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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
1-1-1926 Volume 44, Number 01 (January 1926) James Francis Cooke
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The Triumph of Sacrifice study of music without help, penetrate to every country under the sun. This issue of the Etude is fittingly devoted in part to the “His great publishing house is known everywhere. These, memory and work of the man whose sacrifices made it possible. and many other benefactions which are known and unknown, We who have been at his side unceasingly for many years, are now managed directly and indirectly through a great trust are perhaps too close in perspective to make an unprejudiced known as The Presser Foundation. valuation of the great ability, character and soul of Theodore “The officers and- trustees of the Foundation in all of its Presser. There are too many incessant remembrances of kind¬ departments, and the officers of tire company, all are men who ness and thoughtfulness to warrant us in even attempting this. have in most cases been in the closest association with Theo¬ For that reason we have asked men and women wrho have dore Presser and arc impressed with the lofty ideals he estab¬ viewed his achievements through the years to pay tribute to lished. The president of the Foundation and of the company the man they knew. is Mr. James Francis Cooke, who for eighteen years has been His residence in Germantown adjoined that of the Home the editor of The Etude. for Retired Music Teachers, which he established as one of the ■“To those who knew him well, Mr. Presser was a man of activities of the Presser Foundation. His attitude towards the engaging and hospitable manner, and a firm and abiding friend residents was never that of a philanthropist bestowing bounty. to those whom he called ‘worth while.’ He was, as he often Night after night he would go to the home, associate with the said himself, ‘long suffering’ with those who had weaknesses i guests, join in games; and, during his last years, he was virtu¬ they were striving to overcome. He was a great admirter of ally a resident of the Home despite the fact that he lived in efficiency and grew impatient if results were not forthcoming. the adjoining house. He enjoyed his association with the Therefore, he was frankly irritated by those dillentanti who, teachers and they welcomed him almost as though he were a fel¬ however gifted superficially, had nothing of real moment to low-member of the group. Such humility comes only with say to the world. greatness. “His great interest in life was education, and it was his joy to associate with- teachers of music. Through the organi¬ zation of the Music Teachers’ National Association, in 1876, The Etude’s First Radio Hour in Delaware, Ohio, he laid the foundations upon which have The Etude’s first radio hour was made momentous by the been built the vast number of musical club activities in America, fact that it became a sad obligation to devote the period in numbering hundreds of thousands of members. part to a memorial to the founder of the magazine itself—the “It is small wonder that many of the keenest observers have late Theodore Presser. This Memorial Service was reported said that through his far reaching activities in so many differ¬ by radio owners to have been most impressive. The double ent directions his influence in the field of music in America was quartet of men from the Theodore Presser Company, which greater than that of any other person, not even excepting sang at the funeral, repeated the hymns used on that occasion: Theodore Thomas. “Abide With Me,” and “Nearer, My God, to Thee.” Those “The man, who impresses himself upon his generation as singing were Albert Ockenlaender, Alfred Clymer, Oswald Theodore Presser has done, is not likely to be forgotten; be¬ Blake, T. F. Budington, W. C. E. Howard, Elwood Angstadt, cause he has chosen no great monument or mausoleum to house Frederick Phillips and Guy McCoy. his renown, but the hearts of his fellowmen.” Mr. Henri Scott, of the Metropolitan Opera House, who The Etude Radio Hour is held at eight o’clock Eastern was a personal friend of Mr. Presser, honored his memory by Standard Time, on the second Thursday of each month at singing “Over the Mountain of Sorrow.” This was followed Station WIP, Gimbel Brothers, Phila., Pa. by a short memorial address by Mr. John Luther Long, author of “Madame Butterfly.” Following the Memorial Service, Mr. Preston Ware Orem, Straight Down to Bed Rock music critic of The Etude, Mr. Edward Ellsworth Hipsher, The builder who strikes right down to bed rock for his assistant editor; Mr. Frederic L. Hatch, assistant music critic, foundations insures permanency. and the editor, played and discussed educationally the music Theodore Presser built upon far stronger business, educa¬ in The Etude, assisted by Otto Meyer, violinist, and Mrs. tional and philanthropic foundations than perhaps he himself Dorothy Stolberg Miller, soprano. realized. The program was instructive, varied and interesting. So many were the principles that he instilled during forty The memorial address delivered by Mr. John Luther Long years in the hearts and minds of his employees and fellow- follows: workers, in all of the mapy branches of the institutions he “In the death of Theodore Presser, music in all parts of founded, that it will be a source of great gratification to our the world has lost a commanding and helpful personality. He friends, particularly our old friends, to know that there is a was one of those rare men who choose some one great idea upon splendid organization now in charge to develop and expand which to found success. And his idea was simply—Music. his ideals in the future. But he was active and important in all of the numberless lines The Presser interests are now vested in the hands of strong which music touches. The Etude, which he founded, is the men of eminence in the business, educational and financial world, greatest and most widely distributed of all musical publica¬ practical workers in the business itself, men and womeg who tions, reaching, practically every part of the world. His Home have been trained for years as experts, and finally a consid¬ for unfortunate music teachers, in Germantown, is the perfect erable corps of musicians who are proud of the fact that they model of what such a Home should be. It has accommodations have been teachers of music—all earnestly promoting the poli¬ for more than a hundred inmates. His unostentatious benefi¬ cies which have been the basis of the great work established cence to elderly musicians and those too poor to pursue the for musical education by Theodore Presser. /
America’s Greatest Present Problem
Because we feel very deeply that music may be line of Here is the greatest present Ssifufeess of music to the the, most precious remedies in America’s greatest 'problem, we state. Good principles of morality, integrity, sobriety, truth are again devoting valuable space to a subject dear to our honesty, clean living and patriotism, planted daily in the child hearts. Square miles of news prints have recently been aimed mind while that mind is elevated, enthused and spiritual./.,d at this greatest problem—the monstrous multiplication of by means of inspiring music, means that if we can reach enough crime m our large cities—particularly crimes committed by children in the right manner our crime problem will diminish young men and young women who are obviously without any enormously with oncoming years. moral equilibrium. If we want good, law-abiding, God-fearing citizens in Richard Washburne Child, former American Ambassador the future, we must raise them and not depend upon the clubs to Italy, in an alarming series of Articles in The Saturday of the police to batter them into shape. The policeman’s club Evening Post, gives an account of the extent of crime in pres¬ may maim a crook, but it can never make a character. ent day America, the sickening inability of the spineless police The Etude readily admits that this training in the da\ Tributes from Eminent Men and Women to suppress crime, and the apparent unwillingness of magis¬ schools might be far better handled in the home or in 11.. trates to support the ef¬ church. We are however, to Theodore Presser forts of the honest police confronting a very prac privilege of knowing him. Mr. Presser nobly served by punishing offenders. WALTER DAMROSCH the cause of music, and his steadfast idealism and large- tical problem. It is re¬ MRS. H. H. A. BEACH Collier's Weekly had pre¬ Eminent Coiuluctor hearted generosity left us all his debtors. ported that over half of Distinguished Composer viously attacked the sub¬ I had always had a great admiration for the late our population never sees A great benefactor to music and musicians all over FELIX BOROWSKI ject from another angle. Theodore Presser; and what I have read since his death, America was taken from active service when Mr. Presser in the press, of his career and ideals, has still further Eminent Composer After having read all the inside of a church from left us His work has extended over such wide fields increased my feelings for this remarkable man It was with the keenest regret that I read of the death of this material, and more, one year’s end to the other. and been of such permanent value that one wonders^ how I think he was fortunate, not only because God gave of Mr. Presser. His passing will be a great loss to we are far from dismay¬ The church schools serve one man could have accomplished it all. We are thank¬ him a very high sense of responsibility and a beautiful ful that in many respects it will continue through the musical art and, indeed, to the community at large. He ed. America is a thriving only a comparatively small ideal for which to work, but also because he was en¬ years to come, but his genial, helpful presence will lie has always been to me a unique figure combining m portion of the public, ow abled to live long enough to carry them out and to see giant with a canker sore. sadly missed by everyone who had the good fortune himself, as he did, the qualities of the thoroughly them bear' fruit a thousandfold. . equipped musician and those of a singularly successful Ninety-nine per cent, of ing to sectarianism. The to know him. I think that his name will he revered and held in business man. And he possessed, too, what not all mu¬ the real manhood of our American home of yester affectionate remembrance for many generations to come. JOSIAH H. PENNIMAN sicians and not all business men possess-a warm and country is straight and day has been auctioned oil kindly heart. The Presser Foundation is probably the Provost, University of Pennsylvania upright. Because of the at the block for an orgii OWEN WISTER best evidence of the latter, and it will be, I think, Mr. Theodore Presser was a very remarkable man, in¬ prodigious size of our land, Ur. James Francis Cooke, Editor, of golf, gasoline, dancing Eminent Author and Publicist Presser’s most enduring monument. spired by high ideals, generous in every way, unselfish the crime mania seems ETODS MUSIC MAGAZINE, No longer to have Theodore Presser living among us and moving pictures- all and constantly thinking of the comfort and happiness of ERNEST R. KROEGER #1710 Chestnut St., is a loss both to the community which he benefited prodigious. The New York valuable anil important di others. The entire world of music, as well as the wider Philadelphia, Pa. locally, and the larger community which also for so Eminent Composer and Educator Times, in a lengthy, seri¬ world, is richer for his having lived in it, and poorer by versions when not carried many years felt the good effects of his stimulating intel¬ Theodore Presser was a great force in the develop¬ ous article, estimates that Dear m . Cooke: to excess. his death. ligence and his beneficent activity. Many who never ment of musical education ill this country. Having been W. J. BALTZELL crime costs the United The garden of Youth had the pleasure of knowing him will miss him never¬ a teacher, he understood the needs of both pupil and For Many Years Editor of The Etude, Prior to 1907 teacher. As a composer, he comprehended well the re¬ States ten billion dollars a Your letter of November 10 is at hand. It was with sincere regret that was therefore stifled with theless. __ year. The canker sore is Theodore Presser was a builder in the music’ publish¬ ARTHUR FOOTE quirements of studies and pieces necessary to interest the weeds and the beautiful pupil as well as to further his progress. As a publisher, getting so large that Am¬ I learned of the death of the late Theodore Fresser, one of the monu¬ ing business. Beyond that, and more significant, he was Eminent American Composer blossoms of innocence, pur a builder of service to the music-teaching profession he was mainly interested in issuing compositions of a ericans are beginning to do For his part in the founding of the Music Teachers’ mental figures in the realm of music. ity, high American ideals, and the music-buying public. He was a captain from the practical nature, which would develop both the technical some real worrying about National Association I shall hold Mr. Presser m grate¬ capacity and the artistic impulse of the pianist. industry, steadfast honor ranks of Ameritan music teachers,-with wide personal ful memory; through the concerts of that association I it. This is the first sign Ur. Pressor was unique in the great woric he did in bringing musio to the His great success lay in this combination of an under¬ and love Gf right faded experience and intimate knowledge 'of their ideas, their (as was the case with other young American composers) of the promise of healthy ideals and their capacities. Thus he was in advance of standing of both the practical and artistic sides of mu¬ masses, and in the promotion of musical interests, through the various before the noxious cheap was given an opportunity to be heard at a tune when sical instruction. As publisher of The Etude, he was concerted action leading the average but never so far as to lose insight into their such chances were rare. And, as an officer of the Oliver cigarette, hip pocket flask, needs or to fail to keep touch with them. “I want to able to bring to the teacher the valuable experiences and to a change. national organisations that he founded, and through the establishment Ditson Society for the Relief of Needy Musicians, I authoritative views of the leaders of musical thought. sensuous dances, putrid publish for the masses, not the classes in music,” was Readers of The Etude have had especial reason to know the splendid work of Mr. Presser’s name will go down to posterity as one of THE EHJDE. magazines, and sensation¬ a saying of his. . . the Presser Foundation. What a happiness this must know that for years we Gifted by nature with a tenacious and assimilating of the foremost men who were influential in shaping al moving pictures. memory and with a wide knowledge of musical publica¬ have been to him. the musical destinies of the teachers and students of his have recognized this im¬ In view of his great and practical achievers, he has received but pending, disastrous condi¬ This, however, has not tions, European and American, he had no equal in the C. M. SCHWAB generation. _ publishing trade in the evaluation of teaching material. THOMAS TAPPER tion and have repeatedly scant public recognition, bpt 1 trust that his merits may be giV9n changed the raw materials Eminent Industrialist and Music Patron The Etude is a monument to his memory. Formerly Editor of “The Musician’’ called the attention of our °f the America of tomor¬ Theodore Presser was an unusual combination of an more prominence than they have heretofore received, to the end that idealist, a musician, a philanthropist and a practical It is now more than thirty-five years since I had the readers to it, long before row Our future rests in HOLLIS DANN the hands of our parents, business man. pleasure of meeting Mr. Presser for the first time. In the present newspaper the American people may give honor to his memory.^_ Head of the Music Department of New York Through his very great initiative and the enormous fact it is just thirty-five years since “Chats with Music and magazine furore. Our our clergymen and our University number of his publications, including The Etude, he Students” was published by Mr. Presser, the first of a readers know of the non¬ Yours very truly-,—" f teachers, far more than in The passing of Theodore Presser is an irretrievable rendered a service of unquestionable importance to the long line of publications which I had the pleasure of proprietary “Golden Hour those of the police and the loss to the musical world and a real personal loss to entire musical world through the dissemination of the working out with him. . I recall my first visit at his then very humble office Plan” which we have spon¬ judiciary who at best can each of his host of friends. materials for a musical education. C_-^C7ncn> Ldkocrn. Throughout his long and unique career, Theodore in Philadelphia and the enthusiasm with which he dis¬ sored and which is already dest'-oy the worst MR. THOMAS Presser combined remarkable business ability amount¬ ERNEST HUTCHISON cussed plans for the development and expansion of The - EDISON’S BEAUTIFUL TRIBUTE TO THEODORE PRESSER introduced under various e£,s ln this generation. ing to genius, with a self-sacrificing generosity which Eminent Piano Virtuoso Etude. I remember that he gave me, at the time, three took form in the Presser Foundation and other equally or four odd numbers of the first volume—modest pages names in different schools all o . . > , teachers in the day Permit me to express to you my sincerest sympathy r the country. It is a plan for beneficent services. The influence of his vigorous per¬ indeed, compared to the splendid press work and general teachers all have a grave responsibly™l*nd the music with yourselves and my own sorrow at the loss of one regular, systematic instruction in character building along non- sonality and of his princely generosity will continue to set-up of the magazine today. plan as the Golden Hour they will hai ^ Through sonic such whose memory will long be treasured by all who had the sectarian lines, all glorified by the collateral employment of grow as the years pass. saving a great nation from the cant o T-l ^^unity for 7coo2 " ETt,“ thoaLdl grow into a cancer. Music, and Mmi & might of copies of77 the programs indicated. It will be glad to send so elevates, edifies and enrapturj the“ ‘he art which you one, complimentary, if you are interested. comes responsive to suggesti of ht. t , ”***> that * bc- f 1' \ th<\ Plan Wils enthusiastically endorsed by many If y°ur local day school hi 8 Cak foremos Americans, including Thomas Edison, Hon Henry pan as the Golden Hour, let us mtr°duced some such tl tC »«•--, and many Golden Hour program a.xl take it ^ gratis » copy of he be t test of _ its worth is the continued and enthusiastic am»i«n.17of,hisll,osgi„,po;-;.j™ a missionary of this most impoHam^ to become r ** ils introduction in many tributes the ,
DR. THOMAS TAPPER ERNEST R. KROEGER WINTON J. BALTZELL NICHOLAS DOUTY WILLIAM ARMS FISHER FELIX BOROWSKI THE ETUDE JANUARY 1926 Page 11 THE ETUDE Page 10 JANUARY 1926 his -pianoforte practice. He had a little cardl at the s.de o Ws piano on which his occupation for the day was I have known few men whose habit it was to go so directly and stay so persistently upon the matter under spaced out, hour by hour, and he did not often allow How to Teach the Major and Minor Scales discussion. In fact, I have often wondered, in my many his schedui; to be interfered with He lectured me fa.th- meetings with him, when his consciousness drifted away fully for not adopting this method as well as. on other BY JOHN M. WILLIAMS from business to roam sometimes at freedom, as it does subjects, and as I seldom practiced if I couldgo to a rehearsal or a concert,,he often said to me, Chadwick, with most men. He seemed almost monastic in his ad¬ played without hesitancy and with ease. One of the you cannot pick up music on the fly, in which of course Perhaps the first group may be studied with the hands herence to the rubrics of business; yet one had not to HEN to teach the scales might be a debatable secrets of getting good scale playing from pupils is W together for this lesson, while the flats are being prac¬ go far with him to discover many an attribute that he was entirely mistaken. subject; but that they should be learned, and never to leave one group for another until each is thor¬ most hard-shelled business men count not among their I# the summer we made a walking trip of a week in ticed hands alone. with as little effort as possible on the student’s oughly learned. Half-learned work is the cause of much assets, though certainly with him they were ever active company with some other students, through the romantic The pupil should recite before playing, thus: part, is generally admitted. trouble later on. and admirable. I refer to his sympathy, his kindness, region of the upper Elbe, known as Saxon Switzerland. The following presentation of the subject has been F major scale—signature one flat; B flat his helpfulness (never conceived by him in terms of B-flat major scale—signature two flats; B and E flats Presser was the life of the party. He was so irre¬ found beneficial, whether introduced in the secorjd or The Minor Scales charity), his consideration for others and, above all, an pressive that on one occasion, the landlord of a little inn the sixth month of the pupil’s study. E-flat major scale—signature three flats; B, E and A earnestness that reigned supreme not only over his busi¬ threatened to eject us. He had some peculiar ideas. 1 Te flats In teaching the minor scales it is preferable that the ness but as well in the realm of his ethics of brotherly would not go to the opera on a Sunday evening, but he First Lesson A-flat major scale—signature four flats; .B, E, A and pupil learn A, E and B minor and D, G and C minor relationship. would sit in a cafe and play chess all the evening! At D flats before taking up the more difficult keys like F-sharp Thoroughly drill the pupil on Whole-steps and Half - The business must have been small when I first knew one time, he was all for making a search for Bachs These four scales with flats frequently require two minor, C-sharp minor, and others. It is more desirable steps and allow at least the time from one lesson to the him; but the man was big and therefore it was only a burial place. Singularly enough, it was afterward found lessons to learn instead of one. Do not attempt the that the pupil be thoroughly at home in these six keys question of time when the business should grow to the next for this to be thoroughly assimilated. hands together until they can be played separately easily. than to have a hazy knowledge of the 12; hence, in some in a church in Leipzig. Definition: From one key to the next, if there is a proportions of the man. I shall never forget his words When I was working on my Overture to Rip N an cases it is better to work on these six for an entire to me on the occasion of my visiting him not so very key between (either black or white) is a whole-step; Fifth Lesson Winkle, which was to be played at the Annual Conserva year, rather than assign the more remote and difficult long ago. When we had finished the business under if there is no key between it is a half-step. (The .words tory Concert, he was full of interest and enthusiasm, When the fourth lesson can be done well, assign B- keys. consideration, he said, “Now, Mr. Tapper, I hope there whole-step and half-step are preferable to whole-tone even predicting great success for me. He heard a pri¬ sharp, F-sharp, D-flat and G-flat, to be practiced with will come a time when you will come in and we can have and half-tone as the word “interval” means “distance”; Formation of the Minor Scales the hands alone; the remainder to be practiced hands a visit together entirely free of any consideration of vate rehearsal with a local orchestra whom I induced and the idea of distance is better suggested by the word The minor scales may be explained thus; Business. Just come in and see me sometime!” to try the piece over, and at the Conservatory rehearsals “step”-than “trine.” ) together. Just as every child has “relatives,” likewise every The pupil should recite before playing, thus: And I am glad to have had the privilege of having he was equally enthusiastic; but when it came to the per¬ major scale has a Relative Minor Scale. This minor B major scale—signature 5 sharps; F, C, G, D and seen him “sometime.” formance, he disappeared, and I did not see him for Second Lesson scale “lives” or “starts” on the sixth note or “house” of several days afterwards. A sharps Definition: The major scale is a series of eight tones; the major scale. In other words the Relative Minor I was very much hurt by this, because the compctit on F-sharp major scale—signature 6 sharps; F, C, G, D, the last tone being the same as the first. Make a dia¬ begins on the sixth note of the Major Scale. JOHN PHILIP SOUSA was very keen, and I wanted his moral support as my A and E sharps gram in the pupil’s note book, thus: __ There are three forms of the minor scale: principal backer. When I finally saw him, and demanded D-flat major scale—signature 5 flats; B, E, A, D and Famous Composer and Band-Master 1. The Natural or Pure Minor. an explanation, he shrugged his shoulders and said, "You 1 Whole 2 Whole 3 Half 4 Whole 5 Whole 6 Whole 7 Half 8 G flats The life and career of Theodore Presser is an ex¬ Step Step Step Step Step Step Step 2. The Melodic Minor. have enough friends without me.” Peculiarities of this G-flat major scale—signature 6 flats; B, E, A, D, G ample of what energy, fidelity and singleness of purpose GEORGE W. CHADWICK From the first to the second tone is a whole-step. 3. The Harmonic Minor. sort occasionally developed in him; and none of his and C flats will accomplish. Starting as a music teacher, he ended From the second to the third a whole-step. The ability to recognize the key in which a piece or friends could ever understand them. his career by being one of the most important figures From the third to the fourth a half-step. exercise is written will be greatly enhanced if before GEORGE W. CHADWICK After my return to Boston in 1880, he came to see When to Give Two Octave Forms in advancing the curriculum for the proper study of From the fourth to the fifth is a whole-step. playing the minor scale the pupil is taught to recite me, and occasionally we met in Philadelphia. He was music. No copy of The Etude that I have read but Eminent Composer, A Lifelong Friend of Theodore From the fifth to the sixth is a whole-step. WHEN ALL the major scales can be played per¬ thus: so absorbed in his particular line of work that possibly what contains invaluable advice, alike to the teacher and Presser From the sixth to the seventh is a whole-step. fectly one octave, hands together, with correct and A minor scale, relative of C Major scale, signature he did not follow the progress of musical art in this the student. And wherever the source of this informa¬ My acquaintance with Theodore Presser began in From the seventh to the eighth is a half-step. rapid recitation of the signatures; then the two octave country with the same interest. no flats or sharps. tion was imparted, the guiding mind of Theodore 1874 when he came to Boston to study at the New Eng¬ In other words all the intervals are whole-steps except forms may be given. E minor scale, relative of G Major scale, signature His was certainly a remarkable career, and he has left Presser was the motive power that put it into circula¬ land Conservatory of Music. I was at that time clerk from 3 to 4 and from 7 to 8. These are half-steps. Note : This last group is the easiest to play and these one sharp, F sharp; and so on. Pupils should recite tion. Those that knew him, knew his purposhis philan¬ in my father’s insurance office in Lawrence, and I found a monument in the Presser Foundation, which is entirely This may be demonstrated on the black board by scales should be the first ones to be assigned for two characteristic of his interest in the workers for musical quickly and accurately. thropy and his splendid business acumen will always Presser’s lodgings very convenient whenever I stayed drawing a ladder, or, if a small child is being taught, octave practice. In the natural minor scale the notes are identical with education. When B and F sharp and D-flat and G-flat can be per¬ revere his memory and cherish his work. in Boston for aqj evening concert. by “walking” the scales, that is, two whole-steps, a those in its relative major; the only difference is that the There is no class of musicians so deserving of assist¬ fectly played two octaves, assign B-flat, E-flat and A-flat, He was full of enthusiasm, very friendly, and we half-step, three whole-steps, and a half-step. Two.tetra- minor begins on the sixth note of the major (thus giving speedily became intimate. In 1876, he was at Greenwich, ance as the faithful and conscientious teachers who hands together, two octaves. These are decidedly easier chords, joined by a whole step, is also an excellent way it a minor third). WILLIAM ARMS FISHER through accident or illness have become unable to support for the pupil than the first group. Later assign the Rhode Island, in Dr. Toujee’s Summer School, a branch to teach them. In the beginning it is much better to have the pupil of the New England Conservatory. To this place came themselves. The Presser Home is a practical illustra first group (C, G, D, A, E) ; and, if any difficulty is Composer and Editor Drill the pupil thoroughly in the building , of the count all minor scales' 1 2 3 4 5 6 7 instead of 1 2 3 4, Dr. Butterfield, the President of Olivet College, Michi¬ tion of his sympathy with these worthy teachers. experienced in getting these, have the pupil practice the The great majority of mankind follow the herd in¬ major scale beginning on each of the 12 keys (black or 1 2 3 4, and so on. gan, looking about for a director for his musical de¬ nine-tone scale first. This gets him over the crossing stinct and go through life with eyes on the crowd lest white). Assign the building of all scales for an entire After playing the pure or natural minor, show that partment. He offered the place to Presser who was spot and into the second octave. Later they should be they be considered peculiar and out-of-step; but Theodore 0. G. SONNECK lesson. (Caution: Do not allow the pupil to confine in the Melodic Minor the sixth and seventh tones are already engaged for another place, but on the strength extended to two octaves. Presser was a man who thought for himself, who had his efforts to building the C scale, or the scales starting raised ascending and canceled descending. (Hence the of Presser’s warm, and perhaps too warm, recommenda¬ Noted Critic and Musicologist the courage of his own convictions and with eye on the on the white keys only. And remember, the pattern importance of counting seven instead of four.) In the goal he sought never swerved to the right or left in pur¬ tion of me, Dr. Butterfield came to Boston and engaged On the few occasions that it was my privilege to char remains the same, the keys must be made to fit the pat¬ “Dromedary” and “Merrily” undisturbed with Mr. Presser and frankly to discuss Harmonic Minor the seventh tone is raised both ascend¬ suit of it. me for the position. tern, not vice versa. The pupil should be taught to Play all scales in quarter, eighth and sixteenth notes, matters with him that interested us both, I - ing and descending. He was markedly individual and differed from all He was rather aghast when he first saw me, as my count aloud; thus: One whole-step, two whole-steps also 1, 2 and 3 notes to a count. Have the natural minor played one octave only, as other music publishers in a most important respect. insight into the idealistic side of Mr. Presser’s characn : and a half-step, one whole-step, two whole-steps, three face was innocent of any hirsute decorations; and I that was stimulating. When counting sixteenth notes use the word “Drome¬ it is a “theoretical minor” from which we build the Other publishers have also begun their careers as music probably looked younger than my real age which was whole-steps and a half-step. dary,” accenting the first syllable. His eminent place in the history of musical life in others. teachers, others have become distributors of music be¬ When playing three octaves, if you want triplets use twenty-one. But Presser’s enthusiastic endorsement got America is secure. No future history of music in our cause they loved it, and other houses have issued more the word “Merrily,” accenting the first syllable. Stories That Help me the position through which I was able to save enough . country would answer its purpose, unless it informed Third Lesson or less successful music magazines; but Mr. Presser Caution: Do not continually assign new material. money to go to Europe the next year, which was the the student of Theodore Presser’s contributions to the If, at the third lesson, the pupil can build the scale N explaining the melodic minor you may tell a story was unique in that he started the publication of his When the pupil can play all scales one octave, do not I principal inducement in accepting it. organization of the teaching profession and his con¬ beginning on any key (while building them allow him something like this: magazine, not as an adjunct to music publishing, not as rush immediately into the two octave forms; let him In December, 1876, he carried out the great idea which structive efforts in other directions, including his interest to use the fingers of both hands when playing them), “You go up town by one street, and come back by an¬ a house-organ, but as the main thing, with the central “camp” on the one-octave scales for a few weeks. Like¬ had long been in his mind, of organizing an Associa¬ he may be assigned C G D A and E major scales at other.” Or, if it is C minor, for instance, “the two dominant idea of helping teachers meet their practical m the establishment of a real National Conservatory, wise, when he has learned the two-octave forms, do not hor all of this the magnificent Presser Foundation i a one lesson for practice. As there are 8 keys .to be black birds (A-flat and B-flat) fly away and then come daily problems. The publishing of music grew out of tion of Music Teachers. This was held at Delaware, rush into the minors, “camp” on these until they are the necessities of the magazine. He had to have new Ohio, where he was teaching, and was attended by quite fitting symbol, frame and crown. played, and we have but five fingers, we must finger back,” and similarly with other advanced keys. Points music for its pages, music that would meet the working a number of the western teachers. On this occasion, I R.H. 1 2 3 1 2 3 4 5 and L.H. 5 4 3 2 1 3 2 1. driven home with a story always lodge better in a teacher’s needs. He began by publishing a magazine delivered my maiden speech in the form of an address WALDO S. PRATT Important: Before each scale is played the-pupil child’s mind. and later discovered that he had become a music publisher on Popular Music. I was perhaps rather too much in should be taught to recite the signature aloud thus: One new minor scale at each lesson is quite enough; Treasurer, Music Teachers’ National Association and on the more difficult ones, like F-sharp minor and as well. The magazine, which grew amazingly beyond earnest, although there was nothing in the address which C major scale—signature no sharps or flats G major scale—signature one sharp; F sharp ... C-sharp minor, it frequently takes several lessons each. his first picturing, was ever the principal thing, the very does not apply with even greater force at the present PresSr%jUSt ]u"l TtartIed t0 read of the death of Mr. Important Constructive Work core of his business; for ha built up his great establish¬ D major scale—signature two sharps; F and C But no matter how many, make it a rule never to leave time. Dr. George F. Root, whose patriotic and other I must af o W h7 WrS qU‘te “"Prepared. I feel that ment around it, and when he finally had the satisfaction von aL '“I 3 hne.t0 ^'Pr655 W sympathy for sharps one scale for another until it is perfectly and easily of knowing that The Etude had the largest circulation songs during the Civil War attained a great vogue and A major scale—signature three sharps; F, C and G Mr. John M. Williams has conducted played; and remember, the pupil should do the reciting of any music magazine in the world, he also discovered, are still sung, made a very courteous but effective reply, s o£ *■—*'- classes from coast to coast which have been and without assistance from the teacher. which I confess, modified my opinions to a certain extent. if he ever took the time to look up the figures, that he havAAmAl1 Wh.° Ww Mr- mu* E major scale—signature four sharps; F, C, G and attended by hundreds of progressive teachers was publishing more music each year than any Other pub¬ He was one of the finest gentlemen I have ever met, and him He hart VC 3 Pecu*'ar regard and esteem fof D sharps who have been glad to pay generous fees for New Fingering of Scales a real folk-song-composer. lisher in America, and those who looked on knew-that The hands should be practiced alone. In ascending, fust such practical information as he gives Do you know the fingering of the scales advocated this notable achievement was the outcome of a purpose Presser had the foresight to realize that the National S'fas when the second finger of the right hand plays its note, in this lucid and interesting article. Mr. by some of the world’s greatest masters? Richard Ep¬ that never wavered and an energy that never faltered the thumb should move under the hand quickly and stein, Moszkowski, Jonas, Stokowski, and most of the Association of Music Teachers would grow to great Williams has written many highly successful until his summons came. power and influence of which in later years he was able thus be prepared to play its note when needed. Like¬ great virtuosi, advocate the following; elementary instruction books including: to take full advantage. In 1878, without any warning, wise the left hand, when descending. The preparation Scale of G major, left hand, begin with the third “First Year at the Piano,’’ LEON R. MAXWELL Presser turned up in Leipzig, and entered the Conserva¬ of the thumb does away with the ugly throwing out of finger. The fourth finger will go on F-sharp. "Tunes for Tiny Tots" for the Pianoforte, tory fis a piano student. He immediately became a great hasty words of P- . g .of them as I set down these the wrist in which some pupils indulge each time the G major scale is fingered 3213214 3. President Music Teachers; National Association asty words of my mst.nct.ve personal feeling of loss. "What to Teach at the Very First Lessons,” favorite with the American and English boys, and was thumb is put under. Begin the scale of D major and A major (left hand) The Music Teachers’ National Association owes its “Book for Older Beginners,’’ a ringleader in all sorts of practical jokes, some of with the second finger. In each case the 4th finger goes founding to Mr. Presser; and he has always been a Fourth Lesson ",John M. Williams’ Very First Piano Book,” on F-sharp. friend ready to give his time and advice. The members, which recoiled on his own head. With M °pARENCE G- HAMILTON Assign F major, B-flat major, E-flat major and lA-flat "Nothing Easier” or “Adventures of Ten D major scale is fingered 2143213 2. many of whom knew him intimately, will feel his loss He practiced faithfully on elementary Sonatinas and slipped away;ran
An Interview With the Eminent American Author and Publicist OWEN WISTER
Biographical thusiastic praise?t Hutwn ^laUon of [Mi-. Owen Wlsterwasb^ ?he incidents of Ms‘mSfcal activity makes one of the most Phe Pentecost of Calamity ;” 31-ned societies ; that he has Ipniex1msfcar\difeur®vei presto fare'hfTtril °this in his nention whateve: ile, but n " L"JB_ and ambition up to t he commenced his legal studies were tion to eager music workers.] uno-ntrefl in literary work since 1»»1 • tuar ne is an tan,"a composer ; that he v seer gof Harvard University; that he is author of a long highest honors in that course with a Sonata, a comic commonplaces, and which I was rather prone to use in opera in three acts, and some fugues. During college, i uw-f THEN WE speak of the musical advance m the exercises I wrote for him. -The musical receptivity \ \ / our country, we must not forget that there wrote three comic operas with Thomas Whaton. I of the public the world over has advanced enormously have written eight altogether, none ever offered to a Vv were over fifty years ago, in America, during the past fifty years. Sometimes I feel that this ’ * certain roots of musical culture which, manager, three privately performed. In my senior year advance is more notable than the progress of the art I wrote the text and some of the music for our Hasty however attenuated, were nevertheless active forerun¬ itself. Music, in order to develop, must depend upon Pudding Show, ‘Dido and Tineas,’ the first Hasty Pud¬ ners of the present notable and widespread interest and the ear and upon the trained intelligence of listeners. enterprise in the music art of to-day: Numerous Amer¬ ding opera which had an orchestra. It was played in Paine, who died in 1906, went through a period of strict Boston, New York and Philadelphia. Some manager ican families had representative members well versed m classicalism followed by an indulgence in romanticism. made us an offer to go on ’The New England Circut, music; and it was my privilege to have been born in a He would probably, nevertheless, enjoy as little as most but we had our degrees to get. I also had two or three family where music was hereditary, as it also was in of us some of the orgies of cacophony which are brayed things published at that time, one of which I remember my wife’s family. , , , , by orchestras continually in this day. His music for was a dance of the semi-popular sort. I was very proud “My mother and I used to play four-handed arrange¬ the Sophocles trophy, CEdipus Tyrantnts, was his high¬ ments upon the pianoforte—Haydn, Mozart, Beethoven, to have this become one of the favorites at the dancing Minor Scales est achievement and deserves to be revived more fre¬ Radiating Exercise—Section A Schubert; she formed my taste. > quently .He wrote the words and text bf a Grand Opera, class. ^pHE HARMONIC FORM of the F, C. G. D and A “At twenty-two came one of the great events of my This exercise is designed to fix the fingering in the symphony." “Once when in late years I was playing Mendelssohn s ‘Azara,’ which was published in 1901. 1 minor scales, left hand, all begin with the second early life. I went to Europe and it was- my wonderful mind by advancing the fingering step by step. This is an interesting and beneficial thing > , do. In charming overture, ‘Die Schoene Melusine’ (Opus 32), “It should be remembered that when I was at Harvard, finger and are fingered in each case: fortune to come to know Franz Liszt. Imagine my Play each exercise separately eight times, or until the the mere act of using one’s eyes as well ns <• concen¬ with my eldest daughter, I was able’ to tell her that from music in this relation to University life was still regarded 2 1 3 2 1 4 3 2. excitement and my trepidation when I learned that the fingering of each exercise becomes as second nature, or tration is increased and deepened. those same pages I had played the same overture with by many as something of an experiment and by others The only scale changed in the right hand is' C minor, great master had consented to have me play for him which is fingered : until it is not necessary to have to think about the de¬ I follow this advice when listening to a in w, or un¬ her great-grandmother Fanny Kemble, who was .the as an intrusion upon the conservative academic plan of daughter of a well-known musician named Decamp, one of my own compositions and that the audition was 2 3 4 1 2 3 1 2. tails of fingering. In other words, the little exercises familiar composition; for it is the best way ijble to study. Professor Paine, and Professor Hugh A. Clarke, with her grandmother, Mrs. Owen Jones Wister, her to occur in Wagner’s home, ‘Wahnfried.’ To see Liszt This fingering is generally supposed to have been dis¬ become automatic. Proceed in the same manner with all become conversant with obscure parts, ii also a at the University of Pennsylvania, were the first Uni¬ mother, and my own great-grandmother, Mrs. Charles once was to remember him always. I was lucky enough covered or “invented” by Moszkowski; but Alberto Jonas, the scales. very valuable aid to car training. versity professors of music in America; and both were to see him several times. I played for him, at Wahn¬ in his celebrated Master School of Modern Piano Play¬ . To come right down to actual teaching, however, this . Kemble. My great aunt, Adelaide Kemble, was a singer appointed as recently as 187,5. In the English Univer¬ ing and Virtuosity gives the credit to a Frenchman named is a good principle to apply to both tin- , . , and of note, and her favorite role was Norma. sities the post of Professor of Music has existed for fried, an operatic duo, ‘Merlin and Vivien.’ He was most Charles Eschmann-Dumur. A Suggestion ioj Orchestra Goers instruction hour. “My earliest musical recollections are those of hear¬ hundreds of years. Among Harvard students, Arthur encouraging and said in French that I had ‘tin talent Undoubtedly this fingering has great advantages. Try Expressing it simply, one might use the well-worn ing my mother play Beethoven Sonatas and some of Foote, Converse, Carpenter and Hill are well-known prononce pour la inusique.’ it and see. For instance, in the standard fingering of By Leonora Sill Ashton phrase, “Take one thing at a time.” the works of Chopin. My lullabies were played upon musicians to-day. Foote preceded, the others followed “He advised me«do continue my studies, and I then the D major scale, the fourth finger of the left hand the piano rather than sung; although my mother did me. Frederick Russel Burton was in my class. Burton went for one year to Paris where I studied with Ernest .1 little-oard ‘° cx,,lain ,hi* to i. ur pupils sing Schubert and Franz, as well as cradle songs. The Giraud. At that time my sole thought was that of mak¬ goes on E, with the thumb crossing under to D. In the In that very discerning volume, “The Lore of Proser¬ at first but they will soon learn your mean which received his entire musical education at Harvard. He piano fascinated me. It. seemed a very wonderful thing ing music my profession. Circumstances called me back new way descending (from F sharp to E), the player pine, ’ Maurice Hewlett says : would be something like this: later became conductor of a notable Choral Society m has a much easier crossing (from a black key to a “In each repetition of an etude or piece, lead of to be able to make one’s fingers fly over the keys and Yonkers and also a music critic for the New York Sun. to America, and I returned to Harvard where I entered white key), as it is less difficult to put the thumb under If during an orchestral symphony you look steadily produce beautiful music. My mother’s playing has been the Law School. Upon graduation I was admitted to enough at one musician or another, you can always hear aiming m a haphazard manner at the whoh t to con¬ He published an excellent work on the Songs of the to a white key when the long fingers are centrate upon one separate part, with a view making unforgetable. Why is it that the music one’s mother Ojibway Indians and in 1898 produced a dramatic can¬ the Bar in Philadelphia. My practice was short-lived, over the black ones. The short thumb that part perfect.” plays seems so different, so distinctive from that of all tata, ‘Hiawatha,’ employing real Indian themes. because I soon found myself writing stories. The public naturally falls on a white key. Experiment others? The mother influence in art is always a vivid and the publishers demanded more and more of my Of course, there must l>c a g.! general “Upon graduation in music from Harvard, I took . with this and observe the results. one, and many an artist of the past has merely translated writings, and since that time music has been dea of the whole at the outset The teacher’s first impulse is to ask, “If into his own career the ambitions and impulses compelled to step to the background. Neverthe¬ This is obtained by reading over the music this is the better way, then why teach the of his mother. less, I have never lost my great love for the art arefully, away from the piano In this old way at all ; why not teach the new “Fortunately at about the age of seven or and myself continually writing music. Indeed I irocess many details of time, rln thm and way from the beginning?” A matter like eight I was started in the study of Solfeggios have just completed another comic opera. ‘The this will have to be decided by each teacher xprcss.on are seen and noted, which might under a Mr. Bishop, of Philadelphia. It is Honey Moonshiners,’ which will be given by the for himself; but the writer has found it « overlooked in the interest of the music hard to imagine a better foundation of ultimate Tavern Club in Boston this year. (self when played. rather useful to have pupils learn and prac¬ musicianship. Before one can get very far in “It is a great gratification for me to see the tice the old fingering for the first five or In actual practice, try to concentrate music one must learn the keys, the intervals and vastly different attitude of the public towards seven years and then learn the new. This 'Pon one portion of the music a. a time. the chords. These are the vocabulary of the music in this day. At Harvard, for instance, has several advantages, a few of which A practice record of this sort would read art. I have a strong feeling that one can learn there is a totally different sense of appreciation are here enumerated: omewhat as follows: them better by singing them than in any other of the art. This is in a large measure due to the First, in practice we frequently finger Watch especially— way. Singing seems to fix the relation of the very liberal attitude of President Emeritus Dr. things in a difficult way so that when we try 1st time—Melody, notes in the mind as nothing else does. Charles W. Eliot. In Paine's day. whenever the less difficult, the latter will seem quite 2nd time—Phrasing, “At the age of ten. I was taken to Hofwyl, Harvard was poor the corporation said, abolish easy by comparison. For instance, a pupil 3rd time—Pedal, a school near Berne in Switzerland. There I the Music Department. To this advice Mr. Eliot who can finger the scales in the more diffi¬ 4th time—Expression. was given my first lessons in pianoforte play¬ never listened. To-day the Music Department cult way will have little or no trouble in great lessons for scholars ing. These continued in other places for some stands Dean, Premier and Consulting Engineer the easier crossing of the new manner. nVncuof ‘hc self-seeking musicians to learn is that three years. Coming back to America I went for all others. It has drawn students from all Secondly, if the pupil cannot play the for five years to St. Paul’s School at Concord, over the country. The methods of Professor scales with the standard fingering, all the rork SPe"dlng to° mucl' time on useless New Hampshire, where the organist and choir Walter R. Spalding have been widely adopted, sonatines, pieces and usual works that he director was James C. ICnox, writer of much even in France at the University of Toulouse. uses in his earlier grades would have to iZ*10 !?rmCr’ tI,e housekeeper, the business , all have had their work enlightened excellent church music and composer of the Music in university work is of course largely be re-fingered for him. This would take well-known anthem, O Pray for the Peace of a great deal of the lesson time and is w enlarged and benefitted by “labor¬ theoretical; but I cannot see why there should ing devices.” Jerusalem, His musical taste was like my be any legitimate objections to the study of prac¬ hardly advisable, is it? mother’s—perfect. It was from them I heard The actual processes of the hands at the tical musical work in the modern university. A splendid book that is widely used by the first strains of Wagner, when Wagner was «n° will always remain the same. It is The world cries for trained men. The univer¬ progressive teachers, and one of the stand¬ almost unknown here. ard works on the subject is “Mastering the ' one of 11 s to quicken and enliven sities are supposed to furnish them. The modern “At eighteen I went to Harvard where I be¬ university without fine equipments for practical Scales and Arpeggios,” by Mr. James a Processes which go with our came the pupil of the well-known American Francis Cooke. study of chemistry, engineering or medicine composer and educator, John Knowles Paine. le n hJCh ai"e going to free us from would feci itself woefully behind the times. The following exercise called “Radiat¬ 'e ong-caUed “drudgery” of piano work. Paine was an admirable musician who was Why should not the musician have every possible ing Exercise,? has been found very bene¬ ait n. !h'"kmg and 'ital concentration sometimes given the name of being more eru¬ ficial. particularly for pupils who have facility for practical study of the instruments e e ' S Cnd: and >'°u will find that dite than practical. This, however, was not as well as for theoretical study? The chemist difficulty in remembering the note on which ■h-nr„ !i fevered in faithfully, will the case; he was a splendid performer upon the the fourth finger goes. has his laboratory, the athlete his gymnasium, hance the beauty of music as a whole. organ and produced many works for chorus These have been given the name of “Ra¬ the doctor his hospital. listen” SIVe yourself up to the enjoyment and orchestra. He gave many organ concerts diating Exercises,” because radiating from “Of course some universities, such as Harvard, listening or performance. in Germany and in the United States. He went a given center note they ultimately touch .are so located that there are fine adjacent con¬ to Harvard as a teacher of Music in 1862, and the limits of the two-octave scale. By servatories where piano and other instruments became Professor of Music in 1875. He, like means of this exercise, we go from the e i<; Scrdead’c t*le SWcet musician, are taught and there is really no need for creat¬ scores of teachers of theory in that bygone era, known to the unknown, step by step, until e L T us for ever, ing a ‘musical laboratory’ on the campus to refused to recognize as legitimate, many har¬ the fingering becomes second nature. o the M°Ved 3 Iitt,e "carer OWEN WISTER teach these instruments. m, builiins is nous demolished) ’ LVANlA monies which to-day seem like Sunday School JANUARY 1926 Page 15
THE ETUDE Page U JANUARY 1926 A Practice Hour for the “Rusty” * 4 T N THE field of composition America unquestionably ‘Messiah,’ for instance, is given in the little college town A Character Study of Theodore Presser the Man s“ffered from the Puritan pall which shrouded so of Lindsborg, Kansas, in remarkable fashion, by a large Housewife much of our early creative work. In music the effect was chorus and orchestra. The St. Olaf Chorus of a sm By WILLIAM ROBERTS TILFORD terrible. I he English have never been a profound musi- college town of Minnesota tours the East, singing e By Mabel Blair Macy cal race; and even at that time, some fifty years after masterpieces of the early church composers in a fashion Biography of Theodore Presser as it appears in Who’s Who for 1925 the landing at Plymouth Rock, when England was revel- that wins the enthusiastic applause of great critics. I e How many a busy mother and housewife has sud¬ Foundation; founder Music Teachers Nat. Assn - mg in the beautiful music of Purcell, our blue-nosed girl in the country town, with a little library of Bach, denly realized that she no longer can play the Beethoven Northern U., Ada, 0., 1869-71 Smith Coll and 1876; a founder and hon. pros Plnla. Music ■ ™gr‘m and Quaker forefathers were finding in music Beethoven, Haydn and Mozart, can get just as much joy “Apassionata.” No longer can she play the Hungarian Theodore Presser, music pub.; b. Pittsburgh, • f the double-distilled quintessence of fire and brimstone. Conservatory, Xenia, 0., 1872-5 OhwW eskyan Teachers’ Assn. Author: Scliool for Planofor^e from playing these works as if she lived in a great Rhapsodies as she once did, when fingers were accus¬ Pa., July 3, 1848; s. Christian and Caroline I ** ls difficult to estimate the damage done to music by U 1876-8; prof, music, Hollins (Va.) Loll., metropolis. Thus music grows daily more an American tomed to hours of practice and, perchance, little dish¬ (Diets) P-; student Mt. Union (0.) Coll; ,r the Puritan commonwealth. The genius of Purcell was 1880-3; founded “The Etude,” monthly music possession, instead of being, as it used to be, an American studied music, N. E. Conservatory of t Music one in which the British people have reason to glory, washing! jour., at Lynchburg, Va., 1883, removed to Plnla importation.” Take heart, Weary One! Don t be a has been! ’ Don’t (Boston, Mass.), 1873-4, Lcipsig Conservatory, f Unfortunately, they were in poor position to promote 1884 and continued as editor The Etude until ^Theodore ^Presser died Ocfo&^ 25 I925 o/ admit that you haven’t been able to keep up your prac¬ 1878-80; m. Helen Louise Curran, of Plnla., Pa., it; and when the overwhelming genius of Handel arrived, 1891 ■ head of Theodore Presser Co., music pubs. Tributes to Theodore Presser tice. Rather, say that you certainly have continued your 1890 (died 1905); m. 2d, Elise Houston, of heart failure, after an operation at the Samaritan the native composer was neglected—a misfortune for Erected and endowed, 1914, the Presser Home for which Britons even today are trying to atone. (Continued) music—and not only say it, do it. Phila 1908. Entered retail music business Hospital, Philadelphia. Take an hour early in the morning, and practice. Con¬ Retired Music Teachers; founded, 1916, Presser In America the situation, in so far as composition ERNEST R. KROEGER Pittsburgh, Pa., 1864; teacher of piano, Ohio is concerned, is most hopeful at this time. We have our centrate on that one hour. You have no idea how much sohn, Reinecke, and others, gave him an excellent back- Noted Composer fectation and complexity of any kind. A bombastic men of Anglo-Saxon heritage such as John Alden Car¬ can be accomplished, nor what a wonderfully free feel- URING THE course of several years it was eround of the art. His knowledge was fundamental and Theodore Presser was a man of sterling integrity, D person amused him greatly. Few men have ever re¬ practical. This inclined him toward educational music; penter, Foote, Hadley, Converse, all musicians with most ing will... result. Once. lore you are developing your with high ideals, and he was in a position to carry out my very great privilege to know Theodore excellent technical training. We have had the Celtic own individuality. And it is— —surprisingr-. how much more tained so little of their worldly goods during their life¬ and his grasp of the requirements of a good educa¬ his plans. It is a fine thing for a man to see in his Presser and to observe him in his daily life MacDoweH Now we may expect a great admixture ‘ ' ‘ ' seems t time and given away so much. He had a fine home m tional piece was uncanny. As a composer his works lifetime the maturing of such plans as Mr. PresserFresser had.had f si!y the day's work can be finished, it seems to go “in action.” Only those thus situated could ot blood of many different nations; and already in the Germantown adjoining the far more expensive building were not representative of strikingly original creative It must have given him great gratification. The musicamusical faster- If “ d(*f wbat mat,cur? Much bct' ■' to have understand just what the words, “in action,” meant in works of younger composers, such as Sowerby and he erected for retired music teachers. For a man ot his powers; and he realized this. As an editor he was most world loses much by his death. I feel a sense of per-per¬ that hour of freedom in the morning, and to do reference to this most remarkable man in his many means he lived very simply and without ostentation. In riansen, this new note is to be heard. Have no fears the dusting in the afternoon. careful and painstaking. His great fondness was for sonal loss, because of our close friendship extending faceted life. So numerous have been the biographies his business house he lunched daily with his employees, about the music of the America of to-morrow. The Now for the practice itself! Hunt up the old studies that have been printed during the last few months that the works of Bach and Schumann. whole world will listen to it. over many years. making little distinction between them as to their posi¬ —Czerny, Hanon, Cramer—any of them. Start out with it is not worth while in this article to recount chrono¬ He was known to have been a most excellent and ex¬ tion in the business. He disliked display and it dis¬ "Our equipment in music will excel that of the world. WALTER T. FISCHER finger exercises, and go slow. Think of each fingi r; don’t logical facts. The biographies, however, give a very acting teacher of pianoforte; but his own playing m I refer to the schools cropping up in many parts of the tressed him to stand in the lime-light. Many Univer¬ Music Publisher let it bend in; strike on the tip; play very legato; make scant and imperfect glimpse of his real greatness. It is later years was often inaccurate. Strangely enough he country, with endowments which would have seemed sities proffered degrees to him; but these were always Mr. Presser was one of the most respected figures each tone sing. Listen! Do special exercises tor that only by regarding psychologically and analytically the had an aversion to certain instruments, which was due enormous if they had come from an imperial hand refused, because he insisted that he was not really en- to a peculiar sense of hearing. Any sound that in our national musical life and, through many years weak fourth finger. Do stretching exercise Watch outstanding traits of his character that we may discern instead of that of American manufacturers, merchants was very strident or very high seemed to pam of earnest endeavor succeeded in winning not only un¬ your thumb; see that it passes under the ether fingers those factors which entered into the greatness and publishers. Our orchestras command world atten¬ him For this reason he had a great antipathy usual material success, but also a guerdon of widespread easily and smoothly. If your wrists or fing are fa¬ • of his soul and the success of his achievements. tion. Charles Martin Loeffler, of Boston, told me that to certain string quartets and always avoided admiration even from those who did not always share tigued, or stiffen, take your hands from the keyboard he considered the Philadelphia Orchestra the finest in his point of view. Capacity for Work a string quartet performance when he could and shake them limply from the wrist. Relax ' existence. I certainly have heard nothing to equal it He was one of the last of the “grand old men” of LIKE most men of large accomplishments If you have worked slowly and carefully your hour possibly do so. I have heard the great orchestras of Europe, and there the music industry and his passing brings to each of us he possessed an uncanny capacity for work. has probably been consumed in this. Just to it your are many magnificent ones. I remember a particularly a deep sense .of irreparable personal loss. During the forty-three years he was engaged Human Qualities practice has been to some purpose try tlie first or second beautiful performance of the G Minor Symphony of in music publishing, no man in his business heodore presser was one of the GUSTAVE SAENGER of the Chopin Etudes or whatever has been your former T Mozart, by the excellent orchestra of Barcelona con¬ equalled him in this respect. Coming from most clean-minded men I have ever known. ducted by the brother of Pablo Casals. Editor of The Musical Observer technical tool. Does it not go a little easier than the strong stock and blessed with a vigorous frame, last time you tried it? In long years of association I never heard him “The nations of Europe have long recognized the value In summing up the careers of those who have gained which in later years actually became bent with relate an objectionable story. - Although he of music to the State. To me this value seems enor¬ The second morning you will probably do finger exer¬ unusual prominence in either a business or professional labor, he had the additional asset of a youth could be vigorous and emphatic, he had no use mous, because music adds greatly to the Joy of Life It cises for only about twenty minutes. Conn . ate on vocation, we must be guided by the personal character of spent partly in very hard manual work. In for profane or coarse language. On the other gives all an additional reward for existence. Its appeal the individual, his aims, and methods of arriving at those twenty minutes, however. Then pass -tales! fact, he made cannon balls during the “War of hand, he was far from being a sacrosanct prude. is so broad and its effects are so exhilarating that its JusMo renew your memory of the different ,1s. try whatever goal he has set for himself. the States,” though the work in a foundry Adhering to a strict moral code himself, he importance is immense. In religion it is indispensable, the cycle’ first. Do C scale up and back four octaves, The outstanding qualifications which helped to dis¬ proved too much for his very youthful ambi¬ was at the same time very tolerant and “long if only because it appeals so definitely to the emotions. tinguish the late Mr. Presser, and which made of him ending up with tions. Later, as a music clerk, then as a music A religion without emotion is worthless. suffering” in his aspect of the frailties of others. a personalityAnaniy whichwmen naahad becomeDecome an established factor ' Ex. 1 student, as a music teacher in colleges, as an In the cases of unfortunate girls whose hearts hisns particular snherpsphere nfof activity,urtiViHr are to be* sought in’the organizer of notable musical associations, and Why the Pianoforte is the Most Important Instrument had gone up the wrong lane, the little Magde- indomitable energy he displayed at all times, his cease¬ finally in the publishing business, he left a trail lens of life, he was most considerate, often ex¬ of records for hard and unremitting work, “MU,SIC’.as an art’ may Be best approached through less attention to large or small business matters, and his tending financial help. In one case he wrote a generosity in having provided for at least a part of the which is extraordinary in every way. For the pianoforte; that is, unless one is preparing That brings you to A. for your n pathetically naive letter to parents, assuring them >r scales, Harmonic years, after a severe day’s labor at his business, to make a specialty of some other instrument, it is perhaps needy musical profession through the Presser Founda- and Melodic. Finish them with he was certain that the world’s judgment of he would take home great bundles of work a mistake to inaugurate a musical education with another tion, which will remain a perpetual monument to his their erring daughter was untrue and unjust. kindly and charitable human traits. Ex.2 and spend his evenings investigating manu¬ instrument. There is nothing in the literature that can- While unostentatious, he was extremely so¬ not be explored through the piano. It is for this reason scripts, signing checks, auditing bills, and so on. BOSTON MUSIC PUBLISHERS cial and dreaded to be without congenial com¬ that I feel very strongly that everyone who desires to In addition to this he wrote at home instruction ASSOCIATION pany and companions. A conventional, old- books, and edited works which have been used study music, whether the design is professional or November 7th, 1925 , fashioned picnic to the woods gave him far by hundreds of thousands of students. His in¬ f^ifitUr’ STuUWat fi-St StHve t0 gain a certain Pianistic more delight than anything that pretended to facility The piano is easily the most practical instru- It was with deep and sincere sorrow that this Asso- of scales^ThpnT SCa'C' ('° on around the cycle struction books were partly original and partly be formal, and a hike with a group of boys ciation learned, on October 28th, 1925, of the oassino- scale un l V
Men and Women from the Four Hundred Persons Actively Intere^ in the Monumental Philanthropic, Educational and Business n e Louis G.Heitbze. Mrs. Mane K. Zimmerman,, Horatio Connell, John, Gpolle, John, W Pommer, takings Founded by the Late Theodore Presser. DeHoIUs Damn, Teacher of Pianoforte, Teacher of Pianoforte Concert Soprano aid Teacher Eminent Concert Singer Director, Philadelphia of Singing , Director, Head of Music Department. ~ Director, Director , • NewVork University: Director, Settlement Music School, Department ofe Qelief Department of-Relief Director, Department or Re¬ Department of Relief Director. Department of Belief for for Deserving Musician^ for Deserving Musicians, Deserving Musicians. lief for Deserving Musicians fin- Deserving Musicians Scholarship Department. Presser* Fou.nda.ti. Presser Pot 11 "* *• Foundatio ^ Presser Ebundatioiv. y Presser Foundati Presser* Fou.tv Herman l.Duhpin$,Jr., Florence J. Heppe. James Francis Cooke, ARaymxmd Bishop, L Stauffer Oliver*, Bruce A. Carey. Mrs. FrederickW Abbott Richard L. Austin, John,F. Braun,, Henry E. Baton, David, Banks, Russell Duane, Director of the Manufacture r1 President and Trustee Assistant Trust Officer of Attorns/ at daw, Director of Midsic , Architect, and Merchant , Chairman of the Board of the Manufacturer, Musician, Secretary - Treasurer Girard College. Philadelphia Music League, Attorney at Eaw, of Presser Foundation. the Philadelphia Trust Co., Director . Federal Reserve Bank., President of the Construction Engineer and Director of Director, Department of Re¬ Director , Director, Director> , Theodore Presser Co. President. Director, Department of Re¬ Department of Relief Presser* Home for* Presser Home for Philadelphia , Philadelphia Art A1 liance for Deserving Musicians lief for Deserving Musicians, Presser Home for Trustee , Theodore Presser Co. lief for Deserving Musicians, ^Retired Music Teachers/ ^Retired* Music Teachers ^ Retired, Music Teachers Trustee, Presser- Foundati — Presser Foundati, N Presser Fbu.*ida.iiori». / Presser Foundation, Presser Foundati Presser Foundation s Presser Foundation.^ vEditor,THE ETUDE. Preston,Wire Orem,, John, H. Ingham, Mis.Grace Welsh Piper, MraPercivalTattersfieH. Dp George Wheeled John, E. Thomas, Charles Z.Tryon.J [John, L. Haney, PhD., George M. Henderson,, Samuel Woodward, Edwin B. Gamgues, Assistant Superintendent Music Critic for Twenty-five Years Preside*, Cen.it?*1 i Livingston E. Jones, Teacher of Singing, Philanthropist , and Member of Advisory Board, Vice -President, Vice-PresicLeat amdlrea,s!Lm* Manufacturer, Trustee, President of Attorney at Law; of Education, City of Executive Secretary , Merchant. School« Philadelphia; United. Security Company, TheodoreXVesserCo., Director, Presser Foundation, Tn-siehri First National Bank., Director, Director , Philadelphia > Directo Director, Theodore PreaserCo.,! Directoi?, Department of Scholarships, "Trustee, Presser Home for Retired Philadelphia; Presser Home for Presser Home for Presser Home for 3ecret2uy*Home fox* \ t Retired Music Teachers ^ Presser Found at ion/ ^ Retired Tvt-u.sic Tea-cktere Presser Foundation Music Teachers, Director, ■Trustee, Retired Music Teachers. Retired Music Teachers , Presses Foundation, \ Theodore Presser Co. „ N Presser Foundation , Ghimued Dr George Leslie Omwak Dr Matthew Rea>sep, Dr Robert P Pell. Henry B. MacCoy. John, Y Blaetz, John, W Drain, Paul Lackenbacher, John, J. A. Kane, PresWent UrsinusCollede President,LtnJenwood Collede; President, Converse College, William. 0. Mill De Robert L Kelly, Manager of Assistant to the President, Circulation Manager Manager of President, Cornell Coflede' Director of vSadea Manager of Publicity and of THE ETUDE Trade Department , Collegeville. Pa , President. Wilson College, 3parta.nbu.rA, S.C ; Mount Vtrnon, Iowa, Comptroller, Secretary of American. aa-ui Member of Retail Department Director. Department Founder. Beechwood School; Director, University of Pernisyt Advertising Departments, Member of Traveling Representative, Director, Association.of Colleges Advisory Board', and Member of of Scholarships, Director, Scholarship Depart¬ Scholarship Department, Director, Member of Advisoiy Board, Advisory Board. Member of Advisory Board Scholarship Department, Director, Theodore Presser Co. Advisory Board,, Presser Foundation, ment, Presser Foundation, L Presser Foundation. Scholarship Departr Theodore Presser Co. ; . Theodore Presser Co. , N Theodore Presser Co. i V Theodore Presser Co. N Presaer Foundati Scholarship Department . Presser Foundation/ TEE ETUDE JANUARY 1926 Page 31 THE etude A MERRY LILT WillimM. Felton, James Rawlinson. IfcaBMeCtllie, Robert McKinley, Head of >C Wm.S.Nortenheiin, Daniel J. Shields, Win, D. Shaur, Frederick W Beck, Emma N. White, Member of the Art Travel im.^ Representative, XXV Club , Manager, 34- Years Service, Theodore Presser Co. Theodore Presser Co. TA.eoci.ore Presser Co. Theodore Presser Co. WiHiamEC Howard, William E Groff, Henry Hessel, Kenneth. D. Walker, Lillian V Mattern, Henry R. Doherty, Manager of Publication Member of the Member op the Member op the Member op the Member of the XXV Club , XXV Club , Printing and Engraving XXV Club , Department, Memberof the XXV Club , XXV Club , 33 'Yea.rs Service, 28> "Years Service, 2-E> Tears Service, 2.8 Tears Service, Theodore Presser Co. XXV Club, SOifears Service, Theodore Preoser Co. . Theodore Preaser Co. Theodore Presser Co. Theodore Presser Co. J. Bernard Overbeck, Joseph L. Liipton., William E. Lamson, Florence E.Rheiner, Harry E Gotthold/ Member op the Member oF the Member'of the Member of the James R. Bowen, XXV Club , XXV Club , XXV Club , . XXV Club , Member of the Member of the 27 T£ars Service , 2.S T&aj?s Service, 'Service, oc-^9^ Club , XXV Club Theodore Presser Co. Theodore Preaser Co. ikeodope Presser Co. -do Tears Service , iheodore Presser Cb Copyright 1925 by Theo. Presser Co. British Copyright secured ■ THE ETUm Page 34 JANUARY 1926 POLONAISE JOYEUSE In the orchestral maimer. To be played brilliantly and with firm accentuation. RICH. KRENTZLIN, Op. JJ3 KECONDO Page 37 THE ETUDE JANUARY 1926- Page 39 Page 38 JANUARY 1926 THE ETUDE QUIPS AND QUIRKS A valuable study in rhythm,but very attractive musically. Note carefully the various time valu ALLENE K. BIXBY M. M. J = 126 __ 5 4 __1^4 ? . ;, ^ t. , Ojk f + f m Zmt * I d&pjlf-, cresc. Fine I MARCH OP THE CLASSES M. L. PRESTON • >■ jsrr g 1 itff 5 Page 41 THE ETUDE JANUARY 1926 the. etude Page 40 JANUAPY 1026 Lyrics. . .by MortM , Eiseman JACK IN THE BOX A jolly little recreation piece, which may be used as a musical recitation by reading the given text, using the Piano part as an accompaniment. Grade 3. WALTER C. SIMON 3 p.-- 31- 1 . - i__ £-^ •T * • miss, And her eight years Seemed so wise 1 A - mid aheap of toys with-out one bit of noise Sat a sweet,quite pe-tite call ^And she heard some ti - nysigh. 2 But while she list-en'd to wordsthat Jack said were true She heard her moth-er dear tf l*- _y_Jl y—Jh O “ ' -- *f —= *4 fj 1 Cu f, , ,r~T—^ g •—— “tf Issskssissa • -' cross the lands of earth They both romped,filled with mirth, Hap-pi-ly* their great glee \ \ seemed, For they both were much con-tent j m- A -J=r- - . - -g i._ •>! j f seek - ing joys that she skipped thru fair - y tales mag- ic - ly, the LI Copyright 1925 by Theo.P<- / British Copyright secured JANUARY 1926 Page 47 the etude Page 42 JANUARY i926 weitvdf MELODIE teiio larger type. They must be well broughtoutand SONG OF THE CELLO CARL A. PREYER The notes of the melody are divided between the thumbs of either band. These are indica e in qE0RG EGGELING, Op. 250 „ _ . • „ To Yip nlaved with warmth and feeling. Grade linked together. Grade 4. An expressive melody, in what may be termed the “baritone register of tne piano. P 1 Andante moltoespress Ml. J = 63 Allegro agitato m.m.J.= ios .._ . \y Copyright 1925 by Theo. Presser Co. British Copyright secured MEMORIES A miniature song without words. Play very smoothly, in sustained style. Grade 3. WALTER ROLFE Andante moderato m.m.J = 72 p melodia assai marcnto e cantabile decresc. rail, e dim. _ 3 2 L2 r S Tk J- i 2 l r i ir v a tempo^- — motto rtt. - 4. 61 jS^-. 1 y rit. p —= =~~ ,»/If /j j f International Copyright secured 1 a z l 3 a Copyright 1925 by Theo. Presser Co. Copyright 1924 by Walter Rolfe Copyright transferred 1925 to Theo. Presser Co. International Copyright secured THE ETUDE Page 48 JANUARY 1926 TTA T QT? A. ARENSKY Arr.by W.P.Mero from SUITE,Op. fldg The love]y waltz themes should be brought Originally for two pianos,this False has been arranged as a solo in response to many out tastefully and with much expression. Grade 4. Copyright 1925 by Theo.Presser Co. THE ETUDE :PageM JAN™Yi™ berobuse-valse One of the most recent compositions of the great European Master. Play in modern style,with strong contrasts. Grade 5 British Copyright secured Page 52 JANUARY 1926 ^ mTTTVTTK ^PUDR Transcribed. by HENRI RENO SLEEPY' HOLLOW TUNE RICHARD KOUNTZ An effective recital arrangement of a very popular song. British Copyright secured THE ETUDE JANUARY 1926 Rage 55 THROUGH DREAMLANDS GOLDEN HOURS Edwin Wright R, S. STOUGHTON Moderato Andante con moto V ■I THE ETUDE JANUARY 1926 Page 5 7 0 LOVE THAT WILT NOT LET ME GO Rev.GEORGE MATHESON LOUIS SHENK JANUARY 1926 Page THE etude Fascinating Tasks for Tiny Tots By Rena I. Carver Children like these ways of learning At each lesson explain a new note and note and rest'values and thus never find rest value. Let them keep the work which time notation confusing. .... they finish each lesson. % v two large sheets of cardboard in Prepare the Great Staff with enlarged pach of these colors—red, blue, green yel¬ spaces on white cardboard and divide it low pink and purple; also three large sheets into long measures of equal length. Cut nf black cardboard and one of white. at each bar line and place the Base and Lav aside the black and white sheets Treble Clefs on each measure card. Place IVERS & POND nj cut the Others into circles eight inches the time signatures, as 4-4, 3-4, on sepa- in diameter. Draw a line through each of the blue circles dividing it into two Using 4-4 time let each child select a equal parts. Divide the green circles by whole note and paste it on Small C and PIANOS lines into four equal parts; the yellow One-line C of the Great Staff. Continue circles into eight; the pink circles into this work until each child has a measure sixteen; and the purple circles into thirty- of .every note and rest value in every time signature, including the dotted notes two equal parts. . Draw the outlines of whole and half and rests. (It is understood that the notes on the white sheet and cut out. On children are being trained to distinguish one of the black sheets draw and cut out by ear the different kinds of time and quarter, eighth, sixteenth and thirty-sec¬ rhythm.) ond notes. From the other black sheet In connection with this call at random cut all the rests. These cardboard notes for different note and rest values, which and rests may be secured from some sup¬ they may pick up from the loose pile. With these separate notes, rests and time ply houses. See that the children are provided with signatures they love to construct meas¬ paste and scissors. Taking a red circle, ures on Great Staff cards. tell them that this whole circle may repre¬ By this time they are usually familiar r^4-ki-1-kr-t--, , -1- sent (or stand for) a whole note or a with their notes and a charming variation g- p i d.-- j'ij. Jk n ivi) >j* i j iy-.. whole rest in music. Let each choose a may be instituted. \- -*-1-*- whole note and paste it in the center of a Let each child think of a little melody be, Th that he has learned to play and permit at morn shall tear-less be ). 0 Cross that lift-est up my hlead, I dare not assk to 1fly from red circle. Do the same with a whole rest. Then explain that the blue circle has a him to construct it with these movable / jbgjjrg line dividing it into two equal parts, each notes. They may have wide-spaced music part being called one-half. Have each paper on which to paste some of these „v,;i,i oWt tv, n lialf-tintes. oaste one in melodies. This work trains their powers of observation and attention, besides being an aid to memorizing. _ Oh SL How One Teacher Treats the Missed-Lesson Problem r-- By Marie M. Lyon at the appointed time, please notify me before Five Foot Colonial I am giving below a copy of the notice the lesson period so that the time will not be which I send on a card five by three inches held open for you. Failing to comply witn thi“ request the pupil is subject to dismissal. Daintiest of all our Grands. Smaller Grands are built, Tardiness is.s not excused. Thee,- I lay in dust life’s glo - ry dead, And from the ground there blos-soms red, Life It has produced fine results with my --_...e ■ ->--* asked v-to >,-keepa careful report but at a sacrifice of tone, touch and line incompatible of pupil's practice _P_sign report be- clientele and is passed along with the hope HP ...... _ Reports on pupil’s work with Ivers & Pond standards. Large Grands require that it may do the same for others. will be made at each lesson. According to my custom each parent re¬ Pupils who |__fail __ >w interest in the money and space your needs may not call for. Send for ceives a written statement of my only rule. reasonable period of time v' All lessons missed must be made up. Ab¬ i their parents for special e our catalog describing this and other Grands, Uprights sence (due to sickness of more than two weeks) is excepted. and Players. If for any reason a lesson cannot he taken Musical Smiles Ivers & Pond Stopped the Chin Music Muchly Musical Nodd—“How is the music in the Bing- Tim—“A pretty girl is like a melody.” bang Restaurant?” Jim—“Yes, I saw one the other night PIANOS Todd—“Splendid! I was in there with that looked pretty sharp, and she knocked my wife for an hour the other evening and me flat, so I sent her a note.” are used in over 500 Educational Institutions and 75,000 couldn’t hear a word she said!” Tim—“What did she write?” Jim—“Oh, she told me not to play homes. Built today, as from the first, in but one quality— around.”—California Pelican. Hopeless the best—with continuity of proprietorship and of artistic “Copy of ‘Pansy Faces,’ please, miss.” No Good ideals, they represent the farthest advance in fine piano Assistant—“In what key?” “Madame, the children won’t go to building. For catalogue and valuable information to Youth—“Key? She didn’t say nothin’ sleep 1” . . _ ... . intending buyers, write us today. about keys.” “Tell them to come here and I will sing Assistant—“Do you know if the lady is to them!” How to Buy a soprano or a contralto?” "I’ve already threatened them with that, Youth—“She ain’t neither of them— but it doesn’t help.” Where no dealer sells IVERS & POND pianos we quote she’s the dishwasher at the cafe!” lowest prices and ship from the factory tho’ your home be in Optimist—“Harmony exists everywhere the most remote village in the United States. Attractive, The Only Drawback for him who would find it.” easy payment plans. Liberal allowance for old pianos in “Only one thing kept my daughter out Pessimist—'“Sorry to disagree with you, exchange. of opera,” said the proud father. but how about the Clasher family? They ■ “Yes, I know,” said the weary one. are eternally scrapping.” “I’ve heard her sing.” Optimist—“Well! That’s modern har¬ mony, isn’t it?” Ivers & Pond Piano Co. Equipped “Is your son going away to college?” Mr. Newrich wished to give a concert in 141 Boylston Street, Boston, Mass. “He hasn’t said, but he’s bought a sec¬ his splendid salon, and so consulted a musi¬ ond-hand ukulele.” cian about the necessary arrangements. “You will need two first and two second Should Be a Leader Too violins,” said the musician. To which Mr. Newrich sniffed offend- Subhead—“Sousa sues cigar manufac¬ turer for giving his name to a 3-center.” edly, “No second violins for me, sir! I am rich enough to have only the first.”—Lon¬ The Sousa cigar should have a band, of course. don Musical Mirror. Please mention THE ETUDE when addressing our advertisers. iVf' WL JANUARY 1926 Page 61 TEE etude Page 60 JANUARY 1926 THE ETUDE . „„„rd acquires carrying power, grows “I use ze best methods,” Madame drew “Why, it is almost as hard for her to get HERE is much to be said in favor n° volume and strength, then the pupil is herself up with offended dignity; her T up there to-day as it is for me!” She does A piano that’s amazingly of summer work at a conservatory progressing in a satisfactory manner. How- words cracked like a whip. “Ze bestl” that every day—you may bank on it, her bearing a high musical reputation. I J if the larynx shows strain, if one be¬ Languor was gone from her demeanor. work is harder. Each day she fights a Its credentials are honored over the States; lles hoarse after lessons, if the tone is “Ze sound-box is your spine,” she enun¬ new battle; each day she fights to sustain its certificate is proof that the singer has auavery °and far back in the throat, the ciated carefully, “resonate your voice there, dainty and small her pinnacle of art. The vocal battle is studied, not only his or her individual sub¬ The Singer’s Etude 4 '1 is singing erroneously and needs not in the face—only dumb teachers say not something to be taken up and laid ject, but also harmony, theory and piano. the voice is resonated there. That is non¬ down at the whim of the will; it is a correcting ^ And the teacher needs more One lives for the time in a musical atmos¬ It is the Ambition of THE ETUDE to Make This Voice Department sense—be an idiot, I say—relax—you do strenuous, day to day grind, a never phere; credit is for home study; and if not need brains to sing.” “A Vocalist’s Magazine Complete in Itself” relaxing watch upon one’s habits, diet, kn“Maddame” bore her title by selection. one passes a good test it increases self- Her musical and physical antecedents were thought and will. Spinal Singing confidence. There are opportunities to hear clothed in impenetrable mystery. good artists almost free of charge. Edited for January by MAUDE BARRAGAN “Zing ze phrase again,” she directed her The boy relaxed and lost all control of Then, too, conservatorial training is The Singer Must Have a oupil “Now—draw ze tone up from ze his vocal organ. His lesson was a failure. cheaper than gipsy-study with first one Definite Aim feet Young man, you are to make your¬ Madame’s method produced a hollow, teacher and then another; the reputation self a mental idiot—nobody needs brains empty, chesty tone, with no insides. After of one’s teachers is learned from con¬ ARTISTS have' definite aims; one is t0 sing_ze voice comes from ze feet nawt a few years it shattered into particles like stantly revised catalogs. seldom an artist without knowing bits of glass. Madame was a better actress If a conservatorial course is elected, Artists mature with a consum- from ze face.” . Can the Voice be Self-Taught? Her die-away words were accompanied than teacher. Her pupils stood with closed there feature, often overlooked, x. .. , , , ,...... , ... . ,, ing ambition which they gratify because by a twisting and contortioning of a lithe eyes, drowsily stumbling behind the ac¬ that proves of incalculable value to the attempt ac4“al rueadl"g untl1 fevery aryj but W* speak wlthout the is their nature to achieve first place; but rule for pronunciation has been mastered, rolling of the r • - • - ’ body; her eyes opened and closed mystical¬ companiment-panting for breath, protest¬ singer who does choir work, and that is ,, ", , “ : xt6 • u . ,, , average singers derive from music a qual- ly Her pupil, an Italian boy of great in¬ ing that they could not sing unless “re¬ directing. Wben 4h!s boo^:“ co.mple4ed- follow .t Nc.writer wishes to disparage the value ^ 0fsatis|action that is more than ffoodood with a phrase book giving conversations of phonograph records; but it is well laxed.” They relaxed, incidentally, all hold Those who have studied harmony and drink, it is a completing spiritual experi¬ telligence, looked vastly perplexed. and' vocabulary and picturesque pronunci- warn 'aspirants that it is possible to Ital- “But what sort of acoustics is it you use, upon musical careers. theory are equipped to study directing. It ence. Realizing that they may never be¬ The other teachers said of “Madame” steadies rhythm;‘it gives practical experi- *tions, A'°ng with this take, a. g°°d ^nize one’s French by listening to a Madame?” he asked with innocence. “I come artists in the professional sense of that she might know, indeed, where voices — :n ensemble; it makes sight reading re‘,ic,h gra“ co”r? ‘TS T T'’ a’r }y an Ita',an Ph°n°' the word, they work with music not for cannot sing without my brains 1” he added ;f „•_„ __local high school and study rules and reg- graph records are meant to be illustrative, came from but she didn’t tell her pupils easier; it places the singer in a position ’ "‘B“ money compensation—of which they re¬ indignantly. “If I do not think what. I ulations. This self-taught course takes not instructive. where voices should go. to add ten or fifteen dollars a month to tUatlons- little—but because they have a talent, am doing I cannot put the tone out.” the income. Churches and Sunday schools two years concentration; but, if in the Piano knowledge acquired by persistent ...... , are always looking for leaders. It is a meantime the earnest pupil has listened work becomes a liberating power to the a"c;„!l.?„arSf„ tQ smg l?ryltbln thcir to the very excellent French sung by native voice student. It is necessary to have Singing is as spontaneous as prayer; field of certain remuneration and added and songs are mostly prayers. Those who The Singer’s Musicianship prestige. American artists on phonograph records, knowledge of harmonies; and, if one c; Then you may present it to your accom¬ and has applied himself diligently to ac- read at sight the close harmonizations have savored grief know that without LL SINGERS should have an ac¬ A panist-coach. The accompanist must be A French Maxim quiring the easy, tripping roll of the modern church music, one has gained the desire to sing there can be no song. companist-coach. An old French lady used to say, “Self- French “r” and the proper understanding living fire in one’s work, a soul alight JMusicvlu: expresses love; and if love, either A musically equipped companion alert to catch shadings off the key, to snap taught is poor taught.” Self-taught is of the rules, the resultant power is full of with understanding, fingers alert with for Creator or fellow mortals, goes is a necessary feature to every ambitious time into rhythm, to criticize your diction better than total ignorance. thrills. One may translate with a diction- skill, and a voice attuned to life. out of the heart, the gift of song departs. student. An accompanist who combines, in and pronunciation of foreign languages, Ambitious singers do not need to be addition to thorough musical knowledge, to nod to you when to come in on the beat. The Science of Singing told that they can not approach real art¬ a working knowledge of French and Ital¬ Bad spots appear in every voice, certain ists for musical instruction without a back¬ Because the science and study of voice ian, or either, is invaluable to the earnest The Vocal Battle vowels that are flat, some that are sharp. ground; and the background must be col¬ is such a serious thing, and its conse¬ student whose language work needs super- Watch these points. ored with pigments of knowledge. Artist quences so far-reaching in physical re- "' HE ramifications of musical knowl- the actual, symphony orchestra i When you are singing against the ac¬ teachers ask pertinent and occasionally im¬ beyond suitSj SpjritUal growth and mental < In vocalizing it is necessary to watch companiment, allow yourself no liberties, Just what is needed for homes, apartments pertinent questions and soon find out the one’s tone. If the tonal attack is not cor¬ T musical _ ___I smuts ^«‘=d * which are only an excuse for mental slug¬ exact extent of the pupil’s studies. rect the tone should be stopped. It is or bungalows, where space is a problem a background is incomplete', mponderable, symphony unfolds itself to 1 enlightened gishness, but there are certain points in Singers and Tteachers , sometimes, . remark,, . - without substance or setting. The singer brain. well qualified should teach. By “qual¬ not necessary to sing yards of exercises, scale, of course. oratorio and dramatic work where the or¬ NLY 3 feet rack my brains studying without a background of diversified read- Music is largely mental. That which we ified” is meant that state of education and it is unwise to do so with improperly O chestration is silent and the singer may harmony? Singers do not need it.’ imr is only half a singer. a butterfly of put ;nto our & the way 0f resulting from musical cultivation of one’s placed tones. See that the tone is placed 8 inches tall So at last, the There is i intellect, a scientific understanding of body forward into the cavity back of the teeth; sustain a note. Learn, above all, what you on the key. edge is translated into actual technic, but orocess. can not do. is this remarka¬ problem of pi¬ The public library is an excellent place we never obtain musical prestige from dptprocesses, '1 languages, and music in all its make sure of its resonance; never en¬ business require diversified knowledge. ble Wurlitzer which to obtain a background of diversi- what we know—we derive it from the aetallS' tirely exhaust the breath; leave hearers Consult Teacher ano space in Students have a right to expect that the fi“ed'mdingrftere a Smaller cities have many “teachers" under the impression that the tone could Studio Piano. Ask your teacher to edit oratorio scores bungalo ws, sum' ** o correct their French “in w“ ~ whose only qualification for the profession have been held another beat or two. Diminutive and Italian diction, give them interpretive on orchestrati0n and symphonies, books of The Pri Donna’s Origin is a desire to make money. Some of these for you and to mark traditional changes mer cottages, ™ enough to go al¬ colorings explana ions of famous songs, foik_songs and pagentry, books upon When we read the life of a prima donna ucharlatans V----- are not even tone-conscious, i which are observed by the artists. If a Working Alone conservatories, hints on how to study and what to study. chorus work and books b famous teachers sparkling with triumphs do we reach back hT 4key any respect for acccPtcd stand- trill appears in a measure, say four whole most anywhere r Difficult numbers should be worked upon notes and one half, actually trill the note, nurseries, school Si nter 'venture inteT6 ‘T, f explaining their methods' to her humblest begmni'ng Tnd rea5 how “£ °f V°'Ce pr°d,fion' , — even in the ' shouldl never venture into the ranks of she starved - ^ a Is your voice teacher a real teacher or a by one’s self. The motto of a fine teacher, noting whether the trill goes up or down; rooms, and doz- professionals until they have grasped the Library Scores , , any’. e fraycd charlatan? do not merely shake the voice. Be sure smallest room. frequently quoted to aspiring pupils, is: ens of other cultural ideas they expect in their own Many libraries, under the persuasive in- to obtain her education? gDo we" S'"how -rTbe WOrd cflarlatan means “quack.” “At sight of new music the amateur to end the trill upon the proper beat. Light enough artist teachers. When the embryo teach- fluence 0f some opera study club or music she swapped English with a German srirl Thedefinition of Quackery is "boastful pre- begins to perform, but the musician begins Raif, in his “System of Piano Playing,” to be carried places, has be¬ says that “technic in piano playing is cor¬ Ze Z q"'ckIy student®. cafch UP club, have installed sets of operatic scores for fundamentals of German history folk 4ension; false Pretensions to any art. Im- to think.” by two people. Yet, it is come a thing of the past. w.th the teacher they have to dig in and obtainable on membership cards. One may lore and language; how ^he plaved acrnm^ posture'” Study the work alone; mark the rhythms rect timeliness of movement. Technic is the correlation of nervous action rather wonderfully well built of their "minds \ n°W 6 gC ° e£p a ead keekeepP theset,lese books a month cor two. The paniments for a French singer in order to • (“an you assure yourself that your teacher in your mind; circle the rests. Study the than flexibility.” The same words apply Cost is Low - • P.P s. Measurepleasure of working them oout is keen. The be taught French without cost ? These are 'S “ttelligently directing your voice the contour of the number, as an artist studies and exquisitely designed. s easier to build the foundation when music lover may work ou- --- „IC p a picture; work it out slowly, carefully, to singing—technic in singing is correct The matter of price too, the house is begun; the most impalpable * I—" of the inspirations of careers—not the printed Way l4 should.g°?_ timeliness of attack, the correlation of ‘Carmen,” “Madame Butterfly,” “La Gia- records of triumphal concert tours c op. Voice teaching is not standardized like sketching it mentally until you have made is now solved for many. sort of a career is one where the founda¬ piano and voice, rather than flexibility. Perfect in Tone conda” or “La Tosca,” realizing that the eratic high lights. piano technic. Any individual can teach a picture of it. Now that you know what The Wurlitzer Studio Piano tions are poked in from underneath after it is about, you may sing the words, beat¬ Some naturally beautiful voices have great This tiny instrument pos¬ the career is in full swing. expense is nothing! Concentrated work Recently the musical journals carried voice and get away with il» as lonS L- flexibility, but their owners are not musi¬ costs only $295 and up. With like this stimulates the brain, gives singers the story of a well-known soprano’s sister there are >gn°rant pupils. In selecting a ing precise tempo. If you are able to ac¬ cianly singers, due to ignorance and de¬ sesses all the bell-like Harmony Without Teacher an . mteIIlgen4 comprehension of opera, who stepped back from a career, devoting 4eacher the aspiring student should be sat- company yourself you may work the ac¬ player action its price is companiment out separately. Now combine ficient training. clarity of tone for which Tf • t , makes them knowledgeable to the highest herself to lucrative vaudeville engagements isfied that the teacher possesses a funda- Remember that when we sing before real $445 and up. Prices are hslntd (but difficult) to study degree of understanding of the strength in order to let the younger sister achieve mental musical knowledge and more than voice and piano. Single out difficult pas¬ Wurlitzer has always been sages where syncopation makes the rhythm musicians we show them not how much F.O.B. factory. —but°?ty can^be^done '"‘'The'Z'in'ffifficultv or of a particular score. Enjoy- grand opera. On a Sunday afternoon this -erage intelligence, to it takes intelli- we can do, but what we can not do—and famous. It has, too, the is the lack of dirtation SiZr t rm v T* X Performance is doubly en- vaudeville' mezzo-soprano, now an artist gence, keen musical sense, and a competent tricky. Never perform the number until See these remarkable little you have mastered outstanding difficulties. what- we do not know. deep, rich volume here¬ off to banced; tk® opera ]s drawn out like a pat- after years of hard-won tuition, appeared ^"science to be a good teacher. The tofore associated only pianos at any Wurlitzer six weeks hard work onlv to find nnon l T gu,de-Posts of. familiarity to in concert with her famous sister, reaping tocher’s work should be musicianly and store. You’ll be astounded at LrivX that the7ar; iL ant Jf the Wbf0St her,df>ed triumph. Does not that make authoritative. By their breathing shall ye Lesson Tablets with much larger pianos. theirmechanical perfection. To The Etude : ■ g—Key at left-centre of group of 3 black There is the full 88 note A recent issue of The Etude contains a val¬ The Rudolph Wurlitzer Mfg. Co., North Tonawanda, n. y. their advancement is delayed. The wise music shelf, only to come across him in been in vain? Ce ^ "0t N^er ;ntrust a ponH . . „ . a . pr uable hint to teachers relative to fastening ke'A—Key at right-centre of group of 3 black Principal Wurlitzer Stores an assignment slip of each lesson to the in¬ k<‘^_Key at right of group of 3 black keys. Ti^pSiM^eSSXiano- te PeSm Zme^t “ ^ ^ — Zt' £ struction book. I have found an even better Middle C—C nearest the name of the pinno NEW YORK, 720 W. 42»d St. * PHILADELPHIA, 103f Chestnut St. - BUFFALO. b74 Main St. Plan. Every pupil is provided, at the first The book is now ready for “active service.’ CLEVELAND 1017 Euclid Ave. • CHICAGO. 320 S. Wabash Avt. • CINCINNATI. I2IE. Fourth St. but it takes work. The pupil who has tween a stirring historical event and a tre- fluently in a languaSZtheh own''Xn oTtimarZ'15 exhibit the Proper gra‘sp lesson, with an ordinary five-ceut composition ST. LOUIS,/0060/i-j.St. ■ SAN FRANCISCO,250 Slotil.o Si. • LOS ANGELES,8/4 S.Broadvta, book marked with his name and the date of the and the date of the next lesson appears at the grit and persistence to study outside sub- mendous musical epic! have you seen them the eliT/ T Z elements,- °° they s'ng w,,th lesson. The first page contains our rule for top of the next page. Here under scales, Sold by Wurlitzer dealers everywhere jects without teachers will retain know- < When one reads in the life of an ora through a new nn, ™ 4.day’ g°lng br!ghb clear voices? Can you hear the correct position : technical studies, etudes and pieces, the new Body—Straight, comfortable. lesson is outlined and special points stressed. ledge thus acquired. It has been bought torio composer that he worked with the point of desperateZaZTph^se^ that bod/no's TTT^? Have the pUp'^ Arms—Quiet. The advantages of such a book are obvious. with soul struggle; and what we buy with fluid conditions of boy choirs, and per- will not go right their bodies limn Z b°dy P°1Se? their repertoire standard? The student not only remembers what to U lists—loose (most important), practice, but the teacher sees at a glance ringers—Curved, each raised in its turn. iust what should have been accomplished. °H f°rC%Wf6 T63 f0r/OUthM V°keS’ fa%Ue’ Lir --«TrcSng ”upP Zto Tone by Listening . this are quotations from eminent Such a book is valuable when assigning re¬ tice m Temperament, in the average singer, is tunities to display, to market her wares. nothing but temper. Talents that are not used soon become Answers to Puzzle in the December, 1925, Etude ("WEAVER It is a jealous apprehension that some rusty. It is not fair to push a gifted singer will be honored above one’s self; stranger into obscurity. GRAND PIANOS it shows in a lifted eyebrow, muted criti¬ Singers without audiences soon cease to (1) Second Rhapsody (or Rhapsody March), Liszt; (2) Valse in E, Moszkowsky; cism, withheld praise. sing. They cannot market their songs (3) Rosemund Air, Schubert; (4) Slumber Song, Schumann; (5) Last Hope, Gott- Do not shrug and say, “That does not without a music club—and the city with- chalk; (6) March from Capriccio in B-minor, Mendelssohn; (7) Witches’ Dance, apply to me!” It applies to all singers and out a music club is musically dead, MacDowell; (8) Fantasie Impromptu, Chopin. In thousands of musicians. Each musician thinks, upon It is so easy to have a club; federations Because of the great labor required for this special issue the' Music Lovers’ Memory hearing a favorite number performed, that are eager to.help; libraries are ready to Contest is omitted this month. It will be resumed in February. worth-while homes they could do it twice as well; forgetting co-operate; singers are always anxious to — on the concert stage how hard the performer has worked to sing! Let us grant that the average small acquire his knowledge of the piece. Self- town is not only unacquainted with, but — in conservatories of music, control is good manners publicly exer- even actively antagonistic to classic music, The Coat and the Cloth the inimitable tone of Weaver cised. How shall we overcome ignorance and Grand Pianos is an inspira¬ The singer who is afraid of losing pres- prejudice? By Ethel F. Boak tion, and the passing years tige is not exhibiting “temperament”; he Canvass the town for names and John M. or she is giving tangible proof of a jealous addresses of people who like to sing and serve but to mellow it to nature. One never loses prestige by work- play; put down on your list violinists, How many young players have heard hears, which is certainly not a musical more subtle harmonies — WILLIAMS ing with singers who know less than one’s ’cellists, saxophonists, every musically in¬ the old adage: “Cut your coat according sound, or one to be found on the printed of New York City self ; one loses prestige by doing poor pub- dined person. Canvass a subsidiary list to your cloth”? Even though they may author of "Child's First Music Book” (Schirmer); "First Year at the Piano” (Presser); "John M. page. Williams Very First Piano Book” (Boston Music Co.); "Nothing Easier, or Adventures of Ten Little lie work. of those who only love music, for you have heard it, how many have thought of On the other hand, a player sometimes Fingers in Mother Goose Land” (Schirmer); "Tunes for Tiny Tots” (Presser)...... , need patrons, inactive members who will applying it to the management of the bow ? finds himself in the opposite predicament: Will conduct NORMAL CUSSES FOR TEACHERS OF PIANOFORTE in the cities given here Artist; Amateur. supply the funds. Approach social workers Rough bowing is not always caused by that of having too much bow remaining, SALT LAKE CITY, DENVER, COLO. DALLAS and FORT Unless one is an artist, one is perforce and community leaders, club people and lack of control, but often by not heeding (February) WORTH, TEXAS and has to hurry to the end. Instead of (Jan an amateur; but there are artistic ama- church people. Sound everybody on the this ancient proverb. (March and April) being stranded, he is in danger of being ng the keys of the pianoforte wi teurs. Some work for a perfection at- subject—and collect $1.00 each, which will Many a violin student lias had the uncom¬ tamable only to artists with broad knowl- give you a nucleus fund to build upon, fortable experience of arriving at the end swamped in a sea of bow; in order to JOHN M. WILLIAMS, P. O. Box 216, Trinity Statio New York City edge, thus becoming discouraged. Perfect Give these funds into the keeping of a of his bow before he expected, finding him¬ avoid this he rushes full steam ahead, and the works that lie within your range; work patron well known to all prospective mem- self stranded, with no bow left for the ends by scuttling his craft. The little click at higher things because it is beneficial to bers. With a healthy list and a small finish of his phrase. His sensations are aforementioned may also be caused by this aspire; but do not perform difficult things treasury, prepare to hold a meeting of much like those of a singer who, for one NEW YORK SCHOOL without proper coaching or there will be representative musicians and talk the mat- reason or another, has exhausted his breath Attention should be drawn to a point that betrayal marks in your work. ter over in an informal manner. Write before his phrase is ended; and the effect is often not clearly understood by begin¬ of MUSIC and ARTS Amateurs may do musicianly work; the president of the federated music clubs on the performance is the same. A violin¬ ners ; namely, it is not the number of notes 4 West End Avenue Cor. 100th Street Ralfe Leech Sterner, Dire they may have pure vocal tone, authori- of your state and ask her to send the ist must manage his bow quite as care¬ to be played in one bow that signifies, but tative execution; they may avoid singing chairman of your district to your city on fully as a singer his breathing, always their time-value. For instance, suppose New York’s Oldest Music School rests (to sing a rest is the unmistakable a certain date when you will hold an or- arranging to have ample reserve to sus¬ there is a whole note in one bar, and next mark of an amateur) they may have a ganization meeting. Write a circular let- tain his tone at the required volume. a bar of sixteenth notes; the speed at which Many diction so clean that there is no doubt ter and explain your plans; broadcast them Some of us may have had that very try¬ the bow travels at every portion of its Arthur ing, Frederick Riesberg and other < of the song’s text. in the newspapers through friendly society ing experience of catching the point of the length should be quite the same when Individual Instruction. Entrance at any time. When the average singer comes in con- reporters. Have a rousing big meeting, bow between the strings.; this is a real ca¬ playing the whole note as when playing the SEVERAL FREE AND PARTIAL FREE SCHOLARSHIPS OPEN FOR COMPETITION tact with a jealous rival, it is well to re- and put it through with enthusiasm. Elect tastrophe, and is a case of being stranded sixteenth notes. Perhaps it may be said, member that the rival does not hurt the officers; incorporate; have monthly con- “Of course, we all know that.” But one Dormitories in School Building. A real home for music students. with a vengeance. The speed of his bow PIANO OF ENDURING TONE one attacked, only himself. certs and give your 400 members two often finds that a pupil will save the bow Many Free Classes and Lectures. Diplomas and Teacher s Certificates. Public Concert cOery Thursday night Vocal has not been correctly gauged by the iano, Violin and a!! Instruments. Public School Music Dept. Dramatic Art, Drawing and Painting. Interior Dec The most effective defense in choir work guest tickets each. Advertise! player, consequently he has not enough left carefully if he sees a bar of sixteenth ation. Dancing and Languages. is silence. No matter what the insult, with which to finish. If this once happens notes, whereas if he sees only one note ILLUSTRATED CATALOGUE ON REQUEST no matter what the hurt, be silent. Silence “ Personality ” in public it is a lesson in accuracy in divid¬ in a bar he will use his bow up too quickly. can be thunderous. Silence creates Now get one of the choir directors to ing the bow not easily forgotten. The re¬ It is a case of the eye confusing the mind. a mental clamor. It quells disturbers and go in with you—be sure he has “mob per- sult of the same fault at the heel of the The value of the notes should be consid¬ VIRGIL PORTABLE squelches the belligerent member into sonality.” Write to one of the musical bow is that horrid little click one sometimes ered, not their number. muted grumblings. It gives the silent one libraries in New York or Philadelphia for KEYBOARD the upper hand. The attacker hunts new quotations for a costumed concert of a For Pianists and Piano Students victims. popular musical play—one that will never Invaluable to Traveling Pianists This seems difficult when one’s soul is die. The scores are complete, the music “Handel’s Forgotten Operas” and Indispensable to Pianists and torn with unwarranted hurt, when one is easy to direct, the costumes reasonable to Students Living in Apartments, boiling inwardly, seething with words one rent, and the royalties not exorbitant. The Hotels or Small Rooms. By Alanson Weller Excellent for Perfecting AU Phases dares not speak; but words will become library is eager to assist in every way. a boomerang, and silence stops everything In assigning your singing roles be cer- mstantly. tain that the soprano part goes to a “high Handel’s tremendous fame as celebrated English organist, has made an Catalog on Regnal The Stranger in Your Midst C” S0Pran°; y°u. will need climaxes. poser of oratorio, in which field he is arrangement for organ of the exquisite VIRGIL PIANO SCHOOL CO. T , Never assign a role to a singer simply practically unrivalled and certainly un¬ minuet from “Berenice,” which was pub¬ 120 West 72nd St. NEW YORK is _there a musical stranger in your because of local prestige or preference. surpassed, has somewhat dimmed his un¬ lished in the Etude some years ago. °7n'. Have your'baritone role in capable hands, There are also arrangements, most of doubted gifts as a composer of operas. it is a wicked thing to push aside, sung by a man who can make a rousing them quite old, of various other airs from As is well known, the composer of the Josef Hofmann through unfriendly jealousy, a talented effect; give the tenor role to a tenor who these old works. What a pity that more TWO NEW COURSES stranger. The average singer is probably can be heard without throaty quavers. If "Messiah,” “Saul,” “Israel in Egypt,” and interest is not taken in them! A few years a hard-working, hopeful musician, con- possible, hold a symposium for the selec- other celebrated oratorios wrote a great ago Walter Damrosch brought out the FIVE MINIATURE stantly improving technic, repertoire and tion of singers, letting all the applicants many operas in the Italian style of the long forgotten “Acis and Galatea,” with INSTITUTE OF MUSICAL ART interpretation. Why force her to wait a try big solos. Never assign a high tenor FRANK DAMROSCH, Director period and was in fact one of the earliest pronounced success. Why do not some MASTERPIECES year to wm what local singers could grant role to a medium baritone or you will 120 Claremont Avenue New York, N. Y. operatic composers. other enterprising conductors and singers rtf ****** a^n,t^»,5rst exb‘b‘tion lose your climactical effects. Do not as- CRITICAL AND PEDAGOGIC COURSE His rivalry with Buononcini, and his revive at least portions of the Handelian By THIS MASTER PIANIST o t e strangers skill. Why not be the sign a high soprano part to a low mezzo- operas ? They would certainly be a noveity for Teachers and Advanced Pianists under CARL FRIEDBERG first to welcome her, to give her opportuni- soprano. failures in this line, are now matters of (Mignonettes-The Children’s Corner) history. It was this failure which proved and probably a very delightful one to most ties? The established ones cannot possibly Figure your expenses and put your NORMAL COURSE FOR TEACHERS the turning point in Handel's career and concertgoers. T 8690 Lonesome, Song Without e ur by admitting a stranger. The new ticket price within popular reach. Remem- Methods of interrelating all theoretic subjects and correlating them led him into the field of oratorio. Had Words. 3 $0.30 with the study of piano, violin, voice, etc. , aS C°m? t0 your town. to budd her, you are trying to give a prejudiced 18691 Wooden Soldiers, March 4 .30 along with you; she must grow into com- m- 6 , he been more successful in his operatic 18692 Lullaby, Berceuse. 3 .25 TUITION FEES VERT MODERATE. CATALOGUE UPON REQUEST, ADDRESS DEPT. U munity life. Why not assist her in becom- f Y ’ ?°“ Y Y ventures, the world might have been denied UNIQUE VOICE TRAINING 18693 Sister’s Dolly, PoUa. 4 .30 the beauties of his long list of sacred com¬ 18694 Nocturne, Complaint. 5 .30 ing assimilated before she tastes the bitter t0 make them swallow muslc- and U mu By W. P. Schilling bread of loneliness and selfishness? be Pleasant to tbe taste, eye and pocket- positions. Nevertheless these early operas, These numbers are big enough musically for VIRGIL PRACTICE CLAVIER The new-comer is prepared to give you book. If your preliminary skirmish i though not dramatic enough for the mod¬ (Intenled ly the late A. K. Virgil) her best; if her gifts are rejected she loses success in October and you have won pub- ern stage, contain many lovely melodies Manufactured and sold only by The A. K. Virgil Clavier Co. interest in her work. Open your musical lie confidence, you will have no difficulty of which the Largo from “Xerxes” is medium grades. They will prove a source Full length keyboard. All latest improvements. doors; treat her as you would wish to be in making your people listen to a sym- °ot one. A few of these airs have be¬ of delight to all pupils or pianists playing FOUR OCTAVE PORTABLE CLAVIER for use in travelling treated in a strange town. Afford oppor- phony and a big local chorus in March. come popular, but the vast mine has them. Each one is of an engaging character scarcely been tapped as yet. with clean melodic outline. VIRGIL SCHOOL OF MUSIC Among the numbers which have attained Published by Courses for earnest students of all grades H/(.'eaS't a smad measure of success are THEO. PRESSER CO. >gue, etc., address The A. K. Virgil Clavier G “Let the American learn to sing his own languages. The thing to do is to give opera Where’er you walk and O! Sleep why dost 1712 CHESTNUT STREET Music Publisher 3. A. K. Virgil. 510 West End Ave.. New York. language, and eventually English will be in our language; and our language is ou leave me? from “Semele,” the Care PHILADELPHIA, PA. No Other Address oelye from “Atalanta;” and the Lascia 131W. 23d Street - - New York as popular in singing as are the foreign English.”—Mark Oster. chio Piangia from “Rinaldo.” Best, the JANUARY 1926 Page 65 the etude Page 61> JANUARY 1926 THE ETUDE A. Little Lecture for Little People By Virgil Piano Conservatory Question and Answer Department The Place to Acquire beautiful stories by means of musical sounds.” And again, “Musical stories are Conducted by Arthur de Guichard A THOROUGH FOUNDATION A WONDERFUL TECHNIC built of tones.” Ah, musical sounds and I—We a tones are one and the same thing. Hence, melodic form was adopted. It received, later, people, just what do we’ mean by music? a tone is a musical sound. Tlie Prlj! the name of “transition minorthat is, a THE ABILITY TO^LAY FOR OTHERS Kindly give transition from the natural minor to the Ans.—We know that music is one ol V— Are not all sounds musical? v■ - ,, (,i) crate briefly the differ melodic minor. The latter was adopted be* A. M. VIRGIL, Director 120 W. 72nd Street, New York the Arts, just as painting, sculpture, and Sor}atJerinde (iii) With some of the chief cause of the ambiguous sound of the former Ans.—What a foolish question! Is the which, in descending, could not be distin¬ the writing of wonderful stories. Some¬ composers, all before Beethoven.-Doeothy, filing of a saw musical ? Pawtucket, R-J-ta an(J lndecd ^ ln8tnIin^ guished from a major scale until the third one has even said that “Music is the only VI— When is a sound musical? of the key was reached. tal music,of c-eryformis adirect^end- ^College of Fine Arts- Art of Heaven given to earth, the only Ans.—Touch a key of the piano.. You Ex. 3 American Institute Art of earth we take to Heaven.” will hear a tone. What actually happened Syracuse* University Music, little folks, is the Art which was that the stroke of the hammer set the i.'if’mnmle The grouping of these last three t— - Harold L. Butler, Dean 'enables us to tell beautiful stories by ^nrS a Suite—variously known ns Suite, ** Transition Minor ol Applied Music string in motion. That motion is called its Snnata Exercise or Partita. They were in means of musical sounds. vibrations, and it vibrates evenly. These K termed the Binary form, comprising Metropolitan College of Music MME. TINA LERNER A “Lullaby” tells us the story of a .I four to nine pieces, but never less than vibrations produce little sound waves that Cr consisting of an Allegro, a slow move- Piano Master Class mother singing and rocking her babe to rourI „ mnripmtp movement and a rapid KATE S. CHITTENDEN, tap our ear drums regularly. It is a musi- VLADIMIR SHAVITCH Master Class in Conducting Ten Weeks Beg.nning March 2 Premier Aristocrat Model 5 feet, 3 inches long. Price, $725. f. o. b. New York ,ht i“,rf pipe organs. WRITE FOR CATALOG. THACA £ONSER\OTORY a lied# MUSIC FEEL MUSIC e up of singly tones, one f, KNOW MUSIC JfiMPi Premier Grand Piano Corporation PLAY MUSIC Ans.-Rhythm is just a bit difficult to define for little folks. In a sense, rhythm evenly and regularly possesses rhythm. • There is rhythm in the regular hoof-beats ifUlif of a running horse, or in the regular tick¬ BSM ing of the clock. And in music there must ' Crane Normal Institute of Music Training School for Supervisor, of Mu.ic r-z- BOTH SEXES EgSggg ^NTWAYj^^; For PIANISTS, ACCOMPANISTS and TEACHERS The SIGHT, TOUCH and HEARING When Lully Burned His Masterpiece System of Teaching. Write for Booklet. NEW YORK INTERNATIONAL cat/onal^ agency PIANO CONSERVATORY 200 West 57th Street nT York City PIANO, ORGAN,'"sINONgJ THEORY SPECIAL COURSE for TEACHERS and ADVANCED PIANISTS One of the royal princes came to visit him, Page 66 JANUARY 1926 the etude JANUARY 1926 Page 67 tee etude music assign them a position of less im¬ HE best advice that can be given any T portance than in modern compositions 1 an accessory, sometimes of great value ample 6, b, thus freeing one hand for page¬ student is: “Get the Fundamentals !” But when a passage confronts the player fnrincreasing brilliancy; but they introduce turning. The accepted routine, individual in which strict two-foot pedalling conflicts ' element of distortion in chord balance Ex. 6 manual and pedal work, then two parts The Organist’s Etude with plentiful shading marks, a challenge must be taken into consideration. combined, then trio studies, cannot be is thrown to the player and study must be Sr this reason we urge that sub and super supplanted by any short-cut. Education is, given to “rationalizing” the pedalling t0 be Inlers be never used at the same time. as Rousseau said, “certainly nothing but a It is the Ambition of THE ETUDE to make this Organ Department used. The day of loud 2 ft. stops and thick, formation of habitsand skill is largely a “An Organist’s Magazine Complete in Itself’’ And now for a few general thoughts on ♦„bby 16 ft- Bourdons is evidently past; matter of well-directed habit. As Prof. improvement of effect. Young players are ™». be careful to, « do „o. James has put it, habit is largely “a new prone to neglect the opportunities for fea¬ fall into a worse condition with over-use pathway of discharge formed in the brain,” turing the organ afforded by the interludes and until this pathway is well and smoothly Edited, for January by GORDON BALCH NEVIN of octave couplers occurring in anthems and other choir num¬ One more detail remains. Let us have The “purist” may object to the alteration traversed nothing can be said to have been bers. We need not here repeat the fine more thought given to the smooth turning of structure so imposed, but the practical truly learned. It will be well for all of us advice given by other writers in this de¬ f pages so that elimination of stumbling man, placing continuity of rhythm above to realize that a thing that is negotiated partment regarding the use of the organ or uncertainty may be had. “Getting the all else, uses such methods, when neces¬ only by straining concentration and high Rational Treatment of Some Organ Problems as an accompanimental instrument. But over” is one of the terrors of the sary, as being the least objectionable of nervous tension is really not mastered; we have observed so many instances of winner; and yet it is a matter that can two difficulties. only when it is done with ease is it truly treated, calls for exact and precise repeti¬ The benefits of a common-sense view¬ the dramatic force of an interlude being be solved in nearly every instance by one The second method, much preferable well done. tion of all of the quarter notes, with the point may also be derived from a rational weakened by a neutral treatment that a of two methods: Alteration of the arrange¬ when it is possible to use it, is to memorize The fundamentals of technic are, and treatment of the theory of correct pedaling. exception of the bass notes in the first word in this connection is permissible. ment of the notes of the chords preceding a few measures either before or after the should be, the same for all students, irre¬ It is almost absurd to plead for equal dex¬ measure; the slurring in the second meas¬ the turn of the pages, or memorizing of a end of the printed page, and then to do the spective of natural endowment or musical terity in both feet; the need is so obvious ure must be observed, but not over-done, Getting Variety measure or two on the following page. actual turning at a point between two inclination. After these are secure the that we all accept the principle. And fur¬ and in the fourth measure the “line-phras¬ Variety can and should be obtained in The first method compresses all of the phrases where either hand can be spared. most important factor to develop is the ther, this equal dexterity should apply to ing” will shorten the note to a half-note interludes by some of the following meth¬ notes of the chords preceding the turn This method should be adopted wherever faculty of self-analysis. Rosenkranz, in followed by a quarter rest. The propul¬ the matter of using the swell-pedals with ods : into one hand, leaving the other hand free time will permit and certainly should be his Philosophy of Education says, “The siveness of the rhythm also may be height¬ either foot. The day of expressionless 1. By an increase in volume. for the actual page turning. It will be best applied to all solo organ selections. Iu power to break up habits, as well as to ened by repeating the bass notes on the playing has gone, and will never return. 2. By a complete or partial change in done by the student who has had (as should either event no break or pause of any kind form them, is necessary to the freedom of octave at the accent points, rather than Only those players whose dynamic range tone-quality. all students) tome harmony study; but is should be tolerated in turning pages. The the individual.” It should be obvious that repeating them on the unison. It then and treatment of shading are at least cor¬ 3. By a combination of these two meth¬ not impossible to those who have not had demands of rhythm are inexorable and in the case of an instrument which has takes the shape given in Example 3. rect will merit approval. All of which ods. the player must work accordingly to over¬ undergone a tremendous evolution during leads directly to the question of a modified a period of a few decades, as has the or¬ Ex. 3 4. By change in tempo, whether indicated come mechanical obstacles. treatment of the earlier laws of pedaling. or not. gan, there are not a few points in its tech¬ A good deal of water has gone under the s lesse French & Sons Grand §n 5. By use of solo stops, where chord- nic that are certainly debatable. bridge since Gustave Merkel spoke of the distribution permits. For those who demand tonal supremacy: for those who want an use of toe and heel as “artificial” pedalling 1 instrument worthy of interpreting the most artistic music, here Organ Evolution And by various combinations of the Some Tfiings the Organ Tuner Can Do for You We no longer accept the continual use of is unquestionably the ideal piano. In this article we are calling attention above instances. alternate feet as the “natural” or “princi¬ to several matters that are obviously by¬ HE organ contains a greater number The manuals, as a rule, do their work for The Jesse French & Sons Grand represents an honest and suc¬ pal” method of pedaling. In fact the best Probably the most often heard error is T products of this recent evolution in organ of what engineers call “variable many years before re-felting becomes nec¬ cessful endeavor to produce an instrument as near artistic per¬ pedagogy has swung over to the principle that of continuing an interlude with the design and construction. And the first is quantities” than does any other mu¬ essary; and by that time a general over¬ fection as is possible of attainment. that the maximum use of heel and toe is same tone and volume that has been in use the need for greater accuracy and exact¬ When correctly played, with clean-cut, sical instrument. Pipes, pneumatic mech¬ haul is usually in order. Liberal exchange offer on your old piano. Send for illustrated catalog. preferable, giving the greatest possible, se¬ in supporting the vocal passages immedi¬ ness in the repetition of notes. precise repetition of the indicated chords, anism, electric mechanism, wind-supply, Swell shades (the shutters on the swell- Jesse French & Sons Piano Co. curity. And the element of expression has ately preceding. This invariably gives the It is truly a cause for thanksgiving that this last example will be entirely satisfy¬ console action—all are a mass of adjust¬ boxes) are one of the components of an become so vital that it cannot be disre¬ organ a weak and neutral effect. The stops J and 20th Sts., New Castle, Indiana the earlier fetish for promiscuous tying- ing to the critical ear. And when we do able construction. We have often noticed organ that most frequently call for ad¬ garded when a choice between two methods most suitable for use in accompaniments over of notes, which from the printed page it so, what is the essence of it all ? Simply justment. Either they stick, due to warp¬ of pedalling is under consideration. Take are the less assertive, more neutral ones, that organists as a class are likely to forget called for repetition, is fast giving way to that we are playing chords as they are in¬ ing or expansion from climatic changes, for instance such a passage as is shown in such as the Salicional and Stopped Dia¬ this nature of the mechanism, and more or better things. That fetish was indubitably tended to be played by the composer. The or they “slam” from wear on the buffer- Example S. pason, Melodia or Concert Flute, Clara- less patiently “to put up with” some an¬ a by-product of the tracker action. With organ is inherently a “chord instrument,” bella, the softer Diapasons, and these are noyances that could be easily remedied. mechanism provided. Sticking, unless a depression resistance running into pounds and yet it is peculiarly in chord playing that wonderfully valuable for just such use. Here is where the organ tuner enters. caused by utterly bad design in the first for each key, who could blame the player the greatest errors have been made. The But the very nature of an interlude re¬ As a class, organ repair men are splendid place, can usually be cured with a car¬ for dodging as many key strokes as could older school killed rhythm by promiscuous lieves the organ for the moment of its fellows and more than ready to accom¬ penter’s plane at the proper points, aided be done? All this has been swept away tying, the younger school has mistaken accompanimental duties and allows it to modate an organist whose wishes are rea¬ by a moderate application of grease at the COMBS CONSERVATORY by the modern light action. Where we staccati for repetition. The latter fault stand squarely on its own merits as a solo sonable. This is particularly so when the bearings where the connection rods trans¬ PHILADELPHIA formerly heard a familiar hymn an¬ came about through an attempt to sum up instrument. The organist then must adopt player is obviously one who takes pride in fer the motion of the pedal, and perhaps FORTY-FIRST YEAR nounced as in Example 1, a complex matter in one short rule. The a different viewpoint and strive to give all the condition of his instrument and earn¬ on the shade-pins. The actual treatment A School of Individual Instruction A School of Public Performance Ex.l old pianistic rule was carried over to the legitimate importance, musically, to the in¬ estly strives to get the possible maximum should be left to your repair-man; but the Four Pupils’ Recitals a week give you opportunity for Public Performance organ, and the pupil was informed that terludes. More assertive strings, 4 ft. out of it. Such a player will find most thing can be done. It might be whispered, repetition meant shortening the sounding All branches taught from elementary to the of your progress-Daily Super " mitTr Flutes, the inclusion of soft reeds in mezzo organ tuners quite willing to aid in making however, that one player temporarily cured highest artistic standard. Pedagogy and Normal to work. Two complete Fupl s’ Symphony Orches- duration of the note by one-half. Training Courses for Teachers. Degrees conferred tras offer exceptional pnvilege passages, and the use of brass imitations improvements which can be brought about several squeaking shades by softening a Now repetition and staccato are two Daily reports keep the Director personally informed and accompaniment. when indicated by the nature of the music, without too great loss of time. cake of hand-soap in hot water and rubbing very different things. For staccato we can Courses for Public School Music Supervisors This passage is susceptible of straight even the use of percussion effects such as the soap on the ends of the shutters at make rather accurate rules, rules that are Quick Adjustment Approved and Accredited Three-Year Courses in Public School Music Supervision. Si alternate pedalling, but we have shown a harp or chimes; these help in lifting the the points where they were chafing against apparently broad in scope. But precise marking that would probably be given by organ to a plane of equal prominence with One quickly adjustable detail is the the frame of the box 1 And he played a repetition demands that three factors be the tendency has swung nearly as much too most teachers of the present time. This is the voices. At these times it should have touch resistance of the pedal clavier. After pleasant recital instead of a most painful Dormitories for Women considered. The tempo of the composition, (The Only Conservatory in the Stale with Dormitories 4 far on the other side, and we now hear the form marked a. It is a comfortable this prominence. a quite busy recital period we would not one by five minutes’ work with the soap- the sensitivity of the action of the organ to delightful the same hymn from some organ lofts as and safe marking. Well and good. But let hesitate to say that fully fifty per cent, of cake. pupils have advantages not offered in any other school of m used, and the degree of connection (legato) us suppose that the passage occurred in a The Octave Couplers all organs over one year old are out of Daily Supervised Practice and Daily Classes in Technic. notated in Example 2. Shades that Slam desired. composition at such a point that an in¬ Many students,* and some older players adjustment on the pedal key-board. And Six Spacious Buildings, Faculty of 95 Accommodations for 2500 Students Ex. 2 crease of volume by swell-pedal or crescen¬ too, need a word of caution regarding the with older instruments we opine that the Shades that slam when opened or closed indicate among other causes a breaking- A School of Inspiration, Enthusiasm, Loyalty and Succea* do register was necessary; then what? If use of sub and super octave couplers. Percentage would run closer to seventy Illustrated Year Book Free we fit our crescendo control around our These couplers, especially when used on Per cent. There is absolutely no reason down of the means provided for stopping rrj J J the travel of the shutter-mechanism when r—£ 7 f 7 pedalling, a disjointed increase will result, the manual on which chords are being for this condition. Pedal claviers are in¬ GILBERT RAYNOLDS COMBS, Director ‘'“'^ra^dR'eVd' completely open or closed. Pneumatic j—'b 1 h V as is shown by the gaps in the swell mark. played, are a dangerous proposition. Their variably constructed with a spring tension at , A V 7 V “shock-absorbers” are provided by some f dr { — In fact, instead of a smooth crescendo, the combined use may be possible on melodies that is made variable in some way; and ZECKWER-HAHN mi f i d builders, others use a simple bumper of Example 4 shows this as applied to chord very best the player will succeed in doing (although even that is open to question), there is no good reason for tolerating a IMPORTED MUSIC repetition (mere repetition desired, not a will be a series of three rather violent in¬ but on chord work it is hardly possible to broken-down, weak tension in the lower felt to take up the blow when the shutters Philadelphia Musical Academy staccato effect) at two widely varying creases. But, if we consider the two fac¬ think of a single instance where both sub half of the pedal-board—just because that are moved quickly. The remedy in the *t REDUCED PRICES tempos. The first measure, at a very rapid tors as part of one problem, and treat the and super may be legitimately or artistic¬ happens to be the locale where most of latter case is obviously the same as with Catalog sent upon request tempo, will call for practically a one-half noisy pedal keys—renewal of the soft ma¬ Professor Leopold Auer, uuest leacner; loo urn- passage as at b, we do violence to neither ally used. Either sub or super, individually, the playing is done 1 Ask your tuner to Somposer Pianist, and other distinguished musi-- INTERNATIONAL MUSIC CO. shortening of the touch upon the keys, the of them. We then have our legato in the may be used at times to good advantages; regulate your pedal touch so that it is even terial used as a bumper. The pneumatic 56th season. Registration Sept. 2nd-4tn. Classes 5 Columbus Circle - - New York City second measure, at a slow tempo, will pro¬ or other mechanical absorbers usually suffer 5ept. 8th. Catalog. Charlton Lewis Murphy, phrases, and we also have a “sure” method but the use of both violates all the princi¬ throughout the compass; and then note how ng Director, 1617 Spruce Street, Philadelphia. from mis-adjustment and can be put back duce an equally perfect and clear repeti¬ of pedaling. But, of equal importance, ples of chord balance. Players upon small greatly your comfort has increased, and tion of the chord. The point to be gathered to their original degree of effectiveness— we now have the road clear so that the instruments are most prone to fall into this how much more clean-cut your execution A CATALOG ORGANISTS SHOULD HAVE— is this: Do not confound the actual length shading may be artistically controlled. error—doing it in an attempt to get more has become. Then, too, in the older organs whatever that may have been. A com¬ ‘‘Descriptive Catalog of Organ Methods. Studies and of sound with the processes of the fingers pletely noiseless shade-action is almost un¬ ^ Collections.—Sendji Postal jorjt. The most casual diagnosis will show that The student should give thought to' all volume from a small instrument than is We frequently run across (no joke in¬ upon the keys.! Only those of us who have attainable, but much can be done to elimi¬ this is a case of the pendulum swinging too problems arising in regard to preference there to get. The story of the little darky tended) boards that have become very MUSIC PRINTERS studied these things from the viewpoint far in each direction. The first example of shading over traditional pedalling, and who was asked if he had had too much noisy. This, too, can be remedied, although nate objectionable noises. of a recording laboratory have any con¬ Then consider tremolo troubles 1 A per¬ ENGRAVERS—LITHOGRAPHERS I destroys the rhythmic pulse, the second vice versa. In many cases a preference watermelon comes to mind. His reply lt *s more of a time-consumer than weak ception of the tremendous variance between PRINT ANYTHING IN MUSIC- BY ANY PROCESS | mimics the exaggerated staccati of the must be given one or .the other. The his¬ was that there was “not too much of water¬ sprin£ resistance. The remedy is re-bush- fect tremolo is not only “as rare as a day what the player thinks he is doing and jazz band. One is as much an error as torical factor may be included also. Swell- melon, but too little of boy 1” So with this lng with felt and leather. This takes time, in June,” as sang the poet, but even more WE PRINT FOR INDIVIDUALS what he actually does 1 Train the ear, first, the other. The organ is capable of sharp boxes are of comparatively recent inven¬ coupler question—there is generally too ut m many cases your repair-man will rare than “roast biff” in a Greek restau¬ :stABtiSH£Dlets REFERENCE ANY PUBLISHER I last and always. When the ear hears rhythm, but it is not the percussive beat tion, and the use of many of them in one little of organ proper, and no dosing with eliminate the knock and rattle from one rant. We think a lot of many of our clearly, the hand soon gathers skill to sat¬ of the banjo! instrument is strictly a modern develop¬ the couplers will change that condition. °r two exceptionally noisy keys in a few American organ builders; but there are a isfy the demands made by the ear. The example just given, when properly ment. Therefore, we may in older organ Couplers, when all is said and done, are minutes. It is amazing how restful to the number of them who should be hung, drawn and quartered for .using three dollar nerves such a slight operation can be. Please mention THE ETUDE when addressing our advertisers. ti-ie etude JANUARY 1926 Page 69 Page 68 JANUARY 1926 THE etude .. matter Many of the leaders of the tremolos when a good one can be installed of contract for tuning services; these con¬ slightly open, and having the foot already rlatest choirs demand from their choirs a for about fifteen dollars! Your tuner tracts are usually far from profitable. But on it, close it with a very quick motion the rehearsal of from a half-hour to an hour, ■ can soon tell you which class you have m often a church can be wheedled into part¬ moment after the chord is struck. This is softly and without accompaniment, pre- specially useful in certain orchestral ar- your organ, and if you have the cheap ing with a few dollars extra for special The Child’s "JfyL each public appearance. They well SUMMER “box type” the best thing to do is get overhaul work, or a little can be done on rangemenfs, putting immense vitality into know what they are doing and why! The the effect, if well done. your church to authorize its replacement each visit of the tuner—all leading to a smoother balance of the tones of the in¬ Z°me director who introduces this system I have spoken of the inartistic effect of Approach to by a good one. An organ tremolo has y°n encounter some obstacles at first; but no earthly business to produce anything strument. It can truthfully be said that this pedal, if used simply to make a cres¬ a little persistence will soon show the bene¬ MASTER but a moderately slow wave, of very many organs are not correctly regulated cendo. There is another grievance which Music Study moderate intensity. Some of the cheap that is, each stop given a perfectly even fits of the plan. many organists have against it, namely, tremolos reproduce the tonal effect of a scale from top to bottom, at the time of the great risk of using it by mistake for installation. Good organ tone-finishers are a swell-pedal, especially in a strange organ. To win the enthusiastic interest of tonsolitis sufferer earnestly gargling the This Was a “Laughing the boy or girl at the very outset has SCHOOL throat! In fact all too many tremolos are rare; and the good ones are sometimes I know of one quite eminent organist who, always been one of the biggest prob¬ hurried by church officers anxious to dedi¬ Chorus” for this reason, will not use it at all, when set to beat too rapidly and with too violent lems in music teaching. Leading cate on a set date. Pity the player on giving a recital on a strange organ, but a shock to the organ wind. This has no All the churches united in a temperance educators agree, today, that this can such an instrument! As time goes on he has it detached or fastened shut. Of course, June 28 to August 7 (Six Weeks) artistic grounds for existence and should meeting at the church where I was chor¬ be best accomplished by enabling the becomes more and more conscious of the it may be argued that one may make mis¬ not be tolerated, if possible to remedy. ister and the house was packed. We had youngsters to make music in their loud spots and the soft spots present in takes in the regular swell pedals, where own way with the aid of that uni¬ However, even with a poor tremdlo, a a “Union choir,” and our pastor forgot to some of the stops, as well as the single there are more than one, but the evil of versal musical instrument—the Har¬ clever organ-man can sometimes reduce announce the closing song until after the PROF. LEOPOLD AUER notes that “stick out” from their adjacent such an error is very trifling compared to monica. After they have become either the speed of the beat or its violent weaker an imposing-looking stranger, had MASTER VIOLIN INSTRUCTOR OF1 THE WORLD neighbors. This sort of thing can be that of opening the “Crescendo” when proficient on this instrument they effect; even that much change helps matters announced his text: Matt. 24: 28-“For will take naturally and enthusiasti¬ gradually eliminated by steps if not at one one does not mean to do so. It would a good deal. Sometimes moving the trem¬ wheresoever the carcass is, there will the cally to the study of the piano, violin ALEXANDER RAAB olo into an adjacent room by inserting a complete job. And it must be admitted really be well if builders, instead of putting and other musical instruments. EMINENT HUNGARIAN PIANIST eagles be gathered together.” Just then this pedal in a uniform row with the swell few feet of connecting pipe helps matters that the player who succeeds in bringing the pastor called the choir’s attention to the A Hohner Harmonica for the boy tremendously. The writer of these lines pedals, should separate it slightly and dis¬ or girl will help solve the problem. such a thing about takes a real and per¬ closing number on the little memorandum EDWARD COLLINS has directed that this be done in several tinguish it by an entirely different form With the newly perfected Chromatic sonal pride in the instrument that he did slip I had given him before the service RENOWNED AMERICAN PIANIST cases in late years, and much was gained and construction, so that an organist could Harmonica they can play the com¬ not and could not have done before the began, and the speaker stopped courte¬ by the removal of the noisy members. not help both seeing the difference and feel¬ plete chromatic scale. It is not a improvement. The wise organist keeps a ously.' “Our closing hymn should have toy, but a real musical instrument HERBERT WITHERSPOON Finally, surprising improvements can be ing the difference with his foot been announced,” he said, "No. 112, in the which will promote self-expression, DISTINGUISHED SINGER AND TEACHER made, even with few hours of work, in sheet of paper handy to jot down notes of new Hymnal.” Quickly we all turned to rhythm, and accuracy, and lay the smoothing up the “regulation” of the pipes. possible changes. These note- can then be No. 112—“All things are ready, come to foundation for serious musicianship. RICHARD HAGEMAN It of course would be absurd to expect an discussed with the organ repair-man and "There are several J. S. Bachs. Do you the feast.” NOTED COACH AND ACCOMPANIST organ-tuner to do much tone-regulating as many things improved as time and cir¬ not find it irritating to hear people speak of when he is employed on the usual type cumstances allow. the immortal master's ivork as if they were Peter W. Dykema, Prof. School Mus WILLIAM S. BRADY all on one plane of significancef You’d Columbia University, New York. CELEBRATED VOCAL INSTRUCTOR The Crescendo Pedal Dorothy Enderis, Ass't Supt., M think to hear some of the talk about "Bach’’ waukee Schools. Unaccompanied Choir Practice that his music was a standardised product, W. A. Gore, Supt. Schools, Webst By Marcus A. Hackney HOHNER SERGEI KLIBANSKY nez’er varying in its excellence, always of Nelli. C. Hudd, Principal Mozart HARMONICAS INTERNATIONALLY FAMOUS VOCAL TEACHER METHODS of rehearsal offer a field hearsal. There is no denying the fact one emotional quality and pozver.” for careful study; the young and that the general public is not yet ready Harry Keel icipal,>al, Lindblom1 High This device, which is found now in prac¬ —Hamilton C. MacDougall. School, Chicago, “That Musical FLORENCE HINKLE inexperienced director of choral for heavy doses of unaccompanied choral tically all modern organs, is still viewed Edward Randall __ Pal of Mine” AMERICA’S FOREMOST SOPRANO bodies is usually confronted with problems work. The thing is a bit rarified for the Junior High School 61, N. Y. C. with somewhat qualified approbation by W. H. Wheeler, Principal. Alton Com¬ more difficult of solution than have been ordinary audience, as, for that matter, is many organists of high standing. A cres¬ munity High School, Alton, Illinois. M. Hohner, Inc. Dept. 204 any others of his musical life. One error string quartet and other chamber music, “Choir Helps” FELIX SALMOND cendo produced by its means, is not, and —AND MANY OTHERS— 114 East 16th St., New York CELEBRATED ’CELLIST that is frequently made is that of depending Time and Care Needed cannot be, a perfectly smooth and artistic By Eutoka Hellier Nickelson too much upon repetition, and more repeti- It takes time and careful a„proach to swelling of tone, like that produced by the Don, with a forceful player hammering devel an appreciation of :hese thingS] LEON SAMETINI skilful use of the ordinary swell-pedal 1. Arrange the choir as a “V”, with the RENOWNED VIOLINIST away at the piano or organ. This is one although it is certainly con g But a which opens and closes shutters. No mat¬ instrument placed at the furtherest point way of teaching a chorus the notes it is to matters now stand, the public likes to hear ter how judiciously the order of entry of of “V.” W. OTTO MIESSNER I’n °ne * m rCal and is rested by the instrumental back- the various stops has been planned by the 2. Endeavor to select voices that blend (AUSTIN ORGANS; NOTABLE AUTHORITY ON PUBLIC SCHOOL MUSIC g ovvth m stall as a stngmg ensemble. Some- d and of accompanied builder, there will be decided jolts in the nicely, especially should this be applied in increase of tone as the different registers pONTRACT for St. Luke .. th?rtLal^er?VSnTded; - , choral ™sic- iust as it gain- more from quartette, trio and duet singing. Epiphany organ. Philadelphia, fol¬ lowed the opening of the large auditor¬ CLARENCE EDDY ous effertR frnm ™ raa^ve ' the shifting strands of color in the sym- come into action. Then, too, although it 3. There are two tempos for the church acts on all the manuals at once, the in¬ ium organ in Chattanooga, generally held “ * 'T T [ ?, ,1C Ch°raI Ph°ny orchestra than it does from the hymn. !e'rl!T tonally limited weavings of a string crease in the pedal registration is made to a-Tempo for Congregational Singing. There are more than one hundred Austin Will Your Piano Be match that of the Great manual in partic¬ or imafmmna ' H C S1 SvS ° ® capdlla, quartet. Musicians must bear in mind that b-Tempo for Funeral Singing. or unaccompanied, compositions. It is ob- ular, and cannot possibly be in proper bal¬ a Quality Instrument ? 4. A definite time to rise. ance for the weaker ones. ' there mustTe Tcaus^and e^ect^l 7* from appredatio'if^Tf7hyth7lnd melody 5. Have a definite understanding as to IT is bound to be if you take care to Notwithstanding all these drawbacks, the struction and materials. FREE SCHOLARSHIPS between the virtuosity of these ensembles the observing of a Pause—whether one or ! present writer has found it a useful adjunct 1, Nickel & Gr Prof. Auer, Mr, Raab, Mr. Collins, Mr. Witherspoon, Mr. Brady, Mr. Hageman, Mr. Klibansky, Mme. Hinkle, and the type of music used and method of ft"'7 -t0 “ .enjc°yment ° . counterpoint, more counts will be allowed. This will Mr. SaJmond, Mr. Sametini and Mr. Eddy have each consented to award^Free Scholarships to the students^who. to the mechanical equipment of the organ, I AUSTIN ORGAN coTI For rendering it. Consequently we are led to HV'T °f ‘one “ and. for preserve the rhythmical flow. f doubtfu" worth, if treated in the following manner: Ac¬ 1, Conn. I study the unaccompanied routine of choir . a one’ js truly the final step in a 6. Begin on the first word. 1165 Woodland St. Hartford, The piano acl s the pian practice. growing musical perception—and the custom yourself to advancing it by quick 7. Mark your anthems, by translating vital part. It c little short impulses, choosing the time of It must be delicately . responsive yet of humanity never get anywhere n the musical terms into the English lan¬ TEACHER’S CERTIFICATES and DEGREES Depending on Instrument Consequently, if we wish our music to be ( those impulses to coincide with natural built to stand years bf usage. guage. Teachjsr’. Certificates and the Degrees By Henry S. Fry President of the National Association of Organists, Dean of the Pennsylvania Chapter of the A. G. O. fWe Teach QUESTION. Where was the first ing the products of the various well-known /commercial art ^ organ in the United States located? builders and forming ar^ opinion based on HOW MANY Where did it come from? Who built it? your experience. ANSWER. The history of the organ QUESTION. Will you kindly give a in America probably begins with the im¬ list of the terms frequently used in portation of the instrument known as “The ten. Home study in- I French Organ Music, together with the OF THESE Brattle Organ,” so called after Thomas equivalent in English? Brattle; Treasurer of Harvard College, i Get Fads Before You Enroll in Any School j who willed the organ to the Brattle Square ANSWER. Directions for the registra¬ Church, and who died in 1713. The donor tion of French organ music cannot always SteUblg of the success of our feeling that there might be opposition to be literally transferred to the organs in Jr FAVORITE Ueyer both Company^ the acceptance of the instrument, attached this country, with good effect. A knowl¬ edge of French organs will be of much as¬ Dept. 110 . a proviso to the bequest that the offer be R Michigan Ave. at 20th St.J accepted within a year after his death. In sistance in adaptation to American instru¬ CHICAGO, ILL. the event of its not being accepted by the ments. We will, however, give a list of PIANO COMPOSITIONS trustees of the Brattle Square Church, the some of the more frequently used terms instrument was to be offered to King’s and their meaning in English: Chapel, the Boston representative of the Positif. (Pos.).Choir Church of England. The donor also stip¬ Recit. (Rec.).Swell Always proclaim the fact ulated that an organist should be secured, Grand Orgue (Gd. O.).Great Organ that their possessor gives DO YOU POSSESS? a “sober person to play skilfully thereon Pedales (Ped.).Pedals thought to her personal with a loud noise.” The Brattle Square Anches (Anch.).Reeds In Playing Over The Portions Shown You Will Discover The Beautiful Melodies Church having rejected the instrument, it Fonds .Foundation Stops appearance and helps was accepted, after some hesitation, by Grand-Choeur .Full Organ Nature by the judicious That Keep These Pieces At The Top Of The “Best Sellers” In Music the congregation of King’s Chapel, Boston, Hautbois . Oboe use of a pure lip pomade. and erected in 1714, when a Mr. Enstone, Jeux Doux.Soft Stops LOVE DREAMS NO SURRENDER APPLE BLOSSOMS an Englishman of Tower Hill, London, Jeux Forts.Heavy Stops was invited to become organist at a Sal¬ Montre .Open Diapason Roger & Gallet ary of thirty pounds a year. The instru¬ Octavin .Harmonic Picolo, 2' Lip Pomades ment remained in use in King’s Chapel un¬ Plein Jeu.Mixture til 17S6 when it was purchased by St. Tirasse (Tir.).Coupler are absolutely pure, pleasing Paul’s Church, Newburyport, where it was Ajoutez.Add or Draw and effective in use, protect¬ in use for eighty years. It was next pur¬ Boite Fermee.Swell Closed ing the lips against the chap¬ ping winds of winter. Auto- chased by St. John’s Church, Portsmouth, Boite Ouverte.Swell Open mobilists and lovers of out¬ N. H. In 1901 the instrument was brought Mettez .Draw door sports, men as well as to Boston and placed on exhibition with Otez..Put In women, find them indispensa¬ other musical instruments in the new Hor¬ Accouple .Coupled ble. The sale of millions of ROMANCE IN A ticultural Hall. We do not have at hand The term “Anches preparees” meaning these Roger &. Gallet tubes information as to the builder of this organ, each year in the United States “Reeds ready” (or Reeds prepared) will but it was imported from England and was is a tribute to their superior also be found frequently; but the term is first installed in the home of Thomas merit. Ask for them by name. not often applicable to American organs, Brattle. We cannot give exact date of as it indicates the use of the Ventil System, "Fashions in Fragrance” our its original installation; but, under date of used in French Organs, whereby the stops colorful little book, of Parisian May 29, 1711, the Rev. Joseph Green notes toilette specialties, tells all are drawn in advance, but are not effective in his diary: “I was at Mr. Thomas Brat¬ about Lip Pomade as well as the until the Ventil pedal is put down, releas¬ tle’s; heard ye organ.” many other ROGER &. GALLET ing the air necessary to make them speak. creations. Complimentary on Much information in reference to French request. Address: QUESTION. Is the Austin Organ organs may be found in the excellent book WHEN THE LIGHTS ARE LOW of 283 speaking stops in the Public Led¬ The Organ in France by Wallace Goodrich. Roger & Gallet HUNGARY MOONLIGHT REVELS ger Auditorium (Philadelphia) complet¬ ed? Could you give the important facts QUESTION. I think that it would Parfumeurs - Paris of the construction, and the names of be a good idea to publish in each issue 709 Sixth Avenue the stops and couplers? of “The Etude” a certain number of the New York most common organ stops, stating very ANSWER. This organ has never been briefly their shape, size and construction. completed. The original intention to place Also give good substitutes. the instrument in the Public Ledger Audi¬ torium was abandoned and it was - offered ANSWER. The matter of including to the City of Philadelphia, but up to the details of construction of organ pipes in lavender SHOWER present time no “home” has been provided this column will be given consideration! for it, which accounts for its non-comple¬ tion. Since it has not been completed, the final details of construction could not be Q. In the November Etude you named some given accurately, as the “lay-out” would synthetic stops found in the Atlantic City High School organ. Are there any other syn¬ undoubtedly be different from that origin¬ thetic stops besides these named ? ally planned. A. The list given did not include all the synthetic tones available in the Atlantic City TWO FLOWERS GRANDE VALSE CAPRICE organ, the following additional ones also QUESTION. Please send me a list having been found in that instrument: COMPLETE TREATISE ON Clarinet—Vox Humana (Echo) 8' and Spitz Vis. Sill. of the best organ builders in the United Spitz Flute 12th (unit). transposition States. Name and underline the very Saxaphone—Clarinet 8'—Open Flute 8’ and By CHARLES LAGOURGUE Kinura 8'. The solution to ALL problems of Transposition best or put the names in a row, the best English Horn—Violoncello (String Organ) at the top and the rest following as to and Tibia Minor 12th (unit). Practical, Scientific Cor Anglais (pp.) Viol Sordo (Echo) 8'and BY THE WATERS OF MINNETONKA Price, $2.50 their quality of work. Spitz Flute 12th. Quintadena—Any Flute and its own 12th. ~C L Publishing Co. 716 Fine Arts Building, Chicago ANSWER. Obviously the Editor could Orchestral Oboe—Violin (String Organ) 8' Tibia Minor 12th and Viol 17th. not give the list you request in the columns In the production of these synthetic tones of this department. There are a number the unisons (8') must have considerable har¬ monic development, while the off unisons (12th. of good builders in the United States, each -17th, etc.) must be free from harmonies. ORDER 'PJlOM YOUR DEALER OR differing in details of (Construction, tone The scales of the component ranks influence the effects, which are best obtained when the quality, and so on, but excelling in certain unisons and off unisons are in separate swell THE6 PRESSER CO. points; and, as organists differ in their boxes, but placed close together. : is best to send stamps, moAey- Music Publishers and Dealers preferences, it would be unfair to the ains. '1712-1714 CHESTNUT STREET builders of the country for the Editor to PHILADELPHIA, PA. express his personal preferences, and ar¬ “Anthems are sometimes introduced into bitrarily name any one as the very best in¬ church because they keep the choir in a strument. Would suggest your investigat- good temper.”—Mr. Sydney Nicholson. THE ETUDE JANUARY 1926 Page 73 Page 72 JANUARY 1926 the ETUDE ONE of the most interesting points in the old master? I do not know whether The Conductor the study of words is the difference this party lives in this country or foreign caused by the omission, addition, or lands. If you know or can find 0 By Dr. Perry Dickie Symphony for alteration of a letter, or letters, in a given me, will you please let me know as soon term. For instance, by the first-named pro¬ as possible?” The Violinist’s Etude I o drill and conduct an orchestra com¬ present in the classics as well as music of cess revolution is reduced to evolution; by Our correspondent is respectfully jn_ posed of amateurs instead of professionals the higher class of the present day. Conductors Choose the second method aught is changed into Edited by ROBERT BRAINE formed that not one party alone, but the requires a person of an entirely different Of course, it should be realized that to naught; while the final procedure is whole world is looking for genuine Strad temperament. In the former the display show off orchestration to its best advan¬ abundantly illustrated, so far as the Conn Instruments It is the Ambition of THE ETUDE to make this Department tage is an art not possessed by all and Italian language is concerned, by the title ivarius violins, and they are looking not of diplomacy and tact are essential at all which probably accounts for • the reason of this short article. i‘A Violinist’s Magazine Complete in Itself” only for three, but also for as many as times, and any loss of patience must never why it is not more often heard. We would Accordatura, or, to give the term an they have money to pay for. In other be shown, the amateur musician stands say, however, that, in rehearsing, to obtain Anglicized form, Accordance, has been words, violinists, collectors and dealers high on a pinnacle of dignity and is quick the full orchestral effects, except in the well described by Dr. Theodore Baker as to resent anything savoring of disrepect. are combing the whole world with fine case of an experinced conductor, one can “The series of tones according to which BOOK III is ready It is accessary for. the conductor of an Accordatura and Scordatura tooth combs for “Strads,” which are not never intelligently distinguish the orches¬ a stringed instrument is tuned.” As most only the finest violins, from a musical amateur orchestra to understand fairly well tration when standing in the midst of the of our readers are aware, the Accordatura MASTER SCHOOL By Orlando A. Mansfield, Mus. Doc. standpoint, yet made in the world, but every instrument played in his organiza¬ players. We therefore advise the non-ex- for the Violin is which have also a stable and constantly of tion, so that corrections or suggestions are perienced leader to stand away at some Ext particular one is from the so-called increasing value. A “Strad” in good backed by a knowledge that will carry distance from the orchestra, having some¬ Enigmatic Sonata of Pietro Nardini (1720- preservation is worth on the American vio¬ weight when they are made. one else to beat time—to criticise and direct lin market today, from $10,000 to $25 000- modern piano playing To be a musically successful conductor if5- I* 93), the devoted pupil of Tartini, and the and thus have some idea of the results. oo; (Jl) (12) 113) greatest of the Tuscan violinists. and I know of owners of some of the of any orchestra, in fact, be it professional for the Viola From this table we can easily see that the In our fifth example we again see the greatest Strads who hold the instruments and VIRTUOSITY or amateur, requires far more than an The Choice of Music Ex. 2 fourth (or G) string of the violin is the viol influence in the interval of the third, at from $50,000 to $100,000, although I by ability to wave a stick, no matter how Choosing music for the amateur orches¬ one most frequently altered—eleven times from D to F sharp, between the middle have heard of no sales at that price. Alberto Jonas gracefully or energetically it is done. In tra requires a far greater amount of judg¬ out of thirteen; that the E (or first) string strings, and in the lowest depression of the fact, the conductor must be willing to carry ment and discretion than for a professional Earlier Prices exhibits less than half this amount of depar- E string—a minor third, to C sharp, while An astounding success! Pronounced on a never-ending work of preparation organization where the players—at least sounding ture from normal tuning, being altered only only the D string remains unaltered. This “behind the scenes” if artistic results are in the better class—are to play any part When I was a boy a good specimen of the most remarkable school of piano Ex. 8 five times out of thirteen; also that the example is from the pen of one of Nar- desired from the organization. put before them, no matter how difficult Stradivarius workmanship could sometimes methods ever published. Take les- other strings show still less variation, the dini’s contemporaries, Emanuele Barbella, be bought as low as from $2,500 to $5,000, We have always favored and advised as it may be. D (or third) string -being altered only four a Neapolitan composer who uses this scor-.• with other Cremona violins at similarly sonsfrom Bloomfield-Zeisler, Busoni, preferable a talented amateur for conduc¬ It is a very bad policy, with amateurs, to times out of thirteen; while the A or sec- datura in his Serenade. It is also employed low prices. One of my violin teachers Cortot, Dohnanyi, Friedheim, Fried¬ tor for an amateur orchestra. Such a one attempt music that is technically beyond a perfect 5th lower than the Violin; for the ond string displays the least change 0f all, by Bartolomeo Campagnoli (1751-1827), a during my boyhood bought a splendid man, Ganz, Gabrilowitsch, Godow- may not in all cases possess the ability of their ability to play; since, no matter how Violoncello. or gjree times out of thirteen. pupil of Nardini, and afterwards a friend a first-class professional conductor, still he Carlo Bergonzi in Berlin for $800. I find sky, Goodson. Jonas, Lhevinne, much it may be rehearsed and worked over, Ex. 4 Assigning each of these abnormal tunings of Cherubini, in his Notturno, a movement would have more of this than a poor one it never will improve beyond a certain stage a similar specimen of Bergonzi listed in a Rosenthal, Sauer and Stojowski. to one or more composers, we find the written in imitation of the Viola d’Amore, recent American catalog at $12,000. Makes of the latter. However, the amateur would and that not very high. Neither, on the ^ scordature Nos. 1 and 2 employed in two a* tenor viol of six strings tuned to the be more likely to sympathize with his en¬ other hand, should a too simple class of one think of the advance in corner lots Books I, II and III $4.50 each of the Sonatas of Heinrich von Biber (1644- chord of D major and furnished with what in Chicago, does it not? vironment and would regard it from an music be played, as it will fail to give an an octave lower than the Viola; and for the 1704), the first German composer “of violin were known as “sympathetic strings,” that aspect that .a professional would not be incentive to work. We would suggest that, There is an unlimited demand for Cre¬ Buy from your local dealer double bass of four strings, music of any artistic worth at all,” a man is, strings which were not played with the likely to do. Furthermore, we have always mona violins of the first rank; but they Ask for a circular as the orchestration of a piece plays a most of such extraordinary prominence in his bow but merely employed to reinforce by been partial to a pianist for conductor of Ex. 5 must be undoubtedly genuine, and in good important part in its effectiveness, when profession that, in 1681, he was raised by their vibration, the sounds produced by the the orchestra, not only amateur but pro¬ the music be procured of publishers of high preservation. The demand comes not alone YORK -J- - .. ° - ~ the Austrian emperor to the rank of normal strings of the instrument. CARL FISCHER, Inc., fgjjg NEW fessional as well, as being better fitted to from violinists, who wish to use the violins standing—even if it costs a little more— nobility. Some authorities have asserted The xunjng carry on this work. The study of the professionally, but from dealers who ex¬ BOSTON CHICAGO who employ musicians for this work who all. of which later strings sound an octave that he was the inventor of the scordatura T, . , . , 8 . 330-382 Boylstoii St. 340-342 So. Wabash Avc. pect to sell them again at a profit, and piano gives one a far broader knowledge are paid prices sufficient to insure musically lower than the notes written, the double on his instrument, but most probably it is ^K1SIXr 77 Z our se‘'le^ ls re¬ of music than is possible with any of the artistic arrangements. It should be borne You will profit by following the bass being what is known as a transposing derived from the tuning of the treble or “a7 e for the depth to which it carries from collectors, who love them for their example of the feemost symphony lead¬ beauty, rarity, and value. These collectors one-part instruments, with which the hori¬ in mind that when an article is too cheap ers, a few of whom are pictured here, as instrument, one in. which the. sounds oro-pro¬ disrantdiscant viol,vinb thethP s:six strings of which w~p the G Strms_nght down to tenor E in the HUEU5T GEMUNDER 81 S0N5 third space of the bass clef—a minor third hunt for old violins as other collectors zon is of a necessity more circumscribed; there cannot lx: afforded a fair price for its well as the concert band and popular duced differ from those actually written. tuned thus:— 125-127 West 42nd St., New York lower than normal, the largest depression unless it is a case of one playing the piano production. This applies to music as well orchestra players who prefer To some of our readers it may come as a Ex. 7 collect rare stamps, coins, pictures, books, HAVE A WONDERFUL COLLECTION OF of the fourth string our series supplies. It tapestries, and objects of art of all kinds. as well as another instrument. It is a as to anything else. It is always well to Conns for beauty of tone, ease surprise to learn that any other tuning has matter for congratulation that in some of have music sent on approval, to be tried of playing, and reliable action. would require a very stout string to pro¬ There are many private collections of rare OLD AND NEW VIOLINS ever been employed since, the accordatura of our first-class music schools the study of over with the orchestra before accepting it. duce anything like the bass effect intended old violins, scattered all over the world, the stringed instruments of the modern the piano is required for all pupils of or¬ jp|f| Double on a Conn. f twr The third method of scordatura shown in by the composer who employed it, Antonio the values of which range from $100,000 Upon the class of music to which an orchestra was fixed chestral instruments. 1 M *5m Modern music stresses to $300,000 or more. These collectors are amateur orchestra aspires depends to a velry KW the wind instruments— establishment, early in the 17th century. But S^tch'rejr anTdancl" toes t^wts ^ “7extraordinary performer of the great extent the artistic success of the constantly on the lookout for rare speci¬ 3 fla choose the one which while it is true that the accordatura previ- nr0baL utilized because affording addf 7 ^ *7 T, Wh° 4?®®” ?«a,nIj' The Composer's Orchestration organization. mens made by the great masters of violin¬ I B appeals to you most: cor¬ ously quoted has remained the general rule, tional faciKty in playing in sharp keys and “ h° ^of an’unm^iSlTempS-SadS making. They seek especially for violins A point that the conductor should bear Playing popular trash is destructive to net, saxophone, trom- all possibilities of any artistic future for bone, French horn, flute, tZbZ^ZVZ::7:s^-s ?*** of * ** virtaoStuHiinadditiona'c.S^ in a perfect state of preservation, and in mind is that the composer or arranger irom. in all out two or tnree instances ]owest notes of melodies written therein. Lolli employed this scordatura in one nf such an organization. In fact, we invari¬ Mengelberg clarinet,etc. With a Conn which have been owned and played on by has spent more of his time over the or¬ Now York yOU wjn quick mastery; these licenses have been taken in the accor- Giuseppe Tartini (1692-1770), the founder his show pieces, of which only the violin ably refuse to give any attention to an famous violinists, or which have been at chestration than on the writing of the com¬ fill your spare hours with added pleasure °.f 7 Paduan school of violin playing, and part was & own compositiontnd thJ was one time in the possession of royalty, or position with the intent that certain in¬ orchestra that contemplates playing this and profit, too, if you wish. always, for solo purposes and effects. This the discoverer of what kind of music, as unworthy of any trouble; e known as com- “corrected, furnished with accompaniments, famous personages. The late General strument or their combinations are to be Free Trial; Easy Payments termed tones. bi musical science em- and brought into shape, by another hand, heard; hence it should be his aim to follow as the kind of people who listen to it will the regular tuning has been termed pIoyed thls tunmg m. at least one of hls We next find in No 7 of Ex 6 a Hawley, of Hartford, Conn., and D. J- Send coupon now for litera¬ Partello, of Washington, were two of the this out and give them prominence. It never know the difference between good ture and details of Free Trial 1&KS&T& leading American collectors who had would seem that too many of our orches¬ and bad playing, and therefore it matters offer on any Conn instrument. rar-f*n=ri,rOT s rzs e raj® world-famous collections of violins, which tral conductors, and not all amateurs either, not what they do. Remember, Conn is the only VIOLINIST’S HAND maker of every instrument Gabrilowitsch have since been sold to’dealers. do not realize this fact, from the tone In the music chosen we would suggest monotony they manage to instill into their a certain number of pieces containing long- for the band. With all their etrolt ,ura weld signify -fc disra.ion of ,h, 1^', of S," tik",,,” H‘ndS 5o”dhI “ f KIT exclusive features Conns cost no more. Prices on the Rise 1 Boa. Wi conditions and interpretations of orchestral sustained notes, as it is from this that tone quality is derived, which is so important School Music Supervisors. Write for The prices of Cremona violins of the works. This is especially noticeable in the details of our new $5.00 plans enabling rrszs-iss(Dr Baker) tl a 1 a tugue trom one of hls VIolm Pans Conservatoire: F. H. Prume (1816- in all orchestral music and the first aim of first rank have been constantly mounting music of our theatres, where the ’cello— you to have a complete set of all musicians. We have always advised a for the past fifty years. when they have any—are never heard and instruments for band or or¬ The fact that the Scordatura has been “amination of the fourth tuning of viS"tlTS5i™ T't thorough study of waltz movements as a more frequently employed in violin tuning our series cIearly shows, from the ingtro. JgSc^d ~ The most famous violins of Stradivarius the clarinet—if there is one—is only de¬ chestra. Rent or purchase on very valuable means of bringing about a amazingly easy terms. Every and Guarnerius have been named by their tected by a few occasional notes heard unanimity of playing in the ensemble. It school cannowhave abandor stringed instruments is'duel the Ster °J 'T™' F -discussing requires but the alteration of the owners at various times. Thus we have above the others. We have in mind a i i • • . . to A.—and the placing of the other strings a G strinsr and. that nnlv o t* is, however, rather a difficult matter to orchestra; get the facts on these the “Dolphin” Strad, the “Betts,” the pm P“»tPaid with Waterproof Five prominent opera orchestra in this city, specify what music an organization should (Francisco new plans; they are for you. rdTr^-frir!:strings as compared with those of the «-*-> *• ~ A wS^'.sSL* “Duke of Edinburgh,” the “Messiah,” the Pocket Pouch on receipt of $2.00 many years ago, where the oboes were ence of the old viol accordatura. This rais- keys, and give brilliancy to melodies lying play, without knowing and judging of their Conn dealers and agents everywhere. violoncello or double bass. Perhaps our “Spanish,” the “Ludwig,” and so on, all placed under the stage and never a note ing of the G string to C—a perfect fourth within its compass. MUSICIANS SUPPLY CO. ability. The advice we give must be on best plan will be to show, in fairly correct Strads. Of the Guarnerius, we have the could one hear from them even when called —is the sharpest tuning of that string. This ( To be concluded next month) 83 Newbury Street, Boston, Mi general principles. Much must be left to chronological order, the scordature which “King Joseph,” the “Duke de Campolice,” for solo parts. This was the most striking the judgment of the conductor; if he is a have been adopted by some of the older the “Jarnowich,” the “Spanish Joseph,’ display of an orchestral homogeneity with good one then is the orchestra thrice and of the more modern writers, numbering and others. These names were not given which we have ever met. When it is for¬ Nomenclature of Strads blessed. these in order to facilitate reference. the violins by Stradivarius and Guarnerius, gotten that the main charm of the orches¬ Rehearsals Ex.6 The exquisite grace of outline of the mona, many of which are pure fiction but by comparatively modern violinists, tra is the variety of tone qualities that are violin, as perfected by the masters of Cre- A subscriber vyrites: “I have heard that collectors and dealers. As far as known obtainable from it, we have that which is We are opposed to taking up time at the well as its marvelous coloring someone wishes'to recover three genuine the makers did not give special names to not a bit better than an automatic machine. regular rehearsal for any individual or - 1 varnish, to say nothing of the old Stradivarius violins, with certain their violins. To our mind, in the matter of strong or¬ group drilling or coaching. The usual almost miraculous tone effects possible, names, as I believe; in fact, I know that So it would seem that the story that our chestration we would much rather hear amount of time for rehearsing by the ama¬ have resulted in the violin being invested he named his violins, or some of them at correspondent has heard, about some party even too great a prominence of such parts teur orchestra—barely two hours a week— with a halo of romance, as is the case least. Do you know who it is that wishes who is searching for three Strads with as the ’cello, oboe, clarinet, bassoon and is little enough and too little to spare any other musical instrument. In- to recover these valuable old specimens of special names given them by Stradivarius horn, than not at all or even indistinctly, of it for work which should be done at numerable legends and fanciful stories Antonius Stradivarius, and by what name himself, is simply one of the fanciful and thus perhaps lose what might he most another time. The whole period should be have sprung up about the violins of Cre- they are known, if they were named by stories which are so often heard. delightful bits of orchestration, which are devoted entirely to the ensemble. THE ETUDE JANUARY 1926 Page 75 Page 74 JANUARY 1926 the etude of tympani as well as using the organ Faulty intonation is a very common We suggest that no further time should be spent on a piece at rehearsal, whenever as it is intended it should be, would convert Touch In Violin Playing weakness with amateur musicians and is a very monotonous affair into a very pleas¬ Why is Jazz ? Schoenberg ? largely due to insufficient scale practice, there is any sign of its becoming monoto¬ ing orchestral combination. By Charles Knetzger which is a most effective means of over¬ nous to the players. It is very hard to be Stravinsky? Debussy? AMERIMN—I interested in what one has had enough of coming this trouble. Sight Reading Opera ? Read for the time. Therefore, stop when inter¬ Wf. hear much about touch in piano will necessitate much practice, until finally Vacations est seems to be flagging; lay the piece A valuable measure for improving the playing; but to the violinist a sense of the movements become more or less au¬ 1CNSERVAT0RY The question of vacations for music stu¬ aside and take it up another time. intonation, for not only amateurs but pro¬ touch, or muscular feeling, is of equal im¬ tomatic. dents has been agitating the minds of some In taking up a new piece we advise play¬ fessionals as well, is by learning to sing HOW portance. For the violinist the eye cannot The piano player has a much larger area Chicago's Foremost School of of us with the usual differences in opinion. ing it through by the whole orchestra at from note. This would apply to all in¬ serve as a guide, and his movements are for measuring distance than the violinist, LEGrOLD AUER In regard to this matter we would say first, in order to give them an opportunity instruments and especially those in which MUSIC directed entirely by the sense of touch or but in both cases the sense of feeling as that, granted that some reasonable let up to obtain some idea of it as well as tor the note is formed by the player. Thus, by feeling. After he has acquired a correct to how much movement is to be made is Graded Course in the work of a student practicing five the conductor to ascertain the weak points singing it before playing the part on the position of the left hand, the fingers must of equal importance. IfiUolu tegsg or six hours a day during the year is ad¬ to be given attention at private drills. We instrument—although some can do so men¬ GREW be trained to fall automatically on the In order to learn to gauge intervals cor¬ Expression, Orchestral Instruments, Theatre visable and should be availed of when pos¬ advise at rehearsals always starting with tally, simply looking at the music—so im¬ rectly the first requisite is that the pupil of Violin Playing Organ School, etc. One hundred eminent ,By Marion Bauer and Ethel Peyser right spot. At first the ear must determine artist instructors. Superior Training School sible, when this idea is advanced for the something well known to all—so to express presses it on the mind as to enable a much whether the pitch of the tone is correct; keep his fingers, especially the first finger, By LEOPOLD AUER supplies teachers for colleges. 40th year. average child laboring from half an hour it, for limbering up purposes as well as to more intelligent rendering than in simply An amazing survey of music, musicians but a student who is being correctly on the string, unless there is a reason for Diplomas. Teachers' Certificates. Degrees, to one hour a day, with usually generous give an impetus of a good beginning. This making it a mere mechanical process, as and instruments of all ttmes and all trained will soon acquire the habit of plac¬ raising it. One of the chief reasons why The. sensation of the year! At last the periods of rest during this time, surely same applies to closing with a piece with some are apt to do. We would say that nations, simply and entertainingly ing the finger on the right spot without beginners play out of tune is that they teacher of Heifetz, Elman, Zimbalist and advantages. Students may enter at any time. written for young and old alike. It lj there could not be any very alarming which they are familiar. Whatever new while this is most effective in promoting necessitating a backward or forward shift. have their fingers up in the air instead of mazy other celebrities, has written a violin Catalog Mailed Free. conditions arise from such strenousity even work is to be undertaken should be at times the ear perception of the player, of a nec¬ the story of Jazz as v ell a of the on the strings. Consequently they do not course, the most' important of its kind ever Symphony. Admirably indexed. With For this purpose the pupil must have if the practice were continued throughout between the above. It is well to make it essity one must be able to distinguish the learn to measure distances, nor do they 571 KIMBALL HALL, CHICAGO, ILL. countless beautiful illustrations. an accurate knowledge of whole and half¬ the whole year, of course allowing resting a point at each rehearsal, when new pieces difference of tones to obtain any benefit distinguish properly between whole steps steps, and intervals of all kinds, so as to In Eight Books, Each $1.00 on Sundays. are not taken up for study, to read at least $4.50 at all Booksellers and half-steps. The interval of a dimin¬ Book be able to measure distance from one tone Vacations, such as are advocated by the several, say of those sent on approval and ished fifth, for example, I —PREPARATORY GRADE Osborne to another accurately. If, for example, pros on this subject, are never conducive which if satisfactory can be retained and G. P. PUTNAM’S SONS II —Pre-Elementary Grade his first finger is on B flat on the A string, to progress; and if for any too great length laid aside for future study. Over-Time 2 West 45th St., NEW YORK III —Elementary Grade (First and the next note is D on the same string, of time—especially as in the case of laying Position) -AMUSES he would instinctively place his finger off for the whole summer as is indulged By Edmund Lucaszewski IV —Elementary Grade One of America's Finest Institutions The Ensemble Orchestra (So-Called) higher for the D than he would if his Devoted to Education in Music in by children and unenthusiastic amateurs (First Position—continued) first finger were on B. So also if F —are positively disastrous to any future We receive frequent inquiries as to the When sitting down to practice, have a in which the same finger executes the V —Medium Advanced Grade CERTIFICATES, DIPLOMAS possibilities of ever attaining to anything advisability of the amateur orchestra being sheet of paper and a pencil for convenient Pianologues natural on the E string is followed by two tones on adjacent strings, is very often (Higher Positions) B natural, he vail stretch his fourth finger in music. We grant that, in the case of formed on the lines of the so-called “En¬ use. Allot a half-hour of work. a stumbling-block, because the pupil does VI —Advanced Grade By Authority of the State of Illinois one who has acquired a perfect technic semble Orchestra” of the music catalogues, In the course of practicing, none of “us so as not to produce B flat. not move the finger up or down a half¬ (Higher Positions—continued) Training in the following departments: and reached a high stage of musical ability, inasmuch as we advise the omission of humans” is perfect enough to do one-half In shifting from one position to another step as the case may be. Beginners should VII— Difficult Grade (Advanced Piano, Voice, Violin, Theory, Violoncello, brass. This combination is composed, when it is particularly important to train the have special drills on these diminished Bowing) Normal Training, Public School Music, such a laying off for even very long peri¬ hour straight without an error in time, Chorus Singing, Correlated Arts, History ods, years in fact, they can take up their in its theoretical entirety, of first and obbli¬ notes, expression, fingering or some feature fingers so that the movement will be fifths, which so' often mar a piece which VIII— Virtuoso Grade of Music, Ensemble, Orchestra, Profes¬ work again and, after a certain amount of gato violin, ’cello, double bass, piano and neither more nor less than required. This is otherwise creditably played In preparation: Leonold Auer Graded sional Accompanying, Conducting, Dra¬ of playing. So, for each little mistake jot Course of Ensemble• Playing matic Expression, English and Psychology brushing up, show no signs of rustiness. harmonium (reed organ, which is usually down a mark. Each mark is equivalent to omitted). In our opinion we would say Send for complete catalog Sometimes it would seem that they can one minute of practicing. If you are not even do better than before their rest. This, that in most cases we have found them to CARL FISCHER, Inc. COLUMBIA SCHOOL OF MUSIC careful, an hour and half of practice will Violin Questions Answered however, is not a safe precedent for the be most decidedly monotonous to hear, even Cooper Square, New Yor Box E, S09 S. Wabash Ave., Chicago be necessary and not all the minutes yet amateur to follow. when composed of good professional play¬ made up. This to promote watchfulness. By MR. BRAINE It may not be known to all, but is a fact, ers ; and with amateurs they would be nat¬ logue of entertainment material o nevertheless, that the best results from urally still more so. However, where the T. S. DENISON & CO. musical practice are obtainable in warm ’cello part in these is permitted to be promi¬ Dramatic Publishers A FfeO—You do not s ate exactly the COSMOPOLITAN weather when all the tissues of the body nent, these combinations can be pleasing 623 JS. WABASH AVE., DEPT. 73 CHICAGO attire of the farm work you are obliged to .do. muscles, tendons and ligaments are in a for a time? but ultimately the monotony GIRVIN VIOLIN SCHOOL iowever, if it is of such a heavy character Violin Obbligato. SCHOOL MUSIC&DRaTt4T'C tat it stiffens the muscles of the Angers and G. N. J.—A violin obbligato part is one DR. CARVER WILLIAMS—President state permitting of a greater flexibility and of tone palls on the ear and enough be¬ RAMON B. GIRVIN, Director nns very badly, it would no doubt interfere which is arranged to be used as an accom¬ therefore capable of receiving the greatest comes as good as a feast, in this particular. itk a 'successful performance of difficult paniment to a solo voice, or another instru¬ Lordte(l In Kimball Hull—Chicago’s Jliuic Center ment, in duet style. Obbligato means that It is a modification of this combination that A SPECIALIZING SCHOOL •clinical passages in violin playing. However, Eminent faculty of 60 Artists. Normal training for amount of benefit from practice. This is tor s you sav you expect to play only light music this obbligato part must be used to produce Teachers. Students’ Orchestra, Concerts, Lectures, a point to be borne in mind by the ad¬ we hear so frequently in our theatres, and the proper effect. A violin part, ad lib., means Diplotttas, Degrees and Teachers’ Certificates. Violin Double Bass Counterpoint f 'no great difficulty, you might succeed in that the part may be either played or omitted. it is probably due to the dullness that we Violoncello Harmony Composition laving music of -that character well enough Departments—Piano, Voice, Violin, Musical vocates of complete summer inactivity. MUSICAL :) get a good deal of pleasure out of It. Theory. Composition, Violoncello, Orches¬ Attractions of the School: Lectures, Concerts, Recit¬ Instruction Most Important. This idea has been largely adopted and can bless the wisdom and good tastes of als, The Symphony Club Orchestra,The Intermediate G. T. C.—From what you write of your tral Instruments, Public School Music, those of their managers who have abol¬ Dramatic Art, etc. carried out by many of our amateur or¬ Orchestra, Junior Orchestra, String Quartettes and Tw "z^There are millions of violins circumstances, I think it would be much wiser chestras, in discontinuing their rehearsals ished music entirely from their theatres, Trios. Students may enter at any time. MERCHANDISE for you to pay $100 for a violin, and $400 Many Free Advantages and Scholarships Limited number of free scholarships awarded. Free catterej ali over the world, with Strad labels for lessons, than to spend your entire $500 for Piano and Violin Prizes of a scant two hours a week, during the some giving as a reason that it was de¬ asted inside, exactly like the one in your a violin, and to try to learn without a teacher. iolin All but a few hundred of these vio- For particulars address — Edwin L. Stephen, Mgr. structive to the illusions on the stage. It Good instruction is the most important thing summer months, laying off entirely, some 1430 Kimball HaU-Dept. E. ins are imitations of the original. Genuine during the first few years. COSMOPOLITAN SCHOOL OF MUSIC even going so far as not even to practice. has always been a theory and presumption Comer Wabash Ave. and Jackson Boulevard AND STRINGS itrads are worth a large amount, and good FOUR PART SONGS Box E, 16th Floor Kimball Hall Bldg., Chicago mitntimis made by artist violin makers are Get Dietionary. for MALE VOICES_ This is, of course, absolutely stultifying that the drama and music went hand in omewhat v”ffiahley It is impossible, to give J. K.—Get a good musical dictionary, and A BIG FEATUR1 and it is no wonder that the emanations hand; hut we must agree with the above n ODinion on your violin without seeing it, make it a point to look up all the words in ust as it would be impossible for a banker to your music which you do not understand. Do LYRIC TENORS and DEEP BASSES ai ive an opinion as to whether a bank note was not depend on your t— *— everything.eu;— wing to this we have paid partleula MILLIKIN CONSERVATORY OF MUSIC as “the harmony of the spheres,” to ex- is now dished up to us as dramatic music. 1 1 | £TCe Tlulletltl" ;enuine without seeing the note. DECATUR, ILLINOIS Peregrine Zanetto was a violin maker of the Identifying Makers. press it mildly. Our advice to the members However, the “Ensemble Orchestra” can |^| # 9 protess'S D. F.—It is quite impossible to tell you in Offers thoro training in music. Courses leading to ireseian school (Italian) who worked at a few words how you can distinguish the vio¬ Bachelor ot Music Degree, Diploma, and Certifi¬ of such of these organizations as wish to be made interesting and even enjoyable by of,0ll°ihiae‘ll0°m1’i“"ia,teibeS^S treseia from 1530 to 1610. He made some lins made bv the great violin makers from SONGS For alt OCCASIONS cate in Piano. Voice, Violin. Organ, Public School become really musical is that they keep up adding to it some new tone qualities. A ' toChhSgo!’nprtv”£'i‘n“uMtimj5i xeellent violins, which of course are not to skilfully made imitations of their handicraft. Iliads, Spirituals. Sacred. Humor Music Methods and Music Kindergarten Methods. triotic, March, their rehearsals, even if only two or three clarinet, alone, will make a change that one MUSIC S? ffuSlSS uS5 It takes years of experience to qualify as a Bulletin sent free upon request Tolbi is published by the H. Bauer Music good violin expert, and one must have had attend; as they will be the gainers every would hardly believe possible without try- Third Quarter 1 *alctYuiTISi the opportunity of. handling and studying LOWELL L. TOWNSEND, Director. hundreds of genuine old violins by the various great makers. An expert judges by Hie wood, » A M.—I do not tnniK u wuuiu ^ the varnish, the model, the cut of the scroll race the maker of your violin, solely ou and sound holes, the purffing, the, general math of the fact that it has the words workmanship, the tone, and many other things characteristic of the maker. 2—Buyers and 6 name T& disMhed Norwegian collectors of old violins, if they know theii- business, are not often “taken in” when they Vffifln'is"evidently'a factory Addle such ns buv valuable old violins; for if they have not turned out in vast numbers by obscure sufficient knowledge of the instruments them¬ Summer Session selves, they get the opinions of good experts Price $1.00 Postpaid < man makers in the Mittenwald. |7p 1717 48 Page Catalogs. MINSTREL before buying. 3—Yes, a violin branded on T KE*E* MATERIAL, Songs. Jokes. Mon- ne Tmproves.n out of proper wood, the hack with a trade mark, “Hopf,” “Sara- Up. Wigs. B Six Weeks, June 28 to August 7 sate,” “Stainer,” “Ole Bull,” “Conservatory,” or AMATEUR SHOWS. a first rate violin maker, according to the and so ^on, ^is invariably a factory Addle of rect principles, as worked out by the great iin makers of Cremona, is reasonably cer- i to improve very greatly, if played by good Gennine Gagliano. nists after one hundred years of use. J. W. C.—Your violin is no doubt a genuine theory is that age and constant playing Ferdinand Gagliano, since you hnve a guar- from W. E. Hill & Sons, of London, ’ Master School theoJYebeneficialneAeinl wschange inauthorities the structure deny tnat effect. It is impossible for me to set a le wood, aunuugu » value on your violin without seeing ft, since Five Weeks, June 22 to August 1 a a drypla« and carefully'p^ of two violins by the same maker one may TINDALE easily command two or three times the price Music Filing Cabinet ■d ifeTheglittle ewor Tl'^oTa of the other, because of superior tone, preser¬ inf by Honeyman, would interestinteresi you. o. vation and so forth. 1 And two specimens Watch for Important Announcement in February Issue of this Publication why well-made violins of this maker listed in recent catalogs of id suffer a loss of tone, and every rea- leading American violin dealers. One dealer should improve with age ana offers a specimen of 1781, for $1500; another Aug “played in” by a good violinist who dealer a specimen made in 1757, for $2200. Listen in for Your best course is to have your violin ap¬ AMERICAN CONSERVATORY OF MUSIC praised by a well-known expert. the etude radio hour “k”—Tmumeni. by Schumann: The John J. Hattstaedt, Pres. — 571 KIMBALL HALL, CHICAGO , l,v Saint-Saens; Largo, by Handel; “Everything technically which develops 'A by Borowski the .Broken « freedom, ease, delicacy, and strength of the bow arm works toward beautifying the Please mention THE ETUDE when addressing: our advArtiHnm. tone."—Paul Stoeving. Page 7G JANUARY 1926 TBS etude music, w Another Road to “Letterville” literature logue gu Professional Lawrence College Conservatory of Music By Sylvia Weinstein Appleton, Wisconsin Beginners are more interested in the Directory keys of the piano than the pages of the Four Year Courses Leading Three Year Courses Leading music book. So the keys may be used to to Degree of Bachelor to Certificate fix in their minds the letters and their with the little ones it is ■ of Music proper use. quent appeals should be m First teach the names of the keys in agination, and any attempt PIANO, VOICE, VIOLIN, ORGAN, CELLO, BAND INSTRU¬ their regular order. Then have the pupil however grotesque it may ALBERT MENTS, PUBLIC SCHOOL MUSIC, HARMONY, COM¬ to place the right thumb on E of the first grown-up mind, to link t] line of the Treble, the second finger on the sights and sounds of lif COMBS POSITION, MUSIC HISTORY AND ART the G just at the right and the other them should be carefully f fingers on B. D. F. Have the pupil to Orchestral Training, Artist Recitals, Music Festival do this as she repeats E-G-B-D-F, F-D- B-G-E, several times; and then as she Not Dormitories Free Catalog says E, first line; G, second line, and so on. In this way, if the names of the lines SECOND QUARTER OPENS JANUARY 5th are forgotten their position on the piano is remembered. Address: Carl J. Waterman, Dean, Appleton, Wiscc:?s:n> When the Treble lines are learned the Thougi spaces may be done in like manner, and temperamf then the lines and spaces of the Bass 1 The same plan may be carried to the almost as added lines. Divertin (fincinnati (fonstrUatorig “fJOflusk When this has been practiced at home the moder and at the lesson, I test the pupils by ask¬ the most Founded 1867 by Clara Baur ing them to play the third line of Treble, the spicy euichard1^^^ than A COMPLETE SCHOOL OF MUSIC WITH FACULTY OF first space of Bass and others, not bother¬ INTERNATIONAL REPUTATION ing with the letter names. Learned in In 17(¥5i!€ arl!I"! Courses leading to Degrees, Diplomas and Certificates this way, it is seldom that notes are played gave a series of “positively last” HAWTHORNE . Residences for students from a distance on the beautiful campus near the center of on the wrong part of the keyboard. Cincinnati’s music and art life. Send Jot Catalogue BERTHA BAUR, Director Highland and Burnet Aves.. and Oak S capricious MOULTON Burnet C. Tuthill, General Manager CINCINNATI, OHIO Danger of Musical Indigestion England 1 i as one of the brightest NEW YORK ^BSagSwr At Dri By Robert Haven Schauffler Drury Lane Theater (probably a con- cert),1, on February 5, 1704, a servant of Detroit Conservatory of Music (In Atlantic Monthly) PROSCHOWSKY Sind Year Mrs. Tofts, a rival singer, hissed and rancis L. York, M.A., Pres. Elizabeth Johnson, Vice-Pre threw oranges The man who supposes that he has di¬ which she was t Finest Conservatory in the West gested music before devoting as much time police. Thi RIESBERG to thinking about it as he has. devoted to exonerate h hearing it, is not only fooling himself and letter to t Courant (how very ruining his digestion but also is absolutely original ai affronting the creator of this beauty, and agents!), the public seems to have been TRENTON'-SSESSS- Front View Conservatory Bldg. the player who has been re-creating it, little convinced. This is probably one of and the creative listener in the row behind the earliest displays of operatic jealousy, who has been re-creating it. The sooner at least in England. SM NORMAL DANA’S M USICAL INSTITUTE people discover that the musical world WARREN, OHIO was never exempted from the primal curse —or blessing—of toil, the better. In the VIRGI L M The Only University of Music in the World sweat of thy brow shalt thou become mu¬ All branches taught on the daily lesson plan Special Music Supervisors Course sically well bred. Fall term opens Monday, September 7th, 1925. Summer School opens Monday, June 22nd, 1926 In order to achieve this end the first VIRGIL S&agf-i.... Catalogue on a'-plicalion to LYNN B. DANA, Pres. Desk E. thing to do is to restrict yourself to hear¬ ing no more music that you are sure of being able to digest. Until program makers A figured bass, that is, a bass part v American The beginner as well Atlanta Conservatory of Music have learned to send their audiences away as advanced student still ready for one more course, it might figures below it to signify the harmoi to be inserti ' ‘ ' receives careful train- THE FOREMOST SCHOOL OF FINE ARTS be a wise plan to begin by leaving the hall IN THE SOUTH all keyboar CHICAGO SsSNSffkS? in the middle of every concert and taking Advantages Equal to Those Found Anywhere. orchestra, until the opening of the r Send for catalo PII. Students may enter at any time. Send for yourself on a quiet, musical walk in order teenth century. PITTSBURGH MUSICAL INSTITUTE, Inc. Catalog. GEO. F. LINDNER, Director to reconstruct as best you may what you CTWCIMHAB^^^a 131-133 Bellefield Ave. Pittsbur-h, Pa. Peachtree and Broad Streets, Atlanta. Ceorgia have just heard. * * * The Boe DETROIT r in 1847, by Titles for Children’s Exercises olution in flutes. The holes were drilled jfiouisvilfe- . acoustically correct. Flutes are now made eddy Qlcfolanli Jnstitutp Conservatory of MUSIC By Alice M. Steede material Individual and class instruction in of (Quair Piano, Organ, Harp, Voice, Violin. We all know the immense importance What Are Scales Good For? Dramatic Art. Orchestral Instru- of creating and maintaining interest in the NEW TERM At one time (about 1760) it was not Many student and faculty recitals mind of the pupil, the only difference of unusual tc naipgg Regular courses in all artist departments opinion is as to how it is best done. In instruments, in connection8 with work Public* the Normal Training School this will lead to diplomas School Music Course leading to chestra gOBERTWALL^fe probably be called an idea in psychology; Teachers’ course leads to certificate and and, building on it, the teacher will try to includes two years of practice teaching teaching in Public Schools. Gradu¬ ates accepted by State Boards of connect Geography and History with such ought in new Orchestra Sch< Education. Individual attention of the every day facts of life as are al¬ ready familiar to the child mind. It is CONVERSE COLLEGESSS somewhat more difficult in the study of music, as even the simplest terms are more abstract and transient than the facts and On the Waiting List figures of the school books. ESTABLISHED 1857 “Well, sir,” The publisher of so-called ‘popular' do you think of my compc music is well aware of this method of en- CONSERVATORY “What do I think of I citing interest, and takes care to adorn the critic. “Well, they will PEABODY BALTIMORE, MD. covers of his masterpieces (?) with a HAROLD RANDOLPH, Director Gounod, Beethoven and V drawing which strives to atone for paucity gotten.” “vasts'Jr* One of the oldest and most noted Music Schools in America. of ideas by brightness of color; but I “Really ?” have known more serious students of Please mention THE ETUDE when addressing our advertisers. u tbe etude JANUARY 1926 Page 79 Page 78 JANUARY 1926 THE ETUDE The Tune That Sherman Loathed ■ V',.^ -- -V " -/ "H General Sherman's emphatic, definite me up when I sang in any city where he The Choir Master J extremely, accurate description of War was and we grew to be good friends. He Each Month Under This Heading We Shall Give a List of Anthems, * well known. The gallant officer seeffis was always quite enthusiastic about oper¬ Solos and Voluntaries Appropriate for Morning and Evening “ have been fond of music, but there was atic music, mucb more so than General ° tune about which he felt much as he Grant. He confided to me once that above Services Throughout the Year. ■bp®**"- 1 i did about war, according to Clara Louise all songs he especially disliked Marching Opposite "a" are anthems of moderate difficulty, opposite “b" those of a simple type. iminmk Through Georgia, and that, naturally, was KAfter the Civil War, General Grant and the song he was constantly obliged to lis¬ able and the discounts the best obtainable. General Sherman went to Chicago and ten to. People, of course, thought it must SUNDAY MORNING, March 21st attended a gala performance of “The be, or ought to be, his favorite melodj. SUNDAY MORNING, March 7th Daughter of the Regiment, with Clara ORGAN ORGAN But he hated the tune as well as the words. Choeur Celeste .Strang Berceuse . Godard-Kraft Louise Kellogg in the title role. In a chap¬ He was desperately tired of the song and, ANTHEM ANTHEM ter of her Memoirs of An American Pnma (а) How Excellent is Thy above all, he detested what it stood for, (a) O For the Wings.. .Mendelssohn Donna, she has this among other things to lb) O Lord, How Excellent Is Loving Kindness .Barnes iH and what it forced him to recall.” Thy Name .Martin (б) O Jesus, Thou Art Stand¬ sav about Sherman: ing .Barrell “In recalling General Sherman I find The fighting Generals are not always OFFERTORY >itf , •,<.-» the fire-eaters. It would be interesting to. Master. Let Me Walk With OFFERTORY myself thinking of him chiefly in the later Thee (Solo S.).Ambrose Blessed Is He (Trio S., T. years of my acquaintance with him. After learn General Pershing’s private opinion ORGAN and B.) .Guilmant-Morse that Chicago night he never failed to look of Over There. Grand Chorus in A Minor. .Cummings ORGAN j| ^ 5 * v y - " <%- k ^ ^ -v jf v^ |gg ^ •* Commemoration March .Grey SUNDAY EVENING, March 7th ,£ V.rr^ r .,51.„,_ m SUNDAY EVENING, March 21st ORGAN ORGAN Evening Meditation .Armstrong Angels’ Serenade .Braga YOU can secure that coveted Diploma or Degree right in your own home, as many other ANTHEM ANTHEM (a) Magnificat .Terry (а) God So Loved the World. .Marks established teachers have done by taking our accredited extension courses. lb) My Heavenly Home.Wolcott (б) Hide Not Thy Face.Meyer of musical endeavor. A comprehensive con¬ OFFERTORY OFFERTORY 5 paper bound ; fifty pages ; illu sideration of the entire practical musical Immanuel (Solo T.).Bochau literature is planned and materials and works O Lamb of God (Solo S.).Btsel Publishedled by the Oxford University I1 ORGAN ORGAN of reference suggested for the accomplishment Sursum Corda .Diggle recent world-contest resulted In a decisive Postlude in C.Lewis r/m favor of 'Tbe Mnstersinger" as the THE PROOF OF THE PUDDING! Debussy and Ravel.. By F. H. Shera. Bound SUNDAY MORNING, March 14th nresput favorite of the great masterpieces. SUNDAY MORNING, March 28th Praises Advanced Composition Course Consequently this little volume is most Umely, in limp paper; 58 pages; illustni' ’ It is Different Now . ..__ .. if the plot lished by the Oxford University ORGAN ORGAN with its clear Adoration . Atherton Pilgrims’ Chorus .Wagner With your course the intricate mysteries of music have been very plainly unfolded For the last 28 years I have written marches and other compositions. They have d guide *- its leading motives, which are fifty cents. to me. I have taken tunes, sometimes original, harmonized them, juggled them about An introduction to the works of these tw ANTHEM ANTHEM been played by the best professional musicians and I have had the pleasure of hearing not only identified ( ) God Be Merciful Unto Us..Wood in various forms, with so much ease that it seemed almost unbelievable, thanks to your modernists of French composers. The treat а (a) All Glory, Laud and Honor them over the radio, but with that uncertain feeling—“I wonder what a first-class HnntS so thatC°the student may thoroughly ment of harmony, scales, chords, consecr (б) All, All Is Well.Wooler Williams instruction and instructors. In my work as orchestra leader and teacher of violin I tives and pedals, gives a welcome insight int arranger thinks of the arrangement.” Now I can arrange a melody that will stand acquaint himself with them so as to recognize OFFERTORY (b) The Palm Trees.. .Faurc-Norris find the work indispensable, and cannot recommend it too strongly to both student and and follow them in the performance. Written the use of these devices by these 'Tree-think Crucifix (Duet T. and B.) Faure advanced musician—professional as well as amateur. criticism. Your Harmony and Composition Course has given me that thorough train¬ •L „ mogt interesting and readable manner, the ing” composers. Numerous notation examples OFFERTORY ing 1 needed. I recommend yours as an outstanding school of music. small book is a valuable addition to this type guide the reader to a better understanding -* ORGAN Fling Wide the Gates (Solo A.) John Fegueras, 65 East Avenue, Rochester, New York. the structural outlines of the compositions. Stately March in G.Galbraith Mr. Charles Fremling, Band & Orchestra Director, Buhl, Minn. Shelley ORGAN Use Lists of Teachers Beethoven—I. The Pianoforte Sonatas. Sherwood Normal Course Systematic and Complete Musical Taste and.. Bow . Form It. By M. By A. Forbes Milne. Paper bound ; 66 pages ; SUNDAY EVENING, March 14th The Son of God Goes Forth Bound In boards; eighty- iliustrated. Published by the Oxford Univer¬ ORGAN to War.Whitney- Wluting I have never taken anything so clear, systematic and perfect as the Sherwood Normal hP^rnrnr0PHmaThian0 “£ ??rm0ny Courses which I have taken are the best that could eight pages.....uhlished by the Oxford Unl- be procured. They are making me an authority, as for before‘1 felt just half wav sure versify Press, at eigbty-flVe cents. sity Press, at fifty cents. Air for G String.Bach-Nevin Course. I congratulate any teacher who has the privilege of studying with your wide ‘^guide to^the structure of^Bc ANTHEM SUNDAY EVENING, March 28th experienced teachers. S^,.Y“ shSuId uf hfts of teachers in the various States and show them what The long apprenticeship of the autlu your courses are. Every teacher needs them. stddent of public taste in music ■ ana »= - (a) Harken Unto the Voice of ORGAN Mrs, H. T. Binns, Music Studio, W. 0. W. Bldg., Bakersfield, Calif. writer on the subject has prepared him for a ,, ______student My Crying .Allen Prayer .Wagner-Sulse Mr. Claude C. Brant, 198 Butler Court, Akron, Ohio. most valuable service in the preparation of a key„ jto its proportions and content. His¬ this small volume. Tleasant in style, it Is (b) One Sweetly Solemn ANTHEM Compares Cheap Course With Our Course torical comments increase the interest: while (a) There is a Green Hill.Marks • „ . , Impossible to Appreciate the Value of the Harmony Course full of key-thoughts which will stay with the the many notation illustrations increase the Thought .Ambrose-Scott A niece of mine paid $25.00 for a Piano Course with another school. No personal help w; reader for future' pondering. Not one of its value of the pages. OFFERTORY (b) Jerusalem.Parker the school mailed her the entire course. All she received for her money, paid in advance, ?? . T In my Previous study of Harmony I got along nicely, but when ten chapters bur will be read with relish by My Sins, My Sins, My Saviour OFFERTORY those interested in this important theme. bound book of Piano instructions (her lesson sheets) which she could have bought bound for n more than t ^ .“l’1 1 dldnt se.em t0 be able to use the knowledge, The ‘i&’, Bach's Wohltemperirtes Clavier, (Solo B.).Gilchrist Spirit Divine (Duet T. and S.)..Beach more than I have not found it so with your Harmony Course. Yours is Book II. Bv J. A. Fuller-Maitland. Paper ORGAN ORGAN Weber. By Sir Julius__ _ Cloth bound; 38 pages; illustrated. Published by I feel that satisfaction is your greatest advertisement. far superior to anything I have had. Published by Sampson the Oxford University Press, at fifty cents. Epilogue.Gillette Grand Chorus , in D.Sheppard Every time I send my Normal Piano exams and they are returned to me graded, I feel Low, Marston & Co., Ltd., at $1.25 yer copy. A chart to guide the uninitiated through :d, I feel new inspiration . th.^kinY TutTll prfej‘udiced agai"st a course of Long the mazes of these intricate tone-gardens. and courage with which to go on with the succeeding lessons, finally to win a " ‘ Many useful hints for the development of the credited and worth while. “is - £”»£ treat its subject in voice leadings. The short historical chapter TWENTY-FIVE MELODIES FOR EYE, EAR AND HAND Grace E. Briggs, use in teaching children, it is well worth while. manner. Throughout the with which the book opens is very engaging to TRAINING. By Mathilde Bilbro. Price, 75 cents MrS-Verda Brothers, Piano Teacher, liiacy and personal charm the Bach student of any age. Director, Conservatory of Music & Art, reader. The sources and These little pieces may be regarded as second grade studies. They are intended to aid Home Theatre Bldg., Hutchison, Kans. 2000 2nd Street,, N. E., Canton, Ohio. The ‘i8’, Bach’s Wohltemperirtes Clavier, enormous influence on the trend of modern Book I. By J. A. Fuller-Maitland. Paper in establishing the position of the hand upon the keyboard, attaining freedom, training Public School Music Graduate has Just Secured Life Certificate Has Diploma Endorsed by Secretary of State music are told in fascinating style, as well bound ; 38 pages ; illustrated. Published by the eye, especially in leger lines, in staff positions and cultivating a musical ear. These rertifirat£°WfrnmfI~®edg:ed'djw-ctor.of the Melvin Community High School Orchestra, having received my as the triumphs which awaited the composer the Oxford University Press, at fifty cents. studies are all tuneful and interesting to practice. Altogether this set of study pieces thJw ty°U f?rJhc dip,0I?aT-„. h. was immediately endorsed by In an introductory chapter the Tempered certificate from our superintendent on . the recommendation of the State Board after presenting mv the Secretary of the State of Illinois. I have taught for six years on tbe public presentation of these works. promises to become popular with teachers as well as students well in the second grade. credits received through my studies with your institution atter presenting my Among all th— is woven the life story of Scale is made clear to the reader ; while the before studying with. your school, but had not found a good sys- the brilliant but early-doomed composer. outline of the fugue-structure will be most THEODORE PRESSER CO. PHILADELPHIA, PA. >f the professional and social welcome to the one unacquainted with its in¬ Prof. F. W. Reuter, tematlc course to foI1°w. Your course has solved my problem »ixC ux uie i.v part of the last century and tricacies. Incisive comments and textual illus¬ Violinist, Dewey,' Ill. Bertha Guerrero de Raudales, more than worth the reading. trations will lead many to a clearer conception 38 S. Dearborn St., No. 1438, Chicago, Ill. of the beauties and wealth of materials which Couldn’t Have Taught Without Mrs. Clark’s Lessons Orlando Gibbons. By Edmund H. Fellowes. go into the building of these magical tone I have the highest opinion of Mrs. Clark’s fn,ir» T Uses Sherwood Course With Her Pupils Cloth bound; 116 pages; illustrated. Pub¬ structures. lished by the Oxford University Press, at $2.00 SUMMY’S CORNER ran excel hers I hold a good position here in the city schools and^the Public School The Opera. By R. A. Streatfleld. Cloth Music Course helps me wonderfully m presenting the work in my classes. It has Th< i recent Gibbons Tercentenary Celehra- bound ; 402 pages. Published by E. P. Dut¬ New Piano Pieces w :erial with charm and interest benefited me greatly, and I only wish I had known of it sooner. make this volume most timely. Too ton and Company, at $3.75. 'compSte ”XS”' "d Often WUOIUCUII, aJI SllfeSUWJCCLject fiwQT ^i»c --“ OW-iOTl- This is the fifth edition of a work which Lucille Key, Columbus, Miss. 1Z SZZTJS kmM“ was something of a pioneer in its field, and by Buenta Carter Gr. 2—3 - $ .30 l am Director of Music and Dean of Fine Arts in college. the perusal of these pages will surprise the Clear Tone—Result of Weldon Course reader with tbe amount of real interest they which has now been enlarged and revised by d skillfull phrasing for both hands __Mrs. W. E. Carter, Lafayette, Tennessee. contain for the current reader. The accom¬ Edward J Dent. Departing from the methods Gr. 2—3 - $ .40 Weldon lessons have benefited me much. My tone is clearer and better, and the plishments of some of these early English of the usual books of the plots of operas,.this THE BANJO PLAYER volume adds greatly to its usefulness and ap¬ In mastering this little piece the pi worthy of his best efforts. Highly attack has greatly improved. My breathing has also, improved to a great extent and ■ writers have been overshadowed by the vogue characteristic, it affords study in g nd three-note chords and staccato f“ “* C°™ « <■»- V»r of the great German composers who followed ; peal bv the happy device, of combining these I notice that the high tones are much easier for me than ever before ’ JSSZZEZ so that this modest volume will well repay with an outline of operatic history. All this Paul Bloede, 615 R. 124th St., Cleveland, Ohio. its investigation. is done in a style at once attractive and fitted HANSEL AND GRETEL - ( today a\ Uie^start^of * larger class and for greater financial gain—but resolve to place the information before the reader m Teacher in Convent Praises Courses waste. For 23 years we haw (Wk moments count which so.often go to Arnold Schonberg. By Egon Wellesz. Cloth a manner most impressive to the memory. The values, one being early pedal training. As a graduate of your Harmony, History and Advanced Composition Courses I to earn more The ILl! f n ?ed teachers with preparation which enabled them bound; 159 pages; illustrated. Published by work could scarcely have been better done, want to say that 1 think your courses cannot be improved upon. While they are not the asking. °f the Course Wlth samPIe lessons will be sent you for E P- Dutton & Co., at $2.25. though our readers may raise the question DEAR OLD MADRID - by Joseph N. Moos - Gr. 2—3 - $ .50 The author, himself a composer of distinc¬ whether there have not been at least a few A stimulating number with Spanish coloring, the distinct feature of which is its rhythm. Excellent any ^ay a short road t0 success they surely are a most safe one. I trust that this Check the coupon and get it it tion, has given a biography and a study of American operas worthy of a place in such and novel material for this grade. Enjoyable for recital. year will bring you a large class of eager new students, and that they will enjoy the tbeworks of his master, who is not only one work as much as I did. Jf the outstanding personalities of the present IN THE SHEIK’S TENT - by James H. Rogers time, but also one of the most arresting figures The Margin of Music. By Edwin Evans Sister M. Agnita, 60 Broad Street, Providence, R. I. in musical history. In the pages of the book Oxford University Press (American Branch) , cha”cteristl?ofEoi'entel'Si™ic0r m ° * ccompan,raen one finds both the story of the discovery of bound *“ *i on Always Ready to Praise the School UNIVERSITY EXTENSION CONSERVATORY, Dept. C-99 new paths by this very original musical tion of e by James H. Rogers Many people do not know that your school gives credits for the study. This should ? tiker and creator, and a guide to tbe under- -om thfe - ill help to develop flexibilil be stated m your ads. and you should give the names and addresses of your graduates Langley Avenue and 41st Street, Chicago, Illinois £“di>?g of the creations of his genius. The written when the author ■--'"'v' ” ALBUM OF SHORT EASY PIECES emodern tendencies in music will excellent English musical publication. to those who are doubtful I am glad at any time to give a good word for you, as I rPrarTm?d catalog, four sample lessons and full information Vol. 1 - Summy “Edition” No. 116 feuding not alone enjoyable, but most Music and Boyhood. By Thomas Wood Vol. 1 - Summy “Edition” No. 117 have received untold benefit by taking your courses, even though I had played pro¬ ^regarding course I have marked with an X below. profitable as well. Bound in boards; sixty-six pages Published fessionally for 15 years. I am a member of the Teachers’ Association and know by Oxford University Press at $1.20 per copy Educational numbers, thoroughly pianistic and attractive, writi re talent and understanding JPiano, Course for Students The Term’s Music. By Cedric Howard nXloIT □History of Music The author has put into this small volume b°CT o^val^t^me^6 1S for teachers to take Normal Courses. Your courses have —Piano, Normal Training Glover. Cloth bound ; 176 pages. Published the results of five years of The most important work on the study of Harmony (Musical Theory) published in years is UMandolin DVoice ° * 7 Dutton & Company, at $2.00. Course for Teachers cations which he conducted in connection HARMONIC MATERIAL AND ITS USES Lewis G. Hunter, 723 East 35th St., Tacoma, Wash. I—ICornet, Amateur □Guitar DPublic School Music A book primarily intended for use in schools, with his teaching music to boys in the public Banjo DHarmony JJHn the work so divided as to accommodate schools of Tonbridge, England. Mr. Wood by Adolf Weidig.Price, $3.00 plus Postage CJCornet, Professional □ Jo four years of three terms each. Its J—Organ (Reed) DChoral Conducting evidently is one who understands boys, and □Ear Training and Sight Sii A®’obFct m to further the cause of “Musical his suggestions ns to methods for holding ■nging CDAdvanced Composition Appreciation.” which is usually interpreted their interest and for securing the most CLAYTON F. SUMMY CO., Publishers the stu An Interesting Series of Albums of Study Pieces for Special Purpos es ALBUM OF TRILLS ALBUM OF SCALES ALBUM OF ARPEGGIOS FOR THE PIANOFORTE FOR THE PIANOFORTE FOR THE PIANOFORTE Study Pieces for Special Purposes—Vol. 1 Study Pieces for S Study Piece, for Special Purposes—Vol. 3 ■Sr* THEO PRESSFR m Music P^hers and Dealers 1 HLV. LU. 1710-1712-1714 Chestnut Street PHILADELPHIA, PA. Page 82 JANUARY 1926 THE ETUDE Romeo and Juliet—Operetta Abraham Lincoln—Cantata By J. W. Brigham By Richard Kountz We take pleasure in announcing the pub- This is to be one of the most unique works lication of a new operetta to be sung by we have issued for some time, and we feel men. Mr. Brigham’s previous work along confident that school choruses and oratorio the same line entitled, Cleopatra, has proved societies will find in it a most unusual and very successful, Romeo and Juliet should inspiring presentation for Lincoln’s Birth¬ prove no less so. It is an excruciatingly day and other patriotic celebrations. The funny musical burlesque, a modern college varied phases of experience in the life of version of the old story. Just the thing to this immortal character in American His¬ he produced by a bunch of high-school tory, present a wealth of opportunity for students or college men. The music is musical expression. Mr Kountz has suc¬ partly original and partly adapted, some¬ ceeded admirably in giving the strong and times it is in unison but largely it is in four- vigorous text an adequate musical setting. part.harmony for a chorus of men's voices. Although no American airs have been util¬ This operetta may be produced in the open ized, there is a very definite atmosphere of air outside a college hall or dormitory or patriotism found in the score. Should it it may be done indoors. The composer be desired the orchestral parts will be ob¬ is an excellent time for a sermon in himself has already produced it with very tainable for rental. The special advance NEW WORKS of publication price for one copy only is song. This cun be splendidly accom- Srfjlt success. . , Advance of Publication Offers plished by using a cantata. Instead of the The special introductory price in ad- 35 cents, postpaid. offer usual anthem numbers. vanfe publication is 40 cents per copy, January, 1926 Spepri