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

6-1-1934 Volume 52, Number 06 (June 1934) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 52, Number 06 (June 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/823

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. MOZART THE ETUDE Music ^Magazine Copyright, 1034, by Theodore Presser Co. for V.S. A. and Great Britain A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT AND ALL MUSIC LOVERS

JAMES FRANCIS COOKE

THE WORLD OF JxdJSIC

Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everywhere

FORTY VIOLONCELLOS in a combina- ERNEST R. KROEGER widely known CHARLES MARIE WIDOR has an- THE OLDEST MUSICAL INSTRU- tion ensemble was a feature of the Program musician, composer and teacher of St. Louis, nounced his retirement from the position of MENT yet discovered is believed t St. Stdpicein Pans,^position unTfthe which he has held --:e 1870. This--— is Louis teachers. He achieved a considerable precedented service in the musical annals of Czechoslovakia It -----sounds a- -signal ~ on, the, wood. a concert pianist, held leading po- _3 organist, and gave organ recitals the world, as the organ of St. Sulpice is the tones of D and G, when it does perfectly GAETANO DONIZETTI’S largest in France and this position considered after e thirty thousand years of existence. PHnmminix” was revived on 'MarchJfciarcii xat,1st, at U.1AAAand fULtuivlecture recitals——“1 —at many' leading. - schools Manuscripts the most honorable in the ecclesiastical manuscripts should be addressed to Tile musical life of that country. Marcel Dupre, THE -~--BALDWIN-WALLACE BACH "S7XoTSPS- Etude. Write on one side of the sheet only. Contributions solicited. Every pos¬ for many years assistant organist, has been FESTIVAL is being held for the second sible care is taken but the publishers are appointed to the vacant post. " t ""h and’ 9th,~"jj when |four a not responsible for manuscripts or photo¬ . z- aasr^ graphs either while in their possession or bitio'ns programs of choral music (including ^JJdina Patti in the name part. FIVE THOUSAND ORCHESTRAS of several numbers from the great “Mass - _ JAN KUBELIK has been making a tour of symphonic proportions are reported to be minor”), of solo and of ensemble composi¬ AN AMERICAN WORK, tt. Wjtfc t&jgSSTmlS SS-S. * ng- organized in the high schools of the tions, are bemg presented. ^ Interlude and Fugue otof Leo soweroy,Sowerby, hadnau us noin..‘equilibrist of double- EOR THE SISTINE ^PEL SS SSSAc.

-““$£gs&SZSS.°',h“' .SSKAToS:o "industry are said to have asked the Ger- OTTORINO RESPIGHI’S new opera, “La the Jubilee Year (Messa dell’ Anno Giu- u Government to purchase twenty thou- Fiamma (The Flame),” had its world pre- bilare).” _- y ^ CONTEMPORARY BRITISH COMPOS- sand pianos for the schools and then to make RAOUL GUNSBOURG, director of the ERS furnished the> entire programs of^six obUgatory the study of it— SPECIAL NOTICES Teatro'dell’1 Opera of Rome, with a’brilliant RAOUL GUNSBOURG, dnector of ^the concerts "“oTThe^orchesrfa" of" the British success for the composer and participants m Monte Carlo Opera Has baa Broadcasting Corporation, as given in Queen’s ARNOLD BAX, the Anglo-Irish composer, AND the production. Gino Marinuzzi was to have extended till 1940 by _^ jjad during January, with Adrian Boult wlj0 has done much towards the preservation conducted; but because of the death of his N Kt FTN eminent British music conducting. „ of sanity in modern British composition, had ANNOUNCEMENTS only son, Respighi took his place and led his HERMAN KLEIN, eminent Brmsn music 6 «--— » the world premiere of his “Fifth Symphony” work- '"VombmC March 10th Born at Norwich, WERNER JANSSEN is reported to have when it was recently on a program of the July 23, 18°6,^e wf a brother of the play- won a tremendous success-_wh_en_ early m Philharmonic Society .of. London with Sir SPECIAL NOTICES JASCHA HEIFETZ was recently the solo¬ Tight?’ Charles VLTn* m'ade internationally February he^conducted a^orchesfraconcert Thomas Beecham conducting^ ist in the world premiere of a “Concerto for Helsingfors, Finland. famous by “The Music ^Master _ and^ Jhe atj* Fhmish comDOser, is reported to have A UKRANIAN OLYMPIAD recently Violin and Orchestra” by Castelnuovo- Lion and'the Mouse.” Mr. Klein was from great Finnish composer, GENTLEMAN, TEACHER OP PIANO) heard his works so well krought together one thousand and twenty- Choral, Orchestral and Band Conductor— Tedesco, when it was on an orchestra pro¬ 1902 to 1909 a music critic on the New_ York said that tie available after June fifteenth. Desires iterpreted as by this young American. Jans- three merl) formjng one hundred and fifteen gram in the Teatro Communale of Florence, Herald. Among his well known books i permanent location in College, High Italy, with Vittorio Gui conducting. working in Europe on a Prix de Rome groUpS 0f singers of army songs, three grand a„hnoi private work, in community de- “The Reign of Patti” and “The Golden Days •— known at choruseSj eigbt ]arge stage troupes, eight sym¬ ' ' ’ development. Address of Opera.” A BELLINI CENTENARY is being phony orchestras and three popular orches- -SALE—Three manual, Austin Or- ganized at Rome, for 1935, in commemora¬ unfinished gan. Very reasonable. Recently new, per¬ ., - - . DIE DREI PINTOS, THE “WILLIAM TELL” of Rossini has fect condition. Due to merger. Inquire tion of the one hundredth anniversarya of the juvenije opera of Carl_ Maria Weber, is ORAZIO VECCHI’S madrigal-comedy, T - ' THE ETUDE. death of “The Swan of Catania. to be presented in Wiesbaden under the direc¬ been revived at the National Opera of Berlin, with the book much revised—-- by M.•- J. Kapp L’Amfiparnaso (Around Parnassus),” had tion of Karl Elmendorff. and the musical enriched--i—j «...by tj„Robert a recent performance by the Chamber Singers THE ENGLISH FOLK DANCE SO¬ •a-*■ ANNOUNCEMENTS DR. WALTER DAMROSCH received o Heger. Society of Prague. Composed in 1597, it is CIETY of New York City held its eighth J|J ....- historically interesting as a forerunner of annual festival on April 28th; when a feature February 27th the American Education aajv srHRFKER : of the r a the modern CLASSICAL, PIANISTS and Students— f the program was Sumer is icumen in, used Award, the highest honor within the gift of F Learn to play "blues," fox-trots, etc., in Ultra Modern Styles without affecting s the basis of a simple folk ballet designed those associated with public education. It widely known n March 22nd, at Berlin. Born chorus jt had New York performance your classical "bearings.” Be able to en¬ by Douglas Kennedy, director of the English was presented to the dean of American con- posers, M ‘2j 1878,’ he received most earlier' in the season and is said to preserve tertain friends with popular music. Write: J. L. C. Song Service Studios, 135th St. & Walnut Ave„ New York City._ acanon ssu& form; and toa it belongs bw the distinctionf fience of the National Education Association, of Vieima.•< Bpa tafrA ssss:or more thlrty SH’lr-slx ye™±-».01 -—“ - CORRESPONDENCE SINGING COURSE. Small Monthly Payments. of being the earliest known specimen of part at Cleveland, Ohio._,, vitriolic condensation, depending upon the THE ANN arB0R Dr. Wooler, 1511 Boone Court, writing in Music. _Lakeland, Fla._ ERNEST KRENEK’S opera, “Jazz, the viewpoint of the critic._^ MUSIC FESTIVAL i HARMONY BY CORRESPONDENCE— TO ENCOURAGE Negro and the Women (Le Jazz, le Negre “EMPEROR JONES,” the American held by 1- simple, thorough, inexpensive. AMERICAN COMPOS- les Femmes),” has had its world premiere 1 "- Franklin St., Mel- Negro opera by Louis Gruenberg, has been , ,The Ugly Duck_ ERS, The League of Com- Warsaw, Poland- f. produced at Amsterdam, Holland, with Jules y, . Granvi]]eyEnglish, , TUNE YOUR OWN PIANO—Simplified Instruction book and necessary tools posers has commissioned ^ SYMPHONIC CONCERTS of Bledsoe i: n the title role._ —-“Ein Friedenslied (A c-Song — complete for *4.96. Ed. M. Ross, Mans- a*ld, P- Kg 'eTSks which will the Philharmonic^ Orchestra^ o^Bucharest, “L’ENFANCE DU CHRIST^ (The Child- if English)' be performed by important Rumania, with Georges Georgesco a Prof. Cianfra anged, or- e inski, Gro- . MUSIC COMPOSED, Arranged, Revised WAT FS to thp Eari V. Moore conducted; and among the Expert work; reasonable terms. Estab¬ Philharmonic - Symphony, also the soloist, - THE OLDEST BAND IN WallsWALES is tnethe “““voca) 'soloistsS0f0|-S“t“^ v,omere LucreziaT Bori,Rnri JeannetteTPaune.tte lished 1911. Len Fleming, Wellsboro, the Chicago and the Cleveland orchestras, ‘CECILIA,” a sacred opera in three acts Blaenavon Town SGve^ Band. wHieh has just v]d Coe Glad Paul Ajthouse, Arthur and the Pro Arte Quartet. The composers ANTED: To correspond with parties hv "boh" Licinio Refice,. was--.1- recently —pre- lately rcelebratedPlPhratPH Itsits centennial. . Orphie- Hackettwith Guila Bustabo, violinist, and dative to promoting a meritorious and r°Thom0Son Toger se^ted at th" Theater Royal of Rome.. It is Parker has.been a side drummer in the. Mischa Levitski, pianist. remunerative plan of^ group piano I mombuii, natrnn sail Sessions. Nicolai Berezowsky, Walter Pistonjgj basea on“• melsri“*r<5X'sar&rs jegeuu . z^t^a boy of fourteen. ™*** (Continued on page 3 88) and Israel Citkowitz. music a Diplomas, Certificates of Awards, Medals and A JUNF. DAY! MUSIC STUDY EXALTS LIFE Other Requisites for Awarding Pupils Completing Courses in Music THEODORE PRESSER CO. 1712-14 Chestnut St. Phila., Pa. THE ETUDE Page 332 JUNE 1934 The Etude Historical Musical Portrait Series An Alphabetical Serial Collection of Leisure—13hen What? THE WORLD'S BEST KNOWN MUSICIANS

Leisure Rest \ / Leisure 'Rest \ ( Leisure I (r.me .' ] ( T'we tor 1 (T.'mefor ,

Work 7 \ / Wo.

885 I928 1934

to charity and private contributors. A well-known edu¬ N THE ELITE eighties, when the bands marched up Broad- cator promised a decade ago that with the opening of _ way to celebrate the opening of that eighth wonder of the S' every school he would close a jail. His promise has not world, the old Brooklyn Bridge, they played one of the popular been fulfilled. He did not appreciate the importance of tunes of the day known as “I’m One of the Knights of Labor. regulated and well supervised leisure. He did not appre¬ In this merry ditty, the knight asserted that “I always earn ciate the fallacy of an education that teaches a child, to my pay” and proudly proclaimed that “I get a dollar a day. read but neglects the opportunity to teach him to wor\ The Knights of Labor, their critics tell us, were a happy group so long as they were in possession of two pails—one for dinner or even to play. "That leisure is an important factor in schooling has and the other for “suds.” The latter pail was known as a been recognized by educators throughout the ages. The “growler” and was “rushed” to the corner saloon or the corner ancient Grecian philosopher taught that ‘preparation for saloons—as these purveyors of alcoholic drinks often boxed the the right use of leisure should be the chief end of educa- compass and commanded all four corners. On pay day the knight, according to the temperance orators of that period, usu¬ The simplest yokel, who has no more knowledge of the ally first of all paid tribute to the saloon keeper and then took what was left of his six dollars home to the “Missus and kids. situation than the lines of Isaac Watts, “Satan finds some mischief still Once there, he doubtlessly longed for the time when work days For idle hands to do,” would be only ten or possibly eight hours long. Time flashes by like a whirlwind. Here we are with a realizes that our new-found leisure may become our greatest na¬ legal forty'hour week and people telling each other that it might tional liability. Educators everywhere are awake to this seri¬ ous situation and our school programs, once held closely to the come to a thirty hour week—imagine, five hours a day! But we must not forget that, in war times and with prohibition restric¬ design of a plan for making a living, are now being radically tions, the day laborer and the mechanic managed to get home modified to include a plan for living itself. It is to the interest with’from thirty to ninety dollars in their jeans. Some work¬ of all of us that we live as finely and abundantly as possible. men and workwomen in the “skilled” classes made as high as Considered purely from a commercial standpoint, the factories, one hundred and fifty a week. Then came the great era of farms and stores of the country spend most of their time in supplying the living needs of the home. If these needs are so unemployment, now happily and rapidly abating. We, who have always found our chief joy in our work, low in the scale of living that they are not far from poverty, our whole commercial structure will be in serious danger. It understand that the mechanized existence which the machine has thrust upon workers, makes the work-day insufferable to is therefore obvious that any of the arts that exalt the individual the human cogs that have become largely mechanical parts. and lead to higher ideals of life have a distinct material value. More than this, if the leisure time of our youth is not wisely If it is not necessary to work eight or ten hours to obtain a happy existence, how absurd it would be to permit mankind to and profitably directed, it is easily possible that thousands of do it. Furthermore, we are told that there is not work enough young men and women may become victims of the times and to go around, no matter how hard we may want to work. fall into the insidious net of crime. Arthur Reeves, celebrated crime expert, has estimated that our crime bill is already sixteen More leisure has become an economic necessity. billion dollars a year. Imagine what it might become if our new¬ Look at the circular charts at the top of this page and you found leisure were squandered! Now that legalized liquor is will see at a glance how that period of the day, which we call back with us, many people have a feeling that the added leisure the leisure period, or better, the “time for living” period, has increased In The Etude for November, 1932, we presented must be watched even more carefully than ever. We have a very strong conviction that the study of music an editorial entitled “The Perilous Blessing of Leisure.” This is of tremendous possible value to the world at this time, in was published at a time when the vast majority of Americans hardly dreamed that a forty hour week was possible. In that providing exalting and profitable occupation for all who engage editorial we also presented opinions of one of the greatest of in it. The radio has made “Tristan and Isolde” and the “Eroica” American penologists. Warden Lewis E. Lawes of Sing-Sing almost as familiar in this day as was “Little Annie Rooney” in the eighties. Children, who a few years ago were victims of Prison, which may well be reprinted here: “jazzitis,” are now beginning to long for more worthy things; “Records at Sing-Sing show that ninety-eight per and we are certain that, with the return of prosperity, music cent of the prisoners were never associated with a boy’s teaching will be in even greater demand than ever before. A club and that they had never had any other opportunities great music school of high standing in the East has just informed to learn how to spend their leisure in wholesome recre- us that it recently enrolled one hundred new pupils in one ation. , . 7 • 7.77 “America spends large sums on education; but its bill month. These pupils are not likely ever to have the problem for luxuries is three times as much. It is niggardly in pro¬ of unprofitable leisure on their hands. The proper employment of leisure, then, has a very serious viding for social advance, which is left almost entirely

JUNE 1934. Page 333 JUNE 1934 Page 335 THE ETUDE T5he Music of JS[ew ‘Russia By the Eminent Anglo'Russian Conductor bearing upon our social and moral existence. This is being rec¬ would be a very dull affair. The radio multiplies a number of ognized more and more by educators and men of affairs. Myron performances almost 100,000,000 fold. In the old days it was Albert Coates C. Taylor, eminent industrialist, said, in an address before the necessary to buy the music and have somebody play it before GENERAL MUSIC DIRECTOR OF THE MOSCOW AND LENINGRAD PHILHARMONIC ORCHESTRAS— American Institute of Steel Construction: it could be heard. Now the popular songs of the day, as well “We face a condition in which, generally, there will as many of the popular instrumental pieces, are literally worn CONDUCTOR OF THE BOLSHOI OPERA IN MOSCOW be more leisure in the community. The question before out within six weeks. Unless a composition has amazing vitality, us next will be, how shall that leisure be employed? We such as Mighty La\’ a Rose, By the Waters of Minnetonka, At As 'Bold to H. Wollstein are confronted with a testing period. The moral fiber Dawning, Narcissus, or To a Wild Rose, people get sick to not merely hear music. It lives it. It hon¬ of the community must either stand the strain of tempta- death of hearing it. Thus the radio serves to erase many a IN APPROACHING the question of ors it. Nothing is too good for it. The tion accompanying greater leisure or use that leisure in valuable asset belonging to the publisher and to the composer; Russia’s music, it is first necessary to finest theaters, in the finest sections of our such ways as to reinvigorate the individual, to expand his and it seems perfectly right that, having used these compositions clear up a number of conceptions about cities are given over to it; and the finest life in many new directions, to cultivate his mind, to learn to their financial advantage, the radio broadcasting companies Russia itself, which are, to say the least, artists are engaged for it. that there is a realm filled with great privileges and should pay a liberal sum for their use. Without these compo¬ nebulous. It seems strange to those of us opportunities apart from the wor\ of the world, in which sitions the radio broadcasters would be seriously handicapped. who identify ourselves with Russia that so Laboratory for Art Wor\s much of the outside world should still re¬ he can become more understanding and more closely in The publishers and the composers, through the battle put WHAT MUSIC is performed? Every¬ gard us as a land of boiling revolutionists. touch with the infinite." up by the American Society of Composers, Authors and Pub¬ thing. Opera and ballet are the most People, intelligent people, too, come Ip me popular forms, perhaps. All the works of Music workers and music teachers everywhere should point lishers, have asked for a four per cent payment on the net re¬ with questions like this: “How can an art standard repertoire are given, along with out emphatically that the new leisure makes an opportunity for ceipts for time sold on the air, as a payment for license to flourish in Russia? How can a government a wealth of interesting new material, some the delights of music study, unknown to our grandfathers, and perform publicly over the radio, for profit, the millions of songs of working people cultivate music? Haven t native, some foreign, which one would never enables our citizens to broaden their life interests and elevate belonging to the members of the American Society of Composers, all the intelligentsia been killed off ? Does hear anywhere else, because Russia does their ideals in a way which cannot be accomplished by any Authors and Publishers. Remember—without the music of the the Russian proletariat take any interest in not accept novelties for money gain but in other, means and which contributes powerfully to the consump¬ composer, upon which the publisher has staked his capital to cultural matters?” And I can only throw order to experiment with, and further, the tion of the products of commerce, agriculture and industry. produce, all of the great advertisers who are spending millions up my hands in amazement at the honest art itself. A given work is a failure? Very over the air would be hopelessly crippled. In other words, the misconception under which these good peo¬ good. It is taken off, and a new work is ■ plan by which the stations receive ninety-six per cent of the ple labor. . prepared to take its place. That can hap¬ Russia is the only country in the world THE COMPOSER’S INCOME huge amount taken in and the composers and publishers expect pen a dozen times a season, and no amount to-day where music is forging ahead with four per cent, seems a most liberal one for the commercial of work is too much. OW does the composer get his income? Originally he giant strides, instead of languishing for German, Italian and French operas are H interests that could not possibly prosper without the assistance had to depend upon the sale of his compositions, of which want of funds. Other lands are closing sung, but only in the Russian tongue, so of music. Surely all professional musicians will be very anxious their opera houses and disbanding their he disposed in one of two ways—either by outright sale, or by that everybody may understand and enjoy. to support the American Society of Composers, Authors and troupes: Russia is building new theaters sale on royalty. In addition to this, he, if very successful and The field of music is in no wise restricted Publishers in its endeavor to secure justice. and engaging new talent. Other lands are widely known, might receive a percentage of the public per¬ by political policies. Regardless of the encouraging their young people to enter Government’s official stand on religion, for formance rights for his major works, such as cantatas, operas, “more gainful employmentsRussia is de- “THOSE SHARP KEYS!” example, operas which glorify the religious symphonies and chamber works. voting tremendous energies to developing spirit are presented unchanged, exactly as By far the larger number of published works are bought (J~T0OW many, many times do teachers hear such exclama- young conductors, orchestral musicians, the composers wished them to be. Tann- outright by their publishers. Most composers have preferred i_/X tions from pupils, relating to their difficulty with sharp singers, composers—artists to carry on the hduser, with its miraculous blooming of to sell their works for an assured, even though small sum, be¬ keys? Most publishers know that pupils who have been edu¬ government’s great cultural program. tire pilgrim’s staff, and Lohengrin, with its cause they have felt that they were in a less secure position to cated on this side of the Atlantic seem to prefer pieces in flats. Let us take a look at the general situa¬ background of kingly tradition, are given accept the inevitable gamble than was the publisher. The pub¬ In Germany, France, Italy, Austria, Russia and England, at tion in Russia today. The anguish of revolu¬ exactly as they are in Bayreuth. It has been tion is over. A child born during the days lisher must invest his capital, his experience, and his organiza¬ least, it makes very little difference to a piano student whether , rumored that the Government orders op¬ of revolution would be nearly fifteen to¬ tion with its huge overhead. The composer usually invests a piece is in five sharps or five flats. In America, however, eras to be stripped of everything that is day. We have a vast nation that is charac¬ subversive of Soviet creed, but that is not only an idea; and, if that idea happens to be a marvelously good pupils begin to “balk” when they come to three sharps. There terized by its youth, its ardor, its burning true. The Government has too sincere a one, the publisher may stand a chance to make a profit. Unfor¬ is one very obvious reason, and that is a neglect of scale playing wish for progress—all sorts of progress. regard for art to use it for propaganda. tunately that is not the case with all compositions. For every in America. Unless one is able to play in all keys, one’s musical And . the Russian, you must remember, is In presenting Wagner, our only injunction good idea there are one hundred mediocre ones; and no one efficiency is unquestionably crippled. There is really nothing naturally intelligent, imaginative, and of is that Wagner shall be faithfully repre¬ really knows, not even the composer nor the publisher, what in the least more difficult about pieces in five sharps than those formidable will-power. The very tempo of sented! This proves, surely, that the new idea will meet with that public acclaim which makes a piece in five flats. Russia to-day is quick, alert, enthusiastic: culture is not made to flourish at the ex¬ successful. Keys unquestionably have color. Your editor has decided and cultural progress is one of the most pense of the old! The gambling odds in music publishing are thought by some preferences for certain keys. One of his compositions, pub¬ cherished projects of the Soviet. Ballets, of course, are particularly popu¬ lar, because they represent a peculiarly na¬ to be scarcely any better than those at Monte Carlo, even with lished in the Key of G, seems to sound very much better when Culture for the Masses the most experienced people on both sides of the bargain. The it is played in the Key of A, or three sharps. Yet, the Ameri¬ tive form of art. Music and dancing lie in ULTURED classes? Let us put it an¬ ALBERT COATES selection of manuscripts with that sort of human appeal likely can taboo on sharps is so pronounced that if that particular C every Russian’s blood. Older ballets are other way. There is but one class in given; but it is in this field that youth and to lead to profits often calls for genius of a kind which in its piece had been published in the Key of A, or three sharps, in¬ Russia, and all of its members are afforded sidized by the State and is under State lets and operas—forms which the people n0Velty have especially free play. Modern- way is as penetrating as that of the master composer. Many a stead of G, or one sharp, the sales of the composition would equal cultural opportunities. Thus, regard¬ control. Every member of the General particularly love. (Let me call attention ;sms 0f music, of choreography, and of have been very greatly affected. All teachers and publishers composer has expected huge royalties from some certain compo¬ less of class, great culture exists. The Committee is an ardent music-lover. The to the fact that the word bolshoi means stage-setting are encouraged, if they are sition, only to be miserably disappointed. He often heartily know this, and it is a most unfortunate situation. Of course, it old culture, that has always been part of War Minister, the Foreign Minister, even simply, the many. Bolsheviki means the expressive and good. But the classic forms wishes that a composition had been sold for a few dollars, which does not apply in the least to the well trained musician, who Russia, still lives on, but it has been made Stalin himself, turn to music for uplift majority. Thus, the Bolshoi Theater is are by no means disregarded, and, when would have been money in pocket, instead of hopes in the future. knows all the tonalities, both major and minor. into the basis for the present great work and relaxation’; and they are eager to pro- the theater for everyone.) However, it tbey are given, they are infused with a fine The publisher’s security in this speculative business, like that The question is, “Can a musician be called well trained, if of educational extension. Russia is doing ject this lovely force into the lives of their seemed a pity to me that the art-loving Rus- feeling for classic spirit. On the very of the insurance companies, rests in the law of averages. By there is a lack of familiarity with any of the keys?” If the wonders in medicine and chemistry to-day, compatriots. The standard of musical sue- sian should not be given a chance to enjoy Jast day cf the opera season this year, we as well as in art. It offers splendid edu¬ publishing with care a great number of compositions of many same condition were applied to physical health no one could cess in Russia is art and not money. We the splendors of symphonic music as well; staged an entirely new ballet—another cational facilities in all branches, under the be called a sound individual, with a bad heart or with bad lungs. are happy to see great numbers attending and so, two years ago, I petitioned the phenomenon which you aren’t likely to find different composers, he takes smaller chances than the composer guidance of excellent, representative profes¬ This is something which American teachers should begin to our performances, but box-office intake is Government to add a series of symphonic elsewhere! The choreographist was a boy who of course produces only a few works. However, with the sors who have had their own training in correct with all possible enthusiasm. The great remedy is un¬ not our means of judging musical goodness concerts to our official music program. My 0f twenty-one, the stage-settings were mod- change of conditions a new element of income arose which has Germany, England, France—all over. Thus, or badness. We are under instructions to petition was granted, and now our ten- ern> an(j the music was written by my questionably scale playing. The easiest scale of all is probably put a great deal of money into the pockets of some composers, the older culture is not lost. It has simply further great art; after that, we have month season of opera .and ballet includes esteemed colleague, the conductor Nebolsin. the scale of B or five sharps. For this scale the hand fits the although at the same time the very existence of this new condi¬ changed its form. There is less general carte blanche. You can see what a fine twenty-two great symphony concerts be- And I wish you could have seen the artistic tion has cost both publishers and composers large sums which piano keys Hke a key in a lock. In addition to scale playing, “prettiness,” perhaps, in the superficialities head-start music enj oys under such a sys- sides. The symphonic repertoire is as might have been earned if this new factor had not arisen. We there should be, of course, arpeggio study, so that the mind and of life—dress, parlor etiquette and such— tem i varied and as representative as anything one refer to the performance rights of music, particularly to those hand become automatically familiar with the chord positions. but there is greater concentration in pro¬ Government Nurtured Art could hear in New York, Berlin, London, ducing as fine a job and reaching as great rights which pertain to the radio and the talking pictures. AT FIRST, the Moscow Grand Opera Leipzig or Milan Besides the Russian Music Heard Purely a goal as is humanly possible. There is Bach, Beethoven, It has been estimated by the American Society of Composers, AHouse, the Bolshoi Theater-and I \ we play SOLO recitals are constantly winning no time for fads and foibles, only for work. Brahms, Schumann, Schubert, Mozart, Authors and Publishers, that the radio chains in 1932 sold wish everyone would learn to give 8 Give me the best clavier in Europe, with an audience who understands And the energy with which the people thirty-nine million dollars worth of advertising space. So it is -wlsUunderdffie control of the Cesar Franck-and the people love it! nothing, desires to understand nothing, and docs not feel with me in what throw themselves into their work—art work, At the present moment, and to my great pressive respect. I love to think back t obvious to any fair-minded person that the radio without music I play, and* I would have no joy in it!”—Mozart. factory work, all sorts of work—creates an n jurisdic- joy, I am forming and drilling t entirely my own recent performance of Beethoven’s atmosphere which it is impossible to de¬ i Philharmonic Orchestra Moscow, “Ninth Symphony,” the hushed solemnity scribe, but which it is stimulating to tact’ with the country’s musical develop- which is to function along with that of the with which the people entered into the breathe. It is an energy that had its roots ment. In other words, music, in Russia, opera house. It numbers one hundred and spirit of the music. I believe that if the in dire need but which has now become habit, an energy of alert responsiveness. A is one of those important issues which, like forty men, chosen from among the forces ancient Greek feeling for sheer abstract pioneer energy which builds character and war, finance and economy, come under di- of the old Moscow Philharmonic and of beauty can be said to exist anywhere to- rert governmental control! the magnificent Bolshevist Radio Orches- day, young Russia has conjured it back. strength. The Bolshoi Theater began as an opera tra. It is a big undertaking, but oh! how Russia’s audiences are delightful. They Rage 334 JUNE 1934 A vast amount of this magnificent en¬ THE ETUDE ergy is centered in music. Music is sub- house, for the exclusive performance of bal- eagerly it is awaited! Russia, you see, does are Courteous, responsive, eager to learn JUNE 1934 Pa9e 337 THE ETUDE THE ETUDE Page 336 JUNE 1934. become professional musicians. Russia is twenty-four, whom I call the Russian Mo¬ and extremely discriminating. It is in the fore wish to try out their mediocrity upon extremely interested in developing intelli¬ zart, so uncannily formed are his ideas. theater, perhaps, that you best realize the “those uncivilized Russians.” And we have Sthelbert J\[evin’s ~A cDdy in Venice gent listeners, in making music a national There are Myaskovski and his pupil, Sheb- absence of class. There is no distinction no more room for them than they have recreation, instead of a means of livelihood alin. There are Feinberg, Gnyesin, Gedike between Society downstairs, and Music- in Covent Garden. If you are a profes¬ and Shaporin, the new symphonist, all for the few. Lovers upstairs. Everyone in the house sional, don’t come to Russia unless you promising figures, whose progress we are is a music-lover—otherwise he wouldn’t be honestly feel that you would be equally The proverbial standard of the Russian (Un Giorno in Venezia) conservatories has lost nothing under the intent upon watching, for the world will there! Admitting of no social superiority, in place at the Metropolitan Opera, in know them, one day. Buenos Aires, in Dresden, or Vienna. We Soviet. The finest conservatory, perhaps, the Russian does not seek to gain it by I could give you facts about Russia do not make a fetish of names—except as is that at Moscow, under the direction of A Ketv Tone Film Presentation Which is Commanding Kational Attention “going highbrow” in public. He is there without pause—but there are no words to fame is an index of merit. But we must Professor Goldenweiser who enjoys the in the same spirit that I am, to venerate convey the glowing zeal with which music have first-rate ability. reputation of being satisfied with nothing great music. When I see the people there is carried on there. And that is the most before me, all cleanly, plainly dressed, all short of perfection! Nevin’s home when he was in Venice and important thing! Russia is a land where will be given in several different languages. quiet, respectful, and oh! so eager, I feel My own official duties include work at James A. FitzPatrick, famous traveler wrote these widely played compositions. Hospitality in Russia one’s musical dreams can come true. My Music lovers everywhere know Nevin’s By special arrangement we are re-produc¬ that I am, indeed, privileged to speak my the Moscow Conservatory, in the training and lecturer, has made this the subject of Between the films we have interlined the own have, I know. Always, in my stu¬ masterpiece, “A Day in Venice,” consist¬ ing many of the sections of this famous own language with people who will under¬ IF YOU are thinking of visiting Russia of young conductors. And so great is the one of his charming Travelogues, which melody of the immortal Venetian Love dent days—and I was fortunate enough to ing of 'four compositions for piano, namely, film, including scenes of the great canal, stand me, and I tun on my mettle to give as spectator, though, on a musical pil¬ demand for them, so eager are the various will be shown in cinema theaters all over study in Leipzig, under Nikisch, that most (1) Dawn, (2) Gondoliers, (3) Venetian the Rialto, the St. Mark’s Plaza, and Song. them my best. grimage, the story is different. Russia will cities to have their own orchestras, that I the world, during the next three years. It magnificent of men 1—it was my dream, not Love Song, and (4) Buona Notte. Admission prices are low in Russia, so welcome you—Russian art is only too can scarcely school them all fast enough! that everyone can come and enjoy the ready to be judged on its own merits— We are in an immensely interesting period only to conduct something, but to build music which the Government prepares for and will provide you with much stimulating of development just now. Although the something. And in Russia I am privileged him. But the performers are paid excellent entertainment. If you wish a month in Government is respectful to distinguished to build. Each time I take up my baton, fees which are fully commensurate with a Moscow, come around the last week in foreigners, it wishes musicians of its own. I see Nikisch before me, I hear his voice great artist’s skill. And they are paid in April, for the season closes down on June And there we have a houseful of eager in my ears, and I would like to tell him that money, in rubles, which are, to-day, of great first. An ever-increasing number of Amer¬ young people, who further the Govern¬ I am trying to keep faith. So Nikisch, too, value. It is not true that we are paid icans are visting our theaters each year. ment’s project by helping each other to be¬ has his place in the musical development of in shoes or grain or other commodities. So much for public music. You must come musicians! The violinists work with young Russia’s culture! We get money, and in Russia we can pro¬ have been wondering all along about the the pianists, who, in their turn, learn from cure as many good things for our money sources from which we derive our young the cellists. I must develop conductors, SELF-TEST QUESTIONS ON as we can anywhere else. musicians, and how we train them. and the conductors must develop orchestral MR. COATES’ ARTICLE Russia extends every possible welcome to There is not a Russian city without its musicians to work under them, and the foreign artists—provided they have some¬ music conservatory, the courses and masters conductors and the men together spur on 1. How does the Russian regard work? thing to say! Our operatic and orchestral of which are under Governmental super¬ the young composers, to write for them, 2. What is the governmental attitude to¬ schedule includes “guest” visits from vision. There are also less advanced to give them new national music to experi¬ ward music? Klemperer, Hans Knappertsbusch, Bruno schools, singing classes, instrumental ment with to work into greatness. 3. How is the best music insured recogni¬ Walter, Schuch, of Dresden, and Erich classes, classes in theory and harmony, tion? Kleiber. That is the stamp of artist we and choral schools. No effort is spared Young Russia—Its Promise want. Nevertheless, I am inundated with to encourage the young people along the E HAVE a most interesting group 4. Describe aspects of the organization of letters of application from persons who have lines of music-study—even those who are of young Russian composers. First the Moscow Conservatory. failed to make good at home and who there¬ not particularly gifted and who will never of all, there is Shostokovitch, a boy of 5. Name four young Russian composers.

Editor’s Note: While in Northern Africa The actual effect of music on snakes has magnified a hundred-fold over those, which, The King’s Homage the Editor of The Etude made special to do mostly with nervous cobras which to the human ear, seem merely to irritate. WrE OPENED the panel over the efforts to secure a native flageolet for the seem to be susceptible to certain vibrations. As the ears of snakes are deeply embedded, mesh ventilator in the rear so we personal use of Mr. Thurlow Lieurance in It has nothing to do with snake “dances.” very crude affairs, I do not think these could watch him and he would get the public lectures. Finally he located one It pertains to enticing a cobra from some reptiles actually hear, but feel such vibra¬ full effect of the music. used by a snake charmer. This charmer hiding place when it is captured . by the tions over the surface of their sensitive The whine of the sitar was soon filling refused absolutely to sell the instrument, charmers, sometimes hired for the purpose. the passageway. The cobra had reared to insisting that it zvas magical. He had It also includes remarkable effects upon Quite recently I closely watched some watch us. several other kinds of instruments and he the cobras by certain strains of music. studies along these lines by a young Hindu After a few moments we noted that he readily demonstrated that his cobras would from one of our universities. While he did swayed slightly, then fell forward. He lay pay no attention to them. The moment, not understand just what pitches of music, Susceptible Sna\es for a couple of seconds, then sprang back hoivever, he played upon his flageolet the or sound frequencies, were necessary to to his rearing pose. This happened again cobras responded at once. HE REASON for music affecting affect the cobras, he was in possession of in about five minutes and the brief collapse snakes is a mystery. It has been the elongated, guitar-like instrument called was preceded by a shudder along his neck. doubted by some scientific men, but I be¬ the sitar and used by Oriental snake The following quotation is from Dr. The occurrence was witnessed by two vet¬ lieve in it after close observation. Certain charmers. He also knew how to play it. Raymond L. Ditmars’ “Strange Animals eran keepers of the Reptile House. sound vibrations attract a serpent and oth¬ We spent several hours in front of the I Have Known,” one of the most fascinat¬ My Oriental friend had produced the ers momentarily render it helpless. I am cobra cages but noted no positive results. ing books on animal lore to be found. Dr. effective pitch or vibration, but couldn’t inclined to think that the latter are pitches Then we moved to the cage containing the Ditmars’ great specialty is the reptilian classify it, or remember in what note or so strident—to the snake—that they are King cobra, thirteen feet long. world, and his courage and daring in hand¬ chord it had occurred. He went repeat¬ ling poisonous snakes, particularly in the edly over the same passages of music with¬ field of developing serums for protection out result. Playing the next day he against snake bites, makes an aeroplane produced the effect three times. The fre- circus seem like child’s play. This extract juency or vibration was possibly produced is printed by permission of the publishers, ry unconscious force in striking the strings Harcourt, Brace and Company, Inc., and rf the sitar, or in some synchronization or of Dr. Ditmars. (Copyrighted by Ray¬ ^lending of a former note with one that mond L. Ditmars, 1931.) bllowed. We were encouraged, however, to extend ANOTHER phase of snake charming he experiments and try radio music. We relates to the use of music. Here let up a receiver and powerful speaker. A A again I have noted strange things which appear to be well understood by Radio Hypnotism some Hindus and relate to sound frequen¬ RESULTS were curious, for we played cies formerly mentioned. With most of several orchestras without results. I the lower caste Hindu snake charmers tad anticipated results, if any, from saxo- there is faking in the use of music. The )hone strains, but we had the most marked famous cobra dance is a fake, easily dupli¬ "eaction of all during the piano prelude to cated. I have several times demonstrated i song. The cobra fell forward and lay this in the living room of my home with >artially on his side for several seconds. a cobra from the laboratory. While my Ne had another of these collapses during guests were inclined to sit on the backs i song. I realize how horribly unethical of their chairs, I have shown them that t would be to give the name of thq artist. the rearing cobras of the Hindu are not It was probably a piano' note in the dancing to the shrill notes of the reed-like song that produced the affecting pitch. I instrument employed but nervously follow¬ HIS majesty’s FLUTE am convinced that the production of such ing motions of the man’s body that is characteristic of a snake in constantly The Flute of Frederick the Great, upon which he is said to have pitches at will is understood by some of the Hindu snake charmers. shifting its position during preparation to played for lohann Sebastian Bach. Its antiquarian value has .been placed strike to the best advantage. at Twenty Thousand Dollars. There are mysteries about true snake charming—and there is something to it. 1rl rr bij u V JUNE 1934 Page 339 THE ETUDE the ETUDE Page 338 JUNE 1934. where I come to my next point, the ‘Baseball and Scales cooperation of the parent. Give the Qhild a By LeRoy V. Brant Good Piano The Expensive “Cheap” Instrument fbhe ?s[dtional Element In (Polish (Music KNOW some will urge that good pianos they in turn make three errors and are “out." By Eveline M. Papas The average healthy boy has a hearty are expensive, and, in a few cases, this dislike for the practice of scales and a keen The child is to continue the play for nine THE MUSIC season is now getting would be the real reason for a poor instru¬ interest in baseball. For neither of these innings which, as can readily be seen, will (Qy R. Malecka well under way and teachers are ment being provided; but, in the vast ma¬ attitudes is he to be in the least condemned. give him a good scale workout. He is to planning their winter’s work and jority of cases, it is ignorance which causes The first, however, works a certain hard¬ keep a daily tally sheet of the game to be hoping, as they have so often hoped, that the trouble. The public needs educating ship on the music teacher. Looking toward presented to the teacher at the lesson time. by the end of spring they will have ob¬ on this matter, and when parents under¬ better scale performance the teacher may If it is desired to practice hands together, stand what are the qualities which make a a slight variation of the foregoing can be The Mazur is a vehicle for a wide scale tained results far superior to any achieved therefore develop a game which actually HE ACCENTUATION of the na¬ of emotions ranging from sad to gay, from before. I was almost saying, “Good luck piano we shall have grounds for hoping makes boys practice scales and practice made, in that each hand can score simul¬ T and looking for better results, not merely taneously; that is to say, the two halves tional element in music, which began fiery and violent to dreamy and melan¬ to them!” But it is not luck which will them without any great amount of grum¬ during the romantic period and choly. Sometimes, when sung in slower help them fulfil their wishes. It is, in the in individual cases, but in the general of the inning are played at the same time. bling. found its clearest expression in the works time instead of danced, it bears the name first place, enthusiasm, enthusiasm in spite standard of music throughout the country. The procedure is as follows: let the When each hand has made three errors a of Chopin, plays an important part in the of dumka (revery). In the same way also of discouragement, failures and the many The statement was made the other day left hand represent one baseball nine, the new inning is played. growth of present-day music. We notice the Krakowiak is often sung as a dumka. difficulties with which teachers have to that fifty percent of the population of this right hand the opposing team. As in the The game can be applied equally well to an increasing interest in the study of folk¬ This dance, as its name denotes, originated contend, in the second place, intelligent, country are tone deaf. This is hardly en¬ case of a regular game the play is divided other forms of technic, such as arpeggios. in the neighborhood of Cracow. Its char¬ conscientious work, and, in the third place, couraging but, when we look into the mat¬ into nine innings, each side having half of A slight analysis of this game will sug¬ songs, for it is here that we find the ele¬ acteristic feature is the syncopation already the hearty cooperation of parents who can ter, not hopeless. In all the houses where each inning. The left hand has the first gest that we are placing a premium on ments of a national style. mentioned. Danced by the peasants in their do much to help both teacher and pupil. I have visited only about one percent of half and begins to play up and down three carefulness and that the “game” element is This fact leads us again to Chopin whose gay, picturesque costumes, it is particularly And it is this third point which I want the pianos were in tune. “It’s terribly out octaves. Each time it plays the three oc¬ doing nothing more than adding a certain inspiration rested in the folk music of his to stress and in connection with which I of tune,” one is informed and so, day after taves in both directions without an error zest to what is unquestionably a dry part country and whose genius was steeped in attractive. want to offer a few practical suggestions. day, the children of the house are obliged a score is tallied. When a mistake is made of practice for a child. While recognizing the religious mystic patriotism which dis¬ Many a child is saying proudly just to hear untrue tones and harmonies, and it counts for one “out,” and when three scales as scales, it makes them more inter¬ tinguished the Poles during the time of The Walked Dance their sense of pitch is meanwhile being esting. The “game spirit” appeals strongly their captivity. As an eminent Polish now, “I am going to learn music this “outs” are scored the opponents have their N THE folk music of Poland are found to all youngsters. author, Przybyszewski, who was at the I winter,” by music meaning, as a general distorted, sometimes irremediably. And, half of the inning, continuing to play until also marches indispensable at wedding thing, the piano. The child is feeling worst of all, I have played on pianos in the same time an excellent musician, says in his essay, “Chopin and the Nation,” festivities. The polonaise which early in keen to begin, full of enthusiasm at being homes of active musicians that were most the seventeenth century found its way into old enough to “learn music.” Many homes “Every nation possesses its specific tone horribly out of tune. international music, was never danced by are without pianos, but, when little Henry to which its soul is tuned. This tone This, then, is one matter in which im¬ the peasants, although occasionally we meet is about to take lessons, it is, of course, Use the (Metronome in ^Practicing differs with each nation. It is quite an¬ provement can be made. Have your pianos among them a slow dance called the necessary to get one. other with German, with Romantic peoples tuned so that the child hears what he Sight-Reading “walked dance” {Chodzonegoj. The polo¬ The parent goes down to the piano and, again, with Slavs. The soul of a should hear. In this way, not only will the naise was essentially the dance of the store and explains that he wants a piano nation is revealed most clearly and trans¬ By Mazie Matthews nobles and is a true picture of the ancient for a beginner and is not prepared to get pupil benefit, but gradually peoples’ ears parently in music, and it is a hundredfold chivalry of Poland. Before one’s eyes pass an expensive one—just one “good enough in general will become trained to a degree easier to seize the qualities and character- the richly attired nobles leading in courtly to learn on.” Few people really know of sensitiveness which will make an out- Musicians from across the water re¬ the previous one. In this way he learns to istics of separate peoples through their fashion the no less magnificently dressed anything about pianos—the difference in of-tune piano as unbearable to them as it mark that sight-reading is not considered build chord progressions learns what to music than through their words. The fun¬ ladies famed for their grace and charm. tones and actions—and the result is that, is now to the artist; and, by directing their an accomplishment here, or else it is a lost expect next and gets ready for it. At all damental tone of the Polish soul existing They pass through the vast halls twisting thoughts to the subject, they will uncon¬ art. Judges at examinations say that the times regardless of mistakes he must keep most purely in its folk music, though ex¬ provided an instrument looks like a piano, and turning in long columns to the sound it is “good enough.” So a cheap instru¬ sciously demand truly musical sounds. The average American music student gets a strictly with the metronome. As he be¬ pressed in the most simplest form, expands in the music of Chopin into a full-blown of grave, majestic music. ment is provided for the child who is be¬ result will be—better pianos. medium or very low mark for sight-reading. comes more proficient the metronome is It was Polish violinists who were gladly ginning lessons, an instrument with a thin, As regards expense: All reputable firms To overcome this deplorable situation set faster and more difficult hymns are flower of majestic power and glory.” many a teacher has recommended hymn Polish folk music is varied and dates back welcomed at foreign courts that introduced “tinny” tone, a squeaking pedal and a stiff, are glad to cooperate with the buyer in chosen. From hymns he goes to second arranging convenient terms so that buying playing, and student and teacher have and third grade pieces and in a short time to a very early period. There are melodies the polonaise abroad. Telemann, a Ger¬ unresponsive action or one so loose that which bear traces even of pre-Christian man composer, contemporary to Bach, re¬ an instrument does not necessitate a large struggled along at a tortoise pace, hoping to accompaniments. By this time he ceases the key moves at the slightest touch. Little that persistency will win the day. origin, as is shown by the use of the primi¬ lates the musical impression he received on immediate outlay. The cost may be spread observing notes separately and is able to consideration is given to what sounds this The metronome, to such, proves a friend a journey to Poland. He writes: “No¬ over several years. grasp phrases as a whole. tive five-tone scale piano is capable of, though the study the indeed. The teacher should choose hymns The student not only gets a great deal body would believe with what an amount If the parent wishing to buy a piano unfortunate little soul is embarking on of only one or two sharps or flats and set of pleasure out of being able to sit down No.l of phantasy the players on the bagpipes or feels ignorant of the subject and incom¬ is all sound! He can “learn his notes,” the metronome at a very slow tempo. For and play moderately difficult pieces at sight, violins improvise during the intervals of and what more is necessary? petent to choose the right instrument, why each chord the student must count four. but has the added satisfaction of knowing the dance. If one made notes one could With a large proportion of so-called ■not leave it to the teacher ? He will gladly This gives him time to observe the next this is made possible through his own en¬ collect enough musical ideas in one week teachers this is exactly what does happen help select one and will illustrate the dif¬ chord and to find the connecting link with deavors to improve a weakness. to last for a whole lifetime. In a word —the child learns his notes and little else. ferent points so that the parent will know there is much good in this music if one He is not taught anything about tone, more about the matter, and a step in the knows how to profit by it.” Apparently how the piano can be made to sing and the right direction will have been made. Telemann did know how to profit, for he It cannot be too strongly urged upon wrote two sonatas for two violins and basso many different qualities, not merely quan¬ -A J\[ovelty for Tour ‘Recital and old chronicles preserve texts of these tities, of tone it is capable of. parents : A child must have a good instru¬ continuo called Polish sonatas. songs with invocations to Slavonic gods. Krakowiak which is in 2/4 time this accent ment to practice on, else he mil never learn By Gladys Hutchinson Lutz In later songs we often find a surprising other instances may be found by careful In the first one a mazurka vivace has all to play. on the second beat is brought about by the the temperament of a Polish folk dance. In Attempting the Impossible variety of rhythms and of harmonic and study. The following examples show' traces of the syncopation. fact, in the eighteenth century the so-called As an attractive addition to your recital melodic lines. UT TAKE the somewhat more for¬ of this transposition, she should continue: In the following “A” is the Krakowiak, “Polish style” had a great success in Euro¬ B at least one pupil should be prepared to Greek modes: I Come from Cracon and “B” is a Mazurka. pean countries, and German cities of that tunate child who, by good luck, is play a simple piece in every key. Ask me another. No. 2 Staccato Accents No. 3 Lydian time gave it much attention. Johann placed with a true teacher. In the earliest As the pupil is about to play she may It’s fun to play Ex.4 stages he is shown inside the piano and All of the key scales Schiebe in his work “Der Kritische By Gladys M. Stein recite: given a practical demonstration of its ac¬ In this way. Musikus” (1745) characterizes the Polish tion, as a preliminary to studying touch. This piece that I’m about to play. style as “gay, satiric and vivacious.” Those Heavy accents sound clumsy in piano Another key will be suggested upon qualities which we find in embryo in the Then he is shown how he can obtain a Is simple—short—and sweet; compositions in which both hands are play¬ which the pupil will again give the names a music of the people find their perfected beautiful singing tone and, the teacher’s The part that comes right afterward ing staccato passages. Is what will be the treat. of the sharps or flats in the signature re¬ 3 expression in the creations of Chopin who piano being a good one (though this is not To get a mello accent try depressing quested and play the piece in the key has enriched the literature of music with called for. always the case, unfortunately), he tries the damper pedal with each accented note undying compositions that are the noblest this out for himself and, after experiment¬ and then letting it up immediately as And for the last time the pupil will It is this characteristic rhythm which contribution Poland has added to the gen¬ recite: ing, produces the desired tone. Then he marked in the following example taken plays such an important part in the mazur¬ eral culture of the world. And now you’ve heard this little tune, kas of Chopin and so often proves a stum¬ goes home and, remembering what he has from Robin Goodfellow by L. Leslie Loth: Once more I’ll play this tune, Whereas the older motifs move in a close Played in the key of C; bling block to foreigners in their correct been taught, tries to produce the same In any key you say, position (a) not exceeding the space of a Just try to trick me, if you can, performance. To Poles accustomed from SELF-TEST QUESTIONS ON tone, but without success. Not his fault. In F or G or E or B, fifth, the later ones show a far bolder And ask another key. their childhood to this national dance it The piano he practices on is simply in¬ Or D or E or A. scope, not fearing even the skip of a MR. MALECKA’S ARTICLE capable of “singing,” and, after a few at¬ Someone in the audience will suggest, for presents no difficulty. The Mazur takes Go through the procedure directed in the seventh (b). 1. What are the indications that Polish tempts, the child gives up, discouraged. example, C sharp major. The pupil should its name from the province of Mazovia, of foregoing. One of the most interesting features ^ p 11« p. Ji | j, J’, J y | |- j | j j [| which Warsaw was the capital, when the music has a pre-Christian origin? Now surely the point of sending a child recite, “C sharp major has seven sharps, If there are words to the piece it would pointing to the great antiquity of these chief town of Poland was Cracow. It was to take piano lessons is that he may learn F-C-G-D-A-E-B” (quickly) and then play 2. Characterize the Oberek, the Kujawiak add to the effectiveness of the performance melodies, is the use of the old tonalities in this part of the country that Chopin was to play, not merely to conjure with the key¬ in the key requested. At the completion if other children would sing. such as Phrygian, Lydian and Eolic modes. The essential types of Polish folk music and the Krakowiak. are the Mazur (mazurka) with its varia¬ born, and here he constantly saw in his board! And is it possible that he will A most exhaustive study of Polish folk lore 3. What is the derivation of the word, tions of Oberek and Kufamak. These two youth, the peasants dancing the Mazur or learn to do this if not provided with a The pedal must not be held long enough was made by Oscar Kolberg (1814-1890) nearly related Oberek and Kujawiak. mazurka ? piano worthy the name? who collected folk songs from every part latter dances are pre-eminently peasant to blur the staccato notes. dances in 3/4 time. The Krakowiak Among his mazurkas we find examples of It is impossible to . work well without “Music, oh, how faint, how weak; of Poland noting the variations to be found 4. For what occasions was the polonaise The damper pedal used in this way will (Cracovienne) is in 2/4 time. The char¬ all these dances. For instance, Nos. 9, IS dancedf the proper tools, and it most emphatically Language fades before thy spell; from age to age and locality to locality. give much the same effect as the use of the acteristic rhythm of these dances is the and 17 are Obercks which are mostly Why should Feeling eveKr speak In Chopin’s mazurkas we can also find 5. What zvas the “Polish style” and when is impossible to produce music on other swell pedal on the pipe-organ and is es¬ accent on the second beat (in the mazurka danced more quickly than the Mazur than a musical instrument. And this is pecially helpful to young pupils. When thou canst breathe her soul s examples of Greek modes, such as No. 48, proper and are less dramatic and varied. did it have great vogue in Europe? the Poco piu vivo in B-flat major. Various often on the third) of the measure. In the JUNE 1934 Page 341 THE ETUDE Page SJfi JUNE 1934. THE ETUDE Tohe J\yt of Drograrri'VYldkjng Getting a Start in Styfusic teaching in the (Country

c.By Eugene F. Marks An Article of Especial Interest to Those Preparing June Recitals

asked her to play for him some “popular USIC is a language—a universal ingly away from any drafts near an inside fortable chairs and an extra piano-seat for Every opportunity should be used to par¬ grotesque. Without pretending to exhaust M AMONG THE most important and re- adjacent pieces in the same key, though tune” which he had enjoyed hearing her language—which, if not spoken by wall, and somewhat distant from the source use in duet playing; and your studio is ticipate and have the pupils participate in the possibilities, let us enumerate some of f\ sponsible duties of a great orchestral this cannot be laid down as a strict rule, play some days previous but of which he all, may at least be heard and of heat, but in a position to secure a good sufficiently furnished. However, since the the social activities of the immediate com¬ the ways in which unity may surely be X xk conductor is that of the choice a.nd especially as the earlier classical composers had forgotten the name. In the effort to understood by many. Naturally its cultiva¬ light upon the sheet-music. light should enter from above or overhead munity. This leads to the upbuilding of attained. a large clientele. arrangement in favorable order of the quite commonly retain the same key please her father, she played over first all tion and appreciation are greatest in wealthy A bookcase or music-cabinet may be rather than from below or on a level with throughout all the separate numbers of a A program may consist of: In addition to the special events of the pieces which make up his programs. It is the popular songs of the day, then all the cities and large towns, and comparatively placed near the piano in order to have the eye, the shades should roll up from the suite and occasionally even in a sonata. 1. The works of recognized classical bottom. This is easily managed by fasten¬ school in which you or your pupils may a matter calling for good judgment and the old folk-songs she knew. But none of them less in small towns and country villages. your music supply and books of reference In' making up a program, one should try composers, or of those moderns was the favored selection. At last she within easy reach. The sheet music may ing the shade to the base casing of the take part, there is the opportunity of hav¬ most discriminating taste. Yet many small towns, and homes in coun¬ the end of each piece in connection with the whose idiom follows a development gave it up in despair and began playing to be arranged and classified in the cabinet, window, tying a long cord to the ring in ing pupils recitals several times during the The direction of large symphony orches¬ try districts have developed a decidedly beginning of the next to see whether the of the same general lines. please herself, trying several numbers from all the different grades, the etudes, classical the middle of the hem-stick of the shade year. This is a splendid medium for tras is an honor which falls to but few of musical atmosphere by giving liberal time effect is pleasing or otherwise.. A solo 2. Extreme modern compositions, pos¬ a Bach Album. As she began "My heart works, duets and so forth, in their respec¬ and passing it over a small stationary pul¬ demonstrating the result of one’s teaching us; yet practically every music-teacher has and study to music, even though it be of the pianist Of organist who is a highly talented sibly either preceded or followed by erier faithful’’ (from the “Whitsuntide Can¬ simpler character. It is not these few tive divisions so that there will be no delay ley fixed in the center of the upper cross¬ ability, and, besides, it stimulates en¬ occasion at various times to plan a pupils’ musician will sometimes improvise a few classical works. tata”) he shouted, “There, that’s what I communities we wish to consider, however, in obtaining a selection when needed. A board of the window casing. thusiasms among the pupils. It is well to recital or give one of his own. When there chords where they are necessary to bridge 3. The works of some one composer, wanted! Why didn’t you play it for me but the remoter country settlements. few good pictures of subjects relating to The lesson periods can be easily inter¬ arrange the program some time in advance, is such a program to be planned there is a right and a wrong way to do it, and over an otherwise bad transition between selected with due regard to variety. when I asked you?” After that he insisted These places frequently offer a good op¬ music may be hung upon the wall and two woven with the school duties by taking the in order that the pupils may have ample the possibility of contributing greatly to the the keys of two pieces. But this procedure 4. The works of some one national on hearing it time and time again. portunity for utilizing and investing a day’s or three busts of eminent musicians placed pupils during their free periods or a half time to master their pieces. An exhibition success of the whole undertaking by the is not possible" to most amateurs; neither school of composers, such as the It is most unwise to underestimate the teaching at least once a week. The teacher upon stands in convenient places. No hour before school. After school dismissal extending over an hour or an hour and a is it practicable in the case of orchestral Russian, the French or, the Scan¬ studio is complete without the monitor— a half hour or more may well be employed half becomes tiresome. It is quality rather proper selection and ordering of pieces is qualifications of one’s audience. Even who undertakes such a task may be as¬ or concerted music. An example of one dinavian. in rehearsing numbers for public exhibi¬ in itself a work of art. children do not always like childish things, sured in advance that he is a true mis¬ the metronome. Now add a small table, a than quantity which counts in musical of the bad transitions is that of the whole- 5. Illustrations of the art-songs of black-board lined into staves, a few com¬ tion, such as cantatas and musical plays. endeavor. There are, broadly speaking, five differ¬ but are impressed by something grand and sionary instilling a love for good music step: D major does not sound well after various composers. Parents can aid the music teacher greatly ent questions to be considered: length, intense even though they may not under¬ where it will be of far greater value than C major; neither does B flat major after 6. Illustrations of the folk-songs of stand it fully. On the other hand, it is in his endeavors to elevate the musical variety, unity, suitability and aesthetic that imparted in his ordinary course of C major. There are a few pieces, however, various nations. well to make reasonable concessions to the standard of the community, and at the value. instruction. How One Tjeacher Did It which have an “Introduction” of such 7. Dance music or classical music in tastes of one’s audience, if only such tastes same time give themselves much enjoyment The first step in the formation of a Length peculiar character that they, sound well various dance-forms. are actually known. Among musically-in¬ By purchasing phonographs and the best class among such rural districts is to have The following is a part of a summer circular issued by Mr. John W. Schaum after anything, because they begin with 8. Sacred music, preferably of some clined people who happen to be so located educative records they can familiarize the OF COURSE no one wishes to present a frank talk with the principal of the day- of Milwaukee. He says that it was a great success. Perhaps it contains a a vague and undetermined tonality and one school. as to have but rare opportunities of hear¬ child with some of the world’s best music a program so brief that people feel school. If no one is already filling this hint for some of our teacher friends. presently modulate skillfully into the real 9. Operatic music, preferably of some ing good performances of music, I have The members of the district who can af¬ it has not been worth their trouble to come. important position, you may be assured of key. Such is Grieg’s “Violin Sonata in F one school. found a great wish to hear the standard a hearty welcome; for he will need music ford to install radios will secure an addi¬ Such a fault, however, is very unusual. (Op. 8).” 10. Salon music, such as that of Lange, classics, especially Beethoven, Mozart, tional source of educational material which Rather, it is common, since teachers have for commencement and many other public Lack, Chaminade, and so forth. Mendelssohn, Schumann, and so forth, but events, and will greatly prefer the use of will lend a large measure of interest in a large class which they wish to exhibit, Unity 11. A combination of both popular and comparatively little ■ interest in Brahms, local talent to the importing of any from music throughout the community. to prepare programs so excessively long Notwithstanding the impor¬ classical music, judiciously selected Grieg or Tchaikovsky and none at all -in a distance. His assistance and countenance, that both the audience and the pupils them¬ It should be the teacher’s endeavor to lay, tance of variety, it is equally neces¬ and arranged. Reger, Karg-Elert, Debussy, Cyril Scott once gained, will aid in keeping alive an selves are “bored to extinction.” It would from the very beginning, a good, sound, and sary to study unity in the make-up of a (See programs at the end of this article.) or Ravel. Music-lovers living in the larger interest in music. be better to give two or more recitals, or dependable musical foundation upon which program. It is quite possible to assemble This last variety is one which, if well centers, however, are frequently “all fed Next, secure a list of the names of automatically to limit the number of par¬ the pupil, if forced at any moment to rely a number of real masterpieces yet ones planned, will please a great many, but up” on the older classics and wish to hear families owning pianos, or, if you also teach ticipants by never permitting a pupil to ap¬ solely on his own direction and exertion, whose styles have nothing in common. It which demands the utmost good taste and the latest novelties by leading contemporary voice and string instruments, of all inter¬ pear in recital before he has studied a may be able to erect a substantial edifice. follows that there is no underlying prin¬ good j udgment to avoid bathos. It will be ested in music, and make a personal can¬ fixed number of years and has reached a composers. “No matter what the task may be that lies ciple to make the program a logical whole. a help to remember that not all classical In general, whatever appeals to you, per¬ vass of each home to ascertain the number IT TAKES PRACTICE certain grade of advancement. The mini¬ before you, try to perform it so well that As a horrible warning, let us try music is equally serious in style and that, of pupils you may count on in the begin¬ mum length of a program should be placed sonally, so that you can play it with whole¬ nobody can do it better. There is nothing in going from classic to popular, it is well hearted enjoyment and adequate technic, ning. You need not feel alarmed if the twelve months of the year at one hour, the maximum at two. To be 1. Sonata Pathetique.Beethoven ‘just as good’ as your BEST.” to use one of the lighter classics. For in¬ will stand the best chance of succeeding number appears small at first, for it is al¬ to make something of your sure, operas much longer than this are 2. Old Folks at Home (vocal). .Foster most sure to grow, especially as soon as often listened to without boredom, but there 3. Prelude and Fugue in C sharp stance, after a Haydn symphony, Strauss’ with almost any audience. Players who Blue Danube JValtses sound perfectly in some social event demands the service of the eye is diverted by the scenery and cos¬ minor ..Bach have chosen an inferior program from a place, whereas after, say, Beethoven’s your pupils, and shows the results of your Wagner and King Ludwig tumes and the mind interested by the plot. 4 Stars and Stripes Forever.... Sousa supposed necessity of playing “down to Also one may walk in the foyer between 5. Pavane.Ravel “Fifth Symphony,” they are a desecration. their audience,” have generally found that teaching. The matter of fees must be gov¬ By S. G. Alberti erned by the community’s financial status. the acts and come back refreshed. It is 6. Sextette from “Lucia” After the Strauss waltzes, one might, if so they pleased neither the audience nor them¬ Let the price be the same for every pupil, easy to determine beforehand the probable (vocal) .Donizetti disposed, indulge freely in the best of con¬ selves. Anything more total than such a for, among country folks, there are no Wagner had fled to Stuttgart to get length of a program by timing each num¬ temporary popular numbers, closing, per¬ failure it would be hard to conceive. Better away from his creditors when he received ber separately and adding about as many Now here are five real masterpieces, each haps, with a rousing Sousa march. give the best that is in you, even if not secrets; each one is a member of a large almost supreme in its own style. Yet, pre¬ the fateful summons from the supposedly minutes to the whole period as there are In brief, remember that one sort of always appreciated. intimate family. -"All Play and no Work gets Jack into trouble" sented together, they would absolutely ruin Many of the parents visited will claim study piano this summer. insane King Ludwig of Bavaria which separate compositions, to allow for the variety and one sort of unity throughout changed the current of his whole existence slight pauses which must occur between all chances of harmonious effects. To be a program are sufficient. To seek too much that the - children have no time for music sure, No. 1 and No. 3 might well find places Personal Problems study with their school work, especially and finally established him at Bayreuth the numbers. after more of the first is to risk a tasteless acknowledged musical master of Europe. on the same program, and No. 4 and No. 6 hotchpotch: to seek too much after more of HERE several persons take part, as the school-house is usually some distance IF----Jack is to keep some semblance of order and routine together on some other program, but, with W during vacation,- The summons was unexpected. A letter of Variety the second is to risk pedantry and dullness. one or more at a time, in a program, from the home and much time is spent go¬ these exceptions, there is no number which ing back and forth, but these and similar study piano this summer. Wagner’s tells of this extraordinary meet¬ VARIETY is necessary to sustain in¬ there are certain little matters of manage¬ ing. “You know that the King of Bavaria terest, and there are several ways of could properly be heard next any other Fitness to the Character of the ment to be considered. Should amateurs objections may be met by pointing out number there, as their whole styles and that the period in which the child is de¬ sent a messenger to find me,” Wagner attaining it. One of the most obvious is Audience and professionals appear on the same pro¬ wrote. “Today I was brought before that of sprinkling a few vocal numbers in idioms are so utterly diverse as to be gram, it is courteous to neither to assign veloping his mind in the class-room is the IF-you want Jack to retain the musical knowledge already inimical. It would be just as if a person THERE IS a common opinion that for learned,- him. . . . He wants me to be with him an instrumental concert, or of using instru¬ them their places indiscriminately. Better very time in which to study music. At of wide and distinguished public and social an audience composed of musically this early age, musical advancement may study piano this summer. always, to work, to rest, to produce my ments at a piano or organ recital—-a violin uncultivated people, one can present only have the professionals appear, if possible, works; he will give me everything I need; solo on a program of organ selections, for acquaintance would choose to entertain, by themselves, in a second part of the pro¬ be steadily gained, even though the practice at the same dinner-party, Wayne B. “popular” music, or, at best, those of the hours be necessarily limited, say, to one I am to finish my ‘Nibelungen,’ and he instance. In order to take full advantage of gram. Of course, the case in which a Wheeler, Bishop Fiske, H. L. Mertcken classics which are simple and obvious in hour before and another after school. will have them performed as I wish. I this sourse of variety, it is better not to have professional soloist appears accompanied -summer provides more practice time with its freedom and President Roosevelt, together with their appeal. This is doubtless true, in As the school-house is usually located from school, social activities and winter colds,- am to be my own unrestricted master, not a violin or flute come next to a soprano by an amateur orchestra, or a solo singer his favorite bootblack, his physician and general, but exceptions are more common centrally among these scattered homes, it stUdy piano this summer. Kapellmeister—nothing but myself and his solo, nor a bass or tenor solo come next to in connection with a chorus, must be an a policeman with whom he has a pleasant than many suppose. One is led to believe will prove the best place for a studio; but friend. All troubles are to be taken from a cello solo. The same principle warns one exception. speaking acquaintance. Or, to vary the that when the classics are played with the if a room cannot be secured here, there is me; I shall have whatever I need, if I only against two “high” voices or two “low’ same heartiness and abandonment of ex¬ Another little point of eitquette that stay with him. comparison, it would be as if the cook always some sympathetic and philanthropic IF——you don’t want Satan to find mischief for Jack’s voices in succession pression to be heard in the singing of should be observed is in relation to position mother near-by who will gladly give a idle hands to do,- “What do you say to this? What do When the program is of entirely one type should pour maple-syrup over the beef¬ on the program. A visiting soloist, or any steak, or garnish the ice-cream with strips familiar popular songs or in the perform¬ room, and sometimes the use of a piano, study piano this summer. you say? Is it not unheard of? Can this of music, however, variety may still be se¬ ances of old-fashioned country-fiddlers, person who is to be treated as an acknowl¬ be anything but a dream?” of bacon. I have seen blunders in taste in provided the teacher gives her child lessons cured by taking care that no slow move¬ they will appeal even to people of primitive edged “star,” should neither open nor close in return. It will be well to so arrange But it was no dream. As Henry T. ment (unless quite brief and of a wholly the make-up of musical programs which a program, in a mixed concert. The were as bad as these—combinations to make musical taste. The trouble is that our per¬ the furniture as to suggest a musical at¬ IP-teachers are not so driven with work in the summer binck observes in his biography of Wag¬ different rhythm) should be heard directly choicest place on the program is generally a fastidious musician squirm in his chair. formances are often too deadly dull and mosphere and to fulfill its practical object they are able to give more individual attention to’ ner, the young King of Bavaria, who had after another slow movement and no two reckoned to be the second or third number. If such blunders are to be avoided, there labored. of teaching. The keynote should be sim¬ their pupils,- mounted the throne but four weeks before, adjacent numbers should be in the minor An instance comes to mind of a young If, however, the “star" does not appear until had read the despairing call of the com- must be some one element of unity in a plicity; its most prominent piece of furni¬ mode, unless one of them is of a light and lady, a very fine pianist, whose father was the second part of the program, there is no poser: ‘Will this Prince be found?’ and program. Contrasts may be frequent, but ture an inexpensive piano placed protect- STUDY PIANO THIS SUMMER. playful character. wholly unmusical. On one occasion he great importance attached to the matter had said to himself, ‘I will be this Prince.’ ” In general, it is better not to have two they should not be so extreme as to be JUNE 1934 Page 348 THE etude the etude Page 8J& JUNE 1934 Walter’s Prize Song, from “Die Meis- Chaminade.Scarf Dance of position. If several of the performers No. 8 may be rendered in its original tersinger” (arranged for violin solo, Gottschalk.Orfa (Grande Polka) can appear in an ensemble number for the form as a vocal number. All the Flagler.With Song and lest closing piece of the concert, the effect will pieces in this program are of only by Wilhelm) Elsa’s Bridal Procession, from ‘Lohen¬ (solo for four hands) be specially good. moderate difficulty. Gabriel Marie.. .The Golden Wedding However, there are exceptions to all grin,” transcription by Liszt T5he ‘Music of the Land of the ^Bourree Elsa’s Dream and March from “Lo¬ J. Strauss.. .Straussiana (four hands) rules. Often, pianists who have already 5. Marches and Dance forms, by Classical Sousa. .Columbia’s Pride (four hands) played a concerto with orchestra, at a sym¬ Composers (suitable for well-advanced hengrin,” arranged for four hands phony concert, play a group of piano solos players) by F. Berger (This program contains pieces of unaccompanied, at the very last, after all Bach . Sarabande (This program calls for two pian¬ various grades, suitable for a pupils’ Paris from Auvergne toward furnishes us the following amusing illustra¬ each. For the first figure, the dancers face (This is a very difficult piece, de¬ fully follow the phrasing accentuation, exception; indeed, it may be said that this the end of the sixteenth century, and that tion, quoted from an essay on the bourree each other and move from side to side in manding some virtuosity. Should it Sailors’ Chorus, and Spinning Song What rules should guide the accom- fluctuations in tempo as well as the gen¬ region is without doubt one of the richest Lully (1639-1687) was probably the first by Antoine Bonnefoy. opposite directions. At the end of the be thought best to omit this, some from “The Flying Dutchman” eral dynamic scheme of the soloist. He in indigenous folk-tunes. Its musical tra¬ to transform it into music suitable for use phrase, they must be at the further ends classical composition, not too alien in (piano, four hands) (1) The accompanist should play in an should, therefore, merge his own inter¬ ditions have been kept alive by its devoted in the suites of his time. of the line of their movement. The second mood, will furnish a good relief at To Fetch the Bride pretation with that of the soloist. inhabitants and their descendants. In Paris, All of the bourrees of Auvergne in the figure is circular, and the dancers revolve this point, and make an effective (4) The accompanist should give par¬ where many Auvergnats now make their original form are both danced and sung. HEN Francis the First was on like tops while describing the circle. This close. Mozart’s Fantasia in C minor W ticular attention to the value of rests, and homes, local usages and memories are kept The words are thoroughly characteristic of his way to fetch Catherine de movement also ends with the dancers far is suggested.) beware of blurring harmonies by excessive alive by intensely patriotic Auvergnat folk-verses throughout the world. The Medici, the great-niece of Pope Clement apart, and the last beat is accentuated by or injudicious pedaling. He should often societies, at the meetings of which the old themes are always of a rustic nature, some¬ 3. Grieg Program VII, who was to marry Francis’ son, Henri stamping with the right foot. abstain from pedaling phrases of a delicate Auvergnat costumes are worn and the dia¬ times of a tenderly pastoral sort. Verses the Second, he stopped at Clermont-Fer¬ There are many variations of the simple “Peer Gynt Suite” (for piano, four lect of Auvergne is spoken. In this day, about lovers make up a good proportion of or imitative character, which are easily rand along with his suite which included bourree. In some, which are danced by the hands.) blurred. when folk-music is in danger of losing its the total. The language of the province his sister, the beautiful Marguerite of men alone, the rhythms are accentuated by a. Morning Mood place in rural life, the Auvergnats in Paris of Auvergne is one of the numerous dialects b. Ase’s Death (5) The accompanist must give careful Navarre and the Cardinal Antoine Duprat. tapping with the heels and by cries which attention to preludes, interludes and post- have formed at least one society of particu¬ derived from the Languedoc division of seem to come forth with spontaneous en¬ c. Anitra’s Dance lar interest. This society is known as “La French. It leans toward the Italian, but “A grandiose reception was given for the d. In the Hall of the Mountain King ludes which occur in a composition or thusiasm. These vigorous dances are seen Bourree,” and its purpose is to maintain there are, of course, many purely local King, followed by sumptuous entertain¬ Solveig’s Song (soprano solo) song, for upon them often depends the principally in the mountains and are said the traditions of the Auvergnat songs and ments during I Love Thee effective rendition of the whole. to be survivals of the ancient warrior dances. The name of the society is taken Erotik (piano solo) (6) The playing of accompaniments re¬ dances of the primitive Gauls. Other from the principal folk-dance of central Norwegian Bridal Procession (edited quires special aptitude, training and tions which bourrees are danced by varying numbers by Percy Grainger) practice. Like the ensemble player, the France. Although I have seen and heard make it very of couples. In some of them, there are as On the Mountain accompanist must sacrifice his personal the bourree in Auvergne itself, it was difficult of many as eight figures, and some of these (This program employs two pian¬ vanity for the good effect of the whole. through the activities of this society in comprehen- are of fairly complex pattern. All of them ists, violinist and soprano soloist.) If diffidence on his part is detrimental to a Paris that my interest was aroused. are notable for the beauty and harmony of Sonata in F, Op. 8, for violin and piano well-balanced performance, an exaggerated the movements. The eye is fascinated by (Suitable for well-advanced per¬ assertiveness is much more reprehensible. Of Far Lineage the working-out of the numerous crossings former) We do not accompany a harp solo with THIS BOURREE is not to be confused and re-crossings of the dancers, and the kettledrums, nor are we satisfied to look with the bourree to be found in the ear is charmed by the way in which the 4. Russian Program for a pound of melody in a ton of accom¬ suites of Bach and other masters, although music fits their gestures and seems to buoy paniment. Lvoff.Russian Hymn the latter is said to be derived from the up their feet, so that in effect they seem (two pianos, eight hands) (7) Finally, an accompanist should be a former. The classical bourree is in alia to be treading on air. Tchaikovsky .Andante cantabile. Op. 11 good sight reader and also be able to trans¬ breve or 2/4 time and of rapid tempo, pose. If at times a singer is not in good A Hoary Pair Liadow .Music Box whereas the bourree of Auvergne is gen¬ Cui .Orientate trim, he may request the playing of a song erally in 3/8 time, with a very strongly NO DESCRIPTION of the bourree Moussorgsky . Gopak a tone or half tone lower. A thorough marked rhythm and considerable syncopa- would be complete without attempt¬ Scene D‘Enfant knowledge of harmony and key relation¬ ing to give a picture of a rural festival Schuett.A la Bien Aimed, Valse ship will serve the accompanist well when in Auvergne where these singing dances Rubinstein.Melody in F modulating from key to key, so as to form are performed. First we look at the musi¬ Romance, Op. 44, No. 1 a pleasing connection between two pieces cians, standing at the side, performing upon Rimski-Korsakoff.Song of India of different tonality. the two age-old instruments which are in¬ (two or four hands) separable from the bourree. These are the Tchaikovsky .March Slav vielle and the musette. (two or four hands, preferably the clesiastical The musette is a sort of bagpipe, but the latter) personages vielle is an instrument with which many If a contralto soloist is available, in the suite people are likely to be unfamiliar. It is insert the number, Only a Yearning A Spanish Music Student of the XVII Century of Francis really a hurdy-gurdy, a rather complicated what I can for modern music; but the Heart, after, say, No. 4. If a so¬ Senorita Velasquez the First affair and difficult to describe. In general prano or tenor soloist is available, musician in me is not always convinced,”— BOURREE ON THE COUNTRYSIDE shape it is like a large mandolin with from By the Spanish painter, Zacarias Velasquez Bruno Walter. JUNE 1934 Tage 345 THE ETUDE Page 344 JUNE 1934- THE ETUDE three to six strings, of which all except a rapid cascade of descending notes. Many one are played as drones. These drones of the tunes are remarkable for their in¬ TITD7771)))/)))))))~ are tuned in fifths and octaves. The single sistence on a single note. When it is pos¬ melody string is stopped by keys which the sible to notate the melodies in 6/4 or 6/8, player manipulates with his left hand. With the ends of phrases often fall on the second RECORDS AND RADIO Band and Orchestra Department his right hand the player rotates a rosined beat of the measure. There is in indefinable wheel which is turned by a crank at the suggestion of space and air in the breadth Conducted Monthly by lower end of the instrument and which sets of these songs. By Peter Hugh Reed the strings in vibration. The “ensemble” The absence of melancholy from the VICTOR J. GRABEL of the musette and the vielle produces, as songs of Auvergne gives them a rather may be well imagined, a very strident sort rare place in the world of folk-melodies. FAMOUS BAND TRAINER AND CONDUCTOR of music. But the character is perfect for Most of the tunes are in the major, which TmcuxmLUJXOXUiaac rustic festivity, and, in the open air, most is unusual, since most folk material, es¬ of the unpleasantness is lost. pecially in southern countries, tends to fall EUGENE ORMANDY has in a rela¬ done well to record excerpts from the The costume worn by the performers at into the old modes such as the Aeolian and tively short time established him¬ American operas, “Emperor Jones” and these festivals are surprisingly sober in the Dorian. The dance-tunes of Auvergne self as one of our leading orchestral “Merry Mount,” if for no other reason color. The men wear broad-brimmed hats, are invariably jolly, and the pastoral songs, conductors. Ten years ago he arrived in than to perpetuate his remarkable charac¬ short jackets and tight trousers, all of though not exuberantly gay, are full of the this country from Hungary to make a con¬ terizations of the principal roles (Victor Orchestral 'Voices—Strings black, the only note of color being intro¬ repose of the beautiful countrysides of cert tour as a violinist. Shortly after this disc 7957). France. duced in the neckerchiefs. The women he was in the violin section of an orchestra; By Arthur Olaf Andersen wear bonnets of white lace or other ma¬ Large numbers of these songs have been and not long after that he was a recognized Music Transcending the Instrument collected and harmonized. Many people terial, bodices with square or V-shaped conductor of marked abilities, There are' several ways of producing the are most nearly alike in tone quality. In necks, and ample skirts which have double will feel, however, that a rich accompani¬ EHUDI MENUHIN’S pure tone, his this event, the change from one instrument Mr. Ormandy’s first two recorded selec¬ inherent musicianship, and his emo¬ THERE ARE so many forms of artificial harmonics but the two principal bustles over them. Occasionally one sees ment is superfluous. The proof that a tune to another will be less noticeable and con¬ tions are unhackneyed ones, chosen from tional quality, make him an ideal recording methods are: bright-colored aprons and shawls over the is good is always that it can stand by itself. works by contemporary composers of his sasKMJTS ptfrrc z s sequently more artistic in effect. And this is precisely what the folk-melodies violinist. Although this young artist’s in¬ simple dresses. native land. They are the Suite from pizzicato or plucked figuration that it the same tone, 1. By firmly pressing the first finger of Auvergne can do. terpretative ability has grown since he first Kodaly’s opera, “Hary Janos,” and the would be next to impossible to enumerate on the string and lightly touching recorded, nevertheless his early recordings Ex. 12 Ex. 14 Songs of Sowing and Reaping SELF-TEST QUESTIONS ON Polka and Fugue from Weinberger’s opera are still appreciated along with his more them. Anvone who manifests an interest the same string a perfect fourth higher with the little finger. The Allegro ESIDES the bourree, the characteris¬ MR. GOLDMAN’S ARTICLE “Schwanda.” Kodaly, one of the foremost recent ones. And well they may, for his should study these different effects through 1st Violin B result is an harmonic two octaves tic songs of Auvergne are songs of the 1. What is the purpose of the "La Bourree” living Hungarian composers, was at one performance of such works as Beethoven’s examining a great variety of orchestral above the firmly pressed note. field and of the harvest. These are melo¬ society? time Ormandy’s teacher in composition at “Sonata in D major,” Opus 12 (Victor set scores. He should make it a point to be¬ dies of a type not infrequently heard in 2. Describe three characteristics of the the Budapest Conservatory. His opera, M91) is rendered with a charm and sim¬ come familiar with the two kinds of pizzi¬ 2. By firmly pressing the first finger Latin countries. They are very broad melo¬ “Hary Janos,” founded upon a national plicity wholly appropriate to its musical cato, the right hand pizzicato, which is the on the string and lightly touching dies of a small compass and loose rhythm. 3. What was the decision of the Sacred figure in Hungarian folklore, was success¬ concept. One could hardly demand emenda¬ more common, and the left hand pizzicato. the string a perfect fifth higher. In written form (though it is impossible College regarding the bourree? fully presented for the first time in Buda¬ tion in this set. Note in the following: The resulting sound is an octave, to notate them precisely) they often fall 4. What instruments were originally played pest in 1926. The orchestral Suite from it, It is good to have Menuhin growing into and a perfect fifth higher. best into the 5/4 meter. Characteristic for the bourree? arranged later, is the only part of the opera works like Chausson’s expressive Poeme Viola phrases are often composed of one or two 5. What are other types of music sung by which has been heard in this country to for violin and orchestra (Victor discs Gracefully fl owing Such ethereal and spirituelle effects as long notes held ad libitum and followed by the people of Auvergne? date. This Suite is clever, colorful music 7913-14) ; for the exalted sentiment and are produced by the harmonics are note¬ of a descriptive genre, and most of it de¬ dramatic intensity of such music profits by worthy in compositions of Debussy, d’lndy, pends upon a knowledge of its program the purity of his style. In a work so in¬ Stravinsky and others of the modern school. Cello 'Music of Mature for enjoyment. The opera “Schwanda,” tensely poetic as this, there is often an urge ^ 11V1 To return to more solid tonal ground, which had a meteoric success in Europe, 2d VioHn to over-sentimentalize. The fact that the string voices should be carefully con¬ A Series of Programs for Studio, Club or contains much effective music, none of sidered in arpeggio and scale passage fig¬ Menuhin refrains from this makes his per¬ Bass Radio Recital which, however, surpasses the ingenuity or formance an outstanding one, even though W * uration. One of the most important of the vitality of the polka and fugue which he fails to penetrate the fulness of its more these considerations is the uninterrupted, By Aletha M. Bonner are most skillfully orchestrated. meditative moments. In Lalo’s “Sym¬ unbroken arpeggio or scale line through Some of the modern orchestral scores the ranges of the string body. In order to A MOUNTAIN ENSEMBLE phonic Espagnole” (Victor set M137), Russia Set to Music Menuhin is quite at home, for he easily Cello require of the string player a very much maintain a steady flow of the ascending or . greater technical knowledge of his instru- descending stream, overlapping should be Part I—Music and Mountains Dawn on the Mountain.. George Eggeling N KEEPING with Balakirev’s position enters into and sustains its sunny moods. I Beethoven’s "Piano Concerto No. 3” is I ment than was expected of him up to the resorted to with the thought in mind of Sunset in the Mountains— as head of the Nationalist School of ‘ time of Beethoven. In many scores of the shifting to the next instrument at the most When mountains lift their lofty heads to Carl Wilhelm Kern Russian music, which inspired Rimsky- seldom heard in the concert hall. Hence ^ Bass early writers there will be found examples favorable spot rhythmically as well as chant aloud in classic measure, they call Mountain Idyl.Hans Engelmann Korsakoff, Borodin and Moussorgsky, is Schnabel’s recording of it (Victor set M194) is most welcome. The “Piano Con¬ ■ Pi2Z~ a-°° : of occasional natural harmonics, but the tonally. In other words, the best spot in to aid voices of wind, birds, trees and On the Holy Mount, Op. 85 No. 13— his symphonic poem, Russia. A particu¬ use of the artificial harmonics was a rarity. which to change is on the beat, the per¬ waterfall. A. Dvorak larly life-like recording of this work comes certo No. 3,” although spiritually allied to the traditional solo concerto as exploited * p Today, however, it is not uncommon to find forming instrument carrying the passage But of all these ensembled sounds in Piano Group (difficult) to us on Columbia discs 17031-2D, played such passages of harmonics as the follow¬ one tone over the beat while the next in¬ mountain score, the rugged ranges, crowned Whispering Wind, Op. 38— by Sir Hamilton Harty and the London by Mozart and his contemporaries, is nevertheless far above it in creative depths. ing, containing both varieties: strument starts on the beat. This insures with pine and spruce and other trees, fur¬ - Heinrich A. Wollenhaupt Philharmonic. from Percy Grainger’s Gay but Wistful, an unbroken connection of the passage. nish greatest variety of tone and tempo. The Raindrop (Prelude in D. Flat)— Whereas the dominating factor in the for¬ the melody in the right hand pizzicato, with Massanet’s “Manon” is unquestionably mer was the soloist, with Beethoven it is Then, too, consider the ranges of the in¬ Here may be heard murmured music of Frederic Chopin one of the most charming lyrical scores in bowed accompaniment in soft staccato. struments and plan to overlap into the next Aeolian type, when leafy branches meet; The Storm, Op. 101, No. 4.Jean Sibelius no longer so; for in this work the orches¬ This is an example of left hand pizzicato the operatic repertoire, its facile grace and tra is an equally important constituent the point where both instruments or staccato movements, sharp and clear, Song Group melodic suavity having endeared it to the with a bowed legato melody, all done on which no longer simply accompanies but from ice-clad trees, when winds of winter The Hills of Home.Oscar J. Fox hearts of opera goers of several genera¬ instead “argues with, supports and contra¬ blow with might. I Am the Wind.E. R. Kroeger tions. Since its initial presentation the dicts” the speech of the solo instrument. Or, again, when Mother Nature presses Wind in the Trees— roles of Manon and Des Grieux have been the loud pedal in the fortissimo of storm, Arthur Goring-Thomas included in the repertoires respectively of with, as Kipling has said, “a heave and The Pine Tree.Mary Turner Salter the majority of great sopranos and tenors. The Oboe Given Solo Treatment A Mountain Madrigal— a halt and a hurl and a crash,” a continu¬ Columbia’s recently released recorded ver¬ COLUMBIA’S recording of Mozart’s ous flood of harmony sounds forth, ranging Thurlow Lieurance sion of this opera is a performance as given “Oboe Quartet” is, to our way of Reading: from the delicately-toned overture of sigh¬ at the famous Opera-Comique in Paris, thinking, an unforgettable experience; for ing breeze through the entire gamut of Selections from “Monument Mountain” where its premiere took place in 1884. It Leon Goossens, the oboist, not only attests musical emotion: when is heard the aria of By William Cullen Bryant is a complete presentation of the score, in¬ his supremacy at playing this difficult in¬ raging wind, the recitative of sonorous cluding the celebrated Couer de Reine strument, but also proves his perfect un¬ thunder, and the wild chorus of rain tor¬ Scene, so often omitted in this country. derstanding and feeling for Mozart’s tonal rents—a majestic display of color and Part III—NATIONAL MOUNTAINS The principals assembled for this record¬ poetry. Three members of the Lener power and tone 1 Left hand pizzicato is sometimes indicated Violin Group ing are all, to our way of thinking, well Quartet give him unified support (Columbia Yet harmony in the hills prevails, and Souvenir of the Alps, Op. 91, No. 1— adapted to their respective roles; and, since discs 68157-68158D). with a pluck sign under each note: +. day by day, through calm and stress, the The different kinds of bowings should A. Hermann “Manon” is a difficult opera to sing well, There is a dream-world aura to De¬ melodies of the heights ring out in meas¬ be considered as to effects. Of these the Alpine Heights.L. Andre this must be considered high praise. Ger¬ bussy’s piano music, which George Cope¬ ured cadence sweet. Here does music rise most important are legato, staccato, spic- Piano Group maine Feraldy, whose voice reminds us of land, with the apprehending spirit of the to highest form—music that stirs our souls cato, marcato, detache, tremolo-legato and Farewell to the Alps.Carl Bohm our own Lucrezia Bori, is Manon; M. ideal interpreter, captures and projects in to scale the heights of life! tremolo-vibrato. Scenes in the Scottish Highlands, Op. . Rogatchewsky is a golden-voiced Des a selected group (Victor set M198). The The legato is a firm, smooth, sustained 23.A. C. Mackenzie Grieux; M. Vallier is a competent Lescaut, vague subtleties and the nebulous atmos¬ Part II—MUSIC tone. This is the expected style of bowing The interlocking of chords in double Piano Number (four hands) : Blue and M. Guenot a dignified Pere Des phere of such pieces as Clair de Lune, Piano, four hands employed when no special bow markings stops in the second violins and violas is Mountains (Wales).F. D. Baars Grieux. Elie Cohen is the alert conductor. L’Apres Midi (f line Faune (his arrange¬ In the Hall of the Mountain King Song Group are found. The staccato is a short, crisp especially desirable as this tends to mix to Wagner’s famous “one and only” wife¬ ment for piano), La Cathedrale Engloutie, (difficult) from the “Peer Gynt From These Dear Mountains— stroke of the bow, indicated by a dot over good advantage the tone qualities of the scolding scene (the one between Fricka La Terrace des Audiences dans clair de Suite”.Edvard Grieg (Swiss Folk Song) the note. The spiccato is the springing two instruments and to facilitate the technic and Wotan in “Die Walkiire”) is recorded lune and Canope, and the rhythmic artful¬ Dance of the Winds (medium)— The Blue Alsatian Mountains (Alsace) bow, the hair leaving the string for each in the double stopping. This is a quite complete on Victor discs 7742-7743. It is ness of such pieces as La Soiree de Gra¬ A. Jackson Peabody, Jr. note. This should be designated “spiccato.” common practice among the composers Stephen Adams competently performed by Emmi Leisner, nada, General Lavine-eccentric, Bruyeres The Wind-Swept Pines (medium) — My Heart’s in the Highland— who wisely refrains from over-stressing The marcato is a firm, solid stroke using who have made a deep study of the strings and Ondine are perfectly realized in these about one third of the bow. It is indicated Mrs. E. L. Ashford (Scotch Folk Song) Fricka’s ill-temper, and Friedrich Schorr, THE FAMOUS IRISH GUARDS BAND ur luinuun and is greatly appreciated by the string recordings which faithfully reproduce Cope¬ bv a downward dash over the note.. The Piano Group (medium) Shepherd of the Mountains— who makes Wotan’s defeat a dignified one. performers. In a Mountain Hut.Carl Heins land’s tonal shadings and pedaling as well detache is a full, quick stroke of the bow One of Britain’s finest bands leaving Westminster Cathedral (Spanish Folk Song) We believe that Lawrence Tibbett has 0Continued on page 379) as the true singing tone of the piano. and should be marked “detache.” Tremolo- after a religious service JUNE 1934 Page 347 THE ETUDE Page 346 JUNE 1934 The Standard Music Extension Study Piano Course for Teachers and Students The Teachers' Round Table Conducted Monthly by A 'Heui Monthly Etude Feature of Great Importance PROF. CLARENCE G. HAMILTON, M. A. <8y Dr. John Thompson PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE

All of the Music Analyzed by Dr. Thompson will be Found in the Music Section of this Issue of The Etude Music Magazine No question will be answered in these columns unless accompanied by the /««»?»** and address of the writer. Only initials, or a furnished pseudonym will be published. theme, though scored full, should be played particularly necessary to observe the synco¬ MORNING MUSIC AT MALMAISON high where the left hand “crosses over!” very lightly with as much contrast as pos¬ pated accents appearing in the secondo part. By James Francis Cooke Freedom of style and sentiment are sible between staccato and legato. Give They hold the very essence of the rhyth¬ It is quite evident that ghosts walked for requisite for the interpretation of this En¬ mical line. In the Trio section the secondo gelmann number. After the four measure particular attention to chords marked Dr. Cooke at Malmaison—the lovely, wil¬ carries the theme in sharply marked stac¬ Arm and Wrist'Movements introduction the melody appears in a lower sostenuto and those bearing accents. The ful ghost of Josephine and the impressive, cato while the primo supplies a light, register but played by the right hand while crescendo beginning measure 11 reaches a — ...... a good 1(1 stately shades of her courtiers! banjo-like accompaniment. Remember that dren off with up a the left hand crosses over in the accom¬ climax in measure 13 from which point play ments of the wrist? which it is to sustain. us _ f j which no one is worthy consecutively, but, say, 2, 4, 1, 3 and so This composition is in dance form and “team-work,” not individual interpretation, o accent this note, remove it quickly, per¬ paniment so typical of music of this vintage. fortissimo with broad sweeping lines mak¬ 2. How does one forth, and have her read them first ii rhythms must be well preserved through¬ is the important factor in duet playing. the key-level? e pianist. There is nothing complex in the interpre¬ ing sure that the soprano voice is heard pil from another teacher haps after a beat or so; and always re¬ order, and then in various other orders. out its stately measures. The beginning is jps her left arm every time tation. Play it with much expression, use well above the contrapuntal effect of the who droi lease it when the harmony changes. This new game ought to fix her attention in A major and after a short four measure ONLY A YEARNING HEART ikes a note not followed hy 3. Let the pupil connect the notes by Octave Practice the pedal with care and change the pace moving lower voices. The next theme in D By Peter Tchaikovsky pretty thoroughly on the printed page. introduction the first theme appears in the flat is pianissimo growing to forte in the a 3* Isn’t the usual position one both fingers and pedal, if this is easily right hand in eighth notes, legato against as indicated in the text. with the arm even with the piano, fourth measure. The left hand should be Here is an easy piano version, by the and arm dropped only in the case possible, so as to “make assurance doubly an even steady left hand accompaniment in played so as to produce a droning effect. clever Mr. Hodson, of Tchaikovsky’s im¬ of sustained notes—a tied chord, _ ‘however.” I become slightly quarters. A modulation takes place at A talented Youngster SWAYING DAFFODILS Guard at all times against the tendency to mortal song. In this plaintive and lovely for- '"wh'y'do so ma^i_gradllUlte§ fatigued in the lower part of the lower measure 13 where the theme passes into D arm" just above the wrist—although By A. R. Overlade play faster while making crescendos. The melody Tchaikovsky’s genius reaches out _e’stiff wrist" especially in octaves ? An Adult Beginner I have a pupil aged four who is major, played mezzo forte but a trifle Some just pound the keys ! my arm seems to be hanging loosely., mentally developed well beyond his tempo is steady and stately throughout. to touch the hearts of the simple folk 5. please give meaning of arco, X auvixx ... ..,ths ago I began its weight resting upon the keys as years and shows remarkable musical slower. The third theme is in the relative ".Daffodils and the more sophisticated alike. It is un¬ sopra, povhettino.—Mrs. R. L. B. iving lessons to a young lady thirty they are depressed. My wrist also ability. After three months of lessons -age who, when in her teens. feels loose. Can you give me the minor, F sharp minor, and is big in its Which bear the winds of March doubtedly one of the most appealing and cause and remedv for this difficulty/ he has nearly completed Dorothy Gay- 1. Yes, until the wrist is thoroughly had nor Blake’s “Melody Book No. 1,” with proportions, the chords to be played in full with gladness." WALTZ OF THE FLOWERS beloved songs in the literature. i Presser’s I should also like to become more particular attention to note-names, and resonant manner. Note that the tempo loose and flexible. familiar with the Leschetizky method hand-position and time. The single¬ Hark back a few weeks to the rows of By P. Tchaikovsky In playing this arrangement let your s fluently, I of relaxation. Please describe it — is Allegretto via non troppo—light and 2. Dropping the arm as you suggest is She r note studies In this book are a trial daffodils blowing in the Spring wind for Mr. Felton’s arrangement of this favorite piano sing as the human voice sings. She has ci R. L. to him, for he is able to work out with lively but not too fast. good for occasional exercise, but if i plained of a tense feeling in uer ease the more difficult two-hand pieces inspiration in playing this number. Be waltz from Tchaikovsky’s “Nutcracker Capture in your interpretation the deep The fatigue which accompanies your This number is the third in Dr. Cooke’s ployed habitually it becomes ai bad habit. wrists and arms, but that has been toward the end of the book. Would careful to roll and throw off cleanly the Suite” is at once easy and playable. Origi¬ underlying melancholy which tinged the helped somewhat by various relaxa¬ practice shows that somewhere there is an It be advisable to allow him to study set, “Palaces in France.” Readers who 3. Yes. tion exercises found in The Etude. Increasingly difficult pieces before the opening figures in the right hand of the nally this music was written for orchestra. composer’s soul. undue strain. Try under all circumstances consult back issues of The Etude will find 4. Lack of proper instruction as to re¬ She wishes to learn to play moder¬ letter-names of all the notes on the introduction. The last three measures of The tempo is brisk and the tonal shadings ately difficult music for the enter¬ to keep the wrist from stiffness. Be care¬ staff are thoroughly learned, when he an interesting set of musical travelogues the introduction present a passage divided COUNTING THE SHEEP laxation. tainment of friends and herself. can play most of these notes “by posi¬ should be well varied. The opening chords 5. Arco, used after a pizzicato, means What would you suggest for the im¬ ful not to keep your hand and fingers tion” and can readily find the others from the pen of this writer. between the hands. This is done to facili¬ By Donald Clafflin provement of her technic, which in the first theme, measure 15, are to be with the bow; sopra means above; pocliet- stretched out too continuously. To obviate through a Keyboard Chart? (I use tate fingering but care must be used to would also provide her with tnter- the term “by position” to describe the THE STARS AND STRIPES played rather broadly as contrasted to the Here is a “different” type of Berceuse. tino means a very little. this danger, frequently alternate octave act of reading the staff directly to the FOREVER play with even tone and as though it were sparkle and lightness of the following pas¬ The rhythm is in 12-8 and the right hand iv would you suggest teaeh- work with finger exercises in which the keyboard, rather than through the ing relaxation i 5 wrists when medium of letter-names.)—M. W. By John Philip Sousa the work of one hand. sages in eighths which are almost Chopin- should play the groups of eighths in a slow lble notes are played?—H. M. T. fingers are drawn very closely together, Preserve a smooth legato in the right Thousands of boys and girls the nation esque in character. Sostenuto is well to the and drowsy manner while the left hand What is “Jazz”? such as the following; A precocious child such as this must re¬ hand throughout and pedal as indicated. 1. A good study book for the young over will hail this arrangement of Stars fore in the theme beginning measure 47, passes over to play the melody. Use the lease give me an easy and live different treatment from the ordinary The expression marks are clear and if one iprehensible definition of jazz woman is F. A. Williams’ “Short Pieces in and Stripes Forever with jubilation. Sousa’s and continues throughout the theme. In pedal as indicated—once to each measure. “rank and file.” While it is not well to avoids a “chills and fever interpretation” • uitable for me to give to m.v all Keys,” which applies the systematic original is so much too difficult for small playing the next theme, beginning measure In the second theme the left hand supplies pupils’, I And that the popular idea neglect any of the necessary steps in his this little number will be very effective. 80, be careful to observe the phrasing as the rolling accompaniment while the right is t'--^_any ■ new song performed over study of scales and arpeggios to attractive and comparatively unskilled hands that the radio is “jazz,” as opposed to the little selections. For pieces, I recommend musical knowledge, with proper c youngsters have reluctantly passed by this marked since it affects the rhythmical lilt hand plays the melody. After a return to music which I give them, which they term “classical/'—Mrs. R. V. G. the “Book of Piano Pieces for Adult Be- For a description of the Leschetizky direction he should be allowed to progress stirring music for less inspiring marches A JOLLY JIG of this section. The last quarter note of D. C. the piece ends at Fine, measure 10. Inner* ” method I refer you to a book written with in his reading as far as is expedient The at assembly, and so forth. Here, how¬ By Louise Christine Rebe each phrase is to be thrown off rather n which, originally applied g™2.ler HaveTSj the pupil practice double notes his approval by bis pupil, Malvina ^Bree, fine mathematics of note-reading, for 1 sharply, almost as though it were written ever, is an arrangement entirely adequate BANJO SONG mostly to negro music, has come in general first individually, throwing the hand to and entitled “The Groundwork of the stance, may be delayed until his school Miss Rebe has contributed some very as an eighth note. Lend special resonance for most school purposes and one which is By Ella Ketterer to mean music of a popular, often comic, the left (1) or right (r) in the direction Leschetizky Method.” According to this studies warrant, while his natural sense of valuable educational material to the piano to the soprano- voice beginning measure 95 really playable by young pianists. literature. A Jolly Jig is an excellent The effective way to play this little num¬ nature, in which a persistent duple rhythm in which each note is played, thus: book, the hand should normally be held in rhythm and rhythmic values may be ap- Comments upon Sousa’s great march and do not allow the accompanying chords ber is to do everything possible to imitate is the leading factor and to which a rakish a vaulted form, with the knuckles lower pealed to, to bridge the gap. Mozart, we study in rhythm and makes an interesting a clumsy effect. The Coda ends brilliantly tune seemg superfluous since its every note the strumming of a banjo. For pupils character is given by frequent syncopation. than the wrist. Chords should be pressed, may remember, was playing quite comph- little recital piece as well. The rhythmical with an acceleration in pace and decided is known by Americans, adult and juvenile. lacking in imagination it might be well While most of this jazz is too trivial for not struck; and scales are played with a cated music at the age of five or six! figure with which it opens is one often increase in tone. Rhythm and evenness of tempo should encountered but seldom played correctly. to place a sheet of music over the piano serious study, its tone has been consider¬ minimum of motion in the hands and however be emphasized. The style is mar¬ Instead of playing the dotted eighth and strings since this device amusingly simu¬ ably raised by such writers as Irving. Ber¬ wrists. While the wrist should be held tial and the composition must be taken at MORNING SONG lin and George Gershwin who have intro¬ following sixteenth as written, pupils are lates the nasal twang of banjo strings. The wrist should be kept perfectly free loose in soft passages, it must be stiffened c.Pedal Markings good snappy tempo. It is written alia prone to give the notes the value of a By Felix Mendelssohn Where the left hand passes over the right duced many clever effects of chromati for the forte or fortissimo, which “cannot and turned somewhat inward. breve, two beats to the measure and one quarter and two sixteenths as shown: In Mendelssohn’s “Songs Without Words,” it is recommended that finger staccato harmonies, piquant rhythms and novel tone be brought out by the unaided strength of count to the half note. pedaling whatever is s] pianists possess a great treasure house of (plucking) be used. In the 2nd theme, colors into their works. Since it depends the fingers.” at the very beginning, where the piece so much on variety of instrumentation, it A JUNE ROSE melody. Morning Song, one of this set, measure 17, the left hand should play legato Vagueness in a Teacher is marked con sordino. Please ex¬ Written is not well-adapted to piano music, except plain.—Mrs. J. E. W. By Charles Wakefield Cadman is written in the style of a choral. The against the plucking staccato of the right advanced student.^ harmonies are well sustained throughout. in its trivial forms. ■her seems very s' (Reading Hotes All the vagrant June breezes find Cad- hand chords. The Coda will be much sclentioi In this case the con sordino—which Make sure, however, to give a bit more more effective entirely without pedal. In this country several serious writers of I t,„.e when ^he canf Yet In answer- to L. A. D.,. who asks for ad- means “with the mute on”—indicates that man’s June rose irresistible. It sways con¬ resonance to the upper or soprano voice. the “ultra-modern” type, such as George Dtice that he seldom corrects n rong fingering or phrasing. I fe vice as to how to stress the “reading of ^ soft pedal is to be kept down con¬ tinuously in six-eight rhythm. The com¬ This is accomplished most easily by allow¬ Antheil, Edgar Varese and Aaron Cop¬ position opens with the theme in the right MOORISH DANCE .jnseious of making small blunde notes” with a talented boy of eleven years, tinually, to produce that ethereal quality ing the preponderant weight of the arm land, have experimented in jazz effects. which he passes by. hand upper voice. This to be fingered with By Carl Wilhelm Kern ant? I suggest that she introduce him to Anna Qf tone which is the result of its use in a to rest on the upper or fifth finger side Under “rag-time” music, which belongs to in«. care so that the legato essential to the cor¬ ;o play w Heuermann Hamilton’s “Comprehensive gran(j piano. Since this effect is not pos- of the hand. Clean pedaling is imperative. In Kern’s little oriental sketch we have this class, we may recommend for teach¬ __t teach me how. I also rect reading of the theme may be preserved. get verv little criticism. He seems Music Writing Book,” which presents a s;ijje t0 the different mechanism of a — While this music is to be played with deep a piece descriptive of the dances of north¬ ing Debussy’s “Golliwog's Cake-walk” and The tempo is moderate, the mood tranquil. pleased most of the time, and that is thorough course in the “ins” and “outs” right piano, feeling, tempos must not drag. The text ern Africa. The staccatos should be very John Alden Carpenter’s “Polonaise Ameri- The second theme in the dominant key lies ordinary notation. This book can be used play with soft tone c ■ The mood of the Jig is very lively. Use reads Allegro con anima—lively, with pointed throughout and accents well in the left hand. This passage is cello-like in connection with his regular piano les¬ clean finger work and sharp, rhythmical animation. A certain rubato, carefully marked. Note the occasional wedge-shaped Impromptu in . L 'flat, and gets very and should be well marked and given all ,'hen I refuse them. sons and should result in a clearer under¬ outlines. The first theme is played rather handled, is permissible/ staccato marks. These call for particular standing of notational details and of their sonority possible. Again it is important lightly; the second, measure 17 in A flat, Legato by the Pedal Please advise m emphasis. As contrast the meno mosso relation to musical speech. An Abbreviated Thill and helpful to choose fingering carefully is forte by contrast dwindling to piano at In what grade do The easiest way to teach is to “let things section is written in sustained legato and of t ' infng “A. L. J.” asks how to execute the sign for the sake of smooth legato. After a measure 25. In measure 51 there is an CLOG DANCE is to be played quietly after which the slide,” to let the pupil play what and how tr in the first full measure of Chopin’s four measure transition following the sec¬ example of the natural minor scale in By N. Louise Wright *”’3?* Is there a book I could procure Playing by Ear dance reappears with its exaggerated on the best way to teach the use of he likes, without bothering about minutia Valse in G flat Major, Op. 70, No. 1. ond theme, return D. C. and end at Fine. groups of seven which should be played Modern piano teachers owe a debt of sharpness. that pedal? If not, can you give of fingering, phrasing, and so forth. But I have a young pupil with an ex¬ Regularly this sign indicates a short trill; with abandon making a crescendo as it gratitude to Miss Wright for the many me a few suggestions on how to ceptionally good ear tor music, but it WHEN LIGHTS ARE LOW a good teacher realizes that attention to but in the present instance the time al¬ approaches the final chords to be played fine things she has contributed to the teach it? , hinders her progress in that she dis¬ By Hans Engelmann WIND IN THE CHIMNEY 3. When a pupil has once learned just such “tiresome details”—to accurate regards note-reading as soon as she lowed is so brief that it is better played as brilliantly and fortissimo. teaching literature. to use the pedal for connecting his notes, careful phrasing, correct fingering has gone through a piece once to get Page your Aunt Susan for a really By Emil Leonard notes, can he then stop all efforts the idea. Since she continues to prac¬ a quick turn, as follows: It is well to remember in connection to connect them with his fingers? and nice hand-position—is the very quality “stylish” rendition of this number originally Here is a little study in chromatics tice by ear she naturally does not get with this composition that sharp rhythm —Mrs. R. R. that distinguishes good from poor playing. the notes fixed in her mind well printed thirty years ago in The Etude and MINUET L’ANTICO which should be of interest to teachers enough to make any progress in sight Molto vivace By Alexander MacFayden and exaggerated accents are characteristics and pupils alike. The swell and diminuendo 1 As soon as the pupil has advanced There is little hope that a pupil who is reading. What do you suggest ?—M. N. now reprinted on request! What memories of a southern “hoedown.” An element of applied to these little figures imitate the :o perhaps the second or third grade and brought up on easy-going methods^ will it will stir in the musical amateurs of Here is a modern piece written after the humor, too, should pervade, since our dark reform himself and become proficient Arrange her practice so that she i wind in the chimney. Play this little num¬ l reach this pedal with several decades ago who played it in gas- classic style. It should naturally be played brother is never happier and never more „an reageg.n'Ug with tlle pedais 0f the in the thousand and one fine points of piano obliged to look carefully at the notes. One lighted parlors with white wrists lifted at orthodox minuet tempo. The opening ber throughout with clean finger articula¬ the clown than when he is dancing It is tion. THE ETVbE JUNE 1934 Page 3^8 JUNE 193Jf ~ TEE ETUDE FASCINATING PIECES FOR THE MUSICAL HOME Experimenting With the (Hass Lesson System of (oeachin Qhrngmg a Class of‘Private-Lesson Pupils Over to Groups MORNING MUSIC AT MALMAISOX st-* y^t _T>

they actually received more for their money charge the pupils for missed lessons Editor’s Note:—The Etude’s historic mind that she might better keep all her than they had been getting m private: les¬ the class system, for an absent pupil neces policy has been that of presenting all sides students in classes, and she began the fall sons For instance: most music students sitates either holding the rest in that class term with a good run of advertising and of every question of musical interest and regard scales as unavoidable pains which back until he catches up or else giving that announcements of the new class lessons, then permitting our readers to form their the teacher inflicts upon them for no good pupil individual attention to the extent of for which she cut her regular lesson price 01 cii opinions. Many authorities are fun¬ reason, and their scale work in pnvate a private lesson. It was found that after in half. She later decided this was too damentally opposed to class instruction, be¬ lessons is to a great extent simply a dry this was understood by the pupils’ parents cause of the general educational principle much to cut and that she could have got there was no difficulty in collecting the that the bright pupils are retarded in their as many pupils at a slightly higher rate, money for missed lessons, and that, after they can. . ..., , . progress by the dull ones. probably at about two-thirds of the private a pupil had paid once for a missed lesson lesson price. She was centered in a farm¬ In classes the pupils have individual key¬ boards and take their scales all together, he seldom, if ever, missed again. N A representative section of the middle ing community and took on the whole I naming the fingering aloud and vying with west and in a relatively small com¬ county, establishing studios in three towns Heed for an Assistant each other for greater correctness. This munity, an experiment was begun last by renting in each town for one day a week IN THE case of a small community it spring along the lines of class teaching. a sitting room with piano. Maintenance teacher had built ten small keyboards and spent some time and money in experiment¬ has been found that class lessons are a The teacher who started it found, after six of this schedule was relatively high in cost, boon to people who cannot afford more months of carrying on classes in three there being advertising, studio rent (a dol¬ ing. She secured the use of an electric circular saw at her local printer’s and cut expensive musical instruction for their small towns with a hundred pupils, that lar weekly for each room) and upkeep and children; but, except the teacher be very she would have to take on an assistant gasoline for a car on the road at least out wooden keys the actual size and shape of the piano keyboard. She contrived a strong and healthy indeed, the work is teacher. She made many other discoveries three days a week. more than one person can handle for an However, the system brought in more spring action on them, and the pupils were also, which more or less proved the basic appreciable period. After six months of soundness of class lessons for the majority money and provided her with larger more than delighted with their little key¬ taking the classes alone, the teacher in classes for recitals, class meetings, and so boards, the younger ones even choosing the of pupils. It is taken for granted that question took on an assistant; and a hun¬ some music students must have private forth, and the teacher found that the soundless keyboards in preference to the dred pupils at class lesson rates is almost lessons, but the common run of ordinary classes were satisfactory, pleasant and piano at first in class demonstrations. It too much work for the returns if they are music pupils, those “taking lessons” as part highly desirable for ordinary pupils. is quite essential to provide some sort of of their regular education or for the individual keyboards for class lessons. divided. Class lessons in a large place, family’s enjoyment (later) or to be en¬ Fun in the Group In this case the teacher’s classes grew where a director can have several assist¬ abled to play the current popular music can HE TOOK pupils in groups of ten at from twenty to more than a hundred. ants and hundreds of pupils, would be al¬ get greater good from taking lessons in first and later cut down the class mem¬ With six in a class she held forty-five min¬ most certain to work out to great advan¬ classes than from taking private lessons. bership in each group to six. She graded ute periods which averaged about three tage. In the smaller places they are highly Instead of taking a rest during last all pupils and gave them certificates at the dollars an hour for the teacher, a high desirable from every standpoint except summer’s school vacation, this teacher con¬ end of the teaching term if the pupils had rate in the country. The class system financially for the teacher, unless she can tinued her music lessons throughout the completed a standard graded course of in¬ also involved a strict bookkeeping account, take over a hundred students alone. summer, keeping fifteen pupils to experi¬ struction which she used. She found that as some of the pupils pay by the month, Class lessons are desirable because, for ment with in class groups. At the end of the pupils progressed together with admi¬ some by the week, and some not until a one reason, they give the students much the summer she had definitely made up her rable uniformity and that in most cases notice is sent them. It is necessary to (Continued on page 373)

A NEW FORM OF GLASS PIANO Tins ingenious instrument is the Ross Multiple Piano, manufactured by the Weaver Piano Combos, n ,■ z z children operates electrically the same keys on the master piano standing in the rear. This is the ; V-. I- ^ “'v is that each of the keyboards played by the have been dumb keyboards. The quality of the touch is not exactly that of the piano, but the instrumentbn! °! / pUtting the P'ano P'tch Cone) into what hitherto struction. The teacher at the desk may turn on or turn off any one of the keyboards. Thus any one of the hZ n a ?reat ?teP «'» advance in facilities for class room in- aside from its historic policy of no mention of any kind of proprietary instrument in its columns because thi Z W°y . the smind °f the key struck. The Etude steps Ross of the State Teachers College of Mansfield, Pennsylvania, and because it represents a distinctly different.'1° W°f mvented by a practical teacher, Prof. R. Wilson y different approach to a contemporary problem. THE ETUDz THE ETUDE Page 350 THE STARS AND STRIPES FOREVER MARCH New simplified version Every boy and girl in America ought to be able to play this,the greatest March in American MrtMy- The publishers take great pride in.presentiug this.new, greatly simplified version which preserves all of the stirring vigor of the. more difficu origi Arr. by John W. Schaum JOHN PHILIP SOUSA

Copyright 1933 by The John Church Company International Copyright secured THE ET UDE JUNE 1934 Page 353 THE ETUDE JUNB 19%HEN THE LIGHTS ABE LOW H. ENGELMANN REVERIE & hjgh jfliaie thousands.and it wiJJ be welcomed This request “repeat” in the Etude has not appeared for^nearJy thirty years. g g.; by vast numbers who are not acquainted with it. Grade 3s. 3H3-1 Andante commodo con espress. ^ a I ~Er J) *, })

Copyright 1906 by Theodore Presser Co; British Copyright secured JUNE 1934 Page 355 rKEETUDE A JOLLY JIG

British Copyright secured Copyright 1933 by Theodore Presser Co. Page 357 THE ETUDE JUNE 1934 THE ETUDE Page 356 JUNE 1934 ^ JUNE ROSE MINUET L’ANTIC O

reverie There is.always a place on the recital program for a piece of this type with its obvious educational opportunities for octave study. ^ ALEXANDER MAC FADYEN, Op. 18, No.4 . ... and “liltinff”piece suggesting stately Jacqueminot roses Born melodist that he is.Mr.Cadman presents one of his loveliest tunes in this very p y< Grade 5. Tempo di Minuet m.m. J=96^

Copyright MCMXIV by The John. Church Company International Copyright THE ETUDE

WALTZ OP THE FLOWERS , , .. nf the narden that the imagination suggests. Imagination- that Here surely is a ballet of violets,tulips,hyacinths,lilacs or any of the lovely sprites <" ® First,however,learn to play it very slowly with great is the word.Unless this delightful Tschaikowsky piece is played with imagination,it i TSCHAIKOWSKY

Tempo di Valse M.M.J Arr. by William M. Felton JUNE 1934 Page 361 THE ETUDE THE ETUDE Page 360 JUNE 1934 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES MORNING SONG -- to the symphony,he was unsurpassed in the much.imi- THEKLA HOLLINGSWORTH* CLARA EDWARDS Although Mendelssohn wrote successfully in musical forms ranging from the beginner’s piece LADY MOON tated“Song Without Words” type of composition which he created. This selection is full of the sunshine of,morning, and decidedly choral in character. F. MENDELSSOHN, Op.62,No.4

\ f

ifiM K | l-l ■ -

Reck-on I mus5 tell yo’ dis, It’s kase I’se Jong-in’ fo’ a kiss La-dy Moon-

* 1-3- # " -f-Jf lA P THE ETUDE JUNE 1934 Page 363 THE ETUDE Page 362 JUNE 1934 LORD, MAY THY KINGDOM COME TYRONE KING CECIL ELLIS

Thy Will, Thy Love, know we for one.

Copyright 1891 by H.B.Stevens Co. JUNE 1934 Page 365 THE ETUDE THE ETUDE Page 364 JUNE 1934 ISw. "SaJicional, St. Diap., & Oboe 8' Trem. LEGEND Gt. Flute 8' CHESTER NORDMAN Ch • Dulciana (or Soft 8') Ped. Soft 16'to Choir Andante con nioto

Manuals

Pedal THE ETUDE JUNE 1934 Page 367 r Page 366 JUNE 1934 THE ETUDE CLOG DANCE CLOG DANCE A SOUTHERN HOEDOWN N. LOUISE WRIGHT A SOUTHERN HOEDOWN N. LOUISE WRIGHT SECONDO Allegro m. m. J = 144

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> > * . §--^ , 1 1 s c ' I r---t-^—1 1 y 1 v r :— 1 1 1 —:—1-l. - mf **— f \ 30

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TRIO

1:1 ' (1 rp 1 p[.f= pEFp m pi r =>=-pi r EB 1 1 L,/*—_.y —— ^==-p > > 40 > > ^45 r i p-f-ij1 “ • e -

i » i Copyright 1934 by Theodore PresserCo. #From here go backto the beginning and play to Fine-, then play Trio. British Copyright secured JUNE 1934 Page 369 THE ETUDE THE ETUDE Page 368 JUNE 1934 FLUTE LOVE’S RESPONSE PROGRESSIVE MUSIC FOR ORCHESTRA BERT R. ANTHONY, Op. 286 _,^>- Andante moderato a tempo LOVE’S RESPONSE BERT R. ANTHONY, Op. 286 Arr. by R. O. Suter Andante moderato M.M. J=84 TONE POEM v -. v 1st Violin

Piano

BERT R. ANTHONY, Op. 286 CELLO*temV° LOVE’S RESPONSE Andante moderato 1st CORNET in Bl> LOVE’S RESPONSE Andante moderato BERT R. ANTHONY, Op. 286 a tempo 6

p a tempo p rail. — — - Copyright 1923 by Theodore Presser Co. British Copyright secured Page 371 TEE £TUDS THE ETUDE JUNE 1934 JUNE*,9^elightful PIECES FOR JUNIOR ETUDE READERS

ONLY A YEARNING HEART Arr. by William Hodson p L TSCHAIKOWSKY

Copyright 1934 by Theodore Presser Co. British Copyright secured British Copyright secured JUNE 1934 Page 373 THE ETUDE THE ETUDE Page 372 JUNE 1934 MOORISH DANCE Experimenting With fflass Lessons No a CARL WILHELM KERN,Op.l56,No.7 (Continued from page 348) Grade 2. AJlegretto M. M. J =112 Have You fill' L" better insight into history, harmony and requires greater ability to turn out work theory than private lessons from a private at fast rate since one is concentrating on Studied teacher possibly could. It is possible to six different personalities, six pairs of take six students in a class, go over their hands and sixty fingers. The class lessons, however, are sound in scales, hear each one play the main part their working principle, and undoubtedly Harmony? of the assigned lesson for the week, cor¬ will become a common factor in our na¬ rect mistakes, and give five minute talks on tional musical education. It was proved technic, interpretation, history and har¬ in this community that at least twice the mony, and have the pupils absorb far more Music is a universal language number of families can afford the class in this way than by taking private lessons. lesson price than could have given their and like the language of speech The class lessons, however, are a great children private lessons at the higher price. has its own grammar. The gram¬ drain on the teacher’s nervous system, as This fact alone should make some show¬ mar of Music is Harmony—and she is working at greater intensity and ing in the number of musically trained if you have not studied the subject speed in this system than in individual youngsters in our country twenty years you should not delay any longer. lessons; the principle of the class lessons hence.

Learn to analyze compositions — to identify the chords used and thereby A Selected List of Material for Teaching the Piano in Classes get an intimate knowledge of the inten¬ tion of the composer. You get at a real All In One—Melody, Rhythm, Harmony, by Robert Nolan Kerr.1.00 understanding of the basis of phrasing My First Efforts in the Piano Qass—Piano Class Book No. 1.75 and accent, which is interpretation, Making Progress ” ” ” ” ” ” ” No. 2.75 through a knowledge of the chords Proficiency ” ” ” ” ” ” ” No. 3.75 used. A knowledge of Harmony helps Bauer-Diller-Quaile Course, Book I.75 MUSIC to satisfy the natural curiosity of every Bauer-Diller-Quaile Course, Book II.1.00 player, which is “How did the composer The First Period at the Piano, by Hope Kammerer.75 write it?” Music Play for Every Day. In Four Parts. (For Children 5 to 8 years old) each.. .40 LOVING By the study of Harmony you learn First Year at the Piano. In Four Parts, by John M. Williams (For children to correct errors in notation, which oc¬ 9 to 12 years old) each.35 CHILDREN cur even in the best editions of music; John M. Williams Qass Piano Method, Book 1.1.00 also to know when apparent discords Four Little Tunes, arranged by Hope Kammerer (Supplementary pieces).25 are correct. Three Old Songs, arranged by Hope Kammerer (Supplementary pieces).25 • the promise Meno mossQ— Harmony will also help you to mem¬ Let’s Play Together, by Mathilde Bilbro (Ensemble pieces).75 orize more readily and more perma¬ Piano Pathways, by Blanche Dingley-Mathews.1.00 of the future nently because you understand the Piano Journeys, by Blanche Dingley-Mathews (Sequel to Piano Journeys).1.00 reason for the progression of chords Adventures in Pianoland, by Clifford.1-00 J eJ '—' V used, and are able, therefore, to carry 35 Teaching the Piano in Classes (A Manual giving practical ideas and suggestions).. .50 V 30 J) h&vmlich cresc. it better in mind. Presser’s Four-Octave Keyboard Chart. Linen-Backed Card.75 1 tv r—pr: • » , l A — S—^ —t—m-*- tr-C—e- Let us give you free, a practical ” ” ” ” ” Card.50 demonstration of the thoroughness of ” ” Paper.15 1 pr P: l#EEfel ^ 1 the University Extension Conservatory Singing and Playing (Oxford Piano Course).75 K f methods and how easily you can master Class Keyboard Chart (hinged) No lettering.25 any of our courses. Sample lessons Music Qass Writing Book.05 will be sent without obligation to you. Only by making an examination of the actual lessons can you form an in¬ ^Beaching Legato to (Children telligent opinion of the real merit of this remarkable method of music instruc¬ tion. Let us send you these lessons. By Ruth E. French They will show you how quickly you can equip yourself for greater things in In teaching children the fundamentals enough pressure to hold it down to the a musical way and make more money of legato playing the following little device table. After doing this a few times the from music than ever before. has proved of value. Sometimes a child pupil will get the “feel” of legato playing. Copyright 1906 by Theo.Presse: British Copyright secured Get Catalog and Sample Lessons of and even a grown-up fails to grasp the idea Have him then play the phrase on the these Harmony Lessons; also our other of carrying the weight of the arm from one piano using the same amount of weight. WIND IN THE CHIMNEY courses. It costs you nothing —you note to the next (which is the foundation An immediate improvement will be noticed have everything to gain and nothing to of all smoothness in piano playing), and in both tone quality and legato. 2*‘ = 160-176 EMIL LEONARD Allegretto m.m.J lose. State age and course in which in¬ there is a broken, demi-staccato effect in Care must be taken that the book is not terested. Try the Lessons, then decide. passages which should sing out like a too heavy and that the pencil is so bal¬ anced as to require only a little pressure, University Extension Conservatory Place a pencil under a book so that one not so much as to cause stiffening of the New in Style, Tone edge is raised about one-half inch from the wrist or arm. With a little experimenting and Scale Langley Ave. and 41st St. table. Have the pupil play a short phrase this device will prove of great value both See the present line of Kimball gram Dept. P Chicago, Illinois on the upper edge of the book exerting just to teacher and pupil. and upright pianos at your dealer o write for catalog. Note how Perfect «hin110. «. ir the i IBhat “Spare ‘Moment!’ After the Lesson lality of tl UNIVERSITY EXTENSION CONSERVATORY superb instr„ — — «=,—------the artistry of their design, finish By Anna B. Royce and craftsmanship. Your nearest Kimball dealer will Langley Ave. and 41st St. Chicago gladly serve you. A card to us will Sometimes there are a few moments to teacher all he can about it, whether it is in bring his name and address. spare at the lesson after the assignment bass or treble, its letter name, its cor¬ Please send me catalog, sample les¬ is finished and the new one gone over. responding position on the keyboard. If sons, and full information regarding he points to a note, he plays the key to W. W. KIMBALL CO. course I have marked with an X below. A young pupil will enjoy this game. Established 1857 which it belongs; if to a rest, bar, signa¬ His closed music book is placed before Also Architects and Builders of Kimball ture, tie sign or other symbol, he explains him and he is told to shut his eyes. Then Organs for Studio, Auditorium, Church □ its use. and Residence Use. he is to open the book at random, touching Then let the teacher take a turn at the □ with a pencil the page to which he has game, doing the explaining herself. W. W. KIMBALL COMPANY bIST□ History of opened. This is a good way to review funda¬ Kimball Hall, Chicago □ □ Mandolin Upon looking, he may find his pencil mentals and little pupils enjoy the game Without obligation please send FREE details □ Choral Con¬ □ Saxophone of Special Piano Plan and Offer to Studios ducting □ Piano Ac pointing to a line of the staff. He tells the and ask for. it.. and Teachers. □ □ Clarinet Name .

Address “The sincerity of the artist must he strong enough—that, and his creative impulses—to survive his self-consciousness and not lose the common touch, School Name. or kinship, with the vital currents of feeling in his community Gty_ —Olin Downes. School Address. Copyright 1934 by Theodore Presser Co. JUNE 1934 Page 375 THE ETUDE THE ETTJDE Page 374 JUNE 1934 of sitting at the piano, picking out vocal¬ standing position. Moreover, one should ises and song accompaniments with our stand far enough away from the piano so heads lowered to such a degree that in that one cannot glance toward the music. some cases our chin rested on our chest In other words, nothing should be sung instead of being held in a natural position! until it is memorized. It is extremely tir¬ CLASS PIANO Naturally, after a period of this type of ing to the throat to pick one’s way through THE SINGER'S ETUDE practice the congestion developed a fine a song in haphazard fashion. Edited for June by case of hoarseness. At our teacher’s studio So, sit at the piano while studying the INSTRUCTION the condition did not manifest itself, simply piece, singing it mentally, in proper tempo, because it couldn’t; at our lessons we in¬ until it is learned. Then, rise and stand Eminent Specialists I am a firm believer in the educational importance of class piano teaching. variably stood, head and body properly as you would in public, and sing the num¬ —Rudolph Ganz It is the ambition of THE ETUDE to make this Singers Department "A Singer’s Etude" complete in itself poised and balanced, with vocal organs free ber in your very best manner. If you have to assume their natural and correct posi- no accompanist you will have to imagine I am very much in favor of class pianoforte instruction in public schools. the piano part, mentally hearing the intro¬ —Josef Hoffman That the above is true instead of mere duction and solo piano parts during which I think class piano instruction is a most desirable form of piano teaching. theory I know because of long and careful the voice is silent. If you have really —Percy Grainger experiment with myself as well as my pu¬ learned the song the lack of an accompan¬ The above are from a folder on Piano Class Instruction published by the Na¬ pils, and for that reason I offer the infor¬ ist should not distress you. tional Bureau for the Advancement of Music. (Coloring the T3one mation to all who find the same problem (While we agree, in general, with the in their work. I do not say, of course, premise that standing is the more favor¬ that the wrong head positions are the only able posture for tone production, still we ROSS MULTIPLE PIANO horn player said: ‘I beg your statements in print before, nor had I stand this situation. I consulted a throat ered without changes being produced in the of the page, farthest from the middle line that I saw Richard Wagner for the first pardon, Master, but it is impossible further ever heard them from any of the authori¬ specialist, who found my throat quite nor¬ vocal apparatus, especially the larynx, and of the head, the case is still worse. If all time,” Carl Goldmark tells us in his auto¬ ties I had so painstakingly consulted, yet to slur this passage.’ Whereupon Wagner mal, excepting for enlarged tonsils. I had if the tone is not to suffer in consequence, who thus use the vocal organs do not give biography. “He was looking over his these few remarks of Prof. Mills cleared returned: ‘Impossible? Indeed, my dear these removed, but found this no improve- special care must be taken to make com¬ evidence of the truth of the above by Tannhauser Overture. At the very start up the problem for me and my pupils, in¬ friend, isn’t that what we expect of an pensatory changes in the parts affected. It hoarseness, etc., it is simply because in he demanded of the first horn that the first stantly and completely! We all, in our artist?’ The next time the passage was Some years later, when I began to is only necessary to sing any vowel, and young and vigorous organs there may be few measures of the chorale should be more home practice hours, had been in the habit slurred.” r THE ETUDE THE ETUDE JUNE 1934. Page 377 Page 376 JUNE 1934 HAVE YOU A COPY OF THE ORGANIST'S ETUDE THIS FREE “WHOLE WORLD” CATALOG? This booklet will be of infinite service to you Edited' for June by in the selection of music collections. One of Eminent Specialists the most attractive catalogs ever issued of standard music for piano, voice, violin, organ It is the ambition of THE ETUDE to make this Organ Department "An Organist's Etude ' complete in itself and other instruments. Every book illus¬

closed specification has been Diapason, Salicional, Rohr Flute: Pedal trated, and described, together with its com¬ submitted fo our church and I would like to Organ—Sub-Bass, Octave Bass: Couplers, know if, in you in ion, it is suitable for Swell to Great, Swell to Pedal, Great to plete contents. If you are a teacher, student inch worship. 11 you e—~ *'*'*’- Pedal. The registration to be used for Choir, about the Unified system—if it is used in Chorus or Solo depends on the character of church organs and if there is an adeantage the passage being played, amount of tone de¬ or lover of music, be sure to write us to-day in having Itf On Stop So. 28 (Orchestral sired and so forth. A certain amount of ‘Broadcasting and the Organ t by "synthetic” f— ability may be developed by "Self-Mastery” —a postcard brings it. (Not sent to Canada but having a teacher is preferable. Prices for books named are as follows: “The Organ,” or European countries.) nstrument, if ] Stainer-Kraft, 94 cents : "Master Studies for 43y Harvey Gaul though lacking, so the Organ,” Carl, $1.80; "Studies in Pedal¬ to see included. . =.. playing," Nilson, $1.13. THIS FREE CATALOG CONTAINS Great Organ, additional—Twelfth, Fifteenth, Q. I would greatly appreciate your giving Mixture ; Swell _ O^a.c Uional-Mixtm.. me, if you can, three or four forms of con¬ DESCRIPTIONS AND CONTENTS OF OUR BOOKS scherzos, divertissementi, genre bits, every¬ tracts between organists and churches. A FOR THE PIANIST In playing before the microphone one Preparing for the Climax Every work we ever heard sounded as problem which is especially interesting to me thing 'from Rimsky-Korsakov’s The Bee, ___ __ . The Unified system is used in at the present time is (1) what is the rela¬ should think orchestrally, that is, look' for if it were being played upon a huge mouth- tionship between the organist and assistant Light Open__ TF YOU • build a climax and use full to Weaver’s The Squirrel (if you are Church organs, though our preference gen¬ Modern Opera Selection: solo combinations, contrasting colors, tim¬ organ, jerky, gaspy, wrong in color and erally is for a “straight” organ. The only organist in most churches wherewhi.„ the--- orgar1 ‘ A organ, stay within middle distance and naturistically inclined). And, for slow advantage is a saving of expense and space. and assistantstant are both members of the churchchu Gilbert & Sullivan at Ho bres and so forth. Any “pure” color, as,' most frightfully wrong in idiom. Not being—io served (if that effects“— such relation¬ Recital Piano I keep your right hand within the top reg¬ movements, there are countless andantes, One example of unification in your specifica¬ to wit, oboe, clarinet, French horn, gamba, alone is the everlasting mn-pa so annoying. tion is the use of stop No. 11—Swell organ ship), and (2) what „ - --- Concert Piano isters. Use sub-couplers since they thicken adagios, larghettos and the like. ship, if any, between the music committee of Piano Duets .. or flute, registers well and comes singing The very structure of the piece is unor- Bourdon, which is used to produce No. 13, a church and the assistant organist. Also up tone, but avoid most super-couplers. There are hundreds of “Eventides,” if which is used in turn for No. 17—it being through. ganistic. used for No. 19. this one set of pipes thus what are the usual functions of a church The organ often sounds “silly” over the music committee in their relations to the or- Tschaikowsky at Home. String tone in all possible combinations Then, when the organists set the ditties you have to have a tear-bringer (some¬ producing Bourdon, 16', Stopped Diapason, Sacred Music . 1 radio; it is usually the super-coupler that S', Flute d'Amour, 4' and Flautino, 2'. The Chopin at^Home . picks up perfectly; every mutation stop is whirring with over-shaking Vox Humanas, times one thinks organists spend all their "synthetic” Oboe is produced by the use of FOR YOUNG PEOPLE does the trick. given its full value. the whole becomes a ridiculous perform¬ time “in the gloaming” writing twilight two sets of pipes already included in the Children's Piano Pieces.$1 A decade or two ago an organist was organ, probably one of your 8' string tones FOR THE VIOLINIST Children’s Songs . 1 Avoid super-couplers that run above ance. You have only to think of “movie” airs), and, if you desire another “time o’ and the Twelfth from your Unified Bourdon known by the way he used and abused the MISCELLANEOUS BOOKS high C; the tone then runs thin and shrill players and such popular tunes as River day,” there is always the “Morning Mood.” set, although your specification does not list Violin Pieces .. Modern Organ Pieces (Cloth).** Vox Humana. Now it is how he the Twelfth from that set. appropriate f( s by the music and sounds like a peanut vendor’s squeaky Keep Aivay From My Door, Goodnight Q. I would like some information as to , (2) i Standard Organ Pieces (Paper) . . Borrowed from Other Fields services at which the assistant is to play, (3) Standard Organ Pieces (Cloth). . whistle. If you are playing the oboe stop, works the chime stops. There is nothing Sweetheart My silent Love (it is never how to start a Junior Choir of boys and girls boresome than to hear every —also how the ages should vary. I have in using the organ for practice, and so forth. Saxophone Pieces . stay well within the middle register. This t— |jr H »r — silent along Broadway) Lonesome Melody, WHEN IT comes to transcriptions, What authority, if any, is usually given to American Home Music Album. position finish off with a bell Amen or a children from seven to fourteen years of What Do You Know About Mi applies to clarinet and French horn like¬ Stop the Sun, Stop the Moon, and so on there is an unlimited supply—every¬ age.—L. M. S. the church organist in case an outside or¬ gong cadence. A. Since your choir is limited to children ganist is to be allowed the use of the organ wise. A little gamba now and then is far into the night, and you know exactly thing from symphony to sonata, parlor of seven to fourteen years of age you probably for a special service, entertainment and so relished by the best of men—a little, we On radio the chime comes through what pieces should be abjured. morceaux, piano jeux d' esprits; Wagner, will not want to use more than two parts. forth! Does such an outside organist usually splendidly, but it should be used sparingly. If the age limit included young men who can make arrangements for use of the organ with said, and a little goes a long way. More Fortunately only the “movie” cathedrals Beethoven, Schumann, Schubert, Brahms, the organist or with the music committee? i receipt of marked prices. After all, there is no necessity to puncture sing the bass and tenor parts, you could, of than two octaves of that yellowed stop want jazz to plug their wares. All other Grieg, and all the Russian school have course, include music for four parts. If girls A. The matters involved in the making of everything with a clang on the Diegen. a contract are so dependent on the require¬ gives a very nasal effect. The flute fam¬ commercial subscribers are leaving it alone. been arranged. were included up to ages seventeen or eighteen ments of individual churches that we cannot D. APPLETON-CENTURY CO. 35 W. 32d St., New York true of the harp stop. you probably could use numbers for three or suggest forms of contracts which ily carries in its entirety. - , r , , ooSo you winwill never hearnear Wasvv as Thati nut theme Thank what virtuosi may be, the vener¬ four part women’s chorus. If the members of t the p of the Shun all effects that sound like an ac¬ Some players go far out of their way just Humm TK f0 Dq advertising high able debate as to the fitness of transcrip¬ the choir are not instructed in sight-singing to toss off a few arpeggios on the harp or - - in the schools, we suggest your including cordion or merry-go-round organ; they grade merchandise. tions is as dead as the Dodo, killed largely such instruction for which you might use, piano stop. Broken chords are desirable, are most distressing “on the air.” When by recitalists. Now everyone plays tran¬ for instance, Melodia, Cole and Lewis, or Why VOICE StudenftFail and there is no gainsaying the piquancy of “Methodical Sight-singing” (3 volumes). Boot. these concertina, hurdy-gurdy effects come Use the Classics scriptions—and some of them sound better For information on the subject of junior would be that the assistant organist be sub¬ AUSTIN ORGANS~]U the harp. But use it moderately. ject to the direction of the organist, the latter SENT FREE out of the loud-speaker there is nothing HAT OF the classics? They alone on the organ than they do on their original choirs you might study "Voice Culture for being responsible to the music committee or Not every work has to finish with a W Children,” Bates; "Choral Music and its Are designed on scientific s—> more hideous. The organ is not a colossal Practice,” Cain; “Junior Choirs,” Elizabeth those in authority on matters musical.^ The E£S33Sbr£ES£ 1 cadenza of rolling, broken chords, con hold up when other music fades and instrument. concertina, movie “artists” to the contrary. tarnishes. Take out your Mendelssohn, Van Fleet Vosseller. tated by the church authorities. The ar¬ principles and on an artistic arpa. Maybe Rubinstein’s Kamennoi-Os- For singing material you might examine Watch that American weakness, that Guilmant, Widor, Cesar Franck, Boell- Stretta and Coda “The Children's Anthem Book,” Barnes : rangement we have suggested should solve tonal basis. Built of quality PROF.E. FEUCHTINGER Studio A-558 C: trow does have figurated treatments in the your problems in reference to the assistant 308 North Michigan Avonuo - Chicago annoying bit of con sentimentale, the Vox "Twenty Unison Anthems for Junior Choirs,’ opening movement, but the rest of the mann, Karg Elert, Mailing, Dubois, Saint- THERE IS only one technic for radio "The Cecilian Choir,” Warhurst. organist. The question of the outside or¬ materials with skillful work¬ Humana. If yours is particularly bleaty ” ' have a choir oj ganist is also subject to the wishes of the chordal progressions go better on the Saens, Rheinberger, Frescobaldi, Bossi, playing as there is only one technic alIn r small town u church authorities, though we feel that the manship they are outstand¬ and nasal, leave it undrawn; it is magni¬ and Max Reger, and recitalize to your for any kind of organ work, and that is organist of the church should be consulted in strings and soft diapason than they do on __,______„ _ know this all such matters and his reasonable wishes ing in tonal character and fied on the radio and comes out a ghastly heart’s content. The masters of organ absolute legato. It is the school founded well balanced, but tenors are hard the everlasting harp. wish to make up a class of the— -who■ cannot carried out. If the organist and director is in durability. Discretion is the better part of valor, literature go just as splendidly on the by Lemmens, inculcated by Guilmant and read parts. Can you suggest id sight- held responsible for the musical results, he On the other hand, the other vibratory should have unlimited authority in matters §g and it certainly is the better part of regis¬ microphone as they do at the church re¬ carried on by all good teachers. singing text book! The choir . .:ver been affecting his work. Without unlimited au¬ stops, the Vox Celeste and the Unda cital. ■yanized'mixed with officers and so forth. Do_Do you AUSTIN ORGAN CO. tration. While some organs are limited, Piano touch is taboo. Smoothness, con¬ ..link it would add interest to do this? What thority there cannot be unlimited responsi- CSHVY•mm PUBLISHER. C 2 reference Maris, register with great beauty from One word to the wise: do not over-do tinuity, flowingness, they are the basis of suggestions can you make on organizing! HARTFORD, CONN. still much can be said by a judicious dia¬ What is the best way to seat a choir of about '• contemplating the rehearsal of bottom to top. Remember when playing the fugue. It is difficult to sustain interest organ playing. Use staccato where it is The Heavens„„„ area: Telling from “The Creation” loguing of oboe and melodia. twenty voices and how should the piano be „„„ „ confused in the trio since the voices for radio you are not playing for “mov¬ in, say, a radioed “G minor Fugue,” and necessary to get a detached effect, but use placed? I play the piano and direct the c choir.—E. M. H. are listed by character parts as Gabriel. Uriel 1 ies”; so it is not necessary to use all the your listeners are likely to turn the dials it intelligently. Do not be misled by the and Raphael. Will you please inform us as to junky stops in the organ. Nothing more Omit the Jazz! ' g your class sight-singing their voice classification?—W. A. and pick up another station. cinema gentry and imagine staccato alone terrible has been known than the journey¬ A. The voice classification is Gabriel—so¬ Remarkable it is how abominable The passacaglia, toccata types are none gives vitality. prano, Uriel—tenor, Raphael—basso. Special Summer Music Study Projects man movie player, and radio needs none . Tinpan Alley sounds on an organ or Q. In the enclosed list of stops, what ones too thrilling, nor are the conventional prel¬ If you have an opportunity give a radio You might find added interest if you or¬ of that type. transmitted over the air. Of course we ganize your choir with officers and so forth, are suitable for singing purposes?—A. S. ude and postlude. Dynamic, well con¬ recital, you will get great fun out of it A. If, by the term “for singing purposes” HISTORY The same tone that is used in church hear it constantly. The cinema palaces as it might give the members a keener sense you mean accompanying congregational sing¬ PRESSER’S MUSICAL INSTRUMENT PICTURES structed, eventuating compositions are the vast reams of correspondence, some com¬ of responsibility. You could have the usual The Summer scrap book cut-outs—orchestral service or in recital-program projection is broadcast it daily; officers, President, Secretary and Treasurer, ing, we suggest the following: STANDARD their favorite only ones worth presenting. Happily there plimentary letters and a few disillusioning Sub Bass 16', Open Diapason 8', Closed Pastime of seating set-ups—instrument de- all that is needed: good, solid, singing pabulum. But did you if the choir activities are such as to require Diapason 8', Melodia 8', Open Diapason 8', HISTORY OF MUSIC Maklng an ^R.IPTIONS AND RANGES-Fot Music Ar- er hear on a are plenty of these works with which to ones. And you will learn at least one the services of these officers. In addition you diapason quality; sonority above all things radio organ « should have a Librarian to catalogue music Principal 4', Violina 4', Octave Coupler, By James Francis Cooke Orchestra Will [irteners" ’ l'°ntert b0 an0 single jazz piece that bolster up a program and give it “beef.” thing: you cannot please both your radio Trumpet 8' Forte. and with richness and smoothness. sounded decent' and distribute it to members. You might also We are presuming your instrument to be a For contrast there are all kinds of audience and your radio announcer. have small committees on “new members,” reed organ and that two stops are necessary “social activities” and so forth. If your to complete a set of reeds throughout the space is convenient we suggest seating twenty compass of the key-board. The opening of voices as follows knee swells on the right and left side of the TENORS BASSES instrument should give you the full ensemble Enunciation for Qhoir Singers SOPRANOS ALTOS power of the organ. HARMONY BOOK If your tenor section is weak you might put Q. We have had a little argument in our some ot your ^sopranos on the second row and choir as to the time in which selections are Cloth Bound—Pr„ $1.50 FOR BECINNERS By E. G. Mead written. Please settle this dispute for us. By Preston Ware Ori CLASS You do not state whether your piano is an The choir leader says that selections written in 2ft, and S/i are faster than j/j. He says PIANO- As a choir-director, I am constantly con¬ the choir when rehearsing it to release the fore starting to enunciate the upright or grand. Our advice, in a general YOUNG FOLKS’ fronted in my rehearsals with the problem Many them or response contains the word “Lord” way, is to place it, if possible, where you 2/i time is the fastest time in vocal music. Any of These Dependable word, “voice,” exactly at the end of the singers, unless this ' brought to their at¬ —casional signal to your choir. Several others of the choir say Ui time is PICTURE HISTORY Group instruction Books of the correct enunciation of words. Again beat on which it occurred. I did this for one or more times and, when we occa¬ if necessary. the fastest time. Please tell us which is May Be Had for Examination tention, will somehow follow the line of right. What does — placed over a note or OF MUSIC Price, $1.25 and again I find that a clear and distinct two reasons, first, because the sibilant sionally hear “Lor” instead of what we e a two manual organ in o least resistance and join these two con¬ church.church, containing stops named on the en¬ notes mean? Will you suggest some good By James Francis Cooke THEORY AND COM¬ delivery of the words of an anthem or re¬ sound of the “ce”, if prolonged, would be expect to hear, the disappointment is keen. closed list. Which of these stops apply to the books on the use of the singing voice?—N. T. POSITION OF MUSIC sonants instead of separating them. As a The “d” can be made to come through if Swell organt Great Organ? Pedals? What A. The various time markings such as 2/4, sponse is the one point in interpretation that disagreeable to the ear, and, second, be¬ •ongregational 3/4 or 4/4 indicate the number and kind of By Preston Ware Orem result the thought of the text is obscured we imagine that we are singing “Lorduh.” must be stressed even more than rhythm, cause the initial consonant, “s”, of the fol¬ or Solo? What is your beats to a measure and are not a direction of MY FIRST EFFORTS Although this might seem to be an exag¬ ‘Self Mastery ' tempo. For instance you will find 4/4 time THE PIANO CLASS phrasing, shading or exactness of attack lowing word, “shalt,” needed to have a g'd^ndeed, the meaninS is not lost alto- Organ”? Please list the prices for the fol¬ used in both Allegro and Adagio movements. gerated effect to the choir, it will sound to The sign — placed over a note or notes in¬ and release, important as these various separate attack of its own. In fact, if the lowing books: “The Organ,” Stainer-Kraft; the congregation like “Lord.” Master Studies for the Organ,” Carl; “Stud¬ dicates that the notes are to be slightly de¬ items are in themselves. last letter of one word and the first letter Th,e ff efferct is brought about when ies in Pedal-playing,” mison.—G. E. A. tached, not strictly legato. We are not fa¬ the final don Lord is carelessly omitted. The cause of the foregoing difficulties in miliar with the material put out by the insti¬ "Jheodore PrESSErQ). One Sunday morning, for instance, my A. The stops marked “SW.” apply to the of the next happen to be the same con¬ I believe this letter is perhaps the most im enunciation can be traced to inertia, a con¬ Swell Organ. The stops marked “GR.” apply tution you name. Some works of voice cul¬ choir used a choral response which began sonant, or if an “s” is followed by any to the Great Organ and those marked “PED.” ture Include: portant terminal consonant in any word of dition which fortunately can be overcome if ' ” *o the Pedal Organ. For congregational “Twelve Lessons in the Fundamentals of with this phrase: “My voice shalt Thou other one consonant, it is necessary to Voice Production,” Manchester; “How to a sacred text, unless, perhaps, it be the each choir member will exercise will power suggest; Great Organ—Open hear in the morning, O Lord.” I asked finish the enunciation of the first word be- Diapason, Dulciana, Flute Harmonic, Prinei- Sing,” Lehmann ; “Plain Words on Singing,” letter t in Christ.” Almost every an- toward the production of correct models of Pal;nai. a—nSwell r,Organ—- Violin Diapason, Stopped Shakespeare. rendition as shown by the choir director. THE ETUDE JUNE 193i . Page 379 Page 378 JUNE 1 Bands and Orchestras I WHERE SHALL I GO A Summertime Announcement of (Continued from page 345) Where you STOP TO STUDY? These shows the viola interlocking momentarily with the cello in the first measure and with New Music Publications CLUB OFFERS makes or mars the second violin throughout the second measure. SELECT FROM THIS MATERIAL FOR VACATION STUDY Private Teachers of The simplification of the double bass in , (Eastern) OR RECREATION AND FOR YOUR MUSICAL NEEDS O where you GO fast passage work in conjunction with the THE COMING FALL AND WINTER SEASON Leading Magazines cello, when both instruments are perform¬ ; WILLIAM C. CARL, Dir. ing in unison or octave, is a worthy con¬ J Guilmant Organ School Any of This Music May Be Had for Examination sideration. The fact that the bass is quite . 51 FIFTH AVENUE, NEW YORK SAVE YOU ineffective in legato passages at the bottom of its range would suggest that it may be ’ WALTER CHARMBURY used only in staccato or, which is still more « Pianist and Teacher effective, that it be simplified. By simplifi¬ PIANO SOLOS I SHERMAN SQUARE STUDIOS MONEY! Whatever you expect of a cation is meant the skeletonizing of the Cat. No. Gr. Pr. » 160 W. 73rd Street, New York THOMPSON, JOHN summer holiday, you’ll find it passage, the most important notes being ; Tel. Trafalgar 7-6700 ADAIR, MILDRED 26055 In a Moonlit Garden.3)4 .30 abounding at Chalfonte-Had- played by the bass while the cello carries 26043 From an Aeroplane.2% $0.30 don Hall. All summer sports. 26042 Shrapnel .2JS .30 MISCELLANEOUS THE ETUDE $2.00 Both the full figuration. See example 14, third KATE S. CHITTENDEN McCALL’S . 1.00 Bathing from the hotels. BRAHMS, JOHANNES 26061 Deep .. .3 ,25 $2.35 measure. Rebuilt Band & Orchestra Instruments ■ Pianoforte — Repertory — Appreciation 26053 Andante Moderato. From 26070 Slavic Dance—(Dvorak) Regular price . $3.00 Save 65e Dances, music, and hotel enter¬ HONESTLY REBUILT—FULLY GUARANTEEDf ^ Symphony No. 4.5 .25 tainments. Grand food. Chiefly, In summarizing, no detail is too trivial ; 230 WEST 59th ST., NEW YORK CITY Arr. R. R. Peery.3 .40 THE ETUDE.$2.00 Both ^mruments sent upmTrFone=u^Distributors King Band Instruments. BACH, J. S. 26080 Songn^Ar«rhewVolgaFBoat:2^ ^ PICTORIAL REVIEW 1.00 you’ll find a warm hospitality to be overlooked in dealing with the strings, 26017 Prelude and Fugue $2.35 whether singly or collectively. Bow mark¬ WEYMANN COMPANY.arlmeni3th & Arch Sts., Phila. Pa ALBERTO JONAS 26060 Viennese Refrain—Arr. Regular price $3.00 and total freedom from noise rFurdn and confusion. American and ings, tempo indications and dynamic con¬ | Celebrated Spanish Piano Virtuoso Lindq William Hodson. ..3 -25 THE ETUDE.$2.00 [ Teacher ol many famous pianists European plans. siderations should all be clearly and con¬ , 19 WEST 85TH STREET, NEW YORK CITY PIANO DUETS PANION . 1.00 $2.35 cisely defined in the score, for the orchestral , Tel. Endlcott 2-2084^ On Wednesdays in Philadelphia BAINES, WILLIAM Regular price $3.00 Leeds and Lippincott Company performer is not a mind reader and cannot 26056 Mr. Ming. Chinese Dance.3 .60 THE ETUDE.$2.00 moDGRn WRIGHT, N. LOUISE WOMAN’S WORLD .50 The interlocking of melodies between the £ expected to ipterpr* the. '“0nS of I LaFORGE-BERUMEN STUDIOS 26049 Clog Dance.3 .60 duo various instruments is also of frequent ‘h°f lnt“ aEe PlflnO m€THOD Voice—Piano Regular price.. .$2.50 occurrence- freely divulged. All of these attentions to ■ VIOLIN Chalfonte- Simplest Method Known THE ETUDE .$2,001 detail will be rewarded by the interest that ! Frank La Forge teacher of Lawrence Tibbett BETTER HOMES AND itic; thoroi " , smee October 1922 Black Swa BELOV, JOEL GARDENS . 1.00 Ex. 10 the performers will exhibit upon the first . 14 WEST 68TH STREET, NEW YORK 26071 Miniature Concerto. In the $2.40 . Tel. Trafalgar 7-8993 26037 Mor First Position.2 .80 Save 60c reading of the score. They know Haddon Hall whether the composer is writing into their VOCAL SOLOS RICHARD McCLANAHAN PATHFINDER SL00 instruments through knowledge and study OLD ENGLISH FOLK SONG $£35 ; Representative TOBIAS MATTHAY 26029 O No, John! (E-flat—E-flat) Regular price .$3.00 ATLANTIC CITY of string technic or whether he is simply « Special Summer Course, June-July Arr. Edith Evans Braun.60 THE ETUDE $2.00 Both OPEN ROAD (2 YEARS) 1.00 and haphazardly writing notes that he hopes [ 706 STEINWAY HALL, NEW YORK CITY COPELAND, B. R. $2.35 will sound well. Their spirit of cooperation Regular price. $3.00 will naturally depend upon the realization : RALFE LEECH STERNER THE ETUDE $2.00 26046 Market Day in Kerry AMERICAN GIRL . 1.50 of such things, and consequently the re¬ [ Vocal Instructions County .2$4 .35 $T75 INCREASE YOUR . Singing and Speaking Voice 26058 When Mother Sings at Save 75e INCOME ! ward to the composer, who studies and « 310 W. 92nd Street New York, N. Y. Twilight .l'A .25 learns all that he can of the string group > Tel. Schuyler 4140 My Sweet Repose (Du hist die THE ETUDE $2,001 Easily—Substantially—Pleasantly Ruh’) (E-flat—a-flat).40 AMERICAN BOY .2.00 Take Subscriptions for and then applies his knowledge, will be very LITTLE FINGERS AT PLAY poo DOUGLAS STANLEY SPROSS, CHARLES G. Regular price. $4.00 THE ETUDE MUSIC MAGAZINE great. MUSIC PRINTERS Four Very First Pieces for Piano 30571 Birds (F-a-flat) .60 T ; Voice 30573 How Many Times Do I Love THE ETUDE $2,001 — Write for particulars — By HESTER LORENA DUNN Thee? (F-b-flat).60 T PARENTS’ MAGAZINE 2.00 poo 712 CHESTNUT ST. PHILADELPHIA, PA. ENGRAVERSandLITHOGRAPHERS I 44 West 77th St. New York Grade 1 30574 How Many Times Do I Love Thee (d-flat—g-flat).60 T PRINT ANYTHING IN MUSIC- BY ANY PROCESS | ! Philadelphia (Sats.) Reasonable Rates 26065 My Little Pony.$0.25 30566 The Little House (E-F).50 T THE ETUDE $2.00 26066 The Big Parade.25 LIBERTY (Weekly) . 2.00 WE PRINT FOR INDIVIDUALS 26067 Swing Song.25 $3.00 REFERENCE ANY PUBLISHER I EDWARD E. TREUMANN ."he Seesaw. MUSICAL RECITATIONS Watching the ‘Piano VXtover Concert Pianist—Artist-Teacher PEYCKE, FRIEDA THE ETUDE $2.00' , Recommended by 26021 Lost . 50 THE INSTRUCTOR , Emil Von Sauer and Josef Hofmann HANDEL, G. F. p35 By Alice Bergen . Summer Class: June to Sept. Apply Now. 26081 Gavotte in B-flat.3 26020 Sister Mary Ann Has Got the ' Regular price. . STUDIO, 7 W. 86TH STREET,NEW YORK, N. Y. ' ilea JOHNSON, WALLACE A. THE ETUDE . I have given my experience this title : again and told me 26078 Glad Easter Bells.2 . ANTHEMS COLLIER’S WEEKLY $2 00 KOHLMANN, CLARENCE $£50 because it was from noticing moving meantime she would talk the c lessons - - $4.00 Save 50e Private Teachers Mixed Voices van being unloaded that 1 obtained °ver with her husband, LEONARD, EMIL McCOLLIN, FRANCES THE ETUDE ..$2,001 —► SPECIAL ANNOUNCEMENT 4— J (Western) 21141 Shouting Sun (Spiritual).15 NATURE MAGAZINE . 3.00 tlie lead to a new pupil. The menten were On my next visit I met Mr. X who ’WALTER JACOBS, Inc., has acquired the Sole Selling Agency of the 25869 Wind in the Chimney... $400 van into asked me if I would play for them one of LOCKE, HAROLD MENDELSSOHN, F. Regular price. $5.00 Save $1.00 moving a piano from a transfer van into _ Famous FRANZ DARVAS 21129 Evening Prayer. his old favorite songs. The copy was on 26048 Attack of the Redskins. Arr. M. Mauro-Cottone 12 THE ETUDE Both a house. I took the number of the house, - Piano and Composition 26069 Snow Flurries . CHILD LIFE $4.25 EBY SCIENTIFIC METHODS MANA-ZUCCA SMITH USELMA CLARKE I 5411 BARTON AVE., 21134 Blessed Art Thou, O Lord Regular price. For Cornet, Clarinet, Saxophone, French Horn, Trombone! 26044 Hide s ' (a cappella).12 name of the people. After an interval of ple^sed them. During this visit Mrs. X [ ■ LOS ANGELES, CALIF. 1 Puss ..1 THE ETUDE and Baritone (Arban’s Method in Base Clef), BBb Bass (Tuba) J Treble Voices COSMOPOLITAN ;;^2.50 $4*25 a week I called at the address and told enroiled with me for music lessons. : WILHELM MIDDELSCHULTE, Now Obtainable Separately in KREMSER-PEERY Parts Regular price. Save 25e Mrs. X that I had noticed that she had had This incident has been written to -show EBY.S cornet method s of EBY’S FRENCH HORN METHOD. LL. D. Sheet Music Form 21147 Prayer of Thanksgiving... 3 .08 THE ETUDE a piano moved in. I inquired, “Have you how observation and ability can be used lies. Eby No Pressure instructions, with n , Director of Wisconsin Conservatory, Milwaukee, RATHBUN-WARHURST GOOD HOUSEKEEPING ::$i:So $4.25 : teacher?” On being told pupil who, even though Complete explanation of the Nc , Professor of Organ and Theory, A DAY IN VENICE—SUITE 21146 I Heard the Voice of Tesus Save 25e irn (eight illustratic Detroit Conservatory, American Conservatory. (Un Giomo in Venezia) .12 I felt ethically free to ask for an interview. adult with many responsibilities, loves 1 appropria' , Rosary College, River Forest, III. THE ETUDE . Both “Won’t you come in?” said Mrs. music and has wanted to take lessons since ment—45 subject , Degree Work arranged. Private lessons in Organ Op. 25 PART SONGS AMERICAN MAGAZINE , and Theory. 5210 Kenwood Ave., Chicago, III. By ETHELBERT NEVIN $425 When I had shown my leaflets relating childhood, though until now she has been ^ -Poundatii $4.50 Complete in One Volume, $1.50 Mixed Voices and my studio she asked me to play deprived of the opportunity. Because she Part 5—Ad 30575 Alba (Dawn).4 $0.60 R MANA-ZUCCA-PEERY THE ETUDE . .,$2,001 Schools—Colleges 35272 I Love Life for her. Realizing.. that this, 1 part has been kept from music so long she 30576 Gondol * ! BETTER H0ME8 AND Comph (Gon ■rs) . .60 R GARDENS . .. $2.85 of my duties as a teacher, I was glad t appreciates it even more than most younger ! Professional 30577 Canzone Amc ... Treble Voices comply. She then said, “I’m the one who people, and hopes s have her small (Venetian Love CADMAN, CHAS W. Parts Regular price. Siv. 75t ! n n A 1 III SCHOOLS OF MUSIC Song) . .60 R 21131 The Call of the Lark. . . 3 . 10 wants to take music.” After this short but daughter also begin c . her musical educa- K K O 11M Robert Braun, Director 30578 Buona Notte FIBICH-DOUTY McCALL’S . pleasant interview I left. She asked me tion. ' DllHUIl Graduate School Pottaville, Pa. (Good Night). 21135 A Song of Love.. ,06 PICTORIAL REVIEW : S:8S $3.25 Men’s Voices Regular price. Save 75c 1 CONVERSE COLLEGE 3L brahms-peery $2.00 All « N. Irving Hyatt, Dean, Spartanburg, S. C. 21144 Lullaby . „ L"rEa.E,T.UeDE The Musical Pepper Box SCRIBNER, WILLIAM LEMARE-FELTON WPANI0N H0ME C°M $3.35 26052 Dancing Sparks.4 .35 21148 Go, Lovely Flower (T T B ) 12 Save 65e SPROSS, CHARLES G. Regular price j DUNNING 7, ,45 !chubert-carleton. Living and Dead “I say, Bill,” said one, “they’i got Comple [ SANDUSKY AVE* IelUEFONTAINE^OHl’o”* 30563 A Country Dance.3)4 .40 21145 By the Sea . n„ 30564 Swaying Willows.4 .40 steinel-peery . [Subscriptions map be new or re \ “How many sons have you, Mr. Poppel- ’em all here, haven’t they?” EBY’S SAXOPHONE METHOD. Th< - CONSERVATORY OF MUSIC 30565 Time of Lilac.4 .40 35270 My Heart Is a Haven (T.T.B.) .10 newal. Prices DO NOT include I Bill looked over the collection very phonist’s Encyclopedia.” Develops uv .. K N11 1 Galesburg. Illinois Canadian or Foreign Postage.J reuter ?” « II11U A Catalog Free Wm. F. Bentley, Director “Two living and one that played the carefully, and shook his head. saxophone.”—Pathfinder. “No,” he replied, “They haven’t. I don’t : NORTHWESTERNsgvBS V see anything of that squeaky, old clarinet Theodore Presser Co. you practice on every night.” The Etude Hot There :SHENANDOAH COLLEGE • Music Publishers, Dealers and Importers . A fine collection of instruments of tor¬ ' CONSERVATORY OF MUSIC. Special Courses in ture, including the celebrated “Iron Fits the Crime ’ Pipe Organ. Orchestra. Public School Music. Rates Music Magazine . Reasonable. In the heart ol the Shenandoah Valley. 1712 CHESTNUT STREET PHILADELPHIA, PA. Maiden,” was being exhibited in a certain Glee: “How do you pitch tune?” HIGHEST ENDORSEMENT FROM TEACHERS AND ARTISTS , Dayton, Virginia 1712 Chestnut St., Phila.. Pa. town. Among the visitors were a couple Club: “With tuning-fork, of course.” of suburban residents. —Cornell Widow. WALTER JACOBS, Inc. JUNE 1934 Page 381 THE ETUDE THE ETUDE 380 JUNE 1934 early. Still, a very few commence in baby¬ a Joannes Gagliano (Naples), seven-eighths hood. The famous Russian violinist, Mischa size, at $850, and a Joseph Gagliano Elman, who has been heard all over Amer¬ (Naples), made in 1810, three-quarters size, ica, got his first violin when he was three at $1,200. Other half and three-quarter years old and soon learned to play little sizes are priced from $50 up. One interest¬ ing violin in this collection is an “Old Mit- THE VIOLINIST'S ETUDE It. is equally important that the bow be tenwald,” thirty-second size. This is de¬ the right size. If the bow be too short, scribed as a beautiful miniature, built on the child cannot extend his right arm to its the lines of Stradivarius. The back is of Edited by full length and the bow stroke is too short. one piece of maple, with sides to match. Conversely, if the bow be too long, the The top is spruce of medium grain. The Robert Braine pupil will keep on drawing it to the point, varnish is orange red. This is priced at It is the ambition of THE ETUDE to make this Violin Department “A Violinist’s Etude” complete in drawing his elbow back and making it im¬ $75. possible to keep the bow at right angles to the string. This drawing the elbow Sized According to Age back, resulting from trying to use too long ONE AMERICAN dealer tries to a bow, gives many a pupil a “crooked” specify the correct size of violins ac¬ bowing, a fault which sometimes clings to cording to the ages of the pupils. He says, him through life. The bow must be of “A child of five or six should have a quar¬ On Form and teaching such a length that, after drawing it to the ter size, one of eight to nine years, a half point, the hair must still be at right angles size, one of ten or twelve, depending on to the string. his or her size, a three-quarter size. At By Paul Bohning the age of fourteen the average child re¬ Variation in Bows quires a full size violin.” The foregoing BOWS USUALLY come in three sizes, estimates may prove correct in many cases, AN OLD saying .and a true one—“as he himself has never trod. He shows a Luck need not be trusted in this day in Visioning Future Virtuosity one-half, three-fourths and full size. but children of the same age vary so much the twig is bent the tree’s inclined." more analytical temperament . than the the selection of a competent teacher. The If, in exceptional cases, longer or shorter in size—length of arms and fingers—that O RETURN to the starting point. The bows are required, they can be made to it is necessary to have them try violins of T A- Form in violin playing is a factor artist, but one not less inspirational. He automobile has placed at least one such good teacher of the violin sees in the of paramount importance. It occupies this recalls his own first meeting with a teacher, within reach of practically everyone. Far order by any good bow maker. Ole Bull, different size so that exactly the right one very first lesson the highest point of vir¬ the famous Norwegian violinist, found it may be selected. prominent place because of the necessary, and, with matured judgment, reflects upon cheaper to make a long drive for instruc¬ tuosity. Every detail that he imprints upon albeit unnatural and difficult, position the whether or not that initial' experience tion of worth than to intrust budding talent necessary to have his bows made somewhat Seven-eighths size violins are quite com¬ the mind and body of the pupil aims not at longer than full length, as he was a very mon. They are often called “ladies’ size,” body and its members must take to achieve proved good. In the light of experience he to incompetent instruction near at hand. the present but at the ultimate. Just as All other things being equal, a teacher large, powerful man, over six feet in height, because they are well fitted for women the result desired. This statement may be realizes that a teacher may justly be praised the coach of athletics impresses upon his Of maturer years is to be preferred, for the and with very long arms. If he tried to players, since the average woman is some¬ protested by some who, through many hours or censured upon the basis of what he acolytes the importance of form in the teacher of thirty years should, by natural use an ordinary full-size bow, he could not what smaller than the average man. of unremitting toil, have made this un¬ teaches or does not teach in the first few establishment of superior records, so the circumstances, have better judgment and extend his bow arm to its full length. His Small-sized violins, mostly made in Ger¬ natural form second nature. To such is successful violin teacher stresses and be better fitted to practice his profession extra-length bow enabled him to achieve many and France by cheap labor, can be • Three issues for only 35c! recommended a half hour spent in teaching The number of those who profess to demonstrates it. What an opportunity to make new the correct position to an untutored be- teach the violin is legion. The number of than the one of twenty. Observation, some extraordinary effects in tone and obtained in the music stores at all kinds of It is said that an orchestral conductor prices, from $5 up. It is not wise to buy friends for THE ETUDE—to share those who really teach the violin is in¬ theories tested in the crucible of time, first¬ technic. for three months the music, help and The artist or the expert performer is finitely small. The deplorable condition,- hand knowledge of the possibilities and the once asserted that upon the basis of viewing Only a few of the great masters of violin one of these small violins of a too cheap inspiration you enjoy throughout the interested in his advance along the road violinistically speaking, in which youngsters limitations of the flesh, tolerance and flexi¬ a violinist’s performance at a distance making made half or three-quarters sized quality, as a violin of coarse, rasping tone year. If you teach, don’t miss this to artistry or virtuosity and concerns him¬ present themselves to teachers in conserva¬ bility—all these come not in a day, and they through a telescope, he would feel safe in violins. Jacobus Stainer, the famous Ger¬ is injurious to the young pupil. Many opportunity for your pupils. A trial self little with scenes that lie behind. This tories, after years of so-called training, is all help a teacher to find himself. The engaging or refusing that individual’s serv¬ man maker, made one of three-quarters people reason “the cheaper the better,” subscription NOW will stimulate and explains why, so frequently, such a one is a matter of common comment. In this youngster, carrying his head in the clouds, ices for his organization. A deliberate ex¬ size, the scroll being carved in the form of in buying one of these small violins for a help maintain musical interest ALL neither a desirable nor a good teacher, par¬ connection the pitiable circumstance lies in reaches for the stars; and the oldster envies aggeration to impress the importance of a lion’s head. This violin was given to child, because they know that larger sized Summer. Clip the coupon or just send 3 5c with each name and address. ticularly for the beginner. Give him an the corollary that so much fine talent is him his glory. ‘A teacher, however, who form and, as such, not to be taken lightly the Duke of Edinburgh, by his mother, violins must be bought as the child grows. artist pupil and the story may be different. ruined by incompetent teachers in the needs must deal with all trends and types by any thinking teacher. Queen Victoria, Queen of England, and was This reasoning might be sound if the little golden period of .youth. of humanity should recognize and be ever To the end that his pupils may attain as the instrument on which he learned to play violin had to be thrown away after it had The Chatted Way been outgrown. However, this is not neces¬ Henning Violin aware of his earthly footing. He should nearly perfect form as possible, the earnest as a boy. The back is of one piece of flamed Deep - mellow- Soulful THE TRUE teacher adopts a viewpoint First Directings know that the greater part : life must be teacher will sweat and suffer. Often con¬ maple; the top, spruce of fine grain. The sary. Practically all violin dealers will For a limited " and sets a goal different from that of TWELVE lessons under a competent lived, not among the stars, but beneath them. demned as a crank and a martinet by those varnish is brownish yellow in color. The take the smaller violins back in part pay¬ the artist or the virtuoso. He retains a and sincere teacher are of incalculable The best teachers have learned to teach by to whom sheer flash and brilliance are gods tone is of exquisite quality and very large ment for a larger size when it becomes clear memory of each step that led to the value to a beginner, and will enable him, if teaching, and, usually, they look back upon to be worshipped, he will still hold to the for so small a violin. This violin is offered- necessary. apex of his own career, and, in his mental he has the urge and ambition, to carr>;V,dli their callow years with humility and won¬ road that leads to sure artistry. Deserted for sale by an American dealer for $1,200. It is quite as important for the pupil to notebook, consciously or unconsciously, he rightly for an appreciable period. One der that they had the courage to offer a and criticized by persons who have neither The same dealer offers old French and have the correct size of violin and bow for carries inscribed a clear outline of the diffi¬ lesson under an incompetent teacher, no service for which they were so ill-fitted. the will nor the courage to carry through German half and three-quarters size violins his practice as it is for any one who wears culties that he battled and the plan by. matter how good may be his intentions, can This opinion will riot discourage the to violinistic success, his sincerity of pur¬ at prices ranging from $65 to $125. eye-glasses and spectacles to have correct which he conquered. Moreover, through a be ruinous, and the damage resulting may young man, for he knows that he differs pose will find full reward in the achieve¬ Another dealer offers from his collection sheer intuitive power which so invariably take years, to undo or may never be undone. from all who have gone before. He wall ment of those of his proteges who, being marks the great teacher, he is empowered What, then, if the pupil place himself attack his dragon secure in the belief that made of finer metal, come through the to indicate the best way over paths which a long time under such an incompetent? his sword will conquer. So it should be! fire purified and whole. WCasterly ^Bowing Sizes By Charles Fingerman In wielding the bow in a masterly man¬ the same time promotes an even and suave ‘By Robert Braine ner lies one of the secrets of good violin (but powerful) flow of the bow. playing. The left-hand fingers may form, In aiming for a gradual and artistic place and conceive the tone, but the bowing shading and swelling of the tone, the AN INQUIRY comes to this depart- hardly hold them. And this only so that up on the fingerboard. A tall, long-fingered hand gives to that tone life, volume and strength coming from the wrist should be T\ ment as follows: “What size violin “Johnny won’t have tb buy two violins." Toy Trinkets Only pupil, trying to use a half-sized fiddle, is an realization. so utilized that the volume (crescendo and •*- should a boy nine years old have to The body of the violin and the fingerboard object of ridicule to his fellow pupils in PARENTS of very small children often A winged bowing should be striven for, buy toy violins for them, especially for diminuendo) of the tone should be slowly begin with?”—J. D. have been so long, in fact, that the little the violin class and in the orchestra, if he and this cannot be accomplished without a but surely graduated. One notes that an Well, J. D., I am sorry to say I cannot player’s left arm was as straight as a poker plays in one. I have known many a promis¬ Christmas gifts, and sometimes attempt to strong wrist. Some violinists tighten their tell you without seeing the boy. If you and his little fingers utterly unable to ing young pupil to give up the violin alto¬ have the children learn on them. This is hold on the nut. This may be permissible artist like Heifetz, through his masterly wrote to a shoe store to ask what size a stretch the proper intervals. Then we have gether, because his parents refused to fit a great mistake, as these toy violins are in carrying a hod, but it doesn’t aid in bow¬ bowing, is able to build up the size of his really only toys and not practical musical nine year old boy should have, I am sure the pupils who have begun on small violins him out with the right size of instrument. ing. In fact, it produces a clumsy and tone mathematically, from the thinness of that the proprietor would invite you to his and who, as they have grown and become Economy is found to take queer slants instruments. Music stores sometimes have stilted stroke. From a wrist, firm but flex¬ a hair to the booming depth, breadth and store so that the boy could be properly ready for larger ones, have kept on with with some people. To many parents a a tiny violin (one-sixteenth size) made for ible, should come all the force and strength volume of thunder. And this he is able to them by a good violin maker, to exhibit in fitted. In the same way I would advise the small ones because, from motives of “violin is a violin,” no matter what size needed in bowing. The palm should be do so well that no man living can designate you to take your boy to a really good, ex¬ false economy or some other reason, their and, having bought one violin, they do not their show window by way of advertise¬ bent inwardly from this member and should the exact moment at which he increases perienced violin teacher who would have parents have neglected to provide them feel like buying others as the child grows. ment. These tiny fiddles are practical in¬ undulate from side to side. This exercise the pressure of his wrist by the weight of him try different sizes of violins until one with the proper sizes. This is the greatest possible mistake, since struments, carefully modeled after a well- thickens and strengthens the wrist and at a feather. of just the right size was found. Better no pupil can make really good progress and made violin. A Chicago wholesale house have a violin teacher decide on the size, and play in good tune unless he has an instru¬ offers violins of that description as “Minia¬ A Case of Too Much Finger not a music store clerk, for very few clerks ment of approximately the right size. ture Violin Outfits,” described as follows: “Violin about nine and one half inches have expert knowledge of violin teaching BIG, GANGLING boys or girls ap¬ Small music stores sometimes fail to and violin playing. The teacher knows proaching the six foot stage make most long, made exactly like a high grade violin, carry all sizes of violins and bows, but the “Beware the glib-tongued teacher, I say. Remember, you young people, from long experience with pupils of all ages grotesque figures trying to play on half¬ correct in all proportions, fully equippe! proper sizes can always be obtained for the that the musk profession is overcrowded; we have more excellent inter¬ just what size is required. sized fiddles; for, try as they will, they with neat trimmings and strings. In full customer from the wholesale music houses pretative artists than can find enough public engagements to pay their Economy! What crimes are committed cannot get arms and fingers to assume the in the large cities. The three principal flannel-lined imitation leather-covered case in thy name! I have seen young children right position. They are pretty sure to about twelve inches overall, something living expenses. Study music, by all means; it will broaden your perspec¬ sizes are the one-half, three-fourths and full tive, stimulate your imagination (valuable in any business), and bring you who should have been using half or three- play the notes too sharp, because, from the size, but, for exceptional pupils, one-eighth unique for show-cases.” quarter sized violins, trying to play on full- large size and stretching capacity of hands It would require a very tiny child to happiness. But approach it intelligently, with no delusions as to its possible one-fourth and seven-eighths size violins use for monetary returns."—Pierre Key. sized instruments so heavy that they could and fingers, they finger the notes too far can be obtained. finger a violin of such a size, and few chil¬ dren commence their violin careers so Page 382 JUNE 1934- the etude JUNE 1934 Page 383

SHERWOOD • MUSIC • SCHOOL FOUNDED 1895 BY WILLIAM H. SHERWOOD 410 SOUTH MICHIGAN AVENUE • CHICAGO

A faculty of one hundred teachers, including many of international renown, is available throughout the year. Courses are offered toward Certificates, Diplomas and Degrees, in: Piano, Violin, Voice, Organ, ’Cello, Wind Instruments, Theory, Composition, Public School Music, Band, Orchestra and Choral Conducting, Class Method of Teaching Piano and Band Instruments, Microphone Tech' nique. Dramatic Art, Play Production, Liberal Arts and Dancing. Summer Session Fall Term

BOGUSLAWSKI COLLEGE OF MUSIC 323 South Wabash Ave. Chicago, III. Summer Master School June 18 — August 11

IL and delights the reader. X

SCHOOL OF THE DRAMA THE GOODMAN THEATRE DUNNING SYSTEM ART INSTITUTE OF CHICAGO 0"mr^.c^l?,udy 76 EAST 79thESTREET?NEW YORK CITY 160 EAST 68th STREET^PORTLAND, OREGON THE ETUDE ! THE ETUDE JUNE 1934 Eage 385 Page 38j, JUNE 1934 EASTMAN SCHOOL OF MUSIC lummer Master School THE MUCH-ABUSED INSTRUMENT Most of the pupils ... of have been under the at... Chicago To The Etude : Ceylon we do not see or play In a recent Issue of The Etude there ap¬ and other instruments used Su »".j ... The University of Rochester peared a quotation from Mr. Robert Littell the West. I should like to correct this impres¬ sion. For the past hundred and fifty r- — Musical College -— - the ' ” - Rudolph Sanz President Harold E. Ray Business Manager Howard Hanson, Director _ I do not aiuTnZnnrred in THE ETUDE unless accompanied by the full name I feel that I must ______Europe. There _ _ abused instrumeni axophmie. ' hundreds of teachers and hundreds of entrants Three Sessions . . . fjUNE 25-AUG.T1 Raymond Wilson, Assistant Director MdTdTe^of th' inquirer. Only initials, or pseudonym gtan, will be publ,shed. fault but rat every year for the annual examinations of the Royal Academy of Music and the Trinity Col¬ May I4-June 23 |^AJOR SESSIONJ Ju|y 23-Sept. I think yoodt I know she would be so thankful lege. But lately we have started to bring back Courses lead to Degrees: Bachelor of Music, Master of Music, Master of Arts the old music and the instruments our fore¬ Among the Distinguished Courses In fathers used. Some—but not all—of our native in Music, Doctor of Philosophy in Music; Eastman School Certificate (Diploma) musicians do not teach the songs and pieces Faculty of 12 5 Teachers REPERTOIRE - INTERPRETA¬ Two rotoe te'achcrs and a ■ and other qualifications for singing. w, i „ from written notes as is done in teaching piano a number of pieces from which a selection and violin (in your country) but they hold to PIANO—Rudolph Ganz . . . Glenn TION—Mr. Ganz, Mr. Wither¬ be made. “ ' the old custom of singing out the different notes Dillard Gunn . . . Alexander spoon, Mr. Gunn, Mr. Raab, Registrations for 1934-35 and 1934 Summer For high soprano: Come Pretty Tamar, ....e soprano duplicating the (as they used to do before European notation Raab . . . Silvio Scionti. Mr. Sametini. Mr. Scionti. ,a romance I began to have trouble with my the alto, the alto clarinet or horn, VOICE—Herbert Witherspoon Charles O. Bassett: Dear Little Mother Ma. he baritone or trombone, and the was introduced to the East) and the pupil Session Now Being Received gery Watkins ; Hummer, Chamlnade;uaue, AoiiiApril ra» nicks them out entirely by ear on the instru- TEACHERS’ TRAINING—Mr. S1E5 April, H. V. Milligan- baritone, In This of course necessitates a very good Ganz, Mr. Witherspoon, Mr. since then I have had laryngitis, due Know, Vanderpool.anderpool. - Bow Sweet to cue na-.,phone “etion has a distinct tone Mabel Sharp Herdien Gunn, Mr. Raab, Mr. Fischel, too much in school. Recently I sang for some mezz quality which blends well with any other sec¬ nemory. - O ra in in m p v owe Ba\y,g Eygl_>rano : Ther___ Sleep thatc Flits o« Our instruments e most of them stringed. Ann Kaufman Brown. Miss Caruthers, Miss Curtis, Preparatory and Special Departments : detected in A. Carpenter; Knowest Thou tion. Why, then, destroy this resource of tone _drum, called the rabuna, VIOLIN—Leon Sametini . . . Max Mr. Madsen. and that it is not quite tm. color and contrast by breaking it up m many I^ Wvoicernire Vstudiesstudies again.again T „the. Lamltnar0 Thomas;rnornas;v;„i,t The r Fairy Pipers A H parts, at the same time destroying the effects instrument called the lily-flute, Fischel. / give^itup oil accouniofthe laryngi _; 0 Lovely Night, Lamlon Ronald ‘ one might secure from the other sections had VIOLONCELLO—Daniel Salden- Information regarding graduates obtainable for positions will be For contralto: Nocturne, Pearl G. Curran- berg. I have hadt—G. L. F. _ mnrh ex- JjovcnsLove’s Secret,avcrvi, Braine;x>ruiue ; Vocevoce diai uonnaDonna c-ii-To the saxophone not been playing along with often is so large that even eight pe fiinmndn”) Ponohielli : Laxt. Xinht around and tap out the folk-songs a it. Very MUSIC THEORY—Arthur O. An¬ furnished on request thThe remedy, would beJjO^ arran^^foi^ the often live coals are placed on the „- derson . . . Gustav Dunkelberger. •Courses lead to Degrees and the rabana held over them—this making the DALCROZE -EURYTHMICS —Paul Certificates: Bachelor of toXsnffi°ynethe< VnSnfmenf and 'its possibilities! Music, Master of Music, Bach¬ In regard to such tonal discrimination the tapping more clear and loud. The lily-flute, Boepple. For information and Catalogues, Address shouid have richer, before the candidate has the natural gift for singing dance orchestra is already far ahead of the our only keyboard instrument, is very much DRAMATIC ART AND EXPRES-* elor and Master of Music Edu¬ 1.™ 1 sad for the first few with what is popularly called "expression." concert organization, since it has long con¬ like the old harmonium. SION—Walter Pyre. cation, Bachelor and Master i of sufficient beauty, range am The veenei and the sitei (pronounced seeta) of Drama. Teacher's Certifi¬ power to justify giving sidered the saxophone as indispensable. This SCHOOL OF THE OPERA—Frank Arthur H. Larson, Secretary-Registrar is aDt to recurr unless adverse conditions tuition f -close association with the dance orchestra (in were originally brought from India and even St. Leger. cate in Public School Music, the use of the singing and speaking voice _ia certain period. ObvTo_„lously the selections she which players are often less expert than in now are not very extensively used in Ceylon. Public School Orchestra Lead¬ offers should be chosen so at „„ „nr. In fact, the violin is used a great deal for TEACHERS’ TRAINING COURSES removed. School^ teachers under ms; the more pretentious organizations) has, in¬ Julia Lois Caruthers. er’s and Bandmaster’s Certifi- Eastman School of Music, Rochester, N. Y. . dust and bad air in ticular powers and abilities to the best advan¬ deed, helped to bring the instrument into dis¬ native music. There is also the flute—-as dif¬ necessity for —__talk- ^ tage. It is not always tile most elaborate piece repute. When it is properly written for, it ferentiated from the lily-flute. This is used PUBLIC SCHOOL MUSIC—Nellie The funda- sung which secures a favorable verdict. A will take its rightful place i^A®JIEsb^?BdEsL anfl a great deal in the religious procession and so Johnston Moench . . . Franklin mental principles :ood voice-use hold for number which is well within the vocal and in¬ Madsen. both speaking and__jlng. Keep the general terpretative powers of the candidate is best e I could say about Cey- CLASS PIANO INSTRUCTION— for use in competitions. The broader and more MUSIC IN CEYLON Curtis Course: Helen Curtis. pedally11)/means a,ofi that diet which is colorful voice shows best with the compara¬ To The Etude : „ _ _, and, most of all. its lovely s'cenery. But adapted to your particular needs tively more sustained and slow moving pieces. Last Julv 1 wrote a letter to The Etude, lack of time and space force me to stop. I Chicago Musical College is an Institutional ier cf the National Association of Schools ol (formerly Itbaca Conservatory) the nasal, —___,mouth and throa sages clear and And even in these days of angular and dis¬ which was published in the December, 1933, hope to write to The Etude some other day, bytheuse of~a"daily gentle douche and sonant music, many people are still fond of a number. Since it came out I have received if you would care to have me do so, and tell Write for DEGREES—BACHELOR OF SCIENCE—BACHELOR OF MUSIC > of warm water, containing one-half a many letters from American music teachers you more about my country. Summer School Catalog Courses for Supervisors of Music—(a) The Vocal Course—(b) The Instrumental small teaspoonfulM—_- of ordinar ,r- „ and pupils asking me to write to The Etude Lalitha SavOndranSyagam Course—(c) The Combination Course (including Church Music). quarter of a teaspoonful of powdered again and give more details about Ceylonese acid to the glass. TT"" | r would first like to thank all those Applied Music—Piano, Voice, Violin, Organ, Instruments of the Concert Band and may be obtained .... — for a s unable to write to. personally and Symphonic Orchestra. cents) ; eject methe nuiufluid gently froi mouth those of other, __ __ _.. _... •e about my country. Colombo, Ceylon. Chicago Musical College Daily Rehearsals—Band, Orchestra, Chorus, A Capella Choir under Arthur Pryor, Never'•- snuff,at violently,— *i.. anything.-"-thing urup the nostrils have already attempted is one that many hai 60 EAST VAN BUREN STREET CHICAGO, ILLINOIS Beeler, McHenry, Coad, Lyon, Ewing and others. Occasionally use, with an atomizer, for nose liked. What do you sugyest as the best ten and throat healing, a medicated abolene prepa to get the song advertisedt—C. L. C. SUMMER SESSION June 28—August 17. ration, about which your druggist will know * T- - -cry difficult for a composer to pul ADDRESS The Register, Ithaca College, I Dewitt Park, Ithaca, N. Y. ditional help, in this connection. Is pcssi- ....lish and-l-ket market hher own songs. Selling sonj ble through---.— using1— —mhaledmedicated steam, inh 1b regular commercial business, and goc through the mouth and exhaled through traae connections are necessary, if one is I nostrils, A few drops of compound tine- make even a start at the disposal of a fa of benzoin, in a sufficient quantity of hot water, number of copies, ui course, Ifu you havewii College of Fine Arts will furnish what is needed here. Be on guard considerable number of friends who sing, and Cincinnati (fonser&aiorjg “dllusic In New York City against scalding Do not go into a cold atmos- they can be induced to use your song in public relationships with the finesse of a diplomat. Syracuse University phere for some time after using any ot these qUjte often, you might be able thus to make a Wagner The phraseology of the subject is not allowed Under Auspices of the Cincinnati Institute of Fine Arts and Affiliated with the University of Cincinnati applications Try to reorganize your school limite(1 saR, -for y0ur product. In general, a precedence over the subject itself but is rather Six Weeks Summer Session Opens June 15tH June 25 th to July 26th room work so that it will require less talking sineer who is surp that his uoinDosition is cor- By W. J. Turner Degrees: “ The slim fingers of Cosima had been direct¬ given as a handle or tool for that subject. For All Departments Open—Repertoire and Program Building Classes the^ta'lkin^t^eniselves6 ^arn^o* talk “on^he rectlY written and has merit in its words and ing the pen of Wagner biographers full fifty instance, “dominant seventh” is not a phrase Special Summer Course by the talking themselves. .Learn to talk on the mnsfnmusic shmi]

Train Children’s Voices High grade work with excellent remuneration Short Summer Course for Teachers flKtfene s^TKe&tre Qlpfaplanijhatttutp of 0)uBir Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma Public School Music Course in conjunction with Western Reserve University BERYL RUBINSTEIN, Director, 260S Euclid Avenue, Cleveland, Ohio. INSTITUTE OF MUSICAL ART of the DANA’S MUSICAL INSTITUTE Professional and Teacher's Courses on the Daily Lesson Plan. Degrees granted. JUILLIARD SCHOOL OF MUSIC Departments in Piano, Voice, String and Wind Instruments 120 Claremont Avenue New York City Public School Music Courses State Accredited. ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Supports its own Symphony Orchestra and Concert Band—Daily rehearsals. Catalogue on application to Lynn B. Dana, Pres., Warren, Ohio, Desk E. A school for serious students. All branches. Moderate tuitior

SPECIAL ANNOUNCEMENT Tell your Music Loving Friends about THE ETUDE and ask them to give A new four-year course for the training of Supervisors of Mui you the privilege of sending in their subscriptions. Public Schools leading to the Degree of Bachelor of Music Educi Ask for Catalog of Rewards for subscriptions you send Catalogue sent on request. THE ETUDE 1712 Chestnut Street Philadelphia, Pa. !Ii3§£S§ IIIy , THE ETUDE JUNE 1934. Page 387 Page 386 JUNE 1934- THE ETUDE Waking Sight Reading a Pleasure By Clement Antrobus Harris Publisher’s Monthly Lett< Are you an acrobat on the leger lines, This principle works equally below the A Bulletin of Interest for All Music Lovers —1^ springing to distant points? Or do you treble and above the bass, but this makes crawl along line by line and space by one clef overlap the other: the system is space ? much more useful as given in Ex. 2. You will be helped greatly in becoming (It would not do to repeat the clef on the former, that is, in learning to be a the higher or lower staff, as a clef repre¬ ready reader, if you remember that: sents only a single note, not other octaves u- There is only one line between the treble of the same note.) ZJ and bass staves: therefore after playing The middle line of any staff and the THE MUSICAL "BIG BAD WOLF" the note one leger-line above the bass staff second space above and second space below The Melting Pot you enter the treble; and after playing the the same staff represent the same note Advance of Publication • For years we have been hearing alphabetically: A Unique Collection of note one leger-line below the treble you people, who should know better, make the very stupid statement enter the bass staff. The clef-line is the Easy Plano Solos Ex. 3 Offers—June 1934. that we are all coming to a day when music will be so mechanical- second from the top of the bass and bottom Students in the early grades will delight in of the treble. Therefore, mentally, omit the All of the Forthcoming Publications ized by the radio and the talking machine that music study will the variety presented by the pieces in this first leger-line and place a shadow-clef on in the Offers Listed Below are Fully become a thing of the past. Piffle—pure piffle! album, tunes selected from the music of the nations whose people make up the “melting the second of the remaining leger-lines. Described in the Paragraphs Follow¬ This thought has been the “Big Bad Wolf” of musiedom ever ing. These Works are in the Course of pot” in our metropolitan centres. This mate¬ since Beethoven wrote his Mural Symphony the “Battle of Vit- rial also should prove valuable to the teacher Intervals are paradoxical: odd numbers, Preparation. The Low Advance Offer toria” for Maelzel’s mechanical band and orchestra contraption, planning a costume recital. thirds, fifths and sevenths, are evenly Prices Apply to Orders Placed Now, with Delivery to be Made When While the book is in placed, that is, both notes on a line or both known as the Panharmonicon. The radio and the talking machine, Finished. preparation orders for in a space: as we have insisted for years, are great blessings for the art, when “first-off-the-press” copies Book of Piano Duets for Adult Beginners.... 35c these devices are properly employed with good music. may be placed at the spe¬ Ex. 4 Burst of Song. 5c Music teachers, who have had a dearth of pupils, have been suf¬ cial advance of publication = ?= cash price, 35 cents, post- Easy Quartets For Young Violinists. 75c fering from the unforgivable degression, along with the butcher, —Piano Accompaniment . 25c the baker and the candlestick maker, rather than the mechanical Then the identity of these lines with the 3rd 5th 7th 3rd 5th 7th The Melting Pot—Piano Collection. 35c “wolf.” Book of Piano Duets for clef from which they are borrowed will Musical Travelogues—Cooke.$1.50 become quite clear and the reading of dis¬ Even numbers, seconds, fourths, sixths and The Structure of Music—Goetschius $1.50 The best indication, with the return of prosperity, that the mu¬ Adult Beginners eighths, are oddly placed, that is one note tant leger-lines quite easy. Voices of Praise—Anthem Collection. 20c sical “Big Bad Wolf” is running for the woods, is the fact that is on a line and the other is in a space: It is quite natural that following the suc¬ As there are seven notes in the scale, many of the piano factories of the country are reporting an as¬ cessful work, Book of Piano Solos for Adult and five lines in the staff, after two leger- tounding return of business—some running full capacity, way Beginners, there should be requests for a lines every staff repeats itself, as regards behind in filling orders and searching eagerly for more expert em¬ similar book for piano duets. The adult be¬ The Cover For This Month ginner desiring to enjoy duet playing will alphabetical names of the notes: ployees. This amazing come-back in piano sales points to inevi¬ The beautiful mu¬ find this book ideally suited for the purpose. Ex. 2 2nd 4th 6th 8th 2nd 4th 6th 8th sic created by Mozart tably increased business for music teachers everywhere. Included in the contents will be such old causes many to hold favorites as I’ll Take You Home Again, him as their most be¬ Kathleen, Londonderry Air, 0 Susanna, Jolly This rule is most useful in connection with Darkies, by Bechter, and Ballet Music from the reading of octaves, since they occur so loved of all compos¬ ers. His phenomenal Schubert’s “Rosamunde.” The arrangements frequently and sevenths are often mistaken musical gifts were ap¬ are made to suit the larger hands of adults for them: remember that the two notes of parent very early and and at the same time difficult rhythms and an octave are always differently placed, before he was five his technical problems are avoided. one on a line, the other in a space. father started training The special price in advance of publication him in music. Even for a single copy, is 35 cents, postpaid. as a child Mozart’s compositions were Advance of Publication amazing gems and by the time he was seven¬ Wusical Scramble teen his works included an operetta, a mass, Offers Withdrawn a trumpet concerto and an offertorium. The timely volume of piano solos that is Despite his prolific writings, Mozart died By Helen E. Sanderson being withdrawn from the advance of pub¬ in poverty because he gave little heed to Burst of Song giving young players early experience ill lication offers this month prompts the sug¬ conserving his means. Although not disso¬ All Kinds of Good Things for Happy ensemble playing. An optional piano part is gestion that teachers may profit by placing lute, he had a joy-loving disposition and Groups to Sing to be published in order to give assistance in a copy of it in the hands of pupils going Select a well known, rather short and likewise his wife, whom he married in 1782, more clearly defining the rhythm. away for a Summer vacation. It also gives of the characters on each piece of paper. There has been too big a gap between the The set of four violin parts may be not too complicated air—it may be one The game is to see which pair of con¬ was somewhat impractical and improvident. inadequate “come and go” song sheets and the teacher who is active during this season Mozart was born at Salzburg. January 27, ordered at the special advance of publication an excellent work with which to create or appropriate to the occasion—and make a testants can put the scrambled music the song collections designed to provide a cash price of 75 cents; piano accompaniment, copy for each two players, using the 1756. He died in Vienna, December 5, 1791. great variety at a nominal price, chiefly for stimulate the interest of pupils. By the together most quickly with the proper num¬ Those who would like to know more of the 25 cents, postpaid. melody notes only, or, if desired, the other school assembly singing. In order to take time this copy of The Etude reaches our ber of notes in each measure and all marks details of the life of this composer, who left readers it is hoped that copies will have been parts also. It is quicker to make all the in correct places. Of course players must care of those “young people” of all ages who a tremendous legacy through his music to like to liven up banquet, lodge, social, com¬ sent to all advance subscribers and will be copies of each note as you progress rather have a complete copy of the air selected the world despite his death at thirty-five, available for inspection at leading music than to make one complete copy of the munity and other gatherings with some sing¬ The Structure of before them as they work. A heavy line will find the short biography of Wolfgang ing and a little vocal exuberance, and yet stores. You may obtain a copy for exami¬ music at a time. Be careful to put in all Amadeus Mozart by James Francis Cooke drawn to indicate the top or bottom of the require a “book in hand,” Burst of Song was Music nation by writing direct to the publishers. in The Etude Musical Booklet Library rests, bars, staff signatures and so forth. staff makes the work less confusing. This planned for publication. Summer, “Around the Year” Series of Pi¬ worth purchasing at its nominal price of By Dr. Percy Goetschius Then cut the music up into bits with one is educational for younger music students. This collection will give at a very reason¬ From the experiences of ano Solos, is a book comparable in size and 10 cents. For children we would suggest able price a goodly number of a splendid grade of contents to the two books of this Thomas Tapper’s Child’s Own Book of Great a life time spent in teach¬ variety of things to sing. In the majority of ing and writing upon mu¬ series that previously have been published, Musicians (with cut-out pictures), price Winter and Spring. These latter are so suc¬ 20 cents. cases the music, as well as the words, is sical theoretical subjects given although some few numbers are rep¬ the author has evolved this cessful that we have every reason to believe Passing J\[otes resented with texts only. This booklet will helpful book in which he this new collection of piano solos will be as serve, not only to take care of gatherings presents the subject in his readily adopted by the teaching profession Musical Travelogues and that it frequently will be found on the By Florence Leonard By James Francis Cooke such as mentioned, but its nominal price usual succinct, but clear and understandable, permits the committee in charge to let it be style. As a fascinating textbook for the music racks of pianists whose limited techni¬ The mechanical details in the preparation taken away as a souvenir of the occasion. student and as a reference volume in the cal facility makes the possession of such a of this noteworthy book are now well in When this work' is published, a single library of the musician this book will prove collection of tuneful, easy-to-play pieces a Early Moderns: Burney says that Ga- measures identical with the first four meas- hand and we know that advance subscribers real delight. Price, 50 cents. luppi was the first composer to use B flat specimen copy will be sent to you if you invaluable. Copies may still be ordered this ures of Agathe’s grand scene from “Der will be both surprised and delighted when place your order now in advance of publi¬ as a passing note against B natural, and, month at the special advance of publication Freischutz,” as well as other passages tile copy they have ordered is placed in their cation with a remittance of 5 cents for the cash price, $1.50, postpaid. next to Porpora, the first to use the sharp Look Out for Swindlers which have an echo in this opera. The hands. The publishers, realizing that it will copy. fifth in melody—an early glimpse of De¬ long be a treasured volume in the libraries of Not a day passes that we do not receive a bussy’s augmented triad.—Blom. concerto was published ten years before musical folk, have spared no expense in complaint from one of our musical friends Voices of Praise Was it accidental ?—Louis Bohner, eccen¬ Weber composed his work. making the book’s physical appearance most that The Etude is not being received, al¬ tric Thuringian musician, wrote a piano Crossing hands: The first important attractive. Many of our readers are familiar Easy Quartettes f6r Young Collection of Attractive Anthems though an order was placed for a subscrip¬ with the author’s inimitable and fascinating Volunteer choirs, especially, have found tion with a strange canvasser. concerto in D major, which contains four composition of P. E. Bach attracted wide¬ Violinists spread attention because it required cross¬ style of describing visits to foreign musical our series of reasonably priced anthem books We caution all of our musical friends to shrines and will want a copy of this book as ing of hands. A very practical and pleasing feature of of great value, and this new book being pre¬ exercise extreme care in paying money to CONVERSE COLLEGE- a permanent reference, to which they will this new work is the fact that the four pared will in every way uphold the reputa¬ magazine canvassers unless they have con¬ SCHOOL OF MUSIC “Old Pigtail” was the name given by frequently turn for information and enter¬ violin parts will be graded in order, with the tion of the other fine books in the series. vinced themselves of the responsibility of the SPARTANBURG, SOUTH CAROLINA Philipp Emanuel Bach to his father, the tainment. Tlie advance of publication price first violin part having some third position With contents made up of some of the best agent and are willing to take the risk of loss. great Johann Sebastian. But nevertheless is so low in comparison to the price that notes and the second, third and fourth vio¬ anthems recently added to our catalog, this Beware of bargains offered by these solici¬ Philipp Emanuel was proud and happy to necessarily must b? charged for the book lin parts all in the first position—the fourth collection will provide the choir with a tors. Read every receipt or contract pre¬ vdien it is published that the immediate part the easiest. The advantage of such a goodly supply of anthems for the various sented to you carefully. Permit no agent to have “Old Pigtail” visit the court of Fred¬ placing of your order at $1.50 a copy, post¬ procedure will be instantly recognized. Vio¬ services throughout the year. The special change a contract. erick the Great where P. E. Bach was Address: N. Irving Hyatt. Dean paid, will enable you to effect a considerable lin teachers as well as school orchestra direc¬ price in advance of publication for a single Help us in our effort to protect you. chief musician.—Newman. saving. tors will find this book a valuable aid in copy, is 20 cents, postpaid; truly a real bargain. (Continued on page 388) JUNE 1934 Page 389 THE ETUDE THE ETUDE Page 388 JUNE 1934 World of Music The Unquestioning Choice (Continued from page 331) Just recently we saw a lovely child hunting up THE HOLLYWOOD BOWL PRIZE of her pet doll to take to bed one thousand dollars for an orchestral com¬ with her. Despite a large position has been awarded to Samuel A. collection of many newer Lieberson of Chicago. line-appearing dolls, the

again continues to be the A BERLIOZ FESTIVAL program of the dreamtime favorite. Much as the child un- Concerts Pasdeloup of Paris, of which Felix questioningly makes this choice time and Weingartner was the leader, included the again, so, many active music workers, even master’s Symphonie Fantastique, the Over¬ amidst a constant testing of new offerings, ture to “Benvenuto Cellini”, and the Marche turn again and again to certain favorites to Hongroise from “The Damnation of Faust.” insure desired stability in their programs, .3-»• teaching procedures or church music offerings. EDWIN FRANKO GOLDMAN, the emi¬ No doubt these printing order listings fre¬ nent bandmaster and composer, received, on quently mention your favorites but, better April 7th, the honorary degree of Doctor of still, they inform you of the other fellow's Music, from Phillips University of Enid, favorites that you will find worth investigat- Oklahoma. Mr. Goldman was there the guest of honor of the Tri-State Band Festival, in SHEET MUSIC—PIANO SOLOS which one hundred bands and twenty-five Of all the beautiful melodies in the One of the best known of their melodies Londonderry Air, played by the Phila¬ o. Title and Composer Grade 1 orchestras of Oklahoma, Texas and Kansas world’s music-book, some of the most beau¬ is called the Londonderry Air, and some A Little ltoat Song—Kel- took part. ? ? ? As\ Another ? ? ? delphia String Simfonietta, on Victor No. tiful originated in Ireland and so long ago critics consider this to be the most beauti¬ 4186; Irish Reel, played by the Flonzaley Picture Gallery that no one knows where or when. Sir ful and finest melody in the world. This Quartette, Victor No. 1276. Believe Me, melody has several other names, too, as OSCAR ESPLA, the celebrated Spanish Thomas Moore, the great Irish poet, wrote If All Those Endearing Young Charms, composer, has retired from his position in verses for many of these charming tunes, The Little Brown Thorn Bush, and the sung by Tibbett, on No. 1238; John Mc¬ 19104 I the Academy of Fine Arts of Madrid. Senor and they have become so well known that Farewell to Cuchullain (pronounced Coo- Moreno Torroba has been appointed to his Cormack sings The Harp That Once 4010 Melody of Love—Enyelmann they seem more like world melodies than hoo-len). Many arrangements of this old Through Tara's Hall, on No. 1553; and air have been made for various combina¬ 14306 The Merry Elf, Op. 95, No, Irish melodies. Kathleen Mavourneen on 6776. A medley l—Williams . Ireland has been a musical country as tions of instruments and voices, as well as 4584 On the Lake—Williams.... GUILLAUME LEKEU’S memory was of hornpipes and jigs comes on No. 79005, 16006 Garden of Roses—Ritter^. . long as her history is known. It is said solos. and a medley of folk-dances on No. 20991. 1Ji 99 amen no row u i» honored on January 21st, the fortieth anni¬ that as long ago as the seventh century Cuchullain was one of the ancient heroes versary of this eminent Belgian composer's The Irish bagpipes may be heard playing 30418 Evening Star, from “Tann- death, by a concert of his music at Venders harp playing had become so general that of the Island and he lived so long ago that a Dublin Reel on No. 21444. (These are (his birthplace) under the patronage of at entertainments and parties the harp was his name has been surrounded by many ail Victor numbers.) passed around among the guests, and any¬ myths and legends. Edward MacDowell Queen Elizabeth. (Continued in the Autumn) one who could not play a tune hung his mentions him in the dedication of his Celtic head in shame. Sonata. Wagner took another old Celtic SHEET MUSIC—PIANO ENSEMBLE THE MID-WEST CONFERENCE on 12898 Summer Night—Franklin (6 The harp has become more or less a legend on which to build the story of his Hands) .2-3 $0.7 Church Music met on February 27th at the “trade-mark” of Ireland. There is a new great opera, “Tristan and' Isolde,” Isolde Violin ‘Practice 17158 The Lesson of the Birds— Congregational Church of Evanston, Illinois, coinage of money there today, every piece By Ada Virginia Hull Spaulding (6 Hands).... 1-2 .4 with one thousand delegates and members being a lovely princess who came from 17716 Young Hearts—Parlow (6 of which bears a harp on one side; and Ireland. (See Famous Operas in Junior Hands) . 2 .5 present. When I first studied violin 15470 Serenade, Op. 15, No. 1— •«—--—i—- some Irish postage stamps show harps. A Etude, August, 1933.) The sounds were queer, the tones were M omkowski-Lang (2 Pianos, harp is a beautiful thing for a country to thin. Hands) . 4 .4 BERNARD SCHUSTER, composer, con¬ become known by! 1S013 Chant Sans Paroles, Op. 2, ductor, and founder of Die Musik, one of the I’d watch the clock when I’d begin, No. 3—Tsehaikowskn-Par- One of the best known songs is about a low (2 Pianos, S Hands) . 3% .6 foremost musical periodicals of Germany, And teachers praise I’d long to died on January 1.3th, in Berlin. Bom in JUVENILE PIANO MATERIAL Berlin on March 26th, 1870, he first at¬ The harp that once through Tara’s halls Music Play for Every Day (Book !,)... $0.4 The soul of music shed. Miniature Melodies—Gaynor (Volume tracted notice as a conductor of opera at 2) . Magdeburg and Berlin and then in 1900 In the long ago, Tara was one of the founded the magazine named. places where the rulers met in conference PIANO INSTRUCTOR to examine the laws of the land. My practice hours, how fast they Standard Graded Course of Studies— Each month we propose in the Publishers Monthly Letter to give One of the oldest countries of culture Mathews (Grade 1, Revised Edition) $1.00 A FAVORITE MASSENET’S “MANON” celebrated the fiftieth anniversary of its world premiere and learning was Ireland, and music was SHEET MUSIC—VOCAL SOLOS COMPOSER which music buyers of today hold his compositions, is entitled to considered a very important branch of edu¬ 4495 The Gypsy Trail (Low)—Gallo¬ designation as a favorite composer of piano music. when on January 19th it was given a gala way) ... $0.60 performance at the Opera-Comique of Paris. cation. The first school of music was es¬ Poo\ JYCanners 19947 Sunshine in Rainbow Valley tablished there in the ninth century. A (Medium)—Hamblen.60 By Florence L. Curtiss 30053 Niehavo (Medium)—Mana-Zucca .60 writer in the twelfth century said of the 30170 I Am Fate (Low)—Hamblen.60 MRS. JANE BINGHAM ABBOTT, com¬ Irish people, “Their skill on the musical IRISH JAUNTING CAR AND COTTAGE “Do not come near me,” said the nice 30019 Rachern, Op. 60, No. 1 (High) — Ella Ketterer poser of the famous sacred song. Just for new book to the old torn one. Mana-Zucca.60 instruments is superior to any other nation 30051 The Green Cathedral (Low) — Today, died on February 20th, in Chicago, Another well known tune is Believe Me, “Why, who are you, anyway?” asked at the age of eighty-three. She was a great- I have seen. It is astonishing that in so Hahn .60 complex and rapid movement of fingers If All Those Endearing Young Charms, the shabby old book. granddaughter of General Rufus Putnam, “I am Ted’s new instruction book and I the musical proportions can be preserved which has been adopted by Harvard Uni¬ SHEET MUSIC—ORGAN SOLOS the Ohio pioneer and famous Revolutionary am proud of it,” answered the new book. 9105 Berceuse No. 2—Kinder- 3 $0.50 and that the harmony is completed with versity for their own college song, other “Well, you will not feel proud very long,” 25022 Londonderry Air—Kolilmann 4 .40 such a sweet rapidity.” Would that some¬ words being substituted for those verses was the warning. one in those ancient times had invented of Thomas Moore, and calling it Fair Har¬ SHEET MUSIC—VIOLIN SOLO MME. MAGDA TAGLIAFERO, the emi¬ “Why not?” asked the new book. nent French pianist, was soloist on March some sort of a recording machine, for no vard. 19920 Cavatina—Schmidt . 3 $0.40 “Because Ted has no book manners and 4th, with the Orchestre Symphonique of one can ever imagine the sound of that Other favorite melodies include The OCTAVO—MIXED VOICES, SACRED you’ll be a sight before long. I was new, Paris. Henri Rabaud conducted, and Mme. ancient music. Wearing of the Green, Kathleen Mavour- 20109 By the Weeping Waters—Lieu- once, too, but just look at me noiy! Ted ranee . $0.12 Tagliafero played the Ballade of Faure and 20859 The Omnipotence (Sacred) — the Fantasie Hongroise of Liszt. rolled me in the wrong direction and hurt Schubert.Felton.20 my back. Then he let me fall on the floor 35039 Rejoice, the Lord Is King — and that injured me seriously. On rainy Adams .20 Piano Solo Compositions of Ella Ketterer 35247 Sing Unto God—Marks. i8 WILHELM MYER-FOERSTER, libret¬ days he carried me to his lesson without a tist of “Alt Heidelberg (known in America OCTAVO—WOMEN'S VOICES, SECULAR Grade Price Cat. No. Title as ‘The Student Prince’),” passed away on case and I got soaked and faded. Then he s .3 $0.30 24818 Jack RahhO handled me with sticky fingers and added 20443 Hark. Hark, the Lark—Schubert- . 1 .30 24440 Jollity March 18th, in Berlin, at the age of seventy- Bliss (2 part). $0.06 LONDONDERRY AIR 20004 Would God I Were the Tender A Legend . spots to my already faded cover. He folded Apple Blossom (Londonderry the Little Bell 1 A Little Bo; the corners of my pages for turning, and Air) Hinkson-Ff It,.,, i • part i . .in; .30 . Little Hunt; - 21120 The Dew^Is Soft—Rubinstein- ^ l"Lightly!.""'. 3 -'4S15 A Li!tie COMPETITIONS The Irish had special tunes for their neen, The Irish Washerwoman, St. then jerked them so, when he turned them, A Lullaby . that he tore them. I was always very 25900 The Bugle Corps .. .03 zs.izo The Man in the 5 FIVE HUNDRED DOLLARS are offered occupations, tunes for ploughing, tunes for Patrick’s Day, The White Cockade, Min¬ OCTAVO—MEN’S VOICES, SECULAR 24325 By the Fireside ... .30 25011 A Marching Son; as a prize for an original college song for the milking the cows, for spinning, and so strel Boy, and many others. much embarrassed when I compared myself 25734 Captain Kidd, Jr. . .30 25311 Melodie . University of Utah. Verses may be entered with other music books. Now just look at 35083 On the Road to Mandalay— 25312 The Chatterbox .30 24332 Mermaids . forth; and as they were fond of dancing All of these melodies may be obtained Speaks . $0.20 24441 A Cheerful Momen .35 23664 A Morning Song till June ISth and musical settings till July they have given us many tunes for jogs, in simple arrangements for you to play or me. Old before my time and utterly ruined .30 25899 The New Trapeze CHORUS COLLECTION 23665 The Clown . 15th, 1934. Further particulars may be had reels and hornpipes. Like the Scotch, they sing at your meetings, and then there are for the rest of my life!” 24602 The Cuckoo Clock . .25 24817 On Tiptoe . from Rudolph Larsen, Secretary, University Sacred Two-Part Choruses—Bliss. $0.50 24819 An Evening Story . .30 257.16 Playful Elves ... were fond of bagpipes, though these never lots of records to choose from, also, such “Oh, I will not belong to such a boy!” 24330 Fairies . .35 23891 Polish Dance of Utah, Salt Lake City, Utah. said the new book, trying to escape. OPERETTAS 24932 Fairy Harp Song .. .30 24931 Restlessness . could take the place of the harp. Let's Go Traveling—Dodge. $0.60 24329 A Fairy Waltz . .30 24328 Robin Redbreast “Please do not run away,” called Ted, Trial by Jury—Sullivan.-.60 25012 A Frolic . .30 23663 Rock-a-bye .. A SCHUBERT MEMORIAL OPERA sitting up in bed, for the conversation had 25313 A Ghost Came Cre< become so noisy it had awakened him. He MUSICAL LITERATURE 23667 Gipsies . PRIZE’ Pioviding for a debut in a major Hard Jobs Haydn (Child’s Own Book of Great Mu¬ 24333 Goblins . role in a Metropolitan Opera Company per¬ ran down stairs and saw the new book sicians)—Tapper . $0.20 25738 Gnomes and Fairie; formance, is announced for young American on the music cabinet just as he had left it. Schumann (Child's Own Book of Great 25735 Hide and Seek . If I can learn GEOGRAPHY If I can do ARITHMETIC Musicians)—Tapper.20 24929 In a Boat . singers. The contest will be held in conjunc¬ And get the answers right He gave a great sigh of relief, but resolved 23890 In a Swing . tion with the Biennial of the National Fed¬ And learn the STATES and TOWNS, 25014 In a Whirl . then and there to take much better care of MANDOLIN 24442 In Deep Thought . eration of Music Clubs in 1935, at Philadel¬ If I can do my GRAMMAR, I’M sure that I can learn to PLAY- his new book—in fact of all his music— U. T. D. (Up-to-Date) Method for the 25109 Jack and Jill. phia and conditions of entrance will be I’ll try with all my might. Mandolin—Eaton . $0.75 announced later. Next Page And learn the VERBS and NOUNS, than he ever had before. THE ETUDE Page 390 JUNE 1934

JUNIOR ETUDE—(Continued)

That Other Instrument Alice In Meterland Junior Etude (Contest By Alice McEneny McCullen YOU HAVE ALWAYS WANTED TO PLAY , , • • , , , T. r, prude will award three right-hand corner of the paper, and “Tick, tock, tick, tock,' sang the metro- someone invented a swinging_ pendulum made _ Jbe Jun or Et be received at the Tunior EtU(i f ol a bullet on a string, and all during ine preuy . Extra Time Available to You This Summer May be Used to 1712 Chestnut Street, Philadelphia, Penn¬ “Thumpety, thump,” went Alice’s uncer- seventeenth centuryHarass: people tried to improve neatest original essays— 5orr s a s? sylvania, before the fifteenth of June. The Learn How to Play That Instrument. If You Can Not Go to a tain fingers, all out of rhythm. satisfactory. Bee¬ answers to puzzles. The subject for the essay or story this “What is the matter with my scales, any¬ thoven is said to have been quite interested names of the prize winners and their con¬ month is “Concerts on the Radio.” It t„„ Teacher to Guide You in the Use of One of These Books way?” muttered Alice to herself. Hearing in the goings-on.” tributions will be published in the Novem- this, the metronome could stand it no longer. must contain not over one hundred and fifty ber Proceed by Self-Study With the Aid of One of These Fine Instructors. words. Any boy or girl under the age of ^ “You wonder what is the matter, do you? Do not use typewriters and do not have fifteen years, whether a subscriber or not, Well, you have no rhythm. Pay attention any one copy your work for you. may enter the contest. to my beat and all will be well. Do you not Competitors who do not comply with all HENLEIN'S NEW MELODIC IMPERIAL METHOD FOR know that rhythm is the heart-beat of mu¬ All contributions must bear the name BEGINNER'S of the foregoing conditions will not be THE SLIDE TROMBONE sic, and do I not mark the beats for you? and age of the sender in the upper left- SCHOOL FOR THE MANDOLIN METHOD FOR THE hand corner, and the address in the upper considered. By R. N. Davis Pay attention 1” IN THREE BOOKS Price, 75c Each TRUMPET (or Cornet) FOR BASS CLEF FOR TREBLE CLEF “Oh,” began Alice, rather apologetically, By Harold W. Rehrig (Be Sure to Specify Clef Desired) “Well, you see, I never really knew just These three books, each of which may be pur¬ Myself and My Music Member, Phila. Orchestra Price, $1.25 what you did or what you were for.” Myself and My Music chased- separately, form a complete progressive The series of Imperial methods published by The method of systematic instruction in mandolin “Well, now you know I’m the time¬ A thoroughly up-to-date instruc- the author,” John Church Company became "best sellers” be¬ (Prize Winner) keeper,” exclaimed the metronome. “And let (Prize Winner) playing. The first volume is a beginner's book tor that develops musicianly players. After each study cause each instructor was prepared by a compe¬ me tell you, it is a big job, and it could be began violin because When playing a piece which I like very which covers the rudiments of music, gives a and new scale, there is an attractive piece upon which tent authority upon the instrument he covered. so easy 1 You have to have a heart-beat, and 'Indeed,” said Alice with her eye-brows. much, these questions often arise: “What diagram of a mandolin keyboard, by photographs to practice the new knowledge just gained. All the Those desiring to become performers upon the so does your music, you know.” ‘Finally,” continued the metronome, makes me like it? What is there about it shows the correct position of holding and, with rudiments of music are explained and the photographs slide trombone will receive the best assistance in “I suppose it does,” said Alice. man named Maelzel perfected an idea he got for girli that makes it so different from some of the helpful exercises, develops ability to play nu¬ of the author demonstrate correct positions. achieving their ambition by using the Imperial “I’m called a metronome. My namelame is from a Dutch mechanic. That was the his- »*».“ music I do not like nearly as well?” merous attractive compositions. Price, $1.25 method. ne.’ A toric year, 1816, when my ancestors filled a Greek and it means the ‘rule of ti With a certain amount of curiosity I play to read great factory in Paris. Oh yes, my family is German invented me. You ought the piece again and compare it with others. IMPERIAL METHOD very aristocratic. We have served most of about me in a book.” Yes, everything about the piece pleases me. begged the great musicians—Beethoven, Chopin, HOW TO FOR THE FLUTE BEGINNER’S “Oh, please tell me yourself,” Therefore, I say that myself and my music Liszt, and others. We have set the pace By G. B. Van Santvoord Price, $1.25 Alice. are closely woven, meaning that certain PLAY THE HARP This instructor takes one from the very begin¬ METHOD FOR THE ‘It’s this way,” began the metronome, for the musicians. They respect us and styles of pieces meet my desires perfectly, nings of flute playing on through to a comfort¬ “Several centuries ago the speed of a com- consult us. If great musicians can learn By Melville Clerk while other types are less interesting to able degree of proficiency. A system of charts SAXOPHONE position was set by the pulse of the player, something from listening to a metronome, me. Former Pres.,. Nat’l. Harpists Association clearly indicates how to produce every note. By H. Benne Henton but a man named Quantz, if you care for couldn’t you?” In order to like any piece, it is necessary names, found that pulses of different types “Of course,” agreed Alice. This course applies to both the concert and baby Renowned Concert Soloist Myself and My Music to understand what the composer wished IMPERIAL METHOD of people■ beat‘ at different speeds.‘ A‘ sad’ “Tick, tock, tick, tock,” sang the metro- grand harp. It carefully explains everything. A musicianly performance upon to relate and have some feeling for it and FOR THE CLARINET person, for instance, had a slower pulse (Prize Winner) Numerous illustrations and charts are given to the saxophone is a revelation to many as to the execute it with expression. ByC. L. Staats Price, $1.25 than a merry one; so he established a stand¬ “Thumpety, thump,” went Alice’s finger My music and I are very great friends. aid one in mastering proper fingering positions beauties of the instrument. This method is good rhythm. I could not get along without it. When I Myself is responsible for my musical and the correct position at the harp. Illustra¬ Like all of the excellent methods in the Im¬ superior to all others in that it develops musi¬ ard pulse of eighty beats to the minute. Then tions and diagrams also explain the pedals of the am sad, it cheers me up. When I am happy, library. None but myself has decided the perial series, this 126 page volume begins with cianly playing, explains how to obtain a beautiful musical road I wish to follow. And I am concert harp. A number of well known melo¬ the rudiments of music and presents under¬ tone and gives a generous selection of good music it makes me happier still to think that I can dies are included for the harpist's repertoire. standable charts and clear directions for the create such a beautiful melodious sound sure that every individual finds this to be to play. A two-color chart clearly details the Price, $2.50 development of playing ability from the very instrument. Price, $ 1.25 Scrambled Letter ‘Puzzle Answers to As\ Another just by touching the keys. How uninter¬ esting the world would be, and what little Robert E. Wheeler (Age 14). By Janice Harvey (Age 12) good I would get out of it, if it were not U. T. D. METHOD FOR TENOR BANJO Handel Massachusetts. FUNDAMENTAL STUDIES IN for my friend, music. It makes me glad By M. B. Eaton Price, 75c IMPERIAL METHOD FOR Wagner Rearrange the letters in the following that I am alive here on earth to enjoy it. VIOLONCELLO TECHNIC This is a complete and easily understood in¬ THE VALVE TROMBONE Debussy. words and make the names of twelve com¬ My greatest comfort—the piano. Answers to March Puzzle By G. F. Schwartz Price, $1.00 structor giving a complete diagram of the tenor By I. H. Odell (Bass Clef) Price, $1.25 Beethoven. posers. My best friend—music. (Other names can be substituted for some This is a book designed to aid one already possessing banjo fingerboard. Numerous attractive melo¬ Brahms. Valve trombones and slide trombones each have their Titsraacl Barbara Florjanczyk (Age 14), of these answers and still be correct.) a knowledge of music to take up the 'cello, and dies for the repertoire are included. Verdi. ' a mighty fine and quite complete Vetneehob either under the guidance of a teacher or by applica¬ Tchaikovsky. West Virginia. Kvrdoa Honorable Mention for March tion to self-study, gain a satisfactory mastery of this U. T. D. METHOD FOR BANJO Yesdbus beautiful instrument. By Franklin Eaton Price, 75c Essays : D-rum Rbmsah Dear Junior Exude: m the large Performing ability upon the five-stringed banjo lirty next-b{ E-nglish Horn may be quickly achieved with this clear, con¬ Gnware This is a picture of our Rhythm Band. IMPERIAL METHOD FOR 'CELLO IMPERIAL METHOD FOR ALTO HORN - _,owell Seine: R-achmaninoff cise book of instructions. Bshcteur There are twenty-one members. I play a Brock, Bonnie Jem, By E. Mollenhauer Price, $1.25 Byl.H. Odell Price, $1.25 Jane Reigelman, Billy Rickard, Rose Geo,BC, E-tude Inrceopu cymbal. We took part in a program in Helen Schmitz Evelyn Vopasek, Vera Weber, W-agner This very comprehensive method carries the 'cello U. T. D. METHOD FOR GUITAR Here is a thorough course for those seeking instruc¬ Uicpcin music week, and we wore white blouses, Mildred Maughan, Irving Rosenthal, Phoebe tion upon the alto horn—all the way from the rudi¬ Stnsainase Betty' “ Ruth" 'tiller,Mill Mary Elizabeth S-chumann beginner along to quite a selection of worth while By M. B. Eaton Price, 75c blue caps and sashes. 'cello solos. A full size chart of the 'cello key¬ ments on through to a comfortable performing ability. Stsmeane ” ir, Flor- K-riesler Everything desirable for a fair mastery of this From your friend, Charles board is a feature. Iwcalomde Haywood, Mary ’ Louise* ^Dorothy_ I-taly glorious instrument is given in this successful Cecil J. Henne (Age 7), Bowen, Priscilla Wilson, Be'rniee Reftmier. instructor. __ Texas. Juanita IfRochester,' **£Lucille Lynch,T-"“ Bobby Sander, Betty Bethell. IMPERIAL METHOD FOR DOUBLE BASS IMPERIAL METHOD FOR E FLAT BASS Prize Winner for March Puzzle: COMPREHENSIVE VIOLIN METHOD By E. Mollenhauer Price, $1.25 (TUBA) Marjorie Rice (Age 15), Connecticut. A DIAGRAM METHOD By O. H. W. Lorenz Price, $1.25 Florida. When she visits me we practice This is a full course of instruction with progressive By F. T. Benjamin Price, $1.25 together. I have written two pieces and I Laurence Walther (Age 14), Illinois. studies and a varied collection of choice pieces. A have played over the radio twice. Vera Weber (Age 12), Wisconsin. Many illustrations and diagrams make the pro¬ The work of a very practical and successful teacher e chart of the four stringed double bass key- cedures in violin playing very clear to the is responsible for the success of this fine instructor. Hallman Thomson (Age 13), Florida. Special Honorable Mention for student. Because of these features and the attractive material, this method has been an Dear Junior Etude : March Puzzle: IMPERIAL METHOD FOR outstanding favorite with violin students for As I am much interested in music and IMPERIAL METHOD FOR music clubs I decided to write and tell yon Bruce Berqulst, Lillian Marie Hyatt. DRUMS, TYMPANI, BELLS, Etc. about our Mozart Club. At our meetings we By Harry A. Bower Price, $1.25 BARITONE HORN have ear-training, scale-work, pop-tests and HOW TO PLAY CHORDS rehearsals for recital work. Once a month This excellent instructor is a superior By I. H. Odell Price, $1.25 we have a program, at which each member Honorable Mention for March one in this field. Its over 120 pages For the Piano Price, 60c Adequate instruction for learning to makes a report on an assigned composer and This is a practical teacher’s guide to extempore contributes a piece from memory. About Puzzle: are filled with practical advice and play this important instrument is pro¬ twice a year we give a radio program over accompaniment upon the piano. vided in this method. WODX. I have played over the radio twice. At Christmas and Easter we give special programs and invite our parents and serve refreshments. I have been president of this PEERLESS DIAGRAM METHOD THE HARMONICA SOLOIST A List of T_—--i Boalton, Raymond Gregoire. Jamcf* From your friend, Holdman, Helen Marie Byars. June Anne Ron FOR THE MANDOLIN By Fred Sonnen Price, 50e Albums of Music den, Gladys Schwartz, Julia Elizabeth Comb*. Book One—Price, $1.25 Carolyn Cowden (Age 11), Alabama. Ruth Feldman. John Grant, Emmie Dozipr Includes many favorite melodies with For Various Stringed Mitchell, Arlena E. Young, Shirley Lnnter- [HEODORE full playing instructions for the har¬ and Wind Instruments N.B. isual word man, Barbara Florjanczyk, Alice McKeon. monica or "mouth organ.” this letter, the meaning ol Cheerfully Sent On Request which is not qul. ’ould be glad ti Anna Mae Morley, Harriet Simmons, Sydney have her write i Keeferman, Margaret Mistahl. Elise Smitli- felt, Barbara Rhodes, Lillian Ousternian. Presser Co. Strings and Musical Merchandise just what they a Francis Cooper, Adele Schumer, Mary Louise World’s Let Us Quote Prices on Any Instru¬ Stock of Music ment You Contemplate Purchasing Your Music Dealer is Never Without These Greatly SUTOR’S NOTE Demanded Items For SPELLER By Adele Sutor Use in Piano Teaching Price, 50 cents Here is one of the most popular of all elemen¬ tary books on notation. It is unique in its meth¬ od of helping the begin¬ Music Play for Every Day ner gain a knowledge O PIANO PLAYING of the notes. It consists of clever, interesting Price, $1.25 stories in which the STANDARD GRADED In Four Books (For Convenience in Class Use)—40c Each words must be matched An irresistible very first piano book for little by notes, and then vice versa. Children enjoy COURSE OF STUDIES beginners, 5 to 8 years of age. It appeals to the juvenile imagination from the start with its working out these stor- FOR THE PIANO game-like lessons, story book style explanations, captivating pictures, charts and melodious and Originally Compiled by W. S. B. Mathews rhythmical musical material. Every lesson is a IN TEN GRADES Price, $1.00 Each “playtime” to the little tot.

Happy Days in Music Play Grade One a Popular First Instruction Book. This new and revised edition with the Middle C A SEQUEL TO "MUSIC PLAY FOR EVERY DAY" The First Year approach (both clefs at the beginning) is suit¬ Price, $1.25 able for even the youngest beginners, adapted at the Piano for class or private teaching. With the revised In Four Books (For Convenience in Class Use)—40c Each first grade of the “Standard Graded Course," A brilliant work, giving the child genuine By John M. Williams teachers now may care for all piano beginners pleasure in piano study leading right up to the Price, $1.00 (class or private students) in the latest and third grade. Keeps up the high plane of interest most approved procedures, and, most important and the irresistible attraction for piano study Also Published in Four Parts of all, be able to follow first grade work with created by the delightful and distinctive fea¬ a definite course for successful study in later tures in “Music Play for Every Day.” Price. 35c Each “First Year at the Piano” provides a progressive The Other Grades provide “the back-bone” for and modern beginner’s book, ideally suited for the a complete course in piano study and they have GUARD'S MUSIC PUPIL'S LESSON BOOK average pupil in the ages between nine and twelve the desirable feature of being so arranged as to or perhaps a little older. allow the teacher a wide latitude in the selection By Frederick F. Guard Price, 15 cents Both clefs are used from the beginning and by the of pieces and studies to expand and supplement the work in each grade. time the student has finished the pleasurable first year of study with this book, the very first scale work has been attempted, phrasing is well under¬ stood and an excellent foundation secured for future development into a proficient pianist.

BEGINNER’S Selected Czerny Studies Compiled and Edited by Emil Liebling Second Year at the Piano BOOK IN THREE VOLUMES By John M. Williams John M. Williams, with SCHOOL FOR THE PIANO—Vol. I The Famous Czerny-Liebl hSerfC^rovidesra^plISdidn n By Theodore Presser study material written by Cze “The Second Year at th Price, $1.00

Book for Older Beginners By John M. Williams Price. $1.00 i Middle C into both clefs. While this has been called an instruction book for adult beginners in the art of piano playing, it will be found very fitting for those older boys and girls, say First Pedal Studies New Rhymes and Tunes 14 years and beyond who cannot be taught very well with the more juvenile material found in most first FOR LITTLE PIANISTS Student’s Book (Vol. II, School Then again, the older the student, the greater the de¬ for the Pianoforte) and Player’s By Helen L. Cramm Price, 75c sire to reach quickly the stage where satisfying num¬ Book (Vol. Ill, School for the bers can be played. The “Book for Older Beginners Pianoforte) continue the excel-

Mastering the Scales and Arpeggios A Day in Venice (Venezia) PUBLISHED BY By Dr. James Francis Cooke SUITE FOR PIANO SOLO THEODORE PRESSER CO. Price, $1.50 By Ethelbert Nevin A comprehensive work which mi 1712-1714 CHESTNUT STREET be introduced as early as grade PHILADELPHIA and used as collateral material i re of the kind into grade 5. Unique and tho PA. oughly practical methods of pre These^umblrs t able to play