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

1-1-1946 Volume 64, Number 01 (January 1946) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 64, Number 01 (January 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/199

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f ft.S. &. ft. P. deed not Ucende Some Recent Additions Select Your Choruses conceit cuid.iccitzt fotidt&{ to the Catalog of Oliver Ditson Co. NOW

PIANO SOLOS—SHEET MUSIC The wide variety of selections listed below, and the complete AND PUBLISHERS in the THE AMERICAN SOCIETY OF COMPOSERS, AUTHORS BMI catalogue of choruses, are especially noted as compo- MYRA ADLER Grade Pr. MAUDE LAFFERTY sitions frequently used by so many nationally famous edu- payment of the performing fee. Christmas Candles .3-4 $0.40 The Ball in the Fountain 4 .40 correspondence below reaffirms its traditional stand regarding ?-3 Happy Summer Day .40 VERNON LANE cators in their Festival Events, Clinics and regular programs. BERENICE BENSON BENTLEY Mexican Poppies 3 .35 The Witching Hour .2-3 .30 CEDRIC W. LEMONT S.A.T.B. S.A. THUSNELDA BIRCSAK Dreamy Dancer 2 .30 Cat. No. Cat. No.

Cottage by the Sea . .3 .30 RALPH E. MARRYOTT 103 Hail Gladdening Light . KASTALSKY-Ray 113**The Lilac Tree (Perspicacity). .GARTLAN *0 Beneath Thy Guiding G. F. BROADHEAD Fragmentary Prelude 5 .35 104 God 120 Let Freedom Ring SCHRAMM TALLIS-Loftin Hand (20c) 121 The World Is Yours SCHRAMM Springtime Fancies . .4 .60 VELMA A. RUSSELL 105 Cantate Domino 122 Brave New World Blue Lagoon 4 .40 (Sing Unto the Lord). . . . HASSLER-Terry • • • No regard for the ... A sense of responsibility LEWIS BROWN (A Pan-American Song) .... SCHRAMM Valley Below (20c) Bird. . 106 In the Flight of the Humming . .2 .35 WILLIAM SCHER 123 Mon Petit Mari the public (Arr. by) MANNEY HERNRIED performer or his public! to the performer, The Bee the Butterfly (My Little Husband) SARAH LOUISE DITTENHAVER and 2 .30 107 Fearin' of the Judgment Day. .SWIFT and the composer! Tumbling Creek 3 .40 ROBERT STOLZ 110**The Lilac Tree GARTLAN-Braine RALPH FEDERER New Wine in Grinzing 4 .60 (Perspicacity) S.A.B. 112 Let Freedom Ring SCHRAMM Velvet Night . .4 .40 BOBBS TRAVIS 115 God Save the People. . GENET-ELLIOTT 144 Let Thy Shield From III BELLE FENSTOCK Little Tin Soldier 2 .35 116 Praise Jehovah (20c) Defend Us WEBER-Springer (Psalm 117, 118) MOZART-Binder American Rhapsody . .6 1.25 The Sleeping Doll 2 .35 146 Silent Night, Holy Night (With Saviour of the World .... GOSS-Ray (Orchestra Acc. available) Waltzing Teddy Bears 2 .35 117 O Unison Choir) (10c) MOLLER-HOLST 1 18 *The American Song (20c) 163 To A Withered Rose LOUIE FRANK MORGAN WEST MARTIN-SMITH (S. S.A.B.) BANGS-FALK COPT ««•<** .o Powerful (20c) c , ETYOr Drifting in the Moonlight.... 2-3 .30 Waving Willows. Valse Lente. .3 .40 124 God, the All LWOFF-Walton CtBCEfT MOW ^Street Now York 125 Sweet Jesus, Guide My Feet . . MEEKER S.S.A. wnolco of cox-la^ncorts^lno.^. New * PIANO, FOUR SHEET MUSIC 126 Brave New World »«“. taylor HANDS— ^•>C8l0t (A Pan-American Song). . . .SCHRAMM ^ -r 100 O Saviour of the World. . . .GOSS-Ray 127 Songs of Praise HOMER GRUNN "Tis Raining. Arr. by H. Levine 4 .60 101 In the Boat GRIEG-COULTER-Loftin r GESSLER-MONTGOMERY - *i.« October 22, 102 In the Valley Below (20c) n 1945 ^ 128 Sweet Spirit, Comfort Me! (12c) (Arr. by) MANNEY BRATTON-HERRICK PIANO STUDIES 109 **The Lilac Tree (Perspicacity) . .GARTLAN 130 Lord, Now Lettest Thou Thy 114 Sunset WALTON Servant (12c) KING 129 Let Ring York, K. Y. Freedom SCHRAMM Kew An up-to-the-minute technic book designed for 131 Come Now, Neath Jesus' THE CHILDREN'S TECHNIC BOOK 133 I Wait Alone Beside the Sea and children in the late first and early second ; Cross (12c).. (Arr. by) MOLLER-HOLST Mr By Guy Maier and Rosalie Smith Liggett years of piano study. A delightful story ele- GESSLER-SIMPSON 132 Bless the Lord, O My Soul Author.^ PuhU^he.haa In;,"' ment and many illustrations engage the stu- 134 Music When Soft Voices Die Society of honors rst Price, $1.00 »rI cec “£ ®a your dent's interest throughout. (A Cappella) GESSLER TAYLOR-SHELLEY concert £ led local recitals In the mi rapha81 136 I Will Lift Up Mine Eyes Unto field/ x 135 Cradle Song EISLER-BLAKE ied * that ?&srz. sx-tfi. the Hills (12c) ERWIN-Harlow 140 The Owl JOKL-TENNYSON " CJ 'S r^vs^ PIPE ORGAN 137 Christe Eleison (12c) 142 ilzatloa are performed. — - Lacrimosa (12c) SCHUBERT-Falk ’tr6ss aiXtX" that It JOSQUIN DES PRES-Block 147 A Christmas Song (12c) C he ftt.t, istantial number of l«al Mt™ts°liable but 138 *Hymn of the Soviet Union (10c) CROKER-SCHOFIELD Jfto boinL ers n. H. ALEXANDER MATTHEWS SIX ORGAN TRANSCRIPTIONS ue that they intend”f auaic was rery ALEXANDROV-UNTERMEYER lforming result , ln 148 Twilight (12c) KING-BLAKE or other ota ^ The Pines 4 .50 FROM MOZART any fees, damages g 00ntr<)Ued by 141 Laudamus Te PERGOLESI-Falk p Uona 157 Two Czecho-Slovak Folk Songs that the artists Parf °™ for»ard By Edwin Arthur Kraft Price, 50 cents event requested us to In 8 1 143 Sing Unto the Lord a New of theoe^mmag^ the eVeat Schimmerling A number r8frain that .!, p. ,houl4 Song FRANCIS 159 Afton Water (Old Scotch Song) ta ““‘n ?£*?**£% 145 (20c) ELLIOTT of copyrighted Where Willows Bend (20c) Strickling *.“S: Zy ‘“.^“““the'conlent U °P‘ IJo SONGS—SHEET MUSIC oncert «m“ "' SSrS*--, 149 Kde Su Kravy Moje 164 Oh, My Beloved they eper SS^ - «at ^ or oti • Tb SSSW (Slovak Folk-tune) (20c) . SHIMMERLING copyright^iZZnTVZl control his own program. (Caro Bell' Idol) MOZART-Falk artlB? t c 9 containing no **“ FATHER 150 Come My Way, My Truth, 166 The Irishman Lilts (12c) SflYeVaUsfled with programs all^aTet s" ELFRIDA PETERSON BLACK OWEN McENANEY COWELL that/hey Ave Maria (Latin My Life (12c) WICKLINE music. Molly Flynn (Med., c to F) .50 and English frighted 1 52 Ode to America BLEDSOE ?* yon -have Text) (High, d to F) wonflft to the charges which not. 50 155 All Mah Sins Been Taken Away direct CLARA EDWARDS T.T.B.B. — no by local Christmas (Low, c to C] 35 to make«£T£^2£2K-d Hernried ftp proposes “ a copy of the Bring Back the Days all been 156 Plains have not, in * PAUL NORDOFF (Arranger) Song of The Russian 108 The Mountain Girl (Boys' agers , blch was forwarded (Low, b to F) .50 est schedule of fee ^^hld’h^to! You will note Jesus Walked This Lonesome (Meadowland) (20c) Strickling Chorus) (Arr. by) MANNEY local manage Love Song (Med., F to E) .50 us hy a ^f, and Qn thQ A 158 Afton Water (Old Scotch Song) 111 The Lilac Tree (Perspicacity). .GARTLAN are based onthe Size 0Wn n0t the ° Valley (Negro Spiritual) t the charges A self si Society!; (Orchestra Acc. available) (20c) Strickling * ^ feWf ’ dld r 119 Elegy (A Satire) (25c) e or“*’ £ ^ ^ years not °*J>on*l ^ av compositions P Vak ago all i (Med., b-flat to F) tber of not been fixed, tho thmr/ 50 These fees have 160 The Immortal Father's Face. . . .KLEIN SCHIMMERLING-GUITERMAN $50.00 per concert.^ ,00 to ul ^ otiation3 information, a. tho EVALINE HARTLEY 161 All Ye Angels of God (Motet) . WALTON 139 *Hymn of the Soviet Union :ording to our on3 familiar ANTON RUBINSTEIN Peace (Med., d-flat to E-flat) . . .50 162 Come Holy Ghost (Anthem) (12c) . . Holst (10c) ALEXANDROV-UNTERMEYER w - tliat Romance. Song Adaptation by 165 The Irishman Lilts (12c) COWELL 151 Hallelu! (a patriotic novelty). .WINKOPP dieproportlonately high. Stuart Ross (High, d to a-flat) .50 sea fees are GUSTAV KLEMM 167 Whispering Voices (L'Arlesienne 153 Dark Wings in the Night Cer r ‘ 016 or not your proposed ‘ «4 recu:/| * 4a ‘ ASCa? •«*«•.r ls ELINOR REMICK Suite No. 1) (12c) BIZET-Strickling (20c) too. whether — £ I Want a Song! (Med., c to WARREN WALTON , thn . vou «ls,h to a! S Pr°£r 4- W B *° 168 The Irish Girl (12c) numbers claimed by ASOAP. - -- fil “. b”5, y°“ <=arry on E-flat) Love's Riddle (Med., E to F). Cowell 154 Song of the Nile WALTON ncert°progrems\nclud9 or 1 ° 1 0<> C” It. „ 50 .. .50 >raatl 0“- “ a M“* 169 My Mother (Christmas) ... STRICKLING Don't Let It «—tcS ^ M- Happen Again. . PRICHARD Flora. Be. SSvlth «. "••Sui'STS*h« Release (High, G tog) .50 address la bO PochefeUer and .. Society. JACQUES WOLFE “lYYfthY ^ASCAP’9 ,h "f1 \ a Orchestra ' * New York. ppy to provide Mammy Jinny's Blackberry Jam *Band and parts available. Orchestra parts available. rk 20, F. 4lnc — MAY LAWRENCE Sincer«>tr^r' r *». • (Low, to E-flat) Tours sincerely, g 60 Hy^7T I Bring You Roses (Med., d to F) .50 15c each unless otherwise specified Onaway. Song of (Signed) Arthur Judson Hiawatha RAYMOND LOUGHBOROUGH (Med., d to F-sharp) 60 At Candlelight (Med., c to E). . tooas .50 (Orchestra Acc. available) Taylor BMI will send you FREE reference ANTHEMS AND CHORUSES copies of any of the choruses listed above on receipt of your request.

Recent issues of anthems and choruses include many fine individual numbers in octavo writers form by such as GAUL, GILLETTE, LEDINGTON, MARKS, MARRYOTT, SPIER, STILL, and others. Send for lists of anthems and choruses. Your Dealer Can Supply These Too! AMERICAN SOCIETY OF COMPOSERS, r 30 ROCKEFELLER PLAZA OLIVER DITSON CO. NEW YORK A ||TU An r BROADCAST MUSIC, INC. 20, N.Y. THEODORE PRESSER CO. — DISTRIBUTORS — 1712 CHESTNUT AUTHORS STREET. PHILA. 1, PA. AND 580 Fifth Avenue PUBLISHERS New York 19, N.Y. V

JANUARY , 1946 "FORWARD MARCH WITH MUSIC 1 .

UST at the moment when, Editoria to millions of people, the lr u 5 world seemed to 1 r 1 J be totter- (JviiWk Vwiin Wficatami ing’ upon the brink of another iL_ J t ill IL H indeed, Mr. Hoover, vengeance I period akin to the Dark Ages, and revenge are the fires over @§<£ mtnqjmsimts hostilities ceased on two hem- w which the cauldron of war al- Monthly ispheres ffew %jear MODERN HOHMANN-WOHLFAHRT BEGINNING Published and mankind gave a Opportunity ways boils. Violin, Harvey S. Whistler. A Philadelphia i, I a. METHOD for by By Theodore Presser Co., sigh of unutterable relief. compilation of two of the world’s most famous America now stands before entirely revised, re-edited and re- had been moving blindly methods for violin, We the world in a position education. The AND ADVISOR i STAFF by styled to meet the demands of modern EDITORIAL through the most tragic mo- approach, utilized in the Hohmann Editor which we shall all string by string DR. JAMES FRANCIS COOKE, be judged Method, is unquestionably the easiest means ever ment of modern history when, and Ethel M. McKray, Assistant Editors by posterity. It is not enough devised for teaching violin. The name Wohlfahrt is Guy McCoy Dr Rob Roy Peery, Editor, Music Section with startling suddenness, a great shaft of light came from the that by the known to violinists everywhere. Price, 60 Cents mighty feats of our military forces, backed the Nicholas Do uty gWEdtar by Harold Berkley Dr. ftcU&riPage heavens, proclaiming that carnival of bestiality, hate, intol- the resouices of our industry, we have with our allies S^Fry^ George C. Krick Peter Hugh Reed defeated our INTRODUCING THE POSITIONS for Violin, by Harvey S. Whistler. The third Pie£o d£o Dr?Henry erance, q and unimaginable cruelty had been demolished. We all dastardly enemies. We must now reveal the and fifth positions are introduced in a very practical and comprehensive manner for towering greatness the purpose of instructing the class-trained violinist in these positions. The author had the inspiring assurance that the world was going ahead, not of the American 1883 BY THEODORE PRESSER- spirit, sustained by the Golden Rule. If we fail does not minimize the necessity of a serious student of violin learning the other FOUNDED staggering behind into a Hades of oblivion. The final operation in that, we have lost all positions, but points out rightly enough that third and fifth positions should follow wars, past and future. We must in every first. Price, 75 Cents was complete and devastating, but it was the only to cut out way imaginable way help to lead the world to higher standards of the roots of the cancer which threatened to end civilization. It thought, stronger evidences of faith, KELOEBER ELEMENTARY SCALE and CHORD STUDIES for the VIOLIN, by and more practical means will take years for the world to recover from the shock of this of Robert L. Keloeber. Designed to unite the mental and physical requirements of Contents for January, 1946 social and spiritual understanding. first position playing. Price, 60 Cents horrific slaughter. It may even require decades to wipe the out In this issue of The Etude Mr. Henry H. Reichhold announces VOLUME LXIV, No. 1 • PRICE 25 CENTS misery and the debased indoctrination of the starved, devastated his plan KELOEBER ARTIST SCALE and CHORD STUDIES for the VIOLIN, by Robert to send the Detroit Symphony Orchestra around the practical system, uniformly fingered folk who permitted L. Keloeber. A complete and scale and arranged themselves to become pawns of Mars because world during three months of each year as an to receive die maximum benefit from study. Price, One Dollar EDITORIAL ambassador of the they had no means of resisting the military and political gang- ideals of A New Year Opportunity 3 culture and beauty to which Americans aspire. This sters Harvey S. Whistler. indispensable string who had enslaved them. great SOLOS for STRINGS, by An instrument MUSIC AND CULTURE program of bringing countries together through the power collection for solo or sectional unison playing by Violin, Viola, Cello and String Might not the past five Philosophy of Vocal Study Mayo i<- Teyte 5 years well have been a part of some of music is not Bass. String Books 50 Cents, Piano Accompaniment 75 Cents A new on this hemisphere. Experienced diplomats, Two Aspects of the Cuban Musical Landscape Pedro San, i«m 6 mystic plan of a Higher Power to awaken men in all lands to the economists, Paying Our Debt to America Henry H . Reichhold 7 and sociologists have long realized that in Pan-Amer- Phrasing Heinrich Gehhard VIOLIN VOICES by Bertha J. Burlingame. An ensemble collection of classics, folk Good and Bad “Punctuation” in 8 utter futility and stupidity of war? The crimes of nations are ican relations Teaching Heitor Villa-Lobos 9 these bonds of music accomplish tunes and original compositions, arranged for three and four violins. Very useful for A Reform in Music something which “Worth Your Weight” George Mac Vabb 11 no different from the crimes of men, and the evil men and malig- laws, violin classes. Price, 75 Cents commercial exhibits, long speeches, tornadoes of nant flattering governments of the world can never change until they learn adjectives, and high powered MUSIC IN THE HOME salesmanship are unable to accom- that crime does not pay. plish. Foi instance, 738 So. Campbell Ave. Records for the New Year Peter Hugh Reed 12 in this issue there is also a conference with The Etude Music Lover's Bookshelf B. Meredith Cadman 13 After World War I our great humanist and economist, Herbert Heitoi Villa-Lobos, the brilliant and CHICAGO 12, ILL. distinctive Brazilian master, A Hoover, carried food and help to millions of pitiful, prostrated who has MUSIC AND STUDY brought us on his concert tours so many delightful and sufferers in Europe. In recent The Teacher’s Round Table Dr. Guy Maier 14 a address at the seventy-fifth an- vital musical works with the luscious Where to Breathe color of his native land. Edtcard C. B ID 15 niversary of Wilson College Music for an Era of Peace at Chambersburg, Pennsylvania, he No ambassador Sgt. William Clyde Ham 'ton 17 from Brazil has done more to cement strong rela- Come and Make Music! Ann Trimiimbom 18 said, “There is no such thing as a hard peace or How Shall Woodwinds a soft peace. It tions with our country. It is Be Taught—Private or Class Method? Gear v.'.iln 19 not enough that we should drink PIANISTS Well, I Do Declare! (Section I) .20 must be a just peace if we are to restore justice to the world. And and enjoy Brazilian Fine Fiddles—and Fakes coffee every morning. must ! Harold Berkley 31 We know some- Questions and Answers without justice there is no peace. Justice , demands that the Dr. Kar , w Gel 22 war thing of the art, taste, culture, and spirit of Parent-Teacher Groups for Music Studios the people of Brazil, Improve your playing Elizabeth A. Gest 23 criminals be punished, but it also requires that Developing the Staff we do not visit Pianist for Radio H. Leopold Spitalny 24 and Villa-Lobos has helped to bring these to us. upon the children of millions of Germans and Japanese the sins The Etude for years has kept in very close touch MUSIC of their fathers. with the by Broadwell Technique Vengeance and revenge are not justice.” Yes serious educational Classic and Contemporary Selections musical developments in universities, colleges, Learn how the Broadwell Principles of Mental-Muscular Coordination and Joseph M. Hopkins 25 the Keyboard Patterns Method to gain proper keyboard habits can greatly Mazurka improve your Accuracy Technique, Memorizing, Sightreading and Playing. (Posthumous) / Chopm. Op. 68. . o. 2 28 Velvet Night ...

Bert R - Anthony. Op. 216. So. 3 30 REDUCE PRACTICE EFFORT— 10 TO 1 ‘'Von'S J b c w i u L - rho -ko, Your piano practice can be scientifically applied to eliminate Waste Effort and Time. Learn how S » peC^^. T!. . — one practice repetition can do the work of ten how memorizing and sightreading are ^:;::: : . ; reduced to Vocal and Instrumental ° logical practice principles. The Broadwell System makes memorizing automatic. Makes sight- Compositions A Morning Carol reading a natural, rapid and accurate process. (Organ) „„

GAIN IMMEDIATE RESULTS ’ J ~* rr ’ 38 Deliyhtful plTfor ^ ^ by Value of the Broadwell Methods applied to your own playing is appreciated not only in the Y^pCre improved quality of playing, but also the s-peed, with which improvements in technique, accuracy, (Fr°m “ Side "> by ’ eTeT Drnice of Buttercups Side ’ ’ K*" « sightreading and memorizing, etc. become noticed. Improved mastery of skills such as trills, (S Duet) Cielito Lindo Frances Terry 40 arpeggios, runs, octave passages, chord skips, is unmistakably evident after the first ten days! Mexican Shifting Shadows Popular Tune—Arr. by Ada Richter 42 ADOPTED BY FAMOUS TEACHER-PIANISTS The Raindrops Plav Tae Milo Stevens 42 Drifting Broum 43 The Broadwell Methods are used by famous Concert Pianists, Professional Pianists, reputable Melody 44 Teachers, Students and Organists the world-over. These methods may be applied by the student Grant Connell who has had but 6 months of previous piano instruction as well as by advanced students. The methods are as valuable to the player of popular music as to the classical pianist. The Broadwell THE WORLD OF MUSIC Methods have been successfully used for over twenty years by thousands of pianists. 54 THE JUNIOR ETUDE. BROADWELL PIANO TECHNIQUE Elizabeth A. Gest 56 MISCELLANEOUS Mail Coupon — No obligation for New Keys to Practice. Don’t Be Dowdy! Julie Maison 4 FREE BOOK- "TECHNIQUE” A Short Digest 'in Scale Practice Julia E. Broughton 4 Voice Questions C. E. Ward 4 Answered. . Violin Questions Answered Dr. Nicholas Douty 47 BROADWELL STUDIOS, Dept. 66-A Harold Berkley 51 Covina, California S Gentlemen: a a U ry ’/nJcr tbt , ‘ Ac77/Mmh^ - ,8M a ,hc P - a< thiU.. Pa.. Send your FREE Book 'i87g r ‘i T1 L' me “Technique" showing how I may quickly improve Technique, U- S. °P7 ght, my Accuracy, A. and Great Britain. 1943, by Theodore Presser Co., for Memorizing, Sightreading and Playing. I understand there is no obligation. NAME 52.50 a year w in IJ S A ln i n MUSICAL AMBASSADORS 140 OF GOOD WILL ADDRESS Repubjic, Guatemala, ‘ n <' < su Rica Haiti Me^fco ""^.'^ k . Cuba. Dominican duras, Salvador, 1, Panama, Spain and all Republic of Hon- CITY s? 75 a South' w*" STATE year in Canada anda countries except the Guianas. Single copy, NeafounH^??•'ewfoundland. S" P,;ce 25 cent} 53.50 a year in all ocher countries 2 "FORWARD MARCH WITH MUSIC’’ j ASVARY. 1946 3 gradually eyes, and repeat blind; the speed can be Don’t Be Dowdy! Music and Culture Maggie Teyte's return to the United States, after an absence of increased and further octaves included, always testing Music and Culture six years, has had three singularly happy results. First, the blind; this will encourage the confidence the playing superb artistry of this distinguished musician has given joy to memory, and help concentration. As we advance end conservatories throughout our country. We rejoice and millions, through her concerts and broadcasts. Secondly, her technique, varieties in shades of in the splendid progress these institutions are making. in knowledge and reappearance proves that the great tradition of pure singing expression, tone and tempo should be used. has not been lost. And in third place, the thrilling perfection This year most of them have a serious complaint. It you if I am the only piano teacher who keeps this is new idea; try it, and see how WONDER of her tones demonstrates that, when basic vocal technique is is that they find their enrollments so large that they Perhaps a right the clothes worn each day in scale, play with the a chart recording sound, time deals kindly with voices, Maggie Teyte is fifty-six are at a loss to know what to do with the students. like it: Take any major is how it came about: A young hand ascending two octaves; come back one octave, I the week? This years old. This is wonderful news, because our great tomorrow University once again, one, and so on covering four age twenty, at New York said to She was born in Wolverhampton, England, began her musical in America, in relation to the world, will call for more then up two back lady similarly descend- Broughton, do you alivays wear that red education at the Royal College of Music, in London, and, when trained octaves in all; now reverse and play me, “Miss music workers of the finest type to become our hardly past her mid-teens, was accepted as a pupil by the one, down two, and so on, which I replied, “Oh, no! I have several messengers of music, going out to ail lands over the ing, down two octaves, up blouse?” to she saw only great Jean de Reszke, in, Paris. After coaching with Reynaldo trying not to pause at all on the keynote, ascending different outfits.” It seems that me one ether waves. Nothing can convince the world of our Hahn, she made her debut at seventeen, as Zerlina in a concert descending several times without stopping; then week and on that day I happened to wear idealism, our spirit of freedom, our firm desire to be and day each performance of "Don Giovanni," with a cast that included This student was a good one, re- friends and not enemies more than the annunciation do so similarly with the left hand. the same apparel. Lilli Lehmann, Edouard de Reszke, and Mario Ancona, at a different key and its related teach. So I proceeded to "take a of the true spirit of American youth as expressed in Each day take a major ceptive and easy to Mozart Festival in Paris. Shortly thereafter she appeared with dominant and sub- music, the universal language of mankind. tonic and relative minor, also the tip” from her. Paderewski at a concert in Monte Carlo, and during that same after of these, run through the privately and I feel week, made her stage debut as Zerlina in the It is proper that music and musicians should be dominant majors; each At present I am teaching that Monte Carlo inversions of each, over three ever. little Opera. Next, she was engaged for the Opera Comique, in amply rewarded for this important service. The in- extended chord with all the matter is more important than One girl with the close chord on the she Paris, where she sang the role of Melisande ("Pelleas et dustrial phase of music and its allied arts has now or four octaves, concluding pupil is very enthusiastic whenever sees me wear- Melisande"), having prepared this exacting part under De- tonic. new. Now I realize that this matter is ascended, we are told, to the towering income of two ing something bussy of both himself. She was then nineteen. From then her career, billions of dollars a year. One musician in Hollywood Follow this plan in more advanced stages unimportant from a musical standpoint, but quite im- together with the acclaim that accompanied it, became inter- to detail the is reputed to have an annual income of million scale and arpeggi; it is not necessary children. Children love change and colors. a portant to national. In 1910, Sir Thomas Beecham brought Mme. Teyte to dollars. work, as all advanced students will understand. One purples, greens, and avoid dark However, many unpretentious music teachers, So I plan to wear reds, London. The following year, she made her American debut in initial will supply sufficient work for a day’s prac- like the teachers in many of our public school systems, key shades. Philadelphia, and earned wide popularity as a member of the tice. All the foregoing, to be practiced from memory, Chicago and the Boston are so disgracefully underpaid that the matter has An entire black ensemble may be the correct tiling opera companies. After World War I, been proved one of the best methods for acquiring in 1923, she emerged from semiretirement, become a national shame. We propose to make the has for a Park Avenue parade but I feel that browns and to appear with the facility agility on the keyboard. Royal Covent Garden Opera, the National music teacher’s plight the subject of a later editorial. and black are too drab for teaching purposes. In fact I Opera, and the Sadlers Wells Opera Companies, as well as with the BBC. Those who expected a millenium to evolve on V-E recall two very efficient public school teachers of mine In 1939, Mme. Teyte again visited the United States. Returning Day or V-J Day of course will be disappointed. There who invariably wore white blouses and dark skii; No to England she gave richly of her art in war-time broadcasts will remain for a long time countless problems in the wonder I had trouble learning English, history, and and concerts. conquered lands which can only be settled by far- French! Although she commands a vast repertoire of roles and songs, sighted, practical realists who can envision the whole to Practice Mme. Teyte New Keys A friend sometime ago insisted that I wear earrings. has become known as a "specialist" in French art 1911 1945 new order of world affairs which the mighty events of songs especially in She feels that they add just that feminine “something" — the songs of Debussy. Actually, she is a 1945 have brought to the world. Without a new con- great deal more than a "French Lu uiia dilation which completes the picture. So I have many kinds specialist." She is a master of MAGGIE TEYTE IN HER PRIME ception of the brotherhood of man, founded upon the art of pure singing, and a searching, sensitive and colors, the most useful being white pearl which artistic inter- The picture on the left shows Maggie Teyte as she appeared in 1911 at the faith, mercy, righteousness, the preter. The Etude has asked Mme. Teyte to discuss the Metropolitan Opera House. The and new light of a vocal and picture on the right go well with any costume and are inexpensive. shows the same artist in 1945, during her triumphant tour oi America. richer, world-wide understanding, all that we have VI. interpretative methods that have gone into the building of her The successful teacher must be “every whit whole" own notable gained might be lost. career. —Editor's Note.

and should give thought to these small matter . Even The world is definitely going ahead by a slow process How often we hear that artists do not believe in now, if I should see a “famous” teacher “run down at of evolution. We are thrilled by the part that music practicing exercises! The element of truth in this is the heels” I would be a little suspicious of her mu- is already playing in this evolution. Prom a social that they do not believe in practicing only exercises. HE VOCAL CAREER begins, not with ‘art,’ sicianship! As we are obliged to be most orderly in our but standpoint, this global progress in the affairs of man If you have lived near any great pianist you have with the voice, and the moment you speak methods of instruction, keeping records and so lorth, of the young voice, must be based upon a firm, friendly, homological con- found that he, too, loosens up every day with what T you find yourself involved why not be just as particular about our appear nice? in questions A Philosophy of cord of nations and a devout faith in of vocal production. Vocal Study God and in the the student would certainly call “exercises.” Have you ever asked Usually Last Easter a young boy best in man. Saint tells came to my door with a yourself exactly what voice Paul us in I Corinthians, 7: these are of his own invention—something to suit his production should do? To lovely new hat, one of those “maline and flower rea- “We walk by faith, not by sight”; and later, in Hebrews individual needs. me, production has but one function—to preserve the tions” one hesitates XI :1, “Now faith is to buy because of their in prac- voice in its natural state. the substance of things hoped for, Slow practice is often criticized even Not to change it, or to ‘place’ by excellent ticality. A Conference with the evidence This lad is a member of one of my public it, to it of things not seen”; while Lord Tenny- teachers. This, of course, depends upon but keep as Nature made it when she put it how you prac- school piano son, the most prophetic of the poets of the classes and can only afford class I -ons into the throat in the first past cen- tice slowly. If your touch is firm and your concentra- place. I cannot sufficiently at fifty cents tury, wrote: “Cling to faith, beyond the forms of each. His mother is a milliner and made stress this. tion never lags, great good should result. If your touch faith.” this hat for me, to show her appreciation of the op- “Production is undisciplined and your mind is allowed can improve a voice; it can rectify bad to wander, portunity her w< te Have faith that the heaven-given boy enjoys in class work. card w rit- habits power invested you may never get beyond slow practice. The that, consciously or unconsciously, have been ten by the pupil in music will enable you to join in the army of people himself said “To my best music allowed to creep into voice management. One hears teacher.” Incidentally World-Renowned British Soprano who are working to bring real peace and happiness to this boy likes to prann and strange statements about this matter of voice pro- the world this continues his lessons marvelous New Year. during the summer when . hool duction! People say, for instance, that proper produc- is closed for vacation. tion can make a fair-to-medium voice into a fine one; HAPPY NEW YEAR We know how SECURED EXPRESSLY CORRECTION much attention concert artists pay to or, conversely, that the possessor of a naturally fine FOR THE ETUDE BY ROSE HEYLBUT appearance. Can you voice In The Etude for imagine Gladys Swarthoui look- had best keep away from teachers, since too TO ALL ETUDE READERS October 1945 we referred in an ing dowdy? Recently I attended a very Inspiring talk much ‘production method’ might editorial to President Truman’s memorable perform- harm it! We have EVERYWHERE by Ada Richter, composer all heard talk ance at the Potsdam Conference. of music books for children. of that kind, and once we understand of The Etude accepted I practical application, is based entirely on dia- the don t know what I had production to eight notes plus a third—C to C and then to the press reports that he had played been expecting, but I surely mean the preservation of the natural phragmatic E— the simple Minuet was delighted breathing. Its secret lies in remembering sung in the same fashion; then in to see on the platform a pretty, stylish, voice, we perceive its folly. C-sharp to C-sharp, G by Beethoven. A reader of The Etude that the tone is supported by questioned young woman in the diaphragm, and that plus a third, and so on. Then the octave this and we wrote to the bright red who looked as well as she plus a fifth. President’s musical daughter the diaphragm lies just above the belt and not below talked! Guard Against Bad Habits The extent of this drill depended on the student’s who has very kindly sent us the following it. Thus, the muscles A Short Digest in Scale Practice note' Let us of the abdominal region are not natural range. If the range was teachers strive for beauty of tone and ap- “If it were possible to high, the exercise com- have a fine natural voice, the ones upon which to concentrate! The pearance. The “dowdy” breath prised as many as thirty full scales sung every The White House woman teacher is as out-dated soaring forth naturally and freely without the slight- — day! as the should not ‘push against’ the diaphragm—and for rea- Arpeggios long-haired professor.” est vitiating were taken in the same way; that is to say, Lf £. C. c. Ward Washington influence of bad habits, ‘production’ would sons of plainest common sense. No one will disagree first the octave, then the be quite unnecessary. Training the octave plus a third, then November 16, 1945 voice to precision, with the statement that tone is produced by the vibra- the octave plus a fifth, beginning Dear Mr. Cooke; and maintaining it would be sufficient. But, on each note, in alas, bad tion of air (breath) against the vocal cords. If the chromatic ANY PUPILS look upon scales with distaste. habits progression. Also every day! Next came both Thank you for your letter of do creep in—especially under the stress, phys- air, then, November 8th. goes through the vocal cords, how can it scales Why? This need not be, if a new viewpoint father ical and and arpeggios sung markedly staccato not My said he played a theme emotional, of public performance. It is then still — and two go on pushing against the diaphragm (or any- once, but and method of attack be adopted. Under- variations of the that production twice and in strictest rhythm. I seem to see M Mozart Sonata IX and becomes valuable—but only in the where else, for that matter) the ? The support originates De Reszke before me, standing them as being the solid foundation on which Minuet in G by Paderewski sense of restoring the voice keeping time! The number of at the Potsdam to its natural estate and with the diaphragm; the air does beautiful is not push against our exercises was endless. all music built, we surely wish that foun- Conference. keeping it there. Obviously, the We had ten daily that took best plan, then, is to it, or struggle with it! The correct dation to be lasting, and well prepared for conception of in any difficult passage in any any addi- Sincerely yours, Out guard against bad habits! The worst vocal habits written opera, Comes the Tooth! re- diaphragmatic support can clear away many of the tions of superstructure and embellishment which may sult from “Of course, individual vocal problems (probably (Signed) Margaret a lack of proper musical preparation. The difficulties of uncertain re- take our fancy. Truman. tone. sulting from conscious moment the singer feels insecure, or unconscious bad habits) nervousness sets in, “But breathing is not the First of all, the essential points must be firmly whole story! No voice can require individual correction, fixed me error by the press doubtless Se a S wllen breathing becomes unmanageable, and the tone and that must come came from the ’ musica * therapy is widel; suffers. be kept in good condition , so without in our minds; (1) An absolutely correct knowledge fact discussed wf T scales and exercises. from a thorough and of that the Beethoven much played not; Any sort of emergency produces the conscientious teacher. The drills minuet is usuallv forget the methods of old-tini same result-self- These are the gymnastics, the discipline-givers, the notes in sequence of every major and minor mode. known as the Minuet in street dentil TT the I have outlined are valuable, provided G, whereas the far They empIoyed a consciousness, stage fright, tiredness, illness, or an up- precision-makers, that the entire (2) A fixed, reliable, sensible system of more ri f ba? ! Summer and a cym without which voices cannot remain singing fingering, which ficult composition (also in the nlaver a H setting incident on organism is in adequate condition to benefit key of G) of the sometimes a horn player. th stage. Often enough, these cir- healthy. De Reszke’s pupils once decided on, must be rigidly adhered to, so that ^ crowd th ^ When sang all of them—and from them. Thus, Polish patriot, Paderewski, r cumstances for instance, the is sometimes aro und tlle stand cannot be avoided (lack of adequate mu- development and it becomes a habit which fingers entitled and the dentist ad De Reszke himself did too, even though he was at that the remember easily Menuet a VAntique. However, justed his fnrr v sical training of diaphragmatic breath will the main point PS 6 signaled preparation can be avoided!), and then the only time well produce steady of ’ his band to blare away past the prime of his career. after constant repetition. (3) Slow practice to start editorial was that at “S and in thp r f Our scales were tones if no obstacle exists a very critical a f prop that the singer has to fall back on is to make them unsteady. It moment in worid the d«nist gave a yanl the sound- interesting (incidentally, I still with separate hands, over one octave, up and down affairs our wWch r practice them exactly can happen, though, Present was prepared to emoved C°le off ness of his singing methods. that wobbly tone results from relieve the ten ending tooth to as I did when a girl a number of times, sounding each note clearly the accompani of seventeen) . First there came and in sion by his carefully developed ~ ment of a r-i v, some cause other than incorrect ability “My method, which is the De breathing . . . the to pplayy befnbefore Reszke method devel- the proper eight-note scale, even time, listening carefully; when sure, close the such a critical audience. wemT/o^ed The sung clearly, freely, with position of the throat, for L t°he oped by my great teacher, Jean De Reszke, example. If the throat is ^dln and the “dentist” then mad. after long rhythmic precision and no slurring! a ‘spiel-Tnnr,i Tv, Next came a kept too tight, tone P UP0n the marv years of studying various methods and a full becomes unsteady through ten- 4 els of painless dentistry. career scale vocalise that progressed, chromatically, through "FORWARD sion, if it is kept too loose, ( MARCH WITH MUSIC" Continued on Page 16) JANUARY, THE ETUDE 1946 "FORWARD MARCH WITH MUSIC " 5 . ,

merica is still the land of amazing opportunity Music and Culture Music and Culture now as much as it was in the days of the A heroic boy romances of Horatio Alger. Do not be fooled by the pessimists and calamity howlers who hold up the transparent bugbears of inflation, race hatred, labor conditions, and political confusion which are employed to frighten a public which really knows better. How do I know this? Well, if you had been Paying Our Debt to America Two Aspects of the brought up under the conditions which surrounded my youth in Europe you would have an idea of what American freedom and liberty really mean. On the European continent there is practically no real liberty From a Conference with of thought and initiative. Every young person is Cuban Musical Landscape hemmed in by tradition, convention, government, and social regulations so that for each opportunity he has in the Old Country he can find a thousand here in -Mlenry. I'^eiclilo id America. Here we have freedom of action in all things. There is nothing in the way of a young man doing Well-Known Industrialist and Chemical Engineer what he wants to do at any time if he will only take cuijLicin the trouble to President, Detroit Symphony Orchestra S study and learn how to do it correctly. I often think that our young people, who have not Noted Cuban Musical Authority lived under the contrasting conditions I have described, never really appreciate what liberty in America means, and how zealously it should be guarded, as thousands^ SECURED EXPRESSLY FOR THE ETUTTE BY JAMES FRANCIS COOKE of our young men TRANSLATED have done in the European and in BY ETHEL S. COHEN the Pacific wars. “Do not fear this present period of adjustment of

Henry H. Reichhold is an inspiring and extraordinary example of the possibilities of this land of magnificent opportunities. In less than twenty years he has built up a national industry on firm HE MUSIC of Cuba has an indescribable they charm. have persisted as the catalyst in all Cuban music. scientific and business foundations, employing a force of two thousand people, manufacturing It is largely based 'upon many of dances which The Negro element is the rich substratum in which materials in the field of synthetic resins of great importance to our present standard of tiring. the following T are the best known: are to be found the roots of Cuban music. So powerful Now he has turned his attention toward music and has been backing the Detroit Symphony Orches- Native Music of tra in Spanish Origin and its Derivatives: has been the infiltration of African rhythm and accent a manner which has been commanding national attention. Not only has he been the means El Zapateo, La Danza, La Contra-Danza, El Danzon in the Cuban musical stream that, of making the orchestra a "paying proposition," but he has offered fabulous prises of $32,500 (with Negro influence), El Bolero. save for a few PEDRO SANJUAN indigenous musical for the best symphonic compositions coming from citizens of any of the twenty-one Pan American Subsidiary Types: El Guaracha, La Giiajira, or .forms, there are very few musical republics. He is particularly anxious to make clear that he has entered Punto Criollo, La Habanera, El Pregon. forms without some Negro influences. this field with a deep sense of duty to support cultural Native Music Developed from Ritual Music of The Zapateo art in the land of his adoption, which has brought such amazing Negroes of Cuba and its Derivatives: El Son, El Tango success to his efforts. Two Dominant Influences Ex. 1 Congo, La Conga, La Comparsa, La Rumba. Ritual Mr. Reichhold was born in 1901 at Grunewald, near Berlin, Germany. Thus, when the First World It ij Dances: must be clearly stated before Allegretto .iui ( Jl.Jt) The Yoruba Rite (Lucumi). Pantomime: The describing the two War broke out, he was a child of thirteen and was obliged to go through the terrors of a war thal Nanigo Rite. predominant streams in Cuban music—Spanish and ' resulted in ruin, starvation, and an army of broken youth filled with revenge, disillusion, and hate. The folk music of Cuba, with the beauty of its African—that the -fillFTj rr? - 'aboriginal Indian, the Siboney, has Tr j He revolted against conditions that promised nothing but still larger armies of "Kanonen-futter" melody and the power of its rhythm, provokes an im- left no trace which might be considered an initial (cannon food). His father was a man of culture, a manufacturer, interested in music, and his mediate and intense emotion in those who come under uv-rwupuwiu Ui vuutui music, lb mother played the piano. The younger Reichhold studied violin for fifteen years and developed its irresistible influence for the first time. To attain safely a love be stated, and with the utmost assurance, that deep for music. He studied chemistry at the University of Munich and at the University of its present state of purity and color, the rhythmic- two , Vienna. Economic conditions after the war grew worse and worse. Germany Austria were dominant influences in Cuban j and music are first 7 /j . musical essence brought to Cuba by the Spanish colon- the struggling to climb out of the wake of war, with its discouragements and disillusionments and Spanish-Andalusian and second the African. ists, and later by the Negro slaves imported from There subsequent inflation, which wiped out family fortunes like reeds strewn by a cyclone. The elder is also a Spanish subsidiary stream, genuinely North Africa, Reichhold decided that his son should visit America and see if had to undergo a constant evolution, an Cuban, created in the warm, he could not find in this country sun-baked fields by the chance evolution in which to lead a richer and finer life than was possible in Germany . Therefore, young Henry such agencies as climate, society, the white peasant, of which the Guaracha, the Reichhold came to America in 1924 ethnographic factors, politics, and so forth, and received his first job in the Ford Motor Company plant partici- Giiajira and the Criolla are the most pated. authentic The at Detroit, where he remained until 1928. From his training as a chemical engineer he realized first two are The Bolero, derived in all probability Polo genuinely folk while the from the that one of the great fields in the future While the third the would be that of plastics—synthetic resins. No industry Spanish-Andalusian melody was graduafly Criolla, is somewhat Jitano-Andaluz, underwent a gradual transformation ambiguously half folk and’ half existed in this field at that time. Therefore, he started bravely out with an office and one girl being transformed in the pleasant atmosphere with popular. until it reflected the genial temperament of the Cuban, helper, who worked part time. In the amazingly short period of seventeen years he has developed its sensuous, changeable, almost tropical climate, to It is not absorbing at the same possible in this short space to treat time the Negro rhythmic pulse his work until he now has plants in Detroit, Michigan; Elizabeth, New Jersey; Brooklyn, New the native fully the so music with soft contours and caressing popular musical essentially a part of Cuba’s York; San Francisco, California; and Tuscaloosa, Alabama. types mentioned in the first paragraph music. echoes, the music of Negro origin retained its sharp of this article. Each separate one has a long A few years ago he became convinced that the time had come to pay back to the land of his outlines, the strong evolution- primitive accents of the African ary history meriting a opportunity and to his home community a debt which he felt must be discharged. Therefore, he complete and thorough state- virgin forests. Not only have the essential Negro It las since devoted two or three hours of each day to the promotion of music and has made money ment. may, however, be possible to qualities present the most been preserved intact and with vigor but salient characteristics fronts which are munificent. Nevertheless, he feels that these initial outlays are really an invest- of the principal types of music nent and that eventually, by reason of good business methods, his musical venture can be made known as “native” Cuban. to pay financially and at the same time be of great value in contributing to all efforts toward peace, higher living standards, more normal mass psychology, and to the national progress of our Bolero, Zapateo land. Mr. Reichhold is painfully modest about his personal position in his musical enterprises and The the presidency of the Bolero and the *.*£:*- HENRY H. REICHHOLD accepted Detroit Symphony Orchestra only because he deemed it necessary Zapateo are native to have a unified control during the constructive days of the organization, which he believes later forms President, Detroit Symphony Orchestra will run on its own momentum. He lives in the suburbs of Detroit. His only almost certainly of Span- son is in the United ish States Navy. —Editor’s Note. origin. The Bolero has preserved its Spanish name, while Zapateo is a post-war conditions. And do not fear inflation. Science shocks during conflict) . They must now learn to have the providential provisions to lead us all to a higher is making opportunities for an untold number of jobs. fears of no rabble rousers, the civilian Hitlers and Mus- way of thinking and living. Third, and this is probably Labor and economic problems will be settled gradually, solinis, said t.n Tojos and Lavals—destroyers of the world’s the principal reason—because I have been so innately as the public begins to realize the two popular forms great opportunities wealth of faith, men, and materials through barbaric grateful for the fine opportunities that have been given the soul that lie ahead for everyone. military, political, of Cub: and social aggression. All of our to me by the land of my adoption that I consider it a are civilian heard even t problems will work out because the American privilege to pay in some measure a huge debt of thanks every An Optimistic Outlook people have field in tb shown that they always have the balance, to my city and my country. As music is now well recog- “Our young men and The Zapateo is contra- the women coming back from the the common sense, which makes them revolt against nized, not merely as da farm,, m . 7 uanza were mu a means of personal enjoyment men and St in.''0gue durin T wars will have a quite different aspect of life. They anything which might lead to totalitarianism womer er.wAo S the Colonial period. in any but as a powerful and necessary force, it naturally rately, Ve vlbrated have, in many instances, been greatly advanced, from phase in opposil f°r many decades in the cor of our national life, particularly in commerce attracted me as an avenue in which I might find new halls sot the standpoint of respect for (never in ' d theaters just authority, personal and in industry. Our people mixed c <* Cuba. As for the 1 have revolted time and delight in being of service to the land which had who tap Sra beren discipline, experience, and education. On the battle again, out the heard al l over the world. Who when the emergency has arisen, and that is the brought me so many opportunities. not r „ with ® fronts they have seen the worst in life the their fee "abanera of Bizet’s “Carmen" or — unspeak- reason why America is still -a free country. BabaAeZ r able horrors of rhythm is a com! U by the Cuban Sanches war—and they certainly don’t want “Profitable understanding between labor and capital, Opportunity Through Service Fuentes? composer, of six-eight any more of that. Their characters have been strength- true vision as the and to mutual benefits of cooperation, “Thousands come to America from foreign countries four time; their ened. They have become more determined. They have and an appreciation of the imrner>se popularity, these t our common rights, opportuni- and do not succeed, largely because they have a feeling ments arfna?^,0 6 learned the power to win, and they will carry that used for thi ^ f0lk in into ties, and great gifts and enormous national wealth, that they essence - contrary, are bringing something to are deriri On the this country for are the tiple ^ expressive civilian life in a way which will surprise all of us. They form the real basis of American prosperity. and I of the Spa which Americans should rejoice. taste of ?h Italian and Perhaps some of them (small th COl will win. I giving LUCUMI DRUMS guitars) £ niaI period “Why am so much time and attention to mu- do. But, these - Although in the Habai newcomers should see the other side of as the which iq ,„ ? “Most of all, they have learned giliro (a C teStably of to discard fear (save sic? First, because I always have loved music. Second, the picture. Common Cuban instruments obviously of African native ^vor and troj They should see that however fine they heritage. rattle) Sr neftb °H in those tragic cases which have suffered grave nervous because I see in music at this time in the world one of “ 0 eIement of rh >’ °r me think themselves, they might ( Continued 10) present thm on Page > n tlfT l the Danza (.Continued on Page JANUARY, 1946 "FORWARD MARCH WITH MUSIC" 7 THE ETUDE — . r - 1 ! ,

Music and Culture “TF WE CONSIDER the development of music in Music and Culture the world today, we are forced to admit that it stands at a rather low level. For the most part, composition is academicaUy experimental rather than creatively robust; the artist thinks of his career in terms of a purpose rather than of an ideal; and a genuine understanding of music has not penetrated Good and Bad “Punctuation” in Phrasing into the social organization nearly as deeply as it should. Now, these phenomena can be traced to a single A Reform in Music Teaching source—our methods of teaching. When I say that our methods are faulty, I do not speak of any one teacher, any one method, any one school; I have in mind the wJieinrich Cjellard entire system of teaching—a system which permits of A Conference with -T - r r 9 / confusion in the understanding of musical terms and musical ideals, which fails Distinguished Piano Virtuoso and Teacher and to bring music to the great mass fv _ of the people. - —-f> ^ { f s “Let us consider four separate aspects of the problem ^Jdeitor 1 j f Wa-JoLod of music pedagogy, discovering the value of each. First there is Sts. * the basic understanding of the terms we em- World-Renowned Composer, Conductor, and Educator HIS article is written as a sequel to my article ploy in dealing with music. The average music-lover on “punctuation” in the November 1944 issue 1 constantly uses terms like classic. Romantic, popular, of The Etude, T in which I dealt in particular folk-music—yet if you question him as to the exact with that most — elementary part of phrasing—“punc- J. significance he has in mind, he becomes bewildered. SECURED EXPRESSLY FOR THE ETUDE BY GUNNAR ASKLUND __ 0k IP tuation”—which is so often neglected by amateurs -*• and B:.l, . - f -7=-.T- \ ' — V=5=\ young piano students. I made a special plea for the 1 cL-J\7' P 11 1 correct ' phrasing of “legato-melodies.” By the latter I Q . Ji Heitor Villa-Lobos, perhaps the most original ' » boldly of living composers, was born in Rio de Janeiro mean themes composed of phrases of various ' lengths, Brazil, where he began the study of the violoncello under the direction of his father, a lawyer, and a with slurs over them, and without printed 9 rests be- gifted amateur musician. At the age of twelve, young Heitor had distinguished himself artistical ly, but tween them, such as f. . * %b. — the middle section of Chopin's financial pressure made it impossible for him to concentrate in the field o I his choice. Not until seven Fantasie Impromptu, or the middle section 0 - of Chopin’s years later was he able fa devofe himself fo music. At nineteen, he made a tour of Brazil, earning laurels Impromptu in A-flat. So we should execute them this way. The best way tor his performances and familiarizing himself with the various types and colors of native music. These to do the short notes is with a slight upivard I emphasized the fact that, in spite of the absence bouncing early studies laid the foundation for his profound researches into Brazilian folksongs, published under of the wrist. of printed rests, the phrases This produces an elastic sounding stac- the title "Guia Pratico." Endowed with exhaustless energy, of a melody must be if Villa-Lobos studied, played, conducted, intro- you hum or sing the music in your mind, will slightly separated. you cato. The long notes are best produced a duced the leading modern works to Brazilian audiences, and devoted himself As the singer must breathe at the discover by slight to his own compositions. In that there is a long phrase of four bars, fol- dropping end of a phrase and clip of the wrist, falling with the weight of 1923, he conducted his own works in Paris, and found himself no longer a Brazilian composer but a world thus a little off the time- lowed by a phrase the of one bar, which latter is really a forearm. figure. Villa-Lobos was first introduced to the United States by value of the last note of a phrase, so in a good In the long four-measure phrase that fol- Leopold Stokowski; he is now included in piano repetition of the bar the before it (the final bar of the lows the two shorter repertoire of every major orchestra. Residing in his native Rio de Janiero, Mr. Villa-Lobos played the performance the last note of every phrase should be ones, we notice that here all the first long phrase) but chief role in the drastic revision written an octave lower. If you notes of the right of Brazilian music pedagogy. Although the Maestro came only as a visitor somewhat shortened, without changing the rhythm of hand are connected (with legato are truly musical you will surely feel these to this country, he was invited to conduct his own works with some of the greatest American orchestras. the piece (the time-value two phrases marks) except the G and the C, clipped off being replaced this which two notes are Mr. Villa-Lobos made the time way—and here you can express the two impulses to outline to readers of The Etude his highly provocative views on the real by a rest). The greater the speed of the “slurred off” short. Slurring these notes off meaning piece, the by a slight crescendo and diminuendo hort is of music teaching. Editor's Note. shorter the final note during the first again best done by a of the phrase becomes. This long phrase, slight upward bouncing of the and by playing the fifth bar forte. In means that the phrases will be slightly separated from the wrist. next five bars you repeat this process. each other, without destroying the flow of These notes the music. The third variety of I call this themes are the ones which have good “punctuation” in music, and it greatly ability to distinguish between right and wrong! One the significance what we may call “characteristic” of an artist’s life battle! How much helps to make music sound or “mixed” phras- Ex. 4 of the greatest “intelligent,” and hence ing. dangers of our current pedagogy is better it would be simply to put the music They are themes in which the phrases before him more interesting and enjoyable. are com- precisely the lack of this conscience. posed of short Our young people and teach him to know and to appreciate its sound. and long notes; that is, .. some of the are encouraged to listen notes wiuh slurs to what they like, to do as Then he would be spared the (supposed) need of in- Characteristic" and some with staccato marks printed Phrasing they like . . . but what is over them. done to make certain that terpreting Schumann ‘romantically’ and infusing into So much for “legato-melodies.” Now in this article they will ‘like’ the good? pure music the sentimentality The strict execution of these marks should be held sostenuto, but that preconceived no- I want to speak of two other kinds of — is just as im- not quite connected. “About a dozen melodies, “stac- portant as the These notes years ago, we in Brazil undertook a tions about it so often bring out. Let music speak for cato-melodies” and observance of the “shading” (dynamics) in the left hand melodies with so-called “charac- the thorough reform of music teaching, building our plans itself pedal-marks and the variations of tempo teristic” phrasing. Yet the so as to avoid false values. First, we attempted accurate carrying out of the Ex. 5 to dis- “Staccato-themes” are those phrasing marks' in these which are composed characteristic” tinguish between music-on-paper and music-in-sound, What Is Beauty? entirely of themes is often overlooked or short notes. Among those may be mentioned ignored HEITOR VILLA-LOBOS and to make it clear that unless by piano students, music lives in sound “Another great need in education is that of col- Mendelssohn s and these players do not a Scherzo in E-minor, Mozkowski’s The realize it has no value, regardless of the egligence the academic study de- lective training in aesthetics. What is beauty? Not an Juggleress, Rubinstein’s y are leaving out the first Staccato Etude, Vogrich’s f? most The step, then, is to clear up the sense-values of voted to it. This brings us vitaltha ITSpart of the expression to the second aspect of our absolute thing! There is a vase on the table. You, who Staccato Caprice. of these themes common musical terms, should be slurred exactly so that the musical under- problem—the purpose of music teaching. Why does have it m music we have hundreds of as indicated. seen every day for five years, know its style, We may ask how to “punctuate” themes with this standing they imply such themes. The Observe the pedal may be free of (existing!) con- one study music? Surely not for the sole purpose of its so-called . characteristic” marks as proportions, and you think it beautiful. answer is that phrasing. At they are printed, and I, who see music is a language in tones. We should random we will do not fusion. I remember being present, in Paris, being able to read take three such think that the pedal will when or write notes! If there is no mean- it for the first time, feel that it is always feel music in themes from the literature erase the effect of the strange and ugly. sentences and clauses. Therefore of the punctuation.” Manuel de Falla was hailed as a folklorist. Being ing, no soul, life pian°; The opening theme The “punctuation” a no in music, it ceases to exist. Thus, Which of us is right? Our aesthetic in Mendelssohn’s Scherzo: of Schumann’s Aufschwunq (the phrasing) will modest and amiable sense is condi- ( ? eard gentleman, de Falla said nothing music should be taught, Soaring ) and the opening through the pedal. from the very beginning, as tioned by familiarity—and by education. theme of the middle mnue h If Schumann marked his in objection but Accustom the 's mg — he shrugged his shoulders and one a living force, exactly ment of Bethoven’s “Moonlight” Punctuation”) so as language is taught. A child ear of our young people to that Sonata and E. . carefully, we surelv know which, in our accumu- th“ be-' could tell he was not pleased. Naturally he was not is normally fluent with the words, ginning of the Trio of this anted his piece performed the intonations, the lated heritage, is beautiful and their movement. Since the nub with th T that way. in fact, pleased! By designating — taste will be lication of these de Falla as a folklorist, his sentence-patterns of its native language long before sound. two compositions practically phrasing y°u bring out the very And when the mass ear has been trained to all^di" character critics proved that they had not the slightest under- it is asked to master tions show the phrase 0 muslc the simplest rules of grammar. beautiful sounds, there will marks as follows: ’ 1116 Passionate, energetic “up- be an end to the academic i/the first S™, ! standing of his work! Let two phrases of 4 us make it clear that popu- the Schumann piece n9~SOaring) ~yOX1 and purely experimental paper-music of the ultra- all the giVe 11 itS faC6 ’ lar music (chords) of the its Plysiognomr means solely the kind of music that the Language and Music right hand are moderns, which has no soul, no human feeling—in marked short °-fn public has taken to its heart, a staccato dots, except SeCOnd regardless of its value, Thus the language lives for the child as a matter of the ones on the first movement of word, no natural sound. beateat ’ofof the Beethoven’s “Moonlight” its source, its type. current measure, which are long. Sonata A revue number, Schu- sound and feeling—not as a lifeless thing of paper and “The third element in our musical life Is the mann’s Traiimerei, and Puccini’s Tosca artist— are all popular rules! So it must be with music. Before the little pupil * Ex. 6 who still inclines toward the traditional attitude of re- . music because the people know them, love them, sing is - A. bewildered by rules, he should be made familiar garding - his art and himself, as artist, apart from the rj]' them. Folk music, however, is an entirely different with rrfr^ ^ sounds. Teach him to know tones, to hear them, general run of humanity. thing! Folk How false that is! Art exists Bbii xit music is the expansion, the living develop- to appreciate their colors and individualities; 1 • teach his to express and to satisfy I humanity! The valid ideal . O) .P ment, of the people itself expressed through tone. Even ear to move from one tone to another, to expect certain of the artist is to serve the mass m » — if of the people, to give -n-j* „ such music is not popular, it is still folk music. sounds to follow it * each other, to combine tones in to them 1*^— ITT> something which, by virtue of his special gifts, 0J y -j L r S — Popular music, then, is a psychological expression of a rhythm. Let learn 3=pt=ESE him melody, let him feel harmony he alone can give. ==d people; The matter of program-building folk music is its biological expression. Art not by rules-on-paper, but by the sound if you look at the first four measures in his ear! serves as an illustration. It often happens that and let your 3a. % music (which may be both folk and popular, per- musical instinct %>. $ but not Then, later, teach him the rules—if he needs them. formers roam over them, you will “see” sical thought of plan their programs in terms of “what the and Of .”^ four bars, ma< necessarily either) represents the loftiest creative ex- Professional training, “feel” that there are ^dehcaL^i of course, will need them—but public will like,’ two phrases of one bar each, ?u;o bars regardless of whether it is the purest and m ***> pression of a people. The greatest music is that which, for the average music-lover, then a longer phrase of it is quite enough to pro- music. The performer who two bars, as indicated by the Phrase of two bars all staccato originating does that thinks of himself two little nhr in any of these three sources, reaches uni- vide a thorough training in basic brackets. If you truly feel this, 8 sound-values. and his own success rather than you will play each one 0nstitute one larger P^ase. versal human expression. of his high mission of of these phrases under Th firsf inf ? “Much of our so-called ‘music appreciation’ is marred service. here one impulse, that is, three sep- Phra*e And again the system of musical educa- little is made up of rather than helped the arate impulses, two short ones three- voiced eh^a by mass of detail our young tion is at fault. and one longer one ®' Play these The Purpose of Music Teaching to the keys softly and students must learn about music. They To project these impulses with special clarity, wfth fin are told that add the not very curved car “It is the business of music teaching to four light connecting - clear up Schumann was insane, that his music is The accents as marked. In Mozkowski’s the notes ‘very ro- Composer's "Art" The P (the soprano), “pus such distinctions, and to do it as early as Juggleress: them out . possible, so mantic,’ that at such a moment in a little 1 his life he felt sad In fourth place, then, than the that future taste we come to the composer. ingThe alto and tenor, and future accomplishment may be and that at another he felt glad. first Ht f T"ord What has that to do Like the performing artist, the wit a ’ built composer, too, is often motion h slight downward on a solid foundation. In art, there can be no with music? At best, the ’ and thethe^ immature little music student guilty of fourth a philosophy that expresses itself in ‘I live "FORWARD one ( Continued on Pag freedom, without the strict check of conscience of the of MARCH WITH — ten or twelve years of age is not able to understand for MUSIC” my art—the rest does ( Continued on Page 46) THE ETUDE JANUARY, 1946 "FORWARD MARCH WITH MUSIC” 9 : ,

co in good will, worth many millions Music and Culture surprise at the new of America—my dollars. Naturally, I am proud to the glorious oppor- con- Debt to America ditions, the new life, Paying Our millio tribute to my home community and to For instance, there are tunities. do anything which means so people here who have much to of right-thinking American home life. the suburbs their our ( Continued from Page 7) lovely little homes in the Euro- “Every American, whether born here own homes. Think of it! On would or abroad, has a debt to pay to this coun- pean continent the same millions “Worth Your Weight” few try. Many of the young men and prosaic flats. Relatively women have continued to be impoverished and a concert every Saturday night. The sale be living in in the service of living in a of America of their coun- unknown in Europe, had they remained of Victor Records also provided addi- people abroad ever dream conception of try have discharged this debt fully and there. They should see, moreover, that tional income. The orchestra was taken suburban villa. I had no all seemed tragically during the past four years. But unless they make some constructive con- to New York for appearances at Carnegie what such a thing was. It Common Sense in Weight Playing when he the obligation is unending, and it is pos- tribution to America, they can have few Hall and received most flattering press impossible. The boy in Europe, as De- sible to meet it with exalted, constructive ways in which to balance their reason notices. thinks of an American city such automobiles service to our country, in times of peace for existence with the vast army of “All of our regular concerts had been troit, with its millions of coal, as well as in war. pioneers who have contributed to the given in Detroit at the Masonic Temple. pouring out, thinks of grime, noise, hears a great “We hear thousands ‘griping’ about making of this great democracy. I realized that this auditorium was far dirt, and so forth. When he by (jeorye *Vf]ac l^jabb imaginary ills and abuses who, if “In music I saw my opportunity in too large to produce the vast acoustical orchestra coming from Detroit, he may they their attention this land I another picture of the only focused upon the of opportunity. was persuaded results required unless amplification (and imagine quite nf the Faculty, opportunities all around them Member Eastman School of Music to become President of the Detroit Sym- consequently, possible distortion of tone) American commonwealth and its citizens. to raise rejoicing our cultural and spiritual standards, phony Orchestra, much against my will, was used. Therefore, I bought the Wilson “It is with a feeling of deep University of Rochester might with astonishing but I realized that if the orchestra was to Theatre,' which seats only 2000 people, and gratitude for my blessings that I meet success. think that the succeed along business lines it must have and the orchestra thereby started upon a realize that I have a God-given privilege Those who country owes living, without their giving an organization and a guiding head. I new phase of its existence. This theater to enter this music field, which with me them a ample had great confidence in the director, will become the property of the orchestra. started as a hobby, and which has de- return, are beneath contempt. They are HE PHRASE “playing with weight” is as baffling of muscular contraction. Once again we are con- Karl Krueger, and believed that with Its relatively small size, compared with veloped into a great objective. certain to become loafers and trouble and confusing as the term “relaxation,” because, fronted with the impossibility of using completely re- time, civic support, and a val- makers. They should live for a little present, we do not laxed joints good business the huge halls in which many orchestras “An orchestra is one of the most T although weight is always and muscles for any arm position or organization, the orchestra would de- perform, is to my mind a real asset, uable civic assets a city can possess. while in countries where the oppor- play with pure weight at all. The expression is legiti- activity practicable for piano playing. velop finely. In order to function I also artistically and financially. The higher Purely as a matter of public relations, it tunities we have here do not exist. mate, but there must always be exertion to execute felt that the president should become priced seats will cost slightly more than would have to be put down in the books "We all owe a debt to America. Let it—a specific application of power and energy. The Mechanical Considerations general manager and start to build up previously, but the lower priced tickets at the City Hall as a capital investment us all pay the debt we owe!" weight of the arm merely acts as a base for muscular If a small and a large weight are dropped from the an organization the same as any ‘going will remain the same. Far more frequent activity; for unqualified weight, like unconditional same height at the same moment they will reach their concern!’ The conductor was to attend concerts will be given, and this, together relaxation, is ineffectual for any posture or activity destination at exactly the same time, but the heavier strictly to the artistic phase of the work with the rental of the theater for con- in pianism. weight, having gathered more momentum in descent and be relieved of business details of any certs, will add to the orchestra’s revenue. Weight touch has become a common denominator (momentum being directly proportional to the mass), kind. I found in Mr. Krueger a man of “In the case of soloists, both instru- in modern piano pedagogy, due to the trend toward will strike with more force than the lighter weight. fine aesthetic and ethical principles; an mental vocal, and every listener will hear Good and Bad “Punctuation” in Phrasing the consummation of all the vast tonal resources of Inversely, identical weights dropped from different GEORGE MacNABB American director, splendidly trained in the music as it was intended by the the instrument. We must be wary, however, of the heights at the same time will reach their destina- the technic of his art, with a knowledge composer. There are many beautiful solo delusion that the solution of every problem of piano tion at different times and with varying forces. Con- quantity of tone. Confidence and freedom are direct of the great classical masterpieces of the voices, magnificently trained, that do not C Continued from Page 8) technic is the plunging of an aggregate of weight sequently, if two unequal weights are dropped upon products of learning to release and control weight and past and a vision in the interpretation of have the volume of tone which audi- an (flesh and bone) upon the keyboard. Any course of the piano keys from the same height, they will reach power through the all-important recoil-process of the modern works. Withal, he is a gentleman torium big enough to hold a rodeo de- action which does not completely unify the technical the keys at the same moment, but the heavier weight, wrist. (See Ex. 3; Finale from Hall of the Mountain of a rich philosophical mind and of in- mands. I am certain that this venture (the end of the little phrase) with a the fascinating phrasing is the very and the musical bespeaks a culpable lack of foresight striking with more force, will cause the key and ham- King.) ternational experience. will prove a very desirable financial op- slight upward wrist motion. essence of the entire movement. and can only result in misadventure. mer to move with greater speed than the lighter On the other hand, the work of the portunity for the orchestra. More and In the next little staccato phrase make Beethoven was the first of the great Even in the earliest days of study young students weight when it strikes, thus producing greater tone. president of an orchestra must also of more American music lovers are begin- the four little chords sound short and yet composers who carefully marked the should realize the use of the arm and the larger play- necessity be creative, and he must func- ning to ask for quality and to demand The of soft with a delicately upward-bouncing phrasing and expression -marks in his ing units with the application of weight to the key- Use Weight tion as the leader of the business or- perfection. Anyhow, we must maintain wrist, bringing the top-notes out a little. compositions as he wanted them. board. Naturally we cannot dispense with finger ac- The use of a small amount of weight in piano play- ganization. He must control the mechan- our standards to the highest degree. All this with soft the pedal down. The This writer is the happy possessor of tion, nor minimize its role, but finger action must be ing calls for less muscular adjustment than that ism of the group promoting the orchestra, There can be no compromise between first four-measure phrase ( legato and a Heinrich assigned to its proper category in the technical organ- needed for large amounts. For instance, in and must possess good taste, facsimile-reproduction (by a very good judg- quality and finance. Quality must come staccato ) is followed by a similar one a Schenker) of the Moonlight Sonata. The ism. No finger of its own weight can depress a key. light staccato the weight of the hand is thrown at, or ment, and dignity in directing its presen- first. fourth higher. Carry it out similarly. autograph is full of slur marks and stac- It takes additional weight, plus muscular action in bounced on the keys (See Ex. 1: First measure of tations to the public. When a working or- “It is my desire, as soon as conditions In the following eight controlling this additional measures the cato dots written in their proper places weight, to yield even the Grieg’s Hall of the Mountain King ) ganization is firmly established it should, permit, to have the orchestra spend right hand has a series of eight little with marks softest pianissimo; in other words, perfect accordance in the end, act independently, without three months of each minute care, besides many year in a tour of Ex. 1 phrases, each being a quarter-note tied of dynamics. between the use of weight and the use of finger action. a highly centralized control. I knew that the world. It is also my desire that the to a quarter, which in turn is connected There contain No matter how adroitly either is used, one cannot how to accomplish this could not be works of American composers, when they are some themes that with another quarter-note, which (being function without the other. found in a book. Experience, and experi- are worthy of international groups of notes with half-legato ( porta- attention, the end of the ence only, was what we would phrase) must be short. mento) marks written over them. For have to be included in these programs. It is with Analysis Each little phrase is a long note build upon. the view of promoting such works slurred instance, the second theme in the first that I into short a one. 14 Analysis of this problem of weight touch begins with desired, established the Reichhold prize contest movement of Beethoven's Sonata Op When massive, imposing chord effects are The Orchestra an Educational In the Trio of this middle the premise that free arm weight is never used in for a series of awards for American movement: No. I: the whole weight of the arm is precipitated (under sym- playing. Institution Permitting the arm to drop of its own sheer control, of course) upon the keys. An example phonic works. The total of the prizes is 7 may Ex. Ex.8 weight is an un-coordinated movement, and when used “Our first year called for a budget of $32,500. Music is sure to prove a great be found in the opening chords of Tchaikovsky’s expenses as the sole source of power, yields considerably more amounting to $160,000. We were ambassador of culture to the people of : Piano Concerto. Even when such chords are played to give eighteen force than that desired for the many variations of whereas for a more dynamic staccato the weight of weeks of concerts, one the world, who will judge Americans as from the keys (in contact with the keys) the weight tonal intensity. This is merely using the keyboard as the hand must be fortified by muscular impulses from a week. As in building a house, the liberal, progressive, understanding hu- of the upper arm continues to function by instigat- budget proved far We should make the difference between an impediment to the weight’s fall. To apply weight the forearm, and so on as the dynamics increase pro- too low. It actually man beings with manners and ideals ing and reinforcing the muscle impulse. For extra required the legato notes and the portamento to any key requires some degree of coordinated mus- portionately. When the arm is greatly reinforced (See about $250,000. I, personally, expressed by such evidences as are heavy chord effects the entire weight of the body from notes very clear listener. The le- cular contraction. Still more contraction is necessary Ex. 2; Later measures from Grieg’s Hall the guaranteed the orchestra $160,000, and brought to the rest of the world through to the of Moun- the hips up (I have seen pianists rise out of the chair gato notes must absolutely con- to move the weight over the keys, to transfer it from tain King) then, as I had expected, other public music. Few of these peoples have any sound to accomplish this) may be hurled onto the keyboard. the right hand plays a charming nected, notes one key to another, spirited citizens interested in music came idea of our melody whereas the portamento and to sustain it in motion. American standards, other in octaves. This requires an inordinate resistance of all joints forward It is a melody of very half their legato nor To lift the arm above the keyboard in preparation splendidly and donated $90,000. than those they get in the movies, char- time-value, neither involved in order that the power may be fluently and acteristic rhythm and With the amount of money paid into the sometimes the very character- staccato—halfway between. This brings for the dropping, necessitates an active muscular con- pictures give an impres- istic passed from its source to the keyboard and the re- phrasing. The opening out the character traction to counteract the force of gravity. Maintenance Fund and the ticket sales, sion that is not too good. In phrase be- somewhat whimsical Continued coil absorbed uniformly these days gins with a throughout. In all these in- $220,000 was raised. quarter note tied to of the theme. contraction then regulates the drop of the arm, re- We ended the sea- of the Atomic Bomb, the a half stances the arm is world has no n 0 0Wed by dropped with a more forceful son without a deficit. another Quarter tied Once in a while will bring sisting gravity in a manner which allows the hand to choice as to the path it must follow. We °if,* !i to a composer contraction than when gravity acts alone as in a a half These two octaves in “The second season it was evident that must all should be held a theme with two different phrasings contact the keyboard with an expediency of force. be awakened by a new light of almost a free arm drop. their whole time it Contact with the the orchestra was to be a success. The love for the beautiful, love for value, but should the course of a composition, to show keyboard must be coordinated with kindness, not be quite In rapid playing, weight offers a very small element Ifi Arrmn xtta 1 atta f A A 1 . X connected. budget was raised to $750,000. Again we love for justice, love for The octave E-flat in two different aspects. In Beethoven’s a sustained resistance throughout the entire arm, but decency, love is for power and energy. In fact, to overcome the con- connected with Octave pliable resistance closed without a deficit. Meanwhile, the for a permanent spirit of a C, which latter Emperor Concerto the main theme in a nonetheless, because all the joints world broth- is slurred stant weight of the arm, so that it will attain the normal function of the orchestra off short. The next majes- of the arm, the wrist joint in particular, as an erhood as given to us in the Golden octave A- the orchestra is a most energetic, must be for a tone of high intensity the wrist must be stiff same force in Rule. flat is an isolated speed as it does in slow tempo, a more educational institution was realized is staccato octave tic “strong” yielding as the finger meets the key. This conditions (rigid) in by Music certainly one of the means of short announcement with this descent—fixed to bear the shock of the vigorous contraction of After that the octave the appropriate muscles and the people of Detroit. Other sources of bringing the D-flat is connected phrasing the arm to withstand any amount of recoil arising terrific impact. Naturally a right-thinking people of with more pliable wrist lessens a moderating of the distance of arm-drop are nec- income were created. octave F, which from the The J. L. Hudson the world together. It is one latter is slurred meeting of the forces of arm-weight and key- the force of arm-weight (non-percussive of the fore- off short. Ex.O arm-drop) essary. This increased contraction gives the arm the Company, Detroit’s largest department most factors in fortifying resistance. As soon as the weight has met the key- and induces a softening of the tone. The our civiliza- If you innumerable desired speed through less distance (drop) than in store, sponsored carefully attend board it a series of concerts for tion against the maniac gangsters to all the fore must be balanced on the finger tips for the modifications of this wrist pliability must always be of all gomg, you bring slow tempo. The smaller range of movement permits children. The Ford Sunday Evening Hour kinds, who are out the duration value of the note; otherwise gravity forever a menace to every- character o would consciously controlled, for the wrist governs the greater speed of individual b e ulSite 1Utle finger repetition and the was resumed. The Reichhold Chemical one. movement. For pull the arm on further down. This resting of arm amount of weight proceeding sidese ^the be- from the arm to the playing of the tones in more rapid succession. Company employed the orchestra to give “I charming melodic weight on the keys also remember so well my first hours in line’ and the requires a certain amount finger tips and is the determinant in the quality and the quasi jazz-like Later in the piece the piano plays (See Ex. 4: Beethoven’s (.Continued on Page 49) rhythm of the Trio ( Continued on Page 49) "FORWARD JANUARY, 1946 "FORWARD MARCH WITH MUSIC" MARCH WITH MUSIC" 11 THE ETUDE *

Music in the reveals Singing Learned From Speech Home Faust” where this baritone his more per- Music in the Home us realize Primer for Teachers and Students. suasive art—he makes how unjustly the A By Edward C. neglected. composer’s vocal music is He is less at Bairstow and Harry Plunkett Greene. Pages, 81. home in Herod’s air by Massenet and in the Offenbach Price, $2.50. Publishers, MacMillan and Co. Ltd. Bound in paper; selection—he lacks the requisite passion and fervor for heavy many notation examples. sinister qualities the first and the needed for the sec- Toreodor too lacks dramatic elan, but When jaunty, he-man Harry Plunkett Greene first The Etude ond. His his appeared in the dignified halls of London and artistry is nonetheless persuasive. Although the orches- New York, he was a kind of classical Frank Sinatra of his tral accompaniments are adequate, one wishes this Records day. The society belles of the day found his personal for the New Year baritone had had better. brilliance irresistible, and went in droves to his reci- Wagner: Die Walkure—So ist es denn aus mit den tals. Indeed, those who knew him, realized Ewigen; and Tristan und Isolde—Branganas War- that this Music Lover’s Bookshelf was a very keen, sensitive artist and also a very original nung; sung by Blanche Thebom (mezzo-soprano), with thinker. Victor Orchestra, conducted by Frieder Weissmann. Harry Plunkett Green died in 1936. He was born in by f-^eter Indeed Victor disc 11-8928. County Wicklow, Ireland, in 1865. He studied singing in Miss Thebom is .one of the finest singers who has Dublin, under the famous American theorist Dr. Percy joined the roster of the Metropolitan in recent years. Goetschius in Stuttgart (1883-6) and spent six months Any book here Although she is wholly persuasive as Fricka in the reviewed may under Vannucini in Florence. His debut was made as be secured from section of that character’s music heard here, it is her basso in the “Messiah” in 1888, and in opera at Covent THE ETUDE MUSIC EETHOVEN: Symphony No. 9 in D minor, good as singing of Brangdna’s Warning which discloses at we get in any American opera house. Mme. her Garden in “Don Giovanni.” MAGAZINE the Opus Opera did not appeal to price given plus 125; The Philadelphia Orchestra, con- Traubel is consistently splendid gifts as singer and musician; here, she the athletic Valkyrie, a dom- sings him and after many years of postage. B ducted by Eugene Ormandy, sensational success, as with Stella Roman inating personality with rare restraint and truly expressive tonal whose effort to save herself from beauty. the foremost basso in England, (soprano), Enid Szantho (contralto), he became Professor of Frederick Jagel Wotan’s punishment is vitally In our estimation, hers is the best Brang&na's Warning persuasive. Her nat- Singing at the Royal Academy of Music and the Royal (tenor) , Nicola Moscona (bass) and the , Westminster urally large voice small part of the singer's does not always emerge pleasantly on records. Not a success is College of Music in Choir. London. He was distinguished for Columbia set 591. from the recording, she drives her due to the knowing conducting of Mr. Weissmann, high tones too hard an his clear, natural, and impressive diction. From the standpoint of reproductive clarity this set and she does not bring to her pleading the appeal that old hand at this sort of thing, since he has been par- This book is noteworthy because in tops all other efforts to record it is no sense Beethoven’s greatest other noted Briinnhild.es before her have done. Jans- ticipating in recorded operatic excerpts for nearly a rehash of the interminable books upon voice. No one symphony. Previous to this set, the preferred perform- sen, who is perhaps the ideal Wolfram, is convincing twenty years. can read this book without learning more about the ance of this work was the Weingartner one. Symphonic as Wotan, but WereJitl, Calman there are many moments in which Verdi: Rigoletto Parmi veder le lagrlme, R one — and La simple fundamentals of voice production. The chapter recording has advanced a long way since 1935 when feels his lyrical voice is not quite big enough for that Traviata—Sei mlei bollenti spirit!; Jan Peercr aenor), the upon “Where to Breathe” is of great interest, as is noted Dalmatian conducted the Vienna Philhar- god. Jessner’s Sieglinde is merely adequate, and the with Victor Orchestra, conducted by Sylvan Levin Vic- that on the “Extension of Compass.” monic Orchestra for his recording of the Ninth. Today, vocal ensemble from the tor disc 11-8926. recording engineers can do away with a reverberating Metropolitan Opera is Verdi: La Forza hall echo like that which del caused considerable blur on a par. In order to The Master of Cremona Destino— Pace, pace of the Stradivarius instruments. While there is some music (mensural notation) by notes came into exist- and tonal confusion in the Weingartner set. Despite create the illusion of the ‘How Many Strads?— visual similarity mlo Dio, and Mascagni: Our Heritage From The Master.” in many of the instruments, there is ence on the continent some years later than 1220, and these facts, Weingartner’s performance nonetheless Valkyries flying here and By Ernest N. Doring. Pages, 378. an amazing tonal individuality to most of remains cherished Cavalleria Rusticana— Price, $20.00 them. The it is not believed that mensural notation originated a memento of one of the most there, the voices of these Voi lo (Limited Edition). Publishers, William Lewis and instruments now are to be found all over the world. in England. eminent Beethoven interpreters of his time. sapete: Zinka Moreover, by a careful study of the styles Mr. Or- singers are seldom in a Son. Milanov (soprano), with Many of the best are in the United States. In addition of composition in the following century (the mandy rises to the occasion in his performance by central position. four- to the intrinsic value of the fiddles, there is a long teenth) unleashing great Victor Orchestra, con- , the writer suggests that Sumer Is Icumen In sonority of sound where it is required, This is a set long i By far the most important book in the field of the procession of romances associated with special violins might deserve even and his recording engineers do justice to his tonal needed ducted’by Frieder Weiss- a later date. However this may be, and we feel cer- violin to appear in America which contributes impacts. Mr. mann. Victor disc 11- in the past twenty-five much to their fame. Seme have sold the youthful virility of Summer Is Icumen In Ormandy’s performance is singularly tain that many will is such re- years is this for thousands beautiful new and exhaustive volume of dollars, while others have been picked that when it is finely straightforward; if he does not let us down it is be- joice with 8927. heard sung by a modern chorus, us on its ac- which violin up for lovers will prize as the great treasure of twenty shillings. Like Gypsies, the violins have it is very cause he has at his command one of the greatest quisition. In Verdi: II Trovatore— much as though one had gone out into the long their libraries. been migrating orchestras of our time, Miserere; from one country to another, sharing the English countryside and picked but there is more to this music run, we feel too, that Zinka Milanov a bunch of posies. than the After an impressive biographical introduction, the the fortunes of virtuosi and connoisseur. The exactness conductor reveals here—the drama he sets most will find the work (soprano), Jan Peerce with which Mr. Bukofzer’s researches work proceeds to tabulate, in meticulous detail, the Seldom does one find a book flooded with so much forth with ponderous effects, the sublimity and beauty of Rodzinski (tenor), and Victor Cho- have been made is a credit to musical scholarship in and his known histories of musical advice is by no means fully those of the three thousand or and information. The work is finely our time. revealed. This is especially no- splendid group of play- rale and Orchestra, Frie- The pamphlet should be a part of the records ticeable in more instruments attributed to the master. There are documented and will therefore be authoritative for his treatment of the slow movement, where ers remains the der WeLssmann (conduc- of every modern library. most numerous excellent years to come. the recording hardly realizes illustrative plates, including the The publication of the book was fur- the pianissimo qualities telling part of the re- tor),and II Trovatore— pictures of more than one hundred of the most thered by the subscriptions of many noted artists essential to its welfare. Mr. Ormandy plays with ad- cording. Ai nostri monti; Kerstin famous and mirable amateurs. precision as the difficult Scherzo proves, but Wagner; Tannhauser Thorborg (mezzo-so- even here there is not the true manifestation of fren- —Wohl wusst’ ich hier prano) and Jan Peerce zied joy that Beethoven intended. His outer move- sie im Gebet zu finden, (tenor) , with Victor Or- ments seem the most persuasive—for there his fond- and 0 du mein holder chestra. Sylvan Levin Sumer Keeps Icumen In ness for sonority stands him in good stead in dramatic Abendstern; Herbert (conductor) . Victor disc emphasis. Although his singers are competent they do Janssen STELLA ROMAN “Sumer is Icumen In.” A Revision by (baritone) , with 11-8982. Manfred F. not measure up to the quartet which Weingartner Orchestra of the Colon Bellini: Norma—Mira, Bukofzer. Pages, 113. Price, 75 cents/ Published by used, the opening stanza of Mr. Moscona is painfully Opera House, Buenos 0 the University of California Press. . Norma; Aires, conducted by Roberto Zinka Mila- wobbly, and Miss Roman dominates the group in an Kmsky (s°Pran°> and (in the former), and the Metropolitan Margaret Harshaw (contralto), operatic manner. The Westminster Choir Opera lctor sings well, Orchestra, conducted by °rchestl'a, Frieder The famous rota, Paul Breisach (in the latter) i . Weissmann (conduc- Sumer Is Icumen In, has com- but the sopranos are often a bit too prominent for the tor). Victor disc Columbia disc 71697 -D. 11-8924. manded the attention of musicians not only because, good of the ensemble. Considering all things, it is B iZe our Janssen’s singing ‘-. Carmen of these two excerpts —Chanson du Toreador, Rossini: for the period in which it was produced, it is a remark- belief that had from the ii p and Weingartner known the benefit of the last act of Tannhauser” reveals *!' Sivi 9 ,ia Largo al able piece of music, but also because it splendid recording we find him as one of the — factotum; Leonard is one of the here his set would be pref- most sympathetic bariton Wolframs extant e), with Victor Orchestra, William oldest musical manuscripts in existence. It is alleged erable; as it is, it remains a challenge on more than TarraschT , French Operatic Arias: (conductor). by some to have been written one count. Amadis-Bois epais (Lul- Victor disc 11-8744. by John of Fornsete in ly), Richard Coeur S up o£ de Lion-Bondel’s °Peratic records tradi- the Abbey of Reading, and musicologists have long Wagner: Die Walkure—Act III Air (Gretry)- firm !!f 5£ maintains the (complete); sung La Damnation de Helen Faust-Voici des roses 8 famous Red Seala through the long been disputing the approximate date of its creation by Traubel (soprano), Herbert Janssen (bari- (Act m vears Serenade (Act III), and ’ wit-h^e (1230? tone) Chanson de la puce added dis“nctIon all 1235? 1240?). , Irene Jessner (soprano) Act I that these are , with Vocal Ensemble Romeo et i Juliet-Ballade de la Reine a tonal of the Metropolitan Opera, and the (GounodV: Ham- realism which is both extraordi- Now Manfred F. Bukofzer, in one of the most metic- Philharmonic- let Chanson Bachique narv (Thomas); p easing - Symphony Orchestra, conducted by Herodiade— Indeed, these discs show an ad- ulous and precisely documented pieces of Artur Rodzinski. fugitive (Massenet); Vision vanre in musicological Les Contes IeCOrdmg s ' ngers Columbia set 581. d’Hoffman-Scintm which has never before been research we have seen, shows that the very earliest diamant (Offenbach); Knownknnwn on records. alive, Carmen-Chanson ( Admirably and tonally rich and full, du date terminus ante quem non ) is about 1280 D'. the re- dor (Bizet); Martial Tor'o- A. cording of this Singher (baritone) haS grown operatic set remains one of the with the" into one of the finest Italian Therefore, this venerable round has had its face lifted best Metropolitan Opera tenor , things of its kind Orchestra, conducted S f °Ur time that Columbia or any other bv »° ’ one would to some forty years and is probably recording Breisach. 35 Pau* his think listening only six hundred Columbia set 578. authr^-n lve company has given us. It is seldom in an operatic style that he had been born in Italy and sixty-five years old instead of seven hundred and Singher is a lyric baritone instead nf w recording that the conductor with singularlv a sm- Y°rk Clty five, emerges as the star, but ®dmirable ’ His “Rigoletto" and “Tra- more or less. Mr. Bukofzer's first basis of musicality. He is proof most persuasive Sa” art, 1 e in oui estimation that is what Rodzinski here th SUng is that the only evidence does here which do not 6 anas mirable „ manly exuberance and ad- brought forward is that in demand big climaxes- the t ,,u 8t The music of “Die Walkure’’ seems to stir him more ^nka Milanov the 1862 Sir Frederick Madden, Keeper with quiet dignity, the'S^ * SUng SeaS ?N possesses one of of Manuscripts than that of “Tristan und Isolde,” and all with t™ soprano in the British the effects voices of our day, but Museum, established the date 1240, not and the Queen she , THE SALABUE VIOLIN that Wagner has Mab excerpt wfth is an OF 1716 demanded in ’ requisite i Slnger the orchestra are - In both del taking into consideration that the art of 18 in Berlioz s three Destino” anu “r? her “La Forza setting down brought out both tellingly and stirringly. - fr°m a Also known as "Le Messie" ("The Messiah") Strad. con- Columbia is -CSSSSr® VaIleria Rusticana ” arias vocal style reveals her sidered as the to be congratulated on using a large hnthh n greatest of the great, it was created by- orchestra like beautlfuI and spread, unsteady tones. Her part lnin ,, Stradivari when he was seventy-two. A superstition con- this; it gives potency and effect the ' to Wagner’s music 6 i8 n0t °n a Peerce S admira par "ith nected with this instrument is that no one of the successive which make it live auspiciously in a recording. Sy vo?ced MaT , is T alm°St a11 of her singing owners, from the master himself Poorly ' !° down, would part with The featured singers are capable exponents of their focused Ynd8nd borg emotlonaHy exaggerated. Thor- it during his lifetime. The violin is now in the Ashmolean BOOKS parts, indeed, at the present records and Peer time, they are about as “ **“ other hand duet Museum at Oxford University. expretvelv - sing their Mm' ’ CROSS WORD PUZZLES e ‘ illanov TO THE RESCUE better than sings her part in “Norma 12 than Missw Harshaw, JANUARY, 1946 "FORWARD MARCH ( Continued on Page 46) "FORWARD MARCH WITH MUSIC” WITH MUSIC” 13 THE ETUDE Music and Study N THE popular estimation the technique of singing Music and Study is one of the most complicated, mechanical and I tiresome things imaginable. It owes that evil repu- tation to a former misreading of its character, of what "Annual" Solo Recitals we might with truth call its “personality,” for singing Q. In order to stimulate my own practice and is a human thing. pianistic progress I give a public solo recital Hound Table It took ten years to train a voice in the old days. It in my home town each year. Occasionally be- The Teacher's was treated as a conscript on parade. It was drilled cause of my heavy teaching schedule, a year into a machine. Its slips by without giving one. but I am deter- youth was harnessed to efficiency. mined to continue the plan, whatever the cost Only the giants grew to manhood; the rest died Where to Breathe in extra time, "grief” and nervous energy. young—for in the perfecting of its bodily physique Can you give me any help as to how to make Conducted by they forgot it had an immortal soul. have travelled this event more successful?—M. A. L., Penn- what you wear, whether your appearanci We sylvania. apace since those days. We know now thanks prin- has changed since you last played (espe- — cipally to Schubert—that the old bet canto which cially, are you plumper?), whether yoi A. So many factors enter into the suc- claimed to be the beginning and end of the art is but are calm and so forth. So you have the lu Edward Cd. Jjdairstow cess of any piano recital that I cannot one especially beautiful means of expressing one of a difficult job of collecting the scattered possibly cover them all. Here are some hundred moods and takes its place in the paint-box wits of chattering friends and resolving points for you and other pianist teachers with a hundred other colours; that its legacy of blood these into concentration on the music as to think over: Mus. Dqc. and tears is a thing of the past soon as possible. and that the com- The best time for the recital is in the plicated technique which we dreaded and Before playing you already fought with Noted Pianist have your The following article is a chapter in the early autumn. You have been able to so. sullenly in days gone by is in reality one of the recent book, "Singing Learned from Speech," by Edward C. “hands full"—your fingers are cold, per- Bairstow and Harry Plunkett Greene, one of practice and study most of the summer, simplest, most lovable and most romantic things the finest of all recent books upon singing. The Etude is re- and Music Educator haps trembling, your tummy doesn’t printing this chapter by arrangement with MacMillan you are rested, fresh, unpushed. By all feel imaginable. and Company, the American publishers. too good, you are tired, you are con- — Editor's Note. odds the beginning of the season is the The human voice has always been pre-eminent among cerned about all sorts proper moment to disclose your musical of upsetting and musical instruments. It is far the most gifted of them prowess to the community. However, unexpected circumstances yet you want you — all in the variety of its virtues. It is practically the must not expect to perfect a new pro- the auditorium late on the concert day. to intrigue your audience and persuade only instrument which increases in power as it ascends gram by practicing intensely only during Guard the instrument (and yourself too) them that the music is colorful and mov- the in pitch—a faculty on which the principles of mu- world play or work with their hands and feet—the knows, it is the other way about. They become tongue- ing. the summer months. If you try to do against exposure to drafts, and swift . . . Could anyone face a harder job? singer sical phrasing are based. It has a set of resonating sings with his breath. Our hands and feet have tied when they speak, but sing without a hesitation; this you will reap half-baked, insecure, changes of temperature on the stage. Make your entrance confidently, walk been chambers which are variable in size and which can our working weapons of offense and defense from we speak with fluency but stammer when we sing. It unhappy performances. “Come hell or Arrange with the janitor beforehand out erectly, head held high. Never act regulate their capacity to any form of expression. It time immemorial; our breath is primarily meant to is the same enemy attacking each from a different high water,” you must practice every for t“ exact hall and stage lighting you coy, shy or lackadaisical. As you reach needs no fiddle-case to travel in. It goes through life keep us alive. angle. single day during the winter season. This want hen practice with these lights. your chair turn to the audience and make with us wherever we go and—greatest gift of all—which There are a few so-called “natural” singers, rare work period need not be lengthy—an Correspondents with this Depart- If foot lights are available, and do not a slow bow. Better not smile just now- A Self-Conscious Act ment are requested to limit Letters it alone possesses—it needs no proxy, but gives its individuals who sing sustained notes from the very hour a day is sufficient—but it must be- blind you, by all means use them in save that for later. If you try to One - out the play Hundred and Fifty Words message from man to man as it has given it through- When we a passage on the piano, or hit a ball beginning without any concern. These are in most come an inviolable routine, planned moderation if piano for they are not too hot. Avoid before you begin, the approach out the ages in Speech. over the pavilion or cast the time — danger of all. Sooner or when you are most relaxed, a too dimly lighted stage or one in which must be reverent, serious, affectionate— a fly over a rising trout most later—out of the blue receptive, best able to concentrate. the lights shine too starkly from above never flippant or flibbertigibbet. Don’t Economy of Effort we do not worry about Only through generally, and for no such rigid, inflexible prac- without the counterbalance of footlights. play loud, dashing or fast passages up how much breath we By all the laws of familiarity and sense it apparent reason tice enforced over a long How can you expect your friends to go common —there period of time Also, do not dim the house lights too and down the keyboard, but rather a few want or how to apply joyfully should be the easiest instrument to master; yet for it. comes a moment when can you hope to make substantial prog- home if their hands are beaten much, for this invariably stifles audience- soft chords, or .a single lovely modula- Nature sees to all that some occult reason it is the most difficult of all. they are seized ress. red and raw from plugging applause for alertness them by the and applause. A bright, even tion, testing both damper and soft for us. have no pedals Yet everything which is beautiful is simple; We sense same panic you? slightly and things as the rest • glaring auditorium stimulates the as you play, finding of anticipation, The Program the best distance which are beautifully done are or regu- of hearers done with ease. And us, and if they have even if the general effect is not and balance for feet, body and at lation or struggle. Plan your program in Before the Recital arms the closer they are to nature the simpler they prove We not learnt its cause its entirety a so “arty.” If and some of the audience com- the instrument. Don't play a note until go through life pursuing year ahead. Don’t to be; for nature’s first law is Economy of Effort. how to it just learn anything Be sure to arrange at least a half dozen plain, Sing- meet they will pay no attention—or say that it is the doors are these and you like and then think closed, every last person ing is the closest to nature of all the applied similar activ- be far you can scramble informal “try-outs” of your program be- impossible arts, and worse off than to change the lighting. seated and everybody quiet. ities without a thought the stuff together into an effective fore if we only knew it, the solution of its difficulties is also those who pro- you play it formally. These may be It is have been a good plan to ask one of your The first piece of how we manipulate gram list. Artists don’t build for you play is probably the simplest. through the mill. programs groups in private homes, women’s critical friends to stop in at the hall to more important than other and reinforce our motive this way. Plan to learn only one lengthy clubs, school assemblies, any number Assertions are easily made; they have to justify There is a motto which and so on. . appraise your appearance and the gen- on the power, and give work. If, however, you study one of the Under program. A slow singing piece, or themselves. Here are some questions no spe- I should like no circumstances play your pro- eral effect of about singing: to see fac- your playing as you practice a light, cial directions to shorter Mozart or Beethoven sonatas, not too difficult rapid composition the answers will given later. our ing the an- gram without such previous routine. on the fully be Some of them, no pupils on the wall lighted stage regaled in is breath unless other longish composition may During your always preferable to any long, exact- doubt, have puzzled we blow of every be in- the week before the recital do concert gown you already; if not you will recog- room in which and full “warpaint.” As to ing, or out a candle, or whistle cluded. As to difficulty, beware of flying not neglect loud, brilliant number. Don’t nize the conditions, or symptoms, singing is to “mental” practice all the your costume, when put before you. taught. It is: avoid wearing accessories waste your time a tune, or smell a rose, too . high . . keep all numbers within pieces at first trying to project First. at the rate of one or two daily, which Most of us when we are children sing about “Will you make your rattle, clink or get in, the way. Do a long, involved or smoke a cigarette or your technical grasp; always plan some This is simply the slow, sonata; avoid sensational the house without any embarrassment or need of in- breath your enemy or painful opera- not wear evening gowns well-loved, familiar which expose the effects, and don't is the like. But the moment work for the pro- tion of “playing” the pieces note for try to be subtle. It struction; on the other hand we have to learn to your friend?” As the note, upper arms, excepting of gram, and be sure to select course if you too early for the audience concentrate we ask our breath to sing several short, finger for finger, hands separately and are one to speak. When we grow up we speak without any dif- whole art of singing de- of those rare possessor’s of a sustained note sure-fire pieces for the final group. together silently rav- deeply on a lengthy, involved musical ficulty, but have to learn sing. we ask pends away from the piano, ishing upper arms. to Why? on the answer to To find a suitable end-piece for the “seeing” message or to refine- it to side-track its main every piano key in your mind’s Place appreciate ultra Second. The ordinary musically-inclined adult will this question I am going the piano well forward purpose of keeping program is always a headache, for this eye as ’ on the ment. Confine and us you “play it. . . yourself to color shout into it fully. . Also go over stage, as loud as anyone in a chorus; but if he is asked with -the keyboard slightly alive and to devote must perforce be the smash hit of the each piece very slowly to the dynamic contrast, long swinging rhythms, to sing a its If at the piano in left of the center few notes by himself his voice is seized with we are going to entire list. I (as you face the energies to helping some- think pianists fuss more over two ways: (1) Watching the audi- active and passive “give and take” phras- an inferiority complex tackle the notes on ence) and approximately and dwindles to a strangled problem of this last piece problem than anything the printed at right angles ing, and as thing which is actively page as you play, and (2) as rich and beautiful a tone pipe. Why? conciliation which is ob- to the audience. Go to any else. It seems to me that they unneces- by memory, without lengths neces- you can that hostile to its routine. It looking at either the sary command. Also remember Third. If you ask him to sing you a tune he will do viously implied in that sarily to procure the best is the limit themselves to a set of dash- notes or the keyboard looking, most late comers in the most self-conscious . . . this latter hate to stand outside it quite efficiently on a jingle like answer we must know comfortable piano chair fol-de-riddle-i-do, thing ing waltzes, a Liszt Rhapsody, or a bril- method is of the specific “cold” in the world and a one of the best ways I know vestibule as they miss a long im- but if you ask him to sing a single first where to breathe and height you require. A sustained note prey liant Chopin piece. . good to our imagination. . . Why not some- for implementing memory, plan is to portant work. for for digital se- bring . . . Wait patiently on a vowel, why does he get what is commonly known next how to breathe to thing your own from home, It is to — a little more unusual like a Bach curity and as an all-round or if in doubt these sluggards you all intents and confidence hung a flat to be seated before as “a potato in his throat”? discover the habitat and Fugue transcription, the Baeh-Liszt cushion or two for purposes a personality A developer ... (I infer, of course, that emergency begin your next number. HARRY PLUNKET GREENE the habits of the minor, you Fourth. Why does the average clergyman, untrained and breath. the Bach-D’Albert (or Busoni) have “mental pr fciced” we shall be wise to your pieces right Remember that if you succeed in con- in singing, who reads a prayer with ease and beauty, There are, roughly speak- D major, or Fuleihan’s Air treat it as such. That is and Fugue from the first du^s of learning them.) centrating well ing, At the Recital on projecting the music lose both these virtues when he intones it? four methods of on the white keys, a Rachmaninoff Etude why the adult singer loses the spontaneity of child- from the very beginning program, breathing which are taught; but there is Tableau, of the Fifth. Why, in the majority of cases, is singing asso- only one Dohnanyi’s Capriccio in F Extra-Musical Details hood, why he roars like a lion in the chorus but like right you will almost surely “forget yourself,” ciated with one. The longest way round is the shortest way minor, or Rhapsody in — «> uu ue the outward and visible signs of physical a sucking-dove C major, the If an artist had only seated durir and in isolation, why the sustained vowels home. I will take the purely musi- Playing will soon be playing up to the high- discomfort pumping shoulders, wrinkled them in turn, apply the acid test of Debussy Fireworks, Toccata, or of a number, and — foreheads, are filled with terrors L’Isle cal details to worry about, that they est level which were absent in the con- common sense he would al- exactly of your competence. mouthings, gaspings all and eliminate the wrong ones, one Joyeuse? Or a pianist might xf and when and the other signals of dis- sonantal jingles; save his ready be carrying his proper flowers are"' why the sung words of the Prayer- by one. share of presented over tress? lengthy composition for the end—the the concert the footlights. book are tangled in birdlime and why the burdens. . . . But there A1 untrained are specific on Other Details Sixth and last question to which I want Schumann Faschingschwank, the Carna- endless your program as —a you to singer pants and struggles in the spider’s mechanical and preparatory de- to just web. Some- A Test of Breathing Methods val, or he longer interv, A few reminders: Rise from your chair pay particular attention. Why should the singer’s col- the Symphonic Etudes, the Bee- tails to take care 1 (intermission) thing inside him has crept up and of to insure the ( whispered to his Stand up straight, event’s usually and bow after unless you leagues the violinists, the pianists, face your audience in imagina- thoven “Moonlight” Sonata, the Appas- success. about two-thirds each number— the organists, the breath: “it is not your job; Here are some things to do througl you cannot do it.” The tion, try them in succession sionata, or Les Adieux be- Program, so that plan to play the next piece without a tympanists and all the rest play with such apparent and ask yourself a few Sonata. fore the concert: Be sure you the audience ml same breath which reads a story aloud with perfect searching know your ' questions after around, relax pause between. ap- ease while he alone is condemned to suffer each. Plan at least three encores, all brief instrument and smoke Nothing squelches so demon- unconcern, shrivels like a frightened thoroughly. Give it an ex- hedgehog when No. 1. Breathe by lifting and instantly The first five plause more than bowing stratively and painfully? and lowering your chest. effective. Don't give any haustive workout or ten minutes nodding and you ask it to sing. With stammerers, several days before the of to as everybody Does it expand without effort? encores during program are the the audience position. Americans say “There is a nigger in Can you lift it and the course of the program, concert, and a brief most important from a sitting the woodpile tryout on the day t lower it at any pace you like? • . Besides, nor somewhere.” Does your throat feel and don’t be too coy about responding itself. Ascertain it is neither polite What is the hidden enemy—the common that it is well tuned after free and open? Can you with the extra numbers assembled not gracious to acknowledge in that denominator, as it were, of all the questions? make crescendos and dimin- after the last your final rehearsal or so much for the applause Well, the just before the to honor mu way! uendos at will? Do you feel loose-limbed group. Come right out and play them! concert, you. The answer to the last question is the answer to them all. and happy, especially if it has been sent interest of yoT and to wishers When Violinists, on intimate terms with your audience? centers chiefly on you leave the stage after a group pianists, organists, painters, sculptors, crick- No. Your how you body feels strained; your 14 rr eters, jugglers, throat feels cramped and FORWARD (.Continued on Page 45) carpenters, shoemakers and the rest of MARCH WITH MUSIC” your voice moves on leaden feet. Your shoulders pump v JANUARY, THE ETVr> 1946 ''FORWARD MARCH WITH MUSIC’ 15 when a quick breath is needed, not be parted and Director: Music anything to say to singing or life in general. Yet not at Dear Organist-Choir Music and Study and Study there is plenty of time. it is the all when only is it the home of your breathing, but When the war first began we wrote you a letter in Breath taken through the nasal cavities calms physical efforts. That is why tl which made suggestions power-house of all your singer, we many about the musical is nerves, inspires the and leaves the body the prize-fighter tries to hit his opponent there—it in T program of our church. (Published in The Etude, ideal state for the coming phrase, that is, up and down; is something in a your hands seem to want to paw the commonly called the solar plexus. But it com January 1943) . At that time it was necessary to make condition, with all air. Your audience the seat fortable, relaxed the passages sees your embarrassment and is far greater for our purposes than that. It is openp “• many changes in our program in order to combat the vaguely word and with plenty of courage. conscious that you do not know your business. of all our emotions. What is the meaning of the privations brought upon us by the war. Now we write energy belong This is commonly called “chest" what good Exertion and to the singing, breathing. So much “Inspiration”? It means breathing-in. And more o to you again for we face still more changes brought for an Era of Peace to the nature of the Music for what we will call less according phrase to the Northern position. is inspiration if you cannot express it to others? And be suna upon us by the return of normal living conditions. Now let us 2. When the phrase is finished a mere return go to No. —as far away from it as pos- what is the meaning of the word expression? It means of th When you face what we are calling “normal living sible to the south—to body to its normal state is enough; no your stomach (commonly called pressing out. There in that little invisible spot your further ex- conditions,” you will immediately see that it is im- “abdominal" breathing). Have you sense of of your inspira- ertion must occur, otherwise nature’s rhythmic ", An Imaginary Letter from a Music Committee a power diaphragm breathes in the message ] aw possible to return to pre-war living. This is true of down there? Do you find will broken. the great muscles taking tion and hands it over to the great abdominal muscles be the church’s life and it is equally as true of the mu- hold and driving your message As the air goes in so will the sound across the footlights? to deliver. come forth a sical program in our church. So this letter is written an Organist of Today Do your lungs feel at home in breath will produce a timid To that region or are they Whether you tackle a man at rugby football, or cast timid sound, a forced in the hope that, as the organist and choir director, a little shy of their surroundings? breath a forced sound; a deep and Has your audience a salmon-fly, or sharpen a pencil, or add up a column comfortable breath you will realize what a tremendous part you can play a sense of confidence in your well-being? No. Your of figures, or write a fairy story, or make a speech, or taken happily will ensure a rich, free, comfortable in building this better world of tomorrow for which voice sounds as dyspeptic as yourself. It wobbles on its sing a song; whether you laugh or cry, or love or hate, sound. we have sacrificed so much during the past four years. feet like an invalid just out of bed. Your style is or despise or admire—everything you do and every If the demands of war weis taxing on our church, the Inj dXgl. WJilliam Collide ion deprecatory and your audience perhaps indulgent. sentiment you feel has its home in that little invis- demands of providing spiritual nourishment, now that r Sooner or later you will lose your figure. You have ible spot where nature has linked our emotions to our the war is over, are even more taxing. We have now nothing to sing with down there. Let us rule out the breath. the greatest job that we have ever had, and it is even Southern position. Its working is as I say, invisible—a singer should more important than before. For it is the business of Now let us try No. 3 .—East and West (commonly never be seen to breathe. There are no ribs to push Philosophy of Vocal the church to prepare our world for peace, eternal In order to serve the future of the world it is neces- an oratorio in its entirety than just selections. We called A Study “rib” breathing) . The first two are manifestly out, no chests to tighten, and it is effortless in its peace. The sole mission of the church of tomorrow sary that our church, and every church, grow. We would suggest that you prepare Stainer’s “Crucifixion,” absurd. This one is the breathing most commonly action. But one of its negative virtues almost con- shall be to bring, about an eternal happiness for the must grow in size, in importance, in contribution, and or Dubois’ “The Seven Last Words of Christ,” for an taught; let us therefore treat it with respect ( Continued from Page 5i and ex- stitutes a danger. Its area of expansion feels so small peoples of the world. This program must start in the in endeavor. The materialism of the world is growing evening of music this spring; also that you look into amine it thoroughly. It has a certain muscular au- that you are almost unconscious of its activity when local church, our church. Our program must be built each day and we do not wish for our volunteer choir the prospects of teaching the choir some of Mendels- thority and it has the merit of being invisible. Both you are on your feet. But test it another way. Sit tone becomes unsteady through flabbiness. But around the minister, the Sunday School, and the to drop off and be replaced by an entirely paid group. sohn’s shorter oratorios, motets, and cantatas. Choir are deceptive. these Take a deep breath and with that breath down in a chair, put your elbows on your knees and are problems for individual discovery and correction choir. They are equally important. We must devise means by which our choir members members will derive more than pleasure from the (note these three words) expand your ribs outward your chin in your hands and take a slow, deep breath The best is, not to correct, but to avoid them. can enjoy their services to the church. We suggest that mighty “Elijah” and we cannot overestimate the re- on either side. You feel plenty of muscular power and to the very base of your lungs; you will suddenly be The Standards of Church Music you prepare secular music for use by the choir in ligious value contained in his “St. Paul.” It may take you can make a considerable amount of noise. aware of The Complete Art of But a new physical force, a muscular control and Singing First we shall speak generally of the standards of secular programs to be restricted to Sunday School a long time to prepare “Elijah” in its entirety but see what you have to pay for it. Every time a your breath power of expansion which are positively exhilarating, “It would be comparatively church music. During functions. This music should be light and airy and during the training period your choir, goes out simple if excellent sing- the war we have let ourselves our church, will your ribs go in; and every time you take a all radiating from that invisible centre which you had ing depended upon vocal care drift into a substandard in many instances. Our people not too difficult for them to do without a great deal of come closer to God if we hear selections from this breath in you have alone. But it does not. to push your ribs out. Three- treated hitherto as negligible. As a matter of fact the The complete art of singing—the ‘something’ which have been busy and, by the nature of their work, we rehearsing. In order that our choir members may have work. We would rather spend the extra money in- quarters of your energies are used up in the effort of downward and outward spread of your lungs goes enthralls could not expect them to attend the that natural urge for solo work answered, we suggest volved in buying the entire work, pushing listeners—is the fusion of three separate ele- services and sing than just selections them out, and nine-tenths of the other quar- deeper than that, but you will not be aware of it. You in the choir. that you use as of the choir as possible from it. ter in keeping ments: voice, or tone; interpretation; and rhythmic But they have more time now. We must many members We want the choir to know the entire work, them out when you’ve got them out. will only feel a muscle, or set of muscles, like a great precision. spend extra time in building our standard. in solo work in the Sunday school services and at at least to be familiar with the spiritual This In this sense, the singer is exactly The first content of it. does not leave you much of a residue for sing- elastic strap which like a seems to be fastened on to your cook! requirement that we believe you shall Sunday school functions. This does not mean that So, as you build for the choir, let ing. Does it The cook takes first-rate quality eggs, make for your post-war us bear make for freedom? Can you sing loud lower ribs on either sugar, side and which embraces, responds choir will be one of balance. even our school should have solos that irritate in or soft and and milk, and blends them into a souffle, During the war we ap- Sunday mind that we want our standards raised; we want increase or diminish your tone at will? to, and expands which results with your enthusiasms instantly and preciated the fine the nerves of the listeners, but give finest Does your voice flow from the eggs, the sugar, and the milk, work of the women’s groups; now we implore you to the quality from the choir loft that is possible; out or must you push it out? Does fervently. Now associate but which is that deep breath with a sen- we shall open our hearts and ears to mixed choral as much time as possible to the training in solo work we want the choir to have as pleasure as possible it respond to your emotions vastly different from any or all of them. Thus, a much unconsciously or are you sation. Take a bunch of roses the and drink the scent master singer group. A good balance, as we think, includes eight or of as many of our choir members as you can. This in securing these goals. We want to have a choir that aware of its mechanism? Does it fill provides his public with something that itself with the deep dowm. You are half-way to singing then if you is not ten sopranos, four or five altos, three or four tenors, will make your work easier; it will make the work of will always tell us in music that God is here. thrills and colors of your mood? Suppose that only merely tone, not merely interpretation, not you knew it. Go a step further and associate the are singing allegro scent merely rhythm, but and five or six basses'. We would prefer, if possible, the choir members more interesting. As you play our organ for the services to come, we or vivace and the composer has of the roses with some deep an artistic blending of all. Again, emotion—memory if you that the voices be young and fresh with voice would remind you that the prelude is only given you a semiquaver rest in which the souffle must be not only well no one designed always to take will—or think of beauty for beauty’s sake— blended, but also be Improving the Tone Quality your breath. and you in its standing out. Mature voices, usually reached by women to lift us from the worldly to the spiritual. It should You have a long phrase coming and you will find state of best perfection at the special moment that both have their home in the middle find that your ribs have of of serving! between twenty-five and thirty-five, are needed to give We would like to discuss with you the tonality of the never be trite, theatrical, or operatic; it should always gone flat. By the time your the Equator. If you And the singer's art must be so controlled, would like a more comprehensive depth quantity. choir. breath has pushed them out again through resources and However, it is essential that you The anthems should be varied in dynamics but be stately, churchiy, and sombre. We prefer the prelude many semiquavers test than that, try to put on a shoe of sureness, discipline, and skill, that that is too small keep these voices as fresh as possible not exotic in interpretation. to quiet if will have gone by, you will have been left its best perfection by giving them The tempos should never end very y as leading us into the very pres- behind, and for you. Fix the fingers of both shines forth at the special moment hands in the heel, tug exercises before each choir rehearsal that will lighten be so fast that we cannot understand the words ence of a living God. the rhythm will have broken its leg. Has the of public appearance. and We prefer that the postlude be composer hard and tell it in appropriate language to face the alternative what you the voices. In working for your balance it will be neces- yet so slow that we feel as if it were a funeral dirge. in keeping with the service if a festival service, a of abandoning allegro and think of it and I had the glorious — the shop which sold it to you. opportunities of learning my vivace or of giving You will sary to change the positions of the choir members so It is our hope that you will replace the loud and harsh festival postlude is desired; if a communion service, we you an extra half bar in which to find that the Equator blending by coaching triangle will supply you with and studying interpretation that the breathe? And is your audience really with youthful tenors and basses, so fresh from the high notes of the sopranos with soft and beautiful should leave the sanctuary as the organ plays softly; satisfied with energy, sensation, emotion, inspiration both Reynaldo Hahn and Debussy, That, of a rhythm and expression armed services, are distinctly heard in correct tonality. tones that are lilting in quality. soft if a prayer service, the which goes with a limp? Let us apply lib. course, The passages we organ postlude should be quiet com- aa followed my years of purely vocal training with mon sense once more. Surely nature never De Perhaps you will find it advantageous to place these hope will attain the cathedral like atmosphere wherein and subdued. meant to Reszke no proper interpretation can even be condemn you to the voices in the front of the choir and the older sopranos the choir sounds as if it were coming from a distance. treadmill of pushing your ribs ought of until Summary the voice is sure. Interpretation de- in Ideal Situation out and holding them there by force. Your the rear. We have heard many choir members say that they do An ribs are pends upon the giving back of mood your allies, The whole art the meaning and not like to be quieted down with as we shall see later, but they have no of singing, from the beginning o the a “Shuhhhh!” In We ask these things of you because we know that of ' poem—but it is the greatest possible mistake Nothing more to do with the control elementary technique to But the Best creating effects for the choir it is a good plan for you you are interested in building a greater of your breathing than the last word of musical o begin church for the a new song by learning first. No, the chassis of a Phrasing and imaginative the poem We ask that you raise our standard it to tell the choir about the effect you wish to obtain. world. motor-car with its engine. They are interpretation, is the —yes, raise post-war We shall contribute to this interest emotional music comes first. The carries, to all intents and purposes and administered by your music supports, or higher than it was in 1941. We ask this because, for There are many excellent recordings of these effects, by paying you an adequate salary; a protective container and breath. That is why the by providing you vour meaning of the words, its nothing more. The futility motto is: “Will you and that meaning finds every twelve of our church members there are recordings of church music and also recordings of with necessary materials; of this form of breathing make your breath your enemy best ap- an organ that is constantly or communication when the free to con- should put it out of court. But there is your friend?” singer is proximately two youths who have served in the armed operatic music which have the same type of effect de- in tune and repair, and a budget adequate a more serious centrate upon for the side to it than Deep breathing it; in other words, when his knowledge forces. They sired, that. When you use rib breathing you is the foundation of have been all over the world, and some of and we would suggest that you play these record- purchase of the sheet music you need, both sacred singing-but ° e music is so sure, are exactly reversing nature’s processes no woman breathes deeply so complete, so much a matter them have visited the finest churches in the country. ings. We would desire also that you arrange to make and secular. shall add further to and contract- by nature. If she wishes o We your interest by to sing second-nature that special ing the very muscle which should expand. she must learn to breathe he needs bestow no No longer can it be said that members of the church several recordings of each rehearsal so that the choir providing you with a recording instrument and blank like a man. I thought — Well, Sony for her, am upon it. we have apparently boxed the compass, and but there is no alternative. do not know better music, for they have heard the best can hear how it sounds. These recordings will do more discs; by providing adequate personnel for evenings of And one word So then, have met with nothing but bad weather of reassurance to all parties interpretation begins with acquiring this in England, Australia, New York, Chicago, Los Angeles, to teach than you can do in many hours time. entertainment for on the way. concerned. There are The the choir alone; and by continuous such things no absolute sureness of as breathing-exercises. of the music. Chart the pattern Philadelphia, and in many of the cathedrals of Europe. church will furnish you with a recording outfit, in- expressions of our appreciation There are dozens the for the fine work you of physmai melodic line, The Correct Method exercises for developing with which nothing must ever be These returning soldiers probably will not come cluding blank recording discs. It will also provide you shall do as our partner, our leader, and training ai up our minister of abdominal muscles-all the owed to interfere. Now for of them Master line, intervals, rhythm. to the organ console after the service and say to you: with a number of discs to use in recording your own music! Through the minister and you we shall grow the solution of our difficulties. Draw an admirable But with breathing-exercises, as such, are precision. Work at it without ‘temperament, “I heard that anthem sung in Paris organ solo work so that you will be better equipped imaginary line from your chest (the but a mnrtifinof at the Protestant to to know God, and we shall build that world of tomor- North) to your of the flesh. ll n qui ® as you Learn where to would at an exercise in cold, classical church.” But you may rest assured that some of hear your work. row in which peace and good-will to stomach (the South) and another from breathe and ? * the all men shall be you lower breathe and singing vocalization. Master ribs will give youf it. Then put it aside and study music you will do has been heard by these boys some- the ruling thought, and lost in memories on your left side (the East) to your lower breathn au the will be the ribs exercise it wants. the words. The Church Music of Tomorrow on your right side where in their long travels. We know that you will sword, the sweat, the tears, and the (the West) . privations of Where do they meet’ -me expansion “The poem, Right in of the body in breatbino- too, mast be absolutely secure the best music possible, and although The church music of tomorrow is of great concern World War II. the middle of the Equator. If you had been completely and we do not at the soft spot beneath mastered. It must must wish asked to suggest a likely place the breast bone*^ be drilled as declamation. It for our church to be in competition with the to us for it may well serve as an index into the church Sincerely yours. where your breath is always mdeed the case when the ythmiCally timed thor- larger churches of tomorrow. The music of Mendelssohn, the centre of your intake of - of course it must be throughout the world, at the same Bach, Handel, Your Music being—should have its home you X “ in ‘ nLhi Committee. spiration in both senses of y Understood! the time would have guessed the centre of the word Then, ultimately, gradually, we are most anxious that these returning service Franck, and Stainer have withstood the test of time. * * * * your body and, sure The air ?“f“ should pass in through ements are men find It is more interesting enough, there it is. It lies ' the nose combined. rhythm in their home church a type of music, much for a choir to work on immediately below your f The meaning and a “Music luckily is not expected chiefly the former, for that to convey knowledge breast-bone in the little is nature’s are com'uunicated melodic standard of music, that is equalled only by the best. triangular space where your wav AAirTv^’ f through the of facts. That is the secret entirely through a wide open taken iin« of its magnificent develop- ribs branch off on either side. mouth mUSic~the first step in interpretation has The church deals so frequently in the unconsciousness Press your fingers on timid ment: the life of music is free from everything and fearful breath^ been made of except that spot and you w'ill find an elastic muscle m t sobZX™ 'V" its members, and while these youths will not make which there has been a When its natural sources, from everything except the bio- responds to your sudden shock. The have comparisons, these comparisons will touch. It is so modest in its demon- t l”°n up on Mozart myself, and I naturally slip into logical impulses any air is admitted through why alu-av^f” and multiple harmonies internal to strativeness that you may never the mout^L if elt hat Mozart possible their minds. Unconsciously they will become dissatisfied ORGAN have realized it singing is the finest had is to avoid noise. prenf, a f e the organism.’' Therefore the lips preparation for with nothing the shoSd on,y any other kind of music. Why? Because but best. • . . SANTAYANA (From The 16 5 Realm of Truth) "FORWARD MARCH ( Continued on Page 46) RATH MUSIC” JANUARY, 1946 "FORWARD MARCH WITH MUSIC” THE ETUDZ 17 Music and Study N CONTRAST to the plan of class instruction in Music and Study instrumental music so widely used in the school I music field today, the purpose of this article is to discuss some of the fundamental virtues in the plan of private or individual teaching. More specifically, the discussion will center around the private teaching of the woodioinds. Come and Make Music! Frequently, a discussion of the various types of ap- How Shall Woodwinds Be Taught proach to the teaching of instrumentalists leads to a prejudiced point of view. The advocate of the modern school class plan emphasizes the virtues of class stim- ulation to the pupil, time saving devices, and the like, and is apt to criticize the other plan as outmoded and Private or Class Method? iJriniinyliam old fashioned. Other times, a writer favors the indi- vidual instruction plan as the only way, and criticizes with unjustified severity any plan of trying to teach fundamentals to a group of players at the same time. Both plans have their merits. It is hoped this writer bij, (jeorg^e WJciln Ann T rimingham has been Supervisor of Music in School District 89, Illinois, for the past Maywood , will not seem to be prejudiced, if emphasis in this twenty years and teacher of school music methods in the American the Conservatory of Chicago tor article is placed upon the superiority of the private past ten years. Miss Trimingham has served the Chicago In-and-About Music Educators Club as President teaching method in developing correct playing funda- and Board member. She has lectured widely on music education at institutes and other educational mentals. It might be pointed out that an article dwell- particularly on the oboe, cannot be over this writer’s article in the September, 1)45, issue of meetings throughout the nation. Editor's Note. instruction, ing upon the procedure of class teaching entitled “The emphasized at this point. The Etude will know that I fully realize the impossi- Teaching of the Woodwinds in the Schools,” appeared The saxophone is probably the most slighted of the bility of gaining enough good, individual instruction The E'tttde, September, 1945. girl ANN TRIMINGHAM in reed instruments. True, the saxophone is perhaps the for every boy and who plays an instrument. It is “ For a moment let us consider the early problems easiest of the band instruments upon which to learn recommended, however, that the music supervisor OME and make music.” This phrase from a derstanding, the improvement of performance, the inherent in learning to play. With the flute, the form- to blow a scale, but to learn to play it beautifully, solicit the talents of the good private teachers in the I Beethoven round, found in “Singing Youth,” training of gifted pupils and, the composing of music he may reach these goals. The curriculum is the way ing of a gentle limpid embouchure and a clear free and with artistry takes diligent study and practice. community wherever possible. It would be Utopia if is compelling and strong. It implies an active, for specific purposes. Each has been a driving force to the goal and the goal is the outcome of the future success. living experience. cur- tone, without forcing, is essential for With a fair amount of guidance as to proper reed, every pupil on the woodwinds could have a good It is an invitation to create and en- toward the realization of tangible learning. riculum. Over-blowing leads to disagreeable sharpness in pitch joy a delightful feast. It is an experience that is being In setting a pattern of goals for ourselves as teachers, Music study lends itself well provided to this functional type and in harshness of quality. I have had little success for the boys and girls in our American schools. two trends in education should be considered. The first of knowledge. Its very essence is movement, energy in the wind class of How well the invitation teaching the proper embouchure is given, how palatable the is the emphasis on pupil needs and growth rather than and life. When it ceases to be functional, it becomes instruments because of the player’s tendency feast, and how spontaneous and free the a mixed participation on perfectionist performance. This means that in mu- dead language to youth and fails to Interest hi m to overblow in order that he may be heard. The use depend largely on two factors, the teacher and the sic, as in other aspects of education, the curriculum is offer When we students of music a curriculum or of a mirror and the piano in the quiet of a studio is of learner. Personality, whether it be of the teacher or adjusted to the group, and materials are used which “a place to run.” the learner, it must fulfill their needs and lead immeasurable value; the mirror to aid the student in is an elusive thing, yet it is by the inter- can be comfortably and happily mastered by the larger to their goal. pitches of play of these personalities that the proper placement, and the piano to match experience becomes number. Recognizing the pupil as the most important There are many ways of reaching goals. or octaves. meaningful. factor, the By broad- unisons teacher will make every effort to secure ening the base of music experience, there may be a As teachers of school music, our responsibility and maintain an informal, democratic relationship so choice of the is very real. Through dull path to be taken thereby not only holding Guidance in the Early Stages unimaginative teaching, that pupil growth will be spontaneous and natural pupil interest, but demonstrating through tiresome, meaningless drills and routines, rather the scope of musical although serious for and than formal and forced. She will work The tone volume of the class, on the understanding. Suppose the particular goal through a distorted sense of values, we have often setting of goals of a sixth the best development of the beginning flutist, is not with the class so that the ensuing grade failed to enrich and nourish class is part singing for a Christmas program. those who are entrusted study will have meaning. Such emphasis so disturbing to the beginning clarinetist. Any saxo- helps to es- Their interest lies in to our guidance. Fortunately, there are many hearten- tablish good working descant, canon, or simple three phonist or double reed player who has tried to learn conditions, and classroom man- part harmony. They ing instances of good learning conditions to be found. agement is no may wish to sing as a group or clarinetist longer a serious problem for the to play the clarinet realizes better than the group teacher. they may like better to break A of forty normal, healthy eighth grade boys up into small ensembles. himself how really sensitive the embouchure must be faithfully practice Any of these experiences will to choral music at eight o’clock in the Planning the Curriculum lead the goal toward to play the clarinet with flexibility and good tone morning twice which they are striving, a week, voluntarily, mind you! A third and each provides a valuable quality. To gain this sensitive control, the player must “ “ euumasis piacea • v. T on pup experience for grade class beams when an attractive music book is them. enrichment. Here the arts really be guided constantly, at first, into proper channels and put before them. come into their owi The curriculum may They handle it carefully, almost Music educators have be built so that students func- away from bad habits. For example, a young student for some time felt that musi tion lovingly! A sixth grade class applauds when a new could natural.y and without too much tension. Unison serve a larger purpose in education came to me this fall who was covering his upper project is proposed. Naturally, by broaden singing for every level we deduce that the mg the base of offers this type of leisurely ex- lip. This is not the embouchure I teach, music experience for boys teeth with his teachers of these groups have something to give and girl: perience. It improves legato vocal and e MllS1C Educators National tone, it develops and inasmuch as he had been taught in a class by a Conference calls the students have something rf thr‘ flexibility, it to get. “wWidening centers the attention on diction and it if teacher had Music Horizons.” Either phrase former pupil of mine, I asked him X As music educators we want to put ourselves in tune describes develops an appreciation Music e*penenc® niusm. By becoming of melodic beauty. not started him with his upper teeth held against the with the broader aspects “j well informe, literature of educational thought, so as to the abounds in such suitable material. Jesu, Joy pupil replied, "Why, yes, possibilities in this direction we mouthpiece for support. The that music may make its contribution to a better can offe of Man's Desiring, way compelling incentives to Where e'er You Walk, The First I was taught that way. I guess I got into this habit of our pupils. life. Democratic thinking and planning must not Primrose, and many other are the ttlng 0f S0a s as part 0f an songs of like quality without realizing it.” Here is a case where the pupil stop at the door of the music room, educative progran heritage of but must make fo^tfor the learner is i youth. Such vocal experiences will lead to In quite another matter. Here did not receive the proper individual attention. use of the power of music for good by serving many, the teach many excellent er mindful of pupil growth and goals. either class or private teaching the teacher has to rather enrichment wffl than the gifted chosen few. We are hoping that to the sugges class, goals toward which they check on embouchure pitfalls at frequent intervals our invitation to, may work He “Come and make music” will con- proposals will be based on where the during the first days and weeks. Bad habits are more tinue to be a compelling pupils ii force in American life. music are The real understanding and challenge in learning, however, is de- easily discovered by the private teacher. For example, A well what they will be able known school system has adopted for its accomplish. termined The setting of goals by the curriculum or “place run,” which the bumping of the mouthpiece up and down in the slogan, “The destiny of America may start in * to depends upon the edu- : has simple way. Perhaps the hazards or obstacles. primary player’s quickly teach him to grip it with actual goTl mav be tn Students above the mouth will cation of its youth.” The implications of this statement t level song for the social studies are quite accustomed in firmness, thus improving his pitch and tone quality. are clear. Music program. If this to this type of experience educators believe that this is true and enjoyed, many activity i their games more songs are learned and leisure time activities. Their interest The player should be urged to support the tone with are trying to have a part in shaping this destiny. Good program and ? wh, ] of music is developed cannot be held entirely Some- enough of breath to get a solid resonant teaching is the as an outgrowth by too smooth a path. push the answer. first

Musical Instruments In most of these letters it is clear that the writers have an abounding hope that their violins are ex- tremely valuable. Since this is very rarely the case, I Throughout the World have to disillusion them—and it is sometimes a painful job, for in nearly every instance the instrument is obviously an ordinary “trade” violin. The fiddle re- not always infallible. Violins have been produced by with most of the copies of the great makers: the ferred to in the above letter is quite clearly a fake, lesser makers—who, needless to say, were themselves mannerism is imitated, but the style is ignored. and a poor one, because Stradivarius died in 1737. It first-class artists—which imitated the workmanship is a pity more people do not realize that the chances and caught the mood of Stradivarius so well that the Lesser Makers Imitated of finding a Strad in an attic or a pawn-shop are experts have sometimes been in doubt. Possibly these Not only the great in the violin world—Stradivarius, about one in a million, and that for every genuine experts were not acquainted with the proofs of identity Guarnerius. Amati, Bergonzi, Stainer—have had their Strad in existence.—about six hundred—there are contained in a letter that recently came to me. The names taken in vain; hundreds of lesser men have many hundreds, probably thousands, of copies, imita- writer based his belief in the authenticity of his violin suffered the same treatment. Whenever a maker en- tions, and downright forgeries. on the fact that it was covered with a light-yellow joyed more than local popularity, there were imitators evil However, it must not be assumed that every spurious finish or varnish, and because the post inside slanted ready to insert facsimiles of his label in violins which Blowing away Somehow Masked G ' Strad” is necessarily a cheap instrument. A number slightly towards the center! often bore little or no resemblance to the original. aiomic bo,,. 'ualemalan Z' ers Perfon dai of very fine makers copied Stradivarius faithfully, and Pressenda, G. B. Rogeri, Duke, Albani, Chappuy, Dalla f&fZJTL •nlng to the m violins of first-class appearance and tone. The Greatest of the German School na, ' produced Costa, J. B. Schweitzer, to name but a very few, were v° marimb, There is a well-known violin made by Vincenzo Stradivarius excepted, more inquiries are made con- makers whose names were abused in this way. Panormo of London which passed through a number cerning Stainer than about any other maker. This is The name of Schweitzer (1790-1865) furnishes an- of hands as a Strad, bringing a high price, until cer- understandable when it is realized that Jacobus interesting example of the way lesser names have tain small details of workmanship inside the instru- Stainer (1621-1683) was the finest maker of the Ger- been exploited. A pupil of Geissenhof, he made excel- ment indicated the actual maker. The violin is valued man school, and that after his death his violins were lent copies—under his own name—of the Italian today at about three thousand dollars, and is worth in the greatest demand all over Europe. Naturally masters, some of which have sold for as much as it. Some of the violins made by Gennaro Gagliano enough, this popularity provoked imitation—and his seven hundred and fifty dollars. About fifty years ago of Naples have passed as Strads, and are now bring- imitators were legion. In fact, for every violin that there were two enterprising New Yorkers who operated ing about the same price as the Panormo. I have seen Stainer actually made, there are hundreds of others a violin shop. They imported a large number of violins a specimen of Gagliano’s work, dated 1745, that was a that are labeled with his name. Almost every high- from Germany and Bohemia at about six dollars truly magnificent instrument. built tub of a fiddle presumes to sail under the Stainer apiece. These they sold to the “pawn-shop trade” for Other extremely capable makers of lesser repute have colors. sixteen or seventeen dollars. But by this time the produced Strad copies worth as much as a thousand There were, however, many makers who copied violins bore the labels of Stradivarius, Amati, and dollars. From a historical point of view, one of the Stainer faithfully and well. Among them one must other honored names. Naturally, the instruments were most interesting names is that of Daniel Parker who note Leopold Widhalm and Leonhard Maussiell of eagerly bought by unwary bargain-hunters for a worked in London at the beginning of the eighteenth Niirnberg, Anton Thir of Pressburg, Johan Stadlmann hundred dollars and more. Perhaps the customers century, and was the first maker known to have copied of Vienna, and Sympertus Niggell of Fiissen. Many became a little suspicious after a while; at any rate, Stradivarius. His violins are extremely rare, and some eighteenth century English makers—such as Richard the importers abruptly switched their labels. For specimens have been valued as high as one thousand Duke, William Forster, and Peter Wamsley—made some unknown reason, they chose the name of dollars. One of the greatest living violinists uses a excellent Stainer copies. Most of these men put their Schweitzer, and the low-price market soon was flooded labels Parker violin, dated 1717, for his summer practicing. own in the violins they made, and their names with "J. B. Schweitzer” violins—violins, it need hardly At the beginning of the present century, some of the would be much better known today if the labels had be said, which Mr. Schweitzer would have been most skillful copies ever made came from the work- been allowed to remain in the instruments. But some ashamed even to touch. But it was through these shops of the brothers Voller in London and Michael unscrupulous individuals, seeking to cash in on the instruments that his name became known to most Doetsch in Berlin. These instruments are worth ap- great demand for Stainers, removed the originals and violinists in America—and known, ironically enough, proximately three hundred and fifty dollars, but some inserted forged Stainer labels. The temptation was as a very inferior maker! of them have been sold to the credulous for nearly ten probably great, for during most of the eighteenth times that figure. century Stainers were much more Appearances Nothing virtuoso is a sought after than Mean bagpipe Wo, the Strads. his The nineteenth century was a century of label- but lad7 is Czecho-Slovak. Glasgow. Pudding n A Difficult Question In some ways, map oi B Stainer was an easy maker to copy, shuffling. Many an excellently -made and well-sounding Scotch as the another instrum, i On the lowest rungs of the ladder, and not to be for he had certain mannerisms be Cuban of style that immedi- violin, was deprived of its original label and given mentioned in the same paragraph with the names of ately caught the eye. Chief among these was his another, bearing a name more likely from its famili- the foregoing makers, are the thousands of commer- arching. Actually, the arching is little if any higher arity to command a higher price. One of the chief cial, factory-made German and Bohemian fiddles, than that used by members of the Amati family. sufferers from this practice was the fine Venetian worth at most seventy-five dollars, which have flooded But it looks higher, and it was seized upon as the maker Francesco Gobetti, Many of his best instru- the country in the past fifty years. Most of them carry infallible sign of a Stainer violin. The best copyists ments passed in former years for the works of Ruggieri a correctly-worded Stradivarius label, but neither the had the imagination to see that this apparent height or Amati; with the result that only recently has his labels nor the fiddles make any pretense of being was not real, and went about their work accordingly; name received the honor that was its due. Nowadays, accurate copies. for at least the lesser lacking These instruments account men, an artistic eye, produced of course, no reputable dealer would sell a violin on ninety per cent of the violins bearing Stradivarius grotesque caricatures that still vainly masquerade as the strength of its label; he would sell it for what it labels. the work of a great artist. is, and at a commensurate price. But a hundred years I am often asked how a Strad can be identified. The Stainer’s F-holes, also, are highly characteristic. ago, or even fifty, the ethics of the violin trade were only answer is—by having years of experience in han- Though not equal to those of Stradivarius or Guar- not what they are today. dling genuine specimens. outstanding character- nerius, The they were obviously cut by a thorough artist. Many people think that because a violin looks old istics of a fine Strad are the varnish, the magnificent The upper and lower turns are round, and the entire it necessarily must be old—and therefore valuable. scroll, the F-holes, the purfling; and the arching and F seems to swing a little towards the outside edge of To violin lovers, the nineteenth century has many it is chiefly by these that the experienced connoisseur the instrument. This swing was adopted eagerly by things to answer for, and not the least of them is the recognizes a genuine instrument. But can ade- the less talented who copyists—who could not realize that practice of artificially aging violins. Many conscienti- quately describe to a person who has never seen them his individuality lay in the artistry of his workman- ous makers—J. B. Vuillaume among them—sincerely the glorious lustre of the varnish or the graceful ship and grossly — so exaggerated that the F-holes believed that they could, in this way, give a new strength of the F-holes? In fact, every detail of a of most would-be Stainers sprawl across the top of violin all the qualities of one that had attained a fine Strad brings the realization that its creator pos- the violin in most a ungainly fashion. And so it is healthy old age. The instrument, or the wood from sessed an artistic imagination of the highest order, which it was to be made, was baked in an oven or and was further gifted with an eye and a hand able steeped in acids, thus giving the wood that nut- to give expression to his smallest wish. Such intangi- brown color typical of the old Italian violins. After ble qualities band on parade. cannot be put down in words so that the being cleverly varnished, such a is a Dutch military VIOLIN violin would seem Music on wheels. Here reader is able to understand and use his information. Edited by to the inexperienced eye to be at least a hundred Piano? But even with long experience the connoisseur is Harold Berkley years older than it actually ( Continued on Page 50) MARCH JANUARY 1946 " MUSIC FORW'ARD MARCH WITH MUSIC” 21 : ‘ —

Music and Study Music and Study I hope that besides all this she is time just to be a twelve-year-old" • Ornaments in Bach g having fun with other children ' of tf Q. Will you please tell me how to play own age, taking time to study a certain trill in Bach? All authorities in- her 1 ' sons in school, going to a sist that in playing the works of Bach, Answers party SOm trills times, and reading the should begin on the auxiliary Questions and a book often tv note. This produces so many very awk- may seem to interfere a bit with her ward places that I frequently have my m Parent-Teacher Groups sic, but in the end she will students begin the trill with the princi- gain bv^' pal note. Am I anathema for that? for at long last we are all ’ Conducted by human beffil In the Bach Fugue in D Minor (Book rather than musicians, doctors, farm One) this method of playing ’ ersa works very or housewives. ’ well until we reach the twelfth measure, As to grading, where following the rule produces a love- we do not in the For Music Studios United ly pair of consecutive perfect fifths. States care a great deal about What 2)oc. assignin' can a poor piano teacher do?—F. Y. JCJ W. QeUent, Wu, a pupil to such and such a particular “grade.” In fact, we have A. I don’t know where you could have not even agreed among ourselves found all authorities on any one * agreeing on the system c playing of Bach trills. Professor Emeritus grading, some of us considering The performance that there are of ornaments is one matter on which all seven grades and Oberlin College others authorities many as ten. But your pretty well disagree. In fact, daughter wouli no one really knows exactly be considered to be in a very how any of Music Editor, Webster’s New advanced the ornaments were performed in Bach’s grade, and the only three questions I time. International Dictionary suggest that The genial, understanding, and eminently proficient Editor of The Junior Etude is now completing her you ask yourself are- m twenty-eighth year as the head of this department, which has brought so much charm, entertainment, and It is true that in general trills in Is she playing these hard pieces realb instruction to vast numbers of young people. Miss Gest was born in Philadelphia of a distinguished family. Bach’s music should begin on the aux- well? (2) Is the playing backed up by a She studied at the Peabody Conservatory in Baltimore and at the Institute of Musical Art in New York. iliary rather than the principal note. growing awareness of the structure, tex- Later she studied composition with Nadia Boulanger in Paris. Pianist, teacher, and composer, she is also That is because on the instruments of ture, style, and essential meaning of th> the author of several successful books. She has toured America for years, giving lectures and adjudicating Bach’s day, repeated notes were very dif- music? (3) Is she developing pupil contests. Her faithful, and one might say, affectionate interest in the Junior Deportment of The Etude ous arguments against such a method, I into a ficult to execute; therefore it was found feel that a relationship actually exists. normal human being has made her hosts of friends in all parts of the country. — Editor's Note. who, in a few years more practical to begin As an arranger for the dance-band, un- an ornament by will be so well adjusted that she less I know the “take off” ability of the can live going around the principal note. But in an ordinary average men in the orchestra, I hesitate to leave family or com- there are many exceptions this to gen- room for an improvised solo. Sometimes. I munity, taking with serenity whatever life eral rule. One of these exceptions states have underestimated the player’s ability has in store for her? ELIZABETH A. GEST that after a downward and they have improvised passages that I leap, or after a found would be proud to say I had written. by researchers, that, as a rule, those who detached note, the trill should begin on Perhaps, this will let you know that Technic for the Adult Beginner INCE MUSIC STUDY is usually begun in study music attain better grades in school and col- the principal note. And both of these “swing” musicians have great respect for childhood, most of the problems of the aver- lege than those who do not. Dr. Eliot of Harvard conditions exist in the fugue subject you the opinions—and most of us are envious Q. Please give me the name of one or age teacher are problems, relating seemed to realize this of the more books on self-instruction S to the when he said, “Music, prop- mention. theoretical knowledge—of the “long (with de- hair” musician. tailed instructions on counting) teaching of music to children, and as all teachers erly taught, is the finest mind trainer on the list.” As to what a poor piano teacher can for adult- Once again, thank you for your interest- beginners in piano. I can read notes—much know, these problems do not always resolve them- Notice he did not say this about Latin or do, I algebra, would suggest several things. In ing and informative columns. D. faster than I can play them. — M. selves into simple solutions. excellent though they are. also said, first I have He “Music is the place, consult standard authori- written the stories and the lyrics for a few Many of these so-called average teachers have every child’s birthright,” nor did he qualify his ties on this matter. operettas. M.v aim Is: to learn to “Grove’s Dictionary concert artists. Here again you will cer- A Proud Mother in Canada play; to learn to compose music taken courses in music pedagogy or have in other statement by saying it is every talented child's of Music and Musicians” is always a re- for the tainly find no consistent lyrics. ways prepared themselves teach in birthright. procedure, for Q. For a number of years to accordance liable authority. There are also three now my I such matters would like to play such pieces as: with are often purely a question daughter (age twelve) and I have been reliable teaching principles; they enjoy teach- Does it seem quite fair for parents to deny these other excellent books that I find indis- Moonlight Sonata by Beethoven, Tnngn in of taste, and although this makes the ardent admirers of the The Etude Magazine ing, have high ideals, and have confidence in their advantages to the oncoming pensable and which I D by Albeniz; also operatic arias, songs generation, merely be- always consult problem very and have often contemplated writing you difficult for us musicians, from operettas, and songs sung own ability; they are deeply interested in their cause nothing sensational is whenever the problem of for information. I will try and by concert happening on the ornaments it outline her is the very thing that keeps music musical artists. _j[. p, pupils and look forward eagerly to the time when family piano? It takes arises. They are “Studies in attainments up to the present time Helen and Robert many Musical alive. soon As as all such matters be- and would you please advise us, accord- A. these pupils, through logical and uninterrupted years of school-going Graces” by Ernest Fowles, “The Inter- What you need is a “course of and home-work doing to come settled and static, music will cease ing to your system of grading, what her training, will in turn, become good musicians; they learn pretation of the Music of sprouts" in technic, and if you can per- to read, and to do arithmetic and geometry, the 17th and to be a standing would be in the States. glowing art, and will turn into are conscious of the fact that this training must be yet they will 18th Centuries” by Arnold At the age of three her suade yourself to practice two or three probably never amount to anything Dolmetsch, a cold and insensate pre-school mu- science. sic teacher pursued with a definite goal in view, but varied in these and “Musical Ornamentation” (two vol- discovered she had absolute hours a day on some technical material subjects. Why then, the haste in music? pitch. She learned to read notes very according to the needs of the individual pupils Family life umes) by Edward Dannreuther. In addi- quick- and keep up your practice for several seems to include scheduled social, ath- ly, and is now taking violin and harmony perhaps general musicianship tion to studying the More Information years, you for one, outstanding letic and other outside “dates,” yet crowds out time above books, I would About as well as advanced piano work. At may end up by playing the the solo performance for another. for suggest that you consult as age of eleven she gave a pieces in which music lessons and practice—music, the one many repu- Guitar Chord recital which in- you are interested. I sug- Symbols cluded the following pieces: When and how do the parents enter the picture? thing that can bring table editions of the music as you can French Suite gest that you start in with first or sec- strength and comfort in No. 6 in E major, Not the musically find, such This department has by J. S. Bach; Sonato ond trained parents, who need not be later years. as those by Busoni, Hughes, received a letter in grade material, disciplining yourself E Major Op. 14 No. 1, by Kroll, from a member Beethoven; considered here, but the average parents who know Yes, Wiehmayer, and so forth. And best of the Armed Forces Rigaudon, by MacDowell; to play each little piece or exercise until teachers know all the answers, but how will Nocturne and little or nothing of all, consult which is so interesting Danse about music or its teaching prob- they get the the “Bach-gesellschaft” if and informative Caprice, by Grieg; and Mazurka by it is perfect. To learn to count while you needed home cooperation? One easy that we print Debuspi; also lems; who can not see ahead so well and do not this valuable set of books is at your dis- it in full. The letter is as Concerto in C Minor by play should way is to bring the parents directly into the studio Mozart. not be difficult. Simply look posal. follows The orchestral accompainment realize the length of the pathway along which the at the measure then life through parent-music-teacher groups, similar was played by her teacher. sign and if it is 4/4, teacher Of all the authorities must guide the pupil. Progress on this path- to I have mentioned I have read your "Etude" She also played the count steadily 1-2-3-4, parent-teacher groups in the public school sys- column with above concerto at 1-2-3-4, 1-2-3-4, way seems above, I slow to parents who count the number only Dolmetsch says to begin this interest and deep appreciation for e date .™* he Symphony tem, though being smaller, they can be more inti- a long fJ l . Orchestra. and so on, requiring yourself to play particular time. Since I have been overseas At the festival here she of lessons at so much per, plus the everlasting hear- trill on the auxiliary note; all the past won the scholar- strictly in steady mate. The organization of such a group should be nineteen months, your writings at the J accordance with your ing of the others begin it have served ™e Examination for beginners’ practice. Naturally from this angle on the principal note. as counting. a universal “must.” a substitute teacher for me. 0 came off ae silver Vary this procedure by some- If you should, thelfioh ^ medal for parents are disappointed if their child can not be however, decide to follow It is my opinion that part of t e highest marks times your answer m the Province. Now singing the melody and clapping exhibited Dolmetsch, you to A. J. T., in the July she wants to as a show piece in keyboard dexterity at Getting the Parents need not be concerned issue of The Etude, start a school orchestra the four Interested requires and pulse instead of counting it— about the further explanation. I am refer- would like to know the end of the term. “Helen is not progressing,” says parallel fifths. Such parallels how to get the young- Parents should be invited to the studio ring to the item regarding ntere ted steady beats or pulses to each measure. at an ap- are always guitar chords n 4116 c]assics as they Mrs. A; “why should she spend so much time on permissible if one of the tones - are pointed and their symbols. I fully definitelydefimt i R If time, either by written notes or telephone agree that the Boogie Woogie minded. the measure sign Is % you will sim- scales?” is a dissonant passing tone, as it guitar symbols ays She And Mrs. B says, “Robert has no talent. is here. do not affect the published p some of the popular ilarly calls. Since there is no precedent to follow, each piano pieces for the beat or count three to the meas- We are going Since this trill occurs in the subject of music, but I feel that in most cases 1S ter °" request to discontinue his lessons. He will - but definitely teacher can formulate her owm plans, they fe°r’f t pre- ure. doing but at the do possess a definite relationship. fers theh classics.1 Of course you really should be never amount to anything.” the fugue, you should perform it She is in grade the A. J. T. most eight at meeting she will want to explain her ideas likely had reference to the schoo! and takes a normal all this under the guidance of some fine True, Robert and same way every time it appears. Do not chord interest ln an may not be startlingly talented in ideals, names (D9, G7th, C plus 6th and d s her desires and goals and point out the so ?^ P°rt activities. At piano teacher, if teacher is avail- best start it on the principal on). Many so isf present she but no piano performance, but after all, that is only one note one time called systems of "popular- studymg compositions means of attaining them; she will piano” are by Bach 66 able then will the best you want to explain and on the auxiliary another. based almost entirely upon these thoven, Chooin, you have to do phase of music, though it is usually the piano that Mendelssohn r’ v, that the ultimate goal for one chord symbols. Piano parts of can by pupil will not be the I have asked my friend Robert Melcher special ar- yourself. is the starter-off instrument. Perhaps Robert will rangements for dance band are often same as that of another pupil, depending on apti- to look this in writ- Since you are interested also in learn- not amount to anything athletics up the Oberlin copy of the ten only in symbolic form C7 Ps in either, but he tude, ambition ( | etc and opportunity | j for work; she ' ing to compose, you send does may Gesellschaft, and we find that Bach did The dance-band instrumentalist I suggest that not avoid the gym in school; perhaps his is fre- r ™n' two mention that there are different patterns of teach- mark the note before quently required to improvise to the publishers of Etude for father will never this trill detached. on a melody S“,/°Z„fhte The amount to anything in golf or his ing with the harmony a s' to suit different patterns of individuals and This would lead me to believe designated by the chord books: “Music Notation and Terminol- mother in bridge, yet teachers of those activities are MUSIC ADDS INIMITABLE CHARM TO CHILD LIFE that Bach names, slightly that good reminiscent of a modified ogy,” for teachers do not use assembly-line mass- himself intended the trill to be by Gehrkens: and “Harmony kept busy. Perhaps later in life Robert will find his These lour attractive girls are pupils started form of the figure-bass system of harmony. of Miss Hazel Louise production methods. on the principal Usually, Eye, Ear, Heacox. But place in note, and would settle in published sheet music the and Keyboard,” by an orchestra, a band, or a choir; perhaps Green of Phoenix, Arizona. harmony rj?s piano A few demonstrations will intrigue the parents; the matter in my mind. is reduced to its most simple don’t expect to learn to play the he will be a radio program director, organist, score form. The chord a music quiz and a musical Besides symbols are often inac- and or two. arranger, game or puzzle will reading books and consulting to write music in a week or what not; at the present time he is study- may need the spiritual tonic curate and sometimes merely give the and mental discipline fascinate them; exhibition performance different bare sww.SSS in i s ing of scales, ear- editions of music, I would sug- harmonic outline. The written Music is so complex, so infinite music through the medium of the piano. music can give him chords are Sh6 and thus help him to amount to training and keyboard harmony will gest that you listen carefully frequently misspelled harmony * StUdyinS lucky 1 open their eyes to the per- and could not pos- ffiongsffie ramifications that you will be something when he is face to sibly She Pian° face with the rough spots and their ears to what their children formance of all agree with the name given them lin, for and vio ' at of sen The Purpose of Music Study are learning. A ornaments by the great in this meanSAlt l the end of three or four years of life. Perhaps music will develop the guitar part. In spite of all his brain power few numbers played by the teacher, these obvi- ous you And supplemented by study you can do the things just what is meant by amounting to anything? and help him to amount to something when he com- pieces played by an elementary, intermediate, and aspire When does it begin and where does it end? Robert to. petes against odds in higher education, for it has "FORWARD been advanced pupil will demon- ( Continued MARCH WITH MUSIC” on Page 50) THE ETUDE JANUARY, 1946 "FORWARD MARCH WITH MUSIC” 23 Music and Study MEXICAN FIESTA Tlnn is a remunerative freshness about Mexican Fiesta which will pay for all the practice put upon it. None of the rhythms are complicated ex- 0 pt the two against three. Just remember that the second note of the two figure goes exactly half way between the last two notes of the three

1 igure . Mi. Hopkins studied with the late Gordon Balch Nevin at Westminster College Developing the Staff Pianist for Radio , Pa., and with Harvey Gaul in Pittsburgh. He is a chao-

A Conference with

(jCeopoid ^'iniainijpita.lt

Distinguished Compuser and Conductor

Director of Orchestra Personnel, NBC

SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN WEST

A hrge proportion of our serious music students are confronted with the problem of "What nest?" Not all are sufficiently endowed for concert careers of first magnitude; some are financially unable to develop themselves in careers; some prefer a beginning in other fields. The singer and the general instrumentalist find an answer to their needs in choral or orchestral work of some kind. But what of the pianist? Organiza- tions that maintain a chorus of one hundred voices, and an eighty-piece orchestra seldom have need for more than one pianist In seeking "What nest?" opportunities for the young keyboard virtuoso, The Etude turns to H. Leopold Spitalny, who, for some twenty years, has combined distinguished musical abilities with esecutive tasks of production and personnel development. Mr. Spitalny is the eldest of the renowned Spitalny brothers. Phil directs the Hour of Charm All-Girl Orchestra, and Maurice conducts in Pittsburgh. He was graduated from the Odessa Conservatory with highest honors and served as concert-master of the Odessa Municipal Opera before he was nineteen, interrupting his duties to appear as concert violinist. At nineteen, Mr. Spitalny came to America and continued his career as violinist and conductor. Shortly after, he entered executive music, serving for ten years as Musical Director of the Balaban and Katz Theatres in Chicago. Ten years ago, he joined the National Broadcasting Company as conductor and director of all orchestral personnel. He has audi- tioned, engaged, and trained players of the NBC orchestral units. —Editor's Note.

HAT ARE the pianlstie opportunities in “TTTT ing with avid interest to some political speech, and \j\l radio? Let me outline the nature of those then hearing * the speech end before it is time for the * opportunities, and in that way make clear next program. Immediately, he is conscious of piano the qualities that stand as prerequisite. I H. LEOPOLD am not speak- music reaching him. What happens then? SPITALNY ing Either he of occasional piano appearances over the radio, says, ‘Oh, pshaw!' and tunes out the station—or he but of the regular position of staff pianist. Most broad- says, ‘My, that’s fine!' and keeps right on listening. regular casting stations have one such staff member; all the pianist gets experience In the all-important great networks have several of them; the National Thorough Equipment drills of adjusting to ensemble work and meeting any Necessary emergency Broadcasting Company maintains five staff pianists or short-notice problems that can arise. Put “There you have the chief in and four staff organists. The duties of the staff pianist function of the studio a season or two of this kind of work, and go right pianist—he must be able to are, quite simply, to do everything! His regular assign- make the kind of music on reading, practicing, and learning the classics on that will keep people listening. ments include solo performance; the accompaniment He may not be called your own time. upon too often to do this, but he of singers and instrumentalists; participation in cham- must be able to Now ‘In third place, learn to be a really good accompanist, then, we are ready to go back to ber playing, orchestral work, and choral programs; the the question of what both for the voice and for instruments. Master the opportunities radio has to offer rendition of popular selections, and jazz. In addition a pianist! Radio has particular kinds of technics and emergency-meeting to nothing for the second-rate pianist; these regular tasks, he must be ready, at any mo- the pianist who that arise in this field. get has proven Read all the music you can ment, fill himself incapable of to in moments on the air that might other- holding wide and in- hold of, and perfect your radio terested attention. reading ability—the wise be silent. It has a limited number staff of oppor- pianist is often called in to read off accompani- tunities for the pianist who can hold millions of peoDle ments, and must enthralled. F give a finished performance without Ready lor Any Emergency advance notice. Also, get or Always, natural endowment a good drill in solfege, comes first The tru'v ear-training. Learn Radio stations have an obligation to broadcast; by fine pianist the absolute interval and know is born, not made. Later, government of course he how to find it. the regulation, a ‘live’ station may leave no studies—but not It is of greatest importance that to make a career. He studies radio more than twenty seconds of time to perfect pianist be able to transpose to any unoccupied with his musicianship, to build anything, himself into a fine key, sound of some kind. Now, it sometimes crafts at sight. Practice transposition yourself happens that man, scholar and interpreter. by setting Thus, my best the task something goes contrary to schedule in piping in the advice to of playing the piece on which you are work- — a young folks who have a radio program from staff position in tng, in at least some distant sending point, a wire may mind, is to three different keys a day. become fine, artistic players. break and need a few minutes Begin first nf for repair; an address the study of classic art- I know may terminate before the , well’ enough end of the program time; fhlwhthat the radio pianist someone is frequently called unnn +a on a program may break down or fall ill quit the atmosphere of the “Finally, then, plai any classics and take get yourself the experience of sort of emergency may arise, and the station must popular works part in mg with and jazz. Still, the nianist a popular orchestra or dance band. Only i be ready to fill in with thAo something else. That ‘something himseff as a the fourth jazz player begins at the step of our training does the hit-and-ja else’ is supplied by the stand-by pianist. Consequently, end instead 'of he beginning. Unquestionably, literature find coi at the start great music its place. The pianist who has of every program broadcast by NBC, re- the wider, more represent scientiously gardless communicative field and u mastered the fundamentals of pianist of its nature, a staff, or stand-by, pianist that * the performer who musicianship t( enters has mastered thfs tin will know how to adjust without the studio, hopeful that all will go well, but pre- adapt himself much to other mediums far more difficulty. But the youngster who has specialize pared to meet the emergency if it doesn’t. If everything reaSte * the player who sets out with % in jazz will find we goes according the more limitedted it an impossible task to work his to schedule, he leaves the studio again ment of hits eqmp ' into and jazz. Even if von the other skills whic when the program is finished and, ^ and abilities I have listed, pianistically speak- the jazz W ‘ th I e proficiency of le rea ^ ing, some radio basis for a career nothing happens. But if fill-in pianist^hom . _ in radio. material is needed, admire, go right ^°,U 1 on practicing e young pianist tl if only for five seconds, he Bach ' Makeake v who has put himself through must play. That is where a thorough musician. yourself our his stages of prerequisite the actui next great responsibility comes in! Not only must In study still needs second place, then, experience of the stand-by pianist when you are reariv playing in radio the emei be ready to fill in time; he must career in for° r a and meeting classic music, try to get g rides mentioned brea play music of such interest, into an i earlier. It is impossible to both as to quality and a regular staff °n basis. I don't mean nto a staff position Tl performance, that the radio audience of a by way of the great networks. millions of and I don’t mean an co people will occasional nsel is try network. £ wish to hear him—and not tune out the symphony. engagemen^th™h 3 pvoa f to get into a small I mean a theater or a ocal station! Every listener has had the experience restauram a v station. About six years ago, I auditione of listen- where all sorts of music n are played, and °rrn0USly talented had ha wTere the nii,Al young pianist who 1 exPerience, 52 24 "FORW'ARD but had (Continued on Page MARCH WITH MUSIC" THE ETUDE 25 THE BALL IN THE FOUNTAIN 1 Ury 1 Thall>,rB 1812 187”' brillkn ‘ l-.Ioped . sty,. described i„ chant," in' with" l : hi. "L’.rt *, '™"ULtdvwarr •ST “0 “*b «•* said,“Th.lberg "fW" “S"'- is the only artist who play the violin on the piano kevWd" , , r ^ 8 P ‘ e * 1,e '- th b ‘ “ S ™ “S -tylo- Tt. paramount aim is tindrc.ted f ma'ke the mei.dy by large notes with a” ' the stems turnedd upward) sing like,‘Ta voice while the accompanying notes murmur a background Grade 4 VELVET NIGHT MAZURKA broad, sweeping melody sustained A by appealing harmonies characterizes Mr. Federer’s most recent composition. It should be played eloquently POSTHUMOUS ^ and feelingly without affectation. Grade 4. a Chopin could give them. ihe Mazurka in A Many of the Chopin maz urkas have a rare musical flavor and charm which only the genius of minor e o, nto, Moderately slow (e)r48) RALPH FEDERER like fairies dancing. ] means slow,’’ is one of the most popular. The first section should be played with a lightness and sweetness e pa or 1 1,1 editorial error somew here in > ronomic marking but the metronome marking- in most editions is J = 1 16. There must have been an Chopin placet it. e s acca o no s should makes thisavery lively composition. Lento would make it more or lessof a dirge-. Wonder how bees-

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British Copyright secured _1 ETUDE THE JANUARY 19i6 .73 i 1 — A

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fidence, and authority in playing and The Teacher's teaching, and the inner satisfactions DRIFTING MELODY which result from the tough discipline. 7a/keet I Most Round Table wish more teachers would set them- the Two selves a goal like M.A.L.’s. It does seem, Page 14 GRANT CONNELL (Continued from ) doesn’t it, that any musician-teacher de- serving the name, should be competent IN MUSIC Grade 2 Books, L don’t Mot/f of program, wait or at the end a enough to give at least an occasional continues, outside if the applause but short studio or public recital of not-too- come back at once and bow graciously— difficult solos or ensemble pieces for his ^ *^CIRCLES TODAY forget the smile! this time twice. Don’t pupils, their parents and friends? don’t let those dumb well-wish- May I add final for seri- . And a word those clutter up the artist’s room to drool ous young people who plan to make mu- 'real ers' good}’" ’“In a great their silly platitudes before the concert, sic their life's work, and who are am- or between groups. Forbid anyone to bitious to play in public? Let them re- ,the communicate with you until after your member that it takes an enormous final encore. amount of vitality, enthusiasm, and un- Always know definitely what you want remitting discipline to become a good audience by way of your to say to the musician. . . . Already the early student music. For every piece on your program days must be an unbroken period of have a clean cut, authoritative musical, stern mental, musical, and moral dis- and emotional “programme” in your cipline. You must learn to take every V mind to project. How can you expect situation in your stride, to make no ex- I,’ your hearers to understand your message cuses for conditions or circumstances, to

if you send out indecipherable gibberish? take life on the chin, to grin, bear it, Plan to begin all rapid pieces a little come through and come up smiling. You ks 01 slower than you feel the tempo at the cannot offer alibis for incompetence. If •w MlS."°° hind concert, and contrariwise play slow pieces you have a heavy cold, are nervous, upset, little faster. a or exhausted, if the piano you play on “• • effectively tell the desirabil- Feel the definite, rhythmic pattern or is wretched, you must give no visible (or ity and advantages of playing a unified swing in the accompaniment or audible) evidence of it. Grit your teeth, band instrument." melodic shape before you begin every control your brain, heart and hands, per- and Half the battle is won if a long educational number. form the required job and deliver the .. 0( definite to youth. rhythmic pulse is established at the out- “goods”! constructive value set of each piece. Give fuller and richer If you are unstable, maladjusted, inse- amounts of tone in an auditorium than cure in your youth you cannot expect to you ordinarily use at home. Give extra become an outstanding or even good mu- strong stresses on top melodic tones of sician unless you take immediate steps

chords, melodic lines, and bottom (bass) to rid yourself of these shortcomings. . . tones. Beware of letting phrases “die” To walk out on the stage, sit down at the rhythmically or tonally. As soon as your piano and try even remotely to approxi- ear warns you of an anemic fade-out mate your ideals is the toughest task I rejuvenate the phrase with reinforced know—one that takes an appalling tonal richness. If in doubt about pedal, amount of determination and guts. But use too little rather than too much, since if you do go through with it, you will most of your audience likes clear, precise, acquire x'iches worth infinitely more than crystalline outlines at all times. precious gold and fine diamonds. You will develop technical, mental, and mu- Posture at the Piano sical control, you will build up your con- There is finally the matter of posture fidence, deepen your convictions, and at the piano. So many pianists present strengthen your own authority. Some- such an uninspiring or downright awful time you may even be given the final spectacle play- at the keyboard that their satisfaction of momentarily breathing the ing demonstrates the of music triumph breath of throbbing, pulsating life into over matter. Their qualities own musical the creation of a great master, a re-crea- and sound in interpretations succeed tion not after your own image, but in shining through in spite of awkard, slop- the rich, glowing spirit of the creator or unaesthetic instru- py approach to the himself. ... If you fail to achieve this, ment. what remains? ... All your life your We all know the well: various types spirit will grow, bloom and bear fruit. the pianists mostly tired, downtrodden — You will learn to love, respect, and un- music teachers—with the Sad Potato for derstand music. . . . That is enough Sack Slump “Po- at the keyboard: the any musician to aspire to, isn’t it? tato Bug Pickers” with eyes and fingers fanatically glued to the keys as they Bass Lines and Spaces Thousands of these two books have already been mailed on request shake or snatch the “bugs” from the % Do you think it better to number the bushes; the “Claw Sharpeners,” who to youth, to parents, and to music educators and teachers, and the bass clef lines and spaces from the bottom viciously dig, yank, and grab at the in- up, or the top down?—B. E., Texas. response has been amazing! Without exception they praise the value of strument; and don’t forget that malevo- numbered from the their educational appeal and their contribution to the music training lent tribe of “Rug Beaters”—among them If the treble clef is should naturally some of our popular young piano thump- bottom up, the bass clef program as a whole. For teachers and students, these books are espe- (first line A, ers number from top down . . . —who whack, slap, and smite with cially helpful as they stimulate interest and broaden the outlook on the formidable second line F, and so on) in order to but futile blows. . . . These the treble “anchors.” advantages and opportunities which music training provides. Mail the types are, alas, with us always. But why synchronize with originates on the second set up such unnecessary obstacles to the Thus the G clef coupon today for your free sample copies. These books are available. enjoyment treble fine, the F clef on the second bass of your playing? ... A without obligation, to all music teachers and students who send for them. is third space, “bass” C ° straight, relaxed back, an erect head set line. “Treble” C 1923 so forth. Don’t for- on free, swinging shoulders, feather- also third space, and be able to call lines weight elbows moving graceful arms un- get that pupils must CONN BAND INSTRUMENT DIVISION, clefs up and down, obtrusively over the keyboard—such na- and spaces of both C. G. Conn Ltd., 113 Conn Building, Elkhart, Indiana sorts of ways, with tural keyboard approaches are not diffi- skipwise, and in all Without obligation, please send the FREE Books checked below: . Then, just as cult to attain and maintain. machine-gun speed. . . "Music, The Emotional Outlet for Youth” required to locate However hard, conscientiously and in- speedily they must be "Fun and Popularity Through Music” looking telligently you prepare, you can be sure these on the piano without at that Name- —-—— — annual recitals are air ordeal for the keyboard. give a memory most pianists. But I can assure Round And if you must them bass clef lines Address Tablers that the strain, the worry, the prop for those descending self-denial, B, G) why not, “A1 Fell Down, the agony are more than (A, F, D, City Zone State. compensated by the added prestige, con- By Gosh”! I am a Teacher, Student

JANUARY, 1940 "FORWARD MARCH WITH MUSIC” 45 ,

*. xv xx ** write paper-music, v VhvVvvV * y * ^4 posers; those who Sensational A Philosophy of according to rule or fashion; those who / flaAt! some- dW — NEW TEACHERS’ write to be ‘original’ and to achieve Voice Questions Vocal Study thing that others have not achieved; instruction book those who write music be- PERENNIAL I and, finally, cause they cannot live without it. Only < Continued jrom Page 16) the third category has value. These com- All King of Them an ideal, never for a in Mozart one finds the perfect com- posers work for + + bination practical purpose. And the irtistic con- £ *++*+*+ +v 1 t+ * , + * A. of precision, clarity, music, and -AnswerJ L DR. NICHOLAS DDUTY interpretative science which is a prerequisi te to artistic } values. If one can make professional these elements sound forth freedom imposes upon them the duty of Here are the pieces you use year after in Mozart as PIANO they working towards sincere expression, both For longer than many of you can should, one can release them any- remem- No questions will be answered in THE ETUDE unless accompanied by the full name year. This list will give you some idea of PLAYING and address initials, where. I experienced this of themselves and of humanity. To ber our easy pieces have been ! of the inquirer. Only or pseudonym given, ivifl be published. when I studied teachers' • SWIN© the variety of material you can find in JAZZ with Debussy. There was no achieve such expression, the serious com- pets. No child gets bel canto in bored when gay, JUMP Century Edition. On every count: fidelity Debussy. When I first knew him, poser should study the musical heritage boogie-woogie he had sprightly pieces like 1 | these are your selec- appearance price just come of his country, the geography and eth- — your choice ought from Russia, bringing with Tells How You Can — — tlon—in CENTURY EDITION him not only his nography of his own and other lands, the —at I5(? a to be CENTURY EDITION--at I5(S a new scale, but a sort of PLAY POPULAR SONGS rough folklore of his land including its literary, copy. copy. harshness—the furthest thing from Reveals Professional poetic, political aspects as well as its Mozart that you can imagine. Yet in me, and PIANO SECRETS! Another Young Operatic Aspirant that you could hum and whistle even before 746 Avalanche, Am-3 fresh from De Reszke’s counsels, musical expression. Only in this way can 3587 Advice to Dolly, G-7 he Arnold Q. I am a lyric soprano seventeen years old, you could talk, lead us to believe that you you tried play , found he arrive an understanding of the 3647 Basket Dance, Am-2 How Many Times have to a 3189 Barberinl’s Minuet, . a Mozartean at Crosb C-2. . bel canto—and he Y popular song, exactly as written, only to find with a range from B-flat below Middle C, to have enough talent to some day make a place 3687 Brownie’s Courtship, C-2 w EASY FOR THOSE 2306 Bluette Waltz, G-2 liked it. He could complete folk-soul. e lacked the Fill-In the demonstrator em- E-flat above High-C. I have studied voice for for yourself in the musical world. Your study ZtfrxiaMy be rather severe in Bushy it 3588 Tall, C-l He filled in—You didn’t! Not your 238 Camp of the Gypsies, Am-2. taking singers to task “In each of our four categories, then, '.'.V/.V.V.^Ja ployed? four years with a splendid teacher and I want of French suggests also that you know what for tone, line, 3690 Dancing School, C-2 fault at all—you were never taught to fill in 768 Chopsticks, Waltz, C-2 #0 ^e to sing in opera some day. I would like to ob- you want to do and are faithfully working to- WHO HAVE STUDIED PIANO phrase, but he never radical reforms are needed. We should 3450 Elephant’s Trunk, The, or improvise. This Book is to instruct you, step corrected me. The C-2 Richter wards definite goal. thirteen 3123 Country Gardens, English tain an audition with some famous singer or a At and one half Morris nebulous, see to it that our pedagogical routines by step, the art of Filling in and Improvising. "Doubling" on the marimba multiplies moon-beamed vagueness of De- musician, but I do not know just how to go (to say nothing of ten), the average girl is still Dance, F-3 .arr. Grooms ACCLAIMED BY TEACHERS— “NeverBefore bussy’s music most certainly are based first of all on the clearest about it. You have cleared up many problems undeveloped physically, mentally, and espe- the musical pleasure of those who 1697 Dancing Doll, did not ex- all D-4. . . . a Book So Complete.” You receive the work- past through column cially vocally. No one can possibly say from tend to his person. possible understanding of the terms, orig- for me in the your fine and the piano . . . Easy for 1673 Dream of the Shepherdes:, He was a precisionist ing material to build up an impressive, have studied G-4 . . . Labitzky very grateful you would advise hearing her at that early age, just what her of the first words, 3675 Firefly, The, Am- 1 should be if 368 Edelweiss, order. He and expressions that will be used 1 Hopkins play, the marimba may Pure As Snow, Eb-3 demanded absolute this matter. D. voice will become in the future. The most that pianists to 3676 Going Swimming, Bb-1 me about — D. 1006 Fairy Barque, The, and disciplined exactness throughout the entire course of musical Hopkins is that it certainly Eb-4. . . in every one can say will most not lift . Smallwood detail 3590 Grandma's and Endings. be carried anywhere to add life, Rocking Chair, C-7 Arnold ductions A. There should be no difficulty for you, as 791 Fountain, G-3 and demanded it like education. We should strive to free mu- f amousCav- remain what it is, but that it will change in — no one else! The 3684 Here We Go, Compiled by SONGS! gathering C-l Porter anaugh's authorities on POPULAR you live in New York City, the musical center and sparkle to any kind of 225 Fuer Elise, Am-3 very sic-teaching itself time from a child’s voice into that of an adult. elements that make for excellent of all false values, in- 3692 Lots of Fun, modern piano playing. RADIO AND G-2 Rolfe of the world, to find a famous singer or a con- From the results of attempts lifelong companion that expresses 2200 Glissando Mazurka, NOT AN EAR OR COR- ORCHESTRA your to study at — a F-3. . Mozart singing enable one sisting on the education of the ear and 3681 Marie Antoinette's Music Box, might to sing De- C-1 .Giovanni RESPONDENCE TRAINING! ductor of world-wide reputation who too early an age, it would appear that you are 627 Gypsy Dance, musical mood. Investigate. Dm-3.. . bussy. 3678 Military Band, The, but a com- about every the soul, and discarding the futile aca- Bb-1 Hopkins COURSE, Theory. Chord Con- grant you an audition and advise you still too young at thirteen and one half. We 2693 Home Guard, The, 3695 Party Clothes, plete, concise, exciting struction, Accom- F-3... . G-2 voice, your musicianship, your personal- Greenwold By way demism of purely intellectual Schwab revelation in business your would advise then that you concentrate upon of closi;., nail give you ‘paper mu- mnying, Transpos- J. C. D EAGAN, INC. 2308 Norwegian Cradle Song, F-3.. 3534 Polly end Peggy, G-2 piano playing. ity, and your chances of eventual success in the Morel one more purely sic.’ We should plan the proehl fng, Creative Im- usual studies in the high school curricu- vocai nint. De Reszke training of our Proud provising, Harmon- Perhaps 2641 Polish Festival Day, Ab-3 3595 Mrs. Hen, F-2 Arnold EASY for BEGINNERS the crowded field of the opera. you lum, and to continue your clarinet, piano and 1770 Berteau Ave. Chicago 13, III. gave coloratura exercises artists and our composers so that —Our instruction starts izing, Ear Training performances of the Metro- 1030 Rose Fay, Mazurka, to every voice, they 3696 Puppet Show, The, G-2 Steiner attend some of the French lessons and your experiments in F-3. . from scratch and con- and insisted appreciate their you 1001 NEW IDEAS politan Company or at least you hear 2252 Solfeggietto, Cm-3 that we sing the high ranges duty as servants of hu- 3679 Summer Doys, F-l Hopkins progresses step by step Opera ducting until after your graduation. Perhaps by K. P. E Bach Chorda, Bassea, Fill- with 3697 Topsy Turvy, F-2 throughout the entire them over the air. Why do you not write to that time, voice, 440 Tarantelle, Ab-4 our nose closed—actually, manity. In such a way, music will flourish Steiner ers, Breaks. Modula- your your physique, and your holding book. favorite singers one of the con- 3686 Which Is the Way to London tions I ntrodu ctions one of your or mind will have developed so Town, , that you could 3355 Valse Chromatique. -3 it shut. Why? as a vital element in Ah Leschetizky To avoid too much nasal our complete social A TREASURE HOUSE Arranging, Endings ductors and ask for an audition and an opin- .Porter FOR THOSE THAT attempt the serious study of singing without resonance; to keep structure. the tone from sound- PLAY — Included is a ion? Many of these artists have come up “The any danger to your future. Do not forget that your Ask dealer for Century music. If he cannot ing nasal. “The complete Instruction Manual covering 45 lessons and they are apt to be quite sym- Nasal resonance, after all, music of the future? I have no hard way” a good education is absolutely necessary to supply is your and explaining the entire contents of this famous you, send your order direct to us. Our Ask dealer for Century music. If he cannot pathetic toward the ambitions of those who the singer’s line of least resistance. The predictions to offer! I believe in living book and to help you make rapid strides in surpris- the success of a singer. An unusually talented complete catalog listing supply you, send ing little time, no matter how well play now. in their footsteps. There are a over 3700 numbers is your order direct to us. Our you aspire to follow girl such as you appear to be, must be all the head is so constructed that in the present. However, I venture Answering Etude Adver- \/ FREE on request. air does to complete THINK IT! given In the Cava- number of fine singing teachers in New York catalog listing over 3700 numbers is OF These lessons more careful while she is young and undevel- emerge through think that the naugh Schools would cost you over $100, yet you can the nose, whether we bitter pain of these war who, for a consideration, would be glad to hear oped. It will be very hard for to FREE on request. get similar instruction IN YOUR OWN HOME, and you postpone tisements always pays l\ will it or not. years will result you and to give you an honest, unbiased opin- your singing lessons, CENTURY MUSIC PUBLISHING CO. By closing the nasal pas- in a greater spiritual learn to play with surprising skill ... at amazing but you have plenty of low cost! ion. There are quite a number of remarkable delights 254 West 40th sages, the air is sent through awakening. Through suffering, time and you have the advantage of being a and the reader. \/ Street New York 18, N. Y. the upper people endowed, that CENTURY MUSIC PUBLISHING CO. MONEY BACK CUARANTEE-On receipt of book, music schools too, some of them musician, which is all too rare among singers. chambers of resonance, will realize that they you will be the pudge. If you’re not delighted with and the tone is have needs of the grant free scholarships to young singers of ‘‘The haste, 254 West 40th Street New York the wonderful instruction this book brings after 4 more the less speed” is a very freed of excessive nasality. soul which can never 18. N. Y. talent, personality, and mu- Until one has be satisfied by days’ trial, return it and get your money Dack. exceptional voice, ancient proverb and one very applicable to to choose from practiced this way and experienced the academic paper-music. They will demand ORDER TODAY! This NEW EDITION was created sicianship. With all these things your case. We can scarcely recommend a par- for those that desire the finest. Price $10 complete. trouble in getting sensation of that you should have little or no ticular teacher in a land where there are so head resonance (in contrast music-of-the-heart which is the Order your copy now! TODAY! Postpaid and in- FRANKIE sured the advice and help that you need provided many excellent ones. (AKLEvfe°itcai OuMm/iuy to masque resonance) sincere expression anywhere in the world. , one does not know of mankind. Then, your voice is as good as you think it is. We are The best vocal instruction and exercises always 44 Robert Whitford Break Sheets for Piano Sty/ / otf }/lei/eui tPuttw fl/atytta- the real meaning of well perhaps, there will the kind words of your note. resonated tone. come a desirable re- CAVANAUGH PIANO SCHOOLS very grateful for A Very Modest Communication at hand. Developed by Ralph Scott while Chief of Reveallnu the greatest jazz patterns Where the natural, or speaking, action against ugly-sounding yet. 475 Fifth Ave., Dept. NewYork 17.N.V. voice is ‘modern- Send 25c for sample copy. E A Young Clarinetist Who Prefers to Sing Q. Do you think that the late twenties is too Auditions of Columbia Broadcasting System. Write inclined to be the least ism,’ and the world late for a person to consider vocal lessons? for nasal, this drill will again hear music PIANISTS Q. I am a girl of thirteen and one-half years, I record with 2 lessons. Sent absolutely free is invaluable. that is Bend for your free ropy of chair clar- presume to hold no further vocal aspirations But that, of course, is an- beautiful because it sounds our catalog of ultra-mod- in the Eighth Grade, and I play first beau- em piano • • • publications. State if y u ire a teacher. the than to undo bad habits, to learn to use prop- 4NST10T-I-T1NES 90 l Oil KNOLL AVENUE PASADENA 5 CALIF. other of those individual tiful.” Develop inet in the school band and orchestra. I have problems. ROBERT erly what little voice contralto WHITFORD PUBLICATIONS taken clarinet for one year and three months ( ) I have and “All singers have noses, 18 North Perry Square mouths, Dept. 5E Erie. Penna., U.S.A. Influential Quality in the band. teacher is thereby to give myself more pleasure and the “Publishers and I am a twirler My throats, vocal cords, of Exclusive Modern I* iano Material” family less pain. diaphragms—yet all' showing me how to direct bands, and so forth. tones your that 2 . —Can an annoying vibrato be overcome in THEY ARE BOTH BACK NOW! and all singing-results are different. 1 am also taking French on the side so I 0744/Oiife ?/u/rt//fJ one's declining years? Perhaps I Again, able to sing it. I also play the piano, should add the cook with his blending of can be /IS H{ PLAYS three one-half years. that my musical knowledge is not completely THIM materials! VOICE having taken lessons and Whatever the ‘materials’ and Records for LEARN nil, I play the piano and organ fairly well. the New "SWING” MUSIC 1 have sung all my life; I could hum and Year i Ct ur8e to plavers of all instrument- your Feuchtinger Voice Method MISSOURI WALTZ (S™, A„.„ «.,„,) whatever the m?-n Lf? —make C. s blending, though, it is wise S en,,n s °* “hot" breaks, obbligatos, whistle before 1 could talk. At ten years of age — G. emDeiushments.Siu F l choruses, HINDUSTAN to figurations, blue notes, whole tones, etc. GUARANTEED voice keep in mind that the best thing ( Continued I started taking lessons in singing, my voice from page 12) MODERN DANCE ARRANGING Yonr success, your charm, DOWN BY THE OLD MILL Duets, soprano. My teacher has a deep A. Your estimate of your ability as a singer STREAM study can accomplish is trios, quartettes and ensembles—special choruses your poise ... in fact yoor being high to keep the personality is re- ON THE ALAMO modulating to other keys—suspensions—anticipations entire baritone voice and after trying out my voice, is a refreshingly modest one. Most correspond- voice in its natural — vealed in yoor voice. De- state!" ntS effecls—swingy backgrounds— velop a resonant, roll- professional. ents speak with assurance of their voices, their THE ONE I the latter said that I could soon become LOVE „ s.™w, E discloses a vocal Wriuftoday flexible quality in he W style which toned, quit because musicianship, their talent and the charm of WITH NO MAN OF MY is none too ELMER B. FUCHS your voice so that yoor After several months training I OWN certain; one recalls 335 r .. 1 friends, your public may their personalities. the older East 19th St. Brooklyn 26. N. Y. dry and hoarse and it hurt We feel that you underesti- recording know the true YOU. Tbe my voice sounded of Ponselle and Feuchtinger Method tells you longer I took from him mate yours. Certainly you are not too old ‘‘to Published separately Telva which It poseble for you my throat to sing. The in sheet /m how . . . makes at music form. Each was far better to train your voice yourself . . . gradually to get. give yourself more pleasure and the family less number . . ^fll sung. Mr. the lower my voice seemed Warren has a home. Write for the Feuchtinger Voice no one under probably changing and pain.” We sincerely believe that if you can good time singing his PIANO Book, sent FREE. Mailed to He said my voice was Buy two arias 17 years of age unless signed by parent. find them «t any musk stoic bring me out it. a good singing teacher and if you will or direct from A Reform in Music Verdi: that careful training would of Rigoletto-Caro SWING MADE EAST work hard at the rudiments of voice nome; with him for produc- Proch- World PERFECT VOICE INSTITUTE With intermissions I studied Forster At and s easiest system teaches Beginners or Advanced to tion, will soon notice Music Publisher, Variations; and P|ay Studio 5581, Kimball Hall Bldg., Chicago 4, 111. year. I wanted to sing popular songs you an improvement in Inc. David: Le like Radio-Kecord Artists! Ix*am nins, breaks, blues. about a SI6 So.lh w,b.,k Avenue, erle efu tncKs. basses, your voice that will not only give you pleasure, Ckieejo 4, Illinois Brasil-Charmant negro effects, chimes. Boogie Woogie, intros, would not teach them to me, so from Teaching oiseau; vnos. but he sung modernistic, futuristic, weird off-color, riding- but will also be enjoyed by your by Lily styles, that time I have always played and sung classi- somewhat Pons (soprano), meiody, jam -hot-'blue choruses, effects. with orchestra etc. HUNDREDS of nnHinmimmi professional artist censorious family. The man she loves, the piano has she Send for Free Booklet prices. cal music. I want to be a ( conducted by No. 1 and low Continued from Page 9) Pietro Cimara. After I had 2.—Perhaps you have been playing your own Columbia -.'ETCHERS—Use new loose-leaf system. Wriiel for I love music very, very much. dreamed about. Both have been to war; the asked accompaniments upon the piano or the organ SLONE SCHOOL. 2001 Forbes St., Pittsburgh 19, Pa. quit taking singing lessons my mother man fighting for her, the piano solacing him Here, Although it is not and have therefore not given enough attention PIANO TRICKS! Miss Pons does Schools—Colleges me to sing Blueberry Hill. at rest camps and hospitals. not concern me.’ some of her to the Every issue of our What is this ‘art’ if singing best music, I sang it for her and she said technical use of the voice. To pla> for bi-monthly Break Studies on records in classical The war is over. SHE and are brings you clever not the expression a long time down her back one’s self divides the attention between the HE making arrangements for building of humanity and all Those Make it made cold chills run tip and tra choruses who own the THE ETUDE Your Marketing Place their love nest. And the piano, more beauti- ex of 8 popular songs on the that soprano’s earlier beautiful. I also sang a hymn in vocal and the instrumental parts of the compo- cur- concerns humanity? The realistic Victor disc Etude it was so rent hit parade.” Enables of Caro Advertisers Open the Doors to Real sition. It is good for your musicianship but ful even than she had is you to fill in new nome (No. 7383) CONVERSE COLLEGE 2V His Eye is on the Sparrow. We take not hoped, making will church, modern-style breaks, novel figures, business of living in the world forces find how Edwin boogie- all Opportunities Gerschefski, 3>ean, Spartansburg, S. C. and after reading all the voice arti- for your vocalism. It is quite possible that the home sweet with the joy that only music can woogie effects and tricky embellishments. of h” The Etude us to wear masks. Seldom do we show “Waters and March issues, I have annoying vibrato may have developed uncon- impart. accurate, she does cles in the February INVALUABLE ourselves not reveal Department of Music is the wrong sciously for this reason. It is not easy to take TO PIANISTS, as we really are! Yet the com- the same KNOX come to the conclusion that he We leave him to her understanding care, ease of style nor Galesburg. Illinois deep breaths while sitting at the piano poser her former YOU WHO SERIOUSLY Thomas Williams, Chairman teacher for me. Could you give me or or- TEACHERS AND STUDENTS! must not allow any mask, any spontaneity JJ, W. kind of a just as she will leave that precious piano to time has evidently STUDY THE COLLEGE Catalogue sent upon request. recommend a teacher gan and a deep breath is a prerequisite to good Single copies are made it PIANO (classics) some kind of advice and 25 cents, stamps or coin. pretense, to come between necessary At some ours. That all may live happily ever after. By himself and & perplexing passage in a classic there may have singing. Certainly the vibrato can be overcome subscription: $2 for 10 consecutive 1 htly for me?—J. H. issues. Send the truthful m her arisen that, question for which you have never been able CONSERVATORY the now for the latest issue. revelation of his soul. The executi°n of in time with help of a good teacher. Stand Mention, if teacher certain norl/ Jf answer:—BOW TO PLAY IT to produce OF MUSIC AMERICAN SOCIETY PIANO 2 play first chair clari- up straight, away from the instrument, pay AXEL CHRISTENSEN music of fads’ and of ‘schools' I I ECT MASTERLY INTERPRETATION «- SHENANDOAH Wad* E. Miller. Pre*. A. The facts that you STUDIOS passes have 2?..£? ! L brought all great pianists this in- orchestra, that your great attention to your breathing and listen TUNER TECHNICIANS, Inc. 752 Kimball Hall Bldg. the Tlovely 5? of the past. For ,, _ Courses leading to net in the school band and Chicago III. music of complete sincerity atTUCUon pianist 4, lives. by a noted teacher and celebrated tne B. carefully there is Mus„ and B. degrees. Rateses enough of your ability to at- to see that no vibrato in the See yonr phone directory, or write to: *’ ,vin of Mus. Ed. teacher thinks Actually, there are 2 name of selection and measure number three kinds of com- beginning of reasonable. In the heart of the Shenandoahih to conduct, that you have tone. If you must hear the accompaniment get ( passage. Tuition (money order). tempt training you 5931 Warwick Ave. Continued on Page $5 Valley, Chicago 34 53 ) Dayton, Virginia. for three and one-half years, and someone else to play it for you. MASTERMUSIC SERVICE • Box 49. Boston 21. Mass^ studied piano 46 fORW ARD MARCH WITH MUSIC” JANUARY, "FORWARD MARCH WITH MUSIC” THE ETUDE 1946 47 ;

within oneself by the (the street-cry of the sweep and • Guajira, El Pregon El Pregon ma° lc origin. It has of their power. Two Aspects of the Cuban vendor) is of Spanish through a Both the Son and the Conga the arm; it is not a power which is ini- The Guajira or Punto Criollo, conveys, undergone a transformation have at a native, tained great popularity everywhere- Your Weight tiated and terminated with the single as does no other popular native form, a long evolution and has become th Worth Musical Landscape expression of first, with its strident tone, nor is it in the least constricted. profound melancholy, a nostalgia for the popular, typical musical orchestration an! penetrating melody, the The teacher’s is abounding in color and in- second 11) prime objective to (.Continued from Page 6) fields of Cuba. In these fields of blazing the country, with itS (Continued from Page bright char- exciting and contagious rhythm. get the feeling of these principles across and Contra-Danza, the Negro element sunshine, with their thatch-roofed huts terest. Its extremely musical Sin squares of the echoes of these popular to the student. The dangers lie in the of rhythm has been so completely in- and palm trees—endless fields of deep acter fills the streets and forms 6e where the vendor cries rived from the musical ritual fact that certain sounds can be dupli- corporated as to be considered the basic monotonous green, of penetrating, mad- village and city of th'e No. 1, first Movement) have Cuban Negroes reverberate Sonata, Op. 10, cated on the piano with various mus- source. Ignacio Cervantes, the celebrated dening scents—the dark, plaintive ac- his wares. Many Cuban composers on every con their works. tinent, there is no need for cular conditions, some desirable and some Cuban composer of the Colonial period, cents of the Guajira are intoned by the employed the Pregon in detailed ex' who planation. All the world not. Since tone in its final issue is pro- has left us true versions of this form in indolent peasant within the recesses of Among these are Amadeo Roldan, knows them' in the particularly North America, duced by control of key-speed, the mus- his masterly works, “Danzas,” for piano. the solitary cottage. It is a poetic, senti- uses the form with great skill where thev Pequenos are heard over and over cular adjustment which gives the finest The Danzon form has been used with mental song, the medium through which second movement of his “Tres again to the saturation point in over the is the one to such profuse and diverse application the white Cuban peasant bares his soul, Poemas” (Three Short Poems) for or- cabarets and night command key cele- clubs. aim for. The listening ear is the surest that nearly all classical Cuban themes, expressing his hopes, and recounting his chestra; and Mois6s Simons, in his Ritual Dances the guide; consequently, it is indispensable symphonies, operas, operettas, and so sufferings; it is replete with reflections brated popular composition, El Manicero. of Yoruba Tribe of (Lucumis) and in training and disciplining the aims on, have had their germinal rhythm the bitter, hard life whose cause is Pantomime in the Nahigo Rites. differentiation in metamorphosed from the rhythm of the the oppressive nature of the tropics. Pregon Presentation of Weight and muscles to a fine I consider it the application of power so that the Danzon. The Danzon was very popular Ex. 5 more important, there- and ram- The Guajira Unraveling the complications in the salons of the upper classes as well fore, to discuss the sacred music in reflections of the mind and the emotions the of this important principle of as in most of the entertainment centers ritual liturgy of the Yoruba ifications can be reproduced into good tone and «' Negroes and student is one of i playing for a Allegretto f#.= 76) '' •) weight of Cuba. it the ceremonies and pantomimes expressive playing. Today has been replaced by of the difficult tasks. The the teacher’s most - - - Nanigo the Son. :-j» a Lie vo man - go pla ta - no ver de sect of Cuba, significant for y Afro- simple and practical the presenta- Cuban elements in more Habanera West Indian music. will assimi- tion the more quickly it be A1 a-gua mi pe-na al a - gua al In addition to these two, Ex. 3 there exist in student. Since mere arm lated by the and Bad “Punctua- > > Cuba various musical types which stem Good weight does not give us the ability to directly from Africa. They are 1- D L D J known as — man - go man - giie any more than mere body weight Bantu or play Conga, which may still be tion” in Phrasing gives us the ability to walk, it is very El Son, El Tango Congo, La Conga, heard in the dance music of the peasants: wise to minimize the use of the word La Comparsa, La Rumba Calabari, associated with the Nafiigo “weight,” and define it as “energy,” (Continued from Page 10) Among the popular Cuban musical rites; Ganga, supposedly the authentic “vitality,” “energized weight,” “momen- forms, quite frankly influenced by Rumba-Cubana (a dance resembling the tum of the arm,” or any nomenclature Negroes, the following most significant Conga and quite as exciting and dynamic; which will make for clarification. Tone same theme transformed into an angelic, may be included: El Son, El Tango and Arara music which is known as Vodii control requires a very discriminating sweet song by the following phrasing, Congo, La Conga, La Comparsa, La in Haiti. procedure. Merely dropping the arm into all legato: Rumba. All are violently exciting in their Of all these, the “sacred music’’ of the because the keyboard obviates precision tyblvcmceti lAitiAicicttik potent rhythms. One is at a loss properly Yoruba Negroes is the best SBe^intielA ai t&elt a4 preserved. the force is neither determined for, nor to describe their powerful emotional im- In Cuba the household electric current. Yoruba Negroes—the most directed toward, any particular tone, and The only instrument operated by the pulse beat of pact. Hearing these Negro rhythms one civilized Negroes wind or get out of order. Simple classic on the African con- the results are haphazard at best. Never varies; never tires. No springs to is engulfed, hypnotized by the persistent, tinent are called 3S4 in. Ready to plug in and operate from — Lucumi, which is the Further clarification of sheer weight design, black finish. Case, 5 x 4 x stubborn vibrations which completely name of the slave center can be changed while running. Improves on the African versus energy (or energized weight and 40 to 208 beats per minute. Tempo paralyze the will and create confusion ( Continued on Page 60) correct your practice, perfects your performance. At your dealers or order direct. its uses) may be attained by recourse to We can see how important simple, practical illustrations. For in- “punctuation” in phrasing is. We can THE ELECTRONOME CORPORATION, 403 CHAPEL STREET, NEW HAVEN, CONN. stance: an aeroplane standing on the “make or break” the character of a runway with motors idle represents theme by good or bad “punctuation.” As to see what inanimate weight only, and is of no value an amusing experiment, piece, take phrasing can do to a , or significance to transportation. But set wrong r, |>r n MUSIC CATALOG the intricate motors going and at once the first eight measures of the opening New --PIPE ORGANS -Used compositions: Builders of pipe organs for church and studio. Ef- IlCL over 1300 pieces there is power and energy, which, work- theme of the following r AMERICA’S MOST ficient, up-to-date used instruments on hand at all 94 3 also rebuild and ing on the weight of the plane as a Schubert, Moment Musical Op No times, priced very reasonably. We Standard, Classical and Teaching Pieces for piano, violin modernize tracker and tubular organs, additions of and voice in World Famou9 McKinley Sheet Music and Book Schumann, Grillen (Whims) stops, couplers and chimes installed. Yearly care base for its efforts, and against the force F Minor; Editions—the teacher’s standard for nearly 60 years. Splen- WIDELY-USED of organs. We solicit inquiries. Write of Waltz C -sharp minor. Mazurka did arrangements. Every music lover should have copy. gravity, causes the plane to leave the Chopin, Dept. 1811 Passe- Delosh Brothers — Organ Experts today enclosing 6 cent stamp for return postage. ground and under the control of the B-flat major Op 7 No 1; Delibes, PUBLISHERS, INC. Corona, L. 1., N. Y. City Dance; Grieg, 3508-1 05th Street CV Chicago 5 pilot to soar at will.' Increase of motor pied; Scharwenka, Polish IVI C IY I |M L EL 1 425 S. Wabash, power produces greater speed and higher Wedding-Day at Troldhaugen; any waltz Gavotte; and Method altitude, decrease of the power produces by Strauss; Gebhard, TEACHERS—ALL INSTRUMENTS MUSIC PLAY BY SIGHT less marks into their speed and lower altitude. change the phrasing Use, sell, new AMAZING chord chart. Contains all PIANISTS. If you cannot play a composition with- within octave. In all keys. Gives names, symbols, out constant practice, you need special instruction In piano that is, make the long notes chords playing the amount of power opposites, readings. Offers complete technical, harmony, theory to eliminate this handicap. The best Pianists and (change teachers who know their business. Easy Accompanists are Sight Readers. The secret of necessary for a given tone is acquired short, and the short notes long program for seller each. Companion scale chart, same price, Sight Reading is revealed in "THE ART OF into at 50c through an intimate association with the legato into staccato, and staccato wonderful for beginners, for transposing, for drilling. SIGHT READING”. the Order a trial set. Money-back guarantee. Or send for Improve your playing and advance more rapidly. feel of You will be amazed at card. NOW. key-resistance. The more highly legato). miniature sample. Enclose business ACT 5 Lessons complete with Music $3.00 the playing apparatus is perfected into strange result. The character of the mu- CAROL SALES CO., DEPT. E HALL, 1358-AC Greenleaf, Chicago 28, III. p. 0. Box 21, Lefferts Station, Brooklyn 25, N. Y. DANFORD one unified leverage system from shoul- sic will be changed completely—in some der to sound, the more uniformly will cases into a bizarre and grotesque per- A comprehensive the arm be carried over keys, with version (a parody) of the original. You FIRST GRADE BOOK for pupils of average age with special the ROBERT WHITFORD the energized the hardly recognize the piece. It has lost WM. S. HAYNES COMPANY preparatory exercises. weight assisting Contains a full five octave staff-notation chart. In MODERN PIANO PUBLICATIONS fingers in their outline, its face, its shape. actions. When the arm its Flutes of Distinction • Chord Chart for the Modern Pianist $1.00 this book, the pupil progresses to reading and playing in all major keys in functions as a floating base the weight There are some young students and • ‘‘Rhythm Interlude”—Jazz Piano Solo $ .50 STERLING SILVER - GOLD - PLATINUM <1 "Boogie Woogie in C”—Piano Solo $ .50 five finger position. and muscular older ones) who for catalog. If teacher. He also learns all the major scales and the tonic, dom- energy complement each amateurs (and some Send complete State you are a other. indifferent, almost desensi- Catalog on request ROBERT WHITFORD PUBLICATIONS inant and sub-dominant chords in are utterly each key. Price, $1.00 18 North Perry Square, Dept. 5E, Erie, Penna., U.S.A. For an punctuation marks in music. n increase of tone or playing tized, to the 103 Massachusetts Avenue, Boston 15, Mass. "Publishers of Exclusive Modern Piano Material activity write a the energy is simply increased, They are like some people who and vice-versa. There are many equiva- ten-page letter without a period or lent examples of outside of comma. They are living in eternal bliss. Protects energy use It HANDS you the Music you want music from wallow in Pianism. For instance: manipulating a When playing the piano they dirt or small tack hammer sea of emotion. They are having a TONKabinet has special damage. from the elbow em- a • ploys outside listener drawer-trays that file sheet fore-arm stroke; wielding sledge grand time. But the poor styled. a music easily ; keep it neat, or- Richly unintelli- hammer requires considerable activity is not! To him it all sounds derly, clean, findable. Every Beautifully sheet is so quickly accessible, °t the large “law and order.” He can’t crafted. muscles of the shoulder gible, without it almost hands you the one • and back; closing a door with the tip make out what they are “talking about.” you want. At your dealer’s, or By makers of put it on your postwar shop* Nationally of the elbow portray joy, sadness, grace, (fore-arm bent back with They try to ping list. Tonk Mfg. Co. Known Tonk he hand touching the shoulder) reveals humor, dramatic fervor, and so forth, Furniture. the fact that the upper arm and shoulder but are utterly oblivious to the phrasing hiuscles Sizes and are effecting the work. This is of the music. They connect or separate another passing styles for indication that muscle isolation notes quite capriciously, as the TONKahinets annot Homes, exist and is convincing evidence whim lets their fingers toy with the keys. at Schools, the chief source of power issues Such “hit-or-miss” punctuation can ac- rom Bands, etc. th® shoulder region. Confluence of tually sound idiotic. It makes one think for Sheet Music 'FORWARD MARCH WITH Power MUSIC’’ demands an alertness carrying (Continued on Page 60) THE ETUDE in January, 194c "FORWARD MARCH WITH MUSIC” 49 . , . :

other, could com- —“Made in Japan.” The object of the acquainted with each “ ^merstandinc Fine Fiddles—and Fakes! groups and meet alternately eration would have Co6 letter was to ask at what period of hi's bine their helped In 1 , P« the life other’s studios or homes, if large girl jumped from years Stradivarius worked in Japan! in each a hotel . ( Continued from Page 21) available. according to newspaper do In spite of the chioanery that was enough rooms are report n *. the parents seem that *oul formerly teacher may remind an opportunity Percy Grainger were the first advisors whether you want the for the Double-bass is the Haggart between $650 and $2,500. lins that were easily sold to the pedal up or method Beautiful credulous of their now famous sons. 2 Other good ones are the Zimmer- and stop wearing it out that Method. at prices far exceeding their intrinsic way” Elementary Bass Method and The Fay A Double-Jointed Thumb And there was mann merits. one other who Bass Method. Also the Simandl 30 Mrs. D. S. G., New York.—A double-jointed An Unfortunate Situation made a String Book few choice remarks for solos, you might be interested thumb can be a real handicap to a young stu- A word about labels. It will probably Parent-Teacher Groups for to the tuner Studies. As when Melodie, the Gossec dent; but as child gets if Also, through parent-teacher groups, he telephoned to remind in the Gluck-Sevitsky the older, and consis- have been gathered from the foregoing her it was For the first time, David Ewen, "music’s inter- nZ Gavotte the Roviance by Prokofiev, and the tent practice is maintained, the joint often gets remarks that such incidents as the following would be to have the piano tuned. the label is of no value Music “Oh no Intermezzo. All these studies and stronger and the handicap disappears. I have preter to America,” has stored the richest, most Studios avoided: Vivaldi whatsoever in One golden-haired ten year old replied, “it could not possibly obtained from the publishers had several pupils jointed complete treasury of factual critical informa- determining the origin or need any pieces can be with double- fingers and pupil, artistic and imaginative, thing or thumbs, I worth of a violin. Most violin ( Continued was mak- done to it yet. I’ve of The Etude. and have found a certain type of tion ever made available to the music-lover and lovers from Page 23) had it only a ing .no progress, and being exercise very beneficial. I have the pupil buy a know this, yet a faded label printed on asked why, year and a half and I have the performer in a single volume. It is an endur- in had tennis ball, spend replied to her mv and five minutes several ing guide that will both heighten the reader's old-fashioned type has an attraction teacher, “Well, you see, washing machine three years Questions on Stradivarius so strate logical musical development and it has times a day strongly gripping the ball with the magnetic that and we have no piano.” Many children come never had a thing Mrs. L. M. C., Ohio; C. D. H., Ohio; Miss M. enjoyment of music and develop his critical judg- many people are influ- may be done to it yet.” weak finger or thumb. The grip should be considered as look-out points O., Maryland; Mrs. J. B. E., Texas.—An- ment. It is an incomparable reference work on enced by it on from homes where, unfortunately, there M. maintained for about three seconds and then against their better judg- Just one more case-history: greatest of all violin the musical pathway. The the boy tonius Stradivarius, the all forms of musical masterpieces. (Size: 71/2x10— ment. teacher may, is no piano, but due to more logical relaxed for the same period of time. In your What is not so well known is the rea- was "stepping out" some makers, was born in Cremona, Italy, about if she desires, serve ginger rhythmic pat- daughter’s case, she should make sure that she 673 pages.) $3.00 fact ale and sons. In this case there 1737. In most of his that before the war there was in was none because terns, according to his 1644, and died there in cookies, though the era of teacher’s direc- is gripping with the entire length of the thumb MAIL COUPON FOR 5 DAYS' FREE EXAMINATION ration books the mother would violins he inserted a label which reads, "An- Japan—let us hope it was in not permit such a tions, to develop and not merely with its tip. This exercise tends Hiroshima! has taught most people hi., unreliable rhythmic Cremonensis Faciebat Anno to get along clumsy piece of tonius Stradivarius —a factory which produced, in sheets like baggage to ruin the color expression, to strengthen every finger. As your child seems DEEMS TAYLOR: “A reference library in comfortably without when his mother called the periods representing a date. such things. She scheme equally gifted for both piano and violin, I think itself, containing information and com- PUBLISHING postage stamps, very clever facsimiles and design of her firing rooms Johnny “of Cremona.” “Faciebat ARCO of should, , what in the world “Cremonensis” means ment that would otherwise be accessible however, make the parents feel are you you should let her decide which instrument she Dept. 480 Lexington Ave., N. Y. 17, N. Y. the labels (plural) . On the the maker, as some 28, of Stradivarius, Guarnerius, at insistence of the teacher doing? Sit up on Anno” is not the name of only after consulting dozens of volumes. home and introduce those that piano bench right wants to concentrate on. copies of MUSIC FOR Amati, and other great who are one was finally purchased people think; it means, in literal translation, The ’recommended recordings’ should be Please send makers. Similar not and placed— away and do your MILLIONS David Ewen, at $5 each, acquainted. practicing. I’m . . as especially valuable to listeners whose access THE by She may suggest appoint- in not ‘‘He was making it in the year . But, factories existed in one of the interiorly Also on Double Joints examination. It is understood Germany and Prance. ing decorated rooms? paying out good to music is confined to radio listening.” for 5 days' free a chairman of the group and money and have you I have had occasion to point out many times select L. Michigan. above answer, I I return the book(s) for refund within As an example of the Not at all. In the pantry, Mrs. M. t —The may faith sometimes a out of sight, spend your in these columns, the presence of such a label return meeting time tap-dancing if I to date; one in fall, and out around tht think, takes care of your question as well. I do SIGMUND SPAETH: "I am completely en- 5 days, for any reason decide do so. placed in a label I cannot of mind. As the butler is indication that the instrument resist mention- one in and his co- room.” in a violin no device that slipped thusiastic over this newest product from the spring, and possibly not know of any can be I enclose $ ing a letter a midseason workers did from Stradivarius’ workshop. There are Q received not long ago not prove an inspiring came double joint to keep it in place. You will pen of one of our best writers on music . . . by one date would be practical. audi- Fortunately for over a Send C.O.D., plus postage charges of Sometimes a ence for all concerned, not many thousands of violins bearing correctly- with information that everyone wants in New York’s leading connoisseurs. It the daily practice, the find your last question answered on the Vio- teacher from another child many parents can worded labels, violins ranging from cheap fac- convenient, readable form, covering the en- carefully community could soon be classed in these linist’s Forum Page for February, 1946. transcribed the familiar Stradi- dropped her music to take up beautiful instru- tire literature of recognized masterpieces.” Name.. be invited to come and speak; draw- extreme categories, but tory-made fiddles to really varius label, but in some ing, in which in any case, the with an additional line cases medium she could “express ments. The sentence, “Made in Germany,” is several teachers, if sufficiently teachers’ work can be made lighter and Was It a Stunt? Address.. well herself" in the a clear sign that the violin in question belongs safety-zone of her own M. R., New York.—A number of years ago I ( Continued on Page 60) in the former category. Apart from that, the ARCO PUBLISHING heard about the vaudeville stunt in which a City & Zone State.. only way in which the owner of a violin can violinist by playing certain notes could shatter 480 Lexington Ave., Y. 17 h a find origin and value is to send it for N. L m a out its glasses standing some distance away from him. appraisal to a reputable expert. For a small fee, I have not the slightest idea how it was done. any of the firms that advertise in The Etude It is possible that a certain type of very thin will furnish this service. glass could be broken in this way; but I am Jfleasureb bp ®ime of Incidentally, the use of the word “faciebat” OW I more inclined to think that there was some ou throws interesting light upon the state of an is>ertuce n hocus-pocus in the trick, and that the glasses honorable approached his We* Rod! Realize mind with which Stradivarius appropriate moment by broken at the J were opinion of his work, and his concern for the some other means. clients. Instead of using the more obvious "THE APPRECIATION lOUliam c£eiut± andSon ” “fecit meaning “he made it” he uses a Ave . III. Your — — Grade of Violin Pieces OF RARE VIOLINS" 207 South Wabash —Chicago 4, Musi tense of the verb which implies that he took a Mrs. B. G. D., Massachusetts.—I do not have By Francis Drake Ballard Have the proud distinction of over seventy years considerable period of time to make the instru- Ambitio space here, unfortunately, to list all the pieces in the musical instrument business Thousands ofot musicians ns Many Fine Illustrations. Over 100 Pages clear and teachers feel the ment. In other words, he wished it to be with the grading SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. need of higher and mr,™ i you mention, together proper of Information and Inspiration. Limited increased income. Perhaps ad'anced trainin that he did not do a hurried job. CATALOGS and LITERATURE on REQUEST you, too, ’ However, I can say that the first ten Clothbound. have felt this need. If you for each. DeLuxe Edition, Artistically luture your careful’ would be between grades four and six, while $3.00 Post Paid. Order direct from Recently Published—Already c Classic ^^^^lon/There’ar^^de^highe^praldons^^nnilic— en you How Much Should lie Practice? the Bruch Concerto would be about grade An Ideal Gift to a musical Friend soon as you are ready for them. ... niusic greater FRANCIS DRAKE BALLARD E. M., Illinois.—You pose an awkward ques- seven. This is in the grading which gives grade >r you just as Collector and Dealer tion! Violin playing is not just a matter of eight for the most advanced pieces. For a cata- “iloto jRanp i£>trabss?” nimble is the studies and solos suitable for the PENNSYLVANIA fingers and a good intelligence. There log listing TROY, “<0ur heritage front tfje i$la£ter” Study in Your the matter of quick coordination between eyes, various grades, you should apply to the Publi- Send for List of Available Rare Violins. Own Home The Etude. By Ernest N. Doring If you can afford Under Master T„ k brain, and fingers, and that is a quality which cation Department of 1 the time masterlci and the: largel.rne 1 tends to get slower as the years pass. Then a A handsome book of 380 pages recording amount of moneymnnev necessary to oh- a icacnerseach high-grade musical sensitive Reader Know Him? existing instruments with their stories and his- institutions. If, how 1 ear is necessary, too. Without knowing Does a VIOLIN FINGERGUIDE •ever, like thousands to of ambition! Conservatory, G. R., California.—I have been unable torical background, containing over illus- left ' then of you, K. 100 over from your regular i* a'»°d‘i ™. — jyou—“ *•**«havev Ji V\ l(!c cllOlCC I can only make a guess at how long it duties- woSfwomen tmn regarding a composer Anew invention, VISIBLE KEYBOARD, easy to put U, ’S will be the find any information trations of genuine specimens of Stradivari's anteed Pursue ur before you can play satisfactorily on. True intonation. Gives thorough knowledge of means to the aflainmSf Extensionxtension y° musical training in the time Saint-George. There was a Chevalier 5 ConservatoryCon ! pieces that appeal to you. Not many people named G. fingerboard and positions. No guess work, less prac- work. offers living in France in the eighteentii you the sure, proven and Suar- start to play the violin at your age, you know. Saint-George ticing. Also made for Cello and Double Bass. Guar- PRICE PER COPY $20 perhaps he is the one you have in anteed to develop a sense of pitch and accurate But if you want a guess, here it is: If you prac- century; PUBLISHERS OF "VIOLINS and VIOLINISTS" placing of the fingers. Price $2.00—State size of This Is tice mind. But details on his life are extremely America's only journal devoted to the violin R rtUnity one hour a day. it will take you at least instrument. Ideal Courses for -Mail This two Perhaps some reader knows something Specimen Copy 25Rhapsody in Blue reaches them leading to a fuller, igan through your playing. For must be arched in such a way that the his instrument tends to blow sharp when under the maestro’s and girls. baton.) I might add reach them it *STEINW AY CONCERT will—no performer ex- tip of the reed is struck, not by the tip being played loudly, and flat when played FOR SALE: to the list and recount the accomplish- presses GRAND as new, nine feet long, fully guar- more than the spiritual fabric of the tongue, but from a point back softly, ments of while the natural tendencies Of anteed, good discount. Joseph Holstad, 337 our staff organists (whose work of his Minneapolis, Minn. own inner soul. For myself, I count the tip which is consistent with the Oak Grove, lies along from pitch on the clarinet work in reverse similar lines), but this will close family ties as my greatest satis- distance of the mouthpiece in the mouth. also, SLIGHTLY USED CLASSICS Schirmer, •give ambitious order. The clarinetist should learn — youngsters an idea of faction.” Shall Woodwinds etc. (Vocal, Instrumental) 15tf copy. List How To allow the tongue to lie extended un- that to lower the pitch of his instrument lOtf. Fore’s (Dept. E), 3151 High, Denver 6, der the reed is undesirable, and will often to any great extent, he shall probably Colorado. Be Taught give the disagreeable “slap-tongue” effect “pull-out” not only at the barrel, but on LEARN PIANO TUNING AT HOME. which a few years ago was popular in the middle joint as well. Often, if the Course by Dr. Wm. Braid White. Write Karl Bartenbach, 1001 Wells St., Lafayette, Ind . ( Continued from Page 19) swing bands. brass players in the band are not timed Lyrics set to has down to a standard pitch by pulling their COMPOSER-ARRANGER— Come and Make Music! No other family of instruments Music. Complete Pianoscores. Copywork. the need for double and triple tonguing. problems of intonation so great as those slides, they will force the pitch of the Manuscripts corrected and prepared for publication. Danford Hall, 1358 Greenleaf, of the woodwind family. Not long ago band so high that the woodwinds strug- These types of tonguing need the guid- Chicago 26, Illinois. ( Continued from Page 18) when I was rehearsing the Brahms gle to “lip-up” the pitch or play flat. ance of a private teacher. The class SHERWOOD MUSIC SCHOOL Piano teacher can hardly give the individual “Quintet in B Minor” for clarinet and Players on the metal clarinets should Course, $100.00 value for half price or best of^er. Includes Studies, Lessons, Composi- They attention strings, with a fine string quartet and realize that they will probably need to represent many hours necessary to follow through tions and Theory. Margaret Zemanek, of intense The project usually considerably, more than should be extreme- on was making a special effort to favor the pull their barrels 111. creative thought. The fulfillment this important matter, even if he is 3543 N. Olcott Avenue, Chicago 34, of these ly simple. It or ebonite plans so must appeal to the fancy of well qualified pitch of certain tones, the artist cellist do the players on the wooden that the goal may be reached to do so. Numerous flutists SWING PIANO IDEAS: Monthly Bulle- the children. From them the resourceful exclaimed in amazement, instruments. In private study and play- end- is quite another problem. come to me for study in the Conserva- in the quartet tins. Breaks, Boogie Basses, intros, To the good teacher ings, etc. for popular song hits. Subscrip- teacher, will draw ideas for its develop- tory “I thought on the clarinet that all the ing with piano accompaniment, the pupil it opens up a vista of who have not been made to realize tion $2.00. Sample Bulletin 20*. Kenmore interesting mem.' learn to tune his instrument the true function of the tongue. They player had to do to play in tune was to should how Music Co., Dept. E, 581 Boylston St., Bos- reaSOn The stucJ also play in tune. ton, Mass. for being. y of integrated units will are soon of tune the ‘A’ and execute the proper properly and how to She grows more^pa ° shown that the function usasthe provide a source of material for a broad- Space in this article does not permit a 10,000 Records 600 Goodman, 600 Cros- course unfolds and pnph the tongue is to articulate or pronounce fingering!” — er bv. Greatest classic singers. Everything sents a mUsic exPerience. This study naturally the tones, complete discussion of the vital funda- new challenge for it* FiY* and not to hit or “spit” them. 1900/42. Josephine Mayer, Santa Barbara, Temperature discussion ^ int° some Kort of a delightM I am personally indebted Effect of mental of playing in tune or a Calif. ^IscontinuS^^Sh^!?** to one of my cuiminatlng fundamentals. of teaching activity which the children former teachers tune requires a sensitive ear of other important A FOR SALE: Complete teachers course in success and th P ^ YY on this point of light To play in themselves of the topic, as given above, Progressive Series (150 lessons) most of which most of can plan. attack in the understanding of the mechanics sampling the failures m thought he conveyed to plus an them new. Cost $150.00. Will sell for $25.00. teaching The second each mu- tends to point out further the need and occur. suggestion is that me, that the stroke of the tongue to its of the instrument and the effect of tem- Address CM c/o ETUDE. ic lesson should opportunity desirability of having a good private The young inexperienced ? Provide an Point of contact is just as light and quick perature upon it. Only this morning a h S° f° r in the study of any of the wood- recently filled pupi1 growth in musical understand- in the loudest brought his accompanist with teacher with high hone , f ff as it is in the most deli- student " lng emphasis trated by and skin - Some Particular cate his winds. the cooling interest- JL, pp. The difference in volume be- him to my cool studio to rehearse USt pr° b ’ sponse be kept in nlind ' RhythmiC tween proceeded on the part of the the two markings, fortissimo and solo. His clarinet was cold. He class TleThe flems beauty, skillful ' Pattern teacher mav bp hnm study, melodic Pianissimo, is gained from the force of to tune his concert “A” and to start play- the of breakdown of nationality traits in music are some the breath sounded her Diane vet , which follows each attack and ing. The first several measures theSe that the problem g0^ not from the force but soon his throat tones Ttes to tv and of the attack itself. well in tune, for the Year that in most The class may experience a single com- When produced by us- Records New cases shp eventuallevent, n the time comes for the young (those tones which are bring y will position it is a things to pass in so many ways that clarinetist to uppermost part of the instru- improve his tonguing, he ing the ( Continued from Page 46) Two continual and delight will suggestions are ,. source of interest need to realize that must ment) became noticeably sharp while nresented e a the tongue to the tlve -Recently, a presented a Mozart arch length problem of how +0 reaev, . teacher back in the mouth in such a way other tones which involved the full °a 'S First, g ’ Minuet to her lesson they hat here as well as in the other selections in music in the classmen class. In one the tip of the reed will lie ex- of the clarinet were still in tune. What and ” n eds and this album. must have discussed the character of the dance remely close of this? His breath quite specific and nSf to that portion of the was the cause motivation. 1 listened to several recorded Minuets. In ongue part of his Tchaikovsky: Moscow Cantata- This may • which is the upper be carr;pa° n to touch it. Proper at- logically warmed innumerable m an°ther, the pattern was analyzed and and the lower, Prayer; and None But the Lonely ways throueh a f,, ?- speed in tonguing will best be instrument more rapidly than type of na ex ressed harmony developed, Heart; sung by Gladys Swarthout (mez- music P - The simple four part throat tones sharper experience PPsHv S,i° by keeping the tip of the thus making the certs, C° !1 " of spelled with Victor Orchestra, Syl- assemblies, the choral then ague fully sensi- zo-soprano) , and clawrnnm’ setting was very close to its point of contact. than the others. He was not Pi0 ‘ sort 10- grams provide ou t and after of this eU air van Levin (conductor) . Victor disc activity that several lessons tbe attack is made, the feeling to tive to the physical law that warm to be not only the song for a th» , 1166. good was sunS in costume P ayer is pitch of all wind instruments. educational . that of a very light flick raises the but P ctree, se- or i, has also saved period program. classcrass members rH bing illustration is that Miss Swarthout is to be congratulated many cwti Theme ' 1 hav® often heard the fine The lesson from this ™ O i-V, irons lootnp] c o-rfl.d- clar- l in the lected this of their grad- metist instru- on presenting us with a finely sung re- music class sonS for a part say that he feel one should thoroughly warm the wrll Bovsfns girlsl^' can scarcely work tirelessly uation music. nSU6 before tuning for cording of the Prayer from Tchaikovsky’s on musi/nfYv? *'ouc '-1 the reed when making ment with his breath quality if 6St tech- conr° the composer it. is going The mastery of procedures and 0US This, though, leads imme- “Moscow Cantata,” which to be usphY siaccat0- Attention to light- performance. PUrpose niques is teacb- ness f commissioned to write for the coro- - In a necessary part of good h^attack fundamental issue of play- was AAA fact, they will t can never be over empha- diately to the refine pupi - sized ™ their ing and wil1 clarify for the ime or orchestra nation of Alexander III in 1883. The performance until th'A learning sPent on these important ing in tune in the band S Cal taSte has 6 ' 1" yet these be con- funri confronted with Prayer is a moving aria religious in spirit reached a very Caching skills must artels with a capable private when we are constantly mgir.? leveli i y Satlsfsatief not tet - y- tinually do acher but with some operatic characteristics. evaluated so that they i s invaluable. temperature changes. The symphony the become dull meaningless fetish, and MKUARY, WITH MUSIC” 53 i 946 "FORIFARD MARCH the ETUDE — „ )

I HE THIRD CONCLAVE of Deans and model, weighing forty-five p0Utlri create streams of Haunt- was S . ability to recently given ' a charter Regents of the American Guild of Or- old plate weighs one hundredann The tiis at Harris- ? He had a thorough school- burg, Pennsylvania. ganists took place on December 27 and five pounds. twenty. ing melodies. One of the first proj- music, having studied composition ects is the annual 28 in New York City. The two-day ses- ing in performance of the sions, presided Germany and England. He was cred- “Messiah,” which will be sung over by S. Lewis Elmer, SAMUEL RICHARD GAINES in by a with a total of one hundred and massed chorus of three Free Helps Warden of the A.G.O., had for their and well known ser ited hundred and fifty The of Music organist, died S?° shows containing World and screen voices, highlights a forum on examinations, and on October 8 in Uddenly four stage with the Harrisburg Symphony Boston. Mr Gai Which Teachers, Professional Musicians, a recital of the 1946 test pieces played had Wfl bis melodies. Orchestra as the accompanying group, by composed several hundred ° Vernon deTar at the Church of the numbers, USlcaI under the direction of George King Rau- Workers had been a resident and Other Active Music May Ascension. The event “Music from Everywhere” of^ FRANK WITCHEY, noted Army denbush. was one of a num- News for about fifteen 011 S/SGT. years. He fra* k Asking For Those Wanted ber arranged to mark the fiftieth anni- trumpeter, who had blown “Taps” for Obtain Simply By Detroit and began the study in versary of the Guild. of Wilson and William at fourteen. g® presidents Woodrow HELEN HOPEKIRK, He was active in New v Taft, and for Maj. Gen. Leonard pianist and the Reichhold Symphony of the Amer- AARON COPLAND’S “Appalachian Detroit, Michigan, and Howard composer, in MUSIC FROM THE PEN COMPOSITIONS THE METROPOLITAN Columbu^ Jennings Bryan during icas contest. ’ °n?hl0 Wood and William private life, Mrs. Helen This jury consists of Eugene Spring” was performed in November in before locating in Boston. ' OF CHAS. GILBERT SPROSS BY MANA-ZUCCA OPERA ASSOCIATION years of Army service, died on Goossens, Music Director of the Cincin- Vienna by the Vienna Philharmonic Or- his thirty Hopekirk Wilson, died This booklet gives a biographical opened its New York nati 30, in Washington, D. C. on Gives a portrait and biographical Symphony Orchestra; Valter Poole, chestra under the direction of Eduard THE KOUSSEVITZKY September November 20, at season on November 26 MUSIC FOUNn* sketch and a complete list of Songs sketch and a portrait of this com- Assistant Music Director of the Loibner. During the present month it TION has Cambridge, Massachu- with a Detroit named Howard Hanson, (giving the ranges and the names of poser and lists of her published Vocal spectacular per- Symphony St CULTURAL MOVEMENT of great sig- setts. Her Orchestra; Alfred V. Frank- will have its first performance in Sydney, Messaien. and A age was Solos, Choruses, Piano Solos, Violin formance of “Lohen- Heitor VUla-LobostS JSY text writers), Part Songs, Anthems, enstein, Music Critic, nificance is an exchange of music and eighty-nine. Widely , Orchestra grin,” San Francisco Australia, under Maurice Abravanel. composers to receive the Piano Solos, Violin numbers, and Pipe numbers and Band and with Helen Chronicle; 1945 comm? between France and England, Rudolf Reti, pianist and com- swns for musicians known as a concert pi- Organ selections by Dr. Spross. numbers. Traubel and Torsten symphonic works. Awards poser, and Carl Page we p has been arranged by the London anist, she had HSi (JUST ASK FOR "THE JOHN CHURCH CO. Wood, Professor of THE EIGHTIETH BIRTHDAY of Jean made also which made (JUST ASK FOR "THE JOHN CHURCH CO. Ralf (making his de- to David Diamond and Helen Hopekirk BOOKLET Z-70" Helen Traubel Composition, University of Washington. Harl Philharmonic Orchestra. The first step appearances with the BOOKLET JC-100G”) but) in Sibelius was honored by a concert of the Shapiro to write short , the principal compositions Finnish composer’s works on Novem- f has already been taken, for in November Vienna Philharmonic Orchestra, the roles. The first opera symphony orchestra. CATALOG OF THE SONGS FOR HIGH VOICE This Booklet Supplied THE LIBRARY OF CONGRESS, the London Philharmonic visited Paris, Boston Symphony Orchestra, and other opening since which ber 22, in New York City. Sponsored by This booklet gives full page To Teachers and Profes- the end of the war found occasionally CELEBRATED JOHN publishes works for which prominent American Antwerp, and Brussels for a series of con- well known musical organizations. Born excerpts of 15 celebrated songs all of the old-time social and Finnish resi- CHURCH CO. SONG sional Musicians Only— brilliance again there is likely JEROME KERN, by contemporary American to be an educational and dents of New York, the program enlisted cre- certs, while at the same time the Orches- in Edinburgh, on May 20, 1856, Mme. in evidence. The New York opening was ator of many COLLECTIONS (Giving Composers and the biographical PROFESSIONAL PRICE artistic need, but little commercial the outstand- des Concerts du Conservatoire de Hopekirk was a pupil of Lichtenstein, followed the de- services of ninety members of the tra notes and portraits enhance it. LIST OF JOHty CHURCH CO. next night, November 27, by ing stage and Full List of Contents of mand, has announced a “Guide to screen in England, giving concerts. A. C. Mackenzie, and Leschetizky. an equally distinguished Latin Philharmonic Symphony Orchestra, con- Paris was Her Each Volume) (Ask for "Catalog JC-30B") PUBLICATIONS IN BOOK and brilliant American Music,” successes, including opening by Luther Evans. The ducted by Simon Parmet, and Karin The two groups were conducted by Sir debut was made with the Gewandhaus FORM. of the Philadelphia season of the guide “Show Boat,” is a 274 page volume and may be Branzell, ‘'Sally," Beecham and Charles Munch. Orchestra, Leipzig, in 1878. In 1883 she This valuable catalog in listing "Met,” when the company outdid contralto, as soloist. Thomas SONGS FOR LOW VOICE itself in obtained from the “Roberta,” and “Sunny/' the contents of famous Classic, Covers the whole range of col- presenting Superintendent of made her United States debut with the Here are portions of 15 well a genuinely outstanding per- died on Opera, and Oratorio songs vir- lections for Pianists, Singers, Documents, U. S. Government November 11 in established songs. Composer formance of Printing ONE OF THE heaviest parts of THE CENTRAL PENNSYLVANIA Music Boston Symphony Orchestra. For many tually embraces the Vocal Mas- Violinists, Organists, Choirs, “Der Rosenkavelier,” by Office, a piano New portraits and biographical for forty-five cents York City. He had terpieces of all ages. and Choruses. Richard Strauss. a copy. The is the metal plate or frame Festival Association, a new nonprofit years she was a teacher at the New Eng- The conductor on open- Library upon which been in sketches are included. has also announced the issuance New York only ing night in New the piano is built and which corporation organized for the purpose of land Conservatory. She was a contributor (Ask for "Catalog JC-30A") (Ask for "Catalog JC-30C") (Ask for "Catalog JC-K40") York was Fritz Busch of a series supports since of Vynalite records of United November 2, hav- (making his debut), and for the the strain of the strings. This has made advancing music culture and other arts, to The Etude Music Magazine. Phila- States folk songs in ing come from his albums as a part of pianos home PAMPHLET OF 2nd DESCRIPTIVE FOLDER OF THE delphia opening, the conductorial so heavy that they have been dif- in A REFERENCE end a plan to preserve Beverly Hills, California, to was in the permanently not ficult to move supervise, and 3rd GRADE PIANO PIECES SUCCESSFUL PIANO TEACHING capable hands of George Szell. merely around. A new plate of with Oscar the songs, but the Hammerstein, 2nd, a new WORKS BY JESSIE L. GAYNOR manner of cast aluminum alloy, A useful pamphlet for every piano teacher, singing which is sixty-four pioduction of them. Those who are interested “Show Boat,” for which giving thematic portions of 31 good teaching Thousands of progressive piano teachers favor FIVE PROMINENT MUSIC per cent lighter than the old authorities may write to plate, has he had but recently written pieces. these popular hooks and pieces. have Milton J. Plumb, Jr., In- been a new song, been selected to judge all introduced by Winter & Co., a Free Copy of "JC-I3A”! (For This Folder, Simply Request "JC-12A”! entries formation and Publications which One of the country foremost (Simply Request submitted by Officer of the proudly shows composers United States composers in Library one of its women staff of of Congress, Washington, music for the theater and screen, dompetitioni D. C. members holding aloft a plate of a spinet Mr. THEODORE^ P^RESSER CO., 1712 CHESTNUT ST., PHILA. (I), PA. Kern was rated with Victor Herbert THE JOHN CHURCH CO THE FOURTH ANNUAL Young Com- compositions will be played by the De- posers Contests of the National Federa- troit Symphony in the Pan American Arts tion of Music Clubs has been announced. Building in Washington. The closing date A total of $300 in awards is offered for of the contest is March 1, 1946, and full composers in three classes. Class One, for details may be secured by writing to the which the prizes are fifty and twenty- Reichhold Music Award Committee, Plaza, New five dollars, is for a choral work with or Room 4315, 30 Rockefeller ID I York. C without York 20, New H n EL RHROII accompaniment. Class Two, with PIDI10 similar awards, is for a string quartet, or COURSE a chamber instrumental GRADE ONE combination Contents A PRIZE of one hundred dollars plus Note Reading AIDS FOR THE without piano. Class Three, with a first Games Scales TEACHER ~ AIDS royalty is offered by J. Fischer & Bro., FOR THE STUDENT prize of one hundred dollars and a second Rhythm Designs City, under the auspices of Chord 1 New York Studies A "1er ' prize Cas outs *Claude Debussy. All de- compositions by orchestral works. school pays for the JUILLIARD SCHOOL OF MUSIC— »MUt»c*c«e* The secured by addressing The OUTSTANDING publication tails may be ELEMENTARY PIANO PIECcc of the winning composition for Pianists, Bv and Secretary, The Debussy Prize »y JUNE WEYBRIGHT the composer receives all accruing WILLIAM SCHUMAN, President NOTCD 3508 Clay Street, San Francisco 18, Cali- ,, ISABEL VAN NOBT WOMEN EDUCATORS royalties and fees. The closing date is March fornia. ALL IN By 1, 1946; and full details may be A DAY 4 CHARMING HAZEL COBB secured INSTITUTE OF MUSICAL PIECES FOR from Oscar Wagner, Juilliard ART THE graduate of De Paul Carpenters PIANO MOONLIGHT School, 130 Claremont Avenue, THE SCHOOL OF MUSIC GEORGE A. WEDGE, Dean Pictures The Enchanted Inter- Slipper u/u . New York City. University, Chicago, announces an Whirling (A Pedal Study) Price 35c So High and Twirling Chopin Contest, the finals of In Time Cinderella American Individual vocal and instrumental instruction. At The Ball in May, The A FIRST which will be held in Chicago Busy Little PRIZE of $25,000 is the award Price 30c Each Clock ‘n is to select the out- Instruction in theory, composition and music education. COWBOY a composition contest, sponsored by 1946. The contest Price 30c Chopin pianist of the hemisphere Each A Piano Words Henry H. Reichhold, industrialist and standing Diplomas and the B. Composition with United S. and M. S. Degrees. president and entries are invited from the rr,cePrice of the Detroit Symphony Or- MILLS 30cJUC chestra. Mexico, Central America, and States, MUSIC* . Composers of the twenty-one Catalog on request. INC • 1A1q r is one 1 Pan The first prize American republics are invited to South America. — !l!_!^dway, submit thousand dollars. Details may be secured Avenue — New York manuscripts. A second and third 120 Claremont Room 432 New York 27, N.Y. 19, N. Y. to De Paul University, 64 Prize of $5,000 and $2,500 respectively, by writing "FORWARD are included East Lake Street, Chicago 1, Hlionis. MARCH WITH MUSIC” in the awards. The winning ETUDE THE MARCH W'lTH MUSIC” 55 JANUARY, 1946 "FORWARD 1

Junior Etude Contest General Grant's Plan will award three at- you enter junior Etude on upper left corner of your for the neatest prizes each month paper, and put your address hj (jertrude (jreenlafgh lUa (le tive on upper CONSERVATORY or essays and for answers right corner of r best stories your paper. to all boys and Contest is open Write on one side of paper only. f nuzzles Do Baltimore, l\fd. years of age. not AY came in from school, tossed first in his class, but a neighboring under eighteen use typewriters and do not have any- eighteen years of REGINALD STEWART, Director the table and playmate always beat A, fifteen to one copy your work for you. his books on him to it. This class a, twelve to fifteen; Class C, Essay must contain R flopped into an easy chair. irked him and he determined . class not over one hun- to find twelve’ years. dred and fifty words and must “Mom,” he said, “I’m thinking of out the reason. One night when under be re- he prize winners will appear on ceived at the Junior Etude SECOND TERM FEBRUARY 4 trying for orchestra pianist next thought he had studied Names of Office, 1712 lechini out long enough issue of The Etude. page in a future Chestnut Street, Philadelphia (1) Pa., present pianist, he went outside, this , by semester. Jim, our and he saw best contributors will re- the 22nd his thirty next of January. No essay contest Faculty of distinguished musicians will probably win playmate across The graduates, and Bob the street still mention, will appear in this month. bent ceive honorable Special contest it, but just the same, I would like to over the table, studying. age and class in which Tuition in all grades and branches Then the put your name, appears below. be the pianist.” thought flashed through his mind Scholarships, Diplomas, Teacher's Certificates and “Well, I’m sure you have just as It s the extra time with concentra- Drawing Contest in if it is elimination tion that it.’ Results of Academic Credits in Schools and Colleges ELIZABETH A.GEST good a chance an does After the Recital (Corat.) contest,” answered his mother. “Thereafter he studied October fifteen by New pupils accepted “I’m not sure, beginners like some of you do.” so because Bob is minutes longer than his rival every “Come now,” said the Suite; “I’m After the Recital awfully good.” night, and, as you know, he became CIRCULARS MAILED “You remind of a great sure we all have enough patience to me General general, and finally Presi- Grant,” began his mother. “Did I dent of the United be banged around by beginners, -J. States.” INSTRUCTION ON ALL if £ Q. ever tell you how he became leader “O.K.,” haven’t we? I really don’t care who answered Ray, “i’ll prac . of his class?” bangs me around—they ORCHESTRAL INSTRUMENTS tice fifteen minutes extra every day can’t harm ’ELL!” said the Sonata, “that such long things. I have heard them “No, you never did. How did he?” and beat Bob in the contest.” my original beauty; and then when was one of the best recitals “In say just that.” school he tried very hard to be And did he do it? Of course a fine player comes and plays me I w;I he did have ever been In.” Well, said the Suite, “I do not enjoy myself to the utmost.” The Piano Department of the Raleigh Music Clubs of “That’s what I think, too,” said want players like that to bother “That’s the Waltz. me. what I say,” agreed the RALEIGH, CAROLINA “I never heard Ellen play As though NORTH practicing was a chore! Sonata. “Those poor players me as well as she played can not will present me today.” Just imagine! I want them “Ellen to enjoy hurt us at all. We still retain our is a good player,” remarked playing Junior me, or else they can go off Club Outline BERNICE FROST the Sonata; “reliable, you know, and original beauty and always will.” by themselves and play jazz.” in a musical too. I’m always No. 43. Paderewski and Rachmaninoff “Of course we will,” added the glad when “Who said jazz?” asked she plays the Rhum- LECTURE SERIES FOR PIANO TEACHERS me. Now Jack is different. ba. Gavotte. “Let’s all go to sleep and “I can tell you all about jazz a. Ignaz You can be- Jan Paderewski was born in h. not always rely on him, but cause Name some of his best known com- dream of that recital. It was one of also private lessons—conferences—auditions I have to live with it 1860 and died he all the in 1941 positions. certainly played me well today. I the best recitals I’ve been in for time. It’s noise, I’ll say.” b. What was his nationality? FEBRUARY 1ST AND 2ND 1946 thoroughly enjoyed myself.” c. TERMS ages.” “But after all, you like He made many concert tours Oh yes,” noise,” re- as a For registration address Miss Lila LeVan Loadwick Box 281 teased the Nocturne. pianist in i. Give the term Mary Carol Smith (Age 14), Missouri “Lullaby, — — marked the Nocturne. “Now, with me America. Was he also a meaning “little by come sing us to sleep,” “Maybe you did, but little” — how did the it is composer? pleaded Meredith College Raleigh, North Carolina different. My nerves just will not the Fugue. audience enjoy you? That’s d. Of what country j. What is a concerto? what stand it. And besides, did he become “I certainly am glad that I do not counts, you know.” I think it is premier? more elegant to be quiet and KEYBOARD HARMONY belong to a jazz band,” whispered Of course the melo- e. Serge Rachmaninoff audience enjoyed dious.” was born 1873 and k. Play the following bass, adding the Nocturne quietly, so no one would me. Mozart had some fine died in 1943 THE INSTITUTE OF VOCAL ideas when “Such squabbling!” SHENANDOAH CONSERVATORY ART he constructed exclaimed the f. What was his nationality? hear. me and I’ve always Fugue. OF SAN “Of course you are all g. He resided for FRANCISCO been popular.” im- many years in this OF MUSIC portant in your own way, though country and toured as Offers complete and comprehensive Then the Wild Horseman a concert Member National Association Schools of spoke up. none of you can pianist and Dear Junior Etude: training for the Lyric and the Operatic match me when it conductor. Was I v “I wish he also a 1 1« v’ I play violin in our High School Orchestra • some good player had iv i Music Thorough instruction in all branches stages. Serious, capable, han- comes to composer? and I to the All-City High School career minded dled importance. All the critics indicated also belong me. How can I sound chords above it, in the key Orchestra. I have given three violin recitals in of music • Degrees: B. M. and B. M. Ed. singers will find opportunities to correct like any- agree about that.” of d minor my community. I would be glad to hear from faulty thing when Dick • Certificate and inadequate background. Pre- slows down on my music lovers. in Church Music. “Indeed!” retorted the Waltz. Nature’s paratory courses in all branches. last line! I hate this business “You Music From your friend, A joint of may think PROGRAM When writing please state stock, slowing you are important, and by Anne Virginia Matson (Age 17), operatic repertoire company is up on the third line. He Richardson Both New York special interests. maybe you are. But Paderewski and Rachmaninoff now being formed. ought to do you are not overly When more practicing on it, or raindrops tumble through wrote in a difficult grade, thinking more For further particulars write popular. You know that yourself.” the For full informafion, address: else play something easier. That’s trees of the compositions than J. WHITCOMB NASH. DIRECTOR “Waltz, you 'are behind of the per- what I say.” the times,” They foimers; but L. E. HILL, Pres, THE INSTITUTE OF VOCAL ART tinkle like piano keys; there are available arrange- Special Composition Contest remarked the Sonata. “Why Virginia OF SAN FRANCISCO “Easier!” exclaimed the Chopin don’t They pitter-patter ments of some of their well known melo- Dayton you as they pass 305 Grant Ave. San Francisco 8, Calif. YUkon 0937 Etude keep up to date and admit that dies you can Last year the Junior Etude had its ; To play. /usoAlso, so,ne Zona “Everybody knows you are make bright ’ trylry to10 hearnear some Gogel (Age 8), D. C. is puddles in the eraxs Fugue all the fashion ^ ass * of their T first contest in original composition, easy to play. Now as for me, now. Of-- larger compositions through every- course body admits I’m it does take a good player to recordings, and you may have oppor- and many very excellent pieces were difficult to handle.” When thunder qnmiHc ... BOSTON UNIVERSITY handle Fugue” “ the hear this month there Philadelphia Conservatory “Yes, you are right,” said And ““to some of Rachmaninoff’s received. So now the Noc- an assin compositions “Yes,” answered the Fugue, “that P S by, on the radio, as they are will be another contest in original of usic turne, “and that is why not so We feel that ,, j M many is strength frequently one good thing about being and presented. in which any type com- 216 South 20th Street people try to handle you.” a might composition, Offering complete courses in Piano, Voice, Organ, Fugue. Cello, Brass, Woodwinds, and Percussion instru- Makia Ezbrmak “I think,” I do not get banged around position may be submitted. If you do Violin, Drake said the Waltz, “it is Are soundins-° thm™i,trough . ments, Public School Music, Composition, Church Managing Director ( Continued the stormy Musicology. Chorus, Glee Club, Orchestra. Band. silly to on next page) something ready, get busy Music. Faculty headed boast about being difficult. night Tools not have Faculty includes members of Boston Symphony. Bache- by lors and Masters Degrees in all musical subjects. Dorms. After all, and send it in before Olga Samaroff, Mus. D. you have nothing to do by and write one Catalog. COLLEGE OF MUSIC, 73 Blagden St., Boston. Gladys Hutchinson Courses leading to with it because Chopin the closing date, January 22. Follow Degrees made you The painter that way. has his canvas before contest rules which ap- Personally, I’m glad I’m him, the regular but without good tools even easy because more people play me.” appear elsewhere on this page. GREENSBORO COLLEGE though he is skillful and talented, SCHOOL OF MUSIC BALDWIN-WALLACE “What’s all this discussion about?” he cannot make The Greensboro, N. C. CONSERVATORY OF MUSIC interrupted the Suite. a masterpiece. “They are talk- National Association of Schools of Music) BEREA, quality of his tools his canvas, his (Member OHIO (suburb of Cleveland) ing about themselves,” — small college explained the Honorable Mention for Original “Conservatory advantages with Affiliated with a first class Liberal brushes, his atmosphere” Arts College. Gavotte, paint, is of the greatest Four and five year courses leading lo degrees. Faculty “and they all seem to me to of importance. Courses leading to B.M. and A.B. degree with Artist Teachers. Send for catalogue or informa- And so it is with the Drawings: ion to: be proud of themselves.” major in music. Faculty of artist teachers. In- musician. request. Hoffman, ALBERT RIEMENSCHNEIDER, Dean, Hiller; Jimmy Barnes; formation upon Mark Dean. Berea, Ohio “I’m proud of myself, too,” said Shirley Small; Eunice Your Doris Jennings; Phylis the Suite, “and I’m hands are your tools, and Arabelle Holston; particularly proud Beatrice Troutwell; Jordan Dickstein; they must be so Brooks; of having been constructed carefully developed Viola Tansman; Betty Maier; by the they Mary Lou White; great Bach.” will be strong and firm. Then, Connie Waiters; Julie Grabers; Leona Krebeck; Kate Garcia; Jean Drennan; if you use them skillfully result Dolores Villareal; 0lkljFlattiiJnstitutp “That may be something to the Arlene Huerta; Adele Weiss- of(QuBir be will Anne Findley; proud of,” said likewise be a masterpiece of Vaughan; Ruthie Montes; Sue Arm the Waltz, “but you man: Ted Bachelor of Music Degree, Master of Music Degree, keyboard Werrbach; Virginia Evans; Doris Alessio; Strat- Artist Diploma know you are too long. The pupils performance. Every time Schenk; Laura ton; Evelyn L Edgar; Carole RUBINSTEIN, Mus. D., Director you practice, as Jams Smith, BERYL 3411 Euclid Ave., Cleveland, O. all say they do not have time to learn use your hands with Peck- Margaret Frances Neale; Diana Charter Member of the National much care as the painter would use Avery Thornburg; Barbara Pokorny; Association of Schools of Music Efeanor Dahl 56 his tools. (Age 15), New York Lee Kennelly. DtiUARY, 1 57 THE ETUDE 946 — ,

PETER RABBIT, A Story wUh . THIS M 81 THE COVER FOR MONTH-Very fre- Ada Richter-Young '’ pianists will" FOLK MELODIES in the quently artists and cartoonists in striking rlASSIC AND X 116VL - most thoroughly this and Piano addition Position for Cello , Selected ERTOIRE, For Piano, a New Year thought present a personifi- to ^ First Compiled and Ar- Richter’s A Story Acia with Music and Edited by Charles Krane- ranged by Henry cation of the New Year making his debut. Series Arranged, Levine—This forthcoming already ’ which embraces such cellist has never had at In this trend of thought it seems very fav beginning compilation will afford distinct as Cinderella, vorites The novelty, Jack and thf r, grade literature in any for its fitting for The Etude to have for the first disposal easy content will represent twelve and Three Little 1 ^’ his great Pigs. Now there is available to orchestral issue of 1946 ‘‘Her Concert Debut.” HerfT* „reat variety. works which are not sym- fascinating story for juveniles, of immortal melodies phonies. The artist, Miss Marjorie Santa Maria, comhs, ? him a collection In selecting and arranging these with appropriate little ^ .-rO of Wawa, Pa., presents the young lady tunes, serve Bach, Mozart, and Brahms as well works for pianists who play 8S from fifth and delightful supplementary French, Bohemian, Dutch, sixth violinist in her concert debut with un- material f delightful grade music, Mr. Levine has piano instruction. as used usual effect in giving Among the folk tunes. This book gives excellent prominence to the paee, and Russian judgment and taste. A happy the story will be found privilege of profiting result hands of the pianist-accompanist. some of L student the by is the retention of those fine quali- 6 Richter’s the *=* The Etude extends its most tuneful little musicianship of the ties best wishes to pieces on the experience and found in the original versions. Among Good posed especially to heighten all its readers and friends for a Happy the cS' eminent authority, Charles Krane, an in- the works chosen for inclusion enjoyment of are: and Prosperous New Year, and in par- THE WORLD’S GREAT WALTZES, Ar- the little furry coated Teachers College, Columbia Themes from “ hem* structor in The Sorcerer’s Appren- de&te6S ticular may all of your music Stanford King—The adventures. Incidentally, ad undertak- (January, 1946 ranged for Piano by this mu!f° University, and the Institute of Musical tice” by Dukas; Song of the Moldau, by ings in 1946 be highly successful and the only has selected the version of Peter Rabbit will arranger not serve ideally Art of the Juilliard School of Music. Smetana; Themes from “Dance Maca- whole “accompaniment” for you dance waltzes for as a recital feature, when in 1946 ADVANCE choicest of the famous the storv rlr Prior to publication a single copy of bre”, by Saint-Saens; Two Themes from be all that you desire. OF PUBLICATION collection, but he also has given be read aloud by the teacher cellists this or an older this useful book for young may “Scheherazade”, by Rimsky-Korsakow; detail in adapting student, while the musical ctof- careful attention to interpolations be ordered at the special Advance of Prelude to the Afternoon of a Faun, are by them to the uses of average pianists. The played on the piano by one Price of cents, NEW MUSIC—While it seems that prac- OFFERS or several Publication Cash 60 post- Debussy; and Tschaikowsky’s delightful contents throughout retain the rhythm of the younger students. tically every piano teacher in these Special line paid. Waltz from the “Serenade for Strings." lilt famous com- drawings, which the United States knows the All and irresistible of these student will eniov Single Introductory copies about Presser of the boohs in this list are in " may be re- positions, and even in their somewhat coloring, are included. Cl. Monthly Packages preparation served now - of New Music sent for for publication. The SELECTED FIB ST GR ADE STUDIES For at the special Advance of tav°& n vewue low simpler forms evoke visions of gay Orders for single introductory „ ca examination, because thousands of teach- Advance Offer Cash Prices ap- copies Compiled by David Lawton—This Publication Cash Price of 40 cents, post- of Mrs. Piano, ers have ply only to orders placed throngs awhirl in distant times and Richter’s new book are being these New Music Packages sent NOW. ac new collection of easy studies, soon to paid. The sale, however, is limited to Delivery (postpaid will be made climes. cepted now at the special to them as a convenient means of getting ) Advance of as an addition to the the United States and its possessions. when the books Publication be published famous an are published. The World’s Great Waltzes will in- Cash Price of 35 cents, ample supply of teaching pieces for post- Mastery Scries, will be of unusual Paragraphs describing each pub- paid. Music their pupils and of keeping acquainted clude fifteen great favorites, among CONCERTINO ON FAMILIAR lication appear on these pages. value in piano teaching since, in place of TUNES for with a wide variety of recently which will be: Johann Strauss’ The Beau- issued setting forth the ideas of one man, it Two Pianos, Four Hands, by Stanley R. tiful THE CHILD piano compositions, there always is Blue Danube; Tales from the Vien- BEETHOVEN—CA,MAW D, a m will contain works by several important Avery-Young pianists will find this re- Album of Easy new generation Piano Solos Stairs .40 na Woods; and The Emperor. Also to be of Famou. Comparer.—By Louie of teachers coming along. Ellsworth cent addition to the field of The composers of early grade studies from two piano who Child Beethoven—Childhood Days of included are: The Kiss by Arditi; Over Coit and Ruth Bampton— Many have just earned their teach- Famous Composers The success of literature a pure delight. It has been —by the both modern times and earlier days. ing diplomas are just beginning their Lottie Ellsworth Coit and the Waves by Rosas; Danube Waves by previously published books in Ruth Bampton this Among the later composers to be repre- composed with musicianly discrimination teaching careers, and we invite these Choral Preludes for the Organ. Ivanovici; Gold and Silver by Lehar; series amply justifies the presentation .Bach-Kraft of sented are Mathilde Bilbro, L. A. Bugbee, and neither part exceeds the third grade new teachers or Classic and Folk Melodies in and Waldteufel’s fascinating Estudian- this, the fifth volume, any teacher not familiar the First and others which difficulty. It \| Position for Cello and Edmund Parlow. Composers of in is written in condensed and Piano Krone .60 tina eventually v with the helpful Presser New Music and The Skaters. wUl be offered. At the present Concertino on Familiar Tunes earlier times will be Louis Kohler, Louis form and consists of three movements. / \ Prior to its release eventually Packages to send for details. For Two Pianos, Four from the press, a will be offered. Hands Avery .35 Streabbog, and Cornelius Gurlitt. The Allegro Moderato (first movement) The plan is simple. All any teacher Eighteen Hymn Transcriptions— single copy of this book may be ordered As in the former volumes / \ For Piano easy-to-play is based on an old nursery rhyme sung De Prior to publication, single copies of need do is say he or she Kohlmann .45 now at the special Advance of arrangements wants to re- Publication are inspersed throughout All Mother Nature Win*—Operetta Selected First Grade Studies may be to the letters of the alphabet, / \ ceive these packages “On Sale” each in Two Cash Price of 40 cents, postpaid. The sale the story numbers such Paul Acts for Children — as. Minuet in Shokunbi-Wallace .30 ordered for delivery Through the Night, and London Bridge. month is limited to the when published at \ UNIVERSITY and every month during the Organ Vistas United States and its G, Country Dance, and Themes from / CONSERVATORY .90 the The second movement, marked Andante, teaching possessions. the special Advance of Publication Cash CHICAGO season a package of piano pieces Peter Rabbit— Story with Fifth, Seventh Ninth OF MUSIC L A Music for Piano and Symphonies. which has a more lyrical character, in- / \ will be sent Price of 25 cents, postpaid. The sale is forward by us to that teach- Richter .35 Directions also are given for presenting THE Ralph Federer's Piano limited to the United troduces the old English song Drink to 79th ANNIVERSARY YEAR \ SCHOOL OF er with the music charged to the Solo Album .60 the States and its / teacher CHORAL story with the music as a playlet, A complete school of music, dramatic Resurrection Morn— Easter Cantata PRELUDES FOR THE ORGAN by possessions. Me Only With Thine Eyes. The finale, “On Sale,” which permits for art and dancing. Courses lead to degrees. the teacher S.A.B. or S.A. Voices Johann suitable for use at studio gatherings or \ Stairs .40 Sebastian Bach, Compiled, Revised, Allegro con Brio, uses Pop Goes the / Special students may enter at any time. examination privileges and the Selected piano Mtusic oppor- First Grade Studies— For Piano and Edited by Edwin pupils’ recitals. tunity Arthur Kraft—The Weasel and Three Blind Mice to bring / \ to keep the music a generous Lawton .25 In SIX MELODIOUS OCTAVE STUDIES by SECOND SEMESTER extensive list advance of publication teachers may Six of subscribers now waiting this clever work to a brilliant close. An length of time in readiness for possible .Melodious Octave Studies—For Piano Orville A. Lindquiwt— 28 Offers accredited courses in Piano, for the appearance obtain a single copy of this book at the In this new publica- / Opens January \ sales Lindquist .25 of this new book at- arrangement of the second piano part to pupils. All unused music may be special tion we will present an important addi- Write for catalog Voice, Violin, Organ, Public School Themes from the Orchestral Repertoire— tests to the appeal Introductory Cash Price, 20 cents, among organists of for string orchestra will be available on / Highland Ave. Cincinnati 19, Ohio \ returned for credit. It is not necessary For P'ano tion to the successful Music Mastery 2650 Music, Theory, and Orchestral In- Levine .40 a fine edition of postpaid. The Bach’s Choral Preludes a rental basis. Teachers may use this as to pay anything down or in advance World's Great Waltzes King .40 Series of studies to prepared by such for the piano. struments. enjoy the convenience a capable editor as study material for two piano ensemble of these packages. ORGAN VISTAS— Familiar types of work will be found Edwin Arthur Kraft, for For many years organ- for concerto playing. Write to the Theodore Presser many years or- in or as a preparation Has Your Child Co., 1712 ists have selected Player, Mr. Lindquist's Six Melodious Octave Confers degrees of B.M., A.B., MOTHER NATURE WINS. The Organ reserved now at study with Chestnut St., Philadelphia An Operetta for A single copy may be the advantage of piano 1, Pa., to-day These Organ Repertoire, Melodies, Or- Studies. The one entitled Xylophone and M.M. Children. Libretto by Mae Gleaton eighteen carefully selected Organ Publication Cash Price, a member of the about having these packages sent Shokunbi, pre- Player, for the Advance of to you. Music ludes will ganist’s Offering, and The Chapel Or- instance, utilizes repeated Distinguished Faculty by Annabel S. Wallace—This tWO- be useful to every ambitious 35 cents postpaid. organist; ganist for octaves in sixteenth notes; chromatic NATIONAL GUILD act operetta for unison and two-part they are sturdy examples much of their repertoires. of octave work for RESURRECTION MORN, singing is Bach’s masterful These performers will be both hands is involved of PIANO TEACHERS An Easter Cantata suitable for grade school chil- achievements and on the organ OF PUBLICATION OFFER WITH- stand in Mirth; ADVANCE Inc. for Three-Part dren among the anxious to collection Organ interlocking octaves are intro- Mixed Voices (SAB) or Tico- ranging from age 5 to 13 years. It great creations of add this new development in recent years Address Registrar sacred duced DRAWN—The achievement for every student suitable for Bulletin music. Vistas contents in The Chase; and tremolo octaves A goal of Part (SA), by Louise E. Stairs, Arranged definitely fulfills the need to their libraries. The truly remark- and advancement. by for good are of junior choirs has been to his age are of employed in The Spinner. (NOT A CONTEST) DePAUL UNIVERSITY Danforth Simonton—Originally operetta material and school One copy may yet be ordered a result of careful consideration Melodic publishers we have published music at the octave able, and as music teachers will special Advance the needs of the and are passages for the right hand mark The Better Teachers Are Members SCHOOL OF MUSIC for four-part mixed voices, this success- find, upon examining this of Publication Cash church organist consistently to supply the Solitude, endeavored Chapters in every large music center work, that it Price of 50 cents, readily adaptable various and Victory concentrates on Room 401, 64 East Lake Street ful Easter cantata has been especially helps solve the difficult postpaid. to many and development has demand- INFORMATION WRITE forte octave playing materials this FOR arranged problem of finding a grade school uses. for hands together. already Chicago, Illinois for soprano and alto voices op- ed. The author of this collection M. A. eretta with Until delivery, A single introductory copy of this IRL ALLISON, with an ad libitum a suitable libretto, good mu- Organ Vistas is ready for work Catalog with his FOUNDER AND PRESIDENT part for the men. HYMN TRANSCRIPTIONS •nay be has enriched the Presser sic, and still is within FOR a single copy be or- reserved now at the special Ad- Both tenors and basses the singing range ANO SOLO— to a customer may People’s Choir Book 1113 AUSTIN, TEXAS will be able to by Clarence Kohlmann-Sel- vance of valuable Young Box of their pupils. The operetta dered now at the special Advance of Publication Cash Price of 25 sing this easy-range part requires five dom has a new junior choir book now without any solo treatment of cents, postpaid. (S.A.B.) (60c) . His voices, and twelve boys and girls familiar Publication Cash Price of 90 cents, post- difficulty. The cantata, are melodies achieved will be however, may be such instantaneous is available, and copies soon needed for a chorus of trees. The music paid. millikin conservatory of music performed very success as Mr. in ad- OSMOPOL1TAN satisfactorily in two parts at no time Kohlmann’s unique tran- ALBUM mailed to those who ordered them ILLINOIS exceeds the ability of the scriptions OF EASY PIANO SOLOS by Louise DECATUR, SCHOOL with the treble voices alone. in his volumes, course this OF In this case Concert • publication. Of MUSIC average grade Tran- Stairs— vance of school pupil, and there RALPH FEDERER’S PIANO SOLO ALBUM- The melodic quality of her Offers-thoro training in music. Courses leading to SHIRLEY M.A., the alto will ™°NS PAVORm GANDELL, Oxiord take the baritone solo parts. are HYMNS special introductory price of Music Degree. Diploma and Certifi- University, many opportunities for singing and iXo This choice collection of pieces from the teaching pieces has means that the Bachelor England, President. ( 5c)r i°^. been a leading fac- Violin, Organ, Public School 42nd year. The twelve selections include Thousands of copies will be cate in piano. Voice, Accredited. Offers courses a mixed dancing choruses. of these pen is being tor in withdrawn, and that copies Kindergarten Methods in all branches of Music. Certificates, two books have of this popular composer establishing Louise E. Stairs’ suc- is Music Methods and Music trio; a ladies’ trio; found their diplomas and degrees. Desirable board- soprano and alto The libretto deals with way into need for cess. In examination when requested request King Winter’s American homes, prepared in response to a real addition to the musical interest available for Bulletin sent free upon ing accommodations. Located in down- duets; alto, soprano, into the town musical center. and baritone solos; desire for lasting rule over the earth. libraries of an album Feder- students find CLARE, MINTURN, Director De- churches of his compositions. Mr. in her work, there always of the publishers. W. ST. Box E, 306 S. Wabash Ave., Chicago, III. and Sunday Schools. and chorus numbers. The average feated in duel with Mother skill in is that Church, by Rob volun- Nature, he We now have er’s success has been due to his instructive element so important Singing Children of the teer also in preparation choir will have no difficulty in meet- is grieved to learn that every trace this third providing interesting be- tvom the appropriate title given volume. Among the piano material, teacher’s standpoint. Roy Peery, is the A professional music school ing the easy of his harshness will favorites that attractive solo requirements. The time disappear when the e cause of its melodic con- Although the junior choirs. In the OBERLIN^ am -« in an college town. OF included harmonic and full for are: contents of Mrs. to this new book all branches of music. Special train- of Prince of Spring arrives. Jerusalem, the and Thorough instruction in flKieive X TKeatre performance is Golden- airs’ about forty-five min- Later he be- tent, and for teaching album compositions, in- ing in band and choir direction. 46 artist teachers, unsur- Ik Star making, students seeking professional engagements useful always have not been decided are original coached by Stage, Screen. comes yL 9ht: Ten Th contents equipment (200 practice rooms, 23 modern organs, etc.) Radio and presented in pro- utes. further confused as he, himself, ousand Timess this passed ductions for showing to B* way -Hollywood Talent Scouts and TelTen ThousandTbT j recreational purposes. Consequently, is ex ecte Palm Sunday, Mus.B., School Mus.B., A.B. with music major. public. ; All Hnu +h„ n P d that the following cluding anthems for Lent, Degrees: B’way also Summer Stock. Spring course opening. is made the Prince be- Frank H. Shaw, Dir., Box 516, Oberlin, Ohio. SECY SHUBHRT. 1780 BROADWAY. N. Y. This new cantata will be a of Spring. However^ Jesus’ book of attractive musical gems will Popular Catalog. boon to the Name; Lov Divine, easy pieces will be in- and Christmas, and four anthems as Love comes to him, All , Easter, busy choirmaster, whose his happiness re- lZTex come a studios every- cluded: Soldiers foresight has led 00 real requisite in at Play; Sailboats; Chip- also Gospel songs and turns, and he blesses the ^ “ third, for general use; him to an early consideration earth with the and P ^ where. pieces be in the Flag of music "Hoiy^HotyXi ^ The will 0) My Country; A Wood- in easy transcriptions. joy and beauty of 2nn’ favorite hymns for the Easter spring days. fourth, difficulty. na Concert; season. A single copy may and fifth, grades of Dreamy Daisies; and Fun- in this col- Prior to publication, a single copy Piano ny Not only will the numbers CHICAGO MUSICAL COLLEGE be ordered now at the special of t^ShS Single copies of Ralph Federer’s Little Hoptoad. Advance this operetta loLEl^c to the “singing Founded 1867 by Dr. F. Ziegfeld RUDOLPH GANZ, President may be reserved at the de- ri lection prove Interesting of Publication Cash Price spe- indeed a trsjzS Solo Album may be reserved now for °r Publication, of 40 cents, cial bargain at the . orders are being congrega- CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. Advance of Publication Cash Price snerial Ad Advance ^C children of the church” but postpaid. o^blication livery when ready at the special for sin Member of North Central Association and National Association of 30 cents, cash Price &le introductory copies both the of Schools of Music postpaid. cen s > of +h- enjoy hearing TLTZ- of Publication Cash Price of 60 book at tions, too, will ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS the special Advance of divine PnKv familiar melodies sung at 58 Advertisement postpaid. lcation Cash Price of 40 cents, post- new and Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois paicJ irship. Price, 60 cents. THE etude 59 l^NUARY, 1946 — .

:-Xvx«>:-:-s*Xv.xv

Parent-Teacher Groups for Music Btudios + 27670 WHERE SHALL I GO TO STUDY? ( Continued from Page 50)

more pleasurable through contact and frequently attributed only to “sheet mu- in parent-teacher sic.” Parents will with pleasure go to (New York City) cooperation nurtured the Private Teachers (Western i Private Teachers groups. This cooperation also leads fre- pupils’ recitals; they will enjoy family quently to the happy condition of more duets and ensembles; will enjoy taking DAVIS HELEN ANDERSON children H. FREDERICK parents becoming pupils themselves. In their to artist concerts; better HEAlWwfHlIlR Concert Pianist Teacher of Many Successful Singers some cases young children are teaching radio programs will be selected in the Interesting course—piano, harmony ANN d what they learn at their home; and they will come to realize ah Many Successful Pupils their parents that before exhibitionism in keyboard dexterity Phone 3-0316 (or 4-5746) for appointment 166 W. 72nd St., N. Y. C. Tel. Sc 4-8385 own lessons, with the result that at Write for Free Circular the end of the first term is long, the parents go to the studio for not essential. 00 « nolo MAURY DEUTSCH B. A. lessons. Adult pupils are always desirable, In the studios the results will be better •5o HAROLD HURLBUT "Schillinger Method” but particularly so in the case of fathers, lessons, due to better and more regular Paris—New York—Hollywood Arranging—Composition—7 Part Harmony—Polyton- since music brings untold benefit to men practice; less absenteeism and fewer les- ality— Private—Classes—Correspondence Member Natl. Assn, of Teachers of Singing harnessed to the daily grind. sons to be rescheduled; fewer books lost 754 Pelham P’k’y. Bronx 60, New York In some recently conducted national and assignments forgotten; the studio 5 Talmadge 2-5551 piano playing auditions, a child player will acquire many new names as the par- ) igHT would be followed by his parent, and in ents and others in the family begin to rni^L°VcL to « 2150 Beachwood Dr. }.‘ DR. ELDON-ROI one case, by his grandmother. take lessons. The studio will become •-C Tel. Gl. 1056 NOTED TEACHER OF VOICE a - Pupils include Stars of Stage, Screen, Radio and Parents, even grandparents, will enjoy living center of interest; its bulletin % ‘70 Metropolitan. Capable Assistants. being a part of the studio life as mem- board will be eagerly scanned and items THE INSTITUTE OF VOCAL ART Phone Walnut 6487 Write Philadelphia bers of parent-teacher groups; they will of interest reported at home — Guild of Music and dis- + OF SAN FRANCISCO and Allied Arts Teachers Wv 27477 — be interested in seeing things from the cussed in the studio; pupils will play S\o*'T 908 Walnut, Phila., For information write Penna. .<108 inside instead of merely attending an better and show general improvement in J. W. NASH, Director l FREDERIC FREEMANTEL annual pupils’ recital. They will no musicianship—so often unappreciated. iJ> 7 305 Grant Ave. San Francisco 8 Voice Instruction longer consider the practice period a These advantages, equally important Author of 24 home study lessons, boring performance which they can not for the violin teacher or the singer, are "The Fundamental Principals of Voice Productions and PATRICIA • W0i Singing"; also "High Tones and How to Sing Them" help hearing (it may take on new in- some of the many resulting from the 00 Studios: 205 West 57th Mastercourse in Vocal Coaching Street terest if it is called home-work) they small amount of P ; time and trouble re- AUL CARS ON New York City Phone Circle 7-5420 for Artists, Advanced pupils, and Teachers will no longer wonder why Helen must quired to organize the group; advantages, m musical„thjme of Grand and Light Opera, Radio and Concert the radio practice scales or consider Robert’s ef- the effect of which will be as lasting as PRODUCT,on Studio: 167 Elmhurst Ave., Detroit (3), Mich. CHARLES LAGOURGUE STUDIOS ONE MAN'S Telephone; To. 5-8413 forts waste FAMILY' VOICE PRODUCTION—SINGING a of time. They will look life. And in the end the teacher will re- WALT* FOR PIANO over the report cards with Tempo div.lse .50 Mr. Lagourgue will conduct Summer Classes in the understanding view her work with satisfaction, thinking J. LUCIA O'BRIEN LIVERETTE INTERNATIONAL COLLEGE OF CANNES (French and pride; quality, rather than quantity aloud, “I just don’t I ever Riviera). know how got will become their standard; music will along before I VOICE SPECIAL ANNOUNCEMENT: The 2nd Edition of his had my Parent-Music- Graduate of Samoiloff’s Teacher's Course book on Voice, "THE SECRET" (revised and aug- regain for itself some of the glamor so Teaeher Group.” Reasonable terms. mented) to be off the press shortly. 35 West 57th Street, N. Y. Phone NO 2-1030 EX 1141 C. V 616 N. Normandie Ave. Los Angeles, Calif. EDITH SYRENE LISTER AUTHENTIC VOICE PRODUCTION EDNA GUNNAR PETERSON T' No. 87477 405 Carnegie Hall, New York City Concert Pianist Artist Teacher Collaborator Two Aspects of the Cuban Musical — and Associaie Teacher with the late W. Landscape Warren Shaw and Endorsed 229 So. Harvard Blvd. Los Angeles. Calif. by Dr. Floyd S. Muckey + 27622 Wednesday: Trcup FE. 2597 Music Studio, Lancaster Pa. ( Continued from Thursday: 309 Presser Bldg., Philadelphia Pa. Page 48)

THE ^ SAMOILOFF (FRANK) (ERNESTO) 2766c BEL CANTO STUDIOS & OPERA ACADEMY Niger River from LA FORGE-BERUMEN STUDIOS which they came. voice in invocation, recites the magic SONG OF MYSTERY These various Negro musical mani- words of the religious ceremony cele- Voice—Piano festations have persisted in Cuba with brated in the cabildo (meeting-place of by PAUL CARSON Among those who have studied with Mr. La Forge are: their J EAN SIBELIUS) Marian Anderson, Lawrence Tibbett, Richard Crooks, particular characteristics in every the cult) and, VAL SE TR/STE BY nder the direction of Zepha immediately following the (BASED ON Samoiloff. and Mme. Matzenauer. epoch. Although there may appear to ritual, the worshippers repeat after him Wife for Catalog, 4015 Wilshire Blvd., Lc 1100 Park Ave., Corner 89th St., New York 1 A MYSTERY Phone FE be external differences in the £ Morse's LOVE 8294 No charge f Tel. Atwater 9-7470 newer invocations to Chango, God of War, of As Used In Carlton forms (changes which PIANO SOLO may be likened to Lightning, and Fire; to Babalu-Aye, God .50 those in the human ELIZABETH SIMPSON RICHARD McCLANAHAN physiognomy at of miracles, who cures illness; to Yem- Author Representative TOBIAS MATTHAY varying periods of of "Basic Pianoforte Technique" one’s vigor), funda- anya, Mother Goddess of the world, and Private lessons, class lessons In Fundamentals Teacher of Teachers. Coach of Young Artists. Lecture-demonstrations for teachers so forth. There could hardly anything ‘•‘•'Ho * *t Pupils Prepared for Concert Wqrk. Class Courses be / in lechnique, Pianistic Interpretation, Normal 801 Steinway Bldg., New York City more mysterious than _ and fascinating Methods for Piano Teachers. £ these ceremonies, with their invocations Nn Alo 609 Sutter St., San Francisco; •o EDWARD E. TREUMANN half-spoken, 2833 Webster St., Berkeley, Cal. half-chanted in the Bantu •So simile Concert Pianist—Artist-Teacher language in words and phrases quite _ Ped DR. FRANCIS L. YORK Recommended by Emil Von Sauer, Moritz Moszkowski garbled and corrupted by the initiated, Advance Piano Interpretation and the and Joseph Hofmann. Theory work who recite required fqr the degrees of Mus. Bach., them as they perform the and Mus. Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. Mas. Special Chopin interpretation. ritual acts in Tel. Columbus 5-4357 New York City the Afro -Cuban Bembe Magic or the “cult of the 4-27636 DETROIT CONSERVATORY OF MUSIC spirits” is (the cult-meeting places) 'ST'* Detroit, Mich. (A T r GIOVANNA VIOLA second part of this article w ill ap- pear next month.) ISABEL HUTCHESON Teacher of Singing— "Bel Canto"

Specializing in European training and experience abroad in Opera, LULLABY Modern OF Piano Technic—Group Work for Piano Concert and Radio. Specializing in correct voice + 27654 TH[ Teachers—poaching Concert Pianists placement. Write for audition. REDWOODS Conducting Piano Teachers Forum Phone: Trafalgar 7-8230 mKm PIANO SOLO BROOK 8 86th MAYS MUSIC STUDIOS West Street New York City By Dallas 2, Texas Good and Bad Punctuation” in Phrasing CRYSTAL WATERS PAUL Private teachers in the larger cities ECSTASY CARSON will find Teacher of Voice ( Continued fro'm Page :•;:•••;•;< this column quite effective in advertising their 49) PE.LU SO .40 Radio, Screen, Concert THOMAS courses to the thousands of Etude readers Opera, Pedagogy Andantino RAO/O P (J. =6l who plan to pursue advanced study with an this MUSICAL THEME OF THE ? ern 405 E. 54th St. New York City plea: While you practice the tech 2 A established teacher away from home. “THOMAS ANTHONY and 0RCHE5IKA Tel. Vo. 5-1362 nical passages, the shading, the pedal In my previous article I stated: PIANO SOLO ing, and the rhythmical swing (or lib “Phrasing in its .50 highest sense includes erties) Music of your piece, listen with acut Lovers to earn LIBERAL COMMISSIONS accents, shading, rubato, and Andante espressivo emotional consciousness to securing subscriptions for THE ETUDE. make very sure the Part or expression. But in its more detailed SlllllS full your fingers really cornet i94s by Tbeod0 time. No Cost or Obligation. Write for com- connect the notes the ; sense it is first of all outline and plete defails TODAY! Address: punctu- should he connected, separat ation.” and really ^£57636 CIRCULATION the notes that DEP’T All should be separated. The: I have said in this article applies THE ETUDE MUSIC MAGAZINE you will not only project the emotions WKHi to singers and students on any instru- 1712 CHESTNUT ST.. PIIILA., PA. content of the music, but, since musi ment. But I am addressing myself par- is a language ticularly in tones, you will tell to piano-students, as I make clear and understandable "story.” 60 "FORWARD MARCH WITH MUSIC” THE ETUDE interpreted the

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Youthful Joan Sibelius had the unusual gift of translating sight into sound.

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n a RADIO q vox c/wice ywtd md/dd J P H O N O G R A P H