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

11-1-1947 Volume 65, Number 11 (November 1947) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 65, Number 11 (November 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/178

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Editorial — Cljristtmasi IBooks beautiful- ¥ ZTT^1 I — Insfrumental . . Piano Choral by Rubank . for — HE PIANO mw@§<£ mmqjmgftm® fFjr. .Smith and *f1/]ii6ic A MERRY CHRISTMAS in Song, Verse, and Story—A beautiful collection of easy-to-play PUBLISHED MONTHLY piano solo arrangements (with words) of the sixteen most popular Christmas songs and By Theodore presser Co., Philadelphia i Pa. carols, compiled, arranged, and edited by Leopold W. Rovenger. Also included are Spring Falls is a hypothetical town of a population of three stories, poetry, and pictures appropriate to the festive season. Beautifully illustrated in souri. *ND ADVISORY STAFF three colors, inside and out, teachers, parents, and music lovers alike acclaim this col- EDITORIAL hundred and twenty-five. There are fifteen pianos in the town, in Editor- in - lection as inexpensive gift to the young student, DR. FRANCIS COOKE. Chief the finest in its field. Excellent as an JAMES studied at McKray, Assistant Editors homes of none too prosperous people. Miss Smith has it makes a practical present that can be used with interest and enthusiasm as a part Guy McCoy and Ethel M. Music Editor of the regular teaching repertoire 50£ Dr. Rob Roy Peery, three of the leading American centers of musical education. She Gehrkens Dr. Guy Maier Harold Berkley Dr. Nicholas Douty Karl W. “burnish and buff” her attain- Ruth Evans Buhman Maurice Dumesml Elizabeth Gest Dr. Alexander McCurdy then spent two years in Europe to C. Knck N. Clifford Page Pietro Deiro Edna Fort George form of artistic labor, music CHORAL William D. Revelli Peter Hugh Reed ments. She is prepared to give, in the lessons of the most approved type. The supply is abundant, but CHRISTMAS IN SONG—A new publication for chorus (S.A.T.B.) or community caroling -FOUNDED 1883 BY THEODORE PRESSER- in purposes, compiled and arranged by Theo. Preuss. This splendid collection makes where is the demand ? She has only one choice. She must locate available in one convenient volume all of the famous old favorites used year after some other section, where the demand for her labor is great. Her year, and many of the lesser known numbers appropriate for school, church, and home inter- usage. fees for her lessons will depend upon the amount that those Many fine compositions never before included in a Christmas carol collection Contents Ylouemler 1947 are featured in practical easy-to-sing arrangements. Attractively bound in an illus- for , ested in musical training are willing to pay and what she is willing trated cover reproduced in full four-color lithography. Eighty pages; ninety songs, demand. If she goes to a locality where hymns, and carols 35£ to accept, multiplied by the VOLUME LXV, No. 11 • PRICE 25 CENTS there are far more competent teachers than are needed, the INSTRUMENTAL EDITORIAL demand for lessons is lowered, and the fees correspondingly. Mr. Smith and Music. 603 During the late war, many extremely able refugee physicians CHRISTMAS MUSIC FOR EVERYONE—Compiled and arranged by E. DeLamater for Violin solo. Clarinet solo. Cornet or Trumpet solo. solo, settled in one of our large American cities. They Trombone or Baritone Alto or MUSIC— AND CULTURE from Europe Tenor Saxophone solo. Flute solo. Cello solo. Oboe solo. Bassoon solo, or Xylophone Yes You Can Compose Music! Dr. Thomas Topper 604 their medical friends in this coun- Preserving were aided in reaching here by or Marimba solo, all with Piano (with words). The volume includes a special solo book the Voice Frieda Hun), cl 605 The Pianist’s Page Gin, practice, divided into four different sections for the variously keyed instruments, for solo or Dr Miner 606 try. Soon, in order to earn a living, they commenced to Applying Schillinger .,, Techniques to Analysis Merle Minute . rj/ 607 unison playing, with or without Piano accompaniment. Twenty-one favorite Christ- their The Harp as a Career Elaine Vito 609 charging fees that were only a fraction of those charged by mas compositions are included in this practical instrumental publication. Price complete benefactors. At the same time, physicians were greatly in demand 50^ MUSIC IN THE HOME cities the high technological skill of these men could Important Changes in Radio Programs Alfred Liiulsin, Motpan 610 in smaller and The Etude Music Lover’s Bookshelf B. Meredith Cailman 611 fees for corresponding service, See Your Favorite Music Dealer have found a market at American Or Direct From the Publisher MUSIC AND STUDY without disturbing the economic balance. 738 So. Campbell Ave. ( The Teacher’s Round Table Maurice Dumrsnil 612 immense value of music, while seemingly abstract, is really m YearS The y m Music (Mr - and Mrs. Crosby Adams) CHICAGO 12, III. A, ^ „ Gladys R Rue hr 613 My Hall of Memories (Part Three) Andre* dc Se„urola 614 amazingly concrete, when the facts pertaining to its end results The Bmldmg of The Paulist Choristers The Rev. William J. linn 61.3 Special done one particular service to the Music for Weddings and for Memorial Services are known. If The Etude has Dr. \\ Alexander McCurdy 617 advancement of music education in America, that thing is its un- for Music Students, Choir, Maynard Klein 618 THE "MUIR" PORTRAIT OF ADAM SMITH Chorus, SISfT v U “ '; Paul Van Bodegravert 619 ceasing campaign, for sixty-four years, to present to the general LITTLE" GIFTS and Music Club Members L^te°Wonmfne rL°« The original is in Edinburgh in the collection oi Mr. J. H. Romanes rgan s Tht T 9 i ‘ The Rer. Ross Calvin 620 in the public and (Order by Style and No. Add Fed. S B° ‘ public the advantages of American music study 20% Jewelry Tax) (*Indicates pins with safety catch) W ng Merrcll Wells 621 questionso^estm^s fnJand AnswersAn KWt nr w r- ,i..i„ coo industrial, mercantile Music Links Them All he rare Scotch philosopher, Adam Smith (1723-1790), was private life in the artistic, domestic, and WINGED HARP PINS GRAND PIANO Anl, / r ,7 it Chopin's Prelude. Op. 28. No. Clasp Pin 8 624 identified by all who knew him (and that included all of the fields, as well as in that vast sociological work upon which the A miniature grand MUSIC Tgreatest minds of England and France of his day), as the morale of the public depends. piano in black and gold. Ctassic and Contemporary Selections possessor of one of the most magnificent intellects of history. Adam Smith probably would have told us that if the quantity No. 84A—Gold Dipped 40c Cynthia (Presser *27902) Knickknacks John Fmkc, Jr. 6-5 *No. 84B—Gold Filled 60c (Presser *278611 Many have gone so far as to call him the creator of political of available musical labor was small and the demand for musical . Clasp » — Pin OTHER INSTRUMENTS IN * ”«® (Master Lesson' by Sidney” fee for the musician’s services would rise No. 16 MINIATURE SUber’’ L, economics. He probably would have laughed at that, as he probably services was great, the Violin, Comet, Cello, Banjo, Trombone, Guitar, Frederic Sweet Sleep (Ditson) Chopin. Op. 28. No. 8 628 Saxophone. Gold Dipped, 40c ea., *Gold Filled 60c ea. this editorial dragging his into correspondingly. The law of supply and demand normally takes Jerusalem : Berenice Bensen Bentley 631 might have laughed at name a LYRE and the Golden V.-. ' WREATH PINS i resser) (From Eighteen Hymn Transcriptions" i Aiexander musical journal. Indeed, we do not know whether he even had a care of itself, but certain economic conditions arise which can LYRE or CROSS IN Ewing—Arr. by Clarence Kohlmann 632 Wayside Bells (Presser 27774) ENAMELED FIELD Two °- Scheldrup Oberg 633 o’ pipes. this law. Guitars (Presser *278541 'A.' tune in his head or whether he could sound a skirl the upset T SCribed b 634 $E! The Favorite Story (Ditson) ' ™ » R° b R°K ^ery *A—10K Gold $2.00 (I^dSo But music, like everything else, is affected by the laws and In the well known Roman musical magazine, “Musica,” for April, r ‘ " *B Vocal —Sterling Silver ... .60 and Instrumental Compositions D—Gold Dipped .40 Minuet a l’Antico (John theorems of economics. Economics is the science which has to do a veiy excellent article upon “I Musicisti Profughi in America,” Clasp Pin Clasp Pin Church *30891) (Organ) No. 87 E—Silver Dipped .40 No. 85 ' b Ck~ with the relation of the world’s wealth to the world’s needs. by Mark Brunswick, is presented. The article concerns itself with The background of circle in the Lyre design Retrospect (Ditson) Arr bv A ‘ fred tinkler 638 is red (Secular SonZ^Mef'vn with lower panel in black; in the Cross design, blue Dance of the T ^ 640 Gnomes (Presser : Margaret L. Watts with lower panel in white. All other parts of the 278191 iv „! , L Economics began with the dawn of civilization, and according to the opportunity for Italian musicians and music teachers in Amer- pins are ' ‘ 641 in gold or silver. Delightful Pieces for YoungplylT Also obtainable with the word ’ theorists, is continually affected by the law of supply and ica. America, of course, is looked upon as the Golconda of music. **Choir*’ Hop-O’-My Thumb (Ditson) many substituted for “Music” A brand-new design in musical Wee Marionettes Burton 642 (Presser 27828) Smith this, of course, and went so far as to say that Our activities are so vast, and the fees paid for artistic labor, jewelry novelties. The lyre and Waves of the demand. knew Danube (Presser 279061 Louie Frank 642 border are in gold or silver, the Welcome PRESSED MARBLE Snowdrop (Ditson) bV labor is the real measure of value, stating it thus : “Equal quanti- whether it be the labor of a Caruso or a Toscanini, or the labor background in black, blue, red or eucs IS green. (State color ) Astrtd Ramsey 643 Clasp Pin preference and BUSTS OF GREAT ties at all are equal laborer. in band, excited Italians that No. 90 quality number in THE WORLD of labor times and places of value to the of a tuba player a have so young ordering. MUSICIANS OF MUSIC Prices, Numbers 14, 15, 16, 17, 18, 19, 90 654 Labor alone, therefore, never varying in its own value, is (solely) they, like other musicians in war-stricken Europe, have rushed Here is a suggestion for a gift that JUNIOR .. *10K Gold 2.00 will ever ETUDE $ be an inspirational orna- the ultimate and real standard by which the value of all commodi- to America with very little knowledge of the conditions that they Sterling Silver 60 ment in the homes of the musical Elizabeth A. Gest 656 These •Gold Filled ... 75 busts are made of white pressed J MISCELLANEOUS marble and are 4 A> inches high. Each ties can at all times be estimated and compared. It is their real would meet in the New World. Gold Dipped . 40 is packed in an individual Grace of Silver Dipped 40 container. Hands Busts of Bach, Beethoven, Brahms. price is their nominal price only.” That is, can take Our country, during its entire musical history, has welcomed Chopin, Handel, of ,The Little Stella ; money you a :y or Haydn. Liszt, Men- Flower" Whitson-Holmes 608 Voice <(Fin™iiF "r" ’A on dejssohn, Mozart, Paderewski. Schu- Questions >°rello La Guardia) No. 15 and No. 18, 25c additional. Answered .. 616 billion dollars in gold place it in hole in worthy musicians from abroad with prodigal hospitality bert, Schumann, J. Strauss. Tos- a d Cboir few hundred and a the a un- canini, Tschaikowsky, Questions Answered Nicholas Douty 647 Verdi, and Violinvmfin Questionso Wagner. Answered Frederick Phillips 649 ground, as our Government has done at Fort Knox, and let this equalled by any other land. So many of these foreign-born musi- LYRE PIN Price, 35c each ...Harold Berkley 651 —Transportation 6c extra money rest there for a score of years. That gold cannot increase cians have become fine American citizens and have made such TREBLE CLEF PIN $3.75 Doz. Plus Transportation

* utv. in value by its own power; it must be mixed with the brains, splendid contributions to our musical life that it would take a A—10K Gold $1.50 rnf. ?y'fir?JoZ Sterling Silver 60 Complete Catalog Free On Request *C—Gold Filled 75 brawn, and skill of labor, before it is more useful to man. Just so whole page of The Etude to list them. D —Gold Dipped 40 E—Silver Dipped 40 THEODORE PRESSER CO with steel, tin, lead, flour, paint, chemicals. When they are com- Americans may well be proud of the musical achievements of Illustrations are Clasp Pin Ri «- Cub,. Exact Size No. 33 1712 Chestnut Dominican bined with labor, they increase our wealth. Citizen Walter Damrosch, Citizen Theodore Thomas, Citizen St.. Philadelphia 1. Pa ^ ^ an Republic 62.75 a year in CantfS ?A" &>»«, Amerran of Hon- Sm Newfo *‘e COp”’ Pfi “"d!and. this is getting little profound for you, let us take the Sergei Rachmaninoff, Citizen Percy Grainger, Citizen W “ 25 cems $3.50 a ySf’nluSte If a too Lauritz 602 case of an imaginary Miss Arabella Smith of Spring Falls, Mis- (Continued on Page 608) MUSIC STUDY EXALTS LIFE THE ETUDE NOVEMBER, 1947 603

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the grass has been growing Music and Culture have played and growing “ ^|A HE FIRST STEP in preserving a voice is to it is long enough Music and Culture every day. Now to cut. The Coda k I make sure that there is a voice worth preserv- the ‘Work-song’ of the lawn mower.” JL ing. In vocal work, exactly as in every other that Mr. I felt intuitively Benton was “thought- branch of activity, there is a difference between first- not to take transferring" to me, Henry’s lawn mower class and second-class materials. The basic requisite with levity or laughter. But there of the singer, then, is a voice! A love of singing and a leit-motiv was no learns to alas, to supply a fine sing- need of this. For one make it an invariable will to sing are not enough, the creative work ing voice. ambitious young student should take the Voice procedure to take (drawing, music The Preserving composition) of a student as the utmost care, therefore, to ascertain from competent language seriously as Music! it trade Yes—You Can Compose intended. For when a student has fulfilled advice whether she possesses the tools of her is an assign- be inborn. ment, has given heart and mind to it with abundant which must of fine voices. Conference tilth it is worthy, whatever the “Actually, though, there is no lack A enthusiasm, result, of the The great difficulty engulfing vocal work today is the utmost consideration. If it is not Just what it should voices are treated. And this is im- itself, it is the starting point way naturally good be in to that bourn. So portant, because the preservation of the voice begins Sbr. oma5 tapper leaving Henry to his teacher’s skilful guidance, through itf % the first tones sung. The need for preserving it I said to him: "Henry’s with •ieclci ^Jlcmpe1 days to come, talent is well will arise for years, but the means begin at the % not worth development. But not all pupils are so gifted very start. A voice is never ‘lost’; it is simply misused! What do you do with those who are incapable World-Renowned Soprano of “The chief misuse of the voice is the haste with learning to write music?” i NYONE who reads current announcements of new quently. Here is a case in point: which it is required to produce tangible results. That, books is probably aware of the increasing I present to you Henry, a composer, aged twelve. He believe, is the curse of today. We live in a wonderful /\ num- The Magic ol Composing I SECURED EXPRESSLY FOR THE ETUDE BY GUNXAR ASKLUND i. JL ber of texts appearing under the more or less is a serious-minded and happy-go-lucky boy who ac- age; we have developed our mechanical and scientific '•There is no such thing as a pupil who specific caption: Everyone Can Draw Pictures. cepts what is assigned him to do with the utmost cannot learn resources incredibly. But not even we moderns can to write music. Nor, for that matter, The suggestion is intriguing. But to get the fullness earnestness. And this not from a sense of duty alone, is there any adult improve upon nature! I sometimes think that God student, however old, who cannot learn of its allurement, one should take pencil in hand, and but because he proposes to have as much fun in .the to do It. That must be old-fashioned—He still fashions human beings begin, following take is,’ with a little patience and skill on the instructor’s the rules. To one’s surprise and de- game of doing it as he can find. Most children, I after the old, old pattern! We are bom as helpless The legendary name of Frieda Hempel requires no introduc- light will, part anyone can be taught to ‘say things' in supreme one from the very beginning, actually make it, have that spirit tucked away somewhere within the lan- babies and it takes years for us to develop; no amount tion; rather, it is the measure of the standards of equalled pictures. And, so doing, this fact may emerge: We all them and the first of all important pedagogic prin- guage of music. I thoroughly believe that everybody of hurry-up technique can give a boy the strength of vocal art. No singer since the days of Patti has perfect vocalism, have abilities that lie under the surface. But not until ciples is to recognize and arouse this spirit and to set can learn to write poetry and to do it without the a man, or a girl the insight of a woman. That is nature Miss Hempel in her rare combination of came to a direct and temptation of setting up to be poet. artistic integrity, and interpretative warmth. She demanding appeal is made to them do it moving forward on the great highway of adventure a The virtue of it —and the voice is also nature! Like the mind, the America in the "Golden Age” of singing, appearing in they germinate and in due time blossom. Sadly enough, and enthusiasm. all lies in this: To be able to write melody and 'later to muscles, it must be given its proper time in which to Metropolitan Opera casts with Caruso, Scotti, and Plan^on, however, we do not live, most of us, in the abundance harmonize a melody, even in forms as simple as develop slowly, gradually naturally. Far too many of the — and presenting matchless recitals of Lieder. Although Miss of our gifts but in the poverty that comes from our phrase and the period, works a rtmgic all observed disregard this. on the music the young singers whom I have Hempel has retired from opera, she still gives recitals, the failure to recognize them, latent plays. within us. one For the moment one begins to try his mind They see that they are young, fresh-faced, pretty; they criticisms of which are glowing tributes to the preservation It has always interested me to listen intensively to and hand at any creative and constructive process he know they have voices—very well, then, they say, of her voice and her unmatched resources of artistic produc- people who sing softly to themselves (hum) and to will read and (in music) play with a deeper under- what’s the delay? And they plunge into public work tion. A native of Leipzig, Miss Hempel's musical gifts were those who whistle. After of ten, when she was playing the piano a considerable apprenticeship standing. I have spoken of the phrase and the period. after two or three years of study, .eager to ‘cash in’ evident at the age in observing concerts. She has sung since babyhood and does not and studying their doings I conclude that They correspond to short simple sentences one on the advantages of youth and talent. Four years at learns discovered. She began vocal these folks are improvisor. begin remember when her voice was They may with a in acquiring a language. And Just as we, in learning to after that, then, they wonder what has happened to tune they study at fifteen and at seventeen was offered operatic en- have heard. But shortly they are off the speak a language, their voices they come hurrying to vocal experts to be reiterate phrases or short sentences ; gagements which she refused, wisely preferring to develop main line and one discovers them sitting happily on a countless thousands of times, so the mystery of music told what to do. herself slowly. At twenty, she was launched upon the notable siding, so to speak, serenading themselves with their writing, even in simple forms, cannot be limited to career which she still pursues. Together with her singing, own heart-bubbling melodies. Arid a delightful, cheer- Voice Care of pupils to whom the production of a baker's dozen of any form. There Miss Hempel accepts a limited number ful, meditative experience it is! she imparts the elements of her own superb musicianship. must be incessant practice and numberless repetitions “The best thing to do is to prevent the damage before In the following conference, Frieda Hempel outlines the of every idiomatic structure. mystery it occurs. And the only way to do that, is to take time. Music For much of the requisites of voice preservation. —Editor's Note. a Language Age’ voices of music that one plays is made cWtir the moment one That is the method by which the ‘Golden For a long time music has been advertised by its developed that, precisely, is why we had a can, with his own hand and pen, sit down and write, were —and loving friends as a language. Now a language is an are exactly three prescriptions even it not inspirationally, at least in the same idiom. ‘Golden Age.’ There operating process by which one expresses one’s mean- For it is undeniably a fact for voice care: time, a good teacher, and work. Each, ing in some form that even a little writing of utterance or representation. So it improves perhaps, needs a word of explanation. Taking time seems one’s playing. reasonable to conclude that the hummers and begin to practice trills and agility until these other far “Some pupils begin music awk- for study means devoting at least three years to noth- the whistlers, to whom I composition work have referred, are really in wardly. ing but production scales, sustained tones, the pro- more important exercises are in good order. Every That is, they find that to get the swing of it — their improvising—composers. Not yet of the “sacred morning of every day should see the careful repetition does not come easily or gressive exercises of some standard method like Con- Guild,” to be sure, but one day, at once. The rule is for the perhaps, to be found teacher cone or Marchesi; these, and nothing but these, every of such drills. But don’t work too long at a stretch. to be infinitely patient. Then, as with Henry’s eligible. One may conclude, indeed, from their per- After a half hour of practice, stop and refresh both lawn mower, the day, over a period of years. No songs, no arias, no formance and the ebulient imagination will, with others, run pleasure of it that Every- away fireworks, no demonstrations before admiring groups your mind and your body by plunging into other in- body sometimes illogically. But remember, a child has Can Compose Music. terests. Indeed, you need other interests keep your as much pleasure of relatives and friends. Only production. For only by to In presenting to groups in a humorous music suggestion as of experienced teachers DR. THOMAS prepared for singing. brain from getting into a vocal rut! My own great TAPPER he has in drawing a funny such means is the voice the conviction that Everyone Can Compose, two re- picture. Again, be infinitely patient, “A good teacher is harder to define, since there is no hobby is science—if I hadn’t become a singer, I should actions follow: In the one, for this is but a passing phase and always many who are inspired Mr. Benton general, however, have studied medicine and I find nothing more stimu- had suggested to Henry that he an interesting one single set of specifications. In I may — to have a try at it, find that from their teaching fh that accompanies familiarity with composition subject in — ” say that the good teacher is one who combines a per- lating, between sessions of practicing, than to read a familiarity Nature “Bird Flight a new process of with small pieces they can actually make “Soaring invention. It is a law in all instruc- Butterfly,” the “Running Brook” tion, that fect knowledge of correct vocal principles with a per- good book on chemistry, geology, or physiology; or to others like them, more or less. and sin what one has in capital in- And thus, if the warmth subjects. Henry hand is all the set-up an absorbing experiment. after half proceeded intelligently upon vestment one fect understanding of the individual pupil’s needs. Like Then, an of the enthusiasm persists, they are off on a this possesses for future advancement. So I FRIEDA new ad- and for the occasion of teacher not only hour with your hobby, get back to practice. HEMPEL which I am speaking he urge all teachers a good doctor, the good must know, venture. On the other hand two objections are often who work with me to take it seriously, sented a neatly written help. finally, a “While correct breathing is the basis of good sing- convinced if manuscript of three - ar ain but know how to And by work, I mean “I am that, our young singers were expressed. The one is inquiry: pages t0 repe*ti the “Why undertake to a Coda on the with infinite patience. fourth. It fell to me to read <‘vt^5When great deal more than a more or less mechanical sing- ing, I think that too much insistence on breath control satisfied to train themselves with the same unhastened, increase the number of composers this at you think it "what in a world already piano. The title through,” he continued, he hit upon was How the we ing of exercises. Vocal work begins in the mind. Each can be harmful. Perhaps it is just one of our current painstaking care that went into the building of the so full of them?” The other is: Grass Gr piano teachers do, to “While it is reasonable Now a title most of us, is to train pupils must have, so to speak, a tone must be charted in advance; must be scrupulously fads. At all events, far too many of our young singers ‘Golden Age’ careers, we should soon—but not too to expect children to write music, handle t< tlat someone It where, oh where is That is, ? 7l else has thought out and said. there must be in it listened to and carefully heard. How else can it be have a completely wrong conception of what it means. soon! see another ‘Golden Age.’ The natural state of the time to come from in the something one can s 1 one should — piano lesson period?” hold of, . study a foreign language and emerge turn around and scrutinize. developed and improved? As to the actual singing-work The moment I talk of breathing, to a new student, I the human voice has not deteriorated. Its training, This partic rom the experience with title seems to defy that no other skill than to repeat find A Young manipulation. But Heim- aa paragraphs itself, the mental plannings of tone must be carried out her tensing herself, going through a queer series however, has. I am half amused and half saddened by Composer produced of someone’s else with no im- a work beginning pianissimo, making slowly, steadily, with strictest regularity. of tight constrictions somewhere around the region of the questions put to by young singers who come for In the matter in quiet pmse or skill me of the increase in composers, one can relatively slow m to say a word of one's own. It goes with- tempo, all in an the diaphragm. Why? In order to ‘control’ the breath! auditions. ‘How soon can I sing opera?’ ‘Will I be able atmosphere purve 5 3 ' 1 point out that every child, in 8 ’ tben every school, from the the quiet procedure of ' tbat modes of expression are pri- Regularity in Drill his subject, for jnnr- ) ? That is nonsense! The secret of good breathing is per- to “make” the Metropolitan?’ ‘Can I plan on a big little red wooden building to the big red sandstone grass gi T el,~ expression without making any - Tt fr insisting upon fuss about it. I have thZ »J? J k om “Regularity makes a voice. The same scales, drills, fect, natural relaxation; the moment these conscious career?’ Well, how can I or any responsible teacher palace of education, is taught mentic 1 u^e — English composition, the Coda. It was of toward self-expression in music on the eight measures carrying exercises must be sung every day, at the same hour of efforts and tensions creep in, vocal production suffers. answer in advance? Quite simply, if a young singer despite the fact that the world is full of in r °f everyone authors. And mk the caption forte, moderato. of my pupils that have become in Each measure I the day, for the same length of time. My own voice- “The training of the ear is one of the greatest pos- builds herself into a worthy artist, a worthy career in the matter of “where is the time to come from” let of the meed, for same four chords. First the effort is always successful, that the building days are long past, yet even now, I sible aids to singing. Discipline us accept the invitation the left-hand would good yourself to hear art will follow. The point is, she must perfect herself of Mr. Benton to enter his octaves below '° can be trained Middle C with this tone to express itself in any form of no more think of going out without having practiced beauty of tone your own tone, anyone’s tone. laboratory group irt — Learn in singing before she can be a singer! The girl who and witness an instance in music writing sharp, E-flat, r idiom in F, F-sharp. This which it manifests scales and exercises than I would without the sound of the tones and learn his theory of responded to' in interest." my go wash- you wish to duplicate, and has her mind on ‘being a singer’ puts the obstacles of procedure. octave above, antiphonally, The conclusion by the same is, in all ing my face. Indeed, the voice needs its early-morning those you wish to avoid. Train ear Mr. Benton is a piano group a m simplicity, this fact: your for tonal shad- hasty and slipshod development in her path at the teacher whose time is full-up second higher, or D-flat D, E, F-sharp, ever desires does it ing. . to washing just as the face and requires Only by this and, as the expression goes, G It was aw do it can learn to compose music. — much means can you judge and regulate very start. But there’s hope for the girl who genuinely “then some.” Yet every effect after the three preceding pages of quiet more care! For washing the voice, there is nothing to your singing. Actually, this is no easy task. It is ex- wants to learn to sing! Figure out the difference for student reports regularly with composition. As this tive ’ medQ atmosphere. scales, scales. generally requires equal scales, and more Then sustained tremely difficult to hear oneself. Because of natural yourself. some little time over the lesson Ped “ What is Opening tones. Then the adaptation of the sustained tones to tonal vibrations within the head, we must make spe- “But while it takes years of vocal effort to build and period, he adjusts the program to make this possible. Hemy?” b the scales, working one’s way up and down the full cial efforts to hear what we really sound like. And such keep a voice, even such effort is not enough. There must Most pupils report with their written work at each Well,” he said, with all l ‘ slow, sustained notes. perfect slow scale is, ear-training the eagerness of /e means d scale on A cannot be perfected overnight! It takes be, in addition, the determined will to round out every lesson. Others, somewhat advanced, report less fre- a' mod °™9 that thing than w realist worker in art, “You notMnn ei*Se perhaps, the greatest vocal accomplishment! Don’t time, time, time. see, through the conceivabIe aspect of artistic integrity. And (Cont. on Page 608) pajs ina seems more noble, or sat '*9, ornr remunerative" 604 " —Alan SEEGER. MUSIC STUDY EXALTS LIFE” NOVEMBER, 1947 "MUSIC STUDY EXALTS LIFE” 605 THE ETUDE ' ’

Down, Right, Left, Above, word, Up, Below. Teach Music and Culture are wise not to introduce two words of opposite m 6 in the same lesson. Drill on one ing word until *!!' understands it automatically Music and Culture pupil before «, you evetl speak of its opposite. “The observation habit requires incessant drill- Flash cards are only one kind of drill; ? ' the teaeh prepare these in profusion, ought to a set for ew point. Here again the first grade school The Pianist’s Page teacher shn up our lack of resourcefulness and imagination. ’ Attxend to Analysis Tier classes and see for yourself W Applying Schillinger Technigues

U1UU. “Ask the pupil to point to the notes as you tuj )/*. Wlaier play th 2 for him. Play very slowly piece at first, then faster onLCfomerty, This brings a focus of relaxed attention Wont to the pag Pianist and Noted and also establishes the association of the simultaneou sight and sound of the notes. Do this at Music Educator every lesson for it is as salubrious for you as it is for him! Drill remarkable influence upon a ffi Joseph Schillinger, who died in America at the age of forty-eight, had a recognizing skips, repeated notes, similar Schillinger credit for many of patterns, ac- notable group of young composers, notably George Gershwin, who gave oirlorito If* cidentals. largely self-taught in his earliest his harmonic effects. Born at Kharkov, Russia, Mr. Schillinger was “Bolstered by keyboard the St. Petersburg University. From 1918 to 1 922- he held posts landmarks and directional years At the age of nineteen he entered in the Ukraine. From 1918 to 1920 he was conductor of the United (up and down) reading, the pupil gains confidence in the State Academy of Music At Orchestra. He became first use the familiar five-finger, Students Symphonic Orchestra, and from 1920 to 1921 of the Ukraine Symphony position. Later extend cannot be learned in a year, and that there is' a big composition at the Ukraine State Institute of Musical Education and from 1925 to 1928 he was his ‘vocabulary’ by moving hands into teacher of difference other five-finger settle in York, between developing correct reading habits composer for the State Academy Theatre. In 1938 he came to America and decided to New positions on the keyboard. Watch his eyes. York University early and having to use remedial drills later. Is he look where he became teacher and lecturer at the New School for Social Research, at New ing ahead on the music or down at his taught mathematics, music, and fine arts. “Few piano teachers realize that normally a young fingers? Give and at Teachers College of Columbia University, where he special 'blind flying’ assignments every his genius soon became evident. Few of his compositions have been child’s eyes jump about the page like a Mexican jump- week. If neces- His activities were so varied that sary get him a higher chair, a foot-stool, America. His system of drawing on facts of the practiced art of music that had been previously ing bean. Consequently, part of learning to read is the a lower mu- heard in sic rack. unexplored, and applying advanced mathematical and scientific analysis to prove that establishment of correct (Most grand piano music racks are unexploited or rhythmical eye movements horrible according to accurate and precise principles often unsus- for young children.) the great music of all ages has been constructed from the left of the page to the right, making a return Schillinger pected or unrecognized, attracted widest attention. These are embodied in the two volume sweep to the left again. “Sometimes have him practice with an —Editor's Note. This is why the first grade open news- System of Musical Composition published by Carl Fischer Inc. Price thirty dollars. paper (not the funnies!) teacher moves her hand in that smooth, rhythmic man- resting over his hands as he plays his ‘blind ner under the lines, not pointing out individual words flying’ game. Of course the newspaper but directing the movements will fall off, but that's an excuse to move of the eyes. . . . Piano nround and pick it teachers should do this in all up again! Practice will go all the intensive reading train- better for that outside the diatonic system. Now let’s find out what type of road our car moves ing. bit of exercise. chords move by patterns is based essentially on a scheme over. Is it up hill or down? Does the car move smooth- “The school "In some 'hands Chromatic harmony Reading Readiness teacher knows that the eyes move along together’ pieces he will need more analysis, this motion in which the root of the first chord in a three-chord ly or by jerks? In our musical the lines in a succession of swift help. Ask him to watch both T LOOKS now as though we won’t shifts, each finishing hands of the music, but to represented the chordal progressions. Schil- have to offer group is transformed from a diatonic chordal function may be by many more in a split-second fixation and focus. play only one hand as of these corrective reading pills (which At this focus the you play the other with him. linger tabulated all chordal progressions by designat- ordinary into a chromatic function in the second chord, then I seldom correct, reader sees clearly for less Then reverse the parts. Let anyhow) to our pupils. Thinking than an inch on him decide when he is ing the root movements according to three cycles. In either side. ready back into a diatonic. teachers are getting down to brass Three or four shifts are sufficient to try hands together: don’t push tacks in reducing to take him or be- are used? Are they triads, seventh the cycle of the third (or Ca), the root of the first diagnoses m one entire line. grudge the time What type chords of and cures for this pianistic ailment Smoothness and speed in this shift- it takes to give him that help. to ninth chords, or larger structures still? If tri- chord moves up or down a third to the root of the rational and positive focus habit are the all important Let us not forget chords, bases. First there is Sister M. bases of accurate that learning to read and play fluent ’ predominate, are they major, minor, augmented, next chord. For example, if our first chord is the^ C Xaveria of the Alverno reading. music is much ads School of Music, Milwaukee! more complicated than lenrning to read JOSEPH SCHILLINGER “If or diminished? chord, and the next chord is either the a or the e with her significant Music Readiness piano teachers and publishers would words and that in school program of five examine the pupil and teacher work at it first System a major triad is desig- chord (regardless of the position or inversion), the attractive books for pre-school grade primers they would realize five days a week. In the Schillinger and young beginners that the pages The most we ever work with him created by man can be the third. are planned » NYTHING that can be meaning structure, 1 meaning of the root has progressed by a cycle of If you Reading is, of course, included along to assist the child to develop each week is two half nated by Sj (S with playing, this basic hours, this not all reading by a analyzed by man. If we accept this statement start from the same C chord and have either G or F writing, ensemble habit of quick space-covering long first type) a minor triad is represented by S 2 ; the and other “Readinesses.” shifts. For this shot. You must ; Sister reason all persist in giving him a good JL A. as being fundamentally true, we automatically as the root of the following chord, the chord has Xaveria beginners piano triad by S the diminished by S . In the models her course somewhat after books should be printed foundation, take time, augmented 3 ; 4 similar with vary- go slowly enough, keeping at it to begin our dis- ing line create an ideal atmosphere in which moved in a cycle of the 7th (or C ) . Obviously with pre-school and public school approaches. lengths, planned pattern-wise, steadily over Chopin excerpt there are four structures of the second 7 or according all the years of his study. The results are was the motivating Then to phrase lengths. cussion of musical analysis. This first, third, or fourth these three cycles it is possible to analyze any root comes Frances Clark of Kalamazoo, The left hand margin u 40 be type and no representatives of the Michigan, should always _ gratifying. By pushing students spas- Joseph Schillinger, the dis- with her be even. , principle that prompted movements the chords may produce. Let us look at A.B.C. (loose leaf) Papers which Example ‘Taps’: o ca ly, types. she calls an or too fast, they become of the Interval Approach worse than inac- tinguished musical theorist, to study the works the Chopin to see how our music progresses. to Reading,” for beginners of all does There are no S aths (ninth chords), S nths (eleventh the child read music? Simply to find segregate the musical materials— ages. After telling us that poor great masters, to but let us readers are unhappy at chords) or S i 3 tns (thirteenth chords) ; " h sounds like. If it the , No. 2 pianists (Don't we know f sounds bad or wrong he rhythm, melody, and harmony—and to correlate it!) . Schillinger clas- • she states as her objective a ^'-slike for tabulate the S 7ths (seventh chords) M. —training it and refuses to continue, or he in the Schillinger System of Mu- n the student to play music _ , discoveries he made manner: through interval ten 10 tbe sounds he sifies the seventh chords in this relationship. This involves ho A, makes. More than this, sical Composition. Nz (1) instant visual interval he just doesn’t like to be hurried. No.l C 3 C5 C, recognition, (2) playing He hates it! Mr. Schillinger, like many others, realized that mu- intervals rapidly from dicta- 10 3 4 tion, musician who wishes to (3) recognizing and playing intervals simultane- sical analysis is used by every ously. Miss Clark whether he is a teacher, per- The Co is used at the beginning to establish the key aims and claims to accomplish this rceading Advancement understand his medium, by coordinating the visual critic. It is the process of taking S|(7) Sj(7> S (7| S,(7) S&f7) S l7) and towards the end to establish a cadence. Other- space-size with the manual elementary school teacher works on vocabulary former, composer, or 3 Sfl(7) 7 of on *v,„® 3 6 5 4 feel the intervals, and by means of yea of a finished composition and breaking it into bits in wise most of the progressions move by the cycle of other plausible the student’s life. She lays the ground- devices. wort f v . of this by order to determine the proportion existing among its The seventh chord of the first type is composed the third. readln g aloud so that he hears the. This is wnrric ,?L minor exactly what was recommended US6s elements. This method is comparable to the one used a major triad plus a major seventh. Type 2 has a Is our car to stay on the same road or to go on last month ^em as they talk together of the story; in these all thio l f columns! But as yet no °r receives mechanical toy. Obeying triad plus a minor seventh. Type 3—a major triad plus different roads? The route the car takes might sug- one has probed deep- ® ,® he 13 aslced by a child when he a ly to recognize them in print or enough into the elementary wrfip i k promptly proceeds to seventh forms what is usually called the gest the modulatory scheme used by the whys and wherefores em ' what does a perfectly natural instinct, he a minor — composer. In roblem imnow that mean to us? It shows the P - Only today comes along a f apart. wants to learn of what it is made, to dominant seventh chord, and so forth. You will note the Schillinger System any modulation that adds or musician. ° stressln transposition, interval and tear it He Miss Mary Reeder (appropriate chorri g the name!) of the Florida S see what makes it run. that in the Chopin Prelude, there are three of subtracts one sharp or flat to or from the given key- and scale Patterns at the keyboard, in State Teachers College, irin* ’t Tallahassee, offering everv first twelve measures of Chopin’s seventh chords, six of Type 3, five of Type 4, signature is called a Direct modulation; sugges- and variation. pupil’s Suppose we use the Type 2 any other tions of how to apply elementary vocahnia!r,' A™' These are the school reading e more Prelude in E Minor as our musical example and use and four of Type 5. modulatory movement is called Indirect. The Chopin processes to piano he is able to use his ‘words’ and beginners. Miss ‘phrase;;' , tear Reeder has made ut°matically, the wrecking of a toy car as a thread on which to hang In order that our car may stand the wear and excerpt we are discussing begins in e minor, goes to a a good start. Here’s what the more fluently he will play, she says For us ° analysis. road, certain reenforcements have to be made. minor, to major, to a minor and back to e minor; *5® more it is our of the G easier experienced at the piano, m r of car it is. Is be stronger than others. therefore, in each instance, the direct method is ad because our to First we must determine what type Certain parts must made used. sneak the ^ fingers have learned Basic Reading Habits (For actual reading, type it a sedan, a roadster, a jeep, or what? Musically, we Certain important features are doubled. It is the same Mr. Schillinger recommends indirect modulation for should be larva Patterns, and progressions, and our Some of us have page uncluttered.) th® ears knnnr'tA/'A whether we are analyzing a Sonata, a Suite, musical structure; certain important notes people interested in developing a modem idiom. had the good fortune to talk It is hardly eforehand what sound determine with our to necessarvAnt0 cau like they are going to elementary ‘school teachers tention to the reading 1 at' Have or some other form. In this instance the form being be doubled and, if we seek fer characteristic If we wish to continue our reference to the toy car and to visit their classes; ease which such „ ^ neglected such neither we may a lay'°ut nor our drills betau.se from them we are discovering -the single shift for lines gives analyzed is a Prelude, a simple form, the sole function features of a composer’s style, the notes he doubles while studying the rhythmic patterns used by Chopin, solutions to our music one and two underst°od where they fitted into the reading quired * scheme , problems. We find that everything for lines three and re earain? of which is to establish a cadence, a key. Mr. Schill- should be studied. If we look at each chord in our we might think of examining the motor, because they do in fZ, and S on , or are just plumb lazy? the first three or four “If T ll ^ years is centered around their 65 Wtth the inger would immediately ask—What basic materials twelve measures, we find that Chopin doubles the 5th rhythm is to music what the running engine is to the reading teacher an ^Prepared lesson, program, because they know there shouL^”!d we are used? What type of harmony? of the chord in Measune 1. Not another chord contains car. Obviously, the time unit used in the Chopin is the is no hap- come the period as an occasion for piness for a child in Observation sight reariir school, or indeed in life, n0t In the Schillinger System, harmony is divided into doubling until we reach Measure 9. In this last meas- eighth-note. In all but one of the twelve measures unless he “This form of °nly develop ability, but also has a good presentation also vipi,*, + to let him hf' that reading foundation. They are four classifications: I, Diatonic Harmony; II, Diatonic- ure, as well as in Measures 10 and 11, the root of the that we are analyzing feel particularly second step-observation. evelop th 0 *’ more have °“ we the constant beating, interested in The ?. hand music - Always the pupils who are slow pupilwA music oTrhAfA III, Symmetric; IV, Chromatic. In I, is doubled. Although four voices are used con- in every measure, in learning be- directed to groups * to 6 ght grade and in- Symmetric; Type chord of eight eighth-notes, arranged in cause they and terest ‘ musical value, know that the lag is usually pS^^^ Give him^ h four units are only of have due to an omis- chance to read Direct all the pitch members of the same diatonic sistently, out twelve measures a two groups of four each. Nine of the twelve measures sion of some necessary his attenti^nT it silently first. link in their experience. They key scale. Diatonic-Symmetric harmony is a type in which doubled note; three times out of four this doubled have a counter-rhythmic scheme of srs and time signature, clefs, direc- 6 + 2 against the recognize ss tions , that jtsevs leeer reading is a complex process, sir lino it is that It «.e C* or accidentals the the roots of the chords remain in one key, but the note is the root, once the 5th. The rareness of 4x2. The tenth measure has an embellishing note o,, mml “ Placement : ask him to plan out of hf’ follow of is a noteworthy style characteristic in hands on the keys out why chordal structures a pattern independent the doubling this that splits the 2, and the eleventh and twelfth meas- 606 is fingered as uf 40 find ^ it is; help scale used for the roots. In Type III, the roots of the composition. ures find the right hand taking over 4 2 "MUSIC him ( Page 616) the x rhythm STUDY EXALTS LIFE Continued on THE ETUDE NOVEMBER. 1947 "MUSIC STUDY EXALTS LIFE" 607 r h

minor scales Music and Culture Chopin, the major and ordinary harmonic follows. Grace of Hands intervals may be tabulated as are used. The ESIDES being a most satisfying instrument, the Music and Culture Major Minor Unison Major Minor harp offers excellent opportunities for a career. 2nd 3rd 3rd SulL Wkihon.JLLn 2nd The field is not crowded; indeed, it is wider (with h B a small variation), that has been applied by the 13 1 6 2 10 than it was some ten years ago. At that time, popular left hand. That there is a mathematical principle Perfect Augmented Minor Perfect OR ALL serious technical problems orchestral emphasis was on brass; that was the day involved (whether conscious on Chopin’s part or not) 6th Octave which th 4th 4th of jazz-band fervor. Today, there is a marked shift cannot be denied. student of piano must solve in overcoming 1 1 2 1 tn difficulties involved in the to strings; in radio, certainly, there is an ever- The part the melody plays in the composition might overwhelmingly, F playing of We see that the seconds predominate mat there are usually technical increasing demand for string groups most of which well be likened to the part the steering works, studies to be gear plays in with the thirds falling into a weak second place. Char- found include the harp. Further, more and more orchestras the car. to use in preparation. But how often It motivates and influences all the other tones ap- one meets The Harp as a Career acteristically for Chopin, the non-harmonic th are coming to accept women players, and the harp, elements in the structure. problem of keeping the hands out of each pear on the beat. other’s w v for some reason, has become associated with the distaff The tangible elements we find in and lays the trouble to personal clumsiness' the melody may This little bit of analysis should help us to under- And side of musicianship! Thus, I have no hesitancy in be analyzed from three main standpoints: wouldn’t one be just as clumsy over other 1. What stand the arrangement of the basic elements in the difficulties saying that the serious student who wishes to turn her scales are used? 2. What intervals for which there was no preparation? A Conference with predominate? Chopin Prelude. The same analytical technique ap- gifts to good account, may well investigate the harp. 3. How are the Tchaikovsky’s Humoreske and non-harmonic notes used? plied Glinka's The Lark to any musical composition should enable a ar In investigating it, however, she will do well to re- Schillinger s two of the many examples treatment of the scales is absolutely but which could be teacher, critic, or performer to give a more adequate given member that mere harp playing is not enough to exhaustive so far as where it is necessary to keep the equal temperament is concerned. hands in close (Blaine ^Jito He interpretation, and should help the composer to ac- proxim launch a career. The professional harpist needs com- systematically outlines the possibilities ity without letting them bump into each available quire an insight into the materials he will use when other and plete virtuoso control of her instrument. In addition, and suggests various ways of using where they must slip forward and back Harpist, NBC Symphony Orchestra them. In the he wishes to create a work of his own. with the cpdp. she needs a thorough mastery of theory and harmony. eration and courtesy of good dancers. Once a good At any moment of playing, the harpist may be asked preparatory exercise, as a foundation for this needed for modulations, transpositions; and all sorts of emer- grace of hands has been found, one is then convinced gencies may arise which only complete musical surety that it should be classed with other EXPRESSLY FOR THE ETUDE BY MYLES FELLOWES Mr. Smith and Music technical difficul- can hope to encompass. But more of this later! SECURED ties of the pianist, and met and struggled with on that The chief difficulty with many girl harpists, I think, ( Continued from Page 603) ground, before it is encountered in the playing of a is that they still regard their instrument as a charm- Melchior, citizen Schumann-Heink, masterpiece where it Is likely Citizen Amelita who have to remain always the ing drawing-room accessory. That is to say, they make Elaine Vito, only woman member of "Toscanini's orchestra" (the NBC Symphony), combines individual talent Galli-Curci, recently come from abroad have only the Citizen Josef Hofmann, weakest point in performance distinguished family background. While her mother is an amateur, her father's side is said to hold Citizen Rudolph dimmest idea of the whole work. “feminine sounds”; they have a timid approach. In with Ganz, Citizen of these needs. They arrive in a con- Harold Bauer, Citizen Maurice The following is a study which, a corner of the harpist's art. Her grandfather was a noted harpist; her father Edward Vito, is first harpist Dumesnil, gested center and while familiar in professional playing, this just will not do. Certainly, Citizen Silvio expect that they should immediately uncle and his daughter the first second harp desks in the Scionti, .and scores of others content to all professional in the NBC Symphony; while her occupy and of equally secure the same musicians, will present the I am not suggesting that the harp should be asked nigh support as that of American Symphony. Further, her eleven-year-old sister is developing as pianist and harpist; and her standing, whose zeal for the music of Chicago New World has teachers who problem acquiring grace and smoothness of to give forth harsh or brassy tones—but, in an or- been manifestly have spent many years in building per- husband, George Ricci (brother of the violinist Ruggiero Ricci) is solo 'cellist with the ABC Symphony. real and sincere. up a formance because of clientele. They the constant proximity of chestra of men, the harpist must fall to and play piano with her father, at the age of seven, turning to the harp, again with try to foist radical, modernistic theories the Miss Vito began study, her We have had many ask us whether hands in motion. this great influx upon a public which does To study and apply it will be to con- like a man. The acquiring of a full, vital tone depends father, at thirteen. A year later, she made her first public appearance when Dr. Walter Damrosch chose of foreign musicians not comprehend them. Is it might upset the American outstanding child musician, to play solos on his Music Appreciation broadcasts. At six- music any wonder that they find their on the position of the hands, and many young students her as the year's teacher’s apple cart. We do road in the New World not think so, because many a might find it advantageous to begin their improvement teen, she made her debut as a full-fledged orchestral harpist under Toscanini, with the premiere of Shosta- foreign troubled one? teachers have not Still twenties, Miss Vito has built a solid reputation been trained by the splendid In of tone at this point. kovich's Seventh Symphony. in her early as a harpist some instances they have upset the modern methods developed in American law of supply and as a musician. In addition to her work with the NBC Symphony, she plays in many other radio colleges. They and demand by offering Many girls tend to hold their hands in a way that are at a decided disadvantage to teach at ridiculously low orchestras — Editor's Note. in that respect The fees. However, might be described as weak. Harp fingers must be writer m “Musica” they suffer most because they have states that musical colleges in not realized that in America, in the kept strong and rounded and the thumb must be al- America have attained unusual heights: last quarter of a cen- ("Bene o male y ere haS been ways in a straight, high position, insuring a strong i colleges’ ’^ a huge advance in teaching stanno diventando negli Stati Uniti h meth- il centra ods. They are, for arch where thumb and finger join. Naturally, there It practicing electric only for florid glissandi, oltre che della the most part, in no weakness! I overcame by with an or the guitar-like effect (in cultura anche di una progressiva position to e C the must be no tension in any of the playing members, but and playing everything very slowly. obbligati ) of chords without melody. Still, vasta attivita musicale.’’) graduates of our Auer metronome, by you never (“Good or bad, the colleges institutions, wherew°hZ Americasa* special the arch and the strength must be preserved. The The player who is weak on rhythm invariably finds it know when the big cadenza or the instantaneous l the United States are the center musical needs have been of culture and also matter of a of a vast research for many years. wisest plan to follow of course, is to train the thumb more difficult to maintain perfect rhythm at slow speed modulation may be demanded of you, and you must and progressive program of musical The whole system activity.”) of teaching and the fingers in their correct positions, at the very have ready, Your Editor has psychologically and physiologically than at fast. Indeed, when you are sure of your adagio them letter-perfect. just returned from a motor trip is often of entirely different from start of harp playing. Later, it is difficult to unlearn will care of itself! The girl harpist must also nearly six thousand that in foreign schools rhythm the prestissimo take watch her clothing! It is miles to the West and the South- fore, There, they struggle along defective position. helpful thing in practicing is to learn a never a good practice to wear frocks that are over- west. Only such trips, made unhappily in the congested The most year after year, can give sections. Yet one an idea of much of our best teaching While it is a mistake to pursue technique for its own piece correctly the first time. A sound way of accom- fussy, or too much trimmed. (Continued on Page 660) the huge expanse of this material have wonderful been produced by sake, there must be sufficient technical control to country of ours and reveal foreign-born teachers who plishing this is to separate the work into how extremely thin is lived haring the here for many years, meet the demands of all types of music. The profes- natural veneer of what people call have cooperated small sections, according to the civilization. It is very easy with Xf an t6aCherS sional harpist is called on to perform obbligati, transi- one to let one’s imagination soar “ 6V0lVlng new and phrasing of the music, mastering them to great heights in pic- rivfmeS ^inc- turing the tions, soli in symphonic works, rhythmic effects for at a time. This makes for far more accurate tomorrow of our land. With the proper Of course, in methods of distribution, his great concept more popular numbers—in short, everything you can study than going through the entire com- there should be room for of “The Wealth everybody. think of. Perhaps the surest means of perfecting tech- position as a whole and then coming back The problem in nique is to acquire entire evenness of scales, a helpful to seek out difficult spots. music, therefore, is that of locating teachers, not in suggestion for this is to watch the crossing-under of the big cities, where there often ready al- the fourth finger. The harpist, of course, plays with Meeting Emergencies are far too many, but in supplying the needs of we have been ' lns °far as the country as a whole. able to observe . four fingers, making no use of the fifth (or “little”) The professional harpist, however, finds Unfortunately, many ’ greater n musicians any time in the °w than at past. finger. Ascending scales are generally begun with the the best technique of little avail if it is not fourth finger. A common error is to pluck the four solidly fortified by a thorough and practical strings and then to hasten the fourth finger to its knowledge of theory. It is an everyday oc- position on the fifth tone of the scale. This makes currence, especially in radio, that, in the Preserving the Voice for jerkiness. The ‘trick’ is to prepare for the next use middle of a rehearsal, the conductor points of the fourth finger by beginning to cross it under (Continued from Page 605) to the harpist and calls, “Give me an E- the. it has released its first string. the that requires moment Thus major seventh!” “Let's have a diminished sacrifice. We are given to confuse de- termination teacher’s theoretical fifth tone is prepared for, the complete scale sounds chord here!” Or modulations may be re- with visible accomplishment—the knowledge b . I-made- help ’ is of connected (as it should), that tiny disjointed in fitting pupils to smal l and quired; or a singer may have difficulty com- up-my-mind-to-be-a-singer-in-three-years-and-now- handfe actuaI. of the stage. Only a Agencies lurch is avoided. ing in a given point, and a few arpeggios -am sort of thing. Actually, the person wh„ h a at very reverse is true! can know them Determination also includes what unusual things may be needed; or if a show finishes a few the strength to refuse en- gs can occur when expected. least Compile Special Drills of time filling-in is gagements if one is not ready for seconds ahead and them. When I was “I fully realize the Since the harpist is in constant need of all kinds of needed, the harpist may simply be told to I wa* ered a contact at the difficulties of mv . °5 Metropolitan. disciplined °f slow I did development. ’ techniques, it is essential to keep the fingers “in” with “keep going!” The number and kind of sud- not take it, because I was too young and I know too un- young singers weU that prepared to fulfill its responsibilities. with good looks and J all known drills. The Bochsa “Fifty Celebres Etudes” den emergencies which can arise (and which Instead, I began tain SV° CeS Can - as one of the well-paid, well-publicised ob is an excellent and standard collection of exercises, the harp, apparently, is expected to take care backstage voices in one of enln Jl Reinhardt’s the full 8ementS productions; no complement of withou t and it is a good thing to go through these Etudes fre- of!) are almost frightening. It would be one saw me or knew I was there; earnest vn/Li * there answer I *** 1116 was absolutely no can make only quently. Another good device is to compile one’s own utterly impossible to meet them without ‘glamour’ about it. But I was on the the young singer qUestion same stage with Moissi and herself: D0 to book of drills, according to one’s own specific needs. second-nature sureness of key progressions, other great artists and I and you Tan/, qwck quick returns? If so ? career This can be done by copying out those passages from chord structure everything. Again, the pro- 1 d ‘ d reach the take , — Metropolitan, itself, ‘cash that four vear^LT' in’ as soon as °Sers the harp literature that offer the greatest difficulty, or fessional harpist must be completely pre- W What t0 d° With m voice you can T,nV u mvseff nn 1 y and break comes, When the myself on a stage. four or five yearn henL T b'g that have the best “warming up” possibilities for pared with all the standard cadenzas of having F tbat The gulf made hay while With 14 often fingers. harpists, literature. is between work in a teacher’s the sun shone say, it needed. Ne your No two perhaps, have exactly harp Often a program changed studio and to build your Buf/T^But if you should' work on a stage is voice into want 0110^ 11151 the same technical difficulties and one can make surer at the last minute; you may have brushed so vast, that I should counsel young a Dure but as the at very sl01 up singers art—one that will 8 medium playe/wdif to accept the smallest serve you as of is Chlef value 111 ap progress by concentrating on one’s own. Further, harp on the Caprice Espagnole only to find your- engagements—even in fSttu/T missed unless the from now as it does tblrty it T/SVS chorus-at the beginning of their ***** and rked Up 40 a very rapi fingers need warming up before they play and it is a self called on to play the Waltz of the careers. It 1s tune and h te slowl with this ranid?T° also helpful to work can develop Y Only 7 ost thing, before rehearsal, to is, study with a teacher a vmn tion soundl !/ acquired, most helpful just run Flowers. The answer that you must be who has had active correctly to the form^T stage developed voice nIy ? experience herself. ° a below - thls through one’s own little book of special drills. ready, at a moment’s notice, with all the No matter how profound can endure infinitely study may 1 a prescription for twT^ *S my as tn n T*tC preserving the 0nly values and accents, wi The orchestral harpist needs a better than-average difficult and intricate works. It may happen ELAINE VITO voice!" benefit and m»u k 608 sense of rhythm. This, I confess, used to be my chief that, for days at a stretch, you are asked MUSIC STUDY Showing position at the harp. EXALTS LIFE” NOVEMBER, 1947 "MUSIC STUDY EXALTS LIFE" 609 THE ETUDE Music in the Home Music in the Home Style In the Fine Arts “The Commonwealth of Art.” By Curt Sachs. Pages, 404. Price, $5.00. Publisher, W. W. Norton & Com- pany, Inc. Dr. Curt Sachs, Berlin-born musicologist and inter- Music Laver’s Bookshelf national authority upon artistic matters, has now lived The Etude made a major con- Programs in America for ten years and has Radio of the Important Changes in tribution to the musical and artistic literature New World in this significant picture of the inter- relationship of the fine arts. He recognizes that while the technical material favorite with the art impulse may be identical, tablished a large radio au- Any book here in all of the arts is extremely diverse. HE AIM of this department is not dience. reviewed may k limn his The work is monumental, in that starting to be secured from primarily critical, but rather to point Mr. Crook tells us that he began his THE ETUDE MUSIC rXinlscu) Itlorfan mu- picture with Paleolithic mask dancers, he carries the Tiout programs which are musically of Lj _Alfred sical career on the smallest instrument MAGAZINE ot the of reader through artistic history down to the music of price given on interest both from an entertaining and ap- the orchestra—and is now playing the larg- the advance of music as the develop- receipt of preciative standpoint. find it the hour. He sees Sometimes we est. “As a boy in Shelbyville, Illinois,” cash or check. he ment of a series of cycles, each significant in itself. hard not to be critical, of radio and its “I learned to play the says, flute and pic- observation, in which, unfortunately, devious ways. The announcement that the One interesting colo, and eventually became a soloist on his belief foremost your reviewer cannot altogether concur, is radio orchestra of our time—the instruments in several these Illinois or- passing. We find the weeds of jazz famed NBC Symphony—returns this year to that jazz is now chestras. It was not long, however, before I writes: an undesirable Saturday evening period from very hard to exterminate. Dr. Sachs decided to forsake the Tom Thumb of in- however, has not the constructiveness of pres- 6:30 to 7:30 P.M., New York time, is highly “Jazz, man struments and to go in for bigger things. sentimentality, Wereditk Cad, So ent ‘art’ music. In its shallow, crooning Lj R disconcerting news. And correspondence for six years, I studied the organ in and its im- from various sections of the country would St. it appeals to the emotions of adolescents, Louis, then coming to New York, I studied the contrary of balance “Parsifal, seem to bear this out. A San Francisco provisational character is about Wagner's great genius, culminating in for three and a half years more. While Actually, the commercial jazz and swing Publication reads Newman’s reader says the announcement has all the and strictness. A Momentous was enough in itself, but when one pursuing my studies in the big Metropolis I today no longer represent what they used to be transactions, important characteristics of an atomic bomb to him. of “The Life of Richard Wagner.” Volume Four. By account of the vast number of played in theaters and churches throughout 1920. Nor does ‘official’ music any lqpger pay into Wagner s busi- If the program is to be heard from 3:30 to around Ernest- Newman. Pages, 800. Price, $7.50. Publisher, and inconsequential, that entered the city.” Not long after Mr. Crook became respects to jazz since Constant Lambert’s Rio his literary works, 4:30 in his city, it means he will be unable its Knopf. ness life, his huge correspondence, words, Alfred A. an associate of the American Guild of Or- Grande for voices and orchestra (1928) . In other explosions, one marvels to hear the broadcasts this year, and “not One of the most eventful occasions in music pub- and his capricious emotional having missed ganists and a short time later he began his jazz was a normal feature in the heyday of expression- able to crowd so much a Toscanini radio concert in lishing history of the past century is the completion of more and more how he was years, one can imagine popular Sunday morning radio recitals. He ism but is at odds with the stricter trends of today.” Apparently Wagner managed to why the news of this the fourth volume of Ernest Newman’s “The Life of into his seventy years. has been heard on almost every Books upon the integration and the correlation of man does in a change of schedule descended upon me like type of Richard Wagner.” Your reviewer refrained from dis- do more in one day than the average program, including sports, arts are always valuable in the understanding of life he was an atomic bomb.” Listeners across country religious, opera, the volume until he had had an opportunity to month. It seems that during most of his too cussing this who work late on Saturdays will also news, and comedy. He is proudest, what culture signifies. Your reviewer cannot speak significant, therefore, that be de- however, look over the other volumes in the series. The present working against time. It is prived of of highly of Dr. Sachs’ work. Previous works with similar he was being the great pleasure of hearing the fact that he has played several times covers that period of Wagner’s life from 1866 at the very end when he was stricken, as very clear, volume Maestro Toscanini’s incomparable orchestral with the NBC Symphony Orchestra con- aims, such as Dr. Clarence G. Hamilton’s his favorite time piece, to 1883 and this is portrayed with the same meticulous moved to a seat, he dropped programs, and in the east those preparing ducted Toscanini, direct, and helpful “Outlines of Musical History,” and and cried out, “My by Maestro and that he care for detail which marked the previous volumes. which was a gift from Cosima, for or participating in a dinner hour may the the finely planned work, “The Humanities” (applied was organist with the Fordham Uni- This series becomes not merely the greatest life of the watch!” This was his last exclamation. find the time element a most awkward one. aesthetics), of two eminent American educators, Dr. completion of this versity Chorus at the official reception for master, but also a splendid contribution tb British The Etude is glad to acclaim the An eastern reader writes that “a lot of folks Louise Dudley and Dr. Austin Faricy, are books which be in every mu- Cardinal Pacelll (the present Pope). musicological scholarship. magnificent biography, which should plan dinners out on Saturdays and this is should be in the library of every musician. Following the Crook organ recital on the While the volumes are expository, they are not sical library. going to mean they cannot hear the Tos- NBC network comes the program of the opinionated. For instance, in the refutation of the ex- canini broadcast,” and he wants to know Nineteenth Century Musical Masters NBC String Quartet (8:30 to 9:00 AM., cited claims that Wagner was partly or wholly of A Book That Grew whether the Toscanini - NBC Symphony GEORGE CROOK EST) . After Mr. eye-opener “Music in the Romantic Era.” By Alfred Einstein. foist his own opin- Crook's pleasant Semitic origin, Newman does not “MOZART’S OPERAS.” By Edward J. Dent. Pages, broadcast is not worthy of as good an hour Publisher, W. Norton & to music on Sunday mornings, the per- Pages, 371. Price, $5.00. W. ions, but presents evidence clearly indicating that Publisher, Oxford University Press. as the Philharmonic-Symphony one? That a great musical tour of the world. The Columbia 276. Price, $5.50. Concert Or- formances of familiar and favorite quartets by this Company, Inc. ancestry was not Jewish. Wagner's behavior understanding, genial, many people think Wagner’s Dr. Dent, one of the most this change is an ill-advised one chestra and guest soloists will perform the music which six volume history of music ensemble are a genuine treat. The organization, drawn This volume is part of a toward his Jewish benefactors was shameful enough musical research workers, on the part of the National Broadcasting Company is closely and voluminous of British identified with various regions. from the famous being published by Norton and represents a chronicle implication that he was NBC Symphony, comprises Daniel as it was, without adding the world a revision of his volume upon there would seem to be small doubt. To many radio The Monday broadcasts will be titled “Liberty It covers has just given the Road.” Guilet, first violinist; Bernard Robbins, second violin- of musical thought in the nineteenth century. role. listeners the Sunday playing a false which has evolved from a little pam- afternoon or evening broadcast “These will deal with dramatizations based on con- composers, known as great mas- Mozart operas ist; Carleton Cooley, violist; and Benar Heifetz, cellist. a great number of the Flute” was of Maestro Toscanini has been a time-honored ritual, cepts wrote in 1911, when “The Magic of basic human rights and responsibilities, as Long in the story of music and includes Beethoven, phlet he experienced in the performance of chamber mu- ters, into a book and if for sundry reasons they cannot fit the Saturday practiced in different countries.” first performed at Cambridge. This grew This is the first sus- sic as well Berlioz, Liszt, Schubert, Weber, Schumann, Mendels- as orchestral works, these musicians play issued in 1913. broadcast into their weekly schedule many will be de- tained radio series on this subject. upon the subject of Mozart’s operas, with a zest and an unmistakable sohn, Brahms, and others. The main objective of this prived of their chief symphonic treat of the week. relish. lauded but did not have an as- The Tuesday broadcasts are called “Tales of the trends of thought which The book was highly Adven- By popular request, the First Piano Quartet has useful work is to present The National Broadcasting Company tells us it has ture, volume, which has changed dramatizations of recent and classical action form the background of the Romantic movement. The tonishing sale. The present returned to the airways (Mondays: 10.30 to 11:00 P.M., long sought to make this move in the belief that it books.” Also included is a very much revised edition of will be sports stories and his- EST, NBC author shows a fine insight into the political, socio- and grown notably, network) . For the better part of last year this would provide a new and potentially larger audience torical episodes. The underlying is the most impressive and interest- motif of the Tuesday organization logical, religious, and artistic conditions of this dra- the original, and for symphonic music and would also toured in concert and played to nation- provide a better program will be tolerance. extremely theatrical age. The ing work upon the subject we know. At the time the wide capacity audiences. perfection matic and sometimes program balance. The rescheduling was accomplished The Wednesday broadcasts The organization’s appeared, very few of the Mozart operas are “The March of of ensemble book is illustrated with some excellent portraits of original book with the cooperation of the network’s affiliated sta- Science.” The work has undoubtedly contributed to its Con- stories will high light the direct leading figures of the period. were known in England. Those who visited the ap- success; the is tions, more than one hundred of which have indicated plication of effect of its playing is as exciting as it scientific knowledge to society. The tinent, however, were conscious of the great awakening basic musically satisfying. of they will carry the symphony program in the evening theme is man— For the group is composed “in relation to his inventions and of the public to Mozart’s operatic genius. time, in- four distinguished whose Care of- the Piano and a number of additional stations are ex- stitutions, his methods of and brilliant musicians enjoying life, his fight for Dr. Dent has a native gift for seeing things as they execution is well Alfred pected to carry the program by the time the change better health and his future.” nigh impeccable. As one Midwestern “Piano Tuning and Servicing.” By H. Howe. are. His stories of the operas are sharp and clear, like takes place. The change, critic said: “If not $6.00. Publisher, Alfred H. Howe. by the time these lines are The Friday broadcasts have the you think that four pianos are Pages, 267. Price, contain no general title of more steel engravings, and his appreciations read, will have been effected, since the NBC Sym- “Opinion, Please.” These exciting than one, you should hear the First An enlarged and revised edition of a work first pub- programs are forums on cur- over-statements. The book is biographical in its out- phony programs (winter season) Piano Quartet.” lished in 1941, which covers the subject in very prac- began on October 4 rent political, economic, and social problems “as thev Arthur lines and the interest is finely sustained from begin- (Maestro Toscanini resumed command of the orchestra apply to young people.” Godfrey’s Talent Scouts (heard over the tical and efficient manner. It is the best handbook for on October 25). Whether Columbia tuners seen. ning to end. the assertion that the af- Sunday morning is an hour for network Fridays from 9:30 to 10:00 P.M., we have quiet, friendly music ST) The Italian librettist, Lorenzo Da Ponte, of Jewish filiated stations, operating at a different time from and a lot of folks find an organ bids fair to be the legitimate successor to the recital an appropriate ancestry, who was baptized in the Catholic Church the New York station, will carry the program at the Sunday morning program. The ate Major Bowes’ popular In each Notable Movement organ recital of George “Amateur Hour.” A lady of that faith, is given “evening time” (that is 6:30 broadcast when his father married a to 7:30) is not clarified. ov the NBC network five talented performers given an oppor- from 8:05 to 8 30 are “The Story of the American Guild of Organists.” By attention by Dent. The father’s name was It may well be that some stations across country in- A'Ma*? EST, f umty to deserved , has long been a favorite display their radio ; Sunday abilities for a national Samuel Atkinson Baldwin. Pages, 80. Price, $2.00. tend to take a transcription of morning au really Geremia Conegliano. When he was baptized, the program and re- musical eye-opener with a large Each performer dollars proportion of receives one hundred Publisher, The H. W. Gray Co., Inc. broadcast it in their own time zone at our and/r- however, he took the name of the church official who a similar hour eastern readers, among whom must the scouts twenty-five of the be numbered the dollars. The scout Dr. Baldwin, one of the founders of the American Monsignor Lorenzo Da to that of the original broadcast in New York. Perhaps editorial staff of wumer, administered the sacrament. this magazine. Crook's selected by the radio applause re- of Organists, has done American music a real readers may have programs are audience Guild Lorenzo was brought up in Catholic sem- something to say about this and not erudite, but chosen to have coi ed on an Ponte. Young the widest appeal The audience reaction indicator, receives one service by presenting a record of the development of would inform us at what time they hear the program organist usually has un red inaries and became especially fluent in Latin, so that five or six selections, dollars. In addition auditioned this organization which has done so much to sustain in those vicinities wefi coS the winner is developed great ability outside of the New York time trusted in moods. Mr. Crook has by producers he had to learn Italian. He been on he of stage, movies, and is given high ideals in the profession. During the fifty years of schedule. for the and radio, w-rote three of Mozart’s best known li- past five and a half years ee as a poet and and is an old ngagements on the Arthur Godfrey Show (Mon- the life of this organization, practically all of the The Columbia Broadcasting System’s American es daysri/ tt brettos, including those for “Don Giovanni” and “Cosi through Fridays— eligibly efficient organists of our country have been ll:oo to EST) . Dur- School of the Air began its eighteenth consecutive 11:30 A.M., Tutte.” st ear of accomplishment of this fan year of ™ y on the air, Arthur Godfrey’s Talent members, and the standards broadcasting on Monday October 6. The time S® f In 1805 Da Ponte, who was most unfortunate in received for group have been unusually high. This book traces such schedule this year remains ... more than 100,000 requests the same as last year—5:00 o llH , ventures, ran away from his creditors and Among an important epoch in American organ history that his business to 5:30 P.M., EST. Again the Thursday those who got their "start” on this programs will RADIO nrn went to Philadelphia, later settling in New York, where are Wilton musical it should be in the possession of every organist, young be called “Gateways to Music,” presenting this Clary, starring in the year a Okinhr, RICHARD WAGNER he became an instructor in ( Continued on Page 646) an<* Phil and old. ^*0r * a Benson, now a soloist with P alnys All-Girl 610 "MUSIC orchestra. 611 STUDY EXALTS LIFE” NOVEMBER, 1947 "MUSIC STUDY EXALTS LIFE” THE ETUDE : ! — —

Music and Study Study INETY years ago Niagara Falls was seven Music and miles down-river from where it is today; each N year the water has cut away more ground, con- Stage Manners tinually edging the Falls back. At that time there lived of the roar of the Cataract two I teach piano to pupils of ages ranging close within sound from six to twenty years. Please write me families—the Adamses and the Graveses. On a cold day your opinion as to the best stage manners in December, 1857, Carrie Adams presented her hus- at recital for boys and girls of the differ- band, John Quincy, with a baby boy. She wanted to ent ages indicated above. For several The Teacher’s Round Table Ninety Years in Music years I have had my pupils to greet the name him “Junior,” but Mr. Adams stubbornly refused audience with a bow before their per- —“No,” said he, “I’ve always thought it was pretty formance at the piano, and to acknowledge mile. In my opinion there is presumptuous of my parents to have named me for the applause of the audience with a bow Conducted by more music after playing. Not all in these simple tunes, President, and I’m not going to pass any such of my pupils are than in preten the graceful in their manner of bowing, and tious, “long hair" symphonies which weighty name on to my son.” And so it was settled some of them prefer not to bow.— (Miss) sub' mlt our ears to a hard test that the son of the family should have his mother’s J. M. W., North Carolina. 1/jaurice o^umeinil but don't l yd 1H BueLer h amount to more than maiden name, Crosby. by ad a big front with (j ' a I wouldn’t have them all bow because nothing behind. ... Three months later, the Graves had a baby daugh- Eminent French-American lovely name, “Juliette tfhen they don’t feel like doing it they ter, to whom they gave the is idyll of love, and life, of Juliette ond Crosby Adams. But it is more than a story—it an appear stiff, self-conscious, and artificial. Pianist, Conductor, Lecturer Aurelia.” This is the story Wants up, ninety years of age; they have been married for sixiy-four of Naturally, mere courtesy requires ac- Chromatic Numb ers The years passed, and Juliette and Crosby grew and music. Mr. and Mrs. Adams are now and Teacher glancing other shyly from opposite sides of of their life together is a tribute to two great and charming per- knowledgment of the applause; but this Will at each those ninety years; and this little history you please recommend a can be done by a simple aoort the Sunday School room, working together in the choir .... —Editor's Note. nod of the head, chromatic number, of medium d.mcultv- sonalities. or even only a gracious fourth, fifth, or sixth bass and she played the organ; smile. Sometimes grade? I use Go- loft where he sang dards "Valse the latter, when coming before an audi- Chromatique" and of course she thinking many a time “He is a mighty nice boy” stress chromatics In all compositions ence, is enough to win it over completely. con- and he certainly having ideas about her! tabling them-but I more plainly, a “public.” The correct would like some other I suggest that you use psychology and chromatic composition. Both the boy and the girl, born with the deep dia- meaning is, “admittance to however: a Would you memorizing! Never! adapt the above to the individual nature also give me a free transla- pason of Niagara ringing in their ears, had a musical to “make up” anything. And as for formal hearing or formal interview with tion of the French and inclination of each performer. Age term* used by Debussv heritage and musical surroundings. Crosby had four One must keep one’s eyes glued to the music! At her one of high position" (again, Webster). in the Golliwogs Cake-Walk: has nothing to this 1 . Trie net play a solo fourteen do in matter; some- et trie sec. aunts and four uncles who formed a popular double first public recital, she was to Thus perplexity is 2 Vn peu moms vite. 3. times six our relieved: "The Avee a year old will love to bow and une grande Emotion. 4. breathed the long. She had long since learned the music “by Cidet. 5 . Touiotirs quartet—and he absorbed music as he pages will do it like Rajah grants an audience on the moon- retenu— (Mrs.) a veteran concert artist, N. C. J.. Missouri. air around him. heart,” but she obediently placed the piece on the whereas twenty year lit terrace” is an adequate rendering a old will feel shy, Juliette was a bom musician. But back in the 1860s music rack. Half-way through, a sudden breeze blew it which leaves no doubt as and a little resentful if to what the Godard’s Valse Chromatique, of he knows it’s a course, parents did not believe in giving music lessons to very to the floor. The guest-artist, a near-sighted violinist Correspondents with this Depart- composer had in mind. “must.” is practically unique in Its kind, placed ment are requested to limit letters and this young children, whatever their talents. So it was a from Rochester, hastily picked the music up and to And if I may express a personal opin- One Hundred and Fifty Words. old stand-by fully deserves its its lasUng great day when, at eight, music study began for Juli- it on the rack—upside down! Juliette’s family held ion: by all means I would avoid a uniform popularity, both as a valuable swooned— "Le Mot De La Fin" etude and ette. But sad to relate, lessons did not prove to be the collective breath, her music teacher nearly curtsying. When I attend a students’ re- a brilliant students* recital number. But joyous occasions she had dreamed of. Her soul cried but Juliette played blissfully on! cital and have to watch a few dozen par- Yes, here's the final word on an impor- there are many other pieces containing out for beautiful music—and “beginners’ pieces” in the Juliette Graves was only twenty-one when she was ticipants going through the same stereo- back to 1910 certainly remember the enor- tant question, and I dedicate this para- chromatic material presented under dif- 1860s were neither beautiful nor musical. Her first offered the position of resident teacher of piano at typed genuflexions before and after play- mous popularity of the valse lente, graph to friend Guy Maier, for ferent the he has aspects; for Instance: Grieg’s belied its University in LeRoy, New York. To Somewhat ing, slow “piece” was a Joyful Schottische which name Ingham my patience soon runs out, I feel waltz. Claude felt intensely the ap- done his best to try to inculcate into Butterfly, re- and this other butterfly, Le —but Juliette worked so hard to get the unworthy counteract her youthful appearance, she wore a dress eruptive, and I mutter to myself: “Stop peal of those melodies lulled by the lan- ticent fingers—or perhaps, brains—the Papillon by the Canadian for train when she greeted her new class those affectations. guorous composer thing that it has remained with her over eighty with a very long You’re not being pre- rhythm of the accompaniment, secret of overcoming that eternal Callxa buga- Lavallee. By MacDowell: the Pol- years of pupils, most of whom were larger than she. sented at Court! Just be yourself, go to and soon an exquisite pastiche was boo, the com- three-against-four trick rhythm. onaise, and everything at Ingham the piano, pleted, the impressionistic March Juliette was small and dainty, her hands scarcely Miss Graves could manage and show us what you can do!” to which he gave the appropriate So have I; but alas, sometimes I believe Wind. department title. You might also use the piano ar- large enough to reach the intervals even in the “be- but the “traditions.” The whole music La plus que lente. He presented his that our efforts have only been partly suc- rangement the annual “Concerto manuscript to Leoni, of the famous Flight of the ginner’s music.” And when she was twelve a “weep- worked toward one big event— a violinist of the cessful, since the queries Wants English Titles continue to come Bumble-Bee by ing sinew” developed on her right wrist. But she Day,” when the well-meaning pupils struggled man- Carlton Hotel for whose talent he with Rlmsky-Korsakoff. felt a the regularity of ebb and flow. genuine admiration. How- Later on, in the higher grades, do not was made of stern stuff. Without consulting anyone, fully with literature unsuited for public performance Would you kindly give me the English On the front page ever, one angle at least, the psychologi- miss office asked to do artists. Alter summer vacation, Miss translation for the following compositions was his autograph. Did the Chopin’s "Etude” Op. 10. No. for she marched to the doctor’s and him except by great violinist know cal, seems now to have been 2, of Debussy: 1. Danse sacree—Danse pro- the celebrated disposed of. it affords a something about it. Graves found that in but a few instances had these name? Perhaps not, since It wonderful drilling for the fane. 2. Etudes: Pour les agrements—Pour happened recently in he looked at it Omaha, where equalization “It’s going to hurt bad,” he told her. “classical renditions” been enjoyed by the folks at les cinq doigts casually, said ’thanks,’ and of the third, fourth, and —Pour les sonorites opposees. I was conducting a master-class tossed the for the fifth fingers don’t care. I’ll stand anything to get rid of that Unfortunately, preferences at home were not 3. Cloches a tracers les feuilles. 4. Et la lune manuscript on top of a pile of besides its loveliness as a “I home. Nebraska Federation of Music descend sur le temple qui fut. 5. L’lsle music that lay behind the Clubs. A gloomy little ‘weeping sinew’ if it’s going to keep me from playing included in the fine-sounding lists of material lived grand piano. girl came from mood-picture; and also joyeuse. 6. Danseuses de Delphes. 7. Less Of course out State for an he never played it. Once audition that great one, the piano.” up to by the school! She took the matter up with the sons et les parfums toument dans Pair du more selected Op. 25. No. 10. with Us pearls had to P!ay, of all things’ soir. 8. Les collines been cast before swine.” (From onrushing, stormy “Then lay your arm down on my desk.” The doctor dean. Couldn’t the girls learn some simple melodies, d’Anacapri. 9. Des pas tne Fantaisie-Impromptu.” octaves in both hands. CROSBY ADAMS—JULIETTE AURELIA GRAVES sur la neige. 10. Brouillards. 11. Les fees my book “Claude Debussy, She was ex Topping picked up a heavy medical volume and raised it above perhaps an entrancing waltz or a stirring march, more Master of tremely the fist as far as difficulty is sont d’exquises danseuses. 12. Bruyeres. 13. Dreams.”) nervous, and from the very first concerned her outstretched arm. With terror, yet also with deter- suited to the comprehension of their families? Oh, no Mr. and Mrs. Adams were married the year The Etude was Ondine. 14. Canape. I would also like her you have the little known to And last, but not coordination went out the know the background of La plus que least, THE Terrace. window. Galop Chromatique mination in her eyes, and biting her lips to keep from indeed! Because the “standard would suffer!” And so, founded (1883). This photo was taken on their fiftieth wed- The Again and again she by Liszt, virtuoso- lente and La terrasse des audiences du capitals are to emphasize the head- tried, without any esque crying out, Juliette watched the big book come down handicapped by tradition, the work went on, and ding anniversary. They are now in their ninetieth year. success. and flamboyant, though somewhat clair de lune, for these titles puzzle me. aches brought Finally she to countless program mak- stopped. If I five a rococo; with a thundering bang on her wrist. The ganglion Juliette’s ideas about teaching developed in a radi- Thank you.—V. Me V.. Canada. ers hundred years and Debussy’s Etude pour les by this enigmatic title! Not I wifi never forget cally different direction from the methods she act- long ago the degree chromatiques," was broken—but always thereafter there was a slight had to the sidewalk. The workmen rushed him to the hos- someone dealt summarily dejected look that came in which his Of course with the prob- over her face weakness in her right hand. ually to follow. pital where, when he regained consciousness, he sent the famous words traduttore, lem, avowed purpose to “make trouble for the and the result was as dr°PPed from the tradittore will always follows: “A keyboard' Improvising and composing were frowned upon dur- As Juliette Graves packed her belongings at the end this telegram to Juliette: “Come at once. I’ve burned be true, and often terrace herTpT shoulders pianists” was certainly carried out with of people in the moonlight.” collapsed. Then career a translator cannot help but feel she turned ing Juliette’s early musical —she wasn’t allowed of her fourth year at Ingham, she told Anne, the my hands a little.” A little! When Juliette reached his that in towards uncanny skill. •. Heavens, did I ever get a me, and in a some measure his version betrays laugh out of tone of complete maid,, that she wasn’t bedside, it was hardly a human being that she saw! the au- that! I hadn’t despair the Here are the translations the Gol- seen anything like it memorable for since • thor’s intentions. Languages sometimes utterance came lirvog: coming back next year Crosby’s face was blackened and swollen. And his a recital I once gave in a have nuances for which Western uni- she was going to be mar- hands—his poor hands! Burned to the bone burned so there is abso- versity at 1. Very — which the first book of “Pre- dld Ch0Pin have crisp and very dry. 2. Slightly lutely no foreign equivalent. But I will do to ®> and do ried. Anne looked so sur- deeply that for two years the fingers were set in a ludes” was featured. Someone tjr?” slower. 3. With a great (overwhelming) my best, and here we go had deemed prised that curved position, and it was only by the most excruci- it advisable emotion. Miss Graves to print the list Right! Why, Ironically, 4. in English oh . of course. ... 1. Sacred Dance—Pagan . . why did said, “Why, think ating exercising of the fingers that they finally re- Dance. 2. and to my he do it? Yielding” do you amazement, Incidently, the : this Studies: For the La Cathedrale while I was tempo. But beware gained their suppleness. Ornaments—For the engloutie m OmahaT is that’s so unusual?” “No,” appeared as “The Cathedral the “S. F p o r o q r not an actual ritard. in the Five Fingers—For the Contrasting Tone 5. Still Anne replied doubtfully, sacked and desecrated”! But coming Convention, itS tempo of the Colors. 3. Bells Through back and Iwus ritard. the Leaves (or to our Terrace: made “but it’s a risk!” Once Debussy received And now. a special who An Idea Is Developed the foliage) . 4. And the a note for those Moon Descends picture postcard from Juliette took the risk upon a diplomat friend might want to So the little bride began teaching again; teaching the Ruins of the Temple. 5. The Isle give a few verbal com- who traveled in India. It and on September 18, 1883, of Joy. 6. represented the PreservationsrsrHof ments on the be- during the week, and playing the organ on Sundays, Delphic Dancers. Barbershop Golliwogs’ Cake-Walk 7. The Sounds palace of Quartet she and Crosby Adams a maharajah whose mg in L°ng ' fore keeping house in-between times; all and the Perfumes subjects America.” I playing it. in and the while Turn in the Air at were feei verv nre I , When it was written received on the terrace of were married. Eventide (Beaudelaire) the mag- and gentlemen, for 1908 as tenderly caring for Crosby—and teaching him music! . 8. The Hills of I do part of "Children’s Corner,” nificent abode, by enjov1 thi' They had been married the light of the full of musical form Paris Crosby never went back into the steam-heating Anacapri. 9. Footprints on the art with its was in Wagnerian busi- Snow. 10. moon, when they had J the midst of a only three months when Fogs (or a claim or a peti- «omy an craze. ness, but took a more and more active interest in perhaps Mists, more poetic). 11. a So Debussy, with ever-present, tion to present. This setting his Crosby, who was a steam- The Fairies appealed tre- sentative re' delicate music. Soon he was teaching harmony and theory, and Are Exquisite Dancers. 12. „t times sense of humor, chose to intro- mendously to Debussy’s imagination when'll S,fllfe outl”f heating engineer, was in- Heather. 13. Mermaid. 14. and was more ontimisHe °°k duce in conducting choral and orchestral groups. After four Here I would it the middle section the initial conveyed to him the inspiration . . . specting a certain job. use this: “Canope” (a for this than it is today, 1661™ four years in Buffalo, the doctor advised a change of climate sculptured head most elusive if you notes of the Prelude to "Tristan and and atmospheric doi^^V*Ubt thls ' With torch in hand he from a tomb in ancient prelude ment, turn state fsxfide’’ for Crosby, and they moved to Kansas City, then a Egypt). The French on vnnr r.T° (A—F—e flat). word “audience” is —D sharp-E was examining the instal- Now “The more than slow” generally Sweet Adeline, 10 small western town, where the Adamses set about to (La plus interpreted erroneously, Bicycle' When you get to that passage, play H as if it meant Bum lation when there was a create que lente ) ; "Those whose memory Down by the Old with their own musical atmosphere. goes an assembly of hearers” Mill stream your tongue in your cheek, a twinkle (Webster) or TteJ™’ n sudden explosion. Blinded By now Mrs. Adams had been teaching for twelve your eye, and watch the reaction of and 612 THE HOUSE IN THE WOODS in agony, he crawled years, and her impatience (Continued on Page 644) "MUSIC your audience! STUDY EXALTS LIFE NOVEMBER, 1947 "MUSIC STUDY EXALTS LIFE” THE ETUDE 613 , — —

Music and Study Music and Study

The Building of the Paulist Choristers My Hall of Memories A Conference with

Famous Singers I Have Known %e Reverend Willitarn 3. 3tnn CS.P.

Eminent Operatic Basso and Teacher SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT

Former Member of the Metropolitan Opera Company

as perhaps the Wherever choral singing exists, the name of Father Finn is known and honored. Recognized foremost exponent of choral techniques, Father Finn has contributed widely to the development of ensemble Part Three singing, partly through the demonstrable accomplishments of The Paulist Choristers, which organization he FEODOR CHAUA PINE founded and directed for nearly forty years, and partly through his scholarly lectures that are attended by and choir masters of every denomination. Born in Boston, Father Finn studied at the Boston Latin School Conservatory. He continued his studies abroad. ELCOME BACK, ladies and gentlemen! Here we are entering, as I said at received fhorough musical training at the New England anniversary in music, Father Finn began his career in 1897, at the age of our last meeting, the Valhalla of the male singers of the operatic stage, for Currently observing his fiftieth »»»»•« tuiiiuiauuuiK au&iure ana he organist in Boston, and later spent a year at the great Mission Church, there. At this time as you know the Valhalla is the place of glorious rest for the heroes of the fifteen, as W tonal vocal effects of great exuberance and choral tone which he carried in his mind and his heart, but undertook his great work of developing a Scandinavian legend which inspired Wagner’s tetralogy. voices impressiveness. which he had never heard. In 1904, he was sent to Chicago to establish a choir of boys' and men's Probably the majority of you are too young to recognize in this painting of later, ordained. In 1912, Tamagno's voice was rather uneven. at St. Mary's. This was the beginning of The Paulist Choristers. Two years he was Lohengrin the Swan Knight at our right, the once idolized tenor Jean de Reszke, Europe, where they won First Prize in the International Competi- Thin and opaque In the low octave, It was Father Finn took The Paulist Choristers to handsome in looks, elegant in demeanor, aristocratic in manner, tion in Paris, earned the commendation of Pope Pius X in Rome. The Paulist Choristers have toured accomplished as gradually, note after note, growing and and an actor, and polished as a singer. every section of the United States, winning acclaim that places them in the forefront of choral groups. In developing into the mast powerful and To mark his fiftieth anniversary Forty-four years ago, going to Europe through New York 1940, Father Finn retired from the active directorship of the organization. on a return trip from brilliant high tones I have ever heard from in music, Father Finn has compiled his memoirs which Harper s is publishing under the title, Sharps and an operatic season in Mexico, I heard in the Metropolitan Opera House of New —Editor s the throat of a human being, and this was Flats in Five Decades." Note York, Jean de Reszke as Romeo, Siegmund, and Lohengrin, and I wish to say that the reason of his successes in "Trovatore,” I became from then a great admirer of that Polish tenor, the ranking member of a “William Tell” and particularly In “Otello," family of artists that included his brother especially written for him by his com- Edouard, the distinguished bass, and his quality by apposing downward singing with upward voice, which stops where the flute stops, at the C below patriot, Giuseppe Verdi. sister-in-law, Felia Letvine, celebrated dra- singing. Beginning this time on a comfortable low tone the treble staff. The alto tone of the English cathedrals He sang in New York for three or four matic soprano. of the natural range, the choir sings scales upward is actually a falsetto (characterized by the fact that seasons but the Metropolitan audiences of My major criticism at that time fell on t again pianissimo, again on all vowels preceded by labial only the margins of the vocal cords vibrate) which is the turn of the century the exaggerated meticulousness of his stage preferred the mel- and lingual consonants, again both legato and staccato. simply thrown up. But the old Spaniards had a way of lowness of lyric-tenor Photo O'J G. D. Haclctt attire, as if springing from a “band-box” as Jean de Reszkd to Also, we use a wide variety of dynamics. Thus, the conserving true alto tones from the boy voice and carry- the Siegmund : explosive accents of the Mountaineer in the first act of the dramatic FATHER FINN warmth and body of the lower voice is brought up, ing them over, naturally, into the change voice, thus Tamagno. “Walkure” as well as the Knight of the Grail hootiness disappears, and the middle voice becomes imparting to it a velvet, glowing, natural quality that “Pardon In the last act of “Lohengrin,” and the never me lady, what do you say?...” strong. After each drill in upward singing, however, we is lacking in falsetto tones trained into the voice after “Oh altered flawless line of his singing no! . . . These two tenors are not its change. spent fifteen years comparing various old regard- HE Paulist Choristers grew out of an idea—an have two drills in the corrective downward singing. I less of the interpretative requirements. here alone for any preconceived purpose. It techniques developing I call the technique of idea of the kind of tone quality that must have “After about two seasons of such work, I began to and what His Voice was of the finest quality although is because this red damask curtain opens the counter-tenor actually a conserved alto where JOHN existed during the great days of polyphonal note results. The flute-quality of tone was pointed by — faulty in the McCORMACK to a special T top high notes B and C, due in room devoted uniquely to a tone remains cognate with the soprano. singing and then became lost. I had only the vaguest string-quality, and there was a good hint of oboe, too. all probability to the fact that he first U 1 1 !t >r contralto in choirs until h 1 In other words, our tone was pure in quality and varied “The woman’s was not used 0 C rtain " notion of what such tone could have been, and it took ^ ^riCnC'S yes! 15 Cftruso! nineteenth it was ^Thls a |^ ^ ' in color. That kind of tone must undoubtedly have been the century. Dark and round, con- mTrvel me years to clarify it; but I set to work with the idea o^ldeTto D V h' also in “unique” slnger that 1 called before “unique,” Spanish churches which developed such sidered too seductive for liturgical use and even Gluck form in this ^ of building a group in concerted singing that should be used in the old that you *hite marble sculptural conception banned it from certain of his operas. I have found the see here of his immortal iUim effective enough to reach the least-schooled layman splendid singing. The next step was to carry this tone white aCed^ Canio of the contralto very valuable, especially in combination. One costume of the unfortunate l Pagllacci," robed in as well as the appreciative musician. Such effectiveness beyond the treble, into the alto line. Caruso, " beatine 1116 contralto and two mezzo-sopranos (which have about the cheris drum his tragic show, could only through of tone. hed and n ,, ^ come beauty and Ca ooz of the the same range but entirely different quality) more years ago, lives American opera goers thirty “I began working in the treble staff. In every com- Alto and Tenor make an yet so vivMiy ^. generation and 50 Precise ly in the of the adult effective blending. Contralto, mezzo-sopranos, and of Americans that t r memory plete picture, one element stands out, like the steeple “Now, great confusion exists as to the true nature of to speak of to be superfluous unnecessary counter tenors, plus a few lyric tenors, give a wonder- his voice and his ar^Hil IS?*® and of a church. In choral singing, the top voices consti- the tenor and alto parts! The tenor (from the Latin lasting ncd ejection of ful alto line which, when topped by a canopy of so- monument to him Victor records is an ever- tute this outstanding element. Thus, the first logical teneo, I hold) was entrusted with the integrity of the But I, pranos, results in a fine effect. who proudlv hmt't «, . step was to develop a real soprano—a floating tone that Gregorian chant. And the alto (from altus, high) had of the 0f being now “But to back vocal artistic family who lhe only surviving member should arch over (supra) the complete tonal effect. nothing whatever to do with a deep female voice! It get to the techniques! Breathing Carlo, throutflwK Buenos Aires, theatres of Lisbon, Barcelona, Monte to get such a tone? I studied and compared tech- higher and breath support must be quite natural. Tensions Paris and tv,r t How was called alto because it carried the line than Company Ve seasons with Opera and contortions that result from ‘trying to breathe of New York sane- ,u,T the Metropolitan niques of all ages and from all parts of the world, in- the tenor’s. Thus, tenor and alto operate in approxi- until the from the right’ must be corrected, and can be when breath is ap- year before h’is very beginning of his career venting nothing but taking valuable bits from here and mately the same compass; they often interchange parts untimelv riwaT , ENRICO to what in fec the 11X86 tribute collated that applicable proached from the physical, rather than the vocal (or CARUSO my mind were the speak out here a there until I had a system was —and the parts are not bass! I began to experiment most hnn^’lant Among all male and individual art. not only to boys’ voices but to those of men and women, ‘professional’!) standpoint. Avoid too much theoretical singers of all tim facets of his with the alto line and found it had been much neg- any other 016 inc talk about breathing; instead, let young choristers make male opera singer whoi rl^f® eption of opera I don’t know of as well. lected, even in orchestral scores, which made the only entered the operatic of t0ry sort of of stage as a Love” and “Martha” ranged irom the light-lyric of "Elixir “The approach was derived from the English choir true alto-tenor provision by means of the viola and the a game taking a good natural breath and baritone. to the rohmf!f Jwve.” Only ra™atlc of century, whose system was holding it, to counting. this would have mad. m “Samson and Delilah” or “La masters of the nineteenth English horn. (Other ‘alto’ instruments were simply After his retirement aruso ’’ from the was not only ,unlque in bi-s class; however, where designed not only to produce tone, but to correct any borrowed from other parts, notably the second violin “At rehearsals, let more experienced singers stand stage, unsurpassed bin^ , singers from all over Singer ’ no ^ even near less experienced ones the effects are salutary for the -Interpreter of Sorrow ” equalled, was as the superlative harshness or coarseness of tone that resulted from which is really a soprano instrument, giving soprano — world enjoyed his teachings at May I ask you my everyday abuses of the natural voice. Thus I developed tone quality. Further ‘borrowed’ tone results when the both. Again, practice time is best subdivided into short his friends iim elegant but simple Soi t° residence- Life in the U eVer heard the Farewell certain basic and corrective drills which have their ’cello or the first bassoon augments the alto line, none periods of varied work, especially for the younger sing- l? Third Act of °f. Caruso in studio in Rue de la 16 “ToJ l° Faisanderie “ ™lrd Ac t of hlS dramatlc guard foundation in downward singing. The choir begins on a of it being genuinely alto in quality.) Since the Renais- ers. An hour’s drill might be arranged in quarter-hour in Paris H “Manon Lescaut'- supplication to the where I visited him m La Juive,” hlSh- an comfortable upper note of the natural range and periods of straight vocal work, sight reading, diction, or his unforgettahio 8uished cry to his daughter Rachel sance, pure alto quality (as distinguished from mere very frequently. throat J’ and the feeling 1 Pagliacci! without in your sings the scale downward pianissimo! Downward range) has been badly neglected, and left to float about and again vocal work. Sight reading is important. We of goose flesh? Tf” a lump had my skm all vowels, preceded varying find it helpful to work at it without singing, tanned by may confess that in spite of having scales are sung on the by without continuity of line of its own. at the the glow ofthJf The Tenor, S arS °f lingual that the start, so that there is no confusion Tamagno Stage make and my sensibflities hardened by labial and consonants—P, B, L, M—so “The ’true alto, however, needs more than the boy between two con- the infl -believe and U6 e °f 1 1 cried tone is brought forward. Downward scales are sung centrations! Our early training in reading consists Opposite to the Ws ’, on several occasions under picture of this Two ?£ Po'gnant accents and “l? Polish-French three books d unlque " voice. staccato and legato. simply in recognizing and naming notes, signatures, tenor is the por- have been ? trait 1 Und “Any drill that stopped there, however, would result intervals, and so forth. When at last we do begin to of an Italian tenor, Fran- the nian, EnriC° Caruso but in not one of the /° the 1 reafarf1 St real^maan 1 hootiness and in the ultimate loss of the middle sing at sight, there is corrective cesco Tamagno, in that heue was. * knew intimately, and the artist, in no reference to the the role of TTff ™no Jru JEAN DE RESZKE Otello, we wish to register which is the best source of spiritual tone VOICE vocal part, allowing concentration on absolute tones his most famous imper- compare Enn™ n — McCormack to quality. Hence, I made sure of string-tone soprano and intervals. Later on, then, when Benvenuto f^^ngelo we could compare Jol works need to be ' master strokes "MUSIC STUDY ( Continued on Page 64 EXALTS LIFE” NOVEMBER, 1947 "MUSIC STUDY EXALTS LIFE’’ 613 THE ETUDE ”. .

I-?**

must have a solid Music and Study "Anything that is built to grow The Pianist’s the beliei Page foundation. My own working foundation is most HERE ARE studies being made in every line Music and Study religion and nationality, is the that music, after (.Continued from Page these days, polls for this, and polls for that for may be moved. 606) powerful instrument by which man various reasons important and not important. transposed at sight, of T our singers can rely on their Without an abiding sense of this spiritual power knowledge of tonal When they are out of our particular line we take little relationships, mathematical science—as, in- to recognize and spell familiar chords music, it becomes mere and to locat interest, for they mean nothing to us. Recently, how- ^^ythmic awareness is also of utmost importance. it until the development of Christianity gave repeated phrases. Then, and then only does rr deed, was, he piav n ever, there has been made a very interesting study, the Up to the late nineteenth century, of rhythm was prac- it life and force which it never had in the days “But that is not all. The music is worth ticed more th» result of which is highly interesting to us as organists Special Music for Weddings by a system of stresses and slacks—a sort of mu- Pythagoras and Aristotle. Music came to life when one hearing. But before rereading, talk with him sical scansion—so that, abom and choirmasters. It has come about no doubt because in four-four time, the inherent Constantine gave the Christians a chance. The spiritual Were there any new, strange-sounding values it. chords* clergymen and organists give too little thought of the accentuated first many beat and the sec- and aesthetic appeal of music, then, is its reason for What are they? Any spots that did not ondarily-accentuated sound rights to what they are doing in their services. Practically third beat were given the individual being ... a high purpose from which some of Why? Was it due to the pull of a nonharmonic color and meaning. We have tone any music may be sung or played if it is “almost” on gotten away from that music of our era occasionally departed. Thus, with today own has against a chord, the chord winning in It be requested member of the with the result that there seems the end? the subject. may by a to be no real the first purpose of the church musician is the main- Can he find something interesting about Memorial Services our-four the funeral, perhaps cousin of the And For time at all—only two-four length of family for a or by a (stressed and un- tenance of the aesthetic-spiritual values of music, stressed) phrase, rhythm, modulations, or if it is a song, bride for a wedding, and still be inappropriate. , which tends to will h most become monotonous. Com- through complete consecration and endless study. plete effectiveness or you sing the words? After that the notes look With the exception of three of the great denomina- requires rhythmic variety as well mor* as “And study means a deal more than preparing for friendly, the second playing will a y 1 C mg to the be more accurate tions which have really high standards and demand system that pays respect- next Sunday! extra and n cler ^l lic (^iircli fulfn^Z \ !, A student once asked me what musical, the piece will have meaning hj attentionT to all rhythmic accents. and Tommy the best, the music sung and played at weddings and readings he should do, to win a firm grasp on the will But underlying like it better. Without such discussion, funerals is pretty receive questions all purely technical playing the bad. We many points, there principles of polyphonic singing. I recommended books 8 6 Editor, Organ Department S°me hlI piece a second time has no point for concerning good music for these services, perhaps more g else! Tha t is an awareness him. ? of the on the subject, but headed the list with the monu- 4 P ntUal Value without which than any other. We have in the past published lists in L music would mental “History of the Monks of the West.” The work eCh niCal The Etude which were rather limited. There is discus- Thls means that every choirmas- Appended to Dr. McCurdy's valuable article is an additional list of wedding music that tpr mn C M 1 contains few references to music as such—but it sup- Faster Reading g and earneStIy with sion all the time about what is appropriate and what readers of The Etude may find very useful. —Editor of The Etude ’ the idea of tonal plies beauty detailed grounding in all that concerns the “Speed in reading is before her can hope the result of playing is not. During recent weeks the discussion has in- to instill it into his singers monasteries scads of The secret of where the music grew. That kind of study supplementary, easy material, of music is feeling. A quick emphasis rereading familiar creased because of an article in one of our great church of teaches you the why of things, just what sheer musical feeling as a study of botany pieces and of working on pieces in papers quoted a national magazine, de- are secular songs. Meditation on Safe in the Arms of Jesus. . .Diggle can be is to let the choir which similar pat which was by 0 a begins, not with a flower, but with the structure of the Ah! Sweet Mystery Life Herbert Cantabile ...Franck e n thirdS and th6n in terns are repeated in different locations or keys crying the low standards of music in our churches. of di8S0nant intervals^ soil that always finanally ri produces the flower. That kind of All Hv the dissonance is study makes with the eyes shifting smoothly feel like hiding For You Brown Ave Verum Mozart resolved, and the singers ex- on the music, never on There are those of us, of course, who perience music three-dimensional and real. It’s the delightful sensation a good practice the keyboard. Helpful suggestions: faces see certain things being used in Always Berlin The Cross, Our True and Only Hope Penick of coming back to our when we consonance. to let not one day go by without doing I Love (Ich It is a good drill in some studious 1. Passages with broken services, are worthy of the place; yet one You Liebe Dichf Beethoven Aberystwith Whitney musical feeling digging!" chords or broken intervals which not I Love You (Ich Liebe Grieg desired should be played first in can, if wishes, go the other extreme let the Dichf Some numbers and requested are not suitable solid or block form to per he to and suade the I Love You Truly Bond for funerals because they are secular. They are fitting pupil habitually to organize u bunch of pendulum swing too far in that direction. It is our notes At Dawning Cadman for occasions while into one unit. business, we believe, to see to it, as musicians, organ- some others have no place in the 2. To itself, Thine Alone Herbert funeral because they are pagan. A brief list is here develop the habit of overlooking unimportant ists, and as servants of the church that the This Is details, is kept and worthy the service of God’s Love O’Hara appended of numbers that are secular or pagan and repeated chords should be sounded but standard high of The Passing once, Where’er You Walk Handel are, therefore, most inappropriate of The Little Flower” inner tones or worship of Almighty God. for funerals. embellishments may be omitted and so forth. Organ Selections A Little Pink Rose Valuable Report 3. A A Lovely Rose Is Blooming Brahms A Perfect Day 0 H A GUARDIA The habit of looking ahead will ’ the be ' ubiquitous hu- gone down established if mamtanann^nP^ who,k before the musical accomplishments the teacher The study and report on Funerals and Weddings is This Day so Full of Joy Buxtehude Beautiful Dreamer despite his eccentricities of the points to the following measure when and youngsters themselves— Prelude on Perfect Diggle Goodby (Tosti) F Napoleonic stature, made which proves again that once fingers are still busy made with the cooperation of the Fresno (California) “O Love” himself an interna- with the previous one. 31-6 Ministerial Association the Joaquin The Wedding Day Holst Lay My Head Beneath a Rose y Wn died * New ^ re3Ch °f the pe0ple “The elementary school and San Valley Y°rk “ ’ teacher °° Septem- Sey take wc tell us that Lullaby (Borderline beTaber 20, atafL°the age“T*of sixty-four. the purpose Chapter of the American Guild of Organists. The men Dreams McAmis for infants) This extremely colorful of reading is three-fold enable Lyb 'lg the figuie, affectionately in state at tbe Episcopal student who did the actual work are The Very Reverend James May Night Palmgren Love’s Old Sweet Song known as ,, . Cathedral of St to study “The Little Flower” John efficiently, to know world's best who was the Divine in New York, his Malloch, (Epis- Lied Mother Machree Mayor of New York City for body was viewed by literature, and to M. Dean of the Cathedral of St. James .....Vierne three terms and fifty over be able to scan taxi! ickly which has been described thousand citizens. copal) Mr. Luckin, Organist. Dreams Somewhere a Voice Is Calling as the greatest may be more full and Arthur the Cathedral Wagner mayor New York of words than idea. For us this W S I have known both of these for years. It ls Prelude to “Lohengrin Wagner The Rosary ° aCtiVe End d that means that no matter men many he was how rapidly one can read, if a able" rV ?fal" « interesting to note that Dean Malloch calls himself “a Introduction to Act III, “Lohengrin” Wagner When Day Is Done T reacWng Ce improvements in the P‘« ls t0 be thor°ughly learned metroShs and memor- I Panis Whispering Hope ized, the first musical moron.” am inclined to question this, how- Angelicus Franck reading of it must be slow enough La Gunrdia was born to ever, because I don’t know of anyone who has such a Christians, Rejoice Bach Many of the selections requested are faulty or false on the East Side of New York assure accuracy of notes, rhythm and fingering." in their ° f “ keen appreciation of good music as he. Perhaps it is teachings or theology. They have no place in him ’ Son * Here are the suggestions on Music for Funerals: fathdfather TnJ?and a for any religious service. Examples of this are: Jewish mother, Mr. La Guardia this reason that this rather amazing report has type 1. Funerals are religious services and should be climbed higher on the ®e are Retting come about, because the Dean is open minded and con-’ Ah! Sweet Mystery of Life political ladder than any other somewhere in this field! Miss s ducted in a religious manner. American of Italian descent. observa tiorn> are willing to see to it that the standard is high. Beautiful Isle of Somewhere . an Some . . In the first . indication of the analysis wS t 2. require religious Wai he was c 1 our Funerals music. At them secular Death Is Only a the pilot of a bombing reading program ls Priests of the church think they know so much about Dream plane on , being subjected, 3 the T songs and other secular music are obviously inap- °n dl'° are n° l0nger satLsflpd music that it is impossible, very often, to do anything Gold Mine in the Sky ” ^ Pping bombs all his to accept the hoary fife exhorfoc propriate. Moreover only the best in religious Hf°enemle1S eS Were anythin 0"' If y0U want to raise the standards. They will not listen to the one music Goodnight and Goodmoming ?! . i' and everything 10 become a facile reader, ™r S he mff ri w should be used at funerals as in other religious serv- lnlmicaI to ' rCad I’ll Take My Vacation in Heaven American life. Despite the ' and read 80016 more!” Now they are engaged as organist and choirmaster. that fact demanHi ices. funeral lus platform presence dlng son ethi Here are the suggestions on Music for the should always be consistent In the Garden was often so grotesque that °K nlore specific. We need fuller Wedding Music; he analvL f \ brought jeers of laughter r 1. Weddings are religious services with the religious character of the service. The Beautiful Garden of Prayer (even when hTs picture ading processes. If you have given the and should be was shown on suhipr-r tv! f 3. Whenever possible, the officiant should be con- the screen), he built up an 1 &nd experime conducted in a religious manner. The Vacant Chair admirers audience of °t, won’t you let us in on almost equal to that your results?^ 2. sulted before the selection of music is made. There’s No Disappointment in of Franklin D Roosevelt Weddings require religious music. At them secular Heaven An avowed Republican, he became an almost songs and other secular music are obviously inap- Vocal Selections We Are Going Down the Valley follower fanatical of Roosevelt. In propriate. However, only The Lord’s Prayer One can see at a glance Congress and in his dipta- the best in religious music Any good setting that these lists are gotten °Pe he attracted wlde and should be used at weddings as in other church services. Abide with Me Hymn together after a lot of work and actual experience. attention favorable Music should not be used at weddings simply because Brief Life Is Here Our Portion Hymn We may not agree with many of the suggestions but Mayor La Guardia’s Italian emigrant the bride, or the groom, or other participating persons Crossing the Bar Any good setting or Hymn the ideas are good, and if followed by some of us, I am a bandmaster father was BE NOT in the United AFRAID! like it. sure States Army and the It should always be consistent with the religious Come Ye Blessed Any good setting the services would be more acceptable unto God 30 00 °n Gove Forty years ago character of Holy Matrimony. Eternal Father, Strong to Save Hymn and more helpful to all. The lists of “what not to do,” • military (November reservation^ mo'ti' ^ ^ ™ 1907). Tlie Elude 0 ,e 3. Whenever possible, all religious For All the Saints as it were, will ™' He waa graduated npon >ls services, including Hymn be a guide at least to some organists who iromfrom thfHiehthe High SchoolSr n A™ editorial page the following quo- at Prescott, weddings, should be held in churches. Hark, Hark My Soul might be in doubt.- There is question, Arizona. It was in rom dle Hymn no that if association with his father that r hig-hearted. far-seeing, inspiring Mayor La Guardia 8>si Vocal Music for Weddings I Know That My Redeemer Livetli Handel diplomacy is used, when requests are made to us in fiorello novelist. Charles ,0Ve ,0r “> h. la GUARDIA Kingsley (1819-1875). The Lord’s Prayer Any good setting Jesus, Lover of My Soul Hymn certain cases of bad selections, we can suggest o“ mSc. a sub- e n Love Divine, All Loves Excelling . . Hymn or setting Jesus, Saviour, Pilot Me Hymn stitute. In some cases I am sure that even the Dean In The Nine thousand, anX '” U!< “bout Etude for May 1943, Mayor five hundred attenrioH tomorrow. Do today’s the La Guardia dutv fi b* May Grace of Christ Our Saviour Hymn Lead, Kindly Light himself would make an exception if it seemed wise; aave the former * Hymn an interview, secured Mayor at the ° f V *°da> s temptation, and expressly for this publication Cathedraf of s! an j- f do not weaken O Perfect Love Setting by Burleigh or Hymn Let Not Your Heart Be Troubled Speaks but, as was said before, the standard must be raised. Divine hn ' ,rU8t 6 He but m New York ° the ^ our9°lf ’ Presenting his City. by looking original and highly The m!™L + u- i forward to things Lord, Who At Cana’s Wedding Feast Hymn Nearer, My God, To Thee Hymn We should make every effort to encourage this. distinctiverlfcHw ideasJ hymns, Rise Up, faV°rite w upon music. O Men of God rannot see a,, New York is one of *1 d could not understand if My Heart Ever Faithful Bach O God, Our Help In Ages Past the Who the youvou s Hymn few cities in the world which From Their Labors Rest Saints saw them.” has a munictaal con! were L* Wedding Prayer Diggle 0 Rest in The Lord Mendelssohn List Mayor 4 Ch° ir A Supplementary y y°r La Guardia Was La Guardia’s human ' Personally traits Jesu, Joy Man’s . res^nsMe reflated of Desiring Bach Twenty-Third Psalm . .Any good setting or Hymn Vocal Solos tarThfor this. InT hisn the common people SC of >ear9 interview in The so forcibly ’ tb * s Etude he said “I take that he standsstand ? *pl*ndld thought of Queen Thanks Be to God Dickson Organ pnde in the New dynamic figure in jL. _ out asaS a Victoria! Music Nuptial Song Davis York High School for Music Ame^an histarl Thanks Be to Thee and Art to Frot^ S? *" ided lit co u,h tnunc Handel Air on the G String For You, Heart the only !“his ducim'*,h, - --- difficult Bach Dear Speaks municipal school “*nls interest . . which offers major 5- **»* in» mmin patjJV" Twenty-Third Psalm, any good setting, training zealous. After S1 ere or Air from Suite in D Bach All For You d’Hardelot Maacataj with the regular academic his last Mayoraltv^amm? £° and curriculum. printed gP THE in paraphrase, such as The King of Love Come, Sweet Death When I first thought of a photograph of Bach O Perfect Love Kinder founding such a him sitting a in Hinety-first Psalm school the Carnegie Hymn Deck Thyself, My Soul, with Gladness / Love You Best educators opposed me. Well, Hall, listening to empty Bach Brown I didn’t mind. I had Alleluia in the faith Philharmonic. N®W —Editor of The Etude. Mozart 1 Call Unto Thee, Lord Jesus Bach All For You idea, and I simply made a The picture was York Brown budget appropriation taken nn^® Father, Guide and Defend Us LaForge for it. when all the rest lection day Underneath Hark! A Voice Saitli All Are Mortal Bach Pipe Organ And it worked! The opposition of New York was n are the Everlasting has long since for Putting1 him Arms.” The list following will be useful in selecting numbers the third term. in office My Heart Is Filled with Longing Bach Bridal Song (“ Rustic Wedding ”) Goldmark for the reception following the wedding. The numbers 616 —Deuteronomy XXXIII: 27. My Heart Is Filled with Longing Brahms A Merry Wedding Tune Saar would be undesirable for the wedding itself, since they "MUSfC STUDY Solemn Melody Davies Love Song Drdla-Mansfield EXALTS LIFE” NOVEMBER, 1947 THE ETUDE "MUSIC STUDY EXALTS LIFE” 617 feeling this success, many right. Not become conf Music and Study from one “cult" to another, mumbling Music and Study and go the m get them nowhere. They c words that might g0 c7f wear the guise of the master technician ar as to ton dress and word every turn with the ing in hope of w with the great. Why all 8 numbered this falderal ah? an art that is so personal, so fundamental and natu^una to every living man? There are certain ingredients of the choral cake th can not be termed falderal. If we but face Choral Cultism these tech in the popular nical issues proportion to the tot i the technical double choral picture, talk and the mm will take their proper cal shrine place. What then m6 some of the technical problems and how should the be treated? The writer has at times referred aijnarcl to hi book on choral technique that is copied on 4 m the back of a scratch pad. This may seem a rather Music Education facetious Associate Professor of but he tries very hard reference, to keep technique as such, to just that proportion of the Newcomb College and Tulane University whole activity Sometimes these Issues are referred to as the ten com- EXAMPLE 3 mandments of choral production. Each EXAMPLE 2 of these issues EXAMPLE 1 is wedded to the others in a manner that makes each Picture ol a conductor giving a cue and hoping HE "Hold-Up" Stance The "Bear-Hug" Variation MERE MENTION of the word choir brings tation concerning the true spirit of his life’s work. And a fetish if treated in an isolated The score better than he. manner. A proper that his players can read, a to mind various schools of choral production that spirit has more to do with the lives of people fusion of the various problems renders the whole that have reached the in T point of making their sys- than with the mere singing of isolated vowels and the ideal way, which is to say that the musical, tems a form of cult. Budding choral conductors the consonants. hu- morous, and spiritual elements should be one. country over are turning to these shrines of technique ave YOU ever stood around a bulletin board 1. Tone—the life blood of music, which the alert in hopes that they might be anointed with the holy Too Many Musical "Tricks" di- or in an auditorium when the annual contest- rector will keep in mind while constantly fire of the men responsible for motivating listened to this extra-musical wor- The writer does not wish to give the impression festival ratings are announced, and that the singers to produce the quality that is H appropriate ship. The recent history of choral production may be of the conductors whose groups did not schools of choral singing arc not important; he feels to the music sung, rather than establishing the remarks likened to the history a stereo- of the church, with its breaking that these organizations have receive top ratings? Alibis fly thick and fast: “We don’t Ydu been the spearhead for See typed quality that makes every composition sound As Others away from the true spirit of worship into sundry in- the superintendent doesn’t the outstanding development in choral singing in our same. Hallelujah have enough rehearsals”; “Our stitutions The Chorus by Handel will be sung that at times threatened to dwarf the real day. better instruments”; and so He does, however, wish to point out that too many with different like music”; “We need meaning of religion. a quality from that used for the ethereal We may also look at the evolution extra musical searching” is one of the best tricks have been incorporated in many setting of the forth. This type of “soul of music teaching in Ate Maria by Vlttorin. Each word will America and witness the swinging of the thoughts such systems so that the individual technique of a be colored according outcomes of contest-festivals because of the pendulum from the spirit of Lowell to its meaning in the context Mason particular school might take changes. There are many vari- on a feeling of being the rather than by any set as these must precede TCi through the inevitable curve of technique for its own method of mouth position. Re- Van ()3ode von “way” to do it. There are, to be sure, many tricks in ables in every school music program and very often L, PaJ (f sake; and now, back to the cite the following two statements with appropriate concern on the part of the trade, but they are not nearly so difficult to master meaning there is little that the teacher can do about them, teachers to make music live in the hearts of children. and the proper attitude toward tone may well Associate Professor of Music Education provided the one in charge is a musically never stop trying. There is one Budding choral sensitive be established: "I love you,” "1 although he should teachers may well be anxious con- person and hate you.” How who loves to work with people and good music. variable, however, about which every teacher can do University of Missouri cerning their future effectiveness with the choral often do we hear the music given in a tone that conveys something, and that is—himself. Therefore, no matter charges they are to guide. It is not an easy matter to no idea os to the meaning of the find oneself what the handicaps of organization under which the in the important matter of forming a words? Variation from the rule of his always can be improved philosophy of teaching that will be complimentary to sameness teacher is working, group in quality might break Washington, New the individual in direct ratio to the extent he, himself, improves his Bodegraven was formerly Supervisor of Music in fhe City Schools of Port personality of the teacher. Years are down tlic system dictated by the Dr. Van needed for this type of skills as a teacher and conductor. competitions, his high school band, orchestra, and growth. It is for this reason "cult." Therefore, tonal quality York, where, in seven years of state and national mainly that so many young conductors feel Take, for example, technics of conducting; specific- the urge of must fall in line. Bodegraven is also co-editor of the widely chorus were awarded sixteen first division ratings. Dr. Van acquiring the necessary background of living to moti- ally that of baton technic. Of course, proper baton — Editor's Note vate the work in the proper manner. The anguishing The Conductor and Rhythm technique will not make your orchestra play in tune known text, "The School Music Conductor, hours of self-questioning torment that go into the nor improve the tone quality of your band, but it cer- 2. Rhythm—Tlic bony structure making of a good teacher are too often minimized by tainly is essential in expressing musical ideas. More- of music difficult with those who foster the is tlic most cults. Notebook and a quick hand over, it is a skill that a conductor should be presumed which to cope, for it so ap- with the pencil are too often seems the tools of the young to possess before he mounts the podium. It is extremely choral conductor rather parent. Some have been led to feel than a sincere personal medi- incongruous to see a band well disciplined in such and so forth, being conducted by a man who violates that the mere scanning of duple habits posture, proper hand positions and many of the basic technics of his own instrument—the and triple meter with appropriate basic as embouchers, attack and release, dynamic gradation, baton. The fact that the band plays well is a tribute accents is sufficient for effective to the man's teaching ability, not to his conducting performance. This spirit is en- technique. Who can he sure that the band wouldn’t hanced by the current return to play even better if the conductor would discipline him- the savage instinct inherent in self as well as he disciplines his players? And so, for popular music. The sensitive con- you conductors of first, second, third, or fourth division ductor will work hard to organize winners (there is a fifth division, too) who want to do whole the rhythmic structure as a the something about the one variable you can control, the other side observe the left hand; and a few in rather concentrate on the on than to seen past festivals. mem- following are some things at the middle observe the face. Of course, if you are far Isolated movement of single were the 1. Most favored starting positions in 1947 enough back you may be able to watch all three. Then bers. There are as many variations embrace,” “stick-em up, brother” and the "bear hug the conductor (you?) executes his attack and soon you in rhythmic feeling as there are as shown in amateur photographic Examples 1 and 2. ragged attack. Of tonal gentle flow of are being criticized for making a variations. The shots, as the author had no (These are not “candid” to you if you can synchron- an early chant, the sprightly dance course, this won’t happen ’’ libeling the professional compe- wish to be sued for (or stop bobbing your head, which GIRLS OF NEWCOMB of a sixteenth century “Fa Fa ize all three objects COLLEGF Witu tence of a brother music educator.) If you can’t see into two) but that’s more difficult than you think. PRESENT GILBERT chorus, forced leaves ; 4 SUUWAN-S^PeS ^^EUNIVERSITy should never be anything wrong with these starting positions, just put nine- But, worse still, by placing the hands and face in such The Gilbert and Sullivan ATIENCE the rigid form that so many tradition is twentv yourself in one of your player’s seats for a moment. are presented °ld teenth cast them. a position that they are not within easy focus, the as extra-curricular 1116 school century editors player, are expected to ob- act s'. Operas You know that you, as a University X J prac- all information they desire. take part. 3. Phrasing designates the players aren’t provided the The — serve three things: (a) the right hand; (b) the left ft *&£*£** tice of maintaining the proper re- For, as is all too often forgotten, each of these three (c) the conductor’s face. So your eyes are meter hand; and S lation between the rhythmic parts of the anatomy serves a different purpose in con- expected to take in, at a glance, three objects which turn, of plople'wm have the and the melodic line. This in ducting : S nppric , as forming patterns, such as are “fai! matt ^ may be considered try. These X Uch the 8tion of Interpretation of feeling as broad (a) The right hand beats the meter and so this is latter souls have been ?°T™ Y as thp indicated in Ex. 1 and Ex. 2. led 1 be leve 10 7 0f flow of a signals merely attending that !' music ltseU - undulating the hand which should execute the attack with the shrine and narhftr Palr^rh ^e As your eye shifts from one object to the other you * a Motet pattern aoub,e ,»"t w*th its complex rhythmic since utmost precision. ™ ,hem dencnric soon decide that you will have to select one, UI 0n 8 feeling for manifested in mSbSiZZ the phrasing, as obviously can’t watch all three. So, being more (b) The left hand, when commencing, reminds the eariv hantsK period you of the church. Each succeeding musicians ensemble about the opening dynamic level. It is good of muc/C ? near the right hand, you observe it. But the Production evidenced evolution in wha indicate level is term ? an practice" to the dynamic and then drop pr°?er Phrasing. No rule can be . stereotyped the left hand to the side and make the attack solely band, given th at of SENIOR FROM LAW SCHOOL AND INSTRUCTOR IN orchestra wi fit a11 cases. sincere study all tvn« , Only after with the right hand. Most conductors have made such ENGLISH DEPARTMENT DO f GILRERT 4 SULLIVAN ° music can each be given proper reading- ontl 4 PrrL°™ a habit of duplicating movements of both hands that These fellows. CHORUS uncxation pronunci- BAND and ORCHESTRA Aubry Moore (Law), left; CJ and Enunciation: Proper and Warren Gad- Ed. ted by atinn they find it next to impossible to execute an attack paille (English), right; sing and act because they Wilii am D. rdS ^ of prime in effective Edited by William D. Revelli love it. R evelli importance with just the right hand. ( Continued Page 653) choral sin^° with on 8lng ' A knowledge sung, PAUL VAN BODEGRAVEN 618 the van of the languages anous characteristics Page 6o2> "MUSIC STUDY ( Continued on EXALTS LIFE" NOVEMBER. 1947 "MUSIC STUDY EXALTS LIFE" 619 THE etude C — —,

In to feel, with Abt Vogier Browning's famous t>0P you take a tone and place ONCE ASKED Jean de Rimanoczy, concertmaster Music and Study Music and Study that when another tone have not a third tone but and assistant conductor of the Seattle Symphony side it, you a star! The wh 1 I Orchestra, how he practiced? Did he concentrate new set of experiences in the enjoyment of harm™ first on the left hand, or on bowing and at what presently suggested a serious effort at learning — to sin while there point did he make a conscious effort to coordinate the bass. Quite clearly, are very few voices world is full two? enough for solos, the of voices that wh/ others, can produce He looked at me in amazement. With a typical con- Organist combined with agreeable harmon? Late-Blooming attempts tinental shrug, he answered briefly, “I practice the Earlier half-hearted to dose in the bottom t notes. The bowing is there.” the chord by instinct were now supplemented by The Siamese Twins of Bowing Painf This sounded revolutionary to me. I asked him to taking practice, first with one finger, then with tw” explain. fingers in the left hand part. After some months I He answered, “You practice a difficult shift a hun- L %e l^eu. /accordion, and of your right shoulder and right callarbone. Now pre- daily period for “warming up” not only is neglecting a this may appear to be controversial, for many teachers now time, but it was never organ. She liked omitted. On the second anni- holding violin bow. Without lessening very important phase of mental-muscular training; impose blanket rule of “no vibrato in technical to sing—for at twelve, life is all tend you’re a his a a song versary I played for little girls— over my entire repertoire of twenty- fingers, right but also is but she seemed to have not the slight- the pressure of your left-hand move your actually retarding his over-all progress. practice.” But the practice we are considering is not five hymns. They sounded bad, of course, est discoverable desire to play an instrument. for nothing arm relaxedly back and forth as though you were play- Technical skills of all kinds are learned with infinitely for left hand technic; it is specifically directed to- Suddenly had happened to cure the first choppiness. the idea dawned on me that by learning Yet my ing a broad legato passage. The muscles that you feel more ease when a high level of motor coordination has wards the bow. With that in mind, let us remember the rudiments fingers, accustomed as they were to the organ of music, I should appear to be a alone, moving are those which most commonly are responsi- already been established. “Warming up” is nothing that vibrato is inherently related to both tone and re- par- pressed ticipant with her the keys instead of striking them, as was done, instead of a policeman. A brain cell ble for the tension or relaxation of your bow arm! less than the conscious effort to do just that. laxation; and that its use in certain types of bow-con- thus opened up I noticed, by many real musicians and I was off. Already I had one piece who were used to the Still playing your imaginary legato stroke, tighten trol exercises can be extremely helpful. of practical piano. The proud annlver try knowledge about the art, the knowledge program, played only to the muscles under your left fingers. Feel how the free- Coordination Now let’s get down to work! Set your metronome myself, that the letters in the spaces included such melodies as Onu-ard, Christian of the treble staff spelled dom of movement of the muscles themselves is inhib- The more advanced a player is, the more particular between sixty and seventy, and establish a strong beat. FACE, Thus equipped, it Soldiers, Adeste Fideles, was easy to leam the let- The Church's One Founda- ited. Feel the tension creep down your upper arm. he has become about split second synchronization. It Then shut it off. You may start with whatever scale ters for tion, the lines. Then the bass staff. 0 Master, Let Me Walk With Thee, and others In a few minutes And realize how it must interfere with even the sim- is not at all unusual for an artist to spend more time is on your practice schedule for today—and use your I was translating the letters from of like dignity and beauty. the printed page to At least, there were no plest types of bowing! warming up, than would a student! An artist knows customary fingerings. These are the six ways to prac- the keyboard of the electric organ trashy ones; and there and making them had been a few brief experi- that motor coordination is unpredictable thing. tice kill birds with into an He scales for bow-control (and to two sounds. For a time the black keys ments in plain song. complicated Th© Peetoralis Muscles has learned to be patient about it. He knows that it one efficient stone!): matters rather badly. position, varies with general Tlie next Continue to hold your right arm in playing the temperament of the musician First: Four strong beats to each bow, changing bows day when Peggy came home from school without moving it, alternately relax and tense —whether phlegmatic or excitable; and still further with each scale note. (Be sure the peetoralis muscles I resumed my police duties, and but now the next day, and the' Ear training next. The went on apace with other studies. - the peetoralis muscles, allowing a minute or two in with day-to-day emotional stability. He knows that are relaxed, and the shoulder down. Easy, relaxed staff presently began to acquire a familiar nought a pitch pipe characteristic “feel” physical coordination is poorest after a long stretch vibrato. Synchronize look, and the notes were and learned how difficult it is to each condition. This gives you the bow changes with finger changes mentally sorted out into strike halves, A accurately. I learned passages states, so that when you are actually play- of sleep; and that it improves progressively as the exactly! Keep the bow moving as you approach she quarters, and so on. The introductory to recite long of the two — pages of rom the an exercise book furnished psalms in monotone; but what was vastly ing you will always be able to recognize whether or waking day wears on. He knows too, that compensat- frog. Don’t think of the bow change itself. Think, in- some further useful in- more formation. difficult, to intone the corda you really are relaxed. You probably notice too, ing for this in some degree, his brain reverses the pro- stead, of guiding the bow “up and down” through the But at this stage, the whole business seemed mediaeval Sursum not aad l“e pr preposterous as well as slightly °Per Prefaces In the Communion service that tensing them automatically tends to pull the cess. It is usually most alert early in the day. change. Think in terms of a fluid back and forth mo- absurd. While having . with their very been an appreciative listener to music tricky intervals, and come out most of shoulder itself up and forward—an awkward position, Understanding all these things, he plans to practice tion. Complete the scale this way.) since childhood tne I had now passed time on pitch. These recognized as undesirable. in the middle of the day whenever possible (at least Second: strong beats each (Be sure my fiftieth milestone; and, further- intervals, it may be remarked, universally Two to bow. you i er more, my hands, much from those are not in the evening, nor in the cold grey light of dawn) unfortunately, never had been trained in common singing, and Have you ever seen a muscle-bound violinist? Being get entirely to the point and frog. Again, check the to any sort of skilled approached only allow as time as necessary each for work except the "hunt and peck" by the quaint minor quality of such one is not nearly so funny as it may sound! A violinist and to much day peetoralis muscles. If they’re tight—stop! Drop your system on an old ed me, for ancient English (Seldom less minutes; typewriter. Nevertheless, when Peggy I had scarcely enough or Scottish ballads as, say, Barbara may quite often retain a residue of tension in his warming up. than twenty often arms to your side. Now start again from where you left fto keep s Tensesense oErLioi rhyt Ellen. faded out completely, my step in a mniv>h mho . But the efforts gratifying a player as Jong as an hour!) Such are the requirements of an off. decision was to continue on 1 brought at length the right shoulder, even when not playing. Such With two beats to the bow, you should begin to alone; though, ... tana, 1. assurance that positively, i had no thought of trying .let’s, ; my ability to learn a tune was not starts to practice with two strikes already against him. artist. Can yours be less? think of the momentum of the arm as a whole. Get to become some normal, as sort of odd, late-blooming organist. it had always seemed In earlier years. All young people should know, before it is too late, And speaking of coordination, did you know that your enough of a start at the frog to carry the bow beyond Then one evening i ventured to play a few minutes that the developement of powerful, bunchy muscles is, practice tempo is very important? Psychological tests the inertia point. On the up-bow be sure to continue the beat ^ ' A Limited of time was a a *rien d. His in disclosed natural rhythm (of about sixty-four Aim great added pleasure in who is an accomplished organist. violinistically, a very bad thing. Especially the upper have a moving the whole arm as you approach the frog. Also, hymns. I had long 6 n smg sour A sense of embarrassment been acriistnmeZ comment was, "If I was arm, a violinist’s muscles should be loose, stringy beats to the minute) at which human coordination is on the approach, lift away from the string ever so kept me from telling any- am an i had heard you while — one or from Episcopal g along efficiency engaging a teacher. There clergym^nTLtTet^ the street, I'd have known it was some- and, above all, flexible. It takes very little strength most precise. Top in technical learning would little—to compensate for the bow’s extra weight at was then no mediaeval plain ty certainty about how far song, but the exari til Wd° didnt So to pull a big fiddle tone; but the most delicate pre- therefore dictate that we set our metronomes some- I could go, or would wish to ^lndlCated know anything about fingering.” the frog.) go. conventional notes it irl Added to that was the had always been a n tt plain as is required for coordination. And this kind of where between sixty and seventy. notably faster or fact that since much of my m that! My trouble then was fingering. cision A Third: Whole bow martele, one beat to the bow. hfe had ” K I been spent in solitary ” - the is equally difficult by any muscular slower tempo only increases difficulties, and lengthens study, there was no . Im graceful dexterity of his hands moving precision made (See “Violinist’s Forum”, October, 1946.) This is a very especial need of a master l e keys poor takes standing beside ' and then I my tension—whether functional or organic. So go easy on the time it to overcome them. We are at liberty difficult exercise! Keep it light and as neat as possible. me to ex- pffm-t- i! J recognized why U" Pl thingS °r t0 d never out golf, count of beats '! threaten his pupil with a sounded like music. He pointed things like too much or heavy industrial jobs. to any number to the note; or to sub- Be patient. The martele stroke helps other things even bnchh fan stick. L tortixf ,u My aim at that time was »t fingers are in- Closely bound up with right arm relaxation is an- divide the beat into related units for speed drill; but extremely limited In the supposed to be separate, while still imperfect itself. Once up and down the scale 1 mer®ly Hour of Trial, divirt»«i wanted to learn key 0f < cn i, ’ as expeditiously -forts - es . and sugges- other physical phenomenon that is seldom explained. in coordinative practice, the essential rhythmic pulse , as pos- V ti .gave me some workable is enough'. A tired arm is predisposed to tension! Fol- want to he did sible to play some hymns. annoyed by any nonsense That was another reason from "h Was enough to start out on a new field Midway between the frog and tip of your bow is a should remain strong and even in the general neigh- low immediately with: one beat, whole bow legato. (As for voting flats. A thousand times arps a of en'x me against a teacher. at least it was r ^ aV°r It was n°t necessary to unlearn anything point where the initial muscular pull of the whole arm borhood of sixty-four. smooth and effortless as possible. This counteracts after week abnm fl \ Two additional leads opened without benefit ngering That up very soon. Shortly mg thing 6 SUrpr ’ for nothing had been learned. from the shoulder gives way to an extending move- any stiffening tendencies of the martele. Especially, after learning to play was that the was th ° the scale of c major, I monotony nJ™ m St eonspicuous at hand ment made by the forearm. Thus two distinctly differ- began tiresome. The ** hart failure, for the books think through the bow changes. All previous general to sing the notes in a full, pleasure remained round tone. A gratifying LdimlW™d no guidance. a great ent combinations of muscles merge to activate a single comments apply.) hour of practice ’ and 1 Since that evening improvement in my voice went all too deal a began to be perceptible swiftW tMul practice convic- of little in There developed, i has driven home the stroke the bow. The point (a below the linear VIOLIN Fifth: One beat, whole bow forzando. (This is the no time at all. The other rather quickly tion th ! adventure into new ground as it so ngers are indeed individual— middle) at which they merge is called the “inertia new pleasure in listening with cam separate and Edited by Harold Berkley preferred accent in orchestra work. Not so much an to music.’ it e acc began °mpanying legato playing, accent, as a heavy push, it (Continued on Page 650) , progress toward accent, as a heavy push, it (Continued 620 ^b^ R f on Page 650) to me the pleasure Page 648) "MUSIC STUDY EXALTS (.Continued on LIFE” NOVEMBER, 1947 "MUSIC STUDY EXALTS LIFE” 621 THE ETUDE . , : —

the difficult problem of charting „ Music and Study that will be both wise and far-A?4'** always dislike d 1 to suggest changer ANY Americans dislike reading musical history. Music and Study ers. but In this case it seems to w!?" One reason is, perhaps that it is too highly such a change would be specialized. It deals too much with music it- A Stiff Program desirabl^ M ably the bdy's present teacher self, and too little with the conditions producing it. Q. I have studied piano for about seven wom/T' a certain relief to be rid 1 is mostly about music no longer for years and have done Hanon, Bach, some of the rAv^ Hence it heard, Liszt, MacDowell, and so forth. I Answers bility of teaching so instruments no longer used, written by composers long Now Questions and talented a bov should like to have your advice as to though she might feel dead. whether a bit you think I could accomplish the hurt S following Probably a summer In The facts of history remain the same, but they are Links All program that Chicago Music I Them have aimed at woi.mT for myself within the next two years. an excellent solutlon-especiallv always susceptible of new interpretation by succeeding o v Rhapsody in Blue y°u (Gershwin), Sonata the mother, could accompany ’ generations, especially in changing times like these, "Pathetique" (Beethoven) Conducted by him , Hungarian in this respect the study of the history of music Rhapsody look after him. After all, and (Liszt) , Fantasie Impromptu yoUmust can be of great value as a guide to the future. So let The Unique Power of the Tone Art to Draw People Together (Chopin), Czerny "Etudes" Book 299, the the child's future as a person "Well-tempered Clavichord" (Bach). I even while you are us take a bird’s eye view of the subject. would planning his also practice scales in thirds, futuZ! poetically described a musician. The school Music has been as ‘‘the hand- sixths, and tenths. I have been trying you mention to is maid of religion;” but the truth is that she is the hand- get a teacher to help me but have not good one. but if you cannot end, Was. 2)oc. make satis succeeded as yet. Do W. QeU maid of whoever has the power to control her develop- you think I am aim- JU factory arrangements there ing I suggest Ly sQrthur S. Cjarlett too high or is it not wise to study thai ment. In ancient Greece, she was the handmaid of further you try some of the other by myself?—M. E. fine insatu drama. When Christianity dawned she became the Professor Emeritus tions in Chicago, especially those that handmaid of religion until about the sixteenth century. A. The program you have laid out for have children’s departments. And Dberlin College in ad She then became the handmaid of the State. In these teurish attempt to revive Greek drama; but it quickly ly desire? This is a challenge to musicians. yourself is a pretty stiff one, but if you dltion to studying piano your boy ought phonographs, sound-pictures, radio, and co- ratifi- Many object to commercial domination of our have good days of was adapted to the needs of court pageantry, the mu- natural ability and if you Music Editor, Webster's New to be taking up some sort of work in ordinated publishing, production, and distribution, she cation of treaties, royal marriages, and so on. sic, particularly in the case of radio. Many of the pro- practice three or four hours a day, you theory of music. largely of commerce. grams broadcast are very good; but also are so may be International Dictionary is the handmaid Such usage was often tricky and devious. The most some able to learn the material you I am Inclined to frown on the idea of In radio particularly she has become the handmaid interesting illustration is case of Louis XIV, of bad that even the sponsors seem to feel a need to offer mention, or at least the you might be able to an Individual recital at this go through stage al- of people who have pills, toothpaste, oil, bread, pastry, France, who sought to dominate all Europe. To do this us a headache powder at the end. In spite of this, it all and play it well enough though I believe strongly in public ’per- insurance, and sundries to sell and we may well wonder resorted to however, a tremendous, dynamic force is spreading mu- so as to afford he had first to subdue his own nobles. He you considerable satisfac- crutch, as it were. And after awhile—if formance In general. But this matter will what form this versatile lady will take under this novel economic pressure. Drawing his nobles to Paris by sic of all kinds over the United States, and all over tion, even though you could you are at all musical— win not play all you be able to be cleared up by a summer away from patronage. offering titles, highly-paid jobs and rich awards, the globe. these things well enough throw away the crutch! them to do them in home, and I am sure the boy's teacher In “Who pays the piper calls the tune,” and under each proceeded to ruin them by forcing them to compete The lesson of history is clear. No matter what the public. However, it would be he far better Chicago will be glad to advise you with dispensation music has developed along drastically with him in extravagant display. He chose ballet as his impelling force, the human power of discrimination and for you to work under some fine teacher, Chords and Modes regard to suitable material In new lines appropriate to the needs of the patron. In themselves took part constant striving for perfection bring steady improve- and I advise you to try again case a chief instrument since the nobles to locate Q. 1. Just exactly what is a tri-skaideka- recital Is decided on. ancient Greece, particular study was given to declama- in the dancing. For this purpose he built the grandiose ment in music. Composers and interpretative artists someone either there in your own town, hyper-hendeka-ennea-hepta-chordl tion as in drama. The Church needed music for re- palace of Versailles with its fountains and gardens. rise up in a sympathetic environment like flowers in or in some nearby place—perhaps at the 2. What does hypomixolydian mean? T. T. B. ligious purposes and the development was mainly Cleverly aided by Lully, “Louis the Grand" staged the watered desert. We need have no fear that this State College situated at East Lansing Relaxation at the Piano choral. The State needed it for pageantry, and the the most extravagant ballets possible, and money was will fail to continue. where I know you would have a fine A. 1. Q- I would like to know If teacher. Self-study 1 have never heard of such a there Is outcome was largely ballet and opera, and many new spent like water on costumes, jewels, elaborate enter- Our children, born in the radio age, are already is better than noth- anything that I chord! could do for relaxaUon highly developed instrumental music. ing, but it is And since you have not told at forms of tainments, and luxuries. Louis extended operations to showing a greater and more active interest in music inefficient you need a good me the piano. My teacher always says to — the name of the book in Juat relax, I the cities and towns, exacted a royalty on all the- than ever before; and those sufficiently gifted will musician to help you select the right which you en- but can’t seem to. no mat- countered ter how hard I try. It Is Music's Common Feature inevitably rise their proper level interest at- material and to guide in the term, nor even quoted a my biggest prob- atrical entertainments (much to Lully’s profit) and to of and you the direc- lem. passage in t would like very much to know tainment. That is certain. tion of playing it correctly which the term was used, I Disregarding for the moment the current trends, it used the money to build military roads, many of them much and musically. what I could do. fear I can be of no help to is to be observed that a common feature of music badly needed, too. Louis ruined his nobles and failed to you. 2. I would nlao like to know what you No dictionary that I think links them all: namely, the unique power of music to conquer Europe, but royal palaces in imitation of Need for Teachers again—or own lists the term of band nnd finger exercises. I have How Can l Learn to even to singing it with your so about heard Play the best I can do is to people aay that they are much bet- draw people together, soften them up, so to speak, Versailles sprang up all over Europe, each having its The greatest drawback to mechanized music, espe- voice. Continue to think break the of the words, word down ter than practicing scales nnd arpeggios, purpose. govern- Legato? singing into its component Greek and unite them enthusiastically in a common theater, music director, and orchestra, so that cially phonograph and radio, is that it lacks the power them in your mind as nnd give you a belter technique. J. C. you play parts. Tris-kai-dekk — In this respect, music can little of itself and its of music fostered the art to this day. It is to draw people together as for Q. I have been studying the song means three and ten do ment support music formerly did piano for about with your fingers. Use little five years, or or thirteen, hyper effect is transient; but music is enormously potent in largely responsible for all the music Europe has pro- State. listen but my playing is still choppy no means over or A. 1. Although there are a variety ot Church and We separately, alone or in pedal—there must be no blurring above and does not have a singing quality. hendeka its influence for or war or whatever levels, in all forms, vocal, small groups, This whatever. means eleven, ennea nine, ways of teaching relaxation at the piano, immediate peace duced on the higher and at home or in the car. Mechanized mu- is bothering me so much that Above all, listen critically, com- and I am think- hepta seven. the objective is, and understanding this is of vital im- choral, instrumental, orchestral. sic, moreover, is only ghost music. music is cut ing of paring Putting all this It Is obviously Impassible to give com- When quitting music entirely. Is there the instrumental effect with together I a the presume it particularly now. with and State, off from the source origin, loses of any way in which I could vocal, might mean a chord plete picture portance, It will be observed that both Church of it much its power learn to play and striving constantly to contain- in words. By far the best ad- legato, or is there make ing the 7th, music purposes: to highest interest. no remedy at all?—F. H. the 9th, Ilth, vice I The Church used for three main music developed from crude beginnings the to hold former more like the latter. and 13th or a can give Is for you to study with a regular mh chord. Does First, it gave dignity and exalted spirituality to the level of attainment. And with that observation we may The remedy for this is obvious. We need teachers, A. 4. When you have learned this make sense teacher who has a reputation for success Evidently you have never learned to play sim- s the term service of the America, as the handmaid of com- teachers, to ple is used in your in this liturgy, particularly in the Mass. From turn to and music and more teachers. A marked feature of our sing with songs so that they sound like book? Per- kind of work. If there Is no such your fingers. Perhaps you singing, haps some choral is do reader of this this usage emerged, happily, the noble art of merce. day the increasingly voluminous use of portable mu- not even select a half dozen simple piano column can teacher In your town, perhaps there is know how to sing with your pieces furnish further polyphony, for which trained choirs were needed. Sec- sical instruments easily played saxophones, guitars, of the melodic type— information. one In some — voice! Anyway, what you evidently songs without words near-by city. Spread of Music in America need Hypomixolydian is ond, congregational singing enlivened and heartened' accordions and so forth. We need teachers for those, is to slow movements from the eighth of In case you find whom think in terms of singing, so I advise sonatas or sona- Medieval^^ the can no one with tinas, or Ecclesiastical the people. Instrumental support being needed, the America has been accused by Europeans as being as well as for the more aristocratic—and difficult you to try the following: perhaps a waltz or a minuet modes Its to study, however, I have asked my friend with a range, as found pipe-organ came into use, and with it our system of violins and pianos. pronouneed melody. on the white unmusical; but this is absurd, as music of some kind 1. Learn to sing (with In studying these notes of thf Miss Neva Swanson, head of the Piano your voice) sev- notation. Thus instrumental music of all kinds had a is always a human need. But Presidents of the United We need teachers in small communities who can eral simple pieces, play the melody alone Normal Department Oberlin Con- songs such as Believe Me, at first at the books being unavailable, gospel organize orchestras societies for If using no pedal, new beginning. Third, States do not form treaties and alliances by having and choral adults, be- All Those Endearing perhaps singing with servatory of Music, to suggest some ex- Young Charms, your teaching took dramatic form, and the congregation their children intermarry ginning where the schools, of necessity, leave off. We voice part of the time. with those of other poten- Annie Laurie, and Drink to Me Only Make your fingers ary ercises for you. Her advice Is to begin introducing With really sing. of Music and " took part in miracle and passion plays tates. There was also a puritanical objection to music need teachers who will reach out and bring in dis- Thine Eyes. Observe the phrasing Musicians by dropping third Sing each one as beautifully as you with the second or music. Thus a link was formed between ancient Greek tinguished artists to their communities. These artists did in the case of and drama; and in the rough pioneering days there and the songs. Anger weight * as smoothly as you can, phrasing When you into one key, feeling the of ballet are able to drama and the subsequent development and was a “he-man” tradition that music was sissyfied. already are flitting about the globe in planes, like sing- carefully. play the melody smoothly of the into Use no piano. Listen to your and arm from the shoulder down opera. ing birds. Bring with perfect phrasing— So, hitherto there has been no dynamic force behind them home to Joe Doakes, so his wife tone quality, making it but not before'— the tip of the to keep the as lovely as pos- add the finger. Be sure An important by-product of these conditions was us impelling continuous and vigorous musical growth. and kids can hear them in Smithville. sible. accompaniment, Another Connect the tones within but make sure Child first Joint of the finger firm, and remem- the that the Prodigy! the continued study of sound-phenomena through the We now have it in Commerce, a strange but very Musical growth must come to America the American phrase, singing accompaniment does not ber is the entire phrase without spoil that correct posture at the piano Dark and Middle Ages, a slender bridge between free-will people efforts the singing effect of Pick outlines *1° began to American approach. And we now have mechanized way: by the of the and the of a break. Think of the the melody. Use the when^ necessary this, meaning of the months old 7 e Khtc in order to relax. After ancient Greek learning and the free scientific research free the competent. we receive, so shall '. Play all the tones of each thinks th - be phrase as a Roughly and wants y ba prodi I hope the above suggestions may remote. The Renaissance and gunpowder brought power heavenward. ing music of our own. Long ago, Walt Whitman, the speaking, there are him to give By unit—just as you' sang them two kinds seventh a ful? recitaI of you in one of pieces: birthday, °n his help to you. I add that to the king and an exaggerated nationalism set in. For This is now over. Isolated regions now have good grey poet, heard America singing. Let the world breath. (l) the song type; but I might also phono- Peel that you are singing (2) the this would be 04 e «“* not with dance type. wise I - should remember ’’relaxation" is reasons of state, national languages and customs were graphs, radios, and sound -pictures. Automobiles hear us today, for never before was music, strong, con- My guess is that the very Vanth* ^imT*° that and your fingers. If it does not sound you have best of instmoJ- ^a ve right, devoted yourself been a matter of mere floppiness, but rather heavily emphasized, racial hatreds fomented, loyalty planes, electrical communications of all kinds are pro- fident, beautiful, so sorely needed by so many so far largely to advised to ^ 1 hav* try singing it the send with your voice again, then dance ^m £10 is type and now that tory in Chicago. Do 3 conserva- a controlled relaxation of the muscles. passed to the king, and wars continued. It is from this moting rapid and fluid inter-relationships between afield. attempt once more to you are becoming be you tv, ,. make it sound the more spending mone 5 wou,d Instead to use in * * * * critical you don’t like y foofisml? a^ of the word ‘'relax" I like that Europe is emerging today. town and country a manner fantastically unbeliev- same way on the the effect advise nd if piano. having him >' ou the releas- produced when is give ar^Aa reci word "release” sense of We in America do not understand such nationalism able. And the movement is worldwide, bringing mil- Orpheus with his lute made trees. you play the song seven, will tol when In the 3. Play the melody and its type Vmi «, he accompany- with a terial? sugges* ing tension and of invasion. There is no such lions of backward people dancey" style. So your —o. E. H. suitable ma- at the shoulder, elbow, and its chronic fear within the pale of our civiliza- And the mountain-tops that freeze. ing harmony, but continue problem is to make it to educate wrist. division forty-eight States and our loyalty tion. And this at a time the your ear to listen for among our when United States is one Bow themselves when he did sing sing. Phrase it as you did melody A. when playing and to A child 2. real to the democratic ideal of the five great train your fingers to prodigy is ai-..„ Hand and finger exercises have here is given to the land and powers of the earth which must in the To his music plants and flowers just the melody. If it does produce On * ° not sound the one Pr blem ’ melody on the keyboard, hand such value, but scales should for which our fathers died. future largely control all mankind. Ever sprung; as sun and showers right, using your a bnnoyv is and arpeggios go back to playing just own of great , a the melody voice as great pride ““"esource also fa* if an intermediary step— andsatAAA be practiced, especially to gain With nationalism, however, came also diplomacy, What part, any, can music play to bring about There had made a lasting spring. a sort of parents; but on eility key' and new use for music. Opera first came as an ama- world-peace and the unity of nations all 622 the *£!%££* in moving over the entire a we so ardent- —Shakespeare " board. MUSIC study exalts life NOVEMBER, 1947 "MUSIC STUDY EXALTS LIFE” 623 s; ETUDE , - ~a£iB n THE - . 3 — — — — i * ill Divide them into three and four each. parts rest* Music and Study tively. When, as in the present excerpt, the four <5^' are in the right hand part (upper line) sions they fin 10 inches, while those on 1. 4, 7, and of the other ; er pa* « CYNTHIA — thus: and 9, fall bn 1, 5, upon the Hammond Organ have made his works A novelty piece by Mr. John Finite, Jr., well-known pianist and org-anist, whose performances Grade ExA very popular. Be very careful not to obscure the melody by playing the accompanying chords too loud. 3a. JOHN FINKE, Jr. A Master Lesson on R.H. Moderato (J = 76) «L 1- J Hi t—h- H H h~ 3 I 2 7 8 9 10 li 12

1 h- -+-« 1 T r Chopin’s Dp. No. 8 Prelude, 28, but count precisely!— Count aloud— using the above example, and we arrive at this rhythmic pattern-

Ex. 5 ly Sidney.ney jS^ilLter

Noted Pianist and'Teacher v

HOPIN Now apply this rhythm to the text in k published, in all, twenty-five short com- a most complex problem. Instead of guessing, or worse question, play- slowly. positions which he called Preludes. These con- still, of trying to make the parts dove-tail, pupils very ing very By “very slowly” I do not mean "very sist of slowly” but 1 a collection of twenty-four, Op. 28—one frequently distort one or the other rhythms, like this: "very s o w 1 y”| Thus we find th^t for each major and minor key, though not in consecu- the two hands work together like this: tive order— and a separate one, Op. 45 in C-sharp Ex.2 Bx.O minor. Rubinstein called these “pearls of Chopin’s works," while Huneker expresses his admiration as follows: “If all Chopin, all music, were destroyed, I should plead for the Preludes.” I have selected the present excerpt (see Page 628) because it offers a fascinating vehicle for the mastery of three notes against four, applied to a text of high quality. It*is of course, impossible for any human mind It is quite generally believed that Chopin composed to hear this rhythmic pattern when the notes follow upon all of the twenty-four Preludes during his ill-fated one another in very quick succession since the sojourn, in 1838, on the island of Majorca. indi- Prom his vidual units letters are much too short. referring to them, it may be inferred that the VERY SLOW preparatory practice majority were sketched or composed in the preceding is im- perative, since it gives the student year, and that, possibly, only three or four were con- elf-confidence. By accelerating, in slight ceived and finished while on Majorca. stages, he ultimately "gets the swing of it all." We do know, for a certainty, that the master re- vised the entire work at this time, before sending it 1 to his The Musical Problem publisher, who made an advance payment of i After acceleration * five hundred francs (about one hundred dollars in our to the required tempo, you are ! mintage) ready to give before he left Paris. The balance—1500 francs consideration to the musical or poetic content. A was paid when the contract had been consummated. practical way of furthering this portion of your task Chopin writes. I sold the Preludes to Pleyel, because is to reduce the subject matter to chordal he liked progressions, them” and, on one occasion Pleyel exclaimed: topped by the melodic elements, like “These are this: my Preludes.” They were published in 1839. Why was this an ill-fated sojourn? George Sand Bx.7 (Mme. Dudevant), the authoress, had met Chopin only a short time previously. She won a divorce from her first husband, by whom she,, had a / daughter (Solange) and a son (Maurice) . Because of Maurice’s poor health, and at the advice of her physician, Sand announced her intention of 'spending the winter months on the island of Majorca. Chopin asked to ac- company them. Interpretation The first intimations of Chopin's fatal malady —tu- 'S ol5'ious that berculosis—showed themselves TJ without fluctuation of pace—retar unmistakably in 1837. accelerations It was thought that —no presentation can possibly off a winter spent in the warmer ustcal 3 satisfaction. Hence, whe: a tempo climate might prove beneficial. However, it is evident that 4 1 what with ! r 1 6re is slaclcenin — ! numerous difficulties g or quickening of movemen (the trio had to i change quarters thoL aslc f-\'-t rh t+-p ^ ^ ythmic ^ pattern ir N- three times), the terribly inclement .. . remains identical—the — m weather, and in- ua pe * n *- -- — " ”»- . shorter J J J adequate heating facilities, this visit turned 8 or longer, as the case ma i— ^ ;)J"^ 0 out to be * \ "ere ts much iH a veritable , more to heac * . -yF nightmare. 't consider under the \ w lllterpretations mp l jjl4 ' t n Simultaneously 1 refer items, — t Whic * two notes against three and three notes 1 * enc* charm to musical preset — i > f against four tationT^ j *JH ! -r- * # It is Y/ J immaterial in which V B d 1 hand the twos, J J — threes, or IJ 1 s fours appear. W- ©• The basic technical problem always re- Liszt's Interpretation 1 A mains the same. A A_ 0 ^ mysteries FREDERIC and : Students, FRANCOIS CHOPIN that'ff — wonders!—of all music generally, find little difficulty in mastering mean many different dif D.C. the former, An idealized portrait things to many since there is precise dove-tailing of Italian origin. ferJU of parts persons - ,, What is more, interpretations of on as follows: and Same composition, varying widely from on The correct solution, in annth** which each , may ali be correct, estll etically good. Since a stor Ex.l is found in the following often Tirt c n rhythmic any a better c Two notes against paK^ ? appreciation, it may be three. Ex. interest t Jt.ff. ° kn°W h°W Liszt interpreted this particu Three notes •ar piece «L against four. -t- -J- —i— R R p and and cust°m to stimulate imaginatio: — and of his mini'w the I —I y givin6 them mental concepts of th r works whirh^tv, T" e* tried l.B. Laura 10 interpret. We are indebted t Ramvu d, 'Kahrer How do we arrive ’ a pupil of Liszt, for the man at this pattern? oftr With three notes against four, Very simnlv r, OW ng however, we encounter two parallel P°etic analysis. They have mor lines of equal length, than anprrint°i ! here go back to the beginning and play to Fine; then play TRIO. sayVwSv?'^ as From statements they are reinforced by th 624 of o of Chopin’s Copyright 1947 by Theodore PresserCo. British Copyright secured "MUSIC STUDY EXALTS ( Continued on Page 648 LIFE” NOVEMBER 4947 625 THE ETUDE — 1 ——

Grazioso

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i i 1 1 1 1 626 i i— l 1 tfcFrom here go back to the beginning and play to Eine; then British Copyright secured play TRIO. NOVEMBER 1947 THE ETUDE 627 PRELUDE IN PS MINOR monast ^ a an old Carthusian j 0 rc a in This glorious prelude, Number 8 from Chopin’s Twenty-four Preludes written in y 18.39, ^ i r, dedicated to Chopins pul is ) ’ 10Ub c ° ln is one of the finest examples of the splendid musicianship of the master. It is poser and : after a terrific thun ei storm. 10h ' "hohave manufacturer of pianos. Liszt contended that Chopin wrote this prelude immediately an idea

1 rt ml r 1 1 ( little classical schooling) shou m hopin that Chopin’s works are the spontaneous inspirations of a gifted genius with played all this issue is a model of cleat ness of the Bach Forty-eight Preludes and Fuges from memory. Dr. Sidney Silber’s master lesson in and analytic^ discernment. Grade CHOPIN, 8. FR EDERIC Op . 28. No. 8 Molto agitato

NOVEMBER t9S7 629 THE ETUDE ^ 0 ' _

SWEET SLEEP This lullaby is an excellent example of fine, simpl^.musical construction. Note the movement of the voices and how the composer has employed contrary motion with a few elementary but chromatic changes. Grade 2-3.

Quietly; tenderly (J •- about 54) BERENICE BENSON BENTLEY

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TWO GUITARS RUSSIAN GYPSY MELODY TWO GUITARS RUSSIAN GYPSY MELODY SECONDO PRIMO This essentially Russian Gypsy theme, reflecting the romance of the old Russian days of grandeur when zigeuner bands were brought in to the palae to evoke dreams and romance, and eloquently. The climax is really in the has gained international interest. It should be played fluently second section Transcribed by ROB ROY PEERY the ’ u third section is usually played at great speed, after the manner of the wild cossack dances.of the steppes. Moderato (J=96) Transcribed by ROB ROY PEERY • • -.V 4„ r It — ' * -* * c p » : r —hr-—^ M » 7 1 l j&r 4 LUT y 4 / p

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ever saw or heard. she The echoes of1 Years in Music those expressions of beauty, Mrs. Adam Ninety says, live forever among the rafters of the music room to give her SttUeKto< Page 613) inspiration GIFT (.Continued from Mrs. Adams always plays some PERFECT CHRISTMAS fa of her own and other classical pieces for her guests Children's GARLAND OF with a delicacy that makes her I© material had grown music with the existing fairy-like. (While she has CHRISTMAS CAROLS For Piano One hot mS taught the with each lesson. larger and more brilliant question, ^Nshe Ssudud- compositions By MABEL BESTHOFF sleen was out of the her small hands have never write some allowed her Carols idea: she would illustrated collection of sixteen Christmas denly had an to play them herself!) And An Music^feat always also and simple piano pupils herself I with words and music, jumbo notes, music for her she calls on Mr. Adams with and intrigue to recite. For accompaniment for the young pianist, together to their ear would appeal when he was eighty, he began to notes about the carols and their that would loo* memor- many interesting their interest; music I HE ize poems and bits of philosophical writers. Contains among others: 1 HEARD and yet be within and and sound grown-up, writings. WE, THREE KINGS also humorous BELLS ON CHRISTMAS DAY, idea came: IT their grasp! With the OF THE ORIENT ARE, THE FIRST NOWELL, the But none of the activities at “The inspiration: she went to CLEAR, JINGLE the musical the Woods” is CAME UPON THE MIDNIGHT composition, House in more delightful GENTLEMEN, wrote her first BELLS, GOD REST YE MERRY piano and than the “Doll’s Musical Festivals.” OF BETHLEHEM. the Marionettes. and O LITTLE TOWN The Dance of One day back in 1908 in Chicago, “born with dynamos in- it W55X3S5=SSJSgDaa7S3S Price 25c Juliette was happened that, as Mrs. Adams raced with Quick- played, side of her,” and they she noticed that “Lady Maize,” a corn- now. Her pen could hardly ened speed dolly who usually rested all the husk content- fast enough to write down move edly in a cabinet full of curios, seemed MICHAEL AARON Piaua crowding her brain: her theories ideas to be listening to her music. Mrs. Adams which were revolutionary, of teaching, fanciful notice of her her out took and thought, and the melodies which came to “Now, if my dolly loves music, why not NOTE in MODERN PIANO INSTRUCTION of the blue. dolls? not arrange The NEW Chicago, other Why a ‘Doll’s In 1892 the Adamses moved to Perfect Uninterrupted Sequence — Natural Progression Musical Festival’ for their enjoyment?” which had now become an art center, The whimsical idea grew apace, and AARON PIANO PRIMER -60 where they established the Crosby Adams MICHAEL the studio hummed with plans. Soon an The first all-year course Piano Course GRADE ONE 1 00 School of Music. Michael Aaron — School invitation went out: for teacher-training in Public 1 -00 Michael Aaron Piano Course GRADE TWO cur- Music in America was part of the “You are invited to a Doll’s Musical 1 .00 Michael Aaron Piano Course GRADE THREE — riculum. Festival, May Day, 1908. The program Opus I, “Five Tone Michael Aaron Piano Course GRADE FOUR — 1.00 In 1896 Mrs. Adams’ will be entirely of music written for and critics 100 Sketches,” was published, and about dolls. Dolls should, there- MICHAEL AARON ADULT COURSE since Robert were enthusiastic: “Not fore, be present as listeners. Will you Send for free Michael Aaron thematic brochure written Schumann has such music been bring ‘the one you love the best’ to her- for children,” one said. Mrs. Adams grace the occasion?" critic, for to TONE TUNE TECHNIC self was her own severest I ‘ everything she wrote she applied the took the invita- for Beginners in Piano by FLORENCE FENDER BINKLEY The grown-up guests test, “Is it something worth-while, said tion as literally as did the children; they In two books, the student establishes a free, balanced, buoyant technic in a way worth remembering?” garrets old trunks for by developing a feeling for the floating arm. The story technique en- ransacked and she did, Mr. Adams had hances the beginner’s alertness and desire to learn. In everything their own dolls of long ago. Thirty-three his share: he gave her the inspiration dollies came to the Festival and were BOOK ONE 75 c BOOK TWO 75c of believing in her and encouraging her. seated on a three-tiered platform atop No plan of hers was projected, no per- a radiator. There were bisque dolls, cellu- formance nor written expression pre- loid dolls, wax dolls, clothespin dolls, by Hazel Cobb 75 THIS WAY TO MUSIC sented, but it bore the unmistakable im- baby dolls, lady dolls, clowns, Teddy reading of A simplified, correct way to the intelligent notes print of his approval. Bears! Mrs. Adams’ success as a teacher was The dolls behaved admirably during TECHNIC for PIANISTS of Junior Grade complete. First she made her pupils love the recital, looking neither to right nor her, then she made them love music. left. Indeed, they were a real inspiration in TWO BOOKS by JUNE WEYBRIGHT One of the little pupils paid her the high- as listeners! affect the technical growth of the young Modern Dexterity Exercises to est compliment a musician could receive, Next year, the pupils begged for an- student without causing tension — psychologically and musically co- when she said, “Mrs. Adams can make other "Doll's Musical Festival,” and on ordinating the eyes, ears and hands. Middle-C all alone by itself sound beau- May Day of 1909, fifty-nine dollies at- 60c BOOK TWO 75c BOOK ONE tiful.” To add to the interest of her tended the charming program. The next pupils, she would surprise them some- year, each doll was asked to bring a times by writing a little piece and dedi- the end of . “going-a^vay doll”—and at Three BEETHOVEN SONATAS Newly Edited wlth_Critj«ol Annotations cating it to them. She was a little taken the afternoon, a whole barrel of dolls by SILVIO SCIONTI back one day when one youngster so hon- was packed and sent to a lonely family ored said, disappointedly, “Oh, it’s in pen out on the Kansas prairie who had many and ink! Couldn’t you have it SONATE PATHETIQUE (Opus 13) 85 printed?” children—and little else. and The longer Mr. and Mrs. Adams taught, tops and games 1) 75 The next year, SONATA No. 9 (Opus 14, No. the surer added they became that teachers balls and knives for the boys were No. 2) 1.00 needed teaching. many SONATA No. 10 (Opus 14, And so, in 1904, they to the box of dolls, and also a good held the Mr. Scionti again makes a valuable contribution to the technic and musician- their first “Summer Class for books that had been discontinued by piano student. Teachers” and for forty library, ship of the serious — summers music local schools. And so, a whole teachers came from everywhere an to listen the first in the county, was begun— and absorb the ideas of believed the Adamses. all because a lovely lady who In 1913, the dream of corn-hus STANFORD KING Pi*** the home they fairies, could see how much a M wanted someday to build came true dolly enjoyed her music! and in Montreat, Mon A BOY and HIS PIANO 60 North Carolina, they When the Adamses moved to built “The House in the Woods” Musical Fes PIANO 60 where treat, the time of the Doll’s A GIRL and HER for thirty-four years week now the charm of tival was changed to the first LET’S PLAY HOBBIES - 60 their life, musically yea and personally, has December; and during all these brought thousands of people far an JUNIOR MISS Plays the Piano - - -60 to gather- since, friends have come from ings in the story-and-a-half an Piano 60 music room. near bringing their own best dollies MISTER Plays the 1 JUNIOR It is a rare summer stor Sunday afternoon the “Going-Away Doll” to the that does not find an niu impromptu gather- studio to listen to a charming ing of friends f* and strangers w . Angeles Cal. sitting in a the couple Chicago III. lLos 14, program and to greet 4, charmed circle, while 411 W. 7lh St. Mrs. Adams so other 64 E. Jackson."m.Bird, MILLS MUSIC, INC. “f.” beautiful devotion to each adroitly directs the conversation set that made their lives truly an idyll York 19, N. Y. everyone clamors for 1619 Broadway, New the opportunity of telling music. “the most beautiful thing” he or (Continued on Page 650) EXALTS LIFE «MUSIC STUDY "MUSIC STUDY November, 644 EXALTS LIFE the etude 1947 j f -- — —

Italian tragedi- Duse, the incomparable v Barrymore, v enne, our unforgettable John My Hall of Memories Lucrezia and the previously described TEACHERS Voice Ouestidis of the dextrous Bori, were other examples (Continued from Page 614) hands. and efficient use of their ^PERENNIAL character- LOOK Chaliapin’s voice had all the The peculiar resonance TO of the first living side by side with the istics of his race. _Sln5wered by DR. NICHOLAS DOUTY they say, to the FAVORITES delicate but superb craftsmanship of the of Russian voices is due, CENTURY of the cheek bones with a Baritone Voice der eighteen. second. special conformation A Young Woman I feel burned up, when 1 read a bit of your very sound that the most attractive and O.—May I beg for proper time to study is after seventeen Caruso's message was to reach our but it certainly is secondary anemia FOR TRANSCRIPTIONS are a feature After being sick with or eighteen and then only fifteen outstanding of advice? _ or twenty soul. passion To me the most Centu heart, McCormack’s our The impressive. three months, would it be harmful to the minutes at a time. The great singers was the Edition. Whenever you are looking tor must be ESSENTIAL of Chaliapin’s singing for a start practicing the voice again laughing of the first was comparable to the fervour peculiarity We || vocal cords to up their sleeves at that. Perhaps they simplification, organ which gave edited look to Century ? I am feeling much better but understand it but to of the second. The Neapolitan tenor ex- pliability of his vocal Edition more seriously me it is unexplainable, un- TECHNICAL to the hundred per cent. Of course I am not less you can explain it, and MATERIAL access first . | successful . . you'll very likely find not one if you can I shall celled on the operatic stage, the Irish him easy and it there at 20< professional. I have a freak voice—a baritone, be deeply grateful.—J. B. beloved platform. a copy. a tenor made himself famous and concert is range, from A the first space, A- R you have Mefis- and here my read this column with at- handling with interpretation of the role of leger line above the staff in the tention on the concert platform His 3653 Alla Turca, Am-2. to E the second you must have observed how often of that name by Mozart had four years of study with have We thought that everybody knew about Cen- exceptional artistry a lyric voice of ex- tofele in the opera 3213 Amaryllis, C-2 ... bass clef. I have we pointed out that every singer is an last lesson three tury's excellent technical material but iust the been equalled by 3382 Andante Cant., Sth good teacher, but my was individual and therefore that her voice must quisite beauty. Arrigo Boito has never ftrmrt,, F-2. .'.Ts'chalkS a other day a teacher was surprised to learn that 2593 Anitra’s Dance, years ago. 1 long now to return to our choral be treated individually. No invariable rule known, and I, Am-3 _ . can is seen on this canvas any other basso I have we had such a line that it was really fine and John McCormack sixty voices where I sang with the be laid down for the — of 3667 Barcarolle. June society of age at which she can safely progressive. Ottavio role in many theatres So just in case there is another at our right impersonating Don who sang that 3384 Cortege du Sardar, bass section and I would like to be able to ac- commence singing lessons, the time, C-2 lDnoUtov-I,„ the dura- piano teacher somewhere who doesn't know, and well 0, engagements offered our in the Mozart chef d’oeuvre “Don Gio- Europe and South America, 3385 Dance of the Hours, C-2.. cept a few radio by tion of those lessons, nor the number per week PonchieUi here is a list of technical material that is neces- Christmas season. difficulties, want to ex- 3216 Elegie, Em-2 local station during the I advisable. These things depend upon her physi- vanni.” I sang Leporello opposite to his know its many _ Massenet sary to every teacher . . . prices vary but all _ small 2594 Evening Star, Tannhauscr, have always dreamed of going beyond my cal, mental, and intellectual development, and Ottavio in Boston and in Salzburg, press in front of his portrait in that char- G-2 w are reasonable. Don but I am over thirty now, so it will re- must be absolutely under the 3388 «-3 ... city, control of her I extraordinary he was in most sincere admiration. —M. D. P. Abrams, in and know how acter, my General Grant's main a dream I am afraid. physician and her singing teacher. At first Scales Double Notes (Thirds), No. S6S 7.20c 3656 Grand . March, F-2 Mac Abrams, Scales in Double Notes owes to sufficiently (Sixths), No. 3638. 20c that very trying role. The opera “Boris Godounoff” 3360 Gypsy Rondo, «i-s A.—If your health is improved she must be careful not to practice too long Abrams, Arpeggios, Triads and Seventh Chords, .”.Biydn” it has enjoyed 2262 Hungarian Dance No. for you to stand the physical effort of singing at a time nor to sing too loudly, although her success 5 , No. 3726 20c Phenomenal was the baritone voice of him the popular Gm-2 Br , should not it. Abrams, Staccato—A Technical Discussion, 2590 *• we can see no reason why you do tone must be firm, solid, and untrembling, and Russia. 3 . living Italy of . No. 3728 20c the Roman Titta Ruffo still in outside the boundaries Lack physician 1820 Invitation to the Dance. However you should consult the who to avoid singing too frequently those tones at C-2 ty Burgmueller, Opus 100. Twenty-five Easy Studies. . 50c terminat- regret I have to say that eber retirement. I ' in complete was Much to- my 2595 Kammenoi Ostrow. has been treating you for anemia and ask his either extreme of her range. As she grows in Czerny, Necessity Studies. Especially selected from F-S .Bublnileln still go ahead but take it Opus 299 in progressive order 50c ing a number of guest performances at the majority of Chaliapin’s records 3392 Largo. .Year World, opinion. If he says “yes” age. physical strength, mental understanding, c-2 Dvorak Czerny, Opus 299. Books I and 2 Combined 50c misleading and espe- 2510 a bit easy at first. and technical control some or all of these pro- CROWNED WITH THE LAURELS Czerny, Scales and Chords, No. 382. 20c the historic Theatre of San Carlo of available are rather Paderewski 2. It is quite unusual for a young woman to scriptions may be gradually relaxed alto- Duvernoy, Opus 120. Fifteen brilliant studies 50c have 2160 Minute Waltz, Kb-2 or Naples when he came to make his debut cially so to the young singers who Chapla TEACHERS’ PRAISE Hanon-Burdick, Virtuoso Pianist, Part I, No. 2379 20c 2194 Orientate, Bb-3 have a voice with the range you specify and gether discarded under the direction of a wise OF Cul Hanon-Burdick, Virtuoso Pianist, Part 2. No. 2380.20c role of Nelusko in Meyerbeer’s the opportunity of listening in the not enjoyed 3369 Rustle Dane,. to be classed as a baritone. At the moment and discriminating teacher. Your own case C-2 Rich, resonant tone . . . volume . . . responsive action . . . smart Heller’s Necessity Studies. From Op. 46 and 47. for the progressive order opera “L’Africaine.” There I heard him personally to the famous bass, the reason 2196 Serenade. there is considerable demand very deep has been an unusually unfortunate one. That Selected studies in 50c Dra-3 Sohubort it is usually called styling! For over fifty years Gulbransen pianos have met the Heller, Opus 47. twenty-five studies for development in the 3191 Skaters' <’•: female voice (although con- you have been able to survive the misdirection for the first time and I may assure you being his evident lack of precision Waltz. Waldteufel of rhythm and expression 50c especially over the air. Such a voice and misuse to 2466 Song ot India. 0-2 tralto), which your voice has been sub- exacting demands of piano teachers, music conservatories, Kohler’s Method, Op. 249, Part I, Practical Method that it came to my mind to compare the study of the musical scores. He felt per- Rimsky Korsakoff for Piano 50c 2158 Spring is well suited to many of the modem popular, jected is astonishing to say the least. You Song. G-2 Mendelssohn colleges universities. enthusiastic acclaim is a trib- Kohler, Scales and Chords, No. 1312 20c amazing volume of his voice to the im- confident that his exuberant stage in performance they are and Their haps 3398 Tales from the Vienna Woods, sentimental songs and should never have been allowed to “yell your- Martin’s Elementary Rudiments for Piano, G-2 Strauss posing mass of the Niagara Palls, no end personality and forceful action would 2464 Traumorcl, transposed to suit the individual voice, some- self hoarse at inter-school games” nor should ute to the integrity of the Gulbransen name. The new post- I . Book No. . 75c F-2 Schumann times as much as an octave lower. We have you have "practiced so softly that could Martin's Major and Minor Scales and Principal in sight. It not a homogenous organ, negligence and errors. In 3192 T*o Guitar,. F 2 you was overcome his arr. Aimm war pianos, improved through scientific research by Gulbran- Chords 75c never heard before of a woman singing in the not be heard in the next room." Nor, 3671 Valia Lente, Cop/nllo, F-2 if you Schmitt, Five Finger Exercises, Part I, No. J207..2Oc but the quality and the quantity of the American slang we could say that some- Delibes bass section of a choral society, and to us it in normal health, strength, intelli- sen master craftsmen, are available NOW. Today, as always, 2143 Waves of were and Schmitt, Five Finger Exercises, Part 2. No. 1208.. 20c upper octave were absolutely unsur- with murder.” the Danube, Am 2 Ivanovid Century’s Manual of Harmony by Walter Rolfe....25c times he “got away would seem as unnatural as if a man sang in the gence should your vocal training have been de- Gulbransens are "America’s Smartest Piano Fashions.’’ Century’s 64 page Musical Dictionary 15c his- soprano section. layed until passed. He possessed also a notable Fedor Chaliapin’s colleagues used to Ask your dealer for Century Edition. If he can- However we live and learn. We you were eighteen. As you point are gratified to have received your unique and out, this was to waste three or four gogd Ask your dealer to show you this material. If trionic ability and it was for those rea- comment that the only two operas that not supply you, send your order direct to us. interesting letter and hope that our answer may years, which might have had the greatest he cannot supply you, send your order direct to sons that he had the power to revive the he learned accurately from beginning to of listing over 3800 Our complete catalogue listing over 3800 num- be some assistance to you. There have al- influence upon your after life. It is a bit fatu- Dept. E, 816 N. Kedzie, Chicago 51, us. Our complete catalogue touring the GULBRANSEN CO. opera “Hamlet” by Thomas, end were the two that he first sang in ways been some very deep alto voices who ous perhaps to remind you that there is no numbers is FREE on request. bers is FREE on request. world singing in triumph the title role Italy under the inexorable baton of Arturo have called themselves “female baritones” and use "crying over spilled milk.” According to some of them have achieved considerable suc- your letter you still have a perfect sense of CENTURY MUSIC PUBLISHING CO. of that antiquated work that had been Toscanini, “Mefistofele” and “Boris.” CENTURY MUSIC PUBLISHING CO. cess as soloists. Perhaps you are one of these pitch, admirable diction, a voice of angelic 15 ORIGINAL COMPOSITIONS FOR THE PIANO lying in oblivion for two score years. His 49 West 63rd Street New York 23. N. Y. But even the sun has its spots! and if you are, stick to the songs that suit both quality, and the ability to move an audience. AT 49 West 63 rd Street New York 23, N. Y. By LEOPOLD WOLFSOHN LEARN PIANO TUNING HOME singing of the Drinking Song was a spec- With this my friends, comes to a close your type and your sex. With so many gifts at your command, our ad- New Intriguing Melodies and Harmonies that Linger, WITH OUR NEW PATENTED TONOMETER tacular vocal tour-de-force. vice is for you to forget your past inhibitions by progressive our visit to this “Hall of Memories” so A Sad Tale of Woe Ideal for Studio and Concert. Used and prohibitions, banish all fear and regret, teachers and artists. A scientific teaching-tuning instrument. Sim- He looked very handsome as Hamlet. . illuminating to singers of today, singers Q —I have often wondered at the wide disr guesswork, and as- TEACH Classical teachers e*. PIANO TEACHERS- and determine to make a career for yourself 1st to 2nd Grade plifies learning, eliminates You can see that in his portrait at our crepancy between the time which Lilli Lehman erywhere are finding of tomorrow and lovers of singing. Earn Added Dividends by the beauty of your voice, the charm of your Once Upon a Time .30 Russian Lullaby 35 sures accuracy. the answer to the prob- and Lily Pons started developing their voices March .30 MODERN PIANO left. On our way cut you will see other rooms personality and the strength of your character. Joy Waltz 30 Good Fellows We teach precision tuning, action regulating, lems of teaching popu- by including music in your cur- and the age at the opinion popular which majority of The Wandering Minstrel .30 voicing and fine repairing in one practical, lar music, in our mod- with empty panels in their walls. They (The Etude . . . the riculuml included ) says a girl should start. course. A by note of Child’s Voice Once 3rd Grade easy and complete correspondence ern, up-to-the-minute A Model Ease Both these The More will be occupied one day in the future by famous singers began very young, Sailors Hornpipe 40 Remembrance 50 great shortage of piano tuners exists today. method. on sound Q .—Please advise me if it is injurious for a Based PHIL SALTMAN METHOD Lily Pons practicing an hour each day before 40 Hungaria 50 Here is a well-paying, uncrowded field. After CHRISTENSEN In my fifty years of mingling with ac- Famous Singers who are today in the full child to take lessons in singing if the teacher Minuet principles of music, it going to school, two or three months you can begin to earn of POPULAR PIANO according to the story of her Medium Difficult will help, not hinder tors and singers, I have seen men of course of their careers. Future visitors shows how to protect the voice, does not try money. Our School established in 1898. Ap- life which ran some months ago in “The Post.” WAY provides basis for c/eve/- just teaches LOVE SONG 40 IDYL POEME 60 veterans under G. I. Bill. Send for classical studies. Fran- gigantic stature but none on or off stage will a musically sound to force or push the child, but proved for admire here, I am sure, the portraits When I was thirty years old my teacher said BOLERO 50 SERENADE 50 chise contract will give oping the creative talents in your students. similar to public school music work. free booklet. who carried it with more ease or that I shouldn't 60 REVERIE 50 you exclusive right to teach and advertise our non- of: Kirsten Flagstad, Lily Pons, Bidu practice more than fifteen or —Mrs. G. M. ORIENTALE I confains harmony, twenty method in your community, if not represented. chalance than the Russian basso, BOOK basic keyboard minutes at a time. My parents told me Thematic Circular upon Request NILES BRYANT SCHOOL Fedor . information as to Sayao, Helen Traubel, that A —You do not give us any 43rd year. Write for complete details. En- Beniamino Gigli, basses, pianistic figurations, playing I carried a tune before I could talk, and Our Chaliapin, exception made perhaps of our the age or the sex of the child and therefore LEOPOLD WOLFSOHN EDITIONS P.O. Box 5565 Washington 16, D. C. page instruction book. Giovanni Martinelli, that at eight close $2 for complete, 91 Jan Peerce, Tito styles, special arrangements, etc, years I played, extemporaneously, given along general and Hotel Ansonia, Broadway at 73rd St., New York City very popular Ezio Pinza little our answer must be of the present. pieces of my on the piano. I always Schipa, John Charles Thomas, Lawrence own individual lines. There must be some musi- BOOK II contains advanced keyboard har- wanted not TRAIN PLAY POPULAR PIANO Chaliapin knew that his six-foot-four was to sing and my grandmother, who had your com- Tibbett, Alexander Kipnis, lis- cally educated men and women in Ezio Pinza mony, orchestral styles, playing for been a singer a major asset for his operatic impersona- said, “Jessie's voice is so soft the child vocally, and others. etc that munity competent to examine LIKE A PROFESSIONAL tening, South American rhythms, you can scarcely hear it in the next LEARN "SWING" MUSIC tions. Without necessitating any action physically, and mentally to see if he is ready players of all Instruments— your But for now, room” instead Quick course to make goodby and thank you! Each book $1.25, postpaid of helping me to increase vol- lessons. Take him to one of these own arrangements of “hot” breaks, choruses, obbligatos, with our BREAK SHEET SERVICE what-so-ever, his for singing embellishments, figurations, blue notes, whole tones, etc. only appearance on the ume. They gave me piano lessons but no voice Special Dlscot nts to Teachers men, have the suggested examinations and MODERN DANCE ARRANGING It brings you clever arrangements for playing extra lessons until Results GUARANTEED! stage as Mefistofele, Don Basilio, or Boris Director I was eighteen. However yelling organs quartettes and ensembles special choruses choruses of eight popular "hit parade" tunes. Gives Write Teacher Service abide by the advice of the expert you have Vfe build, strengthen the vocal DuetB, trios, — so myself hoarse at inter-school games never wor- not with singing lessons—but by sound, sci- —modulating to other keys—suspensions—anticipations you breaks, novel figures and tricky embellishments, Godounoff was commanding that it chosen. In the meantime you might read an entifically correct silent and vocal exercises, ked them. I —organ points—color effects—swingy backgrounds COMPANY surreptitiously made up little stud- ... and absolutely guarantee complete satisfaction ready to fill in. Single copies 25c, stamps or coin. attracted and KENM0RE MUSIC or two upon the adolescent voice in Write today. concentrated upon him the ies in singing article with results. Write for Voice Book, FREE. Sent to no 14. each day after I piano ELMER B. FUCHS Send $2 for fen consecutive issues. 581 Boylston Street Boston finished my some of the back numbers of The Etude. Here one under 17 vears old unless signed by parent. complete attention of the audience practice, Bldg.. thus and sang them very as to PERFECT VOICE STUDIOS, Sludio 5588 Kimball Hall Chicago 4. 111. 335 East 1 9th St. Brooklyn 26, N. Y. softly so also are the names of three small books: giving him an advantageous start over present those frowning The Etude Music Lover’s looks from my mother “Training the Boy’s Voice” by Vale; “How to THE CHRISTENSEN ' METHOD 1 2 embarrassing banter Suite Kimball his colleagues of tire cast in the race for P of my grand Children's Voices" by Hardy; "Training 754, Hall, Chicago 4, Illinois PIANO r san Train 9 alto in the high school glee club Howard. extra money in spare time by selling subscriptions to THE ETUDE. success. EASY nHh ° M ’J the Child's Voice” by Earn MADE a7n Tea^y a high soprano and I Besides SWING a that important gift so gratui- Ali cea “ g softly, in Bookshelf World's easiest w.iein tea Beginner. or my college years I took voice tously )f b1u 01 S, harrnon Protects given to him by nature, he had play like Radie- Record Artl y> ear training, and so forth, It HANDS you the Music you want n^ l v. music from tricks, basse* negro effects. er another physical trait acquired through fect pitch. I tried out for the dirt or ends, modcr ne P MAGIC effecu. C^°^r special (Continued , ' but my upper notes TONKabinet l»as damage. studious application, the skillful from Page 611) melody, jam c£ HUNb°BEDS°oir were unde- EXERCISER E use of FINGER drawer-trays that file sheet, • low Pr'**s my l°wer voice was not contralto Send for Free Booklet No. IS and ’ it neat, or- his hands. Chaliapin was evidencing that J ai ied. DEVELOPER music easily; keep Richly styled. Wn e j From that on I studied singing new loose-leaf system. ev derly, clean, findable. Every Beautifully two hands could be great auxiliary tools Italian TEACHERS—Use ery fibre of my being, listened all the at Columbia . to sheet is so quickly accessible, College. He died !».*' nnr.fi Sl7lg crafted. Pittsburgh rs> an in the creation of a dramatic SLONE SCHOOL, 2001 Forbes St.. & read every book upon sing- it almost hands you the one • conception. August 17, 1838. at inn t f the age of ninety, find besides want. At your dealer’s. And he was right. Lnt ^ ^ practicing diligently. you By makers of aftei making his 1 on Mfg. Co., 1980 N. confession and receiv- }° three scholarships with my voice, Tonk Nationally TRANSPOSE MUSIC YOURSELF It is and it always will en Magnolia Ave., Chicago 14, be laughable ing extreme ance to every choral society I tried Known Tonk unction. Monsignor for . A Slide Rule for Music l ! 1 to see actors or Ber- YOUR CCei e^ Furniture. singers rotating their nard! revealed many requests to sing in churches, above-the-hand resist-^"" from the IMPROVE hp/>’/ ^ cpr ONLY Save Hours of Labor with the in ecclesiastical e *ma Donna,” “Lily Pons,” can develop your fingers 1 arms a semaphore fashion or in a archives the “T ^ the f ante of New York ssi( a safely. The MAGIC Exerciser JL- that although PLAYING : Dragonette” of several communi rx Sizes and WIZARD TRANSPOSER swim towards the footlights, but it W PIANO tie ONLY one built on this it is also was established 6 sai * is the that Da ^ min e was the finest diction principle. Ten minutes use A styles for Quickly and Accurately Transposes Single pitiful, to at least, Ponte was 1 piano Slaving thpi, j L me to observe how priest, it technique of Offer ever beard; convince you. binet& was for those who my voice was like an will \TONKa Notes and Chords to Any Key. considered 24 L»»»on Course on chord# annov * Homes, poorly advisable not chord* thoroughly r and embarrassingly the majority draw to read notes. Teaches the °m heaven, and that I ought to be attention to In their various positions on the .50 earn * Schools, Send $1.00 to WALTERS, 4170 Blenheim the fact, either playthir * s oriune of American actors neglect the artistic at hi^ which is the kejr to ••popular with it. I cannot help feel- reconciliation In 10 day*- inn fh + ^ Bands, Vancouver, Canada with the Morey refunded If relumed at * wou td etc. Church or 8end 10c for Sample Lesson. be earning a fortune with it help of their upper extremities. Eleanora on the1 Ave.t 2,letil if mi Sheet Music occasion Park Comp' of his funeral. WILLIAM A. OTTO. 2E 4215 f^rents had not labored under the de- for Union City. N. J. lusini nat a girVs voice is ruined by study un- 646 "MUSIC STUDY EXALtS LITE’’ THEETUDt LIFE” November. 1947 "MUSIC STUDY EXALTS 647 ” — '

Late-Blooming Organist ST SSf supreme day in August two years a when the -word was STUDENTS Page 620) finally flashed AMAZING AIDS fa CHILD PIANO (.Continued from from Japan that there was no Organ and Choir Questions more war N <^d PIANO TEACHERS more war! I thought of my LABOR SAVING DEVICES fa come son some° that is out of this world has always where over there. No more Pianos ore essentially built for adults. The ADJUST- of soprano, bombing Illustrated below ore the two oids attoched primarily from the blending flights! Peace at last! And ABLE coming home MUSIC RACK, FOOT REST AND PEDAL can be at- felt it in the to a Grond Piano. They alto, tenor, bass. I have Then I went into the church CONTROL rebuild the piano for tiny tots. Both the at twilight tached to any style piano. announce a theme, s 6 Music Rack ond Foot Rest can be adjusted to any strings, as the violins and for a__ long time played uver t>g Spinet, Grand or Upright. in their tone of vel- and ^4-nSwerecl FREDERICK PHILLIPS type of piano — Grand, Upright and Spinet in an and the ’cellos answer aga j n America Piene over the Beautiful^vJt • — Adi Any Style of instant. | H-ighl as I' 7 — To Lower to Desired brasses, as the trumpets MUSIC RACK Beck of Reck Inf vet; among the ] 0U(j j could. as Adjusting to Any Angle followed by the French JENKINS ADJUSTABLE PIANO MUSIC RACK can soar into the sky So I shall go on. I'll keep I feel playing organ on which I am now playing is by shortening the preceding note a be adjusted to any desired height and brought for- horns. Yet the most keenly of all, recordings and listening a The fraction, to the radio instrument. Enclosed is a list of so that following the ward, so that a child's eyes will be on a level with for Iffi Z, 0 -manual phrase, the attack on the it in unaccompanied human voices, “ buy my ticket each year to the the ones checked cannot be used very following note may not be deferred. In the his music and at the correct distance, eliminating all com- tovs music will always be first of sound as though the air is case of pieces use eye strain. to me, munity concerts; and if and when effectively as they judgment, and phrase only we or- pipes. Please list some good where something to sing. The intricacies of rushing out of the good effect calls for such action. In ganize a choral society. I’ll To further aid the child'* comfort at the liano , ive have be the first playing, solo playing contrapuntal / baffle and dis- combinations for hymn music it is often well to phrase symphonic music still to offer such talents as JENKINS (KAUFFMAN'S) FOOT REST AND I have. If ou accompanying.—O. S. the main theme or subdivisions when they courage me. y and PEDAL CONTROL come to the rectory outside working occur, in either hand, as this makes a clearer Can be used successfully on any type piano. So I have spared no effort in learning first recommend most definitely outline to the listener. hours, you may find me in the church A We would Develop a strong feel- at aid of an organ service ing of to hear the four parts. But the process that you enlist the rhythm and proper phrasing, and in a With this Foot Rest, a child sits at the piano at ease, the keyboard, playing with clumsy fingers and correct the trouble with the Melodia large measure you will automatically do the with his feet resting on platform six is at present far, far from being perfect. man, a inches from —though with an ear well These are the basic right thing' attuned to the and Open Diapason stops. in playing. the floor, eliminating the dangling of his legs. What The left hand parts I play over and over manual, and without them tenor—that lovely old Christmas carol stops of the Great could be more uncomfortable for a child than hav- again, listening intently, and then I try of its effectiveness. your organ is losing most Q. The stops of a small church organ I am ing no support for his feet legs. harmonized by Praetorius about the year and to sing them. The alto is still more of a With these put into working order you could practicing on are as follows: From left to 1600; I Know a Rose Tree Springing. Very important, to up-to-date piano teachers, is Or stops for ordinary congregational right, Burdon 16', having problem. Entirely out of my vocal range, use all the Cornopean 8', Euphone 8’, it might be the the child learn the use of the pedal. Our FOOT REST is solemn and powerful singing, with Swell to Great 8% and Swell to Principal 4', Dolce 8', Eolian 8', Viola 8‘, French it has had to be studied by an indirect 8' an attachment the harmony of Bach’s Passion 8' couplers, adding Great to Pedal if Horn 8', Sub Bass 16'. Treble going to pedal which extends to the top of Chorale with Pedal , upward, 4' the platform. approach. So I fix the melody in mind foundation is needed. couplers may be Vox Humana, Gemshom 8’, Dulcissimo 8', By pressing his foot on the pedal attachment, the twelfth-century words of St. more Bernard 16' couplers a child can operate the pedal without having to stretch and then whistle it, with what I fondly added for brilliance, but the Eolian 8', Salicional 8', Flute 4', Horn 8‘, Trum- of Clairvaux: l i- For Operating " used sparingly. The Bass Flute pet 8’. his legs. imagine to be a clear, flute-like tone, should be O sacred head surrounded should be used only with rather full organ. What combinations of stops should be used against the other three parts. For more With the MUSIC RACK AND FOOT REST, a child at the piano is comfortable, and By crown of piercing thorn! The reason it is too loud now is that you are for (1) Congregational Sing, (2) Accompany- when comfortable, he is inclined to practice longer and progresses more rapidly advanced students this would doubtless really lacking the Great Diapason, which ing a> singer, Regular playing. Yes, I shall on. (3) Preludes, go And my testimony ADJUSTABLE MUSIC RACK $6.00 FOOT REST AND PEDAL be easy, but for me at present, it is still would serve as a balance. and so forth. The organ has only one key- — CONTROL—$6.00 to any who might be interested is that in For very soft effects use the Great Dulciana, board and no foot pedals; runs electricity. near the outside limit of difficulty. by music the pursuit itself is joy; that prac- Swell Stopped Diapason and Flute Harmon- The subbass gives a low rumbling sound. Is Ecclesiastical chanting is a minor chap- moderately add Melodia and tice has never once been a drudgery, ique. To increase this good to use often? SPEED DRILLS A System for Teaching Sight Playing to ter by itself. Nearly all congregations Flute d’Amour on Great, and Sallcional on never anything but happiness. I will go and many rather fair choirs think it very Swell. One good solo combination would be A. The three classifications you have men- Little Tots, ox Beginners of any Age on, not because I expect or hope to be- the Melodia on the Great for the solo itself, tioned must be treated very generally, as there Flash Cards difficult and shy away from it like poison. By WALLACE and WINNING come an accomplished performer, and the Saliclonal (if it is not too harsh) on is no set rule that certain stops be used for but Consists of 22 Cords to be placed bock of the Piano Keys Yet actually, it is a very simple matter, the Swell for accompaniment. Another is the Speed Drills because I like to live with music and congregational singing, others for accompanying, for it arose in past centuries when sing- Swell Stopped Diapason for solo, with the and so forth. Roughly speaking the divisions On these cards are notes corresponding to the key on the keyboard, showing the participate in it. Where shall I finally Great Dulciana for ing had to be simple. Its function is accompaniment, adding the would better be described as soft, medium, position of each note. Thus, the student learns through his eyes arrive? I answer that it doesn’t matter, Flute Harmonique to the solo if necessary for and loud, and would apply according to cir- merely to provide a musical setting for instead of the written or spoken word. and quote a deeply true saying balance. In these cases do not couple the man- cumstances in any of the three groups you prose of Steven- parts of the Church service, such uals, and couple the pedal to the manual using have listed. For soft effects use Dolce, Eolian With SPEED DRILLS it is easy to teach little folks quickly and son’s that “after all, it is a better thing without effort the piano keyboard. as the canticles, that have to be sung. the accompaniment—not the solo. in bass, and Dulcissimo and Eolian in treble. to travel in hope than to arrive." And so teaching to a choir the principles To increase volume add the following in order SPEED DRILLS stress visual accuracy, recognition of keyboard named: Euphone, Viola, Cornopean, French positions, rapidity of playing the keys, producing rapid of the Anglican chant something Q. Please inform me as to whether the en- — that Horn Principal, and Burdon in bass, and visual, mental and muscular co-ordination. closed specification of stops is suitable for looks hard and is easy—has been the in the With the use of SPEED DRILLS a child learns quickly the location church organ. Is the pitch balanced? Should Salicional, Horn, Flute, and Trumpet most thrilling, speaking, congregational sing- and position of the keys and while learning, his studies most rewarding event thus the Melodia be placed on Great or not? Speci- treble. Generally loud effects, unless the text become a pleasant game instead of an arduous task. far in the experience of this very humble fications enclosed—D. H. ing calls for fairly of the hymns suggests quietness and rever- Speed Drills should be used at the very first lesson, and a pupil beginner. ... Yet it has been fun also ence. fit accompanying a singer much depends should have a set at home for daily drill A Master Lesson on A. The specifications submitted Impress us to teach the Crusaders’ Hymn and others on the character of the voice, whether light as very excellent, both as regards tonal bal- Price 50c like it to the children on Sunday or heavy, as well as the character of the solo, morn- ance (pitch and tone quality), and Individual ings. Prelude or its divisions. Always see that the organ is Chopin’s stop characteristics for solo purposes and com- not loud enough to cover the voice, but give And such at the end of four years bined effects. is it proper support as a background. In playing JENKINS PIANO CHORD BOOK the total achievement. Had Peggy gone No. B Preludes, and so forth, be guided by the type Dp. 20. It's Easy to play the chords in all keys with this Book. Pictures of the on, her nimble Q. I am a church organist. It has been my of music you are using. While the general idea hands by this time would, Keys and the Fingers to Play Them opportunity to play diversified works on many of a Prelude would call for soft effects, con- no doubt, have ( Continued Page 624) THE ILLUSTRATIONS BELOW SHOW THE NOTES ON THE STAFF WHICH CORRESPOND progressed much farther from diverse than instruments. Despite a good deal of trasts are frequently very effective' provided WITH KITS ON THE KEYBOARD. my clumsy ones in mastering experience, a generally more the de major factor in organ playing judgment is used. Postludes are Many teochers all over the art of key pupils—Wilhelm von Lenz and Mm. remains release, of gliding, shifting, a mystery to me—"phrasing.” My or- festive in character, though this should be country are using this with Kalergis. Liszt referred to the dominant gan teacher did not phrase, that is, he never the service itself. It is not good substituting. Yet youth does not ordi- determined by other material in teaching. raised his solemn narily possess mood of this Prelude by calling it an ex- fingers from the keys, once he had taste to conclude a very impressive, the inarticulate longing set them down. However I have become ac- service with a Postlude that would destroy A copy will be mailed for foi pression of "Desperation." music that is often stifled customed to ” Subbass deep down making ”breaks at the end of the effects of such solemnity. The your inspection. If not this num- in some adult. He informed his pupils that each line in hymns. When, it to be working just right, or Nor does youth generally comes to playing does not appear wanted, return and authentic Preludes than a “rum- have much of a background ber owes its inception to an and Postludes such as those by it would give something better of musical Rinck, money will be refunded. In the book are instructions for It is I’m baffled. Organ "methods” neglect bling" sound. If it interferes with the general knowledge and experience. I event in the life of the composer. playing the keys and other sim- concede, of mention anything specific on the subject. tonal quality of the rest of the organ, better course, that the best also mentioned in Liszt’s interesting book ThThus a PRICE 50c POSTPAID ple instructions. time to study mu- far, both in hymns and in pieces I’ve omit it until it has been examined by

sic is - George phrased volume, it in childhood and adolescence on Chopin. According to the story, by inserting the equivalent of a rest. service man. If it has any sizable but I do rather MU.TIC MO. firmly I insist Sand but did not not shorten the value of certain notes, would be better to use it only when a JENKINT COMPANY KANTATCITY. now that it is not the went out with her son, but give all notes their read is In use. only time. to full value. I’ve full organ In full maturity there return until the following day, owing that this is still is incorrect; I phrase by making 50TH time to begin, still the fact surprised by pauses instead. City time to earn an im- that they had been Please inform me as to what Q. I am planning to be in Hew York YEAR is Send SI .00 for OF mense enjoyment. with correct.—J. A. M. around the first of And were I a music a sudden storm. Chopin was filled for a week or ten days RHYTHMIC DRILLS flKfiene TKeatre teacher December. Could you recommend an organist A star making. Students seeking professional engagements looking for new pupils, my unspeakable fears. When they did return, coached by Stage. Screen. Radio and presented in pro- first A. Phrasing or organ studio that would give me some les- ductions for showing to B’way-Hollywood Talent Scouts and step would be to display seem- is one of the most difficult RHYTHM LESSON ONE BOOKLET public. B’wav also Summer Stock. Spring course opening. my wares before he played this Prelude for them, phases in that short time? SEC’Y SHUBERT. 1780 BROADWAY. N. Y. of organ playing; that is, to maintain sons or coaching and the music-hungry flesh. a experience rather adults of the com- ing as one entirely absent in the proper sense of rhythm, carry out the Most of my ability is from EXPLANATORY BOOKLET munity. thought due to absence of organ Adult education is In fact, recognize them. of the text in hymn or anthem play- than actual study, expanding he did not even in into all ing, and at the same teachers in this city. First, I was assistant EFFA ELLIS PERFIELD sorts of other fields of The pallor counten- time refrain from taking endeavor of death was on his loerties with Presbyterian Church, and for the last three PTrABi So why not the music, and to avoid “chop- a East 80th St. (Park Ave.) New York City r here? ence. expressed eS organist at another Presby- His feverish anxiety is ' Certain'y we hardly agree with the years have been r,'? L organist at a oftcn suSgests itself, by them- e Iha t once the terian Church, and also staff “How the short notes, which resolve , fingers touch the keys they IlCharts fai 0 soloist and accompanist at - enables any shaUI go m music?” 1:1 e glued radio station, and rr-s pianisA -^sfr The . there. While organ playing — only answer selves chromatically and enharmonically, on their 4 Manual to 0 is, “As far ould be fundamentally are the Memorial Auditorium master all modern ^ as I can.” legato, there 1 chordA^ Since the while the of singing imes early twenties, and plan new choir there start, thumb is the means when effectiveness requires the hands organ. I am in my Zoe has never been B. H. 1 music - CEAXM any is (and organ my vocation.— ^ I thought of further the wonderful melody which sometimes feet too) to be lifted. Proper to make the ANTHEM CATALOG *TA GLANCE, quitting, it is the pnrasing names, symbols, fulfillment of passion- is largely a matter of “feel.” and the Choir Directors, Ministers— ^7 a hone characterised by its beauty and with ^ ,f s and wish that re you A. We are sending you some addresses, r^ retypes of reaches back, (the _ measure the sustaining or cutting of \ for your free octavo anthem I chords far beyond ate appeal. conclusion , es correspond. Naturally very Send L | ]? college Only at the according whom you may e S ’ P,fl days, back into to so many counts or beats, y 648 treble pos/- childhood eS accomplished in such a brief and choir book catalog containing a I 1 !lA Onlv F-sharp 29—d° m little could be m those days portion), Measure °![? mechanical the playing becomes. ^ positions. the long price Fnu you might get some pointers which « list of new anthems, standard anthems, J# I SAVE in scales and Chopin become himself again and sees °y “*e text in hymn playing, observing time, but WMXSOF er your further personal studies, anthems, etc. STUDVf ONLY $|2S el e 100 hi P cially the commas, and phrase naturally will help you in gospel hymn *h ^ pay. his loved which is as you Burnow 11ri!! !! i ones as in a vision, accordance undoubtedly such" arrangements ... d°es not seem with the sense of the words, and # SENDTODAY! too high, soon disp>elled minor) where- u avoid conclude would result in some plan for Nothing now seems (F-sharp extremes. We do not recommend may \ The RODEHEAVER HALL-MACK CO.^ too high under suitable a price to hold of ea 1 continuation of your work pay for even upon desperation again takes „f pauses for the purpose of adding a a little of suggests c HQ* rc C a TALOG DEPART M E N T that eaks ’ Your experience to date \ art which him. tor phrasing purposes; this destroys supervision. 4 ( _ _ £ th J Ninth St. • Winona Lake. Jnd. sense of rhythm. Better make the "breaks" talent worth cultivating. MUSIC STUDY EXALTS LIFE THE ETUDE November. "MUSIC STUDY EXALTS LIFE” 649 — 1947 —

those who know ture.” But and love them STRIKE A MERRY NOTE the secret lies / Ninety Years in Music best, think in their passion Violin Questions for music, and their appreciation THIS CHRISTMAS Continued from Page 644) of and ( respect for, and their beautiful of a Metronome Adams moved into devotion Your Gift Piano Teaching When Mr. and Mrs. each other. the Recent to, someone to will be different “The House in the Woods” ideal Juliette summed it up one day delightfully welcome “an ideal home for when BERKLEY and them it was said, “Crosby is courtesy / i JnuverJ HAROLD pui- she itself to Lf ideal place for an ideal people In an everyone, but particularly to ; Offerings Issued By see them to- me.” has only to ^ pose.” And one Tone Deterioration; A Good Bow Importance of Viola Experience prophetic. daughter is gether to know that this was S. K., Saskatchewan. In the hands of an ac- Mrs. R. P., Ohio. I am glad your //thU* should have in the taking up the viola’; every violinist Housekeeping at “The House complished player, a violin will not deteriorate acquaintance with the instrument and The cases no matter how much it is used; on the con- some Co. is perfection itself. a Ditson viola part of Oliver Woods” least the trary, it will continue to improve. But in the be at able to play of sheets of music Rubank pub- containing hundreds The Siamese Twins of hands of a poor player who does not know Haydn or Mozart quartet. The PUBLISHERS OF RENOWNED EDUCATIONAL WORKS can lay lication, “From Violin to Viola,” is very use- are so orderly that Mrs Adams how to produce a good tone, who, for in- ful, and will give your daughter material she JOSEPHINE stance, is in the habit of forcing his tone, an BY LOUISE ROBYN, MARY BACON MASON, orchestra Bowing instrument may apparently deteriorate, in needs. For the rest, playing in her others wants. will enable her to gain familiarity with the Musicians the world over aprec that perfect can- HOVEY PERRY, BERNARD WAGNESS, and that the tone will become dull and lacking in trol of rhythm is of great importance in the study of ( Continued from Page 621) instrument. And there are scrapbooks—hundreds vibrancy. However, if this violin is used for and performance of music. Use of a metronome is the key. Students, educators and concert artists item! a month or two by a well-trained violinist it them—with never an unpasted alike value the control and confidence that prac- should be completely relaxed, particularly will regain all its natural quality. (2) The tice with a good metronome gives them. Such things as Christmas scrapbooks, for down-bow, where the weight only way to become a good judge of a bow A Tell-Tale Dale For accuracy beyond compare and utmost conven- Christmas on the of too will find the instance, full, not only of TAPER-TONE is to handle a large number of bows of dif- S. K., Canada. Anselmus Bellosius was a ience under any conditions, you Classics In Musical Alphabet the whole arm is its motivator. This re- not so fine cards, as an ordinary mortal might keep ferent qualities. It does not take long to be pupil of Sanctus Seraphin, but was FRANZ ELECTRIC METRONOME establishes a clinging contact of the bow able to pick out those that are well balanced. a maker as his master. Some of his violins are Christmas seals, be an aid to your musical progress. It is oper- them, but with pages of inferior. To strings. Again, (3) A good bow should weigh between two excellent, but others are markedly ated by one of the world’s finest precision motors Key-Kolor and Figures Christmas rib- hairs upon the keep the and short lengths of the ounces and two ounces and one-eighth. A how His best instruments have brought between at from 40 to 208 beats per minute. No springs to as it approaches Needles to weaken, no tubes to burn out all bow moving frog Hi-Fidelity Shouldered 1785, and you wind, no tension the packages came tied with, that is lighter than two ounces is no help to a $1500 and $3000. But—he died in A.C. current and flip the bons . . . just plug if in on FOR THE PIANO FOR THE KINDERGARTNER listening enjoyment changes. Once up and down is enough for your record violinist. say the date in your violin is 1788. This raises switch. Tempo can be changed instantly with one neatly pasted in! beat. The only AND PRE-SCHOOL PIANIST tones of your is a copy. hand without interrupting the and Arranged by for this too.) Bring out the full, beoutiful the suspicion that the instrument Compiled enshrined In metronome in the world having a 5 year written The art of simplicity is with the Toper-Tone. Its smooth, Before you take out insurance on it you should Sixth: Follow immediately with re- records Holding Fingers Down guarantee. a travels over your records os expert. Bacon Mason By Josephine Hovey Perry “The House In the Woods,” where every- smooth point F. E. B., Illinois. Thank you for your cordial have it appraised by a reputable Mary gives you the ulti- 110 volt 50 cycle petition of No. 4. (For final smooth up.) quietly os a breeze . . . price only 513.25 — and complimentary letter. It was a pleasure thing is done with consummate charm. scratch-free listening enjoyment. vast mul- This new book is not a note-reader. It II. Kreutzer Etude 2. mate in can $16.00 — 220 volt 60 cycle A novel book dedicated to the Part No. You needle is extra to hear from you again. I don’t think one The house-guest is awakened by the play- And this precision, ten-ploy *12.50 is a preliminary acquaintance with fig- holding down Glasses YOlt 50 cycle titude who NEVER LEARNED or should memorize this etude, and make it with your valuable records. Toper- make a fixed rule regarding the Pre-school $16.75—220 ing sweet music on the piano. For fes- gentle Your idea of invest- the scales. Its ures, finger numbers, letters of the al- of ore available throughout the world of fingers. The old-fashioned principle was to W. C. H., Maryland.— HAVE FORGOTTEN the frame work for all manner of bowing Tones only. 10 DAY TRIAL the sold. possible, but ing in a few inexpensive half- or quarter- current presentation of 27 melodious pieces from phabet, black key grouping, identification tive occasions, with each course at wherever needles ore hold down -as many as modem \ warm-ups. But start with variation No. 1, rule. In technical sized violins and. loaning them to prospective return* notation of each black key, and finger and letter table, the centerpiece of woodsy greens violinists do not follow this Money classic sources in KEY-KOLOR A Product of pupils, with the thought of awakening their Order from your the white keys. detached legato, upper half of the bow, passages one would naturally keep down a it easy for such individuals to play dictation of melodies on also your makes and flowers is changed. the same note a mo- interest, is completely sound, as is music dealer or experience the beat (same metronome set- finger if one had to play pieces which in standard notation are The author found from long is! two to to start classes for children of pre-school And what a cook Mrs. Adams She ment or so later, but there is no virtue in plan direct from that the thorough the foundational successful in read. notation more ting) . Do not accent, but concentrate on years. These ideas have proved difficult to KEY-KOLOR has never, in the sixty-four years of her holding a finger down just for the principle period the more gratifying and pleasura- other communities, and there is no reason is a way of writing music (black notes a broad, smooth legato stroke, using a of the thing. To do so would, in fact, tend to married life, bought a loaf of baker’s successful in yours. for white ble the results, and the more rapid the for Fine Needles Since 1892 militate why they should not be CD., INC. for black keys and white notes lot of bow. The movement comes from Famous cramp the hand and would certainly FR/VNZ MFG. bread! Rolls, bread, biscuits, muffins—all You can advertise your classes in the papers, keys) which enables a person to read progress. The book should find imme- against facility of technique. I plan to answer Haven II. Conn. would be to have 53 Wallace St. New all the forearm: there should be no shoulder but perhaps a better means without first mastering diate acceptance with piano teachers of are home-made. Truly, of the amaz- H. W. ACTON CO., INC. your other question in detail on the December music in any key a small folder made up which would give pre-school agers. motion except In order to change string N. Y. Forum page. scales and signatures. ing things about this talented woman, 370 Seventh Avenue, New York 1, your musical qualifications and background fifth line. levels. Continue to end of the would also present your plan at- Price, this is the most astonishing! and which Price, $1.00 75c the Overcoming Nervousness detail. But the best Guests are sometimes honored by the Beginning with the sixth line, use you tractively and in some S. HAYNES COMPANY Miss R. S., Georgia. I sympathize with carried by word WM. this time at the frog. advertising is that which is use of very special table-cloth. Years same bowing, only Large Collection Of Fine over the nervousness that bothered you at imagi- A of mouth as the result of conscientious, Flutes of Distinction (as the moves from frog recital. It is a horrible feeling. But don't ago, Mrs. Adams wrote a melody for a The motion bow your native teaching. For material to use in your VIOLINS it: as you become more accus- to lower middle) is now of the entire worry about pre-school classes, I suggest that you write SILVER - GOLD — PLATINUM The Children’s four-line blessing to be sung at the open- Old & New. With Concert Tone public you will gradually STERLING tomed to playing in to the publishers of The Etude. If you tell arm in one piece, from the shoulder. The the sense of fright that request ing breakfast of a meeting of the Na- REDUCED 40% outgrow it. Or rather, them what you have in mind, and give a Catalog on little finger balance the bow at will change into a tional Federation of Music Clubs. Later, should Send For New List. upsets your playing now reference, they will send suitable material on Technic Book that will en- Massachusetts Avenue, Boston 15, Mass. frog changes, and at string crossings. BALLARD feeling of keyed-up intensity approval. Not knowing the rates that are cur- 108 one of her pupils embroidered this bless- FRANCIS DRAKE music. For hance your ability to express the in town, I cannot say what your This is where the pectoralis muscles will Collector-Dealer rent your FOR PIANO ing on a white tablecloth one line your mind to learn your figure mention on each TuckaHoo, N. V. the present, make up tuition fee should be, but the you careful! If your 50 Chippewa Rd. of of the four sides, tighten up if you’re not solos thoroughly, so that you are aware certainly not too high. If you read The the exacting stitches is 2nd EDITION—COMPLETE TREATISE ON arm is tired, stop for a minute. Think every slur and staccato dot, of every accent, Etude regularly, and perhaps look through By Guy Maier and copying the musical notation. The nap- you TRANSPOSITION and crescendo sign. And it will also help back numbers, you will find a number of the back-and-forth movement, all in some transposition kins of the set have a measure of the acquainted with the ac- classes. Most of covering ALL problems of Rosalie Smith Liggett if you become well of suggestions for developing one piece. Son that you can ideas Send for folder to the author music staff embroidered in the IViiliczm and companiments to your solos, so them are contributed by pianists, but the 19 corner, Charles Lagourgue. 35 W. 57th St.. New York Now skip to variation No. 9 and No. underlying chords when you are can often be applied to violin teaching. An authoritative and up-to-the-minute book of technic fundamentals, de- with the notes "C" and “A” worked on 207 South Wabash Ave.—Chicago 4, III. hear the yourself. And as a preparation for first the early second year of piano 10. Do these legato. Divide the etude at etc. playing by signed for children in tire late year and them, in the bass clef for the gentlemen, SPECIALISTS IN VIOLINS, BOWS, REPAIRS, over INFORMATION your next recital, try to play your solos study. The material throughout is carefully fingered, and there are numer- the same place. Practice variation No. 9 WRITE FOR small and the treble clef for the ladles. or three times, with the piano, to About Strings delightful story element en- PUBLISHERS OF "VIOLINS and VIOLINISTS two HARMONY BY CORRESPONDENCE ous illustrations and keyboard diagrams. A to the end of the fifth line; variation No. have written several Illinois.— is rather against the Truly, America's only journal devoted to the violin groups of friends. I J. N. S., It Course successfully used for gages the student's interest throughout. nervousness, and in the A greatly simplified 10 Now you are Specimen 35<—$2.50 per year. various phases of policy of our magazine to recommend of Music of Temple “The beauty of the from there to the end. Copy times about a number of years by the School house is order. The Etude for December 1944, editorial columns any proprietary product, but Price, $1.00 combining several movements those of if you have University, Philadelphia. The blessing of the house is — you will find to the August, 1944, issue of content- June 1946, and February 1947, if you can refer For particulars write to the Author: the scales, and of variation No. 1. Use comments Etude will find an advertisement of a ment. on the Violinist’s Forum page some The you EMIL F. ULRICH, M.B. possess sure would please full arm momentum of the slurs, plus should help you. If you do not shoulder pad which I am Roberts Ave., Glenside, Montg. Co., Pa. The glory of the house is hospital- NEW VIOLIN INVENTION that 233 magazine, you should be you, for it would fill your requirements. (2) Former Associate Dean of the School of Music of easy, broad legato strokes at the point these copies of the ity.” "You feel and see where fingers should Librapr or to Personally, I prefer an A string made of gut Temple University. Note Games Let’s Play Duets — able to see them in your Public (forearm movement) and at the frog home,, by above aluminum to either a steel A or One of Mr. Adam’s favorite quotations be." Anyone can now learn, at purchase them from the publishers. But, wound with FOR THE FOR PIANO (entire It cannot be re- mail. great violinists. an all-gut A. The steel A, of course, remains is from a bit of prose arm movement. Endorsed by all all. don’t worry. called “Youth” a true for a very long time and is very little PIANO BEGINNER peated too often, and must especially be IFe loan you violin and loxc. By part of which Is completely Write to 2537 St.. Chicago 47. III. affected by changes of temperature. But it appropriate N. Bernard a Trembling Bow emphasized here: Keep the pectoralis Causes of true string quality. The Readiness Program to Mr. and Mrs. Adams Pennsylvania.-If your bow trem- does not have a A Music Sarah Louise Dittenhaver themselves: FINNEY VIOLIN KEYBOARD SYSTEM J. M quality By muscles relaxed! T middle, there is aluminum-gut A has a much better “Youth is as you draw it past the Sister M. Xaveria, O.S.F., Mus.M. not a time of life; it is bles after the first day or two, is nearly always By twelve excellent duets in a min- of coordination somewhere. Astrid Ramsey The this book state And that’s all! Only twenty obviously a lack longer than the gut A; intended to of mind. You are as young as impossible for me to put true, and lasts much The MUSIC READINESS PROGRAM, are designed primarily for two children your This is But it is practically musical concepts and to form fundamental faith, utes is required to cover it once. ACOUSTHEORIST hearing and but changes of temperature do affect the build up as old as your doubt; as OIIHDAilTETC on the cause without playing and reading habits, is designed to develop This is a very ingenious book, giving of the same grade, although one of the young as that you uU An AN I 1 1 new life to your violin mv finger any- pitch. You should experiment with different a right-arm, warm-up routine Investigate today play- The trouble may be the following readinesses: of the parts your self-confidence, as old watching you decide which gives the quick ways to learn the names may be taken by an older child, a as your fear; old violins the joints sorts of string, and can rules of any ac- New and your shoulder and 1) Keyboard Readiness as correlate with the Terk N. T. where between the playing you have to do. lines and spaces of the staff at a glance. parent, or a teacher. While especially young as your hope, as 1391 Blh Avenue New 19. I can best results for Rhythm Readiness old as your one fingers. The best suggestion 2) cepted school of bowing technic; TEL. CO. 5-4078 of vour Playing Readiness The. purpose is to teach beginners to read fingered with the hand of a six-and-a- despair. Nobody grows old you spend some time in your 3) merely by reasonable make is that 4) Singing Readiness by sight in a very pleasant way via the half, seven, or eight year old pupil in living that you can tuck into any with a pencil and notebook, Readiness a number of years; people Public Library, 5) Visual both treble mind, grow back files of this magazme 6) Aural Readiness game route. All the spaces in the duets are also suitable for older old practice schedule. I JOHN MARKERT & CO going through the only by deserting their I have Special Henning Violin 7) Reading Readiness ideals.” Ml ST.. NEW YORK II. N. Y. four years. In that time and bass staves are first presented ; then children since nothing "babyish” is in- near- WEST I5TH for the last Readiness and Coordination Whether beginning student, or I am 8) Muscular VIOLINS OLD & KBW good deal about bowing, and Deep - mellow - soulful all the lines, treble and bass. Games are cluded. Among the pieces are Off to the con- written a PROGRAM Is artist, you'll discover that it also Expert Repairing. Send for Catalog suggestions and exercises For a limited time you can pur- The MUSIC READINESS ago , of the played at the end of each group. Al- Circus, Up the Winding Stairs, and Gay when a young woman, sure some high-grade violin, with adapted to various age levels. Most chil- seeing thei development to find out where the fault chase this tributes a great deal to the will enable you the qualities of the finest, at a price age of six to nine years may though designed for class use it is also Dances. Most of the melodies have words together and learning Etude that I would dren at the their age v*of The . . lower than ever asked for such an study the of other playing! In* ______lieslies, Thei ne iwucjissues far be considered “pre-schoolers” in the very useful as an individual instructor. that may be sung. are ninety aspects of your instrument; made possible by our this year BRANDMARKS specially call to of music, especially instrumental music. (1947)-exclaime< evitably, warmer, more 250 GENUINE VIOLIN LABEL FACSIMILES AND NovembeT 1945, many years of experience in violin your tone will be Nationality, 1 ’ “Why, of the most Important Makers—each marked as to ber 1943, January . Satisfaction guaranteed. .60 Price, 50c Price, a good many single j) ecem A gen Writ* making. • My Music Picture Book $ 60c people don relaxation, December.1946 . (2) . 65 round. Because of increased booklet is the October 1946. and GUSTAV V. HENNING • My Music Color Book live that long!” “one _piio.BUHie condition. f0r for violinists. •». Collectors. An authenticnutncntlr violin, in good 60 Dealers, and Collectors. An Pique — 1 49th St„ Seattle, Wash. Book Francois Pique - , Information 106 N. • Music Letter flow more to the violins. Price 3— Uine XFrancois*r My your left hand technic will identification and value of old S . the $1500, thoughu. .75 When they themselves music studios worth as mnnhmuen as otouu, 6 • My Music Note Book . suburban „ , could be were asked ho freely. coordina- 643„„ stuyvesant Ave. Irvington, n. J» between $650 ana and Guide Book 1.00 And because of better !o USUusuauyai]y somewherewmicwlicu. j • Music they achieved such nrice is labeled youthfulness of spirl tion, fluently- there are many violins Postage extra you will sight-read more $1000.1000 . But — $ his work affection _ . a- are not Sa- ately at . n lin b Sseen which Many Artists of the each oth< momen- U 1 on request andIn? 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VIRZI CORP.. 5Q3 i fully is to gain in mastery of your mstrun'onls. guaranteed refund. Call or write now. “ the past instead . t its authenticity. of advancing into the fi expressive tool. 651 MUSIC STUDY EXALTS LIFE” 650 "MUSIC STUDY EXALTS LIFE” " THE ETUDE November, 1947 . —

sake of with a merely for the offering the beings. “Sitting Tall” a temporal capella choir as an organization A Matter for Discussion do much t that can feeling of general ease will The E. B. Marks Piano Series Choral Cultism 5. Intonation—is the one department sing without the “assistance of instru- maintain a continuity of pitch. of choral singing that seems to make for ments.” Our choir programs would {Continued from Page 618) Care should be taken that the be heated conversation among people 7. Text— much more interesting if a most be intelligible to greater of each tongue, must be the natural text of the composition from different “camps.” There are the The rea amount of accompanied music were used MUSIC alike. IN audience THE FIRST singers and FOR YEAR property of the conductor. It is well to intoners and the “tempered” in- the as choral works with “just” be thoroughly such instrumental practice on pure vowel sounds, but this essence of the text should piano solo toners, those that say the thirds and ensemble, band, orchestra, and other ac- Extremely simple arrangements, printed with large notes, for the student's first the singers if they ai e is only a small part of the trick. The comprehended by sevenths must be sung a bit flat, and Texts companiments. The nature of all these to the musical setting. myriad variations of sounds as uttered those that say they should be sharped. to do justice should be carefully of the wooden be translated works examined so south parade in natural speech in any given language in a foreign tongue should amapola down There are those who try to make the that the music will be given its proper should be striven for. Several careful carry over into demands of chord tuning nonsense reading. The writer shall never forget a soldiers forming a mere recitation of ANDALUCIA TOYMAKER'S dream studies of this matter have been brought the feeling of strong melodic leadings. of the Mozart Ave recommended that orig- performance Verum forth, some being technical to an extent is syllables. It is SONG I feel sure, however, that most of this Corpus sung as if it were intended LOVE'S OWN SWEET rather than transla- to be a PLAY FIDDLE PLAY that seems to render the problem fool- “talk” and could very well be eliminated. inal texts be used MALAGUENA thinks in march, merely because of its alia "breve proof. All of these systems should be the tions, for the good composer One seldom hears artist symphony mu- time signature. Let us be faithful * FRASQUITA SERENADE accent when setting any to the EL GRANDE common knowledge of the teacher so sicians using their time on such talk. terms of word GLOW-WORM RANCHO of the intention of composers from all periods that he use the best of each at his piece of literary text. “The story may What they do think about is the favor- not bow to the whim of the musical utter- and making all discretion. The necessity for clear enun- ing of tones in each chord by virtue of work sets the mood for Price Each music fit a specified style of 35tf musical setting is not in production. ciation varies with the style of music and the characteristic melodic intensity of ance.” If the New York general meaning of 9. Spirit—is perhaps the most impor- Radio City text to be sung. If the choir is presenting the melodic notes. It might be very pos- sympathy with the RCA Building conclude that the work tant yet most intangible characteristic a song that tells a story, each word sible for the fourth note of the major the text, we may intent. Of course, of choral production. Because choral should be clear enough so that the audi- scale to be forced low for a strong lead- is not sincere in its of singing is so predominantly a social art, left the appropriateness must be thought section to be cued ence will not be guessing at ing—by the same token the seventh may this mentalists, since they add nothing to the at the individual or the necessity of maintaining group practice of regimentation? and the If, composition is terms of the period or style of music mo- the the entrance meaning. however, the be forced sharp for a strong leading to in effectiveness of the playing and certainly several beats ahead of rale at a high pitch is imperative. be more complete from all countrapuntal and depends for its effec- used. sixteenth century setting of the An whole will person who sud- the final. This, to be sure, varies with the A appearance. Have (when possiblfe) . The enthusiastic and sincere approach do detract from the tiveness rendition of melodic Mater” will contain drastically to the points of view. general di- on a smooth style of the composition and the nature “Stabat at yourself from the denly waves a hand in the activity should be made by the The meaning of the word you ever locked line, fusion of subtle harmonic different tonal and rhythmic structure conductor. 10 Ensemble— be given will or the of the musical structure. Proper intona- audience? Buy a roll rection where the cue is to Singers are individual human brings for this department—“to- vantage point of the setting of our own day. Each may with is sufficient and details, time will be wasted in working tion is of prime importance, but likewise, than a friendly pho- find many cues being missed— is to be effective, of movie film and have a and effective. personal feelings that must be respected. gether." If the music If for an overdone enunciation. Standard cannot be covered by a rule of cult. be equally sincere in through no fault of the ensemble. an feeling of “together- tographic hobbyist photograph you texts such as those from the Bible and Any “cult” that regiments the exuberance there should be a one cue a 6. Breathing—There are those who use surprised. ensemble misses more than Style Extremists of these individuals should be questioned. embraces both the human, action. You may be from the church liturgy should be fa- this technique as the beginning and end ness” that performances (we will will also give you an opportunity year in public to. This does not mean that artistic discip- musical elements. This miliar to intelligent listeners. This per- of all singing to the extent of its becom- 8. Styles—It is not an easy matter spiritual, and of a concession to sev- check a couple of other details. Do make that much choir erring in this department of line should be disregarded quite the con- can be no doubt that the to mits the to concentrate more on ing a fetish that inhibits the production keep from — There fallibility), the conductor would have you jiggle at the knees? It’s very an- human the tonal coloring of the words choral singing. Some of the “Cultists” trary! A greater feeling of esprit dc corps schools of choral production and ap- of the group rather than* helping it. It eral well to master the following routine points to a noying to the audience and the players, do propriate rhythmic flow rather than on might be sufficient to say that each singer lose sight of this point and are wont to will be maintained if each individual elaborated on the preceding head to bob up and in executing a cue: is in can be touched since it causes your “clipped” or "rhythmic” singing of diph- should maintain a sufficient supply of render music from all periods of produc- member treated as such the mind much greater degree than (or individual) a the same 1. Look at the section The writer is down and not always exactly in thongs and vowels. The wise director will breath for any given phrase to be sung. tion in the same stereotyped manner. An of the director. Greater effect can be on in this short article. before the cue. your baton which would you measure or two feel no pangs made through love than through fear. give the impression of the tempo as not permit pronunciation of words to Proper sitting or standing position should a capella enthusiast may desirous to Raise the left hand in the direction tricks follow? And your feet^are they spread 2. become a fetish. Radio singing comes maintained with a general psycho- of conscience in giving a performance of This seems to be adequately expressed in importance of following the several body slightly be or are they of the section, or shift the great care if so far apart you look clumsy— / near to demanding this; however, judg- logical feeling of lightness lifting. music unaccompanied, when the com- our way of life. This exuberance of the of choral production with proper focus. and military manner to bring the section into is it youngsters find is to be precisely together in a Why ment should be made on the basis of per- The writer often resorts to extremes of poser intended that an accompaniment individual nature will readily bend to the any degree of choral satisfaction preliminary and the execu- makes it difficult to 3. Give the more fun to play? Why is very anxious which looks nice but accordion rather than the feel lightness to be used. The fund of accompanied demands of the various attained. He, however, formance demand on having the choir singers a was types of music If so, tion beats. — avoided. get flexibility in your conducting? do they learn more quickly per set aside that extremes in any direction be the conductor value of following se any set rule. that is not often characteristic of their choral music should never be sung much more quickly than through ahead of the There is no doubt that known as a “straight" try placing one foot slightly and develop a keener apprecia- Beware of being looks at his ensemble most of the “ "phonetic and about four inches apart. who toner, and a capella fadlst,”-a other starting and when tion of music? haven't already time, not only when and so on. 2. Example 3, if you fiend,” “an abdomen feeler,” effective because of the tells you why occordion conductor il- cuing, is more is a picture of a is so popular — and so Rather, the director should remember guessed, I seem to be f widely habit. In the event that fascinating, both for “horse lustrating a very questionable, but that a great deal of common this point unduly, let me odults and youngsters. “cuing.” Yes, he had emphasizing sense” will go a long way toward the used method of experiences which will Write today! the score cite two personal that it is the one about having INC. Teachers DiplomaTV making of a good choir, and heard point. EXCELSIOR ACCORDIONS, A illustrate my of the head in the Ave., New York 14 not necessary enshroud the art with in the head instead short Dept. 28, 333 6lh to 1936, my band was playing a probably isn’t conscious of In a lot of mystical double talk. score, but he Metropolitan Opera House this impor- concert in the the fact that he is violating sectional ^ in New York City, before a doesn’t know tant rule. Either that, or he meeting of the Music Educators National any better. One of the numbers con- 1 Bachelor s Degree 11 \ I that this head Conference. Colleges A Others See You is no doubt IN As There at the Schools— solo. I looked MUSIC to tained a cornet of the easiest faults ( Continued from page 619) ducking” is one measures in advance of conductor quite soloist several SCHOOL develop The beginning gesture or Dnce this habit is developed, the left entrance, hoping, by some OF InMmr Spare Time at insecure when his eyes his MUSIC Home feels COLLEGE a dynamic naturally the tension I ex- CONVERSE hand loses as relieve I its effectiveness . learns expression, to - . .. tv a 8. C. the score, and unless he Edwin Gerschefskl, Dean. Bpartansburg. indicator are not on find. Instead, my surprised and “cuer.” stages of his pected to look away in the early turning Department of Music (c) reflects Cal though to at a boy who was The face mood to become eyes looked KNOX Galesburg. Illinois N EVERY there are ambitious the habit is likely Chairman COMMUNITY We offer them without obligation to you. This great musical I was this idea career to yellow, to deathly white, Thomas W. Williams. organization now in its 44th suc- about ready to give up on classes at from green sent upon request. men and women who know the advantages of permanent. In our conducting the sec- COLLEGE Catalogue cessful year—has developed and trained many musicians when a conducting student asked me to almost in rhythm! Fortunately, new inspiration and ideas for their musical ad- We are the only school giving instruction in music by have an agreement / and many successful same the University, we watching, so read CONSERVATORY the teachers. To you we offer the demonstrate the expression to be used ond chair player was OF MUSIC vancement. It is to those our Extension Courses are Home Study Method which includes in its teaching will not start unless advantages which have Don't wait the ensemble performed the m m Wad# E. Millar. Prea. of the all the courses necessary been given to them. in opening a which was marked that frantic appeal and greatest benefit. to obtain the Degree of Bachelor number them, nor will my SHENANDOAH B. any longer! The coupon will illus- conductor is looking at developed ^o'u'rse"leading to the B. Mus., and Mus of Music. bring you our catalog, “dolce”), eye” tends the first chair boy had a The most successful musician, of course, is the very- and “eye meeting imi- solo. The Rates reasonable. In the heart trated lessons and information lessons which cue if the conductor Ed. degrees. about the to they execute a measles! Shenandoah .Valley, Dayton, Virginia. busy one. Yet he is the one who finds extra time for will be of make the ensemble more alert. words, the case of of the Openings in the music field are untold value. Example 3. In other were appear- something worth while. And to such a one Extension A better starting position, then, is one tates another occasion we WON’T growing very rapidly. There are consideration On SO ASTONISHING YOU Courses This Is ensemble expects the same Our opening are the greatest boon. It isn’t always pos- YOUR Opportunity-Mail which brings the two hands and the face ing in a regional contest. BELIEVE YOUR EYES big paying positions for those the Coupon TODAY! cqnductor as the c d sible to give up an interesting class or position and into from the °£ been conducted by a student who are ready for them...... an orbit which can be covered with- ensemble. ^vy march had go away for instruction. UNIVERSITY EXTENSION CONSERVATORY, demand from his W the Rienzi Dept. A-603 out requiring “shifting eyes” of the play- should and I came on to conduct 28 East Jackson Boulevard, Chicago to give 5™ the The Home Study Method is equally advantageous 4, Illinois. ask your ensembles up for the AMAZING to Do you hold the Key ers: something like this: not Overture. I had my baton a SamPle lessons will be doing you the beginner or the amateur. Because the work can be hav^mlrked and ful1 information regarding course 1 same treatment. They and paused long enough to the best teaching within x be?iw opening attack PICTURE BOOK done at home in spare time, with no interference when I Amazing Picture _ ’ . ensemble most her,’ sa favor. . . the One of the r=i rs ”0""*'Mumidl Course a , glance around with one’s regular work, R Piano,Elf:?’ I“i . R Harmony Violin is of tre- to Books you’ve ever seen! Pictures Clip many minutes each day may Student’s Course execution of a cue Real Thrill* position—a Diploma? Cornet—Trumpet Cuitar proper solo cornetist (not the same leap into life So & OMC U ic c 00 Mus.— with spotted the with delight! They Almost seem be used which ordinarily go to waste. ?! Beginner’s working ina, you’ll gasp R E f t ! Advanced Cornet Mandolin importance when look- Delightful effect guaranteed to entertain Public School Mus.— mendous very profusely and alive' Thrilling, illustrated Advanced one ! perspiring old. Large x 11" size, It is Voice Saxophone at the high ) both young & 8V2" up to YOU. On your LI Advanced Composition particularly With viewing spectacles. Makes on der, 9 Choral Organ amateur groups, As I read his lips they covert % « 112^-$S.OO2 « io' Look Back Over the Last Year Conducting Reed ing very frantic. each. 3 for $1.50, 6 — $2.75, ;_ own decision will rest your 0 Training & Sight Singing be good argu- Just 60c History of _ Clarinet Banjo school level. There may turned out that his What progress have future Music ft is assumed is being said, “No music!” It you made? Perhaps you have success. Fit yourself for D Dance Band Arranging that a podium excessive cueing in re- used ment against (Yes, the same one who got CAROLS wanted to send for our catalog and sample lessons be- a bigger position —demand Name. so as to give the conductor the too de- partner CHRISTMAS since plays can become stage) had fore just to look into them. That is your privilege. larger fees. You can do it! .Adult or Juvenile. needed visible hearsals, measles on the Metropolitan Words & Music to all the Delightful — elevation. If the face is conductor, but in con- Street on the the night before to (Christmas Christmas Carols, both familiar & not so No. . to the pendent the folio out ensemble so will be the baton amateur taken ab- The Increased Requirement for DEGREES has Resulted in inexperienced, nervous familiar. Beautifully Printed! Plus when certs the last minute “woodshedding” (Carols interest- held at the same level. his con- do a little sorbing stories about the carols Larger Demands for the ADVANCED COURSES offered by City that he can rely on Over should know left the part at home. So the ingly told with nice illustrations. . State. Once you have mastered this more cue and had help. The different carols! 8V2* * 5Va". *8 ductor for all available really did have reason to 30 you teaching now? compact starting position you can con- there two of them pages, illus. cover, Nicely printed, 25c If so, how many pupils you definitely that have you? Do must be given so played the Overture, each, for 12 — 52.00. "Dlu„ UNIVERSITY EXTENSION CONSERVATORY centrate on keeping your beats within One perspire as we 6 $1.25, hold of missing it. a Teacher's Certificate? e no possible way from a full H ave you asy reaching center of can be because they were reading ANNUAL PRESS (Address Dept-. A-603) 28 East Jackson Boulevard, CHICAGO 4, ILL. studied Harmony? distance of the requirements in execut- y°ur the essential Page 660) Would you like body, thus eliminating the wild of ( Continued on Box 591-A2A. Lynn, Mass. to earn the Degree of Bachelor the conductor look of Music?. flailing such a cue is that motions used by so many instru- es r t innn 652 "MUSIC STUDY EXALTS LIFE" THE ETUDE THE BOSTON MUSIC COMPANY f) internationally BOSTON 16 MASS. acclaimed piano solos SLAUGHTER SPELLBOUND "V The World of Music WARSAW THE SOLITAIRE LONDON Send ON TENTH CONCERTO CONCERTO CAROUSEL FANTASIA for by AVENUE by WALTZ GERARD TERSMEDEN by MMCl “Music News from Everywhere” *0*l-D \this Cataloi by RICHARD ADDINSELL CLIVE RICHARDSON USlCAV. *«"'*** SS RICHARD RODGERS by COMPLETE VERSION 600 1.00 RICHARD RODGERS COMPLETE VERSION 1.00 FREE THE SAN FRANCISCO FRITZ MAHLER, well known THEME conductor THEME Opera Association who has been guest 600 750 A COMPREHENSIVE conductor of some 600 opened its twenty-fifth of the leading orchestras of the 2 PIANOS POUR-HANDS LISTING OF MUSIC IN countrv anniversary season in has been named permanent 3.50 ALL conductor nf CLASSIFICATIONS, September. Founded in the Erie (Pa.) Philharmonic teacher Orchestra PHONOGRAPH RECORDS, 1923 under the general Among the positions STUDENT that Mr Mahler directorship & CO., Inc. and affiliates • • • CHOIR D,R MUSICAL GIFTS AND of Gaetano has filled have been those CHAPPELL RKO BUILDING ROCKEFELLER CENTER N. Y. 20, N. Y. as musical di hAOS»C»AH TEACHING Merola, the association rector of the Philadelphia ACCESSORIES. Civic Grand" MUSIC CO continues under his EVERY MUSIC Opera Company and director TEACHER of music more than thirty years. She would have at West Chester, Pennsylvania. Mr. guiding genius and this Fiorenza of the National Youth AND STUDENT Administration seventy-eight on September 18. She Stults, SHOULD season will present Quartararo been who died in 1933, was inspired a He has been a member of HAVE THIS CATALOG the faculty of made her concert debut in St. Paul, Min- to write the song, which FOR total of fifty-two performances, includ- the JuiUiard Summer has sold more School of Music in 1894, her opera REFERENCE ing appearances in nesota, and debut with than a million copies, by his wife, her- PIANISTS Seattle, Washington; since 1939. Metropolitan Opera Company in 1910. self a musician Portland, Oregon; Sacramento, San Jose, the known as Julie Van der Veer. Los Angeles, and Pasadena. Among sing- THE NEW FRIENDS OF Improve your playing ,»c»ussi« MUSIC, HARRY ROWE SHED ers to appear this season for the first New bovtoh York City, opens its twelfth time with the company are Dorothy season early LEY, composer and or- ROBERT SCHIRMER, composer, writer, m November with a program Kirsten, Blanche Thebom, Fiorenza of chamber ganist, whose melodious and a director of G. Schirmer, Inc., New music by the Griller by Broadwell Technique Quartararo, and Martial Quartet and Paul church music brought York music publisher, died September 23, Singher. Hindemith. The program will include him world fame, died at Princeton, New Jersey. He was a Learn how the Broadwell Principles of Mental-Muscular Coordination and Hindemiths Sonata for viola d’amore September 12 at Short the Keyboard Patterns Method to gain proper keyboard habits can greatly EUGENE ORMANDY, music director of and grandson of the founder of the firm and piano, Op. 25, No. 2. improve your Accuracy, Technique, Memorizing, Sightreading and Playing. FAMOUS BLUE BOOKS The Philadelphia Orchestra, has been Beach, Connecticut, aged a brother of Gustave Schirmer, president. engaged as principal conductor and mu- eighty-nine. Born June HIE REDUCE PRACTICE EFFORT— 10 TO 1 VERY FIRST sical advisor of the OJA I VALLEY, California, 8, 1858, at New Haven, PIANO BOOK. A modern preparatory Hollywood Bowl Or- appar- GUSTAV KLEMM, noted Your piano scientifically applied to eliminate Waste Effort and Time. Learn how book ently D«. Harry practice can be chestra, is going into the international Dr. Shelley was entire- one practice repetition can do the work of ten how memorizing and sightreading are reduced to to precede any piano method. beginning with the 1948 season. fes- Rowe Shelley contributor to The Etude ; Contains full size five- tival logical practice principles. The Broadwell System makes memorizing automatic. Makes sight- Dr. Ormandy was guest business in a big way. An organiza- ly American trained, octave conductor in and well known com- reading a natural, rapid and accurate process. staff notation chart tion, Ojai Festivals, $ 75 four concerts during the past season. Inc., is engaging among his teachers being Dudley Buck. poser and writer upon leading FIRST artists from all over the world He also studied with Dvofik in New York GAIN IMMEDIATE RESULTS GRADE BOOK. For pupils of musical subjects, died in average age with for its "first Value of the Broadwell Methods applied to your own playing is appreciated not only in the SCHULMERICH ELECTRONICS, Inc., international festival of City. He held various important church Baltimore on September special preparatory exercises improved quality of playing, but also the speed with which improvements in technique, accuracy, 1 whose music, theatre, positions 00 advertisement of an important and dance,’’ to take place in Brooklyn and in New York, 5 at the age of fifty. Mr. sightreading and memorizing, etc. become noticed. Improved mastery of skills such as trills, in the spring arpeggios, runs, octave passages, chord skips, is unmistakably evident after the first ten days. HAPPY HOUR BOOK contest for organ compositions appeared of 1949. Thor Johnson, re- one of these being at Plymouth Church, Klemm had been Super- 1.00 in The Etude cently appointed of which Beecher was pas- for October, report that in conductor of the Cin- Henry Ward intendent of the Pre- ADOPTED BY FAMOUS TEACHER-PIANISTS ADVANCED FIRST GRADE cinnati 100 Clause 8 of the Rules of the Contest Symphony Orchestra, has been tor. He was organist also for various paratory Department of Gustav Klemm The Broadwell Methods are used by famous Concert Pianists, Professional Pianists, reputable Organists the world-over. These may be applied the student SECOND GRADE there was some misunderstanding engaged to lead the Festival Orchestra. notables at their estates, Including John Teachers, Students and methods by as to the Peabody Conserva- who had but 6 months of previous piano instruction as well as by advanced students. The 1 00 the has THIRD rights of the composer in the com- D. Rockefeller, Sr., William K. Vander- tory for two years. He was born in Balti- methods are as valuable to the player of popular music as to the classical pianist. The Broadwell GRADE successfully for over twenty years thousands pianists. ! ! 1 !!!!!!!.!. 1 positions submitted. bilt, Sr., Methods have been used by of 00 This Clause 8 is MASSIMO FRECCIA, conductor of the and Charles M. Schwab. His more and was graduated from the Balti- corrected FOURTH GRADE to read; “The composer New Orleans Symphony compositions numbered into the hun- more-Polytechnic Institute in 1915. His * , 0Q re- Orchestra, has tains all customary returned dreds PIANO TECHNIQUE FIFTH GRADE property rights in from Italy, where he conducted and included anthems, choruses, first writing was done as a moving pic- BROADWELL 1 0Q the composition. Schulmerich Electronics, the Italian premiere of Hindemith’s organ pieces, and orchestral works. ture and drama critic for the Evening FIRST BOOK FOR THE ADULT Inc., will use Mail Coupon — No obligation for 100 compositions only with the "Metamorphosis” and the Fifth Sym- Among his best known anthems are Sun (Baltimore). With the opening of author’s permission.” Hark, FAVORITE MELODIES FOR phony of Shostakovich, with the Turin Hark. My Soul and The King of the First World War he enlisted and be- THE ADULT 1.00 FREE BOOK- "TECHNIQUE” Orchestra. Love My Shepherd Is. came the youngest bandmaster in the BOYS' BOOK OF PIECES THE league . 100 OF composers is cele- United States Army. Later he became a brating its BROADWELL STUDIOS. DEFT. 67-L twenty-fifth anniversary, and GARDNER READ'S JACOB ALTSCHULER, who was asso- successful teacher and conductor and in "Prelude and Toc- Covina, California honor of the event, eighteen ciated with his brother. Modest, in the a guest con- of the cata,’’ Alan Schulman’s "Pastorale and was invited to appear as Gentlemen: leading symphony formation orchestras, your FREE Book “Technique" showing how I including Dance," and Elliott Carter’s "Holiday of the Russian Symphony Or- ductor with the Baltimore Symphony Send me may quickly improve my Technique, Accuracy, the Sightreading and Playing. I understand there is no obligation. New York Philharmonic chestra, died York, very active Memorizing, Symphony Overture,” will be premiered this season August 27 in New Orchestra. He then became the New York City Symphony, the Bos- by the at the age of seventy-seven years. He radio work. His compositions run up NAME ton Baltimore Symphony Orchestra, in Symphony, and the CBS was the organizer in 1923 of the State Sounds, Indian Sun- Symphony, Reginald Stewart, conductor. into the hundreds. ADDRESS are programming this season one of the Symphony Orchestra and also played set, and Three Moods and a Theme have CLASS OR INDIVIDUAL eighty-six works CITY STATE commissioned by the viola in this and other leading New York had wide popularity. League to ASTRID VAR NAY, soprano of the Met- BEGINNING AT THE PIANO. Preparatory date. orchestras. book of 32 ropolitan Opera Association, had a sen- pieces—folk tunes of 95 in four-voice harmony for congrega- tails may be secured by writing to Mr. many countries. May be taught sational success in the opera season at by THE PHILADELPHIA singing. The competition is open to George Schulmerich, President, rote, ORCHESTRA LILLIAN oper- tional j. Schul- by a combination of rote and the Teatro when BLAUVELT, well-known reading, and by reading opened New York City's Colon in Buenos Aires, all composers. The details may be secured merich Electronics, Inc., Sellersville, Pa. symphony or- atic and concert singer of a past era, chestra she sang the three Briinnhildes of Wag- writing to Thomas H. Hamilton, Mon- AT THE season on October 9 died Competitions by PIANO BOOK , when it August 31 at Chicago, Illinois, aged 1-Covers five-finger position, tonic presented ner’s "Ring.” mouth College, Monmouth, Illinois. Clair a program which featured seventy-four. chord tones, four-tone melody; sev- Following study in New FEDERATION Leonard, professor of music at Vassar Col- A PRIZE of one hundred dollars is offered use of quarter rest, etc.. eral excerpts from THE PENNSYLVANIA . 1.00 Alban Berg’s York and much Paris, she toured with the OF MUSIC CLUBS has announced its lege, Poughkeepsie, New York, is the win- by the New York Flute Club for a compo- AT discussed opera, “Wozzeck,” ELEAZAR DE CARVALHO, Brazilian THE PIANO II with New York Contest. tune competition. sition for flute and piano. The contest BOOK trude Ger- Symphony Orchestra under tenth annual State Composition ner of the 1947 Psalm ] 0Q Ribla, dramatic conductor, who summer soprano, as soloist. spent the past Walter Damrosch toured awards arc for compositions in three closes January 15, 1948, and all details AT THE ' and for a time The PIANO BOOK III at the been Berkshire Music Center, has classifications: Class I, Solo for may be secured by writing to Lewis Ber- 1 m her own opera company. different A PRIZE of $1,000.00 is offered by Robert ’ IERINO engaged Class trand, Chairman, 18 East Forty-first Street, AT THE PIANO ‘ GAMBA > as guest conductor for seven Accompaniment, BOOK IV ’’’’’’’ J’ ten-year-old Italian Voice with Piano Merrill for the best new one-act opera in ” } digy concerts Or- Voices; Class III, New York 17, N. Y. g P ' has been by the Boston symphony II Trio for Women’s TWO PLAYERS inv‘ted by HERBERT WATEROUS, Veteran basso English in which the baritone wins the AT THE PIANO Efiem kKurtzf ?to chestra. Piano and Strings. The prize 85 S conduct a Sunday of Concerto for girl. The only rules governing the contest after- grand noon and light opera, who was known of the first two concert of the is fifty dollars in each the heroine by the Kansas City widely are that must be won PRIZE of one hundred is Phil- for his Gilbert and Sullivan roles, dollar award in A dollars offered harmonic Orchestra. classes, with a hundred baritone, who must not be a villain. En- died by J. Fischer & Bro., under the auspices August 29 in Woodstock, New York, III. The closing date is February 13, Class tries should be mailed to Mr. Merrill at 48 of the American Guild at the be secured by of Organists, to E The Choir Invisible age of seventy-eight. He had sung 1948 and all details may West 48th Street, New York City. Y0RK °,TY OPERA Johnson, the composer of the best composition for «”!• _wo seasons writing to Mrs. Thomas Hunter PAW Wh7,b with the Metropolitan Opera the organ submitted by any musician re- ’ opened its Phila- qpnt u season on ELLEN concert Company before Chairman, 407 Bellevue-Stratford, te ber "5 BEACH YAW, noted taking up his career in THIRTEEN PRIZES, totaling $1,000.00 siding in the United States or Canada. The ’ Wl11 include Massenet’s singer, light delphia 2, Pennsylvania. THE BOSTON “wWerther”t'? distinguished because she was the opera. are offered by Schulmerich Electronics, deadline for submitting entries is Jan- MUSIC in its eight COMPANY weeks of opera only known and Inc., Sellersville, Pennsylvania, in a con- uary 1, 1948, and full details may 116 giving. The Massenet work soprano who could sing be BOYLSTON STREET . has not been sustain MRS. BOSTON 1G, given m New D above high D. died Septem- ROBERT M. STULTS, widow of the COLLEGE offers a prize test just announced, open to American secured by writing to the American Guild MASS York since the season MONMOUTH 0f ber 9 at She composer best setting composers “to stimulate the creative im- of Organists, 630 Fifth Avenue, New West Covina, California. of the famous song. The Sweet- of one hundred dollars for the had lived for est Story of Psalm agination of American organists.” All de- York 20, N. Y. 654 in the Los Angeles suburb Ever Told, died September 20 of a prescribed metrical version "MUSIC STUDY EXALTS LIFE ’ STUDY EXALTS LIFE" 655 THE ETUDE November, 1947 "MUSIC ! ]

The Wizard of the Violin Junior Etude Contest by Paul Fouquet

Etude will award three at- you enter The JUNIOR on upper left comer of your OBBY was staring at the little requires a larger stretch prizes each month for the neatest paper, and put your of the fin tive address on upper grotesque or essays and for answers right corner figure in the store gers.” nd best stories of your paper. B window. Contest is open to all boys and It was a model in “Oh, I see,” said nuzzles. Write on Bobby. to one side of paper only. Do colored eighteen years of age. clay of a man with a long, “When he was only rirls under not use typewriters and eleven years S do not have any- thin body and of A, fifteen to eighteen years of one copy your a face with sunken age Paganini gave his first Class work for you. OlEkLII violin re ' twelve to fifteen; Class C, cheek - Class B, Essay must bones and black, piercing eyes. cital and it was a great age contain not over one hun- success peo years. Pressed in the clay at under twelve dred and fifty words and must the bottom of pie from all walks of life be re- came to Names of prize winners will appear on ceived at the Junior the statue was the name, Paganini. hear this sensational Etude Office, 1712 player when page in a future issue of The Etude. Chestnut Street, this Philadelphia ( 1 Pa., Bobby turned to his ) , by uncle beside ever he appeared. On one best contributors will re- of his con' The thirty next the 22nd of November. Results him. “Was Paganini really as weird cert in’ Febru- tours he went to Vienna honorable mention, ary. Subject looking and ceive for essay this month, “A as that, Uncle John?” he that class in great city gave his name put your name, age and which Musical Experience.” ELIZABETH A.GEST asked. to COLLEGE many things, such as “Paganini “Well, Bobby, according to the de- Cakes,” and “Candies a la Paganini ” scriptions of people who saw him, he At his concerts he loved to did look startle the CONSERVATORY OF MUSIC like that. Some said his ap- audience, and sometimes Quiz pearance he would No. 26 was almost frightening. His deliberately break Results for Kodak Picture two or three The Wizard of the Violin appearance, together with his un- strings, Mendelssohn and continue playing Contest A professional music school in an attractive canny skill in playing on the Continued the violin gave remaining one or two. rise to His double college town. (Member of the National many fantastic tales about stopping the arrangements made by Liszt and 1. Felix Mendelssohn was astounding and Maybe our directions for the Kodak died in No- 5. In him. No one he Schumann. Liszt’s own brilliant Association of Schools of Music.) what city did he found a con- had ever before played could imitate contest were not very clear as many piano vember, 1847, just one the sounds of playing was hundred servatory of the violin with such nature said they did not understand somewhat influenced by years music? astonishing such as the sighing Juniors Paganini’s Thorough ago. In what year was technic. of the wind the violin playing, and he instruction for carefully selected he 6 . Did he become Some said he whether they had only to take the born? well-known as a was a ma- rush of a waterfall, wanted to make his arrangement of gician, the songs of pictures or whether they had to print students in all branches of music under artist teachers. conductor of symphony a wizard who played by black birds, La Campanella as difficult for 2. Where was he orches- and the cries of them, too. Or could they send pic- pi- born? tras magic. Of animals.” anists as Paganini Special training in band and choir direction. as well as a composer? course that sounds silly to He had made it for 3. How old was he must have been quite tures they were in themselves that when he began 7. Did he us, but for a trick violinists. It’s interesting to hear how or did he not ever visit many years such stories player, somebody else took. to write music? I think, Uncle John ” differently Schumann and Liszt Write for catalogue describing Oberlin’s conservatory England? were believed about him.” So the next time we have a Kodak ar- 4. In what city- “WeH 1 would ranged Paganini’s composition called in Germany did I’ve say yes and contest we will make the rules clear- courses and its superior equipment (200 practice he 8. Name one of his oratorios. often heard his name no, The Chase. study music? but I Bobby. He was a great Maybe you will hear these 9. don t showman er. Hardly anybody nowadays, except rooms, For which one of know anything about and arrangements some day. And of 23 modern organs, etc.). Degrees: Bachelor of Shakespeare’s him. You Played only his own some of the older boys, print their plays did he write seem to know something difficult compo- course, Bobby, Paganini’s playing Music, Bachelor of School music? about ev- sitions and own pictures, but there is a tre- Music; Master of arrangements, yet could not have been so startling if 10. Did he write a concerto erybody, Uncle John.” he sin- mendous revival of interest in pho- for vio- cerely admired the he had not had some of those superb Music, Master of Music Education. lin?, foi piano? “Not so sure of music of other tography as so many GI boys are Practicing Can you play any that, Bobby, but I composers instruments made by the great sev- of read and never missed a taking it up. his “Songs Without Words” something about this wonderful per- enteenth century violin makers in by or formance of a Frank H. Shaw, Director, Box 5117, Oberlin, Ohio. Grace Cowling other compositions? violinist, Niccolo new Beethoven sym- Cremona, Italy—Stradivarius, Amati, If not, why Paganini, the other P iony. And not learn day. He when we remember and Guarnerius.” One Day one this season and add was born in 1782 in Genoa that he was held in high “That gives me an idea, Uncle it to your list of Italy, the same town esteem by such memorized Christopher musicians John. You know some violinist, I pieces? Columbus came as Chopin, Mendelssohn from. Little Niccolo Schumann, forget his name now, is going to play*- ( Answers showed Berlioz, and on next page ) musical talent Liszt, all of on a Stradivarius violin at the all- at an early whom were living at the same time star concert Friday night. What do you say we go?” “Sure, Bobby, I’ll go and get the Do It With T tickets right away.” Music The following My goodness! Letter Box writers asked v What an We are all very H Has Your Child awful sound' familiar with the ex- to have other Juniors write to them. / The chords pression, N the advantage of piano study with seem worse the “Say it with music.” Owing to more I But we do E limited space their letters can Prize Winners in Kodak Contest a member of the pound not hear so often the not / expression, “Do it I be printed in full. Always address 0h there Sh That is realJ replies Renslo, Dakota, for picture of NATIONAL GUILD °Uld haVe been a y what some to letters appearing on this page Clarie South / fla(L of the folk-songs V C herself and sister with their violins. are for, to help people in care of the Junior Etude. Otherwise of PIANO TEACHERS do things Joyce Pickard, Illinois, picture of her new / Too late by having music. the replies Inc. now to think of that. They have I D will not be forwarded. comet. harvest songs, spinning A goal of achievement for every student suitable I need songs, and all of her- / more fingers for Darlyene Jackson, Missouri, picture to his age and advancement. this run— sorts of work songs. 0 L Dear Junior Etude: I meant to start self at piano. 81st ANNIVERSARY YEAR (NOT A CONTEST) with number The I just love to / one. Arabs have a very practice piano and my ambition A complete school of music, dramatic The Better Teachers Are Members good song. They L is D to be a symphony degrees. had to carry water orchestra leader. I would art and dancing. Courses lead to Chapters in every large music center for their live like to Honorable Mention for Kodak stock hear from music lovers all over the Special students may enter at any time. INFORMATION Im Carel6SS a ng long I FOR WRITE ’ Play °. ’ distance, world." ^ things using large jugs. Pictures wrong, Their lazier SECOND SEMESTER IRL ALLISON, M. A. companions told them P ^Lucy Gotschall (Age 13), could it N Nancy Haydon, Jacqueline Opens January 26 FOUNDER AND PRESIDENT 106 h°Ur S6emS Sl0w not be done. But they went Massachusetts. Ethel Minners, \ ^ and ahead, Oliver Stanton; Box 1113 AUSTIN, long^ and made this song: A O'Day; Bob Diehl; George Write for catalog TEXAS My Ave. Cincinnati 19, Ohio ambition is to be an organist. I would Maylou Ennis; Ruth Allen. V 2650 Highland Some people W like to hear from said that it couldn’t be done G music lovers.” If they worried, Arlyne Gooch (Age 15). they hid it. I They A Missouri. started to sing g)br QbfarUntil Jnatitulr of(l)natr As they tackled the thing z °f the iuckv N with ones who studies piano That n a fine couldn’t be done, teacher. I am anxious to hear from and they did it! A some one." Bachelor of Music Degree, Master of Music Degree, Artist Diploma I Just try singing this make up your R Arline Holford (Age 8), BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., Cleveland, O. *™e~the next N Maryland. ume you have a hard Charter Member of the National Association of Schools of Music b 0 r a D . ’.“ i°b you do not like Piano at do. ‘°J ( to I church sometimes and love to You might even 'W/er////// olai The notes are discard the first two a s0 want t° learn the guitar and piano right; and now I lines and armrj™ will alter the n ' 1 wou, MILLIKIN CONSERVATORY OF MUSIC Endeavor last line, like this: ,° d like to have some Juniors to improve writewrit to my trill; age, and, though me." jSMOPOLITAN DECATUR, ILLINOIS That sounds They started to sing he was ffmii u much better; spent many ’ he as Carolyn Council (Age 12). SCHOOL OF now I’ll When hours n Paganini, he certainly MUSIC Offers thoro training in music. Courses leading to play they tackled the thing practicin must have North Carolina. on his S een CLARENCE EIDAM, President Bachelor of Music Degree. Diploma and Certifi* They didn’t vi an t* more N. I., d L than o1 Camden. The way it want to do, and they a mere trickster, JUNIORS ROSSETTER G. COLE. Dean cate in Piano, Voice, Violin, Organ, Public School says, allegro, did it! and mandolln ' i *ce ver to gay. guitar. don t whl y much hear from any one costume playlet year. Offers courses in all branches Music Methods and Music Kindergarten Methods Some said you think?” Pires in 44th And ne 1,11 PraCtlCe to be a concert pianist as I do.” of Music. Confers certificates, diplomas learn that the on Bulletin sent free upon request marching guitar gaTe Yes, I and degrees. Member of N.A.S.M. t Sm h guess that’s right, Uncle Marlene Miles (Age 15), Lucille DiPaolo, Loretto Di Delsi, Mary u nf Wonderfa recital: Located in downtown musical center. W. ST. technic l Argentieri, CLARE, MINTURN, Director on the Illinois. Colocci. Rita Mangano, Carmela It can’t be What Liszt Said viohm” were his compositions Box E. 306 S. Wabash Ave., Chicago4, III. five o’clock so soon! like’” Anna Marie Auletto. Emilia Risorto, Lorraine Liszt said: Dea" Junior “Music is never sta- 6 Etude: Kopesky. his fingere°sTrongTr m&ke “His egan biking tionary; successive compositions Nisonslessons whenwnen 1 was lourfour anaand The days I’m forms and thTnvIopV10lin - were like him- a half„, , careful, do things styles tice? i prac ° ld right are only don’t spp „ S°me both My mother plays well and to Quiz hke so many wefe little than shetmH ., Answers My practice hour resting places- B° , more my daddy help me with prac- CHICAGO MUSICAL seems short and “That’s bby ’ flas Heine my COLLEGE hke tents because ’ pitched and tt xlT*S ltar many of them have sin- my teacher says my progress is Germany; 3, Founded 1867 by Dr. F. Ziegfeld RUDOLPH President bright. taken down re( uire a due t n 1 1809; 2, Hamburg, GANZ, a stronger l s cere, ,r mterest. again on the road finger§ nmo melodic gave Last year my mother Berlin; 5, Leipzig; CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M. to the ideal.” P ure on its charm. Pianists are fa- m6 3„ _ eleven years old; 4, MUS. ED. strings steel subscription to The Etude and Member of North Central Association National ’ anaand miliar certami and con- and Association of Schools of Music 656 alsoalso becausehp with some riainly enjoy ves; 7, yes, several times the of them through it. 6 MUSIC. SPECIAL guitar there; 8, “St. Paul, ALL BRANCHES OF INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS ( Continued ducted concerts on next page ) From your friend, Summer Nights Address Registrar, 60 E. Van Buren St., Chicago Kay Decker. “Elijah”; 9, “Mid 5, Illinois Dream”; 10, yes. THE ETUDE Indiana. November, 1947 657 — — — —

GILBERT AND SULLIVAN, part singing. Five ONCE-UPON-A-TIME .VMS FROM chapters of informa- THE COVER FOR THIS MORE STORIES GE ' Mittler— MONTH—The * Piano by Franz This tive text matter will lend GREAT , for interest, and Schubert in portrait fantasy THE MUSIC MASTERS, For on the cover You/ excellent addition to the there also is an extensive bibliographical Pianists, by Grace Elizabeth '^"'makes an of this issue is a reproduction of a water Robinson, book collections. It index. Joaquin Foster Ufa library of music color painting executed especially sical Arrangements by Louise E. Stairs for Thi Sullivan home from Until this book is ready, single member the Artist Faculty the Piano book follows the plan Gilbert and copies of of The Etude Music Magazine by Charles of the popular S oppor- the and will give many may be ordered at the special Advance Department, Pupil of Joaquin Turina Ricardo O. Once-Upon-A-Time Stories Ibe stage Golden. Mr. Golden studied the va- presenting delightful experiences of Publication Cash to re-live Price of 80 cents, Vines (teacher of Iturbi), and Emil Sauer rious rough portrait sketches made of the lives of great composers, coupled Tnitv with with these enjoyable pieces postpaid. their most famous r the past (pupil of Liszt). Recitals in Madrid, Paris, Schubert during his lifetime, analyzed melodies in simpli- grade difficulty. Barcelona, the descriptions of Schubert’s appearance fied form. Ten composers are included" of third Lisbon, Buenos Aires, Mexico City, contents will include all the favor- LITTLE RHYMES TO SING AND PLAY, For by his contemporaries, and carefully Liszt, Strauss, Rubinstein, Saint-Saens The and other music centers. Soloist with leading as: A Wandering Minstrel; The Piano, by Mildred Hofstad This delightful noted the size and shape of Schubert’s Tschaikowsky, Dvorak, Grieg, Chaminade’ ites such orchestras, including U. S. National Symphony. That Bloom in the Spring; Tit- book is made up of favorite nursery skull in order to have this water color Sibelius, and Gounod. The various Flowers Hailed critics Spain’s greatest com- Ocean Blue; I am rhymes the pre-school child by as “one of positions follow we Sail the likes to sing portrait study a truer portrait of this the story interest. muow; pianists.” The Buttercup; and others. The over and over again. Melodies are pre- musical genius of Vienna than some of musical arrangements for piano Called Little solo each selection sented in single notes the grades one are given with only, so arranged more glamorizing efforts of 19th and THE CHILD TSCHAIKOWSKY, Childhood to two, have been made by words copies of this book are being as to be within the five finger position Instruction from eminent Artist Teachers is 20th century continental artists. Lottie Ells- Louise E. Stairs, whose Single Days of Famous Composers , by work is well / ~ at the Advance of Publication for each hand. The association of words available to talented students at Sherwood, Over 600 Schubert songs have been lovember, 1947 worth Coit and Ruth Bampton—As in the known to Etude readers. and music leads quick saved for posterity. Besides his songs to memorization, from the beginning of their studies. Certificate, Diploma, Degree courses cases of its companion books, this seventh One Copy to a customer may be or- Schubert wrote and sight-reading is stimulated by the in Piano, Voice, Violin, much music for piano, in the Childhood Days of Famous Com- dered now at the special Advance of Pub- Organ, Cello, Wind Instruments, Public School Music, and his writings in familiarity of the tunes. Thus when the chamber music run ADVANCE OF PUBLICATION posers series will set forth the story of lication Cash Price, 30 cents, postpaid Conducting, Theory, Composition, Courses for Veterans under G.I. Bill of to a generous number. His choral APPROACH TO HARMONY, by child of three to five has his first lesson music its hero’s youthful days and his early The sale is limited to the United States KEYBOARD Rights. Spring Semester opens February 9. For free catalog, write was great, and among his dramatic OFFERS Lowry—This outstanding new at the piano, he finds one of these pieces activities. There will be several easy ar- and its possessions. Margaret Arthur Wildman, Musical Director, 412 South Michigan Avenue, outgrowth of Miss Lowry's a not-too-difficult transition from sing- works were some operas, which have rangements for piano from book is an Tschaikow- Chicago 5, Illinois. had performances in Vienna, but to- background and experience in the ing to playing. Parents will find these All of the hooks in this list are in sky’s best-known works, one of them a MY EVERYDAY HYMN BOOK, For Piano, rich day out of these writings for the stage, preparation for publication. The Richter classroom. Harmony is introduced chord songs ideal for home musical recreation. duet. Attractive illustrations will be in- by Ada —Almost every piano pupil’ about the only thing heard is his “Ftosa- low Advance Offer Cash Prices ap- in the piano idiom familiar to At the special Advance of Publication cluded. There also will be suggestions likes to play hymns. As written for sing- by chord monde” overture. For orchestra Schu- ply only to orders placed NOW. pupil and not by the usual four-part Cash Price, 30 cents, postpaid, one copy for the dramatization of the story for ing, however, hymns are beyond the the bert’s writings include eight Delivery ( postpaid) will be made character. symphonies recital purposes, grasp of beginners. In vocal writing of hymn-like may be ordered now. when the books are published. and directions for set- this book, they are and seven overtures. Many critics place book, adaptable to high school, col- Paragraphs describing each pub- ting up a small stage model of a scene so simplified that the pupil who has The his Symphony in his is C and B minor or private classes in harmony, Safety, lication appear on these pages. from the composer’s life. The piano solos studied one year can play them with ease. lege, HEADS UP! A One Act Operetta on Symphony (“The Unfinished") among twenty-seven lessons. Instifufional of will include the Theme from the “Allegro” About fifty favorite hymn tunes make divided into Book and Lyrics by Robert Wavnc Clark and Member of National Association of Schools Music the greatest of symphonies. of the Sixth Symphony; up the contents. Believing that experience with music D. Willard Zahn, Music by Ralph Federer— American Negro Songs— For Mixed Voices Theme from the A special section in- No lover of music should forego the possible means to Work .80 “Marche Slave”; the Theme from “June" cludes “Hymns for Children." itself offers the best This resourceful operetta for juvenile opportunity A number to become acquainted with learning, the author has de- Basic Studies (Barcarolle) ; and the of popular satisfactory groups is above the average for good en- for the Instruments of the popular Theme Gospel Songs are | biographical information represented, on Schubert Orchestra Traugott Rohner book to examples from from the “Piano Concerto No. 1.” The with The Old Rugged Cross and Living voted much of the tertainment and instructive potentiali- AMERICAN CONSERVATORY and with a goodly number of his com- Student's Books, each .25 duet will and quotations from Mozart, six Conductor's Score .60 be an adaptation of the popular for Jesus included by special permission folk songs ties. It offers solo opportunities for positions. It is hard to realize that in the Troika. Beethoven, Chopin, Verdi. Weber, minor OF MUSIC—CHICAGO Chapel Echoes—An Album of Sacred and of the original copyright owners. Teach- Haydn, leading characters and several short span of a life that began Jan- Offers courses in all branches of music and dramatic art Meditative Music for Pianists Schubert. Young and At the low Advance of Publication Cash ers will find this book excellent for Schumann, Mendelssohn, and parts. The size of the chorus, jury, and uary 31, 1797, in Lichtenthal Old les- 61st year. Faculty of 135 artist teachers (at that Peery .40 Price, may be or- of 20 cents, postpaid, a single copy son assignments. It will be useful also in One copy to a customer safety drill patrol unit can be altered or Member of National Association of Schools of Music time a suburban section of Vienna) and The Child Tschaikowsky— Childhood Days of can be of Publica- Send for a free catalog Address: John R. Hattstacdt, President, 583 Kimball Building, Chicago Famous Composers reserved now for delivery when the home or Sunday School. dered now at the Advance augmented to personnel available and ended in Vienna, November 19, 1828, a Lottie Ellsworth ready. postpaid. Coit and Ruth Bampton .20 Those who remember Mrs. tion Cash Price of 75 cents, stage capacity. The amusing, relevant period of approximately 31 years and 9% Richter’s Eighteen Etudes for Study and Style— For My Own Hymn Book will not want to lyrics have been set to attractive rhythms months, there could have been so much Pi°n° Scher .25 SOUSA’S FAMOUS LIGHTER MOODS AT THE ORGAN, With are well creative production. MARCHES, Arranged for miss getting a reference copy of this and exhilarating tunes which Gems from Gilbert and Piano - Sullivan Solo, by Henry Levine—Here for the second book at the low Advance Hammond Registration—A new collection abilities of Junior High or DILLER QU AILE Arranged for Piano of Pub- within the Mittler .40 first tune, popular due to the lifting of certain lication Cash Price of 40 cents, postpaid. of organ compositions in the Elementary School pupils. SOMETHING UNUSUAL—Picture yourself Heads Up!—A One-Act Operetta School of Music on restrictions, will be all includes The Safety of the most fa- clothbound series, which copy may be ordered now at the deciding to sell music publications. After Federer .40 One mous of John Philip Sousa’s marches SHORT CLASSICS Organ Player, Organ Repertoire, The Publication Cash Price finding a suitable In Nature's Paths— YOUNG PEOPLE LIKE, special Advance of To Students and Teachers: En- store located in the Some Piano Solo De- within the lights for Young covers of one collection. For Piano, Chapel Organist, and Organ Vistas, will central shopping district of a fair sized Players 40 Mr. Compiled and Edited by Ella 40 cents, postpaid. Levine’s new arrangements, rollments now being made for fall Keyboard Approach to made espe- Ketterer—Every one of the short classics be greeted with interest by organists city, you would to Harmony. . .Lowry .75 have stock it with the cially for this book, are in grades three included in everywhere. Its medium grade content term. Write for catalogue describ- best selling standard, classic, educational, Lighter Moods at the Organ—With Ham- this album was chosen as a NATURE’S PATHS, Some Piano Solo and four, and reflect IN mond Registration 90 anew the sure touch favorite by pupils is drawn from the copyrighted publica- religious, and popular publications. Per- of Miss Ketterer over for Young Players—The an- ing Normal and General Musi- of this expert musician’s Delights Little Rhymes to Sing and Play— For Piano hand. a period of the last two years. All are tions of the Theodore Presser Co. and new haps you might limit this stock to only The nouncement of such an inviting cianship Courses. Hofstad .30 contents of this album will will not be found in other books. Reg- the highlights out of appeal pieces which pupils ask to play in re- as this is usually wel- one-fourth of the to pianists piano solo album More Once-Upon-o-Time Stories of the everywhere. Among istration is provided for standard and catalogs of the 200 or more different the fa- citals—proof indeed of their popularity. anticipation, for such mu- Great Music Masters— For Young Pian- vorites comed with eager 66 East 80th Street it will include are: The Stars and These Hammond organs. sic publishers in the United States. The ists Robinson-Stairs .30 approximately thirty-five numbers already achieved a large Stripes Forever; collections have New York 21. N. Y. investment Semper Fidelis; The are representative of the work of most of One copy may be ordered now at the teachers would be somewhat stagger- Music Made Easy—A Work Book Liberty audience with students and Bell; Washington Post; special Cash Student Residence of Mihich School of ing in consideration of fact Mara Ville .25 El Cap- the master composers. The grade range Advance of Publication numbers the that the itan; alike. First and second grade Piano, Voice, Violin, Cello. Dip- The Thunderer; King Price, Music. majority of the sheet music items My Everyday Hymn Book— For Piano Cotton; High from second to fourth indicates the use- 90 cents, 'postpaid. of proven Also Radio, Speech, Paint- would School Cadets — chosen from a large group loma course. Richter .40 and Manhattan Ceramics. Academics. Ages 14 be sold over the retail counter for about Beach. fulness with each pupil for about two this collection. ing, BALDWIN-WALLACE Single copies favorites will comprise years up. Excellent cuisine. Write for Short Classics Young People Like— For of this fine collection MUSIC Mara 50 cents, and the average may years. The editing i.< Miss Ketterer, MADE EASY, A Work Book by will be an CONSERVATORY OF MUSIC collection or Piano be by young pianist this booklet E. T Ketterer .35 reserved now at the For the special Advance Ville Designed follow the material of OHIO (suburb of Cleveland) instructor for about $1.00. whose skill is well known. — to the pieces capitalize on BEREA, Sousa's Famous Marches—Arranged of Publication Cash ideal choice, as MRS. WILLIAM HENNE for Price, 70 cents, All in Robert Affiliated with a first class Liberal Arts College. The next step would be to attract cus- Piano Solo *post- One copy may be ordered now at the One, a piano method by natural world Henry Levine .70 paid. children's interest in the 3001 Pacific Avenue Four and live year courses leading to degrees. Faculty Nolan Kerr, this book supplements any or informa- tomers. Your most regular ones very special Advance of Publication Cash their titles and rhythms of Artist Teachers. Send for catalogue about them; and MARTA BAYER, Piano tion to: likely would be teachers, Price, 35 method, for it introduces the real mu- but consider- BASIC cents, postpaid. nature’s moods and actions. MIHICH, Voice HAROLD W. BALTZ, Dean, Berea. Ohio STUDIES FOR THE sic express VASCO able time would have to be spent in INSTRUMENTS fundamentals, such as symbols, note be ordered OF THE copy to a customer may ORCHESTRA, by Tra„ .„, R values, One gathering together a prospective cus- s ohner CHAPEL ECHOES, An Album Sacred and time signatures, scales, rhythm, of Publica- Here is a book for of now at the special Advance tomer list of teachers school orchestras bv accent, ties, slurs, tetrachords are and other active music teacher. The a Meditative Music for Pianists Young and Old, and cents, postpaid. metropolitan areas music educator of wide, tion Cash Price, 40 music workers. Meantime, these individ- practicable ex- Compiled presented by varied means with constant in which these stores are located em- perience. and Arranged by Rob Roy Peery Presupposing an elementary drill uals through various musical media read brace —Just a titles of and review’ material in the form of Greetings about 50 million people, leaving knowledge of glance at some of the STUDY AND For Christmas or New Year by them would learn his instrument bv matching ITEEN ETUDES FOR of new things being about 85 millions of people each compositions contained in this forthcom- and true-false tests. The actual in the United player, Mr. Rohner has by William Scher—This published, and you would find that in States prepared a series ing volume writing of notes and musical symbols, „E, For Piano, without a store in their retail of of easy-to-play (graded about success- - "CHERISHED MELODIES" studies covering scales, be published in the jfe .... order to satisfy their interest in new shopping area carrying intervals two-and-one-half) clever poetry, and attractive illustrations work, to standard, classi- arpeggios, rhythm, piano arrangements will be made publications you would have to and dynamics. Some sustain the Music Mastery Series, add to cal. educational, and religious by Dr. Peery will be sufficient to start child's interest. P, CALENDAR for 1948 music me odres from the best material for young your stock an average of several items composers are A single f engaging study publications. included “echoes”. Listen to this partial list: copy may be reserved at the 1 Doz. including envelope together with Attractive titles will be used Price, 10c Each. $1.00 a daily. Unless you had established your That is why harmonized “Time special Advance Price icians. 1 the Theodore Presser -. Prayer A of Publication Cash Co. Teasers Special of Thanksgiving (Kremser) ; themselves store attention is of and the studies in a city large enough to bring Direct-Mail Service to Music given to Joyous 25 cents, postpaid. ughout, THE 12 MELODIES ILLUSTRATED ARE: Buyers ev- the strings, and Easter Song (17th century melo- phases of piano 1 you 300 to 500 buyers of music daily erywhere many useful hints be devoted to special you is patronized by thousands daily found are dy); Palm Branches Holy Melody in F (Rubinstein), Traumerei (Schumann), m the (Faure) ; O and staccato, would find it impossible Conductor’s Score. AMERICAN including legato to support the and that is why the Theodore Presser Violin Night (Adam) Bee- NEGRO SONGS, For Mixed nic, By the Waters of Minnetonka (Lieurance), A Dream ! B S ; Chorale (from rhythmic pre- of ’ P1Ute -°b0R the trill, overhead maintaining a fairly Co. ' Clarinet- Voices, thirds, repre- maintains the world’s largest stock Trumpet, f thoven’s Ninth Symphony) Adagio Can- by John W. Work—This forthcom- fie (Bartlett), Auld Lang Syne, My Old Kentucky Home T~t F Horn,h E-flat ; hands, syncopation sentative stock of worthwhile new music of music of all Horn-Saxo- ing collection, n, alternating (Foster), At Dawning (Cadman), Forgotten (Cowles), publishers. phone, and tabile (from Beethoven’s “Sonata Pathe- assembled by a well-known and publications. Trombone - Bassoon - passages, arpeggios This explains why even the Anyone desiring information Tuba tique”) authority on Negro folk lore, will em- hand scale Sweetest Flower That Blows (Hawley), Last Rose of on the parts ; Triumphal Ave will be available March (Grieg) ; cross hands, larger stores must sell records, as well as brace hand motion, Lullaby (Brahms), and The Lost Chord radios, conveniences and economies of Fresser’s the Maria by Schubert; “Fin- more than two-hundred religious ds, rotary Summer, Conductor’s Score. Choral from - instruments, and other merchandise. All Service and secular notes . (Sullivan). to Music Buyers or who landia” by songs of Negro origin, among repeated . want Single copies of the Sibelius. copies ot told student’s single * there are hardly 400 music stores catalogs on any classifications books Church them “blues,” “social ior to publication, of music may be ordered and Sunday School pianists, “work songs,” and de- M in the United States endeavoring at 25 cents each songs.” book can be reserved for to may obtain the same simply by address- the especially, These latter, however, will be Scher’s THEODORE PRESSER CO. Conductor s Score, should lose no time in ordering special Ad- 8 carry a stock of music such as will en- ing 60 cents, postpaid given published at the Size, 4 V2 x a request to Theodore Presser Co., Be a copy each of chiefly with text only. y when Chestnut St., Philadelphia Pa. 1"611*1011 at the special Advance melody and cents. 2 colors 1712 1, able them to give service to the ^ Parts desired Cash Price, 25 Lithographed in average 1712 Chestnut Street, wh«n More than :e of Publication Philadelphia 1, Pa. ordering Publication Cash Price of 40 cents, post- one-hundred of the spirituals paid. will appear in arrangements for four- 658 659 Advertisement Advertisement THE ETUDE NOVEMBER, 1947 — —;

111 whole thing; we were in the I War then Others See You and he said it pleased him to see a young As carrying on under PIANO - - person difficulties, as EXCELLENCE PRIZES Page 653) ( Continued from the boys of the Armed Forces had to do 1. ARTIST DIPLOMA WINNERS— to Each of the FIVE MOST OUT- Examination Privileges To STANDING. (a) A $250.00 Cash Prize, and (b) Round-Trip Fare to New Still, it taught me to be alert to else perspired during any pos- Towering York City, and (c) An audition Belore an Artist-Judge of international score! (Guess who Favorites vor harp emergency! Established Teachers repute, and to the ONE Chosen as MOST OUTSTANDING, (d) Another performance.) sible / $250 Cash Prize, and (e) A Debut Appearance in New York. the That, perhaps, is a good thing 2. COLLEGIATE DIPLOMA WINNERS— to Each of the TEN MOST Most conductors could add many more for any with Guild OUTSTANDING from Coast a Prize thousands of to Coast Cash of $100.00. where ambitious young harpist to remember. piano teachers are 3. HIGH SCHOOL DIPLOMA WINNERS— to Each of the 20 MOST OUT- examples to these two instances, these STANDING from Coast to Coast a Cash Prize of $50.00. You need to play well. You need Diploma mistakes, or downright disasters, have com- RULES GOVERNING ENTRY mastery of your merely by keeping the eyes plete instrument. But 1. A SUPERIOR RATING from the Judge as a High School, Collegiate, been averted Wmncrs along with this, you need the FIRST or Artist Diploma Winner in the ly48 National Piano Playing Auditions roving around the ensemble rather than kind of INSTRUCTION BOOKS FOR BEGINNERS shall be required of each entrant. solid, sure musicianship that 2. Submission for One or Records to test can tide in fhe judging of Two 12-Inch Phonograph glued to the score. If you want of the Entrant's playing of from 2 to 4 compositions of contrasting style, times you you over any possible emergency, whether at least one of which must be by an American Composer. Choice of your own habits, count the BEACONS to. SUCCESSFUL numb rs left to Entrant. — arises through a change of VOYAGES in it MUSIC 1948 full score and then program, a 3. EACH RECORD shall bear the name and address of the Entrant, look at each page of a of program, NATIONAL and the name and address of his teacher. until one or two filling in a needed chord or 4. An ENTRY FEE of $2.00 shall accompany the Records of Each keep cutting down * modulation, or a broken wire bass! PIANO-PLAYING Entrant, All Records shall become the property of the Guild and in no glances are sufficient. The best advice For case be returned to the Entrant. the harpist who possesses and Music Play AUDITIONS 5. THE RECORDS OF EACH ENTRANT shall be sent by parcel post is to conduct a number now and then demon- (prepaid) to WHITE. 527 121st Street. York, Bilbro's GRACE West New York, New strates such knowledge, there is an "Middle C" by NOVEMBER FIRST. 1948. entirely without score—but don’t give in- ( Madeavailable through tor Every Day 6. ALL P-E-P WINNERS shall be announced December First. 1948, by fol- teresting and rewarding career. the cooperation of Busi- in the Musical Courier and published in the 1949 Guild Yearbook. yourself much credit if you merely Kindergarten Book 7. PIANO-EXCELLENCE-PRIZES shall be as ness Patron Members of awarded the Winners ( The to special Christmas low along without giving every essen- Gateway Piano Playing) the National presents by December 24th, 1948, except the Grand By Mathilde Bilbro Guild of Prize for the Most Outstanding Artist Winner, which will be presented tial cue. If you are a “head ducker” you STUDY MUSIC IN CALIFORNIA Complete in One Book, Price, Piano Teachers.) publicly at the Debut Concert in New York City. $1.25 To students of music, beginners as well be surprised to find how much more as ad- Price, 75 cents may have waiting Box 1113 vanced, who been to study Piano, Also published in 4 Parts. Price, 40c each effective are with your head up Instruments, NATIONAL GUILD OF PIANO TEACHERS Austin, Texas you Voice, Arranging or Composing un- This “both-clefs-from-the-start" book is a great and how much more pleasure you get der a distinguished faculty, in a balmy climate A most emphatic triumph among all instruc- favorite with many teachers who have success and in the entertainment center of the world, the tion books for teaching out of the new feeling of freedom you children from five to eight in teaching little children. The child is given Fine Arts Conservatory of Music is pleased to years of age to play the PHIL SALTMAN SCHOOL will experience. announce that, due to expansion plans now under piano. It appeals to something musically interesting from the very THE DUNNING COURSE way, it can accept enrollent for the term starting the child mind with game-like procedures, cut- start. In conclusion, let again: The majority of the selections for the little of MODERN MUSIC of Improved Music Study me state good February 16th, 1948. Latest catalogue available out pictures, captivating illustrations and charm- piano beginner are given added appeal with Two and three year diploma Gladys M. Glenn, B.Mus., M.A., Mus.D., Dean ensembles are the result of good re- upon request. ing melodies. Both clefs are used from the be- words fitted to them. courses, popular or classi- of Education Faculty hearsal technics rather than any mag- APPROVED FOR VETERANS For Information and class dates address ginning. cal. Faculty of experienced ical baton gyrations. However, correct FINE ARTS CONSERVATORY OF MUSIC professionals. Day, evening. Executive Headquarters 2880 W. 8th St., Los Angeles California "MurJc Play lor Every Day" also is published in conducting technics should be developed 5. Bilbro's Kindergarten POPULAR DEPARTMENT 1710 Tyler St. Amarillo, Texas lour parts, price 40 cents each. This divided lorm is by all conductors because these technics particularly convenient lor class Instruction. Book (Original Edition) PIANO: Keyboard har- VOICE: Microphone mony, transposition, technique, inferpreta- make good ensembles better. The two Make THE ETUDE Your Marketing Place By Mathilde Bilbro modulation, solo per- tion, styles, musical baton technics discussed, proper start- Etude Advertisers Open the Doors to formance, orchestral comedy workshop, ra- BOSTON UNIVERSITY Real Happy Days in Music Play Uses treble Clef in both hands at start. trainjng, teaching, ar- dio, band, stage, trios ing position and methods of cueing, were Opportunities Price, 75 cents. ranging, song writing, and chorus. chosen because (Sequel to "Music Play for Every Day") CJLf of W./ UAlC of their importance and Complete in Book, Price 11.25. CLASSICAL DEPARTMENT because, in so many instances, their ex- One Supervisor: LEO LITVZIN, Piano Soloist Boston Offering complete courses in Piano, Voice, Organ. Also published in 4 parts, 40c each. " ecution leaves so Symphony Pops " Orchestra. Victor Recordings. Violin. Cello. Brass. Woodwinds, and Percussion in- much to be desired. STATEMENT OF THE OWNERSHIP. struments. Public School Music, Composition. My Piano Book Approved Veterans' Courses Church MANAGEMENT. CIRCULATION. ETC, Music. Musicology. Chorus, Glee Club. Orchestra, Band. Admissions Secretary. Write fur Catalog. REQUIRED BY THE ACTS OF Faculty includes members of Boston Symphony. Bache- CONGRESS (In Three Parts) Commonwealth Ave., Boston 1912, 284 15, Mass. lor's and Master’s Degrees in all musical subjects. Dorms. OF AUGUST 24, AND Little Players Branches in Providence, Worcester, Wellesley Catalog. COLLEGE OF MARCH 3. 1933 MUSIC. 73 Blagden St.. Boston. By Ada Richter /AyTiano Booi^ Of The Etude, published Monthly at Phila- A Piano Book tor deiphm,delphia, A METHOD •pi TT ri Pennsylvania, lor October( 1. 1947, Very Young Beginners First instruction material so attractively Philadelphia Conservatory ROY CAMPBELL Ine Harp as a Career ss presented as to seem like playing a succes- KS®} of pretty pieces. The first two books are /to a Richter Teacher Price, 50c sion Of Music Founded 1877 of Successful Singers By Robert Nolan Kerr 1 1 (Continued Before me. Notary << of from Page 609) a Public in and for the State in the oblong size (ll /, x 9 /, ) and cover the m CLASS INWmgHH. INSTRUCTION Maria Ezerman Drake, Managing Director and county afore said, personally, appeared A profusely illustrated little book (oblong - - - - teachers use Radio Theatre Pictures Concert Opera James Little first year of study. Many them ENZO SERAFINI-LUPO, Opera Coach This I learned by a nearly Francis Cooke, who. having been duly gaily title “STYLE- IZING” for the calamitous form (10 x 6%) with a decorated follow Kindergarten piano book bridging OLGA SAMAROFF, Special Lectures Radio and Theatre sworn according to law, deposes and says that to a experience! Once, illustrations, Studio when I was playing on he is the Editor of Tire Etude Music Magazine page in colors, many and rhymes and the usual Courses leading to Degrees — Players the gap between such a book the Raymond Paige and that the following is, to the best of his tunes that will amuse and instruct tiny 607-8 Carnegie Hall New York City “Salute to Youth” and first instructor. Part 3 is a splendid aid 216 So. 20th St. LO 7-1877 knowledge and belief, a true statement of the Telephone Cl 5-9244 program, I happened to be wearing tots of Kindergarten age. For individual or year of study. a blue ownership, management, etc., of the aforesaid carrying through the second evening dress with many publication for the date shown in the above %Nolan Kerr group instruction. beautiful 3 frills Part 1 —Price, 50c Part 2—Price, 50c Part —Price, 75c caption, required by the Act of August 24. 1912, down the front of the bodice. While wait- as amended by the Act of March 3. 1933. em- ing CLASSIFIED ADS for my cue, I rested my harp against bodied in section 537, Postal Laws and Regula- a Tunes for Little Players tions, printed on the reverse of this form to wit: my shoulder, watching eagerly for the YOUR UNWANTED MUSIC exchanged LEARN PIANO TUNING AT HOME. 1. That the names and addresses of the pub- By Robert Nolan Kerr Tunes for Tiny Tots T moment to in. 5<* come And when the lisher, editor, managing editor, and business piece for piece, each; quality matched, Course by Dr. W m. Braid White. Com- great De«igned to follow "Little Players." Burpee's Specialty Shoppe, Delton, Mich. plete with necessary tools, Lecture Beat moment came, I found managers are: By John M. Williams Price, 75c — that my wrist- Publisher Price, 60 cents. recording, text book, etc. Total cost $50. watch had Theodore Presser Company. Phila- HARMONY, Composition, Orchestration, Pay as you learn. Write Karl Bartenbaeh, caught in my beautiful frills delphia, Pennsylvania. (Also Published in Spanish Edition) Musical Theory. Private St., and Editor James Francis Cooke, Llanberris Rd ., or Correspondence 1001A Wells Lafayette, Ind. I could not get my hand free. It was Instruction. Manuscripts revised and cor- Bala-Cynwyd, Pennsylvania. in a a horrible moment. Let's Play This is a John M. Williams' triumph rected. Music arranged. Frank S. Butler, 150 PIECES of Serious Piano Music for The time for my en- Managing Editor None. aid for leading youngsters of pri- 32-46 107th St., Corona, Y. sale, without restriction. 34-47 trance Business Manager None. teaching N. Bolan, 90th passed with no sound from the Book tor Young Beginners St., Jackson Heights, New York City. 2. That the owners are: A Piano mary grade and pre-school ages to making harp, and the conductor looked Theodore PIANO PRACTICING ANNOYING at me. Presser Company, Philadelphia. Penn- music at the piano keyboard with their own OTHERS? Mayo's Muting Device Easily FINE PROFESSIONAL CELLO—Perfect Desperately fearing sylvania. By Ella Ketterer Price, 50c a completely harp- Both clefs are used from the Attached or Detached by Anyone without Condition —Zipper Case—European Make The Presser Foundation, Philadelphia, Penn- little fingers. less hour, I tore my harming mechanism. State upright, grand —Beautiful Tone—$500. Myrtle Newhall hand free—and sylvania. Every lesson offers a piece or two, with start and, with its pleasing tunes along with or spinet. Send $5.00 for mute, full instruc- Exner. 1S57^ Campus Road, P.ock, ripped off frills. Estate of Theodore Penn- Eagle my Bits of blue hung Presser, Philadelphia. texts. Attractive little illustra- the note chart and many illustrations in the tions., Money back guarantee. Richard Los Angeles 41. sylvania. accompanying from my wrist, and my edition, it accomplishes wonders Mayo, Piano Technician, Dept. 003, 1120 dress was ruined James Francis Cooke, Llanberris Rd.. Bala- tions add to the charm. It makes a happy most recent Latona Street, Phila. Pa. but I lesson use. 47, VIOLINS WANTED—Any condition, low got started and played my part. Cynwyd, Pennsylvania. start for youngsters in their first year at the in both private and class priced, for students. Suburban Music Stu- Since 3. That the known bondholders, mortgagees, YOUR SONG Professionally Harmonized then, I have been extremely careful piano. dios, 643 Stuyvesant Ave., Irvington, N. J. and other security holders owning or holding and Arranged. for to First Year at the Piano Prepared Publication. wear plain frocks! 1 per cent or more of total amount of bonds, Write for Details. H. Saffran, 512 Urban John M. Williams FOR SALE: 3-manual, Moller I mortgages, or other securities are: None. in Music Land by Ave., Glenolden, Pa. electric ac- had another horrible moment early Adventures tion organ with harp and chimes. 13 * the two paragraphs next above, giv- Complete, $1.00. In 4 parts, 35c each. Age, 10 in • a? A first instructor, for Piano Beginners, years, now stored. my career. That time I was ing the names of the owners, stockholders, and MUSIC TEACHERS — Extra Copies of Address Immanuel playing a Evangelical Lutheran Church, group of soli security holders, if any, contain not only the by Ella Ketterer. Price. $1.00. your musical writings, low cost, Musicopy c/o Fred- at a Catholic Charities erick H. N. Heemann, 6304 Mossway, Bal- list of stockholders and security holders as they Service, Box 181, Cincinnati 1, Ohio. benefit at timore 12, Md. which a high Church dignitary appear upon the books of the company but also, was cases where the security ATTENTION! Directors of Musical Or- present. All at once, in the middle ^ stockholder or Playtime Book INEXPENSIVE, holder appears upon the books of the company ganizations, community choruses, bamls, professional copies of of my big technical Kindergarten your compositions. Willard “show off” piece, as trustee or in any other fiduciary relation, Pianolorte symphonies, etc. Let me assist you in fi- Photocopy a For the nancing your musical Service, Willard, Ohio. wire bass string broke. Not the name of the person or corporation for whom programs. Digni- only broke such Class Book fied and syre method. For particulars but came trustee is acting, is given: also that the By Mildred Adair Price, 75c bounding out, striking other said two paragraphs em- write to Ernest M. Peterson, 794 Monroe VIOLINISTS: Know the wonders of PAT- contain statements $1.00 strings, and making bracing affiant's full belief as By Richter Price, St., Santa Clara, Calif. MOR TONEPOST, (installed, $10.00, re- the strangest of knowledge and Ada An exceedingly good book to use practi- fundable). Patmor, Zion, ill. noises! circumstances and conditions under I had to stop until a house whichu- v the Three Bears cally from the very beginning as a supple- SLIGHTLY USED CLASSICS (Vocal, In- me- stockholders and security holders who The story of Goldilocks and chanic came to do not appear upon company work to almost any instruction strumental). Back Popular Music to 1850. PROMOTE YOUR SONGS, Professional my aid with a pair of the books of the musically and pictorially illustrated is used mentary as trustees, hold stock securities in a start for Lists 10c. Classics Exchanged For Old Copies, low cost, Musicopy Service Bov pliers to remove and in their first book. It pleasingly rounds out the the wire coil. But ca Pa cjty other than owner; in this book to captivate children Popular Music. Fore's, E-3151 High, Den- 181, Cincinnati 1, Ohio. no that of a bona fide fhe gaining new wire bass ana this designed that little folk. Its first pieces help in ver 5, Colorado. could be put in affiant has no reason to believe that piano lessons. The book is so at such any other notation up and down from USED VOCAL MUSIC BARGAINS. short notice—indeed, person, association, or corporation teachers without previous experience in class of a knowledge of Davi- no harpist ever has any interest direct the said LEARN PIANO TUNING—Simplified, au- son, 801 S. Garrison, Carthage, or indirect in successfully. Middle C. Missouri. carries wire basses around stock, bonds, or as so work may conduct classes thentic instruction $4.00—Literature free. with him since other securities than it is the stated by him. Prof. Ross, 456 Beecher St., Elmira, N. Y. FOR SALE: Violin, rarest tiling in the by owner. Beautiful world for a (Signed) James Francis Cooke, Editor Joannes Baptista Guadagnini. Turin break of this kind to BOOKS ON MUSICAL SUBJECTS 1772 occur—and I Sworn to and subscribed before me this 22nd —Biog- with Hill Certificate. Glorious tone. Sacri- had day raphy, reference, etc. Fast Service. to finish my program of September, 1947. Send fice or will trade. Pictures and full infor- without that par- SEAL for Free list. Andrew Baier, Bookseller, mation on request. ticular string. Alberta M. Allen Write Theodore Mar- The distinguished Public Obtainable Theodore Presser Co. Post Office Box No. 2, Cicero 50, Illinois. chetti, 472 E. 5th Ave., Columbus, guest Notary from All Leading Ohio prelate was (My 1951.) more than kind about commission expires Jan. 5, the Dealers, Publishers 1712 Chestnut Street, Philadelphia 1, Pa. EXALTS LIFE” or from the THE ETUDE

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