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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
12-1-1926 Volume 44, Number 12 (December 1926) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 44, Number 12 (December 1926)." , (1926). https://digitalcommons.gardner-webb.edu/etude/45
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. A MONTHLY JOURNAL FOR THE MUMCIAN^HE MUSIC STUDENT, AND ALL MUSIC LOVERS. ,_JlS.-Owing to the educational Edited by James Francis Cooke eh«^rter’of*THE"ETUDE a majority of its readers » • • nt Editor, Edward Ellsworth Hipsher to miss an issue. Therefore, the pub- DECEMBER, 1926 H h rs are pleased to extend credit covering atie Tweli- paid- , attne P. O. at 1 Months’ subscription beyond expiration of the ch 3, 1879. .p period. Those of our subscrlb, Philadelphia, Pa A. and Great Briti il ther.— Is of this Copyright. 1926, by Theor iat :r will pies or discontinut Printed in
The World of Music
"The slnitiiiK of “music Clubs is to (Izinslti, The Philadelphia Grand ^onv- claton Mwmlciimeta S-&3KS-in New York for the head¬ a given i _ _ _ quarters of the San Carlo warded again to Louis Vic¬ Opera Company. In it For¬ tor Saar, which is the third tune Gallo, the impresario, is time he has taken this prize, hoping to make a historical It is the constant ambition of the editors and publishers of with honorable mention in collection of stage settings, two others of their compe- 1 photographs, playbills and the “Etude” to make each issue of the journal worth many titions. For this year Miss other accessories which will Frances McCollin, of Philadelphia, received depict the history of opera the honorable mention. production in America from times more, in practical instruction, stimulating inspiration this artistic enterprise to the and real entertainment, than the price of the entire year’s sub¬ Priest,” a symphonic premiere at a recent Beclisteln Concert Hall, hallowed in scription. The music lover can not possibly find a better two- Queen’s Hall, London, Berlin musical annals, was recently reopened Henry Wrood. This wi_ ... with a concert for which Julia Culp was dollar investment. work to be heard there ti drawn from her voluntary retirement. When but a few years ago they originally dedicated in lPno recognized. Page 888 DECEMBER 1926 A Teachers Diploma 1 thfftude ___———-VHTVOL. XLIV,XI iV. 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VOhaX At It^om o£ GdUp^Ot \kpdm* SSes^ expert knowledge Tta.,4« " ih” hL rifen SS^n ^profession either as singer, player of .»« doted musicians and artists and yon will had that every great >of 3- musical tcarter is based on the instruction of some MASTER TEACHER. fxiluvt* a faxc&f a tan^k* /Ontttt&tr mtlh ---J a 4 4. /I A4 Study in Your Own Home with the Best and < Thousands of Letters Like These Teachers in the Country in Our Files itiaf 'Uitu Unew 4tafc At wwld Had Wen Wiliii# in At No longer is it necessary for the ambitions musical student to incur the ex^nse of leav¬ ing home to study at an expensive resident conservatory By the University Extensioii Sys $ycA cYii&Aflt of Aft ay\X XiA £yqy& Aig wctdX &uY&ly B?°have Scefs'ully epa«ed the State Board Examinations - tern the masters’ methods are taught in the home by easily understood ““t **L and am now an accredited teacher in the State of Oregon. 1 cotut Ay fintr wthX 4han wt kad eoer hnown* ZcyAiyX^ owe this to your Normal Piano Course, for I tried to pass the The Piano student has the lessons of the marvelous teacher Sherwood The Cornetist lamination belore, but was not proficient in the answers and studies with the master Weldon; Crampton trains the voice of the singer; Heft shows how hv At mt&tAimt Atrt would W At^amof tnmt9 Act and failed Then I saw your ad in The Etude and determined to to iiVerpret the soul of music on the Violin; Rosenbecker and Protheroe take the pupil try this Course. It has been successful, and I am very grateful. throughevery phase of the study of Harmony ; Protheroe gives his authontative mMruc- y ' • Mrs. Lulu E. Diebel, Seaside, Oregon. Lit Jet. UX alt Acgt timmd o/Ufemm yoMmAfhzymd* tion in Choral Conducting; Frances E. Clark gives the most practical methods in Pubh» J|[MraXiuAUh At Owed art. JttwuMerm# and At $rt*k Junior Chorus Won First Prize in Interscholastic League School Music; Frederick J. Bacon, the great banjoist: Samuel Siegel. worl^™g Your Conservatory has received considerable advertising mandolinist, and William Foden, famous guitarist, give their methods ior mastmn these of motion humanlA gtmmtYtnQ,*wt bAm Aakwwt through me, as my Junior Chorus recently won first prize in instruments. The History Course, including Analysis and Appreciation of Music by Gk the Interscholastic League’. They competed with seven schools . &uX mort At finer <&Aut& At and ptMt ideal*., At —three of which are large independent schools.. I feel that Dillard Gunn, and Advanced Composition by Herbert J. Wnghtson, are advanced cour much’of my success is due to Mrs. Clark s course in Public leading to the degree. Ear Training and Sight Singing by F B. Stiven. , School Music. Mrs. Elsie V. Post, Glen Flora, Texas. More than 200,000 ambitious men and women have gained proficiency in these various branches of music by the University Extension Method. And to you we otter the same ad Public School Music Graduate Just Secured Life Certificate vantages which were given to them. I am now a full-fledged-director of the’ Melvin Community of At tffiagW Hzfinef* moulds cotut new S4W High School Orchestra, having received my certificate from This Is Your Opportunity—Mail Coupon TODAY! & Amin# meet joyoudjf Ann our superintendent on the recommendation of the State Board Fill in the coupon below—send it now for four lessons and our late catalog. We will after presenting my credits received through my studies with give you full details of our offer to teachers and students, and the offer calls for samples your institution. • MAA of everyiohrrti CanXyow Prop. F. W. Reuter, Violinist, Dewey, Ill. from one of the courses. Get the catalog and lessons then decide. ||| Way fhtni rnaMm At mmt j?U The Sherwood Normal Course Systematic And Complete The Sherwood Course has taught me many things I have nev | Bzfhlthttn* wlfh grtaftr &wttintsg9 yrtAtv mclint^ teachers mention. The course has enabled me to increase the si-- UNIVERSITY EXTENSION CONSERVATORY, Dept. D-81 praise your methods too highly. I recommend^hem to aU. ^ Michigan. Langley Avenue and 41st Street, Chicago, Illinois. prcaitY power* grtaAr Ann o*uf muA* Please send me catalog, sample lessons and full information regarding 111 wovXX Aa£ tiitr htAvX l CleaThI°Weldon*lestso°ifs have benefited me much. My tone is clearer a" a.b®^tan Course I have marked with an X below. attack has greatly improved. My breathing has also improved to a great extent, and □ Piano, Normal □ Cornet, Amateur □ Violin for □ Cornet, Profes- □ Guitar Mice A Moulder of Thought Europeans. Europe has not shown a particularly noble spirit The Art of Clarity in Pianoforte Playing since the war, in face of the millions and millions that have been An Interview with the Distinguished English Virtuoso, sent by big-hearted Americans. Those who have been jealous of our prosperity have impugned our ideals and, with very bad HAROLD SAMUEL grace, have laughed at Uncle Sam despite the fact of his willing¬ ness to help those in distress. Yet, it seems to us that this is the time to show our bigness of spirit and realize that people in dire teite** ,ot * it is said that he has accompanied most of the great singers and znolinists trouble are not accountable for what they do or say. This is Mr. Harold Samuel was born in London in 1879. His mother was of the period, at different times. no time for us to forget the humanity of the situation. There half American. His father was a prominent art dealer. In his childhood, Finally, his friends persuaded him to concentrate Jus attention en¬ are our fellow musicians in Europe literally at starvation’s door. he taught himself to play the piano. In fact, he says At seems as though he always played. His lessons, however, actually started at the age of nine. tirely on concert playing, and nineteen years after his first recital he gave If there are readers of The Etude who can include these un¬ He was a pupil of Michael Hambourg, father of Mark Hambourg, of another in London. ' He then attracted a great deal of attention by giving fortunates in their Christmas love with a small gift we shall be Isaac Albeniz, the great Spanish composer, and of the pianist, Benno entire week’s programs of Bach, playing the unusual things, many of which glad to forward any funds received to assist a great number had been condemned to be used as studies. At that time, the popular num¬ »bjccls embt«ing. k;^|2: Schoenberger. ° £enuine,J worthy cases that have been reported to us by He then zoent to study with Leschetisky in Vienna, but owing to bers of Bach were the Chromatic Fantasie, the Italian Concertos and the reliable authorities. y , illness had to return to England zuithout having had a single lesson. He' Organ Transcriptions. Mr. Samuel revived the Suites, the Partitas and other less frequency We are pleased to say in this connection that the Trustees next went to study at the Royal College in London, where he became a pupil of Edward Dannreuther in piano and of Charles Wood and Sir Charles heard numbers. For years, he has been an enthusiastic and tireless student of ,J,PreSSer FoUndation have in the Past sent many thousands F^SSSSSS- Villiers Stanford in composition. of Bach, His edition, with Donald Francis Tovey, of the Preludes and AuH T S6aS t0 hdp DGedy cases in France> Germany and He made his debut in 1900 in Steinway Hall in London.. At that time Fugues of the Well-Tempered Clavichord, issued by the Associated Board, Austna, and are continuing to send funds. won him the highest encomiums and at once placed him among the most Address your contribution to he played the Thirty Variations of.Bach and the Fantasy of Schumann. He then devoted a large part of his time to accompanying famous artists; and valued authorities on the Leipsig Cantor’s works. The Etude” Christmas Cheer Humanity Fund. large nST* °f contributions » better than a few 4 HE ART of clarity in pianoforte marked with the asterisk. With most up to the highest level and do not be con¬ Czerny; Op. 365, No. 6 tent with anything below this level. Your pssli^ils +’m^TfDE readers bave always been large-hearted I playing is something which players, there is an inclination to let it play a little louder than the other fingers; ear should be your hardest critic. to the “« °f M" d.™g Mosztowski n" rt **• should immediately interest the «% “s.^StC and appreClatlon in America during the last one thousand dollars. We are Drond nf tV fir, • 'V to accent with it. In a passage such as this, “Dannreuther was in many ways a very student who desires to rise above the medi¬ of The Etude family. are proud °f the fine generous spirit % [|ff iff there should be a perfect smoothness and remarkable teacher. He had a psycholog¬ ocre as a performer. This depends not so P‘egg DEPARTMENT OF ORCHESTRAS AND BANDS Learning to Read an Orchestral Score By M. MONTAGU-NATHAN The Following Excerpt is from Mr. Montagu-Nathan’s Interesting Book, “The Orchestra and How to Listen to It (Kegan Paul, Trench, Trubner & Co., Ltd.) The Score of note is affected by an alteration of the the instrument in the key which will make’ for this instrument in C (or three sharps THE SCORE serves several pur- length of the air-column—an effect pro- the clarinet part as easy as is possible in less), music in B (five1 sharps) would, in poses. In the old days, before the duced by opening up holes in the side of the circumstances, process of dropping three sharps, become era of the conductor, when the the instrument—the higher octave's being music in D (two sharps) and music in jst method of first violinist was really the leader of the secured by graded over-blowing, which Making It Easy D (two sharps) would drop its two accus¬ rizing in tne Higher grades? ... .. better to study the piece orchestra, and, when occasion demanded, brings into play a different fundamental, npHUS THE CLARINETTIST is tomed sharps and introduce 011c flat besides thoroughly and play —" "'■*— would conduct his colleagues through any and, consequently, a different set of par- 1 placed in the position of our hypo- —appearing, therefore, as in F (one flat). markings? I use the metronome a. beginning -* PROF. CLARF.NCE G. HAMILTON good deal, but am afraid it is keep¬ .uorizfng with the study of the passage in which a modification in tempo tials. It will be remembered that owing thetical violinist or pianist, in that whereas The Bass Clarinet, usually in B flat, ing me back in my work. piece? The courses which you mention are in¬ occurred, by beating time with his bow, to the “break” in the clarinet compass— lie will on occasions alter the pitch of his in addition to the transposition, is written I love to express myself in ray 2. Is Liszt’s bravura waltz called tended to be self-sufficient although there music, and always have in mind the “Mephisto Waltz" from Len'au’s Some of the greatest pianists have pos¬ the score, compiled by the composer, was the section in which the instrument is instrument, just as does the horn player, an octave above, in order to avoid leger a picture of the music that I am Faustt Is it not considered ex¬ could be no possible objection to supple¬ sessed small hands. I recall the marvel¬ simply a record of the music in its or- tonally unsatisfactory—it has been found the fingering system is kept as nearly as lines. playing. Should I be discouraged tremely difficult? M. M. M. menting them by other longer exercises, because I cannot play fast enough? lous agility with which the late William chestral version, and, once the separate expedient to employ instruments of dif- possible constant. The Horn is written for according to I have the spirit for work and never such as those of Hanon. Mason’s Touch Sherwood used to scamper over the keys parts had been copied from it, was only fere'nt calibre, so that the notes which in If his part were written as it sounds, the fingering system best suited to the key blame anyone else but myself if I 1. Yes, it is much better to study a piece and Technic furnishes a valuable back¬ do not get along. Memory work is with his short fingers. I’m not sure but required in an emergency. With the ad- a clarinet of one pitch would be unsat- the instrumentalist would have to do the of the piece. Obviously the I-' Horn will easy for me. G. C. well from the note and to submit it to ground for any course of music study. that undersized fingers are preferable to vent of the conductor, however, it became isfactory are played on another on which transposing, which would be, so to speak, have its notes written a fifth higher than the teacher’s criticism before attempting An accredited teacher is presumably one to play it from memory, since corrections large, clumsy ones or those that are so customary to print and publish the score, these particular notes do not occur in the a physical as well as mental transposi- the notes sound. A metronome should be used only when who has fulfilled the conditions imposed and suggestions are more effective if the long as to get in each other’s way! and, in more recent times, the listener has break,” but in another section of its tion; the conductor’s or reader’s process The Trumpet undergoes transposition it is a real help; otherwise it should be by a given institution or community. Since pupil is still dependent upon the printed been indulged with the provision of ; compass, being therefore satisfactory. is only mental. To explain the matter in similar to that of the Clarinet, its finger¬ kept on the shelf. In his book The Prin¬ such conditions are only occasionally for¬ page. means of studying and following the music Transferring our attention to the horns, the briefest possible fashion, the notes ing system being usually cither B flat ciples of Expression in Pianoforte Play¬ mulated and since they vary with each Psychology and Music Teaching In the Round Table for August, 1923, from a miniature or pocket reproduction. we discover that these instruments are written for transposing instruments are or A. ing; Christiani says: locality, the term is an extremely vague I suggested a scheme for memorizing I quote from a letter received from Mrs. Modem scores of works in which the in¬ likewise built in a certain key, and that construed by the player as fingering in- The Piccolo and the Doum 1: Bass are “Technic should not seek to shine' by it¬ one. Many attempts have of late been strumental body is very large are repro- which I have found of advantage to both C. C. Carson, of Peru, Indiana, in which ------if Played in this normal key they produce dications. not!, strictly speaking, tran ; ,-ifig in¬ self, and least of all give the impression made to require government certification myself and my pupils, and which works she makes a strong plea for the study of duced by photography—a comparatively in- their series of. partials by variation of lip- It should be here pointed out that there struments; the transposition undergone by of being the performer’s strongest point. of teachers, but, so far as I know, these equally well whatever the stage of ad¬ psychology and the science of pedagogy expensive process. tension; further, that the whole series is is really no need for the score to be iden- the music does not affect the tonic, or key¬ It is not so much a question of playing a liave hitherto been unsuccessful. Will not vancement. In this system, one proceeds by every piano teacher. Enumerating the The score, at a first glance, seems a altered by the use of a valve which length- tical with the part played by the instru- note; it is, in a sense, a platonic transpo¬ great many note's with great velocity in a members of the Round Table who have according to the following diagram: benefits of such study, she says: simple affair enough but at a second the ens the tube so that when a note not to be mentalist, and a few attempts have been sition. The Piccolo part is written an oc¬ given degree of strength, as of playing had experience in the matter give' us some student will see that as some of the m- found in the natural series is required, made, without any considerable success, tave lower and the Double-Bass part an every note clearly and in the spirit of the information ? ^ S° ’ " , 1 -s secured by changing the calibre of to abolish this old-fashioned and unneces- composition.” Thorndike’s laws of learning, i octave) higher than the real sounds in the laws of habit, how the minu m ferent from those’ written score-readmg, the instrument, and, m consequence, its sary method of score compilation and to order to avoid leger lines—as already • So if you have acquired the proper Short Fingers the student reacts to different stim¬ following, and especially playing, cannot partials. introduce the ke of Jvi the rhythmic proportion in a given piece, for¬ uli, how many would change their noted in reference to the bass clarinet. My problem is that of the small, be successfully undertaken without spe- of transposing instruments as fhey sound get about the metronome markings which method of procedure? Abont nine- rigid hand and its limitation—how tenths of them, if they were open- C,al knowledge, and, after that has been A Comparison Until this reform obtains f n ysanction are generally arbitrary and altogether too to manipulate or help the hand to Experience the Only Teacher develop and eventually be of a size minded enough to admit their er- acquired some pracnce. XTOW IF WE CONSIDER the violin, the score reader will be obliged, when fast for the student; and concentrate on 'T'HERE IS no royal road to adept- adequate to meet the demands. The A little story told by my psychol¬ This difficulty is caused by the principle' 1M and imagine that the olaver is onlv nerus.W = the interpretation of the musical thought— particular child to whom I refer Is ogy professor a number of years ago A ness in score-reading, but 1 he attain¬ one of my pupils, a gifted child of of transposition, which certain mstru- allowed the harmonic or partial notes of to perform a feat which appears to be’ which mere rapidity is apt to obscure to illustrate the law of use and ment of facility by means of experience ten. She is of average size in every habit, has helped me to put many a ments are played and written for. one string, we shall at once perceive that comparable to that of readinf a play in rather than illuminate. Certainly we would respect except in the smallness of and experiment in the orchestral concert- her hands. heedless pupil on his feet. “A far¬ An examination of a score-page will dis- his left hand will often be obliged to which the chorus or crowd speaks in the riot judge the ability of a public speaker A former instructor .of mine used mer drove carelessly and crookedly room will surely be reckoned a pleasure by the rapidity with which he talks! to begin a lesson by strenuous ma¬ over a muddy road. His wagon left sW* ’ W*w ihC ,StrlngS ^e,key" makc Wlde leaPs from one sPot to another vernacular and some of the protagonists' rather than a toil. From our illustrations nipulation of the hands while going deep ruts. Every time he went over signature is that of the key qi which we m order to produce a scale selected from in certain other languages. To the accom However, you should constantly endeavor through an oral drill regarding that road his wagon followed the it will be seen how a standard .ore is ar¬ Each division: |-1 represents one same ruts, cutting deeper and deeper know the piece to be some of the wind- his partial notes; or, if we' use the piano plishe'd linguist the sense of the play wTll to eliminate all stiffness from your playing, scales, triads, and so forth. Person¬ continually.’’ Just so In our mental instruments have other key-signatures, for our comparison, we are under the be revealed, but the commencing ^y^ot ranged, and the student will observe with since such stiffness results in an inelastic measure; and the note which follows it ally. the reaction was not agreeable. process the oftener the nerve cur¬ reproduce on the piano the necessity of imagining that all _ _ . |_| 1 some trepidation that the tendency to¬ represents the first note of the next meas- rent passes over certain paths in the ***“ wiI1 secure but a spasmodic appreciation touch and a rigid style. Pay special at¬ brain, the less becomes the resistance. m the score, the chord the harmonic series have been eliminated of the drama, wards increase in size of the orchestra tention to relaxation of the wrist muscles _ __ If I’m Certain connections between situa¬ chosen would notlot have the sound vwe had from the keyboard and that the player if has caused the score to grow until there which are the most frequent delinquents, Be'gin with measure 1. Play it twice tion and response are made, and the assured that it is for her good I paths are established. heard when the piece was performed on he wish to play a scale, ' ’ ’ are often many lines in it which are not arid preface each day’s practice by sys¬ carefully with the notes. Then, looking at shall manipulate this child's hands. it pick out the How It is Done Needless to say I give her suitable If we practice slowly and care¬ the orchestra. There is a story told of partials,Is not in their orderoi of occurrence 'T'HE TRANSPOSING instruments i to be found in the classical examples. The tematic exercise's for loosening the wrists. the fingers, play twice on top of the keys. stretching exercises at the keyboard, fully, think straight, see that our Finally, play aloud twice from memory. Angers respond to our thoughts—in Dvorak, that when a youth, he arranged on the^ keyboard, but in another. More- A ordinary'useordinary use are as follows-follows ■ scores of such works, for instance, as and she can now play a seventh with short, make the track clear-cut the Skryabm’s Poem of Ecstasy, which at mo¬ Proceed likewise with measure 2, then with ease. She is studying the Har¬ Arst time—each time it will be easier some music for a band, and being in ig- over, unless he contrive, he will obtain The English Horn which has the Materials for Elementary Pupils monious Blacksmith. P.eethoven’s norance of the necessity of transposing, only a limited number of notes, either on same fingering-system as the Oboe W ments require more than thirty-six staves measures 1 and 2 in succession, then with Moonlight Sonata, and so forth. As and easier to play the selection cor¬ far as interpretation is concerned, rectly. Of course, it would be use¬ wrote a trumpet part m the key of the the violin or the piano of our hypothesis, which, owing to its greater length sound, to the page, could hardly be reproduced 1. What studies and pieces shall measure 3, then with measures 2 and 3 less to try to explain to young pupils I give a bright boy of six after the she is quite able to take the latter consecutively, and so on. piece. J. P. about neural paths in the brain, piece; as this occasion was intended to be What the wind-instrumentalist contrives is a fifth lower; its part is tW in pocket size, since that would render completion of Bilbro’s First Melody about the nerve currents, and such, the reproduction too small to read. An Lessonst The next day you may repeat the' pro¬ something in the nature of a demonstra- in reality the equivalent of what the vio- fore, a fifth higher, and its kev signature 2. Do you think that Hanon’s in technical terms, but high school attempt in this direction has, however, cess, taking groups of two and four meas¬ pupils leant to be shown, want to ti°n of h,s musical prowess before the linist would be obliged to do in such a has one more sharp than the kev ^f the Exercises and Gurlitt’s Studies could Your problem is one about which I know why. The teacher who knows be abridged in teaching an adult ures instead of one and two measures; and parents to whom he had recently returned situation; he would alter his string, when- piece. y * the been made with the) Strauss work, but, as should not worry as it will probably solve these things herself certainly knows beginner who can read music? better how to guide and train young from school, one can well imagine his dis- ever he required a note not in the natural The Clarinets in B flat and A T„ th the page has to be sufficiently high to 3. Is a person of twenty-three the following day you may practice whole itself with the child’s natural growth. too old to begin the study of the sections in a similar manner. In this pro¬ minds in music study just as she accommodate the numerous lines in a Manipulation of the hand is all right pro¬ would be aided by such knowledge harp? Where can a harp be cess, each individual detail of notes and in the study of mathematics or Ian*. ingyout of- insufficient knowledge^ “ * “ IhlTch^^^^ In'cofsequence13 otthis ‘IkVlffl^Chri n readable type, the length of lines on each obtainable, also instruction? What viding it be not overdone; but I should be are a harpist’s earning powers and finger motions should be stamped indelibly Page is of necessity curtailed in order to mediums? A Young Teacher wary of too many stretching exercises T„~ ■— , tyss ss sr„rts xe t i retain some semblance of pocket dimen- on the mind. Having secured this men¬ which are apt to strain or stiffen the mus¬ tal mastery one may proceed to the “fin¬ sions, and hence it becomes necessary to cles. A pupil of mine persisted in practic¬ 1. Try Beren’s Easy Studies without ishing touches” of interpretation. urn over with a frequency that speedily Octaves, Op. 70, Book 1. For pieces, I ing octaves without my knowledge or con¬ comprehended once the principles of manipulated. ('none') A at )two flats) to C 2. The Mephisto Walts, was, as you grows irksome. One feels like a Liilipu- suggest Bachmann’s Cendrillon Walts, and sent until the consequent strain necessi¬ For those who are interested to follow suggest, inspired by the Faust of Nicolaus sound-production are understood In instruments such as the clarinet, the B flat Clarinetthich for a nnnf ^ •'an 7j*ng to read the score of a work Gurlitt’s March of the Tin Soldiers, Op. tated the care of a physician who forbade out Mrs. Carson’s suggestions, the follow¬ . The reader will remember that the pnn- which has a cylindrical bore, the fingering posing instrument would be in th T' Lenau (pen name Nicolaus von Strelenau), intended for the edification of Brob- 130. her touching the piano for several weeks. ing books may be especially recommended cip es in accordance with which the wind is more difficult, owing partly to the ab- of A flat (four flatu s wHtt ^ dmgnag. a Hungarian poet who lived from 1802 to 2. These exercises and studies are ex- See that the hand develops normally in as wofthy of close study: instrument produces its sound are founded sence of even-numbered partials. It is B flat Clarinet in B flat (two fit 1850 and who was noted both for his short Fortunately there is no reason why the . cellent. Gurlitt’s School of Velocity for finger expertness, and that, above all, the Fisher: Psychology for Music Teachers. upon the natural harmonic system, which necessary; therefore, to keep the fingering <-3016 subtraction *L • flats)’ The lyrics and for his longer poems, such as 4 comparison instituted by the inclusion of Beginners, Op. 141, would probably suit wrist is kept relaxed. Then trust to time Thorndike: Principles of Teaching. is, that when the air in a tube is set in as nearly as possible vdStJ^SZ ^ TSP’ T™ Savonarola and Faust. Yes, the waltz is ese example's of scoring should deter the case. A teacher of discretion will to do the' rest. Meanwhile there is a Strayer and Norsworthy: How to motion, the vibration of the air column the orchestra has to play in a key which shams heffi ,1! “ ■ ,fiats’ Two a technical “stunt.” e intending student from entering upon always adapt studies to a pupil’s needs and plentiful amount of piano music that does T each. takes place in segments and that the divi- is difficult for the clarinet, to arrange that flats to the key of C wouMlT* °f ‘7° not slavishly follow the order in which not involve long stretches or that may sion of these segments results in the pro- the latter shall finger in the easiest nos the R flat in Z * . ? l3ecorne, for a study of the symphonic literature. The they appear. Fit the studies to the pupil Applied' concentration makes a musician, easily be adapted to short fingers. Most Auction of partial tones. The incident of sible key. P Iharp^) MStrUment> that of D (two istory of the orchestra is at the begin- "You don’t have to know nothing about and not the pupil to the studies. an artist, a poet, a philosopher. The degree of Cramer’s studies come under this head, mng o a new chapter. Bigness as an end, music to be a orchestra conductor,” said this system is perhaps best explained by a If, then, the clarinettist is using, say, his The same condition of * ■ 3. As I am not a harpist I cannot an¬ of success a man achieves and the rank also piece's such as the sonatas of Haydn kind of comparative instrumental anatomy. B flat instrument, he will in any case be with the A fS t affair^ flails an even as a means, has now, for obvious Jake Jones; "I oncet conducted the Phil¬ swer these questions in detail. The age he attains in any calling depend more on and Mozart, Bach’s preludes and fugues, harmonic Orchestry. Sure I did! Con¬ If we turn to the clarinet, which is a sounding notes a whole tone below the- A n U', T' ° alter the key of easons, very little to recommend it, and of twenty-three, however, should not be this “applied concentration” than on the Weber’s Rondo Brillanle, Op. 62, Cyril transposing instrument, we find that it is notes written in his cart and in the score 4 Z It,would °Perate as that of C ducted the whole gol-darned bunch of e future of the orchestra must lie with too old to start on any instrument, es¬ gift of genius or on accident.—Bartholo- Scott’s Danse Ndgre and some of Chopin’s players from the hotel to the high school built in a certain key, and that a change and, in addition, the composer writes for hence' whilst'ScTnVloSdbe tdtffin ose who know full well that simplicity pecially if one has some previous musical nocturnes and waltzes. auditorium where they gave a concert.” ■s not incompatible with beauty. Page 910 DECEMBER 1926 DECEMBER 1926 Page. 911 WAGNER AND BERLIOZ AS PRESS- . GRETRY’S INVENTIVE Mird THE ETUDE AGENTS “If I had to dance to music in Pr: The part commerce plays in modern should choose a clarinet to play the t°n 1 music comes in for review in Adolf Weiss- said Gretry, the French composer ^7 Franz Liszt and His E Major Polonaise mann’s “Problems of Modern Music,” pro¬ The Musical Scrap Book believed the clarinet and bassoon were voking an interesting comparison of Ber¬ instruments, and the oboe rustic, By the Eminent Pianist lioz and Wagner in bringing their work Anything and Everything, as Long as it is Instructive wind-instruments were “sad” in his rf°St to popular attention. They “ranged them¬ which, of course, was the day 0f p ^ selves the one for, the other against, the and Interesting and Mozart. ^ RICHARD BURMEISTER press/’ says Weissmann. Conducted by A. S. GARBETT “Like Rameau," says Mary Hare “They both knew the value of stage- in “The Earlier French Musicians" VC Famous Pupil of Franz Liszt managership to the artist in the nineteenth which she has an essay on Gretry’ “il” century. They both knew the far-reach¬ speculated about music as a means of - ing influence of the printed word in the pression. Not only sorrow and j0y modern world, and they were both born chords molto espressivo and the motive in such emotions as anger, jealousy s(Ja Ut 1 IT WAS in the fall of 1881 that I fol- enade than a dance. It did not originate Walts and his Fifth Hungarian Rhapsody, self-advertisers. Here, however, the re¬ BEETHOVEN AND HIS MOTHER 91-92 like an oboe-solo. may be expressed in music. Even friend’ X lowed Franz Liszt from Weimar to from the numerous Polish folk dances or all for piano and orchestra. semblance ended. Berlioz, whose love of n containing In 108-111 be most careful, taking the Beethoven’s childhood was far from be- laurel, was put up in the roo ship, sarcasm or flattery may be rendered” Rome to continue my studies with him. songs, but was first played and danced In the E major Polonaise which is pub¬ sensation amounted to hysteria, wrote mu¬ mg happy, on account of his inebriate Grandfather Louis’ portrait, pedal on the first bass notes which must not And again, she says: "He had an in His seventieth birthday had just been in 1574, at the court of Henry III of Anjou lished in this number of the “Etude,” sical articles sparkling with Gallic wit father, but some happiness came to him “On the eve of the day, Madame van be struck staccato but' must be held a ventive mind and imagined a kind f celebrated at the German Embassy in the in Krakau, when the nobility defiled before I publish for the first time the changes It is true that as a creative artist he dis¬ at least through his mother. Paul Bek- Beethoven was induced to retire betimes, which partly originated from Liszt him¬ moment before the jump to the next chord. metronome for rhythm, also a music! Palaces Caffarelli and later a concert was him at his ascension to the throne. liked the critic's task which circumstances ker, whose “Beethoven” has been recently By teh o’clock all was readiness; the si- In 113-16 glide over the keys in playing barometer with a merry air for fine weather The Polonaise is always written in % self, and partly were proposed by his imposed upon him, but he made the most translated from the German, tells us that lence was broken by the tuning-up of in- given in his honor at Sala Dante where and a sad one for gloomy days. time of moderate tempo and consists of pupils and approved of by the master. of the possibilities it offered, and was not I hroughout his life, Beethoven held his struments, Madame van Beethoven was Sgambati played his A Major Piano Con- “He dreams of a theatre of'the futL' tePto and Pinelli conducted his “Dante” two repetitions of 6, 8 or 10 measures. above using deliberate untruth for his own mother in hallowed memory and spoke of awakened, requested to dress, and was Interpretation advantage. The truth of his inspiration which is astonishingly lik Bayreuth 'I Symphony. A few days later, Liszt, who Characteristic is the very strong accent on Her always with the tenderest reverence, then led to a beautifully draped chair be- HE CHARACTER of the Polonaise as a composer, however, mocked at the should like the theatre to h small, holding liyed at Hotel Aliberti that winter, gave the first beat of the measure, the rhythm of T with a painfully acute sense, perhaps, of neatH the canopy. An outburst of music is best defined by Liszt’s own in¬ utilitarian devices and intrigues of his Ies- one thousand persons at m„st; with only to the few pupils gathered in Rome a her unenviable life with his brutal father, roused the neighbors, the most drowsy scription: “Allegro pomposo con brio." , ser self; his work was always in advance one class of scats everywho , ; no |joxes , lesson at which I happened to play his the accompaniment: bhe remained for him the chief of the soon catching the infection of gaiety, It begins with a short introduction the of the comprehension of his fellow-coun¬ would have the orchestra < nccaled so that EMajor Polonaise. Though forty-five years very few happy associations of his child- When the music was over the table was staccato notes of which are not to be trymen, and he himself solitary among neither musicians, lights music stands have elapsed since, it seems to me as if the hoods home. Each year the feast of St spread and, after food and drink, the played lightly but rather heavily, almost them. should be visible to the an nee. The ef¬ lesson had taken place yesterday; and it the ending on the third beat: ^ *f Mary Magdalene (her birthday and name- merry company fell to dancing (but in portamento. In the first three measures “Wagner, on the contrary, advertised fect would be magical. ... A circular Pt uUC S°’eTity- The stockinged feet to mitigate the noise) and gjyfcs me pleasure to write down for the of the principal theme, 5-7, Liszt insisted himself, not through but in spite of the hall rising in tiers forming -imple amphi- Later, when the polonaise was introduced Turb'nnt 3.T W?fe from the so the festivities came to an end.” Etude the master’s conception and changes on bringing out very distinctly the single press. He could not adjust himself to theatre decorated only In ircscoes’ into other countries and spread over all A and placed in the two sitting We have this pretty birthday idyll from of his work. sixteenth notes (those not written in oc¬ the journalistic tempo, and his writings “He foresees that all ao ,ories jorciai Europe, it underwent some enlargements ' The biography of Liszt is too well taves), being an essential part of the theme. took the characteristic form of long- opy,onv emhHl'isW|embellishednS with-ftte flowers,flStreet’ f"leaves,d 3 Canand' thea y0ung Beethovens. ir‘mate of thef house occupied by* and changes. A Trio, even two Trios, were to the poem’ must be got i i of. The or¬ known to be reiterated here. His career He called it a “Schlamperei” when in the winded treatises. His keenness and per¬ namental singer will be Amishcd from iVas a most marvelous one: A pupil of added and a Coda attached to it. The sonal ambition were very great and he, third measure (7) the single sixteenths theatres to concert hall roulades will Czerny (the man with the uncountable Kosciusko-Polonaise (Auf zur Rache, ihr like Berlioz, was not fastidious as to the Bruder) is a famous example of the kind. were drowned by the following octaves in PURITANISM IN MUSIC ' seem so ridiculous that iw one will sine Etudes) ; kissed by Beethoven after a means he employed; his propaganda was concert the lad gave in Vienna; refused The rhythm of the Polonaise (called very persuasive. them save those who win imitate the by the Paris Conservatoire to enter as pupil; “alia Polacca”) is used also in instru¬ “Berlioz and Wagner may be said to nightingale. There arc also orchestral i Francis pi^tt vSaT abuses which must be aboli hed.”' a few years later having all Europe at his mental and even in vocal pieces and operas have been their own agents, but neither feet; then settling down in Weimar to (“Faust” by Spohr, “Eiigen Onegin by hked the task. It was forced upon them amtm of-ptiSsm^ mus"icS‘common Butf tis startle the musical world by publishing Tschaikowski and the well-known “Dance by the real necessity of getting perform¬ to both sides of the Atlantic: most revolutionary compositions; after of the Torches” by Meyerbeer, danced at ance, without which a musical composi¬ SCRIABIN AS A S I l DENT In order to learn these passages correctly A,/? ondeaVOnnf- t0 demonstrate t0 an caI compositions in order of merit like that drawn to Rome by the Princess of many ceremonies of the former Prussian tion remains unfulfilled. They had to I advise to practice these sixteenths at first Anglo-Saxon audience,” he says, “that schoolboys in an examination Here are some gleaning' :rom an essay Wittgenstein, he became there a priest court). The most popular polonaises have speak through many mouths of the orches¬ hght music is not, sui generis, inferior to realize how few" how ex eedinvf 7°“ on Scriabin appearing in iotchcts,” by been written for the piano, not as dance staccato. The “sempre marcatissimo” re¬ tra and sought to inspire all its members, affer his love affairs had furnished the serious music, the writer is handicapped these are. For a ter sav half a f ^ Percy A. Scholes, giving , glimpse of music, but as piano pieces. Beethoven fers also to the accompaniment. In 11 the from the conductor downwards, with the salons of Europe with most sensational the octaves. From 120-135, “full orchestra.” th?.cRu.ss,,an composer in hi- udent days: began the set with his Polinaise op. 89. phrasing of the sixteenths of the first and spirit and meaning of their work.” by a remarkable obstacle in the fact that, lections-and it Sfu if aff'' talking-stuff. Again he returned to Weimar Scriabin’s definite academic training Weber followed with his Polacca brillante third beat must have rather this effect: was, of course, received the Moscow (arranged by Liszt for piano and orches¬ The rhythm ■==!&£ Conservatory. Here hi achers were the same in 19 of the sixteenths A LEATHER DAGGER FOR tra) and Chopin, the Pole, crowned it CfifCff’ laneyef for counterpoir Arensky for MADAME! with his magnificent array of polonaises of EIFi more pronounced. The following changes composition, and Safonoft piano. The which the one in A flat major has ever of the first and second beat. In 25 Liszt’s of the Cadenza originated from Liszt him¬ “I ALWAYS throw myself heart and soul been the war horse on which pianists have cult to appreciate" ol^cLnot Z7e pS. mutic^has'a^SLg” Ml IT" ;eack™g anrl Personality of l aneyef were remark “quasi trombi” speaks for itself. self. It is to be played like a free impro¬ into anything I may be doing,” confesses probab y quite acceptable : him, and so, attempted rides to glory. an ancestry with impunity. Puritanism terpieces must be admitted ’ 6 I”aS' While Hans von Buelow, in his monumental visation, the double trills to be lengthened Marie Jeritza, the great dramatic soprano, certainly, were those of : tonoff. To Beethoven edition proposes to imitate or¬ “ad libitum." in her book, “Sunlight and Song.” “Yet ■s always cropping up in all of us in the less degree to CoS ’ 0r Liszt’s Two most unexpected guises, and one of the Thereafter ’ ' ? ! . examPIes of it. Arensky he seems quickly ; have taken chestral effects at the end of the Sonata sometimes my enthusiasm is held respon¬ an avers,°n( and his work for him was rT'HE TWO polonaises in E major and The Variations most marked characteristics of our artis- merits-of serial between the Appassionata, it is doubtful whether Bee¬ sible for accidents of which I am blame¬ done under compulsion. On one occasion A C minor written by Fr. Liszt are a set thoven had them in his mind when writing ’ | 'HE TEMPO of the first variation oi less. More or less was printed anent an ns cy set him as a summer holiday task apart. Revolutionist as he was in breaking those passages. Liszt, however, fully in¬ a the principal theme,; 150, is a little incident which occurred at my second per¬ the traditional forms and inventing star¬ slower than the first tempo, about an sr? "con- wrVVri!lng °f ten iugu^- l,{ these he tended to produce orchestral imitations, formance of ‘Tosca.’ It was said that I tier between the two should be drawn.” wrote but two-a fugue-nocturne and a tlingly new harmonies, he interpolated into in quite a number of his piano compositions. Andante. The passages of the right hand flung myself so enthusiastically on the the strain of the E Major Polonaise also In order to bring out the “Trombi” effect are to be played not only elegantemente, villain, Scarpia, who surely deserves to be strhTrt T6- • • ’ Wh«k leaving the stneter style of fugue, Scriabin went on brilliant cadences and into the one in C in this second theme of the Polonaise one but also equalemente while the left hand stabbed to death—and was impersonated minor even Hungarian rhythms and free has to play it forte with rigid, stiff fingers must keep up the rhythm' piano, but most JEAN-BAPTISTE J-ULLY—REALTOR ann!ree comP°sltion, he gavi still more by my friend Scotti—that my dagger improvisations. Our unforgotten James and wrist, but the accompaniment messo distinctly. The run in 154-55 must flow asked 3fCe t0 bis master- 1 f Arensky passed through his Empire coat, waistcoat Lully, the founder of French opera, Huneker, in his book, “Franz Liszt,” wrote forte with flexible touch. Measures 36-39 down like a thin, swift waterfall; The and silk shirt, grazing the skin. Since varGMf0u ?"e thin«' Scriabin would in- the following about them: “The two Pol¬ also operated in real estate, according to A ,y bri"S another. As one instance, are to be played like fanfares. second variation, 166, is to be played still then I am supposed to use a leather dag¬ Romaine Rolland, who thus describes him onaises recapture the heroic and sorrow¬ The Cadenza, 43-48, was played by Liszt very lightly, but already; more marcato. ger for the stabbing scene. After all, so Arensky told his pupil to write an orches- in “Some Musicians of Former Days ing spirit of Sarmatia. The first in E is at the lessons with the additions in the left The different notation of the passage in it was said, there was no reason why an introdn *;rzo result, the composition of an “Like Gluck, Lully understood the all¬ a perennial favorite; I always hear its mar¬ hand and the following slight changes. 169 and 177 is easier to play than the artist, especially so fine an artist as Scotti, 2C‘? *° an °I«a on a Lithuanian powerfulness of money in modern society, tial theme as a pattern reversed of the first original. In 173 note that the last three should be sacrificed because I sank my dent. A ^pea*c,’nff to another of his stu- theme in the A flat Polonaise of Chopin. The Trio notes of the left hand are to be played an individuality so thoroughly in that of the and his head for business was the means had put up, in which he let Wh'Cb he had ‘madman.’renSky described Scriabin as a But the second Liszt Polonaise in C Minor heroine. of getting him a large fortune. His posts HTHE “TRIO” from 66 on begins octave higher. In all older editions this shop, AP1 Put?xhirhaaPdartamecntSand is the more poetic of the pair; possibly L fortissimo with a most pathetic theme. 8va. ... is left out. From 180 to 185 the “The truth of the matter is that it was of Superintendent of Chamber Music and house with a garden, and a second y derstuod?’ ■’c'S satisfactory to find, urn that is the reason why it is so seldom In playing it one may think of four French staccatissimo of the right hand is modified all the fault of the dagger, or to be cor¬ music matter to the Royal family are es¬ Sevres. And finally he set I? T at ter Se »bln and gave »*n a far bet' played.” horns unisono (like the beginning of to a light portamento. In 1,86 reappears the rect, the species of hunting-knife used. A timated to . have brought him thirty thou¬ sand francs. His marriage, in 1662, with mg a lordly estate,-the count?oTr leamer l Hf Sp°kc of him as a *** Tschaikowsky’s piano concerto in B flat second theme of the Polonaise (imitating good stage knife should always have a were set k° a ways did the exercises that The Broad-Minded Interpreter minor). Use the middle finger only and the daughter of the celebrated Lambert, non> for which he bid sixtv *7 Gr’8' here two flutes) and it is to be played blunt handle, so that when the artist, un¬ A S TO the performance of his own stiffen it by placing the thumb under the music master of the court, brought him ticularTy foS^f"itS !hat he was not ?ar‘ piano, but with a very sharp rhythm. seen by the audience, makes the rapid turn in findil ?d w°rfc, and was ingenious Fa original compositions Liszt was the first joint. In the accompaniment the In order to bring out distinctly the a dowry of twenty thousand francs. Be¬ to give the rest of his busy and most gen¬ of the wrist which reverses the knife, there erous life to his pupils and died solitary, most broad-minded man. As he himself prevailing rhythm of the polonaise is harmonic changes of 186-96, note the sides this he had the receipts from the ‘such as se,ecting-the is no chance of the victim being struck by imitation?” treatment as exercises like a gentle King Lear, but without a had tussled all his life with the works carried throughout. The correct use of phrasing and pedal marks, also the "tenuto” opera and exceptional honorariums from the sharp point. The hunting-knife had— Cordelia, in Bayreuth amidst the Wagner of other composers, transcribing them for the pedal results almost in this rhythm: of the left hand-chord on the third beat. thte king. - rec°1,ec,ions of Scriabin quite inappropriately—a horn handle, made Festivals, the 31st of July 1886. other instruments, changing, arranging and Keep 220-21 in strict time. In 222-24 do “He conceived the idea of investing the described !,Ve h66” ’nvar*®bly pleasant. He rearranging them in most various ways, he of the antler of a deer, but unfortunately About eight hundred thousand ’ f W°r‘h the accompanimento martellato with stiff greater part of his money in projects to of his ijf„ * one °f t,1e finest experiences A Popular Composition was also most liberal towards the changes Begin the repetition of running to a point. It was the first time fingers and wrist, while the theme takes up make a new suburb on the Butte des Mou- Scriabin /"ioccasion when, whilst giving AMONG Liszt’s piano compositions the the performers made with his works. Dur¬ the tempo of the Trio, therefore go at once I had used it. I picked it up hurriedly, To this the author adds a , . ns* He did not consult a business man E Major Polonaise has become one of ing his life time I arranged his Galop Chro- Ped. slower than the foregoing measufes. In taking a blunt end for granted, and so the dropped off ^ over-'ired' he m the matter, but did all his own work, tailing other properties Lull f °tC de' D flat t0 s eep a«d woke to hear a the most popular piano pieces. Before com¬ matique and his Sonata in B minor for the theme in octaves, 78, more subdued in 227-32 the theme is like .trombones, but the accident happened.” hfting his fortune to seven yJ,?.ssessed> to him Pre,ud® until then unknown menting on it a few words may be said two pianos, and both works were performed order to bring out the following big accompaniment lighter. That the' Coda and, as Mr. Edmond Radet has shown’ francs. en m‘lhons of afraid tr, 6 remained spellbound and about the Polonaise in general. at the lessons with his approbation. Later crescendo. In the “Recitativo,” from 90 on, from 236 on is not a satisfactory ending The. Polonaise (in Italian Polacca), a I arranged his Concerto Pathltique (orig¬ break the spe°7» °r Speak fest he shoU'd play the horn motive in the right hand the Polonaise is proven by the fact Polish national dance, is rather a prom¬ inally written for two pianos), his Mephisto- marcatissimo, the accompanying melodic most of. the pianists make of it another DECEMBER 1926 Pago 913 THE ETUDE Page 912 DECEMBER 1926 THE ETUDE arrangement. See the editions by Carenno Veiled Music and Busoni. The arrangement of the end¬ Influence of Music at Home ing in this edition follows pretty closely By Clyde Norwood the original. By Eugenio Pirani Longfellow once said: “Show me the ated. Deep in the human heart is the love Self-Test Questions on Mr. Burmeister’s home where music dwells and I will show of good music. Why not have, then, what "Distance lends enchantment.” The Article you a home that is happy, peaceful and is really desired? fascination of half-heard music is like the contented.” He was not a musician him¬ If, out of a family of six, one has the charm of a lovely girl wrapped in delicate, 1. What characteristics stand out prom¬ self, but he was fully convinced that music privilege of music study, it should be inently in Liszt’s nature. floating robes or enveloped, as a vision, in would bring peace and contentment to any looked upon as an honor, a high calling, clouds. 2. IVhat was the origin of the Polonaise? not as a piece of drudgery to be shunned household. And, of course, he. meant by Recently 1 was walking late in the night 3. What peculiar rhythms give piquancy and neglected. The boy or girl who loses this good music. in a solitary spot up in the country, when to the Polonaiset the chance, does not appreciate the gift, In these days of unrest and lack of dis¬ from far away, faint sounds fell upon my 4. What developments has the Polonaise will deeply regret it a little later. Many cipline at home, can the influence of good ear. Through the air floated a sweet undergone, and by what masters? music ever be measured? No, it is beyond have honestly mourned the loss of the ethereal melody which seemed not to come 5. In what well-known Works' has the all things precious! It can “chase dull great opportunity that slipped out of their from a human voice nor from any instru¬ “Alla polacca” rhythm been effectively em¬ care away,” help build character and bring fingers and could never be grasped again. ployed ? ment, piano, harp, or violoncello, but from cheer and joy. Should tlie opportunity come in the guise some invisible spirit. I hardly dared pro¬ 6. What was Liszt’s attitude toward in¬ When the poet penned his wise sentence of music lessons, may it be welcomed with terpreters of his works? ceed, fearing that the magic spell would there were no “Broadway successes,” no all the heart! What are a few little in¬ 7. What unusual effects did Liszt intro¬ be broken. records of the “latest hits,” and, above all, conveniences, such as the practice hour, duce into his compositions for the piano? no jazz to disturb the serenity of the home. when playtime is calling, compared to the But the curiosity of the scientist prevailed, In those days the music that brought con¬ joy in the home when studying is done and I continued to walk in the direction tentment was personal—coming from the carefully; the pleasure to parents and of the sound, to discover, on nearing a cot¬ tage, that it was simply a piano played in Technical Development heart, sung with the voice and played with friends when proofs of industry can be the hand. Then it was that mother played shown; the happiness of attending a good a passable, if not indifferent, manner. The the hymns on Sunday evenings, all the concert and knowing what it is all about? distance had been responsible for that By Henry Durkee Price family gathered about the piano or melo- Boys, the music-study hour will keep mysterious appeal. On nearei approach deon. Then it was that the eldest daughter you out of mischief, and you will thank the witchery was destroyed. of the family was given music lessons, and your stars, one day, that you had it. Girls, Would it not be possible, then, to find Incomplete knowledge of their physical practiced every day, happy to have the the lovely melodies of Bach, Mozart and some way to endow piano playing with equipment, and consequently a haphazard privilege of studying. Her work in music Beethoven are worth a thousand times that mysterious charm independent of method of improving it, has been a con¬ was a joy and education for the whole more to you than the trashy' stories and distance or other circumstance ; Would tributing factor in holding many ambitious family. books- you find time to read. For both of it not be possible to obtain th.u faintness, students of the piano from realizing their So to-day, one member studying piano you music is a wonderful character builder. that vagueness, that mystic quality which full development. and practicing music daily will bring peace Everybody is born with a love for it. It made the sound seem almost supernatural? The pupil should be brought to a reali¬ and contentment to the home, uplift the is within you, waiting to be cultivated and “Veiled piano playing” can accomplish this zation of the facts regarding his own in¬ atmosphere, and cultivate a taste for what brought out. wonder. dividual physical makeup. Then may he is good. Then the cheap, ugly and degen¬ Then do your share to make home happy Let the player’s fingers glide, float, over reap the greatest possible benefit from erate music (so-called) will not be toler¬ and life contented. the keyboard with a velvety touch. Let his practice. him combine skilfully the two pedals, the The presence of unequally developed fin¬ soft to bring about a very delicate shade, gers produces an uneven, inaccurate tech¬ the forte pedal to create a kind of diaph¬ nic, and these inequalities must be leveled Musical Memory Gems anous mist. Let him think of Aeolian out by increasing the muscular scope of harps, angels, heavenly voices and he will action of the weak fingers while giving By Lucille Collins less attention to the stronger and more ef¬ succeed in eliciting rapturous harmonies. ficient ones. We all know the excellent effect of the younger pupils’ piano lessons. Every Let him not think, however, that he can Few pupils actually know which finger memory gems on the child’s mind in his week all pupils are given verses to learn. dispense with a perfect technic, with a has the greater scope of action and which school work. Why not, then, in the study They love them and if the writer happens faultless performance of pas sag ■. chords the lesser. And how are these facts to of music? to forget they always look disappointed and so forth! The result would he of no be sufficiently realized and brought home In the past few years many interesting and say, “Can’t I have a verse this artistic value: it would become no re mock¬ week ?” ery. Only a consummate artist c n attempt to the pupil, except by an actual measure¬ little poems containing musical thoughts At a recent beginners’ recital one of such excursions in the field of poetry, of ment of his finger action? have been published in the Junior Etude The vertical scope of action of each in¬ these little poems was recited before each dreamland. There must not for an instant Department. The writer has made these dividual finger may be measured in the piano number and made quite an impres¬ be the feeling that his “veiled claying” is into a collection to use in connection with following simple manner. Procure a foot sion on the audience. only a camouflage for hiding a poor per¬ rule and drill a hole about the size of a formance, only a vulgar trick to cover match on each quarter inch mark. Now defects and imperfections. H > severest place the hand in position on a table or criticism should point behind ti;h “magic other flat surface and stand the rule on First Steps in Musical Form veil” to real beauty and mastery The in¬ end alongside the finger to be measured. novation would be otherwise too gladly While holding all the other fingers down, By Eutoka Hellier Nickelsen accepted by the crowd of incompetents as raise the finger to be measured until the It is quite possible for the very young a screen for their limitations. The mystic 5. That each musical period expresses a tip of the nail just touches a match con¬ child to know: veil is not supposed to help inefficiency, but, veniently inserted in one of the holes an completed thought pertaining to the 1. The poetic idea of the composition, on the contrary, to elevate true artistry. inch or more above the table. Gradually though he may not understand the Of course this art should not be indulged increase this distance by moving the match 6. The difference (told by ear) between m to excess. Softness and delicacy should up one hole at a time until the maximum harmonic structure. 2. That a major key is used in telling a complete sentence and an incom¬ not degenerate into inaudibility. How vertical movement for that particular fin¬ a happy story. plete sentence. much pleasanter, however, this extreme ger is reached and recorded. In a ma¬ 7. That a triad is a three-toned chord. than the other of boisterous sonority, pugil¬ jority of cases, the second finger will be 3. That a minor key is used in telling a sad story. istic essays of many a pianistic “Dempsey” found to be the most flexible, followed in 8. That a triad may be built on each agamst the helpless keyboard 1 order by the fifth, first, third and fourth. 4. That a complete musical period con¬ scale tone. This would indicate the relative amount of sists of sixteen (sometimes eight) 9. That march time is in \ measure. Nor should “veiled execution” he used practice each finger requires, to bring them measures. 10. That waltz time is in % measure. indiscriminately. It should be dispensed with all to a standard of action. m those passages requiring great tonal Now lay the rule flat down on the table Power, as in military marches, storms, and hold the tip of the second finger Blanketing Mistakes With A “Loud” Pedal tempestuous and passionate effusions. Here, against a match inserted near the left end loudness is imperative. The true artist should have all the colors ready on his of the rule while stretching the third fin¬ By A. Lane Allan ger until it touches another match placed palette. Where mighty climaxes are re¬ an inch or more to the right. This stretch An imaginative young pupil whose tech¬ quired the "great play,” das grosse spiel. may be gradually increased by moving the nic was sadly marred by the constant use o— sue aevelor lnto act,on- “Veiled music" match over one hole at a time until the a clear cut touch and forgot the exister s ould be reserved for compositions which of the “loud” pedal was induced to read of a loud pedal. The example of t horizontal maximum of stretch between the biographies of /-.. ious composers, as require a delicate treatment, like spinning great ones had indeed proved helpful. any two fingers is reached and recorded. part of her regular lesson. The romance songs, lullabies, and other music which sug¬ By practicing these exercises daily with of their lives appealed to her and she gests murmuring sounds. all the fingers and making weekly records caught, too, a glimpse of the application “It is the ’cello with its great range of of the results, the pupil may be gratified and industry needed to bring about any tonal beauty, drawing from the best of to find his scope of muscular action in¬ worthwhile result. each of tts contemporaries, that fulfills the When anybody asks me what 1 think creasing and the ligaments binding the Soon it was plain to her that she was most complete demand for contrast and finger joints becoming more pliant and and LTT’ 1 reply that therc « cheating herself by “blanketing mistakes • . Mere, is music, but that there flexible. gives us the greatest of all string instru¬ with a loud pedal.” Before very many ments.—The Musical Leader. s "0 jazz music.’’ —Mrs. John F. Lyons— DECEMBER 1926 THE ETUDE THEE TUBE DECEMBER 1926 Rage 921 Page 920 DECEMBER 1926 SCENE DE LA CSARDA Copyright 1925 by Theodore Presser Co. British Copyright secured the etude Page 922 DECEMBER 1926 / 0 2 4 . r 4 ^ 4 i i 4 5 ^T" -V*.— \ f*v --T*"} .1. J—- -r i i—h- 4- ±= -M-:j -W-J-—j :n. ^r- -i^ ^j ^j -4 j 1 1 -rr i i j ^ ^ * i * •* J- • J 0 J- J- — z7//^ II ([v •i DECEMBER 1926 Page fd ■ THE ETUDE THE ETUDE THE DARKIE’S DREAM HARL MQ DONALD THE SLEIGH RIDE A free transcription of the original tune. Grade 4. MELODY BY LANSING M. L. PRESTON Allegro scherzandoJAM.J= 108 HUMORESQUE British Copyright secured He was far sighted In Civil War times And now united Were sad and sore times, We all are thankful for Good men on either side fought and died Abraham Lincoln’s guiding hand. And grief stalked through the land. Dorothy Gaynor Blake DECEMBER 1926 Page 933 p<*ge 932 THE ETUDE tbe etude December 1926 _ SCHERZETTO VALSE DBS FLEURS ely study in co-ordination, and evenness of tone. Grade 3. HARRISON POTTER Vlvann nr w 4 3 .— s £ gift 4’ - 3 ftp B S > 0 5 i i m m m r!\ m si m Copyright 1926 by Theodore Presser Co. British Copyright secured * From'bere go back to the beginning and play to Fine; then play TVio. British Copyright secured Copyright 1926 by Theo Presser Co. p«ge 934 THE ETUDE Copyright 1926 by Theodore Presser Co. International Copyright secured THE ETUDE DECEMBER 1926 Page 937 page 936 DECEMBER 1926 THE ETUDE ROSE OF LOVE LILY STRICKLAND Allegro rton troppo 1. I know a gar-den a sweet-scented par-den Where love-ly blos soms grow, N2.Each has a flow-er a 'fa-vor-ite flow- er That hewouldsfy'eld frotnnarm; Tall lil-ies fair and vi - o - lets, And pan sies row on row; I cher-ish one a-hove the rest, Each one con-tent - ed with his choice, Each with a diff-’rent charm. But there is one I love the best, British Copyri^rT secured ■Page 938 DECEMBER 1926 THE ETUDE THE ETUDE DECEMBER 1926 Page 939 inf do not drag Page 940 DECEMBER 1926 theetulr SNOWFLAKES the etude DECEMBER 1926 Page 9hi Emily Guiwits THURLOW LIEURANCE Educational Study Notes on Music in this Etude By EDGAR ALDEN BARRELL * I IF you would make your gift one that will bring joy and happiness for years and years, choose a Brambach Baby Grand. This remarkable instrument is known the world over for its wonderful responsiveness and for its glorious tone. It is a compact, beautifully-proportioned instru¬ ment that requires no more space than an upright —and costs but little more. Embodying qualities unknown until Brambach created them, this remarkable Baby Grand is unexcelled in beauty of tone and finish. It is a distinct achievement in piano making... a result which only 103 years of manufacturing ex¬ &asifr to own one perience could bring about. Mail coupon below for further Because of the enormous Brambach production, this re¬ information and for a paper markable grand piano is priced surprisingly low, $650.00 and pattern showing the exact space up, f. o. b. New York City. requirements of this beautiful On convenient terms, if de¬ sired. Distributed by leading Baby Grand. The pattern will be music houses everywhere. mailed with our compliments. BRAMBACH 7:sr=r ^»rel Page H2 DECEMBER 1926 THE ETCDe the etude Page 91fS it is difficult to hear one’s self) Use th despise them in their native tongue. One “shepherd.” “EH” is rightly a pure vowel initial sound of “e” as a sort of ladder by W1ST V-” - H might think the maintenance of the per¬ sound; but it ceases to function as such which to climb into the main vowel.' Th ' fect purity of the vowel stream a prob¬ when an officious “E” is allowed to pre¬ thereby accomplish a “scoop”—at all tinwf lem of sufficient difficulty in itself without thong • for Wf> °ny the sP°ken dip- The Singer’s Etude cede it and distort the word into “shee- undesirable. In singing these diphthongs unnecessary additions to the already dis¬ EHpherd.” the student must exercise great care i heartening list of diphthongs. 27 25?“* -a-aahoagX different Edited for December by Eminent Vocal Specialists This obtrusive “E” may also appear be¬ order that both parts of his diphthongs am fore the main vowel in the words “shout” tion. H “0re comPhcated considera¬ attacked exactly on pitch. “Manufactured” Diphthongs and “shore;” and then we have “shee- One of the most difficult diphthongs, and MONG THESE “manufactured diph¬ te the fact tha‘ the A OUt” and “shee-Ore;” also instead of one most often neglected, is that which has thongs,” perhaps the most common is “shawl,” we hear “shee-AWL.” This the “66” vowel as the initial and short that of “(e) AH” which we often hear in¬ alien “E” is most elusive, and can be routed It is the Ambition of THE ETUDE to Make This Voice Department ,rS*i='5^ sound. This vowel combination is very stead of the pure “AH” vowel in such only by the utmost care and perseverance. “A Vocalist’s Magazine Complete in Itself” apt to be slovenly treated unless the stu¬ words as “shall” and “shadow.” In order Plainly, the task of each and every dent’s attention be especially called to its to form the consonant combination “sh,” voice student is to cease wasting his years d»Kof ;e <>« 3* dangers. The word “was” is really “(66) it is necessary that the tongue be near the to™! 0,h“ 'TOrd!' he le>™ 1 and energy in bewailing the many dif¬ 6 C,°mpone,lt elements of his AH (z) ;” and “why,” “(hoo) AH (e) ” rpof of the mouth, as is also the case in ficulties of the English diphthong, and in¬ If either of these words falls upon a the formation of the “E” vowel. Unless, £ts rlTrelatl V0ahTd andIf hethen fa .lsg^e tQ todQ each That Bugbear of Singers—The English Diphthong stead set himself to the task of learning sustained tone, the “AH” must be the only then, the jaw be dropped quickly for the to sing it intelligently—even elegantly. He then we hear the so-called “mouthing” vowel given prominence. J singing of “AH” an officious “E” may will then come to realize that, after all, of wwels-one of the most unpardon¬ Then there is the word “when,” which easily be sounded between the “SH” and able of vocal offenses. English is a singable language: he will Then the diphthong “oi” or “oy” in we often hear sung as “wen,” a perfectly the following “AH.” Thus we often hear ambitious voice student. A clean, sustained legitimate word in its proper environment even enjoy demonstrating the truth of his propheerlvTsannr °J usin^ diphthongs such words as “joy,” “hoist,” “anoint,” “shee-AH-L” for “sh-AHL,” and “shee- “AH,” with no premature preparation for but scarcely eligible to appear in a song- AH-dow” for “SHAH-DOW.” discovery to his own and his listeners’ ™,sP l7J °!e whlch requires much seri- and “appoint,” requires considerable the vanishing “66” will insure its proper text of any poetic value. If the student The same distortion may be easily occur satisfaction. He may claim the honor— 7Lh - y’< ^ ,Strangely enough, one thought and skill. The sustained vowel, articulation. Other examples of this diph¬ is sufficiently painstaking, he will aspirate in the pronunciation of “SHEH” as it no mean distinction, in truth—of having £‘S ° " kft t0 take' care of itself, of course is “AW,” and here again we en¬ hor there is a surprisingly large propor- thong “AH—00” are found in the words his “H” before a short sound of “66” occurs in the first syllable of the word counter our old enemy—the vanishing conquered the English diphthong. tion of vocal students who are unable “vow,” “now,” “howl,” “hour,” “out,” and and then pass instantly into the heart of “e.” The syllable is then sung as “AW— others. even to name the diphthong vowels Is the diphthong vowel which, in this par¬ (e),” with pressure consistently removed Giving “Dew” Its Due ticular case, is the pure vowel “EH” The Schubertian Song sWd t0 £ expeCted- then, that they toward the final vowel. should use them correctly in their songs? Then, of course, “(hoo) EII („)” is the Probably one of the most obvious and "NJ OW LET us consider the diphthongs Sir C. Hubert H. Parry, Bart., Mus. No singer can hope to acquire perfec't whose short or unimportant sounds result We have also “what,” “where” and texts. Others have tried this but very few and elegant enunciation of his song texts frequent mutilations of the “AW— (e)” Doc,, who has contributed a higher degree have succeeded. Lowe, in his marvelous diphthong appears in a careless perform¬ occur before, instead of after, the sus¬ “whine,” all governed by the same general oi illuminating musical criticism than any until he has conquered the English diph¬ tained part of the diphthong vowel. The rules. Here again, as in the case of the ballade, “Edvard,” makes an astonishing thong vowels. ance of “Rejoice, Rejoice,” from “The Briton of his time, says regarding the Schu¬ short initial “E,” the student must be picture; and Edward MacDowell, in his Messiah.” Many young sopranos fail to English “U” is an example of this difficult bert songs : “Schubert's ways of suggest¬ „.IT,et u® first consider the diphthong vowel combination. Here we find that an vigilant in order that his short sound of “The Sea,” also touches the zenith of mu- maintain a pure vowel sound throughout ing the actual have been followed by the No Finer Piano is Obtainable ^ as it appears, for instance, in the initial sound of “e” must appear quickly 66 is attacked exactly on pitch. •sical expression. In the present day we the intricate florid passages where is found composers of songs to the present day.” word ‘ fade.” The “A” vowel, of course, and immediately before the more important the diphthong “oi,” the second syllable of The Crescendo and Diminuendo That is precisely what Schubert did, have a kind of reflex of the efforts of the At Any Price consists of a predominating “EH,” and a ‘00.” The result then will be “(e) OO.” vanishing sound of “e.” The “EH” is sus- the word “rejoice.” In this case the van¬ “suggest the actual.” He had a remark¬ modern French masters in creating atmos¬ Why do so many vocal students ignore DECAUSE OF an imperfect under. ishing “e” must appear only after the at¬ able gift for portraying in tone certain phere—all too frequently fog. None, how¬ tained practically throughout the full the ^diphthongal demands of this English standing of the shading of the diph¬ value of the note to be sung; while the tack upon the final note of these coloratura moods which developed human emotions ever, has ever excelled Schubert in sug¬ Endorsed by Schools, Colleges, Conserva¬ U,” and pronounce—or rather mispro- thong vowel, many students allow a pre¬ e is pronounced immediately before passages and then simultaneously with seemingly akin to the thought of the song gesting the actual. tories, Institutions and Individuals of the sibilant “ce.” nounce—the word “dew” as though it were mature “vanishing sound” to intervene in the nnal consonant, “d,” but so quickly spelled doo?” The word “new” suffers the progress of what might otherwise have highest musical attainment, who recognize that it need not be calculated upon as to been an altogether satisfactory crescendo Distortion of the “O” Sound likewise; and still these same students Know Your Own Larynx in the Stieff, unequalled tone-quality and time value. The singing of the word, then, would scarcely think of singing the word or diminuendo. The crescendo or dimin¬ analyzed into its component parts, is sim¬ VTT'HEN THERE are the diphthongs uendo must, of course, be consummated unquestionable durability. ply “fEH—(ee)d.” „ - . whose vanishing sound is the vowel few as ‘foo,” or “pew” as “poo.” In all of these words, as m also such as “youth,” upon the pure and predominating vowel of ?° ” According to Mr. Webster, the Eng¬ the diphthong, the vanishing sound being The Vanishing “E” lish “O” is more or less diphthongal in .pure’ and “mute,” the first sound of “e” ■ Singers may be interested to know that thing else. An understanding of the deli¬ The oldest Piano-Forte manufactured in is passed over quickly, and should in no produced only at the finish of that par¬ character, for there is a slight sound of Dame Melba, perhaps the most perfectly cate functions of voice mechanism is a America exclusively owned and controlled M°W LET US take the word “day,” way interfere with the sustained “OO” ticular bit of shading—and that quickly, “oo” following the main part of the vowel. trained soprano of our time, believes a rational and logical plea for perfection * °ne whose diphthong is not followed which is made to predominate strongly m order to interfere in no way with its by the direct descendants of the founder. This vanishmg SOUnd of the diphthong certain knowledge of the physiology of the in singing, and was always embodied in by a final consonant. Here the difficulty We find this short sound of “e” pre¬ accomplishment. This rather involves a 0-k>6’is even less prominent than those throat essential to successful singing. She the methods of the old masters, whose gen¬ lies in the seemingly irresistible tendency ceding the main vowel “AH,” in the word question of “changing horses in mid- previously discussed. Great care must be contributes a chapter to her biography by eral accuracy has been reduced to a much For those who desire convenient terms— of the pupil to close his 'jaws as he finishes yonder, as it does also the “AW” vowel exercised that it is not exaggerated in the ceechng UnWIse and danSerous pro- Agnes G. Murphy, in which she says: we have a plan that makes it possible the word and thereby to “bite” into the m the word “yawn.” Likewise, the word surer science by some of their present-day slightest degree. Students should carefully ■ “One of the first fields for the employ¬ vanishing “e.” In ending this word and yore whose vowel “O” has a slight For some inexplicable reason, known followers. Those who know the structure for every home to own a Stieff. Your guard against such a distortion as might ment of the beginner’s energy is physi- all other words of like vowel arrangement, vanishing sound of “66,” contains an only to themselves, most students seem to of the larynx and the muscular mechanism easily occur, for instance, in the pronuncia¬ plogy. No student should be content to present piano will be accepted the mouth position need not be noticeably mitial sound of “e;” and in the word “yea” feel a distinct urge toward closing their of the parts called into action by the pro¬ tion of the exclamation “Lo,” which in proceed without gaining a reasonable as part payment. changed. If, through lack, of attention, it we again encounter the short “e” preced- jaws as they progress toward the end of careless hands-or rather lips-degenerates knowledge of the anatomy of the throat duction of the voice will find themselves becomes so, then the vanishing vowel will mg the diphthong “A.” Then also in the a diminuendo. If the vowel sustained in into LO—oo. Here again the student’s and the sensitive and complicated physical in possession of knowledge essential to certainly be accentuated—and wrongly. words yet” and “yes,” the main vowel of the decrescendo happens to be the pure mirror may furnish serviceable assistance. mechanism that produces the singing voice. correct attack. The application of the air- For the correction of this last fault, I EH is preceded by a short sound of “e ” vowel “AH” or “EH,” and the student is Another ‘OO” ending occurs in the diph¬ For myself, I at one time became so com¬ blast to the vocal cords should be a detail An 18-color chart,show¬ would advise careful practice before the an addict to this pernicious habit, then we thong W* or “ow” (“AH-66”), as in dinbrhC° I”8 the difficuIties °f these pletely absorbed in this study that I could of exact science, not haphazard circum¬ ing the international mirror of all diphthongs ending in the diphthongs whose vanishing sounds precede are very apt to hear “AH-uh” or “EH-uh,” Free < “e” vowel. the.words “house” and “how;” and this practically neither think nor speak of any¬ stance.” development of Piano- combination furnishes another potential the main vowel, we discover another dan- combinations which could scarcely be clas¬ Then the “I” diphthong, composed of sified as beautiful vowel sounds. Send stumbling-block in the upward climb of the ger-and a serious one. For many stu¬ i Forte Composition from the primary sound of “AH,” plus a vanish¬ dents unconsciously (and we all admit that Then, on the other hand, some pupils Perennial “ Farewells ” ing sound of “e,” should claim the serious for 1668 to 1926: alsoastory Iy«all°W 1116 jaw t0 drop on a pure attention of all who would attain correct OO or “E;” and this is likely to happen of the growth and pro¬ singing enunciation, for this is surely a on a diminuendo, indeed on any sustained This gress of the world’s diphthong which we hear often mutilated Spinning the Breath j With Melba’s recent farewell still fresh tone requiring these vowels. Under such In spite of more than plainness of speech finest musical instru¬ by careless singers. For example, let us circumstances “E” and “00” develop diph- in the ears of London, and a rumor already and features, of uncouth manners and ap¬ By Lynne Roche ment—the piano-forte. take the word “light.” “AH,” being the M°n?f/ characteristics undreamed of by in the air that her “most perfect trill of pearance, her voice was of such beauty principal vowel, is, of course, the one to be Mr. Webster or any other authority on our all musical history” may be heard on an “Breath” holds the whole secret of tone that she soon had a loyal public. Then, sustained, while the vanishing sound of nghsh vernacular. Then, instead of pure early tour of a company with this fair speaking of its technical aspect. must become as tenuous as the fibre the in 1692 she announced probably the first “e” is pronounced quickly, just before the worm denves from the mulberry leaf. vowels, we hear a mongrel “OO-uh” or “E- Australian at its head, the beginning of the of “farewell” appearances, which, like the “Breath control,” that has been made an Chas. M. Stieff, Inc. consonant “t” is spoken. How often do u , neither of which vowel combination jfarewell” habit becomes of interest. same of many of her more modern emu¬ ogre to the student of singing, needs to be iJ jhe bfeatb taken as specified, hold we hear “LAH—EEET”—the second part it for but a short second-just long enough appears legitimately in any known sing¬ Though opera appeared in Florence in lators, was so successful that she instituted considered as nothing so forbidding. Est. 1842 of the diphthong receiving even more at¬ to secure the feeling that the respiratory able language. the year 1600, when Peri’s “Euridice” had a series of them that continued for several Inhaling becomes a very simple process, tention than the first and predominating muscles have come to rest and are ready to Of course we all are ready to admit that, its first performance in honor of the mar¬ years. Stieff Hall Baltimore, Md. vowel ? if the singer will but relax thoroughly the reverse their motion. Now, with the lip*, rom a vocal standpoint, English, on ac- riage of Henry IV of France and Maria muscles of the chest and abdomen and The word “my” offers a serviceable ex¬ parted the least possible-just enough thm c unt of its inevitable diphthong, is much di Medici, it was not till 1691 that Mar¬ “There will be English opera some day, Warerooms in principal cities allow them to expand as the breath just there 1S the feeling that the tip of f wefl- ample of a word containing the “I” vowel more difficult than is Italian, with its pure garita L’Epine appeared in London as the for there are splendid composers and they pours” (no drawing about it) down into vowel formations. Many American voice not followed by a consonant. Here again sharpened pencil might be inserted-allow first of a train of Italian songsters that are slowly but surely developing an Amer¬ the lungs with the ease which may be seen the breath to spin out” through this tiny students complain bitterly of the difficulties the student must assure himself that he is were soon almost to monopolize the stages ican form. What it will eventually become You may send me literature regarding STIEFF in the sleeping child. opemng, not trying t0 find ^ ° singing their native language, and make of the operatic world. not closing his jaws upon the final “e.” remains to be seen.”—Florence Magnus. will take to exhaust the lungs but how fong oud and convincing comparisons in favor Uprights Players Grands Reproducers To avoid doing so is much more difficult . The reversed operation is not quite so an ordinary breath can be extended. g of the pure Italian vowel. So far we must simple, but far from impossible, and can NEW COURSE of SINGING than it seems on first consideration. It is agree with them. ADVANCED j I □ □ □ □ be accomplished with almost the same ease. Allow a few moments of rest and then ALL MUSICIANS by CORRESPONDENCE quite necessary in the singing of this, as of But, strange to say, these same students Who play Comet Tnmpet, Trombone, Freneb Hon Some old master invented for the proper repeat the process. Make but a few rene Alt°, Clarinet or Saxophone and arp troubled with Pr t Including Voice Culture, Sight Singing and Mu- all diphthongs, that all pressure be re¬ tihons of this at one time; but do this two Present thoroughly Anglicized and there¬ *ure, High Tone*, Low Ton Weak Ups, Sluggis sical Knowledge. A thorough, practical course. mode of this the phrase, “spinning the 8, to Harmony Correspondence Course moved toward the point of attack on the or three times a day; and a noticeable im to^ diphthongal renditions of “Caro Mio Tongue, Cleon Staccato, P er tLc, Jazzing, Transpoz vanishing vowel. breath ” Which is not at all inappropri- Hon or any odi®r troubles, shm'd g t our ate; tor the stream of outgoing breath Ben and “Ritorno Vincitor.” After all, it Nome Inat’mt. FREE POINTERS B-ginn-r or Advanced sotTelf m COntr°' °f thC brCath w!11”e seems that they must have their diphthongs, VIRTUOSO MUSIC SCHOOL, Dept. K, BUFFALO, N.T. gardless of how thoroughly they may r Page 9U DECEMBER 1926 THE ETUDE the etude DECEMBER 1926 Page 9^5 CHICAGO Musical Pointers HERBERT for WITHERSPOON, MUSICAL COLLEGE President Musical Parents WINTER TERM NOW OF*EINJ Conducted by Piano Voii2vSnhrSnf rePutation. 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The Action provides Wn sibihty-nih „off T-idbuildingCons a e"singleng, coursepos' 0t0f beMusic,” ireed witha supplementary “The Standard list Histof °re¬ry in music which will fit the needs of the cords, and “Harmony Book for Begin- the Life tind Beauty Week Subject Chafter of Piano Tone— STUDENTS MAY BEGIN STUDY AT ANY TIME Topic Page 1 History 1 How Music Began 7—IS COMPLETE FALL-WINTER CATALOG ON REQUEST Appreciation 1 Records of Aboriginal and Primitive People 3 And the Standard Piano Action Harmony land 2 Material of Music 7-8 has been the choice of music CHICAGO MUSICAL COLLEGE 2 History 2 Music of the Early Church 16-21 lovers for 37 years because it « __ A Conservatory>ry PIedtredPledged to the High. Stic Standards. Established 1867 Appreciation 2 Records of Gregorian Period 3' is the highest quality piano action 60 East Van Buren Street (Sca*°E ““Sng) Chicago, III. Harmony 2 Building the Major Scales Herbert Witherspoon, President Carl D. Kinsey, Manager 9—11 in the world. Before you select 3 History 3 Development of Notation 22-26 your new piano, let your fingers GfcfalanfcJnstitufo Appreciation - Study and Copying of Old Manuscripts _ glide over the keys of one that Cincinnati (fonserbatort} °fJCttusic Harmony 4 Major Scales—Flat Keys—Signatures 12—IS is “Standard equipped.” Notice 4 History 4 Troubadours, Minnesingers, Meistersingers A COMPLETE SCHOOL OF MUSIC 27-32 the more delightful response— Four-year course leads to teacher’s « Appreciation 3 and 4 Records of Troubadours, “Priee Song” •P cate or diploma. I Wlth the University of Cincinnati 4 the lightness of touch—and the Q JpSSffiXijS* °PPOrtUnit» Harmony S Intervals 16-18 PCfis'ioC„X.SeS teaCherS and P™‘ — finer, purer tone. Every touch The Stude^«idneJ« « °Ptn^oaghout th Ideal Dormitories on the Campus forItTdTnts from a Distance perfectly transmitted from key Send for catalogue outlining courses and fees II Mps’ Fpranklyn B. 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LINDNEB, Director Peachtree and Broad Sfreela, Atlanta, Georgia Page 94 8 DECEMBER 1926 TEE ETUDE DECEMBER 1926 Page 949 “A REVOLUTION in musical taste Handel and the Foundlings you now recall, were never tedious but A occurred early in the seventeenth double pedalling of this latter type will rather were actually fun: glorious, ex¬ do wonders and will give a highly awak¬ , , century, which metamorphosed By Alfredo Trinchieri hilarating, entertaining. Pedalling is all the whole conception of the nature and ened and more comprehensive cerebration. rather like a'game, you see; a game more purpose of music, and the complex ancient A splendid example of the use of the amusing a thousandfold than mah jong, urt ot the medieval church was forgotten The Organist’s Etude Christmas of 1926 will break a tender feet for playing other intervals than the and a game quite as subtle as bridge, under the fascination of the new Italian musical tie for many a Londoner, for this octave is to be found in Guilmant’s well- without the added annoyance of a grouchy melody and the vivid rhythm and tone color Edited for December by Well-Known Specialists is to be the last Yuletide at which ten tiers known Chant Seraphique from his Marche partner. ot the orchestra.” During the civil war of fatherless girls in mob caps, bibs and Funebre et Chant Serpphique. We cite An interesting feature of pedal technic and under the Commonwealth organs were aprons, and boys looking brave in their herewith a few pedal measures from this brass buttons and red waistcoats will perch —and one which has received too scanty composition: C osed and cathedral churches shut; singers It is the Ambition of THE ETUDE to make this Organ Department themselves high on either side of the his¬ attention from the pedagogues—is double were silent except for Psalm singing, “An Organist’s Etude Complete in Itself” t-omposers for the church dropped the pen toric Handel Organ of the high eighteenth pedalling. Double pedalling, as its name and took up the sword, and it was not until century chapel of the Foundling Hospital implies, is the employment of both feet the Restoration that the motet or anthem in Guilford Street, and sing their carols, simultaneously, and there are two main was sung again. some of which go back six centuries. The types thereof. Through this seething period of religious property is sold and the foundlings are to First, there is the playing of pedal oc¬ Obviously, when double pedalling is and political controversy England tra¬ The Anthem, Its History and Place in the Service be transferred to a fine new home in taves, to build up the sonority and grandeur going on, the Swell pedal cannot be used. vailed for 120 years. One king, three broad green fields and under the blue skies of the tonal mass. This is the more com¬ But since the large majority of Swell queens and many 0f the bravest, purest By Frank L. Sealy, F. A. G. O. of the country. A boon in health and mon, and much the easier, type. It is pedals are cruelly over-used, this is all and brainiest of her subjects lost their happiness for the youngsters; but, ah, how wonderfully effective, too. for the best. Part II heads on the scaffold, or were burned at much of tradition and sentiment is to dis¬ At the return of his theme in the Toc¬ Guilmant often carries the right foot as the stake. Civil war desolated the land, appear ! cata from the Fifth Symphony, Widor Paper Read at the Contention of the American Guild of Organists, at Buffalo, New York far as F or G. This demands a good deal and the whole country became at times an It was to this chapel that Handel gave achieves this sonority: of stretching, particularly if one’s legs hap¬ armed camp. From 1549 to 1661 the Puri- t its organ. “A very fine organ,” the Gov- pen not to be very lengthy. ' do without instruments. When the should be classed as belonging to a _ tans were in power and elaborate church lat<"r ernors of the Hospital boasted in 1750, Another interesting feature of pedalling accompaniment was added, it generally intermediate period, as well as Thomas Att music was forbidden. Cromwell and his s f' when they announced that "Mr. Handel is the trill. In the opening measures of doubled the "voice" "parts! If ^C^of Mo^rt ^ftfadof Men- “a followers by no means disliked the music, distinctly separate part, it was in style delssohn will open the said organ, and the sacred piss the arrangement of Sibelius’s Finlandia the "jl Jdame ’Well Known but they were opposed to any elaborate pedal trills are beautifully effective and like .1* voice part, a ridable eon* .iU,- The work of an.heo, composer, of .he "“r hif JdecS” """“O form of worship, as well for political as strong. Very few organists possess, how¬ religious reasons. out words. Instrumental figuration was nineteenth century is familiar to all. I Tickets were half's train,., , e im i unknown or in a very crude state of devel- would like to express the opinion that at there * " ' * t f“'50)’ *7 ever, a good and steady pedal trill. An Achievement in Wonderful Music opment; but now the experiments of Ga- the present time justice is scarcely given w „ ,t f , ' . ‘ ° uccessful ’ t.r ^ The organ is admittedly “the king of PIE exclamation of all who hear the work of the World’s best musicians reproduced in Music by Law 7 [ instruments.” It seems sometimes, as it brieli at Florence, Frescobaldi in Rome, for the work of Barnby, Goss, Smart, ^ain and alaH ".mHi’ t, T rePeated the parlor exactly recorded. When Charles II. came to the throne in Sweelmck at Amsterdam, John Bull in Stainer, Sullivan and a few others. The the Lmifahlf ^L lr-- " .';ect,on of roars out in a flood of sonority and elo¬ With such an instrument in your home you have nearly all the fine artists of all the 1660 the practice of church music had quence and richness, to be almost linked England and many others were bearing judgment of the critic does not always un;versai applause”0 ’ ^ W'th World at your beck and call—they will play for you a program of your own choosing and been abandoned for at least eleven years. The other type is the playing of intervals agree with that of the public. Frequently ct1„t, ... Jv ,, ' ... ,,, up with the Divinity. Thus the study of do it as well as tho you had paid $5.00 for your seat for that performance. In addition to that, Archbishop Cranmer The old music had been essentially cho- time proves that the public is right. May * h wayf,of U'' - ” 11 s Lon- greater or less than an octave. This is the organ should be fraught with all sin¬ The JESSE FRENCH & SONS (Welte Licensee) Reproducing Grand is truly a had in his instructions in 1544 enjoined a ral, but the anthems by Purcell which are I venture to express the opinion that Barn- A"yway; they **em to have truly fascinating; and if sometimes one’s cerity, and with keen, persistent effort. musical marvel—it is an artistic instrument for the ertist—an artistic thing of beauty for more simple mode of counterpoint. Note representative of him in the maturity of by’s “Beloved, if God So Loved Us,” n good music when they heard it. temper is badly frayed after a long prac¬ And the pedals, especially, must never the home—an artistic triumph of musical reproduction—electrically operated. against note unbroken, notes and no imi¬ his powers contain a greater amount of “Drop Down, Ye Heavens,” “O Praise , fi/st he?rmgs of Handel's tice at the double pedalling of the Allegret¬ be neglected. Clever fingers, rushing over Expression and Reproducing uprights and Grands are available at from $750.00 to $2,750,00- tations, were the directions. Neither Tal¬ instrumental music than in any period of the Lord, all Ye His Angels,” “Sweet Is S , and Horn them and his own to movement from Guilmant’s 7th Sonata, the manuals, may build castles and cathe¬ Write for FREE Catalog and easy payment plan lis, Tye nor Byrd, the great men of that English church music. Violins were in- Thy Mercy, Lord”; Goss’ “O Saviour of orga"-pIaylng the crotchety “Old Saxon” for instance, the approach of success brings drals and dreams, but without the firm Your old piano taken in trade time, continued long to use the new method, traduced in 1674 and Purcell had the-ad- the World,” “The Wilderness;” Smart’s ^’led ,m0re t,han ten thousand pounds a warm thrill of pleasure, and you are a foundation of a sure and unhesitant and but they gradually ceased composing for vantage of writing services and anthems “The Lord is my Strength”- Stainer’s (ntty thousand dollars) for this hospital, better man or woman for having mastered flowing pedal support, they will be very JESSE FRENCH & SONS PIANO CO. the church, writing many secular glees and with all the variety afforded by choir, “And All the People Saw,” “What Are h.ermore, he gave to the institution a these intricacies. For persons with the silly-looking castles, very unsanctified 20th and J Avenue NEW CASTLE, INDIANA madrigals. All these restraints, the hos¬ soloists and orchestra. In style he fore- These?” and “I Saw the Lord,” and Sulli- C°Py. of the score of the great "‘atorio, “re¬ proverbial “one-track” mind, by the way, cathedrals, and very, very empty dreams. tility of the Puritans to the old style of shadowed Handel, having the same practi- van’s “I Will Mention Thy Loving Kind- fr™g hlmself 0,1 >>’ the liberty of per- cathedral music and the turning more and cal sense which led him not to make his ness” and “O Taste and See” will be alive ‘°™‘ngthe same for his own benefit during more of the tastes of the people toward sec¬ diurch work too elaborately contrapuntal, and affording delight and comfort to thou- “‘i,!*-- Seventy Strong Organ Blowers ular music had opened the door wide for Some of his anthems seem like solos or sands of listeners long after the mistaken The Governors of the Hospital undertook the change which was to come. INSTRUCTION IN duets, with a little chorus work thrown in short-sighted criticisms of them are buried ‘- - Parliament" " to obtain the force of By R. A. di Dio The restored Stuart monarch, Charles as an afterthought. One anthem has two so deep that the strongest angel on Resur- law for this benefaction; but they mis¬ [AUSTIN ORGANS] II., having lived during his exile at the p ges of solo, six of duet and one page rection morn will not be able to lift them took their man. In a book on “Music and the Anglo- THEATRE ORGAN PLAYING holes in the forty tongues, and each has r|“’HE standing of Austin in the one French court, had acquired French tastes. chorus In another there are seven pages out to bring them to judgment, Saxons,” Mr. Wackerbath gives this de¬ ten—pipes—in their due order. Some are Practice Facilities. Special course for He soon tired of the grave and solemn “De devil!” Handel erupted. “For vat great city of Philadelphia, is indicated pianists changing to organ. ot duet and one chorus. In his writing for scription of a tenth century organ erected conducted hither, others thither, each pre¬ by Austin organs in St. Mark’s, St. Luke ways established by Byrd and others and sal de Foundling put mein oratorio in de pupils have the advantage of solo passages for church he seems to have Of the House of Wesley at Winchester Cathedral by Bishop El- serving the proper point (or situtation) and Epiphany, St. Clement’s, Church of ordered the composers to add symphonies Parliament ?” the Saviour, Arch Street Presbyterian. put aside any intent to make them beauti- In closing this historical sketch I would However, he stood phege, who died in 951. The account is for its own note. They strike the seven with instruments to their anthems. He However, he stood by his word, and in Cathedral SS. Peter and Paul. Girard xu“ . *ilce to make special mention of one who his will the “Messiah from the Latin of Wulstan, an English differences of joyous sounds adding the College, First New Jerusalem Church. also sent Pelham Humphrey, one of the went to his monk who died in 963. music of the lyric semitone, Like thun¬ chapel royal choir, to France to learn the Pnra f°r the t,h!fter and °Pera bearS a name h0n0red by many- Samuel Pet hospital Purcell showed an unrivaled power to ere- Sebastian Wesley was the son of Samuel “Such organs as you have built are seen der, the iron tones-batter the ear, so that it new style. Humphrey, then only 16, went ate fresh and charming melodies; but this Wesley, who by general consent is con- . -- nowhere, fabricated on a double ground. may receive no sound but that alone. To VERMOND KNAUSS SCHOOL OF to Paris and studied with Lulli, the great • . . .:,f ULiL uitt vvesiey, wno Dy general consent is con- missmgnissmg in his church work. One of his sidered one of ,u.the_ greatest_ English church. f\ Fjfjjj FoUfldstiOll Twice six bellows above are ranged in a such an amount does it reverberate, echo¬ opera composer of the day. He also visited AUSTIN ORGAN THEATRE ORGAN PLAYING row, and fourteen lie below. These, by ing in every direction, that everyone stops cal Italy, where he probably met Sarissimi, who Thinks’"3 anth6mS 18 ° GiVe C°fflp0SerS' He was ^ grandson of 2 I 165 Woodland St. Hartford,1, Conn. I 210 North 7th St., Allentown, Pa. alternate blasts, supply an immense quan¬ his ears; being in no wise able to draw was a great master in the new declamatory Rev. Charles Wesley, author of the well- By E. A. Barrell lr tity of wind, and are worked by seventy near and hear the sound, which so many style. After three years of study and Music Declines known hymn “Jesus, Lover of My Soul,” _ strong men, laboring with their arms, combinations produce. The music is heard travel he returned and was sworn in as a After Purcell English music declined. Lesley founder If asked what single department of covered with perspiration, each inciting his throughout the town, and the flying fame gentleman of the chapel royal. Humphrey In the anthem the solo or verse period had °f *e ^ethodlst Church- Wesley of all organ playing is the Sit i2o“and companions to drive the wind up with all thereof is gone out over the whole coun¬ kiiowledgment^of “01U.Olll.O' was the first to infuse into the English J$L been developed and composers were gradu- the church composers of the nineteenth cen- the most interesting we would sav “Pedal- his strength, that the full-bosomed box try.” Guilmant Organ School church music the new light style which ally beginning to combine full and verse century seems to have had the most of ling.” It is J a lt may speak with its four hundred pipes, The “seven differences of joyous sounds” "super “0RG0BL0” was destined to supplant the grand school . Dr. William C. Carl anthems. genius. Many are disposed to give pref- distin J Z f,eatUre’ !ndeed’ ,that which the hand of the organist governs. produced on this ecclesiastical calliope, are, of the motet. Humphrey was the pioneer Director After Purcell’s death in 1695 no c .neap- erenc* to his larger anthems,”15^ playing^'and ^ S Some, when closed he opens, others, when of course, the seven tones of the diatonic in the new declamatory and expressive peared worthy to carry on the art where the God and Father” and “The Wilder- who havW V Y ““ organ'StS "x .rJSmu) hu wm Hu style. open he closes, as the individual nature of scale in the appropriate ecclesiastical htgUeht award in eTery expo*!- A Distinctive School for he had left off. Two of his contempora- "ess,” but they are early works written iW disn “ I n * Piano{orte tram; the varied sound requires. Two brethren modes; and the “lyric semitone” is doubt¬ *Spt cU“ORGOBLO JUNIOR' Serious Students An English Master ries, John Blow and William Croft, who when he was not over twenty-five years the’ Wh° y °r almost whoIIy wlth —religious—of concordant spirit sit at the less B flat, that being the only accidental In 1658 was born a greater than Humph¬ survived him a few years, produced some old, and do not compare with some of his ZJT ' ^ "0t organists at aIL To instrument and each manages his own permitted in the Greek and Gregorian THE SPENCER TURBINe”cC1MPA0NY,,> Free Scholarships rey, Henry Purcell. It is possible that noble anthems, and Blow some very cred- smaller works written later in life such • th®T°rgan ls only a sort of glorified alphabet. There are, moreover, hidden tones for hundreds of years. one who has formed his impressions only 'table instrumental work; but after their as “Wash Me Thoroughly” and “Cast Me iT3".0' •',, complete fairness, however, Write Jot Catalog by reading about him may be disappointed death came a long interruption in the con- Not Away.” He had a power of n hi AT S3‘d that presiding over the countless when for the first time his compositions stantly upward development, which had sustained melody very Handelian in It! 1 and ever-increasing number of theater or- “I Don’t Dance” 17 East Eleventh St., N. Y. are studied. It should be remembered, been going on since the time of Dunstable Walker says: “The grand stvle gu'1S 3re many very excellent performers, however, that Humphrey and Purcell were in the fifteenth century. Myles B. Foster past, clear echoes of which were soimrlln! * °roughIy grounded in true organ technic, The Philadelphia Public Ledger of profound surprise, the organ struck up, at the beginning of a new era in church m his Anthems and Anthem Composers” in the work of his father was missiW ;5 frit- “YZ briIl;antly original in regis- June 11, 1845, carried the following bit from which he concluded that some sort music. The old motet school of writers, somewhat justly calls the eighteenth cen- the work of Sebastian Weslev” NrLr i °f3 effcCts ) Not to employ the ped- of ingenuous humor which we give with of “shake down,” was about to commence. AT LAST-FOR ONLY 1^.00 which had passed away, represented the tury period the period of decadence. The theless, he was a verv talents n - i S’ .huS’ ,s quite absurd. And besides— its quaint diction and punctuation intact: Just at that moment a gentleman invited quintessence of vocal polyphony—the cul¬ standards established by the great masters composer. * d ginaI one ,s missing half the fun! An exchange tells a good story of an him to walk in and take a seat. “Not innocent countryman who chanced to be ’zactly, Mister—I ain’t used to no such mination of centuries of development. In¬ of the motet age and the brilliant writers Wesley is the last name I shall mentln (When> after weeks and perhaps months strumental music was now to have its day in one of our cities on Sunday, and con¬ doin’s on Sunday: and besides, I don’t of the new school, founded in England by with the exception oi SW cSrge “Z ° ^ thc ^ Anne’s ^ and the style of church music was to be cluded to go to church. Arrived there, he dance;” and he retired, shocked exceed¬ greatly influenced and temporarily injured. Humphrey and Purcell, were not followed, and Charles Villiers Stanford. Martin’s th^ffl^ ^ mastery is attalned ove” waited outside for a moment, when, to his ingly- and toward the end an orgy of arrange- anthem “Hail, Gladdening Light ” has been W !*CUltlCS ,of the pedalling- and *e One essential difference between the old ments was in fashion. The only anthem sung all around the world and Stanford ^ * g ‘f6 noIselessIy, rapidly and (nearly) and new style was the accompaniment. In »r* Approval; Guaranteed “There was never a time when our given any thought or study to the matter for Five (5) Years the old music the original method had been composers of note at this time were Boyce, has been a favorite comnoser f d correctly about the pedal-board, there is Batishill and Crotch. The last two really years —The Diapason many 3 rCal enjoyment anci pleasure in the ac- country possessed so many fine organists of selling that which it has been so costly FORSE MFG. CO. complishment. And the hours of practice, as the present, but how many of them have to buy?"—Ralph Kindler. 700 Long Street, Anderson, Indian Page 950 DECEMBER 1926 the etude THE ETUDx DECEMBER 1926 Page 951 TEMPLE UNIVERSITY * School of Music — NEW YORK SCHOOL 1521 LOCUST ST. PHILADELPHIA, PA. COMBS Organ and Choir Questions Answered ^ Thaddeus Rich, Mus.Doc., Dean^ of MUSIC and ARTS By HENRY S. FRY Conservatoryo/Music Former President of the National Association of Organists, Dean of the Pennsybania PHILADELPHIA Chapter of the A. G. 0. FORTY-SECOND YEAR A SCHOOL OF UNPARALLELED FACILITIES A School for the Ambitious Amateur and the Professional Musician. Instruc¬ tion in all branches. Courses in English -t’aBE’SS' 3SsSgfids Psychology, Modern Languages, Peda- illustrated catalogue on request gogy and Normal Training. Approved and Accredited Courses in Public School Zeckwer-Hahn Music. Degrees Conferred. 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Syracuse University ) Musicianship Y\ THEN great singers like Joseph CRITICAL AND PEDAGOGIC COURSE Trinity Principle Vv Schwarz, who is called “a glory to the for Teachers and Advanced Pianists under CARL FRIEDBERG Pedagogy lyric stage,” express their entire satisfaction NORMAL COURSE FOR TEACHERS MUSIC, ART, ARCHITECTURE SIGHT / not “Do re-mi” Methods of interrelating all theoretic subjects and correlating them in Kimball pianos, it is indeed a worthy 10 STUDENTS 12 INSTRUCTORS INCING ) not “intervals” with the study of piano, violin, voice, etc. V not “Numbers’* tribute to the instrument. Four-year Courses in tuition fees very MODERATE. CATALOGUE upon request, address dept, u Special Correspondence Piano, Voice, Organ, Violin, Com¬ Courses for Teachers position, Public School Music Other illustrious n s of earlier days, Patti, leading to the Bachelor’s degree Send for Catalog ce $1.25 VIRGIL SCHOOL OF MUSIC Sf^eiaJ at!jderU8 rnay^nte^aYany ttim^e.°^D1US'^. Addrei the years with continuous praise of Kimball Founded by the late A. K. VIRGIL instruments. And the American home has k given the Kimball the place of honor—more Special Courses DUNNING SYSTEM are in use today than any other. _ "•""mrs. a: kh VirgYlTdi™ co - " The Demand for Dunning T—l-..- S q"aI04wb OTHER ADDRESS SI° ^E^YOrII JTHACA CONSERVATORY W. W. KIMBALL COMPANY 306 South Wabash Avenue, CHICAGO, U. S. A. •tefiasrar * 5”d*™ *-• a-.Ckl „„.. „ Is Your Music MIXED UP? 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RUFF classifications of music, Piano, Organ, Voice, Violin, ’Cello, Ensemble Music, etc. A fascinating volume of intimate We have acquired this valuable Editorially referred to as “A MONUMENT TO AMERICAN PROGRESS IN MUSICAL ART.” ...... It is a al muscular system, The specialist in voice -, which to-day continues t_ 0_ __ Liszt,1111S11 in their visits to the masters, and ££ ini sss i. After originally named. 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Re¬ vealing the astonishing differences in the artists’ conceptions. e than thirty-five thousand compositions, by three hundred The Schirmer Catalogs and twenty-five composers. In the 1500 volumes so far published To Music Teachers there are one hundred and thirty-five thousand pages of music. In addition to our voluminous Main To teachers located where the services Catalogs and many Special Catalogs, we of a music dealer with adequate stock are publish information about all of our not available, we offer to send direct, inseparable. Myrrh and important publications. Anybody seek¬ If not in stock at Local Dealer’s, order direct ing the details about any Schirmer pub¬ “On Selection,” such, classifications of frankincense are expressed materials as they may specify, most lication may have prompt and thorough today in many exquisite informative service upon request. carefully selected by clerks specially 3 East 43d St., G. 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Please mention THE ETUDE when addressing our advertisers. i Page 95If DECEMBER 1926 the ETUDE the etude DECEMBER 1926 Page 955 LAYING for the “movies” has be¬ P him learn the thousand and one things that come a definite profession which are necessary. Organizing a String Quartette furnishes steady employment all yea e United States for thousands of Having somehow made the acquaintance By Edward Roesken vio imsts as well as those playing other of an orchestral man, you should look out orchestral instruments. Many a young The Violinist’s Etude for an opening, a job. Perhaps your ac¬ When one thinks of the wealth of needs only the interest of two violinists to violinist who has had hopes of becoming quaintance may become the means of getting WEAVER melody lying hidden between the covers form a string quartette. Violinists, how¬ a famous concert violinist often finds him¬ Edited by ROBERT BRAINE you started. of the volumes of string quartette music, ever, who love and are competent to play self m the ranks of those playing in large The most common way for the beginner GRAND PIANOS and of the existence of comparatively few this type of music are few; for the serious¬ orchestras in the motion picture theaters to get into the circles he yearns for is by It is the Ambition of THE ETUDE to make this Department organizations devoting their time to its ness and leadership required of the first ot our larger cities. substituting. “A Violinist’s Magazine Complete in Itself" study, he feels 'that violinists should be re¬ violinist are seldom found in the same The Etude receives many letters simi- A professional violinist occasionally minded occasionally that they are neglect¬ person; and second violinists too often fail ar to the following from young musicians wants a day off, or is unwell. If he wants ing one of the greatest possibilities of their to discover the beauties of their part and who wish to know how to get into such ' to keep his job he usually tries on these instrument. There is a satisfaction to be tire of “playing second fiddle.” work: ‘I am writing you in reference to occasions to send a substitute in his place derived from playing in such a combina¬ One who is considering the formation of obtaining a position as violinist in some Playing for the Movies And, obviously, it cannot often be an or¬ tion, which orchestra playing cannot give; a string quartette may find the following movie orchestra. After one is prepared local unions fix their own scales, which Consider The City dinary professional, for such a man will for there is an opportunity for the develop¬ suggestions of assistance. Violinists of to fill such a place, is it hard to get a posi¬ vary in different towns and cities. ment of an artistry which will make the QUR CORRESPONDENT will hardly be already engaged. So the deputy is adequate skill may be brought to light by tion? What steps are necessary in or- . ensemble seem like the voice of one instru¬ find steady employment in moving pic-, usually someone who is not yet properly writing a half dozen of the nearest violin der to be placed? What compensation Get Information First ment and yet permit the individuality of ture work in cities much below 100,000 in the profession. This is the aspirant’s instructors, asking if they have pupils who should one expect for this work? Is it T F OUR correspondent has any city in each player to express itself. population, that is, in pictures alone. chance, for it will not matter if you are might be interested. It is possible that true that one is usually placed in such a mind where he expects to locate, it Such an organization is, of course, made Where vaudeville and pictures are com¬ among these instructors one will be found position by some agency? would be a good idea to write to the not so fine a player as the man you relieve— up of a first and second violin, a viola and bined, steady position in such theaters are who will ask to be considered as a candi¬ “I am preparing myself for this work, secretary of the local union for a union it is, in fact, better that you should not be, violoncello; and the literature available sometimes available in towns between date. Violists are merely violinists who having studied for several years with book which gives the scale of prices for all or he will be chary bf. employing you. And' has been enriched by the pens of such 50,000 and 100,000. In order to get a foot¬ have learned to play the viola. An ex¬ good violin teachers.” classes of work for that city. All unions as the job will probably last only one night’, composers as Beethoven, Haydnj Mozart, hold in theatrical playing, it is often neces¬ perienced violinist can usually master most publish these books containing rules, by¬ you have nothing to lose and all to gain— Mendelssohn, Schubert and Dvorak—to sary to do substitute playing at first, that of the difficulties of the larger instrument The Theater Player laws, scale of prices, and such items. for one night’s real show will give you a name but a few. It ranges from simple and its peculiar clef in a week or two, Very few positions in these orchestras is, take the place of the regular man when tremendous amount of experience. airs to works of great difficulty. ^pHE REQUIREMENTS for this type are filled by agencies. The theater places he cannot play. In this way the newcomer either by the reading of viola scores or by of work, amount of compensation To get a relief job of this kind you must *• Ordinarily, one would think of the violist the contract for orchestral music with gets valuable experience. The novice means of one of the many viola instruction received, and so forth, vary according to let a professional player know that you and violoncellist as the players most diffi¬ some leader or manager of an orchestra, should make the acquaintance of as many books written expressly for that purpose. the size of the city, the grade of music are willing to substitute for him; and you cult to discover and hold; and yet, once and it is his duty to engage his players. orchestral players as possible, letting it be When four are found who appreciate the played, length of time the musician is ex¬ must fit yourself for the chance as thor¬ found, it will usually be learned that these In the larger cities, at least, if the or¬ known that he is open for engagements pected to play daily and the rank of the oughly as you can. Notice jn-t the sort have ai’-eady. tasted the delights of cham¬ music written for the string quartette, an chestra leader is in need of musicians, all as a substitute. In course of time, if the ber mu.-ic. and will be the most enthusias¬ enthusiasm usually results which more theater. In other larger motion picture new man is a good violinist, he will find of music he plays, how he play;: it, whether 7t) the exquisite tone; the mar¬ he has to do is to go to union headquar¬ tic and faithful. An amateur orchestra than repays for the effort made in bring¬ houses in New York, Chicago, Philadel¬ a regular position in some orchestra. lie sits still or goes for a walk between ters where, as a rule, he can get as many which boasts of a violist and a ’cellist ing them together. , velously responsive touch and phia, and other American cities where as he needs. The principal thing is to study faithfully items, and such other things as occur to there are often accommodations for audi¬ you. the long life of a Weaver Grand, In our correspondent’s case he had bet- until he becomes a good violinist and sight ences as large as 5,000, music is made a Then one day will come your opportu¬ ter try to get experience in orchestral reader, and to get all the orchestral ex¬ add perfection as near as it is leading feature. Such theaters employ nity. Go to your place as if you are quite work in his home town. If there is a perience possible. A very large number fine orchestras of fifty or more men and at ease. Do not, as a second-violin, stride The Old Violin Nuisance humanly possible to give—and union which controls the theater work, he will not take the pains to learn to do the the programs often include orchestral se¬ across to the left of the conductor, where you’ve an idea why connoisseurs will be obliged to join it. He should work thoroughly. Then, when their big A correspondent writes that in order lections of the highest character. To get the firsts sit; and do not ask unnecessary much good, and even then there would then see the leaders of the motion picture to stem the flood of questions as to the world over speak so proudly of into such orchestras the player must have chance comes, they fail from lack of abil¬ questions or in any way flaunt your ig¬ be thousands of people who Would not see orchestras and ask for work. If there is ity and experience. whether violins containing the names of their Weavers. studied the violin thoroughly and acquired norance and inexperience. it. It is also true that ordinary violin nothing to do for a violinist in that town, famous- violin makers are genuine or not, the technic of a finished artist. As our correspondent lives near New owners could not tell whether their violins he might visit neighboring towns and see’ The Etude might publish an extended In the smaller moving picture houses York it would be a good idea, if he can “Hard Knocks” were genuine or not no matter how many Weaver Piano Co., Inc., York, Pa. the orchestra leaders about work. An ad¬ article giving the characteristics of old articles, pictures and facsimilies of labels the requirements are usually not so great afford it, and fails to get work in his home ^ Vou may get some hard knocks, as a vertisement in one of the orchestral jour¬ violins made ,by famous makers, together they had to guide them, for the simple but that ordinary theater musicians can town, to go to that city and study for six “hopeless amateur;” but stick grimly to it V nals might lead to a position, but in this with facsimilies of their labels, and so reason that imitators of old violins copy meet them. In the smaller cities and months or a year. By mingling with mu¬ and you will emerge at the end of the kind of work only positions in very small forth, so that violin owners could them¬ violins and labels so closely that the de¬ towns where orchestras are used at all sicians there he would get an idea of what show, maybe scarred, but certainly happy; towns are, as a rule, secured through ad¬ selves judge whether their violins are scriptions and pictures of the genuine — _ An Ideal Christmas- they consist of but a few pieces; and easy the profession demands and of how to act for you will have actually started as a vertising. In cities and towns of any size genuine. would! seem to fit the appearance of the music, as a rule, is played. Some such work. s professional; and there will be a lot of there are always sufficient musicians at lib¬ The Etude has exposed the old violin imitation. It takes years of experience houses have orchestral music only in the There is but one way out for the aspir blunders that you will never make again. erty to fill up the ranks without resort¬ nuisance in almost every number for years, in the actual handling and study of violins Gift evening, and some only when a special ant. He must, by hook or crook, get hold Movie orchestras offer q gcr ,i field for ing to agencies or advertising. showing the fallacy of anyone who owns to be able to distinguish an artistically film is being used, or on Sundays and the beginner; for if a small one lie chosen The Vega Violin Outfit is an ideal Christmas gift. It creates a of an experienced professional and from an apparently old violin containing a Strad made imitation old violin by a master holidays when the prices of admission are with just one or two other musicians, the pride of possession and encourages the beginner to greater attain¬ or other label jumping to the conclusion violin maker from a genuine. One must higher. Almost all motion picture houses novice can take music of his own, which ments. Send him to his teacher fully equipped to make his study The Orchestral Profession that it is genuine. Regular readers and know the goods. It takes an experienced have organs or pianos, or both, for use he can be sure of playing well. The mem¬ one brimming full of happiness. subscribers of The Etude know the facts bank teller to judge a well-made counter¬ when there is no orchestra, or between 2. The Violinist’s Debut bers will probably welcome some new stuff. on this subject quite well by this time, feit hunk note, and an experienced violin mlii* ^Number Sixty has been selected for,its exceptit the hours when the orchestra is not play¬ Many violinists get their first post .on By Sid G. Hedges but there are always hosts of new sub¬ expera to judge violins, except, of course, c - «*--•»-- Style A Vega in imitation ing. Using orchestral music exclusively board a liner. This is a good plan; for,- beautiful sweet tone with e scriber-. and chance readers who buy a in the case of crude imitations which any¬ would mean too lengthy hours for one with the fewer distractions afloat, the her, lined with, silk plush. It is of no use trying to start in the pro¬ copy or two, and it is these people who one can detect. orchestra and the expense of having two ‘ In at segno ” means that you are to young player can put in plenty of practice. fession until you are up to the required write letters to the magazine about their For this reason people will no doubt or three orchestras would be too great. begm playing not at the first «Lsu^b£ standard; but it is not easy to decide just He can, too, easily borrow the orchestral supposed Strads and Guamerius violins. parts to try over. write to magazines and music coalers le beautiful free catalog when that standard is achieved. The num¬ Such an article as our correspondent seeking to learn if their apparently old The Unions A post on a liner is usually obtained after ber of years spent in preparation do not “Cut C to D” implies’ that the music is describes would have to be of extended violins are genuine or not as long as the an audition—that is, a test of the appli¬ TN CITIES and towns where there are afford much guidance, for rates of progress divided into lettered portions, and that the length and would have to he published custom prevails of putting counterfeit cant’s abilities, which consists largely of unions affiliated with the American vary so much, and there is no fixed exam¬ part between C and D is to be omitted. The in every number of. the magazine to do labels in violins. VEGA - sight-reading and customarily includes ™ Federation of Musicians the rules of the ination such as other professions require movement marked trio is also to be left 159-85 Columbus Ave., Boston, Mass. overtures and selections. A thorough ac¬ union govern the number of hours the to mark out the insufficiently equipped from those properly qualified. • quaintance with dance music is also es¬ musicians play and the compensation they “All second times,” signifies that no re¬ sential for this sort of work. receive. In theaters where union or¬ The most satisfactory way. of testing peats are to be taken, so that all first time Sins of Commission REMARKABLE CHRISTMAS GIFT OPPORTUNITIES Dance music offers a very good opening es 883. 962 and 963 chestras are used applicants for positions one’s ability is by sight-reading. measures will be omitted. for the would-be professional, especially in must join the union before they can be I will be quite definiteNo violinist is By Elizabeth Lee THEODORE PRESSER CO., 1712-1714 Chestnut Stre, , PHILADELPHIA, PA. employed. fit for the orchestral profession unless he this ^ort,S 0ther bUsineSS besides details of small towns. It is fairly easy to run a little dance orchestra with a few other No average price as to the compensation can read Mozart’s overture to “Figaro,” The 9ins of omission may have kept ing should not forget that the playing players of semi-professional standard. And for this class of work can be given as it at sight, taking two beats in a measure, with “When does the orchestral violinist tune souls out of heaven, but it is usually the must be smooth, clear and Strong as a a metronome set at 152. up; by what does he tune-who turns over this work will give experience and confi¬ varies greatly according to the size of the sms of commission that keep violinists out whole. 0ne poor note will spoil pages of dence to aim at higher things later on. city, the rank of the theater, grade of Of course, if you happen to be familiar when two players sit at one desk; should °i the virtuosi class. Performers who ...... ^ . r , , , , RARE VIOLINS by famous masters There are many branches of the pro¬ music played, hours on duty, and accord¬ with “Figaro” you cannot measure your music be taken home for practice?” have a series of spectacular feats for ex- exqu,slte rendltlon- 0lie -^directed chord sight-reading ability by it, so in that case fession which it has not been possible to within the reach of those of modest means ing to whether or not vaudeville is fea¬ These and a multitude of similar ques¬ hibition in the way of double-stops, trills, wlll distract people’s attention for a whole choose another straightforward overture mention; but the aspiring fiddler may rest tured in addition to pictures. There are tions would need a whole Etude for their harmonics, and passages of intense feel- evening. like “Zampa,” “Cosi Fan Tutti,” “Don assured that, if he pursues his vocation with GITTELSON & HOWARD have adopted the policy of specializing some small towns where as little as $15 Giovanni,” or “Preziosa.” answers; yet the violinist who blunders proper , zest, a thrilling, worth-while way i n vio li ns by famou s but lesser Italian masters, at moderateprices. to $20 a week is paid for organists, pian¬ badly over them is likely to pay for his of life will lie before him. Mr. Howard has just returned from abroad with a widely ists, or violinists. In cities of around Being sure of one’s technical qualifica¬ ignorance by finishing his first engagement 75,000 population, theaters sometimes pay tion is the first step; but there is a great Mozart, The Violinist representative collection including Guadagnini, Grancino, Rocca, deal of the business of the profession with¬ on the same night that he begins it. Such from $35 to $50 per week for pictures "The fun of being an artist is preserv¬ Ceruti, Testore, Marchi, Costa, Floriani, Pedrinelli, and many other out a knowledge of which one cannot well lack of knowledge is rarely excused 4 While there is in every mind the picture and play with fire, heartiness and spirit, and vaudeville (two shows each day). In ing the amateur spirit. Once I am off fine examples of the Nineteenth Century. start, conductor, in fact, cannot afford to excuse °f Mozart as a pianist, touring Europe as you may become the first violinist in the best picture houses of the large cities tie stage I cease to be the professional. A complete descriptive catalogue will be mailed on request A conductor may say: it; for a defaulting of one player may And, as an amateur, I spent a great part an infant prodigy, performing miraculous Europe." After the year 1774 Mozart’s the orchestral players get $50 or more a ffats, he was a finished violinist as well, compositions for the violin became more “In at segno; cut C to D, and trio; all mean a breakdown or disaster to the whole °J V,y st>arc time, attending concerts, en¬ week for concert work and pictures. The second times!” Low have no idea yourself how well you and more in the “bravura” style, and illus- GITTELSON & HOWARD orchestra. joying them with a relish unworthy of one whose business is music/’’—Sziceti. piay the violin,” writes his father (Oct. 18, trale clearly his mm progress in mastering 33 WEST EIGHTH STREET NEW YORK 1/77); “if you oniy jg yourself justice, the technical diffipultics of the instrument. Page 956 DECEMBER 1926 THE ETUDE THE ETUDE DECEMBER 1926 Page 957 Violin Questions Answered Books in the “Whole World” Series are Ideal Xmas Gifts By MR. BRAINE Sn,teaCher pup*l» or music-lover to music-lover, because the series is sure to contain just that book which a musical friend t0 K1S° J. S.—Without seeing your violin, I piano study!UCl—TakcAessons ityou Sn,rbu°tf . ^ * ,want> an^ the book itself will contain just those compositions which are most desired. Here is the complete list to could only give a guess as t„ iis value, us s„ much depends on its state of preservation, if you are planning to do without a teacher, c r°m, each book classified so that you can make your selection readily. and whether it is a good specimen of the sup¬ you might get “Self Instruction for the Vio¬ posed maker's workmanship. A recent cata¬ lin,” by Albert G. Mitchell. log by a leading firm, lists a Mathias Kloz Late Start on Cello. of 1793, at $350. Possibly your violin is only I'"- K-—The age of twenty-four is entirely toe late to take up the cello with the idea of malt mg a profession of cello playing. If you wish Inspiration Pins Perspiration. only to learn a limited amount, that is differ- E. W. P.—It would be pure guesswork to ent. 2—You would require a teacher if you try to figure out an answer to your hypothet¬ wish to learn correctly. 3—I know of no large ical question as to which of the violin pupils magazine devoted exclusively to cello playing. you mention would show the greatest progress Most of the violin magazines occasionally de¬ after a term of years. The question of talent vote a certain amount of space to the cello. would probably decide the matter; It. often While interest in the cello is increasing, the happens, as every violin teacher knows, that a number of violin students is many times pupil of high mentality and very great talent greater than the number of cello students. will make more progress in one year than a pupil of only average talent in - " Violin Making. years, even though he practi G. H. M.—Practical and inexpensive books Of the two boys you mention, uie o ™ " -! “Violin Making,” by greatest talent would probably_ '“’i Sons, New York), ahead. If both had equal talent, either - “o Make It,” by a be the - --—- Premier Aristocrat Small Grand Model 5 feet, 3 inches long. Price, $725, f. o, b. New York s and pupils have nationally recognized the .sical value of this thoroughly dependable They have therefore selected it in e’ It is the Ideal Christn Be convinced of Premier Value by a this instrument at your dealer. IfIf youy cannot. :ally. kindly advise and we shall let you know who < A copy of the new edition “Magic of Music” will greatly erest you. Send for it to-day. PREMIER GRAND PIANO CORPORATION 1 mF&srffiir-- °fBaby Crand* JM-5®r i Eatsr of the World Famous “GEMUNDER ART” VIOLINS VIOL1NS 125-127 West 42d Street, New York City solos MULLER G KAPLANS' '‘Si&SUSSSiSSX^ "JUST A COTTAGE. SMALL" Eveyy Modern Music Store in the United States Can Supply These Books VCHER!E. ! LOVE yOU" *My DESIRE" CHARLES WAKEFIELD CAL D. APPLETON & COMPANY, Publishers :: 35-39 w. 32nd St, New York City m0H M/SS HANNAH" Please mention THE E Page 958 DECEMBER 1926 THE ETUDE THE ETUDE DECEMBER 1926 Page 959 0- Great Musical Educational Value THE FAIRYLAND OF MUSIC IN Our Calendar for 1927 The Etude Radio Hours Choose This Action For Your Piano! The Little Christmas and New Year Remembrance Second Thursday of Each Month at 8.15 QUALITY in the piano action that Thousands of Teachers never fail Station WIP, GIMBEL BROTHERS, Philadelphia means quality in the piano. For the piano action is the very heart to give to all their pupils Station WGBS, GIMBEL BROTHERS, New York City of the instrument! Manufacturers who build worthy pianos are fully aware nf the importance of usir~ * c the quality of their in- As a means of contributing to the development of interest in opera, for Encourage Him Third Tuesday of Each Month at 8 P. M. this reason, leading many years Mr. James Francis Cooke, editor of “The Etude,” has prepared, Wes- gratuitously, program notes for the production given in Philadelphia by The If aBoy shows signs of interest in music, Station WLS, SEARS, ROEBUCK FOUNDATION, Chicago sell, Nickel & Gross j Metropolitan Opera Company of New York. These have been reprinted upward of half a centu promote that interest. Encourage him. D. A. Clippinger, Director of Chicago Etude Radio Hour extensively in programs and periodicals at home and abroad. Believing that For music will keep him in good com¬ Because it is the vorld’s highest- our readers may have a desire to be refreshed or informed upon certain Wessell, Nickel aspects of the popular grand operas, these historical and interpretative notes pany and aid h is mental development. illy found only We urge starting with a Buescher Saxo¬ The ETUDE Radio Hour for this year has already included a on several of them will be reproduced in “The Etude.” The opera stories have been written by Edward Ellsworth Hipsher, assistant editor. phone because it is soeasytolearn. Les¬ host of instructive features. Including the artists zvho have already sons given free with each new instru¬ appeared and those scheduled for December, zve have an imposing list ment. Six days’ trial. Easy terms. Write which we are presenting alphabetically with the name of each artist, for catalog. Leading musicians play the and the Stations and dates. Wagner*s “Siegfried” Mae Graves Atkins Muriel La Fra.m e When Philadelphia was celebrating its Eminent Soprano and Teacher of Protege of Mme. Galli-Curci 7 "When you Buy an Upright.Grand, Centennial in 1876, Germany was undergoing __ __ a child. GTrue ^Tone Saxophone Singing flayer or Reproducing Pianos its greatest musical awakening at the little Fafne unforgettable impression, WIP—WGBS—December ; Insist on the Wessell, Nickel S- town of Bayreuth, where, on August 13, 14, Never had t: -een a dragon more terrible Buescher Band Instrument Co. WLS—December 16 and 17, the entire cycle of Der Ring des — all the liter-re of-„ fairy - _ ' Everything in Band and Orchestra Instruments Edgar Nelson Nibelungcn was given for the first time. Part disputably was one in real life and accom¬ 1833 Buescher Block Elkhart, Indiana Edgar A. Barrell Conductor, Composer, T ’ of the cycle had been given previously at panied by gorgeous music. Alas! the in Munich, “Das Rheingold” in 1869 and “Die pression was more zoological than musica Composer, Pianist, Organist Director, Bush Conscr WIP—WGBS—October WLS—Decern! k November, December Frantz Prochowm< y Luigi Bocelli Eminent Vocal Advisor of iuMIl'lliiiMli til Ili illl iii li Famous Italian Tenor Galli-Curci and Tito Sehipa “The Blind Caruso” WIP—WGBS—October WIP—W GBS—November Slipfl Silvio Scionti Frederic Cardin Celebrated Virtuoso Pianist < iiiMMW nUfeffii Most famous of native American WLS—November Indian Violinists and Composers Preston Ware Orem WIP—WGBS—October Music Critic of THE ETC PE D. A. Clippinger WIP—WGBS—December Eminent Teacher of Singing and Our 1927 Calendar has the most successful cover Choral Conductor Oscar Shumsky Nine-year-old Wonder Violinist picture that has ever appeared in The Etude WLS—October, November, December WIP—W GBS—November This beautiful fantasy picture, “The Fairyland of Music” James Francis Cooke Julian Skinnell Editor, THE ETUDE Concert Pianist by Francis Sherman Cooke brought literally ten times as WIP—WGBS—October many enthusiastic letters from our readers as any other WIP—WGB S—October November, December similar work. EVERYBODY wanted it. Hundreds framed Rebecca Smith Richard Czerwonky “Adelina Patti, II," it. We have reproduced it in all the vivid and beautiful colors Phenominal Child Soprano of the original for a calendar decoration as illustrated above. V iolinist-Conductor WI P—WGB S—Noven I >er WLS—December Handsome for the studio or the home (Actual size 10"xl3") Ella Spravka William M. Felton Concert Singer and Teacher Price 10 Cents Each, $1.00 a Dozen Pianist, Teacher, Composer WLS—December WIP-WGBS—October, November, December Walter Spry THEODORE PRESSER CO. Eminent Pianist, Teacher and Arthur Hartmann 1712-1714 CHESTNUT ST. Established 1883 PHILADELPHIA, PA. Composer . Virtuoso-Violinist and Composer WLS—October WIP—WGBS—December 0 Eleanor Starkey Frederic L. Hatch -m Coloratura Soprano Composer, Pianist WIP—WGBS—October FOR TEACHER AND PUPIL wi P—W GB S—October, November, December R. M. Stults WINN’S „ Composer of (FOR PIANO) ALB'UM OF FAVORITE Edmard Ellsworth Hipsher The Sweetest Story Ever Told” How to Play Popular Music. Assistant Editor, THE ETUDF WIP—WGBS—December How to Play Ragtime. FIRST POSITION PIECES WIP—WGBS—October How to Play Jazz and Blues. FOR VIOLIN AND PIANO November, December Evelyn Weinke How to Play Breaks and Endings. Price, $1.00 Soprano and Teacher of Singing. Piano Technic Made Easy. A volume of this kind is of great value Julian Jordan WLS—October in the violin world! It gives the How to Rag and Jazz on the Sax. ,J',eachcr °f Singing, Composer of How to Play Melody on the Uke. beginner on the violin encouragement The Song That Reached my Heart” Louise Hattstedt Winter through the excellent numbers it con¬ How to Rag and Jazz on the Tenor WIP—W GB S—N ovember Soprano and Teacher Banjo. tains which are melodious and in¬ WLS—November teresting yet at the same time easy These up-to-the-minute books are used by hun¬ Members of the large professional staff of "The Fh,d M ■ » dreds of schools and teachers. They contain al! to play. There are twenty-two num¬ the necessary material for those desiring to play bers of real worth arranged in pro¬ iU7mLZrier°US C°ntribUt0r* MldrJsl^fhfEtude” audienc^m in modern jazz and “hot” style. Descriptive gressive order. Teachers here have an ideal volume for instructive pur¬ poses and beginning violinists will find THE ETUDE MUSIC MAGAZINE it just the volume to possess for their Published bv recreation or recital needs. Bach, Bach; Cough Drops that gives , Winn School of Popular Music THEODORE PRESSER CO THEODORE PRESSER CO. .7,2-l7l4 chestnut St. _. . tided and lis- relief for nose, throat and cl W. 34th St. New York 1712-1714 CHESTNUT ST PHILADELPHIA, PA. i eeHtfMi nnd lened to. Here, you know, we have to play Fallow package-5c-eve _PHILADELPHIA, PA. ’ Lupen’s 2054W.L7XKF ST. CHICAGO. ILL / could give audiences."—Chasi.es Courboin. . Page 960 DECEMBER 1926 the etude THE ETUDE □- DECEMBER 1926 Page 961 Prize Contest Twenty-Five Prizes Open to All Etude Readers “WHY EVERY CHILD SHOULD HAVE A MUSICAL TRAINING” What Can You Say on This Subject? flifill Composers, Attention n the sub- A One-Hundred Dollar Musical Library iiSH FIRST PRIZE ARRANGEMENTS A Musical Library, Valued at One Hundred Dollars ($100.00) Just think what a boon this wonderful library would be in any School or Home! The following works selected from the publications of the Theodore Presser Company, at the regular retail prices, constitute this prize. children to dread the practice hour or to To expect rapid advancement in a young child, except in the case of a prodigy, is folly: for the foundation must be slowly :'i8 ' ~~ * iiiii 'Mih ELDRIDGE and CASSEL HISTORICAL MS B5ol GENERAL VUiCE BIOGRAPHICAL Anecdotes of Great Musicians, W^Francis^Cate.™.' ^OO I LOVE TO TELL THE STORY SECOND PRIZE High Voice in D Low Voice in B Flat CIme A Musical Library, Valued at Fifty Dollars ($50.00) This library may be selected from the foregoing list to the total of Fifty Dollars ' THIRD PRIZE—Twenty-five Dollars Cash. FOURTH PRIZE-Fifteen Dollars Cash. FIFTH PRIZE—Te ADDITIONAL PRIZES 60 ° CaSh* CRADLE SONG WB3B Words and Music by Lotte Kruse awarded. ^ ESSayS Whkh’ °Pini°n °f the Judges’ deserve rec°g“tio„ a Cash Prize of Five Dollars each will be Following this in order will be ten more prizes, each consisting of a subscription to The Etude for o Low Voice in E Flat r one year. W3BMSM and English Text) ENG RAVERS LIT H OGRAPH ERS I THE ETUDE MUSIC MAGAZINE, Theodore Presser,voov' Co.,» Publishers» uuiiancrs PRINT ANYTHING IN MUSIC- BY ANY PROCESS I ClTshaH like these pieces better than i 1712-1714 Chestnut Street Philadelphia, Pa. WE PRINT FOR INDIVIDUALS I because I now know1the storytackof <|chone! CLAYTON F. SUMMY CO., Publishers 429 South Wabash Avenue Chicago, 111 Page 962 DECEMBER 1926 THE ETUDE THE ETUDE DECEMBER 1926 Page 963 OUR THIRTY-EIGHTH ANNUAL HOLIDAY OFFER AN ALBUM OF MUSIC MAKES AN EXCELLENT GIFT FOR THE IS FILLED WITH GIFT SUGGESTIONS FOR MUSICAL FOLK SEND A POSTAL FOR A COMPLETE COPY OF^THIS OFFER WITH ITS MANY CHRISTMAS BARGAINS PIANIST, VIOLINIST, ORGANIST OR SINGER A Few Outstanding Musical Literature Works That Make Ideal Gifts j£jf A FEW SUGGESTIONS SELECTED FROM OUR THIRTY-EIGHTH ANNUAL HOLIDAY OFFER PIANO PLAYING m- Copy of Complete Offer Giving Special Christmas Prices on Many Things Sent on Request This History of Music a Great Seller Because A Musical Dictionary that is an Exceedingly It is Enjoyable, Information-Bringing Reading Popular Leader Suggestions for Pianists PIANO QUESTIONS ANSWERED Exceptionally Fine Offerings Gifts for Violinists of all Ages THE STANDARD HISTORY OF PRONOUNCING DICTIONARY of Average Ability for Good Pianists MUSIC By Josef Hofmann ALBUM OF FAVORITE FIRST OF MUSICAL TERMS SCHUBERT ALBUM POSITION PIECES mes Francis Cooke FRENCH ALBUM A Book that will be Highly Prized K 24 Franz Schubert Melodies for Piano Solo For Violin and Piano Selected Piano Solos by French Composers I 'J'HERE is a great value in-be- by Any Serious Student By H. A. Clarke, Mus. Doc. A WONDERFUL volume because it gives so much ONE’S joy in music has not been as full as it ONE of the new offerings this year. 17 immensely ing well informed upon the might be if he has not an acquaintance with encouragement to the violin beginner through • ,satlsfylng P^no solos from the works of Cham- the 22 melodious and interesting, yet easy to play, sI subject in which you are inter- FJEFINES all the Italian, French, German and the glorious flow of melody in Franz Schubert’s ested, and musical history is an 'J'HIS volume is used as a guide book by many made, Debussy, Dubois, Faure, Godard, d’lndy, violin numbers it contains. English musical terms in a clear, understand writings. This album gives a fine selection of them Saint- Saens, Vidor and other French composers. important subject for the teach- sitting in music editorial chairs. In it are given able manner, giving pronunciation guidance for piano. Holiday Cash Price, 60 cents, Postpaid er, student and lover of music. the answers of one of the greatest of present-day where necessary upon not only the music - Holiday Cash Price, 60 cents, Postpaid Regular Price, $1.00 pianists to 250 questions upon vital points in piano Holiday Cash Price, 60 cents, Postpaid Regular Price, $1.00 James Francis Cooke .has cre¬ terms, but also on the names of prominent mm Regular Prloe, $1.00 ated a text-book that has been permanently playing. In addition to the questions answered cians of the last two centuries, whose birth m OPERATIC SELECTIONS adopted by thousands of teachers, schools and there are almost 100 pages of valuable piano infor¬ 9 9 9 9 9 9 death dates also are given. A list of the: ni MEDIUM grade arrangements of operatic airs colleges, because it presents the subject in-such mation. It is truly a great virtuoso’s guide to mod¬ celebrated operas with the composers’ names REVERIE ALBUM CELEBRATED LIGHT OVER¬ that every violinist enjoys playing, arrange¬ a fascinating, well-arranged manner and it is ern pianoforte playing. Cloth bound. another feature of this widely used dictionar ments by F. A. Franklin. 23 Piano Solos of the Contemplative Type also an enjoyable book for profitable reading Holiday Cash Price, $1.45, Postpaid Musical examples are given to illustrate t! TURES Holiday Cash Price, 55 cents, Postpaid by music lovers. Well illustrated with over 150 meaning of various musical expressions an THE Reveries, Nocturnes and pieces of a similar 100 Pages of Outstandng Favorite Overtures cuts. This makes a very acceptable gift to Regular Price, 90o. forms. This is a dictionary every teacher an type are in this album. They are melodious B E sure to ask for the Piano Solo edition on this music lovers of all ages. Cloth bound. • - and expressive, and ideal for Sunday use. 0 student should possess. Cloth bound. as there is also a Piano Four-Hand edition of Holiday Cash Price, $1.10, Postpaid Holiday Cash Price, 60 cents, Postpaid this same album. These overtures should be in SELECTED CLASSICS Regular Price, $1.50 A Very Popular Book Giving Portraits and Regular Prioe, $1.00 the library of every music enthusiast. NINETEEN great master melodies made avail¬ able to the violinist of moderate ability, ar¬ Biographies of Famed Musicians 9 9 9 Holiday Cash Price, 60 cents, Postpaid rangements by F. A. Franklin. -» Regular Prioe, $1.00 Another Well Received “Gallery” GALLERY OF MUSICAL GALLERY OF ALBUM OF SONG Holiday Cash Price, 55 cents, Postpaid GALLERY OF EMINENT 9 9 9 Regular Price, 90o. CELEBRITIES DISTINGUISHED MUSICIANS TRANSCRIPTIONS MUSICIANS Famous Melodies, Sacred and Secular, 25 MODERN DRAWING ROOM By Arthur Selwyn Garbett By Arthur Selwyn Garbett Piano Solos ALBUM OF TRANSCRIPTIONS By Arthur Selwyn Garbett PRESENTS a collection of seventy portrait-biog¬ PIECES i0iin,a"? Pian° by Arth“>- Hartmann (CONTAINS a short biography with a portrait of FINE transcriptions and variations for the piano gOME of the best song and piano numbers by IMMINENT MUSICIANS contains sixty-two raphies of the world’s foremost composers, sing¬ 27 Brilliant and Melodious Solos for the Piano sixty-two distinguished musicians. Auber. I arranged from Hawaiian, Spanish, Scottish, biographies and portraits and is equal in worth ers, pianists,' violinists, organists and teachers who leading composers masterly transcribed for the to Musical Celebrities. It is hard to give an idea of cherini, Bruckner, Carpentier, Cherubini, Fame, Irish, Russian and Italian melodies and sacred A N album that has long held a place among the best violinist. have lived during the last 200 years. One page gives the contents in naming a few, but some represen¬ Gabrilowitsch, Mahler, Massenet, Tausig, Suppe, favorites. sellers because of the excellence of its contents. an excellent .condensed biography, and on the facing Holiday Cash Price, 60 cents, Postpaid tative listings in the contents are: Bach, Brahms, Tosti and numerous others about whom verv i ew It contains 2] brilliant and melodious pieces that page is a fine portrait. Covers such musical celeb¬ Holiday Cash Price, 60 cents, Postpaid are showy m the hands of the average player. Regular Prioe, $1.00 Chopin, Mendelssohn, Rubinstein, Schumann, Wag¬ rities as Beethoven, Rachmaninoff, Rossini, Schiitt know any essential facts are to be found in this col¬ Regular Prioe, $1.00 ner, Mrs. H. H. A. Beach, Mme. F. Bloomfield-Zeis- Schytte, Sibelius, Verdi, Dudley Buck, Gounod,’ lection of biographies. Distinguished Musi,-inns ♦ ? 9 Holiday Cash Price, 75 cents, Postpaid ler, Josef Hofmann, Ignace Paderewski, John Regular Price,. $1.25 standard’ violinist Handel, Haydn, MacDowell, Mascagni and others. and the two preceding volumes Musical Celcbn ies Philip Sousa, Jenny Lind, N. Paganini and E. and Eminent Musicians, comprise upwards of 200 STANDARD BRILLIANT ALBUM THIRTY-TWO violin pieces with piano ac- Sauer. The book is well produced and is art bound with 9 9 9 silk cord. representative musicians of today and yesterday. 27 Showy, but not Difficult, Piano Solos playermPanUnent W the range of tl,e average Holiday Cash Price,* 55c., Postpaid Holiday Cash Price, 55c., Postpaid THIS album is a great favorite because' it gives TRANQUIL HOURS Regular Price, 75c. Holiday Cash Price, 50 cents. Postpaid Regular Price, 75c. . the average pianist solos that are effective and Excellent Material for Sunday Piano Playing Regular Price, 75c. 0T-- impressive without too much technical demand. CALM, dignified numbers for church use and for Most Interesting Biographical Holiday Cash Price, 50 cents, Postpaid other sacred and stately calls upon the pianist VIOLINIST’S POPULAR REPER¬ There is Greater Interest When A Complete and Scholarly Treatise Regular Price, 75c. are given in this noteworthy, collection. Reading for Musicians DESCRIPTIVE ANALYSES These Stories are Known on Musical History TOIRE OF PIANO WORKS Holiday Cash Price, 75 cents, Postpaid LIFE STORIES OF STORIES OF STANDARD HISTORY OF MUSIC SCHOOL AND HOME MARCHES Regular Price, $1.25 and By Edw. Baxter Perry GREAT COMPOSERS By W. J. Baltzell 20 Excellent Marches in Various Styles for 9 9 9 Holiday Cash Pncep, 50 cents. Postpaid TEACHING PIECES ]?DWARD BAXTER PERRY has piano worked out a remarkably helpful By R. A. Streatfield extremely good work on musical ’PHE popularity of this collection never seems to PROGRAM PIECES By Edw. Baxter Perry history giving an accurate and poetic, dramatic and historical analysis wane, perhaps because players of moderate 33 Pianoforte Solos of the Recital Level ^Sa book of biographical reference ’P'HE information in this captivating faithful record of the facts essential or description of. some of the greatest GIFTS FOR THE ORGANIST or for “reading up” on the lives of ana best-known piano compositions. An ability get calls for march playing in schools, gym¬ ALL of these compositions are in grades four and book awakens the interest of the to a good understanding of the growth nasiums and lodges. STANDARD ORGANIST great composers, this will be found piano student. A touch of romance, of ancient, classical and modern mu¬ invaluable work for directors of music nve and every one is attractive. club programs. Ideal for teachers ideal. The lives of thirty-five great anecdote and educational information sic. Starting with ancient Chinese, Holiday Cash Price, 50 cents, Postpaid Holiday Cash Price, 50 cents, Postpaid A o?gRan pSehenSiVe COl]eCtion’ 43 Pipe masters are fully dealt with. Illus¬ is given to a number of immensely pop¬ Japanese, Hindoo, Babylonian, Egyp¬ and students. Cloth bound. Regular Price, 75c. Regular Price, 75c. trated with full-page portraits. This Holiday Cash Price, $1.45, Postpaid Holiday Caah^Price^SO cents. Postpaid ular teaching pieces from the third to tian, Hebrew and Greek music, this 9 9 9 is one of the most popular of the Regular Price, $2.00 the seventh grades. It is-excellent for work progresses through the various CONTEMPORARY MARCH 9 9™9 more substantial biographical works schools and also treats with the de¬ this book to be placed in the hands RACHMANINOFF ALBUM Organist’s Offering for Church, Recital and on the market. Cloth bound. of the- student and by all means it velopment of organ, pianoforte, violin MUSICAL PROGRESS ALBUM A FTNP Mot,on Picture Playing Holiday Cash Price, $1.60, Postpaid should be a part of the studio equip¬ and orchestra music. The biographical 30 Piano Solo Marches for Drills, WE Publish a number of albums individually de- a mmHenry T- Finck voted to a certain composer that are in great Regular Price, $2.25 ment of all teachers. Cloth bound. chapters are excellent. Illustrated. jyjORE favorable comment has been Processions, Etc. A voTumeVa y °f mat6rial in a ^ell-bound Cloth bound. demand. This one giving nine of Rachmaninoff’s given this book in the press than Holiday Cash Price, $1.45, Postpaid A SUPERB compilation of military, parade and Dest compositions is celebrated. Holiday Cash^ Price,^ $U00, Postpaid WHAT TO PLAY—WHAT Regular Price, $2.00 any musical literature work for years. grand march types to meet march and drill de¬ It is an interesting and inspiring book mands of all kinds. Holiday Cash Price, 45 cents, Postpaid 9 9 9' Regular Price, 75c. tor every music lover, teacher and Organ Repertoire, Cloth, 39 Numbers student to read. Cloth bound. Holiday Cash Price, 60 cents, Postpaid By Harriette Brower Regular Price, $1.00 9 9 9 Hohday Price, $1.30 Holiday Cash Price, $1.45, Postpaid * * * rJMIIS book is an annotated outline of THEODORE PRESSER CO., PH1LA., PA. ^ Regular Price^$2tK) MANY OTHER FINE PIANO SOLO ALBUMS Organ Player, Cloth, 33 Numbers . pianoforte material arranged in pro¬ STANDARD’OPERA ALBUM AND ALSO SOME EXCELLENT PIANO DUET gram form ranging from the first be¬ Everything in Music Publications—1712-1714 Chestnut Street CHOIR AND CHORUS Holiday Price, $1.30 ginnings to the work of the great GOOD arrangements in piano solo form of im¬ ALBUMS ARE OBTAINABLE AT SPECIAL pianists. Helps teachers in the selec¬ *r= Conducting mortal melodies from the1 great operas. LOW PRICES WHILE OUR “38TH ANNUAL ALBUMS FOR’ THE SINGF.R tion of study material and teaching Only a Limited Number of Sets Available Holiday Cash Price, 50 cents, Postpaid HOLIDAY OFFER” IS IN EFFECT. material, whilq at the same time fur¬ X ,TT„ By F. w. Wodell Regular Price, 75c. MUSICIANS with little or no ex- Send Postal for Offer mansdPric “H0Hd^ “Er” Special Ch7ist- nishes excellent studies in the art of GROVE DICTIONARY OF MUSIC AND MUSICIANS nces on a Number of Fine Vocal Albums program building. penence in these fields will find Holiday Cash Price, $1.45, Postpaid able £>mCianCe k°°k Mispens- Regular Price, $2.00 T A ESuCoyeChPrd;r MfC~SiX ^ Vo1—Cloth bound-illustrated A Superb Gift 1for Any Music Lover—Price, $20.00 (Not Prepaid) Holiday Cash Price, $1.45, Postpaid 1712-1714 CHESTNUT STREET Regular Price, $2.00 Theodore Presser Co., ■f ESTABLISHED 1883 EVERYTHING IN MUSIC PUBLICATIONSPhiladelphia, Pa. i THE ETUDE DECEMBER 1926 Page 965 ■ge 964 DECEMBER 1926 THE ETUDE exercises starts in and proceeds in a man¬ Mass No. 14 New Easy New Organ The World of Music Our Beautiful In Honor of St. Joseph ner suited to those who already under¬ Four Hand Album Collection stand all of the general rudiments of (Continued from page 887) 1927 Calendar Two Parts, Treble Voices For the first time our readers have Here we are offering at a low advance The Theodore Presser Co. has a number s been banished from the virtually selected the picture on the Cal¬ By Eduardo Marzo, Op. 203 of publication cash price of 35 cents, the of outstanding successful musical collec- These___, studies are arrangedc__—, in such step- be services of St. Augus- endar for this year. It is the lovely Mr. Marzo is well known to the musi¬ opportunity for teachers to secure a copy tions in a series of reasonably priced al- by-step order and furnish such work for tine's Church, W< mbley, England, on the “Fairyland of Music” which first ap¬ cal world, and particularly to those who of a new and easy four-hand album that bums, utilizing special large plates that the ’cello student that those faithfully per- tracts from the climactic close of the hyn peared on the September Etude and are interested in the music of the Cath¬ we are to issue. This will he the type of make possible the inclusion of a generous feeding a performance of them will hat This action was taken by the initiative of I brought such an immediate and wide¬ olic Church. This new Mass by Chevalier work that will hold the young student to number of compositions upon the-|j| ■quired a very substantial foundation of clergy. And yet there are those still al spread demand for “copies to frame that Marzo is most effective, yet is not at all an interest in attaining something at the of pages that a publisher can afford to technical proficiency upon the ’cello. : this “Innovation” we instantly realized that nothing we difficult and can be rendered readily after keyboard, and the contents will be gener¬ lace 'in an album priced at 75 cents. Teachers of the 'cello will find it a grate¬ While this series is a fine variety of al¬ ful work to utilize, as it is a .set of studies f»j' e of the smartest could put on the Calendar could possibly very little rehearsing. It is for two-part, ous enough in number to furnish quite a ork of the Devil.” please our readers more or make a treble voices, and neither part presents -little material that will spread over a bums for pianists of various abilities, and that can be used to good effect along with s brighter musical spot on the walls of thou¬ any vocal difficulties. As we have ex¬ good season. Teachers can use a work of there are several choices for singers and a curriculum of standard ’cello studies EDr. liolnli Horner, composer and teacher. Winnipeg, Manitoba, passed away on April sands of homes. plained in previous descriptions of this this character in seeking out a piano duet violinists, up to the present date it in¬ of great masters of the instrument. 2f 11926. Born at Newport, Monmouthshire, The picture was immediately Used and Mass, it may be sung by a mixed choir ow and then as a relief from elo cludes only one pipe organ album. The in which this para- lgland, April 28. 1848. his education was adapted by other firms, who were glad to of men and boys, the boys singing the ■ adherence to other prescribed study m i- Standard Organist. This album is a very graph introduces this set of Fundamental .Ashed in the Leipsig Conservatory undei ’laidy, Moscheles, Reinecke, Papperitz and pay the artist large fees for its use. We soprano part and the men the alto part, Pterial. In the main, it is excellent to have Studies in Violoncello Technic, the reader, Richter. Returning to England, he became have made arrangements with him by which although the original intention of this two- ^ something of this character in the pupils’ gather that they also ideal for in-ominent as teacher and conductor of both he generously permits us to use this paint¬ part writing was to furnish a Mass that hands for the sight reading and ensemble students, not only because of its reason- self-study work. The nominal price of 40 ihestra and opera. He came to New York Christmas Giving to Teachers, m i..,l in 1909 removed ... -- ing at a rate enabling us to sell the Cal¬ would be suitable for use in Convent playing development that comes through able price but because of the excellent cents a copy is all that is being asked to become director of the Imperial Academy NEW WORKS Students and Lovers endar at the same very low “Christmas Schools or in choirs where male voices recreation duet playing. The young stu¬ and meritorious variety of the material advance of publication orders, of Music and Arts. Ilis compositions for or¬ of Music and New Year's gift” price which we have either were entirely missing or somewhat dent will feel that he has something worth in it. We have been importuned for a chestra have been often played. Advance of Publication Offers been giving our patrons for years, 10 lacking. The advance of publication cash while ahead of him in this collection, be¬ number of years to produce another album New First and Third The Theodore Presser Co. has been in of this character, but we have bided ou: — - - - — — December, 1926 the field to: give service to those in the cents a copy, $1.00 a dozen. price of this Mass is 35 cents, postpaid. cause in its latter pages it points to fu¬ Position Album For tion held its" first convention ii The picture is in every way the original ture accomplishments in the pieces that time through a desire to make up such ai on June 14-16, the chief interest Musical World for over 43 years, and for -L-- — - „ . , ~ ,, It will not be long before it will be Violin and Piano meeting being the discuss’ Album of Study Pieces in Thirds and the last 37 holiday seasons has offered conception and design ot the artist, .Mr. ready to go to those registering advance it presents in a grade of difficulty ap¬ album only when we felt that there wa tion of the American-made proaching the third grade. This is reached, sufficient good material available. Thi Beginners’£Hxa“ .40Method for the Saxophone those desiring to give gifts to music lovers Francis Sherman Cooke, who is a son of of publication orders; and, therefore, we •60 not only a wealth of suggestions, but ?" Mr. .TamesJames Francis Cooke, for many years suggest prompt action upon the part of of course, in the progressive arrangement new album is now in preparation, and ii Beginner’s Voice Book—Proschowsky. . order that all those interested in nev Presser Co. book catalog so successful. (North Carolina) Beginning With the Pedals of the Piai 30 opportunity to save money :-n purchasing Editor of The Etude. those who want a copy of this work when | of duets through the book, which in the ...To Open offerings of pipe organ collections may By this tbe type of collection any of the suggested gifts. it appears; otherwise, they will find it nec¬ I beginning starts with four-hand numbers Brehm’s First' Steps' 'for ’ Young I The Beginner’s Voice Book I in the first grade. The special advance have an opportunity of becoming +,,a+that furnishes,f” the player with material1 Seville,” “Aid™” _ Beginners . of The essary to pay more than the present low for diversion or for use ... -such publicr- “La Boiierne,”— "Tales of 1; Fifty Easy Melodious Studies for Etude to bring attention to all of these By Frantz PrOSChoWSky advance of publication price. I of publication price is 35 cents. quainted with this collection, we are .... hering to our usual practice of offering performances demanded from many, F°rza del Destiuo.” Pianoforte—Op. 7—Biehl. suggestions; therefore, in various adver- it js possible in almost every instance First Garland of Flowers—Violin Beginning with the book publications at a low advance of and at the “■ me it is also a collec- yiiss Piano—Weiss . 35 tisements in this issue a comparative few where one wants to study a musical in- Very First Pieces tion that will prove of value to the teacher pleted ,... .. Forty Negro Spirituals—White.. 76 of the excellent things offered at special strument to find a real beginner’s book, Pedals of the Piano publication price. The advance of pub¬ Played on the Keyboard cents who wishes to utilize an album In in- ^as';it1tlagLrtngCbegunSOoUtl?’Ch Fundamental Studies in Violoncello Tech 40 holiday prices in our 38th Annual Holiday that is, one that presupposes no previous i By Helen L. Cramm lication price in this instance is aK nic—Schwartz . By N. Louise Wright a copy, postpaid. struction work. Incidentally, there are April. 1866. H. M. S. Pianofore—Sullivan. “ Offer are brought to attention. These, of knowledge of music and carefully out- This is not a first instruction book, but So many things have been done to make many teachers who prefer to give pupils ^ ^ , (( Mass, No. 14 in Honor of St. Joseph- course, are the outstanding favorites, but ]jnes a course of instruction beginning the first piano study work for children Marzo . rather, as the title indicates, a group of Secular Two-Part the numbers separately in sheet form, and dpn ®”e^eJ‘jfslo ^51e *is" aniiounceil tor 1>\ Master Vocal Exercises—Connell.... those who wish to see the complete offer with the rudiments of music and then very first pieces that may be utilized after as attractive as possible, and this has been such teachers will find it very helpful to American premiere during the present s.oa-N may have a copy for the asking. Just stepping into the most elementary phases Song Collection New Collection of Favorite Songs the young student has been acquainted because individuals who knew and under¬ drop us a postal today asking for a copy 0f study upon the particular instrument Chorus " with the notation and is getting into the stood children set about to make first of the SfitTv*38th' Annual Holiday OfferDfFer andfind ;»-» miacKnn rnumoccoc fryuHli until Jl «>-kvr*b-ec*rTsr zx-iTAStr- ~-~c“““"°* “**’'• First and Third Position Album- .... question, progresses gradually until J. study material pleasing as well as prac¬ Nei 50 clearly sign your name and address. reading of study material in the five-finger a“f,c£io£p“^i,.pro',d"- Violin, and Piano.. performing ability is built upon a good position. While these little pieces are very- tical. li.-dt lightful works of Helen L. Organ Colleetioi 35 In this day, when psychology is so uni- foundation of elementary work, but when Cramm have Deu.i',utsta.nding.j'i11tlij£ con¬ two-part, sinjgjng and Pianist’s Daily Dozen, The—Macklin. easy, nevertheless they are of such a char¬ gber in this album, versally appreciated, it is easy for one to _ turns_ to__ the_ studyj of_ the art of sing- nection, and now a new work is ’ to' be^ ycally all of the Theodore Pres- also Secular Two-Part Song Collection appreciate the psychological effect upon jng the available vocal works are not as acter as to prove practical and helpful. Seven Last Words of Christ—Cantat Teachers of little tots will find them easy added to the group of immensely suc¬ find in it program i”umber5 with prae.. rns °f music, is published in Dubois . .50 the recipient of a gift, when the gift shows satisfying in their introductory work and cessful books by Miss Cramm. novelties. Then again; with i music form. This album Seven Octave Studies—Kull.k. •Jj® that the giver has given thought to it and logical progress. to fit in with the very early instruction nkh sight ser Co; alb” Twelve Piano Etudes—Bilbro. work with children, whether in kinder¬ “k This work is a decidedly valuable one singing ability develoi,,,,,, . ety OI nrst ana A Pri/,. of *,r,oo. r„v a snltald,- official ’45 endeavored to make it personally “fit” the This, however, will not be so when The Schools -seParate sheei^r.ous Variety of first and Twenty-four Caprices—Violin—Bode garten class or in individual instruction. fi that it introduces to the pianist in the of todav. it is nei-fp? .. n the violin with song for the Infantry of Jfcp American Army, ;t Pieces Played on the Keyboard _receivingD the— remembrance.- Beginner’s Voice Book, by Frantz Pros- Shaking some of. the main principles of king the period ■/? offered by the InfantnM/ournab Fnll V** —Wright Surely,oureiy, mimingnothing willwin i-umcjconvey thisuu, per-‘ chowsky, is on the market. Voice teacli- Each of the little pieces of this group Methilod for Beginners—Hathaway. have text which, as teachers know, always ■pedalling. Since the proper use of the ' sonai’ touch' ' andJ ilthought 11 *to■* the music ers and beginning voice students will find ^pedals adds much to the beauty of piano¬ lover’s mind more than having a gift come this book of great assistance, since it is an advantage. The advance of publi¬ cation cash price is 25 cents a copy, post- forte playing, the wisdom of utilizing a Etude Radio along that is of a musical character. The gives not only the necessary introduction, hook such as this, which lays a foundation albums of music of aU kinds and the in- but very practical and helpful exercises Hours for future pedal work, can be appreciated and all are readilvsinga^™^ are band ° it^ifoffere’d ^ possihi’-'~’* ,, teresting literature works on musical sub- in logical order. On the second Thursday of ev Forty Negro Spirituals readily. Advance of publication cash melody that is ever pre; I be®ause the ,t.'s °®ered m advance of publ. \. >ts in the 38th Annual Holiday Offer Mr. Proschowsky, who is the vocal ad¬ price is 30 cents a copy, postpaid. numbers are unusu al h*.e,nt ®01De of the * 1 the prlce of 50 cents> postpaid. over radio stations W.I.P. ((Ml OIot theuie TheodoreLiieouore Presserjrresser Co.eu. mit¬offer sugges- visor of Galli-Curci and Tito Schipa, him¬ Compiled and Arranged ers, Philadelphia), and W.G.B.S. (Gimbel yons for aimost every desired self has made a series of anatomical draw¬ By Clarence Cameron White ^Alburn of Study Pieces SSSM3&SwyuwWord8ofChrlst Brothers, New York), at 8.15 P. M. East- ture ings for this book which are of great val¬ excellent hu- Lenten Cantata ern Standard Time, there comes to radio These Forty Negro Spirituals will la- “y Thirds and Sixths morous numbers. The sp ue to the student stepping up to the found to be the best and most correctly publication cash price is ! 1 ad- By Theodore Dubois listeners everywhere. The Etude Radio jjqw paragraph is hardly necessary on •ents a copy. threshold of voice study. presented group of Negro Spirituals. Mr. ^kwprk, since the title is descriptive in postpaid. As one can well imagine, this will be White knows the Spirituals of his race and th^'S 1S a Iast"mhnite warning to Likewise, on the third Tuesday of every More Pupils elf and the reeeption given albums those who will soon be giving considera- an outstanding contribution to the vocal has gained his acquaintance with them Master Vocal Exercii month, another Radio Hour is presented Frequently teachers ask, previously issued in our series of Albums tion to the music they desire for the Len- kSm- -«■’ world, coming from so great a master of through sources not open to many. His of Study Pieces for Special Purposes in¬ By Horatio Connell over Station W.L.S. (Sears-Roebuck get : pupils?”. There— i magic teaching, and truly it does show.his Foundation, Chicago). activities in the National Association of dicates that piano teachers are on the The Curtis Institute nf TVT method, but judicious publicity work and greatness in that he presents so many of Negro Musicians, of which he is pr The purpose of these Radio Hours, ii proper contributions made toward creat- the fundamentals of singing in such lookout for material of this character. not to furnish popular entertainment, but ingn," nn interest in- music generally are . •. ., P ■■ are one indication of the soundness Thei volumes that have been so well re¬ , o , w . JMH,clear, concise n that the student u> statement. The name of Clarence Cai to create a popular interest in music things■■ ■ that mean much to the teacher. In teacher is sure to obtain good results ceived dealt individually with Trills. study. In bringing the value of music _ _ _ _o„_ __ _ eron White is known to everyone w Scalps, Arpeggios and Octaves. This new .t°_at^e“ti,°“ when using this vocal instruction book. knows anything of American musical coi study to, attention,and, L.i>u, Thea nr- Etudej <■ >“■. is... pointingi-—b THE BESTbEST PLAN WE HAVE EVER Althoueh Mr Prosehowsk-v h-is el eerie ■ i collection is similar to the others in that individuals everywhere the value SEEN F0R AIDING THE TEACHER defined patll f„r the studln the mn il position, and this attests the excellen it makes possible tire conquering of cer¬ of seekingng personal development in music. T0TO SECURE PUPILS. See the two a J i W of handling that will be found in the a tain! tec,,nical devices or combinations ill find that a teacher means much ... companiments of the Spirituals he has s through the study of attractive pieces, We are mentioning The Etu Radio pageS devoted to it studying by means of this or any other lected for this collection. It is a gem for featuring^ the phase of technic the album Hours here in order to direct the atten¬ 885 and 886. instruction book, but where one is* so un¬ tion of them to teachers who as yet have those who want their library to have all covers. This, of course, proves a safer fortunate as not to find a voice teacher the worth-while things in the literature of not given them any consideration. convenient, nothing could be better used and more attractive way in which to ap¬ Thet he radio can aodo muenmuch towarutoward ci-caimgcreating The_ Pianist’s. „ Daily- . Dozen American music and, of course, all singers proach such things than is found in many a wider appreciation for better music, and By Charles B. Macklin for self-instruction than this new book, should possess it. Advance of publication for which we are recording advance of dry technical works that bore the student. „ - problems «•>«. = —rj -- i.«- the publishers of The Etude are highly If there is anything that the serious publication firdCre atTthe^SDecial'nrk’e of offer is made at the low price of 75 1 tEjdrd grade pupils would be ready for an Mr. Connell has prepared I voice W/udy hcation price of 50 cents will be with- postpaid. gratified that sucti a far-reaching medium student of piano playing wants to accom- ccents,ents postpaid.postpaid 1 such study pieces as this new presents a master series is work v^rh flrawn at the end of this month, :s availalile for the educational programs plish, it is the perfect muscular control ’ 1 1 Twelve Piano Etudes o-.e we are to issue covering thirds and cises, and the voice teach f vocal ex\'- n , , Beginner’s Method sixths. Advance of publication cash price .strengthen and moderniz -who wants Hrenni S First Steps for tne ordinary muscular use or xne nanus - „ , By Mathilde Bilbro is 3() cents a Copy postpaid. teriai that he utilizes s'the study ina-\ Young Piano Beginners teacher to create more interest there tends to be a cramping and binding NaXOpilOne Miss Bilbro has established a w curriculum this verv nuld add to his \ This instruct™. study. of the muscles, and this the pianist must It has been our privilege to stand served reputation for ability to wri Violin Method Horatio Connell. Theactical book by ' ■ Inslructor Comments that both teachers nd stu- overcome. Flexibility, independence of among professionals and hear them tractive, yet thoroughly practical < for Beginners lication cash price ' ’ “ ’ c should hear are made upon action and immediate response to mental daim the art and superb tone found ... tional matter for piano study, pai By Ann Hathaway postpaid. be obtained with the i the saxophone playing of H. Benne Hen- larly in the earlier grades. We are / /V iolin teachers should place an advance tional exercises for the hands outlined by ton. It i with his complete to have on the market this new teaching T, publication order for this Violin Meth- Fundamental Si teaclier of great reputation assists The Mr. Macklin in this book. knowledge of the saxophone, who is per- work by Miss Bilbro, which furnishes what Violoncello Tecl1^ *es Etude Editorial Staff in making the pro- 5" —**• - . toJ Beginners, by Ann Hathawav, are virtually twelve first grade study /nee they Will find in it such a thoroughly By G. F. Schwab gram additionally interesting. pieces. They are attractive musically, practical procedure of study with the use particularly in - The Chicago program is given under plant all of the work that must be done to put upon the market. and there is a special technical phase to The interest in tl- xceedmgly attractive material. It ac- the direction of D. A. Clippinger. it the keyboard to gain control of the’fin- This will be a practical instruction each. Any teacher not familiar with the ly realize. It ;’cello is greater than covers a field for which some Wre believe all teachers should equip gers, but it is possible with these work that should not be confounded with /comphshes What it sets out to do, and that great possibilities,! a solo instrument of works alrei^y ailnhle. There teaching works of Miss Bilbro should send IS to get the pupil achieving something in themselves to hear these Etude Radio any of the “freak” short cuts to supposed in a request for the privilege of having it is of outstandhd in orchestral work sucb merit the “Brehm’s First Steps'’ ThfEtto" WTbea y^^b^ription to Hours each month, and, of course, being saxophone playing. This type of work some of them for examination. By all , P ayfTg witl,!n 6 short time, but it the musicians! importance. Many that o - Mkeation Department decided so equipped, they also have the oppor- the technical work otherwise required, that will appeal to the music teacher, and means they should register an advance of r “ attempt to progress rapidly into ...----i other branches ,(fhoy— —are - accomplished-r- to is it—aiding some materia] that was with each subscrtpC^';,^;,^ “ft tunity to feast upon many of the high- Teachers .should know about this work,, supervisors desiring to develop saxophone “Std®ands ‘hat should not be ex- find the study of musical endeavor who tclt would bean improvement, and before •‘'’ena a tine Christmas ( publication order for the new Twelve pected of a beginner, nor does it cover any 'nounline “ ^Christmas Gift Card class musical gems offered by the leading- lecause there are many times when they players for school orchestras will find in Piano Etudes at the special advance offer version. ‘ ie ’cello enjoyable di- it is placed oi the market orders in ad- suhse’tim^ }’°U, as the d°nor. Let your ill help the pupil to overcome physical it just the type of material to carry tire yve than first position work Advance ~ ' I vance of publcation will lie accented At ptloj! orders come early, which will broadcasting stations. The radio most price of 30 cents, postpaid. Of course, 25 cents a com Tlfe . i_, P . at prevent disai)nninfm„vi ’ »men win certainly is offering the most convenient obstacles by, inmending its The beginner along into playing ability. ' The on the new Bilbro book there are no ex¬ I teSstered1 aTT f°T this method will the rcaoli of vtmniment which is within 23 cents a cop/. This is a beginner’s^tool! pr^le,nt ^appointment on Christmas means by which a teacher or music stu- advanceJ of publication cash price ; 30 advance of publication cash price is 40 amination or return privileges at this ad¬ the piano, the violinfi- beginners such as that ntilize.s tilt method of giyW the first „THE coping each month dent can broaden his musical horizon. cents a copy, postpaid. cents, postpaid. vance offer price. • ' ' ' .. lessons with bob hands in treble*clef Christmas cheer over the entire Advertisement (Confined on bane 0M i ' ar anct ]s a reminderleminder of your friendli- cement ^ ness and thoughtfulness. \ teachers may rest assured that this new =nr^\ New Collection o» edition of these “Seven Octave Studies _ m ovugoSongs andaixv* Choruses will be superb in every way. ^Uaraeter For All Occasions not only compare work* of this character Anyone wanting a general collection of with the originals, u a so market, good things for everybody to sing, whether ingcertain that everything L i. . community song MW ££ m ori.r to-*-- » > rr;S?V.'w m rn. 'SS&SJtZ tomuk. Usucju. •» "'.Siting, or necessary to the mechanical side ot its J’ st)eed in octave playing, production. NataJjJ* a book of his ^^n^p^^tion price of this character could nuw: satisfying unless .... in certs a copy, postpaid, included many olM»vorites along with a new edition is 40 celts a copy, l few good old hymn tunes, but this coilec- Advance of Publication OCK Ui ou ciie Theo- «... .0 be I mice Presser . 3. Book Publiea Mr. Sangstoniu tame with us in- joining ofirr snippingShipping Departmen«>■[<«- force. Bight months away to ■■■■■ I ...... j oniy interruption in hm . I went” fr(imI>1oeurerShipping Depart- _ lent in a) our Order Department r—. i 1920. He now ably oversees \r~ r 10 cents. Naturally, wucu be workings of the Presser Book- a„ wa’t&Sirtfml_i.mtthe market we shalla™ 11 offernffor it «ss in quanti- =anv pmembers of the saxophoneSSr.fo family or f Stock. _ It is this depac- want to do duet work with any two mem¬ ties at a very nominal price. ihat stocks the c...—-, bers of the saxophone family, in either oser Book Publications ns U ie in from the binderies an, First Garland of Flowers case with or without piano accompaniment. , ,„n feeds them to the Order De¬ There are three saxophone volumes, one partment in quantities sufficient Favorite Melodies in the containing a solo and second saxophone First Position For Violin rttnent ior a buuu part for C melody saxopmme.saxophone. Another. , Sangston’s department .. By Julius Weiss, Op. 38 volume covers the E-flat alto saxophone found many of the best selling col- It is hard to tell just how early “im- jn the same way, and another covers the * teaching publicar""'* petuous youth” begins, but teachers of B-flat tenor saxophone similarly, children find it existing from the very if it is desired to play Suets with two their great sale, ucme first points of instruction. The youngster. c lliciuu;melody saxophones,—, then-1 It- i. **»is necessaryj I to occupy individually more ( to buy only one volume. II it is desired feet of space than found in the WirOwho is justJU»t icaimuglearning tow hold -a pencilr- im- to buy only one volume, li it is desired largest room of the average house. mediately wants to write a long letter -- to play a duet with the C melody saxo¬ somebody, and so it is in music study. phone and B-flat tenor saxophone, then V \ The little student has an inward _ desire i- ^are bought. JTbjs fibistrates ords whicn permit to play a piece before he poss"'»".tvt' wwi A'6 v«fl • ’.■hangeable. The siN- binding of new editions before stocks essary technical equipmen jC,i*i the dec- iow pf S are mterr^ cents each and tire *e depleted. . ,, Garland of Flowers _ longt ( The First ophonepohimes3phoneivolumes are ^ 75 cents,cents. ■ Dealers throughoutlurouguvui the country plying tne demands or tnc uu oiuc 1 make the main stock - and Order Depart- standby of many violin D has been the piano Sccompammer^.^ witbdrawn this I season the summer monins aim t zeal with which Mr. the young pupils melod! jacbcrs in giving The/ other work lting tbe Three Dances ing this season our Book Rest ;ept his department in the early stage- wi)loas pieces to play montl/ is that VTeSeJjands, by Cyril Scott, Dept. is filled neat amount of detail and case after case of our book pub moothly and promptly is a piano pa-and of Violinviolin smuv.study. There— - f,uror jiano—Four^“lAely._leiv r mwicauiiginteresting piano?—- lications are packed in this depart , . o ns in the service we 5c; further that.1 . the little student rTheslrheofc aree extrcnextrenext”"- •wwill „j... ;interestntpreat concert - £ - shipping to dealers every render to our great host of friends . 7t so vnai w... - and the> teachers of advancing and patrons located wherever the I li “,c“> f"Aelighted with an accompani- IlUiupv.-, —- teacners «» |U| in r’ fittle pieces, which are all piaijsts as well aa>_ f coursei then,P manymanv pro-nro- 51 rr -=nrF7 ; ‘position. PThis standard work stu/ents Then,, o lndulge in piano duet ^ 1* —.r^eeeoi.m a careful scrutiny at the ftci nt piamsts wl ]ove of it should _.. E- , ,p ‘= d fg nuf Editorsditors and all "necessarynecessary pl^in|xplaying totfor the*e.^“i ;' Ve numbernumbers.s. Price, Let The Etude Do YoujT Ti vb ' !' hands of our these distiM Christmas Shopping hwrty:^. For VI'' jard Time, theie^ The following is a partial list, By 10 s eveg^cjjere, JeCeS rewards given entirely free ‘°r «■ %. 1 Stndm and j advance of publiea- For YOU) ^ uke having your copies scriptions to Etude Music Mao/W T- _• / _CV,1< ..* / is 'the *price a"h advance oi publi ‘ . Tiing like having your copies Tkprp IS '.1 0 • . _cm that Select the one you desire and you nuch to tion orders are being accepted. There is : lmv|nientlv arranged so that mightily pleased with your choice. I }r tlie yeaij hand on any one you gifts or rewards are standard mercht , ou can pm p'Tude is worth many times dise and wiU be appreciated as holi« 3SL"=v%*-2*& » H. M. s Pinafore desire. „TH,fecription price of $2.00. You the small su twelve copies for convenient “ Park Rodger’s Jiffy Cuff Buttons- ByGHbwtand Sullivan "can■ Sibind al finp “Xtetam'bin5«so>K buckram binder eXwicensli^The Presser Collection. This Despite the many exceUenGcommope reference It opens flat, making daily designed for soft cuffs, gold t ^ ^ keeping with our plana otof having alla fQr amateuramateur production thatu». have stampedstamped in* totQ any numbenumberr and keeps one new subscription. j worth-while standardl studies and such wwrriterfiterr as May Hewe Uoaguoug ready accf ,b neat andand cdeaniean for all Pair of Chased Cuff Pins—Sterling! the worth-whileworth wrn . ,„j.d in The Pres- , T . Wilson Dodge, K. M. atuits, copies , tbe binder is ver; one new subscription. classical collection^ncluded^ Ladies’ Memorandum Purse—Browt grain leather with memorandum padhj Sv.r „.owa.e.„- pencil, hung on silk cord; ""<■ 11 pw ■ scription. ' Lingerie Pins—Gold front, substal and serviceable; two new subscription. Gentlemen’s Bill Foldr-Genuine fl fm/ works are known to many, H care- wQrks by s„e of wnters^ pleasure inanenf musical library which skin, size 4Vi x 3% inches; subscriptions. . ' A •ASSTr*- YTSgStitA*. » »“• ” Cigarette Case—Black pin gram leather, lication cwh price of the Twenty-four witb a modern, weH-prmted edit y^iuu in the f(?2fi$2.00 00 covecoversrs your renewal, carries package of twenty cigarettes; only Pn^Zs Tor Violin Solo by Bode is 45 we are adding Hxx.. M. S. Pnaforeb to o,j e- *■. RemfRemember;_L... acturing. .-* cost „rof the binder, Caprices jorT°r ‘ .This comic opera, with its ue two new subscriptions. P cents a copy, postpaid. catalog. This comic ope ’ kli and $1.25 the manud you will have made a Ash Tray and Match Holder-Heavily lightful humor “d *SdeXving of be/. $3.25 in all, a profitable investment nickel-plated, with colored glass liner, every smoker needs one; only two Fifty Easy Melodious Studies ^ ^sood ai- ud for the Pianbforte new edition such as we a^^epifmg.^ or Beware 0f Fr^entS subscriptions. ■ iy A. Biem, y’P- ' those who .want tOfibe, o^ eaitiontt^t wfi Subscription of complaints is now Effanbee Doll—Says “Mama like a real By A. Biehl, Op. 7 baby, will not wear out; cunningly wrap- ( Some teachers regularly use a cert this wo ,g pregented the oppor- The annual cropost every section of ped in blanket; only three new subscrij. work or combination of works in e J are m Ordering a copy in advance of coming in from a?0od money has been thp same prescribed order for all p P > tumty the special price of 50 cents the country where We cannot be re- Cigarette Container—Made of ham¬ mered brass, beautifully finished. Kcc s cigarettes moist artd in good conditio, ; Seven 0«ave Studies-School - .y-S - £ any smoker would be delighted with one. f°Aht-!L explain why there is a sale for q{ 0ctave Playing—Part 1 Ware of the so-called ng votes so that Only three new subscriptioi so many teaching publications as are gy TheO. Kullak > “1,right-faced boy” get,rough college or *. market and particularly keep in u ^ ,g ^ be a flne new flition of Kul- be can work his way honest canvasser 1926-1927 Magazine Catalog th n^standard works, such as this inter- well.kn0wn Seven fetave Studies siniiiar fake stories. An send the money Just Out many sta . second-grade studies by laf.s , second pH of this com- wiU be glad to have y nvinced as to his laying. wc aireci n you aie m-. -- — ^ The best magazines clubbed with Ivr the Presser Col- responsibility. We in.ion. It is impera- „t very substantial Savings. A post (1 finest form, credit for the subscri be heeded, will bring you a copy. IlSSlSSThr advance of publication price «Notbing is better than best.” Piano tive that this warnir Ad vertisement cents per copy, postpaid. / \