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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,5

OPERA IN 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, ‘,’ ‘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, , 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.” y

By 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. , 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-