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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
11-1-1924 Volume 42, Number 11 (November 1924) James Francis Cooke
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Page 730 NOVEMBER 1924 NOVEMBER 1924 Page 731 the etude PIANO MUSIC ||j A Page for Those Who Will Give Church Congregations There is For the Beginner and Sunday Schools Inspiring Christmas Music no Substitute Methods and Recreative Material A Fine New Christmas Solo-THE NEW BORN KING By Paul Ambrose & For Keyboard Fluency for Vocal Solos For Musical Feeling For Musical Intelligence *8050 Angels’ Refrain,’ The (Violin Obgg^ „
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- a ue lowest PricecifYi/f ______STAND A p !L °f^tandard Piano Music in t Uf(f5tio»otsta„li\y^KD PIANO PTvrvc THE ETUDE fScS~= :^Si S~* A™af ncu. INDEX NOVEMBER, 1924 Single Copies 25 Cents VOL. XLII, No. 1] ^■toffel’s Serenade .G?uck Hu,^nan Dance .[..jPv°rak Prelude Qp 28 - - - ■ - 1 "— —-- - ■dintra's Dance. .Braga .Brahms ^ (SiV'Fr^' . Grieg Intermem Russe „ P«re .Is Snow w; . .RachmanmmT | A Hopeful Prospect Busoni 'berceuse . .. .. ■ Those who have been brought face to face with cruel, 1866—1924 B.nrZ .... -agj-s fZk-in. When Ferruccio Benvenuto Busoni died in July the world .''.V.V:. HSt' *MM"" i cold science, have a way of accepting the discoveries of the ■ ■ S»nd/,S5 Ur Homr'.. wise men as indisputable. spared him the damning reflection, “Just another pianist gone.” Cans, .Jungman» -S-aAtf rfV/,„nKr Sansonetta Busoni was not “just another pianist.” What he accomplished Saraband? .„E,K:*r We have, however, hundreds of instances of scientific clant Sans Paroies '"r Render Me A ■% 10».■ .-Massenet Dance" • • ■ • • •. Handel blunders. The scientist in many cases, is liable to serious error. was something very fine and very distinguished. Many critics cITZTf- iSSSsgg &*}fife-• • • ■ ■ ■ ■ Kubmstein Secret, pe ’ •••■Uiaminach- may not rank him among the very greatest pianists of all • • ■ Paderewski One great mind of this generation may overturn the whole ' S £GG::::^ J=f?gW: Serenade .Gautier times, like Liszt or Rubinstein; but there are other knowing 3 -• •. Mozart Serenade .t>rig„ practice of an art or a profession based upon supposedly accu¬ -Beethoven Serenade . lovers of the art who realize that Busoni did certain things .-.Haydn rate “scientific” discoveries of a former age. 82*i£::::£z£ ZZ'V&S .c Chopin Serenade d\imoUr .Schubert perhaps far finer than any of his predecessors or contempo¬ ■ .Sa,nt-Saens .Schubert Renata°erenata • •V-.-B/on The object of the true scientist is the search of truth. Be¬ Shepherd BovBov,'The ''' raries. The exquisite beauty w-ith which he suffused his playing 77 • • Mojzkowski cause he is misled now- and then by an ignis fatuus, is forgivable. r, . Smplc Aveu *'■ .Wilson of Bach- was unforgetable. There was the perfection of tech¬ pSTiJ?.a,„iMe ■Chopm Souvenir H . Porget-Me-Not ..Lange . .Thome Scientists, for instance, were able to prove conclusively a half nical finish betraying his German ancestry and training, • F,dd spring Song. ■ • ■ Macbeth Paloma, La ■ •MendeSoE a century ago, that a heavier than air machine could never combined with a Latin warmth revealing his Italian father. & .^ » D°n ce fly. Since then airplanes were the foremost factor in the Busoni in his young manhood played with great pow-er and ' • • Sch»mann greatest war in history. brilliancy; but as age came to him his most beautiful effects Now comes Prof. Paul Kammerer, of Vienna, whose dis¬ w-ere those that resulted from extreme refinement of his art. • ,Pr'>o Once we heard him play with the New- York Philharmonic when -the mumil PiZr°-^ —tore.Baa ****** •Weber coveries promise to give the study of psychology and biology - **. E PUBLISHING or °f tiie public,, a much more encouraging aspect to those of us who are con¬ Mahler was conducting. Mahler said to the editor just before the concert, “Busoni is to play the Hungarian Fantasie of Liszt. — =-— ««*„ ^ L GO 207-2,7 WEST „ stantly looking toward the betterment of mankind. He plays it wonderfully; but he is a gentleman in the parlor «* MW ^ N» VOK??,4TREET According to the old school, acquired traits in one gener¬ not the Ziganer in the fields and woods.” Thri ation could not be transmitted by heredity to another genera¬ Mahler was right. Busoni played the Fantasie with impec¬ tion. You might work amid the most wonderful surroundings cable technical and artistic finish but without the fire and swing in music, you might bring yourself to a high degree of musical which a Liszt would have brought to it. On the same program attainment, you might become a most desirable citizen of the Mahler played a Bach Concerto, conducting from the keyboard world—but, the older philosophers told us that these acquired of a harpsichord instead of with a baton. Mahler recreated traits would have no effect upon your children. All that you every thought that came through his wiry fingers. The orches¬ have fought to make yourself will be lost to coming genera¬ tra was alive with interest and inspiration. It was one of the tions. We never liked to believe this but with the habit of sub¬ most wonderful musical experiences we have ever had. The mission before the throne of science we silently acquiesced. playing of Busoni was forgotten, the playing of Mahler, who Now- Kammerer has shown that with low-er animals certain did not consider himself a virtuoso, was unforgetable. Yet acquired traits can be transmitted. His first experiments were Mahler playing Bach in a recital could never have compared with blind subterranean lizards. By exposing these animals through many generations to intensive red light there were When we knew- Busoni he was unfairly forcing himself finally born lizards with eyes. The progeny of these all had to give concerts that his health made well-nigh impossible. IT - eyes. Similar experiments with other animals were equally playing was always fine; but it w-as done only because his will startling. so ordered it. His skin w-as a ghostly white and his eyes were Kammerer does not claim that he is absolutely positive worn and tired. His broad intelligence as a musician mp.de that traits in man can be transmitted in similar fashion* The him a delightful musical acquaintance. lower animals breed w-ith amazing rapidity. Many genera¬ As a composer he is highly regarded by some, although tions may come in a year. With man this takes centuries; but few of his compositions'have gained any currency beyond the don’t you see that by such a deduction as may be made upon circle of a certain European group of cognoscenti. As a con¬ the discoveries of Kammerer, a wholly new and very optimistic ductor he was greatly in demand in Europe. His passing aspect is thrown upon the entire subject of heredity and the removes from the world one of the most significant musical progress of mankind. figures of our time. We have known for years of the numerous “musical fami¬ lies” in which the art had thrived for generations. We had assumed that it was merely a matter of accident or family call¬ The Joy of Improvisation ing. Now it seems to us that in the face of the Bachs, the Cou¬ “Improvisation is a gift,” you say. “I can never learn perins, the Wesleys and the Puccinis, heredity did have a part to improvise.” Nonsense! You learned to talk, to converse. and a very important part. When you speak you do not merely recite something that has JSia-’Party After all, our greatest instinct is the preservation of the been memorized. You express thoughts, ideas, in tangible rela¬ race; and, in the light of these discoveries of a Viennese scien¬ tion and form. Improvising at the keyboard is very much the tist, widely recognized in the highest scientific circles of the same thing, and it certainly can be learned. world, we realize that it does pay to fight hard and long for Many people sit dawdling over the keys, striking odd the best—that all of our achievements are not lost—that the chords, playing snatches of irrelevant melody and imagining fine things that we are teaching to-day will be carried on to that they are improvising. It is improvisation in a very crude higher and better things in coming generations. All this form. But much of it is like the meaningless mouthings of 7615 Under seems to disclose the office of the teacher to be indisputably the a half-w-it. If expressed in words it would sound something like greatest of all—as it alw-ays has been and always will be. “phosphorus, beetle, seaweed, carburetor, Jupiter, castor oil, 733 NOVEMBER 19U Page ’ THE ETUDE Why Is So Much Piano Playing Dull and Jninteresting w?r4ai Jrnss »u men fine citizens were drowned in an ocean of learning which «n,e «;mp,.„visi„yi“Lc srisa-peopie ,°°i «■<* *h“ has now carried them down with it. to Listen To? In this case education did not prevent them from becoming By the Distinguished Piano Virtuoso lccts, 4ch'astth4?ofTey*r2 ”? marvi:Ious musical intel- two of the most notorious figures in the history of crime. MARK HAMBOURG | to improvise a fugue upon anv tlT'^ ?r^anlsts wbo volunteer Our hearts go out to their sorrowing parents who at this Wc hare heard Tt"„ Sub‘"'tt^ V tha audience. Zc Z„7 time would give every cent of their millions to have prevented This article is the second in the notable series by this famous pianist In other ™ ^onb^f an Action into the piano. It is the piano The aheie Zr'lS *J?X ““ this tragedy. Coming from a race which has given the world La th, h,„r to present in "The Etude.” Mr. Hamhonrs ts the I^M JT^Zs alVZ “ear perfection as possible.. I, should its greatest moral codes from Moses to Christ they have found son of a noted teacher of piano, Michael Hamb ourg. He has inherited Ins bmidet'sirtto ^ ^ ^ «action» the “external mechanism I learn ,“lprovi“. endeavor to eu own offspring degraded beyond imagination in the new father’s gifts in the understanding of educational problems; and his writ- be th fask docs n0t end there by any means. In fact, harmonj. You Tf composition and ' ’ *1 country which seemed to have forgotten its ideals in a wild mgs are extremely practical. The following article will explain why eMu^ P J ’ T] difficulty is that the average student docs not . bore to listen to pianoforte playing. The piano, it has only be&tn. ^ diffcrmiiate bctween the music tatively without a io T“k “d some people find it theTf-f lf°- p°'callxed wealtL TheJ with their children were expect to imS,;Tn'fwilS,mmar ^ ^ ■■'properlyproperly played, is« - most sympathetic instrument. The and the mechanism he has to play it with. Mr. Hambourg s music? We are forcer? +r> ^ ™ * some knowledge of t cm + fU ,nS.°,f an educati°nal system which has permitted forte action is extremely sensitive and responsive. The great difficulty he must p a21 » , f tudcnts and teachers to play more beauti- Urthat:L: inL lr,,mostt Winstances thethe. instrument is learned from the very'very ^gm-begin- articarticle e will aid WnMsousan oistuacngjm“Etude” series, vrepublished^uhU‘h/d in book form thousand individuals we enco^nte^ ^ T °ne hundred Thev n°r Tire Th£S ln m°ney but miser-v in real Hft values. 80 *7 Editor. an instinctive “feelinc” ZTl T wh° seems to have came to tGhm °raTd 7 7™ °f ^ But the same delu^ »av ,th an< S o{ Amencan parents in the future unless some fe u:zc%^Xmit ^ T“ „ . d such one there are thousands For *™7 gift; and this aecountTfemosS rfff ■*“* haVe sucb a from^rXt*1 P,“ “ Pr°m0W ” ^ ‘o™ !>«* ;*Young students often come to play to me who are Will find lots of fun in lno,. • , f tbe b d lmprovising. You already far advanced in technical facility. They play flabby. I consider the want of real rhythm sentimentality. There is also a distinct tendency nowa- me a difficult piece with perfect accuracy, fluency, and most usual causes of dull performance. jays to try to imitate the piano machines which render and Composition of Music,” by PW Orem b°°JS“E “Theor^ show a high level of proficiency; yet the whole per¬ I spoke also just now of chiaroscuro, by which I mean ueverything lo with such- perfection- of- execution,- ■'- with- never zation,” by Sawyer, are a giJt hdm ‘ ^ Extempori' formance is so dull and lifeless that I can scarcely the light and shade which should be in play throughout a single mistake, and never a single inspiration. But the bear to sit it out to the end. What is it that is lacking? all renderings of music, that is to say, along the general standard of inexorable exactitude that these mechanical sation in the that C°“eS fr°m imp™vi- Well, there are various subtle qualities to be acquired esthetic rule that an ascending phrase increases in volume pianos perhaps unconsciously set to the lay mind, has, I in piano playing before it can become interesting, even of sound and a descending one decreases. How many think, reacted to some extent on a certain school of ifcough the player be a very good performer m the players forget this natural principle which form’s a uni¬ pianists who value only technical precision in their play¬ -ii X'T^tut js ifth liv:iy imaginati- ■rdinary sense of the word. That is to say he plays versal background for musical expression. They come ing and who sacrifice everything else to it. I once knew pianoforte, seeking to express th T°Ugh spelIbound at the all the notes and makes few mistakes. But if he does and play a beautiful melody absolutely correctly, but a very celebrated Russian teacher of the piano whose one jour mind.” P 6SS the bal™J that dwells in not succeed in giving pleasure to his hearers, what is with a desolating monotony of tone color. thought was to preach proficiency of speed, and agility, the use of all his proficiency? Tedious playing arises from other reasons too. From as the highest goal for his pupils. Even when one of pedantry; figuring out too much how Bach or Beethoven Tears of Blood them came to him with a Nocturne of Chopin (it was have no interest in the name fut^ building‘” We Cultivating Tone Production meant their works to be played or would have played the one in thirds and sixths) and played it to him with thing to us. Place yourself i?n’ ! the. Pnnciple means every- them themselves (as if anyone could possibly really ■ And these qualities which he has not yet found, what great expression, all he said was: “Now play it for me forget that. Our particular^field ?agazine’ We never know), and all of which mostly ends in slavishly follow¬ mUS1C®1 glorious opportunity it has been towoT’ 'if r°aliZe vhat a If are they? Now the most essential of them can he pro¬ again, as fast as you possibly can.” ing the expression marks of enterprising editors who we have firm convictions that t “T^ education’ Because cured by the cultivation of a fine tone production. By tone cause. Realize that statistics indicate that"^ ‘ f°U SUch a possess no more first hand knowledge than the student education is that in connection ^ththftd°?Ce.°f music “ all production I mean a great deal more than just striving "Don’t Mind Me” Per cent of the inmates of prisons S lb TJ J 8evcnty-five who adopts their views unquestioningly. Such students stimulation of all the children the d.aily inspiration and to acquire a beautiful touch. For a player may have a Too much selfconsciousness and lack of conviction are twenty-five; and you will soon see tl£t it U* ^ &”c of consequently contribute nothing of their own original v pleasant touch either in forte or in piano, or in both, and cated, a number of years a£ro an ^ schools’ we advo- thought to what they play, and so their performances other causes of dull playing. People sit down and play sibihty, as musicians, to do everyth,• °Ur common respon¬ still be wearisome to listen to for long, if he can Golden Hour.” The Goldfn ’it °a or pIan known as “The remain dull and stereotyped. This would not be the case almost apologetically, as if their mental attitude were to se use of music in’the pubKfe/” ^ P°Wef to p™mote produce no variety in the quality of his tone. Even the tary title for a fai-reachW ” a non-proprie- if only they would try a little more to sink themselves in be explained thus: “I am performing this piece, hut l 7* most beautiful sound will pall if it continues unceasingly broad scheme to teach characterS, “"S'011 With aaJ the spirit of the music and thus find a living inter¬ please excuse me, and do not look at me or mind me. ing, ethics, honesty, square dealinn- °t character build- can never have too m,mb • „• U1 dlnS and morality. W0 in ail unaltered intensity of color. Therefore, to create It is foolish to be aggressive and overbearing, but it is public schools, by means of nr ?’ ptuotism, morality in the life and spirit in pianoforte performance it is necessary pretation. something to-IyZ ^“^T* °f th“ S. Then there are those who from want of study in a also no good being deprecating, if you want to play that every variety of touch be studied and employed, so pictures, addresses by public 1'?’ P™ctlcal examples, moving good school of playing adopt wrong tempi and play much the piano well. ground of music. 7 and 50 on’ all with a back- as to obtain tonal chiaroscuro and present different qual¬ Then, especially in England, hut also to an extent in ities of sound. Hundreds of students learn from their too fast or much too slowly. Dragging the tempo, espe¬ cially in melody, is a very common cause of intolerable other countries, there still sometimes lingers with pianists teachers that there are loud tone, and soft tone, and the tradition of organists and performers was of questionable toI^T unl^ that Such a Program medium tone; but having learned that, so of church music who are their musical We, enthusiasm and few of them are- taught to differentiate ancestors. Now the manipulation of the further. Thin tone, thick tone, both in keyboard on the organ is of such a nature forte and piano, bright tone, muffled tone, that anyone playing the piano after being ? S^de? The Dynamism of Wagner tone like the sound of wind instruments, accustomed to the other instrument is tone like bells, tone like the sound of °Pn* t!!e,beSm"ing“ b“n W‘*‘3' The political force of Richard Wa ■ ■ inclined to produce a very dry touch upon reve.w bj nne.verei the organ; all these can be more or less the piano. This is because organists have obtained on the piano, by the aid of the Who was feared for his pronao-andn f Here Was a man to play half staccato to get the articulation, pedal, by the way the notes are attacked, by as the keys of the organ retain their sound statesmen. His gigantic brafn was rl ™rT^ astute rythmical calculations, and by contrast in after the fingers have left off pressing them Broome, the Superintendent of Ed, r ^ Dr' Ed-« C. of Europe by. many who dreaded to thL- 7- t lC firebrand volume. A certain atmosphere of illusion down. Players on the organ therefore ha\ made an admirable reputation " who PhihdelP^> to the monarchists. Wagner might atf £ 1 n>ean must he created in pianoforte performance have to acquire a kind of short, quick mode is the chairman of the committee Cr an ?ducatlonal executive, music and dramas as Inn™ i , ^ amuse himself by writing as in all the arts so as to bring out different of attack, suitable to the requirements of from this magnificent step Dr Twf may be expeeted effects in special relief. their particular keyboard. Had Wagner turned his mind to^lnWsporrt ^ ^ State The pedal, of course, is an immense help appreciation of music in public dm !!/8 6^Usiastic ia ^ enthusiasm that he gave to music tf P°btlca1’ with the same when rightly applied and studied; but very Too Much Reserve tionably realize what an all imS^ I a°d he wil1 "^es- much uninteresting playing can come from have been changed years ago. ’ ^ m&P °f Europe might Something which also affects piano play¬ Eugene Brado, in a recent i too much use of the pedal, which wearies ,n thltT\2d ethic^S^lSU8ic must play the ear like nothing on earth, and makes ing can be laid to the charge of the educa¬ has traced Wagner’s visits to Ruls l ^ Musik, everything sound heavy. Insufficient pedal¬ tion at present so in vogue, which teaches were the Czarists that he was Z under ^ °f this man ling is nearly as bad. It produces the dry self-repression as one of the cardinal vir¬ tues and that emotion should be hidden every moment of his stay. The secret t °bservation player whose tones do not blehd at all, away as much as possible rather than be take every possible precaution to and who does not attempt to do anything to to the infamous Loeb-Leonold Er \ Golden Hour- We refer soften the hard wood, ivory, _ and steel expressed. The reserve thus built up by and to give particular attention to Z. that he did the general spirit of such education is hard Is it not possible tWProv^ SuCaSe in Cbicag°- I -operties of the keyboard, which are of were. When Wagner returned to otherrpng Wb° 1“S visitoi's to break down and often holds in a vise the ff youths to suffer in providiL “ pe.™ltted the parents themselves so uncompromising. *hese secret police breathed more easily European states the temperament of people who would fain kmd that the whole country^ld 1 S° terrible a Lack of Rhythm express themselves but cannot “out with it.” short-comings of our ednZf , , aroused to the tragic I remember when I was a small boy study¬ The other cardinal essential, the lack of youths educated in X wtSZ iT'"0’ ‘¥o ing with Leschetizsky, that in the class one hearersfin fact i^now ^ carry away their NOVEMBER 1924 Page 737 of the whole matter thev ,^ aTed at the crux A Serious Danger to Some Young Students in Large Cities THE ETUDE that mysterious imagination, temperament charm att Z ?-1 PfWer’ By Eugenio Pirani What Chance Has the Adult Beginner in Music? - can at#?/, w/o assailed /...... ,uwr which Nature either bestows or^hhhoTds6 The "f * sale violation of the law in many States. By CAMIL VAN HULSE my opinion, the best teachers aJltl 4, Therefore, in The Etude has seen a lamentably large rnim.,., 7ricniVnilMr readert-ZZay '“shock U>ome of^our people who hare made an „y,n I,my a/ tnkina develop personality wherever they ^it* n .e.nc?eavor,,to ■ fca in Mew Yn iniS€nt m0st °f Jlis manV V<‘ars in clandestinely. Tiny would Hirer dream o) doing if /„ A helpful article telling students beginning ‘‘along in years” and those who teach them what exercises to use at the start to overcome the handicaps. not those who try to inmose the.V ^ * " their puPlls> of th<> disagreeable, throatscalding brremy.s II,. .,usand8 of saloons which taw. just like the bad boy sinking „„1 his tongu, j!r The last few issues of The Etude have presented As to his advantages, they are: meal accuracy is of important that °nIy tech' the other hand in soml'mSty f“milV Groups; hut on ward and backward. policeman. Mr. Pirani has seen the dangers ti ,■ Jr several short contributions dealing with the teaching of 1. Enthusiasm, which unquestionably is very strong, jjeed sympathetic stimulus to tWPlC defiance of the law mluffatea fflcr.G has hecn such an open destine use of the alcohol drug to tl.- nmous . . 6. Let fully extended arms swing loosely in shoulder- \nutvnvy Ul*un me pure young musicians. He icas brought up in b,„,is u ) , "('J adult beginners. The problem certainly is an interesting as it makes him undertake piano study at his age. themselves, and if they are taught In T • CXpress “if"?,/1’ ^me law just, for --the sakepaV of" joints, forward and backward, gradually increasing one and worthy of a more detailed study. Adult be¬ 2. More developed intelligence: a most appreciable several means which they can usl to Lr/ I P'a,1° the 5" ''«»» actually exists *>*« &<7®re real length of swing till they describe a whole circle over ginners are by no means an exceptional occurrence; and advantage, since it is a commonly admitted fact that can have no excuse afterwa J I , P *° that end they the head. dull and uninteresting. Then P'aying beinS' UnSms fnfuTa ,e,t? n°Jj ,t Z:\rf. '"r many of them have been known to make very good and three-fourths of all technic has its seat in the brains. ™ ™ to derive ample benefit from their late efforts. In our 7. With arms hanging loosely, rotate the hands so from their own natures they W mUSt be that l™-"unM°mvZi StoZgfdthZZ now h" "! ,hr trrriWr drugs ,ch*rk In what exact measure the advantages counterbalance now pass under the name of berernm * ir,- •' , * own career as piano teacher, we have met with quite a as to describe a half-circle with thumbs, increasing speed For, primarily, if the artist is t . '?othl”g to give out. Pirani lias attention,"a u ■ ,ct ta evade the hiw Mr Of a young musician who was made 'stone blind n "'t the handicap, we do not mean to state; undoubtedly, it must himself have some tsth J' be mterestmS at all, he drinking wood alcohol, which hr was t i, few cases, and our experience with them has enabled u= is an invaluable thing to have an early start and to have till one cannot distinguish the different fingers. All these exercises are to be practiced until they When he is only a re7r J C “ge bring, even ^ pure Hootch whisky just smuggled in /rom the ^ to work out a special method which, provided that minor plenty of time to let one’s technic ripen by years of can be performed with suppleness and gracefulness. It details are arranged so as to suit each student’s indi¬ growth; but .still the adult’s chances of becoming an become a precious diamond. Young musidans. admire vidual abilities, will prove much more efficient than any average good pianist and a sound musician are pretty is understood that the amount of practicing depends -on the degree of stiffness, resulting from manual labor, it constantly re-live and Z out *° Pla.v. make fnLST7neS\0f thC h°SteSS> who ,llrough some , agjc .’ordinary course of beginner’s training. fair and worth taking. formula (much money!) has succeeded in producim L that has to be overcome. Sports, athletics and calis¬ audience. The end of h all 7 tW 6 attention of his Indeed, common- sense tells us that there can be no enchanted stuff for the benefit of her deceived gues s ? thenics, intelligently understood, all help to attain loose¬ fully a pianist plays the notes which ”° ma“er how ski]I- prove of intAtr»r» and women, would ap~ ’ . question of using the same method for both a child be¬ Bringing Back the Flexibility of Youth Young musicians (particularly if they are good-1,„ L ness of movements. can put into his music var etv nf r u Wr,,tten- he meant to sayThaTT6 drunk«-e-. If he on* ginner and an adult one. To an adult, one can tell a As to the way of combating his handicap and deriv¬ Now the student is ready for exercises at the key¬ contrasts of light and shade in °f rhythm’ Possible aid I the enforcement of this law is im- S} are rP0Sed n0t 0nly t0 enliven the^sen ' I j ^hundred and more things which will be a mighty help to him, and which would not at all impress a child’s intel- ing profit from his advantage, we make, offhand, the board. Those are to be practiced without any notes. his playing will remain dull and mono? % °f *7 SOUnd' “forbidden fajf tke charm of following remarks: and will never uplift his hearers ZtZ°Zn™°to lister< to l| lect; whereas, many things which will help a child to Do not bother the student with notes now; let him con¬ communion with himself the h,ghest artistic chus than was die ca “ te ore T d 7°^ '° ,BaC' understand would sound “childish-like” to a grown-up. 1. The physical handicap can be neutralized only to centrate upon sounds and the way to produce ‘them. Sy?p?tky with the well-known° educatorC 3re “ To an adult, one can tell the "why” of things, whereas a certain extent by special physical exercises intelligently In general, adult beginners know how to read notes. in many cases one cannot do the same to a child, and has used. These we describe in the first part of this article. We have not met with a single case where the notes so-called StcS-V0 T **“ “ of ^ ^ to confine oneself to the “how.” The question of “re- 2. An excellent way to take advantage and make an had to be taught. When applying for lessons, they all 1 m?,”'” M'' ‘ Article f laxation” especially is an invaluable aid to adults and ally of the student’s more developed intelligence is to told much the same story; “I have studied music when m>Z “ °f “* ‘tint in art of the youn^musIcfanTs611) Cnminal : l>llt a,so >i* ’ will be readily grasped by them. Of course, as said arrange the study material so as to train not only his young, but I liked baseball better so I quit taking music. have witnessed young singers ^gerouslv unpaired. I f above, minor details and the way of presenting them technical side but also give him from the very start Now, whenever I hear somebody playing, I feel sorry, f %hatis mcant by chiaroscuro? having indulged in those , and P'amsts, who, af er to the student will have to be different according to each a knowledge of harmony, modulation, transposition, and having a few leisure hours I’d like to try what 4-' HoZ d7d SS*? affe.Ct P,a^r control of their voice or theR losl ‘"tally t ,e individual. This is where the teacher’s own initiative musical forms, interpretation, esthetics, and so forth. I can do yet.” So there is no necessity to Pupil? schetuky seek to "inspire" a small Hcentiousness l3 efforts to do justice 7The fing?rs an Ilke the “writing on they themselves have inflicted un „ technic, some rule of harmony, and some detail of inter¬ lots of time and trouble later on. claim her performance yo,,n« ^ l*r«- So the present article will present only the general out¬ pretation or appreciation. a’-tists, in particular thofe*oEZhZ/Sh°7d PUt yo, First, repeat the subject of "relaxation,” as applied to nocent-looking “orange i„;l ,,angr"s ,urkmg behind in- musician not only losefu f ln th‘s way the followed in most any case of adult-beginner. The rest back some of that elasticity and flexibility one has lost reputation. * !°SeS her mora> but also her artistil playing. Show him that his hand, as it lay relaxed on a “An unerring taste in noetrv is ti, ouflaged alcoholic beverage28 and other similarly cam- is left to the teacher. Yet, we know of one work deal¬ through years of neglect. The less manual labor has table, must now lie on the keys in much the same way. ”**• °< *«* ”sc“' before table or mixed in the’ ~ered at soclaI gatherings ing with this particular teaching problem, which we can been done the better. Women have a decided advantage who make themselves themapo°stlet,,e m"s>cian safely and emphatically recommend to teachers and stu¬ in this point. Men, in general, are not very bad off Show him how the weight of his hand is sufficient to press down several keys. Then show him how the whole f 'n7-0f hreakil’g their coumn7.° ,hat “itlnoc®'>‘ dents alike; it is entitled: "Adult Beginner’s Book; Sug¬ either, since the greatest percentage of adult beginners errors of ((if (h,J greatest) commit of all disgraceful effects of S,- "? lf* m ‘be face gestive Studies for Music Lovers,” by Caroline T- Nor- are intellectual workers who have done very little manual weight of his hand and arm can be concentrated in one songs; that is, in the bme trldv 7‘VCr found in folk- some advantages obtained through thfs I 7 C°U'd namc cross. This is, to our knowledge, the best and most com¬ labor. In case much hard labor with the hands has finger, and how it can be shifted from one finger to plete book on the subject, and its value cannot be over¬ been done, the prospects are almost hopeless. Still, another. Show him again, how a weighed-down key Tta ”«% **»*. ,o,fc*K- .. estimated. For the student, it is a handy source of in¬ we have known of one miner who, in a few years, was makes a much more beautiful tone than a struck-dozm * * ^ Raoul L at area. sequently ie7"f thpW^-educated People, and con formation to be used in the teacher’s absence; for the able to take up a position as pianist in a third-rank one. Play a chord with relaxed, graceful movements, teacher it is a most helpful guide containing in concise movie theatre, which in his case was a noticeable achieve¬ and then play the same chord with rigid wrist and ‘The open air k a a scoundrels, is now accertedhfU^ Si^'ety- {° ruffians Shaf thCy fi”d ^ fcSife/ the implicated ? form all the information he will have to impart to his ment. stiffened fingers. Let him hear the difference; and point out that all the previous exercises will help him to ob¬ pupil, and also excellent suggestions as to what order to Practicing Away from the Piano away their brains!” y 111 ^eir mouth to steal adopt in presenting the lessons. As a matter of fact, the tain a beautiful tone. (The A. B. B. gives a very good All of these preliminary exercises are to be practiced teacher will alter many details to suit the student’s par¬ description of the arm and finger touch and the way to away from the piano. ticular needs; he will split lessons in two or more sec¬ produce them, in lesson I under the heading “Touch,”) and spirit clean ?’’-ErneSt Aus7n. d k<*P hra mind First of all, the student should have a clear under¬ tions; he will occasionally assign a different place to a Now make a start with the following series of exer- Another Way With Arpeggios standing and feeling of relaxation. The importance of lesson; and he will give additional exercises and prac¬ this cannot be overestimated, the more so because an ticing material (the last chapter of the book contains By Eutoka Helh'er Nickelsen adult beginner generally makes a resolution to “go 1. Noiselessly press down one key to give a firm sup¬ pla?7A7heeriCs“ 7Khr r0t h°I>C t0 attain a «- a list from which he can freely choose) ; but on the whole standards and stvfcs He mi lr”,tatlon of European to it,” heart and soul, and to put all his energy in it. port to the weight of the hand and arm; then swing the book is an invaluable guide and it deserves to be another finger up and down on its corresponding key, •hal « "rSiSo,r°” ,h* k,1"’“rd> “» «*. This usually makes him strain all his muscles and warmly praised and widely used. rigidity ensues. To avoid this, it is all-important that he making as round a tone as possible, and being careful ■* {£?£» “WrtiW Pi each group. to make the succession of notes rhythmical. The finger be found crude for a'few deMcte ” '3 eXpreSsion ma.v Handicaps should know the advantages and necessity of relaxation. Explain to him how useless it is to spend energy on supporting the hand must be at a distance of at least Although the exercises given in this article are more —Charles Wakefield Cabman. ordinary “fingerwork,” since most of that kind of playing two fingers from the one playing. Practice all of the gsrtfss; & of a preparatory nature, we will occasionally refer to can be done by mere weight of hand and fingers. Even fingers in that way. such chapters in the “Adult Beginner’s Book” where indispensable*t^mt d-as.sic mastcrs are absolutely an ordinary f can be produced without wasting energy; 2. Do the same exercise without any supporting finger, .i« ”»'■ p- the same point of technic is treated. When doing so and all the amount of energy thus saved and stored will the hand poised above the keyboard. (See A. B. B. Les¬ we will use the abbreviation “A. B. B.” be none too much to be used in the rendition of certain son I: Finger Exercise—also Lesson II: Exercise No. 2.) r„orau,dtScs :^hzT^TtZLmy When comparing the chances of adult-beginners with works of majestic dimensions and overwhelming effect. 3. Strike single notes (each one previously mentally which is an expression of SthCe i!*^ madc children’s, the outstanding consideration which immedi¬ It is as necessary for us tn /n !t appears. When the principle of relaxation is deeply impressed determined) with a movement of the hand and forearm. ately presents itself to our mind is this. We have to on his mind and thoroughly understood, pass on to the In this, the wrist-springs must get busy and act as shock- reckon with: * *• “ k-» »d ■■ t 8 following movements: absorbers. Each note must ba detached from, the next Sergei Koussevitzky. 'T-rir^otThf'- •SLa,_of the arpeggio as a "whole 1. A double handicap. 1. Open the hand and fully extend fingers—then snap one, and must be played with a graceful, swan-like 2. A double advantage. fingertops against palm. Repeat, first slowly, and grad¬ movement of the forearm. Be not afraid to exaggerate. r each n (See A. B. B. Lesson I: “Arm Touch,” and Lesson IX m composition5. Music ^eitfl?? th thC baS'C e,emenf Ex. Z etc. °t the arpeggio a The double handicap results from: ually increase speed. racn note o'f the a3egg-° as a barter 7 on page 33.) theme superimposed on anmher ^ °r 1. Loss of time—running often into years. 2. Put the ten fingertops all together; then, keeping definite plan; neither can jf ^ V ^ mUst not Iack a 4. In the same way, play double notes, chords, and 2. Loss of physical requirements: elasticity, flexibility, tops of corresponding fingers together, slowly open ideas. Beethoven’s construcfiln^^ITr’- WIth Shifting hands and extend fingers till palms join. Be careful finally octaves. Mind to have all the notes similar in and so on. Impressionism without ZZf t definite and clear. U.--— not to make knuckle-joints crack. intensity, value, and sound. (See A. B. B. Lesson I; !»<»l public. mZN I. T Hutches the The loss of time is partially made up xor by his en¬ 3. Put relaxed arm on a table, palms down, fingers “Chord Exercise,” “Octave Exercise”—also Lesson II: >'■ rtntple in cn,trLZ •" the public thusiasm and eagerness to make good. The loss of slightly curved. With a swinging movement, raise one Exercises Nos. 3, 4 and 5.) Tint E™e „as ‘•disdpvePed..'!^"^1."^11 Spri"*S” physical requirements can be counterbalanced to a certain finger as high as is possible without straining, and then 5. Practice Exercises 3 and 4 with pedal. Have the extent by the application of the principles of modern let it fall down in its initial position. Repeat many pedal down immediately after each note or chord, and ».=H«c ntcuiup natural technic, consisting, not of adaptation of fingers times and do each finger successively. Do extra exercise up while playing the next one, thus making a perfect and hands to piano playing, but of adaptatation of piano with thumb. legato. Draw the student’s attention to the resulting technic to the natural conformation of arms, hands and change of tone. (See A. B. B. Lesson X: “Pedal.”) fingers. On this principle are based the exercises we 4. Let relaxed hand swing loosely in wrist joint, first have devised for adults and which make part of this up and down, then from left to right. 6. Make same movements as the one* described in No. 7 of the prelimiary exercises, thus obtaining a article. 5. With arms hanging loosely along the body, shrug Page 738 NOVEMBER 192b THE ETLTje NOVEMBER 192b Page 7S9 IZ^-f ®,egin sl0wly and rather exaggerating the in- THE ETUDE tens'ty ot the movements-then gradually increase speed How Ought Bach to be Played ? t.nd decrease intensity of movements till you obtain a light tremolo Do this on an octave-span; next take a By Walter Dahms Keyboard Motions that Insure Better Piano Playing sixth, or fifth, or third and finally a second. Play this last interval with thumb and third or thumb and fourth . Novices in the art of music are usually rather perplexed clearly and distinctly, on our modern pianofortes, with By the Well-Known American Pianist fingers but make the same movements as for the octave- m the presence of Bach’s pianoforte compositions. If tremolo—this is called the “hand-trill” and is more their metallic resonance, and with their volume of one, honest, they will readily admit they do not quite know how DAI BUELL effective and easier than the finger-trill. When familiar the polyphony of Bach’s music, than with Bach'- in tru- o deal with them. The notion is widely spread that with these movements, the student is ready for light fing¬ ments and their wooden resonance! The pedal nia be forms This added to successful experience in teaching, en¬ each s pianoforte compositions are merely intended as a used only sparingly, and the touch must lie care fully ables her to bring0 a fresh note to The Etude m such an er exercises combined with hand-progression. The best IEditob's Note.—Miss Dai Buell was born at Fort Wayne article as the following. The Etude is continually seek¬ suitable study for one’s “action,” as a means for develop¬ adapted to the character and content of each part. Indiana Her best-known teachers in pianoforte are Carl ♦ Lo-i/iom hpr art She has plcii/cd extensively in her adapted for this purpose are two-, three-, four- and five- Stasneu, Carl Baermann and Antoinette Senmoxoska. She ing to present new ideas from neie writers. Many new names ing independence of fingers and hands. This opinion is native country, often 'characterising herflreci^Xy)i^G Vf$_ will appear in our columns this year.] finger exercises, such as following examples Another important though, now-a-days, much negl ted also studied theory at the Hew England Conservatory. As interesting and significant notes upon the works she pei- supported, moreover, by the way pianists in their concerts item in Bach-playing is that his piano compositions ! ne an American trained pianist she created a sensation tn her are in the habit of playing. Bach. It would often seem as to be played chiefly in the so-called non-legato, a yfe content. The plane of our total adventure is established I therS ‘,heyr madc; a spe.ciaIty of his works for beating representing, between the legato and the staccato, a v. I|. Even in this age when there is so much good piano with the attack, and—all is relative. nnr or sPeed. Their audiences, however, feel bored ; determined mode of striking the keys. Now. a gem m- playing and when pianistic technic seems to be well-de¬ o can they help it. For music, devoid of expression, non-legato will render practically impossible an exagl veloped, generally, there appears now and then one whose Deliberate Design with nothing but a tiring rhythmic and dynamic uni- gerated speed. The player is thus enabled lo correct lirn-l performance seems absolutely effortless. Such pianism But, you say, such deliberate design eliminates inspira¬ ormity to boast of, enlivened at rare intervals onlv by self most efficiently by means of the non-legato ted , d seems to radiate only joy in the release of the living tion. Ah, no! We have found that inspiration during aZitinnT8 eCt,' !S ’ndeed incapabIe nf riveting the Nor should the tempi given in the modern editions ’«■ beauties bound behind the hieroglyphics on the printed performance is hardly a success. An inspirational mo¬ COUW not f°Tlfny 7th of tim£/ Even Bach’s music allowed to interfere. Bach himself has given but a f, v. page. This free joyousness in turn permeates the audi¬ ment is apt to invite contemplation and therefore inter¬ rnrn 1e resu^ ,s the belief that his pianoforte The others have been added at a later date and quite at i-i ence, and the resultant attitude is the simple joining of rupt the dramatic whole’ in the accompanying desire to compositions are destitute of "melody,” some few well- hands by artist and audience in front of the magically known pieces excepted, where the melody catches the ear. trarilv. It is as well to bear in mind that terms of tern: .1 bask in the new beauties of the passage. It is only such as adagio, andante, presto, allegro represent i ! . present pictures. when such a moment occurs in the studio that it is of of B, Same Pcrson- however, who fails to be aware absolute, no definite values. They arc merely meant , Is this ideal situation due largely to the performer’s greatest value. Then one can indulge that contemplative greatestvar!etn0f°frte melodies' arc astonished to find the indicate the character of the tempo, and there are -I consideration of all keyboard possibilities? We think desire and decide how the effect was produced, and so voca l, !’ °r 7prf S,V.e and genuine melodies in his allegros as there arc fast adagios. The first thing t.. t. so! For how can the divine conception of a vital inter¬ fit it into the complete mosaic. An inspirational mo¬ Sent 7 m Bf,Ch r bian°forte composer so vastly should always be to comprehend the character of the pie. pretation find its full realization if there is the least ment then becomes of greatest influence; for it alters the “Passion of T\, 7 .rom Bach ‘he author of the and to find the melody. The tempo will follow natural) mental handicap or physical limitation? whole work and, by absorption, it is so associated in the ought one to ' ft™ °r t,K "B Mass?” Or ugnt one to say that singers who have a text tn sinn- Every Little Movement sub-conscious with the master-work that one need only readreVfL110, d<”’h,‘ S’ l',Vely pieccs h-v Bach whirl, recall the mood of that moment of light and it is at once know better than the pianist how to bring out'the mek, equ re a fast tempo. When I said that Bach ought i I The title of the old popular song, “Every Little Move- reproduced before one's audience. Then only does an be played slower, than is usual, I wished to sat : Slower ii ■ment Has a Meaning All Its Own,” comes to mind when Character. The most important th’ng. I,. inspirational moment become of greatest import. Now what is chiefly amiss is that Bach’s wort* r speaking to pupils on such subjects as: Now that the importance of an intensity-plan for a mostly played much too fast. Although we lr itg u mSVS Wh'" tHe Player's rerePtivity for the beauty n, (a) Conservation of Energy. composition has been discussed, it might be well to make a period of speed and “records,” the music of the classic “1,7 .7'-- has succeeded in finding it i„ E (b) Forming of the hand in the position of the figure play Bach ^odies- wl]1 "ot he long i„ I'anfing how a few citations of the Motions of Control. play Bach as he ought to be played. , to be executed. We have said that so much depends on Attack, that the (c) Mapping out whole compositions according to r- plane of our flight may be established at once. “Know vJrhr'J™’ whose Personality and compositions reveal graphic outlines. thyself!" So many young musicians are fooling them¬ „prlcP * f , “Ulwltnsranamg the improve- (d) Parallel motion to insure speed and accuracy. az selves. They think that they have all the power of a tive frenbio u , 7 7Ity > the contemporary inven- sachSwasinthc Conservation of energy should be one of the most im¬ “Boanerges of the keyboard,” and begin a work with a portant studies of the aspirant to the concert stage. How brilliance that they cannot sustain. They force their deplorable to be compelled to excuse slovenly perform¬ tone to such a point that at the middle no greater volume ance at the end of a program with the phrase—“Oh, well grmancflnJ6 ^'^^oi JK can be summoned and the interpretation must conform —lie is probably tired 1” Yet, even at the recitals of well to the physical limitations. If only they would say to Bach invariably in\ "ZteusTy mT^IV'’3' '’C P'ayed known artists, such remarks are overheard. The solu¬ themselves before the attack, “Now, I have only a cer¬ was thus evidently awa e oTwhar f3 '7".°" Hc tion is. of course, the distribution of powers and the tain sweep of power, and because I must employ a tre¬ And he knew how to W 0UTthe m t a80"1'3' in Badl' control of relaxation. There are many opportunities to mendous ‘working up’ in this composition, I must restrain .. The key to Bach’s th ”1 "let down" during a performance, without in any way. tions m two and three narts ” Th pia 10. ls lhc Invcn- governing it by one’s physical limitations. In fact, the this beginning.” gave to this work runs as fv!n e™!‘It,ewhich Bad, "But how?" you say. All is so easy when one law is same physical limitations were present at the time of the kept in mind. The degree of speed with which a key is guide, by which lovers of the piano5butStra'Shtf0rWard mental conception of the composition; and it is often those eager to learn, are shown^ H ‘ m°re especial,y DAI BUBLL depressed controls the intensity of the tone. And since only necessary to follow the lines of least resistance in to play with clear intonation in t Car manner- not only we are beginning our citations with the building up of a the recreation of the impulse of the creator. further advanced, to m^tWV*’ but aIso- "’hen that case the reaction comes, not in tone but in the mo¬ composition instead of—as is so often dramatically de¬ jSS* “ tzszzss -i ly and well. At the same time °bb lgato Parts correct- Breathing and Piano Playing ments of silence which follow. manded—allowing it to begin at a height and drop, we must first talk of keyboard contact. anti others. (An equivalent of the first one of the ,he for“r »<» pi«« AS.i inventions, but also to develop the same ‘° g0od Breathing plays a great part in the inception and flow above exercises is to be found in A. B. B Lesson IX however to obtain a cantabile tv,e nT T-’ ab°'V a" of a musical phrase, just as it does in speech where the Reserve Power acquiring a strong foretaste of the f P.layinf?’ Asides Pianissimo Effects mZieZ°flhat Bam’S P!an° mUsic is senerallv played length of phrase line is largely moulded by the dia¬ Reserve power, so synonymous with "Conservation of All players of fhe pSorte wboTP°S,ti0n '’ phragm action. The laws of breathing would not per¬ Energy," and so necessary if the proper distribution and A beautiful pianissimo, so rich in the quality that car¬ relish Bach, may be Advised to V® ,3S ,yet faiIed ‘o mit a phrase of exorbitant length to exist in the mind balance of a performance are to obtain, must be sub¬ ries, is an enviable possession, and not so difficult to ac¬ Th“ fatter" kb ty.a-sligbt "br™th-taking” of theorist. si ~ ttsz&SSs*. Z course using a moderate measure - “ThT r f°1Iowing of the composer. It must terminate according to capac- consciously contributory ; and it is comforting to reflect quire if that one law is kept in mind. With the cushions Parts, Nos. 1, 3, 4, 6, 7, 10 1 ,7 tiT10"5 in 2 itv and inhalation and exhalation. that everything is relative and that at no moment is it resting alertly on the keys, it is helpful to feel that the supposed to acquire the same’force ^ ,eft hand is Utc weight of the arm is almost held off the keyboard, Once this far advanced, the student, may be allowed While not invariable, this law of phrasing is helpful if necessary to force any power, so completely is the effect right, for they both plav melodv = j pr“s,on as the to use notes. As we remarked previously, most all adult one would give to a composition that life of which the of one gradation of force and speed dependent either on deliberately, with the elbows held slightly from the body. his works, afford the best insight into the SH Then some of the “LitVprelufe ’7 a f"0th,nS but that, The cushion presses the key with the desired quality add beginners know their musical theory; a rapid revision to composer dreamed, and if the work is to speak eloquently preceding passages or on the ones to follow. Frcm the ventions in 3 parts, Nos. 3, 6, 7 11 i2A1c 7’ards' thc In- intensity held in mind, and the pressure from the arch is freshen the memory is usually sufficient. (Lesson I in cannot pjsns|ly in cur to its hearers. The breath is held when a long exciting first swell to the final climax the degrees of emotional in¬ preludes and fugues from the ’“Well , ',a"y’SeveraI musical moment is at hand and we float on the serene tensity of tone should fall in direct proportion to their quite enough to produce this nicely conceived tonal all the essenhals T™ comPlete recapitulation of chord.” Whoever has made with aTu”'tempered Ca¬ plane of atmospheric calm with long unconscious respira¬ attack. visable „ muS,cal notation ) It is also ad- importance in the dramatic scheme of things. Hence it tion and love, a study of only a few T -°Unt °f atten" tion. One can detect different breathing in response to. follows that the resultant revelation of the composer’s Of course this is only one way to produce the piafi- nJft- A i i i s°n,7hll,PP Emanuel tells us that Bach was for example, is able to feel the wistf 7en,tl0ns’ and who, every musical emotion; and breathing in relation to message can be just as eloquent and find as complete a issimo attack-tone; but it is one which insures a wonder¬ ful legato and introspective quality, if the cushions do Of No. 7. „i„ H.„ ,0n8'al phrase line should, therefore, be a study of the musician. response in the soul of the listener, even if on a smaller St* ajs sssftsarvi: & for all his piano playing. As a last T™ advanta^ not leave the keys but allow the finger to rise with the The Laws of Art canvas, as the performance of greater range. hand ought to “declaim” Z p ‘ ^ How often, indeed, have we found that fact proven in natural rebound of the key. It is almost trite to say that the laws of life and The full-arm attack can be controlled to a surprising words. ’ as 11 the notes were two interpretations by different artists. One whose ani¬ science arc the laws of art, but it is sometimes necessary his exercises and preludes in all mainr anl houId, P1^ mal force is very great, but who has not formed a definite degree, if the descending arm is aided by a high wrist to recall that fact when working out an interpretation. conception of the work in hand, may have followed the which falls (after the cushion contact) slowly or rapidly, Take, for iiistance, the study of climax in music. How moment’s impulse and released a reading of the notes according to the intensity desired. This .touch is far So Easy! often does one see a youthful virtuoso working up a SHSSSSSS which did not allow the import of the composition to preferable to the former, if the following tones of the figure to a great height indeed, giving to the hearer a “register;” perhaps only because his phrase-climaxes phrase are to be sung legato by use of keyboard leverage. By Giulio di Conti distinct thrill, only to offend in his youthful ardor by were as great as his final or composition-climax. He had, This implies the using of the contact of one finger on a keeping on at that great height apparently indefinitely— in a word, used all of his powers at all times instead of depressed key with full-arm weight as a preparation and do?* lib” C“y *° “’”t *h*' follow has only to establish the impression of ranting! Would that aid in control for following tones, the hand being turned he had followed the line of least resistance, realizing that employing deliberate restraint. On the other hand, a more sensitive artist, with per¬ and the fingers being lifted to allow the hand to fall 21, 1874. DUring,5opera! l1,UP°n., this work. limited range, but with more intelligent gradations. Did fore invaluable in conquering nervousness. Here the followed that tendency to relax his pitch, physically ggssssfsas ‘“mutes wnue some fresh insoira- not, therefore, the latter artist, though not so physically gradation of arm-weight is not altered as in the first ex¬ - bI t,eI,TTE,to** boSVo:;;^ ,ess and musically, he would in most instances, have achieved 111 developed, give a more powerful reading than the former, ample, but the full arm rests on the finger tip through the ideal in the reaction of that which the composer “One cannot help insisting that extra a ,h;’loSibl011 *” ““ ful devotion to one work VHk°“N® Pa'“ for fa>th- because of his intelligent distribution of force and the a loose wrist, and if the speed of depression of the key spell extra music. Vo.umf ceived and begun during his soiourn - 7,6 was c°«- had in mind. . remains constant, that separate individuality which per¬ There seem to be no examples where, m the progress implication of that which he did not employ ? ought not to be, the aim of high purpose.” ar -ss - a and this opera, founded on the career f 1862; It does not follow that if the more physically power¬ sists in each finger is eliminated and the tones may be Roman Emperor, was not quite fl hlS rutM«s of a composition, to go against nature is necessary. —Franceso Berger. ful pianist were to employ his powers as intelligently matched as in a string of pearls. ^months of his which -ft*- J-J. Sometimes, in a brilliant display piece, the composer re¬ as the more sensitive artist of lesser strength, one would So much for the conservation of energy as an inter¬ quires the interpreter to drive himself to an almost super¬ receive a more thrilling revelation of the composition's pretative “balance-staff.” human persistence at the end of a composition; but in Page 71,0 NOVEMBER NOVEMBER 19U Page 7U Anticipation THE ETUDE How universally employed and how carelessly up a first Fugue of Bach. In contrapuntal playing it executed"^in^r ha"d ” the P°sitio” of to be reckoned with! The truly great pianists of all times, sometimes very difficult for a pupil to develop the ability L th h ( ng passaees) is an important point whether they so termed it or not, habitually practiced it; which equals that independently uttered finish which the V/hat Studies Shall I Use? to more rVel ahiment C'7ty a"d speed' and even tends and when we pause to think, how indeed could there have individual members of an orchestra contribute to the 1 W ’"eraory PlayU]g- This means the physi- been endurance without it? ensemble of voices. The pianist must not only lie thj The relaxed, hand and arm rests on the fifth finger conductor bat the separate players; and a suggestive idea By HARRIETTE BROWER with the thumb up. Immediately on placing the hand in which holds the mirror to the separate line of musical Do you not think this is a more satisfactory manner -U'dt playmg position, the forearm muscles are twisted, thought is not without its value. We find that in fugue fingers are somewhat extended, so they will not hit n y by untwisting and twisting these muscles can the A young teacher, but recently entering the profession, of studying etudes than the usual one of ambling playing this picturing of the tonal rise and fall not only other keys. state of being “muscle bound” be avoided. Of course, assists in memorizing but also makes for that final desires advice of the kind and number of etudes to through book after hook of them, and not bringing c°i“te“ *»th' - #- a ter the good habit is formed, this combination of mo¬ coordination. give her pupils. The subject of etude-giving evidently Beginning Etudes any one up to concert pitch? And also, is it not better oppresses her, for she has tabulated a list of those she “Efficiency” has been much tions is so rapid as to be practically imperceptible, but Here, is a “graphic” of Bach’s Fugue in B-flat from Granted, then, the preparatory principles have been to acquire technic constantly through scales, trills, considers most necessary and worth while, and she is discussed; but it is only sel¬ the “Well Tempered C lavi- 1 carefully taught and reasonably assimilated, the student chords, octaves and arpeggios, thus building up an all- dom that one sees a pianist’s I anxious to know whether she ought to use the large chord.” is now prepared to apply them to an etude. For this around mechanism which will serve you to master ad¬ technical equipment so free I books entire, or make selections from them. See accompanying ex¬ purpose it is well to use the first four studies of Duver¬ from “lost motion” that one / The list she sends includes: Behrens, Op. 61; Bertini- vancing repertoire? ample D. noy, Op. 120. Etude No. 1 presents items of scale and is conscious of each motion I Germer; Burgmtiller, Op. 100; Clementi, “Gradus;” passage figures, chords in marcato and legato, phrasing counting. A teacher or I To get the full import, The Crux of the Matter Cramer-Biilow; Czerny-Germer; Duvernoy, Op. 120; and single notes toi be played with rotary arm move¬ coach should be an “effi- I compare this map with the Heller, Selected Studies, and Kohler, Op. 300, two ment. Put this little etude of two pages before a stu¬ The question resolves itself into this: If piano tCch- cidncy expert” who surveys | respective passages illus¬ books. The teacher adds, she is a novice in piano dent, or a teacher of years of experience, and if neither nic must be learned from etudes, then the student may the machinery so critically 1 trated, and note the ac u- teaching, and for this reason seeks guidance in selecting has studied principles of arm and finger movements, the need to go through' a great many, yet even then he may that the unnecessary move¬ racy of the tonal rise ;.ud material. results will be stiff, angular and ineffective. On the not attain the desired results. If, -on the other hand, ments may be pointed out fall. The vertical lines are, 1 A desire to help the young teacher lay uppermost in other hand, the student properly prepared will find no technic is studied for itself, outside of etudes and pieces, and the student encouraged - of course, bar-lines; and the - LINE PICTURE OF CRAMER'S ETUDE XIII the answer sent her. Be not troubled about how many , trouble in applying precepts already learned and in many etudes can be eliminated. Indeed, only such etudes first two lines of each st. ff and how difficult etudes’ to give the student, we making the etude effective and meaningful. as illustrate fundamental forms are absolutely neces¬ atthudegwhen^orking'out'a^ecl^ffica/difficulty “ CritiCa' are indicated at the left counselled. Think first and always of the principles And lastly, as the Efficiency Expert, leaving his field! The second Duvernoy etude is a little more advanced sary. «« s “K2 an sis c: to be taught and illustrated. These are of the first im¬ than the first, in that the two hands are almost equally portance. Etudes are sometimes like medicine, only to Of the making of etudes there is no end. Mr. Hune- active. Here rotary arm movements are required for ker, in one of his books, enumerates them by the ZStT* r «■*» *..«™ »Pp£ be administered in special cases and for particular disor¬ single notes with prepared fingers, phrasing movements, ders. When the player understands principles of tone- hundreds. One would need several earthly lives to go prootj oSoT^r, ot its complete1:1" possession.so "”h» s“"> & - accurate finger action and the like. In slower tempo, through them all- And to what end? Is not repertoire production, weight and relaxation, many etudes are a the etude can be well grasped by a young student who more to the student than masses of etudes? weariness to the flesh and a waste of time. And time has learned the fundamentals. Older ones, with more rideTzvtssr,le “■»(•- s& is too precious to be wasted. How much better to put experience, can work up the etude to the required metro¬ possible for one mental im¬ r his shoulder and sees time on repertoire and have something to show for it Opinions of Artists and Teachers pulse to prompt the entire nome speed. gear or so that could be di- in the end. motion-outline, while the It will be well to follow the second etude with the What do some of the present-day artists think on pensed with and so increas. Now the principles which underlie good piano playing execution of the individual fourth and thus gain greater variety of material. Here this subject? Listen to Erno Dohnanyi, a master the speed or power of th< are not difficult to learn. They can be taught set simply notes gets to be (with prac¬ we have broken chord figures. Have the student ana¬ teacher, as well as a great pianist. He said to the factory, we recall another and directly that a child of six or seven years can under¬ tice) almost reflex. lyze these chords, an easy matter if he is trained to writer: unnecessary and ineffective stand, if they are presented in elementary form. Or An example would not be recognize chord formation. The first page is mainly “Much valuable time is often wasted on etudes. motion. they can be so presented as to meet the need of the ad¬ out of place, and the “Winter made up of tonic, sub-dominant and dominant chords; Best illustrated in the vanced player who has neglected this indispensable part Students seem to think the greater number of etudes Wind” Etude, by Chopin, the second uses a chain of dominant 7th chords and skips beginning with the they go through, the better players they will be; whereas profits at once by this of his musical education. their resolutions which are very interesting to follow 27th measure of the Chopin they would much better put their time on mastering method. Learn the Etude as out. At the outset the idea may be more quickly Berceuse and the finale of Fundamentals repertoire. What masses of etudes have been written! a whole. A pupil is usually grasped if the broken chord figures are played as solid tlie Massig of the Schumann Their name is legion. Von Billow edited a book of fifty surprised when requested not Before the student should attempt to play etudes such chords, very slowly and carefully. One thing the stu¬ Cramer Studies, selecting those he considered the best. to touch the first four meas¬ Fantasie, we find a tendency as those mentioned above, he should know the meaning dent is bound to learn from this etude—the correct ures until the main body of of the hand to inscribe an of Condition, and recognize when his arms and wrists fingering for the four-.voiced chord. Eternal vigilance But while the player is learning these, he could put in arc with each group of twr are stiff and when they are relaxed. To understand is often needed to see that the student always uses cor¬ the time to more advantage on pieces of value, which because dtheseleaarened; and especia)ly when told that it is quavers when, by keeping the condition of arm relaxation, raise the arm and rect fingers. would add just so much to his repertoire. the hand as nearly parallel t extend it on a line with the shoulder, the hand at the “Some of the etudes are nice, but we have grown to the keyboard(( a— possible, “ greater speed is evident same time hanging limp from the wrist. Now let the Advancing Steps away, in these days, from the older ways of study. arm fall at the side, of its own weight, quite .'imp and To go a step farther, take etudes One and Two of even flow of the'comptte whSe h^tcTmfa’matter of Sufa SSyaLr* 'SiTf;r--£ We do not need so many etudes, nor do we use them See accompanying example E relaxed. If it is in this condition, it will rchounVl from Czerny, Op. 299. These are in advance of the Duver¬ in the way a past generation did. If you speak of olavfh’ Sn;. 3nd °nly then’ the student should begin to the body a couple of times. Repeat this test fifteen noy in form and execution. As generally used, however, Uncertainty which always betrays itself 1' -u Chopin’s Etudes, that is another matter. Chopin Etudes or careless inaccuracy fades " ln ,lmid tone or twenty times daily. One must have the mental they are just “played through,” and the learner passes belong to the repertoire of every pianist; indeed, they concept of arm relaxation and sense the feel ad it. on to the next and the next. Not in this way will they allows the listener to sit back n ? 7 SUrety which are not etudes at all, but beautiful works of art. In iha‘ here at last is a Tone PiW 7* in the deling Exercise each arm equally, in this test. do the most good. To get the greatest benefit, work them one finds every form of technical problem neces¬ required. answer to the endurance A child who is attentive can be taught this senstrtion Etude is worked out on bi '; ' T sures- I{ the one s trusting sensibilities on the Sr"u ° ^7 not wreck them up to the highest speed of which.you.are capable. sary for building up .a virtuoso pianism. Of course, an effortless possession and 7 7“ the metnory » and condition and often acquires it with more ease Play the two as one etude, with the metronome at four they are not for the immature student; all who attempt trhii.manner that ideal, set out in a simple distribution nf n 6 • lnterPretation becomes JlTL? makes ssr e,ort «*■ than the older student steeped in old ideas of stiffness. beats to the measure and afterwards at two heats. them and hope to -master them, must be prepared After these have been mastered, take up Czerny, Op. through the practice of scales, chords, octaves and to 4 serve the Minimum Practice Plan. ’ Wes 1 The Next Steps 740, etudes 1 and 2, and treat them to the same process. /sh„SedtoWling’ PU.PPy-Iike exhibition of^nerS’that 1. ™ Mi“ B""'s Article The next steps are: Hand Formation and Finger In fact, all the eight etudes mentioned so far are to be Ex. A Master the Fundamentals First 2. How shall we devclob Cl'"9 /”ano P^mgf Action. These can best be explained and taught at a memorized, worked up to speed and played as edneert 3. How shall we JrolTde T" table, before going to the keyboard. It stands to reason pieces, with all necessary velocity and finish. Alfred Cortot, the French master, said: that if the learner can not get his hand in shape or fails Graphic Outline 4. What value has °liZf I’oweF’t “I do not approve of using a great many etudes: 5. How can the ‘■graphic outtij" Z"tert’rc,a,i°’'? to make correct finger movements while undistracted rather select passages from them, which present original studying a composition? be made useful in by tone and tune, he never will be able to do them when The Musical Study Problem problems, especially suited to one’s needs.” .1.. head Kcybolrd SZuS he has a dozen other things to think of. The attempt Sigismond Stojowski, in discussing this very subject,, to do the advanced things before one has taken the The problem of selecting Etudes, or remarked: necessary steps leading thereto, is the cause of much of musical studies, is an old one. It has been “I give very few etudes, and those I do use I admin¬ the poor piano playing we hear every day. One thing Infinite Pains and Genius discussed many times in this publication. ister in homeopathic doses. It is not necessary to play 2ft » «-*« carve,, at a time in the first stages insures true progress. Fur¬ Some teachers eschew Etudes entirely, just through a mass of etudes to become a good pianist. thermore, before attempting etudes, the student must Much necessary technic may be learned from the pieces By D- X. Kyrbi as others eschew exercises. On the whole, be able to play a scale correctly and smoothly, both themselves, though scales, arpeggios and other technical forward and backward. The ability to do so reverts we should say that the great majority of in S m” o; in pieces without preliminary practice?—without practice. usual nour and a half 0 of t,ko most desirable standard teaching- J S-i : , , S--. knowing anything about touches required for chords? The truth goes deeper. You speak when you play! other, is the Idea1 Here ' d :,to and from each Have you developed a thirst tt, No. The student is advised to study the “rotary arm” pic.ees\, studies and exercises. The list is Labor and love, and moments of sweet ease, arranged in 10 grades; and any Etude -f hro^’S^ CrlS’tale" x'in ^ in h W,h“ tHe l3St source of ktwled Wl'!, be <3uenek- movement at the table, learning to hold the hand and Pain, pity, trouble, care, perplexity— See accompanying example C. reader may procure this booklet upon postal hand has been exhausted? Are ge about the study fingers in shape for the desired position. The three All the abundant living of the day Thts suggestion has been of real help in taking down a task while there is yet WilIing to la fingers playing the chords should keep their shape when application. Flows through your fingers to the waiting keys, not mastered? Where do you cataW Wh'Ch you ha'' Then to the trembling wires—and thence to me!” J catalog yourself? the hand is lifted off the keys, while the two other Page 742 NOVEMBER 1924 J THE ETVde NOVEMBER 1924 Page 74-3 THE ETUDE Virtuosity Discounted in England A Two-Against-Three Exercise Virtuosity for virtuosity’s sake is ridiculed in Eng- By Francis Kendig How Famous Virtuosos Hypnotize Audiences S;,w'smpeups,a, from Mendelssohnian traditions. When Mendelssohn founded the Leipsig Con¬ servatory he surrounded himself with a coterie of conser- In spite of “reams of writing” and “tons of talk" By II. ERNEST HUNT vatives-extremists-to most of whom a pianist of the many musicians have never learned to play "two-agai^ Author of “A Manual of Hypnotism,” “Spirit and Music,” “Music Makers, etc. Liszt or Thalberg type was a curiosity more than an three” smoothly, even in slow tempo. It should be $o artist. Indeed it was very hard for Liszt to “live down” mastered that a pianist who encounters this com_ Ins pianist virtuoso reputation, even among those who on the platform. It increases the element of faith just bination can go right on without breaking either tempo Hypnosis is an extraordinarily interesting and inform¬ realized his greatness as a composer. The Mendelssohn as do the hundreds of glowing testimonials wrapped or rhythm. ing study, and it has been of vast use in the investigation cult had a great influence upon England oarticulirlv around the bottle of patent medicine. Where there is Here is a little exercise which has been, both to mv. of tile realm of mind as the telescopo has been in the through Mendelssohn’s English disciple, Sterndale Ben¬ no faith it is extremely probable that—as nearly two self and to my teacher-students, of more value than stellar universe and the microscope in the world of the nett. For years the splurging pianist who kicked up a thousand years ago in the case of the world’s greatest almost any piece in our repertoires. infinitely small. But just as the telescope and the micro¬ artist—there \vill be no mighty works. But if the artist tod veSraVnie kfboard’/egardless of its musical worth, scope need very expert handling, so the actual practice of already has a throng of expectant and faithful followers tod very little chance of meeting with success. Theory of the Rhythm I his form of virtuosity, which was so popular at one hypnotic experiment should be left to the medical expert he is fortunate, indeed. Before the exercise can be played smoothly a mental and the psychic researcher. It is not a safe subject in Music has extraordinary effects upon people, varying nrvnfit'T AfmenCa’ f ruPidIy bdng disP,aced here from the popular favor of the serious minded. understanding is all-important. Vs six is the smallest which to dabble; and it certainly ought not be used for in a remarkable way with the individual; it is not too number into which both two and three can be evenlv show purposes or for entertainment. Doctors on both much to say that in some cases the performer, with the divided, count six. sides of the Atlantic are using it for legitimate healing aid of the fine music he may be interpreting, lifts his The Origin of Creole Rhythms purposes and it is found to produce remarkable results; audience out of themselves and into the “seventh heavai.” Bernhard Hamblen 1 2 3 4 S 6 but its utility for the average person lies chiefly in the In such cases all the limitations of ordinary conscious- . store of information that it yields as to the workings By Joseph George Jacobson Bernhard Hamblen, whose songs have achieved ex¬ ness have been broken down, and they have been given ceptional success during recent years, was born in Yeovil Unless absolutely strict and even time is kept, the excr- of mind. a glimpse of their real untrammelled selves and a sug¬ c:se is of no value. This rhythm, with a note fayed While penetrating the little known jungle of the gestion of fine powers that in the long future of the nZvIf!! 6’ EngIand, July 14> 1877- general and 123456 The Conscious and the Subconscious Gmanas, South America, I stayed for a long time among musical education was received in England. For some race will be truly at the command of humanity. Then the indigenous Ukas. Their queen was named “Sabi-a- years he has lived in the United States, and is one of the on counts 1, 3, 4 and 5, equals f CTf . The teacher ' ' ' There are in all of us two departments of mind, termed when the music ceases and the wizard spell of the musi¬ Sani, wind., freely translated, means “She Knows a few men whose compositions have produced such a large conscious and subconscious. The former is the active cian is over, back they come once more to solid earth and revenue that he is enabled to devote all his time to writ- > > > department, the wide-awake part that looks after our creep again into their olden limitations—far less than River* the W* tribe ,ived on the Marowyne may clap 1 2 >3 4 5 6 while the student , ■River, the boundary between French and Dutch Guiana slrcryday affairs and gets in all the information of the fifty per cent, of their emotional possibilities. With world around. It is the male element of mind, looks While staying here for several months I found a little Ha-ifi’’ 777 S rc5e i- works are “His Almighty this they must then needs be content until some other harmonium, but nobody could play it. It had been fland and Sunshine m Rainbow Valley.” daps 1 2 3 4 5 6. The car will easilv rec after the business end of things, and is chiefly concerned wizard comes and sets them free, or else until they learn brought up the river years before; and the tribe called Thrmirff VS pre„vious successes may be numbered, “Smile ogmze the fundamental rhythm. This plan can lx- fol- with the intellectual side of life. It also displays an¬ something of the conditions by which they may attain f hrough Your Tears,” “There’s a Song in Mv Heart ” lowed out with groups of students. ‘ other male characteristic in acting as a protective in¬ their own freedom. An,!t%n°1Senmajer:, 1 t0’^ them 1 wouId PlaJ «t; and fluence over the other department, as well as doing all about four hundred men and women gathered around oSlTheywUrM->’’’7he Std1’ Sma11 Voice’” “O?Light no2ewhEe Playef ah0U!d UP 0,1 the tablc ‘wo eighth the instrument expecting “Aubiah,” or witchery. I played th® World, Remembrance,” "The Rolling Stone ” hand and *npIet eighths with the (e!ier the planning, directing, and controlling. Audiences “Carried Away” medleys of Chopin, Bach and others, and the audience Roses of Memory,” “The Silent Legion,” "Little Yokes E The subconscious department, however, lies behind the Many people will frankly tell us that they have been was extremely appreciative. S U’’g’“H I' Head,” “Oh Troubled Heart, Be scenes and gets very little notice and scarcely any thanks in a state of ecstasy, right out of themselves, that the The rhythm of these people is wonderful. The Ukas for all the work it docs; indeed, although it is always' visible world has been blotted out, that space has van¬ of The W ^ ^ Wm be f°Und “ this At the Piano are descendants of runaway slaves imported from Africa with us we know comparatively very little about it. It ished and time has lost its meaning. Others again will who brought with them their complex rhythms and * * right hapd- counting the entire line a.7ai mUS1'C 7 bad SUch an unusua»y wide PlaVhe j plays a more passive part in life, staying at home house¬ assert that they have been in a trance from which they the drum-music by which they transmit news and signals keeping, taking charge of all that the consciousness brings II. ERNEST HUNT had no desire to emerge. Others again are filled with Zfh ^large dist?nces-. When the negroes came in contact the reasons 'for the Tccet o°f teZ "very e f: 4 d- Then play the left hand 1 2 i 4 back from its travels; it tidies up, sorts out, and classi¬ exhiliration and emotion which sustains them for hours with the Spaniards in the West Indies, each went into happy to present them herewith. These ideas embody so fies all this information. It is the emotional partner sup¬ after the performance. Some again have their physical followed by taT fihrstfitwo111';6*!!0*? ^ lhc right hand, the subject though apparently asleep is really acutely sen¬ raptures over the music of the other; and thus were plying the female element of love to be the counterpart processes so stimulated that they come away from a con¬ te afl “adeenSet,PrinC^IeS th3t We recommend them Howly put them togethen °f ^ 'eft ha"d' aild ‘b«l sitive and keenly alive to things that might pass unnoticed “c readers who aspire to compose songs of the male wisdom. It is ever receptive, very obedient, cert feeling downright hungry, while others may be whth w T ‘°n\0f the Creole son£>s and dances of in his normal condition. The HaZ,hrVe T* f" °Yerdose °f bad impositions. chnf ° mU's the cask r that we all possess. When a person is hypnotized these est class, deriving its name from the African “Tangana” these two departments of mind, and the parts played in The exercise follows : W“! ^ obtained- limitations can be cast off completely at the suggestion disclosing of a range of what we may call super-normal iainWwJseadanad0 ’‘l f?Und its waX into Argentina, but heart^appear ^t^ .respo^ive 2 sh^te,fundamental hypnosis by the operator and his subject respectively are of the operator, so that the real abilities manifest them¬ sight. We are all of us surrounded by a personal atmos¬ again was danced only by the plebs. Straight from there whv a Ivrt t0 lntelectual stimulus; and that is precisely those taken in ordinary life by the conscious it was brought into our salons selves. In the physical way, for example, if a person nor¬ phere, or “aura”, which Dr. Kilner, late Electrician of pnd the subconscious. The subject, however, has both a St. Thomas' Hospital, London, England, has shown to be mally can lift a weight of, say, one hundred and fifty conscious and a subconscious department, and since the helps to express and fix that sentiment in the arcraae pounds, when he is hypnotized he can lift three hundred. visible to the trained normal sight by the aid of certain operator wishes himself to direct and control the subcon¬ Use the Dictionary Hypnosis does not add one jot or tittle to his powers; chemical colored glass screens. This aura surrounds the tTon wLch" -lty’ haVM3 ffeater VCgUC than a compof scious mind of the subject, he gets rid of the conscious h 77, , Impeccable from the academic standpoint it merely relieves him for the time being of his limita¬ individual like an egg-shaped nimbus or cloud, varying and protective clement by the simple process of putting the but which lacks emotional simplicity. ’ tions ; and when he comes out of his hypnotic sleep with the development, the emotional bias, and the health ; By Will Cowan subject to sleep. The subconscious of the subject and the “Music is inspiration plus mathematics, not vice versa and awakens his normal self once more, back he finds these variations appearing both in the size, color, and conscious mind of. the operator then become practically texture of the aura. We may believe that this is what Every law of the theory of composition can be leaned ‘=, play the notes on uy mverting himself at his fifty-per-cent, normal again. In much the leftit;D t0hnnrlhabtleis^tay“he it. notettlhe". 01UDDer" th ‘'SStaff by invertblL. D.- one mind, and the operator can control and direct the by the diligent student, but there never lived the person same way mental and emotional powers are enhanced, the great painters have portrayed in the halos that they ’mpart or to acquire what is known as the ‘gift subject much as he pleases. In this sleep state the have depicted round the heads of Saints, for the painter- emotional element in mind is much enhanced, while the and new and frequently strange abilities show themselves. But the important thing is that these powers and abilities artist being also a sensitive personality and painting his broken done’sPraCtlCem “mposition will improve and reasoning and intellectual processes are correspondingly i broaden ones powers in this direction; but the germ is are there already, only the occasion has hitherto never vision perhaps in a state of emotional ecstasy, would be VSt. be,cause this is so, the student should not think diminished. in like case to our audience under the spell of music. In a bequest from another sphere. It is a well-established Is “Bach” Dull? liberated them. of beginning practice without a good dictionary at hand fact that certain proficient composers whose works bring the case of truly spiritual individuals this aura seems to Have You Ever Hypnotized Yourself? All this time we have been working up to our illus¬ of ZTted “ Study need be wfthout one hem reputation but little financial gain, have decided to tration of the way in which corresponding forces are be self-luminous, and as a matter of fact we find a certain of these when very satisfactory ones may be had for sudden realization of the irony of such a situation’ to By Sidn£ Taiz The process of putting to sleep is accomplished by the operating in the case of great musical artists and their number of people who in the concert hall are able to see twenty-five cents. Of course, the larger ones are better general quieting of all the senses by the absence of audiences. The performer is always the positive and this haze of light surrounding the great artists; but they Do not attempt “studying the dictionary.” Before and,Ind narrnaively believingI'"? ffl°re m P °theirPUlar ability and mdreto make commercial^ money in distractions, and then by the monotonous stimulation of radiating influence and the active partner in the pro¬ de not see it otherwise when their mental state is more Sl ; :gtfaCtron a composition-oither study or p ece any particular one of the senses; this induces a sense of caused’thei^ SUbf“i- 3 SImpler composition which, be- ceedings, while the audience is the negative element, re¬ prosaic. At times, should the performer be giving a truly -look through it carefully for any unfamiliar sien or cause of their reputation, ,s eagerly accepted for publica- eternal hate” for this most 'genfal m t’" " soul an strain, fatigue, or languor, and then the subject drops off works were not presented in ag“l"fer’ be««e his ceptive, passive, and willing to be influenced. We may spiritual interpretation of his theme, he may even appear musical term. Become quite familiar with the siknifi to sleep. If the operator forgot or omitted to wake him tractive to the juvenile understanding them at_ even say that they expect and hope to be influenced lost in the blaze of light that surrounds him. Have we cance of each of these before daring to tor ch a note on “When the song has proven an absolute failure which he would simply sleep it off, awakening some time later music, so full of vitality and muZl ^2 Sh°U'd his since it is for that purpose that they have paid their here a clue to that saying “Let your light shine before the instrument. Thus you will realize how the composer s frequently the case, such a writer never dreams that as from a natural slumber. We get this same monot¬ given as technical studies ! Ca‘ Interest- ever be money. As a consequence an invitation audience, or one men that they may see your good works and glorify your onous, sleep-inducing fatigue in listening to the throb of plTedenltheSe n°fteS ‘° bC executed' and will derive multi¬ becausrana h,es °d tPr°dUCm.g appealin& work of this type What one of his works-great or „ . that has come in on free tickets, is never so receptive Father which is in Heaven?” plied pleasure from trying to do them so rather than machinery or of a locomotive, in listening to the ticking merely sounding notes. n and helpful. Its individual members are more apt to Other people again, when their vision is “opened” in of a clock, or sometimes in having to endure an un¬ lx: critical and inclined to “look the gift horse in the this hypnotic-like state of ecstasy, can see as it were the By this method a practical vocabulary will soon be P &fth ^^^‘“the^me.’’"6 °f thei" '^has’a interesting sermon, sometimes also in having the eye mouth,” because they have staked no money on being spiritual vibrations of sound surging and billowing round mas ere so that the use of the correct interpretation caught by tile gleam of an electric light bulb just above Playing this, by either cither interested or amused. in great clouds of color which vary with the emotion and the comfortable line of vision. the noteTTh ‘“T ^ 3 natural part of fading the rhythmic pulsations of the music. These remind One the notes. Then, all good dictionaries have lists of com- When a person is to be hypnotized (and by no means Working on the Emotional Element strangely of the clouds of incense “which is the prayers posers names with pronunciation, their nationality, the all persons can I lie must be willing and expectant, and Having gained an audience it is ndw the business of of the Saints” ascending up to heaven—for great music dates of their birth and death. *2 ‘leed SCfTIy say that tbese remarks are not con the performer to get his influence playing upon the re¬ like great worship is a thing of the spirit. demnatory of the more academic song which i6 sincere the element of faith is highly important; really he half , ™UST,wiI' the foundation Gf good musicianship be ceptive minds before him, and in music especially he is 2! tbfy are askmS for “more Bach ” W' S°.deep in it hypnotizes himself. If the hypnotist has a great name When the Artist Loses Himself laid. The days of the finger-musician are in the past any othe°r • butTa^ ' *7 F* working particularly on the emotional element. He seeks ’ ,Ut 1 arm convinced that the ability to write and reputation the element of faith is thereby intensified: The one who cannot talk intelligently about the princi¬ ie°‘L,r'm"" £ojfty ts the conditions that are favorable to this influence; the Further, we may ask, what of the artist himself ? How a big seller is a gift and not the result of inferior mu and the results are more easily produced. If he be impres¬ ples of his art or cannot answer clearly the simple oues- lighting arrangements are subdued, the hall is quiet, does he fare in all this proceeding? He is himself but a cal education, though the latter belief is held by manv sive in manner and appearance, displaying complete ■ons about its notation and terminology, is doomed all and the seats are comfortable. Previous advertisement medium, a prophet, an interpreter of the high theme 6f too often without playing a note. calW ledU,Peiii0r Wh°se Wry b-den cIf S command and assurance in his methods, he is the more has worked up (he faith and expectation of the audience; spirit which runs thrfitigb ail worthy music; he is file likely to be successful with his receptive subject. No dif- channel through whifh the inspiration flows, and he ®ves h'*« -wrt«”d and if (he performer be fortunate enough to have a great *£SZ2Z^2£,'«‘ ™ 1 fident, apologetic or hesitating individual can be a success¬ reputation and be well spoken of then this precedes out that which has been vouchsafed to him. There is u.ama. -Hor'.ce Shipp ful hypnotist, and certainly no bungler can succeed; for him and does a great deal for him before ever he appears an old saying—“the thinker and the thought are one”— P°ge 7U NOVEMBER 1924 NOVEMBER 1921/- Page 7Jf5 THE El'Ufijj raE1 ETUDE to^illustrate1^raniu°ic^nwot^Uh^t' We might turn it To Acquire Speed With Accuracy ; 1 Without Hesitation The Power of Music By T. C. Jeffers What Great Minds Have Said About the Status of Music in Education The Slow Player then be played. In this way the fingers will be found to to come about so that thev ar! »7"S-‘0U?ness seems -Y. Plan° pu.piIs of a Junior grade may be quite be directly above the notes which are to be played, which By M. F ELICIT AS wort ft m €x'Tutwn> but ^ it almost impossible-to will be conceived of in advance, and thus no mistake* jj( above melody. All the world loves a good tune, but it so likely to occur, no matter to what speed the terapo in th 3 FaPld piece t0 tbe reciuired tempo, especially “The duty of each generation is to gather up its is given only to the elect to enjoy the intricacies o- may be gradually increased he fiL^ger PaSSafS- Even after assiduo^ Practice •inheritance from the past, and thus to serve the present harmony and counterpoint. Again a proof of Shakes- enough andPPfrenKy fC t0° sluggisb to ntcve quickly After this passage has been practiced a good deal a The Power of Music and prepare better things for the future.”-Erq«M. peare’s technical musicianship is found in his knowledge there is al ’ * 3 bnej portion be P^yed very rabidly, few more notes should be added gradually increasing there is. always a tendency to stick fast and heltate The status of music in education has changed with the When the leader of a musical club commences of sol-fa-ing as cited in “The Taming of the Shrew the grasp of attention, little-by-little, until quite W to write a paper and the “sweet girl graduate changing motives that control education. The truism and “Two Gentlemen of Verona.” No one but a singer n°tCS °r play wrong ones at some place.' nassage is acquired. Then take the other hand in the thinks of appearing as the school orator, they would undertake the mastery of the cumberous nomen¬ same way. that it is an appeal to the emotional nature first, leads often select as the subject “The Power of »«• merely »ir"d_ hf' S*. ' “ clature and phraseology. mend of operej,",^” '"J £*““•" ““-“T rs*masz:?z z Watch your hands, in their action in taking each mJ many to regard it as being merely recreational and in¬ Music.” , The Etude has received hundreds of letters Shakespeare’s aesthetic appreciation of the art is evi¬ body which result in th^ • i fit . ln motlon m the position,, with the utmost concentration and intemnesj. capable of possessing any influence but the production asking for material upon this subject. denced by the praise given to it and the enthusiasm which restored to health aaJ stS Wh°le and *£ KSsS^\ftKaafe Each shift and new position must be registered r the of pleasant sensation. One who seeks merely an emo¬ attended a concert nf o-r«^+ ^ <0 a so a^er we have ■ It would take volumes to answer such letters. it evidently excited in him. No greater tributes can be memory with absolute exactness if you wish to reproduce tional appeal will find it—he who seeks discipline for Our readers do not want trite little common¬ found than in his presentation of the psychical side of a master hand, there ftir Zour* P ?ld °r interprcted V it each time rapidly, cleanly, and with certainty both heart and mind will find that also. Handel once places from second rate minds. We could, on a character by its appreciation or non-appreciation of greater effort and achievement Til* Pr°mptings *o l§Sal The truth is that the whole art of piano-playing may was told by his sovereign, after hearing a performance the other hand, give scores and. scores of opin¬ the art. (Merchant of Venice, Act V. Scene 1.) In ions upon the subject. M. Felicitas has quoted be condensed into this one sentence: 7 of the “Messiah,” that it afforded him much pleasure. “Julius Caesar” (Act 1, Scene 11) he intimates that s, *• *»“"«:“• Know exactly what comes next! in the accompanying article a few of the writ¬ a lack of musical appreciation is to be viewed with sus¬ The composer replied, “Your Majesty, I did not intend ings of the great men in the history of educa¬ it to amuse or afford pleasure, but to make the world tion who have lauded music. picion. Play With Meaning Shakespeare’s musical influence has been international . °* lives; it bids us t^t'Z'°* °f **“: Spifitual “ better.” Perhaps the greatest means of expressing the power of music is to state that very few and exerted upon composers of three centuries and the beauties; it brings us a hnl the percept,on of new 7uhik y0U are doing al1 this- he sure to put .he Plato’s Aspect of the Art of truth, as we leave awh t0 the HoI>' °f Holies accent, the spirit, and the living feeling into the nv ir great men in history have failed at some time entire civilized world. dane world It m the outer courts of the mun- Or som „„Xy 1 * *”*■« 7’ Plato among the Greeks, like Bacon among the mod¬ to pay homage to it. 3te ? T- fying 136 With“u‘ «W«" erns was the first to conceive a method of knowledge. At the present day music is the dynamo ot From a Great Educator tion, and with an in«ntfv tS " u kindIiness “* aaP^' hundreds of millions of souls, the world over. Practice for Speed The’ “Republic,” in which Plato forms the ideal State Comenius, who is recognized as the man who first these should bear fruit in ou^HvS ^oTfl’’“d then and emphasizes the duty of Rulers in regard to education, Never in the world’s history has music been recognized as a great cosmic force as it is treated education in a scientific spirit, and who be¬ passage of a fewnoteif shouldbut' difficult is the first treatise upon the subject. Education shall rather th“ stimulated to-day. queathed the rudiments of an educational science to worked up to a rapid temnn 7 Se e?ted and gradually begin with music, he says, which includes, the. study of We trust that this article, along with others later ages, speaks as follows in the “School of Infancy; ’ -• P . temp0' ln stn« time, hunting literature, and gymnastics. “Musical training is a more ed. In practicing thurTh ' ” StT time- counting D° not ^ a »ere key-hitter I that have appeared in The Etude for years “Music is especially natural to us; for as soon as we see Jsihs zjz sxsir" .*h«»"»'»« in JSJ Z notes should be arranged in hypnosis—given us a glimn r r V1SIOn’ be has—as groups ™ potent instrument than any other; because rhythm and back, will provide our friends with material the light we immediately sing the song of paradise, thus should not be S£f a TT °f hand'^- They harmony find their way into the inward places of the for their essays upon “The Power of Music.’ recalling to our memory our fall, A, a 1 E, e 1 I main¬ our own larger self; and “is fo°r us"f ^ a”d of „„ . Practice Skips With Shut Eye, In Praise of Music, by W. F. Gates, is an ex¬ Played by one hand-shape the "I 6 n°teS, but aS a group soul on which they mightily fasten imparting grace and tain that complaint and wailing are our first music, from call and to follow the gleam up the" CwWS&f cellent book giving the opinions of the great Poised over the notes t ’I finge«°f which must be low tie make the soul of him who is rightly educated graceful, it it is impossible to restrain infants; and if it were about music. hand-shape to hand-shape shouldT’ Thla shifting from or of him who is ill educated ungraceful; and also be¬ possible it would be inexpedient, since it contributes to cause he who has received this true education of the 1 1 IP/6'!'1651 QUeSti°nS on Mr‘ Hunt’s Article and many times in sil^nr ^ practlce<^ assiduously, TAT c,osid^“hhRte S their health; for as long as other exercises and amuse¬ inner being will most shrewdly perceive omissions or 2 Um, t ,C tU° dePartments of the mind? and assuminrthe shtes wffhri y.raking the moth™ ments are wanting, by this very means their chests and When you always LTat It ^ ptoyjng’ faults in art and nature and with a true taste, while he 3 what LllPn°‘UtS pUt pe°Ple t0 sleep? Without actually playing any notes^”1"8 quickness- but merely follow the direction of th- C play,ng •'». you There seems to be in us a sort of affinity to harmonies other external parts relieve themselves of their super¬ praises and rejoices over and receives into his soul the and rhythms, which makes some philosophers say that fluities. External music begins to delight children at 4 Nnl PPe'lS t0 “ person hypnotised? or no sense of measurement of th^ J>C’ and havc linl 1 good, and becomes noble and good, he will justly blame Exert Your Will two years of age; such as singing, rattling, and strik¬ Practice with closed eyes or by thc mill nr,p,„, analogous ,0 ft,, „ uuforC'” ££ is introduced into social gatherings and entertainments, with artful and unimaginable touches adorn and grace base education entirely upon a study of the child tc be to train the hand to pkv whh fiP ymg’ 3nd aIso helps they were being washed by nurse Tot rZ l’, 0' as because it makes the hearts of men glad. So that, on this fingers where they join Z ZT8 Corks between ■ the well studied chords of some choice composer, some¬ educated, rather than on the knowledge to be communi¬ keys. The practicing^oftHads hTr'\roUndcd over the Those, and they are many whnf “mpIeteIy mixed.” for the greater / J ; the hand, with a k etw5en the ground alone, we may assume that the young ought to times the lute, or soft organ stop waiting on elegant cated. In the “Emile,” the exponent of Rousseau’s philos¬ while the hand Paf6 between index finc- Wlg S,ze cork be trained in it. For innocent pleasures are not only in voices either to religious, martial, or civil ditties; which ophy, he states that in the first period of education, be¬ Sfa gyg <• sswws Stear harmony with the perfect end of life, but they also pro¬ if wise men and prophets be not extremely mistaken, fore the age of twelve, there are two subjects in which vide relaxation, and. whereas men rarely attain the end have a great power over dispositions and manners; to Emile is to receive instruction; music and drawing. NaV IVtJSZlWSS' 'VJ,!'YZ"" ViikV'l!Z/2i‘h‘T- to excess. must be done carefully w fi ger but often rest by the way and amuse themselves, not smooth and make them gentle from rustic harshness and Again there is ample proof of his serious consideration be allowedUq rise with each rhaf Zlpedal shou,d the young student, owing to th* ’ u d W,Se guldance. only with a view to some good but also for pleasures distempered passions.” of the subject, evidenced by the fact that (at one period . Those tried by the t • . ^^^--mentai bass note should be hZ wM sake, it may be well for them to find refreshment in in his life) he contemplated adopting it as a profession. rxr vrz Srk tight stretches should, ^thfu^.°f smaH hands and music. 4 . , Shakespeare and Music By bringing to the notice of leaders of thought in Paris tudrto ^h»M, do,* Enough has been said to show that music has power The great Elizabethan Poet, in one hundred and forty his discovery of the notation embodying the principle of ? S? ,to' » ia included of forming the character and should therefore be intro¬ references in his plays, to music, voiced its beauties to the movable Do of the modern Tonic Sol fa and the those whose techuie h.1hSti^rt “ “P the little finger. Ip s °r the thumb and duced into the education of the young. The study is the world. Shakespeare indicates not only an apprecia¬ use of figures as representations of musical notes, he increase-- i• intimately concerned with suited to the stage of youth, for young persons will not, tion of the art but also a technical knowledge of it, a hoped to make his fortune. But being unsuccessful, he if they can avoid it, endure anything which is not sweet¬ directed his activity elsewhere. ened by pleasure; and music has a natural sweetness. certain proof of which is his appreciation of harmony Page 746 NOVEMBER 1924 NOVEMBER 1924 Page 747 Pestalozzi, who conceived of every child as an or¬ THE ETUDE ganism, and of education as the process by which the Culture and Utility Children are all eyes and all ears in a sense. Advan. tage of this must be taken in developing the imagination development of that organism is promoted, depicts, in John Dewey, in “Democracy and Education," speaks which is clearly involved in thinking. What could be Leonard and Gertrude,” the life of the Swiss peasantry, of inconsistent treatment of music in education: “Music Forgotten Pages in the Lives of Masters of greater value in this than the study of music ? Every showmg the causes of their degradation and the pos¬ is theoretically justified on the ground of its cultural scientific discovery or artistic conception has been the sibility of being raised out of it by education alone. In value, and is then taught with chief emphasis upon form¬ Selections from the Unusually Interesting Correspondence and Recollections of product of the exercise of the imagination. The value Iws educational design he lays special stress on the im¬ ing techmcal modes of skill. If we analyzed more care- of the original “Sistine Madonna” is not found in the portance of two things, then and since much neglected “■ L he respective meanings of culture and utility, we IGNAZ MOSCHELES might find it easier to construct a course of study which canvas, in the materials used, or in the exquisite color- ' p“; ,smglng a?d the sense of the beautiful. In the should lie useful and liberal at the same time Only ings, but in the original creative genius of a Raphael Pestalozzian schools singing found immense favor with superstition makes us believe that the two are necessarily who could conceive it. Giving Pen Pictures of the Great Masters of His Day, Including Beethoven, Mendelssohn, Clementi, Field and Liszt both the master and the pupils. Hans Nageli (1773- and ta° 77 a Subject is illiberal because it is useful passages. Cramer sings on the piano in such a manner cient to lead to a noble and truly great career. Will i ", and teacher of ^sic, published a fo,L7 h7 bCCame ;t is l,se!ess- ft will generally be Ignaz Moscheles may be complacently called the work called The Theory of Instruction in Singing on found that instruction which, in aiming at utilitarian re¬ “AH But” classical bridge between Beethoven and the Moderns— that he almost transforms a Mozart andante into a he not, like so many other brilliant children, suddenly Pestalozzian Principles” which greatly influenced the collapse? I asserted my conscientious conviction that fining Iff?5 tbe, devel°Pment of imagination, the re- the Moderns, alas who are no longer Moderns. He vocal piece, but I must resent the liberty he takes in Felix would ultimately become a great master, that I introduction of singing as a regular subject both in Eng¬ g, ttSt6’ ,and tbe deepening of intellectual insight By Everett Shepard was born on the thirtieth of May, 1794, and therefore introducing his own and frequently trivial embellish¬ land and in the United States. -sure y cultural values-also in the same degree renders was still a young man when Beethoven died, in 1827. ments.” had not the slightest doubt of his genius; but again what is learned limited in its use Education has nr, On the other hand, Moscheles lived to be able to hear Moscheles possessed one trait that deserves to be and again I had to insist on my opinion before they I have a particular show piece that I like to play What Froebel Thought of Music “Faust” and “Die Meistersinger.” Living in these emulated by other composers. About this time he com¬ believed me. These two are not specimens of the genus Idsion for0”5’ reSP°nSibility than 'taking adequate pro- when I have company or am at a party. I know it eventful years, Moscheles literally knew everybody in menced to compose extensively and his manuscripts prodigy-parents (Wunderkinds-Eltern), such as I must MaFn>'e^LinnhiS- monumental work, “The Education of the sake of -J°ymdent °[ recreative leisure; not only for perfectly, all but—"all but” a certain mean passage that music. Much of his time was spent at the Leipsig Con¬ were models of exactness. frequently endure.” section Smgmg am°ng tHe Chief subJ'ects m- for the slT77e b6alth’ but stiI1 naore, if possible, never did get cleared up. After a dinner one evening Art is a era ;n +u S astlng e^ects upon habits of mind. servatory. As the teacher of Mendelssohn, and as a kind “Every one intimately acquainted with Moscheles knew Moscheles’ account of the death of von Weber is as Art is again the answer to this demand.” I was called upon to play. Among the guests . ere of quasi-pupil of Beethoven, under whose direction he the accuracy with which he managed the engraving of tragic as graphic. Von Weber, already in the last stages tio^mus'rS 7d COmprehensive P'a" °f human educa¬ two artists, one a pianist, the other a violinist. It had tion must therefore, necessarily consider singing at an Yolke Trot TrC 7 education » defined by Dr. T. H. prepared the piano score of “Fidelio,” he enjoyed im¬ his own productions. His engravers received the most of tuberculosis, went to London with a hope of earning been my desire to play the accompaniments for the money to add to his estate in the last few hours of his early period; it will not leave it to an arbitrary frivotuT tt u °f Lond°n as follows: “If We consider mense vogue as a pedagogue. His interest in his pupils latter at some recital. So it was a chance to show v hat was sincere and often protracted far beyond the time life. He knew that he was doomed, but he worked whunsica ness, but treat it as a serious object of the S a?!1C " T[y 3 refined’ basing diver^on o a, I could do. elegant accomplishment, we must admit that its place when they left his tutelage. indefatigably and met with flattering receptions from arSt h Z inte'lti0n Wi” "0t be ‘° make each pupil an I played my “show piece.” I was getting along ni ly Moscheles, who resolved to be a musician in his the British- public. While at London he was the guest sided dp” 1 ° t0 ^ human being full and all- when I remembered that passage—“All But.” I 1 ,d infancy, received his earliest lessons from Zadrakha, of Sir George Smart, who did everything possible for sided development, to enable him to understand and an- fully meant to take it to pieces and straighten it . it but the child’s father was not satisfied with the opinion the composer’s comfort. On July 6th, the following Here I was, my reputation almost at stakc-for pc. ;!c brief entry appears in Moscheles’ Diary: tone's fsPmus-CtS °1‘T f ‘ Art’ as rePre^ntation of a lesser master upon the boy’s talent. Accordingly oy^ tones, is music, particularly song. do have a way of bragging about one’s ability in ,9 he took him to Horzelsky, who was incapable of most embarrassing fashion. restraining the child from mutilating the masterpieces The Death of Von Weber Woufdnnrovey’moUr °f rhythmic movement 1 just liad to play those awkward measures - would prove most wholesome in the succeeding life-peri¬ drawing out of alww”'- F°r ,trUe education means the by rushing from one new work to another without “Early this morning I was summoned in all haste to ods of the human being. We rob ourselves as educators tion Jah °ft alI/hat 15 good 111 the child, the cultiva- finishing them. To correct this the child was taken Sir G. Smart’s. At eleven o’clock last night Fiirstenau SS 2 “t1 “• rk h'tl to Dionys Weber, for whom the little student played in work to one side f inatUre\ And if we confine our .JutiySd^ SMdily ...f had conducted Weber to his bedroom; his friends went so"!:: rob the ?iw as pupn’by we run the risk' j7t"re ^7 and n0t to the whole, garbled fashion the Beethoven Sonata Pathetique. to his door at an early hour, but found it locked inside, it nW mr r11 n0WCr ,asserted itself- I would pla • Imagine what a child of seven, with sparse training, contrary to Weber’s promise. To do this he must have could do- in the way of riding that war horse. Weber got up during the night. It was in vain to knock or ,,,lW nate’Xt i„nttbeart- * 7 tbe ***<* our action. am supP*les fte motive power for » took down the child’s conceit with “He makes hash of call for admission; no answer came. So Sir George later on Zr u u movements- and actions; and great works which he docs not understand, and to sent to me and other friends, and the door was broken ■ later on, there would be developed in him a higher an- Artistic Instincts which he is utterly unequal. The first year he must open in our presence. The noise did not disturb the ' VTlC;aU°n °f natu[e and art, of music and poetj. play nothing but Mozart, the second Clementi, and the sleeper; it was his sleep of death. His head, resting third, Bach.” in business. Try it 1 as “ can 1)6 USe(1 on his left arm, was lying quietly on the pillow. . . . At fifteen Moscheles went to Vienna, where he be¬ Any attempt to describe the depth of my sorrow would came the pupil of Streicher, Albrechtsberger and Sal¬ be profanation. I thought Weber a composer quite Painless Practice ieri, doing much to refine his style of playing. individual; one who had the imperishable glory of Moscheles was devoted to Beethoven and records an leading back to our German music a public vacillating amusing interview with the great master. between Mozart, Beethoven and Rossini. On hi; childr °„dytoand S°"f Undoubtedly this would soon ead By Harriet B. Pennell have written But tv,;,. r t ie Sreat composersipto dressing-table lay a small washing-bill written by him. An Interview with Beethoven This I put in my pocketbook, where I carried it ever “When I came early in the morning to Beethoven, he after. I helped Sir G. Smart and Fiirstenau to seal up read the Etude fi?/ gelerlT'af W?f1CaI generation who was still lying in bed; he happened to be in remarkably Weber’s papers, and Sir George, feeling his great re¬ knowledge, the following idea mZ 17/^7 musical good spirits, jumped up immediately, and placed him¬ sponsibility, sent for my own private seal.” relations among newly discover’ed^ualider50''31'0115 ** Epslssslffi IGNAZ MOSCHELES Mary or Johnnie along the hard roZ of 7* heIp1ng self, just as he was, at the window looking out on the The intimacy of Moscheles and Mendelssohn in¬ -if in £ f0rget’ however, that this instruction In the course of a lesson to a « 3d °f P‘ano Pract'cc. Schottenbastei, with the view of examining the ‘Fidelio’ creased apace. When Moscheles’ son was bom in Lon¬ m •! „ lts representing the child’s own life it precise instructions, even as to the turning over of the she had played a tuneful exerci^ gir!’ aftcr numbers which I had arranged. Naturally, a crowd don the father invited Mendelssohn to become the child’s ^wn I f ! instruction should start from the pupil’s Pretty, isn’t it?” Clse' 1 remarked, “That is pages; the head of every single note had to be exactly of street boys collected under the window, when he in its right place, every rest made perfectly clear and godfather. To this request Mendelssohn replied with a SeSeis«s!eS«a?Sfc fai] our manner t J 1 • f of the wholerr nation. If by roared out, ‘Now what do these confounded boys want?’ intelligible to the reader. ‘All this,’ he was accustomed very genial letter and an illustration of the kind of I laughed, and pointed to his own figure. ‘Yes, yes; to say, ‘adds to precision in playing, and consequently instruments which he thought might be appropriate for “4 te"°P you are quite right,’ he said, and hastily put on a also to the right understanding of the piece; if any one the christening. Mendelssohn’s letter reads : tion^ suggested ^ntial difference between the instruc- dressing-gown. affects the great genius by writing so indistinctly that "Dear Moscheles,—Here they are, wind instruments Moscheles gradually developed his talent to a point and fiddles, for the son and heir must not be kept wait¬ 5SEL1 Et“ no engraver can read it, and if his music is published where his services as a public performer were in de¬ full of mistakes, that fact does not make him a Beeth¬ ing till I come; he must have a cradle-song, with drums ». ”»"d.spi,bp ™np °; mand. He appeared in Leipsig and other towns with oven ; he may do anything, and then he has his special en¬ and trumpets and Janissary music; the fiddles alone are success, and then went to Paris, where the whirl of graver, who understands how to read him. Let them not near joyous enough. May every happiness and joy musical events gave him great delight. His diary is all, however, first compose like Beethoven, and then and blessing attend the little stranger; may he be pros¬ should they occupy the leisure part of education »ES“r "’P"nd‘ ™'b “t. readily to prji„ ^ replete with descriptions of his contemporaries, one of they may write as they please.’ ” perous; may he do well whatever he does; and may it only possible interpretation of this thought l that JZ President Eliot’s Vision the most unusual being that of John Baptist Cramer, fare well with him in this world! So he is to be called poetry and drawing may be taught if +;*« t us c» whose etudes have been played by thousands of stu¬ Teaching Mendelssohn Felix, is he? How nice and kind of you to let him dents. Thus he paints this German-born pianist, who become my grandchild in forma, and the first present Find Your Orbit—Shjne Therein In 1821 Moscheles settled in London, making frequent later made his home in London, where he made a huge his godfather makes him is the above entire orchestra ; trips to the continent. Just one hundred years ago wCa&SSESsr b>',b' success in the music publishing business. Moscheles it is to accompany him all through life: the trumpets By Alfredo Trinchieri Moscheles went to the Mendelssohn family as a kind of paints Cramer thus: when he wants to become famous, the flutes when he stety-'SaiSr *-sh*" * quasi-tutor for the astonishing Felix. Perhaps no bet¬ Wagner (Sipping his~rf^) p , falls in love; the cymbals* when he gets a beard; the r,”dt ~ Cramer’s Vice ter description of the talent of the boy Mendelssohn i'of lhe Lts S’ .m" ■” '“'"'"I friendnend do you not also youlseyour* f writ' U‘ whyWhy then’ pianoforte explains itself, and should people ever play Brahms: After you it js •£, '?,music-drama? “His interpretation of Mozart, and his own Mozart- exists than that given by Moscheles in his diary. “This is a family the like of which I have never him false, as they will do to the best of us, there stand Wagner: You do me h lmposslble- like compositions, are like breathings ‘from the sweet the kettledrums, and the big drums in the background. known. Felix, a boy of fifteen, is a phenomenon. What carry it too far. But von h ’ my friend; but you south,’ but nevertheless he shows no hostility to me and Dear me! forgive this rubbish, but I am ever so happy are all prodigies as compared with him? Gifted chil¬ take your own line. PerhapTv™?177^ u°ne better to my bravura style; on the contrary, in public and private dren, but nothing else. This Felix Mendelssohn is when I think of your happiness, and of the time when he pays me the sincerest homage, which I requite with I shall have my full share of it. By the end of April committee it is expedient to trv ?h°plnion ?f the sch°ol heartfelt admiration. Cramer is exceedingly intellectual already a mature artist, and yet but fifteen years old! We at once settled down together for several hours, at the latest I intend ’to be in London, and then we will and entertaining; he has a sharp, satirical vein, and give the boy a regular name and introduction to the ssulr spares neither his own nor his neighbor’s foibles. He for I was obliged to play a great deal, when really I of this dty° PanHd the ,pub,ic sc[|ools TLr pu rrsz* ;=i.rd£e^”Si wanted to hear him and see his compositions, for Felix big world. It will be grand 1” What a fine “philosophy of tif«» • prefers to converse in French, and shows by his man¬ had to show me a Concerto in C minor, a double Con¬ ‘™CCS, Two great master geniuses - 7°^ few sen' ners that he has spent much of his early life in France. Moscheles’ Striking Portrait of Chopin “He is one of the most inveterate snuff-takers. Good certo, and several motets; and ail so full of genius, cause he found his work and nuck t07 ^ 50 be' Few of Chopin’s contemporaries limned him with e ,ohi,d,kp< tP„ zz&jzs: it may be with K t0 housekeepers maintain that after every visit of the great and at the same time so correct and thorough! His such deftness as did Moscheles. His description of his master the floor must be cleansed of the snuff he has elder sister Fanny, also extraordinarily gifted, played cause one has not the talent' of US‘ ,Why worry be- meeting with Chopin in 1838 is most characteristic. Scv § worki on the same Iine wnotu]°fsanother. Too many spilt, while I, as a pianoforte player, cannot forgive by heart, and with admirable precision, Fugues and “We are living here in the fullest enjoyment of our children who leave school at f 'T7 thlngs for the Each has some talent, some abllitv ? j6ate m°notony him for disfiguring his aristocratic, long, thin fingers, Passacailles by Bach. I think one may well call her a with their beautifully-shaped nails, by the use of it, thorough ‘Mus. Doc.’ (guter Musiker). Both parents freedom and independence, and at Leo’s, where I love thing. and often clogging the action of the keys. Those thin, give one the impression of being people of the highest to make music, I first met his friend Chopin, who had human spirit.- * cultivate ,he jut. Jittie herrer well-shaped fingers are best suited for legato playing; refinement. They are far from overrating their chil¬ just returned from the country. His appearance is they glide along imperceptibly from one key to the other, dren’s talents; in fact, they are anxious about Felix’s •The German word “Becken” has the double meaning of and whenever possible, avoid octave as well as staccato future, and to know whether his gift will prove suffi¬ cymbals and basin. f NOVEMBER 192U Page 7-49 Page 7J>8 NOVEMBER 192* THE ETUDE completely identified with his music-they are both Practice with Enthusiasm delicate and sentimental (Schwarmerisch). He played Musical Enthusiasm Enthusiastic practice sharpens the brains. Mad, The Teachers’ Round Table to me in compliance with my request, and I now for more can be accomplished in one hour of enthusiast the first time understand his music, and all the raptures By Katharine Bemis Wilson Conducted by PROF. CLARENCE G. HAMILTON, M.A. of the lady world become intelligible. The ad libitum practice than in three languid ones. If you cannot playing, which in the hands of other interpreters of his arouse enthusiasm, possibly your digestion is wrongi music degenerates into a constant uncertainty of rhythm, Enthusiasm is a factor just as potent in musical This department is designed to help the teacher upon questions pertaining to “How to Teach, VVhat to EfaC^L , n^wered possibly you have been up too late at night, possibly This nep ^Qbiems pert*ining fo Mpus.cal neorV) pms*ry efCt a// Qt which properly belong to the Musical Questions Answered is with him an element of exquisite originality; the hard endeavor as in the business world. A musician cannot you have not taken the proper exercise, or possibly Theory, History, t„„ — -... inartistic modulations, so like those of a dilettante— department. Full name and address must accompany all inquiries succeed without enthusiasm. If he has none, he soon you are ill. Find out what is wrong and remove the which I never can manage when playing Chopin’s music develops into a dull mediocre performer, uninteresting 7-cease to shock me, for he glides over them almost clog in the wheel. The late Charles Frohman, famous A little practice of this kind each day ought to empha¬ to others as well as to himself. After a time he wonders Testing a New Pupil imperceptibly with his elfish fingers. His soft playing theatrical manager, was once asked what he considered Length of Lessons size the correct position. Perhaps she sits too high at why success passes him by; for he started with talent to know just where to being a mere breath, he requires no powerful forte to the most essential quality for an actor. His answer Las, .11 my pupils I often find it difficult the piano. Her wrists may certainly be brought down by equa to that of his co-workers who have achieved a ye been giving hour lessons to place a new pupil who has had some previous piano produce the desired contrasts; the consequence is that “Vitality.” Vitality is the result of good health, and ,1 that the children often grow how to test his musical lowering the stool far enough. niche for themselves in the hall of fame. le is up. Would you advise me t > shorten the study. Please advise me one never misses the orchestral effects that the German good spirits, and good thoughts, plus ENTHUSIASM. < What could I cut out in on er to do so? knowledge and ability. For further technical work I advise you to assign at Without enthusiasm, the pupil, the teacher or the G. H. C. school demands of a pianoforte-player, but is carried No carpenter ever built a ship by dreaming on the There is no more valuable aid in the details of piano each lesson a group of scales or arpeggios to be worked away as by some singer who troubles himself very little concert artist has no personality. That which is fre¬ up to a certain metronome speed. These should be prac¬ seashore. He labored with hands and brain; and when teaching than the card system. Provide a number of about the accompaniment, and follows his own impulses. quently termed personality is largely enthusiasm; belief I should certainly advise shortening your lessons to ticed at first slowly and eventually as fast as they can be the flag was unfurled on the mast, he was repaid for these cards (5 by 3 inches) with certain items printed Enough; he is perfectly unique in the world of piano- three-quarters of an hour or even half-hour periods; performed with safety. As to studies, have you tried m oneself and passing that belief on to others through his hours of toil. He possessed a mental picture of or typewritten on them; and fill out one of these cards forte-players. He professes a great attachment for my for the strain of keeping a child’s mind fixed upon piano her with Moscheles’ Op. 70, Book 1 ? After these, modern the completed ship; but enthusiastic work was neivssaty for each new pupil, whether a beginner or not. On the diVTCted^651 m °ne'S W°rk’ properly coordinated and drill for an hour is pretty sure to wear the nerves of studies may be introduced, such as MacDowell’s 12 ZS«!nmandfai!-aie^ntS kn0WS ;t Perf<*tly. He played for the fulfillment of his plan. Attainment comr only front side of the card such details as the name, address me some of his Studies, and his latest work, ‘Preludes.’ ” both teacher and pupil to a frazzle. Studies for Development of Technic and Style, Op. 39; Enthusiasm at Lessons to the diligent. and amount of previous study may be noted; while on With children, two half-hour lessons per week is ideal; and so on to the invaluable Etudes of Chopin, Op. 10 So you cannot have enthusiasm unless you believe in the back you may write the result of your tests of the Moscheles’ Altruism and with very young children the time may even be and Op. 25. The virtuoso studies of Liszt, Rubinstein, vm,f y°Vre 3 StUdent °f WUSiC’ play °r Slng as though yourself; you cannot believe in yourself unle you shortened to twenty minutes, in which case three periods pupil’s work. Eventually all such cards will be ar¬ Scriabin and others, come last on the list. ofMR°^-neIf-haSi!eSS,t0 Say 0f the p,ayi“g of Liszt and hsLLf t enJOyedJt- Enthuse the pe°Pfe who are know your business; and you cannot know your hr iness ranged in alphabetical order for immediate reference. per week are desirable. For pieces, try the following, all of which are essenti¬ ?f ,^ AS/elnr he latter then little more .than a boy. A1 Tod t° T' Cn try t0 enthuse your teacher. unless you work. And only continuous enthu iastic Now as to how this shortening process may be effected Here is a sample card, with its collected data: M°Sche'f went to Leipsig at the invitation of All good teachers give much enthusiasm to their pupils ally pleasing: practice brings perfection. ■without cutting out anything essential. Here are some Mendelssohn to head the pianoforte department in the and a return compliment would be appreciated. (Front) Moszkowsky: Momento Giojoso, Op. 42, No. 3. newly founded conservatory. Thereafter most of his possibilities : Chaminade: Etude, En Automne, Op. 35, No. 2. At the same time, remember that a poorly prepared 1. Be sure that proper preparation is made for the John Ireland: The Island Spell. WhenVMS hTted t0 corIMP°sition and to instruction. lesson. Have a definite plan in mind as to what topics Name, Willis, Peter Age, 12 When Moscheles went to Leipsig his idealism was shown S„TdbeVer eTUSeS ^ teaCher’ whenTom- Melody Touch Debussy: Prelude in F, from Suite Bcrgamasque. pamed by a pleasant air of buoyancy. The pose is a you are to take up, in what order they are to be pre¬ ' Vhe fact that he left a very lucrative teaching clien- Address, 21 Cross St. raise one and not a credit to your teacher’s intelligence sented, and the time to be devoted to each. Have the ,, ” London, for a salary of about $600.00 a year By R. A. Davidson Looking at the Hands Mendelssohn’s death in 1847 was a great shock to How many times have you begun a lesson utterly music which you are to use ready to hand, and any Began, September, 1924 other material such as pencils and blank books, so handy Will you please suggest how to deal with the Ae°ScomeS' A“h0Ugh the great P'ano tocher survived houTT ’ ^ t0 di8C0Ver after ‘Pending a 2 An inquiry as to special touch in melody playing, was a Previous Study, 2 years with Miss Black very young beginner who persists iin looking at his ^ “’np°Se,r. gen,us twenty-three years, he was always our with your instructor that you are filled with a that the lesson may proceed without a hitch. hands, Instead of the music, when he plays? subscriber’s question in one of last 2. Begin and end the lesson promptly. Much time is devoted to his memory and to his ideals. desire to achieve big things in the musical world? That Music Studied, Mathezds Graded Course, first two just been re-reading. This is a good thing to do. hv the often squandered in simply “getting fixed.” Insist on the Moscheles’ life is an example of lofty character and There are two methods of translating a note on the way, as the last few years’ numliers of the Etudf are pupil’s appearing promptly at the appointed moment; and books; a few short pieces devout appreciation of the highest in his art. Com¬ r 2Tas* rairdto you by the you printed page into tone: the absolute and the relative. practically a working encyclopedia for the musician, have it understood that lateness will correspondingly Grade, 3 paratively little of his music survives today There audience. ^ °" 7°a Now try °n your We may think of a note as representing a definite key teacher or student. shorten the lesson. on the piano, and then find that key and sound it; or taoreh.Pm.er °"e fed an<3 tWrty cornPositi°ns credited Pianist, Violinist or Organist 3. Take care that the lesson is not interrupted. Often e'ery year with a" iucrea ing we may think of the new note as located at a certain numberm^L° ofWf n Students,eTrie Tfrome other teachers i its continuity is broken to bits by telephone calls, peddlers, (Back) distance from the one which preceded it. In playing olaYfJr T ,Play in PUWic’ do you come out on the family problems and similar disturbing elements. The S 2have givcn,any :,tu'mi"n consecutively the two notes: “Patience, Prithee!” z tcondition °f y°ur ™? suehdm prominently above accompaniment chords in lesson time belongs exclusively to the pupil; and nothing Technic, Wrists stiff—needs relaxing exercises and vny not try to get enthusiastic about giving pleasure such measures as the following: but an earthquake or a cyclone should be allowed to tothepeople in ,he audience who have come to T finger work By Lynne Roche interfere with it. Interpretation, Good sense of rhythm, but poor 4. Finally, and most important of all, concentrate. phrasing Eliminate superfluous conversation, and make every mo¬ Sir Walter Scott is known to have spent days in Sight reading, Fair ment count toward the subject in hand. Save time, too, working up the description of a single bit of landscape Ear Training, Has had very little for instance, we naturally find the first by the absolute by putting your fingers directly on the salient points. Memorizing, Plays two pieces frqm memory method, let us say, with the thumb. But, having now a Hiarmer?CaUSn-0f r carefuI artcraft his books have Pick out weak passages and show what is to be done charmed millions of readers. What seems so very Remarks, Is apparently interested in music and starting point, we may locate the second note simply by with them. Let the pupil simply play such doubtful remembering its distance from the first, namely, the third you walk across the stage. * Very way seems to have natural musical ability; but is sFjf&a -“ * « *— i passages in a piece, and not often perform the entire inclined to be careless in details white key above the latter; hence by the relative method. ■ ■ ■ composition. Go over the new lesson, too, and so pre¬ Let us assume that the child has arrived at the point: surprising fact* will comf toTu thafyou^6 ^ -he PHnce«”thte Tn'ng ™asure of ‘he waltz “Sleeping yourself. y U tilat you are enJoymg Princess, by Montague Ewing, a piece that is an ini.-,, vent the mistakes that may otherwise creep in and take where he can find individual notes on the keyboard. He favorite with every puoil to I’l , . S an msta" time in their correction at the next lesson. The data for the front of the card may be gleaned by looks down and finds the C; then looks again and finds The Singer All of these items may be summed up in the words: sthat isnif” right now. “ ifThat scaleTht over which■'« you« stumbled£ talking over matters with Peter or his mamma. For the the E; but the two are, to his mind, separate and un¬ make the whole lesson bright, snappy and to the point. back of the card, have him play a few finger exercises, related titles. He must, accordingly, be next taught to use it for the 'one the>’ know is popular. ! Thus the pupil’s mind will be kept alert; and thus in¬ “oioZCr ”,h'Are y“ '»* ■am touch. P PurP°se of cultivating the melody scales, and so on, and a study or piece. For ear train¬ read intervals, and to translate these intervals into mus¬ Scott n ml ? °Lare y°U g0mg t0 be a Sir Walter stead of a dreary hour of pulling and hauling, a half- ing, play some simple melodic progressions and require cular activity. It is the same process as in learning a hour will be spent in the accomplishment of-something atmosphere you will X right* no w impressed you mipTeasantly" Ten'thou^herTfce him to name the notes as they are sounded, or, if he is language. The child first learns individual words—cow, definite; something that will prove a real incentive to uncomfortable place, whether it be in a scale a niece I"aral ("d s°“d*> eat, pasture, grass—and then to relate these terms by ilover’’m°b qUaay’ She lacked the enthufisam to^ut the pupil’s enthusiasm for piano playing. able, let him write them down. of awkward fingering, a tone which does not sing prop- Of course, your judgment of his work will probably connecting words, so that the sentence is built: “The cow erly 3 phrase without correct inflection, or any other 2Ta ss awuhdr frs r Srrryou be revised after you have given him a few lessons; but is in the pasture, eating grass.” of those seemingly small things which are so essential Wasd -S'"* Perf°rmance much better. Why’ was T? The Cramer Studies the data you have collected will at least furnish a work¬ Having acquired the ability to find individual notes, to the great interpretation. essential In what order should Cramer’s Studies be taken ing basis. the matter of reading intervals is largely one of practice; ity, fuIlT enthusiasm fThe/torkl up? W. R. M. Finally, let me caution you to assign at first material but it may be helped along materially by the teacher. You say to Johnny, “Let’s play the game of finding notes Of J. B. Cramer’s wide teaching experience the most that is well within his ability, so that you may not over¬ gaveenJyouyT The? musicaTself without looking at the keys.” On a piece of manuscript important fruits are his “84 Studies, in two parts of shoot the mark and have to “back down” subsequently. Squares for the Harmony Class chord always held 0, J w?' ,“"h ,he lis paper placed on the music rack before him, you then just the opposite effect fmmP.n lon.ged- T!>e listener heart 42 each,” which orginally constituted the fifth part of Begin with a short piece or study rather than a large write treble C, which Johnny proceeds to find on the his Grosse praktische Pianoforte-Schule (Great practical volume of exercises, so that if your estimate of his y Rena I. Carver I would suggest that eve^v ** °r wanted' piano, and holds with his thumb. Now he is to play, Pianoforte School). To complete the even hundred, he ability is in error, you may easily rectify the mistake piano and cultivate an accentlw^61- ,°r StUdent sit at the without looking again at the keys, the following succes¬ On r through? 1 enthUSlasm that carried her afterwards added sixteen others, which are, however, in¬ by changing to easier or harder music. music paper place each note in every main, mg the right hand as follow^T mC °dy t0Uch by play- sion of notes as you write them, one after the other: minor key (including four Qr fiye ry and ferior in merit to the original ones. Why Study Music ? Resuming Technical Practice below both staves) in this manner; clef, signature note Von Billow, the eminent pedagogue, reduced these to ■loud sustained stroke I* have a pupil who,.„o has been through Mathew’s bar-line; clef, signature, note, bar-line. Then cut at' StudaitsHn th ^ makesbift Parlor musician is past the Fifty Selected Studies (Presser Collection, No. 175), Ten Grades, Cramer’s Fifty Selected Studies, p--*-’- each bar-lme, making small squares students in these days study music seriously, not merelv which are widely known and studied, and to which you Well-Tempered Clavichord, V _I," and" ' other; 1 -studies to enjoy it themselves, but to give pleasure m Iy of this type. She___ is-- __t of practice and needs doubtless refer. While this selection is in the main a technical exer-reises!—■" of some kind. She holds her kevIfthTll*key m the above 6manner interVa and'S in cut each at eachmaj° bar-liner a"d minor Is your music valuable to you H vouTanT c *' good one and well graded, it nevertheless contains a ___..."'3 high \pith straight fingers, with the ends number of studies that are scarcely worth while for the turned up the most of the time. Her knuckles are imperfect ttrledmaJ°r’ f™'-augmented, diminished, and so limber she cannot seem to keep them rounded. imperfect triads in all postions in all keys should be ■short and, sof modern piano student. I suggest, therefore, the follow¬ Please tell me what I can do to keep them in the ing list from the Selected Studies, as containing those correct position. Please also name a few pieces S h'V Smilar Way: clef’ ^^ature, 1st Pos. of pressure touch of about the ninth grade that would be suitable triad bar-line, etc., and then cut into squares. which are most useful. The order given is perhaps as for such a pupil, and that a pupil will call “pretty. ’ using it to inspire others? you With, instant releas Mrs. G. A. C. .11 . e font-toned chords in all positions and inver- good as any, though it may readily be altered to meet If necessary, you may hold a piece of paper over his . cS5"sia“* 1 * tebind all ,nllS;tal wo,k mI In addition, a verv pW special needs: Holding the wrists high may be called a “good fault,” fingers while he does this. seventh’seventhn ssecondarjraecoiZrv Shimd°Ui ddiminishedabe-Wr^f seventh (inc!uding chords), dominant also if properly regulated. But the fingers should certainly After this process, let him read the entire succession use aS “hnbni?ging out prominemJTf C°ntraSt the tV Nos. 1, 2, 3, 4, 5, 6, 7, 8, 10, 13, 14, 15, 16, 17, 19, 20, all five-toned chords, and cut into squares use a bouncing” touch with the iL l Same n,eIody is be curved and not allowed to bend outward, as you sug¬ of notes, one by one, as you point to them. 21, 24, 27, 28, 29, 30, 31, 33, 41. All the squares are placed in a large envelope and accent, helps to maintain the corrT u”u This gi'’es gest. Perhaps some exercises away from the piano may A little practice of this sort at each lesson will help to train his muscular sense. As he becomes more profi¬ :lzzno,you If th- -e Ttained melody touch is a co: help matters. Let her hold a croquet-ball in her hand, 2 nT'ntenI3 * ”d. "ames the def’ si^‘"e, in the,, days cf real * m'°T .’. 0 Interval. or, if a tnad or chord, its kind and If this is done and cultivated t ,, C nght hand- “You must not play so fast. There are too many grasped firmly by the fingers; and then, keeping this cient, more complex progressions may be employed.. there will be a very noticeable imnr & s,mdar Passage beauties in this piece to be brought out; you cannot do position, and placing the finger tips on top of a table, Meanwhile he may be encouraged to read his regular les¬ nant^se" X u °” the keylx,ard' If the donfl- no Lundys°UrEeniUS,aSln gr°W and grow until * knows ‘he great rush after finger in Paying. ] t seventh chord, the pupil gives the resolutions. so if you treat the piano like a sewing machine.” let her perform a few ordinary five-finger exercises, sons in the same way. Perhaps you might offer a prize accomplishing melody playintTf’ *'' simp,e w?y ' taking care meanwhile that the wrists are kept loose. for reading a whole line without looking at the keys! neglected. laymg has been somewhi —Hans von Bulow. Page 750 NOVEMBER 1924
OPERA IN BERLIN TO-DAY HEAVENLY” MUSIQUE/ il ■ HOVE M BE R 1924 Page 151 Writing in Harper’s Bazar, Rufus Col¬ -IT was so lovely," remarked an ecstaft THE ETUDE fax Phillips published an article on “Night young lady, describing a symphony she Life in Berlin,” which shows that the heard; "it made me positively ill " We all A very playable idealization of a MARIETTA Germans have gotten over war-prejudices The Musical Scrap Book of us know the complaint; but it has re- popular Spanish-American rhythm. in a fine way, but have not lost their racial mained for Mr. Samuel Pcpys to define the SPANISH SERENADE WALLACE A.JOHNSON, Op.118 enthusiasm for their own Teutonic people. Anything and Everything, as Long as it is Instructive “sickness” engendered by beautiful music Grade3L Moderato M.M. J= 84 There is a lesson in this for Americans in a memorable passage from that ine\. 3 1 — inclined to belittle the efforts of their own and Interesting haustible treasure of quaint sayings, |,js country in music. Conducted by A. S. GARBETT Diary: The Germans are a serious-minded and “Went to. see the Virgin and Martyr; jt scrupulously artistic people. They con¬ is mighty pleasant; not that the play js centrate a deal of their fine energy upon worth much, but it is finely acted b\ Becky the opera, and there one may see the real Marshall. But that which did please nn- beau mondc and hear fine music, that great beyond anything in thc whole world. was contribution of Germany to the artistic HAYDN ARRIVES! entity of the earth. the wind mtisique where thc angcL conn Hay > first visit to London, Decern- over. Then they opened the door and I down; which is so sweet it ravished me- “They have no objection to Italian or her 1790, greatly augmentedtgmented his continen- wasnm.• conducted, leaning..:___ a the a f Athei_. and indeed, in a word, did wrap up m.\ soul' French opera; the Germans have no artis¬ tal prestige. Hi tic prejudices, none whatsoever Thcv owi account of his director, up the center of the room to the so that it made me really sick, just as { I giveoitw ‘A,Mo’‘Aida’ with a„ fineIV.. self-consciousJ tart of T.fLiTT61 i to Frau..**« v. Genzinger, front■»«• mof theme orcnesiraorchestra amiaamid methe universal have formerly been when in love with my proof, but naturally they sing it in German. C. Hadden’s biouraDh eXtraCted, fr0m 1 daPpiiig of hands, stared at by everyone, wife, that 1 could think of nothing < lse," No opera could be really opera unless There is an AnW^TT’ ■ ,nt1eresding' and greeted by a number of English com- sung in German, and, as a logical condu- S atLpts To over ^ T ‘T 1 WaS assurcd tbat such honors Art is a grateful friend; the mon you sion, ‘Carmen,’ ‘I.e Coq d’Or,’ ‘Butter- celebrity- °Verfeed thc ***»" had "Ot been conferred on anyone for dedicate yourself to it, the truer it is to fly,’ all of them, must have their delicate “My arrivai „„ . fifty years- After the concert I was taken you.—Leschetzky. tinge of Teutonic gutterals applied to through the whole e!tv -■ g w s,cnsatl°" m,to a ver>’ handsome room adjoining, them; and, of course, there must be a I went the round f - ’ says Haydn- and where tables were laid for all the amateurs, “For the majority of musical callings, German naval officer in ‘Butterfly.’ And three successive Tf, ,|he''ewspai,ers.for to the number of two hundred. It was after all, a right combination of qualities ‘we true music lovers’ made a howl when touch again i v “F >S the Amer!caH l,roP°sed that I should take a seat near the is far more valuable than any special they tried to sing Wagner in English at to fomwI' 7 everyone seems anxious top, but as it so happened that I had capacity in one line."—Charles H. F un. the Metropolitan! But the American ar- sjx times and lu t dmed out dmed out that very day. and ate more YYORTH. tistic ideals aren’t to be compared with the if i chose- hut r T muted every day than usual, I declined the honor, excusing - - - »• asawsw: sfjts.’sn-jft.-s COLLECTING FOLK-SONGS IN T!IP, '$ There is much to be said for opera in APPALACHIANS English, and we ought to have more of it There could have been no better tier '. i My sole purpose in visiting this count, v was to collect the traditional songs and ARABIC MUSIC ballads which I had heard from M, Campbell and knew from other source i„ TUC Uu.ml Q„My m ” S.SSgJ ttSttS' '°J T «*> W "ere still bemg sung there. 1 naturili- tZTV°u fiT"d C0ndi,i0Ils very simikir asjrisrjs ire those which I had encountered in England painee, (,„m this French lailor- and if ,k™ t, 7 °! 7ylf' HI see her,' he anther who wa, al.o a S<«1 deal of a fhin, ,„ree””“ ta'Th" oiehehr. w W*?'!!**'"*1* »<*. I" ofthisTr1 °n the samc ^ Bm
““Arab music o, Africa-,, con- StfS £ TS ^ ^ *
sat.*? a,“£ s4r »- Loti s An Maroc,tsz that poetic zz account of a ablyzzrznz some such scene - th day Prob- ;«/«-/«urn sixteen bars of that; then rum- journey to Fez in company with a French would occur Slnrm,, ‘ ' fo,loV—g tnm- rum-turn, heavy, you know, sixteen rr;.atTs?vercd ,i,at ■ c°’jid get embassy. Outside of Tangiers, before (fog )• ‘That iron doesn’t Tf6 ‘ m.a/:hln,ISt bar*’a"d then fillish «P with the Overture onp t 1 tcd from pretty nearly everv- starting, the author, from the encamp- a easily as VshJd le A Vw S io.WiUia'" last movement.’ I„ ten myselfmwyr,gcandold- In fact 1 found ment of the Arab escort the Sultan of vve must have a Mr. Sullivan; minutes I had composed it, and written out mjself for the first time in „n life in community in which si„gi„K "L T Morocco has sent forward, hears ‘The sad her across Give I ITT Tt!!'S" r “7 a rtfictiteuRs part, and it was at once songs in falsetto, the shrill tones of the G something for the rehearsed." mon and almost as , as.com' speaking. ‘ sal a Practice as guitar, coming from the tents of the camel- - - _ _ drivers.’ And in the city. ideal statue of things latT ‘.his “ 'Before a little fire with a yellow MUSIC AND AESTHETIC DANCING m the mniinia • g that 1 found existing flame, in the midst of a circle of squatting Music and dancing have ever gone hand It has Inner . indeed, is d e urTeT"1""^’’08- S° closely- folk a negro sorcerer sings softly while in hand. The basis of the symphony form dancer trad'tlon that the art interwoven with‘the °^,.this Particular he beats a drum. And suddenly a great is the dance suite and n,, - ■ 1 , ■ must keep time to the music. \p. of everydav lif<* fi or^inar3r vocations Arab bagpipe begins to wail, dominating Waltz the Mazn’rk T , 1C parentIy even ‘he dancers think this, for call a Tong unable ^ re¬ all other noises with its shrill, squeaky cT u Tr “d the P°IonalSe 35 Miss‘Fuller tells us, “In point of fac Z voice. . . Ah, I had forgotten that haS, ldeabzcd tlle Cake-walk, and dancer, on hearing a piece of Tew 1 make some such TTtekaTr‘0rTd °re? sound which for many a year had not C0UIdl«s other composers have idealized says: ‘Oh, I cannot dance to that air ' T chilled my ears 1 It makes me shiver, and folk-dances of their native lands. dance to new music the dancer h» T° dance to new music the dancer has to learn member that aT,^, °,Ccasion' I re- I experience a very vivid, very startling Musicians may therefore find interest in - - - as the conventional steps adapted to that himself into my cabin m^hirh^ *° CdgC impression of Africa; one of those im- the viewpoint of an aesthetic dancer of in music. singing to me , 'vh>ch a man was pressions of a day of arrival which one ternational fame regarding music from the no longer obtains on succeeding days, point of view of Terpsichore the muse “Music, hoYvever, ought to indicate a be wanted he said^r" I asked bim what when the comparative faculty has become of dancine- I.mV K.dV ’ A form of harmony or an idea with instinc- where there Is sweet m 3 .wfys ^ to go blunted by contact with novel things 2 , . Fuller’ the American e passion; and this instinct ought to in- left him in and Tf US,C’ 0f “arse I “‘The bagpipe continues with a kind teeTTvars of 'ToT" a'b°r°kf *7.^’ C'tC the dancer to folI°w the harmonv failed to remember TsoTT 1'^“, S'ngCr of increasing exaltation its monotonous , " °f a Dancer s Life, to which without special preparation Th.V 2 my little visitor n g 1 had asked for. and harrowing air. I stop the better to A?atole Fran« has contributed a preface, true dance." eparatlon‘ Tb,s « the straightway sang thTVn T® reSCue and hear it; it seems to me that this song is . „In gelleral,” she says, “music ought to Here is a Doint of ning to end 2Ve 'J*1 begin¬ ner, and in a traditional man- the hymn of the days of old, the hymn of ,follow the dance. The best musician is ering esoeciallv L L W°T , COnsid' shamed many a T,rof^'Ch, W0^ have the dead past—I feel a moment of l>e who can permit the dancer to direct the imaginative sense of T “ T'kmg an ^professional vocalist.” strange pleasure to think that I am thus music instead of the music inspiring the cal ffiteroretatin T T T"1 “ tHe‘r mUsi' far only on the threshold, only on the dancer.’’ . -, rPotations. Let them take a new wherTffi tLthfl universal heritage. Some- entrance profaned by all the world, of the Many musicians will find this a novel „T T 16‘r ?USiC ^ the point of view Brahms and ThT'Mah?^ pe]ds between point of view, and somewhat dtconceoing1
—George Ade. British Copyright secured Copyright 1924 by Theo. Presser Co. NOVEMBER 1924 Rage 753 Page 752 NOVEMBER 1924 THE £TUl)£ THE ETUDE K^SSS^SSS&t. AN AUTUMN mood
In the olcUtime dance style. DORINE FREDERICK KEATS Broad and diatonic.Grade 3. OLD ENGLISH DANCE Tempo di Gavotte m.m. J = ios
British Copyright secured Copyright 1924 by Theo.Presser Co. British Copyright secured Page 754 NOVEMBER 1924 THE ETURE NOVEMBER 1924 Page 755 THE ETUDE A lively exhibition piece for two players LIKE A FLASH of about equal proficiency. LIKE A FLASH GALOP GALOP EDUARDO MARZO
Copyright 1924 by Theo.. Presser Co. * From here go back to % and play to A, then play B. British Copyright secured THE ETf/jjjp Page 756 NOVEMBER 1924 SECONDO „ nmrTnt? NOVEMBER 1924 Page 757 THE ETUDE PRIMO ^ ^ -^ > > > :=> > £ i£ W- F jr
> >
** From here go back to ^ and play to A, then play C. HERE COMES THE BAND An energetic military march, in band style. MARCH MARCH WALTER ROLFF SECONDO Tempo di Marcia m.m.J = 12o WALTER ROLFE
Copyright 1924 by fheo. Presser Co. British Copyright secured Page 758 NOVEMBER 1924 THE £TU1)e Arr.by William M.Felton JVAMK AMENNOI-JjilM JN Ul“ UbTKUOSTROW W A.RUBINSTElN One of thegJte“*®t*r*)iece8 of P'ano music>ln il rtew arrangement, brought well under the hands,and in » more comfortable key. Grade 5.
Copyright 1924 by TheO.Presser Co. NOVEMBER 1924 Dig* 761 THE ETUDE g- a i-o
5 3 3 C J 3 5 i 4rH LUJ '4^1 2 5 3 3 5 1 3 & r *** ^1
A JOYOUS SONG MELODY FRITZ H ARTM ANN, Op. 219,No.4
A. useful teaching piece, with a taking left hand theme, exemplifying the keys of Fmajo. and 1) minor. Grade
Moderate) M M. J=84
British Copyright secured Copyright 1924 by Theo.Presser Co. Page 767 Page 762 NOVEMBER mi IN A ROCKING GONDOLA THE ETUI,! THE ETUDE NOVEMBER 1924 “To the ripple of water and Gondolier’s song, Oer the blue Bay of Venice we now glide along; ENTRY OF THE PROCESSION
LEO OEHMLER, Op. 154 Moderate M.M.Lna N _" oekmim.
Copyright 1924 byTh.o. Pres,., Co. ' P>*r *° £y Trto. 1 i rom nere go back to the beginning and play to then play Coda. British Copyright secured Copyright 1924 by Theo.Presser Co. International Copyright secured THE ETTTfif?
IlfSUMMER NIGHT Melody and accompaniment in the same hand, the melody to be bronghtout by the thumb. Grade 8. RICH. KRENTZLIN, Op.95 THE ETUDE the etude NOVEMBER li Page 770 NOVEMBER SINGING SANDS HELEN L. CRAMM A graceful teaching piece, exemplifying the waltz rhythm. Grade 2|
5 __— 3 3 0 V % 11 3, i \i 4
'w. /Titritr j - p w~ 3 2 5 Bed. simile ' 2 5
._5 3
Fj=t=f —i— H»fpe rhi — p poco rail. pp a tempi0 rail.
/ 0
' yU 3 m mm 2Nn>- m Copyright 1924 by Theo.Presses Co. m British Copyright secured
Prepare SONG OF CONTENTMENT Gt. (or Ch.) $&elodia8'and Dulciana 8' Sw. Vox Celeste 8'(Strings) Ped< Bourdon 16'uncoupled CARL F. MUELLER, Op. 19 A melodious slow movement,well constructed. A useful Prelude or Offertory Tempo rubato add Sw. Oboe 8'
PEDAL
— British Copyright secured Copyright 1923 by Theo.Presser Co. THE ETUDE NOVEMBER 1924 Page 775 THE ETUDE Page 774 NOVEMBER 1924
HIS ALMIGHTY HAND Words and Music by BERNARD HAMBLEN Andante
Shed no tear for yes - ter^day, Greet the day be - gun: Don thy trust y shield of faith; Nev-er—swerve nor poco cresc.
Copyright 1924 by.Theo. Presser Co. International Copyright secured THE Page 776 NOVEMBER 1924 ET(J])£ To Margaret S. Heydt the e?ude , NOVEMBER 1924 Page 777 HERMAN A. HEYDT MY GARDEN MANA-ZUCCA, Op. g4 MAID O’ MINE Neva McFarland Wadhams MARY TURNER SALTER
Copyright 1924 by Theo. Presser Co. British Copyright secured Copyright 1923 by Theo. Presser Co. British Copyright secured NOVEMBER 1924 Page 779 THE etude
Nor is this all. The moderate price comes as even more of a surprise—and makes the Brambach more than ever the instrument you’ll want to own. To really know the Brambach, you must hear its beau¬ tiful tone, appreciate its wonderful responsiveness, examine its handsome casing. The Brambach Baby Grand is the result of ioi years of fine piano-making. A de luxe brochure and a paper pattern showing the Brambach’s exact size, will be sent free of charge if you will simply fill in and mail the coupon, also the name of the nearest music merchant who sells the Brambach.
Sold by leading dealers everywhere Page 780 NOVEMBER 1924 THE ETVdE THE ETUDE NOVEMBER 1924 to assert itself. The first thing we WE have voices and natural talents in to take a breath, that is to'lsay)A]nj*hv ■ [most every student contracts the muscles burials and slow music for weddings, just as ’ ’ this country that can easily com¬ they use a wet towel to dry themselves after There are many ways of breathing; atl(j of the neck, creating rigidity that inter- a bath whereas we would use a dry towel. pete with those of any nation on earth; but, there seems to be much difference of 0pin {eres w;th the normal action of the throat. as everything tends toward the almighty I remember the funeral procession of a ion as to the best method. Not withstand* This is partly because the breathing appa¬ dollar, study is neglected, and get-rich- ratus is not properly under control, and it wealthy Chinaman in Singapore. A brass quick singing is uppermost in the student The Singer’s Etude ing the great diversity of description among band comprising Malayan natives, escorted teachers and vocalists as to the various would seem to them to be the only alterna¬ mind. The slogan of the day seems to be tive. Muscular action as such does not pro¬ the body and played what was considered “get-wise-quick and get-rich-quick.’’ The methods, it is necessary to recognize that appropriate music to solemnize the journey Edited by Noted Voice Experts there is but cue form of breathing that duce tone. Likewise interference of the result is a decadence in vocal standards tongue is a mistake and is also a frequent of the departed. They had evidently run and purity of tone. Artistic ideals are prevails physiologically in all individuals- out of native melodies and had borrowed and that is normal “abdominal” diaphrag! cause of bad tone production. While neglected, and loud singing and question¬ It is the Ambition of THE ETUDE to Make This Voice Department many teachers and singers believe in flat¬ in some way or another, from their Ameri¬ matic breathing. This breathing consists can friends. Two selections particularly able effects substituted. There is a lack tening the tongue and some work to have of desire for knowledge of technic. Oper¬ “A Vocalist’s Magazine Complete in Itself” of both the thoratic and diaphragmatic interested me. The first was, “I’m Afraid acting in perfect synchronism, but merely it furrowed, I am convinced that any vol¬ atic arias, and particularly the dramatic untary fixation is injurious. Whenever To Go Home In The Dark.” And the ones, inspire the youthful aspirant, and under greater control and amplitude in the you deliberately depress, raise, scoop, or second was, “There’ll Be A Hot Time In as a consequence many teachers are forced singer. draw it back, you interfere. It will more The Old Town To-night.” I do not ex¬ against their better convictions, to cater The so-called “abdominal” breathing pect that many singers or supervisors will likely act correctly if allowed to function to the student’s mistaken, ideas. Each one means the expansion of the abdominal ever be called upon to vary their style of Vocal Production in the Child, the Adolescent and the Adult as in speech. wants to be a vocal Babe Ruth, completely muscles; since there is no breathing appa- presentation to such an extent and on such ratus in the abdomen. forgetting that the vocal cords arc a great Visualize Your Tone unusual occasions, but nevertheless, I must deal more delicate than a baseball. From an Address by the Noted Composer and Teacher, Isidore Luckstone Clavicular breathing is absolutely wrong, These generalizations embody the essen¬ take this occasion, though I have never The obvious time to correct this tend¬ because the lifting of the shoulders entails tial fundamentals in singing. It is neces¬ done so publicly before, to pay tribute to ency is at a very early age, and the appro¬ muscular tension in the neck and throat, Read Before the Normal School for Music Supervisors Under the Direction sary for the student to grasp and apply that old Malayan band—it certainly had a priate place is in the schools. Here is which would of course interfere with sing¬ of Dr. Hollis Dann, at West Chester, Pa. them in vocal production. Once fully ac¬ unique style! your opportunity to render an invaluable ing. We should, therefore, only use a When allowed to put aside mechanical quired they become habitual, and in final service to the nation; You can begin combination of costal and diaphragmatic production, by giving the poem its fullest [Editor's Note—Isidore Luckstone was horn in Baltin__ire, „_January„ .29th,.,- 1 studied rendition should be automatic. One can cultivate the child’s appreciation, ai breathing, which is known as thoracic expression, with the necessary dramatic i, theory and voice with many of the leading masters. After professionally then induce freedom and purity of tone through normal gradation, create a desire world,i, he returned to America and became the foremost accompanist. His memory is pro- breathing. This is what we do when we application, one obtains the color of tone through musical thought. In fact, it is for purity and artistry instead off the bom- rsare}v, aP»eaVd the Viatform with notes. In this way he acquired ordinarily take a breath to speak; and it desired. This requires imagination. In , . ■' , . . , . «n enormous repertoire of operatic and concert material, always at his fingers’ ends, and ultimately through the psychology of the bastic and the spectacular. The best gradually became the trainer in both voice production and interpretation of many celc- should be exactly the same when we sing. speaking, the color of the voice always art alone that successful singing may be means at your command to -accomplish brated artists.] The only difference is that wc take longer co'rresponds with the particular kind of allowed. Vocal production, therefore, is this purpose is by precept. It is, there- even keener than the eye. I have repeat- adolescence. Therefore in most cases the breaths. It may interest you to know that expression given—the different kinds of control of breathing and emission of tone, fore, my earnest wish to make a strong edly demonstrated to myself and to others boy may continue to sing, provided always love, sadness, happiness, and so forth. It normally wc take in only three-fifths of a the correctness of which must be proved by appeal t r aural perception of our own tone that all strenuous use of'the voice can lie applied equally in singing, once the pint of air, whilst there are actually about one’s own hearing. Visualize your tone; I fully value the splendid work being production absolute and essential fully avoided. A broken and uncertain correct technic has been acquired. Feel the four quarts of air almost constantly in have a preconceived ideal; and you will be done here and know that progress is inev- necessity. Let i e quote authoritative state- condition of the speaking voice is conclu¬ story and the vocal necessities will follow. the lungs. Instead of breathing about sev¬ able to induce rather than produce it. Hear itable; but I am convinced that technics ments. sive evidence of a similar condition of the I do not refer to coloratura singing, of enteen or eighteen times a minute, which it in advance, and then let your hearing alone will not suffice. It is an interesting Helmholtz, c e of the greatest scientists singing voice. Whenever such a condi- course, where text is very secondary—it is determine the result. Rely upon your hear¬ An Upright of Distinction scientific fact that the mind of a child the world has r known, s a exists, singing should cease altogether we do normally, we reduce this number by the one exception. One does not gener¬ ing rather than sensation. It is the co¬ somewhat under two years of age is only until the disturbed vocal conditions disap¬ taking in a larger supply of air when we ally appreciate the fact that even beautiful ordination of the myriads of muscles, equivalent to that of an average animal; “The voeali does not, properly speak- pear. inhale to sing; but it is well to remember tone can become very monotonous. The The Colonial Model shown above is believed to have But as the child’s mind continues to de- ' ' ‘ It is with him a matter nerves, tendons, and so on, that gives you of ear, that : of pitch which that one can suffer from too much air as interest lies in word meaning and sympa¬ had the widest sales recognition of any American velop thereafter it becomes more and more the means of singing; and any deliberate guides the muscles to alter t_. _ „ Growing Youth Forces the Voice well as from too little. When we exhale thetic appeal. Through your own imagina¬ piano of its type and price. . It fits architecturally like a thirsty sponge, ever ready to ab¬ his vocal chords and “make them produce effort applied to any particular group or tones at various pitch. The ease and Unfortunately, growing youth is particu¬ the breath the air finds exit through the tion, appeal to that of your audience. into the tasteful home of today. Musically it is so sorb. His mind in the recipient stage rapidity with which this can be done are larly prone to force the voice. That of a locality will not he productive but merely In conclusion, I would emphasize that matters of careful training followed by windpipe or trachea; and in producing a fine that Conservatories call for it. For it offers gives music the great opportunity to make child before puberty should never be forced obstructive. Music is a significant factor in the uplift long practice. They can never be ac¬ tone this exhalation sets the approximated its appeal through expression. This must quired by those who have not the proper down in order to produce a chest quality. of all nations. It is a cultural medium longer strings, larger soundboard and tone superiority cerebral organization." I would like to elaborate upon the question be transmitted by the teacher. It cannot The beautiful head tone should be allowed vocal chords into vibration. Although the towards the highest ideals of refinement, to many Grands, all at a price' commanding only an be told nor taught. of presentation, but I am obliged to content full freedom in a limited range. Nor pitch desired fixes the chords automatically, myself with saying that its efficiency depends good taste and aestheticism. The history Dr. Gordon Holmes says: upon the text, its meaning, and the musical inferior Grand. should the adolescent be allowed to sing the air alone makes them vibrate. Only a concept. In the desire for tone, text is neg¬ of the evolution of music parallels the his¬ Tonal Examples “The tone of the voice is therefore high tenor and low bass parts in dramatic limited amount of air can pa - - between the lected, for it is unfortunate but true that one tory of civilization. He is indeed, fortu¬ governed almost wholly by the will of the can rarely hear clear enunciation. In the Some wise man has said: “You can’t speaker; and according to the delicacy works. I believe this is frequently done, chords, and no matter how loud a tone is majority of cases one might just as well be nate who is able to offer his best efforts to learn nothin’ to nobody.” This applies of his ear will be tuneful or the reverse. but only in the United States, and is to be desired only a quarter of one per cent, listening to a Mendelssohn’s song without such an art; and you are individually, and particularly to the vocal question in the That the ear is mainly instrumental in deplored. Many voices of great promise words. Presentation also demands the style producing refinement of vocal tone is of additional air can be forced through. and color of the composition according to as an organization, to be congratulated IVERS & POND child. Give anyone a tone, and more espe¬ proved by the example of persons who, have been destroyed through tpd usage nationality. It would be a mistake to attempt upon your remarkable work in the past, being born incurably deaf, have been The breathing muscles, through training, a Russian song in the style of an American cially to a child, and he will approximate taught to speak, as in such cases the at this the most sensitive physiological ballad. Music conveys different meanings to and for the breadth of vision and ever ex¬ the pitch without reasoning how or where voice remains harsh to the highest de- period of their existence" It is an excel¬ help to sustain the air in expulsion. Arti¬ different peoples according to their conven¬ panding ideals with which, I am sure, yoi lent time to devote to the study, of musical ficial muscular rigidity must not be used tions. An extreme instance of this is notice¬ to acquire it. A good tonal example will - guided by results to act as chief able in Japan where they use quick music for will look into the future. generally induce a better response than a biter of the utility of many practices literature. A graded musical education of for this purpose. PIANOS ‘■o voice training. In all r~-- the poor one, especially in children who are appeal must be to. the the classics, and particularly of : the vocal natural imitators. A tonal example that literature can now be made valuable.’ The How Tone Acquires Quality Child Music are built today as from the first in but one is agreeable and free, consequently having These references may seem superfluous, voice of the boy at this period goes down The tone acquires quality through the res- view that music for children must be sim¬ quality—the best—with -continuity of proprietor¬ principally include the In a recent issue of Musical Opinion, ■ us natural vibrations, would unconsciously especially if they appear as obvious to you entire octave,- while- the- girl’s voice pharynx, mouth, and nasal <■„. Ernest Austin, the eminent English critic, ple. They have put that first and last, and ship and of artistic ideals. Over 500 Educational appeal to the child's hearing and create a as they do to me; but this very simple fact changes only about a tone of two.- It „ sential tor tone quality is n;o in their anxiety to do the right thing, have and. while I firmly believe ill na writes interestingly, instructively and with Institutions and 70,000 homes use them. Let us genuine interest. This would present the is still ignored by many vocal teachers and imPerative that such' transitions receive due evident knowledge of the type of music forgotten the poetry, the romance, the I do not advocate a nasal tone. send you our catalog of fine Uprights, Grands and inductive method the subtleties of which singers. It is necessary to have the child conslderation. Delay the study of technic larynx it is irojeeted by adapted to children. story, the magic. They have almost taken always attract the developing mind of the learn to know through hearing whether ™ti[ adolescence has been .'’established, resonating Players showing the newest an! best tendencies in sal cavities. “The child at play is perpetually invent¬ the view that anything will do for a child, child. Feed the youthful mind with these he is singing not only with the correct General breathing exercises' as welTas any ing, turning the world (and the nursery) and have attributed to ‘simplicity’ a pur¬ design. subtleties rather than the drier mechanics, pitch but also with the tone quality de- athlet,c Gaining intended for physical de- upside down, like a poet; revealing hidden pose for which it should never exist. Sim¬ It is obvious that the teacher himself, in sired. He is not encumbered at this period velopment are beneficial; but training of romance, like a composer of music. The plicity in music should be inseparable from avoided in the soft palate i the How to Buy order to accomplish this, should be able to with methods and so can the more easily vocal foundations should be postponed, poet ‘dreams,’ the composer ‘listens,’ and the genesis of the music. The poetry, the throat, or the head resonance will not <><■ Reliable dealers throughout the United States sell sing a tone with correct vocal production, learn inductively. forthcoming. The soft palate tongue, and the child ‘plays’—at all their occupations. idea, should be first, and simplicity just a the hers W Pond. If none is pear you, we can ship How otherwise would you expect to in- Those who cannot hear themselves have cSme4°Jbe, adu,t voice. To sing rJ* tlf® Purposes of enunciation only. The use of the imagination is common to part of the expression. X; }bu, tonp dominate the activity of the from the factory direct. We make expert selection and spire the child with the proper apprecia- never been taught to develop that sense, are needed“ptopl?.‘often SvTpreuH^'ld0"8 chords instead of the contrary Frequently them all. They ‘sort out’ and criticise and “Children can discover the intrinsic value guarantee satisfaction or the piano returns at our tion. Any one can learn to give a free Through acquirement of this faculty at however,. as to proper qualifications!' I?|i a student will state that he was instructed 'invent.’ of music in an instant. They have a gift Ini . ?V,hc tone lu the throat. This I con- expense for freights. Liberal allowance for old instru¬ tone, even though the voice is not of par- an early age, the tendency toward correct daughter”'8 m'e," saying "“I^beliov™1™!14! hor ratal. By obtaining bead “If we admit the ‘kinship’ of child, poet for discovering sincerity, and will accept ticularly good quality, and many of you vocal development will right itself and daughter is destined to ’he a great singer, “i the ments in exchange. Attractive easy payment plans. "hat the and composer, one of the first thoughts no music that appears to have been written have good voices, while some, I know, are later on will simplify actual training. It a^ea'lly wonderfulWvoieetlfovaT s.hp,Presses ench t the For catalog and full information, mite us now. . 11 the resonating chambers of' — that will cross our mind is whether chil¬ for their convenience. They want, and beautiful. To improve the child’s voice is not advisable at this time to enter into fhat; a11 the renowned singers have'very'Vong ne carries farther than through any dren have been fairly treated by composers. get, good stories, good legends, good you should cultivate your own so that you technical fundamentals. It is best to And i answered”0'^?T"&a: (The question does not arise with regard poems—and their music must be good, also. could illustrate correctly. This would allow children to slowly mature music- that you may be'mistaken The one- Jnimal freaf, i *'i!».every casehe ’'voice* should be to poets, because the poets have treated the It must have an idea, and if that idea ap¬ benefit the speaking as well as the sing- ally and vocally through induction. Nat- V°Cal ch,m,s' conse- children fairly!) Ivers & Pond Piano Co Pr* peals to their imagination it is surprising voioe. Your work would be enhanced urally if there are not not enough super- giraffe.” Such ideas“ar^of neom?-ndi hitb/ “I contend that composers of music have osf/Veyond conception. visors and the work is done principally by Hoh^re'th^nr^?.’, iu,Muscnce and 'imagtoa-' not—as a whole—been even ‘amiable’ to how they will work to master any passing 141 Boylston Street, Boston, Mass. u must educate your own hearing if the grade teachers it is much more diffi- ‘ *p qualifications. aud qoS?iLm^Ms'win children. They generally have taken the difficulties.” yBy Lawrence D. Andrews By Marcus A. Hackney
Cold hands spoil many lessons. This is mittens which can be left lying on the discouraging to both teacher and student. radiator for the use of students. With A certain brother-musician has origi¬ Unsorted. KIMBALL The teacher knows he cannot judge the these gloves on, one.can take hold of the nated a choice and expressive new phrase: Present use. student s playing properly, for the playing coils of the radiator and warm his hands "It is extensively whence!” Thi^, when he Junior’s music. “The Instrument of Yesterday, is not normal. The student, laboring to couldn’t find a piece which he had already Ingram *s make his rigid, unresponsive fingers do his in a surprisingly short time. Blank music paper. Today and Tomorrow” begun to practice. When one has a very bidding, becomes tense and nervous, and Massage and exercise also are valuable Manuscript copies. Milkweed Cream large quantity of sheet music, to mislay a finally warms up just at the close of the aids in establishing circulation; though Music for piano pupils. KIMBALL Pianos and Kimball It is a thorough cleanser and yet lesson. piece is often as bad as to have it destroyed Music for violin pupils. they seem a little slow if one is in a hurry. Pipe Organs are made bv the light enough in body to form a Some people have cold hands habitually. Rub each finger from the tip towards the or stolen; if it happens, for instance, to Piano music. . comfortable foundation for powder. Their blood is thin and their circulation knuckle (towards the heart) as if you be folded in the pages of some other piece, Piano music (duets, etc.). same firm, and have an established But it has certain remedial proper¬ (HALFONTE- poor. Such persons should build up their were putting on a glove. Then rub the it may not be found for years. Even ties that subdue redness, roughness, Organ music. reputation for correct construction, tan, freckles and such imperfec¬ general health by proper attention to diet, hands as if washing them. Alternately though the musical library may be as yet Borrowed. exercise, deep breathing, and rest. They close and open the hands with vigorous, HaddonHall artistic voicing, and qualities that tions. Whether you use it as a very small, it is an excellent plan to take The top and bottom shelves deserve a cleanser, a protection, or a powder should eat plenty of raw green stuff, cooked complete muscular exertions. Shake the ATLANTIC CITY care of it and to have some proper system word of explanation. Sometimes one is in endure. Clarence Eddy,' dean of base, its nourishing and healing succulent vegetables with the juice in which hands vigorously. Grasp each finger in turn On the Beach and the Boardwalk In the rery center in its arrangement, for if you stay in the a hurry in putting away a piece and has properties will bring fresh beauty they were cooked (especially spinach).and at the tip and rotate it from the knuckle in of thmgt. Hospitable, homelike. organists, refers to the Kimball as a same game as years go on, it will surely not time to think of its right classification; and new life to your skin. whole wheat grains instead of those which as large circles as possible. Every season of the year is enjoy, “wonderful organ.” Used by discriminating women for grow to an unexpected size. it is much better, then, to put it in the un¬ have been refined. Cool or cold baths in Though this next suggestion involves an able at Chalfonte-Haddon Hall. more than thirty years. It is really impossible to keep a stock of sorted pile for future attention than to put the morning, followed by vigorous rubbing expense of several dollars, it is perhaps Winter recreations outdoors in¬ Harrison M. Wild, conductor of the A little scientific care now may save clude Golf, Riding on the Beach, loose, printed music looking as neat and it away inadvertently in the wrong place months of effort later on. Get a jar and slapping of the body and by other ex¬ most generally available since it calls only Aviation, Boardwalk Activities. where it would be harder to find. From Apollo and Mendelssohn Clubs,and at your druggist’s today, the dollar ercises, also help. Plenty of rest, and for an electric connection. An electric respectable as a shelf of books, and this Mild weather. Invigorating sea air time to time one can properly sort out the jar is the more economical for you. freedom from worry are absolute necessi- ' warming pad, such as is ordinarily used in leads some, as soon as they can afford it, to an organist of eminence, says of the things on the “unsorted” shelf, without ties. Such people must expect to take time bed, can be attached to a socket, the pad have their sheet music bound in book form. Kimball, “All that a human could for generous*sample with the Draa- any great labor. In regard to the pieces to build up good blood and circulation; wrapped around one’s hands like a muff, This, however, is not to be recommended. LEEDS and LIPPINCOTT COMPANY on the “borrowed” shelf, their presence ask in beautiful tone.” Frank C. for their cold hands are merely superfi¬ and in a jiffy one’s hands will be as warm Books do not stay open well on the music there serves as a reminder to return them cial symptoms. as toast. The pad has the advantage of Van Dusen says, “Responsive be¬ rack, and they are a heavy load to carry seasonably, and also makes them easy to But perhaps cold weather causes most being portable, so that it can be taken to if you wish to take them anywhere, es¬ find, should there be a sudden.call for them yond technical demands of any or¬ cold hands. The student comes through the a concert when one is to play and when pecially if the pieces you want happen to from the owner. cold to his lesson, and hardly realizes that one wants to make sure of warm hands. ganist, and tonally superb.” his fingers are cold and stiff until he comes A word might be added about beginning be in several different books. For preser¬ But this only accounts for a small frac¬ into the waiting^ room or studio. What is practice at home, with no excuse for cold vation and neatness, plain folders, made pf tion of the printed music in the writer’s Kimball Pianos and Pipe Organs he to do? hands. When you are at home you can tough, cream-colored manila paper cut the possession. A cheap set of wooden shelves satisfy the most exacting. Hot water is the first remedy thought of, take time thoroughly to warm your hands proper size, are the best thing possible. It in a back room, about five feet high and three feet wide, holds a number of piles of and if this is available it is fine. Let it before going to the piano. You will thus w. is not even desirable, in most cases, to sew the following sorts: Piano music, Violin be as hot as can be borne, and if possible, save much valuable time and effort; for it or wire the sheets in. V. KIMBALL CO.. Dept. KE music, Chamber music with piano, Cham¬ Catalog and dealers alternate with cold water. The hot draws often takes half an hour or longer to get The top of the piano is one of the poor¬ ber music without piano, Orchestra music the blood into the hands and the cold drives limbered up, if one begins with cold hands. est places to let music accumulate. Every¬ itr r TUD A T T ('’() i ment marked X: Q KIMBALL Reproducing Pianos it out, thus producing a kind of pump-like Pianologues (popular), Orchestra music (classical), W. W. KIMdALjL UAJ. I □ KIMBALLGrand Pianos □ KIMBALL Phonographs Rubbing the keyboard with a warm, thick one should have seme suitable music (Established 1857) I □ KIMBALL Upright Pianos O KIMBALLPlaycr Pianos action which is more efficacious than the Octavo anthems, Octavo music (secular), woolen cloth, will help to warm up the shelves. If one cannot afford those very hot water alone. End up with cold. Operas, Oratorios and Cantatas, Cata¬ cold keys. A few minutes’ application of excellent little cabinets with shallow draw¬ But it is seldom that hot and cold water logs, Scrap-books and Programs, Files one of. the above devices will enable you ers, which are seen advertised in the pages are available. If there is a steam or hot of The Etude. From time to time such to begin your work with maximum effi¬ of musical magazines, a simple set of water radiator in the studio the teacher pieces as are to be in present use are picked ciency, and thus to get the most out of shelves, such as may be made by a carpen¬ should provide a pair of woolen gloves or your lesson or practice period. out and placed on the shelf so labeled in ter or by anyone handy with tools, will an¬ the smaller cabinet, to be returned again to TINDALE swer the purpose just as well. A door in their former places when the occasion has The Story of a Sonc . "i'll, Music Filing Cabinet ENTERTAINMENTS TWOn Da Phone .Hull, front, to keep out dust, is highly desirable, gone by for their use. E. L. GAMBLE, PLAYWRIGHT, EAST LIVERPOOL, 0. but not indispensable. Needed by every Musician, One Way of Curing a Bad Fault For books on musical topics, a special Music Student, Library, The set of Ven SsEmi ColN ,: , >3.00. 35C‘ In regard to the system of sorting, opin¬ shelf is reserved on the ordinary bookcase. School and Convent. $1800 for a Story! By Ella E. Phillips Complete list of entertainment material an request. ions differ. What may be the handiest tor one person may not prove so for rinllars nnnnnllv with their rienn. Oll.ers are eontiinmllv T. S. DENISON & CO. What To Do With Inconvenient Sizes Dramatic Publishers another; but any system is better than YOU Can Be Certain There are pupils, and pupils. Some I played it I purposely added note after 623 S. WABASH AVE., DEPT. 73, CHICAGO none. Some sort alphabetically by com¬ Occasionally it happens that some piece forget what they are fold the minute after note, lots of them, which I could see poser’s names, some alphabetically by titles; of music is printed in a form which makes of Piano Quality- it is done; and some never listen in the made her quite angry.. others (including the present writer), ac¬ it impossible to file conveniently in its first place. Some have fingers like sticks “You didn’t play it as I wrote it,” she proper place, for instance, if one has a Hoosier Institute 8{j”p* *£r Ft. Wavne.Ind. ana buy. it Faust School of Tuning cording to the varied uses for which the Limy. All ;OU need do and some like cushions of velvet. But scolded. music is intended. Where one’s music is carefully sorted cabinet of octavo anthems, the most provoking one that I ever had strument of genuine quality is" to look “Are you offended?” I asked.. all of one kind—all piano, all vocal, or the and happens to get hold of an anthem for the Wessell, Nickel & Gross trade¬ persisted in playing notes when there "Well, no,” she said slowly, “but why like, possibly the first-named systems may printed in sheet music size. In such a mark. (Shown above.) were none. No matter how many notes didn’t you play it the way I wrote it?" " case, the best thing to do is to lay it away The Wessell, Nickel & Gross piano Organ am be preferable, but where one has several action which this trade-mark identifies the piece contained, she was sure to add Then I started my little lecture. . Year B. different sorts, and especially when there on almost any shelf of the proper size ;s used exclusively by piano makers whose a few dozen more, thus so changing the which is not very full, and, to insure its instruments represent the highest stand- “Now, my dear,” I said gently, “what are several members of the family whose -cfccf art and craftsmanship. piece that it was scarcely recognizable. I have just done you have been doing for musical pursuits are various, this last way being found when wanted, prepare a Talking did no good, scolding did less; three years. I have offended you and you is most satisfactory. “dummy" octavo-sice on blank paper or priced piano action in the world. ‘it^is and I was at my wit's end to rind a way built by the oldest, largest and leading have been offending those great com¬ Just as a practical illustration of the cardboard bearing the name of the piece to stop it. Finally I hit upon a scheme. makers of high-grade piano actions. To posers, but they were not here to hear way it works out, and not with any inten¬ in question and telling just where to look select a piano, player, or reproducing At one lesson I suggested that she write piano in which the Wessell, Nickel & you. It’s a wonder they did not turn over tion to hold ourselves up as a model, the for it. This is a hint borrowed from the a little line of music for me—she was Gross action has been installed is to in their graves! Think of it! A mere writer will describe his own manner of keeper of a college library. fairly well advanced—in the fourth grade. beginner like you trying to improve the MUSIC PRINTERS keeping music sorted. He has an oak Of course, all this systematic sorting and I suggested that she try her hand at com¬ works of the great masters. That is, you cabinet a little over four feet high, with arrangement takes time and care, but it WESSELL, NICKEL & C posing just a line or so. think that you are improving them, when I ENGRAVERSan°LITHOGRAPHERS L eleven shelves, each 12 by 16 inches, and is easy work, and may be done in odd Established 1874 New York City She seemed quite pleased, and at the in reality you arc distorting and mangling PRINT ANYTHING IN MUSIC- BY ANY PROCESS I a door that will lock. From one shelf to times; and, when all is said and done, it is next lesson presented four short lines for them.” WE PRINT FOR INDIVIDUALS the next, the space is about four inches, and not half so much trouble as trying to find my approval. I sat down to play them. Well, need I continue? My little ruse establishedi87q REFERENCE ANY PUBLISHER the shelves are labeled as follows: some piece “extensively whence.” It was a simple melody will written, and worked, and incidentally I have found out I was surprised that she should show so that one of my pupils has a real gift for much talent in this direction. But when composing. KATHRYN MEISLE, of the Chicago Opera Co., Selects for Her Concert Program GEMS OF MELODY 1 Selected from the latest compositions of SPECIALISTS IN CHRISTMAS MUSIC! SOLOS-DUETS-ANTUEMS “SLEEPY HOLLOW TUNE” Valse Elise RUDOLF bend for free Flammer Music Calendar Hesitation Words by Bertram Fosdick Music by RICHARD KOUNTZ Wistful “°’ L'°3ILchiJSZ'l BETHLEHEM” Published in Two Keys—G, Range to E—D, Range a to B Reflection FRIML ^Pjlanushka At rare intervals songs appear that are easy for all of us for FREE thematic booklet orTendToc^oJ erch^ne^eshec fee Nanetl If your dealer cannot j . . ..,**■ Amhem. mii-d. IS. to sing and yet, with their simplicity, possessing unusual MEN’S QUARTETTE, THREE-PART WOMEN’S VOICES. MIXED VOICES and ORCHESTRA j^tj/noricalorita ... o-Fritz Kreisler plays the piano was better known as an organist. It is said, less one keeps up the piano practice the notwithstanding. and phrasing. But this is a rule which all intents and purposes the nearest finely; but it is upon the violin that he is however, that when he was invited to touch is likely to become sluggish and inert. Another “bird” I wish to see swatted does not work both ways. In other words, approach to a piano touch made possible COMPOSITION FOR BEGINNERS ‘open’ an organ in Italy he spent some acclaimed as a master. Two instruments Of course the organist is alyvays able to is the organ builder (spare the mark) I would not advise anyone who wants to on the organ. Such a touch is the reverse Approved as a Correspondence School days in preliminary practice upon the under the laws of the State of New York may be mutually helpful; but very few play the piano; but that something which that builds a Three Manual and Echo excel as a pianist to devote very much of the unsatisfactory and impossible instrument. Every day an old man with artists have ever had more than one instru¬ one hears in the touch of Paderewski, Organ, but with only One Stop in the time to practicing or playing the organ; spring touch as first used in the modern This short course of twenty-five lessons will teach you to compose long white hair came silently into the ment or have become equally famous for Lhevinne, Bauer and others, vanishes unless Pedal Division!! for the clinging touch necessary to good pneumatic and electric organs, where the a melody—harmonize it—arrange an accompaniment—orchestrate it church and sat during the practice periods performance upon two instruments. Emil it is kept up with a great deal of practice.” organ playing, if pers'sted in to any great upward pressure against the finger, when for orchestra and band—adapt it for male, female and mixed chorus— of the English master. Finally Best Pauer seemed to play the violin and' the Rollo F. Maitland extent, is fatal to lightness of touch, free¬ the key was fully depressed, was often and give you the forms of popular music in a inquired who his faithful admirer was. Th= Humphrey J. Stewart piano equally well; but, after all, his Noted Church and Concert Organist dom and brilliancy, which are required in doubled or trebled owing to the increased greater fame was as a conductor, and few attendant answered, ‘That is the Abbe Municipal Organist of San Diego, Practical, Clear and Complete Course It does not; if the right kind of organ successful piano playing. It might be a tension of the spring. To play constantly people think of him as a pianist or as a Liszt.’ California on one of these spring touches would un¬ technic is used, and if piano practice is good thing for pianists to go occasionally A correspondence course specially prepared and personally super¬ violinist. “It is a fine thing for organists to study I have always contended that a well- to the organ, and ‘test out’ their legato doubtedly be more harmful to a good kept up. vised by J. Van Broekhoven, of whose standard work on Harmony the piano first. Most organ students come developed piano technic is indispensable for playing; for they will be surprised to learn piano technic than even the old tracker Preston Ware Orem to the instrument with excellent ability in The common assertion that the technic 19,000 copies have been sold in the United States; a text book used good organ playing; and, furthermore, required for the two instruments is en¬ how imperfect it really is and how much action, where, after you had overcome Preston Ware Orem, well known, to piano playing. Everything one does right in the Paris Conservatory. * that the cultivation of organ touch is very tirely different is only partly true, and is they rely upon the damper pedal! the air resistance of the pallet, there was thousands of American organists, because in piano playing eventually proves of value helpful to the pianist. less so in these days of the modern concert “In the matter of key-resistance, the at least a distinct reduction of its weight JOHN PHILIP SOUSA’S OPINION OF THIS COURSE of his excellent collections and editions of in organ playing. Of course if one has In this connection I may cite the experi¬ organ than in the days of the old tracker- modern organ, with its electro-pneumatic when the key was at the bottom. With My D r Mr. Van organ works, gave the following comments; learned to play the piano indifferently, the ence of Thalberg, who in his day repre¬ the new toggle touch there is a delightful fords me speak in the highest action church organ. True, the pianist gets action, is quite as easy of manipulation “Organ playing, properly taught, unques¬ organ teacher has a difficult work ahead of toven Course in Mu sented the highest development of pianis- his variation in tone-color by his finger- as its smaller sister the piano, and, there¬ resistance at the top, as in a piano, and a my years, together v.— tionably helps the pianist. It has thg. effect him. It is a great saving to acquire one’s tic art. Thalberg contended that the le¬ reduction of at least fifty per cent, in Ige. leaves^ you th oroughly equipped to^produc technic, and the organist by his use of fore, Herculean strength of muscle is not of making him more exact. It makes his technic on the organ first through the study gato touch, which is so essential for the the weight when the key is depressed. stops; but, to give life to organ playing, called for, even in the production of the rtaking; for you de legato vastly better, because he plays this of the piano.” pianist, could only be perfected by con¬ most powerful and gigantic effects. The This new touch is now'extensively used by Very si the same force, snap, and virility should be JOHN PHILIP SOUSA. legato with his brains as well as with, his stant practice on the organ. For this pur¬ trend of much modern organ music is the leading organ builders, both in this Paul Bliss used that is employed by the pianist to get fingers. Indeed, the touch, in the case of pose he provided himself with a small towards excessive speed and brilliancy, country and in England; and I would For Full Details Address Personally the key down to the socket, which is his the modern organ, makes that of the pianist Paul Bliss, composer of a vast amount of reed organ, which he used daily. This which requires far greater technical dex¬ suggest that all good pianists who wish J. VAN BROEKHOVEN more elastic. Organ playing makes the well-known music for the church and for object, whether the result be a loud or a little instrument, bearing Thalberg’s auto¬ soft tone. terity and a more highly developed manual also to play the organ insist that it is pianist a better sight reader. Why? Simply chorus, who was a pupil of Guilmant in graph, used to be in the possession of and pedal technic than was ever dreamed incorporated, although to this day many P. O. Box 789 City Hall Station New York City So many technical requirements are com¬ because the man who plays the organ-has a Paris for three years, says: James Kendrick Pyne, organist of Man¬ of by the classical school of organ play¬ of the less advanced builders have failed mon to both instruments. Phrasing is done thousand and one things to think about in “Of course organs have changed wonder¬ chester Cathedral, England. We should practically the same way; and the legato, the way of pedaling and registration of fully. I played on several of the great also remember the advice of Schumann, non-legato, staccato, leggierc, and pizzi¬ which the pianist never dreams. When he French organs when they were of the old who spoke from the standpoint of the “IN THE GARDEN OF SAHARA” - Song cato touches are practically the same on goes back to the piano all of his attention action. These were tours de force in the pianist—to lose no opportunity of prac¬ Is by CHARLES O. ROOS Q ®a“g|at Music by CHARLES WAKEFIELD ( is concentrated upon sight reading and he real sense. It demanded about all one’s ticing on the organ. both keyboards. is surprised at how simple it is. Organ strength to play them at that time. I The really important difference between This New Cadman Song is a Delightful Artistic Number for High Voice playing makes the pianist a better poly¬ remember a famous organ in the east, Mr. Frank Taft the touch of the organ and that of the phonic player because he becomes accus¬ that I used to play. I would remove my Well-Known Concert Organist piano is the lightness of the former as tomed on the organ to hear the different compared with the latter. In view of this coat and vest and go for it much as one In piano playing the most delicate grada¬ fact a pianist playing the organ should not voice parts with different organ qualities of would wrestle with a bear. At the end I tions of “touch” are absolutely necessary would be in a dripping persniration. The for artistic interpretation. In organ play¬ neglect his piano practice, else he will find his fingers lacking in strength when he re¬ effort was not unlike that which one would ing the moment- the wind enters a pipe it Frederick Maxson put out in moving several tons of coal. I instantly speaks at its full strength, re¬ turns to the piano. This is the one serious Frederick Maxson. organist of the First can not see how such an experience would gardless of how delicately or hard a’ key manner in which playing the organ might Baptist Church of Philadelphia, and a well- help one’s piano playing. Piano playing injure a pianist’s technic: but if piano prac¬ is depressed. THEO. PRESSER CO., 1710-1712-1714 Chestnut Street, PHILADELPHIA, PA. tice is kept up this should not happen. the etude NOVEMBER 19U Page 787 Page 786 NOVEMBER 1921h THE ETUDE llllllllllllllllllllllllim .. to adopt it. In England I first worked of the piano tone trains the ear in musical out the idea with the well-known firm of accuracy, while the piano action trains SUMMY’S CORNER Norman & Beard, the builders of the great the fingers in physical accuracy, independ¬ organs in the Colston Hall, Bristol; Nor¬ ence and strength. It is impossible to D. Appleton and Company present the world’s most complete organ learn to play the organ well without a o publications which will be of much interest to progressive b wich Cathedral, and other important build¬ ings, who at once adopted it as their Stand- fundamental grounding in piano technic collection for the use of concert, church and motion=picture organists “ALTHEA’S SAMPLER” "To become a virtuoso on either instru¬ ment. however, it is obvious that one must By John Mokrejs Touch. Price - - - $ .60 "With such conditions the. pianist can devote one's chief attention to that instru. uthor of this work is known for his interesting compositions for children. •'Althei safely practice on the organ. In fact, the valuable for use with very young children. Mr. Mokrejs uses “old material” in tho the mind of the child is elusive, it is often caught and held by tf * ' ' ' greater his technic on the piano the greater STANDARD ORGAN PIECES Therefor will be his ease when playing' rapid and A Comparison of Handel and characte vcn to the intricate passages in organ music. tover/o'f natural Sy* hm'.'^ColoV*MmeTar^u.^'in'the tfaming ofPwitiv"a* d Relative Bach r-itch. The whole compiled with such a clear musical insight into modern needs that "To be a good organist it is first essen¬ Decidedly =v,!« ^ * Pen“,-nl in the tial to become a good pianist; and I'sec By Rose Frim no reason, with a properly regulated touch, This is the Complete Classified Contents why organ playing cquld in any way be “THE STORY OF CINDERELLA’ Bach and HantKi, exact contemporaries harmful to the pianist.” Pictured in six piano pieces as to their date of birth, were markedly CLASSIC COMPOSITIONS By Ethel Lyon different in their professional careers and J. Warren Andrews Minuet in G...Beethoven in their musical characteristics. Percy A. Adagio . ... .Beethoven Past Warden of tiie American Guild .Bach' Minifct (Divertimento) .Mozart Sholes, in “A Listeners' History bf Air (Orchestral Suite). of Organists Air (Caro Mio' fieri) ...... Giordani Moment Musical .Schubert Music” makes the following contrasts . .7_Handel "Replying to your query: I consider Air (Rinaldo) . Nocturne, Op. 9, No. 2.Chopin Quaint little pieces portraying the important happenings in the story of Cinderella which are helpful to the lay reader in .Lotti Prince. In the form of Gavotte, Waltz. Minuet, March, Rondo. Of exceptionally good m Air (Pur Dicesti) .. Sarabande .Handel that one instrument helps the other. In mentally placing the attainments of these .Gluck shin, enr.h nnp mnhln. _I_1_s_• 1 ___ _ . •/ r r Andante (Orfeo) . Serenade (Standchen) .Schubert past years, when the touch of a large organ great men. Andante (Violin Concerto). .. Mendelssohn Spring Song .Mendelssohn ALL SUBJECT TO THE USUAL DISCOUNTS was such as to develop the muscle needed Consolation . . .Mendelssohn Handel was more of the practical man, Triiumerei, Op. IS, No. 7.Schumann by the blacksmith, the playing of the organ and Bach more of the idealist. Gavotte in D . was undoubtedly harmful to a facile piano Military Polonaise . .Chopin Unfinished Symphony .Schubert CLAYTON F. SUMMY CO., Handel’s was the polished, traveled; cos¬ Publishers technic. Now, however, most of the mopolitan mind, Bach's the more rugged 429 South Wabash Avenue - - Chicago, Illinois organs are supplied with an action often mind of the student who has spent solitary MODERN COMPOSITIONS superior to that of the finest piano : further days and nights in intensive work in his Tschaikowsky Orientale . .Cui than this, the organ is as quick of speech Andante Cantabile . own study. Anitra’s Dance . .Grieg Playera, Op. 5. .Granados as the piano, and the only limit in speed Handel always had some ("quite legiti¬ Berceuse .. .Schyttc .b'ibich FOUR FREE BUNIONS at the organ is the ability of the per¬ .Rachmaninoff mate) money-making scheme in view when Cavatina . .Raff Prelude in C3 Minor.... former. Aside from this, the organ is Chant Sans Paroles. Tschaikowsky Pres de la Mer, Op. 52. . .Arensky composing; lie was thus directing his ac¬ SCHOLARSHIPS most helpful in forming a good singing Chants Russes". .Lalo Reverie, Op. 9. SENT ON TRIAL legato touch, which, once acquired, is tivities to the winning of the suffrages of Cinquantaine, La . .Gabriel-Marie Romance, Op. 44, No. 1. .Rubinstein never lost. During all the years of my a large public, whereas Bach very fre¬ Consolation No. 5. Romance, Op. 26. .Svendsen Onilmant Organ School teaching I have always advocated the use quently composed merely to satisfy his Cradle Song ... .Hauser Romance Sans Paroles.. LABORATORIES Dept. A-666 ..Iljinsky Salut d’Amour . Dr. WILLIAM C. CARL, Director of the pedal piano for acquiring an organ own need for self-expression or solve Cradle Song . Cygne, Le (The Swan)- .. .Saint-Saens Scotch Poem . .Macdowell technic. This stroke for a percussion to his own satisfaction some problem of musical form or style. Erotik, Op. 43, No. 5. Serenade . Fall Term, October 7th touch is absolutely essential for a crisp Mumoreske, Op. 101, No. 7 Serenade . .Gounod and clear organ performance. It is some¬ Bach’s choral-writing is more genuinely DESCRIPTION Hungarian Dance No. 5... Brahms Serenade . .Widor times difficult to convince a young organ contrapuntal than Handel’s; the one is to Largo (New World Symphony) Serenata, Op. IS, No. 1.. .M oszkowski ADDED FACILITIES WRITE FOR CATALOG student that the practice at the piano is the other as Northern Gothic (organic- “Standard Organ Pieces” contains one Larme, Un (A Tear).Moussorgsky Sheherazade . .Rimsky-Korsakow 17 East 11th Street New York City best, because of his desire to be at the “growth” of lines into structure) to South¬ Madrigal .Simonetti Simple Aveu . . Thom ’ organ; but those who have produced the ern Gothic (the Gothic shapes hut cut out hundred and eleven (111) classic, mod¬ Melodie, Op. 10.Massenet Song of the Volga Boatmen. . .Russian Song Souvenir .Drdla best results have been those with the best of the flat) : in other words, Handel's Melody in. F.Rubinstein Norwegian Dance .Grieg Waltz in A, Op. 39.Brahms piano technic. In fact, a student must be harmonic basis is simpler and is more ern, sacred, operatic,'march and charac¬ AUSTIN ORGANS a fairly skillful pianist before taking up clearly before his mind. teristic compositions, all arranged for mTHE SPENCER TURBINE COMPANY the organ. It is time wasted to begin Bach’s key-board writing is much more SACRED COMPOSITIONS RECENT c, organ study unless the piano has first thorough than Handel's which, though ef¬ Andante Religioso .Thome Idyl (Evening Rest) .Merkel 1 ' large Austi HARTFORD "1"' "cONNECTICUT the pipe organ, with separate pedal bass. i organs demanded fi been diligently studied. fective, is often "sketchy,” Bach was evi¬ Andantino . .Franck Kol Nidrei .Hebrew "To my mind, the only reason why most dently prepared to spend time on the writ¬ The list of composers includes practically Andantino .. Largo (Xerxes) .Handel On Approval Coupon Angel’s Serenade .... performers are not equally skillful upon ing of a fugue, whilst Handel wished to Lost Chord .Sullivan Angelus . ... .Massenet n St. Peter’s church. Our product OUTFIT OF both instruments is simply that the love every classic and modern composer of Prayer (Hansel & Gretel).Humperdinck :ould not be so widely distributed without “throw it off” and have done with it. Ave Maria (Meditatio: .Gounod assurance that the product has stood CHRISTMAS SAMPLES for one outweighs the love for the other, Handel’s Solo vocal music is usually note, and the organist who analyzes care¬ Ave Maria . ... .Schubert Prayer (Octett) .Schubert For Christmas Committees and not because of a difference in touch much more graceful than Bach’s, but Cantilene Nuptiale ... .Dubois Rameaux, Les (The Palms) .Faure is foi or technic. I do not believe that the study Bach’s often attains the deeper expression; fully the classified index presented here¬ Evening Prayer . ... .Reinecke Vision .Rhcinberger of Choir Progra of one instrument is in any way detri¬ here again Handel was fluent, Bach Hallelujah Chorus ... .Handel Voix Celeste.Batiste (AUSTIN ORGAN CO. | When a Christmas committee meets, the mental to the other, and that the idea “thorough.” with cannot fail to realize the remarkable [165 Woodland St. Hartford, Conn. that it is is a fallacy.” chairman should be able to put before the A good deal of the difference between adaptability of this book for concert, SELECTIONS FROM THE OPERAS committee as wide a line of program Bach and Handel might be expressed in Alexander Russell .Grand March Prophete, Le.Coronation March material as possible. The'committee may this way—Bach was an organist widened then select the particular type of program Concert Director, Wanamaker New church, motion-picture or home purposes. .Intermezzo Queen of Sheba.Festival March that appeals to it and act promptly and out and Handel an opera-manager Cid, Le . .Aragonaise Rigoletto .Quartet York Auditorium; Music Direc¬ deepened. The book itself measures nine by twelve Coq d’Or, Le. ... .Hymn to the Sun Rinaldo .Air “Lascia Pianga” efficiently. A Christmas committee tor, Princeton University should have before it: Essentially, Handel is more modern than Gioconda, La. Dance of the Hours Sadko .Song of India “There is no reason why playing the Bach. (9x 12) inches, the notes are full organ- Hansel & Gretel. .Prayer Samson & Delilah..My Heart at Thy Sweet Christmas Choir Cantatas Jocelyn . modern organ should injure one’s piano Both Handel and Bach have religious .Berceuse Voice Separate Christmas Anthems touch. It is possible to play both instru¬ size, printed on excellent paper, and Lohengrin. .Bridal Chorus Tales of Hoffman.Barcarolle feeling and great dignity, but Bach’s is Lohengrin . Christmas Anthem Collections ments well. One need only cite the case -Prelude Act III Tannhauser .Evening Star Christmas Solos and Duets that of some fine old “Friend,” rising in his bound either in a stout paper or a sub¬ Lucia di Lammermoor .Sextette Tannhauser .Grand March of Saint-Saens as an example. In fact, Christmas Carols (Standard and Quaker meeting house, because the spirit Mastersingers, The.... .Prize Song Tannhauser .Pilgrim Chorus modern) playing the organ should be of great help moves him, and Handel’s that of an stantial cloth binding.—A special de-luxe Orfeo .. 1. .Andante Trovatore, II .Miserere to the pianist, particularly in developing Clip this coupon, pin or paste to a Anglican dean, decorously, sincerely, and a mental sense of sostenuto and a physical perhaps just a little pompously officiating edition. MARCHES AND CHARACTERISTIC PIECES sheet of letter paper, sign your name and sense of legato. If the performer has address, and get on approval just such an in his vestments. (Aida) Grand March .Verdi mastered the principles of relaxation, his Prices Marche Celebre . .. .Lachner WEAR THEM FREE FOR 10 DAYS outfit for your committee. After 10 days Ase’s Death .Grieg Marche Militaire . technic will immediately adapt itself to . .Schubert pay for all copies not returned postpaid to In substantial paper binding. .$3.00 Bridal Chorus (Lohengrin).Wagner Marche Nuptiale . _ _ Ganne the instrument upon which he is playing, What Organists Say Coronation March .Meyerbeer Russian Patrol . .Rubinstein LORENZ PUBLISHING CO., whether it be piano or organ. The chief Dead March (Saul) .Handel The power of self-criticism is one of In Green Cloth, gold-lettered.. 5.00 Grand March (Tannhauser) ... Wagner Dayton, Ohio (216 W. 5th St.) danger against which one must guard is Dervish Chorus .Sebek Torchlight March .. SEND NO MONEY New York (70 E. 45th St.) tlic most valuable endowments a musician Clark Chicago (218 S. Wabash) the possible loss of power and endurance (Not sold in Canada) Fanfare, Op. 40.Ascher - Triumphal March .Halvorsen caused by playing too much upon the light can have.”—Hamilton G. Macdougall. Festival March.Gounod War March (Athalie).Mendelssohn Mentioa the Etude'. Void December 10th’ Funeral March .Chopin ffS5X5'th2feflsrfl.&SSS action bf a modern organ. This danger Wedding March .Mendelssohn DeHOL,Dept!355,‘m'W.OuincyStreet CHICAGO ILL can be avoided by dividing the practice The important thing is to make up the vo "£jrt? »d“SS: KeVwlfh between the two instruments, which will mind that, come what will, there shall be For Sale at all Modern Music Shops throughout the U. S. or of the Publishers
then supplement each other. " ; q ;i ' ‘ v : ’ 1 11 ( ) ■ |i: "" T . ^ i: I Ac...Will <1!am°nd ,et professional advancement; everything else “On the other hand, a thorough knowl¬ will follow.”—Hamilton C. Macdougall. 35 WEST 32nd STREET i edge and fair mastery of the piano is ALBUM OF TRANSCRIPTIONS FOR THE PIPE ORGAN—By H. J. Stewart D. APPLETON AND COMPANY essential to good organ playing. The NEW YORK CITY Masterly arrangements of compositions by celebrated eempesers and an interesting, original Every organist should be a leader or greatest organists have been and are men sonata, in four movements, that is being played by the foremost concert artis a leading factor for the advancement of who have also won distinction as pianists, Price, $2.00 THEO. PRESSER CO., 1712 Chestnut St., PHILADELPHIA, PA. music in his cdttimunity, independently even though this may have been in their ': . . ■!!;■ :-:r ■ ... :■ ■ ' :i I j :' : ■ " F■ f f ■I j 11 TNl'' 'Tf'lil.. ... mi'll!'!T '!' " ^ ... " 'll".'■'! j"' ' 1P" )!H" llllllllllllllllllllllllllllllll and outside of his church.” Please mention THE ETUDE when addressing our advertisers. student days. The crisp, short vibration Please mention THE ETUDE when addressing o —Herbf.rt Stavely Sam.mono. Page 788 NOVEMBER 1924 THE ETUDE THE etude NOVEMBER 1924 Page 789
Question and Answer Department Earn a Teacher’s Diploma Conducted by Arthur de Guichard Always send your full name and address. No questions been neglected. or Only your initials or a chosen nom de plume will b'>e printed. Make your questions short and to the point. Questions regarding particular pieces, metronomic markings, er, Bachelors Degree in Music to the greater number of ETUDE readers will not be considered. >t likely tc Hand, rcises—Dura- correctly. Anyhow, to develop the voice - , , . , it , (beautiful or not) lessons in singing are in- Q. Please ad r ise me as to so-called sys- dispensable. 2 Mrs. Malaprop has told us terns of finger, wrist, forearm and arm calls- that "comparisons are odorous!” How then tnenics as an aid to piano technic cl) Which compare Tamberlik’s voice, which was on the would bring best resuIts (a) four or five wane in 1873, the year of Caruso's births In Your Spare Time at Home hours daily practice! t,b) four or five hours, All that can be said of Tamberlik is what plus twenty minutes’ calisthenics, or would Grove tells us: “He possessed a splendid this he too great a stra/in on musclesf (c) tenor voice, of great richness of tone and less than four hours plus twenty minutes’ volume .reaching C in alt, which he gave with calisthenics? (3) Is typewriting injurious to tremendous power, and ‘as clear as a bell’ piano touch? If so, please point out a possi- He was singularly handsome and an admir- ble ‘‘antidote. —A. E. S., St. Anne s Ave., able actor.” Very "old-timers” will vote for N. Y. C. -tamberlik, perhaps correctly • “nresent A. 1 The practice of any "finger, wrist, timers” who have not heard the other mav forearm_ and arm’; gymnasticsgymuastics away<.„ from... the decide for Caruso. As, says the English- The teacher holding a Certificate today is the one at the top of his profession. Are you getting ‘piano. ... keyboard-< ..is not --“Yourecommended. _ _ pays your money and you ’as Premier Aristocrat Model majority of first-class pianists are against your ch(o)ice."" a. .programProgram music—asmusic—as on-op- their use except in conjunction with the posed to absolute abstract music Vhich is ahead in the music field? If not, what is the trouble ? There are demands for teachers in schools and piano. This is especially the case with the Pure, for it is simply an endeavor to depict Price, $725 employment ut mechanical npparatus. Some beauty (the greatest beauty) by means of • of them, in exceptional instances, may afford musical sounds—is music which is arranged “A revelation in quality and price” is how a well-known music teacher colleges, and you have a chance to qualify for the best position. a certain■ • decree' of ...... help; - .....but 1.it ...inwill be H-.1found, n-or composed— to illustrate. a positive„o„t4-t-„.,,4._ state or-4 recently characterized this nationally popular small grand. as a general thing, that mechanical appli- mind, a concrete thing or action, the nro- ances induce muscularity stiffness, rigidity of a story and its episodes, and so This five foot, 3 inch instrument should have the immediate consideration and loss t virtuosity, with the sure result forth. The music accompanying a film story of every teacher, student and conservatory requiring a small grand piano of impaired touch and loss of depth of tone, is program music; abstract music is entirely of inherent musical excellence, and purchasable at a most moderate price. Do your finger, wrist, forearm and arm work independent of any other art. 1 at the keyboard of your piano, entirely. 2 “The Magic of Music,” our Art Brochure, in detail tells the story of Omit the side-practice of calisthenics and actice the Trill, or “Shake.”. the Premier—America’s Foremost Popular Priced Small Grand—and ex¬ practice daily as long as possible without plains why this instrument has won the dominating position in its field. any sen sir of fatigue, cither muscular or Q. What is the best 4W» vo yruunuv me Get an Accredited Course mental, if any musculur fatigue is felt, it Send for your copy of ‘‘The Magic of Music” today. fv“Vr "vd % trem(jl° in pianoforte playing!— is a sure sign of tension and an improper use MeR., Sharon, Mass. of the part fatigued. Avoid all feeling of A. Begin the practice very slowly gradu- See and hear the Premier at your Dealer’s before selecting any piano. If tiredness. Cease practicing before fatigue[gue ally increasing the pace as greater facility is you cannot obtain locally, kindly advise and we shall see that you are Many of our graduates hold good positions, as a result of our Extension Courses. Read of the occurs. Remember always that the chief*■ gained. At first, lightly press down all five promptly supplied. factor of profitable practice is the action of notes, practice by pairs of fingers, keeping the mind. It must be fully alert; as soon as the hand and the other fingers motionless, progress of these graduates. (Name and address furnished on request.) it is tired or begins to wander, cease practic- _-‘ 1 ° 2.3, 3.4, 4.5. Do this on every Premier Grand Piano Corporation ing- 3 Typewriting cannot be beneficial to pair . of ajunct notes of the scale of c‘; America’s Foremost Makers of Baby Grands E -to— ---1 be very injurious then’ ” flat, playing the thumb and the 5 way you strike the letter fifth finger, as above, .. 510-550 WEST 23rd STREET keys. If forced tu use a typewriting machine, After the student has succeeded in suppress- Manually Played Small Grands. Period Models, Electric Expres One graduate writes: do so by keeping the hand, fingers and wrist ing all unnecessary motion, the practice mav ’ ' Grands (Welte-Mign " as loose as possible, touch the keys as lightly be continued without holding any other keys, Study in Your Own Home with the Best as may be and with the cushions of the fin- Also try other finger combinations: 2.4, 3.5, “My diplomas from your Conservatory gers, the same as for piano-touch. As soon 4.1, 5.1 and so forth.—The difference be- have been recognized by the State Uni¬ after typing, seek your piano and tween playing a trill and a tremolo is that ---4.interact- any. rigidity4.--trill you may the trill--- isIs playedr’-—4——J by■-4— means-—— 44..- the finger- Teachers in the Country e acquired. joint only ; whereas the tremolo is played versity and a life certificate issued me. I with the hand and the forearm have secured a position with an increase in inch. «o Q. Please n v to obtain a “soft The Chief salary of $50.00 a month.” ttsifssrrr,* touch." I can !o. get the beauty out Wheels are .aughti..',™ houie by easily u^s^taS'S Sj,S'em ,l,e “ oj the pieceand mother says that it sousounds arpeggios and all . SLINGERLAND’S ihe Piano student has the marvelous teacher Sherwood to demnrwtrai • f , . , like a dish-pun."—M. A. H., Canton, O. technical exercises and studies; what is their A. Prgeti, your scales and finger e __ main object! I am quite aware that there his incomparable effects. The Cornetist studies with the masted Weldon CraJnt™ !°W lie,secui:ed eises slowly, eery slowly; think all the time .'. objects, but there must be one MAY BELL BANJOS Another one writes: (a) of the quality desired; (b) of the posi- L “iff? p'[ inent. What is it!—J. J. H„ of the singer; Heft shows how to interpret the soul of music on the Violin a™pton tram:> tlie ™lce tion of hands and fingers; (c) of a constant ,. “I have just been selected as director of the theroe take the pupil through every phase of the Tu the \ lohn; Rosenbecker and Pro¬ endeavor to obtain perfect equality of weight “ost assuradly there- many objects and depth , f touch of each finger, after you bf; and-. acquired by means o' voice department in a Music College, as bative instruction in Chora? Conducting; Frances E ^larhHfiv^T Protheroe §?ve,s hl< autho.r' have obtained the ideal touch for the first studies and exercises, but the Public School Music; Frederick J. Bacon the Seat banSStlecniof Practical methods in note—for equality and •enness of touch a!™’. the. aIJlba aild. omega of perfect piano a result of my lessons with you.” means equality and even._« of .tone, • ___let the___ Pkiying is the acquisition of muscular inde- • the same weight Pendence. To succeed in obtaining this, it dolinist, and William Foden, famous guitarist give their method f SlCge ’ .'vorld'renowned man- fourth and fifth fingers give the same weight DEALERS: We are the largest manu¬ The History Course, including Analysis and A^preciatio^?? M f.or.nia^fnng these instruments. and quality.. of touch. as„ the-„e thumb and see- muid- which has to be educated and M’he position of the hand, “or the pu?- “ff ?at °^act constantly facturers of banjos in the world. Over Advanced Composition by Herbert T. Wrightson Pare two , f M“SIC b>r Glenn Dillard Gunn, and of acquiring this "soft touch.” Place PJJS0!* Peri«d- Mere mech- the handlanil almost._____ flat on the keys, touching amsm without mind is worth nothing. 3000 dealers sell them and say our line Another graduate writes: elor’s Degree. The course in Ear Training and Sight sLingTyV^SP ^ f°r thf them with the fleshy cushion of__ is the best. Write for catalog. at the University of Illinois, is our latest course. S s by fi. B. Stiven, Director of Music (except thumb, which strikes on the side Vocal Reeords- “I was elected assistant supervisor of the hear to naiii, the hand inclined towards the n ’ More than 200,000 ambitious men and women have p-aFPri c • . , thumb; no stiffness of finger whatever. This Q- ) Is it advisable t. listen to records grades and junior high.” position is excellent for obtaining a soft, a Anyone interested in our banjos and banjo ukuleles and of music by the University Extension Method. And to von 111 t ]ese vanous branches slow, singing touch, round and velvety. When J given to them. ^ we °“er tbe same advantages which were the required quality of notes is attained, the f,a,u unable to find a dealer who sells them, write us and we will pace may |„, increased, but very gradually. t0 SO send nearest dealer’s name and catalog showing 37 differ¬ ent styles. One studying in New York City states: This Is Your Opportunity- Mail the Coupon TODAY' SgWfSSKs1^^." Geo^ *4 A. C. !>.,""ProViclence;. 0^«flh/uponCallS’you?,do)”even,u^nratsim^e to.^o'wV^aniVo ma^e ^u'un'cfe^and^X Fill in the coupon below—send it now for four lessors A * five-finger exercise produce the right quaUty of emission and re¬ SLINGERLAND BANJO CO., 1815-19 Orchard St., Chicago, Ill. “I received full two-years’ credit for my sonance of voice. If he or she cannot do work with you.” you full details of our offer to teachers and students and th^ °fff a« cfalo&- We will ffive Some Onp.u,,,,. <• ,, that, a change is advisable, (c) Would you of the courses. Get the catalog and lessons—then decide™ ™ °ffer Ca S for samP,es from one uue lions troll! Afar. aiso imitate the peculiar scratch and swish . j” 1 r«V accept my thanks for answering, of the machine? No. Now, before you at- OPERETTAS AND CANTATAS Vl 1013 Etude, the questions I sent you some tempt to sing songs, you must learn to sing Suggestions for any requirements in cantatas, e ago> and kindly favor again with an- good, even scales throughout your entire eom- operettas or musical plays made gladly. fZF1y ta the following: (1) Is it possible for a pass of voice, with pure tones, freely emitted, Our examination privileges are liberal. The father of one of our Violin graduates says: teacher in the Public Schools, who has to use This is the essential preparation of your jus voice all day in talking, to develop a vocal instrument, in the same way that you THEO. PRESSER CO., 1712 Chestnut St„ Phila.. Pa. oeawti/uj singing-voice! Should he take les- would require to have your piano in good “My son recently completed your course and he is playing first violin UNIVLanS,ITYAEXTENSI°N CONSERVATORY,_ Dept" B-100 i,4, i v°eal culture! As a singer, would condition, tuned and regulated, before play- Langley Avenue and 41st Street, Chicago, Illinois ?Sl handicapped through his work as a ing on it, in order that your music might be • in a school orchestra and also in a 7-piece one led by his mother in senool teacher! (2) Who was the greater melodious and euphonious and not eacophon- —let me give you a regular tenor Tamberlik or Caruso! (3) What is ous. When your voice.and its method in Teachers Church and Community Entertainments. Advanced violin players are meant bp “program music!”—Zealous, Christ general are satisfactory, you may make use 30c size tube of Kondon’s— regarding courJTlTave^^rked^th^ai^below'1 ^ inf°rmat!°n Church, Barbados, B. W. I. of it in the study of diction and song. Do congratulating him on his ability as a violinist.” i □ Verl’ pleased to help you; come again, not attempt to imitate vocal records for vocal school^ teachers to ,, Caere is here a double question : a. To de- quality, but only for interpretation and stvle Hp!^°’ S°Ur8e,f°r St“dents □Violin veiop a beautiful singing voice : b. To develop —and even so, interpretation should be your □Piano, Normal Training nManrl^i* □History of Music a BuiHiiir.nnt— -- .- ,—” 4.t „ 4,w»- individual divination and message. □Voice sir boys andgirls. 3100teach- Course for Teachers Hr ”.dohn dpvoi “”“0111111 as a Deginning, it may ue i accepted this offer last s □Cornet, Amateur C£ult.ar □Public School Music “dopes in power, in compass and in agil- _the teeth. □Cornet, Professional M0“njo i,p ’ Dar any practice for these purposes may meant by “ostinato” and “bass Clip this ad. Mail it i □Harmony q: parents of your pupils. ^Wewifl with the 20 or more names and □Ear Training and Sight Singing " (Reed) □Choral Conducting ertaken only after the ' stmufste UT-gh,,Jy *v- reated fromxrom thetne iati1fatigue of c addresses to Kondon Mfg.Co. □Advanced Compositio: nee thi-lkmg* , SlnSers who talk i, dam- a figure that is constantly repeated. It_ University Extension Conservatory nge their vocal quality. It is. tl re, (b) occur in any part, hut it is usually employed irmni,. mure diffipuifuimcuit problempromem to make a in the bass, when it is termed basso obstinato Take these four steps for pupils’ health LANGLEY AVENUE and 41st STREET nging.v°ice beautiful, when handicapped by (obstinate bass or ground bass). It consists a constant strain of talking. It is a com- of a bass figure of some four or eight meas- DEPT. B-100 vmi Sf!e proposition. Then again, what is ures, constantly repeated, each repetition SOLD BY CHICAGO, ILL. v„'r, talking” like? Is it natural? Forced? having a different melody and harmony. AH •'Mi? Guttural? Affected—hence, throaty? the old, classical composers employed this ALL DEALERS Please mention THE ETUDE ■ ®ore than one in a thousand speaks device. Please mention THE ETUDE v Q addressing our advertisers. 1
Page 790 NOVEMBER 19U the etude the etude NOVEMBER 19H Page 791 The Curve of the Bow CIVhenalleallij Violin Questions Answered ward. They were of various shapes; but The Violinist’s Etude By MR. BRAINE jHsBasrSsrS ited by ROBERT BRAINE and point for fastening in the hair. Vis probable that the idea of using a bow to of THE ETUDE to make this Department
htsdlLverfby^hiTtheTow with which covered that by rubbing rosin or some Stage Fright and the Violinist whh lhC frlng ^ h?'r Many violin students who have suffered without missing a note, three years befor. sound couldhe ™d*anrimuch from stage fright, the first few she dared to play it in public. ZZrT'tZ. ’ We had they have ventured to play in pub- Many violin students, having made ;
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VIOLINS NOVEMBER 1924 THE ETUD the etude NOVEMBER 1924 Page 70J “Music Paper” A Titled Musician Speaks By E. H. P. AT LAST FINE VIOLINS By D. X. Kyrbi “Sheets of blank paper are no trifling cial requirements, may be had from any or over forty years we have A Test of Musical Accomplishment gift to a poet,” so said Martial, the old of the large music houses, for instance, 10, served faithfully the —for— Of the generation just past, no English them in a few piles, in accordance with the Roman epigramist. We might make a sim¬ 14, 16 18 or 20 staves to a page; “voice composer left a greater impress upon the discriminating nature of their contents they look ever so ilar remark in regard to ruled music-paper and piano,” with extra room left between musical world than Sir Hubert Parry. much smaller, and you don't despair of an¬ for a musician. It is a somewhat expen¬ PUBLIC SCHOOLS the voice staff and the piano part, for the Teachers of Violin As a composer his influence, especially swering them at all. sive article at present, and it is astonish¬ words; rulings the long way of the page upon church music of Great Britain and “Now one of your first objects in life GRADES 4 to 12 ing what an amount of it gets used from (preferred by some for organ music) ; n that time many other “dealers” America, has been enormous. As Princi¬ is to get as much into it as you can. When time to time, even by those who are not score paper for orchestra scores, with the have come and gone pal of the Royal College of Music, he left you get old enough to look back, you will professional composers. There are occa¬ name of each instrument printed in the an incalculable effect upon the lives and get a bit worried not to have done some Need We Say More ? sional copying and arranging to be done, proper place; the same thing for military artistic ideals of an army of the younger things that were worth doing; and it is and students of harmony and other band. There are still other varieties be¬ Can’t We Serve You ? of British musicians as well as a con¬ always well to remember we each have branches of musical theory use immense sides those we have mentioned for instance A booklet of ten separate tests, tingent of foreigners. From one of his a little spell to get things done, and we do quantities of it for their exercises. While very small-sized sheets for band parts to Our Catalogues Tell covering knowledge of musical talks to the young people under his guid¬ not get the chance to get them done again. the best of paper is none too good, for pur¬ be used on the march. It is said that Our Story ance he said: The older you get, the shorter you will find symbols and terms, factors in¬ poses which demand permanence and wear¬ Richard Strauss was obliged to have spe¬ “The beauty of order is that there is so your one chance; and the only way to pack ing qualities, it would nevertheless be a cial music paper printed for his colossal John Friedrich & Bro., Inc. volved in sight reading and ear much more room for things. If you have life as full as it will hold is to put its con¬ good thing if there were a cheaper quality scores, as he used a greater number of in¬ 279 Fifth Avenue, New York training, recognition of familiar twenty letters by post of a morning, and tents into some sort of order. But there put on the market, made up in convenient strumental parts than any regular score open them and throw them all down helter- is no order that does for every one; and tablets like the paper tablets on the market melodies from notation, etc. ’ paper makes provision for. skelter on the table, they look perfectly every one has to find the order that suits for school use, of a size about 9 by 12 WHICH Poor Schubert, whose immense and in¬ awful—it looks as if it would be best to his disposition best—arid that is where the inches. cessant productivity in musical composi¬ The materials of the tests are put them in the waste-basket at once, and room comes for your impulses and queer- INSTRUMENT In the days of Bach and Handel, music tion nevertheless failed to bring him very based upon the course of study not try to answer them. But if you put paper was ruled by hand—a tedious job. substantial returns, was always running We are not able to discover at just what short of paper, and found it quite a seri¬ compiled by the Research Coun¬ % ryou Choose? date ruled music-paper was first put on the ous expense to be met. The original man¬ cil of the Music Supervisors’ market. In a trunk full of old music in How Big Is a Band? uscript of his Octette, a lengthy composi¬ National Conference. the possession of one of those hereditary tion for string and wind instruments, is There seems to be no definite idea of brass clarinets, used in England and on families of musicians which are found oc¬ written on two or three different styles of Single Copies, 6 cents the exact number which should constitute the continent, occasionally the brass band casionally in Germany, the writer has seen ■Whether it be saxophone, trombone, paper, which would hint at his having used Large New Remnants of the wind band. The English bands of the which has a distinctive place can hardly cornet, clarinet, flute—any instru¬ a number of manuscripts which were writ¬ $5.00 PER HUNDRED up whatever he had left, instead of buying u Dc*i0.njS line regiments for many years had about compete with the concert band in which ment for band or orchestra—be sure ten on paper ruled with a five-pointed rul¬ a sufficient supply of the most suitable $40.00 PER THOUSAND forty members. At times they were un¬ both brass and wood instruments are used. it is a Conn! ing pen also, he has seen such pens still for kind. der this in size and at times larger. The The brass instruments are learned with That is the certain way of attaining sale by music-dealers, but either the multi¬ Music paper, as commonly manufac¬ Manual of directions, lo cents extra leading German bands run from fifty-four comparative ease and their massed effect quick success—pleasure and profit. ple ruling-pens of the present day are in¬ tured, is not very highly sized. This makes pSIlilS: to seventy-six players. Some especially is very striking. This has led to the great Conns are renowned for their re¬ ferior to the old ones, or the proper use the surface more agreeable to the eye, but ORDER FROM large bands have appeared from time to number of industrial bands in England and markable ease of playing. Besides, the of them is a lost art, for not only could demands special treatment when writing time in Germany. The Gilmore band had in America. There are literally thousands world-famous artists in. symphony, Extension Division he not succeed in making one of them with ink; one should use the blackest ink sixty-six men. Lt. Comm. Sousa, during of such bands now. The band contests concert, opera ar.d popular bands work, but he never met any one else who and orchestras use and endorse them possible—not a bluish “writing fluid,” and UNIVERSITY OF IOWA the war, had Navy Bands approximating held in various parts of England are because of their could. Further, he never met any one who should let it dry naturally, never using a Faces Made Youni three hundred men. His regular organiza¬ watched as eagerly as the Olympic games. had even licard of any one else who could. blotter, as the latter will cause it to blur. IOWA CITY tion has carried as many as one hundred. The contests are believed to have promoted Their value, apparently, is somewhat prob¬ If obliged to make erasures with the pen¬ IOWA The Philippine Constabulary band has one a splendid spirit among the workers. beautiful tone, perfect scale, lematic. hundred players; and it may surprise our Very often the ignorant music lover knife, the correct notes should first be writ¬ Beauty Exercises light, reliable action, Ordinary music stores generally carry ten in with a pencil. Afterward the pencil readers to learn that there are a number gets an idea that the great masters ignored but one style of music paper, that ruled lines may be traced over carefully with.pen of excellent bands in the Philippines the military band. Quite the contrary is handsome design and finish. with twelve staves to a page, which is con¬ and ink. Otherwise the ink may spread numbering forty to fifty- players. Many true. The band has fascinated many of venient for the most common purposes; but Result* Guaranteed schools and colleges have excellent bands them; and several, including Mozart, Bee¬ over the erased portion and make an un¬ FR.EE BOOK, which tells ; Playing a Conn opens the way to many other styles of ruling, suited to spe¬ with fifty to one hundred members. It sightly blot. thoven, Cherubini, Berlioz and Mendels¬ popularity and in¬ KathrynMurray.Inc. 207So.WabashAvo. Suiis may be said that, while a band of from sohn, wrote especially for the band. In creased income, if you sixteeri to twenty produces very interesting this day, when invention has improved the desire. Opportunities to \’t r/szc> results, a really effective band does not wind instruments wonderfully and ex¬ play whole or part-time The beautiful cover of this issue reproduces the painting by DARKENS and BEAUTIFIES commence until the number. reaches twen¬ panded their compass, it is not surprising in dance, theater,vaude¬ EYELASHES and BROWS ty-four or twenty-five. A good concert to find composers turning to the palette ville organizations. D. E. Sutton, made especially for the Souvenir Program of the INSTANTLY, makes them band is quite different in effect from the of the band to find new and ingenious Free Trial, Easy Pay¬ great pageant, “The Inspired City,” given with immense artistic brass band. Even with the addition of color-effects. ments on any Conn in¬ success by the Philadelphia Music League, and is thus presented strument. Remember, Conn is the only maker to the readers of the “Etude” through the courtesy of the President of every instrument used of the League, Dr. Herbert J. Tily and the Director, Mrs. Frederick Over the Footlights in the band. Highest honors at world expo¬ W. Abbott. sitions. All exclusive By Helen Oliphant Bates Conn features at no greater cost. First three itop)Josef Hofmann. The advance of publi¬ conveniences as well as school supervisors Rhythms for Young People—Steenman. . his enterprise and he cannot afford to prove very interesting to the pupil who cation price is 60 cents a copy. Ruth—Cantata for Women’s Voices—Paul and choir and chorus conductors. Every Album of Arpeggios in original form and others are tran¬ carry a large supply of articles important likes to have his teacher “play along with scribed. In point of difficulty none of the teacher and professional musician is in¬ Ten Busy Fingers Schubert Album for the Pianoforte... . in themselves but limited in immediate him,” and later as the pupil advances a For the Piano numbers go beyond the intermediate grade. Christmas Carets Six Study Pieces in Thirds—Moter.... vited to try this plan. little, added incentive may be secured by By Mabel Madison Watson Ten Busy Fingers—M. M. Watson. saleableness. The music teacher who The Album of Trills and the Album of Practically all of the classic and modern Let me mail you 15 beautiful Christmas ' j Miss Mabel Madison Watson is one of Cards. All different; exclusive designs; ^ Vision of Deborah—Cantata—Kieserling. wishes to keep abreast of the times is Thanksgiving and having the pupil play the teacher’s part. Scales have both met with much favor. The masters are represented and each one of brilliant colors. Genuine steel engraved, K What to Play—What to Teach—Harriette frequently compelled to look to the larger The special introductory price in ad¬ Third Volume of the series, “Study Pieces these by several of his most popular in¬ the most successful teachers of young stu¬ Brower . Christmas Music not just printed. Friendly, cheery mes- \ sources of supply, or worry along with vance of publication is 80 cents u copy, for Special Purposes,” devoted to Arpeg¬ spirations. The volume is now about ready, dents working along modern lines of in¬ sages. Envelopes to match cards. $2.00 Choir directors will find many fine postpaid. struction. Many of Miss Watson’s books value. Sent postpaid for only $1.00. Whatever may be had close by. Under gios is now well under way. This is one of but the special introductory offer will be Money back if lot pleased. Order today. Teachers’ such conditions the practically unlimited Thanksgiving Anthems in our catalog and the most interesting departments of mod¬ continued during the current month. have proven very popular. The study Eleven Indian Love Songs Herman Goldberger.llO-AHigh Street, Bt Discounts resources of the Presser organization offer among the novelties, we would mention: ern technic and unusually attractive pieces The special introductory price in ad¬ pieces in this volume are supplied with the best solution of the problem. The Now Thank We All Our God, Huerter For Three-Part Chorus of have been selected to make up this vol¬ vance of publication is 50 cents per copy, verses in order to bring out the rhythms A number of well-known music pub¬ Praise to God, Immortal Praise, Stults more clearly. The idea of these little lishers have inaugurated a movement Presser service is designed and operated Women’s Voices ume. All possible types and variations of postpaid. with a single purpose, and that is, to save Prayer of Thanksgiving, Netherlands By Thurlow Lieurance the Arpeggio form have been included. studies is to cultivate also finger profi¬ which is designed to take away gradually Praise the Lord, O My Soul, Smart ciency, independence and key-board knowl¬ all discounts from teachers. time, money and effort for music teachers The album is, of course, of intermediate Day Before Yesterday and professional musicians. Presser pub¬ Worship the Lord, Watson In this new compilation Mr. Lieurance edge." They can be used to the best advan¬ In brief, their plan (to which we are has included a number of his most pop¬ grade throughout. This should prove one Operetta for Children lications meet all the everyday require¬ A wealth of material is offered for the of the most useful of the series. One can¬ tage in second grade work. fundamentally opposed) is— ular Indian songs as follows: By the Wa- By Cynthia Dodge ments of teaching and professional work; Christmas services in Cantatas, Anthems, not devote too much attention to Arpeg¬ The special introductory price in ad¬ On all music printed after June ters of Minnetonka, Pueblo Spring Song, they are attainable at prices much below Solos and Sunday School services. gio playing. History is frequently a bugbear to the vance of publication is 25 cents per copy, 1st, 1924, no discount will be allowed Wium, Hear Thy Lover’s Cry. Other num¬ those usually asked and they are delivered The Promised Child, for Mixed Voices The special introductory price in ad¬ student, but Cynthia Dodge has here a postpaid. to the teacher. bers less known but equally effective are: to the teacher with all possible prompt- by R. M. Stults, is new this year and vance of publication is 30 cents per copy, new idea in that she makes the pages of On all music printed prior to June Che-ma-we-yan, Sa-ma-we-no. Pretty Six Study Pieces in Thirds bids fair to be one of the season’s best postpaid. history actually open up and the charac¬ 1st, 1924, the teacher will be allowed Flower,. Pa-pup-ooh, O’er the Indian Cra¬ ters step out from different ages to tell tbe old discount. The advantages of the Presser service sellers. Mr. Stults always writes inter- For the Piano estingly and his cantatas are eagerly dle, Skirbi-bi-la, A Sioux Maiden’s Dream. us of their opinions of present-day affairs, This plan will not affect prices very including as it does a ready supply of the Jolly Jingles By Carl Moter publications of all houses, the prompt taken up by choirs all over the country. All the numbers are arranged for a three- as compared with their own. The situa¬ much this season, but gradually, as new For Little Fingers Double-note technic is one of the prime filling of all orders and generous terms The Awakening, for treble voices, by part chorus of women’s voices. The ar¬ tions are startling in contrast, and accom¬ requisites in modern piano playing. One editions are printed, they will be marked rangements are not difficult, but they are By Helen L. Cramm panied as they are by dialogue and song, at a lower price on which no discount will of settlement are at all times available to William Baines, will prove an excellent must begin of course with thirds before any music teacher who makes application work for the Junior Choir. This cantata very telling. Each number has a complete Miss Helen L. Cramm, who is a well- the half hour or 40 minutes passes all taking up the practice of the wider inter¬ be allowed. This plan is called “Net, no piano accompaniment. This is a most in¬ discount.” and submits information as to branches is tuneful and if solo voices are not ob¬ known musical writer and educator, has too quickly. Sketches of the characters vals. Serious double-note stud}' should be tainable, unison singing can be effectively teresting compilation, containing some in costume are included in the book, and We are absolutely opposed to any plan taught and the number of students en¬ a long list of successes to her credit. She begun in the third grade. For this pur¬ rolled. A postal card addressed to this used for the solo passages. worth-while program novelties. has been especially happy in her ability full descriptions for staging are also fur¬ pose the new studies by Mr. Carl Moter which abolishes all discount to teachers. The special introductory price in ad¬ nished. The choruses are written in uni¬ We feel that the teacher is entitled to house briefly presenting the suggested The New-horn King by Paul Ambrose to produce teaching pieces that have afford a very happy medium. Each of the vance of publication is 30 cents per copy, son, so that the entire work belongs to some compensation for the trouble, time data will bring a prompt and interesting is a lovely Christmas solo and it is pub- proven interesting to young players. She six study pieces is totally different and response. bshed for both high and low voices. postpaid. little folks. Our advance of publication and money expended in selecting music seems to know just what is needed in this each one is based upon a different rhythm, To Sunday Schools, looking for a high- respect. The new volume, Jolly Jingles price for one copy only is 40 cents, post¬ but in each case thirds are used contin¬ supplies for pupils. The Crosspatch Fairies The principle of giving a discount to How to Succeed in Singing class Christmas service, we recommend for Little Fingers, should prove equally paid. uously either in one hand or the other. the Christmas Story, The Sweetest Ever A Christmas Play successful as any of Miss Cramm’s pre¬ The pieces are very musical, all of them. all who buy to sell again is universal in By A. Buzzi-Peccia Vision of Deborah all professions and industries. The music Told. Send for a sample copy. It will With Music for Little Folks ceding works. The pieces are chiefly in The special introductory price in ad¬ We have the honor to announce the pub¬ Cantata for Mixed Voices teacher is surely entitled to just compen¬ please you. Orders for Christmas music Music by Norwood Dale the second grade; some are a little easier. vance of publication is 25 cents per copy, lication of this new work by one of the on the “On Sale” Plan should be sent in The special introductory price in ad¬ By Richard Kieserling postpaid. Statement Made in Compliance with sation for this quite as much as the doc¬ moot distinguished vocal teachers of the A brand new idea for the Christmas en¬ tor, the dentist, the school teacher, the as early as possible so that plenty of time vance of publication is 30 cents per copy, We have constant requests from choir the Act of Congress of times, Signor A. Buzzi-Peccia. The author may be taken for making a careful selec¬ tertainment. This little play with music postpaid. The Music Scrap Book artist, the plumber or the contractor. Hoes not emphasize the Christmas idea sb directors for a cantata suitable for any August 24th, 1912 is the son of an eminent Italian “master tion. Write us to-day. By N. L. Wright Therefore, we shall continue giving to of bel canto” who taught many famous much as it does the spirit of the holiday season of the year and not only for all of tbe profession a liberal discount Cleopatra Christmas, Easter or Thanksgiving, and This is a new work which we have under¬ STATEMENT OF THE OWNERSHIP, singers. The son has sought to embody Schubert season, “making everyone happy.” This is Opera Burlesque of College Life MANAGEMENT, CIRCULATION, ETC., of upon all of our own publications and a in this book much of the lore that has Album done in a most unusual way. We feel we are very glad to call attention to this taken to publish. It is a book for begin¬ The Etude, published monthly at Philadel¬ smaller discount upon music we do not come down to him, combined with his own sure that the novel manner of treating the Book and Music serious work which will soon be pub¬ ners, almost a kindergarten volume. If phia, Pa., required by the Act of August 24, publish. We ask our patrons to allow us We are going to issue an album con¬ By John W. Brigham lished. The story is taken from the Old you have any young pupils to start, this 1912. experience. His work as a musician has taining the most popular selections from subject will appeal to all. The story, as Editor—James Francis Cooke, Philadelphia. to use our judgment in their interests, in Testament and is dramatic as expressed book is just what is needed, as they do not Managing Editor—None. been highly lauded by Verdi, Pucdni, Tos¬ this most gifted composer. The volume written by Miss Turner, is full of delight- A musical play for men is a decided substituting, where the editions asked for canini and others. His own pupils have in the text matter which follows the Bible want an extensive volume. It is made Business Manager—None. wiU contain selections that are within the tul surprises and lines which the littlest novelty but something much sought after, Publisher—Theo. Presser Co., Philadelphia. can not be procured except at a retail included such noted singers as Alma story exactly. The music has sufficient up by a very practical teacher, who pre¬ rate. grasp of the average pianist; the difficult tots will love to memorize. The music’is and we take pleasure In offering this nov¬ Gluck and Sophie Braslau. Signor . A. 'S' charming and, of course, suitable for elty. The situations are so excruciatingly Oriental flavor to maintain an atmosphere sents the very first teachings of music in In all cases we will send the best edi¬ things will be avoided. They will not which holds the interest from beginning a very interesting manner. After the Buzzi-Peccia’s songs have been sung with only be original selections, but also some children s voices. This little play may be funny that we suggest plenty of rehearsals, Presser Foundation, Philadelphia, Pa. tion available at the best rate available. great success by, many of the foremost given very simply or with rather elaborate so that the cast may get‘over laughing to end. Tlie solo voices will find plenty of rudiments are finished, the pupil has a We are confident of the loyal cooperation arranged by Heller and others, that have opportunity for good work, and the cho¬ very easy duet, then come some inter¬ James Francis Cooke, Philadelphia. singers. They have a very great sale. No met with great success. staging, or it may be given in the home, at themselves. The music is not difficult Known bondholders, mortgagees, and other of professional teachers in our stand to one is better qualified vocally to know to memorize since the entire performance ruses are not easy to do, although very esting selections. This book is so well security holders, holding 1 per cent, or more Schubert wrote a number of beautiful and we recommend it to all those who are of total amount of bonds, mortgages, or other uphold their rights. what he is talking about, from opera to the musicianly in their construction. We be¬ done and so interesting that we have every compositions, but there are not many se¬ looking for a half hour entertainment to requires but 40 minutes, but it is most securities: We believe most emphatically that the parlor recital, than this famous Maestro. effective. The costuming is very easily lieve that this is a work long sought and confidence in it. It cannot help but find a lected volumes published. This excellent present sometime during the Christmas removal of the teachers’ discount is an His book will be eagerly read by singers without great expense. Boys’ schools one which will be of the utmost useful¬ place in the teaching world. The volume injustice unwarranted by the conditions of compilation may he had at the special season. The costumes are fully described ness. We believe that every choir di¬ who covet success. The special introduc¬ and are very easy to make, at little ex¬ colleges, as well as community clubs will be quite small and inexpensive. We the trade and a great hardship to many price of 35 cents postpaid in advance of rector should examine it with great care. will be able to furnish the advance copies Sworn and subscribed before me this 19th tory price is 60 cents, postpaid. pubbcation. pense. Our advance of publication price be most happy to get a play of this day of September, 1924. Our advance of publication price Our advance of publication price for one to teachers at 30 cents, postpaid. [seal] John E. Thomas. or one copy only is 30 cents, postpaid. (My commission expires March 7, 1925.) one copy only is 40 cents, postpaid. copy only is 30 cents, postpaid. (Continued on page 796) Page 796 NOVEMBER 1924 THE ETUDE the ETUDE NO VEMBER 1924 Page 797 Little Folks’ Music The stage setting is very easily accom- Fairies’ Revelry by Richard Kieserling. The Premium Story Book plished, and the entire expense may be re- Operatic Cantata for Soprano Solo and Catalog By James Francis Cooke dueed to a minimum, or it may be as elab¬ Three Part Treble Voices. May be used orate as desired. Catchy music, bright for concert or stage presentation. It is a is now ready and a postcard will bring The complete text of this book is now dialogue, funny situations and a happi- FELIX BOROWSKI, President at the printer's being set up. The task summer-night fantasy and would require you a copy. All merchandise shown in 59th ending afford a most enjoyable evening's of selecting the illustrations (which will about 30 minutes to render. This would the catalog is offered to our premium- CARL D. KINSEY, Manager entertainment. Any number of people may make an excellent feature number upon worker friends without one penny profit be printed on separate sheets to be cut be used in the chorus. Our advance of Year out by the pupil and pasted in the book) the program of any chorus of girls’ or to this department. CHICAGO publication price for one eopv onlv is 40 is now proceeding. The design of this young ladies’ voices. The price is 60 cents cents, postpaid. a copy. book is to provide the very little music Beware of pupil with musical fun and instruction Swindlers for a whole year. The stories of the lives Musical Moments Premiums as of the composers are told in child lan¬ For the Pianoforte Christmas Gifts Do not pay money for magazines to MUSICAL guage (not baby-talk). There is just iy Mrs. H. B. Hudson If you have made up the list of gifts strangers, no matter how plausible their enough in one chapter for one club meet¬ Mrs. H. B. Hudson, through the various which you intend for your intimate friends story may be. Complaints come in daily ing or lesson. The publication will now successful numbers of her A-B-C Series this Christmas and are wondering how from our music-loving friends who have be hurried as much as possible. The ad¬ tnr M,e Pianoforte, has become identified much strain the purse strings will bear, been swindled by dishonest persons. If you vance of publication price is 50 cents, post¬ with this particular style of writing, but you can go the limit in giving without think the canvasser is sincere, tell him you COLLEGE paid. e her new book. Musical Moments, is in the one penny of cash outlay. The Etude will send the money to us direct and we Music Magazine offers splendid, standard will give him credit if he is entitled to it. What to Play and regular musical notation. Mrs. Hudson is, herself, a very busy and successful merchandise, useful, ornamental and at¬ The Leading and Largest Conservatory of Music in America What to Teach tractive, for new subscriptions. It takes teacher. Her specialty is work with young Magazine By Harriette Brower students. In the new book. Musical Mo¬ little effort to interest music lovers in The author of this book has just re¬ ments, she has compiled a very useful our premier musical journal and you are Catalog F"all Term Now Open turned tlie corrected proofs and the work collection of first grade recreation pieces, doing a decidedly good piece of mission¬ The new catalog is now ready showing may be expected on the music counters borne 01 these are arrangements of fa¬ ary work in spreading Etude influence for combinationss of theth-. best— magazines with More than 100 teachers of world-wide reputation. Private lessons only or courses leading to fhc good of music in your community, at soon. The first to receive copies, however, miliar melodies, others are adaptations, Etude. Drop us a postcard and we will Teachers’ Certificates, Graduation and Degrees in Piano, Vocal, Violin, Cello, Church Organ, Theatre are those who have sent in for the work but many of them are entirely original. the same time collecting enough subscrip¬ lie glad to send you a copy showing how at the special advance introductory rate. are carefully prepared and arranged tions to pay for all the gifts which you you can save money by ordering t-. Organ, Theory, Public School Music, Dramatic Art and Expression, Toe, Ballet, Interpretative and may wish to make. Miss Brower, a teacher and critic of years m progressive order. This little volume more magazines. Classical Dancing, School of Opera, all Orchestral Instruments, Chautauqua, Lyceum, Concert and of experience, has told what pieces are might be used to supplement any instruc¬ being used with greatest success in this tion book. Languages. day by the great artists and by practical The special introductory price in ad- Magazine Subscriptions As Christmas Gifts teachers. The range rims from ancient wince of publication is 35 cents per copv Normal Training for Teachers in all Branches. Positions Guaranteed for Chautauqua, Lyceum, postpaid. works to the most modern works, although Concert, Teaching and Theatre Organ Playing when students are qualified. Tuition reasonable and very few proprietary numbers have been r permitted. The pieces are discussed ar¬ Withdrawals from aKjS Htn*- tut thVthe artistic advantages unequaled. Central Theatre and Recital Hall in College Building for Public ranged as programs. Teachers will seize Advance of Publication Offers a subscription to Etude. The following is ™aSaz*"e co|nes wlth .' our holiday greet- Appearances in all Branches of Music and Dramatic Art. Evening Lessons. upon this work in their search for stand¬ a list of the pick of the magazine field mg' December is the rush month in the New Chicago Musical ard and new material. The advance of , T^ere are six works that have been of¬ clubbed with an ETUDE MUSIC MAGA- magazine business, so let your orders come fered at low prices in advance of publi¬ publication price is 75 cents a copy, post¬ ZINE subscription at a decided reduction earl>' and we will see that they are regis- Of the Total Value paid. cation for past months. They are now ready. The low introductory prices offered *.Yin price. ltIf Jyou011 wishwlsh y°youu canc«n order a tered- Subscriptions need notnot" begin untilu of $20,000 e ub or combination and have the mi ifTfi- Christmas. A niaircizinp snhs^rintion no .. FREE SCHOLARSHIPS AND PRIZES Dawn of Spring to advance subscribers on these works are c ub or combination and have the maga- Christmas. A magazine subscription as a 75 Free and 140 Partial Scholarships to be awarded for this year. Free and Partial application blanks on request. Mason & Hamlin Gra id Piano, presented for com¬ Two-Part Cantata now withdrawn, and the normal selling prices apply. b petition in the Post Graduation Class by the Mason & Hamlin Co. Conover Grand Piano presented for competition, in the Graduation and Senior Diploma Classes by the For Treble Voices Cable Piano Company. Valuable Violin presented for competition in the Violin Department by Lyon & Healy. Grand Piano for compe.ition in the Vocal Department. The withdrawals are: M,FSIC MAGAZINE..$2.0(0 „ .. Music by Richard Kountz The Awakening, Christmas Cantata for ETUDE MUSIC .MAGAZINE..$2.00V „ These prizes will be competed for in Orchestra Hall, Chicago, before world-renowned musicians as judges and with Chicago Symphony Orchestra, Frederick Stock. Conductor. ‘ ur7 oy._!:!!!j$3^75 Opera Scholarships. 15 prizes of $300 each; 15 of $100; 15 of $50 in the classes; also Diamond, Gold and Silver Medals. Dormitory Accommodations. At this season of the year it is neces¬ feeble Voices by William Baines. This Kegular price .$4.00) Save 25. ““ “ .M$3?4I sary to prepare for Spring entertain¬ is a very attractive short cantata that will Regular price .$4.00 J Save 60 Complete Catalog on Request 60 EAST VAN BUREN STREET ments, and we are glad to offer this can¬ require about 30 minutes to render. The (Between Wabash and Michigan.) tata for use in the grades, or, since it is chorus work is two-part writing and is FSnXc^GAZKE;:s!S] ZINE..$2.00-| Bo,h a serious work, we would suggest that equally suitable for choirs of girls or Regular price.S43oi . " > $2.35 some women's clubs will be glad to use women’s voices, or for junior choirs. The . $3.0(1 J Save 65 it in their programs because of its exqui¬ several solos for soprano and alto voices |TrltaerS’IU.SIC MA,;AZIXK-; *2.00') etude musk: magazine..$2,001 Bnl. site and charming beauty of melody. It is may be done in unison if no soloists are > $4.75 Motion Picture Magazine... -no l the story of Nature as expressed in Spring, available. Choristers short on good male Regular price .jj-aTu --P4*00 and it follows a day in Spring from dawn voices can contribute effectively to a Regular price .$4.50J Save 50c ZECKWER-HAHN through the coming night until after the Christmas musical service with this can- BorEi^SIC.MAGAZIXE-»I-00) Both ETUDE MUSIC ’ tata. Price, 50 cents. iGAZINE. .$2.00') Both fOMBI rising of the sun. The time required for Philadelphia Musical Academy rendition is 25 minutes. Our advance of The Promised Child, A Choral Cantata . > $5.25 Th* .sIoohEi0 Regular price . publication price for one copy onlv is 30 for Christmas by R. M. Stults. Mr. Stults .$6.00 J Save 75c 1617 Spruce Street Philadelphia, Pa. cents, postpaid. IS one of the most successful writers of Bays^ElagfzmE ^AQ;«IXE-• *2.00A Botl) CONSEWAIORiySuSIC attractive and appropriate numbers that SSESS SrMAGAZINE' *|800l Bolh Notturno, a Musical Romance can be sung with ease and effectiveness by p-h*.8:2 PHILADELPHIA the average choir. This cantata not onlV Rh.rArice.::::^ By Carl Schmidt FORTIETH YEAR has some excellent chorus work for mixed PROFESSOR LEOPOLD AUER Romance and music seem intertwined, 1 and Day School of uni Violinist—Guest Teacher and it is to be regretted that we have so \ oiees, opportunities are also given for [ $5^75 i all brai using a women’s quartet or chorus and > $2.85 tew good musical novels. Several excel¬ Professor Auer is a world famous pedagogue and the teacher of Heifitz, lent novelists have attempted books of a mens quartet or chorus. Each solo etude MUSIC MAGAZINE..$2, A SCHOOL OF INDIVIDUAL INSTRUCTION Elman, Zimbalist and many other well-known artists. \ oice is brought into use and the organ etude mus tins kind, but most of their efforts have (Theoretical and Applied Branches Taught Privately and preludes and accompaniments give the thods, individual Instruc- resulted in a work of fiction with little > $4.00 Because of its distlnguishedfaculty, origin LEO ORNSTEIN organist satisfying work. The time of per¬ Regular price > $2.50 in. high ideals, bre: t, combined with efficient real musical value. This story, written by Regular pri . . $3.00 J Save 50c e COMBS CONSERVATORY fiords opportunities Pianist formance is about 35 to 40 minutes. The e elsewhere for —*“*“ “ sical education. a well-known New York music-teacher, 1 Both ETUDE MUSIC MAGAZINE.. $2.01 Mr. Omstein is without doubt the most interesting pianist now before lias both literary charm and musical verity. °r. V0f,al s<'or<‘ is 60 cents, and > $3.25 Peoples Home Journal.^00 t ^55 All Branches. Pedagogy and Normal Training Courses For Teachers. the public and he has appeared with all the leading symphony orchestras. Christmas is coming and there is always a .SSI1 Save 75c Public Performance. Four Pupils’ Recitals a week. Full Orchestral demand for musical fiction, literature, etc., T£.£p CftSn,y be Regular price .$3.00J Save 45c Comprehensive Music Writing Book by S™® MUSIC MAGAZINE..$2 On5 and Military Band Departments. Two Complete Pupils Symphony LEO SCHULZ as holiday gifts to musical friends. Place Both Orchestras. Conductor’s Course. your advance order now and get the first Anna Heuermann Hamilton. This writing S . 2.00 ( Cellist ;;;°nk, htas md*\idR;d points that recom¬ Regular price_ ( $3.50 copies of this new edition when it comes mend ,t immediately. It not only covers Save 50c RECIPROCAL RELATIONS WITH UNIVERSITY OF PENNSYLVANIA Professor Schulz is an editor and composer and for years was associated with trom the press. The advance of publica¬ notation, but other important rudimentary ETUDE MUSIC ll.ir.mm, such conductors as Nickisch, Mahler, Mengelberg as solo cellist. tion price is only 80 cents, postpaid. branches are treated and teachers wiil Courses for Public School Music Supervisors Professor Schulz is known wherever the cello is played. fmd students helped considerably in the Approved and A iredited Three-Year Courses in Public School Music Supervision. Pennsylva Stand- Barbarossa of Barbary Special free scholarships under these artists will be awarded after understanding of music in the elementary Regular price .$6.00 J Save 75c ard State Certiiic The only Const i of Music in the ountry whose courses for Public School Music Super- competitive examination. Details to be announced later. A Musical Comedy in Two Acts st iges when a writing book such as this Delin MUSIC MAGAZINE..INE.. $2.00 V BoRT,, ■dited by the Department of Public Instruction of Sm™E 1ICSIC MAGAZINE..$2.00) Both i Appro. CHARLTON LEWIS MURPHY, Managing Director Music by David Britton «sed-. The price of this book is 60 cents .—j $3..50 Pennsylvania. Principles of Expression in Piano¬ Regular price •J^>$3.50 The comedy which runs all through this .*4 00J Saves50c Regular price . DORMITORIES FOR WOMEN musical play is of that bright, sparkling forte Playing by A. F. Christiani. Our __.. $4.50 ) Save $1,00 new edition of this excellent book on the MUSIC MAGAZINE. $2 005 TT delightful, homelike surroundings in a musical atmosphere, the c sort which appeals to the modern audi¬ . 1 "all I BOth fuccesf :SIUSIC magazine.. $2.ooa Bolh t afforded in any Other school of Music. Daily Si ence. Miss Frances Bennett has given us art of piano playing is now ready. Any¬ cal Science, Theory, Psychology, Chorus, \ oc; one who has not read this book and is „ .> $3.25 FALL TERM some very amusing situations in the book Regular price..$4.5oJs«v« J1.25 SIX SPACIOUS BUILDINGS SIGHT READING and the dialogue is decidedly snappy. The .interested , in pianofortepiauuiurie playing, whether All Branches music is full of color but not too difficult teacher, student or professional will find A School of Inspiration, Enthusiasm, Loyalty and Success. Faculty of 54. Special MADE EASY FOR PIANISTS $3.00 $?nol B°,h Illustrated Year Book Free tor the average amateur organization to Regular price . J^>$2.1< PIANISTS can become perfect sight twr7$250fitable t0 read‘ °Ur price for J Save 50c Offices, Studios and Dormitories make very successful in production. The Regular price . $3$3.00J Save 90 P.M.I. “The Art of Sight Reading.” Sight read¬ ir Broad range of voices is not extreme. All cos¬ Studies for the Violin by Fiorillo. ing is not a “gift” and is within the reach tumes are fully described in the Stage there is no need to enlarge upon the ex¬ rtion Building, 1331 So. Broad Street of all pianists—beginners and advanced. cellence and use of these studies, as they ( $4.00 It tells you of the difficulties of sight reading Manager’s Guide, wherein may be found and how overcome—method of reading and drawings of all the principals in costume. are well-known to teachers of the violin. Regular price .$3.50J Save* 25c practice—faults made and how rectified— The scene of the play is in Algeria, and This new edition has been edited very Bol howto play accompaniments at sight—etc. “•5 &WSIC MAGAZINE.. $2.01 The Educational Announcements in The ETUDE give the Ambitious Student of Music an of course, this permits of Oriental color¬ carefully by an authority on violin teach- '~}$4. ng and we feel that violin instructors will > $2.25 Complete Course of 5 lessons by mail, $5.00 ing as contrasted with certain American Regular price .$2 50. Unequalled Guide to Excellent Study Advantages in all Sections of the Country. School and other foreign uniforms. The play re¬ be repaidy for‘ requestingra,„ the newew edition Satisfaction Guaranteed or Refund made Ot these studies in the Pro**** Announcements in this Issue Pages 797, 798 and 800-Professional Directory, Page 801. quires an entire evening for performance. of these studies in the Presses collection. 5"*2'»$2.10 ■ . $2.50 J Save 40c Regular price .$4.50J Save 50c Please mention THE ETUDE when addressing oor advertisers. Page SOd * ER 1924 1 %'VEME THE ETUDE
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LOUISE DtINMNC, Originator. 8 We., 40,h St., New York Cit,. JUlliOr Etude COllteSt Ketharin. M. Arnold,'93 Madison St’TUfa'OhiTArnold School • ThE JU‘VI0R ETUDE will award three „ „ Alii. E. Barcua, 1006 Cells*. A,.„ f,. w.rth I.,.. pretty prizes each month for the best and BV Pauline Leeman
atySSSSa .a..™— SSSSliS----=S~;£S=~ .iMSiSiti. FSSSafeTTTZ.Tr . ofLr ~~ w“” * - M.ia Ell.n Lilll.lield. D.,nii.,'saM|,J,Mr,'[(^3M9’Woo« A,. EinuiCt* Mo JUNIOR EtUDE Office, 1712 CheStllUt St- ideal Itl'" we find the etierffil in
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