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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
7-1-1924 Volume 42, Number 07 (July 1924) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 42, Number 07 (July 1924)." , (1924). https://digitalcommons.gardner-webb.edu/etude/714
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Price 25 cents $2.00 a Year
JULY, 1924
SELF-HELP SUMMER COURSE IN PIANO STUDY by an Expert Teacher
HOW TO ANALYZE A PIANO PIECE by the Famous Electrical Engineer, V. Karapetoff
MAKING PEDALING ARTISTIC by Leslie Faircbild
STORIES OF MODERN RUSSIAN MASTERS from tbe Biography of RimsKy-KorsaKoff
DOES NATIONALITY DETERMINE PIANISTIC TALENT? by tbe Eminent Pedagog, Rudolph Breithaupt
TWENTY-ONE MUSICAL COMPOSITIONS including the Latest WorKs of Edouard Schutt, Mana-Zucca, R. Drigo, Geoffrey O’Hara and F. Von Blon
COMING! In August “THE JAZZ PROBLEM “A Remarkable Issue
'York . Theo. Presser Co., Publishers, Philadelphia, Pa. THE ETUDE JULY 19M Page J,39 American Conservatory 1 CHICAGO'S FOREMOST SCHOOL OF cJMUSIC 39th Session Commences September 11, 1924 Offers superior courses in all branches of music and dramatic art, including Master School. Diplomas, Degrees and Teachers’ Certificates granted by authority State of Illinois. Thorough preparation for concert, opera and teaching positions. Many special features, recitals, concerts with full orchestra, lectures, etc. Excellent Dormitories Offer Accommodations at Moderate Rates UNSURPASSED FACULTY OF ONE HUNDRED ARTIST-INSTRUCTORS cAmong these might be mentioned PUBLIC SCHOOL MUSIC—O. E. Robinson. Scionti,Henry Purmort Eames,Louise Rob; HARP—Enrico Tramonti, Clara L. Thurston. Kurt Wanieck, Earl Blair, May Doelling. MUSICAL THEORY, COMPOSITION- DRAMATIC ART, PUBLIC READING— VOICE—Karleton Hackett, E. Warren, K. Adolf Weidig, Arthur O. Andersen, John A. Louise Suess, Louise K. Willhour. Howe, Charles La Berge, Elaine De Sellem. Palmer, Leo Sowerby. DANCING-Louise Willhour. VIOLIN—Jacques Gordon, Herbert Butler, VIOLONCELLO—Robert Ambrosius. Adolf Weidig, Hans Muenzer, Walter THEATRE ORGAN SCHOOL-Frank Aschenbrenner. and many others. Van Dusen. GUEST INSTRUCTORS, 1924-DeIia Valeri, Fannie Bloomfield-Zeisler, George H. Gartlan, Admission to Teachers’ Normal Training School; Students’ Orchestra; Vocal Sight Reading. Admission to all Free Advantages: Conservatory Recitals; Lectures; Musical Bureau for securing positions. THIRTY FREE SCHOLARSHIPS AWARDED EXAMINATIONS FROM SEPT. 5 TO SEPT. 9. (APPLY FOR EXAMINATION BLANK.) Lyceum and Chautauqua engagements secured Examinations Free • Catalog mailed free on application • Moderate Tuition Rates AMERICAN CONSERVATORY, 571 KIMBALL HALL, CHICAGO JOHN J. HATTS TAE D T, President. Karleton Hackett, Adolf Weidig, Heniot Levy, Associate Directors Chicago Musical College FELIX BOROWSKI, President CARL D. KINSEY, Manager The Leading and Largest Conservatory of Music and Dramatic Art in America FALL TERM OPENS SEPTEMBER 15 Faculty of More than 100 Teachers, including the following noted artists: (Alphabetically Arranged)
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Please mention THE ETUDE when addressing o the etude SUMMERMASTER SCHOOL tists, Directors, Teachers and Advanced Students June 30 to August 9 {Six Weeks) =SLJ]VIIVfER FACULTY- Prof. Leopold Auer Master Violin Instructor of the World Herbert Witherspoon William S. Brady Famous Singer and Teacher Richard Hageman Sergei Klibansky Celebrated Vocal Instructor Noted Coach and Accompanist Internatinnnil-,, r__ Xaver Scharwenka Worid s Greatest Piano Instructor Percy Rector Stephens Graham Reed Notable Teacher of Teachers Authority on Voice Production
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Weight of touch can be varied from 2 to 12 ounces...... •uustrations of all lne dances are „ Catalog on Request ^ OK Dances and Ballets*” VIRGIL PIANO SCHOOL CO. is Ralph L. Flander. APPLETON Twis. 120 West 72nd St. NEW YORK I CLASSICAL SriT** MASTER TEACHER THE VALUE OF PUBLICITY l opportunity for the se- Every Professional Musician Profits by Proper Pub- tudent of violin. Write for AMERICA’S MUSIC STUDY OPPORTUNITIES ARE UNSURPASSED I SPECIAL SUMMER “GET ACQUAINTED OFFER” : catalog and information. Announcements of the Leading Schools and Colleges are always in THE ETUDE. Your musical fnends w,ll welcome your bringing it to their attention-See Page 494 Cloth Bound, Stamped i CARL J. WATERMAN, Dean, Price, $2.50 ---the etude music magazine, Philadelphia, pa. Please mention THE ETUDE when addressing our advertisers. THEO. PRESSER, 1710-12-14 Chestnut St!!'philadel Please mention THE ETUDE wheT addressing our advertis-r, Page 444 JULY 1924 THE ETUDE school of music and arts SIX WFF22nd YEAR Ralfe Leech Sterner> Director Starting May ISrtpVpa! «e?a?,^SES f°T Teachers and Professionals, «l Advanced Students * dny day Rates: $250 and $300 f‘cc°rd'"g room- taiti°°. Arfhn. • CELEBRATED FAnn tv i\rrr TTnT\m e ° ’ gspgsllsss THE ETUDE JULY, 1924 Single Copies 25 Cents VOL. XLII, No. 7 Music Week Everywhere his lute (although the creator of the myth had a poor knowl- Early in May some four hundred American cities and towns celebrated Music Week with a comprehensive scheme so impossible as the fable makes him appear. Unquestionably \AMERICAN INSTITUTE which brought music to everyone. Possibly one thousand towns many animals do like music, and the human animal certainly has \0F APPLIED MUSIC celebrated Music Week in part. The editor’s desk was snowed an inborn instinct to follow the band. Part of our boy-time fun \ Metropolitan College of Music Ithaca Conservatory of Music INSTITUTE under with reports sent in by Etude friends, each very natur¬ with the circus parade was to get in line and march along. Vocal. Tnhn OttfnA tj_«. t>_ » . _ ^ OF \ thirty-eighth year Rogers Lyon,'Albert Edmund Brown and ally proud of the accomplishments in that particular locality. A good marching band is better than all the tonics that Piano \ ^ate S. Chittenden, Dean If we had attempted to reprint these reports in any manner come in bottles. It acts like a bracer. One unconsciously », Leon Sampaix, Director, pupil of Lmchetizky. Seven assistant Pedagogy MUSICAL ART to do justice to the subject they would have consumed two whole throws back one’s shoulders and takes a deep breath and feels faculty of Course Affiliated; MasterMiTO 11Teacher,;;.!,0 and*::;‘t'f”. sot assistants. D"“'. i-»i ! Sevcik. Caesar Thomson, issues of The Etude. The Etude is a musical educational that it is fine to be living in a world of jubilant rhythm and Lead to SPECIALISTS CITY OF NEW YORK magazine and we do not attempt to give more than the facts of joyous sounds. teaching Certificates and Diploma w 445 JULY 1984 Pag* U7 THE ETUDE THE ETUDE Page U6 JULY 3984 Changes of Key Let these Famous Pianists Hein You to Help Yourself Facts About Music and Shakespeare Sparks From the Musical Anvil Thr late Sir Frederick Bridge, C V. 0., M. A., Mus. Doc., formerly organist at Westminster Abbey, was Comments of Contemporary Music Workers A Self-Help, Eight Weeks’ Intensive an ardent student of the music of Shakespeare's day and Despite the fact that pupils have been well drilled in just before bis. death published an excellent small work “Singers must be able to paint ‘mind pictures’ in tone, key-signatures, major and minor; they are often unable to Shakespeare Music in the Plays and Party Operas, from Summer Course in Pianoforte Study which is what counts in song interpretation.” follow the modulations to related keys which frequently which the following facts are taken. With interpretations and printed lessons from many of the greatest teachers and pianists —Arthur Middleton. occur in the course of a piece or study. “Music in Shakespeare’s day was considered as im¬ Unless a piece is entirely chromatic, or belongs to the portant a branch of knowledge as Latin or Fencing.’’ ultra-modern type which flouts the idea of tonality, the At a Merely Nominal Cost “In Shakespeare’s Day the man who did not know how “I personally consider the modern British school one principal key will be well-defined and ordinary modula¬ to sing at sight was not considered well brought up.” of the most vital in Europe. It is owing to the musi¬ tions should offer no difficulty to a pupil who has been “All the upper class houses in Elizabethan Days cians, and especially the conductors, that these men have taught the fundamentals of harmony and analysis. By L. D. WARNER boasted of having a chest of viols.” been given an increasing number of hearings.” A few hints on the use of accidentals for the purpose | PADEREWSKI | —Nikolai Sokoloff. “In Shakespeare’s day the accompaniments to the songs of modulation to related keys may be helpful to the pupil were upon lutes and viols. The lute was a fretted instru¬ to whom changes of key are a stumbling block. ment, picked after the manner of the guitar but with a How the average student, obliged to study without a teacher, can make (a) If he finds that in a supposedly major key the fifth pear shaped body like the mandolin and a long neck. It “With the very complex music of to-day an interpre¬ the summer count with no more expense than the purchase of the needed was in most instances larger than the guitar. It was said ter is a very important factor. The composer creates a degree is repeatedly sharped, he may safely assume that sheet music, books or records. to cost as much to keep a good lute in condition as to work. The interpreter re-creates it and breathes life into the passage in question is in the relative minor. Here, keep a good horse. They were valued very highly, and it and makes it a living, pulsating, vibrating thing.” for example, is a piece in D major. In the fourth and —Leopold Stokowski. fifth measures A-sharp occurs repeatedly, harmonized by in order that they might not lie exposed to the weather Thousands of ambitious, progressive Let us suppose that you merely push your the F sharp major chord in the bass. A-sharp is the they were kept in a lied between the rug and the blanket.” technic one or two points ahead. It will all leading tone of B minor, and is foreign to the -.cale of music students will have the privilege of "In the early representations of Hamlet the soliloquies “Art is the expression of the life and struggles of a count when you do get a good teacher. The D major; hence the student may conclude that tin passage studying at summer schools and with pri¬ of the dismal Dane were often spoken to musical people; hence, art is history. . . . If we are to be a is in B minor. This, however, does not refer t.. chroma¬ vate teachers during July and August. main thing is not to waste your precious accompaniment.” part of international art, then our attitude must change tic passages, nor to mere passing tones. Thousands of others will take various time complaining about your lack of ad¬ at once. If Marshall has the voice of a Caruso, give (b) If in a composition with a signature of four flats courses by correspondence and otherwise. vantages when you are simply surrounded him the same rank.”—Eleanor Everett Freer. How Schubert Found Inspiration From the D is repeatedly marked natural, it is an unrm-takable Still greater thousands will be inspired to with opportunities, if you will only make sign that the passage is in K flat. If in the key of C a Coffee Mill study at home by themselves. use of them. “Music is an abstract art. It is possible for it to be major F-sharp frequently occurs, harmonized by the Nothing is ever quite as good as a fine The cost of the materials suggested in the both entertaining and uplifting; hut quite frequently it dominant chord of D, it indicates a modulation t ■ the key teacher, if you can possibly secure one. If following article is merely nominal. The By John Liesner is just the former. . . . There is need for entertain¬ of G major. A B-flat, harmonized by the dominant you have not this opportunity perhaps you master lessons cited may be bought at the ment; but I do contend that in music there should be seventh chord of C would indicate a modulation to the have not realized that you can develop your¬ Franz Lachner tells of a visit to Schubert when the more than entertainment.”—Leopold Goiiowsky. key of F major. It is well to note that sharp- tour and price of ordinary sheet music. We assume composer, who was always obliged to live very moder¬ flat-seven are the most common accident a N used in self at home by means of printed lessons that you have access to a good talking ma¬ ately, was in despair over his inability to create new effecting modulations to nearly related keys. and by listening to the actual playing of the “The results of the war have been almost as disas¬ chine (possibly a fine player-piano). The melodies. (c) By related keys is meant the tonic, dominant, sub¬ world’s greatest artists. trous as the struggle itself. It seems to have destroyed records mentioned, which may be studied “I have been writing all day but I have produced dominant, and their relative minors. Thus, the keys Let us suppose that by such means you talent instead of creating it. But we can’t be too pessi¬ over and over again, cost only a mere frac¬ nothing. Do stay and let me make you a cup of closely related to C major are, F and (i major, and A. E, I GRAINGER | learn to play in superior fashion just two mistic, after all. If we count up, there were many years tion of what a lesson upon any one piece and D minor. The leading tones to these I - are E or three pieces such as the Mendelssohn Lachner gladly assented and Schubert went to a bat¬ between masterpieces of the past. They did not come with the artist playing the record would he. F-sharp, G-sharp, D-sharp, and (-sharp; heme four “Spinning Song,” the Grieg “Bridal Proces¬ tered cupboard and produced an antiquated coffee mill. one after the other.”—Fritz Kreisler. sharps might lie found in the key of C as leading tones There is no excuse for one not employing “This,” he explained, “is one of my most precious sion,” the Schubert-Liszt “Serenade,” or the to related keys. As an exercise the pupil might write MacDowell “Witches Dance.” It will prove this plan, except lack of initiative or ambi¬ possessions. There is something about the grinding of out the related keys of each tonic, as. coffee that seems to set my mind working, and before The effect of the Radio upon concert business is well worth your while. tion. problematical, and it is a subject which will not be decided C major, F and G major, A, D, and K minor I know it I have some really good melodies.” G major, C and D major, E A, and B minor Lachner laughed at this; but after Schubert had care¬ definitely for some time to come. Personally, my experi¬ D major, G and A iftajor, B, E and FS i [Editor’s Note L. D. Warner is the nom de plume chosen by a teacher of experience who fully measured out his coffee by the spoonful he started ence is that it has aided grand opera by bringing the (d) Sometimes modulations occur leading t to grind. In a few seconds he exclaimed, “I have it," has had an opportunity to become well acquainted with the very latest materials in pianistic study music to more persons than had formerly taken an inter¬ related keys, requiring tin- addition ,,r cam i llation i and went immediately to the piano and played the est in it. The Radio gives the music but leaves a want and who for years has been in close association zvitli many of the foremost living teachers and themes of his famous D minor String Quartet, one of on the part of the listener to see the artists in person.” d!ffilllha" T- flat ,,r.sharl>- The only way out of tl pianists. For reasons of his ozvn he prefers to present this under an assumed name.] his most beautiful inspirations. the nr/ "Vfl1' ia*L 1S *" *{nOW w'*h absolute certain) —Fortune Gallo. Meanwhile the precious coffee beans had fallen to the Lrn thT atS 3,nd Slmri,s- The student will have i Many, many times in my experience I have had teach¬ Test for Relaxation floor; and Lachner says that he nearly laughed himself he d* °"fr «* "’='>• he will rente,nlx-r th, the sharp senes F C G D A E B, needs ,,„lv m 1 ers and students come to me in the spring time and say; Stand with both arms hanging at the side. With a to death clambering around the llooy with the fat, be¬ “I would give anything if I could make my work this sudden impulse toss the right arm upwards in front of spectacled Schubert, picking up the heans. The Value of Two-Finger Exercises summer raise me a peg or so higher in my career. I you until it reaches the level of the shoulder, and then M... E-„m, a.„„ £« realize that there are fine Summer Schools that would let it drop as though some one had shot the arm and it help me in this direction; but my circumstances are such had lost all power. Now notice whether the arm swings By Arthur Burton E-to ?*> ? A-"«. » fi,; » B.«a How Queen Elizabeth Played the that if I study at all it must be at home and with very at the side when you let it drop. If the hand does not ml,i ™ „ “rP either S. .1 little expense.” dangle to and fro you are restraining the arm, you are Everybody has heard the story of the old lady who had Virginals ulation into the k^ToTr4’ * safeIy assi"”e a Such students win the respect of the teacher; and I not relaxing, Repeat this -exercise not less than fifty only two teeth and who thanked the Lord because they finds it more r ■ ° m,nor’ The composer evident! have always gone out of my way to advise them. Some times until the arm is thoroughly relaxed; then go to A very quaint account of how England’s most famous “hit.” needed than onven,ent to add these accidentals wher the keyboard and place your hand in playing position queen played the Virginals is given in a story told by teachers make the asinine mistake of thinking that The two-finger exercises are valuable on tha. piano¬ Ssures. Change the ^’a<»re for every fe, upon the keys. Analyze the feeling in your hand. Does the Ambassador sent by Mary Queen of Scots to the their sum of knowledge is so precious that they should forte, first because of the opportunity they afford for | DE PACHMANN Court of England. The ambassador wrote: not let one particle of it go without the payment of a fee. it always feel free and unconstrained when you play? concentration. Try this experiment: Play the first with Repeat the same exercise with the left hand and test “After dinner my lord of Hunsdean drew me up to nizh'ig changes^!f° key ^hmdd'Tt"0 T°8 I have always gone upon the principle that my profession harmony. ' 1 not IKT,ect the study o your relaxation at the keyboard. If your hand is per¬ a quiet gallery that I might hear some music (but he sail) the fifth and second fingers of the right hand; plav C and is an obligation—that I would always have more pupils fectly relaxed, your wrist will sink below the level of that he durst not avow it), where I might hear the Queen D like a very,slow trill with these fingers; then play C than I could possibly handle if I remembered this obliga¬ Unrest in Study the keys. That is, you would' hold on to the keys with the play upon the virginals. After I had hearkened awhile, and E like a slow trill; then C and F; then C and G; tion. That is, I have always tried to help those who were tips of your fingers. This however is the extreme. In 1 took by the tapestry that hung before the door of the then, if your hand permits it, do C and A. trying to help themselves. In some instances, when their By George Henry Howard playing one relaxes but does not do so at all times to chamlier, and seeing her back was toward the door, I Repeat these same exercises, but using the second and ■ earning power increased, they came back to me and proved this extent. In your eight weeks’ intensive course this qntered within the chamber, and stood a pretty space, third fingers. Then do the same thing with the third very profitable hard-working pupils whose work was a credit to them and to the work I had laid out for them. exercise should be first every day. It will take you about bearing her play excellently well. But she left off imme¬ and fourth fingers, endeavoring not to over-stretch the to tl^TsuXfoCf music'’is' thkeUI> °f pup!ls’ unfavorab1, five minutes to do this. At the end of the first week diately as soon as she turned about and saw me. She A thing begun is likelv to CT°„ sPirit of l,nres1 fingers. A little farther on the trills may be played Diagnosing the Pupil’s Need you will doubtless think that it is unnecessary and you appeared to be surprised to see me, and came forward, a rule, want to do wW o ’C unt,n,sM- Students, a faster. Always feel that the fingers are light and free In general the pupil who wants to make an advance will be inclined to drop it. DON’T. The more you ad¬ seeming to strike me with her hand; alleging she used not never hard and stiff. Satisfactory completion oW fanCy at the momen' during the summer seems to be more in need of. technic to play before men, but when she was solitary, to shun vance the more you will need it. Next do these same exercises with the left hand. Try tioa SteadfasmVss i **“ k the than anything else. Intensive work in technic is always melancholy. She asked how I came there. I answered, to feel as though your hand and fore-arm were floating purpose begun is not carried v,[tuf' . ' Test for Hand position and Tone as I was walking with my lord of Hunsdean, as we passed school and course* fir,- u , ?ut‘ Studies are shirked a feasible. One of the main things is to have a good plan. In order to have a plan you must know your own de¬ The writer assumes that you know the main principles by the chamber door, I heard such melody as ravished me, This training of two fingers will give you a kind of There are notable exceptSis^o thi" 'CaSt 1p0Ssi,J.,e cffof ficiencies. of hand position as generally accepted. If you read the whereby I was drawn in ere I knew how; excusing my nevertheless. The studentc m ,ni e’ )ut ll ,s a ru e facility which you will find very difficult to acquire other¬ series of articles in the form of conferences -with Josef fault of homeliness, as being brought up in the court of to blame for thi^oSgm ^ "0t wh°"J Self-tests That Help Lhevinne, as they appeared in The Etude some months France, where such freedom was allowed; declaring my¬ wise. Of course it is difficult for some students to see How much technic have you? How much control ago, you were possibly impressed with the fact that in self willing to endure what punishment her Majesty big things in small exercises. studies is notf al^rule C°™ection with musica have you over speed, force, accuracy, rhythm, in playing much modern piano playing the keys are not struck with should be pleased to inflict upon me for so great an of¬ u Dr- Mason, be it remembered, based his first volume of ready conceived. Student work'om °tl S°Tthi"R ** chords, scales, arpeggios and octaves. Of course it would the tip ends of the fingers but rather with the fleshy fense. Then she sat down low upon a cushion, and I on “Touch and Technic” entirely upon the two-finger exer¬ harmony or counterpoint' as 7f tL t,C'r leSf°nS be unquestionably to your advantage if you could have balls just behind the tips so that as much of the key my knees beside her; but with her own hand’ she gave cises and had Liszt’s word for it that nothing would an expert teacher examine you before taking up your surface is covered with flesh as possible. This does me a cushion to lay under my knee; which at first I produce the same results as the two-finger exercises. It eight weeks’ course in intensive study. not by any means mean to play with straight fingers. refused, but she compelled me to take it. She then called is well to remember the well-known lines of the poet 1 ■ *"< »«I*r6cu"'a« ”™'y If you can not have a preliminary examination or diag¬ It does mean that the key is to be struck with a soft fpr my Lady Strafford out of the next chamber; for the Young. He said, nosis made of your case by an expert, it remains for pad and not a hard hammer. Queen was alone. She inquired whether my Queen or “Think naught a trifle, though it small appear, small -stssrA t -* <.f— you to make such an examination yourself. The follow¬ Just to convince yourself try producing tone both she played best. In that I found myself obliged to give should lie taught to think ffi 7rd ° th,e Sch°'ar’ Thej BAUER ways, first with hard finger tip and then with the soft her the praise.” sands the mountain, moments make the year, and trifles ing tests may be valuable for you. life." should lead to exact thinking P 3y' The leachin- curate and artistic playing S’ Wh'Ch produces Sood« ac Page kkS JULY 192k THE ETUfjJi JULY 192k Page kkO THE ETUDE pad After this practice in tone-making with each finger Grade VI stance, the writer knows that Percy Grainger has made of both hands, devoting about five minutes to tonal ex¬ Octaves and Chords: Gradus ad Parnassum, Book VI, a very fine record of Grieg’s Norwegian Bridal Proces¬ Mozart. Fantasia in D Minor. Grades 5-6. A Spring Day, a Pitch-Pipe and Some Ear-Training periments, say to yourself, “I am going to make the Philipp sion, for which he has also written an excellent analyti¬ ANALYTICAL PRINTED LESSON EDITION piano sound as beautifully as possible.” Place one finger Six Octave Studies, Opus 26.Preyer cal lesson. By the combination of the two the self-help BY JOHN ORTH. By Grace May Stutsman over the keys and then feel the impulse to play come Ten Brilliant Octave Studies, Opus 1044.Sartorio student can secure for less than two dollars what comes from your shoulder, down the arm and by the slight Duo-Art Record by Raab. Le Coucou .Daquin as near as is possible to a lesson in person with Mr honk of an automobile horn, each has a key which may elevation of the wrist depress the keys. Listen accurately, Ampico Record by Herbert Hyde. One of the, largest contributing factors in sight read¬ Wedding Day.E. Grieg Grainger, and at a fraction of the cost. you will probably note a big difference between the ing is the power to mentally translate the visible into the be definitely determined on the spot. Melody in F.Rubinstein-Schiitt Here is a list of excellent lessons in print which may Chopin. Impromptu, Op. 29. Grade 7. tone you are able to get at first with the forefinger and oral. Conversely, the faculty for translating the oral into Notation pads should be taken along so that dictation The Cuckoo, Op. 34, No. 2...Arensky be obtained from your publisher literally at the cost of ANALYTICAL PRINTED LESSON EDITION the visible is also imperative. If these faculties are un¬ can be taken, if the pupils are advanced enough to have that you are able to get with the fifth finger. Experi¬ ordinary sheet music. These are published in an edition BY S. STOJOWSKI. ments in tone-making are never wasted; and if they are Heartsease.Mrs. H. H. A. Beach developed, memorizing and sight reading become a reached that stage. Each child should take his turn at The Music Box, Op. 32.Liadoff known as “Master Lessons,” the printed lesson of two Brunswick Record by Godowsky. carried < i daily, systematically, for eight weeks, you difficult process even to the accomplished musician. Few giving as well as taking dictation. The teacher, for Danse Rustique, Op. 16.Mason pages of text accompanying the carefully edited piece: o notice a big improvement in your playing. Victor Record by de Pachmann. children (or grown-ups, for that matter,) have a “golden” obvious reasons, must also take it down. First Tarantella, in A Flat.F. B. Mills Duo-Art Record by Friedmann. Schubert-Liszt. Serenade. Grade 7. ear, which makes it necessary to develop the hearing as When the child gives dictation, do not start him out Polonaise in C.Hamer Tests for Speed ANALYTICAL PRINTED LESSON EDITION If the student has time for collateral study, we would systematically and as thoroughly as possible, to which end with a note from the pipe. Make him decide the tone Scene d’Enfant.Moussorgsky Take the scale of B major, probably the easiest of all BY KATHARINE GOODSON advise very strongly the following works: “Principles we recommend the use of a good pitch-pipe. upon which he hopes to commence and rely on his own scales, because it seems to fit the fingers perfectly Put Of course, the idea is to start with the required grade Duo-Art Record by Harold Bauer. of Expression in Pianoforte Playing,” by Christiani: As the days lengthen and warm weather approaches, sense of pitch to begin. The tonality can be unobtru¬ the metronome at about fifty. Take the four-octave and do twenty minutes a day in octave practice until Ampico Record by Howard Brockway. “Expression,” by M. Lussy; “The Standard History of the out-of-doors possesses a great appeal If the teacher sively verified during the progress of the exercise being scale, playing (first hands separately) two notes to each one may advance to another grade. The writer has Music,” by Cooke; “Music Masters, Old and New” or is a nature enthusiast it is entirely possible to hold the given, and at the end, a discussion will be in order rela¬ beat. If you can play smoothly and easily at this speed, Mendelssohn. Spinning Song. Grades 5-6. “Great Pianists on Piano Playing,” by the same author; known many self-help students who have made wonder¬ ear-training class on the bank of a stream or in the cool tive to the key established. try four notes to each beat, then raise the metronome “Improvisation,” by Sawyer, and “The Beginner’s Har¬ ful advances in octave playing, in the course of a few ANALYTICAL PRINTED LESSON EDITION recesses of a wood. A child is always on the alert for Countless other uses to which the pitch-pipe may be point by point until you find yourself making mistakes BY S. STOJOWSKI. mony,” by P. W. Orem. weeks, by regular daily practice. It is well to remember, the unusual; and the novelty of a music lesson in the put, will suggest themselves to the ingenious teacher. or stumbling. If you do not reach such a point go back open makes an instant appeal to his imagination. however, that unless the student takes exercises to Brunswick Record by Elly Ney. These are mere suggestions, intended to stimulate the and try eight notes to a beat, gradually advancing the Columbia Record by Josef Hofmann. A bird song may not seem to him to have tonality, strengthen the upper arm and back muscles, the lower A Grand Piano Gives a Lesson imagination of the one- who resents being housed when metronome until you do find the inevitable errors. There arm and fingers may not be able to stand the strain of Victor Record by Rachmaninoff. but if tested out with a pipe, softly, it is shown to have is no reason why, with time and persistence, you should the -first balmy days appear. modern technic. Any good calisthenics for this pur¬ Edison Record by Andre Benoist. pitch as well as form. A cricket’s chirp, the distant not play your scales at 1000 notes a minute, if you de¬ By R. L. F. Barnett pose are beneficial. We know of one Russian pianist sire to do so. The method of doing this is fully ex¬ Chopin. Polonaise, Op. 26, No. 1. Grades 6-7 who was accustomed to standing about one foot from a A certain pianist who prided himself on the firmness plained in “Mastering the Scales and Arpeggios.” Fleet wall, placing the palms of his hands upon the wall, and ANALYTICAL PRINTED LESSON EDITION How “ Little Italy ” Requires Its Funeral Marches fingers are invaluable in your technical advance There of his touch was trying different grand pianos when his hen letting his body tilt forward so that the weight of BY ALBERTO JONAS. is no better way in which to develop them than by attention was called to a rebuilt instrument of a very the body rested upon the hands. Then he pushed back Duo-Art Record by Harold Bauer. fine make. The pianist was much pleased with the tone, By Dr. H. P. Hurlong means of scales and arpeggios. A half hour a day spent Ampico Record by Felix Fox. on scales makes a “wonderful showing in time.” &e body with the arm mUSC,es and rePeated the exercise but happened to look inside at the action just as he had until tired. The octave playing of this pianist is famous. Mendelssohn. Scherzo, Op. 16. Grade 5 struck a chord with both hands. into Heaven. Here the music is in no sense funereal. A Test for Endurance General Outlines of the Plan of Intensive Study “This piano,” he said, “shows signs of wear;” and In “Little Italy,” that most interesting quarter of Philadelphia, music plays an important part in the In fact there is an air of religious joyousness about it A great many students do not progress because they indeed it seemed so, for the hammers he was using stood iThe w ”, thJng’ after is to have a Pla«- and a good LESSON Er,,T,0N everyday life and habits of its people. Its use for wed- which is truly surprising, seem to reach a point beyond which they are not able to Victor Record by Cherkassy. at Very unequal distances from the strings. toThe m 3 defimte °biect and keep yottTsdi up “That is strange,” replied the salesman, who was an ding celebrations, house parties and infant christenings The dull, rhythmic beat of a muted drum, the continual advance without hand strain or intense pain in the mus¬ ‘”h,e .mark; 0f course, it is impossible to make a cut Duo-Art Record by Renard. amateur pianist; and he in turn struck a chord. All may not be a very great departure from general cus¬ roll of the snare, the snatches of minor chord and mel¬ cles of the forearm. This seems to show itself most Ampico Record by Josef Hofmann. ody, create an atmosphere of sorrow, which is relieved in octaves. It is an easy matter to correct with time ffiiit thtP un WUI fit a" grades' This is he¬ the hammers in use stood exactly on a level. toms ; but its connection with funeral processions is both fting that the reader must determine for himself. It by the introduction of occasional major chords, subtly and patience. The writer once knew a pianist of some Chopin. Valse in C Sharp Minor. Grade 6 The pianist investigated and soon found that in chord¬ curious and strange. suggesting resignation. This indicates that a person of real ability who advertised himself as “the greatest octave araadPr?^aS y- eJSeleCted by means of the ^ts of playing his fingers did not go down with equal firmness. This touch of the Old World, to which many cling so graded studies printed in “The Guide to New Teachers ” age has passed away whose demise is timely. The heart¬ player of all. He could play octaves marvelously, but ABfEDTWINLH™HETSED EI>"',0M It is easy to forget that chords are made up of single tenaciously, may be observed almost any day of the which the publisher of The Etude has sent entirely rending minor mood, carried to the point of despair, was deficient in everything else. His arm muscles were notes, each of which must be held with a firm finger-tip. year in the vicinity of the churches in this section. The Brunswick Record by Josef Hofmann. is used for the youth cut off in his prime or for the enormously developed. He told the writer that he at¬ sTh^r 1° thrands 0f seIf-help students. From Victor Record by Paderewski If you find it hard to play a certain chord firmly, try weeping relatives and friends mournfully marching with such a book select the needed materials forr your grade maid, whose deep, dark eyes will no longer kindle the tributed as much of his strength at the keyboard to and employ them as follows : Duo-Art Record by Joseph Hofmann. playing the notes separately, then two at a time, with the bared heads bowed down; the band of brasses, reeds, swinging Indian Clubs as to anything else. Endurance hand always in the position it must take to play the and muted drums, playing tunes which seem to portray fire of passion in the heart of her lover. is a matter of muscular training. The great danger in The First Daily Practice Period Orns°tein.eC°rd ^ B°rchard' God°wsky, and by chord. You will soon find out which fingers are shirking the sorrows and agonies of the bereaved; is most Sometimes the Chopin Funeral March is played; but acquiring it is in overdoing it. The muscles should never Relaxation Exercises (as suggested) about and the process will certainly result in a noticeable im¬ unusual and impressive. more often, and more impressive, the composition used Grieg. Bridal Procession. Grade 5 be strained. Practice up to the point where strain is ione-makmg Exercises “ « provement in your chord-playing. Do not allow yourself Of peculiar interest is the fact that the character and is traditional and of such antiquity that its composer is noticeable and then stop. Scales 4< to think that there is no technical work for you in a kind of music played denotes the relative age and im¬ either unknown or forgotten. In this latter case the mel¬ Take out your watch and hold it in your left hand Arpeggios « „ . *5}lSS?g2K£E lesson piece that is made up mostly of chords. portance of the deceased to the community. Martial ody is carried in the clarinet and the clarinetist so uses repeating an octave with the right hand until pain in Octaves « „ , airs and bright rhythms indicate the procession in honor his instrument as to produce a tone almost akin to a human cry of despair. the forearm is noticeable. Of course you must play with Grain!'r' Don’t Interrupt Pupils of an infant whose soul is presumed to enter directly loose wrist. Note the exact number of minutes which The Second Daily Practice Period MacDowell. Witches' Dance Grades 6-7 elapse before the signs of pain are felt. Now reverse f Jv S fh°uId'“t of studies. These should be care¬ By Joseph George Jacobson the process holding your watch in your right hand and fully selected by the student after a searching self-ana! “ Pigeon-Toed Hands and Fingers With Arched Insteps ysis of his technical needs. There are studied . , playing with the left. You will probably find that the When a pupil plays a piece to you at the lesson do left hand tires long before the right. Write down the composers, for almost every purpose, in the list we^ve not interrupt at first to correct minor mistakes. Let the respective minutes and keep this as a weekly test during mentioned. If you do not feel confident that you cJn By C. M. B. Ampico Record by Hans Hanke.' composition first be played through as a whole, then go the eight weeks. There is nothing so encouraging as to select the studies you need, it might be safer to take a over it again, making corrections. Try to select pieces note one s endurance or one’s speed growing. j‘st °LStud,es. s!.,ected hy experts, such as those found in SCB—’ Troumerei. Grade 4. a little easier .than the etudes and exercises. If a piece by requiring only very soft tones until the stroke can the Standard Graded Course” in ten orades There is nothing more interesting than to be en¬ st^eVOtTnb0r\,tWenty minUtES each (hy to Pure ^‘ave is well played Mamma will be well pleased, and it will trusted with a piano beginner under six years of age- be made without collapse. But even so, these two ten¬ study. The following works will be found desirable; byLcla5tonPjohns'D lesson edition be a feather in your cap. Train the memory from the say from three to five! Do you say that is too young dencies demand the teacher’s earnest attention during but you should be very careful not to select studies be- 4S ^stauld" «o* Duo-Art Record by Godowsky start. Show them how to memorize by taking two to start? Perhaps it is, under ordinary circumstances, the first months of instruction. A beginning must be yond your grade of difficulty. Real damage may be Ampico Record by M. Volavy. measures at a time and committing to memory first one made toward slanting the hand inward, this to be con¬ done by overstrain in octave playing. Third Daily Practice Period but with daily fifteen-minute lessons, no practice alone, Rubinstein. Barcarolle On in m hand, then the other, then both; and continue in this tinued through all subsequent training; and the con¬ W , ■ -° two hours should be devoted to this period very gradual requirements as to progress, and a care¬ ANALYTICAL PRTWTrrr, °k N°' ' Gradc 5 manner through the entire composition. When a piece vexity of the third finger-joint must be established in Grade III fully varied training in technic, ear-training, and appre¬ JOWSKI. RINTED LESSON BY STO- becomes dull to the pupil, take it away for a while. A early lessons, or it can hardly be secured afterwards. First Studies in Octave Playing.Presser ciation, the little one can be conducted pleasantly and drawing-room piece. * one romantic, one crhi,ho-<- -i„ pupil left his teacher, recently because she made him safely through his introduction to the piano by the time All this means countless reminders! Now to say “Ex¬ toe th.. the student is Op. 94. No. J. G„de5. study a piece for a whole year. he is six or seven. tend and raise the outer side of the hand!” or “Do following^11 GradC- He m!ght have a choi«= of the JOWSKI. NTED LESSON by s. sto- Pupils want melodious pieces, and the teacher must The advantages of so early a beginning? Observa¬ not let the nail-joint of the fingers sink in!” takes time, know what Style of compositions please them. Try to tion and experience lead to the belief that the child who and to say it a good many times during a lesson is V disette Classics Brunswick Record by Elly Ney. explain the composition in some manner of interest; “does not remember when he did not know his notes,” wearing. So when explaining these points to a little Moon Dawn ... draw on your imagination, even if you do not know or when he first placed fumbling, helpless fingers on the pupil, and showing him a good hand and finger posi¬ “ to'""..•*"**> S"T movement) Schumann. Nachtstuck, Onus 21 r- , Valse Christine ANALYTICAL PRTMTrrf^ Grade 6- what the composer “thought” of when this piece was keys, develops an ease and sureness of touch beyond tion, I say, “You see, the hands really go pigeon-toed, Friml Haydn . .Fantasia in D Minor being created. Most likely he thought of just the piece. .Sonata, No. 14 JOWSKI. TED lesson by s. sto- that of later beginners—other things being equal. More¬ don't they? And the fingers, instead of stepping flat- Grade V Compositions are crystallized results of many thoughts over, it solves the question, “Shall he take music?” footed, have nice arched insteps, like good dancers 1” Romantic Duo-Art Record by Novaes School of Octave Playing, Op. 24. fused in the flame of emotion. Of course, you do not He is past the point of making it a matter of daily dis¬ And when, a little later, during the ordeal of managing ■... During Ampico Record by Godowsky. Borowski" :;;;;;;;;;;;;.Romance, op. 44, No. 1 want to say that to the young pupil. pute by the time he is old enough to debate it. Though notes, time, fingering and expression, the child lets the Melodic Octave Studies, Op. 243, Book 2. ... Horvath Octave Velocity . Mendelssohn. Rondo r,„ • • he may later discontinue music, because of greater in¬ hand fall into the awkward, feeble, outward slant, and .Rogers . Strauss.'.'.'.'.'.'.'.-Nocturne Prelude in E Minor... .;.. raumerei clination and talent in other directions, he will not run the fingers break down, I say softly, “Pigeon-toed hands, .... Mendelssohn ANALYTICAL PRINTEDCLES°snvr!deS ^ Why She Quit Novelette. Op. 21, No. 1. ARINE GOODSON. LESSON BY KATH- the risk of missing a musical training because the diffi¬ and arched fingers 1” and he recovers position—knowing •••••• Schumann Gondolicra, Op. 5, No. 3. By S. M. C. culties seem so enormous and the time required so ap¬ well that a halt will be called unless he does so. .Stojowski First Mazurka, Op. 21...... wachq.Song of the Brook palling, as they often do to older children. An instructor in a noted military school stated that -Saint-Saens (A6078);Pbynxive!hScWOrdtby J°Sef Hofmami Second Gavotte... Mason .Shower of Stars Victor Record by Srfof^ (A546?)- A tin v black-eyed Italian girl came for lessons. But all this is prefatory to a note on method which the correction of a boy’s carriage and posture was .... Sapellnikoff Reverie Op. 34. No. 5...... Spring Dawn Duo-Art Record by Tosef “My mamma says I want to take music lessons.” rises out of experience with youfig pupils. Whether practically secured in the first few months of his train¬ .Schiitt Scherzo 2d Chorals, Op. 18...... In addition to these pieces, if the player’s ability per- Ampico Record by C. Adle^ "lann’ “How old are you, and what is your name?” we begin with the five-year-old or the ten-year-old, ing. “We do not relax our attention for a minute,” .Dubois The Troubadour, Op. 266, No. 4...... “I’m six years old, and my name is Rosalie Lombardino. we find two conditions of the hand which call for he explained, “nor permit any relapse into wrong pos¬ .Reinecke strongly urge the student to take Schubert-Liszt. Hark! Hark' th„ , , up the study of some piece in his grade upon which a I used to take lessons from another teacher; but my constant education. One is the outward, downward ture until right habits are formed.” After all, this is Pattering Rain-drops. Op. 83, No. 1...... •••W. G. Smith Love Dreams, Op. 4. analytical PRINTED LessoTt r Grade 7- mamma quit me.” slope which throws the fourth and fifth fingers to the the shortest, easiest way in all such problems. It is a .Al. Brown JOWSKI. LESSON by s. STO- Impromptu a la Hongroisc. fol owinT1! HaS Writt6n 3 Special lesson' By “Why did she quit you?” outer edge of the keys and weakens their stroke. saving of time and effort in the long run to protect .Lacome Sim a e m T*6" directions- these lessons in Hungarian Dance, No. 7-. Columbia Record bv Isma- nv- . “The teacher didn’t learn me anything. Every time it Another is the collapse of the nail-joint upon striking the little pupil against bad habits from the very be¬ Brahms-Philipp are invaluable. In some cases excellent phonograph DuoWntfe db/p^ton, records, by great pianists, also are obtainable. For in- was C-D, C-D, and I had to pay twenty cents, and she a key, which, if allowed to continue, results in a ginning, and to leave him free to progress, unhampered Ampico Records by Volavy and by Moisewifcch. never put me in any higher grade, so my mamma just straight, stiff finger from the first joint to the end. by faults into which he never should have been allowed got tired and quit me.” This last fault may be guarded against to some extent to fall. JULY 192b Page fi51 Page Jt50 JULY 192% THE ETUDE . . . Moment’s Notice Repertoire A Musical Dialogue Number One: I know the story of the Tchaikowski’s Strange Surprise Symphony! How a Famous Engineer Studies a New Composition Marriage By Laura Roundtree Smith Number Five: Hush! it is not your By Francis Kendig turn; be still and listen! When Tchaikrwski was thirty-seven he A Practical Talk on Study Analysis (An Entertainment for Use at Musical Number Seven plays Andante from Sur¬ married against his will. He gives the fol¬ Club Meeting.) prise Symphony, Haydn, (arranged by lowing (abridged) explanation of the Since pianists are supposed to be able By VLADIMIR KARA PE TOFF The names of the Musical Compositions Saint-Saens). curious episode in a letter to Frau von to play anything they have ever known, at are written on cards. They are numbered, Number Eight: I am an Impromptu; I Meek: a moment's notice, regardless of the mul¬ Professor of Electrical Engineering at Cornell University, Ithaca, New York and on the back of each card is written a do not belong to the public. I am only a “One day I received a letter from a girl titude of intrusions which may come into short paragraph, which the one holding the little piece for the Composer himself, I had known for some time. I learned from their practice period, it is really necessary dashed off without a moment's notice. Biographical card may read. it that she loved me. The letter was to keep up a certain repertoire which can I am popular with some people to-day. try, in connection with his numerous speaking The names used are Prelude, Invention couched in such warm terms that I decided be called upon at any time. This need not better class before the Revolution, Vladimir Kara¬ Etude, etc. Schubert may have composed me in a to answer it. . . . The result of the Vladimir Karapetoff was born on January 8th, engagements on engineering subjects. beer-garden. be a large one. Six pieces should be suf¬ petoff was allowed by his parents to study music Number One: I am little Prelude, a letter was that I followed the wish of my 1876, in St. Petersburg (now Leningrad), Russia. He is a recipient of the Monte fore prise for Ins (Plays any Impromptu of Schubert.) ficient. People do not care to listen to short selection. future wife and called to see her. . . . Went to public schools in Baku and Tiflis, in the as an avocation, without any thought of making a more than six pieces at one time, as a rule, electrical inventions and is an honorary member I am used really to prepare the ear for Number Nine: I do not know if I really By the following letter I saw that I had professional musician out of him. While in the Caucasus. Graduated as a Civil Engineer in Pct- of the following honorary societies: Eta Kappa what follows. belong in this company or not. I am one gone too far; that if I now turned from and often two or three are all that are high school he was also enrolled in the Tiflis Con¬ of the Songs Without Words. rograd in 1897 and later studied electrical engi¬ Nu, Tau Beta Pi, and Phi Mu Alpha (Sinfonia). How often the great' composers impro¬ her suddenly it would make her unhappy necessary. servatory of Music, a branch of the Imperial Con¬ Surely, I cannot be the “Spring Song”; neering in Germany. Came to this country in For a number of years he has been interested vised a little Prelude. None, I am sure, and possibly drive her to a tragic fate. Select six pieces which can be played servatories of Petrograd and Moscow. Here he that composition is worn threadbare by 1902, and has been on the engineering faculty of can be more beautiful than the Preludes of “So the weighty alternative opposed it¬ from memory. Do not take the most dif¬ in the idea of increasing the range of_ the ’cello repetition. studied the piano and the ’cello. Later he con¬ Chopin. self: Either I got my liberty at the cost ficult things you have ever played. In¬ Cornell University since 1904. Author df Ex¬ upward by the addition of a fifth string, an E, I am often played so badly that the song tinued his piano' work under two prominent He loved to compose Preludes while of a life, or I married. The latter was my perimental Electrical Engineering,” ‘‘The Electric is lost. stead take those of different appeal and teachers in Petrograd. He also studied the ’cello one-fifth above the regular ’cello A. He finally alone on the Island of Majorca. only possible choice. So one evening I Circuit,” “The Magnetic Circuit,” “Engineering I like that picture that we had of Venice, different degrees of difficulty. Select num¬ in the Ithaca (N. Y.) Conservatory of Music for succeeded by using a steel string, and nozv uses He imitated the sighing of the winds. went to see her, declared openly that I Mathematics,” and of numerous articles. and and I can do no better than to play one of bers in various keys. Have variety in his five-string ’cello regularly. This makes it pos¬ He imitated the patter of the rain-drops could not love her. but that I would always three years. By properly arranging Ins daily Mendelssohn’s Gondola songs. major and minor mood and otherwise. papers on engineering subjects. Research editor sible to play advanced pieces without difficult on the roof. be her grateful friend; I described routine zvork. and economising time whenever (Plays Gondola Song, Mendelssohn.) of the “Electrical World” since 1916. Acted as thumb positions, and also enables him to play (Plays any Chopin Prelude.) minutely my character, the irritability, the Let harmony or chordal work predominate possible, Professor Karapetoff has been able to Number Two: I am sitting up as stiff Number Ten: I am a little Romance. I in one, another may have melody pure and consulting engineer to several industrial cor¬ many violin pieces an octave lower than they are am so bashful. I would like to be excused unevenness of my temperament, my diffi¬ keep up his technic on two instruments, and con¬ as can be, for I am an Invention, written simple, in another strive for brilliance and porations. , from appearing. dence—finally my financial condition. Then tinues to give public-recitals throughout this coun- written. by Bach, of course. facility, and in another choose something As was the case with many Russians of the I belong really to moonlight nights, and I asked her if she would be my wife. Nat¬ Everyone will expect me to act in a urally her answer was ‘yes.’ ” fundamentally rhythmic. old-fashioned gardens. only a few great artists have fully mastered this subtle look graceful and natural. Do not try always to hold most dignified manner. In less than a month from the honey¬ Music is not my profession; Tam an engineer and a (All: He is going to play the Moon¬ After the six pieces have been selected, mpans of expression. With most performers, the your hands or the bow in the same stilted way, but al¬ Allow me a few trills and turns, if you moon Tchaikowski tried to kill himself by teacher of engineering. In my childhood, in Russia, I please 1 light Sonata.) play them all over, straight through the ways hold them in the most appropriate way for each standing up to his chin in the ice-cold studied the piano and the 'cello under good teachers, and rhythmic gradations of force and speed are either not 1 am. hard to play, but no music student Number Ten (continues) : No, no, I will list. Then select the one which goes l>est, prominent and varied enough or are too evident. Make particular kind of difficulty, the way thought out and not play a Sonata. river! After six weeks of it he ran away the most valuable part of their instruction proved to be will ever escape me. and practice it till you can do it flawlessly. up your mind how you are going to play or sing a par¬ experimented with in advance. There are narrow hands I heard one student say yesterday she and never saw his wife again, though he that they taught me how to study pieces by myself. My Perhaps the Invention will sound more After you are satisfied with the interpre¬ ticular phrase with respect to the relative accents slowing and wide hands, flexible hands and stiff hands, short memorized me just because I was short! provided' for her financially. scientific training and, perhaps, my natural analytical interesting to you if you will close your tation which you are able to give thi-. give down, speeding up, rubato, and other features, and how fingers and long fingers; and no one fingering or method - he very idea! I would be ashamed to temperament have helped to develop their precepts fur¬ eyes and imagine the little Bach copying the second best piece the same treatment, you are going to contrast the phrase rhythmically of holding the hands can possibly suit everyone. my notes in the moonlight. say such a thing. ther into a code of rules which I have followed through¬ and continue on through the list. against the ones preceding and following them. Look (5) Tone Color Analysis. Always think of a listener (Plays any Bach Invention.) I belong to Schumann, and he wrote me “Indecent” Music out life. The best proof that I can offer as to the sound¬ When this has been accomplished, go at a good oil painting very closely and learn what who has a fine appreciation of tone quality and of its Number Three: I am an old-fashioned one day when he was very, very sad. ness of these principles is that I have been able to keep through the entire set at least twice each “texture” and “contrast” mean, and how different objects varieties. When Anton Rubenstein played the paino, one Etude. (Plays Schumann’s Romance, Onus 26 By W. F. Gates up my technic and a repertoire on two instruments up No. 2.) day. Play each piece slowly, mentally are approximated with a different kind of rough or was seldom conscious of the instrument itself, with its I suspect I belong to Czerny or Heller, to the present time (I was born in 1876), and every Number Eight: That was shocking to conscious of each note, tonal gradation, smooth paint surface. Without texture the picture would harsh ivory keys and steel strings, but always, one was I am not quite sure which. A contemporary speaks of “indecent” year give one or more public recitals on both instru¬ memorize so beautiful a piece just because and, preferably, counting aloud. Then look flat, like an amateurish water-color sketch. reminded of an orchestra, a violin or possibly a murmur¬ I shall hurry now and play for you. music. Of course, this expression may ments. Some of my precepts are purely introsBective, it was short. It makes me think of the old play the piece up to speed, with the mind (4) Mechanical (or Anatomical) Analysis. By this I ing brook. The pianist and the organist should mentally What is that ? You say the Etude is not have been used in a figurative way, mean¬ and as such can hardly be formulated in plain words, so old-fashioned after all. lady who said. “Play me any ‘Opus,’ mean a careful planning of the best utilization of your strive to represent an orchestra or at least some ensemble ing music that is vapid, shallow, childish. keenly alert that everything is as perfect without using psychological terms. However, I shall You say McDowell also wrote Etudes? please 1 I love to hear an ‘Opus!’ ” fingers, hands, arms, body posture, bowing, control of of instruments. A violinist may think of a female voice, But to think that music can be “indecent,” as you would want it to be if Paderewski endeavor to give you as much as I can, hoping that these Very well, I feel it, though, in my bones Number One: What did the old lady the facial muscles (in singing), and so forth. You know a flute, a cello, or whatever medium renders a particular himself were listening to your rendition. precepts may help you and, through you, may help to that I am rather old-fashioned. in the ordinary sense of the word, is to from your own experience how much is gained by'adapt¬ phrase the best. A vocalist should cultivate changes in Some pieces will take more than twice go¬ raise the standard of musical appreciation in this country. (Plays Czerny or Heller Etude.) Number Two: Hush! Don’t display your mistake the limitations of the art. For ing the means to an end, when you use a knife, a fork, voice quality as much as possible, adapting it to the sen¬ ing over each day. Give them what they My principal precept in studying a piece of music is Number Four: I am a Barcarolle. My ignorance. Look up the meaning of Opus music has its limitations; let us not evade a hammer, a needle or a tennis racket. So why always timent expressed. It is remarkable how much can be “analyze,” or, in plain English, “split, split, and split.” name brings up a scene in Venice. The in the Musical Dictionary! that point. need. Almost every number will take a use parts of your body in the same stiff manner when achieved in this respect, once a conscious, effort has been First of all it means never.play or sing a musical com¬ lightly gliding gondola and the boatmen’s Number Two: I am ’little Berceuse, a Frequently, composers and performers little extra brushing up now and then. performing such a delicate operation as playing or sing¬ made to learn the ways and means of bringing out the position repeatedly from beginning to end, while study¬ song. I will introduce the Serenade if lullaby. Nothing could be more fitting than try to force music to say and do things There will be some pieces on the list ing? Find the way in which you can play or sing a possibilities of one’s instrument. to complete the program with a lullaby, ing it. After you have found out the difficult passages, you will listen to me. that belong to the realm of literature and which you have played a great deal, and certain succession of notes in the easiest way, and it will (6) Analysis of Emotions. The purpose of singing or Unless someone arrives late, this will finish concentrate your attention on these, and keep on splitting (Plays Barcarolle and Serenade “Tales the plastic arts. They try to make music this will probably be the first one to playing an instrument is to arouse in the hearers certain the program. each passage until you have discovered the simplest ele-' of Hoffmann.”) metaphysical, religious, geographic, histor¬ change. When you have decided to drop emotions, akin to those which the composer and the per¬ (Plays Berceuse from “Jocelyn,” Godard, ments each of which, by itself, does not seem difficult. Number Five: You called for a Rondo? ical—everything that it is not. one of the six, or if there is another piece former together are endeavoring to express Are you Yes, here I am. violin and piano.) Then begin putting these elements together, and you They try to make it moral or immoral memorized and polished ready to take its merely a postman who carries a sealed message from the Beethoven was fond of me, and I feel Number Twelve: I am called the Minu¬ not only have learned the passage but you have added composer to the listener and who knows nothing and denominational or sacrilegious, decent place let the old piece go. Do not try proud of that fact. et. I am late, I know, but my street-car to the flexibility of your mind for the rest of your musi¬ cares nothing about its contents and intent? Or have was delayed. or indecent. Music may be associated with to add one piece, making seven. As soon You say I repeat myself? Why, of cal life. you made the composer’s message your own and are ex¬ these ideas, but it is not such in itself. as you have a new piece ready for public course I do. I grow attached to one theme Number Thirteen: How very odd, I am This splitting or analysis of difficult passages may be pressing it through your own emotions? Think of the and repeat it over and over. I like to re¬ called the Minuet, too, and I am also late, Certain music may be associated with cer¬ performance, discontinue the piece which done on this or that basis, depending upon the nature of difference in the impression which you can hope to pro¬ for my auto broke down. peat myself also in contrast to another tain religious ideas for a long time and you have played most, or the one. which is the difficulty, I have found the following methods duce on the listener in these two cases. Contortions, theme. Number Ten: Who ever heard of that so. in its presentation, bring back to mind east effective. Incidentally, it is a good helpful. long hair, and rolling up of your eyes, will not fool many. I love to think how smoothly I came old-fashioned dance, the Minuet, being these ideas. Certain other music mav be test of one’s interpretation to study which (1) Melodic Analysis. Divide the passage into simple They want a message of love and beauty; and the only given without a partner ? 'We are glad to from under the fingers of the great associated for a long time with other ideas I leces really g0 “ovcr the f00t]ights r- melodic phases, each “satisfying” in itself. Even in way you can give it to them is by learning how to ex- ■ Beethoven. welcome you here. which one age or country considers inde¬ Following out this method one has an instrumental music it is helpful to assign simple sen¬ press them in music, the ideal love and the sense of beauty cent, though another may not. He could make me laugh when he was Numbers Twelve and Thirteen (in con¬ tences to each melodic bit; for example, “Is it you?” which you must cultivate in your real life, apart from in a happy mood. cert) : Many great musicians wrote minu¬ It must be remembered that the morals clnan rblbe plI181ayed"! creditablyCydC °f withm|tsix <)ieces whichusual “Let us go,” so as to add unconscious phrasing and music. As to how to accomplish these ends, the precept ets, but since we arrived together we will o one age or location may be the immor- (Plays any Beethoven Rondo.) connection to such melodic bits. No matter how a phrase is very simple: “Seek and ye shall find.” play together. hresome excuse-“out of practice.. It is Number Sis: I am a Largo. I move als of another. But music in itself, is the is actually written on paper, play or sing it to its logical After you have analyzed a section of a composition We will play from a Minuet by Mozart. same. Deduct the associations and music very slowly. I feel as though I had the end. In many cases this means to an accented note. from the above points of view, put your findings and We will play a duet. has no religion, no vice, no politics, no weight of the Nation on my shoulders. For example, in a long passage consisting of triplets results together, and in so doing you will reconstruct the I am solemn, and why should I not be? (Play Minuet from Symphony in E Flat, country. All music is decent, though a you will find a much better and simpler melodic phras¬ piece as if you yourself were the composer. It “soaks” I am so very, very old. Mozart, “Concert Duets.”) good deal of it is weak, and badly afflicted ing by thinking from the second note of a group to the into you, becomes an organic part of the contents of I think often of little Handel stealing (All shake hands and pass out.) with curvature of the spine, to say nothing first of the next group. This makes a group of two your consciousness, and then its effect upon the audience up alone into that dark old garret to play. of rhythmic eczema and St. Vitus’ dance, unaccented notes followed by an accented note, of the tzszZpZL'ts.'s is limited only by your musical personality. To-day his melodies have become eternal. that has to do, however, only with its form “let us go,” with the accent on the last syllable. Unless a 3-not.her. season s repertoire. In addition to the foregoing six rules I have also (Handel’s Largo, violin and piano.) Haydn’s Gay Heart technical construction and not with its (2) Harmonic Analysis. Name all the principal found the following ones useful: Number Seven: I am a Symphony, a sentiments or morals. chords and modulations in the phrase which you are Joseph Haydn, the serene and pious (7) First Fill in the Holes and Cut off the Bumps. very grand composition, indeed, when writ¬ If certain tunes are so firmly attached composer, explained the serenity of his studying. You will be surprised how much this will add ten for the whole orchestra. I have four to indecent thoughts that the playing of medium that will keen S°me ^ This means: Do not play over and over again a phrase Church compositions, so severely criti¬ repertoire. It is ,ufPf Up a" acceptable to the ease of memorizing a piece, to an intelligent movements, so I can furnish you with them causes brainstorms in the minds of which has both difficult and easy passages. Otherwise, cised, with the following golden words, shin nrr,fo- ■ , aa tor one s musician- phrasing, and to your feeling as one with the composer. some variety. toe young, then it is well to omit their the difference will be always apparent to the listener. “I do not know how to do differently. I I cannot urge too strongly a study of harmony at a Oh, dear, I hope the fiddles are in tune, performance, clean off the slate and give pride to be ouTor^'31-0" and personal Work only on the difficult notes, just like a skilled give what I have, but when I think of young age. This will also help materially in ensemble and I hope that drum knows when to come music a new deal. But this simply is be¬ journeyman painter who before giving a final coat of God my heart is so full of joy that the «°arndC2fe -"-w playing,. choral singing, accompanying, or reading new cause the Muse, in her defenseless condi paint to a dilapidated wall, first fills in the hollow parts notes flow from me like thread from a music. Even if you are a violinist or a singer, you need As Papa Haydn introduced me, I will tion, has been dragged into bad companj and cuts off the projecting parts. If he were to paint bobbin; and as the Almighty has blessed harmony just as much as a pianist or an organist does. play the Andante from his Surprise Sym¬ and her garments soiled by contact. The over the original rough surface no number of layers of me with a gay heart I feel certain that Otherwise you are only half a musician. phony. goddess is immaculate, pure and undefiled paint would make it smooth. Again, think of a macadam He will forgive me if I serve Him gayly.” (3) Rhythmic Analysis. Emotions cannot be ex¬ In her nature she can be nothing else. road with a small dent in it. Every passing vehicle always play well. V 3t 3ny time and to pressed in music apart from a rhythmic “texture,” and PROF. VLADIMIR KARAPETOFF JULY 102Jp Page lpOt THE ETUDE Page lp52 JULY 192Ip THE ETUDE artists of the first rank should play. Liszt, Paganini, makes the dent bigger and deeper until the road has to and writers of difficult coloratura anas, not only died be closed for repairs. The proper thing to do is to fill in their natural deaths once, but also have been murdered Artistic Pedalling the dent in the beginning. Professor Karapetoff’s remarkably clear over and over again by their young injudicious admirers. and practical article will prove immensely (8) Practice on only one difficulty at a time. If you When a teacher causes his pupils to play or sing jn By LESLIE FAIRCHILD are trying to get a large interval clear and pure, practice helpful to many. Others will be inspired by public a difficult piece of music just learned, he commits on it alone; do not play or sing the notes which lead to the fact that from a very busy life he has an unpardonable sin against the rule of margin. In or chords at different parts of the keyboard are played been able to snatch moments sufficient to Pedal Mechanism it or follow it. If it is three notes against four that is public you should perform simple pieces, which you can Rubinstein’s “The pedal is the soul of the piano” staccato. enable him to do what thousands of music Felt wedges that press against the strings are called troubling you, practice the difficult rhythm on a repeated play easily and in which you can show your real per¬ has become an adage. It would be far better to say that teachers seem to be unable to do—to give “dampers.” When a key is depressed this damper is note; do not add the difficulty of a melody or of a har¬ sonality and artistic temperament. In private it is better the pedals are the means through which the soul of the Ex. 5 recitals which really delight audiences. It released from the string, allowing it to vibrate as long as mony to that of the rhythm. No matter what the dif¬ to study more difficult pieces, provided you analyze them is interesting to note in this connection the pianist is expressed. the key is held down. When the key is raised the damper ficulty is, separate it out and overcome it alone. and overcome each difficulty intelligently. This will With1 the proper knowledge and technic of the pedals, actual callings of famous Russians who were flies back against the string and immediately stops the take the place of the stupid old-fashioned “daily exer¬ one is able to infuse into his playing actual life and sun¬ (9) Make your own exercises. If you learn to best known for their music, music cultivated cises” and will give you the required margin, poise and light Brilliant cadatces, highly colored chords, myste¬ r % t t f t f f_ analyze your technical difficulties and their causes as at first as an avocation and not as a profes- There are many instances where tones are required to rious echoes and diminuendo effects, clanging chords and explained above, you will never want to practice compli¬ refined taste. be prolonged; yet their distance is so far apart that it is octaves of great velum;, and many other charming effects CT cated studies written for you by some one else. This, Rimsky-Korsakoff, originally naval officer. (12) You never learn a piece completely, you only impossible to hold them with the fingers. In such case., are at the command of the pianist who lias acquired a s .P of course, does not apply to pieces like some of the Borodin, originally chemist. approach it. A first-class musical composition reveals the damper pedal becomes of the greatest value By Chopin etudes, which have a high musical value and are Cui, originally artillery officer. itself to you more and more as your life experiences skilful use of all three pedals. simply pressing down the right side pedal, all the The above passage is from Rachmaninoff s Pohchmclle, There i$ no branch of pianoforte Study more neglected played in recitals. I have in mind dry complicated con¬ Tchaikowsky, originally lawyer. mature you and as your tastes and emotions become more dampers are released from the strings allowing any notes and illustrates the effect just mentioned. Similar phrases or so much abused as pedalling. To many, the damper coctions of old-fashioned musical pedagogs, which are Dargomijsky, originally government offi. refined. Your technic becomes better, your tone quality that are played to vibrate until the pedal is released. It are encountered quite often in the works of this Russian becoming as obsolete as complicated prescriptions of the richer, you learn to express your feelings more force¬ or right side pedal is used as a tread to beat time on, and it were not for these skilfully constructed dampers, our to others it is used as a means to augment the tone. Thus, master. , ,. medics of the past generation. You want to know your Mussorgsky, originally army officer, fully, and you naturally play the same pice better. playing would sound like one continuous blurr. Making use of the law of sympathetic vibration m the reason for its being labeled the “loud pedal,” As scales and chords as the foundation of all music, and A. S. Tanieiev, originally government offi- Henee, you cannot “learn” a piece and then use it like There are three ways of employing the damper pedal: connection with the sustenuto pedal, we are able to far as the una corda, or left side pedal, and the sustenuto, you want to know them by heart and in all forms, such a phonograph record or a perforated roll. Study a good first, taking it simultaneously with the note; second, create many charming effects, and examples of this will or middle pedal, are concerned, their use seems to he as staccato, legato, and varied rhythms. Beyond this, classical piece all your life, at intervals, and it will grad¬ pressing it down immediately after the note or chord is entirely foreign to many advanced pianists whom you be given below. make your own exercise out of each difficulty as it comes ually become more and more closely assimilated with struck (this method being called legato or syncopated When using the sustenuto pedal the notes to be sus¬ up. You (or your teacher) can make such exercises to your sub-conscious mind. For this reason, do not hesi¬ would expect to more familiar with them. pedalling) ; third, what is called half pedalling or trilling tained must be pressed down and held before the sus¬ fit your particular troubles. Playing printed exercises . tate to lay an unfinished piece aside and start on some¬ tenuto is depressed. Care must be taken to have the dressed in glittering tights,, but he just barely clears the The Ear, the Judge and Jury the pedal, which is designated by signs such as; is like sharpening several special and complicated tools thing else. Only be sure that you have done at !< a t some¬ damper pedal fully raised before pressing the sustenuto obstruction. His partner has baggy trousers and a Artistic pedalling requires the most serious kind of when there is nothing to cut. It is only by trying various thing definite on it, for example, that you have learned pedal or the whole damper system will be sustained. studying and experimenting in order to bring out the exercises of your own design that you analyze each diffi¬ painted red nose, pretends to be awkward, but when he certain passages, had others marked or fingered, made culty down to its very root. most beautiful effects in a composition. Nothing shoula tA/Vkvvvv’— does the same act you know that he is the real artist clear to yourself the general correlation of the parts. The Una Corda Pedal be left to chance. Our ear is the final criterion to go (10) Margin of speed, strength, and emotions. with a great margin and could have performed a much You will enjoy taking this piece up again after a while. Ordinarily, the hammers deliver a blow to three strings. Why is it that a great artist can play or sing a simple by and we should cultivate the habit of listening atten¬ more difficult feat. Again, what do you enjoy more in Summing up, I would say: The first function of a good By this method the dampers are made to arrest partially On a grand piano the hammers are shifted over to one composition and make a deep impression, while you can¬ tively to every tone that is produced in our daily practice. a person’s conversation? A rehash from the last book music teacher is to train a pupil to think in musical the vibrations of the strings, thereby causing unusual string when the una corda (meaning one string) pedal not do so, even though technically you can cope with Most talented pupils use the pedals to fairly good he just finished reading the day before, or his own per¬ terms and to analyse technical difficulties. Then, if the effects that will be shown in the following closing meas¬ is pressed down, thus giving the tone a softer quality. each difficulty in it and you feel the composition very advantage; but no doubt their talent would be greatly en¬ sonal views that he arrived at as a result of years of student possesses the required mentality, appltcnt. m. and ures from Percy Grainger’s Colonial Song. In some lately made pianos this pedal allows two strings deeply. An important reason is that a great artist has riched if they were thoroughly grounded in the funda¬ experience and observation? The moral is: Get as big musical temperament, he will e, ntinue to pr., • even to sound, but the old name still persists. Many charm- a large margin of safety in his execution while you have a margin as you can in what you sing or play. Do not mental principles that underlie artful pedalling. A com¬ ing effects are produced by the use of this pedal, and without the teacher, in proportion as he splits, splits, Fa Press down keys only a small one. He can play the same piece much strain to the last. position that is artistically pedalled may be likened to a and splits difficult passages, as explained above. also by combining it with the damper and sustenuto faster, with much more volume, and with much more beautiful painting with its exquisite blending of colors pedals. In Grieg’s Wedding Day at Troldhaugen, the (11) Study more difficult pieces than yoit perforin in [During the talk, the speaker illustrated his rules on emotion than he actually does. He gives you only a public. This precept follows directly from the fore¬ and properly placed high and low lights. Poorly ped¬ una corda pedal enters at the end of measure ten, giving the following piano pieces: Liszt’s familiar "Dream of small part of it all, and the very feeling of assurance going rule about a margin. Do not foist your imper¬ alled, the composition becomes flat, like a crude litho¬ Love,” the cadenza before the return of tin main a most charming subdued effect. that he has that big margin adds to his success and to fections on your audiences. Many a promising young graph or line drawing, void of all rich and harmonious A fault of many players is that they do not press the theme; Chopin’s Valse, Op. 42, the first four measures your enjoyment. Two performers on the vaudeville musician has ruined his or her career by trying to per¬ shading or colorings. Modern compositions demand damper pedal down to its full stroke, nor do they fully of.the theme; lkvthnvcn’s Moonlight Son;il.i, a few stage do the same acrobatic stunt. One is an Adonis form in a public recital comnositions which only veteran highly colored effects and those who lack the ability to measures of the slow movement.] release it, thereby partially arresting the vibrations of create such will lose the entire atmosphere of these pieces. the strings, which causes a muddy effect. Clean, crisp There are passages in many of these modern works in pedalling should be mastered by all who aspire to pianis- which the pedal is “everything.” tic heights of interpretation; and this is achieved only Listening to Learn From Scarcely any feature of music produced How Long! Deficient Pedal Markings by diligent practice and intense listening. Master Pianists by the piano gives to it more vitality than which it would be aimed r Many composers are notorious for their neglect of The Pedal No Cloak for Deception accents of the right type, at the right time, By Austris A. Withol By Harold Mynning in the right place. Students, take notice. good pedal marks, leaving them to the discretion of the The pedal should not be used as a cloak to cover up a Most listeners prefer compositions wit player. This may be perfectly all right for the excep¬ Josef Hofmann teaches eloquently in “You n fool all the people sc slovenly technic, for this deception will fool no one Some of the best lessons we ever learn te of the simple melodies rather than the compli tionally talented pupil, or the one who has a teacher who .his playing the lesson of “reserve power.” time, son of the people all the except the one who is trying to use it as such. The are the ones we get from listening to those “Never let the public know your limits,” you ’can>t cated works of the masters, at least ur is capable not only of marking the correct pedalling various tones on the piano may be considered as a large who have mastered the art of piano play¬ fool all the people all the time,” ess these latter are interpreted by niaste says this great artist, and in his playing he has been tribute? t-o everybody from but also the most artistic; but it is of little value to the paint box of the primary colors, and the pedal as the ing. The characteristic qualities of a few Players. Hundreds of these exist if w less fortunate. Percy Grainger’s editions are models oi medium in which they are mixed in order, to combine practices what he preaches.” Moses to Lincoln. Whatever its origin, but seek for them. It is far better to pla follow. Josef Lhevmne and Leopold Godowsky the truth at the bottom of it applies as modern pedalling; and the student will be well repaid for them into multitudinous shades and tints that will rival a small p,ece well than that we mutilat Wilhelm Bachaus is one of the greatest studying them No pedal mark has been left to chance, those of the rainbow. are especially brilliant m octaves. Godow- well to the teaching of music the masterpiece. living technicians, plays with great power, sky has been s< > play an octave passage other endeavor. every detail having been worked out as carefully as the Finally, , the pedalling that is designated in most editions and executes the Second Hungarian Rhap¬ of great difficulty during which the wrist judging frdm a collection of «Student>s Have you heard the story of the Sai notes; and by their use the student is able to catch the simply gives a suggestion of what should be, leaving hranc,sco at ..,,, who could plav Bee sody 'of Liszt in an especially superb way. did not seem to move at all. Evidently Redtal» progranis that jg easil ™ real atmosphere of the composition. a vast field for the student to combine and blend the From him one learns that some of the his great artist gives a good deal of atten- bIed> it would seera that * £££ r;1Szt and everybody else that i The pianist should always sit at the instrument with tones to his own artistic taste. greatest obstacles may be overcome by the lion to the movements of the wrist and has not yet learned that tUe big, but from whose piano the action ha< both feet over the pedals, not only for the sake of good half pedalling creates a beautiful diminuendo of the most simple means. His stupendous tech¬ to be removed to prevent his ruining ■ deportment but also to have them ready for instant use sound volume that has accumulated under the damper Self-test Questions on Mr. Fairchild’s Article such a law is inexorable. Master com- when needed. In some passages it is required to use all nic is due in part to his wrists being always From these gleanings, it is readily s condifi^ ?HuV Iong sha" we endure thi pedal. 1. What physical organ is the “Judge and Jury” of three pedals simultaneously. This is done by turning the relaxed. He may not be conscious of it, thathat valuable lessons are tohadto be had frhorn children3; presumably0with ^h'S^of how ”ff? ,0:i« sl’aH we work t, Sympathetic Vibrations piano playing? . left foot so that the ball of the foot presses down the but his wrists are kept constantly relaxed attention to the playing ofi nothers. pro Keenpp„ t—,Ceauu„gting anan impression that the pupil is a Sther fh 3 ':tt,C °f that Which glitter Another very valuable adjunct to artistic pedalling is 2. In what ways are pedal markings deficient? una corda and at the same time allows the tip of the by moving up and down whenever there is observation is one of the most valuable prodigy and the teacher a wonder-worker. S6 tha" that we express a beautifu made by making use of the law of sympathetic vibra¬ 3. How is the mechanism of the piano affected by the a rest, a pause, or when the nature of the attributes of the student. foot to manipulate the sustenuto pedal, the damper pedal A ten-year-old girl struggles with a Bee¬ to the f ' U"y and thus add somethin tions. The principle of this can be very easily illustrated pedals? passage allows him to do so. This is done being used in the regular manner. thoven sonata. With Sow t0ta „°f ha“s in the world; if the student will press down the damper pedal, thereby 4. How do “sympathetic vibrations influence the artis¬ gracefully, of course. In a recent article month The Teacher’s Creed preparation, a young man appears in a H°W l0ng tllla better day? How long! releasing all of the dampers from the strings; then by tic quality of the tones of the piano? he said, “Relaxation is really a simple Pedal Signs recital of complicated works ending with strongly singing any tone directly at the sounding board, 5. What is the effect of the “sustenuto” pedal? matter. For instance, when one plays a Numerous signs have been devised to show at what By Dana Thomas Harmon there will be immediately set up sympathetic vibrations chord, there is a slight tension of the Liszt’s Twelfth Hungarian Rhapsody Music Realized points the damper pedal is to be pressed down and re¬ Think you that this is the limit? Not at with this tone that will resound back in answer to the wrist, but when the chord has been played, leased, such as: Applause, the Smoke of Fame I believe in myself, my pupils, my all. By Roberto Benini note sung. , the wrist is instantly relaxed.” “Applause is the smoke of fame.” The student, partic¬ ability, my pupils’ receptiveness. A lady leaves the washtub for music Another demonstration of the law can be shown by From Harold Bauer one may learn that ularly the adolescent student, should not be deceived by I believe that, with divine help, I can lessons. The teacher says, “You ought i. YAri., % pressing down the middle key “C” silently. On striking proper gestures have much to do with mak¬ 1639^^wrere,L“If a™ 1568 and died ir “C” one octave below with a sharp staccato blow you applause. Real worth counts, with or without applause. benefit humanity, make this old world a recital. ing the music live. for the .A” !Cre were an instrumeni It is said that when Schubert was doing some of his better place to live in; death merely a “When is your next recital? ” will immediately set the “C” above in sympathetic vibra¬ Mischa Levitski exemplifies the value of passing on to a better life through my faculty of t, y .whlch we could enlarge tilt tion, and it will be heard to sing very softly—as a sort finest work as a composer he was also serving as an ac- the lateral movement of the forearm in a “Three weeks from today,” replies the gospel of music. musical sage. 3. 1_1 I_I LJ I-1 of an echo. comnanist for his good friend, the renowned tenor, Vogl. perfect technic. This refers, of course, to I believe that my work is a university scone w! V,,h microscope and tele- The Sustenuto Pedal Vogl was the Caruso of the day in Vienna. Everywhere a sidewise movement of the forearm, and Then follows an interesting discussion he went he was lionized by the ladies. Schubert was im¬ for self-development; and a great store¬;rc- as to what the student shall play, as she an entire n^°Uud 'i>ecome ac THE ETUDE the etude Page 458 JULY 1924 color. Heard melodies are sweet; but, perhaps, those “The old mollycoddles!” retorted Minerva T “It has just the opposite effect,” said the Expert. women are to blame for all this! They’ve dragged them Un“Theleais TpTychology in it all, too. It’s music with “Teachers never were so busy. It has stimulated only around to concerts and operas for years until now tney a purpose, made to unite us. Don t you feel that you more the desire for self-expression. Nothing can take make up for all the suffering you have caused the place of that. Teachers are people of great impor¬ listening Ini’ rihe world? Doesn't it make you love everybody when tance in the community, not like the past century, when Inn listen to it? Makes one feel so mean to have been hod-carriers earned more. Not every one who has the el"Th)eWorld We6Live In.” (Symphony of color and Sous of any one-for me to have been envious of that ability to pass the State Board of Musical . Examiners. other fellow down at the department. That s how wars Studios have great libraries of recorded music, the inter¬ sound), by Seraphimsky. T. . ist “Let’s go, Min; sneak out while its dark, im just pretations of the artists of the past century and the arise! There is no greater power on earth to make men present, as well as the interpretations of their own works sick of it all.” . a brothers. It creates pity and love and faith. by famous composers of the past century. Sheet music “Hush! Stop rattling that sword! The time has com “The great composer of to-day is a profound student always was a feeble means of expressing their musical for a little diplomacy, Mars. Just wait a minute. 1 f the psychology of music. This great school of com¬ ideas. Tradition had to be more or less relied upon. So would like to take home some good spicy gossip about pos tion of the past fifty years has arisen because of much material along these lines of interpretation has these melomaniacs and this music'.” the discovery of the laws of vibration underlying the accumulated that it has given rise to a School of the “Music, woman, there’s not a tune in the whole darn T7«g«ion in music. Why, music can Technic of Emotional Expression. thing!” (Intermission after the Symphonic Poem.) one’s thought and mood, it can make us live within our- “I shall take you to a concert this evening to show you “Pardon me, my friend, but I overheard you,” said the selves and lift us above the petty cares of this life. Great music is a psychical storm, agitating to fathomless the error of your opinion in regard to the effects of our Expert. “Sorry you’re not enjoying it; but you will if depths the mystery of the past within us. W by, there are musical machinery.” (Mars uttered a groan.) you stay with us; your ears, perhaps are not so sophisti¬ tones that call up all the ghosts of passion, of joy, of “Better accept,” whispered the Emigration Officer, “he cated as ours in your Newfoundland. The fact is, a single tune is too obvious a thing for the cultured ears tenderness, of pain and perished passion! To every might get suspicious,” ripple of melody and billow of harmony there arises out Evening at the concert, Olympus Hall. (Mars looks of Americans. We must have a rich tapestry of melodic of the past some eddy of pleasure and pam. I f the dis¬ around.) design, a rich warp of melody and harmony, as in this symphony with its vivid characterizations of the animal covery of the laws of harmony produced great masters “Well, Min, I never thought I should see this day. like Haydn, Mozart, Beethoven and Wagner, look at and the man-made world, the world of roaring machinery, Just look at all the men! And not one asleep! Not even the giants of to-day that the knowledge of these laws of a snore! Little did I think those brave American men —and the world of nature, with its mists, its twilights would ever come to this 1” and its moonlights. And then all that infinite melody of Where Are You Going ? The Fascinating March Old-time military instructions direct Traffic and Genius that “It is to the voice of the Drum that the soldier should wholly attend.” By W. F. Gates The Music Masters of Modern Russia By C. A. Browne By Jacob L. Geiger In modern Music three separate Drums On the street recently, we heard the Intimate Glimpses from the Autobiography of “Why” challenged the maiden fair, are used. And Military Music employs Has the age in which genius was re¬ following conversation: “Why do I like Military Marches so three different cadences, the Drum being NIKOLAY ANDREYVICH RIMSKY-KORSAKOFF spected by the common people passed “Hello, John,” said one young man to much better than any other kind of of the utmost importance in defining the distinct rhythms. away? Here is a tale of Beethoven, author¬ another: “Where are you going?” music ?” ized in a recent German publication. Bee¬ “I don’t know where I’m a-goin’ ” was One of the Most SHnificaot of Modern Musical Life Stories The man whose Military Marches have Naturally, the pace varies with the composition; from the extremely slow thoven was accustomed to take paper and the spiritless reply. girdled this globe of ours replied, “It is It struck us that this answer expressed because of the barbarian, the savage, the time of the Funeral, Processional or pencil with him on his daily walks around Editorial the condition of many music students. his symphonic suite ‘‘Scherehazade’' IHtetot known. His Oriental, in you.” And in evidence, he Dead March, gauged at 75 steps a min¬ Vienna. Whenever the inspiration seized him They don’t know where they are going, chamber music and h s songs^ ^ world-wide popu- smilingly pointed out the feathers in her ute; the Quickstep, calling for about 103 he would stop to write down new ideas. [THE Etude herewith presets several^ graphic Russj exceptmn of bis Song of lndbi, o{ Rimsky-Korsakoff s life or why. hat, the skins of the animals with which Once he stopped in the middle of a street, from the autobiography or one oL | fc b Judall A, j0ffe steps; to the Pas de charge or Double- They begin music study because their took in Rimsky-Korsakoff as a. saw that he was wo'rlfwa? the* splendid undertaking ?eB8 her dress was trimmed, and the little, quick, demanding 120 steps. In the first sat down and commenced to write out his masters, Uiinsk.v-h<.rsak0ff, aa an"”‘ extracts have been completing the masterpieces of his f^n,t h“™n0t been for parents demand it. They keep at their young man musical career On a cruise around the world technically skilled ™ Mussorgsky’s "Boris Godunov" ornamental tassels that bedecked her two rhythms, a pace or step means a themes. Two cabbage pedlars from the country came down the street with their lessons because they don’t know how to the lofty ^alCodin's “Prince IgZ” and Dargomyzhsky's slippers. stride of 30 inches; whereas in' double- (Godounoff), 8 never have been successfully pro- “A March must be robust,” argues the loads of cabbages. One was about to get out of them—or all of them. quick time it denotes 36 inches. The technical studies are bores, and so ducaedennHis Pract“af Treatise on Harmony (printedJn March King. “It must stir the blood. No shout to the composer to get out of the -""s5 Said Handel to Gluck, “If you want they skim over them a few times, find then ■‘"*S£?sa matter how cultured we may be, we all way when the other, recognizing Beethoven, d’O- itimsky-Korsakoff was born at ™™., have in us an element of the wilds.” to work for the English, you must give make noises to “make mother think I am IHs^parents^^er^aHstocjats, and although^the^chiW^was them something tumultuous, like the rattle exclaimed, “Ha! Hans, leave him alone. practicing.” They can see no use in the From the primitive savage, lustily beat¬ He is the greatest musician in the world. ing upon his tom-tom, to inspire fierce of drum-sticks or a drum.” But this bit¬ study of sonatas, those “dry old things,” 'started etot0composye ate ?ie age of nine, his father and his Our cabbages can wait for his ideas." So Snow Maiden” and Le Coq dworks for orchestra and Chaliapim—Shalyapin.] deeds of courage in his fellow-tribesmen, ing comment should have included the en¬ and so far as Beethoven is concerned, there Of his large number of magnificent woras ior they patiently waited until Beethoven was Mo ’tis a far cry to our glorious drum-major, tire race, rather than a fraction of it. might as well have been a hyphen in the gsm splendid improviser, endowed by naturewiththesense finished. How would Beethoven have fared place of the “h” in his name. gracefully and ostentatiously twirling his Even primitive man so marvelled at the of correct harmony and part-writing, Re possessed a with an American traffic “cop” if he had They do not acquire the technic to play neater of. b”L!°Ss«'‘~r£ wand at the head of a glittering band of sound of a drum that ht believed it to be What the Balakireff Coterie Thought of the ‘ Immortals technic partly native and partly acquired through held up the traffic in similar manner. Per¬ the better class of moderns and so drift instruments. the voice of a spirit. “During November and December, I visited Balaki¬ they,JwereejusTbeginning to know, was hig':!y ,estf vast musical erudition, with the help of an extraordinary haps we shall never have great American Along the mighty rivers of the Dark Later, the brilliant Marshal de Saxe off into the parlor-piece class. Neither reff every Saturday evening, often meeting there Liszt was comparatively unknown and was adjudged crp memory, keen and retentive, which means so much in do they take a-s much interest in this as Continent, the negro tribes code all sorts protests that the sound of the Drum is music until we learn to make allowances Musorgski and Cui. There also I made the acquaintance pled and perverted from a musical steering a critical course in musical literature. of messages, to those dwelling on the for genius. in the jazz orchestra at a cheap theater. more than mere noise; that the entire of V. V. Stasoff. I remember V V. Stasoff reaJ g often even a caricature. Little was said of Wagner. Then too he was a marvelous critic, especially a opposite side of the stream, by beating Musically speaking, they “don’t know military art depends upon its various aloud to us passages from the Odyssey ““Saturday The attitude toward the contemporary Russian com¬ technical critic. He instantly felt every ^ical imper¬ the rhythms of their tunes, upon their where they are goin’!” posers was as follows: They respected Dargomyzhski cadences. Always, and irresistibly, has for the purpose of enlightening my own Sf• ,1 fection or error, he grasped a defect in form-atonce. clumsy drums. And the seven-foot war When Beethoven Was More than that, if you ask us, we do not Musorgski once read Kookol’nik’s^“Pnnce Kholmskr,_ for the recitative portions of “Rusalka’ ; his three or“e^' Whenever I, or other young men, later on,^played hm trumpets of New Zealand’s Maoris could the Voice of the Drum called to the soul think they are “goin”’ at all. They are and the painter Myasoyedoff read Gogol s y. tral fantasies Were considered a mere curiosity (The our essays at composition, he instantly caught a of Man, as well as to the subconscious Arrested as a Tramp stationary. be heard for miles. kireff alone, or four-hands with Musorgski, would play Stone Guest did not exist as yet) ; his songs The Pala- defects of form, modulation, etc., and forthwith seating Napoleon—most practical of men—con¬ savage that is latent within him. Schumann’s symphonies and Beethoven s quartets. Mu¬ S and Oriental Melody were highly thought of; but, himself at the piano, he would improvise and show how vinced of the stimulating effect of Music By William G. Dentzel “We often find out what will do, by sorgski would sing something from Ruslan and Lyud on the whole, he was not credited with any considerable ^ composition in question should be changed exac ly upon armies, utilized it with telling results finding out what will not do; and prob¬ mill” (for instance the scene between Farlaf and Na- talent and was treated with a shade of derision. Lvoff as he indicated, and frequently entire passages in other little recking of a time when that of the Rubinstein’s Free Seat Very few people know that Beethoven ably he who never made a mistake never yina) with A. P. Arsenyeff who impersonated Nayina. wiT deemed a nonentity. Rubinstein had a reputation people’s compositions became his and not their putative enemy should contribute to one of his Rubinstein was constantly importuned was actually arrested as a tramp. It made a discovery.”—Samuel Smiles. As far as I recall, Balakireff was then composing a as a pianist, but was thought to have neither talent nor authors’ at all. He was obeyed absolutely for the spell most humiliating defeats. The advance for free seats for his recitals, by people occurred in this way. The master went piano concerto, excerpts from which he woud play taste as a composer. Syeroff had not put his hand t of bis personality was tremendous. Young, with of his Grand Army into Russia was un¬ who were willing to resort to all kinds of for us. Often he explained to me instrumentation and his “Judith” at that time, and so was passed over in doubtedly the turning-point in Napoleon’s out for a short walk and became so en¬ marvelously alert fiery eyes, with a handsome beard - A Blind Composer Before forms of composition. From him I heard °l,lnIO“ career. It marked the beginning of his means except currency to secure them. raptured with some new themes that he silence.” unhesitating, authoritative and straightforward in speech, that were entirely new to me. The tastes of the circle downfall. In his note-book we find this One young lady was unforgivably persis¬ was developing mentally that he lost all Braille’s Invention ready at any moment for beautiful piano improvisation, leaned towards Glinka, Schumann and Beethoven’s last Why the Untaught Balakireff Was Such an I significant entry: “The weird and barbar¬ tent. idea of time, place or personality. He An interesting chapter in the life of remembering every music bar familiar to him mstanty quartet. Eight symphonies of Beethoven found co - Astonishing Teacher ic tunes of those beastly Cossack regi¬ “But, master,” she said, “you surely can walked along a canal and finally found Fridzeri has not found its way into the learning by heart the compositions played for him, he paratively little favor with the circle. Except for “Balakireff who had never had any systematic course ments simply infuriated the half-starved get me at least one seat.” himself in the outskirts of Vienna, in a musical encyclopedias. Blind though he was bound to exercise a spell as none else could. the “A Midsummer Night’s Dream overture, the Hebri in harmony and counterpoint, and had not even super¬ Muscovites to the maddest rage. And “There is only one empty seat in the Though valuing the slightest proof of talent in another, place known as Wiener-Neustadt. He lost was, in the years 1772 and 1776 he wrote den” overture and the finale of the Octet, they had i ficially applied himself to it, evidently thought such they wiped out the very cream of the house,” responded Rubinstein, “and I will two small operas. he still could not help feeling his own superiority; nor his bearings entirely and had no idea respect for Mendelssohn, and Musorgski often called studies quite unnecessary. Thanks to h.s original tal¬ army.” The Man of Destiny, in summing could that other, too, help but feel it. His influence over give you a pass for that.” where he was. When he awoke from his In the “Correspondence Litteraire” of him “Mendel”; Mozart and Haydn were considered ent and pianistic gifts, thanks also to the musical up the causes of his overthrow, frankly those around him was boundless; and resembled some The young lady was delighted, but upon musical trance he was covered with dust Baron Grimm and Diderot we get some out of date and naive; J. S. Bach was held to be petri¬ environment which he had found at Ulybysheffs* (who added the effects of the singular Russian magnetic or mesmeric force.” reaching home found that Rubinstein had from head to foot, hatless, his hair light on his method of work. fied, yes, even a mere musico-mathematical, feelingless had a private orchestra which played Beethoven s sym¬ music to the rigors of a frightful Russian written, “Good for the seat at the key¬ disheveled, his face streaked with dirt and On a desk silk threads were stretched and deadly nature, composing like a very machine. Han¬ phonies" under Balakireff’s leadership)-he somehow winter. What Rimsky-Korsakoff Missed board.” perspiration and his house-coat old and to form the musical staffs. Little wooden del was considered a strong nature, but he was men¬ A book, written in 1622, intimates that figures were cut to represent the notes and “Of all his pupil-friends I was the youngest, being only military musicians were esteemed as al¬ soiled. Small wonder that when he sought tioned very rarely. . — seventeen years old. What did I need? A piano tech¬ other characters to be used. Each kind was “Chopin was likened by Balakireff to a nervous society most sacred some three hundred years “The minor mode is so universal in folk to find his way and shouted, “I am Bee¬ nic the technic of harmony and counterpoint and kept in a little drawer to itself; and he ac¬ lady. The beginning of his Funeral March ( B flat minor ) ago. The drummer, especially, was to songs because life among the common thoven,” no one believed him. Only when an ’idea of musical form. Balakireff should have made customed himself to recognizing them by roused them to rapture, but the rest was deemed utterly be considered as a man of peace, rather people, almost the whole world over, was the police took him in hand and led him of RussTn Music" (Scribner's), Page 57. his touch. Thus he wrote music much as worthless. Some of his mazurkas found favor, but the me sit down at the piano and learn to play well. That than of the sword. It was considered full of sorrow and oppression, and this back to his quarters would the people of another would set type; and, to prove his n V V . __i, ™ ATrvznrt was so easy for him—as I worshipped him and obeyed his found its vent in the wailing minor.” most dishonorable for anyone to harm the streets really believe that this tramp writing, he had but to pass his fingers over iviadimlr Vasillyevicb Stasoff a famous’writer on art him. —Louis C. Elson. was the great Beethoven. the wooden figures. and music (1824-1906).—Carl Van Vecbtrn. JULY 1924 Fa9e *61 THE ETUDE the etude Page 460 JULY 1924 sorship to a musician so ill-informed, and the musician ments, having now fully grasped the first movement which accepted without blinking. The Teachers’ Round Table advice in everything. But he did not do it; declaring had merely astonished me on first hearmg. I became a from the outset that I was no pianist, he gave up the A Text Book that Was Never Written whole thing as altogether unnecessary. He should have frequent visitor at Borodin’s; often staying ov Conduced by PROF. CLARENCE G. HAMILTON, M.A. -My appointment to the post of Inspector of Music given me a few lessons in harmony and counterpoint, well. We discussed music a great deal; he play , Bands stirred up a desire of long standing m me, ,0 should have made me write a few fugues and explained projected works and showed me the sketches o * e . This deportment is issued to help the"ZsM Questions Answered the grammar of musical forms to me. He could not phony. He was better informed than I on the practical familiarize myself thoroughly with the construction and patents pertolnlnp to Music*Pddress mas, pecompaey on ‘udulrles do it, as he had not studied it systematically himself, and side of orchestration, as he played the cello, technique of orchestral instruments. I obtained some of considered it unnecessary, hence also he did not tell me to flute. Borodin was an exceedingly cordial and cultured these a trombone, a clarinet, a flute, etc., and, with the r, , i rinniiel Bach’s Two and Three Part Jnvcn- study under some one else. man, pleasant and oddly witty to talk with. On v sit¬ aid of tables existing for that purpose, set out to find out bought in cheap editions at slight expense, and will ulti¬ and eledally thffugues in Bach’s IVell-temPered Encouraging Originality “Having made me write a symphony after our first ing him I often found him working in the laboratory their fingering. At our summer home in Pargolovo I mately constitute for you a l'brary of the very bes P meeting, he cut me off from preparatory work and the which adjoined his apartment. When he sat over 1 played these instruments, so to speak for all the neigh¬ music. As foundation for this library, I suggest the C‘ZHo.twined legato music is characteristicToi ta acquisition of a technic. And I, who did not know the retorts filled with some colorless gas and distilled it Dy bors to hear. I had no aptitude for brass instruments; following: organ style. Here Mendelssohns Songs Without means of a tube from one vessel into another—1 used Bach: Two-part Inventions. names of all intervals and chords, to whom harmony the high notes I produced only with difficulty; to acquire confidence and trust?—M. B. Words are invaluable, especially those of the senou meant but the far-famed prohibition of parallel octaves to tell him that he was ‘transfusing emptiness into Bach: Well-tempered Clavichord, Volume 1. a technic on the wood-winds I lacked patience; yet lvric type, such as numbers 6, 18, 27, 44 and 48. Num¬ and fifths, who had no idea as to what double counter¬ vacancy.’ Having finished his work, he would go with ONE of the great perils of the teacher is that of be- Beethoven: Sonatas, Volume 1. bers 1 5 and 6, of Mendelssohn’s Seven Charactens- point was, nor the meaning of cadence, thesis and anti¬ me to his apartment, where we began musical opera¬ Chopin: Waltzes, Preludes and Nocturnes. thesis, and period, I set out to compose a symphony. tions or conversations, in the midst of which he used Haydn: Sonatas, Volume 1. tic Pieces, Op. 7, may well be added to our list al“With the peculiar haste of youth and a certain rash¬ You are wise to introduce instruction in harmony. Schumann’s ‘Manfred’ overture and Third Symphony, to jump up, run back to the laboratory to see whether ness in the matter of self-instruction, I immediately con¬ Mozart; Sonatas, Volume 1. something had not burned out or boiled over; mean¬ Mendelssohn: Songs without Words With this work, too, should go an intelligent under¬ Glinka’s ‘Prince Kholmski’ and ‘Jota Aragonesa’ and ceived the idea of setting out to write the fullest possi¬ while he filled the corridor with incredible sequences philosopher, Socrates, whoeffucatedh.scountrymen by Schubert: Impromptus and Moments Musicals. standing of the formal structure of every composition Balakireff’s ‘King Lear’—these were the models I fol¬ ble text-book of instrumentation; and, with this end in from successions of ninths or sevenths. Then he would askine them which made them think. That s what we Schumann: Scenes from Childhood, Op. IS, and Fan- lowed in writing the symphony; copied (thanks to my pow¬ view, I made various outlines, memoranda and draw¬ that the pupil studies. come back, and we proceeded with the music or the in¬ ought to do-make our pupils think out their problems ers of observation and imitation.) As for orchestration the ings which had reference to a detailed explanation of tasie Pieces, Op. 12. perusal of Berlioz’s Traite d'Instrumentation and of some terrupted conversation.” Major Scales and Their Fingerings the technic of the instruments. I was eager to tell the Strengthening the Fifth Finger Glinka scores, gave me a little fragmentary information. f0Toththiselpurpose, every teacher should cultivate the world no less than all on this score. The writing of such Some time ago, I asked the members of the Round I had no idea of trumpets and French horns and would How Rimsky-Korsakoff Played the Piano art^of questioning, ’it is not such an easy art either: or a manual or rather the outlines of such sketches for it, Table to send me devices or suggestions which they had get confused between writing for natural-scale and “In general, I applied myself that year quite zealously to out a question so adroitly that it will direct a pupil s took a great deal of my time throughout the following evolved from their own teaching experiences. I am glad chromatic-scale instruments. But Balakireff himself had to piano playing, alone in my room. I think I lived then mind into just the desired channel requires much care heavy bravura work?—D: K. season of 1873-4. After having read a little in Tyndall to acknowledge a number of these, but wish I might have not known these instruments and became acquainted with on Tenth Line in a furnished room, at a rental of some and practice. The pupil makes a slight mistake-forge s and Helmholtz, I wrote an introduction for my book; in The solution here is to cultivate a firm positikm of many more. Just think! If you have chanced upon a them only through Berlioz. The bow instruments, too, ten rubles a month. I diligently conned Czerny's to sharp a note, for instance Therets^a wrong .t ^ this I endeavored to state the acoustic law- pertaining Lhe finger, which shall not weaken when it is in action. bright idea that has assisted you to solve some knotty were an absolute muddle to me; the movements of the Tdgliche Studien, played scales in thirds and octaves, to the fundamentals of musical instruments. My work Try the following exercise: problem, you may, through the Round Table, brighten bow, the strokes, were completely unknown to me—I indi¬ studied even Chopin etudes. These studies were carried will 1» .0 =. .He was to begin with exhaustive monographs of the instru¬ Place the fingers of the right hand on the keys cated interminable legatos, impossible of execution. I on without the knowledge of Balakireff, who never sug¬ the corner” for a host of others, who, like yourself, are had a very vague' notion of the execution of double notes gested to me work at the piano—though how necessary ments by groups, with cuts and tables, with descrip¬ struggling for the light. and chords, blindly following Berlioz’s table, in case of that was! Balakireff had long given me up as a pianist; tion of all makes in use to date. I had not as yet thought In a recent letter from Mrs. E. P- Boyle, of Rockaway emergency. But Balakireff himself did not know this usually he played my compositions himself. If occasion¬ of Part II of my book, which was to treat "i combina¬ N J-one of our most thoughtful and (consequently) chapter, having the most confused notion of violin play¬ ally he sat down to play four-hands with me, he would tions of instruments. But soon I realized that I had successful members-she presents, among other .uteres - ing and positions. I felt that I was ignorant o,f many quit playing at my first embarrassment, saying he would gone too far. The wood-winds, in particular, proved to in phrasing, let him decide the limit of the phrase lta ing matters, a diagram of the major scales and their fin¬ things, but was convinced that Balakireff knew every¬ rather play it afterwards with Musorgski. In general, include untold multitudes of makes ; in reality each maker climax note, and how to lead up to this note most gerings. Here is her scheme, which seems to me emi¬ or each factory has an individual system. By adding an thing in the world, and he cleverly concealed from me he made me feel uncomfortable, and, in his presence, I nently simple and practical: and the others the insufficiency of his information. But usually played worse than I really knew how. I shall extra valve or key, the maker cither adds a new trill on £ down, SX <°ZT °P “d the etude THE ETUDE Page 464 JULY 1924 LA CASCADE DE PERL AS HENRY FRANCIS PARKS,Op.l,No.2 “”8IOr°“- Oa M^an Themes . ! tn fine of Trio • then go back to the begi lining and play to Fine. % From here go back to Trio and play to Fn,e of Tno, TATIANA FRITZ HARTMANN,Op.186 RUSSIAN DANCE A solemn opening movement, following a wild peasant dance. Grade S. Grave m.m.J = 72 . _ . . International Copyright secured Copyright 1924 by Theo.Presser Co. Page 467 JULY 1924 THE ETUDE the etude LITTLE CHINAMAN — X LA CHINOISE WALTER WALLACE SMITH Page 466 JULY 1924 ALWAYS MERRY AIR DE BALLET FRANCES C. ROBINSON, Op. 45 Moderato (nottoo slow) M.M.W-ios A graceful dance movement; to be taken at a moderate pace. Grade i. Allegretto m.m. J = iis iZ.-^2 -, ^-"I-%. # From here go back to Trio and play to Fine of Trio; then go back to the beginning and play to Fine. Copyright 1924by Theo. Presser Co. ' ALSO PUBLISHED FOR FOUR HANDS British Copyright secured JULY 1924 PW *7i FRANZ von BLON — £- ♦ #- #- t — #■ 1+ — f-. / P U * * * 4 f 5 »- J i M 5 "A* D.S. $ Copyright 1924 Theo. Presser Co. International Copyright secured JUir 1924 Eage *73 THE ETUDE the etude Page 472 JULY 1924 EN RAPPORT DENIS DUPRE (SYMPATHY) htly subdued . Grade 4 The flowing melody of this song without words must be brought out strongly, with the acoompan Moderato cantabile ''"T B| *| 4| =e==i j.—=j BSB2 r^fTTT ” ClT ---1 . h* &r *i v—^— r*’0ppp-r THE SOLDIERS haNS ailbout «HS M«« ^ipFW trtcr AU„ly2* pin mosso 5| | a^j ^~- ^5, — *^r~5| r, 0 u '.a »i i—h riLLJ i _ ni r’| ■ B. 7^ Q _* 5|/i ^ -*rfr j —-— - i_rY~n i I i k 5, 5, q i 5,^ * a * _ , rTUijg "*u^i [ 1# 18 Hr ♦v , ^e- ijL 7 u *u • [T " •» 7^5■ "^7 ^ V1 U ^1 u . rit. w‘- r- ^ P7-^ ^8 4-» <‘4 ■( Mfggg?T- iil > — k. n 6 1 U ^ International Copyright secured Copyright1. 1924• i_Th.nby Theo. PresserCo.Presser Co. Copyright MCMXXIII by A. Hammond & Co. Page 477 JULY 1924 THE ETUDE Huge 476 JULY 1924 FULL MOON PETITE SERENADE the Italian style, melodious andcharacteristic. Thehe mandolin imitation must be very light and delica e. r R DRIQo Andantino moderato m.m.J = 84 '~7T 3 T'- . ur If Copyright 1924 by Theo. Presser JULY 1924 PENSEE D AMOUR IRENE MARSCHAND RITTER words. Appropriate for picture playing. Grade 4. Ab expressive reverie or song without Lento e principal theme is sung by two voices in duet style. Grade 3. GLENN. W. ASHLEY Tempo diValse M.M. «)•“ Copyright MCMXII by Brehm B _ . hi(rher on organs with extended compass. a) This passage maybe P‘*y«d "““'"'a -lay ,o *»; tben play Trie. # From here go baek to the begtn»'»g »* P ■’ Page 483 JULY 1924 theetvbz fttmM THE SONG OF THE CHILD MANA-ZUCCA, Op. 70 8 482 JULY 1924 ATJ BERCEAU JEAN ROGISTER HELENLEN JEROME Bv using the lower notes (in smallertype) an effective adlib. ’Cello part may be had. Andantino ,fo/ge__ r . ,i |. i—r~=~=r~~T::~r:=~=~^^rg=~:=:*u~~=?^v * " * * ' Moderate 7, Iwabe inthedarkTMotb-er, what if you T m ^ -4-p—=4 to co n Fed. _ ^b^ the stones of hush-ing my child - isb fear; Copyright 1924 by Theo.Presser Co. British Copyright secured JULY 1924 Page 485 THE ETUDE THH ETUDE F*g,4S4 JMY1924 IN THE LONG, LONG, LONG GEOFFREY O’HARA Gordon Johnstone British Copyright secured Copyright 1923 by Theo. Pres»er Co. British Copyright secuifed Copyright 1934 by Theo. Presser Co. JULY 19n Page J+87 THE etude THE ETUDE musical soil. America in the last three or For Your Vacation, Have Old Studies in New Guise four decades has1 only begun to till her JULY 1924 musical soil; and it is too soon to expect Page 486 A HYMN OF THANKS By V. G. Tupper great things. But so sure as the process Your Hair Permanently Curled continues, aided in no small degree by such DANIEL PROTHEROE ! repetition wearies”the teaser and at organizations as those mentioned, just so CHRISTOPHER WORDSWORTH , vLs little effect on the pupd. The new sure will emerge species Gigantans, the Mothers Wives SchooFGWsAamous nf saying the old thing arrests atten- giant who overtops his contemporaries and way °i:cry teacher struggles for a limber who will cause America to take her place Tni finger^ and tells the child to pass his with other and older musical nations. fi.rst K nuickly under the second finger in Praise*th^Nestle “S?’ Home Outfit thumb qm. ly A new illustration may get S deSed rapidity in thumb movement Play Softly A single treame”tin^arto^ast^rmany months curl and wave you need to too i 1 go much naggmg. W The rounded hand is the cage the thumb By May Hamilton Helm A a, Soon as the second finger is Marjorie Daw, ‘tvedlhetird must fly into the cage-not One of the finest pianists on the Pacific , played tlie SQ the thurab, clumsy coast when asked the secret of his marvel¬ dainty screen genius of Selznick Pictures, Ws h is' must hustle some and hop under ous tone quality, generously “gave away a valuable lesson in answering that it lay, thanks the N e s tie Lanoil Home Outnt principally, in absolute freedom from ten¬ for her pretty waves don. Thai did not mean a and ringlets. "Simply tion for his touch is marked by great wonderful” she writes virility, hut his point was that only the to Mr. Nestle from IfEHui'iTLSTTa.- musefe in actual use should be ‘ tensed Los Angeles. “No All others should be in a state of watchful more hot irons or nightly crimpers for e a day.is He must, ;■ *Sd"though, p travel. *»* up keyboard, which means sufficient ^ArTold Italian proverb might be placed where all pupils could read h-transkted exercise in that particular finger climbing. At first the little hand is tired when the third octave is reached; but soon the mu S will strengthen. Every day slowly tofwfchhA interpreted it "Who ascend the keyboard, octave by octave, with the three weak fingers, hands sepa¬ rately, and soon those fingers will be it h.. proved » veryhelpMtoto™™ strong and reliable. piano pupils, some of its results y Soil From Which Spring Great Composers ity Second, it is less tiring to the ears and nerves of both player and hearers Third, By W. Francis Gates 4 iftTCtS "Is L™ One feature indeed of the Music Outfit lasted lifetime and with additional sup- Sies will wave family and friends as well. Optimists (a society recently established) £ S^ende «„. «»! ™ceed is that only American compositions are when forcible ones will fail. Our Famous 30 Days’ be played on their programs. At hrst F you are troubled with thought some are inclined to criticize this Get the Full Flavor of Your I Free Trial Offer straight hair, you cannot do stand as narrow and as productive of Harmonies Imagine the comfort you will de¬ mediocre programs. But it must be remem, better than to turn from the make-shift curling lotions, rive from naturally curly hair day bered that the purpose of the By George Coulter and night, at home, at seashore: at is to create interest in American works, nightly crimpers or hot irons you mountain resort. Imagine the sel not to act as propaganda for Europe. . Do you know ^ season;ng y0ur have been using, to the As to the charge of a reduction in total confidence it will give you for every harmonies. It i j j ,,ou do not Nestle “Lanoil Home Outfit for values of programs, this may be tru . food. When you bolt a meM you Permanent Waving. summer activity. in this connection, there is another point t get the proper zest of Get your Home Outfit ttow. Send for A consider: great composers do not sp7 * Shampoos, Moisture, Etc. from bare soil. They come from a mass r bank°(kaft^as ^a deposit, £ Increase Curliness PfJSuTtaaesrthTgiant trees of California Jo ft* jss. For this dainty Outfit done can not spring from the midst of othw'V treeless plains, but are grounded by trees give you perfect freedom from hair troubles, in addition to the most be overjoyed at the results. Should you of lesser height, so it is with the great decide to the contrary for any reason, re¬ composer. He is the product of many. charming curls and waves you can turn the Outfit within 30 days and we Therein lies a strong reason for tne imagine—curls and waves that will guarantee (backed by this magazine) to Music Optimists and for other organic stay with you always, whether jou refund*the $15 immediately, without ques¬ tions whose purpose it is to foster Ameri¬ goY bathing, motoring, walking o tion, deduction, or delay. can music. If it were their design to dancing, through the hottest and Send for our free illustrated booklet produce at once a great composer or sev¬ dampest summer weather. NESTLE LANOIL CO., LTD., Dept. E eral of them, that would be absurdity. But Established 1905 the object is to create a musical atmosphere Simple, Interesting and Quick 12 and 14 East 49th Street, New York City of American founding, to foster American Just off Fifth Avenue The Home Outfit is easy and safe composition by performing an ® Srs-cSr. Fill la, tear oft and mad coupon today _ American compositions, and by so oing. these impressions to “_ ndoS) dim- to operate. Children of tweive have encourage American composers to multiply NESTLE^LANOIL CO., LTD., Dept. E been known to wave their mothers 12 & 14 East 49th St., New York, N.Y. and do their best. , . hair successfully. Well over 200,TOO And with this is the knowledge hat Please send me the Nestle ^^d *a“!f ato some day other Schuberts will stag, other of these Outfits are m frequent use j Wagners will orchestrate, other Liszts w all over the world. The mam essen- i wUhinTo days, and7receive back every cent o£ its play, and these others will be American. tials of a wave are to moisten a strand , cost of ?lN enclose ?1S in check, money order, or They will be giants who have sprung of your straight hair with Lanoil the mass of men who have had their works D IbprefetrwYepoasiftPh°=S?i5 with my post- then wind it on the patented Nestle man when the Outfit arrives. performed and applauded by Americana. »»* 'Sdr than ■ Curler, and slip the little heaterover OR, check HERE...... it only free booklet of From the many spring the few. From <» tr“" y°f tex,-books—than *1, Went further narticulars is desired. (From foreign countries, send $16 check^money the Revolution emerged a Was mgt ’ it Then, seven minutes gentle heat, order or cashui'ravmond Harper, from the whole Civil War came a Lincoln, and this strand is naturally wavy. I 416 ‘fc Street W., Toronto, Canada, J20 from all Russia came Tschaikowsky. Shampoo or wet it as much as you from the many German composers e artistic sense. like, the curl in it will stay, and act Wagner. And so from the many composers exactly as naturally curly hair would that it is hoped and prognosticated „Tn be a musician nowadays one needs ica in time will produce, ther.e will come J° ,n assured and independent means stay and act. It is unbelievable per¬ later and greater American composers rVL or genuine diplomatic talent, haps, but absolutely true. advertisers. of living, or g __Georges Bizet. Please mention THE ETUDB when addressing our will overtop the mass of their pre ec Great music comes only from well-tilled JULY 1924 Page 489 the etude THE ETUDE The Climax of a Song The Voice as a True “Aren't you going to invite Page 488 JULY 1924 By Alexander Henneman Instrument that Mr. Johnson who plays THERE is hardly anything more excru- pT be taken. This is a sign that either more so well to our anniversary ciating to the musical ear than to hear No matter how good the rest of the song By E. F. Larson party? A good piano player singing out of tune. It is even worse than v,avp been, if the climax does not drills are necessary, or that the pupil has made a special effort and thus frustrated certainly ‘makes’ a party. the performance of a string quartet playing “climax” the whole effort falls flat. A The Singer’s Etude To practically every vocal student comes the natural action of the vocal organ. The an ultra-modern composition written m d ringing climax satisfies fully many “Yes, thats just why I’m the difficult task of proper relaxation. pupil’s attitude for B flat must be the same quarter tones. And yet to sing perfectly in thoughtless listeners, and their enthusiasm afraid to invite him. Im¬ Even when he comprehends in his mind the as it is for G. If he changes this,'then he tune involves a quality of voice which has a Edited for August k) Well-known Voice Socialists and applause often create the impression agine.how awful it would he type of magnetic quality he wishes to interferes with spontaneous action, inter¬ distinctly hard effect on the ear. This f success no matter how poor the rest when he started to play on create, he is at a loss in producing it. poses his will and decides what causes sounds paradoxical, yet it is perfectly tru . hf the work may have been. This being In order to have the proper quality, the shall bring the effect desired; and this is that 'piano of ours.” It all depends on what we call in tune ; It i, the Ambition of THE ETUDE to Mote This Voice Deportment the case a consideration of how a climax tone must leavfe the vocal apparatus with whether we understand by this term mere y Should be studied and prepared is desirable. fatal. “A Vocalist’s Magazine Complete in Itself the same feeling of physical relaxation as • Even though the high tones come well what does not sound out of tune to a sharp 1„ practicing a song the highest tone one has when he is breathing naturally with at this lesson, this does not assure con¬ and trained ear, or whether we require each forming the climax-tone should always be his mouth closed. Until this is accom¬ note to have the precise number of vibra¬ before the study of the song is tinued success. The pupil must be warned plished it is perhaps impossible to give that he may be in poor physical Condition tions which science has determined that it [___ heeun This holds good not only for the forth in purity of tone just what the mind at a later practice or lesson, and care is must have. These two definitions differ, in beginner, but for the advanced singer as She hadn't the courage to invite him On Singing in Tune wishes to portray. ; , then essential. All students, before very fact, very widely from each other. well No attempt should be made to sing A splendid ideal for the vocal student to long, develop a premonitory feeling that a The writer witnessed a few weeks ago the climax-tone, but the teacher should in¬ work for is to aim to produce tone easily climax will or will .not respond properly. Write us for the name of the Weaver some exceedingly interesting experiments on By Dr. G. A. Pfister scribe a lower note instead. Let us say Oh, the disappointment and embar¬ and without more conscious effort than in If a feeling of uncertainty arises a few dealer in your locality, and ask for the this point made at the Phonetic Institute in the harmony is E flat major and high B rassment a poor piano can cause. But winking or rolling the eyes. - measures before the appearance of the Paris by its director, M. l’Abbe Rousselot, recording needle, with the result that on re flat the climax-note. The teacher should Weaver catalog. Convenient terms are (the total of which was less than V of a To this end, the manner of exhaling the tone, the lower tone must be substituted. in the homes where there are Weaver who is recognized as the .greatest authority producing the record, one of the harmonics substitute the tone G and instruct the pupil easily arranged, and a liberal allowance tone) above and below the required note. breath is of greatest importance. As an After we have decided to sing the extreme Pianos assurance, satisfaction and en¬ on the science.of Phonetics. The apparatus was heard instead of the fundamental note never to attempt the B flat in practice un¬ made on your former piano. Weaver If the total variation was Vi, of a tone or illustration of the physical preparation, high tone, I instruct my students, should joyment abound. For the tone of the used consisted, .firstly, of an instrument which had been sung and heard by the til the song is mastered. Then at a lesson more there could be heard a slight vi¬ proceed like this: With mouth and throaV fear arise, to substitute the lower for the Weaver Piano is unsurpassed. Its mech¬ Piano Company, Inc., Factory and Gen¬ registering the sound vibrations on a graph; human ear. She had sung. when all goes smoothly and a tine G has brato,” increasing to a tremolo as the varia¬ open wide and entirely relaxed, lower jaw anism is so perfect that it removes all eral Offices: York, Pa. Weaver, York secondly, of a urfique set of tuning forks. been achieved, it is well to quietly tell the higher tone. tion became greater. The “truest voices Bx.l hanging, increase the space in the back of The psychology involved in the produc¬ thought of mechanics. And these won¬ The fact that'- the value of the latter ex¬ pupil, “Now begin eight measures ahead and Livingston Pianos and Player which were also the hardest and coldest, the throat by raising upwards and back¬ tion of a climax-tone is extremely complex ceeds one million francs, and that it is the of the climax and sing the high B flat. derful qualities of the Weaver give a life¬ scarcely varied at all. and intricate, and the teacher should real¬ Pianos. only such set existent in the world will wards the palate as much as possible with¬ This must be done in a matter-of-fact tone time of splendid service. We may compare this to the vibrations ize this and apply psychological principles give an idea of its importance. Hundreds out strain. Then inhale a full breath, ex¬ of voice. Anything else is poor psychol¬ of a string on any string instrument. It all the notes except the highest being sung to the extremely difficult and highly im¬ of tuning forks ranging from the deepest tending chest and abdomen fully forward ogy. To first prepare the pupil for the tone note which the ear can'feel “as a note to the finger pressing the string against the hr the middle register. The gramophone portant feat of producing a fine climax to and to the sides. by a special drill is inadvisable. He hag the highest are each provided with ingeni¬ finger-board is kept perfectly steady the vi¬ a song. Too much attention or care cannot Now all is ready to make tone; but in already done this in his transpositions. ous clamps, by the adjustment of which the brations will be constantly alike m number be lavished on this matter. Not only is it doing it the all-important thing is to keep In the drills the phrase should have been number of vibrations can be regulated one and the note “true.” But such a note will the chest extended; trying to extend it more the crux of the success of the rendition, be far less appealing to us than one sounded carried by transpositions, not only to B by one. The largest fork, about 2 ft. high, is just the thing to do while giving forth but a well-sung climax gives confidence to WEAVER flat, but to C. And now the assurance with prongs about 1}4 sq. in. sectional area, while the finger of the left hand moves the singer. And, if he has been roused the tone. Automatically this compels the of the singer must not be disturbed, but, produces for instance (at a temperature of slightly backwards and forwards, with the emotionally, his placement is instinctive A Matter of Harmonics abdomen to expel the breath which is cor¬ as if it were an extremely easy thing to 20° Centigrade), 28 vibrations per second, correct position as the centre of these and spontaneous, and a new good tone has PIANOS rect, since no tension on the chest muscles do, he is asked to take the proper tone. and can be adjusted to 29, 30, 31, and 32. movements. The discovery that the notes It may be possible-and I am strongly been added to his range. can’then influence or restrict the quality of It will be found that if drills on the The next fork is built to make 33-43, and of a voice or a string instrument in order inclined to bclieve-that this variation of Care and courage are the watchwords. original notation have been made from G so on and on until we come to a tiny fork, to appeal to us must have slight oscillations tones from the “true” note and the volume The first, to make sure that conditions are t0If the student will be very careful to do upward to higher than B flat, then, though scarcely half an inch long. I may mention provides also a scientific explanation of the of harmonics have much to do with, or are favorable; the second, to do the thing with this painstakingly he should be able shortly the phrase has been sung on G, placement in passing that nine months’ work was re¬ fact that many “rich” voices and string even the reason of, the “blasting” of notes extreme confidence and assurance, con¬ to hear himself producing quite perfectly has been achieved in the drills and the quired before a satisfactory fork of the players possessing a full tone in time de- in gramophone or phonograph records. vinced that—the preliminary drills having the quality which has lieen awakened in his change from G to B flat is easy and smallest size was obtained. All are set in velop a “vibrato” or a “tremolo. Careful observation will show that “blasts prepared the way, the conditions being mind. Then in proportion as he finds the placement is instinctive and assured. motion by using bows (from double bass However, these alternating variations occur most frequently when the note sung right, all fear being eliminated a fine cli¬ truest beauty of life, should quality of voice Should, however, on the first attempt the to violin). from the “true” are not the only factor by the voice is doubled by some accompany¬ max must and will result. high B flat be poor, then G must again Fay Fosters A Test of Tune which makes the quality of a voice. A ing instrument; but it would happen only secondary reason is found in the volume ot when both notes are perfectly in tune—i. e., Now supposing someone sings middle C the harmonics; it would, however, be wrong have exactly the same number'of vibrations. Plunket Greene on Singing Latest Song exactly in tune, and the vibrating middle C to say that this constituted the principal As stated, this would not happen very fre¬ fork is gradually approached to his mouth, In Musical Canada the great Irish basso, Sustained Work or Florid Exercises reason, for it was proved that of two notes quently, and also less frequent the who delighted opera and oratorio audiences “Don’t Want to Know” then the sound emitted by the fork will (produced by the same singer) which had more beautiful (though not “true”) of two decades ago, has the following apt By Frederick W. Wodell make a strong crescendo as it comes nearer, similar variations from the “true’ note but the Voice is. Again, the greater and Words by FRED C. BOWLES and often be doubled in volume when it is observations worthy the singer's attention. different volumes of harmonics, the one more uneven the volume of the harmonics 1. Say your words nicely and distinctly, acquired by working not for power but HIGH VOICE Range C to G-Cat No mS3 about an inch away from the singer’s lips, Certain prominent vocal instructors having stronger harmonics was not the —and we have seen that this is more and keep on your toes with the melody for loveliness of quality. The practicing LOW VOICE—Range d to D-Cat. No. 19484 If the vibrations of the note sung differ Have advocated, for the first study, the more beautiful of the two. and more the case the higher, and echoing in your heart and the rhythm find¬ of the “swell,” first from MF to P., next Price, 60 cents from those of the fork, then no crescendo use of sustained tones. On the other hand, also the more forced, the notes are—the ing a response in every nerve of your body. from P. to MF., later from PP. through will result. Beauty of Tone more likely they are to blast on a gramo¬ an English teacher, one of note in his Notes sung by a number of noted artists 2. Don’t sing with your voice—singing is to F and back, on single tones at easy phone record, because it is probable that the day, issued a book of studies in which he The beauty of a tone does not principally purely a matter of emotion. pitches, is a most useful exercise ^ devel¬ (from the Grand Opera, Paris, and the ordinary sound-box is not perfect enough made the point that it was unreasonable concert platform), teachers of singing, and depend on the volume and the number of 3. Avoid too much vocalism. oping true , “power" of tone, provided it to transmit and record the extremely rapid to expect the beginner to do more than students at the Conservatoire were tested. different overtones which our ear can regis¬ 4. Remember the importance of the great is done with the greatest care to avoid vibrations of the highest overtones, and make a short, light tone, correctly, at the' All had been selected on account of their ter (though not necessarily distinguish even a suspicion of rigidity at the tongue also because from this there may result abdominal muscle. beginning. And one thing is evident; reputation of singing in “perfect tune” apart from the fundamental tone), but on 5. Don’t get fussed over your song. The iaw and neck. Cultivation of the use ot what is scientifically called “interference If a tone is not correctly produced, the The result was rather surprising. While their evenness or proportion. If, for m- less breath you take, the easier it is to sing, the resonance of the mouth cavity and of sound waves,” with a consequent rattle longer held, the worse for the singer. the average number of notes sung “in stance, all the harmonics are in correct and don’t forget to sing upon your word. facial cavities is of the greatest value in or blast. A somewhat similar effect is pro¬ > Here again is an opportunity for the tune” was 1 out of 22, there were some ex¬ proportion, all is well. Full voices (as 6. Here is a fine voice going to nothing developing power of tone. Ctae art* open organ-pipes of wide scale) have a duced by some organs. If certain notes in exercise of the skilled teacher’s judgment. create “resonance” in a voice. The potent cellent singers who did not get the correct through opening the mouth too wide. It « preponderance of lower overtones; but they certain registers are sounded together, But one thing is certain. It is not wise to ality is there, according to nature. But pitch once in 30 trials—the number pro¬ a lovely voice being ruined. It is like a lack in brightness. Bright voices sound the leaded lights of the church will rattle very put off the study and practice of sustained ‘ Y can fail to use the natural gifts of vided for in the test; and precisely those bird beating its wings against the bars to strongly. (This does not happen with all tpnes too long. Also, over-practicing o resonance or can cultivate skill in doing were the voices that appeared to us most higher harmonics more than the lower (as organs, and where is does happen the notes get out into the sunshine. Don’t do any¬ florid music, without the steadying influ¬ so to the fullest extent. “Resonance, fully beautiful and perfect. do open organ-pipes of narrow scale) ; soft, and registers will vary according to the thing different in song from what you do ence of work on sustained tones, tends in as much as skilled breath pressure, gives The second group of “subjects” were so- but dull, or monotonous voices produce only instrument.) The reason for this is “inter¬ in your speech. Remember the rule f°r some cases to cause the voice to become the color and great carrying power charac¬ called natural voices, mostly people who the odd series of harmonics—as a stopped ference of sound-waves,” and the rattle of your consonants “on your lips and the tip tremulous and more or less unreliable. teristic of the best “operatic voices. could not read a note, none of them trained, organ-pipe or the clarinet. But if the har¬ the leaded lights corresponds to the rattling of your tongue and the back of your teeth. These considerations must be kept in and none of them having a beautiful or monics are out of proportion-*, e., instead of favoring the lower or the higher or the of the diaphragm of the recording sound¬ Florid Singing mind for the fullest success in developing even a good voice. All that could be said odd ones, give more of overtones which box, which produces a “blast” when the Some voices are naturally adapted to the power to sustain long tones, and also for them was that they sang in tune. The “A small voice may be only a child with¬ are in irregular intervals—then the quality note is reproduced on the talking machine. florid singing and master the art with in practicing “shading,” or using different out food and exercise; nothing to grow results were as surprising as those of the will become shrill and unpleasant to the I am not prepared to say that the state¬ comparative ease. These should be given degrees of power of tone for expressive careful work on sustained tones at.an early professional group; average notes “in ment just made is a proved fact; experi¬ upon. An unlovely quality may be only purposes. As a rule full voice is not in¬ Stage, with great care that there is no at¬ tune,” one out of eight; highest number, It was illuminating to watch the differ¬ ments could not be made, as there was no an acquired and artificial condition, a false dulged when singing florid music, except tempt at pushing for power of tone, and one’in five; lowest one in eighteen—i. e., ence of harmonics in the chest, middle and apparatus available at the Institute which shell which careful cultivation of the ear With insistence on absolute freedom from ior special effects. Certain great singers, better than the professional average. Those top registers. Uneven voices are wholly would have either confirmed or refuted and of the musical sense will remove— rigidity at the tongue. Other voices are with exceptional vocal ‘T who sang most in tune had the hardest, due to difference in the proportion in what I have stated.—Front the London the chrysalis holding the butterfly.”—Dow. not so well adapted naturally to singing done florid singing on full voice, most unsympathetic voices. volume of the various overtones, and as the Musical News and Herald. rapid scales, runs and ornaments; and the average voice adapted to florid work The graphs made of notes sung by all voice sings higher some of these increase “Receptivity, expressiveness, high-strung Oftentimes the careful practice of this type is not naturally a “big” one, and m such these people revealed the fact that the in volume. One particularly fine voice, I consider the most important quali¬ fications for success in the study of sensitiveness, all go to make up what is of exercise is of great value to them in cases loveliness of quality and facility m voices which appealed most to the hearers a deep contralto, showed an extraordinary Please mention THE ETUDE when addressing our advertisers. voice to be; Voice, personality, enthu¬ called the artistic temperament, a neces¬ “loosening up” the voice. In most cases execution are the important points. were those which constantly moved around difference in this. It was decided to make siasm and intelligence. sary concomitant of the vocal artists “power” of tone is most surely and safely the tone required—i, e., alternately lower a gramophone record of it, using a particu¬ —Sergei Klibansky. equipment.”—Marcella Craft. and .higher—but with a constant variation larly sensitive sound-box attached to the JULY 192U Page lf91 THE ETUDE the etude The Kindergarten Band Page J>90 JULY 19U The Singing Student s books on the voice By Andrew M. Strang Teaching the Accompanist „ 4 /~it TDPINr.FR By D. A. CLIPPINGER One may ask the question “Is the in- S Equipment • v„Ve Training (Revised Edition) *1.25 f our great leaders in the arts and aid Other Problems - - - *1.25 troduction of a band into the kindergarten | By Alice Clausen The young person ve Voice Training (for Classes) - - - *1.00 M°cSC3 Were given the right kind of going to guarantee the acquisition of a i SUMMER 1EEM trance upon preparation for for gsuc_ 50 .. in their infancy. Pestalozzi said sense of rhythm?” Positively. And it will KIMBALL HALL. CHICAGO, ILL. career will find the req the follow¬ ST Education should begin at the cradle^ accomplish much more if persistently car¬ Very often accompanists are asked by ers very succinctly co lated tn ^ The biography of any great artist Heifetz ried out. It will teach him tone color, tone ing short article which HaroW^w^.co: Kreisler for example, shows that their placing, intensity, order and succession. The melody of the selection would "-■S? StS ..Uden. who is con¬ Professional tiffing did not begin at five or six years If age but at birth. The very atmosphere gradually be imitated by the child and this templating taki^ up of The customer comes to him and stat into which these men were born was the would tend towards tone placing, one of the what he wants, and if the salesman Directory breath of the great music masters Heifetz s greatest difficulties of early childhood. AH those who instruct the very young realize father, a premier violinist himself, moulded what a hard thing it is to find a class that ♦he brain, temperament and character mmm S the iture virtuoso from the start A is even forty per cent acceptable in re¬ ALBERT • 1-7 at first as a mere toy, was intro¬ gards to Singing in tune. European schools have long had success¬ he plays “To a Wild Rose.” He asks for gols SSW f-gy-*-' inlty of ten teachers. J duced when young Heifetz was about three a very definite thing and it is up to the . Ruburb of P! ful systems of rhythm and tone placing. BEECHWOODk vears old. Like incidents were the fruitful teacher to give him his money s worth. This is the secret of so many of the beginnings of all the great masters. _ What is needed that the pupil might play German musicians having . the sense of Ts it not time that we take cognizance absolute pitch. How many of us actually his own accompaniments? “Fourth: at least four years of first-combs--■ what was done for them and formulate know the tone C or A or F# when we hear GRACED d,I?tetrue.ion.n.h«Sr =of.;h. l ais and methods for the Kinder¬ PREMIER PIANO Freckles J) A11 through knowledge of major DUNNING S.g'Sg it ? How many of us can start a song, in voice, together with training garten child along more empirical mes^ exactly the correct key without having grow worse scales. , . , Beethoven, we are told successfully led a CM Ability to read at sight. a good musical education. This some instrument to give us the beginning air (c) A good development of the left hand EDDY chorus of adult voices at five years of age. tone? And still this is all a matter of means thorough training ^ight-smgmj He first evinced his musical greatness by UkStartCu6ing Stillman’S F_i The pupil, remember, is a beginner an attainment. We can teach the child, if Double action— if the teacher maps out a program which theory, history of music a^f poss.tx his fondness for a little drum. we start early enough to know the tone A freckles dissolved away, in some instrument, such as the piano. ELDRIDGEjit This of necessity points the way. The •whitened, refined is too ambitious in character there will when he hears it the same as we teach him Aristocrat Model 5nT“ $725 but Tour skin is wniieneu, “Sixth- a knowledge of the foreign child at three years is strongly epitomiz- beautified. Guaranteed to remove freckles soon be one less account for the teacher to to know the color red when he sees it. Other Models $625 and up of your money refunded. Most widely languages in the order of their importance: ine the race. At this stage he is a little Then along with all these attainments primitive man with very primitive instincts, kfThe major scales are worked out ^ German, French, Italian. hearing FARRIZI 55S5? there is a certain element of play and good fumed, a pleasure to use. iwo sizeB, u “Seventh: the opportunity of hearing therefore we should begin with primitive and $1 at all druggists. because they will give the pupil a finger ’ [from Rudiments I wholesome fun which will cause a love for Write for “Beauty Parlor Secrets ’ and instinct which will make accurate fingering many performances of the best music, guichard." instruments. In other words most of the doing things, superseding the passive atti¬ I come naturally and easily They will Jo vocal and instrumental. . . nnTIJT LECTURER. instruments will be of the percussion type. tude that comes from listening. , I be the basis of a sound technical foundation “Eighth: the opportunity of sinpng The drum, tambourine, rattle, little bells The old composers realized the advisa¬ exact Premier space requirements. _articles in 1924, we will wherf used in various rhythmic patterns often in public-in ensemble as well as of various types and the wood-demon bility of the kindersymphonie; but, as all HAWTHORNE Then various whistles of the type that is tie perfume, tree i aeuu I and with different tone colors. It is best solo work. art has become more and more commercial¬ PREMIER GRAND PIANO CORPORATION I to start with the five-note scale used so “Ninth: money. used in the kindersymphonie could be in¬ ized, we have neglected for most part this America's Foremost Maker, Haoy NEW YORK Stillmans Freckle I often by vocal teachers as exercises, and “Tenth: energy. . . MOULTON troduced. leading up to the more compli¬ very root of musical foundation. 510-542 WEST 23rd STREET Electric Expression Player Cranda cream I 'from that gradually work into the octav “More and more music is becoming a cated instruments of the modern band In order to introduce any such innovation | Manually Play^j K^p/oX^gGren^Tweite-Migno^ Licensee) ■ nine-note scale, and two octvaes Th pupd narfof the every-day life of the norma NEW YORK ■SSSa When a child goes to the kindergarten into the kindergarten, public and private, j always finds it easier tq play the scale m man or woman. Never in the history o he is supposed to learn rhythm from all it would be necessary to consider both the I contrary motion when he first puts bot this country have there been so niany pe - sorts of rhythmic games. How many peo¬ aim in view and the method. We could not | \ ^Beauty Parlor Secret sons who demand music as a part of their ple have really learned the lesson is not expect to attempt Beethoven’s overture ! THE STILLMAN CO., , haAtSevegrythlesson read something at sight. recreational pursuits. The smallest towns hard to judge. Did you ever observe how STUDY HARMONY PIANO JAZZ J 71 Rosemary Lane, Aurora, 111. , Fidelio, hut there are certain little things Start with the very easy piano pieces and have their concert and lyceum courses, and many musicians can not play with a metro¬ within the child’s scope that could be in- and COMPOSITION more and more these courses are given Secrete” and details of perfume offer. , when the pupil reads them easily, leave TRENTON” nome, a player-piano or a record of a se¬ strumentalized and rendered faultlessly. by MAIL “^on^oTS?. them As soon as possible, use songs in the over to the presentation of good music by CHARLES Correspondence In I'uciion, lection by some great artist, and actually This is the key-note: Faultlessly. Name Musical Theory, Harmony, MeUdy WrUlno, les“n for it is not piano pieces, but songs, well-trained artists. VEON Counterpoint and Musical Form._ give the creations an impeccable rendition. Whatever we would have the band Address. that the pupil wants. Have him play the “The singer is still the favorite per¬ Let ns observe a group of dancers at any render, we must insist upon being done former. No instrumentalists before the State NORMAL EOHoSl!° Cailjonn*, Ttnstn. bass while you play the treble, then change modern affair and have a capable judge without a break. It may be only four ALFRED WOOLER. Mas. Doc public today receive as high fees as do the A171 Cleveland Ave., Buffalo, N. Y. ETUDE COVER CONTEST places. Then have him play the melody of tell us just how many people have a real measures; it may be only one. the song, while you play the accompani¬ noted singers in concert and opera. As VIRGIL 1 sense of rhythm and have him count the build up measure by measure.unti a whoffi Bv Frederick W. Wodell—Price, $2.00 See Page 501 ment. It helps the pupil to acquire an idea this is true of the greatest artists, so it is number who cannot keep in time wit e creation can be accomplished. If rhythm Theo. Presser Co., 17pt-i':slnupa of the song’s construction, if he first sepa¬ true! of those of lesser rank. rhythm of the music. The results are were Taught this way in a kindergarten Choir and Chorus Conducting i this book. Publisher., ^hlla-> ^ VIRGIL *"&Shag.* E^ery musician and student would do well in acquinng th. -dermal..- rates it into its parts. “Singers are in constant demand as teacti- rather startling. Most of us think that we there would be no question about it becom¬ There is a rich field for development in ers of music in the public schools, as teach¬ have a correct sense of rhythm, but we are ing a vital and real part of the child. the playing of hymns. It is splendid eye ers of voice and singing in colleges and enjoying a mere delusion. CONSERVATORY 70 Initmctor, exercise for the pupil to he compelled to universities, as well as in private conserva¬ __flro»n Violin, etc. DUMMY’S CORNER watch the four parts at once and the rhyth¬ tories. Salaries for such positions range AMERICAN Sonata Form as Stabilizer mic training is invaluable. from $1,000 to $5,000 a year.” The left hand must not be allowed to Kindergarten and Primary COR those who are studying in BURROWES’Stv uaa Highland Ave. By W. Francis Gates become lazy. Accompaniments in which lor the the left hand follows the melody are easily Picking Up the Minutes Also the orchestra has its symphonic found. The great fault that most singers In point of dignity and scope, chamber coem and its overture; and in chamber Autumn Teaching Season. have who play the piano after a fashion is music ranks next to that for the symphony By Abbie Llewellyn Snoddy music we find the precursor of the sonata, orchestra. But the full orchestra is at t e that they concentrate their energies on the the suite, and the descriptive piece, the lat¬ NEW TEACHING MATERIAL melody of the song. In much of the modern command of but few, while chamber music, CINCINNATI ter more rare in chamber music than in song literature the accompaniment _ is of “No, I’m not keeping up my own playing ranging as it does for small combinations Aaus^Mw^incltMl^ombracing^cleve^m^emvoi^tcaEtngn'./// ‘ ^ very high importance towards the intelli¬ at all,’ this winter,” a young teacher ex¬ of instruments, from ten down to two, is ^tsT^ery science and every art there DANCE ..;.*• modern harmonic phases. NOTE: The above two pieces are gent interpretation of the song. claimed, discontentedly. “I have so little DETROIT: practical in nearly every community. An animated dance rhythm, success with "Little Clown” and “Fountain. time to myself, and it’s no use trying must be some basic formal principles, in ANNA llEUEKMASN. authored The name “chamber music” had its ori¬ practice unless one has at least two hours “Composition for Beginner^ 4 ^**1 view of the character ox me service. Page Jfi-k- july im Possibly this ^ ^fafSside°oTUreligion S°^““^ough'mo^e marches are used Have You Faith dering to the em , that few of my ® P anything else, certainly by organists Question and Answer Department and * 1S-,?U'n X one so far; but it tlm- class. After a good rousing The Choir Master readers wdl * which I have been of including well-known martial leads to the P°® . of voluntary is as ad ^ march (so long as it is not of Conducted by Arthur de Guichard aim'nf^t as the dioice of hymns and of or jiggy kind) is appropriate; important as tn th , robust, stirring piece of music No questions will be answered when this has c • *»c Throughout the Year. i" those of< a- ..•—*!« ivte. Always .senilj your full name and adiiress. In Yourself? Services Thr°ugnw of moierate difficulty, ortosit, tunes. b® isBnot a march or only partially of a Tthc* works" mcd^y be had, for examination. Our ^'“tidalsorachosenn. ie will be printed. ableable" andanu theuie discou:- SUNDAY MORNING, September 21st ^VyXuuUons short and, Make yo particular pieces, metronomic markings, < ;., not likely to be of Interest SUNDAY MORNING. September 7th ORGAN ..Lemare - informed beforehand oi tnlS;,rf!m oower; it is difficult to find puestionsjegardmg P^eWe readers will not be cons.dered Salut d’Amour. as he is generaHy informed^ ^ be gm^mt organ ...Lacey as he is generAy he should be gm qu leading up. Nothing the dictates of his Day Dreams . n entirely according iu iuc u»L,tatv “TS«Tho«Atol8KrKiSfiMft< of the hymns to begg of the serv ce a after, for example, „.a temperament,wa^t-oraiiieiu, oisubservient only SC l X" musical education instead of mere- -• whereas th( ^ Lord Br«*s Back tiomposer’s indication! the Benediction or a -v- «« w several of "jura“»itjPlay something K&‘.*striking wt»«”* Jie «« aoloiSperformer’sUhleas S ^/pTation ^o ly knowing how to play one !Harmony, Counterpoint, b. TheWEv«gr«n Mountato^^ write them; what fcSsrsJ5r..^.^-«r ac, R. I. lef—A. 4 in the words of a 1 ad *• to impart 'greater ^igniiicaiMic Cto ^the If for instance you. unleFS^°dc^d play some other in- 18 A., T»tuet the rep y well-knownL-known xeuei, " words and literary phrases; all of which Composition, Orchestration l y Qrean etc. Have you great master, m position of Director shows that, to be efBcient, the accompanist which Verdi (Ttoire, he wrote: “Li- shouldSUOUIU be_DC thoroughlyiuuivu6“V conversant,-oAucrq_ with the strument like-Piano, Cornet, Vjqbn, andaUhe of the NWlcounterpoint may be nl- language of the particular song or songs ORGAN c .;...Harris b',‘i0ySS the org»i.t « «• ta* something of which the instrumental soloist n ORGAN . _Read Finale * P™ nkv something reasonably loud Am V o{ the most useful pieces, S9 andCare Bometlmj. sufficient faith myourselHo t ^ ^ advantage of our March ~ . everyda^acquaintance— same time financially as well. W y , Qf The Etude SUNDAY EVENING, September 7th SUNDAY EVENING, September 21st for lfthe correct way to render the free offer four lessons which we°ffer“ reader ^ ^ means ORGAN Cummings T,*e Conductor * J JJJ t Should, it be played absolutely free of charge in the dial h y 7 ;dends in in. arasrCJiSz is: f following AN0THsdur, Source of Every ^ AN.THTSD.5Th.«G.,«,X.rtOTi TBE ETUDE There is one great asset possessed by strument is an unpleasant, grating whine, the grown-up student which gives him an or a spasmodic, piercing scream. But The Grown-Up Violin immense advantage over the average ctald the knowledge that one’s violin yields a Student mellow, rich, sonorous tone attracts its -it is the “will to learn.’ Youngsters owner at every opportunity, that he may study because their parents compel them and consequently they have to be coaxed By Sid G. Hedges reproduce those delights. Old fiddles, of course, are best, else why does every vir¬ along with musical sugar-plums and choco¬ The Violinist’s Etude tuoso play on one—despite whatever he lates. The adult requires no such induce¬ It is no unique thing for a man to take may say about the excellences of new in¬ ment; he already wants to learn; so all uo the study of music at the age of twenty Edited by ROBERT BRAINS struments. Stradivarius and Amati vio¬ the little encouraging pleasantries whic and to become eventually a professional lins are not boomed by advertisements— take up so much time and lead nowhere layer It is fairly common for a keen . Tfip ETUDE to make this Department they do not need to be. in particular can be eliminated from his amateur to begin at an even much later It is *°^ZMs M*gazlne Complete in Itself Young men of normal height almost lessons and studies. He can be strict y aee and to achieve a fair standard of invariably require full-size instruments; ability and a highly developed musical business,” and will thus inevitably show the young whmen sometimes find a three- maximum degree of progress. derial new True-Tone quarter or seven-eighth size more suitable. There is just one defect which proves ^The'^nost commonly raised objection, Of course, when one has finished growing Saxophone SSs II when the chances of the adult mifeic- freckles an almost insuperable obstacle to some showing allstyleaofinsWiini^nts^dpicfcm^ Little Helps to Correct Tuning it is not of much use buying an instrument studait are being discussed, is that his that is too large with the hope that one would-be violinists-the fact that they -v£ttt3SSSS£&Stt»T muscles have become set and intractable, To th„ rime to Get Rid of These “have no ear.” Such a person should not Everything in Band and Orchestra i .j Now Is the Itme^ ^ will “grow into it”—this happens with a 3295 Buescher Block, Elkliart, maiana By Ben Venuto and consequently the necessary elasticity child, but rarely with an adult. Small waste his time with the violin; but this cannot be imparted to than. _ There’s no }°nf,r otfine-double itreu violins are not desirable, unless they are misfortune is quite rare. Some measure of truth lies « ,, . ard to the other strings, Sonie measure 01 ro jssssrz, absolutely essential; for fewer such instru¬ So, providing the grown-up student is VIOLINS hr tworea- ready be in perfect tune, but practically this J tme in ata time, the resultant tone assertiontion—uul_but really■ it doesn’t matter ments exist and the chance of procuring genuinely anxious to learn, is not afraid Examine our that stage as soon as possible for two very much, for the amateur. The a...„ soon see that even ones have vanished en TveTwhere without a slight further cor- below the lower of the two _ W the disappear, while the ugn^ an ounce is neec a really good one is very much less than of work, and is able to procure a practical, sons. First, a piano is not every tcur does not aim at acquiring professional superb - - Ac.i -Wei, i. ~ ' SU When ,ou to, tom***** in the case of ordinary, full-size fiddles. available; second, not every piano or virtuosic agility. He wants just to be efficient teacher, there is every chance that collection strings together two at a tun , ( or as your stnngstring is15 jjustuo rig0 ... ■ The adult student should practice reg¬ he will one day be able to play the violin good tune. , ti» what are called “resultant tones Bear in mind, however, that you strm^ “a fairly good player,” able to give some ularly and strenuously. Thirty minutes ins for all kind* ‘Thc onir note needed is .he “A.” to. .he. .re g* “feoveeed to well enough to give himself and others The only note needed is the . A. pteasure to himself and to his friends. And work every day is better than a full hour "honyUes,™..h»r«.ss £given-to by ferential tones, wimu 7 .in fVlp.he rmst be Very nearly m proper rune considerable enjoyment and satisfaction. ;r“"CZ' but if one is going to play with the great violinist Tartim, early yQU begin t0 listen for the that his moderate standard does not require each alternate day. anv extraordinary tech cl t nme t The grown-up student has no thought pose your cvcr‘ pbiving l’ajiantaiL ( a prices: lie H-theprob- wmwill be amplyampiy satisfied if he c - — Accompaniments, Accompanists, and Accompanying ility is that you wouia neai a.a good differ- the Kayscr Studies, and perhaj.erhaps strugg e DENTS ^Established 1846. tial tone when it was perfectly m tune inside Kreutzer; for then a vast field -- A which of course would be all wrong. >{ great misic will he he ore him, anc Toothache Gum By Dan K. Jones FSUGU5T GEMtiNDER & 50N5 vr^=_=j== simple sound jsof each S'*Vast string) a Hence you__ mustt. tune yourvonr violin as nearly •-he wiH... not-r, hebe excludedexclude! -----from at least Violin Makers and Experts Exclusively of solo and orchestral instruments to study 125-127 West 42nd St. Dept. E New York 3?^^= agreeable vibration which for want ot a possible before you begin to apply empting the majority of the n„~ — - Stops Since the days of Stradivarius interest ^ better word, we may describe as l metod for the final finish. . . “g Llodies written for the violm Inc- the piano also, and it is a splendid rule. woia-wow-wow-(A piano or organ- lh™h°er hint-if one of your strings is td'entally> he may be tarred from playing in violin playing and violin music has in¬ The violinist who can play over for him¬ .. .. dentally, ne may - , Toothache creased steadily until today the violin stands your violin odern music which seeks to make up All drug stores self the piano part to his solo is far more is sounded. ' itific reason for this, but * tuner would call these Totalsbeats. ) willgrid-A y i broken, f1ndo not attempt to tune your violin m(vWn 1Tlusjc which seeks to make up 11 in the front rank as a solo instrument, and (There is Instantly apt to sense the innermost meaning ot his get nearer the nght ^jEwlw-Wow until you have put on cents^Mad with the exception of the piano there is no for 35 years b own part. Lacking that ability, however, until sud- have tuned nther which is more frequently heard in he can do the next best thing—study the i ENGRAVERSAN0LITHOGRAPHERS I public. However, disregarding the Sonatas nd instead you hear a deep of a violin •*, gro„,,.n„ «*.»**** piano part with the pianist, at the piano PRINT ANYTHING IN MUSIC- BY ANY PROCESS I fatal yet unmistakable, extra pull of of Bach (of one of which the crucial Cha¬ rami _ .trln„s w and without his own instrument The protit WE PRINT FOR INDIVIDUALS specially quaimeu conne is a part) and a handful of modern f teachers never adjust their curriculum to will be infinite and mutual. Tl reference any publisher | »o. to, — zsizf&xs VIOLINS and CELLOS novelties used as encores, the viohn^sel- a pupil, but always a pupil to it Sold on Time Payments It is said that the modem tendency in writing a song and its accompaniment is to Now the sort of study that suits a child GENUINE ITALIAN STRINGS an^Mmonic^background, which must be will not fit an adult. A child cannot grasp Send for Violin and Cello Catalogue make the whole “ a virtuoso piano number, Si have eilher a pi.ch-jipe o, a W should have either a P«c™j “ “ A" sJe reasons for things, an adult can. It 6 A. J. OETTINGER with a modest obbligato for voice.” The fork of the correct standard pitch Besure necessary to teach a child correct move_ Musicians’ Supply C“mP“n^,a« explanation offered is that instrumental when you buy one that it is not the old so¬ BO UGranee Street Boston, Mass. i„o with an orchestra he is generally under The Stand-Still Pupil ments by interminable repetitions, rt composers suddenly discover, like Schu- iled “concert-pitch,” which is now obso- sufficient to show an adult why a cer mann, that it is fascinating to write for SSt direct^the £ By Jean de Horvath thing is done. Technical natters pegs ° the voice, but (unlike Schumann) they be¬ leEndeavor as early as possible to learn to 25% TO TEACHERS gin before making a study of the tune while bowing, although that takes tatae -- finger dexterity, may come ream hence ^/Jf^ng^But for the most PERSONAL on “LESSONS ON TIME” for Piano art. They do not seem to find compo- P7 theCerno!e mo"est pinners this back- a knack with the left hand fingers. Tuning •i to,„-l,t On the other hand, what a joy a teacher children but be fearfully 'icu h sition for a. solo instrument so irre- 't^heSy^e?LedS'P^ce“00 °g ound is furnished by the ubiquitous . donT pizzicato is -Worn quite correct be¬ Why is it that the average pup,lt^ ceives from the pupil who comes with gr0wn-up. Theoretical ,natte”’ will faction guaranteed sistible, and as a general thing they seem e say, an average teache thoroughly prepared, carefully with youngsters need much r,at'el' ’ . Your Dealers or Order Dire cause the sound is too brief and dry to im py, shall to have laid so firm a foundation that they pressoress its pitch perfectly on the ear.ear It is reachereachess in a short time a certain point of ®®jef^“lowing out07 thedie gdictionsdirections as given in fforor the mature mind present no difficu^difficult ■ STATIONERY can lavish the greater part of their loving scarcely necessary to say that the pegs development and ttere fem^s m p t f ious lesson> and ready to imbibe So, it is obvious that a ’ ^ care on the solo part and put the accom¬ should be well-fitted, in order not to stick prolonged lessons and at least a ;deas and criticisms. Genuine advance able who is accustomed to teaGii^ gu paniment in its proper relation to the whole. 200 SHEETS and IJ.00 or- slip. IfTf they are not, that is a job for amount o£ practice? lines of accuracy and clear thinking ups> 0r who at any rate can adapt Hence, to accompany even a difficult num¬ Who has not heard, Oh I took lessons * this pupii. That it is a if the adult student w, l sit down an VTOUNS 100 ENVELOPES the violin-repairer, but if needful » -— Who haS not nearu, w, ^ „ hag been fflade by this pupii. inat it is a if the adult student y ber seldom requires ability much beyond s, but I can’t play a thmg. ™ before finger dex- think out what exactly is h.s aim. he « Deep, Mellow, SouUul mnCre.Ss the h dden emotions and motives porary “first aid,” one can take out a peg for six yearSi but I cant p1^ _rofessor-sot- matteriwtiv.* of mind_ training „ before finger- dex- thinktbink out whatwnai exactly i■ - "■ > ---- . ^ the average, insofar as technic is con¬ Printed With Your and ruDrub uit wm.with chalk, together- with. , a very• ,'t This;s refflindsremmus ffle^ of a college P‘<.^ ™?pd» teritv; jiss obtained is a thought foreign to diSCOSC0Vverer that what he memost desires is cerned. The difficulty lies in bringing to cn.n If these are in the right who said. of{ a ^boy that “hehe waswashed exposed ^ffy.teruy is able to play any piece o.( music straigM Name and Address slight wipe of soap. If these are the task sufficient musicianly understanding. proportions, it will neither stick nor si to Latin but never took it. “sPreaU Nothing can give a musician more joy 0ff.” .It is this ability, more t ^ Hence let no student feel that accompany¬ Clear, white bond paper, with The strings should wind around the peg the same with music st^ents’ find than t0 watch, under his tuition, the other, which affords jffe.i-ure ing is beneath his dignity; for a good ac¬ envelopes to match. Your name such a way that as one turns wethe P-aspeg - a tragedy, at 'ieast to theJiea Qr development of a new spirit, the gradual amateur. Yet comparatively «eW sttto be Tfn a vtahn number. In it the com- companist is one of the rarest things in 11,6 MI the hidden thoughts and and address printed in beautiful, tighten the string, the little coil t g how few pupils honestly u constant building up of a reliable trained in orthodox fashion, eve music. And let no student decide that he technic, the growth in style, the steadily a decent standard of sight-reading. ™ PRESSER’S aysu-todto-togw- will be an accompanist because he feels he rich blue ink, on both paper and the solo instrument. It is not of thepeg not the^One^^^ I^Xt some snpernaturai power maturing musicianship. value of sight-reading cannot * has not technic or training to be a solo¬ envelopes, and sent to you post¬ STRINGS S theHpeg an upward turn, the Pupl ^ ^ bim to hotd his violin in post- Pupils, if you want to get the best out of estimated and the abib > llence, or BANDERO necessary that *e tills atMsphefe, ist. He may succeed in deceiving himself, paid, for only $1.00. (West of fUTmom apt to stay ta tune. Hence, ^^hands at the prescribed angles? your teachers, “play up” to them and watch the result ot t^lca' ^“^ntially a A fine Violin String that will stand up under ment that goes to make up u for a time, as to the difficulty of his task; Denver and outside of U. S. when a string is slightly above pitch it is It^ost seems so; and great is the as- them respond. Do not expect to arouse Jd'one which needs to the most strenuous use or conditions but he will never for a moment succeed in, $1.10.) If inconvenient to send often best to first let it down just below ;shment and disappointment when after them tQ really inspirational teaching if the p"aC‘“q ^ ; h verv commence-] Red Gat and waterproof-Jost the string deceiving the public as to his fitness for it. ' damp climate and perspiring Ungers Nor on the other hand, is it always the the money, we will ship C.O.D. S in order to tune it up instead of studyi„g several years wito aAeacta: wto lesson period spent in_ constant reitera- teachers H iS V^f—t feel, in a hun- (3 lengths) most brilliant soloist who makes the best down. . - . • preferred to let matters drift . . tion of established principles. Give them r •. t}iemselves, an^iT even as tne pa , -e he is to convey Write name and address plainly. notnmg at an oi u urc...- O (2 lengths) dred-fold greater degree it he accompanist. For the successful accompan¬ (In what comes next, the beginner is^ jnsist upQn accuracy, our y°nng s will receive a hundred- th roughly incompetent t« > teach it- T thoroughly incompetent to teacn • ^ ist must keep himself always in the musical Money returned if you are not mind: more advanced players are suffi- finds himsel{ totaUy mrahletcfold of their experience, animation and am- th°rOUghl> =hnuld assure THEO. PRESSER CO., Philadelphia, Pa. ciently familiar with the sound of the with any degree of assurance or ot grown-up student, then, shou ^ an ltto-ltia-im street background—a thing most trained soloists more than satisfied. proper intervals to proceed more directly ) fure tQ hiniself or others. bltl0n- himself at the outset that his teac fl0 find difficulty in doing. And yet, not all are Having tuned the A to your satisfaction, __ able and enthusiastic sight-reader, ^ ^ {.lanist the so,oist to breathe m, so handicapped by having themselves _ occu¬ Order Today! start on A as “do” and sing up the scale do, teacher should be chosen who ^ BAND and ORCHESTRA LEADERS! tnosphere bis artistic soul un- pying the center of the stage. Rubinstein T fa, sol,” the “sol” being the pitch make sight-reading ability’ one ot The prompt, accurate service of our Ban that he may p . ; will be seen that toured America with Wieniawski, and his re, mi, fa, sol,” the oemg and Orchestra Dept, is responsible for tne thp’ J J.E string.. • .. Having +1inpntuned the XLn Fake Violin Labels ends of his tuition. , best large growth of Mailorder Business inthis , S”i„ciple, of good vkJm accompaniments for that master violinist ELITE STATIONERY CO, at this time. Labels of all The adult-student should gH gx- Department. A large stock embracing class Labels in violins is ‘First oreaK m n. . were superb; and Liszt’s accompaniments 5023 Main Street, Smethport, Pa. su“■> “i £• — - million and placed in violin and outfit that he can f . r. oUt1a]f leal, standard and popular publications scale “sol, /«, m ”■ *■’ >!* d° Sj the old makers bav e been made in Ger- ables us to render excellent service to Band - T of the first principles is to train for stagers are said to have been ravishing. tag the pitch for the D string. Lasffy call factory-made fiddles - the labels aggerated economy in this orta"'a . pro- and Orchestra Leaders. Send your orders to. ninny, Jai>an and tn THEO. PRESSER CO. - 1712 Chestnut St. The good accompanist is the one who can the D “sol,” and sing down the scale sol, of Stradtvarlns, Omni 1 other makers. Tile best determine is very foolish, for the possibility t0 Philadelphia, Pa- r- “isniie i”’’5,’- hear and feel not only his own part but fa mi re do,” the “do” being the pitch for ducing good tone is a great vnee ^ tsemtori.. require ,«rde.a the G string. If you have a good ear—and work. No person goes joyfu' ? be5t Please mention THE ETUDE when addressing only those that have should attempt to play practice when he knows that ^ our advertisers. the violin-your violin will now be nearly in correct tune. Theoretically, it should al- JULY im Pa9e *" THE ETUDE 7 ETUDE inhered by Mr. Braine New Musical Books THE CURWEN EDITION IN AMERICA The House of J. Curwen & Sons Ltd is represented in U.S.A. by GEORGE H. DOWS 1701 Chestnut Street, Philadelphia, Pa. _ ,JpfSt iSTsmMs -8S,. Mr. G. H. Dows, in fSs,r*sa w-g* SHI CURWEN EDITION WHAT THE VOCAL Student Should Know By NICHOLAS DOUTY , Introduction to the Art of Singing, with Flush Cloth Binding, Price, SI.00 language of the utmost simphcg, ^ IwS The Touch System on 1 rnntralto and mezzo-contralto, lyric By Frederick N. Dea, WILDER MASTER PIANO COURSES t,uy a” sfc.'BAUER in the BIRMINGHAM NEWS A book that mil be of treat use and interest to ““eSSEeNNA in the PORTLAND NEWS jussz&agj&jZZ. THEO. PRESSER CO."iSnS?>™S”“s“S PHIL A., PA. »PUBLSNNcJrXAr JULY l the Most Convenient and Most Economical Method of Securing Necessary Materia . Details of ike “On Sale” Plan as Well as Graded and Classified Catalogs on any B Material for Strengthening and Modernizing P.ano Teaching Systems FIRST GRADE SERtES __ | PEDAL BOOK saipis GENERAL STUDY BOOK CONCENTRATED TECHNIC INTRODUCTORY LESSONS ON THE ART OF POLYPHONIC PIANO PLAYING the piano beginner THE NEW GRADUS AD PARNASSUM r/bfl?™ EConfistudies °of ^chanicM THE FIRST TWELVE WEEKS AT THE^FIANO RHYTHM AND TECHNIC "IS j Cat?°s::'il SUMMER CLASS • s HARMONY BOOK SECOND GRADE BOOK OF MELODIC STUDIES INTERPRETATION STUDIES Standard History of Music REQUISITES FOR BEGINNERS HAND CULTURE By PRESTON WARE OREM i ETUDES FACILES Any of the Study Material TEN BRILLIANT OCTAVE STUDIES On This Page May be Successfully Mb Used in Conjunction With These Successful Teaching Courses MASTERING THE STUDIES AND ARPEGGIOS BEGINNER’S BOOK Over a Million Pupils Have studied^With tA SYSTEM OF HARMONY HARMONY ™TYTHrERSD"KT^N Beginner’s Book FOR TEACHER AND PUPIL By h. a. clarke School of the Pianoforte, Vol. ° “ 10 Volames By JOHN A. BROEKHOVEN Cloth Bound. Price, $1.25 Rv THEODORE PRESSER Pr.,$l-00 In Ten Grades 10 V° Price, $1.00 A system of harmony, founded on By TH^ODO . elemen. ByW. S. B. MATTHEWS Pr.,$1.00 This book has been used witl much suc. relationship by means o. whichI a TWENTY-FIVE MELODIES FOR EYE, L’ART DU CLAVIER—THE ART OF THE PIANO the stud^t V Thjs js the original, and in spite of M- cess in co™^.dasses.It « a c= aS^^nj- EAR AND HAND TRAINING By Theo. Lack Op. 289 Price, $1.50 jar ss 9 Student’s Book SIGHT SINGING CLASS SUGGESTIONS STANDARD GRADED COURSE FINGER GYMNASTICS Graded Studies in Sight Singing Methyl Sg^Singing ^ ten studies on AG^TW By THtUUUKh rnnjot.*' By GUSTAV VIEHL Price, 75c. Part i-Methodica^Si,ht SinginK MUSICAL COMPOSITION mmmmm FOR BEGINNERS ^ TIME STUDIES T£tz THEODORE PRESSER CO. Theodore Presser Philadelphia, in ^>progressiv'e3order^treathi^^om^wba^^n fc Publishers td Dealers Mad OrdUr Music Supply House bcin^'nnne^fS’^' Co. Pa. ^e^pe^al^’an^^ther'''masters Xesl^'td 171o^1712-1714'cHESTNUT STREET PHILADELPHIA, PA. p$st0 JULY 192h Fa0e 503 THE ETUDE The World of Music IBS W®* The Vision of Deborah— nod from page iiD Reflections For Little Folks’ A Sacred Cantata or Music Story Book Page 502 JULY im Self-Help Material Music Students Bv Richard Kieserlmg fnZLye, tor American FolU- By James Francis Cooke ot tlTuijinold Jubilee of the for Get-Ahead Students ^ By Sidney Silber Cantatas for special seasons of the year Frankly, this is a history—a history of Mr Silber is known to Etude readers stf~Ss:This work » » the facts underlying and for particular occasions^ are numcrou. One of the leadinL^f Help” article we music for the very “littlest” folks. The ,„«in music Teaeliers^AH- is possibly the best^ S lf^H ^ ^ used ,„r h'is numerous contributions to this it iS- ^'structure and their practical appli- but it is seldom that one finds a ventlon * lournal He is the dean of the Sherwood niusical 8 . Hie term “Theory is,in illustrations are printed upon separate m ion ut-iu ... sheets ready to be cut out by the child and »n’s Point, April - ^attendance and ei toaVecan “way down, East” ^ School of Music of Chicago and in his cation. 1,1 " l Way, applied to all branches varied musical experience as a pianist and a more general ’way, VV ^ more par- pasted in the book as the lessons are given. a teacher he has set down a number of compos110 - to «elementary composi- Many new and charming features have been introduced. It is one of those things best things obtainaffie for^self-hn^aii of of paragraphs designed to help others- ticu!fr yfl everything in connection with it and in proportions. The sto y particularly students. In the early years tion who 1ms learned so much of difficult to describe, but of a kind that from the well-known episode as told, djd can supply any of th'* victor records The student wno ^ of the common would make you want to have it at once rst- the Bn sw cl nd tie View If the history of this magazine there was a column of reflections known as “The 'TrTyand the dominant seventh chord if you saw it in a store. It has been in SSS. To one°orf SS a&ecures of the preparation for some time, all oi the text Wisdom of the Many.’ These maxims chords anu new theory book at once royal household pubHcutbm of or reflections were eagerly read and there can take “P “ practical composition; is now complete and the pictures are being Uy8«i°wu\ recrive orlgbia^ C0o^ come tfa place wlere you have “run up is little doubt that many a one of them and g°. ngkt mto ^ onJy the selected. The advance of publication price The work has ^n effective organ aceom- bns turned the career of the reader suc- emP'K so far attained, but also gaining is 50 cents per copy, postpaid. ?obeT°15 Yor^nsTderatlon1 for their awards rsinar\icleSlrmaterial cessward. We are confident that Mr. Sil¬ PaTh"espeeial introductory price in ad¬ ver’s pointed paragraphs will help many. the*^ork'thaUie King.' In this Principles of Expression vance ofPpublication is 30 cents per copy, M The Capelown Oreliestra. _ The introductory, advance of publication in Pianoforte Playing postpaid. y ’successful Wendt, i v.«oiu*, An Mav 13th. price of this book is 50 cents, postpaid. By A. F. Christiani teacher™on theS other ZSflA of ex¬ Jolly Jingles For TV“'’'«k’s"‘‘StabidaMTrirl is a baunv one, and we look for¬ ^.S'ii^tn Hamilton Operetta For Children Festival at . ■ tittapn i,unared voices, as- ■Rpflprtions for Music Students—Silber . ward to a long life for this volume Only Notturno— By Richard Kountz Ssted by the St. Paul Symphony Orchestra 1 Summer New Music The Awakening was directed by Frederick Wick, ot RbjiSims^or Y one copy will be sent at the special offer. A Musical Romance— oSirkb.'rtsr.x'.y.u"~s; Groups of children, singing, talking or siS Studies for the Development of the 3 The response to our notice offering o The work will be in advance of publication Christmas Cantata corrected ’and re-corrected, and we P«|- By Carl Schmidt . StmUes^fm°Violin—-piorillo'• '• '• 5 send new music (vocal and instrumental) biff a short time as the plates are already For Treble Voices jj to our patrons during the summer months This work will be continued on spemal r^^crb^^tK ™ ^^^S-Klescrling: By William Baines blooms_a pleasing entertainment! The ,,i has been very gratifying; m fact, has ex m!Our special introductory price in ad¬ fftr durimr the present month. It makes leaching We would advise those not liav- A cantata for Sopranos and Altos only, a! excclU-nt wofk for vacation rcadmg 5 ceeded our expectations. To those teach¬ vance of publication is 40 cents per copy, no Tenor nor Bass parts. Tlu-re are some ing taken advantage of the advance offer ers who have failed to take advantage of ., Vt.rv great dearth of novels on postpaid. short solos which may he done in unison Ire expressed by certain flowers gives a «, the right spirit if this most liberal offer, we st. ex end the nuVical Bwmcs. Most of the musical work is“ thUerbeg^Writing Book «iat bas ‘ 1 I inne to the plav. Do You Invest an Hour a Day The tunefulness of this cantata mate novels have a very slight hearing on music same privileges, and will gladly list their Tunes for Tiny Tots suitable for adults or girls. and also boys S For a short half-hour the!beauty of the in Summer Reading? names among those who are now reaping bht Mr Schmidt's novel is entirely musi- By John M. Williams with unchanged voices. The music is very Someone who makes a specialty of tabu¬ the benefits of this service This music is , rt something similar to tne no other writing book. There isi ^ picture Vffit^f eolor The * This little book is designed to be used in easy but there is sufficient change of Kreulzer Sonata. We expect to have this lating statistics found out that far m sent “on sale” each month during the sum tempi and variation in the an ompanimen mer, with the understanding that the kindergarten work or to prepare very neonle read in Summer than in Winter. to render the entire work most interest work read) before tlu •' A will bSXU:»''2.*»SS out’ on tl« btok WT- ™7vee,iSo»“.«“VSc.s: This is particularly true of the temperate teacher may select any material desired young students for their first instruction This work will he hound m cloth and wm quite inexpensive.- > ." ^ rt t.hildren ing. Various parts may he omitted if zone. In January and February so much and return the balance at the end of the bookj It begins in the most elementary sell for the usual price of ciotn &£ ToMv iulMy mcmocl„d The j delssohn’s “Elijah^ manner, and yet at the same time things is considered too long The splen of our bodily energy is consumed in ,ust season. Our regular patrons should un¬ « find . place in ta curr.cul.m advance of publication price for one copy , are presented in such a way as to make success of The Dawn, Mr. Baines’ Easter TP0™eadvance of publication price is 80 keeping warm that we take little time derstand that it will be necessary to notify is 35 cents, postpaid. J reading. But, oh, the joy of a hook tot us if this service is desired. A postal card study attractive to the young pupil. The Cantata written for the same voices: con¬ vinces us we have something much desired cents per copy, postpaid. -iSW! =»»e,n„p„ we are interested in on one of those Sum¬ will start these packages coming to you, a book is in oblong form and an extra large Thirty-six Studies or by our patrons. The time required in copy, postpaid. mer days when it is a real pleasure to in¬ postal card will stop them. note is used throughout, making every¬ Basic Principles in thing easy to perceive and understand. rendition is about twenty-five »««' Caprices for Violin irlyTfforts to dulge ourselves. You owe it to yourself Pianoforte Playing i America, died in i.os a. b to feed your brain and ambitions with Pedal Studies for Organ Each of the little studies or pieces has an Our advance of publication offer tor Llbum of Scales appropriate rhyme which aids in appre¬ copy only is 25 cents, postpaid. By Josef Lhevinne . ; good stimulating instructive books one By Ernest H. Sheppard This book, which will be issued in a ] hour a day during the summer. One hour ciation of its rhythmic character. All this This new set of Pedal Studies would °TWs^ gggt r o\ nS a day in Summer will make you a master is in line with Mr. Williams’ own advanced Rhythms for Young People of almost any book subject you may elect ideas in musical pedagogy. By Blanche Fox Steenman feel general' appreciation ot^ tioven’s Fifth The special introductory price m ad¬ ire, the mem- to take up, if the work is not too advanced are used almost universally, but the stu¬ This book is first and foremost a nianua remnhony°waBrthe leading feat vance of publication is 30 cents per copy, rs of the. orchestra ^presentei to M. Mon- for you. If you have longed to study dent must be pretty well along before they of musical appreciation. While its °r'£ known educational "'riter, prepared these musical history, musical theory, musical postpaid. S“l3ng'dSto Sto mIvo,. Mtt can be taken up. Any student who has intention is to bring to the mind of > ? interpretation, there are a number of ex¬ chapters with a view to pomting out m the completed Whiting’s Beginners Organ students the various musical rhythms and clearest possible terms certain things contains a '‘‘rieu , upon passages nrltlsli Music Society (National cellent works that thousands of others have Book, for instance, or Rogers Graded Ma¬ Organ Score which are indispensable to musicai piano- b”“ r ^ used for Summer reading, to be found in their classifications, this is done by the study Pleces’e“£ scales. Sucli composers valuable addition to the Presser Collec¬ :ess,™ atr&.i" Li\erpool, KnrWpr.,t?..ts!«on were.1 terials, or Stainer’s The Organ can use to Anthem Book No. 2 forte playing. He puts the whole subject derived from tte seal GreenwaJd, Behr, tion The wideawake teacher who desires ibis issue If vou don’t want to read of the best possible examples in each P *for a advantage Mr. Sheppard s Pedal SlMtUes. This is a collection of anthems for the ticular class. The book contains an in such a simple manner and tells definite y the best in teaching material will be sure printed tat, read music. Buy a collection Each study is in a different key and is pre¬ of good music albums and play them average choir in the smaller places and for traordinary amount of standard mate > how to accomplish certain results whicn Spaulding. ^"^s'^thesTtend to make to take advantage6 of the spegh.1 mtro- through daily. Get pieces withm your ceded bv the pedal scale written out in which there is a constant and growing de¬ just the pieces which are heard most must inevitably bring beauty, an ductorv price of 35 cents, postpaid. 1 be full and with the correct pedaling given grasp and have a real good time at it. mand. It contains a great variety of with which the budding music lover sh to your playing. By purehasmgAhis work regular retail price of the book when pub¬ The special introductory price in ad¬ church music by the best writers for vol¬ become most familiar. . , you may be able to improve your lished will be $1.00. vance of publication is 30 cents per copy, unteer choirs. There are about seventy The special introductory price in your technic 100 per cent., if you do not Etude Cover Design postpaid. selections in the work, including music for vance of publication is 50 cents per c py> already know its secrets. The advance Short Term Bulletin of the Presser Home for Retired Contest all occasions, Christmas, Easter, Thanks¬ postpaid. of publication price is 30 cents, po. p Subscriptions Music Teachers Every month for years we have striven Six Study Pieces for the giving Day and other festivals. These postpaid. For the months of June, July and Au¬ 0.1 the evening of May 1st the Home selections have never been published in members were furnished a unique entrain¬ to have an attractive Etude cover design. Development of the Wrist The Cat Concert Reverie Album Holber4-Suite for Piano gust we are offering to new subscribers The supply of material for good Etude any other book. They are written in organ ment by a group of ladies from » aTnJI. By Carl Moter By Russell Snively Gilbert For the Piano three months introductory sub^nptmn to eovers is very limited indeed. When you This work, which will be issued in a short score; by this we mean there are two the Etude Music Magazine at the net ^““pTay Audience This is one of the many really good. «s This is a collection of drawing-room By E. Grieg. V‘ Eolb/rg Suita see a cover that you do not care for, time has given us great pleasure to accept. staves for the four voices and in this way price of 35 cents. The opportunity f please remember the restrictions under there is a great deal of space saved. In grade sets of teaching pieces that arc pieces of the quieter and more rejm^ > fl ¬ our new edltlonT°hisGedit1on has been pre- thn0oUgWedne^eayeCTnentog, May 28th, we had Kersga placed tile development of it is a book which might he used 3 now on re‘“[sed and fingered. your musical friends to become acquaint¬ which we have to work. . , , . every piano student which is neglected to a most anthem publications each voice has added to our catalog from time to ' ed with tne Etude is presented to them of mV’hS In order to stimulate artists in helping a separate staff besides an organ part, It is very convenient to have a number day playing or at religious meetings w ,ared very constituting this very large extent at the present time This a piano'is used. It will also prove “ food at very little expense and we will ap us to make successful covers you will find making six staves in all, whereas, in the these short pieces grouped together m Gl of the fiv hing and recital work, Muric Club." were^AuguBta*Bispha^fWit"heroh is the matter of wrist technic. These studies book for general use. The bstof * o{ uite are used m teac i g valuable This preciate it if you will bring the offer to elsewhere in this issue our Etude Cover while thev are called wrist studies, are case of the organ score work there are volume, and if they are all on the s Cr attention5. If the new. subscriber LaPngaermanEdffioliSs1tT gSa.PE^«BJ Design Contest announcement. The prize only two staves. Exceptions are made subject, so much the better. The Cat comprises chiefly pieces in the stji rhe Pre udti isa^^vJ to be one of the contralto" and Grace Acroyd-Rowe, accom- nevertheless in various styles introducing Songs Without Words, Reveries, Noc¬ wfshes to continue the subscription after is $250.00 and the contest closes bept. where solos are used when these have an cert is a quaint conceit in which the. nt, Opus will pP°bab yfl efforts compo- staccato notes, thirds, sixths and a few turnes, Meditations etc. Modern ?n . m0st endur.ng.of G Jfficulty the vaMOus having received the three summer months PaOurt Club has now adjourned its activities 1st 1924. Please read the details care¬ octaves. They are delightful musically, independent organ part and where parts march in, the old professor intones a c we wll be glad to extend the courtesy of fully and do us the favor of. informing are independent. The most difficult num¬ the prize cat fiddles, the black kittens P temporary writers are represented -j and are more like pieces than studies. We These pieces have not previously app a full year’s subscription for the addi your friends who have talent in drawing feel confident that teachers taking ad¬ ber in the work is the undying Gloria from a trio, the kitties dance and the moon 8 •'SwUjietoi;*"-* ,d. SSmSEk- in any other volumes. . d_ tional price of $1.65. vantage of this advance offer will be the Twelfth Mass, by Mozart. Nothing glee club obliges; a very attractive fe ■ , (Continued on page 504) anWenhaveehadgcontests of this type be¬ better can be found for a volunteer choir. The special introductory price w• The special introductory price « vance of publication is 35 cents per py< fore and have secured good covers, often ^Our^advance of publication offer is 25 Our special advance of publication price vance of publication is 35 cents per r arranging for the purchase of those which postpaid. cents per copy, postpaid. is 35 cents per copy, postpaid. postpaid. . have not won the first prize. JULY 19U 505 THE ETUDE in Magazine Clubs Page 50^ JULY 19U special Bargain Offerings u 'pt1„ i,\,; ri i‘s’ Revelrv Premium Workers Ihe dairies neveiry An exceptionaUy attractive lot Of pre¬ Improve Your Knowledge ol Things Musical by Enjoyable Reading in Summer Spare “ gfgfgg Moments •%rss 1 is far in excess of t ' '.iw 5“:: THEO. PRESSER CO. 1710-12-14 Chestnut St. Establ; Secrets of the Success of Great Piano Playing with Piano v“«“uui> Answered >[ *» ass jje-egpti |pffs§mm dents, concert and opera-goers and phono- ^ points in Music “ aaepM & Gilbert: A book of little'exercises designed on your vacation trip, it saves wn^. ETUDE MUSIC MAGAZINE..$2.00') Regular price .$3.50l Save 25c By Louis C. \ m°St Xld p"ce- 75 cent Old Fogy, His Musical Opinions and Se(mS EXCELLENT ALBUMS OF PIANO MUSIC ^gS2|= “S"3SS1 mm=m BRAHMS. ALBUM “b^f^S! charming ttrouRhout^ The”'tory°utilized------“ “ ' FAMOUS COMPOSERS The August Issue of THE ETUDE will be exceedingly interesting! In it will be discussions by leading authorities upon “THE JAZZ PROBLEM.” Large printings of re album of six compositions masterpieces issues of THE ETUDE have been exhausted quickly. Those desiring to secure the By Charles ^ ‘ Pri~’ place an order early with a dealer examine “The Castaways” now. The re¬ *™ cr.i Si rss tail price of this operetta is $1.00. the'fifth ALBUM OFeD||CRIPTIVE ADVANCED S1ULII r Twenty nin- novel numbers Suggestions for Entertainment Features in Outdoor Affairs —«KSSirr“ ” ss “* ENTERTAINMENT MATERIAL THAT WILL ENHANCE GARDEN ^'^AWN FETE|-CARN.VALS-,LAYGROHND EXHIBITIONS GHOSTS OF HILO SPECIAL JUVENILE OPERETTAS By Paul Bliss Price, $1.00 ,M,..,RAr*“s.SDREAK,t..»»- iilliS «o«,AEDsAY„r„FLowERpKM«. — It is never difficult to make selections from aSpttBwsBesss THEO. PRESSER CO. PHILADELPHIA JULY im f“!7e 507 THE THE etude rage 506 JULY 19U Musical Tempests SPECIAL NOTICES AND By John M. Hargin ANNOUNCEMENTS cause thev are Baptists and believe in It is little short of amazing to note water.” Bowman used to say that ^ he the number of intelligent people who seem washed away the wreck of the ‘‘Storm a to be delighted with the various musical every performance with the Bach G Mmor PERSONAL, FOR SALE concoctions known as “Storm’ written for Oman Fugue which he played in really or WANTED the organ. Many of these, it is true, are remarkable fashion. . improvised by the performer. We know of An organist in London has apparently one man who made a handsome income for WA .VrHD-Voung P“““hst"^king Pre¬ been working the “Storm game with the a number of years as a kind of Jupiter ferred Chicago (Clark-Division). Address customary meteorological musical success. $250.00 Prize Pluvius of music. Every night he drew r p . rare of Etude. - ••Prograa- . ftsvd've AII)UmS 0i “The Choir” in an editorial says of hi • FO^r1eAsI'«r THE ETUDE 508 JULY 19H New Publications that will serve Many Branches of the Music Profession The Presser Policy is to Issue Only Those Book Publications that have "•^andafa^Real Value to the Profession. With CompilaHonsandTeachmgW^the^m^oMk E Qf ^ Qp High Standing in its Particular Classification. YOU MAY rKUVC. in THE NEW WORKS ON THIS PAGE BY SECURING A COPY FOR EXAMINATION. Favorite Musical Readings and A VIOLIN WORK RECENTLY ISSUED NEW PIANO TEACHING WORKS Pianologuesof Coy la May Spring 25 Selected Studies from H. E. Summer Time List of Musical Terms (No. 7) That Queer Piano Album of Trills Written and Compiled by Clay Smith Kayser, Op. 20 How are you planning to spend your This list was begun in the January issue, STUDY PIECES FOR SPECIAL PURPOSES No. 1 Price, $1.00 WITH SECOND VIOLIN ACC. IN SCORE summer? So many have the feeling that By Rena Idella Carver Price, 75 cents Clever entertainment material is presented in Selected and Edited by Chas. Levenson Larg0—a very slow movement. summer is a time of utter do-nothingness. Leggiero-hghtly and delicately. The trill is an interesting and effective tech¬ the numbers making up this album. Coyla May Price, $1.00 They seem to think that they are being Lento—a slow movement, but not quite so nical accomplishment that is often required in Spring is one of the foremost artists in the Everyone knowing anything about study ma¬ Donald had been trying his best to The big man smiled and went on ex¬ imposed upon if they are expected to do Lyceum and Chautauqua field and these numbers piano playing. No little attention is required to terial for the violin is familiar with the position ijlow as largo. practice his next music lesson while shouts plaining. “You see, the action is so ar¬ anything at all during the summer months. are picked from a most successful repertoire of L’istesso—same as istesso, see last list. develop properly ability to handle all the various held by Kayser, Op. 20 studies. These studies are of his playmates came clearly through ranged that, after the key is released, the But surely no Junior Etude readers feel forms of the trill in piano playing, and trill study musical readings and pianologues. There is valuable aids in violin instruction, but despite their Leger Lines—short lines placed above and humor and philosophy in these numbers and the the Open window. Finally he grew impa¬ jack falls back to its place, while a damper this way about summer time; because the through the use of interesting trill pieces will years of use it has remained for Chas. Levenson to itelow the staff for the tones that extend comes against the string, preventing its junior readers are all earnest music gain the pupil’s interest far better than, coldly piano accompaniment lays just right for playing tient and exclaimed, “Oh, shoot! I believe conceive the perfect form in which to use them. beyond the staff. students, and they all realize that if music presented trill exercises. This album contains one’s own accompaniments. pianOs are old-fashioned, anyhow. I guess further vibration.” This work utilizes the best of the Kayser, Op. 20 Legato—in a smooth and connected man¬ “And just look! There is only one lessons stop it is only to give their poor eighteen pieces, each employing some form of studies and supplies a second violin part for the they1 are awfully old. Even Grandmother A NEW PIPE ORGAN ALBUM string to a key. Each key has a separate the trill—about six different forms of the trill teacher to play as an accompaniment to the pupil's ner. Wilson had a piano. It was not like this teachers a vacation; and the time must not Lyric—Melodious music, or poetry, suita¬ appearing throughout the book. Teachers will Lemare Organ Alburn rendition of the studies. The helpful value of one, though. It was an old square. So string. In pianos each key has three be wasted by never going near the piano. find this an exceptional help and pupus in the TRANSCRIPTIONS AND ORIGINAL COMPOSITIONS this can not be overestimated, as it perfects the ble for song. I guess pianos will soon be clear out of strings,” Donald declared. Much practice can be done during _ vaca¬ medium grade can be induced to accomplish much By Edwin H. Lemare Price, $1.50 pupil in time, rhythm and ensemble playing in gen¬ Ma—1but...... “The Spinet had but one string to each tion and many old pieces reviewed, so that in trill playing with the pieces in this album. date.” Mr. Lemare displays master musicianship at eral while developing technical ability in fingering Maestoso—in a majestic and aigninea He had no more than finished speaking key. A later instrument, however, had when the lessons begin ’again your teacher the instrument, and the same master ability is dis¬ and bowing. manner. when he felt himself being whirled around three or four strings to a note,” com¬ will not be discouraged at your lack of 25 Melodies for Juveniles played in his compositions and transcriptions. In Marcato—well marked or emphasized. mented the man with the wig. accomplishments! addition to several fine original compositions NEW CHORAL PUBLICATIONS and around so fast that he closed his eyes By Mana-Zucca Price, 75 cents Marcia—as a march. to keep from getting dizzy. At last some¬ “Please tell me about it,” pleaded the Give yourselves a certain amount of there is in this album a generous lot of folk song, Madrigal—a secular composition for three work to do during vacation. Take a pen¬ Here one of the foremost women composers of hymn, operatic and other favorite melodies that Four Seasons thing seemed to let go and he dropped with boy. cil and piece of paper and write out the the day has written delightful little melodies for have been transformed into effective solo num¬ FOR THREE-PART CHORUS OF TREBLE VOICES er more voices without accompaniment. a thump upon a chair. When he could “Yes, that is the way with these delighting young pianists. Starting with the most list now. At the top of the page put the bers for the pipe organ. An excellent album for By Richard Kieserling Price, 60 cents get his breath, he opened his eyes and be¬ youngsters. They are never satisfied with easy type of a piano piece the numbers progress date and your name to show that you are theater and concert organists._ About twenty-five minutes is required to pre¬ held a tiny, triangular-shaped instrument. what they have,” the man broke out crossly. in a nice, gradual manner. Clever texts that aid ??? Which ??? Before Donald could realize it, he was really in earnest. Then put the length of in holding the pupil’s interest accompany many sent this work, which is really a cycle of four “I i think,” said a scholar, “that music whisked away at a terrific pace. Suddenly time you will practice each day. For some of these pieces. Everything in Music exceptionally attractive choruses for treble voices, the writing being in three parts. The has come he was set down. it may not be as much as regular winter From My Youth Publication work is effective, yet can be presented with few ITo be a most queer sort of thing; “Now what do you think of this in¬ practice, and for others it may be a good rehearsals. Women’s Cubs, High School Chor¬ Because it’s so weird and the chords strument?” queried his companion. deal more, as there will be no school work By R. Krentzlin Price, 75 cents uses and other groups requiring choral material are so harsh, Donald opened his eyes and gazed at a or other things to interfere. Special attention is given in these pieces to the THEO. PRESSER CO. of this kind will find Four Seasons enjoyable to It seems that it don’t really sing.” beautifully carved, elaborately decorated, Then make a little schedule, dividing the development of style, rhythm and technic. Each sing and enjoyable for audiences to hear. time between exercises, studies, scales, and piece is interesting from a musical standpoint small grand piano. “Why. it has two key¬ and of such character as to make it attractive for Hymn of Praise “But I don’t agree,” said a man stand¬ boards or manuals like an organ,” he pieces, new ones, old ones, memorizing, and the piano student’s practice. The first of these CANTATA FOR THANKSGIVING, FESTIVAL OR ing near; shouted. “It’s very pretty, though.” Every convenience for the teacher seeking music supplies is of¬ Give particular attention to olu pieces. dozen pieces start in grade two with gradual fered in our Mail Order Service—Liberal Examination Priv¬ GENERAL USE “I think, sir, that you are quite wrong; The boy began to play one of his favo¬ progress in later numbers to grade three. 9ne ileges, Low Professional Prices, Convenient Charge By Frederick Wick Price, 60 cents Try to review, or rather, “renew” all the Accounts and Prompt, Accurate Service are Enjoyed The music to-day is more modern, of rite pieces, but soon stopped with a big number brings out Clinging Legato, others Light by Our Thousands of Patrons Everywhere. This is a very satisfactory offering for musical pieces you had last year and even the year Velocity, Rhythm Groups, Rhythmic Accuracy, course. frown on his face. Helpful Catalogs Supplied to Teachers. praise, the text being selected from the Holy “The tones are all alike. I can t make before, and have them all perfectly mem¬ Staccato, Triplets, The Trill, etc. Scriptures and the time required for rendition But it sings a most wonderful song.” them loud or soft. Teacher says never to orized. Any of These Catalogs Sent Upon Request being but from 30 to 40 minutes. There is grate¬ Stories Notes Can Tell “But look at the chords,” said man play like that,” he complained. During the regular season there is not Descriptive Catalog of Piano Collections ful solo work for Soprano, Tenor and Baritone always time to go back over some of the By Frances Terry Price, 75 cents Gives descriptions and contents of piano solo and piano and the Choruses for mixed voices are not difficult, Number One; “Well, you will not be able to play in four-hand albums, all grades. “They sound so exceedingly queer; any other manner on this Harpsichord, old pieces, as there are so many new ones These are charming early second grade piano yet they are effective and pleasing. Descriptive Catalog of Musical Literature They seem to be made of all keys was the amazing information. “The chief to learn; but in the summer time they pieces. They are characteristic numbers that Describes some of the most used books on theory, mu¬ In Foreign Lands played at once. HANDEL’S HARPSICHORD defect, and one which the makers tried should all be put carefully on the little delight young players. The key variety will sical history, biographies, etc. CANTATA FOR TWO-PART TREBLE VOICES shelves of your memory, arid labeled, so interest many teachers since these six short easy Descriptive Catalog of Organ Methods, Studies Just think of the discords we hear!” in vain to remedy, lay in the fact that Words and Music by Richard Kieserling “Why, what a funny old thing! Just that at any moment you can bring them pieces use the keys C, G, F and A minor. and Collections the plucking of the strings, while produc¬ Descriptive Catalog of Vocal Collections Price, 40 cents look at those keys-only three octaves, he out through your fingers and play them “But discords are splendid,” said man ing greater brilliancy, admitted of no varia¬ INTERESTING NEW PIANO ALBUMS Descriptive Catalog of Violin Methods, Studies This is virtually a cycle of four delightful two- Number Two; burst out. . , . for your own pleasure and for your and Collections part choruses. These choruses are entitled On to Donald heard a great, hearty laugh be¬ tions in the degrees of loudness or softness. Graded Thematic Catalog of Pianoforte Com¬ “Especially when handled with care; They experimented a great deal, even in¬ friends. DO IT NOW. Young Folks’ Opera Gems positions Spain, Egyptian Moonlight, A Japanese Tea- In fact, I prefer that the music should hind him; and there stood a huge, bulky Party and Romany Life. Directors of music in man, whose long, curly white wig en¬ venting various kinds of quills,” the im¬ Price, 75 cents Excerpts from Excellent Songs have Shows portions of nearly 100 songs. college seminaries and schools for girls will find compassed his fat, red face. . mense man answered. ??? Question Box ??? This is a comprehensive collection of fairly Catalog of Juvenile Music Publications this an attractive work. This work also would Some discords put in here and there.” Donald tried the Harpischord again. “So you thought a concert grand piano Dear Junior Etude: easy arrangements of the favorite opera selec¬ Luts and describes easy piano collections, songs, games, make a fine feature number on the program of a “Oh, such a crazy old thing as this. No tions from the great composers from Gluck to operettas, etc., for children. women’s club. “I cannot agree, though,” said man old-fashioned, did you? Now here is a I have often been puzzled by some of Mascagni. The aim in each of these numbers Ask for Catalogs and Folders Upon Any Class of Music Number One; musical instrument that really is old- wonder they invented the piano. Gee, I the terms in music. For instance, why do Publications in Which You Are Interested—Our wish I was playing mine right now. I has been to present a playable piano solo of an Catalog Dept, is at Your Service Without Cost A CLEVER MUSICAL COMEDY “Your taste is quite different from fashioned. It is a Spinet. Let me show diminished chords and this mark ;==— have opera air, frills and variations having been how the string is set in vibration Tins guess it must be.quite up-to-date after all,” Ask About the Liberal Examination Privileges of Knight of Dreams mine; the same name?—M. F. (Age 15), Ohio. avoided. There are seventeen composers and Dfnn *» I’ll listen with you to this weird sound¬ is done by plucking the string with a quill he concluded. Answer—The term “diminish” means, twenty-three operas represented in the twenty- ing stuff, set in a jack at the end of the key,” said He felt himself being whirled rapidly when applied to music, just what it 'means seven selections in this album. Most of the num¬ A MODERN pYGMALi°N AND GALATEA A MUSICAL COMEDY IN THREE ACTS when applied to anything else, and that is bers are in grades two and three. The Three Players But for the old masters I pine.” through the air for what seemed like a A COLLECTION OF SIX-HAND PIECES FOR THE Books> Lyrics and Music By h6“Oh, those little things standing up at long, long time. Then he was dropped “to make less.” Therefore the sign T==- PIANOFORTE May Hewes Dodge and John Wilson Dodge the ends of the keys are called quills! means to make less tone, or, to get softer, ^ Contemporary March Album Composed, Arranged and Edited by Vocal Score, with full dialogue, Price, $1.00 with,a gentle thud. When he was able Wolfgang Amadeus Mozart ArenVthey cute? Just like soldiers stand¬ as it is often expressed. A diminished’ Price, $1.00 A. Sartorio Price, $1.00 Stage Manager’s Guide, Price, $1.00 to open his eyes, he was seated before his M—any a young student has taken Mo- ing at attention!” exclaimed the boy, much chord or diminished interval is one which A collection that is useful to many. It an- There has been a long-felt need for an album of this Orchestral parts may be rented own big piano in the music-room. character, but publication of such an album was not zart as a model, for when has been made less, or smaller. For in¬ swers many demands upon the school, lodge and to be undertaken hurriedly, as it was desired to make ™s is quite a worth while musical comedy interested. church pianist. Schools will find excellent ma¬ that will more than satisfactorily cover an eve¬ O—nly three years old he played in public. stance, C-G is a perfect fifth; but if you terial presented for the accompaniment of drills, nings entertainment. The solo parts are for ^ ealous was he for success, and worked diminish that interval by a half step (sub¬ marches, calisthenics and other gymnastic work. which the album two sopranos, one tenor, one tenor or high bari- very hard. Ambition tract a half-step from it) the interval There are dignified march numbers covering original composith °'le bar't°ne' one baritone or bass and two t the age of seven he was a composer. I’ll practice just as teacher says, becomes C-G flat, and is spoken of as a other needs also included in the thirty numbers melodies' contraltos The choruses are made up of art R anking high in the estimation of his / sometimes think I’d like to be And learn my lessons well; diminished interval. A diminished chord making up this album. All are effective march students of both sexes. The music is “catchy” and 4 very famous man; And then some day you’ll come to hear is a chord which contains this kind of an numbers of their individual types, yet all are the action is lively. It is easily stagS scenery hearers. And. if I do my practicing, interval. within the ability of the average pianist. and costuming being easy to arrange6 T—hus he began at a very early age his My concerts. Who can tell? Why then perhaps I can. brilliant musical career. -GROVE’S Junior Etude—Continued Recently Published DICTIONARY ■HandM MAKE ANY OF THESE ANTHEMS and Star Light, Star Bright PART SONGS OF LE/aonadE GIFTS YOURS— By Edna M. Schroeer Ice Cream OCTAVO-SACRED soon discovered that she was not making MUSIC At No Cash Outlay “Star Light, Star Bright, First star I’ve a sound. She laughed, thmkuig t ■ Mixed Voices AND m seen tonight, I wish-” . ,,, joke, but there was no mirth-music^ Send new ETUDE subscriptions to us and we will “What do you wish, my little sister, These three ice tools offer laughter. Her mother was singing an exceptional value. send gift selected to you. Merely an asked the beautiful star (, , , to sleep, but it sounded monotonous and Made of best quality steel, “I wish” said the little girl, thought¬ made her cross. Then before going to bed MUSICIANS nickel plated. exchange of courtesy ’ CRUICKkHANK.W.mA.C.at lessly, “that I did not have to practice any the family gathered around the WITH 5 galbraTth, j. l\mont more and would never hear music again. she tried to play, but there was o music AND YOU’LL BE PLEASED! gray; h" in her heart, and she had to give p' ! Dream of Paradise, A “Why what is the matter Doris dear, New American n* HANDEL, G. F.^ n “The Mewia you played so well last night. I Supplement P Tfie UNEEDA " HORNER, RALP1HFalh„ y “Ohit is dreadful, Mother. I ready Your choice of do love music. Realy I do. Oh why did I Any one of these 1 Roseate Hues of Early Dawn, The any one album be¬ HOSMER, E. S. ever make such a horrible wish. Do yoi splendid volumes 8 Jesus, Thou Joy of Loving Hearts c.v large volumes low for TWO NEW HUERTER, CHARLES think that Star Bright will ever take bact< for only ONE 4 Now Thank We All Our God bound in red cloth and subscriptions: LISZT-BLISS . , - . STAMPED IN GOLD : : : NEW subscrip- 12 How Sweet the Name of Jesus Sounds Standard Opera Music Masters— Album for Piano- to the window and looked uP.ni the sky There are 4,000 pages and over melodies from the MARTIN, R. W. . New and Old by ; Short Coramumon Serv.ee in D “Star Light, Star Bright, First Star I ve 5 000,000 words from great great operas. Inter¬ MORRISON. R. S. seen tonight. I wish...-Oh please take authorities upon all phases of Jas. Francis Cooke. } Come, Holy Spirit The beautiful star sighed, for it knew mediate grade. S Christ Above All Glory Seated that that was a terrible wish but it hack my horrible wish Please. ' musical learning. The books Celebrated Com¬ 9 O God of God! O Light of Licfit!. .. So Star Bright took back the horrd le Popular Recital NETHERLAND granted the wish, nevertheless. are liberally illustrated with positions by Fa¬ i Praver of Thanksgiving . . wish and Doris practiced every day and Repertoire (31 OREM, PRESTON WARE The little girl ran into the house, She cuts, half-tones and notation mous Composers. soon grew to be a very good musician. j examples. Thousands of subjects pieces). ,1 Lo, The Winter is Past (Easter) thought she was singing for joy hut she Celebrated Pieces STULTS.R.M. are discussed: Biography, His¬ 15 Praise to God, Immortal Praise in Easier Arrange¬ Program Pieces— WATSON, M. tory, Musical Science, Theory, a new recital album 19 Hear. 0 Lord . A Practical and Serviceable ments—a splendid Musical Industries, Instrumenta¬ 14 Worship The Lord. Letter Box Set of Ice Tools for album for pianists for the piano. A PART SONGS tion, ^Esthetics, Musical Terms, Every Home Need of average ability. collection of real etc., etc. The work is the most gems in grades 3 Mixed Voices notable musical compendium in Remember only and 5. any language. Guaranteed to give Satisfaction ONE NEW sub¬ scription secures TWO NEW sub¬ | Have these splendid musical scriptions earns kc_-J» ONE of these l Dreaming of My Old Kc I books in your own home. What ONE of the albums. TOMPKINS, GEO. the Encyclopedia Britannica is Indispensable for the house¬ books. Letter Box List wife. Only one new sub¬ to General Information the guaranteed toff^ve Satisfaction Women’s Voices Letters have been received from the fol¬ Grove Dictionary is to Music. scription. CANDLYN, T. FREDERICK H. lowing Junior Etude readers : Jean Bmg- j ill-——--—® ?nVthebj"NiOR Etodu, and thought I would There is no better Musical Reference 20386 Little Telltale (3 part) ham, Dorothy Query, Margaret Lindsay. Only two new subscriptions. O'HARA, GEOFFREY 100 r ! 1 l w 1 ve no music 20406 Dreaming of My Old Home, Sweet I am ten years ot a • hrothpr teaches Blanche Gregory, Frances Stokosa, M,l- Home (3 part) PITCHER, R. J. teaCme a?n little, tttp anana el wcwe practiceIll fak( duets, musil together.. lessons. I dred Long, Angela Zeckerle, Margaret The Value of this Monumental ..... on.... if--»-he Bee - Sucksc— (2 part)... hut The Etude helps me a good deal. Brainerd, Viola Hughes. Mary Moffer, Work has been Augmented Men’s Voices Dorothy W. Newell, Lucile Hill, Barbara by the Recent American Sup¬ Chase Maria Felton, Leora Hurlbutt, y month. Catherine Taylor, Stefia Stokosa, Elinor plement Grinnen, Melvin W. Pipkorn, Florence M. ( Age 10), It is an indispensable record of Ameri¬ Fox, Barbara Wise, Hermoine Hupp, Mar¬ BISSELL CARPET SWEEPER (Humorous) . . .. can Musical Achievement, Personages, URHAN-SPENCE garet Wait, Luther Stone, Jr., Dorothy Organizations and Institutions. 20415 Sands of Time are Sinking, The. .1 Ball Bearing, finest bristle Jennings, Phyllis Gordon, Ruth Wade. The total number of entries in this brush, only ten new sub¬ O’CEDAR MOP SCHOOL CHORUSES Florence D. Jenner, Mabel Root, Gertrude work is over 2650. Brief reference is scriptions. Cleans and polishes. Your opportu¬ CAPUA, EDUARDO DI Hayes, Mary Decker York, Elizabeth Mc- made to about 2000 American Musicians 20320 O Sole Mio (My Bright Sun) (2 part) Pheeters, Joyce Ellsworth, Barbara Bost- but biographical sketches are made ot nity to secure a brand new outfit for only DALE, NORWOOD wick, Bernice McCain, Eleanor Harper, 700 American Musicians. A number two new subscriptions. 20384 Hunters'Morning Song (S. A. and Bass) . of important foreign contemporaries GEST, ELIZABETH Ina L. Nelson, Helen Statler, Ruth Long- 20410 Chimes, The (2 part) . I have been mentioned in this work and WILSON, IRA B. DEI4EdJtnot°"akelyoii: myself, but I read m; ’ fellow, Herbert Schueller, Vera Pearl the many general articles cover subjects 20408 Night Song Opart). [ Zscheile. I such as Indian Music, Negro Music, H^waUan^ Islands and'go lo I Orchestras, The Piano. Ragtime. Public like the children on the mainland. From your friend, 1 School Music, The Phonograph, etc. Jean Little (Age 14), 1731 Keenamokeu street, PROPHYLACTIC HAND BRUSH Honolulu. Hawaii. THE PRICE OF THIS LATEST A Camera for Boys and Girls Solid black walnut, size 4fx2, EDITION WITH NEW AMERI¬ MILITARY HAIR BRUSHES SUMMER PLAY THAT CAN SUPPLEMENT IS which takes and finishes a pictures in one minute. only one new subscription. DKtVKamUnn?y s^ven® years old and have juat Prophylactic penetrator, size No films-no plates—no dark room. Image taken DEVELOPS THE MUSICAL musle'clifand 4j^x2H in black shark sheep skin direct on sensitized card, size j i-zxz. KNOWLEDGE of CHILDREN ea h answ r to the tooT me $20-00 case, only four new subscrip¬ This is a practical toy and will give great pleasure m the young folks, only three new subscriptions^ Give Them Scissors,^ Brittle to aUeoneert Our teacher has a lovely studio, tions. and when It' 7“,*,, In’rome to -- nnn. c.msCRIPTION FREE - OUR MOST POPULAR PREMIUM use my teacher u Gf the older girls played. Chilli’s Own Book of Great Musicians Some of the girls made candy and sold^t, and if for the ..*2 0° <*“> “ *”> " we are going to buy a 1 Notwithstanding the low price | subscription for one year. ___ needle^and Jlkcord (oTwt,°mayt hS £2 studl° WFrom your frIen„, made for cash we accept orders subje of the following composers: to part payments. Write for terms. RACH HAYDN SCHUBERT Alice West Pierce (AgeD,^ BEETHOVEN LISZT SCHUMANN The set is also given as a premium HANDY NEEDLE OUTFIT CHOPIN MENDELSSOHN VERDI for obtaining subscriptions to 1 h • ETUDE MUSIC MAGAZINE, Price $2 Per Year GRIEG MOZART WAGNER Etude. 1 Add Canadian Postage 25c-Foreign 72c Contains everything in the way HANDEL Price, each 20 cents. Particulars cheerfully furnished. of needles; everyone’s friend, BONBON DISH bachelor or maid, only one French grey silver finish, gold THEO. PRESSER CO., Publishers call v items _ andji:p0 new subscription, Wo 1 THE0. PRESSER CO lined, only two new subscrip¬ Philadelphia, Pa. rSSSnf w^t we have espeeta tions. good l.o,nts.goldysurs{are,placed on ot 1710-1712-1714 Che.tnut St. PHILADELPHIA, PENNA- Kathleen In Jour Home-Through Brunswick Noted Popular Artists and Dance f Orchestras Record for Brunswid{,M ISHAM JONES AND HIS BRUNS- | BRUNSWICK brings to music-lovers a new conception of world’s music. Now. WICK ORCHESTRA ■ in your home have the great singers of the day, the finest symphonies, the College Inn, Chicago, Illinois RAY MILLER AND HIS BRUNSWICK I'? greatest instrumentalists. And artists of the vaudeville stage, with the popular ORCHESTRA, New York City modern music—dances, songs and syncopations. GENE RODEMICH AND HIS BRUNS- M WICK ORCHESTRA , „ , » Brunswick plays them all with a fidelity which only a musician can truly judge. Grand Central Theatre and Statler V These Great Artists of Hotel, St. Louis, Mo. The tonal quality of the notes, the exquisite definition of instmments, the shadings ABE LYMAN’S CALIFORNIA and color of voices—all expressed supremely. BRUNSWICK ORCHESTRA The New Hall of Fame Ambassador Hotel, Los Angeles i are on Brunsuric\ Double-Faced The Brunswick Method of Reproduction is today conceded the premier place in THE ORIOLE BRUNSWICK ORCHESTRA , „ Gold Label Records phonographic music. It has removed Brunswick from the “talking machine class Edgewater Beach Hotel, Chicago j PAUL ASH AND HIS BRUNSWICK H and elevated it to the plane of higher music. ORCHESTRA, Granada Theatre T BOHNEN KARLE Ask your Bninswick dealer to play new Brunswick records for you. Hear selections San Francisco LAURI-VOLPI BENNIE KRUEGER AND HIS CHAMLEE of the New Hall of Fame. Hear the popular artists of Brunswick, the finest modern BRUNSWICK ORCHESTRA . H DANISE ELLY NEY orchestras. They will give you a new appreciation of what Brunswick is doing con¬ New York City (Private engagements} 4 CLAIRE DUX ONEGIN HERB WIEDOEFT AND HIS BRUNS- THE CLEVELAND PATTIERA structively for greater musical knowledge, for the spread of the influence of good WICK ORCHESTRA ORCHESTRA Cinderella Roof, Los Angeles Nikolai Sokoloff RETHBERG music everywhere. Conductor ROSEN CARL FENTON AND HIS BRUNS- B WICK ORCHESTRA . ■ EASTON RICHARD STRAUSS THE BRUNSWICK-BALKE-COLLENDER CO. New York City (Private engagements) TIFFANY Manufacturers—Established 1845 ELSHUCO TRIO OLD COLONY ORCHESTRA . B GODOWSKY WILLEKE General Offices: Chicago. Branches in all principal cities New York City (Club engagements) - , HOFMANN UKRAINIAN THE COTTON PICKERS . HUBERMAN NATIONAL New York City (Private engagements) , IVOGUN CHORUS MOUND CITY BLUE BLOWERS Atlantic City ' AL JOLSON MARION HARRIS MARGARET YOUNG ALLEN McQUHAE FREDRIC FRADKIN JAMES SHERIDAN KELLER SISTERS &. LYNCH RUDY V^IEDOEFT PHIL OHNAN VICTOR ARDEN Liberal Terms Your Brunswick dealer will gladly i Ask to hear the newest terms of payment to meet your r ments on any Brunswick you select. Over Brunswick Records at 24 models from which to choose,including superlatively beautiful period and r—1 your dealers. Some¬ types. Prices r““ r~~ «" " *7' thing new all the time.