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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library

6-1-1926 Volume 44, Number 06 (June 1926) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 44, Number 06 (June 1926)." , (1926). https://digitalcommons.gardner-webb.edu/etude/735

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. MUSIC STUDY 1 EX AI^TSUFeT i MVS I C die ETVDE MAGA ZINE JUNE 1926

Everything Count, i in Musical Success, by Lawrence Tibbett jZ? Practical Points for Practical Teachers, by C reorg Liebling zZ? Getting Up a School Band, by J. E. Maddy zzz Studying Music Late iri Life, by J. M. Williams zz? Twenty-Four Excellent Pieces, by Wagner, Bolzoni, 1 'riml, Mrs. Beach, Rolfe, Bliss, Krentzlin, Himmelreich, and others JUNE 1926 Page k05 THE ETUDE Just Music Teachers— -Think! Awake to This Real’ Opportunity YOU WHY NOT DEVOTE SOME OF YOUR LEISURE HOURS THIS SUMMER TO CAN CONDUCTING A THEORY CLASS IN YOUR COMMUNITY? HAVE Activity is the best publicity. When school, studies cease, the progressive music teacher organizes THIS Special Summer Classes of great benefit ' to the students, and to the WEALTH teacher’s prestige. Hundreds of Musical THREE GOOD REASONS FOR SUMMER CLASSES OF Financially, the remuneration from class work is greater than Orove's In,Your OWN’MUSIC from private teaching. MUSICAL Room Answers ta All The Study of Harmony engenders an interest in the pupil and makes the regular course of study more attractive. A Class in Theory is an excellent advertisement and increases INFORMATION FOR ONLY the teacher’s prestige. The Text-Book that has proved most suc¬ SIX CENTS A DAY cessful for use in teaching this study is

It is An Achievement that We are Able to Offer the Complete HARMONY BOOK Six Volume Set of the Great FOR BEGINNERS Grove’s Dictionary of Music By PRESTON WARE OREM. Flush Cloth Binding, Price, $1.25 and Musicians

Brief—Simple—Vital—Practical—Distinctive At a Price So Low that it Will Never be Duplicated When HERE is a Harmony Book without mystery. It has no rules, This Mammoth Printing is Exhausted nor is it a re-hash of the old cut-and-dried harmonies. On the other hand, it is a fresh, new, sound treatment along modem lines. It lays a strong foundation for future musicianship by TWO DOLLARS giving the main essentials of the subject in such simple, under¬ With your order and then small payments of $1.50 for 12 standable and interesting language that it will prove invaluable months, making a total Purchase Price of $20.00. For cash in the class or for self-help work. with order the price is only $19.00. A most convenient featurens the introduction of blank spaces right in the book for writing the exercises, thus giving the pupil a Practically everyone who knows anything about music knows permanent and readily consulted record of the work done. “Grove’s” is the World’s Greatest Musical Reference Work, and Rules, footnotes and cross-references are dispensed with, everything thousands who have been ambitious to possess these Remarkable being inserted in the logical place in the body of the text. Volumes have their opportunity in this Low Price Offer. (If you have never seen these Six Large, Handsomely Bound Volumes ask for Descriptive Folder, giving details and illustration of actual size An Admirable Text-Book for Summer Classes that have of the complete set.) completed the Harmony Book THEORY \ COMPOSITION OF MUSIC By PRESTON WARE OREM. Flush Cloth Binding, Price, $1.25 AN unequalled guide in the practical application of harmony to composi¬ tion. Anyone having an elementary knowledge of harmony if ready take up the" subjects which are treated in this work—such as Melody Making Harmonizing Melodies, Writing of Accompaniments, Modulation, Modern Ilamonyan^ t^’book^Tto teach one to write—clearly, sensibly

THEODORE PRESSER CO. Music Publishers and Dealers 1712-14-16 Chestnut St PHILADELPHIA, PA. Page 406 JUNE 1926 THE ETUDE

The World of Music Why don’t you, too, get new ideas to use in your teaching, make your work a real at the pleasure and increase your income at the same time? - - - - wly or¬ ganized Opera riayers of New York, on April 6, with Alberto Rimboni conducting. The press was divided as to the adaptability of the work to American audiences, with the Enrollments now for Summer Courses balance probably slightly In favor of the negative. Founded in 1903 and advertisers in The Etude columns since 1908 To Etude readers we have offered sample lessons from our courses—many are using them with success. Get these lessons, without obligation, and see for yourself how great a help they would be to you in your teaching Courses endorsed by the world’s greatest musicians—such as: I. J. Paderewski, eminent virtuoso. Theodore Leschetizky, Paderewski’s great teacher. Emil Sauer, of the Vienna Consemtorv. N?wmYTk SvZb n wr 0f the Alexander Guilmant, the world-famous New York Symphony Orchestra. French Organist. Moritz Moskowski, famous Parisian composer and teacher. Special Certificates Awarded Graduates To Teach in Pblic Schools Without Examination Extension Courses Growing in Popularity Each Month There is a greater demand all the time for the courses we offer, as Mrs. Mary A. Sturm, of Montana, writes: they fit teachers for better positions. This is an age of si* ■ iali- Thanks for prompt delivery of Diploma, of which I am zation and the specialist is earning fully double or more the very proud. I just received a letter from the State V sa“fy ,of a musician with only a general knowledge. Board of Education to the effect that I am eligible to a State Certificate without examination. Thanks to lllETP a !r|mn£s in ! . mus'c fold are growing very ra; ilv. ^ Therf fe big paying positions for those who are your course. ready for them.

Mrs. Lulu E. Diebel, of Oregon, writes: GUARANTEE' A Diploma is the key to the best teaching position, Do you hold one? I have successfully passed the State Board Ex- I With each course we offer a animation and am now an accredited teacher iii [ guarantee of absolute satisfac¬ Our Diplomas and Degrees are tion or money refunded. the State of Oregon. I owe this to your Normal Awarded by the Authority of Piano Course, for I tried to pass the examination That puts all the risk on us and the State of Illinois before, but was not proficient in the answers and on you. failed. Then I saw your ad in The Etude and de¬ yourSfnhire J°U' y°Ur °Wn decisi

fcT—> ! It is the constant ambition of the editors and publishers of ■the "Etude” to make each issue of the journal worth many The Oklahoma State Band and Or¬ chestra Directors’ Association was or¬ ganized recently at a meeting held at Okla¬ Street N times niore, in practical instruction, stimulating inspiration homa City. Oscar J. Lehrer is State Chair¬ City ... man and a drive will be made for a state band and real entertainment, than the price of the entire year’s sub¬ University Extension Conservatory State .. scription. The music lover can not possibly find a better two- The Swift and Company Prize of one LANGLEY AVENUE and 41st STREET hundred dollars is offered this year for a set¬ you now? .. • Do you hold a Tea dollar investment. ting for male chorus and with piano accom¬ s Certificate ? . paniment, of the poem, "The West,” by- DEPT. D-43 CHICAGO, ILL. Catherine Parmenter. Particulars from D. A. Clippinger, Kimball Hall, Chicago. (Continued on page ',77) 407 Pacje J/.OS THE ETUDE

A NEEDED WORK IN A NEGLECTED FIELD THE ETUDE MUSIC MAGAZINE POLYPHONIC “Music for Everybody” PIANO PLAYING THE ETUDE ALBERT JUNE, 1926 Single Copies 25 Cents VQL- XLn» No-A PART PLAYING—COUNTERPOINT combs r;ns=: .u-iCKito, by Recently we attended a moving picture performance in Contents for June, 1926 The Great Adventure THEODORE PRESSER DUNNING kstl.eS Havana. The fascinating Cubans looked upon an American B World of Music . 407 Every now and then some one writes us this sort of a letter: middle west picture through the eyes of their Spanish ancestry. |g Editorial . 409 Prof#«itor:*i Exc«ll*ae#] The picture was a fine example of the best in American cine¬ MUSICOLOGIST.GUICHARO LECTURER. “ II “I am twenty-eight years of age. All my life I i Everything Counts in Musical Success.b. Tibbett 411 matographic art. The story was human, and the homely C* VERY pupil should be given some have wanted to study music. When I was twelve years instruction in polyphonic playing. I Vale Melodeon ./. p. Cooke 412 prairie characters moved the audience immensely, although they ina tnnt,LCTliUert,t° exereis‘'s «nd- | Playing Double Notes .W. A. Hansen 413 HAWTHORNE'. .. old my father said that I might study during the fol¬ I”5ft0 d< vel°P ou'y mechanical dex- seemed very strange to us when heard to the music of boleros, tCTUy are apt to acquire involuntar¬ ijj Help for Scale Mastery .E. H. Pierce 414 lowing winter. He died in October and mother v as un¬ iotas, tangos and fandangos. At other theaters we saw an¬ ily detects that leave no charm to I Attention and Getting Along.t. Carpenter 414 able to pay for the lessons. I went to work when I was their playing. These defects may MOULTON .Tltra nounced pictures from inferior American manufacturers, so he remedied by timely and frequent I Practical Points, Practical Teachers.G. Liebling 415 thirteen and have worked hard ever since. Now I am bad and so false in their representation of American life that n°h ftu.d,es that are polyphonic § Getting Hang of Rhythm.L. P. Gunn 416 ■» married and have two children. I have been fortunate n character. In this important MEW YORK our department of commerce in the interests of foreign trade branch of piano playing the pupil I Writing Dots and Their Touches.0. C. Moore 416 in business and have learned a great deal of music i Rightly Learned Piece.x. jEee 419 should have had them confiscated at the borders of our country. the6ia!f, i" .trai°ing iliftering from RIESBERG through reading The Etude and listening to the talk¬ tne usual technical routine and is 1 Learning Keyboard ../?. M. Crooks 416 IMA.NO N. y B,hooi of The same may be said of a few of the rotten American mag¬ prepared for the study of the works ing machine and the radio. Somehow I am not satis¬ of Bach and Handel and the class¬ I Playing Beethoven’s Sonatas.pt Corder H7 azines and newspapers displayed, as well as some of the very ical composers. Polyphonic means fied. I want to play, myself. My wife laughs at me I Biographical Catechism—Brahms .M. M. Schmitz 418 terrible “jazz” music banged and wailed out of the doors of ! tha • ia> there are sev- when I tell her my ambitions. She thinks my hands are ,eZnfa or. T0Ices Produced sim- I Adult Beginner's Problems ./. .1/. Williams 419 TRENTON Mt«. RtoU ltr„t, Tf.ctoti’ foul-smelling night clubs. These things are very far from hjtancously; in other words, coun- too stiff and that I will be too tired to stick to it in the I r°,r M"SiCa-y Slow./?■ U. Sickehen 420 representing real American life, and they have unquestionably Thi8 volume can be i,Uro(]u0f,r, ear 1 SJe<*'nS Phil’s Pieces.P, Rayburn 420 VEON ^faSwswssfssfc* I evenings. She plays a little and I envy her every time Playing Two Against Three.E. S, mit0H 420 Tuition tor -anh a very costly effect in creating impressions of the United States befw» °f the piano student; M«.n«-RTATB RORHAL RoSoOl. SMSIi''' I see her fingers hopping over the keyboard.” Detween the second and third year Makmg Etudes Count .E. F. Marks 421 and United Statesians, which are utterly false in so far as the too early. The material used We know of hundreds of such cases and have asked many great body of our people is concerned. it h ’CC't y p,easins and. although Thumb Drill .M. C. Wilkins 422 it has been selected from manv VIRGIL *tafe,«rBr^ of our correspondents to report their progress from time to Slumps! °....-^B Smart 422 ■ adapted321“" and arranged h,,S bPen for thisespecially work. time. Some few were unable to “make a go of it.” They Prunes VIRGIL 7,, , represent those music-loving people who seem to be born without ilqmrKS L/gat° Tollch .. Barron 422 Because of the fact that the delicious prune was at one __western proper receptivity or proper means of muscle and brain co- I What Educators Throughout Playing Music of Bach.’ ..p' A J® time the cheapest of fruits it became the joke of the old-fash¬ ordination demanded by music study. ioned boarding house. Prunes for breakfast became as certain the Country Think of this Work. Interesting Recital Programs.• • • • •. ■. /. G. Huston 426 On the other hand wc know of hundreds who have started AMERICANS"-"-;;:; as death and the tax collector. The prune eaters might rebel, after the age of twenty-five and who have found in music study of'S1klnrttTewPti0n’ the best ™rk SLSZTiz;:..ow„VT 7 but nothing could stop the daily dish from appearing with Musical Scrap Book. 4

tolerated musical trash in his choir loft would have been one of of GurliHeXtielleM r?erial as the twe"ty-four melodious studies Everything Counts in Your the first to have objected to an illiterate, ignoble, insincere ver? ^ ! H , ,d°?y t“d Technlc of Stamaty (twenty-five ffirf Z 1U(!ies)’ the Melodious Octave Studies of Low sermon in his pulpit. (fine third and fourth grade tuneful octave material), the Musical Success

frm7e? ( ia Hr!'W (SOme quite difficult) ’ the Scenes An Interview Secured Expressly for The Etude with i 100 of Kullak (really delightful educational pieces Music Study and Mother by a master teacher), the Twenty-four Melodic Studies of We were on our way out from a moving picture theater LAWRENCE TIBBETT Vetter these are only a few of hundreds of similar works with after a presentation of “The Big Parade,” that bold reflex of Of the Metropolitan Opera Company, New York City which the teacher should become acquainted and which may be the horrors of war, told with petrifying verity. One woman investigated through the popular “On Sale” system, or at your said to another: music dealer’s counter. forty dollars a month, then one hundred “If that picture could have been shown in Germany, of the seriousness of the great adventure One of the great flaws in the work of many teachers is that through which we are all passing and how dollars a month. I also did recital work Austria, Russia, France and . the United States in 1914, there and became a member of the Gamut Club they do not make themselves familiar enough with a sufficient necessary it is to do one’s bravest and best never would have been any war. The mothers of the world Quartet and of the Orpheus Club. The amount of this teaching material to qualify as practical at all moments. would not have tolerated it.” “My mother wanted me to become a leader of both, Joseph Dupuy, was my teachers. The physician who is unfamiliar with the pharmaco¬ first teacher and an excellent drill master All of which reminds us again that the hand that rocks physician, and I then aspired to be a writer. poeia would be m a sad state. Yet there are teachers who know he was in music of this type. This choir the cradle not merely rules the world but actually runs it. Singing, music and acting always fas¬ no more abo,«t this collateral material than just those studies cinated me. At the age of twelve, I com¬ work I now look upon as an immense as¬ when it is given the opportunity. Women depend upon a kind set in my career. It introduced me to that they happened to take up when they were students them¬ menced to sing. I also studied the piano of divine intuition instead of that self-concocted “judgment" for two years in Los Angeles. The some of the most beautiful and spiritual selves. 1 hey live on a diet of musical prunes and feed the same of music and had an unquestioned effect of which men are often so proud. advantage of getting this acquaintance with prunes to their pupils. Teachers should continually investigate music at an early age has been of very in developing my conceptions of musical If it were not for the mothers of the world music studv ists of new studies, such as that to be found in the “Guide to New great importance to me in all my later art. I sang the solo roles in Elijah, in Lawrence Tibbett would never have reached its present vast proportions. Tin Messiah, in The Seven Last Words Teachers, which the publishers of this journal will be glad to Mr. Tibbett in “Tales of Jlofmann” life. I went to the high school at Los of Dubois, in the Crucifixion, The mother sees with the eyes of immortality. The father want Angeles. This school had also what was seems to me that it would have been im¬ send complimentary” to all who send a postal inquiry Holy City, and in numerous other works his money’s worth.” The mother wants “her soul’s worth.” the equivalent of two years of college possible for me to bring to my art that i i t T MAY seem extravagant to say work. Thus I had five years of Latin. familiar to all good choirs. I know of meaning for which every normal audience The mother realizes that in music study, the little mind and 1 that everything one does counts to students aspiring to go into opera who All this has been useful to me since then, craves, and which it identifies as a human heart, so close and so near to her own, will develop and expand turn up their noses at church choir work. School Band Contests advantage in one’s musical career; hut, as the Latin has proven of especial value quantity. By this I mean that far too This is nonsense. The church choir gives in marvelous manner. She recognizes and appropriates music as I see the subject in the view of to me in acquiring other languages. I many performers and singers have seen very Among the most interesting musical events in America at one a spirit of reverence and poise and as one of the great forces of nature which is ns necessary to the my own experience, this is unques¬ studied some harmony and composition in little of life itself except by observation. to moment „e the bl,nFrank La Forge. Mr. Law¬ cold bath, to the very last moment of the j. Be able to recognize the “Mode,” the fingers will have gained a great deal of rence Evans, of Evans and Salter, heard day. For my voice, Mr. La Forge and I whether major or minor. strength and confidence. The fourth finger, me sing and encouraged me greatly. Fi¬ find that practice, on the vowel ‘ay’ as in 2. Know where to place the Primary in particular, will have become much more nally Mr. La Forge said that he thought May is best. This vowel is brilliant and and Secondary accents. I ought to try for Grand Opera, and sharp and seems to approximate the vocal agile. And, best of all, you will have more 3. Determine the Key Signature. “I know that you will severely criticize than a mere preparation for the execution that he would arrange an audition and also chords in my voice better than any other. 4. Determine the Measure Signature. play for me then. I had my auditions and Mind you, another voice might require a my playing,” said the pupil. “Thirds have of double thirds, for the results attained 5. A complete measure contains at least always caused me algreat deal of trouble. will stand you in good stead in other de¬ made my debut in ‘Faust’ in the latter different vowel, in the judgment of the Ex. 4 Ex. 5 one strong accent; listen for this strong part of 1923. Nothing of much moment singer and teacher. With me, the vowel E I have practiced patiently, but it seems as partments of finger technic. Then you accent. happened until the eventful ‘Falstaff’ seems to raise the tongue high and tighten though I shall never be able to play them must practice the scales, both diatonic and | ^ j J j j J r Tjy 6. Determine the number of measures. performance when I could hardly realize the jaw. Therefore, I avoid much use of smoothly." chromatic, in double thirds. When you 7. Arrange the Melody line. “This is not sacrilegious; it is sensible 1 that all of the applause was intended for E in practice. I always start in at middle “Let me hear what you can do,” encour¬ finally come back to the Barcarolle, your 8. “Think” the intervals. a newcomer. It was then, however, that pitch and sing softly and clearly for about ex. a aged the teacher. feelings will be altogether different from Transpose it to all the keys. This is for I saw that everything I had done in my life ten or fifteen minutes. Then, when my 9. Fill in other voices. The pupil played the first few measures. what they were to-day. You may also try the left hand as well as the right hand. had counted toward what I was able to voice is warmed up I try a few high notes, 10. Put in accents, expression marks The double thirds, however, were not at all to devise exercises of a similar character. Remember that a good pianist ought to be ambidextrous—so far as his playing is con- put into that performance. but I never use them in ordinary practice. and pedalling. as they should have!been. The perform¬ ance was forced and the pupil decidedly The Real Test ' cerned. The left hand must be drilled and self-conscious. “Some time ago, you will recall, I told trained as well and as thoroughly as the Interrupting the playing, the teacher be¬ you of a test of real ability at the piano— right one. You will say that this is easy to Vale, Melodeon! gan, “Pardon me, please. I see that you the achievement of playing double thirds talk about and to write about, but not so have no confidence in your fingers and that smoothly in a pianissimo with carrying easy to bring about. Well, hard work will By James Francis Cooke your fingers, as a result, have no confi¬ power and without the soft pedal. How move mountains. Do not play both hands dence in themselves. The proper playing “The left hand may play these exercises many pianists are able to do this ? together before each hand has mastered HE MELODEON was the great and social ascent as is the shiny new of beautiful ecclesiastical work.; and T of double thirds is difficult. It requires one or two octaves lower tha.i they are “And now we will go to something else the problems separately. grand-daddy of musical culture in “flivver” to-day. "Money Musk” or "The Sailor' llorn- confidence on the pairt of the performer written. Play legato at first and very slowly, in your lesson.” Our English brothers made great fun pipe” have grown into “Frilling ■ then" America. and, if you permit me to put it in this way, right hand alone and left hand alone. “I am getting along slowly with the Mechanical Exercises of the “American Organ.” Notwithstand- or Brahms’ "Hungarian Dance But When Louis Moreau Gottschalk was confidence on the part of the fingers. Do Transpose each little study to all the keys, Chopin's Nocturne in F-sharp major, and “Do not forget that every pianist must ing this, its architecture at least gave it a mark one tiling—the joy that comes with coaxing sighs from lovelorn youths and you know that hundreds of piainists are not both major and minor. The importance of this part is still difficult for me: practice mechanical exercises. There un¬ very cordial welcome to mid-Victorian the newer and more complicated expres- maidens with his Last Hope, his Dying able to execute passages of this kind as playing exercises of this kind in all the doubtedly are some who imagine that they Poet, and his Ojos Creoles, the old square homes abroad; and the last stand of the sion is none greater than used come they ought to be done? Why? Because keys cannot be overestimated. Observe can get along without them, but I can as¬ piano was in the ascendancy. But the American organ was, according to manu- from the old parlor organ. It is all a mat- they cannot be mastered? Decidedly not. the fingering carefully. It is very simple. sure you that their playing would be piano was then the instrument of the aris¬ facturers, in England, where it sold for ter of comparison. More than tl . every The rank and file of pianists are not capa¬ Try to produce a beautiful tone. Do not greatly improved if they regularly and sys¬ tocrat. It cost much money. Music could years after America had turned to¬ one who has dabbled in music, even in the ble of playing double thirds beautifully expect full results in a day nor in a week. tematically devoted some time each day to not spread to the village homes arid the ward the upright piano. most modest way, knows that, notwith¬ because they have not taken the trouble to You must learn to hurry slowly, for only purely mechanical work. A student ought distant farmhouses unless it was made pos¬ standing the great educational importance by hurrying slowly will you' ever be able to devise exercises for himself. You may Rover Wept give their fingers the necessary preliminary I have procured the phonograph records sible by a cheaper instrument. that comes from the world mush .1 con¬ to reach your goal. And do not forget construct others from this very Nocturne. HE PASSING of the parlor organ in training. that you recommended and I often wonder That instrument was the melodeon, alias T tact made possible by the talking machine that without brain-work there can be no Above all, learn to invent exercises that America was momentous. When Sis¬ An Important Problem whether I ever shall be able to play the the parlor organ, alias the reed organ, and the radio, there is a joy infinitely effective finger-work. Vary the accents will prepare the fingers, wrists, and arms ter Imogene returned from Miss Smithers’ “This is a very important problem, but composition anything at all like Hofmann alias (alas!) the American organ. higher that comes only with the ability to and the rhythm occasionally. directly for the problems presented in a fashionable boarding school for young J8 * it can be solved. I shall have to give you and Rachmaninoff do.” The melodeon was likewise the piano of humble pieces oneself. “Now let us find different fingerings for particular composition. If more of this ladies and was asked to “favor” by exe- ^ ay a few simple exercises which, if practiced the covered wagon. Far out over the some of the exercises. Let us finger No. 3 Preliminary Work were done, there would be less slovenly prairies they voyaged now and then with cuting” the “Fifth Nocturne” upon the The Stepping Stone slowly and carefully, will prepare your in this way: “Here again some preliminary work is playing.” the more fortunate pioneers, harbingers of black walnut soda fountain up against fingers for the playing of double thirds. ITS limited keyboard, its needed,” said her teacher. “Do you realize a higher culture. The advent of a new the parlor wall, she turned up her pretty We shall begin with broken thirds. These R.H. 353124 354213 v v wheezy reeds, its troublesome ped¬ that in order to play a well-enunciated mel¬ parlor organ was hailed with tears of de¬ nose and her bustle throbbed with indig¬ little exercises appear to be very easy, but L.H. 313542 312431 Women's Orchestras in 18th als, it put certain restrictions upon musical ody and a sub-ordinated accompaniment light by the “hands” who, sitting But they were not the American melo- nity. What a “come-down” from the in order to execute them beautifully a well- “No. 2 as follows : with one hand it is necessary to have fin¬ Century Italy rail fence, heard the voice of some girlish deon. The American parlor organ was fer'vatory' pianos! Finally; she did “oblige” affordTpia^o. ^ to rea- rounded technical equipment is necessary. R.H. 535353 535353 gers that are strong and also independent bride singing through the open window, only too often a cheap atrocity. Some in- adapting Leybachs War Horse to son of its very cheanne** it nn#»rW wnn- As a matter of fact, when you have learned Women’s orchestras seem like the last 424242 424242 of each other? The following exercises “She can make a cherry pie, struments had superstructures which must the ,n such a way that the New- derful field for the study of keyboard to play them slowly and rapidly—pp, p, tnf, word in 20th century feminine emancipa¬ f, and ff—legato and staccato—and, above 313131 313131 should be played slowly and beautifully in tion, but according to Romaine Rolland, Quick as a cat can wink her eye, have been designed by a pastry cook. We foundland dog woven m the parlor rug musi Cyrus Herman Knt«-W.r Vnrtis L.H. 353535 353535 Billy Boy." remember one which possessed a very fairly wept at the family’s disgrace in not tells ihat ,he a all, with a beautiful singing tone, a tone all keys: women were trained in the music schools 242424 242424 That was real music. large mirror, surrounded by scrolls of having a new. upright piano. in his vouth rst mo?ey he save that has carrying power, you will be a very of Venice in 18th century Italy. Each 131313 131313 Ex. 5 “Real Music” is an intangible tonal black walnut gim-crackery. Suspended ^he Parlor organ lent itself splendidly parlor orcran JOyousIy invested in a good performer, indeed. Here they are. (of two conservatoires for foundlings) something that touches the heights or the over the top was a hanging lamp decorated to mus*c °f the Moody and Sankey age. musician* i,v ^ ^ taousanc*s ° “No. 5 like this : “had five or six assistant masters for sing¬ depths of the human soul. It makes no like the contemporary barber shop. On lt: may not have responded to Chopin to the littl iT , Hy w*10 are grate‘ul Ex.2 R.H. 353135 312431 ing and instrumental music,” says this difference whether that soul is the country- each side were shelves for music books, Halses, but it was infinitely better for More tha ^ °T or^a.n *or ^e*r start' L.H. 313531 354213 author in his Musical Tour; “and the elder fiddler-loving soul of Henry Ford, or the and lower down were racks, probably to Hold the Fort” and “Bringing In the legato ^ r®a^ze that the fine girls, in turn, taught the youngest. Ghost of Eduard Hanslick, torn with the accommodate umbrellas or canes. Just Sheaves” than its more elastic brother, the from ,many American players came “No. 6 in the following manner: “The pupils learned not only to sing but nineteenth century battles Brahms why Yankee ingenuity failed to includelude a piano.jt'*“**~. That wasvvao lunglong beforeuciuic organs were !’,eyJ S,ar,ed with l»■•••«»' ' R.H. 531353131235 to play all instruments; the violin, the and Wagner. It makes no difference folding bed is not known. used in American theatres. The organ, theref“ , r than the Piano- We 135313531313 harpsichord, even the horn and the bass whether the music is played by Albert This organ, like many of its brothers, particularly the reed organ, was supposed this ctln may *lavc a &reat respect for “You should be able to devise other in¬ viol. Burney says that they were able, as Hoxie’s band of harmonica-blowing boys had a startling array of carefully labeled to have a kind of ecclesiastical sanctity, nroer e^’PII18"sto.ne *n American musical teresting fingerings. a tule, to play several instruments and that or by the Philadelphia Orchestra. It makes stops, which in many cases were largely ^ur ancestors, who at one time regarded gans ofS’c 4 1S likewise true that reed or- they changed from one to another with no difference whether the music comes decorative. They were a lottery with many the bull fiddle as a particularly reverent aid ponul ■ ^ /na^e wd* become increasingly “Now we shall use double thirds. facility. These women’s orchestras gave from the master in St. Petroleningradburg, blanks. We once examined one parlor or- to worship, looked askance upon the admis- tl It} . e 4uture f°r artisticc employemploy- - public cencerts every Saturday and Sun¬ Russia, or the humble singer in Cayote, gan in which three-fourths of the stops s,on °f the piano to the church—even t p , -~e interpretation of master works. Ex. 3 day evening. They were one of the princi¬ Montana. If the intangible tonal some- were not connected with anything what- the. Sunday school room, ha,° S ^ kigh-class reed organ music still pal attractions of Venice; and no foreign thing touches the heights or depths of any soever—deliberate cheats. That is, you Down on the farm, the parlor organ waa have a large and deserved sale. traveler who visited the city has failed to human soul, anywhere, it is “real music.” could pull as many as you chose, with little a godsend. Mother, with her dear old toil- describe them for us. They were as pleas¬ TmmprKP Pn«ihititipc or no effect uPon the wheezing reeds. The worn fingers, could now and then in the , ant to look at as to hear. ^ TTTTTC; f A V°X Humana mi£ht as well have been busy day wipe her hands on her apron and in th foremost business 1 'T'HE POSSIBILITIES of the reed or- called the Vox Caprina, because the result “set down and play a bit ” thc ’ >it.” This was the cL easte™ part of the United “I have often thought that we artists, gan are immense. Edwm H. Le- was more i;ke the bleating of a goat than door to“ Elysium in many homes.h Now the ^recently said, “/ firmly beliez’e above all others, should be grateful for nicelike the human vvo.ee, same mother,.... with a good part of the , . *he tlme is coming when every- the fact that we are able to make profit There were thousands of such organs drudgery done by electricity, with a beau- -v ml1 be compelled In studv'a out of what is our greatest pleasure. e"“ “‘7.. ““ F‘'7‘W® scattered all over the country. Most of tiful modern piano, with a splendid sunnlv m’ and mind, the uncertainty as to his doings, I recommend very much the way of learn¬ this irritating blunder would have been avoided is nerf ,?fforts’ ,an<1 with persistent attentic the whole bottle of medicine in one gulp. But on the other hand, I wish to state that are the real cause of it (lack of ing anything “with closed eyes,” even in and accurate execution established right at the Give him sugar-coated pills; be kind and with full conviction that comparatively giv«i hem" aUamed- Ma"-V nature h considerate towards him; treat him with authority!). With the pupil it is the nat¬ studying diffcult passages, runs, scales, start—which, happily enough also has a way cienrv = l°n mcmorie* when their de few people are absolutely unmusical. One ural shyness, the respect for the teacher, jerks and jumps. This is one of my meth¬ of becoming habitual. all the good manners you possess; make easily makes a mistake in calling people attenfiom ^ ^ lack or the fear he has, for not having prac¬ ods I employ in studying or repeating Another important thing to remember is, if him feel comfortable, so that he would unmusical, because of their not playing an ticed sufficiently, and knowing he’ll get occasional mistakes occur during the actual love to come again for the next lesson; instrument nor singing at all, nor enjoying pieces. It also is a good remedy against some scolding. practicing of a piece, not to make a hurried foJused" exclusivelyronWffi; ^ ‘J* - use your personality in being polite, re¬ good serious, classical or romantic music. nervous feeling and prepares one for play¬ studied T n the P'ece that is ben My advice to the teacher is: “Work correction of the single chord in which the mis¬ fined, amiable. Fascinate him, and think Wrong; absolute wrong! Study that ques¬ ing* or singing and “fighting the fear,” be up all the authority of which you may be take occurs, and then go on. This only lays the all the time of him as being your “little it to play before the teacher or before able. If you prepare your lessons as above tion and you will find that the taste of foundation for future trouble. It is far better to brother or your little sister.” These some friends or in public. Some people, and concentrate beforehand on what you those people is either not yet developed or stop altogether and re-play the whole phrase in many “don’ts” are more important than by this silly stage fright, get cold fingers are going to do in different but individual that they can not express their feeling which the blunder has occurred, since it is quite you perhaps think. and are unable to play; singers get that aSS ways with your pupils, you will surely for some kind of music or that they had feeling in their throats. It is said that probable that the error was due to mis-fingering toncenira'imretu5™. The Older Pupils give a better lesson than otherwise; hence not much chance to hear real music. even an artist of renown like Paderewski in a previous run of chord, although the correct VEN IF you have a pupil that is E Hence we must not make the mistake of suffers from cold fingers, and the greatest keys may have been struck up to the time when “r’?rLo1rd";,"d * - much older than you are yourself, your feeling of authority will develop and saying to our pupils, “You are not musi¬ singers seem to be hoarse in the first few the obvious dissonance called a halt. consider him all the time as one that needs grow. Once you feel it, once you are d 33 U m'Sht have been thought. JUNE 1926 Page 417 THE ETUDE Page 1^16 JUNE 1926 THE ETUDE Learning the Keyboard Play Them minutes they are on the opera or concert Getting the “Hang” of the Rhythm s Piano Sonatas and How to stage. What is to be done? The only By Robert M. Crooks Beethoven’ remedy that exists seems to me the follow¬ ing: By Lucille Pratt Gunter Some pupils find the learning of the key¬ Part II Prepare your program months and board a very difficult task while others find he can practically double up on his tempo months before the ordeal. Repeat it and Rhythm is the balancing of musical it the easiest part of the rudiments. Teach¬ BwWUUenfo, The BTUDB By with no great effort, depending, of course repeat it hundreds of times. Take a per¬ notes according to regular beats. The ers are often in despair when a pupil calls upon the advancement of his teehmc. Tta fect rest between these repetitions. Play emphasis usually comes at the beginning “A,” “G;” and no matter how often the PROFESSOR FREDERICK CORDER slow work, and the use of the metronome (or sing) it often to people, and, last but of every measure though it may not be pupil is admonished he will persist in mak¬ in obstinate cases, helps toward acquiring not least, use concentration and auto-sug¬ noticeably in evidence here. However, if ing the same error. Again, many beginners of the Royal Academy of Music, London the outline or balance rhythm. The first gestion to get a quiet mind about it. there is not accent, balance is lost and get out of position by playing the third the succession of tones ceases to be musical. beat of every measure is generally the space C in place of middle C and vice counting at 51. The golden rule for time- Ex. 12 The Quiet Life important or accented beat. With this a. that the whole wants to be smooth, the Rhythm keeps the playing orderly and versa. Sonata No. 19; Op. 49, No. 1 counting is this: (being specially needed at | IVE ALSO a quiet life during that a basis the student must group musical phrasing and fingering of the right-hand gives a feeling of surety, ease and com¬ An excellent plan to overcome this fault HOSE WHO have been accustomed a change of note-value) start counting •*-* time and go early to bed. Avoid irri¬ phrases, study and classify them, find the T part should be like this: mand. is to get some Bristol board and cut it to believe that the mysterious abbre¬ about a measure before the change takes tating and exciting company and read a climax, develop a feeling of time that he To attain rhythm the student must prac¬ just a little narrower than a piano key. viation “Op.” means something will place. At such places as 49-51 your fin¬ good book here and there. You don’t know can carry through the piece, study the This movement, by itself, makes a very tice slowly—very slowly, getting every note Have at least twenty-nine of thcM cards to wonder why the three Sonatas labeled Op. gers can hardly fail to keep time, and you how very much these last lines will benefit variations of tempo indicated, and bind nice, quite easy piece for beginners. exactly in its place by counting aloud in range from second added line “C” bass can scarcely fail to be conscious of the you. It is very well to say, “Oh, I have done his thoughts rhythmically and logically to¬ 31” should be so difficult and advanced in small fractions, and practicing separately clef below staff to second added line "C" “one two, three, four” quarter-notes. Thus that anyhow, all my life.” I presume and gether. If he does something definite at style, and the two now before us so simple SonataNo. 21,Op. 53,in C-Major, Dedicated the irregular passages. He must have per¬ above staff, treble clef. Plainly mark the and easy. The explanation is that these lat¬ there can be little trouble with 52 But venture to say, “No, you haven’t.” You each step, he will get the same result at to Count Waldstein fect inner rhythm first. When this is letters upon the cards and above the letters 53 has a tied half-note, which may throw think you have. If you had, your nerves each rendition. This is real study that, ter are really quite early works, dug out E NOW return to the series of mastered he can count in larger fractions, make a section of the staff with clef sign and published in 1805. “Op. 49” means no you out unless you have the swing ot W would not feel so scattered. Think if even in its development of definite balancing measures 51-52 clearly in your mind. “great” sonatas, the present being but slowly, until perfect control of beat is and note which is to fall upon that cor¬ more than “Lot 49” in an auction sale cata- a Napoleon would have doubted every rhythm, makes playing dependable and Mark the four quarter-notes of 53 stead¬ one of those pieces that every one call¬ gained. If he persists until this freedom responding with the letter. When the time he had a big battle to fight; what of ily and the change to ordinary eighth-notes ing him (or her) self a pianist cann is felt, he will be surprised to know that gives it poise. These two works, being intended for victory? He actually saw his victory in twenty-nine are done, add nine more—five ; afford to pass by. It cannot fail to be ob¬ lower-grade players, demand an order of in the next measure will not upset you. his mind, before his closed eyes! I am ab¬ for the four notes above and including Throughout the remainder of the move¬ commentary different from those we have served that the element °.fffimS,t.rUmh"dalb!efi solutely sure of this. This is the secret of Various Ways of Writing Dots and Their Corresponding middle “C,” lass clef; and four for the ment the same changes and difficulties re¬ fect—apart from mere difficulty—had been been recently considering. For instance, all the successes of all people in this world, four notes below middle “C” table clef. cur so that I need offer you no further at first regarded by Beethoven as a maa Touches the beginner needs constant reminding of great or little as they were. These latter cards naturally will cover advice, unless it be to mark in a p, which ter of secondary importance; and a'though the senseless and misleading methods of Do not forget that! Every business some of the original ones but they go to is clearly wanting to 112 and 115, also an the last movement of the Moonlight S printing grace-notes and ornaments. It is man derives his success from this secret. By Olga C. Moore show there are two readings for these These should be properly called “Sona¬ nata,” and the greater portion of the Up. so difficult to bear in mind that an ornament f at 113. , , , You have it in your own hands to be or tinas,” as each consists of only two fairly The second movement, a tuneful Minuet, 31,” and others, leave nothing to be desired comes on the beat, when it is printed be¬ to become a successful teacher or per¬ After the cards are completed, tell the short movements, the second in each case which Beethoven thought well enough of in the matter of technical brilliancy, this Pupils, as a rule, do not articulate slur, is the most staccato of all coming fore it (14 and 15). A turn, represented by former. Read these lines over and over pupil to place them at random upon their being in Rondo form. . . to use the main theme again in his Septet is far from being generally the leading clearly enough the interpretation of dots off very short. the conventional sign s's, would be all very again and follow their advice. Even if allotted spaces in as accurate and rapid a The Rondo of this G-minor Sonata is in (a work you are hardly likely to have feature. What makes the “Op. 53 such well were it always played uniformly; you do not agree with every point, think way as possible. the Tonic major, a not unusual feature in heard) is in Rondo form; that is, there a general favorite with performers is its but, when we get it in combination with it over before it is rejected. Remember The cards may serve for different pupils compositions in minor keys. It is very are three occurrences of the main theme extremely pianistic character, combined the convention of the dot, how bewildering that this writing is based on my own ex¬ and if the teacher is not handy with the straightforward and only demands care to with two episodes between. Here again with its general musical charm. The per¬ perience with thousands of pupils of nearly pen, he has at hand much old discarded it is to the eye to see it written play the opening section at such a pace that you need to watch carefully those places son attempting this difficult work might be every nationality; and that it is the result music from which he can cut clef signs, the portion in G-minor will not have to where the note-values change, such as 8, supposed capable of finding out aH the of observing and studying their person¬ I make it a point to see that the pupil notes and staves; and uniform letters from lag perceptibly in order to get its sixteenth and 19-20. It is curious that beginners are troublesome points for himself; but there ality, their gifts, or the lack of their musi¬ In Ex. 1(a) the repeated notes are observes every dot placed at the ends of a newspaper or magazine will serve for notes into something that will pass for the very apt to get upset over changing from arc some that I have found to be unno¬ cal (inborn) talent, their ambition, their merely separated from each other by a slurs, over runs and other passages. The letters. These clippings may be p:i ted on quicker to slower notes, as in the last ticed by so many advanced players that I energy, or their laziness, their unwilling¬ slight wrist movement, whereas in Ex. touch used in Ex. 3 is to be the finger the cards. This procedure necessitates beats of 21 and 22. These two measures think it as well to point them out. _ ness towards music lessons, that stubborn Sonata 20, in G-Major, Op. 49, No. 2 1(b) the same notes with dots over them elastic touch. It is made with a crisp some tedious work but it will be worth Still worse are those cases where tr. over are, for this reason, and others, best played For instance, there is no rail m the behavior against their teachers who op HIS is a gayer, more amiable piece are staccato and are played with a crisp, snap of the tip of the finger, flexing the the time and trouble on account of its legi¬ a note has to be interpreted according to twelfth measure. The pause on the G is wanted to help them. Your duty is to i than the preceding, also more within short, wrist touch. second joint. The hand springs off at the bility and permanence. the circumstances in which it occurs. For Ex.9 no particular climax; and, anyway, Bee¬ overcome all obstacles and hindrances and the grasp of small hands. We need same time. By playing crescendo to the thoven did not desire a rail, or he would to keep up your courage. Remember, you Illustration of a section: example: give scant attention to the time indication, close of this short phrase, bringing the have marked one. The nextthmgisor^ have a mission to fulfill, namely to spread which is (£ when it certainly ought to be finger off with a decisive snap, the finger member to top the rr«c. in 21 and 22 with the divine art of music with the best of tip is decidedly strengthened. The second (Y Play it, counting four quarter-notes in your abilities, into, the hearts and souls of a sudden p. This is an important pomt phrase is taken off with the same elastic our wonderful young race and nation, and a measure and at a speed indicated by the which I find often gets overlooked Ot finger touch, though not so loud a tone. course, you will perceive that the whole of to make America more and more musical. In Ex. 2 the slur and dots indicate direction, given, Allegro ma non troppo- By observing the various kinds of stac¬ The five short groups of right-hand the second subject anft the approach to it, a portamento touch. (A sobbing touch, gaily, but not too much so. cato, well placed accents and shape in the The diversity of note-lengths in the open¬ notes at 28 and 29 should all be fingered appearing to bristle with accidentals is I call it.) The tone is carried almost to Self Test Questions on Mr. Liebling’s construction of groups of notes (in threes 4, 3, 2; 4, 3, 2; as they are similar this will simply in the key of four sharps, and a the next, releasing the first chord with a This method has been used very ing measures renders the steady counting of Article or fours, whether they are triplets or parts keep the’ phrasing right. So at 37 the change of key-signature was urgently de¬ little reluctant “sob,” before striking the successfully, even with pupils who wer< time a necessity. The trills in 4 and 8, be¬ 1. What are some necessary qualifica¬ of counts), and the shading, I cannot see three pairs of eighth-notes must be fin¬ manded, but to give it would have been second chord. A quick catch of the not taught that each note upon the printec ing in the midst of descending phrases, had tions of a successful teacher? gered as such, and the repeated notes on against a tradition, which Beethoven breath, representing a sob, at the same why a pupil’s practice should ever become page had its allotted key on the keyboard better consist of six notes each, with the 2. How shall we help the pupil with no account played with the same finger. lacked the courage to violate until later. time that the chord is released, will give monotonous. I point these out, when as¬ It was found that youngsters consider it « The beginner always tries to make a trill first one tied, thus: a small hand? The triplets at 40 will need a slight modi¬ When playing the second subject observe one the idea of the effect to be produced. signing the study or piece, and ask about very fascinating game and older pupils con¬ start with the note he sees before him, but 3. How shall the beginning teacher avoid Ex. 6 fication of this. one point: The melody (35-41) is played Release the second chord in the same man¬ them at the next lesson. The pupil soon sider it a sort of puzzle. you see how incorrect that is: he would a nervous feeling? through first with the two hands alike m ner. But the last chord, at the end of the learns to look for them also. be obliged to play 3 or 5 notes in the trill. Ex.lO s 4. What are some ways of making the octaves. See that they sound evenly, be¬ How Words Help The former is too few and the latter too lesson interesting? many. Observe also that the trills have no cause the right hand fingers its part with 5. How does the “Quiet Life” help? and the turn in measure 12 should be The Rightly Learned Piece The modern publisher has made it easiei pairs of small notes indicating turns. several fingers, getting (it is to be hoped) for the teacher by providing numerou: The performer, if not a good timeist, is Ex.7 a good legato, but the left has to play most There is nothing further to remark, till little pieces with words, often of som< liable to get confused at 44 where after of its notes by sliding the thumb. The sec¬ What Had She Lost? we come to the C-major part (68), where slight poetic merit, but the ingeniou- several measures of 32nd notes (demi-semi- ond time (43-48) the left hand has the the right-hand has double note, which are same part as before (the second half an By Hope Stoddard teacher can apply this idea to very many oi quavers) it suddenly reverts to 16th notes The great thing is to begin young. itself automatically in the mind, photo¬ trying for small hands, espemaUy when m octave lower), but the right hand has a , exercises and studies that th< (semi-quavers). The remedy is to count These are quite normal, but pupils, un¬ Train a child from the start to play every¬ graphs itself on the brain. The student sixths. Nevertheless, these should be lin¬ varied version in triplet eighths. Its thumb “I wonder when I stopped caring for child has to work through. If for in four in a measure and listen to the left helped by what they see before them, are thing—scales, exercises, studies, pieces— notes are only part of the accompanying music!” This in a slightly petulant voice will see the notes mentally before him and stance instead of identifying the little tw< hand. At 50 I would advise taking the gered without the music. It is because children constantly at a loss. harmony and must be carefully subdued. from Marjorie after returning from the will turn each page as he comes to it. and three line exercises that are found it lower FC’s with the left hand, The next trouble is that the player, after have been allowed to use their music that I hope you will see that in the 47th meas¬ concert. Four years at college had given There are those who find it easier to mem¬ every preparatory book as Nos. 22 and 23 five measures of easy cantering, triplets they become nervous and fearful of for¬ ure the principal melody is the third no.e her a way of speaking that her mother had orize by the position of the notes on the ^f,e. 7’ the/ are given titles, they will b< (15-19) is suddenly pulled up and has to getting when called upon to play without of each triplet. There are several sudden learned to sigh over silently. “I was keyboard. The great thing is to be sure. resume normal eighth-notes (21). ihis it. They may know the piece quite well ■ ■ !e m'th much more pleasure; and pianos to look out for; one at 63, where simply bored! Not that the music an¬ For those who do not remember easily entally, the child’s imagination wil can be correctly achieved by resuming the if possible, for the sake of smoothness, but a bad habit has been formed; they are the left hand must not get crescendo, and noyed me: I minded it no more than hear¬ the only way is to learn the piece bar by be stimulated. counting at 19. The three eight-notes m pushing the thumb from F to E without accustomed to glance at the music when two others in 83 and 85. People are very ing the man shovelling coal in the cellar. they wish, and they have grown to believe bar as a hit of poetry is learned line by Song-” “The RustIin« 20 should have been printed raising it. It will sound very ‘choppy apt to play, in 82 and 84, a forte, instead But to think of sitting for two solid hours , ’ Chick-a-dee,” are obvious name: if the hand be raised anywhere here, it it a necessity. line. To be able to “recite” a piece of of a crescendo. The repeat of this first with nothing to do 1” Ex. 8 If a piece is learned properly no effort music away from the piano, naming each Km/P”akufor, themse>ves. In “The Tw< being a melodic phrase. , . sn part used—until about 25 years ago—al¬ “Perhaps, Dear, you haven’t been going to to preserve the legato, at least during the I think that the detached chords in 8U- need be made to memorize it. If one sets note as it occurs, is an unfailing test of 5u" th?l,ping. about 1 Finalh occur, should always be played with chang¬ 141 is a steady and persistent forte, only neath even her indifference there nestled I regard such things, when handled on rate musician (with all the tremendous re- stretch is too great for the hand, the “catchv” rhythm of 114, which is best name f* !f. t le entirely satisfactor ing fingers, generally “3, 2, 1.” The long broken by two odd pianos, in 138 and 140. a vague fear that she had lost something, the legitimate stage, as time wasted and sources of orchestra and voices at his dis- thumb note (G) can be omitted without learned by playing the measure once or grace * 'ttIe Study tllat has a fcv slurs marked over 36-44 are superfluous, Do not be perplexed at the queer notation a delight, a jewel, that, for all polishing, energy misapplied. * For the drama of love, posal) than can be attempted by any detriment to the music. In the last 8 twice with the two sixteenth-notes simul¬ the hand ’ 2 couple of measures when as indeed are most of the slurs in the piece. of the bass broken chords. Beethoven could never be reset in its original lustre. of romance, and of .passion is the domain dramatist whatsoever.—Hubert Griffith. Sted 1 CT’ and ends wi‘h an unex measures I should disregard the slurs, which taneously, that is, pected leap of two octaves I are meant only for legato marks. Granted Count your time at 53. That means begin JUNE 1926 Page Jjl9_ THE ETUDE THE ETUDE Page kl8 JUNE 1926 o play single notes only—the upper notes was still afraid to trust to the sustaining The Coda, -rked^gM. ^just hardly be played too slowly, a very grave as the Rondo, wnen jff The Adult Beginner and His Problems power of the pedal, so thought it neces¬ pace enhancing the air of dignity and mys¬ sary to indicate his intentions in this un¬ tery that enfolds it. Perhaps, you are not vou get to 415, you tind tnat w *2 difference can hardly be' £ By JOHN M. WILLIAMS necessarily cumberous fashion. Hoard up is inverted; that is, the hands have ange and a g00d crescendo at 475 makes aware that Beethoven originally composed their parts. The left handl should jecte^ ^ The ^ ^ fo,_ your powers of crescendo during the long, a full-sized slow movement for this work, Of course, there are the pupils who do Greatly to their advantage is the fact that dominant passage, 144-157, for what the but finding it made the whole imprudently therefore.fore be made much louder t commences on G, unlike those which Adult Beginner has a Definite Objective exceptional work. The writer once had a right, to render this appar nt. From 42/ 1^. ^ ^ ^ thc accessory EARLY every teacher of pianoforte, they can reach the pedals, and the hand, left hand is capable of amounts to very long, substituted this admirable Introduc- N young pupil who began taking lessons onwards, are some eccentric S _Tin. onlmmat-inc' dnuhle * and there are some two hundred I believe most teachers will admit that being stronger and larger, is generally little. and afterwards published the other s was usual The culminating double trill the average older beginner starts on his when he was sixteen years of age, having e reach the famous thousand or more in these United capable of spanning an octave When you reach 169, I hope you will If under th never had a lesson in his life previously. States of ours, has at one time or another musical career with a quite definite idea of Now, as to liabilities, the hands of many perceive the sense of my warning about nly thing ii Two years and seven months later he 3 originally marked glis- .. had to face the problem of the adult begin¬ what he wants to learn to play, not with older beginners (especially the football the 12th measure. It would sound very whichwmen Ij. neeaneed airectdirect youryou atteiuion is the *» v—• ---w. • H.._«- ... the mi-*'* some vague notion as to its “cultural value. passed the advanced examination of the 2nd and 8th measures, where the octave sando, but this «, hardly possible/ ner. How to handle it to the greatest ad¬ and baseball players, older married women, dull to hear so much made of the two¬ “Associated Board of the Royal College „ ...... —a— pjan0- jn Khndworth s edition, the vantage is one of the points to which every What are these desires ? and so forth), are frequently stiff and un¬ fold pause. The second subject having E, in the bass, would have been an octave and Royal Academy of Music.” But, played by the two hands, e— music teacher should give time and thought, First, he desires to play tunes that he wieldy. As the fingers seem to hinge at been given in the unusual key of the medi¬ lower had the compass of the instrument since such cases are so rare, we will con¬ cept at 4C8 and 472, where this relief is as it requires thorough preparation and an knows, that he has heard and is perhaps the elbow instead of the knuckles, speed ant (E major) now reappears, in the sub¬ permitted it. To bring the bass up a fine our remarks to the average older be¬ not possible. elasticity of method strangely absent in able to whistle or sing. What these tunes is taboo. Fast pieces, requiring pure finger mediant (A major), but only for a few seventh, instead of letting it descend a are the movies, the home, the radio, the much music teaching. action, are generally absolutely out of the ginner. measures; then we hasten back to the tonic, semitone, as the bass of an augmented Boys and girls of from fourteen to By the term “adult beginner,” the writer phonograph and the church will have to question. The music teacher should real¬ where all goes as before until at 261 be¬ sixth should do, is not only poor harmony the trills having become, during measures twenty-five generally take piano lessons^for wishes to denote all beginners in piano- answer. ize this and give pieces in slow tempo, gins a Coda, gradually working up from in itself, but it weakens the harmony of 507-510, of the pace of ordinary eighth- one of several reasons: To play “jazz” at PP to ff. the following measure, where the skip of forte playing who are past the age of four¬ Racial Music generally a tune or melody in one hand notes. The pace is fully maintained to the teen. This will include hoys and girls of with accompaniment in the other, like the parties, to provide their share in the even¬ The left-hand passage, 274-276, is very an octave would have been welcome. As the Italian loves his operatic arias, ing’s entertainment, or having begun to troublesome with the fingering usually The crescendo at 21 does not want to high school age, school teachers, stenog¬ following: Any Sonata that came lediatc after so the Anglo-Saxon loves his folk tunes. take singing lessons, to play their own ac¬ adopted for the four sixteenth-notes—“2, be overdone, nor do the various sfor- raphers, clerks, married women, college n the Practically all Americans have an inherit¬ companiments. To play in an orchestra, 3, 1, 2”—in consequence of there being so zandos in this movement. I have heard it this great work would be felt boys and men, the budding vocalist who Long, Long Ago nature of an anti-climax, wnatever its ance not only of our own folk tunes like school or “movie,” is also sometimes given little time to turn the thumb under. I find played with the soft pedal throughout; this aspires to play her accompaniments, and, Way Down Upon thc Szmnee River, but merits; and so Beethoven seem to have most pathetic of all, the woman past middle as a reason. “1, 2, 3, 4,” a good deal better. There is aids the mysterious effect, but was not also English, Scotch, Irish and Welsh, to felt with regard to his next effort, a Sonata age, who has always craved music lessons, Older Beginners plenty of time to slide the thumb from the indicated by the composer. say nothing of quite a few German airs. in F, in two movements. It seems one of the but'who, when a child, was unable to have preceding quarter-note; but if you find You should need no warning to keep the Let us us now look at the problem Beginners from twenty-five to sixty (the least inspired of his writings, dull in the the stretch from 4 to S beyond you, the opening of. the Rondo to a placid, moder¬ lessons, either through lack of money, a in hand, take stock of assets, liabilities ancl writer has had many beginners between subject-matter, and difficult in the writing, following is another possibility : ate pace and a steady pianissimo. It is a piano, or a music teacher. the ages of fifty and sixty, one of whom with little to reward the player for his exer¬ possibilities. voice heard in the distance, and though at First, considering assets, the desire to showed unusual ability) generally want to tions. It is one of a very few which 55, 168 and 337 we have it repeated loudly, Older Beginners Difficult to Teach play is undoubtedly the biggest. As be¬ play rather slow, sentimental types of as if taken up by a chorus, after each epi¬ pianists have concurred in passing over; !.priJTOrrnJni. I believe it is generally admitted that in fore said, older beginners generally begin pieces—frequently hymns and nearly Another drawback is the fact that boys sode it recurs as softly as ever. The and there is so little in it that rails for the majority of cases these older beginners, taking lessons because they want to play, always the old folk songs like Long, Long dynamics (light and shade) of this move¬ If this version be adopted I suggest that assjstance at our present stage thm I think and girls who work generally practice at for many reasons, are a “thorn in the flesh not, as is frequently the case with chil¬ Ago, Annie Laurie, Old Black Joe, Way ment are indeed as eccentric as Beethoven would sound better and betray the dev: night, frequently when they are very tired we may well turn to another. to the harassed teacher. First, the hand is dren, because their parents make them Down Upon the Swanee River, and so At 163, and similar places, do less if the passage be played lightly staccato from the day’s labor. Hence the quality already formed and is generally stiff and take music lessons. Frequently they earn forth. The older beginner who is to be not allow the right hand hustle the left instead of legato. Most advanced pianists, of the practice suffers. Of course, any Mr. Corder’s Article unruly. The boys and men frequently have the money for their lessons, and people married and desires music for the future hand into playing too fast; and 251 I however, who have learned the art of play- Self-Test Questions on sort of social diversion, from company hands that look as though every finger had who earn their lesson money are very apt home, the young lady whose fiance sings The light scale-passages at 284-285 are should allow old-fashioned rules of ing octaves with a loose wrist and close (1.) What is the i aning of dropping in to going to a “movie,” upsets at some time or another been knocked out to try and get their money’s worth. The and who is ambitious to play his accom¬ best played, the first ona very swiftly and fingering to hamper me, but finger the the keys, play the passage as written, and how is it applied a compos the practice schedule, and leaves less time of joint by a base ball or some other instru¬ mind of the adult beginner is another asset, paniments, and the expectant mother who legato, the second rather slower and stac- right-hand arpeggios__ all alike, starting„ if they have to go a shade slower; to prepare for the next lesson. Again, (2.) What is a Sonatinat ment of manly sport. The older women as it can grasp the intellectual part of the is studying with the purely altruistic idea cato. To play either glissando, sounds vul- with the thumb on the lowest note, whether but then again they cannot make it sound the older beginner is frequently a young (3.) What is the form of the sometimes have hands that show honorable, music lesson much quicker than the un¬ of “pre-natal influence,” these are other gar. I suppose I need not warn you about ' ' “black. At‘ 287-95, the. light legato. For“ my own part, taking ii man or woman who is away from home, Beethoven’s Opus 49. No. 2? though somewhat disheartening signs of trained intelligence of a young child. isolated instances. the “catch” in the time at 293. ’ i the left hand are to be sideration the small interest of the passage, and systematic practice on a boarding (4.) To whom is his Sonata, f> toil. Others have rheumatic joints that Names of keys, names of notes and their What are their chances of having these The second movement of this sonata, played as if they ; the missing six- and also the fact that Beethoven himself C major dedicatedf seem to squeak when they try for finger values, time signature, and so forth, are house piano is not always feasible. ambitions realized, and how may the music which only professes to be an introduction teenths of the right hand. Afterwards they abandons the octaves at 475, just when the Next, as to possibilities (knowing the (5.) How may the problcn action. easily learned and comprehended by them. teacher assist to best advantage? I be¬ to the Rondo finale, is nevertheless a very gradually assume an‘ independent' ' ' interest,' passage is assuming importance, I think it glissando octaves passage be solved m the Biblical injunction, perhaps probabilities The writer’s experience with such pupils They can think music; their problem is to lieve most of the above ambitions, except grateful task for the performer. It can becoming by degrees the subject itself. far better, if you cannot do the glissando, modern piano? would be a better word), first, let us see extends over a period of a quarter of a be able to play what they think. perhaps the one to play “jazz,” which is what the older beginners desire, and what The Third in this Helpful Series of Articles Will Appear in the July Issue century, with varying results. For the The physique of older beginners has frequently very difficult, may be easily and first fifteen years, the outcome was nearly its advantages as well as disadvantages. the chances are for achieving it. happily realized, providing the pupil gets always the same. After a short period of the right teacher and that teacher uses the A Musical Biographical Catechism study, varying in length from one month to right kind of material. ' three, the pupil would invariably either The average music teacher is too much Tiny Life Stories of Great Masters telephone, write or announce, “My work inclined to teach all pupils alike. The (at the office, home, social affairs, or what¬ By Mary M. Schmitz problems of the adult beginner and the ever the case might be) “is getting so heavy child beginner are exactly opposite, and the Johannes Brahms that I am afraid I shall have to drop my sooner the teacher recognizes this fact the (1833-1897) music lessons.” A polite way of saying better. A child’s fingers will generally do that the teacher had failed to meet the prob¬ whatever he can think. Not so with the [Editor’s Note.—We are presenting herewith a monthly series of Musiciansr” series and “The Standard ,, . „ „ . lem! older beginner. The successful teacher of biographies designed to be used by themselves, or as a supplement to work venience of “Etude” readers this scries is tur* hi' 1 '■'SU ' But within the past ten years this state adults will frequently have to throw over¬ in classes and clubs, with such texts as “The Child’s Own Book of Great Several additional articles will appear later ] ^ tssued '» book form. of affairs has changed completely: the board a great many “traditions,” the “dead problems of many of these older beginners 1. Q. Where and when was Johannes Brahms born? A. No; his playing is described as hard and dry and piano accompaniment c.vi, • z „ wood” in the mental attic. For instance, A. In Hamburg, Germany, on May 7, 1833. he did not fill his audiences with enthusiasm as did the Brahms’ Uh c i } T style. have been met and solved. The writer is the relative importance of scale, arpeggio 2. Q. Did he come of a musical family? three others named. But Joachim said of his playing, portancc to th’ ■*>. _ about equal inl¬ thus able to hold these pupils, often for and chord practice must be reconsidered. A. Yes; his father was an able musician who played "His piano playing was so tender, so full of fancy, so free, ments ° and piano part. The accompani- many years, to the mutual pleasure and If the teacher uses discrimination, he will the znola, violin, ’cello, flute, horn and contrahbass. He so fiery, that it held me enthralled.” ,• f l VCr-y r'ch: and ,nany of his songs have mclo- profit of both teacher and pupil. not assign pieces which depend upon scales played the double-bass in the theater and in the Philhar¬ 8. Q. How was Brahms considered as a teacher of the Zh 0JJ™l,"nan for chorus and orchestra. ble, and the correct use of the damper those in the forenoon, late in the evening Cosset, realising the boy’s great talent, took him to play ing, and unwearied in his efforts to make his pupil grasp thc Bible *>Ht a canla,a with words from pedal from practically the very beginning for Marxsen, at Altona, who accepted him as his pupil and very early in the morning. (about the sixth lesson) is of paramount the full meaning of whatever work might be in hand,” *fof ™immortality.o;£? 9 f°rtk ike of Hfewnd thc hope in music zvithout compensation, and also looked after his 9. Q. Who was Brahms’ great contemporary, and how importance. regular school work. do their compositions differ? Adult Beginners a Different Problem a'. LDlB;ahrS Write much chamber music? The Chinese Pupil 4. Q. With what great Hungarian violinist did Brahms A. Richard Wagner, whose compositions represent the In mathematics, if we have a problem to go upon a concert tour in 1853? ultra-romanticists in orchestral music, while Brahms is lets and ’quintets0 and™’91 q™rletS’ P'a"0 trioS’ solve, we must get busy and “work it out.” Let us first see how the school teacher A. Eduard Remenyi. the champion of thc classic idea in absolute music. rmveth?ZZZ,sIlZ‘; WC‘ °f M We would never think of simply shrugging handles the problem of the adult beginner. 5. Q. Where did Brahms obtain the melodies of his 10. Q. Describe Brahms’ style in composition. Mozart and Beethoven! ° WOrthy of Hayd"’ our shoulders and waiting for it to solve A Chinese boy of about sixteen years of Hungarian Dances? A. Brahms’ style is not bright and tuneful as in the itself, for our common sense would tell us age, who had been in this country but two A’. Brahm7zMnSymph°TS -did Brahms write? A. From a poor Hungarian musician who played some South German masters. It is broad and gloomy, gener¬ that it would remain unsolved. Yet many years, was placed in the fifth grade at pub¬ of his national Hungarian music, which Brahms and Re¬ ally intricate in harmony, sometimes dull and unattractive. the style of Bcethoven’Zfiffl ’0’’^' 77'f-v are hascd on teachers of pianoforte seem to adopt the lic. school. On account of his speaking 16. Q. Describe Brat, ^ * a"d seventh symphonies. menyi took down in notes, and the melodies of which He zvas an undoubted master of form and was great in latter attitude where the adult beginner very indistinct English, a question was Brahms afterward used in his Hungarian Dances. original inventive power. A. Brahms Zt ! , T Personal appearance. in piano playing is concerned. The adult raised regarding the advantages of this 6. Q. What three great musicians did Brahms meet at 11. Q. Describe Brahms’ style in writing for the piano. h a head abnormally lIlge^H' SUn"0,wlcd beginner is a problem separate and distinct step. The answer was : “In public school this time ? A. “Brahms’ style J’ says a writer, “is usually the free his eyes blue and />„ , 9 ^ s comPtixion was ruddy, from that of the child beginner, and one we recognize the fact that the mind of the A. The violinist Joachim, Liszt and Schumann. Schu¬ polyphonic, more open than Schumann’s. Thc rhythm is in his advanced_ ycarl^Tf9 Mr slisMy gray that must be worked out along quite differ¬ older beginner must be kept interested, mann was so impressed by Brahms’ great talent in com¬ complex and difficult to solve.SUM. Helie hasmis au great fondnessjonaness dress, often appearing on thJZ* rat,‘fr care,ess in his ent lines. To use the same beginner’s book hence, just as soon as we have taught the position that he wrote a now famous article entitled “New for syncopations,'cross rhythms, and sudden metrimimetrical kindkind and Carrvinn. hi,. • i h -Ct unthnut a tie of any that is used for a child of six, to ap¬ •The musical illustrations in this ar¬ Paths,” in which he praised highly Brahms’ work. changes. His music is very■ery difficult to play.play.” stead of wcarina it „ r,.'bnmmed hat in his hand in- proach the subject from the same angle as ticle are from John M. Williams’ Older Be¬ 7. Q. Was Brahms as great a pianist as Liszt, Rubin¬ 12. Q. Was Brahms a fine song writer? 17 n mi. y on hls bead. that considered for other pupils, is to be ginners’ Bool;, recently published by Theo. 17. Q. When did Brahms d.e? Presser. stein or Paderewski ? A. Yes; Brahms wrote about tzuo hundred songs with unsuccessful. JOHN M. WILLIAMS /1' ln “wnna, April 3,1897 JUNE 1926 Paae 421

Page 420 JUNE 1926 THE ETUDE THE ETUDE Cyril Scott and His Ego anTsenticef"’ ^ fe? S™ple words *et through to the fingers; cuts off the age of twenty that he has a voice, wants Making Etudes Count d V t PlaCe t lCm In 3 current- as il were.” Older beginners to learn to play as well as possible. Such In “My Years of Indiscretion,” Cyril mentallv T g T 4° atunuJate them ^ed constant watching for tension! espe- a student, who is unable to play piano « Scott discusses the inflation of his self, all, may very well be given the following By EUGENE F. MARKS T Y S1? Te *ey make ciaIly in the shoulders and elbows, admiration in childhood resulting from the up the parts they have skipped. We recog- little exercises at the very first lesson. fact that he began to play the piano by nize the fact that the mind must be kept Teach Arm Touch First ear at one and a half years of age, which Practical Methods of Playing Studies to Best Advantage at work.” Many teachers insist upon the pupil led a neighbor to prophesy: “Now mark The same idea should be applied to the mastering the pure finger touch before nite result. He should make difficult pass¬ my words, that child will be a great musi¬ finger action, the player gams by this older beginner in music. Just as soon as using the arm weight. Yet why begin The curriculum of the years preceding ages flow as fluently as the simple ones cian.” ROM a music standpoint the usually ac¬ slow method calmness and control of his possible, frequently by the end of the piano playing with the most difficult F the advent of the aforementioned fitudes “Though I have turned out a musician, cepted meaning of the word “Etude” and see that the rendition of the whole is fourth or sixth lesson, teach the use of touch? Why not begin with the larger may well comprise the instruction book, or nerves. Having ample time to make a I hardly feel justified in calling myself a is, “a musical composition designed as smooth, connected and acceptable. the damper pedal, and assign some simple (arm) movement and gradually work down two or three volumes of some graded careful survey of all details, even those There are certain laws concerning the great one,” remarks the English composer, a study, presenting and affording constant natural ones, such as beat divisions and to the more difficult finger touch? Many courses interspersed with a few of the metric accent, the rhythmic accents of the naively. “It is not exactly modesty from practice in some particular technical diffi¬ places of accentuation, he attains a mental excellent and progressive teachers advo¬ simple fitudes by Doering, Gurlitt, Kohler, beats and their sub-divisions, and the which I suffer, but a sense of humor; I culty.” However, there are many composi¬ poise devoid of anxiety for correct finger cate starting even small children with the and easy sonatinas, such as Clementi, Opus, phrasal accents, which should be under¬ neither take myself nor my works with tions termed "Etudes” by such composers as or note. Besides he has time to observe arm touch (weight) and when freedom 36—1, 2, 3. These may be worked in easily stood and developed by the student. Each great seriousness; and, I may add, for Chopin, Liszt, Moscheles, Rubinstein and all marks of expression and change in has been acquired gradually introducing if the practice or lesson period is divided one of these various accents demands others, which, from a purely critical stand¬ melody outline. In fact, this slow work pure finger action. With the older beginner, that reason have caused a good deal of dis¬ as follows: (1) Technicalities; simple special consideration. Practically nothing point and in every sense, are adjudged as becomes a sort of concentrated visual the latter method is imperative. Beauty appointment, especially to one or two scales, chords and arpeggii. (2) Selections is superior, for sustaining the rhythmic work of art, par excellence, because they training of music conceptions and calls of touch and any degree of facility attain¬ American women .... from the graded course, easy Etudes ex¬ flow of all these accents, to an fitude with allkeyi demand the application of an exquisite and into activity successive factors: the eye, able is dependent upon freedom of the “This capacity to treat myself with a hibiting the material of the technical exer¬ regular divisions of equal notes to which finished technic and stand unsurpassed as observing notes, signs, and so forth; and piano playing apparatus, the shoulders, The construction of the five tone scale grain of humor, however, only came to cises, sonatinas, or any instructive pieces different shadings may be given, and which examples of the highest virtuosity. the brain, absorbing the impressions and upper arms, forearm, wrist and so forth, and the c triad is all that it is neces- me after my twenty-fourth year. As a partaking of a classic character. (Louis is capable of varied phrasings. We have Popular Music Not Always Trash Concerning the true purpose of the adapting them in turn to the manipulation Even more attention will have to be paid sary to explain, to be able to play these young boy, a youth, and a young man, I Kohler states that this classical work studies composed with specific objectives, Two difficulties are presented in the case Etude, let us consult a few authoritative of the fingers, wrist and arm. It was to this important phase of relaxation with and the piano lesson thus immediately took myself and my works with a ridic¬ should be begun as soon as one is capable such as, cultivating a feeling for rhythm of the boy or girl from fourteen to six¬ sources. Grove’s dictionary reads as fol¬ William James, I think, who said. “The the older beginner than with children. represents service, a point frequently over- ulous seriousness. The first ’piece’ I man¬ of playing five successive tones or the scale and melody, staccato and legato touch, teen, who wants to learn to play “popular lows : “Etudes—studies, exercises, caprices, discipline of mastering one fact at a time, Quite a few little exercises should be looked by the teacher, though much appre- aged at the age of seven to put on paper of C in one octave firmly and distinctly, at bravura and octave playing; fitudes for music,” generally meaning “jazz.” First, given at tttc vety tesson, eacn or lessons. The large number of works under the drilling in mental concentration and re¬ the very HRfirst lesson, each of dated by the pupil. constituted a momentous event, and 1 was a speed of two tones to a second of time. figures and embellishments frequently oc¬ popular music is rather an elastic term which should be thoroughly practiced, these heads for piano are, in a large meas¬ tention, is worth far more than the facts mightily proud of my achievement. It is But it may be undertaken earlier, when one curring in music, as scales, broken chords, that may be made to include such clas- hands alone, before playing them together, ure, mere supplements to the instruction themselves. Facts are forgotten, but the fortunate for me that my mother never is able to perform sixty or less notes to the arpeggii, double notes, trills, turns; studies sms as Dvoraks Humoresque, Offenbach’s Second lesson: Eighth notes may be For the Musically Slow books. They may be divided into two ‘showed me off,’ nor praised me in connec¬ mental ability remains.” designed especially for the development Barcarolle, from, Love Tales of Hoff- introduced and more experience gained in kinds—pieces contrived with a view to aid minute, say M. M. fifty up to sixty.) (3) Second : speed and lightness may be used tion with her own children. She was Simple pieces by modern composers. Such of the fingers, the wrist, the left hand man, _ Rubinstein s Melody m F, Schu- note reading, freedom and control. Eutoka Hellier Nickelsen the student in mastering special mechani¬ advantageously in combination if the fitude a laudably modest woman, and waived an arrangement of the practice period is aione, and so on. Selections from these s Traumcrci, and many others. Sec- Third lesson: The staccato touch may cal difficulties pertaining to the technical is played as softly and evenly as possible every compliment with a deprecating laugh. sufficiently varied and brief to prevent fitudes may be used when one is defi¬ ondly, much of the popular “jazz” These hints are intended for those who treatment of his instrument, like the excel¬ with each note distinctly heard at tempo have no natural musical ability but who If she had been otherwise I might have lent Etudes of dementi and Cramer; and either physical or mental fatigue. It is at cient in any particular phase of develop¬ given for the first and second commodo, that is, at a speed wherein no grown up into a more arrogant young man this point in one’s musical education, be¬ ment. Among the numerous fitudes ex¬ music denotes popular songs, musical ,_i- RJH§|lessons RHshould be reviewed daily many, love the art and are eager to play the pieces wherein over and above such an ex¬ mistakes will occur. It is better to em¬ than I actually did; for owing to my ecutive purpose, which is never lost sight ginning the third year, that the subject of isting, the following are considered as es¬ edy hits, the latest ballads, and dance music many times, i facility is best acquired PI!Jn0c . ploy no metronome in endeavoring to ob¬ fitudes seems to intrude insidiously, yet sentials for all students: in general. Even in “jazz” there is good on the review work,vnrk- belect a patient, though thorough, nerves I was never subjected to the cor¬ of, some characteristic musical sentiment, tain smoothness and speed with this light structor.L rectives of. a public school.” poetic scene, or dramatic situation sus¬ forcefully for at this stage, the student be¬ and bad. Some of the popular numbers Fourth lesson: A melody in one hand touch. Essential Etudes gins to “feel his wings” and wish to test are well written and original, but these are with accompaniment in the other may be 2. When natural talent •, absent, try ceptible of musical interpretation, or com¬ Third: surety and looseness may be imitation. Czerny, Op. 299, School of Velocity. L frequently beyond the average pupil’s early mastered. A few of thZ to gaffi ment, is depicted, as in the Etudes of his strength. gained simultaneously through a staccato Heller, Op. 45, 46, 47, Development of T , . „ , f , , ,, independence, in the key of C, G and F 3. Know how to apply To Play Correctly Two Notes Chopin, Liszt or Alkin.” In Dr. Hugo touch (with thorough looseness or relaxa¬ The Final Drilling Ground rhythm and tone quality. Jf.,h0'v .far 3 teachcr should go to major will doubtless take up the next les- a. Touch by weight. Against Three Riemann’s dictionary the following definition tion of w-rist and arm) given to the six¬ It is evident that to get the best results Cramer, Op. 84. The well-known tech¬ b. Touch by stroke. is given: "The idea of a technical exer¬ teenth-notes only, each note to coincide tTi! * 1 6 PUPi1 m‘his mat- son or tw°- D^ly practice of all old from an fitude it must be viewed as a nical studies, which no piano player should ter is a subject every teacher will have to work is advisable c. Touch by pressure. By Earl S. Hilton cise piece is especially attached to the term with a tick of the metronome. A medium means for the application of technic, or at feTt thlr htTen t Jhe writer "ever By the sixth lesson, sometimes even 4. Scales played very lightly and rapidly •Etude.’ A branch of Etude literature is degree of intensity should be used on each will help to soften a harsh touch. intended for public performance. Yet even least the final drilling ground for such Cramer, 50 Selected Studies. Edited Sd to risk r tv35 a C.rntly sooner> Pupil may be shown the use of Op the different ways of learning note, and the fingers kept correctly curved physiological actions, and not as many seem and progressively arranged with criticisms > fatrtime The te!!^ teachlng ,jazz al'd the damper pedal and taught the C basses, 5. Arpeggios played with a decided ac¬ play two notes against three, try the f< here the principal feature consists of heap¬ at all times. The value of the staccato to think, a mere course in discipline whose cent, up and down the keyboard, will help lowing: ing up of difficulties.” Other sources give touch as a test for the accuracy of notes by H. von Bulow. using the foot f eai prominence to the technical characteristic or correct fingering cannot be over-esti¬ ular music,” but that if he desires it, the E*’3 or power. The usefulness of the fitude is To these may be added advantageously: 6. Five-finger exercises, practiced stac¬ hand, or even both hands; it makes no di of the fitude almost exclusively. mated. Many performers can play a quickest and best way to get it is to go manifold and its highest purpose to be an Thalberg, Op. 26, 12 Grandes-fitudes. cato, will give that desired crispness to the ference. The thing is, to tap the thr From these various definitions we may passage legato, without any trouble, but if ahead and learn the notes, fingering, and touch. advocator or trainer in the acquisition of Heller, Op. 154. 21 Technical Studies, notes with one hand, while the two not conclude that the main object of the fitude the same passage (even if only a simple so forth, in the regulation way, as they are physical adroitness, or proficiency in piano to precede the works of Chopin. 7. A few lessons in syncopation will im¬ are tapped with the other hand. The ta coincides with the generally accepted view, scale run) is undertaken staccato, they will the same in all music. prove the rhythmical flow. that of paramount devotion to mechanical playing. All performances demand such There is a distinction to be made, re¬ pmg may be done on a table until the cc discover to their astonishment that false Musical appreciation is not a fixed quality; 8. Know your glossary. technicalities. Even in those studies leaning acquisitions as strength, surety, speed, suming our general talk on fitudes, be¬ rect impression of rhythm is estahlishe notes are frequently struck and that wrong r”1 the contrary it is extremely variable 9. Know your rhetoric (musically speak¬ toward the highest in art, “the principal lightness, looseness and touch. So it is tween the melody and accompaniment. I he exercise may be done as follow fingering is nothing unusual. id is capable of growth the same as any ing). feature consists of heaping up difficulties; with these ideals of technic in mind that Reverting to the short illustration quoted other form of appreciation. Hence, the Then a few minutes spent on the right 10. If desiring to teach, specialize in ffirf note of ‘he group of three, at the “executive purpose is never lost sight we set ourselves to the task of fitude prac¬ above from Kohler, Opus, 50, the melody the first of the group of two are tappi Touch and Etude-Practice pupil who begins with the idea of play- hand'done wiil fcSte'‘heory. tice. The following simple excerpt from (in- this case in two-voice, or duet, form) mg jazz, frequently ends with the desire (Long, Long Ago) : together; the second of the three nex Fourth: touch embraces the acme of is found to be in the bass, which calls for for better music. j o j • Kohler, Opus 50, an opus dealing entirely followed by the second of the group ■ The Practical Etudes with scales and arpeggii equally distributed fitude-practice, as it means the applica¬ a legato touch and at the same time gives Selecting Compositions for two, the third note of the three last, i tion of all of the above principles of tech¬ First Book Important However, it is not to these transcen- between both hands, should be thoroughly a prominence to this part over that of the Your Pupils the same time count aloud the numbe nic with the addition of expression. Every scale run for the right hand. Furthermore, Care should be taken in selecting the dentals or grand fitudes in Paganini style practiced until mastered. "hich are marked between, thus: note, every motive, every section, every first instruction book. The average begin¬ of technic that we wish to turn our atten¬ the second measure of this melodic bass By Patricia Rayburn Ex. 1 phrase, every accent, must be studied and ner’s book is necessarily, and quite cor¬ tion, but to the more usual and common¬ progression delivered with perfect control and musical Ex 3 rectly of course, written with the child place ones: to that class which deals en¬ In selecting a composition for a pupil feeling. In order to do this, the student of six, seven, or eight years of age in tirely with the development of the physico- four things must be taken into considera¬ must listen to his own playing, must be¬ mind. Physically, mentally, and fre¬ technical element in piano playing; to that tion : the age of the pupil, his state of ad¬ come his own critic. All the time he is quently musically, their problems are dia¬ class, suitable to the third or fourth-year vancement, his intelligence, and character solving the mechanical problems on the metrically opposed to those of the older study, where the names of such teachers demands a certain adaptation of the fingers Each pupil is a problem to be solved on keyboard, mentally he must be improving begimier. Dolly's Walts, Teddy Bear be also counted thus: and composers as, Ber ns, Bertini, Cle¬ t0 produce an effective legato connection, tne basis of these four points. his musical ear by cultivating those facul¬ Dance, and so forth, do little to ment!, Czerny. Cramer.1 'uvernoy, Doering, The best test to apply to a musical com¬ ties which discriminate between what is thus: Ex. 3^ stimulate the interest of the older Heller, Kohler and LC schhorn appear as position-taking it for granted that only beautiful, artistic, and effective, and that beginner, and even the older beginner household words. Nevertheless, the num¬ a work of merit is to be considered—is to which is ugly, trivial, and weak. Often must have his interest kept up. The ber of these studies is so prodigious that even a simple melody requires many repe¬ following outline of the first tivdy • ‘° 3nSWer theSC qUestions affima- it is utterly impossible for any student to ... ., , . Next play the hands together or at first titions and hard work to render it effect¬ That is, the thumb sustains the G of the for of these older beginners the teacher may play the melody and the master the entirety during his studentship. 1. Is the student really interested in riihf ‘he exercise stands, it requires ively and to its best advantage. “Repeti¬ first chord while the third finger is raised has proven helpful. this type of composition? Let it be his aim, rather, to study a part of First: practice for strength. This is to pupil the accompaniment, and then vice t ? , - t0 tap the grouP of three tion is the mother of study,” we are told, in order to resound the E with the second them thoroughly. be secured through strong, even practice, The First Lesson versa. All this work... is «*.aarm work anuand . 2’ ,Is ‘‘ 'yhhin range of the pupil’s abil. the left the group of two. This pro and resultful practice is intelligent repeti¬ chord. This method of connecting chords fitudes should be studied until they go each note delivered with the same degree First lesson: Explain the keyboard, the requires little finger agility. From lrT°ra th.e standpoint of technic? tion, which means repetition with men¬ produces a perfect legato between the a! it wmtorted’ °r tUrned “P side * merrily along. Nor should they be dis¬ of power, yet so slowly performed that one notes representing these keys, their values, n°W °n trvtry and3 use as many folk tunes . ls w,thm range of his ability from tion .’J(V0"ldsfm’ after the present f tal guidance and control back of it. upper notes, while the lower notes are nec¬ carded as soon as the reading is easy, for may! view each sixteenth-note of the scale time signature, bars, measures, fingering, as' possible. Gradually introduce finger ‘ . standpoint of interpretation ? Is his If a critic would listen to another play, he essarily somewhat disconnected; yet, not¬ counting thenhtCrythAfter PraCtid"S w it is at this degree of proficiency that they run as if it were a quarter-note, that is, and give a thorough explanation of the action scales and so forth. A thorough mmd sufficiently developed to get the ut- counts I •t y the exercise without would be “all attention” to detect wrong withstanding this slight disconnection, a knowledge of tonic, dominant and sub- m°st from the selection? do the greatest amount of good. More¬ four beats to the time allotted to each reason for relaxation, such as: “The eye than hef U .Wi" aPPcar much ea notes, incorrect phrasing, poor pedaling, over, if they are continued, they will prove quarter-note. In this method of practice general rule stands that, “if one part is reads the note and repeats it to the brain dominant chords in three positions, and , rIs this composition sufficiently diffi book “Pt°re- £has’ W- Landon’s 1 irregular rhythm, inartistic expression, and connected and an accompanying part is the common chord arpeggios, is of more culcult‘ for ‘*thele student? WinWill Lh ,Jp hfm themselves of constantly increasing value. never allow the metronome to exceed which telegraphs it down the nerves to willk’bePf ayT Tw° Notes Against Thr especially indefiniteness of form. With separated, even by a rest, the result re¬ practical use than the scales, although of s‘retching forward and upward ti As it is impracticable for all to be com¬ eighty, one tick for each sixteenth-note. the finger tips where the note is played. greater work f°Und a grea‘ aid in the stude Observe carefully the curve of the fingers, just such keenness should he listen to him¬ mains as if the whole were connected.” Think of the i i being £ e ’ course it is taken for granted, each teacher achievement ? pletely mastered by any one (unless he de¬ piece IXrill (Tl’irn WhfMl tVlf»CO avoiding all wrong or backward manipu¬ self, and not waste, as he so. often does, The final effect on the ear stands as, fol¬ hose hanging loosely from the shoulder. will give these. " When these questions has been answered votes himself exclusively to the task), the lations of the joints, and keep the arm and many hours, yea, even years, in desultory, lows: Ex. 4 Any stiffness in the wrist, elbow or shoul¬ specific purpose of each should be sought The Vocal Student eachthen’'each, then f’jA ^ thought « hands in correct position which they as¬ unintelligent practice. Every student should der compares to a ‘kink* in the hose and i B",h° and a rigid culling-out and careful selection so focus his efforts and direct his mentality Of course, every- teacher —.-met with the andand’the the nnewCw selection ^eacToffi made of the most valuable ones, utilizing sume naturally if allowed to swing freely makes it difficult for the ‘message’ to vocal student who, discovering after the serious work. during practice that he will gain some defi¬ before we are till, ’, "W,c of ‘°~ only those which are absolutely needed. and loosely. Irrespective of strength and Sheldon. k y 0 recaP‘«re it.—A THE ETUDE JUNE 1926 Page 428 Page 422 JUNE 1926 THE ETUDE Acquiring a True^egato Touch because in any leap all intervening tones Slumps! of the familiarized scale are supplied im¬ How to Develop a School Band By Hazel Barron aginatively by the musical ear. This may By Harold Mynning be tested by skipping slowly on the key¬ By J. E. MADDY board from G to C above, and noting if • , v * rv the ing It will be found that in order to bring A great deal of the discouraging ele¬ Throughout early musical history out thjs beautiful melody as indicated by the intervening notes A and B o.f the scale ment in piano playing -could be elimi¬ search for an instrument on wnmn ^ slu^; fhe finger marking must be fol- From an address prepared,for the Committee on Instrumental Affairs of the Mime are not mentally interposed. nated if the student would realize that he exemplify the legato touch was con ; ■ It is excellent practice to take the Hand Conference. Republished by arrangement with the National Bureau for the Advancenent of Music. Again, there is the expression of cli¬ is just as much subject to a slump—a As the mechanism of the pianoforte melody from its harmonic context in order maxes inherent in each phrase, to which, period when he seems to be able to make Mr. ]ZZs the director of the MusicSufervisoSs.Department of the Conservatory of the University of developed, each master in turn souS bring out the simple, unaffected mes- an interpretative touch must be adapted little or no progress—as is, for instance, Michigan arid is the author of important works for school use. play upon it in a truly masterly way- ^ ^ q{ this musical gem. (as the bass part in the first excerpt given) a baseball player. No one can explain “kid band” to draw from, when endeavored to acquire a way to p VERY school should have a band. Any group of instruments is railed a and a similar, yet subdued, expression of why the mind sometimes seems to go on a E there are no bands in the schools. beautiful singing tones, to exPJ®ss .f , It is both a school and a community band and, until there is some settled stand- the accompanying figure. This figure fre¬ vacation and to stay indefinitely. The The short distance way means quently bears an inherent expression of its legato touch. Today we have the modern asset This fact is being recognized ard to work for and grow up slump Usually begins of a sudden and ends pianoforte, a highly developed instrument, be'the development of the band there taking all the players available and own resulting in “expression within ex¬ in the same way. Probably the cause is to a greater extent every year. “Music never be the development of tl and a host of master musicians to perform • - ** -getting as good a balance as pos¬ pression.” Thus, crescendo, diminuendo partly physical and partly mental. for everyone and everyone for music” should be for this wonderfully attractive inspiringly upon it. But what about the sible at once. There are very few or swell may be made upon the scale runs As an illustration of the part the mind playing of the average student and per- Frequently several fingerings are usable in the treble of the first example, never¬ plays in a slump, this incident might be theless sustaining the smorzando effect of mentioned. Some time ago the celebrated for the same passage, and the student must the entire accompaniment. How frequently is heard: “Oh I she plays Qne which meets all requirements, help to real- All these combinations a F'WtSEr pianist, Josef Hofmann, played in At¬ n which the schools wonderfully, for she has a beautiful touch. -j-bere arc but two important rules. In a and useful, but they emphasize the fact begin with the second Many students deem the study of Etudes lanta, Georgia. He had not given a re¬ ize this ideal. An abstract sort of compliment to offer a and short way We must, of course, uninteresting, yet they should always keep cital there in fifteen years. The small legato passage, when a note i- repeal® Musical training through the band is that there is no standard. The Committee thoughtful musician, for, she reasons, give every pupil a chance, but we in view the ultimate aim of thus surmount¬ crowd assembled to hear him made him once, or several times, a change of finger accord with the trend of the tim< ;, which on Instrumental Affairs of the, M. S. N. C. “What is a beautiful touch?” Were it must also see that every one takes ing technical difficulties, and endeavoring feel rather depressed; but he tells us that should occur on each repetition. By chang¬ is placing greater emphasis than_ ji-er be- has tried to meet the need for a practical possible to inquire of the speaker, it would uic advantage of the chance, so that to vitalize them with the breath of musi¬ as soon as he touched the keys he discov¬ ing the fingers a perfect smoothness is l enjoyment of-’' and ~sclf-cx- criterion by making known its judgment as cal interest. likely be found that he was expressing his ob.jainabl( finger ” Zfssion 'through ensemble playing. to the best instrumentation for a minimum all get the best out of the work. ered much to his joy that the piano was Some standard must be in the appreciation for the tune which the player . rjSOj another is in readiness ■ press P The school band-the wind band-corn- band of twenty-one players, and is work- an instrument that had an exceptionally mind of the leader as he gathers fine action. This changed his mental atti¬ brought out. Melody played in singing jt agajn, thus prndm ■ bines with the fine training it offers the ing out instrumentation fpr others. Thumb Drill of the Right Kind i sympathetic manner is ever m- all the players into the band for tude entirely and the recital turned out to style - - -v—r- - non. When it is impossible strumental in enlisting the appreciation of &^ew because of othcr vojCCv the first time We will suppose this be a glorious success. SSaSltol Band System “ta^hii'sA^Wb T. e. maddy is a senior high school. We Sfind By M. C. Wilkins Piano playing is much like baseball, in i audience. Is the musician always as ac{ a buffer by lifting with the key school life, and beyond that, a great poten- A system of bands is very necessary to « a, se"‘°r g ., * the ,jst of further on in this article the list of that it is partly mental and partly physical. alert in the recognition of beautiful tones , . . suitable downward stroke re¬ tial recreational and cultural service to the accommodate everyone, if band music is lurtner o symphonic band, should always appear with them and play i his hearers?1_-2 Tt,-The difference hatoroonbetween “nU " Here is a thumb drill that can be used That is to say, while there is all the differ¬ place the finger on the repeated in>tc. The public at large. It makes music a “live to fulfill its true mission in the comma- mstnaments o theh the few notes that he can play correctly true legato playing and detached or stac¬ to preface scale-playing to good advantage. ence in the world between the two “games earnest student readily learns that a re¬ subject” to the entire school population. „ity. The wind side of the instrumental A band with th sbould 1)C tile All players on all instruments should cato playing is as great as the difference As the thumb is rarely used on a black yet they have a great similarity in the two laxed, flexible, alert wrist is very necessary This is reflected among the parents in a work must be greatly expanded if all the play any sort of m a The mem- understand that promotion depends upon between black and white. Therefore, a key in scale-playing, the practice may be ways which have been mentioned. Very for good legato playing. It frequently better understanding of fhe value of music boys who should be tooting horns i practical understanding of the various confined to the broken thirds in C major often the hands of the pianist seem to be happens that a wide span occur-. Ixitween inn the educational sctiemescheme andana a truer ap- ssteadtead ofoi laungidling or gcumggetting into mischief a ■ . _„lv but at first depend on tne same, vv mi touches and the correct place of each in .- - ssa?sirs:£ss as indicated. sluggish, and no amount of practicing notes of a given slur. In such a case one predation of its role in the development to be kept busy, to state but one of the limited to the best p -y The pIan of organization, up and down, and performance is the duty of every sincere seems to be able to improve matters. The must plan to allow for the needed expan¬ of the individual and the improvement of vital uses of the band. there shouId s0 ’ as & “crossed,” the competition will be keen student of musip. Ex. 1 player is probably in the throes of a sion, by a change of fingers on a sustained group life. With its cheering and inspir- A system of school bands, headed by a quickest way is p and transfers from one instrument to ail¬ For passing thumb under. physical slump. As stated, baseball play¬ The clapping of the hands at regular ing music, its picturesque uniforms and fine symphonic band, should be developed separate unit ciea “ saxophones other will seem, logical and will be easily intervals illustrates in a simple way the ers frequently experience this. George The necessity for rapid changes of fin¬ general„_ usefulness... to the school and in;n every community. The wind instrument example, supposepp a j. csoorano„nrarlfl made. But let the leader always use tact. effect of the staccato touch. Though the 6 ■ - -o-- ....J u— I-..,.— nresent themselves. .Needing one soprano _ ban(j, effectively the Sisler, the famous batsman of the St, gering is shown in the illustration from town, the band merits, and receives, the classes should be stressed in the lower present themse ves. e * ^ s{|ected To develop .. .. - claps be slow or rapid, each is separate Louis Browns, in the season just closed the much-loved Beethoven work, com¬ enthusiastic support of the student body grades and -the band organized in the sev- saxophone, the best . of the j leader must have a definite sized and and distinct. One neither meets nor over¬ appeared twenty-six times at bat without and the public. _ _^ enth grade. . and nfput the soorano^axophones may take definitely balanced ensemble laps the succeeding clap. So it may be said monly called "The Moonlight Sonata" (Ex. Follow this counting for precision: scoring a “hit.” 4). It will be noted also that I In addition to these advantages a band jt 1S better for each school building to f5s. °f.^ change ^^o^sonief other begin, with and then stick to it until it For the genuine slump there is probably thatmclL any»»•»«.^•» Proceed in the same manner with the other type of organization capable. than preparation has made possible. The ing tones and the effect of constant over¬ Although the false notion is entertained distance plan is to raise the right number u]ar instrument. The four best of these first and then quality, fingers, and the other notes in all the exer- old saying that “The shortest way home is lapping. by many that a true legato is obtainable Standard Bands and kind of players. This takes a lot of should ^ placed ;n the first band and the It is a good plan to have an extra player each part who rehearses with the first the longest way round,” is perhaps true, only at the organ or by the human voice, Band instrumentation has never been time, but every band leader should begin of. them given their choice between band, and stands ready to fill in when as applied to slow development in piano the stringed instrumentalist will find that standardized, so there has never been an this plan and keep it going att the going into the second band or changing another instrument and going into the first, someone cannot be Present These extra Please Do! playing. he also can approach a perfect legato in ideal organization toward which A change in musical diet is often as ex¬ his playing. He must remember, however, Let it also be known throughout all the players may or may hilarating as a breath of fresh air coming that though mechanical (technical) perfec¬ system of bands that but four cornets can second band. They may play with the band By N. B. Smart into a hot, stuffy room. tion is very necessary, yet this is but the enter the first band and pupils contemplat- in the “Tutti’ passages and be ready to Finally there is the recourse to quit mu¬ Double thirds and double sixth., means to good performance. ing cornet study will consider their chances the solo passages when necessary It sic entirely for a period of time. This The pianoforte student must begin to and select the instrument to be played >s well to look forward to graduation Acquire a true legato by finger exercis¬ found very profitable practice. It shoukfbe ■t, _.rp tb,n ,,suai time and be training enough of these un- ing. often works wonders in the nature of an noticed that min ascending a scale. oi thirds bringv*™ out a beautiful musical expression Practice the difficult parts first in studies improvement when the work is again the fifth finger on the right hand and the through t,,e simple details of his daily tSc- to fill in .!» b»d «!■=» «« and exercises. taken up. thumb on the left must cling to the key praCtKX' Scales and arpeggios must be net players decides to get a French horn. tlnlc com®a‘ , , , , Get the fingering right in your scales. while the pair of fingers passes over. This S!Ven d‘''Sent and persevering study, He should be put into the first band at . It should be remembered that the quaL Play scales slowly until you know them. same clinging to the key is necessary for Troul)lesome points must lie carefully ami once and the fact announced through the ity of he performance of this fi d Give attention to phrasing. A Tribute of Tears the two outer fingers while ascending with 5^wnent,y eliminated. The fourth and whole system that when a pupil taker, up a and all others also must be constantly new instrument he can rise clear to the perfected, for if the ensemble does no Play more slowly if you blunder or Harry Harkness Flagler, the generous legato double sixths. hfth fingers must work as freely and top if there is no competition on his in- grow musically the motive for joining it stammer. patron of American music, told a story at accurately as the second and third. The strument. On the other hand, the more at all is lost, and the whole system is a Avoid stopping in sight-reading. a musicale in New York. Ex. 2 , , thuml> must remain relaxed and play with Keep your eye at least a bar in front of “A male quartet,” he began, “was sing¬ p * * L-U4_♦ 5 1 1 I a parallel stroke to that of the instruments of the same kind the keener failure. the notes your fingers are playing. ing plantation melodies at a concert in j -j-p-P F f f tJehsrsCeatde,gretCS <1’f sPeed and three of loud- the competition and the better player one Suitability of Instruments Leave the new piece till after you have Rochester. As the melodies went on a man must be to hold Ms place. Students often select an instrument practiced scales exercises and pieces. in a front seat was seen to wipe his eyes el°' tlmnlsh such application, can the It may be thought that placing a green which is unsuited to their physical make- Remember that one piece well played is furtively, and a few minutes later he burst One immediately finds that in attempting the rcLfrem" P/°pCr sensi,ivcnc"s of player in the best band will hurt the en- up, and it is well for the leader to pass of more value than many pieces indiffer¬ into tears. to play a phrase in a beautiful legato S,5 semble. It will for a time, but it is per- upon the selection and advise against . . , . choosing the wrong instrument, ently played. “The manager of the quartet slipped he must first acquire a correct, practical positions. fectly adzing how rapidly a youngster players ^ hav£ thjn lips and Understand fully the key, or keys of a round and touched him on the shoulder. fingering. It is only after a usual finger- The nU ~ i- can learn anything when the proper mcen- eyen {rQnt teeth_ Sharp or uneven teeth, piece. “‘My dear sir,’ he said, ‘our quartet mg has been learned that the student can lino f >".us,.c’ ,hc neighborly tiling- Conquer the difficult piece and make it deeply appreciates the compliment you have tive is given him. The new player will or UppCr anc| lower not in alignment, work to perfect the technic required for rollickinaTl S<1""ri' d'”"' strive manfully to bring himself to the wotdd make playing painful in the extreme, speak your thoughts. paid it by this display of emotion. You the passage. The opening phrase of the as the sL i "',d Joyous Ms‘ as vr" Finish your practice with one piece from are a Southerner, no doubt?’ popular Impromptu, Op. 142, No. 2 (Ex fm «■ /l“"',0H-v °f 'he calls, are all level of the rest of the band. At first he Pupils with thick lips should be transferred your repertoire. “ ‘No,’ sobbed the man, ‘I am a musi- 3), by Schubert, gives some splendid illus- more 'l'i a Measure which the should not be allowed to play very much to instruments with larger mouth pieces, Play to friends when asked. when the band appears in public, but -ie such as altos, trombones, baritones or trations of the necessity for correct finger- dances cannot™'^ mamfaclured HIGH SCHOOL BAND, ANN ARBOR, MICHIGAN JUNE 1926 Page 425

THE ETUDE the etude

Page 424 JUNE 1926 , riiatelv, a beginning should, of course, be instrumentsments closer de, ytiiizing *Uf>rafter school hours, for afteraft*,- “Those Horrid Inventions! Those Awful Fugues! tubas, according to the thickness of the Junior High School Band (54 Pieces) bring the the same general plan. ^ chjldren profit by this training, and lips. All brass players need even front Sixteen B flat clarinets. Two E flat together, e P their interest can be aroused to the point Hints on the Art of Playing the Music of Bach teeth.iccui. Reedmcu instrumentmsuuiireui yajcisplayers mustnrasi navehave clarinets. UneOne piccolo,piccolo. uneOne uooe,Oboe, UUCOne . „oils who play where the work becomes pleasure, even-i- lower ™teeth. Oboe- and—> bassoon1-- play-1— bassoon.- One,- alto saxophone.• One tenor-- Credits snouioshould beuc s*-given1— **^uP■». .fa ^■. I{ (Thj5 article will be continued in the ers should have even upper and lower sax0phone. One baritone saxophone. in the band, if their work s ^ {un {or july.) By PHILIP GORDON „ - ■ . teeth. Good whistlers are the best material Xbree C melody saxophones, if separate they merely play occasional y Mu„ _ for flute and piccolo players. music provided. (Do not allow them to 0f jt, they should receive no c • . play the oboe music.) Four cornets. Two sic should not be looked upon ^ Bring Out the Melody (The author ?f JZl Buying Instruments trumpets. Four French horns, mello- the music credits that are g How shall the instruments be acquired, phones or E flat altos—or four French schools should be earne . By Blanche D. Pickering who shall pay for them and what shall be horns and four E flat altos or mellophones, Attendance ■ , , d fas in the F minor Fugue “Well position, bringing them out above he web « e and moditm Suite;” com- Very often students, -VHOSE HORRID Inventions! melody (as in the t-minor rugue, »* .r ... P”Ttr5o‘L—. wi,l * purchased «ch“ The ^“-S' *A »» •*» „ U^pHOSK HUKKJU mvruuu.B,. TemoerecTaavichord, volume I") or by of counterpoint ----- ag the outiine may seem at first, it by the players without much urging, but Three trombones. Two baritones. Four librarian o movable cards is the which has a, memelody y : , , the less well-known instruments must be E flat tubas, small size, upright. One bass seating ^ time should ever left hand, do not bring oat the melody but T' h"manyt°*2 snidents dTrausic, and how striking rhythms. Hght tnd ma^ be playing .^-bordinafe ^dWidS iU.Z fectionsZd furnished, such as the French horns, drum. Two snare-drums. One pair cym- best way • certainly the play both hands in ’ oboes, bassoons, tubas, and so forth. ' .. bals. . * neter 2 it His time is example of this kind is seen m the fol- Zy’Ur/ have the^Ud giving each section its due emphasis. The board of education should be asked Symphonic Band (68 Pieces) otherwise. lowing measure. fully occupied otherwise. Ex'9 to furnish these instruments as a part of Twq piccolos (interchangeable with Andante m. J-. sa-as the school equipment, the same as it flutes). Tw0 E flat d^nets. Twenty- -Rehearsal Time Brahms, Schumann and Bach; and why do Passion.” But the sooner the pupfl kar^ ^ ^ 1viU. French horns_ Two> barbaritones.it0nes. Three AllA11 bands should meet in school time ;n Matthew's Standa: Graded require not only playing but also a great syncopated to such to tell what ought to be done than to give ; their vocational training. - .,i ™’*“ Q • .UUUIUUUC3.trombones (two umm and one bass). Six where possible, have a specified number of E Book I. The right-hand melody deal of thought. And thought cannot be "eaUy quite jazzy, specific directions for doing it. Expression the otker. Music ma es re supe-io "jubag (two E flat and four BB flat). peri0ds weekly, and be an integral part of sj,ou],j be brought out in a singing tone learned from a book of technical exercises, Hx.l showing. Many boards of education are TimpanL 0ne snare drum. 0ne bass the schooi Workf. When pupils are al- and ^ left hand should be (.d more is largely personal and it is the one ele¬ as if it were a problem in finger agility. ment in musical performance that defies furnishing funds to buy instruments. drum. One pair cymbals. lowed to substitute music for other and { g , tbe ■ gbt j te|j mv pUpiis to Would that we had a book of exercises teaching. The most one can do is to sug- . {rjsir&sr.svse in brain agility 1 — gest points that need to be considered in It is also a project which will make a Xbe National Instrumental Committee jng by music than by any other profession, panist must not play as loud as the soloist, Expression in Bach Go over the Gavotte of tlfe “Fifth Eng- the art of expression. strong appeal to chambers of commerce, of tbe Music Supervisors’ National Con- except school-teaching and one or two Hsh Suite” in the same way, outlining the Gradations of tonal volume must be therefore the left-hand accompaniment The first essential in playing Bach is to Rotary Kiwams and Lions clubs In fact, ference suggests the following instrumen- others, and when you include those who * ^sutordinated"r opening motive of three notes, clearly, but used copiously. It is true that the harPs*‘ get over the queer but common notion that local clubs of all kinds may be interested. tatjon for a minimum band of twenty-one partly earn their living by music the num- Yith Irace and delicacy. In the second chord and the organ could not pass grad Philanthropically inclined people will pieces; ber probably equals the number of school this music is devoid of shading, phrasing, or accent. Bach wrote most of his music Then unmistakable laughter __ here find a very concrete way to. help. pour ciarJnets. Two saxophones (bari- teachers. Most of these professional mu- change suddenly from loud to soft, Playing for Daddy without expression marks of any sort, it is second and third, the latter of which in left hand several ti Many a talented pupil, if given an instru- tone and tenor or alto). Four cornets. sjc;ans earn money on the instrumental that is no excuse for our failure to play true; in fact, he seldom gives any clue its opening measure seems to imitate ment and a few lessons will later become Three hottls: One baritone. Three trom- sidc, aud the number is increasing every Importance of Phrasing expressively. even to the speed or character of the piece. whistling. self-supporting either wholly or in part. bones. Two tubas. Two drums. day But this is only the vocational aspect By Alice M. Steede Phrasing is of the utmost, importance in There are times when the sudden change But the reason is not that there was no Concerts of all kinds may be given and R , 0f the question. When the educational, Bx.2 Bach, because the music is generally com¬ from forte to piano is intentional in Bach, need for such directions, but simply that the proceeds used to buy instruments. Thirty-Seven Piece Band general cultural, ethical, and entertain- “Personally, I derive more plea e from plex in structure. You will appreciate the Bach wrote music to be performed under us in example 10. This gives an added reason for studying Twelve B flat clarinets (three first, three ment* siZof music are taken into account hearing a little first-grade piece ,11 played problem if you will take the opening sen¬ bis own direction, and there was no need ;ic, but it is a very slow way to sec0IKl, three third and three fourth). One tbg tb;nking person will soon see that only than from an advanced piece ti. is even tence of Milton’s “Paradise Lost” and try Ex. 10 for him to write into the manuscript re¬ raise money. m E flat HH|clarinet. One_ flute and piccolo. a very usefuI subject ;ndccd can hold its slightly too difficult for the ptrfr— to read it with such inflection, punctuation, minders of speed, volume of tone, or dis¬ Vaudeville and minstrel shows, given by Qne oboe Qne bassoon. Two saxophones _with instrumental music in the schools. So said a well-known musician r ently in and distribution of emphasis that the tribution of accent. If we find in modern students, have value and are popular. (E flat abo and B flat tenor, or two C One or two weekly rehearsals will suf- a public address, and this is an op - ion that, meaning will he clear despite the length editions of Bach the same absence of ex¬ Student organizations often help with this meiodies. Or one alto clarinet and one B fice for the bands in the grades. The on reflection, we must all ernlor ■ pression marks, it is because editors hesi¬ and complexity of the sentence. The pro fund. Tag day also helps. Managers of flat tenor or C saxophone)• . bands of the j'unior and senior high sthools From the first year or so of he musical lem is the same with Bach, though here picture theatres often allow organizations tate to tamper with the music of such a One alto clarinet. ^One bass^ clarinet sbouid meet every day for one period. education the pupil is not ot' ; capable it is augmented by the fact that there to take over a certain number of perform- or bass saxophone. Four cornets. Two master, not because the music is inexpres- I Tr""“ if the ensemble is efficiently organized of playing anything, that is, in 'self, of may be two or three different melodies ances and share the profits accruing from trumpets. One fluegel horn. Three i amazing amount of work can be accom- great musical merit; but everyon is inter- sounding at the same time, each requiring Sometimes such cases are recognized by the increased sale of tickets.. Old paper French horns. Three trombones. One Pupils are in the habit of thinking that plished in a one hour daily rehearsal. The ested in seeing a little eight-year-nld doing Bach’s own designation—he used the full sales are a goodly source of income* . baritone. Three tubas (one E flat and two thev must use only the editor’s brains, V ,-, nest time torfor renearsaisrehearsals is tnethe tmacliemiddle ofot anythinganytmng well, andar she can give a good rhe fourth example is rough and bolster- lts0fthe firsfs^umes of difficulty i ™ never their own. It is only after years wuc u. ...v HR L_ words, forte or piano; sometimes modern ^the^ rTise fiTwfich is orcoui f flat preferred). Two drums (bass and the day. A school can generally arrange deal of pleasure i, y; and, even I,, itc:s humor. phrasing Bach is the double structure of ed;tors indicate f or p, and sometimes the that they raise funds, which is, of course, i small w that they learn the necessity of thinking program that will permit daily rehear- at an early stage, she can alway s Ex. 4 many of the melodies. In example 2 we p]ayer must recognize such passages for the primary objective, but that they serve The Community Band independently. Hence they have a tend¬ sals, if the principal is so inclined. Prac- little piece that she can "play for Daddy.” see such a melody. The essential notes himseif. But there are many melodies— to keep students and public reminded of ency to play Bach in a mass, at a fixed The community band would do well to tically every high school has duplicate To insure this, some little piece that appeals A, G F, E are imbedded in the general by far the majority—that require a copi- the importance of developing the band. level of intensity, and with a scrupulous take one of these suggested instrumenta¬ ■ ’ relatively —- 0f crescendo and diminuendo. Care must be used in buying the instru¬ classes in some subjects. If every class to the child’s own mind should be chosen, V “’ mass, which also contains the relatively ous U5e ul tions and work toward it as their goal. _ avoidance of everything that might make ments. They should all be “low-pitch.” that meets at the same time as the hand It may be only a little two or three-line as you see, itit requires a goougood uc ffJE EX* A r- »f " priS S3*On Sfirst up on the last «beat and »into “TiStS the first beat One bass drum. One snare drum (two 6 fare Association,- “The Value of Musical (say) ten thev rath**- u*;*,. 'tinted may be used). One pair cymbals. The seating plan of the symphonic band Traim^ tomMren^n Schools of America^ as if they were twelve, but thev Zed a,„- theme the more intelligible will be its they acquire life and meaning. ZdffiZa W sentence may be far from of the sixth measure; faster to the last various developments. Individuality was It is cka one must search for subject, predi- beat of the seventh measure, and slower e school raised ?230 faZi°fmhfliee:S f ^ ^ ^ Nitons that attained either by unusual skips in the course of the themes through the com clear, homes and dispose of them to a Junk deaier. Just leave out the missing instruments and «£ 45Ve”45th Street New"”1 °f M’" seten.-Ft.S7z Khe Muacl TiME^.' ' JUNE 1926 Page 427 THE ETUDE THE ETUDE Page 426 JUNE 1926 at the hands of performers as much as has less. This accounts J°r th ^ Jir {rom Bach. To play his music well requires to the end. Of course, all this must be English Suite.” To rush over such pas¬ of listeners who think th analysis, study patience and thought. It is accomplished gradually—so gradually as to sages is to make a melody sound like a the “D-major Suite” (usualy day ^ a huge task, and not many care to accom¬ he almost imperceptible to the hearer; finger exercise; as Bach is all too fre¬ violin solo on the G string) ‘, extren y plish it; hut the student who is willing to quently made to sound. Nor should one otherwise the rubato becomes a series of devote his time to the study of Bach is make the mistake of drawing out a slow stupid. Another pojrt 0f temperamental jerks. more than amply rewarded m the enrich¬ melody to the point where it becomes im¬ playing a slow melody «' mQre d;ff>- The student should guard against taking ment of his mind and in the inspiration possible to follow the sense. The listener sustaining the tones. T but the fast tempi too fast and the slow tempi cult on the piano than on the v which comes from an intimate acquaint¬ too slowly. Bach’s rapid passages are not has to keep a whole phrase in mind in it is fully as important for the pianist as ance with the music of the great John Se¬ necessarily meant for bravura; f requently order to comprehend the sequence of for any other player. =„ffPred TH,s Oeoartment ,s designed to of they constitute the true melody of the thought; if the tempo drags so that he bastian. Probably no other composer has suffe technical Departmeat. Full name and piece, as in the Prelude of the “G-minor cannot do this, the piece becomes meaning¬

Suggestions for Interesting Recital Programs justed to accompaniment. Afterwards the boy played Ragtime as Teaching Material one of his own compositions, a clever little waltz which A correspondent takes exception to an answer he had been encouraged to work out for his own delight. By Irene Gray Huston rentlv given in the Round Table, in which it ' These children had, of course, some previous in¬ that the best teachers do not give ragt.me pieces to struction; but their summer’s work accomplished gratify¬ their pupils. He goes on to say. a general discussion on the opportunities womenn have HaveTpaper on the “Story of the Growth of Opera” ing results in increased powers of both technic and in¬ Recitals accustom the pupil to appearing before an PROF. CLARENCE G. HAMILTON present compared with past centuries. Program should and have some one tell in a few words the : ■ > of each “Certi terpretation. . audience, and keep both children and parents conversant music should alH.lis We cannot expect to make proficient performers out ot be entirely of compositions by women. opera from which a selection is played. II.. the pro, not taught, oi with the work which the teacher is doing. Here are a all or even the majority of our pupils. Many children few general and special suggestions which may prove 3. Parents’ Recital:— gram selections from opera. teacher. The institutes This is one which arouses great interest. Among the some people — - will, for some reason or another, abandon their piano Practice, Metronome and Methods 9. Symphonic Evening :-r- These people thin] useful: parents of your pupils, it is always possible to find 'omfeerent forms,, KagtimeMs^a study in later life. But their time has not been spent For this, have each come prepared to .!■■ < nbe some Miss L. Van A. propounds the following comprehen¬ those who sing or play or recite and who can be per¬ in vain if their musical insight has been aroused and it General Suggestions instrument of the symphony orchestra an mg it or neveu a <»».. .,f music suitable only for the sive queries: suaded to help for an evening. Ask a mother to sing hall and beer saloon, but is simply an exagg. ^ated they have begun, even haltingly, To speak in the lan¬ 1. Plan to have at least three (or as many more a picture of it to show. For a social ev< - :.g the old ... scores of to her daughter’s accompaniment and a father to play form of contra-tempo, which is guage of music. We have plenty of expert, pianists and 1. What is the right way to practice a lesson as possible) "practice” or studio: recitals and one game of Family Coach changed to a sympl orchestra „„ ...both in sacred and secu- a duet with his son, and others to "play some instru¬ ar compositions. Therefore to^prohibit the playin reproducing pianos are multiplying their results. V\ hat in order to get the most out of it • rmh.,, _ the playing 2. How do you set the metronome to dit rnm , "exhibition” recital in each term. and each child representing an instrument makes an if ragtime, so-called, would be to we sorely need, however, is a more widespread musical the rapidity of suchjtempos as Allegro, Andanti. 2. For each one, have a miscellaneous program, which ment or give a paper. ,f many oratorios, op^ra^^aml^ sterpieces. The interesting ending. rlth examples, as intelligence and power of discriminating appreciation. . is always necessary with a mixed class, and a special 4. Century Recital :— ^^NamedllSent methods of piano playing, and For this program, take up the music of each century 10. A Musical Game Evening:— n^Raci'o'°anSd* cJudas Sfaccabeus. To accomplish this end, a prime requisite is to culti¬ show the points of difference between them. program along the lines suggested below, for the second There are many musical games which ma. 1 used to from the earliest chants to the Futurists’ music. Have As the correspondent declares, it all depends, upon vate a taste for the best music. There is no more sense 1. To be uniformly effective, piano practice should be part of the evening. short talks on the similarity of styles of music, of fill in the second hour of a studio evening Many may piano teacher’s use of musical doggerel, indeed, than 3. Have cards printed at the beginning of the term conducted with both system and concentration. By the architecture, of literature and of dress of each period. be found in the Junior Supplement of the I i>e. Here with these special subjects on and send them to those former, certain daily periods are set apart, and these For example, is there no relation between Bach's writ¬ are two of our favorites. nf the word and the one evidently understood by the to his class rhyming advertisements of patent medi periods are divided among the different items ot the whom you wish to interest. ings with its embellishments and seventeenth century 1. Tell a story, filling in words by ui musical 4. Keep an indexed number of large envelopes con¬ ££ X askeTthe original question, is that it is a type or shaving soaps as an education **^*g*J£ lesson so that each item is given its due share of atten¬ architecure with its pointed arches, graceful turrents and signs on a blackboard and have the childrn a rite each taining clippings from the Etude, one each for each of music that, is founded upon the reiteration of a syn- is the duty of a piano teacher to encourage th: study tion. But, to produce the best results from this system, intricate ornaments, and the style of dress with its laces one down as they recognize it. For exatnp -tart like well-known composer, one for articles on teaching, one copated rhythmic figure winch with some changes rung musical P-^tmse * the player should keep his mind constantly intent upon and frills and curly wigs? Was it not the spirit of the this,—A farmer went to market with a >*f wood, for articles on opera, and so on. These are a great the work in hand, so that his fingers may be properly time that gave us the early monastic music, the heavy but, going round a t he upset and fell b • n his follows: T I J J J J J will make use of them. So I reiterate that no self-re- help when you are looking for material for your special upon it controlled, and all the details of touch and expression columns and stately lines of Roman architecture, and 2. An Ear Puzzle. Tell a love story and play a few i popular ragtime the presence of this figure in itself specting teacher will feed his flock duly observed. Much practice is ineffective or even subjects. the severely simple draperies which were worn then? bars of familiar pieces and have the childn fill in the Now, II IS uui Hit y* ~ • f any other unworthy materials. 5. Do not work alone. Wonderful programs may be t • Ti. „ tnrtry j aZZ, harmful just from lack of such attention on the students names as in the last game. The heroin might be which unfits a piece for piano teaching. It is a form given by uniting with an elocution or a vocal teacher. Is it, perhaps, the twentieth century spirit which is giving us our ragtime, our Futuristic music, and our sky¬ Clementine or Annie Laurie and might m her fate of rhythm which, although it subverts the normal accent of the measure, may yet be occasionally used by an art¬ A Pianist’s Daily Routine ^Finally, practice slowly until all difficulties are elim¬ scrapers ? Good musical histories and talking machine Away Down Upon the Swanee River, and >n. The Special Programs ist composer to produce varied or piquant effects, as m _it for a pianist inated. “Be sure you are right, and then go ahead.” records will be useful in this recital. possibilities are endless. Daniel Bloomfield excellent s per day to the subject, and the case of the operas, oratorios and other standard works 2 Such tempo marks as you mention are relative and 1. Biographic Recitals:— 5. Christmas or Easter Recital:— e his repertoiri “ . book Musical Games and Pussies is a ven ■ : help. suggested. But such a legitimate use by the masters es, arpeggios, chord not absolute in their meanings. A composer, for instance, A course that was successful for one whole year’s For Christmas, use old carols and rounds for all to 11. Indian Evening:— •eview, and so forth, he may write the word Allegro, which literally means work, was to take for our special programs the study sing, and have a program of Christmas music. The has no bearing whatever on the abuse of the rhythm _ y esent repertoire consist The Etude devoted one whole issue to I dan Music inferior and popular composers, whose poverty ot in¬ imging from Bach to I cheerful or merry, over two pieces of marked difference of two composers an evening. We selected one classi¬ Etude gave a splendid list of selections for this a year J. R. M. in rapidity. Moreover, different pianists take the same cal and one modern, or, as the children put it, "a live one ago. and it might well be used as the special ct for a vention is shown in their harping upon a single rhythmic and a dead one,” and had a short paper or talk about A program of spring songs and suitable pieces can recital. A splendid variety of material m. be found device which is, as a rule, joined to banal harmonies and ¥our practice time r be divided somewhat as fc piece at quite different degrees of speed. When the composer inserts a definite metronome mark, each one, followed by one or more of his compositions easily be selected for Easter. in the October, 1920, number. melodies and is couched in a style devoid of piamstic vs: .y2 hour the problem is somewhat simplified, although even the that any of the pupils had been studying. Then each 6. Quotation Recital:— 12. Piano and Elocution :— virtues. Some reputable modern composers, to be sure, 1. Technic . have attempted to glorify ragtime, generally with only .34 hour composer himself is not always reliable. Schumann, child told in one sentence, something which they had As each number is played, have each pupil give a This program would need careful collaboration be¬ 2. Studies . found out about either man. (For this we had them use self-selected quotation or recitation to suit it, Whittier’s indifferent success, as in the case of Stravinsky and 3. New piece - .34 hour for instance, is thought to have possessed a defective tween teachers. Here are a few suggest!' : . 1 hour clippings from the Etude.) One of our best evenings “Barefoot Boy” with Schumann’s “Joyous Farmer,” for Paul Hindemith. Exceptions to the rule are Debussy s 4. Interpretation metronome, and accordingly to have indicated an unduly 1. Recitation.“Witches’ Scene” in Macbeth. was spent with Chopin and Percy Grainger. “Life example. dainty Golliwog’s Cake Walk and John Alden Carpen- 5. Memorizing .. . 1 hour fast tempo for his works. When, however, metronome Stories of the Great Composers” by Streatfeild. "Secrets 7. Nations:— Piano Solo.MacDowell’s “Witci - Dance.” ter’s Polonaise Americaine, both of which claim an 6. Review pieces . . 1 hour marks are added by editors, as in the case of Bach’s of Success of Great Musicians” by E. Pirani and Have this national recital in costume, if possible. 2. Recitation..“Battle o f Waterloo.” honored place in the teacher’s repertoire. compositions, such marks may be accepted merely as a “Music Masters Old an New” will be found very help¬ For example, have Tschaikowsky’s Italian Song played Piano Solo..“Marche Militaire”..Schul rt-Tausig. The same correspondent scores heavily those piano Total . 5 hours statement of personal opinion, more or less authoritative ful in preparing this recital. by a little girl in Italian costume; Moszkowski’s 3. Recitation....“Ride from Ghent to AW nr “The teachers who are themselves quite unable to perform Materials for No. 1 may be found in Philipp’s Com- according to the standing of the editor. the finicky de- ^ Schggl gf Tcchnic> and j. p. Cooke’s Mastering But when there arc no marks given, one should try 2. Feminist Recitals:— Spanish dances by some one in Spanish costume; a Ride of Paul Revere.” public, and who devote so much time tails of technic that their pupils are to carry out the spirit of the piece, and to set the metro¬ For this, have short papers on "Women Pianists,” Hungarian Rhapsody by a Gipsy; and so on through the Piano Solo, or Duet ..“Cavalry Ridt . Spindler. r°” PrePared 0 the Scales and Arpeggios. long list of characteristic Polish, Norwegian, French play their pieces—„ as a_ whole.- . For advanced studies (2), I suggest Moscheles Op. nome accordingly. Only, in case of doubt, let the tempo - “Women Composers,” “Famous Singers,” “What 4. Selection from Mark Twain or Jerome K. Jerome. Women Have Done to Aid the Cause of Music.” Have or American pieces. There are two questions here which bear mvestgiation. 7Q, Books x and 2; after these the studies of Chopin, err on the slow, rather than the fast side! Piano Solo.“Humoresque.” Certainly no one should pose as a piano teacher who L;’szt, Ru|,instein, and Scriabin. 3. Human nature is lond of labels: and many so- has not acquired a respectable, at least, piamstic pro- por the new pieCes (3), alternate a classic with a called piano “methods” are really labels tacked upon the ficiency; and this proficiency should increase, rather than modern> a Beethoven Sonata with a Rachmaninoff Pre- teachings of eminent piano pedagogs who have given diminish, with added teaching experience. It is a grave lude, a]’d SQ forth_ No. 4 w;n consist in interpretation little, if any. authority for such names. Putting “Pep” Into Practice mistake ' for a piano teacher1 “ to fill up his1C* t,n1Ptime ^ work_1 on i.1,the „ new npieceIana ofr\ f the precedinginOT WPplfweek, wVlirVl.which, Ill Piano technic has grown through a number of phases, thoroughly with lessons that his own practice 1S nt& No. S, is finally memorized and placed on your permanent each of which had its peculiar features. Before the lected. Sooner or later he will reap the results of this time of Bach, for instance, the thumb was used little, if By William Francis Potter repertoire. folly by seeing other, more progressive teachers out¬ For No. 6, divide the pieces which you have previously at all, and the other fingers were held quite flat on the strip him in the race. Keep a certain hour in each day mastered into groups of three, and practice one group keys. Then the thumb was brought up and the fingers With the best of pupils, some time or other, the prac¬ After seeing me playing it, she said, “But that is sacred to personal work; and do not allow it to De each day for “finishing points.” Take the groups in curved. In this phase, stress was placed upon a quiet tice period drags like lead. Sometimes it comes in the only the ‘D’ scale, and I can play that.” violated by outside demands. order, so that all are reviewed. hand, so that the desire to strengthen the tone resulted first starting point of the child’s education, at other Immediately I came back with, “But why don’t you Second, while emphasizing nicety of details 111 pupils in raising the fingers high, and hitting the keys hard, as times the pupil may be expert at the art and yet loathe practice the scale? I know that you know the scale- work, see that these details are finally unified and that was done in the first half of the nineteenth century. practice. As with a weed, get it while it is young. but do you ever get rusty?” each pupil thus builds up a repertory which he is com¬ Later, modern ideas were instituted by such masters as One of my pupils, a girl of twelve, took on a decided She was forced to admit that she did so, so I took petent to interpret well whenever called upon to do so. Liszt and Chopin, by which much more freedom in hand- I was recently invited to hear two little pup.ls-brothe. Attention is called to an ad¬ aversion to scales and exercises. Seeing that her musical the advantage of a temporary weakness and asked her position was permitted, while stress was placed on relax¬ ability was ebbing at an alarming rate, as shown in her and sister-play, who had been studying for a few weeks ation, arm-weight, and so forth. to play the "D” scale as I did, beginning at the lowest vertisement in another part playing and interest, I asked her what was the trouble. during the summer with a friend of mine who is m To enumerate and explain all the varied fads and “D” and playing to the highest “F-sharp” and back. She “Too tiresome,” that was all. excellent piano teacher. Each one played some technical fancies which resulted from these gradual changes would did, stumbling several times. (five" fir_ P,! ,Cati0nS^ are1U1ACU pla -uved - )r scales and exercises of this issue, describing the The next lesson I had some new ideas to try. “Try Drov^T_):.Can ke,mixed «P in a manner so a- to exercises with care and discrimination as to varieties 01 require a good sized book, and would lead us into a sea playing the ‘D’ scale this way” I urged. When she finished she looked up and said, “it’s hard provide new interest for' the pupil! touch. Each then performed from memory a short New Etude Educational Ser¬ of complexities. Fortunately, pianists are coming to Heller study, both slowly and faster, at the behest o recognize only one final method—the method of “com¬ Ex.l The battle was won; for she had something to con¬ the teacher. Finally, each one interpreted-I use t. e vice Department. mon sense,” and to abandon a mere slavish adherence to quer, and a different way to practice scales. Regard it as odious to rlm„n, ■ i , -rr in word advisedly—one of Schumann s Children s _ Pieces the dicta of prominent teachers, however valuable such Op. 68, in such a way that each phrase was invested dicta may he if applied with proper discretion. . With ea*y five exercises' variety can be obtained V"' ‘° omil ^ add any with real poetic meaning and with melody nicely ad- m the following manner : art^mnt m‘t *7^ -V°" **** JUNE 1926 Edge 429 THE ETUDE the ETUDE Page 42S JUNE 1926 MUSIC AFTER THE REIGN OF TERROR MINUET BEETHOVEN’S WAR-TIME MUSIC Adainp-ssmlier in the ancient manner, to be played in the style of a string quintet. Grade 3. T he recent Great War had such a crush¬ Although Gretry declared that no great ing effect upon creative effort in music that musical works were inspired during the Moderate M.M.-U72 it is hard to realize how much really great The Musical Scrap Book Revolution, declares Mary Hargrave, in music was produced during the Napoleonic The Earlier French Musiaans, it was not wars a century ago. Conditions were much Anything and Everything, as Long as it is Instructive the fault of those in authority, who did the same. Central Europe was constantly much to encourage the Arts, especially being invaded. Money greatly depreciated and Interesting music. Chenier, doubtless, voiced their in value. Thrones tottered and fell, yet ideas when he proposed the institution of through.it all Beethoven and many others Conducted by A. S. GARBETT a Conservatoire de Musique. did some of their best work. “Even in the Reign of Terror the Con¬ Beethoyen was assisted by the fact that vention respected music, recognizing the Archduke Rudolph, Lobkowitz and others power of a song like the Marseillaise to “together guaranteed him an income of inspire armies. One of the first acts of the 4,000 paper florins, nominally $2,000, but NAPOLEON AND MEHUL Revolutionary authorities, as far back as only $1,450 in real money,” says W. H. 89, had been to grant theatres the right Humiston, in a brief monograph on “Kiddi ” Napoleon might seem to have He preferred the Italian School of light m ppera (Paisiello), and so forth. MLmanage- their own affairs, and an imme-. I Beethoven. been a dangerous game, but Mehul did “Mehul, by way of reply, showed surpris- diate consequence of this was the disnus- “On May 12, 1809, the French entered successfully enough to win the warm re- ing versatility by composing (incognito) sa, q{ a troupe Qf Italian artists under the Vienna arid warlike conditions were not gard of that imperious personage, accord- ^ music q{ n,.at0i a light opera bouffe management of Marie Antoinette’s hair¬ ver;y comforting to the Viennese or to ing to Mary Hargrave in The Earlier completely different from his usual style. dresser> wh0Se place at the theatre Fey- Bgfethoven, who was much annoyed by the firing. In spite of this he went on com¬ Freach Musicians. Marsollier had written the amusing libretto, deau was taken by French actors; these posing, and the last and best piano concerto “Napoleon had a great liking for Mehul, but Mehul did not acknowledge his share wefe soon in keen rivalry with the Opera in E flat known as the Emperor, was writ¬ not entirely for his musical genius, which of the work' at first. It was announced as Comique. ten! during th's year. as well as the spring he did not altogether appreciate, but be- an Italian opera with French words, music ..Singers and actors no doubt regretted quartet in the same key, opus 74, known as cause he was personally sympathetic,” says byl/y ‘Signor jMorelli.andj--- — performed (de jost magnificence of court perform? . ..w-P during the Carnival (17th February, 1801). where scenery, costumes, orchestra the Harp Quartet, on account of the this author. Mehul always dined once a ^ wag an extraordinary success were’on a lavish scale. Under the old numerous passages played pizzicato and week at Malmaison and the First Consul ^ & ^ trjumph for Mehul when he r{ • t0Oi a generous if arbitrary sys- suggesting a harp. The piano sonata in F sharp, opus 78, a favorite of the com¬ was fond of discussing music with him, as disclosed his identity with ’Signor Fiorelli.' t(m o{ pensions and royal gifts had re- poser’s, was also written during this year. with other artists. He frankly thought the “Bonaparte was delighted with the hoax warded genius. Old artists especially felt “Another ‘programme’ work was begun, Conservatoire and Mehul’s own composi- and begged Mehul to ‘deceive him often ^ |oss 0f t|ns support, but the younger the Somto in E flat, opus 81a, known as tions too ‘tudesque’ and ‘scientifique.’ His ;n this way,’ a doubtful compliment. oneSi like Mehul, greeted the new order of Les Adieux, I’Absence, et le Retour. This idea was that music should be pleasing to Mehul dedicated I’lrato to him when it tj1j,lgs with enthusiasm, until the> were was to commemorate a trip by the Arch¬ the ear, the present school was too noisy, was published.” horrified by its excesses. The little band duke ; it was finished on his return and ded¬ of musicians seem to have drawn closely icated to him. During the first part of 1810 -r--1-- together during this period, especially dur¬ was written the music to Goethe’s Egmont: ing the Reign of Terror, forming a circle an, overture, two songs, several entr’actes GLINKA'S CHILDHOOD of friends united by common interests and a common danger: Gretry. Cherubini, and ‘melodrama’ music.” Michael Ivanovitch Glinka, composer that penetrated the walls of the house by Gossec, Berton, Mehul, Lesuent. Boiel- of A Life for the Czar, and thereby the playing bell-ringer 1 copper vessels. There is an idea very prevalent that dieu, the youngest of all. They were good music is hard to understand—some¬ founder ^modern Russian mpsic, was obliged to take part i thing difficult, recondite, abstruse. That born in 1804. He was a sickly child made ^ maintahl a strength o{ spirit Pres. tnot.c fetes and to collaborate . is quite a mistake.—Sir Henry Hadow. sicklier by a grandmother ‘who inspired endy hi$ fondness for the Bible gave place productions for those occasions him with a morbid dread of disease that tQ a keen interest jn books of travel. __ SAID BY BRAHMS proved to be life-long, according to Mon- “On bis grandmother’s death, his parents, In his Recollections of Brahms, George tagu-Nathan, his biographer. alarmed at the disastrous effects of this ‘ can,ult detect any suggestion Henschel includes some letters received “He was ‘piously inclined,’” says Mon- regime of mollycoddle, made an attempt ness in much of the modem inn . from the great composer. Chiefly they re¬ tagu-Nathan, “drew pictures of churches to restore their child to a normal condi- n will be a sorry day for must if the late to transitory things, but a few pass¬ in chalk on the floor, and appropriately tion of body and mind; they were too late, twn-melodic school ever obtains e upper ages here and there are worth quoting: followed this up, as soon as he could Glinka’s life was spent in combating not hand.—Sir Frederic Cowen. Brahms notoriously disliked taking part read—which was at a remarkably early age only real but imaginary complaints.” _ in concerts, and the fact evidently caused —by reciting passages from the Scrip- Glinka’s father frequently entertained , , ,n7 him some embarrassment. “At least you tures so impressively as to bring tears to lavishly. The playing of Russian folk- WANTED-A MODER\ BERLIOZ should give up believing in the rumor the eyes of his doting grandmother and tunes by a wind-band during supper-time “Much of recent orchestral writing is so that I had a special dislike for English her elderly cronies. greatly delighted the budding composer, persistently lavish of its resource - that the concert-rooms. No more so than for 'His musical predispositions were man- and doubtless laid the foundations for his individual characteristics of the v others. Into none of them do I ever go ifested by a craving for every kind of bell- life work of developing the national n struments are obliterated altogether.” re¬ with pleasure, and people ought to see how sounds; he sought to imitate the clanging sical resources of his country. marks Sir Charles Villiers Stanford in his it is easier for me being caught once in a Musical Composition. while in the snare of a German invitation, \ '■■■ f'N. zJf'. A : “Composers have been naturally mag¬ than undertaking the long journey to Eng¬ netized by the richness and sonority which land followed by a restless stay there. You ITALIAN OPERA-EIGHTEENTH CENTURY STYLE Wagner obtains with his orchestra at mo- really could explain matters from time to time as they really are. I have just enough Eighteenth century Venice had eight ladies make themselves thoroughly at ”'S"ls °f el‘max. and have smeared them to do with concerts anyhow and fight opera houses, while Naples had four or home; they talk, or rather scream, during over their scores irrespective of balance against it on the continent as well as over five including the San Carlo, one of the the performance, from one box to that °,C.olor “d design. Every phrase is as there. . . . Well—don’t forget Richter largest in Europe, Romaine Rolland re- facing it, standing up, clapping and shout- c,ol°red as «» neighbor, and all and explain to the old and new Phil- • gC • 1- ,r • i’t rAn1 ‘i;11(r mg Bravo! As for the men, they are P°wer of strong contrast disappears, harmonists what a grateful heart I have minds us in his Music a oul ■ p ® more moderate; when an act has finished “This is the precise reverse of the or- —but what a shy one!’’ his information chiefly from Burney-an and it has pleased them, they content them- c^cstral theories of the most imaginative About metronome markings Brahms De Brosses, he takes us to witness a typi- seiVes with shouting until it is performed and experimental orchestrator of modern says: “I think here as with all other music cal opera night. again.’ In Milan, ‘it is by no means times' Berlioz. He knew too well the the metronome is of no value. As far at t'The performance begins, as a rule, at enough that everybody should ehter into Series and beauties of individual instru- least as my experience goes, everybody eight o’clock, and ends about half-past conversation, shouting at the top of his 'ments to encourage his successors to throw has, sooner or later, withdrawn his metro¬ twelve. The cost of the places in tlm par- voice, or that one should applaud, by yell- 'hem all into a cauldron and boil them up nome marks. Those which can be found terre is a panic (twelve cents American) ing, not the singing, but the singers, as together. If his invention and melodic in my works—good friends have talked me unless admission is free, as is often the soon as they appear and all the time they Power had been equal to his poetic corn- into putting them there, for I myself have case in Venice and Naples. The public is are singing.’ mand over the orchestra; if in a word, he never believed that my blood and a me¬ noisy and inattentive; it would seem that “Besides this, the gentlemen in the par- had been as great a draughtsman as he was chanical instrument go well together. The the peculiar pleasure of the theatre, terre have long sticks, with which they a colorist, his influence would have been so-called ‘elastic’ tempo is moreover not dramatic emotion, counts for very little, beat the benches as hard as they can. They paramount at the present dav The com- a new invention. ‘Con discrezione’ should The audience chats at its ease during part have colleagues in the boxes of the fifth bined characteristics of Wagner and Ber- be added to that as to many other things. of the performance Visits are paid from tier who at this signal, throw down thou- lioz, the collectiveness of the one and the Is this an answer? I know no better one; box to box. At Milan,‘each box opens out sands of leaflets containing a sonetto individualism of the other if the value of but what I do know is that I indicate of a complete apartment, having a room printed in praise of the signora or the trfr- their music had been on an equality would (without figures) my tempi, modestly, to with a fireplace and all possible convent- tuoso who has just been singing. All the have kept the orchestra “lTi ‘‘r These be sure, but with the greatest care and ences, whether for the preparation of re- occupants of the boxes lean half out of luxurious * ? d clca ,‘ 1 clearness.” - freshments or for a game of cards. On them to catch these leaflets; the parterrl V °f‘“ ’“sed *? “Z Most composers write uproariously be¬ the fourth floor a faro-table is kept open capers about and the scene closes with a number Jy mvent,on- The 8reat«r th cause they are unable to set down a good on either side of the building as long as general ‘Ah!’ as though they were ad- the n„mto Stave:; ln the score- the fewe - - - mer night bonfire” ^ number of ,deas.’ was an astute com- _ # From hereto back to the beginning and play to $} then play Coda. ^ melody.—W. J. Henderson. the opera continues.’ ‘At Bologna, the miring a Midsummer night bonfire.” by a great conductor.’’ Copyright 1926 by Theo. Presser Co. THE ETUDE

^430 Mxtm* GRAND VALSE BRILLA^E richkr^tzun.o,^

A showy drawing-room waltz^ af fording good outavc practice in eilher hand , also ..?. A Vivace.m. =

Copyright 1935 by Theo.Presser Co. L International Copyright »ecur«il JUNE 1926 Page 433 THE ETUDE the etude Page 432 JUNE 1926 SUNBEAMS AND ROSES

British Copyright secured JUNE 1926 Page 43d THE ETUDE Page 434 JUNE 1926 THE ETUDE VALSE CHRISTINE VALSE CHRISTINE RUDOLF FRIML

To be played in a free and graceful manner,with full large tone. Grade 3^. RUDOLF FRIML I-

JUNE 1926 Huge 43 7 R. WAGNER THE ETUDE the etude I / bridal chorus Page 436 JUNE i926 Arr by P.W. OREM {/ from “LOHENGRIN” Just right for the June home wedding. Grade 3 BRIDAL CHORUS R. WAGNER i PRTMO from “LOHENGRIN” Moderato con motoM.M.J - 7a Arr. by P.W. OREM .SFCONDO Moderato con moto M. M. J = 7a — > > >

—a

dim . P =- P

ff/ir rfi¥w

£ * £ £ m 1.,^ V . .?| ,/ Y 'I- 1 r . I. 1 ;_~ ^6 / P / P > > > >

■5fc For use at weddings or other purposes, this number may be shortened by stopping at this point. Copyright 1926 by Theo. Presser Co. British Copyright secured

JUNE 1926 Page Ml

THE ETUbi THE etude Page 440 JUNE 1926 tempo CHOOSE YOUR PIANO AS THE ARTISTS DO

A , A MUSIC CARNIVAL A genuine first grade piece; all in the treble clef, and almost in the“five-finger”position. WALTER ROLFE Tempo di Valse __

n a i 3 4 3 2 8 4 2_ | y-4 3 dozens of other great pianists of “It is truly marvelous with what 1 past and present generations. < nf — suppleness the Baldwin responds / to every intention of the artist and You will share the enthusiasm of permits him to realize every effect, discriminating musicians the world( ’ i * 1 dynamic or technical, every nuance over when you visit any Baldwin of expression, even the most deli¬ dealer and play the Baldwin your¬ cate. I am truly happy that I have self. chosen the Baldwin.” BALDWIN Uprights, $850 and In this high esteem, the enduring A SUGGESTION up; Grands, $1400 and up; Repro¬ purity and resonance of Baldwin Choose TOUR Piano as the artists ducing Models, $1850 and up. tone is held alike by Gieseking, do. The hoo\, “How Artists Choose Convenient payments if desired. Bachaus, dePachmann, Carreras and Their Pianos,'1'1 will help you in select- ing the instrument for your home. We will gladly send you a copy free.

THE BALDWIN PIANO COMPANY, CINCINNATI, OHIO

Copyright 1924 by Walter Rolfe Copyright transferred 1925 to Theo.Presser Co International Copyright secured JUNE 1926 Page US TEE ETUDE the etude Page JUNE 1926 The Choir Master Each Month Under This Heading We Shall Give a List of Anthems, Solos and Voluntaries Appropriate for Morning and Evening Services Throughout the Year. anthems of moderate difficulty, opposite "b" those of a simple type. imed may b Juilliard Musical Foundation obtainable. SUNDAY MORNING, August 1st SUNDAY EVENING, August 15th New York ORGAN r , Andantino in: B Flat.Lowden : .. OIOif Silent Woodland Path... .Strauss ; —- > ANTHEM . „ Graduate School AN(™EHear, O Lord.Watson (a) Now Thank We All Our (b) Rejoice in the Lord.Calkin God .Huerter (b) The Roseate Hues of Early °FF;ffher°of Mercies (Solo, S.)...Gluck Dawn.Horner FACULTY 1925-1926 OFFERTORY . _ . ,, , KENNETH M. BRADLEY, Educational Director °F-feroes’ March.Mendelssohn I Will Extol Thee (Solo, S.) .. ..Costa ORGAN „ . March in G.....Smart PIANO: VIOLIN: VOICE: ’CELLO: SUNDAY EVENING, August 1st Mr. Ernest Hutcheson Mr. Paul Kochanski Mme. Marcella Sembrich ^r- g Stoeber orag4^us .Massenet SUNDAY MORNING, August 22d Mr. Josef Lhevinne Mr. Albert Spalding Mme Anna Schoen-Rene Mme. Olga Samarolf Mr. Georges Enesco Mr. Francis Rogers Reve Angelique.Rubinstein ANT,1)1 Come Unto Me.Galbraith Mme. Yolanda Mero Mr. Hans Letz Mr. Paul Renners COMPOSITION: (/,) Come Holy Spirit.Morrison ANTHEM Mme. Rosina Lhevinne Mr. Edouard Dethier (a) The Lord is My Shejv Internationally Famous Pianist Mr. Alexander Siloti ?V * Mr. Rubin Goldmark OFFERTORY _ . TT herd .Macfarrcn I Shadows of the Evening Hour (b) Seek Ye the Lord.Scarmolm Mr. James Friskin (Duet, A. and B.).Rathbun OFFERTORY In addition to the major subjects, instruction is given in solfegge, modern languages, ensem¬ O God Have Mercy (Solo Prefers the KIMBALL ble, general theoretical subjects and musicianship; also lectures on various cultural opics. ° March in A.. B.) .Mendelssohn IN his public recitals throughout this country, in his SUNDAY MORNING, August 8th ANNOUNCEMENT °RCoAona;ion March.Meyerbeer studio work,and when composing, George Liebling The Juilliard Musical Foundation awards fellowships ’Cello Students: Scales and arpep.os in ma]or and °CGanfilene .Woodman . jUNDAT EVENING, August 22d is enthusiastic over his Kimball Piano. Honored on two and scholarships to exceptionally talented students in com- minor keys, with various bowing through three octaves. An ANTHEM , , position, instrumental (piano, violin, ’cello) and singing, etude or caprice by Franchomme, Piatti, Duport. .Servais (oj How Sweet the Name of °Andante con Moto.Beethoven continents, Mr. Liebling has had occasion to know Jesus Sounds.Liszt which provide instruction under eminent artist instructors, Lee or Dotzauer. Part of a Bach Suite unaccompanied. . anthem ,.r many makes of pianos, yet, in his own words he has (b) Jesus, Thou Joy of Loving (а) Now from the Altar of My and in accredited institutions. movement from a sonata or concerto and a group of two Hearts.Hosmer Heart.Federlem chosen the Kimball because “in all particulars it attains , , , , . - . ... modern numbers. OFFERTORY . _ . (б) Fairest Lord Jesus..Marzo the highest achievement in the realm of piano making. They will be granted only to students of American citi- Vocal students will be required to perform vocalises, an Be Thou Faithful Unto Death OFFERTORY __ ' _ . zenship, who intend to follow music as a vocation, as public air frQm Gffick Handel or Mozart; a song from a foreign (Solo, T.) .Mendelssohn In His Name (Trio, S., T. and B ) .Petrie When you purchase a Kimball for your home, your performers, teachers, composers or conductors. language, and a song by standard modern English or Ameri- °RFetfival March.Nessler judgment is confirmed by the approval of great pianists Such awards will be classified as graduate or under- can composers, graduate. Composition students must be able to demonstrate a SUNDAY EVENING, August 8th like Mr. Liebling and by other musicians equally re' organ SUNDAY MORNING, August 29th Graduate students should be over fifteen years of age knowledge of harmony, counterpoint and an elementary nowned, by the verdict of expositions which have Cradle Song.Hauser and under thirty, and have a general education equivalent to knowledge of form, and must submit original works in strict ANTHEM^ Good Shepherd.Barn OES?..sMm. made history, and thousands of satisfied owners. a regular four-year hi?h school course. f frefe form and be able to develoP a &lven theme in strict or ANTHEM^iii LJft Up Mine Eyes.. Beach .... free form. (b) Christ Above All Glory . .The success of the Kimball is founded on merit. Its reliabihtyL They must be able to pass tests in ear training, sight Students receiving graduate appointments will receive Seated .Morrison ■ (b) Not Unto Us, O Lord.Baines due to the complete manufacture within the Kimball factories and reading, and general theoretical knowledge. their jnstruction at the Juilliard Graduate School, 49 East OFFERTORY . _ " °FGoEdTs°LoYve (Duet, S. and A.) .Marks The Mercy Seat (Trio, S., A. the purchaser is amply protected. Whether you are considering Piano students must be prepared to play a prelude and 52nd Street, New York, andT.) .....Rockwell a grand, a reproducing piano, an upright, a piayer piano, a pipe fugue from Bach, a sonata of Beethoven, a nocturne of Applicants for undergraduate scholarships must be over °MaArch .*** organ or a phonograph, you should see the Kimball before buying. OIMarcbe Romaine ..Gounod Chopin, or a similar composition of a group of two numbers twelve and under twenty-four years of age, and be able to SUNDAY MORNING, August 15th of their own choice. demonstrate unusual musical ability. SUNDAY EVENING, August 29th Kimball prices are impressively moderate. Violin students must be able to play major and minor Undergraduate scholarships will not be granted to stu- 0Ec^tina .Raff Catalogs, also nearest dealers address, sent on request scales and arpeggios in three octaves. Etudes by Kreutzer, dents who are financially able to pay for instruction. anthem ■'* „ °Pastoral Scene.Ludcbuehl (a) Oh! Come Before His Pres- Fiorillo and Rode. A concerto of corresponding difficulty of The place of study for the undergraduate student will be ence with Singing.Mart.n AN(Ta)EThe Lord is My Light.Pierce the Bruch G minor or Wieniawski D minor, and a group of determined by the examining board after each student’s quali- (b) Hear My Cry, O God.Stults W. W. KIMBALL CO. (b) A Dream of Paradise.Gray (Established 1857) three numbers of their own choice. fications and needs have received individual consideration. OFFERTORY OFFERTORY Department KE., 306 S. Wabash Avenue, CHICAGO, U. S. A. O Rest in the Lord (Solo ZONE EXAMINATIONS A ) .Mendelssohn ORGAN rr °pGetife Marche . ^thois In order that students from all parts of the Nation may avail In addition to the Zone Centers mentioned the Foundation is Al a Marcia . Hc.ckctt themselves of the opportunities offiered by the Juilliard Musical Four.- arranging to establish, before the spring of 1927 examinations in daticn, a number ot Zone Centers will be designated in different parts Wnc,,-. ... . *, 6 _ ; anoiis in of the U S. Examinations will be conducted in the following cities Washington, Atlanta, New Orleans, Detroit, Dallas, Denver, STRIPJGS on dates specified below: and other localities as needed. BANDERO a fine Violin String that will stand up under CINCINNATI.MAY 18, 19 T , -r SPECIAL NOTICES AND ANNOUNCEMENTS the most strenuous use or conditions KANSAS CITY.MAY 21, 22 ln each Zone there will be a local examining board; all examina- Red Gut and waterproof—Just the siring MINNEAPOLIS.MAY 24, 25 (tious will be supervised by an exaniner from New York for damp climate and perspiring fingers CHICAGO.MAY 27, 28 m Wew York' E (3 lengths).2Sc net and post PERSONAL FOR SALE A (2 lengths).2Sc .. D (2 lengths)...... 25c LOiTaNUELES ...... '.’J. JUNE1 ie°i7 . APPlication f°rl«s will be furnished by the office of the Founda- or WANTED published compositions, Ridley Park Pa. SAN FRANCISCO.IUNE 21, 22 t,on uPon request of the individual applicant, and when filled out THEO. PRESSER CO., Philadelphia, Pa. MUSIC COMPOSED? manuscripts revised. 1710-1712-1714 Chestnut Street t York two weeks in advan« of the date °f tbe Baumann, i j. node Jacobsen, 2638 Milwaukee Ave., _ PROFESSIONAL ENGAGEMENTS Chicago, Ill. ____ t.UoTtaAv^mn^'ffucaCsl5 centre* " "“1G.PERS on musical subjects prepared All graduate students will be assisted in securing professional en- Students who are qualified for teachers will h ■ for club use. Programs arranged. George A. C, I. K., care of Etude. Brown, Lansdowne, fa._ gageThe Juilliard Musical Foundation will arrange a New York debut F°Siti°ns With reIiable institutions. HiARMONY COllRE S 1*0 NDENCK -In- for qualified students and assist in every way possible, securing pro- p „ . , . KtH'IV I struction, cents 8- ■ fessional performances in other parts of the Nation whenever the rurtner information address: R. W. b Cooper Ave., Brooklyn, N. Y. _» Foundation feels they are ready for a professional debut. HARMONY-COUNTERPOINT—By COT- On the other hand, it will do everything in its power to discourage j » K . . _ announcements iii-advised debuts. Juilliard Musical Foundation =rcHar Announcements will be made concerning the first debuts arranged wuua VIOLINS—Old or new, erehanged or a. 1 Street, New lork, N. Y._ by the Juilliard Musical Foundation. 49 East 52nd Stree(.^ New York moving picture PLAYING—“The Art of Pipe Organ Playing to Motion Pic- r tares?” a complete guide and reference work. VIOLINIST—Will send on 1 arm., r. Aiiromn Antfi.. Lincoln. Nebr. Soloist Violin Strings, $15C Bert Brehmer. Rutland, Vt. _.BIHTKKKD nrIdk"—<•.'l.'iu-nted march 4v.nnvspr»SnHNCH HARMONYWONY-Sto- —Sim- fromn the ^amous^qpetaf»™°UVmerlek Ford- JUNE 1926 Page 445 THE ETUDE Page U-!t JUNE 1926 II™--OGRE DANCE 01 *— - -= p| ❖ Very good for practice playing to illustrate certain situations. MONTAGUE EWING A fine study in touch and rhythm.Grade 3|. The Etude Music Magazine Sojisji Tempo di marcia pomposo m.m. J = ios

1 Educational Creates Another Service Department Great March

This new Department, organized by the Theodore Presser Hit! Company, in connection with The Etude Music Magazine, is a logical development of the service that this Company has been conducting for years. POWER AND GLORY The staff of experts, now retained regularly at the home office of The Etude Music Magazine, includes specialists of Introducing “Onward, Christian Soldiers international reputation, graduates of leading American Uni¬ versities, and musicians trained in foremost European con¬ servatories. Here is a truly remarkable March for Schools, Fraternal Organizations, Parades and Church Events No charge of any kind whatsoever is made for this service. The best of it is that it makes a very playable, “grateful” and The Department is distinctly not a musical correspondence expressive piano piece. school. It is designed for emergency information upon ques¬ tions pertaining to teaching problems, musical material, study problems in musical theory, musical history, technic, and items Cat. No. 19209, Piano Solo. .50 of general musical interest. It will concern itself almost ex¬ Cat. No. 19210, Piano Duet .75 clusively with those problems which cannot be answered Cat. No. 19211, Full Band .50 through the columns of The Etude. It will have the coopera¬ tive assistance of renowned musicians in all branches of mu¬ Cat. No. 19212, Full Orchestra 1.15 sical art.

It will NOT attempt to answer questions that obviously deal directly with examinations prepared for the benefit of the student, and which should be answered bv the student. THEODORE PRESSER CO. It will NOT state the relative standing of artists, teachers 1710-1712-1714 Chestnut Sires! Ftsiladelphi.-Pe. or schools; but of the last two it will supply lists of individuals Music Dealers and Publishers and institutions with which the inquirer may correspond and then form his own opinions.

It CANNOT undertake to choose musical instruments nor to state their comparative qualities. It will, however, fur¬ BB ran :ni—naniz—ina nish lists of reliable makers.

It CANNOT appraise the value of violins, by mail.

It CANNOT undertake to write essays or papers, nor can Musical Jewelry it prepare elaborate recital programs; but it will be glad to recommend books and former Etude articles from which au¬ Awards and Gifts for Graduation thentic materials for such purposes may be obtained. AN APPROPRIATE MEDAL OR BROOCH Make all questions short and to the point. In requesting information regarding pieces in particular grades, kindly use No. 64 —Medal (10K, solid gold).Price, $6.00 the “scale of ten’’ as employed in the “Guide to New Teach¬ No. 64S—Medal (sterling silver, oxidized fin¬ ers,’’ a copy of which will be sent gratis upon request. ish) .Price, $3.00 Name or date engraved on the bar or back If possible, confine the questions intended for this De¬ for a small additional charge. partment to one sheet, and -be sure that your name and address No. 63 —Brooch (10K, solid gold).Price, $4.00 appears on this sheet. No. 63S—Brooch (sterling silver, oxidized fin¬ Questions relating to business matters, or to other interests ish) .Price, $1.50 of The Etude, should be placed upon another sheet. The Brooch design for Nos. 63 and 63S is the same as the medal without bar and chain. Notwithstanding the immense volume of our correspond¬ o ence, it is our ambition -to answer all letters with the greatest TWO VERY ATTRACTIVE DESIGNS USED AS AWARDS possible dispatch, courtesy, accuracy and completeness.. ?he lyrC With Wrcath P'ns (No- 62) and harp pins (I 60) come lettered Music, or may be had plain. All letters should be addressed to The Etude Music Magazine.

At the! top of the sheet bearing questions, place in a bold hand: Etude Educational Service Department This will greatly help us in separating correspondence for this Department from that intended for our regular business, and thus will insure to you a more prompt reply.

The Educational Service Department THE ETUDE.MUSIC MAGAZINE 1710-1712-1714 Chestnut Street Philadelphia, Pa. Theodore Presser Co. Philadelphia, Pa. 03 * ■ . " " •=?» 03 nr i F ; , I THE ETUDE Page 446 JUNE 1926 LOVE ’ S MELODY WALLACE A.JOHNSON,Op.l40 In the style of a melody for ’cello, or for a baritone voice. Grade 4. Andante moderate m.m. J = 72

British Copyright secured TEE ETUDE Page 448 JUNE 1926

DANSE HONGROISE PAUL DU VAL

Copyright 1926 by Theo.Presser Co. International Copyright secured JUNE 1926 Page 451 THE ETUDE Page, 450 JUNE 1926 Ill 8w. (Oboe 8'Lieb.8'&Trem.) ANDANTINO IN D FLAT IT Gt. CSoft Flute 4') uncoupled I Ch. (Dulciana8') EDWIN H. LEMARK Ped.C Soft 16')-I One of the most popular slow movements for organ ever written. Revised version by the Composer Andantino M.M.

MANUALS

+ Simile ~~~ dim.poco rit. n|-+ " 13**11 - o __ _

111 i rn ^=^===p:*z^ = = y==== U*m it If t fM-IJI*

+ Every bar of this accompaniment must be played rubato, (slightly hurried in the middle) and not in strict time #If the Gt.Flute is not soft, select one on Echo or Solo & couple same to Gt. On two manual instruments, add a soft 4' Flute to Oboe; or the accompaniment may be played an octave low«r on a so/-/pi ^Or manuals maybe reversed and Melody played on Ch. French Horn,with soft 8'& 4'accompaniment on Sw J uteandthe R.HMhumbed'aswri e Copyright 1923 by Theo. Presser Co. JUNE 1926 Page 453 THE ETUDE 7 ETUDE Page 452 JUNE 1926 PUCK JUNE i92(i P*S6 455 Page 454 JUNE i926 THE etude TIfB etude KATHARINE ADAMS THS “u"° SOME MORNING, OH, SOME MORNING! THE MOON - PATH GERTRUDE KNOX WILLIS MRS. R. R- FORMAN Allegretto capriecioso MRS. H. H. A. BEACH, Op. 99, No. 3 Slowly and with expression

-“Co™ a”d be * - child, A - cross the sea’s gold way, Come and see the

Sowh«„ I reach .he h„„« , ltill -'~~r~~T~ aP stay And play with laugh -ing

Copyright 1923 by Theo. PresserCo,

British Copyright secured JUNE 192G Page 4-5 TH£ ETUDe THE etude P«ge456 JUNE 1926 OLD AIB A- btoad,di,,ionic melody, like „ oW so„g. A splelldid stady praductl„„. WILLIAM E.HAESCKE Andante jvi.m.J = 72 fl L \/ () 4 * VIOLIN ' ^ 7 ^ — Hie X-Tiav of the flair

This machine tests a small strand of your hair. It gives your Permanent Waver advance facts that insure Safety and Perfect Results.

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the lead in any ordinary pencil and at least From this examination and “prescription, the 5 inches long.) Do not send combings. Nestle Permanent Waver in your own Enclose $1 deposit to cover cost of testing. community will then wave your hair by the rpj p The Nestle Laboratories will then send you NO greater step forward in hair science can Nestle Circuline Process a card showing the result of your hair test. be imagined than the NESTLE METER The Circuline Process of Permanent Waving carries This card contains directions to your Perma¬ fry ^ 4 ^■ iJL ui — * SCALE. It determines the character of your out, “to the letter,” the readings of the Nestle nent Waver, giving the exact Circuline lotion hair in advance of your permanent wave Meter Scale—so that each head of hair is required for any type of wave you may want. and eliminates all guesswork. waved according to its individual needs. Your $1 deposit will be deducted from the Gone is the possibility of individual error, over¬ To have a perfect permanent wave is a reason¬ 9 price of your next permanent wave—given T> \ » i curling or under-curling. Gone is the era when able expectation. With Circuline you will not anywhere in the United States where the Cir¬ all hair was put through the waving-machine be disappointed no matter what kind of hair culine Process is used. The Nestle Company Copyright 1926 by Theo.Prosser C. as though all hair were alike. you may have—whether it be normal, snow- guarantees the refund of this deposit. Over Each head of hair is now waved permanently white, black,"blond, bleached or dyed—whether 6,000 hair dressers and beauty parlors use as if Nature, herself, had performed the duty. vou want a tight, medium or loose wave. Nestle permanent waving apparatus. A firoi open A„d B ,.rinB,o„l,. A JlJvcr^.Lf ± FREDERIC A.FRANKLIN As Revealing as the X'Ray Have Your Hair “Read” Why not send us your hair sample at once or Before You Have It Waved VIOLIN The Nestle Meter Scale discloses an amaz¬ write for free descriptive booklet? ing variety of hair qualities. It analyzes the The Reading and Recommendation Cost You Nothing NESTLE LANOIL CO., Ltd. individual characteristics of your hair — and Just fill out the coupon below and send a 12 East Forty-ninth Street, New y°r,k your permanent wave is prescribed in advance Originators of Permanent Waving. (Est. 19 ) small strand of your hair (about as thick as from the Nestle Laboratory in New York.

Nestle Lanoil Co., Ltd., laboratory 12 EAST 49th ST., Dept. 6-0 NEW YORK Enclosed find $1 Deposit and sample of my WILL YOUR HAIR hair for an official laboratory reading on the Nestle Meter Scale. It is understood that my “TAKE”A $ 1 will be deducted from the cost of my next PERMANENT? permanent wave at any hair waving establish¬ ment using the Nestle Circuline Process. You This free book tells are to send me a record of your findings and you! your free booklet on permanent waving. Whether your hair is strong or weak, snow- , white or black, bleached 1 or dyed—no matter whether you’ve ever had a permanent or not - send for Mt. Nestle s If free booklet only is wanted, check here □ tew book on the Circuline Process It is ahve with Copyright 1925 by Theo.Presser Co. lelpful information on the care of the hair hat has taken a lifetime to assemble. It will he British Copyright secured lent to you absolutely fiee-wf the coupon opposite! JUNE 1926 Page 459 Page 458 JUNE 1926 THE ETUDE What Is a Song? the composer's idea its proper importa . „tv of phrasing in song-singing is is a wide unfilled space between the upper A song, most people would agree must The singer who has never tried it wjp1? ^ 1more likely to depend upon a feel- and lower notes, the gap seems large have words, a vocal melody, and an ac¬ surprised at the pleasure of following t]7 fflU for rhythm than upon a knowledge of enough to be jumped through. When a companiment ; otherwise it is not quite sat¬ little piece of music in all its chtui singer finds a composer of merit writing isfying. 't"e places where a breath may be inoffen- throughout the song. Often there wilu! music with distorted textures of types A song without words may be good for The Singer’s Etude few phrases that do not show close rel Si The composer tries to make the music like these, he may be certain that there is the piano, but when sung it is little more tionship to the parent motive, and what* an expressional reason and, by discover¬ than a glorified vocalize. hang together. If he did not, he would thrill there is in discovering how each n * 7 hp a composer since composing means ing the reason, he will know what color A solo song without an accompaniment Edited by well-known Specialists his voice must take. In most songs the sounds empty to most ears. phrase expresses something the parent fin “putting together.” The structure and Glance of any composition is commonly notes will be neatly spaced so that the In theory, then, words and accompani¬ dimly, but could not say clearly! s the Ambition of THE ETUDE to Make This Voice Department ' ken of as its “form.” Unfortunately richness, thinness, heaviness, lightness, de¬ ment are essential features of a song. In Already the music is illuminated by this t word suggests stiffness, but of course manded by the mood will be felt clearly. practice they are disregarded by most stu¬ “A Vocalist’s Magazine Complete in Itself" very simple and easy search for the birth here may be apparent freedom in form as Every singer knows immediately whether dents of singing. Even in the rare cases growth and variation of the principal mu' a composer writes well for the voice. If when the words are clearly and correctly sical thought. There are other things, jUsj veil as stiffness. Probably the greatest ckill that a song composer exhibits is his he also recognizes the signs of good tex¬ brought out, the singer is likely to be puz¬ as interesting, that the singer must n0. bility to follow the moods and accents ture in the accompaniment, he may let his zled if asked the meaning of the whole ' ‘ order to know the song and intp of the words, changing as they change, melody rest confidently on a solid musical song text; he will have to read it to an¬ Studying a Song pret i well. and at the same time creating music that foundation, or caress the piano tones swer, even though the language be Eng¬ Each time the motive or one of its chil- among which it is moving, or provide an lish. The accompaniment exists, all sing¬ flows naturally and spontaneously and yet —By .Leon. R. Maxwell.. dren appears it is likely to be accompanied under-song for a sparklingly brilliant ac¬ ers know, but it is apparently important bangs together so that the whole song is a well-knit- neatly balanced composition. companiment. only as a more or less reliable prop for the beauty of the phrases, the place of expressiveness of the consonants. The lll'lr'e'ou^ effect, Nothing has been said in this article the voice. each verse in the total effect, the mean- singing student must certainly do likewise. ! . ' 1 l. a ,ml 1 1 10uSht’s the The employment of a single basic musi¬ cal idea, which has already been spoken about the many questions of vocal technic Perhaps there is little incentive for the ing of every word. We smile at the in- This will prevent later mistakes of ac- , me,odv’ lhc accompanying music is that enter into the proper singing of a singing student to pay much attention to of is one of the ways in which a com¬ nocence of the natives of the Kentucky centuation (for few singers seem to know of collrsc the 1>,an? Parl- When the pian- song, but the omission does not mean that ' the message of the words and the accom¬ poser unifies his music. There are others. mountains who sing their traditional bal- which word in a sentence is most im- ,st .l),a-vs the motive. In- usually accom- these are not important. They are very paniment, for the average listener applauds lads without knowing or caring to know, portant!) and it will also help in deter- Panies i( himsc|t. at the .one time that the important, but every singer recognizes the loudly if he likes, the melody and the The Reception the meaning of oft-repeated words like mining the proper vowel coloring. The sms!ngerSer is,s addadding'»S a lovely1 melody. Some- importance of good singing in song inter¬ quality of the voice. He comments sur- steed’ed and ^“palfrey.” palfrey Yet the average singer in this process should go even fur- timestlmes ththis,is acconipamn.accompa music in the Observant singing students will notice pretation, and it is unnecessary to stress prisedly if he catches many of the words, singer, who has not the mountaineer’s ex- ther than the composer, for the singer piano W*H be still . that the mu-ic at the close of a song » it now. Most singers do not recognize the but cares nothing for the quality of the cuse of tradition or of lack of oppor- must watch carefully the quality of his s0llI'd against thc p idea and of,en a rep. t ition or at least reminiscent necessity of studying carefully the poem poem. He forgets the accompaniment un¬ tumty to learn, is often content to sing pronunciation and the clarity of his enun- a«ainst the si»Scr\ pa. Almost always of the musi at the beginning. Sometimes, and the accompaniment. The suggestions less the pianist makes glaring mistakes. whole poems,, taa say nothing of words not ciation. it will hebe harmony,harmony , ichord- lu sounded c’ blend. Whetlic. - melodies poser will repeat some important verses parts if he is to interpret is as it should satisfaction of bringing out a melody in most otten true, of course, of songs with composer, is ready to attack the music. chords, they offer nun- chances that have occurred early m the poem. be interpreted and to enjoy it as it may beautiful tones. There is the joy of the foreign text, but it is also true of songs ' thrills in recreating the When Again, he mav balance the beginning and song itself—a work of inspired art if it m the native tongue. The perfectly hon- The Music mood of the words is liKl„ „ul happy, ending by writing music which the piano be enjoyed. is worth singing—and the joy of recreat¬ est singer will never smg about anything It was pointed out above that the good accompaniment will ' I. licate with plays after the vocal melody is finished. ing this tiny but important product of two dictionary Tnrl .nTn/ ™de?tand;, T,he composer sought a bit of music which harmony that sparkles When the me In making the close a reminder of the It takes so little room other imaginations, the poet’s and the com¬ A Clouded Voice aH the difficult^ of !h0U#h ,Wc “ Ve sh°uld express as Perfectly as possible the ls cal"> a"d tbe !S phraSe or motive will be the germ of all from one beautiful colon to anoth and is still pleasant to the ears, for every¬ song is the greatest joy of all. Why miss to be ;tudLd [J. LnvTh S°ng IS the/Cst 0f the music. It will appear time When the mood is him-,. tragic, or . body likes to hear again something that is golden-toned studio piano most of it, as we do if we study only the translation*translation vviHwill ^aV’"rive lV 77*75*acc°mPany‘«S ^and time again, v^of^coTvaried of course accord- •P-irmT.lTXrdssPairmg, the chords u« d1 be ^dissona • Never take ice cream or an ice cream translation will give a general idea of the mejn n,-- , , ,-heavy, sometimes „ d Wh».«*r . already somewhat familiar. Of course melody and the vowels and consonants that S’s meanllil or iff ’ " Wg the demands of the changes in sen- heavy, sometimes uglv. Whatever soda before singing or before a lesson. tained, from there must be a middle part of the song JT is amazing form the words? printed in the Spy’one may‘aTrans* Sr* Z the. p0em\ II be in the ™°d. the accompaniment changes its You will find this clouds the voice and does the lowest note that contrasts strongly with the rest; If we follow in imagination the com¬ not allow the full voice to come forth. that such lation from the "public library or from ment T” ** ^ W,th the vocal ra^'d.' otherwise the reminiscence would be less to the highest. poser as he creates a song, perhaps we Ice cream has on the voice the same effect beauty of tone welcome. In modem songs it is likely to may discover what a song really is and that a London fog has upon a street lamp, s it°rSmes onHIyta pir ^^ be more difficult to follow the principle and such full- The develop¬ what the singer must do to give it a new foreign words and^ sice a traeto StdS a.™ ? * may apPear it If the singer pays a; notion to its brilliancy is clouded, while only a flicker of statement, contrast and repetition. The birth. tation depends upon details as well as the Tn ■S-

* 1 In Voice Production the breath is at unattached below, the greatest motion, once the motive power and support during respiration, should take place about MASTER THEATRE ORGANISTS 2 The lungs are spongy, elastic bodies its lower portion, where there is the great¬ • activity of their own. est freedom. Direction of CHARLES H. DEMOREST, Famous haImgThe breath is provided through the 12. Therefore during singing, if the lungs which are controlled by the muscles chest is held erect and buoyant, the point _SCHOOL Theatre Organist, Musician and Teacher of greatest motion, caused by breathing, of respiration. . 4 There are two sets of respiratory should be in the region of the diaphragm. muscles, one for inspiration, and the other 13. The control of the breath would June 28 to August 7, 1926 (40th Season) for expiration; twenty-two or more in all. most logically and most naturally be ac¬ June 28 to August 7 (Six Weeks) I s Tile principal muscles of inspiration complished by the control, independently, are' the diaphragm, and the intercostal of the muscles of inspiration and the MME. DELIA VALERI muscles that elevate the ribs and evert muscles of expiration, or by a balancing World-famous instructor of the Voice, Repertory Teacher’s and Auditor Classes. Students have lessons and practice before the Screen pro¬ their lower borders. (The diaphragm is or opposition of one set against the other. Available for instruction from June I to July 20. not a muscle of expiration). 14. No attempt to control the breath vided by the College in its studios. New two and three 6 The chief muscles of expiration are should be made at the larynx. 15. In general, no action of the breath HENIOT LEVY manual Wurlitzer theatre organs for lessons and practice, the' four sets of abdominal muscles and the intercostal muscles that depress the mechanism should be allowed which would owned and operated by the College. tend to produce interference with the voice SILVIO SCIONTI mechanism. Brilliant pianists and eminent instructors. Repertory and Teacher’s Classes. f'*7 The ordinary act of expiration is SCHEDULE OF LESSONS merely passive, the resilience of the ribs 16. Perfect control of the breath and the elasticity of the lungs being suf¬ (a) Ability to fill the lungs to their KARLETON HACKETT 1st week lessons—Preparatory for Screen playing ficient to produce it. Distinguished vocal instructor and critic. Repertory and Teacher’s Classes. 8 As the vibration of the vocal cords, capacity either quickly or slowly; 2nd week lessons—Playing of weekly News Feature ' (b) Ability to breathe out as quickly which originate the tone, and the continua¬ JACQUES GORDON 3rd week lessons—Short feature film and jazz tion of this vibration, depend entirely on or as slowly as occasion de- Hands ' ' ' ' Famous violin virtuoso and Concert Master Chicago Symphony Orchestra. the breath, and as the breath depends on 4th week lessons—Short feature film, comedy and jazz the lungs and respiratory muscles, it tol- (c) Ability to suspend inspiration with the throat open, whether 5th week lessons—Long feature film and comedy lows that it is of the greatest importance the lungs are full or not, and always dry and comfortable HERBERT BUTLER ^ .that the lungs be in a healthy condition Eminent teacher of the violin. 6th week lessons—Long feature film, comedy, cartoon, to resume the process at will, ’and the respiratory muscles be strong, and without having lost any of the scenic and effects; and the playing of song slides. well under the control of the singer; for WILHELM MIDDELSCHULTE without mastery of the motive power, all already inspired breath; ,__ ready to play their best Improvisation, modulation, arranging orchestral works for (d) Ability to exhale under the same One of the world’s greatest organists. else is unavailing. . organ, harmonizing from violin and melody parts; dram¬ 9. To achieve this control as quickly as possible, physical exercises, apart from (e) Ability to sing and to sustain JOHN KENDEL atizing the picture musically; taking cues and playing the voice on an ordinary breath; Use Odorono, a sure, safe corrective Noted authority on Public School Music. singing, arc necessary for the developing from cue lists and playing with orchestra are all given and strengthening of the entire breathing (f) Ability to breathe quietly as for annoying perspiration. Send for sample Faculty of over one hundred artist teachers apparatus. Such exercises have also a often as text and phrase permit; attention in the course. Various styles of playing jazz, great value in building up_ the general (g) Ability to breathe so that the Special Summer Courses for Supervisors ballads, intermezzos, characteristic numbers, etc , will be health, the possession of which is an es¬ fullest inspiration brings no further trouble. Warm, dry and sential for the successful singer. fatigue; . Perspiration of the hands is annoy¬ thoroly covered. comfortable, you can be uncon¬ E. Robinson, Director 10. In m-der to give the lungs the great¬ (h) Ability so to economize the ing enough for anyone—but for a of Public School Music 0. scious of your hands; safe from all est possible freedom to expand, the chest breath, that the reserve is never musician it is a really serious con¬ worry and distress. Special Summer Courses in Dramatic should be held erect to a condition ol exhausted; dition. For hands wet and cold ‘buoyancy without strain. (i) Ability to breathe so naturally, with perspiration cannot be as Art, Expression Walton Pyre, Director 11. As the bony structure of the chest so unobtrusively, that neither Millions now use it is largely suspended from above, being breath nor lack of breath is ever supple and sure as they need to be, FREE FELLOWSHIP as their safeguard School for Theatre Organ Playing attached' to other bones at the neck, suggested to the listener. to play well. shoulders, and back, and as it is free and Medical authorities say that this against underarm odor Frank VanDusen, Director Mr. Demorest has consented to award a Free Fellowship of unfortunate condition is usually a two lessons weekly, each of thirty minutes, to the student Odorono is a corrective of the un¬ result of nervousness and that it Special Summer Courses in Musical Roosevelt Loved Bird Songs pleasant odor of perspiration as who, after an open Competitive examination, is found to can and should be corrected by Theory well as excessive moisture. It is possess the greatest gift for playing theatre organ. Free By S. A. Griscom local application. It was for this Arthur 0. Anderson, John Palmer, Leo Sowerby the one adequate means now used very purpose that a physician Fellowship application blanks on request by millions who understand that Lectures by eminent Educators, Recitals by distinguished artists formulated Odorono—now recog¬ When Roosevelt visited England on his underarm odor cannot be destroyed nized and used by physicians and FREE SCHOLARSHIPS return from his hunting-trip in Africa, he by the most painstaking soap and FALL SESSION OPENS SEPTEMBER 13 spent a day with Lord Grey, (then Sir w„uid “4,'STbw S- nurses everywhere as the one scien¬ telling and be aDte xo imuic water cleanliness. COMPLETE SUMMER OR WINTER CATALOG ON REQUEST Edward Grey, British Foreign Minister) tific corrective of all perspiration 'tsrz rsiSsfSr “,h' “* and the two gave themselves up to a long- self. One application and the under¬ “He had nc trouble. promised day in the woods to study Eng¬ arms are dry and odorless for at Superior dormitory accommodations. ;en feeling ai Odorono is an antiseptic toilet lish bird songs. least three days! No ugly stains on Rates of tuition moderate. as quick to water which, applied twice a week STUDENT DORMITORIES : And now a little essay by Viscount picked o clothing, no taint of repellent odor! ' he experien will keep the palms, feet and un¬ CREDITS Dinlnm ^ summer courses taken, toward Certificates, “3, Get the twice-a-week Odorono Diplomas, Degrees—granted by authority of the State of Illinois. s Lord Grey, derarms dry under any conditions with each room. Prices reasonable. Make habit; it will bring you complete Summer Session prospectus regular catalog and Public School Music circular “and when a song was heard I told him of heat or nervous strain. assurance of comfort and perfect mailed free on application. For detailed information address the name of the bird. I noticed that as Just a light, quick application grooming. At all toilet counters, of Odorono several hours before fecessary to tell him more. He knew Ir Papa Rossini were 35c, 60c and $1. what the bird was like. It was not neces¬ have a great time with a. playing, and you will have no sary for him to see it. He knew the Kina the development of that d< CHICAGO ment—but he would be rsuaded that, of bird it was, its habits and appearance. AMERICAN ” is all right, £Ie just wanted to complete his knowledge although “voice, voice, v< it depends absolutely and irely on other by hearing the song. c qualities to “He had, too, a very trained ear tor MUSICAL bird songs, which cannot be acquired CONSERVATORY jzzi-Peccia. Without having spent much time in listen jng to them. How he had found time hi that busy life to acquire this knowledge OF MUSIC COLLEGE so thoroughly it is almost impossible to imagine, but there the knowledge jfflU 571 KIMBALL HALL Chicago, Illinois 60 East Van Buren Street (gf-fe;) Chicago, Ill. training undoubtedly were. He had one of the most perfectly trained cars for JOHN J. HATTSTAEDT, President A Conservatory Pledged to the Hi Artistic Standards. Establi HERBERT WITHERSPOON, President bird songs that 1 have ever known, so sEse CARL D. KINSEY, Manager together he would pick out their songs, distinguish each, and ask to be told each JUNE 1926 Page 468 Page 462 JUNE 1926 THE etud 0E ETUDE

tc Gunn School of Music Public School Music 1000 Volumes A Summer Session and Dramatic Art g SUMMER session course leading to a A Revelation in the Classics, Fine Arts Building special Public School Beginning June 21st CHICAGO MusicTeacher’s Certificate. Studies and Recreations Length of course arranged to suit individual convenience Master Classes SPRING and SUMMER ^ 4-11 fj 11 Master Classes in Piano, Voice MASTER TEACHERS I |4,N II and Violin, conducted by re- Piano ►—J 2? nowned artist teachers, at so SWooi) (Dusic School low a cost as to be within reach Moriz Rosenthal Founded 1895 by Wm. H. Sherwood Intervals. v. I. W'hat is an interval f ii. How ~atan amazingly low of all. Lee Pattison crrols counted! iii. Is not Of to Bb a Glenn Dillard Gunn FINE ARTS BUILDING mninr nth!. To me it looks very like a major * „ .■ ■ , —;—, wrt —-rr cost, averaging $150 Classes in Teaching Repertoire, 410 So. MICHIGAN AVE. Arthur Granquist or less forafu ll course Music Pedagogy (Normal), -y, CHICAGO, ILLINOIS ~ For the Bath of study under Public School Music, Harmony, Voice by the number ...of names --of -notes contained.—— / Minuet and after upwards and Inclusively, tor example. master teachers Counterpoint, Composition, Percy Rector Stephens lo G# is a 4th, because from DS to G# there History and Appreciation of are four names of notes, namely, D, E. F, G. use Roger & Gallet Frantz Proschowsky The sharps or flats change the interval only ■ , or • c- , _ Music; Accompanying, Ensem¬ Albert Borroff BACH in kind; the letter-names give the degree of ble Playing, Sight Singing, Orchestra Conducting, Choral Con¬ I he interval. C# to Bb is a diminished 7th. Zarko Savic ‘Nft Tablets ducting, Dramatic Art, Dancing and Languages; a special course 126 —Fifteen Two-Part Inventions . .50 Count the names; C, D. E, F, G, A, B, seven Burton Thatcher ^ Theater Organ ^ notes Therefore a seventh. Now for the kind in Community Music, and another in Motion Picture Organ. 127’ —Fifteen Three-Part Inventions .50 nf seventh : we know that C to B is a major Talcs Stuart Barker N intensive Summer 7th ; flat the B and we have a minor 7th ; now Teachers Certificates may be earned by completion of pre¬ a 19a _r*o and Three-Part Inven- ^ make the interval a semitone smaller’by' rais¬ scribed Courses. Session course, em¬ in,, the C to C# and we have a diminished 7th, Powders Violin that is, one semitone less than minor. If you Private instruction available from the entire Faculty of more bodying the fundamen¬ 238. —Short Preludes and Fugues . .65 ..a major sixth, Amy Neill wish to make this ' ’ only's; Famous the world than one hundred instructors, in any subject desired. tals essential to preparation 848 —Eighteen Preludes.50 must call the Bb„„ ,.n A#, thus gi’’:-’’ Abraham Sopkin : C, D, E, F, A. over for their refined foraposition;givenh\ Mildred 657/658. -Well-tempered Clavi- ■s of m Dormitory accommodations provided at moderate rates. Guy Herbert Woodard chord. In 2 vols. Each 1.50 mil Men’ fragrance and ab¬ Fitzpatrick, one of Chicago’s Rachel Major 846. —First Lessons4n Bach. Vol. I . .50 solute purity. highest paid and most popular or; I can sing only up to A 847. The Same. Vol. II.5° Eight Vacation History, Harmony, Coun¬ theater organists. 945/946. -English Suites. Talcum Powders in terpoint, Composition In 2 vols. . . . Each .65 V r’ | ♦ Excursions Music, or Musical Sound; Fundamenta Le Jade Felix Borowski 976. —French Suites.65 \ fcl C SI 1011 tfle good times a real va- Leo Sowerby 980/981. — Partitas. In 2 vols.-. Each .75 O. In the course of my teaching, I am Jri quently asked to state what are the FLEURS a1ld V cation can be enjoyed in a 975. —Album (Heinze).65 ^mour Fieurs d’Amour series of eight vacation excur¬ Dramatic Art Slicnflooft Consult your dealer. ^Ask for catalogs aremthe’ basic Prequisites, the indispensable AH the good times of sions, conducted by the School. Sophia Swanstrom Young CDusicSchaol W,Tes7un'of'\"e \Z AlyZ^ng « for properties of a musical note: of music, in These Talcs are the softest and 'not being able to sing as high short! I have never yet been able to all e a a real vacation along The schedule includes: 1. An ®fje $. Jf. Etoob JfluSic Co. 1 hove read somewhere that a mans fowe is concise, complete description. Will you kindly most feminine of all powders-—re¬ Robert Strehl Emerson FINE ARTS BUILDING 88 St. Stephen Street, Boston 17. Mass. (sounds) an octave lower than a woman s. sj assist me as briefly as may bet—0. P. Q , with the advantages automobile trip through the 410 So. MICHIGAN AVE. this be so. then his range of voice is freshing, and of delicate and last¬ Chicago Parks, concluding wi th Degrees and Diplomas lower than mine, and so it sounds, wutyou TTToW is the starting point. Sound is of summer study CHICAGO, ILLINOIS SO %e &fition UTiod kindly explain and say who is right f—Jeanne, caused bv vibrations imparted to the air by ing fragrance. a visit to the studios of the . Will be granted to professional mu¬ — ■ ——Lift Brodklins. MASS-ite ^ Here are your sicians under conditions established bv known°rra0ir8wav0edsy ! WheTth^Se^V™. O A ■■ , „ T . famous sculptor, Lorado Taft. voices with their absolute pitch. and regular the resultant sou . A visit to the Art Institute. 3. Capitol Theater Party 4 A the National Association of Schools of notes (all others are noises). . Music and Kindred Arts. Teachers’ PIANISTS! The essential features of a musical sound visit to the Field Museum. S. A boat ride on Lake Michigan Certificates Issued to those having COSMOPOLITAN 3 Self Instructive Books on are Timbre (quality). Intonation, Intensity-, Duration and Accentuation. Timbre is the Ltrslt7 Newberry Library and the Chicago Historical necessary credits, taking the Normal THE ART OF MODERN Society. 7. A visit to the Chicago Tribune, to see the printing Training Courses under Glenn Did- sc",rL music*1' lard Gunn, Percy Rector Stephens, DR. CARVER WILLIAMS plant, the great Radio Station WGN, and the Observatory Latat.,1 l„ Kl,nl.nl! Hall—« Lir« , - u,..i Burton Thatcher, Stuart Barker Jazz Piano Playing lower. 8. A journey in chartered car to Ravinia Park. Picnic Eminent faculty of 60 Artiste. Non ,! i Amy Neill, Guy Herbert Woodard Teachers. Students’ Orchestra, t . . - supper in the Park. Opera in the evening with Metropolitan and Rachel Major. Diplomas, Degrees and Teach'™' r ...•;-. Uncago Opera Company artists. Departments-Piano,Departments-Piano. Vo!Voice, \ i-lin. Musi Theory. Composition.-Ion. Violoncello.ViuH. Orch RADIO ARTISTS Living Accommodations . Public thf School1^18 WiU bC SiVCn CVery W£ek by artist teachers of m institutions supervised bv Episcopal Dram rresbyterian churches and Y. W. C. A Many Free .Sdaantages and Schotanhips Piano and Fiolin Prim Teaching Positions Catalogue on Request For particulars address - Edwin L. Stephen, M The Sherwood Music School COSMOPOLITAN SCHOOL OF MUSK Opportunity now has Thirty Neighborhood Boa E, 16th Floor KimbaU Hall Bldg., Chicago Branches in Chicago. These ... ~for professional Branches give rise to positions GIRVIN VIOLIN SCHOOL I advancpmpnt for ?dvaaced students and uuvancement teachers who wish to teach and RAMON B. GIRVIN, Director USHING CO. (Nairn.) . , , . , at the same time continue their A SPECIALIZING SCHOOL Free Conferences study under our artist teachers. There are also excellent posi- .t&ZlSSgm- t'o.ns available for our students, when qualified, in the thousand Violoncello SS^ S™®? On the Business Side ?rnd ^55-?ran/c5ies ?f thf School> located throughout the coun- __ _ 6S5«s«sfa try. Additional teachers for the 1926-27 teaching season in the Chi- of Music Teaching Is Your Music cago Neighborhood Branches will be engaged from those in attendance Trios. Students may enS’st » Quartett« and Limited number of iree scholal!’ , J For the benefit of those at the Summer Session. The number of openings is so large that any lamination upon application. PS awardei Frc: talented, ambitious student or teacher, with reasonable preparation attending the 1926 Sum¬ MIXED UP? may be sure of an opportunity in our organization. ’ CHICAGO0" B<>“levard mer Session of MUSIFILE Address inquiry for Catalog and Teaching Position Application Blank to {Write for Outline) MUSIC EDUCATION SUilooi) (Busk School SlimtiDn& (Dusic School 1895 by Wm. H. Sherwood Founded 1895 by Wm. H. Sherwood

FINE ARTS BUILDING—410 So. MICHIGAN AVE. CHICAGO ~ ILLINOIS

Please mention THE ETUDE Page 464 JUNE 1926 JUNE 1926 Page J65 THE ETUDE TEE etude THK ORGAN has been designated the Love Song from Nevin’s “Sketch Book,” whose style of accompaniment, has its Place- Tw0 classical examples the ear, and is difficult to follow in a melo- IE the King of instruments, and cer¬ might here be cited: The Brook, from die sense. The surge and crash of tone Jjf % tainly comprehensiveness and va¬ Beethoven’s “Pastoral,” and Mendelssohns ;s stimulating, especially the climax of a UP' riety are to be met with here in a degree to EX 4 Andante Lwe Song “Scotch Symphony,” with its unmistakable cleverly worked-up crescendo, but once the which no other single instrument can even The Organist’s Etude haepipe e®ect- . . „ aPex is reached, the ear soon desires a WEAVER approach. From the border land of silence, An air with good variations may well change. Especially should one be sparing gradually adding its multifarious tone-col¬ find itself a place near t e en o t e pro- 0f the super-couplers during full organ. GRAND PIANOS ors, in an ever-increasing intensity of vol¬ Edited by Well-Known Specialists am To many this is an unmixed treat * & & ume till it rivals the crash of thunder, the s in many such selections, while excellent and will be longest remembered If the Changing Registration organist, from the resources at his com¬ n the piano, is inartistic on the organ. A treatment of the theme is artistic, great mand, evokes most varied effects, from the It is the Ambition of THE ETUDE to make this Organ Department little “holding-over” brings such things educational value will not be wanting even T T SHOULD not be necessary to add bewitching to the awe-inspiring. “An Organist’s Magazine Complete in Itself” more into the realm of organ style: hrt But all things nearing the close of A that changes in registration should But it is only the artist of consummate th recital should be “transparent” for the never be made during the holding of skill, and still more consummate taste, Ex'5 Andante Love Song 1 ® A strong rhythmic number as a close a chord, but this is a sin still occasionally that will not abuse this wonderful box of something with an exhilarating and irre- committed. The most rational place to colors. His playing will be tinted with some istible onward movement—will stir the make such changes would be between glorious hues, but the etching and shading Recital Playing S what weary listeners as they find the phrases, strains, and so forth. Resolu- will be also present. It is in these latter nulse of the music and their own beating tions, too, should be consummated as far as respects that so much recital-playing falls The pieces on the recital should, too, in ? accord Guilroant’s “Grand Chorus in possible. Sometimes pieces come under short. As far as tone-color on the organ By H. C. Hamilton so far as is legitimate, “show” the organ. TV’ here makes a magnificent finale. one’s notice where even the composer or ar- is concerned, any person can, by drawing Many listen for tone color, i^ho know u ranger seems to have forgotten this; crude a stop and depressing a key, obtain the same pointed when he fails t0 arouse much ifl_ nothing regarding the merits of the piece Presentation “breaking-off” points are being met with; fine tone as the greatest player hvmg. Prob- terest havi seemingiy forgotten that itself. Special effects, too, such as staccato rpO PRESENT each number under possibly a dominant seventh of G in the ably ,t is for this reason-that so much ya- some things have to heard 8often to be Minuetto Allegro pedal in pianissimo movements, four-foot 1 the most auspicious conditions will third inversion, with the lowest C of the riety can be obtained by merely mechanical understood running work on the manual, the finer solo demand a good deal of thinking, and often, pedal in use. Then, as its natural note of means-that the trifler and day-dreamer, It is no't my contention that profound stops, reed and flue work, revealed by con¬ re-thinking. When the pieces have been resolution cannot descend any lower, a skip r6 ’nmaglneS’ 50 ^ th’,n?S masterpieces , should be ignored; but that trast, legato and staccato, pedal obbligato; effectively grouped, and their order finally upward is made to the pedal B above. The the yr a h Ma ^ ls cont®nt to revel in sometimes undue prominence is given them, all should be brought forward, yet in a decided upon, the registration of each will musician is not a slave to the printed page Ae organ builder s art, and neglect real and generalIy on the' part of sincere and natural and unforced way. need attention. To take a piece, with when such things show themselves. Ad- playmg, degenerates talented> but unreflective performers. Many Compositions might include one good the printed registration, as so often herence to real musical feeling, if nothing fugal number from some of the great mas¬ found and pl.iv it verbatim on each and else, should prevent such crimes, -■ ssrssxx than sonatas and fugues, yet classic ters, or possibly an overture transcribed; a taste (or lack of it) dictates. His foot every’organ, is a procedure that will cer- Again, it never sounds well to leave degree, could well be given a larger place tender lyric melody, a scherzo, something work is slovenly, frequently incorrect, and tainly not commend itself to the organist unresolved harmony on some loud co on our organ programs. An entire sonata The imitative work is brilliant, scholarly, a minor key, a movement in one of the always interminable. “Fancy” stops are in of taste. Nothing in the way of musical bination, and change to the chord ot re ^reated for those who have a or symphony, thematic development, or any- and singularly fascinating, being in Mo- various dance forms.^. ani.i.ia of instruments differ s» much as do organs, lution on something so soft that the pre evidence, till we suffer from tonal nausea. _desire for the finer things of life thing constructed along these lines, has to zart’s best vein. The trio is so graceful sort (perhaps Leinmcn's °.1 - as many a recitalist has found to his vious dissonance is left, as it were, hang- And the most hopeless feature of the be received by the intellect as fully as by and dainty, that its favorable reception, too, with variations (preferably something fa¬ chagrin, when, with limited time at his ing in the air A reversal, dynamically, is and the judgment to select wisely. tion is, that he imagines he c i play I . - - - the emotions. Unfortunately, it is a fact, is assured. miliar) and a stirring martial movement. disposal, he lias had to preside at a strange not objectionable, however Such things, It is this kind of public infliction that that people do not want to over-work—least Still another is the Minuet from “Sym- These things cover the most of organ mu¬ organ. Every stop should have its indi- too, as doubling the bass of the dominant The unqualified approval of world- brings the organ into such general disrepute of all at a concert. It is the custom to-day, phony in G major” (The Military): sic. Now as to the next consideration. vidual trial first, and the quality and vol- seventh in the last inversion, the bass famous musicians and the thou¬ as a solo instrument. The same thing would and no doubt a good one, to speak of enter- ume carefully noted. Combination will of the major chord in its first, had better be true of the piano, from the way it is often tainments as being “educational,” but, after - Arrangement sands of Weaver owners is proof, Minuetto Military be next in order, till all that is possible in be avoided. maltreated, were it not for the fact that a"> Pe°ple want music that will give pleas- THE ARRANGEMENT of the pro¬ this regard has been committed to mem- Regarding keys, it will be noticed that beyond cavil, of its supremacy. the pianistic art is, in other quarters, on a llrc' No matter how “advanced” they are gram is very important, and, next ory. If any note in either manual or pedal the key of the dominant followmg he gratifying high plane, and we have the op- p0'day’ thc/ a11 like. a tune, nor need they to the selections themselves, shows the is found undesirable, ome way hould be tonic produces a bright effect, while the Weaver Piano Co., Inc. - - York, Pa. portunity of hearing genuine artists so fre- ashamed of making such an admission, player's sense of fitness. It might be sought to avoid it, as one bad note-espe- sub-dominant used in this way makes any- quently Many masterpieces are more tuneful than arranged in the way we like a dinner served, cially if it is frequently made use of—is thing sound as if in a mellower vein, jf But how often do we hear artists on the ' |S genera"y SUpp°sed = ,thf contrapuntal in- by dishing up the “sweetest” things at the enough to mar the beauty of an entire have often kept these things m mind in \ m-p-an nf c r> A terweaving of their independent themes, organ of he calibre of a Paderewski? however> fflakes a ter tax on thc ^ last—for it really is a musical menu. number. Sometimes a transposition is the presenting one piece after another accord- During the. earlier numbers, the organ Some might question whether there be any tener's receptive capacity than a «straight best remedy, if there be time to make one- ing to the atmosphere wanted, even to the itself is largely the attraction ; nothing very self sure of it in the new key. extent of transposing, if the sequence of such. There are to-day, nevertheless, or- tune” Naturally, he will, sooner or later, “fancy” may be demonstrated till* later on. There should lie kept in mind the neces- keys were unsuitable. Keys of secondre; ^AUSTIN ORGANS] ganists who are real artists; though per- grow bored and restless. A good fugue, At the same time the opening number sity of having in each number the element lationship following the tome, ot cou"e’ q-HE si haps not so many outstanding names are well played, is not without a certain at- should possess unmistakably attractive of variety and surprise, by the avoidance produce more sudden and out-of-the-way to be found as among pianists. Certainly,' tractiveness, even to the layman, but we led by Austin organs in St. Mark’s, St. qualities. The question as : whether to of previous characteristics, still fresh in changes, and may advantageously be e those who hear the organ handled as only cannot expect him to enjoy an evening Luke and Epiphany,St.Clement’s.Church open with a loud or soft selection (or be¬ the auditor’s mind. If one number has ex- ployed for such ends. ... « d of the Saviour, Arch Street Presbyterian, a master can, will realize their misfortune made up largely of this sort of work. The- ginning of a selection.) deserving of hibited largely a feature of heavy continu- In short, a successful recital must sound Cathedral SS. Peter and Paul, Girard in not being able to listen oftener to such a madc development he has no passion for, College, Temple New Jerusalem. thought. Personally, I prefer the latter ous pedal, an emotional lyric number, with well.” Magnificent organs . arej^ so All are very large, comprehensive instru- magnificent performance. and. while a certain amount should be in- method, and I believe many share this view. i recital which - eluded in every good recital, a speedy i avoidance of heavy bass, or a dainty generally used that^< For those who are ambitious to elevate People may not mind startling surprises beautiful churchly tone. change to something different is appreci- dance movement, with a sparing use of “bore ’ can us“flly la]d f1 *d ^ifthe the taste for organ music in their com¬ (at times), but they rarely relish the sud¬ light staccato pedal, and in a new key, will the recitalist. To one o taste and sk.l fiie munity, and are willing to work toward den crash with- which many players are be grateful to the ear An Oboe or Vox modern oYgan becomes a vast treasure Among s< AUSTIN ORGAN CO. 1 that end, the following suggestions may be accustomed to begin. Moreover, it is better Humana solo in one number should not house Many hidden beauties ^re waitmg P165 Woodland St. Hartford, Conn. I of interest. to keep the full power of the organ in re¬ be followed at once by something in which to be brought into the light He will d^ Choice order not to blunt the sense of the same tone-quality is heard again, cover and classify these, and will not al- Enough time should always intervene, so low the organ's weaknesses fshould^ any T N PREPARING a recital, the choice of “Mum is essential tfcSSUSSKLZ KSKMBaasS IXSZSBUS.- that if the re-entry of the same stop is be found) to be ^°sed', _. pieces will be the. first, consideration. of tlie most beautiful compositions ever my knowledge, written a more genuinely Special effects, too, arc to be held back once more desired (as form in registration people love the organ, whether they feel Guilmant Organ School to feminine charm the examination of a long list of pro-, written. If thc player wishes to begin his attractive minuet. The trio, too, exudes a tiH their entry is emotionally and logically usually calls for) its second advent will so inclined or nci, ® grams of this kind indicates that, while, recital quietly, nothing could be better for flavor of old-world grace that is as charm- demanded, taking care meanwhile to avoid be fittingly and psychologically timed, for it, and through bringing ^hfrom That fresh, crisp cleanliness from the standpoint of merit, every item an opening number. The first few intro- in8 as die foregoing is bright anti over- samcncss in two consecutive pieces. Only It should never be forgotten, moreover, this modern Aladdin s cave treasures both that the morning bath im¬ ‘s of the first class, taken as a whole, they ductorv bars of melody, with their impres- fl°wiug with Haydn’s happy optimism. fareIy should two selections that continual use of the full organ wearies new and old. parts can be preserved for all n many instances, incomprehensible sive silences These are only three of the many things key’ especially in thc minor mode, be given A Distinctive School for day and evening. “Mum" is the average hearer. Sonatas, fugues, and used in recital, and at times, in church. It ln succession. Also, keep well apart such Serious Students the snowwhite deodorant other selections of this type abound, but will be noticed that all arc transcriptions, p.lcces as resemble each other in regard to Music for Everybody cream that neutralizes com¬ many classic gems—real gems of super¬ Andantc cantabile Jupiter and were not originally written for the or- timc> ‘emP°> style, registration or length, Free Scholarships ,T« Archbishop of Canterbory, »ddr«»- »” S lative beauty—are overlooked or ignored'. gan. It may' seem strange that, of the great a nder too, anv choice from the older pletely the unpleasant odor smg a conference of clergy, organists and ?tand d t be a servant of the congre- Write for Catalog More reference will be made to this later. masters, only three left work behind that masters is generally best on the first part of perspiration, without showed their love for the organ: Bach, of‘deprogram. The intrinsic merit of the choirmasters in the Canterbury Diocese at ing, and m , f th h ; and stopping perspiration itself. In choosing pieces it is well to keep in Canterbury on November 7th, said the gation, and not mereb qZ Handel, and Mendelssohn. The work of mus,c itself is its chief attraction and a ™ ™ 17 East Eleventh St., N. Y. mind the fact that the majority of the Place of music in church worship was as those attending. -Musical Ufnuon “Mum" is so safe that it is each sounds well on the instrument, and certain amount of time should be given to average audience are not musicians in a used regularly with the sani- should be represented. Much of Bach's that a,one- This mav well be termed the important a subject as any in the discus- sir Landon Ronaldi «is a technical sense, though often keen music- lighter music—if one may so term it—is educational part of the program. Sudden Slots on Prayer Book revision. It was M .f ’vnn come to think of tarynapkin. Be sure toread lovers. It is well to reflect, also, on how a very grateful even to modern ears; his modulation, and bizzare or ear-tickling ef- one which concerned everybody in Church necessity. jik necessity— the pamphlet packed with selection is likely to appeal to the hearers gavottes, sarabands, and so forth. But the ^e.cts are not so much in evidence here as !.cthing new in the way of stores. Or sent postpaid. Or organist practices a piece until he is flags during this exquisite creation, for'adapting"„ marked that formerly it was thought that VERY PROGRESSIVE ORG AN- >r adaotimr piano music to the orean tb ,“Fancy” stops may now he The 0KU0BI.0 lnw won tin you may send 10c to cover thoroughly familiar with it and learns tc It pleases•“* "* - first hearing, and;t will also practice is not always the only qualification for a choirmaster Itheatre highest award In ever, expo.1- : .ten > cost of packing and mailing enjoy many parts, which were vague al bear any amount of repetition. fj whether or not the { Z. SFlZ ««,' mm,ymusic wwhich tells a story, may begin to and organist was that he should under¬ "oiidOIU.O JUNIOR” stand music. His work was supposed to ■Aor Aurcrc _ or i!ted"a„d Student Organ. a generous Trial Size. first, even to himself. He is eager to pre¬ Another selection splendid for the organ -“suits.” If not, better leavkital™ assert itself. Many dearly love’this type lUKuAnlM j THE SPENCER TURBINE COMPANY sent it in public, and considerably disap- of most mechanical nature. To-day MUM MFG. CO., 1119 Chestnut St., Phila., Pa. is the Minuet from “Symphony in G minor.” is one perfect little organ niece L,1"* °f conTP°si‘ion, and so long as it remains all that was altered. We realized that the HARTFORD CONNECTICUT ever, music—not tawdry clap-trap—it certainly \ SECRETS choirmaster and organist must be a musi- JUNE 1926 Pa$e Jt67 tee etude Page 466 JUNE 1926 TEE ETUDE Organ and Choir Questions Answered

Clare Osborne Reed By Henry S. Fry SUMMER Siia SCHOOL OF MASTER T WENTY-FIFTH YEAR MUSIC SCHOOL Professional June 28 to August 7 (Six Weeks) Summer School PROF. LEOPOLD AUER MASTER VIOLIN INSTRUCTOR OF THE WORLD Five Weeks June 28 to July 31 ALEXANDER RAAB EMINENT HUNGARIAN PIANIST Many Special Features for EDWARD COLLINS the Teachers of Music RENOWNED AMERICAN PIANIST HERBERT WITHERSPOON INTERPRETATION FOR ARTIST STUDENTS DISTINGUISHED SINGER AND TEACHER INTENSIVE COURSE FOR SUPERVISORS RICHARD HAGEMAN PIANO, THEORY, VOICE, VIOLIN NOTED COACH AND ACCOMPANIST WILLIAM S. BRADY NORMAL TRAINING CELEBRATED VOCAL INSTRUCTOR PUBLIC SCHOOL MUSIC As a Graduation Present What Could Be Nicer Than a SERGEI KLIBANSKY GRAND PIANO ? INTERNATIONALLY FAMOUS VOCAL TEACHER Send for Summer School Booklet FLORENCE HINKLE * it is 'ssmtixit AMERICA’S FOREMOST SOPRANO Columbia School of Music tow - LEON SAMETINI Box E 50.9 South Wabash Avenue JESSE FRENCH & SONS PIANO CO. RENOWNED VIOLINIST CHICAGO CARL BUSCH ILLUSTRIOUS THEORIST AND COMPOSER W. OTTO MIESSNER Michigan State Normal College Conservatory of Music NOTABLE AUTHORITY ON PUBLIC SCHOOL MUSIC CHARLES H. DEMOREST FAMOUS THEATRE ORGANIST Total living expenses need not exceed twelve dollars per week. Tuition and fees exceptionally low. Write for Cataloo CLARENCE EDDY Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, Mich. fALPARAISO L/ awrence FREE FELLOWSHIPS Conservatory of Music fUNIVERTY Prof. Auer, Mr. Raab, Mr. Collins, Mr. Witherspoon. Mr. Brady, Mr. Hageman, Mr. Klibansky, Mme. Hinkle, cAppleton, Wisconsin Mr. Sametini. Mr. Demorest and Mr. Eddy have each consented to award Free Fellowships to the studentf 1 ~ “ ' - - f '• the greatest gift for playing or singing. Free Fellc A Department ol Lawrence College

TEACHERS’ CERTIFICATES and DEGREES Piano, Voice, Violin, CeUo, Organ, Teachers’ Certificates and the Degrees of Bachelor of Music, Master of Music, Bachelor of Music Education Bachelor of Oratory and Master of Oratory are conferred by authority of the State of Illinois, at the end of each summer session upon professionals, who have the required knowledge and pass satisfactory examinations. Band Instruments, Public School Music, Special Sum__ , Controlled by Lu thi_ __ since Sept., 1925. Open to all. For special B Public School Art, Dramatic Art. address office of the President, Dept. K. ^ nil VALPARAISO UNIVERSITY Valparai* STUDENT DORMITORIES Orchestral and Choral Training, lisisss Artistic and sumptuous dormitory accommodations for men and women in college building. Piano furnished with —L ~oom. Prices reasonable. Make reservations early. Music Festival, Artis. Recitals. 5 COMPLETE SUMMER OR WINTER CATALOG ON REQUEST FALL SESSION OPENS SEPT. 13 Bachelor of Music Degree Diploma, and Certifi¬ cate in Piano. Voice, Violin. Organ, Public School Sr— Music Methods and Music Kindergarten Methods. r.. Bulletin sent fete upon request CHICAGO W. ST. CLARE MINTURN. Director. DO NOT PUT OFF UNTIL NEXT FALL THE STUDY WORK YOU WILSON, SMITH & CO. MUSICAL CAN DO THIS SUMMER. America’s tofusic Schools and Colleges Conduct COLLEGE Excellent Summer Classes. LOS ANGELES, CALIFORNIA The Fords of the Mail 60 EAST VAN BUREN ST. (S&r&g) Chicago, Ill. LY froSmAtheoTpresser c^n^w.Trh 0U Can get itpromeT" A Conservatory Pledged to the Highest An unequalled stock „f music publication a ', 7 2-1714 Chestnut St., Philadelphia, Pa. Artistic Standards. Established 1867 prompt, accurate service. Prices on any oublLL™ °f e*P«™nced clerks make possible the rendering of teachers. Ask about them. * PUbl,CIt,on quoted cheerfully. Special service features of interest to JUNE 1926 Page i69 0E ETUDE THE ETUDE Page %68 JUNE 1926 the ends of the string, the knot readily is too wide, it must be filled with wood soned. Unless remedied, this crack con¬ loosens, when the string may be easily re¬ and usually reinforced from the inside. For Pianists of Skill and Taste Re-Hairing Bows tinues to increase in length. Remove the Closing a wide crack by force is very apt moved- Many people write to the Violinist’s saddle, repair the crack, and re-glue the to affect the vibration; and if the parts Etude seeking instructions for re-hairing saddle after cutting or filing it down to are warped it may loosen in a very short their bows. This information can be ob¬ The Violinist’s Etude the proper length. time. Recital Piano Pieces tained in the little work, “The Violin and A good way to hold it in place when Poor tones or rattles are sometimes How to Master it, by a Professional glueing is to pass a cord twice over it, caused from the inside—loose bass bar, A compilation of modern masterpieces for Edited by ROBERT BRAINE from the button to the corners and around Playerand the directions are as clear as lining, or blocks. This, of course, must those who desire to become familiar with the can be made in writing. However, I would the violin. be left to the repair man. Neither should advise against the violinist and violin It Is the Ambition of THE ETUDE to make this Department staining or varnishing be attempted by a finest creations of the world’s greatest com¬ novice, as this is very particular. Many a student trying to re-hair their own bows; ‘‘A Violinist’s Magazine Complete in Itself” posers. It contains music in infinite variety for it is a very difficult and tedious oper¬ valuable instrument has been ruined for¬ ation for one who has not had much ever by the wrong application. There is as regards character and difficulty, the famous experience. I doubt if there is one pro¬ no remedy, especially where certain in¬ composers of all schools being represented. fessional violinist out of fifty who re¬ Only an expert should attempt to repair gredients have soaked deep into the wood. hairs his own bow. The late Eduard A Study in Position large cracks or cracks which need rein¬ Not the least important is the cleaning There are also a number of pieces which will Remenyi, the famous Hungarian violin¬ Here we have a perfect playing position, piece. This position insures more sonority forcement from the inside. There are, of your violin both inside and outside. I prove both novel and interesting. The book ist, when he was touring the United States, correct in every detail. Note the attitude of of tone .than would result if the head of however, many small cracks and checks have found the best method of cleaning used to send his bows all the way to Paris, easy grace. The whole position is one of the violin were held low with the back which any one can repair very satisfac¬ the inside, without removing the top, is contains 256 pages. by express; to be re-haired. Asking him dignity and freedom. The right wrist has of the violin pressing against the body of torily. One of the most common is the to insert a handful of damp rice giving it why he did this, he told me that he could just the correct position, and the right hand the performer, thus checking its vibrations back or top coming loose from the sides. 'a careful shaking. This will loosen and not find any one in the United States who CONTENTS is gracefully rounded, with the fingers held to a certain extent. A chin-rest, rightly adjusted, will not Always repair such cracks as soon as dis¬ gather all dirt and dust. . .Humorcske, Op. 6 ■ knew how to do a perfect job of re-hair¬ on the stick of the bow in a comfortable The violiniste’s head inclines slightly to covered for they have a tendency to grow There are several ways to clean the out¬ .Lieberstrdum reduce the tonal qualities of an instru¬ " »«*•.'..Ancien °±3^Jt Mamet UsT’f* .Melodie, Op. 10 ing. He was wrong, of course, but it position, not closely squeezed together, nor the left, bringing the jaw on the chin-rest side ; but, as the varnish is easily damaged, A±i!kyN.A::: ment. I mention it here because it is when left undisturbed. Arensky, A. Pres de la Mcr, Op. 52 .. . .Melodie, Op. 72 showed the importance he attributed to a straggling far apart on the stick, as is in the position best suited for holding the one of the many cleaning preparations on [.Ballade, Op. 10, No.^ ... Etincelles, Op. 36 sometimes the very troublesome cause of Clean out, as much as possible, all of Brahms, J...... Moszkowski, M... .Gopak perfect job. often seen. The stick of the bow is exactly violin. So many violinists make the mis- the market, all of which have been proved Chaminade, C.. Moussorgsky, M.. a much impaired tone, when falsely placed; the old glue. Work plenty of glue well Cul, C...... '.'.'.'..Prelude in Ab Paderewski, I. J.. .Chant d’ Amour In re-hairing, the problem is to have the parallel with the bridge, and at right angles take of placing the point of the chin on ".'..Mazurka in Ft Minor ....Legcnde, Op. 16 yet it is indispensable to the violinist. into the crack with a small brush. Clamp satisfactory, may be used. Debussy, . .Passepicd hairs run in perfectly straight lines, with to the strings. In this position the hair the chin-rest, with the head inclined to the relude, Op. 23, No. 5 When selecting a new chin-rest, the the parts very tightly; and wipe off the A clean rag, saturated with raw linseed Dvorak, A. .'.'.'.'.'.On the Holy Mount .. .Meditation, Op. 75 the same tension throughout, and to ar¬ .Romance, Op. 16 lomance Sans Paroles pulls squarely against the string, getting right. This position is not only strained glue which oozes out. oil, dipped in very fine powdered pumice Gliere, R. range so that the hair will be of the proper style best suited for yourself should be Granados, E.... .Caprice Espagnole ..Impromptu, Op. 28 determined by adjusting to the violin and If clamps c not at hand, they may be stone, and carefully rubbed over the violin, .Romance length from frog to tip, so that when un¬ lie, Op. 30 easily devised for this purpose from thin will remove the caked rosin and dirt. The Grieg, Ed..’..'.. screwed the hair will be loose, and that it trying the several makes and styles for .. Cloc! "s’ du Soir board, either soft or hard wood. Take violin must then be rubbed perfectly dry. ..Chai_ Sans Paroles will not be too long for it to be screwed the “fit,” in regard to both the violin and Condcllicd, Op. 63 pieces about two by four inches, measure It is important to keep the violin clean up to the proper tension for playing. yourself. The smaller styles are more . .Arabcske, Op. 18 the thickness of your violin and cut out inside and out, both in regard to tone and .An Rouet, Op. 60 Some amateur re-hairers glue in the generally used and are also less apt to af¬ on a slight angle accordingly—so that the appearance. And the best way to keep it thee Steppes.steppes, Op.up. 22 hair, which is air abomination, and spells fect the tone. For a sensitive skin the cork finding, Chr.. ...Rustle.Rustle of' S^rmg.. farther in they are pushed, the tighter clean is to “not to let it get dirty.” Wipe isee Fugitive, Op. 20 trouble for the next time the bow must be o'r covered rest is recommended. .Etude Joyeuse Spendiarow, A. rPiect they will draw. A padding must be placed off the rosin each time after playing. Kopylow, A. .La Papillon Strauss, R...... re-haired. Others get the hairs crossed No part of the chin-rest must come in Lavallee, C. Tschaikowsky, P.. between these clamps and the violin to Leschetizky, Th. . '.'.The Two Skylarks and of unequal tension. The most com¬ contact with the violin or tailpiece, except¬ A list of average charges for repairs prevent marring or scratching. mon fault is to get the hair too short or too ing the rests provided for that purpose. such as you can make yourself, follows. Price, $1 25 For Sale at All Modern Music Shops long, and people who try to re-hair their These rests should be covered, preferably This will give you an idea of what a sav¬ e Ulustrated 56-page catalogue of the “World World” Music Series with cork or thick flannel. Sometimes Write for fre own bows often have to make several ing you can make. _ - - r-s * ivt \7 35 W. 32nd Street trials, spoiling a hank of hair each time. this padding has been lost or thrown away New Bridge..".$1.00 to 1.50 D. APPLETON & COMPANY New York City As a good hank of hair costs at retail through neglect. See that it is there. The about fifty cents, this makes it an expen¬ hard surface is certain to deaden the tone New Sound Post. 1-00 to 1.7a sive proposition when the re-hairing does or cause a buzzing. New Pegs (ebony).2.00 not come out well. Sometimes the front of the chin-rest New Fingerboard and Bridge 5.50 The hair must be first wet and then care¬ touches the bulge of the top. This can Glueing cracks from outside. 1.00 upward Never merely fill a crack with glue with¬ fully combed before it is put in. The be remedied by filing a small portion from Re-shaping Fingerboard. 1.50 Violins Sent on Approval the chin-rest or by inserting more cork or out clamping the parts tight. The glue little wedge which holds the hair fast, Other minor adjustments, usually $1.00 " STUDIOS, Dept. D-3, 3900 Sh must never be glued in. padding. would only dry and fall out, leaving the and upward. Write for Catalog and Altogether it is by far the best policy Keep the chin-rest away from the tail¬ repair job the more difficult. If the crack to get a skillful repairer to put the hair piece ; and do not have the screws or Details in, for the amateur, trying to do it for tighteners touching the end of the instru¬ himself, cannot possibly succeed in doing ment. Tighten just enough to keep from Tempering Criticism even passable work until he has re-haired slipping; and see that the pressure comes directly over the sides. Too tight a chin- fifty or a hundred bows, and some never By Charles Knetzger MUSICIANS SUPPLY CO. seem to acquire the knack. rest is bound to affect the vibration. Most amateurs and students do not have Setting the sound-post is simple, yet par¬ It is often better to substitute sugges¬ 83 Newbury Street Criticising the work of pupils, espe¬ their bows re-haired often enough. Worn POSED BY MISS PAULINE WATSON P,““ W Mistin’ N‘ ticular. For an amateur without a post¬ tion for criticism in the case of a timid Boston Mass. cially those who are extremely sensitive, out bow-hair is as bad for violin playing Concert Violiniste, of New York City setter, a piece of cord and a table knife pupil who is easily embarrassed. The is often a disagreeable task which requires as a dull razor for shaving. The student are the best “tools.” Have the bridge in good points of such a one should be no little tact and prudence to be productive who practices an hour a day should have the maximum of vibration and purity of and awkward in appearance, but it pre¬ the proper position, with only a slight praised and even magnified, so that ne of good results. The AMPLITONE 22* his bow re-haired at least twice a year, tone. The hair lies on the string, midway cludes holding the violin well. pressure from the strings. Too’ much ten¬ may be encouraged to overcome his ti¬ Invented by August Martin Qemunder Criticism should be constructive, not de¬ and oftener when he practices more than between bridge and the end of the finger¬ Note the pleasing expression of the sion is apt to crack the top with the post structive, and censure should be judicious¬ midity. , , that length of time. A professional who board, where it should be used in messo- player’s face, with just the hint of a smile down. Keeping a card catalog of each pupils ly mingled with praise. Sometimes a ges¬ does much, and very hard playing, gets forte playing (ordinary tone, neither loud —a very important element indeed in creat¬ The post must fit reasonably tight; and good and bad points has been highly rec¬ ture is more effective in pointing out a his bow re-haired at least once a month. nor soft). The stick of the' bow is in¬ ing a good impression on one’s audience. the ends must be cut on an angle so as ommended by successful teachers who find 7/(0^ can play mistake than a long, wearisome explana- There is .nothing like fresh bow hair for clined towards the fingerboard, making it She seems to be listening with delight to to fit the curves of the top and back and it a great help to themselves as well as to tion. To correct every error as soon as ''this wonderful pulling out a fine tone. possible to use only the edge of the hair the tones of her violin. So many violinists allow it to set straight. Use spruce or the pupil. It serves the former to keep it occurs often results in hopeless confu¬ for very soft passages, or more when re¬ lack a good facial expression when they pine. a record of the work done by the pupil, instrument sion and tends to create dislike for the quired, by increasing the pressure, as a play in public. Some frown, some com¬ When a new post is made the correct and the obstacles to be overcome to clear If you can whistle a tune, you can study of music. Wholesale criticism usu¬ louder tone is desired. press the lips, or keep the mouth open, length must be discovered by experiment¬ the road to progress, while the latter gets master the Saxophone. 3 free lessons Do You Know ally has a deadening effect on a pupil, The left elbow is held far under the while others make all sorts of grimaces, to ing. A trifle smaller than a lead pencil a clear idea of his faults and failings, violin, which throws the left hand well especially if he is slow or possessed of That the first British Army Band to the vast amusement of the audience. Al¬ is the correct thickness. which is the first step in eradicating them. above the fingerboard, so that the fingers meager talent. why .s the leave its own country was the Grenadiers most every young violin student, just com¬ Set the post back of the right foot of YiRZI VIOLIN else could give you greater pleasure than a Band which came to the United States in will fall perpendicularly on the finger¬ the bridge and directly under the E string. USED BY THE GREATEST SOLOISTS! mencing to play in public, has some dis¬ 1872, to play at the Grand International board, on their tips. The crease where There is one right spot for the post to be because^tis^Tmia^i^.m^d“Trri”ooa' the fingers join the hand comes even with agreeable little mannerism which detracts Famous Strad Changes Hands viaBryant ^ Order NOW!! One or more will be rent you on FREE trial Peace Festival at Boston? This was also the placed in any violin in regards to how far the edge of the fingerboard. from his performance. A pleasing facial first time since the American Revolution back it must set. This can be discovered The famous Du Brouq Stradivarius, in Mr/Wesley played the GJrue ^Totie Saxophone The head of the violin is held high, with expression is a prime element for success E., J. & J. VIRZI, PoTa that a British soldier appeared in uniform which has been played for the last eighteen m,st .j h n it was sold to Buescher Band Instrument Co. the scroll considerably higher than the tail- in public violin playing. only by experimenting. Usually, the in our country. farther back the softer and less brilliant Kars by Efrem Zimbalist, celebrated violm- "h^^Xust who used it constantly. Eocrythlng’ln Band and Orchestra Instruments 1437 Buescher Block Elkhart, Indiana That an old manuscript in a Parisian the tone becomes. An eighth of an inch !St’has iust been sold by O. H. Bryant, Bos- Ef ■ position to know VIOLIN MUSIC Theodore Presser Co. ton expert and dealer, to D. H. Walton, of Mr. Bryant, wnois_ p ^ as any Aak for Catalogs 1712 Chestnut S.„ Phil,.,‘Pa library contains an illustration showing back of the bridge is a close guess for Hints on Repairing—Part III Brookline, Mass. The price is said to be fine ^em° r tjie Du Brouq Strad: Heinrich von Meissen, a minnesinger who the average violin. died in 1318, conducting a choir of singers £.the neighborhood of $20,000. The Du authority says^ ^ is On Block.Tlkhart^Indiana. Tie a cord to the post near one end, and players ? He is seated on a raised plat¬ By Otto Rindlisbacher Brouq Stradivarius is one of the really The .- f tj ■„ oer;0d as any in Credit VIOLINS with a single knot, pulling very tight. I'M# form and is conducting by means of a long splendid specimens of the work of Stradi- as fine * ^New York Musical Courier. l j SaxophoneQ^cSraeta1 TromboneQ Trumpet^ The saddle is usually of ebony. It Insert the post and, by holding the varl- It was sold by the Baron Du Brouq existence. New xor baton in his left hand and one extended In many instances a very small crack I Mention any other -—————- be glued in and fit snug.- Its height_ the top will be noticed, starting at the finger of his right. His attitude and ex¬ string from both f holes, it will be a regulated by the height of the bridge and end of the saddle. This is caused from simple matter to set it up, providing it is B pression clearly indicate his intention to the bulge of the top of the violin. Suf- weather conditions and shrinkage of the • "Poor Nero! He was guilty of many that? Stmply after Zero’s death." of correct length. Once set up, it may guide those below him or to correct some fice it to say it should be high enough to top, especially in the newer violins where Monstrous acts, but he did not fiddle while built till! ; Laughs” - au IF1, ". be easily shifted to any position, with the Rome was burning. How do we know Henry T- Finch.- Musical ia g Please mention THE ETUDE when addressing our advertisers. one who is going astray. clear the tailpiece from the top. the wood has not been thoroughly sea aid of a table knife. By alternating Pu^s JUNE 1926 Page J^ll 0E ETUDE Page 470 JUNE 1926 THE ETUDE Hard Touch and the Player Piano Violin Questions Answered By Rena Idella Carver The Child's By MR. BRAINE Some time ago The Etude published has shown excellent progress in gaining a the following letter from a teacher con- loose wrist on a responsive piano, is apt Approach to , Keep Violin Strang. to stiffen and force the muscles when CHICAGO Starting at Twenty. . B. G._wiien a violin is in constant nse, the rning a difficulty which has retarded playing on one with a hard action. The L N.—Ordinarily, hope of strings should be kept strung up to pitch, at many a pupil’s work progress. “One of my pupil must keep the wrist loose no matter jjttje girls has a player-piano in her home. Music Study how small the tone. Much time and pa¬ The piano has so hard an action that she tience will be consumed before power is To win the enthusiastic interest of where^mdfs® with such a late start have their violins in the case, from a mistaken has acquired a very loud touch. One might secured, and a predominance of arm and succe^ln acVm^enough technicjo^lay idea^of economy. Very few strings are saved the boy or girl at the very outset has say she bangs, and pounds. She is a tiny MUSICAL in a symphony orchestra, but such wrist exercises, followed by Dr. Mason’s always been one of the biggest prob¬ ...... lnsimr. valuable child eleven years old, and her hands chord studies and chord pieces, will be nec¬ lems in music teaching. Leading e effort. How- try, you might and fingers are very delicate. How essary. educators agree, today, that this can ., ,,,naPivatorv in G. F.—The label in your violin when trans- The first finger exercises may be per¬ be best accomplished by enabling the BostoniTwhic£''ls"'VJm^home) In that lated is m follows : “Jacobusgainer, in Ab. can 1 correct her technic? If she had youngsters to make music in their This is the label an ordinary piano it would be simple. formed on top of the keys of the new 61st time your teachers could advise you whether """ -iolin maker, own wav with the aid of that uni¬ Year COLLEGE you would be able to become a professional ertainly not T have have tried everything I can think player-piano without depressing them. versal musical instrument—the Har¬ after so late a start. _ _ Then light staccato touches may be used hi 1621, he would have been only twelve'years of, but, so far, I am simply bumping my monica. After they have become u*w.„,ii,nHi.s of !l«e when he made the violin, and he did head against a player-piano 1” and finally legato finger work. In pro¬ proficient on this instrument they M w D hi such an enormous num- not begin making violins at so curly an age. Not all player-pianos have such stiff ceeding gradually the pupil may acquire will take naturally and enthusiasti¬ HERBERT WITHERSPOON, President her Of NmitlSSn Stradivarius violi that Send for a copy of the June, 11125, Etude, actions, but the new ones are apt to be strength and ability sufficient to cope with cally to the study of the piano, violin there is notSSe“chfnce inmiBUona that yours which has an extended a-HH.. si.i... and other musical instruments. You will have to ship your very unmanageable. Even a pupil, who the stiff action without losing flexibility. in to a reputable-- dealt. . .. s-« -i-unr f— — -- A Hohner Harmonica for the buy opinion, but the chant... — - .. . E. B.—At the battle of Manila, in the Span- or girl will help solve the problem. would go to useless trouble and expense in isll-Anierican War, Admiral Dewey, command¬ With the newly perfected Chromatic FALL TERM OPENS SEPTEMBER 14 — You will have to run the risk of ing. You will ing tile American ilect, opened the battle by Harmonica they can play the com¬ disappointed. saying to his chief gunner: ■•You may fire Inspiration! when ready, Gridley. The game answer might his position at the court of Prince Ester- plete chromatic scale. It is not a be made to your question as to when the vi¬ The notion that the great masters com¬ toy, but a real musical instrument More than 125 teachers of world-wide reputation. Private Must Hienr Her Play. brato should be taken up in violin study. The posed music only when “inspired” by some hazy. which will promote self-expression, A. B.—It would be pure guess work, I am pupil should take it up when he is ready for Haydn also composed one hundred and lessons only or courses leading to Teachers’ Certificates, sorry to say, for me to try and decide whether it, and the determination of this point requires semi-divine impulse is not borne out by the rhythm, and accuracy, and jay the the little girl is working on the proper mate¬ nice discrimination on the purl ot Hie teacher. seventy-five pieces for the “bariton,” a foundation for serious musicianship. rial without hearing her play. It would be Many take it up too soon and thus unsettle facts of musical history. Many acknowl¬ viola da gamba popular in Germany, upon Graduation and Degrees in Piano, Voice, Violin, Cello, like a physician trying to prescribe for a endorsed by such their Intonation. Some pupils of a nervous, edged masterpieces were commissioned in which his royal master was a performer. Hohner Han Church Organ, Movie Organ, Theory, Public School Music, examineZh°Allhtheaexe°cisesSand’ pieceifyon emotional type,oommen'i? solve thet'i"’ ‘T"!’!''"p- ' ’ 1 q’” r fthem' name are excellent, but whether they are < 0 t■ m that time your of the Peabody Institute of Music in Balti- supplied only by the parent who has gained mother. “I used every means I could in¬ teacher could advise you as to whether or not you have the requisite talent to continue it through long experience. The parent vent to cure him, but with no improvement. 2.—By all means study theory, harmonv! “Country Fiddling." often has the key for which the teacher One evening after an especially trying solfeggio counterpoint, musical history, and A. \V. M.—Most of this “country fiddling," practice hour, I told him that no child could above all, the piano, as well as the violin which is Sweeping the country at present is is so vainly seeking, and which will open STUDENT DORMITORIES be so ‘scratchy’ unless he was unwashed. Artistic and sumptuous dormitory accommodations for men and women in l,nn“ .. position, aml'b.v.* f""T up hitherto fast-closed doors of develop¬ Appraising Violins. __|H....country veryfiddlers f(?w ki___I_„ use themnettling except of„ thef—0r Although I knew this was not true in college building. Piano furnished with each room. Prices reasonable. positions. ment It was so in the case of Stephen. L. M. G.—Any of tire violin dealers who occasional noti| s.' Their strong point is Stephen’s case, I insisted that he take a Make reservations now. I'i J-E ®TUDE- ','.nuIfl appraise your rhythm, and ‘‘pep.' Stephen’s feet could not reach the floor. supposed Stradivarius violin for you. bath before going to bed. Baths were a He steadily refused to use a footrest and nuisance and were to be avoided whenever Pricing a Violin. insisted upon swinging his legs with each will reflect a little yon possible, nevertheless he was very sensitive COMPLETE WINTER CATALOG ON REQUEST wiU underetaiuf 2ow impossible it is for me beat. Moreover, at the piano, he seemed 828. —Op. 1. Abegg Variations . .... et a value on a violin I have never about being thought dirty. The next even¬ 829. -Op. 2. Papulons (Butterflies) . . . your violin to a good violin dealer, fo be self-conscious, wriggling his hands, ing he actually tried to sit still and I knew 826. -Op. 1 and 2. Abegg Variations and one in your city, or to any com- his feet, his nose, and even twisting his immediately that the problem had been PapillonsPapill . .. H- U.—There are millions of violins in e and ask him to give you an idea mouth into strange contortions. Besides, 526. —Op. 9. Carnaval . ..55 ;nce bearing labels just like that which solved. Oh yes, I found it necessary to 450. — Op. 12. Fantasiestucke ...... 65 398. —Op. 15. Scenes from Childhood . . . .50 -end, and, as there was only one Anton he seemed to itch all over and had to supervise several baths that week, but the Stradivarius, it is quite evident that he eeJnt scratch himself at every measure. After 527. —Op. 18 and 19. Arabeske and own hands, . R L. s-—Ally firm dealing in violins il disagreeable habit is now completely Blumenstiick.50 SUMMER MASTER SCHOOL To settle the matter of genuinei 's definitely, large way can sell a. Stradivarius violin — struggling to overcome this habit for many 525. —Op. 20. Humoreske ..5U you would have to submit youi broken.” 490. -Op. 21. Eight Novelletten.85 expert for his opinion. y°".if it is really genuine but of violins which months, the teacher discovered one day, to contain Stradivarius labels not more than 515- _OP6p3inaFantasCiest;iiSe.50 one hi a million is actually of this make. The Diplomas and Certificate Forms 528. —Op. 26. Faschingsschwank June 28 to August 7 (Six Weeks) Judge Without H™,i„„ imitations are hard to sell, not the genuine. Complete list with prices contained in our (Viennese Carnival Pranks).50 iV. -r am sorrv that I cannot advise you as to the value of your Instrumental Peculiarities "Music Teacher’s Handbook” which also contains 399. -Op. 68. Album for the Young. . - - -65 SUMMER CATALOG ON REQUEST nsweret] V‘°llD lrtthout Beeto* “ other business requisites for the Music Teacher. 400. — Op. 68andOp. 15. Album forthe Young ■ and Scenes from Childhood. Complete .85 ReJ>“,rInF Crack,. By Helen Craig 830. —Op. 82. Forest Scenes and Address lid he pure guess work. I would advise mn 'h'1'—!So ' to illustrate the ad- the more or less hard and unyielding tip 159-80 Columbus Ave., Boston, Mass. Piercing, the French horn tumid and the immediately behind the horny fingernail. must now be considered part of the qu^’ " ^ m the Science of this art H r —Jan Kubelik. “ass viol guttural. It is the musician’s JUNE 1926 Page fi7S ETUDE THE ETUDE __ Page fi72 JUNE 1926 Letters from Etude Friends

Ithaca Conservatory Typing and the Keyboard Touch in physical peculiarities, trueness of ear, and musical talent. Some children are naturally DETROIT gifted, and could learn from almost any in¬ T0 THtheBmany questions that euiue to The struction manual, whereas others must be of Music carefully studied, and trained. My greatest joy from teaching is the analyz¬ CONSERVATORY W. GRANT EGBERT, Musical Director „n the P11*.11'” notlced. by typists themselves, ing of the child, and then selecting his books so far nsA„ -eatler will find useful my own ex- and pieces in order best to encourage him Perhaps tne and to keep his interest. Some children mnst perience. j became a stenographer be appealed to from the mechanical viewpoint. of MUSICIMCORPOSATCD They work best when inspired with a pride OF MUSIC Ser three v“ar» have been doing typing Frederic A. Cowles Music Center SUMMER SESSIONS and «ix hours each day. For two of in the mechanics—beautiful wrist work, true I was rattier stiff, though always notes, and so on. Others must have an Director °f the Soath Offer a Summer of Accomplishment in a Recreational Environment those years imaginative story for every piece and exer¬ SUMMER Accredited School conferring Degrees. Instruction in the study of inclined "read >" Tub Etude that typing w cise—something to set their eyes to seeing MASTER Francis L. York, M. A., Pres. Ten Weeks, June7-August 13. Six Weeks, July 5-August 13. visions as they play. I once taught a child Pianoforte. Organ, Harp, Voice, Violin, Dramatic Art, Orchestral who had to be appealed to through her Instruments, and all Theoretical Subjects. Private and Class social Instinct. Every lesson h( SCHOOL- O™ \\ LEON SAMPAIX, Master Pianist and Pedagogue with corps of able meBt'e,i niano teachers. The new instructor social cull; her pride was ill being lessons. Student and Faculty recitals. Cultural Subjects accredited assistants will give special courses to young artists, teachers hostess. One false note was tin by Universities. Two and three year Public School Music Courses erable stm , sj-, i was confronted with as tea spilled in the lap of - - leading to Supervisors Certificate and Diploma. Practice Teaching June 28 to d“L,Ec”t' Therefore IT say : “*-“Away with stereotyped and students. fdUemma. Siure 1 Pui my^laxo first in my ‘methods.’ Study each child individually, in Public Schools. Graduates accepted by State Boards o Educa¬ August 7— FLETCHER-COPP Music Method Normal School under personal mane the most of his natural ta ‘ — “ tion. Teachers Training Course. Enrollment over 1800. All Depart¬ For particulars of summer ses i^tTeavn inv'bread l>y some other means your teaching music wit' - advancing ments open year round. Special Summer Courses start in June. direction of Mrs. Fletcher-Copp, June 21 to August 13. The or learn to becoi.n* relaxed in my present occu- him—always keeping hit Six Weeks JAMES H. BELL, Sec., Box 7,5 And always, wir their hearts first. A child Fall terms September 7. Each pupil receives individual attention to will always work ’or someone he loves. musical needs. Information and catalog from Elizabeth Boston. ALL DEPARTMENTS IN SESSION with complete Faculties of “twhen work"'' n,Ve done wo!and quickly, John L. Gruber, Manager, 218 West Broadway, Louisville, Ky. nationally known Teachers and Artists. A Memory of Theodore Presser NORMAL COURSES in all departments by well-known specialists. S£°Sa!C ';Fioorld8aSy "£ i» To the Ethdb: "^/iTperson tcttls and During the winter and early summer months (Cincinnati (fonserOatorig °clHusic ORCHESTRAL REHEARSALS. Daily rehearsing orchestra! works tone rightly does not Injure of 1870, when Theodore Presser was twenty- the touch. even help to gain strength eight and I was eighteen, he was teaching and accompanying soloists. and Bareness. TVpi..* is “^I’lano practiee : piano at the Miami Conservatory of music at SUMMER SESSION OF THE DEPARTMENT OF it Is not how much is done, but how It is done, Xenia, Ohio, where I was a student. My CHORAL AND ORCHESTRAL CONCERTS at end of term. roommate had taken sick and, when his mother PUBLIC SCHOOL MUSIC (Accredited) that counts. Kt0TD Matson. came to take care of him, Prof. Presser had All courses completed lead to Certificates, Diplomas, Degrees. me share ills room and bed for a short tune until arrangements for another room could he Peabody Conservatory Affiliation with^hrSversity^f'cindnnati^'rovides a complete course for Public School Music Supery Dormitory reservations should be made now. The Mania for “Methods” made. This kindness revealed to me his whole-hearted generosity. • BALTIMORE, MD. MASTER CLASSES IN VOICE, PIANO AND VIOLIN Full details, Summer School Catalogue and Year Book sent on t Etude : Another incident keeps bright in my mem¬ HAROLD RANDOLPH, Director. e crimes speaking musically, of course, ory. One day during my practice period, in¬ request. Fall Term begins September 23, 1926. Address: ,een coin'iniiied in the name of method stead of working on my lesson, I was impro¬ Recognized as the leading endowed musical conservatory of the country it Aves. and Oak St. ■ould !»■ easily recorded. The applicant vising to mv heart's content, when suddenly Cincinnati, Ohio ssons a 1"i1 *si invariably asks. "What the door opened and Prof. Presser peeped in. 1 DeWitt Park, Ithaca, New York d do you use?" To reply. T do not I was “scared stiff.” but he simply said, s in teaching by any one method, ••That's all right. Go ahead 1 I just wanted ely brings a look of surprise. to see who was at the piano.' . . . .. , t...v*.. no,. ..I.rtnln hooks At tin* commencement In June his three Summer Session Aug.27th DANA’S MUSICAL INSTITUTE piano graduates played the following selec¬ Staff of eminent European and American Masters including: WARREN, OHIO tions • Rondo Capriccioso, Op. 14, Mendels¬ sohn ; Andante Favori, Op. 14, Beethoven;; CHARLES H. BOCHAU I mils ROBERT PASQUALE TALLARICO The Only University of Music in the World gftp Qkfalanbjnstitute Fantasia I sharp minor. Op. 28, Mendelssohn. VIRGINIA C. BLACKHEAD KATHARINE E. LUCKE K0»KR?uRriMASTCHER MUSIC SUPERVISORS Mv- association with him during that year AUSTIN CONRADI LUBOV BREiT KEEFER MABEL THOMAS All branches taught on the daily lesson plan Special Music Supervisors Course Make Summer School Count revealed to me the beauty and charm of real CARLOTTA HELLER OTTO ORTMANN J. C. VAN HULSTEYN Fall term opens Monday, September 6th, 1926. Summer School opens Monday, June 22nd, 1926 ieio ail to like the same color or music. I teach piano in a small country town FRANK GITTELSON affljumr ver It is a matter of tempera- and vicinity and have been a regular sub- Catalogue on application to LYNN B. DANA, Pres. Desk E. A happy, profitable combi¬ ,1.vinos that In an ordinary class, SCriuersoriber tolo The Etude everw sinceC PaTTERSON. lose. Tuition $20 to $35, according to study Summer School, June 21st - Aug. 1st nation. A Summer of special is bound to tind great variation study at outstanding School for Complete courses under regular faculty MusicSupervisors, plus attractive Summer Term for students of all grades. recreational activities, social Circulars Mailed FREDERICK R. HUBER, Manager Six weeks from June 2] Special courses for teachers and profes¬ New Books About Music Arrangements for classes now being made_ Daily theory and nor sionals. Exceptional living accommoda¬ affairs, etc. Credit toward grad¬ uation given for Summer School P.M.I. tions for out of town students. bereaved parent. “Nobody knows the sort of work. Dormitories. Gym. Studies in Modern Music. First Scries. By Mrs. Franklyn B, Sanders, Acting Director Sir W 71 iiadi.w cloth bound; three hun¬ another1 opera ^lafs" hJTrantfc wife when Mr. and Mrs. Crosby Adams 2827 Euclid Avenue Cleveland, Ohio Theatre. Chorus. Orchestra. dred and'thirty-live pages. With portraits. he finds the ravioli uneatable, the furniture twenty-third In heart of famous Finger Lakes Published by the Macmillan Company. I rice, out of place, his^cigarastolen. — ™»- h lierT Our sympathies a Manch OF MUSIC ANNUAL SUMMER CLASS The Courtright Region. Write for new NEA *3The three composers under discussion, Ber¬ ZECKWER-HAHN lioz, Schumann ami Wagner, are presented to with 1 Verdi'' FOR TEACHERS OF PIANO System of Musical toupee Booklet. 6 weeks’ course, from us Clearly and truly ns very sincere and very In the Beautiful Shenandoah July 22nd to August 6th, 1926 Philadelphia Musical Academy June 28 to August 7. determined men struggling to make their De Kindergarten semsp llefs known and their enthusiasm felt- pages ; Ulustrated. Published by the Paragon MONTREAT, NORTH CAROLINA Mrs. Lillian Courtright Card, 116 Edna and Branches Already we know each history with ns Valley. Full Courses in all ITHACA triumphal close. Yet we here are made to ex¬ INSTITUTION nf perience with tile freshness of first discovery branches of the musical art. the period of apprehension, of blind groping, Classical dancing, physical train¬ WILLIS J. CUNNINGHAM cians. 56th season. Registration Sept. 2ncL4tn. Classes Public Schnnl Music Of firmness in the face of indifference and t=°yunta« begin Sept. 8th. Catalog. Charlton Lewis Murphy, 301 DeWitt Park ALBERT EDMUND BROWN, Dean ridicule and as a reward, at the last, we are ing, expression, languages, art Managing Director, 1617 Spruce Street, Philadelphia. allowed to taste with them the fruits of hard- th^volum* ismade to liveT Throughout there DUNNING SYSTEM for Beginners won victory. and JOSEPH D. DeNARDO ttate wElch Willie0 a^prM' bfevery true The Demand for Dunning Teachers Cannot be Supplied—Why? Harmony, Composition „ The New Vocal Art. By P. Mario Mala¬ of Alabama, and, indeed, by those of SPECIAL COURSES all her sister States. wi. M.I). Two hundred and seventy-one ASHEVILLE, NORTH CAROLINA NORMAL CLASSES AS FOLLOWS: Wges; illustrated with diagrams. Published OFFERED IN ACADEMICS MRS. CARRE LOUISE DUNNING, Originator, 8 Wesl 40th St.,New York City; Normal Claw, July 15, 1926. While &one-half hof° th*e” tvorld grows more Mr*. Zell a E. Andrews. Leonard Bldg., Spokane, Wash. mechanistic, technical and automatic, the New 3150,000 buildings and dormito¬ Katharine M. Arnold, 93 Madison St., Tiffin, Ohio, Arnold School of Music. other half turns toward the personal, the ex- Atlanta Conservatory of Music Allie Edward Barcus, 1006 College Are., Ft. Worth, Texas. Normal for Teachers—Ft. Worth, Texas, June 1st. pressive, the imaginative. A civil war it is ries, extensive campus. Swimming pool, Elizette Reed Barlow, 827 Central Are., Winter Haven, Florida, Normal Classes;—June 1st—Tampa, Fla.; July 12th— COMBS CONSERVATORY “Wonting between machinery nnd emotion. Asheville, N. Car. In this volume the author ranges himseli gymnasium, golf and horseback riding. Catherine Gertrude Bird, 658 Collingwood Avenue, Detroit, Mich. PHILADELPHIA definitely on the side of the latter. He does Adranlages Equal lo Those Found Anywhere. Mrs. Jean Warren Carrick, 160 East 68th St., Portland, Oregon—Normal Classes. hot complicate the system of vocal training; irLr^fe1aUm?'reasony’t?e!treaUd8ing0of this Students may enter at an, time. Send ior Dora A. Chase, Carnegie Hall, New York City; Pouch Gallery, 345 Clinton Ave., Brooklyn, N. Y. FORTY-SECOND YEAR oe elucidates it We are not told to manipu¬ Catalogue on request. We offer special Catalog. GEO. T. LINDNER, Director Beulah Crowell, 201 Wellston Bldg., 1506 Hodamont Ave., St. Louis, Mo. Normal Classes, June, July and August. Instruction throughout Entire Year late organ or chord or muscle but to express ft. "“mSfv8fiSndr"|^ opera UbratS; courses in academics and music to girls Peachtree and Broad Street*, Atlanta, Georgia For further information write. ^ougfi them or In spite of them what is in °ur hearts. under 14. Write for special form. Adda C. Eddy, 136 W. Sandusky Ave., Bellefontaine, Ohio. Summer Normals, Beliefontaine, Ohio, and Cincinnati A School of Individual Instruction A School of Public Performance On reading it our very sophistication may Conservatory of Music. September—Wichita, Kansas. structure of these motley creations. Four Pupils' Recitals a week give you opportunity for Public Performance Too close d"4 1?llaU not, malign the^book. 14th Session Opens Sept. 9th t0 our very° nVtures.*0 °Ur “m0S' * SfHS Address: Manch College of Music, College Park, Box E, Staunton, Va. MUSIC PRINTERS ^dltpon'completimTof*Co*ree^th Superviaion. Pennsylvania Sta Faust School of Tuning ENGRAVERS—LITHOGRAPHERS PRINT ANYTHING IN MUSIC- BY ANY PROCESS WE PRINT FOR INDIVIDUALS established tan, REFERENCE ANY PUBLISHER Reed Organ and Player Piano. Year Book Free 27-29 Gainsboro Street GILBERT RAYNOLDS COMBS, Director 0ffic^0^^,JZ-dasntdreSelsdi0> BOSTON, MASS. •° ZIMMERMAN' JUNE 1926 Page Jf75 0E ETUDE Page lfi. THE ETl'DE Compelling Weight Pressure and the Singing Tone VIRGIL PRACTICE CLAVIER~ (Invented by the late A. K. Virgil) By Fern Manufactured and sold only by The A. K. Virgil Clavier Co. John M.Williams' KEYBOARD CHART Full length keyboard. AH latest improvements. Piano pupils who hold wrist or finger position. Then, while his muscles are FOUR OCTAVE PORTABLE CLAVIER for use in travelling muscles stiffly and whose hand position is quiescent, let her grasp his fingers one by faulty will inevitably produce a thin, col¬ one, push them down on the keys with the necessary pressure, and produce through VIRGIL SCHOOL OF MUSIC orless tone which sometimes persists in Summer Session June 14th to July 14th them the desired tone. After playing the spite of all words of counsel and expla¬ passage ih this manner with each hand nation. separately, the pupil will get the actua When example and precept have proved sensation in his own muscles, and will inadequate, let the teacher take the pupil’s change his “wooden touch” for a full, hand in hers and guide it into a good rich, flowing legato.

THE NEW APPROACH TO MUSIC IMPROVISING Interpretation “Tools” Interesting, Vital, Practical

Three Weeks Intensive Courses During June and July '0 lead the piano studen JOHN M. WILLIAMS For Teachers, AROUSIAG COSTIKYAN of New York City ent possibilities of a Students, 411 Stein way Hall, New York Will conduct NORMAL CLASSES FOR TEACHERS OF PIANOFORTE in the cities given hen iety of interpretatii Beginners Phone Circle 0526 CHICAGO MADISON, WISC. PHILADELPHIA / lie used. The (July 5 to July 16) (July 19 to July 30) (Aug. 2 to Aug. 13) h the Italian indi< NEW YORK CITY I in developi (Aug. 16 to Aug. 27) | SUMMER NOTE: Mr. Williams will hold Normal Classes for Teachers of Pianoforte and teach a limited number of advanced Intensive Course *FRECKLES . r£S53L“v:tered as printed. Then the pupil is ready Number 24, Allegro—• con students in NeuJ York City only from September, 1926, to March, 1927. Normal Classes in London, England, and MUSIC Edinboro, Scotland, during Spring of 1927. Tel1® s"«<” nn.1 ESTELLE LIEBLING KATHERINE BELLAMANN By T. S. Lovett Ethel McIntosh, Managing Director ■ 145 West 55th Street 200 West 57th Street NEW YORK CITY The piano teacher should know: ^ 212 W. 59th St., New York City S&&Bn&%lS-BS33£: few and Beautiful Son*. Semi-Classic, with aim ect,Sung by AMBROSE WYR1CK,CA:m*o Silv That technic is not an aggress > 76 JUNE 1926 World of Music Beginning with the Pedals „ „ and Twenty Little Romeo and Juliet Twelve Melodious Studies (Continued from page VP) The Pianist’s Daily Dozen T*o* on Essential Points In Scale and Chord Passag Of the Piano Operetta for Men Arbor May Festival, with By Charles B. Macklin StlFirst Grade Piano Teaching, By John W. Brigham For the Pianoforte iTlie Ann _ > as musical director, occurred By Helen L. Cramm Earl V. Moore 22 Presentations of the “EU- For years teachers have been seeking If Helen L. Cramm, Op. 38 Can you imagine Anything funnier than By C. W. Kern, Op. 560 onn May 1910 ' - ,-v-nglisbh'EnglTsh in con- a means of- developing strength in tne The announcement of the approaching publication of this work has brought a % nleaSant bit of study material for the an enactment of the famous balcony scene Mr. Kern is a very prolific writer and ,1ah^ and^o were tfae leading choral events, hands as rapidly and effectively and safely from Shakespeare’s romantic drama with 0ur catalog contains most of his success- Thp Chicag0 symphony was the official or- most gratifying response from our music A P student who has completed, or is as possible. We have seen many systems young s jn an elementary instruction both of the characters played by men? ful piano compositions. He is a practical chestra with Frederick ^°clae ^Aer, Flor suggested. Some of these systems are teacher patrons, many of them taking ad¬ vantage of the low advance of publication "e11, c„rh as the Beginner’s Book, by Ihe dulcet (?) tones of an adult male musician and many teachers use his piano Nartinelli and Albert hopelesslv elaborate and require the stu¬ work, su r The twenty-two little voice booming forth the impassioned lines pieces in their work, as they are almost ypalding wel:e leading soloists, dent to ‘ go through long and unprofit¬ price to place orders for first edition copies. This little work should; prove very Theodore ^ 3g of Miss Cramm em- spoken by the beautiful Juliet? This is always suitable for teaching purposes. Hundred Dollars is able exercises. stiicnes few essential points in the only one of the delicious bits of humor This latest contribution of his is a set ot a prize of ne^Hu TiUane University, Mr. Macklin, by making “The Daily useful to piano teachers who have in charge the instruction of ambitious young foment 0f little folks’ playing abil- that occur in Mr. Brigham’s new operetta- piano studies in the form of study pieces, oirer ^)rl^ans>' LoUi8iana, for a a Alma Mater Dozen,” has accomplished some very un¬ burlesque for men. Those who have used beginning in Grade 2 or 21/> and progress- Song particulars to be had from J. Randolp students. The proper handling of the deVel$fe attractive and practical merits usual things. This is not the kind ot a his previous work, Cleopatra, one of the ing into the Third Grade. Each of the p00te, Tulane University, book for the teacher to get and put away pedals is of such vital importance to good „ntarv piano works by Helen L. piano playing that the study of them outstanding successes in recent musical studies has a title, and each is accom- ^ NortU Carolina Federation of on the library shelf. It is the kind of book of C nf are so well known to the teacher entertainment publications, will know panied by a note explaining the techmca Music clubs met in convention at Burling- should begin as early in the student’s “alive" to what is good, that it that teachers will want to recommend to about what to expect in this new operetta, object to be attained. Teachers who wish ton April 6 to 8.o tA“°“sAb? 'Edcar Stillman course of study as possible. These attrac¬ W ms* like redundancy to tell here that pupils who are really anxious to succeed. The music is always tuneful; it is a mix- to obtain these useful studies may order ^Mrs^H. HL A. Beach, Mrs. Crosby We are going to put it upon the market tive little studies, by one of the most suc¬ Sf studies have those qualities. Suffice cessful writers of juvenile educational ture of original numbers and interpolated a copy in advance of publication at e Adamis’ au(i' ynsa irene Williams, Flowers,” by Richard Kountz; “Light” by at a very moderate price and, of c«fe tk v there are works by Miss Cramm on familiar melodies. Some of the ensemble special price of 30 cents a copy, postpa . Richard Kountz; “Bobolinks,” by Carl our specndintroductory price in advance material may be given to students in the *t°he market that have passed the 50,000 Allessandro Idberatl, long considered NEW WORKS second grade. While this work is being numbers are written for unison singing, „ , , Second-Grade the premier cornetist of the world, and later Busch; “A Rose Dream,” by Mrs. R. R. of publication is exceedingly low. lhis s own band of one Advance of Publication Offers prepared for publication, we are booking mnnr'nadvrince of publication price on others are scored for four parts, and none Standard oe p;„„nfnrtp touring aat the' ’head ' ’ of' his. 4T" Forman; “A Day in Flowerdom,” by Geo. Price 30 cents. Of them present any difficulties that can- hundred and ten pieces (th< > largest that had orders for it at the special price of 30 Recreations for the Fianotorte .. debrate his seventy- L. Spaulding, and others. rr C}nrf these “Two and Twenty Little Studies” is ever paraded), ~ ” ' June, 1926 cents a copy, postpaid. not he overcome by amateur singers. The The new volume of Standard Second- ninth birthday New York. Those desiring something ini musical HOW TO Sing 30 cents a copy, postpaid. play does not require an elaborate stage Grade Recreations for the Pianoforte is Album of French Composers plays for young ladies and young men By Luisa Tetrazzini setting, although the possibilities of an similar jn size and scope to Standard Kart Schindler, for seventeen years the Album of Study Pieces i Thirds and 30 would find such offerings as “From the The Theodore Presser Co. has acquired Penitent Pirates—Operetta conductor of the famous Schola Cantorum of Album of French Composers interesting one readily can be realized. First pieces and Young Players’ Album, New York, at one of whose concerts Dusolina Beginning With the Pedals of the Piano Yellowstone,” by Lieurance; “Hearts and the publishing rights of “How to Sing,” By Paul Bliss For the Pianoforte Directors of men’s organizations, high i,oth very successful works. About sev- Giannini made her sensational debut, has sub¬ 80 Blossoms,” by R. M. Stults, very ac- by Luisa Tetrazzini, perhaps the most school and college glee clubs should not enty pieces may be expected in this album, mitted his resignation, to tal£e effect at the BrehnFsmFirs't' Steps' for ' Young Piano Although Mr. Bliss has other successful active charm and grace ceptable. brilliant coloratura soprano> in recent musi- There is a d neglect to secure a copy of this operetta s;nce ;t is oiie of the series made up close of t present season. Mr. Schindler s Beginners .. Operettas and Cantatas to his credit, this nsic of the French eom- .r I., the conduct- Last, but not least, a very helpful pub- cal history. Madame Tetrazzini has some in the piano i for examination while it is obtainable at from the special large plates. They rep- j” ’1 "ehorus"in is the first Operetta or Music.ii Playlet r compositions find much lication for those conducting outdoor en- very positive ideas upon her art, and m the special advance of publication cash resent the cream of all the good teaching of construction. The Same. Piano Accompaniment . offering by Mr. Bliss engaging the par¬ mists of discrimination, tertainments, festivals or fetes is the this hook she has expressed them in a very price, 40 cents, post paid. pieces recently published by us. The vol¬ First Garland of Flowers—Violin and “Newman Album of Classical Dancing.” clear and interesting manner. By secur- ticipation of both sexes to be added to our t delightful drawing-room A Bach Cantata Choir has been organ¬ Piano—Weiss ... Some of the n ume will be ready very soon. ized in London for the study and populariz¬ Five Little Tunes for Five Little Fingers This contains complete descriptions and jng a number of bound copies of this new catalog. .d in the works of such We have sold thousands of copies of Five Little Tunes for Five The special introductory price in ad¬ ing of the cantatas, both sacred and secular, —Left Hand Pieces—Adair. music for fourteen beautiful dances, cov- work from the former publisher, we are composers as Saint-Sagns, Godard, Wider, vance of publication is 35 cents per copy, of the great Cantor. It is composed of pro¬ How to Play the Piano—Hambourg. ering artistic offerings for solo dances, able to put this upon the market in Amer- Ghosts of Hilo, an operetta for young Dubois, Debus v. I’ierne, Wachs and Lack Little Fingers—Pieces for the fessional singers, so that a high degree of art How to Sing—Tetrazzini.... postpaid. ln their interpretations may bo expected. Its New Collection of Favonte SongB and group dances and ballets. ica for introduction purposes for a very ladies, and after examining the manu¬ We have included a generous number of script of Penitent Pirates for both young Left Hand Alone performances will be accompanied by the Choruses for All Occasions . Many professional musicians overlook short time at a surprisingly low rate, these in this new compilation. None of By Mildred Adair Advance of Publication Bach Chamber Orchestra, an instrumental New Easy Four Hand Album.■ •. the type of publicity that is their biggest Surely, no student of singing will fail ladies and young men, we feel certain that these pieces will he beyond the ability of organization along similar lines; while well- New First and Third Position Album- krnSoa-wTsinge rs“wifl,,,111 bsTengagedhe emrnged for solo parts. asset, the engaging in musical activities to take advantage of this opportunity to its success will lie even greater than the the average goad pianist. This album will Pieces for the left hand alone are very Withdrawals 0 Violin and Piano.• ■. gratifying success of Ghosts of Hilo. much in fashion. Young students are al¬ Comes a time when the publications that A hopf,fui om™ for sane music, it is in- Penitent Pirates, The—Operetta—Bliss.. . that command the attention of their entire add to his library an exceedingly impor- be a most useful one to have in the per¬ are announced by us in Advance of Pub- terestlng to. recan that Bart wrote no jess Pianist’s Daily Dozen, The—Macklin. . . . community. If you have never done any tant and instructive book for continual Penitent Pirates is nicely arranged in former’s library when material desired ways proud of being able to exhibit their Borneo and Juliet—Operetta for Men— two acts, and the music surrounding the -al proficiency in this manner and, lication must go forth to gain upon their Cantatas of whiCi, om> hundred and ninety- 40 work of this kind, look around for some reference. The special introductory price for a few moments’ diversion at the key¬ technical i r ’ - ' ‘ John W. Brigham.. excellent plot is not at all difficult, even , excellent practice is afforded the merits a place with buyers of music pub- nine are preserved, and which contain some Standard Second Grade Recreations. 88 natural outdoor theater, and even though js $1.00. board, and pianists will also find in it some besides, < the majority of the choruses being in exceuenvprac^ook q( Fh,e Little lications. This month three new publi- -- --—beautiful music. Storm, The—Piano Solo—Kohlmann 25 the most ideal spot is in someone’s private , material for recital or concert programs. left hand. The n The Same—Pipe Organ . unison. Pieces bv Mildred Adair, contains about cations are ready for the market and, t -- Technic for Beginners—Risher . .-- 35 grounds, frequently those individuals, pos¬ New Easy Four-Hand Album The special advance of publication cash Twelve Melodious Studies in Scale and sessing such beautiful grounds, are public- There is a steady demand for easy four- Tunefulness and a feeling of freshness Chord Passages—Piano—Kern . is ever present in all the musical work, and price is 35 cents, postpaid. , £ HSS’A.lBSSn a— Ho™ BOU...O 45 spirited enough to open them to some hand .music. It has been some time since we hate se“’ , ]f This volume has prices are now withdrawn. On the afternoon of hunday, April 18, the Twenty-four Caprices—Violin—Bode . . . . activity that is for the good of the entire the staging can be handled easily, its Two and Twenty Little Studies for the have published any collections of this f further advantage in the fact that the Alburn^ of Octave Playing is one of the Jffome Family -s^nUy ente- Pianoforte—Cramm . SO community. :ure, but we now have the pleasure of elaborateness being governed by the facil¬ A New Collection of ities for making the most of the oppor¬ Most certainly we can help you by sup¬ louncing a new compilation. In order Favorite Songs and utheran Summer Reading for plying excellent, material for the program. to provide for the needs of beginners in tunities for picturesque staging. Those who are interested in works of Choruses for all Occasions .. „.,e of the pedal. . of Study Pieces for Jpecml purposes Church b”en. most gen- Musical Folk four-hand playing, as well as for those a Wherever groups congregate for singing New Piano Music little further advanced, we are including this kind most certainly should have a “1^.The cnerial introductoryeK* price in ad-.d. PrecedingSUS2 volumes cohered Trills,7EZ Neales prous ^ fm.nish;ug us with enjoyable pro- this new collection will come in handy. The day has passed when o for Summer Teaching first and second grade pieces in generous copy, whether they plan to produce some¬ vance ofPpublication is 25‘cents per copy, .nd_ Arpeggios. ^Lfte tlm topreerfmg grams, and he is always cordially welcomed tain a comfortable status the musical It will prove useful alike for home, school, volumes*, the Octave Volume * presents by“the‘ Home folk. , , Thousands of teachers throughout the proportion. The pieces will be arranged thing late in the fall of this year or at postpaid. some later date in the future, and our Ad¬ lodge and community gatherings. It con¬ pieces for the development of the depart- Vmemb^ musical, and instead of idling away s vance of Publication offer herewith gives sists of the best and most popular songs, ment of technic it covers. Price, 75 cents. of t*hp clnb The .-Spanish Cachoueha.” the —r hours with interesting fiction that i: opportunity to secure a single copy at a both old and new. Most of the numbers First Garland of Flowers- Bach Album (Sara Heinze). This ex- “One-Word Colloquy” andl the verj- tawh- cellent selection of twenty-one easier com- ’‘“e Pantomime ^u^^fthl . composers will be represented by their price of 40 cents, postpaid. are so arranged as to he sung by mixed Favorite Melodies in the ‘On Sale” service during the summer most tuneful numbers, voices in four-part harmony. Others are First Position for Violin positions by Bach is now ready in a fine clesfgning and making of the costumes, but musical world will, take advantage of sum¬ intended to he sung in unison to the usual new edition in The Presser Collection, excepting the composition of the music used. months. The special introductory price in ad- The Storm for Piano Solo By Julius Weiss, Op. 38 Price 75 cents. were contributed by one of the members of mer moments to read some of the m®iiy Wew e lnVinviteite anall piano teacnersteachers conducting vance otof publication is 35 cents per copy. piano accompaniment. Our aim has been fascinating and entertaining b p regular lesson periods during the summer postpaid, Or Pipe Organ to make this the best and most compre¬ A very popular set of piano pieces that From the Dalles to Minnetonka, Piano Tlle Home Club- musical subjects that are in existence to request our Piano Summer New Music 1 P hensive community singing book ever pub¬ has long been a favorite with teachers, as SuiteSuite,, by Thurlowj nurlow lieurance.Lieurance. The best --- By Clarence Kohlmann they present excellent material that is at- descriptionrUcorintion wpwe canran givep-ive of this albumu... in... - ' There are musical biographi , Packages. This will result in our sending Album of Study Pieces lished. ™ histories or musical anecdotes that make Many thousands annually attend the tractive to the young pupil who| haa as yet a limited space is to say that no accom- several packages during the summer (not ]n Thirds and Sixths Ocean Grove Auditorium and hear Mr. The special introductory price in ad¬ WHAT THE VOCAL STUDENT far more interesting reading than the more than one package a month) of new vance of publication is 10 cents per copy, not acquired much technic. These little Ushed pianist, advanced student or con- average fiction, and at the same time give Clarence Kohlmann’s rendition of The pieces are all in first position, and having £ert pianist should be without these num- nieces; this music will be charged “On We are pleased to announce a new vol- Storm. We now have this work in prep¬ postpaid. SHOULD KNOW information to the music lover that is val¬ iale” and there is no obligation to buy l*me ,11} „ e senes Study Pieces for a piano accompaniment, the ambitious be- bers_ It is an art WOrk in every way. that which is used. All un- Special Purposes. The volumes in this aration, both as a piano solo and as an sinner is able to have the thrill of playing prj $1,25. By Nicholas Douty Price, $1.00 uable. . anv, except that which organ solo. It is one of the best storm Technic for Beginners Send tons for our Descriptive Catalog ug*| miJp from these packages may he ‘s?ri5s...1>rev!ously published are Album eJ“ . » t a very early stage of his musi- of Trills, Album of Scales, Album of / pieces ever compiled. In addition to the Preparatory to Hanon or Pischna «alPtraining. This edition of First Oatland Change of Address actual storm portion and other original daily exercises for all voices selected from the mention that you want Piano Pe9ff!f>s and Album of Octaves. The fifth By Anna Priscilla Risher will he edited with the same: careithat n Those subscribers who desire Etdde material of Mr. Kohlmann’s, it contains been shown in a 1 our other recent add M Magazine mailed to their summer New Music Packages, since we also will ™lu“e th* series now being announced quotations from other composers; Grieg, This is the first book of regular daily make up such packages for voice, violin, *()r Jjr;st tlme 71S ^bum of Double finger exercises. It is intended to he used tions to the well-known Presser CoUectM* addresses wjU kindiy notify us at once Summer and organ. If any of these classifications Notes Thirds and Sixths. In mod- Haydn, Tschaikowsky and others are rep¬ At the special mtroductory cash price both ^ old and new addresses. It resented, and well-known hymns are intro¬ over a considerable period. Just as soon Entertainments are desired, we will be glad to send them. ern Piano play-ng the study of double as the young student has attained tne in advance of publication of 35 cents per B ^ a)so facilitate matters if they will THEO. PRESSER CO., 1712 Chestnut St. notes becomes more and more necessary, duced in chime effects, together with some copy, postpaid, we anticipate a great ae ^ careful tQ specify the date on their In this great age of community activity, others of the good old songs. correct hand position and finger action, Philadelphia, Pa. particularly centering around music, there How to Play the Piano and in this new volume will be found a this work may lie taken up. The idea is mand for this popular work. r-. — ■ - By Mark Hambourg splendid collection of pieces suitable for The special introductory price in ad¬ frequent requests for music for out¬ vance of publication is as follows: For to keep the entire work in practice after door entertainment and1 festivities. “ Mark Hambourg lias won a definite the purpose. This is an intermediate it'has been first learned, a page at a time. Twenty-Four Caprices _ ... the other albums. tire piano solo, 25 cents per copy, postpaid; Here at the Theodore Presser Co., place in the hearts of the readers of gr^ “ for the organ, 25 cents per copy, postpaid. It contains all the necessary two-finger conduct a music s e that is national'and The” Etude"by his~exceedingly "practical^ The special introductory price in ad- exercises, five-finger exercises, crossing ex¬ For Violin Solo international in i scope; therefore, for invariably helpful and always readable van.ce ?! Pub,lcation is 30 cents per copy, ercises, scale work, and so forth. _ By P- Rode special occasions we. —=----receive many artides on the art of playing ^ piano. postpaid. A Dozen Melodies for The special introductory price m ad¬ requests than might„ go to other Some years ago in England he wrote a xt t?;_ . , , T-, ... Saxophones vance of publication is 35 cents per copy. jpA’tsi&zzsjes. others do not have the need for book which had an immense vogue in that Vbvv r “”*■ al*a -f nira Position By Clay Smith Postpaid. being ready t make special. suggestions,. .„ country, over fifty thousandI copies having Album IOF Violin and Piano f VIOLINS Mr. Clay Smith is best known through we do have such needs, and—1 we assure—...» been sold, according to ouro understanding. While the first position, of course, lies 1 OLD VIOLINS” NEW VIOLINS those seeking something for outdoor l r.’ bis many successful songs and as the di¬ Brehm’s First Steps for An* g By arrangements with the publishers, it at the basis of all violin playing, just as rector of a well-known concert organiza¬ £?&%?■& sn& cal work this summer that we can a Young Piano Students after^the Kreutser Studies and, m fact,, is now becomes possible for us to put this soon as this' position has been well estab- tion. One of his specialties is the saxo¬ them in securing suitable material. This is a very useful beginners’ book, one of the three indispensable CE LLOS - BOWS - CASES very clear and succinct volume in the lished, the student should begin to learn phone. In this new volume now in prep¬ We- have such things0 as “Mother Goose hands of ouro readers at a very moderate to make the shift, so as to go to other and when it was published by Brehm Bros, C0DSi!c of advanced violin technic, viz.: aration he has taken twelve of his most it was used bv many teachers who prefer FINEST ITALIAN STRINGS Fantasy,” by Arthur Nevin; “The Ghosts price. When one realizes that a lesson positions. The position next in importance successful songs and arranged them for t r me very first ‘studies to be written m the of Hilo,” by Paul Bliss; “The Castaways,” of Mr. Hambourg in person would cost is the third position, and the student mav saxophone and piano. There is one volume ® f by Fay Foster, to recommend as operettas over twenty times the price of this book, remain for a considerable period in the treble clef for both hands. Having ac¬ of piano accompaniments which will d° *-for young ladies, or such cantatas as— thea'~ the"he value of the volume ccan be appre- first and third positions. During this quired the Brehm Bros, catalog, we are Cittelson & Howard f “Fairies’ Revelry,” by R. Kieserling; “Pe¬ for all, but there are separate parts in going to publish this attractive booK •iated, because it contains the essence of period our album of first and third posi- solo or duet form for the C Melody Saxo- 33 YV. 8 — ST. NEW YORK ^ ter Pan,” by Mrs. H. H. A. Beach; great many lessons. tion pieces will be just right. Every piece ln a brand-new, revised edition, and we “Mon-dah’-min,” by Paul Bliss, make de- 'Phone, the E-flat Alto Saxophone and the suggest that teachers who are familiar _ , . The special introductory price prior to in this album is a gem well worth playing B-flat Tenor Saxophone, respectively. lightful offerings for outdoor rendition by publication as a strictly Presser publica- agreeable to the listeners and profitable *>th the work, and those who desire to approval of all teachers who demand the WRITE FOR CATALOG • -women1 .„ - fi“n is especially low, because we are able to practice. Either of the saxophone volumes may b«ome acquainted with its merits, take be ordered at the advance of publication besPt in educational publications. For juvenile participants, the “Mother purchase from the former publisher a The special introductory price in ad- advantage of the special advance of pub- Thf special introductory price m ad¬ price of 30 cents, each, postpaid. The VIOLIN ACCESSORIES_EXPERT REPAIRING Goose Fantasy,” by Nevin, — uhe. used, limited number of bound copies. This mee of publication is 50 cents per copy "cation cash price, 25 cents a copy, post¬ vance publication is 45 cents per copy, ; well as others ‘ like “Pageant of the introductory price is 80 cents. piano accompaniment may he ordered at paid, to place their orders while this spe- the special low price of 45 cents, postpaid. ccia]‘al offer is in force. r05tP?id’ Advertb JUNE 1926 Page 479 THE ETUDE Page 4-78 JUNE 1926

An Invitation to all Music Send post card for complete catalog, Splendid Rewards for New showing other gifts and rewards for ob¬ Lovers to Become Acquainted Etude Music Magazine taining Etude Music Magazine subscnp- With Etude Music Magazine * Subscriptions During the months of June, July and The following list of really worth-while Summer Time is Ukulele August we will accept three-month sub¬ gifts are given for new Etude sqbscrip- rp._Obtain One for scriptions for Etude Music Magazine at tions (not your own). Any music lover, liUie-JUDram une mi a special rate of 35 cents. While this student or teacher not a subscriber for Etude Subscriptions amount hardly covers the actual cost of Etude Music Magazine is a prospect. \ye have just arranged with the manu- manufacture, it will give any music lover, Show your copy of the Etude and you can facturers of Banjo Ukuleles whereby we not familiar with our splendid publication, easily convince any musician that the oan supply these popular instruments for an opportunity to become acquainted with Etude pays a mighty big dividend in at- vely few new subscriptions to Etude JUNIOR its pages. It also enables teachers who tractive music, practical advice on music Music Magazine. Each one is well made, realize the importance of their pupils re¬ and interesting events and anecdotes con- holds its tone, and will prove a source of taining an interest in music throughout the stantly occurring in the music world. delight and pleasure to any music lover. vacation period to keep alive that interest, Lemonade Set—Containing six glasses Banjo Uke—All wood, stained mahog- ETUDE either by having the pupils subscribe, or and one glass pitcher, all very attractively any; 3 subscriptions. by presenting them with a three-month etched. Only two new subscriptions. Banjo Uke—Bird’s-eye maple, beauti- subscription. At the end of three months Handy Ice Set—A summer necessity— fully finished; 4 subscriptions, .fired E. Clyr we will accept $1.65, counting the 35 cents a pair of ice tongs, an ice pick and an ice Banjo Uke—Spruce and bird’s-eye ma- The Octavo Department of the already paid, toward a full $2.00 year’s shaver for lemonade or other cooling pje> 7-'inch calfskin head; 5 new subscrip- Theodore Presser Co. not only fur¬ subscription. These offers will be accepted drinks. These tools are an exceptional tions. nishes anthems and choruses spe¬ CONDUCTED BY ELIZABETH A GEST as long as the June, July and August value, made of the best quality steel, nickel All transportation charges prepaid, cifically requested, but also wel¬ numbers are in stock. plated. Only one new subscription. Let your subscription orders come for- comes the opportunity of suggest¬ Kitchen Set—Five pieces. Here is a ward quickly and you can enjoy an instru- ing numbers to those seeking mate¬ rial without being acquainted with Major Flat Keys The Fairyland School Club Corner Beware of Fraud Agents handy set of kitchen tools which any house- ment during the summer and eaijjy fall publications that meet tlieir re Dear Junior Etude: wife will find indispensable; consists of months. quirements. Mr. Alfred E. Clymer The delegates of the Junior Clubs of The Etude Music Magazine cannot be chopper; four-in-one tool (a useful device -—---—■ By Helen Oliphant Bates responsible for the work of swindlers. Pay is a valuable member of this de By Gertrude Greenhalgh Walker Kansas have just returned to their homes for removing milk caps, as an ice pick, a Statement Made in Compliance with partment, his special field being no money to strangers unless you have crown bottle opener and for opening fric- the Act of Congress of selection work. after a most delightful and instructive satisfied yourself that the agent is author¬ tion covers on cans); one cake turner; August 24th, 1912 Whether it be directors of pro¬ When th “O, Mummy, I just wish I were a little Soon Bluebell pealed a happy tune and time spent in convention at Independence, ized to take subscriptions for the Etude. mixing spoon, and that every day neces- STATEMENT OF THE OWNERSHIP, fessional choruses or choir iliriT- school began. The little fairies sang their Read any contract submitted to you care¬ F-Major is the l woodland fairy,” exclaimed Betty as she on March 23, 24 and 25. sity for vegetables, meats, etc., a large ^jEMENT "Good Morning, Dear Teacher” song; This is the first time the Juniors have fully. It is surprising how many rogues It be glee clubs, desiring muse- for Let's i fiat t finished her day's practicing. fork. Only one new subscription. required by the Act of August 24, "Well, you are my little fairy; but why and then came an arithmetic lesson. The had so important a place on the conven¬ impose on the public, and it is amazing Knife Sharpener—No more dull kitchen 1012. concerts, or supervisors, seeking B-flat’s the key I sec; the number of people who are careless in knives; this sharpener puts a keen cutting Editor—James Francis Cookef Philadelphia. school choruses, Mr. Clymer knows Another flat on A do you want to be a little woodland fairy?” problems were in fractions. Teacher said tion program, and that they appreciate the just the publications paying out cash on the strength of a story E-flat is alway s gay ; asked Betty’s mother. something about 4-4 time (Betty won¬ generosity of the Seniors and friends was told by a glib impostor. We cannot be edge on any knife. Only two new sub- ]},^Pf^u'nlgl^None. large stoc! 'I for examim scriptions. Publisher—Theodore Preiser Co., Philadel- tion. Now four'll conies Mister D “Just because fairies may do as they dered what 4-4 time had to do with frac¬ shown by the fact that with twenty-eight expected to make good such losses. clubs in the Junior Department, the visit¬ Campers’ Outfit—Excellent for carry- phia. Mr. Clymer’s personal accom¬ A-flat takes care of his key; want to, and are able to make music with¬ tions) and how many halves make a whole. plishments and wide experience ns ing in your car or for a picnic luncheon; Th^Zre'Presser 0o„ PmadelpMa, Pa. To these wc join a G out practicing and counting. I hate to “Two,” answered fairy Marigold. ing delegates numbered 22, aside from the High-Class Magazines 6 teaspoons, 6 tablespoons, 6 forks, 6 Efttate of Theodore Presser, Philadelphia, Pa. a tenor soloist have well fitted him “Good,” said teacher, “put the answer sponsors and directors who came with the D-flat it’s sure to he; count with my practicing, but Miss Brown At Summer Prices knives, sugar spoon, butter knife, all heav- James Francis Cooke, Bala, Pa. on the Silver Birch Tree, so the class Juniors. ily nickeled on steel;, will not tarnish. Presser Pa. a number of years he has studied And last a flat on C insists, because, without counting, she says Note the full-page advertisement on the with several of the famous voice l do not play ‘rhythmically, and rhythm Wednesday was Junior Day, and, after inside back cover of this number. It Only three new subscriptions. Known bondholders, mortgagees, and other teachers of Philadelphia and his G-flat—you can't fool me. Art Leather Shopping Bag—A strong, security holders, holding 1 per cent, or more is the soul of music.”’ Marigold stepped up to the tree and the morning spent in reports, a Junior shows your favorite fiction combined with concert and church engagements, if luncheon was enjoyed at which plates were durable water-proof bag, two sizes: 7x11 of total amount of bonds, mortgages, or other recorded, would make an enviable “Well,” said mother, “I am sure little drew five horizontal lines and some per¬ Etude Music Magazine at a very substan¬ inches, one new subscription; 8(4x14 9«cuHfies: Radio Rhyme pendicular lines and a key sign, and then set for over a hundred Juniors and their tial saving. Your orders will receive out list. fairies do have to study to be able to do inches, two new subscriptions. ' THEODORE PRESSER CO. Since coming with the Theodore all their wonderful things; but never the fairy teacher asked Rose Fay to play friends. Several visiting musicians and careful attention. Pearl-Bead Choker—Graduated. Only (Signed) James Francis Cooke. By Elizabeth Blackburn Martin Presser Co. in 1917, all bul the mind, just take a little nap and maybe the two quarters in 2-4 time. the officers of the Federation were guests one new subscription. dav"m Amil'1 !^mbed before me tMs lst first two years spent In acquiring some little fairies will come and play “Gracious me,” thought Betty; “that s of the Juniors. Following the luncheon an Ladies’ Leather Memorandum Book— [seat,] P ’ ’ John E. Thomas. a working knowledge of stock in Tunc land has c: Radio. other departments, have found him the queerest fraction example I ever saw. interesting conference was held. The with pencil attached. Only one new sub- (My commission expires March 7, 1929.) Where tone fairies live, you know. with you.” scription. Advertisement busily and efficiently rendering sat¬ I wonder what it means.” Junior delegates briefly reviewed the activ¬ isfactory service to buyers of O There they broadcast every day. When the fairy teacher asked what ities of their dubs for the past year, in Listen in and hear them say :— members of the class could explain why response to roll call. -AN OPPORTUNITY- fairies had to learn fractions, every little After the conference, the Junior dele¬ Station M■—U—.9—/—C, fairy knew the answer. Each raised her gates gave a musical program of excep¬ Tuneville, land of Melody. hand, hoping that the teacher would call tional merit. The average ages of the per¬ To Introduce a Musical Friend Broadcasting j ■ cm Treble Clef, upon her to explain; but the teacher chose formers were twelve and fourteen years To a Delightful Musical Treat SUMMER PLAY Theatre on first space F. Rose Fay, because she had brought a little and the program from the first number to guest to school. the last was played in an artistic manner. Miss B Natural now will sing, Rose stood up and said, “Fairies learn Kansas . has recently become famous that Develops the Mendelssohn's sweet Song of Spring; We Will Send the Sure enough, Betty was soon in the land fractions to help them sing their pretty agriculturally through the slogan “Kansas Playing for her on the Harp, of Nod, and then in Sleepyland when sud¬ tunes. Fractions are part of rhythm, and Grows the Best Wheat in the World.” Musical Knowledge Is the famous Mr. Sharp. denly she heard a little voice calling, “Yoo- rhythm is the soul of music.” The Juniors are going to place her prop¬ Etude Music Magazine hoo—Betty—Oh Betty! Do you want to erly before the public artistically with this Mr. El wood M. Angstadt of Children Hear F Major now begin come and visit school with me to-day. slogan: “Kansas Grows the Best Musi¬ As it is the general r To Any Address for Playing on his violin, Betty looked down, and there was little cians in the World.” Give Them Scissors, a Little Miss Lucile M. Thompson nmnity are active in its choir JUNE, JULY AND AUGUST Mozart’s Little Minuet, Rose Fav, with her books under her arm, Paste and One of the Followed by the Bass Quartette. all readv for school. “I never knew fairies lalled went to school,” exclaimed Betty. Question Box le profession m .. ell stocked and an efficiently Think of It! Child’s Own Book of “Oh, yes. my dear, else how would we Dear Junior Etude: functioning Octavo Department. learn our many duties?” said Rose. “Hurry I am very much interested in music and Mr. Elwnod M. Angstadt is re¬ sponsible for the efficient function¬ Over 50 Excellent Pieces. Over 200 Inspiring Articles Great Musicians up if you are coming, for I dare not be have received much help from the Etude. ing of this department. Everyday late. Punctuality is insisted upon by our I want to start a “Never-say-no” club sales make it necessary to replenish A little booklet with cut-out pictures, Just then Betty saw “four o’clock,” and would like some information as to how the stock, and good judgment must and, rubbing her eyes to see if it were real¬ be used as to what quantity the FOR ONLY 35 Cts. cover, needle and silk cord for binding te“AlT right, little fairy,” said Betty, and to start it. The members all love music, sales record of each number war¬ ly four o’clock, rubbed them open and saw (Stamps Acceptable) may be had of each of thefollowing c< awav they tripped, through meadows and and their only failing is that they are never rants our securing from the pub¬ mother sitting by her side smiling. lisher for stock. Mr. Angstadt fields, past a babbling brook, and right to ready or too nervous to favor us with must indicate this. The major "Have you had a good nap, Betty ?” she portion of his busy day, however, You would think nothing of taking a friend out to lunch and a grove of silver birches. singing or playing. We have some excel¬ is occupied in checking the orders Bach, Beethoven, Chopin, Grieg, “What a heavenly school-room, thought asked. lent talent and would surely appreciate it that have been filled by the clerks spending several times 35 cents. Here is an opportunity to treat “Oh yes, mother; and fairies do go to Betty ‘‘I do not see any blackboard, if they would favor us by letting us hear laying out orders in the Octavo De¬ your musical friends to a three months’ musical feast at the price Handel, Haydn, Liszt, Mendels¬ school and count, too. Please let me tele¬ partment. No matter how experi¬ though,” she continued. __ . , them. L. V. I. enced are the clerks, there is a of a couple of carfares. You will introduce them to the world’s phone Miss Brown that I am going to sohn, Mozart, Schubert, Schu¬ “No,” said Rose Fay, we use the birc Iowa. Checker for each department (some most widely demanded musical magazine and gain their everlasting count every time I practice so my music, departments require several) who bark. Ink berry fluid is gathered by boy Answer. The mere fact of anyone be¬ carefully compares the correctness gratitude. _ mann, Verdi, Wagner too, will have a soul.” of each number filled on the order fairies, and we use that instead of chalk. longing to a “Never-say-no” club should with what has been ordered and ft u£? oue moment, please stand by, take care of the question of refusing or This offer is limited to the months of June, most carefully checks up on any Price, each 20 cents i( • yl ,m\ hear "Madame Butterfly having nothing ready to sing or play. One item that the Order Clerk may not July and August, so let your remittance come Things to Remember have found. forward promptly and gain the everlasting ft Treble clears her throat, of the qualifications for membership should Therefore, Mr. Angstadt has no Many teachers utilize these booklets I rler assistant. Miss Grace Note. be willingness and readiness to perform little task in looking after things in appreciation of any music lover in your circle with great success throughout the regu- By Marion Benson Matthews when asked by the program committee. this department,m, *-in which amu—|j of acquaintances. jar teaching season. Those who do not _ _ of all publishers Elect a president, and chairman of pro¬ stocked. include such work in their regular course 'f’fr Program you have heard, Mr. Angstadt was new with _ of instruction should see that the child Weil appreciate a word; 1 e kerb in mind Inst make a mental note of that; gram, and a secretary-treasurer, if you in 1916. bul his retentive memorjmemory. ETUDE MUSIC MAGAZINE has something of this character to keep Send a line by Presto wire, There is so much ro Ke y ^ fhg whm they appear> intend to require one. Decide on a meet¬ industry and intelligence him a valued member i 1710-1712-1714 Chestnut Street up interest in music during the summer. 0r a vote (J) if you desire. When 1 am prK ctng, P four," Or teacher’s tone will be severe. ing place and how often to meet. In the ganization, ai her department First, count aloud, , ^ ’mgrey J must remember all of these— Junior Etude for December, 1925, you will _r. whei in 1921 it was PHILADELPHIA, PA. deemed, advisable i. .. have the bene- Theodore Presser Co. Nation M—U—S—I_C (So not to miss a , , „ Time, fingering, and rests and keys. find a short set of by-laws and other par¬ i exclusively in the ticulars about clubs, which might help Octavo Department. Biggest Musical “Buy” of the S'Oning nff at half-past three; Then watch thefi"9 £ d and free; I’H do my best, and then, some day, 1710-17121914 Chestnut Street Seville Tempo. Common Time, % ^ ^ with your club. <5® =ij [□] [51 r Philadelphia, Pa. a°Pe you'll like our Radio Rhyme. r; £r- *- ™ TEE ETUDE ! 480 JUNE 1926 Mow Is the Time! Do You Get Your Share of Profit and TO ORDER ONE OF THESE Answers to March Puzzle Prestige from Summer Classes ? Junior Etude Contest 1. Thomas 6. Clementi ETUDE MUSIC MAGAZINE SPECIALS The Junior Etude will award three 2. Raff 7. Weber ORGANIZE A MUSICAL HISTORY CLASS pretty prizes each month for the best and 8. Handel neatest original stories or essays and an¬ 3. Flotow At Substantial Money Saving Prices! 4. Elgar _ Using As a Text-Book swers to puzzles. 10. Bellini Subject for story or essay this month— 5. Rossini THE “Music in My Home.” Must contain not over one hundred and fifty words. Any boy or girl under fifteen years of age may Sophie Nass.v (Age 13), New York. Margaret Blonsky (Age 11), address tncom- Standard compete whether a subscriber or not. All contributions must bear name, age, 1,1 Margaret Burnett (Age 13), Canada. and address of sender written plainly, and History must be received at the Junior Etude Honorable Mention for March Fuzzle Harold E. Newhard, Gertrude Boekemeier, Office, 1712 Chestnut St., Philadelphia, Pa., Clara A Tull, Dorothy Brandon, Faurosa Gar- of Music before the twentieth of June. Names of fenkil Mildred Oudinot, Lorene Sbisler, Rob¬ prize winners and their contributions will ert Shisler Beatrice Long, Harry Scmingson, By Lueile Hancock. Laura Stocker, Constance be published in the issue for September. JAMES FRANCIS COOKE Tavlor, Lottie Oldag, Elizabeth Vnssil, Kath¬ Put your name and age on upper left erine Becker, Helen Estabrooks. Edna Aas, Price, $1.50 Elva Barrett, Bettina Hunter. Dorothy hand corner of paper, and address on upper Loomis, Ruth Mahrenholz, Harold DeBlanc, WAGNER MENDLLKStmn right hand corner of paper. If your con¬ Evelyn Schneider, Lois Mason. Rcvii Palmer, Maxine McBride, Marie Hackett, Marguerite Thousands of teachers in all parts of the country have organized suc¬ tribution takes more than one piece of Simon ton, Eva Haban, Nina Damon, Mary paper do this on each piece. Katherine O’Bryan, Fanny Herborg, Mira Ma¬ cessful and profitable musical history classes with jor Antoinette Savoy, Doris M. Evans. Mar¬ Do not use typewriters. garet E.Tones, Mary Eloisc Wilsey, Kill-line This Immensely Successful History of Competitors who dcT not comply with Simouk, Clarence E. Kellog, Gretchen Kohler, ETUDE MUSIC MAGAZINE. $2,001 A1, ALL of the above conditions will not be Olive Roebuck, Margaret Hallowed. Edna ETUDE MUSIC MAGAZINE.... $2.00 ) Both Music for Students of All Ages Eagar, Cecelia Eagar, Margaret Chamberlain. ETUDE MUSIC MAGAZINE.... $2,001 ... McCALL’S. I-nnl td 9C considered. _. WOMAN’S HOME COMPANION. 1.50 . PICTORIAL REVIEW.1.50 l $2.85 YOUTH’S COMPANION. 2-°° 7 $4.40 PICTORIAL REVIEW. 1.50 S $4.25 Save 65c MUSIC FOK BOYS Regular price. $$-<«> > Save75c. Eight Delightful Weeks of History Study (Prize Winner) Regular price.$5.00 ) Save 75c ETUDE MUSIC MAGAZINE.... $2.00 ) A Musical Diagonal MODERN PRISCILLA . 2.00 ( ETUDE MUSIC MAGAZINE.... $2,001 AU On the Porch In the Garden By the Shore Anywhere Tramp ! tramp ! tramp ! the boys are march- ETUDE MUSIC MAGAZINE.. ..$2,001 > $3°.40 MODERN PRISCILLA 2.00 1 McCALL’S. 1-00 I CHRISTIAN HERALD. 2.00 f $4./3 WOMAN’S HOME COMPANION. 1.50 > $3.75 Regular price.$4.00 j Save 60c 1st Week. How Music Began. Music in the Early Church. How Nota- m Music helped the boys when they were in By E. Mendes Regular price.) Save $1.25 tation was Evolved. The Troubadours and Meistersingers. war ; it cheered them and made their burdens Regular price.S4.5oj Save 75c ETUDE MUSIC MAGAZINE . . $2 00 ) lighter. PATHFINDER (52 Issues) . 1.00 ( ETUDE MUSIC MAGAZINE. $2.00 i Both Polyphonic Music. Palestrina. Early English Music. Men are generally consF—*’"■ ETUDE MUSIC MAGAZINE. .. $2.00t Both . $2.50 ‘PEOPLE’S HOME JOURNAL. -501 $2.25 Regular price.$3.00 ) Save 50c DELINEATOR . 2^1 $3.50 2d Week; Opera and Oratorio. Scarlatti and His Contemporaries. The the wro-Mrid faand ^business w The first letter of first word, second let¬ wdinar; Both Regular price.$4-00 * Save 50c Bach Family. Early French Music. The Story of the Organ, ter of second word, proceed diagonally Regular price. $2.501 Save 25c ETUDE MUSIC MAGAZINE ... $2.00 j mental or nervous breakdoi CHRISTIAN HERALD (52 Issues).... 2.00 ( ETUDE MUSIC MAGAZINE ....$2.00\ Both the Violin and the Piano. downward and find a famous violinist. ETUDE MUSIC MAGAZINE... $2,001 ... > $3.25 generally adopted WOMAN’S HOME COMPANION. 1.50 AMERICAN BOY. 2.001 $3.75 3d Week. J. S. Bach, G. F. Handel, F. J. Haydn, W. A. Mozart. Music is daily being more 1. An animal. Regular price.$1.00j by the medical men as a e ire of the-- BETTER HOMES AND GARDENS.... .60 V $3.40 Regular price.$4,001 Save 25c 4th Week. Gluck, Beethoven, Schubert, Weber, Mendelssohn. Now if the youth of to-day is taught 2. A small portion. ETUDE MUSIC MAGAZINE-$2.00 J or at least appreciate mu t th. Regular price.$4.1o) Save 70c GOLDEN BOOK. 3.00 1 ETUDE MUSIC MAGAZINE... $2.00 I Both 5th Week. Schumann and the Age of Musical Romance. Opera Writers of 3. A famous composer of sonatas. > $4.75 “brains" of the future be ETUDE MUSIC MAGAZINE ... $2.00 i Regular price.$5.00 J \ Save 25c DESIGNER. *-50 \ $3.00 the Nineteenth Century. Great Teachers of the Pianoforte. better safeguarded 4. One of the United States. CHRISTIAN HERALD. 2.00 PICTORIAL REVIEW. 1.50 > $4.70 ETUDE MUSIC MAGAZINE. .. $2,001 Regular price.$3.50 ( Save 50c 6th Week. Chopin, Liszt, Wagner. Modern Italian Composers. Rubinstein. 5. A bird. WOMAN’S HOME COMPANION. 1.50 1 All Regular price.$5.50 ) Save 80c ETUDE MUSIC MAGAZINE.... $2.00\ Both Great French Composers. influence of music help to 6. A famous German poet. AMERICAN MAGAZINE. 2.50 > $4.75 PHYSICAL CULTURE. 2.50( $4.00 other side of his life? And if this influence ETUDE MUSIC MAGAZINE ... $2.00 ) Both 1 Save $1.25 7th Week. Modern Masters. Brahms, Grieg, Tschaikowsky. The Art Song. is regularly injected into his daily routine, 7. A color. RADIO NEWS. 2-50 (, $3.85 Regular price.$6.00 1 Regular price.$4.50/ Save 50c Famous Pianists of Yesterday. Great Virtuosos of To-day. nothing but a well-balanced cultured —J — 8. A month. ETUDE MUSIC MAGAZINE-$2.00') fined personality can result. Regular price.$4.50 j Save 65c MODERN PRISCILLA. 2.00 1 All ETUDE MUSIC MAGAZINE .... $2.001 Both Great Violinists. Composers of Valuable Pianoforte Pieces m YOUTH’S COMPANION^(52 Issues).. 2.001 $3,50 the Smaller Forms. Composers of Teaching Pieces. Catherine E. Deisheb (Age 11). ETUDE MUSIC MAGAZINE....$2,001 Both PICTORIAL REVIEW. l.SO > $4.50 _ Fenna. BOYS’ LIFE (Boy Scout Magazine) . 2.00 ( $3.50 | Save $1.00 Regular price.. • $4J>oj_^SaveJi0c^ 8th Week. Music in,- America. Masters of To-day. Summary of Musical Regular price.$5.50 I MUSIC FOK BOYS Regular price.$4.00 j Save 50c History. Formation of a Music Study Club for Next Winter. (Prize Winner) ETUDE MUSIC MAGAZINE .. $2.00\ ETUDE MUSIC MAGAZINE ... $2,001 Both ETUDE MUSIC MAGAZINE.... $2,001 ~ WOMAN’S HOME COMPANION 1.50 ( McCALL’S.$2.35 WOMAN’S HOME COMPANION. 1.50f A1* > $2°.85 A KNOWLEDGE of musical history is of the greatest would meet at some particular place at night Regular price.$3.50' Save 65c Regular price.$3.0oJ Save 65c ind make raids on the rutabaga patch of an FARM & FIRESIDE.25V $3.00 possible value to all students of music. It increases ETUDE MUSIC MAGAZINE.. . $2,001 ETUDE MUSIC MAGAZINE ... $2.00j Both old' ’ — and on other gardens. Regular price.S3.75> Save 75c i AU the desire to study immensely and prepares the pupil T_■ spring__„_ a n _' ’ PICTORIAL REVIEW. 1.50 FASHIONABLE DRESS. 3-001 $4.25 for association with people of culture and musical experi¬ wife moved to this town. The u ETUDE MUSIC MAGAZINE.... $2,001 Both YOUTH’S COMPANION. 2.00 AMERICAN MAGAZINE. 2.50 ( $4.25 > $4.70 Regular price.$5.00 * Save 75c ence. Using the above outline as a schedule, any music sons on the violin and saxophon while his Dear Junior Etude : ... Regular price.$5.50 !| Save 80c teacher may start a class at once, as this history demands no wife gave piano lessons. The nt t year the i was very pleased to find an article on the JReguIar price;iii;ii^-^$4i5oJ Save25c ETUDE MUSIC MAGAZINE ...$2,001 Bmb music teachers moved away. Most of us harp in the October edition of this magazine. ETUDE MUSIC MAGAZINE... $2,001 COLLIER’S NATIONAL WEEKLY. 2.00 ( $3.50 previous experience in teaching musical history.- This work boys did not quit practicing altogether, how¬ The harp is my chosen instrument of music, ETUDE MUSIC MAGAZINE ... $2.001 Both McCALL’S. 1.00 1 All has been endorsed by leading educators, including Emil ever, and now we have organized an orchestra. though I play the piano, too. It i* my amoi- REVIEW OF REVIEWS. 4.00 ( $4.75 MODERN PRISCILLA. 2.00 > $4.05 Regular price. $4.00 j Save 50c Sauer, Arthur Foote, I. Philipp, V. dePachman, W. H. We meet two or three times a week. This is tion to be a piano teacher, although my narp not a jazz orchestra but a Sunday School—... — gives me much pleasure and I hope to do Regular price.$6.00 ) Save $1.25 Regular price.$5.00 1 Save 95c ETUDE MUSIC MAGAZINE.... $2,001 Both Sherwood. Mme. Bloomfield-Zeisler, and many others. _ chestra and we play every-- 4- “—Sunday something with it. , _ . ETUDE MUSIC MAGAZINE.... $2.001 Both COSMOPOLITAN. 3.001 $4.50 The modernized, newly revised edition of this inspiring School. Let me say that The Etude has helped to ST. NICHOLAS. 4.001 $5.25 Regular price.$5.00/ Save 50c text-book contains two new interesting chapters on organiz¬ Therefore, music has not only stopped give me that ambition. boys from stealing, but it is helping us to pre¬ From your friend, Regular price.$6.00 I Save 75c ing and conducting a young folks’ musical club. pare for the world into which Mr. Presser re Ardath Biller (l-O. cently passed. Minnesota. Habey Semingson (Age 14). Let Us Help You in Securing a Class North Dakota. Dear Junior Etude : . Send us a postal request for information regarding our “Special History Hearing about one lonely class in music Class Plan,” and receive in return the material which will enable you to MUSIC FOR BOYS appieciation that has been organized in Phila¬ (Prize Winner) delphia. I feel in duty bound to tell you or start at once and make your plans for turning your Summer from Waste As a little girl I believe it is a wise plan the splendid music courses that we have in and Loss to Profit and Pleasure. for parents to give their boys a musical educa¬ all the high schools of Los Angeles, California. tion. Some boys have exceptional talent for There is a music course in each high school, STANDARD HISTORY List of Victor Educational Records to music, and often those who take music les¬ vhich is composed of sight singing, harmony. sons find their talent and improve it until accompany each chapter sent gratis to anyone upon request. they become noted musicians. Music will belp the boy to fill a larger place of useful¬ ness in the world and will improve his own musical organizations, Bucn as urc 111'“ ' mind and heart. Parents who give their sons or the singing clubs. For all of these subjects An Excellent Musical History for Juvenile Summer Classes music lessons are very kind and generous, be¬ credit is given. In Los Angeles schools music cause stfch studies are costly. All boys re¬ is rated as just as great in importance as any ceiving a musical training should be grateful other thing. YOUNG FOLKS’ PICTURE HISTORY of MUSIC and ought to prize highly their wonderful op¬ Hoping this will interest you. I am, portunity, especially since some children would Your interested friend. Above Prices do not Include Canadian nor Foreign Postage By James Francis Cooke , Price, $1.00 just be delighted to receive music lessons but For Everyone Interested in Music cannot afford it because they are poor. I wish California. This first' “History of Music” tells all with an intimate touch that all boys could take music lessons, be¬ which really makes it a fascinating story book. It even tells how cause I know music will help boys to become Write to us Musicians, any little child may learn to compose a tune. There is an enjoyable men who appreciate the finer and nobler ETUDE MUSIC MAGAZINE things of life. Ruby Hamblin (Age 11). I enjoy reading The Etude very ,muc]1,; for prices Attention! touch of play in the form of the one hundred picture illustrations As soon as it comes I look for the Junior Take subscrip¬ furnished, to be’cut out and pasted in their-proper places. Etude. I have taken piano lessons for four Price $2.00 a Year Honorable Mention for March Essays or five years and I like it very much. on any tions for ETUDE Some time ago I decided that I wanted Add Canadian Postage, 2Sc—Foreign, 72c and add to your Helen Lewike, Loucyle M. Southworth, Har¬ to make some kind of a musical instrument. magazines income. Send old Lane. Katherine Fullerton, Celeste Cassel, I took a cigar box, four screw-eyes, a nar¬ THEODORE PRESSER CO., Publishers Dorothy Lane Cowne, Rosemary Meyers. Janet row board and made It. The strings are or not listed. THEODORE PRESSER CO. Kiley. Margaret Brown, Mary Anyz, Kather¬ dental floss. I have a lot of fun picking out 1710-12-14 Chestnut Street, Philadelphia, Pa. ine Mead, Jeanne Murphy, Evelyn Cassidv, tunes on it. I can piny “Home. Sweet 1710-1712-1714 Chestnut St. Philadelphia, Pa. Martha Tiede, Lueile Somers, Marguerite Den¬ nison, Mary Ellen Simpson, Theodora Smith, Home,” "Darling Nellie Gray,” "My Old Ken- “Everything in Music Publications” Adonia Starzyke, Harold E. Newhard, Marga- rot Knight, Lormte Singletary, Bryan Dale Miller, Valeria Rechtin, Eunice Fulton, Wil¬ liam Black, Joseph Walter Breslin, Geraldine m Bennett, Elizabeth Morris. Ameri c a’s most famous dessert" cJellO is so easy to prepare that even the children can make it.

THE LITTLE HOSTESS