Gardner-Webb University Digital Commons @ Gardner-Webb University
The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
1951 Volume 69, Number 12 (December 1951) John Briggs
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons
Recommended Citation Briggs, John. "Volume 69, Number 12 (December 1951)." , (1951). https://digitalcommons.gardner-webb.edu/etude/70
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]. What Do Christmas Carols Mean to You? Lilia B,II, P'tts
Day of Days (Christmas Poem) James frands Cooke
A New Horizon for Piano Teachers Polly Gibbs
What I've Learned in Judging Competitions Jesus Maria Sanro.,a
Christmas at the Panama Canal Subert Turbyfill
The Grass Roots of Opera in America H. W. He'.s.,I.,r
Play Lessons for the Pre-School Age Alice M. Harrington .. • ..i •• ..,.. • '"e. • at
"The Dybbuk," a new opera Quartet in G minor, which was by David Tamkin, had its premiere played by [he late Mr. Schnabel earlv in October by the New York at the very first program of the Cit); Opera Company. It is an ex- new Friends of Music in the sea· tremely difficult work and as given son 1936·37. by the company was one of the most brilliant achievements in the Mischa Mischakofj, concert- history of this group. In fact, as master of the NBC Symphony Especially so when they pertain CO a favorite studyor regards the opera itself, it "is in Orchestra, has signed a five-year one's career! Show your extra thoughtfulness andgen. some respects the most original contract to serve as concertmaster and important of the five American of the recently reorganized Detroit uine interest. Select from these superb books onmusical works that have figured in its rep- Symphony Orchestra, Inc. Mischa- subjects. ertory." Robert Rounseville, Pa- koff will take up his new duties tricia Neway, Lawrence Winters, upon the expiration of his present Mack Harrell, Eunice Alberts, and contract with NBC in the spring. Nathaniel Sprinzena were the out- standing members of a large cast, A.rthur Shattuck, one of the everyone of whom contributed to world's leading pianists three dec- AN INVITATION TO BAND ARRANGING MASTERS OF THE PliO the success of the event. Joseph ades ago, died Oct. 16 in New York by Erik Leidzen 437-41001 City. III health had kept him in- PHOTOGR~PH BY
Jame! Francis Cooke, Editor Emeritus • MOST MODERN Founded 13R3 by THEODORE PRESSER (E ~_2 _ ET DE-DECE,I/BER 19;1 Rossini used a special ivory took a photograph of himself syringe in the preparation of a out of his pocket (photography macaroni pie. He had a thick was already quite advanced in ~ilJe musictkserres tf/;msesff sauce made with foie gras and Rossini's lifetime), and in- filets of ortolans flavored with scribed it: "To my stomach's truffle. Rossini took great pride best friend." .:IfG titc0'!!l0ra.bk in his gastronomic virtuosity. A Paris tailor wrote Rossini He often remarked that he that his full dress was ready, would not mind if his harmony but needed one more fitting. :E~/lliYin Electronic 01Jtlll- were attacked, as long as his Rossini was nonplussed-he had salad bowl was praised. He never ordered the full dress, and ALTO BASS By NICOLAS SLONIMSKY wrote to his sister this recipe he wrote to the tailor telling s for a salad: "Take oil of Prov- him about the error. The tailor CLARINET ence, English mustard, French acknowledged Rossini's' letter Wherever conductors demand vinegar, a squeeze of lemon, with thanks. He "las no tailor, HE LEGEND that Rossini llossi"i enjoyed a great he was an autograph collector. perfection, top-salaried artists ChOOS:!, . Tstopped composing at the reputation a a virtuoso cook. pepper and salt, and mix well j then add some finely-chopped Martin Freres alto and bass clarl- ~ age of thirty-seven is acc~r.ate Alexandre Duma, pere, wrote truffles. The truffles give a kind nets. Arrange trial at your dealer's '~i. only in respect to wrrtmg to Has ini asking him (or the • t of nimbus to the whole, which today, or write for complete "'"t/''I operas. Living in retirement in reci] f his special macaroni raises the gourmand to a state Martin Freres catalog-showing '~, -J his suburban villa near Pari , dish. Ro s ini replied as follOW$: HE FOLLOWING POEM enti- of ecstasy. The Cardinal, whom Rossini continued to compo e "B for submitting Illy recipe tled "Weber's Last Waltz" Bb clarinets, alto and bass ~r I met a few days ago, rewarded T almost to his dying day. His to your ·ulti, at d appreciation by John Collett was published clarinet, oboe and me with his apostolic blessing music of that period comprises I beg y U L COllie and tas!~ English hom. for this discovery." in 1890: Model 9 mostly piano compositions with 111 said mn aroni t morrow _Alto. Clarinet. humorous title, which in many '\ edn !' la I at half past sir $550. 1 • _complete outfit. ways anticipate Erik atic. procisel . - Friend hip and As the finger of magic unfolded collection of these piece c pi d (rat -rnit .- . R o;ini.-May OSSINI CALLED the -truffle each treasure, Sole distributors by a professional copyist, and J81h, 111S11." R "the Mozart of mush- And the pearl drops flowed forth signed by Rossini himself, wa I U 1l1D, accepted the invita. rooms," and said he knew of of the heavenly strains, Buegetelsen 6 put on sale in London 1 y tion grmefully, hut apl"rently nothing, except a truffle, to It wakened a thrill of such un- 5 - 7 - 9 UN ION S QUA R E, NEW YO R K 3. N. Y. Messrs. Puttick and imp on in did IUJl care for R ..elni's cui. which he could compare "Don dying pleasure IN CANADA: 720 BATHURS~:r. TORONTO 4;, ON,T~ 1378. In the printed catalog for sine. I I 0"1, g ~..ip had it that Giovanni." When an Italian That ne'er shall be lost while this sale, we read: "Each munu- h 'all d Ro""ini a "raux gour- caterer delivered food to Hos- existence remains. sini's home, Rossini despatched script is signed by the great maud, n nnd hi r mark wasre- Maestro, and each Purcha er pori d to Ro ini, r ..ulling in a letter of gratitude, "From the So simple the harmonies Weber Swan of Pesaro to The Eagle ~~~~~~~~~~~~~~~~~~~~.~~~~~~~~~~~~~~~~~~~~-~~~~~~~~~will be entitled to regi ter in struiucd r lari II between the employed ~ f of Italian Sausage-makers!' his own Ilame the copyright or tw . 'fhi i denied b) a friend That the musical gymnast of "You have raised yourself to the work pur ha..cd. Mes r . r bot h Ros ...ini Rnd Dumas, these days may sneer; yOWl kU choice 0/ i the very pinnacle of your art I L Puttick and Simpson b g ont.' O. I . rr me. l\ho ",role a With no grain or dross is the II ~ by the zamponi and cappeletti announce that for the conve- l"oI1Ht1unicati n 10 "The Orches- pure gold alloyed, you prepared expressly for me," nience of intending Pur haser, tra' fond n December 19, No needless inflections distract r wrote Rossini. "It is but just, I Christmas Bool(s i an eminent Pianist will allen t 1868, to that fT t the pleased ear. E,£mce tj;J;;[f.:/jour cbtrc!music for one week prior to the duy therefore, that, from among the of Sale at their Rooms, and will • wild marshes of my native execute on the Pialloforte any country, I should elevate my i' t6 hmce • • • • SEND FOR ALL 8 1I E :; \ "E JOURNAL pnb- harsh voice in gratitude to you: The poet misdirected his ec· wifE i work desired to be hea rd." T 6:BtllkJzElictronlc q,IlJl.. lishcd on lit r leue.r tn a I appreciated fully the complete stasies. The so-called "Last There wcre forty. two vocal I, ON EXAMINATION! i•• laler L ue c nlaining details collection of your works that Waltz" was a composition by w.orks, seventy-four piano The sacred music of your church deserves the Baldwin Electronic ~ 'CIl-~ ~ ab ut Ro~...ini' culinary art. you sent me; my guests, also, one Karl Reissiger, who gave ~ NEW MUSIC Piano Solos Choral Grad. I THE GHOST STALKS AT MIDNIGHT . .. Martha Beck Sacred "ALL WERE THERE Cror,. L,ou (Halloween, good study in dynamics) 130.4.1084. .30 (Mixed \OICeS, (',11>)', Clu'ietma-, nice dc~rillli\c piece of the Munger Scene) 33240083 .12 Grade 2';' FIVE CZECHO·SLOVAKIAN CAROLS f;8EAUTIFUL RiVER ,,': '." ,;,.u)lIf) ..I1atlili TO PLAY AND SiNG Louise C. Rebe (Mixed voices, a cappclla \\ lilt optional hU"!lloUlca or aCC1)r~ion (Come All Ye Shepherds, Let Onr Gladness Know No End, Hear, What does it mean, that wondrous song? Ye People, Ring Out, Ye Bel/I;,Touch-ing Grace, We Princes Three. acoompanirnent , baeed un h)ml~ Shall We Cu(h~, At the Rixn. medium difficulty, an unusually rt ·h arrangcmcm) 312·40103 .22 octave transposition, pedal, studies in folk style with words) That hails the day when Christ was horn, 130·41089 .60 ·CANDLE IN THE WiNDOW ecrge L,,, (Mixed voices and solo voice, ca~). hri Im8", a beautiful theme When angels sang of peace and love, GLIMPSE OF CUBA . . Olive Dungan set to music, for church or program u~d 332·!W085.I5 (Study in syncopation) 130·41088 .30 O::COME PEACEFUL DEATH , .•...... ••...••.•.. Bach·llaf/jll To nations long with battle lorn. (Mixed voices, a cnppella \\ ith cpttcnnl harp or piano ecccmpanl- GOOD SHIP ROyER , Frederick Petrich ment, tenor solo, medium difficuhy) 312.40!00l .16 (Melodic flnvor of the sea chanty, a character piece) He carne so pure and Innocent, 130·41086 .30 JESU. LITTLE ONE .. , .. , ....••• ,.",.", ••..... Tunder-Thempsen (Mixed yo ices, piano or organ and rrinu ad lih., medium And yet with power 80 vast and strong, One PianD, FDur Hands dif1icldty) 31240106 .18 Vocal It stands through centuries of strife Grade 2 SEMINOLE HUNTING GROUND...... Olivc Dungan (Character piece in Indian rhythm, for recital) THE MAGIC NIGHT OF CHRiSTMAS Crorge L,." To fend the right and fight the wrong. 130·41087 .40 (A delight [u] Christmas song for voice Dud piano. ee-y. medium voice) 131-1I0-l6 .60 Two Pianos, Four Hands GENTLY LITTLE JESUS C"'rge L,." Down through the countless years of fear, Grad. 3 FESTIYAL MARCH. . Paul Stoye (Easy, melodious. medium vole . UIlUloltu.1 quality in the words The guiding star still shines above (Effective concert number. ;J~~~i·si~;l·;)i~yj'li'd,'fast tempo) wng: by either Joseph or Mary 10 )f'''Ult, for church or recital) 1.11.1IQ.1> .6(1 130·41090 .85 "''Ili'c!l",ilJ~lcr Choir C.. llcSo:l Collntioll To give U8 on this Day of Days ------J ust off the Press!------The blessings of great peace and love. It's not the trees, the starlit trees, SONGS TO SING READING WITH OPERA REPERTOIRE WITH RECREATIONAL It's not the holly, green and red, ACES I SEASY FOR THE COLORATURA It's not the chimes in belfry spires, INSTRUMENTS by Alma Franklin 'N.or all the cheery greetings said. arranged and compiled by SOPRANO For Reading Ease compiled by Dr. Wilfrid Pelletier Irving Cheyette and Albert Renna It's 110t the dolls or candy canes Designed to meet the needs of general music and Keyboard Co-ordination A unique. comprehensive compilation! The classes in schools! For the home and for church only one of its kind treating 111· Coloratura mice It's not the toys or harking dogs social gatherings! Ideal for whenever good fel- For beginners o] all ages! For anyone who exclusively! A ba ic library of arias which any It's not the turkey, steaming hot, lows get together to sing! Accompany your sing- wanls to attain elIonless reading! For Ihe piano Coloratura Soprano may ue with confidence. A ing with your favol'ite melody instrument! welJ diversified selection! The romantic French player who wants to brush up! Your music read- 'Nor mistletoe or burning logs. All songs are within the range of the voice and operas of Gounod. David and :.\fe)"erbeer! The of the simple instruments. Concise charts and ing problems are now a thing of the past! Easy classical nurilbers of Gretry and )Iozart! The ro- diagrams illustrate how to play them. Melody' to learn-easy to teach. Extremely efficient. mantic Italian operas of Verdi and Bellini! It's not the carols, though we know Instruments in C; Toncue, Flutophonc, Song This hook simplifies and unifies the processes Some of the arias found in this hook.such as Flute, Melody Bells, Harmonica, Flute, Violin, o net juggenlc Illlt'olo from .'lui/a. are the onI)' That music fills the day with glee, of note recognilion and keyboard location easily Mandolin, Accompanying Instruments: Piano, ones available in print today. Each aria bas an IT IS THE BIRTHDAY OF THE LORD Autoharp, Ukulele, Guitar, Banjo and Rhythm and enjoyably. Reading Tf?ith Aces is divided optional cadenza. Another unusual feature is the Instruments. into seven units 01- expeditions. synopsis of each opera with a description of the THAT CROWNS THIS HOUR FOR YOU AND ME. Each song shows the three or four chords used :situation surrounding the aria, 1m-alliable for in- Each unit consists of oue page of text, a work in accompanying ir. The basic rhythm pattern is terpretations! Arias appear in their original form also given and it may be elaborated upon -within sheet and two pages of easy original pieces with -wilh both traditional and contemporary caden- -James Francis Cooke the meter, depending upon the ingenuity of the words. It gives practical application in each suc- zas and embellishments. In both original Ian· accompanist. cessive step. The pupil should be able to com. guage and English translation! Dr. PelJetier here A book with strong educational values! Lots pleLe one unit a week. off~rs what !uust unquestionably be coo~idered a of fun and relaxation! Sing these songs to instru- lI~aJo.r ,:ol1t:lbution to the '-ocal repertoire. E,-ery mental accompaniments in general music educa- No teacher 01" student can afford to be without dli5CrJlnmallllg artist will wanl to own Opera tion classes. An excellent preparatory study for Alma Franklin's latest work. Rq}crtoire jor the Coloratura Soprano. the grade school instrumental program! These 434·41000...... $3.50 social instruments will inspire young people to 410.41019, .. """", ...... "", .. ,$.a5 {Cannot 'b~'s~id'j'n C~~ad'ol take up more advanced instruments! The songs themselves, as reproduced with a melodic line with chordal indication, al'e a "must" for key- board harmony classes. The contents offer a well T~EODORE PRESSER CO. F.S.C. diversified selection. '11'1 Catalog No. 41 1-41003. ..:., .. $.60 Bryn Maw·r, Pennsylvania 9 ETUDE-DECEMBER 1951 -- ETUDE-DECEMBER 1951 $ A New Horizon The elementary classroom teacher needs a background of for Piano Teachers piano study. by Polly Gibbs CHANGE has taken place in the at- for himself chiefly and is therefore inter- ested only in pupils whose recital perform- titude of piano teachers toward pupils. ances tend to reflect credit on the teacher, A Seldom, if ever, is a child denied piano the incident related above has little mean- lessons on the grounds that he shows no ing. But it is rich in suggestions of a most evidence of talent. On the contrary, teach- satisfying nature to the teacher who is con- ers now know that almost everyone can cerned with the meaning that music has learn to play well enough to gain pleasure for individuals and with the importance that from it throughout life, and have fun in the some skill in playing the piano, even a learning. Piano teachers are also becoming mediocre skill, has toward realizing the aware of the nation-wide attention being What do ({hristmas (J,tarolsMean to You? given to classes of adult beginners in piano. value of music. Never does an enlightened teacher say to Because of the present day Lrend toward an eager adult, "You are too old to learn to requiring the elementary classroom teachers "Christmas is singing-with voices, with harps of gold, with play the piano." The piano teacher who ex- to be responsible for practically all the work offered to children in these grades, it is the majestic organ-one great song of heart-warming love and joy." plores the possibilities of teaching piano to adults is embarking on a truly exciting important that such teachers have as good a music background as possible. In many by LILLA BELLE PITTS journey, one that is as exciting to the teacher as to the beginning students. cases the teacher is found to feel inadequate, The present discussion is concerned with but the teacher who has confidence en- HERE IS richness in the very word originate in experiences common to all. food for the spirit a well a f r the body. the far reaching effects of the interest of gendered by some ability to play the piano T"."Christmas. It means emotrons. : won- Dearest to our hearts are memories aeso- Each of us needs a vi i n, at I a 1, of the one special group of adults-elementary can do wonders in carrying out the broad and varied music program planned for the der and joy, high hopes and great expecta- cia ted with the give and take of affection- completeness which come fr III linking classroom teachers-in piano study. tain of herself she relaxed and seemed to tions. It means memories: of sights and ate family life. Our common humanity the life of spirit with the all too human flesh Recently five elementary classroom teach- enjoy the music. At the end of her perform. grades of most elementary schools. Instead sounds, of feasting and frolic, of the good- draws hearts and minds together in a fam- which sustain it. Love, of curse, is Ute ers were serving as a demonstration class ance, this beginner in piano was completely of shying away from such responsibilities, ness of togetherness. Christmas also means ily-like closeness of spirit which is felt more answer, the kind of love that find both to show some recommended procedures to overcome with the pleasure of having made this teacher uses the piano to bolster her a time when grown-ups wish that they could strongly at Christmastime than at any other fulfillment and renewal in un lfi h gidng. a workshop group of piano teachers. AI· some music. As she turned away and put sense of pitch. Even though she fears that speak of love and kindness with the faith season of the year. Christmas music is suffused with the though the members of the demonstration her hands to her face to. hide the tears, she she cannot "carry a tune in a basket," she and fearlessness and simplicity of a child. Mothers and fathers and children every- luminous beauty of an unque tioning faith class represented a wide range of teaching said, "And to think, all these years I thought knows she can carry one on the piano. These riches, and more besides, are stored where feel spiritually kin to the Holy Farn- in the power of love that i offered in experience in the public schools, none had I had no ear for music." At some point in She confidently uses the piano to bring to her pupils a more complete musical ex- up in a treasury of Christmas carols that ily of Joseph and Mary and the Baby Jesus reverent and grateful humility. The IU)TS- ever studied piano and had volunteered to her early schooling someone's thoughtless is more precious than gold. Ever since the whose birthday is being celebrated all over tery of the ativity cannot be explained take part in this demonstration with the remark had suggested that it was no use for perience, an experience in which the piano song the Angels sang came to the ears of the world on Christmas Eve. but its meaning is felt in ong Ihat express belief that they might thereby become bet- her to try to do anything at all with provides the harmony usually lacking in classroom singing. She takes pleasure in in- men upon the clear midnight air over Beth- Christmas is the child's day. No sym- the deep intuitive wisdom of what the heart ter equipped for carrying on the singing music, and until now she had followed that troducing the keyboard to her pupils. lehem, peasants and princes, kings and bolism other than that of a helpless new. knows to be true. The shining faith of the and other music work required in their suggestion. knaves, honored musicians and humble born babe could serve to unite the hearts humble in the lovable little things of life- classrooms. The tragedy of the teacher's experience A third grade teacher whose background was not only that she herself was deprived included piano lessons provided one of the minstrels have celebrated in song the lowly of men, even for a day, in a world-wide which, in the end, become UIC biggest things At the third meeting of the class an in- birth of a tiny child. celebration of the birthday of a child. The -is the light that make the old. old story cident occurred which touched the hearts of playing the piano because as a child she many ilIustrations of the advantages of bringing the piano into the general music The bulk of the accumulated wealth of spirit that is Christmas penetrates into roots of the First Christmas forever new. of all the teachers who were in the audience had not been considered a "talent" and was therefore discouraged in seeking piano lessons of the elementary schoolroom. The these folk songs of the church is, in itself, of life that reach deeper than race or creed. Nativity carols are marked by their ten- to observe the demonstration. Each member lessons-she was a victim of the fallacious children sang Three Blind Mice, clapping a miracle of faith and feeling. Many of the most beloved Christmas der beauty and charm. any come from of the class was taking a turn at playing notion that only the specially gifted can the rhythmic pattern of the first measures The best of Christmas carols speak of carols are family songs, They sine of fa. folk who are nameless, but whose imagine- accompanying chords while the entire learn to play-but also that consciously or continuously throughout the song. Then, love and joy and belief in the essential miliar and homey things-of the little Lord tions were alive eud warm with feelings of group sang a familiar melody. The per· goodness of life-life made memorable unconsciously she perhaps influenced count- using a silent keyboard tacked on the wall Jesus asleep in His crib; of singinO" Him earthly as well as divine kinship with the formance problem was chiefly one of listen- in view of the whole class: the teacher now, as before, by circumstances in which to sleep just like any other baby; and of Holy Family. ing to the song attentively. and playing at less children to have an unfavorable atti- small human values stand out in sharper loving Him as naturally as the baby in the right time the appropriate one of two tude toward piano lessons. With her showed the melodic pattern of the first Naming the Baby even has a place. In a focus. one's own home is loved. changed attitude now because of her dis- measure-E, D, C-played with the three lovely carol of egro origin (0 MaTJ'), the chords which had previously been taught The mood of Christmas is joyous, one There are "Mary" carols too, in which covery that almost anyone can gain enough middle fingers of the right hand. These keys combination of the human and divine is by imitation. of happy anticipation and great expecta- skill to enjoy playing the piano, she will were played over and over in the melodic the Virgin Mother herself is the object of touchingly beautiful. The oldest of the five teachers felt self- tions. Memories of Christmas are centered love and adoration. conscious because of her age and lack of doubtless do much in the way of encourag- and rhythmic pattern of the first measure Oh Mary, what you going to name most often about personal things-being Songs of this kind become familiar be- musical experience, but she followed the ing each of her groups of pupils toward a as the children sang the entire song and Tbe pretty little Baby? at home, being loved and welcomed whether cause they speak to the hearts of millions pattern of the class and took her seat at study of piano. What an intriguing thought: later imitated her by playing in the air as Glory, glory, we deserve it or not, and giving to those of people. And mill~ons of plain. ordinary a piano, determined to do her best when the effect of one classroom teacher's enthu- the teacher played on the wall keyboard. Glory to the new-born King! we love their heart's desires, if humanly men, women and children have an instinc- her turn came. Concentrating all her at- siasm on the hundreds of children taught Now, since they had observed that the keys The quaint and appealing lullabies which possible. tive longing for holiness-or wholeness tention, she began to play without much by her through a period of years. used were those grouped around the two abound in folk carols are further indica- Personal and human values, big or little, Which means that human beings requi.r~ assurance. As success made her more cer- To the piano teacher who is seeking glory black keys in the (Continued on Page 60) tions of the deeply (Cominued o"Page 49) l\. 10 ETUDE-DECEMBER 1951 11 .----~ ETUDE-DECEMBER 1951 " \ \ I i =: \ '\ at Balboa. In addition, former members, junior college Sil1gerf\' lude'' which the unseen band provides. and visiting college and university students home for vacation join The old French carol Angels We Have Heard On High, is used r in the Christmas Musicale. The citizenry of the Panama Canal is for the processional. With the girls in thin, flowing, white gowns: a closely-knit unit, and Director Branstetter has only one require- and the boys in white shirts and white trousers, all singing and ment for membership in the singing unit of the joyous season- marching down the winding stairs and along the grass- bordered ability to sing and knowledge of the selections used. and flower-lined walks: the traditional opening always sets the While the combined choirs have been working for weeks on the propel' emotional spirit for Christmas. preparation of the festival which is to highlight the Christmas The use of the word "always" in the preceding sentence only season for the American citizens working for the federal govern- emphasizes the exception. The foregoing description and explan- ment at the Panama Canal, the stage and theatre people have been CHRISTMAS ation have been correct except for the one time when the weather- at work providing choirs and orchestra. The program is of double man did not believe the almanac: which states that the rainy season importance in creating and maintaining the mood and spirit of is over by December 15. That year the day, too, had been "clear, Christmas, with the warm weather, the many Commissary "toy warm, and sunshine-by-day:" and the Christmas Musicale began at the Panama Canal sales," the hundreds of decorated "states" fir trees: the thousands in the evening in the traditional manner. A capacity audience was of colored lights around many of the living quarters, and the gen- in attendance, and the attentive response was delightful. Half-way eral feeling of summer. For nearly all Americans, the only real by Subert Turbyfill through the program audience interest was centered on the com- feeling of Christmas comes after they have heard and seen the bined choir presentation of The Heavens are Telling, and no one annual Christmas Musicale. noticed anything about the weather. Unless the audience members can see the singers of the combined Tropical rains seldom come at night: and even when they do: choirs, those audience members have every right to feel cheated. they are not announced by thunder and lightning. As the combined II the lighting is so overdone and flamboyant as to call attention to choirs swelled to a crescendo in the famous Haydn composition, itself and to the mechanics of stage technique, the Choir members the tropical heavens really began telling-the rain came, suddenly and the director have every right to feel cheated. Such a produc- and completely. The audience members were wet before they could tion as that given at the Panama Canal at Christmas time cannot even scamper for shelter, but the director kept his choir and orches- be the success that it is unless the musical presentation is properly tra performing until the end of the number. emphasized, by being seen as well as heard. That means that the During the somewhat scattered but sincerely heavy applause, lighting must be so correctly done that while it definitely is sub- the performers, with clothes dripping and music and instruments ordinate it does its proper share to emphasize the whole. soaked, took shelter. The water-soaked, diaphanous, white gowns of the girls and even the boys' white shirts seemed transparently The setting used nowadays for the presentation is excellent: with insufficient clothing {or Christmas music performers. Because of huge banyan trees backing a beautiful, well-kept lawn which faces the mild weather in December and the fact that the rain stopped a big three-story building, along the front of which is a high, wide as suddenly as it had begun, performers and audience members porch. There is a broad sidewalk for the floor of the orchestra pit, and sufficient steps extend the entire length of the porch, so that the suffered no bad physical results. The little upright piano, with the top removed and with a micro- massed combined choirs can be arranged on different levels. But phone set directly against the back so that with electric amplifies- the only high thing between those banyan trees and that building tion one single piano is sufficient to keep three hundred singers on is a solitary flagpole. Providing sufficient illumination outdoors for pitch, sat directly in the middle of that heavy tropical downpour. three hundred and fifty performers, when there is nothing on which Water ran completely through it from top to bottom. Later it was to hang the light instruments, requires considerable ingenuity. discovered that while performers and audience members had to Four spun aluminum reflectors, each with a sand-colored screen have their clothes pressed, the piano and the orchestra instruments covering a 500 watt bulb, are placed directly above the heads of required no care whatever. But residents at the Panama Canal are the singers on the first row of the combined choirs: in about the happy that on other occasions there has been no rain at the Christ- same place that a light bridge would be if the festival were given mas season. indoors. Those four lights are on wooden trestles lashed to the Schubert's Ave Maria, in an arrangement which features the balcony of the long porch, and they provide illumination for the violin section, has long been a favorite for the orchestra which on orchestra as well as the combined choirs. occasion has done the Pastoral Symphony from Handel's "Mes- Spotlights are fastened to the flagpole. If a shadow is cast through siah" as well. Intermezzo from "Cavalleria Rusticana" by Mas- the light on the choir, the spotlight is too strong; unless the direc- cagni nearly always appears on the program, as does How Lovely tor and the soloists can be seen clearly, the spotlight is too weak. An Part of the combined chorus and orchestra of over 300, directed by Nell V, extra spotlight must be placed as high as possible to light the direc- Branstetter, in a Ch rts' t mas Musicale at the Canal Zone Are Thy Messengers from "Saint Paul" by Mendelssohn, Lovely Appear from "The Redemption" by Gounod, and the already men- tor's stand properly. No shadows can be permitted to distract the Music has helped Americans in the tropics presenting the Christmas Musi I h I izh hi' . SIca e, t ere were twenty-five or thirty tioned The Heavens Are Telling from "The Creation" by Haydn. attention, either of performers or of audience members. L;o sc 00 students smemc d I' I Outdoors in December a "house light" is needed for people to get the true spirit of the holiday season mas music fo di. e ;0 an p aymg the old familiar Christ- Bach chorales sung in Latin, as well as the familiar Ave Veruni by . d h' . r an au renee of three or four hundred. Now the com- Mozart, share honors with the solo numbers featured on the annual find their seats and read their programs. A quarter-inch steel cable, b me COlI'S and orch t un d stretched from the flagpole to the porch balcony and secured taut THIR!Y ye.a~s the. h.ighlight of the Christmas season for stetter total well over leIs ra'h er the direction of Neil V. Bran- program. Director Branstetter chooses the outstandina available FOR , • vel uee u ndr d d th . with turn-buckles, carries an enameled reflector with a 1,000 the Amencan citizens jiving and working at the Panama Canal some two thousand a -ear . e, an : audience total reach soloist, instrumental or vocal. In addition to their choice selections, watt bulb. The bright light cast by that flood is about fifty feet in has been the ~hristmas Musicale, presented by the combined choirs Christmas" tl "I ? 1. WhIle these Amcncans do mi a "White The Holy City for trumpet or trombone, and Cansique de Noel for , ley lave been able 1 . diameter: and it spills out for another fifty feet on all sides. The o~tdoors .at mght. Probably the Christmas season is the one time warming Ieelinu of th . 0 re-create a sincere and heart- soprano or tenor (with the first soprano section obbligato) are ;0 e JOYOUS season which' I" I I' most important thing, of course: about stage lighting: even when of the en~He year when all of those Americans whose work requires Certain traditiOlls I . IS peeu Jar) their own. heard regularly. laVe zrown up I . The big audiences have long ago come to expect and to demand used to highlight the combined choir presentation of the traditional t~em to live far away from the United States feel the pangs of home- caUy American mus io . 0";0 • ~ COl1Jlecbon with this rypi- . - program, given In the "A' I" f the Hallelujah Chorus from Handel's "Messiah" as the concludins Christmas music outdoors, is dimmer control. A four-dimmer port- SIckness for ~heir native land most keenly. That feeling is all the a Latm-American 11a'" . I " S rnerrcan co 011) 0 o IOn wit 1 Its Pal1lS. h I number of the one-hour formal program. An invitation is extended able board with a maximum capacity for sixty amperes is sufficient In?re emphasised at the Panama Canal, located only a few hundred Balboa High School ba d h "CU lure background. The I n opens t e eelebrati . h ,L' . to the members of the audience to join with the combined choirs to care for the Christmas Musicale at the Panama Canal. And the uules north of the equator in the middle of tIle OIrI"'d zone, because ute program featurinO" th C1 . on WIt a uurty unn- e e lfIShl1as carols Th b d 1 f in singing the well-known and well-loved Christmas carols for the "electrician" practices his cues as often as the combined choirs the AI~erican Canal Zone is so definitely "American." th e steps of the hicrh h'lI 1 d' . e an pays rom . . e I ea )110" to th '. I informal, concluding part of the celebration. rehearse in the outdoor setting. Chnstmas in the tropics falIs in a clear, warm sunshine-by-day a dmInIstration buildiner d b -e pnnclpa go\-ernmental "d " 0 an can be heard th h . The basis of the personnel of the combined choir consists of all Many Americans feel, when they spend their first Christmas at and moonlight-by.night time of the year. When Mrs. Helen Baker reSI entlal area. Audien b roug out the entire ee l11ell1 ers O"ener II . student singers in the three glee clubs of the Canal Zone high school the Panama Canal, that Christmas under (Continued on Page 57) the first supervisor of music for the Canal Zone schools, bega~ o b servance, and many c f e a y arrn-e early for the omment avorabJ y on th'e -Ch ristmas pre· 12 ETUDE-DECEMBER 1951 13 1...... _ ETUDE-DECE.llBER 1951 I on the notes do and sol gives us a form of the very familiar and practical 6/4 bass and lays the ground for a simple harmonic development to be used with the little efforts Play Lessons for to produce melodies which, it is hoped, will eventually follow. What I've Learned A new game may now be suggested-the making up of a tune. Let the fingers of the the Pre-School Age right hand roam through the familiar group of five tones at will, while the left hand in Judging Competitions accompanies the melody with the 6/4 bass. Keeping within the scope of five notes Let the play element be an important consideration counteracts the tendency of the child to "The winning 01' losing strike aimlessly and unprofitably over the of a contest is never a final test in teaching little tots. keyboard, and reduces his note problem to the lowest possible terms. Give no thought of ability." to r-hythm in the beginning for the natural by Alice M. Harrington sense of rhythm which the average child possesses will take care of the situation. The by Jesus Maria Sanromu muscles of the left hand may prove to be As told to Rose Heylbut less responsive to thought impulses than A DULl'S are often impressed by the in- child. The small muscles have not as yet the right; and there we have a fundamental tcrcst of little children of pre-school developed a great amount of control and condition that will serve a very d finite the English school, the French school, etc. 1\. HE VALUE of auditions and contests tions of the qualities which make for suc- age in the piano. This interest may be this act, simple as it is, requires a degree of purpose in helping the child to sense that -and it is only natural that a student T is not the winning of a prize, but the cess in a public career. due to the fact that sound has a fascination intense application for the tot who is trying for every note played by the right hand, it should reflect the strengths and the weak- opportunity of testing oneself under the The candidate makes an Impreselon on for them or that there is a compelling de- to accomplish the task. is not alway necessary to ound one with nesses of the method he has been taught. excitement and competition which approxi- his judges before he has played a note. sire for a new toy, or likely as not, that Enter into this phase of the work with the left. A n aid to lcveloping a s use of Unless technique shows lacks or imperfect mate the conditions of a public career. The first thing noticed is the way he walks talent may be there waiting for development. the youngster as if it were a game which rhythm is the tim -loved pastime of all foundations, the judges are not overly con- I often serve as judge in auditions and out on the stage--posture, bearing, neat- Be. that as it may-almost any child, who you enjoyed playing with him, and com- children-playing soldiers and marching to cerned with it. I always have a little chat with the con- ness, manner, degree of assurance dis- has opportunity to do so, will want to play mend heartily each successful attempt which music. In this day of radios and victrolas, What they are looking for are evidences testants. I tell them never to approach a played, also the kind of assurance. Bravado. when he realizes that sound will result when he makes. When the pupil finds it possible good marching mu ic i always available. of inborn musicality and acquired musi- competition in a "This is it!" frame of or cockiness is one thing, and the oonfi- keys are pressed down. Instead of forbid- to sound separate notes at will, go on to Not only can rhythm be taught, but the cianship. And these qualities can be de- mind. It isn't "it"-it is simply a gauge of deuce which projects itself to others is an- ding the use of the piano, it is possible the next step. This should be the soundinsr little one can also learn to b at time through tected (or missed) in the first few bars. one's powers at a given moment. The win- other. The judges note these qualities, not through a little judicious guidance to put of adjoining notes singly: first, workin~ making believe that he i a bandmaster You hear them (or not) in attack, in phras- ning or losing of a contest is never a final in terms of "like" or "don't like", but of this 'urge to good use and make it the start- with two, then with three, and so on, until leading a parade down the street with every- ing, in tone, in general approach, in the test of ability. A talented candidate may not what they augur for success in a public ing point for a child's study of music. Some it is possible for the child to play the fi rst one cheering! general release of musical thought. be feeling his best on the great day-a less career. Candidates who make a poor per- who are allowed the privilege of playing five notes of the scale in succession, up and The judge makes a careful distinction talented candidate may have learned better sonal showing are by no means counted out may lose interest as the novelty wears off, down, singly and clearly and with proper Now Ior- the next step! Let the pupil between what has been put into the candi- self-control. Many losers assert themselves -c-they can learn better-but the impression but a few will persist, and for those whose fingering. Confine the work to the Key of C, undertake to sound two notes tog th r with date by teaching, and what may be said to later 011. In my student days, I took part is made. efforts continue, a procedure may be fol- and always return to the keynote to close an come out of him by the grace of Cod. How one band, skipping ju t one note between in two important competitions, winning The next point considered is repertory. lowed which 'will gradually prepare them for exercise. "Let's go up the hill" leads up t can he tell which is which? the two. Build up at fir on any tone of one and losing the other. I learned more The candidate gives evidence of his tastes formal music lessons. from C and also makes preparation for the The experienced musician is, of course, the scale until enougb muscular control has from the one I lost! in the music he chooses. The youngster who The first experience at the piano may relative position of the notes on the printed been developed to allow the playing of The candidate at an audition can hardly offers Schumann's "Scenes from Child. perfectly familiar with the works played at result in a vigorous pounding. A sympa- page. "Now let's go home to rest" takes care thirds. When this has been accomplished, feel more uncomfortable than- the judge. hood" gives evidence of sounder musicality contests; he has heard and played them in- thetic "Let's play nice and easy" with an il- of the return. Through these simple methods return to a drill of the 6/4 bass and then He is keenly aware of his responsibility. than the one who brings Liszt's "Camp an- numerable times; he is intimately a ware lustration of just what is meant, puts the the child, without conscious effort. beains proceed from this point to teach the two He also feels that he, too, is being judged- .ella." The fireworks of the Liszt piece can of their styles and the interpretation of little one in a receptive mood where he will to discriminate between H " and '''do~vn'' Up triads; the one built on the keynote or do, sometimes unfairly. Not to shy away from be mastered by any fingers which work at those styles. Thus, he hears immediately try to imitate according to his own idea as and to appr~ciate the rest quality of the and the other formed on the dominant or unpleasant ideas, one sometimes hears it long enough; but the sensitive inner ear whether the student is expressing musical to what is expected. Should the pupil, with- keynote, thus leading to an acceptance of sol. First have the pupil depress without grapevine rumors that "influence" is help. required for the shading, the feeling: even thought or simply giving a clever imitation out heeding the suggestion, persist in his the idea of. using it for the close. sounding, all five tones with which he is the pedaling of the deceptively "easy" Schu- of his teacher, of his idol, of a recording. thumping, the privilege of playing should ful at auditions; one candidate has a fam- familiar, then let him release the second ous teacher-another met the judge at a mann sketches is of greater importance Imitations always show up in the details of be taken from him until such time as he By the time this has been accomplished and fou.rth degrees while holding down the party. If either of them wins, there may than fingers. an interpretation-ritardondi, rubeti, man- is willing to accept the standard that has both hands should have developed a certain first. thud, and fifth. ext, let him try to arise an uncomfortable current of feeling. And now, at last, the candidate begins to nerisms of attack, liberties with the score, been set. To accomplish this may take sev- ~Illount ~f accuracy in selecting and play- sound the triad. Make a game of letting play, and the judge listens attentively for bits of "feeling" easily recognizable as the eral days and a great amount of patience I cannot sufficiently stress the fact that such ll1g the different notes. In the next exercise notes stay up while those on either side are two things: natural gifts and evidence of hall-mark of some noted performer-tiny and persistence, but the use-e-not the abuse feeling is wholly unjustified. a little more attention should be given to depressed. This will require much time and honest musicianship. but telling evidences of the kind of emo- of the piano-is the first idea to be put Competitions conducted under reliable the left hand, as a foundation is now to be patlenc~, b~t keep alive the play spirit by A second point which I cannot sufficiently tion which the student is hardly experienced across. This principle should be strictly auspices and adjudicated by musicians of laid for d.eveloping an harmonic accompan i, presenting It to the child as a stunt-hard, stress is that contests are not won by daz- enough to think out for himself. One or ad hered to at all times. integrity are completely impartial. It does rnent ~\'lllch may ~e used with very simple but possi?le to perform. "Can you do this?" zling displays of technique. Finger work two of these bits, certainly, may reflect Stunts have a great appeal for children, one no good to know the judges. Actually, ~11elo~Ies.In studying and becoming famil, asked WIth a challenging inflection will is judged in what I may call a negative original musical thought notwithstanding and the more like play each new step is the judge who has met a candidate or his iar WIth the five tones from do to sol, it has arouse a child's interest and spur on his way-technical deficieuces count against associative similarities; but the perform- made, the more interesting will the lessons teacher or his friends, tends to keep such been necessary to call attention to the note effo.rts to where he will not want to give up a candidate insofar as they mar the music ance as a whole gives clear evidence of become. After the first idea has been acquaintanceship as an extra guard against fro~l1 which the start was made and also to until he has proved to himself that he can he has chosen to play; otherwise mechanics whether the candidate is musical or merely grasped, the next objective is to have the allowing personal associations to interfere notice wl~ere the ascending scale line accomplish the feat. are disregarded. If technique doesn't bother imitative-also whether he is sincere. And child play single notes. Strange as it may with his decision. stop'pe~l..Now ~ncourage the youngster to . Throughout all this preparatory work it How are auditions judged? There is no the judge, he won't bother it! the youngster who plays his piece "exactly seem to the adult who has given little see If It IS possible for him to skip from do rs :aken for granted that the ear is being single fixed system of marks or points. The The judge remembers that there is no the same as" Rubinstein or Horowitz must thought to the matter, the sounding of to s.ol and back without striking the inter- tra ined as well as muscles. When thirds are experienced musician judges in terms of such thing as a single, all-encompassing not be surprised to find himself ranked single notes has its own problem for the venll1g notes. This rocking back and forth being developed, (Continued on Page 50) musicality, of musicianship, and of indica- technique. There are many techniques- lower than some' (Continued on Page 56) 14 ETUDE-DECEMBER 19j1 ETUDE-DECEMBER 1951 15 i__ _ d '\ I' TWAS ONLY yesterday-or was it the day hefore?-whell it was a commonly accepted fac.t, never doubted and sea.reely staggering dimensions, when Europe was already "dotted with sur' wired the composer to say that this was "the most important Iquestioned by anyone, that this country would never give a opera houses, has never caught up with the intricate organization and most exciting event in the history of the university." hoot about opera. Opera-why, it was almost considered an Un- of operatic life that is part of three-hundred years of European American Activity. Foreign singers, conductors and managers pre- history, a firm and established heritage of its greater past, carried Many of these operatic centers-and that is what they swiftly senting foreign works in foreign languages (althou?h for domestic on into its smaller present. grow into-started out simply as part of school activities. In Ur- dollars) to an audience which stepped out of their Rolls Royces But look what is happening now. Cities or states do not pay bana, for instance, the School of Music had no opera department just before the first intermission, displayed their ermine capes. lavish subsidies to American operatic groups. Yet they are spread- until 1947. The students themselves approached the faculty with a jewels and queen-like necklines and left as soon as the lights had ing rapidly all over the country. There are at present more than request to add operatic activities to the curriculum. The Opera been dimmed for the beginning of the last act. Opera, many a wise two hundred different organizations producing opera in America. Workshop of the University of Illinois now presents regularly at man told me when I first came here, full of enthusiasm after years Most of them did not exist only a few years ago. least one complete opera in the University of Illinois Theatre, of operatic adventures in Europe and expec.ting the .same experi- Obviously, to produce opera in the old, traditional style is quite usually on four consecutive nights. Scenery and lighting are pro- ences over here, opera will never catch on Il1 Amer-ica. Unless it impossible without subsidies or without charging prices far be- vided by the Theatre Department of the University. Similar co- has a horse or at least soap to its name, it won't go. Forget it. yond the reach of the average music lover. The whole system of operation between art, dance, music and theatre departments have The Grass Roots But this is a strange and wonderful country. The unexpected operatic activity as it now unfolds in this country, is based on made opera the most fascinating meltingpot for all kinds of di- happens all the time and when it happens it happens big. Having exactly the opposite approach. No high priced stars, no expensive versified activity in many schools and universities in all parts of saturated its musical air with the creation of some 150 symphony orchestra, no lavish stage sets. Musical fidelity instead, enthusiasm. the country. orchestras within the short period of one human gcnerarionc; youth, performances in English (many times in an almost too col- Just as active as are the Universities in living up to the demands of Opera loquial English), decentralized, local productions without artistic of this new. sweeping movement, are the Workshops that have something unheard of in musical history-America i now begin. • ning to open its door to opera. Strangely enough-it's the back. or business interference from New York. developed everywhere during the past few years. I have seen many door that admits the merry procession of unexpected guest: sing. of them and believe with all my heart in their mission and eventual ers, stage managers, conductors, composers, olodul costumes, T he driving force behind it is the University. One can almost success. Take Cincinnati, for instance, where the Music Drama In America Guild, for several years already, is presenting a most unusual fare whirling dancers, the wonderful make-believe world of opera that say that the American University is now taking the place of the has nothing like it in all the world of arts. archbishops and princes that supported opera in its European be- -contemporary works as well as off-the-beaten-path classical op- It's a spectacle, scarcely to believe and uniqu again, a have ginnings. That is exactly what is happening here. The opera de- eras-with continued and ever increasing success. They have rap- been so many facets of American cultural progress, in the annals partments in such diversified places as Drake University in Des idly become a set feature in the cultural life of their town-and if Colleges and Universities set of musical history. something that in its freshness, porueneity Moines, Indiana University in Bloomington (see" 'Rigoletto' at such sustained, ambitious and well-patronized actvities are not the Indiana University," ETUDE, October. 1951), Minnesota in Min- closest to a successful, decentralized operatic life along the lines the pace in creating and scope could only happen here. Profes or , ec nomists and scholars have bemoaned and are still bemoaning the lack of oper- neapolis, University of Washington in Seattle, Louisiana State in of the European Stadttheater that can be expected, I'd like to know opera centers throughout U. S. atic activity in America. Here is the world's richest country. they Baton Rouge, University of Southern California in Los Angeles or what it is. The fact that this group, to whom it is all a labor of love point out-and look what we have: Two big pr fe ional com- University of Colorado in Denver-to mention just a few that and certainly not a business, has done so successfully what they panies, the Metropolitan and San Francisco, both drawing from come to mind-have taken over active leadership in a new, modern, have done, has perhaps greater significance for the musical pres- the same roster of international stars, a few smaller ones, a few aggressive, and very American approach towards opera. The reo ence and future of America than still another lavishly endowed traveling companies of questionable artistic competence-no sponse is tremendous. Denver, for example produced, last summer, "Fledermaus" or even "Don Carlo" at the Metropolitan Opera. by H. W. Heinsheimer Stadulieuer, no state support-nothing. Corn} are this with im- Menotti's difficult opera "The Consul," complete with singers, The attempts to establish a genuine. decentralized operatic life scenery and orchestra. The success with the students and towns- ." go still further. One of the most interesting experiments- although poverished countries like Austria or Germany or alma t any European country and their flourishing operatic life, many inde- people was so outspoken that a whole series of additional perform- it is already much more than that-is the Grass-Roots Opera in North Carolina, created almost single-handed by a lawyer from pendent opera houses. public support, regular s ason of ieht or ances had to be scheduled. The theaters of the University of Min- even ten months. nesota which, only recently, added opera to its repertory reports a Raleigh, Mr. A. J. Fletcher, a man of inspiring and contagious en- similar striking and most unexpected response. Drake in Des thusiasm and limitless drive who might very well, one day, go All this, of course, is true. America, that just begun to build its Moines, after they gave the first college performance of "The Con- down in history as the Ludwig IJ (Continued on Page 64) first roads through the wilderness and to organize a continent of L. +0 R. William Allen as £1 Remenda~o, Marie Yan Hoyos Mercedes, Sophia Steffan as Carmen, J~~+yn Ca~~er as frasqu,+a, and John de Yog+ as EI Dancairo in a per- Rober~ C. Bird. director. as Guglielmo in MOIOd's L. to R. David Witherspoon. tenor {accountant}: Robert C. Bird, direetor: and James Sophia Steffan as she appeared in her highly formance of Carmen as successfully produced by the Grass Roo+s Opera Co. charming comic opera. "Cosi Fan Tltte" pre- Edwards {dentistJ, lend a hand in building scenery for a performance by the Grass successful portrayal of the title role of "Car- duced under the title, "School for Lovers." Roots Opera Co., thus reducing by a considerable amount the costs of production. men" as produced by the Grass Roots Opera Co. 16 f. _ ETUDE-DECE,lIBER 1951 ETUDE-DECEMBER 1951 17 d \ II Attendance at this Washington church OR MANY years I have been all too Faware that a great number of singers The "Covered" Tone- year after year proves that and many equally excellent voice teachers have denied the existence of "the covered tone." On the other hand, it can hardly be questioned that every voice is capable of refinement to a sometimes unbelievable ex- What Is It? tent: tone-quality, concentration of sound, Special Christmas Programs Are Rewarding tone-volume and intensity may be spectacu- larly improved-if certain tones within the singer's range are distinguished by a spe· To cover or not to cover, seems cial kind of placement which (however Let new anthems be carefully often its existence may be denied) is com- to be a question among many voice authorities. monly called "covering." balanced with the old stand-bys that people love to hear. So much will be spoken and written on the existence and use of covering, both pro and con, that it would he worth while, by VIKTOR FUCHS it seems to me, to attempt to define what by William C. Hamilton exactly is meant by "covering" by those who. like myself, believe in it whole- heartedly. I would also like to append a models, usually, are accomplished singers HRISTMAS in our church is the most that this director had succeeded another not impossible, to have any new music. few words concerning the advantages, even triumph beautifully-and we dare even who naturally have more mature voices. C satisfying season of the year. Unques- director who had served the church for 35 To cope with this problem our choir de- the necessity, of correct covering, and the say, hydramatically-over one obstacle Most fledgling singers try to emulate this tionably it is the most difficult period for years. When I was employed one of the cided to use Christma mu ic during the pitfalls that lie in wait for the singer whose after another without any special or con- mature quality by a darker coloring of their our choir because so many members are members of the Music Committee said, "I entire month of December. Public an. misconceptions of the term may lead him scious effort on the part of the singer. Un- middle registers. They then find themselves busy with shopping, extra work and in- didn't feel that I'd been to church last nouncements of this incr ased attendance into a faulty execution. fortunately, those singers who are able to reaching their high tones, frequently, only creased social obligations. Christmas. I surely missed my favorite and won many new and real friend for What, then, is meant by "covering?" bridge over from one register to the next after injudicious forcing-and console or We have found the Yuletide programs Christmas music." the church. First of all, it means the singing of a nurn- without, as it were, "shifting," are in the delude themselves with the belief that their far more difficult to plan for than Easter A study of the bulletins for previous On the first Sunday we use anthems es- her of consecutive tones, each with the minority-and are precisely the ones who, voices have achieved a dramatic quality. services because of the rehearsal problem years disclosed what was bothering the com- pecially suited for Advent. On subsequent s..une 'placement, whereby the singer as a because of their "hydramatic" gift, are the When these singers-to-be commence their and in addition we have found that our mittee member. The director whom I sue- Sundays we used standard Christmas an- rule intentionally uses a darker color than first to deny the necessity, and even the studies, one of the teacher's main tasks will congregation is more demanding at Christ- ceeded had not included one familiar an- thems which arc suitable for Christmas, he would ordinarily employ in the other existence, of "covering." be to remove this acquired vocal coloring mas time than at Easter. them in the entire time he had served the avoiding, of course, tho e anthem which tones in his range. It originates in the co- Before attempting to explain precisely how to cover, let us first indicate which in order to ascertain the pupils' natural Even so, by borrowing from previous church. The Christmas services had been refer to "This Chr istmas Day." Various ordination of different muscle groups in tones in a singer's range should be covered tone-quality. years' experiences and by planning a little changed entirely. settings of carols are e pecially nice for the vocal apparatus. To list each muscle -and why. Generally, one may say that different approach, it is possible to present I noticed further that Dubois' March of this. Arrangements f While hepherds and its appropriate function is as difficult the tones to be covered are the highest In most cases, however, the singer's outstanding programs that will appeal to the Magi had been used as a prelude to the Watched and Calm on the Li tening Ear of and futile as describing the exact color of tones of the middle register and the lowest troubles will increase the more he concen- the congregation and that will be long re- morning service on the Sunday before Nighs are typical examples. the cloak of the Madonna in Rafael's paint. tones of the upper register: in other words, trates on his higher tones-and his transi- membered. Christmas every year since 1921. For ten In addition, it eemed a great pity to ing. Only a painter himself, after a long the transition-tones to the high range. It tional notes may long remain, as it were, Sometimes we have been forced to ask years Yon's Gesu Bambino had been sung the choir to use cantatas only once in every experimentation with colors, could ever need hardly be said that one of the singer's his Achilles' heel, even when his career is ourselves: "Why do some of our Christmas by a quartet at this service. Each year there two or three years. J n cooperation with the succeed in eventually discovering the right problems is perfect execution of the high far advanced. For, with few exceptions, programs-those perhaps on which we've had been a carol service. minister we worked out a program through combination to produce the precise shade. worked particularly hard-fail to appeal?" tones, especially if the singer's range is not each singer almost automatically feels that When I played the Dnbois selection for which cantatas were presented each Sunday This experimentation applies equally to Usually it was because we chose unfamiliar naturally high. But even those singers he cannot sing in the same manner through. the Sunday-before-Christmas prelude I evening during December. nearly all aspects of singing-and most music, anthems and cantatas that were un- fortunate enough to possess a naturally out his entire range. If the singer, there.' found out why the Congregation liked this The Sunday evening before Christmas especially to the complex process of cov- melodic and because we used too many high range may, in the course of their ex- fore, sings in too darkly-colored tones, he particular number. Many members said to was reserved for a carol service in which ering. selections that lacked popular appeal. perience, encounter difficulties in this very may, by changing to the high tones, or on me, "I liked that. The note that sings all the th~ Juni~r Choir participated. For years Dare we compare singing to driving a The music that is presented at Christ- range. No matter how excellent the high the way to them, sing the transition tones way through the number is the shining star this service had been the same. Foreign car, and the singer to the man behind the mas in the First Methodist Church, Wash- tones may be in themselves, their effective- incorrectly, i.e. too openly; or he may try which guides the Magi Kings." Back in carols by the choirs and the familiar carols wheel? A good driver always knows the ington, D.C., is planned by the choir group. precise moment at which to shift from first ness may be seriously impaired .if the tran- to reach his high notes by coloring too 1921 the choir director had told a story by th~ congregation were usually sung. In In October we have a meeting and discuss about this number to a Young Peoples to second or third in order to maintain an sition from the singer's middle register is darkly or, as I would term it, "over-cover- changlllg the carol service we made no radi- the musical services, and the programs per- group. They never forgot the story nor the uninterrupted rate of speed, however steep faulty, and not consciously accomplished ing." Both ways are wrong, and will endan- cal changes in the music which was cus- formed in December are the result of col- music. To most members of the church a hill he is attempting to climb. A disrup- according to certain rules. ger the high tones; in some cases, the singer tomarily sung. We did give the carol service lective thinking-group planning. March. of the Magi was Christmas. To for- tion of this steady pace is liable to occur When the teacher has succeeded in per- may find it impossible to sing high tones at a different setting. The church was attrac- More than ever, the Christmas services get it was to forget Christmas. whenever the car or the driver is function- fecting the transition tones in a pupil's all. In general, it may be said that improper tively decorated with pines, running cedar, of the church belong to the Congregation. The point here is that congregations ing improperly. Just as either car or driver voice, he has taken the first and most im- or neglected covering plays an important palms and ferns. Only candle light was Music is chosen according to the desires look for their special favorites and miss may be at fault, so, vocally, poor singing portant step in his approach to the develop- role in the careers of those tenors who mis- u~ed. Each member of the congregation was of the people who will come to church. We them when they are not played or sung. may be the result of either an inadequate ment of the high tones. It is not possible takenly began as baritones. given a small (2 inch) candle (inserted have omitted many anthems that we would Once during the Christmas season we al- voice or inadequacy on the part of the to indicate the proper procedure in the case The task of the teacher has to be, there- through a butter platter) as he entered. like to have done simply because we knew ways rel~elllber to have the choir sing 0 user of that voice. Covering in singing is of each individual voice but certain general fore, to make the middle register free of . The main difference was the presents- that the congregation would like something Holy Night (Adam) and Cesu Bambino like shifting from one gear to another in rules apply to the majority of young voices all tension, the tones natural, and the tOIlCS non of the service. The choirs processed else better. (Yon) -r--favorjtes we can't afford to over- driving. The driver has to learn by routine, which the teacher may be expected to en- of the transition properly placed so as to through the church-down one aisle and When I went to First Methodist I suc- look. We use different arrangements of the WHEN and HOW to shift. The alert reader counter in his studio. My own long experi- enable the singer to reach the high tones up another. Each member beld a lighted ceeded a director of music who had been Adam selection and work out schedules for at this point may well ask, "And what about ence has taught me that most young voices in an easy way. Once this goal is finally asked to resign after "18 months of service. the "oldies" but always include them. candle. At a convenient spot the candles hydramatic drive?" A relevant question. begin by either consciously or unconscious- reached, this covered tone-group will not were extinguished. A personal acquaintance, I knew that the Yet, we found that by inclnding all of As I have often discovered, in the course ly imitating; and while imitating they alone be the most important and reliable director was a good musician. I knew also the "old war-horses" it was difficult, if The _service consisted of Bible readings of a long teaching career, there are more mostly try to use darker colors in their way to reach the high tones but will also and carols. The (Continued on Page 58) than a few of those lucky voices which voices, for the simple reason that their excel as the (Continued on Next Page) 18 ETUDE-DECEMBER 1951 ~9 _ ETUDE-DECEMBER 1951 i._. d Continued from Page 19 to a precise intonation of the words "Oh BARITON E" AND BASS 'Say Can you. See." Every singer, even every, In Goncral, Like {Tenor allil Sopra~Q.· most beautiful and expressive tones in the. shall we say, non-singer, will find it easy ~~)~r~~L~ singer's range, competing even with his to differentiate between the manner of most brilliant high tones. singing "Say" and "See." There is a great cOY. A word concerning the difference be- coy. KOT COVERED ,....------, ~ difference. It is much easier for everyone ,---, j I etc. t: r tween coloring and covering. One may to discover himself where the difference ~!!r iii ! I L I I' I sometimes be mistaken for the other. Cov- lies between the position of our muscles See ah lah main See ee lah main ering is a technical device employed to give when we sing the. syllables "Say" and greater intensity to some tones and ease the "See." This example (singing ·"Say" and High baritone may cover one tone higher: transition to the higher tones. Coloring, on "See" repeatedly, and noting the difference the other hand, concerns every tone in the in color) should be employed on several singer's range, giving to each its desired tones (without, of course, using tones in color. the upper register, for reasons explained An important consideration is the Italian earlier). Every singer, and every other school's interpretation of covering. It might musical-minded person interested in the For you and your teacher, it shouldn't be lead us momentarily astray to compare the nature of covering, will assuredly, sooner difficult to enlarge your knowledge and Italian method with that employed by differ- or later, be able to recognize himself which technical skill in finding other words in ent schools; but this much is certain: the muscles are used in accomplishing the which you are able to u e the same or good Italian singers always cover the tran- change between "Say" and "See," and in similar ways of contrast as demon trated in sition-tones in the manner described above. which ways it is necessary to use them to "Say" and "See." It has taken me a long The final proof of this was, and is, the alter their position, etc. time and necessitated many elaboration to Dr. Charles C. Hirt. musical director, stresses the .ef- great Caruso. In the work of no other artist The six choirs ~f the Hollywood First Presbyterian Church. with their director, The impatient reader may well interpose, arrive at a means of eXI Jaining covering, Dr. Charles C. Hid (upper center) and the orqanist Barron Smith. at the console. fectiveness of great choral music in the church service. can we as profitably study the difference at this point, "Am I really able to sing a and I've come to the con Iuaion that the between covered and uncovered tones as in covered tone by simply having followed above is the easte t and most rtain the heritage Caruso has left us in his great this advice?" To this my answer would be, method of understanding the differ nee be- recordings, which, although forty years "Alas, no; but-" (And this is the main tween covering and not covering. T choose This Choir Goes Big Time old, more or less, still demonstrate a su- point) "-You have a remedy in hand "-ay" and "_eel' be ause it pr vides the preme intensity and an incomparable whereby you cannot merely ascertain by simplest example; the diffi ulty ar i when Doctors, lawyers, salesmen, housewives, saleslaclies-all join their voices in this inspired group. beauty of tone. Besides which; we find him yourself what your precedure in covering we come to other vow I , eSI cially "eh" reaching in his covered tones heights of must be, but also an infallible guide at your and "oh," the contrary of "ey" and "ee." by WELDON D. WOODSON expressiveness which living singers seem command to which you can refer whenever But a quick reference to Hay" and H "will unable to attain. One may demur and insist wood Cathedral Choir has been excellently you are in doubt." First of aU, when you always provide a remedy and a orrective. HEN SEVENTY members of the Cathe- House. After a rehearsal on the stage, they that Caruso was an exception, and that any- trained by its director, Charles C. Hirt, are really able to sing a transition tone The danger here, or course, is that this dral choir of the Hollywood First went by bus to the Calvary Presbyterian one like myself, who was lucky enough to W and is one of the finest choral groups heard (one on which, as I explained earlier, cov- revelation will persuade mo t singers, at Presbyterian Church, with their director, Church atop one of the city's hills, where hear and see Caruso on the stage will reo here in a long while." ering must be used) exactly on the two first, that it is much easi r not to c ver: pleasant-mannered, 40-year-old Dr. Charles dinner had been waiting an hOULThrough main bewitched for the rest of his life; eating, back they rushed to the Opera San Francisco Examiner: "The Holly- vowels "A" and "E" (as in "Say" and in other words, to ing HAY" in tead of C. Hirt, arrived on two chartered planes nevertheless, the advantages of covering House. Hardly had they gotten there and wood Cathedral Choir ... left nothing to "See"), then at least you have made the :'SEE." And thi , as r have implied earlier, in San Francisco to give a concert in that and the difference between covering and not it was curtain time, and the robed choir be desired." first important advance toward master inrr IS sometimes the reason that ing r..., al- city's Opera House, they all were frankly covering remain indisputable. faced a three-quarters full house-quite This, however, was only the beginning this extremely difficult phase of singing. 0 ready on the road to under tan ling the na- jittery as to their success. To be sure, they The question may now arise: Are there good, for, besides being a rainy night, it of its achievements. In addition to San Fran- At this point I will include one of my ture and the method of coverins abandon had as guest soloist movie star Dennis types of singers for whom covering has less Morgan, whose renditions, they knew, was a Memorial Day week-end. cisco, the choir with Dennis Morgan per- favorite exercises which helped me and my it once more, since for them the not-covered significance than it has for other types? would receive favorable comment from the As to whether their diversified program formed in civic auditoriums in Fresno and students as well, beginners and artists who tone seems easier and Ie effortful to sing. Although Iam a sworn enemy of misleading music critics of the newspapers. That, how- -from Alleluia and music of Gretchanin- Sacramento. In California's capital about began to study with me when they already Yet, their straining in the e in tances is generalizations-for each singer's voice has were successful in their field, but suffered ever, would have little bearing on their own off to the Battle Hymn of the Republic and 3600 responsive people, their largest audi- not co.vering, actually, but using covered always been a unique instrument, just as under some technical-shortcomings. performance after days of hard-work re- Irish songs-had audience appeal, they ence, paid to hear them. Moreover, the tones mcorrectly, without preparation. each singer has been a unique person-for hearsals. found out immediately from the enthusi- choir has had a number of recordings- SOPRANO AND TENOR As for proper covering, it is but neces- the greater understanding of covering, a To add to their foreboding prospect, they astic applause. For the reactions of the Listen to the Lambs, Almighty God, God sary to repeat that once we feel the place- few hitherto-unmentioned facts must be kept 'etc. were aware of the traditional rivalry be- critics, they would have to wait for the af Our Fathers, Alleluia, Holy Radiant in mind; in forte singing, covering is ab- ment involved in the use of the words Light, A Mighty Fortress Is Our God. Its d. "SAY" d "SEE'" . . tween Los Angeles and San Francisco. As next issues of the papers. Abridged, here solutely necessary. On the other hand, in Say ah lah main Say ah lah main an m smgrng the transition representatives of the former city, they had is what Director Hirt and the 70 members former members include such stage and piano and mezzo-voce singing, covering tones, we will not forget the difference that movie celebrities as Frances McCann, Caro- ~ NOT COVERED been warned that they were in for some read: may be not only unnecessary but, in some has impressed us. It is the teacher's task caustic comments should they not measure San Francisco Call Bulleiin: "MORGAN, lyn Tanner and Brian Sullivan, the latter, ~ (r '~! I. Ii' al.l~ duty to enable the singer, through in. instances, even a hindrance. And in colora- i up to the highest professional standards. CHOIR WIN CONCERT GOER'S PRAISE. now a leading Broadway star, having sung See ali lah main See ah Iah main tura singing, covering is an obstacle. dIvldually appropriate exercises, to acquire Moreover, here was a church choir-com- . .. The near capacity audience appeared to at the Hollywood First Presbyterian Church NOT When a pupil asks me what covering is, KOTCOVERED COV.COv. the same facility in the singing, also, of posed of doctors, lawyers, insurance sales- appreciate thoroughly the simplicity of the for six years. r 'T""' ,...... ,.NOl' COY. other vowels. S01ne phrases-and this can- and how he can acquire the technique, my E men, housewives, salesladies-c-so bold as program and the excellent voices which In back of all of this is their modest I i I. Ie II - ~ I I., procedure is as follows: First, I sing a ~ r ( not be overemphasized_are extremely dil- to place itself before the public where it presented it ... The Hollywood Cathedral director, Charles C. Hirt. Born in Los An- Say ah lah main Say ee lah mtin phrase with covered tones and then with un- ficult to sing correctly on the ba is of our would be judged on the same basis as those Choir is an excellent ensemble expertly geles and educated in the public schools of covered tones, so that he can immediately Based on the same principles, sing slow principles for covering: when, for instance, who make their living from music! This trained." nearby Glendale, he received his A.B. from scales like: recognize the difference; later, however, I the tone before the covered tone is the was going to be much different from sing- San Francisco News: "The Hollywood Occidental College, 1934; M.S., Univer- try to follow the practical explanation with ;';01' COVERED middle range D and must be sung on the ing to, and with, a church congregation. Cathedral Choir gave a demonstration of sity of Southern California, 1940; and six a' theoretical one. And here I come to the 'etc. vowel u or i, and the following tone (the Upon getting out of the plane, Dr. Hirt choral singing that easily captured first years later, the degree of Doctor of Philo- 9 J ] crux of the whole matter. I have found, in r J IIi co~er:d one) is an open vowel like a. honors among week-end musical events. The sophy, his dissertation being on "Russian ,IS.y ah -e- glanced at his wrist watch and saw that it .h .h Iah malll my long experience, that the easiest way ThIS ~s an exception, however, which the was 4 P.M., later tban they had hoped to choir sang with beautiful tonal quality, and Liturgical Music." COY. to describe how to cover is to ask the stu- ~ NOT COVERED expenenced singer, once he has acquired get there, for they had left Los Angeles an unusually fine balance wherein the With unbounded enthusiasm, an engag- dent to think of-and then to sing-our • ; ~, ! J ~he technical skill, will cope with by sing- behind schednle. Amidst fog and rain, middle voices were not outsung despite ing personality and the knack of impar6ng national anthem, giving· special emphasis Sea .h 0 his vast storehouse of knowledge to others, ,ali ali I.h main mg ~he vowel u with the rno t open form Greyhound busses carried them the long the excellence of basses and sopranos." pOSSIble and the a (Continued 0" Page 56) distance from the air field to the Opera San Francisco Chronicle: "The Holly- it was only natural (Continued on Page 51) 20 ETUDE-DECEMBER 1951 21 l _ ETUDE-DECEMBER 1951 (2) a fine teacher who knows when SHALL I GO TO COLLEGE OR to be firm, when to be lenient, JUST STUOY PIAN01 Ouestions and Answers and who tries hard to teach each organization. The acqursinon of such " pupil as an individual-just as the • 1 have completed approximate- doctor does in the case of his pa- knowledge should be gradual and need not ly three years of college work, and be taught separately from the regular piano tients; (3) parental cooperation, Do You Teach Piano it will take me another year or two Conducted by KARL w. GEHR· which includes providing a quiet lesson. Students are normally curious ahom KENS, Mus. Doc., 111usicEditor, to finish the requirements in coun- place where the pupil will be free music because of its amazing power of ex. terpoint, orchestration, conducting, Webster's New International pression, and the wise teacher will capi- Dictionary, and Prof. ROBERT from distraction or interruption, etc. Last year I decided that I and at least one parent who will talize on this natural curiosity to explain wanted to be a really good piano A. MELCHER, Oberlin College or Piano Music? the recurrent patterns of tone which are take time to listen when his son or teacher, so I studied for the year daughter rushes in with shining the source of seemingly inexplicable magic. with a fine teacher in New York. eyes and exclaims: "Listen to me Not all teachers of piano Such devices as sequential patterns, re- This teacher thinks I have a great play this Mom (or Dad)-I can peated phrases, and imitated figures are future as a pianist, but it will take are also teachers of music. really do it perfectly now." the basis of nearly all music; but, surpris. several years of hard work to pre- A good piano that is tuned regu- ingly few students of piano are aware of pare myself, and in the meantime WHY CAN'T COLLECE fuller eXpOSItIOn of this whole larly is a help too, and often this their presence. These elements of compo. I shall have to teach in order to STUDENTS READ BETTER? matter - -K. G. BY BRUCE BENWARD is merely a question of whether the aition need to be pointed out, discussed. earn money. Here is my question: music teacher will take the trouble and explained. When these cohesive factors Shall I continue with just piano • I am writing a thesis on "Sight ORIGINS OF POPULAR PIECES to call at his pupil's home, try the CA~UAL observation would seem to in- heartened, uneasily surveys his past gain, are thoroughly understood, mu ic lose its and prepare a recital program that Reading in Music" and I am won- piano himself, and recommend dicate that the teaching of piano and and then settles down to the laborious and aura of mystery, and may th n be seen I could play in some town where dering whether you approve of the • 1. From which Chopin number A that it be tuned or otherwise re- the teaching of piano music were one and seemi.ngly unending task of improving his as a well-organ ized s t of tonal patterns I'll teach piano? Or. shall I let the use of syllables in learning to sing is Till the End of Time taken? paired if necessary-and it almost the same enterprise. Yet results tend to techmque: Somewhere along the line the from which st m th XI r ssive qualities piano coast along and finish my at sight. I should also like to tell 2. What is the name of the popu- always is! bearout the contention that not all teachers student-If he be a lover of music-will of the art. work from the R.M. degree? you that I heard a college professor lar version of Mozart's Sonata No. One of the great difficulties is of piano are also teachers of music. It is take stock of the situation and realize that -D. H., Kentucky say that college students can't read 1 in C major? Many admirable in tru tion book for that in this modern, high-geared true, of course, that the piano is a musical the goal (set for him by his teacher) is beginners contain the foundation (or a music, and I am wondering what 3. Could you name a few fifth life of today music has so many instrument, and a fair number of com- proceeding in front of him at virtually the thorough knowl dge f the music it If, Since you are so close to a de- the answer is to that. If you have grade pieces by Chopin for the competitors. The athletic and rec- posers have chosen it over other instru- sam~ pace as his own progress, and the gree my opinion is that you should any pet ideas or theories I would piano? but often teachers unwiuiugly (oil to earn reational programs at school, the ments as a medium through which to repre- attal.nment of the goal is of course rm- probably go to college for a year greatly appreciate hearing what -Miss J. G., Massachusetts on with thi lmport a nt I ran h o( develop. various Scout-type organizations, sent their musical ideas. On the other possible. or two and complete your course, you have to say on this important n~ent when U1e book has been discarded. the movies, the more frequent trips hand, the piano keyboard is sometimes If students of piano were allowed to studying piano also of course. Per- subject. -Mrs. K. M. P., Texas 1. Polonaise in A·flat; Op. 53. Therefore, students begin 10 see ell:h new in the car; the far greater number conceived by teachers as a race track where enjoy each new level of technical attain- haps you could complete the re- 2. Eighteenth Century Drawing !)iecc as a gymnast! hurdle, with the major of books and magazines that are scale speeds may be clocked, and musical ment, the number of disgruntled and dis- quirements in a full year plus a Yes, I approve of the use of Room. interest lying In the solut! n to the tech. often so alluring-all these make it ?rogr~ss is judged by the increasing rapid- coura?ed pupils might be reduced greatly. summer school. the sol-fa syllables as an approach 3. Most of Chopin's Waltzes, nical problems involved. harder for a boy or girl to sit down Ity WIth which certain technical exercises Such important matters as musical patterns But if you are an outstanding to music reading in vocal classes, Mazurkas, Preludes, and Nocturnes Problems of key stru ture, simple ca- for an hour of concentrated prac- can be negotiated. and organization need more stress in genius, the above advice is prob- and I believe that the reason so are about grade five. dence formulas. and phrase construction tice every day. And yet, as you The difficulty today is not with the !)r~sellt-day teaching. Many a teacher who ably wrong, for such a person must many people, including college -R.M. :an be inl resting I J los or onv raarion imply, the only way in which one I~lechan.i~mof the instrument or its expres- IS 111 great haste to boast about the progress students, cannot read with more if they are discus cd in r letiouship 10 the concentrate on his major instru- srve ability. The problem revolves around of hi.s student may find, on more ca~eful facility is because they have not MY STUDENTS DON'T PRACTICEI can really come to enjoy good actual musi beinz pia cd lit the time. H ment to a greater extent than is a peculiar fetish which is fostered and de- scrutmy, that the pupil is so ignorant of been put through a sufficient quan- music is to master it; and the only taught eparntely a devi s important onh usually possible while taking a veloped by numerous well-meaniuo- teach- the f~ndamentals of music that he cannot tity of music. The way to learn to • 1 have been teaching piano and way to master it is to practice. All to a compo cr. these IllU~ i nl lements may college course. However, if you are ers, who in good faith place the ~eaching ~escnbe the key structure of the composi- read music fluently is to read a lot music theory for about five years, this makes the work of the teacher be ove~l~okecl a an intc"rnl Iart or th one of the large number of "highly of music secondary to the development of tIOn he has apparently mastered. and by experimenting with the far harder too, and I fully recog- compo ILJons tudiee!. talented pianists" who seem to of music, and although I think "pr~per" hand position and executiol1ary . One may inquire if music is an art de- there are other important avenues various phases of music study I nize the fact that the instructor of The extrem~ly hiO'h mortality rale am IIp- abound in our country, then you motlOllS. It cannot be denied that a O"ood sl~ned to delight the ear or to fatigu~ the of approach to music appreciation, have been able to solve a lot of today must be more musical, more second and thlrd·ycar piano sludents mi/Yhl ought to have the all-round mu- technique is a necessary prerequisit~ to n1ll~d. Such an inference contains some yet I am convinced that learning to problems. One point, though, is astute, more understanding of in- be traced to the in~isten on lhe part of sical and general education that a the natural interpretation of music, but in ~OglC,but is in reality a fallacy; for music read the score is one of the most still of paramount concern to me, dividual children than seemed to teachers lhat the battle for technical mas. degree requires-as well as the many cases the improvement of technique ~s .a calculated organization of tone, and effective. A good many people have and it is of course the matter of be necessary a generation ago. tery IS. never over. TI1C student i~not a1· degree itself, of course. -K. G. becoffi.es the prime objective of piano study, It .1S pleasin~ to the ear only because the the silly idea now-a-days that chil- practice. The necessity of practic- Parents must be taught to recog- lo,~red a. breathing period in which he may and VItal factors which distinguish music nUlld. re~ogJ1lzes that organization and is dren hate music because their ing seems to cause a lot of boredom nize all this too, and it is only enjoy hiS success. He i continually O'oaded WHAT DOES THE SIGN MEAN? from pure noise are hopelessly neglected. able to mterpret the sound as an order! teachers require them to use the and it is the prime cause of giving when there is full cooperation be~ to newer and greater heights while the real In the hands of a teacher who worships arrangement of various pitches It· .jY up lessons. The time spent with the tween teacher and parents, with I . IS fI( IC- • 1n the April (1950) issue of syllables in learning to read, but ~exterity, the innocent beginning pupil is values of the music have lontr since become regular practice periods carefully U ous to as~ume that the peformer who ETUDE there appears a sign in the these people have not gone to the teacher is enjoyed, but of COluse me.r~ . sideline eu riosities. The reaII)' in. planned and provided for, that our ]nformed that he may look forward to the knows nothmg of musical construction Tarantelle by Mendelssohn that I bottom of the matter. It is true that advancement without practice is qmsltlve student C8nnot tolerate such treat· children will be able to enjoy to day when he will be able to negotiate the harmony,. and form can relay these ]·d'eas do not understand. It appears in some children either come to hate impossible, so what shall I do? I intricacies of an easy Chopin mazurka, a ment,f' and SOon re~i'-"~~6"- I·]lm5e II to ]·fIe have used many methods and sug- the full their heritage of beauty. to a hstener... Just as a singer must und er _ a the second meaSll,re and in several music or find themselves in an in- Beethoven sonatina, or a Debussy ara- stan dl t le true Huport of the ,vord h . o pass~ve participation in mu~ie-a fu- different attitude toward-- it when gestions for alleviating the lone- The task is difficult, but I do not . s e SJllO"S ture "I J . other places and I wish you would besque. After an uninteresting and often ~n ord.er to convey the proper meaning a;d . \ llC 1 requ Ires 110 more dexteritv than they get to high school, but this is someness of individual practice, believe it to be impossible.-K. G. IS necessary to . explain it to me. boring struggle, the student eventually lIlAectJOn to his audience So t I operate a phonograph. 1£ not because of having to sing the but 1 have not been too successful. . . ' mus t 1e a student can b . ·11 I· . -Mrs. S. H. W., Texas reaches the desired goal and settles back plamst understand the harmonic, contra- h . e III II er With the Idea sol·fa syllables, but because they My very best student practices well IRREGULAR NOTE GROUPS to enjoy a quantity of piano literature On puntal, and formal orO"anizatiOll of tlat tecdhmcal mastery is 8n outgrowth of have had to suffer through a lot and would not give up her lessons . .• 0 a com- t This sign (II) serves as a sort this plateau of technical attainment. His .'Ie stu y of. m·liSle anr j not Vlce.,·ersa.. he 1.)OsltIOn·1I1 order to point out eff ectlve. Iy of secondary phrase mark, indio of dull, uninteresting, uninspired for anything, and yet even she • In many of the works of the old victory is short lived, however, for he is I I ""' II be relieved f) If . t lese re atlOns of similarity and 't ot Ie se -conscIOus. alti· eating the end 01 the first half 01 music. A great deal depends on practices so little. Any suggestions masters there are uneven groups immediately informed that newer and a listener. Ulll y to tu de toward the I I· . ·11 TI . . progress 0 liS plaYIIl" the phrase and the beginning of the what kind of music is used. that you may have for solving this of notes, and 1 am writing to ask greater horizons now lie before him-the sk 1. 1e plamst wi t I . . < Unless. the student intends to become a . h 10 rnper m:.lechmque second half. A similar sign (but If the teacher is a sensitive, in· important and troublesome prob- whether there is any rule that I mastery of a technique which will permit I WIt a measu f· II pro esslOnal• . musician ' he need no t spen d .11 b re 0 mte cetua} discretion sometimes with slanting lines in- tuitive, musical person who enjoys lem will be greatly appreciated. can go by in placing the exact the study of a full·Redo-ed Beethoven sonata w, e able to k h· . . b , agomzmg hours learnin 0" and mem .. t 1J· ·bl ma e 15 mUSIc more in· both music and children, then the -E. F. P., New York position of the counts. I always hi' 0 OflZlllO" stead of vertical ones) is often Chopm ballade, or Bartok piano concerto. e. ~gl e to .an aud' If>ncc. an d \\1·11·men·sse read "Questions and Answers" t e. eglOn of technical terms used to de~ I found in instrumental music, and syllables are still a valuable ad- Thus, the student, now somewhat dis- ns own el1)o)' t I h scnbe all types of harmonic and melodic fold. men 0 teart a thou5and it serves the same purpose as do the junct to the learning of music read- Basically, the enjoyment of and I will appreciate any help you THE E"\D commas and other punctuation ing. If you will read Chapter 16 in practice rests on three important can give me in solving this vexing marks which indicate the phrasing "Music in the Grade Schools" by fouudation stones: (l) Material problem. -K. Z., Pennsylvania in vocal music. -K. G. Gehrkens, you will find there a that is really interesting as music; (Continued on Page 64) 22 ETUDE-DECEMBER 195) ETUDE-DECEMBER 1951 23 1 ~...._------ORGANIST'S PAGE VIOLINIST'S PAGE Planning the Successful ONY WATCHED the vibrato, watched T it when I played during his lesson, Frequency Modulation watched in on film closeups of violinists, watched in on TV and, naturally enough, Organ Recital asked: "Why can't I do it?" No reason why not. Tony was able to hol.d and Violin Vibrato the violin without any support from hIS left hand. He was able to tune his violin There must be something on every program accurately. (He had read the article 111 Tony was intrigued when he learned that ETUDE in July 1951, "Keep Those Vio- to appeal to audiences of varied tastes. lins Tuned.") His intonation was good. Al- the violin vibrato is similar to FM. though his career as a violin player had begun recently, he had a solid foundation. "OK." I said. "But first let's talk about By HYMAN GOLDSTEIN by ALEXANDER McCURDY what the vibrato really is. Do you know anything about FM-Frequency Modula- tion ?" "What's Frequency Modulation got to slow, slow motion. "And as it n~ovestoward I drew a sine wave. (See Fig. 1) . "The straight line represents the baSIC do with vibrato?" Tony asked, rather the bridge, it shortens the stnng,. and the URING the past century or so, the or- to all audience, and on the other hand, one frequency, let's say 440. The f:equency D skeptically. pitch, or frequency, goes up. As ~t moves gan has not kept pace with either the should not play over their heads. The cor- changes or modulations form the sme wav~. "Everything," I replied. "The vibrato is away from the bridge, the stnng gets piano or the violin as a solo recital instru- rect thing is to strike a happy medium. The changes are above and below the baSIC Frequency Modulation." lonaer and the frequency goes down." ment. There are various reasons for this That this can be done is proved by the o , I' f "And that shortening or lengt lemng 0 frequency, as the finger vibrates to make situation, but it must be admitted that number of organists who are doing it, year Francisco, have attracted wide all nticn, "Show me," said Tony. the string-c-" Tony paused. the changes." organists themselves are partly responsible after year, in all parts of the country. The and the congrcgatt ns have I con immen e. He had read widely in physics and radio, for it. An important factor in the success programs of organ music at Carnegie Han Possibly thc outst andiuu organ recitals of had borrowed books from his cousin, an or failure of any 'organ recital is correct amateur radio operator. Tony had some % t6"" in Pittsburgh are an outstanding example. the present time arc th played by E. f-L---'-c----,=Busic frequency planning of the program, and the truth is For more than 50 years, great organists Power Biggs from the Germanic Museum idea about FM~Frequellcy Modulation- that many organists are simply not good but he never had heard of FM in connec- \ t~n6 \ have played there-Stuart Archer, Edwin at Harvard Univer-sity and fr III ) mphony \'_\Of~lIeCond -, program builders. H. Lemare, Charles Heinroth, and now Hall in Boston. By means of recordings and tion with violin playing. In one of our great cities, a year or so We started with the nature of sound. ac Marshall Bidwell. Their programs have broadcasts over CBS, Mr. Bi17g reaches Fig. 1 ago, an organist who is one of the out. pleased all, musicians as well as laymen. an immense coest-to-const au lienee and re- "You know that all sound is produced by standing artists now before the public, Their organ recitals have held a primary veals the power, b auty and flexibility of vibration. The violin A vibrates at -" "That changes the pitch, the frequency." played a program which included only the place in the musical IHe of the community the "king of instruments' to thou ands of "I know that," interrupted Tony. "A is "So far so good," he admitted. . following numbers: ) and have been the inspiration for programs listeners. Experts wh maintain that organ 440 vibrations." "And that change of frequency, 10 en- " Dorian Toccata and Fugue o I Bach of the same sort throughout the country. recitals "don't draw" were amazed b) the "Usually," I added. "And what does 440 gineering language, is Frequency Modula- Kyrie Eleison Bach The Pittsburgh programs are varied and success of the program aiven by Mr. Biggs vibrations mean?" tion. " Fig. 3 Sonata No.2 Hindemith diversified. They include music of all in Symphony HaU last year. "It means 440 vibrations a second." "That means FM is old." Variations on a Recitative schools and periods. In the course of a "Correct. But more scientifically, it "As old as the first stringed instrument, Tony asked, "How much up or down Mr. Biggs and the oth I' sue e slul or- Schoenberg or as old as the first singing voice. Singers from the basic frequency-how much in year, music-loving Pittsburghers can hear ganists refer-red to in the foregoing, have means that the vibrating string moves back In criticizing this program, I do not terms of tone?" much of the important literature for the in- proved conclusively that well-played and and forth 440 times a second to produce the mean to disparage the musical merit of "The change averages about Ysth of a strument, as well as transcriptions of piano well-programmed organ recitals will attract sound we know as A~the open A string. these works. The Bach numbers are glori- and orchestral works. It also means that the frequency, the rate 1 tone up, and Ysth of a tone down." ., ous masterpieces. They are among the fin- a large and responsive audience. These '\: "And how often does this take place?' For more than 40 years, Ralph Kinder experienced men have discovered b)' trial of vibration, is 440 per second. We can say ,II' est things in organ literature. The Hinde. did the same thing at Holy Trinity Church I \ "On average, seven times a second." and error what will go aud what will not. that the frequency is 440 for A." :.,i mith Sonata is a thoughtful, earnest work in Philadelphia. On Saturday afternoons I opened one of my books. "Let's look at After making a study of the programs they Tony nodded. "And when we play the . I by an outstanding contemporary composer. in January, as many as 1,500 people would : I this chart," Tony. This chart represents the play, and also remembering listeners' com. same A in the third position, second finger . , \ The Schoenberg Variations, though written crowd into the church to hear Kinder play. . , .\ extent of the violin vibrato in percentages ments about my own programs in various on the D string, that must also give us 440 in an idiom which many find difficult and The great secret of much of his Success I :\ of a musical tone. You will notice that 2070 parts of the country, I have come to the in frequency." . . . I :\ perplexing, are to my mind an. important was his skill at program- building. He would of a tone is the average change. The amount conclusion that there are six rules which "Correct. Although the stnng IS thicker : \ contribution to the repertoire of the organ. take care to have something all every pro. of pitch, or frequency change, is not very should be followed, under all circumstances, and should vibrate much slower, the finger \\ __ A..~iI5TIJ All these are important works. All have \ gram to appeal to every sort of listener. '. .... __ tJ:.>CHBS large." (See Fig. 2) . in planning a solo organ recital. They are: makes it much shorter; the vibrating part .\ something to say to the attentive listener. ." ••••• 5TUD~~fl~ Tony looked at the chart, noted the differ- Some of his own works, which later became of the strin rY is therefore made to vibrate But to expect an average audience to hear 1. The recital should be not over one \.. , famous throughout the world, were com- at a faster r~te. The frequency of A is 440. -, ences between the three classifications, them with interest is to expect the impos- hour in length. posed for and first heard on these Saturday Just as it would be if the same A were teachers students, artists. He smiled. sible. There is a limit to the number of 2. It should cover several schools of com. afternoon recitals. played way up in the higher positions on the Fig. 2 "Noti~e, too, when I show you the next big works in complex form which can be position. Other outstanding recitals, which have G string." chart. that teachers have a slow vibrato, assimilated by most hearers. One is re· 3. It should be planned so as to make use the vibrato; the vocal cords change found great favor with the public, have "What then? Every tone we play has a gene;ally speaking. Conce~t artists ha~e ~ minded of Robert Schumann's famous ob- l~le best use of the registrational possibili- as they vibrate. But that need not concern been those of Edwin Arthur Kraft, at Trin- frequency," Tony admitted. "What's that fast vibrato. It is a good Idea not to mu· servation about hearing three string quar- ties of the organ at hand. I othing is worse us now. " ity Cathedral, Cleveland; Palmer Christian got to do with the vibrato?" tate your teacher. Especially since I'm not tets in a row: "Composers leave after the than attempting an over-ambitious proCTram Tony looked at his fingers. "You me!1n at the University of Michigan in Ann Ar: . d 0 "Now watch," I said. "Let me play that doing concert work these days. Imitate the first qualtet; critics after the second; only on all Ina equate instrument· and it is usu- to say that every time I play with vibrato, bor; Uda Waldrop, at the Palace of the A on the D string. This is about 440. Now concert violinist. Keep your vibrato fast, chamber-music players sit through all ally more feasible to chana~ the pro17Tam I'm doing Frequency Modulation?" Legion of Honor in San Francisco; and h 0 0 if I add a vibrato movement to my hand, and keep it rolling. The extent of the vibra- three. " t an to rebuild the organ. "That's exactly right," I said. "Let's see Samuel Baldwin, in the Great Hall of New what happens? You watched enough vi- to of the concert violinist is considerably Of course, it is equally bad to go to the York University. 4. Programs should have as much yariety how it looks on paper." more than that of the teacher." other extreme and oblige an audience with and contrast as possjble, within this broad bratos to be able to tell me." . More recently, the programs played by "The hand moves, and the finger goes *From "Psychology of the Vibrato in Voice "Let's see the other chart." Strauss waltzes. One should not play down Richard Purvis in Grace Cathedral, San outline: a-Bach and/or his contempor- and Instrument," by Carl E. Seashore. Repro- I turned to the second chart. (See Fig. 3) arles; b-Franck (Continued on Page 57) back and forth on the string." duced by permission of the publishers, State I slowed down my vibrato to a very University of Iowa. Fig. 3 from same source. (Continued on Page 61) 24 liIi Illllliiiii...... ~ _ ETUDE-DECEMBER 1951 L ETUDE-DECEMBER 1951 25 -tl PIANIST'S PAGE No. 110-40161 Dance Caprice A light graceful number which provides excellent practice in staccato playing for both hands. A nice steady rhythm S.hould six from the list of the foregoing. be maint:ined throug hout.and close attention should be paid to the dynamics. A somewhat echo-like effect is called for in meas- 5. Is it worth while to use some of my urea-If and 14, Grade 4. meagre'savings in giving a New York City WILLIAM A, WOLF debut recital? :> . (1' :> Adventures of Decidedly not! You. would be pouring Moderato (J,116) (L . . ,r'. _. ~ 2 ~~. .;. ..;. e your money into a bottomless pit. If you 3 ----. .. .. want to "invest" some money in yourself, "'" use a few hundred dollars to hire a part. . . . . I",J;J..I a piano teacher II! . . :t:. 1.0 2 <:» time secretary-manager for a while-pref. p mp...... erably a personable young man or woman m~1P~i s-; l~;i a Ik~il-P~e-. Ik~. I: s-. Ik~&-!P. with a car. Print simple circular with a . .lb.~ ~l!"~ glamour-portrait of yourself on it. Keepthe A young artist asks I blurbs-your history, your offerings, write. , (--. , 1 , 2 , , , 2 • ups, etc., as brief as po ible. se large, 3 • 2 a l...-J w L.-1 L.-J • L..J l-....J l...-J about a recital problem eye-filling type. Then send your secretary 5 5 2 3 2 2 all over your state to bo k you with Worn· •2 :=:- , r< •~ :> I , , ,_ 1 I 1 en's and Teachers' clubs, school, colleges, 1 by GUY MAIER Rotary, Lions and Kiwani Clubs for a "'" very modest f c. Play everywhere and as ~I . . '. I I I 2'-'1. ~ ": I I~ ~ T A RECENT class a gifted young pia- a better effect if you play the four parts often as you can. It. lt~f~ 1 :~ -. } p "!f:> f P A nist asked these interesting questions: with a double string quartet or a small Present your con rts in ome unique, P nt! .,.-... . --oIll9- - 1. On a full-length recital how long string orchestra.) entertaining way, with brief imaginati\'e --. - should the "last piece" be? Would Ernst The strings of course give delightful comments, unusual ompositi n , one-corn- · Tach's Juggler be long enough? color contrast to the piano timbre. Mo- poser or one-country pr grams, etc. The a 2 1 2 1 2 1 ~: 11. !11~~ 1~.:l.fq~~~,,:, 2:--=i 5 5 • • • 5 . . . If you plan to end your program zart's fabulous wood-wind scoring would routine of playing bclor nudien will . L.-1 LJ • with the usual display piece, the shorter be missed; but it's much pleasanter to build up your c nfid n e and d velop you :;;- . the better! Tach's Juggler is painlessly hear this fabric played on strings rather lcchnically, musically, individually. Then ,... '~ ~ a tempo ;-. ".--. , ".--. ~ t brief, however; better use it as an encore. than to endure the horrible cackle of the " ;; if you "have the g ods," your p18)~ngcir- •• Why not finish with something substan- wood-wind sections of any but first-rate cle will gradually wid n, you ,,·iIl be r~ tial? A scherzo or ballade of Chopin, the symphony orchestras. engaged, your mu ienl influ nee and I.pop- t u..J..J . I . . . n:£.. .. ::::=-'---' Brahms E·f1at Minor Scherzo (Op. 4,) or By all means put on a Mozart concerto; r. popo~~):::s:.mf ularity" will ext nd ... Tim en ugh then nJfc:> . ~ E·f1at Major Rhapsody (Op, 119) the toc· but be sure your string accompaniment is Lo play that ew York recital! ..:. .;. II. n.t... .;."b.j. .., Ik~i!p•• , Ikbi- ~1l"bJ ~tP~ catas of Debussy or Ravel, even the Car~ good ... It will give you much better en- niva} of Schumann-any first-rate large semble support than any second piano ac· · ON REPEATED OTE ~ I I • '---I. scale work with a brilliant finish. By the companiment. Get rid of that Id habit or chonging , ", l-....J time a pianist reaches his final group he 4. In preparing for a concert career what fingers on rapid, repeated n les. You will '----' L.-1 2 is usually in top form. Therefore, why four concertos would be essential in a only frustrate your II and your sludenls Last time to Coda -$- 5 , 5 1 2 t 4: !'i 4, !'i waste it on inferior music? That's just the pianist's repertoire? ...;;..; 2 ; ~ 1 2 I if you per i t in iL hanging fingers on .:. . .;. , ri'l- .:., /"' L •1 r·t time to play his best (and most exacting) No concerto is "essential." Any good the same note is valuabl in Jaw themesor " ... mUSIC. pianist must have studied half·a-dozen of passages where different t ne qualities are . . 2. Is fifty minutes too long before in- the standard masterpieces from Mozart, desired. Sometim , to , it is more con· • • '-~ I .... :! t: . ~ ~ ~ '-.;..~ I~11. ~ termission? Beethoven and Brahms. But when a young venient to play finger in uchain /' as in :> mp t .. i No, it's just about right. The!!, make artist sends in his list to a conductor he will h. P Moskowski's Caprice E pagaole: but more +' .. your interval at least 10 minutes long to be wise to avoid offering familiar concer. often it is better not to change. k~.~ give the smokers and gossipers time to tos often played by well-known artists, like Why? Hand and ann balance is de· burn. Hold the rest of your planned pro- Beethoven C Minor, G and E-flat Major, '11 -6- -6- -6- stroyed in the chs.nging, and the fingers l...-J '---' gram down to 20-25 minutes. Brahms D Minor and B-flat Major, Mozart play with different qualiti and quantities , 1 Don't make the mistake of going on and A Major and D Minor, Schumann A Minor, when precisely the opposite is required .. _ atcmpo -,..... off the stage several times during the first Chopin F and E Minor, Tchaikovsky B.f1at . . . .;------.3 "I •, . ... r'1 r'l In his edition of the Bach Inventions. Bu- .~ " "half." Come out at the beginning and stay Minor, Rachmaninoff C and D Minor. " soni writes: "I make little or 00 use of -- on stage until intermission. Ditto for the Instead he ought to offer short, unfa- fUlger changes on repeated not :' Artur 11 .. "1 11 . ": last part of the program. Take plenty of miliar, or novel works like: Mozart Con- +j 1 3~ '-~ I~,:~~ Schnabel and lUany otb r artists have ex· ~ l':;i~~ I~t1I,t t t '-----~ time to breathe and rest between numbers vertos in A Major (K.414), C Major ~ --= mp rit. p pressed themselves imilarly. r i. 1. I!r. t ~foit. =- ... And at the end don't let the audience (K.415), or G Major (K.453), Concertos I have found tllat most tudents cannot coax too long before you play your en- by Britten, Ravel, Delius or Prokofieff, the · play rapid or brilliant notes eosily wilh · cores. Then, even if they want more, don't First Concerto by Rachmaninoff; or Bach's the same finger becau teachers have - -Z :: L-.J give them more than three! Concerto in F Minor, Weber's Konzert- -6- -6- neglected this all important technical point. 7. L---J L---J 3. Would the critics voice objections stueck, Liszt's Hungarian Fantasy, Strauss' DC. al Coda Virtuosi pianists can liIt you out of your 3 . .- :> . - - if the program contained a Mozart Con- - Burlesque, Powell's Rhapsodie Negre, Tu- - . I;] seat .'~ith their machine-gUll, repeated nole .;. . -I':', •2 3 . ; IrJ I certo with string quartet accompaniment? rina's Rhapsodia Sinfonia, Bloch's Scherzo '" 10 I am sure that both critics and public Fantasque. preCISIOn. would welcome such an innovation. At A smattering of familiar stand·bys might You will find adequate and concentrated I, ....- , j ...... 1 t: 11!f n..t.~ ~ least 15 of Mozart's piano concertos are also be slipped in-the Grieg A Minor exercises for repeated-note teclmic in ~::·1- masterpieces, yet they are rarely heard. It Liszt E.flat, MacDowell A Minor, Mendels: ··Thinking Finger ," (:Maier-Bradshaw) on CODA fr;j , :~~ ~I':', ~ I 1~ .. .. is not too difficult to reduce Mozart's or- sohn G Minor, Saint-Saens G Minor. pages 14 to 16 and later in Lhe chapleTS .. • chestra to a string quartet. (You will get You ought to be able to offer four to on thirds, sixths and octSYes. THE E:'\D . l-...J L-J '------' l--J 1 . r '-----' .. Copyright 1951 by Theodore Presser Co. 5 International Copynght Secured I . 27 26 ETUDE - DECEMBER 1951 i... _ ETUDE-Df:CE,1fBER jj;l No. 110·01884 , Allegretto 5 3 •, 2 i , , 2 , 3~ ~.~ II !! ~ , ,~~ . Here is "'opeof Haydn's most mel"odious smaller pieces, and one which demands real mus ic ia nah i.p of the performer. The melody • .2 must stand out at all times, which means that the hand must be carefully balanced as to finger pressure so that the melody note ~ , 2 will receive the correct accent. The runs must be freely played, but the rhythm in threes should be carried out so subtly that the -~ ~ hearer isnot conscious of the tone-grouping. Grade 4. I.Y "I n!f - p p= - - , S- ~ !: F. J. HAYDN ..e ~iI-,.- /J~ ~i s I"' ------~,'. !: Allegretto 5 a 5 a , ~ a 5 ~3 2 -~ 5 • ,~. 2 11II II '4 ~.I~ • 2 3 • "":" . •,~ ,~2 2 ~ , ,. 2 , , " i:::= V - - I'i II 1l~5 '~ 531431 • ., . _b~~. p r == It.. t:' It. -- It- _ A . " - It. ~ t: • . ~ fmf "I t:mf cresc. 'e- . r~ ,. ~ It. It- _ ~rp ... 3 I: ql: Jle .~~ 5-' '-2 • ~~ = 8····· ; p Iff --: , . - a tempo 3 a , f.\ a ~ • • • • 2 1 5~ a 5 •2 '. 7'--:' 1\ II II-- • == .. .~ .. . "'I - 5~2 , ----...... I\IIII~'" 3 . .~... --- .~ " ~ ...... L.....J....I ~ ~ ... 1 ~ 1- J :;;0. U tl.J - p 2 __ mf I-~ ... " -: 2 • , -u 2 • 3 8····································· ...•...... , /?•....••.....•....••...... •.•...•••••••••.....•...... •...... •...... •••...... •...... ••...... •.....•.•... 2 5 ~~ ~1I11~1t. 2~!: • 'f~t:~. ~ i.. 2 • 2 •• , !i; r J r , to • J 2 ~ J "1..- -= II II 2 , - 3 2 5 r;., • • to 2 .. • •• 5 3 8···············································, , •, 5 ...... f.\ , 2 5 5 !i. ~ !i. i- S. !. 2 2 , 1t.~2~ • 2 • • • , ~> I'i II II , • • ~ =!--~~3 ~r, • • •.II ... :> ... mf p to - i~' p U,. ~f poe.;. rit. II 1I f.\ -: . 2 , , 2 to ~ • =: No. 110-40142 Freudvoll und Leidvoll Happy and Sorrowful ~2" :> 5 • Although written originally for left hand alone, this piece may be p l aye d with two hands. It appeared on the reci~al'progrJ.ms A 2 of Selma Franko, who was the mother of Dr. Edwin Franko Goldman, conductor of the famous Goldman B~nd. The pnnclpal.theme calls for a nice singing tone. This melody is later embellished with broken chords which should be played wi t h grace and clanty. Grade 5. REICHARDT 5 Edited by Edwin Franko Goldman Transcribed by Rudolph Willmers A ~ J,' :, .. 1'1 I , Lento • ~ 5 f3 It. - A 5:'" f ~ ~ qt: tempo rltbaf~ }~, ~.'1 ~~PmI~ .. ,-. I, ~l\~ if ."1 , lot :r-::, .. , , . . , : .. . 1=' 1= ~ ~ / / ::'t: i irs 7~t~ ~~Ii= ~ e ~ == 1\ , 4· ., . - ::;; z, ~ ~ ~~ t. ~ :::>'-... ~.">-. . ~~ . .ll'~ I~~qt! "I' Sf? . sfz ~ .. ~f.I' sfs tnuace N 1<. ~~==ff[q; .q. , - ~ ...... :: v .:.iffz .. '1~~t! Ii: :4j • 2 5 1::=', • 5 • 2 ~ 5 •5 &:== s I" ~v , , , A 5 t-> q :> ~ ,. 2 1 2 1 ~ p , ~ ~ f.'\ :> :> >- A :> t :>:..- ... 5 2 :> 1":\ 2 I ~ 5 ~p ~~ ~ THEME pp iremolando ~ Lento sentimentale 2 • 1 a • • 2 • f >- >- p ~ "-..:: "---" b'--, L 3 5 • V V • • I 5 5 5 2 5 5 • ~ , 2 5 2 5 2 •t 1":\ 5~ ,~ 5 • 3 PIP "it. >--.-.., PPP ,'il. :> >- '5 2 • 'f Copyright 1951 by The~dore Presser Co. v v 30 International Copyright Secured tI _ ETUDE-DECEJofBER 1951 ETUDE ~DECEMBER 1951 31 No. 410- 41015* Waltz • from "Die Fledermaus" .~ 2 ~ . Some of the most lilting waltz melodies from the Strauss operetta a r e here presented as arranged by Denes Agay in his com- • pil;tion entitled "Pj a no r ama of the Wo r ld's Favorite Dances." Good ,accent should, of course, be the order of the day when play. ing a Viennese waltz. Grade 3. I 2 . , --i~J '---":l . JOHANN STRAUSS 1 i~ J Tempo di Valse :>:>:> 2 2• • :> fl ~~~ ~:;:;-:;:; • ~&- ~ • 1 2 • I s • , T' 0-, , "-' 1 1 •• I~ jo-, ... :> :> 2 1 2 Z'tgoroso.>- >- rit. rr>; ~ q}"If " :; ~#~ ~ ~~tqt: t- .. &- 1,1i.i: ~e ~ P ! J.'---, .J 2 fl 3 2 • 2 • 1 . tt , -t- fl- I" t. I~· l~~~~ r~e~ r a tesnpo ~---== >- ,... ~ a a I a - »» 2 • • .. .. • 5 , ... I I I »>>- L...J I x 2 ~. 3 2 a , 3 = f fl , . , , , :> l~ ·fl- 1* :> :> Ill;';';' ;. Ill- II 2 f P '~---== .. a a >:>:» ,,- ~~~~ 5• • .. - , • • , 0-, 1 - 1 3 22 (sell;:;a P"d.) 5 f.'\ ~~~ ~ :;;-=;:->- :> ~ , ~ • a 11' " ha PP1\ pOCO rt'1a rd(lIIdo 2 "-'. Jl. 1\ 1\ 10- . 1\ t- eresc. r1·t. .... 2 "- ~ t: cresco ,... I""" ,... 2 ~~~~ 2 i 2 »» :>:>:> :> 2 :t a iz,: ~..Il_.. :>:>:> :> ;'11 a"aL ...... ~.Ila.-.... 1...1 11if ~ --== a temp; -,... L >->->- :> J J I JJ ...._. e e .... '- ...... • ;;;;;r I I :>:>:> • :> :> _ ... L. _ ~e#t .;:;;: ;:;Il_.#tL :> fl ';11 .. Il~:. ~:t.~... I@ PP t- ,:!: pOCO pi" Zenia J I , s: I ' • J > ~: II: : ~~~~& ~!: '--J L--J L-..J L.--J L--.-J '7 ~. *FromflPianorama of the \Vorld's Favorite Dances"arr. by Denes Agay. 32 '7 r' ~ Copyright 1951 by Theodore Presser Co. Pt 33 'V ETUDE - DECEMBER 1951 ETUDE- DECElIfBER 1.951 • >- >- if, >- ~ a tempo e .L.. :e~()i= (,)F~:eb~ ~ ,~ f- fI ,I -. .. -:: u>(:: I- ~ ~~~ . b~: < d :>:> Il ;; - 2 i: 12.: 1 2 ;; ~. !~ 2 ~ . .------. I,@ f'-== , I~ I 1_>- >- I" llq f ..J.J Il±q} J.J IbblJI: Ibbll• • .. &-1_1-1-1- ' ... f*- ...... ,,":;- c;:- mf POCO iit. --iR- , 1:11: - . •• JJ • f*- • • - . S-I: fl. • , !L-.J L-j, L--..-J -. • • :> a tempo L :> ..;. 3 3 1 a , 1 23 ,j I 1, e ~ ~ Jl>- '.Jl a ~" _".L .~ :>- :>- • -~ l' >- -poco rit. ~ =t: ~ ... ~~. .;. S-S- II : •• :>- mp '!'it. • f \ :> J >- >- >- fI ~: ~""I!...:e.... :>:>-:>:> L;.I1_ .. :e.... :>-:>->- >- .=." .... ~ I 2 , .... ~:. ::0; :>- Piu lento .... < Ii < , , < 5 .....' I 2 ~ 2 2 2 3 .( •I • ~ .. , , 2~' ~ ~~~~ l J J • .If I /"""' t~2 ee e e '" ~---- lo0oi' , , 'L.....J L--....J >:>->::>- L--....J L--J L.--J L....J p ~ ~ 1;1I•• :e.... 1••• b.-I ",,-, ~'"'I Trl'l - ~ . '--' I 2 I~ I >- >- :>->->-> "2 C >->-;;,. ~ l :>- ~ J.-~ ~ ~ ~~~~ ~. 9' ~>->->- .~"" ;;;; '---J - a tempo >- :> >- :>- 2 i: 2 I ~. I'i >->-:>->- l~l S .~...... - . , l . III poco rit. , J'- .. II! .... '-J ..f*- • • • >- > • I • • Piu mosso :> • • :>--~ ~., ---. Piu mosso >- >- >- >- ~~ 1~ ~ ,," " l i: ,~ 2 .. .:. ~ ~ ~ t I f rs;.ele ~ J: s- ~ ~~ I JJ ...... Jl • • . .. • • >- :>- • L.....J L...J I •I .( 1 3$.~ ----.. 3 3 ~~ /\ ,...... 11. I[ 2 3 < , 2 3 :>- . ~ J.l>-~ t#;" ~ r , 2 3 j ±: ~ I'i ~ ~ >- :>->- .. .. @ accelerando C1'esc, If ~~~ Jr ~ ~:. I ..~ I :>- >->->- =::- . . : 2 2 I • 5 3 n>-:>- 1 3 2 I :;j 34 I I L.....J :t.!I~>- < 3 V ~ L...J 2 I V 35 ETUDE· DECEMBER 1951 ETUDE-DECEMBER 1951 .'------~ d a No. 110-40164 Dream Time '. Th ' 18 prece. calls for melody playing in octaves and chords, with some measures br-i. n g r-n g' Ji n that p e r e n n ia I bugaboo, plaYing three No. 410·41016'" Lullaby against two. Should be played with much feeling and a careful observance of all dynamics. Grade 31/2. (Berceuse) Grade 3 '/2. RALPH FEDERER from "The Firebird" IGOR STRAVINSKY Moderately slow ~ 11. "u Andante 60) 5 ~~ ~ (J, , /3 1~ 3 3 '~1 () I ~ R.·,~IIt • ~ .;; . .... -...... • • • ~ - I , I!. . If -,J ... ' 1 ...... =-~~ .. l .--/J-, ">, ...... PP2 J!, - ~ mf ~'~11 -'= -=:::::::". P cantabile ed e~!e:slto j'~ Jtl~bJ rDilh warmlh /~ r:•. /G/;RHm ~~(b)G~: rqR·~m~.J·bI: diminish J~ .J~ -.J~. J-J .J:J .J~J .J~; ~ . , .., ~.~. I , ... , '!! ~ ~ ~ 1~~ I;;:' A A ...._-_._- ...... 8 WIth mcr-ea.smg warmth -faster 5 ~. () u 5 ~3 3------() I .. 3 2 =, ~31 I~' ~~ ~ --- . ~~s~ I If::. u,g .. . - -l! '1 ~ IE' - ... I-,J~·-,J l-,J - , .. II!. pp - ~ ,/~ . - -=::::: hghtly r diminish pp hghtly -= .J~ () I ~..r~I: kC~ ~ fC$ .J~ 1J0J .J~ .J~ .J~J .J~ • -, I~~ r: I~ I : /DZ I~ 1 --../ , • ... I. ~ J.--;-_:-:A __ -JA'- ~A~ __ ~A A'- ~A'_ "--....A- espressito, calliabile >____:::0. . ~intensity :::0. ~ Tenderly in time again '" 3 5 4 & ,.----~ »> tJ I 'i-.I~ 1 ~ ~lI.ten. ~- --::--... :-=::>- ,.... l,J 1 • I~I • - il .. ll•• :~b~~ ~-.·,/"I" /Ill ~ ~ ~ .J----J .JbJ~Jk.J I!. ::=- 1 - , 2 1 I '....___'1 .~ 12!f - ===- broadEr ' hold ... r I~ - -=f~ I!. - r, ~ 'iqll ..if 1 :1 ~ ff~ .. .Pf s~;r backr,~e11 mf v b~dim. ~ - ~.~ j J~~JbJjJ 'I ~JkYi::! Ga ~~~n I 1 ,.. lh"~ 1 ... ~ '11 • ... A A I 5 5 A A A "-- _JI ~ ~_:\ ~ , 1 A A A A A 1 _----C\---.A- i'lL ;; ;. ... '" • /I- ,.3, dtmim"sh ten. >______> 4. 3 5 4 5 a tempo - ~ 1H: I ...... -. 2--- .J------.l~JJ~bJJ .1 ''----'-'' - " II k5~; I!...... r-..:!.---, , i "- .- r-s~ = ':' ./";"p trn (~ R.nm ~J(~)G~: fade ..... PP Fine If '2 " .-it. -0 -. -,J~--,J 1-0 ~- ~~'1~- r~R.;;·m ~ ~J~)Ir=.' ~ ~~ ~17\ P:: .J" ... ; -=~~""~~~n~~iLI~~~J(~)~-!~~~1J;J~ .J~J .. 1 ;~~ ... 3 .2 , , -Ii U. ~ 18 5 • - A 8---: , , A A A little faster; don'td~ A A A 11 . I 5~ 5 Slower .1- J I , I 5,__ """, 1 1 -...... ~, ()il~ ,~ ~ - ~'U ~. l! .r::=- , mf-== I r -== --== ::=- -, on; 9- ~.. J ~ -I l!" , .."I ~.~\ .d~ IM~mtm l I}JJ4 If P ,-,J" - , .• iP- ~ -,J~J j~J ~~J .J~J , ~ ~. J .J lJi'.J:l J~J .J---n-; I ! 2 I "---1> A.. 54 I , I A ---'" "-----.J, " , , . In time again hold ~--~A'--~~A'--_~EY tJ , ,...., diminish t D C at Fine ::---- 1 """ , I=-=', J , .J )""'1" I 51 ~(liJith repeal~ • ~.....< /Ill 2 .----; 2 e> . I!. .[ 11'if 1 -== f-' I----=-- len. - =- >~ mp' ,T # .... '1.~.~"''1'''''' TIt ~"" ~ C:4;;-/.;J P. !l6' 2Il-,;.eJl. ;~~r ~ I!. Illtqr r 1-0 - .. i '-,J~t~r Il~~ r.....~~ ." "- - ~r.t!r ,.; 3~ p~; PPP ~----I~ Jr; J poco"marc.-.l' ..I .J .J~ .1~J J~ I ~ , , . --Jo, "---.J, - 4 5 , A A .2 I "- ~ -~A-~A~~_"----A ~ ~ Copyright 1951 by Theodore Presser Co. ~L-J L-J . L-A.....1L..-J pp~----l-J " , 36 . ------*FromHThemes from the Great Ballets"arr. by Henry LevIne. International Copyright Secured Copyright 1951 by Theodore Presser Co. International Copyright Secured I ETUDE-DECEltfBER 1951 , .._------~ ETUDE-DECEMBER 1951 37 • \ No. 130-40431 Submarine Voyage No. 110-23148 Yuletide A showy little number calling for facile playing of the broken chords given to both hands. Boys especially will enjoy this Grade 2>z. A Christmas Story musical Submarine Voyage. Grade 3. Moderato KENNETH BRADFORD ~ ~ t • s 11 .1-1=~ s , 2 t •, •, , ~ma • • ~m• • " ~ ..... 1-9-1!· ..... •---.t. g'" q?; -S s \ U r LJ r n!f S ». --<:::: ===- - ~ ==-- - , 5 5 ... Y-~-'':- "!' "!' ~ ":' ~ ~ "!' ~ :>- A I I A '.t ~ .. ':" "!' "!' ~ : - :> "!I'>.>. -= =- :> :> :> . :> ~ ~ ~~ ~=?'=?' ~ ...-I :> ..;. ~ ~~~=?' ~ • s lIst time only II Last time only 5 I 5 5 1\ r:~~ 5 • , 3 2. ~j::~~~ 2 , ~ ~m • ., 3 • •, 3 • ,• , • I • • " II Last llrne only " " 11st tlmeson1y 3 • • 5 5 2 ., !l 2 8 ~ { ~~ . 3 • I ...;" t • , :>• 1_ ! '...,i, ~, , 1 =. , i.... , :> I~ ,.. 1-9- tt· ... I'i I 1 ~ • u~r , Lrf I"~ ~. '1~ I~ -e- ) i""'I "\ ~ lJ -====- f r-, ?'it. : ~ ...... ~ ...... :>- "!'''!'''!'~ -"!' ... .. "I~'I IJ ~IP !'it. lP f"'!""'· - !~!!:> p . :"> . : .J .;..~ .... =i>:> '" : e~q~~l~~ • ia.;" ...... i~~ ~..:. . .. ~ . i&. ~ ~ , , 3 5 ~ 3 5 2 t • t • t , • " Ii I 1 1 ( • • ~~ "-e-5 F,lle I 5 I Fille • 5 3 5 2 5 ten. , 1\ 1~5 2 :> . I 5 • atempX:;- 3 ~ 2 3 4 ~ 3. • • • ~ ., - Il , 3 • ~~f-.i. ~~j ~ ~~:t: ' -' ~b~~~ -.~f-b.~~ ~~ .;.. . ~ I- 5; - ...... '~ I ~ I ~ ~ q ~ e,POCO ;=- ~ - I ;t. 1-1.- f~;. ;"j,.;";.. ~..:. :> ... \ I •• ! ;.. I~"'"j rD ...... -r-- rIr ..------: "~t 11 ~n. f Z1Jl. poco a 10 0 I 4 .... • I I : • 5 a tempo :> 5 3 , ~ 5 3 1 . :> I 5 5 • I • • 3 I 1'1 1~5 2 :> ... ..:. ~ •f- e:~~ .-- I. t • 5 1 3 5 ~------~A'---~!L.--.A~ -'~'-" __ ~~- ~A'- _ -../ :> I '- 5 P '1 5-----:;--.... f~. . ~J,.';' . :> :~ e:;~ b~~ -::---. 1 l.. :> .---. . • t ~ rii ri•• f:i • • r- c- .... : ,..... , ~ \ ~ ...... I I U,J 5 ~!""r--- \ '- ..L1""oo,...\ I"" u.r • , .\ looo'" - - .R - ance 1\ San t a gIves a d 5. .Ii rn ... 5... ~ 3. t 2 1 .I '1 I • • • • - : - , , . ":' ""--- I-" :> I ;'DI 3 5 I I 3 5 f--'~ . ~ ~ . I ... "!':> ~. ;~~ I 3 • 5 • I I~~~-~ ...... A...-. stnl1le 5 ..5 • 5 ~ 5 " 1 5 f I .... ~ 5 ..; . , • t~.i..l.s .,..2 - r-- - '- - i=~~ ~ ~~i 1Ii\ ~~ ~~ • • t :> I I c. '. • . 121.}.J~ •. 'l - 3 • 3 I , • 5 3 . • ~ ~ I • : ...... I ff - \Uf"" ...... I 'f9'1 f,'. - '- dim.poco a po 0 , :, I==- - ~._~p . 1'1 2~1~- ' - .,,:, 1 Ioo..l ..... :>• IT --- I- l!. ~- I~~ ...-t~~v~· : ~ ) ~ iT"oJ ....-----... , ::;,.. I ~ • ;,.. I .. ~ ..:. . ~ ~ 5 I 3 5 e .. i: I";',.. .*". - I 3 ... I .... - I 3 5 5 , 5 ~ • I f• \\ . • I ~ ~ ~ . '. Copyrfght 1937 by Oliver Ditson Company • - D S. al Fine 38 DC. al Fine International Copyright Secured Copyright 1926 by Theodore Presser Co. British Copyright Secured 39 ETUDE - DECEftfBER 1951 ETUDE-DECEMBER 1951 d • March of the Toy Soldiers 110-19611 March of the Toy Soldiers .P. TSCHAIKOWSKY, Op. 39, No.5 P. TSCHAIKOWSKY, Op. 39,NO.5 Tempo di Marcia M.M.J=108 PRIMO SECONDO 5 ~ 3 4 I> ~ 1:; ~ S 3 4 4 r Tempo di Marcia M.M. J=108 2 1 ~ ~ ; 11 ~ ::> ~ 1 5. ~ ~ I':t 4 >J. ~ 4.:1 • I'- li ~ F- • E:~1=~:J. ~ II!- 2. >;~. ..:~.& . 5. • h 2 r 11- r~t: l ~ ., ,) pp pp zr-: .-- . ~i" ::> >J. '\ --.: 1\ 1'\ • ., -. • I . - ~____l , :>--;rl ~ 1 1 2 .. ~ .. 'II 'II .. .. r r t- a ------2 3 4 5 2 ::;0--..... 1 ::>------4 3 2 ::> >- ;-iL ~ ,. . . 1 ... II!- ~ ~ ~ ~ I:~i- F- • ~ .:~ .. I- f f r .. fL r rll!- , l r~ · • ., • • t- ;:,- ~ ;:,- 1'\ 1'\ 1'\ "- ~~~ ( · ., -. - 1Ii t:t!, . ~32 1 >~ '---'" ::>~ 1,/ .. .. 11 111 11 111 111 11 5 ------::> 4 4, 2 4 3 2 1 5 b.~ ., 1 ~ 9 2 ~ c .~~ l!~ ~ ,b~.,Il~ l!ql- J .. n~~ :; ~ ~ II ii~ :i.t .,~"~ ~ · .. .. ., • · · :~ .. P ("'!f') tJ 1'\ p(1lffJ ~ ::> >- ~ · I- ~ • • ( · · -- . .. · ;5 -- r-, 3 2 a • · ~ - ~ 1 ------2 3 5 4 2 ., 112 2 5 ~ 2 >- 'I I 3 2 II t >...---., .. ~:t ~. ~~I 1I!-5 r-:> ~. .. ~ ... :t ~-;.. · fie ~ a:i~., ~~ .a ..61 ~ I:l±.... ., ~ · .. ~ t : ., · (h ~ . dim. p · - :,.. t - d~ P · · .. ~ ~ ~ --= • 1\ ...~ · ., ~- . 1- . -- ...... - - 4- ii .. ~ 111 II --" .. = tJ Of! -*R • 5 - . . . ~ ~ ~ .. ~ t ~ Ii: ~ .., ~ /I j,\ Ii e: .:~..I .,i Ii ~ ! t::t+=~:Jl ~ :: .. .. ., .. v-.c tJ . pp .. 1> 1\ 1'\ • ~ h --.:~ , - • ., .. -: · . . n '---'" 1,/ V ...... a I> I> tJ ::>------4 I> --- 4 1 3 2 2 1 1 1 ~ . r--:: ?---..- ~~ ~ ~ /"::0 • 'l" lJ. t:l± .. j ..e • ~ i.:~.i-., ~ ! ~:J e~:t 1= t :: r.\ , '\ ~ lJ. ~ -...-. 1\ r.\ -. -. , . Copyright 1924 by Theodore Presser Co. '--..../ -...-/ ~ :; I 2 tJ ;;::----- ~ 4 1') 5 5 41 ETUDE-DECEMBER 1951 , ETlJDE-DECEMBER 1051 1 --'£------ A Christmas Eve Reverie No. 113-40010 Pastorale CALVIN W. LAUFER*'" LAWRENCE CURRY Hammond Reg ietraico« , 'I Sw: Oboe 8' f1 a Anand te teneramente mp Prepare:' Gt. Chime Gedeckt Ped. Sw. @ 00 5761 540 Ch. Flute 8' Ch. to Ped. Sw. ® 00 4310 431 r Gt. 00 04 8800 000 JOHN H. DUDDY i~ :i' • . -J :i' Andante I've build-ed Thee of ho -Iy thoughts A mf % fl~ . I .... 1--- I~ :i' 1---7 ...' 1[":;< , r' I 11~, -. MANUALS P, I t"~~r' .. ~: , mp' r- , t r':I I I r ~~~s:w~.@!~'Ch~.~0JF~~~P~~!~~!~~~~~~~~~i~r~~~:~~~~:~~'~ r- r~ : , . . r ' i' i I r flll r------f' r- r PEDAL ~ Ped.31 ------I~ r ~ era- dIe for Thy bed,_ And close be - side a glow-ing hearth It- waits to rest Thy flU •• . I ~ .... ,-' V ,- - ~ [ i---V .. • • ~ - - I~: r .f., r ..l I l 'J , I l J;-----J u1 l 1...... --1 . - -- r ' I I I" I • f I fla =------~----~-Sw. Vox-Human;:.a_"", r r I~ "", ~ .... ~I ~' head. can _ dIe in the win - dow shines Its \~meout ,-..a- ~, ~ ~ flu - - pp . ~ ~ • SW.® I! .. .. I ~J-.-- -. . ~ . - r --~ ./ U! ---: , -:I~ I~ :---- +-- , m J ~ > -- , Gt·Em - , .:-.- . sellza Ped. tempo r Fine ,.,u r r ?'all. r: Sw.l- Vox Humana + Gedeckt 8' E "", far,;------__ And thatThoumay'stbe born to me.Loveholdsthedoor- a - jar. - ~ ---- II [ --.-,'all ------J,e.tr r' 1.....----.. , " '1" M 11!f+ Gemshorn 8' ~I I. I f fla r -Gedecktl@ + 5t rings Sw. Sw. - Strings Ch.Fl.8' ' :: +Oboe ~ r r ~ i ~ :i' • :i ~' Ac-cept the hos- pice of my heart, Thou pre-ciollsBabedi - vine;_ For I ' flu J. ..D S. al Fill ------p I~ .. I~ .. .. • rrallm,n ~'ICtLI ~tempo vt ~: - r --= - ' 1 , 1 r-M ~-1> 1.--1 ""1..- -: - , tf-I~ L\-- , , , , , . I I. l' 1 r' I %B y permISSIon.J. r' 4~OPYright 1951 by Theodore Presser Co. Copyright 1941 by Oliver Ditson Company 'International Copyright Secured International COPyrigh~ ETUDE-DECE1>fBER 1951 43 ETUDE-DECEMBER J9SJ --cu:------ cresc I\ll senza rit. I I v , /\11 ..2 ... Y 3 .~ .2 r , • - . f. . - . -- all I am, or have, or hold, For- _ ev , er,Lord, is For all I am, or have, or hold,For_ , ~ Thine,_------, ~ <;» fill ' ' - 1':\ =::=P1ri "7 -:. ~ ----- rill II ==- 111 ------• II'~. - I-.f'. 1:::'-:: -:I_ - .. -- - . ~ ~ ____ - _ cresco -If"i i " ,.. 1'~ t U 0" u=.... -jl'* I~"·#~q~~q~ ' .. II senza rit. .. ~-:--.1 J .oJ ,..-..-, nif - I _.- 1"\ .... 1"""1 ~Ih • ~.h ,n r-I I J. .6. • I • -...... e semp ref f------r 7 v .... I I r L..J If If .'~ .... /'Ill r. • - I I-r r~" - . , r ----- 1111 2 V ~ , i'"""l- . , f. . fill ev - er, Lord, is Thine. ~' '- - .. "7 -- - , , , ,.-.. " ,1 "':r-- ll. :#tf f. , lI' . ,. r ' - ~ r' - ~. - - .. IDr .. ~ - e I 'f· - rr« 1---..... , j~, , ..I~, , , ,,"' '~TT • . Ir ---- It I~~ ~ rrC2f - pp . q.. '11 1~ t. I~W'r'r p #~~'l·/t. ~rl) C!r r 1":\ ...... , ~ I r ' . r' r ' r ... I. I --- r.;1, 1""'1 ------. , No. 134-41006·~ John Riley ..... i-J ...... -,: - , WENDELL OrEY u- r-~' f- - 4= In qu'et1 ,Ie'ISurel te [A] f fI II Y mpo rJ ,56 v • VIOLIN • - No.124-30628 If. , '-- March of the Wee Folk 1\" "!f-.v Grade 2. - - JESSIE L. GAYNOR . L'19,htly- in march tempo A-Yr. by B'YIU;e Carleton f. 1'\ , I ;:,. PIANO '~t' ~'1~ :&_ .:....~t p ilU ·~U'lI.. VIOLIN , .,ifF i'".-'I, #EiFF, >- l: ------... - ...... ~EYr1~ It "'P' .!!~ ~ ·II~ ~ mf - rI ,., , 2ndVIOLlN .., t f_- No. 110·27970 Wagon Trails meno mosso II 5 5 3 5~t 5 3 5 t 5~ V. Grade 2. RALPH MILLIGAN • • I' "'2 5 . . Moderato ( t . ,72) t ...... -. t r , I "a t 2 •1 •t 2 If ------rit. sadly -= = - , f b,lt-\~·H b.,H. - .k.~ Ik";;' J.. .. ~ l r.. ., I~ , r# r# r. , ..,,- ..,,- 1_1; q"" • '= , p '0'" Li 1/1'0'" , ~ , --- t • 3 • Ii 1 5 t 2 • • 5 1 • 1 • • • I , j I , I I I I I , Tempo I . 5 ,., 3 2 3 t t • 5 5 1 .2 1 5 t 5 t 5 , 5 3 '. • • • s 5 , II .. 1 2 <, 5~ 5~ ...---- '- ~ --...J '- r , I T - 1'- ~ ~~~ ~u____ rit. : "p-=-- "p perdendosi I~ II I I = 1-" -& ~-6 U =- sadly pp Lc:; rit. :::::=:::: fr' I k .. , ' (# 1# Ik .. -~ ..---::.. I" r ..- e~ - , .. , , · • 3 t 3 4. 3 3 t 5 t 5 1 2 3 • I • t I • • I I , I r • Hoot-Hoot 5 " a ~temp~ 3 5 • 1 »-> t No.110-27248 Chipmunks . Grade 1. '~ LOUISE E. STAIRS '0' I I Moderato (r,32) ~. Li ! /1'0'----. ~?; q.. - P .-: ,., ~ , • , - --- . I , , -, I I I I '- I I , Chip-munks play- ing in the yard, Run-ning to and fro, Up the tree and down a- gain, •...--3, , mp ... ..- # ~ ~ 1 • fl"~ • t ~ , .. • .~ , -- ~ 5 -& IjS -& ~-6 '0'_ _'l: • rit. u_ I_'l: , 5 , " • I . , I I I , I I I I r , I , I Copyright 1948 by Theodore Presser Co. I I rt British Copyright Secured Watch them swift -,ly go. Now they catch a big, fat mit, Fall- ing from the tree, mf No. 130-40554 .. - .. !'- .. • Grade 2./ The Wise Young Owl ·• 1 5 5 Allegretto BERNARD WAGNESS' ,., 5 3 5 ______5 3 5 3 121 , 3 5 t 3~t 2 5 ,., • 1 • ~ . • tJ '. . . • I p -- 0.....1....1 rt tea. Chip-m~nks play. ing in the yard, "!f '0/ = Hold it In! th'elr lit - tie paws, That's the chlp-munks' "if \R.H. ==- , /C. I• .; h.. ~ 1'. I $i, lf~· ~. {f! g:: mp ..... ,It- ~ • I. ... ft .. • , ,• t 5 5 1 2 3 5 t 3 t 3 • t .f' "! 1 3 5 , , • • I • I 5 t • ,., ~2, t 2 a tempo 3 • 4....2 '1 t • 3 • ., 1_ 5 • 3 • 3 • 2~ ,., .1 ~ . . -.. 2 1 3 ,' ,--- , , ~ ~ t I : "if-=:: ...... '-----=7 I pp sadlv - "-I t and down a- gain, Watch them swift-ly go. ~= - rit. C1'esc. Run-ning to and fro, Up the tree , ~~, j- b~' la, b~' b ,It-, --- = !' ";', I~n, .". # ..- , 119-' I ,Il' l< ...... , .. .. .' · 1 • 3 1 3 • I 2 3 5 3 Copyright 1933 by Oliver D itson Company • 46 International Copyright Secured Copyright 1042 by Theodore Presser Co. British Copyright Secured ETUDE-DECEMBER19~ ETUDE-DECEMBER 1951 47 ------" WHAT DO CHRISTMAS CAROLS MEAN TO YOU? (Continued from Page 10) No. 110-16192 Around The Christmas Tree human emotions associated with the the children came too, adding their "I carried His mother to Bethle- licking herself very clean, crept Grade 2'/2. down into the manger and cuddling March birth of the Messiah. Away in a happy voices to the rising chorus of hem town. Manger, frequently called Luther's joyful praise (0 Come, Little Chil- ·'1," said the donkey, shaggy and up close to the Baby, she sang, Cradle Hymn, Lullay, Thou Little dren). Even the .birds flew to Beth- brown. Tempo di Marcia (J, 108) MARIE CROSBY, Op. 58, NO.2 Tiny Child and Lully, Lully, Lu are lehem to sing their joy at the birth "Sleep, sleep, Baby sleep among the finest and best loved of of the new-born King (Carol of the And so the verses continue until Baby Jesus, go to sleep. 5 Stroke my soft and clean warm 3/"l , •• ~l »> , -:::--.... ~ these . Birds) . the cow, sheep, oxen, and doves tell " 10 ' --- . None of the events connected with But before the birds and the chilo what their gifts were . Iur . -- . Another manger-carol similar to While I lie so still and purr. . . . the first Christmas have had a dren, or the shepherds and the neigh- bors, or even the Wise Men and the The Friendly Beasts in its child-like Sleep, sleep, Baby sleep. t. ... I ... I ... I stronger appeal to the imagination f f than the divine apparition of the Angels came to the manger, others sweetness is one that is founded on Baby Jesus, go to sleep." - Angels. In words and music that are were there before them. Quiet oxen folk legend about a kitten who lived J J I l- I • ~ I . • ~l • I • • sometimes highly sophisticated, and in their stalls, a donkey shaggy and in the stable. This kitten, so the The kindness of human beings and . - - I story goes, was so busy clearing the the gentle companionship of animals l rl' often, of great simplicity, the story brown, a few folded sheep, the doves of the Angels who flew in midnight in the rafters, a cow, and a kitten stable of mice that she did not get as well .as the mystery of that silent 2 , radiance over the fields of Bethle- or two had made a place for the lit- cleaned up in time to join the glad and Holy Night are expressed in 5• .. . 2 • 5 5 _. hem, singing the first carol ever tle family who could find no room throng surrounding the Holy Child. carols of such imagination and in- So she hid in the rafters until the sight that none of the wonder and " .u.- --' ~ ...... heard by mortal ears, has been told in the inn. . and retold (Angels O'er the Field). This part of the Christmas Story star faded, until all the people had reverence is lost. There is embodied ------. . - The joyous response of simple, un- could not be told mare engagingly gone, and the angels had flown away in them an intuitive understanding . of the value both of simple goodness , I pretentious people to this divine than in the language of the Friendly (The Kitten's Christmas Song). · I - . event is expressed in naive but lovely Beasts themselves: All was quiet, but the Baby on and of the dignity of sincerity. p carols. Some tell how the neighbors his bed of hay was wide awake. These are the qualities that give J J I- h~ ~I- ~ ~ Mary sang; familiar carols their staying power. .. .. l- . ... • • .. called out the glad tidings to the Jesus our brother, kind and good, I We return to t.hem again and again · I - - - good people of the villages urging \Vas humbly born in a stable rude; l them to come to the manger. The friendly beasts around Him "Between gentle ox and donkey for the truth and beauty they reveal. stood, grey, Christmas is a song in the heart. Bring your torches, hurry and run! Jesus our brother, kind and good. Sleep, sleep on thy bed of hay" Singing once more that "glorious ,.., .u. song of old" in its infinite variations ~ ~ Christ is born, and Mary's calling. . ~ B~autiful is the Mother! "I," said the donkey, shaggy and and other cradle songs, but the is an affirmation of the imperishable . .. . vitality of a transfiguring spiritual ------. Beautiful is the Ch lld ! brown, bright eyes of her little Son never . "I carried His mother up hill and closed. ideal. t. ... I 1 And to see this Wondrous Child, down; Finally, the kitten who had been (Coiuioued on Page 63) .- .. .- • • • .. .. · - 1 1=l=1=l El • E EI "10--" . •• ----.... _--...... ~ -- -. · - . I · I -- .. •• •• . ... J , I- ah1L.. i'l1- · l - bl I I - ...IR- ~ "--6 >- Fine CHRISTMAS CAROL CONSERVATORY.TRAINED MUSICIANS COMMAND BETTER INCOMES •• 5 3 3 4 , 5 i 2• 5 5 3 5 I , 3 , 5 , The highest type of Musical Training by Extension Methods, as developed and perfected by the Univer_ This is Your Opportunity-Mail Coupon Today! • , 5, I " • • sity Extension Conservatory, is not an experiment, not a make-shift, but has proven its value and 1------_.------. soundness in the careers of thousands of musicians and teachers who owe their success entirely to the l UNIVERSITY EXTENSION CONSERVATORY. Dept. A·738 personalized and painstaking coaching of this great Conservatory. Partial listing of courses below: I 28 East Jackson Blvd., Chicago 4, Illinois t. -6 -6 · · lI' • ~ · • *--..-/- C; C c. · I Please send me catalog, sample lessons and full informa· . • c;. HARMONY:-WriHen by two of the finest CHORAL CONDUCTING:-Brand new course ~ tion regarding course I have marked with an X below. 0 thou joy - ous day, 0 thou ho - Iy day, theorists in the country. Simple, yet thorough Glad- some Christ-mas is here ~r includes all the modern techniques-even radio : 0 Piano, Teacher's Normal Course 0 Voice f 'I a - gain! broadcasting. in every way. From basic fundamentals right . t9" t9" ,.., through to Counterpoint and Orchestration • lOPiano, Student's Course 0 Choral Conducting : 0 Public School Mus.-Beginner's 0 Clarinet • NORMAL PIANO:-Especially designed for " · · teachers or future teachers. Treats and solves : 0 Public School Mus.-Supervisor's 0 Dance Band Arranging I. · every problem of the progressive teacher. HISTORY:-A modern course including all types ~ 0 Advanced Composition 0 Violin 4 I 2 , of music from ancient origins to 20th Century. I 0 Ear Training & Sight Singing 0 Guitar r •5 , • 5 · Interesting-with emphasis on the analysis of 3 ARRANGING:-AII the tricks of modern arrang~ ~ 0 History and Analysis of Music 0 Mandolin 3 3 • • ing drawn from the experiences of the biggest music-not a dull collection of fads. , ,• 1 , o Harmony 0 Saxophone "name" arrangers in the country. " 3 J,/ C Cornet-Trumpet 0 Double Counterpoint ~ o Professional Cornet-Trumpet 0 Banjo . EAR TRAINING:-Designed to give you the PUBLIC SCHOOL MUSIC:-Fits you for actual . . work in the school room. Our model lessons de· t. ..:.., . ability to read at sight, to transpose and to Name...... Age . Go I~"":"'·;~=t -..../ velop originality and give you an excellent guide t~~l • . .... -11 transcribe. Invaluable training for vocal or in- Street No...... "6- I" strumental work. for teaching others. . Christ nowis Iiv - mg, His mer-cy giv - ing,Shout your joy to - ~tr,lt City...... State . . all th1eworld, ye Christ- Ian men. Are you teaching now? If so, how many pupils have . UNIVERSITY EXTENSION CONSERVATORY you? ... , .Do you hold a Teacher's Certificate? . Have you studied Harmony? Would you like to earn =J . 28 EAST JACKSON BLVD. (DEPT. A-738l CHICAGO 4. ILL . I the Degree of Bachelor of Music? . I Co py ri ght 1919 by Theodore Presser Co. DC. 48 British Copyright Secured ETUDE-DECEMBER 1951 49 ••••••••••••••••••• ...:.E~T~UDE-DECEMBER 1951 t b p PLAY LESSONS FOR THE PRE.SCHOOL AGE (Continued from Page 14) Awkward Aria from Century ore always good news. season ••• new music! Each year the marked difference in tonality children enjoy listening. True, they by Jim Sweeney This season we have the good fortune for 51 years music teachers have between the major and minor might do not present the music values of- to be able to include a useful group \ found new and interesting material be called to the attention of the fered by the classics, but they are of Organ Solos as well as a group of EDRAGGLED and utterly fell to wielding the vocal cudgel It was .an awkward situation created aw~iting them at their Century Deal- pupil. "Do you like this? l' asked within the comprehension of the increasingly aware of the fact that charming Easy Duets. Be sure to see with all the guile of ancient Orien- er. This year we should like especially when the thirds are struck will cause child and, it is logical to think, B whipped after several days of a Korean custom calls for individ- of song. Dickey grew nervous. "You them at your Century Dealer-soon. tal know-how. I was being called a to call your attention to the follow- a child to listen with attention and would give him greater enjoyment. Aeeing from the oncoming Chinese uals to rotate the task of singing a gotta sing next," he warned me, "if ing First and Second Grade Piano will teach him to discriminate be- We would not think of reading Reds, two of us raced our jeep into solo while other guests ply their we offend these characters they're bum by people with thousands of ORGAN SOLOS material Sing Buk Chund, a tiny village deep chopsticks. Being "tone deaf" and liable to explode all over us." years practice in the art. A firing tween what he can get and what he Shakespeare or Dickens in the (Hammond Organ Registration can use. The consonant thirds originals to little people in order to Included) within what had once been com- unable to carry a melody, I sought The ancient by my side was at it squad looked awfully close. PIANO SOLOS. GRADE 1 should be held up to him as a stand- develop a liking for good literature, munist dominated territory. The to block the inevitable by saying to again. "I think as follows," he said, Dickey began to explain things in ard of what sounds "nice" as these so why go over their heads in an Arranged by settlement consisted of a freight yard Dickey, who spoke fluent Japanese, "you should to us make song." Japanese. I could' make out some of 4025 Bagpipe Capers. C.I-2, Dvormc Kllnneth Walton. A.A.G.O" A,R.C.O. the words like "mimi" for ear and 4019 Barllback Rider. The. C.. . Dvorlne are the ones most definitely suited attempt to teach a love of good 3927 Arioso. G...... J. S. 119ch supervised by the only whites within "Warn them that I can't sing; tell Dickey gave me a glare. I could 41117 Dreamland. C. . Dvorlne 41105 Consolation. E ..••.....••.. Mendelssohu "uta" for song and his use of Eng- to the needs of the present. Let him music? Appreciation comes through 3931 Carnation March, Le Prophet, Eb miles, a Major Dickey and two en- them anything that will forestall see international relations going to 41124 Hop Scotch, C_I_2. . .Wedherg now try to play notes with both Mel'rrbeer my having to sing." zero minus in a hurry, and our necks lish "tone deaf." The ancient Korean 40211 La Conga. G. . Dvoetnc understanding and it is necessary to 3930 Elellie. Em · MaBsenrt listed men of the U.S. Army. *4021 My Bunny. F Hopkins hands which will sound well together. keep within certain limits to secure 3932 Evening Star. 1'arlllhauler, G Wagner was a ticklish place for out- But hot sake had made Dickey ex- along with them, just because I beside me seemed suddenly to under- 41106 March of the Priests. Mha/ill. F It 41122 Puzzle Piece No C Wedberg He has already learned to group the the proper reaction hom immature Mendclnohn pansive. He tush-tushed me and gave didn't want to sing. "Okay," I stand. He rattled off a string of *41116 Scissors Man. The, C. Dl"orlne 41111 Meditation from TlIaj~, O. Mauenct of.towners to be, especially since 4023 Seesaw UII-Seesaw Down. C .... Wedberg first, third, and fifth, and has had minds. One can always lead higher. 41108 Old Cathedral, The. G Honktna assurance that all I had to do was said, "here goes." Korean and a hearty round of ap- 3926 Palms. The. Ab. . Ii'aure night was closing in and darkness 41134 wnsen Clog-Jelly Jig, 0-F_I·2 I drill in depressing these and in The hazy ideas and confusion which 41109 Slavonic Dance. No.2. Em ..•.... Drorak would certainly lend daring to hid- give with a bit of Americana in its Blithely I started out with Home plause followed. It seemed to have nrr. Guenther 3929 Star of the East, Eb Kennedr allowing the second and fourth to result from attempting that which 40117 'r ambcur in, Em ltameau den enemy sympathizers. simplest form. "But I'm tone deaf," On The Range, unintentionally real sincerity and admiration about 4010 Waltzes from the Fletlermalll, F Strauss PIANO SOLOS· GRADE 2 remain up. Call these two tones not is too difficult and which eventually Dickey was equal to the situation; I pleaded, "I can't carry a tune." skidded into the melody of Onward itself and continued unabated for sounded the "in-between" notes and cause one to go back to the proper several minutes. I began to feel EASY DUETS • 1 PIANO-4 HANDS to counteract any tendency of bit- Dickey waved me silent with a flour- Christian Soldiers and was in an un- , 4027 Bucking Bronco. D...... Krevitt gradually lead the child in playing level are discouraging, and do not terness he spread word amongst the ish of his hand. controlled spin toward Aiter The better. Maybe I hadn't done too bad 41135 Captain Jinks, A. arr. Guenther his melodies to recognize them and offer the satisfaction that a com- 4043 Bugles and Drums. G·I Dretlne 41132 Invention. C .Foldes town leaders that I was a big Ma- Politely the venerable old father Ball Was Over, when Dickey burst at that. 41144 Conllratulatlon Minue!. F-2 40311 Just SUIIPllse, D. . Cadzow to treat them as passing notes when Iortable cachievement within proper ueeueeen -Guenther hoff from America and should .be of the village turned to me and re- .imo song. Gratefully I latched onto The older scholar by my side 4036 Kate Kearney Waltz. C an. Guenther setting his bass. limits would bring. 41142 Flagship. The. C·I. " .. Drorlne turned and said in great earnestness, 41131 Lullaby in the Dark Wind, C Cadzow 41141 Hay5lled. C-I-2 .... J)\·orlne accorded great honors. In no time quested, in very distorted English, his tune and let him ease me back 41129 March for New Shoes. Eb Cadzow The work presented so far may Never try to force any of this at all a large banquet had been that I please sing. Everyone clapped. to earth. "We think as follows: you have 4013 Meditation, T/rais, Simp.• C·2·3 take several months to accomplish training on a child, but encourage PIANO SOLOS • GRADES 3 I. 5 arranged in my honor. I shook my head "no" and pointed A wall of inscrutable Oriental performed by us greatly; never .be- nrassenet-oranam and should not under any circum- him by praising his efforts and by fore have we heard anyone making 41112 Narcissus, Simplified, G-2·3 Sitting crosslegged in a house hid- to my throat. Someone else eased faces sat staring in my direction. stances be hurried. Enjoyment for pretending to compete with him in 41115 Congratulation Minuet, 0-3 Ncvtn-Ronktns UeelhoTen-G uenther den away in the center of this very the situation by singing. Then again I could feel the pressure going up; song who is stone deaf." 4014 Mareh, Lore 01 Three Orunotr.·4 "41126 On Top 01 Old Smoky, C ... an. Lambert the child is of greater importance each new step presented. It is more my I could have crawled under the 41128 Sambaline. D.. . .Krevltt Prokonerr-Gucnlller recent enemy stronghold, completely they looked en masse toward my ever sweat started to pop out on brow. than the amount of ground covered or less an experiment, depending for 4038 Mazurka In F. OP. 68. No.3, -3.. Cllll!lln 4033 Witchcraft, Am .....••...... Stetner 41139 Moment Musical. Op. 94. No.2. Ab:4 surrounded by people who could well reddening face and began to clap. I heartily wished that I'd ignored table, only it was scarcely six inches or the length of time it takes to its success as much on the patience flrhullert THE END ·The pieces have words for singing, if 4040 Moment Musical. OP. 94, No.6. A,.4 be guerrillas in disguise, I became I was still stubborn. Someone else protocol and carried my .45 along. off the floor. desired. secure results. The melodies have and perseverance of the teacher as SChubert 41116 Sabre Dance. GOJ/ne Bullet. ·3·4 been kept within the first five de- on the efforts of the child. The Khatchatourlan Cenlury Edilion is 20c a copy! grees of the scale. Now for further main objectives are to secure a mini- 41137 Sonata in E M:lJor. ·3 Scarlalll Our graded.and-~Iassified and our com- Cenlury E'dilion is 20c a copyl plete catalog listing over 4000 numbers is free at your dealer or on request from us. Century catologs are free on request ot THIS CHOIR GOES BIG TIME Once at an organ concert, Beethoven played a series of con- your dealer or from us. CENTURY MUSIC PUBLI~HING CO. secutive fifths and was bitterly handled by the cl'itics, who said: CENTURY MUSIC PUBLISHING CO. (Continued from Page 21) 47 West 63rd St, New York 23, N. Y, "Don't you know that they are not permitted?" 41 West 63rd St. New York 23, N. Y. "Well," replied Beethoven, with a Jovian smile, "1 per-rnft them l" that he should take up the teaching Music, however, he does not set him- to have a duplicate morning sen- people adjacent to the ocean front • •••••••• of music. From 1934 to 1942, he was self apart from his fellows, although, ice to accommodate the crowds. To- north of Los Angeles. Here, they • Famous far Auuracy I instructor in public schools. In 1942, to be sure, he exercises the position day, its 6000 members make it the rehearse; play baseball and other adventure! Without trying tounder- mum degree of finger facility, some he joined the staff of the College of leadership due to his ability. largest Presbyterian church in the games. In considering prospective take any new step, little exercises creative expression, and a certain of Music at the University of His down-to-earthness may be illus· United States. Its more than 4000 members for the choirs, Dr. Hirt '. -. • . litne pianosin30days may be worked out in the group of discrimination in selecting a simple Southern California to assume direc- trated by his good. natured account in Sunday school necessitated the insists that they must excell in three No mUSIcal knowledge needed. PiMlo tuners in great notes lying between sol and do, using accompaniment which shall not be of the choir's return journey follow· buying of a haH a dozen residences qualities-spiritual, mu~ical and demand. Low cost tramlng by eKpects. Revolutionary :!~ torship of the Department of Choral • Maeh:el System r;;:;i~~~~r61~~~1~:.:'lcO~';,jsg!~:"ot:rpfa\,:'enrO lio~:~de%e with these the chord formed on the discordant. Should the youngster Organizations, which today embraces ing its debut in San Francisco. within the vicinity and the renting social Instruction m.anuals. i!'cludlnlf spinet tuniol';. Fuli tralnml'; In plano repa,r-ilo t t ------qp------ ~ffi{~~Mp""P~~~~~,~, / , " ,. . """'---~.' --"" .. """''''' ~ WilLiam- ~and k, 30 E. Adams St.~Chicago 3. Ill. uPrgafl qJluestiOflS Specialists in Violins. Bows, Repairs, etc. INSPIRING ORGAN SELECTIONS ·~iolifl uestions EST;\BLISHED IN 1874. warru FOil. CATALOG /ftl publishers of "VIOLINS and VIOLINISTS" $2.50 per year-Specimen Capy 35(. for Christmas JOHN MARKERT oil CO. Answered by FREDERICK PHILLIPS 141 WEST 15TH ST., NEW YORK II. N. Y. By HAROLD BERKLEY VIOLINS OLD &; NEW Some are new-all are sure to bring pleasure Expert Repairing. Send for Catalog to your congregation or concert audience! L'"'\: Drama_Opera_Dance IVleJ\l! Musical Comedy 1l\e ~ .. ~ ••'" Adult training-Stage aml tBELLS OF ABERDOVEY David H. Williams • (l) 1 would like to know the books may be had from the Presser Television. New York appearan~es arreeeeu. 113-40006 .50 technique of being an organist-choir Co. They will also be glad to send Approved for Vets. Annex for Ch!ldren. Write A "HAUNTING" MELODY with the natural tone of the violin 1':. Alviene. 1780 'H·way. N. Y. CIty 19. tCARILLON director. I have had experience do- you on approval a couple of collec. but it also interferes with the left- Ralph E. Marryatt tions of easy numbers for Hammond 133-41000 .60 ing both, and at present play the G. H., Oregon. Thank you for hand technique. It is a bad habit. PIANO BREAKS orean which may be used in Con. Our Monthly Break Bulletin enn hles reu organ in church. Recently I have your most interesting letter. Con- to bufld up and gramourtee the songs Oil CHANSON JOYEUSE G. F. Broadhead j u~ction with the two books men- the Hit Parade with clever breaks, novel been asked to take charge of the siderins how few lessons you have figurea and t.rlcky hoogie ertecte. 133--41001 .50 choir. and I do not know how to tioned. VIOLINS BY JOHN MARSHALL Send 20 cents tor latest COpy or $2 tor a had, yo"uhave done exceedin~ly well year. lUentlon it teacher. combine the two. Since hymn tunes are already writ. CHRISTMAS IDYLL Marion A. Dunn with your violin. The material you C. A. B., Pennsylvania. There THE AXEL CHRISTENSEN METHOD (2) I have a piano pupil who is ten within a comparatively limited 133--40025 .50 use with your pupils is all good was an English maker named John Studio E, P.O. Box 427, Ojai, Calif. "double jointed"; she cannot keep compass, it would be unnecessary to and it is not surprising that you Marshall who worked between 1750 tMEDITATION A SAINTE CLOTILDE Philip James the first joint oi her fingers from alter the notes in the tipper regis. 133--40000 .60 get satisfactory results. Of. your and 1770. Possibly he was the maker breaking in. What can be done about ters. When the bass notes are played four violins, the Pfretschner rs, of of your violin. Marshall's violins tPASTORALE John H. Duddy this? D. E. S., Kentucky by the feet. the tenor and alia parts course, the best, and it is well worth are typical of the English work of 113-400[0 .50 could he played on one manual. and t.heappraisal given you. Your F. ~. that period-rather highly arched, (l) There is an excellent little the soprano or melody played on tPRELUDE AND CHRISTMAS PASTORAL Glass violin must be one of his following the Stainer model. If your book by the English organist and a solo stop on another manual with Manney-Biggs better efforts; for as a rule instru- violin is a John Marshall, and i5 choirmaster, Marmaduke P. Conway, very good effect. though it is nOI 133--40022 .50 ments made by members of the in good condition, it is probably entitled "Playing a Church Organ," necessary 10 follow this plan too tHammond Registration Glass family are not very well liked. worth between $150 and $250. He which contains a chapter especially rigidly. Frequently it is effe live 10 The workmanship is generally not was not a prolific maker, and very dealing with the dual office of organ- play all (our parts on the same Send for the Presser Organ Catalog Dept. E-12-51 goodand the tone is usually "aleee''-v. ist and director, and we believe few of his violins have appeared manual. and simply double the bass I do not know how to account for this will help you quite a bit. You in this country. notes on the peda Is. Do a 101 of that incessant "humming" of a cer- aloe probably acquainted with Wo- experiment ing 10 see how the best THEODORE PRESSER CO., Bryn Mawr. Pennsylvania tain melody in your head. The phe- dell's "Choir and Chorus Conduct- and most effective results are ob- NO VALUE IN STRAO LABEL nomenon occurs to every musician ing" which goes very fully into all tnlned. aided by the two hooks we at one time or another, but usually ~~~~~~~~~~~ phases of choral directing, and be- have mentioned. C. A. H., Ohio. In printing his t ween the two books we are sure you it goes away after a few days. Per- labels, Stradivarius often used a will find enough information and haps it is a tune that you were V that looks something like a U. • fT/ e have recently installed a forced to listen to often in your advice to carryon this work success- Church Model Hammond organ, aJld but such a label inside a violin childhood, which you later forgot, fully. Both are obtainable from the grcatly enjoy the results. Ajter read- is no evidence' that the violin is Presser Co. and which now returns to haunt you. genuine-thousands of copyists used ing a recent article by Dr. Me. There could be several explanations. (2) The writer conferred with a Curdy, I am. wondering ij I have the same sort of label. There are I hope you soon get rid of the local piano teacher with regard to done the best possible in selecting only about six hundred genuine nuisance. this problem, and the suggested help the stop that is easiest to sing with. Strads in the world, and probably SHE SHALL HAVE MUSIC WHEREVER SHE GOES... was a liberal use of the Hanan close to a million copies of varying Our pre-set A 011 the Creut is it CHIN·REST A NECESSITY Studies. These are really not very little too wooden. so I made one quality. It is impossible to estimate difficult, and for your purposes it of 20,8836,224. Does this seem good the value of a violin bearing a Strad H. R., Minnesota. The matter of The1952 is not necessary to pay too much you? course I play the bass label without first examining it per- ] '0 OJ the chin-rest has been a subject ~·tI~1o . attention to speed. The studies are in a pedal 5·1. and play ollly the sonally. ~~. for argument among violinists for Classic Masters of a nature calling almost entirely tenor with left hand. Any suggestions a very long time, and the end is for curved fingers, and are so de. will be welcome. Mrs. C., Texas FEW REAL STAINERS signed as t.o be easily memorized. not yet. No one person can say what Calendar m_ This will enable the pupil to watch would he a good chin-rest for an- We feel Ihal you have set up a C. L. C., California. I'm sorry. but other person. Each player must make her hands and guard against a very good choice. although the writer neither I nor anyone else can tell possible tendency to "flatten" out trial for himself of perhaps many IMI personally would change the last you whether your violin. is a g~n. the fingers position, which in turn different models before he finds one "4" to "2". making it as follows: uine Stainer without seeing the m- FOR STUDIO, SCHOOL, would lead to the "breaking in." which suits him and enables him to 20-8836-222. This would reduce just struroent. The chances are thousands play freely. I cannot go along with HOME AND PLACE a little the penelration of the up. to one a aainst it being genuine, for • Please advise material" for the you in thinking it is better to use per harmonjc. but if you prefer the there ar: very few real Stainers in OF BUSINESS beginner at the Hammond Organ, for no chin-rest. If one discards the extra sharpness in tone we would he existence, but there are scores of one who will have to learn without chin-rest., one's jaw and chin must willing to go along. The writer thousands of copies of varying de- a teacher, and who plays 2nd to 3rd press down on what ought to be would also prefer 6-1 in the pedal. grees of merit. You should take the Tamrnis Keefe designs grade piano music. 111aterial de_ vibrating surface of the violin top, but here again it is a maHer foJ' violin to a reputable dealer and sired is for church use exclusively. and almost certainly one's shouldu four instrumental themes individual preference. The very fact have it appraised. In playing hymns at the Ham- hunches up and pushes against the in a rhapsody of Ihat you are experjmenting for lone mond are all the notes played as back of the violin. All of this tends qualit.ies and "blendings is the best colors.· Pure linen ... given for piano music (except the to check the vibrations of the in- VALUE OF A KLOTZ VIOLIN Beautifully printed in two colors with clear, legible possible indication that YOll will hand-rolled. of course. $1. bass notes played with the feet), strument and therefore to affect the make a good job of it. You have text. A page for each month with a memorable por~ or are the higher notes lowered to freedom of the tone. For my part, Mrs. W. H. B., Alabama. A gen- Exclusive with evidently a sound sense of tone trait of a master composer, an illustration of his birth~ those in the middle C area? I think that every violinist should uine Sebastian Klotz violin, in first- LORD & TAYLOR in quality and balance. and this will -R. S., Wisconsin use a chin·rest that clamps over the class condition, could be worth about place and an excerpt from one of his best known com~ New York, and at fine assure yOll of proper guidance in lower block of the instrument-there $750. But I should remind you that positions! experimenthlg with the many pos· stores everywhere. For basic siudies use the Stainer_ there are thousands of violins lab- sibilities open t.o you. When in are many models-and that seven- Price $.20 each. Hallett Hammond Organ Method, teen out of twenty need a scienti- eled Sebastian Klotz that are merely doubt you can always fall back on $2.00 per dozen including envelope. and for suggestions on registration fically designed shoulder rest that inferior copies. You should have the *blue gray gold red brown green the pre-set keys, which are made up use "Hammond Organ Registratjon" does not touch the back of t.he violin appraised before you put a Order now while the supply lasts. Dept. EC·12-51 1. H. KIMBALL, INC. 9 East 38th Street. New York 16, N. Y. in accordance with scientific prin. issued by Schirmer. Both of these ciples. violin. Hunching up the shoulder price on it; unless, that is, you have THEODORE PRESSER CO.. Bryn Mawr. Pennsylvania against the violin not only interferes papers of authenticity. ·52 ETUDE-DECEMBER 195t ETUDE-DECEMBER 1951 53 t tr IT'S CHRISTMAS EVERYWHERE [ __ NO_J_UN_IO_R_ET_U_DE_C_O_NT_ES_T_TH_IS_M_O_NT_H__ ISHIRW 0 nn MUSIl: SI::DOOL Distinguished since 1895 for the training of professional BY WILBURTA MOORE CHRISTMAS EVERYWHERE musicians. Member of the National Association of Schools (Colltillued) of Music. Faculty of renowned American and European artists. Degree, diploma, and certificate courses in piano, with a stick and there is a grand "We all go to early morning "Antoinette will tell something TOM and his sister Francie had scrl1mhleto get the gifts which church service, too." said Hilde- voice, violin, or-gan, 'cello, wind instruments, Public School about French Canada." been invited to the Christmas party cometumbling out." garde, "and we ha~e good things "We close our holidays on Jan. music, composition. In the heart of cultural Chicago. Liv- at the International House and "And now, Spain," said Miss to eat and give extra food to the they were delighted to find so uary 6, the feast of the Three ing accommodations at moderate cost. Brown. animals and put a sheaf of wheat many nations represented. Miss Kings, or Wisemen, and we have "Christmas Eve in Spain is like on a pole for the birds." Brown, the music teacher there, a special cake in which a pea and a fiesta, with crowds of people in "We have heard of many inter- SPRING SEMESTER BEGINS FEBRUARY 4 opened the affair by announcing, a bean have been hidden. Whoever> the streets and booths filled with esting Christmas customs, some of Edited by Blixabeth. A. Cest "Before we begin our musical pro- finds them in their piece of cake * * toys and candy. At midnight ev- them hundreds of years old. I wish gram some of our guests from become the King and Queen of For free catalog, write Arthur Wildman, il1llsical Director. eryhorly goes to church to cele- we observed more of them in other countries will tell us some- our Twelfth Night festivities," said hrate the Christ Child's birthday America. Now, we will sins the 1014 sn MU:HIGI\N 1\VENUE • I.:HII.:I\GO ~ • IllINOIS thing about their Christmas cus- Antoinette. THE SONGS of PUERTO RICO but 110 one can enter until he has carol, oi; Come, All Ye Fai~hful, toms. England's customs are very "Germany comes next," Miss done a good deed for some one. which, of course, includes people much like America's, so following Brown announced. BY ELIZABETH SEARLE LAMB We put our shoes on the door steps from all countries. We win also the alphabet, we will open with "Well, of course we have Christ. for the Three Wisemen to fill with sing some carols from various Denmark." mas trees," said Hans, "and Kris THE Puerto Rican jibaros, or a hurricane. presents." countries and close with the lovely, Edda stood up and said, "In Krlngle brings our presents. We country people, have a wealth of In the month of May they hold "Now, our last representative is peaceful one from Germany, Silent my country, a little somebody gave a present to the whole world folk songs and it seems they arc a religious festival and sin o- the from Sweden." N£g!t,t." . ~ called J ul-Nisse lives in the attic, and that was the .carcl, Silen; singing all the time. rosario contado every evenins in and no one can see him but the Night." Their folk songs came from their little chapels in the hills~ family cat. On Christmas Eve we "A vcry, very beautiful carol it Spain-lullabies, serenades and During the month of December CALLING FOREIGN READERS 90!zdan College 01 ~usic -Indianapolis leave him a bowl of porridge and ]S," remarked Miss Brown. "We _57th year- game songs, and in all parts of and unt~l the Three King's Day early on Christmas morning we will close our program with it. Will ,ny Junior Etude reader please write and tell us something Baccalaureate degrees in music, music education, radio, drama, dance. Masters in music the New 'Varld which were set- on t.he SIxth of January, they sing and music education. Nationallv known focultv of artist·teachers. Member, National Associa- go up the stairs to see if it has Now, let's hear from Holland." living in a country not included ahout ChrisLmas celebrations and tion of Schools of Music. tled by Spain, the folk songs have Christmas carols, which, in their in the story, ufJ,'s Christmas Every- customs where you live? This is Write for catalog. Address: disappeared, and of course it has. "\Ve fill our wooden shoes with Director of Admissions, BOI E, Jordan College of Music remained less changed in Puerto lan~uage are called villancicos, or 1204 N. Delaware Street, Indianapolis 2, Indiana Then, at five A. M. we all go to carrots and hay for the horse of where" on the previous page, NOT a contest. Rico than in other places. aguinaldos. Croups of young men church to celebrate the birthday Sint Nickless and set them on the Groups often get together just often dress in fancy costumes and COSMOPOLITAN SCHOOL OF MUSIC of the Christ Child." window sills. Then we find the car- for fun to sing the Sies, or the go from house to house singing the Results of Augu8l Contest Preparatory, College, Special, and Graduate Departments. Courses leading to "Finland comes next," said Miss rots and hay have disappeared and Bachelor of Music, Bachelor of Music Education, Master of Music, and Teacher's M arianda, sometimes holding con- aguinaldos, which means ~a little (Origin:ll Vnrietions on Chopsticks) Brown. our shoes are filled with gifts! The Certificates in Music and Theotre Arts. tests where each singer invents gift." They expect to receive little Clarence Eidam William Phillips "In Finland," Armas told "we grown people do not give their Elnss A, Eloise Morris (15), Texas Class B, J3Y Chambers (Age 13), C31. new words, which must rhyme ac- gifts from those who hear them. ifornia President Member NASM Dean celebrate St. Stephen's Day o'n De- names with their gifts," Dirk told. Edwin L. Stephen-Mgr •• 306 South Wabash. Chicago 4, illinois cording to an old and complicated In ~ similar way, groups of cember 26. The children go out Mario told about Italy. "Shep- pattern called the decima. There carol SIngers, or sometimes instru- and cut pine boughs and pile them are some African influences heard, mentalists, go from house to house herds come down from the moun- CINCINNATI CONSERVATORY OF MUSIC in the pathway to the village to Dr. Luther A. Richman, Deon of Faculty too, chiefly in the plena, a topical in America on Christmas Eve and t~ins into Rome, blowing their make a carpet for the Christ song made up about some local hope to receive little gifts which pipes and singing. We also have Established 1867, Operated under auspices Cincinnati Institute of Fine Arts Child." the. manger, which we call prae- affiliated with University of Cincinnati. Complete school of music-Degrees, happening, such as a wedding or are often thrown out of windows. Diplomas, Certificates-dormitories, 10 acre campus. For Catalog address. "And now, what is the custom sepio. Some say this custom began Dept. E. T.. Highland Ave. and Oak St., C. M. Beniamin. Registrar, CINCiNNATI 19. OHIO in France?" ~n the fourth century, others say "Christmas is called Noel in It began with St. Francis of Assisi France," said Marcel. "Every in. the thirteenth century. The THE CLEVELAND INSTITUTE OF MUSIC INSTRUI\1ENT·CATEGORIES GAME house has a manger, which we call neIghbors take part in the livina' Bachelor of Music-Master of Music-Bachelor of Science in Education {B.S. in Ed. by arrangement with Kent State University I Bty Esther Walrath Lash the creche (pronounced cresh). tableaux of the manger." 0 BERYL RUBINSTEIN, MU5.D .. Director The family gathers around it "Sazuki, tell us something about Christmas Eve and sings Noels 3411 Euclid Ave., Cleveland 15. Ohio OF. THE following in· Japan. " Member of the Notional Association of SchOOls of Mvsic EACH trombone; 23. trumpet; 24. tuba; (carols). We find our presents on struments belongs either to the "Hoteisho is the name of our St. 25. tympani; 26. viola; 27. violin: New Year's Day in our shoes string family, the woodwind, the ~icholas, and he carries a pack 28. violoncello; 29. xylophone; which we set outside on Ne,: brass wind or the percussion fam- ~'ke Kris Kringle, but he has eyes AMERICAN CONSERVATORY 30. zither (Answers on Next Pa.ge) Year's Eve." ily. The player who makes the In the back of his head so he can Honorahle Menlion OF MUSIC-CHICAGO few:st mistakes in naming the always see the children!" for Chopslicks Varialions Offers courses in all branches of music and dra.ma.tlc a.rt (in alph:lhelical Ol'del·): 6ath year. Faculty of 135 arl.lst teachers famll y of each instrument is the "J ose will tell us about Mexico Letter Box Member of National Association of Schools of Music next. " Hilda Bateman. Olin B3l'nes, Abu Send for lI. free catalog-Address: John R. Ha.ttstaedt, Pres., fi8" Kimball BIde., Chicago winner. Pencils and papers may Binderman. Anna M:lrie Dresher. FloI" be used or the answers may be ~~:Vehave the manger, too," said ence Dwyer, Donald Ecker. Fmncis called, as in a spelling bee. (Some Jose (pronounced Hozay), which Send replies to Idters in care of Fried. Olivia Firshie, Paul Garris, PHILADELPHIA ROOSEVELT COLLEGE George Green, SUS:lnne Hal':llson, SCHOOL OF MUSiC classed as woodwinds are often we call the posada, or resting Juniol' Elude, Bryn Mawr, Pa., MUSICAL ACADEMY mld they will bc forwardcd 10 Pauline Hillegnss. Ivonlle LaRuse. Applied nnd Theoretical Music, Composition made of metal, yet belong to the place. Each family takes part in Nancy Lockwood, Emm:l Myers, Viola Jani Szanto. Director Musicology, and Music Education. llachelo; the w.'iters. Remcmber foreign of Music and Master of Music degrees. woodwind family). a procession, going from room to mail requircs five-ccnt. poslagc. Mitchell, Elsie Moore. June Ortman, Frannie Peters, Dianne Robb, Miriam Founded in 1870 B'Il/eUn on Req11est rOOI11, but the doors are locked. 1. b~njo; 2. bassoon; 3. bugle; • I would like to hear from music stu- Roberson, Hugh Reinhart, Doris Sigal, Chartered by the Commonwealth 430 So" Michigan A,"e.,Chicago 5. Illinois Then the last room is unlocked. Florence Sigliner, Geraldine Silcox, 4. clannet; 5. cornet; 6. cymbals; dents in the United Sl:lles. I slUdy Diplomas and Degrees 7. drum; 8. English horn; 9. fife; representing how Joseph and Mary pianobut like aU music. ELhel Seifert, Ida Mae Sorrensson, Cl\arl:ered 1878 Vivian Ward. Elfrieda Young. Complete courses in all 10. flageolet; 11. flute; 12. French were not admitted to the over· Teresa Laird (Age 13), New Zealand Departments of Musie NEW YORK COLLEGE OF MUSIC Answers 10 Instrument Puzzle Aned Kuth'. Diredor horn; 13. guitar; 14. harp; IS. crowded Inn at Bethlehem. Then I alwaysread the Junior Etude page Faculty of 50 Courses in all branches of music ]4., l~te; 16. mandolin; 17. oboe; 18. w~ have a large jar, called the andenjoyit very much. I have studied St.ring: No. I, 13, 15, 16, 26, 27, 28, leading to Certificate ond Diploma 30. Woodwind: No.2. 4.,8, 9,10,11,17, 1617 Spruce St., Philadelphia 3 pIccolo; 19. tambourine; 20. tom. pmata, filled with gifts. The chil· pianoseveralyears and hope to take Pennypacker 5-5053 Catalogue on request· 18. Brasswind: No.3. 5, 12. 22, 23, 24. dren, blindfolded, try to break it 'cello lessons.too. Approved for Veferans' Training 114 East as Street New York 28, N. Y. tom (or gong); 21. triangle; 22.' Percussion; No.6, 7, 19.20,21,25,29. (Continued on Next Page) Harriet Albright (Age 21). Iowa 54 ETUDE-DECEMBER 1951 55 ••••••••••••••••• E~T~U~D=E_DECEMBER 1951_,,;>__ 1 p PLANNING THE SUCCESSFUL WHAT I'VE LEARNED ORGAN RECITAL SCHOOLS - COLLEGES �m!Emlf IN JUDGING COMPETITIONS (Continued from Page 24) (Continued from Page 15) DeDartmeot of MUSic LEARN ANOTHER KNOX Qalesburr. Illinois andlor his contemporaries; c-Mod- should always be students rselves, Thomas W. wuneea. Chairman Ii Catalo&ue sent UIlOO request, LANGUAGE by • one who plays, with complete in- contests with musical competitions. COLLEGE ern French composers; d-Interest- and we should be willing to make tegrity, like nobody but himself. In the sports world, I am told, de- ina American composers of what. sacrifices in order to educate our LlNGUAPHONE ... CONSERVATORY 1 0 The judge makes full allowance cisions are made almost 65·35 in OF MUSiC ever period. hearers. World's-Standard CONVERSATIONAL METHOD SHENANDOAH L. E. Hitl. !'rn. t FRENCH Are f nter est.lng caner, tra"e!. cut- for nervousness, which is more likely favor of sheer technique. If a skater Courses leading to the B. Mus. and B. Mus. 5. The program should include a 'Ve should always remember, how-' SPAN ISH ~)~~~:ls~Pr.~~h~?~;:lesan~~~~~n1al~:uUag~)to show itself in technique than in comes through successfully in figure- Ed. degrees. Member NASM. In the heart scherzo of some type. ever, that the public will not he edu- GERMAN Learn any cue of 21) languagea-c-eas- of the Shenandoah Valley, Dayton, Virginia. musical thought. There are three skating (which represents technical 6. It should contain one or more cated against its will. A program RUSSIAN ~:~;".~~:R~d~J~~#~N~a~Oa~~~it~1~ r SONATINAS -29 '1'1O:->,\r.:lIETROD. You L1STEN_ kind of nervousness. The first is form), he's pretty sure to win even slow movements of genuine lyric guaranteed to improve his mind is languages ~'QUU1H]erstand-SOli SPEAK. World- sIx also the '~'\lle educational endorsement; a mil_ purely physical. The second grows if he does not do quite so well in BALOWIN·WALLACE beauty. just the thing to frighten the average by Asiatic:. ~~?r~r~~m~igl~1\rstr~~c~~~~a~c:~~~:of out of an over-tense desire to the free skating (which represents CONSERVATORY OF MUSIC It can be seen that this is no rigid listener away. When we educate we BEREA. OHIO (suburb 01 Cleveland) APPltOVED FOn VETERANS' TRAINING. give a good performance-to win. grace of content). Yet the best all- bed of Procrustes, but a very general must do it with subtlety. If pro- L1NGUAPHONE INSTITUTE Affiliated with a first elus I,lheral Arts The third is more excitement than around skaters are not always the College. Four and fire year courses leadIng grams are helpful to our hearers, Bach - mozal.t - Beethoven 3912 Rockefeller Plaza. N. Y. 20. N. Y. to degreea. Faculty or Artist Teachers. Sent! outline within which all sorts of for catalogue or information to: © 1'951 nervousness, and grows out of an figure champions. Dick Button, world variations are possible. The litera- that is fine; hut they must be inter- Arranged by HAROLO W. BALTZ. Dnn. Bern, Ohio enthusiasm for the music one plays. champion for the fourth consecutive ture of the organ is so vast that the esting enough to attract hearers in ------,Linguophone Institute t BERNICE FROST 3912 Rockefeller Plaza, I The third variety is good! Indeed, year, is master of content as well player should have no difficulty in the first place. New York 20, New York • NO. 8044 PRICE $1.00 send me your FREE book. I I it is the best cure for the other two as of form. His free skating is as DILLER-QUAILE assembling along these lines an I cannot see that this involves a want to learn. • language. • kinds. If you put your music-your graceful, as expressive, as his figure School of Music organ program which will make his compromise with one's artistic in- Name. .... ••. • thoughts about your music-in first work is intricate. I believe that it Normal Course with observation listeners come back and ask {or more tegr.ity. The fine artists already men- of children's ctcsses. J. FISCHER & BRO. ad<:lress. I place, you will have neither time is just this perfection of content and more of the same kind. tioned have proved that an organ I nor room to worry about yourself, Courses in M usicionship and Piano 119 West 40th Street City & State. I that makes him great. And I hope for Professionals and Amateurs. All this perhaps sounds very sim- program can be both interesting -- .J NEW YORK 18, N. Y. your performance, your fingers, and that sports contests will come to be 66 Eost 80th Street, New York 21, N. Y. ple and very obvious. Many organ- and musically valid. On the other they won't bother you. Conquering more evenly divided between form ists, however, appear to feel that hand, if an organist subjects his nervousness is another evidence of and content. they have a mission from on high hearers to the "Wedge" Fugue of the power of spirit over body. Try In musical competitions, fortu- to "educate" the public. Therefore Bach, the Schuebler Chorales and to channel physical nervousness into nately, content is valued above mere they make their programs as un- possibly a whole suite .by Messiaen, ST. LOUIS INSTITUTE of MUSIC excitement for your music, and let form. Whether on the concert stage compromising as possible. This in all at one sitting, he ,...·iII have only it come out as the expression of or in the audition room, the winner theory is an excellent aim. Education himself to thank if [he turnout is JOHN PHILIP BLAKE, Jr., President something about which you are con- is invariably the one who provides is important. We should do every- discouragingly small at his next fident. spiritual stimulus through musical- thing in our power to educate. 'Ve recital. THE END Bachelor of Music Degree in 24 Fields You can't be confident without ity and musicianship. And the judges being utterly sure of your fingers, IF Las •• I''' Master of Music Deqree. in 23 Fields can discover these qualities in selec- u, "~._ •• t.r~."'''I.I_ •••••• •• 11 yOUI' interpretation, your particular tions involving less-than dazzling fin- Il_J.,,_-.,·,1...... I.::11...... II.I., ..... -.~11.'.1 written . With Perfect means of expressing your musical ger displays. Preparatory School Courses glllorant.. flash-beat 0 $18.75 HARMONY and COUNTERPOINT thought. The average student tends Look upon a contest-audition as A tsacinallnJr etudy. Sena ror p.mohlal de-crIb- tnl:' these clear ana comnlale In..,n •• ol'lr.nlud FRANZ MANUFACTURING COMPANY espeelnlly tor aelr·lnalruetlon. Court'IY 10 Institutional Member National Association of Schools of Music to believe that musical "feeling" a test rather than a goal. Naturally, teaChera. NEW HAVEN. CONN(CTlCUT CHRISTMAS AT THE will take care of itself if only he one enters in the hope of winning. JOHN M. LEIPOLD 218 S. Highland Ave., Lo~ AnnIe. 38, CellI. 7801 Bonnomme Avenue St. Louis 5, Missouri can get his fingers to behave. Ex- But losing should not be a cause for PANAMA CANAL actly the opposite is true! It's the black discouragement. The reasons interpretation which must be care- why one loses can be studied as (Continued from Page 13) fully thought out. Once it is well constructive lessons. The candidate OBERLIN CONSERVATORY planned (and provided, of course, learns, improves himself, tries again. the tropic stars and the palm trees, as hearing the old familiar Christ- that the piece is not too difficult), Perhaps he'll win next time-or BOSTON UNIVERSITY a Christmas which is not cold nor mas music outdoors in the middle technique will follow. Technique next. At all events, he gets to know white, is not really Christmas at all. of what should be winter; taking must be there, and it must be con- himself and his ability to stand up College of Music After three or four Christmas Mu- part in the singing of the old fa- stantly practiced (both for develop- sicale presentations, the great ma- miliar Christmas carols outdoors, .OF MUSIC under the excitement and the com- All Branches of Music ment and as a discipline); but it jority come to feel that now they with enough light so that a person petition of public work. That's what and Music Education need not stand out beyond the suc- a career amounts to-one might al- know the kind of Christmas which can read what little he doesn't al- cessful performance of the music. most be inclined to say that's what Dean Warren S. Freeman best exemplifies the true spirit of ready know [rom memory-Christ- Distinguished Features Professional My four daughters are ice-skaters, life amounts to! the holiday season, which puts the mas at the Panama Canal affords an Courses leading to the degrees A.A. and it interests me to compare sports THE END mood on the occasion rather than experience which many Americans Training in in Mus.; B. Mus.; M.M.; M.M. Ed. In for its on the gift-giving. Seeing as well like to repeat. THE END conjunction with the Graduate School -M.A.; Ph.D.In conjunction with the Faculty and • ORCHESTRA THE "COVERED" TONE-WHAT IS IT? School of Educotion-M.Ed.; Ed.D. (Continued from Page 20) Year-round Projects a nd Workshaps inClude- Facilities • OPERA Workshop in Music Education with the darkest possible color. For- One may, in fact, elaborate end. Opera Worbhop tunately, however, most composers lessly on this skill. Yet nowhere • CHAMBER MUSIC Pianists Workshop have mercifully avoided such cruel else is generalization so great a challenges to the singer's art! handicap. I have tried to overcome Eminent Faculty of Artists, Com- • SYMPHONIC BAND As a rule, the singer must first it within the limitations of this ar- posers, Scholors and Educators • find and learn to produce covered ticle-and to avoid misunderstand. Master Classes under such leaders as- • MUSIC EDUCATION and uncovered tones in the simplest ings-c-by choosing the simplest ex. Arthur Fiedler Roland Hayes way. And above all, he must re- amples possible, such as the obvious Albert Spalding member that a covered tone needs difference between "SAY" (uncoc. • CHORUS more than the usual amount of ered] and "SEE" (covered). For information, cotalogue, illustrated Apply now for admission tor breath and preparation. Once he In conclusion, the use of covered folder, write • CHURCH MUSIC the school year 1952-53. Cata- hears and feels, and later sings, cov- tones may be compared to the use DONALD L. OLIVER ered tones, he will also be able to of a subtle but potent .medicine. log and entrance data sent Director of Admissions • Piona-Organ-Harp-Violin characterize his own covered tones Adequate dosage and proper ad- promptly on request. so personally that they will differ ministration may result in unsus- BOSTON UNIVERSITY - Violoncello - Singing - all from those of other singers. And pected benefits; used incorrectly, David R. Robertson. Direetor branches of instrumental and his skill will improve then, along the results may ,be harmful. Herein Room 115 yacal study. with his knowledge, as he becomes it seems, lies the reason for the pro: 705 COMMONWEALTH AVENUE Box 5121, Oberlin, Ohio more and more adept in the use of fusio~ of pros and cons concerning BOSTON 15, MASSACHUSETIS covered tones. coverIng. THE END 'TUDE-DECEMBER 1951 57 _r 56 -=ETUDE-DECEMBER 1951 b ¢ .------1 ~ SPECIAL CHRISTMAS PROGRAMS Letters to the Editor THE WORLD OF MUSIC ARE REWARDING How Else Con You Give .. (Cantinued from Page 18) (Continued from Page 1) (Continued from Page 3) • so MUCH choir sang the more unfamiliar car- we do not "borrow" soloists but ols and the more elaborate settings use our own. The National Music Council debut of the orchestra during the • so EASILY It is unfortunate that many be- while the congregation sang the well- of America, in its annual report 1951·52 season, will make an ex- therewith completed it. This held above, I suggest pnntmg the lieve that Handel's Messiah should • so ECONOMICALLY known ones. ·ican orchestras, places the tensive tour. true of all my compositions in violin part in one issue, following At the conclusion of the service not be attempted unless there is a on A 1nel . National Symphony Orchestra III Christmas subscription to ETUDE is a gift worth the past, present, and predictably it with the piano part in the sue- the minister read a prepared manu: chorus of 200-300 voices and a full Guy Fraser Harrison, former ..A- the future, and very likely holds Washington, D. c, first among or- ceeding issue. In this manner you script which told how the Christ orchestra. A choir of 30 voices, with conductor of the Rochester Civic many times its price. true of numerous musicians and Child was the Eternal, Life-Giving organ accompaniment, can give a chestras playing works by Amer- would be able, I am certain, to Orchestra and associate conductor composer's like myself. Light. In language similar to the magnificent rendition of this master. ican composers. The Natio!lal First, you give over worth of music .•. plus many satisfy two instrumentalists. of the Rochester Philharmonic Or- $60 My opinion is that Wagner I would also like some better Scriptures the minister told the Con- piece if they are rehearsed properly. Symphony was listed as having hours of entertaining and constructive reading. In addi- gregation that we receive the light It is not necessary to have a mob chestra, began in October his first himself buried his mind in com- piano duets. Mozart wrote some devoted more than 1770 of its. pro- from others and that we must share for this great work. In his first per- season as musical director of the tion, your Christmas remembrance keeps on giving position to afford an escape valve rather nice ones. erams to works by such American- the light with our neighbors. A huge formance of the oratorio Handel did Oklahoma City Symphony Orches- pleasure for a whole year. from the torments of his critics I like the addition of current born composers as Paul Creston, candle had been placed on the altar not use a great crowd and his reno tra. Two outstanding programs and enemies. Were they all sym- interests to your article section. Virgil Thomson, Norman DelIo and had burned through the entire dition was eminently successful. during the season will feature a And ETUDE is so easy to give. Simply let us know your pathetic to his music I doubt Bayreuth was very good. I also Joio, Walter Piston, Samuel Bar- service. The minister referred to this While we are talking about Han- concert version of Puccini's "La wishes on the order form bound in this issue. Notice that he would have attained the greatly enjoyed the article on TV. as the symbol of the Life-Diving del's Messiah let us say a word about ber, Cole Porter, and many others. Boheme" and a performance of the SPECIAL GIFT PRICES. great heights that he did. Douglas Schewe Light. the "Hallelujah Chorus." It is our These works were all performed Rachmaninoff's choral symphony, Sometimes I wonder if modem Middleton, Wis. He lighted his candle from this opinion that the number should not under the direction of Howard "The Bells." psychology isn't destroying the light and went to the first pew and be used at Christmas time. To be Mitchell during 1950·51. So much for so little-and so easy to order! creative element by its efforts Articles lighted the candle held .hy .a parish- sure it is a wonderful chorus bUI its Mrs. Mary McLeod Bethune, to curb emotional disablements; ioner. In turn, each member of the magnificence and its power belong Leopoul Prince, "former Mu- distinguished elderly Negro educa- then, again, if they are directed Sir: I enjoy your magazine congregation lighted the candle held to another period of Christ's life. nicipal Court Justice in New York tor, president and founder of the into creative channels it should very much, but would still like by the person sitting next to him. This hymn of praise is offered for City, and Iounder-conductor of the Beth u ne-Cookman College in Flor JUST PUBLISHED! prove very remunerative. I, my- to see an article written by John As each member lighted his candle His victory Over death and has no he held it up in the air. While this City Amateur Symphony, died in self, like my little maladjust- Sebastian about the harmonica. place, as we see it, in the Yuletide ida, was recently the recipient of was being done, the choir was sing- season. Its joy is of a different type Hanover, N. H., on August 17, at ments, and use them to advan- He is an R.C.A. Victor artist and the annual award of the Griffith DER KLEINE KOCHEL ing 0 Holy Night, and as more and from that associated with Christmas. the age of 71. tage. Creatively, of course. a wonderful musician and I and Music Foundation, in Newark, more candles were lit, the music It is interesting to note that Handel Frederic J ueneman my friends would very much like N. J., for "her contribution toward MOZART'S WORKS swelled to a grand, impressive cli- used it to climax the Passion tide of The NCllional JJI'om.en.'s S)'m.- San Francisco, Calif. to read an article by him. max. better racial and community under- Christ's li Ie. phony Society is a new organi- A condensation of the third revised edition by Mrs. A. Terzian The service resembles a Commun- standing." Other cantatas can be used on the zation with Dimitri Mltroupclos as Sir: I really do feel that Fresno, Calif. ion Service in dignity and effect. Sunday evenings previous to these. ALFRED EINSTEIN executive chairman of the Board Charles William Midgley's ETUDE is a definite personality, This unique condensed guide to the works of not just a collection of printed Sir: Recently I have noticed of Directors and Clara Burling Symphony No. 1 in C Major Roesch as musical director. Ac· ("Peace") will have its world pre- pages. I grew up with it at hand, in your "Letters to the Editor" The quality of bigness does not determine musical value. Berlioz MOZART is now available. miere 011 Dec. 3 by the Stockton and now use it as a teacher- that people have said that they with his huge orchestras and choruses; Ailahler with his Symphony cording to the announcement, the music, the articles, the ads. wish the magazine were like it of one thousand, are not so different in type from the Gargan.tuan players will be recruited from all (Calif.) Symphony, condncted by Price $3.00 You may be interested in was twenty-five or thirty years music festivals of Pat Gilmore. Wisely does Wanda Landowska say over the country and following the Manlio Silva. knowing that I am an "Army ago. So I looked up some 25-30 in her "Music of the Past"-"Couperin's Miniatures often contain ASSOCIATED MUSIC PUBLISHERS, INC. teacher," as my husband is a year old ETUDE's and found more beauty than certain symphonies." 25 West 45th St. New York 19 regular Army officer. I have them almost "sickening" com- -Wallace Bartlett taught literally around the world, pared to the current issues of the COlU,PETITIONS '(For details, write to sponsor listed) and at present, I am the only magazine. "This service was the most beautiful piano teacher living on the post I enjoy the ETUDE so much It is unfortunate-if not silly-that • Rome Prize Fellowships. $3,000 for one year's study in Rome of and inspiring I've ever attended," at Ft. Sill. Since I teach service now. so many frown on the more or less classics and the fine arts. Closing dale for 1952~53 scholarships, Jan. "Enter the Piano Recording Festival was the typical comment of many. children, I always have pupils Ward Folsom melodic Christmas cantatas. It came 1,1952. American Academy, 101 Park Avenue, N. Y. C. I have used the service in office pro. as a great surprise to our choir to who have had from I to 6 or 8 Tacoma, Jfi' ash. • Marian Anderson Scholarships for vocal study. Closing date not grams and it has met with equal suc- learn that our congregation appre- announced. Marian Anderson Scholarship Fund, c/o Miss Alyse $20,000 other teachers-quite a challenge, cess there. ciated Hawley's "The Christ Child" Anderson, 762 S. Martin St.. Philadelphia 46, Pa. I might say. Sir: I have enjoyed the help- There is nothing particularly orig- even to Handel. Petrie's "The Life • "The Friends of Harvey Gaul" 5th annual composition contest. in Bronze and Gold Medals and At any rate, ETUDE is a big ful, informative articles in the inal about the service. It has been Eternal" drew fan mail! Easter vocal solo or duet, prize 300; composition for harp, prize help-especially the duets. suggested by many denominations ETUDE, to which I have been Whatever is done in our church $200. Closing date, Dec. 1, 1951. Friends of Harvey Gaul Contest, and, I understand, has been used in Eloise Smith subscribing for almost seven must be done well. The fact the Victor Saudek chairman 315 Shady Avenue, Pittsburgh 6, Pa. Cash Prizes" many sections of the country. In Ft. Sill, Okla. years. Each month I look forward more popular Christmas music "is • Chorus for' male voices by an American composer. Prize, $100, order to fit the scripture to the so says Irl Allison, President. Dr. A!I1son continues: "Every pupil receives an award with eagerness to my copy. sung to death" on radio and tele- Closing date, Jan. 1, 1952. Mendelssohn Glee Clnb, 154 W. 18th St., carols and Christmas music we in the Festival. ... We take the long look, 5, 10, 15 years when one of our pupils Music Section I have always found theETUDE vision does not deter our choir from N. Y. C. wanted to use, I wrote the service is bound to exceed himself, if not this year, and receive a cosh prize for further advantageous to my musical study. including it in our programs. Many • Purple Heart Sougwritiug Awards. Popular, standard or sacred myself. It is stretching a point to study. Close study of the Grand Plan will reveal its perfection and potency for Sir: I too wish you would in- in the congregation will remember songs. First prize, S1000; second prize, $500; foul' prizes of $250 each. I would like to thank you for say "I wrote" because it was more leading you and your pupils to realize constantly greater perfection in our beloved clude more music heside that of Silent Night sung by the choir years Closing date not announced. Order of the Purple Heart, 230 W. the contemporary music, and an arranging of scriptures, poems, crt-Plene Playing." piano music in the ETUDE. ago when there were no radios nor would like to see more of Bach, and the candle-lighting message. 54th St. N. Y. C. There are piano parts to instru- television receivers. And all of the Handel and Beethoven. Also I An ideal time to present Handel's • Sacred vocal solo 5·10 minutes in length, with accompaniment of mental and vocal music that are programs on the radio will not in- organ and one solo' instrument. Prize, $100. Closing date, Feb. 1, am glad to see the transcriptions Messiah is the Sunday evening be- spire-help-the listener as much as worth playing. Beethoven Violin fore the carol service. We have 1952. H. W. Gray Co. will publish winning work. Church of the of popular classics in the recent the rendition of the choir in a set- Sonatas are an example of very found that 5 :00 o'clock services duro Ascension, Secretary Anthem Competition, 12 W. 11th Sr., N. Y .. c. issues. ting that has meant much through interesting piano music. I realize ing December increase attendance • Four-voice setting for congregational singing, of Psalm 100. Prize GREEK SINGING MADE EASY The ETUDE is a very wonder- the years-the church! vOW uruila/)/e far tile first till/V WM. S. HAYNES COMPANY you don't have the space to print and are appreciated by the congre- SIOO. Closing date February 29, 1952. Thomas H. Hamilton, Mon. GREEK SONGS arr, for MIXE~ CHORUS ful magazine. Yes, special Christmas programs (Gr, text & !Cng. PhonetICs) Flutes of Distinction a complete sonata, but short sec· gation. Having the service at this mouth College, Monmouth, Illinois. "re Skeptisi Mi\u'Dula" poloynis 2S¢ per cep)"" Donald lenni are rewarding-if you borrow from • W. W. Kimball company prize song competition sponsored by the "Then Tha Xehaso" Tassopculos 2S¢ per copy" STERLING SILVER-GOLD-PLATINUM tions would be fine. In order to time makes it possible for us to "Divine Liturgy" (Traditional Byzantine- Milwaukee, Wis. previous years and give the old a Chicago Singing Teachers Guild. Prize $200. Closing date, Dec. 15, Hymns)-Desby-$2.50 per copy. Catalog on request print longer works, like the "borrow" singers from other choirs "Group Disc. at 17¢ per copy. THE END new and more attractive setting. to implement our choir. However, 1951. John Toms, School of Music, Northwestern University, Evanston, GREEK SONGS PUBLISHING CO. 108 Massachusetts A~enue. Boston 15, Mass. THE END Illinois. 4648 St. "I ETUDE-DECEMBER 1951 ETUDE-DECEMBER 1951 59 1 > FREQUENCY MODULATION A NEW HORIZON FOR PIANO TEACHERS usually used in classes of adult be- of these chords should be played at ginners has been proved eminently certain points in the melody. Many AND VIOLIN VIBRATO Properly Laid Stones (Continued [roni Page 11) successful, no doubt because the stu- piano books show simple chord ac- dents feel from the very beginning companiments for familiar songs (Continued from Page 25) by ERNEST M. IBBOTSON middle of the piano, several chil- in the school, the next logical step that what they are learning is of which are a delight to adult begin- dren were able to go to the real for children is enrollment in these practical use to them. A major triad ners. "This chart shows the rate of and aesthetic value of the vibrato is ANY enthusiastic teachers of Hand pOSItIOll and wrong finger- taught by imitation and the domi- Exploration and experimentation piano and play these three keys as classes and later those who choose "101iolin vibrato, which means the so great that nobody notices the M music in their desire to hasten ingare often synonymous, and one are the key words for this adult the class continued to sing. On SHC- to continue piano should go to studio nant-seventh chord made by simple he- mher of pitch changes per second. changes. However, you still have to the progress of their pupils, often affects the other. That problem may ceeding days the entire class had teachers outside the school. Where changes of this tonic chord .become ginners piano class. The teacher ~~e engineers call this frequency- get your intonation exact on the crowd too many ideas into a single he cleared by having him play the a chance to prove that they could there are no piano classes in school, the materials for an accompaniment draws inspiration from the enthu- changes per second, ~r cyc:es ~er basic frequency, or else everything lesson; or they have the tendency notes under one hand position as siasm of the class as they are led to find the right keys and play. children go directly to the studio to such songs as Lightly Row, Mary second." I turned b}aC ~,OTltie s~ne will sound sour." to suggest too many corrections with- a chord, thus: Thus, with little expenditure of teacher. In either case the pupil Had a Little Lamb, and Aunt Rhoda. "explore music and to experiment. wave I had sketc ie d. rat .sme "Is there anything else I need to out making sure that each one is time and effort, these children were is better prepared for his specialized Guided by the teacher in experimen- with ways to make it for themselves waverepeated seven times represents know about the vibrato?" clearly understood. One stone poorly and for the children in their class. led to experiment in a delightful way piano study by the broader founda- tation at the keyboard, beginners what happe?,s to the frequency in "A great deal, but much of it laid will weaken a whole building. rooms. The piano teacher helps them with making music at the piano, per- tion of general musicianship pro- soon find that these chords are as doesn't matter in actual playing. You If a pupil does not thoroughly discover ways in which they can each second. haps for the first time. Furthermore, vided in the classroom. He has had easily played in one key as another. Tony nodded. Then he asked, should know that there is, in addi- understand what his mistakes are, Playing a passage backward may bring the keyboard into the general the experience not only helped the a background of singing which has They use either one or two hands for "How is it that nobody hears the tion to the frequency modulation it is net entirely his fault if he comes help him to understand the reason music lessons for the benefit of the poorer singers of the group but it been carried over to the piano in the chords and sing the melodies changes, the modulation? Most pea- which most concerns us, another type to the teacher with a poorly pre- for a questionable fingering. children. also furnished an excellent approach his keyboard experience, and this until they feel at ease on the key- le hear, or at least say they hear, of change. There is a change in. pared lesson. Of course, we all have to part singing. It offered an op- board. And so the circle is complete. singing is a most important early p " bowing, 'in bow and finger pressure, that pupil who never will learn to portunity for the teacher, if she The teacher may prefer to begin Aware of the need of elementary only one tone. step in the development of reading "That's due to the structure of which cause a slight change in play anything. Why bother with wished to do so, to make the children skills. He has learned to listen in- by playing the melodies. Showing the class-room teachers for piano as a the human ear." I pulled out another volume. This is called, if you like the him! It is hopeless, you say. And feel at home at the piano keyboard telligently to music and to consider five keys with which such songs as tool in carrying on the school music book. "Here it is. I marked it. The engineering term amplitude modu- yet some good comes to every pupil' by teaching the letter names of white piano playing an asset in various the above may be played, the teacher work, piano teachers offer courses in Often .a series of broken chords vibrato this hook says, is related to lation. But it is rather slight, and who tries to learn a musical instru- keys around the group of two and musical situations. In short, play. helps students to hear the direction functional piano to adult beginners. will be made easier to play if ap· doesn't concern us too much." ment though it is only a matter three blacks. ing the piano has become a part of and the skips of the melodies and As these classroom teachers find that uditor'ypersistence. Which in plain proached as solid chords. a d' "It seems to me concert violinists of better coordination between the This fascinating adventure might his home and school life. There is leads them in playing by imitation almost anyone can learn to play the language means, the ear cannot 15· always use the vibrato," Tony said. mind and hands. Every teacher is Ex.3 be carried out in a similar way with little wonder that the studio teacher as an introduction to a detailed study piano at least moderately well. they tinuuish vibrations of sound when "That's true. Of course you don't Hot Cross Buns, perhaps playing welcomes this pupil who has had of the corresponding movement of imbue children in public and private the; change, or modulate at a speed not in a position to drop all pupils 1·2 I vibrate on a trill, or on an open only when the words of the title are such a background of keyboard ex· the notes up and down on the staff. schools with a desire to play, and of seven cycles per second." whose progress is slow. So both string. You can do a sympathetic vi- Then, having cleared up the prob- being sung. This time the group of perience in the schoolroom. Now it is only a step to the play- they bring keyboard experience into "Why?" benefit by patience. brato, when playing on an open- three black keys might be used. In many communities throughout ing of accompaniments for group the general music lessons in such a "That's a little too deep for me. Well, I~re he comes! He sits lems of wrong notes and fingering, string. by doing the vibrato an oc- Pitch signs made with the hands in the country elementary classroom singing and then to playing the way that many more children than Let's say that ... well, you know down at the piano and plays his attack the next one, i.e., not.e values. the air or written on the blackboard teachers are looking for opportuni- melody with one hand and chords formerly want to go into the study that motion pictures are really uoth- Lave higher or lower. For example, piece, totally unaware of wrong This may require hand-clapping of when you play the open G, you vi. as the song is sung serve as an in- ties to study piano. They are hoping with the other. With the addition of of piano in a serious way. As a re- ins but a fast succession of still pic- notes, note values, rhythm, finger- the value of the notes, or playing troduction to the notation and make for the kind of lessons that will the subdominant chord the students sult, piano teachers have more and tu;es projected quickly. They are In-ate with the first finger, in the ing, hand position, or anything else. a single tone in the rhythm 'of the the children keenly aware of notes show them how to use the piano as a have the necessary equipment for better prepared pupils whose atti- changed at a frequency of 16 times third position, on G of the D string. It sounds all tight to him. In de- given melody, while the pupil-not in groups rather than in isolation, tool for carrying on the classroom playing accompaniments for almost tude toward the instrument is favor. a second for silent movies, 24 times You don't put the bow on the D spair, we wonder what to do or the teacher-counts time. Finally and of the shape of the group as music work and how to offer an in- all of the songs in school song able and whose progress is therefore a secondfor sound movies, and when string. But you get. as you play the where to start making corrections. have him play the passage as written. open G, a sympathetic vibrato from Last of al1, call attention -o the the notes descend according to the troduction to the kevboard to their books. In fact some of these books more satisfactory. motion pictures are shown 011 tele- Count ten, and then take one thing the G your finger is vibrating on." phrasing, rhythm, the various types tune. The meaning of tonality is pupils. Many music ~upervisors who indicate by Roman numerals which THE END vision at 30 times a second. But the at a time. easily and effectively demonstrated see the possibilities in this sort of eyedoesn't notice the complete dark. "Does the vibrato start any special First, go over each passage where of attack, tone control, etc., grad- by playing the same melodic idea work are organizing groups of these ness between each picture. In the place when you play?" wrong notes occur. These may be ually ironing alit each problem. on different groups of keys. teachers for piano lessons and plan. same way, the ear doesn't notice "No. The vibrato begins with the caused by poor fingering, by a poor All this, you will say, takes too Later these children would enjoy note and is sustained with it." ning the work to suit their special moderate frequency changes at the hand position, inattention to the cor- much time out of a lesson period. experimenting with the bass of the "Do I vibrate with my fingers, my needs. rate of 5 or 8 a second. rect note, or by his forgetting the Yes, I wiH answer, it will take time keyboard to find keys which could wr-ists. my arm, or how?" What an opportunity for enterpris- "It sounds more like music when key signature. If the latter, have him to be certain all is understood, but serve as single note accompaniments ing piano teachers to reach out in a "A 11 the motions are inter-con- it may he spread over several peri- you play vibrato," Tony said. himself mark in the accidental, nam- to simple songs. For songs like Row, significant way into the musical life nected. You start with the wrist, but ods. However, the correct answer "That is correct. The vibrato va- ing the correct note as he does it. Row, Row Your Boat and Are You of hundreds of children. By offering YOUcannot vibrate t.he wrist without may well be-the music is too dif- ries lip to lJl of a tone, and does this Have him also circle any other notes Sleeping, the same key may be reo class instruction in piano to class- moving the arm. and your finger has ficult. TOI) often a teacher, ambitious ) 7 times a second. but the ear picks played incorrectly. peated throughout, while a progreso room teachers, piano teachers help its job too. Once you know the vi- for the progress of a pupil, expects up only a rather velvety smoothen- Perhaps he doesn't hear what he sian of keys a fifth or a fourth apart these teachers lose their fear of the brato, you do it automatically, and him to learn music beyond his ahil- ing, a fuzz around the basic fre- is playing. The mind has a way of make highly interesting accompani- music work required of them. Know- [) YOLInever stop to figure out what ity, and the struggle is discouraging quency, If you play only the basic unconsciously refusing reception of ments to a vast number of songs for ing how to play on the piano the part of your body does what." a thing we don't want to hear. Try to both pupil and teacher. children of this age to play. frequency, it doesn't sound very songs that they must teach gives "One of the boys told me the to develop his attention to what he One stone at a time properly laid Children whose classroom music them confidence and independence. ) good." fourth finger vibrato is hard." hears by having him play both the will build a strong castle. includes some such keyboard work The ability to play an accompani. "What about overtones, and all the "It is, and the first finger vibrato correct and incorrect progressions. THE END along with the usual singing and ment for class singing and to pick rest?" Tony asked. js bard. and jt is more difficult to do rhythmic work are likely to be more out tunes by ear helps them to enriell "They change," I explained, "As in the 6rst posit jon than in the higher· vitally interested in the listening and complete the general music pro- )'OU would expect, and the changes positions. The violin is a dHficult in- and creative aspects of the program. gram in a way that is truly remark. correspond to changes in the tonal strument to play. Regular practice AN IMPORTANT ANNOUNCEMENT In turn these interests tend to show able. frequency." is the only answer I can give." themselves in the children's desire No, these beginners in piano are HHowmuch is the actual pitch "Can I read up on this?" asked ETUDE is pleased to inforul its rcaders that to play the piano, thus creating a not ambitious to become recital per· change?" Tony asked. Tony. MAURICE DUMESNIL, MUS. DOC. demand for more concentrated study formers. They do not intend to spend "According to the Seashore data, "Yes, but you have to learn vi- of the piano and leading to knowl· hours of pract.ice in anticipation of theaverage extent of change for con- brato by doing h, so let's go." CJUillelll Frcllch-Aulerical1 pianist, conductor, lecturer, edge and skill that carryover most playing a Beethoven sonata some day cert artists is 24% of a tone, for I put the books aside. "Play the effectively into after school life. teachel~ will again conduct The Teacher's Ronn<1 Table in the distant future. Their need is teachers, 21% of a tone, for stu- A in the third position, second fin- So it is seen that the elementary department, beginning with the January, 1952, issue. immediate. They need to know that dents, 19% of a tone. So don't be ger on the D strjng. Now let's vi· classroom teacher can be an impor- a certain degree of independence at afraid to let yourself go in pitch brate, holding the violin firmly The Teacher's Round Table has been a 1110Stvaluable tant influence in helping children the piano can be acquired in a short changes in the vibrato." without any support from the left become interested in piano study. feature of ETUDE for many ye s and we feel sure our time. They need the guidance of a "But it seems to me, it might in- hand. That's it. Only much, much By her own attitude toward piano readers will wclcolue the return of Dr. Dumeslli1 as an piano teacher who realizes that one terfere with intonation." {aster. Remember, seven per second. playing and by including some key- of the most important functions of authoritative source of inforlllatioll and guidance in their "Not too much, Tony. The musical That's it." THE END board activities in the classroom a teacher is to make students believe teaching l)roblellls. music wOI'k, the teacher whets the in their ability to learn. appetite of her pupils for real piano Although quite different in some "Bach's harpsichord works are the old Testa/nellt; Beethoven's Correspondents are requested to litnit letters to ISO words lessons. respects from the traditional ap. "Bravo, Signorina! You are Melba! You are Lind! or less. Where piario classes are offered SOl/atas are the New." proach to piano study, the procedure You are TetrazziniJ-We must have more lessons!" -Hans von Bulow ETUDE-DECEMBER 1951 ErUDE-DECEMBER 1951 61 b 1 ; 41h~1II Lent, 0/1. 12, .-1 t.nnc P'ell,di Juh 27 I lrrmder 1F1lere tile ~u;~:'; ~upriee, or. J!8, :'Ira~' "I NO/li'ls Go Oct. 90 I ETUDE for 1951 , Griego July Index of x». a WlghUIll Jlerdl!1 O~er tile Wilces --=- WHERE SHALL I GO TO STUDY? rul8e ill A JlillOr, 1I'e Go JUl1e 1 01'. 12, No.2 July { Q HC(lr Tltose EUell"l!! Corporal LolHpo/l, G.C ..1I.. Tune GriMs Hells! Ma)1 Pupils Talk It Over, The Reid :\0;'. 19 Riya~<1orl, from ...... lmira .. July ARTICLES Ha"del 0" Swan Luke Sen. Questions and Answers Gehrkens EacMlamh 80lltiuS xrar. Wl11lama l'''/elide RecHal Debut, Make the Most of Your ll~rris Pee. CON~ERVATORY .' 22 Allegrello . nee. Polka JiBODY Oct, ~~~~~~~rl~to~:~;8~~e..~~f~edbi;~r~ReliC8S ~;rr. 20 Perkins ,Iune 'fwa Shorl Plece~ Wilson { PRIVATE TEACHERS {New Yo,k CHy} lEOPOlD WOlFSOHN Recitals, Small, Do Pal' Grant I' Hardn { I'reliide ;11 D-flot Oct. 11 BaltImore 2, Md. ~ ,,,rJ July 6~ (RolII{mce omt Pillule J Feb. "Appalachian Spring," ProgramAro~~:n May Can YOllr "Marehlng Band" Wolf I)unce Oaprice D.::e. PE [lalwiny l'''l'pets sen. --= March? H~llard Composer, Pianist and Teacher Aspen Festival Jones June 2'"' Oct. a TI,ird~ 011 PuraJl6 Sen. REGINALD STEWART, Director 18 llibb! Piano Duets Teacher of Aron Coplond, Elie Siegmeister Atonality Today TIII;/IlS()/l Nov. Rer:clli ~t;~:t:~~:Bi>\ Mal' ia Hormann r.ul/cIJY JUIlC' Audience, How Do You Look to June 2~ Hopkins The CUrf!il:o! Por(!de ....m-. n..~r Lillie (Ji,IMY SClIfJ :\far. CECilE HODAM BENZ and many artists and teachers, Rathbone Mar, Bevotut.ton In the Orchestra Cundleiioht .lilly Cadman J)aure of file S'lI1licams, ARTIST DIPLOMA Bachelor Fine Arts-Formerly a College BEGINNING TO ARTISTIC FINISH I' Pit Jull' Huerter { SIIII [lullce .T an. Bach, Thoughts on How to perfOJj;/oU1, 1 ,~ Op. !1.L No. 80 :\'01'. :; Instructor Jan. 22 "Rlgoletto" at Indiana Unll'ersltl' Hotel Ansonio, B'woyot 73rd St" New York City Cr"WIIl DI,lelo Doll's Dallce :'Ira\, MASTER OF MUSIC DEGREE TEACHER OF SINGING Beware the Editor Stern beT" May 62 While OeL HUDlperdiack Th:r£~i!;!H~'~:l~~l~r' 31 OcL - Nov. R Musle July Frr're J(lQ!H!S .tune Voice-Piano Studio, 2 Homilton Ploce, Merrick, Breath, The Singer's CaselJlman Xn'·. :;S 20 Scales for Doris, No h'ralltJord JUI)' Gretel" I)ltteuhnvcr { Olr 'Ioe MOI ETUDE-DECEMBER 1951 ,ETUDE-DECEMBER 1951 63 T ASSOCIATED :M:USICIANS~ Inc. "AMI" "Serving Music an d MOOUSlClans " 8350 MELROSE AVENUE LOS ANGELES 46, CALIF. NATIONAL Associated Musicians. Inc., lias been organized by mnsicians-r-for EDITORJAL BOARD o ADVISORY BOARD musicians, with the purpose of doing business in various fields of music. RUDOLPH GANZ GEORGE ANTHEIL JASCHA HEIFETZ The Board of Directors of AMI presents a plan for a personal and LOTTE LEHMANN more active participation of the professional musicians in music as a EMANUEL BAY HUGO LEICHTENTRITT business and invites them to become collaborators of the organization. LUCIEN CAILLIET DARIUS MILHA UD Starting as a music publishing house, AMI will offer a comprehensive MARIO DIMITRI MITRO POULOS program covering every type of composition, in the lighter as well as in CASTELNUOVO·TEDESCO LYRE AND WREATH PIN the serious vein. INSTRUMENTS IN MINIATURE GRECOR PIATIGORSKY LESLIE P. CLAUSEN DEEMS TAYLOR Piano, Violin, Cornet, Cello, Banjo, Trom- The Board of Editors of AMI will serve as a qualified judge of works by INGOLF DAHL J-70 reads Music tr unknown as well as established composers, and will direct its efforts bone, Guitar, Drum, Saxophone. JAMES J. BOYLE towards the discovery of new talent, All material submitted for publication EMIL HILB J-71 reads Choir J·22A Gold Plated (Pin 8ack Only) 60 President will receive unbiased examination. There will be no expense and no ERNST KRENEK t)·228 Sterling Pin or Charm J.70 J-72 Plain Bar or Engraving JOHN BRUECKER obligation to the sender. FRANK PERKINS (Specify which) .75 Chairman "'BRACELET WITH NINE CHARMS o] the Executive Board A~H's extensive library and the service of the Editorial Board will be MIKLOS ROZSA LYREPIN, Enameled center )-508 Sterling .. . .. 8.00 EMIL HILB made available to non-musicians as well as to professional musicians for CLIFFORD VAUGHAN • information on questions pertaining to music. "'BRACELET "'MATCHING NECKLACE Managing Editor JOHN VINCENT MAURICE ZAM Editorial policies and decisio"ns will be made by the Board of Editors, J-190 With Black, Blue, Red or ).208 Sterling. 1.50 )-21B Sterling . 1.80 ADOLPH WEISS In Charge of Public Relations counseled by AM['s National Advisory Board. Green enameled center. MEREDITH WILLSON SYLVAN G. BAY Write to the Public Relations Department of AMI lor information. ~~~~ Legal Counsel MAURICE ZAM otr THE BOARD OF DIRECTORS OF "AMI" WINGED HARP PIN '" J_190 MOTTO PINS J·80 reads Music )·60 )-61 J-62 • J-81 reads Choir THE GRASS ROOTS OF OPERA IN AMERICA and Music Clubs-usually make \Veill, shortly before his death, had J-82 Plain Bar or Engraving At 10K Gold 2.50 money on the operas. created several works that were (Continued [coni Page 17) The grass- roots movement is readily designed for the new move. At 10K Gold .. 3.00 C Gold Plated .50 B Sterling ...... 75 spreading. A similar workshop has ment: "Street Scene,' "Lost in the , Bt Sterling ... .85 0 Silver Plated. .50 ft Gold filled .... 1.20 C Gold Plated ...... 40 of American opera. "King" Fletcher It's interesting and typical for the been established in South Carolina Stars," "Down in the Valley." Lukas J·80 started his movement in 1949. As and has already given performances Foss has contri.buted his "Jumping On )-72 or )·82 .08 per letter for engraving. encouraging approach of the new D Silver Plated ...... 40 Opera Chairman of the North Caro~ group towards the problems facing along similar lines in Greenville, Frog." \ViUiam Schuman, who so lina Federation of Music Clubs he them, to see how they chose their Ceorgetown, Charleston, Erskine far has never written for the theatre. ., ., ., organized a group of singers to give next productlon-c-t'Carmen." "Ordl- College, Anderon, Winnsboro, Rock- is now at work on an opera based __ ~~~~~'i:l'~~"~~~~~i\S:~~ operatic excerpts for various music narily,' Mr. Fletcher said, "this hill and Marion-towns, one may on Casey at the Bat. Many other LYREPIN in enameled field say, which so far have only in- composers have written new works clubs throughout the state, present- would not have been our next choice, J·90 reads Music frequently appeared on the oper;tic or are looking for a libretto. Opera • PLAQUES ing a 20·minute talk on opera, fol- but we discovered a 20-year old girl J-91 reads Choir lowed by the performance. These in High Point, N. C. who had a per- map! is definitely on the go. The background of circle in Lyre design is programs were given as far as 265 fectly marvelous voice and whom A11 this, it has to be said once It has been said many times that Our newest design! Plaques in a rich ivory more, is brand new. It has nothing red with lower panel in black; in Cross de- finish plaster, 3%.xS inches. Bach, Beethoven, miles west and 195 miles east of we believed to be a first-class Car- opera has been the life-blood of sign, blue, with lower panel in white. to mold its experience after, every- Brahms, Chopin, Handel, Haydn, Liszt, Men- Raleigh. In only two of the cities men, at least vocally. We didn't music, ever since it made its tri- At 10K Gold .. ' .3.00 visited had an opera ever been given know whether she could act. There thing has to be improvised: in uni- umphant entry in the seventeenth Bt Silver .... .85 delssohn, Mozart, Paderewski, Schubert, before! was only one way to find out: pro- versities, workshops, studios, grass. century. Ever since, the musical for- C Gold Plated .60 Schumann, J. Strauss, Puccini, Toscanini. "What I learned from this first duce "Carmen" and let her sing the root movements-the many new tunes of many countries have de. o Silver Plated .60 Tschaikowsky, Verdi, Wagner (specify which). forms in which this new .Americen year's experience," Mr. Fletcher lead! Everyone who has yet wit- pended in large measure on their CROSS PIN in enameled field told me recently, "convinced me operatic life makes its appearance. P-3 1.00 nessed one of her performances will relationship to opera. With the ed- J-92 reads Music that we needed a centralized op- tell you that she is nothing short What a wonderful and excit.ing be- vent of the Baroque which was vir- J-92 J-93 reads Choir eratic group to service our terri- of a sensation. At the conclusion of ginning it is! Unguided by the worn tually built around opera, some of tory: no one of the smaller corn- a performance in Raleigh recently out trails of the past, not weighted the great musical nations. such as munities could supply sufficient there was not a woman in the house down by the ballast of customs and England and the Netherlan·ds. which I&f"'~~~~~~~~~~~~~~~~~~~~~~~.\ musicians and singers to do it lo- that did not approve of Don Jose's traditions, it begins already, and did not take to opera, gradually dis- BUSTS OF FAMOUS COMPOSERS ' wil l do so much more as it becomes LYRE PIN J-120 cally, but everyone had enough action in getting rid of the wanton. appeared from the scene, while the * Pressed White Marble Busts, 4V2" high interested listeners and many a few Her name is Sofia Steffan." more secure of itself, to design its Italians, Germans and Austrians be- own pattern of life. At 10K Gold -2.40 Bach, Beethoven, Brahms, Chopin, Handel, people who wanted and were able The members of the Grass-Roots came the incontestable rulers of Haydn, Liszt, Mendelssohn, Mozart, Pader~",:- Sterling ...... • 0 • • • • • •• .B5 to sing and perform in opera. Opera Company come Irom all ways Singers are being trained in amaz- music. Bt ski, Schubert, Schumann, J. Strauss, PUCClIll, ing numbers and in astonishing "We decided to hire a director of life. Guglielmo in "Cosi fan tutte" Maybe this, too, is a thought to J_120 c Gold Plated 0 0 • • • • • •• .50 Toscanlni, Tschaikcwsky, Verdi, Wagner who settled in Raleigh and devoted is a dentist, Fernando an accountant, quality. Talent is abundant. Lately- (specify which). remember as we see opera make its o Silver Plated 0 •••• 0 •• , .50 his full time to the development of Fionliligi a clerk in one of the state and this is the most important final MB-2 4 y," high .35 entrance on the American scene. It OFt Gold Filled 1.20 locally produced operas. Mr. Robert agencies, Leonora is head of the step to make this a permanent, con- is coming in through the back door. structive part of American lj£e~ * Plaster Busts, 8" high C. Bird came from Fort Worth to voice department of a local college. But it is coming in with flowers and CLEF PIN J-133 North Carolina." Other vocations indulging in so the composers, too, have taken an Beethoven, Paderewski, Mendelssohn, Mozart, fan fares and soon, I think, the main J-133 Brahms, Verdi, Wagner, Schubert. They first produced "Cosi fan splendid an avocation are house. interest. Gian-Carlo Menotti is per. door will be opened, the bunting will .,~~~~~ PB-B Ivory Finish 1.50 tutte"~in English, of course, under wives, students, plumbers, stenogra- haps the most successful, most spec- come out and a big, handwoven wei· the name "School for Lovers." Mr. tacular name in the picture. Kurt Bronze Finish 2.00 phers and doctors. come mat. THE END Fletcher took the original cast~not Except for the salary for the di· SCATTERMUSICAL SYLLABLEPINS * Plaster Busts, 11" high as King Ludwig would have done to rector (which King Fletcher of DO, RE, MI or LA in Gold on Black Enamel. Beethoven, Liszt, Mozart, Wagner. his castle Hohenschwangau~but, North Carolina is paying himself) QUESTIONS AND ANSWERS quite similarly to his cottage on the Grass·Roots Opera is self-sus· Also plain Black Enamel Notes. PB-ll Ivary Finish 2.50 Bogue Sound where they learned taining. They will take "School for (Continued from Page 23) tJ-95 .75 each Bronze Finish 3.00 the principal roles. King Fletcher Lovers" to any point in the State Except in the case of 3·2 and J·95 "large" rhythmic grouping, and then J took the part of Don Al/onso. They for a guarantee of $60 plus 50% sometimes 4-3 it is usually neither have ·since given 31 performances fit in the irregular note groups so of the profits. The guarantee for practicable nor musical to divide ir. ·Cannot be sold in Canada tSofety Catch Tall included in ell fellable items they will sound well with the other of '~School for Lovers," one of them "Carmen" is SHO. The local span. regular note groupings mathemat_ Send orders for all items to Dept. ESG·1l·51 parts and not change the essential at the Water Gate in Washington, soring groups~Junior Chambers of ically. My suggestion is that you try tempo too radically. D. C. Commerce, Shriners, Elks, Jaycees, to feel the measure pulsation as a -K.G. THEODORE PRESSER CO., Bryn Mawr, Pennsylvania 64 ETUDE-DECEMBER 1951 PRINHO II( THE U. S. A. aT TilE CUHEG PUSS. IHC. « Music has always been an important phase of the Moody curriculum. And with the ever-increasing emphasis on the ministry of music, Moody continues to expand thejacilities oj its Sacred Music Department to meet the growing demand jor trained musicians. Opportunities jor service in the church and radio field are unlimited. BIGB ACADEMIC STANDABDS Moody's three-year course in Sacred Music, with its high academic standards, meets the need for train- ing on the conservatory level. Majors are offered in piano, organ, voice and composition. This course also includes instruction in orchestral instruments, music theory and literature, as well as thorough Bible training. Un- PREPARES YOU usual subjects covered include Hymn and Choral Composition and FORA Arranging, Music in the Church Service, Music in the Church School, Service Playing (piano and organ) and Music in Radio Broadcasting. • • Ninety semester hours are required for graduarion-e-fortv-five in mInIstry music and forty-five in religion and related work. All subjects in theory, applied music and music literature are transferable. Those who plan to direct both the educational and music ministry of mUSIC of a church will find the Christian Education-Music Course ideal. ON THE (;ONSERVATORY LEVEL Pn'lJaU instruction oJIimdin VOICE. ORGAN. PIANO ORCHESTRAL""" INSTRUMENTS Op,pORTUNITIES FOR PRACTICAL IlXPIlRIENCIl Students gain prac- tical experience as choir leaders, organists and pianists in Chicago's many churches. OUTSTANDING The Institute's own radio stations, WMBI and WMBI-FM, afford FACULTV unusual opportunities for training and experience in radio music. . ~ . Part~cipation- i~ the various musical organizations, such as the ZOO-vOIce Oratono Chorus, 35-piece Orchestra Ladies' Glee Club ~ ~ , . and Moody Chorale provide invaluable training and experience. DDNALDP. HUSTAD.A.B.. M.Mus. Studying at Moody also makes it possible for you to hear world- DIrector of MUSIC Department famo m .. d . 1 . FRANCIS E. BARNARD, M. Mus.-Piano, Organ, Theory us USIClaDSan musica groups, appeanng in Chicago concert WILfREDL. BURTDN.B.S.M.,M.Mus.-Voice engagements. '---J. MAURICEDDBBINS;·M.Mus.-Violirr--- FRANK EARNEST, M. Mus.-Piano, Organ, Theory SHElODNP. fAROIG.B.A.-WindInstruments 'REI IOOKLn •.• Throu.gh tlu Arch. an interesting picture booklet of student life. is yours for the asking. With CLAYTDNHALVDRSEN.M.Mus.-Voice,Piano.Theory it ycu'H receive the new school catalog, giving EARLE F. HULIN, LT.C.L-Piano, Music Literature complete information on all Music Courses. GUVC.LATCHAW.B.Mus.,Ph.B.-Voice,Theory Address Office of Admissions. ~~~",=,,, Room E0.228 ' , ~~~R~~:~;}~~~~::;;~:u~,v;,:e~:':rgan li~'111 S. PRESTDNROCKHDLT.M.Mus.,A.A.G.O.-Organ'I DAVID SMART, B. Mus.-Piano, Theory THOMAS WOODALL, M. Mus.-Piano, Voice .:.J! ___.iiiii -