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

7-1-1923 Volume 41, Number 07 (July 1923) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 41, Number 07 (July 1923)." , (1923). https://digitalcommons.gardner-webb.edu/etude/703

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(fjjere not attained by sudden flight, 'Hut they while their companions slept r\Were toiling upward in the night.

BEETHOVEN COMPLETING A MASTERPIECE ‘If ever I let my muse sleep it is only that she may awaKen all the stronger’ -Ludwig van Beethoven Price 25 Cents JULY 1923 $2.00 a Year FROM THE FAR EAST PETER PAN Six Oriental Pictures for the Pianoforte By GEORGE TOMPKINS Price, $1.00 . The piano player who enjoys something out of the A MONTHLY JOURNAL FOR TH^ MUSICIAN^ -THE RECENT ordinary, for recreation, motion-picture playing, etc., MUSIC STUDENT, AND ALL MUSIC LOVERS. will be delighted with this genuine novelty there Edited by James Francis Cooke is a fascination about the music of the Far East, and Assistant Editor, Edward Ellsworth Hipsher_ PUBLICATIONS these pieces are based on Oriental rhythms and to some extent on Oriental tonality. The suite con¬ VoL XL.r No. 7-Z_JMt*. m sists of six melodious and cleverly harmonized num¬ Entered- a. second-claas matter Jan 16, 1884 at the P. 0. at Philadelphia, Pa., under the Act of March 3, 1879. bers ; in point of difficulty they range around the fourth or fifth grade. From the educational stand¬ point, these pieces will afford good practice in style and interpretation. BOOK FORM SECRETS OF THE SUCCESS of the OF GREAT MUSICIANS Festival A __Bethlehem, Pa., _of the New' York .. .. heid May 25-26. Dr. T Fred Welle, conducted, a Theodore Presser Co. ... 1913 Mr. Gilman has.been 150 concerts of wal^ THE CRIMSON EYEBROWS 1924, to new quar¬ dramatic and literary critic North American ^ Review . soloist of By EUGENIO PI RANI A Fantastic Romance of Old China, in Three Acts ters being erected at 109-113 West Fifty- 'letjn vetuo v/ith the —— —- seventh Street. The Steinway H°use has ,?ar Schools there were-re 1500 Morning Concerts, each festival. New and Important Works That Book, Lyrics and Music by t the present address since 1863^ and publications.aucB.tam. »= otitic editorial worker He Schools irnoou Concerts and 800 Evening Cloth Bound Price, $2.00 also the author of several popular — . was held May Every Progressive Musician MAY HEWES DODGE and JOHN WILSON DODGE musieal topics. among — announced for a short Industries A book every music lover Vocal Score with full dialogue, $1.00 , w. Chadwick; and Wallace Dame Melba i Should Know American concert t< lining autumn, healthy eupporU Thc N«tio"al ...W el8h Elsteuu- Goethe’s—— noem and'theand the “‘VaniFv"‘“Vanity Fair«... Scene will thoroughly enjoy. Each Stage Manager’s Guide, $1.00 Goodrich have completed a quarter of a chapter is an interesting, in¬ 'ce to the New England Con- f , „ f?nd.ebdlindB^crfo°ennllvlenhethelt^uaslcal'eatmose rom EdgSr Stillman Kelley's “The Pilgrim’ spirational life analysis of a Orcheitrml Parts may be rented ory of Boston, t ' e former...... as Director_ The Great Town Hall Organ, of Syd- X®eala Progress.” he latter as Dean f the faculty. The ney, Australia, with its famous leviathan 64- ,, . ,, Church great composer that cannot help Particularly well adapted for presentation by ama¬ was celebrated by but appeal to all who are in¬ i" February81?^ • ‘and tlo°n' tacTud?ng new’“lungs.” * UrSin rS’boSZncL deluding choir of™delphIa, N. Lindsay Norden EUGENIO PIRANI teur organizations. The music is pleasing, the dialog ‘SJ&aF"meetingt Symphony Hall '“in'"Recital"Sailof the tl0n’ ‘”C" g new three programs devoted to works ot local com- conductor, had a most flattering - terested in music and its mak¬ crisp and often witty. The Vocal Score contains all by a rvatorvspecial-*'— on April 13at which Mr. nr. Florenz Ziegfeld, President Emeritus posers. a concert given at Aeolian Hal , POPULAR SALON ALBUM ers. The writer, a pianist, composer and teacher Conservatory May 7. ~ words and music and the Stage Manager’s Guide Chadwicklwick —was given an oil portrait of him- 0f Chicago Musical College, which he founded, “ ~~ with experience of note, both abroad and in Amer- full directions for performance. and Mr. Goodrich received a handsome and father of Flo Ziegfeld, .the New York ,r late choirmaster of Trinity Church, Grlslia Mom evlteh won the coveted silver cigarette case, from a committee of theatrical producer, died at his home in Chl- New 'York. His will included a bequest ot Stokowski Medal a contest in Philadelphia, $20,000 to Columbia University, to establish May 13. He * ipil of Frederick E. Hahn, Price, 75 cents & »•’ ZiegfehPwas0born°in l^eToidenK G “ . „„„delphla, 'of Sevcik and Kneisel. He MUSIC-STUDY IN GERMANY The San Francisco Opera Associa- many, June 10, 1841. In his sixth year also was the winner in the Pennsylvania State Piano music with an attractive melody, beautifully tion has been organized for the purpose of began the study of music and graduated fr “Trlstano eil Isotta” (Tristan Contest of 1923. harmonized, comparatively regular in form and not SCIENCE IN MODERN PIANOFORTE By AMY FAY Price, $1.75 eivinsr that progressive city a season of the Leipzig Conservatory at the age of sixti Isolde) has been restored to the reper1- grand opera on a commendable scale. He the Teatro Costana' " , *_ thence The Sj-i Symphony Orchestra 3 difficult for the average player, is always in great A brand new edition of this delightful series of „„ .. Vittorio Gui is closed its f. on April 28, to a packed __mand. This new album contains a large number of PLAYING letters written by Miss Fay while studying under Radio Concert Artists should be paid nnCe of Marshall Field and others, he estab- have conducted a rendering which house and v enthusiastic ovation to the compositions of this kind and the enthusiastic recep¬ for their services, is thee dictum of the con- lishedUshed the Chicago Musical College of which _ .. reception that“ ' gi steadily in conductor. Berwald, and a generous Tausig, Kullak, Liszt and Deppe. These letters are York ; and they have he was president for nearly fifty years. He jecen ds the next season. tion with which it has been received by teachers, stu¬ most interesting to music students, as they contain begun0 act^m8 towards^ S^nrby'jnser’tinghis end by inserting brought foiTUSolto his school- untU the c,0Be °f tW opera”' dents and piano players is most gratifying to the many valuable bits of pedagogical information. The n their contracts to the effect that of Europe and was one or cue ursi iv mm,- for i An Organ for tlie Community Center publishers. For “home-playing,” teaching material, By MRS. NOAH BRANDT Price, $1.00 book has had a phenomenal sale, having gone through ^'under,, thMrc(nma=t may^not ^ -J- concerts which 3 recently completed, is of Peru, Indiana, has been given by the Sells- - yes, and for motion picture accompaniment, these the remarkable and Floto Circus, the instrument having been in twenty-one editions. ilee of Boston in 1872 and the World’s Colum- reported to m f nearly half a mil- use at their winter quarters in that city. This pieces will prove particularly desirable. A fascinating work by an experienced and very . Man Exposition at Chicago in 1893, H< —- gives Peru the distinction of being one of the successful western teacher, liberally illustrated with Two-and-a-

Devoting a few leisure hours during vacation to reading some helpful book on music is profitable. ENTERTAINING AND INSTRUCTIVE MUSICAL LITERATURE FOR MUSIC LOVERS /" "X For Teachers Secrets of the Success of Great Great Singers on the Great Pianists on Piano Playing By James I* JrUse Sherwood’s ideas in your own teaching. Make it more valuable and thus increase your earning capacity.

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The University Extension Method no longer needs an argument in its favor. Universities and colleges everywhere are teaching various subjects

Make the Summer Months Count! Prepare for a larger class in the fall. UNIVERSITY CONSERVATORY, I This is your opportunity to gain new ideas, new inspiration. You will be ready 41st Street, Chicago, Illi ' for the fall season and have the enthusiasm of the teacher who has attended vaiuaDie musical miormation. u a wn nn TiTDr n your Summer School for a Master School.

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THEODORE PRESSER CO. LANGLEY AVENUE and 41st STREET d a Teacher’s Certif the Degree of 1710.1712-1714 Ch,stout St., Phila. P,. DEPT. B25 CHICAGO, ILL. j you studied Harmony? . Would you like i Bachelor of Music? .. Please mention THE ETUDE when addressing our advertisers. THE ANNUAL SUBSCRIPTION, $2.00 Page 436 * JULY 1

Very Reasonably Priced Albums of Music Without Equal in Collections of Copyright Numbers PIANO PLAYERS’ REPERTOIRE POPULAR RECITAL REPERTOIRE 39 POPULAR PIECES 31 PIECES FOR THE PIANOFORTE TUST the volume for general use; for the home, for THE ETUDE ONE of the most popular collections ever published. J light recital work, for sight-reading practice for JULY 1923 Single Copies 25 Cents VOL. XLI, No. 7 Contains standard and original modern works, self-amusement. These pieces are all in grades three every number a gem. These pieces are chiefly in grades and four. four and five. CONTENTS The Thirst for Information Longing.Loeb-Evans Music’s Stupendous Future in America Arabian March. * *■'"*-March.Flugler Samuel Smiles, or his disciple, O. S. Marden, in their wild¬ At the Blacksmil We hardly dare dream of the future of music in our coun¬ Autumn Idyl... Rena^I Worning Song .Spcnc.c Behind the Seer .Engeh:1m ann Musical Chatter .. try. The mere contemplation of the plans laid down for coming est dreams of self-help, never imagined anything like the present The... Bovet No Surrender Bugle Corps. Tl Nocturne in E Flat. Ceibel American industry in auto-instruction. Possibly America differs :E&httntt By the Lakesidr ' Morri: generations almost staggers us. Speaking as a member of the il March. . Pantomime Ballet ,.Kern !t. “Rigolett •' great group we call our commonwealth, we feel embarrassed by from other lands more in this human characteristic than in any Flack-. other. The fact that we are adults never relieves us of the idea ..Parlow E"feg the obligations which opportunity will thrust upon the musical ..Steine ». Worden that we can and must study in order to be happy and pro¬ ■reams of My Mounts... students of the future. Let us hope that the force of our ideals, Home.Rathbun Sweet Memories the dimensions of our talents, and the persistence of our indus¬ gressive. We never graduate. In this land of freedom we are Finesse. Koelling Fleet foot.Rolfe To Springtime Eggeling try, will result in helping the greatest of the group to live up never free from the obligation to develop ourselves at all ages. Maiden's Blush, The Golden Meadows. . . Morrison Told at twilight. Happy Dreams. Bonner Trumpets Doppler to standards of artistic quality second to none. If we do not Grandmothers enter colleges with the same eagerness that marks Homeward March.Lindsay Twilight Song .... it will be to our everlasting shame, because nowhere in the world the most ambitious jmuth. .. Engelmann With Song and Jest is opportunity so lavishly spread before the music student. Our old Yankee cant phrase, “Wall, I want to know,” has INTERMEDIATE STUDY PIECES ",75*Cent. Every day we read of new public halls being erected or become a part of the national morals, the conventions, the tradi¬ 31 PIANO COMPOSITIONS OF AN INSTRUCTIVE TYPE STANDARD STUDENT’S CLASSIC planned. These halls are to cost anywhere from $300,000 to tions of the people. We all want to know; we are ashamed of THESE pieces, although they exemplify various ALBUM $30,000,000 each. Although they are a part of the patriotic ourselves' when we do not know; and one of our pet ambitions points in technic, are quite interesting musically aftermath of the great war, their principal usefulness in the is to go on learning as long as we have the physical and mental and in no way resemble the stilted exercises of study 48 PIANO PIECES BY THE BEST WRITERS books. THE very best composers, classical and modern ■ 11 r future will be that of housing great musical events; and their strength to keep up. Price, 75 Cents represented in this album. The pieces are chiefly promoters know this and state it. Organs, ranging in price In this we are all aided and abetted by newspapers and of intermediate grade. POPULAR HOME COLLECTION Price 75 Cents from $5,000 to $50,000, are springing up all over the country in magazines, lectures, university extension courses, night schools, 46 EXCELLENT PIANO NUMBERS churches and in motion picture palaces. New orchestras are clmutauquas, and by correspondence schools. Many of the A FINE compilation of medium pieces lying in the YOUNG PLAYERS’ ALBUM popular magazines have a large number of their advertising early intermediate grades, all admirably adapted being started everywhere. The public schools, now being MELODIOUS SECOND AND THIRD CRADE PIANO for parlor playing. ^ 75 c t equipped with wonderful auditoriums and often with fine organs, pages taken with special offers to sell books and courses, all are on the eve of immense musical development. based upon the American chronic thirst for information. Some STANDARD PARLOR ALBUM The art and the industry of music are now producing a rev¬ of these courses are little above the ridiculous; but the fact that 41 MELODIOUS AND ENTERTAINING PIANO PIECES THE NUMBERS IN EACH enue in America said to be far over $2,000,000 a day. Money, they are demanded is evidenced by the ever-increasing size of IECES of intermediate difficulty, all of a light and ALBUM PURCHASED IN P of course, is merely a barometer of activity. We may spend the space consumed by the advertisers. cheerful character, written largely for purposes of SHEET MUSIC WOULD COST entertainment, but nevertheless having real musical fortunes every minute and spend them for very bad music indeed. The truly gigantic effort that we in America are making value. TWELVE TO FIFTEEN TIMES Price, 75 Cents THE PRICE OF THE ALBUM STANDARD ELEMENTARY PIANO Fortunately there is always a splendid upward tendency in our to be informed, despite all obstacles, is one of the most striking ALBUM musical life. Those who enter by the gates of Jazz soon find phenomena of the new world. The outpouring of magazines POPULAR SALON ALBUM 82 PLEASING EASY PIANO COMPOSITIONS STANDARD SONG TREASURY themselves in a world of music far more entrancing than the and books, listing many of the great masterpieces of the past 35 BRILLIANT COMPOSITIONS FOR PIANO 48 RECITAL, CONCERT, CLASSIC AND SACRED SONGS AN exceptionally large collection of new first and A WEALTH of good, pleasing compositions of mo THIS is a fine collection of songs chiefly for the second grade pieces. An album that delights and superficial ballyhoo which first attracted them. For this, the and the present and selling at prices ranging from five cents to than usual musical merit by leading modem con medium voice, both sacred and secular. It consists encourages the young student. musician sometimes condones Jazz. Even now it is passing, in fifty dollars, indicates one of the large industries of the coun¬ posers. All the pieces are of intermediate grade. largely of the work of modern writers. Price, 75 Cents the sense that even the. most frivolous themes are found to sell try. Music publishing is done on a huge scale. Printing and Price, 75 Cents Price, 75 Cents better and “take” better when they are arranged creditably by publishing plants cover hundreds of acres. STANDARD AMERICAN ALBUM SINGERS’ REPERTOIRE STANDARD FIRST PIECES musicians of real training and ability. In all this, we who regard the future of our country with 42 DELIGHTFUL PIANO COMPOSITIONS 36 SONGS FOR STUDIO, RECITAL AND CHURCH USE 72 FIRST AND SECOND GRADE PIANO PIECES The classical beauty of the architecture of the beautiful AN album selected entirely of pleasing compositior ONE of the best values ever offered in a song collec¬ P'VERY number in this album is melodious, and confidence and earnestness must realize that the quality and by American composers. None of the numbers ai tion. Mpst of the songs are for medium range of LLd each piece has some distinctive characteristics of halls and buildings of the music schools which spring up every¬ depth of our learning must not be ignored. Let us delve deep too difficult for the average player. its own. May be used for teaching, for recreation, or where will in ’itself tend to command dignity and character for Price, 75 Cents tor recital purposes. and come up with the real pearls, not merely swim along the Price, 75 Cents the music t]iat will be made in them. Therefore, we can readily surface afraid of the sharks of hard work and difficulty.. There THE STANDARD VOCALIST STANDARD BRILLIANT ALBUM see that our future will far transcend mere commercial prowess is just as much opportunity to do serious and consequential auto- 27 SHOWY COMPOSITIONS FOR PIANO 50 SELECTED SONGS FOR ALL OCCASIONS MUSIC LOVERS’ DUET BOOK and result in permanent artistic achievements more enduring and instructive work in music at home as there is for superficial A VOLUME of all the desirable music that one FIFTY secular and sacred songs of average compass might want for an evening’s entertainment at by the leading modern writers, something for every 28 MISCELLANEOUS FOUR-HAND PIANO PIECES more monumental than the mere magnificence of the buildings work. Do not be fooled by clap-trap courses offering absurd possible purpose. Every song is splendid; there are '"PHIS is one of the best obtainable collections for home. All the pieces are of a showy nature and not themselves. short cuts. One can often do a thousand times better by the difficult. no commonplace or uninteresting numbers. 1 general use in ensemble practice, sight-reading Price, 75 Cents Price, 75 .Cents practice and recreation playing. The lover of ensemble purchase of a few good books and the use of such a simple but playing will enjoy these numbers, as they are well comprehensive assistant as “The Guide for New Teachers of EXHIBITION PIECES THE STANDARD VIOLINIST balanced throughout and largely of intermediate grade. Brahms and the Masters 32 COMPOSITIONS FOR VIOLIN AND PIANO Piano,” which the publisher is always glad to furnish gratis. 22 BRILLIANT SOLOS FOR ACCOMPLISHED PIANISTS It wfll be noted that the duets are both original four- Brahms’ attitude toward the masters is interesting. For PIECES that serve to display the technical ability THESE pieces are of all styles and suited to all hand pieces and transcriptions from classic, modern Good correspondence schools arc good only in proportion to the of the performer, excellent numbers for concert possible occasions and are within the range of the and contemporary writers. Bach he had an unlimited affection, and likewise, for Beethoven. and recital. An opportunity for real economy is average good player. Price, 75 Cents The C Minor Symphony and the Violin affected him amount of downright hard work and effort put in by the pupil. afforded by this collection, since any two of the pieces The violin part is bound separately and also would cost as much in sheet music as does this entire given in score over the piano accompaniment. tremendously. Bizet’s “Carmen” was one of his favorites. album. Price, 75 Cents STANDARD DUET PLAYERS’ ALBUM Chopin charmed him, particularly with the E Minor Concerto. Price 75 Cents 29 PIANO DUETS IN VARIOUS STYLES VIOLINIST’S POPULAR REPERTOIRE He identified the genius of Dvorak early in the life of that mas¬ Opera by the People STANDARD ADVANCED ALBUM 29 MELODIOUS VIOLIN AND PIANO NUMBERS ter, writing to a friend “His Serenade will give you an en¬ 28 CLASSIC AND MODERN PIANO NUMBERS Probably we shall never be a really operatic country until WENTY-NINE violin and piano compositions by thusiasm for wind instruments.” He complained that the valu¬ UMBERS such as the good player delights to turn T we secure opera “of the people, for the people, by the people.” N classical as well as modern composers. These pieces able works of Handel, Mozart and Haydn were so numerous that to continually, not of the virtuoso stage, but are of medium difficulty. Many of them have been Price, 75 Cents In this issue of The Etude Mr. Wassili Leps tells of the Phila¬ nevertheless real advanced pieces by standard, classic used as encores by the best performers. The violin only a public library could contain them as one’s home was en¬ and modern writers. delphia organization which has for years been giving operatic Price 75 Cents part is bound separate, as well as being printed over tirely too small. His hostility toward Liszt was historic. Of the piano accompaniments. 22°x?ELiiJxIC F0UR-HAND ALBUM performances yearly “by the people.” All over the country Price, 75 Cents Liszt’s “Christus” he said, “The Thing is so deplorably long, THE STANDARD ORGANIST ’T,RANSCRIPT|PnM<;0 DcUElTS °N OPERATIC AIRS the interest in similar movements is unusual. In England, the 43 STANDARD COMPOSITIONS FOR THE PIPE ORGAN flat and lacking in spirit that I am at a loss to know how any Daily Telegraph devotes a whole column to the efforts to pro¬ EVERY organist should have this album of inter¬ one would want to present it.” For Schubert and Schumann he esting, moderate length organ pieces, written in THEO. PRESSER CO. had the deepest affection. His enthusiasm for Wagner was not duce opera there under similar plans. The results have been this album have been sele-t^d f T*16 duets all styles and suited to all purposes. Both original MUSIC PUBLISHERS and DEALERS most encouraging. Perhaps this is the turn in the operatic compositions and transcriptions are included. 1710-1712-1714 Chestnut Street Philadelphia, Pa. melodies of the standard ooer^ an°m the JmmoLtal overpowering; but there was not half of the severe animosity 1883—Fortieth Anniversary Year-1923 - puv.bk which many have attributed to Brahms towards his great con¬ situation here in America, where all opera has been confined to temporary. a half-dozen or so companies. JULY 1923 Page 439 THE ETUDE

The modern, large, high-class moving pic- Poetry and Practice The New Garibaldi and Music tramed musicians. The modern, & ’ Beetho- tore orchestra has a lechmqu> «*and Itolde An Interview secured expressly for The Etude, with the distinguished Brazilian Virtuoso Pianist Possibly the most interesting product of the backwash of the great war is Mussolini, often called “the new Garibaldi.” ven, Bach, Mozart or y «fter)ifty-seven rehearsals, be- Bloodless as was his revolution in Italy, it is none the less played, Is a GUIOMAR NOVAES complete and powerful. Mussolini is the voice of modern Italy, frequent number on moving picture mus.c.l program. Biographical the Italy of the black-shirted Fascisti. Where is there room for Bolshevism in our country when Like many of the world’s great men of the present, Mussolini the average American workman can have for a lew smdl co,™ the Chopin ballade in a flat and the Schumann is reported to be a fine amateur musician. His instrument is the Mme. Guiomar Novaes was born at Sao Joao privileges which the world's richest and most powerful men did carnaval. Greatly to the surprise of all, the violin. When Mascagni came back from his recent trip to South da Boa Vista, February 28th, 1895. Her parents not dare dream of a few years ago? , , little unknown girl from Brazil won the scholar¬ America, Mussolini immediately invited the maestro to a consul¬ noted in her earliest youth that she could play As long as men and women of lngh ideals and long estab¬ very readily by ear. At the age of six she was ship. Two years were spent at the conservatoire, tation upon plans for greater musical activity in Italy. This lished American principles of character and fair p ay control placed under the instruction of the great peda- where her piano teacher zvas the famous Isidor bespeaks a larger public and state support for composers and our priceless avenues for the presentation of great truths, v e need gog, Luigi Chiaffarelli, in Sao Paulo. He is Philipp, a frequent contributor to The Etude. high class institutions. not fear that we shall fall into the mire which makes a large part an Italian well schooled in German classics. At She graduated in 1911, again winning the first Italy is wise. Music, in addition to being one of the undying of Europe a source of unending terror to multitudes of its citi¬ seven she was exhibited as a prodigy. At nine prize over all competitors. Her debut zvas made glories of the peninsula, is also an immense revenue producer. she gave‘her first recital and continued to make in France with great success and was followed zens. Thousands of Italian musicians throughout the world are looking several appearances in public during the following by numerous tours of England, Germany, Italy back to the music of the homeland. The operas of Italy produce five years, making frequent tours to the interior and Switzerland. Her first American tour a world revenue for Italian publishers and producers which in of the continent. At the age of fourteen she by the mature character and the deep penetrative Does Music Quicken the Wits? occurred in 1915, when she surprised the critics these times of exchange must be important for the state. entered into the competition for a scholarship at insight of her playing, hardly credible for one There is talk of founding a new state Theater for music One of the claims made for music is that it quickens the the Paris Conservatoire% She arrived at the fa¬ of her youth. Her subsequent appearances have in Rome and in other centers, employing private subscriptions, mental processes. We believe that the contention is right. \\ e mous French school on-the last day of the com¬ petition. Three hundred and eighty-five contest¬ been cumulatively impressive; and she already communal and state funds. An effort will be made to return to have seen among our own pupils a noticeable development of ants had already been heard. Her numbers were ranks as one of the foremost pianists of the day. the classical traditions of Italian music; and nothing will be left the rapidity of the thought action. More than this, from years undone to place Italian music upon the highest possible level. of association with musicians we have continually marvelled at the quickness of their minds when applied to problems other GUIOMAR NOVAES think not. Please do not think for a moment that I than music. At repartee none is quicker than the tongue of Wagnerian operas. Last year the entire “Ring of the “Generally speaking, people of the North American minimize technic. Look at the more or less monumental the musician. Von Bulow’s wit, for instance, was instantaneous. Nibelungen” was performed with artists brought to Eight Priceless Assets Continent seem to have difficulty in grasping the nature Brazil for the occasion. technical works of M. Isidor Philipp; and you may His rivals never could get the best of him. Of one of William and character of musical culture of the cluster of Latin- imagine what I have been through. M. Philipp is pos¬ The Etude believes that we, as a people, possess eight Caruso, Titta Ruffo, Gigli, Galli-Curci, Paderewski, Sterndale Bennett’s compositions he once said, “It is so much American countries south of the Caribbean. They are Friedman, Arthur Rubinstein, Strauss, Mascagni, Wein- sibly the greatest technical specialist living; but he also main channels for the dissemination of information, inspiration, emphasizes the need for beauty in all his work in in¬ like Mendelssohn that one might have thought that Sir Julius surprised to learn a few simple facts and seem inclined gartner, all have visited Brazil. beauty, music and art—eight priceless assets upon which our to regard South America as a land of jungles and high terpretation. Benedict had written it.” Of Mascagni he said, “He has in democratic civilization must depend. mountains, with a mere smattering of culture. Just as Brazil a Musical Country How Is Beauty Acquired? his predecessor Verdi his own successor, who will live long after the European now and then has difficulty in realizing “How is beauty acquired in piano playing? Can it be Naming them in order, they are: Our greatest composer was Antonio Carlos Gomez. him.” Once, when riding on an ocean liner, he looked longing that one does not step right out of the boundaries of acquired by practice and technic alone? It seems to me Gomez was born in Campinas, Brazil, in 1839. He died The Church. New York City into an Indian reservation, the North impossible to think of its coming merely by manipulat¬ ly at the musicians and remarked, “How lucky those fellows are. at Para in 1896. He was a pupil of the Milan Con¬ The School (Universities, Art Museums, Etc.). American sometimes can not comprehend that music is ing ivory keys. If you spend eight hours a day for eight They can eat their lunch without music.” Von Bulow was only servators. He wrote some nine works for the stage, The Printing Press. a matter of real and beautiful significance in hundreds years working your fingers, you will probably succeed in the most famous of which is 11 Guarany. This opera one of thousands of musicians whose wits have sparkled con¬ of thousands of South American homes. making a machine of yourself but certainly not an artist The Chautauqua (The Lyceum, The Concert has a very beautiful overture which, I hear, is frequently tinuously. “I Was fortunate in having Mr. Chiaffarelli for my that the public will want to hear. Hall, Etc.) played in North America. He wrote a hymn to cele¬ teacher, as he had worked for years to make the city “Far more than practice and industry, in the develop¬ brate American Independence, The Salute of Brasil. The Drama. of Sao Paulo an artistic center for famous artistic visi¬ ment of my own work, are two factors which very few This was sung at the Centennial in Philadelphia, in 1876. The Cinema. tors. , He has taught a number of pianists who have students ever consider. The first I feel is my devotion His operas are so Italian in type that one might think ' acquired fame in Brazil, some even reaching beyond the to the highest ideals of life, from the spiritual sense, The Talking Machine. that they were written by a native of Italy instead of ‘ frontiers of my native land to Europe. Among these as I feel them revealed to me through my religion. I The Radio. Does it not seem, now and then, that one of the reasons Brazil. They have been performed extensively abroad. are Antoinetta Rudge-Miller, now well known in Eng¬ have always been a devout Catholic, and place implicit If we are to escape the chaos which has made most of why many pupils do not progress is that music comes to them land, and a young man, Ivan de Souza Lima, now Another opera of much fame is “Salvator Rosa,” which was first given in in 1874. trust in the Almighty in the development of my life. Europe a nightmare, we must employ these media to safeguard too easily? It is human to value things of great price. The twenty-two years of age, who, like me, was sent to the “Of course we have modern composers in Brazil, such The second factor was the loving care of my mother, our precious heritages. Through all of these, wholesome prin¬ student who has to fight for the opportunity to study* is almost Paris Conservatoire, where he won the first prize last who from my earliest infancy has seen to it that I be year. I had the pleasure of hearing him, and predict as Glauco Velasquez, Oswald and Nepmuceno. Many ciples of life, ideals long tested by our ancestors which have led always the one who succeeds most. of the South American composers and' musicians are surrounded with beautiful and noble things. She has that he will make a sensation when he comes to America helped me to understand the great problems of life with¬ to the greatness of our land, may be disseminated. Through all The late James Huneker, one of our valued predecessors in known in Europe as well as here. Teresa Carreno, who next season. I want him to come to America, because out contact with the vicious elements. She had me read of these, music may be carried to the world. the editorial chair of The Etude, tells in his enter! I believe that this is the real center of musical art of was born as a Venezuelan, but who became thoroughly cosmopolitan because of her long residence abroad, was great books, inspiring poetry. She taught me about the Steeplejack, how he had to struggle for a musical education. the present day, judged from all points of view. Our people should realize that the blessings that may thus unquestionably one of the greatest of all pianists of her great and noble characters of the world, and told me come through them, at a cost so slight that it is well nigh infini¬ Huneker s father wanted the youth to be a lawyer, and accord¬ how they sacrificed for their ideals. Opera in Latin America sex. Reynaldo Hahn, who was born in Caracas, Vene¬ tesimal, bring privileges and delights which only kings and em¬ ingly placed him in a lawyer’s office. The famous critic tells zuela, in 1874, has lived in Paris since his third year; Beautiful Vistas “In Brazil the drama and the opera are long estab¬ perors could enjoy a comparatively few years ago. Take the how he was obliged to take his lessons at six A. M„ in order to so that his South American influences are purely natal. “In the Summer we always went to some beautiful lished institutions. For over half a century the best He is known in Paris by his several works for the stage wonderful background of music away, however, and the value of part of the world, where there were wonderful views Suites-m m ^ alL HlS t6acher Was Michacl Cross, and Huneker companies of the world have been heard in our capitals. and in America by his exquisite songs. Nevertheless, these assets would be cut in half. •I remember my mother speaking about Tamagno, Bat- of nature that photograph themselves upon the mind, South America claims him. never to be forgotten. We spent days and days in great Consider moving pictures, for instance. Moving pictures “To take lessons, I had to be at the Cross piano at six A. M. tistini, Gayarre and many others she had heard in her art galleries and beautiful churches in the contemplation may be employed as a mighty force for good; and the great mov¬ (He was an early riser.) I sneaked out of the house, my music hid- youth. Toscanini began his great career in Brazil. He Great Opportunities was an orchestral performer at the opera. One night of famous pictures. From these things one naturally ing picture interests of the country have shown, by endeavoring “With the immense development of the country of absorbs concepts of the elemental principles of art such ?oneUonneh-7 ^ °f meeting father-usuallv the conductor of the opera had some trouble with the to bring the industry under better influences, that the desire is gone on his business before that hour. He was no doubt sur¬ impresario. The conductor decided that the impresario such vast resources as Brazil, greater musical activity as variety in form and color, symmetry, mass of effect, is sure to come. With the visits of more and more and thus gains a higher perception of the same prin¬ for better and better pictures, human but elevating. prised at my activity, but never suspected the cause. At nine needed discipline, and consequently did not appear when the time for the performance arrived. The public waited concert artists and orchestras, the interests will spread ciples as the masters of music applied them in their art. Jesus spoke in parables; and the best moving pictures are A. M I was at my desk in the office of Daniel M. Fox ready and waited while the impresario tore his hair. The gal¬ from opera into these fields. The chances there in the “The trouble with piano study is that the student ex¬ often glorified parables, flashed upon the minds of millions with for the transcription of some dull will or deed or real estate lery was filled with students, who began to stamp and future should be very great, although the United States pects to find success all carefully packed in a box of a force so great that it can not be ignored. These pictures are My leisure hours were devoted to music-studv ” make cat-calls, all of which did not contribute to the is now of course the land of greatest musical oppor¬ technic. No matter how indispensable technic may be, shown in palaces that would have staggered the imagination of peace of mind of the impresario. Finally Toscanini tunity. it is worthless unless in the possession of an artist—and Possibly if things had been made ea.yy for Huneker the Louis XIV, Henry the Eighth, or even Napoleon. The pictures arose from his place amid the uproar, took the baton in “Fortunately, my teacher, although an Italian, was a by an artist I mean one who has artistic concepts, real worid would have lost one of its worshipper of Bach and Beethoven as well as Chopin appreciation of the principles of beauty, strength, form are shown to orchestral accompaniments played by highly his hand and conducted the opera from beginning to' end, entirely from memory, and with a firmness and dex¬ and Schumann. I had under him a most severe training and color. in the elements of technic. I went through the routine terity that at once identified him as a master conductor. Are You One Among Thousands? Naturally, at the end he received a great ovation, and of Czerny and Cramer just as though I had been in IN HAPPY ANTICIPATION “Study your Czerny, your Pischna, your Hanon dili¬ his reputation was established. Leipsic or Munich; only I have always felt that he per¬ This is in anticipation of a very happy event in the life of “The Etude Music Magazine ” Tn n gently. They are the things which give you liberated “In the drama we were fortunate in having many of mitted me to put a little more color in my technical work. channels of expression. You cannot do without scales, the Fortieth Anniversary of our work with a special issue of the paper. Best of all we are hearing fUC ,.er We shall celebrate the greatest actors of the world visit us, including Sarah have been with us as subscribers and friends for forty years. During this time we’have all wim r°m llterally hundreds who Bernhardt, Eleonora Duse, Rejane, Coquelin and others. How Success Does Not Come and octave studies. No pianist ever achieved fame without securing this technic in some way or other. musical interest ever experienced in any country. In 1883 Music was still regarded as a matter "tSSed “?e greatest advance in Bernhardt called Sao Paulo the artistic capital of Brazil. “If I have any message at all for the students of On the other hand, there are thousands and thousands of it is part of the daily life of all. It has been a privilege and a joy to have participated in promotin S®?°ndary importance. Now Brazil has many magnificent theaters which have been America, it would be that of emphasizing the poetical students right now with a technic approaching that of a Naturally, we shall leave nothing undone to make our Anniversary issue worthy of the lovalt f §reat artistic progress. erected by the municipalities. The opera house at Sao in their lives. I see students, thousands of them, and I Liszt, a Rubinstein or a Rosenthal who stand very scant decades. ya ty ot our good friends for four Paulo is as beautiful as the opera at Paris. There Wag¬ know that with the characteristic industry of Americans, opportunities of becoming artists accepted by the public. ner’s operas are given with great success, an0 each they are literally “working their heads off” to acquire The artist is a missionary of beauty. He discloses all season the contract calls for novelties and a series of success. But, does success always come in that way? I THE ETUDE JULY 1923 Page 1^1 Page W> JULY 1923 THE ETUDE the grandeur of nature. He opens and reveals to all The Music Teacher’s Obligation to the General Public the profound, mysterious soul of Beethoven—the poetical False Tendencies in Present-day Piano Teaching soul of Chopin. What a sacred mission! By Russell Snively Gilbert He who would enter the sacred temple of art must keep his soul pure. Alas for him who attempts to enter No teacher is so busy or should allow himself to be * By SIDNEY SILBER The honest music teacher should devote his life to with mercenary thoughts. As Christ put the money busy that he cannot devote at least one hour every day the high art of being a sincere educator. . Undoubtedly Dean of The Sherwood Music School, Chicago, Ill. changers out of the temple, so should the performer to further his own development. Would it not be a fine, it is his first duty to lead the children in their search with a materialistic object be ejected from the temples thing for the teacher to organize a class or club to convincing argument against such procedure. Bound to for the true knowledge of music. Unfortunately, most Some one has aptly said, “There are neither good tively large number of compositions and that by utilizing of art. The child from his very first steps in art should meet once a week in .a school building or church parlor the fifth finger by a ligament, the fourth was never teachers forget that they have a second mission to ful¬ nor bad teachers; only good or bad pupils.” George such technic as now exists, there will be an accretion be made to realize that he is a missionary and not a for the purpose of studying the master pieces under the meant to have the freedom of the other fingers, espe¬ fill ; that is, to educate the general public in an apprecia¬ Bernard Shaw, in his “Maxims for Revolutionists," only as new interpretative problems present themselves. mercenary. Real art is a devotion, not a financial ex¬ cially not when exercised in the above manner. Freed tion of music and its relation to life. guidance of the teacher. To pay the teacher for his avers, “He who can, does; he who cannot—teaches!” It is just as futile and foolish to pursue mechanical train¬ pediency. of this restraint, it becomes a very usable and efficient In the small towns throughout the country the people time in preparing the evening’s work, a small monthly Which of these statements is correct? There is a con¬ ing with disregard of. the needs of interpretation as to The artist should be a noble instrument of the Creator, part of the pianist’s digital equipment. Readers are re¬ are anxious to have a better understanding of all forms fee or dues should be charged. The teacher cannot be siderable truth in both, but particularly in the latter. amass money during the greater part of one’s life with¬ for the transmission of glorious thoughts to humanity. ferred to Harold Bauer’s illuminating contribution in of music. If they are not musical, it is due to the fact classed with the great artist who gives all his time and out enjoying life as we go along. Great instruments are not made in factories or by fac- The crux of this discussion centers, then, upon the James Francis Cooke’s highly interesting book entitled toipr methods. We value a Stradivaritis violin because that they have not had the opportunity to hear good strength and thought to the compositions he plays, and A Striking Analogy music. Read in the papers of the hundreds of people proper coordination of all of the student’s faculties. Great Pianists on Piano Playing for further stimulation it is so exquisitely and wonderfully made. Compare it the teacher should not try to copy or rival him. It living far from the musical centers who fake long and There is a striking analogy between the three stages Not until he has been trained to associate the printed along these lines. with a factory-made violin from Germany or Japan. In is true that after the public has heard the artist, it will of musical development (commonly called the elemen¬ symbols with living sounds, not until he produces charm, like manner the artist can not be made by factory (tech¬ expensive- trips to hear some big artist. These people compare his work with the work of the teacher; but it often go away disappointed because they have not been tary, intermediate and advanced) and our educational style, unity, rhythmic and dynamic balance and variety, A Hint Concerning Scale Practice nical) methods alone. will also remember that if it had not been for the help system (consisting of grammar school, high school and able to appreciate and absorb the music they hear; and is he on the highroad which would make of him a Why do such large numbers of instructors assign of the teacher, the public could not have appreciated university). The outstanding virtues and defects of- Preparation for Performance so they come to the conclusion that they are not musical. music-maker through the noblest and most eloquent in¬ scale practice with the sole view of acquainting their the work of the artist, and the teacher will be praised both of these are quite comparable. Our public schools, In order to enjoy and understand music, people must strument of all 1 pupils with fingering? Why is only smoothness sought? “Try the experiment in your own playing. Fill your and valued far above the artist. under normal conditions, provide a splendid foundation hear it frequently. They must be introduced first to Why not use scales as a means of developing speed, soul with the beauty of a wonderful vista, a glorious While the teacher must be the guide and director in for the superstructure of democracy, in that they equip the classics of the old masters, and then later they will lightness and, above all, dynamics? painting, a noble deed, an inspiring poem; and then play the prospective citizen with the rudiments of good citi¬ Using Bach “For Technical Purposes Only” be able to understand the music of the new modern com¬ this study, he must be careful to remember that there There is altogether too much blind and slavish adher¬ your Chopin nocturne. If you do not note a difference, zenship. By way of analogy, the numerous' systems and I have never been able to reconcile the attitude of posers. They must hear a composition repeated many may be others in his vicinity who can assist him. By ence to academic tradition among our better instructors; better give up music as a profession. You will never methods in vogue for the training of beginners in the those earnest instructors who, while worshipping Bach as times until they become really familiar with it. Then using the help of any local talent, he can help to keep too much precept and not' enough example. The average become an instrument of the Almighty in the higher elements of music are of exceedingly high character. “The Father of Music,” persist in inflicting his works they will learn to love it just as much as they do the out some of the jealousies that so often ruin a good pupil must have tonal models to emulate. It is the prov¬ When wisely ‘ administered, they effectively present all upon immature pupils “for technical purposes only.” old familiar songs that their parents have sung for endeavor of this kind. No matter how impossible the ince of the pedagogue to analyze and to demonstrate. “Perhaps you think that you are denied opportunities needed information touching the visual side of piano Question the average serious-minded student, and he will for perceiving beauty. That is nonsense in these days them so many times that they understand every measure. local talent may be, it can always be improved, if the His great purpose and responsibility is to reveal the playing. tell you that he considers the Inventions, the Suites and of opportunity. Beauty is everywhere; if we will only Is it not reasonable to say that this part of the educa¬ student to himself. Out of the thousands of persevering teacher uses tact. The aim should be to reincnt the The first serious break in the average piano student’s the Well-Tempered Clavichord dry and utterly devoid, of look for it. Did you ever get up at four in the morning tion should fall upon the shoulders of the music teacher? piano students, only a surprisingly small number ever entire vicinity in a solid body working togetb i towards development takes place when he passes into the inter¬ musical interest. Why? Simply because these charming to see a wonderful sunrise? My mother and I have If the public found that the music teachers were doing a higher goal. mediate grade. Here, as with the average high-school works are not usually presented as problems in interpre¬ listen to the sounds they are producing. Anything short done so many and many a time. Books, magazines, pic¬ all that they could to give them this better understand¬ Until the unheard-of teachers in the remote places are student, much of concentration is jeopardized and single¬ tation as well as of mechanics. He has not been im¬ of close listening and comparing results with intentions tures, are everywhere now. Learn to discriminate; find ing and a better enjoyment of the music they hear, willing to start a public movement of this sort and prove ness of purpose frequently lost. The ultimate goal- pressed with the idea that the polyphonic web of a must end in mediocrity. Let us be done, once for all, out what is best. It is wonderful how the Almighty the teachers would be more respected and looked upon with this welter of uninteresting and dry piano playing! that they are ready and glad to do a lot of d work music making—is often entirely obliterated. fugue may and should be presented in a tonally charming seems to conspire with those who endeavor to live beau¬ as authorities on their subject. In the advanced stage, just as during college years, manner; that polyphonic music is essentially lyric in Not every conscientious pupil can, it is true, become a tiful, simple lives. Success comes before one knows it. Strange as it may seem, there are people in far too for the benefit of the public, just so long tin i :!>lic will when self-expression should have the widest possible character. A cursory perusal of Busoni’s monumental great artist, nor even an artist; but every conscientious The . people who are always scheming and conniving to many towns who do not know the difference between fail to yield to them the respect they should have the scope, we find a very deplorable retarding. Originality edition of the Well-Tempered Clavichord will easily pupil can at least play compositions, within his under¬ get success at the disadvantage of others do not seem an oratorio and an opera. There are many people who right to command. It is the small, insignip. it seeds convert one to the idea that here we are dealing with standing and powers, in an interesting manner. to survive long in art.” have never heard the name of Chopin. Is this not a planted by the thousands of music teachers throughout and authority are dwarfed in the individual. Thus, it would seem that the highest aims of education—the de¬ music rather than with mathematics. wonderful field in which a teacher may work? the country that will reap for us a musical nation. velopment of the individual—are, i« both cases, defeated. Three Remedies A Lesson from the Birds I do not mean to infer from the above that teachers Pedal Usage in Bach You ask, what are the remedies with which to over¬ and methods are wholly to blame for these conditions Another reason why the Bach playing of large num¬ come false tendencies in present-day piano teaching? By Herbert G. Patton Seven Things to Keep Little Musicians Interested and results. The greatest of pedagogues have signally bers of piano students is so dry and uninteresting is Briefly: failed, \Hien the potentialities of their pupils were lim¬ because they are rarely stimulated to use the pedals. First.—a better psychologic insight into the individual Have you ever sat in a summer grove and listened to ited, to produce great artists and musicians. Not every Why do so many of our well-intentioned instructors re¬ pupil’s personality. (This must needs bring about a the mother bird as she taught her young to sing? First By J. Lilian Vandevere pupil of Liszt, Rubinstein, Kullak, Leschetizky, and frain from teaching pedal usage in connection with keener appreciation of the necessity for differentiation there were but a few light, liquid notes, repeated till scores of other eminent masters, became great. The Bach’s smaller works? In the words of Arthur Whiting: in appeal on the part of the teacher.) the smaller one began to imitate. Then a few notes The modern system of phonics, which is used in teach¬ dance forms, tyrolicnnes, polonaises, gondola -ongs, and aim here is to briefly indicate why large numbers of “The situation is strikingly like that which confronts the Second.—More general education and culture among were added to this, and repeated till the pupil had these es reading produces speedy results. In a remarkably folk tunes, will give flavor and zest to many a lesson. serious-minded students of more than average ability are conscientious parent when his child approaches adoles¬ instructors. (This will serve to more closely relate learned. And so the teacher-bird proceeded till her short time the child, equipped with a vocabulary, is poking Take the trouble to find out what your pupil me study¬ retarded in their development. music with life and make of it a vibrant, living force.) scholar had a complete song learned. his small nose into books, and reveling in the way their cence. It was considered dangerous, at one time, to ing in geography, and a tarantcllc or Oriental sketch, Third.—Discard the teaching of by-gone epochs when¬ Also, have you,ever heard a teacher, belonging to the mysteries unfold to him. present the facts of biology to youth, and parents of a which will correlate with this work, will. 1, its very A False Philosophy “superior human family,” giving a lesson in which the Likewise, once having learned the symbols used in limited vision looked askance at Nature herself. * * * ever it conflicts with advanced thought and new demands. appropriateness, make a vivid impression and be done pupil was allowed to execute scarcely a half dozen notes music, the child is eager to read its literature. The It is because of a false philosophy—the philosophy of Ignorance of pianoforte acoustics, especially of the pos¬ with added interest and understanding. without interruption and fault finding? teacher who knows and loves little people, who has ra- the materialist who exerts most of his energies toward sibilities of beauty in the use of the sympathetic over¬ What is Modern Teaching? (4) There are a few of what might be termed “mood tones, has developed among pedagogues (who themselves The bird on the chimney used no such method. Enough lonal ideas along pedagogic lines, and who makes the the amassing of the means of expression, in the ex¬ Modern teaching is independent of the flight of time pictures in early piano work. A psychologic grasp and properly appreciate good pedal effects) the idea that an of the song was.produced to make a little pleasing melody study of music a natural and grateful part of a child’s pectation that such possession will bring the pupil to according to the calendar. What is novel is not always capacity for feeling are demandtd; and the (earlier must artist does it all by intuition and inspiration, just as a and the little pupil was led to believe it was actually the desired goal. In life, his activities are focused original. Whenever the pedagogue develops independent¬ De careful to keep work of this kind within the child’s savage might account for any pianoforte performance producing the song. SSSS,""" “ —=■«* ■«* upon the amassing of money. He fails to realize that thinking and independent-acting students, he is modern. experience. “The First Loss>„ ^ . .. Dol|- on the ground of magic. But a person of slight experi¬ Instead of stopping a pupil at the first mistake which The suggestions which follow endeavor to show how there is something higher than the enjoyment of Music is preeminently an aural art. Its greatest ence knows that much the larger part of the art of music may be after the second or third note, we can let him music may be classified so as to correspond with the norturndrtTbm^ ev-cning’ twilight* or memories, and tine creature comforts, to satisfy which, millions of dollars enemy is monotony. We already have too much of this is acquired by ordinary thinking and practice, and that continue, stopping him at the end of a phrase.- Further¬ seven divisions usually employed in child study of litera- can intp "' ! .Selcct.,0ns' are about all the average pupil are by no means requisite. In music, we find the mate¬ in our daily routined lives. Not all necessity can be can interpret intelligently. the smaller part only is the magic of gehius.” more, we need not point out all the mistakes at one time, rialist trying to master the technic of the piano in made a joy. Music was brought into the world to offer Not until our conscientious instructors more fully but let part of the attention be fixed on the beauty of (1) Imaginative. Many good musical settings of trivpn t C3r'y ",°rk> the child will probably be the hope that the ends of interpretation will thus be at¬ a refuge and an escape from daily drudgery. The peda¬ realize that good pedal usage is largely teachable; not the melody. faury tales have already been made. Pieces dealing with sekctilm bltS Wllh Words- wllich may be sung. Such tained. You cannot begin by learning only notes and gogue who, in .his teaching, accentuates this barren¬ time, making your fingers behave, and then “work in” until they feel a greater responsibility to introduce such My little feathered friends repeated the song phrase Most of 'ft,5’ br°WIlles a?d plxies are under this heading if voumr f6 most.appealing to the beginner, .specially ness, who emphasizes it through the promulgation of the interpretation. It simply will not be “worked in” teaching at an earlier period in the pupil’s development by phrase at least a dozen times, when suddenly the Most of these compositions need delicacy and lightness tings of^ " hC PUpi‘ may more difficult set- exploded theories and unworkable traditions, is remiss tmgs of good poems which he knows. than now obtains, will piano playing in general, and teacher flapped his wings and departed with such haste of touch. They require the child to express, wfth the that way. Both types fail because they do not take in his highest obligations toward his musical progeny! into account that enjoyment and expression of high Bach playing in particular, arouse greater response. that I wondered if he had an engagement with some piano, some of the shimmer and wonder which are the the past ° P,Sf°”S,S are.one of the best musical links with other bird in a distant neighborhood. charm of the prose fairy tale. the living cannot be deferred or postponed, that the inter¬ In this connection, notice a quotation from Von obtained in s' n°itlC 31rS °{ diffcrcnt countries may be pretative faculties grow with use and atrophy with dis¬ Biielow’s teaching: “Piano playing is a difficult art. First Let us try to make the study of music a joy. There (2) The descriptive piano composition is by far the meet the cla«™PfC arrangemcnts. Advanced pupils will The Right Attitude are few instruction books but have exercises that are use. In other words, the pursuit of technic as an end we have to learn to equalize the fingers, and then (in larger part of the child’s musical fare, until he is able to them with th V T8 a"d °'d dance f°rm-S correlating devoid of pleasing melody or are too exacting on the work at the more abstract classics. Under descrintive defeats the best purposes of music study and piano polyphonic music, where one hand has to play, at the By James von E. Brooks ordToTthe cnblft0ryu0f music as well as With the rec- same time, parts of diverse strength) to make them pupil. These can be omitted sometimes and the desired Pieces come military scenes, lullabys, hunting songs swine playing. bande were danced* the g,gUe’ pavannc’ and sara' unequal again. That being the case, it seems best not technical accomplishment brought out in some other set songs, spinning songs, legends, and all pieces with clearlv To the real artist music is music. If the recital is of notes that will be less irksome. to practice the piano at all-—and that is the advice I have descnptive titles, such as “At the Circus,” “In the Tally- The Way of Technic poorly attended he plays just as well as he does for When a boy of eight, I had to walk three miles with much ofEmuXns°udyIisCofd ^ Se"Se °f humor' S° given to many.” Ho and Evening Chimes.” y ■ All of us agree that the physical and mechanical the crowded house. If he plays to himself he plays pre¬ a dusky maid to take my music lessons. What wonder a high light nf tdy l °* necess'ty, drill and duty, that In this group should be included the pieces which are phases of piano playing are very important; in fact, in¬ cisely as well as though he were playing for the great¬ I dreaded the lesson day. Though blessed with sturdi¬ When achLUb" u “d there is a master touch., “ Torture Exercises ” dispensable. The point under discussion, however, re¬ est living critic. The idea that one must have a large ness, the lesson and the six miles of walk up and down descriptive of nature. Compositions about birds— on the piano hi. n!iS *-'at lle can actually tell a joke fers to such specialization along mechanical lines as dis¬ One of the most persistent fallacies in the teaching of audience of people with very “exclusive” minds, to jus¬ hill, left me more tired than my teacher or parents Nightingale in the Garden,” “Birdling,” echoes, brooks tion of mechanical are S0,,dier picccs are thc perfec" regards interpretative needs. This is a false tendency, technic of the piano relates to the assumption that the tify fine playing, is one never entertained by the real realized at the time. wind, ram, and the seasons, are all descriptive The elephant lumber through*^h'S dancing ,Mar and cIown since it cannot bring desired results. It fails because fingers may and should be made equally independent and artist. An amusing tale is told of Liszt. When the What impressed me in the lesson of the robin was pastorale is one effective bit of tone-painting which even scampers off with Ugb t lclr Paces, and his hob-goblin If a saucy wink, technic develops as a result of interpretative needs— equally strong. In order to attain this result, large num¬ great master was touring in Hungary he arrived at a its care to preserve the continuity of the carol. The a small child can enjoy and play well. Schumann’s two not vice versa. The playing mechanism acts intelli¬ bers of teachers, who should know better, assign what small town and found the hall but about one-third momentum of it carried the tiny pupil rapidly along sets of children’s pieces are among the finest in this class foregoing ideasTn teac!,mg material is made with thc gently and expresses itself aesthetically when under may be called “torture exercises.” These consist, in the full. Liszt played like a god. The audience realized to success, when he, too, could add his song to the but they demand a technic and maturity of though enthusiasm. Since it^’ , PUpil .wiH work with ffreater main, of repetitions of single notes with individual fingers the greatness of his art and applauded furiously. Liszt the general prt„p—- ,IS planned in correspondence with orders from “headquarters!” First, the idea, the tonal medley of summer lays. usually found in older pupils, or those specially talented (particularly the fourth) while adjacent keys are held was so delighted at the end that he arose and said to trainhig'^win^'bp11^*1 SCJ,em« in -e to-day, his musical ideal—then the means to realize the same—not the op¬ (d) The idea of travel is a veritable magic carpet' posite. Serious-minded instructors and pupils must down by the unemployed digits. You may exercise the the audience, “May I invite all Any friends here this “Music is fundamental-rone of the great sources natural tlnLcies ^ll * his ™"‘al opacity, and Seated on his own prosaic piano stool, the child may therefore rid themselves of the false notion of developing fourth finger until you are as old as Methuselah and evening to have supper with me at the Hotel?” Off of life, health, strength and happiness.” gain, through well-chosen music, some of the thrill that music will be seen bv th* nuj 311 and most important’ technic from the fingers to the brain. They must never succeed in making this member as strong or as Liszt went with his audience-guests; and tales of that —Luther Burbank. comes from good travel stories. Oriental music, national imposed infliction but t ^ V as an cxtcrnal’ adu,t- recognize the fact that every gifted person has now independent as any of the other fingers. Study the supper have never been forgotten in the families of natural forms of self -expreTsion ^ ‘he highcst and n,ost sufficient technic wherewith to do justice to a compara- anatomy of the hand, and there you will find your most those who attended. THE ETUDE JULY 1923 Page US THE ETUDE Page W JULY 1923 “The Musical Temperament” The Slow Movement How It’s Done The “Sonata” in Musical Literature By Arthur L. Manchester By Sidne Taiz By Sidney Bushell By EDWIN HALL PIERCE Contrary to the usual notion, slow music is really “It isn’t so much what she says; it’s the way she - Not many years have passed since peculiarities 0f form and key is allowed in this portion, but at last it quite more difficult than that which moves with more dress speech and action were believed to be distinguishing 'genius to arrive at perfection. Among the various ob¬ A sonata is, literally, a sound-piece; that is, a piece leads to the Reprise, consisting of scure composers who labored to perfect the piano sonata, speed, when playing it well is taken into consideration. ^You’ve heard that dozens of times. Did you ever marks of the artist. Such peculiarities were tolerated of music written for its own sake, as a pure creation in 4. The First Theme, in the original key, »d the And "ery good reasons are back of this. apply it to yourself in a musical sense. as evidences of an excessively artistic temperament. Bad the art of tone, not intended to be sung with words, one, Alberti, deserves passing mention. To him belongs the doubtful honor of inventing a certain accompaniment episode so altered as to lead to In spite of conditions just cited, the average student is It isn’t so much what you play, but the way y manners, ill-kept persons and even bad morals were danced to, or used in any other indirect way. 'By con¬ 5. The Second Theme, not this time in a foreign full of impatience for the rapid piece; and, with this in condoned for the sake of the art they were considered vention, however, the word has a much more particularly- figure known as the Alberti Bass key, but transposed so as to be in the original key of mind, let us go a little deeper into the question. There P It isn’t so much the song you sing as the way you to represent. It was frequently urged that those who defined meaning and denotes an extended instrumental “Alberlibass” the piece. Sometimes then, the second episode serves as is much to be said on both sides; and, the mere fact that were engaged in any form of art activity should not he composition in from two to four “movements” or varie¬ an ending to the movement, but more often this is fol¬ for the present we are placing emphasis on the one in It isn’t so much the length of time you practice as curbed by the conventions to which the mass of the people ties of time, at least one of which must be in a certain no way is to be taken as an effort to minimize the value lowed by the way you do it. T . feel compelled to conform. While a marked improve¬ musical form called the “sonata form,” which we shall 6. The Coda, or concluding passage. of the other. But, back to our text. And how true it is of all the great artists! it ism ment has taken place, this complacent attitude toward later describe. which was destined to become rather too familiar in (Beethoven, by the way, often appears at his very In justice we will first admit some attractions of so much what they do as the way they do it. artistic snobbery has not entirely disappeared. To a very By far the greater number of sonatas are for the the course of time. Haydn and Mozart sometimes use it best when he gets to the coda. In the first movement of speedily moving music. First, it gives a pleasurable ex¬ And that means work. great degree this unfortunate belief is responsible for the piano, though sonatas for piand and violin, piano and to excess—it was fr.esh and new in their day, remember. his Ninth Symphony it has a grandeur beyond descrip¬ citement to the nerves of both performer and listener. contemptuous attitude of influential men of business violoncello, piano and clarinet, and other duet combina¬ Beethoven used it only in some of his earliest works. tion. Haydn, too, occasionally writes a very charming With this, of course, comes a certain amount of enthusi¬ affairs toward music and musicians. tions, also for the organ, are not uncommon. Sonatas To-day it is regarded as hopelessly out of date—no mod¬ coda, though of aft entirely different sort; his are gen¬ asm. But, does it display more musicianship? It is a serious matter; for no one, whether he be really for two are commonly known as duos or duets; ern composer would dream of using it, unless to imi¬ erally tuneful and piquant—compare the one in the Finale The answer to this last question can be only in the an artist or engaged in the more commonplace pursuits those for three, four, five, six, seven or eight instru¬ tate old-fashioned music. I have met students who m of his in G, Op. 76). negative. The rapid movement may carry the audience of life, can afford to be placed in a position of mental ments as trios, quartets, quintets, sextets, septets or octets, some way had imbibed the idea that it bad something This is the most highly-developed and perfect form along by its spirit; but'the slow piece with a soul is the or moral inferiority or to be looked upon as a freak. respectively. A sonata for full orchestra is called a special to do with “sonata form,” but that is absolutely known to instrumental music, combining symmetry of one that touches the heart the more deeply. And it is The respect and confidence of our fell • arc just as symphony; a sonata for a solo instrument accompanied not so. Haydn and Mozart—not to mention Clementi, ’ outline, contrast of ideas, and a reasonable freedom of this last that tests the interpreter. While the digital essential to the musician as they are to a ! u-iness man. by full orchestra is called a concerto. All these have Kunlau and others—did not use it in particular because play for the composer’s fancy. There are no restrictions difficulties are low, the whole success of the perform¬ A reputation for common sense and rci : > and the practically the same form except that the concerto has they were writing sonatas; but because it happened to as to the exact number of measures or exact propor¬ ance depends upon the ability of the performer to grasp power to see things clearly and to act with unity are too certain peculiarities of its own. be fashionable in their day. Beethoven’s few passages tion between its various parts, other than those imposed and convey the mood of the piece to the audience. And valuable assets to be cast aside merely for the sake The origin and gradual growth of the sonata is a in this form are almost always modified in some way by natural sense for the fitness of things. One may here is, after all, the final court of judgment of the of becoming conspicuous. The antics of • nu musicians, subject of great interest to serious students of musical which redeems them from banality. See measures 27-37 compare it-^though the comparison should not be pushed artist. Is he able merely to dazzle with notes, or can he many of whom are really great, have set lowered history; but space allows us barely to touch on it here. of the opening allegro of the Sonata in C, Op. 2, No. 3. too far—to a novel. The first .theme usually represents move hearts to beat with his own to the soul of a piece Those who wish to go deeper are recommended to the of art music? this reputation for the entire body of the profession. the hero of the tale, the second theme the heroine; the article “Sonata” in Grove’s Dictionary of Music. To development-portion, the working out of the plot. The The executive musician who would succeed must be The day of the musical crank is passed end the young understand it comprehensively, however, one must be able to do this. This is the feature which calls upon every musician who desires to become a factor •. o mmunity reappearance of the second theme, transposed into the familiar not only with piano music of early days, but resource of the individual, and it is the cultivation of must show himself possessed of sound i nent and same key as the first, may be compared to the traditional also with early violin music; as the first well-developed these interpretative faculties that is the final test of the ability to meet and associate on equal - with his “and so they lived happy ever after.” sonatas were not for piano but for violin, sometimes student, be he beginner or artist. And it is the short¬ fellow citizens. He must make clear n- his mas¬ without any accompaniment, sometimes with merely a comings along this line which the slow movement mani¬ tery of his profession but also his sanity suability. “figured bass” from which the pianist or harpsichordist fests mercilessly. In his own particular field, his artistic i mperament or the andante of the Pastorale Sonata. was expected to supply the proper chords and such ac¬ It takes much more1 brains to play an Andante than a should reveal itself in his sensitiveness i.■ truly artistic companiment-figures as seemed to him most suitable. Presto. In the latter the jingle will sustain the interest. promptings, his quick perception of tru« try and his The same bass could be and often was used as a part In the Andante the interest must be held by the soul full and deep understanding of the esth -ihilities for the violoncello. Among those famous in this style quality infused into it. of his art. These qualities must lx: de. ' ,.d and used efficiently, but not to the point of his lien to eccen¬ of composition are particularly Tartini and Corelli (Italian), Biber and Rust (German), Leclair (French) The Musician’s Social Cheque tricity, churlishness and aloof snobbishues Mannerisms in dress, speech, modes of thought and a censorious and Purcell (English). In our own day Max Reger has written some sonatas for violin unaccompanied, after the We still find in daily life reminiscences of the menial attitude toward any who do not think c\ k accord¬ style of Bach, but his example seems to have no fol- position in which musicians, with all devotees of art, ance with him should lie avoided as a p- %iiasma. were formerly held. The professional, even now, is Such characteristics do not indicate !> artistic lowers. Schubert uses a touch of it in rare cases; Schumann scarcely ever favored socially without being called upon The compositions of contain temperament but rather a narrow egotism m :< likely to and Chopin practically never. to reciprocate in service. To this attitude the self-respect¬ several pieces which he chose to call “sonatas, but if proceed from a lack of true artistic insight. ing artist sometimes becomes rebellious. Thus, when a written to-day they would be called something else. Some popular Chicago contralto recently received an invitation The true artistic temperament is seen in In t n suscep¬ of them are suites or old-fashioned dances; some are Sonata Form Versus the Form of the Sonata tibility to beauty, appreciation of the fact which enter to dinner, which closed by an insinuating voice at the in fugue-form; at least one is merely a short instrumen¬ A chestnut horse is quite a different thing from a into the beautiful, and power to clear!. discriminate other end of the wire urging, “And do be sure to bring tal number forming the introduction to a cantata. This horse-chestnut; so is sonata-form from the form of a regarding their relative effects. A sympathetic under¬ your music,” she called a messenger boy and sent her intends nothing derogatory to Bach—it is a mere differ¬ sonata. We have previously defined a sonata as an standing of the processes by means of which beauty music roll with her card, but remained at home. ence in the use of the word, serving to explain why his instrumental composition consisting of several move¬ Which recalls similar incidents in the lives of others. is interpreted is an important element in -he artistic “sonatas” lie rather outside the bounds of this paper. temperament. ments, most commonly three, in different tempos. At When invited to dinner, Gottschalk always asked if he One of his sons, Karl Philipp Emanuel Bach, had far least one of those several movements must be in “sonata LATEST PORTRAIT OF COSIMA WAGNER Imagination is a powerful factor in devch ping a true were expected to play; and, if answered affirmatively, more to do with developing the modern sonata, espe¬ form,” which is (briefly outlined) as follows: artistic temperament, and reading is a usef-d instrument Sometimes, however, the first theme has a rather fem¬ charged a fee of twenty-five dollars. Cosima Wagner, daughter of Franz Liszt and cially the piano sonata, not only in regard to musical form, 1. First Theme, not usually coming to a complete in awakening imagination. To read biography, history, inine character; in that case you may look in vain for Chopin is reported to have been once the guest of a widow of Richard Wagner, is now eighty-five. but also in regard to piano technic, breaking away from close, but leading through an episode (short passage general as well as musical, musical criticism <1 writings any masculine theme, for the second theme will gen¬ wealthy shoemaker. After dinner he was asked to play. Her service in continuing the musical tradi¬ the strictly polyphonic style and introducing various intended for connective purposes) to the On being urged, he excused himself, saying that he had on the principles of art, is to acquire a fundamental erally be of a playful or piquant sort. You might com¬ tions of her husband in masterly manner has figures of accompaniment, scale passages, arpeggios and 2. Second Theme, in a foreign but related key, and eaten but little, which innuendo was lost on the host who knowledge and a mental stimulus which, through the pare it to a story of girls and fairies. been of immense importance. Few women in idioms more congenial to the nature of the instrument. also sometimes followed by an episode. Repeats from seemed as tough as his goods, and insisted, “Oh; sit down process of reflection, will generate imagination. To know Beethoven, 5th He, together with various now- almost unknown com¬ the beginning. (Sometimes this repeat is omitted in and play something, just to show how it is done.” Chopin the world’s history have evidenced such re¬ the experiences of great musicians, learning what to avoid markable executive ability. posers developed the form, style and outline of the piano lengthy works.) complied. Later he was giving a party.to which he in¬ as well as what to appropriate, is an education in itself. 3. Development-Portion, or Free Fantasia, in vited the shoe dealer, and, having ordered a cobbler’s To know thoroughly music and musicians, to cultivate sonata’, until in the days of Haydn and Mozart it had become a symmetrical and nobl: frame for musical which the composer improvises, so to speak, on the bench brought in, asked him to sew a patch on a shoe, susceptibility to all things that are beautiful, to develop themes which have already been used. Great liberty of "Just to show how it is done.” the understanding and judgment, to keep the mind alert thought, needing only the finishing touch of Beethoven’s Praise and Its Value and ready to react to the stimulus of music is to cultivate Memorizing Through Writing the true musical temperament. And then to combine with By Louis G. Heinze this association with one’s fellows, trying to catch their By Sylvia Weinstein viewpoint and to understand their attitude and their Praise and blame are necessary to education. One limitations, is to conserve the musical temperament, keep¬ The following method of beginning the subject of does not willingly admit that praise to the pupil works ing it free from artistic foolishness and continuing sane memorizing has worked out finely: After securing a as well as dew and sunshine does on the growth of plants. and companionable. tablet of music paper and a pencil, play one measure with It is true that praise is more difficult to apply than one hand, studying the intervals, chords, and the general blame and punishment. To make it of value, one must construction of the notation. When learned, copy it use judgment, and administer it in homeopathic doses. several times until it can be written fluently. Then treat Very few parents or teachers comprehend the mighty the other hand in the same manner, not more than one influence a correctly applied praise has on the mind and The Athletic Pianist measure at a time. If it is a complicated passage, sub¬ heart of the pupil. Be sure not to mistake flattery for A French physician has been carrying on some inter¬ divide the measures. praise; for that is insincerity. Praise must be founded esting experiments to determine the amount of force This is real memorizing, and the notes thus learned on truth. To be totally indifferent to praise or censure expended in piano playing. are not likely to be forgotten very quickly. For that is a real defect in character, He finds that to sound one of the white keys requires in reason, it gives confidence and poise, as all' concentration During the years of study a wise disposition of praise its doing the “Maniemcnt d’un poids de 123 grammes," or can be on the interpretation. The playing is clear because can work wonders; nevertheless it is always a difficult an application of energy equal to that in handling a a mental picture has been taken and each note has an problem when and how it is to be applied. One must weight of something more than two and a half pounds, equal amount of technical importance. Two lines or use general rules. Nothing has the power to harden for a black key the weight increases to a bit over three more a day may be learned, and when the end is reached, the heart more tjian withholding well deserved praise- pounds. To play Chopin’s Nocturne in C Minor, requires one knows the notes. The practice of writing notes, for praise at the proper time helps more than blame, as Chopin Schubert Handel especially far above and below the staff, leads to ability the sun is more necessary to the plant than the knife 4ftnnnPendltUre °f force ^“'valent to 18,000 kilos—nearly in sight reading. which cuts away the too profuse branches. 40,000 pounds. Ought pianists to be classed as artists GREAT MASTERS AT THEIR KEYBOARDS or athletes? JULY 1923 Page U» tbe etuds THE ETUDE Page Ub JULY 1923 Self-Training in Sight-reading Or, on the other hand, there are cases in which both fer the second theme at the reprise. It may be changed Making Class Work Profitable With Music Pupils themes seem to be strongly masculine, reminding one of to minor, or the signature of the piece at that point may By Hannah Smith a tale of warfare or adventure. be altered to major. Either way is correct. Good „ , „ examples of each may be found in almost any o By CLARENCE G. HAMILTON, M. A. Allegro jeonbrio appassionato Beethoven, Sonata, Op. Ill jjaydn>s or Mqzart’s sonatas which happen to be in a A good musician should be able to read music as easilv as the newspaper. With adequate technic, good eyesight The Second of a Series of Four Interesting Discussions of “Teamwork With Pupils minor key. and persistent practice, any pianist may become a g00(i So much for the succession of keys in the Exposition sight-reader. In this case, practice means not the study 5; Dynamics consist of variations in intensity of sound. and the Reprise. The succession of keys in the de¬ Every piano teacher should supplement his private and Greeks; medieval music, both religious and secular, These may be classed as velopment-portion is entirely at the composer’s discre¬ of music for performance, but the playing at sight 0f teaching with some kind of class work. Such work is the development of vocal counterpoint and the coincident hymns, accompaniments, solo pieces, duets—anything that growth of notation; the transition to modern styles, (a) Explosive effects: accents, of various kinds and tion; but generally those are chosen which are not too not only broadening to the pupils, but is one of the most degrees. In their regular recurrence these in¬ distantly related, yet have not been before used to any is within the technical grasp. potent aids in freeing the teacher himself from the which began with the opera and the oratorio; and the Many good performers are poor sight-readers for the dicate the heart-beats of. music, which are extent in the sonata. shackles of routine and opening his vista to wider issues. progress in modern music, especially in its instrumental reason that mastery of large compositions, which requires forms, together with a study of the composers who have variously interrupted by irregular accents. To the latter end, it is desirable to change the character (b) Sustained effects, applying to entire passages The Other Movements of the Sonata many repetitions of small sections at a slow tempo, tends of the class work from time to time, so that it may be¬ brought it to its present stage of advancement. - and expressed by p, f, etc. As before said, one of the movements of a sonata to create an inability to grapple with music in any other come necessary to look up new subjects, or new phases For this class a textbook is indispensable—and fortu¬ way. Here the effort towards accuracy predominates nately such textbooks are now available, adapted to the (c) Varying effects, (crescendo and diminuendo). must be in sonata-form. Others may be, but usually are of an old subject, and thus to systematize and coordinate These result in climaxes of phrases or of long not. The traditional place for the sonata-form move¬ Thorough study of master works is, of course, indispen¬ one’s thought in as many directions as possible. needs of all ages. But any such aid will fail of its best passages. ment is at the beginning (sometimes preceded by an in¬ sable ; but the ability to play at sight is equally necessary There is a wide scope in the frequency, personnel and purpose if it is not properly coordinated and supple¬ for the practical musician. mented by the teacher. Let the class, however, be given Dynamics have a different range in different instru¬ troduction) ; but there is no hard-and-fast rule. In the subject-matter of classes. They may meet two or three ments, and are proportioned in character. Music history In training one’s self, the first condition is that all the times a week or but once or twice a month; they may be plenty of work to do in studying given portions of the Moonlight Sonata it comes third and last. Supposing shows growth in subtlety of dynamic effects. music to be read shall be seen for the first time. The textbook, in taking down and assimilating class-notes, it to come first, then the second movement is usually large or small; and they may deal with a variety of sub¬ 6. Tone-color, produced by presence of harmonics of secret of success is to be able to manipulate the key¬ jects, ranging from theory and appreciation to the mastery and in preparing special topics, such as the work of slow, tranquil and song-like in character, and the last different pitch, results in distinctions of quality for dif¬ board while the eyes are steadily held to the page. If schools or epochs of music and the lives of composers. movement either another sonata-form or a rondo. (A of a special instrument. Moreover, these subjects may ferent instruments and, to some extent, in the same in¬ one memorizes easily, and is accustomed to play with The class work will be carried on by means of recita¬ rondo is a piece in which the same theme enters re¬ be treated extensively, on general lines, or intensively, strument. A prominent factor in the orchestra, band and the eyes upon the keys, the temptation is, at even a tions and discussions, together with direct instruction and peatedly, alternating with other themes.) It has been with specialized work. pipe-organ. Tone-color may be suggested on the piano second reading, to look away and depend somewhat upon illustrations by the teacher. At each meeting let the described at length in an article in The Etude for by giving different expressive values to the various voice- the memory. It is this feeling of dependence or non¬ Theory Classes students be prepared with notes or papers on the special Composers have occasionally tried their hand at modi¬ July, 1921. Suppose, however, that there are to be parts or to the accompaniment. It would be a blessing if every student of practical topic of the day, and at the beginning let an individual fications of the sonata form. For instance, Mozart in four movements instead of three; then a short, lively dependence upon notes that differentiates between the 7. Harmony, the science of chords and their progres¬ good sight reader and the good memorizer. music could have as background a thorough knowledge student be called upon to lead the discussion, after which his Sonata in C, beginning movement, usually either a “minuet” or a “scherzo” is sions, is a modern invention. Tonal combinations evolved of musical fundamentals. Such a background is now in¬ the others may be given an opportunity to present their placed before or after the slow movement. (A minuet If you play from memory and have the habit of watch¬ through medieval organism, discant, counterpoint. At sisted upon by many colleges and other educational insti¬ ideas freely. is a stately old-fashioned dance in 3-4 time. A scherzo ing the keyboard, confine yotir reading for a time to first strictly diatonic, counterpoint was gradually en¬ tutions ; and it should be equally cultivated by the private But all these ideas must be brought into line and illus¬ is something like it, but much more rapid and playful; music that lies close under your fingers. Or, tie the riched by chromatics. Chord progressions were syste¬ teacher. While a part, ;

TEE ETUDE THE etude

Page J&t JULY 1923 MUSIC OF OTHER LANDS When you speak of music, or of taking the laughing chorus WHEN LESCHETIZKY “KIDDED” From Grandmother’s Garden music lessons, what generally comes to DREYSCHOCK your mind? Of course, the forms and five new compositions The following little story, related in the The Musical Scrap Book kinds of music and musical instruments Comtesse Angele Potocka’s book on Les- that you are accustomed to hearing and FOR THE chetizky, is amusing in itself and may Anything and Everything, as Long as it is Instructive using. We think of “pieces,” songs, pianos, PIANOFORTE possibly contain a technical tip that will and Interesting organs, violins and the other instruments be of use to students working on Weber’s of our orchestras and bands: and we also Conducted by A. S. GARBETT Concertstiick, or some other such work think of the music that we frequently hear in which the glissando is used. that is made by “machines” and “records.” “Dreyschock and Leschetizky were one But just think of all the many parts of MRS. H. H. A. BEACH day discussing pianistic effects,” we are the world where people love music and (OPUS_97) told. “The former enlarged on the diffi¬ PURE MUSIC make music on their own instruments Ha. ha. ha. ha. ha ha ha culties to be overcome before attaining a clear and intent, at the beginning of a The complete set is being In spite of many books on “How to which are not at all like ours. Think of smooth glissando in the Weber Conccrt- concert, for instance, when something Wit and Humor Appreciate Music,” the subject of musical countries where they have never seen Bass Note Routed Cat sttick, and then immediately sat down and that I can grasp is being played, 1 get Kelly was a fiddler in the Vaudeville rlaver! bv the copnposer in her form as something to be enjoyed for pianos, for instance, and yet the people in executed it flawlessly. Theodor, who from music the pure esthetic emotion that rev A. E. Mackle, pastor of St. Paul’s team of Kelly and Monaghan, of which its own sake is still a good deal of a those countries have had music for hun¬ stood behind, complime-ted him highly I get from visual art. It is less intense Methodist church at Danville, Pa was Monaghan was the pianist. K«Uy^ died ^,-Uals with great success. mystery to many sincere music lovers. dreds and hundreds of years. Everywhere and, in his turn, ripped off the glissando delivering a forceful sermon tci his flock with the request that his violin be buried Such readers may be interested in the and the rapture is evanescent; I under¬ people have tried to invent instruments that Catalog No. without trouble. He then requested Dreys¬ on the theme, “The Least in the Kingdom. with him. At the funeral Monaghan saw 18438 MIGNONETTE following illuminating discussion of mu¬ stand music too ill for music to transport would make music and rhythm, from the Catalog No. chock to play the passage again, maliciously As he neared the climax a big cat mean¬ the fiddle being put away with his partner MORNING glories Mignonette is a classic minuet. sic by Clive Bell in his book on “Art.” me far into, the world of pure esthetic earliest antiquity to the present time. insisting that his friend must have some dered into the church, sneaked down the and broke into laughing. Everybody was jg439 ROSEMARY and RUE Mr. Bell is one of the foremost English ecstacy. But at moments I do appreciate The American Indian had a great deal of original method of accomplishing the feat. aisle and hid in the organ. No one paid horrified and looked toward him for an art critics of the day, and is, of course, music as pure musical form; as sounds music and he made flutes of bone and wood “Dreyschock consented; but as he sat combined according to the laws of a mys¬ much attention to the incident until a loud, down Leschetizky held his hand tightly. writing on the visual arts in this work, and many varieties of queer drums, and - “m-m-e-e-ow came from the HEARTSEASE but he uses his shortcomings as a musical terious necessity; as pure art with a tre¬ rattles from plants something like pump¬ “tSi. heir ***** -id M- Their eyes met, and each knew that the mendous significance of its own and no organ" The minister, greatly disturbed, aghan, how lucky it is that he didn t p y ia > lender lyric in modern style. style. other was possessed of his little secret, the listener to illustrate his meaning in a very kins, and they sang a great deal. paused and announced that the cat would relation whatever to the significance of the piano.” Wnrthv of a Place on Any Concert Program very innocent device of moistening the interesting way: The Chinese make lots of instruments of have to be ejected or he. would break off “I am not really musical. I do not life; and in those moments I lose myself thumb, but at the proper moment, and so metal and wood and strings. the sermon and dismiss the congregation rT .. — — understand music well. I find musical in that infinitely sublime state of mind to dexterously that the rudience does not see The Turks and Persians and all the The organist, mustering her courage, crept All are in Grades 5 and b. form exceedingly difficult to apprehend, which pure visual form transports me. Nature, Human and Otherwise the hand carried to the mouth.” Eastern countries have their . n instru¬ to the organ, turned all the air at her HEARTSEASE Published b. and I am sure that the profounder subtle¬ How inferior is my normal state of mind ments. Even fhe South Sea LL lers have command into the instrument and sounded ties of harmony and rhythm more often at a concert! Tired or' perplexed, i let instruments and sing. But, of • urse, we By L. D. Eichhom THEODORE slip my sense of form, my esthetic sense the deepest bass note. The “p^die^ “There is no feeling, perhaps, except than not escape me. The form of a mu¬ would probably dislike the sound -hat they collapses and I begin weaving into the proved eminently successful. With a ter PRESSER the extremes of fear and grief, that does sical composition must be simple indeed if call music, because we are ac< mined to harmonies Vhat I cannot grasp, the ideas rificd yowl the cat dashed from the organ not find relief in music—that does not I am to grasp it honestly. My opinion more perfect instruments and our music is CO. of life, incapable of feeling the austere aml leaped out through a window. make a man sing or play better.” about music is not worth having. Yet more highly developed. Some music that choir members colling emotions of art, I begin to read into the —From Pathfinder. —George Eliot. sometimes at a concert, though my appre¬ we call beautiful, they could not understand the loiiowingfollowing --conversation is musical forms human emotions of terror ciation of music is limited and humble, it at all, and they would call nr music and mystery, love and hate, and spend is pure. Sometimes, though I have poor “weird” which is .just exactly what we PHILADELPHIA CESAR FRANCK’S WORKING understanding, I have a clean palate. Con¬ the minutes, pleasantly enough, in a world call theirs. HOURS sequently, when I am feeling bright and of turbid and inferior feeling.” Favorite Songs thDirector—“The"ohdsts have not all been The world has been celebrating the "STEALING A MARCH" ON centenary of Franck, the Belgian com¬ poser who so greatly influenced the trend MUSIC FOR WRONG-DOERS BEETHOVEN of modern French music. It is well; but Sogoing^o smg *em?Q ^ ^ Recently we clipped a news item from converted and led to the right road after In Thayer’s life of Beethoven, recently there is a tragic irony in the fact that he a San Francisco paper reporting the case they were inspired by music which had printed for the first time in English, to me. By the way, is So-and-So a goo was so badly neglected in his lifetime that Ferdinand Ries records an amusing of a man brought before Police-Judge reached their tender spots and won them the compositions of his which we esteem episode which took place while Ries was Lazarus on a wife-beating charge. The over, finally making good citizens out of ” c'«"--Ob. I don't know. Bo., ttll me. Special Summer so highly were but fugitive works com¬ staying in Bader, with Count I vn, an judge, believing in the efficacy of music, them.” posed in hours literally stolen from the ardent Beethoven admirer, white be fre¬ ordered George Lipschultz, a prominent drudgery of a long day of teaching. His According to our criminologists, prison quently played Beethoven’s music, as often most distinguished pupil, Vincent d’lndy,' local violinist, to play in court. He played sentences are given to criminal offenders as not from memory. re “Get Acquainted” Offer has written a loving biography of the Raff’s Cavatina with the result that both mainly as a deterrent. It is supposed that “One day, weary of playing without information fr°m ^pI;W1” y0UrSelf for master in which the following passage husband and wife were deeply touched, the wretched experience will scare them notes,” says Ries, “I improvised march occurs. Budding geniuses who “haven’t and became reconciled. back to righteousness. Quite frquently without a thought as to its men; or any rs/rto^soiofst. x.Y.z. It seemed an odd occurrence, not with¬ time” to write masterpieces should study it makes of them hardened criminals. If ulterior purpose. An old Countess who Treat Your Musical Friends out its humorous aspect. But following it carefully: a deterrent is all that is needed, surely actually tormented Beethoven v ;h her haSrbM-e(HoStly.) “AH right. You may “The moral quality which struck us on that comes a statement from Charles the vivid emotional experience of listen¬ devotion went into ecstasies over It. think¬ J'x Y Z to take my place in the chorus to a Delightful Surprise most in Franck was his great capacity H. Smith, director of the Smithsonian ing to good music may, in some cases, be ing it was a new composition of his, which I’m through. I will bring up my copy of for work. Winter and summer he was Bureau of Investigation of Boston, and far more effective. If the wife-beater I, in order to make sport of the other en¬ up at half-past five. The first two morn¬ a successful private detective by profes- thusiasts, affirmed only too quickly. Un¬ %mU“Vei° wS:” However, you will still ing hours were generally devoted to com¬ who came before Judge Lazarus is again HER THROAT IS LIKE WE WILL SEND THE ETUDE MUSIC MAGAZINE position—‘working for himself,’ he called “Many poor souls have found new life tempted to beat his wife, the memory of happily, Beethoven came to Baden the next Raff’s Cavatina', played in the sombre sur¬ day. He had scarcely entered Count it. About half-past seven, after a frugal and consolation in good music,” says Mr. ASWAN w^r^'rnallthrough” TO ANY ADDRESS FOR breakfast, he started to give lessons all Smith. “It has been responsible for roundings of a police court, is far more Brown’s in the evening when the eld * x>.-_“Just as you say. Good-bye. over the capital, for to the end of his changing the lives of many persons from likely to prevent him from making a Countess began to speak of the most , ■ THREE SPLENDID MONTHS FOR ONLY 35 CENTS! days this great man was obliged to devote bad to good. I have seen the hardest fool of himself than the soul-deadening admirable and glorious march. Imagine my most of his time to teaching amateurs, criminals arid fallen women practically memories of a period in jail. embarrassment! Knowing well that Beet¬ THINK OF IT 1 and even to take the music classes in va¬ hoven could not tolerate the old Countess 1 The Etude Monthly Musical Test Questions Over 50 Excellent Pieces Over 200 inspiring Arfcles rious colleges and boarding-schools. All hurriedly drew him aside and whispered 'o day long he went about on foot or by om¬ him that I had merely wished to ma> e 10. Why should the pedal be used in RUSK IN ON “ART” nibus, from Auteuil to l’lsle Saint-Louis, sport of her foolishness. To my good .■for¬ Musical Questions You Can Answer playing the compositions of Bach. FOR ONLY 35 CENTS from Vaugirard to the Faubourg Pois- Have you read any of the books so more mental control is required and tune he accepted the explanation in good Through This Issue of The Etude. (Stamps acceptable) soniere, and returned to his quiet abode by Ruskin? If you have not, you surely skill results. Thus each worker depends part, but my embarrassment grew when (*n\n what ways is a slow movement on the Boulevard Saint-Michel in time for will soon; and, anyway, you know who he Thousands think nothing of by productg^thlm upon his own brain and invents his own I was called upon to repeat the march more difficult to play than a fast one. +hi„as Why not give your friends a musical treat y an evening meal. Although tired out with was, don’t you? methods of producing results, and executes which turned out worse since Beethoven In one of his essays he talks about art, to the world’s most widely demanded musical magazine. the day's work he still managed to find his own ideas. stood at my side. He was overwhelmed glV2eHa:wancanri Pay for my music ^ What is the “Alberti Bass?” 443.) and points out the difference between man¬ a few minutes to orchestrate or copy his Art, he tells us, is that which is pro¬ with praise on all hands and his genius r 13. Under what three head* may a ufacture, craft and art. How would you The amount paid will be credited toward * '“» T’ar’s scores, except when he devoted his even¬ duced by the hands, brain and heart. Thus, lauded, he listening in a perturbed manne STyWhr.!« no... tied!" «>**« composer’s work be considered? (445.) ings to the pupils who studied organ and define them? What does “manufacture” hymns on the organ? (483.) 14 How will a Community Opera painting, sculpture and music, are on a and with growing rage until he found relief subscription on receipt of the balance (41.65). mean? You know from your music les¬ 4. Had Bach any musical sons. Company benefit vocal teachers and composition with him, on which occasions higher plane because they require the co¬ in a roar of laughter. Later, he remarked he would generously pour upon them his sons as well as from your Latin lessons, that “manus” means hand, and “facto” operation of the head and heart (soul or to me. ‘You see, my dear Ries, those art most precious and disinterested advice. (4s! How many “Strads” are there in StUlSeWhat(4a4r7e)the first requirements means do, or make. Therefore, manufac¬ spirit, some may prefer to call it). Noth¬ the great cognoscenti who wish to judge “In these two early hours of the morn¬ the world? (492.) method of ture is to make with the hands. Nowa¬ ing can be called real art which is pro¬ every composition so correctly and so ; - 6. What was Lamperti s method 0^a6.PWnhaSt?are(4Mozart’s “Three essen- Etude Music Magazine ing—which were often curtailed—and in days, however, machines have been in¬ duced only by the hand and head; although verely. Only give them the name of their the few weeks he snatched during the controlling the out-going breath- <«£> PHILADELPHIA, PA. vented to help the hands, and thus more it may be be very clever, precise or skill¬ favorite; they will need nothing more.’ 7. What is the source of the hair to tit^^FSSswork- vacation at the Conservatoire, Franck’s 1712-14 CHESTNUT ST. can be made in a given time. The fine ful. It lacks the inner appeal—the ap¬ “Yet the march led to one good result: finest works were conceived, planned and violin bows? (492.) The biggest musical “buy” of the times work of the brain is not required but is peal of the heart. Count Brown immediately commissioned 8. What musical advantages ini8hTnrwha(4wa)ys has the teaching of written.” left to others who show the workers what Is your music a manufactured product, Beethoven to compose three marches for Berlin offer? (439.) . music in the public schools influenced Go listen to Franck’s Symphony in D to do. " Please mention THE ETUDE WEen addressing our advertisers. with no intelligence behind it? Or is it a pianoforte, four hands.” (The marches 9. Give three remedies for false ten private teaching of it. (451-/J.) Minor- and congratulate yourself that the Craft, he tells us, is any thing that craft, with intelligence behind it but no were Opus 45, dedicated to Princess Ester- dencies in piano teaching. (441.) composer was an early riser 1 is done with the hands and the brain; heart? Or is it real ART? hazy). JULY 1928 Page 48o THE ETUDE THE etude Page 484 JULY 1928 ing from the silent to the sung “Lahs,” it How Gigli Studies An Teaching the Principles is absolutely necessary to- continue to send S the years pass, the teacher of voice Make your own Operatic Role A Different pupils require different treat¬ out the breath in exactly the same maimer production or emission and singing Phonograph Records ment. The same pupil at different stages as when doing the silent “Lahs.” And this Mr. Beniamino Gigli, the Metropolitan realizes more and more that some things is the student’s problem. His concept of Grand Opera tenor, who recently made a which used to appear to be of fundamental of development requires varied treatment. exactly what is required must be absolutely great sensation in the role of Vasca di importance were not fundamentals at all, The Singer’s Etude The skilled voice teacher is very much clear, and he must be trained to exert his Gama, in “L’Africaine,” gave a Musical but merely devices for use in trying to like the skilled physician. He must be a will to demand of himself the realization America reporter an enlightening story as secure the correct application of principles. Edited by Vocal Experts good diagnostician, carefully examine the of that concept, and to refuse to be divert¬ A knowledge of the few natural laws patient and observe conditions and indica¬ to how he studies an operatic role. This It Is the Ambition of THE ETUDE to Make This Voice Department ed in the least from the conditions present underlying tone production and the clear highly successful singer, of world renown, tions at frequent intervals, and change on the silent work when he ask the voice formulation of the few fundamental “A Vocalist’s Magazine Complete in Itself ” prescriptions (exercises, devices, em¬ is a man of high intelligence and a serious principles based upon those laws, enable the to sound upon the breath. student, notwithstanding he has in late phases) and directions accordingly. Many generations have passed since in instructor to go more directly to the heart years had triumphs which would have Edited for July by FREDERICK W. WODELL At first, in- ninety-nine cases out of the Italy the great voice teachers of the old¬ of the- subject and to obtain satisfactory turned the head of many a vocalist. He hundred, the diagnosis will indicate the en days observed that when their pupils results in less time and with a smaller uu ANY Phonograph said: “When one acts out the operatic necessity for emphasis upon the acquire¬ sang in the long middle range with lovely expenditure of effort. situation the words, that is, their mean¬ ment of ability to bring the first fun¬ and resonant tone, they confessed to a sen¬ There are those, unfortunately for the ing and the sense of the dramatic values profession and for the students of sing¬ A “Method” or System in Teaching Singing damental principle—control of the outgoing sation in the mouth upon the vowel which Records are unbreakable, light. Indestructible. CJrei should guide one.” And further, he re¬ Here is a new conve¬ ing, who apparently fail, through lack of singing breath—into play. When this has seemed to spread laterally along the upper nience. An extra strong the work of the studio may be called a ward and upward, though he knows well teeth toward the middle ear, as the pitch marked that, in studying an operatic score sufficient interest or for some other reason, enough that he is “giving way” to some been worked out to some extent, the body waterproofed mending device; and there may be a dozen of such rose semi-tone by semi-tone, until, at last, new to him, that is, new in the sense tape that mends most to “think through” to the underlying extent also, or the old lady would never strengthened and prepared to obey, to real¬ L JTIT rusi j devices in use. Herein is scope for the c„Ild bllt tor o oiauR double-laced M when the upper third of the vocal range that he had not attempted to sing it upon everything from baby s principles of tone production, and who at¬ ize the mental concept in this connection, records, a supply of recording needles — ingenuity of the instructor. reach the ground. was entered upon, the sensation of vibra¬ the operatic stage, Mr. Gigli, believes, broken doll to a split tempt to do their work by the use of LEE "sales COMPANY. Boi 77Z, FLORENCE, ALA. Lamperti, the elder, to secure the neces¬ In all this lifting or expanding there then will come the work upon the use of tion seemed to locate itself in the upper- says the Musical America writer, “The tool handle. Always devices alone. Thus they and their pupils must surely be no effort at any time which sary control of the outgoing singing breath the second principle, the securing and re¬ back head, travelling upward and forward, history and manners of the time portrayed ready to serve you well. are hindered from attaining the greatest shall take on in the least degree the char¬ taining while singing of the condition call¬ Keep a spool in your possible results; for, while principles, if at the crucial moment, namely, at the time or vice versa, with each change of pitch. in the book of the opera should be. the of the start of the tone, said, in effect, acter of stiffness or rigidity. “Rigidity is ed responsive freedom of the parts of the house, garage, tool they be really principles, are of universal Bring Out the It was also observed that in this same first consideration. Exemplifying this idea, chest, traveling kit. “let the pupil, having taken a full, low the enemy of all Art.” vocal instrument in particular and of the long middle range, when the throat seemed application, devices necessarily are of With Principle number one, namely, the Mr. Gigli pointed out that on taking up Saves dollars constantly. breath, without hesitation begin to sing, at body generally. After this has been ac¬ very free and the tone rich and resonant, 15c 25c 50c limited use. A device that works well control of the outgoing singing breath in TlidcxenBeaut^ the score of “L’Africaine,” his first con¬ with one student may fail to be of service the same time imagining and feeling at the complished in some degree, and the pupil there was an accompanying sensation- of stomach that he is taking in more breath.’’ successful operation, Principle number cern was to visit the art galleries there At Your Druggist to another. is able to apply fundamental principles vibration in the upper front face, which Another way of putting it would be this: two, the “responsive freedom” of the whole to study carefully the portraits of Vasco There are to be found teachers of sing¬ numbers one and two with some success, m travelled backward toward the ears as the At the moment of beginning to sing, let body, particularly the tongue, jaw and neck, di Gama, the better to portray the ex¬ ing who hold and declare that it is unneces¬ the application of the third and last prin¬ pitch rose, parallel with the sensation on the pupil will to feel at the point just undOr can be secured and retained in the act of plorer in connection with “make-up.” sary to pay especial attention to the factor ciple, namely, the location of the sensation the vowel felt in the mouth. On the lower the breast bone, at the point high up under singing, whether on high or low, loud or tones of the voice there was but a faint The next step was the study of di Gama’s of breath control in training the singer. soft tones. In bringing to the conscious¬ of vibration, according to the pitch and They say that to “breathe naturally” is all the shoulder blade, and at the point mid¬ trace of this facial vibration and, relative¬ life and the life, ideals, manners and ness of the student just what is this re¬ power of the tone, may be entered upon that is necessary, provided that the tone way at the top of the chest, a very slight ly, a little more of that in the front mouth, customs of the people of his day. sponsive freedom of the parts of the vocal and stressed, remembering always that is properly placed, or the vowel is cor¬ expansive sensation. During the act of though covering fewer teeth than on the “It is easy to comprehend that with the instrument to which reference has just this third principle can best be brought in¬ rectly produced. They are undoubtedly sustaining the sound, let the sensation at middle and upper tones. In the long mid¬ knowledge thus acquired, the operatic PIANO JAZZ been made, there is scope for the employ¬ right, provided that one is able to place the the points described continue, varying in to use when the first two principles are dle range it was noted that when a note singer finds himself thoroughly at home ment of many devices, and here again the tone properly, or to correctly produce the degree of intensity with the variation in followed. was taken forte the sensation of vibration in a role and is enabled more faithfully the force of the sound, less with weaker cleverness of the teacher comes into play. vowel, without paying especial attention to Now, after a time, there may best be a tended to concentrate in the upper mouth to throw himself into the spirit of the .tones than with fuller, louder ones; less at It is of great importance, however, that the development of artistic breath control return to the further development of the and face; and, when the same note was opera. He then becomes one with the the top of the chest as the pitch descends a device be not mistaken for a principle. Si'eRa!?J«,z‘ekS.M0 °“ord0.!1UA°po.Wl bring? o for singing. But that is just the point. body and of skill in connection with breath taken very softly, it tended to disappear A device may help one pupil, and fail to character he portrays, and, given the The principle involved, and. a funda¬ than as it ascends. As the sound is pro¬ from the face, to become very weak in the WitBrnu^PUnoSchooLMlSuperbaTheaterBldg^LosAi be of service to another. A principle, if control, followed by further work stres¬ voice, the singing and acting of the score mental one, is control of the singing longed, the acute observer among students front mouth and to locate in the upper-hack it be in reality such, must be brought into sing responsive freedom, and again in the as the composer indicates his desires is breath. If these teachers are able to will say that he is “coming in,” and not head. The natural smile brought into play Special Service to Those Seeking use, if the best results are to be obtained. third place, yet additional development of practically assured. And that is Mr. secure that by working directly for the expanding, at the pit of the stomach and through smiling with the eyes and gently CANTATAS, OPERETTAS and other back, in which he is correct. Yet the sen¬ The writer has been led by long experi¬ skill in the use of the free vocal instru¬ Gigli’s method. placement of the tone, or for the correct raising the tip of the cheeks toward the ENTERTAINMENT MATERIAL sation of a gentle expansion at the three ence as singer and teacher, to the con¬ Having completed these essential pre¬ production of the vowel, and the result is ment—in the intelligently willed location eyes, is powerful in securing the desired points of the “triangle” viction that the two principles which have liminaries and without for a moment for¬ a beautiful quality of tone, with effort¬ of the sensation of vibration. So it is location of the sensation of vibration in now been discussed together with the skil¬ Oi me tuner sari. HflMi »..en gradm..... getting their import, Mr. Gigli has the less production on the part of the singer, that the work of training for good tone YL.AHS- EXPERIENCE in teaching the most the middle and upper range of the woman’s no one will quarrel with them because of ful use of the free vocal instrument as musical score played through for him a THEO. PRESSER CO., PHILADELPHIA, PA. production proceeds along three lines, in e*" sfvtPL^R^ANffBETTERTHAN voice, and the soft tones at any pitch. their peculiar way of looking at the prob¬ shown by the location of the sensation of OR AL INS TRUC TION. Write to-day • for number of times. This, to quote Mr. Gigli, some such manner as indicated by the fol¬ But this smile must be absolutely that one lem. But experience teaches that the more vibration in the mouth, face and head, [■REE illustrated booklet and guarantee plan. may be compared to the ‘painter s first lowing diagram- which is natural to each singer, and not a direct way of securing results is to find out according to the pitch and power of the S ES BRYANT SCHOOL of PIANO TUNING sketching-in of the picture.’ The work of . . - Bryant Building_AUGUSTA, MICHIOAH underlying principles and proceed to show tone, the latter constituting a third princi¬ forced smile, which is not a smile but an memorizing and mastering the score fol- the student how to bring them into play in ple of voice use, comprise all the principles ugly grin, resulting in stiff tongue and the most straightforward manner. involved in correct voice use in singing. 0. A. CL1PPINGER throat and bad quality of tone. As the singer’s problem is to secure The question of registers, which in years In the male voice the same principles plenty of breath with the least possible mentioned is still there, in some degree, gone by was thoroughly studied and apply, but there is ordinarily no use of and should be retained to the end of the worked out from various angles, and Systematic Voice Training.. ..f "Beneath these flowers I dream, a silent effort, he must learn to stand, or take a The Head Voice and Other Problems . the location of tone in the upper back tone, when the muscles may be completely which used to be in vocal circles a point chord. / cannot wake my own strings to position or pose the body in such a way as Trainer of Singer, head, unless for the lightest possible ef¬ to permit the breathing muscles to function relaxed for rest purposes in the work of of much controversy but is now little fects on high pitches, or for expressive music; but under the hands of those who 617-618 Kimball Hall, Chicago in the freest manner. This is inhaling the studio, and in actual singing, if oppor¬ referred to by skilled instructors, settles purposes or throat loosening on the upper comprehend me, I become an eloquent tunity serves, as in the case of a beat or itself when the three principles referred naturally, just as does the healthy baby a The experience of approved instructors middle tones. The man singer, singing friend. Wanderer, ere thou goest, try me. to are in use, and this without any special year old, but in the end in art enlarged running over many years has shown that STUDY HARMONY normally at a pitch an octave below the The more trouble thou takest with me the or developed way. Very few students, men An illustration which has been useful attention or the bringing into play of par¬ and COMPOSITION various devices may be used with good woman, secures his high tones with a loca¬ more lovely will be the tones with which I or women, so stand when they come to the in this connection runs thus: Let the stu¬ ticular devices or dodges to cover up de¬ by MAIL ““atJuctlon'oTur ■will reward thee:"—Robert Schumann. dent imagine the expansion at the “tri¬ fects at certain points in the ascending results in securing the power to send out tion of vibration in the mouth on the vowel, instructor for their first lessons. On the tlli'na? anthem' rom^tltlouDjUl contrary, unfortunately too many of them angle” on beginning to sing to be similar vocal scale. the breath slowly, steadily and with en¬ and in the face, the upper tones showing take a standing position which cramps the to the feeling he will have in his right A register is a term which needs exact ergy, while singing. The writer is con¬ sSSiss the sensation travelling backward along inhaling muscles and also prevents the free arm when he has placed his hand under definition each time two students or teach¬ vinced that one of the necessary items ALFRED WOOLER, Mm. Dot. the upper teeth and cheek-bones as the ADVANCE OF PUBLICATION OFFER action of the rib and abdominal muscles in the elbow of a feeble old lady to assist ers of singing start a discussion of the is the keeping of the upper chest constant¬ 1 pitch rises semi-tone by semi-tone. ' the act of exhalation for singing. Stand¬ her to get up into a street car, firmly but topic. Without going into such discussion, ly up, though without strain. This, of it¬ After a long continued training on prin¬ ing with the upper chest continually up, yet gently lifting. As the pitch descends or he it may be said that if the student is self, will more or less compel correct ac¬ Wildermere-Petrie Vocal School ciples one, two and three, the student will ORATORIO SONGS wishes the tone to decrease in power, or FOUR VOLUMES without the slightest strain, is the first thing brought to know what is a good vocal tion of the chief breathing muscles. To offer New educational works on approval "find himself able to bring himself into he is coming to the end of the phrase, let to be insisted upon for students of singing. tone, one of sweet, clear, steady sound, let the upper chest fall at the moment of “One Hundred Vocal Studies” proper position, and to control his We will issue shortly four volumes of ora¬ The next step is to attain skill in sending him imagine the expansion at the “tri¬ Wesley Barry and to will it, at the same time bringing starting a tone is certain to cause a loss “The Glorified City” - Christmas Cantata breath and secure responsive freedom torio songs, one tot each of the four voices out the breath very slowly, steadily and angle” is taking on the character of the the three principles into play, he will find soprano, alto, tenor and bass. They will does not dare to use it of position of the larynx, as well as of “The Cross” - - - - Easier Cantata simply by calling for the familiar and cor¬ with necessarily varying pressures, in the feeling he will have when, standing on no breaks at any point in his scale, and WILDERMERE-PETRIE VOCAL SCHOOL contain the best only and will be edited by the body generally, and cause a constric¬ rect location of the sensation of vibration act of emitting tone. This is that control the ground, with his hand under the el¬ will be able to sing any vowel with its Paw Paw, Michigan a leading authority for each voice. The Freckle Cream for fear the public won t in mouth and face, or mouth- and Head, as volumes will not be large nor expensive, but him without them! ■ of the breath of which we hear so much, bow of the old lady, he is gently “letting own characteristic intelligible form, and to tion of the parts of the vocal instrument generally. the case may be. Still later, as he or will include a number of arias that have but. which is so seldom in evidence. With¬ her down” off the street car. He is color all vowels for purposes of expres¬ she stands before an audience as an art¬ never yet appeared in similar volumes. The Stillman s out this power, the second fundamental still lifting, as he will appreciate, out¬ sion or interpretation. To do a series of “Quick Lahs” silently, ist singer, no thought of breath control, late David Bispham was to have been the (principle), namely, “freedom from rig¬ with the jaw hanging motionless, as though editor, but we will now have a special editor Freckle Cream idity throughout the body, particularly at of responsive freedom, or of location of for each volume. Every singer should pos¬ This famous cream causes 1ft Seldom do we get a characterization so floating in the air, and with very quick the tongue, jaw and neck,” cannot be re¬ uation and the music blend in an impas¬ the sensation of vibration, or resonance or sess one of these volumes. They may be 'Used U?o w£Ff o^e. complete and so convincing as the follow¬ action of the tongue, sending the breath ENGRAVERS"*0 LITHOGRAPHERS veare. Cannot grow hair. Obi tained in the act of singing. sioned picture until, like the sonnet, it be¬ placement (call it what you will) comes to ordered singly, each 50c postpaid if ordered ing, which we quote from The Musical out in a slow, steady stream, gives a free¬ PRINT ANYTHING IN MUSIC-BY ANY PROCESS This responsive freedom, as the writer comes the moment’s monument. him or to her. The mind and. heart are in advance of publication. Leader: dom of the throat and parts which, if re¬ WE PRINT FOR INDIVIDUALS calls it, is not a device, it is a principle full of the music and the meaning of the Advance of Publication, caah price, 50c. “The singers who retain the strongest “Those who are master of this complex tained when the silent work is continued reference any publisher underlying the production of good tone. words, of the interpretation of the com¬ and longest hold upon the hearts and art, made direct and simple by a superla¬ without break into light conversational It is a principle, because it is founded upon position; the mouth is opened, and the minds of their public are the Interpreters tive technic, have but to come, and see, weight of tone, ensures open throat and a natural law which cannot be contravened tone and the word show forth the content in this, our “House of Life,” who bring and conquer. Witness the triumphs of a comfortable production of tone. To re¬ without disastrous results to the tone. on the basis of an assured vocal technic. to a song its proper lyric and dramatic Schumann-Heink, a Bispham, a Wiillner, tain the aforesaid freedom of the parts of cur advertisers. The manner of securing its application in Please mention THE ETUDE when addressing interpretation in which the words, the sit¬ a Guilbert.” the vocal instrument, however, when pass- JULY 1928 Page 487 THE etude How I Earned My Musical Education TEE ETUDE A Series of Personal Experiences from Real Music Workers Page 486 JULY 1928 r,et the Best Sermons ^ By the (‘•Etude” Readers are Referred to the Beginning of the Series in the February Etude ) World’s Great Preachers —only one of the Played for Moving Pictures ^Jtj inspiring features When I was quite a little girl I com- fs music is what this meansmenu a ' Another Gem in the Presser Vocal Catalog every week in the menced the study of piano and greatly ap- ^^it nne word of thanksi lu -The Etude for predated the effort made to give me amusi- Just one worn oi _ind let me ask its CHRISTIAN cal education. All went quite well until my aU> o join me in three HERALD, which sister was old enough to take an interest in vast life and prosperity. a prominent con¬ -.. — - mother wanted to hear l0IkS. HOW FAR AWAY IS APRIL ? give her every advantage a «*»*~ —•-— - acuiucajs temporary re¬ By ALDEN BARRELL—Range E sharp to F (Optional High a) still greater effort to find the means to do so. __— cently referred to Finally my teacher persuaded mother to al¬ low me to discontinue my school studies and tv/i as “the strongest devote all my time to music, offering to take Worked 3S BUSineSS Manager A Successful Program Number with interdenomina¬ me into the college as elementary teacher • onvthimr else to be- tional religious ms iTs.s70.ras ■>»« weekly in our 2 , SffiVSSM? »“/.SiS “?SF& 85ISS COLIN O’MORE ...country.” paniments for a baritone singer who was a intendent of schools In a sman The Well-Known Lyric Tenor fr\sss. ss.-sa,? ^j^akg-uer practice, both thez singer and myself profiting&s and, because °* “r0* ,“ars of care “How Far Away is April?” is an artistic . a means oj contributing to the developmental interest in as well as on several of them will be reproduced in “The Etude." The opera stories Contri jae Margaret dkrwd meant added expense. Of course, I lost my *1 either office or library. 1 heard have been written by Edward Ellsworth Eipsher, assistant editor. T. Ellis, LL.D; Sherwood E position in the college, but secured a few Place in earner ptly. Very cour- a tI-.rTi'e^Bryan,*Dr” Samuel D. Price. Bishop private pupils and also played at weddings, *™“f^tters expressing a real interest in Wm. T. Manning. Rev. Wm. (Billy) Sunday, Dr. J. sometimes alone and at other times with a t0 help myself but regretting that fellow student who was studying violm. my cnothing to offer me. The others ap- ?eni?MC^rthur'(>prer, wTg. Shepherd. Wm. E. Those engagements were very pleasant to me they a notning^ forwarding entrance (Pus * ' i Johnson. Dr. Charles M. Sheldon, etc. Price a'lnne $2.00 a year. Price SO cents “Samson et Delila” ror fACAZINESAT REDUCED PRICES II Nubacrlption* for a rull year as assistant teacnerteacher inm ua fprivate™'; kinder-Kinuei- y rate j decided there was no New Supplement House at Weimar, December 2, 1877. It The ode (12 Issues; ,2.00) «»th for carten also Dlaying little songs and marches on praying and watch- THEO. PRESSER CO., PHILADELPHIA, PA. The delightful romance, the gorgeous open up. Sjj 1 ‘ PUBLIC SCHOOL aJESZHL* was given in Brussels in the following year, my afternoons free for j^se^r- pageantry, the delicate poetry to be found Chri erald (52 l.s. 0 $2.00 f mornings, leaving . closed I gave up i but was not heard in France until 1690. practice and pupils. PIANO MUSIC in the Bible have time and again been ,i Gerald ) ALL 3 Christian Herald 1| ALL 3 I tried to accept every opportunity thi GIVEN FREE! made the subject for operas. On the when it was given in Rouen (eight. • ; ... World ) McCall’s was offered and put my musical education recreation. , . , , Public School Piano Music opens $3.55 The Etule f 53.75 every use that was possible. _ I accepted ®= writer’s worktable are several books of years after its completion). It was fir;-; a big, new, money-making field m Christian Herald ' temporary position playing ~ " ”',"T <= reference giving quite an amazing num¬ heard in Paris in the same year. It w i ,n Herald ”| ALL 3 p.„p,,’s Home-,! ) ALL 3 the evenings, my motherler accompanying; r ber of operas with plots taken deliberately given in the same year as an oratorio ; Of course, this work I did-- - - i 53.75 / 54.00 lasted only a short time. .. . t from the Bible or suggested by the Bible. New York City, under the baton of Wait -: The Etude I s*imr in a choir and was librarian, tailing ?or which I had made application. I an- Beginner’s Book for Adults H. E. Krehbiel, in his second book of Damrosch. ji- Herald ] i ALL 3 Christian Herald ) ALL 3 care of the music and arranging the Sunday sweredby return mail and almost as qxuckly The Elide programs, which also added a little to my and private lessons outlined, musical operas, devotes two chapters to the sub¬ The first New York operatic perform¬ r 54.75 Pictorial Review r 54.40 mT^arli^fconvenie^cf I ^ Suggestive Studies for Music Lovers ject. ance took place in 1895, with the great eaAhnnt’ this time my ambition received a fnJUfail thrtatert'methods.'wRn’E an Herald ' Christian Herald 1 ALL 3 chtok in the form of a young man who per¬ tlai? tit end‘ of °thatS Interview I accepted TODAY for facts. Since most opera is continental in ori¬ Tamagno in the role of Samson. It was ) ALL 3 The Etude suaded me that I would be far happier mar- twn nositions in one, secretary to tne busi¬ By CAROLINE NORCROSS Price, $1.75 j 54.75 Tenth’.. >n;(>n j 55.25 ried Of course I agreed with him and con¬ ness ^manager and librarian of the college, ADELE H0STETTER, Director gin, this is not surprising, when we realize first performed in London- fourteen years Compurioo sented 1 now have two little boys whom with the supervision of two atteni .antsi (stu- School of Artistic Piano Playing that the early stage had as its most stable later. For years the opera was felt to be I p t to educate into good musicians. This admirable book is based upon the principle that >ney Order or Check t background an ecclesiastical setting. The Send Mi ° They have started the study of piano, and ^ndtSthdeefp?fv?lfgea offigln^ bSgl The Adult Beginner needs the quickest, surest path through the musically in advance of the public taste. naturally I would want them to have in early drama and the church were at one With the exception of the famous aria THE ETUDE best instruction possible so it will be an in- elements of music and does not tolerate being bothered with 714 Chestnut St., Philadelphia, Pa. nanHva tn me to keen pushing ahead, on the day named was there ready for work. juvenile methods designed for little tots who do not even know time inseparable. Mon coeur s'ouvre a ta voix, very little cenuve 10 ^ F# bush, fractions. In England, however, the attitude toward was known of it. At this day it seems . stm htrf7 IWha8vfneot S^ySSeS"^® opera plots taken from the Bible was one of the most melodious of all operas the two semesters of t ie regular school years The Adult Beginner must be gratified with melodic pieces of Xo^rtr/fom^ctalsefafThT^olflgtrf Fifty Cents!! mature but not necessarily complicated character. hostile, so that when Gounod’s “Queen of of the times. The great success of Caruso Picked Tomatoes to Pay First Sheba” was translated it appeared as in the leading role added much to its pop¬ SPECIAL NOTICES Liberal Arts or r TEACHERS. PARENTS OR The Adult Beginner requires rapid technic developing studies, so “Etude” Subscription--- College of Music is a part »»« >“ INTERESTED IN YOUTHFUL PIAN¬ that he can acquire playing ability in a short time. “Irene,” although in the plot there was ularity in recent years. „ Hgp defrav mv tuition there. AND From the time the machinelchine and the^flowerth Jtor^ eacOi year I ha ISTS WILL FIND THIS ALBUM JUST The Adult Beginner wants to know the “why” of music and wants little connection with the Bible other than At first the opera made a rather weak THE THING" TO ENCOURAGE REC- it explained in the simplest possible terms. the names. Massenet’s “Herodiade” was impression when given in New York; but ;Sd” A tV to e° S» ge a o f ’ ^eleven ^Par»ts NoSondlId'think would say it has J?e™ *a!J' ANNOUNCEMENTS work five or six hours a day and then in REATION AT THE KEYBOARD AND transplanted from Palestine to Ethiopia in this was due to the lack of effectiveness irregularly ^“i^adT takm about .twelve WELL WORTH 50c. *11 Caroline Norcross’s “Suggestive Studies” does all this in excellent fashion. The fear of the British censors. Verdi’s “Na- of the final scene. The recent production montos.moutas. wBy ^“P-fi-iuthat time I couldbook ^fhaTa SS pieces are from great masters, the technical exercises are short and interesting, the most‘ anything in* the hymn booK. ana nau a tQ the theater or a party or was so weary bucco” was brought out in London as of the Metropolitan leaves nothing to be explanations on harmony and form are given so that the musical appreciation of “Nino, Re’d’ Assyria” to pacify the pious. "oTsbwer°ef discontlim"d’^ TTvas0thormighly that a„ l aould ask was^just to^r^ ..g o the adult in concert,. opera, or with phonograph records is greatly enhanced. desired and makes a magnificent climax. WANTED and FOR 5ALb | mtoreMSl and anxious for further study, but working one w^r (1o(,s it mean real The Saint-Saens opera is said, by some i_Rate 10c per word_L n inspection. T.he„ great Popu'arity of “Samson et Urns were hard and it was too much trou- « |n§ hloofl ,ab0r but It mean* sacrifice— investigators, to be the only Biblical opera Delila” may be traced to several sources. ■ PUBLISHED BY -.- FOR SALE—OLD VIOLIN OUTFIT,74 jo'i.j. m"fe ’note getter only in the Handel Oratorio and in “Sam¬ to the romance and mysticism of the East. son et Delila.” Among those who used Saint-Saens caught this spirit to a wonder¬ Hcautiful*'tone.'^tiue t^iquT good this as a subject for an opera were Ra¬ edu'Rinon and best of references. Address ful degree; and this he expressed in music A. J , care of The Etude.__ meau and Voltaire. Their work, however, which, without any attempt to reproduce was not performed. FOR SALE—CELLO. Francesco Rfigeri, SUMMY’S CORNER exotic idioms, is redolent of the voluptuous 1641. Address Gertrude Conte, Irvmgto one has not been able to render to nun- Saint-Saens started to work on “Sam¬ School of Music, Indianapolis, Ind. sr& saa* ’“"UMS self full value for ^time and *«energy •«**.- expended? life of the East. Also, the public is not Yet through all the discom-agunonts■ mid the son” in 1869. His cousin, Ferdinand Le- unappreciative of the composer giving the enough T find an answer 10 *»■- HARMONIC MATERIAL AND ITS USES maire, wrote the book. The opera was lation i^Te- By ADOLF WEIDIG “Prima Donna Role” to the contralto, im¬ ANN0UNCEMLN1 a j rs.ra-v* finished in 1872 and some private per¬ parting a charm inherent in this voice, and Rate 20c per word_ still my greatest source of knowledge, co iiYd atoem?sshfoPmeOI,of!he fr^d^pfiVigh? A Publication Event of the First Importance formances of separate acts were tried. It have had I have been thrown In close con¬ enabling thus some of' their most favored OUR SUMMER SONGSTERS. A Hitosong tort with manv of the faculty members— was first performed, thank? to the influ¬ Beauty, with imitation accompaniment tmrty tact wim ^ ^ ]arc(i T.9ion flne ability YOUNG FOLKS’ PIANO FOLIO A Concrete Exposition of Theoretic Principles singers to appear in parts suited to their ence of Liszt, at the Grand Ducal Opera genius. cents. Address Chas. Adkins, 43 Holt ht., the community: a^ when a cla . f feel an(i all of wh, ready with a word of 31 PIANO SOLOS AND 3 PIANO DUETS Explained by a Master Theorist of International Reputation Dayton, Ohio.____ I decided to encouragement, ..-,.,g what the struggle MUSIC COMPOSED; manuscripts revised. btea wiui the results, of^tudent days The Melodious and Delightful Piano The subject is treated in the light of the most advanced ideas as ap¬ Band and Orchestra arranging. Complete and Knr more than all this I would not take Numbers in this Album are Interesting plied to the study of theory, and exemplifies independent thought along new oils wme well pleased inything in the world for my experiences ciinrnntPPrl instruction in Harmony by man. aEi ”LP^°^uldTn£at; i could and t“““§e end ^school to Young Folks Who Play and they lines. Every thinking musician will want to own this important work. J. Rode Jacobsen, 2638 Milwaukee Ave., ’ these three years and those x w Entertaining for Others Present. I he btory of “Samson et Delila” ni.:.—. in it to a nearby conseigreat ambition of my The earnest student of this comprehensive textbook will find it so weeks. The had "some" stri'ct8 and director of department or sim¬ THEODORE PRESSER CO. knowledge of the standard literature. ply as teacher of violin. Best ot Price $3.00 grinds corn’for the Philistines” "Henan's oniSthe th‘ 429 South Wabash Ave. ; : CHICAGO make sport of him. Delila taunts him for his weakness S.8 h.rouSfit in that they mn; to the great pillars of the temple. Pravine tn oIK .i He asks a Youth to lead hln which fall and the temple tumbles in ruins on the sliriekinl ns.th’ Rtrains at the pillar; Please mention THE ETUDE when addressing our advertisers. tae shrieking and groaning people. JULY 1928 Page . THE ETUDE THE etude Page 488 JULY 1928 . he a serious handicap. Physical dis- much hurry; hurry makes for the taking long hymn, to give the singers rest, but be mu t, rt is at the bottom of the student’s of short cuts; and short cuts cause cracks The Choir Master sure you can do it well, or do not attempt UYMN playing is probably the least f ■ t0 slide along the bench. Stainer in the foundations. That is why one sees Each Month Under This Heading We.Sh.ll Give>aUsfjJ AnthMjJ interesting part of church music, to has given minute directions about acquir- so many leaning towers in the musical 11 An interlude should keep to the style, Solos and Voluntaries Appropriate for Morning the organist; and therefore he is apt to • a correct seat and has explained why world. The student who approaches the mood and time of the hymn, at least. If forget its importance to the service and "'change of position interferes with accu¬ organ with mind intent upon the super¬ Services Throughout the Year. played between two verses of different the need of studying it. By proper treat¬ The Organist’s Etude se pedaling. The writer has known only structure and its embellishments and con¬ of moderate difficulty, opposit mood, it should form a smooth and agree¬ Opposit ment of the hymns he can help the choir nne student who was in no hurry to get tent with the swift laying of a poor foun¬ be had for-< able transition from one to the other. As obtainable. and congregation to enter into their spirit, °n, q£ Stainer.” Most seem to feel that dation, is certain to produce a leaning able and the discounts the best oDtainaoie. It is the Ambition of THE ETUDE to make this Organ Department to length, it should not be longer than two instead of drawing them out in the doleful are doing fiddling and dinky stuff; tower. It points toward heaven, all right, TTXT_,. v ,,nBKTiMr gentember 2nd SUNDAY EVENING, Septem er manner so frequently heard. \ “An Organist’s Magazine Complete in Itself” phrases of the hymn, usually eight but in the end must topple to earth. SUNDAY MORNING, September 2nd QRGANORGAN numberNUMBER ^ ^ . hnt they are really mastering the most stu¬ ORGAN NUMBER Trauemerei.R. Schumann measures. pendous part of organ technic in form- The true principles of organ playing .G. T. Alexis Giving Out Doubtless more good advice could be Andante Pastorale. ANTHEM • p- habits of mind and muscle which can are as fixed and unalterable as any laws First, when about to begin a hymn, con¬ given on this subject, but with a few sug¬ ANTHEM a. Now on Land and Sea Insure success later—in short, laying a of the universe; and transgressions against a Come, Let Our Hearts and centrate on it for a moment, no matter Edited by Well-Known Organ Experts gestions, the earnest student can work out Descending .W. Bcrwald concrete foundation on which the most them exact a price—the price of success. Voices Join.. .Harry Hale Pike how familiar it may be, to get the feeling his own rules and principles according to b Perfect Peace and Rest elaborate superstructure may be built. If one would be the organ’s master he b. The Lord Is My Rock George A, Schuler for the proper tempo and sentiment. This the fitness of things. After all, false pride accounts for so must first be its slave. Edwin H. Pierce OFFERTORY is necessary in the performance of any OFFERTORY Jesus, Lover of My Soul (High composition, and to its neglect is due many The Organ Student and His O Master Let Me Walk with Low).H. C. MacDougall a failure. Using the Piano in Religious Services Thee (High or Low) .Paul Ambrose ORGAN NUMBER Playing the Hymns Temptations Giving out the entire hymn is not neces¬ ORGAN NUMBER Marche de Fete.. ...E. A. Barr ell sary or desirable except for some special By George S. Schuler Short Postlude in G...E. S. Hosmer guNDAY MoRNING, September 23rd By Frank Howard Warner By Mrs. John Edwin Worrell reason—an unfamiliar tune, or filling a SUNDAY EVENING, September 2nd organ number gap in the service. Many organists prefer Author of the Highly Successful Book, “Evangelistic Piano Playing” most hymns the strongest beat of the meas¬ The student about to engage in the study organ NUMBER Memories.C. Demarest it, however. tion to feel the spirit of a hymn if the Twilight Reverie....G.G. N. Rockwell anthem On the principle that loud and brilliant organist, who is recognized as their leader, ure should be distinctly heard in all parts. of the organ is not only face to face with To conduct successfully and smoothly be anything but that which you desire, a. Praise the Lord, O My Soul a most delightful adventure but is also or to find him with eyes glued to the ANTHEM effects are more inspiring to a congrega¬ even when he is assisted by a good choir, Dragging a song service at gospel meetings, a clear a. My Faith Looks up to Thee Roland Smart tion than quiet, it is wise to use plenty of does not do all in his power to bring out Unfortunately, this is quite common. De¬ cheek by jowl with temptation. Not the understanding between the director and song book instead of watching you. Brahms—Neidlmger b. Crown Him With Many Crowns kind of temptation that urges him to leap How often have such accompanists dis¬ R. M. Stults organ for the brighter tunes, without-going the various moods. This applies to the cided staccato playing is helpful in bring¬ accompanist is essential. b. Abide in Me, and I in Thee to extremes. Full Swell, or Full Swell different verses of a hymn as well; for ing to time a dragging congregation; and from a bluff or dissolve his troubles in The accompanist should be as well regarded the rest for the fourth beat J. Truman' Wolcott OFFERTORY Lead On, O King Eternal (High and Choir coupled, if these manuals have there are many in which the verses differ this means every note staccato in all parts, gin or to stick knives into his fellow men, equipped for his duties as the director where a dotted half-note occurs in quadru¬ OFFERTORY a good body of tone, is sometimes sufficient in mood, and sometimes more than one but that which advises him to stray from ple measure, making thereof a measure of or Low).Ed- Marso except pedal, perhaps. is for his, which will eliminate the feel¬ Close to Thee (High or Low) ORGAN NUMBER for giving out a bright hymn, but adding the hard and beaten path laid down m three beats. Upon such occasions the C. S. Briggs mood is expressed in the same verse. To This case requires louder organ also than ing of superiority of one over the other. Grand Chorus in A Min. some Diapason tone on the Great is more play such a hymn through with no change is necessary otherwise. Using high pitch Sir John Stainer’s immortal organ booh. Cooperation with the accompanist is the congregation follows the accompanist. J G, Cummings These are some of the reasons which suc¬ March Brillante.C. H. Lowden . likely to lead the congregation into the in registration would be to utterly ignore is helpful, either playing the melody an Leaping at Pedals goal of every successful director. right spirit. its meaning. octave higher than written, as suggested cessful directors give for employing their SUNDAY MORNING, September 9th SUNDAY EVENING, September 23rd First comes the temptation to leap into So that the accompanist may help RGAN NUMBHK The tempo for joyful and martial hymns Some hymns which begin quietly work above, or by adding high-pitched stops to own accompanists. Morning Prelude.E. W. Reed ORGAN NUMBER -- pedal practice without bothering about round out the work which the director Invocation.1- S. Camp should be as fast as possible without losing up to a brilliant climax—the words, of ANTHEM „ the usual combinations. Sir John’s valuable instructions on it. This is striving to accomplish, he must be Trained Accompanists Are Rare ANTHEM their dignity; for instance, “Onward, course. In such a case is it not clear that a. Make Me a Clean Heart, O Liberties in Time produces the “hit-or-miss” style of pedal allowed liberties as was the case with Who would venture the assertion that a. The Shadows of the Evening Christian Soldiers” and “Stand Up for the organ should do the same? The whole God.A. W. Lansing playing. The student who is in a hurry David at the time of the slaying of Go¬ in the towns where we hold meetings Hour..F. G. Rathbun Jesus.” In all hymns the tempo may be subject is embraced in noting the mood or Occasionally there are places in which b. Show Us Thy Mercy, Lord usually does this. He does not want “to liath He must work with his own no piano players are procurable? The William Baines b. Out of the Dark, Lord a little faster for giving out than for sing¬ spirit of the hymn and following it closely it is necessary to lengthen or shorten the weapons, and proceed in his own way, fact is that every town of fair size boasts OFFERTORY Chas. B. Blount ing, if the congregation is liable to. drag. in tone color and combination as well as written time of notes. In some slow hymns bother with all that reading stuff” and the last notes of some phrases are so long rushes in with his ignorant toes where insofar as it does not frustrate the direc- of one or more good musicians, some of Guide Me, O Thou Great Jehovah OFFERTORY „ „ , Those,which are in prayerful and tender (High)./. W. Lerman Abide With Me (Low) .Henry Parker angels might be justified in watching th< ir whom have done concert work with credit. moods should most frequently be spft in Occasionally it is a welcome relief to that no congregation will sense the strict ORGAN NUMBER t0 When contemplating changes, such as At this point one hears the challenging ORGAN NUMBER registration; sometimes extremely soft. omit the pedal entirely for the whole or time, and in such cases there is no harm step. Sir John made the business of Stately March in G.../. L. Galbraith Postlude (Polonaise Militaire) observing a hold (where a hold is not question, “Why not use home talent at the However, some hymns in the mood of part of a verse, even in hymns played forte. done by shortening these notes a little, so finding pedals (without looking) perfectly Chopin-Gaul prayer, rather general than personal, need long as the rhythm is not really disturbed. easy. He divided the pedal board into notated) changing tempos from fast to meetings, and thus eliminate expense? SUNDAY EVENING, September 9th The amount of organ tone to be used The answer is very simple; such persons SUNDAY MORNING, September 30th a solid body of tone, but without brilliant If the organist does not do so, his congre¬ six bases from which to work to find any slow or vice versa, the omission of the ORGAN NUMBER ^ „ .. . in accompanying congregational singing have not cultivated the art of leading a Moonlight Serenade.G. B. Nevm ORGAN NUMBER , , effects. “O God, Our Help In Ages Past,” should be governed also by the size of the gation will begin the next phrase (line of pedal key. These bases are the large- chorus or some similar change, the di¬ At Sunrise.Roland Diggle hymn) ahead of him, which is certainly spaces found between the groups of black rector should always inform the accom¬ congregation, which is a great accomplish- ANTHEM is such an one. Careful reading of the assembly, the acoustics of the building, the a. Like as the Heart ANTHEM words will always disclose the mood and number of persons singing, the amount of much worse than omitting a bit of time keys and are named u, v, w, x, y, z. panist, thus avoiding the humiliation of /. Christopher Marks a. Break Forth Into Joy Go with me to a Sunday School con¬ Louis Scarmolin style. help from the choir, and the general nature where it will never be missed. One should The direction to “thrust the right foot the latter. b. Come Holy Spirit, Come vention in a town where it was my privi¬ b. O Come, Let Us Sing Unto the While martial and joyful hymns are gen¬ of the singing, whether hearty or Other- not ignore the congregation. into x, move to right, withdraw and Geo. Noyes Rockwell lege to be the accompanist for Mr. h. U. Lord.Geo. Noyes Rockwell erally more suitably given out with both In the matter of tempo also, the congre¬ strike f” was written by a man ripe in How to Make a Prelude OFFERTORY Excell. During the singing of a new song, OFFERTORY , „ hands on the same manual, many of these Tying Notes gation must be favored a little at times also playing and teaching experience. It is Have an understanding as to how much Cling to the Cross (High or Low) If Any Little Word of Mine may quite properly and effectively be given by holding short notes at the end of scientific, absolutely accurate, and was the congregation being engrossed with Daniel Protheroe (High or Low).Paul Ambrose Many organists make it a rule to tie all and what portion of the hymn it is de¬ ORGAN NUMBER solo treatment, the soprano part played on phrases, to allow time for breathing and designed to produce all “hits.” There is the words, the music began to drag in ORGAN NUMBER „ „ , . repeated notes except in the melody, and sired to be played as the prelude. Be sure spite of his directing, although I was Allegro con Spirito....F. H. Warner Fanfare .H. Dubois Great or Choir, while other parts are making a satisfactory ending to the phrase no guess work about it, and the player, that the accompanist clearly understands some instruction books advise the same. In doing the best I could to spur them on SUNDAY MORNING, September 16th played on the Swell. Hymns which are Do not be too exact; “the letter killeth, in doing something accurately, gains con¬ your motions, for if he has played for SUNDAY EVENING, September 30th regard to this, there are all shades of but the spirit giveth life." At the conclusion of a verse he said, ORGAN NUMBER joyful in character should not be made too fidence in his foot work, which is of utmost other directors, the motions or signs which ORGAN NUMBER „ „ solemn and long-faced. Solo treatment of opinion, from the above practice to playing In some churches it is customary to hold “How many like this song?” Very natu¬ Song of the Angels..T. D. Williams Awakening.H. Engelmann importance. you make are very apt to lead him to a very quiet hymns is desirable as a means of all such notes staccato. In fact, some noted the first chord of each verse a trifle beyond rally he received a response. ANTHEM ANTHEM Practice must be slow at first since it different conclusion. a. Jesus, Name of Wondrous variety and attractiveness. This does not organists of the present day make a rule the strict time, to allow choir and congre¬ “Do you think we could sing it any a. Jesus, The Very Thought of is only by proceeding slowly that accu¬ If during the course of a hymn the com- Love.T. B. Starr Thee.:.Harry Rowe Shelly mean that all of these should be so treated, to this effect, saying repeated notes in any gation a good opportunity for attack. It slower?” This remark, of course, brought part should be held only half their printed racy can be assured. Haste at this stage- gregation should be singing too slowly, do b. God is Love.E. F. Marks b Love Divine. .Walter Howe Jones for many can be rendered beautifully on must be remembered that prompt attack is forth a little laughter. Even then only must be paid for later. Yielding to the not try (of yourself) to bring them up OFFERTORY OFFERTORY one manual only. value, except when very long, as in the difficult to secure. Were this not so, choir-' part of the congregation comprehended The Ninety and Nine (Low) latest edition of Bach’s organ works. desire to burry, our student proceeds by the to time. This is futile in many cases He That Dwelleth (High or Low) masters would not be obliged to work so E. S. Hosmer A. J. Silver Accompanying the Congregation hit-or-miss method. He misses so often unless you have a good choir behind you. its meaning. Tying repeated notes in all except the hard on this point. This manner of begin¬ ‘When we sing the next verse if, you ORGAN NUMBER ORGAN NUMBER that he gets distrustful of his foot-work Motion to the accompanist the fact of this Festal March.E. R. Kroeger For this, solo treatment of the soprano soprano part does not give sufficient rhythm ning verses seems better than holding the cannot follow me, listen to the piano. Processional March.R. M. Stults and falls a victim to the next tempter who slowness or fastness, and let him help part is less useful, as body of tone is re¬ in those hymns which contain many notes first soprano note a beat or two before At the conclusion of this verse, he said, quired to support and lead the voices; and repeated. "Onward, Christian Soldiers,” suggests taking a peep at the most difficult bring them to the right tempo. playing the rest of the chord, which was spots. If he falls into this, all is lost. “We are now singing it as it should be Faust School of Tuning this is usually more satisfactorily obtained with all notes tied except in the soprano, is formerly done by many organists, but is Regardless as to what directors think There is no musical hereafter, as far as sung.” , . STANDARD OF AMERICA with all parts on the same manual.' How¬ deprived of the march swing which is es¬ now frowned upon by musicians generally ought to be, the fact remains that the Watch the Leader he is concerned. He cannot approach the congregation is led by the accompanist, [AUSTIN ORGANS) ALUMNI OF 2000 ever, there can be no serious objection , to sential to it. as unmusical and unnecessary. I also recall an expression used by Dr. solo treatment if used occasionally to give works of the great nor of the near-great. if he is proficient, which is taken for Piano Tuning, Pipe and Of course, notes must not be tied from Rarely an organist is heard to begin each D B Towner when the congregation was Reed Organ and Player variety or to strengthen the singing by This habit is perhaps the most pernicious granted. If a director has been unfortu¬ a the Great Organs of Colorado State Piano. Year Book Free one phrase into the next in any voice, ex¬ verse with a roll—a very rapid arpeggio of any the student may form and the lagging: “One eye on the book and two niversity of 115 Stops, and theCincin- making the melody more prominent. In effect from pedal up to the top note. It is nate enough’ to have an inexperienced on the leader is the rule of this meeting. > lti Music Hall Organ of 87 Stops. 27-29 Gainsboro Street very bright hymns which are familiar and cept when the sense of the words requires hardest to cure. tuThe - c_-a.-Eastma n—ory Organ of BOSTON, MASS. rather pleasing with some hymns, but accompanist he will appreciate this; for Never force the accompanist to play which everyone likes to sing, it is some¬ it, which occurs in “Lead, Kindly Light,” monotonous if used all the time, and vary¬ Extreme Pedals there is nothing more exasperating than ahead of the singing of the congregation. times effective to play the melody an for instance. Usually there is some place ing the beginning of the verses makes sing¬ Next comes the inclination to avoid to have an accompanist pounding away The inevitable result will be a complete octave higher than written, on Swell or in one or both of the connected (musical) ers uncertain in attack. One must be a muscular strain and discomfort caused by at the piano or playing the qrgan at its (Continued on page 490.) Choir, while the left hand plays all parts phrases where breathing is proper to the fine player and musician to do this well. playing to the extreme ends of the pedal- fullest capacity the tempo of which may SSJWA* GUILMANT as nearly as possible, on the Great. word phrasing. Further, it does not seem direct enough for board. Not long ago the writer saw a Melodies which have many repeated notes The part in which tying of notes is least a good attack. student do a long, slow phrase with the are not so well suited to solo treatment When HandsJ>lay Differently objectionable is the bass, usually played on These used to be quite common but are right foot which was plainly marked for felSs?RH^.S2:| organ School as those in which there are few. the pedals. But this part should rarely be rarely used now by the best organists. Oc¬ alternate feet. It sounded the same, but By Larelda Kraus 1 —- x-x uni i:_r- This must be followed as closely as prac¬ tied from one measure to the next. In casionally it may be wise to play one in a did the player get the mental and muscular Dr. William C. Carl, Dir. tical, without too frequent changes of reg¬ discipline she needed? No; it sounded makeMake believe our handsnanas aredie two chil-- PIPE ORGANS A Distinctive School for serious students. istration, which are disturbing and inter¬ all right; and, as she said, her teacher Iren going eight blocks, or eight measures MasterClass. Free Scholarships. Students fere with the unity of the hymn. “Variety (the usual length of a study). This chi , Our organs have ever been, noted for their pe Help us to Help You “did not say anything.” He probably was aided in securing positions. in unity” is the goal to be sought in church :he right hand, walks; and the other one perfS >±nC,e’,edS in 1844. Many The Etude Music Magazine has a large staff of contributing experts of world¬ too disgusted. Shirking the hard spots Write far Catalog music as well as in other matters. No inevitably forces one into General Medi¬ jets an aeroplane ride. Now at every registration should be indulged in -for the wide reputation. We are always glad to hear from our patrons as to subjects The Emmons Howard Organ Co. they would like to have considered in these columns. When the subjects are ocre’s vast army. :orner (bar-line) the. aeroplane is purpose of “showing off” the organ or the sufficiently broad in their appeal and general interest we are glad to have them Some students insist on having the bench to land 5(1 as to keen even with the child organist; let there be some other time for discussed. too close up. This interferes with good that. But we cannot expect a oongrega- knee and ankle action and in the end JULY 1923 Page 491 THE THE etude Page 490 JULY Professional J up to time gradually, which can be done where it rightfully^ belongs. ^Many an Directory Question and Answer Department When Autumn Comes Conducted by Arthur de Guichard H 2. ,hs $ and students return from vacations to their musical studies, gpSMasg --

THE EXPERIENCED TEACHER BEECH WOO 0 SSalTBSawg: toOue8tL,^aardinfi particular pieces^ ^1"^“^CcJ1na8^ienr^'. e*C" °0t “ke'5' *° ^ °' in knowing that Mr. Ira D. Sankey in you as director. will be ready for a prompt Mr. Moody’s meetings (except for an Playing the notes °f ^ satisfactory opening of yfTIER;R-DFERN l j.'$.SSTk 1 |§g He wouldl! seated at a reed organ from but do not lose yourself to the extent that which he did his directing, making an you forget the director. occasional motion of the hand at the be- The accompanist has an important part Next Teaching Season nfiNNlNG V Followingr thetb nation-wide wave of pros- HOSE SUPPORTERS ___jerity, the i L of 1923-24 is f with splendid c success, both a_ _ FuMziSgagg *tT being a good technical pianist or organist. sometimes happens, play the melody as an Every progressive teacher should be pre- He must^ be a quick thinker, kvel-headed, octave> and with^the left hand play the GILBERT isiHIS Hi

When things g/wrong for some Unknown Swell,^and^r melody on the Great.^an ORDER TEACHING MATERIAL head. In addition to.the' above play just enough NOW £BLgi»BBkSsSfag «fcrafegsa«S It is necessary to interpret each verse ahead jn anticipation of the beat. This art in accordance with the thought of the comes with experience, of course. For a number of years it has HAWTHORNE “‘fei with many teachers to order K? nntsT^me Keeping the Congregation on the Pitch plies well in advance of the se, /^Kristensen called for. Take, as an example, organists of KRIENS girS'S In addition to being able to transpose, jiturgical churches. who, if ^they possess Mt' For thee winiii ton XHStrt a^t*1***- sU'L ”” SYNCOPATION NEW~YORK-jSSSt" JJ;S rs'-rs „ .. interlude^t ^ which thfi pre]ude of any Other suggestions of minor importance TEACHERS^ WANTED here hymn is played has a vital effect upon the could be^ given, but ^ the ^ foregoing are EARLY ORDER PLAN PRETtYLEAFSSSSEU *’ This plan is to book the annual "On Sale” orders ‘sjidt intendedto te COTveyeTthroughte wWcTdoes^muct mt' only to kill the during the early summer months subject to delivery on ^Krlit^nsen message of the song. This cannot be spirit of the song service, but also that of or before a date specified by the teacher. Orders received up to August First are combined in one ship¬ : of As a ment prepaid to central distributing points and from there forwarded at a small expense to the several con- s to the limits of the position importantTtontabuIS0f1inuIh1moreaconIequenceSU tK certainty of having one’s music supplies on hand and vhich^may^ be^yours.^ The ready for use when the pupils arrive for their lessons.

hiving ethemUcardederout.e If'hf spite^f oTtoc service, thus gfving God the g Write today Tell us the

Mention the grades you will teach and the styles The Organist and 1 of pieces and studies you prefer to use. Inform us as to the date when the material should By E. H. P. reach you.

There are two somewhat divergent theo- end, with sci ries as to the place of music in the church tual consulta The Advantages of This Unique Service service. Each is good in its way, and it The most You will receive the best possible assortment of is no part of the duty of an organist to in the case o • d t d d d t material sent on our liberal ON SALE terms, all not used being returnable at the end of the teaching season where either one is the recognized custom, desire to carry out what I have alluded in June, 1924, when settlement is made. One of these theories is that the hymns, to as Wagneds principle. To^ attain this, You will benefit by having an adequate supply ‘ ‘ e the sermon, and the organist are necessary, and the lat- of material on hand when ready to begin next season’s form a sort of i t “praise ser- ter should show himself ready to carry out You will save a considerable part of the delivery n with it. - no close con P“able. : other theory is that all that takes should ask the minister to make an early

mood of religiou^emotion,rthulliding and pdate. ExalinCthese, rtT^aIistPwill SCHOOLS, COLLEGES, TEACHERS AND LOVERS OF IV abetting the ideas of the sermon. This is be enabled to select anthems having the

wll do away with^ the possibility of, THEO. PRESSER CO.

isCprovided11^ for'ly^the Prayer-book or of a hymn sulg at the same BRYANT SSSf of CONVERSECOllEG^S SS MM A JULY 1923 Page 498 THE ETUDE THE etude Page 492 JULY 1923 Left-Hand f it on an extensive scale. He used left- Paganini as a legitimate effect in bravura °lnd pizzicato scales, arpeggi and single compositions. Left Hand Finger Pressure A correspondent wishes to know how to «ntes and often wrote a left-hand pizzicato It is said that Paganini got his ideas for Many violin students fail to produce a play the following passage : Accompaniment to melodies played with left-hand pizzicato from playing the guitar, clear, resonant tone because they fail to the bow, in his compositions. In his day an instrument of which he was very fond. exert sufficient pressure on the strings with The Violinist’s Etude violinists of the severely classical school In guitar playing, descending slurred the fingers of the left hand. Every in¬ derided the use of the left-hand pizzicato passages are executed in a similar manner to left-hand pizzicato playing on the violin, struction book strives to impress on the Edited by ROBERT BRAINE smacking of charlatanism, but their pro¬ violin student that he must hold the strings fits failed to prevent its acceptance by except that the string is struck by a finger firmly to the , and that he must This is a passage in left-hand pizzicato. the musical world, and it has been used of the right hand instead of the bow, as It is the Ambition of THE ETUDE to make this Department let the left hand fingers fall with consider¬ The four fingers of the left hand are by good composers ever since the days of in violin playing, where necessary. in Itself able force on the strings; but how many “A Violinist’s Magazine Complete placed on the E string in position to pro¬ do it ? duce the notes designated. The first note It stands to reason that if the string is B is struck with the bow, preferably at not held forcibly to the fingerboard, the the point. The four fingers are then with¬ The Art of Bowing resulting tone will be muffled and dull, drawn, one after the other, from the without that clear, ringing brilliance so nec¬ A Late Start string, with a sideways, plucking motion, By Robert Alton essary in a fine tone. Especially is this which produces the pizzicato notes. The You may have the talent to develop into an internationally From a number of letters which have able to master music of moderate difficulty noticeable in playing pizzicato passages. fingers must exert great pressure on the ward movement of the upper arm from the . famous musician like Paul Whiteman. Paul Whiteman s been received, many readers seem to have in a passable manner. They can play in There is little doubt that the correct use *- -fes- Orchestra is the highest paid in the world. Hold the string lightly against the finger¬ string; otherwise, the pizzicato will not be elbow to the shoulder; but as the stroke gotten the impression that the editor of the violin duets, trios, quartets and other forms of the fiddle bow is an art, and one in ■fiSk Whether you expect to develop into a great artist, board, with small pressure, and the result¬ clear. There is a saying among .violinists progresses downward toward the tip, the violin department advised against any one of ensemble work, and in orchestras, ama¬ which in many instances it takes many •*||or just want to play for your own and your friends ing tone will be hardly audible. Then hold that one must have “fingers as strong as upper arm falls inward toward the body commencing the study of the violin after teur or sometimes professional, if the vears to gain thorough proficiency. Many y enjoyment, start your musical career with a the string against the fingerboard with steel” to play scale passages in left-hand and becomes practically stationary, the the- age of childhood. This mistaken im¬ music used is not too difficult for them. skilled violinists unhesitatingly assert great force, and the pizzicato rings out like pizzicato. Crosses are placed above notes work being done by wrist and forearm. pression no doubt gained ground through The late beginner in violin playing who that it is “the bow which plays the the tones of a harp. It is often a good intended to be played with left-hand pizzi- This movement is to. be noted in the work articles and brief answers to questions from has a genuine love for violin music gains fiddle;” and there is much truth in object lesson to the pupil to have him dem¬ of any good violinist, and the practice of correspondents inquiring whether a late additional advantage from his studies the statement. Fingering and the use onstrate this fact during the lesson, first through his increased understanding and In executing passages of this kind, it is sticking out the elbow at right angles to playing a note with light pressure, and start would prevent their becoming concert of the left hand generally form a enjoyment of the playing of concert violin¬ necessary to place the fingers over the the body is both ridiculous and ungraceful. then with very strong pressure. , The dif¬ violinists and fitting themselves for other simpler proposition than the correct use of ists and symphony orchestras. A man who string, somewhat to the left, so that they Many old-fashioned teachers of the violin True-Tone Saxophone ference will be so marked that he will never advanced professional work. In cases of the right arm; and no one who takes up started the violin at forty-five once said to can get a purchase on the string sufficient caused the pupil to hold a pad under his forget it, and he will strive thereafter to that kind, the answer has always been the study of the violin will progress far i the easiest of all wind instruments to play and one me : “I feel amply repaid for all my studies, to make it sound when plucked. It will armpit, while playing, in order to prevent exert sufficient pressure with the fingers of against trying for the profession with the unless the use of the bow is seriously i of the most beautiful. With the aid of the first three because when I go to a violin recital by a thus be seen that the string is not pressed handicap of a- late start. this tendency on the part of the beginner to ■ lessons which are sent without charge, the scale can be his left hand. great violinist I can appreciate his wonder¬ by the exact center of the finger tip, as is studied. , , , . . In playing rapid scale passages and runs, A young lady recently wrote to the de¬ Perhaps the worst fault of the beginner push out the elbow, and the practice was ful playing so much more. One has to the case when playing ordinary scales phyfngVpular’ musTc! PractiSjsTpleasme because letting the fingers fall with force on the partment, stating that she had been study¬ is a tendency to swing the whole arm from and is a good one. study the instrument in a practical way with the bow, but the fingers lap over the strings, gives them fine accent and rhythm. ing the violin for eight months, having the shoulder, instead of using the wrist and to know the wonders which these great string to the left, hooking the string, as Automatic Forearm Virtuoso violinists with very strong fingers started at the age of seventeen. She sent forearm (especially the former) for the violinists are accomplishing in their concert it were. It is to be noticed that the upper part of " entertainment, church, tete or »h«£ taH* often carry this so far that the audience a list of what she had studied in the eight Scale figures of this kind, in left-hand work. This fault throws the whole bow playing.” the arm from elbow to shoulder seldom or can hear their fingers striking the string months. This list included Kreutzer, Fio- pizzicato, require great strength in the out of correct alignment with the bridge, —it?. I. increases ,on, never goes backward beyond the perpen¬ and fingerboard, while they are playing in rillo, Rode and similar studies, and pieces fingers. The closer the plucking finger is destroys the evenness of action of the hair, dicular or vertical position. As soon as popularity and your opportunities, as well as your pleasure. concert. of a similar grade of difficulty. The course to the note produced, the more difficult it and produces a semi-circular action on the Stradivarius Violins the stroke of the bow downwards brings It is human nature, when both right and was one which a violin student of great is to make it sound. For instance, in the strings absolutely fatal to good tone. It is “Finest Instruments He Ever Heard left arms and hands are occupied, to make talent would have been proud to have fin¬ HoW many violins did Stradivarius make the one grave fault which the beginner the upper arm vertical, and in line with the following: Paul Whiteman recently wrote^^^ ‘much more the motions and pressure the same in both. ished in four or five years. The corre¬ during his long and busy life? This has must continually guard against. And the body, the forearm automatically comes into For this reason the student must be careful spondent then asked, at the rate she was always been a question of the greatest Ex.2 | -S most effective way of overcoming the diffi¬ action. not to develop the same pressure in both progressing, how long it would take her interest' to violinists and violin authorities. culty is the correct action of the wrist. Teachers differ much, as to the correct right and left arms and fingers. The work to appear on the concert stage. She stated Of course there is no possible way of as¬ No one who keeps the wrist stiff and rigid position of the fingers on the stick, and SntraS;dTrWeS in our occasional theatrical of each must lie independent. Very often that she would be satisfied with nothing this is accentuated by the difference be¬ certaining the exact number. One musical can possibly develop into a fine violinist. engagements or in our helped make famous Tom Brown, Art Hick- the left hand fingers will be exerting strong less than becoming an artist on the violin authority sets it at 2,000. Another, after tween various hands, and the length of it is difficult to make the A sharp sound, pressure, while the bow arm is exerting of the “very first rank” (like Elman, much historical research and tracing of Correct Wrist Action different fourth or little fingers. It is since the finger which plucks the string hardly any. Kreisler and Heifetz). The very first rank instruments known to be in existence at The simplest way perhaps to describe advisable, where possible, to keep the little is only a semi-tone distant from the second was underscored. present, puts the number at 1,116 instru¬ finger tip on the stick throughout playing, note. In the following example there is correct wrist action is to state that the Now, in a case of this kind, the only ments. Of these, 540 violins, 12 and but there are certain types of hands where hours a day is not uncommon o popular phonograph records are played Strad Prices no difficulty whatever in making a clear, hair of the bow must be kept parallel with thing to do was to advise the young lady 50 violoncellos are said to have survived. this is not feasible; and in these cases the lSXt££tSS& A.r

By Horace Johnson

Reprinted from The New York Sun. are good the native hesitates at entering Player’s Book “Few people realize the magnitude of the the jungle for this gum product, and the School for the Pianoforte-Volume III nhonograph business at its present stage of price goes up. When he is threatened with development or the remarkable possibilities famine the native makes the venture and ft possesses for further expansion. production of the shellac is greater. The By THEODORE PRESSER ."In 1908, when the industry first began price range in the last ten years has varied PRICE, $1-00 , .....me' large proportions, Department from a minimum of 21 cents per pound to $1.45 per pound. A Superb Offering for the A Work to Follow the Very Instruction of Progressing BEGINNER’S BOOK Young Players in the Various Phases of Piano STUDENT’S BOOK Technic:

sir? ,t"°“Eh ’ '' ,

iandaforeNew Material of this Grade THEODORE PRESSER CO., Philadelphia, Pa.

A ^ C,U.oS, ,«d PHILADELPHIA, PA. THEODORE

WHAT THE WORLD’S GREATEST PIANO _TEACHERS DEMAND-

™ sM-.s.r.s*-*ra” —-suays-vsr

THEODORE PRESSER COMPANY PHILADELPHIA, PA. JULY 1923 Page 497 TBE ETUDE THE ETUDE The World Of Music Page 496 JULY 1923 First Grade Book Polyphonic Studies (Continued from page iSS) For Violin Classes *‘K ho vantcliina lately Polishing Up Album of Trills ^^iibvva^ndian Legend For Beginners Monssorgsky * ^he opera under For the Piano By Mathilde Bilbro By Oscar J. Lehrer the baton of Konse w i t ski, jrtth *t Vocnl In Summer Teaching violin in class is no* °" J We have in contemplation a number of We are very glad to continue the spe¬ Tclve wh^wS later completed by Rlmsky- Ever see a physician’s library, a clergy¬ feasible according to the methods ot man's library, a lawyer’s library? What volumes of pieces for the pianoforte, which gfeceb,eVolces cial offer for this very primary work of Korsakoff. bj T ewnds fascinate and the Lehrer but really desirable. Since the will include all the phases of technic. We Miss Bilbro’s. We have no writer who about your own? Does it compare with lD-dTsetting of this Ojibwa Story is violin is as much of an ensemble mstru Gustav Holm,,uist know^^hrougbout those of men and women in other leading have in great part completed the volume excels Miss Bilbro in producing material ment as a solo instrument, paying with of Trills, which we now place on our mUSi /tractive2 Women’s clubs need nov- for the youngest beginner and in this little professions; or does it resemble the col¬ for programs and here is a thirty- others cannot be begun too soon, it ams lection of books that you might expect in special offer plan. work she has put in her very best effort. in the cultivation of rhythm and ot cor¬ This series of volumes will include a J number, worthy of study and very It introduces everything that is necessary Reszke and was decorated by the IS 3 the study room of the ordinary somewhat 'T'^in ng to audiences. There are no rect intonation. In Mr. Lehrer s Uw* Sweden in 1920. illiterate person? We have gone into volume each of the following: “The for the youngest child almost at a kinder¬ Method for the Violin, the students play Scales,” “The Arpeggios,” “Octave Play¬ en.„es and all choruses are either two or garten age, including hand position, and Hampton Institute of Hampton Yirglnia. studios of musicians that have been very solos < rrnjg accompaniment is for together right from the beginning, ah the u-irlv in May celebrated its expensively furnished with everything but ing.” There will be one volume contain¬ three-part. ^ much coior is thrown the rudiments as far as necessary. Spell¬ exercises being in three-part harmony. versary with elaborate^ musical JPro|ramS; the real mark of culture—a good library ing Miscellaneous Technical Devices, such ing lessons are also included. Besides, ’Tut ^ melodies, many of which are This book goes well into the first position. of musical books. Every musical book as interlocking passages, crossing of this, most excellent advice is given to ™v’hlbyf1^ ' thentic Indian. Ambitious school super- In Mr. Lehrcr’s new book, Polyphonic you buy is an investment, a step ahead, a hands, etc. These little volumes will all teachers. If you have any little tots in hor\he "en Memorial Organ by v isms will And this cantata splendid for Studies for Violin Classes, the third posi¬ permanent source of culture, inspiration be illustrated, not with technical ■ works, your class and want to stimulate interest tion and shifting are introduced, also some Candler GjMttglte. by but with pieces of medium grade. The anew in your work, do not fail to pro¬ and information. double stops. , , . K ^athaniel Detb Musical Director of Hamp- This issue is filled with advertisements first volume of Trills is now on special thTheraspecial introductory price in ad¬ cure at least one copy of this work. Our vance ^publication for one copy only is The special introductory price in of splendid books for the progressive offer, and we shall be pleased indeed to special introductory price is 35 cents, advance of publication is 40 cents per send copies of the same at the intro¬ making these returns there is a great music student and teacher. We shall be 35 cents, postpaid. postpaid. ductory price of 30 cents, postpaid, when copy, postpaid. Weeu wIs°cSebraTeTwUb NEW WORKS. saving affecting both parties to the tran¬ glad to send you a complete catalog on saction, and the having on hand of this request. If you have been short of good published. Six Pianoforte Pieces Church Orchestra Easy Opera adloinmg'Scitms”Ias|lwell_as‘almost all local Advance of Publication Offers— material as the season opens is of con¬ books pertaining to music, make the break By Charles Huerter Collection Album li/usieians'^took'a siderable convenience. The only condition this Summer and start in adding to your In these interesting piano pieces Mr. This new work will he similar in size For the Pianoforte leading part. home library any of the excellent works Brehm Modern Graded Course July, 1923 Sp,Pric“ that we ask in that particular, however, is Huerter has made some pleasing expen- and scope to our very successful Popular Among the most enduring melodies are Radio Broadenstink is still in that we must receive a payment on account by means of which you can make this For the Piano Orchestra Book. The contents of the new those from the standard operas. Although fV;,, os, far as the copyright regu- Album of Six Hand Pieces, Sartorio. of such On Sale Music which will at least Summer a source of real progress. Two By Edward Henry Earle book however, will be of a different considered by some as old-fashioned, and logons are concerned, that the loading music Album of Trills for the Pianoforte.... pay for what has been used from the or three weeks of intensive study with We have purchased the entire catalog character consisting more particularly of out of date, these melodies still go on, Betty and the Symphony Orchestra— package during the time it has been in the right book will often enable you to of the Brehm Music Company, which was music suitable to be played in Church or being added to occasionally by a gem from the customer’s possession. The amount to master some branch of musical work that r;^iSpSto^ 5 Bobolinks, Cantata—Busch . . formerly at Erie, Pa., and recently of Miniature A Nightmare, Shepherd’s Song, at various Sunday gatherings. I he in¬ some new work. A really good melody Brehm Modern Graded Course—3 be arranged by correspondence. One will help you add to the joy of living, to Los Angeles, Calif. This catalog is now Marche Bit - h s'que, Romance Joetique, strumentation will be the same. The parts, lasts forever. In our new collection will ESStfiHr£SCi“a^com^b more word ip this regard is important; say nothing of increasing your earning in our possession, and there are a great False Burlesque. The pieces will be pub¬ while easy to play, will all be effective and be included easy arrangements ot num¬ Church Orchestra Collection—Parts, each additional material will be cheerfully sent power. Pick out ypur Summer study many standard works included in it. We lished collectively in book form. the combined effect will be full and rich. bers from all the standard operas to¬ Church Orchestra Collection, Piano. mnsleafree to afd In the sale of their apna- to enhance the value of the On Sale Music book now and add one more unit to your will make an offer from time to time of The special introductory price in In addition to the regular string parts gether witli the best from the newer works Concerto No. 1. Violin and Piano— left on hand and our regular New Music and at the same time to charge the library. A new book a week will make several of the most important of these advance of publication is 30 cents per there will be parts for a Solo Violin and All of the numbers are carefully edited phonograph companies a royalty, seems at Easy Opera Album—Piano Solo...... On Sale packages sent out during the this an unforgetable Summer for you. works. for two Obbligato Violins (these latter and fingered so as to be well adapted for Etudes Miniatures—Terry. teaching season of new attractive music, copy, postpaid. This modern Graded Course by Mr. very easy). The Clarinets and Cornets are teaching purposes. This collection will be First Grade Book, Bilbro. a small package four or five times during Summer New Music & the radio to one^articular set of customers First Piano Lessons at Home—Piano Earle is in three books about the size of School of Violin Technic in B flat throughout. one of the best ever compiled. so that one company can have the oetiem Book No. 2 and Writing Book No. 2.. the teaching season, will also add greatly Packages . The special introductory price in The special introductory price in of sales of particular broadcasting service. to the usefulness of the stock. the books in Mathews’ Standard Graded Exercises in the First Position Forgotten Trails, Song Cycle—Lieu- Thousands of our patrons are acquainted Course and the three grades take tire advance of publication is 15 cents for advance of publication is 35 cents per Music not desired should be returned By O. Sevcik; Op. 1, Part 1 each instrumental part; 30 cents for the copy, postpaid. accomplished‘h^the not*istantfntuVUntil during the summer months so that com¬ with our Monthly New Music On Sale pupil along to between the third and Since the advent of the Sevcik studies thnt'tFme conies most of the leading artists of Plan. Many of our patrons continue their piano part, postpaid. this and other countries, who are under long plete settlement can be made before Sep¬ fourth grades of that course. The selec¬ in violin teaching, little else has been used New Instruction Book teaching to some extent during the sum¬ tions are all of a very pleasing order and term contracts with phonograph companies tember 1st, and in that connection there in the line of technical exercises. W e will For the Piano and with concert managers, have been Pr0‘ e 491.. is one very important direction, viz. upon mer months and to those this note is they are well done in every respect. It add to the l’resser Collection, Book One Album of Piano Pieces particularly addressed. To all who desire By John M. Williams Mon-dah-min—Cantata—Bliss . the outside of every package returned will make a very excellent short course of of the Studies Opus One. This book is For Six Hands "s ’KSSSSSBASS Musical Progress—Finck.. it, we will send a small package of either This is the -only instruction book in our whether sent by printed matter mail, or study for students who do not wish to devoted to an exhaustive study of the New Album of Marches . piano or vocal music or both, one pack¬ Composed and Arranged catalog that introduces the bass clef at express, or parcel post, there must be take the entire course of ten grades. The First Position. Intervals, scales, arpeg¬ Wood company ; J. Fisher ^.^other, rani New Four-Hand Album . age in July and one package in August. By A. Sartorio the same time as the treble clef. The ten- A Schmitt; Clayton F. tummy , Hinds. Haydn New Instruction Book—John M. Williams •written tfie name and address of the plan is very much the same as Mathews’ gios and double stops are treated in the The packages are made up of our latest This will be the first six-hand collec¬ dency nowadays is to introduce both cleis nnd Eldridge: Boosoy and Company , G. Schn- Oratorio Songs—4 Vols. (See Singer’s sender in order that proper credit be Graded Course. The selections are for most thorough manner. All forms or men Inc . and the Theodore Presser Company. publications, the discount the same liberal tion in our catalog. Mr. Sartorio, who at one time and some of the best teachers Etude, Page 485) each.. the most part different, but of the same bowing are also exploited. Our new This means that until further notice the pub¬ Polyphonic Studies for Violin Classes— one as given on regular orders. The has had a long teaching experience and will use no other method. It is well character, and we take great pleasure in edition of this work has been prepared lications of the Theo. Presser Co., including Lehrer . music not used or desired to be returned who is highly gifted as a writer of educa¬ enough for a teacher to try this method, the compositions appearing in The Etude, may Scene de Ballet—deBeriot. Presser’s Mail Service recommending this work to our readers as especially by one of Mr. Sevcik s best be broadcasted without payment of royalties. School of Violin Technic, Sevcik Op. : To Record Buyers at the convenience of the patron. A it gives variety and interest to both tional piano music, is especially happy in and here is the opportunity. Mr. Wdhams postal card will bring these packages to pupils. his various ensemble arrangements. In is a very practical and interesting writer Merle Aleocli’s engagement with the Part 1 A Boon to Vacationists teacher and pupil. Our special advance The special introductory price m Six Piano Pieces—Huerter. any responsible teacher or professional. price for each grade will be 35 cents, this new album will be found original of instructive works. His works have met Metropolitan Opera Company, for the next Music forms an important part of many advance of publication is 30 cents per season is one of the most interesting an¬ postpaid. six-hand compositions by Mr. Sartorio, as with enormous success, and we arepleasea vacations, especially since the talking copy, postpaid. nouncements to those desiring recognition or Bobolinks well as some very effective arrangements to become the publisher of this one. it American talent. Summer Business Hours machine makes it possible to take any¬ of standard works. All are new and takes the pupil through the early grades From June 15th to the early part of where music for dancing or entertain¬ A Cantata for Fruits of the Spirit Musical Progress Arizona Leads the Slates in .the num¬ especially written for this volume. The in a most thorough manner. The advice ber of Life Memberships to the National i' ert- September, just before the new teaching ment. Those who take advantage of Treble Voices By Mrs. Theodore Presser By H. T. Finck pieces are all of easy or of intermediate given throughout the work to both adding to their vacation enjoyment by eration of Music Clubs as well ns in the num¬ season opens, our business hours will be By Carl Busch Mrs. Presser believed that there was a A fine name for a mighty interesting grade, just the thing for recital or exhibi- teacher and pupil will be found extremely ber of clubsi in propproportion to its population. A shortened because of the hot weather. It music will welcome the opportunity to This bright, tuneful cantata will have and helpful book. Mr. Finck has spent a tion purposes. valuable. Do not pass by this offer as W»r asks. “Have you really trained secure promptly records of new numbers harvest time in every life and that the o sing, too?" is always our desire to attend to every its first hearing in Kansas City early this harvest time was the result of constructive lifetime in the musical whirlpool of New The special introductory price in you will surely regret it. It cannot be or others not in their vacation record order on the day it is received, hut stop¬ Fall in a concert of works of Dr. Busch thought focused upon the useful and York, as one of its leading factors. He advance of publication is 35 cents per bought for double the price when once it ping at five o’clock in the afternoon and library. This opportunity exists in Presser under his direction. beautiful things that come to us every has made manv journeys to far off lands copy, postpaid. is on the market. Our special advance of net in Providence. R. I., May 22-24. for its one o’clock on Saturday means that there Mail Order Service. Any order for pro¬ third annual convention. An interesting tea It is a short cantata for children’s or day. With words, beautiful and inspired, observing musical matters, everywhere. publication price for the work, postpaid may be a slight delay in orders that would curable Victor or Brunswick records ture of their programs was an ensemble o women’s voices. The text is most happily she pointed the way in Fruits of the Out of the riches of such a musical life King of Kings and nearly a hundred harpists, probably the larg be received after these hours. will be filled accurately and a carefully is 40 cents. chosen and the lilt of the music becomes Spirit. It is fine to have so many of those he has collected this volume of material, Lord of All est ever assembled. Our customers will appreciate the wrapped bundle containing the records, very lovely for children to sing. School Etudes Miniatures reason for any slight delay that may insured against breakage, will soon r«ach who have books, rich in practical inspira¬ giving only those things which are enter A Christmas Cantata Supervisors will find Bobolinks suitable tion, write us and tell us how delighted taining, informing and likely to help the Easy Study Pieces occur. We would say that this refers you. Those who do not have accounts By R. M. Stults !, with Wassill Leps as conductor and Leo for real study. Full orchestration may be they are with it. Perhaps you need such active music worker in progressing in ms Select a Christmas Cantata early in the By Frances Terry particularly to nearby customers and a may send an approximate amount • with rented from the publishers. The time The practice of these studies should nold Stokowski, guest conductor. \\ ith a mem a work right now to encourage you, to life work. The advance of publication season and begin rehearsals of the more bership of 108 musicians, it aroused mncl little care in the time of sending orders to order. required for rendition is about fifteen prove a real delight to the student. They made the road a little easier for you, to price is 80 cents. difficult parts so that every singer may enthusiasm in Its first audience. us so that they would not be received late Selected record lists and folders with minutes. Our advance of publication offer Ire tuneful throughout and have much in the afternoon will even so arrange mail price quotations on portable Victrolas and help you see the bright side of things. not only know the notes, but may be able for one copy only is 30 cents, postpaid. The special introductory rate is 60 cents. rhythmic variety and harmonic interest. delivery that there will be no delay what- Brunswicks will be sent cheerfully to Scene De Ballet to interpret the different shades of mean- They are not at all conventional in type. those desiring to receive them. in,, as expressed by the composer. ’Hus Any student who has about completed BULLETIN OF THE PRESSER HOME FOR This is an early vacation suggestion, but Betty and the" For Violin and Piano new Christmas Cantata for Mixed Voices First Piano Lessons at Home By Charles De Beriot second grade work will be able to take up RETIRED MUSIC TEACHERS On Sale Returns and the perfect vacation is the well planned Symphony Orchestra xx-itli solos for each of the voices, 1S 111 these studies to advantage and through We announce with deep regret the death of Piano Book No. 2 De Beriot’s Scene de Ballet, is one two parts; The Promised King and The Mis= Elizabeth G- Shearer, Superintendent of Settlement of Account By Elizabeth A. Gest of the picturesque violin pieces that all New-Born King The choruses are withm them, work into the third grade. A new Writing Book No. 2 book of studies is always of interest both the Prosser Home, on Wednesday, May 16th. Under this head in the June Etitde Forgotten Trails This is just the story of the instruments By Anna H. Hamilton soloists delight in playing. It is also most the ability of the average choir and the Miss Shearer hod been connected with the particular directions were given with of the Symphony orchestra, told in story useful as a teaching piece. De Beriot to teacher and pupil. It is well not to Home for five years and her passing was Song Cycle This is an original work by one of our get into a rut using continually the same regard to the settlement of accounts of form for children, and illustrated by cuts knew the resources of the instrument as tinwrequiredfm^rendition iSPabout thirty- keenly felt by the residents, many of whom customers dealing with the publishers of By Thurlow Lieurance leading educators. It is one of the works curriculum of studies. remember her for numerous kindnesses. She of the leading instruments. You are sure well, if not better than any other writer was born in Scotland and during her early the Etude, Every customer on our books We take pleasure in announcing a new to like it for your club. The book is now that the critical teacher will be glad io for the violin. Our new edition of this The special introductory price m advance of publication is 35 cents per life was a teacher of music. Tho funeral received a statement June 1st, and with volume of songs by Mr. Thurlow “out,” but we are continuing the special know, as it leads the pupil along pleasant work is being prepared with the utmost services were held on Saturday, May 19th. rfir-postpaid. 0"—“sr* that statement very careful directions were Lieurance. Of later years, Mr Lieurance introductory rate of 5 cents for the paths and makes the study of music in care and carefully re-edited after com¬ copy, postpaid. interment taking place in the cemetery lot of given with regard to the settlement of the has been known chiefly through his brochure. the early grades a pleasure, which is a parison with all previous editions. the Presser home at Ivy Hill. monthly account and the return of On transcriptions of Indian melodies, includ¬ rare gift. Many studies for the small New Four Hand Album Gallia—For Mixed Voices Spring flowers and foliage completely en¬ The special introductory price in circle the Home at this time and it may Sale Music and the settlement of that not ing the wonderfully successful song, By children are very technical and uninter¬ advance of publication is 30 cents per For the Pianoforte By Charles Gounod the Waters of Minnetonka. Mr. Lieur¬ Etude Prize Contest esting, but the works of Mrs. Hamilton We have in preparation a new hour In the Fall, before it is time to begin he seen now at Its best. Germantown is returned. copy, postpaid. noted for the beauty of its innumerable All accounts for regular purchases are ance, however, has a vein of original mel¬ For Musical Compositions have made the paths pleasant, and we are Hand Album for the pianoforte. These work on Harvest or Thanksgiving music, trees ■ and the district of the Home resembles expected to be settled at the present time, ody of his own. This is more particularly The Etude Prize Contest is now closed very glad indeed, to become the publisher New Album of Marches selections will he of medium grade and choir leaders need some special works to a beautiful park. No now residents have the end of the teaching season being the displayed in the new Song Cycle now and the manuscripts are all under con¬ of this work. Volume 1 of this work has rehearse and study. Gallia is a short been admitted lately, hut many applications under consideration. In this work, only sideration. The utmost care will be taken already been placed on the market. This For the Piano cantata for Mixed Voices and is not too have been received and are now being given We are preparing an adapted work for difficult for a good volunteer body of a few Indian themes are used and these in making the final awards and as soon is a continuation of that volume and also C°OndeMay°n31st a group of young people regard to the settlement of the On Sale but briefly. These songs are all full of as definite decisions are rendered the includes a writing book which is to go marching marches. These are inarches to singers to do well. There is fine oppor¬ from the Philadelphia Music Settlement account is, however, of great importance, romance and the spirit of all outdoors. results will be announced. After this, as hand in hand with the above book. You which you can “keep step.” They are suit¬ tunity for a good soprano soloist and the SchooL under the direction of Mr. John of greater importance even to the cus¬ The songs are named as follows: In My soon as possible, all the manuscripts which will not be disappointed in ordering copies able for outdoor marching, gymnasium choruses offer many splendid moments for Grolle1,’ gave an evening“we^talenf and tomer than to ourselves. Bark Canoe; Far Off, I See a Paddle have not proven successful will be returned of this second part, and our special work, and also for indoor recreation. The ieDVand the grade will he uniform. Most training dlSSfsstoE. S. Drummond, head of It is perfectly satisfactory to us that Flash; A Grey Wood Dove is Calling; to the senders. We wish to take this advance price is very reasonable. It gives- selections will be taken from the more S,'EVd™« o, publication p*e *. any On Sale Music of a character that may On Cherry Hill. opportunity of extending our thanks to the teacher an opportunity to examine the modern marches, and great pains have one copy only, is 15 cents, post],aid. by the philanthropy of Mrs. Edward Bou. be of further use during the summer or The special introductory price in all the participants for their interest in new work at a very small outlay. The been taken that each selection will be a (Publisher’s Notes continued on Page 498) during the coming teaching season of advance of publication iS 40 cents per the Contest and for their generous advance of publication price of the above gem. Our special introductory price tor 1923-1924 need not be returned. By not copy, postpaid. representation. books is 50 cents, postpaid. this volume is 35 cents, postpaid. JULY 1923 Page 499 THE ETUDE THE etude Page 498 JULY 1928 =3= Concert No. 1 Summer for Violin and Piano Addresses By J. B. Accolay , If you wish the Etude to be delivered Schools and Co\\e£&& to your summer address, let us know There are certain works which have be¬ promptly, giving us both the old and new come standard in violin teaching. This is Schools and Colleges address and we will be glad to have it especially the case with some of the compositions of the lesser classic writers forwarded. Make a mental note to advise NEW YORK and NEW ENGLAND for the violin. The Concerto by Accolay, us at least three weeks before your con¬ for instance, is almost indispensable as a templated return to your city or winter preparation for some of the larger con¬ address, so that no copies will be missed of Courses: Music all branches in the fall. certos which follow it. It is a regular New York lo- including Public School, Ithaca Conservatory of Music compendium of all the best devices in ation overlooking the Hutud- Drawing, Painting, Dancing, Quine, Bert Rogers conventional violin technic. Our new Watch the vocal, Herbert Witherspoon, Director. School on. Beal home life ft Lyon and other assistants. edition of tills work will be edited with Expiration Date Dramatic Art. and Leschetizky. Seven assist- the utmost care. Following the address on the wrapper BSidence pupils. New York Piano, Leon Sampaix, Director, pupil t of Music Celebrated Faculty: Ealfe The special introductory price in enclosing your Etude Music Magazine, Violin, W. Grant Egbert, Dean, pupil off Seveik.Se Caesar Thomson, advance of publication is 35 cents per copy, you will find a date and a number. This and Arts L. Sterner, voice—Salvatore Affiliated Master Teacher, and six assistants. postpaid. will tell you when your paid for sub¬ iividual Fucito, Caruso’s accompanist Organ, James Quarles, Director. Official Organist Cornell Univer-Un scription expires. For example:— and coach—Arthur Fri sity Preparatory, Academic, Post Graduate and Special Courses. Advance of Publication Mr. Joe Doe, Apr ralfe leech sterner ;r;e:;0;porat::iti:rfor Splendid equipment of eleven buildings iMludi^ four dormitc heim, piano—Paul S'foevi Schools ium, gvmnasium, sorority and fraternity buildings, et . Offers Withdrawn 11 First Ave., 24 Director j;c appearance. Free cl: violin—Frederick Biesbi approved by the New York State Board of Regents. Books Now Issued Racine, Six Weeks MASTER CLASS Conducted by the Great Pianist and Teacher Wisconsin Diplomas and teachers' Six Affiliated Schools In the Forest. By Homer Grunn. Price Apr with the 24 under it signifies that 150 Riverside Drive tificates. Entertainmen ...... _ nnv,..i FvTvrocKion and Dramatic Art. George C. WilliflDB, Dean, 75 cents. Here is a little collection of nine the subscription is paid up to and in¬ Mme. Marguerite Melville Liszniewska .-o^GradSte ^^^ate^anTbla^ insTmc^fon? nature study songs, vocal or instrumental. N. Y. city reau. cluding April, 1924. Make it a point to This is one of the most usable collections Intensive Course in PUBLIC SCHOOL MUSIC (State Accredited) for Six Weeks send your renewal at least one month ” hno‘. « of compositions in about the second grade before the date of expiration which will From June 15th to July 28th, 1923 that we have issued for y. long time. They may be used as piano solos, vocal solos, prevent the possibility of your missing a single number should your name be Progressive Series of Piano Lessons recitations or even produced in costume dropped. See the card on page No. 3 of All Departments open until AUGUST 1st. Students may enter at any lime as a little woodland sketch. every Etude in the upper left hand corner Send for announcement to Bektha Back, Directress, Highland Avenue and Oak Street, Cincinnati, O. The Golden Whistle. By Mrs. R. R. governing subscription expirations. Forman. A Juvenile Cantata. Price 60 cents. The words are by Gertrude Knox A Little Care Will Help Willis. This is a work well worthy of Us to Help You Announcement To Teachers examination of every leader interested in When writing regarding any Etude giving works of this character. The story subscription be sure to give us your full DUNNING is most interesting and the tunes catchy, name and address. If you have moved bright and easy, fcostuming very easily to another town during the term of the SYSTEM done. Both Mrs. Forman and Mrs. Willis subscription, give both the old and new OF are known for the successful creation of address. Our lists are filed geograph¬ IMPROVED works of this character. ically by state and town, and then alpha¬ MUSIC STUDY Sixteen Recital Etudes, Op. 58. By betically by name. Where addresses have Inc. been changed, unless we have both the old Ludwig Schytte, Price $1.25. A new Enables You to Teach Systematically, collection of studies by this very popular and new one, we cannot make adjust¬ ments. Intelligently, Thoroughly composer in about the grade of Heller and Interestingly Op. 45. They are made particularly to develop technic and cultivate style in Beware of Fake Practical Normal Training Courses G Subscription Agents for Teachers Will Be Held SUMMER and FALL CLASSES—Columbus, Look out for the man or woman who PIA _ Dayton, Bellefontaine, Cincinnati, Ohio; New York Golden Memories. By Mrs. H. B. uses the subscription sale talk- that they Atlanta, Ga. Cornell Hudson. Price 90 cents. One of the most are working their way through college. MID-WINTER—Miami, Fla. Music Hall where Grand Opera is staged and Courses for For Information and Catalog Address PIANISTS-TEACHER popular and useful children’s instruction Ninety-nine per cent of them neither have the City’s Musical FestivaU are held: Miss Adda Eddy, 136 W. Sandusky Ave., Bellefontaine, 0. __ ACCOMPANISTS |fv*. A Summer Session by the Sea books upon our catalog is the little work the desire noy the inclination to enter SUMMER entitled A. B. C. of Piano Music, and this ' college. We would be glad to help any Piano, Pipe Organ, Violin, Effa Ellis Perfield F. L. Willgoose will conduct a Summer School , work follows that. While the A. B. C. and young man or woman to secure a college Orchestra, Voice, Theory and New Address ' right on the beautiful North Shore of Long Island | other of Mrs. Hudson’s books use capital education if he or she is sincere, but we Composition, Drama. Public letters instead of musical notation, this positively will not be a party to a mis¬ 121 Madison Avenue (30th Street) tt»chers and at the same time get strength and book goes one step further and gives in representing swindler. Daily complaints School and Church Music De¬ L CATIONAL AGENCY addition to the capital letters the musical come to us from all sections of this partments. NEW YORK CITY MRS. BABCOCK notation as well. One of the most attrac¬ 1 Block off Fifth Avenue VACATIONS ,n country and Canada, where our music-lov¬ J’VFFERS Teaching Position*, Col- B - SEND FOR ILLUSTRATED BOOKLET TO tive points of this book'is that the melodies ing friends have been victimized by un¬ Internationally Famous Faculty of Artist COURSES IN are taken from familiar hymns, folk songs, Teachers. Dormitories. For Catalog Address VJ ie?es, Conservatories, Schools. MRS, F. L. WILLGOOSE, “Grey-Gables,” Centreport, L. I., N. Y. || scrupulous men and women. Also Church and Concert Engagements etc., and arranged in a very easy manner. Do not pay any money to strangers. If i Music, Musicianship The College of Music of Gncinnati, Melodious Elementary Etudes, Op. 161, the agent is unknown to you and you feel kI and Pedagogy CARNEGIE HALL, NEW YORK By Franz T. Liftl. Price $1.25. These chary about giving him money, take his Elm and Grant Sts. Cincinnati, 0. piano studies are for early’ third grade name and address, send the money to us ' SUMMER MUSIC SCHOOL work and are devoted almost entirely to and we will see that he gets whatever remuneration is due him. Take no chance August 20th to September 8th Crane Normal Institute of Music touch and mechanism, melodious and with Training SchooMo^p^rs o. Mustc^ marked rhythm. Fifteen studies progres¬ and avoid vain regrets. European Tour June and July „ Mewtngland , sively arranged. Premium DANA’S MUSICAL INSTITUTE Orpheus Collection. Price 75 cents. Here Workers WARREN, OHIO The Courtright System of Musical to is a work of more than ordinary useful¬ Note the following attractive premiums THE SCHOOL OF DAILY INSTRUCTION IN ALL BRANCHES OF MUSIC 'ftp 'for partirulars of Conservatory « MAIN ST., POTSDAM, NEW YORK ness, nothing difficult, but many choruses which we have secured for our friends SUMMER SESSION OPENS JUNE 18th Kindergarten mLvpuou....- : Courtright Card, 116 Edna Are., Bridgeport, Co are included, every sort of character and which do not appear in the premium Our concerts are broadcasted each Wednesday night from^eigjit to nine. Eastern Standard Time. represented. Humorous, serious, descrip¬ George W. Chadwick catalog. Any one of these gifts will Address LYNN B. DANA, President * ” Desk E, WARREN, OHIO Director OF MUSIC tive and dramatic. All amateur organiza¬ prove entirely satisfactory, in fact, you’ll BOSTON, MASS. tions. community clubs, choral societies be surprised. VIRGIL SCHOOL OF MUSIC will be interested in this volume. This is Located ^in the Music Center A New Hot Dish Mat.—Egyptian deco¬ Founded by the late A. K. Virgil the work that has been offered at the ration, 6" in diameter, something similar advance of publication special price as to what our old friend. King Tut used anization and splendid equipi dvantages to the i Secular Mixed Chorus Collection. 30 centuries ago; only one new sub¬ FIVE WEEKS’ SU(1S*^l£^.h. scription. Complete Orchestra Forty-four Pedal Studies for the Organ, Complete Ci Off< Op. 48. By J. Schneider. Price 75 cents. Red-Reminder Coupon Memo. Pad—• Courses in ™ch of Music, appliec Smooth, brown leather, has a card packet; A standard work but made more valuable Send Ten Cents for INGRAM’S BEAUTY PURSE and superior in all respects by the editing only one new subscription. al Training 7»“»™ai igSSt.-.graduate, are much In Dramatic Dgh.^ of Mr. E. A. Kraft, the well-known con¬ Powder Case—New and practical, both Frederick’F. Ingram Co.,’43 10th St., Detroit, Mich. cert organist. These studies are of partic¬ beautiful and convenient, containing both I The Weigester Summer School of Vocal Music powder and rouge, with individual puff, GENTLEMEN:—Enclosed please find ten cents. Kindly Addreas Ralph L. Flanders, General Manager ular interest owing to the increased study send me Ingram's Beauty Purse containing an eiderdown powder ■I Oh,.. Ju,y.8,h,.AUW..»t- 'K3. of the pipe organ at the present time. large mirror, hammered silver; two new pad, samples of Ingram’s Face Powder, Ingram’s Rouge, subscriptions. Ingram’s Milkweed Cream, and, for the gentleman of the The above works offer a varied and house, a sample of Ingram’s Therapeutic Shaving Cream. The Entire Ground of Vocal Study is covered by means of . valuable list of new publications from one Jiffy Card Case—A real card case, offering protection to the edges of your ANNOUNCEMENTS OF THE LEADING publishing house during one month and Name. we ask for every one of them the careful visiting cards, no chance to soil; one new Lecture, Class and ^ates*0 1<>n SCHOOLS AND COLLEGES IN THIS ISSUE consideration of our patrons. The works subscription. SUPERIOR TRAINING AT MODERATE RA Street. CHICAGO—Panes 500-501-502 are now on the market, the special in¬ Cuke Basket—Implated, frosted silver, WrUe ,or Booklet E Carnegie Hall, New York CurCity E PENNS Y L, VAN in—jr age 914" in diameter, 7%" high; only six new MIDDLE WESTERN-Pages 500-501 SOUTHERN—Page 502 troductory prices withdrawn, copies can NEW YORK—Page ““ now be obtained at the regular prices, or subscriptions. City- Referent any or all of these works may be obtained Prophylactic Hand Brush—Solid black State ■ for examination with no cost except for walnut, 4V2x2", with five rows short stiff o every established Teacher, School and College [I The Et Tofessional Directory is open postage. black bristle; only one subscription. JULY 1923 Page 501 THE ETUDE THE ETUDE Page 500 JULY 1923 =^7= AMERICAN CONSERVATORY Schools and Collides <® CHICAGO’S FOREMOST SCHOOL OF MUSIC CHICAGO AND MIDDLE WEST 38th SESSION COMMENCES SEPTEMBER 10, 1923

offers superior courses in all branches of music and dramatic art, including Master School. Diplomas, Degrees and Summer Master School 4 Tochers’ Certificates granted by authority State of Illinois. Thorough preparation for concert, opera and teaching positions. Many special features, recitals, concerts with full orchestra, lectures, etc. PROF. LEOPOLD AUER RICHARD HAGEMAN Master Violin Instructor of the World Noted Coach and Accompanist EXCELLENT DORMITORIES OFFER ACCOMMODATIONS AT MODERATE RATES PROF. XAVER SCHARWENKA UNSURPASSED FACULTY OF ONE HUNDRED ARTIST-INSTRUCTORS Master Piano Instructor of the World PERCY RECTOR STEPHENS Notable Teacher of Teachers Among these might be mentioned HERBERT WITHERSPOON PUBLIC SCHOOL MUSIG-0. E. Robinson. ORGAN — William Middelshulte, Frank Van Famous Singer and Teacher CLARENCE EDDY PIANO—Heniot Levy, Allen Spencer, Victor Gar¬ HARP—Enrico TramOnti, Clara L. Thurston. wood, Silvio Scionti, Louise Robyn, Kurt SCHOOL OF ACTING AND EXPRESSION Dean of American Organists Wanieck, Earl Blair, May Doelling. MUSICAL THEORY, COMPOSITION- _A. Louise Suess, Luise K. Willhour OSCAR SAENGER Adolf Weidig, Arthur O. Andersen, John Celebrated Vocal Instructor and Operatic Coach VOICE—Karleton Hackett, E. Warren K. Howe, Palmer,^ ’ - LeoT zo Sowerby.Sowr-k" Stage Training, Public Reading, Dancing. Charles La Berge, Elaine De Sellem LEON SAMETINI VIOLONCELLO — Robert Ambrosius. THEATRE ORGAN SCHOOL— FLORENCE HINKLE Renowned Violinist and Teacher VIOLIN—Jacques Gordon, Herbert Butler, Adolf Frank Van Dusen America’s Foremost Soprano Weidig, Ramon Girvin, Hansdans Muenzer. and mtin^ others. And the Regular Faculty of Over 100 Brilliant Artist-teachers in Attendance GUEST INSTRUCTORS, 1923—Josef Lhevinne/William S. Brady, Delia Valeri, George H. Gartlan Also Private and Class Lessons with all Teachers_ UNEXCELLED NORMAL COURSES IN PIANO, VIOLIN, VOCAL AND __SPECIAL PUBLIC SCHOOL MUSIC COURSE__ Site LYCEUM AND CHAUTAUQUA ENGAGEMENTS SECURED TEACHERS’ CERTIFICATES AND DEGREES Exam.nat.ons Free Cata.i* mailed free on app..cat.on Moderate Tuition Rates Teachers’ Certificates and the Degrees of Bachelor of Music, Master of Music, Doctor of Music, Bachelor of Oratory and Master of Oratory will be conferred at the end of the summer session upon candidates who show sufficient knowledge and who take the required studies. AMERICAN CONSERVATORY, 571 Kimball Hall, Wabash Avenue and Jackson Blvd., Chicago Full details in Summer Catalog. Complete summer catalog on request. Lesson periods should be engaged now. AMLKlb ; HATTSTJEDT, President—Karleton Hackett, Adolf Weidig, Heniot Levy, Associate Directors

playing. Free Scholarship Application Blank on Request-t Complete summer catalog on request. Lesson periods should be engaged now. Private an FREE SCHOLARSHIPS Class Lessons may be arranged with all teachers. Teachers’ Certificates and Degrees Conferred at Close of Summer Session. PIANO, VIOLIN, Fall Session Opens September 10 Dormitory Accommodations Complete Catalog on Request The COSMOPOLITAN VOICE, ORGAN, 620 South Michigan Ave., SCHOOL of MUSIC PUBLIC SCHOOL MUSIC, DRA¬ CHICAGO, ILL. and DRAMATIC ART MM MATIC ART. CHICAGO MUSICAL COLLEGE IYyceu/a < DR. CARVER WILLIAMS, President Complete courses FELIX BOROWSKI, President DR. F. ZIEGFELD, President Emeritus CARL D. KINSEY, Manager An eminent faculty of 60 artists offers to prospective students courses of study SCHOOL leading to degree, based upon the highest standards of edu¬ BACHELOR OF neapolis cation, also courses in collegiate studies MUSIC. for students unable to attend university. # _Lake Forest w — K T bflSERVATORY Dormitory accommodations $6.50 per Week ALPARAISO SUMMER SCHOOL-Jane 25th-July 28th feJBI School Of \/AL 0. (incorporated) For information, address Dept. E Write tor free catalog E. L. STEPHEN, Manager Fall Term Opens September 10 50th Year Music V I J NIVERSITY 16th Floor Kimball Building, Chicago. HI. DETROIT j ' MARTA MILINOWSKI W Founded in 1873 A School of Music and Dramatic Art Music” course fitting young women for positio: AN UNPARALLELED OPPORTUNITY Minneapolis School of Music, Faculty of collegiate standing and train! SIGHT READING imong the members are Marta Milinowski, E COURSES IN ALL BRANCHES MADE EASY FOR PIANISTS ORATORY AND DRAMATIC ART CONSERVATORY of The University School of Music Pianists can become perfect sight renders by studying my conn [i * The Art of Sight Reading.” Sight reading isniit^^gl^ an WILLIAM H. PONTIUS Dir^or^ramatic^rt offers courses in Piano, Voice, MASTER FACULTY INCLUDING: Dlr«:eSrSo. MINNEAPOLIS, MINN. /TV Francis L. York, M.A., President Violin, Organ, Theory and Public Summer Session of Six Weeks Ilf I I M I _ Elizabeth Johnson,Vice-President ELIAS DAY, opens June ISth Address Registrar for catalogue. School Music. Students may Finest Conservatory in theWest attend the Music School and President and Director of Dramatic Department LAKE FOREST SCHOOL OF MUSIC DANFORD HALL, 4817 Christiana Ave.,Chicago,Ill. also take the regular work at THEODORE HARRISON, .Offers to earnest students courses of study based upon the best modern Box 14 Lake Forest, Illinois PERCY FULLINWIDER the University. Director of Music Department and Teacher of Voice VIOLINIST and educational principles. Renowned faculty of 80. Students’ Head of Violin Department orchestra, concerts and recitals. Diplomas and Degrees conferred. WISCONSIN SCHOOL of MUSIC LAWRENCE CONSERVATORY LAWRENCE CONSERVATORT Teachers’certificates. Desirable boardingaccommodations. Ada Bird, Founder Fall Term Opens September 10, 1923 APPLETON, WIS, The beautiful capital city of Madison, ‘‘City of Four Lakes.” LOW COST of LIVING A MASTER TEACHER Under University supervision, the cost of board and Our two and three year courses leading to Theory.°l NCertiaiatM,8e Diplomas’and Degrees awarded ious student of violin. Write Fall Term Opens Sept. 10, 1923 degrees, diplomas and teachers certificates Wfie Dormitories. Free CatatOC. figures are available in our catalog. The University graduates to obtain splendid positions in the concert CARL J. WATERMAN, Dean Appleton, Wisconsii CARL J. WATERMAN, Dean. UNRIVALED FREE ADVANTAGES is governed by a board of trustees—all influential and teaching field. Piano—Francis L. York, M. A.; Elizabe ated for profit. Valparaiso is beautifully situated Our school graduates the. largest Johnson, Louise Unsworth Cragg,ragg, Minor E.White,E.Whi Clements. Mis“s'ElkaUth* h!°b'«^«, BURROWES COURSE forty-four miles from Chicago. Michigan State Normal College Conservatory of Music Oleane Doty, Alle D. Zuideraa,ta, Mus. Doc.; Vt..Wil- Protheroe, Carl Mann, Jessie Moreho classes in the middle west; inquire for detailed helmina Sutz, Laverne Brown, Mus. Bac.; Etht. OF MUSIC STUDY Littell. Alma Glock, M. Gray Fowler and 40 Fifty-first Courses for training supervisors and teachers of public school music. additional instructors. Will put new life into your teaching. Develops statement. Organ—Francis L. York, M. A.; Alle D. Zui- and^puihL5 WSumm«USdaMnconductPedebyeiMiM Over one thousand of our students are now filling “ofredt dema, Mus. Doc. H. Engel Kathryn Jamieson, 119 Powell Ave., Ottawa, Ont successful positions throughout the country. Theory, Harmony, Composition—Alle D. Zuidema, Mus. Doc.—Post Write for booklets to Katharine Burrowes, Box 6, University Hall, Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, Mich. Graduate work in this department. Francis L. York, M. A. D- 246 Highland Ave., H. P. Detroit, Mich. Normal Training for Piano Teachers—Francis L. York. . VALPARAISO, INDIANA Public School Music and Drawing—Miss Hermine Lorch, Bertha Schaffer- School of Expression—Miss Lilly Adda Darling, Ethlyn Briggs. HI | f Michigan, North Side. CHICAGO ANNOUNCEMENTS Dancing—Ethlyn Briggs. ^ ^ A distinctively higher professional CHICAGO AND MIDDLE WESTERN • Woo Swrm fer fra .•*** Continued on Next Page Examinations Free. For Catalog SCHOOL °f SB and Other Information, Address SCHOOL AND COLLEGE JEANNE HOWARD, Box E, H6» N. Dearborn S.„ Chlcjo. ■ Front View Conservatory Bids. MUSIC ; ANNOUNCEMENTS JAMES H. BELL, Secretary, '5035 Woodward Aye., Box 7—Detroit, Mich. L Continued on Pages 501 and 502 Please mention THE ETUDE when addressing our advertisers. THE ETUDE Pagb-608 JULY 1928 the etude JULY 1928 Page 508

Voice Piano Coaching Interpretation 30LUPIBIA Repertoire Interpretation Sight Singing Concert Work Repertoire ( SCHOOL OF''’ Oratorio Accompanying Lyceum and Chautau¬ Teaching Material qua History and Appre¬ Church Singing ciation Community Singing Observation — Child¬ Chorus Singing ren’s Classes Lectures and Recitals Recitals and Lectures CLARE OSBORNE REED, Director _ Violin *iusie Advanced rk fo TWENTY-THIRD SEASON OPENS SEPTEMBER 10TH Normal Orchestra and Registration week September 4th Professional Players Training A School for the Serious Study of Music-Faculty of Eminent Artists and Teachers Practical Lessons for CONDUCTED BY EUZABLTH A GEST For piano teachers and PIANO — THEORY — VOICE — VIOLIN Teachers those preparing to PUBLIC SCHOOL MUSIC - TEACHERS’ NORMAL TRAINING Ensemble INTERPRETATION FOR PROFESSIONAL MUSICIANS Sister Sue and Dot Orchestra Conducting The Star Spangled Banner All on a Summer Day Normal Lectures VIOLONCELLO — DRAMATIC EXPRESSION Certificates, Diplomas and Degrees by authority of the State of Illinois Lectures Betty felt hot, uncomfortable and cross. speech since the day they had the lecture “Oh, sister Sue,” cried Dot, after she By Gertrude Greenhalgh Walker Interpretation Accredited History and Appreci- She had intended to go on a picnic; but in school; and she was really'beginning had been trying in vain to “get” her new Keyboard Harmony Teachers* Normal Training Training, Sight Reading, Preliminary Haraiony. Te^nic a big thunder storm came up and spoiled scale, “please help me. I’m stuck." and Dalcroze Eurythmics, under the direction of a Did you ever, when you heard our Na¬ to want to practice some more. Child Training Faculty teacher. Each Normal student is required to all her plans. Now what would she do? “What are you stuffle about this time?” tional Anthem sung or played, wonder “Now listen,” continued the voice. “You Improvisation Schools and Colleges is much greater than we are attend these classes every Saturday morning through Public She was in the house alone, which she did asked big sister, whose name was Susette. able to fill. The positions pay good salaries under the School year. under what inspiration it came to be are cross and impatient. You have had a History of Music ideal conditions. The Columbia School of Music offers not enjoy,- and she felt altogether miser¬ “I’m stuck on the G flat scale. It’s just written? Do you know that it was right disappointment, and you feel rather blue. Dalcroze Eurythmics an excellent training and assists its graduates to secure Public School Music School able. So she sat down in the big chair to terrible. I had such a poor lesson last these places through the School Employment Bureau. in the midst of shot and shell that the Now go to your piano and work off all course requi: cry. week that I shudder at the thought of Observation — Chil¬ The course includes thorough and practical work in Ele¬ _ ’ by sufficient teaching ex- Music author penned the words? those conditions. Make up your mind dren’s Classes mentary Teaching and Advanced Pedagogy by means of rience, music study, College or University work, and But, when she was all settled, not a tear another one like it.” a comprehensive course of lectures on Psychology and It was written by a lawyer of Baltimore, that you are going to make more progress Teaching Material idents are enabled thereby to complete the course in Methods would come. “Why, how funny!” she “Well, what is your trouble, Babe? Teaching as well as practical lessons on teaching both e year. Diplomas and Degrees are also offered, Francis Scott Key, during our second en¬ and do more memorizing in this next hour class and private as it applies to children’s work. Methods thought. “I certainly wanted to cry, but I’m sure there is nothing very ‘terrible’ Recitals and Lectures counter with the British. Classes are also held in History of Music, Dalcroze and le special features of the course are Methods, Psychology now I don’t feel a bit like it.” than you have ever done in your life about the G flat scale, although it has Harmony. A novel feature of this course is the ychology, History of Education, Practice Teaching, The British Frigate, “Surprise,” was in Practice Teaching “No, of course !you don’t,” said a pleas¬ before.” been a long time since I practiced scales Model Practice School. In this school are more than chestra Conducting, Chorus, extended work in Har- Baltimore waters, with some Americans Theory two hundred children receiving instruc ray, Sight Reading and Ear Training. Choral Conducting ant voice behind her. “Why in the world “But not for an hour,” said Betty. “I myself. How I do wish I had never as prisoners on board. One of the hostages given up my music! Come, try it over Interpretation Class for Professional Musicians Sight Singing should you? What good would it do, any¬ will do only fifteen minutes.” Harmony—Elementary Conducted by was a friend of Key. for me.” Ear Training way ? Give you red eyes, that is all.” So Betty went to her piano; for there and Advanced CLARE OSBORNE REED Orchestra Conducting Key, armed with letters of exchange Dot tried to play it—G flat, A flat, A Interpretation classe will be conducted by Clare Osborne Reed foi* the benefit of advanced players who desire “But I feel so much like it,” answered seemed to be something sort of command¬ Melodic Construction Harmony of prisoners from President Madison, went natural. “See,” she said, “it’s all wrong. ss work. This opportunity is afforded for the hearing of criticism on a more extensive Betty. ing about that pleasant voice, and she Analysis preciation of many fundamental principles of technic and interpretation in a broad and Child Voice cn board the “Surprise” to negotiate for I can’t make it sound right.” the exchange of prisoners and gain the “Look here, Betty,” continued the voice. felt herself obeying. Composition source of practical knowledge. The classes under Mrs. Reed’s direction are limited to Rote Song “Dot, the trouble with you is that you jptance a much desired honor. freedom of his friend. “You have a lot of surplus energy on hand She worked very hard and was surprised Keyboard Harmony Year Book Free on Reques. History and Appreci¬ do not understand what you are trying In the meantime the British planned an that you had ready for that picnic, and to find how well her piece was coming on, Improvisation ation to do,” said Susette. COLUMBIA. SCHOOL OF MUSIC attack on Fort Sumter and kept Key on now you have nothing for it to do, so you “Teacher told me what notes to play, Box 3, 509 South Wabash Avenue, Chicago board the ship until after the attack, for thought you would run it off in tears, but I forget,” said Dot. fear he would carry the news back to his didn’t you?” “But if you understood, you know, you countrymen. They boasted the fort would • “Well, I really do not know,” answered could not forget. Play the C or G scale be captured in two hours. Betty. “I never thought of it like that for me.” And Dot did as she was told. Thus Key was forced to witness the at all.” “Now, what did you do?” asked Sister attack on his flag. It lasted far longer “But it is the truth. Now you take Sue. Peabody Conservatory than the enemy had planned. your surplus energy with you to the piano “I just played the C scale,” answered All through the night he saw “The BALTIMORE, MD. and do some good practicing.” Dot, for there was certainly no doubt rockets’ red glare,” heard the “Bombs 'You thowjM- you- about that in her mind. HAROLD RANDOLPH, Director. bursting in air," and “In the Dawn’s Early “But,” argued Betty, “I have done my the leading endowed musical conservatory of the country practicing to-day.” Would Au-V\ ctr <££ “And now let us find out about the Light,” and flying victoriously over the whole-tones and half-tones that you fort, he saw "The flag was still there.” “Yes, you did some practicing to-day; r* Vbo.rs"J hut that is just exactly why you are not played,” said big Sister; and Dot played In a spirit of thankfulness he penned it over several times before she was quite making better progress in your music. You and how easily it was being memorized. Summer Session Auy02nth the words, which were published in a Balti¬ sure about the whole-tones and half-tones. more newspaper the next day and adapted think that when you have done a little bit In fact, things had never gone so well for “Do not tell me about them until you Staff of eminent European and American Masters including: to the music of the old song, “Anacreon you must wait until to-morrow to do some her before and she was enjoying her prac¬ are perfectly certain, Dot.” So Dot tried BARRON BERTHALD ELIZABETH GILBERT MARGARET RABOLD in Heaven.” more. Now you know that practicing does tice thoroughly. FRANK BIBB CARLOTTA HELLER ANNA S1MMERMAN it once again, and then said deliberately. VIRGINIA BLACKHEAD HENRIETTA HOLTHAUS HOWARD R. THATCHER not come in half-hour lots, or in half- When she thought that her fifteen min¬ “Well, there are two whole-tones, and AUSTIN CONRADI G. HERBERT KNIGHT MABEL THOMAS utes were about up she glanced at the VIVIENNE CORDERO-FRIZ OTTO ORTMANN J. C. VAN HULSTEYN . . . . Dots . . • pound packages. It is something that must er—one half-tone, then three whole-tones clock, and “Why, the idea!” said she. “Can continue for a life time and be made a and one—er—a half-tone.” Tuition $15 to $40, according to study DOTS are such important things it be true? I have done an hour and part of oneself.” “That is right, but say it again and By special arrangement with the JOHNS HOPKINS UNIVERSITY In musical notation, twenty-five minutes already and I have credits in certain branches may be offered for the B. S. degree Betty was quite interested in this. She leave out the ‘ers.’ Be sure of yourself.” I wonder how folks got along no intention of stopping yet.” Practice Pianos and Organs Available thought she had never heard such a long So Dot repeated it correctly. “Right,” Before the dot’s creation. Circulars Mailed FREDERICK R. HUBER, Manager said her sister. “Now, start on G flat Arrangements for classes now being made STACCATO dots above the notes and make just exactly the same arrange¬ Are not the same at all, ment of whole-tones and half-tones, and As dots that follow notes, you know, you will have your G flat scale.” Atlanta Conservatory of Music “Oh, how simple!” said Dot. “Why And lengthen, you recall. THE FOREMOST SCHOOL OF FINE ARTS did I not remember that myself? I sup¬ BRENAIE IN THE SOUTH pose I’m. stupid.” Advantages Equal to Those Found Anywhere Then dots are needed, too, to show COLLEGE Students may enter at any time. Send for Which line goes through the CLEF “No, you’re not stupid at all, Babe; it Catalog. GEO. F. LINDNER, Director CONSERVATORY Down in the bass—if you will look— is just that you do not pay attention to >r: select patronage Peachtree and Broad Street*, Atlanta, Georgia You’ll notice that it’s F. what your teacher tells you; and then rtionPlfootmllsSBiue you come home and tell me that you are And DOTS are needed at the end ‘stuck,’ and expect me to help you out.’’ To designate REPEAT. And so Dot practiced her G flat scale MR. and MRS. CROSBY ADAMS S. C. I. and SCHOOL OF MUSIC Indeed, the dot is needed quite; and- decided that Sister Sue was about Annual Summer Class for Teachers of Piano right, after all; only she did not like to JUNIOR COLLEGE WORK Don’t slight it, I entreat. 20th SEASON June 20th to July 5th, 1923 Offers every advantage for a modern Musical Education. Public School Music Course preparing for Supervisor positions. DewR ’Vi*1011 Etude : BRENAU, Box T, Gainesville, Ga. MONTREAT, NORTH CAROLINA Would you like to have a letter from Ohio? Major scales >!' *!* a little brother and sister who enjoy , etode very much, although we are only And fishes scales pofn mne years old. As long as we can \r“!! )eT we h{lve taken The Etude and our Are different as can be; We llE«h?S taken ]t for over twenty years. The first, we find School Announcements Continued on Page 504 ADDRESS S. C. I., DAYTON, VA., BOX 93 presentl'r >sfr f °nr.aret lestudying, "i,,s c inone Thbof the ETr,,K duets. and at In music, From your friends. The others. n THE ETUDE when addressing 01 Robert Shisler ( In the sea. THE ETUDE Page 50-i- JULY 1923 1^7itoirc^ir^Tte discontinued during J the Summer months Schools and. Colleges New Sheet Music and PENNSYLVANIA Your Money Is My Piano The Sonata I love my piano, Octavo Publications B- Its tone is so good; Including Piano Solos and Duets, Sacred and Secular It is often quite impossible for anyone Its case is so shiny Worth More NOW! COMBS living in the country, far from cities or Of ebony wood. Songs, Octavo Music for Mixed Men's and Women s large towns, to hear string quartettes, Voices and School Choruses. symphonies or concertos. Every music Its keys are of ivory, A Summer Subscription Magazine Selection At Special Summer Rates CoNSEK^oRrySuac student, however, may not pnly hear but And slippery, too; ANY OF THESE NUMBERS MAY BE HAD FOR EXAMINATION may also play sonatas. The sonata is one I keep them so clean PHILADELPHIA of the great forms of musical literature They look just like n When ordering any of these publications it is only necessary to oPi-.M.. Catfl/ov” and eive number (39th YEAR OPENS SEPTEMBER 10th) and should be enjoyed and understood by ETUDE, the Most Bought Musical Journal A Residential a.n D., " ‘ simple ****** 5TS“. <■« Combined with Standard Fiction-Fashion A SCHOOL OF INDIVIDUAL INSTRUCTION To tune up for me.

tended to be played on the piano, as a rule, To add fragrance sweet, although there are sonatas written for violin and piano-almost any solo in- it’s not any trouble

PUBLIC SCHOOL MUSIC

sonata is written, followed by a contrasting ;nkH o{ ljttle belis wm,ld keep awa; theme usually in the key of^he^dommmit the evil spirits, and many of their littl DORMITORIES FOR WOMEN a doubkTbar IncUepeat sign, thus closing Lhhuanilns believed'tha" the*soul's of thei

lions)”10 The second section is called the the S0U"d °f the church hcl

GILBERT RAYNOLDS COMBS, « Letter Box .Mm ZECKWER-HAHN time in the key of the tonic instead of the dominant. (Of course you all under¬ stand what is meant by tonic and domin¬ ant, do you not? If you do not feel per- 5L»w„ ttliISP them and should try to male Directors: To these three sections a “coda” is more beautiful by music, been Camille Zecswer Fred’e Hahm often added. (Here is another word to and retines people. I have Earn Money This Summer Charlton Murphy Securing Magazine Sub¬ look up, if you are not sure of it) and the say that their mothers wish® scriptions. Write Subscrip¬ Pennsylvania’s Leading School first theme is often preceded by an intro¬ tion Dept. of Music duction. Look through some of your Rose Pechinsky (Age 1 53rd Season. Classes in All Branch® sonata albums and see how closely the Preparatory Classes for Beginners ETUDE MUSIC MAGAZINE sonatas follow this pattern. ETUDE MUSIC MAGAZINE.$2.00(Remit for Pictorial Reviaw. 1.50( »>* The form of the other movements of ig The igazine for a few months I have Youth’s Companion.. 2.50 $4.65 the sonata is left to the desire of the com¬ been an ardent reader of your splendid pages. poser. I have often wished that I were just one year younger so that I might have the privilege Some of the great sonata writers were of competing in the contests which are held Haydn, Mozart, Beethoven, Schubert, The Above Prices Are Not Guaranteed, But Will eSI enjoy reading the various articles which Schumann and Brahms. appear on the pages of the magazine, *1= Continue for Summer Months Only I find that tho lovely compositions, duets How many sonatas can you play? . and sacred songs are a wonderful aid to the person who takes music. If Your Subscription for Any Magazine Expires in I should like to he r from some of your older Junior readers. From your friend. . the Fall, Better Renew at Once and Save Money Vera M. Gray (Age^ie^ Weyburn, i

The Etude .... about one year, but I like it very, ,„uch, and es- pecially the Junior page. I love to read the An AA ETUDE Music Magazine nn Letter Box, ' ' 11 the letters asking for some one to write are too old for me. I am Jh/ IIII Only Two Dollars a Year-12 Splendid Issues J)£.U V ten years old and I have a MeKle and kitten and play house. wish some one T * v v Add Canadian Postage, 25c—Foreign, 72c would v...... __ _I will iswer ail of my letters that I receive. Hoping to hear from

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