ouM0,S?.a. i'm'U receives a satisfactory certain pieces that might be desired Jf yQu are not receiving chorus music rubbish several hours daily, it w.u dd be apt when the 1 maker’s labels, although the Italian spelling Injury to il further sales result. especially. ‘ „ , „ . it s at once is Tomaso. On some of the Gagliano labels to ruin your style and’to do great s invited to turn to The same liberal discounts are allowed on our °“ sale plan, write us at o We Want More we find “Joseph” Gagliano, and on others your higher violin study. ' way i pages 644-5-6 of the issue and look o’ on music “On Selection” as on regular giving such particulars as will aid our premium Workers viofins^we ^fhniya“T0mas0”01Eberle^1aim,e^m finds it difficult. The only v close to ninety offers___ presented. orders. The music can be kept the entire clerks in the selection of suitable music, others “Thomas Eberle.” It is Just the same eternally at It. Memorize vi t Final Low Introductory season; settlement made at any time on and you will be pleased with the service To those of our new subscribers who are as in English, we Arid many proper names pieces at first; and, when this ii lie readily spelled in the foreign manner. accomplished, liicult ones, ready for immediate delivery, or before next June. we can render. not familiar with our plan for offering t differ. usie pupils. We have i,Te w ed in this offer all our re- We cannot but say one word about New rewards for new subscript.ons-watch the E1*1”1?.—'Die method you describe of hold- Some can memorize a short piec g the bow, with the first and little fingers it over a few times. Others are obliged rr.... o,wh,cahri composition -id on top of the stick and the second and painfully to commit tt^note^b note, and third under the stick is a “freak’ way of i> slips of asaaryjarggss ssi“in“iT^s"ButdSjfc. ^ holding the bow, and I have never heard of memory. However, if the stu thev have been on the market The Ad- or six of the busiest Winter months. They A complete announcement concerning or acquaintance m The Etude Music its being employed by any good teacher or eutlv works at memorizing the •, mpositions val nf 1^,1, Hr at]on Offers are on works may be merged with any other “On Sale” our im Etude Prize Contest, will be Magazine and each subscription taken violinist 2—It is impossibleto lay down he is studying, setting apart a ta course ,f „ oduction and after the edi- music and returns made all at one time. found upon another page of this issue, counts as one credit toward the splendid any rule as to how soon the Kayser Etudes tion of his studying time each < "rial ■,ml ■, hnnical woric has been com- Do not return music of our own publico. We welcome to this Contest all composers articles which we offer as a reward. should be taken up, since talent and the —s.i fl„(i that natu length of time given to violin practice daily, Dieted d icv aDDrar on the market tion until tile final settlement time. Make without any restrictions whatsoever The The new premium catalog is in prepara- differs so much with various pupils. How¬ and it will s pietea anti tiny appear on me inarnct We are nerfectlv tvro has iust as much chance as the ex- tion, but meanwhile do not lapse m your FABRI u.kiia-s't'yV _ ever Op. 20 consists of three books. The first is comparatively simple entirely in the ordered"/!) '.Ivancl of publicaltn Tittle /ttling to add to your selection at any perienced professional and an absolutely efforts. It is not necessary to make your or nrTnniT CONSERVATORY OF MUSIC first position; the second book lies mostly in —A bank teller I™'™ " '",lance °r puoncanon at me ^ / purdose.. fair and impartial judgment will be ren- selection of a premium if you do not find the first and third positions; and the third tell whether it is . iow price I : d „our order dered upon every manuscript submitted, in the advertised lists what you would like s DETROIT ,.»«sjssr„..,sws.- book contains passages up to the seventh not; anu in the same manner it GILBERT position and is comparatively difficult. The to Judge violins without seeing are^gootTonii ^for ^a'short^thnTand'rather wteSer^1^ everdealt "with us be-’ This contest differs from all> previous to have. Just send the new subscription first book is frequently used with a talented your description your violin is probably a aie good un i tor a short time ana ratner j Have vour material on hand contests in the fact that it is more eom- along; we will give you credit for it and pupil at some period during the first year. imitation Stainer. liTiTnN Pia of some little reputation. I do not recall any We are better orsranized • we have hun- . . , ,, . ship, although present, is always concealed, by Gustave L. Becker. 3 vols. Obtainable : it 1 iibl>ed_ t sales of his violins recently in the American (beds of em/loyes ^elpecially trained for Every Music Supervisor should have one GeJ;uine m7,lo(iy should always be through music dealers or from Mr. Becker, Arts. 437 Filth Ave„ Tel. 4292 scraped to such an extent that the bare market and cannot give you a definite idea o ' wood is exposed in many places. If the vio- this work 3 itTs the aim of our Order of tliese lists at hand.^ D you have-not evidence Stu(Jio )J() Carnegie Hall, New York City. the value of one. Write (o W. E. Hill and yet received yours, please send us your 1 lin is valuable, the work should be done only Sons. 140 New Bond St., London, Eng. 111 * Sample page for 2c stamp. 1 bv an expert violin maker who understands Filling Department to see that every J __j ^14^-ixcc? TF vnnrs fnr them THORPE! « BRYANT 1 varnishing violins. You had better get the are specialists in English violins. order is attended to on the day of its ^king"^ "1“° is" our 'way ofTelping ”to Studio opinion of such a man before you decide to receipt; large orders and small orders ^ Pictures . have the work done at all. In the case of MH,1NnlAs often1 explained in The Etcd*. ENGAGEMENT RING WALTZ 1 Cremona and other valuable violins re-var- there are millions of violins in existence w receive exactly the same attention This booklet is so compiled and ar- We haye slowl athered together quite The CONVERSE COLLEGES “Strad” labels exactly like yours. They ® Our prices and discounts are the best ranged that in an mstant the supervisor a collection of inPxpensive musicai pic- chimif,_ NighthLa" Ii°*y VIRGIL"” good, bad and indifferent. Your only is to send your violin to a competent ju h that can be obtained. Our stock of pub- can find many suggestions for any need We have a special list which we will EMERICK & CABADY, Box 135, Su. F„ who can tell you what it is, and what it n ,hS.S"”-l ..III suitable Klu- seed m»e ^ph^ IV. J. COREY should judge from your description that worth. Any of the dealers in violins ' ■— 50 imitation “Vuillaume.” of advertise in The Etude could do this for y Piano Teachers Pianist, Organist and Musical Lecturer which there are i vast number scattered all Vibrato. s -r*V «* -a- h.s ssS’S: sr5.» ------,d Lecture-recital, upon over the world, If you wish to know defi- H. C.—The Etude will soon publish a Ju l' ’n° help any edu■ oatlonal m isica bere fisted ?and described under proper incbes. We have added Beethoven and Christensen_ syi nitely send it -t an expert violin dealer or tide on the Vibrato. In practicing th rk. Our service, we strive constan y beadj and so indcxed that the School Mozart to this lower price series during If there i. no “Christ i^ScKin^ sities, Colleges, Lyceums brato you can at first use the scales ir to improve. It is perhaps unnecessary gu 6isor need not be troubled to find the Summer. We- have also Chopin, —Giuseppe Dali ’Aglio, Mantua higher positions, these positions being < (mi Italian1 city) 1795-1840,1795-1840. was an Italian at first than the first position. Count to say that our own publications, those the correct thing for special needs As a Rubinstein> Schubert, Schumann and Christensen School of Popular Music violin maker of consid-rnhle merit, and or eight to each note of the scale. The upon which we give the greatest dis- reference book it as constentiy useM. several pictures of Liszt, as well as eleven Suite 4, 20 E. Jackson CHICAGO made some excellent violins. an;in excellent phnntcchapter eion the vibrato'inin 11 tie work, “Violin Teaching and Violin Muc count and with which we are the most ' Public School Music Teac..c.= ...... - historical subiects all - F. R - -The mark you send, which you found by Eugene Gmcnberg, which yon would liberal in every way are the most used grades will find all their problems simpli- other group and historical subjects, ail please mention THE etude when addressing 38 WOODWARD TERRACE, Detroit. Mich. inscribed in your Violin, is evidently a private well to get. The quickest way to I/O™ , works in musical education because they fied at once by this book. relatcfi to music. mark or trade mark used by the maker to vibrato, is, of course, to go to a first identify his violins. Please mention THE ETUDE when addressing our advertisers. fBE etude SEPTEMBER 1922 Page 6Jfi Annual September Bargain Offers on Recent Publications TheTht> SpecialSne.cial Low Introductory Prices on Thesethese Works Good Only Until October 15, 1922

Music buyers should take full advautageofthese offers. This is a resume of the Publications of the NOTE BELOW the bonus offer on $3.00 and $5.00 pur¬ IMPORTANT :-Order by Offer Number. The prices last twelve months and the general success to date of these Publications is most gratifying. It is to create chases of works selected from these “Final Introductory Offers” and the “Advance of Publications Offers” on are for cash with order, transportation charges prepaid. a wider acquaintance with then ments that we now offer them at postpaid Final Introductory Cash Prices. At these low offer prices these works are not returnable. next page. ___ No more than one copy of a work at these prices. ORDER BY OFFER NUMBER. SEND ALL ORDERS TO THEODORE PRESSER CO. OFFER No. 21 _ OFFER No. 29 Literature and Theory OFFER No. 8 Vocal Choir Collection Violin Ensemble Method for the Violin In All Keys Piano Four Hands n. Harry Hale Pike . Price, 35 cents I By Oscar J. Lehrer Prioe. $1.25 The anthems Introductory An excellent violin_method for OFFER No. 34 By M. Greenwald Price, $1.00 OFFER No. 18 OFFER No. 25 Introductory Too often the matter of familiar- OFFER No. 15 Eight Songs from Green Great Singers on the Art OFFER No. 1 Cssh Pries izing thethe student withwitn tttne Selected Studies for Violin in of Singing A Modern Piano Method 40 cents advLirfS'lrerSch inal Four Hand Pieces and pranci? CoSenging rlcs by Chas. 0. Roo^ ^ ^ ^ san ptrtfof ^TifficX. harm0mzed f°r three ^XFraTSe work e, $15 la'&Esilhaupt, has succeeded in bringing saiilP--- EiWi Writing Book

IntroductorjHLessons in the Art °?TE? R , W-.o-.Mi S'n-rnS?® IS. sspim s- Spcfl

Piano Collections

Price, 50 cents S3, igm - ™1UamgoodTht|pe,a justh tie kind ol^y-to ^y By Wohlfahrt, 0p. 87 P ice, 75 cents By M. er.enwam rJS .r-ss. §WsM ^ HI

msm smm sn i 0 I^cital a?d Picture Playing ' gtfS* Compiled by Preston Ware Orem Price, $1.50 ,j.| QQ |£|‘Sell3?5i| SSSof^e||es"^lPIANO SOLO PUBLICATIONS-SHEET FORM Sfe' VOCAL PUBLICATIONS-SHEET MUSIC

Three Song^ for FKgh Voice Three Sacred Songs (High) Four Medium Grade Pieces I ^ Total Price, $1.55 introductory Cash’Price, 40 cents OFFER No 5 BONUS GIVEN ON #3.00 or SS.OO PURCHASES Mrs. Curwen’s Pianoforte introductory Method (1st Step) With Duets for Teacher and Pupil by 2 Ai^aj%ZriStmaS Tree- * Anna Bert R. An. |SpiigE§SSSIfS Three Voiee Three SK (Low) YOUR CHOICE OF ANY ONE YOUR CHOICE OF ANY ONE jrhsr-pV,2.» ...... -rTzSr.is OF THESE WORKS FREE OF THESE WORKS FREE 51! WITH A $5.00 ORDER WITH A $3.00 ORDER Five Second Grade Pieces First Steps in Pianoforte Study- ^oTthe^Phn^bJ W^B^Mathets5

Three°V™„^„d Pi.no

deer Suite SStSft E£! $ w£ iw§§MM- » for High \ THEODORE PRESSER c5 PHILADELPHIA, PA. an ICTr1 rniDI icurnc lam nnimnn ITCtTABLlSt 1710-1712-1714 CHESTNUT STREET SEPTEMBER 1922 Page 6J,7

How Do You Appear?

$3.00 or 35.00 worth of th Advance of Publication Offers and Final Introductory Offers When taking un a new song, the teacher and posed that the people immediately and pupil should look it over together loved her, and a bond was established be- entitled to a valua

How to Learn the Bass Staff Easily

By Earl S. Hilton

^^ll^^kdiflMt^toawn^ saHe-iSya way^that Jas. proyen^rtoSt The Ghosts of Hilo

clef. Many instruction books****? ^ and is sure which is the first and which is SToerzjrszro&EZ SSL s established in the pupil’s mind on account ? p of its being introduced first. Remembering Name ^ letters of the lines of the fre- that first impression is always the strong- Me clef (E-G-B-D-F). Then leave off E. est, we see that the G clef is learned better a„d add the first letter of the musical

Violin wSf thelnSuSraW^SS the^upff same^ manner,'Jeavl ^nd” add Jhe

M^'3O0»l«4udiesfor [he bassSckfPbutC ratherVis^he method in thus forming the bass staff spaces ArC-

Opportunities for Some Teachers

aaSSSHlii fimm r to take the place of the one a student washing t fSLISfif JrtlW. Literature USUI ARGUN mjSm KING SOLOMON AND KING DAVID £5m2Er.!Sft!2K S* Bispham, Scott and Werrenrath ■ THEODORE PRESSER CO., SSHSSK?^^ PHILADELPHIA, PA SEPTEMBER 1922 Page 649 0E etude THE ETUDE Page 648 SEPTEMBER 1922

Schools arid Coll^^es Earn a Teacher’s Diploma NEW YORK AND NEW ENGLAND or Virgil Conservatory * |Ne« England , MRS. A. M. VIRGIL, Director Bachelors Degree in Music School year begins September 25th, 1922 Conservatory Unparalleled Success In Your Spare Time at Home Mre“^rW,Ck OF MU SIC Sep^mbe°!2l"’l922 Virgil Method: Artistic, Reliable, Rapid BOSTON, MASS. The Greatest of All Teaching Methods Located in the Mu*ic ( We offer you an exceptional opportunity to study the Virgil “Tek” 7y3 Octave Practice Instruments important branches of music under America’s greatest teachers, by the Dormitories for women st A Complete Orel Complete Curriculum Offers advanced ; \T* •! Two and Four Octave Portable Instruments University Extension Method, which is now used by leading colleges and teachers throughout the wor . jranch of Music, applied ai Virgil in Suit Case. Perfect touch. Graded weight tical Training pearance At small expense you can thus utilize at home your spare time, which ordinarily goes to waste, to brus •tment, graduates are much in Dramatic Depart! \T• *1 Studies and pieces, grades I to VI up, round out and improve your musical education, and at the same time earn sufficient credit tor a V irgll Unequalled for teaching and recitals Address Ralph L. Flanders, General Mam Teacher’s Diploma or the Degree of Bachelor of Music. \T* *1 Child’s pedal economical and durable. The Courtright “'emwonnortm America well may be proud of its V irgll Send for Catalogs. Inquiries solicited. System of Musical to special^in music educational institutions. See Kindergarten Irrespondencc , pages 582, 583, 584, 647 , 648 , 649 and Greatest Musicians Endorse these Lessons Mrs. Lillian Courtright Card, 116 Edna Aye., Bri 650 of this issue. VIRGIL CONSERVATORY 120 W. 72nd St., New York Our beautiful and valuable illustrated Art Catalogue, which we will send you absolutely free and without The only School of music in the United States chartered by Congress Thirty-eighth year opens Oct. 2, 1922 obligation of any kind, contains copies of original letters of testimonial from such world famous men as. Address Secretary, 126 West 79th Street, New York City /. J. Paderewski, eminent virtuoso. Theodore Leschetizky, Paderewski’s great teacher. Emil Sauer, of the Vienna Conservatory. Walter Damrosch, eminent conductor of the Alexander^ Gudmant, the world famous NEW YORK SCHOOL OF MUSIC and ARTS New York Symphony Orchestra. *re ® Ralfe Leech Sterner, Director ~fcllll«Y 148-150 RIVERSIDE DRIVE, NEW YORK Moritz Moskowski, famous Parisian composer and teacher. **' Beautiful location, overlooking Hudson River. Ideal home life for refined, cultured students. Day and boarding pupils- Voice, Piano, Organ, Violin, Harp, FALL TERM STARTS SEPTEMBER 1st. PUPILS CAN ENTER ANY D . and all Instruments. A special series of lectures and concerts will be given every week during the entire winter to commemorate the TWENTIETH ANNIVERSARY OF THE SCHOOL. , . . • Dramatic Art, Classical Dancing, Let World Famed Masters Give You Their Methods Those desiring to live in the school should make reservations now. Many eminent masters have been added to our Languages. celebrated faculty. Outdoor life and all recreational and social advantages. „_n Drawing and Painting. SEND FOR ILLUSTRATED BOOKLET ___ MEHLIN fiainu uztsu We Bring the Conservatory to Your Home

The University of Rochester eroe take the pupil through every phase of the study of Harmony; JTHACA CONSERVATORY .AMERICAN INSTITUTE No longer is it necessary for the ambitious musical student to incur the Protheroe gives his authoritative instruction in Choral Conducting; expense of leaving home to study at an expensive resident conservatory. Frances E. Clark gives the most practical methods in Public School Music; 1 DeWitt Park, Ithaca, N. Y. of EASTMAN SCHOOL OF MUSIC \0F APPLIED MUSIC no, Director By the University Extension System the Masters’ methods are taught m Frederick T. Bacon the great . banjoist, Samuel Siegel, world-renowned Special advantages to those X/fUSlC ^^Metropolitan College of Music mandolinist, and William Foden, famous guitarist, give their methods tor n Endowed School, f Unexcelled Building and Equipment, Offering Complete the home by easily understood lessons sent by mail. looking to educational or L 1 Education in Music mastering these instruments. concert work. All instru¬ r of Music Courses Leading to Eastman School Certific \ Kate S. Chittenden, Dean The Piano student has the marvelous teacher Sherwood to demonstrate More than 150,000 ambitious men and women have gained proficiency in ments. Vocal, Dramatic Art and Physical Courses in All Branches of Music Including Orchestra Playing and just how he secured his incomparable effects. The Cornetist studms with Preparation for Teaching these various branches of music by the University Extension Method. And Training. All graduates eligible to teach [ed Faculty to Which are Added This Year FACULTY OF the master Weldon; Crampton trains the voice, of the singer. Heft shows to you we offer the same advantages which were given to them. in N. Y. Public Schools. Ten buildings) almgren, Composition, Orchestral Direction THIRTY- SPECIALISTS how to interpret the soul of music on the Violin; Rosenbecker and Froth including Dormitories, Auditorium, Max Landow, Piano Vladimir Resnikoff, Violin SEVENTH , teaching Gymnasium, Studio and Administration Dezzo D’Antalffy, Organ Accompaniment for Motion Pictures Term Opens September 18, 1922 YEAR Buildings. Year Book Sent on Request. all its Opens October 2d \ f" "Y SIX MASTER COURSES \ branches University Extension Conservatory, Dept. A-180 with world-famous artists in all departments The Secretary, Eastman School of Music, Rochester, New York Fall term opens September 19th Master CoursesX FREE Chicago, Illinois as well as courses for % LES SONS the less advanced \ SIGN AND MAIL THE COUPON THE SEYMOUR SCHOOL of MUSICAL RE EDUCATION Special Courses forTeacher^X Please send me catalog, six lessons and full information regard¬ For Catalogue and Circulars address \ Most people want success Institute «f Musical Art For Teachers, Children and Advanced Students ing course I have marked with an X below. OF THE CITY OF NEW YORK J. LAWRENCE ERB \ but don’t know how to get it Most children dislike the study and practice of music. The Seymour ^School fir Managing Director \ □ Harmony Frank Damrosch, Director ive^ progress of pupils. □ Piano □ Violin Dates for entrance examinations and lathis way'the usual drudgery of music study and dislike of mechanical drill ia elimim 212 W. 59th St., New York City \ Most people seeking success are sincere enough in their desires but t y enrollment — October 2nd to 7th. Students Course □ Cornet □ Voice Session Opens October 12th. Violin, Harmony and don’t know the way. . . x . . , ,, Mandolin An endowed school of music conducted Teachers Department: Courses in Musical Rc-Education, Rhythm, Folk Dancim Psychology of Music, Working blindly, groping ^c^^^tte^^who^i^ucceed but □ Piano □ □ Public School solely in the interest of higher musical The Modern Orchestra and Settlement Music. Music Public School Music Course: Applied Musical Psychology and Special Methods. fundamentals that underlie Normal Training □ Guitar education and providing complete and Boarding and Day Students. comprehensive courses. ‘DIRECTORS all music. . , , j_,__ Course for □ Banjo □ Choral Conduct¬ SPECIAL PREPARATORY CENTRES in different Marshall M. Bartholomew Robert Foresman Opportunity can either make or destroy ing parrs of New York City and Brooklyn for children Harriet A. Seymou Teachers □ Organ between seven and twelve years age rafc further information, address PIANS^CfOOL Some day, you say to yourself, your opportunity will to do AVE., D. E. BERGH, Manager 57 West 48th St., New York City It comes sooner or later to almost every one, Slv, J Phon. Rrvanl 192S CamegiecJ-fog, New York bigger things and make larger profits than ever befo .

Courses for PIANISTS Put X in the I-! in the coupon to show which cour e mail today. your name and address plainly and put the coupon n —College of Fine Arts— Crane Normal Institute of Music INTERNATIONAL ACCOMPANISTS and Syracuse University Training School for Supervisors of Music MRS. BABCOCK BOTH SEXES ^Voice culture, sight -singing, ear-training, harmony, OFFERS Teaching Positions, Col- University Extension Conservatory leges, Conservatories, Schools. TEACHERS Special students may enter at any time of the year. practicT-teac"hing°'ra, duat es' ho 1 d bn po’rta n t posi- Also Church and Concert Engagements The SIGHT, TOUCH and HEARING Langley ave. and 4ist street Chicago RegUtrar?Syracu«f kJniv.rsityr’syracuse^N*^ 53 MAIN ST., POTSDAM, NEW YORK CARNEGIE HALL, NEW YORK System of Teaching. Write for^Boo*^ Please mention THE ETUDE when addressing our advertisers. THE ETVim ■ ERNEST R KROECER, tbe etude SEPTEMBER 1922 Page 651 Page 650 SEPTEMBER 1922 composer of Eg*Ha Jarc* o, /ndjaf! phantoms, Director of Forest rark College of Music for 35 years, has 4 vacancies among his piano pupiU. Apply Schools and Colleges prompdyto AJjVA g CAIRNS st, Lonlt| Mo See also announcements on pages 582, 583 and 584. SOUTHERN, PENNSYLVANIA and MIDDLE^WEST^ %24B5f DETROIT 49th Year CONSERVATORY of JUNIOR-

H AIV Francis L. York, M.A., President Ra Kg H ffeaaa. I £§ Elizabeth Johnson,Vice-President ETUDE Kl V BB BtfepigP Jia^SSI$ Finest Conservatory in theWest

Offers to earnest students courses of study based upon the best modern and educational principles. Renowned faculty of 80. Students orchestra, concerts and recitals. Diplomas and Degrees conferred. ^ CONDUCTED BY ELIZABETH A GEST Teachers’ certificates. Desirable boarding accommodations. To a Wild Rose MacDowell The Members of the Dominant Music Club SCALES. Fall Term Opens Sept. 11,1922 Discuss Pianists (Continued from last month) UNRIVALED FREE ADVANTAGES 1735-1782. Johann Christian Bach, don when a year old. As a performer Singing—Archibald C. Jackson. Thaddeus the London Bach, was the first em¬ he was greatly admired for his perfect Piano—Francis L. DcWransu,TVWranski Mrs.Mrs Chas. H. p„Clements,rtka(f^ Miss Eliz- Johnson, Louise Unst th Cragg, Blanch Strong, Mrs. Car- Everybody' knows the “Wild Rose” of inent musician to adopt the pianoforte, legato, distinctness of phrasing and quiet, Minorr E. White, OleaneOle . Doty, Alle D. Zuidema, abeth H. Bennett mus. Doc.;" c.; WilheiminaWilhelmii Sutz, Laverne Brown, rie F. Travers, C MacDowell. Some people seem to think appointed concert-director singing tone. He did much for the strictly Mus. Bac.; Ethel LittelL Alma Clock Heliry mine Ix>rch. that it is intended to represent or describe thing,. Violin—Earl e. Saul / don where he became a popular favorite musical qualities. Lichtwardt; M. Gray Fowler and 40 additional _ Tkaczyk, Zusman Caplan, A r t hi, r Kucken, In* a wild rose growing on a hillside; but if and received the appointment of music 1778-1837. Johann Nepomuk Hum- ‘“oreair-Francis L.York, M. A.; AUe D. Zui- Lewis Powell, Edna Kersten, M you stop to consider the title of this little master to the Royal Family. Presburg, was a pupil of Mozart, dema, Mus. Doc. . Brown- piece you will sec the mistake of such an c Theory, Harmon^^CompM^om-AUe^a ZuMema.^Mus. Doc.-Po; 1752-1832. Muzio Clementi born His style was distinguished by precision, idea. MacDowell did not call it a Wild- at Rome, but went to live in England clearness and command of brilliant effect. Mandolin and Coital—Alexander G. Poli. rose, but “To a wild-rose”, just as poets when fourteen years old to be educated by His influence as a concert pianist Normal Training for Piano Teacher*—Francis L. York. often write a short lyric and inscribe it an English gentleman named Beckford. very great and he was considered Public School Music and Draining—Miss “To Helen.” He amassed quite a fortune as a teacher, of the t famous piano-virtuosi and e School of Expression—Miss Lilly Adda Can you play this piece? If not why do an Dancing—Etlilyn Briggs. pianist and composer. He became inter- temporists of his period. the you not learn it ? Ask your teacher if you ested in a piano manufactory and when the 1782-1837. John Field was born in Examinations Free. For Catalog may take it up for your next lesson. and Other Information, Address From view Center un firm failed he established another which Dublin. Pupil of Clementi and for some JAMES H. BELL, Secretary, 5035 Woodward Ave., Box 7—Detroit, I It is one of the simplest melodies imagin¬ is still carried on in London. He wrote time employed by him in his piano sales¬ able, yet who could have thought of it but rooms. He is best known by his interpre¬ tinjs, Gradus ad Parnassum. And. MacDowell? It is two-four time, key of 1756-1791. Wolfgang Amadeus Mo- tations of his own Nocturnes, the best A major, made almost entirely of quarters Salzburg, as a virtuoso, immensely known of his compositions, the style of DETROIT INSTITUTE OF MUSICAL ART and eighths. You notice there is a good developed the resources of the piano, which was new and original. happi- deal of repetition in it, but MacDowell Scale runs were the cornerstone of 1791-1857. Karl Czerny, Vienna, was does not repeat phrases very often without a pupil of Beethoven. His most cele¬ 70 Artist Teachers, including 12 of leading members of the Detroit Symphony Orchestra his virtuosity. He considered three ele¬ some slight change, either in harmony or brated pupils were Liszt and Leschetizky. For Catalogue. Addres. H. B. MANVILLE, Bus. Mgr. ments necessary for the true interpreta- And tMn I play Students May Register at Any Time rhythm. For instance compare measure of piano music, namely, an expressive He had an immense knowledge of the 5415 Woodward Avenue 37-40 with 41-44 and see how much you legato touch, moderation in the rate of higher mechanism of piano playing and^ a arpoqgios Too, DANA’S MUSICAL INSTITUTE can find that is iust the same, and also speed of performance, and strictness ad- keen perception of practical methods. His how much that is changed, and find what hering to the time adopted. fame as a pianist was overshadowed by his Already I Knew WARREN, OHIO TEACHER! Help yourself to SUCCESS the changes are. They are very slight but 1761-1812. Johann Ladislaus Dus- ceaseless work as teacher and composer. very important and add a great deal to the Huite o feu/. THE SCHOOL OF DAILY INSTRUCTION IN ALL sek, Tschaslau, Bohemia, was ' 1794-1870. Ignaz Moscheles, of by using the BURROWES Course of Music Study interest of the piece. the first, if not the first, to make the Prague, was described as “the foremost I thin! thsy're let) BRANCHES OF MUSIC inducted by Play this piece with a pretty “Singing pianoforte “sing.” His tone was rich and pianjst after Hummel and before Chopin.” Era Frances Pike, D 2289 W. 16th St., Las Angeles, Calif. Kathryn Jar i. D. 11* Ps Addreaa LYNN B. DANA, President Peak E, WARREN. OHIO tone”, and very legato, keeping it simple in full and with this new style of playing he He taught Mendelssohn. He solidly Of fun to da. Evaleen Parke, D 837 Clinton St., Carthage, Mo. Katharine Burrawes, D 2 Band Are.. H. P., Delr. character. Write for Illustrated Booklets produced great effect. trained pianist of great brilliancy. He had What do you know about MacDowell? I'll Know thtm all ESTABLISHED 1857 1770-1827. Ludwig Van Beethoven, many characteristics of the classical Every one should know something of his was born at Bonn. He found favor as a school; he used the pedals sparingly, he Before I'm throujhl life and compositions, as he was the great¬ pianist and won an overwhelming victory a trial P^yed octaves with a stiff wrist, his phras¬ AaU PE1 A D AF|Y CONSERVATORY est American Composer. over Steibelt, a popular virtuoso, Lawrence Conservatory of Music ing was precise and his accents were H APiffl 1 tnDUl/ 1 BALTIMORE, md. of pianistic skill. Sharps and Flats (A department of Lawrence College) 1*771-1858. Johann Baptist Cramer sharply marked; but the brilliant style ":'w'V HAROLD RANDOLPH, Director With Expression Do you feel “at home” in all of the keys, was born at Manheim, but went to Lon- he had no rivals. One of the oldest and most noted Music Schools in America. Offers complete courses in Piano, ; Once there was a litle girl or do you just know a few and try to Violin, ’Cello, Organ, Voice, Theory, She practiced many days avoid the others? Composition, Appreciation, Expres¬ Until she learned to play quite well Telegraph Poles A great many people, hundreds of them, sion, and Art, Superior Public School In many different ways. Sometime whefi you are riding on the mark the whole notes with a tap of your study music and advance to a certain Suhl Philadelphia point, but there they stop. This point is Music Course, Normal Courses for She. played some pieces very soft train, do you ever notice how very fast the foot. Then, when you come down to smaller BRENAJF Musical Academy Piano and Voice teachers. And others very gay; telegraph poles seem to be slipping by ? notes you must divide your pole beats, tap generally about medium grade, and they And, if you imitate her work can play presentably in keys with two or vanmfpupljs JmYnentjHtis^t^chersLrheo^, A distinguished faculty of 20 artists. And they seem to pass with great regu- y0ur fO0t twice for eighth notes, three times u^e you’ll play quite well some day. three sharps or flats, but they do not want J Ml ^NCERVAIDRY FOR CATALOG GIVING DETAILED INFORMATION ADDRESS larity too, because they are evenly spaced fQr triplets and four for sixteenths. This ™ to take the trouble to progress further. Managing Director, 1617 Sprooe St. Carl J. Waterman, Dean Appleton, Wis. « El I I N<>ted f°r SeleCt p?tJ°nagei30 If you are going to be a serious music PERCY FULLINWIDER student and amount to something, you ;WV gB I Now in new building. VIOLINIST must not allow yourself to be so indiffer¬ |J lira 9 Over 1300 students last Head of Violin Department • ent. You must familiarize yourself with LAWRENCE CONSERVATORY Valparaiso University all the keys, major and minor, and if you APPLETON. WIS. 8 a Ilia la Special training for School of Music are asked to read something at sight—an music teachers. A MASTER TEACHER * * *'** Inusual . opportunity for the se¬ (Accredited) accompaniment, for instance,—in the key BRENAU, Box “T” Gainesville, Ga. mis student of violin. Write Pittsburgh Musical Institute, Inc. >r free catalog and information VALPARAISO, INDIANA of G# minor, it should give you no more CARL ). WATERMAN, Dean. concern than if it were in the key of C The University School of Music offers courses in WISCONSIN SCHOOL OF MUSIC Piano, Voice, Violin, Organ, Theory and Pub c major. And you should be able to read |chool Music. Students^ may attend the^Music a double sharp or double flat as readily as MR. and MRS. CROSBY ADAMS Atlanta Conservatory of Music THE FOREMOST SCHOOL OF FINE ARTS University. a natural. Annual-Summer Class for Teachers of Piano IN THE SOUTH THE EXPENSES ARE THE LOWEST Picking out chord progressions in all Advantages Equal to Those Found Anywhere for the Study of Teaching Material Students may enter at any lime. Send for Board^with ^Furnished R^m.^SLOOToW<» P=f keys is good practice, as well as playing Catalog. GEO. F. LINDNER, Director quarter. Catalogue will be mailed free. Address scales and arpeggios in all keys. It will Write for Booklet Valparaiso Uni—-:«• —iw. 'll. Vslnaraiso, lad. MONTREAT, NORTH CAROLINA Peachtree and Broad Streets, Atlanta, Georgia Fall Term I help to increase your general musicianship as well as your technic. Please mention THE ETUDE when addressing our advertisers. THE Page 652 SEPTEMBER 1922 Junior Etude Competition Puzzle Corner |4» The Junior Etude will award three Answer to Violin puzzle: pretty prizes each month for the neatest M-u-S-i-c 1922 Join the Happy Circle of and best original stories or essays and B-a-T-o-n Albums of Music F-o-R-t-e answers to puzzles. Subject for story or essay this month S-t-A-f-f “The value of music clubs.” Must contain P-e-D-a-1 Etude Prize Contest for the pianoforte Premium Workers! not over one hundred and fifty words. T-r-I-1-1 Any boy or girl under fifteen years of S-e-V-e-r FOR Attractive Offerings for Pianists of All Grades age may compete. All contributions must P-i-A-n-o bear name, age and address of writer, and V-e-R-d-i Etude Music Magazine Sub¬ be received at the Junior Etude office, H-a-I-r-s PIANO SOLOS—VOCAL SOLOS FEW excellent albums for the little pianist, several that will appeal to the F-l-U-t-e A 1712 Chestnut Street, Philadelphia, Pa., average pianist and one or two for the very proficient player are here L-i-S-z-t before the tenth of Sept. Names of prize ANTHEMS :: PART SONGS described. The most popular collections of piano music are compila¬ scriptions Pay Handsomely winners and their contributions will appear The middle letters spelling down give Stradivarius. tions published by the Theodore Presser Company. The pianist seriously inter¬ in the issue for November. ested in a worth-while library of piano albums should send for the Theodore (Please put name and age on right hand Prize winners—Ruth Streeter (Age 14), Ill. Marie Anne Coulombe (Age 13), $1,000.00 in Prizes Presser Co., descriptive catalog of piano collections. YOU can secure with little effort and no cash upper corner of paper, and address on left hand upper corner of paper, and do the Minn. Eleanor Neidhoefer (Age 12), N. outlay any or all of the following rewards same on each piece of paper used.) Y. Sunny Day Songs for new ETUDE MUSIC MAGAZINE SUB¬ Do not use typewriters. WE TAKE pleasure in making the following offer VOCAL OR INSTRUMENTAL Competitors must comply with all of Honorable Mention for Puzzles instituting our new Etude Prize Contest, SCRIPTIONS, and best of all you are doing the above rules. Diann Ellis; Elizabeth Winifred Emery being convinced of the real value of a contest of By HELEN L. CRAMM Margaret Voetter ; Faye Arvin Paxsons; Eve lyn M. Moore; Eulalia Bluitt; Anna D'Aleo this nature in arousing a wider interest in composition A really delightful book fi your friends a real service in introducing them WHY I SHOULD PRACTICE IN SUMMER Evelvn Emanuel; Jean Morgan ; Una Ray¬ TIME burn • Helen Wells; Eleanor J. Bean ; Doro¬ and of stimulating the efforts of composers. In this r (Prize Winner) thy McElwain; Marie Hofmeyer; Beryl beginner to read the sta to the ETUDE MUSIC MAGAZINE. Practice at any season of the year promotes Brooks; Ida Liddle: Milicent Leeper; Marie contest all are welcome without restrictions of any the pupil’s playing and aids towards his ad¬ Porter; Eileen deSals Osborn ; Mary A. Ge- kind and we can assure the contestants of a respectful vancement. Therefore, to “strike, as it were during the summer months, which constitute hearing and an absolutely impartial final judgment. FOR ONE NEW SUBSCRIPTION one third of the year, means that our prog¬ vet; Myrtle Slaugmer ; jean vumc; , /.■<■«= Old Rhymes With New Tunes Your choice of the following: ress will be one third slower than it need be Elaine Lynn ; Beatrice Vogler ; Lowndes Mau¬ Yes, more than that, because we not only tail ry Jr.; Eleanor L. Crenshaw ; Elsie Muckle ; ONE THOUSAND DOLLARS SIX EASY PIANOFORTE COMPOSITIONS A FOUNTAIN PEN, GOLD POINT. to push forward but we are pushed backward, Bernetta Ziegler ; Bernice Gislan ; Evelyn J. will be divided among the successful composers By GEO. F. HAMER because loss of practice stiffens the lingers. Mather; Walter Chambers ; Virginia Thomas ; in the following manner: A PERFECT PEN POINT PENCIL, white metal and always sharp. Then when we fail to practice during the Lydia B. Buslee ; Regina Grelpp ; Hilda Day ; A GOLD or SILVER CLOTH-CASE MIRROR and POWDER PUFF. summer we embarrass ourselves and disap¬ Lucille Gruliow; Ruth Heard; Jeanette B. PIANO SOLOS point our friends by not being able to enter¬ Gutman; Winifred Edith Mobbs; Josephine A POWDER BOX WITH PUFF—white celluloid. tain them with our playing when invited to Hauman; Lillian Albert; Elizabeth Griffetb ; piioc 1 For the three best Concert or Drawing do so The words of a famous musician were Charlotte M. Salinger. WATER PROOF APRON. Practical protection for the good housewife. once printed in The Etude and they show the Ci/AOO . Room pieces for piano solo stress laid by him on the necessity of constant FIRST PRIZE.$75.00 DANDY NEEDLE BOOK. Assorted superfine sewing needles, all sizes in leather¬ practice. "If I miss one day’s practice I SECOND PRIZE.... 59.00 Young Folks’ Piano Folio know it. If I miss two days my friends Puzzle ette case. it; and if ': miss three**•— days•*— the public' Each of the following, when two letters THIRD PRIZE. 25.00 THIRTY-ONE ENTERTAINING PIECES WALLET, genuine grain leather; purse, wallet, note book all in one. knows it." CLASS 2. For the three best Intermediate Teaching AND THREE DUETS IN SECOND LADIES’ SHOPPING BAG, can be folded to pocket book size or extended to Birdie L. Hess (Age 14). have been subtracted and the remainder AND THIRD GRADE correctly arranged, spell the name of a Pieces for piano solo . carry large packages. To see it is to want it. FIRST PRIZE.$75.00 well-known woman musician. ich young^foiks niay SET OF GOLD FILLED CUFF OR BEAUTY PINS in case. WHY I SHOULD PRACTICE IN SUMMER SECOND PRIZE. 50.00 TIME 1. B-e-l-h-c-q-a THIRD PRIZE.25.00 (Prize Winner) 2. F-a-m-x-r-s-a-p-o-f FOR TWO NEW SUBSCRIPTIONS Music should be practiced more in summer /-.j » oo o For the three best Easy Teaching Pieces than it is. People do not realize the chance 3. C-e-d-m-i-n-h-a-a-1-1 CL/Yoo a* any styje for piano solo Your choice of the following: they miss when they say it 4. G-a-l-q-c-u-i-r-c-i-b-1 practice. The summer days FIRST PRIZE. $50.00 LADIES’ MIDGET FOUNTAIN PEN, can be worn on a ribbon or carried in 5. S-h-u-m-c-a-n-n-n-h-k-e-i-n-n SECOND PRIZE. 35.00 Standard Elementary Album anyone who cannot find a the purse. the morning never will succeed. THIRD PRIZE. 15.00 Any adult who cannot p'"” A GOLD PENCIL — NUPOINT — the world’s finest lead pencil. Ladies’ or Lessons From the Hills VOCAL SOLOS Gentlemen’s. CLASS 1. For the three best Sacred Solos FIVE-QUART CONVEX KETTLE AND COVER, heavy gauge, high quality. Did you ever think of comparing a mu¬ FIRST PRIZE.$75.00 Betty Bright Aluminum. sical phrase with a hill-top? Hills are not SECOND PRIZE. 50.00 HAIR BRUSH. Prophylactic. considered to be particularly musical ob¬ THIRD PRIZE. 25.00 TWENTIETH CENTURY COOK BOOK. jects of nature, yet the outline of a phrase „ __„ • For the three best Secular Solos CAKE KNIFE. Sterling silver handle. may well be compared to the outline of a CLASS 2. FIRST PRIZE.$75.00 Piano Players’ Repertoire Popular Home Collection CHEESE KNIFE. Sterling silver handle. hill. For instance, the hills rise gradually SECOND PRIZE. 50.00 FORTY-SIX MEDIUM and go down gradually, and sometimes THIRD PRIZE. 25.00 GRADE PIECES BON-BON DISH. Gold lined. have a little higher point somewhere, which CHORUSES FIVE-PIECE ALUMINUM SPOON SET, invaluable in any kitchen. would be an accent in a phrase. Sometimes » oo * Cor the three best Anthems for Mixed DOUBLE BOILER. Aluminum, 2J4 quart. they start from low ground and do not CLASS 1. Voices rise very high, which might be like a FIRST PRIZE.$50.00 FOR THREE NEW SUBSCRIPTIONS SECOND PRIZE. 35.00 phrase played “piano.” Sometimes they Beethoven Your choice of the following: are already quite high up when they start THIRD PRIZE . 15.00 Selected Sonatas and go very much higher, as a ^phrase For the three best Pari-Songs for Mixed MANICURE SET. Complete, Ivory finish. started “Mezzo” and going into “forte.” „ Voices with piano accompaniment FOURTEEN FAVORITE SONATAS DOUBLE BOILER. Aluminum, Peerless Brand. CLASS 2. FIRST PRIZE. $50.00 Sometimes they are rugged a Every proficient pianist should have O’CEDAR MOP. Standard Quality. SECOND PRIZE.35.00 this vo’ume which is the best single a heavy phrase of chords. THIRD PRIZE. 15.00 volume of Beethoven Sonatas procurable. MILITARY HAIR BRUSHES. For the three best Part Songs for Treble Price, $2.50 WATCH CHAIN AND KNIFE. Gents’ 10 year gold filled chain and 14-kt. gold Voices in two or three parts with shell knife. A super gift value. _T • oo i piano accompaniment CLASS 3. FIRST PRIZE. $50 00 Celebrated Compositions ,n you think of yourself? SECOND PRIZE. 35.00 By FAMOUS COMPOSERS FOR FOUR NEW SUBSCRIPTIONS THIRD PRIZE. 15.00 Thirty-three numbers that all good A PARAMOUNT SELF-FILLING FOUNTAIN PEN, gold mounted, either Ladies’ or Gentlemen’s. Indicate your choice. Letter Box CONDITIONS FOR FIVE NEW SUBSCRIPTIONS UMBRELLA. Ladies’ or Gentlemen’s—Reylon. Extra fine American Taffeta. must comply with the following conditions: Standard Advanced The ci will close December 1, 1922. Album /-,rTr-i t r*rri rriy\|N 1 VI IT’S A PLEASANT AND The cc is open to composers of every nationality. twenty-eight very go O 1 AK 1 1 UUA 1 I PROFITABLE PASTIME All entries must be addressed■ THE ETUDE PRIZE CONTEST, 1712 CHESTNUT STREET, PHILADELPHIA, PA., U.S. All manuscripts must have the following line written of the first page: ‘ FOR THE ETUDE PRIZE CONTEST.” comP°ser must be written upon first page of each manuscript submitted. Only the classes of compositions mentioned above will be considered. Do send ETUDE MUSIC MAGAZINE Duets, Organ Pieces, Violin Pieces or Orchestral Works, etc. Price $2. Add Canadian Postage 25c. Foreign 72c. Involved contrapuntal treatment of themes and pedantic efforts should be avoided. THEODORE PRESSER COMPANY No restriction is placed upon the length of the composition. MUSIC PUBLISHERS AND DEALERS—ESTABLISHED 1S83 . No composition which has been published shall be eligible for a prize. 1710-1712-1714 Chestnut Street, Philadelphia, Pa. THEODORE PRESSER CO., Publishers 1712 Chestnut Street, Philadelphia, Pa. 1 b'hV'W HH* % £4441**# £444 £4 ETUDE MUSIC MAGAZINE, Phila., Pa. H-H* i i -H -H -i -H *H i t i 44-R4 ■H-W t ' THEODORE PRESSER CO., PUBLISHERS "Wc hen it rains —it pours”

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