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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library

4-1-1919 Volume 37, Number 04 (April 1919) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 37, Number 04 (April 1919)." , (1919). https://digitalcommons.gardner-webb.edu/etude/656

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 75 A YEAR £ 20 CENTS APRIL _yL THE ETUDE APRIL'1919 Page 197 SELECTED RECENT PUBLICATIONS OF MERIT NOTICE:—On January 1, 1919, the Subscription Price of THE ETUDE Advanced to $1.75 the Year M. The Progressive Musician is Here Given a Resume of the m <»> Noteworthy Music Works Published During Past Months w

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ALBUM OF DESCRIPTIVE PIECES ALBUM OF PIANO PIECES BY FIFTY-ONE OLD HUNGARIAN Price, $1.00 WOMEN COMPOSERS MELODIES FOR THE PIANO Owing to the characteristic style of the pieces, Price, $1.00 By Arthur Hartmann Price, $1.00 which afford a change from the conventional forms Women composers have made wonderful strides In this unique book some of the most distinctive of composition, this album will appeal to every piano in the domain of art. There is a delicacy, a refine¬ and characteristic of the Hungarian folk-songs have player. There are twenty-nine novel numbers in ment, and a tenderness displayed in the compositions been collected. There is interesting data in connec¬ this album that portray various moods, pictures, of women composers. This album contains some of tion with these melodies and their origin in the scenes and occurrences. the best representative compositions of successful introduction. women composers. NEW AND MODERN SONATINA ALBUM STANDARD ADVANCED PIECES The World of Music Price, $1.00 MISSISSIPPI RIVER SCENES By C. W. Kern Price, $1.00 Price, 50 Cents Not all the pieces in this volume are Sonatinas. The Urn bunco n (IlelK'iun National They are pieces of similar nature by various com¬ A suite for the pianoforte of charming character¬ This volume contains such pieces as the good posers, such as Merkel, Spindler, Lichner, Becker istic pieces lying chiefly in the fourth grade. They player delights to turn to continually, not pieces of 'MSTi.SSSS and others. Altogether this is an important volume are truly American, being suggestive and descriptive the virtuoso stage, but real advanced pieces by from an educational standpoint, inasmuch as it of a trip taken by the composer upon l e Mississippi standard, classic and modern writers. Such com¬ tends to cultivate a taste for a better class of music River. These numbers are excellent for teaching posers as Haydn, Mozart, Beethoven, Chopin, Men¬ and also will act as a stepping stone to Sonatas for purposes a>. - also make very novel and taking recital delssohn, Moszkowski, Liszt and MacDowell being the average pupil. ' numbers. represented. .

Teaching Works for \ Piano—Fow Hand* I I Vocal Material | Elementary Instruction MUSIC LOVERS’ DUET BOt.. Price, 50 Cents A Collection of Songs Price, ., for t[ie CHILDREN’S RHYMES An album of twenty-six four-hand pieces. This This is a fine collection of songs chief,;" collection is one of the best obtainable for general middle voice, both sacred and secular, and is From A to Z use in ensemble practice, sight-reading practice and recreation playing. The duets are both original from special large plates. It consists largely __ ... By M. Greenwald Price, 75 Cents four-hand pieces and transcriptions from classic, works of modern writers, but includes some selec¬ modern and contemporary writers. They are largely tions from the standard writers. The songs are An interesting little book containing an attractive mostly of the intermediate grade. It is just the book teaching piece for each letter of the alphabet. The of intermediate grade and well balanced throughout. for general use. title of each begins with one of the letters of the Includes excellent numbers by popular writers such alphabet, and each number is in characteristic style as Sousa, Holst, Stults, Morrison, Lindsay and others. A few classics by Mozart, Schubert, Gluck, etc., are ARTISTIC VOCAL ALBUM with the text, which may be sung. A very taking also included. Low Voice Price, $1.00 collection for young folk. This is a collection of songs especially adapted to the low voice, including all of the most popular INTERPRETATION STUDIES | Piano Technic | songs in the original Artistic Vocal Album for High Voice. The numbers in this collection are by such FOR THE JUNIOR GRADE THE PIANOSCRIPT BOOK writers as Ward-Stephens, Coombs, Galloway, Cad- man, Shelley, Huerter, Douty, Bischoff, Rogers and By F. C. Bornschein Price, 80 Cents By Alberto Jonas Price, $1.00 A distinctive work in musical pedagogy. The many others. As will be noted, the songs are all by These Interpretation Studies are intended to in¬ book is classified and annotated with special exer¬ modern composers, and therefore the collection is cite the pupil’s imagination. Each title is suggestive, cises in such a way that it maps out a fine course not of the usual type, that includes so many num¬ subjective or objective; thus through subtle emo¬ for any teacher to pursue. Special blank pages are bers found in other collections. tional influence the physical conditions of each study provided^ whereon the teacher may write special can be readily apprehended. They are especially exercises to suit the pupil’s needs. This enables the adapted for the junior (second and third) grades. pupil to save for a lifetime those valuable helps that | Violin | otherwise might be lost. The book is substantially bound in cloth. COMPREHENSIVE VIOLIN [ Organ | Biography METHOD I | By Mr. and Mrs. Frank T. Benjamin AMERICAN ORGANIST MUSIC MASTERS, OLD AND NEW Price, $1.00 The one method among all violin instructors which Price, $1.50 By James Francis Cooke Price $1.00 is really adapted for “self-instruction.” A complete This collection of unique biographies is one that A collection of organ compositions by American system of diagrams and pictures shows the exact will be read with delight by all. The romances of position of each finger on each string in all the composers. All the numbers are chiefly of inter¬ music, the interesting bits, the human nature, the mediate difficulty and cover practically all stvles A scales. A book which does something toward light¬ charm of music itself, are all included in the most ening so pleasantly the labor of routine instruction. wealth of moderate length Voluntaries and Rectal fascinating manner. Best of all, the work takes in Pieces, such as organists are always in need of, will Besides the usual scale; and exercises, the book con¬ composers about whom very little is published in tains 100 easy duets for violin and piano, including be found in this volume. The volume is of the con¬ current works in America and about whom all active many old-time favorites. The more advanced exer¬ venient oblong shape. musicians want to know. cises are selected from standard works.

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An Opportunity to Ascertain the Real Worth of the Publications of the Theodore Presser Company THEODORE PRESSER COMPANY To afford a better opportunity of judging the genuine value of the books listed on this page we will gladly send any of them for examination. To further assist MAIL ORDER SUPPLY HOUSE FOR SHEET MUSIC AND MUSIC BOOKS in the selection of music, we have catalogs covering every classification. We will gladly send any of these gratis. 1710-1712-1714 CHESTNUT STREET, PHILADELPHIA, PA. APRIL 1919 Page 199 THE ETUDE APRIL 1919 Page 19S Coming Etude Articles of Rare, Practical Interest Zhc Commencement program To Teachers and Students and Music Lovers Leginska on “Individualism in Music Study” The Pianist and the Relaxation Fad Plan It NOW! Here are Some Helpful Suggestions The great teacher Leschetizky had very few pupils whom he taught without re¬ Mr. Glen Dillard Gunn, conductor of the American Symphony Orchestra and a muneration. Paderewski was one, Hambourg another and Ethel Leginska was a gifted pianist of Chicago writes helpfully upon this interesting subject. third. Leginska has toured America many times with increasing success. In this article she tells some highly interesting facts about the secrets of Leschetizky’s teach¬ BRIGHT AND STIRRING CHORUSES ing methods, the best exposition of his pedagogical principles we have ever seen. How I Would Like to Compose! Prof. Frederic Corder’s articles upon the essentials of musical composition now running in The Etude are so far from the cut and dried line and so easily under¬ , Women's Voices Choruses for Women’s Voices Choruses for Women’s Voices Choruses for Mixed Voices How to Study the Bach Inventions stood that thousands will be helped by them. They grow more and more interest¬ for Women S VOlC rue RT CH0Husrs FOUR PART 272 Awake with the Lark. DeReef. .*0.10 By Ernest Hutcheson ing as they proceed. Long before the war • Two Especially Instructive Articles By von Sternberg

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Swindle and More Of It sician, Dr. Guthrie Rankin, who has devoted his life to building up brokendown, “tired” nervous wrecks. We quote from an old Here is an extract from a bona fide letter just received at The Etude office: number of Collier's: “Dr. Rankin’s remedies are dietetic, medicinal, and disci¬ “Is it true that a student who has finished the plinary. Among the latter are bathing on rising and thorough -course can toweling, after which a few simple exercises such as will supple attend free. any conservatory in the United States?” the voluntary muscles and provide for the thorough expansion Wlien will American teachers cease to be buncoed by of the chest. The day’s work should be so ordered that no undue unscrupulous- exploiters of courses and methods selling for demand is put on the energies, mental or physical. It is impera¬ ridiculously high prices upon promises and threats which would tive that no work of any kind be done after the evening meal— be entirely unnecessary if the actual material offered were suf¬ some kind of game instead. There should be eight hours’ sleep ficiently worthy to command attention on its real merits? Once in the twenty-four and one day in bed once a.month. Holidays again let us say, in very black type, to all those who are foolish are essential, week-ends, and once a year a long vacation away enough or unsophisticated enough to open their ears to such from the usual routine of business or professional work.” swindlers: No course, series, institute or private business Capitalize Movie Music can ever exercise a proprietary control over education Music Teachers everywhere now have certain popular in America and tell teachers they may teach or may auxiliary forces working for them which would have been beyond not teach. the fondest dreams of their pedagogical ancestors—those won¬ No course will ever entitle any student to enter the conservatories of the United States free of tuition, derful pioneers who did priceless missionary work in America unless that tuition is paid for by private individuals. upon which our present great musical activity is based. Perhaps, the greatest popular aid that the teacher has at Sensible readers of The Etude will hold any enterprise present is the music played in the better class motion-picture making such patent-medicine claims in deserved contempt. Tones Hitherto Rare houses. There, night after night, the public has an opportunity to develop its taste for the great and beautiful themes which Thrifty? Stingy? lead to an appetite for more and more. Now Ever-Present It has been said that the enormous propaganda for thrift We do not refer presently to the extraordinary work done made necessary during the war has had the effect of making in such theatres as the Rialto, Strand, Rivoli, in New York many people who had heretofore been known for their generos¬ HERE are the secrets of The Brunswick Method Brunswick tone is infinitely better, for tones con¬ where real symphony orchestras play delightfully many times a ity into veritable misers. Thrift is a virtue—stinginess a vice. of Reproduction. Learn how we gained that sidered rare a few years ago are ever-present in this day; where great organists continually revive classics that We recently heard of a mother who told a teacher that she otherwise might never become known to the public; nor to such wonderfully pure tone which has given The super-instrument. No one can remain unappreciative could not afford to give her boy music lessons because she had theatres as the Stanley in Philadelphia, the Madison in Detroit, Brunswick Phonograph such prestige. of its fullness, richness and clarity. And all appreciate to save so much. It was found that her husband was making or other houses working along similar lines—hut to the smaller the banishment of metallic sounds. Once you hear Experts in acoustics have long agreed that superior nearly four times as much money as before the war, when they motion-picture houses where competent organists play several The Brunswick, your own ear will confirm these reproduction depends chiefly upon the reproducer really enjoyed some of the wholesome pleasure of life, but that times a day. statements. and the way in which tone is amplified. no normal human being is expected to do such a thing. Recently at motion-picture performances in Atlantic City The Government is asking us for more and more money to Until the coming of The Brunswick, many experts Plays All Records the editor heard snatches from Sibelius’ “Valse Triste;” Beet¬ pay for the cost of the war which has meant so much to all true thought it impossible to overcome “spotty” repro¬ hoven’s “Eighth Symphony;” Saint-Satins’ “Danse Macabre;” Another great feature of The Brunswick Method Americans. They will get the money without question, as there Von Fielitz’ “Eliland Cycle;” “Schubert’s “The Almighty;” duction, that is, alternate good and bad tones. Yet all of Reproduction is the Ultona, our all-record repro¬ is more money available in America now than ever before. But Massenet’s “Thais,” and other similar works, including many were striving to increase the good tones and decrease ducer. At a turn of the hand, it presents to each at the same time there is such a thing as stultifying ourselves selections taken from The Etude, which the organists had in the bad. type of record the proper needle and dia¬ with ridiculous thrift. We live only one life, and to-day is part number upon the music racks. The Etude has never placed a phragm. Each make of record can now of it. Don’t let’s be too cruel on ourselves by carrying our restriction upon the performance of any of the compositions in What We Found be heard at its best, played exactly as it thrift to unnecessary extremes. Music is one of the last things its pages in moving-picture houses. There is no fee asked, and to save upon. Far better cut out a few apoplexy-making meals. we have encouraged the use of the music in this way. The fault, we found, after hundreds of should be. Thus you are not limited But don’t forget that it is the duty of every American to The music teacher who has some pupil request a certain tests, was largely due to the use of metal in your selection of records to one make. support the vast Government undertakings in patriotic en¬ piece heard at a movie performance should not pass the inquiry in the amplifier or sound chamber. Metal, Before you buy, cr even if you already thusiasm. _,_:- by with the customary superior music teacher’s arrogance. Try having no elasticity, prevented the sound have a phonograph, hear The Brunswick. Tired Teachers to find out what the piece was—whether it is within the grade waves from expanding properly. Strident Put it to any tone test you wish. Ask that The average teacher could double her intellectual output of the pupil and whether it is educationally desirable. noises resulted. the most difficult records be played. Make if she only knew how to avoid becoming tired. Paradoxical as Meanwhile forgive the movie man for an occasional orgv of comparisons. Then let sheer merit decide. ragtime, if he redeems himself now and then in the clear waters So we chose wood, developing the now it may seem, work is not the thing which makes most people of Mozart, Beethoven, Gounod and Tchaikowsky. famous Brunswick Amplifier, built en¬ tired, but the lack of it. Teachers, especially those who stand tirely oi wood. We tested dozens of differ¬ The Brunswick-Balke- guard at the pupil’s side in the studio all day long, are often Paderewski, Poland and Politics ent woods, arranging them in numerous Collender Company completely exhausted when the day is done. The reason is that no normal human being should be expected to do such a thing. Many years ago your editor enjoyed a lengthy conversa¬ shapes. Finally we attained the proper General Offices: CHICAGO and NEW YORK Cut out fresh air, change of environment, sufficient sleep, tion with Paderewski about Poland. *i'he great pianist raised acoustic values. Branch Housea in Principal Canadian Distributors: Cities of United States. Musical Merchandise Sales Co. and proper attention to the amount and the quality of the food his eyes in despair at the very suggestion that Poland would Mexico and Canada Excelsior Life Bldg.. Toronto you put into your digestive furnaces, and you will naturally ever again ho a nation. Such a thing was undreamt. To-day become tired, bent, old, wrinkled, crabbed, pessimistic, neuras¬ Paderewski is the Premier of Poland. Ilail Poland! Hail thenic. Here is a hit of advice from a celebrated English phy¬ Paderewski! APRIL 1919 Page 203 THE ETUDE THE ETUDE Page 202 APRIL 1919 Teaching Children to Play Characteristic Mistakes of Young Piano Pupils By Professor Michael Hambourg [Proj. Michael Hambourg, father and the first teacher of his celebrated s0^' By Jay Speck for some time in Canada and contributed the following article to “Musical Canada. -Ed.tor Note.] All this accomplished, the teacher has truly done a The task of teaching a child to play the piano is not The teacher who, year after year, guides numerous great work. He has enabled his pupil to enjoy the an easy one. The conscientious teacher, he who is young pupils through a course of studies comes to beauties of music and to give enjoyment to hls mends. not satisfied with less than making the most of every realize that children nearly all make about the same He has provided a strong defense against temptation to. Correct Position hour of the pupil’s study time, has to keep in mind mistakes at the same places. For instance, m the vicious indulgences. He has formed habits of or¬ many sides of the subject, no one of which may be writer’s teaching of Burgmuller’s Op. 100 he has con¬ derly, systematic work; has refined and ennobled his neglected for more than a few days at a time. stantly encountered the following: whole character...... , . In the first exercise, “La Candeur, the third and Fingers To do all this the teacher must be gifted by both at the fourth measures are as follows: First and always, of course, he must, by suitable nature and training for the task. Parents should be (The right hand only is necessary here.) exercises, care for the pupil’s physical development. much more careful than they are in the selection of He must strengthen the fingers, especially the fourth teachers for their children. An incompetent teacher and fifth, and increase their possible extension. He may not only waste a vast deal of time—taking a year Piano Keyboard must free and strengthen the wrist, and train the to accomplish what might be done in a few weeks or months—but he may allow the formation of bad habits The first mistake occurs when (in the first measure) muscles of the forearm, upper arm and even the upper that more than outweigh any good gained; may even C is reached. The usual erroneous procedure is to play part of the body to act in co-ordination with the hand. cause injury to the nervous system which can never as seen by D immediately after. In other words, C-D is played Ear instead of C-E—really giving you the second measure be wholly remedied. It is not always easy to judge He must train the pupil’s ear to recognize the pitch which is C-D. The second error appears when, in of a teacher’s qualifications; but two mistakes should be of notes, give differences of power and beauty of tone. the fourth line (last measure) the chord of C, F and carefully avoided. The first is that of trying to get lessons too cheap. For every dollar that is lost em¬ Teaching Experts Ab is to be played viz.: Time ploying a highly skilled teacher to do what might be He must train the pupil’s sense of time and rhythm. done by an assistant, a thousand arc lost employing In this country, where strong natural feeling for unskilled, untrained teachers at a fee no one who has rhythm is uncommon, this is particularly important. spent the time and money needed to qualify could Invariably the child will strike C, F# and A natural: Harmony reasonably be expected to accept. The other is that of supposing that any teacher will do for a beginner. The (Incorrectly played.) He must either teach or see that the pupils learn in suitable classes enough of harmony, and, more par¬ first six months’ lessons give tile beginner’s mind and JOSEF HOFMANN IN PLAYING POSITION. ticularly,- form, to understand the structure of the habits a bias which is never lost. No untrained teacher pieces they play. should be considered at any time, but if it is necessary to take chances with a teacher, who, having other Love for Good Music CONSTANTIN von STERNBERG of the neck which always comes when she practices PERLEE V. JERVIS There seems to be an inexplicable preference for He must instil in the pupil a love of the finest things qualifications, lacks experience, let this be done after The question of the player’s position before the longer than 10 minutes.” A conscientious teacher that 1. Sit upon a chair which stands firmly upon the sharps rather than flats among beginners. in piano literature, leading him to enjoy the best and the pupil has had a year's start under thoroughly piano admits of no dogmatic reply because the length pays attention to the new pupil’s shoulder muscles can floor. Revolving stools are an abomination, they can In the 12th exercise L’Adicu (page 14) first line, highest types of music in both his own performance right conditions and when mistakes, if any are made, never be lowered sufficiently and when screwed up of arms and legs differs somewhat with .the individ¬ cure that “mysterious pain” in from 3 to 6 weeks if fourth measure is the following passage: and that of concert artists. will not be so fatal. “wobble.” The player—in order to keep his balance uals. As a rule the arms of “the female of the species” “the dear child” will during the first 2 to 3 weeks upon an insecure stool—often contracts body muscles are, relative to the body, longer than those of the take a lesson in relaxation every other day. to the detriment of tone production and ease in playing. Where Music Comes From male, while the lower limbs are inversely proportioned, This “mysterious pain” is an incipient neuritis and 2. Sit erect, the shoulders thrown back and the body The subject of the source of musical inspiration is themes, he was able to employ craftsmanship in such a which makes the trunk of the male body—as a rule— is not confined to piano players; knitting, writing or, inclined slightly forward. When the Gi is played the next note usually struck one that the psychological expert avoids, and only those way that it appeared like inspiration. Yet, nevertheless, shorter than that of the female body. The piano stool in fact, any manual occupation may—and does—bring The average student Is stoop-shouldered. To correct this is G natural, rather than F. The augmented second condition, make ten movements of the following exercise who dabble in musical comment determine with author¬ could one call it anything but inspiration when one con¬ should, therefore, be somewhat higher for a boy than it on if the shoulders are contracted ot “stiffened.” interval (G#—F) apparently is a stumbling block and two or three times a day. Stand erect, heels together, arms ity. As a. matter of fact, the whole subject is so siders Wagner’s comprehension of tone color, his won¬ for a girl; not always but, I repeat, as a rule. A good Even the wearing of an ill-fitting coat (too wide in hanging loosely from the shoulders. Inhale slowly while nine times out of ten (in the next measure) you will swinging the arms upward toward the celling. Turn the baffling that the most profitable attitude is that of pleas¬ derful rhythmic sense, and his fine idea of balance and way to determine the height of the seat is to have the the shoulders) whi.ch causes the wearer to keep his face upward, hold the breath and stretch upward as far ns hear Gt played instead of A#. ant amazement, as one is similarly fascinated with the proportion? player put his fingers in curved (playing) position possible. After about ten seconds exhale and lower the In the second line (second measure) of Ballad (page shoulders continually raised is sufficient to cause this— sunset or with a new and wonderful orchid. Beethoven, on the other hand, displayed a wonderful upon the keys and regulate the seat so that the nether 18) is the following: anything but “mysterious” pain at the base of the neck. This exercise is exceedingly valuable as it takes hold of That something seems to come from somewhere, and, combination of inspiration, combined with masterly side of the (loosely hanging) elbow be on a level every Important muscle in the body and draws the body filling the mind of a master with musical eloquence, craftsmanship. He is said to have had his tunes come upward into the correct position for sitting at the piano. with the underpressed keys. The seat should be in 3. Sit directly in front of middle C. When both finally reaches paper in its original or modified form. to him very often while on his daily walks around the front of this fifth formed by D immediately above mid¬ WILSON G. SMITH feet are on the pedals the knees should be about two It is said that Wagner, when he was engaged in turning outskirts of Vienna. These wtre preserved in a sketch¬ dle C and the A above that. or three inches under the keyboard. out the astounding amount of operatic music that he book and worked over with the patient care of a lapi¬ The position at the piano—except as it is the nor¬ Piano playing deals in measurement of distances on It is surprisingly singular that the FS is entirely dis¬ produced in his prime, was so prolific that musical ideas dary. Schubert, au contrairc, often produced l.is mas¬ In determining the distance between the player and mal position—does not interest me so much as the the keyboard. This measurement cannot become auto¬ regarded and you get C, Eb and plain F, instead of F#. fairly rained upon the paper. True, his system was terpieces so complete at the first writing that they were the keyboard the variations of arm lengths should be tones evolved from the piano. A position of poise— matically exact if the player shifts his location. Lesson 18. (Inquietude) page 22 furnishes another mechanical in certain details of composition—that is, by never changed. Hark, Hark the Lark is one of the considered; the distance, however, should be such as the performer being seated so that the feet rest firmly example of a typical error In the second line fourth 4. Sit at the proper height. taking a motive or a theme and by making the notes finest examples of inspiration ever known. Debussy, in to allow the player to reach both ends of the keyboard on floor; body in state of devitalization and forward measure in the bass: without discomfort and to have perfect: freedom of To determine this, rest the hands on the keys in playing longer or making them shorter; or by making the dis¬ his Pellias and Milisandc, has many passages which on chair or stool. Hands on level with keyboard, so position and regulate the height of tbo seat so that the tances between the notes shorter or longer; by turning are unquestionably inspired, as had Verdi in his later lateral arm motion when both hands play upon the upper side of the arm, from the hollow of the -elbow to the middle part of the keyboard. If the distance is too that the weight of wrist and forearm may be utilized wrist, will be on a level with the middle joint of the middle the theme upside down (a common trick of composers), operas. Who ever had more melodies “come to him" in using pressure touch—not hammer stroke. As a finger. The chair should be at such a distance from the or by using part of the theme and attaching it to other than Verdi? great, the player is obliged to bend the body too far keyboard that the hollow of the elbows will be on a line forward (especially when the hands are employed matter of fact, the wrist is tense in producing pres¬ with the front of the body. A cane laid across the arms The chord generally struck is just what it shouldn’t and resting in the nollow of the elbows, should just touch sure touch—the only way to evolve a pure singing and be. In most cases instead of AS—-you will hear Gif. widely apart); this, in turn, interferes with his breath¬ the body. 5. The arms should hang loosely from the shoulders, There are a good many more slight mistakes which “I Don’t Like This Piece” ing and must, therefore, be avoided. If seated too near legato tone—but relaxed or devitalized as soon as the are very common among beginners (I have not touched the keyboard, the arms are likely to press against the tone has been produced. The arms should be in devi¬ and all muscles not in use be kept relaxed. By Abbie Llewellyn Snoddy This condition of relaxation will allow the arms to upon rhythmic difficulties in this article), but those body—especially when playing in the center of the key¬ talized condition at all times except when made tense board—and an undue elevation of the head for reading pass easily and ffeely in front of the body. herein mentioned are the principal ones. How often, as a pupil, have you said to your teacher, teacher to play it for you, before you declare so ruth¬ in tone production. Staccato is, to my thinking, best will be induced, which must also be avoided. 6. When making skips or movements that necessitate In case of the chords, children should be carefully “I don’t like this piece!” Before you say it again, so lessly, that you do not like it. There are often hidden produced by combined vibratory wrist action and What inexperienced teachers overlook more frequently a swaying of the body at the hips, be very careful taught to understand that an accidental does not apply lightly, and probably so thoughtlessly, stop to think a melodies and great beauties which do not appear in than anything else is the conditi finger devitalized action. indiscriminately, nor even (in some cases) to the note moment. not to contract counter muscles. the first superficial picking out of notes; and a longer The same is true of octave playing—vibratory action— Contraction of the muscles of the trunk is apt to set of the chord which stands nearest, but to that note of Think first of your teacher. There may be a remark ■ relaxed again not rigid forearm and up and down wrist and hand action. and better acquaintance may make it one of your fav¬ The more I teach and think. I find the whole proposition up sympathetic contraction of the muscles of the arms. the chord which is on the same horizontal level. But better calculated to wilt her enthusiasm and dampen orite selections. It would not have passed the com¬ j quite loosely f of piano playing to be a mental or psychological proposi- as regards the misreading of simple notes such as those her ardor—but I doubt it. She selected that particular tin. Once establish the mental attitude and preconcept of This fact is frequently overlooked by students who bined censorship of composer, publisher and teacher, tone, and the mechanics or technic become a secondary cross one leg over the other or twine it around the in the first example, the reason lies in a mere lack of piece with care, and with a view to some special devel¬ unless there were some merit in it. Isn't it just pos¬ .n playing loud chords from the forearm) but it should be consequence. remembered—or known ( ?)—that most of the stiffening of piano stool. concentration. Pupils should be taught from the very opment, of your technical or artistic needs. It may be sible there may be some lack in you, that you do not wrist and upper arm has its real source in the shoulder There is too much stress put upon the mechanical muscles which are only too often unconsciously employed in start to read notes, not to guess at them. that it contains a number of trills, over which you have see its best qualities? Even if it is only a matter of process of tone production, and too little upon a pre¬ producing a “full” tone. Children should not be allowed N. J. COREY always been so careless and—you may as well confess difference in taste, it is worth considering. Leaving to strive for the tone volume of a grown person, because conception of what constitutes a purely singing tone. it—so lazy (for it is just laziness, isn’t it, that keeps this striving is an unfailing inducement to contract the 1-. In the important question of position at the key¬ out the composer, who may have been a trifle biased, shoflMgr-muscles and to substitute muscular force for nerve All of which confirms my belief that the mental con¬ one from buckling down and mastering those trouble¬ force. The stiffening of the shoulder muscles is the cause board, the pupil should be taught to sit upright with Inspiration of Ensemble Playing there still remain the publisher and your teacher, both cept must first be established and let the mechanical some bits at once?)—and your teacher had hoped to of whom thought it pretty and effective, so there is of that “mysterious but acute pain at the base of the shoulders erect, and to try in every way to avoid the neck” on account of which a well-known keyboard pounder process follow as a necessary corollary. “A mutually sympathetic performance, for instance, tempt you to more thoroughness through the magic of evidently a wide difference between their taste and has during his recitals to be massaged after every group of round shoulders that many pianists acquire. This, in of Franck's Violin Sonata by two eminent musicians, a “piece.” Or it may have several passages of octaves, pieces on the program. Relaxation exercises should be made No tone can be made without more or less muscular the interests of health as well as appearance. yours. A wide-awake pupil will not be content with at the beginning and at the end of every piano lesson until involves no compromise in elasticity or phrasing, but which you play with the thumb alone, and she wanted his own narrow verdict. If he wishes to broaden his the teacher is convinced that the pupil has learned to play tensity, but immediate devitalization must follow. 2. The elbow should fall slightly below the level of rather inspiration in the joint interpretation of a be¬ you to realize how much the melody misses when those with uncontracted shoulders and to sit straight: not like Neither do I think much of dead weight in tone pro¬ the keys, rather than above them. In the latter case a view and improve his musical taste, he will not lay a soldier at “ ’tention,” but straight, like a well-bred per¬ loved masterpiece. It. encourages the best and the upper notes are lacking. It may have been—oh, any son, with an uncurved spine. duction. The hand must fall or reach the keys devi¬ downward slant in, the hand is almost sure to result, noblest, albeit the humblest, in a musician, and discour¬ of a dozen things you probably need, all more import¬ heard iCCe he hears in il what others hlve The experience has been probably common to many talized, with pressure—wrist and forearm—the moment which interferes with the free action of the fingers and ages competitive pride, chicanery and ostentation of ant than mere prettiness of tune, though every con¬ N'o good book, or good thing of any sort shows its teachers that a mother, bringing her daughter to the the fingers reach the keys—not strike. causes a hard tone, entirely lacking in nuance. skill. And to have heard such a performance is to scientious teacher does try hard to select as attractive best face at first.” (Carlyle.! Remember this when you studio, said, “The dear child is not allowed to practice This is a subject dear to my heart, and requires 3. A position sufficiently distant from the keys should cherish in the memory a supreme rendering of supreme and melodious material as possible. are disposed to pass a snap judgment on a new piece more than 30 minutes a day and only 10 minutes at a more space and elaboration than this letter can give. be maintained, so that the hands can pass comfortably music atid closely to associate one’s conception of the Then again—is it quite fair to condemn the poor which you cannot yet play well, and unreasonably make time—the doctor forbade it. He is treating her with I hope though that you get the gist of my dissertation, before the body in their motions up and down the work with its finest interpreters.”—J. N. Busk, in piece on so short an acquaintance, after just one les¬ up your mind that you “just hate it.” How can you electricity for a mysterious but acute pain at the base brief though it may be. keyboard. The Musical Quarterly. son? Have you ever heard it well played? Ask your hate what you don’t know? Page 20k APRIL 1919 THE ETUDE THE ETUDE APRIL 1919 . Page 205 4. The arms should fall freely by the side, but they Point II—Body the left pedal. The body should be carried erect, the upper portion very slightly inclined towards the key. should not be held stiffly. Formerly it was a custom The upper body must be in a comfortable, unre¬ - board. The player should use a strongly buili bench with some teachers to have pupils practice with the strained condition and slightly bent forward. IMano playing affects the whole body from bip to finger or chair. The latter is preferable, as it affords him a. ' :.AJ arms fastened close to the body by heavy strings. This tips and the stiffening up of one section will hinder the an opportunity occasionally to rest his back in prac¬ is now obsolete, and a freer motion of the arm is in¬ proper coordination necessary. If the armweigbt is to make itself felt, the arms must hang loosely, which can ticing. dulged in by artists. Although awkward extensions be accomplished only if the body leans forward. The height of the stool should be adapted to bodily of the elbow should be avoided, yet many artists freely conditions, such as the length of the upper part of the Point III—Upper Arm k ' y raise the elbow in order to throw the fourth finger for¬ body or limbs. The elbow should be on a level with More About Raising the Teacher’s Income ward on the keys in the upper registers in order to The upper arm must be loose and free and full of the keyboard. Too low a position interferes with secure an easier passage over the thumb in descend¬ weight. requisite arm pressure; too high a position often re¬ it is in constant motion, guiding hand and finger over ing passages. the keyboard; and its weight furnishes the key-moving sults in excessive arm support. I find, however, that power. Besides, the arm is the only channel through which the great piano virtuosi differ on these points. The Why the Music Teacher is Entitled to Larger Fees for Services 5. Modern piano playing demands the use of every the power of the trunk muscles can reach the hand and muscle and every kind of motion in producing the vari¬ fingers. More piano playing is spoiled by contracted shoul¬ distance from the piano is conditioned by the length ders than by anything else. of the arms. The wrist, while released, must be elas¬ ous kinds of touch and their resulting effects. The tically fixed so as to carry the weight of the forearm. prim, precise method of playing of fifty years ago has Point IV—Elbow and Lower Arm It must be full of vitality and extremely flexible. I given way to the broad, brilliant and. tonally rich mod¬ The elbow must always be pliable and heavy. do not believe in a high position of the wrist Last month The Etude launched what it is hoped Taking the average for 1913 as 100 per cent., the tising plays a very significant part in this. Anything that will make your abilities better known to as many ern method which maintains the arms, wrists, hands In the elbow, all finger and arm muscles meet and all It is most important that the player be filled through may become a far-reaching and productive campaign government tells us that the wholesale rates for the efforts depend upon an instantaneous and constant co¬ other people as possible, is good advertising. The and fingers in the utmost freedom, ready instantly for operation between them. This demands a flexible condition and through with a feeling of perfect repose. There to bring about larger incomes for teachers. As in all following commodities have advanced as follows in reason why so many music teachers become disgusted any- kind of touch, ancient or modern, that may be of this muscle center. must be no contraction of muscles nor a tense expres¬ such matters, The Etude realizes first of all its own October, 1918: Farm products, 223; food, 199; clothes, with advertising after a short trial, is that they really needed at the moment. The lower arm participates directly or indirectly in sion of face. Breathe naturally. Do not hold back position in such enterprises is entirely secondary to 253; fuel and lighting, 179; metals and minerals, 186; all piano technic through its rotation action, which have very little to advertise. The teacher who has been 1 6. In playing from memory the attention should be the breath. Do not sway the body too violently. Avoid the cause itself. We wish that our readers in cooper¬ building materials, 157; furniture, 233; miscellaneous, can function only if the surrounding muscle groups able to produce exceptional pupils from very indiffer¬ concentrated upon the keyboard, and the attitude of all unnecessary movements. ating with other bodies will not magnify this into an 197. are not in the way. Etude campaign or anything of -the sort. On the other These advances are truly alarming, hut the possibili¬ ent material does not want for pupils or adequate fees. “poetic mooning” completely avoided, for only thus Proper or improper coSperatlon of this rotation motion It is hard to conceal a really good teacher. Czerny, hand, The Etude will be only too glad to be of ser¬ ties of meeting them are open to music teachers every¬ can truly musical results be secured. A poseur soon or Us paralization through over-contraction, are the ulti¬ EDWARD BAXTER PERRY Kullak, Leschetizky, Auer, Lamperti, all produced pupils mate reasons for all good or bad playing. vice to any of its teacher-readers in furnishing them where. At the conclusion of this article we shall hope becomes known as a poseur and little else. Replying to your letter of inquiry regarding the who became world famous. Naturally they became with information- that will help them to work with to indicate to our readers how this may be done suc¬ Point V—Wrist proper position at the pianoforte, etc., I would say that highly paid teachers, because the demand for their teachers’ organizations, the local press, or in any way cessfully. in my opinion, based upon fifty years’ experience as services was such that they could sell their time over The wrist should never be tight or held in a fixed which will help in this purjvsse. J. FRANK LEVE position. player and teacher, the following suggestions should Vastly Increased Interest in Music and over again. be observed: In our previous issue we cautioned our readers not The law of economy of motion in piano playing has It is intersected between the hand and the arm to assist, Men returning from Europe report, that apart from The teacher who desires to raise his fees should to help, to cooperate. It is the clearing house of. all 1. The player should sit exactly opposite middle C, to predicate the possibility of a general improvement set a definite goal. Estimate the paying possibilities its status and must be reckoned with in the mastery motions, but it is never active In itself, always passive. the actual fighting and the historic scenes of the great and far enough from the keyboard so that the arms can in conditions by too sudden and unreasonable ad¬ of his community. If he lives in a poor community of technic. The proper balance of the arm depends upon its condi war, tbeir chief interest was in the wonderful facilities tion, for here the weight of the arm bearing down meets move freely backward and forward, without being vances. We know of one teacher who, because he and feels that his living demands are above those Students and pianists are more or less subject to with the resiliency of the key striking upward meet, from offered for self advancement in music and in various hampered by the elbows coining in contact with the assumed that the expense of living had doubled, actu¬ of the community, he should plan to live in a better this neutral condition the arm can proceed either way to ways. If a computation were to be made of the talent mannerisms resulting when the law of economy of utmost rigidity or complete relaxation, running the gamut body. ally doubled his fee at the beginning of this season. one if he feels that he can serve better in that com¬ motion is violated. Thus in the execution of difficult of all possible changes of condition between these two presented at one of the camp entertainments it might extreme poles. This position should never be varied by half an inch, The result was that he lost a number of pupils, and munity. This move may seem a superhuman task, but passages the student seeks involuntarily a round-about The wrist must harmonize with every effort of finger, so that the automatic habit of the hands in reaches and has not been able to secure others. run something like this: with the will and the natural qualifications it can be way in attaining his point instead of following the hand and arm, and sympathetically facilitate their smooth Eminent virtuoso pianist, ordinary fee.$1,000.00 and instantaneous coSrdinatibn. skips shall not be interfered with by constant change done. The fact of aspiring to do bigger and better direct line of least resistance. of location with reference to the starting point. Look Before You Leap Eminent violinist, ordinary fee. 400.00 things, without being willing to work and wait for In the aesthetics of music, the beauty of appearance Point VI—Hand and Finger 2. No rule can be given as to the proper height of Tihe upheaval of the war caused economic changes Celebrated opera singer, ordinary fee. 600.00 them, has been the ruin of many over-ambitious music in the position at the piano is essential to grandeur of Hand and finger must be slightly curved in natural the stool or chair. This varies with every individual, in very unexpected manner in different parts of the teachers. $2,000.00 sound, and to gain this beauty of appearance (which condition and remain so in playing. The fingers must according to the length of the body from the hips up, country. The cities on the Pacific Coast were noted Look Before You Leap is a logical result of economy of motion) definite be firm and immovable beyond the knuckle joint. and the length of the arm from shoulder to elbow. The some years ago for the high cost of living. The Musicians of the highest character have joined in seat should be such a height that when the hand is giving hundreds of such concerts all over Europe and The janitors of the big studio buildings in great rules must be observed. The writer advises against war seems to have changed this completely around. cities could tell a tale if they would. Literally, thou¬ properly placed upon the keyboard the line from the America. These concerts might easily have cost sev¬ superfluous movements of the hands, which detract intentions. A curved finger is a vitalized, controlled fingpt The Etude has been in touch with the United States sands of teachers without experience, capacity or cap¬ a straight finger is lifelong paralyzed, and useless in pla.v second joint of the finger back to the elbow should be eral million dollars. Innumerable young men who have from the beauty of appearance in the position at the ing. Piano playing needs a flexible arm and firm fingers, Department of Labor and has gathered some important ital, make a “stab” at Carnegie Hall or Kimball Hall and not a “held" arm and “limber" fingers. absolutely straight, to facilitate the free action of facts regarding living costs which may be a guide to never been situated so that they could hear good music, muscles and tendons and minimize friction. only to find that, after a certain time, they are obliged Beauty of appearance iu th teachers in estimating how much greater their fees have been given the inspiration that comes from great to go back to the little street and carry on a small essential. This attribute can be Resume 3. In all rapid passages, such as scales and the like, singers and great players. In New York and in oth-r should be. practice. We have seen this occur many, many times. movements of Uie bands which___J_ Piano playing means moving. It means coopera¬ the tone should be produced by a clean free stroke of cities where orchestra, recital and opera performances tion, eliminating all superfluous movement and thereby Providence, R. I., according to^the most recent report, Before you make so important a leap be sure that avoiding any disturbing influence which does not mate¬ tion, coordination, give and take, a harmonized effort the finger from the metacarpal joint, with the hand have been given, there have been long lines of men in leads in the country in the high* cost of food. This is your preparation is right. Study the situation care¬ rially assist a student in the performance of a composi¬ of all muscle groups, the “adaption of matter to mo¬ and arm absolutely quiescent, not held rigidly, but soldier uniforms waiting to gain admission. Reports tion, whether it be of light character or extremely difficult. followed in order by New Haven, Boston and Wash¬ fully. but do not let your caution destroy all your To give the student a lucid conception of what is under¬ tion,” under the sway of feeling and emotion con¬ simply inactive with every muscle relaxed. from London and Paris intimate that thousands of ington. The cheapest cities in the country from the initiative. Something must be risked in almost every stood as a disturbing influence in the position at the pian trolled by the mind. If there is one word in the language which is su¬ • that i t embraces.. all.. k „...,l mannerisms, food standpoint are respectively Denver, Colo.; Salt American soldiers when on leave have besieged the business move. such as soaring, double movements, zigzaging of the hands It is the mind which really plays, which anticipates, premely important to the pianist, it is Relaxation. Any best concert halls, theaters and opera houses. The Lake City, Utah; Portland, Oregon; and San Fran¬ Perhaps one of the best methods of making known and elbows, etc.; in other words, a wasteful expenditure of regulates and changes the muscular states. Therefore, rigidity or tensing of the muscles of the wrist in pas¬ effect of this great inspiration is almost immeasurable. motion, which otherwise could be employed in shaping cisco, Calif. the necessity for raising the fees of the teacher is by movements to exert a maximum of result from a minimum the technical feeling must come first if the technical sage playing is absolutely fatal to smoothness and Following is the United Spates Labor Department's of effort, thereby producing beautiful and graceful move¬ means of cooperation with other teachers. You may execution is to be effective. rapidity. report of conditions as they were last summer in six Musical Revolution in America ments in the position at the piano. In perfecting the phys¬ not have a teachers’ association in your town, but that ical exercise involving different movements, the main object leading cities: To teach and develop this technical instinct must 4. No melody notes should ever be struck. The key If Lowell Mason could come back to the America of should not hinder you from getting together a repre¬ is to have these movements regular, rhythmical and beau- must be depressed with a downward and somewhat The table shows what food that cost $1 in 1913 cost be the principal aim of all piano teaching. to-day he would be astounded at the musical progress. sentative gathering of teachers to discuss ways and drawing pressure by the finger, hand and wrist com¬ in 1918. Truly graceful motions are those performed with Lowell Mason died in 1872. Both Tannhauser and means for raising fees. In Philadelphia the Music bined, and again without rigidity. And no two notes July, 1913. July, 1918. comparatively little effort. The graceful way of per¬ Lohengrin had been given in America by that time, Teachers’ Association, which has taken an active part JOHN J. HATTSTAEDT of a melody should ever be played consecutively with Washington . $1.00 $1.85 forming any evolution is the way that costs the least but the great musical development of to-day was still in much important national work, such as the famous the same degree of force; but brought out with varying Baltimore . 1.00 1.84 effort. This principle in piano playing is applied when It may safely be assumed that on any important.sub¬ undreamt. Let us go a step further and state that if Missed Lesson campaign of a few years ago, recently power, according to their importance, like the accent Philadelphia . 1.00 1.77 the hands move over the keyboard in the easiest and ject there is more or less diversity of opinion among William Mason, who (lied in 1908; Theodore Thomas, took up the matter of raising the teacher’s income. and inflection in speaking. New York . 1.00 1.68 least constrained manner. Any superfluous amount professional men, and to this rule musicians form no who died in 1905, and Edward MacDowell, who died Dr. Harlan Updegraf, professor of Educational Ad¬ Chicago . 1.00 1.69 of needless juggling and gymnastic gyrations exploited exception. Thus among pianists such fundamental This is what is familiarly spoken of as making the in 1908—just a decade ago—could return, they would ministration at the University of Pennsylvania, was piano talk. San Francisco. 1.00 1.58 having no bearing on the composition and its execu¬ questions as, “touch and tone production,” “position be bewildered at the great dissemination of musical the leading speaker, and several of Philadelphia’s best- tion must be eliminated by the use of economy of before the piano,” “hand and finger position” have 5. No chord should ever be struck, except in rapid Summarizing the figures, the purchasing power of $1 culture in our country to-day. This impetus has come known teachers assisted with comments upon his motion and a sympathetic bond will be stimulated be¬ aroused almost endless discussion, without clarifying staccato passages. in July, 1918, as compared with July, 1913, five years from causes with which we are all very familiar, but remarks. Dr. Updegraf has carried on many cam¬ tween performer and listener. This sympathetic “rap¬ the atmosphere or ending in a substantial agreement. A blow on the keyboard always produces a hard, previous had shrunk to 54 cents in Washington and now we shall have a still greater impetus coming from paigns to help the public school teachers in securing port” is largely the result of what we call “personality” The progressive teacher subjects the various arguments narsh tone, and we are trying to make music, not t& Baltimore, 57 cents in Philadelphia, 59 cents in New an entirely unexpected cause. larger salaries. His efforts in Pennsylvania have in an artist. to careful scrutiny, and after exhaustive tests through rivet boiler plates. Chords may be produced with a York and Chicago and 63 cents in San Francisco. The splendid record of music in the war—the fact met with exceptional success, and he has a nation¬ strong downward pressure and a falling wrist, which Stating this in another way the increase in the cost practical application, finally formulates his own so- that it was found a real need—the fact that it was wide reputation as an authority upon this all-important gives a grave, organ-like character of tone. Or, where of food during the five-year period was 85 per cent, in HANS SCHNEIDER called “method.” directly responsible for bringing millions of dollars into subject. It has been his policy to stress the great desired, with a swift elastic upward spring, the chord Washington, 84 per cent, in Baltimore, 77 per cent, in the government coffers, has placed the whole matter of economic importance of education to the state and The relations between keyboard and. player are auto¬ Judging from tbeir positions at the piano, as practiced by great artists, it is evident that thev are not in entire being used like a springboard in diving, and the hand Philadelphia, 68 per cent, in New York, 69 per cent, music upon an entirely different basis in the public to indicate how very inadequately many teachers are matically regulated by the mechanical properties of agreement on this subject. It would lie follv. however to following the wrist upward as the chord is left. This in Chicago and 58 per cent, in San Francisco. pass over this matter lightly and allow each student to mind. The demand for music during the next five or rewarded for the valuable service they are giving to the piano action and the physical conditions of the form his own conclusions. In all matters that vltallv affect produces a crisp, brilliant effect with great resonance, In the one-year period from July, 1917, to July, 1918, six years should be far greater than it ever has been the state. player. piano playing the teacher should outline a distinct plan but without a pound. It is like the clean attack of a food advanced 22 per cent, in San Francisco, 21 per in America. Point I—Seat pupil. Every such plan should be adapted to the Co-operation string orchestra. The student is helped by telling him cent, in Washington and Philadelphia, 20 per cent, in The selling price of any service or any commodity The player must always sit at the center of the key¬ to spell all his chords w-h-a-n-g and not b-a-n-g. Baltimore, 17 per cent, in New York and 11 per cent, is due largely to the demand. With this greatly in¬ The National Education Association reported, board. The distance between the body and keyboard in Chicago. As to the above-mentioned subject I should advise 6. The player should sit upright, but with the body creased demand, music teachers should he in the best through the Commission on Salaries, that even before is governed by the individual size of the upper body Such a condition in normal times would be fatal in the following: The player should sit before the center lithe and supple, so that it may sway from side to side possihle position to ask higher fees—schools should be the war the income of the public school teacher was and the length of the arms. The feet must rest firmly when necessary, but always return to the original posi¬ any community or in any country, hut the times have able to expect a little higher tuition for the pupils and not a living wage. In 1915 the average payment for upon the floor in front of the pedals (with small chil¬ of the keyboard in order that he may reach every key tion with the elastic spring of a highly tempered sword been wholly abnormal and the prices of labor of all the whole profession should be rewarded in proper teachers was not quite $10.50 a week. This was not¬ dren upon foot rest). with equal ease. This rule should apply also to small blade when bent; not with the clumsy motions of a kinds have gone up amazingly—in many districts far proportion to the great service it is g:ving to mankind. withstanding the fact that many high salaries in cer¬ A common chair of proper hejght, which keeps the children. The arms should hang loosely, not too near poker. The arms should hang freely and loosely from more than compensating for living costs. It is the In The Etude for last month, we intimated that the tain districts were taken to make this absurd average^ elbow's practically on the level with the keyboard is the body, the feet should be placed on the floor beside matter of adjusting the music teacher’s income to these the shoulders, but not like dish rags. They should be best way in which to raise one’s income, was to become The report also presents the salaries which teach¬ best. the pedals. Small children should use a hassock. In increased prices that is our chief concern just now; vitalized so that their reserve strength can be called more valuable to the one who engages you. This is a ers should have in the various states to meet the liv¬ Pfano playing is based nnon motor habits. Habits can be performing a piece of music, the right foot should and it is for this reason that it is perhaps best for us established only bv religiously doing the same thing always upon at any moment for additional power as required. policy which every active teacher should follow. The ing expenses of 1918. This indicates that there should touch the pedal, the left should he on the floor near to investigate the wholesale costs as shown in the gov¬ in the same way and under the same conditions. more demand you are able to create for your services, be an advance over the rates charged in 1915 of the (Continued on page 212) ernment reports as recently as last October. the higher will your fees naturally become. Adver¬ following percentage. This is interesting to the music THE ETUDE Page 206 APRIL 1919 THE ETUDE APRIL 1919 Page 207 What’s in a Bell? teacher, as it gives a line upon what the percentage and in many instances has been successful in bringing of advance in the music teacher’s case plight be. about increases which might never have occurred other- By Grace Eaton Clark ."■ ' * : Forty per cent, advance needed in: California, Dis¬ ’r We think we hear someone answer, with a merry trict of Columbia, New York. Publicity is one of the great weapons by means of twinkle in his eye, when he reads this title—‘a tongue, Forty-one per cent, advance needed in: Washington, which music teachers must hope to raise their incomes. of course." Yes, we agree with you, reader; however, Idaho, Nevada, Utah, Arizona, Montana, Kansas, Illi¬ The public should know, through the newspapers in it is a musical tongue—“N est ce fas? A harmonious nois, New Jersey, New York, Connecticut and Rhode your community, that there is such a- movement on mmsm foot. Therefore do not hold your meeting unless you tongue, which may speak to us in tones of joy, 0f Secrets of Success of Great Musicians Island. have prepared at the meeting something like the fol¬ sorrow, of alarm, or of religion. From forty-two to forty-five per cent, advance in: lowing for immediate publication in the public press. Edgar Allen Poe has given us a vivid portrayal of By EUGENIO DI PIRANI Indiana, Michigan, Missouri, South Dakota, Ohio, • I % ' \ 1 these different voices in his poem—“The Bells’’— Maryland, Colorado and Wisconsin. when, to the tintinnabulation of their peal, he depicts From forty-five to fifty per cent, increase in: Wyom¬ the four above named characteristics. We thmk we ' & ing, Oregon, Iowa and New Mexico. hear our reader, in response to these last remarks, Guiseppe Verdi 1 1 From fifty to sixty per cent, increase in: Oklahoma, say (rather seriously, perhaps) “everything depends The first essay on this interesting subject (see Texas, Louisiana, Minnesota, South Dakota, Pennsyl¬ upon the hell-ringer.” Yes—we agree with this. too. the insufferable oppression of the Austrian, Verdi car¬ lak, wished me to give a concert in Berlin and intro¬ “Chopin” in the February issue) has—at least I hope ried on politics in music because (perhaps without being vania, Vermont, New Hampshire, Nebraska and Maine. All honor to the man who “pulls the string.” He is duced me to the Baroness Schleintz, a then very influ¬ so—shown that my purpose in writing this series of himself conscious of it) he drew from the restlessness From sixty to seventy per cent, increase in: Dela- as great an artist in his line, as the virtuoso of any ential lady in Berlin musical • circles. She asked me articles, is just to find out what personal and artistic of his soul a kind of music which corresponded pre¬ only one question: known instrument. , cisely to the restlessness of the minds of his day. From seventy to eighty per cent, advance needed in: What do you think of the chime-player, reader? Is traits are responsible for the success of famous maoters “Do you play in your concert anything of Wagner?” Virginia, West Virginia, Georgia, Florida, Kentucky, so that they can be held before the student or the I answered that I did not think it possible to do full he not an artist of one hundred per cent, quality? Verdi’s Vitality Tennessee and Alabama. Everyone admires chimes. They seem to bring one observer as fulgent stars to guide him in the vast, justice to the ponderous music of Wagner on the piano. The secret of Verdi's wonderful vitality—he wrote “Then,” she replied, “I am very sorry but I cannot From eighty to ninety per cent, increase in: South nearer God—and to give one a feeling of rest and boundless ocean of art. Or, vice versa, what errors in his last opera Falstaff at the age of eighty years, his do anything for you.” Carolina. comfort. A set of chimes comprise., a number of |*1U a great musician’s career were the cause of his tem¬ Four pezzi sacri at eighty-five—is the old principle From ninety to one hundred per cent, increase needed tuned to each other diatonically—that is, embracing porary failure, like treacherous cliffs to be avoided by in: North Carolina. the prudent navigator of to-day. In other words, to mens sana in corpore sano. He was an early riser the eight tones of the scale. A peal is a different and the early morning found him about his garden or One hundred and three per cent, increase needed in: proposition—the first, third, fifth and eight being the show the young artist what to do and what to avoid. farm. He watered his1 flowers, he rode almost daily, Mississippi. tones used in the tuning of a peal. It may be interest¬ Is this not a wonderful study—to investigate the lives When one considers the absurdly low rate at which of great tone-heroes and try to detect in them all the he was completely abstemious and «.te more cheese and aim iimsL luuuciuiai musical critic oi Italy, ing to know that the first invention for the ringing of eggs than meat. the public school teacher is expected to work, and real¬ chimes was made at Alos, East Flanders, Relghim; incidents whicli were conducive to their victory and when he learned that Filippi was going to Cairo in Egypt izes that all educational standards of income are held fame? I find it a fascinating task, and I hope that Other eminent musicians have labored in every branch for the purpose of hearing the premiere of his opera also, that Potheff, chime-player of Amsterdam (who of their art—sacred and secular, vocal and instru¬ back by such restrictions it is difficult to avoid becom¬ the American musicians, young and old, will .accompany Aida, would serve as a lesson of dignity to more than lived in the latter part rif the eighteenth century) mental, oratorio and opera, symphony and quartette, ing very indignant. Music teachers should make it a me with interest in this voyage of discovery. We may one of our contemporary musicians who like to have played music written for the pianoforte upon the chime song, etc.—and yet very few of them have become policy to aid in every work, local, state or national, table. We have many selections for the piano which not always find the mysterious land; but even the en¬ the big drum beaten around their personality and their deavor to disclose it will prove beneficial to the traveler. known during their lifetime outside of their own coun¬ work: which in any way tends to raise the standard of pay¬ imitate chimes very effectively—Trinity Chimes, by Verdi will be to-day our star. No other musician, try. The solution of this mysterious problem lies in the ment to the rewards to which the teacher is justly .Deeper, being one of the best. A strange phenomenon, "Genoa, p Dec., 1S71. indeed, can compete with him with regard to the over¬ fact that the greatest of great composers were all be¬ Dear Mr. Filippi:— entitled. Therefore, organize in local groups, and however, with regard to the playing of chimes upon whelming success, universal recognition, unlimited hon¬ fore their time. Bach, Mozart, Haydn, Beethoven and discuss what your normal rate of increase should be. the piano is the fact that when one plays the same “It will appear strange to you, but you will pardon ors and fabulous financial rewards. But not only the Schumann came in an age that was all unprepared for The Etude will do everything possible to help teach¬ chords in the middle register of the keyboard as upon me if I must disclose to you my feelings. composer but his publishers, managers, impresarios, them. Verdi, on the contrary, whose phenomenal suc¬ ers. The music-teaching profession is an excellent one, the upper octaves (where the chime effects are pro¬ “You going to Cairo? That would be otic of llie and, in some districts, is extremely profitable. Indeed, singers, have largely shared his success, as if the mere cess was unlike theirs, was born at the right moment. duced) one has a conglomeration of discords. This is most effective ‘reclame' for ‘Aida’ that one could imag¬ there are scores of teachers in our large cities who connection with this blessed artist were like a magic His music was a language which was immediately one of those contradictions—which mean, in plain Eng¬ understood and enjoyed. ine! But it seems to me that art, viewed in this way, make far more than - the average income of lawyers, spell bringing to any one who worked in his behalf lish—“the same thing, but entirely different" Nearer. is no more art but a handicraft, a pleasure trip, a physicians, engineers. good luck and and wealth. Compare the efforts to introduce, to force into popu¬ My God, to Thee, by Himmelsreich; Christmas Bells hunting party, something to which one likes to give— Even though it may seem scarcely feasible to make The surroundings of Verdi’s childhood were favor¬ larity Wagner’s music—Wagner societies, kings and arc Ringing, by Greenwald; Church Hells are Ringing, if not real success—at least a notoriety. The feeling any general plan for systematic raising of the teacher’s able for developing his latent genius. In Barezzi’s princes using their power and influence to foster his by Lindsay; Angclus (four hands easy), by Gounod; I have is only of disgust and humiliation. I remember income, the activity which always follows a meeting of house, a well-to-do merchant of Busseto, who early works, gifts by rich patrons of art, building of special Climbing Bells (easy), Trojelli; Bell Ringing, by l’etcr- always with joy the beginning of my career, as almost practical teachers would justify the proceeding. At¬ recognized the promising gifts of the youngster, he theaters, the most elaborate advertising campaign to son-Berger, are interesting examples. without a friend, without that anybody spoke of me tempts to regularize fees may savor of unionism, and had the opportunity of attending the rehearsals of the help into existence the “music of the future”—compare, An imitation of clock chimes. Carillon De Low without preparations, without influence of any kind, I this might be distasteful to some. There is no need public concerts given by the Philharmonic Society of I say, all this apparatus with the total absence of any Presented my work to the public, ready to be roasted, for a union organization or anything resembling it. XIV, by Neustedt, is brought to mind. The true mean¬ Busseto under the conductorship of Provesi, organist artificial measures in Verdi’s behalf. His music alone, executed, and glad if I could succeed in arousing some However, it must not be concealed from music teachers ing of the word “Carillon” is “chimes played by the ma¬ of the Duomo. Verdi copied for him the instrumental unaided, unheralded, accomplished the wonder of con¬ favorable impression. And now, what apparatus for that the organization of orchestral musicians in various chinery of a clock, or by means of keys like those of the parts of the various performers with neatness and quering all hearts, of arousing boundless enthusiasm. an opera! Journalist, artists, chorus singers, directors, federated bodies has kept up the incomes of the players, pianoforte.” Another good selection portraying this accuracy. One should not consider such copying as a A characteristic example of the forcible means used same idea is The Old Cloister Clock, by Kunkel. mere drudgery, since young Verdi, through this activ¬ by Wagnerites: It was years ago that I first went to all must contribute some stones to the edifice ’of reclame A third imitation of bell effects upon the piano comes ity, relished these excellent inside glimpses into orches- Berlin after having completed my studies in the Con¬ and form a mass of little things which do not improve before our mental vision when we think of La Cm- servatory of Bologna. I had just won a concurrence a bit the merits of a work, and rather would obscure Awakening the Disinterested Pupil panella, arranged by Liszt. The meaning of Camfa- to the place of professor of the advanced piano classes its worth—if it had any. nella is “a small bell”— hence, the execution of the Copying Great Masterpieces in the Berlin Academy of Music. The director. Kul- “I thank you for your courteous offer, but I desire By Marjorie Gieyre Lachmund .Paganini-Liszt number requires the most del cate ac- Another great master, Rossini, benefited from copy¬ for this work only an intelligent vocal and instrumental ing. The library of the Liceo Musicale in Bologna con¬ interpretation and an appropriate mise en scene as to CUmi,Cy Kf t°UCh on the part of the Performer. tained the single parts of Haydn’s string quartettes. Every teacher of music is at some time confronted The bell is a very old instrument—belonging to the the rest, “a la grace de Dieu," for so have I commenced Two pupils I had took no interest in learning. Noth¬ Rossini put them all into score. It is even said that with the problem of awakening interest in an unre¬ drum stage.” Like the drum it is an instrument of and so I want to end my career." ing I said seemed to make any difference, though I this was the only serious study to which the immortal sponsive pupil. There are always some children who do percussion, but it is dissimilar from the fact that it is Of course Verdi had the good fortune to possess a tried both of the methods, mentioned above. Then a composer of Barbiere and William Tell ever applied not seem to learn, usually from lack of practice. The of definite fitch. How often we have heard the ex¬ most intelligent publisher of his works, Giulio Ricordi, new idea occurred to me. I suggested that they ought himself. One sees that what would appear at first question is, how to appeal to them, how to rouse them. pression—“he is put upon his own mettle" (metal )- who before everything else, took care that every new to learn so that their mother could be proud of them. sight as a dry mechanical work, can prove in a talented Of course there is the method of having them note an expression which means much—a testing process of opera of Verdi should be interpreted only by great I painted a graphic word picture of their mother at a student a very beneficial and enjoyable training. in their lesson books at what time they practice, so the good which is in us. The bell. too. has to win upon artists. This must be considered also as one of the tea or something, and told how the other mothers Verdi’s ambition was to become a successful opera that the teacher can see if they have faithfully accom¬ its own metal —the composition of which is a mixture factors of Verdi’s success. were all speaking of the fine progress their children composer. There were branches of study which could plished their hour each day. But some children are of copper and tin m a proportion of four to one. This Verdi understood, perhaps better than any other com¬ be mastered only in an establishment such as the Con- not very conscientious—not to say truthful—in keep¬ were making. And their own mother had to sit silent, molten metal of which the bell is composed is hot when poser, to create roles which as well vocally as dramat¬ servatorio of Milan. It is a grim commentary on the ing these accounts; whereas others record one hour and when asked how they were doing she had nothing ically, were full of possibilities for the artists. Every che,Cmri1SikcOCked away from !t- An extra large bell shortsightedness of teachers, that the director of the practice each day with little or no apparent progress. to say, and felt so ashamed. From the round-eyed shoo H bMft *° £°o1 off ’ for sevcral weeks-and it conservatory, Francesco Basilo—his name deserves to prima donna has found in the character of Violetta in I, have found that with some the easiest way to attention I received I felt that at last my words had hard Hot be touched in that time-in fact it should Trayiata a role admitting of the finest touches and be committed to history—after an examination before advance them is to appeal to their pride. Demon¬ fallen on fertile soil. Sure enough! I had no more hardly be tuned This is called its “Maiden State.” the faculty, composed of the above director, Piantanida, varied emotions which a leading woman can be called strate that younger pupils, or pupils who have not cause for complaint, and the children soon caught up bell is struck first, it yields one dominant Angeleri, Rolla, all well-known musicians, during which upon to express in the exercise of her art. The greatest studied so long, are advancing more rapidly. The to others of their age and grade. distil h Vllkd *he "Co"s"»ont,” and, if th* is Verdi submitted and played some of his own composi¬ cantatrici have studied this part with advantage and spirit of competition having been awakened, the rest distinctly heard the bell is said *o be true This dorn- So you see, there is always a way, if you can but tions, refused to admit the boy to the Conservatorio delight and, whatever the verdict of the critic has been is easy. find it! (sometimes even decidedly adverse), the cliarm of the good musicalVear. ^ determi"ed * a"y °"c "ith a de Musica on the ground of his showing no aptitude for music. music has always commanded the admiration of the opera singers. And vocalists are as a rule better judges testin’ as ™sic!ans- bke the bell, able to stand the Men of a metal like Verdi, however, may be hindered, The True Reward of Good Work tests made of us upon our musicianship? than reporters and critics of what music should be. our metal of the right proportion? but are rarely defeated by obstacles. Verdi had fixed When The Barber of Seville had its premiere in ment—at a neighboring restaurant, enjoying an ample his heart and his eyes on a mark which he has never Sometimes it happens that a singer who is in her Rome, the audience was made up largely of personal heart sympathetic to more scientific or more modern supper, like the gourmet he was, in the best of good thosetnose Jhlwhwhich the kbell n* andundergoes the “hard and vetk'"0 “ring m writing and sets of muscles at tile same time on a new and difficult task, tion to the most rapid runs, arpeggios, etc The de¬ elegant i 's. ,stye ,s "ever dramatic, but singularly through a tuneful or gracefully written etude, or piece, centers—the brain being one, the principal center, while there will be a constant tug-of-war between the two sets of needed; also great tenderness. To play his works any muscle in the playing mechanism is the other. muscles, a constant excess of friction in the playing-machin¬ mands made on the technifc are of the very highest. than through the dry method of using one broken- with an exaggerated tempo rubato or with the sweet that characterizes™!^ has writt™.™* '™-anship ery which will commnnicate itself to the brain, thereby Liszt, like Chopin, revolutionized technic, and espe¬ chord^ form after another through the keys. After The most natural question next is: How can one train establishmg entirely wrong muscular sensations in the sentimentality consistent with a Nocturne of Field a nerve-line? A well-known psychologist answers the cially the manner of playing. The word “freedom” reoertoire1^^08, 11 ^ ttver *orm Part of the classical this, it is well to use the broken-chords through the would be as glaring an error of style as executing a keys, for the student should become acquainted with question for us in these words: “The clearness, per¬ By the plan of practice just outlined we have used, at epitomizes best the character of his style. Every de¬ trill of Rameau with alternate hands. Yet Brahms A P7 ,y th°Se in C ,Tllnor and in G minor. first the spacing muscles only, and since these muscles A highlyhZZ’ cultivated technic is needed to nlav them the key tracks and fingerings of the various chords, manence and quickness with which a nerve-line can be have had full and free play, they will soon acquire their vice of dynamics and agogics is here at one command. can sing of sweetness and softness. His Wiegenlied, desired notions. If the problem had to do onlv with this Rubato, forcefulness, strict time, elastic time, lightness, but not to the extent of hours of practice on these drj? trained is in proportion to the attention and concen¬ one set of muscles, the task would he easy, indeed, but as a Ins Capriccio in B minor are eloquent speciments. The' forms alone. Much better results will come from using tration brought to bear upon it.” Interest deepens at¬ matter of fact, in playing the broken chord, the two sets of massiveness, organ-like transcriptions, orchestra-like real Brahms however is he of the Sonata Op. 5, of muscles must be employed. It will be perfectly obvious that inkc‘Sfr:'... passages from etudes and pieces. The etude has unity, tention; therefore it is plain to be seen that the prac¬ the- more strenuously or„. violently the_ striking muscles are adaptations, they are all to be employed. the Intermezzos, of the three Rhapsodies, of the Bal¬ - striking muscles a The alternate use of the hands in the execution of completeness, and is graceful and tuneful, so that even tice of using passages from pieces has an advantage used from the knuckle joint (the sai joint, or pivot from lades, of Variations mentioned before. To do justice the etude carries with it far more inspiration than over the dry routine practice of the broken-chord. “In¬ which the fingers are spaced) the --e will be the inter- trills, scales, thirds, fourths, sixths and octaves reaches to them is to be, not only an accomplished technician ference with the spacing-muscles. I..It will be equally obvious the dry broken-chord forms practiced through the va¬ terest is the mother of Attention, and Attention is the that the more lightly the striking-muscles___— used, the__ with Liszt a height of technical usefulness, brilliancy but a musician as well. less will be the interference with the spacing-muscles, and display. rious keys. Returning once more to Duvernoy Op. 120, mother of Habit; therefore, if one wishes Habit (or and, consequently, the friction will be reduced to a mini¬ T.he scholastic player seldom does justice to the com¬ Anton Rubinstein No. 4, we find that it offers, in the right hand, the fol¬ a responsive nerve-line), he should secure both the mum. (Friction is the consideration, which all mechanics lowing broken chords : mother and the grandmother.” hold as the paramount issue with regard to ease of motion, positions of Liszt. Temperament, fire, passion, imagi¬ Although he was one of the two greatest piano vir¬ and amount of fuel required.) nation, courage, daring are needed here. tuosos the world has known yet as a composer he h,o Attention an Important Factor The sweeping brilliancy needed in the reproduction has not brought innovations and amplifications. Yet Exercises for Finger Articulation of Liszt’s Rhapsodies is only to be expected from he has written for the piano so many works that form Attention is dissipated if one tries to hold it upon Since, therefore, the spacing muscles in our task have mature players, from real virtuosos; it may, however, part of the standard, and now classic, repertoire of the T. . cvery way a misnomer, one thing or upon one manner of practice for too long been comparatively well developed, and since the strik¬ slumber, or be openly conspicuous in the student’s pianist that a few words anent their style is necessary. a period; hence, the desirability of changing the mind ing muscles must be included in the process, let us pro¬ nature, and it lies with the teacher to awaken or Rubinstein had an enormous tone, by which is not vinsky, S,Crd7,^f.^eb,,SSy' Ra'd’ Stra- to new patterns (always retaining the same finger ceed to offer some consistent exercise designed to Seek First the Chief Cause of Any Difficulty strengthen and develop it. meant strength when hitting the keys FF, but the natu¬ description, atmosphere W 5' ,hcse’ a,m at lone color’ habits) or nerve-lines are not developed when atten¬ assist the fingers in giving clear and accurate articula¬ tellectual development of m • 7 7 en,otional or in¬ Difficulties are principally of two kinds, viz., lateral- tion lags. It is very difficult to hold the attention to ral volume and intensity of tone when playing a simple tone scales thpPc 7 musical ideas. The whole tion to the already perfected broken-chord forms. Such Johannes Brahms melody. He was fond of displaying this gift (which . adjustive movements (spacing the fingers over the right a black dot on a white wall, but if one looks at the dot “Consistent Exercises” would naturally consist of small In his piano works looms up a technic for which other characteristicsCCofS,th" °f, at,fnented «*!» and keys) and dynamic (striking the keys to produce tone). from various aspects, for example, how far it is from he cultivated through assiduous practice) and this ducive to the f™ th,s/cho°l are all only con- up and down motion, requiring the least possible con¬ Czerny’s exercises and Chopin’s Etudes are no suffi¬ The first and chief difficulty in the foregoing passage the floor, the ceiling, the window casement, at what should be kept in mind when we play his Melodie in F mosphere. IOn tone c°lor and of at- traction of the striking muscle, and, at the same time, obviously lies in getting the fingers over the proper angle is it from the eye, etc., etc., the attention can be a stroke on the key that is as short as possible. That TI1E ETVDl TIIE ETUDE APRIL 1919 Page 211 Page 210 APRIL-1919 Also using the irregular form as follows: is to say, that the instant the key reaches tone, all muscular force downward should cease; cease muscular activity so completely that the key shall'bring or carry up the relaxed finger. A few finger articulation exer¬ cises follow. First we will practice the fingers in pairs: > strike each key into its required volume of tone, xo place this whole purden iipon the fingers would be going directly against the laws or physics, which tell us that “A heavyry tasklass, shouldsjjouxw not oe-- given to a small third-class_(This lever,”* - procedure— |gg " would What Every Piano Student Should Know =U.utusurely dray sympathy other muscles, and then we It is strongly advisable that the student in practicing would lose our chief asset, independence, besides, we would throw a vast amount of friction into the small running these forms with both hands through the keys; use first parts.) On the other hand, to strike the keys into tone, the quarter-note tempo with the weight touch; second, By JULIAN PASCAL entirely by use of weight-control which, while it is ‘‘ntiiely possible, would reveal a decided lack of clearness and life the eighth-note tempo with weight touch on the first Many Years Professor of Pianoforte Playing at the Guildhall School, London, England in the passage. Therefore we must resort to some otner tone of each pair and third, the sixteenth-note tempo means if we are to get a satisfactory t". That “other means” is a combining o'of controlled-weight. and with the weight only on the first of each group of four finger articulation.rucumuou. Byoy au nice control at the shoulder, which sixteenths, precisely as advised a few paragraphs bade The word pianoforte is so rarely used nowadays, [ Professor Pascal's article may seem a little trite to some face of the white keys, the elbow at its lowest point is t like a spigot, any desired weight under perfect Etude readers, but the fact of the matter, is that there are about level with the keyboard. control may be lapsed through the suspended arm and hand that some of the younger students may be interested many, many things, in his list that thousands of pianists upon the keys, so we will simply lapse about four ounces Economy in the Routine Practice of Broken-Chords to learn that it consists of two Italian words: Piano— who have a high regard for their own ability do not really Do not sit too close to the instrument. Find the of controlled-weight upon the key while the finger activity In practicing the broken-chords through all the keys, soft, and Forte—loud; and that the name in English know. To the music lover who wishes I a good, all-round place where you feel you have the most freedom, and will furnish the other two ounces. By this means we supply survey of the main facts in the fundamentals, we can rec¬ the required six ounces, the bulk of the power being sup¬ the student will find that in reality there are only six would be the “Soft-loud”—a hint that may be useful to ommend this atircle very highly.—Editor of The Etude.] sit opposite the middle pedal. If you use a bench, do plied bv weight managed by a large muscle under control, different forms or moulds to be learned. For example, not glide, except it is absolutely necessary, as is some¬ Proceed with Exercise 8 by balancing the arm nicely over while the small muscles managing third-class levers (the some players. fingers) are under no abnormal strain whatsoever. The the broken-chord finger spacings once learned for the times the case with very small players with a short the keys, allowing the second finger of the right hand to The Instrument ever possible. But the great drawback to this is that rest on top of the key (e) (not held down). The support minimum of tension and muscular contraction is maintained, key of D will fit exactly to the spacings or A and E. It friction is thereby eliminated as far as possible, and the Let us look at the piano as being composed of two it is impossible to use it with much speed. So that we of the playing mechanism is principally at the shoulder. *-->— » conditions now conform t" will also be noticed that the finger spacings for Db, Eh First practice the third and fifth finger as indicated at separate parts: First, the strings stretched over and Expression Exercise 8a: use short, clean-cut taps as described under s governing tl making o d down by and Ab are identical. The following are those keys are forced to use the finger when we need speed, and “Finger Articulation” with a moderate tempo, it authorities on acoustics. resting upon the sounding board, as one part; and as the fingers are not heavy enough to weigh the keys Only one broad rule for Expression can be given. tice the example a* which require different spacings: for quickness_ _ui“ raising- the "finger as wellPq second, the mechanism for communicating motion to down, we have to use muscle when we use the finger That is, to play louder the higher you ascend in s the finger has to raise slightly and Practical Playing of the Broken-Chord the strings, as the other. These two parts are as dis¬ to produce tone. pitch. And although this rule is sometimes reversed, Since by this careful practi._ __v have_, perfected the tinct from one another as are the violin and the bow. To clearly grasp these two ways of getting tone *.-- --ig, since it spacing and finger articulation, and also have ai it is the foundation of expression on the piano, and it that u real velocity playing than the ol this is to be combined with controlled-weight, turn once more The se'cond of these two parts corresponds to the from the piano is most important, for on their correct should be taught even to beginners so that they get e of which h_ ___rlyclearly classi-cla^ to the original task in Exercises la and lb, and as a first iter’s satisfaction a.. .. . ractical piano-playing - manner of playing it, give the spacing muscles entire freedom bow of the violin, and is composed of eighty-eight use all future progress depends and years of unneces¬ accustomed to listen to tonal values from the start. ___ 1 begin_ with_ _a ____light ttouch, and moderate By a little investigation a similar economy can be found >r sidewise movement and elicit the tones by use of controlled- separate instruments, beginning with the key and end¬ sary work may be saved. Artistic piano playing is a combination of Art and tempo, increasing in the third measure, a speed which This will assist the •qua in tgd in the practice of the minor keys. should go without any undue tension creeping into the wirn rue proper l it should suon ti ing with the hammer, and is called the “Action.” The The key is one end of a lever for converting weight Science. The art of expressing emotion in tone and forearm muscles. Practice each group in Exercise 8 (a), habit. Play th _ , ,_ _, _ piano, then, consists of eighty-eight strings of different and muscle into tone. We must take hold of it and (b) and (c) with several repetitions, using first one hand always practical to play quarter notes in slow tempo, by the science of tone production together is technic. of controlled-weight. Apply the weight by balam1 lengths stretched over the sounding board, and eighty- aim with it at the string and not hit at it or try to Expression is produced by variation in force, speed arm nicely from "thethe shoulder, mil''making’ a gentle, uadulatory Putting Life Into Compositions eight mechanisms for levering these strings into mo¬ make a tremolo with it, for once the hammer hits, the motion of the same, also a slight impulse for each tone. and tone-color; and by the use of the above easily- After playing Exercises la and lb a few times in this tion and thus producing tone. Nearly all of these string there are only two things possible for us to grasped rule, the student will begin to develop the manner, next play the same exercises bv using this same By Mae-Aileen Erb eighty-eight strings of different lengths and thicknesses do—we can either keep the key down or let it come weight impulse upon the first tone, while the second tone most important of all musical faculties—that of tonal is to be played with the finger articulation combined with and pitch are muted; that is, there are pieces of felt, up—that is all. realization. He will be forced to listen to his own As a general rule (some cases always excepted), a controlled-weight as follows : called dampers, resting on the strings to prevent their In order to use the arm correctly, we must first playing and to form the habit of attention, which in Play this in eighth-note movement. Weight Impulse upon piano student, on acquiring a certain technical-skill in vibrating, and no sound can be produced unless these learn how to let it drop at will. Sit in a chair and the playing of a composition, will consider the piece all good players has been brought to a high degree dampers are removed. When the key is depressed, the bring the arm, with bent elbow, to the level of the of perfection. finished and clamor for a new one. The notes art chest. Then let it drop into your lap.' When this can damper must be raised to allow the string to vibrate. Always listen to the tone you produce. Never learned, the rests observed, and the time correct- be done easily, go to the piano and rest the first, third Therefore these mechanisms perform a double action bring harsh, disagreeable sounds from the piano which very often too mechanically correct! But the compo¬ and fifth fingers on the surface of the triad, C E G, —they cause the hammer to strike the string and at result from stiff arms and key hitting. The keys sition, in reality, is only half learned.’ That stage of and move the arm slightly up and down without let¬ the same time they remove the damper. When the should be caressed, and the tone drawn from the mastery is but the framework. ting go of the keys and without letting the keys sink key comes back to its normal position, the damper falls . string by touch, not by blow. All good music is the It is like a house which stands completed—yet empty. down at all. When you feel that the arm is free from expression of human emotion, which can be repro¬ It is TENANTLESS. A faultless piece of architecture back on the string and mutes it once more; but as all muscular tension except that which is necessary to For the next practice, which is the most practical playing duced only by the corresponding tone color. of the broken-chord, use the weight Impulse on the first tone it may be, but until a family moves into it, it stands lbng as the key is depressed, the damper is kept off the support its own weight, move it up and down as at When playing a Chopin Nocturne, try to tell the of each group .of four sixteenth notes, while the otli cold and unappealing. Put life into it and the tasteful string. first, but this time let the keys move up and down notes immediately following are to be played listener a sad story—to reproduce in tone some sor¬ articulation (of course, always combined’with „,u,„ furnishings and soft draperies will soon transform the So the meaning of staccato (or detached) is that with it so slowly that no sound is produced. rowful event in your own life, or, better still, your controlled-weight). The motion will now move in sixteenth barren effect into one of completeness. It now breathes we let the damper come back quickly on to the string Now let the arm and keys move quickly enough to notes and will gradually go somewhat faster. conception of the sorrows in the life of the composer. Every student will not need all these forms, but he the spirit of life. by letting the key come back at once to its normal produce the softest possible tones from the piano. In The gentle, whispered sounds which can be drawn from can choose the ones most needed in his particular case. So it is with musical compositions. Often when a few minutes you will be able to increase from this the strings by a caressing touch are full of meaning, Exercises 8, 9a and 9c will hardly come amiss in any played, they too are “tenantless”—that is, they are And the meaning of tenuto (or sustained) is that whisper to a full satisfying forte, with the arm in the and they will reach the heart of the hearer where a devoid of life, soul and feeling. . There is monotony we raise the damper off the string by keeping the key same balanced condition and entirely free from mus¬ louder sound will not. The exercises thus far have all been in a still posi¬ and sameness in the tone; for the student has failed depressed. Out of the eighty-eight different tones on cular tension. Chords and melodies should always be When you play a quick, bright piece make your tion, so now let us use two more which will have to see and “play into” the composition, the dynamic the modern piano, only sixty-eight are muted, because played in this way—the arm (as it were) hanging on fingers express happiness. Try to feel again some joy more movement. Let the following Exercises 10 a-b signs. Poor little piano player—he is no better than a the twenty highest tones do not vibrate long enough to the finger. you have known. Although it is difficult to teach and 11 a-b be done, principally with light finger stroke, player piano! His touch is wooden and his fingers to need it. Therefore the words “Tenuto” and “Stac¬ The seat at the piano should be of such height that Economy of Muscular Energy in Playing the Broken-Chord children to play with expression because of their each hand alone. are but mechanical machines. cato” have no meaning as regards these twenty highest when the fingers are curved and resting on the sur¬ The student will note that this manner of playing the undeveloped emotions and limited experiences, yet the Dynamics of music, according to the dictionary. 's tones. We see, then, that there are sixty-eight damp¬ broken-chord possesses every possible regard for conserva¬ habit of thoughtfulness can early be cultivated and tion of energy and freedom from friction. The first tone of “the science of the variation and contrast of force or each four, the accented tone, is made by means of a large ers on every piano of eighty-eight notes, or seven and they can be taught to put meaning in everything they loudness in musical sounds." A most important part one-quarter octaves. muscle gently swinging the required weight upon the key ■ play, however simple. The mind of the child and the the other three tones of the group of four require only of music study it truly is; therefore, be careful, hence¬ dearness, not loudness, so they are made by finger-articula¬ By depressing the right foot pedal we remove all mind of the adult differ in only one essential—experi¬ forth, to play forte, piano, fortissimo, pianissimo, etc., tion combined with a nicely rolled • weight across the keys the sixty-eight dampers from the strings at once, so ence. The daily life of a child is vibrant with emo¬ The first tone of each group with regard to accuracy, of wherever such places are marked. Look up the mean¬ course, is the most difficult to play ; the other three Augers that as long as this pedal is depressed every note we tion which is constantly expressed by variety in the ing (and remember it!) of such words as crescendo, find their respective keys automatically now, since we have sound will have the effect of “tenuto” until we allow tone of its voice. To a great extent this natural perfected these motions by means of the spacing exercises. accelerando, ritardando, stringendo, diminuendo and the But the student will notice that since the last three notes the pedal and the key to resume their normal positions. expression can be transferred to the tone of the instru¬ host of other words you have formed the habit of of each group of four are played with the minimum of power Of the eighty-eight different tones on the modern ment, if the little ones are shown how it is possible there Is, therefore, no force to speak of pulling in the oppo¬ ignoring. All this rounds off the rough edges of your site direction to the muscles which play this first tone of piano, the eight lowest are produced from a single to express feeling by light and shade in tone. each ^roup. By this process, these muscles have almost piece, polishes it, shades.it, FINISHES it! wire; the next twenty from two wires tuned in uni¬ ~ * | |" i absolutely Have you ever watched an artist paint a picture? i the attack of t son ; and the rest have three wires to each note. And Intervals and Scales If so, you will know how exact he is in blending this brings us to the use of what is called the Soft Should the pupil need extra practice, or desii shades—a little more color here, a little less color there. broken-chord forms in the usual routine mam Pedal, which shifts the hammers slightly to one side, so There are seven white, and five black keys, on the the keys, he should proceed now with both hai Would he ever paint an ocean scene In. just one shade that when the left foot pedal is depressed the hammer piano. The others are repetitions of these twelve carrying out the conditions exactly as set fori of green ? Of course not 1 Then do not play your first In the following regular forms through 0 can strike only two strings instead of three, thus giv¬ notes at a different pitch. Each one of the seven three octaves. little classic in but one shade of tone: the effect is the white keys has three names, and each one of the The Factor of Controlled-Weight in Reducing Muscular Tension ing us a tone of different quality. The use of this same. Would the artist allow his tints to run together pedal is indicated by the words “una corda,” meaning five black keys has two names. The note C, besides in one blur of color? Again, certainly not Do not one string; but for the modern piano it should be being C, is also B-sharp and D double flat. D is also then mar your tonal picture by running your tones to¬ “duo corda”—two strings. C double sharp and E double flat. C sharp is the gether through improper pedaling. same note on the piano as D flat and so on with combined ______finger articulation for the purpose of fur- Throw yourself into complete subservience to the all the others. These twelve keys are so arranged nishing power to the key descent. Tone Production For example, let us assume **- dynamic signs, for, until your own thoughts and ideas that each one is an interval of a semi-tone or half have matured, you must accede that the judgment of The only means at our disposal for the production step from the one next to it. An interval is the the composer and editor is superior to yours. After of variations in tone are weight and muscle. By the distance in pitch between two notes. you have grown- richer in years, you will have experi¬ weight of a relaxed arm (relaxed does not mean limp, If you play a succession of notes on the piano with¬ enced the lights and shadows in life. You will then but balanced) we can produce, without effort, tones out missing one, black or white, you will be playing not need to depend on signs to enable you to breathe of the softest possible quality all through the gamut the Chromatic Scale, so called from the Greek word into your tone poem, a smile or a sob. a happiness or of piano expression, up to the fullest volume of tone between the weight and the fulcrum. This lever always meaning Color. Each sound in this scale is half a quires much more power than the weight to be moved, a_ a heartache; all this will lie deep, deep within yourself capable of being produced from the instrument. tone away from the next. is therefore called by the various works on physics, the least Therefore, the arm in its correct muscular condition It is that “something within yourself” which the world Press down one of the lower bass notes so gently efficacious of all levers. It is recommended that every stu¬ is the ideal tone producer, and should be used when- dent of piano read thoroughly the laws of levers, which TFR11^ al* art‘st before proclaiming him a MAS- that the hammer does not touch the string. Now may be found in any text-book on physics or encyclopedia. TIIE ETUDE Page 212 APRIL 1919 THE ETUDE APRIL 1919 Page 21S fast until you are certain of every note and the finger play the Chromatic Scale loudly for about two octaves. to visualize, and how much this power will help you in »msmuRW K& - ’ WKL?" 'T *5WI * * wBlf8 * Listen to the sounds coming from the string whose your studies in all other branches of knowledge. for it. If you have a page of a new piece to learn, play it damper you are holding up. You will heard a distinct It helps to focus the mind in a wonderful manner and over a few times slowly until you have a good idea chord. This chord has been produced by what is can be practiced while riding in the cars or in any of it and then begin to master the difficult passages, called sympathetic vibration. This is the basis of the spare moment. counting aloud and making quite sure of the correct Harmonic System. The sounds you hear coming from How to Practice finggring. One hour’s practice in the morning is worth this string are called Harmonics and are at measur¬ So much time is wasted by bright, ambitious students two hours’ work in the afternoon; and one hour every able distance from one another. Intervals are counted b.efore they learn what sort of practice produces the 'it' Famous Conflicts Between Celebrated Musicians day is worth three hours every other day. upwards—from left to right—and inclusively—that is, best results, that these few hints may prove of great Never practice when you are tired. Remember that you must include both notes in your count. A major value to those who will put them to the test. -,v’; •• •> v| your success depends largely on your good health and ftfe*' diatonic scale is a succession of eight notes at a dis¬ The first thing to be done is to make sure of the By ARTHUR ELSON ij sometimes an out of door game or a walk will bring tance of either a whole step or half a step apart. A key and impress it on the mind, so that if you happen whole step is as large as two half steps. If you start to be asked you can reply without hesitation; then you more progress than an hour’s work. on any note on the piano and observe that from the find the time and practice slowly counting aloud until A good education is a very important factor in a it came to organ playing Scarlatti was so overshadowed them wonderfully well for the most part. But at the first note to the second there is a whole step—from you are certain of the correct accents. Never leave a pianist’s success and he should not only study hard at When Hans Richter decided to make conducting that in after life he would cross himself, in token of end of the work' in question is a very rapid passage for the second to the third, a whole step—from the third passage until you feel you have made progress with school, but should read the best books, so that the his life work he took the radical step of burning all reverence, whenever Handel’s name was mentioned. the contrabasses, which usually resuits in nothing but a to fourth, a half step—from fourth to fifth, a whole it even though you have to go over it a hundred times. intellect and the heart may be equally developed, for the manuscripts of his compositions—and incidentally Handel’s operatic rivalry with Bononcini was largely blur of sound. Weber paid his respects to this, in the step—from fifth to sixth, a whole step—from sixth music is the expression of human feeling and technic making a good cup of coffee over the flames. He be¬ Practice technical exercises twenty or thirty times a business matter. But there was a difference in the “Cecilia” magazine, by picturing an indignation meet¬ to seventh, a whole step—and from seventh to eighth, alone will never make you a successful pianist. lieved that a composer was too narrow to become a slowly, counting aloud and do not attempt to play value of the schools also, and many of the Handelian ing held by the instruments, which he described as com¬ a half step—you will be playing a major diatonic good conductor, since he would be apt to overrate his numbers still survive, even though the operas themselves ing to life when the audience had left the concert hall. scale. There are only twelve such scales on the piano, own style and underestimate other schools. are obsolete because of their conventionality of form. After several instruments had aired their grievances because' one scale can begin on each of the twelve The same limitation applies to composers when they Correct Position at ihe Piano Keyboard Dean Swift referred to this controversy in the well- against the wild young composer who made them work different keys on the piano. strive to become critics. With very few exceptions, (Continued from page 204) known lines, so hard, the contrabass arose gravely, and remarked, The first note of each scale is called the Tonic, and their outlook has been decidedly biased; and their bick¬ “You may have your little troubles, but what about me? if you count up five notes from the tonic (counting J. L. ERB CARL W. GRIMM erings often remind one of the celebrated dialogue be¬ “Some say, compared to Bononcini, Instead of letting me move along with the quiet dig¬ that as the first), and play the first and the fifth to¬ tween the pot and the kettle with regard to drawing Any discussion of technical or mechanical matters The correct position at the piano depends above all That Mynheer Handel’s but a ninny; nity that befits my size and station, this wretched com¬ gether, you will hear the interval called a fifth. The upon a proper chair for the individual player. All the color line. in connection with the teaching of music must keep in A favorite method of starting a hue and cry has been Others aver that he, to Handel, poser makes me jump and skip about in the craziest first and second notes of the scale give you a second, players can not use the same kind of chair. Many a mind the principle that technical and mechanical per¬ a general attack on everything contemporaneous, com¬ Is scarcely fit to hold a candle. way, just as if I were a giddy young violin.” At this the first and third make a third, and so on with all the concert pianist has his own chair shipped with his fection are simply means to an end; therefore, there bined with indiscriminate praise of the ‘‘good old times.” Strange that such difference there should be the instruments burst into angry tumult, which caused notes of the scale. But it makes no, difference with piano, thus avoiding all fidgeting on the platform with can obviously be no hard and fast rule to which all This is not a new idea, however; and we may find the ’Twixt Tweedledum and Tweedledee.” such a din that the janitor overheard the noise and en¬ what note of the scale you begin; from that note to a chair uncomfortably high or low. Piano playing, to must conform or fail of artistic achievement. eminent theorist, Jean de Muris, making use of it some¬ tered the hall to find what was the trouble. On learning the next above will be a second, and so on from be perfect, must to a great extent be automatic, and The position at the piano is, therefore, conditioned where around the year 132S. In his Speculum Musicae, Handel was finally forced to leave opera, hut wc may of the cause he ordered the instruments to stop their whichever one of the eight notes of the scale you the result of acquired habit; consequently if the first by the physical equipment of the player. It would written at that time, he goes directly to the point in the be thankful for this, as it led to the composition of his noise at once or he would get Mr. Beethoven to write choose to start. hands have to readjust their measurement of distances, be foolish to demand the same position identically for words, “To-day many do strive to gloss over their lack great oratorios. another symphony for them. This hushed the disturb¬ If you begin on the sixth note of any major scale because of a change in the position of the chair, there the tall, thin performer and the short stout one, or to of skill by silly assertions. These, they cry, are the Handel and Gluck ance instantly, for all the instruments became mute and play a whole step—second to third, half step— cannot be any feeling of security. third to fourth, whole step—fourth to fifth, whole step expect the same kind of action from the person with new methods of discanting, the new concords. How- Gluck was another composer who came in for stric¬ with terror, A natural and graceful position is a habit that is —fifth to sixth, half step—sixth to seventh, whole step beit, they grievously offend thereby both the hearing tures uttered by Handel. Here, at last, the old order This skit caused Beethoven to write a lot of scur¬ long slender fingers and the one with a short stubby only acquired by careful training and self-study. All and a half—seventh to eighth, half step—the scale hand. However, a few fundamental conditions need and the understanding of such as be skilled to judge of was changing and yielding place to new; for though rilous abuse on the margin of the page on which it piano keyboards are not made of uniform height. Fur¬ appeared, but it did not prevent him from using rapid so formed is called the “relative minor” of the scale, to be observed in order that piano playing may be their defects.” Handel’s works were greater in their way Gluck’s thermore, there are still greater differences in per¬ contrabass passages again, or from making his next the sixth note of which you took for a start. thoroughly efficient. The rise of opera, after 1600, and the existence of musical methods led to a more true development of dra¬ formers as regards length of arms, trunk and lower the new harmonic school beside the older contrapuntal symphony, the glorious Fifth, a work of consummate This relative minor scale always begins on the sixth First the stool or chair should be high enough so matic fitness in opera. Handel said of Gluck, “He limbs. Jt stands to reason that the hands, which are music, was the cause of a high degree of acrimony. genius. Neither did this dispute prevent Beethoven note of the major scale. You will find that ^all its that, with the arms hanging freely from the shoulders, knows no more counterpoint than my cook.” There the tools a player applies to the instrument, should be Thus the composer Artusi, after extolling Peri and from extolling Weber’s great opera, Der Freischiils, notes are the same as the major scale, except the the elbows should be little, if at all, higher than the were two considerations, however, which robbed this seventh of the minor scale, which is raised a half placed in the position most advantageous for controll¬ the other Florentine pioneers, ended by becoming ex¬ shaft of much of its sting. In the first place counter¬ and stating that such a work deserved its success far tops of the keys. Any other position is likely either ing the speed of fingers and producing the greatest step or semi-tone. And the number of sharps or flats tremely bitter against the new style of composition. point was not a prime requisite of opera, which de¬ more than the popular, but very trivial “Italian sing¬ to cramp the wrist or detract from the freest possible variety of effects. The proper place for the player But, on the whole, there was less friction at this period song” of the period. in the signature is always the same as the major scale. action. manded a freer style of utterance; and in the second The Parallel Minor Scale is formed of notes at the is in front of the middle of the keyboard. (For than might have been expected. The need for some¬ iplace, Handel’s cook, Walz, was a musician of some The seat should be far enough back from the key¬ The “Italian Sing-Song” same distance from one another as the Relative Minor, duets I advocate "middle C” as the imaginary boundary thing of the music-drama type had been felt for some attainments himself. board that the performer may freely move with both line between Ihe two players.) The distance from but instead of starting on the sixth note of the major time, and many earlier composers had been working Purcell was another composer whom Handel failed This “Italian sing-song,” incidentally, was furnished scale, you must start on the tonic. . hands from one end of the instrument to the other; the keyboard is easily decided by each player by toward this goal without realizing it. utterly to appreciate. by Rossini and his compeers because it supplied a The reason there are fifteen different major scales but not so far as to acquire the awkward humped placing his hands on the black keys near the middle demand. When Rossini settled in Paris, later on, he Beniamin Franklin’s Attitude The value of Gluck’s operatic theories w*>s tested in in the Scale Book and only twelve such scales on the appearance which is not in any sense necessary and of the keyboard with the elbows touching the front his later controversy with Piccini, at Paris. Neither felt the stimulus of higher ideals, and composed his is surely not beautiful. A celebrated American champion of the “good old piano is that three of these twelve scales can be writ¬ of the body. A player who requires eyeglasses should composer cared for a quarrel, but, like two small boys William Tell in a far more artistic style than be had days” theory was Benjamin Franklin, whose versatile used before. ten in two ways. They are B, with five sharps, and C As for the hand shape while playing, it would be get them so as to be able to have the seat at proper egged on by their comrades, they were forced into the flat (which is the same note on the piano as B) with foolish to insist upon an absolute formula; though it distance from the piano. genius showed itself in so many fields. One would contest by the acrimony of their respective followers. Cherubini, who had been a leader of French grand think that his sojourn in Paris, as minister from the seven flats; C sharp with seven sharps, and D flat is safe to suggest that the knuckles of the four fingers 1 position of the back of the hand is really the Piccini was a good composer of the conventional Italian opera, was another caustic individual, who could con¬ normal o__, „„„and is gained, _ by having the fore-arm form a Colonies, would have given him an advanced musical dense much sarcasm into a short phrase. Thus when with five flats; and F sharp with six sharps, and G should at all times form a line parallel with the edge straight lineft from• the elbow- T*- **- . aecond finger-joints. sort, but the resulting success of his rival has given him ■ taste; but in later years he always claimed that music flat with six flats. of the keys. Momentary deviation, it is true, must be The wrist is then neither too high (in which ct_ an undeserved bad name in musical history. Both Berlioz became one of his pupils at the Paris Con¬ would have to rest upon the fingers), nor too low (which had lost the direct simplicity and charm that it showed There are several different forms of the minor scale, made to accommodate rapid shifts, but undoubtedly composers were given the same libretto, Iphigenie in servatoire. he expressed his disgust at the young stu¬ would cause the arm to pull down the fingers). The fingers in his earlier days. A glance at the programs of the but the one you made is called the Harmonic Minor the normal position is that stated. should be held in a curved position and move from the Tauris, but Gluck’s setting was incomparably the bet¬ dent’s radical work by writing “Nix versteh” on the knuckle Joints. Of course, the various effects desired will time, as given in Sonneck’s excellent work on “Early and is the most important. Muscles which are contracted when they should be ter, showing great dramatic power. To add to Piccini’s manuscript. Boieldieu, too, came in for a share of decide all deviations from this fundamental position. In Concert Life in America,” does not seem to indicate relaxed are doubly dangerous; first, because they some desired tone effects the wrist has to be held high, In woes, his prima donna, having dined well but not wisely, Cherubini’s criticism. After a tremendously success-, How to Memorize others low. Some tone effects require the fingers to fall any radical change in American taste during the last interfere with properly carrying out those motions appeared in a noticeably intoxicated condition, and ful performance of one of Boieldieu’s early works. lightly from the knuckles while the wrist is held firm, in quarter of the eighteenth century. Haydn, Stamitz, Music may be memorized in three ways—by sound, which the performer desires to make and, second, other cases the fingers are held firm while the hand Sophie Arnould, heroine of the Gluck premiere, brought Cherubini said to him, “You ought to be ashamed of moves lightly from the wrist. The hand and finger posi- Wranitzky and others of the early symphonic school by sight and by touch; or by the ear, the eye and the because they introduce by their interference serious the occurrence into still more pitiless publicity by re¬ such a success.’1 This remark, however, had a good depend ultimately upon the effect desired. The head continued to keep their names on the list. Perhaps finger. fatigue which may under particularly unfavorable cir¬ should1 hobt _| _ and back, should be straight, bat marking, “This is not Iphigenie in Tauris, but Iphigenie effect; for Boieldieu began to take his art more seri¬ We may visualize the printed notes, or the keys to perfect freedom of movemenl does not permit the player someone had victimized Franklin by taking him to hear ously, and produced a much more deserving work in cumstances result in serious permanent conditions. to lean against " in Champagne 1” chair. A very slight incllns- an involved work by the rising young radical named be played on the piano; or the fingers may play the -- --■• piano gives freedom to arm La Dame Blanche. notes mechanically. But visualization should not be While holding rather definite views in the matter, yet, mslghtly to bend the head down so Beethoven, who began his very first symphony in the Mozart’s Ungrateful Patrons In the romantic period, Mendelssohn and Schumann observation and experience with many keyboard perform¬ * -- trying “to play with the practiced without hearing the sound mentally at the ers have led the writer to feel that there are many tvpes wrong key, and who had been so independent during Mozart’s troubles resulted chiefly from the selfishness became rivals in many ways. Of the two, Schumann same time. of finger and hand and wrist action, all, or most of which his student days that his teacher, Haydn, had called of his churchly or royal patrons, the Archbishop of now stands as the broader nature; for in his “Zeit- The best seat is one that is square and firm, al¬ All methods of memorizing will be greatly strength¬ have their place in the adequate performance of the vast him “The Great Mogul.” Aside from this possibil¬ Salzbtirg treating him like the veriest lackey, while the schrift” he wrote discerning articles that brought variety of piano literature. Moreover, the person whose though in our music studios we are constrained to use ened by a knowledge of harmony and all piano students ity, the cause of Franklin’s attitude is not very clear; Austrian Emperor did very little for him in Vienna. recognition to many budding geniuses. Mendelssohn range of technic Is too limited is in a position to he those adjustable but abominable revolving stools. Why ought to study harmony; in fact, it should be taught handicapped sooner or later in the performance of some but he certainly put himself on record as opposed to Mozart’s chief bugbear among musicians seemed to be did not openly attack Schumann; hut he let his Eng¬ don’t manufacturers make adjustable square chairs? in the public schools to the young pupils. A knowl¬ particular composition. Certainly there are great artists existing conditions. Aht Vogler, whom he regarded as an absolute charla¬ lish admirers do so, when a word of expostulation performing successfully to-day who exemplify practically Benches form attractive looking pieces of furniture edge of harmony enables one to memorize not only Among the early composers, rivalry often took the tan. But Vogler produced at least two famous pupils, would have stopped them. Thus Chorley was especially every type of technic which has ever been advocated, especially when highly polished and covered with fancy by being familiar with the chords, but F gives us the and others besides. The test seems to be that any type form of a competitive concert. On such occasions the Weber and Meyerbeer, both of whom he grounded quite hitter against Schumann; while another critic spoke of of technic, to be worth considering, must result in nias- scarfs, but they are a nuisance because they are not power to grasp whole passages at a glance, passages two protagonists were given free rein to display their thoroughly in fugal work, so that he deserves some his music as “the broken crockery school.” teiy of the fingers, hands and wrists by the mind, and in adjustable to proper height. The feet should be placed which would take us hours to memorize without such sufficient plasticity and endurance to stand up under the abilities, with the proviso that their blows should he recognition, even though Browning’s great poem, “Abt Meyerbeer was the object of an early eulogy from on either side of the pedals. Children who cannot a knowledge. severe demands of present day piano performance. There directed at the keyboard and not at each other. Vogler,” might have been wreathed about some more is still no substitute for individualized finger action, nor Wagner, whom he befriended while the latter was Harmony brings order out of chaos and confers on reach the floor should have a footrest placed just in One of the most widely advertised of'such affairs was for absolute flexibility of the wrist, nor yet for that free- front of the pedals. striking musical genius. struggling in Paris. Later on, Wagner went to tile us an independent memory by giving us the power to dom of the arm and shoulder muscles which makes possi¬ a harpsichord duel between the great Bach and the Beethoven, with all his greatness and breadth of other extreme, and abused Meyerbeer roundly, calling analyze every piece we wish to learn by heart. ble the rapid shifting and the application of musculai A proper chair is an absolute necessity for the cor¬ Frenchman Marchand. The schools of these two were weight which so characterizes modern piano playing. rect position at the piano. ideas, was not a master of controversy. Thus, when him a “Jew banker to whom it has occurred to write The majority of students simply play a piece over different enough; for Bach represented all that was his cook brought back some rather doubtful eggs from operas,” and various other impolite things. Coming and over again from the music until they can play it by best in counterpoint, while Marchand wrote in a rather the market, he could tjiink of no better punishment from Wagner, this savored of ingratitude; yet Meyer¬ heart. This is not only a great waste of time, but you trivial, over-ornate style, and once boasted that he than to stand thfit functionary in a corner and pelt her beer’s artistic principles were not always of the high¬ will not be sure of it even after it has been so mem could put an embellishment on every note of a piece. with the offending specimens. In the field of music est, and even the gentle Schumann accused him of orized. Leschetizky’s Great Secret The keyboard encounter did not take place in this case, Beethoven was an easy prey for the witty shafts of “going over to the circus.” The ear memory needs to be helped either by visuali¬ The playing of Leschetizky’s famous pupils, Paderewski, Gabrilowitsch, and others is for Marchand, coming unseen to where he could over¬ the mercurial Weber, to whose humor Beethoven could But if Wagner abused others, he certainly received zation or by harmony, for the touch memory is the hear Bach, was so overwhelmed by the latter’s genius respond with little besides abuse and profanity. characterized by especially beautiful tone. How He secured this is to be told in the May issue full measure in return; for nearly everyone in the most unreliable thing in the world. that he decamped at once. Weber’s most striking sarcasm at the greater mas¬ musical world turned against him at one time or by his sensationally successful pupil, Ethel Leginska. wh -m Leschetizky taught for years with¬ Begin the study of visualization with a short, easy A famous competition that did materialize occurred ter’s expense was brought about by the latter’s Fourth another. The controversies over the Wagnerian music- piece which can be already played correctly, and you out asking a tuition fee. Your piano-loving friends shou i know of this coming ETUDE feature between Handel and Domenico Scarlatti, at Rome. Symphony. Beethoven was always trying to find new dramas arc now matters of history, from the dispute will be astonished to find how quickly you can learn Honors were about even on the harpsichord; but when capabilities for the orchestral instruments, and he used with the Paris Jockey Club over a ballet in Fann- THE ETUDE Page 2U APRIL 1919 THE ETUDE APRIL 1919 Page 215 Hands I Have Met haiiser to the performances of Parsifal in other originally by humming them to others, he was intro¬ places besides Bayreuth without Mme. Wagner’s per¬ duced as a man who had composed an opera without mission, and the present attempts to suppress Wagner’s knowing anything about music. “I know another man By Blanche Hammill music entirely. who composes operas without knowing anything about Among the many volumes of Wagnerian literature music,” responded von Biilow; “his name is Verdi." In the course of many years of music-teaching, my that have resulted, one of the most interesting is a But in later years von Biilow frankly recognized the attention has been much drawn to the study of hands. French collection, by Jean Grand-Carteret, showing artistic advance that Verdi made when he composed Some I’ve found repellent and others fascinating, and Wagner in caricature; and we may see from the Aida. Brahms’ Struggle not always fascinating in the same way. Some I ve variety of these lampoons, as well as from their num¬ A Year in the Fundamentals of Musical Composition Brahms was classed by von Biilow as one of the pitied and some I’ve loved and one pair I recall inspired ber, how fiercely the contest raged during Wagner’s me with an uncanny fear. The owner of the latter later life. In these pictures, for example, the com¬ three great B’s who led all music—“Bach the Father, pair was a young married woman and, as I watched How to Use Inversions, and What Part Writing Means poser was shown as attacking the human ear with Beethoven the Son, and Brahms the Holy Ghost.” But them on the piano keys, I could imagine them with a mallet and chisel, as conducting an orchestra of drums not all musicians agreed with this estimate. Brahms By the Distinguished Composer-Theorist and cannon, as wishing to add brasses to the celestial worked in the classical field of symphonic and sonata steely clutch choking the breath of life from my being. harps, and so forth. The critics were depicted as form, with logical development. Like Bach, he kept There was nothing in her face to indicate a disposi¬ PROFESSOR FREDERICK CORDER avenging furies pursuing him through life, only to alive the great traditions of the past. The partisans tion to ever commit such a deed, but her hands seemed of the Royal Academy of Music, London, England turn into mourners at his funeral. The proposed Wag¬ of Wagner’s "Music of the Future’’ were naturally to me to have been made solely for strangling purposes. ner school at Bayreuth was another tempting subject. antagonistic to such a classicist; yet it was hardly fair Memory brings to mind a pretty pair of hands, very Candidates with Hebraic noses were always to be for them to make Brahms an object of controversy, dear and kissable whose owner, strange to say, wanted SECOND MONTH since he never tried his hand at opera, which was rejected; all female aspirants were to measure up to to be a nun, and was only prevented by her parents’ [Would you knowingly get up before an audience and articles you can learn how to write music more gram¬ to musicians, should remember that they are worthless proper Valkyrie dimensions; applicants had to pass an W-gner’s especial field. But when the Wagnerians i-cUo a niece of your own composition if you knew that matically. We do not pretend that these articles are all- unless the suggestions for drill are carried out. Therefore objection. Another pretty pair seemed made for car¬ .'ack of knowledge of the elements of the language comprehensive ; but we do believe that, with the use of co¬ we urge that our readers go over the articles several times endurance test by listening to kettledrums and bass found Bruckner writing symphonies in a freer and very likely to be full of grammatical blunders? more dramatic style than Brahms, they at once hailed essing, and I used to view them with delight; they mum you send a book, a story or an essay to a publisher lateral, books at home, much can be accomplished by dili¬ and then follow up the work by self-help courses at home trumpets while tied in a chair, gymnastic training con¬ were very capable hands, too, belonging to a sensible, 'ith ridiculous errors in spelling and grammar? Surely gence and persistence. The technic of any art depends through the use of practical books on Harmony and Theory. sisted of throwing missiles at a target representing him as a symphonist of- the Wagnerian school, and ot. Then you would want your musical coniDOsitions also largely upon drill, and then more drill. Etude readers who The publisher will be glad to advise readers upon special insisted on making him a rival to Brahms. The con¬ capable girl. She has lately married and I hope she 3 be rightly spelled a are following Professor Corder's very lucid and interesting books for their needs. Address your letter Corder Com¬ Wagner’s enemies; and religious exercises were to be knows there are other pleasant uses for her hands i a great musical grai articles upon this subject, of such wide and practical appeal position Series, The Etude, Philadelphia, Pa.] held only in praise of Wotan. servatives and classicists then began to attack Bruck¬ besides work and piano-playing. The early performances of Tannhaiiser aroused the ner in turn. Hanslick was especially bitter in this mat¬ One young man had no little finger on his left hand I have pointed out that the three chords of a key could be made would be a middle C held or repeated ire of critics and musicians in many other places be¬ ter; and he hurt the sensitive Bruckner considerably. are insufficient for our needs when harmonizing, and throughout. The bass is as tuneful as the treble and sides Paris. Thus the London Times called the over¬ When Bruckner finally won his way from obscure pov¬ and so I had to finger over scales and studies, etc., that it is unsatisfactory to have the bass limited to three the harmony indicated by it is quite satisfactory. It ture “at best but a commonplace display of noise and erty to imperial recognition, the Emperor inquired and I think I found his infirmity more of a nuisance notes while the melody uses all notes freely. This want will be noticed that in the first version of this example extravagance;” a Frankfurt critic predicted that this what favor he could do for the composer; whereupon than he did, as he was used to it I have tried to You will notice that when on the Tonic or Domin¬ is relieved by the employment of inversions, that is, there were short notes in the melody of which the “music of the future” would speedily become a thing Bruckner -asked earnestly, “Won’t you please make Mr. teach short, fat, grubby hands but generally found ant the second inversion always seems to need a com¬ chords placed so that their Third is at the bottom. harmony took no notice. You must have encountered of the past; while Moritz Hauptmann considered it Hanslick stop writing about me?” their owners were gourmands and of the earth, earthy. mon chord on the same bass note to follow. It is this feature often enough in music; we shall investigate “quite atrocious, incredibly awkward in construction, France has recently been the scene of much con¬ The hands that have been my pet aversion are the ones strangely limited in its use: its bass cannot leap (ex¬ it later on. long, and tedious.” Now, of course, it is a familiar troversy, because of the advanced harmonies and mod¬ with long snaky fingers. The mother of such pupils cept, of course, an octave, or to another position of But now, how does one proceed in order to make a classic on operatic, symphonic, and even pop-concert ernistic style of Debussy, Satie, and their school. The the same chord) and can hardly be approached other¬ invariably considered their hands just suited for the “’i ifn. rn Hiffiiffirt*r**n u really nice bass like the above? Why, one makes a stages. conservatives speak of these harmonies as “cerebral wise than by step, By far the most usual form in which piano. But just as the long-legged girl is frequently rougher one first in one’s mind, perhaps, just like exam¬ music,” and Gounod once called Franck the apotheosis Play these and hear how nice they sound. Notice it occurs is as the first of the three chords which The Dictionary of Impoliteness awkward, so are such hands on the keyboard usually, ple 1, and then realizing how dull these perpetual F’s of prosiness; while the radicals rate their predecessors that those we have marked with an asterisk are slightly form a full close, or perfect cadence, thus: A curiosity in criticism is the so-called “Worterbuch as dull. The modernists exalt taste, which means to and the long fingers seem to be in their own way. I less pleasant and familiar than the other. This you and C’s are from a melodic point of view, one replaces der Unhoflichkeit,” or Dictionary of Impoliteness. This them a certain delicacy of effect. They attack no find myself drawn to the hands that show they have might reasonably expect, because common chords are them by other notes of the same chords which will run consists of a collection of hostile remarks about Wag¬ less a master than Beethoven for lack of it; while they toiled. The owners always are ashamed of them, so entirely satisfactory on these particular notes. Ob¬ more smoothly. At first you think “I need a tonic chord ner and his music, arranged alphabetically by sub¬ seem totally at odds with the robust enthusiasm of though I never could see why they should be. We serve, though that the sub-dominant (4) can have either in the first measure, and then a dominant chord” and jects. The composer is called the hangman of modern Schumann. Vincent D’lndy once went so far as to say should appreciate the value of the Marthas in this a common chord or an inversion upon it. But this is so on, so down goes an F followed by a C and this by art; Lohengrin is defined as musical chaos; the Nibel- that no German’s opinion about music was worth world. fortunate, for when we need to use bass notes 4 and 5 another F. Learn to regard these bass notes not as so You will probably remember this useful trio of chords ungen dramas are called circus comedies; Heinrich many separate props to the tune, but as trying to be while—a statement manifestly absurd. Restless Hands in succession one note can have a common chord and by Three Blind Mice! and I cannot too earnestly ad¬ Dorn termed the Meistersinger cats’ music, while Han- The French situation shows most excellently the the other an inversion, thus avoiding ugly fifths. a tune themselves. This way of regarding notes in a vise you to play it again and again in every key, major slick spoke of the Prelude to it as “blood-dripping.” In limitations of composers as critics. No one will dis¬ One little boy, blind in one eye, has the most rest¬ horizontal aspect instead of merely a vertical one comes and minor. You can vary it by changing the treble to this connection one cannot refrain from quoting a non¬ pute the value of the modern French music, or the less hands; when through his old lesson and while I always as a new and strange concept to pianoforte musician—John Ruskin. Though known as a writer on beauty of many of its better examples. Yet the charm am selecting a new, these busv hands are kiting players, but singers or violinists ought to take to it art, he also posed as a musical critic; but the following of Clair de Lune, or the Afternoon of a Faun, or Sat¬ through some favorite piece he has memorized. readily enough. opinions on the Meistersinger turned that pose into some¬ ie’s Sonneries de la Rose-Croix, should not obscure the But the hands that clutch at my heart and bring a Writing music from this point of view is called part¬ Pray observe that the accompaniments above given thing of an expose: “Of all the bete, clumsy, blunder¬ greatness of Schumann’s Fantasiestiicke, or the Etudes writing, or counterpoint, and is essential when we have tightness to my throat are those of a bright little girl are what is called broken harmony, that is, with the all- ing, baboon-headed stuff I ever saw on a human stage, Symphoniques for example. If we agree with the say¬ voices or more than one instrument to deal with. At whose baby hands grasped a hot stove the first day she important bass note played first and the middle notes that thing last night—as far as the story and acting ing “Many men, many minds,” then the critic should first it is sufficient to know that, save at the cadences, walked alone. She was so quick to learn yet I gave played afterward in any order you like. We could even went, and of all the affected, sapless, soulless, begin¬ certainly strive to see the good in all schools, and not the bass should always,, for preference, make some¬ and this will impress upon you still more the slight her up in a few lessons, for her crippled hands will dispense with them altogether if we had a really good ningless, endless, topless, bottomless, topsy-turviest, let personal tastes mislead him into a limited view; times thirds and sometimes sixths with the treble. ugliness of the first treble and bass notes and how the never play. So scarred and drawn, in spite of all that bass. To make a bass to a tune in such a way that it tuneless, scrannel-pipiest, tongs-and-boniest doggerel of while the composer, too often dwelling in a glass When once you can get your ear to hear the treble and former stems relieved by moving to the leading note surgeons could do by skin-grafting. I hope that would be satisfactory without the chords being com¬ sounds I ever endured the deadliness of, that eternity house by no means immune from attack, should cease bass as two melodies sounding together there will be B and back again. henceforth Life may be kind to her and when she pleted is a great step forward in musicianship, for it of nothing was the deadliest as far as its sounds went. throwing verbal stones at his fellows, and adopt the little left to learn. The first chord is not generally reckoned as an actual means that the bass notes must form almost as much I never was so relieved, so far as I can remember, in principle of “Live and let live.” grows to attractive womanhood and marries, as she I wonder whether it will occur to you that in of a tune as the treble. Take a simple example: the part of the cadence (although we have considered it so my.life, by the stopping of any sound, not excepting doubtless will, that her husband will love her the more speaking of inversions I have only mentioned using here) because all melodies do not end with notes against following accompaniment, though not objectionable, is jailroad whistles, as I was by the cessation of the cob¬ for her little marred hands. the third of a chord as the bass note, whereas it is which it would fit. A rising cadence, for instance, like bler’s bellowing; even the serenaders caricatured Counting One young boy’s hands used to give me the creeps, rather meagre: clear, that since there are three notes to a common twangle was a rest after. As for the great Lied, I By T. L. Rickaby for they were hard and wrinkled, with the stiffest chord, there must be two inversions, the other having never made out where it began or where it ended, fingers, combined with the owner’s cold, fishy-blue what was the fifth as a bass. Let us now examine - JJI3 flu n~n i j except by the fellow’s coming off the horse block.” This The general impression that counting is a bore, eyes and weak chin—well, I have enjoyed other lesson this second inversion, which is a far less useful chord criticism is certainly “going some” when one remem¬ an additional burden and an unnecessary evil, might hours more. than the others, but first I must remind you of a com¬ ^ VTn 1 bers that it applies to a work that many musicians con¬ be removed if pupils understood just what counting Two auburn-haired sisters who once studied under mon feature in pianoforte music which is likely to sider the greatest opera in existence. was intended to do, and how much correct and artistic my direction were of nervous temperament, and, dur¬ cause confusion in your mind. When we write accom¬ would not admit of it, and there are others. So it is Liszt, whose daughter Wagner eloped with, found playing depended on it. Each measure has so many ing their lessons, the perspiration would drip from It would be much better if some of the chords were paniments like these for the left hand usual to consider just the last two chords as the ca¬ his large orchestral works treated with neglect rather units of measurement. Correct counting makes these their fingertips and the keys would have to be fre¬ inverted. Try this and notice the improvement, which dence and the very usual series of chords which imme¬ than antagonism; and he was content to let his famous units the same length, whether one note, two, three quently wiped. That alone, however, would not will be most marked when the interval between treble diately precede them as “cadential,” or “chords leading son-in-law preempt the family laurels in composition. or four notes go to each count. Time must be marked cause me to call them nervous, as I have a pupil now and bass becomes a sixth or a tenth (third). Then try up to the cadence.” And by degrees you will, I hope, Time has shown that Wagner borrowed many of his off by mechanical means, as with a metronome, or by whose hands are the same and she is not at all nervous. making a bass (without filling up) which shall run in learn a very useful sequence of chords, as many as great effects from Liszt; but this was done with the some one standing by the pupil as he practices. Few But these sisters seemed to be in such a state of ex¬ parallel sixths throughout; e. g.: seven in number, which thus help us on our way. latter’s sanction. Thus at a Bayreuth rehearsal, Wag¬ pupils have metronomes—still fewer can play by them citement that I would find it communicating itself to there , is no question of inversions. The bass of the ner once said, “Here, papa, is one of your themes.” “So —and not many are fortunate enough to have some me, in spite of my efforts to calm them and keep my¬ whole-bar is the first note only, and the rest are mid¬ b 0Sg Saga* much the better,” replied Liszt; “the public will hear one mark time for them, hence the necessity for learn¬ self so. dle notes only. You will realize this easily enough if it now.” Liszt’s symphonic poems came into their own ing to count for themselves. The teacher must count Many mothers have handed their children over to me you play the-same accompaniments with two hands very slowly, but they are now appreciated as great for and with the pupil until the habit is formed, and with the statement that they were nervous and I have ftJTf instead, of one, but in more elaborate arpeggio figures masterpieces. (and this is the most important consideration) until not found them so at all. The hands that have ordered you are apt to ignore this important fact, the eye, as The most caustic of all musicians in his criticism the feeling for rhythm is established. Pupils often my movements each day of life are black and exceed¬ For two measures this would sound well, but then usual, contradicting the ear. of .others was undoubtedly Hans von Biilow, who enough count to their playing. This serves no pur¬ ingly slim and move around their old white face un¬ there is an ugly place. Next try tenths in the same I will not write out a useless row of second invers¬ seemed to take delight in being brusque. Once an pose whatever. The counting must flow along defi¬ ceasingly with many a ticktock. How distractingly way; this is also only good in places, the D’s in the ions on all degrees of the scale, but confine myself Play these with the right part both as at a, and at b, acquaintance of earlier days, meeting him on the street, nitely, regularly, and inexorably, like the swinging they scoot around when my day is full of duties and ?>ass being unsatisfactory. Then observe carefully the to stating that, save on the tonic and the dominant or in any other way you can think of, and in all keys, following: exclaimed, “I’ll bet you don’t remember me.” “You’ve pendulum, and the notes must be made to fit the counts. how they crawl around when I am ill and my tasks major and minor, until they become thoroughly won your bet,” replied von Biilow, without stopping. Audible counting is the chief, if not the only means of must wait till another day. We seldom realize the familiar. Von Biilow hated Verdi’s music with an intense hatred, attaining accuracy so far as length of notes and meas¬ important part those little black hands play in our life, The most important thing to notice about this caden¬ and once left Milan just after arriving there for a ures is concerned, and of making the music intelligible ordering our time of rising and each duty throughout tial second inversion (I wish we could find a less proposed stay, because the papers said he came to rhythmically. the day only to retire at night at their bidding. But clumsy name for it) is that it must come on a strong hear the Verdi Requiem, which was then being given. One successful teacher adopts the plan of giving the strongest hands are those of Fate, which, though They sound so unsatisfactory as to be very seldom beat of the measure—on the first in 2 time, on the first pupils a certain amount of preparatory training in When in Boston during another trip, he met Rice, invisible, completely control our destinies; kindly hands used. The second degree of the scale is, in fact, the or second in 3 time, and on the first or third in 4 time. steady rhythmical counting, before playing, and again, this, though only skeleton harmony, contains every¬ composer of the light opera, Evangeline. Since Rice they are to some and bitterly cruel to others, but only other note where this chord is ever found, and Indeed, it is one of our chief guides for knowing how tests them by having them count aloud to his playing. thing that the ear demands, and the only addition that was not a trained musician, but had indicated the tune* there is no escaping them for any of us. even fiere a first inversion would sound nicer. to determine the bar-lines in a piece of music. Where THE ETUDE APRIL 1919 Page 217 Page 216 APRIL 1919 Pertinent Paragraphs for Pianists :: V : —-—| this chord comes must be the strongest accent, save A Lesson from the Lumberjack the last; so, with these two you can always determine By Stanley F. Widener the time of a piece, and, by working backward, find By T. McLeod what part of the measure it begins on. Curiously Listen frequently to good orchestras, choirs and enough this cannot be known otherwise, for the first Any lumberman can tell you what the ‘ key log" is. choruses; join one or more if possible. strong accent is just as likely to be the third of four When the logs are set adrift upon the river to float Always have a good pronouncing dictionary of mu¬ as it is to be the first. The close observer may be sur¬ down stream to their destination, it happens often that sical terms handy, and never pass by a word which prised to find how careless and vague composers, even they will “jam” and, other masses of logs coming down you cannot accurately pronounce and define. The Teachers’ Round Table the greatest, have always been over this matter of bar¬ upon them, will pile up and stick between the banks. Go to as many good concerts as possible. A recital ring. Modern musicians go to the other extreme of In such case, the skilled lumberjack will leap from by a good pianist, vocalist or violinist is as beneficial Conducted by N. J. COREY being pedantically careful. I shouldn’t worry if I log to log until he finds the log that first caused the as two or three lessons, provided you listen with a were you; there are many far more important points trouble—the “key log”. A few jabs with his hook at receptive mind. Should the opportunity offer play This department is designed to help the teacher upon questions pertaining to “How to Teach," “What to Teach," etc., and not technical problems per¬ to attend to just now. Two measures of 2 time are pre¬ the right spot, and—Presto! the jam is broken, and over the pieces beforehand; your enjoyment will be taining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department. the logs placidly resume their journey down stream. cisely the same thing as one measure of 4 time, so much greater. , , , ,. Full name and address must accompany all inquiries. when you are in any doubt halve your measures and Now it is so in the practice of a new piece. When Subscribe to one or more of the leading music you cannot fail to be right; it fails to go smoothly after what seems adequate effort, journals. The real worth of the music contained in just stop a moment and search carefully for the “key them, to say nothing of the fine articles by eminent Interesting Experience than finger marks, which are always over the notes, Being One’s Own Master log”. You will usually find that the “key log is that musicians representing all departments, is far in excess The Round Table has received the following letter, even when covering only five keys, in which case the “I am fourteen years old and trying hard to scale passage on the first page—that long arpeggio at The Psychological Bridge Between of the subscription rate. containing the practical experience of a successful pupil plays the finger markings and ignores the notes. learn by myself, as it is Impossible where I live to Light and Music the top of the second page—that difficult-to-finger flight Remember, it is not the musician who excels in tech- teacher as to the advisability and practicability of the “Elaborate apparatus has been invented and patented have a teacher. I can hardly bring myself to play of three-membered chords just before the end. nic alone, but rather he who can charm by his artistic simultaneously learning of the treble and bass staffs. for learning musical notation. They say children like anything except music that sounds melodious to The whole piece is being held up by this difficulty— me. Should I abandon this plan and study some¬ interpretation, who can hold his hearers. Music is There has been a growing sentiment for years in favor to do things and handle things; but music has but little By Mary Hallock Greenwalt the “key log” is responsible. Get to work with cour¬ thing of every kind of music?”—S. r. something to be felt as well as heard. Yet those who of their both being introduced at the beginning or the to do with ‘things,’ but is tone and rhythm. Recently I age, and break the jam by a little energetic practice give their heart and soul in their interpretation are very recognition that the two are merely one great staff bought two books by eminent instructors that were sup¬ The city banker’s son was described in the movies upon that one point. You will soon find the whole with the middle line left out in order not to confuse You are brave to try and make the best of condi¬ as “a high stepper, whose neckties made a noise like few, indeed. posed to conform to advanced educational methods used tions. You should read The Etude constantly and try mass moving rapidly, and as smoothly as you could Constantly study music history, and you will feel an the eye. All teachers know, and most pupils also, that a bread riot.” The Frenchman calls a baked potato: a in schools. But first came the treble staff and a num¬ and develop your mind and broaden it musically. Study wish. Try it and see. added stimulus in your interpretation of the masters reading from the lowest bass line up leads through the potato in its dressing gown “pomme de terre d la robe treble without a break, except where the line for middle ber of lessons spent in learning letters before there was the Round Table and all articles through the magazine de chambre.” We say “good” morning, “loud” clothes, of composition. a word about ear training or rhythm. It all smells devoted to piano teaching matters. Look over your Keep buoyant in spirit. Look the old world in the C should be. The New Beginner's Book makes pro¬ “swearing” colors and are understood. A human being vision for this improvement of the future by arranging musty to me.” magazines for the past year and you will find many may suggest a sheep, while another suggests a cat, or face, and give it a smile, and see if it has not a ready so that either method may be employed. The pupil Missed Lessons pieces recommended in the Round Table for various even an elephant or a seal. Evidently something may response for you. may begin with Section I (treble), or with Section II grades. Select from these, for they will be of benefit link vastly dissimilar things: “A heavy disposition is “To thine own self be true,” wrote the immortal “Can you advise me on tile business side of bard, “and it must follow as the night the day. thou (bass), if preferred, or by combining both at the start. teaching, what to do in regard to mlsjcd lessons? to you. If you have neglected preliminaries, get a like lead.” This is not the least noteworthy merit of the work. I have a great deal of trouble and in the aggregate can’st not then be false to any man,” and in this procla¬ no small loss.”—W. A. M. copy of The New Beginner’s Book and study care¬ What is this something? It may be quality, quan¬ As the movement grows, The Etude will be found tity, extension, weight, space, time. The learned name mation he solved the main problem of our lives. fully all principles, even though too easy for you. Get A definite system is essential to success. Find the ready to recognize it by being in the forefront of prog¬ This is a very troublesome matter and one in which Gibbon’r Catechism of Music and study the easy por¬ for it is a category, and the categories are those things ress, as it always has been. The letter herewith fol¬ method that suits you and stick to it. so many teachers are helpless, as any attempt to collect tions, adding more as you grow older. Take up the which philosophy holds underlie all mind action, with¬ lows :— Much valuable time is lost in changing teachers. on missed lessons only results in a loss of the pupil. Standard Graded Course and use as a standard of out which we can think of nothing. It is through “The experience I had with my first pupil taught me Find one in whom you have the utmost confidence, and The general misunderstanding in regard to right busi¬ progress. Secure Mastering the Scales and Arpeggios these things—which constitute that indefinable back¬ a lesson by which each beginner I have had since has ness principles in music teaching is very widespread. ground of the brain—that we may fancifully link color stick to him. benefited. We both began the lessons seriously. An in¬ and study with great care, remembering that the work The most important quality in teacher, as well as and music together. In their physical selves these two struction book was used, and we followed directions There is one simple principle that all patrons should in it should last you for years. Only a little of it pupil, is “stick-to-it-ivc-ncss.” Resolve to stick to your kinds of vibrations are so different that one can pene¬ exactly, taking the exercises progressively as they were be made to understand, namely, that it is the teach¬ at a time practiced a great deal, the arpeggio sections trate a wall or partition, while the other cannot. “specialty” until it is mastered. printed. The treble staff, as usual, came first, and she er’s time that is being paid for, so many hours for so being begun before the scales have been passed through. "A little learning is a dangerous thing; Moreover to use units of color as one uses units of learned the letter names of the lines and spaces, as many dollars. The teacher is on hand to give the les¬ You will find in the advertising columns of The Drink deep, or taste not the Pierian Spring." tone is inadmissable for the reason that it takes time well as the names of the keys very thoroughly. She son, and if the pupil absents himself it is not the teach¬ Etude also, lists of graded music which are good. to see a color, whereas sound is heard instantaneously. could use her two hands together, and had mastered er’s fault. The missed hour cannot be put to any other Gradually cultivate yourself musically and become more In other words “light sensations do not reach their the simpler rhythms. There seemed to be nothing to use, and the teacher is prevented from selling it or than superficial. Providence may put you in the way full value immediately on application of the stimulus The Major and the Minor Scale prevent her becoming a fair performer in a reasonable disposing of it in any other way. If the pupil con¬ of a teacher at any moment. Study as carefully and to the eye, nor do they decay to zero immediately upon length of time, and everybody was pleased—when we tracts to pay for ten lessons and misses two he has closely as possible until then. the cessation of the stimulus.” This is proven by the By Joseph George Jacobson came ‘up to’ the bass staff. I explained that when the really had twelve hours of the teacher’s time, which is fact that different colors rotating on a disc are seen bass clef sign was on the line she must play in the bass unfair. The pupil also loses, especially if only one by the eye as one color, they all get mix^d into one To many students the relation of the Major scale to below middle C, and that the first line here was G. lesson a week is being taken., for with ’two weeks Appoggiatura tint. The above does not, of course, refer to the time the Minor is very confusing, and in the major and minor ‘But,’ she said, in great surprise, mixed with indigna¬ elapsing between lessons his faults increase so greatly "Please tell me in Tiie Etude how to know if it takes sound to travel long distances. keys even more incomprehensible. First, the differ¬ tion, ‘I’ve learned that the lines are e-g-b-d-f.’ I tried for lack of the teacher’s attention that there is a good a grace note (appoggiatura) is to be played with Moreover no raising by continued multplication the ence between the terms "scale” and "key” should be to make her understand, but she went away in a very deal of time unnecessarily wasted in straightening the treble note or the bass?”—C. C. number of vibrations in a sound till they reach in Danse Macabre made clear. A scale is a succession of the tones of one sullen mood. I received word that she would ‘take’ things out. All this should be explained to patrons, number those of color, will do away with the fact that or several octaves in some prescribed order of inter¬ and an effort made to make them understand the fair You will be perfectly safe if you follow the tradi¬ the ratios or proportions of the visible spectrum do not So many inquiries have been received at the office of vals. The term “key” embraces all of the tones in one “My second pupil learned something about the bass business side of things. Many are so ignorant that tional teaching regarding this disputed point, which is reach the octave. The thing which links color to a The Etude lately regarding the famous Dance of or several octaves in any other order than a numerical staff at the very first lesson, and since that time I they seem unable to realize this. The Philadelphia that, in the majority of instances, the appoggiatura or sound or sounds is in its nature the same as that Death or—as it is known through the Saint-Saens succession. To comprehend the minor keys requires always turn to where the bass staff begins in any book Music Teachers’ Association passed the following res¬ acciaccatura be struck exactly with the bass note. This, which makes us think “pig” when we see a selfish per¬ version, Danse Macabre—that the following article may some knowledge of harmony, but the relation of the we may happen to be using when commencing the les¬ olution, which has had widespread recognition, and however, is inaccurate, as there are often grace notes son, or “peach” when we see a beautiful girl. be of general interest to our readers: Minor scale to the Major is more easily to be under¬ sons. Usually our pupils begin their course in music resulted in thousands upon thousands of the cards on the unaccented portions of a beat, and no bass note We get closer to a concrete affinity between these two There is no definite knowledge of the origin of this stood. after they have been a year or more at school, where or slips being distributed. These cards are already to play them with. The simplest interpretation of tra¬ beautiful kinds of sensation when we separate the dance or of its name. Some have assumed that The difference between a Major scale and its relative training has been confined to the treble staff. Why printed and may be procured at slight cost from your ditional rendering to cover all cases would doubtless dynamics of light: its brightness, its darkness, from it came from the Arabian word Magbarah or “ceme¬ Minor is only the pitch and the melodic structure. For then begin with the treble again at the piano lessons ? publisher. be to say that all grace notes should be played exactly the other attributes which can make up the use of light tery,” while others attribute it to Chorea Machabae- example, let us examine the melodic structure of the “Little pupils have no more difficulty as they would be if they were written as a fine art and its coordination to music. orum, the Dance of the Maccabees, a mediaeval eccle¬ scale of C Major. With the exception of the third and beginning with the bass and treble as large notes. The disagreement as It takes no psychological laboratory to tell us that siastical drama representing the martyrdom of the seven simultaneously than by the old fourth (E and F) and the seventh and eighth (B and to grace notes has been largely as to the changes of light—the dark of the night, the bright brothers mentioned in the Apocryphal book of the method. Especially as their reading C) we have intervals of major seconds, the two excep¬ whether they should take their time of the day have become inextricably woven into the Maccabees. is done more by position than by from the preceding count or from experience of man from the time that he was only a In France and Germany the gruesome subject was tions having minor seconds. Now take the sixth tone thinking the names of the lines and bit of living protoplasm till now. Fear, gloom, fore¬ utilized by numerous artists in decorating walls of of the scale, which is A, and make it the first one of spaces. Advanced players no more the count following. Traditionally boding, depression, mystery, are surely connected with cloisters in the middle ages. It became the center of another scale. Build this new scale with the same tones think the names of the letters of they take it from the note that fol¬ the blackness of night whereas joyfulness, happiness, much poetic and musical interest. In the paintings of C major until we get to G, which was the fifth of their music than they spell the words lows, and you will conform with the stimulation are part of the brightness of midday. of Holbein, Glauber and the drawings of Rethel our first scale. Instead of using a major second we by letter when they read a news¬ 0ISSE& LESSONS majority opinion by playing in this These emotions may also be suggested by music, and and others, Death is shown as a fiddler summoning use a minor second, which makes the tone G sharp. paper. Pupils should be taught manner. The question seems to be the effect caused by one sort of vibration may, of all classes, fools, wantons, workers, popes and emperors. By placing the two scales together, as follows, we can think tunes from the beginning, and Musicians of the country have involved that large books have course, he used at the same time to reenforce a similar The interest in the Dance of Death was invariably clearly see the difference: all that is foreign to tunes should adopted the rule which requires been written upon it. In my own effect created by the other kind of vibration. Or revived after terrible wars and great plagues, when C major C-EL-E-F-G A-B-C be eliminated. Beginners seldom play students to pay tor all missed lessons opinion it should be very simple, and such effects may be contrasted or combined as the poets and artists seemed to begin to treat the subject A minor A-B-C-D-E-F-G sharp-A wrong Rotes without knowing it. I have given, briefly, from time to choice of the artist dictates or directs. To play with anew. It is noteworthy, then, that the present revival That the Minor scale is started lower than the Major They take in the intervals, ascending except in case of protracted illness. time my reasons for disagreeing with of interest in the morbid conception and in the Saint light and tint, urithout forcing them out of the groove scale, shows that they differ in pitch; and since the or descending, and incidentally learn Teachers are expected to conform to traditional practice. I believe that in Saens Danse Macabre is merely repeating at this time the names of the letters in a surpris¬ to which they cling, this will be a new joy for the Minor scale has minor seconds between the second and from one to two hundred years the what seemed inevitable in the dark ages. ingly short time. And still three- this rule. artist as it once was the Creator’s. third and seventh and eighth tones and an augmented “ ‘ ssed by the Philadelphia whole musical world will be in ac¬ Saint-Saens has treated the subject in a jocund rather fourths of the present-day methods second between the sixth and seventh tones, it is ob¬ tree Hundred He present a! we cord on this subject, that being about than a grim manner, and one does not mind the clatter begin with the treble, and all sorts of vious that they differ in melodic structure. the length of time required for a "The English in the days of Elizabeth had music of the xylophone suggesting bones or the cry of the ways have been invented for learn¬ Remember that the Dominant chord is a Major chord fixed idea to become dislodged from at dinner, music at supper, music at weddings, music cock at dawn. ing the letters. in both the keys, but the Tonic chord is a Major chord the human brain. Your statement as at funerals, music at night, music at dawn, music at “Why pages of uninteresting exer¬ “If you wish to understand that new testament of in the Major key, and a Minor chord in the Minor key. to playing the grace note with the work, music at play. He who felt not, in some degree, cises, of no technical or musical which Beethoven was the John and Wagner the Paul, Remember, too, that the signature of the relative treble note is inaccurate, which could its soothing influence, was viewed as a morose, unmu¬ value, with instructions to name every sical being, whose converse ought to be shunned, and you must go back to the old testament and study Bach Minor scale is always the same as that of the relative not be, or they would both come at note as played? This may be better regarded with suspicion and distrust.”—Chappell. and the prophets.”—W. J. Henderson. Major scale. cnce. . Presser Co., Phila., 3 THE ETUDE Page 218 APRIL 1919 An Important Chord and Its Use THE ETUDE APRIL 1919 Page 219 New Rules for Fingering the Major Scales By Dr. H. A. Clarke TRAILING ARBUTUS e would prefer to ‘run a piece’ through Professor of Music at the University of Pennsylvania on the machine rather than to practice. It has By T. L. Rickaby had just the oposite effect with me. Why is it that people are affected in such contrary ways?”—M. &. The second inversion (6/4 chord). The use of this 1. SHARP SCALES. inversion is often a source of bewilderment to the In answer to this I would refer you to that familiar A. With the right hand the fourth finger should student, owing to the confusing directions, in the text¬ classic., poem from Mother Goose in legard to the be used just previous to the tonic (keynote), books as to how it should enter, and how it should be experience of Jack Spratt and his wife with the platter. except F sharp and C sharp scales. left The best way to learn how to use it, is to examine B. With the left hand, the fourth finger should be Human nature is almost as various as humankind itself. the works of the composers of acknowledged standing, immediately used after the tonic except B, F This is the cause of most of our troubles, people’s and follow their example. One of the rules says, the sharp and C sharp scales. disagreements. It is the tendency of every individual bass note of the second inversion must never be taken to think he or she is right, and everybody else wrong. 2. FLAT SCALES. by a leap, but there are many examples in Beethoven, A. With the right hand the fourth finger will In Pickwick Papers, when the sadly intoxicated Stig- for example in the Moonlight Sonata, the eighth meas¬ appear" on B flat in each scale. gins stumbled up stairs into the meeting of the United ure ends with the root position—of the chord of FS B. With the left hand all flat scales commence minor—and the next measure begins with the second Ebenezer Temperance Association, he rose and de¬ with the third finger except scale of F, which clared with unction, “the meeting is drunk,” much to inversion of chord of E. In the chorus, The Heaven’s starts with the fifth finger. G flat and C flat Are Telling, by Haydn, this leap occurs nine times. In the scandal of the pious ladies present This was a commencing with the fourth finger. The fourth the trio, Lift Thine Eyes in Mendelssohn’s Elijah the shrewd observation of human nature on the part of finger is used immediately after the third, sec¬ second inversion of the tonic occurs twice in the first Dickens. Peo.ple who have no innate desire to learn to ond and first fingers have been used once. four measures, the first time it is preceded by the first play or sing will find sufficient satisfaction with self¬ We should watch the fourth finger in particu¬ inversion of the same chord, the second time, by the playing instruments, to say nothing of the vast number lar. root position of the same chords, in the “songs without who care absolutely nothing for music. The opposite Why? Because it appears only once in an words.” There are numberless examples of this for¬ effect is produced on people of the class which you octave. _ bidden leap. represent. Untold good in musical progress has been As to what may follow a second inversion. It may accomplished by the talking machine. It has been a A Word to Speeding Pianists be said, any chord that has the same bass note, or a great incentive to thousands to try and do something bass note one degree above or below; also it may be with their music. A man of my acquaintance would [Ur. Sternberg’s letter refers to the recent conference in found followed by the first inversion of the same have nothing but the worst trash for his talking ma¬ The Etude for December, January, February and March, in which Messrs. Bauer, Ganz, Gdbrillowitsch, Oraintjer, Hut¬ chord.' chine. One good record (The Evening Star by Wag¬ cheson, Hofmann, Jonds, Lambert and Stofowski parttci- Some authors forbid the second inversion of the ner) happened to stray into his awful collection. Sev¬ pated.i dominant preceded by the tonic, root position and fol¬ eral weeks elapsed before he would put it on a second . Philadelphia, Pa., January 31, 1919. lowed by the tonic—first inversion, or the reverse, an time, but gradually he began to like it, then to like it Editor of The Etude, example may be found in the first measure of the best, then he bought more that were good. Eventually Philadelphia, Pa. Sonata Pathelique first movement. his taste was for the best, and now he insists on all Dear Sir:—May an uninvited guest take the liberty These examples are better guides as to the way the three of his children busily studying the piano. So to say that in ,your symposium “Has the Art of the second inversion may be used than any hard-and-fast the sound producing machine does help the piano Pianoforte Reached Its Zenith, or Is It Capable of rules. It is the prerogative of genius to discover new teacher. Further Development ?” there have occurred some ways of using the material of music. One of the best expressions which I should have preferred to be alto¬ Too Much Practice illustrations of this fact may be found at the end of gether wrong, to being what is so difficult to set aright, the overture to Der Freischiits. This is in C major, “I have a young man student of eighteen who la namely: half-truths. Such half-truths will at times but just before the entry of the allegro in C minor very fond of music. He is playing Duvernoy, Heller's Op. 47 and Kuhlau Sonatinas simultane¬ escape the pen.when it is wielded by overzealousness Weber has introduced a second inversion of the chord ously. He practices from six to seven hours a in a good cause, but they may mislead the students of Db, followed by the dominant of C. The effect is day, although I have requested him to cut it down and teachers among your readers, and I therefore—far by a half. He insists, however, on his own way. wonderful. Weber’s musical instinct guided him to Am I right?”—O. M. from finding fault with any one of the contributors to this effect. He surely never found a rule permitting it. the symposium—wish to. prevent some of the expres¬ As a general principle you are right. Most pupils sions from being taken for more than the fine artists are injured who attempt so many hours of practice, as who used them probably meant to convey. Pulling Up the Weeds the mind cannot sustain the interest so long. Mean¬ It may be true—though I’m not at all certain of it— while he seems to be an enthusiast, and—I should infer that the hand cannot play faster than the ear can hear, By Nellie Suydam Cowley —wishes to enter the profession, although you do not but “hearing” 'by the ear is an entirely involuntary say so. If he is physically strong this enthusiasm may physical function evoked by any kind of sound or carry him over many of the objections to such long noise. “Listening,” however, is a mental act prompted For several years after receiving my teacher’s cer¬ continued work. How closely does he give his atten¬ by a will to convey that which the ear merely “heard” tificate in music, I was a job printer, or did newspaper tion during this time, is he over-fatigued, and what is to the brajn to be there classified and understood. work. During this time I never had the opportunity And this mental act is by no means as unlimited in for any real practice, and the last four years I hardly- his rate of progress? are questions you should look speed as is the mere “hearing;” it is, as a matter of touched a piano. When, at last, I found myself in into. If unusually gifted, he should advance very rap¬ fact, very limited; so limited, that the speed with possession of an instrument, I could hardly play a idly. If not progressing with exceptional speed, he which some public pianists rush through good composi¬ third-grade piece without stumbling. will doubtless make as much progress with less prac¬ tions makes it impossible for the musical mind to fol¬ I began my practice by trying to study the pieces I tice, indeed perhaps more. No one learns much when low. Their playing goes only into the ear and—out had once played. This did not help me, because I did not in physical condition, and the last two hours might again, without leaving an impression on the mind. tend to over-fatigue and stiffen the hands generally, not have the patience to start in from the beginning Whether we, think of Bach, Beethoven or Chopin, we and in the long run react disastrously. If he wishes and work them up again. I knew how they should go, find in their florid passages a great many refined mel¬ to enter the profession, and desires to work so many and tried to make my clumsy fingers play them in the odic and harmonic nuances which an undue speed hours a day, you should urge him to study harmony proper time. The results can be imagined. This dis¬ totally obliterates to the auditor, however exactly the and other allied theoretical studies, history, musical couraged me, and my nervousness only increased my player may have produced the notes. It is altogether a form, etc., and devote two hours of his time to these. blunders next time. lamentable tendency of the present pianistic times to His general musical education must be taken care Finally I gave up studying anything I had ever make a race track of the keyboard. The tendency is, of, or he will become what is known as “only a super¬ played before, and began to practice the fourth-grade however, not new; it crops up whenever the art of ficial player.” He may be an exception to all rules. If pieces in The Etude. They were interesting, and, as music lacks an overtowering genius. (When the cat’s so, he will need watching none the less. they were new, I had the patience to work on them, away, the mice will play.) Beethoven moderated the and did not mind playing them slowly at first. I used speed that was in vogue in his earlier days wherever the second and third-grade pieces for sight reading. I he could. Wagner, too, banished great speed from also put in a good deal of time on scales. Besides the “The Scale Bee” the performances, not only of his own works, but also usual ways of playing them, I practiced the scales, ar¬ of the works of others. (I shall nefVer forget his peggios and broken chords in octaves. I did this be¬ By Margery D. Heminway conducting of the “Ninth” in the year 1872). cause I have always disliked octave playing, and it has It seems so utterly irrelevant to music whether the helped to overcome my stumbling. The “Scale Bee” was conducted like an old-fashioned hand can or cannot play faster than the ear can “hear.” One cause of my stumbling, I learned, was that I spelling match, and was held in connection with an Keyboard sport and music-making have absolutely held my hands almost rigid when I was nervous, or afternoon recital. nothing in common. Mr. Lambert speaks from a long uncertain of a passage. I also discovered that, after I In preparation for it, the pupils practiced the twenty- experience and a highly successful career as a teacher had thoroughly studied a piece, I made fewer mistakes four scales faithfully for several weeks. All pupils and pianist and his view is—to my modest understand¬ if I fixed my mind on bringing out the air (telling the were “tried out” by the teacher the week before the ing of the matter—eminently right because it is artistic. story, as it were) than if I gave my attention solely to scale bee was to take place. The two pupils, who stood Music is not merely to be “heard,” it is to be “lis¬ striking the right notes. the highest at this test, were selected as leaders. Sides tened” to and we “listen” with the mind. And when An hour a day is all the time I have had to practice, were chosen by the leaders. listened to, music is meant to be understood, by those at but, after a year, I have acquired a fair command of Whenever a pupil failed to play the scale called for, least that are accustomed to listen to good music. my fingers, and believe that the person who has been she was obliged to leave the line and take her seat. Hoping that you will pardon this instrusion of one forced to neglect her music for years mav pull up the The one who stood up the longest received a prize. It whom the matter concerns directly and vitally, I am, weeds, coax the old rosebushes into bloom, plant new was required that the scales be played evenly with cor¬ Sincerely yours, ones, and again find herself in an enchanted garden of C. von Sternberg. rect notes and fingering. music. THE ETUDl Page 220 APRIL 1919 THE ETUDE APRIL 1919 Page 221

MEDITATION GEO.NOYES ROCKWELL

■ MELODY AT TWILIGHT An expressive nocturne, organ-like in character. Also published as a trio for violin,’cello and piano, and for violi-n and piano. Grade 4

4 Andante con moto m.m. J=96 F. P. ATHERTON "-0-1 utm susivriiuu d—i—H—►- /rfrH- -=j + fa J 9*—' ,;,iq i P rIJWT • I.L pi i tf _ dim. e L, r «if L/1 tffgr&f ■jASt 4 38?Wr ’■^Sr’tTsf Gaf^' (* d .~h d ' ■"ll fii . ^ 1 Ll

A dignified and sonorous jnenuet in the olden style..Grade 4 GEO.NOYES ROCKWELL Moderato cGn brio m.m. J=loo THE ETUDE APRIL 1919 Page 22 J CHEERFULNESS VALSE VIVE DANIEL ROWE THE ETUDE Page 224 APBIL1919 THE ETUDE APHIT lUi'a Page FROLICS WILLIAM E. HAESCHE SYLVAN ECHOES THE ETUDE Page 230 APRIL1919 1 THE ETUDE APRIL 1919 Page 227 SINGING IN THE MOONLIGHT THEODORA DUTTON7 An artistic lyric piece,of harmonic quality. It will repay careful study. Grade 4. PARADE MARCH Andante espressivoM. m. J =73^ tempo

a-^5 S 1 a tempo 5 --- --=r—^ --T—1 2 ry tin ■ rm-n ^rLTi rv\,_Jff *_±HU- Jf0 TTfl I 0 I 0-

yor.o rii. Fa /i7. nvp motto es - J 'ffi ' presstvo iLvt.. fb^ [ — & -* L- 7 * Page. 228 APRIL 1919 THE ETUDE TEE ETUDE APRIL 1919 Page 233 ORCHIDS

British Copyright secured APRIL 1919 THE ETUDE MARCH TO THE FEAST A gay little parade march,full of go. .Grade £4; CHARLES H. DEMOREST

Copyright 1919 by Theo. Presser Co.

MY OLD KENTUCKY HOME British Copyright secured

British Copyright secured Page 232 APRIL 1919 THE ETUDE THE ETULE APRIL 1919 Page AUTUMN BLOSSOMS FROLICS VALSE LENTE R.S. MORRISON

Copyright 1918 by Theo.Presser Co. British Copyright secured THE ETUDE THE ETUDE Page 226 APRIL 1919 APRIL 1919

PARADE MARCH JOSEF LOW A DANCE IN THE VILLAGE SECONDO A processional march,in semi-classic style, with independent part-writing throughout. Grade 3 ^ l Allegro maestoso e mai cato M.M.J^108 1 3 ! 8 j . i i ? >

* =* ^ S‘ -• ^ J N./^ * *

r ll—r ” ~ »T £ 3-- , • a i 1 ■—V 5 4 5 4 6 4 S 5 } \ j. ^ ^ I It >• * .

Copyright 1919 by Theo.Presser Co. British Copyright secured - 236 APRIL 1919 THE ETUDE THE AMERICAN STEP MARCH WALTER WALLACE SMITH A rousing march, with the real American spirit. The composer has recently been in the service of his country. Grade 3^ Tempo di Marcia, aggressivo 126 A _ 3 „4

KEEP A GOOD GRIP ON DE HOE! HOWARD WEEDEN ' H.T. BURLEIGH

Copyright 1918 by Theo.Presser Co. British Copyright secured Page 238 APRIL 1919 THE ETUDE THE ETUDE APRIL 1919 Page 239 THE SHADOWS GAIN UPON THE LIGHT Frederick H. Martens ' A .WALTER KRAMER, Op. 22. No.l An effective and well-written evening hymn for a aolo voice,suitable for church use, by an accomplished American writer. Adagio e molto sostenuto

Driv-ing the sun to west-ward flight, Dear Sav-iour, keep me in Thy sight Through - out the . night.

Copyright. MCMXIII by The William Maxwell Music Co. THE ETUDE APBIT 1919 Page 241 rage MO APB IL1919

f Gt. Full to 15th THANKSGIVING Prepare: Sw. Full E.S.HOSMEJR ( Ped.to Gt. and Sw. A rousing postlude or grand chorus for festival or recital use. Allegro M.M.J = l2j

MANUAL

IN E FLAT ANTON RUBINSTEIN, Op.44, No.l Arranged for violin and piano by Arthur Hartmann

1 I 1 r-*T3. ffv.jT \ D.CAk

■G m a ~3 if # t=: $ L&m ■f—h J* r~f~ =4 1 -L— 4-4= 1 * 1

A Gt.Melodia Sw. Strings

TRIO ' * J Swmeno mosso u • &

# From lie re go to the beginning and play to Fine; then play Trio.- Copyright 191 d by Then. Presser Co. British Copyright secured _ THE ETUDE APRIL 1919 Page 243 Piano Stool versus Piano Bench

By Ethel V. Moyer

The question has frequently arisen, some lessons, that the little child does shall we discard our old piano stoo} that not get the hand positions satisfactorily; screws up and down and purchase one of the reason often is, that the bench is the more attractive looking benches? either too high or too low. If the bench is to be used for a grow¬ So, when I find the new pupil has a ing child the answer should be a most bench, I advise them to purchase a re¬ emphatic no. volving stool also. It can be tucked away At first the teacher insists on a certain in an obscure corner when not in use height, usually such a position as to bring and the family can display with pride the under side of the arm level with the their ornamental bench. keyboard, but as the child grows her One argument against the stool is that position is changed to one somewhat lower. This can so easily be adjusted it moves around as the child reaches out with the revolving stool, but what can from the center of the keyboard. This be done with the bench? They are rarely can be obviated by having a foot-rest for just the right height to begin with, and the child, which gives a welcome stability; supposing they were, who in the family or, better still, purchasing a set of exten¬ would supervise the periodical sawing off sion pedals, which are so useful in teach¬ of the posts to keep them properly ad¬ ing young children an early use of the justed. Then, too, the fact must be con¬ pedal. But away with the bench for little A (jrcmd in a little home sidered that several children of different folks, or all the time spent by the teacher size often use the same bench or stool. in insisting on proper arm and hand The WONDER OF IT! So richly toned and sonorous, We sometimes wonder why it is, after position goes for naught. . so graceful and classic, ennobling and beautifying its sur¬ roundings. Yet so compact, taking no more room than an upright—and unlike an upright, fitting tastefully in the centre or anywhere in the room. Thus the little home with Methods and Methods its grand, proudly matches the most palatial of residences. The writer has just laid down the last a “method” is the mark of a tyro or a This is the magic of the of a half dozen Harmony text-books quack. (We have spoken of Harmony in which he has found occasion to exam¬ particular, but the same remarks apply to ine. Each one differed from the others piano teaching.) flCHtf-BACH in the matter of nomenclature of certain Perhaps a little story may make this chords, rules in regard to hidden fifths clear. Three boys each came, as a Grandette and octaves and other slight technical stranger, to a large city, and each was details; still more, in the order and man¬ so fortunate as to be met by a friend who 59 inches long ONLY. ner in which practical exercises were in¬ undertook to show him how to find his No more expensive than a good upright. troduced. All differed in many respects from the old reliable Richter’s Harmony way around. But one boy arrived by The Grandette is the equal of any of the Kranich & JPach and Jadassohn’s Harmony which he stud¬ river steamboat, and first learned the way grands in the excellence and perfection of workmanship, the up from the wharf; another came by rail, superlative mechanical organism and the beautiful musical ied in his youth, yet he felt no disposi¬ soul of them, the delight of artists for over half a century. tion to quarrel with any of them. When and first of all began his exploration at one has been accustomed for years to the Union Depot; the third, living a few KRANICH & BACH composing, arranging and editing music, miles out in the country, came in by a Established 1864 he comes to realize that a “method” is suburban trolley line. Now these boys 237 East 23d Street 16 West 125th Street simply a way of busying one’s self about learned the city by three quite different a subject—that actual acquirement of “methods,” but five years later they were knowledge comes with the familarity all equally well at home there. Just so which goes with experience. To be over¬ with music students and their teachers’ anxious as to the excellence or defects of “methods.”

Turning Leaves Most young performers are greatly ures from memory in order not to omit bothered as to the proper method of important passages. This advice is given turning leaves during the performance of by George E. Whiting, in The Beginner’s a piece of organ music or an anthem. It Pipe Organ Book, and is entirely sound. is seldom that a leaf can be turned to advantage at the end of a page, but this We would like to add one little hint, should be done a measure or. two before. however: In order to make sure of If the right hand, for instance, is per¬ grasping just one page at a time and that forming a melody and the left hand the most promptly, it is a good plan to “dog- accompaniment, the leaf should be turned 'ear” lightly the corner of every other by the left hand, and vice versa. Some¬ page—(not every page)—then they will times it is necessary to play several meas- lie separate and be easy to lay hold of.

A Good Piano

By Elizabeth Pratt

A good piano is a positive necessity to lasted through their children’s practice every musical student. Yet there are few years, and which would still be an excel¬ parents who know how to select the right lent instrument after they had reached instrument for their children. their musical goal. One of the great obstacles to the acqui¬ Before selecting a piano, always get sition of a trustworthy piano is the piano someone who genuinely appreciates musi¬ salesman who delivers pianos on free cal tone—an artist, if possible—to give trial, in homes where the people are ignor¬ you his honest opinion of its merits. It is ant of music and entirely incapable of judging a really good piano. A brilliant impossible to execute artistically any tone and fine, showy case are often the musical composition on a piano that has main things looked for in a piano by this faulty action or which lacks depth of tone. class of people. The result is they pur¬ Poor pianos, or even good pianos not chase a cheap piano, whose tone grows properly kept in tune, are frequently the brassy and harsh after three or four cause of students quitting their music in years’ usage. For the same price, had disgust and thus abandoning a profession they only known, they could have bought which would have meant both pleasure a good standard piano that would have and profit to them. THE ETUDE Page 2b4 APRIL 1919 THE ETUDE APRIL 1919 Page 245 work being thrown on the larynx of a After a time, I have proposed that short kind for which it is undesigned and un¬ lectures should be given by different fitted. The larynx, which we ipay take as members of the committee to members the only organ engaged in the actual of the Society of Women Musicians, and formation of sound, is a very delicate free discussion invited. The subjects instrument. It must be trained and might include: Department for Voice and Vocal Teachers strengthened so that its movements may become both free and rapid. It must be Suggestions for Lecturers and Discussions Edited by Well-Known Voice Experts capable of sustaining sounds steadily and tM. adjusting different degrees of tension so Breathing from I . :-4 that attack may be pure and pitch accu¬ the paint of IVERS & POND rate. It must also be able to modify its __ “Thank You for Your Most Sweet Voices.” SHAKESPEARE I Exercises for control. action in the way usually spoken of as Secondly: /What they are; “changing the register” — modifications The Registers. which, in my opinion, are necessary to PIANOS avoid strain, and desirable as a means of Thirdly: The Art of Teaching Singing ensuring the best results, both as to com¬ I Characteristics ; pass and quality. Above all things, teach¬ AN UNUSUAL UPRIGHT j How o acquire steadi- By Agnes J. Larkcum ers ought to be sure that no attempt to Beauty of Tone. control the breath-pressure should be J How o improve reson- made by the larynx. It is enough to com¬ OR years we have been one of the world’s (The following is an address delivered before the London Society of Women Musicians and reprinted in the “Musical Times. The speaker is a noted English Singing teacher.) ses for all these pare this tiny organ delicately poised on IF1 largest builders of high-class uprights. Fourthly: Physiological Knowledge Necessary the top of the windpipe, with the large Amoeg many successful models we have I do not think we are nearly exact¬ the various kinds of pupils who will be from the probably unscientific and not How vowels are formed ; iy mass of the lungs with their heavy, bony particularly sensitive persons who provide for the Teachers How consonants are originated, Style 705 is the most universally liked. ing enough with regard to the qualifica¬ placed in her care. What ought to be framework and powerful muscles, to ! formed—the differ- the fundamental idea which should under¬ entertainments based on physical display, How are teachers to prepare their stu¬ ence between simple tions of the would-be singer. People realize that unless the breath is controlled Diction. vowels and diph- Its design is simplicity itself, yet the beauty of line lie her work and direct her aims, and how much may we not expect to result to seem to think that anyone can sing, and dents for these conditions of strength, by the proper muscles, the vocal cords and proportion, and . the exquisite finish make it how can she best prepare herself to put the student of singing, from careful train¬ response and control? They must first Exerclses’for pure vow¬ that a few lessons are quite sufficient to and little larynx are quite unable to re¬ els and vigorous con¬ in practice the theories which inspire her ing by informed and educated persons, exceedingly attractive. Musically it represents the prepare a girl to sing prettily to her have a certain amount of knowledge of sist the rush of air, and tremulousness, sonants. work? of the organs engaged in voice-produc¬ Fifthly: friends. I think it is time we asked for the structure of the vocal organs, which uncertainty and strain are the unfailing highest development of the upright piano. Send I think we are all probably agreed in tion. To my mind most of the failures The principles which more, and began to try and make people consist of the lungs (the motive power), effects of misdirection of energy and underlie the art of for our catalogue describing it. understand that singing is a very diffi¬ believing that music has a wonderful we so frequently hear of in modern times the larynx (or vibrating element), the I phrasing; lack of proper control. power of stimulating and enhancing —the inability to endure the strain of Good places for breath- cult and beautiful art—that it is probably pharynx (the chief reflector or resona¬ Phrasing. not a branch, but the very root from emotion. When fine music is added to modern vocal music, the harshness, trem¬ Light’and shade; tor), and the mouth (containing the or¬ Resonators Variety of tone-color— which music has sprung. It is certainly beautiful words we are all conscious of ulousness, and fatigue noticeable in so gans of articulation). Secondly, teachers its cause, effect and being able to enter with greater under¬ many voices—result from the want of We now come to the pharynx and reso¬ means of attaining the. most human aspect of music, and ought to be so well informed musically nators. Resonance presents one of the emotion expressed by the voice must standing into the inmost thoughts and sufficient technical training—both students , that they can select the best for their most fascinating aspects of vocal art, but surely enter more readily and intimately meanings of the poet much more than and teachers are in too great a hurry. pupils out of the wide field of musical lit¬ it is far too wide a subject for me to do The Testing and Certification of Capacity into the heart than when conveyed by when the words are merely read or Instead of following patiently the long erature which lies before them, and by more than touch on it. Suffice to say that I suggest too that later on young spoken. In fact we most of us feel that path of slow development, they ask for an instrument, no matter how skilfully knowledge of musical structure prepare although some of the resonating cavities teachers should have the opportunity of music can convey to us degrees of emo¬ short cuts to excellence and only arrive used. Let us, then, take an exalted view their pupils for intelligent phrasing, are not subject to modification, the going before the committee from time to of the art of singing, and do our best to tion which lie beyond the region of at disaster and disappointment. The Thirdly, they should be educated so that greater part of the pharynx is susceptible time in order to have their knowledge break down the prejudice which exists words, and are too fine and subtle for training which will fit the student to be¬ they can appreciate the beauties and of change, and it is to this power of alter" and capacity tested, anti if found to be ordinary expression. The special art of come a fine and successful vocalist must as to its value and beauty. understand the importance and value of ing its shape that we owe the almost lim¬ thoroughly well grounded in the art of With regard to the qualifications which the singer seems to me to consist, speak¬ deal first with the physical, and then in the words they desire to interpret. itless variety of tone-color which is pos¬ teaching, to be given a certificate from we should demand from the pupil in ing broadly, in the “adequate expression turn with the mental, aesthetic and sympa¬ Finally, they should be sufficiently culti¬ sible to the cultured singer. It is the the Society of Women Musicians to that by means of the human voice, used in thetic aspects of the singer’s art. singing, there are five which I consider vated to enter into the spirit of the dif¬ effect. The certificate in no case to be conjunction with music, of any or every pharynx and resonators which provide absolutely necessary. They are: ferent periods and nationalities to which the characteristics which distinguish given until the candidate had appeared kind of emotion.” To attain to this power Training for the Expression the music they are studying may belong, several times. (1) A good voice; the singer must be trained in every way of Emotion every individual voice and modify every (2) Musical aptitude; and sympathetic enough to understand sound from the deepest to the most acute. That young singers should also be —patiently, methodically, and persistently. We will now consider in what this (3) General intelligence; the various states of mind of the different The organs of articulation are also much given similar opportunities of singing to Without intelligent training I cannot (4) Good health; training should consist, and what ought characters (particularly in opera) whose in need of training. The tongue, lips, the committee, and if their voices were think it is possible to arrive at really (5) Character. to be the objects in the teacher’s mind sentiments it may be necessary for the and soft palate need to be brought thor¬ found to be well-produced, their method great and lasting results. while striving to develop the powers of oughly under control; and as neatness, good, diction clear, and phrasing intelli¬ I do not consider that we can ever student to express. The whole art of a student. In order “to express ade¬ quickness, and accuracy of adaptation are gent, they should be asked to perform at make a good singer if the individual be¬ Physical Training vocal expression rests fundamentally on quately any or every kind of emotion,” essential for the production of good tone the society’s concerts, and perhaps recom¬ ing trained does not possess these quali¬ No one can teach anything without good breathing. In order that teachers the physical organs engaged in singing mended by the society to different con¬ fications in a very fair degree. I am Deing observant, and we can often learn may give suitable exercises for the de¬ and distinct diction, exercises must be from outside subjects facts which enable must first be brought to such a point velopment and strengthening of the lungs, given which will bring about this facility cert managers. afraid the two latter—health and char¬ I believe that if we could establish a acter—are not considered nearly enough. us to understand better our own particu¬ that they can produce fine, resonant tone they shouuld study those organs in many and do away with the dulness which re¬ sults from sameness of tone and badly- very high standard of excellence amongst By good health I do not mean merely lar study. It has always interested me and endure hard work without fatigue. and various ways; first, as to their tex¬ to notice the effects of training on differ¬ They must be able to respond instanta¬ ture—the lung substance is somewhat enunciated words. our members we might in time find our¬ general health, but the local well-being selves wielding a good deal of influence. of the organs engaged in voice-production ent persons and classes. Let us, for ex¬ neously and accurately to the mental delicate, and can be easily injured; then Patience, Intelligence, and Experience I should make it clear that our certificates —the nasal passages, throat, lungs, etc. ample, consider that which is very much images in the mind of the singer, and their shape—it is well to notice in what in evidence just now, as revealed in our they must also be capable of reproducing direction expansion can most easily take Needed or recommendation would never be given Teachers often strive for weeks and until the candidate had been tested again months to cure defects of production new armies. It is a mere truism to re¬ at will the bodily conditions which would place; then their size and surrounding Briefly as I have touched on the neces¬ mark that under the severe discipline of obtain were the artist actually moved by framework. Breathing for speech and sity for training in the student and and again. The aim of the whole thing WHATEVER YOUR PIANO NEED which arise from some local obstruction, would be to arrive at a very high level the sergeant-major many a slouching, the emotions he is seeking to interpret.' song differs from ordinary inspiration in knowledge on the part of the teacher, I and it is quite necessary for a teacher of excellence, and patient endeavor is in to train herself to recognize the peculiari¬ sluggish loafer has been changed in a We must remember that every passing that a new feature is introduced, that of think I have said enough to show that it upright, grand or player there is an Ivers y Pond few weeks into a smart, alert and active thought affects us physically and modifies voluntary control. In ordinary life the my opinion of the utmost value towards ties of sound which are caused by dif¬ needs a good deal of time and a' great that end. to fit it. We build but one quality—the best, and ferent kinds of diseases such as adenoids, soldier on whom it is a joy to look, and to a certain extent our physical condition. aeration of the blood is effected by action deal of patience and intelligence to make If these meetings were successful it the policy and identity of our house remains un¬ granulations, enlarged tonsils, weak who has often improved mentally and We must realize, too, that there can never which is practically unconscious or sub¬ a really good teacher of singing. Experi¬ would be useful to study the general lungs, &c. They each have their own morally as much as he has in bodily be perfectly appropriate tone-color un¬ conscious, and goes very little beyond a changed. Over 450 leading Educational Institutions ence is, of course, the great instructor, physiology of the vocal organs, and try particular manner of affecting the voice, grace and perfection. Then let us look less the organs concerned are brought slight movement of the diaphragm. In and 60,000 homes use and indorse the Ivers y Pond. but do we not sometimes gain our experi¬ and get out some diagrams which would and it is useful to be able to detect the at the ordinary acrobat. I do not sup¬ into the state they would assume if the singing or sustained speech a larger Wherever in the United States we have no dealer, pose that Nature has gifted the majority performer were really experiencing the amount of breath is necessary, and con¬ ence at the expense of the pupil? The be useful to young teachers. I do not various symptoms. think those in existence quite fulfill their What I call “character” is of the ut¬ of these persons with particular or spe¬ emotions about which he is singing. trol is absolutely essential. This new \ocal organs are so delicate, so liable to we ship from the factory on approval. Liberal allow¬ purpose. most importance—I mean the possession cial powers: in fact I imagine most acro¬ These conditions will probably be ob¬ aspect makes breathing exercises as nec¬ injury—they are living things which grow ance for old pianos in exchange. Attractive easy of the qualities of patience, perseverance, bats begin their training so early that tained fairly easily by the individual essary to the finely developed healthy and can decay—if injured they can never payment plans. A catalogue describing all our grands, there would not be time to find out when the subject deals with emotions industry, self-control, and, joy in over¬ person as to the delicate one; in fact, the be replaced. Sometimes the mere touch In 1816, Rossini produced that opera uprights and players mailed free on request. Write coming difficulties which takes the pupil whether they are specially gifted or no: natural to himself and with which he outpouring of breath from a vigorous of the ignorant can inflict a severe wound. bv which he is best known to-day, the so quickly along the path of progress. I they are made—not born, and yet we see sympathizes, but those ideas with which singer impinging on the vocal chords un¬ The Society of Women Musicians is incomparable Barber of Seville. He com¬ for it now. often think that “character” is rarer from ordinary children of ordinary par¬ he is unfamiliar, or to which he is op¬ checked and uncontrolled is capable of alive to the difficulties which confront the pleted this work in from thirteen to fif¬ I than intelligence. So many students are ents without unusual ability or excep¬ posed, will be more difficult for him to doing a great deal of mischief in a short teacher and the dangers to which the teen days. Accused of laziness, he re¬ clever, but flippant; they cannot, or will tional physique, performances exhibiting convey. In these cases mind and body time. The teacher, therefore, must de¬ pupil is exposed, and it is suggested that plied that with him indolence was a creed. not, see the necessity for practice. They the most remarkable agility, suppleness are less alert, the vocal mechanism does vise exercises which will develop the a committee should be formed of experi¬ But his mental activity was prodigious. Ivers & Pond Piano Co. forget their breathing exercises, laugh at and strength, showing frequently a per¬ not adapt itself so readily to the will; lungs so that there may be ample quan¬ enced teachers and singers who would The story of his having preferred to write their diction exercises, and demand silly fectly beautiful physical development, and there is less flexibility and a slower re¬ tity of breath, then direct their action in take various subjects connected w'ith another piece of music to recovering 141 Boylston St. Boston, Mass. little songs or ragtime ditties instead of usually giving evidences of the posses¬ sponse. because the desired conditions such a way as to avoid interfering with singing, and by patient study and con¬ sheets he had dropped under his bed is trying to understand beautiful music! sion in a remarkable degree of the moral are unusual or disliked. From the phy- the freedom of the neck or throat, then sultation endeavor to arrive at some con¬ probably true. But the man who can qualities of courage, judgment, and con¬ ical point of view then, the organs must bring about a method of expansion which clusions which all felt to be true, and write one composition in little more time The Teacher’s Knowledge trol. If these wonderful results can be not only be developed as much as possible does not induce fatigue, and finally, by at¬ on that basis formulate some recommen¬ than it would take him to pick up another Now, wih regard to the kind of knowl¬ obtained by discipline and training from and made strong and healthy, but they tention and concentration, gain such con¬ dations to young teachers which would has, perhaps, a right to his own methods edge the teacher ought to possess before the raw material of which so much of must also be flexible, supple, and well trol of the intercostal and the diaphragm¬ perhaps assist the conscientious and en¬ of work. In nineteen years he produced she can hope to deal successfully with our splendid new armies is composed, and under control. atic muscles that there is no chance of thusiastic beginner. more than thirty works for the stage. Please mention THE ETUDE when addressing nnr advertisers. THE ETUDE Page 246 APRIL 1919 THE ETUDE APRIL 1919 Page 24‘i Opera and the Great War - - - - One of the most positive ■jiues from President Wil¬ Question and Answer Department

ts doing the na¬ NEWLY CONDUCTED il, more than ever "before, is a present national need. THE ETUDE is pleased to announce that this important Department will There is no better way to express pa¬ ingureifminates J.""^oAho“urtm«““yle”we hereafter be conducted by the well-known French-American Musician ARTHUR DE GUICHARD in taking mil of men from civil life away from r homes and sur- ‘TnLTodayWrite today for free . illustrated..lustrated bookletbock., st which hcciTririilrr?ra— your name auuand aaaress.address. xnoNo questions winwill beoe huswcicuanswered when*nicu thistms hiius Wken\ourevw licit JLUUIC Out-of-DoorsV/Ul UI X/UUla in totally ,ualv.— adminis- ;ular military and the Commission Activities; and __ _ _ .... C. A.; the Navy ...—sfS'fSSKSSir —rSHKsyir “ ■ League; Knights of Columbus; the Y. M. H. A.; and organizations—

of these sufferers, i cough the sound, or least a part, to the malady This beautiful instrument seems to the as nearly perfect as skill, experi¬ is astounding. ence, and manufacturing facili¬ ius equation ties can make it. at a solemn nouth when a Its tone is purely that of the the seashore, Concert Grand, having great ig way.. Let power and sympathetic qualities. this. BUT— is one of the Dealers in Principal Cities t usual, ihter- Si Si’IsSi'W 2KS

I heard one man behind me the other If you are one of the nervous ones, Emerson Piano Co. Established 1849 STUDY HARMONY night, essaying to beat the time of the S/4 here are a few hints as to the remedy. and COMPOSITION ii. the Pathetique and what a funny mess Try coughing with the mouth closed Boston Mass. 1 must5 be^ven^t/ full Q• In The Etude for March, there is some by MAIL JJjjJJer the per ' he made of it! It was evidently not one tight. It will not make nearly so much ea. slur may he looked ?££. TeZTuT.? Z « of the “Times-I-Have-Met” in his limited noise, and it will give just as much relief experience and it kept getting away from as coughing fortissimo. Only keep the the sole of his shoe in a way that must lips shut and the jaw set, and the teeth i Ef^rKHSTS? have puzzled him extremely. together. It is perfectly possible, and one But the worst of all thoughtless ag¬ can get into the habit so thoroughly that gressions on other listeners’ comfort, is it becomes second nature. t» ...II- jj« B„, ... 0, ALBERT ROSS PARSONS “That Awful Cough /" Good manners at a concert are just as It is—by a sinister coincidence—simul¬ eloquent a tribute to the music, as is en¬ f# FRECKLES ; it "ssc A? 'V/Now Is the Time to Gel taneous with the soft phrases in the thusiastic applause—a more subtle token >7 r Rill ol These Ugly Spots. music. And terribly contagious, too. of real appreciation at once of the lovely The encouragement of a single cough, art, and of the comfort of one’s fellow .“ sets off scattering volleys of coughs all listeners. OTHIME- One or Two Hints on Breathing INTEREST Inexperienced singers are apt, in prep¬ practice, but, once learned, long it even the worst freckles have be*mn to aration for a long phrase to overcrowd phrases will have lost their power to How to gain and' hold the INTEREST the lungs with air, not realizing that it is of music pupils fully explained. worry the singer. Often when a young .he double strength^ 01 = CIRCULARS FREE. = considerably harder to control the out¬ pupil asserts that a phrase is too long flow of breath from a completely full R. B. ROBINSON for him, I tell him to try again, squeez¬ Dept. E. 4243 Garfield Kansas City, Mo. reservoir than the outflow from one that is only comfortably filled. A moderate ing out for him with my hands from his supply of breath is sufficient for the bellows a reserve of air that he did not Kill The Hair Root ENTERTAINMENTS, ACTS longest phrase, if only one is tjble to know he had in storage. Exercise of the in/:i£ainnKms\pntuless. tuirmlcS'. *No M»Booktetfr» WRITTEN Write today enc losing 3 stamps. We teach beauty culture. TERMS for a stamp. utilize the whole breath-supply. To learn expulsive muscles is all he needs to enable D. J. Mahler. 754-X. Mahler Park, Providence. R. I. Catalogs of Play-Acts, Wigs, to empty the lungs completely requires him to empty his lungs for himself. PLAYS sWatch YourNerves! No Two Pupils Alike Two of the greatest female singers of bound by a chain; the other may be led 0,by neglecting the last century were Maria (Malibran) by a silken thread.” and Pauline (Viardot), the daughters of Teachers of singing discover just such differences among their pupils and come !£ the greatest of Rossini’s tenors, the first Send for the book TODAY/ down to realize that although the funda¬ R. S. Shufio 88 110W. 40* Si. few Manuel Garcia. In speaking of the dif¬ mental principles of good singing are im¬ ference between his gifted daughters, the I'or Recital. Church or Spectal mutable there are as many ways of in¬ UO sions. cheerfully sent on select* father used to say, “The one must be culcating them as there are pupils. Arranging and Correction of Mss. A SPECIALTY A. W. BORST, Presser Bldg., Phila., Pa. Keeps Skin Smooth,Firm, Fresh Comvoser ol Cantatas, Songs, Pianoforte and Church Music - — Youthful Looking w/ A Wholesome, Cleansing, J QUI* Refreshing and Healing Lolion—Murine for Red¬ contour—there is nothing guite » ness, Soreness, Granula- I tion, Itching and Burning Towdtred SAXOLITE Eyes*_ 9 of the Eyes or Eyelids; “2 Drops” After the Movies. Motoring or Golf will win your confidence. Ask Your Druggist for Murine when your Eyes Need Care. M-13 Murine Eye Remedy Co., Chicago Please mention THE ETUDE when addressing our advsrtlserg. TEE ETUDE APRIL 1919 Page 249 Page 248 APRIL 1919 THE ETUDE inclined to regard the rights of the musi¬ the same time, alarming odors of smoke began to ascend from the basement and several of cians too lightly. Nevertheless it is by the ushers hastened down to see what was ::v' ^|ll|PIi«ni» &■;: !: :1 ■ ■ ' ' ■ " ■ “ . ; ii i ■■ ' . : ■' " the manner in which we perform the the matter. They discovered the organist and the men-singers In the furnace room en¬ ..a -<« ''**£*%*:"*" ' AM^ASmm present duty that we grow into the larger joying their peaceful cigarettes. The musi¬ .. v , •\,r •'>* Schomacker opportunity. Moreover a reputation for cians had counted on five minutes more of grace and were, of course, much surprised willingness and cheerful cooperation has when they discovered that the minister had Style F never yet lost a man a job, though it exceeded the speed limit. For once the in¬ dignation of the congregation expressed itself has on many an occasion saved a place and the entire aggregation was discharged, for him that might otherwise have gone though one member at least of the quartet Department for Organists GRAND was probably the best singer of his type for to someone else. Maybe a little more re¬ five hundred miles. gard of the point of view of the employer These musicians would probably have Edited by Well-Known Specialists —the man who pays the salary—would claimed that they were giving exactly The quality of its tone do us all a lot of good. what they were paid for, and maybe they enraptures the heart as its An interesting case from one of the 7 look upon the history and development of the organ for Christian uses as a sublime instance of the guiding hand, of God. I s believed it; but I do not think they would largest cities in the country illustrates my the most complex of all instruments, it is the most harmonious of all, it is the grandest all. oorces beauty of construction de¬ meaning. have had much standing in a court of justice. I am inclined to believe that existed had the breadth, the majesty, the grandeur that belongs to this prince of instruments. HENRI lights the eye. A solo quartet and a fine organist had for Sunday as a Day of Rest a number of years furnished with entire satis¬ they did not give one hundred cents on The use of the hymn as a special num¬ faction the music for a wealthy church ; that The men of the household rest on service-playing of the former generation “ Getting Out of the Rut ” is, their musical performance had been artie- the dollar, even although they did per¬ Organ Players versus ber is always most effective. I have Schomacker Piano Co. tieally acceptable, and they had not in any form every musical duty which had been Sunday—and eat. often so impressive and so interesting. Probably the reason why church at¬ heard Peace, Perfect Peace sung in a sense made themselves obnoxious by their imposed upon them. After all, they owed The women who cook the big Sun¬ Organists The same mental trait which makes the Established 1838 behavior in the house of worship. There tendance has fallen off in many cases has service by one of the most advertised had been, of course, the usual mutterings a further duty to the church. Even al¬ day dinners which the men enjoy do congregation prefer, other things being been a feeling on the part of the attend¬ Philadelphia. Pa. because the choir would insist on conversing Virtuosity seems to be the character¬ choirs in America as a solo for voice and chewing gum and reading newspapers or though they might previously have been not get much rest, but they are learn¬ istic of the age. This is the age of the equal, that the minister should preach ants that they know absolutely what is (soprano), alternating with full chorus novels while the sermon was going on, but. in the habit of smoking their cigarettes ing to take some "short cuts” to save without notes, or at least without obvious specialist. The ideal seems to be that a coming, even to the turn of the minister s in a style that thrilled the audience more then, that is too often the habit of choirs, during sermon time and had not delayed unnecessary work in the hot kitchen. notes, also makes improvisation a wel¬ and people have come foolishly to endure it. man shall do one thing extremely well, phrases or to that weak high note where than a great chorus front the oratorios. One Sunday, however, the minister une-x- the service, they were guilty of a breach come and desirable relief from the cut- STUDENTS PREPARED FOR THE ectedly preached a short sermon. Perhaps if possible better than anybody else, and the soprano always falls down. The de¬ And I have heard a high-priced soloist of contract just as truly as on that last and-dried service-playing which one too sire for novelty is almost a disease with Ee should not have done this; perhaps he in a millionaire congregation sing as a was not playing fair. But it happened at Sunday when they were discovered. It is that he shall do that one thing only. often hears. There is, of course, danger us Americans, and has been the cause of solo a psalm tune of the eighteenth cen¬ Church Service any rate. At the close of the sermon he only fair that when one accepts a salary, This is in keeping with the efficiency that the extemporaneous speaker will announced his hymn as usual, but there was the introduction of much that is out of tury with as much effect as if it had been no response from the organ. Fearing that one should ally himself with the business. which we have been in the habit of as¬ and Recital Work is one of the labor-savers. Delicious ramble all over a forty-acre lot; so there place into the service of the church which the choicest number from the Messiah. perhaps the organist had not heard (as, in¬ If he cannot do so, he should in decency sociating with the Nation of Kultur. We is danger also that the improvising per¬ deed, he had not) the minister repeated the Jell-0 desserts, which just fit the Sun¬ bids for popularity. I have little sym¬ Many hymns are too positively congrega¬ announcement with (he same result. About retire voluntarily.—J. L. Erb. have, accordingly, artists who can per¬ former may become garrulous and repe¬ day appetite, are made by dissolving pathy with the use of the cheap and tional in their type to be used as solos, or form with ease technical feats which titious. Nevertheless, improvising in Jell-0 in boiling water. It is done in a trivial or the unsuitable in the choir gal-, even as choir numbers, unless the choir GUILMANT would have been the despair of former moderation is as essential a qualification minute, and adds a good many min¬ lery, or, for that matter, in the pulpit, is a large and well-balanced chorus; but Saint-Saens on Improvisation generations. Among those who perform for an organist as the ability to “speak a utes to woman’s share of Sunday re£t. but there is a safe middle ground which there are, on the other hand, many Formerly, improvisation was the basis sess such scant interest, and who was on the organ are many whose finger- few words” appropriate to the occasion ORGAN SCHOOL Jell-0 is put up in six pure fruit can be exploited to advantage, and which hymns, especially by English and Ameri¬ Over 150 now holding prominent positions of the organist’s talent; his virtuosity a marvelous improviser; I might men- dexterity would shame the piano virtuoso is to the minister. flavors: Strawberry, Raspberry, Lem¬ will introduce a healthy element of nov¬ can composers, which are superb when was light—music written for organ with tion others whose improvisations were of fifty years ago, and whose recitals are The art of organ accompaniment is on, Orange, Cherry, Chocolate, and is elty and at the same time enrich the polished and offered in their most ar¬ concertante pedal was beyond his powers, superior to their written compositions. shining examples of accuracy and fluency worthy of the greatest master. It in¬ sold by all grocers, two packages for service. tistic guise as special numbers. And the As a compensation, we had improvisa- Necessity, and the inspiring character of and often of brilliancy. Yet, withal, volves all that a piano-accompanist is I refer to the use of ensembles. There 25 cents. expected to do, with the addition of the fine thing about the use of hymns for tions of the highest order. Little by lit- tlle instrument, sometimes accomplish The newest Jell-0 Book will be sent organ recitals are a drug on the market, is a surprising amount of beautiful and such purposes is that gradually the reper¬ tie our organists have bent themselves what meditation is unable to achieve. It registration which adds the color an'd satisfactory music for solo instruments to you free if you will give us your and too often are attended by audiences toire of the congregation is increased to acquire the virtuosity which they excite surprise to learn that the expressiveness for which the organ is so with organ accompaniment which can be Learn Harmony and Composition name and a *' so pitifully small that it would seem as so that eventually the great hymn litera¬ lacked, and the fugue with obbligato pedal ^nfante of my first Sonata, for piano pre-eminently fitted. But the organist introduced into the church service itself though there could not possibly be any ture is familiar to all.—J. L. Erb. has become familiar to them; but at the “d violoncello, and the conclusion of who is so poor a sight reader and per¬ at appropriate places, or which fits like return to the performer for the labor same time, under the influence of the my Symphony ,n CM,nor, were created involved in preparing the program. former that he must stumble over the a glove into the musical service or choir On the other hand, there is a despair¬ notes of the accompaniment is hardly in concert. The harp has always been a a position either to furnish the adequate Strmd1sreSDuhte01’ impr°visati°n haS fallen “iS moTSautifuMWngs”' are beauti- ing cry from churches everywhere that popular instrument, both in church and Dollar for Dollar mto disrepute ful only in their place. And so, how background for the singer or to fill in the number of organists who can play without, and its use is associated with We hear much in these days of It » impossible for me not to deplore can a fugue or a toccata b Johann Se_ the service adequately and fittingly is far that background with the color which worship from earliest times; but the harp th,s needless decadence. Without speak- bastian Bach make its way into an offer. (Austin Qrgansj will enhance its beauty and effectiveness. minimum wage agreements and mini¬ less than the demand. The voluntaries is not always available. In that case, a ing of the monotony which results from tory? They are concert pieces which Every organist ought to keep constantly mum prices for the necessaries of life go well enough—they are often most piano, tuned of course with the organ, it—for all organists have very nearly bear no relation whatsoever to a Mass, in practice by playing all kinds of accom¬ and other attempts to protect on the one artistically performed (though one may will answer in the hands of a discreet Recent Pipe the same repertory—it is improvisation and which inspire neither a meditative ■yo the absolute repu¬ paniments for all kinds of performers, hand the laborer from being underpaid not always be so sure that they are se¬ performer. In the average town or city alone which permits one to employ all nor a prayerful mood; beyond the com- vocal and instrumental alike. Only in and on the other the public from being tation of this firm for lected in keeping with the place and the the harp part may be invariably per¬ the resources of a large instrument, and prehension of the audience to which they this way can he be equal to the exacting exploited. The sentiment is common in Organ Pieces occasion)—but, in the service-music formed, or at least suggested, by the to adapt one’s self to the infinite variety address themselves, they can interest but mechanical construction demands which are made upon him by all breasts that we must get as much for proper, there is another story. The ac¬ piano, and such combinations as violin, By Popular Writers of organs; only improvisation can fol- a few rare auditors familiar with them, and console convenience the best song and choral literature of our ourselves as the traffic will bear and that companiments are perfunctory, where harp and organ, or violoncello, harp and low the service perfectly, the pieces writ- A virtuoso hardened to every difficulty, time. 12. Fryenger, J. Frank.Moonlight is added strongly of late they are not bad, and the hymn playing is organ, or others of the same type, may be it is the business of the other party to the ten for this purpose being almost always an ingenious improviser—such should the less inspiring than if done by a barrel- Organ playing in church has always found or arranged in sufficient number to contract to see that his rights are pro¬ years endorsement of the been a dignified profession. With the too short or too slow. Finally, the prac- perfect organist be. It is to form such organ. meet any demands. Of course, the Sun¬ tected. There is, however, a great deal 54. Shc^pud, E-H.-.-.-PorfiideinD tice of improvisation frequently develops organists that they are laboring in the most discerning as to improvement of the instrument in the day school orchestra may be improved of foolish shortsightedness about this The trouble here, as in too many other faculties of invention which, without it, organ-class at the Conservatory of Paris, tonal blend and quality. directions, lies in the type of preparation. past generation, and with the opportuni¬ and worked up sufficiently to offer some policy which interferes ultimately with 10. Warner, F. H. Allegro con Spirito ties to hear good organ music which have would have remained latent. where execution and improvisation rc- The organist has specialized too much in delightful and inspiring contributions for the greatest success. “Honesty is the I have spoken of Lefebure-Wely, ceive an equal meed of honor.—The Mu- There are no better the direction of performance and at the been afforded so largely by the great co¬ festival occasions or even for the regular Best Policy,” not only because it keeps 13. Pea*. S. G. . . Aonivemry March whose published works for organ pos- steal Quarterly. Organs made, from any expense of musicianship. The American operative organizations which have de¬ service. Our conservativeness in this one out of jail, but because it establishes Tuneful and spirited, a good teaching veloped within the past twenty years, or¬ Guild of Organists has recognized this matter has been to the great detriment one’s reputation for reliability and fair¬ IS. Mamo-Cottone. M.. Marcia Feativa point of consideration. gan playing has become also an exacting tendency from the beginning, and, there¬ of our church music. ness, and, in the last analysis, the bulk of Music’s Debt to Organists art. The old-fashioned criteria will fore, has always insisted that candidates Sometimes a member of the quartet the world’s business is done on the basis »4. Sheppard! E.’H.. Allegro Pompo* The art of music owes a tremendous hardly suffice. The organist of to-day perin, the founder of a line of musi¬ for its degrees shall qualify not only develops a sudden indisposition and can¬ of reputation or, as we sometimes call debt to organists and to the organ, and cians which held in France a position must be more than a performer, he must [Austin Organ C

The evangelistic pianist should be a tional singing. Now, I do not mean good pianist and a good accompanist. the pianist is expected to lead a congre¬ Standard To be a good pianist does not neces¬ gation without a conductor. Of course sarily mean that he must be able to play it is possible to lead a congregation with¬ Department for Violinists from memory a program consisting of out a conductor, but it is much better to History have a conductor. The pianist will be r , Edited by ROBERT BRAINE a Bach prelude and fugue, a group of f <,% Chopin etudes and some of the ultra either of great assistance to the conduc¬ of Music modern compositions. To be a good tor, or he will be a great hindrance. “If All Would Play First Violin We Could Get No Orchestra Together.”— R. SCHUMANN accompanist does not necessarily mean Notice, I put conductor before congrega¬ By JAMES FRANCIS COOKE tion, for the pianist is supposed to fol¬ that he must be able to play from mem¬ low the conductor and lead the congre¬ ■—————— Price $1.25 ory a program of Schumann and Schu¬ MENDELSSOHN bert songs and appear in recital with gation. A FIRST HISTORY FOR STUDENTS AT ALL AGES The Benefits of the.Class System Caruso, etc. In playing for congregational singing I believe that the worst criticism we there are two things to be emphasized The many letters received by The One advantage of class instruction of In conducting violin classes, the teacher class, fifteen or twenty or more, of abso¬ rhythm and melody. The.melody may be Eight Delightful Weeks of History Study have to-day of the evangelistic pianist^ Etude, inquiring about the class system this kind is that it develops confidence should strive to keep the close attention lute beginners or comparative beginners played in octaves in the part of the upper On the Porch. to *. O-d- By th. Shorn. *ny»h,„ is the fact that he is able to do “stunts,” of violin instruction, proves an ever¬ and overcomes timidity in the case of of all the pupils and sep that, when he is meet once or twice a week for an hour’s register of the piano which will give it but is not equipped to do anything else. growing interest in the subject. It is only bashful, diffident pupils who are nervous giving one member individual instruction, instruction. In a class of this size, most the greatest possible advantage in lead¬ about playing before others. Many pupils of them with cheap, crudely constructed So it is equipment I am pleading for the within the last few years that much at¬ the rest are listening. If the rest are in¬ ing. Some melodies may be situated high, of such classes testify to the fact that violins, it takes almost all the teacher’s evangelistic pianist. What is the result Standard History of Music: tention has been paid to this method of attentive or prefer to read books or music others not so high. It is obvious that the they would feel less timidity about play¬ while one member is playing, the peculiar time to keep the violins in tune, let alone after the pianist has read some of the teaching the violin in this country, al¬ short and high pitched strings of the ing for a large audience than for their advantages of class instruction are lost. giving each member of the class the Beethoven sonatas and played perhaps though it has been used very extensively piano will sound out above a great con¬ in Europe, in one form or another, for fellow-students, since they are quite well Class instruction as outlined above has proper individual instruction. Under such one or two of them in a creditable man¬ aware that the latter will detect mistakes been very popular in Europe for many conditions it is impossible for the teacher gregation. This will give the piano the **** ** many years. Especially, in the British ner? Or what is the result after he has much more readily than the general pub¬ years. It is of especial value in the case to give the pupil anything but the crudest greatest advantage possible in helping the 3d Week. J. S. Bach, G. F. Handel, F. J. Haydn, W. A. Mozart. Isles do we find much violin instruction read the compositions of Chopin and lic. Another advantage of the class sys¬ of advanced pupils, who are able to ap¬ technic and the merest smattering of the congregation not only to keep up to pitch, 4th Week. Gluck, Beethoven, Schubert, Weber, Mendlessohn. by the class system, almost every school studied in detail one or two of his stand¬ 5th Week. Schumann and the Age of Musical Romance. Opera Writer. of the Nme.eenth tem is the social element, which enters preciate and really criticize the work correct elements of violin playing. In ard compositions? What is the result but also to get the right idea of the in¬ there having its violin class and orchestra. tervals involved. However, in playing Century. Great Teachers of the Pianoforte. largely into the matter. Man is a social being done by the others and profit by the the case of the average violin pupil, it is after he has read the Schubert songs As every educational system has its animal and he 'enjoys the association suggestions of the teacher. Eminent in¬ all the most skillful violin teacher can do for an evangelistic chorus rehearsal it 6th Week. Chopin, Liszt, Wagner. Modem Italian Composers. Rubinstein. Great French Gimposers. with a good singer? The result is that •advantages and its drawbacks, so we find with his fellows. He will' naturally be structors in the art of the piano, and to fashion him into a respectable violin¬ is better to play the exact notes until all 7th Week. Modem Masters. Brahms, Grieg, Tchaikowky. The Art Song. Famous Piffabof he will do away with the “stunts” he-has Yesterday. Great Virtuosos of ToJay. Great Violinists. Composers ol Valuable that much can be said both for and interested in meeting with his fellow- singing as well as violin teachers, have ist with two individual half-hours a week. parts are true, and when the hymn is heretofore used and adopt some ideas Pianoforte Pieces in the Smaller Forms. Composers of Teaching Pieces. against teaching the violin by the class students, all trying to accomplish the same often followed this plan, as witness the I recently had the opportunity of ex¬ new to the congregation, it is better to which can continually be used and never 8th Week. Music in America. Masters of Today. Summary of Musical History. FormaUon of system, according to how it is conducted. work as himself and he will be spurred coterie of pianists and piano students who amining a number of pupils who were the play it exactly as it is written for a num¬ wear out. a Music Study Club for Next Winter. In considering what can be accomplished on in a friendly rivalry to accomplish it met at Liszt’s house at Weimar to hear product of such a large-class system. ber of times, since there are many by this method, there are three things to better than any of the rest. A pupil the criticism and instruction of Liszt as Some bright genius hit on a scheme of How to Lead a Congregation people in the congregation who know history. Any music teacher may start a cl Foote, |. Philipp. V. de Pachm.n, W. H. be reckoned with: the size of the class; would much sooner play a lesson which each one played in turn. commercializing violin instruction by the enough about music to listen for their How do we want to play in this class? Sherwood, Mm imfield-Zeisler ,y others. The London Musical Standard the talent of the pupils, and the stage of he has badly prepared for his teacher There is another kind of violin class class system in the following manner: part but who do not know enough to alone than for a class of his more merci¬ instruction with which very little can be He would go to a town and organize First, play the hymn exactly as it is writ¬ Sntelfigeritnt beginner'goingbeginner going 1 sceaanyaterdUy'through ui™u8.. the book~—— for their advancement, and whether they have ten. I could speak at length upon the read it. individual private instruction in addition less fellow-students. accomplished and that is where a large violin classes by a house-to-house can¬ experiences I have had in trying to get Thirdly, play the hymn with an im¬ We Will Help You in Securing a Class to that received during the class lesson. vass. Each class consisted of twenty pupils to play the four parts. It seems provisation. By an improvisation I mean Send us a postal request for information regarding our “Special History Class Plan, and receive in In the case of a small class consisting, members. All were taught at once, the that to a great many pianists the choral playing the melody with an attractive ac¬ return the material which will enable you to start at once and make your plans lor turning your Sum¬ say, of four pupils, where each pupil re¬ lesson lasting one hour. The term con¬ sisted of forty lessons, and the price was effect of a hymn has no value whatever. companiment or counter melody. I do mer from Waste and Loss to Profit and Pleasure. We have a special introductory price by the dozen. ceives a certain amount of individual in¬ $30 for the term—75 cents per lesson. If the melody is played with a somewhat not think it is in good taste to employ struction while the rest listen, a great Misfit Pupils weak accompaniment—very frequently THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. Each pupil received as a gift a cheap a counter melody which happens to be deal can be accomplished in a serious improvised without previous practice- “Artemus Ward tells us about a man they try to play a loud tone on the C violin outfit, costing at wholesale possibly another familiar melody, which I have way. A lesson in a class of this size usu¬ many a pianist seems to think that he has he knew in Oregon who had not a tooth string with the tip of the bow, and who $7.50. At this rate it will be seen that the heard pianists do and which attracted our ally lasts for an hour-and-a-half or two given out the musical value of the hymn. in his head and yet who was the best would have been very much improved by teacher’s fee for each actual hour of in¬ attention to his “stunt.” Taste in im¬ hours, each pupil receiving a half-hour or I will say that as a rule a prelude to bass drummer he ever heard. This story the wholesome lung exercise of playing struction was over $10. Out of six of the provisation may be acquired by the study congregational singing should be given less of private instruction for himself. does very well as an Artemus Ward the flute. And all teachers—from the pupils of the school who had completed out with the exact four parts of the of the classics, finding out how the mas¬ Musical Aesthetics and Analysis Conducting the lesson in this manner, the joke; but if Artemus Ward had been a trifler with the jew’s harp to the master the forty weeks’ term, whom I examined, ters wove different accompaniment teacher can correct the position, bowing, cornet teacher and if the man without of the organ—all of them get pupils who not one had the proper position, not one Secondly, play the hymn with the schemes around their various melodies.— intonation, etc., of each individual pupil, any teeth had gone to him for lessons forget various things. Sometimes they knew how to hold the violin and bow cor¬ thought in mind of leading the congrega¬ From the Music News. Descriptive Analyses of Piano Works and these corrections, remarks, illustra¬ on the cornet, he would not have thought forget who their old teachers were when rectly. Everything was wrong, every tions and general information will prove the joke very funny. And yet this is the they come back to the States with a Ger¬ position, every movement of bow and FOR THE USE OF TEACHERS, PLAYERS AND MUSIC CLUBS of the greatest interest and value to the sort of a thing teachers have to put up man veneer or a little French polish on finger. All the fundamentals of violin By EDWARD BAXTER PERRY Price, $1.50 listening members of the class, as well as with all the year round. Piano teachers them after a year abroad. Sometimes playing were incorrect. All the pupils Organists and Their “Little Foxes’ to the pupil receiving the individual in¬ had gained was a slight ability to read The master Pianoforte Works of Beethoven. Weber. Schubert. Chopin. Liszt get pupils with fine mouths for the bass they forget to pay for their lessons and struction. music of a popular character, a superfi¬ How many of us organists allow that the breath of life into. Most of us are and others are herein discussed from the aesthetic and interpretive standpoint. tuba, but with hands webbed enough for act as if the teachers owed them consider¬ In classes of four, conducted in this cial knowledge of time, notes and rests miserable little fox, “a poor organ,’ to so fast asleep that we fail to see-these The author, a distinguished pianist and composer displays rare judgment and an amphibious cross between a white man able money for the use of their names as manner, two courses can be pursued; and the various characters used in music, come between us and success; or some things until it is too late. keen poetic insight. This book should be in the library of every pianist. and a duck. Violin teachers get pupils pupils. Then there is the hopelessly con¬ either the four pupils can study the iden¬ and a limited ability to play with correct I plead with you that you refuse to al¬ who have not a fine enough ear to tune a ceited pupil who blames all bis lack of ungodly music committee or rector—just tical technical work, studies, pieces, etc., intonation in the easier keys. This is all' as if that particular church could never low these things to be the “foxes” that perfect fifth, but with a sense of rhythm success on the teacher. There is also or each one may be working on different sufficient to make them solo drummers. tie more talented pupils had gained. contain a new organ, or as if that one will eventually spoil your lives. The Stories of Standard Teaching Pieces the over-confident pupils who applies for material. Either plan has its advantages. Cornet teachers get pupils with hare lips, a position in the Boston Symphony Or¬ Those without talent knew absolutely miserable music committee represented mighty men of this world have been the Containing Educational notes and legends pertaining to the best known and most Where the same material is studied, a but with hands big enough to play oc¬ chestra or in Sousa’s Band at the end of nothing. After having formed so many the entire universe of music committees, men who have had to fight that they useful Pianoforte compositions in general use. certain amount of time can be gained by taves on the double bass. Trombone the first year of his training. Teachers bad habits, it will be difficult for these or as if that one narrow-minded, bigoted might achieve. They have met these By EDWARD BAXTER PERRY Price, $1.30 having the four pupils play the studies teachers get pupils with arms too short to also know the anxious hut timid pupil mistaught pupils, if they wish to acquire clergyman was the only one you would sneaking little foxes face to face, and In this book, one hundred standard teaching pieces are dealt with, special and pieces, and even the technical exer¬ reach the seventh position, but with a who will do nothing but what his teacher the art correctly, to establish the correct ever have the opportunity of meeting. have killed them off one by one. If the emphasis being placed upon the descriptive, emotional and imaginative elements, cises, together in unison, as well as sepa¬ delicate tone sense which would have shows him. He takes lessons year in and fundamentals of violin playing without Don’t forget that if you don’t get a organ in your church, the music commit¬ rather than upon mere analytical details. The compositions thus discussed are rately, as 'soon as they are far enough made fine oboists out of them. ’Cello year out without learning how to do any¬ the greatest exertion and constant care chiefly of intermediate or moderately advanced grades. new organ in your church in place of that tee, or the rector, or anything else is advanced to do so. Where each pupil has teachers get weaklings with curvature of thing for himself.”—New York Musical on their own part and that of their old fire-trap that is there now, someone proving a fox in your life, get rid of it. different exercises and pieces, the lesson the spine, who get twisted into an S when Courier. teacher. Most of them can never be got¬ else who has a little more intelligent de¬ If by killing off these little foxes in your is somewhat more interesting and the ten into shape and they will play incor¬ students become acquainted with a wider termination than you will do it after you life, you have made yourself worthy of Well-Known Piano So lo—How to Play Them rectly as long as they live. fange of compositions. are gone. You’ll wonder how he did it, better things, better things are waiting By CHARLES W. WILKINSON Price, $1.50 Heavy Programs Beginners can gain great benefit from Two lessons per week in a class of playing together only if they have private and it will be to your everlasting disgrace for you, but you must first kill off these A practical book in all respects, full of valuable teaching hints and most en¬ four, conducted as outlined above, is an It is not often that a violinist plays much enthusiasm was manifested by the individual instruction besides. It will be that you did not make the most of the things so clinging in their nature that tertaining to read. More than one hundred pieces are discussed, covering the ideal method of studying the'violin, and three concertos in a single evening, but large audience. urged that we have these beginners’ opportunity when it was yours. drag us down to eternal death. ground of piano music all the way from Bach’s Bource, to Debussy’s Arabesque, and is naturally far superior to the usual this feat was accomplished recently in In Europe three concertos are some¬ classes of fifteen or twenty in schools all Don’t forget, either, that there are mu¬ including such popular writers as Bendel, Brahms. Chaminade. Gottschalk, Lack. The reason for an old worn-out squeaky method of two strictly private lessons of Cincinnati by Eugene Ysaye, one of the times heard in one concert, but it is rare over the world and that they learn to sic committees in some churches that Leschetizky, MacDowell and others. organ being in your church can be traced half-hour each per week. With two hours greatest living violinists, who played on in the United States, since American play. This is no doubt true, but the point have a more well-defined knowledge of to the fact that there is a “fox” lurking at,his disposal the teacher can go into one program a concerto by Viotti; the audiences are apt to demand more variety is—how do they play’ If bad position, musical conditions than you ever dreamed around somewhere. It’s to your everlast¬ These three volumes constitute a Complete Study or Reference minute details which would be impossible Symphonie Espagnole by Lalo; and the G in a program. While an artist of the su¬ false intonation, rasping, scratchy tone! of. Find them. If you don’t, remember ing disgrace if you don’t hunt him out. Library for the Teacher, Student or Music Lover in the case of a single half-hour lesson. Minor Concerto by Bruch. The accom¬ preme excellence of Ysaye, might be able bad time, and every other fault known to someone else will. Every old, worn-out organ in a church is One suggestion, bit of information or il¬ paniments were played by the Cincin¬ to hold the attention of an audience violin playing can be called “playing,” Then don’t forget that in the place of lustration will suffice for. all, instead of nati Symphony Orchestra, under the di¬ through three concertos, it is hoped, that then the system of instructing beginners your narrow-minded, bigoted clergyman a disgraceful monument to the man who THEODORE PRESSER CO., PHILADELPHIA, PA. having to be given to each pupil separ¬ rection of Franz Kneisel, first violinist of his example will not be followed by vio¬ in large classes is a success. If not, it is you will find some of the most noble, can, but simply won’t or don’t.—Chester ately. A two-hour lesson also leaves con¬ the Kneisel Quartette. The concert was linists of lesser rank. One concerto is a wretched failure. The most excruciat¬ godly men the Almighty ever breathed H. Beebe in The Evening Post. siderable time for unison work. given at the Cincinnati Music Hall, and usually sufficient for any program. ing noise I ever listened to in my life was THE TEE ETUDE APRIL 1919 Page 253 Page 252 APRIL 1919 a class of twenty-five ten-year-old violin afterwards go to private teachers and let us send you some of our students trying to play a march after two learn the art of violin playing correctly, Fake Violin Labels a Play It While^- months’ instruction. and the fact that many pupils become 2S ttSS VIOLINS The Most thus interested through the large-class In these classes pupils of real talent at non-prohibitive prices You Pay often become interested in the violin and system is about all that can be said for it. ANY violin in our new violins as Cruel Fraud Tfte most valuablepiano in tAe world Elementary cat a lo^ wifi be sent you Every Violin has its price, and it will give us DEGAL beauty and su* pleasure to send them lor trial and inspection. Many letters continue to reach the Etude from owners of violins, who, on the strength of the fact Re-Hairing the Bow that their violins contain labels, bearing the names of famous violin makers, jump to the con¬ perb tone blend into Method Violin small ^monthly^ payments.^ Trial The world-renowned “Gemunder clusion that their violins are genuine and worth fabulous sums. It has been repeatedly explained arts supreme achievement Inquiries are continually coming to I once called on Edouard Remenyi, the Art” Violins $200.00 to $500.00each. in the Etude, that it has been the custom of a hundred years or more, of violin manufacturers to VuRuIzER the violin department as to how often late famous violinist, and found him Old family relics repaired and restored. paste facsimiles of the labels of Stradivarius, Guamerius, Amati, and other famous violin makers, in the STEGER Reproduce doing up a package of bows for ship¬ Time payments arranged. For 200 yearsJriak’ers of vice a violin bow should be re-haired. No We have Everything for Violinist* in their violins, the idea being more to show the type of model used than a deliberate attempt to ing Player Grand Piano. masters and fine modern violins. exact time can be specified, since the ment by express. He informed me that Educational Pamphlets Free on Request delude the public into the belief that the violins had been made by the great masters whose names he was shipping them to Paris. He said appeared on the labels. These labels are often found in violins which retail for as low as $5.00. Musicians praise its artistic Write for Catalog wearing out of the hair depends on how Subscribe to the Violin World, a monthly, long the bow is used daily, how strong a he could not find anyone in this country, $1.00. Est. 1892. It cannot he too emphatically stated that it is impossible to judge the identity of a violin by a worth. G[ Steger Pianos and pressure the player exerts in playing, and who could re-hair a bow to his satisfac¬ copy of the label sent us by mail. There seems to be no law against using these labels in this PlayerePianos are shipped on Bel Canto HUGU5T GEMUNDER fl 50N5 manner, so we find any kind of a label in any kind of a violin. It is a pure waste of postage to some extent on the quality of the hair tion, so he was sending them to Paris to | approval to persons of re¬ and how well the bow has been hpired. a workman whom he considered the best for people to write us concerning their violins which they expect us to value on the strength of re-hairer of bows in the world. He liked a copy of the label in the violin. The advertising columns of the Etude contain the names of sponsibility. Write for Steger Wire E strings wear the hair more rap¬ a number of reputable firms dealing in old violins. Readers who possess violins which they Violin Method idly than gut or silk. Boiled down to a the sharp, clean “bite” of new hair on the believe are genuine products of the old masters of violin making, should write to one of these Style Brochure and conven¬ By single phrase, the bow should be re¬ string, and never used a bow, without re¬ OUR “SPECIAL” firms and arrange to send the violin for an examination. Written descriptions and photographs ient terms. Steger dealers HOWTO hairing, longer than two or three weeks. MABEL MADISON WATSON haired as “often as it needs it,” just as OCr 10 Tested Lengths, OCp of the violins are of little use in telling whether they are genuine or not. The violins must OVERCOME the barber hones his razor when the Sometimes a bow will seem to need be actually seen and carefully examined. everywhere. strop will no longer give it an edge. An re-hairing, when the failure of the hair Ltnj Silk Violin E, for^v*' STRUG to “take hold” of the string is the fault Send for Violin and Cello Catalogue STEGER & SONS experienced violinist can tell instantly Kano Manufacturing Company TROUBLES whether a bow needs rehairing, by the of its not being rosined properly. Pupils MUSICIANS SUPPLY CO. Founded by John V. Steger, US9 USE “bite” or “attack” of the hair on the often leave their rosin lying around, or 60 Lagrange St., Boston, Mass. Steger Building, Chicago, 111. strings. handle it with greasy fingers,. so that Factories at Steger. Illinois,- wherethe “Lincoln'' and. and piano and also as violin duets. MULLER & KAPLAN It is very hard, even in the large cities, the rosin no longer comes off as it should, “Dixie" Highways STRINGS as it offers a smooth, glossy surface to to find a workman who can re-hair a H. G.—The wording of imitation Stradi- Special $1.00 Offer f^.1" "«SlsSS bow perfectly. The hair must be combed the hair, which fails to take hold of it. ( varius labels is tile same as the original. A Method that makes Tning our celebrated *’Intuna” E, A and D, a until it is in perfectly straight lines and This condition, when it occurs, can be Some of these imitation labels are crude /?• l? Pla-Vini? violin or cornet duets, *r G. Satisfaction guaranteed oi affairs, while others are made with all the especially In public, the performers should Teaching and Study ONLY* --“ ONE SET AT\T TlTHIS PRICE not with some of the hairs criss-crossed, remedied by scratching the smooth sur¬ « skill of a banknote counterfeiter. Experts s and. rhe one playing the first part should Send for “ Fiddle# tringa" t as bunglers who try to rehair bows face of the i^isin with a pin or knifei judging whether a violin Is a genuine Cre¬ mona, pay little attention to the label. They second ‘to Vbe left SS Pleasurable MULLER & KAPLAN 5 leave it. The hairs must also be equally It is astonishing how negligent inex¬ judge more by the varnish, the lines of the If two are used should he placed at the front perienced violin players and pupils are violin, the modeling, the carving of the ol the stage directly facing the audience. tight and not some loose and some I scroll, the wood, the cutting of the FF tight. A bow, re-haired in the proper about getting their bows re-haired. One I holes, and all the characteristics and geu- J. II.- For the continuance of vour stud¬ manner will produce a much finer and often finds bows in use, the hair yellow I eral appearance of the various parts of the ies get Macau Special Studies Op. .id. Bovk 1. I violin, which mark the work of the original also Shradieek's Scale Studies. 2. A good more sonorous tone than one with some with age, and worn perfectly smooth, . The general public seems to go eu- musical dictionary will supply the iuforma- Violin s Piano of the hairs tangled and with loose hairs which have not been re-haired for years. I tirely byu~ ***etl label, which is really of very tlon. I lie modern sonata Is an instru- n determining the real maker, mental composition in three or four extended in streaks. Many violinists try to re-hair Their owners wonder why they cannot I Siuce any xlnd of a label can be pasted in movements, contrasted in theme, tempo, and their own bows. In this they make a get a good tone from their violins, and History’s Greatest ii any kind of a violin. Occasionally a gen- composition to be played | uine label is met with in an imitation violin. iormers. A serenade (an Collections great mistake, as it is a job for an expert, usually blame the violins, the strings or „ _ _ song suitable for a lover |i J. B. P.—While Johann Schmidt, who -- sing belore his lady s window', or an in¬ These Books Offer a Goodly Number with a great deal of experience in rehair¬ something other than the true cause. WAR I made violins at Cassel, Germany, from 1800 strumental composition in similar style. ing bows. There is also a great differ¬ Good, fresh, well-rosined hair is abso¬ ] to 1825, can hardly be called one of the and Variety of Pieces at Prices that Graphically Described by | famous violiu makers of the world, he made G. R. S.—There are hundreds of thou¬ ence in the quality of hair. None but the lutely necessary if one would produce a Are Most Reasonable 1 many excellent instruments, which are sands of violins In the world bearing Guar- best should be used. good tone from the violin. S. J. DUNCAN-CLARK I highly esteemed, especially by German vlo- nerius labels, similar to the one in vour vio¬ ! linists. 2. It is very difficult to fix the value lin, so there is very little likelihood of Its Variations on a National Song International War Correspondent | of such an instrument without examining It, being genuine. If it is a real Guarnerius, it .’’ ' worth from $5,000 to $15,000, ac- By Violinist’s Popular ) preservation and quality. q A complete and authentic history of the I and best-known- -_a makers,____ dependf__ solely Repertoire American Violin Music cause, leading up to the World War. the conflict , „n their tonele qualities for their valu-value. Vid- G. W.—There are hundreds of thousands EUGENIO PIRANI I lins made by the great masters of __ violins stamped with the name "Hopf,” Price, 50 cent* itself, and the downfall of the central powels. I have an added historical value. 3. If the 139 short compositions for the violin, be¬ 'hi sed by many manufacturers An album that contains twenty-nine Time was, when it was the rarest thing 4 This cloth-bound book, sir* 7% x I0\^inches, 1 varnish is in fairly good shape it is not good i trade mark. The only two One of the Most Unique Piano Numbers Imaginable imaginable to find an American composi¬ sides a number of long ones. Many of il policy to have the violin re-varnished. 4. miscellaneous pieces for the violin. They of 352 pages, profusely illustrated with whole I With strenuous usage two hours a day, are of a grade and type as to be appeal¬ these compositions are on the programs Christian Dona Hopf, Klingerithal. in Sax- By clever piano composition the wr ing to the average player. These num¬ tion on the program of a prominent con¬ which you say your bow gets, it ought to be ony, and Johai__Hopf. Impossible to give bers are selected from the best copyright cert violinist. The situation in this re¬ of the leading American and foreign vio¬ |, re-hailed three or four times a year, if you any idea of the value ” our violin without Trumpet, Organ, Harp, String Quartet, violin pieces in the Presser catalog. the great war. and contains valuable reference wish to get a good "attack” from the hair, seeing it. of variations on ‘‘America.’’ spect has been rapidly changing within linists now on tour; and they win fully maps. if you use a wire E string, more frequently the last few years, and a large number of as much applause as do those by prom¬ I still, for a wire string wears the hair much F. O. B.—1. Impossible to set a valu Each Musical Instrument has a color of its own. but the modern pianoforte, Student’s PopularAlbum q The war on Und and sea ia described in ar¬ ] faster than gut or silk. a violin without a careful examinatiou. through a variety of touches, can develop an unlimited wealth of color and American violin compositions are now in inent European composers. One concert ticles contributed by Hon. Josephus Daniels. The age of thirty-two is very late men,.*. ninUn nlaninn or--.d only-- a very limited sometimes almost transforms itself into another instrument. These interesting for Violin and Piano the repertoire of all the leading violinists. violinist states that he has thirty and Secretary of the Navy. General John J. Pershing. variations prove this assertion. Price, 50 cent* Take the example of Cecil Burleigh, for forty of these compositions in his reper¬ Commander-in-chief of the American Expe¬ :j lessons might lai Particularly attractive pieces, suitable toire. Burleigh is a comparatively young ditionary Forces, and Admiral William S. Sims. Sent Postpaid on Receipt of Thirty Cents. Stamps Accepted. instance. Mr. Burleigh is at the head of Commander of the European Naval Forces of two hours, the t--- „„ iher's, the for players of the early and intermediate the violin department of the University man, and has much good work ahead of the United States. I among the members, in individual instruc- irticles ’ help you. grades. It is a bright and interesting | tion, one playing while the rest listen. In a i. How- volume throughout, containing material of Montana. He has written no less than him. lopeless task THEODORE PRESSER CO., 1712 Chestnut St„ Philadelphia, Pa. which will be found in no other collec¬ q Every American will want this book. It it 5 few months the pupils, If thev have the . „--player without instruc¬ tions. Students of the violin will find not sold, but will be sent by us as a premium, t requisite talent, will be aide to do a certain tion. Much can be learned from books, in this volume material for recreation, for four subscriptions sent at the full priceof I of playing together in unison, in articles and printed descriptions, but after for improvement in style and musician- $1.75 each ($2.00 in Canada). I addition to the individual instruction. In all many things require practical demonstra¬ ship and for recital work. J a class larger than four beginners, it Is im- tion by an experienced teacher. 4. It is A First-Aid for the ’Cello Student in Acquiring the Staccato : possible to accomplish anything, because certainly unusual for the wrist of the left THE ETUDE there is not time enough fo'r individual in- hand to become sore after practicing. If Operatic Selections for ‘ struction in bowing, correct position, intona¬ you practice with the wrist and all joints Music Teacher’s Class Book THEO. PRESSER CO.. Publisher. tion, etc. For the first two years, individ- of the arm elastic while practicing, your Violin and Piano By G. K. Schwartz i, ual Instruction, in addition to unison and trouble will disappear. 5. Any student in¬ A little pocket note=sized volume, bound in boards that takes the place PHILADELPHIA. PA. 1 orchestra, and ensemble work, is absolutely tending to use violin playing as' a recreation. of nine separate record and account books. By F. A. Franklin accessary However, it is a good plan to not a a profession, should practice a There is I—An index of pupils. 2—Memo of time for lesson and Price, 50 cents have pupils wi,0 are taking individual in- half to two hours a day at lease, The staccato is at the same time one of there should be an absolute pause or rest. jl „r„,ction in Hasses of four, meet once a uch di 's on talent, that it is account. 3—A ledger. 4—Sheet music account. 5—Teacher’s account Nothing has proven more interesting the most difficult and one of the most es¬ In order that the relaxation during the week for purely ensemble work. The Etcde quite impossible say ...how much JHRproi-_ with' business houses. 6—Record of daily earnings. 7—Memoranda. to violinists than operatic selections j'll s.00n publish an extended article in this could be made in a given length of time bv a 8—Bill forms. 9—Receipt forms. It is a wonderfully convenient record violin and piano. Mr. Franklin, re „ sential tasks for the young string student, second count_mav be complete, it will be Indian Melodies pupil with whose talent I am not familiar. nizing the necessity of a superior book I teaching™1 °n tl"’ class system in violin and saves many a dollar which might otherwise go unaccounted for. of this kind, has produced this most and the difficulty is increased for the found very helpful, as a temporary aid, C. W.—1. If you will get a copy of celleut work. The violin part is about ’cellist, since the force of gravity works to take a piece of twine of length sufficient I H: C-—There is a large number of for- Schradieck’s Scales, will find all the Price, 60 cents Theo. Presser Co., Philadelphia Grade 3. VIOLIN and PIANO I m *.,s for raaking violin varnish. In fact al- scales with fingering carefully marked for against him in such a manner that it re¬ to reach from the A string peg to the I I0?1 every eminent violin maker has a spe 2 f“rmuia of his own. The following for- ALL BOOK PRICES TEMPORARILY quires a certain amount of muscular bridge, fasten one end to the bow near By Thurlow Lieuranca ADVANCED TWENTY PER CENT. i for an oil varnish was used for many tension to prevent the bow from slipping the point, and adjust the other end to the The melodies used in these transcriptions £ imK8 -'jan eminent European violin maker': rated) as opposed .. are genuine Indian themes, all recorded , , • ,!llsed' 2 oz-: oil of turpentine, 5 oz.; violin playing what Is known technically as TEACHING PIECES By MRS. A. M. VIRGIL THEO. PRESSER CO., Phila., Pa. down over the bridge. peg outside the peg box so that the bow v„K ,11??e(“d o». 5 oz.; dissolve by beat, “staccato bowing” is where two or riiore In working out the staccato, the follow¬ will lie at the proper place upon the and taken down at first hand by Mr. edee a violin requires special knowl- notes are produced in one bow, the bow. ATTRACTIVE, INSTRUCTIVE—FINE FOR RECITALS Lieurance during his frequent visits S ™ “Tl wo,,ld advisp .TO «et a without leaving the string, being pushed ing plan is recommended: the movements string. Thus the ’cellist will be relieved There ^ v ?1,80" 1making before trying'1 t0 it. along by sharp little jerks of the wrist. GRADES 1 to 6. GRADED CATALOG among the various tribes. The accom- , |,e. hUttle work. The Violin and Bote or phases of the drill are threefold, and of the task, which is often a last straw, paning harmonies by Mr. Lieurance are F. R.—It would be difficult to advise ORDER THROUGH YOUR DEALER OR DIRECT fell by Floneyman, which contains whether you could successfully study the VIOLIN STRINGS the student may count one, two, three, of maintaining the bow in its proper place designed to enhance the naive eloquence I larLd«rect.,ons for varnishing and also a violin, without knowing just how much THE VIRGIL PIANO CONS. :: 11 W. 68th St., NEW YORK Used by the leading artists of the Philadelphia Orchestra slowly as they are made. Upon the first while the elementary straining of the of the original melodies and to aid in nisi* Tit*c0^f?rula?for„maliins var smaller your hand is and how much shorter count, the point of the bow, held firmly, is muscles is going on. creating the necessary characteristic tained from aSf muSe' bouse °an your fourth finger is than normal. You can atmosphere. occassionall.v get n full-sized violin which pressed very hard upon the string; with This help should, of course, he used 1 elSth5'„?* 1* There is no accent on the fingers short (on account of the neck being ■ ~.guin note because it is syncopated. 2. shorter), or you could get a so-called "ladies’ Z.V11KI. 1 tliOTilUUS the second count, the bow is started for¬ sparingly and only in the very early Every Violinist Should Have This o in the example you send lasts Interesting Suite. size" (%). If these were too large, you ward, moving toward the middle about stages, as it is necessary that all of the JSS'if'Cl beats. Lift the bow, and could play on a three-quarters size, although MUSIC PRINTERS and ENGRAVERS Price, 90 cent. with great force on the chord the tonal results on these smaller violins are four to six inches, and, at the very instant muscles involved should be put into action I ure TV" "^ thp flr8t of the next meas- much less satisfactory than in the case of SEND FOR ITEMIZED PRICE LIST AND SAMPLES the bow starts all tension in the right as soon as a reasonable confidence in the A Liberal Discount always allowed the ‘Pwfesslon fi no dnnh? ur t,hree strokes of the tremolo will full-sized instruments. Buying a violin is I the bow bf J?8t in t,1P °t)eration of lifting like buying a coat, it ought to be tried on THEO. PRESSER CO. - Philadelphia, Pa. hand and wrist is completely relaxed; dur¬ production of the staccato attack is THEODORE PRESSER COPhila.,Pa. i slights Li/1?1 88 8 . 9inRpr is obliged to Better consult a good violin teacher and get I y shorten certain notes when breath COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. ing the third count it is important that acquired. Please mention THE ETUDE when addressln our advertisers B when addressing 01 r™ THE ETUDE APRIL 1919 Page 255 Page 25J> APRIL 1919 THE ETUDE I Junior Etude Questions Dirty Keys Dirty keys—do those words trouble Who Knows? your conscience at this particular mo¬ ment? Most of you keep your keys 1. Who wrote The Magic Flute? clean most of the time, 1 am sure, but 2. What is a symphonic poem ? then it is easy to forget such little details! Free 3. What is meant by “enharmonic How many of you can raise your hands change”? as you read this, and say “My keys are 4. When did Handel die? clean!” If you cannot raise your hand, WurlTTzei* Trial 4oo sears of i- ' 5. Is the Seasons an opera or an ora¬ please go and clean your keys, and then torio, and who wrote it ? come back—it will not take three min- 6. Who wrote Old Black Joe? -JUNIOR- 7. What is a triad ? You know, besides looking very unat¬ Play Ifa Week 8. What is meant by “instruments of You may have your choice of more than 2,000 instruments for a week’s trial in tractive, dirty keys do spoil one’s playing. your own home. Play it as if it were your own. Then if you wish, you may send it back percussion” ? Now you may doubt that, but it is quite at our expense. Trial does not cost you a penny. Don't miss this big offer. 9. Translate pesante, con anima, quasi true, because one’s fingers cannot glide etude; allegretto, senza ritardando. over dirty keys as they can over clean, Convenient Monthly Payments 10. What is this? slippery ones. ^ If you decideto buy jou may thelow manufacturer's^- iceaMjhe fcf V nearly two centuries. Every known musical instrument sold to you at direct¬ Every day before practice, clean your ly from-the-manufacturer’s price. We’ve supplied U. S. keys (use a soft cloth, just slightly m Gov’t with trumpets for 66 years. self in a position of responsibility and incidentally THERE ARE TWENTY-FIVE SECTIONS or Departments in the book, 16019 fiursum Corda 3 fnjoy ^ J'p^‘'ttei\fina VrriVr***' ncia 1 Vfuture '**“ if •’«you spent miirt time on brushing up your own 140 Vaise E.pagnole. 3,K garrulous friends and the result is that summer as in the other times of year. lowledge? Will you take advantage of our offer of 6 lessons which we offer to each one marked by a marginal thumb index, like a dictionary, so that the MOORE, L. LOCKWOOD 3ALBRAITH, J. LAMONT I 1 A' 1S943 ‘oatlude in A.> the services of some pushing incompetent He will not countenance slipshod, care¬ ^aders^ without ^charge or obligation^ou their jDart? We will send you student can turn instantly to the right page and keep all lesson notes in order. are secured, rather than of a real edu¬ . . s from the Normal Plano or Harmony Course or ^ lessons selected from'.. The book is handsomely bound in cloth, stamped in gold—something the OEHMLER. LEO less practice—ten minutes at the dementi other subject, if you prefer. WTo have courses in Piano (one for students and one I Little Italian Tarantella CELLO AND PIANO cator. Voice, Choral Conducting, Public School Musir, Violin, student can keep a lifetime as a valuable souvenir of student days. PAULSEN, ALFRED sonatina—and then trailing off into rag¬ Cornet, Guitar and Mandolin. Select the course you are interested in and write LIEURANCE. THURLOW The wise parent will not break into a time, and that incorrectly played. —’v tor the 6 lessons and catalog. You will receive full details of the course and This book is now very strongly endorsed by such eminent men as Godowsky, e under no obligation t< child s lessons for so long periods as to But especially will the wise parent insist ". The cost is nothing and you will benefit much. Friedheim, Hutcheson. Stojowski. Bauer, Chadwick, Faelton, Damrosch, allow the gain that has been made to Foote, Dr. Rybner, Sternberg and many others who have introduced it in Any of the Above Numbers Gladly Sent for Examination on a practical use of the summer vaca¬ their regular teaching work. Copies on sale to established teachers. evaporate. “Evaporate” is just the word tion time. Regular lessons, regular prac¬ UNIVERSITY EXTENSION CONSERVATORY fof,the ease—as every teacher will admit. tice time—they are the marks of the house CLARENCE EDDY, Dean The student who drops his music in THEO. PRESSER CO., Publishers, PHILADELPHIA, PA. THEO. PRESSER C0„ PHILADELPHIA^ m which there lives The Wise Parent.— 5631 Siegel-Myers Bldg. Chicago, Illinois June and takes it up in October generally From the Pacific Coast Musician. Please mention THE ETUDE when addressing B ETUDE when addressing our advertisers. advertlaera. THE ETUDE Page 258 APRIL 1919 APRIL 1919 Page 259 THE ETUDE How Does Touch Really Affect Tone? Some Piano Facts—In Tune and Out That one is able to play loud or soft tion, trying many elaborate experiments | Ensemble Music which we have not space to describe here. A New on the piano, by. use of .greater or less and By R. S. Sinclair force, is a truism; also, that one can The conclusion he came to was as fol¬ lows : when the key is depressed by press¬ Worth While Works make all sorts of distinctions in staccato Exhibition Pieces A Boston musician says: “The reason of accuracy; but practice with an un¬ ure without any jar, the hammer Hies | Edition ! and legato, but that a player, however so many pupils play the violin or sing off tuned piano is the major reason for “slop¬ toward the string following the course o skilful, can actually by touch alone vary the pitch is because they practice with piness” of pitch. Students should be a simple arc of a circle, but when the key for the Piano For Use In Summer the timbre of a single tone or chord, is pianos badly out of tune.” You cannot strenuously warned against it. is struck by the raised finger, a jar is im¬ —GROVE’S— a matter seemingly open to question. {Order by number) possibly get a correct idea of pitch when There are over six thousand parts in a parted through the key to the hammer (Consider the fact that a fixed system of If One Piano, Six Hands singing or playing with so unreliable a piano, which need frequent regulating to Music Classes and the latter vibrates, slightly but rap¬ keep them in order. There are also about mechanism intervenes between the finger S 4393 Gipsy Rondo.. .Haydn-Kramer $1.00 guide as an instrument whose intervals and the hammer which strikes the string, idly from side to side as it approaches the are not accurately tempered. Much time 225 strings, with 20 tons pressure, that DICTIONARY string, imparts its false vibration to the | till Krom^’orwaV.! '• -NoeUing % and that after the single impulse of the and energy are wasted, many ambitions should be equalized by tuning at least 6717 Grand Galop Brillan.e,^^ ^ g SUCCESSFUL FIRST INSTRUCTION BOOKS OF finger has started the hammer on its string, and introduces irrelevant partial remain unfulfilled, through inattention to two or three times a year. Neglect of tones (or in common language, noise) j 7261 Promenade Polka—March, % such care means not only the deteriora¬ INSURING INTEREST AND THOROUGHNESS travels, nothing further that the player g Rmguet .90 r5 this important point. can do can have the slightest effect on the into the tone. i \ 7674 Marche Lyrique Koelling .75 1% Few students of music are gifted with tion of the instrument, but bad ear habits stroke.) Nevertheless there is a certain This is not intended as an argument i 8530 Polka de la Heine Rad .60 Sg an unerring sense of pitch, and this being for the student who uses the piano in 9974 The Trumpet Call—March, \ MUSIC difference possible and noticeable, in par¬ for or against any particular sort of 3374 ine p Loeb-Evani .70 § the case, no one who hopes to succeed in practice. Beginner’s Book ticular, between a high hammer-like touch; percussion effects have their legiti¬ \ 9977 In the Arena—March, ^ | the musical life can afford to neglect any Beware of the type of person you en¬ SCHOOL OF THE PIANOFORTE-VOL. ONE AND mate place in piano music as well as in stroke and a pressure-touch, the latter I 11008 Two Flowers...... fcoclling .60 g; means tending to the attainment of it. gage to tune your piano. By far most By Theo. Presser, Price, 75 cents the orchestra, where a stroke on the giving a sweeter and clearer tone, the 11146 Polonaise Militaire Chopin .60 % To one possessing a sensitive musical ear piano tuners are honest, but there are still This elementary piano instructor has had an unprecedented success, drum or cymbals may serve on occasion 11146 llarcarolle ( "Tales of Hoff. former a harsher and noisier tone. man”) .Offenbach .60 ji it is astounding how many people can lis¬ many so-called “tramp” tuners who are being welcomed by teachers everywhere as just the tiling for the young MUSICIANS The late B. J. Lang, an eminent piano to add to the incisiveness of a note or 11013 Homeward March. ^ ^ ^ >## £ ten happily to compositions played or not, by any means, above reproach. No beginner; the next thing to a kindergarten method. The publishers know chord. Both sorts of touch are useful, sung off key. I have heard a singer ren¬ one seems to think of a piano tuner hav¬ of no elementary instructor used more extensively. The rudiments of HIS Greatest Effort in teacher, of Boston, devoted long atten¬ 11023 Iris-Intermezzo^ ^ ^ | T each for its own artistic purpose. ing “character” as one of his assets, but music, notation and elementary work are thoroughly covered in a most Musical Literature has tion and study to this interesting ques¬ der a whole number distressingly flat, to 13373 Marche Heroic,^ ^ ^ £ be rewarded at its conclusion by rounds it is really one of his greatest. The con¬ delightful manner. The first grade of study up to, but not including, the been reprinted to supply the scales, is the scope of this work. 13561 Le Carillon—I’oma lpnhimc^ ^ ^ of enthusiastic applause. Yet the audi¬ scientious, honest tuner, who does his job demand, but before going to Pieces Capable of Two Interpretations ence—a supposedly discriminating one— with a view to securing future patronage press typographical errors of 14043 Pageant—Marche Brillantc. & is wholly different from the tuner who Student’s Book the now forgotten opera Xerxes; the Geo. L. Spaulding .80 g should have sensed the defect and mod¬ previous editions were cor¬ Mendelssohn's well-known Spring 14216 Festival Procession March. M erated their raptures, had their ear been thinks that the way to get business is to SCHOOL OF THE PIANOFORTE-VOL. TWO singer is supposed to be in his garden and Ratlibun-Porlow .90 jt rected and the dates of Song is a light-hearted and lively little as educated to pitch as was their as¬ make it through crooked tricks of the By Theo. Presser, Price, 75 cents tranquilly expressing the pleasure he g 14425 Dixie Doodle. . ..Eduard Holst .80 | deaths that have occurred piano piece, full of the joy of springtime. 14426 Camp of Glory. .Eduard llolst .85 S suredly fine sense to the beauty of the trade. I have even heard of tuners in takes in the shade of a favorite tree. Intended to follow The Beginner’s Book or any other first instructor, Arranged as a violin solo, it is often used |Q 14427 Tripping Througlythc Heather, ^ > composition and the lovely voice of the the middle West who have carried about this volume has met with a flattering reception. It bridges the gap between since the last revision have tn the examples mentioned thus far, as incidental music in the theater, played ff 14435 Dixie Land.\.D. Emmet .60 {§ soloist. Again—one hears all-too-often, diluted nitric acid in an oil can to put on the instruction book and the graded course or the conventional series of been inserted in this latest the after interpretations seem to take on at a much slower tempo and with the ad¬ 14486 Cavalry Advance./:. S.hiindcr .90 £ in the facile scale passages of some bud* springs and metal parts of a piano, caus¬ studies and exercises. Major scales receive detailed treatment up to and edition. a more serious character than the orig¬ 14437 Southern Beauty./:. Schneider .80 , dition of the mute. It then becomes pa¬ ding violinist, notes as much as a quarter ing them to corrode and break, making an including four shqrps and four flats. At the end of the book all the scales inal, but instances of a contrary sort are thetic in character and well-fitted to ac¬ |t Two Pianos, Four Hands ! of a tone off key. opportunity for extra charge at some FIVE LARGE VOLUMES not lacking; the hymn-tune known as Old company scenes of that nature. This is, no doubt, partly due to careless¬ future time. Such persons are just ordi¬ BOUND IN RED CLOTH AND Hundred was originally a little French Sf 7274 The Mill, Op. 75. No. 2, Dvorak’s Humoresque is a parallel Albert Landry .40 ness on the part of both teacher and stu¬ nary felons, and should be taken up by STAMPED IN GOLD : : : song of an innocent, but entirely secular : 2008 Homage A’Mozart. , „ ) A PIANO COURSE OFFERING MATERIAL case. IF,n. D. Armstrong 1.00 dent, who thus gain speed at the expense the police authorities when caught. Handel’s Largo is chiefly heard to-day and rather hilarious character. The % 8566 Festival March, Op. 45, j FOR CLASSES OF EVERY GRADE There are 4,000 pages and over in arrangements which give it a grandi¬ tempo was of course much faster, and Gcsa Horvath .75 if 11856 Melody in F_A. Rubinstein .60 5,000,000 words from great ose and majestic effect, but as originally the rhythm varied, but the outline of the f 13738 Manitou.C. 5. Morrison .80 authorities upon all' phases of composed it was a tenor solo of a light melody absolutely the same as in its pres¬ f 14453 Camp of Glory..Eduard llolst .80 •f 14480 The Flatterer... C. Cliaminadt .75 Items of Interest The Standard Graded Course of Studies musical learning. The books idyllic character, forming one number of ent stately form. 14482 Dixie 1 ioodle. . . Eduard llolst .60 A good way to increase one’s general ten up and we know very little about them FOR THE PIANOFORTE are liberally illustrated with jf 14496 Shooting Stars Galop, I S Eduard Holst 1.00 musical knowledge and add interest to aside from their compositions. TEN GRADES—Price, $1.00 each-TEN VOLUMES cuts, half-tones and notation if 14840 Valse Arabesque .Lack 1.00 > musical work is the following. Of course, the lives of the old classic By W. S, B. Mathew* examples. Thousands of subjects What to Tell a Pupil Who is Careless in Fingering $ 15347 .Maytime. ...Mary Helen Brown .50 X 15348 Gavotte Miniature, Very often in reading your musical composers are well known; you read them The Standard Graded Course is to Music like a keel to a ship." With are discussed: Biography, His¬ cover all the best ways of fingering. Mary Helen Brown .50 “It’s some trouble to read all the fin¬ magazines and papers, you find a short in your musical histories and study them this carefully selected “keel” all other material may be added as needed tory, Musical Science, Theory, Back in the year 1656, one of the best gering, isn’t it? But understand, it isn’t Two Pianos, Eight Hands article or item of interest about the com¬ in your music classes and clubs, but not so and the whole musical training will he well balanced and progressive. The Musical Industries, Instrumenta¬ instruction books published (by Lorenza poser of one of your pieces. You have course comes in ten grades—one dollar for each grade. With special work there to make things harder for you, but 6781 Carmen .BiaetParlow 1.! with the present-day composers. tion, ^Esthetics, Musical Terms, to make them easier. If you could play Penna) advises you to play ascending 7674 Marche Lyrique. Op. 4M, often noticed such things, I am sure. during the summer the student should be able to master an entire grade in t Koelling .1 It always adds interest for the audience two months. etc., etc. The work is the most this just as well with your own hap¬ scales with the middle and ring fingers of Cut out those paragraphs and attach the right hand, alternately, and descend¬ 1830 Persian March, Op. 369, as well as for the player to know some notable musical compendium in hazard way of fingering, no one would It Kontsh them to the inside cover of your piece, blame you—but you cannot. Even if you ing scales with the middle and index 6478 Impromj either with paste or with a paper fastener. little thing about the composer when lis¬ any language. P. Lacome 1 A HARMONY CLASS APPEALS WHEN A fingers. Try it once—isn’t it rather This is particularly interesting when the tening to a piece, and these little para¬ Have these splendid musical do it fairly well, slowly, when you begin 4781 Kussian Hymn.A. Lvoff to play fast your fingers would trip up clumsy? Let’s take advantage of modern 4400 Festival Procession—March, composer is one of the present-day writ¬ graphs attached to the music add a valu¬ books in your own home. What F. G. Rathbun CLEAR, CONCISE BOOK IS USED on each other. It has taken a great many inventions and discoveries and use the ers, as their biographies are not yet writ¬ able touch to one’s musical library. the Encyclopedia Britannica is 6822 Marche Triomphale, pianists and teachers a long time to dis¬ most approved fingering!” . . Rothbnn to General Information the 7565 Modern dry March, Op. 108 . ....F.R. U'cbb Harmony Book for Beginners Grove Dictionary is to Music. S 13470 Stai Flag—Patriotic By Preston Ware Orem, Price, $1.00 There is no better Musical Refer¬ ft M . ..Mull Depend on Yourself Humorous Musicalia !f 14438 Trip ing Through the Heather, Lays a strong foundation for future musicianship by giving the main ence Library at any price in any Eduard Holst 1 “So you want to sell your piano, Gen¬ “An’ phat’s that racket in the next essentials of the subject in such simple, understandable and interesting man¬ language. Unabridged in any | 14439 Shooting Stai Galop, By Grace White eral; how many octaves has it? room?” Casey asked of his wife. a Eduard Holst 1 ner that it will prove invaluable in the class or for self-help work. This workhas way. “It’s Mary playin’ her First Steps for S 14445 Cavalry Advance.£. Schneider proved a success from the start, and many world-known musicians, such as “I don’t know just how many—but the * 14446 Dixie Land.D. Emmet When do you play best? After- your by several governments, said to- the Piano Students,” Mrs. Casey answered. S 14448 Awakening of the Birds, John fchilip Sousa and others, have congratulated the writer on its merits. THE EARLY EDITIONS durn thing is full of ’em!” was the testy lesion? After a concert? After con¬ writer, “When I graduated from the “Tell her not tshtep so heavy on the | O. Lange reply. _ ft 14449 Fast Mail Galop.L. Streabbog versation with an inspiring friend? It University School of Law and also the SOLD FOR $25.00 keys,” Casey suggested, after a moment’s g 13053 No Surrender—March. is natural that you do. But can you play School of Mines, I had learned to learn. STUDY BECOMES A PLEASURABLE PASTIME deep thought. _ Morrison “Oh, Captain,” gushed the young girl 3 13136 Commencement March, with the same absorbing interest and Only since I have read by myself and at the canteen concert, “are you fond of S C. Koelling made a close study of nature have I IN A MUSIC HISTORY CLASS The Price of this “They say singing men make great i!j 13070 Dance of the Winds, verve without these incentives? music ?” it A. Jackson Peabody, Jr. 1 begun to know." fighters.” You say your teacher is encouraging, Latest Edition “Ye-es—I like most any kind of a if 13602 Installation ... “I have known it for many years,” x“k. Rockwell .8 enthusiastic, interesting at all times; that The more great teachers we can know, Standard History of Music < 8827 Tarantella fro i “Masaniello,” the artist and the friend inspire you to the more great artists we can hear, the murmured the grand-opera manager, X F. E. Auber 1.0 By James Francis Cooke, Price, $1.00 is $17.00 wearily.—Washington Star. f 7296 Concert Poloi do your best. Who or what is it that in- more great books vve can read, the larger The family were entertaining callers one spire§ them? Is it a borrowed thing? and more complete are our lives and A history that has pleased thousands. Music lovers are here furnished Notwithstanding the low price afternoon, and while the grown-ups were f 3222 Grand Fes il March, Something to be assumed or that can he the finer our musical expression. But to interesting reading, and the music student is supplied with 40 story lessons made for cash we accept orders subject H. Engelmann ! in music lore. This history has been used with great success in summer talking, the baby crept on the floor. Sud¬ A young woman came in quite hurriedly | 3175 Parade Re w, Op. 307, put on and off like a garment? The be far-reaching, we must retain these to part payments. Write for terms. impressions and use and give them out class work by hundreds of teachers in all parts of the country. denly there Was a loud bump and wild after the musicale had begun. | 6882 Comrades in Arms—Two-Step, great teacher, the great artist, draws in¬ The set is also given as a premium wail. It came from the direction of the “Have I missed much?” she asked. X F. C. Hayes 1.00 spiration from within. He has a store¬ in daily life, even in the routine that for obtaining subscriptions to The ft 7046 Hungary, Op. 410. Rapsodie I ALL BOOK PRICES TEMPORARILY ADVANCED TWENTY PE RECENT. piano. “What are they playing now?” Mfgnonne .C. Kielliag 1.00 house of fine thoughts, large ideas, involves everyone. The less we depend on others the more “Oh, the baby has hurt himself!” cried “The Ninth Symphony.” $ 14509 Flying Squadron Galop, grand impressions which can always be Specially Selected Material for Summer Classes A. Parlow .80 we can learn from them. A famous REMEMBER the mother. “Run quick, dear!” “Oh, goodness! Am I really as late as | 14450 Love by Moonlight..C. Durand -85 drawn on and which are the more en¬ singer said to a would-be follower: Gladly Sent for Examination the house of theo. PRESSER CO. The young father had already dashed that?” _ riched in giving. STANDS BEHIND THIS TRANSACTION toward the piano. He dropped on his | Tzvo Pianos, Twelve Hands No teacher could claim to have “Stop imitating me and you will be in¬ Write and tell how many pupils you expect and the kind of classes you are planning, and we shall gladly send to you material for examination. IN EVERY WAY. knees and groped under the piano for his The minister announced, just after the & 8536 Bella Bocca.Waldteufel *90 “made” Bach or Beethoven. Some of teresting.” Said a distinguished lecturer : choir had sung its anthem, as his text, the most distinguished musicians of our “Talk with people who know more than The plan is to keep what you need for your pupils and return the balance. SEND YOUR ORDER TO injured offspring. Presently he returned. | Any of this Music may be had on Approval “He fell down and bumped his head on “Now when the uproar had ceased.” day have had no “lessons.” A very you do—then think for yourself.” In one of the pedals,” he reported. But the singers bided their time pa¬ jTHEO. PRESSER CO. famous teacher is known to have said the sadness and depression of the war, THEO. PRESSER CO. “Oh, the poor darling! Is it a bad tiently, and when the sermon was over to a pupil who was forced to stop hav¬ musicians are apt to look outside of Sole Agents THEODORE PRESSER COMPAMY bump?” asked one of the guests. rose and rendered in most melodious PHILADELPHIA, PA. ing lessons: “It is good that you must themselves for the impetus to work, Philadelphia, Penna. “No,” he answered. “Fortunately his fashion another anthem beginning: “Now depend on yourself, for what you cannot when it is the very time to draw from 0-1712-1714 CHESTNUT STREET, PHILADELPHIA, PA. head hit the soft pedal \"—Tid-Bits. it is high time to awaken after sleep.” do alone, you cannot do at all.” A great their own resources and give to the mention oTHE ETUDE w addressing biologist, a man whose opinion is sought world what only a musician can give. Please mention THE ETUDE v, THE ETUDE THE ETUDE APRIL 1919 Page 261 Page 260 APRIL 1910 Finger Gymnastics Difficult Four-Hand Album New Child’s Own Book of Works by Prominent For the Pianoforte ’ We are continuing during the current Great Musicians. Verdi American Composers Recently By Isidore Philipp month the special introductory' offer on Mr. Tapper has added Verdi to his in¬ Schools and Colle^es< Added to Our Catalog This is a new and original technical this new volume of piano duets. This teresting series of “cut-out” biographies, It gives much pleasure to call the at¬ work. We have never seen anything qnite volume will consist mostly of pieces writ¬ known as the Child’s Own Book of Great MIDDLE WEST AND NEW ENGLAND tention of our readers to the fact that like it. It is based upon the ideas pro¬ ten originally for four hands, together Musicians. Little children love to cut we have recently added to our instru¬ pounded by Monsieur Philipp in his ar¬ with a few choice arrangements of vari¬ out pictures and paste them in books. His mental catalog the names of some tavor- ticle in the August, 1918, Etude, entitled ous standard and contemporary works. is a printed book with the pictures ite American writers. Mr. Homer N. Bart¬ “What Gives Brilliancy to Pianoforte The very best composers, classic and mod¬ omitted and spaces left in their place. ANN. ARBOR = MICHIGAN lett, who has been represented previously Playing.” The work is intended for ern, will be represented. Many pieces The child has a big sheet of pictures UNIVERSITY in our vocal catalog only has g*YeI* us rather advanced students and, if it is suitable for concert and recital use will which lie can cut out and put right in the two charming piano pieces, entitled Rev¬ properly used, will prove greatly an ad¬ be included. This volume will make a right place. They revel in it, and take SCHOOL OF MUSIC an increased interest in their music. erie and Caprice Caracteristic. We have dition to one’s technical resources. The splendid recreation book for advanced Thousands of these books have been sold recently had in The Etude a very enter¬ exercises are all done ut the keyboard, players, as well as afford valuable experi¬ taining teaching piece in the form ot a ence in sight reading and ensemble play¬ to pleased teachers and pupils. The ad¬ and they consist of work that gives inde¬ vance of publication price is 12 cents. The march by Mr. Clayton Johns. Two sets pendence to the fingers, strengthens the ing. Every number in this book will be books already out are Bach, Beethoven, of teaching pieces by Margaret Ruthven fingers, expansions, contractions and in a gem. Lang are ready. These pieces are in Special introductory price in advance of Chopin, Wagner, Handel, Haydn, Men¬ NEW WORKS. Music Supplies Conveniently short, everything in this nature which can delssohn, Mozart, Schumann and Schu¬ characteristic vein, and will be much ap¬ at all be worked out upon the keyboard. publication is 50 cents per copy, post¬ Moore, H< and Economically preciated by teachers. As announced paid. bert. These are 18 cents each, postpaid. Dep’t Advance of Publication Offers— Special exercises for the development for Florence B. Potter, Head of Mi Obtained by Mail above, the celebrated organist, Mr. Ed¬ the virtuoso, power, briliancy, etc. Dept. April, 1919 Price The aim of the Theo. Presser Co. is to win H. Lemare, will be represented in our Our special intrductorv price, in ad¬ David Bispham’s Celebrated Compositions Byrl Fox Bacher, Dean of Women. supply promptly and at the best prices, catalog, both as a composer and as an vance of publication, for this new book is 25—ASSOCIATE TEACHERS—25 Album of American Composers.50 Album of Songs By Famous Composers the needs of schools, teachers and lovers editor; we have nearly ready three very 60 cents per copy, postpaid. For Catalogue, Booklets or Special Information, Birthday Jewels, Geo. L. Spaulding.20 of music. Despite the large increase in attractive piano pieces by Mr. R. Hunt¬ The outline in Mr. David Bispham’s We have decided to continue for one Celebrated Compositions by Famous the costs of production we have refrained ington Woodman. Other novelties are in Album of his favorite songs is very indi¬ month more the special introductory price Charles A. Sink, Sec.,IOOOMaynard St. Commencement Program vidual. Mr. Bisphain feels that there on this new volume. , There are thirty- Composers.35 from making any great increase in our preparation, and will be announced in Novelties—Music of all Kinds Summer Session: June 50—August 23 selling prices and although war condi¬ due season. ought to be one book in every home em¬ three pieces in all, and every one of these Difficult Four-Hand Album.50 Suitable for Commencement bracing the outstanding vocal masterpieces. pieces is of proved popularity. They are David Bispham’s Album of Songs.50 tions temporarily depleted our force of experienced clerks we are again, Thanksgiving March l)n another page will l>e found a se¬ His arrangement of the songs themselves just such standard pieces as every one Finger Gymnastics, Philipp.50 thanks to the armistice, taking up the lected list of ooininencomcnt music. We is also new. A master of the art of pro¬ wishes to play and to hear. All the stand¬ CINCINNATI CONSERVATORY of MUSIC, established iser For the Organ. are particularly well equipped for sup¬ gram making, he has arranged them in ard composers, both classic and modern, L’Art du Clavier, Lack.50 task of filling every order the day it is CLARA BAUR, Found Little Tunes, by F. B. De Leone.25 received. By Edwin H. Lemare plying everything of this nature, and we the form of three programs. The first being represented. group is one of songs best suited for Pedal Book, Blose.60 With a catalog of over 16,000 numbers We will continue during the current have recently added to our catalog some The special introductory price during most interesting novelties. We would ad¬ men; the second group, one best suited the current month is 35 cents, postpaid. Spaulding Album for the Pianoforte.25 and a large stock of standard publica¬ month the special introductory offer on Mr. Lemare’s Thanksgiving March for the vise all to avail themselves of our “On for women; and the third group is com¬ Elocution MUSIC Languages Sunny Day Songs, Op. 27, by H. L. tions from all over the world, the Theo. Presser Co. is in a 'position to handle Organ, after which the special offer will Sale” plan as an indispensable aid in the posed of songs which may be sung by Cramm .30 men or women. The text is the matter Little Tunes for Little People every order, large or small, from music be withdrawn. This is a splendid march, selection of suitable music for commence- By Francesco De Leone Verdi, Child’s Own Book, by Tapper. .. .12 purchasers everywhere. This equipment and every organist should avail himself of pient purposes. In the line of ensemble which has regulated Mr. Bispham’s judg¬ the opportunity of securing a copy at the music for the piano for four, six, eight ment in this. The words of many songs This is a charming little recreation furnishes untold resources for taking written for men are frequently sung by care of requests of every description. special rate. and twelve hands, we can supply music book for second-grade students advanc¬ American Recital Series women. The effect is often very incon¬ For the Organ. Just at this time teachers are looking for The march is especially adapted for of all grades ami styles, both standard ing toward the third grade. The various EUGENE YSAYE Season 1918-19 Peace Celebrations or other patriotic pieces and novelties. We have in our gruous, and Mr. Bispham has noted this numbers are more like pieces than studies, attractive commencement material and in his collection. The book may now be By Edwin H. Lemare the progressive teacher is planning sum¬ gatherings, and it will prove especially list some particularly attractive oper¬ hut each has some real technical value. We take much pleasure in announcing useful for festival occasions of any’ kind. ettas. These are for all voices and for ordered at the advance of publication They lead tiie student naturally and mer classes. Commencement numbers, rate, which is 50 cents. It is sure to that we are about adding to our music vocal or piano, as well as study material It is a brilliant, dignified and jubilunt all ages, ranging from very easy to mod¬ pleasantly through the more familiar DANA'S MUSICAL INSTITUTE catalog it new series of Pipe Organ work fitted to grace any occasion. erately difficuIt. We have unison songs and arouse sensational interest among sing¬ keys, major and minor. for summer courses should be obtained ing teachers when it appears. WARREN, OHIO Pieces. It is to be known as the now for examination. Just write us a The special introductory price in ad¬ part songs of every nature, both sacred Our special introductory price is 25 American Recital Series. It will con¬ letter explaining your needs or what you vance of publication is 30 cents per copy, and secular. In ordering On Sale selec¬ cents per copy, postpaid. THE SCHOOL OF DAILY INSTRUCTION IN ALL sist of original works by American com¬ are planning and our selection depart¬ postpaid. tions, so as to satisfy as far as possible Pedal Book BRANCHES OF MUSIC posers, all collected and edited by the all peculiar and individual needs, we ment will make up a special package that By Johann M. Blose Spaulding Album Addre.. LYNN B. DANA, Pre.ident D«.k E. WARREN, OHIO well-known concert organist and com¬ will be sent according to our On Sale Make Plans Now would suggest that careful mention be poser, Mr. Edwin H. Lemare. Mr. Le- made as to just what class of music is The work upon this new book is pro¬ For the Pianoforte plan. For Summer Work gressing favorably. It is a work pre¬ mare is taking a warm personal interest The On Sale plan, whereby any teacher most needed. By Geo. L. Spaulding in this series, and we predict for it a great Summer is just three months away, and pared with the utmost care, and we an¬ It will be a great advantage to have can obtain material for examination, is a ticipate a great success for it. It is an the teacher who does not wish to dissi¬ Sunny Day Songs in one volume so many oi Mr. Spauld¬ Lawrence Conservatory convenience of untold value to the busy intensely practical and comprehensive We have in press at present the first pate what promises to be one of the most By Helen L. Cramm. Op. 27 ing’s popular and successful drawing-room One of the foremost Conservatories of the Middle West teacher. The teacher can send for a spe¬ work, dealing with all possible uses of the two numbers of the series, entitled cially selected package of music and thus important and advantageous seasons in This is the most recent edition to Helen pieces for piano solos. All lovers of good D EAUT1FUL location; excellent buildings; faculty of uell- the history of the world should plan right pedal, yret not too difficult to be taken up known artists; courses in all branches of Music, theoretical Bouree in D, by Wallace A. Sabin; an have on hand material of the type and L. Cramin’s series of instructive books drawing-room pieces and admirers of Mr. and applied; beautiful dormitories; connected with a high-grade Old Dance, by Frank H. Colby. Addi¬ now to make the summer a profitable one. for young students. All of this writer’s by the average intermediate grade stu¬ Spaulding's works in particular will ap¬ grades needed for pupils, or special occa¬ dent. Any student who can play third tional manuscripts are now under con¬ sions. The music not used is returnable. Opportunities are cropping up on all sides, children’s pieces are extremely melodious preciate this new volume. Most of the APPLETON, WISCONSIN and with a little active local advertising, grade music can take up this work to sideration. This series will afford an ex¬ Space here does not permit giving de¬ and easy to play, hence the secret of their pieces are in the third grade, with just well administered (preferably interesting good advantage, and obtain real profit cellent opportunity for American organ¬ tails of our discounts and various con¬ popularity. At the same time the instruct¬ a few in the second and fourth grades. recitals of “taking” pieces of high char¬ from it. The various selections are all ists and composers to be represented in veniences for those desiring music sup¬ ive side is never lost sight of. While the Our special introductory price for this Minneapolis School of Music, something really worth while. Organists acter) the teacher should be able to en¬ present book is called Sunny Day Songs musically attractive, and the quotations plies, but we would be only too pleased are taken from the best writers. new volume is 25 cents per copy,, post- in search of novelties, suitable either for list a number of pupils. There is such a the pieces are, nevertheless, either vocal ORATORY AND DRAMATIC ART to send further information on request The special price in advance of publi¬ church or recital purposes, should not thing as compelling success. Because your or instrumental. They may be played WILLIAM H. PONTIUS CHARLES M. HOLT MacPhail School and to also snpply graded catalogs of cation is 50 cents per copy, postpaid. Director, Dept, of Music Director, Dramatic Art fail to give an examination to the various initial efforts do not bring immediate re¬ without using the verses at all, if de¬ 60-62 Eleventh St., So. MINNEAPOLIS, MINN. 4 FLOORS DEVOTED TO MUSIC numbers as they appear. any classification desired. Thousands turns do not be discouraged. Make out have proved the merits of dealing with sired. They may be classified in point of LARGEST SCHOOL OF ITS KIND IN THE WEST 806 Nicollet Ave., Minneapolis, Minn. a list of prospects and work with them difficulty as Grade 2 or 2%. ALL BRANCHES OF MUSIC AND DRAMATIC ART us by mail and those still among the un¬ over and over again until they see how L’Art Du Clavier 60 Artist Teachers Year Book Free on Request Crove’s Dictionary Our special introductory price in ad¬ By Theodore Lack. Op. 289 Summer School June 23rd to August 2nd initiated are invited to send a trial order. advantageous it really is to spend at least vance of publication for this work is 30 Special Notices (New Edition) part of the summer in active music study. We are continuing during the current cents, postpaid. To be ordered in single Milwaukee-Downer College The complete music studio must have Easter Tell them that in this time of giant com¬ month the special introductory offer on a good encyclopedia. Grove’s is so gen¬ copies only. ANNOUNCEMENTS Milwaukee, Wis. Anthems petition no one can afford to waste so much this new technical work. Theodore Lack Department of Music erally recognized as the best that there is time in doing nothing. “But,” you say, is best known by his many successful The demand for Easter music has been Special Offers on New Offers Piano, Organ, Violin, Voice Training, hardly any use in commenting upon it. “I’m tired, and I want to let up in sum¬ drawing-room pieces. His exhaustive Theory of Music and a Teachers' Course in These five handsomely bound volumes, unusually large this season, so we may mer. Perhaps you are only in a rut be¬ Publications Withdrawn knowledge of the piano and of its tech¬ WANTED and FOR SALE Public School Music. The degree Bachelor of 60 teachers :: Over 1400 students comprising about 4,000 pages, are in them¬ assume that many choirs have been pro¬ cause you have not freshened your teach¬ With This Issue nical resources render him eminently Science in Arts is offered for music specialists. selves the basis of a higher musical edu¬ vided with material for this occasion, but The following works have now ap¬ PUPILS MAY ENTER NOW **™*’ ing repertoire. Let us send you our lit¬ fitted for the production of a work of For catalog “U,” address REGISTRAR cation. For the teacher, such a book is it is not too late for those who have been tle booklet gratis, entitled “Graded List peared from the press, and if those who DIRECTOR wishing to case up, seeks this type. These short studies cover in a capable young man pianist-teacher (25-35 almost as much a part of standard equip¬ delayed in preparing for Easter to get a of Studies,” and pick out new things in ordered them in advance have not re¬ pleasing and interesting manner all phases years) as assistant In wholly successful music ment as the piano itself. Certain pur¬ desirable selection of quartets, anthems, each grade to try out this summer. They ceived them as yet, they will in a very of modern technic. They may be used in school of 300 students, Chicago. Address The Courtright System of Musical Kindergarten chases may often be put off, but when it A MUSICAL EDUCATION SHOULD etc. We take pleasure in inviting chor¬ are all good and will relieve you greatly. short time. It is now possible for us to daily practice for a considerable period Oldest and most practical system. Write for particulars of BE OBTAINED FROM THOSE is remembered that the new edition costs isters and organists to take advantage of send these works or any other of our to great advantage by students of the BEST EQUIPPED TO INSTRUCT only $17, and that it may be pur¬ our plan of furnishing a good assortment Album of American books or sheet music on inspection to re¬ intermediate grades. ANTED—A chorus leader and piano chased through monthly payments, it of anthems subject to examination, to Composers for the Piano sponsible parties. Special price in advance of publication is hardly wise for the teacher to do be sent promptly and with the under¬ Bohm Album for the Piano is a vol¬ » 30 cents, postpaid. Training' without it. A few months, and the world’s standing that additional copies as selected This new volume is well under way, ume containing the gems of this popular HUNTINGTON COLLEGE CONSERVATORY aiMS/aa but the special introductory offer will be writer. All the pieces are well known finest musical dictionary is bought and will be supplied quickly on receipt of FOR SALE—In shipbuilding city of over of advantages at very low cost. Aim is to educate, not make money. Faculty of unquestioned standing; paid for—a possession lasting for years. continued during the current month. For and of rather easy grades of difficulty. Birthday Jewels regular order. tahl'lshed nConserv™oryraofn’Mus”c.°U!Alf de¬ Courses Offered: violin, piano, voice, harmony, history of music, public Turn to any page and you will find in¬ this new book we have gathered to¬ The retail price of the work is 50 cents. By Geo. L. Spaulding partments. including band. $1,800 takes SCHOOL MUSIC. LANGUAGES, EXPRESSION and DRAMADC ART gether the best pieces by many successful formation upon some techinical musical Paul Wachs’ Album for the Pianoforte. This book is now in press, but we will this. Owner's reason for selling other inter¬ Special Courses Giving Teachers Practical Work Applicable to Their Needs Easter Music American writers who are represented in This volume contains the most popular ests. Address P. O. Box 603, Seattle, Wash. subject which may be of greatest value continue the special offer during the cur- BOARDING FACILITIES EXCELLENT—NO BETTER ANYWHERE for Solo Voices our catalog. In our judgment the Ameri¬ pieces by this well-known writer. Every to you. For instance, let us suppose you can composers are second to none in the n-1li.I50nth' As stated before, it is a real Address, Box 512 - - - HUNTINGTON, INDIANA Church soloists looking for suitable se¬ composition is a good drawing room Birthday Album, containing a piece for are interested in the very fine article in creation of attractive teaching pieces for piece; all about grades three and four each month of the year, named according this issue of The Etude, “The Secret of lections for Easter Sunday will do well the piano and, in fact, of pieces of practi¬ to get acquainted with our publications in a scale of ten. The retail price is io the appropriate birth-stone. Each the Success of Verdi,” by Chevalier E. cally all styles and grades. In order to $1.00. l'irani. You will find, in the fifth volume of this class which include over twenty bring this volume within the range of Piece is accompanied by some clever verse, Trial by Jury, by Gilbert and Sullivan. it may be read or sung, or omitted en- edited of the Grove Dictionary, fifteen pages original songs for high voice, ten for as many players as possible the pieces se¬ “Trial by Jury” takes about one hour VALPARAISO UNIVERSITYSVALPARAISO,CH00L0FMUS,C - INDIANA. medium voice and twelve or more for low lected are chiefly those of intermediate *,ely .lf the piece is desired to be used ANNOUNCEMENTS The University School /Win, Organ, Theory and Public School Mn.ic. devoted to the great Italian master. Thus, to perform, it is the very best light « ani instrumental number. It is a very Students maj new uses and opportunities for the music voice. Some of these in each voice may be grade or else slightly advanced. The vol¬ opera for church choir use. It is very THE EXPENSES ARE THEK LOWEST* *' th' Un,ver•,t’,• had with a violin part ad lib. We shall ume will be a large and handsome one. ractive volume for the young p|aver. ’ lover anxious to get ahead, are found easily staged, and we would ask the con¬ special introductory price is 20 cents Itrsic COMPOSED—Send words. Man- ” " ' " *39 to $51 per quarter. every day in Grove. Let us send you a be glad to send an assortment of Easter The special introductory price in ad¬ sideration of every chorus director think¬ ripts corrected. Harmony, correspond- I** copy, postpaid. e lessons. Dr. Wooler, Buffalo. N. T. 46TH YEAR-STUDENTS ACCEPTED AT ANY TIME. circular giving all the particulars of the solos for any voice subject to the return vance of publication is 50 cents, post- ing of doing a work of this kind. The Please mention work and our easy monthly payment plan. of unused copies. work retails for 50 cents. ETUDE when addressing o THE ETUDE APRIL 1919 Page 26S Page 262 APRIL 1919 *3=

Summer Schools £Wm ummer School COLUMBIA ll J ' SCHOOL OF American Conservatory of Music The Brookfield CHICAGO’S FOREMOST SCHOOL OF MUSIC SUMMER SCHOOL CHICAGO MUSICAL COLLEGE / CLAREMUSIC OSBORNE REED, Director \ OF SINGING 53rd YEAR SUMMER SCHOOL THIRTY-THIRD SEASON 6 Weeks, June 23 to Augu.t 2 John J. Hattstaedt, Piano, Theory, Voice, Violin 1 J- Associate Directors Brookfield Center, Conn. Announces Engagement of “Guest Teachers Public School Music Course Herbert Wilber Greene, Director The .Conservatory announces the exclusive teaching engagement for the An opportunity for singers and teachers Baasiassggsg Summer School, of the renowned vocal artist and teacher, to study the art from every standpoint, PERCY GRAINGER A SjpS'lirtrfU» distinguished tenebers in attendance during amid surroundings ideally adapted to a LEOPOLD AUER (First Year) healthy, (Second Year) Clare Osborne Reed Gertrude H. Murdough Ludwig Becker Walter Spry DAVID BISPHAM Master Violin Instructor in the World Most Brilliant of present day Virtuosi George Nel.on Holt Leake S,. John Wutervelt Arthur Granqui«t Winifred Lamb OF NEW YORK CITY 701 Carnegie Hall New York City Helen B. Lawrence A. Cyril Graham Mary StrawnVernon Frances Frothingham Mr. Bispham, aside from his private instruction Wilhelmj Monteliug Ernest Toy OSCAR SAENGER to students, will offer two special features, i. e.. EDWARD B. FLECK (Third Year) Herbert Witherspoon Repertoire Classes for Professional Teacher of Artistic Piano Playing (Second Year) World renowned Teacher of Voice Singers and classes in Recitation to Technic, Interpretation, Repertoire Famous Singer and Teacher of Voice Music. Special Summer Course for Teachers Only a limited number of students accepted. (Mr. Grainger. Mr. Witherspoon and Mr. Saenger will conduct CLARENCE EDDY Apply early. _ (First Year) Repertoire and Teachers’ Classes in Addition to giving private Well known Concert Organist and Teacher lessons.) MUSIC=EDUCATION MR. and MRS. CROSBY ADAMS Annual Summer Classes for Teachers of Piano SUMMER SESSION for the Study of Teaching Material Summer Normals June 23rd to July 26, 1919. MONTREAT, N. C. W lte/U,b 1kl2t5 nt 1 lAUg“tli 6’21 1 t CALBIN GRA1NERD CADY. Principal Special Course in Public School Music SUMMER SESSION of Six Weeks. "mONTREAtT NORTH CAROLINA (SIX WEEKS) Full Announcement in May Issue All Departments of Music and Dramatic Art PIANO TEACHERS JUNE 30th to AUGUST 9th Ninety Artist Instructors Are You Prepared for Peace? Address, 714 Davis St., Portland, Oregon All the well known members of the faculty of 100 artist-teachers also will be present to give private instruction. DAVID BISPHAM Among the prominent artists may be mentioned: Normal Training Classes for Teachers of Piano, Voice, Violin, Dramatic Art and Opera. PIANO: Heniot Levy, Allen Spencer. Victor Garwood, Silvio Scionti, Louise Robyn, Condensed Summer Course “ Kurt Wanieck. Leo S< FREE SCHOLARSHIPS in Piano Playing and Teaching VOICE: fete Hackett, Rag s. E. Warren VIOLONCELLO: Robert Amhroaiua. 8HEPARD 80H00L OF MUSIC (2 VIOLIN: Herbert Butler, Adolf Weidig, Ramon Girvi PUBLIC SCHOOL MUSIC: O. E. Robin. Professor Auer. Mr. Grainger, Mr. Witherspoon and Mr. Saenger have each consented to award a Free Scholarship to the student, who, after an ORGAN: William Middelschulte, Frank Van Duse HARP: Lake Forest open competitive examination, is found to possess the greatest gift for singing or playing. Free scholarship application blank on request. and others of equal importance. University School of Music Write for catalog or complete summer announcement. Engage lesson periods now. Many were unable to secure time last summer Desirable dormitory accommodations. Many free advantages. Teacher’s Certifi¬ The best in musical education in a cultured home en¬ vironment. Internationally trained teachers. Four cates and Diplomas conferred by authority of State of Illinois. Catalog mailed free. years' course required for Performer’s and Teacher’s Certificate. Special courses in Keyboard Harmony. DLANyour Summer now. Consult Send for Catalog and Summer Session Prospectus. History of Music and Appreciation. Schooi orchestra, chorus, and recitals. Credits allowed by Lake Forest 1 these pages for suggestions on College and Ferry Hall for Music School Work. Address where to study. sf if if American Conservatory of Music, 571 Kimball Hall, Chicago, Ill. r Northwestern University —i “r1 SUMMER SCHOOL OF MUSIC Roy David Brown Schools and Colleges Assistant and Successor to the late EMIL LIEBLING | On the shore of Lake Michigan, in Chicago’s most attractive suburb (| PENNSYLVANIA AND SOUTHERN Six weeks—June 30 to August 9 ft 1 Private instruction in Piano, Voice, Organ, Violin, Cello. Class instruction in Har- [S Summer Course for Teachers / Serious Students H mony, Music Analysis, Ear-Training, Solfeggio, Counterpoint, Conon and Fugue, ft ESTABLISHED 1857 | Composition, History of Music, and Piano Pedagogy, with practical demonstration Six Weeks—June 30th to August 9th gj through children’s classes. ft COMBS CONSERVATORY CONSERVATORY M For bulletin giving full description of courses, credit, (both in the School of Music (f Write for Circular and the College of Liberal Arts), tuition fees, etc., Addrese PHILADELPHIA PEABODY BALTIMORE, MD. 9 PETER C. LUTKIN, Dean School of Music, Evanston, Illinois M THIRTY-FOURTH YEAR Address, ROY DAVID BROWN, Lyon & Healy Building, CHICAGO A Residential and Day School of unparalleled Facilities for the attainment of a complete HAROLD RANDOLPH, Director One of the oldest and most noted Music Schools in America. A SCHOOL OF INDIVIDUAL INSTRUCTION (Theoretical and Applied Branches Taught Privately and in Classes) Because of its distinguished faculty, original and scientific methods, individual instruction, high School of Music EDWIN HUGHES The American Institute of Applied Music ideals, breadth of culture, and moderate cost, combined with efficient management, the Combs OF ANNOUNCES A SPECIAL SUMMER CLASS AT HIS NEW YORK STUDIO FOR lz *! SUMMER SESSION, June 23rd to August 1st Conservatory affords opportunities not obtainable elsewhere for a complete musical education. Faculty: Gilbert Reynolds Combs,Piano; Hugh A. Clarke, Mus. Doc.. Theory; William Geiger, Mus. Bac., Violin; SHENANDOAH COLLEGIATE ■ PROFESSIONAL PIANISTS AND TEACHERS, BEGINNING JUNE FIRST. < // I ojCoursamvoiCE, PIANOFORTE, VIOLIN, HARMONY Modern technical development. Repertory and program building. A Nelson A. Cheatnutt, Voice; Herman Sandby, Violoncello: Russell King Miller, Organ, and 75 assistant teachers. INSTITUTE Vs/ A|/VV/ J0HN B CALVERT. D. D.. fVcdmr 34th Seaaon, October 1.1, 1*1* All branches, Norma! Training Course for Teachers. Public School Music Supervision. LEADING SCHOOL OF MUSIC IN THE SOUTH Principles of correct tone-production at the piano. Addreu communications to V&L I \Atlanta Conservatory of Music “LISZT’S METHODS AND TRADITIONAL INTERPRETATIONS” THE FOREMOST SCHOOL OF FINE ARTS am CH O O L • ^*ur'n? *^e summer 'he Sherwood Music School keeps all its departments of IN THE SOUTH Steinway Hall. 109 E. 14th St., New York City instruction open for the benefit of Teachers who are busy at home in the winter. Advantage. Equal to Thoae Found Anywhere . Formerly teacher and lecturer at Bcharwmka Conservatory^ Exceptional opportunities to locate Teachers in our Branches, on account of Teachers changing. Take a vacation Fall Session Begin. September 2d, 1918. Btudent§!el'‘,^rtllScame^OTi«fy attached to this brillant pupil and gave him what he seldom bestowed^a in beautiful Chicago, with its lake breezes, parks and summer orchestras—and do some studying at the same written recommendation.” (The American History and Encyclopedia of Music, page 4o8.) bend for list of ZECKWER-HAHN successful pupils, etc. time. Special summer rates. Address, SECRETARY, SHERWOOD MUSIC SCHOOL. 300 Fin. Art. BU,..CHICAGO PITTSBURGH MUSICAL INSTITUTE, Inc. PHILADELPHIA^ Summer term of six weeks from 1617 Spruce Street, Philadelphia June 23rd Modern equipment, thorough instruction, —:-. *-,uity For prospectus, address - - - hBROSmEPSTEfN1* * PLAN YOUR SUMMER NOW STUDY AND IMPROVE YOUR MUSICIANSHIP 4259 Fifth Ave. One of the oldest and best Mnsic Schools in the United States 4525 Olive Sti Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE when addressing our advertisers. 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Because its standard has never been equaled or such phenomenal results obtsined Woman’s Home Companion) To ( THE ETUDE American Magazine by any other plan for teaching beginners. iu^MAO MRS. CARRE LOUISE DUNNING NORMAL CLASS FOR TEACHERS, MILWAUKEE, OREGON. --Virgil Method People’s Popu-($9— THE ETUDE . .^SO Normal Classes Portland, Oregon, June 17th, Chicago, Ill., July 31st, 1919. lar Monthly . ( Mrs. Oscar E. Busby, Normal Class, Memphis, Tenn., June 23rd. Address 712 Wilson Bldg., Review of Reviews fs«^*i.2s Dallas, Texas. Teacher’s Course $125.00—Enter any time Modem Priscilla Mrs. Anna Craig Bates, Normal Class, Marshall, Texas, May 1st. Address Adolphus Hotel, THE ETUDE .... )$475 Dallas, Texas. THE ETUDE . THE ETUDE . . . ] $^50 Miss Mary E. Bi sen, Normal Classes, Muskogee, Okla., June, 1919; Toledo, O., August For explanations Write Mrs. A. M. 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BURR0WES COURSE of music study COLLIER’S WEEKLY . . . *2.50 I MOTION PICTURE MAGAZINE . *2.00 Mrs. Wesley Porter Mason, Normal Classes, Dallas, Texas, April 20th; Denver, Colo., June ?.oodT5ous1kIe^ngN •. ! 2$ popular sciencI m6nthly‘ 1.00 THEO. PRESSER CO Publishers, Philadelphia, Pa. 20th, 1919. Address SOUWorth Street, Dallas. Texas. Kindergarten and Primary—Correspondence or Personal Instruction S?D1Es” HOMEEJOURNAL . . 1.75 1 SATURDAY EVENING POST 2 00 Mrs. Harry A. Prentice, Normal Class, New York City, June 28th. 78 W. 103d St., Happr Pupils—Satisfied Parunt.-Prosp.rous Toschors. Class., ar. doubled t>, u.. W this aelM New York City. Mrs. Mat s D. illis. Normal Classes, ' 16th, 1919. Address 617 S. 4th appnca&o KATHARINE BURROWES ind booklet of Foreign and Ame Milw.

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