June 1924) James Francis Cooke

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6-1-1924 Volume 42, Number 06 (June 1924) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 42, Number 06 (June 1924)." , (1924). https://digitalcommons.gardner-webb.edu/etude/713

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Price 25 cents JUNE, 1924 $2.00 a Year JUNE 1924 Page 363 THE ETUDE

New Publications that will serve Many Schools and Colleges Noteworthy Announcements in this Issue on Pages 363, 384, 366, 367, 368 _

Branches of the Music Profession \AMERICAN INSTITUTE ^njumitr g>rluml of JHuBiral Ir-Buralton Professional The Presser Policy is to Issue Only Those Book Publications that have Merit and are of Real Value \0F APPLIED MUSIC Music taught thru the awakening of the inner consciousness Directory to the Profession. With Compilations and Teaching Works the Aim is to Make Each Work One of \ Metropolitan College of Music High Standing in its Particular Classification. YOU MAY PROVE THE MERIT OF ANY OF \ THIRTY-EIGHTH YEAR SUMMER NORMAL COURSE THE NEW WORKS ON THIS PAGE BY SECURING A COPY FOR EXAMINATION. Piano KateS. Chittenden, Dean JULY 6th to AUGUST 15th ALBERT ‘”wsi NEW PIANO TEACHING WORKS Favorite Musical Readings and A VIOLIN WORK RECENTLY ISSUED Pedagogy \ FACULTY OF Piano Conducting Conservatory Dept. Strong Normal Class for Teachers faculty of ten teachers. Jenk- Courses \ SPECIALISTS mtnnrr, P. enhurh nf Philft Album of Trills PianologuesofCoylaMaySpring 25 Selected Studies from H. E. Voice Song Leading BEECHWOOD Written and Compiled by Clay Smith Lead to \ teaching Elementary Harmony Op. : Certificates and DiplomX Music in 57 West 48th Street CONIBS “,’r Special \ 3,1 its New York City Summer Session \ branche« DUNNING §£ isSlIsis? June 16th \ THE NEW SUCCESS MUSIC METHOD sbs sjss Ssss^Tt%ss!t!SR EiMipcE/'T A NEW PIPE ORGAN ALBUM GOOD METHODS BRING GOOD RETURNS 2 W. 59th St. New York City Lemare Organ Album FABRIZI s^s^mm‘LarssTS VIRGIL PORTABLE KEYBOARD GUICHARD”^:-—"

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Add to Your Musical Power nesting from a musical standpoint By Studying k TREIffON-^si-grls^ HARMONY AND COMPOSITION Write F. L. Willgoose, Mus.Bac. (Durham Univ.) VEON SrS“»- VIRGIL Stories Notes Can Tell SPECIAL NOTICES and ANNOUNCEMENTS VIRGIL A Departr VIRGIL SCHOOL OF MUSIC sliSigps Founded by the late A. K. Virgil rates fort In Foreign Lands Originator of the Virgil Method, Inventor of the Virgil Practice Clavier ■WeSLSS" •' r-“ summer session ’^s^ssa^ssss^J;";mh- INTERESTING NEW PIANO ALBUMS Price, 40 cents This is virtually a cycle of four delightful two- AMERICANSfg"-"5^ Young Folks’ Opera Gems Sfiain Egyptian M f e,entitled On to BURROWES’ SssSffik. Price, 75 cents DUNNING SYSTEM °nTt“dy by a. Ugiin, Eductor. ■>. World. CHICAGO ggSS womens club ”Umber °” the Prc™ of a A CLEVER MUSICAL COMEDY CINCJ§ATIf^5» Knight of Dreams DETROIT The Three Players Contemporary March Album rr;ssrcESFoR Adda C. Eddy, U6 W. Sanduaky At.., B.IWontaine^Ohio, May 20th; Columbus, Ohio, June 24th. TOMUNSONJIggi

ETUDE COVER WESTERN DESIGN CONTEST $250.00 CONVERSE COLLEGBSSaS !issiis£Err“— IN PRIZES ■ffWEBK. THE ETUDE Page 364 JUNE 1924 SUMMER MASTER SCHOOL

June 30 to August 9, 1924 (Six Weeks) TEACHERS’ CERTIFICATES AND

a feature of the Palace of the Legion ol Honor presented by Adolph B. Spreckelsto San Francisco to the memory of the Califor¬ nia soldiers who enlisted in the World War. The organ is the gift of John D. Spreckels.

Teachers’ Certificates and the Degrees of Bachelor of Music, Master of Music, Doctor of Music, Bachelor of Oratory and Master of Oratory will be conferred at the end of the Summer Session upon Artists, Directors, Teachers and Advanced Students who show sufficient knowledge and take the required studies. Requirements in Summer Catalog Chicago musical College 620 S. Michigan Avenue, Chicago, Ill. WSSSSSREESr*

VICTOR HEINZE STUDY IIM AUGUST EMINENT TEACHER of many SECOND SESSION—SUMMER SCHOOL well known pianists, will conduct a SUMMER CLASS for teachers and AUGUST 4 TO SEPTEMBER 6 (fonserdatorfc 4ttusic pianists in Munich. The work will GUEST TEACHERS COMPLETE COURSES DIPLOMAS AND DEGREES Over Fifty Years of Musical Leadership FREE CATALOGS fall term starts September 8 A Complete School of Music Master, Artist and Normal Courses Address by registered letter MacPHAIL SCHOOL OF MUSIC VICTOR HEINZE, Now Building, LaSalle at 12th Street MINNEAPOLIS, MINN. Richard Wagner Str. 39, Schools of Opera and Ballet Pasing, Munich, Orchestra and Chorus Germany PERCY FULLINWIDER VIOLINIST LAWRENCE CONSERVATORY FREE SCHOLARSHIPS American Correspondent Head of Violin Department rmitories on beautiful tcn-acrc campus only fifteen min Franklyn Carnahan, LAWRENCE CONSERVATORY from Cincinnati s Music ani Art Attractions. 204 Fine Arts Bldg., APPLETON, WIS, Pupils may enter at any time. A MASTER TEACHER Cleveland, Ohio Jnusual opportunity for the series. Free Catalog. SEND FOR CATALOG TO ious student of violin. Write for ree catalog and information. CARL J. WATERMAN, D< BERTHA BAUR, Director Highland Ave. and Oak St. Cincinnati, O. Minneapolis School of Music Oratory and Dramatic Art Michigan State Normal College Conservatory of Music 60-62 11th St. S. at La Salle Courses in singing, piano, organ, violin and theory. Minneapolis, Minn. Courses for training supervisors and teachers of public school music. VALPARAISO UNIVERSITY WILLIAM H. PONTIUS, Director Graduation leads to a life certificate valid in most states of the union. Fall term opens Sept. 2 Total living expenses need not exceed six dollars per weeL Tuition and fees exceptionally low. School of Music Large Faculty of Artist Teachers (Accredited) Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, Mich. VALPARAISO, INDIANA I DANA’S MUSICAL INSTITUTE WARREN, OHIO J’HE EXPENSES ARE THE LOWEST I A University of Music with Daily Instruction in All Branches of Musical Education DetaLkdfigurslS-'e .SUMMER SESSION OPENS JUNE 16th Address Lynn B. Dana, Pres. Desk E, Warren, Ohio paraiso^Umvershy,—Dept. 6> Valparaiso, Indiana.

of 35 specialists. High school course or equivalent IN required. Courses lead to degree of Mus.B. Pall IH NO TEACHER BEETHOVEN w c ' THEO. PRESSER CO., Philadelphia^ Pa. CONSERVATORY Please mention THE ETUDE w

It,' JUNE 192U Page 367 THE THE ETUDE

Page 366 'JUNE 192£ m,m, u„...... m, ■„. - __ __ — SUMMER MASTER SCHOOL SUMMER MASTER SCHOOL June 23 to July 26, 1924 For Artists, Directors, Teachers and Advanced Stndents June 30 to August 9 (Six Weeks) MME. FANNIE ——=*i UMMER FACULTY- BLOOMFIELD Richard Hageman ZEISLER s&VALERI Herbert Witherspoon William S. Brady Prof. Leopold Auer Celebrated Vocal Instructor Noted Coach and Accompanist Famous New York Expert Master Violin Instructor of the World Famous Singer and Teacher Renowned Pianist and Instructor on Tone Production Graham Reed PRIVATE LESSONS Percy Rector Stephens Private Lessons—Repertoire—Teacher’s Classes Sergei Klibansky Prof. Xaver Scharwenka Authority on Voice Production Repertoire—Teacher’s Classes—Auditor Classes World’s Greatest Piano Instructor Notable Teacher of Teachers if a nrrT a TkT director of public school music Leon Sametini Clarence Eddy Dr. Georg Schumann GEORGE H. G ARTL AN of new york city Florence Hinkle Renowned Violinist and Teacher Dean of American Organists Illustrious Composer and Theorist America’s Foremost Soprano EMINENT FACULTY OF 100 ARTIST-INSTRUCTORS And the Regular Faculty of Over 100 Artist-teachers SUMMER SESSION of Six weeks from June 23rd to August 2nd, 1924. Special courses for Teachers and Advanced Students in all branches of Music and Dramatic Art. Special Courses for Supervisors of Public School Music, Recitals by distinguished Artists. Lectures by eminent Educators._

The American Conservatory awards Teacher’s Certificates, Diplomas and Degrees by authority of the State of Illinois TEACHERS’ CERTIFICATES AND DEGREES FREE SCHOLARSHIP awarded by Delia Valeri and Fannie Bloomfield Zeisler Send for Ap¬ Tochers’Certifi^tes^rthe DegTell of Bachelor of Music, Master of Music, Doctor of Music, Bachelor of Oratory and Master of Oratory will be plication Blank. Excellent Dormitory Accommodations. Rates of tuition moderate. Summer Session Teachers summer seSsion upon candidates who show sufficient knowledge and booklet mailed free on application. For detailed information address Full details in Summer Catalog. _Complete summer catalog on request._ Lesson periods should be engaged now.

Complete Catalog on Request j Dormitory Accommodations Fall Session Opens September IS American Conservatory of Music CHICAGO MUSICAL COLLEGE J571 Kimball Hall, Chicago, Ill. John J* Hattstaedt, President i /'ll • in The Leading and Largest College of Music FELIX BO ROWSKI, President 620 §. Michigan Ave., Chicago, Ill. and Dramatic Art in America CARL D. KINSEY, Manager

SUMMER SESSIOJ LYCEUM tigersWhoWjshToOetNewWrj Peabody Conservatory SRLi^TS BALTIMORE, MD. QOMSER.VATOR.Y HAROLD RANDOLPH, Director. Recognized as the leading endowed musical conservatory of the country The Glenn Dillard Gunn SUMMER SCHOOL June 16-July 26 (Six Weeks) ELIAS DAY, Director AdMAc£BAN (■«LLEUK'«F".Ut;sR', II] Theodore Harrison, Director of Music 288- 8 tl II- h- A'|l> ,8PJ':1ECH AKTS ) H i“ug 7iYth SCHOOL OF MUSIC AND superior faculty-, teaching every branch of MAPI FAN PR-JUANC~ VOICI^^VEI.OPJIKN Summer Session Staff of eminent European and American Masters including: DRAMATIC ART FRANK BIBB _ CARLOTTA HELLER MS^JttWSSS. CHARLES H. BOCHAU HENRIETTA HOLTHAUS HOWARD R. THATCHER Principles of Dramatic Art and their proper use, G. HERBERT KNIGHT MABEL THOMAS INCORPORATED including Story Telling, Art of the Monologue OTTO ORTMAN J. C. VAN HULSTEYN and Teaching Methods. ANNA SIMMERMAN Play production with practical demonstrations on a stage completely equipped for actual work- Tuition $15 to $40, according to study By special arrangement with the JOHNS HOPKINS UNIVERSITY INTERNATIONAL credits in certain branches may be offered for the B. S. degree Artists’, Normal and Opera Classes MRS. BABCOCK Practice Pianos and Organs Available Studios, Theatre and Dormitories in our own QFFERS Teaching Positions, Col- Circulars Mailed FREDERICK R. HUBER, Manager Building, ideally located in the heart of the North v^leges. Conservatories, Schools. Summer Term Side Art Center. Arrangemen is for classes now being made LYCEUM ARTS CONSERVATORY AlsoChurchand Concert Engagements Dept. R. S. 1160 No. Dearborn St., Chicago Nine, Six or Five Weeks—June 2 to August 2, 1924 CARNEGIE HALL, NEW YORK Atlanta Conservatory of Music Zeckwer - Hahn LEE PATTISON GLENN DILLARD GUNN Famous American Pianist, associate Described by the late James Gibbon es Equal to Those Found Anywhere PHILADELPHIA of Guy Maier in two-piano recitals. Huneker as “A Master Pedagogue of DETROIT MUSICAL ACADEMY Artists’ classes. Chicago.” Normal classes. Peachtree and Broad Streets, Atlanta, Georgia 1617 Spruce Street COMBS CONSERVATORY ADOLF MUHIMANN GUY HERBERT WOODARD PHILADELPHIA CONSERVATORY ' Camille Zeckwer Frederick Hahn THIRTY-NINTH YEAR Distinguished Russian Baritone. Celebrated American Violinist and Mr. and Mrs. Crosby Adams Charlton Murphy Muhlmann Opera School, a depart¬ Annual Summer Classes for A School of Individual Instruction A School of Public Performance Teacher. Teachers of Piano Si PENNSYLVANIA’S LEADING Four PuniU’ Recitals a week give you opportunity for Public Performance ment that prepares for the stage. OF MUSIC 21st SEASON—1924 SCHOOL OF MUSIC SOPHIA SWANSTROM 54th Season Symphony Oi ERIC DE LAMARTER SUMMER 50th Year anferred. Daily reports keep the —.‘r^rr ~*r , . YOUNG Now Open. Pupils may enter at any time. rsonally lformed of your progress—Daily Relations with University of Pennsylvania Foremost American Organist; assist¬ North Carolina Francks L. York, M. A., Prt Courses for Public School Music Supervisors ant conductor Chicago Symphony Eminent Teacher of Dramatic Art. MASTER izabeth Johnson, Vice-Pres. Approved and Accredited Three-Year Courses in Public School Music Orchestra. Normal Classes. State Certificates issued upon completion of Course, without further examination. SCHOOL— THOUSANDS will be improv¬ Summer Term Extension Classes Approved and Accredited Classes in Public School Music. Faculty of Forty Distinguished Teachers June 23 to ing their musicianship this Six Spacious Buildings Dormitories tor \ summer. Have you given A School of Inspiration, Enthusiasm, Loyalty and Success August 2— Illustrated Year Book Free Catalog upon request BERTHA PERRIGO, Registrar For particulars of summer session and detailed In/ormaltnn address thought to what you might Six Weeks PITTSBURGH MUSICAL INSTITUTE, Inc. GILBERT RAYNOLDS COMBS •Director 0ffi“Bsr’0adora™d0Reedasntdre! JAMES H. BELL, See.. Bn, 7, 5035 A,.., DETROIT. MICH. accomplish ? 131-133 BeileEeld Ave Piffshiirdh. Pa Please mention THE ETUDE when addressing our advert! te Please mention THE ETUDE when addressing our THE ETUDE

Page 368 JUNE 19U TORMALaA^KTORTE^^^F P1AN0 TEACHERS’ TRAINING CLASSES P1AN0 STUMNTOWHOWBH TO BECOME TEACHERS THE ETUDE - CONDUCTED BY - JUNE, 1924 Single c°Pies 25 Cents VQL‘ XLI1, No-Jl JOHN M. WILLIAMS Securing Summer Musical Employment To Jazz or Not to Jazz rmer; "Hut " . Every now and then we read of some serious composer who ” began in the January Young musicians write us from all parts of the country, announces that his forthcoming symphonic work will introduce titled “What to Teach al asking how they may get positions to play in the summer. They some tricks he has learned from Jazz. itinerary — know that hundreds of summer hotels do have ‘ music with Meanwhile Jazz has flooded over the world like lava from meals” and otherwise; and they do know that countless students kOSANGELESiW..S!gte^ the American volcano of popular music. Sew YORK city :: June SO to gjrj* KCYKec.w::«~g jfjj len',"' "IHfes gSSS?« expect to piece out their study funds by playing in this maimer. TUCSON."'.'.'.'.October 13 to October 25. of classes tvill be limited,___ The Jazz problem has reached such dimensions that in lANTFRANCiscb' '.’.AW* 4 *° . . . - v„._ .n,h). Early enrollment is urgeu as----—.— Good music played under such conditions is in no sense com¬ SAN DIEGO .Uicud 18 to ang (dally class lessons of too jaching material tor the te August we shall let The Etude be a forum for the discussion Each class will be of two weeks au'--- s through tl ,rk and suggests methods < promising to the player. Many of the world’s finest performers -FUNDAMENTAL TRAINING is devoted of the pros and cons of Jazz. Many noted writers on both sides SOLELY and EXCLUSTPELY have, in their youth, played in restaurants, hotels and small TRAINING of TEACHERS oi n $400 to $600 n will participate. to the traportant raatto of* ^ theaters. r In any event, we do know that the Jazz of ten years ago £A™g. to. We do not, however, have an agency or bureau or list to TheS1C JOHN M- WILLIAMS SYSTEM OF_ is not to be compared with that of today. Jazz has grown up, B~W.. “\cSr\rTOMN'lNS toTteIcHERS OF PIANOFORTE help these friends! Our only advice to them is to secure a list gone through high school and is ready for college. JOHN M. WILLIAMS SYSTEM OIM __ of resort hotels from a travel bureau or from a metropolitan Will it, nevertheless, still conceal under a cloak of culture newspaper and write to the hotels individually. It is perhaps a the iniquity which so many people ascribed to Jazz? waste of time to try to get positions in the very big hotels, for To Jazz or Not to Jazz? Will Jazz injure really good the reason that these positions are often supplied by men such as INSTITUTE mus;c—the kind of music that The Etude has stood for during MUSIC TEACHERS!! Whiteman, Lopez, Uavis and others, who make a specialty of OF its forty years of progress and for which it will continue to Have You Any Reasonable Ithaca Conservatory of Music introducing their own orchestras. In many of the smaller hotels the music is obtained by the management. It is needless to tell stand ? Arguments to Offer Vocal, John Quine, Bert Rogers Lyon, Albert Edmund Brown and MUSICAL ART The “Battle of Jazz” in the August Etude will be “some the Parents of the young women that great care should be taken to ascertain the and fight.” Don’t miss it. who, because of the rushing, CITY OF NEW YORK nature of the hotel to which they apply for employment. Very cramming systems of the schools, teaVioUn, W. Grant Egbert, Dean, pupil of Sevcik. Caesar Thomson, 120 Claremont Avenue, Cor, 122d St. few hotels are not thoroughly legitimate business enterprises. Maatpr Teacher, and six assistants. Music Libraries in Your Community are asking why their children Affiliated Organ George Daland, Director. Former official^ organist ^Cornell Thousands of young musicians add to their incomes during should become slaves in order to University. Preparatory, Academic, Post Graduate ; the summer season by securing subscriptions for magazines. Someone asked us a short time ago, “Where does the Splendid equipment of eleven incMng four < FRANK DAMR0SCH, Dir. reproduce the Music of the great irium gymnasium, soronty and fraternity buildings, e Subscription getting, if done with tact and courtesy, is never money go which composes the $2,000,000 a day, reported to the New York State Board of Regents. Un Send for catalogue masters, when the many mechani¬ Schools approved by .. offensive and can become very profitable. We know of one man be America’s bill for music?” cal instruments can do this and positions available who, traveling alone, secured over forty thousand subscriptions It is not difficult to answer this question if one will note, when the Radio is bringing Music to The Etude. Those who play acceptably can often do ex¬ for only a very little while, the really immense musical activity into every home so easily and ceedingly well in selling a musical magazine.. The Etude in all parts of the country. reasonably. CONWAY ■ never makes any fabulous promises in this direction, as the suc¬ Two years ago the Department of Interior published a The Fletcher Music cess of the subscription getter depends entirely upon his abil¬ booklet prepared by a Committee of the Music Teachers’ Na¬ Method ity, bis personality, his smartness in finding out the musical tional Association, of which Mr. William Benbow, of Buffalo, is literally rescuing the child for folks in a town who ought to have The Etude, and his business was the chairman. This committee made a survey of music Music by presenting a wholly ability in general. There is no reason why the summer should departments of libraries in various States of the Union. The original motive for studying. No not bring you a very nice income in this way if you need the report is both encouraging and discouraging. It does more blind stupefying copying but indicate, however, that we are investing a great deal of money joyful self-expression with that money, are really ambitious, become an accredited representa¬ GI tive and are not afraid to hustle. in musical books. In some parts of the country the invest¬ understanding which removes limitations. PIAI\ . ments have been very large and in others disappointing. The largest music libraries are by no means always in the Write for particulars of this world- Carnegie^Haty, Neu) York Unaccompanied Song famed school of teaching—copied but Herbert Bedford, painter, composer, critic, husband of largest cities. In Pittsburgh, for instance, the Carnegie unparalleled in its tools, possibdities and Library has 7,000 books on music, and 1,400 bound volumes that remarkably gifted genius, the late Liza Lehmann, has just of music, 175 orchestral scores, and 400 chamber music scores. SUMMERSight-Touch-Hearing-System Senior Booklet issued from the Oxford University Press an “Essay upon Unac¬ The 27th Summer Normal School Mr. Gianberry will continue lo direct the University of Geotsn. According to the report quoted, the Free Library of Philadel¬ will open at The Castle, Tarrylown- Summer School of Music June23rd to August 2nd, Athens, Ga companied Song.” He says: phia haj less than half this number of works in its collection. on-Hudson. For full details write “Let us realize at the outset that modem unaccompanied The Courtright Tgrll’l'!™ ‘ “ The report given of the Library of Congress is indefinite System of Musical to speolata in tua^uamattei song is not merely the voice part of any accompanied song, in totals. It is therefore impossible, from the reports quoted, Kindergarten correspond™,* course. robbed of its natural accompaniment—set to shiver on the con¬ MRS. FLETCHER-COPP to give an accurate estimate of the quantity of books and .Lillian Courtright Card, 116 Ed cert platform stripped of its accustomed garment. It is, in pieces it contains. There were, in 1918, 822,000 volumes, 411 West 114th St. New York fact, something musically different; it is composed with the pamphlets and pieces. There are probably 10,000 orchestral deliberate intention in the mind of the composer of its single scores of operas, symphonies and concertos, and 5,000 cham¬ vocal line being complete in itself without the harmonic assist¬ ber works. There are 1,000 autograph manuscripts of ance or the commentary of an accompaniment—imagined, MFW YORK SCHOOL OF MUSIC AND ARTS American composers. Up to the time of the report there had indeed, complete in the composer’s mind, without one.” IN r> W I Whrive 22nd YEAR Ralfe Leech Sterner, Director been approximately $150,000 spent upon the purchase of Mr. Bedford insists that unaccompanied song has no inti¬ music and books, although the works acquired through copy¬ SIX WEEKsluMMER COURSES for Teachers and mate connection with what we understand as “folk-songs.” It right are valued at an equal amount, if indeed, their value is Rates: $250 and $300 (accorolng “ iK^ures,‘'claMe is something quite different—an attempt to re-incarnate the Starting 15th pupils may enter any day May CELEBRATED FACULTY INCLUDING monodia of the sixteenth century, or to transport the unaccom¬ not even greater. Leila Yale The Musical Library of Congress is a monument to the Uech S«m» J22S2-, Celebrated Teacher of Public School Music in panied song of the Far East to the modern concert stage. rell-known voice teacher of he heads oi - Scharwcnka and Carl Reinecke. ur New York City Schools. musical activity of America. Let us hope that it will not ianists . e departments in colleges and sch We like to feel that we are invariably in sympathy with Alfred Calzin become a Mausoleum of Music in the sense that only a very i° during this 0pera> Church and Concert ^Singer s, wl Distinguished French^Pianist—Soloist with nearly beautiful iconoclasms, especially when sponsored by men of re¬ course will play work ol at HIM _ __- .-no, “< Alexander Pero few of the musically interested people may catch more than Grand Opera. Harmony and Counterpoint Helen Carmichael Robertson known and experience. To us, however, after a careful perusal a glimpse of this noble collection. When you visit Wash¬ Frank Howard Warner Drawing and Painting of Mr. Bedford’s delightfully written essay, we cannot but feel Pianist, Composer, and Lecturer Edward Royce Alvin Belden ington, make it a point to spend a little time investigating the Aloys Kremer Pianist, Composer Classical Dancing—Highly indorsed by Mary Garden that unaccompanied song in this day and age is not unlike un¬ AND MANY OTHERS resources of your national musical library. The report states Teacher and Pianist accompanied members of the human body. Why amputate the MBHUN PIANO USED that nine attendants give their entire time to the collection. Our entire faculty will remain in New York City and teach all sum: melody from the accompaniment? Send for Booklet, Views and This i charge for it. Ask for ,at to do as THEO. PRESSER CO., 1710-1712-1714 C n THE ETUDE when addressing our advertisers. JUNE 192^ Page 371 THE ETUDE

Wonderful Musical Advance in the Antipodes Fundamentals That Lead to Musicianly Pianoforte Playing There are doubtless more now; and you will unquestionably Every once in a while our vanity is punctured by the news be welcomed, particularly if you go with some plan of study of some of the unusual achievements of Australia and New Zea¬ By WALTER R. SPALDING, AM. or research well mapped out. The worth of a library, like the worth of a watch or of land in the field of music. With a population only a fraction Professor of Music at Harvard University an automobile, depends upon how much it is used. Every of that of the United States, they have conducted a musical a beautiful tool as effectively as possible, but in no case teacher, every music lover, ought to possess a good working activity relatively far greater than our own. sibilities of the pianoforte, the player must have ears So much is being written and spoken nowadays about to be so taken up with technical considerations that Australia is very largely Anglo-Saxon m its origin and in the ends of his fingers, not to play the instrument musical library of the best hooks and the best music. A safe pianoforte technic, management of the fingers, tone color higher matters are lost sight of. Let us hear on this in tune as is the case with the violin, but to secure way to judge the teacher’s ability and thoroughness is by the still continues as one of the outposts of the Nordic race, lhe and kindred themes, that it may be of interest and matter what Beethoven had to say, one of the greatest a warm singing tone and to take instinctive advantage people are a fine, vigorous pioneer branch of our race. Now assistance to consider the pianoforte and pianoforte pianists, improvisers and composers for the instrument cave with which he has selected his books and the size of his of the many shades of color. All young players should playing from another point of view that of the musi¬ that the world has seen. His best pupil, Ries, records collection. This is an infinitely better guide than a fancy and then we are honored by a call from some of our valued strive for such a co-ordination between their brains, cian We are told, for example, that the human finger that Beethoven was “comparatively careless as to the show of art furniture, fine stationery and expensive advertis¬ friends crossing “the States” to England. They tel us almost emotions and fingers. If they keep this standard clearly and the arm no longer suffice. A “gripping” tone on right notes being played, but angry at once at any fail¬ before them, a distinct gain will soon be noticed in the ing. If the books show signs of use, so much the better. invariably that Australia and the Australians resemble America the pianoforte must come from the hips and there ure in expression or nuance, or in apprehension of the appeal which is made to a sensitive listener. We once went into a public library where there were kept and the Americans more than they do England and the English. are even professional purveyors of the so-called loin character of the piece, saying that the first might be tone!” Oui vivra verra. The forearm, however, has on file several issues of The Etude each month. The copies Australia supports a large number of most excel lent 1\ Making the Piano Sing an accident but that the other showed want of knowl¬ not been”relegated to the limbo as it is prominent in ■were literally torn to tatters, through constant use. It was trained teachers of music. It has its own finely printed musical The pianoforte, furthermore, is not, of itself, a sing¬ edge, or feeling or attention.” the “forearm technic”—a kind of scrubbing up and down Ries also records that Beethoven’s playing was not in a neighborhood where many of the residents might have papers, representing serious and enthusiastic interest in the ing instrument. Its legato, in comparison with the can¬ the keys—which is necessary in playing modern “cluster technically perfect,, as he let many notes “fall under found the cost of even twenty-five cents for a copy of The art. In recent years it has greeted famous artists from all over harmonies.” Speaking of cults, it is amusing to know tabile which can be produced by a voice, violin or clarinet, is only approximate. And yet the emotional appeal the table,” but without marring the artistic effect of Etude just a little more than they could afford. But those the world; and they come back with glowing accounts ol their that there is one for associating colors, not only with his performance. All who heard Beethoven are in instruments and vocal sounds, but even with specific in any lyric melody depends on a legato style. A tattered copies indicated that in that district there were doubt¬ receptions. Some years ago when John Philip Sousa toured agreement that in the sustained legato style his play¬ vowels. For instance, the vowel “o” should always melody on the pianoforte must be sung so that it less more real active music students than in any other part of ing was unsurpassed. We also learn from Ries that the land with his band, the photographs sent back of the public be associated with red, and the vowel “i” with blue. sounds as far as possible as it would sound on a violin. It is a well-known fact that some of the greatest pianists, Beethoven made liberal use of the pedals, much more the great city. receptions looked like a king’s progress. It is worthy of record that some of the great authorities frequently than is indicated in his compositions, and Bauer, for example, have been fine violinists and appar¬ We have known of many libraries where the collections The general public knows ot the attainments ol Melba, in color audition disagree radically in this definite assign¬ that he played the music polyphonically, that is, bring¬ ment of vowel sound and color, disagreement which, as ently always play a melody with a violin legato in are entombed and guarded with a kind of grim death watch. of Percy Grainger and of Ernest Hutcheson. There are doubt ing out the meaning of the different voices. He insisted Philip Hale shrewdly remarks, “makes the judicious their minds. The mere term, pianoforte, itself contains You enter and are greeted- at the door with an expression less many other Australian and New England musicians with a wealth of suggestion for those who will consider; that the chief point in pianoforte playing was a singing registering, “Why did you come? Why do you want to dis¬ for, although it is incapable of the sustained pianissimo tone; and all scampering over the keys without produc¬ equal potentialities who will be revealed to us in the future. All grBy6way of general preface we may heartily acknowl¬ ing any depth of tone was dubbed “finger dancing” turb us and our books? Why don’t you go away and leave of muted strings, the almost ghostly whisper of the honor to our musical friends, geographically twelve thousand edge that technic and interpretation in their highest and “throwing the hands in the air.” Liszt, also, the clarinet, the fortissimo brilliance of a trumpet, or the us to rest in peace?” We know of one huge stone mausoleum application are identical—two sides of the same shield— great modern virtuoso, is on record as saying that in miles away but musically our very fine neighbors. overpowering volume of sound of the organ, the piano¬ of books, costing hundreds of thousands of dollars, which is and it is also true that whatever tool is in consideration, many ways the pianoforte is a rather unmusical instru¬ forte has great dynamic range, if the relation of forte visited by only a handful of people a week. be it jack-knife, a tennis racquet or a pianoforte, this ment, and if all the hearer gets is the impression of tool should be employed with a realization of its pos¬ and piano can be taken into account; and there is no The value' of a library depends entirely upon how much jangling wires, excited rapidity and unrelated noises, The Influence of Music in the Home sibilities and limitations and with the highest regard excuse for the dead level of dynamic effect which the efforts of the player do not amount to much more it is used. A trunk full of books traveling around among Some one has started a prize contest somewhere dealing for good workmanship. It makes a difference, however, is so often apparent. than keeping himself out of mischief. country towns, bringing new life and inspiration to thousands, even with a jack-knife whether the user simply whittles Furthermore, the pianoforte, with its numerous strings with the subject, “Music in the Home.” We know this because is worth far more than many collections of fabulous price, shavings or carves out an interesting human figure. and with its large sounding board, is one of the most Relation of Literature and Music many of our friends have asked us to write their essays for 1 hem buried from civilization almost as securely as the treasures of We certainly today hear many young men and women coloristic of instruments; and, except for very special As to the third point—the relation between the type upon the subject or to furnish them with material dealing with' play the pianoforte who yet do not play in a way which effects where certain moments of dramatic austerity of literature and the technic and musicianship of the King Tut. - appeals to the mere musician. It is often painfully it. Where The Etude suspects it is being requested to answer or intense grimness are desired, these waves of color performer—I wish to make a strong plea for all young evident that they are so taken up with the management My Precious Hands examination questions or prepare material which should prop¬ should always be brought out by an artistic use of both musicians, until they have a well-grounded technic and of their fingers, with carrying out some pianistic method real musical insight, to play simple things and to play “Mr precious hands!” exclaimed the excited de Paehmann, erly result from the researches of the writer, we draw the line. pedals. The pedals, in fact, are not used nearly enough in which they have been coached, that the broader and them well; that is, in a thoroughly musical and artistic refusing to shake hands until a friend between the parts of a by the average performer; or it might be fairer to say The influence of music in the home, however, is so obvious truly musical features in pianoforte playing go by the fashion. The pianoforte literature of Schubert, Schu¬ that too much pedal is used, but in the wrong way. piano recital. Yet the writer has seen the seventy-five-year-old that one hardly knows where to begin to dwell upon it. Start¬ board—such as a , beautiful singing tone a cantabile mann, Mendelssohn, Brahms, Grieg, and even Debussy The una corda pedal, for example, not only has great virtuoso forget those same precious hands and clasp the hands ing with the lullaby and ending with “Abide with Me,” that legato, tone color, shading and logical punctuation. Is and Ravel, contains many fairly simple pieces within the coloristic possibilities, but also by its use the tone of of a friend with a grip of steel. wonderful hymn which has ushered so many of our loved ones it not time, frankly, to consider what is the real nature reach of everyone. At present too many “musical How much should the pianist’s hands be protected? Surely of the pianoforte with reference to its limitations and the pianoforte is reduced by half; and when the instru¬ murders” are committed in public. Let the young pianist into another world, music is as needful in tiic home as bread or ment is played dynamically from pianissimo to fortissimo no one has a finer, cleaner, swifter or more delicate technic than praiseworthy qualities, and what should be the aim in play away in private to his heart’s content on any sunlight. with the una corda pedal held down for long stretches, Josef Hofmann. Yet, Hofmann builds automobiles for a pianoforte playing? Then let us see if by making literature which appeals to him, but let him not play There is no member of the family who is not benefited by and then, in contrast, with the same dynamic gradations technic what it really is—a means to an end and not in public, where others have meekly to listen, works pastime. It would seem that the powerful hand of the virtuoso some kind of music in the home. Let it be the frivolous dance on all three strings, it is evident that from six to eight an end in itself—the standard of pianoforte playing which are far beyond him in musical content and the pianist can stand a great deal of strain without any danger of tunes of the young folks. What could give more cheer to their tints and demi-tints of color are at the disposal of the cannot be raised. This point is more important than interpretative power to do them justice. injury. lives? Let it be the favorite instrument of the student, young people generally realize, because the pianoforte has performer. We must always, furthermore, bear in mind that of Beethoven’s Attitude In the case of the growing pupil there seems to be a really or old. What dearer friend than a beloved violin or a splendid become the universal medium for the rendering of music the reciprocal factors involved in the communication of As to the confusion between means and ends, let us great danger. The boy who uses his hands like sledges or who piano? Let it be a rousing “around the piano” sing. What —the chief domestic instrument—and anyone who plays music the player is active and the listener passive. The attempt to answer the question, “What is the real end employs them to receive the anvil-like blows of a flying base¬ is more wholesome? it, be he composer, critic, singer, teacher or even poten¬ player is naturally having a good time; the music is in playing the pianoforte?” Surely to bring out the ball—the girl who plays hockey until her wrists ache—each tial virtuoso, should endeavor to play it in a really musi¬ perfectly clear to him and he is taken up with many Music is beauty in the home—living, breathing beauty. meaning and the message of the music which the com¬ cal manner. considerations of technic, tone, and so on, which sus¬ has been the bugbear of teachers. The hand iii youth will not There can never be too much of it, whether it is home made or poser wishes to impress upon the listener. Also, but Pianists Not Forced to Listen stand abuse without paying the penalty. In mature years Mr. whether it comes to you through the phonograpli, the player in a somewhat secondary way, to use the pianoforte as tain his interest; but the poor listener out in the con¬ I should like to make certain suggestions which fall cert hall, waiving the few cases where Hofmann may know how to use his wonderful hands so that they piano or the radio. under three headings: First, an inquiry he is perfectly familiar with the work will not be injured. Recently we lunched with Anton Lang, the Christus of the into the nature of the pianoforte; second, being played and so makes up with his There is, however, a great deal of poppycock about pos¬ Oberammergau Passion Play. His face was a study, a lesson a consideration of the frequent confusion own imagination for any deficiencies, gets sible injury to the hands of students. We have had many young and an inspiration. Through years of idealization of the beau¬ of means and ends in pianoforte playing; from the music simply what the player and, third, the effective relationship be¬ presents and impresses upon him. As a women write us to ask whether washing dishes did not injure ties of the life of Christ, his countenance has taken on a won¬ the hands for piano playing. A fine juvenile overture for lazi¬ tween the type of music played or per¬ closing admonition, let it be said that if derful. charm like which one rarely sees in this material world. formed in public and the musical the player will make the message of the ness. We have had (actually) three correspondents who have His thought, his actions, his whole being, his whole existence, equipment of the player. The first point work being performed thoroughly his own, asked us whether milking a cow was bad for one’s piano technic. have been to personify Christ. The beauty of a Christ life which often strikes the musician is how will listen to himself, produce a singing, Reasonable care of the hands always pays. Indeed, that shines in his countenance. few people in playing the pianoforte listen well-graded and warmly-colored tone, he girl who by experience knows that some of the excellent lotions to themselves with reference to quality of will always make an eloquent appeal to the One cannot be surrounded by beautiful things and not be tone, shading, color or balance of the on the market, when combined with a little massage, keep the expectant listener. influenced by them. Beauty in the home brings beauty into the hands. The reason is obvious—the piano¬ hands limber and free, often has a decided advantage over her soul of everyone in the home. forte and the organ are the two chief in¬ male competitors who foolishly turn up their noses at such struments which can be played w.thout Self-Test Questions on Professor Spalding’s things. listening at all. Article 1. What instruments can be played with¬ “My precious hands!” De Paehmann may well call them “The wonderful Russians! They take music as an With the voice, the violin, the clarinet, the horn, any of the orchestral instru¬ out attentive listeningf precious when he realizes that they have again brought him a avocation and produce marvels.” In the July Etude ments, the player is forced to listen to 2. Is the piano a "singing instrument”? fortune, many years after the time when most men retire. there will be some very illuminating and helpful articles play in tune and to make any artistic or which tell how the Russian student has accomplished even acceptable effect whatsoever. But 3. What is the real end in pianoforte playing? Self-study, like self-doctoring, may be dangerous un¬ more as an amateur than many do as professionals If a person playing the pianoforte, if the in¬ less done rightly. A stimulating article in the July strument be a good one and in proper 4. Was Beethoven’s playing technically American creative energy could be turned to music in tune, can play away and make a certain perfect? Etude tells some of the right ways. similar manner the results might be amazing. amount of effect without really listening; 5. How can one make an eloquent appeal and this is just what happens in many in pianoforte playing? cases. To bring out, in fact, the pos¬ PROFESSOR WALTER R. SPALDING IN HIS STUDY AT HARVARD UNIVERSITY JUNE 192b Page 373 the etude

Page 372 JUNE 192b The Eisteddfod Boston’s Musical Past What the Great Masters of Music Have Done for Little Folks Misplaced Bars By Rhodi Llewellyn In Boston: . Famous Sets of Pieces Which Children Should Have an Opportunity to Learn The first music was printed in America, • By Eugene F. Marks The first book of Sacred Music was issued in America, Fisteddfod as an institution of the song-loving characteristic of his genius, it is meant (whatever tae products from other august pens. Mozart and others of wS “ Silo storied day. purety .r.dit.on. That the great masters realized the importance of title-page may say) exclusively for grown-up men and the older classics no doubt wrote a good deal merely for Every student knows, or should know, that in the final The" first ^Pipe Organ in New England was erected in These contests are known to have been practiced as early writing good educational material is manifested in the women who remember their own childhood with sym¬ pupils; but they never seem to have had children specially phrase of a period or movement as a general rule and Ish the close of the Fourth Century,_ when Owa.n ap number of excellent collections of teaching material com¬ pathy, but possess adult fingers and brains and hearts. King’s Chapel, 1714. in mind-all that they cared about was comparative tech¬ especially in common time, the last tonic chord of the The first Singing School in Arnica was held 1717^ What child has ever lived who could make, anything but Maxen Wledig was elected to the, C!?lefsince ing from the pens of some of the very greatest men nical easiness. The five named composers, however, pro¬ fuff cadence falls upon the first or accented beat o the The first Music Instruction Book in America the Britains upon the departure of the Romans, bince an emotional caricature of the ‘Abendlied?’ We all ac¬ last measure, and the preceding dominant or sub-dominant in the field of musical art. In fact, the inclination to duced, of set purpose, definite children’s music; and it is that time the Eisteddfod has flourished by royal edict write attractive pieces of a high type for little folks knowledge that the ‘Kinderscenen’ are among the most chord upon the last beat of the previous measure How¬ Thc'fir^Pubbfconcert advertised in America, 1751, perhaps not uninteresting to examine how they conceived, and under distinguished patronage almost continuously is in itself a mark of greatness. fascinating short piano pieces in existence, but in every ever in compound time (not the usual English of American The first Pipe Organ built in New England, 1745-6. the problem and with what success it was met. The Eisteddfod is a national bardic congress of Wales. Robert Louis Stevenson’s “A Child’s Garden of Verse way they insistently demand grown-up performance, and acceptance of this term, which is applied to the triplet The first secular Sheet Music published in America, “The ‘Clavierbuchlein,’ written by Bach for his eldest Its purpose-is to encourage bardism, music, and the lit is regarded by many as his supreme achievement. Dick¬ even Am Springbrunnen, where there are no difficulties of or dotted-note rhythm found in 6/8, 9/8 or ^/^move¬ son Friedemann, contains, among its very numerous short 1768. . . ,y,n erature of the Welsh; to perpetuate the ^J^nguage ens was never clearer or more forceful than in his psychological expression, demands, from both fingers and ments, but the German division by which 4/4 time is The first Spinet built in America, 1769. pieces, many that were afterwards incorporated into compound time, as it consists of two measures of 2/4 and the customs of the country, and to cultivate a patri “Child’s History of England.” Charles Lamb’s “Tales feet, a skill far beyond that of any but the most excep- The first Singing Contest m America, held in JJor ‘Das wohltemperirte Clavier’ and other familiar collec¬ time thrown into one) we frequently find examples of otic spirit among the people. . „ from Shakespeare” are among his greatest achievements. tional children. tions; and probably only a few of their players and the final tonic chord appearing upon the third beat ot The term “Eisteddfod” itself means ‘a session or The greater part of the reputation of Joel Chandler “The twenty-four pieces of Tschaikowsky s Jugendal- The first’Orchestra in New England The Philharmonic hearers know that they were originally written exclusively “sitting,” and probably was not applied to a tard.c con¬ Harris turns around his “Brer’ Rabbit.” bum’ also have descriptive titles; but he again ap¬ Society, organized, 1810. . for the benefit of a boy of nine. There is the Prelude m 3 The numerous instances of allowing the phrase to gress before the Twelfth Century. Since 1819 a Na proached the problem differently. He never writes over The first great Oratorio Society in America, The C major—far too often known now merely m bastard end upon the third beat in the measure instead of the Handel and Haydn Society, organized, 1815. tional Eisteddfod has been held each year in Wales, alter¬ Not Easy to Write Children’s Pieces the heads of children, either technically or emotionally; shape, all its delicate purity tarnished by the addition of first, found in the writings of the best composers, are The first complete performance in America of Handel s nating between the northern and southern parts of the That many of the works of the masters focused upon and some of the little pieces, such as Pferdclien Spiclcn, usually due to the fact that the bars are put in the Gounod’s vulgar tune. There again is the great song- Messiah, 1818. . . , , children have been commercial successes is not surpris¬ Die Kranke Puppe, Wintermorgcn, are at one and the wrong place throughout the entire piece. No doubt this prelude in E flat minor, presumably for the cultivation The first complete performance in America of Haydn ing. The best publishers are eagerly trying to secure same time excellent practice and (so far as they go) misplacement of bars arises only from inattention on C°Theyfirst Eisteddfod of which there is a detailed ac¬ of Friedemann’s cantabile tone, as other preludes from Creation, 1819. new and fresh material for children. The making of daintily attractive music. But they certainly do not go the part of composers, as it makes no difference to the count was held on the banks of the Conway in the Sixth the first book of the ‘Forty-eight’ (such as those in C The first singing anywhere of My Country tis of Thee, such compositions, so that they will be practical and yet very far, and no grown artist would deem them worthy listener, provided the accent is correctly rendered by Century. Maelgwn Gwynedd, Prince of North Wales, minor, D major, or D minor) cultivated neatness of in Park Street Church, July 4, 1832. of a second look. At their worst, they are feebly senti¬ the performer, whether the cadence ends on the weak or was the moving spirit of this event. In order to prove not uninspired, is far from easy. We know of one pub¬ fingerwork. Exactness of part playing, expressiveness The first large School of Music in America, The Bos¬ lisher who offered a very substantial fee to a Europaen mental and useless from any point of -view; at. their on the strong beat; and the bar-division is only apparent ton Academy of Music, founded, 1833. the superiority of song over instrumental music, he in various styles, rhythmical vivacity—all are represented offered a reward to such bards and minstrels as should composer of the highest standing if he would attempt by pieces familiar enough to us now simply as pure best, they are written plainly with their composer’s left to the eye of the performer. The first study of Music in the Public Schools of hand. As with so many of his works on smaller can¬ Another rule (one of the strictest) as regards the swim the Conway preparatory to the competition On to reproduce in his own idiom the same ideals that Schu¬ artistic inspirations; and' yet, when once we are led to America, introduced by Lowell Mason 1838 ; vas, his heart was not in his task. interposed 6/4 chord is: When followed by another The first performance in America of • Mendelssohn s their arrival at the opposite shore the harpists found mann had when he wrote his “Album for the Young reflect on the matter, we can see how unerringly Bach chord on the same bass note, the 6/4 chord must not be themselves unable to play because of the injury of their When the pieces arrived they were hopelesslypoor.The achieved his special object. . Elijah, 1840. , _ . ., Cf Debussy’s Technically too Difficult for Most Children upon a weaker beat than this succeeding chord. In many The first performance in America of Rossini s Stabat harpstrings by the water, while the bards were in as good publisher lived up to his contract and published them. “Many of his greatest organ works—the G minor fan¬ cases of these misplaced bars we find that the inter¬ They have never sold enough copies to pay for getting tasia, the F major Toccata, and, indeed, most of those “Debussy, on the other hand, while writing only for posed 6/4 chord is placed upon a weaker beat than the Mater, 1843. . , TT , „ „ tune as ever. , we know best—were written earlier, as were some of technically advanced children, takes practically the same The first performance in America of Handels sam- A provincial Eisteddfod usually lasts three or four attitude as Bach, showing thus once again his distinct chord which follows it. them out. Kopylow.s Little Masterpieces his most deeply felt cantatas, such as ‘Gottes Zeit ist die days. It begins with a Gorsedd meeting opened with the kinship with a far-off ancestry. The ‘Coin des En¬ The polka. Listen how the third beat of the measure The Russian composer, Kopylow, has in his Musical allerbeste Zeit’; but of all this complexity and searching The^first performance in America of Handel’s Judas sounding of trumpets and other ceremonies, at which fants’ suite no doubt requires adult performance to predominates over the first. As usually written, the Pictures for Children,” Opus 52, come nearer to e of soul there is not a trace. He succeeded indeed in Maccabeus, 1847. . candidates come forward and receive Bardic degrees. secure complete effect; but it can be played by children polka is in reality 4/8 time (notwithstanding the 2/4 m the Schumann ideal than almost any other composer. This doing, and doing perfectly, three very different things The first American Chamber Music organization, the At subsequent meetings the president gives his address, and still sound perfectly natural and right. There is signature) which is compound common time (two measures delightful set in some ways surpasses Schumann as real at once: the music is masterly in the mere pedagogic Mendelssohn Quintette Club, 18A9- , „ bards follow with poetical addresses, and adjudications nothing emotionally out of a childs range; the pages thrown into one) ; therefore, the accent on the third pedagogical material. Gabriel Pierne also produced aspect, it can fascinate children (as teachers still know The first performance in America of Beethovens Over¬ are made. Prizes and medals are given to the successful are full of childlike naive humor, childlike wistful imag¬ beat is correct. This fact of the third beat of the works of high character and real keyboard simplicity well enough) and can be played by them with real under¬ measure in a polka being strongest proved the incentive ture Leonore, No. 3, 1850. competitors for musical, poetical and prose compositions, ination. And the six pieces, one and all, still appeal in The first performance in America of Mozarts Sym¬ for children in his “Album for My Little Friends. standing, and yet it can still appeal, with no reservation for this article, through an endeavor to find the where¬ for the best choral and solo singing, for the best i>laying whatever, to the mature brain and heart of the artistic fullest measure to older folks. The delicate parody of phony in G minor, 1850. A Guilmant, the great French organist, wrote pieces for fore of this irregularity of accent. It is simply an on the harp and other stringed instruments, as well as dementi in ‘Doctor Gradus ad Parnassum,’ the quaint The first large Music Hall m America, 1852. his own children, which have met with wide currency veteran. This little ‘Clavierbuchlein’ shows, perhaps bet¬ accepted case of misplaced bars, which has been con¬ for the best specimens of handicraft and art. The great slumberous noises of the Berceuse des elephants, the gay The first Music Journal of national circulation, founded Some of the most fascinating pieces by a highly skilled ter than any other of his works, how Bach was able to firmed by the discovery of an old English example of a day of the Eisteddfod is the “chair” day, the climax of irrelevance of the Serenade a la poupee the ‘grande by John S. Dwight, 1852 (now discontinued). . musician, E. Poldini, have been widely played. Amongst see his art steadily and see it whole. Technic, emotion, polka, which consists of sixteen measures to a period, which is the crowning or investiture in the Bardic intelligence—all are there; and to him the child is liter¬ emotion’ and dainty burlesques of the Golliwoggs’ Cake The first performance in America of Mendelssohns Chair” of the bard winning first place in the contest. them is the delightful General Boom-Boom. Walk (a title apparently untranslatable into French), instead of the usual eight, and which possesses through¬ Debussy has written for children, as is told m the ally the father of the man, not a separate individual to out its entirety only two decided quarter beats to the Hymn of Praise, 1862. , . Through the initiative of our Welsh nationalists, Eis¬ all these are true children’s music, but at the same time The first great Concert Organ in America, opened m following article taken from the London Times; but his be nourished on musical food that the grown performer measure instead of the usual four eighth note beats tc teddfods are now held at several points in America, at full to the brim with subtle details that afford perpetual Music Hall, 1863. . . music is not the kind of melodies we usually associate will despise. the measure. The ending was which the competitions are open to citizens of any Stale Chocolate delight to others. Le Petit Berger and La Neige Danse The first great five-day Choral Festival m America, with the child mind. Nor are they of the grade of are indeed, for picturesque polished charm, unsurpassed ancestry. ___. “Mendelssohn’s six ‘Kinderstiicke’ (known in England May, 1865. . io<;n difficulty which we associate with the little pink and in all modern pianoforte music; the latter, as a mere Ex.l white fingers of the child pupil. Nevertheless, this arti¬ by the apparently unauthorized title of ‘Christmas The first great Music Jubilee in America, 1869. tone-picture (quite apart from its haunting melody), How Much Do Appearances Count ? cle is a most interesting and helpful one for the teacher Pieces’) were the last works given by their composer to The first large Oratorio written in America, John K. is an amazing tour de force. Except that there is no the world. But with all his experience as a lover of Paine’s St. Peter, performed, 1874. in search of children’s material and we quote it in full: clear insistence on technical considerations, Debussy, By Eleanor D. Crumble “Few recent piano compositions, even by professedly children and as a teacher, he failed to meet the problem The first complete performance in America of Bachs alone of all later composers, is here a follower of Bach; instead of the usual popular composers, can have attained the success of De¬ as Bach had done. It is plain that he wishes to afford St. Matthew Passion, 1879. he writes his music so that children can understand and bussy’s ‘Coin des Enfants’ suite. Published only some useful practice in particular problems, especially in the Ex. 8 Probably because it is human to judge by appear¬ interpret, but, unless we consent to be ossified by age, ances, St. John in the New Testament advises not to two years ago, it has been the medium, throughout the staccato touch in which he personally so much excelled; whole musical world, of introducing Debussy to persons but there is little or nothing that makes any appeal to we need never outgrow it. Walking for Teachers and Students do so. “The dress does not make the monk,” sings “Why should he be the only follower among the to whom the name was either altogether unknown or children now, and to the older of us the pieces, indistin¬ Rabelais; but nevertheless the world will have it that great instrumental composers? We can perhaps hardly merely represented the unintelligibly vague in modern art. guishable from the inferior specimens of the ‘Lieder ohne Besides the numerous examples of misplaced bars to By Arthur G. Watson appearances do count. The musician is so dependent expect that any one with all the elaborate technic of And yet it is highly probable that no hearers of the two Worte,’ only suggest that Mendelssohn’s genius was be found easily by any student in the modern polka- upon the public in so many ways that he should see twentieth century composition at his call should be able finest numbers, La Neige Danse and Le petit Berger taking a holiday. We might confidently have hoped for form, a noticeable example may be discovered in bchu that his visible impress is the very best he can possibly to divert his ideas into channels of the extreme technical American teachers and musicians do not seem to

Page 374 JLJSE 1924 m,de Mm mm «e.i» *>» *:t“ked * “ r“tl Episodes in the Life of a Famous Conductor Counterfeits in Musical History but they did write exceedingly fascinating and well There is an atmosphere of Romance m musical history Pen Pictures from the Autobiography of Walter Damrosch, Conductor of the New York Symphony Orchestra turned pieces for children which have had inpnense sales. Practical teachers who have to do with the v y Jt see™ lo breed *»i°» J Her Credentials made long and terrible furrows down her cheeks. I could practical problem of making a living from music by Cecilia around whom many legends Q , Paris, when it was publ.cly g‘Ven- Jn somc of - Of the somewhat unusual number of interesting auto¬ not imagine what had happened, and only gradually and Marianne Brandt had a delightful sense of humor, but seeing their pupils progress and keeping them luterested Sf have arisen, there has been a+ tendency■ o art* cription, the critics found trac« ° ; ;n its best biographies of famous musicians that have appeared dur- between hysterical bursts of tears, I learned that Lilli, also a very quick temper, and I remember her telling me will probably go on indefinitely using the material from fables or fanciful stories about most of the great c in the past few years, that of Walter Damrosch is one write | according to her custom, had gone to the theater hours one day that she had received a notice from the New which they can get real results. For' such a teacher a posers. In the present day the modern P^s agent ^ of the most fascinating and valuable from the standpoint before the performance and had proceeded to dress her¬ York Post-Office Department that a registered letter was list like the following is invaluable. of contemporary musical history. Doctor Damrosch has saijasiss S£-°<— awaiting her down in the General Post-Office at City C. Bolck, "12 Tone Pieces, Op. 58. bee- S i, b,*OTe, been so actively with ns for the last half century that self, only looking into the glass at the last moment to prepare her make-up. She had then discovered the Hall. She went there and inquired at the proper window L. A. Bugbee, "Merry Rhymes for CJ‘ff%dTmes u. co.- Job.Jbmp we have not, perhaps, realized the enormous undertakings terrible condition of her face and costume. It seemed with words; “Musical Thoughts for Little Tots, With Sousa for years has been trying to contradict the fiction in which he has been interested and the great wor.:Jie f6r her letter. that the janitor had given the heater in the cellar a “Yes,” said the official, “we have it here. Have you that his -me is really that of an Italian musioan who has been able to achieve. His “My Musual Life a W°Mary Gail Clark, "On the Street." handsome, illustrated volume of some 370 pages, is alive special raking which had sent tons of this dreadful Pitts¬ got some document to prove that you are Marianne ioined a Marine Band under the name of John Philipso, burgh soft-coal soot flying through the registers and into H. L. Cramm, "New Rhymes and Tunes for Little from cozier to cover with pictures of things musical, as Brandt?—a letter, a bank-book, or a passport?” U. S. A. »d to -to the dressing-rooms where it settled like a pall on every¬ Pianists, Op. 20" with words. 13£mU>* he has seen them, and who has had a better opportunity “I have none of these things, hut I am Marianne "Pleasant Pastimes for young Players, Op. 22, with the title of So. U. S. A. Nothing he can do seems to be here and abroad to view the procession of musical events thing within reach. Brandt and I want that letter.” able to convince some of the skeptical that his old family Outside the dressing-room I found my faithful Hans, as an excellent example of Mozart s power I k than this conductor—born in the very arms of music and “I am sorry, madame, but the rules are strict, and you name of Sousa (sometimes spelled Souza) is one ot son of my prompter, Goettich. I gave him some money Easy Engelmann Album. ,. intensely engaged with the art, literally everyday of his will have to bring some one to identify you.” __ C. Gurlitt, Op. 101, “Album Leaves for the young. most distinguished in the land of his father,. Portugal, or highly probable and told him to run to a florist and buy a bunch of the life. We are indebted to Charles Scribner's Sons, Pub¬ By this time Brandt was in a state of high indignation. Album of selected Compositions (Mathews). that he was born in Washington of a Bavarian mother. ^ksT^mul0catalog, and was perhaps made up lishers, for permission to reprint the folloing extracts whitest flowers that he could find and to bring them to Geo, E. Hamer. “Juvenile Tone Stories, 6 Ckaractcr- A writer in the Chicago Record-Herald endeavored “You will not give me the letter? I will prove to you of various excerpts from unknown sources. from his work, which many Etude readers will surely Madame Lehmann with my compliments. that I am Marianne Brandt!” And then she proceeded istic pieces “Old Rhymes with New Tunes '' some time ago to destroy some of the musical myths When I got back to the theater just before the perform¬ enjoy in its entirety. Some 200 references are made to with full voice to sing the great cadenza from her princi¬ F. F. Harker, “6 Forest Sketches, Op. 21, Easy. ance, I found Lilli already on the stage, newly attired which, alas, are very dear to many romantic- music- Schumann’s “Warum” great men and women Mr. Damrosch has known m his pal aria in “Le Prophete.” Her glorious voice echoed C. W. Krogmann, "10 Five Note, Recreations Op. 11U. in clean white robes, but as she turned toward me I hungry souls. . “Perhaps the most far-fetched story that has been and re-echoed through the vaulted corridors of the post- Carl Reinecke, "Juvenile Album." busy life. could still discern darkish streaks beneath the make-up The main element that breeds false musical history is office. Men came running from all sides to find out what H. Reinhold, “24 Minatures, Op. 39. Liszt’s Crowd of Sycophants of her cheeks, and in her sombre, dramatic voice she the attaching of spurious tales to certain compositions to had happened and finally the agitated official handed her Jas. H. Rogers, "Four Favorites after Mother Goose I attended the audition in Liszt’s rooms that afternoon said: “Walter, I thank you for the lovely white flowers, enhance their interest. This narrative style has led the letter, saying: “Here is your letter, but for God s Miniatures,” short pieces in etude form. . "Toy Shop and found that there was indeed a pitiful crowd of syco¬ but they will never, never wash me clean again.” Her many semi-musical auditors to crave a story with almost ZS™Cto vehemently sake be quiet 1” every musical composition. The foundation of many marriage while Clara herself devotedly returned Schu- phants and incompetents assembled, but there were a tew singing that night seemed to me more glorious than ever. SkGeoM. Spaulding, “Tunes and Rhymes," with words. exceptions, notably young Eugene d Albert who was Poland’s Debt to Paderewski false tales is the descriptive names, not intended by the Newton Swift, “Story Time and Play Time. then perhaps fifteen or sixteen years of age and who A Grewsome Tea-Party Paderewski had always dreamed of a united and inde- composer, which are attached to many important musical m“TtartingCtw0ith this, the story-teller states that after nendent Poland. He knew the history of his people, their Frances Terry, “The Little Artist.” played wonderfully and to Liszt’s great satisfaction. One morning Bulow announced to me that he was go¬ strength, and their weakness. It is said that one day he works. The “Moonlight Sonata,” the “Sonata. Apassion- long separation the young lover wrote f? P. Tschaikowsky, "Album for the young, Op. 39, Al¬ There were a few others who, however, did not play on ing to cross the river in the afternoon to visit the widow played before the Czar who, congratulating him, expressed ata” the “Emperor Concerto,” the “Jupiter Symphony, tion on a sheet of music paper and sent it to his G*™- his pleasure that a “Russian” should have achieved such bum of Compositions." that afternoon. But another one, who shall be nameless of an old friend of his, Madame B-, who lived in a eminence in his art. Paderewski answered. 1 am a poie, Bach. "Little Fugues," “Little Preludes, Little Pre¬ She read it over and knew at once its purpose. Why and so forth, do not come from Beethoven or Mozart, sat down to play the Beethoven sonata in E flat and villa in Deutz. He asked me to accompany him, and we your Majesty,” and, needless to say, was never again in¬ however well they fit the compositions to which they are lust we suffer?’ ‘Why must we be apart?’ She wep vited to play in Russia. His mind is one of the most ex- ludes and Fugues.” „ botched the introduction so horribly that Liszt gently accordingly called on a rather attractive young widow, Beethoven. "Easier Pianoforte Compositions, Selec¬ over the manuscript and then took it to ste™âr|“ traordinary I have ever come in contact with. All thu pushed her off the chair and sat down himself saying, world knows what he has achieved in music His inspired who was also melted to tears and sent at once for attired in the deepest mourning, who welcomed us very interpretations, his prodigious memory, and 1““subtle ran„e tions from Piano Works.” aP“The spurious story in regard to Beethoven’s Sonata, “This is the way it should be played, and then the Handel, “12 Easy Pieces.” Schumann and said, ‘Bless you my children 1-and they graciously. Her husband, a Belgian pianist of distinc¬ of colors of his musical palette, but not so many know of Op 27 No 2, is something that should grieve every music seemed to just drop from his fingers onto e his interest in literature, philosophy, and history. and it Mrs. Crosby Adams. “Tone Sketches. „ thinking musician. That the great composer found a lived happily ever afterward. . tion, had been professor of piano at the Imperial Con¬ took the Great War to demonstrate thatâs ôfat^rând “This is all very pretty, but as a matter of fact it is piano keys, and such a heavenly succession of sounds servatory in St. Petersburg and had there married a Jessie L. Gaynor, "Miniature Melodics. piano and a blind girl in the woods near Vienna, and a*"on Voland during the Exposition in San Francisco L. E. Orth, “Easy Pieces in Easy Keys.” all false In 1837 Schumann was much attracted by a ravished my ear that I did not think it possible human that he improvised a sonata is such a farrago of nonsense hands could evoke it. He then said to her : Now, try young Russian pupil of his. Diller and Quayle, “Solo Books.” . that it cannot be too emphatically contradicted. Itns voung Scot&h pianist, Robena Anna Laidlaw They be- After chatting awhile, she proposed that we go into it again.” And she did, and, if anything, played even needs and rights, as to rouse the people to a frenzy of en- C. W. Krogmann, “Zephyrs from Melody Land. ' particular musical work has its interesting story, but it camellose friends and exchanged much mutual sympathy worse than before. Again Liszt played the opening the garden for a cup of tea, and we followed her, accord¬ M. Bilbro, “Happy Half Hours.” is quite different from the silly romance above indicated. b”s saM that he suggested that ‘Anna Robena,’ would phrases, and then, somewhat irritated, he said: ingly, to a small stone building in the middle of the gar¬ Sfibwhich his sUfepersonality created among the Allies at the Ver¬ Frank Lynnes, “A Pleasant Beginning. It may have been a musical love letter to the Countess Sound belter than ‘Robena Anna,’ and further suggested “So, blamieren Sie sich noch einmal.” (Now, make a den that looked like a chapel, but which, to my horror, I sailles Conference. Giulia Guicciardi, possibly even a farewell to her. Her changing the order of her name, which she did. fool of yourself again.) By that time to our relief she discovered, as we entered, to be a mausoleum. In the Widor and Big Bertha name appears on the first edition, and it is dedicated to “There was high respect on the one side and admiration Starvation Methods for Students center stood a sarcophagus on the top of which reposed When I first called on Charles Marie Widor, the her. The mysterious and oftentimes intense love letters on the other in this friendship. The lady afterward felt that both she and we had had enough. After this I met Liszt several times and he always famous old organist of Saint Sulpice, I found him in¬ of Beethoven, which were found in his desk after his married and it was to her that the set of Piano Pieces. a coffin, with a glass top, in which lay the body of B-! treated me with uniform cordiality, but every once m a stalled, by virtue of his office as Secretaire Perpetuel of By L. D. Whitney death, probably have reference to his passion in this re¬ S whth ‘Warum’ in No. 3, was dedicated. Schumann A footman in livery followed us with a samovar and while the memory of our first meeting would come to the Institut de France, in a charming Louis XVI suite of gard. It is supposed that the first movement represents won his Clara in 1840. He won her by a lawsuit m which the teacups. him and he would make some gently malicious remark, rooms in that building. He showed me a hole in the Not so very long ago it seemed to be generally ac¬ his yearning and the finale his passion for the beautiful he proved that he was of good reputation, had a reason¬ It seems that the lady had thus endeavored to demon¬ window of his workroom and told me that a few days cepted that success in any branch of art was necessarily Giulia. It is entirely probable that Beethoven crystal¬ able income, that both the lovers were of legal age, and such as “Oh, here comes our youngÂmerican; like strate her love for her departed husband. I confess that before he had just stooped down to pick up a musical founded on a youth of tribulation and starvation. Un¬ lized his somewhat wandering affections into music, and that there was no valid ground for her father to oppose lightning he flashes through the world!” I became almost ill and hurriedly left the mausoleum to score_from the floor when a shell from the Big Bertha less the student had to fight privation m various forms in the case of Countess Guicciardi his devotion was deep smell the roses in the garden, but Bulow punctdiously A Wagnerian Tragedy burst in front of his apartment and a piece of it he could hardly hope for ultimate success. It is true “The beautiful story of the deep devotion of this and courageously stuck it out and had his cup of tea and uuc. . , , . A tragic but rather amusing occurrence in Pittsburgh hurtled through his window, missing him only because that deprivation and even starvation may prove a whip Beethoven s Last famous pair needs no bolstering by a fictitious and tear- under these unique conditions. should here be recorded. The Damrosch Opera Company he was in a stooping position. to indolent talents; but they are by no means essential. “Beethoven has suffered also from wrongfully ascribed stained Warum.” ____ His Gallic wit and versatility make Mr. Henry T. Finck quotes a letter from Edward compositions. The beautiful and tender little waltz called was playing a week there at the him a delightful companion, and I am Macdowell in Paris, who wrote of the students: ‘ Most ‘Sensuchtwalzer’ was not written by Beethoven, but by Alvin Theater. On the night in ques¬ The Easiest Way grateful for the opportunity the war of them looked as though they had been up ever since Schubert. The little album leaf which has been called tion we were to give “Gotterdammer- gave me for more intimate acquaint¬ they were born. They seem to live on cigarettes, odd ‘Beethoven’s Farewell to the Pianoforte’ is his own, but ung” with Lilli Lehmann as Brun- By Harlan W. Powers ance and friendship with him. carafons of wine and an occasional shave. It might was by no neans his farewell to the instrument which he hilde. All was well. No singers had be well to inquire how this deprivation resulted. Did it sent ominous messages of illness dur¬ has glorified. In some editions this work is labeled Rubinstein’s Champagne Supper invariably produce Monets, Rodins, Debussys or Flau- ‘Beethoven’s Last Composition.’ This is untrue, for his Self-help students are often deceived by proverbs ing the day, and I had just sat down Rubinstein at the last rehearsal of berts? If starvation produced genius in Paris, the world last (incomplete musical thought was part of a string that have no basis in fact. In my teaching I have often to a quiet dinner at the Duquesne would have been flooded with it. The writer remembers quintet, which he hoped to finish, although very ill. met young men who have struggled along without a_ Club, previous to the performance, one of his operas was so well pleased his visits to the garret ateliers of many artists and musi¬ “This beautiful and expressive ‘Pieta Signore’ (Stra- teacher who have listened to the dictum. when a telephone summoned me. It with the work of the orchestra that cians twenty or more years ago. Cheese, claret, bread della’s Prayer) is said to have saved the life of its com¬ “The easiest way is the best way.” was my wardrobe mistress, Frau he turned to them and said: “Gentle¬ and a trifle of meat were their regular diet; but in some poser. Stradella had fallen in love with an aristocratic This should be corrected into, “The way that appears Engelhardt, an excellent woman, de¬ men, if my opera' is a success you mysterious manner none of these viands, although taken lady in Rome and she returned his affection.. The high¬ the easiest is the best way.” The trouble with many a voted to her work, who had been at must all come to my hotel after the in homoeopathic doses, have turned them into world- born brother, fearing the disgrace of his family, hired self-help student is that he permits his initiative to run the Metropolitan in the old German performance for a champagne sup¬ renowned artists. two bravos (professional murderers) to assassinate away with his powers of controlling and concentrating Opera days and who had been with per.” Unfortunately, the opera was a In the work-a-day world of America students are Stradella as soon as possible. The assassins proceeded to his mind upon real hard work. In piano playing there me ever since the founding of the decided frost and the audience so properly seeking first of all the food and surroundings the church where Stradella was that day to sing one of are certain things that come only from keyboard work. Damrosch Opera Company. undemonstrative that Rubinstein, in which lead to strong, vigorous, wholesome, good health. his own compositions. They intended to slay him as he Smoothness in arpeggios is the result of careful prep¬ Frau Engelhardt in greatest agita¬ absolute disgust, laid down the stick Richard Strauss has never known a day of privation or left the church; but they were so moved by the tenderness aration of the thumb in passing over and under. You tion begged me to come immediately after the second act, and, bidding the hunger, yet no one would dispute either his technic, his of the song that when he appeared on the street they not can think how to do it in the right way, but all the to Madame Lehmann’s dressing-room, local conductor finish the opera, re¬ industry or his genius. Mendelssohn lived frugally only warned him of the plot, but gave him money to thinking in the world will not take the place of the where the “something dreadful had turned dejectedly to his hotel and amid plenty and produced enormously. escape to Rome. gruelling practice necessary. Polish comes through pol¬ happened.” went to bed. At eleven o’clock there “In the first place the incident never occurred; and, ishing. The polish on your piano did not come from I knocked at her door and heard was a knock at his door. “Who is “Make pauses for breathing. What you cannot speak secondly, ‘Pieta Signore’ is not one of Stradella’s com¬ the first coat of varnish. Piano finishers gave it many a tragic and hollow voice call “come it?” he shouted in great irritation. ,i one breath, you cannot play in one breath.” positions. It is supposed to have been written by Gluck, coats, and between each coat they “rubl>ed" it down in,” and as I opened the door a sight “It is I, Herr Rubinstein, the double- —Hans von Bulow. but although it bears some evidence of the characteristics with their bare hands and pumice and water. Finally indeed terrible met my astonished bass player from the opera orches¬ of this composer, the certainty of its origin is doubtful, it looks like glass. If it had been left with the first coat gaze. There stood Lilli Lehmann, al¬ tra.” “What do you want?” “I have ready apparelled in her white Brun- come for the champagne supper.” “To my mind national music implies but imitation. and ‘Stradella’s Prayer’ will probably always remain an of varnish it would have lost its lustre in a fe\v months. hilde garb, but covered from head “What nonsense!” raged Rubinstein. A composer in one country writes a big musical hit. anonymous work. A certain amount of practice has to be accepted. It to foot with soot, so black that “The opera was a ghastly failure.” Straightway his form, and even his material, is copied, “There is another story of a famous’ musical work is like the torture of the olden days. The reason that she seemed more fit for a minstrel which will serve to show how easily false history can be torture was instituted was the mistaken idea that one’s “Well, Herr Rubinstein,” answered and hence arises the idea that the particular style is show than a Wagner music-drama. native to a certain country. The so-called Irish songs made when desired. Hector Berlioz, the great founder sins would be removed by it. It was done with exalted the thirsty and undaunted double-bass Her face was covered with black are little more than a parody of a very limited few bars of program music, was cordially disliked by many of the motives in the dark ages. The grind of practice is often player, "I liked it!” streaks, especially where her tears had WALTER DAMROSCH AT THE KEYBOARD of Irish jingle.” musical critics in Paris. His scathing sarcasm, his bold- torture. Hut nut nf that fnrttiro mirvolmic lw»ailtv ITISV —Torn Philip Sousa. JUNE 192 k Page 377 the etude THE ETUDE

Finger Stretching and Strengthening The Pianist’s Sixth Sense Page 376 JUNE 192k Exercises 9trsflnct^essenl?rofetl •s,Xi»urssi“»«themes, and Is Tschaikowsky Waning? development of is a hick of real--of workmanship stand out^ (The Sense of the Keyboard) , • Chunter of TschaikowsUy’s visit ■ conductors, By Myra B. Duncan * 1 °ta“l881 a? a gurat of the Symphony Society KivBi'Sn™.? Pupils with small hands, who find if difficult to reach By CAMIL VAN IIULSE octaves, will find the following finger-stretching exercises more often on our eoneert proprnms t elemental preceding exercises patiently and conscientously, you will other composer. They have a rhytnmic every key before you strike it, so that your fingers obey Givinc a correct definition of an abstract function or be surprised at your success in this one. Then strike hel£; your thumb and first finger on the arm of your • to your brain. In this and all the following exercises it a mental capacity is a matter of tremendous difficulty, other notes, going farther away from the middle G, but chair mi sel how much space you can make them cover. is impossible to “prepare” the notes; preparing is only not to say impossible. Definitions always seem to be without losing sight of it. This .is the ideal ‘ sense of dis¬ The Tremolo Continue with the thumb and each of the otto fffiger. possible when you look at the keyboard. incomplete or altogether wrong. Some, consisting of tances and relations at the keyboard. Of course, you Do the same with the other hand. Try this also on the 2. Do the same exercise, but lift the hand a few only a few words, have taken the foremost philosophers might as well keep your eye on any key, high or low, side of a table or stand near which you may be sitting. inches above the keyboard between each two notes. For By S. M. C. a lifetime of thought and mental speculation before they but the middle G is best adapted to the purpose. The At the niano or organ, press down two easily reached instance: Strike E, close the eyes, determine mentally the were written down. Any real musician has been trying reason of this is 6bvious. This G is “the true middle This should be played: keys with first finger and thumb. Stretch the hand key to strike: G, lift the. hand, strike G, determine an¬ to find his own definition of “music,” and to find out the of the whole keyboard. This G is one starting-point The tremolo as applied to piano playing is a rapid around the ends of the keys, pressing close agamst the other key, Ab; lift the hand, strike Ab, and so forth. Ex. 5 origin of the spell it casts upon the human heart and —your brain, directing your arm and hand, is the second “- Tf ! tone or a chord, often intended to pro- keys for a second or two; then try to include another intellect; several famous metaphysicians have written Ex.2 one. Those two combined are the data for a formula of key in the reach, and continue until the limit of reach is whole volumes about it (everybody should know Corn- “instinctive trigonometry” the solution of which is hitting found. Do the same with other fingers and the other bar ieu’s book) ; yet where is the correct solution? Will the right key. The middle G is like a “handle” by which it ever be found? the eyes and brain “grasp” the whole keyboard. Have ^With the fingers of the right hand bunched together 3. Departing from a given note, close the eyes and So we shall not try to give a definition of the subject you ever closely watched a great virtuoso playing? If SIo! chord o|,°e and Ic.tlng It go.« *J to the number of notes played. The most ordinary press down between the first and second fibers of the determine mentally chords consisting of 2 or 3 notes, of this article. It is a real “sense,” which we may call not, do so; and you will notice! that, as a, rule, he never tS;,™. however, not .t .11 wh.t the compo.er ..tended. nf indicating the- tremolo is by two or tnre left hand, pushing them as far apart as possible. Do the the sense of the keyboard, or the instinct of distances and strike those. looks at the keyboard: his eyes are often gazing some¬ An abbreviation such as, same between the second and third fingers; then between between keys. It is of capital importance to all pianists, where at a distant (or imaginary) point above the piano tte thto and fourth. Stretch the right hand in the same Ex.3a especially to public performers. It is this sense of secur¬ —or they are directed towards that middle portion of the notes are to he played. ity, of self-reliance, that “makes one feel at home” when keyboard, although lie does not actually stare at the keys A note marked thus for stringed instruments W These exercises should not be continued long enough at at the piano; without it, there is not the slightest possi¬ but rather a little higher. one time to tire the fingers much; but, if persisted m for bility of ever attaining more than-average amateur skill. This exercise is mostly to be practiced with the left a few minutes each day, they soon will produce a marked Better than a definition, we shall give a vivid descrip¬ improvement in the reach of the fingers and w. also hand: it will prove of immense value for “picking” bass means that the performer should alternately play the low tion of the effects of that capacity. Imagine an amateur notes in waltz or dance music. It is necessary also, to helo to make the fingers more independent m action. The lady, musically lion-talented, playing for an audience of “S D to the value of a dotted half-note, at the would indicate the note A repeated as rap dly as possible design a special exercise for strengthening the Sth (and first part of the last exercise is especially recommended some friends. She is nervous, she “hates to show off,” rate of four sixteenths to one beat like this. alternating between up and down bow, forthe,meof 4th) fingers, which has most of those notes to play. The for violin students also. she “never touched a piano for the last three months!” one-half note. Such passages of ten occur in v To obtain greater variety in the course of the exer¬ best exercise to that purpose is the following. Anybody, alas, has stood the torture of witnessing such music and are very effective when not overdone. I his cise, you can change fingers on the initial key and play 6. Stretch your hand like if playing an octave. Drop tremolo should not, however, be mistaken for the vibrato, Pointers for the Beginning Teacher performances! The unfortunate victim struggles and your hand, striking only with the 5th finger, while you fumbles away to the bitter end; that is, to the last double the chords above or under it. . , • . which is produced in an entirely different manner. Another combination consists in changing the starting “shadow” the second note of the octave with your thumb. of Music bar, and then utters a sigh of relief, which is silently, The tremolo on the organ is ptoj^ to » key after each chord, thus moving up and down the Play scales and arpeggios that way, and be careful to but gladly, echoed by all the hearers. This is complete mechanical contrivance which causes the air befme reach . By W. L. Clark keyboard. make a round and mellow tone. When playing on black Skilled performers might make thirty-seconds of them, mg the pipes to be admitted into a box containing a pa let lack of keyboard-sense, aggravated by nervousness. Now, keys, practice alternately both 5th and 4th fingers. on the other hand, watch a blind pianist playing. He to the end of which a thin arm of metal with ^ weight 1. Give definite assignments of practice material. Ex.4 - _ . a 'hUA* bp dividing the chord does not fumble. Whatever skips he may have to play, attached. When the air is admitted it raises the paUet These assignments may be written in a pupil s note nook into two parts This is sometimes indicated by the com¬ and causes the metal arm to swing up and down, thus he always hits the right note. In fact, he makes less poser, as in the following example taken tom the Swan or indicated on the music itself. , mistakes than one who sees! How is that? “Quite natu¬ producing the tremolo by reason of alteniate y increase 2. Be sympathetic. You will accomplish much by a ral,” say some people; “it is a general rule that, when a By and by you will get used to playing allthe chords Song from “Lohengrin," arranged by D. Krug, and diminished air-pressure. The tremolo stop s fre¬ sympathetic attitude toward the pupil. The timid pupil quently overworked by injudicious organ.stii and ittoen sense is lacking, the other senses become more active and without looking at them, and you will feel in your in particular, will be encouraged to ask questions about fingertips all the different distances between keys. Ex 3 becomes a nuisance as reprehensible as the vocalists accurate. And thus blind people get compensation for portions of the work that present difficulty. the loss of their sight by more effectiveness in their hear¬ 4 When you have reached this stage you should be tremolo, when badly executed. ‘ , 3. Be dependable. If you agree to give a lesson at a ing and feeling.” Yet, think it over, and you will posi¬ ready to play all your exercises with closed eyes. If In vocal music the term tremolo is applied to a much certain time make it a point to be ready at that minute. tively find out that this blind man at his piano, before you feel it necessary to play them a little slower than abused means of striving after emotioua effect^ 4. Accept criticism with a smile. Some criticism urge slight departure from true intonation, which produces an striking a note, neither can hear nor feel it! There is you are used to, do so; it will do you good. And every Here the player alternates between C#-EiadAto us to do tetter work. something else that makes him feel secure. He knows exercise is to be practiced that way; none is to be The question as to which finger to use on. black keys, miltl or waving of tones. The 5. Be amiable toward the parents of your pupils. A four beats at the rate of eight thirty-seconds to one beat. where to find every key; and he really sees (internally!) omitted—five-finger exercises, scales, broken chords ar¬ remains undecided. Some artists use 5th on white, and Sometimes a chord notated like the following occurs. to have originated with the great tenor " “ " parent who is pleased with your attitude as a teacher, half of the nineteenth century. When used at the right his keyboard! This is the “keyboard sense” at its high¬ peggios, octaves, double-notes, broken octaves, and so 4th on black keys; others use always 5th. Both methods will gain more pupils for you. est possible degree. forth. A special mention is to be made of arpeggios in have their advantages; while alternating 5th and 4th, time and in the right way it is very effedve but when 6. Study the history and literature relating to music Now, it is obvious that between these two extremes, broken octaves. This is certainly one of the most diffi¬ greater speed and accuracy is possible—whereas using overdone it becomes positively ludicrous. Since the to such an extent that you will have interesting material the lady-fumbler and the blind artist, there are an infinite cult exercises to he practiced with closed eyes. Only only 5th, there is more uniformity in tone. Each player tremolo is frequently the result of forcing the voice, it to present to the musical gatherings and clubs to which constitutes one of the worst vocal vices. variety of intermediate stages. Some fumble almost con¬ long and patient work will master them. should solve the problem for himself, according to the you may be invited. tinuously, others occasionally, others only exceptionally. individual structure of his hand and fingers. 7. Do not despair because of the pupil who learns This proves that there must be a way of developing that (In the case of single fortissimo notes on black keys, slowly. It is often the slow learning pupil who gives Prepare Your Lessons, Teachers! sense of security as well as we can develop any physical it is advisable to strike them with 2, 3, or even 4 fingers the most effort to a lesson. and mental capacity by training it and making a habit, together, which should be held almost flat; this makes a 8. Make a study of each pupil. very strong tone, without making it harsh or rude. If By Mae-Aileen Erb or second nature, of it. 9. Strive for definite results. Another remarkable instance of that sense of accuracy the tone must be a hard one, then hold thumb and third 10. Do not take too seriously every mistake that a jects. Jot it down in that pupil’s portion of your note is to be found- in playing string instruments. Think of finger together ■ and strike with a brisk motion of the No matter how wide a teacher's experience has teen pupil makes. It takes time and effort to make an accu¬ the tremendous difference in tone one-tenth of an inch wrist.) it is, nevertheless, a wise plan to study constancy each b°Ak‘teacher can always tell if a pupil's lesson is thor¬ rate player. Stress the pupil’s good characteristics. means to the violinist—and yet of the astonishing ac¬ Having practiced all these exercises, your sense ot individual pupil, and to spend much tteugh m thejat- oughly prepared; and likewise the pupil can feel if the curacy the modern virtuoso possesses! Indeed, his Most Difficult of All Are These security ought to be fairly developed. The student who ter of his lesson assignments. Each child is unique teacher has the situation well in hand. Therefore the Away from the Half-Hour Lesson accuracy of tone is far superior to that of the piano, wants more material to work upon, can make himself as and without counterpart. In the order o proce ur time devoted to planning the presentation of the differ¬ as he can make a difference between C sharp and D flat. much as he wants. Take any studies by Czerny, Cramer, ent lessons in a manner conducive to holding the interest Clementi, Chopin, and others; open up the book, and you and the amount of time consumed in the mastery of th By Ruth L. F. Barnett Having explained wherein consists the sense of the and arousing the enthusiasm of the student is well spent. are almost sure to find! a study which, with a few slight various points of technic, there is a variation of sur¬ keyboard, we shall now give a series of exercises espe¬ Every composition given to a pupil should first be The half-hour lesson once a week for beginners has cially designed to acquire and develop it. changes, can be turned into an appropriate exercise. prising magnitude. , , ,, thoroughly studied by the teacher, so that illustrations always been a problem. It is usually not sufficient: and First of all, it is of vital importance to acquire that Here are a few examples: At the beginning of every season, the teacher should may be made at the keyboard. The serious teacher will yet there are few parents who are both able and willing sense; that is, to "know what it feels like.” In fact, outline in a loose-leaf note book, several pages of which also edit the work, revising the fingering to accommo¬ to pay for a full hour of an experienced teacher’s time. many pianists never have “felt at home” when playing are devoted to each pupil, the amount of ground she date the size of the hand, interpolating dynamic signs Here is a solution that is passed along gladly. Once in public. Therefore, the first exercises are so designed wishes to cover during the year. Every few weeks which will beautify the piece, and appending brief notes a week my beginners come for a full hour of unprepared that any pianist, even a beginner, can play them, in notes should be added as to the actual progress made as to the composer, the form, title or meaning of the class work, and in that time we get over a good deal of order to give him a basis to start from in the further Very often at a pupil's lesson, flashes of inspiration will composition. Do not be afraid of marring the pages; theory, a keyboard drill, and some very necessary ear developing of his secureness. music thus marked is of far more lasting value to the nass through a teacher's mind as to certain studies and training. Then sometimes during the week each pupil has 1. Strike a key with the thumb (for instance E), pupil than the same pages, devoid of a smgle connotation, pieces which might prove of benefit to that Particular a half-hour private lesson at the piano. This is enough then, having closed your eyes, determine mentally another ever could be. key situated nearby the first one (for instance F) and child-or as to new methods of treatment for old sub- for hand-training and for the little pieces and studies prepared during the week. strike it. In that same way strike all the different inter¬ The plan is good for several reasons;— vals from second to octave, all the time keeping the A NEW SERIES BY MARK HAMBOURG (1) The theoretical work, which is rather dull for one thumb on the same key. (Ex. A). There is another invaluable advantage in playing with pupil working alone, goes much better in class, on account closed eyes; the student learns to listen to his own play¬ “The Etude” is pleased to announce that it will present during the coming Ex.l of the pleasant rivalry among the little folks. ing, and he learns gradually to make a more beautiful months a new series of articles upon piano playing of equal value to the self help (2) Each pupil feels more responsibility in the presence indent and to the student studying with a master, by the distinguished pianist of others and this relieves the teacher of a part of the S. Look intently at the middle G of the keyboard. While doing so, determine in your mind a Key at a dis¬ burden. It saves nerves. Then take other keys, also black ones, to start from, Mark HLbourg. Mr. Hambourg has resided in England during the better part tance of more than an octave, and, without looking at it (8) The teacher can give almost twice as many les¬ and do the same exercise. It matters but little what or preparing it, strike. If you have worked through the This artistic life, except when upon his world tours. He has a remarkable gift sons in the same time it would take to give a full hour, keys you choose; the main thing is to determine mentally of making pianistic problems exceptionally clear. and yet each pupil has an hour and a half with the teacher each week. Page 379 the etude JUNE 132 b

aved n THE ETUDE you Doctor,’ repeated the n Page 37S JUNE 192b have recovered my hearing. —- - A New Way of Reading the Same Old Notes What the Critics Did to Wagner silent. He had become deaf hunse^.( ^ every_ P»,»v no “After ‘Lohengrin .cam(. -ye - When it was at By CONSTANTIN VON STERNBERG in the fight to get recognition for his w k ^ ^ where declined as being P complimented the solo length heard in London.Ahe cntics «mp^^ ^, Qne Wagner. He was cons.dered akmd S ^ hand arrives on G while the corresponding finger of the artists on getting throuf t() imagiiie how left arrives on F. In other words, the two last fingers kinds of insults might be flui g. though they In presenting the following suggestion I feel like be¬ The “Daily Exercises” by C. T«»« of the right played F-G while the two last fingers o Ed vol.) and the “Virtuosenschule by C. Czerny, ginning by saying, “Don’t be alarmed; it u nothing^new THE ETUDE herewith presents one were at the expensetjxs&s&k. of a_str"g®n' contributed j’c“ to,hb thef _only a new angle from which to look at the same old the left played G-F, which is quite in conformity with ish unequalled material for *» ■jog- h;mself in of the last articles of Constantin (Ivano- Hadden, a well known Eng ’ & rthient article matter.” The new angle, however, may make as much the anatomy of the hands. Applying this to his reading The student who will have •?„ p iL,ntially rewarded Monthly Musical Record some t & edPherewith. of a difference to a pupil as to the two dream-mterpreters Titch cdlcr von) Sternberg, who died m he finds—reading the lower staff downward—that both upon this subject, Part.of T£ese {ou„d in Wagner made to the sultan who had dreamed that he had lost all Philadelphia, March 31, 1924. Mr. von notes occupy the first space and second line, of course “Take the caricaturists first, ltiese ^ works his teeth His first dream-interpreter made a sad face Sternberg was born tn Petrograd, July in that reversed order in which the hands are built He him: ‘Herr Wagner, you‘ a * j g ;t; Tolstoy once such queer stu:S■ hardly and and said, “Woe unto thee, Brother of the Sun, for thou 9 1852. He zvas a pupil of Moschcles, finds furthermore, the reason why both clefs are placed wilt see all thy relatives die.” Upon which he was Coccius, Reincckc, Brendcl, Riclitcr, on the second line: the upper clef on the second line up¬ t srJv V "“• tod” The Motionless Hand Tradition angle at the same thing—and that is all that the follow¬ States, devoting most of Ins tune to com under chastisement d h kind position and teaching, founding the IS £» By Raymond Thiberge ing suggestion purposes to do. .. Mendelssohn’s op. « Sternberg School of Music in E nladcl- The analogies we find in reading the lower staff down¬ The Boy’s Question phia. Mr. von Sternberg contributed ward—besides conforming to the natural tendency of iSrgiass Some years ago I was teaching a boy the musical no¬ numerous brilliant educational articles to arm and fingers—go much further. Wc have m the tation and told him that on the upper staff the first line THE ETUDE and other journals. upper staff “E” and “A” on precisely the same lines and ■fiBSKBSCKMJre is “E” while on the lower staff it is called G. The spaces as we have “A” and “E” in the lower. It is the , a’t Qnce asked me, “Why?” and I well remember ysz =■* 3 same with “D and B” or “B and D” respectively. sss-Kgs teach still the technic which be have jom j how that question baffled me for the moment until I Etudes No. 4 and 9 in Chopm s op. 25 thought of the clefs and explained that clef is he Ex.3 f blartfufetgS a pSfoeS tritotion, till French for “key” and that the two clefs furnished the The famous octavo-passages in Chopm s theCmefhods were rejuvenated and modernized, musica key to the naming of the lines. The boy s face showed InhZt he advises the addition of brass and drumsAo MstructL moved but slowly toget rid no signs of understanding; he looked as if he thought, PE« » U-f* ffc the usual harps; he gives lessons to Mozart and Beeth processes To convince ourselves if there are not so “It may be so, but I don’t see if,” and I did not wonder his eye must move up and the arm move down. Thus oven- he fills up his spare time by turning the spits exaggerations, we take a point that we encounter m aH at it because I, suddenly, did not “see” it myself. His there’arises a divergence between eye and arm, a ms *T b — which Offenbach and other conventional opera composer the methods which it is possible for us to use with the question had unexpectedly brought me face to face with agreement which, mark well, is not caused by ^leo a are being roasted in the lower regions. These were among child” the motionless hand All the methods recommend, a matter which, from long habit, I had accepted as tion itself but by the manner or method in which tin If the reader will turn the following illustration up¬ In effect not to move the hand in playing on the piano. the caricaturists’ humors. ... e suall “settled once for all.” In these days, however, of Roent¬ reading of it is taught. side down and hold it before a looking glass he will ob¬ Zealous ’professors have themselves practiced the placing “Tf we turn from pencil to speech and writing, we snail gen, Einstein, Steinach, anti-Darwinism wireless tele¬ tain precisely the same picture as he sees now epigne! Lesghinkat!) and those of Sîab“j £ major find still more to amuse us. Even brother contemporary _;prp nf uionev on the hands of their pupils, requir phones, radio and motorless aviation, I felt that a re¬ A Quicker Method composers did not receive Wagner gladly. Rossini went ing of them that it stay there. H°w many chi1^ examining of Piously accepted old theories and methods Since that time I have experimented with quite a num¬ to hear ‘Tannhauser,’ and was asked his opinion of it been martyred by this proceeding! And few regrettab was not altogether uncalled for, especially when they ber of pupils and I have found that they learn to read hsthis study correctly s^£ and " in the tempo - indicated H rby Czerny ‘It is too elaborate a work to be judged after a single it is that the pupils have not had the good idea to ask concerned fundamental pedagogic matters. . ., music much quicker if the bass lines are counted down- (J-92) may be assured that his sense of distance their teacher to make this trial of skill in executing, for I might, however, have forgotten the boy s question if, *-<*’*v*yu«o“ ssssif£ example, a sonata of Beethoven. They would be much soon afterwards, a similar query from another pupil had WLet me illustrate: Beginning at middle “C,” as we ZiZ -UhSS «*»-*»% •“ * ™ amused by the embarrassment of their instructor; for not not brought it back to my mind and this time caused me always do, let us count the upper lines upward and the holding it upside down. ‘Well,’ replied Rossmi, I have a pianist is capable of playing a piece with absolute im¬ to ponder over the question, “Why are the bass lines lower lines downward. Wc shall then find that the next already tried it the other way, and now I am trymg mobility of the hand. . . . . , , „ pre¬ named different from the treble lines?” “C’s” both above and below middle C, are both on the and the clefs should be altogether superfluous were it this as I really can make nothing of it. Even Schu.na...- A bright door-keeoer of Paris, by his simple good sen. . third space-and not the one on the third and the other declared that ‘Tannhauser’ and ‘Lohengrin were amateur- not for those cases where left hand notes are placed m sent no difficulties-then, work up gradually your whole settled ft thus: Exasperated to see his little girl crying An Apparent Discrepancy on the second space as hitherto. Looking now_ for the 1 tnire And here is a splendid opportunity to listen ish-a criticism which Wagner repaid by saying that Schu¬ at each lesson by reason of this “cursed sou which was the upper staff, or vice versa. I found that they are not differently named; that they next “C’s,” above and below, we find them both on the Now in suggesting the foregoing manner of teaching mann has a tendency to greatness’—only a tendency obstinate in falling, he imagined an original enough ex¬ appear to be so only because we were not taught to re¬ o«n pti*, -a £ <**<»*>—* second added line beyond the staff, m the natural di¬ notation I do not join the ranks of those shallow-brained “After listening to ‘Tristan,’ Berlioz observed: l must pedient. From each merchant of his quarter he asked for gard the bass staff as a mere continuation of the treble rections. fellows who mear: to change the notation, itself. Every “self-help Questions on Mr. van Hulseys Article confess I have not the slightest idea of what the composer staff—but I am running ahead of myself. As I said, I wants to sav ’ Wagner described Marschner as the last Ex.l few years ever since Rousseau—some foolish musicaster Sl\) What really is “The Pianist’s Sixth Sense ’ a “You think that this will bring you good luck?” they was at a loss for an answer which after a while, strange and most important follower’ of Spohr and Weber But invents a “new musical notation.” I have nothing more (2) Of what practical value is this sens said to him...... to say, occurred to my mind during a piano lesson. The itwasMarschner who said: ‘If Wagner, who is a highly in mind than a little different way of looking at our old . “No he responded. “The piano teacher of my little pupil was playing something that contained scale runs m gifted man, had been a genuine composer, he would not and wonderful notation. And, in view of the anatomy ^"(ir What expedient aids the rapid acquisition of this daughter holds absolutely to her playing with a sou on her contrary and in parallel motion, and I noticed that as have thought it necessary to make such a nmse and to hand. At each lesson the sou tumbles, and, notwithstand¬ of the two hands, it seems as if nature, itself, supports usual, the parallel motion caused him much more ditn- sense? _-— - employ quack methods to win musical fame andl huhMhe the suggestion here presented; for, the two thumbs are ing that, the mistress persists. As you think, it is the came culty than the contrary motion. In searching for the poverty of his productions. Saint-Saens, in his Har not on the same side of the two hands but on opposite of fits of tears. This has continued too long. 1 hate reason of the difficulty it occurred to me that the The Russians and Musical Pictures monie et Melodie,’ calls Wagner’s works P™crfu, b“ enough of it. With a pierced sou, I would be able to pass [f wc now let the pupil place both thumbs upon middle natural, instinctive motions of the two arms were in sides- and, as we count the fingers of the right hand odd.’ Of the ‘Ring,’ Tschaikowsky remarks that there through it a thread and to fix it on the hand which makes C, and tell him to play his fingers out, one on each suc¬ opposite directions, and that in parallel motion one arm 1-2-3-4-5, rightward, so do we give the same numerals By I. de Glanzovski never was such endless and tedious twaddle The mere it always to tumble. Since the sou will stay, the mistress ceeding key, he finds that the little finger of the right had to stretch out in the direction away from the body to the left hand leftward, because counting bulk of the thing ‘feres me to death,’ he adds. will be satisfied and my little girl also.” while the other arm had to bend in and move rightward we should have to say 5-4-3-2-1. omcE the time of Glinka there is one outstanding This smart man had surely found the only solution; Having presented the foregoing plan as a Merimee’s “Kitten on the Keys” toward the body, which requires that one arm characteristic' of Russian music which seems to distm- and this story is authentic. move different from the other. This observa¬ mere “suggestion” I showed that I do not mean “If his fellow-composers could not stomach Wagner, Our illustrious master, M. Camille Saint-Saens. was SZ it in a measure from that of other lands. That tion led me to the next one that, when applied to be in the least dogmatic but that I hold my it was hardly to be expected that the amateurs and even the in accord with this door-keeper. “Most of the pieces Tthe strong tendency to employ music ***■«££ to the motions of our arms, the terms “parallel'’ mind perfectly open to any and all justifiable general rank and file of the profession would. Some of which Liszt has published seem unexecutable for all characters, emotions, legends. Composers of other na and “contrary” are somewhat confusing; for in objections—inviting them, m fact—but it seems fhe queerest things said about Wagner’s music-dramas others than himself: and they were so, in fact, with the tkins have done this, but not to the extent done by the making the same motion with both arms the were said by the amateurs. When they first heard Tann¬ processes of the old method prescribing immobility, the to me, for the present at least, that the way ot “natural” tendency is to move them either both hauser’ they found the subject ‘Distressing and harass¬ elbows at the body, and action limited to the fingers and reading the bass lines downward tends to make Âlthough no Russian would distinguish Rubinstein as away from or both toward the body, not one ing ’ and declared that the music was formless and devoid the fore-arm.” our reading conform, better than heretofore, to a ton, he was proud of his M-covitefe^ of melody They even asked why Tannhauser shouldn t arm toward and the other away from the body. the instinctive, natural motions of the arms and notwithstanding his all-sem.UC ancestry Rubmstems marry Elizabeth and all end happily! Prosper Menmee, The simplest dumbbell exercise will confirm this hands, thus turning the accustomed “parallel ^ music is largely a series of musical pictures, and he to whom we owe the story of ‘Carmen,’ said he could com¬ Simplified Fingering for Beginners statement. Ask any person to “move the arms between the eyes and hands into an “analogy. delighted in nothing more than to attempt to paint pose something as good after hearing his cat walk over the and the result will be that the right arm portra t in tones such as the “Kamenno, Ostrov” series stretches to the right while the left arm does embodying his impressions of personages and events at keys of the piano. . - By Sylvia Weinstein “When ‘Lohengrin’ followed, it had no better reception. it to the left. Place before a piano a person a river summer resort near St. Petersburg which now Self-Test Questions on Mr. Stern¬ It was said to be ‘the apogee of hideousness, a distracting that knows nothing about playing; ask him to under penalty of the law, must be called Len.negrad in Beginners who use faulty fingering may be set on the and altogether distressing noise, a mere blaring of brass, move the fingertips over the keyboard so that berg’s Article right track with the following simple method: and a short method of utterly ruining the voice. John both arms make the same motion and he will Tschaikowsky, partly Jewish m his ancestry, was also Take one line at a time and have them point to each (1) How shall the pupil be made to under¬ Hullah called it ‘an opera without music.’ To Gustav instinctively move the right arm to the right strongly pictorial. His “1812” Overture, with itsi clang¬ note and name the number of the finger used. Where stand the difference of location of the same Engel it seemed like ‘blubbering baby talk.’ Dr. Han- and the left arm to the left. These two mo¬ ing bells, is a fair example. He was always at his best letter on the treble and bass staffs? slick, Germany’s leading musical critic, wrote that ‘the the printed numbers occur, this is very simple but be¬ tions could, of course, not be called “parallel” simplest song of Mendelssohn appeals more to heart and tween the numbers they have to do a little reasoning. but they should undoubtedly be “analogous (2) What are the “instinctive motions” of “ Often™ however, Russian music is so vigorous and soul than ten Wagnerian operas.’ It is of ‘Lohengrin’ One finger is required for each consecutive note; skip the arms in piano-playing? fanciful that many have assigned programs to it never and what is an analogy if not a mental that the familiar story (an invention, of course) is told as many fingers as notes are skipped. (3) Need we invent a “new musical nota¬ intended by the composer. Rachmaninoff s Prelude m C parallel ? about a man being cured of deafness after a hearing. With a little practice this will overcome the most Sharp Minor is perhaps the worst victim Rachmaninoff These reflections associated themselves in my tion” in order to simplify reading? The patient had gone to the theatre with his doctor. Sud¬ stubborn case of bad fingering. At the same time the has repeatedly denied any program in this composition mind with the questions that were asked by denly, when the orchestra was at its loudest, he exclaimed: close observation of intervals which is made necessary but numerous stories have been connected with it, and ‘Doctor, I can hear!’ The medico took no notice. 'I tell assists in sight reading. it is often seen on programs as “The Bells of Moscow. JUNE 192^ Page 381 tiie etude the etude Music History For Music Lovers Page 380 JUNE 1921* Insist Upon a GoodPianoFor the Recital Then and Now Over-Taxing the Hands By Nicholas J. Elsenheimer John Orth, Noted Boston Pedagog, Traces Fifty Years of By CLARENCE CHANDLER By Charles S. Smith 1 Musical Progress “I COULD not do myself justice, since I had to p'ay on a strange piano,” has a familiar ring to the ears ot every and answer as best we may in a limited space why the During a visit to a friend who was an unusually fine ments, has been a controlling influence over the com¬ Students of music, except the genius who occasion¬ study of the history of music will benefit the player and pianist despite the minor defects which mark the uncom¬ poser's mode of expression as well as the contents of pleted musical training, he asked me to hear him play a ally appears as a meteor in the musical firmament, do the listener. If we take a list of the titles of his pieces his message. our attention will at once be attracted by the fanciful and not reveal much eagerness to study the history of esthet¬ So the history of music, viewed broadly, is not, spe¬ there is’ nevertheless, one feature that de.eroe, .enott, suggestive names which designate a majority of them. ÂfteT finishing an etude with some difficulty, he said, ics or of their art. The piano student wishes to learn cifically, a record of dates of local events nor the rise “My hands seem to be stiff by nature. The muscles of attention The pupils are almost always compelled to play the piano; the vocal student sees nothing in his From an Indian Lodge, A. D. 1620, To a Wander¬ pe’rfotrn' on an i.stt.ment that is absolutely s.r»e and fall of dynasties. The historian sees through and my fingers do not act freely although they are not tired art beyond a few songs and vocal gymnastics. “They beyond the record of surface situations or phenomenon ing Iceberg, Shadow Dance, The Shepherd Boy, They were not that way a month ago. A pause, and (the music students) never know anything at all about chronicled by ordinary history into the deep wells of From Uncle Remus, Silver Clouds, An Old Garden, then he added laughingly, “I often apply liniment to my •""o virtuoso .HI risk playing.» 'f ^ the history of music,” says Herbert Witherspoon. “Only universal motives, aspirations, beliefs, hope, defeats, vic¬ Starlight, To an Old White Pme, Sunset, Across the hands and fingers in order to loosen them up a bit and the most elementary notions of the drama and the tories. He sees as it were into the subconscious mind Fields. Even the larger piano works, the sonatas, have make their muscles more flexible. My teacher is on er shadiest possible idea of the literature of their own of the nations, the great primal struggles, not with foes not escaped. One is called The Norse, another The Keltic, annual vacation and I have been trying to master some nation, let alone that of any other. Two or three hours without, but with conditions within, the sources and another The Tragic. At the outset, then, one is impressed of the difficult things we had begun.” a day of scales, a few songs, and that is all.” upon as an exponent of a noble, refined art, he realizes directions of national progress, and reads the history ot with MacDowell’s status as a romantic composer, an im- I then asked the amount of his practice, receiving as “When do you think that I can graduate?” asked the the importance of an instrument that fulfills every the centuries as we read the history of the day. But pressionist, a writer of program music. answer, “I practice off and on, whenever I fall into the ambitious piano student of the professor, who had been music is closely bound up with movements of literature, demand made by his talent and interpretative powers He allowed only a few weeks in which to acquaint himself ( religion and ethics, so that the life of the individual The Romantic Spirit mnstruêntS \°T modulate ?” sion. Romanticism in music is not far removed from For example, in studying the music in Beethoven does came at the end of the day. studies in Leipzig, creating a very large stir in Boston use in recitals, there is no reason for the display of a 5. “I don’t know.” being the alpha and omega of musical expression. Now an excessive amount of strain was being thrust musical circles. B. J. Lang, Otto Dresel, J. C. D. Parker mediocre or an inadequate instrument. The first of all P. “Have you studied Harmony?” , it not help to know some of the circumstances of his To what extent, if any, does a composer hold to a S. “Yes; I went through the. whole book, but I don t upon his hands. The good will of a pupil is always and Emil Leonhard, were monarchs of all they surveyed requirements spells-purity of intonation The piano life and the conditions of musical development ot his definite program when composing music? Can he suc¬ time? That Beethoven brought to perfection the sonata gratifying to a teacher; but in this case the gratification in the musical world in general, as well as in the realm should be in good tune. Its action should be not too remember any of it now.” cessfully imitate sounds of nature and animal life, such P “What is the meaning of this musical term. form, the form in which most of his compositions were would surely be less at finding a pupil ruining his fine of the piano in particular. , . heavy nor too light. The pedals must be in working as the roar of the storm, sighing of the wind, purling of S “I don’t know ; I used to have a musical dictionary— cast? That where composers of to-day use scores o ability by over-practice. , . A . . . ‘Twas not many years before these four dominating order and obey the slightest pressure of the feet and bar the brook, the song of birds? Composers ha've tried to do it’s somewhere about the house—guess I can find it if titles to suggest the direction of their thought and the Four hours a day of practice is a plenty. A student personages had to divide honors with newcomers. There squeaky noises. The fulfillment of these demands guar¬ so. Is it a legitimate use for the art of music? To what character of the composition, Beethoven limits himself unable to master his work in four hours will not do so in were the redoubtable Sherwood, the ultra-conservative antees genuine satisfaction. extent is it possible and is it a legitimate use of music to y°P. “Have you studied the History of Music?” to almost one, and his ideas covering the whole eight It is unusual for a person practicing seven or Baermann, the massive Maas, the able Faelten, the hyper¬ It certainly is of real benefit to the inexperienced per¬ attempt to tell a story or illustrate a story ? Here again gamut of human emotions is expressed therein, uo eight hours a day to become a greater artist than the one sensitive Otto Bendix, the brilliant MacDowell, the lit¬ former when unexpected difficulties in the nature of such S. “No.” composers have tried to do so, notably Schumann m P. “Do you tead the biographies of the musicians, we not often find in his music a fuller expression of who ordinarily practices four; for the hand will not erary Amy Fay, and the fascinating Mme. Madeleine conditions as enumerated before are not confronting him. his Carnival and Scenes from Childhood. Is it pos¬ critical or technical works?” his inmost feelings than is conveyed by his letters stand the additional strain. Schiller Now we have, besides Buonamici, who recently The existing lack of -familiarity with the instrument -m sible with the assistance of a program for music to ex¬ This particular pupil was advised to discontinue the passed away, and Heinrich Gebhard, a number of young the platform does not prevent a fair account of the V. “No.” . , And would his music make the same appeal to us it we press thoughts, emotions, sensations, relaxation, pleasure, P. “Are you acquainted with the musical magazines, did not know some of his personal traits of character application of liniment, a temporary stimulant, for lessen¬ fellows like Lee Pattison, Guy Meier, Raymond Havens player’s ability when complaints about the piano are not pain? Do composers without the use of a program ever such as The Etude, Musical America, Musical Courier, ing stiffness. If the hands are unusually stiff when start¬ and others, who are bubbling over with talent, and prom¬ justified. From a business point of view, the policy of and the conditions under which it was produced. Is attempt natural, intellectual or emotional states? If so, Musical Leader, Musical Observer or The Musician it not a source of inspiration and enthusiasm to know ing to play, as when caused by coldness, it does little ise to be worthy successors to those who have come inferior instruments in students’ public performances is, by what means, and how may the music lover be sure S. “I—I—I had three or four copies of The Etude that Beethoven, who reached the pinnacle of the art, harm to dip the hands in warm water for a minute or before. , , mildly expressed, a great risk. It is a reflection on the of his belief? Such questions as these, and others which several years ago, but I haven’t read them since. Carl Zerrahn was the mighty one as conductor ot the name and reputation of the firm when valid reasons e xist and whose name in music is synonymous with Shakes- arise in the minds of the thoughtful listener, the history This seeming lack of interest of the music student for tWThe best remedy for stiff hands is never to allow them Handel and Haydn Society (Oratorio) and the Sym¬ for severe criticism on the part of the teacher and his pere in literature, worked weeks and months m his quest of music considers. And it is nearly superfluous to add those subjects necessary to qualify one as being we to get into this condition. It often happens that after phony Concerts of the Harvard Musical Association. for perfection, as is shown by h,s notebooks over that the student, whether an executant or a listener, must clientele. educated in the art may be traced to two general several hours of steady practice the hands begin to tire Since Zerrahn, we have had Bernard Listemann and the Dissatisfaction will exercise a certain influence on the what aonears to us a simple and spontaneous melodic have some well-balanced opinions on such phases of and lag. Scattering the practice in shorter periods causes: Ignorance of the value of the literary and tech «Pr , of Lt ideal, worked year after Boston Philharmonic Orchestra, then the wonderful Bos¬ attitude of prospective buyers who are not influenced by ™ VA music, to appreciate it or express an intelligent opinion nical studies—nay, the necessity for them in a musical throughout the day will avert this. ton Symphony Orchestra, founded by Henry L. Higgin- a name but prefer to listen to expert advice. In many year under the most disheartening circumstances. education-and the student’s desire for speed, believing about it. son the Boston banker, with Henschel, Pauer, Gencke, cases they will rely on their experience; or they may Is it impossible for present-day musicians to draw a MacDowell, the Poet Personality Counts Nikisch, Muck, Fiedler and now Monteux, as conductors. that the waving of the magical certificate will open all profitable lesson from the life of Beethoven? To be place confidence in the judgment of trusted friends, In the study of MacDowell’s life/we learn that he was In the field of choral work Emil Mollenhauer has suc¬ sure there are critics who repudiate the idea that music when the question arises as to selecting a piano for home doors of opportunity for him. a poet as well as a musician and that the titles of his By Will Cowan ceeded Carl Zerrahn. Then we had, speaking of com¬ has any concern with the subconscious. Yet to hold use. It is certainly not advisable to feature the slogan : The New Patent Roll verses are often as odd and characteristic of his mental posers, John K. Paine, with his “Spring Symphony” to this belief would be to assert that music stands There is an indefinable inspiration exuding from the “Advertisement covers a mutitude of deficiencies or attitude as are the titles of his piano compositions. Can (“CEdipus Tyrannus”), and other compositions, who The musical press, some time ago, stated that a promi¬ isolated from the other arts and is merely a Progression active, healthful spirit of an individual, which is more or carelessness.” Indifference is the first and quite often the you imagine such compositions as noted above being com¬ stood practically alone at that time. nent manufacturer of music rolls for automatic pianos less infectious. The one coming in contact with such a surest step towards retrogression. The clientele of con¬ of superficial sounds unrelated to the ml"dwh|*p™ posed in the heart of a great city, or within the sound of We now have George W. Chadwick, Arthur Foote, F. had paid a handsome sum for a new patent. This patent duced them. To such as might withstand the forceof nature instinctively absorbs a part of its mood. The law scientious and experienced serious teachers, of students is a contrivance which gives a brief description of the the roar, the din, the clang of a city s activities? It is • of attraction is as active among souls as with material S. Converse, Henry F. Gilbert, Arthur Whiting, Charles and their circle of friends and interested well-wishers is disillusion, read the literary works of Schumann, M. Loeffler, Mrs. Beach, Margaret R. Lang; also Ethel- character of the roll, the music, the composer, and other hardly possible; and they were not. They were written objects. . not so unimportant as to justify a slight or a blemish on Wagner, Liszt or Tschaikowsky. bert Nevin and Horatio W. Parker, who have passed on. material which will assist the listener to an enjoyment History gives us the romance of music. It shows the close to nature, under the shadow of mighty, primeval The musician, of all people, should cultivate a buoy¬ the good name of a respectable piano firm and its appeal and appreciation of the composition. Comment is hardly oaks on New Hampshire’s hills, accompanied by the song ant, responsive, enthusiastic disposition. Not only will It was in the 60’s and 70’s that the Mendelssohn Quin¬ composers as real men and women and the times in which to refined taste and judgment of all lovers of the most necessary. The item is brought to the attention to illus¬ of birds, the odor of flowers and growing vegetation, the this carry him over many a rough place, but also it will tette Club reached its zenith, the personnel at that time useful instrument during the last two hundred vear-- they lived, their failures and successes, their sorrows and trate to the skeptical that the manufacturers believe, cry of the eagle, the play of sunlight and shadow over draw to him those who are most earnest and responsive being William Schultze, Carl Meisel, Thomas Ryan, Ed¬ their joys. The subject stirs the imagination as no other from a business standpoint, such an innovation will be in their ambitions to achieve. Along with this his attain¬ ward Heindl, Wulf Fries. Later on we had the Euterpe can, and after acquiring a satisfactory technic, there is hill and dale. His is music interpreting m tones, the A Uniform Fingering For Major and financially successful. They are certain that the great ments and personality may fan the spark of aspiration in Quartette, with C. N. Allen, Wulf Fries, and others, no element entering into a musician’s equipment in which message that the blue bells gave him. It is the spirit of army of musical amateurs are anxious to acquire a many another and perhaps hearten some of these to strive which was succeeded by the renowned Kneisel Quar¬ Minor Scales he is so deficient. the wild rose, the water lily, the glen, the forest, the old knowledge of musical history, biography and analysis, onward to unsuspected heights. tette. We now have the Hoffman Quartette, and the With this thought in mind let us turn to the composi¬ log camp, the poem from another land and language, the regular visits of the Flonzaleys from New York. By E. S. Church and will pay for it at one time or another Significant tions of Edward MacDowell, a modern composer whose memories of a well-nigh forgotten race. Is the meaning and valuable for the listener as such a help can be The Operatic “Failure” In the vocal world we had Mme. Rudersdorff, Charles piano music every student knows, at least superficial!}, clear? Every composer brings to us a new world, R. Adams, George L. Osgood, Max Heinrich, Myron W. Much trouble in the playing of Minor scales may be made, we should not allow it to blind us as to its rue Some of the operas which' now enjoy the greatest pub¬ the world of his own imagination, which is the Whitney, George J. Parker. We now have Charles avoided by using the following rules for fingering both significance. A drop of water will never quench the lic favor were most vilely treated at their premieres. result of nationality, environment, training, philosophy, Hackett, Roland W. Hays, Stephen S. Townsend and Major and corresponding Minor scales. thirst of the exhausted wayfarer; neither can a ray ot “Carmen,” “Faust,” “Tannhauser,” and “La Traviata” religion. And it is the object of the history of music to others. First group—C, G, D, A and E—fingered: 1.2.3; light disclose all of the beauties of nature, and what¬ each had to win its way with the public after a dreary re-create this world in written language that it may be¬ During all this time we had some brilliant critics, in¬ 1,2,3,4; 1,2,3; 1,2,3,4,5. Right Hand ascending. Left ever knowledge is conveyed to the listener through the Music History must live to infancy. , cluding dear, old, conservative John S. Dwight, to whom Hand descending. above-mentioned means is only a crumb of the v come the property of the student. Nor are composers immune from similar vagaries ot Wagner was nothing but noise. I think Mr. Dwight amount of intellectual and esthetic food available for the History gives us little definite information about in¬ fate. Mascagni’s early compositions were so coldly re¬ Second group Bb, Eb, Ab, Db, (CS), Gb, (F#b be vital, interesting. would have sympathized with the Berlin critic who said, music lover’s appetite. dividual compositions. That would be an endless task; ceived that he had decided he was a failure. Then he fingered with fourth finger in the Right Hand on Bb. “If all the cats and all the hand-organs in Berlin were In the first place, music cannot be separated from the for no two compositions make exactly similar demands noticed the prize offered by Sonsogno for a one act (Aft), fourth finger in the Left Hand on G or Gb (FS>. The human struggles of its brought together under one roof and set-a-going, one larger life of mankind. While it is the most difficult to upon the analytical powers of the listeners. Rather, as •opera. Deciding to make the trial, the result was his The odd group B (Cb) and F are fingered with a com¬ would get a good idea of what Wagner put forth as comprehend, it is also the most sociable of the arts. It is immortal “Cavalleria Rusticana” which created a new bination of the first and second groups: viz: B or Cb stated above, it trains the imagination and judgment to music.” Julia Ward Howe once called it multi-muddle. a product of the times. It reflects the., influence of social masters traced in music his¬ operatic model. Having been awarded the prize, the work Right Hand fingering—1,2,3; 1.2.3,4; 1,2.3; I.2.3.4.5. follow the flights of the composer into whatever realms We also had the splendid but rather caustic B. E. Woolf, conditions. National characteristics of temperament was given its premiere at the! Teatro Costanzi of Rome, Left Hand descending—1.2.3,4; 1,2,3; 1,2,3,4; 1.2,3,4. F appear legitimate to him. In order to enter into the full the aristocratic W. F. Apthorp, the self-made Louis C. are probably as clearly defined through music as through tory are ever an inspiration May 20, 1890. The morning papers of the twenty-first fingering for Right Hand—1.2,3,4; 1,2,3; 1.2.3.4: 1,2.3.4. benefit of the study of the history of music, parallel his¬ Elson, who said “Music is the most expensive of all literature. Profound national sorrow has left its in¬ announced the “arrival of Verdi’s successor.” Subse¬ For Left Hand-1,2,3; 1,2,3,4; 1,2,3; 1,2,3,4,5. torical reading should be required. An intimate study of noises as well as the most expressive”; and now, the to youth fired with musical quently, Leghorn, Mascagni’s birthplace, has struck a This plan necessitates a complete change in the Left delible tracings on the musical life of a people as promi¬ erudite, scintillating Philip Hale, and clever, whole-souled the composer’s personality, combined with a re-creation of medal in his honor and he has been made a “Cavalier of Hand fingering of the second group of scales, but with nently as on its literary life. Social conditions affect¬ Olin W. Downs. ing the individual composer have been the means of ambition. the peculiar character of his period based on historical the Crown” by the King of Italy. care is easily acquired. With the beginning student there knowledge, can be fused into a glowing background for One of our musical thinkers has said that Boston is is naturally no difficulty. directing the course of his genius. The possible musical Do You Know ? not as musical as it was thirty years ago. This took me equipment, technic of the art of the writers of a the appreciation and interpretation of his works. That the Jig (also spelled Gigue, Gique, Gigua, Giga, aback when I heard it; but do you know, the more I Every man should bring himself to the realization that definite period, or the development of musical instru¬ think of it, the more I feel that way myself. Chique, Gig, Gigg, Gigge, Jigg, Higge, Jeg) is of delay and procrastination are the pastime of those who —John Orth. English rather than Irish origin, cultivate failure. JUNE 192k Page 388 THE ETUDE the etude Page 382 JUNE 192k The Small Town Choral Club Silence and Music Piano Lessons For the Vocal Student By Sidne' Taiz By FULLERTON WALDO By Russell Snively Gilbert Mr. Arthur Buss, the distinguished young English Fullerlon Waldo kas icon since 1908 Musical Crf of ,Ue "FUcdelpkia PMU TZy.ZstlZiZt Most vocal students hear their music nielodically. A the left hand and figure out how to transpose it to the musician, who has been spending some months in America new key. When she can play both hands together as few also hear it rhythmically. Only the artist hears it and is much interested in musical cooperation between Paine and Spalding at Harvard, where he performed m the j Purina the war Mr. Waldo was correspondent from several harmonically. The serious vocal student should work they are written in any key, she has laid the foundation a vested choir. On many occasions he 'fZpinlaZZ the Persian frontier as a Near East Relief Commis- that will let her work out her vocal work m the key the two leading Anglo-Saxon nations, has said some very to hear it all three ways. Knowledge of the piano is the pertinent things worthy of attention. Commenting on the key to this work. Almost all of the great artists have best suited to her voice without much mental effort on prevalent choral singing of England, he says: a working knowledge of the piano. her part. When doing vocal practice or learning a new Let the vocal student choose carefully a piano teacher song or role, the student must keep her mind on her "Every town has one or more societies which meet who has worked with singers and understands their voice. As a result, unless she has learned and trained every week for rehearsal, and prepare for three or four £ SZoftZ LM5TS s * — — - ** needs. The vocal student will need very little technic her mind and fingers to do the piano part without any public concerts a year, which are attended by all the o Fellow of the Royal Geographical Society. work at the piano as she will never play difficult accom¬ mental effort, she often plays so many wrong notes and sound” which makes our earth man’s purer, dearer notables. country. The suspense does not long endure. It does paniments for herself in public and it would he time chords that it does her far more harm than she ever “Show not forth words where there is a musician, "Every village has its embryo Madrigal Society. not need to be protracted to gain its effect. Its power dwelling-place. , wasted to work up a fine piano technic. What she does realizes. It is true that this piano work can be done by The trouble with some of to-day s most advanced "Why should they worry about the capricious visits says the Apocrypha, and the proper enveloping atmos¬ is in the intensive thrill, of a brief interval. By what a paid accompanist, but often none can he found just composers is that, obsessed by “the dominion of dm, need is a soft but clear tone that every voice may sound of virtuosi, when, with an able conductor, they can tackle phere of music is a sympathetic silence. But silence is Lincoln does not say, as he considers the immensity perfectly clean in her ear. This will require time and at the time the singer needs him. Besides what the they do not realize the power of reticence, the majesty a Bach Cantata? One can learn more and enjoy more not merely the necessary precedent condition; there must of his problem, and his duty to all of the people of the closest concentration upon the way of producing the singer does for herself is a part of her. What is done of silence. They seem to suppose that they must be by taking part in some such performance than by be soundless intervals now and then in the midst of the the time, the impression of his utterances is enhanced. tone and the quality of the tone secured. She must also for her by another is never really clear in her own making all the noise they can, all the time with all attending a whole year of concerts where others are do¬ composition, when the instruments and voices cease, John Barrymore’s “Hamlet" is illuminated by brilliant train her hand to become familiar with the different mind. In the first study of a new role or program, the the means at their command. In the words ot the ing the work—the fun is to be in the fight.. looking their scores marked “facet.” At the back of the orches¬ flashes of silence—as Shakespeare meant his play and chord positions so that she can grasp them quickly with¬ singer must do all the work herself that she may know English humorist Graves, in his burlesque translation the psychology of its central impersonator should be. out looking at the keyboard. She does not need to every little detail. Then when she calls in her accom¬ on 1” tra the double-bass players stand with their arms folded, of Horace, they “worship the strenuous splendor of Hundreds of the smaller American communities could What are Hamlet’s last words? "The rest is silence.” strengthen her fingers, but she must do enough technic panist for the polishing, she will be absolutely sure of or draped gracefully over the looming instruments. All that could not he entrusted to the relative futility absolute noise.”’ So that the poet breathes a fervent to be able to control them. every move and her assurance will be felt by her audi¬ profit by falling in line with their English cousins in this Perhaps it is the drums or the harps that have nothing and impotence of words may be safely committed to the aspiration for a surcease of sound: A strong sense of rhythm must he developed. The ence when she finally appears before them. particular endeavor. to do, or the horns secure a welcome breathing interval understanding, which, because it is inexpressible, abstains “From trumpets that pierce like an arrow, student must realize that time and rhythm are two differ¬ Then the description of many of the orchestral in¬ to rest the embouchure. All cannot perform the whole And freeze all the brains in my skull. ent things. In the old-fashioned waltz they stepped the struments may be given. The learning of the first frem speech. 0f the time; each must in turn be idle. In a chorus From cymbals that curdle my marrow time while in the modern waltz they glide the rhythm. arpeggio offers the opportunity to explain the forma¬ The Dotted Note Problem of singers, if every division was incessantly occupied I long for a merciful lull.” The time is one, two three, but the rhythmic swing falls tion of the harp and the intervals played upon it. A the music would be breathless and restless. There beautiful left-hand melody suggests the ’cello, which If the hearer is within his right in demanding an only 'on the one. The simple folk dances are the best would be a want of those dramatic contrasts due to the occasional respite lest the ear be surfeited, still more material for this development. They can easily be read may be described so that not even the childish eye or incisive impact of a note after a lull. In the almost and the rhythm is strongly marked. The student should ear could mistake its identity when seen and heard on essential to the executant of music is it that there should The dotted-note problem results from t« causes. impossible staccatos- of the choral part of Beethoven s step the time and then walk the rhythm. At the piano the stage. A hunting song of course would open the be within the auditorium no vibrations that are at First, the dotted note represents a division 1 time of Ninth Symphony, no doubt the long and tedious waff the right hand should play the melody while the left topic of the different horns. With a cantabile melody war with the tones he elicits and the emotional atmos¬ uneven length; and second, its manner of nv.itmcnt in for the singers enhances the appeal when at last they hand swings the rhythm. Then the left hand should play always impress upon the pupil that the hand must sing phere he must evoke by the power, of his art. I recall books and by teachers. the bass while the right .swings the rhythm and the as much as possible like the voice. Certain bass notes participate. . a concert of the Kneisel Quartet in Sanders Theatre, The usual definition runs about as follows A dot Silence Enhances Emotion student sings the melody. To the advanced vocal echo the drum, and other notes a bell or a chime of hells. at Cambridge, a hall that like the Academy of Music in Silence, in the form of a rest or pause in the per- student, working perhaps on Wagnerian arias, this may Little by little trace the history of sound down placed after a note adds to it one half u original Philadelphia is almost miraculously perfect in its acous¬ formance of music, is in the full meaning of the word seem like going back to the kindergarten. It is, but through the ages, something in the following manner. rhythmical value; that is, a dotted-quarter-nme npials a tical adjustments, so that the lightest whisper tells and an interlude. It is a positive contribution to the effect when they actually get on the stage, they will be lucky One of the surest ways of making known our thoughts the most delicate and evanescent filament of musical quarter and an eighth ( ), and -. A of the sound—an enhancement of emotion which the if their pride receives no worse jolt than that. It is is by the human voice. Early in the history of mankind J. = J J' sound counts for its fullest value. The players were music is intended to convey. Again and again Bach, the willingness to give anything a trial and to go to any it was discovered that the voice was not enough to ex¬ about to begin the slow movement of a Beethoven quar¬ second dot adds one-half as much time as tie . .due of in the “B Minor Mass” or the “Passion Music of St. limit in music study that makes the great artist. press our emotions. Man needed to make other sounds the first dot.” tet, but Mr. Kneisel, with an infinitesimal shake of The student must understand the fundamental chords when he was angry, glad, or triumphant. So he Matthew” or “St. John,” works up to an enormous This seems to be a very obscure and unsystematic way the head, signaled to the rest for silence. They waited and be able to play them on the piano in all keys pounded on metal; he strung rough cords across a piece climax and then at the crest of the rise gives us a until the audience wondered and became slightly restive. of presenting the matter, in fact, entirely the wrong thrilled supernal instant of stillness—intense, impassioned and in all inversions. She must be able to of hollow wood; he made whistles of the reeds he found Just then the great bell of the clock-tower overhead, view of it. There is no good reason why tin dot should and exalting—as though to say (in Sir Edwin Arnolds modulate at the piano in all major and minor keys. in the woods and piped upon them; and from all with a voice as great as that of Big Ben above the not be considered in the same light as the hook. If the She must be able to play every scale one oc¬ these, in course of time, evolved our drums and trum¬ phrase) that climbing thought can go no higher and House of Parliament, in solemn reverberation began to dot is to be treated as a character of addition, why is now standing in the ineffable presence of the divine. tave. She must be able to hear everything she does pets and violins and flutes and harps. Then, as man proclaim the hour of nine, taking nearly half a minute should not the hook be considered as a sign of sub¬ Beethoven again and again resorts to a silence of this and to hear the roots of the chords she plays es¬ progressed in civilization, he trained his voice more and to complete its annunciation. If Mr. Kneisel had not traction? Then we would have, "A hook attached to sort; in his symphonies, in his quartets, in his songs-- pecially in inverted chords. Having played the domi¬ more to express his emotions, and for many years all been forethoughtful, the effect of the first phrase of the stem of a note subtracts one-half the value of the among which “Adelaide” offers a salient example. nant seventh chord she must be able to sing the root instruments were used as an accompaniment to the the music would have been ruined beyond repair by of the tonic chord that it will lead to. In singing this voice. After this, as the instruments had greater care note A second hook subtracts one-half a- much as Robert Franz, Schumann, Schubert and lesser figures in the first, and so on.” the jarring intrusion. is often the only way in which she is able to get a new and skill bestowed upon their making, music began to the world of song repeatedly leave in the melody or in entrance especially when singing on the stage behind an be written for them alone. A short history of the evolu¬ Now the truth about tone-lengths and notes is quite the supporting chords that hiatus which is not an empti- Paderewski’s Rebuke different. The ba.-is of tone-measurement is the whole ness but a prolongation in the mincl of the beauty and orchestra in the pit. tion of the piano would be of vast interest to your Often one is tempted to believe the listening ear the length all others being reckoned from it and. there- the meaning of the sound. Wordsworth s lines in The FULLERTON WALDO The simple folk songs make excellent practice in this pupils, as that is the instrument they are learning to better half of music, and every musician does his best tore should be named in accordance with their value as work at the piano. Take the simple “Folk Songs for play. Solitary Reaper” give expression to this idea: work for the audience that is in the happy state press Ten Fingers,” arranged by Mr. Cady. After the student Keep these suggestions in mind during the lesson e 0 This plan is followed when considering The actor lowers his voice, or is entirely quiet, because “The music in my heart I bore he knows his dynamic climaxes gain thereby. If he agents delight to describe as “spellbound.” It was at can play them in rhythm in their original key, she must hour. They not only will serve to freshen the pupil’s length's611 uenf1S;, S0’ when we come to the uneven Long after it was heard no more. such an instant of enthralled and transcendental sus¬ lengths, why should we “fly tic track” talked all the time at the top of his voice, he would take the melody and transpose it into a new key. Then mind, if tlieâctual piano work becomes irksome, but pense that the famous and historic cry of the Boston be as the musician who plays loudly all the time. There she can add fundamental chords to it with the left hand also will store it with qualities of true musicianship. A quarter note is so called because it is one-fourth (a White Spaces in Art woman rang out in the old Music Hall: “We fry ours quarter) the length of the whole. On the same basis, getting in the chords by ear at first. After she has And lastly, never, yourself, cease to read and study. The cognate arts offer parallels to the emotional effect would be no accent, no proper emphasis, no “tone-color.” in butter!” She has gone down to fame as the typi¬ a tone-iragth wh,ch is three-fourths of the whole should found them by ear, she must mentally find out just what Then you will always have a well of information from of the silences in music. Take, for example, an etch¬ There would be nothing to choose between a fore¬ cal musical Philistine, but she has many sisters. Belong¬ they are. Then she must look at the accompaniment in which to draw for your scholars. he caffed a three-quarter note, and not a “dotted half.’’ ing of Zorn. The white spaces in the picture are com¬ ground and a background; thc waves of emotion would ing to her unblest clan are those who bring a devastating almmhl.To ,'hi,ng. as a Potted-half, which is to say parable with the "rests.” Where the lines appear, there be without a crest. cough into the concert room, those who make audible the Tt f’ 1the,whole ,dea ^mg unscientific. Then, too. are the very tint and accent of life; and by the magic Sans Jazz comment, those who enter a box after the music has tamer f? t l° the Terence that tone-lengths arc of the etcher’s art where the lines do not appear, in the begun and greet affably everybody in it, those who rise Noiseless Practice Periods I recently ate my dinner in a restaurant in New York trim f he n°*eS’ whereas thc exact reverse is sentient “blank spaces,” the surface seems likewise to have which had dispensed with the noise of “jazz” as played up egregiously to catch a train or meet a friend and taken the impress of the artist’s mind and hand. The un¬ by unholy combinations of instruments. There was no slam the door as they go out. It was one such who By Grace May Stutzman It is true that the three-eighth length is usually rep¬ led Paderewski despairingly to cry, as the chill wind stroked surface has a certain soft, radiant glow as signifi¬ syncopated cacophony against which the voice must strain cant as the effect of the lines. But it is necessary to a con¬ streamed to the platform: “I am not an out-of-door resented by a note with a dot ( | ) ; but that is no more to hold its own in conversation. Instead, the sole music Many pianists constantly face the problem of how to in fact, anything that comes to hand, may be done first trast, in the art of the etcher, that there should be the pianist 1” Of all important places for silence, the musi¬ was that of a canary blithely singing. It is too bad accomplish the maximum amount of practice with the with the practice pad, if necessary, until a certain amount blank areas in order that where the lines are made cal auditorium is foremost. It seems fair to say that ffia * * I?7dM f 1 '« 1 Wh “dotted-quarter” than to put a song-bird in a cage at all. If one waived minimum annoyance to those about them. “The baby of proficiency has been attained. This applies to the ■ these darker regions may stand out in relief. White he who holds a ticket to a concert has accepted a con¬ was asleep and I couldn't practice.” “Grandma is ill, work of children as well as grown-ups. The nS r"8!11 Sh°U,d hc call<-'d a “hooked-quarter.’ is pianissimo; black is fortissimo; and there are infinite that displeasing feature, there would be pure joy in tract or made a compact to keep still. He becomes a sJfifvT °, the tone-length should, in every case Please excuse Jane from her lessons for two weeks as Owing to the thickness of the felt which drops be¬ gradations between. As there could be no sound, unless the sound of the gentle, tender, pellucid song of the fellow conspirator to produce such a soundlessness as we cannot have the necessary practicing done.” Excuses tween the hammers and the strings, the action occasion¬ method wL™* reJla,tive to thc "’hole; and. if this there were silence out of which it started, so there bird, instead of the crash of gongs, the klop of drum¬ that of Thomas Hood’s sonnet on silence: of this character and import are altogether too familiar ally appears to have been tightened. This is really an sticks, the clank of cow-bells, the squawking saxophone, would soon bePsolveed. a"’ “d°ttC<1 MOte” pr°blenl could be no darkness without light for its background. “There is a silence where hath been no sound. to the teacher of piano. asset rather than a liability, since it tends to develop a the unearthly din of all the apparatus which the modern A table of dotted notes and their names is here given The artist, with brush, or pen,, or etcher’s needle, or There is a silence where no sound may be.” A practical remedy lies in the possession of a practice stronger technic. graver’s tool must know how' much not to do—how dance orchestra employs. The lights were dim as the tote ThW"ighth Three-sixteenth Three-thirty-seconv, pad of medium weight felt, that can easily be made for During my student days I practiced at all hours, both much to let alone. tones of the bird were subdued. The diner ate his That description surely conveys the ultimatum as to any piano. The felt comes seventy-two inches in width day and night. In the next room a chum studied at meal in peace, and gave thanks for the absence of the stillness! at an average cost of two dollars per yard. Six inches the same time, and, although her lessons embraced the r- r p f Silence in the Drama von Billow’s Advice To take a parallel from another art—who has not usual noisy concomitants of dinner in a city restaurant. is ample. Slits should be cut to allow it to slip over the most intricate problems connected with a medical course, Seven-eighth Seven-sixteenth Se h t d Those who love music most are those who care least Charles Villiers Stanford in his little book “Musical braces that support the action of the upright piano, and realized the significant effect of a “speaking silence^ not once was she annoyed or disturbed by my practice. to have it profaned by extraneous sounds that are at Composition” emphasizes the value of rests to the com¬ small safety pins will assist at holding it in place. in a play? In John Drinkwater’s “Abraham Lincoln’ The hours she spent in her room I planned to use upon \ " I*'' f" war with music. They love the silence—as Matthew poser, the performer and the listener. He cites Hans The busy mother who seems to find no time to prac¬ there is no more impressive moment than when Mr. Mc- what might be termed “routine work,” which left the Arnold in “The New Age” loves the hush that follows von Billow’s advice to players and writers to "let the tice during the waking hours of her children and who Glynn, impersonating Lincoln, stands in silent yet elo¬ remainder of the time for the polishing process upon the examnleîs atm'd*thatia (louBle-dotted-quartcr note, for a braying and bawling activity. They are fond of air in,” and as far as the hearer is concerned, his own dares not tempt Providence during nap-time, may keep open strings. Countless situations will instantly present quent contemplation of the map of the United States. nedtoaowr m '0ng 35 a half >«t enough short- silence, not for its own sake merely, but because from words are worth quoting: "It has been truly said that her fingers in excellent trim by making use of this device. themselves to the teacher or student, wherein the use of That silence has four dimensions—and in those dimen¬ be a helnS ef°aWdmgt a. sixt«nth at the end-may the silence there comes the “beauty born' of murmuring some of the most thrilling moments in music have been Finger gymnastics, memorizing of difficult passages which the practice pad will greatly facilitate the preparation capable of m ped'entBut just as soon as the pupil is sions there are included the length and breadth of the require many monotonous repetitions, technical studies, of programs or lessons. be taught the m1rehe'ldlng arithmetical values, it should ue taught the setenttfic names of notes. JUNE 19H Page ss5 THE ETUDE the etude Page 881/. JUNE 192 And amused as her parents were they took her as The Teachers’ Round Table Stories For the Lesson Hour seriously as does her teacher, and respected her point of the result of a dead silence (for example, the entry understanding, and appreciation. of the Dutchman in the second act of Wagner’s opera, Children must think they are doing something, a„d Conducted by PROF. CLARENCE G. HAMILTON, M.A. the silences after ‘Hear and Answer' in the familiar Baal By Leonora Sill Ashton chorus of the ‘Elijah,’ and, perhaps the most impressive that their little work has real meaning and dignity. Too ■ ■ * “Hnartn Teach ” “What to Teach,” etc., and not technical One hour a week, which is the generally allotted many elders regard the first months of study as only so of all, the silence which succeeds the Trumpet Call in mis Popnrtmon, is Soslynod lotelp ’InTwZd properly Polony ,'o ,1,0 Mu slop, Qnoslions Adored the second act of ‘Fidelio’). To hit upon the right period for a piano lesson, is a very limited time in which much drudgery, and speak of it in the presence of the probloms ponn.mn, to MnsuM™oory,^ ^ ^„„ l„qplnes moment for this effect is no easy matter; it must never to compress all we wish to impart to our pupi s. children in a way that is almost belittling. In some miss fire, and never sound like a complete finish. To withstanding this fact, we must try to bring some outline instances what a fortunate thing for a child if she could Chopin’s Etudes found that a pupil will accomplish more by five or si do it successfully requires a dramatic mind; but all com¬ of theory and history into each lesson. , begin away from parental interference and so-called Popular Music posers must be endowed with that gift if their music At the earliest opportunity, when the first little piece > help ” Since this can seldom be, the teacher’s skill is weeks of concentrated summer practice than the same ^stu^the' ciiopln fitud is to possess any measure of vitality.” from Schumann’s “Album for the Young” are given, needed even more to awaken and preserve interest, and pupil will accomplish in all the rest of the year put the surest way to accomplish this is by realizing and Any such grading must be a more or less personal estimating the child’s comprehension Her simple work, t°fftyour patrons are not convinced by these arguments aenumaun. , g* Porm«t A â^sttZ m^refuse one, since what is difficult for some pupils is easy for Carry out this idea with each composer as a work treated with quiet and respect unfolds t, r Us beauties, I’m sure I can think up some more, for the woods a e The Radio in Music Teaching pupils. What would you advise. MKg L p M others, and vice versa. The following order, however of his is given; and, when a scholar is old enough to whereas being rushed along into work beyond her grasp full of them! will at least furnish a basis on which one can work. The By Robert Price do so, have him to write all these little histories in a she comes in a short time to confusion and careless Here is an opportunity for you to show your tact in Courses of Study note book and to keep them for reference. “The Childs habits, and realizing that she is not doing well, to dis¬ grades will more or less overlap. arousing a genuine interest in music and in elevating the What is your opinion of the Mathews Graded Grade 7 When the fad for reproducing machines and piano Own Book of Great Musicians,” by Mr. Thomas Tab- couragement. . players swept the country, Miss C., contrary to many of ber, is excellent to use as prizes and serves this branch A mistake the teacher is apt to mak. i playing the young woman’s taste. . Se“Ifw ha^rbe'en'friticifl for The three separate studies, in the given order. her fellow teachers who believed that initiative in music of teaching in a very satisfactory manner. little piece in a tempo and with a dash the child cannot To accomplish these things, you must first of all give S “ H*htsh“?UmuSRStif c°onneetCionaTith Grade 8 study for many boys and girls would be discouraged by In this connection try to fix the different schools of hope to attain. To play to the childish understanding, her interesting and attractive work to do. She will it°—is. v. sl¬ Op. 25, No. 2; Op. 25, No. 9 (Butterfly); Op. 10 No these mechanical contrivances, at once saw an opportunity doubtless agree, if you explain the matter to her care¬ 6 ; Op. 10, No. 9; Op. 10, No. 3; Op. 10, No. 2; Op. 25, music in the scholar’s mind, the classic, the romantic, quietly and not too rapidly, is far sat md certainly it is a fact recognized by all educators that the teach¬ for motivation. She secured records of many composi¬ fully that a certain amount of technical drill is inevit¬ No. 4; (Inquietude) ; Op. No. 1. and the modern or impressionistic, giving as few details kinder, for only by this means can the vet y young mind ing of any subject is facilitated by the use of a well- tions which she could teach, installed her own reproducing as possible, but trying to make the matter clear. Per¬ able ’in the way of scales, arpeggios and finger exercises. Grade 9 grasp with clearness and comprehension, ■ meaning of compiled text-book. No teacher of mathematics, spell¬ machine in her studio and, whenever possible, made these haps the simplest way to present the subject of these So give her small and varied doses of these, not allow¬ Op 25 No. 1 (Aeolian Harp) ; Op. 10, No. 12 (Revo- the composer._ ing, history and the like in our schools, for instance, master interpretations a part of her lessons. When she different schools is to associate certain great names with ing them to become a bugbear. Then, choose studies of luSnary); Op. 25, No. 5; Op. 10; Ho. 5 (On black learned that a piano player had been purchased for the each. Then, as the course of study pregresses, show a genuinely musical style, such as Burgmuller Op. 100 would scorn the use of such a guide. • . keys) Op. 25, No. 7 (Nocturne) ; Op. 25, No. 3, Op. 10, home of a pupil, she immediately found an opportunity Creating Atmosphere One reason, indeed, for the aimless and slovenly the characteristics of these schools as expressed in the or Heller’s Op. 47, showing her how each phrase may No. 7 (Toccata) ; Op. 10, No. 11. for conferring with the parents and advising the selec¬ teaching of music, of which there has been (and 1 works of the composers. Out of this will grow natur¬ By M. E. Keating be given significance by the proper accent and melodic Grade 10 tion of certain rolls likely to be of use in future lessons. ally a slight acquaintance with form, and, if not an am afraid, still is) an alarming amount in circulation, Op. 25, No. 11 (Winter Wind) ; Op. 10, No. 8; Op. Miss C. is now finding new and even more interesting expression. Under the guise of studies, too, you may analytic and pedagogic knowledge, still a comprehen¬ is the hit-or-miss, unorganized presentation of all 25 No. 6; Op. 10, No. 4; Op. 25, No. 10; Op. 25, No. uses for the radio. To her other data, she has now added The mere studying of notes, fingering, unting time, introduce pieces of an even higher type, such as those sive and intelligent understanding of music. branches of practical music. ' 12; Op. 25, No. 8; Op. 10, No. 10. a list of the pupils in whose homes receiving sets have rests, and so forth, becomes for young students a in Schumann’s Op. 68, or the easier sonatas of Haydn To almost every form can be attached a story which Fortunately there are now available a number of re¬ been installed. Each day, as a part of her preparation for drudgery, unless the imagination is awakened. After ' I may cite von Billow as authority for considering will appeal to the child’s imagination. A description and Mozart. , liable text-book courses for the use of piano teachers, the day’s work, she scans the radio announcements in the mastering the necessary details of playing rrectly, then Op 10, No. 10 the most difficult of all. Another tough of the minuet may be amplified by a picture of Washing¬ Meanwhile, for “pieces,” let her have her light music prepared by teachers of wide experience, who have de¬ morning paper for any composition which she may assign a picture should be painted, with particulni attention to nut to crack, Op. 25, No. 8 he called “the most useful ton and the stately ladies of his time. The history of —even ragtime, if necessary. A book of easy pieces may voted years to the best possible arrangement of the to advantage during the day. the finishing touches. With many talented pupils excel¬ exercise in the whole range of Etude literature ’ the polonaise is full of suggestive anecdotes. The be used for sight-reading by assigning a certain amount fundamental teaching materials. Since the Mathews For instance, she sees that Station XYZ will broadcast lent results are obtained when mounted pictures of hunt¬ tarantella, with its strange connections, all of the dances, course represents an excellent example of such a text¬ in their concert this evening, a piano group consisting of ing scenes, meditations, boat scenes, folk dances, and for each lesson. , ,, _ The Minor Scales the cradle song, the barcarolle,—these have a mist of She will thus have a chance continually to compare book, I certhinly can commend you tor using it andJ. MacDowell’s To a Water Lily, Godard’s Valse Chroma- so forth, are exhibited, of course an appropriate one, Which form of the scales do you advise me to story atmosphere around them that cannot help but should not be disturbed by such unintelligent critic sm teach iny pupils?—E. B. tique and a Chopin Etude. Here is just the chance to “trashy” music with music of real worth; and in the end, awaken interest. _ for illustration of the selection in hand. as you mention. Naturally a clever teacher will intro¬ begin William B’s study of MacDowell. He has acquired Perry pictures, also art pictures that can be obtained if she is not utterly hopeless, the latter should win out. Since we are after practical results, is it not wise to duce other material into such a course, and will vary it a sufficient technic, but tone pictures have always been at any art store, would lie useful. The ctl< < i of concen¬ If you can only accomplish this result, you may con¬ seek the answer by asking another question: in some of its details to meet individual needs. But it more or less difficult for him to appreciate. To a Water Keeping the Child’s Interest Alive tration obtained in this manner is wonder ini, and work gratulate yourself on having done the work of a real “What form of minor scales is most frequent m piano will nevertheless fill an all-important office in serving Lily will be worked out in today’s lesson and this shall takes on new life. musical missionary 1 By Mary Alice Smith as a basis for logical and well-balanced instruction. be followed up by a radio interpretation, tonight. Mary This leaves an impression of hidden beauty on the .h. « » t follows that a obliged to stiffen the wrist, which is the very thing we music opening to her. “Listen,” she called rapturously The last two are most difficult of all, since the fingering “Thpr S>>ni WmS k°tk mad and flabbergasted, pupil should forge ahead more rapidly in the summer are trying to prevent. Stiff wrists are the cause oi “What is important is that the music be played in the to her mother, “to this chord!" And when her father of the ascending scale differs widely from that of the thinkofthat?* the composer"Pianist;. “What do yoi than is possible at any other period of the year. I have more trouble in piano technic than anything else of which right way, with the proper spirit, style, life, emotion and came in, in the evening, she ran to show him. Fitting proved this fact to my own satisfaction, at least, through descending one. enthusiasm, whether it is with the notes or without.” her baby fingers to the keys she pressed them gently, vou°arlnLr€t.0rtel quick'y- “Marvelous,—wonderful-" many seasons of summer teaching. Indeed, I have often I know. —Ernest Bloch. and bent her ear. “Isn’t this chord beautiful?” she said’. mightv rr t f Lha" the A,™ghty Himself. The Al tghty created the earth—but you--you created chaos. THE ETUDE JUNE f924 Page 387 Page 386 JUNE 19U COULD YOU DO THIS? | THE ETUDE SLENDER BUT LOVELY George Henschel, in his book, Recol¬ WATER LILIES Young musicians who want to play only lections of Johannes Brahms, gives the fol¬ lowing incident which shows how quick “modern” pieces may read with profit the A graceful movement in modern vein. Play in rhythmic style without hurrying the pace. Grade 4 RUDOLF FRIML words of H. C. Banister, a once-distin¬ The Musical Scrap Book was the ear of the great composer and guished English teacher. They are taken how swift his musical intuitions. Allegretto M.M.J -72 from his book, Interludes, compiled from Anything and Everything, as Long as it is Instructive “Last evening we sat downstairs in the seven lectures delivered between the years coffee-room, having supper, when suddenly ‘ 1891 and 1897. “Beware of thinking that and Interesting someone in the adjoining dining-hall began ■ a century or two ago, the art (of music) to play Chopin’s Study in A flat on the was in its infancy,” he writes, “or that Conducted by A. S. GARBETT piano. I sprang up, intending to put a stop those who then produced music were mere to it, and exclaiming, ‘Oh, these women!’ babes, or even—by a paradoxical perversity when Brahms said, ‘No, my dear, this is —estimating them as 'old fogies.’ You see, no woman.’ I went to the hall to look, and or hear, or try to play, a modern piece of found he was right. ‘Yes,’ he said, ‘in music, with many notes in a bar; perhaps CLARA SCHUMANN ON WAGNER'S MASTERPIECE this respect I am hardly ever mistaken; very fine, but not because of its many musicians delighted with it was—I may and it is by no means an easy thing to dis¬ notes. And then you turn to an older work Clara Schumann, the devoted wife of well say—the saddest experience of my tinguish by the sense of hearing alone, a with very few notes and think it slender, Robert Schumann, was a great artist, but whole artistic career. I held out to the end, feminine man from a masculine woman!'” ] and almost imagine that the composer did nothing if partisan in her predilections. In as I wished to have heard it all. Neither not put down more notes because he could the following extract from her diary of them does anything but sleep and sing not think of any; the few expressed his (dated Klosters, August, 1875, and quoted THE HELPLESS BEETHOVEN • during the second act, and the whole of clearly defined strong ideas. by Berthold Litzmann) we learn what she A vivid picture of Beethoven's home 1 Act 3—quite forty minutes—7 ristan “Did you ever observe, or think, how thought of Wagner’s “Tristan und Isolde” surroundings is presented by Ferdinand : occupies in dying—and they call that dra¬ much there is, in small compass, and with when she first heard it. One should re¬ Ries, as quoted by Thayer in the latter’s 1 matic! Levi says that Wagner is a better small show, in one of Bach's two-part member that the musical world of Ger¬ famous biography of the noble-minded but musician than Gluck! . . Are they Inventions, which you may have almost set many was at that time divided between the ill-kept master; all fools or'am I a fool? The subject seems aside as dry little exercises, and would have Brahmsites and the Wagnerites. Brahms “In his behavior Beethoven was awk¬ to me so wretched; a love-madness brought been ready to join some one that I once was a lifelong friend of the Schumanns, ward and helpless; his uncouth movements about by a’ potion—how is it possible to heard say concerning the children who were and owed his discovery to Robert’s critical were often destitute of all grace, lie sel¬ take the slightest interest in the lovers? It condemned—mark you, not privileged—-to discernment. Brahms and Wagner them¬ dom took anything into his hands without ; play them, “Poor little things!” selves never approved of the partisanship is not emotion, it is a disease, and they tear their hearts* out of-their bodies, while the dropping and breaking it. Thus hr fre- displayed by their admirers. quently knocked his ink-well into the ‘We went to ‘Tristan und Isolde’ this music expresses it all in the most repulsive GAY MUSIC MEANS HARD LABOR pianoforte, which stood near by the side evening,” she writes. “It is the most repul¬ manner. I could go' on lamenting over it of his writing-table. No piece of furni¬ The popular notion of a composer sive thing I ever saw or heard in my life. forever, and exclaiming against it.” . . . ture was safe from him, least of all a feverishly pounding at the piano in search To have to sit through a whole evening, Notwithstandmg-Mine. Schuman’s vio¬ costly piece. Everything was overturned, of “inspiration” i; not borne out by the watching and lisfening to such love-lunacy lence, many musicians will say with the soiled and destroyed It is hard to com¬ following statement of Sir Arthur Sullivan till every feeling of decency was outraged, present writer, “Oh., to be eighteen again prehend how he accomplished so much as of “Pinafore” fame, in a biography of and to see not only the audience but the and hear ‘Tristan’ for-the first time!” him written by Arthur Lawrence. Sullivan to shave himself even, leaving out of con¬ may have lacked depth, but he did not sideration the number of cuts on his lack spontaneity, gaiety and even tender cheeks. He could never learn to dance in pathos; not to mention sound musicianship. THE BROTHERS RUBINSTEIN “Of course the use of the piano,’ Sir “Beethoven attached no value tn his Concerning Anton’s brother, we learn. Arthur remarks, “would limit me terribly, In her Memories and Adventures, Louise manuscripts; after they were printed they “Rubinstein’s brother Nicolas played as well and as to the inspirational theory, al¬ Heritte-Viardot, daughter of Pauline Viai- lay for the greater part in an anteroom as he did, but he was not so well known, though I admit that sometimes a happy dot, writes interestingly about Anton Rubin¬ or on the floor among other pieces of partly because his work as Director of the phrase will occur to one quite unexpectedly stein and his brother Nicolas. music. I often put his music to rights, Moscow Conservatory kept him in that city, rather than the result of any definite rea¬ “I first became acquainted with Anton but whenever he hunted something, every¬ and also because he was generally in the soning process, musical composition, like thing was thrown into confusion again. I Rubinstein when I was a child,” she tells condition known to the French as between everything else, is the result of hard won.- might at that time have earned away the us. “It was not till some years later, when two wines. No one who ever fteard the two and there is really nothing speculative or original manuscripts of all his printed we were living in Baden-Baden, that I be¬ brothers play an orchestral score at sight as spasmodic about it. Moreover, the happy - pieces, and if I had asked him for them came intimate with him and was able to ad¬ a duet could ever forget it. I believe they thoughts which seem to come to one only mire this divinely gifted musician. He had would have played with the same ease and he would unquestionably have given them occur after hard work and steady persist¬ njured his knee at that time and was obliged "intelligence if the music had been placed be¬ to me without a thouglit.-’ ence. It will always happen that one is to lie on a chaise-longue all day, a victim to fore them upside down. If Beethoven was careless of his manu¬ better ready for work needing inventive¬ scripts after they had been engraved, how¬ ennui. Every afternoon I went to play chess “Trouble had driven Nicolas to drink, for ness at one time than another. One day ever, it is fair to him to remember that he with him, but sometimes I asked for music his wife had deserted him. I was once at a work is hard and another day it is easy; was very meticulous in his actual writing instead. His piano was just behind the party in St. Petersburg when a young lady but if I had waited for inspiration I am of them. No detail escaped him, and he chaise-longue so he had only to turn around asked him if he had any children. ‘No,’ he afraid I should have done nothing. The- was most careful in reading the engravers’ and stretch out his arms. In this exceed¬ answered, ‘but my wife has.’ In spite of his miner does not sit at the top of the shaft ingly awkward position he would play for lucrative appointment he never had a penny proofs, as his letters show. Very few waiting for the coal to come bubbling up hours at a time, always by heart and more in his pocket. He gave all he had to poor errors have crept into Beethoven’s works, to the surface. One must go deep down exquisitely than he ever played in public. pupils, his money, his watch, his clothes. for which he himself was responsible. and work out every vein carefully.” He was always a little nervous in public. But it was impossible to keep him from But truly his playing was inspired.” drink, and he died from delirium tremens.” The artist strives to perfect his work; BEETHOVEN AND THE GRAVY the artisan strives to get through it. Thayer, in his Life of Ludwig van —W. G. Gannett. Beethoven, quotes Ries in the following in¬ REMORSELESS EFF ICIENCY IN MUSIC cident, .which shows Beethoven’s irascible SUPERSTITIONS OF ROSSINI temper: “Do you people in the metropolis have ready, the band begins. And when the King Louis Philippe of France had “Beethoven was often extremely violent. Sousa and his band?” asks Howard Mum- soloist comes, he (or she) steps forward given Rossini a beautiful repeating watch. One day we were eating our noonday meal ford Jones, in The New Republic; and— and plays or sings, and bows, once to the Rossini, proud of this gift, carried it in at the Swan Inn; the waiter brought him answering his own question—“If you do, audience, once to Sousa, and retires. Right his waistcoat pocket for many years the wrong dish. Scarcely had Beethoven I don’t believe you know anything about at the edge of the platform Sousa calls One day, while he was showing it to spoken a few words about the matter, it.” Mr. Jones knows the American small her back with a glance, and then there is some friends, a man who was passing by which the waiter answered in a manner not town and how it feels about Sousa. He an encore—Beethoven’s “Minuet” or accosted him and said, “Rossini, you do altogether modest, when Beethoven seized is wrong, however, in supposing we of the “Dixie.” Sousa watches her all the time. not know the secret of your watch the dish (it was a mess of lungs with metropolitan centers fail to appreciate Sometimes we can even see Sousa telling although you have carried it for so many plenty of gravy) and threw it at the her to go back. Sousa is boss. We like years. Will you permit me to disclose it Sousa, and for the same reasons. As he waiter’s head. The poor fellow had an that. to you?’’ Rossini, with a knowing smile, says: “We don’t want any nonsense about arm full of other dishes (an adeptness “. . . And those white gloves of his. handed it to him. The unknown man our music. It isn’t American to put on which Viennese waiters possess in a high We like them, too. They’re not obtrusive touched a spring and the bottom of the airs. Sousa knows that. He knows just degree) and could not help himself. The —like a dress suit—but they show that case opened. The startled Maestro saw how we feel.” gravy ran down his face. He and Beet¬ lie’s the conductor and has put them on his own portrait in miniature surrounded hoven screamed and vituperated, while all To this he adds: “What we secretly ad¬ for our benefit. There is subtle flattery in by an enameled inscription, in arabic the other guests roared with laughter. mire about Sousa is his remorseless effi¬ that. Besides, they keep the music clean characters The unknown, who was the Finally, Beethoven, himself, was overcome ciency. His program just clicks like a “ _ . . How long has that man been maker of the watch refused to tell Rossini with the comicalness of the situation, as great shining machine. One bow to the writing marches? Forever? We hope so. the meaning of the inscription although the waiter who wanted to scold could not, audience—and none of your foreign bows We don’t think he will ever die because he Rossini pleaded with him to do so. From because he was kept busy licking from his either, but a stiff American bow as if he is ourselves. He is an institution with us that time Rossini conceived such an invin¬ chops the gravy that ran down his face, were just as uncomfortable about bowing like Ford cars and the school reader and cible dislike for the watch that he put it making the most ridiculous grimaces the as we are—and then he turns around and the Fourth of July. He is living proof that away in a box where his heirs lately- while. It was a picture worthy of Hogarth.” without any foolishness about getting America is all right.” discovered it, covered with dust. JUNE mi J>,tgr 3*9

THE ETUDE Page 388 JUNE 1924 T?T XT' fVTR jhlDJEiyJNJJ ,. . naceofthis issue. In this Elegie, one of his

• CONSTANTIN STERNBERG, Op.,21, N« Andante serioso M.M.J-=42

a; Tin-accompanying chords in the r.h. whileofeoursesubordinate tothe melody in the l.h.,ought nevertheless in , , . . , l ,, ,: 'ii. h c, meiess to make every little harmonic shiffingaeiTNTin.rAA- noticeable- Copyright 19t»4 by Theo. Presser Co British Copy,Ight secured _ THB snh, JUNE 1924 Page 391 SELECT YOUR PARTNER the etude GRAND MARCH KEPT IN WALTER RoLpe In military style, two steps to the measure, in exact time. Grade 2£ In semi-classic style, contrasting the parallel minor and major keys. Grade 2 » MAX MEYER-OLBERSLEBEN

Copyright 1924 by Theo. Presser Co.. Copyright 1924 by Theo.Presser Co. British Copyright secured JUNE 1924 Page 395 tee etude PRIMO Page 396 JUNE i924 TffE ETUDE UNDER A TENT PAULINE B. STORY A good all-arourd teaching piece. To be played in the style of an air de ballet. Grade 3.

International Copyright secured JUNE 192b Page S99

for Economical Transportation

If a seventeen-year-old girl successfully solves one of the oldest problems in the world, while a million or more men, faced with the same problem, appear unable to solve it, does she not prove she is smarter than they are ? Read the story and judge for yourself. Ever since time began the TRANSPORTATION PROBLEM has faced man at every stage of the progress , of civilization, and still remains the problem he must solve to amount to much in this world. Please note that this smart young American girl realized the need of an automobile. Just starting out to earn her living in business, she lacked the cash to pay in full for a Chevrolet and could not spare enough from her salary to meet the time How She Solved payments. Did she give up the idea, as a million or more able-bodied men appear to have done? No! She was deter¬ the Problem mined to own a Chevrolet—and a determined woman usually “I am a stenographer and work in a city finds some way to get what she wants. 12 miles from where I live. We have an interurban railroad but it is 2 miles from my home, and the train schedule does not Her Chevrolet will really cost her nothing. fit in with my office hours, so I decided to Chevrolets average at least six years of economical utility. Without it buy a Chevrolet touring car. I had saved enough money to pay one-third of the she would have to pay transportation charges of some kind for these purchase price. The balance was to be paid six years of about 1,800 working days, and have no ownership of a in monthly installments of $39 each. transportation medium for her use evenings, Sundays, and holidays. “My salary is rather small because I am If other workday transportation would cost $9 a month, she would only seventeen and am holding my nrst position in the business world. Before pay $638 in the six years and so would each of the four passengers deciding to buy acar, I secured four regular she now carries. All five would pay $3,190. passengers from my own town, who did not like the train schedule any better than l She proposes to make that $3,190 provide her with delightful trans¬ did and were therefore very glad to become portation, buy the Chevrolet and pay for its maintenance, having in my passengers. From each of these four addition a modem means for recreation for her family and friends. people I receive $2 a week, which totals over $32 a month, besides saving my own There are thousands of teachers who should have a Chevrolet— fare of $9 a month. why not be as smart as Georgia Greene and find a way to buy it. "The actual running expense of the car so far, has averaged between $12 and $14 a month, so that I have a nice surplus left Chevrolet Motor Company, Detroit, Michigan to apply on my monthly payments, and 1 Division of Qeneral Motors Corporation hope to have the car paid for in less time than I expected. "When it is paid for, I feel sure that my income from passengers will more than pay my running expenses, and whatever repairs are needed for a year or two at least. "I have had my car four' months and it has given complete satisfaction in every .way. I do not hesitate to recommend it to anyone who desires economy as well as comfort in a car. "The reason I bought a Chevrolet was because about one-half of the car owners in the little community where I live own Chevrolets, and speak very highly of them, both as to comfort and economy. _ 1 his was recommendation enough for me. CEORGIA M. W. GREENf Murray, Utah JUNE 1924 Page 401 Page 400 JUNE 1924

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copyright 1924 by Theo. Presser Go. the ETUDE THE ETUDE JUNE 19U Page W That in a general way describes the nal impression and creating faulty action and thus constricts the easy and direct Page Jt-16 JUNE 192Jf mental and physical action. But, for ttle in the voice members. co-ordination between mind and muscle. NE fact stands out as the most im¬ vocal student, a more detailed tracing 0{ O 4 His poise must be correct and the We realize then, that the mental is portant in the study of vocal action, the process and the lessons to be learned primary; the physical secondary. Atten¬ body at ease. All the members must be and that is, that all action of the voluntary therefrom is desirable. For this, a return tion to the physical is useless if the funda¬ The Singer’s Etude alert to receive and carry out the messages muscles is the result of a psychological is in order to the point when phonation mental cause is faulty. But, as stated in cause. Bearing this in mind, and the fact took place. When “ah” was sung by the coming to them from the brain. the first part of the essay, the physical that action in the organ of speech is instinc¬ Edited for June by 5. His mental attitude must be expect¬ voice the vibrations of the sound traversed must be considered, but always as a cor¬ throat with Valaze Beautifying tive, we must conclude that the causes that . . . that time which truly ALEXANDER HEN NEMAN the singer’s ear and entered the aural ant, confident and assured, so that no relative and subsequent to the primary bring about singing are primarily psycho¬ belongs to yourself! . . . you Skinfood . . . and slip into sleep center in the brain. The same center that negative influence warps the enthusiasm cause that sets it in motion. logical. Psychology is, therefore, first in Noted Vocal Expert ol Washington, D C. go quietly about, thinking pleasant¬ . . . while the silvery “skinfood” importance. However, when entering the at first mentally conceived the effect, now actually hears the sound. At once the ly of what has happened this weaves into your skin a silken interesting field of psychology we must ,, is ,,e - THE ETUDE » JUJ. » mind sits in judgment on the deed. Is feel, —- and conjures away any not overlook the physical, for, like the “A Vocalist’s Magazine Complete in Hearing Your Voice From Without day . . . and, dreamily you the tone which now strikes the ear as poor, it is always with us. Though the plan for tomorrow. You want, roughness of texture,—discoloring actual sound, the same as was the imagined speculative domain of psychology is one By Alexander Henneman blemish or freckle,— of deep interest, none the less it is well to tone that sprung up in the mind, when the now, to do soothing remember Pat’s statement when he was effect was first conceived? Is the vowel things ... to fold Vala ze and takes care of Action in Vocalization I hear “ah” or is it “awe”? Is the tone Beginning at the tympanum (the tech¬ A singer or speaker, therefore, never asked, would he like to fly into the air: away a few trifles . . . your skin generally true to the pitch’ Has muscle-sense nical term for the ear-drum), a tube ex¬ knows exactly how his voice sounds to “Sure,” said Pat, “I care not how high you Beautifying so that your face may take me into the heavens in an aeroplane, By Alexander Henneman warned me of incorrect action at some tends from ea-h ear into the pharynx. others; and yet he is to judge his tone as to read a page or two so long as I can keep one foot firm on the point? Has improvement taken place? of your favorite author Skinfood hold its own with the pression by the organ of. sPeef ;pCaU* These two tubes are called the Eustachian it affects others. It is quite a problem. ground.” So with us. Let us keep one the vocal chords. These adjust at this effect, therefore, have taken place. But we These arc some of the questions that tubes. Their function is to counteract the The art of hearing his own voice as it ... to brush your best. foot firm on the ground of the physical pitch and—my tone is off key. should arise in the mind of the student. atmospheric pressure from without on the are only half way on our tour. We have sounds to others, can be developed to a hair lazily before the A dollar, two-fifty or part of the voice and view from there the Only what the mind conceives can the ear-drum, by supplying an equal pressure produced the tone; but was lt rlght/ high point by the singer or speaker if he four-fifty, according more attenuated psychological manifesta¬ organs reproduce; only what occurs with¬ Good Tone Devoid of Muscle Sensation from within and thus stabilizing the drum¬ mirror . . . and,—uok it correct? did it reproduce the intended strives at all times to hear the tone, not as tions expressing themselves in voice action. in the brain, passes over the nerves and effect? These are the questions that now At this point attention to muscle-sense head. Unless a catarrhal condition has yes, . . . this is my to size. of jar, and to it resounds within his head but as it sounds finds expression through the action of the must be asked if our study is to have value. is in order. A correctly produced tone clogged them, these tubes are always open. be had at leading The Sense Organs night for the skinfood is devoid of muscle-sensation. Just as They act as conductors to the inner-ear of out in the studio or auditorium. The sense organs employed in singing muscles. . . . how I love these stores or, direct. Nor Muscle Sense the knowledge of having a heart does not .all sounds made by the individual’s voice. Suggestion plays an important role in are not only sight, hearing and touch, but should you be without The question might be asked, “If the enter the consciousness of the individual This fact can lie readily proved by the this development. The student while sing¬ Valaze things!” you also muscle-sense is involved. By the im¬ concept of the tone and quality is correct if the heart functions properly, nor proper following simple experiment. Hold a ing should not listen to himself, but should think. So, you do the my booklet, “Beauty pressions coming in through these organs digestion bring to his notice the fact that vibrating tuning-fork about ten inches listen to the voice that comes to him from and distinct, will this suffice to induce a most soothing thing of all . Every Woman,” which my and by the sensations resulting within proper rendition?” No. The “thought- he has a stomach, though both heart and from one ear and then place the finger the auditorium. In other words, the act overlay, caressingly, your face and secretary will be glad to send you. them, perception results and thus the brain force” must travel from the brain to the stomach are acting healthily and vigor¬ lightly into the other ear-hole thus closing is a purely impersonal one. I do not listen it. If, now, the finger is alternately with¬ is stimulated into forming varied associa¬ muscle and on the way it may have to ously; so too, a correctly produced tone at all to my voice; I listen to the effect At leading drug stores or direct from: drawn and reintroduced, the increase and tions of sense and motor activities. Con¬ overcome interference in the form of poor is in effect a spontaneous, unconscious my voice is producing in space. I suggest the decrease of even so faint a sound is cepts are formed and messages are sent poise or rigid muscular condition in one muscular act that in no way leaves an to my student that he listen, not to his readily observable. The phenomenon over the nerves to the muscles, which, or more organs or in some parts of the impress on the muscle-sense. If, then, it: own voice, but “to listen to the effect pro¬ occurs as follows. The vibrations pro¬ thereupon, perform the act. body. Here muscle-sense comes into play. emitting the tone, pressure is felt, let us duced by the singing of that voice sound¬ duced by the fork enter the near ear and The progress from impression to expres- The singer must develop his muscle-sense say, about the left lower ribs, or, if the ing in the auditorium.” striking the drum are conducted to the siotl and the judgment by the mind on the until he is able to feel the slighest rigidity root of the tongue obtrudes itself into the This suggestion, I am sure, counteracts brain. These sound-waves progress along sound that is produced is shown in a gen¬ in any muscle in the body. The muscles consciousness of the singer, then breath¬ considerably the effect of inner vibrations. the Eustachian tubes and also by bone- eral way by the accompanying illustration. are all connected. Therefore, a tight mus¬ ing, in the first case, and articulation or To stop fully the inner-hearing is not pos¬ conduction to the other ear and are then The illustration shows at A, the picture of cle in the back of the neck may create im¬ placement, in the second, were faulty. Had sible. But, since we can close our ears to reflected by the closing finger tip. the notation and syllable. The eye (B) perfect action within the larynx, though they been correct the action would have disturbing sounds, so too can we shut off the latter be properly poised and would been so smooth and natural that no sensa¬ to a great extent the consciousness of perceives the impression of the note and No One Really Hears His Own Voice the word: and, the vibrations set up in the function correctly if the extraneous mus¬ tion would have been experienced in the inner-sounds and thus intensify the hearing If the quality of so faint a sound is organ ate transmitted over the nerves to cle did not create an interference. But acting muscles. of the outer ear. I am sure much of the markedly altered by the mere closing and the visual center in the brain (see C). even in this, concept plays a role. If T disappointment the teacher experiences in Along with the picture of the notation conceive within myself ease of poise and The Accomplished Deed opening of one ear-hole, how strong must not being able to get his pupil to recognize there springs up in the aural center a case of action I create at once a condition We note, then, that the first part of the be the effect of a tone that is produced in the correct quality of a tone, lies in the mental impression of the desired tone and that will induce ease in all the parts. If deed, that of seeing tad doing is the ac¬ the throat, the sound-waves of which set fact that the student hears the model solely word. (A recollection of these sounds I conceive a fine adjustment of all parts, tive element (see illustration A toD);. the whole bony frame of the head into from without, while he hears his own tone might better designate the act, for only in that concept will so act on the body that the second part, that of listening and judg¬ vibration, and freely entering both tubes, from within, where contact is direct and the memory is stored the knowledge of a better adjustment between members ALEXANDER HENNEMAN ing, is the critical element in the singers strike unobstructed against the ear-drums? immediate. what the tone C sounds like, and how the results. If I conceive the tone as being equipment. (See E to A). When phona¬ No one, therefore, really hears his own Let us look again at the diagram, at E. voice as it actually sounds, for his own Keen Attention Necessary word expressed by the letters, a and h, easy to sing, I create within the body con¬ tion took place, that is. when caun' be™* The process is much the same, now, that voice is heard, both from within and with¬ Trying to hear one’s voice from Without sounds). ditions that will make an easy tone possible. effect, the critical faculties came into play the “ah” is heard, as at first, when the out, while the voices of our fellow-men has a salutary effect on tone-production. After the picture entered the visual cen¬ But if I do the reverse, and, with a frown On them and on their acuteness depend note and word were seen. The tone enters reach us solely through the outer ear. Con¬ The attempt to hear the effect produced ter, and the aural center was brought into on my face, a clenched fist and a rigid advancement or retrogression, success <* body, I expect the tone to' be hard to the ear (E) and from there is transmitted sequently, the quality heard by the indivi¬ out in the auditorium brings the tone it¬ action, the association areas also became failure. In the second half of the circle, active The different impressions of word, produce, then the condition I' have set up to the aural center in the brain (F). In dual in his own voice differs from that self more keenly into the consciousness of is the pitfall for most vocal students. the singer. Not only that, but, since the tone, pitch, and quality, and the immediate through this unfortunate mental attitude, the brain tlje aural, visual, motor and as¬ heard by the listener. Their interest is keen and endures from ^ tone must have carrying quality, or it will sensations as well as the impress left by will so react on the body that the latter will sociation centers again function and recre¬ This rather startling fact is demon¬ impression to expression, but the ® I not return to the singer, he will uncon¬ former sensations, are welded in the as¬ be able to produce the tone only with ate the original image for inspection and strated by the slow-returning echo such effort and strain. “As a man thinketh in judgment. The motor center acts on the cism that should follow is lacking. as is found, for instance, in the Pantheon sciously supply vitality to the tone, for sociation areas into a unit. That is, all have produced the thing demanded, *■ of these things are unified by the mind into his heart, so is he 1” As I conceive the tone nerves and these readjust the eye (G) so at Rome. The return of the echo is slow instinctively he feels that a lifeless tone as far as they are concerned, the dee a concept. Flashing through the motor that it sees again the picture at A. Thus enough to allow the sounding of a few cannot travel far out and also return. The accomplished. After that their gray region the “thought-force” is sent over the We have traced the progress of the im¬ the circle is completed, and we are back syllables. Invariably the subject is sur¬ suggestion, therefore, of tone that must be ter no longer functions. But this pa motor nerves along the spinal column to pression in .the organ of sight, to the ex¬ again at the originating source. prised when the echo sends back his heard by the singer himself, so clearly and the muscles that control breath and speech, as vital as the first. By it the c°n,;it)l voice. “I did not think my voice sounded distinctly that it obliterates all other and the voice sings the “ah”. (See C and improved and the memory enriche like that,” is invariably the comment. sounds within the head, induces conditions various shades and qualities of tone that make so desirable a tone possible. What the Frank Piano Tuner told Mrs. Johnson D). But the echo of the voice of one’s com¬ vowels. Discrimination is develope The good results are many. The ear Vocal Organs Without Volition panion, whose voice-quality is known, not to quantity production, not to price is trained to hear the tone vibrate in space “Mrs. Johnson, I’ve worked on all Before we go farther let us apply these hearing is improved. All of which causes no surprise. One expects the echo to kinds of pianos, but I never saw a cheap reduction, but to giving the Weaver unimpaired by vibrations in the head. The findings to vocal study. First and fore¬ progress in the art of singing. stu. return the other’s voice in the quality one one that gave any real satisfaction. Piano quality through and through. keen attention necessary to hear this re¬ most, we must realize fully an important In view of these findings the v ^ knows it, and so it actually does come There’s always something wrong with Own a good piano—buy a Weaver. bounding tone makes for tonal-discrimina¬ Convenient terms are easily arranged, fact, and that is, that the organs have no dent who is serious in his study •" - back. But one’s own voice seems different. them. The quality’s not there. Satis¬ tion and a finer concept of vocal tone. The faction requires quality, and quality and a. liberal allowance made on your volition of their own. They accept any¬ in mind the following: to The explanation is that we get the sound improved concept induces a more perfect costs money. But it’s worth it. You former piano. Write us for the name of thing and everything and send it on as it 1. He must know what he ^ through the inner and outer ear, while adjustment, and a finer tone of greater never save a thing by buying a piano the Weaver dealer nearest you and ask is presented to them. They make no cor¬ sing, and this*knowlcdge as to >’ - °ur companion’s voice comes to us only for .the Weaver Catalog. Weaver Piano carrying quality results. because it costs less.” rections or alterations. They improve word, time, quality, all tonal j through the outer ear. To be a fine piano, the quality must be Co., Factory and General Offices: York, nothing. They mirror what the mind con¬ must be definite and clear m hi i0 there. That’s why in building Weaver Pa. Weaver, York and Livingston 2. He must be receptive and at ^ ^ Pianos, we have devoted our every effort Pianos and Player Pianos. ceives the thing to be, not what the thing oINGERS possessing this volume are well prepared might actually be. The syllable is ah that the impressions may enter, i ^ . O for duet concert singing or for pleasurable mo¬ but if through carelessness I think it is ity and distinctness, by way 0 SECULAR ments of recreation at the keyboard with other singers “oh,” the eye so accepts it and sees oh. Practically all combinations of two voices are covered organs‘ ,, singW3 The pitch of the C is 517 3/10 vibrations. 3. He must attend solely to ^ th»l DUETS and in this one hundred and two page volume there is But if I am thoughtless and conceive the the exclusion of all other pXtrapeollS For all Voices a wealth of carefully selected, good duets. WEAVER pitch at 500 vibrations, the aural sense the association areas find n° ^ n#1 A Neu; and Worth- Price $1.25 accepts my incorrect pitch, and so sends it matter cluttering up the bra,n w the® While Volume for on over the nerves to the association areas. first be eliminated or be taken Jlpt; if. Singers THEODORE PRESSER CO., PHILADELPHIA, PA. PIANOS These build up the concept with this pitch and incorporated into the co ^e0fjgr Pleass mention THE ETUDE when addressing our advertisers. and transmit it over the motor nerves to destroying, or at least corrupt"1®' Page 41S JUNE 1924 JUNE 1924 Page 419 Songs for the Beginner See for yourself— By Alexander Henneman how a beautiful skin When to give the first song? That is phrase four or five times in half-tone “Mum” a question often asked by the young transpositions and carrying it above and is developed and kept lovely teacher. As in other subjects, so in the below the actual range in the song not is the word! So that you can learn in a few minutes what years of study of singing, there are a number of only perfects the placement, but also gives scientific experience in the care of the skin has taught opinions about the advisability of giving confidence and assurance. “Well,” says him, Mr. Ingram has devised the Dermascope. He be¬ songs. Some teachers drill for a long the singer, “here comes F, but I have sung lieves you will join the millions who are now using period on exercises and tone-production be- the phrase transposed to G, so this will Ingram’s Milkweed Cream when you make the fascinat¬ fore permitting the student to take a song, make no trouble.” And it makes no ing Dermascope test. I believe in the early use of songs; but, trouble, with such preparation, A few minutes with the Dermascope, following Mr. Ingram’s instructions, will show you how and why they must be chosen with the greatest care, Articulation. Articulation of certain “Mum” prevents Ingram’s Milkweed Cream develops a healthy, beautiful for they can become a source of great help, sound-combinations is not easy in the lower skin — how it successfully wards off the signs of age and also can do immeasurable harm. My and middle ranges. On high tones all artic- which are creeping in, unnoticed, every day. reasons for the early use of songs follow, ulation is difficult. Furthermore, the pupil all body odors As a means of contributing to the development of interest in opera, for many years Mr. James Francis Cooler, editor of “The Etude,” has prepared, The One Cream Perfect for Every Use A song with its story rouses the interest is not a finished artist and must be guarded What a comfort!—to preserve gratuitously, program notes for the production giren in Philadelphia by The of the pupil in his studies. He has an out- against strain and undue effort. It is im- Metropolitan Opera Company of Xeie York. These hare been reprinted Ingram’s Milkweed Cream, used exclusive feature—certain remedial all day that fresh,'“after-the-bath” let for expression hitherto denied. And perative, therefore, that the words be extensively in programs and periodicals at home and abroad. Believing that thirty years, is a real beauty cream and properties that relieve redness, rough¬ feeling of daintiness! our readers mag have a desire to be refreshed or informed upon certain the only one you need use to develop ness, tan, freckles and slight imper¬ Freckles all know that unless interest exists changed if they cause the least trouble. I f, aspects of the popular grand operas, these, historical and interpretative notes AMUSE YOU IN THE MOVIES little* nrrprogress'crr~‘”! |p.. be made. Not only that, for instance, on a certain tone, the word on several of llxm will be reproduced in “The Etude.” The opera stories and keep a clear, soft, smooth skin. It is fections. No other cream is like it. No “Mum”, the snow-white cream heavy enough to be a thorough cleanser matter whether you use it as a cleanser, but the student’s “interests” wm i be ‘love” is difficult to sing and “heart” __ have been written by Edward Ellsworth Hipsher, assistant editor. —not only prevents perspiration and yet light enough in body to form a a protection or a powder base—its nour¬ outside of the teacher’s studio; if easy, then, for the time being, "My est is supplied within. comfortable and effective protection and ishing and healing properties will bring love art thou” should be changed to “My odor,but all body odors. “Mum” foundation for powder. But it has an fresh beauty and new life to your skin. Completed Vocal Art heart is thine.” It will be found that is so effective and so safe that proyement it brings. *1.00 .nd 50c jars at when once placement is attained on the Song is the completed vocal ; dainty women use it with the sani. The Snow Maiden, “Snegourotschka” Ingram Co. 243 Tenth Street, Detroit, Mich. It embraces substituted word, the proper word will ~-—- everything and therefore Sfj“*itt?.ec.-’ ,.e.u w.» tary pad. 25c and 50c at all stores. makes demands on musicianship as does , n s ,p m. at the hrst attempt, without Sneuourotsi'hka (pronounced Snay-goo- composers, Cesar Cui, trained as a military SPECIAL OFFER no other form of student-activity. Rhythm °f quallty’ ancl in a fine placement, rotscli-kah) was the third of Rimsky- engineer, Modest Mussorgsky, a graduate In order to introduce to you 1 woother toilet eiien- Korsakoff’s fifteen operas. The first, which of the Petrograd Military Academy, and melody, harmony, form and speech are all 1 he seeminSI>r insurmountable difficulty is ...... Special Offer; 15c “Mum’'; Ingttim'S Milkweed Cream united in this complete art-work. In it overc°me without actually Working directly is known as Maid of Pskov, was produced Alexander Borodin, chemist and surgeon. Ingram’s American Blush Rouge in 1873 at Petrograd; and the last, Lc With most of the musical giants of Rus¬ iook best. Full of beauty treatments the student sees assembled all his previous 'i!'1'1 ,7 Should, however, the poor word efforts in tone-forming, in technic in ?V'e ,lave ')een forcibly used, wrong Caq d'Or, was done for the first time in sia, music has been an avocation, often re skin. In thin mi uses i?a3 Moscow in 1910. two years after the com¬ pursued until late in life before it afforded il from us. Next time be careful rhythm, in complete technical delivery. habds are estabiished and teacher and licate Rouge for the Delicate , «U5SA jss: poser’s death. them a livelihood. Jb Teacher and pupil more readily “becomebecome PUpi may dlsco,ver that the word, that e made trouble only on a high tone is Nikolai Andrcyevitch Rimsky-Korsakoff Rimsky-Korsakoff is credited with hav¬ Send for this interesting test today aware of weaknesses in this form of vocal x aw with 15 cents for new Beauty Purse containing IngraIngram’s Dei Stillmans Freckle work than in any other. now difficult in all parts of the voice.. (often spelled Rimsky-Korsakov) was ing written the first Russian symphony, i liberal sample of Ingram’s Milkweed Cream; two filled purse pvir- - Singing is multiplied, intensified and born at Tichvin, Government of Novogrod, truly national in type. This was given its 3owder and Rouge; instructions for using Dermascope, and valiu cream Intonation idealized speech. A song, therefore is March 18, 1844. His parents were mem¬ premiere in Petrograd in 1865. The com¬ speech of a higher type, but ‘ ' Intonation. No difficult intervals, nor bers of the Russian aristocracy; and, al¬ posers gifts were soon recognized and he retired from the Navy to devote his life F. F. INGRAM CO., 243 Tent strange or umwtural^thiflg lor' theTndi- dl®s°nances raust occur in these first though the child showed marked musical send me Ingram’s Beauty Purs vidual to carry speech on to that higher S°ngS are not sight-reading talent, so that he commenced his piano les¬ to music. plane, and to sing. In songs he develops till *jar't,ralm"g Problems, they are in- sons at the age of six, he was not expected The Snow-Maiden is based upon an old -LZ5J. his imagination, without which no real ,ft — S0 eJy for voice-development; and to follow the career of the musician, but folk-tale made into a libretto by Ostrov¬ progress is possible. For imagination k ? sf.nous demands 011 musicianship, on in- was sent to the government Military Acad¬ sky. It was given its first performance in necessary not merely for"thTSTou" KTtC* * f°“ emy when he was twelve years old. St. Petersburg in March, 1882. Its first Save for occasional lessons taken during presentation in Paris occurred in 1908 and lme, but also for the minute qualities of mas£v k f h—u !atjVvhen a certain DARKEN S and BEAUTIFIES vowel sounds and for their coloring A vn11 7 achieyed and the production of CVELASHES and BROWS his college days, bis musical nature re¬ its addition to the repertoire of the Metro¬ vowel in a sad word will have a different In! 7,aS beCOme more or less in- INSTANTLY, making them ceived little training until his contact with politan, two years ago, brought to it a de¬ xVfcN'Vi.’''/',, SKA'S* cided American success. By many it is re¬ WlH THESE 2 BOOKLETS" coloring than the same vowel-sound in a in ^Zr .T.hen p.roblenls of this kind are Balakirev, in 1861. Balakirev, perhaps more cheerful word. These differentiations are SutZ’^ TU ” begWner’S SOngs’ than any other, sought to- influence the garded as Rimsky-Korsakoff’s most in¬ spired work; but in many ways it lacks the aminsM’show the result of the imagination, which sup- the vnlTl' ,7 ° P'an? part must support n. BLACK or BROWN. 76c at coming men of Russian musical art along Plies a pic,ure or an effect to the indi- unuort SUPP°n h wel1 and fully By really national lines. It was through him modernity and delicate craftsmanship to be vidual word, that gives a distinct color to S” eaSy songs- 1 mean that voice MAYBELLINE CO.,Chicago, III. that Rimsky-Korsakoff came to meet the found in his Le Coq d’Or. gr'^%. OVER 1500 NUMBERS LISTED • baums and novelties the vowel sound. accompaniment go hand in hand. Not — : OPERA TOimAiL JAZZ Wt/IR The things that must be considered, in JlU** .^tef bodies, no irregular UWO THINGS t SUGGESTIONS the first easy songs for the beginner, are: monSmS I™5’ "° VagUe har' EON ALL ENTERTAINMENTS (1 breath, (2) range, (3) articulation, Raffier mlt ^ SUpportin2 medium. earakine The Story of “The Snow Maiden” Zo stops earache Tlii' plot is ha sell ,„i f..ik-P»le nf “Thi. Snuw Maiden.” ’ rnat,on and (s) Cd Softens the wax. All drug stores, or by mail Breath. The beginner has only a short iP7’t’ .and rhVthm with the voice part’ ••Red Mountain.” Fain 50c. C. S. Dent & Co., Detroit, Mich. UK of Tin' Birds prepare breath and no perfected control of that. Sffied A™ V°iCe mUSt be we» s«s- wd of Beron l thcli The songs, therefore, must have short sffiger can S “pamment. so that the A Special Bargain! “EXCEliPTS FROM EXCKI.I.K.N del-fill Phrases. Pomts for breath must be many Xd,W tv, 6 acc°mpanying support 55»a?Taa!*ta* ,.r n.-.ri, ion Act I. In the village of Berendey. Lell, the handsome shepherd, sings h Slings to The Snow Maiden, and Misguir. the merchant, forsakes his affianced Koupara in her and close together. It is also advisable to phrase VWCe tl,roughout the climax- O. PKKSSEK CO. 1J12 cheatanl favor; hut, as her name indicates, The Snow Maiden is made of ice. and her coldness and EVERYBODY’S find songs that have phrases for the piano tl 1 apathy discourage their suits alone, enabling the singer to get his breath ^ reader wdl note that these beginner Act II. A hall in tin- Tsar’s Palace. Koupara tells the Tsar of Misyuir’s unfaithfulness. finds that Mlagulr a restored to normal life-breathing and to oX n0t by Brahms’ De- s the t SONG BOQiT n from his ariTen *** “ay ~ ^chub^rt or ‘(its his p A Treasury of Favorite Range ^ and will 'hardf/ thrilf * VOCAL MUSIC Range. No song should touch the high- fice But’ that sacri' d eseaiios inlo the forest. PREMIER GRAWD PIANO This book is a great value for !t nor the lowest tone of the singer’s are wkh U ’ f°r the dassic songs Act IV. The Valley of Yarilo. Tb, h°me Possessing a piano. -ge7mge. If his exercises Zand drill*dri,lf£ }„#L* ^“Ptwns, no pabulum fnr Fairy Spring calls on the Aristocrat Model With a collection such as this around, developed the range from D flat to high given in the r earlv* T° em mUSt be many an evening can be made de¬ A flat, then the song must not have a tone sweet-meats Thi^ fS’ easy- digestible 5 feet, 3 inches long Price $725 lightful, parties can be enlivened or RTHUR C KRAFT, the well known tenor soloist of St. Bar¬ one can enjoy pleasantly a little lower than E flat nor higher than F. To artistic incline tk * jher must Pocket his A give a song that touches one, or both ex- songs with en T ^ these simPle tholomew’s Church, New York, Recital and Oratorio Artist— diversion at the piano; contains 74 a vocalist of national reputation, recently wrote: old favorite home songs, 147 be¬ tremes of the beginner’s acquired range, ure^^^n7 atStk35"1 3Ld find his Pfc«- whiting-Adams “The Premier Baby Grand has proved an inspiration to me in my loved sentimental songs, 57 operatic means, without fail, the destruction of that ment of his puT Z* 7°^ advan«- studying and daily practice songs, 25 sacred songs, 72 hymns range because placement is lost. The sep- having come in L T '°ng’ no stra>'n “Its rich, mellow tones appeal to me more and more. The support it gives the 59 pretty little children’s songs, 27 arate phrases should be transposed one type of sons- ■ tbepuPlls vcuce, a higher BRUSHES voice in the heavier passages as well as the most delicate light phrases, is a marvel. southern songs, 34 college songs, 13 “It is certainly an instrument that appeals to the true musician, whether it be for tone higher and one lower than the range is studying sonX^ a”d eventualIy he 52 Varieties of Nail Brushes sea songs, 6 delightful rounds, 37 ,n which they occur. The singing of the brings merit Before selecting c patriotic songs and 33 national and If you cannot ol folk songs. ... . teacher and pupil. A different Nail Brush for every promptly suppliec week in the year. A11 good, some rt Brochure, the “Mag Over 500 Old and New Songs TBhAeTo^, of them lower prices than others. Favorites for Different shapes, different stiffness BOOKS~ON_THE~voicF of bristles, suiting all requirements. Premier Grand Piano Corporation 75 Cents a Copy, Postpaid Department. A large stock embracing cW By D. A. CLIPPINGER • • “ ■ f Baby Grands Exclus ibIesSn‘Jntnard a,nd poPl!Iar Publications en- Send for Illustrated Literature render excellent service to Band The Head al?oihe/Prob'd Edit!°n) ?l-25 5J0-540 WEST 23rd STREET NEW YORK THEO. PRESSER CO , Phila, Pa. and Orchestra Leaders. Send your orders to. iOHN L. WHITING-J.J. ADAMS CO. 1710-1712-1714 CHESTNUT STREET THEO. PRESSER CO. - 1712 Chestnut Sr CoHecnve Voice Training Yfo^Classes, >n Player Grands Philadelphia, Pa. Summer Term 8I'°° Boston, U.S.fl. KIMBALL HALL, CHICAGO ^ Brush Manufacturers for Over 114 Years Please mention THE ETUDE when addr B^EhdlMaL- Please mention THE ETUDE when addressing o Page 420 JUNE 1924 PEE ETUDE JUNE 1924 Page Jt21

PROPOSE here but a few practical , t0 tram the choir to their proper ren- One of the most deadening habits for a I hints chiefly, of course, for the begin¬ Out of a Rut * Trrin* demands that the organist should choir is the use of anthem collections ner and the inexpert. The beginner and t constantly on the alert. It will never which are put out in periodical form by the inexpert in extemporizing, that is, for Ho to relapse into a static condition. certain publishers. To be sure there is a Another thing in which the organist is no organist should think of extemporizing The Organist’s Etude slight economy in money, in buying them (in public, at any rate), who has not some rone to fall into a rut, is in the matter of in this way, but they are mostly “punk;” technical ability, combined with theoretical Itis the Ambition of THE ETUDE to make this Organ Department egistration Even the smallest organs KIMBALL Conversing with one of the leadin'* w knowledge. have unexpected and unexplored possibili¬ and on the somewhat rare occasions when “An Organist's Magazine Complete in Itself ganists of New England—indisputably the As regards the former, it is obvious that ties, if one searches for them. If your a really good anthem creeps in among best organist in his own city, he let fai them, the paper is too thin and cheap to “The Instrument of Yesterday, unless the fingers (and feet) of the extem¬ the remark that he always made it a point organ has set combinations, avoid making too much use of them—it is a lazv and stand repeated use. It may be laid down Today and Tomorrow” porizer can readily respond to his thoughts Edited by Well-Known Specialists to listen to his fellow-organists in neigh the result will be neither effective nor ar¬ deadening habit. Likewise, one should as a maxim that anything that is only boring churches as often as he could, and OSEPH SCHWARZ, eminent tistic. As regards theory, the player ought regretted that, owing to his own regular always be learning and using some new worth singing once is not worth singing J to be familiar with concords, discords, sus¬ music for voluntaries and postludes, but at all. A repertoire of twenty-five or professional duties, opportunities to do so baritone of the Chicago Civic pensions, sequences, cadences, pedalpoints, came so seldom. should endeavor to use it at the most suit¬ thirty really good anthems will last a choir modulation, passing notes, development, able occasion, not merely because a new a year, without undue repetition. To make Opera Co., whose “glorious voice” "But what can you learn from them!” imitation, elementary form, musical phrases Some Practical Hints of Extemporizing at the Organ piece is ready. Many times a new piece sure an anthem is not repeated too often, and power of interpretation have said I, “you are already way beyond their and sections, and elaboration of themes. has been prepared for use as an opening it is well to record each date of perform¬ class.” made, him one of the most interest¬ To this might be added a practical knowl¬ voluntary, and its use deferred because it ance on the organist’s copy. From time to By J. Cuthbert Hadden With a twinkle in his eye, he replied, ing figures before the artistic world edge of fugal writing. It seems a formid¬ did not seem to fit in with the mood of the time add new anthems, singly, and after “I can always learn something. Perhaps’ able list of requirements, set out in this opening hymn. It will not go to waste, most discriminating and careful search. today, enthusiastically endorses the all monotony of this kind. He must use portance of each. In the actual working as often as anything, I learn what to way; but no item is there that the good ex¬ on that account; the time will surely come This will avoid getting into a rut in this discords as well as concords, aiming al- out, the plan may be varied to any extent avoid.” This, by the way, was probably Kimball Piano. He says: “The temporizer can do without. As a matter when it suits the occasion. particular line. KIMBALL variety, freshness, and freedom, but it must have been formed; and the one secret of his excellence. Kimball entirelv meets my require¬ of fact, these things are the stock of the "ays Grand Pianos Music F Upright Pianos Phonog trade of the extemporizer, and the.begin- Even a fprmless improvisation may please player must always remember whence he Saint-Saens once remarked that organ- ments.” if there is a succession of interest- came and whither he is going, leaving Player Pianos Pipe Or r would be well advised to keep the list ists, as a class, were "too much in love Bach’s Organ at Luneberg Reproducing Pianos before" him" when he and f* cho^s> but the strictest adherence to nothing to chance or the mechanical habit with their own little habits and the calm Edouard de Reszke, one of the try to make use of as many of the items form wlU never make a succession of com- of the fingers His imagination may lead of their existence.” \\ it bout doubt he hit Any organ ever used by the great Bach considered indispensable. The writer once, greatest dramatic baritones of years as possible. If, in addition to technical chords interesting. him temporarily away from h.s prcar- the nail on the head. They a becomes of historic interest. And so the heard W. T. Best give a recital in London past, expressed highest appreciation ability and theoretical knowledge, he pos- The advlce of Slr J°hn Goss t0 a ranged design; but he should always get blame for the fact that the nature of their recent improvement of the instrument used on a Hill instrument constructed largely of of the Kimball in saying: “I am ab¬ sesses also inventive power and a retentive youn£ student of harmony was: “Write back to it again. Also he must never lose employment automatic;. IU shuts them off during his incumbency at Luneberg has mahogany. It was bound somewhere for memory, there is no reason why he should a thousand hymn tunes and then burn sight of his principal theme, or the secon- from the opportunity i, >r frequent hear¬ elicited the following very instructive ar¬ the far East, and it was said that climatic solutely satisfied in every respect.” not become a good extemporizer them." Goss’ idea was that after such a dary themes upon which the improvisation ing of other organise ; but, realizing that ticle by Dr. G. Edward Stubbs, which we conditions required the use of that preliminary the student might hope to is built; drawing from fragments of them condition, they should make constant Both artists of international renown quote from the New Music Review. particular wood. The Principle of Balance write^something worth keeping. The ex- the developments of which they are capa- effort to broaden their musical culture and “We read in a foreign contemporary that “However, in Luneburg there is perhaps unite the preference of past and The study must, however, be taken seri- tcmP°rizer would be none the worse, but ble; making these fragments the subjects keep out of a rut, even it the cost of some the organ upon which Johann Sebastian no bacillus, or micro-organism, inimical to present in their admiration of the ously in hand as a study; and the first a11 the better> for having written a thou- of the principal episodes, or of new and inconvenience. If they cannot be present Bach played in Luneberg from 1700 to thing to insist on is, that there must be sand hymn tunes; but it would be much unexpected divertimenti, and seeking con- at the church services at which other or¬ 1703 has been renovated and brought either pipe metal or wood. Kimball. regular form or design. The great under- more Pract'cal service for him to take the stantly to create variety in unity, ganists officiate, they can at least hear oc¬ somewhat up to date. It is said that the “By the way, in these degenerate days, lying principle of music is the balancing mel°dies of a thousand hymn tunes and For'the final impression which a beauti- casional organ recitals If these are by pipes are nearly all in such perfect condi¬ when walking is a lost art, and bicycles, V. KIMBALL CO.. Dept. KE, trolleys and flivvers transport practically of symmetrically-constructed phrases, con- harmonize them at piano or organ. In this ful improvisation should leave upon the some world-famous player, such as Dupre, tion that they have been left as they were, Gentlemen: Please mail catalog and information on instri trasting with each other, yet in unity of wa>‘ he would learn how to use his chords, mind of the listener, is that of a work Bonnet or Courboin. they will learn much; with the exception of a thorough cleaning. the entire population, it is well for us to ment marked X: QKIMBALL Reproducing Pianos remember that Bach thought nothing of W. W. KIMBALL CO. □KIMBALL Grand Pianos OKIMBALL Phonograph thought. It has been said that the kernel and il is that knowledge which is so neces- matured at length, strongly built, and writ- if they are by some obscutl small-town The organ was built in the year 1537. (Established 1857) □KIMBALL Upright Pianos, □ KIMBALL Player Plan. of all form lies in the three chords, Tonic, sary in extemporizing. There are plenty ten out at leisure. “Those persons,” says organist, they will even then learn some¬ “We imagine that the veneration for the walking from Luneburg to Hamburg to □Also mail paper floor pattern for “Style 29 —free. dominant, tonic, as typifying respectively ° ^ organists who can write the harmonies a French musician, “who suppose that the thing, if only “what to avoid.” great master has had much to do with the attend recitals at St. Catherine’s Church, rest, motion, rest. The ear having heard ^or a figured bass, but not so many who improvisator abandons himself uncon- Nearly every organ: -t uses orchestral preservation of this ancient instrument. In where Swelinck’s celebrated pupil, Reinken, a phrase or section in the tonic, expects a can create these harmonies straight away trolled to the chances of inspiration, that transcriptions occasionally . I have noth¬ this country, where we now think nothing held forth. contrast; that is, motion is desired to some at tk® keyboard. Yet-this is an essential he rushes headlong into the unknown, have ing to say against the choice; but one of ‘scrapping’ organs that were built only “What a tribute to the Hollander 1 How related key, preferably the dominant. A ‘or t le extemporizer. the falsest notion of his art that it is pos- should, where possible, hear the pieces a few years ago, comparatively, this piece many of us would shake in our shoes’if we second phrase or section is heard in that Except for brief pieces (short preludes sible to hold, and the most unworthy, also, played by some good orchestras, and note of news about the Luneberg antique ought knew that hovering around our precincts key, when the ear desires a return to the aild tbe fike), the organist .should never The great improvisator is, on the contrary, the tempos and manner i phrasing. This to cause some astonishment. was the great genius of Eisenach 1 From opening key and section. attempt an improvisation without having the most sagacious, well-balanced, level- would put an end to some very absurd dis¬ “Some time ago a lengthy article ap¬ Luneburg to Hamburg must be a matter of Now, as regards form, it is always best Previously settled on its plan, both as to headed of musicians. These qualities are tortions and caricatures of masterpieces peared in one of the English journals on a something like twenty to thirty miles. Q/ittM Bach thought nothing of it—or if Me did, for the extemporizer, whose powers have tke general scope of the movement and the indispensable.” Upon that keynote I con- which are occasionally perpetrated at the ‘pipe disease’ that attacked old organ his enthusiasm made him forget it. not become ripe, to use phrases of four or tonalities to be used, with the degree of im- elude.—From The Choir Leader. keyboard. pipes, and destroyed the metal, or at least “Although Reinken’s compositions are eight bars. The tyro should first try to Listen occasionally, too, to good opera impaired it by some chemical action due to now unknown, one of them provided Bach extemporize a four-bar phrase, then an ~ “ j ' companies, or even to musical comedies, age. It would be of interest to know more 4 Great Lakes with themes used by him in a famous eight-bar phrase, always remembering and see if the wonderfully prompt “attack about this Luneburg organ. If metal de¬ Hymn Playing extempore performance at Hamburg in what he has played. When this can be and the general vitality of the performance teriorates in course of time, what about SO Georgian Bay 1722, on which occasion Reinken is said done, he has to extend his powers to the does not put to shame your slouchy and wood? ^ (30.000 Islands) extemporizing of a second phrase suited By Claude Timblin “In certain climates special care lias to to have remarked: ‘I thought that this dull renderings of anthems. art was dead, but I see that it still lives in to balance the first, but in a related key. The particular type of music in vogue be taken in the selection of organ timber. you.’ ” A return to the first phrase, and a few bars Many beginners ii in one’s own denomination or parish, is In India, for instance, mahogany used to be added as a coda to intensify the feeling of * l G “ P,a"° are called UP- No one woald think of playing a secular n to make their first public appearance in love song as they would a war .onT vl another source of danger, if not offset by Mackinac Island, Parry Sd. Can., the close, and the first germs of an extern- Sunday School or Church, o play hymns how often have you heard people play a a more general experience. For instance, Detroit, Cleveland and Buffalo (Nia porfaed volantafy-haye teat obtained. Set The fact that hymns are poorly played sacred" Tove To'nVsuch in the Episcopal service, music by Angli¬ Relation of Organ Touch to That of the Piano ara Falls), gateway to all Eastern, Can- it all before yourself thus when you sit by'"a g«at'many ”wio “are ^bl^to S5 wdth^thrsame^forc!1 ** ?lest be !he "V can composers is largely used, which, "hi * down to practice: more difficult music well would lead one Onward Christian 1 express,on as By Dr. S. N. Penfield written in a correct and scholarly w*?' The Big Oil-Burning White Liners (a) Four-bar phrase. to believe that a little more thought in th°Ugh they ner is often totally “wooden” and devoi (b) Eight-bar phrase. playing of this kind would not be amiss. In many hymns a nhra & !larmony class- of inspiration. Too exclusive devotion to of the fingers, but not very high. Rapid and leggiero passages demand a freer lift¬ North American (c) Contrasting phrase. If a player will take the trouble to read or three times Ac^ 'S 'iepeated two this style is deadening to one’s musician- they are entirely different. We have a ing of the fingers. Legato playing on the and (d) The whole twenty-four bars, with the stanzas of a great many of the well played monotonously Tl'ike" ^ > ship. On the other hand, in certain heard good pianists spoil a hymn tune o South American coda added. written hymns, he will gain a e-reat in- th« y. ke’ but examine piano is of two grades. For the ordinary examine nominations I could name, they go an organ solo, and on the other hand hav in comfort and luxury are equal to the wishy legato the rule is to leave the old note si¬ When you find that you can do this well, sight into the musical inte _I HB t other extreme and use much that is also heard a good organist murder a pian finest Atlantic Steamers. Broad, roomy multaneously with striking the new note. without hesitation or stumbling, you may are rarely marked for phrasing and dyl four "verses* oTTh ^ °ther' T° play washy and trivial, which is worse yet. solo. Is success, then, on the two instrt promenade decks; commodious lounge This corresponds to the old-fashioned well take it that you have laid your foundations namics, but a little attention to the words also apt to he tiJS^ exactI-v.a,ike is it is not necessary or advisable to seek ments incompatible? Read history wit rooms; large comfortable staterooms and curb where two buckets are fastened, one parlor rooms (no inside rooms). Excel¬ as an improviser, and go on to more ex- and sentences of hymn will enable one to last verse is , e’ Sometimes the change the entire style of music w 1 care, and especially the lives of Bach, Men tended flights. edit his own hymn. There is no better had sfs ljff ™ if * . ssohn and Saint-Saens, and learn ther to each end of a chain, so that one is fall¬ lent meals—daintily served. There are may be acceptable in any given place- J deck games, entertainments, music and __ . , D. .. way m which phrasing can be explained Hymns have eh a und lt ing while the other is rising. They of being on the look-out for what is fe ls no such incompatibility. They and man dancing. You can be quiet and secluded, Umty of Rhythm to the second or third grader than by care- last fifty years 35 much the course pass each other at the half-way¬ good, with patience to examine kundrL others were renowned pianists and famot or enter into the gaiety on shipboard as But how to do it well? There’s the rub. ful practice of hymns. There is Z t Irtt mstrumenta! music. point of the well. As a consequence one of compositions both old and ne'v> „ organists. They had mastered the peer you prefer. Social hostess will get you It’s not enough to get the musical form For instance, if John B. Dykes’ popular modern , erence between the has left the water lief ore the other reaches the t i may select the best in any given style- lanties of both instruments and kept th acquainted. Screened-in playground for right. The melodic part ought to be fairly hymn, Holy, Holy, Holy, is begun in this nW tL„ ^g Ist. ,ly.mn and ' °uch of the two separate and distinct. it. A similar thing happens with the children. attractive, if not absolutely pleasing. this old tunes, found in the ohurrV,"‘tJ2T:h hvmn=iUi‘lf “! mstance, the writer is no lover of wha! t fingers. The old key is left just before 25 or 30 years ago hymnal p'jinmonly known as “Gospel hymns, . to he sure Bach’s instrument was th Again, there ought to be some sort of the new one is touched. Still for ordinary In -conclusion, learn to he could name some half-dozen wn*c' c ayichord, but its touch was extremel unity in regard to the rhythm or time— ' eicate and sensitive, while that of tli running passages this gives a practical Buffalo accepted, for transit upon form—even a commonplace phrase can considers most excellent, and they afe ,e legato, and very many pianists never ac¬ necessarily those which approach the s . , cventeenth century organ was stiff an often be flavored with a little originality quire a better one. Call rite fc Railwe of Dykes or Barnby. The word f°° js c umsy compared with ours of to-da; by a judicious use of passing notes. Then Ho - ly. Hp - ly, The perfect legato consists in making st Agency except in a purely moral significan ’ 0 of course shows that one can exc there are the harmonies One sometimes the two notes to apparently overlap each Chicago, Duluth & Georgian Bay th * ■ . instruments, but not necessaril listens to a poor improviser who confines ”™ in pausing alter a pr*d a meaningless word, unless one a„ Transit Company js d’s advisable to try to do so. other by the least trifle, so that the depart¬ himself practically to the familiar swers the question “good for v'hatT ing tone will seem to the ear to absolutely W. H. BLACK, C. P. A. arpS °r ’S. n°t t'UIs advisable? Hei 110 W. Adams St., Chicago, III. i the most wearisome SL',',." 5Sc*i5f ii" “best” anthem is the one which ke*j5 join the coming tone. This is essential for the type of church service for which some pointers that have a bearing o W. E. BROWN, Gen'] Agent e improviser must avoid marked improvement will be noted, best the so-called “singing” touch. But the 16 E. Eagle St. Buffalo, N. Y. used, both in general style and in s . Ls emirCaS£’ "Pbe ordinary piano touch r< es a very loose wrist and a free liftin common failing of piano students and of the occasion. To find such an* Please mention THE ETUDE when addressing advertisers. JUNE mu Page 428 TIlE ETUDi tSe etude

amateur players is that they quite forget not with the big pedal pipes. All organ to take up their fingers at all, especially pipes speak a trifle sluggishly, so that with Hi the left hand. ~‘This sounds slovenly, but many combinations there is a perceptible shows even ra the organ, where the interval between the instant of the attack (AUSTIN ORGANS MEW YORK. Philadelphia S*„ t... —■ Question and Answer Department effect is really hideous, and for the of fingers or feet upon the keys and of the organ gets its revenge. tone reaching the ear. The experienced Conducted by Arthur de Gui chard Organ playing requires invariably nist discounts this and secures a per- firm, quick pressure = effect. Over twelve hundred ar l, but Pyorrhc in all movements—slow or fast, loud or find, first, that while the touches rs send your full name and address. No questions will be answered when this has into inc body, lower i soft. This is especially important with the , . - . , . , „ fleeted. that the valves will of the piano and organ are and must be Pyorrhea begins will. old tracker action, so that the valves will °* tlle Pial . . , . The list of Austin owned pa your initials or a chosen nom de plume will be printed, L,~;ding gums. Then tl instantly open. The staccato of the piano kept distinct, the piano student^ brings ta your questions short and to the point. e, the teeth <’ -taccato of the piano kept distinct, the piano si _... for the organ. The organ the organ the sharp touch which is requi- n likely to be of interest staccato made by the firm pressure above site, and second, that the organist brings AUSTIN ORGAN Ca the greater number'of ETUDE'readers will n ered. mentioned, followed instantly by the lift¬ to do the preliminary preparation of man- 165 Woodland St. Hartford, Conn A Long-Distance Question. i away with any ing of the fingers._ . It .practically _ gato which is essential in all “singing'' Music teachers and Q. I am very fond of music, tut unable to pay a teacher, so I study by myself. In order responds to the so-called slurred staccato passages; and we see that the study of each to become proficient in singing music at sight of the piano. instrument helps the other if the player but students need I use Root’s ‘■Methodical Sight Singing” Howto TWENTV=FIFTH YEAR (Theo. Presser Co.). Is this a good book for Organists get their preliminary studies and his wits. Many concert that purpose f Will you kindly suggest any the piano or the cabinet organ. From organists really find it highly advantageous WHEARY TRUNKS good books that will help met—Christ Church, Barbados, B. W. I. keep your hands the former they come to the organ with a to do the preliminary preparation of mail- OUILMANT A. The book you name is an excellent firm, decided touch; from the latter, with ual parts at the piano: and, if they have You can“practically live” in one of one for acquiring the art of Singing at Sight, these wonderful wardrobes. Every by means of the movable Do. When thor¬ a weak nerveless touch. In this the piano a pedal attachment, of the pedal part as ORGAN SCHOOL oughly mastered, study “Melodia,” by Samuel dry when you play has the advantage. A perfect organ legato well—and yet run no risk' of injury to conceivable convenience for the Cole. This is not a method of sight-singing, is an essential, but the ordinary piano lega- their organ touch.—From The Musical care of your wearing apparel and but an admirable and. complete collection of Dr. William C. Carl, Director exercises in reading music at sight, to which to is not a legato on the organ—certainly World. other possessions is found in them. you may apply all you have learned from Q. (1) Can you recommend some book on Send for generous sample A distinctive school You need one on your vacation— Roofs "Methodical Sight Singing.” Grace-notes, turns, and so forth, as there seems such a diversity of opinion on their of Odorono—the sure, safe for talented organists you can use it every day in the atim Iria. correct renderingt (2) In the following, Facts on Familiar Hymns year.There are 50 models and sizes TRUNKS to the palms will keep them dry and com¬ Whether “Jesus, Lover of My Soul” is English archbishop has said that wherever HARTFORD r,‘“ """""CONNECTICUT the ticot—C. C., New Bedford, Mass. the product of Charles or of John Wesley called upon to dedicate a church he could A. Yes; thev are not only very much ...... „ __ ...stated fortable for several days. And you need not used but very much abused, even to satiety. the rendition of the various signs for worry, for physicians 6ay it is absolutely has not been definitely determined. always count upon two things-cold The diminished seventh is the more useful, grace-notes is somewhat available, depending Guide me O Thou Great Jehovah” was chicken and “The Church's One Founda- because it is a great aid to modulation to largely upon the individual taste and musical harmless to control perspiration in such a ■PIANO JAZZ! extraneous keys. The great operatic com¬ ’ -'Hiding of the performer; that is the limited area. written by William Williams, “The Poet tion.” PIANO PLAYING poser. Verdi, advised students of composition why Bach, in his later compositions, of the Welsh Revival,” early in the “O Love That Wilt Not'Let Me Go- ‘ her required. Self POSITIVELY TAUGHT ANY PERSON to “listen to opera -without being dazzled by wrote out fully just what he wanted for Odorono, you know, is the original per¬ l.-*ra 6T rich harmonies or orchestral effect, or by the ornaments. Modern composers write the ex¬ eighteenth rentury. Later it was translated according to Rev. George Matheson, the Ba»s. 180 St ocopntpil' Kfllcn! up ' IV rt: r spiration corrective - formulated by a physi¬ o r Breaks, Space JAZZ IN 20 LESSONS chord of the diminished seventh, the rock and act notes they wish played. (2) Play the into English, partly by the Rev. Peter author, was when “Something had happened refuge of those who c; turn with the G of the bass. cian for both the moisture and odor of per¬ without il Wi hams and partly by the author. to me. which was known only to myself, spiration under the arms or for excessive Plain Chant, Plain Songs Gregorian Stneento and Stacealo-toucli. perspiration on any small surface of the body. sam,?e1 D t’,ne’ ET yrPT 'S> and wilich caused me the most severe suf- »»UrB»nPuao8sie,l 2418a D«rb»Tt-«i‘ r F1 ng.. Los Aneelm.Cal. Music, Samuel Davies, the earliest Presbyterian fering. It was the quickest bit of work I Q. Should the slurred dotted-note, in this It is a clear, clean antiseptic liquid now widely Q What is “Plain Chant” and why is it sonatina («) be played with a finger stac¬ hymn writer in the colonies and the earliest ever did. I am quite sure that the whole so called t—Bertha, Potsdam, N. Y. cato and the next one with a wrist staccato f used in hospitals by physicians and nurses. American hymn writer of any denomina- work was completed in five minutes and 4 Plain Chant (from the Latin, cantus Please state how to play chords that are planus, having no definite time values as staccato and, also, how to play slurred The perfect underarm toilette tion whose hymns a retained in our hymn equally sure that it never received at mv distinguished from musica mensurabilis, hav¬ dotted chords, as at (6). What is the books and-used by o _ Evangelistic ing definite time values), better known to grade of the Clementi Sonatina t congregations. hands any retouching or correction.” The us as Plain Song, is the name given to the Men and women everywhere now depend Charles Wesley was born i earliest music of the Catholic Church. It upon Odorono for complete protection statement that this suffering was the result PERSONAL Clementi, Op. 36, No. 1 year (1707) in which Watts printed of a Piano Playing dates back to the first century of our era and woman’s refusal “to go through life Iregorii against underarm odor - a danger to which “There is a Land of Pure Delightwhile with ; blind man,” may be ignored, By GEORGE S. SCHULER me A,,et that Pope Gregory the Great about everyone is subject, in spite of scrupulous Toplady, author of “Rock of Ages,” the year 600 A. D„ is eredited with the ill- soap-and-water cleanliness. had been “a blind man” for twenty years. PRICE, $1.00 founded renown of having introduced this Every Pianist Will Find This an Extremely music into the liturgy of the church ; whereas Twice a week is all you need to use it! STATIONERY it is an undoubted fact that other popes, long Helpful Work—Full of Interesting, Practical Play each of these with a light wrist before him (as far back as Pope Darns' 1 Staccato chords One application will safeguard you for three Attack and Abandon of Hymn Phrases Hints cn Effective Hymn Playing 366-384) had orgnniz ’ introduced~ . wrist or arm staccato, acc, days, from that distressing moisture which 200 SHEETS and $1.00 .This i Very often the playing of hymns as they arc Song in'.. (power) and pace required. lurred dotted ruins clothing, and that repellent odor which written IS not easy nor effective upon the piano, „ ... ..v in universal use i the Ci By E. F. Marks 100 ENVELOPES i Church. ’ Much of it bea destroys your daintiness. Just a short, ionship to the oldest chant: of the ■ Synagogue. simple little part of the toilette—yet how The church organist, who in addition to leader of the congregation in song will Printed With Your much it saves; how much it gives in comfort his manifold duties as accompanist and solo- give the attack to the first word of’eld Name and Address and attractiveness! And when you play, ist, must perforin the work of director of phrase of the hymn with precision and Hi hat is understood by enjoy dry, comfortable hands and underarms! the choir as well, should pay attention to rectness, the congregation will nWn ' Clear, white bond paper, with ever sung the C in 35c, 60c, and $1 at any toilet counter; or the of ,h, fir., verse S„E, envelopes to match. Your name tnneapolis, Minn. chords similar 1 i the Grieg example n sent by mail postpaid. in the G clef (commonly played by finge staccato, because th( phrase of a hymn by his choir, and should in regard to this delinquency and address printed in beautiful, ehle stave) of the octave above ento indicated i have the congregation to observe this The relinquish,no- nf „t„. -ginning with tile G .immediately lg of the chords fron rich blue ink, on both paper and move me mu .. “in nlt” < time values being: Send for these three generous samples yes: Lucrezia A'rujnri, known as “Ln Bastnr- surety of commencement. We realize how simultaneously by meinberl ofVcongrlT envelopes, and sent to you post¬ disagreeable it is have one voice beginning tion is nerhans ,nnm d;*,. n f conhrega- rlella” (1743-1783) astounded Mozart by sing¬ THEODORE PRESSER CO. ing up to C in nltisslmo (the octave which a phrase directly on time with the first note than that of the attack to the f ta"UI)ent Music Publishers and Dealers. Est. 1883 paid, for only $1.00. (West of begins at the G above the soprano high C) Slfffff- of a phrase, and others entering one or Nevertheless again it f u the begmnmK- 1710-12-14 Chestnut St., PHILADELPHIA, PA. Denver and outside of U. S. ami by trilling on the F above high C. ,wo man later. It cert.ini, give, , ragg«, STSSSf.?* 'A*,*?,.'1 3110.) If inconvenient to send edge to the . attack. Imagine the uudesir- by the assembly hv aril,* -P t mitatKm the money, we will ship C.O.D. FRECKLES able effect produced by the different mem- âdi% hers of an entire congregation performing and ceasing immediately upon fhe ln Write name and address plainly. Don’t Hide Them With a Veil; Re¬ the commencement of each verse or phrase tion of this value. In ushZ\ en, r move Them With Othine—Double in this manner. At times some voices will de- cessation of sound 8 5 accurate Money returned if you are not Haydn, Moza ;1 Glenn Strength U The technical execution of Clementi, Op. 36, lay entrance as far as the fourth word of a notice lw isy the aUack'of more than satisfied. Ho. 1. belongs to grade 2. but its touch, Dotted Eighth-Notes with------•" phrasing and interpretation place it iu I enclose 10c for which please send me samples hne. Such dalliance by, a congregation with phrase becomes.7 Through close oh ENGRAVERS—LITHOGRAPHERS Complements Against Triplets of Odorono, Creme Odorono (for odor only) and Odorono Depilatory, with booklet. the beginning of verses or phrases is en- tion of the attack and cIosc ol,serva- PRINT ANYTHING IN MUSIC- BY ANY PROCESS Order Today! O IIow is the following to be played? tirely unnecessary; and if singers would ferent phrases of a hvm fpn,of l.he dlf* Is the last note of the triplet in the right Preparatory WE PRINT FOR INDIVIDUALS hand played at the same time—struck at Name---_... REFERENCE ANY PUBLISHER ,, . p - _with the sixteenth-note tn vanishing entirely. ELITE STATIONERY CO. thr left hand When this is played after, Q. What Etudes would Address--- to me’—P. I,., Okla- precede those by Chopin ? I can plat (Note: Sample of any one. 5c. Cross out ones S023 Main Street, Smethport, Pa. homaCity.Okia...... Mosehelesand find Chopin •Mrwou,d 10 rrsf Yet this Is how lid be played, rather too difficult.—R. B. iielson, Conn. by the choir itsdf, but also by th°e c The Etudes by Baermann and by Kess¬ Please mention THE ETUDE when addressing However, if the choir, which the gregation as well. * C , whether s ler. in that order Please mention THE ETUDE when addresslnt our advertisers. addressing our advertisers. Please mention THE ETDDE when addressing ear advertisers. Page 4U JUNE 1924 the etvde the etude JUNE 192Jr Page 425 bought for the price of a single iess T> HE doctors have a saying that “He who from a good teacher; and yet it Wou°jj Violins, Violinists and Violin Tone doctors himself has a fool for a pa¬ take a teacher $500 worth of time tc tient.” Lawyers say that "He who is his 1 teach By Robert Alton own lawyer has a fool for his client.” the pupil what is contained in any Summer Naturally the violin teacher says, “He who The Violinist’s Etude of these works. I would advise the st"' tries to teach himself violin playing has a dent trying to learn with or without"" The vexed question of tone value, con¬ down and say power is good tone. It is no teacher, to buy all these books and to mak* stantly under discussion in violin circles and fool for a pupil.” Be that as it may, there Edited by ROBERT BRAINE more good tone than a loud fiddle is a good Tours are millions of people who doctor them¬ a constant study of them. Some of the ' scarcely ever satisfactorily settled, is one fiddle. There is something more to be said selves, other millions who try to do a great works have illustrations showing how f which admits of variously correct solutions, about the matter than this. Our greatest a tri/le more part of their legal business without con¬ It is the Ambition of THE ETUDE to make this Department hold the violin, position of arms, fingers solutions which are, in fact, often either violinists do not produce fine tone by “laying than one-wail sulting a lawyer, and a great many people “A Violinist’s Magazine Complete in Itself” and so forth, and minute directions about altogether erroneous, or only partial answers on” until the stick is playing the fiddle and who try to learn to play the violin with¬ the various bowings and about every He to the problem. The violinist has his own not the hair. Modulation and tone color out a teacher. partment of violin playing. opinion, the maker frequently quite another, are obtained by very different means from So many people write to the Etude whilst the violin itself often settles the mat¬ that. seeking to find the value, if any, of self- Books That Help ter in no uncertain manner. To try to recon¬ It is not to be supposed that fine technique tuition, that a frank discussion of the sub- Self Instruction in Violin Playing Most regular instruction books_ a v cile these three points of view is the object is necessarily fine violin playing. Tech¬ ject will no doubt interest many. Here But to return to self-tuition. Let us see tune to the G-D-A-E of a piano, organ, signed to be used under instruction, and of the present article. nique is one thing, tone value is quite an¬ is a typical letter of the many we receive, how much can be done without a teacher, or any instrument of fixed pitch. If these the self-learner cannot make much out of other. We have numerous examples of A young piano teacher from Texas At the outset it might be remarked that instruments are not available, a tuning them. He should choose one or more Volume and Good Tone Different technique on the music-hall platforms to¬ writes: “Will yoq kindly advise me if it there is really no such thing as an abso- pipe sounding the notes G-D-A-E can be which have the most explanation accom- Good tone does not by any means include day, but the producer of fine tone who is is possible for anyone who is pretty well lutely self-taught violinist. If a human obtained at any music store for a half panying the music. Dancla’s “Conserva- loudness or volume. In fact, it is a very rare also the possessor of fine technique is seldom advanced' ' iia piano to take up the study of being had been raised on a desert island dollar and the strings can be tuned to tory Method" contains a good deal to help occurrence to meet with the fiddle which is found there. At least in this latter case, the the violin alone (there is no violin teacher and had n r heard a violin, and these. In a short time, if the student has the self-learner, and some of the modem both sweet and powerful. “Carrying management who engage him know the dif¬ in this place) so that in time she would when old enough to handle one should be a good ear, he can tune more accurately works written to help pupils in public power”—two words which have been grossly ference between his art and the art (if it be able to play such simple melodies as handed a violin, a bow, and an instruc- by the ear alone, by sounding the strings school violin work would prove of assist- abused—does not mean loudness, either. A may te so dignified) of the trickster, and folk songs and hymns intelligently. tinntion hnnkbook, we shouldslinillH hardlyIti 1 expect himL'm totn /.off therUa violin,Ue1!n in chordsnt/n-Uo afteri (tor havingb", ... n , r tunedtnne/1 ance.ntiee A workUfftrt nfof this kindI is the.1 “Class fiddle which is “noisy” under the ear will usually increase the price of admission. He “Please be frank (as I do n e to accomplish much. the A of the violin to the piano, tuning Method for the Violin.” by Albert G often fail to be heard at all in a large con¬ is really used as an advertisement. For the waste time) in adjising me and suggesting All these “self-taught” violinists of fork or pitch pipe. The chord A-E should Mitchell, Mus. Doc.; “The Easiest Ele- cert room, whilst the "singing” fiddle will way to fine violin playing is a straight and narrow one, and long withal. mstruction books. whom, we hear so much, have seen and be first sounded in tuning, then D-A, then mentary Studies for the Violin Op 3g" swell and travel, and fill the whole place Years Absolutely Necessary hea,1 mU<;h violi? piayiixs.’ y«> and have G-D. by Wohlfahrt, has not much accompanying with musical sounds. But there is more in Outlook On Life At the outset of the discussion it should asked restl°nsu of other violinists. Show Student Helpers explanation to the exercises, but is very the question than this. The fiddle will not Aspiration and outlook on life generally be frankly stated that it is quite impossible me *'!’• ^ 77’ ,7ey asked There are two great sources of help to &00.d for the beginner. The Hermann “play well” at all unless it is in thorough for anyone, no matter how talented to assoclat’n® w'th other violinists. They the violin student going alone: books about "Violin School, Vol. 1,” is also an excel- play an important part in the production of order and correctly adjusted, and this matter good tone. In fact, does not aspiration and build up a big technic and become areally Jwto aâchfr at'Tcer'tainho'ur "once v!°Iin playinC' and watching a,ld listenin« 'T *'°rk' and whi,e thcr«" is Kttle ex- of adjustment is one of the rocks upon which outlook generally mould character? How artistic violinist, competent to cope with pr twice a weekI jbut , ,1 | , , t0 <*»*er1 V violinV Ill players.PlaJ tl J. i-lVClEveryone JUUC IMShas op-VfT -lunation the various problems, . -v...connected ■ ~ or twlce a weex, out they have watched nortumtiee of hearino- violin o1ovin„ it with violin nlavnnr ar,- nroeen+a/i - the violinist is frequently wrecked. Violins is the would-be executant of the classical difficult compositions for the violin, with- and'''listened To otw SoL Ad portunities of hearinS violin Playing at with 'iolin PIayin« ari’ D'esented t dances, often vefy cêa** manner. It is a good idea for are frequently in the market through no masters to reproduce or render their works o one wan orrectly unless te is of the calibre of under¬ really good teacher. Some of the world’s is, instruction>■ .■ whethe, ... , . , -t the movies, and at all sorts of enter- the student without a teacher to get fault of their own, but simply because the return brightest musical minds have been engaged rectly. truction,from a teacherwhether it is obtained di- tainments. On such occasions the student several instruction books, since what is adjustment is faulty and the owners do not standing by which these masters produced ^*6c another for the last two hundred years_ in devel- iesson hours or ffror periodical who is trying tQ learn by himself should not clear to him in one, may be more know it. This is undoubtedly a fact, and their works? Understanding and sym¬ oping and building up the art of violin ears open wben th ôlin^wlm^d the vioIi.n.ist carefully, noting his easily comprehended from the study of many violins have passed through the pathy, gained by long continued striving and Ask for free illustrated books on playing to its present perfection. How b0rn?’ the position °f “d tos, -other. writer’s" hands, given up in despair by their much deep thought, are as necessary for the Colorado, Yellowstone, California. .he,,c.»h.p.forlhir,5Ti5S-c"*™> . movements employed For pieces, he should take little melo¬ owners, who were often astonished at the production of fine violin playing as it was They will be helpful ip planning self all that these patient workers have fife^’^but thev'^have^lktenedt!?earb ntW playing- Many ideas can be picked up in dies with*""■ which he is familiar, such a improvement in tone effected by reasonable necessary for the work of fine painting, fine your vacation. done. He would have to be a hundred p]ay by the hyur and h th jkd that way- Also such a student should patriotic airs, hymns and familiar songs, and sensible adjustment. Now, no violinist sculpture, and fine art generally. It must geniuses rolled in one a super-genius. manyofthetricksof hetade bylisten not kesitate t0 ask lotions of other The scales, also, should be a constant can obtain maximum of quality from the be in the artist before it is in his work. We In the early days of violin playing the gj and watcffing each other St“?ents and l ts. Such questions study, ™ ™ minimum of adjustment. Provided he be often hear the remark passed: “He is a fine art was in an absurdly crude state. The People who t to , th ; ]; ith_ *“* usuallybe answered with pleasure, Even although he cannot afford regular player; he practices eight hours a day.” for any violinist worthy of the name is instruction, the pupil trying to learn with- sufficiently clever he will make a mediocre " I f Ty g°0d vioIinis! out paying for the instruction of a pro- ’ ' . This is arrant nonsense. A man might prac¬ ony too glad to assist a brother student out a teacher would find it an immense violin to sound well, but that is a different ° nrd:yWOf-baVeSeTed fessional vioIin teacher ar« divided into tice twelve hours a day for years and be Rock Island Lines who cannot afford the necessary instruc- advantage to take on*or two lessons oc- thing altogether from obtaining fine tone early ydavsP When the art'he"- tH°Se three classes •' First, those who live where nothing more but a trickster at the end. early days. When the art was beginning, there is no teacher tQ be found; second) >G.n' ' casionally. In preparation for these les- from a finely adjusted fiddle. violin players used to call out, “Look Practice will not carry him very far; sym¬ those who cannot afford to pay for instruc¬ ln small country towns or in the coun- sons he should keep a note-book, and for the C,” when the first C above the Employ a Reliable Craftsman tion; third, those who try to learn with- ry, there is frequently very little violin when anything puzzles him be should jot pathy, understanding, and a love of the right staff appeared in the music. They thought TWENTY-FIVE MELODIES FOR EYE, EAR AND HAND t i , «“<• a teacher from the sheer love of sur- playing■ to be heard;, --— but even under »uu,such it uum,,down, auso as to asxask inethe teacheri about First of all, then, we must have a satis¬ and detestation of the wrong, plus practice, factory instrument, one which is adjusted to will carry him almost all the way. And that TRAINING. By Mathilde Bilbro. Price, 75 cents te. Now every good viofinift’ nLfa°,1 d“es «naided- without an oZSv^ ^ ^ when he takes his lesson. ‘his i tune Now every good violinist plays all -being .fhown;” just as many people de- °PPT.“'t'*y traveling violinists excellent idea, tlso, for the violin student its maximum of tone quality. This is a is all he may hope for in this world of limi¬ These little pieces may be regarded as second grade studies. They are intended to aid matter for the skilled maker, and there are tations. John Ruskin pointed this out in no in establishing the position of the hand upon the keyboard, attaining freedom, training playing c few violinists who are fitted, either by train¬ uncertain fashion in regard to the art of the eye, especially in leger lines, in staff positions and cultivating a musical ear. These The great technical feats as we know Take Three Lessons a Week if Possible ments. studies are all tuneful and interesting to practice. Altogether this set of study pieces them ing or inclination, to undertake the tedious painting, and his remarks apply with equal promises to become popular with teachers as well as students well in the second grade. ■day were thought to be almost Any one who wishes to ,eam tQ p]ay When listening to a symphony orches- Violin or Fiddle? supernatural and exacting work of adjusting a delicate force to the violin and to violin playing. THEODORE PRESSER CO. PHILADELPHIA, PA. °f Pae the violin in an artistic manner, and can th.e student should sit at the left (fac- ganini. A man who attended one of rffornT'sbl,Tn a'la ing the stage) ar'the^fi^V^ r“ Many violin students seem inclined and sensitive instrument. Take the fiddle to And it is to be noted in this connection that a reliable craftsman and leave it to him. One when the violinist has traveled on this road 1 actually seen the devil standing Trying to do without a teacher is a shock- aud>-ce,-3 giving - £the part of the audience mk,£rr er ,euphontous:rerm title violin A word is necessary here. Don’t trust a val¬ for a time, it will be a difficult matter indeed Paganini’s elbow, helping him to play. uable violin to a tinker in musical instru¬ to deceive him with a labelled fiddle, no mat¬ ing waste of time, and one gets nowhere. 0nthe Ief‘ a chance to watch their do2 ‘« *""*"*■ he "ame fidd e 1 ments. The cost of skilled workmanship ter whose name is on the label; for he has SUMMY’S CORNER is Ze It is like -crossingsing the^rthe continent in an ox- ™°tl0”s' T le student should sit well down Jlf T T*, “"f1 " l Ln SrAK Vt ^ may be excessive when viewed in compari¬ created for himself a standard of tone, two hundred years by thousands of violin In interviewing a number of leading authorities on methods of teaching begin¬ 1 ,1 son with the charge of the unskilled or semi¬ faulty it may be, but immeasurably superior nings, all agreed that modem material for beginners on the piano should include players all over the world. This knowl- carDm' some cannorMkine at ,hef, “,o w ^ ss cannot afford or secure a Attend Rehearsals ^Tb^vlu" era„ r , . skilled individual, but it will be found (gen¬ to the ordinary standard of criticism, and the following points:— Horn one £ ofte"Xl^fte ‘eacher’ They yet have * passionate -siredesire The self-learner: should lose no onnnr daddv in'tb” rea y ^nds its 'great'gr?' „ erally at some expense and annoyance) that this standard of tone is a sure protection for 1.—Music that introduces at once the Big Clef (Treble and Bass) with a torch from that ’of another. Such !eam the viol,in’ and,takcee much pleasure tunity‘unity tou attend any rehearsals where fhp box m t e uwnnehord. Take an o the skilled work is the cheapest in the end, him against inferior fiddles. He is not to be middle C as the pivotal point. trying to work out the problem unaided, is violin playing, as on such occasions the 'neir f ft? °'le cnd’ attack a Wiretrj hypnotized by any name, nor yet by build, 2—Music with words which provide the basis for phrasing and rhythm. knowledge can be imparted by books to and after all, the “laborer is worthy of his 3. —Music that follows natural diatonic and harmonic outlines. only a slight degree. To such, if they are talented and ingenious, would have a chance of watchinaTa f H 1 t g’ Ct the Wire paSS around tw0 * hire.” model, outline, age, or any other shibboleth I will say that a certain limited amonrn ing the violinisT",®an*'“«• S-. are so “Tf. tZ 'tnpression that good tone is power and way is hard, but the result is worth the Kayser, Mazas, Kreutzer, Fiorillo, Rode, < m^.Ka\tahnt and na‘«ral aP* very kttle -sic. Among such woS pianoforte T , bnwever struggle. He at least has the satisfaction, at To follow the above material USE Paganini, Sevcik, and many otters, all ltude ^ violm playing that they cannot -ghtbe mentioned “The Violin andHow Tonte about Ttee x™- te Plenty of it. And they demand heavy the end, of knowing that, if he has not THE GRADED STUDIES, compiled by Mrs. Crosby Adams evidently assumed that these studies were !earn the vlolm even Passably well under ,Mast«r It;” “Violin Teaching and center,es old. bows, with plenty of wood in them, and scaled the walls, he has at least succeeded Published in seven books. Grades 1-5, Each vol. $1.00 to be studied with a teacher, for they mstruction of the best teachers; while ,™01” . Study,” by Eugene Gruenberg- „ ~- these bows are often enough used like failed to write any explanations others take to it as naturally as a duck n,CS„.°.f Violin Playing,” by Cour- * “C.onsidered musically, the ideal orches- weavers’ beams. Yet Francis Tourte built in rearing the storming ladders, which, may¬ structions to accompany the exercises, as to the water. ™'*r' M»d'r» Violin Technic,” L tra »,«ie which will contain a quartet of 'ght tews—the last word in grace and ele¬ hap, may somewhere and at some time en¬ CLAYTON F. SUMMY CO., Publishers able him to see the prospect on the other 429 S. Wabash Avenue, Chicago, Ill. to how the studies were to be played. All The first problem for the self-learner con” bv Cenf0" t 7he Vioiinist’s Lexi- 7e,n7i"d °f.|lcRitin’at<' orchestral instru- gance—and these bows were, and are, good Send for circular discussing the teaching of the beginnings of music this was left to the teacher. bo .uninE d» -iolin. A, —J enough and heavy enough for the finest vio- s;de,_From the Musical News and Herald 'n tvhtosi in the world. So we cannot sit (London). Please mention THE ETUDE when addressing our advertisers. Page J,26 JUNE 192A THE THE etude JUNE 1924 Page 427 Violin Questions Answered by Mr. Brain

TECHNIQUE Piano Selections WITHOUT DRUDGERY from Best Known Grand Operas

The following piano selections were formerly obtainable in SCHIRMER’S LIBRARY. An insistent demand has caused us to publish Hose Supporters them in separate series at the reduced list price most our large cities. 75 cents each. The excellence of the edition is This form of music is preferred by many an acknowledged fact. We list the operas below and solicit your interest.

becomes monotonous. in its making, which they played in their We fail to see why the continual listen- time, and which was enjoyed by those who

ru,e- permit these beautiful works to remain un- We wonder how many are aware that known notwithstanding our much vaunted Write for Free Illustrated Booklet, or send a postcard (stating if a Teacher), to Letters from “Etude” Readers Easy to PLAY- THE COWLING INSTITUTE

| 4^1 PAY 'JfW

New Music Books Reviewed 75 cents each

If unable to procure from your local dealer advise us

G. Schirmer, Inc. 3 East 43rd Street New York Page. 428 JUNE 1024 THE ETUDE the etude JUNE 1924 Page 429 THIS ILLUSTRATED “WHOLE WORLD” CATALOGUE IS FREE Improve Your Knowledge of Things Musical to every “Etude” subscriber who writes for it. It contains full infor¬ mation about this remarkable series of musical collections, giving the by Enjoyable Reading in Summer Spare Appleton contents of each and every book in the entire line. The following is a complete list of the books in this Series: store of knowledge upon musical subjec Whole World Moments f today is to be the successful musician o Music Series THEO. PRESSER CO. Music Publishers and Dealers AND Secrets of the Success of Great MUSIC LITERATURE SERIES

A Complete Descriptive Catalogue

D. APPLETON AND COMPANY 35 W. 32nd St., New York City

SPECIAL NOTICES AND ANNOUNCEMENTS Old Fogy, His Musical Opinions and CURWEN EDITION

TEXT BOOKS and STANDARD WORKS USSis—9 Musical Sketches Descriptive Analyses of "ABC of $ .75 EXCELLENT ALBUMS OF PIANO MUSIC :S Offer a convenient and an Economical Method of having at By Edward Baxter Pe; Harmony, Counterpoint, O orôndror“f Candidate in Music-Part Two-RFiêr BRAHMS’ ALBUM CELEBRATED COMPOSITIONS iS Edited by Louis Oesterle. Price, $2.50 BY FAMOUS COMPOSERS jj&s&sPp,ayed piano M^âlîtion ê"Ckrke ALBUM OF S History and Works of Reference IS mmm THE ETUDE JUNE 1924 Page 431 Page 4-30 JUNE 1924 THE etude Rhythms for Young People The Vision of Deborah Album of Scales Jolly Jingles Reverie Album for the Piano The World of Music By Blanche Fox Steenman A Sacred Cantata For the Pianoforte for Little Fingers A collection of this type may be used This work is a collection of well-known for a variety of purposes. Tl would be “1 Piietiacci" recently had a presentation By Richard Kieserling . Thi, Will be the last month in which By Helen L. Cramm in Palestine, in Hebrew. The programs were piano pieces mostly of grades two and r work can be purchased at a reduced available at any time where an Album of Choir-masters and directors of choral three. The selections are all from the most The composer of this little hook has a Sunday Music is called for. Many of the A DEPARTMENT OF INFORMATION * t ' The plates are all selected and long line of successes to her credit. She societies will hail with delight* a sacred popular good music played at the present selections might also be used at churcti ri* a It will be similar to the volume excels in teaching material of the early REGARDING Cantata suitable for all seasons of the day. Among the marches will be found services where a piano replaces the usual year and appropriate for programs which we recently issued on Trills .and our grades. The young music students of Leopold Stokowski was recently liomi March of the Priests—Mendelssohn; March -f vnlnme of this series will he of Ar~ organ. For certain types of movie play¬ ited bv the Prince-of Wales, a Fellow of the are thoroughly ambitious. This Cantata Militaire—Schubert; Anvil Chorus from today are fortunate in the wealth of tune¬ ing also, this book would prove handy. oyal College of Music of London. I)r. Sto- requires about thirty-five minutes and has Album of Scales is intended to ful and interesting material which is set nvski is a native of the British New Music Works “II Trovatore”—Verdi; Bridal Chorus make the study of music pleasant. It And finally, it is a book for home playing ul is a graduate of Oxford as wel a sufficient number of solos to engage the before them. All the old-fashioned dry of the quieter and more elegant type. It from “Lohengrin”—Wagner; Coronation teaches the scales, not in the former way and pedantic material has been replaced oyal College of Music. AND OTHER MATTERS OF INTEREST interest of well-trained singers in all March from "The Prophet"—Meyerbeer; is a volume of carefully selected pieces hut through scale passages in pieces and by something attractive and Worth while. Festival March—Gounod; Funeral March of the intermediate grade, all of which are 11n Philip Son: Viet ' TO MUSIC BUYERS V°The story of the Cantata is taken from only those pieces have been selected that Jolly Jingles for Little Fingers, is a set were among the —Chopin. The selection of waltzes is in the style of Reveries. Nocturnes, Songs the Fourth Chapter of Judges, and has are'interesting musically. Anyone who has of pieces that will be enjoyed greatly by rom the ety of American Authors, somewhat similar and so it runs through Without Words. Meditations, etc. Every lilishers which recently up- been slightly versified in order to make it studied a year should be able to take up young pupils. Although these pieces are the entire work. Several of the numbers number is a gem from one of the best Senate Patents Committee suitable for musical treatment. The music this work. It should be the aim of every in lively style, they are nevertheless of at Washi > protest against the. Dill have been arranged especially for this writers of music of this style. is redundant with dramatic climaxes, t_h“r never to lose sight of improving real educational value. Bill, v__ ’ ' _allow the broadcasting of book. It is intended primarily for public The special introductory price in ad¬ eopyrijipyrighted compositions without payment of opening as it does with the “Worshippers the technic of the pupils. In the study of The special introductory price in ad¬ school work and to be used also in con¬ vance of publication is 35 cents per copy, Two New Songs of Strange Gods,” which has an Oriental music, this is a very important feature. vance of publication is 30 cents per copy, postpaid. flavor and this is followed by the soprano nection with musical appreciation. This The mere amusement, a tickling of the postpaid. Reiner and Willem Van Hi NEW WORKS By Chas. Wakefield Cadman work contains a vast amount of music. will share the honors of solo, “The Vision of Deborah,” in which senses with saccharine material, is not to Thirty-six Studies or he seventh summer season at Advance of Publication Offers All singers and voice teachers among a full chorus is used with soprano obbli¬ Mr. John IF. Beattie, Director of Public he recommended. The matter of constant .Stadium of New York. Tlie e: School Music, Grand Rapids, Mich., has Principles of Expression Caprices for Violin Etude readers, will be delighted to learn gato. The entire Cantata is melodic but technical improvement should be kept in in Pianoforte Playing of the Philharmonic Orchestra that the THEODORE PRESSER CO. is not too obvious, nor is it easy to pre¬ the following to say: “If the development view. This is an excellent work for this By F. Fiorillo of the rhythmic sense is to lead to proper By Adolph F. Christiani Album of Scales for the Pianoforte. will, in the near future, publish two new pare effectually for the correct interpre¬ purpose. Our new edition of these celebrated vio¬ Amateur Musician—Gilbert . songs by the celebrated American com¬ tation. ends, the teacher should make use of only Our special advance price tor the com¬ A more important work on playing the lin etudes is about ready for delivery to Sasic Principles in Pianoforte Playing— poser, Chas. Wakefield Cadman. Reeds, In order fully to appreciate the work¬ such music as will bring the children into ing month will still remain the same, that piano has not come from any press in advance subscribers, it has been edited a dainty love song set to a short poem by ing out from this opening through the bat¬ early contact with the compositions of is, 30 cents per copy, postpaid. many, many years. Phrasing is the very hy Otto Meyer, pupil of Prof. O. Sevcik, Voices—Fay Foster. . Juanita Roos, is a perfect little gem, and tle scene and the grand climax of praise, master musicians. Too often, rhythms are life-blood of music, and any book which and his successor in this country, a musi¬ Cat Concert, The—Gilbert. In the Garden of Sahara, with text by one must have the copy of the score. We brought to children’s attention through the The Castaways—Operetta introduces one to the secrets of this art cian well qualified to undertake a work o. Fairies’ Revelry—Operatic Cantata for Chas. O. Roos, is a more dramatic song cheap and trivial compositions which lie is invaluable to the library of either Treble Voices—Kieserling . take great pleasure in introducing what for Women’s Voices tliis character. These etudes provide ex¬ First Lessons in Bach—Carroll. with a touch of the Oriental. These are we believe to be the most unique sacred so handy upon the counters of music teacher or student. This Mr. Christiani’s cellent material for practice in double Holberg Suite—Piano—Grieg. not complex songs, neither are they too writing of the present time and we take dealers. Fortunately, there is a wealth of By Fay Foster hook does by going to the very bottom stops, stretches and smooth passage work Jolly Jingles for Little Fingers—Cramm. obvious. They are real singable numbers, material which may be fitted into school Fay Foster's music is always melodic of the matter and giving a clearly under¬ Little Folks’ Music Story Book—Cooke. great pride in the character of the work. and are so musical that many of them are Music Writing Book—Hamilton. not too difficult for the average singer nor Our advance of publication price for one use and through hearing this music the and charming and in this operetta she lias standable presentation of the principles used for concert purposes. Every violin New Instruction Book—John M. Williams for the accompanist, and yet of sufficient copy only, is 30 cents. children may be brought into daily con¬ a story which adds much to the interest of of Jlhylhmical Accents, Metrical Accents, teacher will be interested in this splendid New Theory Book—Orem. merit to warrant their inclusion in the tact with music of a high order. But Melodic Accents and Harmonic Accents; Notturao—A Musical Romance—Schmidt her musical setting. new edition, and we suggest the imme¬ Organ Score Anthem Book, No. 2. repertoire of the foremost artists of the Pageant of Flowers teachers have not always known what that An evening’s entertainment is here pro¬ each one of which has a most important diate placing of your order if you wish Pageant of Flowers—Operetta for Chil¬ concert stage. We are proud to be pub¬ Operetta for Children material is, nor where to obtain it.” Pri¬ vided which is most attractive to the eye part to play in the proper interpretation to take advantage of the special advance dren—Kountz. lishers of two such fine songs, and believe marily this work was intended to teach because of the quaint, curious costumes of the true spirit of a composition. The Pedal Studies for Organ—Sheppard. By Richard Kountz of publication price, 35 cents, postpaid. Principles of Express-’-- '-1 Pianoforte■ that when our patrons become acquainted rhythm and there is a place for such a of the native women contrasted with those first edition of the book had such a lively Playing—Christian! . with them, they too, will share our en¬ Pageant! Pageant! Everyone wants a work not only in public schools but with of the shipwrecked Americans and to the sale that it has been out of print for some Music Writing-Book Reverie Album for the Pianoforte. thusiasm. pageant! Here is a short half-hour play each practical teacher of the piano. We time, and, in bringing out this new edi¬ Rhythms for Voung People—Steenman.. ear because of the weird wailings of the By Anna Heuermann Hamilton Studies for Violin—Fiorillo. in which there is much of beauty and are looking forward to a great success incantation scene interrupting the sensu¬ tion, we feel that we are doing a real Vision of Deborah—Cantata—Kieserling. Three Months’ Trial charm. There are dances and vocal num¬ for this book. ous music of the inspirational dafioe of service to the musical profession. The This is a work intended not only as a What to Play—What to Teach—Harrietts Subscription to bers and a little dialog to explain the Our special advance price is but 50 Gladys. There are many surprises in the work is well adapted to class use, in any writing-book, hut as an introduction to Etude Music Magazine story. The pictures, or scenes, are lovely cents per copy, postpaid. action of the play, many delightful musi¬ grade above the second, as well as for a theory. It can precede the study of har¬ and the music is bright, tuneful and cal numbers and' the dialog is particu¬ reference tiook to be kept on -the study mony. It contains many elements not Here’s an opportunity to introduce found in similar writing-books. Where a Text Books for catchy. The songs are the songs children larly up-to-date. Our special price in ad¬ table. Etude Music Magazine to your musical Basic Principles in pupil is not very well advanced in rudi¬ Summer Music Classes love to sing. The stage business is ex¬ vance of publication for one copy is only Special advance of publication price, friends and acquaintances. We will Pianoforte Playing ments of music, this work will supply ex¬ Many years ago we presented in the take pleasure in sending The Etude to tremely simple, easily learned and inex¬ 40 cents. $1,50 per copy, postpaid. pensive. By Josef Lhevinne cellent material. It is a little higher in columns of The Etude a suggested plan any person not now a subscriber, for the grade than the average writing-book. On of study for Musical History with the months of June, July and August, at a Our advance of publication price for This hook is now up in page form await¬ What to Play The Fairies’ Revelry one copy only is 35 cents. every page of the book there is some prac¬ Standard History of Music, hy J. F. special introductory price of 35 cents, ing binding. It will, therefore, be with¬ What to Teach Operatic Cantata tical work to be done, but it does not Cooke. It was merely to point out that cash to accompany order. Every music drawn from special offer very shortly. By Harriette Brower By Richard Kieserling require an extra blank book. This work the forty chapters of this book could be lover, student and teacher, should be a Organ Score It is one of the clearest, cleanest-cut pres¬ Expert guidance upon «i subject which With or without staging, tills cantata is is about ready to go on the press and will divided into sections of five chapters, so permanent reader of our educational and Anthem Book No. 2 entations of the main principles of piano-, often sorely puzzles the pupil as well as very lovely. The music is not too diffi¬ he withdrawn next month. that the course would last the eight weeks interesting publication. Here’s the oppor¬ This is a work that has come into our forte playing we have seen. It is a series the young teacher, is what this book gives cult for school use but is interesting Our special advance price for the work of the summer. This, together with the tunity to get acquainted. A mighty fine hands from another publisher. It enjoyed of matter-of-fact conferences with this in generous measure. Miss Brower, living enough for women’s clubs to include on is but 20 cents per copy, postpaid. lists of talking machine records given gift from any earnest teacher to her an enormous sale in the past. It is a great pianist upon just those points about in the heart of things musical for years, regular programs. The solo voice used is iter, organist and choir- gratis to all teachers, enabled the class pupils. work suitable for choirs in smaller places which the average pianist wishes infor¬ has had a wonderful opportunity to pick soprano and the choruses are in three- An Extraordinary Premium piscopal Church of Wil- leader to conduct a profitable and inter¬ where there is a chorus of average attain¬ mation. The advance of publication price has finished his thirty- esting mid-summer course, even though The Cat Concert out the pieces which make the best impres¬ part writing. There is much variety in 42-Piece Dinner Set ments. The composers represented are is 30 cents per copy, postpaid. the story of the text and Mr. Kieserling church has planned to the leader had no previous experience in By Russell Snively Gilbert mostly on the order of Adam Geibel, J. R. sion in all grades, describe them analyti¬ We have arranged with a well-known teaching the subject of musical history. cally and arrange them in program form. lias splendidly caught the atmosphere of manufacturer to supply us with dinner This is a set of first grade pieces, six in Sweney, Wm. J. Kilpatrick. The work Little Folks’ Music Story Book each number in his musical setting. The There are a number of subjects which may number, published in attractive book form. is still very popular in certain sections Of course, such a book is very valuable sets consisting of the following:— be taught in similar way by any" musician By James Francis Cooke for the student. The advance of publica¬ time required for rendition is about a 0 9% in. Plates All our books of little pieces for young and will continue so for many years to half hour. The staging is very easily and versed in the subject. Harmony is one of players and written by composers who come. All the anthems are written in short This is what might be called a “first tion price is 75 cents, postpaid. 6 6 Vs in. Plates them and for this purpose we recommend inexpensively done. The advance of pub¬ 6 Teacups and Saucers make a specialty of this line of work, are score instead of in six staves, thus you have reader” of musical history, the very first lication price for one copy only is 30 the Beginner’s Harmony Book of Preston very successful. Mr. Gilbert is a recent a greater amount of music in the same book to be put in the musical child’s hands Notturno— 6 5V4 in. Fruits Ware Orem, a delightfully simple work addition to our ranks and his new work, space. There is nothing very difficult in as soon as he is able to read. The pic¬ A Musical Romance 6 6V4 in. Oatmeals f the Hon mily, l pleasii 1 10V4 in. Meat Platter cresting instructive "Talk for young and old. Technic may also be The Cat Concert, should prove very at¬ the whole work, the only number of any tures will come on a separate sheet to be. By Carl Schmidt on two uauroaas—Columbia, 1834, and Pan- ’ given special attention in this manner. tractive. These are genuine first grade pretensions is Mozart’s “Gloria,” from the pasted in the indicated spaces. It will be The Amateur Musician 1 7% in. Salad araa, 1855,” by John C. Traubwiue, noted en¬ Musical fiction of interest is really quite 1 9% in. Salad Philipps’ Complete Technic, and Master¬ pieces. The titles are as follows: The “Twelfth Mass.” Since the plates are a delightful pastime for little folks. Ad¬ rare. There are comparatively few novels By Russell Snively Gilbert gineer of Philadelphia, publisher of “The ing the Scales, by J. F. Cooke, make ex¬ 1 Creamer Engineer's Bible.” and formerly head of The Cats March In, Professor Cat Sings a ready, the work will be on the market in vance of publication price is 50 cents per with a genuine musical background. Some This is a primary book whicli may be City Water Bureau. With absolute knowledge cellent material for this purpose. Any of 1 Sugar Bowl (covered) Prayer, The Prize Cat Fiddles, The Three a short time. Therefore, those wishing to copy, postpaid. writers have attempted to present stories used to supplement any beginner's book of his subject, and a ready wit, he presented these works may be had for examination, The decorations are simple in design graphically the rise and progress of the great Black Cats Play ri Trio, Kitty Kittens avail themselves of the low price before with musical characters tint because they and it furnishes stimulus from the musi¬ and teachers who contemplate conducting Dance, The Moonlight Glee Club Sings. publication, will have to act very quickly cal rather than the technical side. These but attractive and present a splendid ap¬ railroad industry, holding his audience summer music classes are invited to write New Instruction Book have known so very little about masic the pearance. The ware is not clumsy and The special introductory price in ad¬ Only one copy will be sold to each pur¬ result is often ludicrous. Here is a mu¬ little exercises tend to develop the creative to the publishers for any particular in¬ vance of publication is 35 cents per copy, chaser. By John M. Williams side of musical study and to promote a heavy, but light and dainty. It is a set formation desired. sical novel written hy a professional mu¬ of which you can be proud. We will de¬ postpaid. Our special advance of publication price The plates of this work arc at last com¬ sician with long experience in New York good working knowledge of the rudiments. is 35 cents per copy, postpaid. pleted and ready. We almost owe our ad¬ liver this dinner set anywhere in the Album of Favorite '*>'• It lias a good plot, is well motivated We feel sure that no teacher will be dis¬ Summer New Music Packages New Theory Book vance subscribers an apology for the long: appointed in this little work. United States for only 14 new subscrip¬ and is one which musicians will read with tions. Tlie same in Canada, plus duty. Following our usual custom, we will By Preston Ware Orem Pedal Studies for Organ oelay in bringing this out, but we can great pleasure. The special introductory price in ad¬ First Position Pieces This new book is now well under way By Ernest H. Sheppard positively promise the work before the. vance of publication is 30 cents per copy, send two or three packages of NEW The advance of publication price is 80 Swindlers FOR VIOLIN AND PIANO MUSIC during the summer months to all in preparation. It may be described as next issue of The Etude. The author of cents per copy, postpaid. postpaid. There is a considerable demand for this work is making a tour of the United patrons wishing to receive them. These a practical text book in musical construc¬ studies of this type. After the first in¬ We again remind our Etude friends to Price, $1.00 States, establishing teachers’ Normals in packages are particularly valuable for tion. To take up this work it is only nec¬ structor for the organ has been mastered rst Lessons in Bach place no orders for Etude subscriptions various cities. This tour is going to last with anyone unless the agent is personally A volume of this kind is of great value teachers who continue their work through¬ essary to have a first-year knowledge of the student needs to attain a certain feel¬ j Walter Carroll in the violin world. It gives the out the summer term, as many of our harmony; by this we mean intervals, the entire season of 1921 and 1925, ending ,known to them. We cannot be respon¬ ing of comfort and freedom in the pedal- This new volume in the Presser Colic 1’his is one of the most popular of all beginner on the violin encouragement teachers, especially those in small towns scales, common chords and the dominant ing. This is only gained by a thorough in New Orleans the last of next year. In¬ Lch collections. The majority of the sible for any money paid to strangers. formation of this important movement inm is very nearly ready. Grieg’s Op. Beware of tlie man posing either as a through the excellent numbers it con¬ and rural sections, have been doing in seventh chord. Instead of wading through knowledge of the “geography” of the key¬ •ces included were originally written for tains which are melodious and in¬ !* !l work which is increasing in popula student working his way through college recent years. This music is sent on our a’ complicated mass of so-called advanced board, obtained through a careful study can be had by addressing Mr. John M- ■ instruction of Anna Magdelena Bach, teresting yet at the same time easy regular ON SALE terms, being billed at harmony, the student is led immediately H illiams, S26 Underwood Block, Calgary, 1 1,1 this suite. Grieg practically c ,or an ex-service man trying to turn an of the scales. In Mr. Sheppard’s studies Parts from his usual nationalistic stj d to these have been added some other to play. There are twenty-two num¬ our usual liberal professional discounts, into creative work and develops a fuller Alberta. Canada, or direct to us and we honest penny. Smooth tongued swindlers each scale is given first with the correct and harks back to the classic period. T tubers chiefly from the suites. This is bers of real worth arranged in pro¬ and all copies remaining unsold at the end and more complete knowledge of theory pedaling marked, then there is a short will gladly send full particulars of bis flume One of the original Compilation offer plausible yarns, but daily receipt of gressive order. Teachers here have retaide, Sarabande, Gavotte, Aria ai complaints from all over the country show of the season may be returned for credit. through the things that are necessary to exercise for manuals and pedals introduc¬ undertaking. This is very important to Walter Carroll. Our new edition has an ideal volume for instructive pur¬ It will be necessary for our patrons to be done in actual writing. Melodic inven¬ the music profession. Each Normal class l9audon, are all very clever ideal b that crooks are mighty active. ing appropriate passage work and de¬ "l the style of the ancient danci en prepared with the utmost care and poses and beginning violinists will find notify us if they desire to receive this tion, the writing of accompaniments, mod¬ signed to inculcate a certain amount of will last but two weeks and this work will 11 be gotten out in fine style. Ibis book it just the volume to possess for their ulation, etc., are learned all the better will r ,comPlete »r singly, these piec music, as packages will be sent only to independence of hands and feet. This is be used as a text book. One of the features 1V lie used to precede the Little Pre- Summer Magazine Prices recreation or recital needs. through this natural and practical method of the book is the beginning at once with Point" r6 N’h'ndid program numbers. those ordering them especially for the a most useful exercise book adapted to ies of Bach, and constitutes the be- Look over the magazine offerings on tin- of presentation. both clefs, which is now becoming more 1 , difficulty tlie entire work won THEODORE PRESSER CO., summer season. Kindly mention grades follow any instructor. in'ing of a course in Polyphonic playing. inside cover of The Etude. Any combina¬ The special introductory price in ad¬ and more popular. graded about five. tion is a good combination, and your desired of instrumental music and range The special introductory price in ad¬ The special introductory price in ad- 1710-1712-1714 CHESTNUT ST., vance of publication is 60 cents per copy, The Special advance price for this work . sPec**ll introductory price in a selection is bound to save money for you. PHILADELPHIA, PA. of voice required in the songs. postpaid. vance of publication is 30 cents per copy, postpaid. 1J during the present month is 40 cents per postpaid. Imblication is 25 cents per co, (Continued on page J.12) copy, postpaid. Page 432 JUNE 1924 THE the etude JUNE 1924 Page 433

Advance of Publication and there A Standard Brush for Offers Withdrawn within the Our Premium Workers STANDARD EDUCATIONAL WORKS s. Price, For some months preceding this, there Any of the following Fuller Brushes KNOWN THE WORLD OVER have been appearing under these “Pub¬ can be procured for a few new sub¬ lisher’s Notes,’’ Advance of Publication Repertoire. Cont scriptions. We don’t have to say anything announcements of the works named below. s, among which are about Fuller Brushes, because they are too well known to require salesmanship In order to give music buyers an oppor¬ sacred numbers, wl tunity to become acquainted witli these makes this album me that will be serv Earn a Teacher’s Diploma ' "rite 'fvtder Duster—Four new ‘ sub- new works, orders were taken in advance able to concert an church singers. Tl songs are writing i of present-day c of publication at specially low prices. Set—Which includes pastry These low prices are now withdrawn and posers and this al mm is one of the n or delivery of copies made to those who or¬ reusonably-priced dered in advance of publication. Teachers vocal material. F interested in examining copies of these Vocal Studies f publications may secure them in accord¬ edited and arrange by George Whelpton. hair with extension le. Every wall Bachelors Degree in Music ance with our usual liberal examination This is a book of including the ceiling, i asily be reached. study work and il s an excellent contri- Something you have ys wanted—only bution to modern ice teaching in that it 5 new subscriptions. White Ivory Nail Brush—With attrac¬ M. L. Preston’s Album of Compositions terial for those voices THEO. PRESSER CO. es. Mr. Whelpton’s tive white ivory holder for the bathroom— In Your Spare Time at Home for the Pianoforte. This is a collection of 4 new subscriptions. 1710-12-14 Chestnut St., Philadelphia, Pa. successful pieces by M. L. Preston,who also les for Medium Voice r Soprano and Tenor, Vanity Case—Of French ivory with lias written under the name of M. Loeb- d they present a sensi¬ small comb attached. A dainty, neat and Evans. These numbers are chiefly in sec¬ tive exercises for the compact adjunct to your toilette. A de¬ ond and third grade and are suitable for ce. The price of this cidedly attractive case to carry—only 4 MUSIC SALE teaching purposes or for pupils’ recrea¬ new subscriptions. Why don’t you, too, get new ideas to use in your teaching, tion at the piano. Price, $1.00. Benefit of Aged Lady, Fifty Years a tudent Should Know, Music Teacher Program Pieces. (This work was offered Mr. Douty is one of FRUITS OF 1 ionss: “The Conqueror," “Twilight," 50c. each. make your work a real pleasure and increase your income at the same time? in advance of publication as “A New Re¬ e teachers of today, e. “Hid” Male Quartet, 15c cital Album for the Piano.”) In this new the first rank. Years album, which is a new addition to our s a concert and ora- ist teacher, qual- irity, “what the IV.” There The Most Popular Teaching Pieces— Enrollments now for Summer Courses Founded in 1903 and advertisers in the Etude columns since 1908 study, and at the same time one enjoys struction and it is a book (Used by the best class of Piano Teachers) Are the Compositions of To Etude readers we have offered sample lessons from our courses—many are using them with success. Songs for Girls. It is Get these lessons, without obligation, and see for yourself how great a help they would be to you in your teaching. by many respor the characters < Changes of Address MRS. A. M. VIRGIL Courses endorsed by the world’s greatest musicians—such as: as of young la Many of our friends will be leaving for I. J. Paderewski, eminent virtuoso. Theodore Leschetizky, Paderewski’s great teacher. Emil Sauer, of the Vienna Conservatory. avoid the romantic, emotio their summer homes and will want The Over 200 pieces. Valuable for Recitals. Special Studies for Beginners. texts in songs utilized for . When making your Send for Thematic Catalog. Order from your dealer, or direct Walter Damrosch, eminent conductor of the Alexander Guilmant, the world-famous tion, or entertainment pul This change of address fo« New York Symphony Orchestra. French Organist. volume has been compiled r and to give us both the o nd new, allowing none of the foregoing type ol ranee of issue to THE VIRGIL PIANO SCHOOL CO. Moritz Moskowski, famous Parisian composer and teacher. ligtous texts are used. Tht rard to the new 120 West 72nd Street New York Citv all aspects of nature (birds. Read What These Grad¬ Study in Your Own Home with the Best uates Tell of Their Teachers in the Country SUMMER CLASS w~oJ¥,MEDIATE SUCCESS” AND NOW THE No longer is it necessary for the ambitious musical student to incur the expense of leaving home MOST USED OF ALL HARMONY WORKS Progress to study at an expensive resident conservatory. By the University Extension System the masters’ Standard History of Music HARMONY BOOK Mr. C. M. Fuller, of Michigan, writes: methods are taught in the home by easily understood lessons sent by mail. REQUISITES The Piano student has the marvelous teacher Sherwood to demonstrate just how he secured FOR BEGINNERS “After having four courses with you and now working on the fifth, I am in position to say that his incomparable effects. The Cornetist studies with the master Weldon; Crampton trains the voice By PRESTON WARE OREM the University Extension Conservatory gives the of the singer; Heft shows how to interpret the soul of music on the Violin; Rosenbecker and Pro- earnest, thoughtful student as much as any other theroe take the pupil through every phase of the study of Harmony; Protheroe gives his author¬ school in the world. With the Sherwood Course itative instruction in Choral Conducting; Frances E. Clark gives the most practical methods in you offer, a teacher can use his own ideas.” Public School Music; Frederick J. Bacon, the great ban joist; Samuel Siegel, world-renowned man- Miss Alice Tombleson, of Nebraska, states: dolinist, and William Foden, famous guitarist, give their methods for mastering these instruments. “I am Music Supervisor and am very successful, The History Course, including Analysis and Appreciation of Music by Glenn Dillard Gunn, and all due to your Public School Music Course. The Advanced Composition by Herbert J. Wrightson, are two advanced courses required for the Bach¬ credits received from the University Extension elor’s Degree. The course in Ear Training and Sight Singing by F. B. Stiven, Director of Music Conservatory have been readily accepted in the States where I have taught.” at the University of Illinois, is our latest course. Standard Graded Course A SYSTEM OF HARMONY More than 200,000 ambitious men and women have gained proficiency in these various branches Mr. R. C. Bolling, of Virginia, after completing four of music by the University Extension Method. And to you we offer the same advantages which were HARMONY courses, writes: d«- FOR TEACHER AND PUPIL given to them. "The instruction in your Extension Courses is the best possible for one to obtain. The person who knows and can use his knowledge to This Is Your Opportunity—Mail the Coupon TODAY! enable him to do as well and just a little better, Fill in the coupon below—send it now for four lessons and our late catalog. We will give usually gets ahead—regardless of the method by which he received his information—whether in you full details of our offer to teachers and students, and the offer calls for samples from one college orvjx withvvitu a.a bookuuuk. byuy an open fire-place,uic-pwcc, v/x of the courses. Get the catalog and lessons—then decide. duringnilrirwY his -...spare moments . . under, the written direc¬J- tion of a- teacher a thousand miles away. This is ptY th'rd year in charge of the Music Department . ? the Normal School. I have nothing but praise for your courses, which ha UNIVERSITY EXTENSA DN CONSERVATOR f, Dept. B-80 been of inestimable value to me in my work.” Langley Avenue an d 41st Street, Chicago, Illinois Mrs- L. D. Stevens, of Missouri, writes: J Please send me catalog, fc >ur sample lessons and full information SUSIS: I have recently organized a class in a Consolidated High School and at pres- i regarding course I have mai -ked with an X below. ent have 18 pupils. I have the following grades in my clas.s: vo,, for 8- I am getting along nicely with my work, and wish again to thank you for l □Piano, Course for Students □Violin _ □History of Music Player’s Book many benefits derived from your Normal Piano Course.” l □Piano, Normal Training □Mandolin □Voice Course for Teachers □Guitar nPublic School Music , □Cornet, Amateur □Banjo □Harmony l □Cornet, Professional □Organ (Reed) □Choral Conducting □Sight Singing and Ear Traini ng □Advanced Composition University Extension Conservatory

technic- 1710-1712-1714 CHESTNUT STBPPT r .Uf£!3L*,ouse fe,nR unnecc LANGLEY AVENUE and 41st STREET Street No DEpT. B-8Q CHICAGO, ILL. 1 y Page JfSlf JUNE 19U TEE ETUDE 0E ETUDE JUNE 19H Page J+35 THE JUNE 1924 Page 437 Page 436 JUNE 1924 the etude Hearing Things Retrinted from Schirmer’s Bulletin of New Music JUNIOR ETUDE—Continued By Helen L. Cramm Little musician, when school i Song Publications that have Won

Dear Junior Etude: £ shore, anfhave the long, swee One rains- (lay, as I was playing different ? ? Question Box ? ? AN OPEN LETTER notes on the piano which appealed to inc. 1 mer days in which to roam the fie! repeated them several times and added more Dear Junior Etude : Recognition from Leading Concert Artists notes and chords. After a time I discovered Is Rachmaninoff’s Prelude in C sharp minor correctly named the “Bells of Moscow," am’ In conformance with the practice approved by the «"’• ,0,ri7tho«Sfofinpi- I had composed a piece of my own. I named if so, is there a story connected with it? it “Rainy Pay,” as it was raining. I am J. K. (Age 16), N. .1. taking The Etude and would not give it up. Alls. Rachmaninoff called this composition I have not seen any letters from any of my simply “Prelude” (in C sharp minor). FEDERAL TRADE COMMISSION most of the music learn to hear t ings. r little friends, hut hope some will see mine. this composition became extremely popti_ ,„e up ^on the house top to^ the the name "Bells of Moscow" was given lo it Alone * by some one to distinguish it from other p publishers of America recently decided henceforth to m, r, „H cr's .i,e ludes, and the name spread. Upon Dear Junior Etude : print on their music the actual retail selling price in ______t in print. I just love I sometimes find in church music in the music, don't you? I am planning to be a last measure there are two whole notes side the music teacher when I grow up. I like The by side. How is it counted and why is it preference to a higher list-price from which the buyer :±t=: Etude very much. I take all my old ones written in this way?—B. P. F. (Age 12), L 1—1—tz and stack them together, and then all my Arizona. Housetops sheet music, then my song books and other Answer. In most hymn books the music is music and put them in my music cabinet. arranged for “part-singing” and frequently of music was expected to receive a discount. Text from ffff f r r f This makes them look neat and they do not the alto and soprano, or the tenor and bass, get torn up. Then when I want a certain close on the same tone. Therefore, the t\ Kipling's “Plain Tales piece of music I always know just where whole notes are used, one for each voice, b... In the opinion of the music dealers, too, this de¬ they are sung at the same time and counted from the Hills” to find it. as one whole note. When a half or quarter I live i Music by r “ tr £ r “t s MARIE STONE LANGSTON note is thus used, it is only printed once, but cision means a decided step forward in the mutual ■ ™ , has two stems, one going up for the higher TOD B. GALLOWAY voice, and the other turning dowD foV the interest of public, dealer and publisher. High Voice—F to g

Dear Junior Etude : Rhythm in Walking Though the former trade practice was well under¬ It seems to me that many teachers try wrong methods with young pupils. They tell Did you ever notice yourself walk? you them all about lines and spaces and black walk many miles a day, going to and from stood by the public and functioned reasonably well, and white keys and get them all mixed up, and the teacher is not satisfied with the re- school and about your school building and your own home, going up stairs and down, occasionally it was abused and in order to remove such If I were starting a pupil, I think I would say “Do you want to play a new game with and about your duties. Yet few people ever A SELECTED LIST OF NEW me?” and I am sure the pupil would say notice themselves walking. abuse, the music publishers took the action referred Praise "Yes, 1 love to play games.” We would call this game the “Forget-me- Unless there is a physical defect, walking Words by Ethel McKenzie SONGS REPRESENTING THE not-game.” We would name all the boy is in perfect rhythm except when going over to above. Music by companions of the pupil E, G, B, D, F (the uneven ground. Not only do your feet BEST RECENT OFFERINGS names of the lines on the treble clef), and MILTON BURROUGHES HARDING the girl companions we would call F, A, C. E. march along rhythmically, but also all the If he forgot the names of his companions The same reasons prompted G. Schirmer, Inc. in Range c to g - Price, 60c BY FOREMOSTCOMPOSERS he would have to pay a forfeit at his next parts of your body are influenced by this lesson. For the bass clef the names of the rhythm, most noticeably your arms. The the table leg it sings out loud and clear. The Bells of Arcady by Cuthbert Harris boys and girls would be changed. I think the year 1918 to introduce a similar reform. The step Emily Stokes Hagar, the well-known Soprano, this would bring good results at the first arms swing in rhythm with the feet. Have When you get to the country the first High Voice-Range F to g - - Price, 60c thing you will hear in the morning is the is one of the Foremost Singers Programming this Break, Dawn of Delight tlm leftfooUsVnvard? Get°up and wal- was just as sound then as it is now, but apparently crowing roosters. Maybe the first one to Song, which the noted critic FULLERTON WALDO by Gerald Maundrell greet the day will be a little Irish bantam has called High Voice-Range d to g - Price, 60c the time for it was not yet considered ripe by the busi¬ who jerks out a short, soprano cock-a- “A delightful song ... a singularly felicitous Come Back Along to Me by Tod B. Galloway doo-dle, possibly as high as c, and he Medium Voice-Range c to F - Price, 60c ness world at large and practical obstacles compelled EMILY STOKES HAGAR A Song to You by R. Huntington Woodman us reluctantly to recede to the prevailing practice somewhere around c. Listen to the cow High Voice-Range E to a flat - Price, 60c bell, the pig squealing for his breakfast, The Song of the Child by Mana Zucca now abolished. the bleating lamb. Out in the field you Medium Voice—Range d to F - Price, 60c will hear the bass of the bumblebee, the Little Sorrows by Richard Hageman Letter Box tenor of the honeybee, the high soprano High Voice—Range d to g - Price, 60c Low Voice—Range b to E - Price, 60c In the future all our music will leave our presses of the mosquito as he sings around your head. Find in what key they sing and Karma by Fay Foster . High Voice—Range d flat to g flat Price, 60c with the price printed on it at which we expect it ac¬ your ears will become sharper and sharper Little Telltale as you train them. You will come to know by T. Frederick H. Candlyn tually to be sold to the general public. In other words, the key of the robin’s morning song, and High Voice—Range d to g - Price, 60c of the flute played by that sweet musician, Little Mother by Daniel Protheroe new stock will be sold to the general public and to the wood thrush. Low Voice—Range c sharp to D - Price, 50c Bye and bye you will hear more than one Love’s Preachment by H. J. Stewart High Voice—Range d to a - Price, 60c teachers of music without a discount; our old stock tone in many things; sometimes several tones which harmonize. Then as you sit The Winding Road by R. Nathaniel Dett by the brook listen for its song as it Voice—Range d tc will be shipped with an indication of the heretofore babbles along over the stones—you can hear it if you keep trying. As you come customary discount. to hear the various voices of the wind and the waves, you will begin to know that An Exceptionally Noteworthy Song with a Popular Appeal The revised system of listing prices of music is by all Nature is full of music, if we are but wpable of hearing it. no means absolutely new or revolutionary. The now The The Beginner Who Rushes Angelus abolished system was really a departure from the more Along Words by desirable earlier American practice to “pay the printed By Larelda Kraus price,” a practice, by the way, which now prevails also To correct this habit, say to the pupil, in most countries of Europe. Imagine that my pencil is taking a walk this music. Each measure is a block, Price, 60 cents the notes are children, and we leave four This is aCreole legend We are confident that the public will immediately Pennies in each block. Here we come to a song with a beautiful °ck with only three pennies; so which melody. It will in¬ terest those wanting endorse this return to the previous American practice. ° you suppose gets the extra penny? a “singable,” rich, melodic number pos- cleanest one, the white note; and sessing musical char- tk-tlCL,that !t takes us iust as long t0 walk G. SCHIRMER, INC. . . “lock as the one with more children Catalogues and Annual Bulletin 3 East 43rd St. THEO. PRESSER CO., 1710-1712 Chestnut Street, PHILADELPHIA, PA. will be sent post-paid upon request With a New York • ' LlfE without reading would be meager Will. >ndeed.”_SiR Michael Sadler.

Please mention THE ETUDE • wllen addressing our advertisers. THE ETUDE Page 438 'JUNE 1924 How Shall I Address Them? The Choir Master The days of the “manufactured” stage Etude name has passed. Practically without ex¬ Each Month Under This Heading We Shall Give a List of Anthems, A REAL SUMMER CHANCE ception we now know our favorite actress Solos and Voluntaries Appropriate for Morning and Evening or singer by her real-to-goodness (usually Services Throughout the Year. Cover Design maiden) name—with exceptions. The Opposite "a" are anthems of moderate difficulty, opposite b those of a s.mple type. name under which fame is acquired becomes, Any of the works named may be had for examination. Our retad paces are always reason. TO SAVE MAGAZINE MONEY! as it were, a “trade-mark.” After long abie"and*Li- __j *itheie discounts'discounts tlicthe best obtainable. and arduous years of toil to build traditions SUNDAY EVENING, AUG. 17th SUNDAY MORNING, AUG. 3rd ORGAN Contest about a name, to drop that in favor of an¬ ORGAN r . „ , other would mean a loss of identity with Love Dream .Liszt-Gaul Songs of the Night.Spinney YOUR SUMMER READING WILL DEMAND AT LEAST their public; and so we still have, and al¬ ANTHEM a. Still with Thee, O My God ways shall have public personages whose a. The Lord is Our Defense. .Roberts ONE OR TWO OF THESE MAGAZINES! $250.00 Prize b. The Lord is My Salvation Hosmcr private names have changed—usually Williams b. The Sun Shall Be No More The Etude Herewith through marriage, as is the case with OFFERTORY Thy Light .Woodward Announces a Prize women. Bow Down Thine Ear.Williams OFFERTORY God’s Love Is Above the Night GET THEM AT THE “ROCK BOTTOM” FIGURE TODAY! May we introduce a few to you, giving ORGAN Contest Open to All for Templar’s March .Frysinger the names by which we familiarly know ORGAN T0“riee Cover Designs Suitable them, followed by those used in the inti¬ SUNDAY EVENING, AUG. 3rd Proclamation .Diggle for Our Publication. mate home circle? ORGAN SUNDAY MORNING, AUG. 24th Evening Prelude .Read ORGAN ETUDE MUSIC ) ETUDE MUSIC REGULATIONS ANTHEM Prayer .Weber MAGAZINE.$2.00 1 Remit MAGAZINE.. ...$2.00 | Remit Amelita GaUi-Cm-ci.Mrs. Home _ a. The Comforter .Galbraith ANTHEM 1. The designs must have distinct mu¬ Guy d’Hardelot*.. . .Mrs. W. T. Rhodes. The premier music magazine For Music Lovers. Mabel Garrison_Mrs. George Siemonn. b. How Lovely Are Thy Dwell¬ a. O Grant Us Light.Homer of the world. 1 for j for sical significance with an appeal to as Katherine Goodson..Mrs. Arthur Hinton. ings .:.Wolcott b. Be Merciful Unto Me 0 Maria Ivogun.Mrs. Karl Erb. OFFERTORY Modern Priscilla. . $2.00/ All large a section of THE ETUDE’S God .Egqert American Magazine...$2.50/ All Marie Jertiza .Baroness Popper. At Evening Time.Ashford OFFERTORY Beautiful and engraved n< widespread body of readers as pos¬ Josephine Lucchese.Mrs. (Capt.) Adolfo ORGAN King of Love My Shepherd Is you new slants on yourself, sa l Grand Chorus .Becker your family and your job. / hints on housekeeping. sible. Dame Nellie Melba..Mrs. (Capt.) Charles (Duct Sop. and Bar.).. .d'Albert / The design should be attractive from ORGAN SUNDAY MORNING, AUG. 10th The Son of God Goes Forth Pictorial Review.$1.50 $5-00 Christian Herald. ,$2.00\ $4-35 the News Stand (the selling stand¬ ORGAN Sabbath Calm .Christiatti to War .Whiting fo“ewomenffichon,mfalhfons The magazine that discot’ered ' i SAVE point), but must also make an effec¬ ANTHEM and suggestionsforhousewives \ SAVE Polly anna; realistic t ravel SUNDAY EVENING, AUG. 24th and mothers. _ stories. tive cover for the music lover’s home. a. Lord of All Being.Shepard ORGAN f $1.00 1 $1.65 Designs with a historical, educational iding the identity of u b. Rejoice Greatly .Woodward Two Angels .Blmneiitlial ...$6.ooy c profession. OFFERTORY ANTHEM Total Value.$6.00 Total Value. or humorous trend will be considered Babylon .Watson a. Hide Not Thy Face.Meyer with interest. Designs that are mere¬ ORGAN b. The Man of .Sorrows.I dams March Celeste .Cole ly allegorical, purely idealistic with “Avec Le Coeur” OFFERTORY He That Kcepcth Israel.Il'idcncr ’ $2’00\ Remit Grecian, Roman, or essentially an¬ (With the Heart) SUNDAY EVENING, AUG. 10th ORGAN tique grounds are not solicited. THE ORGAN Allegro con Spirito.U'anicP 1.00/ for AU Traumerei .MacDowcll McCall’s...... ;y..- ETUDE is a practical paper for music- ANTHEM SUNDAY MORNING, AUG. 31st with marvelously printed patterns. lovers, teachers and students of to-day. By Geltrude Conte a, O Love That Will Not Let ORGAN 1.75 Me Go .Hosmcr Adagio Cantabilc .Haydn Youth’s Companion. .„.....— • • 2.50^ 2. Designs may be for two- or three-color ANTHEM It was in Palermo, Italy, where a violin b. O Holy Saviour, Friend Un- reproduction. (i. I Am Alpha and Omega.. .Stainer SAVE 75c graduate of that conservatory attended a b. Rock of Ages...... Grundy Total Value.$5.50f 3. Designs must be drawn in proportion OFFERTORY.^ °lCOlt concert given by Franz Von Vecsey. Af¬ Be Strong .Baumgartner OFFERTORY to reduce to the standard size of THE ter the program she went up to him and My God, My Father.MoHhntgall ORGAN ETUDE, 10)4 inches wide by I3J£ asked if he would hear her play. Very ETUDE MUSIC MAGAZINE $2.00) Church Festival March.Stulls ETUDE MUSIC MAGAZINE $2.00 h All inches high. kindly he gave her an appointment for Today’s Housewife. 100 > $2°.25 SUNDAY MORNING, AUG. 17th Youth’s Companion... 2^50 i Pictorial Revie the next day at Villa Igea where he was ORGAN SUNDAY EVENING, AUG. 31st $5.00 Regular price. Save 75c 4. The design must not bear wording or ORGAN Save $1.00 Regular i Reeular price. ^.00 J ETUDE MUSIC MAGAZINE Both lettering. ANcTa^rta. Vesper Bells .Spinney ETUDE MUSIC MAGAZINE $2,00 4 ETUDE music magazine She went and played and Von Vccsey ANTHEM AU Woman’s Home Companion People’s Home Journal. $2.75 5. Avoid the introduction of lyres, pan¬ Your Heads.Hopkins McCall’s. seemed very pleased for he had words of a. Thy Mercy Lord.Muller Modern Priscilla. 23)0 l $4.00 American Magazine. $5.00 Regular price $3.25 1 Save 50c pipes, lutes, antique instruments, b. O Come Let Us Sing Unto b. O Love That Casts-Out Fear great praise for her and for her teacher. $5.00 ) Save $1.00 ETUDE MUSIC MAGAZINE $2.00) Both Hucrter Regular price. banjo, guitar, etc. If an instrument “But,” he added, “you must play with OFFERTORY0’*1 . ETUDE MUSIC MAGAZINE $2.00 \ ETUDE MUSIC MAGAZINE American Magazine 2,0 $4.25 OFFERTORY All Woman’s Home Companion is used employ the piano, organ or your heart.” “Avec le coeur,” he really McCall’s Regular price. $4.50 ) Save 25c ofifir. Abide with Me (Violin Obb. i. Goitdey Youth’s Companion. 2.50 > $4.60 Red Book. $5.75 the instruments of the symphony said, and laughed out boyishly. ORGAN ETUDE MUSIC MAGAZINE $2.00) Both March in G.Smart Regular price $5.50 ) Save 90c orchestra. I was very much surprised when I heard Review of Reviews. 4.00 ( $4.75 ETUDE MUSIC MAGAZINE $2.00 j All ETUDE MUSIC MAGAZINE . 6. Any contestant may submit as many of this, for the young artist had lived in Modern Priscilla. Regular price. $6.00 j Save $1.25 People’s Home Journal. designs as desired. Sicily most of her life and like all $4.15 ETUDE MUSIC MAGAZINE $2.00) Both Save $1.10 Fashionable Dress. 2.00 ( Sicilians felt very keenly. It seemed to ^Special Summer- Regular price. $5.25) $2 00! Both $4.25 7. The ownership of the copyright of me that such advice might have been ETUDE MUSIC MAGAZINE S2.00 1 Both Regular price. $5.00 J Save 75c the winning design will rest with THE $3.41 taken from and not given to her. How¬ $4.00 ) Save 6 ETUDE MUSIC MAGAZINE Both $5!oo ) Etude. ever this phrase came repeatedly to my “Get Acquainted” Offer Musical Courier. $6.25 8. All designs submitted must bear upon mind. Now. Americans say "Italians Regular price. $7.00 j Save 75c are emotional.” I wonder if they mean it t $3.50 the back the full name and the ad¬ Treat Your Musical Friends to a Delightful Surprise ETUDE MUSIC MAGAZINE $2.00") as a fault! But Vecsey says to-a Sici¬ ) Save $1.00 Musical Leader. 3.00j dress of the artist. etude music magazine Both $4?00 lian, “You are cold, you must play with Save $1.00 9. Postage to insure return must be sent $3.00 $3.25 your heart!” WE WILL SEND THE ETUDE MUSIC MAGAZINE TO ANY Save 75c with every design. Some months later I had the oppor¬ ETUDE MUSIC MAGAZINE Both ADDRESS FOR JUNE, JULY, AUGUST etude music magazine $2.00 i Both Both Classic (Motion Picture) $4.00 10. THE ETUDE assumes no responsi¬ tunity of being coached by Maestro Car- ■';.2:f?> $3.25 $2.35 Regular price. . $4.5oJ Save 50c bility for loss of or damage to any ignani of Milan’s Teatro della Scala. THREE SPLENDID MONTHS FOR ONLY 35 CENTS’ $4.50) Save $1.25 Save 65c One day as we were working away at ETUDE MUSIC MAGAZINE . Both ETUDE MUSIC MAGAZINE $2. ocn Both design, but every possible care will THINK OF IT! Both Beauty. “La Boherne” and I was feeling unusu¬ liin $3.25 $4.00 be taken of the designs while in our Over 50 Excellent Pieces Over 200 Inspiring Articles • 250 j> $4.00 $4.50J Save 50c ally absorbed and exalted, the old gentle¬ $4.50) Save 50c $3.50J Save 25c man suddenly stopped playing, turned I I. The contest will close Sept. 1st, 1924 around and shouted into my face, “Fire, FOR ONLY 35 CENTS in.-eptable,' ETUDE MUSIC MAGAZINE.. ..$2.00 I had not even smelled smoke, but in¬ THE MOST REMARKABLE People’s Home Journal. .. 1.25 J Address all designs to stinctively turned to look at the fire-place VALUE EVER OFFERED IN Pictorial Review. .. 1.50 ) ETUDE COVER DESIGN which naturally was vacant, it being the Reliable Poultry Journal. .. 1.00 \ $3.85 month of July. s subscription HIGH CLASS MAGAZINES. CONTEST It took me a moment to understand; and SPECIAL! Regular price. . $5^75 , then I was surprised and a little dis¬ 1712 Chestnut Street, Philadelphia, Pa. couraged. “Why, Maestro,” I ventured, “I Above Prices Do Noi should think you might reproach me for ETUDE friends everywhere are re¬ overdoing this morning!” 1712-14n.2» JhVsCHESTNUT™L^t ST.USIC MAGAZINEPHILADELPHIA, PA. quested to notify their artist friends SEND ALL ORDERS TO of this contest. Big names do not “No, oh, no!” he answered; “you are so The biggest musical “buy” of the times Quotations Furnished cold you actually give me the chills! Now Etude Music Magazine Cheerfully on Any De¬ With effective, attractive, beautiful remember these words!” And I have not Twelve Splendid Numbers cover designs. Art Schools and Art De¬ $2.00 - . Yearly ETUDE MUSIC MAGAZINE sire d Combinations partments of Colleges everywhere are forgotten them. “When you feel abso¬ 2 Years - _ $3.50 THEODORE PRESSER CO., Publishers of Magazines. invited to co-operate with us in this lutely ridiculous with expression, then you MUSIC TEACHERS are just beginning to put a little life in 1710-1712-1714 Chestnut Street Philadelphia, Pa. your music.” dA Souvenirfor (Colgate friends

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