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

7-1-1918 Volume 36, Number 07 (July 1918) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 36, Number 07 (July 1918)." , (1918). https://digitalcommons.gardner-webb.edu/etude/648

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41.50 . HikY - 1918 A YEAR

MUSICAL EMBLEM _ I '■ V .. . ■ __ Material forSummerHolidayMusicClasses^ Half ofthesuccessSummerMusicclassesdependsuponselection THEO. PRESSER CO.,1712CHESTNUTSTREET PHILADELPHIA,PA. all futuremusicalwork.Suchstudyiscom¬ the elementsofmusicisfoundationfor poorly trainedpupils.Herearetwofineones. here ?Primersarefineforreviewingcareless, pulsory inallEuropeanCountries.Whynot of musicandendingwithatabulated mary ofMusicalHistory. By M.G.EVANSPrice,SOCents L. A.BUGBEEPrice,$1.00 any ofthebooks.Yourpupilswilllikethem. That is.thereisnoredundancyorwastein L. A.BUGBEEPrice,$1.00 Second GradeBookofMelodic with greatzest. abbreviations, andembellishments.Itcanbe ementary instructioninnotation,timevalues, Answers, coveringthenecessarygroundofel¬ an introductiontoMathews’StandardGraded best authors.Theyareespeciallysuitedfor H. ENGELMANN2BooksEach,80Cents volume. take totheminstinctivelyandpractice educating himself. used advantageouslybythestudentwhois intervals, scales,keys,chordconstruction, MATHILDA BILBROPrice,50Cents Fascinating CollectionsForSummerStudy pieces. Yourpupilswillappreciatethesee< Popular ParlorAlbumforthe ^cyclopaedia, beginningwiththerudiments character andonlymoderatedifficulty. ..ew, pleasingpiecesoflightandattractive Questions andAnswersontheElements material sointerestingthatthehotweatherisforgottefiandrapid Students’ SelectedPrimary First GradeStudiesforthe Why Primers?Becauseagooddrillin They aresonearlylikepiecesthatpupils All thesestudiesaretuneft Arranged inthestyleofQuestionsand More thanaprimer;compactmusical Taken fromtheveryeasieststudiesof Too muchcannotbesaidinfavorofthis A collectionofpianostudiesforthechild. These collectionsforthefirstfourgrades These collectionsforthefirstfourgradesaremosteconomicalformofbuying Pieces __ jraboutGradeIII.Awealthof First GradeStudies A PrimerofFactsAbout GIBBON CHAMBERSKILLOUGH Gibbon’s Catechismof General StudyBook Piano. Any ofourpublicationsaresenttoresponsible persons“OnSale”afanYtimeforexamination. fine resultsshowattheendofeightornineweeksstudy expect ineachgrade.Theplanistousewhatyouneedwithyour pupilsandreturnthebalance and FourthGradeMaterialsothattherewillbe-- 0 ,------„-~— Specially SelectedTeachingPiecesfor SummerClasses Price, SOCents Primers Pianoforte *7,- .11it*._-11L._1_1_:__...Un ♦ \T/-;w Studies Studies Music Music Write to-dayfor“OnSale” pacl^ge Modern DrawingRoomPieces high order,melodiousandshowyinthehands of theaverageplayer. Brilliant andattractivecompositionsofa Accounts withresponsiblepersonsaresolicit d. s thissi word. 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PRESSER CO„1712CHESTNUTSTBrr T PH1ar, character andonlymoderatedifficulty...... piecesuiugneanaattr: Popular ParlorAlbumforthe p,eces. Yotnpupil,willappreciatethLeco^mie,thlssu”^ . -,—raPPicuaicuieseec Fascinating CollectionsForSummerStudyFirstRecitalPieces MATHILDA BILBROPrice,SOCents Courstr°dUCti0n t0MatheWS'StandardGraded best authors.Theyareespeciallysuitedfor 4- ENGELMANN2Book.Each,80Cent. volume. L. A.BUGBEEPrice,,1<00 Second GradeBookofMelodic with greatzest. take totheminstinctivelyandpractice l.a bugbeeprice>$I00 w, pleasingpiecesoflightandattractive any ofthebooks.Yourpupilswilllikethem. Pieces inoraboutGradeIII.Awealthof That is,thereisnoredundancyorwastein These collectionsforthefirstfourgradesaremost(_ci-.PriceVSCent. These collectionsforthefirstfourgradesaremo.t__■.7,/ Students’ SelectedPrimary educating himself. used advantageouslybythestudentwhois abbreviations, andembellishments.Itcanbe A collectionofpianostudiesforthechild. intervals, scales,keys,chordconstruction, ementary instructioninnotation,timevalues, Answers, coveringthenecessarygroundofel¬ mary ofMusicalHistory. Taken fromtheveryeasieststudiesof of musicandendingwithatabulatedsum¬ encyclopaedia, beginningwiththerudiments By M.G.EVANSPrice,50Cents Half ofthesuccessSummerMusicclassesdependsuponselection*^ Material' for.SummerHolidayMusic•Clas First GradeStudiesforthe loo muchcannotbesaidinfavorofthis They aresonearlylikepiecesthatpupils All thesestudiesaretunefulandverydirect. First GradeStudies Arranged inthestyleofQuestionsand More thanaprimer;compactmusical material sointerestingthatthehotweatherisforgottenandrapid GIBBON CHAMBERSKILLOUGH Piano. Price,50Cents Gibbon’s Catechismof General StudyBook Any ofourpublicationsaresenttoresponsible persons“ChTsidI”~li- _Write to-dayfor “QnSale”package Pianoforte Price, SOCent. Studies fine resultsshowattheendofeightornineweeksstudy Studies Music of theaverageplayer. high order,melodiousandshowyinthehands Modern DrawingRoomPieces Brilliant andattractivecompositionsofa Accounts withresponsible personsaresolicited**"“*f°r"a minatioi>- hand crossingandwristmotion.*Flon’ grace notes,brokenchordsandarpeggios,syncopation are given.Asidefromscales,specialattentionisgivento sharps andfourflats.Attheendofbookallscales scales receivedetailedtreatmentuptoandincludingfour ment ofthescalesformscenterwork.Major die sametimedevelopmusicaltaste.Acompletetreat¬ aim hasbeentogroundthepupilwelltechnically,andat used byanystudentwhohasdonetheworkoffirst By THEO.PRESSERPrice,75cent, struction inamostpleasingandprofitablemanner. It willtakeachildthroughthefirstninemonthsofin¬ Popular andyetofhighgrade.Gradedsocarefully THEO. PRESSERpr-0Q begmnmg sosimplyastobealmostakindergartenmethod. A Concise,PracticalandMelodiousIntroductiontothe instructor. very youngpupilswillreadilyrecognizethemeritsofthis ILLUSTRATIONS QUESTIONSANDANSWERS pupil alike: new featureswhichmakeitvaluabletoteacherand wonderful progress.Thefollowingareafewimportant out ofkindergarten—canreadilyunderstanditandmake WOIr •s‘mPie^atyoungestchild—childrenjust By THEO.PRESSERPrice,75 Insuring InterestandThoroughness Successful FirstInstructionBooks -so icapuuoiuiepersons aresolicited^*auunauon. A logicalsequeltotheBeginner’sBook.Itcanbe SOME POINTSOFINTEREST:NewMaterial. There are,manyotherfeatures.Teacherswhohave First StepsinPianoforteStudy This istrulyaBeginner'sBookineverysenseofthe Price, $1.00 UPht0’ B.Utn0tif1ldingscaI«-Theprincipal LARGE NOTESWRITINGEXERCISES The NewBeginner'sBook The Student'sBook Study ofPianoPlaying ‘Ft,rP» 0f*eiaJabeu""i*tfce The VeryFirstPieces - *£3.iSsfE" ~.~r.bgo^0LF,r8t- Sccond.Third Terms easy,nd ■ usabouthowmanypupilsyou especially rapidsothattheadultsp Suggeative Studio,forMusicLover. introduces musicthatadultsrespect A FineBookforAdult that eliminatesallappealtotheduldmind especially preparedforadultbeginners,one pitying Aadmirablyadaptedforparlor summer courseatveryslightexpense stimulate greaterinterest.Price,$1.25 Uften HarmonyandHiatoryareaddedI great succeaainsummerclassworkbyhun¬ t'd* ofteachersinallpaytsthecountry. James FrancisCooke,hasbeenusedwith will finditespeciallyenjoyable.Price.$1.( subject soclearandsimplethatyoungpupils you musthavethese. Ware Orem,makesthewholestudyof ter whatyouomitfromyoursummercourse These aretheindispensablebooks—nomat¬ to masteranentiregradeintwomonths. during thesummerstudentshouldbeable dollar foreachgrade.Withspecialwork built. Thecoursecomesintengrides—one dent willhaveatleastthemainmuuurt All teachersshouldknowaboutabook Good, easymuskofthefirstandsecond Pieces lyingintheearlyorintermediate A SummerHarmony The StandardGraded The StandardHistoryofMuaic,b A SummerHistory The Beginner’sHarmony,byPreston Popular HomeAlbum 'v e*pertsmakeup First ParlorPieces * tried.Price.$1.50. By C.L-NORCROSS Beginners Price. SOCent. Brice, SOCent. _ Class Course Class tar.C3c-- .. ^ /,Cuba,PortoRico,Mexico,Hawaii, Pr=== 3oIonies, 9Shillings}inFrance,11Francs; ai. InCanada,$1.75peryear.Eng- Panama, Guam,Tutuila,andtheCity ,n Price,$1.50peryearinUnited ... CONTENTSFORJULY,1918 ®£ Sssss A VacationRestforMusicTeachers....440ForthtotheFray (Four Hands)TheRovalCollegeofMusici.Ja,, ,en ComposersCompo«^^.Pepartment.forOrganists^foghorninSan ™ r.SSsEEsvS SiSigs Euioe T-! 1 PRESSER’S MUSICALMAGAZINE Edited byJamesFrancisCoots ”*r, !ssg»s> bp, whichservesasareceiptforyoursubscription. printed thedateonwhichyoursubscriptionispaid the wrapperofnextissuesentyouw Mmm RENEWAL.—No receiptissentforrenewals.On Liberal premiumsandcashdeductionsareallowedfor THE ETUDEPage431 Page Jf>2 THE ETUDE .. vV‘;

A Brunswick Triumph THE ETUDE VOL. XXXVI, No. 7 How The Brunswick Method of Reproduction Departs JULY, 1918 from Old-time Standards and Crudities Our Greatest Joy Music has been the delight of millions of homes. Music that the people in the homes make themselves rather than music We have always considered The Etude work both a priv¬ T was a foregone cer¬ The Brunswick now fcives you they go out of the home to hear. Let father, mother, uncle and Ends Handicaps ilege and an opportunity; but our greatest joy is in helping tainty that the recent absolute freedom in choosing selec¬ aunt do everything possible to foster the love and study of those ambitious friends who are eagerly looking for ideas and • announcement of The tions, regardless of makes of records. music among the children. This does not merely mean The Ultona is one of the unique materials to help them in getting ahead in the world. Brunswick Method o£ features of The Brunswick Method And the assurance of superior tone. preaching about it, but taking a lively interest in music in the Every day in The Etude work is a day of life profit to Reproduction would of Reproduction. home, playing with the children and letting them take an active create a nation-wide sensation! us. We learn something new and interesting every hour. The The Ultona is adapted, at the turn Hear The Brunswiclc whole musical world seems to be eager to send in its best ideas part in the home musical life. It heralded new standards in the of a hand, to any type of record. It and its best thoughts in order that they may be sent out to One of the reasons why some children do not take any Art of Modem Music, bringing the First is practically automatic. others. interest in practice is that the little ones feel that they have to utmost in phonographic reproduc¬ With the coming of these latest Every now and then we meet some wonderful individual carry the entire burden of the work. Their parental advisors tion. It brings a super-Brunswick. The Ultona revolutionizes old ways- of playing. It removes all advancements you cannot afford to who has advanced so far that he looks lightly upon those who tell them to .practice but give no indication of ever attempting Such an attainment was inevitable limitations. Every record is played buy before you hear The Brunswick. are still eagerly seeking more and more information through to help them or set them an example. - —this &reat improvement was the the world currents continually flowing past everyone eager to Get together in little groups now and then and bring music at its best, whatever make. It is absolutely different. It &oal of phonograph makers. learn. The very thought of riding on those currents to greater right to your hearthsidc. The automobile, golf, moving Each type of record is reproduced offers unrivaled and exclusive triumph seems futile to the omniscient individual. He belittles pictures and other interesting entertainment add a great deal according to its exact requirements betterments. the assistance that such a paper as The Etude might give him, to life, but if they lead our American people away from this Opens a "New Epoch. —the proper diaphragm, the exact Once you hear it, you’ll a&ree —he knows it all, and therefore he is quite without any need of great joy of music in the home they will have been dearly needle, the precise weight. with other music lovers that this is The Brunswick Method of Repro¬ outside assistance. bought. the one instrument you must have. duction is one of the supreme The Ultona is not an attachment, The Etude has no sympathy with such musicians. If we The strength of the individual often depends upon the not a makeshift. achievements in phonographic A Brunswick Dealer will be fclad had our way we should have a bronze medal cast with a large strength of the home. Boj's and girls “go bad” not so much history. It is a distinctly new creation, to play this super-Brunswick for “B. N,” signifying “Back Number,” placed upon it, and award it because they are born bad as because the home has been under¬ to any one who fails to realize that at no time in life is it im¬ Now the new Brunswick becomes such as you have never known you and explain the new Brunswick mined with vicious frivolity instead of those things which make possible to advance in some way. the pattern-type, the standard for before. Method of Reproduction. for fine minds, clean bodies, high ideals. Music is one of the The Etude has literally hundreds of letters from many critical comparison. Artists have chief of these: Don’t neglect it! of the greatest men in the whole realm of music, indicating that never heard before their records Brunswick Models they read The Etude in a manner which is most complimentary Prices $32.50 to $1,500 and encouraging. The list sounds like a kind of musical Al¬ The Silver Lining manac De Gotha. To mention any one name would be to do The Brunswick-Balke- an injustice to all. When many of the world’s greatest teach¬ When a bomb dropped from an enemy aeroplane flying over London and wiped out the life of Mrs. Lena Guilbert COLLENDER COMPANY ers, pianists, singers and composers write of their own accord, Ford, author of the worthily famous war song, Keep the Home General Offices: CHICAGO commenting upon some feature in some one article, there can be no question of the alertness of such men to the value of the Fires Burning, it could not silence one of the most heartening musical currents of thought for which The Etude is proud to and inspiring thoughts that the great war has given to us, “There's a silver lining through the dark clouds shining; be a channel. Our greatest joy, however, is in helping the thousands ot Turn the dark clouds inside out, till the boys come home.” “upward-looking” friends who eagerly look forward to The Armies of soldiers, fleets of ships, squadrons of aeroplanes Etude for new and interesting music and bright, practical, il¬ will not do more to keep up the'spirits of the people at home luminating ideas, which help to carry them on to their goals. than this fine, cheering, confidence-making thought which has gone singing around the whole English-speaking world. We all know that many of the things that seem disasters for Let’s Have More Music in the Home the time “turn out to be for the best in the end.” If you are a Ip American homes are the social and economic centers teacher and have had a weak season it has probahly taught you around which our great commonwealth revolves then our first that unless you work harder than ever your next season will be consideration should be the development of the home in its weaker. Then, having spurred yourself on to higher efforts in trying to develop a larger musical interest in your com¬ highest sense. In the old fashioned home, before the age when there were munity, your next season will, in all probability, turn out to so many alluring entertainments outside of the home, much of be the best you have ever known in peace or in war. That the joy of life came from the joy that was made in the home by has been the experience of many, many teachers this year. Plan what you expect to do next September now, and set to work so the people who lived in it. The home circle is one of the greatest treasures in the that there can be no “slip ups” in your campaign. Don’t waste memory of those who have known one. Those who have not are a second worrying about anything jrou may have missed this to be pitied. There is no substitute—nothing “just as good” season. “Turn your dark cloud inside out.” There’s almost and nothing that can possibly take its place. always a silver lining.

JUST SIXTY DAYS MORE TO GET READY FOR THE NEXT TEACHING SEASON •

' ■ '■ JULY lgj THE ETUDE Page Page bSi THE ETUDE JULY 1918 Offenbach imbibed when penning La Grande Duchess, When Composers Compose Herbert Tree not to have introduced it when, a few How many lumps of sugar did Merifftterabr, i* years ago, he gave us his wonderful impersonation of his coffee when composing Elijah? And what brj- the Bonn master. One has also read of Haydn dressing of cigars did Sullivan smoke when jotting down Ti, By Francesco Berger in Court costume, sword and all, when he sat down to Mikado f compose. Of Auber I have read that he used to call A collection of the few truths and the many I know exactly what I want to say, but I am not sure upon his old housekeeper to judge a new melody he had hoods that are current about musicians would form; The Spirit of the Masters conceived before deciding whether it was or was not whether I shall be able to find the precise words with curious record; a page or two would suffice for asce suitable for a particular situation in one of his operas. which to make my meaning clear. It is more difficult to tained facts,—a whole volume would scarcely hold ti do so in artistic matters than when dealing with tangible And Rossini would suspend cooking his macaroni to. Fourth in a Highly Important Series of Conferences hastily write down an overture, and then return to his inventions. things. There would be no difficulty in pointing out the Hero-worship is partly accountable for this; cucina to add the butter and cheese. with the Eminent Virtuoso difference between a camel and a pianoforte, or between love a good, old-fashioned, full-blown hero, and a mutton shop and a patent razor. But one might find But one would like to know what were the habits of tales which accumulated hearsay has woven round ii> it difficult to explain the difference between a sermon other composers while in the act of composing. Did birth, events and habits of these worthies.—Fr-- and a discourse, or between the tone of a Stradivarius Wagner don his crimson satin dressing-gown when HAROLD BAUER Musical Opinion, London. and a Guarnerius. inditing Tristan ? Was it Heidsieck or Clicquot that In the works of the greatest masters there is less difference between those of one and those of another than in the works of minor composers. This is not because of absolute similarity, but because the genius of Where Not to Use the Pedal the great ones blinds us to their methods,—we overlook Preparing for the Study of Bach, Haydn details because of the overwhelming importance of the By Anton Rubinstein April Etude whole. The French and the Italian, the English and the and Mozart. Preparing for the Study of Brahms, Men¬ German, meet on common ground when they are truly The pedal.must not be used: May Etude : j delssohn and Beethoven. great. A Purcell and a Handel and a Palestrina have 1. In a regular' succession . of notes (especially Preparing for the Study of Schumann and more in common than a Bellini and a Hummel. ascending) in the middle and lower portion of the June Etude:{ Liszt. pianoforte, without harmonic accompaniment, in mod¬ Chopin and Modern Masters of the Piano¬ Italian and German Composers Compared July Etude :{ erate or slow tempo, and where the separate notes have forte Composition. C. Debussy. When we compare the scores of the average German a similar amount of tone. Examples:— composer with those of the average Italian we are struck with primary differences between them, arising Preparation for the Study of Chopin, Debussy and Modern Composers from the attitude with which they severally approach “Our ears readily become familiarized with so Chopin, the Soul of the Piano sponsive chord and feel it keenly and sympathetically. their task. The German sets out to discover new and musical effects which were at first strange and un¬ “When one says Chopin, one immediately thinks Whether it be a False, u.Prelude, or a Mazurka, or one harmonic combinations, new chords, new orchestral welcome to them. Yet musical art after all is always effects. The Italian seeks lovely melodies, tunes which of the great Sonatas or Ballades, one must have lived ‘Piano.’ Liszt and Beethoven employ musical themes reaching back to the common chord. This chord, which express in music what the drama represents on the through varied and great experiences to divine the soul that could have been communicated to the world has something in common with the feeling of the Chris¬ stage. If, in the course of three entire acts, the German through the medium of the orchestra as readily as that of Chopin. He is not the composer for the prosaic. tian Trinity, seems to be the basis of all of our great has succeeded iri introducing “augmented fifths” that of the’piano. The genius of both Schumann and Schu¬ “The Chopin Etudes and Preludes form a fine intro¬ musical art. In using the word trinity, I reach out, of resolve into “diminished ninths,” or in allotting to a tuba bert was $nore a lyric genius than a keyboard genius, duction to the master,—better, perhaps, than the Falscs course, beyond its theological meaning to that of the the kind of phrase generally allotted to a piccolo, he is but with Chopin we find a rare pianistic Muse, unprece¬ or the Nocturnes. The Ballades, Scherzos and Sonatas . happy. He goes to bed exulting, feeling that "some¬ 4. In a phrase which is to be played staccato, or very are so exacting and comprehensive in their- artistic re¬ Subject, Object and. Connecting link; to the principle lightly or elastically, the pedal is not to be used, dented and unequalled. The exquisite tonal possibili¬ thing attempted, something done, has earned a night's quirements that only the rich and experienced mind inherent in all philosophical thought. especially when such phrase follows directly upon one ties of the instrument, the infinite delicacy with which it repose.” Not so the Italian. He cares not for chords, should approach them with the hope of bringing out of an opposite character, where it has Ix-en employed. may be treated, as well as the majestic and sonorous casts harmonies to the dogs: instrumentation is his their musical beauties. handmaid, not his mistress. His object is to invent 5. The pedal must also not be used in pp passages climaxes that may he brought forth upon it are all to tunes, rhythmical tunes, tunes that shall embody and where great distinctness and clearness are demanded. be found in the treasure of beautiful works which Modem Composers emphasize the action or sentiment of the moment and As examples may be mentioned Bird as Prophet and Chopin bequeathed to the world. "When one turns to modern composers, one thinks live, for ever after in the hearts of his audience. Tunes Traumesvnrren of Schumann, .-hi Bord dim Source “In approaching the work of this master, the student principally of the works of the Modern French school, “Whether in the major or the minor form the com¬ that the public can sing, or whistle, and cherish. He by Liszt, and the 1-inale of the B flat minor Sonata of must beware of a pitfall which often makes the im¬ which some think have leaped clean over the bounds of mon chord has a feeling of finality. When we get very Chopin. wants to compose for the sentimental lover another Uria mature performer’s interpretation of Chopin more of reason into a kind of musical anarchy. far away from it for a long time we seem to be wan¬ 6. Finally, the pedal must not be used in passages furtiva lagrima as Donizetti did in his Elisire d’amore ; a bore than a delight. Chopin’s own intuitive feeling “As a matter of fact, I have never been able to see dering in a wilderness, and may indeed die of musical for the grandiose prima donna another Casta diva, as where no great fulness of tone is desired in In the upper portion of the instrument (which is not for the intricacies of the keyboard, as well as his great that Debussy, Ravel and others are Revolutionaries. starvation when we might have plenty. The common Bellini did in his Norma; for the rollicking baritone accompaniment. Example :— supplied with dampers) the pedal may be used under care in going over his manuscripts when they were chord reminds- me of the lines in Browning’s Abt another Largo al factotum, as Rossini did in his Bar- Their art is a very logical one, even though it may be such circumstances. Remark: The pedal can be used sketched out, make all of his compositions so ‘playable’ Vogler: biere di Seviglia; and for the love-sick villain another circumscribed. To me they seem like reactionaries. Are only very sparingly in older polyphonic works, and that the average student does not work with them suf¬ II balen, as Verdi did in his Trovatore. Let him but they not, in their attempt to represent objects and vari¬ then only for a short time, because these works are ficiently to bring out their beauties. What is the result? “But here is the finger of God, a flash of the will do this, and he’ll make you a present of Albrechts- ous sounds of nature as musical pictures, reverting to A kind of irritating superficiality and sickly senti¬ that can. berger’s fugues and the whole of Berlioz’s Treatise on played principally in a moderate tempo, are written the art of Couperin, Rameau and other composers who mentality. It is extremely difficult for me to describe Existent behind all laws, that made them and to, they Instrumentation. principally for the middle portion of the pianoforte, lived at the end of the 18th century? Indeed, many and contain comparatively few harmonic figures. this, even when I hear it. All I know is, that I rarely The German devotes too much attention to detail, of the titles taken from the lists of pieces of that day 2. The pedal cannot even well be used in harmonic hear Chopin played without feeling impelled to say to And I know not if, save in this, such gift be allowed losing sight of the outline; the Italian concerns himself show a striking resemblance to the titles that modern figures if the voices therein lie near to each other and myself, ‘it sounds all wrong.’ For the most part, it is to man, chiefly with the outline and lets detail take care of itself. French composers have adopted. Their art is in some in the lower part of the pianoforte. not so much the sickish sentimentality as the fact that That out of three sounds he frame, not a fourth sound The one is grammatically accurate and artistically ways a theatric one. It does not seem to me that it 3. The pedal must not be used in a decrescendo the rhythms are completely wrecked in some foolish at¬ but a star. wrong; the other is artistically right but grammatically will be an enduring art, because music should stand faulty. Neither is fully satisfactory, for a perfect- work passage in quick tempo, especially in going from ff tempt to develop the tempo rubato. Sound artistic judg¬ Consider it well: each tone of our scale in itself is to pp. upon its own legs and not be merely a translation of should, of course, include both art and grammar. Of ment and sanity are just as necessary in playing Chopin nought; sounds and impressions received from the outside world. these two opposite methods one has only grammar to Remark: Nicholas Rubinstein used the pedal even as in playing Brahms. It is everywhere in the world—loud, soft, and all is There is not such a wide gap between Le Coc and the recommend it, the other only plastic beauty. And one under the above conditions, changing it constantly to “Chopin, despite the ‘playableness,’ the fact that the long procession of Waterfalls, Bells, Storms and Por¬ is tempted to ask: Which is the more important element, avoid any unclearness of tone: at the end of the Give it to me to use! I mix it with two in my thought: decrescendo he used the second pedal (una corda) notes seem to group themselves so comfortably under traits which tumble from the ingenious pens of the grammar without new ideas, or new ideas without gram¬ the fingers, demands infinite care and thought and ex¬ And there! Ye have hoard and seen: consider and also. But a pianist who is not thoroughly a master of modern composers. Please do not infer that I am not bow the head!’’ mar? A man may be a great thinker, or may have a (From Guide to the Proper Use of the Pianofor, periment for well-balanced effects. Even the simplest fund of poetry in his nature, but not be able to clothe the pedal should avoid its use in such cases. Example :_ delightfully conscious of the exquisitely beautiful effects Pedals by Anton Rubinstein.) Walts or Nocturne requires this. Unfortunately many his ideas in poetical or even grammatical language; that Debussy, Ravel and their school have achieved in “Much has been said about the whole tofie scale so of his most beautiful works have become so hackneyed while another may have complete command of language many of their works. I play their compositions frequently employed by Debussy and others. It is in¬ through performance by superficial amateurs that artists and be able to versify elegantly without having anything with enjoyment, and I am not criticising individuals, teresting to note how this came into such vogue: De¬ hesitate to play them. Even Hamlet or The Doll’s to tell us that is worth listening to. A great edifice but the movement as a whole. Of course, the reader bussy, in the first place, is a man with unusually acute The Pupil-Teacher House could get a bad reputation if it were to be-given requires ^oth material and design. While, on the one realizes that the harmonic scheme of the 18th century aural sensibilities. His ears are so keen that when he The writer has been astonished to observe quite only by a troupe of barnstormers night after night. hand, we do not want to be continually reminded of the commonly (more particularly among uneducated peo¬ ful teacher, after twenty years of steady grind, t masters is very different from that of the present-day heard the common chord struck he always heard the “Chopin, as is well known, recommended Bach as a brick, or the stone, or the iron employed in its con¬ ple) a peculiar distrust of those young teachers who a year off and spent that year as a pupil at a fan- composers, but the aim was so similar that the indi¬ ninth above the root as a kind of overtone; and this struction, while art demands that we shall be sufficiently preparation for his own works. The converse is also were making every effort to round out their musical conservatory, afterward returning to his work in vidual pieces must be considered upon their own musical sensation of an additional sound so disturbed him that impressed by the complete structure to forget all about education by continuing to take lessons of some dis¬ same old town. He knows personally of another c true. To perceive the beauties of Bach, play Chopin. merit, rather than upon any fancied difference between he actually thought that he was being obsessed with the the stuff that builds it up, we do not, on the other hand tinguished teacher after they themselves were well Bach compels musical and intellectual concentration. an obsolete and a new idiom. idea, as was poor Schumann, who heard a mysterious want, while contemplating the beauty of its design and W Cr^ a „s'nger world-wide reputation has g launched on their professional career. Remarks like occasionally to a comparatively unknown piano teac One cannot study Bach and dream at the same time. “-The pictorial musical art of the 18th century was tone all the time. Debussy, however, was of another symmetry of its .parts to stand in awe of its collapsing overthrown by the Italian school, which may be said this are not uncommon: “Miss Blank is still taking o be coached in repertoire” and at the same time “I like to think of the healthy, vigorous Chopin as mettle, and he commenced to investigate. by reason of its material being sand or sawdust. •to have been based upon the principle that music is a lessons; she wouldn’t do that if she were perfect in the somewhat difficult accompaniments of modem so well as the delicate sickly pianist. It seems to be the “The chord of the major triad undoubtedly originated music; I will send my little girl to Miss Dash, who got fate of certain men with sickly bodies to have minds of pure and independent representation of emotion which in recognition and acceptance of overtones which are Personal Habits of Composers When Composing Properly played, in order that he could judge of u through her lessons three years ago.” musical effect powerful, luminous intensity. Such men as Spencer, requires no aid from outside sources to bring it to its inseparable from the fundamental. In other words. C When considering the methods of composers of highest manifestations. This sounds really ludicrous to the educated musi¬ If one is obliged, because of limited means, to 1 Darwin and the American, Francis Parkman, in whose cannot be sounded without G and E being also present; different nationality one is tempted to remember what cian. With the exception of a few great composers works I have just been revelling, represent what phe¬ “Debussy has revived the ideals of French 18th it is truly one in three and three in one, and the effect romze a young and inexperienced teacher, it is a n century music, but in spite of its undoubted charm, this is recorded of some of them as to their personal habits and a few concert performers of world-wide fame, nomenal things may be accomplished by a powerful of these three tones together is so satisfying and so ter of congratulation if that teacher is at the same t music, as I have said, does not seem likely to last. It while in the act of composing. We have all read of there is no musician or music teacher who does not mind in a weak body. conclusive that we have gradually accustomed ourselves Beethoven washing his hands, or, more strictly speaking, studying under the direction of an older teacher already seems old to me, while the immortal works of feel it a privilege occasionally to freshen up and extend “Sympathy is certainly one of the qualities which one to the thought that this chord signifies the beginning dipping his fingers intc basins of water during the esta ished excellence. The young teacher who hat Beethoven, Brahms and Bach seem ever new. One his knowledge in various directions by taking a few inust possess to appreciate Chopin. The performer must and the end of everything in music. But if it is true process. If this be authentically accurate (which is more lessons from some excellent teacher. The writer soon completed his studies, and after attaining a c might almost state a postulate ‘No great school can that C cannot be sounded without G being heard as an and superficial success is settling down into a took through his own life experiences until he compre- questionable), it was an om::sion on the part of Sir knew of one case where a well established and success- survive where it is dependent upon extraneous in¬ overtone, it must be equally true that G cannot be rather the one to be shy of. jends the composer’s idea. One must feel the re¬ fluences.’ sounded witfy>ut D being heard as an overtone, so that TEE ETUDE Page U37 JULY 1918 JULY 1918 Page 436 TEE ETUDE ' " ” '' "" r"

Debussy’s “obsession” is shown to be based upon an How to Get Your Music Published unanswerable law of acoustics. The addition of this By Arthur Selwyn Garbett ninth robs the original chord of its character of repose, and one instinctively resolves nine-tenths of it is sheer nonsense. When you find an Out of every hundred manuscripts submitted to the American complaining that he can get no sympathy or % i5 3 successful music publisher, probably not more than five encouragement from publishers or conductors, look Important Uses for Music or six get into print. This sounds decidedly depressing. closely at his work. As likely as not it will betray a It looks as though the publishers were an unenterprising wholly inadequate technique in harmony, counterpoint Noted Critic Claims World War Upsets all Ideas lot malevolently bent on discouraging the embryo com¬ but this is of little use, for the ninth again comes intc poser. Yet this is not the case; on the contrary, most or musical form. And if it possesses these qualities it evidence, publishers are eagerly alert to get new music, and espe¬ may yet be lacking in inspiration. Or he may have By HENRY T. FINCK cially glad to welcome a new composer who has some¬ failed through efforts to exploit it through the wrong thing to say. Why then the large percentage of channels. SiLJl Notwithstanding the many fake schemes of the “Song returned manuscripts and disappointed hopes? That music is, on the contrary, one of our most allusions to this function of music. Collingwood, Poems Wanted” variety—now still dangerously rife— One of the most touching war stories from France writing about Borneans, says that “the boatmen, as usual, and we speedily realize that this process must con¬ Is Your Manuscript Worthy of Printing ? has been told by a nurse about a soldier who was essential assets in wartime is strikingly proved by the tinue indefinitely, unless we decide to adopt one of two the American publishers as a whole are a fair-minded preceding facts. Similar details are appearing daily in enlivened the way with their songs, some of which were There are several answers to this question. First and brought in on a stretcher. Though hungry, thirsty, lot. The present writer has more than once had manu¬ the newspapers and the musical press; whole volumes wild and musical. They all joined in the chorus . . . alternatives, either to abandon the sense of finality or foremost a great number of manuscripts submitted are sleepy and much in need of a dressing for his wounds, scripts accepted, or received generous encouragement might be filled with them. keeping time with their paddles. The song was cheerful to eliminate the intruding ninth by simply refusing to simply unfit to print. They are composed by “com¬ his idea of “first aid” was a piece of music! When he from publishers to whom he is utterly unknown. Let us therefore hear no more nonsense about music and inspiriting, and seemed to help them along.” Roth, recognize its existence. If Debussy had done nothing posers” who do not know the merest rudiments of mus¬ had heard that, his nerves were calmed. During ten years spent in the office of a well-known being a mere luxury, like a sumptuous feast or a another writer on the Borneans, says that “Mr. Grant more than to put this problem squarely before us, his ical composition. The very formation of the notes Another witness declares that “the men on the other publishing house, he saw manuscripts coming from all superfluous accomplishment like dancing. We can give preferred his boatmen to sing, for it made them pull contribution to the world of musical thought and ex¬ betrays the fact that the composer has hardly ever even side drop all the boast songs, all the military songs, parts of the world carefully examined on their merits- up dancing with impunity and we can benefit by cutting better.” perience would have been of great value; but he went written notes before. The melody—supposing there is and sing almost solely the sentimental and pre-war works by unknown composers along with those by com¬ out elaborate repasts; but we cannot give up music in The African explorer, Winwood Reade, found that further, for the adoption of the whole tone scale is a melody that is even remotely acceptable—is crude and songs.” These give them what they need in camp— posers whose names are a household word. Tht wartime without taking away a great soul tonic and his negroes, when he ordered them to row, began to nothing but the practical utilization, so tcf speak, of ill-balanced, the harmonies obviously contrived at the relaxation and entertainment. sing as an aid to overcoming their natural laziness. same condition without doubt exists in the editorial There is a story about the famous operatic baritone, lowering the morale of both soldiers and civilians. these ninths, as will immediately be seen by the fol¬ keyboard, and it is evident at a glance that the “com¬ James Grant, in his Walk Across Africa, says that when department of almost all the well established Ameri¬ Maurice Renaud, singing Wolfram’s Song to the Eve¬ Music helps to win the war. To oppose it is an act of lowing example: poser” is utterly without knowledge of the rudiments the negroes who formed his escort were cleaning his can publishing houses. ning Star from Tannhiiuser to the French soldiers in disloyalty, of treason to our country. of composition, and his piece stands about as much rice, they were always supported by singers who the trenches, which were so close to the enemy’s line One of the few redeeming features of the war is chance of acceptance as a poem written by a man devoid Publishers Have Their Specialties accompanied their work by stamping their feet and that the Germans joined in the applause. indeed that it has emphasized the utility of music, and of all knowledge of grammar or syntax. Yet even these clapping their hands. What the average composer will not realize is that This may be fictitious, but it calls attention to the has shown how closely this art is interwoven with our manuscripts are carefully examined by conscientious Thus, at all times and in all parts of the world, the publishers, apparently mindful of the fact that the Lord most publishers have fairly definite fields of activity to fact that many singers as well as players have devoted soul life. But its function as a stimulant, tonic, and which they confine themselves. One publisher will cater their time going from camp to camp, bringing solace consoler in the army is only one of many uses for value of music as an aid and a stimulus to work is Future composers cannot fail to avail themselves of once spoke through the mouth'of Balaam’s ass. abundantly attested. Details regarding this function of Then there is the other extreme; the composer who more especially to the needs of piano teachers; another and entertainment to hundreds of thousands of soldiers, music. There are a dozen others, which I will con¬ this material, constituting as it does new resources for music would fill another big volume. To cite only one has seriously studied his art almost, it seems, to his aims to satisfy the needs of churches or gospel meet¬ Very much in need of it. sider briefly. And what I wish to emphasize par¬ expression and opening up new fields for investigation more: Among the ancient Hebrews, we read, “the own detriment. The writer recalls a young American ings. Some specialize on piano music, violin music, etc, ticularly’is that these uses are not recent products of in the domain of musical science. Bold experiments World War Upset All Ideas grape-gatherers sang as they gathered in the vintage, who wrote very agreeable little piano pieces which he having only a limited market in other fields. • civilization but are, and were, known even to bar¬ will always be made, and men of genius will, as in the published without any difficulty whatever. Getting There is only one way for a composer to be success¬ Tne great world-war not only upset all previous ideas barians and savages thousands of years ago. There¬ and the wine presses were trodden with the shout of a past, overthrow and demolish conventions held to be ambitious he went to Leipsic to study, and when he ful in "landing” his manuscripts. Let him first of all of military tactics, but of military music as well. fore those who speak of music as a mere luxury or a song; the women sang as they toiled at the mill, and immutable and indispensable. It seems probable, how¬ came back he insisted in attempting to unload upon his acquire a good (not necessarily an erudite) knowledge Trench warfare did away with the time-honored func¬ non-essential put themselves below these primitive men on every occasion the land of the Hebrews during ever, that there will always be an idealistic, as opposed long-suffering publisher compositions of the ultra-mod¬ of his art; let him be sincere in his work; and let him tion of the band marching at the head of the troops in their lack of comprehension of the vital functions their national prosperity was a land of music and to a realistic, school in art, so that even if it can be ern kind, clearly the result of much ill-digested learning. use good judgment first in composing his music and and inspiring them with courage for the coming battle. of music. melody.” The Only Remedy for Grief shown that certain things from which we instinctively This is not disparaging the ultra-modern tendencies, for secondly in sending it where there is a chance of there What bands are now used for is to provide entertain¬ Anthropologists tell us that there are tribes so low shrink are true to nature, those will not be absent who had his work shown the poetic atmosphere, and inspira¬ being an outlet for it. The writer has found it a good ment and lessen home sickness in camp; to stimulate that they have no dwellings and no clothes, but none so Music is also the great consoler in times of anguish, proclaim that Art is not Nature and that Beauty has a tion which is not infrequently present among even the plan on completing a composition to put it away for and sustain soldiers on the march; to rouse the by¬ low as not to have some sort of music, to which they after the loss of a relative or friend. I deeply pity truth all its o«n. “futurists,” he might have stood a chance. It was sim¬ a time, and then try it over after the enthusiasm and standers and to encourage recruiting. are passionately addicted. those who cannot at such a time sit down at the piano ply that he lost the free, spontaneous naturalness which glow of writing has cooled off. A careful and critical In the Bible there are frequent references to the Changes and improvements have, of course, been and play a funeral march by Chopin or Beethoven, or made his early pieces acceptable, and acquired nothing examination will often reveal shortcomings either in encouragement given to warriors by music, as, for in¬ made, particularly in war music. Grey relates that in the thrilling chords of Aase's Death from Grieg’s Peer “Interfering Notes” in Schumann to replace it save ponderous academic learning. technique or inspiration which indicate that the best stance, in Chronicles, where the victory over Jeroboam Australia among the aborigines four or five old women Gynt. Such music at first makes the tears flow more Quite experienced composers often fail through sheer thing to do with the composition that seemed so good at is attributed to the encouragement derived from the can with their singing stir up the men to commit any freely, but then follows a calm—a vision of a heavenly Young pianists are sometimes puzzled by finding the lack of inspiration. Their music is structurally good, the time of writing is to put it in the furnace. When sounding of the trumpets by the priests. bloody deed; and Wallaschek says of primitive music hereafter which Chopin, with the inspired psychological same key is apparently to be struck by both hands at but commonplace in melody and hackneyed in treatment you submit a manuscript to a publisher, you ask him to Everybody knows that patriotic hymns like the that instead of softening manners it too often, on the insight of genius, put into tones in the melodious once, and lay it to an oversight on the part of the —obviously work turned out to keep the pot boiling, and invest much time and money in it, in addition to paying Marseillaise have been a great help to the guns and contrary, “inspired the savages with a desire for fight¬ middle section of his Funeral March. composer or the printer. In the majority of cases, it for that very reason doomed to fail in its object. you a recompense for your work. Do not send him bayonets in winning battles. They are even more effec¬ ing, it aroused their anger, excited their fanaticism, If music is a “non-essential” why is it introduced at arises from the accidental interference of the notes in Others again fail through lack of judgment; they music he cannot possibly use and then feel insulted tive than brass bands in arousing patriotic sentiment, nearly all funerals? Everywhere is this done, and has attempting to carry out the melodic idea of two com¬ and by accompanying their war-dances, also in time write third-grade pieces with one or two passages that because he returns it. If you send him consistently ardor, and self-sacrifice, because it is more inspiring to been done the world over at all times of which there bined melodies, or of a melody and accompaniment. To of peace, it aroused their lust for war.” From such can be played by only more advanced performers. Or good work, he will appreciate it, and being human will help make music than merely to listen. are records. Here again those who would cut out write it in this way gives the player a better idea of the uses for music we have travelled a long distance in the they fail to study the publisher’s needs, and send him naturally look over any manuscripts you submit with a For this reason the military authorities of the United music in war-time showi themselves below the level of musical thought which the composer had in mind, and right direction., music good of its kind, but for which he has no market little more care than he bestows on the composer who States, like those of other countries, are doing all they barbarians and savages, who invariably express their one’s common sense should be sufficient to leave out and no facility for making one. bombards him with half-baked efforts. And you your¬ can to foster singing among the soldiers. Our boys in Religion and the Divine Art grief in songs of mourning or instrumental dirges. the note with one hand or the other, in actual per¬ Much has been said and written about the lack of self will enjoy the cumulative benefit that always comes France have been called “The Silent Army,” but that Hundreds of cases in point might be cited. I prefer, formance. Martin Luther preached that next to religion music encouragement given to the American composer, and from work well and truly done. is being changed. The comparative silence has been instead, to quote a few eloquent remarks on the bag¬ There are, however, some rare cases where it was ranks highest among the spiritual and moral forces. due to mere diffidence. A number of musicians are now pipe as a mourning instrument, made by Vernon Black- plainly the intent of the composer that both hands Would those men who assert that music is a thing engaged in overcoming this diffidence. A little instruc¬ burne in an article on The Music of the Gael. He should strike the key together, in order to produce a that can be spared in war-time have the audacity to go tion works wonders. As Havrah Hubbard relates in a dwells on “the cry of the pipes, and the immeasurable special effect, bringing out a series of notes with a mild and ask the ministers of the Gospel to banish the letter to Leonard Liebling: sadness of the Scottish tunes,” and continues: “As accent, somewhat different from any they could receive Let’s Have More Charity in Criticism divine art from the churches? I went out Wednesday to Camp Merritt with Robert Lloyd, you wait by the coffin of the dead, you hear the dim in the usual way. The most noteworthy example of this who Is the pioneer In the songleader work In the camps. At all times and in all countries religion and music At 11 A. M. he had brought before him in the Y. M. C. A. sound of the Coronach as it grows keener to your occurs in one of Schumann’s Blumenstiicke: By Wilbur Follett Unger have been inseparably associated. The Puritans are building 1,500 artillery men who bad arrived in camp only hearing. The pedal-note is a long monotone of grief, the (lav before, who came to the Y. M. C. A. direct from a only a seeming exception. It is true that they removed long hike, tired and not knowing why they had been ordered an enduring moan for the thing that has. been. The One of the easiest things in the world is to jump organs from churches and caused the choir books of be heard in that one display, and be rated accordingly to report. There did not seem to be a song in one of them. melancholy and windlike harmonies that are blown In half an hour by the watch Lloyd had taught them five some cathedrals to be destroyed; but Henry Davey at hasty conclusions in criticising a player. One of with unfair superficiality. songs, one of them an old artillery song which was not easy, above that note hither and thither, fall to the varying has shown that it is not true that music was forbidden the hardest things to do is to estimate correctly the con¬ The least said about nervousness to young pianists and at the end of the time the men left the hall rested, mood of the mourner, who finds, it may be for the first smiling and laughing, buoyant of step, and the majority of or discouraged by them. Cromwell was a musical en¬ ditions under which the performer is striving and the better! It is too big a subject to be handled com¬ ■y just had learned. time, with wonder and dismay, that to the human heart, them singing or humming -4C— 4—* “* thusiast, and so were Milton and other Puritan leaders. criticise him fairly. It is so easy for the public to prehensively in a short article like this, but I will say " t Quantico I ~,w Wilson take 300 men whom he even the sense of loss must, in its acutest knowledge of never had seen id in half an hour they had learned Bishop Potter declared that the history of music is say, in an off-hand manner: merely this in defence of nervousness: Without it, a of the hall singing lustily. And the present, take a relief and a change which seem six songs and we the history of religion. This is true in the sense that, “Oh! that poor girl is deluded with the idea that she performance would be flat and dull—strange as that about the camp a itico you hear the men singing in almost a treachery. since time immemorial, every church in every land has can sing!” or, may sound to the layman. Used in its best sense, ner¬ “Such music as this,” the writer continues, in what Field Marshal Lord Wolseley, in a preface contrib¬ had its characteristic tonal service, varying from epoch vousness is a spur which incites the performer to a is one of the most magnificent sentences in all musical “My child can play as well as that man, with all his uted by him to The Soldier’s Song Book, wrote that to epoch. This is one reason why music is called the keen realization of his best efforts. A sudden relaxa¬ literature—“such music as this, thus played, and on this big reputation.” “troops that sing as they march will not only reach divine art. Another reason is that it exalts the mind tion of the control of this force is often the cause for instrument, once more, in its gloomy and magnificent Seldom do those who make up the audience trouble a slip of the fingers or of the memory. their destination more quickly and in better fighting like the contemplation of things supernatural. Yet we completion, shows that in the mourning for the dead to inquire into the degree of real musicianship of the Ability, like exerything else in this life, is relative. condition than those who march in silence, but, inspired are asked to “cut it out” in war-time as a “non-essen¬ Scotland triumphed unto the attainment of the culmina¬ artist, or his length of study, his health, and other One,^musician may have full claim to the title “musi¬ by the music and words of national songs, will feel that tial.” For shame! tion of her musical art.” Some editions, with ill-advised good intentions, sim¬ numerous details. For example, a pianist may have cian” by being an excellent pianist, yet know nothing self-confidence which is the mother of victory.” Military music makes it easier for soldiers on the Among primitive races the function of the priest is plify the matter by deleting the conflicting notes from of the pipe-organ. Another may be a fine organist, yet at one time played with a brilliant, clean technic, and, Music a Real Need Now march to endure muscular fatigue. In many of our commonly combined with that of the medicine man. either one hand or the other, but this really nullifies unable to sing. A great singer may have little or no later, may have allowed himself the luxury of becoming In his splendid appeal, A Fight in Defense of Music, factories the girls contribute a mite from their daily That is, the same man who undertakes to conciliate or the composer’s intentions. knowledge of the piano—and so on. One pianist may “out of practice” from force of circumstances—lack the editor of The Etude said that “matter-of-fact men earnings to pay one of their number for reading or be a fluent sight-reader but a very poor memorizer— frighten the devil, also pretends that he can, with his of time, illness, and the like, at which time his playing of prominence have been going about the country, singing for them. and vice versa. A man may have great natural apti¬ musical orgies, expel the demon who is supposed to "A musical thought is one spoken by a mind that would unquestionably sound like that of another player. making unthinking statements that in order to win our Among more primitive peoples the utilitarian element tude for teaching, and yet possess a small amount o’ be responsible for a case of illness. Many African has penetrated into the inmost heart of a thing, de¬ On such occasions he should not be judged with finality, great war it will be necessary to discountenance certain of music actually overshadows the artistic side. Wild technic when it comes to performing himself. fi tribes have special musical doctors, who play their tected the inmost mystery of it. All deep things arc which, unfortunately, he frequently is! On the other so-called ‘non-essentials.’ Frequently the first named is tribes find it a great aid in stimulating them to work. The critic’s greatest blessing is charitv. He shmiltlj instruments, ring bells, and perform various foolish song. See deep enough and you will see musically.”— hand, a player of very mediocre ability might set for read regularly Chapter XIII of Paul’s first Epistle The books of missionaries and explorers abound in antics around their patients. In British Columbia this Thomas Carlyle. x himself the task of mastering some one “showy” piece, the Corinthians. *“ d U LI 1918 Page m TEE ETUDE Foundation Steps in Practicing the Scales Indian doctor has—or had—a band of assistants who, while he sang in the house near the patient, intoned a chorus on the outside, while beating time on the low By E. J. Decevee roof with sticks. The Walla Walla Indians made convalescents sing by the hour—which was not a bad idea, because singing The essential preliminary to scale practice is finger try this one, as follows : expands and strengthens the lungs—another of the im¬ control and independence. This we assume has been “Etude” Readers Decide the Case of portant uses of music—and leads to deep breathing, sufficiently well mastered through the practice of five- which is the most powerful -and immediate of all tonics. finger exercises. The first thing to which we would Of course, the medicine men’s antics were mostly direct your attention in scale practice is absolute even¬ Richard Wagner tomfoolery. It is not on the body directly that music ness, both in finger stroke and in tone volume. Spe¬ has an influence, but on the mind. More and more the cial attention should be paid to the fourth finger, be¬ Depress C, then strike E, F, rather firmly; then G, \ Interesting Results to the Trial Proposed in the February Issue of “The Etude” tonic and even curative effect of music is recognized in cause of its natural weakness as compared with the asylums for nervous and mental invalids. In many but without depressing them (G, A) in the slightest; other fingers. Again, the middle finger being the institutions there are bands made up entirely of the then reverse the operation in this manner: depress C, Votes in favor of Performing Wagner’s Works Outnumber Those Against Their Production Five to One strongest, should not be allowed to predominate; the patients, and testimony is unanimous as to the remedial then A, G, firmly; then F, E, without depression. This same may be said of the thumb. After sufficient at¬ exercise should then be practiced with the left hand, he is criminalized by a spirit that was foreign to their value of music under these circumstances. It is very gratifying to note the keenness with Khayyam hints of the possibilities along this line. Airs tention has been given to evenness of finger stroke placing the thumb instead of the fifth finger on C, In this country concert audiences are usually made which Etude readers participated in the “Trial of Rich¬ and choruses from Wagner now in print in English natures and to their works. and equality of volume, we would next call your atten¬ German military practice is the opposite of German up almost entirely of women. Men are usually “too ard Wagner,” as outlined in the February issue of The setting attest.' Recitative might sound out of place, but tion to the principle of “Legato”; by this is meant a art, not the outcome of it. Had Germany followed busy” or “too tired” to' attend them. They would Etude. The conditions under which the trial was con¬ it is time the public became educated to the sound of change their mind if they could be made to realize the perfectly smooth connection of the tones in succession, Regarding Tone Color the spirit of her really great men, her Beethoven, ducted were as follows: is own language in opera. Mozart, Goethe, Schiller—she would not now be the truth of Plato’s contention that music is a powerful not the least jerkiness should be tolerated, the action We -would next direct the pupil’s attention to tone Allowing that Wagner Operas could be given in the However, if this step is too radical, let them be trans¬ tonic which does for the mind what gymnastic exercises should come wholly from the fingers without any as¬ quality in scale practice, beauty of tone being the great English language in America, without rendering per¬ lated into Italian or French, to maintain their foreign despised of nations. do for the body. We might change the comparison and Are we, then, to fear and reject tHe good that was sistance whatever from the fore or upper arm. The desideratum in all technical work. Tone color is the sonal assistance to dangerous alien enemies, should they charm. say with equal truth that an immersion into music is as in Germany because of the evil that is in Germany? matter of placing the thumb under in ascending,'' and life of music, just as it is in painting. As before be debarred from our stage at the present time? Then let us drop from Wagner the only thing that is soothing and refreshing to the mind as a Turkish bath A certain class would have all German and Austrian the third and fourth fingers over in descending the suggested, mere linger dexterity may be obtained me¬ This is the question zee wish our readers to decide. German—the language. But Wagner’s own tongue, is to the body. In these-days of exceptional nervous composers shelved. Not only that, but a New York scale, is of greatest importance. The following pre¬ chanically, but tone color is purely an intensive affair, Is it necessay or advisable for the safety of our Gov¬ music itself, we cannot spare. strain, what could be more valuable than such a tonic? paper has sent out to the mayors of American cities liminary exercises for bringing this about, the writer and obtainable largely through conscious direction of ernment and the satisfaction of the feelings of the lie will always be Wagner, while the kingdom of an appeal to melt down all busts and medallions of has found valuable: Hold E down with the third finger attention. It is true that Touch is more or less a God- public to forego for the time what one well known Germany crumbles. His music always will be ours Messages and Signals the great German authors and composers. and exercise the other fingers slowly. given gift; still, a pupil can, by taking thought, add American critic has called “The grandest and most though the years widen between us and those who have Then why not destroy all the pictures of Kaulbach, One of the most important war-time uses of music to his musical stature. Do not practice, therefore, the original musical dramatic compositions of all times?" betrayed the land of his heritage.—D. L. Kirk, Spo¬ lies in its employment in the army for military signals. Defrcgger, Boecklemann, Hartmann, Hermann, Muel¬ scales in a perfunctory manner, but infuse your work In a forthcoming issue of The Etude we will print kane, Wash. There are dozens of different bugle, calls, each of which ler and a score of others, that are in the Art museums with a large element of thought substance. Strike the best brief for and the best brief against this issue. means as definite a command to the troops as if words of Boston, New York and Chicago? any tone at random on the piano just as hard as you All briefs to be in the form of personal letters to were used. It remained . for Wagner to show what MILITARY PRACTICE OPPOSITE OF ART. And but a step, further in reasoning: as printing would a piece of wood, and note the result—it is hard, The Etude and no brief to be longer than 500 words. subtle artistic use could be made of such “signals,” by from movable type was invented by Gutenberg, a metallic, tubby. Now strike a note, using a slight linger Vituperative, irrational, fanatical answers will not be The matter of Wagner or no Wagner for America his system of leading motives. German, would not the same spirit prompt us to do The above exercises should be practiced at first very considered. The Etude wants the sane judgment of during the war seems to represent the question pro The Maruns of Sierra Leone have fixed calls for pressure just as if you felt a weight on your finger. away with the printed word until after the war? A slowly, and after perfect evenness is obtained, the as many of its readers as possible. or con of all the German composers of former days. each of their friends by means of which they can Note now that the tone has quality, richness, and these rcductio ad absurdum that may carry conviction. speed may be increased. In order to gain complete The Contest brought out a splendid number of very There is a distinct reason why such Germans as summon them at any time—a very serviceable arrange¬ two important elements of quality and richness should By failing to draw the line between the good and excellent articles, so that decision was made very d.f- Richard Strauss, Weingartner and Humperdinck should ment, especially on hunting expeditions. Certain horn muscle control, we would suggest that the pupil prac¬ underlie all scale practice, and that without conscious the bad which comes out of Germany, we simply show ficult. Indeed, it was difficult for judges to determine be debarred from American ears, inasmuch as they calls are played in the Ashantee army to indicate the tice the following exercise: Let the fingers rest lightly direction to them first, last, and all the time, you will ourselves as being unable to distinguish between which was the best and, therefore, we have decided have, in writing, announced (bey uphold the bestial position of the chief during a battle. An African negro on the keys. The slightest depression of any key will inevitably develop into a very mechanical and soulless good and bad. And we, as a nation, take the altitude to print four or five on each side including the prize course of Germany in Belgium; consequently they never mistakes the meaning of a drum beat, knowing destroy the value of the exercise: of a child pouting in fear of legendary bogie man. winners. must advocate all the German iniquities. instantly whether it summons to war or merely to a Another Value in Scales England is playing the German classics in her con¬ Of those voting, five times as many were in favor But as to Wagner—and the whole list of classic dance. The practice of the scales also has a practical value certs. Germany is playing the French and Italian of the production of the Wagner operas under the German and Austrian composers, many of them de¬ in addition to that of lone quality. The remark is composers. They are not retiring, each to his corner, Social Gatherings, Weddings, Entertainments conditions mentioned as those who were opposed, to funct for a century or more—it is well to consider often made by pupils that they cannot read with ease and making faces at the other. Each is putting up a The list of important uses for music is inexhaustible. their production. whether by advocating their rejection on present-day music written beyond two or three sharps. “I just bitter fight; and each is respecting what it considers Let me refer briefly to two or three more of them. At It will be interesting for Etude friends to note that programs we are not allowing our (perhaps uncon¬ hate sharps,” is a very common remark. This is prob¬ good in its opponent. social gatherings, how often is it resorted to when con¬ this contest brought forth contributions from the scious) enjoyment in public applause to lead us into Shall the United States, then, in its newness in world versation flags, and how often does it form the climax ably due to the fact that more pieces are written in United States, Canada, South America, the West In¬ a Chauvinistic attitude which is more ridiculous than flat than in sharp keys. In picking up at random about politics and world wars adopt a less dignified attitude? of the evening’s pleasure! dies, Africa, Australia and Japan. practical. —W. Francis Gates, California. Social gatherings on a large scale are the community fifty pieces, the writer discovered that thirty-five were The great German composers, from Bach to Wag¬ chorus “sings,” which have in recent years become a written in flat keys. Such a preponderance of flat FIRST PRIZE—AFFIRMATIVE ner, would not, could not have been guilty of the over sharp signatures must result in a limited develop¬ modern German atrocities. Their whole preachment POLITICAL INFLUENCE OF WAGNER’S sort of musical cuit, like religious revivals, which they Wagner’s Tongue—Music Itself. rival in their serviceableness. ment in this matter of sight-reading facility, and the was in the other direction. The bestiality of the mod¬ OPERAS ENTIRELY NEGLIGIBLE. Why has Wagner’s opera come into disfavor? The supreme social festival is a wedding, and a writer has been able to overcome this deficiency by ern German soldier has no relation to the art of his If German operas are banished from the stage on Because it is sung in the German language, which wedding without a march,is as great an anomaly as a giving his pupils pieces written only in sharp keys, ancestors. He is driven to atrocities by his masters; account of the war, then everything of German origin has become obnoxious to American ears. Translate the church service, or a funeral, or a political meeting, and insisting on the daily practice of the sharp scales. should not be used at this time. As an example, I libretti and the problem is solved. But do not debar without music. Shall all these things be dropped on But, frankly, after all is said, and the prescriptions suggest the X-Ray, which was invented by a German. the music from our stage, for music is no more Ger¬ the amazing contention that music is a “non-essential” have been carefully written out, we face the brutal Its value to the medical profession makes it indis¬ fact that the average pupil refuses to take the medi¬ many’s than it is ours. pensable. This instance suffices to show the folly of Funds have been collected by the hundred thousands cine, and he really and truly "just hates to practice True, Wagner was a German. But has the Messiah disbandoning German operas from our stage, as we to supply our soldiers in the trenches with tobacco; scales,” just as we did when we w>ere pupils. There lost its popularity because Handel was a Saxon? No; are the losers and not the Germans. We are depriving it is written in English. Is not Liszt still on every and it is worthy of note that some of the contributors is nothing to do except to assure the pupil that this ourselves of something we have enjoyed for so many piano concert program? What of Schumann, Strauss, are men who do not believe in smoking. As we have kind of drudgery is unavoidable, and that art is an years. Certainly the Germans do not care whether we seen, some of the boys prefer music even to tobacco as exacting mistress, opening her treasures only to those Mozart? Their instrumentations still live undisturbed. perform their operas or not. Hertz, a German, gave us the wireless. Shall- we “first aid.” They are surely entitled to it; and so are who are willing to pay the price. To the pupil I would I presume that Richard Wagner is discussed in con¬ To obtain complete muscle Control in the above exer¬ drop it for the duration of the war? We have for¬ we who live through such anxious days at home. Not say: practice your scales slowly, try to make each tone nection with the German opera because he was Ger¬ cise and without depressing in the slightest any key gotten its origin in the realization, of the great good only because, as Shakespeare attests, music has the sing; to do this listen intently and above all, don’t many’s greatest opera composer. I wish to point out will require the utrnsst concentration; it therefore be- it has done. We cannot forget the origin of Wagner’s power of “killing care and ferief of -heart,” but because lose courage. that while he was a German, and lived long before this opera, for every word of it falls in German—that it is the most innocent of all amusements. world conflict was ignited, it is not fair to him to be hated accent which commands the kaiser’s vandals in Three cheers, I say, for our musicians -and our music associated with current events. Whatever his opinions teachers. By keeping up our spirits and in many other war-torn France. may have been about his government concern him only Bar Wagner? Because he deals with things Ger¬ important ways they are helping to win the war. and his contemporaries. But, as his arguments were What “Eurythmics” Means man? Certainly not. How few of his themes are of in favor of a democratic government, his ideals were even ancient Germany? How many of them, on Mistakes Cannot be Corrected in Public the same as ours, and for this reason his operas should the contrary, are confined to myths of the North¬ not be debarred from our stage. I am positive that By Maud H. Wimpenny land—scenes of lands which never were — customs By W. F. Gates every one will agree with me that a person is not and ideals akin more n'early to the courts of King Ar¬ judged by his nationality, but by the great works he Jacques Dalcroze developed a system of euryth¬ thur than to anything German. Even in Wagner’s day The writer has found these exercises a great aid produces. It is not enough for a public performer to be sure mics—which is a rhythm and counter rhythm expressed the seeds of Prussianism had grown so distasteful that he can come off with honor when conditions are en¬ m teaching piano playing, so much so that it seems Richard Wagner’s operas have always been con¬ simultaneously in bodily gestures. This is the redis¬ he sought elsewhere for framework for his great music, sidered as being among the best ever written, and have tirely favorable; he should make himself so certain an excellent plan to devote some part of nearly every save for a touch, here and there such as the endearing covering of one of the chief secrets of quick educa¬ been performed annually here and abroad. The stories that nervousness, distracting surroundings, slight physi¬ lesson hour to eurythmic movements. Good results capers of old Hans Sachs of the Mastersingers. But cal indispositions—none of these can detract from the tion by exquisite beauty of gestures and of groupings are specially incident when it comes to the matter of of most of them pertain to mythology, and conse¬ in bodily exercises of expression or, as he terms it, if even these memories of quaint old Germany of quently cannot be offensive to anybody. When we at¬ artistic standard of his performance. rhythmic complexities like “two against three.” These other days are intolerable, then drop the Mastersingers. One. of the most necessary things to acquire, is the realizing music in motion. His teachings develop and many other advantages are to be gained by com¬ tend an opera it is the music we think about and not rhythm to the highest imaginable extent, and it is But the others; what of them? the composer. I have never heard a composer dis¬ ability to go right on as if nothing had happened, in bining the Dalcroze exercises with the study of the Is translation worth the trouble? Surely. Make no cussed at an opera, and only his name appears in the case one is so unfortunate as to make a mistake. To claimed that lessons in rhythmic gymnastics help chil¬ piano, viz., grace of bodily motion, beauty of tone, a mistake, the d'sfavor enshrouding Germany is not for program and libretto. Foreign operas are sung in this end, it is well not to form the habit of stopping at dren to grasp other lessons better, for they develop finer sense of imitation, emotional and mental re¬ he duration of the war only, and the vehicles of Wag¬ foreign languages, and therefore it should be imma¬ a mistake, but to school one’s self to go right on to the powers of observation, of analyzing, of understand¬ sponse arid harmony of thought and feeling. All these the end of the piece, without becoming “rattled” in any ing and of memory, thus making them more orderly ner, once swung Into new channels, would not readily terial to us what that language is, so long as we ap¬ and more claim to be largely the result of this de¬ switch back to German. prove the music. way. and precise. lightful aid to musical training. The grace of Fitzgerald’s translation of Omar Referring to the paragraph in your article regarding Page Ml JULY igu THE ETUDE Page UO TEE ETUDE JULY 1918 this stand. For our own sakes we must not chtrisb ------ns - * ' " the influence of Richard Wagner’s operas on the pres¬ Schubert spoke a universal message for the entire hatred, for hatred corrodes and we would be the fi* ent generation, it is only possible for an extremist to world, and could we think of banning their music to feel its embittering influence. Only those . . — make such a statement, as I never yet met a person fitted to judge Germany now in this, her moment of . ■who was influenced by the story of an opera or applied Informed students of the past two hundred years of deepest degradation, who can appreciate her at h, any part of it to his life. music’s history know that Germany’s music of the old higtest. I The question at issue excludes the possibility of ren¬ classic era is vastly different in spirit and inspiration But German opera has been given preference fort# EfC', The Choice of Material for Developing dering personal assistance to dangerous alien enemies. from her music of recent times, just as her old good- long, to the exclusion of much good music of natured, peace-loving spirit was very different from Allies—French and Italian in particular—and the pobSc ’ Therefore, as long as fhe performance of Richard »£: ■!> Interpretation Wagner’s operas is compatible with the requirements her modern dream of world conquest. If Wagners is in a peculiarly receptive mood at present for experi- music appeared to be inspired from the pure devotion, |H/'i S# of our Government, I see no reason why they should ment along these lines. 14 -M} m An Article of Particular “Summer Self-Study” Value to Teachers and Advanced Students be debarred from our stage at the present time.— kindliness, love and Christianity which produced Ger¬ Now is the time to foster National spirit in music. many’s old classic music, who would be so short¬ Carola H. Bussereau, New York. “Modest Altschuler predicts that dating from the wjj ill Si By FLORENCE LEONARD sighted as to want to bar it from our programs now? America will begin to evolve a truly national music’ | However, let us not put too much stress upon what Debarring German opera means greater opportunity lude, happily combines both lines and chords, is simple he said at different times. He was undoubtedly a for American musicians. We are only following tb Nocturne in E flat, however, will bear the simple inter¬ In developing a pupil’s powers of interpretation, the in design, with not too great depth and little subtlety BEWARE THE BLINDNESS OF ANGER. genius, and had all the inconsistencies of a genius, example of other countries in discarding whatever pretation. Yet it may gain new beauty under a more which are freely admitted by his biographers. Rather choice of compositions is, plainly, of the greatest im¬ of meaning. It does not need the fanciful title to bring Why exclude Wagner opera, especially if it be pre¬ might impede progress. To quote again, “The subtle touch. The F major, Op. 55. may be taken portance. it within the scope of the young student, and it be¬ let us pass judgment upon what he has done. of music flits from country to country and from rate simply. But the G major, Op. 37. No. 2-! Though sented in English and without profit to our enemies? One order of choice, sanctioned by years of usage, comes an excellent introduction to deeper thought and Wagner’s music dramas are founded upon old. fairy to race.One thing is certain, whilst the Nations part of the technic is difficult, the structure is simple— This is an excellent opportunity to develop good trans¬ is to begin with Mozart and Haydn, and continue more complex construction. Many other compositions legends and German folk-lore, which he has treated one after another seize the torch, and in due a continual, repeated rise and fall of softly shimmering lations, not only of Wagner, but of other foreign with great primitive or barbaric strength. The through Mendelssohn, Beethoven, Schubert, Chopin, to may be grouped with these, as simple, obvious, and not works, and thereby attract an audience that has been pass it on, it can only burn brightly in the hands of Liszt, Brahms and Schumann, injecting Bach into the sixteenth notes, and a long swing of slow phrases, Nibelungen Ring contains morals which are absolutely those who can feed its flame with the oxygen of modulating out and returning. Simplicity and repeti¬ difficult. , kept away from opera because it has not been given scheme, frequently. But the obvious list must contain compositions of incomprehensible to our modern standards. His music strong national feeling. The Russians have felt this tion—here are the very reasons for subtle and deli¬ to any extent in English. The advantage in this procedure is that it begins several grades of difficulty. The facile, thoughtless in general is big, compelling, almost totally devoid of so strongly that in their efforts to develop a real Rus. cately varied treatment. The subtlety in the E flat If objections are restricted to the works of living sentinlent and of the warmth which moves the heart. ■with the most simple forms and the collocations of student, is one of the most frequent problems for a sian school they have deliberately east on one side 2 Nocturne, for instance, can scarcely go beyond a choice Germans, no dissenting voice should be raised to pitch¬ I will grant it is hypnotic, but what does its hypnotism fewest notes, and advances to the most complex ones. teacher. The more musical, serious-minded one, who great deal of the work of the Germans, from Bach to of one or two tone-colors, with an occasional slight ing them overboard, lock, stock and barrel. But Wag¬ prove? Surely not an inspiring, uplifting, influence, It leads, also, from those phases and expressions of has to grapple with difficulties of technic, is another. Beethoven.” variation in tempo and force. With more, the piece ner is not one of these, and has no more part in our but rather a domineering spirit of mental tyranny; for feeling which were once thought cold and reserved to For both of these types in the more advanced grades, There is talent here to be encouraged. To quote becomes over-sentimentalized, and loses its chief traits present quarrel than Chopin or Verdi. hypnotism is mental tyranny contrasted to the fihysifal those which were considered more passionate, dramatic, there are obvious, brilliant compositions in which both - again from your own files: "In this country, with its of outline and spirit. We all remember the difference Moreover, why should America be more sensitive tyranny of man exemplified by brute force. There is or intense. chords and lines appear, where the thought does not vast mixture of races all thrown into the melting pot m the ways the violinists interpret it—the masters and too much of the mind’s cold processes in it, unwarmed Change of Ideas lie too deep. If they contain a dramatic quality also, than England to the name Wagner? If Londoners can of American traditions, climate and surroundings, by the warmth of the heart, just as modern German But recently a change has come about. Mozart is the others. ■they often bring out the student—his courage or con¬ view Tristan comfortably with the likelihood of bombs there is all the material of a splendid artistic develop, efficiency is scientifically cold and repellent. no longer considered an easy stepping-stone to Beet¬ A Subtle Interpretation from a Zeppelin dropping any minute, it would seem ment. Every kind of talent is latent here. All that is fidence, his feeling for contrast, his perception of value Wagner’s music may compel our admiration, but I hoven; no longer as only a singer of simple melodies. But suppose we look at Paderewski’s interpretation and force in construction—as suddenly as a chemical that we at our present safe distance have no reason required is opportunity, inspiration and guidance. do not think we are moved to higher ideals by it. Intensity and subtlety of feeling which cannot be ex¬ of the G major. How, in the first part, his ritardandos, brings out 4he picture on a photographic film. Such a to object! We need institutions to train and guide aright the There are many great men and musicians who have pressed by the tyro, are found in many of his works. almost too slight to be so named, intensify the shaping list may well contain: Weber, Invitation to the Dance, It has been said that the influence of Richard Wag¬ amazing quantity of all kinds of artistic talent which felt its cold grandiloquence, posing and bombast, such The real Haydn requires more than a neat and fluent of the melody, the brooding light and shadow of the Finale of Sonata A flat major; Liszt, Rigoletto Fan¬ ner has brought about in part the present unrest in the is latent among .the people of our country, and so as Tolstoy, Tchaikowski, Billow and many others, so delivery of runs and chords. In the Sonatas of Beet¬ modulations! And in the slow theme, how the slight tasia, Polonaise, E major; Schubert-Tausig, Marche world, but what is the present unrest other than the much of it unfortunately goes to waste." that we who feel the same need not feel that we are hoven, some of the most innocent-looking combinations dwelling on the turning-point of the phrase makes Militaire; MacDowell, Concert Etude. Sinding, Rach¬ effort to be free from shackles of tradition, and to In the trade world when German goods were de¬ alone by any means. of notes require the most skillful handling. There are more poignant its sad sweetness! How the daring spirit maninoff, Moszkowski, also furnish examples. promote democracy everywhere and in every line of barred, what wonderful discoveries were made, what Frankly, it seems as though Wagner’s music stands compositions of Chopin which are as frank and obvious rises for one moment to a tumult' of passion, and the For these students, again, the first study and per¬ thought ? new industries established! In many cases substitutes for the same cold, posing spirit and the sheer might as Mendelssohn and Weber. Even a Brahms Ballade following alternations of quickened and retarded pace formance of certain more subtle compositions is valu¬ have proved superior to the original. The public will Wagner stood throughout his life for this liberty of which would force things from us as modern German or Rhapsody, or a Schumann Novelette or Faschings- (varied from the first plan) carries the mood through able. The Schubert Impromptu, B flat major, Mozart not miss . German opera—no opera houses will be spirit, and his operas breathe revolution against estab¬ militarism. schwank may be less subtle, or need less subtle treat¬ till it subsides again into the insistent seventh, and Fantasia, C minor, are examples. In this first render¬ lished precedent and arbitrary authority. Would it Megalomania is defined as being a mania in which closed. Carmen was given with success at the Thanks¬ ment than a Schubert Impromptu, though in the former the doubly suspended cadence chords! These effects, giving matinee at the Metropolitan, New York, where ing, the meaning should be regarded as obvious. The not appear highly appropriate, then, to keep the music the patient suffers grandiose delusions. It has in¬ the chords be rich and the rhythm syncopated. as he makes them, are not obviously written in the lines of phrasing should be long and simple, the con¬ of one of the world’s most pronounced democrats as spired Germany to crushing size and preponderant bulk it is an annual custom to present Parsifpl. Dc Koven’s Is there any classification which is based on the new text, for the casual player. They, and other meanings Canterbury Pilgrims, given at the Metropolitan for trasts strong and not too frequent. Such compositions a stimulus during the battle we are fighting f or democ¬ in all things—the biggest gun, ocean liner, unwieldy ideas, and is yet comprehensive and elastic enough to in the elusive moods, must be sought in subtle readings as Liszt’s transcription of “Du bist die Ruh," or Zeppelin and the maniac’s dream of “world conquest.” the first time, “proved one of the most beautiful spec¬ racy? If we are going to discriminate against dead fit the many personalities which present themselves to of such common signs as phrase-endings, suspensions, “Hark, Hark, the Larkf are most instructive. The re¬ Are not Wagner’s music dramas—which are the most tacles ever given at the great opera house." Victor Germans, let us rather oust Meyerbeer, an avowed the teacher’s mind? - sequences and modulations. For this Nocturne is presentation of the same theme, so strong in feeling, “grandiose” of any ,staged—filled with big monsters Herbert’s new Irish opera, Eileen, has made a “great chiefly a simple structure of lines. Shifting modula¬ Prussian, who spent his life enriching himself in hit.” The rational development of thought and understand¬ in so many different guises, gives excellent opportunity France, and then was, by his own request, buried in and primitive characters with rough, elemental strength ing would seem to indicate three groups of composi¬ tions and intensification of melody, through fairly sim¬ Isidore Phillip has been giving Tecitals in Paris of for experiments in subtlety. his beloved Vaterland. —her modern expression of megalomania in music?— tions : 1. Simple and obvious.' 2. Complex and obvious. ple chords, are the only complications. Archie A. Mumma, Ohio. American music exclusively. MacDowell recitals have Furthermore, can we afford to be without, even for 3. Subtle (those which are subtle in structure and feel¬ The obvious composition must interest the student; Definite Interpretation Valuable been given in Australia. The Elgar Choir, of Hamil¬ ing, or, equally, those which require subtlety of treat¬ it must not be dry. It must have feeling. Many young Daily experience demonstrates that a definite, well a limited time, creations which are considered the ton, Ontario, has been giving concerts of American highest development of opera form? Since we are ment to express their full and true meaning). students find the line-structure dry. They have not thought-out rendering, may make a student’s interpre¬ GIVE AMERICAN MUSIC A CHANCE.. music. An opera by an American composer. Paul behind in operatic composition, we have need of all The meaning of a complex composition may often be learned to find the feeling in it They respond more tation intelligent, without sacrificing its musical and Allen, has been recently produced in Florence, Italy. spontaneous quality. Such rendering must be devel¬ the good opera we can import, both for pleasure and I wish to oppose the production of Wagnerian opera somewhat difficult to elucidate, without being subtle. readily to the feeling of the chord-structures. Chords Give the American composer the stage at home. Therefore complex writing seems to stand between the oped through the idea of feeling in the music, and profit to the public and for example and inspiration in America at this time. I do not believe it 'is to the point plainly the way of the mood. The trend of them I have just read an Etude article. "Is Music Des¬ obvious and the subtle, to lead from one to the other, defines the form. The mass of them intensifies the not on a dry, uninteresting skeleton. Analysis must to our own composers. best interest of the country, and shall endeavor to- tined to Erase the Hyphen ?” Surely not. if we con¬ oftentimes. We can play a Schumann Sonata better rhythmic movement. Therefore compositions in chords be based on the spirit of the music, its feeling. Defi¬ Is it patriotism to discard something beneficial be¬ convince you by quotations from editorials and articles tinue to present operas which are “monuments of Ger- published in your magazine that it is not. for having thought out the Bach B major Fugue, the should be among the earliest in the scheme. nite interpretation will give to the player, besides, cause its name produces hysteria in unthinking people? man life, tradition and mythology.” We would be First, however, let me state that I am a Canadian, Finale of the Chopin B flat minor Sonata with more security and authority which will never be his if he Germany is teaching us better by continuing English, foolish, indeed, to teach the German or French lan¬ and have lost heavily in the war, and yet it is not understanding and depth if we have traced emphases Influences of Chords trusts to the mood of the moment, only. Ask the French and Italian operas, newspapers, and books, and guage before our own,—but that it what we do in through any hatred of the German- people that I take music. and contrasts of a theme through the famous Bach There is still another reason for using them early. great players whether they play according to the mood studying these languages harder than ever. Gigue in G major. Contrapuntal writings offer innu¬ In interpretation as well as in technic, the first object of the moment, only. Do they not previously think out Why not then banish everything that even suggests Would we not be truer, patriots to think of our needs, merable examples. of training should be to set free the personality of the and test the effects of a composition? Does not the Germany and put “America” (English speaking North both now and after the war, and to build up our The subtle, however, may be either simple or complex, player. There is freedom of feeling in chord effects. mood of the moment cast a light or glamour over that America) “First,” give the public what they want and strength along every line possible? Weakness in one and the simple is sometimes as difficult to render as The idea is not narrowed io the simple definiteness of interpretation, illumining with unexpected meaning an A Vacation Rest for give American music a great opportunity.—Irene line. Nature amply illustrates these influences. In the part of a defense affects the whole line of resistance. Huston, Canada. the complex—compare, for instance, the two-voiced por¬ elusive phrase, a hitherto unimportant turn of melody Loss of self-control in a prize fight means blurred Music Teachers tions of Beethoven’s Op. 109 with the Prelude and waters, for instance, the breaking of waves, and the or sequence of chords? vision, impaired judgment, weakened muscles. In this Chorale of Cesar Franck. dashing of great masses of spray, broaden the im¬ The difference between playing without a definite A limited number of teachers of music, great prize fight of nations, in which America is ad¬ pulses, set free feeling; whereas if the eye follows the plan, and playing with a definite plan, is like the dif¬ desiring change and rest for a short period l. The'SImple and Obvious mittedly the deciding factor, should we waste energy path of a rivulet, or the track of foam on the distant ference between memorizing by impression, and memo¬ during the summer, can be accommodated in At the beginning, then, stands the obvious. Now in unreasoning prejudice and unnecessary anger, when lu,|owing bits taken from the lives of surface of the ocean, more concentration of impulse, the simplest structure, or a single line of melody, is rizing with conscious knowledge of phrase and note the spacious modern building of the Presser illustrious French masters tell their own story, more intense attention is aroused. The line of the the stakes for which we struggle are nothing less than by no means always the simplest to interpret. Beet¬ the element of luck increases with the absence of defi¬ Home for Retired Music Teachers, at Ger¬ ultimate triumphs of these men make these little s rivulet is like melodic line, in effect, the masses of the liberties of the world? hoven, Op. 109, has just been mentioned. Op. Ill, also, nite conception. mantown, Pa. The expense of room and g e paragraphs immensely encouraging to all waves are like chord-masses of tone. Masses of' cloud Should not America rather seek to be Galahad of board will be at cost. This will give the dents who are now “fighting to get a start.” and the two Concertos, G major and- E flat major, are Of course the conception should be built upon the and color in the sky, and fine, delicate cloud-patterns growth of melody, contrast of phrases, tendency of the pure heart and stainless vision, who, going forth teacher an opportunity for a visit in Phiadel- Charpentier worked in a rope factory to get a largely, two-voiced, simply constructed movements. have similar influences. chords—the musical message, the feeling underlying with “strength of ten,” shall secure for mankind the phia’s park-like suburb, a chance to see Amer¬ Bizet made “hack” piano arrangements of or Yet all of these are reckoned, aside from their tech¬ In technic, also, the influence of chords is helpful. precious Grail of human freedom?—Mary Louise ica’s “cradle of Liberty,” and also to attend nical difficulties, as severe tests in interpretation. Mo¬ them. Pictures, stories, imagery are not music. There tral pieces to eke out a living. With the new weight-technic, chords become easier of Townsend, Washington, D. C. che band and orchestral concerts at Willow Debussy fell fearfully into debt during his s zart, simple in structure, with much outline of melody is often a temptation to substitute them for musical execution than they used to be. They give security, Grove Park, which may be reached by a de¬ gle years, but was able to clear himself by his and simple accompaniment, sets a task for the artist thought, because that is often an easier way to get an and they afford a basis for building up more advanced lightful trolley ride from the home. successes. * * 3 in the Concertos, the Fantasias, the A minor Rondo— effect from an unmusical player. If they are necessary technic. to bring out the feeling of the phrase, then they must FIRST. PRIZE—NEGATIVE. Those contemplating visiting the home in ®<:rIlOZ goj a j°b as a chorus singer in a c even the little Romance in A flat. the above manner should write to the Superin¬ theatre in order to keep body and soul together. The obvious group must, therefore, contain many be used. But the teacher who can arouse feeling first WAGNER A MEGALOMANIAC. Simple Compositions Are Often Subtle tendent, Home for Retired Music Teachers, Gounods struggles were largely fought bv his t compositions built upon chord-effects. Useful compo¬ through the ear, and then through illustration, is Does not the cause of the Allies in this war mean Johnson and Jefferson streets, Germantown, mother, who taught night and day in order that The Nocturnes of Chopin—what variety in one and sitions in this group are: Polonaise Militaire, Chopin; strengthening important fibers of musical growth. The absolute justice to all peoples? How can we hope to Philadelphia, Pa., for particulars and an illus¬ son might have the opportunities that she knew the same form! The beautiful Nocturne in B major Minuet from Sonata, Grieg; Novelette F major, B artist-painter, even, who uses pictures as his means of be champions of justice if we foolishly deny it to the trated booklet showing the interior and exter¬ he deserved. (Op. 6i, No. 2) under a master’s hand is enthralling. minor, Schumann; Toll’s Kapelle, Liszt; the favorite expressing feeling, when he creates a picture, selects sublime music Germany has produced in the past, even ior of the home. Delibes and his mother went to Paris entirely wit If, however, it is played in an incidental manner, and Polish Dance, Scharwenka; Hunting Song, Mendels¬ portions and rejects portions of what he sees in Na¬ though her Hohenzollern rulers have made her our resources owing to the death of the father. ’ He invested with only ordinary tone and feeling, interest sohn; Eagle, MacDowell. Several of these composi¬ ture. He does not use photographic reproductions. enemy to-day? Bach, Haydn, Mozart, Beethoven and a jeautiful voice and almost supported bis famil. may be lost in the middle portion, and only recovered tions contain line structure also. The Prelude in D flat The artist-musician finds in his art something higher singing in the church of the Madelaine. when the trills capture the wandering attention. The major, of Chopin, sometimes called the Raindrop Pre¬ than mere imitation: he finds combinations of melodic THE ETUDE Page US Page U2 THE ETUDE JULY 1918 with all intensity the noble or the tender or the tragic, line, of chord-masses of color, movement of rhythm "A flock of sheep that leisurely pass by, then we do not shout with full voice, nor speak with and harmony. All these, growing in intensity, become One after one; the sound of -rain and bees one, a unit, a whole, and speak to his feeling, not alone Murmuring; the fall of rivers, winds and seas. through their individual beauty, but through symmetry, Smooth fields, white sheets of water and pure sky; Just so, in complete control of our instrument, »e contrast, growth, in sound. I’ve thought of all by turns, and still I lie must have a reservation, a refinement, an intensify, Modern Impressionism appeals to the senses differ¬ Sleepless; and soon the small bird’s melodies tion which does not conflict with velocity, which is ently. Here the story of pictorial impression is of Must hear, first uttered from my orchard trees, capable of great carrying power and great climaxes. first importance.. And the first cuckoo’s melancholy cry. Such a technic is a restrained one, a controlled, guided Learning How to Teach the Pianoforte The second group, that of complex compositions, will Even thus last night, and two nights more, I lay. movement, with intensity which is translated from contain several kinds of complexities. At the word And could not win thee. Sleep, by any stealth: thought into muscle—muscular energy assisted bj “complex,” perhaps the first composer who comes to So do not let me wear tonight away; weight, but no longer dominated by weight, a different By OSCAR BERINGER mind is Bach. In Bach’s works can be found every Without thee what is all the morning’s wealth? sort of technic. The reader should beware of the error type of structure and feeling, from simple and Obvious Come, blessed barrier betwixt day and day. of thinking that the free, relaxed, technic is a wholly Professor of Pianoforte of the Royal Academy Dance Movements in the French and English Suites, Dear mother of fresh thoughts and joyous health!’’ uncontrolled movement and swing. Too much swing A portion of The Cloud, of Shelley, serves as type the complex and obvious G major Fugue (second too great release of the weight would be crude and series), the simple and subtle E flat minor Prelude, to of simple and subtle:— ineffectual. The distinction between the two kinds ol dent to suggest remedies for overcoming these defects. complex and subtle compositions without number. “I bind the Sun’s throne with a burning zone, Up to now most young teachers have been forced a passage or melody sound if played by a flute, another technic is between a tone made by swinging weight For example: A. is a lady pupil who has rather small But the wise teacher may not choose Bach for intro¬ And the Moon’s with a girdle of pearl; to acquire their knowledge of teaching by long and by an oboe, another by a clarinet, by the string quartet, and that made by muscles which exert a form of pres¬ ducing the pupil to complexities. First of all, there The volcanoes -are dim, and the stars reel and swim. painful experience; their first pupils having suffered or a rumbling bass passage by the double basses; or a hands, not very flexible fingers, and is also rather sure, reinforced by controlled weight. must be an appeal to the pupil’s taste, if there are to be When the whirlwinds my banner unfurl. badly in consequence of being taught by teachers who, humorous passage played by the clown of the orches¬ wanting in rhythmical feeling. What technical exer¬ cises and pieces would you give her? B. is another results in working out complexities. And not every From cape to cape, with a bridge-like shape, Styles of Technic Applied although capable of playing decently themselves, had tra, the bassoon? Beethoven’s music often requires strong contrasts, and also the most subtle lights and lady, who has long fingers and very loose joints. pupil will take pleasure, at this stage, in studying out Over a torrent sea. A small composition may illustrate these different only the most rudimentary notion of how to impart shades. The music of Chopin, the pianoforte poet What technical exercises would be best for her, and Bach. So the teacher turns to the Romantic School. Sunbeam-proof, I hang like a roof; ways of playing. Try that short Lyric of Grieg’s, their knowledge to their own pupils. This fact should There he finds various sorts and degrees of complexity. The mountains its columns be. be realized and faced by all competent teachers. par excellence, does not reach such heights as Beet¬ what must she do to prevent the joints from being Zu Deinen Fiissen, with the relaxed, free technic, the unduly depressed? C. has hands with very close ten¬ Rhythmic surprises and complications, themes inter¬ The triumphal arch through which I march, direct, vertical swing and fall of the freely moved hand The first point of importance to be noted is that hoven’s. His nature is more feminine, emotional and woven with accompanying parts, in many ways, or With hurricane, fire and snow, nothing must be taught merely mechanically; every¬ intensely intimate, while his rhythm is more elastic. dons, has rhythmical feeling, but is wanting in expres¬ and arm, with fingers in contact with the keys. Every sion. What kind of technical exercises and pieces broken and tossed about among various parts, chord- When the Powers of the air are chained to my chair. tone may sing clearly, with accurate connection to its thing must be clearly explained. It is not sufficient That is to say, his music requires much rubato playing. progressions unusual and deceptive, curious balancing But this rubato must be understood in the sense in would be of most service to her? D. has good hands, Is the million-coloured bow; neighboring tone in the phrase, and the shadings of the for a fact to be merely stated, but it must be ex¬ of phrases—these all appear in more or less difficult considerable talent for music, but is careless and lazy. The Sphere-fire above its soft colours wove, phrase may be sympathetically done. Yet something is plained so clearly that the pupil-teacher will be able which Liszt, who was a great friend of Chopin’s, and guise—difficult to unravel, to execute, to make plain. While the moist earth was laughing below.” How would you treat her? E. is a boy who is musical, lacking. Again, take the melody with finely controlled, to impart it again to his own pupils. Cross-examination frequently heard him play his own compositions, de¬ But in either the Romantic or Modern compositions, A short selection from many examples to be found but has very big, clumsy hands and stiff fingers. What circling, gliding hand, with fingers “prepared” by some¬ is most helpful in every case. scribes it. Liszt’s definition of rubato is: “You see even in Beethoven, only a portion of the structure is in the works of Robert Browning, will illustrate the that tree? It's leaves move to and fro in the wind should he do to get a musical tone, lightness of touch, what high, controlled lifting, with careful descent of complex. complex and obvious—a fragment from Bishop Blou- Teaching Technical Exercises and follow the gentlest motion of the air; but its and a fairly brilliant technique? the guided arm, directly from the shoulder, making the A short list of typical compositions in this group, gram’s Apology:— The object of every new exercise should be fully trunk stands there immovable in its form.” Putting Innumerable cases could be cited, but I think these finest of shadings by these means. Let the left hand of various grades of difficulty, would include: Men¬ "That way explained, with regard to quality of touch, amount of are enough for our present purpose. swing its accompaniment freely, or let it, also, be con¬ delssohn, Variations Serieuses, Prelude and Fugue, E Over the mountain, which who stands upon tone, and especially with regard to time and rhythm. Of course a great deal depends on the selection of trolled in a long sidewise swing which is almost a minor. Songs Without Words, D flat, E major; Weber, Is apt to doubt if it be indeed a road; Every exercise should be given with a definite object, the most appropriate technical exercises, studies and glide, with not too free a wrist. Then choose which Sonata, C major, first movement, A flat major, first While if he view it from the waste itself. be it finger dexterity, scale playing, arpeggios, octaves, pieces. Let me suggest a few remedies for some hypo¬ of the two styles of tone suits best that melody. movement; Chopin, Polonaise, C minor; Schumann, Up goes the line there, plain from base to brow, extensions, etc. The study (Etudes) should always be thetical cases. Or take the Aveu from Schumann’s Cam real. First many portions of the Faschingsschwank, Papillons, Not vague, mistakable! what’s a break or two chosen with a view to putting the already acquired play with a free swing of the finger in the knuckle, How to Deal With Certain Cases Kreisleriana, Aufschwung, Grillen, In der Nacht; Grieg, Seen from the unbroken desert either side?’’ technical efficiency to a real musical use. The pieces while the arm rotates, or balances vertically, freely, Erotik, Scherzo, Sonata, first and second movements, “Complex and obvious” composition is found much selected must be well within the grasp of the technical Rhythmically defective pupils must be made to with the finger. Observe that “freely" does not mean, Aria and Rigaudon from Holberg Suite, Ballade; Hen- more often in music than in poetry, unless we include capability of the pupil. It is not possible to play a, rhythmically accentuate all technical exercises. Both necessarily, with large movement. Too large a move¬ selt, If I Were a Bird; MacDowell, Brook; Rachman¬ the drama. piece artistically if the performer is afraid of any¬ studies and pieces must be chosen with the particular ment may destroy perfect co-ordination of the joints. inoff, Prelude, G minor; Wagner-Brassin, Magic Fire For a complex and subtle poem, notr too intricate, thing ahead which he knows he is not yet able to object of cultivating the sense of rhythm. Such pieces Take the octaves with a direct drop of the arm, not Music, Waldweben; Liszt, Au Bord d’une Source; let us take these verses of Swinburne’s, called Sleep: master. It is not enough to teach a pupil to play a are Mazurkas, Vaises, Polonaises, Marches, etc. too heavily weighted. Use the same kind of tone in Reger, Aus Meinem Tagebuch, Op. 82, Vol. 2, No. 3, “Sleep, when a soul that her own clouds cover piece correctly, or in a parrot-like fashion. He must It is a curious fact that many teachers consider dance the accompaniment. No. 8; Brahms, Rhapsody, G minor. Op. 79, No. 2; Wails that sorrow should always keep understand it melodically, harmonically, rhythmically, music beneath their notice. They regard it as far Next, play it with fingers close to the keys, forming Intermezzi, Op. 10, No. 3, Op. 76, No. 4; Beethoven, Watch, nor see in the gloom above her and must also thoroughly grasp its form. too vulgar, and yet most great composers have tried the tone by swinging the arm only, in small move¬ Sonata, Op. 31, No. 1, Rondo; most of Op. 28, Allegro Sleep, their hand at dance music: Bach in his Suites, Beet¬ ments, with several notes delivered by one swing. The and Rondo; Op. 10, No. 2, Presto; Op. 2, No. 1, Alle¬ Down, through darkness naked and steep. Broad Repertoire Desirable hoven in his Deutsche Tanze, Schubert in his nume¬ octaves will be played as they were before. The gro, Adagio; Op. 2, No. 2, Allegro; Op. 2, No. 3, Sinks, and the wings of his comforts cover In order to select appropriate music for each indi¬ rous Waltzes and Ldndler, etc. Mozart said, “If a man Scherzo, Adagio; Op. 7, Allegro (3d movement). Close the soul though her wound be deep. accompaniment is to be played with a drop on the vidual pupil a considerable knowledge of pianoforte cannot write a good dance tune he is not worthy to be lowest bass-note, the other notes “swung” out, like the literature is required. Every teacher ought to be called a composer,” and Brahms, on hearing the first A Comparatively Small Group God beloved of us, all men’s lover. All most weary that smile or weep melody in the right hand. This gives another tone- fairly conversant with the most suitable studies and performance of Strauss’ Blue Danube Waltz, said that Except for Bach, Haendel and Beethoven, this group Feel thee afar or anear them hover. effect, more flowing, less distinct Compare the capacity pieces for teaching composed by the great masters; his only regret was that he had not written it himself. is smaller, necessarily, than either the obvious or subtle Sleep." for expression, the intensity of feeling, in these two. such as Bach, Scarlatti, Haydn and Mozart; also with Pupils lacking in expression but having some sense group. For, naturally, the majority of obvious compo¬ Then pjay in a third manner. Fingers, hand and arm, the Sonatas of Beethoven up to Opus 90; with Men¬ of rhythm would do better with lyrical pieces such as To compare in detail the two sorts of technic, would sitions would be simple in structure. The subtle ones are as if molded together, yet not hard, not stiff, only delssohn’s compositions, especially his Lieder ohne Noctums, Lieder ohne Worte, etc. would include both simple and complex structures. be outside the scope of the present paper. But we can quiet The fingers, however, take their places, the Worte; with Chopin, in particular his Mazurkas, Program music, portraying certain definite emotions, So both of those classes would be large. For instance, say in general, that whether the meaning lies on the elbow yields slightly. But the tone is made by “mas¬ Vaises, Nocturnes, Impromptus, and his Variations— would also be of material assistance. Lazy but tal¬ MacDowell would usually be found in the simple group, surface or hides beneath it, whether it can appear only saging” pressure, muscular action and control, some¬ Opus 12. The pupil should also have acquaintance ented pupils require much patience on the part of the and Chopin rarely in the complex, but often in both after intricately twisted threads of melody and chord times with gliding, always with gliding and lifting at with the easier pieces of Schumann. Modern music teacher. Firmness augmented by occasional sarcasm subtle and simple. (Note.—To even the simple and and rhythm have been disentangled, the basis of all the end of the phrase. Some players would add, too. might safely be left to the individual taste of the I find most useful in such cases. Phlegmatic pupils obvious composition, the artist will often add a touch the different interpretations must be in the technic. to the arm movement, a rather high, controlled lift teacher. Personally I find MacDowell’s small pieces of finesse. The present discussion concerns the devel¬ And technic must respond automatically to the thought require stirring up. To appeal to their ambition is the and descent of the separate fingers, except in the octave very charming and most helpful. To avoid monotony most likely way of influencing them. Competition with opment of the student. For him, the effects of finesse of the player. For technic provides not only the veloc¬ passage. When these movements are correctly made, the student should always study two or three pieces more diligent and successful students will often have can occasionally be suggested, at this juncture, rather ity and modeling of the phrase, whether in single notes they result in a tone of a certain, unmistakable expres¬ than systematically taught.) or chords, but it provides also the coloring—different simultaneously; one of the classical school, one of the desired result. sive quality, which will immediately be chosen by the the romantic, and a modern composition. At this stage of development, complex structures uses of hand and arm give different colors. discriminating ear as better suited to the mood of How to Teach Phrasing which are in the subtle groups should be studied in this little composition than was either of the other Must Know Musical History Tone in Expression of Simple Ideas We now come to most important subjects, namely, direct fashion, without finesse. For technical and men¬ tones. It is a tone of intensity, of subtle quality, of Oscar Beringer. Choice of color, or tone, therefore, means choice of We do not want the art of music to stand still. phrasing and interpretation. Two of the most impor¬ tal grasp must precede fine elaboration of phrase, color the finest possibilities in shadings. It is essential that both teacher and pupil should have and touch. Chopin Preludes, Etudes, Sonatas, the C technic. For simple, obvious expression, that tone is tant visible signs of phrasing are of course the slur The effects of this technic are harder to acquire than some knowledge of the history of music, more espe¬ this description of Liszt’s into practice it implies an sharp minor Scherzo, G minor Ballade, C minor Noc¬ suitable which is made by the free descent of the and the do). I particularly wish to warn teachers those of the free technic, on which it must be built cially with regard to pianoforte playing, as the different increase followed by a decrease in speed or vice versa, turne; Liszt, Waldesrauschen; Schumann Symphonic weight—through mobile joints, while the comfortably against the slavish habit of breaking off a passage or That is a cogent reason why the compositions requir- schools or periods require very different treatment. Etudes (some requiring very frank treatment) and balanced arm dips, rolls, extends and returns, with without really affecting the time as a whole. phrase at the end of each slur marked. This espe¬ tng them should not be attempted (except, as has been For instance, Bach, who brought the art of counter¬ Mendelssohn and Schumann are of kindred nature, cially applies to the older editions of music. Com¬ Sonatas; Cesar Franck, Prelude, Chorale and Fugue, fingers free in swing, when they are used for tone- said, in the free style) until the student is well pre- makers, firm in support at the tip, sometimes firm point to its greatest perfection, requires very clear and are both more masculine in feeling than Chopin. posers of yore were most careless and remiss in their belong to this stage. For students whose musical and ^ *^e fref.r D'pe of composition. throughout their length.- “Free descent of the weight” part playing, every voice being of equal importance, While Mendelssohn is most perfect in his form, which markings generally and seemed to put slurs anyhow— intellectual gift is beyond the technical, easier composi¬ . These two varieties of tone may be classed as mark- not as in homophonic compositions where one part is is always beautifully symmetrical, Schumann is less as a kind of decoration; ofteri separately over every tions could be selected. does not necessarily imply forte, or even mezzo forte. lng.the two large divisions of technic, suitable for made more prominent than the rest. Bach requires great in form, but has more poetry. measure, although the passage was intended to be There may be much weight or little weight, and yet, obvious or subtle effects. But they are often inter¬ What Is Subtlety? whatever quantity is used, it may be freely swung. very little pedal. played without a break in following measure. changed in a single composition, if the mood requires. The Personal Problem What differences in feeling, what elements of play¬ Within the limits of this one kind of tone, there is Mozart is essentially a lyrical composer. His music In the example below, for instance, the slurs are And they have manifold variations and combinations. ing, set the last group so decidedly apart from the yet variation of color which comes from choice in the does not require strong contrasts, but a singing qual¬ One of the most difficult problems of teaching is a manifestly incorrectly marked: 1 he training in them is a fundamental in the study of first two? free actions—the sparkle of finger-throw, the smooth¬ ity of tone, and most even legato playing. Beethoven, psychological one, that is to say, the treating each interpretation. The student will learn how to apply Suppose we look to poetry for our answer. It is ness of tone made by rolling, balancing arm when fin¬ perhaps the greatest of all composers, requires quite pupil according to his or her especial individuality. them in the treatment of the phrase, that is, the mod¬ not difficult to find poems, or portions of poems which different treatment. His compositions run the gamut Human beings are not all framed alike; in fact, no gers are in contact, the richness of the chord with eling implied in melody and chord, the characterization correspond in structure and feeling to the groups of forward relaxation, the brilliancy of the chord with of well-nigh every phase of human emotion and pas- two are alike either mentally or physically. Every and impression of the rhythm (not merely marking the musical compositions. As to the elements of playing, budding pianist therefore requires special treatment vertically descending, relaxed arm. accent), the coloring of the pedals. All these are used that is a question of how the lines of Hamlet or Rosa¬ I feel that Beethoven frequently forgot entirely that and must be watched most carefully to find out both But our loftiest feeling, our most intense meaning, for contrast, for inevitable sweep or sudden check, lind or Shylock would be said by this actor or that, he was writing for the pianoforte. He thought orches- his strong and his weak points. The strong must be our finest lines of melody, these movements cannot give. running the gamut of the means of expression from a question of technic and interpretation. trally, unlike Chopin, to whom the piano was every¬ fostered for all they are worth, and the weak ones must The slur must be continued to the seventh note Joy is not always “unconfined.” Grief is not always frankness to finesse. It is with all these necessities in1 For the simple and obvious type of composition, take thing. I therefore find it most helpful to imagine be strengthened. It would be a very useful plan, to voiced without restraint. When we are withdrawn into view, that the usefulness of the grouping here given,' which is an accentuated one. It is an essential rule, Wordsworth, To Sleep:— our deepest contemplation; or when we would speak has been tested. how Beethoven’s Sonatas would sound if they were imagine a number of supposititious pupils who would subject to but few exceptions, to lead into an accentu¬ orchestrated. For instance, how would such and such lack certain necessary qualities, and to ask the stu¬ ated note, not out of it. JULY igis TEE ETUDE Page H5 JULY 1918 Page 4U TEE ETUDE composition, putting in wrong notes and generally mak- This seventh note could be emphasized either by a Teaching the Use of the Pedal ing such mistakes as would most likely occur with a slight break or by agogic or dynamic accentuation. The importance of the correct use of the damper careless pupil, and compel the budding teacher to point m IP pedal is also far too much neglected by most teachers. I The next example, from Beethoven’s Sonata, Opus 2, out the faults and also correct them. u Jl Rubinstein, who was the most perfect master of the No. 2, requires a slight break where the asterisk occurs. To sum up this article—and to put the matter in a use of the pedal I ever came across, called it “the soul nutshell—the aim of every teacher of pianoforte play- of the pianoforte.” But one does not want to be all soul; in fact, this ing ought to be, not only to make his pupils play a The Etude Master Study Page delicate instrument must be treated with especial care. few pieces decently, but to make them sound musicians To be able to use the damper pedal really artisti¬ both technically and theoretically. Composers of Music of Wide Human Appeal cally, the right foot requires a considerable amount of practice; especially in the most important use of the Moritz Moszkowski phonies. He is at his best, however, in the slow move¬ pedal, the so-called syncopated pedaling. This im¬ Why Do They Do It? The number of composers who are best known for ment which are often (like his. famous Cavatina) plies that the pedal must be put down directly after the a few of their compositions is really quite remarkable. Moritz Moszkowski was born at Breslau, German exceedingly impassioned and filled with emotional Here are two more examples from Beethoven’s note or chord has sounded, and taken up immediately This is sometimes taken as a reflection upon their Poland, August, 1854. He was the son of a Polish Sonatas: By Lelia Bathurst charm. the next note is played, to be put down instantly again, capacity or their versatility whereas it is really one of gentleman and was given the best possible musical As a composer for pianoforte Raff produced so (This Australian writer tells why some artists adopt the cruel machinations of Fate. The poet, Gray, is training at the conservatories of Dresden and at the many compositions that it is surprising that so very few I would suggest the following exercises as being help¬ one instrument and others another. Perhaps you hare celebrated for his famous Elegy in a Country Church¬ Stern and the Kullak Conservatories in Berlin. He remain. His pianoforte Concerto was once very popu¬ ful in overcoming this difficulty : yard, but Gray was known to have been a man of dis¬ taught in the Stern Conservatory for many years. In had a similar experience.—Editor’s Note.) lar, but is rarely heard at his time. La Fileuse and the tinguished ability and wide human interest. That one 1873 he made his debut as a pianist and thereafter “Can you tell me why people play instruments like the Polka de la Reine, however, are probably his best of his works should have survived and others been made many successful tours. Gradually, however, his French horn, cornet, saxophone ,etc. ?’’ asked my friend known works for piano. His songs are rarely heard yf- ^ ignored means that the one masterpiece dealt with a attention was turned to composition and to teaching. Flipkins the poet, whilst dining with me at the old Bull although he wrote many and his violin- compositions subject of wide human appeal and interest. The vital¬ In 1897 he removed to Paris and since that time has with the exception of an occasional performance of the and Bush. ity of Shakespeare does not depend so much upon his been closely identified with the musical life of the Suite for Violin and Orchestra and the immortal JhU- “Heredity,” I replied. "Now don’t be silly,” said ha skill as a dramatic poet as upon his wide human pur- French capital. Cavatina are practically unknown. Possibly one should “How can a French horn be hereditary?” view,—his sympathetic touch with the great throb of add La Fee d‘Amour, a violin piece, which was a fav¬ The pedal is required for basses such as the following, “Well, the fact is that a French horn has been handed No compose.-,-,— -c - - time. orite in Sarasate’s programs. to lengthen the sound of the lowest bass note: down from generation to. generation and has to be quarter of a ceatury has met with greater favor than Mosz¬ Many composers have gone down to fame as “one kowski. As In the case of Chopin, he speaks the Idiom In 1877, Raff was appointed director of the very fine played by some unfortunate member of the family. of the Instrument so fluently that It Is a delight to play Hoch Conservatorium in Frankfort am Main, an masterpiece” composers. At present Mascagni would his compositions. His Bpantsh Dances, Berenata and his The instrument simply must be used up, so to speak, be regarded in this light although he has produced famous Vaises de Concert, notably those In A flat, in E endowed institution, which has done much for music. In other cases, the infant’s first shrieks suggest what he many works which would have brought him fame if major and his recent concort-wultz success In G flat major, There among his many noted pupils he had Edward (PUSH Grande Valse de Concert. MacDowell in whom he took a great persona! interest. must play. ‘What a musical cry, I am sure he will be a the immense popularity of Cavalleria Rusticana had not Pianists are exceptionally enthusiastic over the Mosz¬ wonderful flautist, or maybe a violinist, for it is quite overshadowed all of his other works. There are prob¬ kowski pianoforte concerto—many declaring It one of the Raff died on June 25, 1882. His life is a singular monu¬ most effective of all compositions In this form. ment to his ability in many directions, to his great obvious he has perfect pitch.’ ably not more than a score or so of compositions by * Moszkowski has written one opera, Boabdtl, and some industry, and, yet to the colossal amount of, effort When in doubt about the correct phrasing of a com¬ “Why do I play the violin, did you say? Well it so composers of renown that have the longevity which works for orchestra. * . * %b. * wasted in pursuing inconsequential musical aims. position it is a good plan to sing or hum the doubtful happened that my father was indiscreet enough to call comes with wide human appeal. It is difficult to deter¬ parts carefully noting the inflections of the voice. In on the local barber of Wagga Wagga one evening, to be Pedal must be used for most arpeggio passages and mine why the public fastens its affections upon Rubin¬ this way it is much easier to find out where a natural . Eduard Schuett Carl Goldmark also for broken chords. Example: shaved, and to hear some news which was slightly stein’s Melody in F, Mendelssohn’s Spring Song, Han¬ break should occur, as the singer always tries to take alarming, whilst placidly lathering my Dad's face, the del’s Largo and other works. Simplicity is not the only While most people think of Schfitt as a German or If Goldmark had written nothing but his Concert breath in the least vital spot. barber dropped an awful bomb. reason for popularity as the Wagner Tannhauser Austrian composer he is really a Russian. He was Overture Sakuntala he would have earned a permanent A pianist should know something about singing also. “ ‘You see, sir,’ he announced, ‘I play the fiddle, and March is by no means simple and many of Mendels¬ born at Petrograd, October 22, 1856. He studied .at the position in musical history. Few overtures are as large Thalberg considered that it was impossible to be a I want you to let me teach one of your daughters.’ St. Petersburg Conservatory and at the Lelpsic Con¬ in their design and as rich in their coloring. Goldmark i vy..: •» ^ - sohn’s Songs Without Words are much simpler than good pianist without a knowledge of singing, and I t-T ■-* “My father was almost too stunned to reply, however the Spring Song. Probably the secret is the eternal servatory. Eventually he settled in Vienna as a teacher was born at Keszthely, Hungary, May 18, 1832. Out¬ personally consider that there is a good deal of truth he finally said: ‘Well, I'll consult my wife on the mat¬ youthfulness of a good melody. and conductor. side of a few violin lessons, received when a boy, and in his assertion; but pianists must not forget that one one year at the Vienna Conservatory, he was self-taught. ter.’ He did, and they picked on me. The composers in this group are (with the exception As the director of the Academic Wagner Associa¬ When he was twenty-six years of age he gave a public of the advantages of their instrument is that it is never “My first lesson amused me very much, for the bar¬ of Wolf, Goldmark, and Franz), men who have been tion he achieved much renown. He made many tours concert in Vienna, playing his own concerto for piano¬ hampered by want of breath. He can prolong a phrase ber taught me the open strings and Nelly Bly, which I distinguished by a comparatively small group of com¬ as a concert pianist introducing his beautiful Concertos forte. His opera The Queen of Sheba is a splendid ad libitum if needful, whereas it is obviously impos¬ played in my father’s study that evening, much to his positions, often in brilliant or lighter forms, but who in G minor and in F minor. Although he has written a musical spectacle. It was first produced in 1875, and is sible for a singer to do so. Pedal is even occasionally effective in scale passages. delight, and from that moment he seemed to take me have evidenced in many instances great gifts in writing comic opera and many interesting pieces of chamber In pointing out the interpretation of a piece one I give below a remarkable illustration of this, in the frequently revived. His operas are Merlin (1886), Das into account. This gave me quite a new outlook on life, in larger forms. Moszkowski for instance while known music he is best known for his very fascinating and way Rubinstein used the pedal in the last movement of Heimschcn am Herd■ (Dickens’ “Cricket on the thing must never be lost sight of, that is the climaxes; for he had never spoken to me before, during my eight by many of his lighter compositions has done work in graceful pianoforte compositions such as the Carnival roughly speaking, eaoh phrase be it large or small has Chopin’s Sonata in B flat minor. The effect produced Hearth”) (1896), and the War Prisoners (1889). Gold- years, beyond telling me to get out of his way. larger forms which would entitle him the laurels of the Mignon, and his very popular waltzes, A La Bien Aime its climax. There is no real musical phrase which was that of a rushing wind in a desert of sand. master if hig very beautiful lighter pieces had never mark’s two symphonies and his other overtures, while “My violin lessons continued for one and a half and A la Jeunesse. does not contain something that requires a special existed. The concertos of Schfitt are pianistic master¬ full of spirit and fiery Hungarian dash in parts, have not years, and in the matter of bluff, young America had emphasis. pieces of the highest order, but he is best known by met with the popularity which continually attends his nothing on me. I watched the barber very carefully Sakuntala Overture. Goldmark died in 1915. But, besides this, every real work of art leads up to his lighter compositions. Joachim Raff (what else was I to do? for he never told me anything, one or more culminating points, to which all the lesser not even how to hold my fiddle and bow.) I watched his Raff’s career was one of the most romantic and at climaxes must minister. fingers and bow, and imitated like the best kind of times one of the most pathetic in musical history. He was born May 27, 1822, at Lachen, Switzerland. He How to Teach Fingering Australian parrot—it was all very simple. I had a quick eye and a retentive memory. I learnt ever so was educated at a Jesuit Lyceum and received first The importance of correct fingering must next be many pieces and my mother played my accompaniments prizes in Latin and Mathematics. Immensely fond of taken into consideration. with great pride. music, he was unable to afford a teacher. He became Half-pedaling, rather a misnomer, does not mean that In our modern fingering, the thumb is not treated a school teacher and studied music with the greatest the pedal must be put dbwn only half way. It must be “However, the poor old barber died, and I continued in a stepmotherly fashion any more. Like Cinderella, fully depressed, but must instantly be allowed to rise, my studies with a man called Smith, and, believe me, of teachers “oneself.” Mendelssohn became interested she has become the most useful of all her sisters, even and as quickly be depressed again. The effect of this I have hated the name of Smith ever since, because he in him and induced a publisher to issue some of his on the black keys. is that the higher strings will be damped but the lower found me out I played c sharp instead of c natural. compositions. From that time to his death he wrote It is a most pernicious habit for a teacher to mark ones, whose vibrations- are much more violent, will He screamed) at me: ‘Play c natural,’ and mark you, he incessantly, often producing works which were so trivial the fingering over almost every note, or to use edi¬ keep on sounding. This pedaling is especially neces¬ wanted me to play it alone (unnatural brute). How that their value was purely ephemeral. Liszt, Von tions in which this is done. The consequence is that sary in the pianoforte arrangements of Bach’s Organ could I, unless he located it? He continued wrath- Bulow and others who saw in Raff a great genius the pupil never learns to think for himself. If you Preludes and Fugues. fully: ‘Will you play c natural * and I said, 'No, I’ll drifting in any direction the winds might blow induced put an unfingered piece before a pupil who has been To make a pupil realize the difference in tone quality go from the beginning.’ Then he roared like the him to devote himself to further and more regular taught in this mechanical fashion you will find that he with and without the use of the pedal, it is a good plan nastiest kind of bull: ‘Go on from where you left off-’ study. Meanwhile he was so miserably poor that he will take the most haphazard and the most outrageously to make him play a piece requiring pedal twice through, I became rigid. He said: ‘Where were you?’ ‘I don’t was often close to starvation and ready to turn out know-,’ I told him (but inwardly I wished he were with bad fingering imaginable. No, it is much better to the first time without, the second time the teacher to any kind of cheap pot boiler to keep himself alive. the flamingos on the Murrumbidgee). Then he acted like classify the fingering, and to give certain fixed rules put down the pedal for him. Liszt, whose great heart and breadth of sympathy One more point, which perhaps ought to have come a comedian, pointing promiscuously all over the page, made him a good friend to many musicians in need, to be observed in, each case where it would apply. saying: Play this, and play that,’ indicating odd bars. For instance, rules for:— at the beginning of this article instead of at the end, induced Raff to take up his home in Weimar, where is that every student, be he professional or amateur, So unromantic. So Fbraced myself up to face the ter¬ Raff’s opera, King Alfred, was produced many times Sequential Passages: every sequence being fingered rible situation, put my wee fiddle down, stood erect, should be taught something of the mechanism of his with great success, but with little profit to Raff. In alike, regardless of black keys. and said: Listen, I don’t know one note, I play by car.’ Broken Chords: where possible, always in octave instrument. 1856, however, he went to Wiesbaden, where his for¬ Surely it is necessary to have some knowledge of the He seemed flabbergasted, and instead of having a sense tunes turned as he had many piano pupils. In 1859 he positions, that is to say, the thumb following the little of humor, he rang for my mother, and she, instead of tools with which one has to work: such as the action married the daughter of a famous actor. Encour¬ finger and vice versa. putting her arms around me and saying, 'you dear of the key, the hammers, the damper, the pedals, etc. aged by prosperity he wrote many highly interesting A Scale Passage: according to the fingering of its cever little thing, sent me to the nursery and spanked works for the orchestra including the symphonies, In particular key. Watch Others Teach the Woods, Leonore, The Alpine, Spring Sounds, In Repeated Notes, especially if quick repetition be re¬ “My Dad looked very grave, for his Scotch blood Summertime, and In Autumn Time. In all, Raff wrote Every student who intends to become a teacher should made him think of the wasted pounds he had spent, quired, with change of finger on each repetition, such eleven Symphonies. None of these rank with the great either attend class lessons, or should be in the room however, barbers aren’t so ruinous as Ysaye’s and change of finger always taking place towards the symphonies of Beethoven, Schumann, Brahms or while others are being taught. He should take careful Leyicks, so he smiled sweetly, patted me on the head thumb, not from it. Tchaikowsky, but they are exceedingly good and inter¬ note, both of their good qualities, and their faults, and and said: Never mind, child, we’ll begin all over Fingering ought only to be marked in places where listen most attentively to the criticism of the teacher. esting music with occasional moments of lofty inspira¬ again. Many artists doubtless have reasons no more these rules do not apply, or where peculiar fingering The latter should also occasionally turn the tables, tion. His technical skill was often quite amazing as is is necessary to produce certain phrasing effects. rational than this for their artistic preferences of their Joacbim Raff. and become the pupil, by playing some rather easy instruments at the start. shown in some of the first movements of his sym¬ Carl Goldmark. JULY 1918 JULY 1918 THE ETUDE Page W Page U6 THE ETUDE 1856, but Schumann died at the end of July of that Theodore Leschetizky year and Jensen was terribly disappointed. In 1857 Leschetizky ranks with Czerny, Cramer and Liszt he became the Kapellmeister at the City theatre of among the most distinguished of all pianoforte teach¬ Posen and in 1858 he went to Copenhagen, where ers. He was born June 22, 1830, at Lancut, in Aus¬ Gade became his friend and gave him much assistance. trian Poland. He was a pupil of Czerny and Sechter, Later we find him in Berlin (1866-1058) teaching ad¬ N- I and achieved local fame as a pianist when he was vanced pupils in the conservatory of Tausig. He con¬ The Musical Reputation That Pays fifteen. From 1852 to 1878 he taught in the St. Peters¬ tracted consumption, and after many futile resorts burg Conservatory. In 1882 he married Mme. An¬ for his health he removed to Baden Baden, where he How to Become Known to the Public in the Right Way, nette Essipoff, and was divorced twelve years later died. . since which time he had three other wives. His chief Jensen’s muse was more lyric than dramatic. He fame rests upon his exceptional success with his famous excels in the smaller forms, and for this reason many By DR. HENRY G. HANCHETT pupils Siloti, Paderewski, Hambourg, Bloomfield-Zeis- of his songs and some of his piano pieces have been ler, Goodson and many others. very widely employed. Nevertheless, he wrote an Leschetizky made many appearances as a pianist when amount in larger forms. An. opera which he left Five thousand dollars is a comfortable sum of money. last decided to honor and reward. There has recently training must include manners, personal appearance, a young man, but when he adopted teaching as a career he died in France one who has been, ranked by competent bearing in society off the stage, and authority and re¬ confined himself almost exclusively to that, rarely giving Many a capable music teacher has been glad to devote public recitals. He was a composer of many brilliant and five years to its acquirement, and has dreamed of the critics as the greatest sculptor of all lands and many pose in performance, as well as the actual, definite, effective pianoforte pieces bordering upon the salon type. recent years, but who worked and waited for his first artistic skill. He must also acquire and apply sound He also wrote an opera. Die Erete Falte, which was pro¬ Hugo Wolf time when one year would suffice for earning it. Many pronounced success with the public till he was sixty knowledge of the methods of preserving health, phys¬ duced in Prague, in 1867, with great success. Not since the deaths of Schubert, Schumann and a gifted young singer or player has nursed the thought - .. ’ 1 I'- -J-n, November 17, 1915. that perhaps if he worked long enough and hard enough years of age. Would he have been less of a man and ical tone and elasticity, and a certain alertness and Lowe has any writer of songs attracted so much de¬ in the right way he might become great enough to an artist, less worthy of honor and wealth had he died aptitude that will make one ready on the instant to served attention as has Hugo Wolf. He had the true earn it at a single concert or operatic performance, as unknown at 55? Let us assume for the purposes of seize favorable opportunities, and turn them to good Robert Franz lyric soul and lived his life right into his songs. he has heard others have done. However long or brief the present article, just such a man with just such account. And if the aim of the young musician be Franz's real name was Knauth—and in his time he Hugo Wolf was born at Windischgratz, Austria, the time one is now willing to work in order to earn history and ability dying at fifty-five. operatic, the training must include still more—linguis¬ was not without enemies who contended that in taking March 13, 1860. His father was in the leather business such a sum it is safe to assume that when, or even a These men deserved success, worked for success, tics, histrionics, stage presence—and the natural adapta¬ the name of Robert Franz he was stealing the fame of and greatly disapproved of his son’s intention to be¬ little before, he is able to accomplish the feat, he will did all that they could or that was necessary to do tion must also extend to whatever is required to fit one Robert Schumann and Franz Schubert. However, come a musician. Nevertheless the son entered the wish to do it in a little less time or by a little less to win success eventually—nay more, they actually did to the personality of the character assumed—an under¬ since Franz himself produced vocal masterpieces which Vienna Conservatorium when he was fifteen years old. win success, but too late to know it or to profit by it sized singer cannot impersonate a giant, , the critics of to-day are glad to rank with the great Naturally an iconoclast, he was expelled from the con¬ work. compositions of his forerunners in Art-song composi¬ Reputation an Indispensable Asset themselves. With success fairly and honestly won they ventional old institution after two years, because he Demand for Soloists Limited tion, we may excuse him of all blame for fixing up his yet felt that they had scored only failure—a bitter, refused to obey the rules, and neglected to give the Such articles as that by Mr. Finck in the December, (bitter thought. What more could they have done to And one more thought is important. It is about name as he chose (the family name was changed by proper amount of time to counterpoint. For a time he 1917, Etude, on Musical Reputations and How They assure prompt success ? Surely personal beauty or the “that small number of artists at the top,” mentioned Royal permission in 1847). was brought very nearly to the point of starvation Are Achieved, are of great value and interest, there¬ in the last paragraph. Of a thousand concerts that Franz was born at Halle (Handel’s birthplace), Oc- through his inability to get enough piano and violin fore, and the sentence in it: “Surely, the question, cosmetic substitute for it recommended by Wagner might be given on any single date the country over, tober.24, 1815. As in the case of Schumann, Franz’s Xaver Scharwenka. pupils to give him a living. Friends secured him the ‘How are reputations achieved?’ is all-important from holds out slight promise of aid. Long hair has been parents tried every possible means for' inducing the post of Second Capellmeister at Salzburg. In 1882 he the practical as well as the ideal point of view,” will win tried perhaps more than any other minor accessory, think how many would be club concerts given by ama¬ teur members; how many would be pupils’ concerts or youth to abandon all idea of becoming a musician. cured a fund to support him during his lifetime. Otto became a critic in Vienna. general assent. But it will be evident to most young aspi¬ but it has not proved certain to produce the desired concerts by teachers endeavoring by a.free display of However, he was permitted to study under Schneider Dresel, B. J. Lang and others gave concerts in Amer¬ In 1888 he commenced his serious work as a song rants for such brilliantly remunerative musical repu¬ result. Government aid seems more hopeful, but while their powers to attract pupils; how many would be at Dessau, and wrote many compositions. Upon his ica which netted $25,000.00. composer. He wrote two hundred masterly songs, one tations that the paths pointed out in the article cannot “Miss Novaes enjoyed the advantage of being sent by return to Halle he spent much time trying to dispose concerts by great choral or orchestral societies before As Chopin is essentially the composer of the piano, right after the other with hardly a break. Thereafter always be followed step by step for lack of a bridge the Government of Brazil to Paris to continue her of his works, but with no avail. They might be mas¬ their associate members, using for soloists, young as¬ so Franz’ genius lay almost entirely in the province all his writing was spasmodic. That is, he would lie here and there or on account of some cave-in or land¬ studies,” and at present seems to have already attained terpieces, but the publishers could not see them in that pirants desirous of a hearing as an introduction, and of the art-song. Of his three hundred and fifty songs fallow for a considerable time, and then in a sudden slide on the path since it was traveled by the artists a considerable degree of success, there are a number way. Therefore, he gave much time to the study of willing even to pay money for the privilege of appear¬ there are many that are masterpieces of the most strik¬ burst of inspiration he would turn out some very re¬ who are instanced. In fact the article itself notes that who have been winners of the Prix de Rome or favored the masters, notably Bach. He was twenty-eight years markable work. In 1896 he produced his opera Der ing under such auspices, instead of demanding it as an ing kind. Probably Jiis best known song is In Autumn, the bridge (it might be called a viaduct) of beauty with royal or noble patronage who have yet been classed of age when his first set of songs appeared. Men¬ Corregidor. The work was successful, but was given honorarium; how many would be' out-and-out charity delssohn, Liszt, Schumann, Wagner and others became although there are many others less dramatic but more is often sadly out of repair, but quotes no less an as failures. but once during the lifetime of the composer. In 1897, When Money is Needed or church concerts; and (Americans must consider) his firm admirers. This led to his appointment as exquisite in their melodic and romantic charm. His authority than Richard Wagner for the opinion that when he was engaged in writing another opera— how many would be concerts in which only foreign- director of the Singakademie, organist of the Ulrichs- other works are mostly for chorus. One of his great¬ cosmetics will make it safe as a passage for some ath¬ Were a talented young American musician to pre¬ Manuel Venagas—he was stricken with insanity and born and bred artists would be regarded as worth kirche and musical director of the Halle University, est achievements was the revision of the arrangements letic and careful travelers on the road to fame. Cer¬ pare a monster petition to Congress,, have it signed by confined to an asylum. Though he had occasional hearing. which later conferred the degree of Doctor of Music of the works of Bach and Handel. These, like their tainly many have reached the goal without making use say two hundred thousand music-loving voters, and on periods when it seemed as though his mind would be Leaving the operatic artists out of the account, one upon him. When he was fifty-three, however, deaf¬ originals, were so excellently done that they have of this bridge or even of the neighboring trestle of the strength of it get a bill passed appropriating $5,000 restored to him, they were of but short duration. hundred would, according to some authorities, be a ness and nervous troubles afflicted to such an ex¬ become classics. something striking in personal appearance, such as the from the United States Treasury to be expended under In 1903 he died in the asylum. liberal estimate of the number of musicians in this tent that he was forced to give up all his positions, and Franz died October 24, 1892. much-discussed “fiery locks” of Pederewski. the auspices of the Secretary of State and the Direc¬ he and his wife (nee) Marie Hinrichs, a singer of much Wolf’s orchestral works, such as his Symphonic poem country who can demand and secure $100 or more for Somehow the reputation must be achieved. However tor of the Marine Band in defraying the expense of a ability) were practically penniless. A group of friends Penthesilea, are rarely heard ; but his art songs are becoming each of fifty or more appearances as soloists in one more and more popular and they are frequently on the pro¬ disinterestedly one may determine to serve art for art’s year’s study abroad for the T. Y. A. M., the petition in Germany and a group of American musicians se- grams of the foremost singers. year.* With traveling expenses, wardrobe, advertis¬ Xaver Scharwenka sake, it will remain true that a public success and an and the law would both aid in securing newspaper ing, and commission to agents to be provided for out Xaver Scharwenka was' born at Samter, the Polish established reputation are essential to the extensive attention to his debut. Mr. Finck has explained in of the honorariums, a good many of the hundred, if province of Prussia, January 6, 1850. He received an usefulness of such service. Every musician needs to his own paper more than once that such attention is there are so many, find their net incomes a rather poor excellent general education at the Posen Gymnasium. be known more or less in order to be of any use to rather difficult to secure; but the plan just outlined for return on the investment in education and labor. Were Later he became a pupil of Kullak and Wuerst at the the world, to the art, to his pupils, to his family, even securing Government aid is not easy, and this might it not for the interest and pleasure to be derived from Kullak Conservatory in Berlin. His debut as a pianist to himself. Don’t think of a reputation merely as a even be secured without insuring the desired Musical the work itself, the travel, the friends made, and was made in 1869 at the Singakadamie. His many means of getting wealth and flattery for self, but as Reputation. And the same remarks apply to following scenes enjoyed, the prominence and applause, and espe¬ (purs as a pianist brought him wide renown as a an essential in extending usefulness. Liszt, Strauss, in Miss Novaes’ steps in getting "a Brazilian journalist cially the music itself and the thought of the pleasure virtuoso. In 1881 he founded a conservatory and later, Thomas, are names not merely of brilliant geniuses and Maecenas, J. C. Rodrigues,” to supply the funds that gives to others, the concert artist at the end of together with his brother, he engaged in the work of who have won enviable successes; they are names of for two introductory Metropolitan appearances. It is his usually rather brief career, might decide that the the Klindworth-Scharwenka Conservatory in Berlin. those who have added to the world’s artistic resources, not unlikely that several young ladies might be found final balance was on the wrong side of the account. In 1891 he established a conservatory in New York and increased the power and value of music itself. So who after “two recitals at Aeolian Hall” might each Many have been dissatisfied with the ultimate results which continued for some years. In 1914, he opened a the musical aspirant should study not only how repu¬ become “most favorably known pianists.” The trouble of what has been regarded as brilliant success. Many is that such'recitals, given so as to secure newspaper school for piano teachers in Berlin. Scharwenka’s tations are achieved but how or why they elude, since others have found joy in looking back over a life before even the rarest gifts have sometimes failed to secure attention, cost several hundred dollars, but it is doubt¬ name in the minds of the public is still associated with the public, even when the prevailing opinion counted it ful if there is a “J. C. Rodrigues” for every aspirant. the Polish Dance in E flat minor. He wrote many Pol¬ adequate success. only moderately sucessful. There is always another A really great composer wrote a song which com¬ If at all possible he should certainly be found and ish dances, but none ever proved as popular as his fam¬ side to any picture* petent critics have pronounced to be the greatest work utilized. ous one. He has also written many compositions for of its class. When finished he threw it into his waste¬ Composer’s enthusiasm, to the full measure of that Do Not Despise Extraneous Aids orchestra including a Symphony in C minor. His opera, basket because earlier efforts along that line had which Grieg accorded to Percy Grainger, hardly ranks It is not well to think too much of the beauty, the Mataswintha, has been produced in Berlin (1894) and brought him no reward—no success with singers in as a thing difficult to secure; many famous artists and cosmetics, the government aid, the prizes, the wealthy at the Metropolitan in New York (1897). His older general or the public, and no adequate remuneration teachers often have been lavish in praise. Liberality patrons, the plaudits of famous persons, the encores brother, Philipp Scharwenka, and his nephew are also from the publishers. The song sprang up in his heart, with encore numbers involves nothing more than keep¬ or any other extraneous aids; yet they should not be so distinguished as composers. Scharwenka’s four piano¬ he had the satisfaction of caging it between the bars ing up a creditable repertory. But how is the enthu¬ wholly forgotten that one may fail to take advantage forte concertos have been played by most of the dis¬ of his music paper. Enough 1 Let it die in the waste¬ siasm to be conveyed to managers and the public? of them when they come within reach. The things to tinguished piano virtuosos of his time. basket ! But a great singer came in to call, discovered How are the ladies of the audience to be persuaded to rely upon are the severest judgment of the most com¬ the song, recognized its value, and saved it for the crowd about the piano after a recital, and insist upon petent and experienced critic available; the hardest and world; yet not so as to bring reputation to.the com¬ the encore numbers? most persistent kind of hard and persistent work taken Adolf Jensen poser before his death. His other masterpieces also The young musician who aspires to a reputation that in connection with such rest, play and attention to Jensen, like Raff, was largely self-taught. He was were neglected during his whole lifetime, which was will insure profitable public appearances must first dis¬ health as will keep one in prime order, alert and sunny; born at Konigsberg, January 12, 1837, and died at Baden doubtless shortened because the world failed to recog¬ play adequate natural gifts, including a measure of that the seizing and utilization of every opportunity that Baden, January 23, 1879. Through the friendship of nize him soon enough. Who can say why he achieved mysterious something called magnetism, and should be can be found or made for playing before directors and L. Ehlert and Fr. Marpurg he was encouraged to write no reputation during his lifetime? Was it merely for fully certified as to these gifts by a competent, disin¬ managers, and, under proper auspices and among proper many works in his youth that proved an excellent drill lack of patience, or friends, or advertising, or what? terested and honest judge. Next he must have those associates, before the public—pay or no pay—until at for him. Jensen was a Schumann enthusiast and ex¬ Really great poets and authors have gone to their gifts trained till he can demonstrate his claim to rank last the young artist is well enough known to be worth pected to study, with him if Schumann’s health would graves poor and comparatively unknown, but with their among that small number of artists at “the top,” who permit. Accordingly, he set out for Dusseldorf in Moritz Moszkowski. work all done and placed before the public, which at are all that are required for paid public work. This no •ttwnpt'to'verify j£e,eme- extraordinary aptitude and progress. JULY 1911 THE ETUDE Page 451 Page 4.50 THE ETUDE JULY 1918 A Garden of Music Did You Know? Did you know that an opera was once written ( Uthal, Humanity’s Musicial Emblem. By Rena Bauer by Mehul) in which there were no violins in the orchestra, violas taking the leading string part? The America is not a nation of icons. We re¬ composer, Gretry, who was in the audience, remarked: spect our historic shrines for the ideals of Why not have such resorts in cities, where the ner¬ “It is all very fine, no doubt, but I would give a gold the great men and women who have hallowed vous and over-worked humanity may find an inviting piece to hear a few squeaks on a violin.” them. We do not circle buildings or furni¬ and restful retreat? Its main object to be to soothe, Did you know that Rossini failed to appreciate ture with mystery nor magnify them. rest and uplift. We have many helps for our physical Wagner’s Lohengrin? He described it as “a lengthy needs, yet there are many more who suffer more Yet, who that calls himself American, can work of considerable importance on which it would be mentally and spiritually than physically, and what even think of the Liberty Bell without sens¬ difficult to give an opinion after a first hearing only— provision has been made-for these? Headaches are ing those vibrations which set the whole world and as for himself, he did not intend to give it a bad enough, but they are cured more easily than ringing with that wonderful line from Leviti- second!” heartaches. Did you know that Franz Clement, the first violinist There are thousands and thousands of people who to perform Beethoven’s great violin concerto in pub¬ “PROCLAIM LIBERTY THROUGHOUT are worried, anxious, diseased, mentally harassed, lic, had such a prodigious memory, that after having THE LAND AND TO ALL THE weary, dejected, annoyed, discouraged, and grief heard Haydn’s Creation performed a few times, he INHABITANTS THEREOF.” stricken who could be cured and restored to happy made a complete piano arrangement of it from memory, usefulness had they the privilege to listen to music with only the book of words for reference, so correct The Etude is proud to have its cover for ’ especially selected to benefit them. Music contains cer¬ that Haydn adopted it for publication? Mozart per¬ this month represent our Liberty Bell. We, tain elements which affect the nerves of mind and formed a similar feat with Allegri’s Miserere, a com¬ in Philadelphia, have the enviable thrill of body. position for nine voices in two choirs which was sung passing it every day or so. Independence Hall Short Programs once a year at the Pontifical Chapel in Rome and is just a short walk down Chestnut street A music garden would be well patronized if it fur¬ nowhere else? from 1712—The Etude home, to which so nished what people desire. A program will be espe¬ Did you know that Paganini is commonly reputed to many of our good friends write so frequently. cially helpful given by musicians who feel their mis¬ have surprised the French composer, Berlioz, by the The Liberty Bell was' cast in London and sion, coming in close touch with their audiences, mak¬ generous gift of $4,000, but that it was discovered many brought to America in 1752. In testing it the ing proper selections, with heart and soul in the work, years after that the real donor was M. Arnold Bertin, bell cracked, and it was necessary to have it eager to drive away the blues and uplift humanity. A the proprietor of the Journal des Dibats, and a very cast again. Thus the metal was melted down brass band or opera company is out of the question; wealthy man? He persuaded Paganini to pose as the by American founders, and it is said that the not the complex here, the more simple will supply such donor of the money, for reasons best known to him¬ result was a much superior bell. The famous a need, something sweet and reposeful, but yet of self. Berlioz never learned of the innocent deception. line quoted above, which gave the bell its ample power to chasten and subdue. Short programs Did you know that Rossini’s method of study, when name, was ordered by the Province of Penn¬ could be given by singers and players several times a he was a young man, was to take either the bass or sylvania nearly a quarter of a century be¬ day, the remaining hours being in charge of a pianist treble of the work of some well-known composer, and fore the famous Fourth of July, 1776. who plays sympathetically. Then, too, sound repro¬ fill up the one or the other in his own manner? ducing machines may be of great service, if judgment It was high noon on July eighth (not July and thought is used in the discrimination of proper Fourth) that the people gathered around the selections. Request programs will also be practical. Slow Practice—Constructive and State House, in the heart of old Philadel¬ The garden should utilize the power of suggestion Otherwise phia, to listen to the ringing of the great bell in imitating nature as far as possible. There could that was to proclaim to the world the truth be fountains playing, rockeries with growing ferns and that four days before the Continental Con¬ flowers, streamlets trickling over stones, fish, swans, By Hazel Victoria Goodwin gress had declared the Independence of the ducks and anything that adds restfulness and beauty, United States. dispels sadness and will furnish peace and joy. The question, “Does slow practice make possible a If music is the art of peace, harmony and beauty, quicker tempo?” is often met with. It has been demon¬ Every year thereafter, until July 8 1835, then give it an appropriate setting with music divine strated that slow practice may be very effective when when the bell was tolled in memory of Chief falling upon human hearts as gentle rain upon parched intended to reassure the muscles to be employed in the Justice John Marshall, the Liberty Bell sent ground. Emerson felt the need of such a place when ultimate playing. Unlike a slow rendition, which neces¬ out its glorious message. Then a crack was he wrote: “I think sometimes could I only have music sitates a different set of muscles from fast playing discovered in the bell, and ever since it has re¬ —could I know where I could go whenever I wished (one can often execute a passage perfectly, in fast mained resonant with unforgettable memories the ablution and inundation of musical waves, that tempo, and stumble over it when trying to play it which shall never be silenced as long as there were a bath and a medicine.” slowly)—unlike a slow rendition, slow practice should are men and women who love the name . Many there are who have felt as he did, and espe¬ “America.” “unjoin” the works of a piece, so to speak, and rein¬ cially in this age the business people are all absorbed force each part. A Glorious Tribute. and pressed with ever increasing, strenuous, concen¬ What should slow practice be? First, if the hand is One of the most eloquent tributes to the trated and exhausting interests. But how soon the lost in motion, results will be nihil. When, on the con¬ Liberty Bell came from the great Chinese cares of the day are forgotten, when in an easy chair trary, the hand is allowed nothing but necessary move¬ statesman, Li Hung Chang, who, it would one naturally relaxes with appropriate music. Yes, it’s ments ; when it crouches at one position while it gauges seem, presaged the freeing of his own land, in a treat, if only another will attend to starting the the distance to and the spring necessary for acquiring these wonderful lines. The poem is reprinted machine and changing the records. This makes the the next—and thus finds no occasion for relaxing into from his Memoirs by permission of the pub¬ heart young again, making life sweeter and richer and intermediate positions that are useless and indifferent; lishers, Houghton Mifflin & Co.: leads to longevity and efficiency. when there is the proper intension at the periods of pause and periods of travel, slow practice accomplishes Musicians Greatly Needed at This Time To my eyes they did point out the symbol of more than many pianists credit to it; it engenders speed It was David who met a sad need in his early day as well as security. Liberty, with his voice and harp. When the moody and un¬ The periods of pause over the keys struck have to And to my ears they did direct the sound. reasonable Saul was in a dangerous state, only David do with the security end of it; the acquiring the hand- It was only a sort of dong-dong, with his sweet music was successful in driving away spans; the making sure that the weight-pressure is And it came from an instrument of brass the evil spirit. Musicians are needed to-day to fill equally distributed among all the fingers down. made by man. like errands of mercy where others have failed to It is during the periods of pause that positions are The bell did not ring to my ears; comfort and console. If music does all we claim it reinforced. And it is likewise in the periods of pause does, we need it more now than ever. This great war / could not hear the voice in my ears; is ruffling our natural calmness, some minds are almost —and not in the periods of travel, paradoxical though But in my heart its tones took hold. this may seem, that speed is acquired. frantic, nearing the point of insanity; then let us use And I learned that its brazen tongue To allow the hand to pass directly from one position music as a poise and mental balancer. aven in silence told of struggles against (or arrangement of angles) into the next without loss "God sent his singers upon earth of time, it is necessary that a grasp of every arrange¬ wrong. Wxth songs of sadness and of mirth, ment be ready to hand. But, more than this, it is That they might touch the hearts of men. essential that no third arrangement of angles be intro¬ These good sons of America And bring them back to heaven again” duced. If the hand looses one position before feeling Call the Liberty Bell ancient; within itself the grasp of the next position, the big But I, who come from the oldest of the lands, value of slow practice is lost. A Town Saved by Music A student of the philosophy of ages. This applies simply enough to chords, octaves and The musical, as well as pious, little colony of Mora¬ Know that what this bell speaks single notes. The application to runs is slightly more vians who settled Bethlehem, Pa., began to use a choir complicated, in that several notes of a rapid run are Is of Heaven’s wisdom, of trombones in 1754, sending to Europe for the instru¬ grouped under one position. The weight of the arm Millions of centuries before the earth was ments. They used them at sunrise Easter service and and hand is not shifted for each note of a run, but is born. a-many other solemn or joyful festivals. One night in divided evenly between all the fingers to be called upon 1755, so tradition has it, such music saved the town and for that hand position in the run. So that, as early It repeats the heart words of the gods; its inhabitants. From the forest hiding places, Indians, as the little-finger’s stroke on C, in the right hand, de¬ It repeats, only repeats; who had planned an attack, heard chorales played by the trombone choir and stole away, declaring that the scending, scale of “C,” the hand must have a grasp of But let it do so to the end. the next position; the one that will obtain when E, D Great Spirit surely guarded the white settlers.-Selected and C are evoked. from The Bethlehem Bach Choir by Raymond Wal¬ ♦ From here go to the beginning and play to Fine; then play Trio. ters. Copyright 1917 by Theo. Presser Co. British Copyright secured JULY 1918 Page 452 THE ETUDE ENTICEMENT MAZURKA DE SALON ALBERT LOCKE NORRIS,Op.37 THE ETUDE JULY 1918 JULY 1918 Page 454 LOYE AND LIFE POLONAISE A tuneful idealization of the polonaise rhythm, brilliant and colorful. Grade IIl| CARL WILHELM KERN, Op. 325 Andante eon moto m.m.J = 96 _

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MAZURKA No.l Tempodi Mazurka m.m.J=126 SECONDO C.S.MORRISON JULY IQ 10 Page 460 THE ETUDE a THE ETUDE Page 461 SOUVENIR Russian pianist Genari Karganoff (1858 - 1890). Grade IV. MARCH OF THE SLAYS This composition signifies the march into it’s own of a wonderfulpeo- | recognize. This march has been written out of the joy found in comtem- One of the best known of the shorter piano compositions ot he n q KARGANOFF On fo at ple. Downtrodden and oppressed for centuries, these Slav people havewon- plating the dawn that is coming to this people in every way. Grade VII. Moderato con espressionejM^M. J = 88 , ITr-—^ ’^°-l fulcnta ill all hrarmhpK nf art. wklal. a. _ & r -... . With sweeping power tliroughoi it n j * . M.M. J=101 5^-"-TA 4# a $ i h k v- )■> a —t-, Bl 5rfnM y jiff LTfr? m, {err -j. creec. e accel. ' ijgg ivl 1 ^ :-

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Copyright 1018 by Theo.Presser Co. British Copyright secured THE ETUDE Page 467 THE ETUDE JULY 1918 JULY MS PATRIOTIC DAY IN THE DAISY FIELD C.C. CRAMMOND Op. 96 A bright and timely little teaching or recital piece. Grade 11% Allegro moderatOgM.M.J;= 108

8 3 a ~"i —-— . >• 8 » a 1 g if 'wfff- *<< rtt 4 Page 468 THE ETUDE J^ET 1918 JULY 19i8 THE ETUDE Page 469 NEAPOLITAN DANCE-SONG P TSCHAIKOWSKY, Op. 39, No. 18 From the celebrated Album for the Young. This number is a reminiscence of Tschaikowsky’s long sojourn in Italy. Grade III. ^ ( CommodoM.M.J,io8^.Mfl ^^ ^_ 434 J**

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Elinore C. B. Joyce SO BLUB THINE EYES The most recent composition of the successful song writer, Kate Vannah. A charming recital number. KATE VANNAH Moderate) con moto G\

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FIRST MAZURKA By Thaleon Blake A showy Mazurka movement, easy toplay and admirably adapted to the solo instrument. Good for study or recital. OSCAR J.LEHRER A friend who is a parent as well as ■ for another, it is often done wrongly. To teacher accosted me last winter rather be sure, teaching as well as practicing is n suddenly with an unusual question. undergoing evolution. When I was five “Is not America a free country?” he years old I was lifted to the wabbly pi¬ demanded quite peremptorily. ano stool, introduced to “Middle C,” and VIOLIN As I never could readily guess riddles, given the first of a long string of five I replied, “I give it up. Some say it finger exercises. The later and better ought to be.” instruction is based on the play instinct “You are evading,” he continued. natural to normal children, since children “Well,” said I, wary of "being caught will learn almost anything if it be in some hoax, “who are the real tyrants ?” first made into a game. Watch a back¬ “Our children, of course,” said he. ward class of children in vocal studies "The State should step in and make arouse themselves to enthusiasm when piano playing a part and parcel of train¬ calisthenic movements are combined ing as much as arithmetic or grammar. with singing. The song may have lacked This will be the making of the parents, inspiration; the dancing wanted zest; for few of us control our children as well combine the two, and, in chemical phrase¬ as public school teachers do. Being ology, the reaction is attended with heat. parents doesn’t always give us authority It is likely to be difficult for teachers over Young America. Our parental disci¬ to carry over into the family lives of their pline is lax; obedience is too often spelled pupils the “play idea” for practice time. with a dis before it. What a spectacle Yet if parents will help begin it, and en¬ if American parents should have to or¬ courage it after it is begun, practicing will ganize and petition society for their be shorn of much drudgery. Reason Can¬ rights! Let children beware! The tru¬ not find a tenable answer why music ant officer may yet get them, and hale should not always be pleasurable to learn them to their piano-practicing. As a wherever the ideal trinity cooperates: parent I favor the truant-officer. It will (1) the teacher to lead and direct; (2) be less strenuous for me.” the pupil to follow and respond; (3) the This leads me to thinking; parents are parents, allies to teacher and to pupils easy. And American music teachers who alike, to assist in spirit, word, and deed, have had to complain of the evil of and to sacrifice time and to devote service "missed lessons” may yet have to com¬ with love, patience, and intelligence. bat that kindred evil, "missed practice.” An approximation to this ideal trinity Missed lessons hurt a teacher’s purse; his could be made by (a) teachers personally pupil’s missed practice damages a teacher’s soliciting parental alliance; (b) Teachers’ reputation. By your pupils’ practicing are Associations preparing leaflets for their you eventually to be known. It would al¬ members to distribute through their stu¬ most seem that teaching is getting to be dents and by mail to parents; (c) the just one "missed” thing after another! timely discussion in Women’s Clubs, and, Why is it that practicing is such a bug- (d), an occasional article in the. local a-boo? For one thing it is hard work; press.

Occupational and Ceremonial Songs Among the Indians The earnest and persistent efforts of Mr. Francis La Flesche, ethnologist, Thurlow Lieurance in the study at first¬ Was visited on the Omaha reservation by hand of American Indian music are Xutha Watonin, who gave a description familiar to many of our readers. (See of the ancient War Ceremony in this The Etude for January, 1918.) tribe, as he remembered it. The cere¬ Among others whos.e work in this mony included various ritual observances and fourteen songs. Xutha Watonin line deserves mention is Miss Fran¬ AN IMMEDIATE SUCCESS ces Densmore, who has spent much time died soon after his return home, his death being regarded by many as con¬ since 1915 among the Mandan and Hi- firming the old-time belief that anyone datsa, in North Dakota. She finds that who recites informally the rituals asso¬ they excel in the number and variety Harmony Book For Beginners ciated with these ceremonies will inevi¬ of what may be called “occupational” tably suffer dire punishment. The death songs, having songs (for instance) ap¬ of this old man shortly after giving the By Preston Ware Orem propriate to tanning a hide, preparing rituals has added to the task of record¬ Price $1.00 corn, or setting a trap to catch an eagle. ing these ancient rites; notwithstanding, Brief, Simple, Vital, Practical, New and Distinctive This last is a matter taken with much Mr. La Flesche succeeded in securing seriousness, the right to sing the song from another old Indian, Shongemonin, Admirable for Self-Help appropriate to eagle-catching being an the songs of the Fasting Ritual, the Child¬ Lays a strong foundation for future musicianship by giving the main hereditary right vested in one person naming Ritual, and (after considerable essentials of the subject in such simple, understandable and interesting manner of the Mandan tribe. The ceremonial hesitancy) the Seven and Six, which he is that it will prove invaluable in the class or for self-help work. song, supposed to fructify the seed corn always called upon to recount in Con¬ This is not a re-hash of the old “cut and dried” harmonies, but a fresh, new, in the spring, is similarly sung only by nection with the War Ritual. For this sound treatment along modern lines. the “corn priest.” service he is paid a horse and goods Read this letter from Charles Wakefield Cadman, Songs of war, and of the various men’s amounting in value from $125 to $150— societies, were also recorded, the total a very fair honorarium! Successful American Corflposer and Specialist in Indian number of songs transcribed figuring over (Selected from the Annual Report of Music: the Smithsonian Institution for 1916.) a hundred. I have never seen anything just like it and it fills a long- felt want. Few learners of harmony can instantly grasp the first elements of the subject because they meet with Conquering Difficulties Beforehand a maze of useless words and puzzlements. It seems to me you have simplified things tremendously in this By Hazel M. Howes little book and I am sure it will meet with ready response. deserve the true enjoyment of a piece? The words “a piece” are nearly always THEO. PRESSER CO.,1712 Chestnut St., Philadelphia, Pa. sure to meet the approval of an interested Should the teacher select and copy the music student, whether a beginner or a troublesome parts, arranging them in pupil of experience. But how many earn¬ exercise form and use them for technical est students, especially beginners, become practice for a few weeks, the piece, upon TEACHERS : PIANISTS : ORGANISTS : SINGERS discouraged, and how many others lose presentation, would then not only greet the excited interest with which the sheets the student as new, but also as within his Your Name Should Appear in PROFESSIONAL DIRECTORY grasp, and thereby save unwelcome weeks were first unrolled, long before the piece ('See page 491) The colt is imall. The advantage ia inestimable. has been mastered. Does the pupil not of drudgery. Copyright 1918 by Theo.Presser Co. Please mention THE ETUDE British Copyright secured addressing our advertisers. Page 474 THE ETTJDE JULY 1918 THE ETUDE Page 415 Natural Points for the Covering of the Various Vowels * ~ V;V ’i .V 1 • ■ tsmM “Covered tone” is a much mooted tones cover or change on A or A-sharp, question and by many not fully under¬ second space, just two half tones higher stood. Most recognized authorities on than “e” as in “reed,” and “u” as in “loo.” the voice advocate the study, development They are said to cover on A or A-sharp Department for Voice and Vocal Teachers for the reason that all tones when sung and control of that which is called cov¬ forte are properly carried open a half ered tone. Undoubtedly the greatest and Edited for July by E. J. MYER tone or so higher than when sung me¬ wk most successful singers of the world dium in power, just as all tones can be use the covered tone. They could not properly covered a half tone or so lower “The Human Vo ice is Really the Foundation of All Music.’ ’ RICH A RD WA G N E R - - : " be the greatest if they did not. The than the average point when sung piano. change from the covered to the open tone, The next sounds here given differ from Grand Style F or from the open to the covered, is more those already given, from the fact that What is Singing? The marvel of Schomacker Tone marked in the male than in the female different vowels change or cover at dif¬ never ceases. The owner of a voice, yet the principle is the same. ferent points in different voices. Thus A few years ago I read an article on forces must prevail, right or wrong. It is of inflation, the added resonance of air in soulful voice, the appealing voice, the Schomacker Grand feels with All tone, open or covered, must have the basso covers lower than the baritone, the Science of Voice and the Art of nature’s demand, it is nature’s law. vibration-in the inflated cavities, especially emotional voice, the dramatic voice, the each year an increased re¬ perfect freedom of form and action. and the baritone covers lower than the Ingz&m’s Singing before a State Music Teachers’ i The motor power or “driving” force the chest. This is possible only when voice of many fascinations, the tone being spect for its inherent nobility. There must be no interference whatever tenor. The lower and heavier the voice Association. After much discussion, pro ' consists of four sets of muscles in the form and adjustment prevail through the the result of the desired self-expression. above the organ of sound. Correct open the lower the points of changes; the MilKw&ed Cteatll and con, I took my seat among the mem¬ lower part of the body: the diaphragm, equalization of the two forces,—equal This form of self-expression is entirely Schomacker Piano Co. and covered tone is the result of placing, higher and lighter the voice the higher bers. A pianist sitting behind me leaned the abdominal muscles, the intercostal pressure and resistance. All artistic tone possible only when equal pressure and ESTABLISHED 1838 of form, of reinforcement of the cavi¬ the points of changes. “A” as in “day,” el" r: “e” as in “let,” and “o” as in “go,” cover over and said to me: muscles, and the dorsal muscles. These • is the result of inflation and reflection,— resistance prevail, for when they do pre¬ Philadelphia - Pa. ties, and of the adjustment of the organ corned imperfections 0^!! complexion. “it iT'oohenim of sound. Open tone does not mean in the bass voice at about middle C, or “Mr. Myer, what is singing?” four sets of muscles must be made to do tone placed high and reinforced or built vail we have absolute freedom of voice and cleansing, too. No other emollient will give you and automatic breath control* Then, and simply open form and freedom of exit, a half tone lower; in the baritone voice, I replied: team work, which can be done only down by the added resonance of vibrating SentaSe wmUove!rnCeUsfit dlfly ^ WOme“ °f re6“' then only, is it possible for the singer to nor does covered tone mean contracted at about C or C-sharp; and in the ro¬ “Singing is a form of self-expression. through a movement that brings them air in the inflated cavities. This subject is “Just to show the proper glow” use Ingram’s Rouge. express his inner, higher self, the true form and lack of freedom, as so many bust tenor, about E-flat or E, and in the Perfumed with exquisite delicacy. Safe.^ Comes^m So far as tone production is concerned, into correlated action spontaneously and of the utmost importance to singers and sensations of the singer. Then, and then imagine. The fact is, as a rule covered lyric tenor, about a half tone higher. whatever of self is in the tone will surely never by conscious local effort. teachers. I wish I had space here to Send us a dime for our Guest Room Package con¬ only, is it possible to get out of a voice tone has larger form than open tone for “O” as in “love,” “o” as in “on,” and taining Ingram's Face Powder and Rouge in noeel The “control” lies in the chest, the enlarge upon it. purse packets, and Milkweed Cream, Zodenta be heard. If the physical self predomi¬ just what you put in it. That is the point the simple reason that the form is much “a” as in “awe,” cover, as a rule, about Tooth Powder, and Perfume In Guest Room Sjws. muscles of the upper part of the back, nates, the tone will be local and physical; So long as the control is local and mus¬ I want to make in this article. more elongated. one-half tone higher than those last and in the approximated breath bands, the cular, the tone will be nothing but com¬ Frederick F. Ingram Company if the mental self predominates, the tone This brings us to a consideration of that The changes or natural points for cov¬ above given; in the bass voice, about Windsor, Ont. 43 Tenth St., Detroit, Mich. true point of control when artistic form mon, muscular, meaningless sound. The will be keen and mental; if the emotional which I have called the “Third Power” ering the various vowels represent the middle C or C-sharp; in the baritone and adjustment prevail. results of such local control are heard in self predominates, the tone will he accord¬ of the singer, the force which, next to difference between that which is usually voice, about C-sharp or D; in the robust All students are stronger in the “drive” the white voice, the thin voice, the throaty ingly. The use of the voice is always a unusual or wonderful voice, is nature’s called open and covered tone. They are tenor, about E or F; and in the lyric than in the “control.” A correct, artistic voice, the pharyngeal voice (the worst of matter of self-expression. Tone is ex¬ greatest gift to the singer. This "Third really the points which mark the change tenor, F or F-sharp. training of the voice means a correct the lot!), and many other types. These actly what the prevailing conditions are in Power” is the power of the emotional or transition from lower ,to upper chest There yet remain “a” as in “ah,” the TheBoys’Magazine training of the body,—in other words, de¬ voices are monotonous, meaningless, and the voice; if wrong, the tone is wrong; nature, of the inner, the higher, the real tones in the male voice.* The transition open Italian sound, and “i” as in “die,” veloping the control as nearly as possible are without color or appeal. The tone if right, the tone is right.” nature of the true singer, the soul of the from lower to upper chest tones in the the open “i” sound. These tones, the to equal the drive. In proportion as the takes its timbre or quality from the point singer, the singer’s sensations. This male voice is not arbitrary, but varies most open in the voice, cover higher than My aim in this article is to show briefly control equals the drive, the necessity for or place of local control, and there are with different vowels. In this article I all others; in the bass voice, about mid¬ what wrong conditions are and what right local throat effort in controlling the voice many different points of local control. , wonderful Third Power when properly shall give the changes as found in the dle C-sharp or D; in the baritone voice, conditions are, the conditions demanded is eliminated. So long as the control does The singers who produce these tones are and fully developed dominates the entire male voice. The natural points of cov¬ D or E-flat; in the robust tenor, E or F; by nature. Then, further, to show that not equal the drive it is impossible to use absolutely the victims of the lack of being, physical, mental and emotional, ering the different vowel sounds have and in the lyric tenor, F or F-sharp, fifth when the conditions are right you cannot the voice without a certain amount of correct control Just as you can get no dominates all forms of expression. The never, to my knowledge, been recorded line of tenor clef. get more out of a voice than you put into local effort, using muscles which nature more out of a voice than you put into it Third Power is to the great singer the impelling, the vitalizing, the convincing except in my book, Vocal Re-mforce- All vowel sounds, when covered too it. That is -the principal thought in this never intended should be used in con¬ when conditions are right, so it is impos¬ ment, from which this article is largely low down, narrow and contract the article, namely. What must be put into trolling the voice, but which nature com¬ sible to produce tone without the un¬ power. It is the only power the great taken. voice, and the quality becomes sombre the voice in order to make it appealing? pels the untrained singer to use in order musical conditions when the control is artist knows or needs to know when before the public. The tones which change or cover low¬ and dead. All vowel sounds, when sung I feel something like a minister who to save the voice from immediate strain. wrong. When the conditions are right, est in the male voice are “e” as in “reed” open too high up, which is the prevail¬ takes a text and then preaches on another When the two forces are approximately when the demands of nature are satisfied, I reiterate my former statement: Even and the Italian sound of “u,” commonly ing tendency, make the voice white and subject However, in order that I may be equal, then, and then only, is it possible when equal pressure and resistance pre¬ when conditions are right, no singer can represented in English by “oo” as in thin and the quality hard and disagree¬ understood I must first state my position. to have an absolutely free, flowing voice. vail, that which is known as “poise” in get more out of his voice than he puts “loo,” a syllable quite familiar to vocal able. In the use of the singing voice, right or All tone is reinforced sound, right or the use of the voice, then we get the true into it This, then, is the answer to the students. These tones change or cqver If the changes or transitions of the wrong, there are always two forces in wrong. There are two ways to reinforce . tone. Then if the singer is properly and question, “What is singing?”: Singing is a on G or G-sharp, second line tenor vowels as here given are understood and action, the motor power and the controll¬ tone: one is muscularly, the prevailing fully trained, physically, mentally and form of self-expression. clef (which is the same as the treble mastered, then the voice will be even ing force; the “drive” and the “control,” way; the other, when conditions are right, emotionally, we get the voice that rules clef) or fourth space bass clef. Two throughout and will be of equal power or pressure and resistance. These two is the added resonance or reinforcement B r e a thin g ”U ^ a n d* ^°”A inom aTc h C “Au“m^ _the vocal world; the fervent voice, the other tones quite low in the scale, “i” and beauty from the lowest to the high¬ as in “rid” and “u” as in “would.” These est tone of the compass.—E. J. Myer. The First Great Fundamental Principle of Artistic Singing Studio Stories There are seven great fundamental and up, never forward and out. Form is The following humorous stories are A teacher in a western city used to The Evolution of Singing principles of artistic singing. The first the result of adjustment. By adjustment vouched for by the writer as being ac¬ write to me frequently to get my opin¬ principle is absolute freedom, the re¬ I mean the position of all the parts, es¬ tually true. They are a few of the many Diction, pure, distinct utterance, an upon pure diction to be greatly effective. ion as to what he should do for certain Address: THE SCOTT F. REDFIELD CO. moval of all restraint. The full devel¬ pecially that of the organ of sound itself, in his own experience: artistic use of language in song is very It depends upon a knowledge and control 2229 MAIN STREET, SMETHPORT, PENNA. pupils. It soon became very tiresome. opment, control and mastery of this first the larynx. As all good teachers know, The leading organist and musical di¬ important. However, there is something of the physical, mental and emotional One day he wrote me, saying he had a principle is impossible without an under¬ there is a singing position or adjustment rector, in a western Pennsylvania city, of even greater importance, a condition powers of the singer. In other words, pupil who had a beautiful contralto voice, the elocution of singing means that every A Book to Help Increase the standing of the second great principle, of the organ of sound. When the organ where I held a summer school some that includes not only diction but somt'- with a range from high F to low F, full, thing far and away greater in the use of tone of the voice must express something; Interest of Pupils automatic breathing and automatic breath of sound is properly adjusted (which years ago, produced one of Gilbert and rich, and without a sign of. a break; words in song, and that is word power, must express the thought, the feeling, the control. These two principles are closely must never be done locally, but through Sullivan’s operas with a cast of local “The Power of word power,” the Elocu¬ emotion aroused by the sentiment of the Stories of Standard Teaching allied, are, in fact, interdependent, as both singers. Returning from the perform¬ that he could not tell when she changed a correctly trained body), then the breath words. This can be done only through are the result of correct form and ad¬ ance to my hotel, I stopped to chat with from her chest to her medium tones, and tion of singing. Pieces for the Pianoforte bands, the false vocal cords, approximate, Much of so-called diction is, unfor¬ the impressive, the persuasive use of justment, and correct form and adjust¬ the guests seated on the hotel porch, it he did not know what to do about it the cavities inflate, and automatic breath words in song, through the color, char¬ ment are possible only when the two being a warm summer evening. One of So I wrote back to him, “For mercy’s tunately, a conscious local effort to form control is the result. This matter of ad¬ vowel sounds and exaggerate articulation. acter and vitality of the tone, the highest physical forces of the voice, motor power the guests, a lady, who was an elocu¬ sake, let her alone!” 236 pages bound in boards. justment is the result of equalizing the In this way it becomes labored, artificial form of expression in singing. The elo¬ and control, are equal. I refer again to tion teacher, said to me, “Mr. Myer, One Sunday night at Chautauqua, on the PRICE, $1.50 t\\*o forces above mentioned. I repeat: and unnatural; it becomes a conscious cution of singing means that the singer this principle of form and adjustment how did you like the opera? Did not lake, after the evening service, a num¬ the equalization of the two forces is mannerism and is often hurtful to the must be able to adapt the tone of his Theo. Presser Co., Phila., Pa. because it is so important a subject and Miss So-and-so have a tremolo in her ber of us were in the hotel lobby listen¬ the result only of a correctly trained voice. Articulation to be effective must voice to all forms and shades of expres¬ is, as a rule, so little understood. I voice, and did not Mr. So-and-so sing ing to the humorous lecturer of the week body through free, flexible movement. be studied and developed along natural sion, light, happy, sad, emotional or dra¬ hope to influence hereby.the thought of off the key in his high notes?” etc. telling funny stories of his own experi- When these conditions prevail, then and lines, must be automafic and spontane¬ matic. This means that the singer must the profession along this line. The then only have we secured absolute free¬ Knowing this lady somewhat by reputa¬ ences. One of the party, a tenor, had been Nadine ous. A free, flexible articulation of the have control of all the forces with which question of poise or equalization of the tion, I did not let myself be “caught.” a pupil of mine. In a general conver¬ dom, the removal of all restraint, the consonants is a large factor in the spon¬ nature has endowed him, especially “The Face Powder two physical forces mentioned above first great principle of artistic singing. Instead, I replied that the performance sation he was always ready and anxious was a credit to the city. Then she said, taneous placing of the voice and in giv¬ Third Power,” the emotional power, the (In Green Boxes Only) does not receive the consideration it A conscious local breath and conscious to ‘chip in,” so he said, “I want to tell should. “You know, Mr. Myer, I am an elocu¬ ing it life and freedom. emotional nature of the singer. The local control makes freedom impossible. «AJ°ke °n t'”s tnan»” pointing at me. Arranging' and Correction of Mss. The voice is composed of two separate power of vitalized emotional energy can¬ I am often asked, “What do you mean by tion teacher, and know all about breath¬ A few years ago I was studving with Keeps the Complexion No one can consciously take breath, con¬ A SPECIALTY and distinct instruments, the organ that not be overestimated. “form and adjustment’ ?” By form I mean ing, but I wish you would tell me just Mr. Myer in New York, and when I sciously hold breath and release the A. w. BORST, Presser Bldg., Phila., Pa. produces sounds or vowels and the articu¬ Often the words of a song mean much Beautiful the formation of the mouth, the pharynx voice at the same time, for the reason where the diaphragm is.” “Well,” I re¬ had taken my last lesson he pushed his Composer of Cantatas, Songs, PlanoforU lating organ, which produces consonants. more than the music; the music being d velvety. Money back and all the resonance cavities. This for¬ that the same muscles are involved in plied, in a joking way, “you know it is a chair back and looked at me. I said to “hrely^lMsed. Nadine strong muscle on the back between the These two instruments, when properly simply a means of giving artistic expres¬ mation must be absolutely spontaneous holding breath and releasing voice. For him, ‘Well, what is it?’ He replied in heres until^washed off. Prevents sunburn and ’ shoulder blades!” She answered, “Oh, PARKER’S trained, strengthen, compliment and sup¬ sion to the sentiment of the words. Such and automatic, never the result of local a study of automatic breathing and auto¬ the most serious manner, ‘Well, it is a I know better than that 1 I know it is in HAIR BALSAM port each other, and together they mould songs, when beautifully and impressively users prove its value. Popular tSntsf'/lwl? influence. The tone, as we all should matic breath control see the writer’s The pity that the Lord could not give a man A toilet preparation^ °f Uull.*' Pink,IIIrunette, White. 50c. by toilet counters the throat somewhere, but I don’t know vowels and consonants into speech. sung, always win the audience. In other know, must come to the front, forward Vocal Instructor.—E J. Myer. a tenor voice and brains at the same 1 For Restoring Color and _ or mail. Dept. E. _ The elocution of singing means much words, the singer must idealize not only just where.” time 1’ ” (Beauty^ to Caray and^Faded Hair. Nntionnl Toilet Co., Pare, Tenn., U. S. A. IPI more than diction, but depends largely the tone of the voice but.the words o( Plena mention THE ETUDE when addreaelng our advertisers. JULY 1918 JULY 1918 THE ETUDE Page U79 Pape U78 THE ETUDE small number of hymn tunes. An earnest agencies in the church by ignoring these William C. Carl and successful organist told me a few activities which are usually delegated to TEACHES THE days ago -that he was sure his congrega¬ some amateur or subordinate. It is a lAustin Organsj tion knew and sung willingly only about lamentable fact that not only the organ¬ FRENCH twenty hymn tunes. Here again it is idle ist, but the minister as well, has in large to speculate why or to indulge in recrim¬ measure left these important activities to 'T'lME is the greatest inations. The cure is to direct attention shift for themselves,—and then laments METHOD of teachers. It re¬ Department for Organists deliberately toward an ever-increasing the degeneracy of the times. It is not to veals the many mistakes if ORGAN¬ number of the great hymn tunes,—in song be expected, by any means, that every con¬ Edited for July by J. LAWRENCE ERB service, prayer meeting, congregational gregation is ready to welcome the organ¬ of the uninitiated. ist with open arms to this wider range of PLAYING rehearsal or church social, by means of Examine, if you will, artistic performance or lecture or just activities which are really his privilege ‘The eloquent organ waits for the master to waken the spirit.” DOLE plain reiteration,—until the congregation and responsibility. People have so long two or three different Guilmant Organ School knows and loves as many as it can assim¬ managed to get along without the organ¬ makes of pipe organs ist that they have arranged their scheme Send (w Catalog 44 W. 12th St., New York ilate. that have been in use Of course, I would not overlook the of activity accordingly, and it will be The Organist’s Field As An Educator important part which the organist ought necessary for him to start out anew to for, say 15 years. to play in the Sunday School, Young Peo¬ win his rightful place. But, not only Time will show which STANDARD from the standpoint of the success of his ple’s Society, and other places where he one has paid the most Dy J. Lawrence Erb is usually a stranger. When the organist labors as a church musician, but quite as MUSIC WORKS laments that he has no opportunity to in¬ definitely because of its. effect upon mus¬ interest. fluence musical sentiment in his church, ical culture in the community will his est trouble with the organ-playing pro¬ of musical activity: The serious musician As a reward for obtaining In the large cities where musical activ¬ up a congregation in very short order ETUDE subscriptions he is usually entirely forgetful of the labors earn a golden harvest,—and the ity is highly specialized, there are oppor¬ if the music is made attractive. But fession, as with many others, is that there would scarcely attempt to break into fact that he has deliberately cut himself right to the dignified title of Organist as Austin Organ Co. opera without much careful specific prep¬ Send us ONE subscription, not your tunities usually to hear all types of music there is no doubt that a great proportion are too many who fear that they may off from every one of the formative Educator. 165 Woodland St. Hartford, Conn. and to receive all types of musical educa¬ of the organ voluntaries which are played give more than .the one hundred cents to aration and coaching. Yet church music own, at 31-50 (1.75 in Canada) and we will tion. Everything from the ukulele to the throughout the country are not at all the dollar and as a consequence scarcely has more and older traditions than opera, send you your choice of any one of the following works: symphony orchestra and grand opera may attractive to the congregation. That is give full value. After all, an organist’s and its standards are more definite and duties consist of something more than logical. Hence the organist who expects Album of Favorite Piece*. “Holding the Choir” CTEERE ORGANS All Built be enjoyed, if one has the price. But the one reason why the congregation so often First Study of Bach. vast majority of the people in America persists in visiting through the voluntary, killing a little time before and after the to be seriously regarded as a church Mathews Standard Graded Courie of Studies. In the good old days, the church was to constitute the choir to all intents and O to Order for those who desire service- and perhaps while the collection musician must humbly go to school to the purposes into a music-study club, first of are not so fortunately situated. Most of sometimes even expressing mild surprise Any one grade. the center of much of the social life. the best, the smallest, the largest. us, even with the greatest enthusiasm for that the voluntary is regarded as a part is taken and in playing the accompani¬ past to older civilizations to make him¬ Standard Brilliant Album. Even going to prayer meeting became a all, to study carefully from all angles the music and the utmost willingness to place of the service. Without in the slightest ments to a few hymns and an anthem or self competent to act as guide and direc¬ Four Hand Parlor Pieces. mild social dissipation, and the choir held compositions which are to be performed The J.W. STEERE & SON ORGAN CO. two. If he is worth his salt, he regards tor of so important a function. ourselves under the best musical influ¬ degree sacrificing fitness, it is possible to within it all sorts of social delights. In in the church services—then to branch Established 1867 Springfield, Miu. ences, are seriously handicapped for lack find plenty of good voluntary material himself as the musical, guide and pastor Having cast his eye over the field, he out into the general history and standards THE ETUDE those days, if reports tell the truth, there of opportunity. In the smaller urban which still serves to attract the people in of the congregation; and if he is not will find many avenues leading to suc¬ PHILADELPHIA, PA. of church music and perhaps of the ora¬ was no difficulty in keeping the choir or¬ towns and villages especially, facilities the pews. It is significant, too, that a afraid to take responsibilities arid do a cess in his specific activities and a larger torio. Then, for the reason that it is al¬ ganization intact and efficient; but the Moller Pipe Organs are meager. great deal of this material is to be found little work which is not stipulated in the influence in the musical uplift of the com¬ ways good for one to be obliged to Twenty-five Hundred in u«e. The highest gride among the distinctive organ literature contract, the chances are that he will find munity. If, as too often happens in our movie and the automobile and Sunday broaden the horizon and to acquire adap¬ Need for Versatility instruments. Gold Medals and Diplomas at Sir quite as frequently as- elsewhere. While his position gradually growing up to his topsy-turvy social organization, people go THE MEDAL OF golf and a million other “abominations” tability and initiative, one of the best International Expositions. Satisfaction guaranteed. The music teacher in the small town not in the least opposed to the use of conception of it. So that an important to church to be entertained, they insist HONOR have robbed the choir of its pristine glory, things that can be done to a choir is to must be a versatile person if the town is IC highest award in organ transcriptions, if they are appropriate, part of the educational function of an on being well entertained, and your sacred blowing at the and the poor choir director is put to it train it thoroughly in the performance of M. P. MOLLER Hagerstown, Maryland not to suffer serious lack; and riot all of yet, I am inclined to believe that one of organist to create in his* congregation concert disguised as a service must meas¬ to devise ways and means to hold his the secular part-song. With all our em¬ the work'can be done in the studio. The PANAMA PACIFIC the reasons why the organ is so often and community a sentiment for and a ure up in entertaining power with the INTERNATIONAL singers. phasis upon specialization, we have been accent is being placed in increasing meas¬ STUDY HARMONY ignored as a high-grade artistic instru¬ proper attitude, not only toward church movies, the vaudeville, the theater and the EXPOSITION Practical Remedies obliged to admit that the man who knows ure upon community activities in music and COMPOSITION ment and looked upon simply as a neces¬ music, but all music, and a proper support opera or concert hall. This accounts for only his specialty can not know his spe¬ which are entirely outside the personal ft ,,rwrcr'"' Many remedies have been suggested, in¬ by MAIL JSdJ5aiol?eo" d?' sary “filler” in the church is because too for all worthy musical enterprises! After much of the sensationalism which has in¬ cialty thoroughly and the only way to Alfred Wooler. winner of Interna'- individual relations that until recently THE ORGAN POWER CO. cluding various modernized versions of tfonat anthem competition, lull. many organists insist upon using the all, a musician must create his constit¬ vaded our churches. But, if people go to HARTFORD, CONN. make up the deficiency is to go afield and have formed the sum and substance of the same old social attraction. Where A simple, conolse and practical organ as an imitation orchestra or substi¬ uency just as a doctor or a lawyer does, church to worship, they will welcome the lera or Urn GOLD MEDAL et JAMESTOWN) get a new point of view. The practice course. Send for prospectus ami the music teacher’s work. With the act¬ that works successfully, there is no need rates. Composers’ MSS. corrected. tute for grand opera or, worse yet, as a and he creates his constituency largely by tremendous impetus and assistance to and performance of secular part-songs is ALFRED WOOLER. Mus. Doc. ual work of the studio this department to look further; but, alas, a great deal of very inferior piano. The organ cannot public service and cooperation in all worship which comes from good church one of the best forms of discipline that A 322 W. Utica Si.. Buffalo. N. Y. and such an article as this have no inter¬ social life nowadays bears no slightest re¬ take the place of orchestra or opera or movements that make for the public good. music suitably performed. The individual can be devised for a choir, and it offers a est. It is assumed that the organist is lation to the church, and unfortunately piano. It has a place oftentimes in con¬ congregation must decide its own policy, TWENTY-FIVE QUIET delightful contrast to the routine work oftentimes a person actively engaged in many of the good voices are to be found nection with each of these forms of mus¬ The Choir Leader Should Seek High but, having once decided, it is futile to besides affording oportunities for other teaching and as such gives one hundred in the possession of those with whom ical expression, but, like every other legi¬ Standards attempt to blend the two types success¬ DEVOTIONAL PIECES types of performance of which a choir is cents on the dollar to his pupils; but in church-going is no longer a habit. Of Recent Pipe timate musical instrument, it has its own Where the organist is, as he should be, fully. Nothing but a change of policy always glad to avail itself. If there were these days musical education is a much course, the church that has plenty of literature which is the best medium as a also the choir leader, his opportunities as will do any real good. more choir concerts and more opportuni¬ bigger proposition than teaching individ¬ money holds out other baits, for it can rule for showing off the instrument and an educator are increased many fold. His ties for appearance at other places and in Organ Pieces uals in a studio. In fact, there are those afford to pay. It is easy enough to hire which best serves to exploit the per¬ first and most obvious duty is to educate Genuine Church Music Often Unknown other roles than as part of the church who believe that teaching individuals in a a chorus if you have the money—which By Popular Writers former. If there is one lesson that his minister and choir and congregation in Churches machinery, it would be easier to hold the studio will never bring about the musical alas most churches have not. Then what awakening nor create the musical atmos¬ organists ought to learn from the tri¬ up to the point where they will tolerate One reason why people so often fail choir together. 4772. Frysinger, J. Frank.Moonlight . umphs, of such men as Guilmant, Bonnet, to do? An attractive soft voluntary or recital phere that is so necessary in our country. and, in time, join in the singing of good to be interested in good church music is Well, there are other compensations be¬ Faithful Attendance Courboin, Heinroth and a host of others, What is needed is a more informal hymns. For many reasons the type of because they so seldom hear it well per¬ sides those of a pecuniary nature. Many After all, faithful attendance at re¬ 4964. Sheppard. E.H.Posdude in D . it is that these men have performed An imposing closing voluntary, easy to method of dealing with a much larger congregational hymn in this country has formed. We often hear concerts of vari¬ young people will consider themselves hearsals and services and conscientious constituency and much more rapid results almost entirely music that was written sadly deteriorated. No other civilized ous kinds, not directly connected with the Warner, F. H.. .Allegro con Spirito . amply repaid if the training is sufficiently performance of the duties of membership A vigorous closing voluntary, dignified. in reaching this constituency if we are to originally for the organ, and when they nation either sings or tolerates in its church and its worship, held in the church A Book °f Compositions by thorough that it will enhance their musi¬ in a choir are no little contribution’to the take advantage of the golden opportuni¬ do delve into the general musical litera¬ houses of worship such* degenerate speci¬ auditorium. But it is so rare as to be cianship. With such people, the im¬ success of the church; and the faithful 5033. Pease, S. G_Anniversary March . Modern and Classic Composers Tuneful and spirited, a good teaching ties that lie before us. ture they still adhere to a type of com¬ mens of music (if one is justified in calling almost startling to hear of a concert of portant thing is to make sure that the choir member is thoroughly justified in ex¬ As in many other cases, the best and position which can be best described by them by so dignified a title) as are com¬ church music, either within or without music selected is good, and that it is pecting to get something out of the choir 5018. Mauro-Cottone, M... Marcia Festiva . These pieces are suitable A splendid recital number for an ad- quickest response often comes from the the term “organistic.” The Etude and mon in this country. Much of the fault the church edifice. No one sees the in¬ worked up in artistic musicianly fashion. in return for what he puts in. So, the choir use of indirect methods. Those who have its publisher have too constantly in the undoubtedly lies in the pews, but not all, congruity of giving a secula- concert in for Sunday evening gath¬ Singers have the same pride in such an leader who treats his singers with the 5094. Sheppard. E. H.\ Allegro Pompco . A well-written, interesting poetlude had experience with community singing, past kept before the organists of the nor is the fault all on the side of the wor¬ church, but a church music concert is erings, or religious meet¬ organization that members of a great respect due those who are contributing to for instance, have observed that the aver¬ country good literature for the instru¬ shippers. Indifference, lack of sympathy rarely heard even in church, much less in ings of any kind. It is symphony orchestra have in their con¬ the support of the church (I am sure he 5148. Stults, R. M.Mediation . age community chorus is as easily molded ment to make it necessary to attempt and tact, and an undue desire to shine ductor and his work. They are loath never fails to treat with deference the a concert hall. (I do not mean oratorio a valuable volume for Schuler. G.S.Posdude in G . and swayed as any other crowd, but that detailed lists at this time. have made the organist and the other or cantatas, but bona fide service music.) to let go, even for the sake of a man who'contributes money to the church Showy, yet easy to play. church purposes. The slight pecuniary advantage. It is good treasury) and who keeps the interest of it melts away before any deliberate at¬ church musicians equally responsible with I had the good fortune to attend recently 5271. Diggle, R.At Sunrise . Be Alive to Opportunity music is of the interme¬ his singers alive, both with the routine A tendermelody, with teetefnl regi.- tempt at teaching or rehearsal. The pub¬ the much-berated minister and music- such a concert of church music given by policy to be a thorough drillmaster diate grades of difficulty and to demand the best work possi¬ work which is the reason-for-being of the lic likes its pill sugar-coated, but it has Not all organ music belongs to the committee. But recriminations accom¬ the organist and quartet of a city church Ve will be pleaaed to lend any of the above ble under the circumstances. It is much organization, and with other work which no objection to taking it if it thinks it is church, so the organist who confines his plish no constructive end, so the only as one of the evening programs of a number, for examination. easier to hold a choir with this sort of may well be regarded in the nature of candy. The organist as an educator may activities to the church is missing much sensible thing for the organist to do is State Music Teachers’ Association con¬ Price, 75 cents to put himself in sympathy with the bait than to make the rehearsals easy¬ recreation, will as a rule find little diffi¬ Theo. Presser Col become one of the great propagandists of his opportunity. The organist who is vention, and it drew one of the largest and missionary forces in the nation-wide content to let his instrument remain silent church and its officials and set about tact¬ THEO. PRESSER CO. going and results haphazard. culty in maintaining his choir organiza¬ 1712 Chestnut Street and most enthusiastic audiences of a There are other possibilities of inter¬ tion in good shape numerically and effi¬ musical awakening which is taking place so far as his public is concerned, for six fully to raise standards. Philadelphia, Pa. strong and well-attended convention. Philadelphia, Pa. esting and holding the singers. Making cient musically. It is not hard to interest at the present time, and he has just the days in the week is scarcely earning his He will find at once that it behooves Needless to say, however, every number the rehearsals interesting as well as ef¬ people where they know they are getting necessary opportunity to present his edu¬ salary and is certainly not bidding for a him to know something about standards himself,—which I fear he will in many was as artistically performed as though fective is one of them. It takes little time their money’s worth.—J. L. Erb. cational campaign in sugar-coated form. bigger position. It is not to the point cases discover that he does not. Assum¬ the performance had been a song or in¬ ORGAN REPERTOIRE First of all, he is assured an audience, to argue that organists’ salaries are too strumental recital of highest type,—as Compiled by PRESTON WARE OREM ing that his musical education in general Price, *1.50 an essential which' most other musical low. The significant fact is that where indeed it was, but of an unusual type. MAKE SSS is thorough and complete, it is quite an¬ rT7HE Editor of the Organ Depart- The chief object in this compilation has been performers are not so sure about. It is organists make themselves more conspic¬ Hymn services are more common, and to cover the ground as widely and thoroughl) other matter, usually, with his knowledge as possible. Incorporating many novelties and a well-known fact that music attracts uous and more valuable they always find of the history and traditions of church of incalculable benefit in spreading the music gysinr ment for August will be Prof. original pieces as well as some standard com- people to churches, who otherwise would plenty of openings for their services. The positions and new transcriptions not to he music. Without these, how can he hope gospel of good church music. The ten¬ Sumner Salter, of Williams College. found in other collections. stay away; and a church which might demand for really good organists is still to be competent to act as judge in so dency is unfortunately too generally to¬ ROLLS THEO. PRESSER CO. otherwise be poorly attended will build far greater than the supply, and the great¬ important and highly specialized a field ward a gradual elimination of all except*a THE ETUDE when addressing our advertiseri. K JULY 1918 JULY 1918 THE ETUDE Page 481 Page 480 THE ETUDE Violinists as Violin Makers

By Ben Venuto

When one is employed about his proper to purchase, this ability is really a valua¬ Department for Violinists life-work, his most delightful recreation ble asset. Still another desirable feature is often something more or less intimately is that one has an opportunity to try out Edited by ROBERT BRAINE Play ItWhileYou Pay connected with that work. It is not sur¬ any pet theory he may have as to model, prising, therefore, that here and there wood or construction. A brief account “If All Would Play First Violin We Could Get No Orchestra Together”—R. SCHUMANN eiuier rnuffl it, or pay the low rock-bottom^price in of the writer’s own experience in this line small monthly payments. The trial costa you nothing. may be found violinists who are also jj keenly enthusiastic violin makers. The may serve to illustrate this point. Write Today I Some two years ago, having had for only reason they are not more numerous berth and fastened with a piece of string some time certain ideas of changes that Small But Important Repairs peg is required, the best way is to take How to Carry the Cello is that violin making demands consider¬ the violin to a good violin maker and to the clothes-net. This will leave ample might be made in the model of a viola room for a comfortable rest. able skill in the use of wood-working (not following so slavishly the model of to the Violin have a good peg properly fitted. It will By P. Hall The student should get into the habit tools, as well as ability to judge of the a violin on a larger scale)—which might Many people play the violin all their be worth many times its cost, by the qualities of the various woods used in An explanation of how to carry the of thinking first of his cello whenever he improve the characteristic viola-tone, I at lives without ever having had the satis¬ ease in tuning which it will give. construction. The matter of design and cello seems superfluous, perhaps, to ex¬ goes through a room, a doorway, a Morceaux Classiques last made designs, selected wood and faction of a properly adjusted set of If the peg is too long and protrudes crowd or a storm, and if he is carefu’, the technical details of construction may shaped the back and belly of such an Just Published perienced players. For them to thread A New Catalogue of violin pegs. A perfectly fitting peg made past the outside of the string box, it he will have little trouble. be learned from any one of several excel¬ instrument. Having done so much, but of ebony, boxwood or rosewood is of. should be cut off. As the pegs gradually their way through crowded streets with for Violin and Piano OLD VIOLINS the bulky instrument is second nature. lent books on the subject, or better still, distrusting my skill to bend the sides, put the greatest importance to the violinist, wear the sides of the peg holes these Arranged by Henri Strauss Riding or walking it causes them little by watching and questioning some friendly together, etc., I enlisted the friendly aid OLD BOWS as it enables him to tune his violin become too large. The peg holes must Intonation in the Positions inconvenience. But there are many begin¬ Price, 50 cents violin maker. Still, I could not advise of another amateur of more experience, “Gemiinder Art” Violins quickly and to keep it in tune. The then be “bushed,” that is, they are filled The following from a violin teacher any person to begin his acquaintance with and in course of time we turned out a ners to whom a few suggestions may be A collection of ten pieces by the best $200.00 to $500.00 professional player well knows the value with new wood, and new holes bored, so asks for a remedy in overcoming a diffi¬ really fine instrument, which proved, so The Standard Modern Violins of the World. some help in avoiding loosened strings, composers of classical music. They are carpenter’s tools by attempting to make a of good pegs, and makes it a point al¬ as to take pegs of the proper size. An culty which troubles many violin teachers misplaced bridges or more serious especially adapted forteaching purposes violin, nor, on the#other hand, would I we considered, the correctness of my and pupils: “My violin pupils are defi¬ OLD VIOLINS r,zr. ways tofhave them in good condition, for expert repairer charges from $3 to $5 damage. and for cultivating a taste for good music advise any one, no matter how skilled in theories. Knowing the natural human cient in ear training. They play correctly violin strings in his work tuning must be done well for bushing and refitting a new set of For those unaccustomed to the instru¬ in the early study of the violin; being woodwork, to begin his acquaintance with tendency to think wejl of one’s own crea¬ in the first position, but in shifting to Write to lie About Yn.tr VIOLIN TROUBLES tod and quickly, and there must be no slip¬ pegs, and it is worth many times its ment, the usual, faulty mode of carrying within rangeof theaverage violin player. violins by making one. Before one under¬ tions, I did not at first dare claim any other positions lose the pitch, unless I The Violin World - - $1.00 Per Year ping or twisting of the pegs. cost. Repairers usually charge from is to grasp it by one of the handles on takes the actual construction of such an particular excellence for this viola, but give them each tone on the piano. Please The Invaluable magazine for violinists To do perfect work the following peg $1.50 to $2.00 for a new set of ebony, the side of the case, and allow it to hang Theo. Presser Co. instrument, he should have a practical now that I find some of my friends like tell me where I have failed, and just what conditions are necessary: Pegs must be boxwood or rosewood pegs, properly parallel to the ground. The disadvantages Philadelphia, Pa. acquaintance with the form and func¬ to borrow it for use in quartet playing, RUGU5T GEMUNDER SI SONS to use in the way of material to remedy HI W.u .2A St Dot, £ N.. Y.rh. N. Y. made of some strong, rigid wood, such fitted, without bushing. of this are easily apparent. In going tions of every part of the instrument, and in preference to their own fairly good the defect.” as ebony, rosewood or boxwood. It is In cheap violins made by makers who through a crowd the cello is knocked should have learned by observation the instruments, I feel that I am justified in The remedy for this difficulty is much probable that 99 per cent, of all the do not understand violin construction, about by careless people both in front of different qualities of tone that are given, feeling complacent over it. daily scale and arpeggio work extending Some time after this I made a violin, pegs used are made of ebony. Many we often find that the peg holes are not and behind one. In a storm it is exposed be different models, .as well as the effect into the positions. If our correspondent this time doing all the work myself, even cheap pegs are made of some common bored in the relatively proper positions. to rain, snow and wind’. of varieties in the cutting of wood, and has had her pupils do scale and arpeggio even in the matter of varnish. Properly to carving the scroll, although ready-made hard wood, which twist in the peg hole It is of great importance that the holes The Etude Just How to Do It work in the first position, the proper prepared in this sort of knowledge and necks and scrolls are to be had at a rea¬ and make good tuning an impossibility. be bored so that the A string will not The correct method is to tuck the cello intervals should be perfectly familiar to possessed of some moderate skill in the sonable price. It is absolutely necessary that the peg touch the E or D peg, and the D string under the right arm in a nearly vertical VIOLIN STRINGS them by this time. Now if scales and use of tools, there is no reason why any Lastly I made a ’cello, with success, and ETUDE Violin Strinpt plajers aecbance will not touch the G or E peg. This position, the back of the instrument held be rigid, as if made of iron, so that this arpeggio are used which commence in the person so inclined should feel any doubt have now just completed the drawings will happen if the holes for the E and snugly against one’s side, the pegs just twisting in the hole is eliminated. To first position, and shift from the first of his ability to make an at least passably for a double bass, to be built in the near D pegs are bored too high, and gives end¬ above the shoulder, the right forearm be dependable the peg should also be position into higher positions, the pupil, good violin. In the small city where I am future. crossing the fingerboard "at about the thick enough to be perfectly firm and less trouble in tuning. When the holes if he have a musical ear at all, cannot fail at present writing, I know personally no In procuring wood for the ’cello, find¬ middle, and the right hand grasping the rigid, and the part which the finger are bored in the wrong place, the remedy to hear the correct pitch of the notes to less than eleven men who have made ing it impossible to get spruce of proper left side strap of the cello case. grasps in tuning should be broad enough is bushing the old holes and boring new which he shifts. Another aid would be violins, all the way from one up to a quality and suitable size for the belly, In this way the instrument takes up so that the fingers can get a firm hold ones in the proper place. to have the pupil frequently test notes dozen or twenty apiece, and none of these I experimented with Douglas fir and with little more room than's one’s own body, on it. The hole in the peg through which To make pegs work properly, wet the in the higher positions where they can be men either professional makers or even Oregon pine (called also Oregon cedar— THEO. PRESSER CO. Philadelphia, Pa. and may be pushed readily to the front the string is passed should not be too fingers, rub over a cake of soap and played in unison or as octaves with the repairers. Of these, two were music a wood wilh a somewhat coarse but beau¬ or rear, raised or lowered with a slight near either side of the string box, for twist the peg around in the soapy open strings. Another aid is to play dealers, two carpenters, two musicians by tifully clear and regular grain, and of a movement of the right arm. When walk¬ if too near one side the string, in tun¬ fingers, then wipe the peg off and coat familiar melodies in the higher positions, OUR “SPECIAL” profession, one a jeweler, one a drug¬ dull pinkish color), and found the latter ing in a crowd the arm acts as a shield, where the pupil cannot fail to hear ^ «« \W \ ing, locks the action of the peg, as it with common blackboard chalk, and it- gist’s clerk, one a pattern maker, one a to give excellent results. and in a rainstorm the cello is covered whether he is playing in tune or not. 10 Tested Lengths, OCr coils around the peg, and if too near the will be found that the peg will turn shoemaker. The trade of the eleventh I Speaking of wood—large violin dealers by the same umbrella which protects the However, with all these aids it requires 25c Silk Violin E, ior£*0 Bel other side, the end of the peg cannot be easily and yet hold to its place. How¬ have forgotten, but all but one (and he keep stocks of wood on hand, selected and carrier. A strong wind cannot swing it considerable experience and much perse¬ Send for Violin and Cello Catalogue seasoned for the purpose. In violin size pushed through the peg hole. ever, no process of this kind will do about. a double-bass player) played the violin Canto Method | verance before a violin pupil learns to more or less. Of course, their instru¬ the price is reasonable, but that for ’cellos much good if the pegs do not fit per¬ Risks of the Street Cars MUSICIANS SUPPLY CO. Very thin, light pegs should be avoided, play in reliable intonation in the higher 60 Lagrange St., Boston, Mau. and basses is exorbitant, and if one is at fectly. Nine-tenths of tuning troubles The street car is often the worst ments varied greatly in quality, but even ForThe Violin | as they are more likely to twist and positions. People with deficient musical all a judge of wood, it is as well to search come from defective pegs, so it is best possible place for a cello. Even when the very poorest was far from being a break, and tuning is more difficult than hearing never do learn it. The violin is failure, while some of the best have been through local lumber yards and planing by to have the pegs fitted and put in per¬ the car is almost empty it is sometimes IND YOUR MUSIC IN with a large, solid peg. suitable only for those who are endowed 1 sold for fifty, seventy-five and in one case mills for it. Wood sufficiently seasoned MABEL MADISON WATSON p dangerous. The writer was returning B Above everything, the peg should fit fect order by a really expert violin re¬ by nature with a natural musical ear, and IOOK FORM. Cannot get lost or for fine cabinet work is suitable for vio¬ from an engagement one night when the even one hundred dollars. the peg hole perfectly. If this is the pairer. a fine sense of pitch. tom. Attractive oUve green durable leatherette flexl- lins—the excellence of excessively old only other occupant of the car was a I would be very loth, however, to say case, nine-tenths of the trouble from slip¬ In the beginning of position work, it is SSd it o1 tc^Ung*wIU iniike^^y'liolitoo- wood, say a hundred years old, is largely stout, middle-aged woman. When the >peued at any page. 7 anything which might induce rushing into ^ How to direct the young f ping pegs would be avoided. The peg also true that the very mechanical diffi¬ >ok. postpaid. Send i amateur violin making with the hope of di¬ a superstition not based on fact. conductor called her street she rose and er today. 3-day servlc | student of the violin toward | G. N. M.—When the tail-gut breaks, culties to be overcome, cause pupils whose A word in regard to tools. One needs holds, by adhesive friction alone, to the started for the door. The car swayed rect pecuniary profit. To make a good vio¬ as frequently happens, you can easily put ears are correct, to play out of tune un¬ good tools, and must know how to sharpen | real melody playing, p surface of the peg hole, and it is self- and she lurched against the cello, loos¬ lin takes about three weeks of steady evident that a peg which adheres per¬ in a new piece yourself. Get a short consciously. These mechanical difficulties work, and even in the case of experienced them, but only a few are really necessary. piece of tail-gut, and cut it off a proper ening the strings and knocking down the are gradually overcome by intelligent fectly to every portion of this surface makers it is by no means certain that Do not be in a hurry to buy the hundred length to form the loop over the tail-pin, bridge. She hurried on without even an practice, and the pupil is at last as much SAVE MAGAZINE MONEY if Combining foundation technic with % must hold better than one which does “Excuse me.” every instrument will be excellent, conse¬ or so special and rather expensive violin- i the art of melody playing to be used as % with the ends sticking through the holes at home in the higher positions as in the not fit. It is very rare to find cheap The damage done was slight. Still, quently a person who can spare only his maker’s tools until you feel the actual p preparatory or supplementary material M made for it at the bottom of the tail-piece. first. Possibly our correspondent expects leisure time and has had but limited ex¬ need of them, and then only one or two P with any violin schools for beginners, p factory fiddles with good fitting ebony there was the possibility of the wood too much of her pupils. Every pupil pegs. It takes expert workmen to bore Then burn the ends of the tail-gut by splitting when the bridge fell, and the perience, cannot hope for any great pecu¬ at a time. The tools most used are car¬ learning the higher positions has to be penters’ gouges and chisels, a compass I Part I. First stopping. Keys l| the peg holes and adjust the pegs so means of a lighted match, the effect of troublesome task of resetting the bridge niary profit. The real profit is in the joy constantly corrected and helped by the of the work, and in the fact that it is saw, a good jack knife, a steel scraper, ^ of G, D and A. ^ that they will fit perfectly, and as cheap which is to swell the ends into knots. in just the right place. And just a word teacher in the earlier stages of this work. the very surest way to make one a keen calipers and screw clamps. violins are made by cheap workmen the Tie the ends together with strong linen of advice, here. When you have your Part II. Second stopping. Keys and discriminating judge of violins. For Some of the special tools are exceed¬ 4 pegs do not fit. thread, and adjust on the violin. The bridge and sounding-post in what seems of C, F and B flat. Second *| tail-gut breaks like any other string, to be the best places, mark around their a teacher who is often called upon to aid ingly convenient, however, and will serve The average violin amateur seems im¬ A Singer’s Criticism on some octave of G scale. especially in very warm weather, when bases with ink. It is the only sure way pupils in the matter of choosing a violin to expedite the work. bued with the notion that violin peg's are ' the perspiration is apt to get at it. Tail¬ of finding their correct position, when Young Violinists Part III. Combination of first H Standardized, that is, that any peg will pieces of vulcanized rubber, made in one replacing them. Also, the accident men¬ I am not overstating matters when I and second stoppings with a % fit any violin, so, when he breaks a peg, piece with a loop to fit down over the tioned might have been prevented by say that four out of five young violinists, supplement of familiar airs he goes to the music store and buys one, % tail-pin, and thus doing away with the holding the cello with its back to the immediately after the ending of their THEO. PRESSER CO., Philadelphia, Pa. Can Everyone Become a Musician? arranged for violin and _ : just as he would buy a lamp chimney or tail-gut, can be procured. I have such a aisle. It is held between the knees, of number, and before any applause or sign We would place by the side of this go still higher and paint pictures for piano and also as |jMtf2|§| ff gas mantle. When he gets it home it course, unless there is ample room to tail-piece on one of my violins which has of approbation can be expressed, let their question another: Can everyone become omnibusses, cars, etc., while a fourth may violin duets. may be too small; it may not taper so as place it in some safe corner. hands go twang! twang! over the open been in steady use for twenty years with¬ a painter? To both questions we would display sufficient talent to copy works of to fit both peg holes, and may be a mis¬ strings. art; while still fewer reach so far as to out breaking. Many violin players, especi¬ answer. Yes. One may learn to spread Price, $1.00 if . fit generally. He then either whittles On a Journey Of course this is only a habit; they originate new ideas or paint new pic¬ ally in the country districts, use wire to In a railway coach there is generally it down with a jack-knife, scrapes it wish to ascertain whether the strings have common paint on floors, doors, fences, tures in a style or manner of their own. fasten the tail-piece to the pin, but metal more room in one of the end seats. with a piece of glass or sandpapers it remained in tune. But this habit destroys :tc., but would utterly fail in attempting Thus it is with musicians. We use the Theo. PresserCo. f f should not be used in any part of the When riding in a sleeper, if the porter down. The chances are that he will all tonality, all effect; it is offensive and more. Another may have more skill and comparison to make the answer simpler Philadelphia, Pa. | ' f|j violin. Most violinists use the ordinary cannot find room for the cello at night, never get it to fit properly. If a new tail-gut for the purpose. thoughtless to a degree.—R. L. Herman, learn to paint sign-boards. A third may for our readers.—Karl Merz. it can be turned on its side in one’s in An Open Door to Singers. Please mention THE ETUDE when addressing Please mentiona THE ETUDE when addressing our advertisers. ouronr advertisers.advertinara JULY Page Jt82 THE ETUDE THE ETUDE Page ),88 T) Violin Questions Answered WHY CAN’T YOU S. D.—None of the leading American sym¬ young. If, after a trial, this seems impos¬ phony orchestras admit female violin players sible, the bow may be held in the left hand. MSWm to tbelr membership. They are admitted in When this is done the positions of the sound- some of the concert orchestras in the smaller post and brass bar must be exchanged and GET THE RECORDS cities where a semi-professional standard pre¬ the order of the strings changed so that thev vails and where violin players are scarce. will read from right to left G, D, A, E, and not E, A, D, G, as in the case of a normally posed principally of women, such as the Fa- strung violin. Instrument makers usually dette orchestra. The demand for women charge about $5 for changing a violin i' orchestral violinists comes principally from YOU DESIRE? small orchestras employed at hotels, caffis, m -JUNIOR* cabarets, summer resorts, picture houses, the¬ M. R.—Starting at the age of 26, only a aters, etc. Salaries for work o£ this kind = ely limited technic can be hoped would possibly range £rom .$12 to $30 per Howe„- _ jf„ yOU reany ]„ve There are many contributing causes but week, according to the size of the city, and the violin, you could no doubt lei the character of the work to be done. 2. I f you to get much pleasure from your practice. ”2. most of these can be avoided if you ETUDE wish to fit yourself for work of this kind you As you already play the piano, this would had better study at some conservatory or col¬ \ lege of music in one of the larger cities, be of great assistance to you in taking up V\J where a student orchestra is maintained, the pipe organ. If your time for practice is which plays leading orchestral works under limited, your best course would be to continue Order Your Records by Mail a good conductor. your piano, or organ studies, instead of taking Owing to a most comprehensive stock and expert CONDUCTED BY ELIZABETH A.GEST j y*% M knowledge of just what the music lover wants, the Did You Ever Stop to Think TALKING MACHINE DEPARTMENT OF Did you ever rfop to think THE THEO. PRESSER CO.

is completely equipped to make it an easy matter to obtain the records that you desire.

EACH SELECTION IN THE LIST BELOW

SpSS

How Bob Spent the Fourth

Every Music Lover Should Own a Vidrola EITHER OF THESE COMBINATIONS SOLD ON EASY TERMS

THEO. PRESSER COMPANY

1710-1712-1714 CHESTNUT ST., PHILADELPHIA, PA. JULY Page J,.8J+ TEE ETUDE JULY 1918 TEE ETUDE Page Jf85 friends will therefore realize that it is “Of course you will,” himself answered Junior Etude Competition for July Yearly Settlements only reasonable to ask those who have AN INTERESTING MUSICAL So he asked her and she said she The Junior Etude will award three of Accounts permitted their accounts to become EXPERIENCE. would, “but,” she added, “I did not know pretty prizes each month for the best Summer Bargains We want to thank all of our friends for delinquent to bring them up to date. We (Prize Winner.) that you played well enough for a con¬ original stories or essays, answers to their valued patronage during the past want to extend to every one that assist¬ ance for which the house of Presser has cert.” puzzles, and kodak pictures on musical I belong to the “Treble Clef Music season which closed with June first, and subjects. Club,” and we have a president, secre¬ to assure them that we will strive to become a by-word in the professional “I never did before,” he confessed, in Magazines world, but co-operation is necessary and Subject for story'or essay this month, tary and treasurer. They elected me further merit their friendliness and “but you wait and see 1” courtesies with continued improvement compliance with the above suggestion “Music and Patriotism,” and must con¬ for the latter, and we have bought two And she waited; and sure enough, in E urge The Etude readers to sub¬ in service and the prompt dispatch of will enable us not only to continue the the middle of the entertainment the tain not more than one hundred and fifty Thrift Stamps. About a year ago the W scribe during July for all their fav¬ all orders. Criticisms are invited and same liberal policy extended to our Mayor made another little speech, and words. Write on one side of the paper Red Cross gave an entertainment, and I patrons in the past but will cement the orite periodicals, including The pardon is asked for unintentional over¬ announced that one of the town boys only. played The Scouts Are on Parade’,’ sights which will sometimes occur during friendly and cordial intercourse already Etude, whether their subscriptions have would play a violin solo. Any boy or girl under fifteen years of while some boys and girls sang and the rush season. Efficient service is established. expired or not. From present indications, Bob could hear his own heart beat as age may compete. marched. The boys were dressed in Boy largely a matter of evolution, the errors For the making of better service it is due to the increased cost of postage, paper, earnestly urged that your fall orders be he walked out on the stage, but he knew All contributions must bear name, age Scout suits and the girls in Red Cross of the past being made stepping stones labor, etc., it is quite likely that all maga¬ to future improvements. sent to us early. During the heated what he had to do, and he did it well, and address of sender, and must be sent suits. I help in the choir, too, but I can¬ not play much on the organ, only a few zine prices will be advanced from 25% to NEW WORKS. , Advance of Publication You will no doubt have received your period our order department is compara¬ and the clapping and excitement did not to the “Junior Etude Competition,” 1712 tively quiet and is in an excellent posi¬ pieces for Sunday school. Sometimes I 100% within the next few months. This Offers Withdrawn June first statement before this issue of disturb him at all. Chestnut Street, Philadelphia, before July Advance of Publication Offers— The Etude reaches you. It is customary tion to prepare orders painstakingly for feel discouraged, but I know I must study is the time to renew your subscriptions. The following works now about to be “Where did you learn that trick?” ISth. sent to advance subscribers are herewith to recognize June first as the universal prompt shipment on the date when hard to become a good player. Send for a free copy of The Etude July. 1918. Ofle teased Bert, after it was over. The names of the winners and their withdrawn from the advance of publica¬ ending of the music teaching year when needed for the opening of the coming Bertha B. Sinnott (Age 10), Magazine Guide, listing many hundreds of “Oh, I practiced all afternoon,” Bob contributions will be published in the Album of Piano Pieces By Women Com- tion offer prices. The works will be deliv¬ we look for settlements for music pur¬ season. While no order, large or small, answered. September issue. Downieville, California. attractive money-saving clubs. Please note ered shortly if they have not already been chased outright and for that which was is ever slighted, nevertheless it is only “What, all afternoon on the Fourth? that Canadian and foreign postage must be Biehl. Op. 44, Bks. II and III, each .. delivered. Regular prices and discounts sent On Sale and which has been used reasonable to suppose that greater care The idea!” AN INTERESTING MUSICAL added to all club prices quoted. Bohm Album. are now in vogue and any of these hooks and is not to be returned. Of course, can be exercised when the department is “Sure, all afternoon on the Fourth, and AN INTERESTING MUSICAL EXPERIENCE. Contemporary Organ Player, 2 vols., will be sent for examination to any of our any On Sale music unsold is returnable not running at or above concert pitch. We want to again- emphasize our it was worth it, too,” said Bob, proudly. EXPERIENCE. (Prize Winner.) patrons who desire them: providing it is In salable condition, in THE ETUDE. Pi 85 other words, in such condition that it cordial appreciation for the support . “Well, Bob, I told you that you always • (Prize Winner.) One day not long ago I went into the De Beriot’s Method for the Violin, Child’s Own Book of Great Musicians, Part 1 . would be accepted by the person making which we have received from musicians do what you say you will not do,” re¬ Last summer I was at a lake spending woods to look for violets. I could not McCall’s. Richard Wagner fir Lost, a Comet—Operetta, Geo. L. Spauld¬ A picture book of music that the- little the return if it were sent to him at and the music world generally and to minded Dick. my vacation. It was Sunday morning, find any, and became* very tired, so I ing . .25 child pastes and sews together himself another time. Naturally you would not earnestly wish everyone a prosperous “I did this time, for sure,” answered and I happened to be walking past an old sat down under a tree to rest. Very soon THE ETUDE. Marchesi, Elementary Prog. Ex. for the want, to receive music which had been in fall opening. church. |$19S remains a pride and a treasure for years. Bob. I was fast asleep. In my dream I heard That is just what Mr. Tapper’s series of any way handled or shelfworn. People were going into the church, and People’s Home Journal. J Master Study in Music, Oooke. .50 soft, sweet music; then it became louder 1 S.t. Me ten charming little books is. Children nat¬ In returning music large quantities can Paul Wachs’ something inspired me to follow them, and louder, then gradually it died down Mozart Album . urally get tired and listless during the long, be returned by freight, ordinary sized Album although my first intention had been to again. I woke up and, springing to my THE ETUDE. $215 New Standard Collection for Violin and hot summer days. It is right that they packages by express or mail; the rate by .25 mail is two ounces for 1 cent up to four take a stroll among nature’s quiet recesses. feet, I hurried home. As soon as I came should have something to busy themselves Of the late salon composers Wachs Modern Priscilla. New Standard Fonr-Hand Collection... .25 pounds, and then parcel post rates up to The minister came to the pulpit and home, I went to the piano and tried to Save 60c with. If you are interested in making any stands out very prominently. He is possi¬ asked if some good brother or sister Orchestra Folio, Parts, each. little boy or girl like music and musical 50 pounds, or inside the first three zones, bly just a degree in advance of Bohm and remember the music. I played with the THE ETUDE. 70 pounds. Parcel post and express rates would please come to the organ and play $2- Orchestra Folio, Piano Part. .26 things, these are just the things you will Heins, and is just as interesting and just left hand first, then I touched the keys Today’s Housewife.. vary according to weight and distance. for them, as they did not have a regular Paul Wach’s Album. .25 need this summer. Even if you are go¬ as original. His music is growing in with my right hand, and the notes seemed ing Ho take a vacation yourself tell the Obtain and compare rates in order to get popularity from day to day, and we are organist. Something gave me an impulse McCall’s. Ssr. 75c Scale and Arpeggio Studies, Bock I, to come naturally. This was the first Blumenstengel . mothers of your little pupils and friends tlie advantage of the lower one. It is al¬ very glad indeed to announce the publi¬ to do my duty by playing the organ for piece I have ever composed, so I call it THE ETUDE.. $250 Trial by Jury, Sullivan. about them. Mothers know what a relief most a rule, however, that any package cation of a new volume containing the the good old souls. I approached the in¬ weighing 7 pounds or more coming from my Dream Music. Christian Herald. Volunteer Choir, Anthem Collection.... it is to have useful and fascinating best compositions by him. We have in strument with some hesitation, for it was Bernice Anderson (Age 13), Sa.e $1.00 tasks for little hands and minds the fourth to eighth zones can be returned our catalogue a number of original at less expense by express, using either the one of those old-fashioned melodeons. Chicago City, Minn. to do—particularly in summer. The _ compositions which we purchased from The hymns they sang were the old- THE ETUDE. Order Next Season’s latest addition to the series is Wagner. new regular or the printed matter rates of Mr. Wachs. Among his most popular $2— Music Supplies Now Each book in the set costs 15 cents. The 8 cents per pound (minimum 15 cents). time variety and they aroused my soul to Honorable Mention. American Roy.. pieces of the day are: “Shower of Stars” do my best. Sara 40c Music ordered “On Sale” now may be list now includes Bach, Mozart, Schubert, In all instances be careful to see that and “Rosy Fingers.” These will lie Mae Budd Aiken. George Kohl. your full name and address are plainly Elsie D. Bower (Age 12), kept for use during the season of 1918- Mendelssohn, Schumann, Handel, Haydn, included in the volume besides many of Marjorie A. Crafts. Dorothy M. Nye. THE ETUDE. Beethoven, Chopin and Wagner. The pic¬ marked on the outside of the package or his well-known non-copyright composi¬ Johnstown, N. Y. $2— 1919 without obligation to make returns William Radins. McClure’s. or settlement until the spring of 1919, so tures come of a big separate sheet. When wrapper for identification purposes. It tions. Our special advanced price will Sara 40c it is in every way to the advantage of the they are cut out they fit in the places might be well to mark your name on two be 25 cents, postpaid. sides of the package. It frequently hap¬ THE ETUDE . teacher to order a supply of “On Sale” arranged for them in the books so that 'P^oUon pens that the paper wrapper is torn, pre¬ Puzzle Corner music right now, either for immediate they illustrate the story. Biehl, Op. 44. Books II and III Mother’s Magazine. delivery or to be delivered on or before The Village Blacksmith, Cantata for venting our stock clerk from identifying it on its receipt and causing endless con¬ The notes following, if placed in cor¬ Honorable Mention. People’s Popular Mo. Sara 70c the time set for beginning the usual fall Mixed Voices, by William Nehllinger Easy Progressive Studies rect succession, become the melody of a work, say about September 1st. Every choral conductor should give a fusion in locating the shipment and prop¬ Marjorie Burdin for Piano, Op. 44 very well-known patriotic song. Write THE ETUDE. $30° For many reasons we recommend order¬ thorough examination to this new setting erly crediting it to the one who should re¬ A Musical Circus out correctly, using all the notes. This Norma Drury Delineator ) To One ing for immediate or at least for early of Longfellow’s well-known text. Good ceive the credit. A wise plan to follow is The teaching public have adopted this to mark the package work as an introduction to Czerny’s is not as easy as some of the puzzles we Alcide Gamache Everybody’s J Address delivery, as the present and prospective numbers, not too lengthy, for chorus are By Abbie Llewellyn Snoddy School of Velocity, and still a grfat have been having, but this is summer-time Ellaline Foulds conditions of the various transportation scarce. Mr. Neidlinger’s setting of this TO ' facilities indicate more or less loss of text is both dramatic and picturesque, it many teachers use Duvernoy’s Opus 120. Mollie Green THE ETUDE. Theodore Presser Company, [Do you not think it would he fun to have and you have lots of time to “make it $030 speed, not enough to cause serious incon¬ is chiefly in four-part writing with an inde¬ It is an excellent preparatory for a musical circus this summer? Tell your out.” Pictorial Review...... >i 1712 Chestnut Street, tcuchcr to read the following article, and Lynn Jones venience now, but the daily increase in pendent accompaniment. The time of per¬ Czemy’s School of Velocity, Opus 299. * i Philadelphia, Pa. maybe she will have one for the summer meet¬ Robert Goubert Modern Priscilla. the transport of war material, food sup¬ formance is about 19 minutes. Price, 40 If you are not acquainted with this set ing of the class. One of the class might dress and on another part of the package up as a clown, and announce the numbers in¬ Adelaide Humphrey plies and the prime necessities may of studies there is an opportunity now THE ETUDE. for you to purchase at least one copy at stead of having programs.—Editor’s Note.] Marie Sebulsky eventually affect some of the apparently FROM The teacher who likes variety in her Youth’s Companion. J,3- less vital commodities, and while the Early John Doe, a reduced rate. The work is in three Herve St Onge books. We have already published Book class recitals, yet finds it hard to do McCall’s. Sara 75c government not only regards music as a Closing Racine, Wise. much that is “different” with her class of This must have been an easy puzzle, necessity but urges us to keep its benefi¬ Before this issue reaches our sub¬ I and are now bringing out Books II and IT IS BETTER TO PRINT YOUR III. Our special advanced price for first, second and third year pupils, may THE ETUDE .... cent influence alive we must remember as scribers our business hours will have because a great many correct answers NAME RATHER THAN TO WRITE Books II and III will be 20 cents for Mother’s Magazine. j a profession or an industry it occupies a been reduced. Being a mail order house find “A Musical Circus” novel and enter¬ were sent in, and no doubt a number of our hours are slightly longer during the IT. each book. We will also offer Book I in taining. .$400 ‘minor rather than a major position in the you are wondering why your names do Today’s Housewife. nation’s activities; so we must as individ¬ winter teaching season than those of It may be that unsold On Sale selec¬ connection with the other two volumes Folded programs may be decorated, out¬ McCall’s. ( tions in the hands of any of our patrons not appear on this list. I Sire $1 2S uals do all in our power to keep things some other business houses, but during at tlie same price, that is 20 cents. How¬ side, with the head of a clown or ele¬ People’s Home Journal. .J moving; every effort in this direction is the warm weather we close earlier each are so satisfactory that they desire to ever, Book I cannot lie purchased sepa¬ phant, in water-color or pen-and-ink Do not forget that in selecting the best afternoon, and at noon on Saturdays. retain them another season. This can be Answers to May Puzzle. worth while, not only for the moment but rately at this price. The three books can sketch, according to the artistic ability answers neatness counts for more than for the future. We therefore desire to Our patrons will please understand that done by making a payment on account Haendel Chopin THE ETUDE.. $J^10 be purchased for 60 cents, postpaid, or of the teacher, while they announce the anything else (provided there are no impress all music teachers with the idea this will affect to a small degree our in addition to the payment for music that Schubert Sinding Current Opinion . 40 cents for the Second and Third Books. program, as follows: real mistakes in your answers), and then that just at this time it is not advisable usual promptness in the filling of their has been used during the current season. Cherubini dementi ----I Sa.e 40c It is customary to remit twenty-five per¬ The Parade.Adolf Weidig you must give your age. to neglect any help or suggestion that orders. Any disadvantages this would Schumann Massenet cause can no doubt be overcome by our cent of the value of the On Sale music Special Three Months’ The Pageant.Wm. E. Haesche might be of service in maintaining interest Rossini Puccini Five of the very neatest answers sub¬ Summer Gift Subscription* in music study; the summer months patrons taking notice of this fact in the held over. In order to properly adjust Subscription Offer TrumpetePs Serenade.Spindler Weber Palestrina mitted this time gave no age, so, of A magazine subscription is the most accept¬ should be largely devoted to the laying of time of mailing us thrir orders. Any the account and prevent any misunder¬ The Circus (4 hands).Curlitt standing, a prompt remittance accord¬ The Etude is offered during the sum¬ Prize Winners. course, they could not be counted at all. able of all gifts. It i, a monthly or weekly plans for the regular teaching season; orders reaching us in the morning of any The Chariot Race.Weidig reminder of the gh-er. Where any of the mag- day, Saturday included, are attended to ing to the above-mentioned plan will be mer months only at the special rate of Amelia Harris, Woodhaven, N. Y. If any of you can “make up” a good fresh study and teaching material should Three Cheers.Will A. Harding azmes in this announcement are ordered as on the same day. to our mutual advantage. On receipt of 25 cents for three months’ subscription. Florence Smalley, Toledo, Ohio. gift* for others we will send an appropriate gift be examined. Equestrian Feats.Harding puzzle, send it in and we may use it. We The full resources of our catalogue check the account will be re-dated and This low priced offer is made to teachers, Carl Burchardt, Madison, Minn. New Music on Sale Leaping and Tumbling.Harding do not promise though, until we see it! doBor wm *p*cify and miscellaneous stock are at the service carried over for another season. many of whom take advantage of it Naturally ■ settlements are looked for Clownish Pranks....Harding of music teachers everywhere. Any of During the Summer Months each year to subscribe for their pupils, Add to Any Club at Prices Opposite our publications may be had “On Sale” New Music On Sale as sent out during as soon after June first as the press of thus keeping alive their interest and Where is the Lion?.Laabs the winter months, that is packages of professional duties will permit, but in March of the Clowns.Haesche Country Gentleman. e, no (returnable if not used) and we do not stimulating their desire to practise dur¬ require that returns be made until the novelties of piano or vocal music of about any event we expect yearly settlements ing the vacation season. Upon request The Clown Elephant.Kroeger Ladies* Home Journal. .*1.50 during July and not later than August. end of the teaching season. The advan¬ 10 pieces, is sent out to those of our special three months’ subscription cou¬ The Elephant Dance.Haesche patrons who desire it, two packages dur¬ It seems fitting to say at this time tlmt tages are obvious. Teachers may make pons will be mailed to any teacher or anv The Juggler.Hall their own selections, giving titles and ing the summer months,—two packages the costs of raw materials entering into from June to September of either piano the manufacture of music have advanced reader desiring to take advantage of this la Grace.Haesche SEND ORDERS ONLY TO composers’ names or the selection may be offer. The Three Bears.Ellsworth or vocal or both. A postal card will bring abnormally. Only through the most left to us. This offer is good for any three months Brer Rabbit.Kroeger Those who prefer may write for and these packages. The music will be charged careful business management and by at our regular liberal professional dis¬ taking advantage of opportunities for from May to September. Subscriptions Harlequin Polka.De Koven THE ETUDE obtain our catalogues of teaching material counts, all subject to return if not used, large purchases. have we been able to can start with any of these months and Exit .Haesche Philadelphia - Pa. before ordering “On Sale” music but the thing of chief importance is to ORDER settlement at the convenience of the maintain the liberal professional dis¬ run for three months at this special EARLY. teacher. counts during the past season. Our price. JULY 1918 Page J+86 THE ETUDE JULY 1918 THE ETUDE Page 487 New Standard Marchesi Elementary The Volunteer Choir Operatic Selections for ATolin and Souvenirs of the Masters. Geo. L. Etude Bargains Four-Hand Collection Piano. Progressive Exercises This work is very nearly ready but we Spaulding. in Magazine Clubs This new collection is now about ready, have decided to continue the special Etude readers should take advantage Standard Opera Album for Piano. 15 Summer time bargains in magazines arc for the Voice barter and Trade but we will continue the special offer introductory offer for still another month. of this bargain offer in renewing their pieces. offered to Etude readers in the clubs We will issue during the summer during the current month. The Nett- We can point with pride to our series of own subscriptions, as well as in urging For TWO Subscriptions. listed below and on page 484. Many more months Marchesi’s elementary voice Standard Four-Hand Collection is one of anthem collections. Every number of this their friends to subscribe for The Etude. are shown in our new 1918 magazine guide, Any renewals or new subscriptions ie- Ladies’ neck chain, eighteen inches long, studies, which at the present day are the series printed from special large series has been a genuine success, and of which a copy will be sent free on request plates. It contains an unusual number of ceived during the month of July entitle made of thin gold shell that is guaranteed used more than any other work of this all the volumes of the series are still Readers can save time, trouble and post¬ practice duets, duets which may be used widely used. We anticipate that the new the subscriber to take advantage of this to wear for ten years. Same chain, forty- age by taking advantage of these offers, order. We therefore take pleasure in A DEPARTMENT WHERE OUR READERS for practice and sight-reading, or en¬ offer, upon the addition of fifteen cents eight inches long, for three subscriptions. offering to the voice teachers a work that volume, “Volunteer Choir,” will be equally besides the substantial saving!, in money semble playing, or home amusement, or for to the regular subscription price. Brooch of the Allies. A sterling silver will be found useful with every pupil. successful. It will contain the very best that can be effected. Renewals as well MAY SELL, PURCHASE OR TRADE recitals. These duets are chiefly of inter¬ brooch showing in tasteful arrangement Marchesi has the following to say in of our new anthems, particularly those as new subscriptions may be sent- at these mediate grade. In all of them there is suited for volunteer choirs, or for the all the national colors of the allied special clubbing prices: the preface regarding this work: “First, Useful Gifts for SECOND-HAND MUSICAL ARTICLES plenty of work for both players, and the average chorus choir anywhere, anthems in order to attain a quick and happy Etude Subscriptions countries. parts are well balanced throughout as to that may be learned with only a few Black seal grain, morean lined pocket- THE ETUDE. 1*1.85 result the pupil is given but one obstacle Today’s Housewife. J Save 40c the degree of difficulty. In this volume rehearsals, and which at the same time So many useful and valuable articles book, six inches long by three inches at a time to overcome, and, secondly, it for something else, used articles of real value are included original four-hand pieces, as are melodious and satisfying both to choir are given as rewards to those who obtain helps him to overcome the difficulties Terms and Conditions well as *arrangem"nts which have been deep, with hand strap on back. such as musical instruments, books, music, and congregation. The special intro¬ Etude subscriptions that we wish to call Songs Without Words. Complete. THE ETUDE. ... 1*1.85 when they are given to him in their 15 cents a word, especially made. The special introductory ductory price for this new volume will studio furnishings, etc. We reserve the attention of all Etude friends to these Mendelssohn. McCall’s Magazine. • ■ • ■ f Save 40c natural order. In other words, it needs price in advance of publication is 25 be 15 cents, postpaid. premiums in order that they may also the advertiser’s name and address right to reject advertisements which do not Lighter Compositions for Piano. F. analytical work to obtain a synthetical included free cents, postpaid. enjoy the benefits that too few are enjoy¬ meet these requirements. Chopin. knowledge. This very simple but fruit¬ No dealer advertisements accepted by Etude Renewals ing at present. Musical supplies, music THE ETUDE. ....1*2.15 Advertisements may appear over the ad- DeBeriot’s Standard Method Dictionary of Musical Terms. Dr. H. Modern Priscilla. j Save 60c ful principle has been neglected, it seems this department. Special Offer books and albums, articles for personal to me, and I have endeavored to draw All advertisements must be genuine en¬ ma'y bVsent to this office for the Violin, Book 1 and household use, are given for a very A. Clarke.. from it the results of which it is capable. deavors to either sell, purchase or exchange This book, originally printed in Paris The Etude again makes its readers a small number of subscriptions, the num¬ THE ETUDE. .... 1*2.40 and forwarded. For THREE Subscriptions. “In order that the mechanism of the more than a generation ago, has main¬ special offer, good for the month of July ber based upon the actual cost of the Boy’s IAfe. voice should be able to adjust itself to tained its popularity ever since and has only, whereby they may obtain excellent One year’s subscription for The Etude. The first mention of this new department was made last music collections for a very small sum Send a postal for the new Illustrated all possible rhythmic and musical form been reprinted in many editions both in Standard History of Music. J. F. Cooke. THE ETUDE. Europe and America. We have spared no in addition to the yearly subscription Premium Catalogue which lists many of

I have devoted an especial exercise to 8® month, when it was explained how our readers could buy, sell Friendship Songs. Tod B. Galloway. Christian Herald. H in pains to make this the best edition that price of The Etude. The following is the these gifts. Below we can list only a few: each particular difficulty. In a word, I offer in detail: Indian Songs. Thurlow Lieurance. have tried to present the difficulties or trade second hand or used articles. Already, a number of lias ever appeared, as regards clear type, tuv wninff.. ) $9 AA careful editing, etc. Every reader who renews his or her For ONE Subscription. Combination scissors set, consisting of gradually and in this order.” advertisements have been received for the August Etude. Etude subscription or sends us a new One secret of the popularity of the Knitting needles, amber, 14-inch, size an eight inch self sharpening shears, a Everybody's } Address. Our special advanced price for the subscription during the month of July, four and one-half inch buttonhole scissors, work preceding publication will be 25 One reader has a rare edition of classic compositions, pur¬ DeBeriot Method is the extreme melodi¬ 4ys; 10-inch, size 5, one subscription. ousness of most of the exercises. may, by adding fifteen cents to the price, and a four and one-half inch embroidery cttma uTTinw . ) $9 9 A cents, postpaid. making a total of $1.05 ($1.90 in Canada), Shell needles, 10-inch, size 3, one Kctdrisljleview . chased in London, years ago, which he wishes to sell; another thorough course in violin playing demands subscription. scissors, all made of finely tempered steel ::;; f save 95c __. . j- r 1 • the use of certain outside material In con- have the year’s renewal or a new sub¬ with clean cutting edges, and nickel The Contemporary scription together with a choice of: Sterling silver service pins, beautifully one wants to dispose of her Clavier. nection with it, for instance, Woldfnhrt’s plated. Bach’s Two and Three Part Inventions. enameled in the national colors with one, THE ETUDE .... l *3 60 Organ Player , ...... , . , Melodious Studies, or Bhimenstengel’s Solid gold lavallieres; diamond shape August will be a particularly good time to advertise any- Seals and jrpeq,,in studies (described First Sonantina Album. two or three stars. Review of Reviews. ■ • ■ • J Sava 90c This work, in two volumes, is made up Mathews’ Stundard Graded Course of AV right & Ditson Championship tennis with amethyst and four pearls and one from pages of the original work, “Vox thing you have to sell or want to trade for something else ' 'Ttemivance of publication price is 35 Studies (any one grade). ball. large pearl, pendant measuring one inch, rrtTm w'rrmTT! .. 1 'IC. Organi.” After the present edition is Musical Poems for the Children, by Modern Dance Album. Eighteen piano or one pearl and large amethyst, size ot Woman’s Home Companion- Collier’s Weekly (Res. price, $2 .30)'. I Sava 75c exhausted these cannot be had again. because when the August Etude reaches them, teachers and cents’ postpaid- Octavia Hudson. selections. pendant one and one-quarter inches. This is an excellent opportunity for any schools everywhere are planning and preparing for their fall Blumenstengel’s Scale organist to add to his library by procur¬ classes. If you wish your advertisement to appear in August sIud!e^ ing one or both of these volumes at an the Violin, Book I exceedingly low price. have it reach this office by July 1st. There are many good collections of In these volumes both American and scale and arpeggio studies available, but foreign composers will be represented, in¬ by far the greater part of them arc cluding some of the best modern organists. designed for the advanced pupil. Blumen- The price per volume is 40 cents,' stengel’s Book I, on the contrary, is postpaid. THE ETUDE :: PHILADELPHIA, PA. designed to give the beginner a thorough practical acquaintance with all the major Album of Piano Pieces and minor keys, in the first position,' in By Women Composers order to form a solid basis before advanc¬ Master Study New Orchestra ing to hew technical tasks. The Album containing compositions by in Music Folio It is a standard work, having been women composers is on a fair way to The intelligent study of music and the used for many years by the best violin completion. This present month will be masters does not stop with the ability to AVe are still working on the new orches¬ teachers: this present new edition has in all likelihood the last month in which tra folio and it will be brought out just been carefully edited and revised by play through a few of their best-known Mr. Sol Marcosson. it can be purchased at the reduced rate. compositions or to be able to pronounce as soon as the engraving and other This is an age in which women have their names correctly. The new work by mechanical work can be completed. To The advance of publication price is 20 cents, postpaid. made amazing strides in all directions, James Francis Cooke, author of Tlie those unacquainted with the plan we will including the domain of art. We have Standard History of Music, covers explain that the Orchestra Folio will con¬ in America a large coterie of reputable ground in many directions as yet un¬ sist of a set of books, one for each indi¬ Lost, a Comet—Operetta women composers that are versed in all covered by any one book. It suppiies just vidual instrument, including piano, con¬ By George L. Spaulding the intricacies of musical composition and taining an original assortment of well- the information .and material about the All of the operettas by Mr. Spaulding, produce works on a par with the best arranged music not to be found in any masters, great and small, that teachers, with text by Jessica Moore, are character¬ composers. And this is quite as it should other collection, at a price very far students and club leaders have such ized by brightness, tunefulness and vigor be, because women possess certain traits difficulty in finding in order to extend below that asked for music of this kind that men do not, and these come out very in the usual form. The parts will be play¬ of action throughout. They are never their musical work beyond the first musi¬ difficult to produce and they may be prominently in musical composition. able with proper musical effect in almost cal history. This new book not only gives learned with a minimum number of This is .the first volume of this kind biographical material but in the case of any combination that includes a first that has yet appeared on the market. violin and piano, so the orchestra may be rehearsals. Costumes, scenery and prop¬ most composers gives advice as to their erty are all readily obtainable. In the You may look forward to something principal works and also states the posi¬ reduced to two performers or increased unique and interesting. one by one up to sixteen instruments or latest operetta by these talented writers, tion in the history of the world’s progress “Lost, A Comet,” all these qualities will Our special advanced price is 35 cents, at which the composer lived, so clearly, even more by duplicating the principal postpaid. parts. This folio will furnish entertain¬ be found at their highest point. Nothing that his life purposes are made far more better for production bv a group of young distinct and understandable. The work ment for almost any number of players for a long time, as the music is of a good people could be found than this' new Mozart Album has been in preparation a long time and work. class, not quickly discarded, and the It will be still another month before much of the material has been selected The special introductory price in from continental sources and translated investment of fifteen cents for each orches¬ we will Withdraw this Mozart Album. tra book and twenty-five cents for the advance of publication for this new The difficulty we find in making this by Mr. Cooke especially for this series. operetta is 25 cents, postpaid. The advance of publication price of the piano book is sure to be a profitable one. allium is to have a uniform class of pieces book is 50 cents. and this has caused us some delay in the Bohm Album “Trial by Jury ” selection. We desire to avoid the ex¬ A Dramatic Cantata tremes of difficulty in this volume and New Standard Collection for the Piano have it a unity that will be within the for Violin and Piano By Arthur Sullivan limit of the average plaver. We do not Among the modem writers of drawing Sullivan's “Trial by Jim” is one of the This attractive new book is a collection room music for the pianoforte. Carl wish anything more difficult than his of all the best violin pieces which have most popular of all operettas suitable for sonatas. Whenever the volume does Bohm stands at the highest. He has been performance by amateurs. This is not appeared in The Etude during the past an unusually prolific writer and a great appear on the market it will meet with few years. As these had been already difficult of preparation, and its require- the approval of the most critical. A great majority of his works have won distin¬ ments as to scenery, etc., are limited. selected with great care and skill from guished success. In our new Bohm Album, deal of attention has been paid to the among a large supply of possible material, Another advantage is that it is sung selection and to the typography. which will be added to the Presser Collec¬ entirely throughout, and that there is no we can assure our readers that they tion, only the best and most popular The price after it comes out will be spoken dialect. The time of performance represent a very choice variety. pieces of this composer will be included. double the price we are offering it for is about 45 minutes. Our new edition of The bowing and fingering‘have been There are two or three of intermediate now. So if you desire a volume contain¬ this work has been carefully revised and carefully edited and nothing left undone grade or a trifle more advanced. The ing the cream of piano compositions of which would aid in making this a useful edited and it will be found superior to this renowned composer, send in your volume will prove to be one of the best of and serviceable book. our series. all others. order before it is too late. Our special The advance of publication price is 25 For introductory purposes we are offer¬ advanced price is 35 cents, postpaid. cents, postpaid. Send 35 cents and we will send you a ing copies at the special rate of 25 cents copy of this work as soon as it is printed. per copy, postpaid. THE ETUDE rage l^SO JULY 19 JULY 1918 Page 1^88 TEE ETUDE jj^rSchools and Colleges Summer Schools NEW YORK CITY NEW YORK SCHOOL OF MUSIC AND ARTS §f w- Chicago Musical College Central Park West, cor. 95th St., New York City :: RALFE LEECH STERNER, Director tom THE LEADING AND LARGEST SCHOOL OF MUSIC IN AMERICA - 53d YEAR SPECIAL SUMMER COURSES—June 1st to September 1st Announces the Engagement of “Guest Teachers” Our Summer Courses for Teachers have become so widely known from one end of the country to the other, through the great practical value of the work given, that early reservations must be made as each summer We have more pupils than we can accommodate. CoNsmwoiff/Music HERBERT WITHERSPOON OSCAR SAENGER Piano—Arthur Friedheim, the Great Virtuoso; Liszt’s Greatest Pupil. Voice—Ralfe Leech Sterner, Celebrated Vocal Teacher. Violin—Clarence Noted SingT.r,Coach and Vocal World-renowned Tocher of Voice DeVaux Royer, the Eminent Violinist. Harold A. Fix, S. Reid Spencer, Frank Howard Warner, Blanche Mabelle Kelley, Mme. C. Lopez. PUPILS MAY ENTER ANY DAY. TWO PUBLIC CONCERTS EVERY PHILADELPHIA SEND FOR BOOKLET. THIRTY-FOURTH YEAR SUMMER SCHOOL MEHLIN PIANO USED EXCLUSIVELY All branches. Normal Training Course for Teachers, Public School Music Supervision. Four Pupils’ Recitals a week. Two Complete Pupils’ Symphony JUNE 24th » AUGUST 3d :: :: BALTIMORE, MD. LocaUd la the Magnificent New Kimball Building INSTITUTE OF MUSICAL ART HAROLD RANDOLPH, Director OF THE CITY OF NEW YORK ZECKWER-HAHN the leading endowed musical conservatory of the country Clare Osborn Reed Gertrude H. Murdough Ludwig Becker Walter Spry PHILADELPH I A George Nelson Holt Louise St. John Westenrelt FRANK DAMR0SCH, Director, MUSICAL ACADEMY Arthur Granquist Winifred Lamb Helen B. Lawrence A. Cyril Gr-»™ Summer Session iu^im Mary StrawnVernon Fra 1617 SPRUCE STREET The Academy Is a consolidation < Staff of eminent European and American Masters including: ^Musicaf George F. Boyle Adelin Fermin J. C. Van Hulsteyn Gustave Strube BURRO WES COURSE of music study Elizabeth Coulson Henrietta Holthaus Harold D. Phillips Mabel Thomas Kindergarten and Primary—Correspondence or Personal Instruction Tuition $10 to $30 according to study Happy Pupils—Satisfied Parents—Prosperous Teachers. Classes are doubled by use of this method By special arrangement with the JOHNS HOPKINS UNIVERSITY ‘s'enfon HZ&TZ KATHARINE BURROWES credits in certain branches may be offered for the B. S. degree IYCEU/A Prcclicc Pianos and Organs Aoailable Circulars Mailed FREDERICK R. HUBER, Manager S%RTS Arrangements for classes now being made CONSERVATORY Summer Term, June 24 to August 31, 1918 CRANBERRY ™»°ool Instruction in all branches of music and dra¬ matic art. Companies organized and coached. ELIAS DAY, Director, offers special courses The AMERICAN INSTITUTE of APPLIED MUSIC to advanced music and dramatic students in SUMMER BET! CHARLTON LEWIS MURPHY, Managing Director (METROPOLITAN COLLEGE OF MUSIC) stage deportment, interpretation and reper¬ CINCINNATI CONSERVATORY of MUSIC, established iser 212 West 59th Street New York City Sole Eastern representativesOstrovsky toire. Other teachers in residence are: CLARA BAUR, Foundress Summer Session, June 17th to July 26th Half a Century in the Front Rank of American Music Schools ” nk H. Borstadt, Jr. Vocal Music, Pianoforte, Violin, Harmony, Organ Un3UrPa88ed,UFaSpECIAL gu^jMER SESSION ^ 33rd Season—October 1, 1918. Send for circulars and catalogue ss Registrar, Frank A. Morgan. Mgr. Elocution—MUSIC—Languages JOHN B. CALVERT, D.D., President KATE S. CHITTENDEN, Dean THE COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN Oldest and most practical system. Write for particulars of correspondence course. Public School Music and Progressive THE STANDARD MRS. LILLIAN COURTRIGHT CARD 116 EDNA AVE., BRIDGEPORT, CONN. SUMMER NORMAL Series of Piano Lessons THE MARY WOOD CHASE SCHOOL OF MUSICAL ARTS Minneapolis School of Music, A complete and practical Location and surroundings ideal for Mimmer study A SCHOOL FOR THE TRAINING OF PROFESSIONAL MUSICIANS ORATORY AND DRAMATIC ART course for progressive Crane Normal Institute of Music -LIAM H. PONTIUS CHARLES M HOLT MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, 0. Skidmore School of Arts Director, Dept, of Music Director, Dramatic Ai = teachers = Training School for Supervisors of Music 60-62 Eleventh Sl, So. MINNEAPOLIS, MINN. BOTH SEXES Largest School of its Kind in the West HAHN MUSIC SCHOOL Voice culture, sight-ainging, ear-training, harmony, All Branches of Music and Dramatic Art form, music-history, chorus-cQnducting, methods, SUMMER SESSION, Eight Weeks. Opens June 17th 3919-S. Junius St., DALLAS. TEXAS DANA’S MUSICAL INSTITUTE practice-teaching. Graduates hold important posi- leading toB) 8. degree to ’ courae8 WARREN, OHIO 53‘MAIN ST.!’ °lty “POTSDAM, NEW YORK THE SCHOOL OF DAILY INSTRUCTION IN ALL Public School Music, Voice, Piano PITTSBURGH MR. and MRS. CROSBY ADAMS Hughey’s American Child-Garden BRANCHES OF MUSIC Ithaca Conservatory of Music. ; Annual Summer Classes for Teachers of Piano Address LYNN B. DANA, President Desk E, WARREN, OHIO Musical Institute, Inc. for the Study of Teaching Material ”,us!,he>' Color Music Method. MONTREAT, N. C. SUMMER TERM June 12-25 July 10-23 nlW3' . Healthful—piysicklly. mentally, mor¬ er School—June and July ally. Summer School for Teachers. Fannie E. Hughey. June 24—August 3, 1918 Music, College of Marshall ^ rite for booklet containing outline and strong letters from Teachers who have taken the Course St. Paul’s on the Midway Advertising is One of tfi&e Indispensable Elements PARTICULARS ON REQUEST irshall. Texas MONTREAT, NORTH CAROLINA 6000 Dorchester Ave. Chicago, of Modern Business Please mention THE ETUDE n addressing our advertisers. SARATOGA SPRINGS, NEW YORK Please mention THE ETUDE when addressing 01 JULY 1918 Page 490 THE ETUDE JjfLY 1918 THE ETUDE Page 491 act Music and Shell-Shock It Is reported that music is being em¬ Professional and Colleges ployed with the men returned from the battlefield suffering from shell-shock— Directory WESTERN that is, men who have not been wounded 93BiP Schools and Colleges hut who have had their nerves shattered SCHOOLS by the terrific concussion of shells. More CHICAGO ANN ARBOR = MICHIGAN and more attention is being given to the EASTERN _ riNIVFIPFSiTV therapeutic value of music in all sorts of isarnm 111 prooressive piano school diseases. Unfortunately, not until some PROFESSOR Louise Burton AMERICAN “";r. MUSIC TEACHERS Centralizing WILLIAM SCHOOL OF MUSIC definite scientific measurements have been ERHART SNYDER SOPRANO taken in sufficient number to generalize D A 1/ r D H' KAWLINB Pianoforte Inatrnotion Member Faculty, Sherwood Music School, Chicago; AwMjk for^Coucertc.Oo- can music be employed in more than School of Director Musical College, Decatur, III.; Organist and D AK t n st- N'w * hour class le Albert Lockwood, Head of Piano Dcp’t || g|gj||j^| occasional cases. That music does affect HELP YOURSELF Director Hinsdale Union Church; Pupd of Leschehzky SOoTvon « Mp BUfc ‘w,'! Improvise, Play i " ' te 95220- Moduli Music and Sherwood :::::: buh * Jickson Bird , Chlckfo, the body very marvelously indeed through instantaneously without saying letters. Gertrude Radle-Paradis P Orchestra^Dep^ts* the mind there can be no question. The Create Keyboard and Written Harmony, Music Teachers and Students following quotation from an English with Scientific Pedagogy. Prices E. V. Moore, Head of Organ and Theory H*1* Auditorium ATTENTION! Dep’t Capacity 5,000 paper published some time ago is inter¬ Conservatory Dept 01 CHICAGO COLLEGE Florence B. Potter, Head of Methods Coet $300,000 I JENSEN, Dean,_Jet Centralizing School of Acting A Special Course in Piano Teaching an esting: Playing for the Summer Term, June OF MUSIC r~ Main Building of the School Dept. July 8th to 27th. William Owen, Director All branches of music taught. Ex- Byrl Fox Bachcr, Dean of Women. Concerts are given “One of the most interesting articles Asheville, N. C., August 12th to 31st. Also Course in Pipe Organ Playing. press Ion. Dramatic Art, Dancing. Departments: Piano, Theory, Voice, Violin, Ji.-H'--, Mrduis E- Ilnirerei'ty ol Michigan 25-ASSOCIATE TEACHERS—25 , bytho in this week’s British Medical Journal EFFA ELUS'pERFIELD Violoncello, Expression. Send for Booklet. Write at once, care of For Catalogue, Booklets or Special Information, world's greatest artists A(hlr«w°Cert4, etC' Fn° CaUk* Chorus of 300 deals with the relation of music to medi¬ COMBS 109 West 45th Street, New York City SHERWOOD MUSIC SCHOOL Orchestra of 50 cine. Experiment has shown that when Flue Arts Building CHICAGO, 1 LI ESTHER HARRIS, Present University environment Charles A. Sink, Sec., 1000 Maynard St. begins 8 Dap I. 23. 1234 Kimball Hall Tuition and living expenses September 30th a lively air was played upon a harp a> Summer Session: July 1—August 23 man’s tired muscles almost instantly re¬ DUNNING a a gained their full vigor. The mandolin had the same effect. On the other hand, SCHOOL OF MUSIC Private Teachers AesociaU Faculty Membership Accredited when a violoncello was used the man’s FABRI a^JSggggaaa DETROIT VALPARAISO UNIVERSITY:VALPARAISO, - INDIANA. arm became almost powerless and his AT*HOME”^t^Cert^fk^e*,*^ub^,*etc.^inateajrof*lmerelyP‘‘git^ng^[eawm^’^uSX^en^“mXe^esronik^,^,^<^^*^ The Univei c offer! courses in Piano, Voi ce,Violin, Organ, Theory and Public School Music, vitality decreased. In nervous and im¬ udenti the Music School and also take the regular work at the University. Address Pres. E. H. SCOTT, Kimball Hall, Chica THE EXPENSES ARE THE LOWEST pressionable subjects the ‘Funeral March’ HAWTHORNE Tuition. 536.00 per quarter of twelve weeks. Board with Furnished Room, 539 to *51 per quarter. of Chopin, played in a minor key, caused Catalogue will be mailed (rce. Address Henry B. Brown, President, or Oliver P. Kinsey. Vice-President. Be a Teacher of Music 4STH YEAR—STUDENTS ACCEPTED AT ANY TIME. dimunition of the pulse and irregularity of respiration. The same piece, after¬ KRIENS “aK wards played in a major key, quickly re¬ in the Public Schools stored fulnefs to the pulse and regularity SPECIAL ONE-YEAR COURSE to the respiration.” MOULTON ; more than 29 year* i— - — -——— and thorough course Musicians the Most Alert for teachers o a the Public Schools that may bo hnishe NEW YORK m Aviators and Signallers Strong fa. M. J. Lawrence Erb, president of the t'faVfe M. T. N. A., at the recent convention of NICHOLS SS that body in St. Louis, related an inter¬ esting circumstance which shows the side- value of musical education as a means of ROGERS iSSi imparting alertness and quick perception. Mr. Erb ran across a man engaged in teaching aviators. His particular work VIRGIL r^wYork had to do with signalling, training in Thomas Normal Training School wireless, and so on, and he also happened to have a good musical knowledge—a combination not so rare as one might think. A party of us had just stepped out of a classroom, in which forty to BRYANT! fokTH£SCHOOL .OF MUSIC c INSTITUTE OF MUSICAL ART fifty young men were being taught to take eomplete and thorough and receive simple messages by the Morse CONVERSE COLLEGES™ 5JP® Organ (two pipe organs)fPublicShoolMSfcI^icSin,^ Band Instruments, etc! “Strongest Faculty in the Middle West” code. The different aptitude displayed by menta and Reserve Band the various individuals in the class was rafts. Domestic Sci- FACULTY OF OVER FIFTY 43d Year. Seni remarkable. In answer to . a question UNSURPASSED EQUIPMENT about the apparent diversity in ability CONSERVATORY 70 Instructor* 1 he turned to me and said: “I am sure that every one of those slow fellows, if put to AMERICANS Special Summer Course the test, would not know whether Kreisler is a musician or a new brand of cigars.” DAVID. ^Concert ^Pianist-Teacher. For Catalog Address Then he went on to state that the man BROWN’ Lyon Healy Building, Chicago business manager who had had musical training at once demonstrated that fact by a greater alert¬ ft 1117-1119 WOODWARD AVENUE - DETROIT, MICHICAN ness to sounds and by a keener and more CHICAGO S accurate rhythmic sense, and, he added, FALL TERM, SEPTEMBER 3RD lortliwesterJ “I should not be surprised, as one of the CINCINNATI'? EMBRACING ALL BRANCHES OF WILSON-GREENE results of this war, to see the study of UNTVE'RSITY music made compulsory in our public MUSIC :: EXPRESSION :: ART :: LANGUAGES SCHOOL OF MUSIC 2601-47 Connection Avenoa Washington, D. C. schools because of its demonstrated value COLUMBIA’ r» Dirac tor Public School Music and Teacher’s Training Course Summer School of Music in many phases of military and patriotic Peter C. Lutkin, Dean—Six Weeks, July 1 to August 10, 1918 matter's.” preStfonn’c?SSl^ToS^0^ud5r^atM Prodnctlo“». NumerousRecltals. Plays and Lectures, Ioter- ^ b studentsof oneor £emSSSb“e

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