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

9-1-1920 Volume 38, Number 09 (September 1920) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 38, Number 09 (September 1920)." , (1920). https://digitalcommons.gardner-webb.edu/etude/672

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Signor Friscoe THE ETUDE comes on to the SEPTEMBER, 1920 Single Copies 25 Cents VOL. XXXVIII, No. 9 stage and plays. His agile ham¬ mers ripple Music and Language ments of all kinds were bought in great quantities; bands merrily ove started up like mushrooms. Talking machine records were Mme. Galli-Curci speaks English with amazing fluency the xylo¬ wholly inadequate to supply the demand, and phonographs of and almost without the slightest trace of an accent suggesting phone keys. certain makes were months behind in deliveries. The cabarets her Italian birth. She speaks other languages with equal facil¬ shut and good folks did their dancing at home to their own ity. Paderewski’s mastery of languages made him the diplo¬ musical instruments. One of the finest piano manufacturers matic marvel of the “Peace Table.” The editor, in many years in the world told your editor last spring that most of his time of continuous meetings with the foremost musicians of the was spent explaining to disappointed customers why their in¬ times, has been observing with great care certain matters per¬ struments could not be delivered for months.- Sheet music taining to the psychological aspects of music and language. sales greatly increased and music schools everywhere reported These have an unquestioned interest for the pianist, the violin¬ that never had there been such demand for lessons. ist, as well as the singer. Of course, high wages played a great part in this. There For the most part many of the celebrated singers met have was a time, for instance, when the term “silk stocking” applied been inadequate linguists. They seem perfectly capable of sing¬ to the landed aristocracy; then “silk stockings” became the ing a role in other tongues yet knowing very little about the insignia of questionable character; now they are the badge of inner meaning of the text. We have known numerous instances the so-called “laboring classes.” However, millions of the high of American singers who have reproduced in song Italian arias wages would have gone for strong drink if prohibition had not Suddenly with a surprisingly accurate accent, but who knew hardly one been declared. That much of thi« money has gone for music is undoubted. That this will have a beneficial effect upon the Signor Friscoe holds his hammers poised in mid-air. word of what they were singing. future of the country is indisputable. It may be a long way But his xylophone performance continues—as if On the other hand, the pianists and violinists have for the from prohibition to Beethoven (who, by the way, was anything some magic influence were at work upon the keys. most part been astonishingly fine linguists. This was noted so but an abstainer), but the demand for more good music is un¬ many times that the editor remembered the discoveries of Pierre questionably increasing. Paul Broca, the renowned French surgeon and anthropologist, who from 1861 to 1865 carried out his famous researches upon the localization of cerebral functions—finding out among other things that there existed a very close connection between those Fake Music Publishers Again centers of the brain having to do with speech and those centers Lyon & Healy, the well-known music firm of Chicago, is dealing with the control of the hands. The subject is so vast Then the curtains part. The audience gasps. The New Edison taking an active interest in suppressing the fake publishers. and so interesting that we dare not go too deep into it here. stands revealed. It has been matching Signor Friscoe's They write us that they have written to these frauds directing The rather startling fact that musicians with splendidly performance so perfectly that its Re-Creation could not them not to send the compositions of their victims to them for be distinguished from his original performance. trained hands do become fine linguists, while singers without sale, as the “stuff” is immediately sent back. such training are frequently inferior linguists is one of the best Part of the game is to charge the victim for “publication” arguments for the intellectual value of hand-drill in music. five or ten times the actual cost of production. The victim is Mme. Galli-Curci is a singer who is a remarkable linguist, but then assured that his “master-work” will be sent around to all Ask them to explain this! she was for years a concert pianist before she ever dreamed of the leading dealers for sale. In order to keep within the letter becoming a vocalist. of the law the swindler does send around a few such copies and HE absolute realism of the New Edison T In the third place, the music critics who have 'F anyone suggests to you that the artists In fact, it is usually very easy for pianists and violinists has been demonstrated by actual compar¬ I the composer waits with open hands for the royalties—royalties, witnessed the comparisons could not, for a imitated the New Edison in the 4,000 to take up new languages. They are most helpful in the every¬ ison with the art of living artists. More than alas! which never can come. The music dealers and the music moment, be deceived by an attempted imita¬ comparison tests that have been given by the day work of the performer and teacher, and it seems a great 4,000 comparisons have been given, with more publishers of America can help wonderfully by taking a positive tion, and would immediately expose an im¬ Edison Laboratories, ask such person to ex¬ neglect of opportunity to fail to take up a new language now stand against all such fake publishers: than fifty great artists, before a total of itation, if one were attempted. plain Signor Friscoe’s act. and then. The sound-reproducing machine records used for 3,500,000 people. Your Edison dealer has a New Edison exactly language teaching have been investigated by the editor and First, by advising all people contemplating America’s principal newspapers have reviewed OWEVER, argument is unnecessary. H like that used by Signor Friscoe. Test its found to be of very great value. the publication of any kind of piece of music, to these comparisons at length. They have con¬ Signor Friscoe’s extraordinary act makes supreme realism for yourself. The dealer gives keep strictly away from them unless they want to the accusation of “imitation” quite absurd. ceded that the New Edison’s Re-Creation of the Realism Test in his store. an artist’s voice, or instrumental performance, Everyone knows that a xylophone cannot be play the game of the moth and the flame. A Remarkable Change cannot be distinguished from the actual sing¬ made to imitate a phonograph so as to de¬ The Price of the New Edison Second, by refusing absolutely to handle ing, or playing, of such artist. ceive its hearers. Musical instrument manufacturers and dealers report that —has increased less than 15% since 1914, and any composition bearing the imprint of the It has been reported to us that over-zealous there was an immense increase in the sale of all kinds of musical In the interest of fair play, and for your own this increase includes the War Tax. faker. salesmen, who are interested in the sale of instruments when the Eighteenth Amendment exploded on us a satisfaction, hear Signor Friscoe when he comes Mr. Edison has absorbed, out of his own pocket, talking-machines, have stated that the artists, little while ago and knocked out one of the most strongly in¬ We have received hundreds of such works in our office. to the vaudeville theatre in your town. He is more than half of the increased cost of manu¬ who take part in these comparisons, imitate trenched industries in America. Many musicians could hardly For the most part the music is a pathetic parody upon the art. the world’s greatest xylophone player. Pay facture, in order that the New Edison might the New Edison. believe that their favorite beverages were forever gone and Often the verses have been so absurd that they would bring particular attention when he plays in direct com¬ remain within reach of every pocketbook. The some could not see that the terrific cost of drunkenness had forth screams of laughter from any educated person. The In the first place, it is a physical impossibility parison with the New Edison’s Rf.-Creation high-grade materials and expert craftsmanship made prohibition seem the wisest course to our legislators. faker has the conscience of Lucifer. He will publish anything, for any person to imitate the phonograph in a of his xylophone performance. required in the manufacture of the New Most everybody prophesied an era of gloom and sat back to no matter how bad, if he can stick the victim enough for it. § way to sustain this comparison. Edison continue to be scarce, and endure it. The wise ones, however, knew that human nature The best rule is to send your composition around to any of the In the second place, the artists our selling prices may have to be demands a certain amount of conviviality and many saw that high-class publishers and thus find out whether it is really worth who make these comparisons are increased, but we 'shall make music would be called for as never before. while. Active publishers are glad to examine new manuscripts, of the first rank, and would not every effort to avoid such action. It is said that carloads and carloads of accordeons were and if the composition has any worth you may be sure that the lower themselves to sing, or play, Thomas A. Edison, Inc., Orange, publishers will be eager to take it. in an unnatural way. shipped out to rural and mining districts—musical instru-

> V'7 ‘ ' ..- > \ *7? \ \ V7 _._ ■ TILE ETUDE SEPTEMBER 1920 Page 583 Page 582 SEPTEMBER 1920 THE ETUDE Playing in the Right Octave How to Hold Your Audience EE : ;>i: : . - . .. •• . ... By Philip Gordon By Harold S. Clickner - • • . ■ •■■■ - 1— Some performers get the attention of their audience symphony remembers the striking rhythm of the open¬ as soon as they step forward, and hold it until the end. Sometimes young beginners have difficulty in locat¬ Others either get attention and lose it in the course ing theme:JJ|| | Music is full of such time combina¬ ing the right octave in which to play their studies, of their performance or else get no response from the scales, pieces, etc. They find the right note according audience at first, but develop interest in the course of tions, repeated continually in the course of a piece. to its letter name, but in the wrong part of the key¬ Music Composition as a Field for Women the performance. Still others never interest their audi¬ The notes of the melody may be different, but the board. In such cases, the mistake is usually due to a ence at all. The purpose of this article is to give rhythm will be preserved intact (though there is no hazy idea of the Grand Staff, and the position of the From an Interview Secured Expressly for The Etude, with the Most Successful some hints, based on personal experience and observa¬ prohibition against a variation which does not affect the two clefs. The following way of teaching staff nota- Composer of Songs of the Present Day tion, which will help you grip the audience and hold it. rhythm fundamentally). If you want to hold your fiVvTi v.oe K#»pn fminH cnrres.sfnl. The Great Staff rnn- audience you must follow these rhythms about and Personality Counts give them life each time they occur. In this way your CARRIE JACOBS-BOND In many cases reputations are made or not made performance takes on character, and what was before simply by the general demeanor of the performers. The a mere jumble of notes becomes a matter of vital and how she entered the publishing business is extraor- versatile gifts could expect to achieve moment you step before your audience they decide, [Mrs. Carrie J lorn at Janesville, Wis- Mrs. Bond heard that Helen Keller interest and meaning. Take, for instance, the end of Tn that city under Pro- dinarv in manv ways. This is the flrst time that it has been appear in vaudeville for without conscious effort, whether or not they are going given' from this standpoint in its completeness. Combined the second movement of Beethoven’s piano sonata 'lessor’ C. G Titcomb anil ifessor .1. W. Bischoff, the with her balance of business ability and wholesome sanity to like you. If you slouch along over the stage, or celebrated blind composer, i ■ of Washington, I). < . At opus 10, number 3. At first you may think there is I to improvise at the piano she has as well a broad, kindly, human outlook upon enter timidly, or frown and look pompous, you are tlie age of four she comme men, women and affairs. This, together with great energy nothing important about the two notes with which the in a wav that attracted the and pluck, has made Mrs. Bond a success where, thousands going to sing or play to an audience unfavorably dis¬ movement ends—two low D’s in the following rhythm: has the‘remarkable gift of r have failed. Only a woman endowed with diverse ana posed at the start; and unless you sing or play like an The dotted line, between the two groups of five, is the eleventh line. Upon this is found Middle ( . Middle paid me $10 for my services, which I presume now angel you are not going to stir their interest deeply. “I also did china painting and was very successful C is also the middle of the keyboard—this is in t pre¬ “Imagine a little girl with a tiny dog as her only was a pretty big price for the way I did my work. On the other hand, decisive, businesslike, authoritative at it-—so successful, indeed, that it was later a question J'N cisely true, of course, but it is near enough true for our confidant—a small, silky skye terrier, his bright eyes My first recital was given in the home of Mrs. Henry deportment, a cordial smile, .will win your audience at An examination of the last twelve measures will whether I would take up a musical career or make purpose. Be sure to have the pupil get the exai: loca¬ half hidden under a fringe of fluffy hair, an animal J. Howe, Marshalltown, Iowa, in which city I often once, and they will pardon much to which they might show the importance of that simple succession of a china painting my means of subsistence. As things tion of Middle C, both on the keyboard and on the intelligence that seemed to know and understand all otherwise have taken exception. ' You must always short and long syllable. I f we number these meas¬ turned out, the china painting went hand-in-hand .with hear that I was born. statt. that I said to him and a faithful little heart that never remember that your position toward your audience 'is ures from 1 to 12, then the last note of number 1 my music. For many years I designed and painted the failed in sympathy. His name was Schneider, and Hardships, Humiliations, Cold and Hunger that of a leader and a prophet, and that the people and the first note of number 2 give us this rhythm; Then follows the explanation of the clefs, in the covers for my songs with wild roses, the flower I took before whom you appear are willing-more than that, upper staff we have the G, or Treble Clef. Pt n: out many thousands saw and knew him, for he was none “My musical work was not altogether unknown in the same is true of measures 2-3 and so on to 5-6. other than the very dog that Joseph Jefferson used at for my trade-mark, as it was the flower I loved the anxious—to have a great spirit lead them. And if the not to mention the occurrences in the middle of 4 and that it curls round the second line, locating the G best. The past few years I have been too much occu¬ Chicago. Two publishers had accepted and issued some people are. to rest their emotions with you and are to above Middle C definitely. In the lower staff wc have one time in his famous play, Rip Van Winkle. Jeffer¬ of my songs. However, I realized that if they were to the middle of 5. The last four measures consist solely son came to Janesville and made a great friend of my pied with other things to paint, but I always design accept you as their leader you must inspire them with of iterations of this rhythm. the F, or Bass Clef. Point out that this also •> ves the titles and have been very successful in finding pay me the amount I must have, the promotion that confidence the first moment they see you. around the line, locating the F below Middle C. grandfather, G. H. Davis. I fell in love with the tiny these publishers were giving the works and the returns Work Toward a Climax dog, and when Jefferson left he gave the little creature artists who have painted more beautifully than I.“ It is true that when Abraham Lincoln arose to ad¬ “Perhaps you know, to liegin with, I was too poor therefrom were entirely inadequate. A song is like As for rhythm in the abstract, that is a matter to me. dress the multitude assembled on the battlefield of to hire anyone to write my verses or draw my title any other piece of merchandise when you consider it Gettysburg many in the audience tittered; and it is true which should be as much a part of your subconscious "It was to Schneider that I first told my ambitions to from the commercial standpoint. Write the best song pages, so I had to do it all myself. equipment as touch. Rhythm in. the abstract is simply become a song writer. He, and he alone, knew at first that when Abraham Lincoln sat down the cheeks of “The first song that I ever wrote was a child’s song, in the world and lock it up, and it is a dead issue. I the regular occurrence of a point of weight, and you how I longed and longed to bring music to the world, the multitude were wet with tears. But remefcber that which I sold many years ago, but the first sortg that had always desired to be in business, and accordingly there was only one Lincoln. must always feel yourself going from a point of com¬ that would sing in the hearts and souls of men and I published was l Love You Truly. As I look back I decided to publish my own songs. My son was grow¬ parative unimportance to a point of climax. The prog¬ HH women who need music in their daily lives. Rhythm the Real Magnetic Force in Music now I wish I could feel once more the thrill that came ing up and I realized that in him I would have a fine ress is usually from the first measure to the second “Schneider was my friend, companion and confidant Now show the pupil that each of these clefs is h .rated aide in the matter of business details later. Now, assuming that you have gained the confidence and from the third to the fourth, and so on. Or, if for five years. Then he died. We found him frozen over me when my good friend, Mr. Nelson, who printed five scale degrees from Middle C, the G clef five • ' ps, “Had I known then what I know now—had I even of the audience at the start, how are you to keep their you should have to think in larger groups, from cne in the snow. I hope those who do not love dogs will my sengs whether I had the money to pay him or not or a "fifth” above, and the F clef five steps, or a "Mih" imagined the terrible hardships, humiliations—yes, even interest ? For it is easy to make a good impres¬ group of two measures to the next group of two meas¬ not smile at this incident, for it was one of the trage¬ (and who believed in me) handed me the first copy of below. Middle C is always the center. Drill the h a- cold and hunger—I do not believe that I would have s'0" and then lose it by a performance that lacks ures. There is a tendency among musicians to put all dies of my childhood. Every day until spring I went / Love You Truly, and I realized that I had written virility and magnetic power. tion of these two clefs until mastered. the words and music, that I had drawn the title page, had the courage to make a start. Let me give you one their attention in the first few notes of a phrase, and out in the yard to the tomb I had made in the snow for little example. When I had published about twenty- The expression of Hans von Biilow has become then let the interest die out; after awhile they decide Suppose a pupil has a piece starting as follows poor Schneider and combed the silky coat of my little and that I believed, even though I could not sing, that classic: “In the beginning there was rhythm.” You I could go out into the world and make somebody buy five songs I showed them to Mr. David Bispham (al¬ to take fresh start, and repeat the same process. As friend until my mother forced me to bury him, which ways a noble friend to ambitious and deserving work¬ may play with little or no feeling, you may make mis¬ a matter of fact, the exact contrary should be the case. I did with my own hands. This was my first great that song. Well, I did this with many songs; ill fact, takes galore, but if you are a master in rhythm you will my songs were given their publicity by my singing ers), who was to give a great recital at the leading hall If you want to hold your audience you must always grief, and it made a lasting impression upon me. in Chicago. The songs pleased him and he agreed to hold your audience, not until the end, to be sure, for lead them from a starting point to a climax. “Music was a matter of the deepest concern to them in homes of my good friends. They generally rhythm alone is not enough, but certainly for a long put them on his program. The manager of the time. These remarks do not in any way exhaust the matter me, but I scarcely believe that my parents concert thought it suicidal. He begged Mr. of holding your audience, but if you can train your¬ ever dreamed that I would devote my life to it. Now it so happens that rhythm is a term capable Bispham to change his plans—to put anything self to look the leader you wish to be, if you can learn I was to be—like thousands and thousands of of several definitions. For practical purposes it is suf¬ Have him find the first note of the left hand part on on his program but the works of an unknown to shed light on the dull page by careful attention to other women—a good wife, a good mother and ficient to distinguish between rhythm in the abstract the keyboard. Upon observation he will tell you that it composer, and a woman at that! However, the groupings of time values, and if you can constantly a good housekeeper, etc. I knew I could be all and an individual rhythm. By an individual rhythm is the first G above the F clef. As he has already Mr. Bispham, with his mind once set, was not progress from one point to another, building up the sig¬ these and something besides, for that some¬ we mean simply a particular combination of time mastered the location of this clef from Middle C he easy to move and he determined to carry out the nificance of the music as you go, you will have won at thing was a vital part of me. idea. And, as a further assurance of his belief values. Everyone who has heard Beethoven’s C minor least half the battle. will have no trouble in locating this particular note. Similarly he will be able to locate the D in the treble Blind Tom’s Visit in my songs, he invited me to accompany him in staff by the fact that it is a fifth above G. Now he “One day when I was about eight years old, this group. An Injured Right Hand a Blessing is ready to play all his pieces in the right octaves. The Blind Tom came to town. It was a feature of Friendship teacher would do well to pick out different measures By Benjamin E. Galpin his program to play a piece from memory after “The nones wore more than cordially received. from the pupil’s studies and pieces, drilling him in them T was so overcome with the applause that I for- it had been performed for him just once. In eof 'to even turn to look at the audience or Mr. Teachers of piano, have you ever heard anything starting in the musical life. A coveted position had until there is no doubt left in the pupil’s mind. Later order that there might be no mistake, my Bispham until he came to the piano ami touched like this.-': "I am sorry, but it will be impossible for my on it is advisable to teach him that each octave has its my shoulder and asked me to acknowledge with come to me, and was to be open in about six weeks. teacher, Professor Titcomb, played an original him the reception that my songs rceeivme. daughter to come for her lesson to-day, as she has in¬ I was overjoyed and determined to make good. So I own special name—the Great Octave, Small Octave, composition which Blind Tom could not pos¬ It was the longest applause I hut happened one-lined, two-lined, three-lined octaves, etc., but this to hear and, though I do not supp jured her right hand so that she has been unable to laid out a course of piano work for those six weeks sibly have heard before that time. 'He played it „„„„„ | ■ „_ _ that first is not needed just at first. than half a minute.^ I lived^ years^ practice for the past two days. I regret this very much; that would advance my technic and make me confident in fine fashion after once hearing it. Then liicli Mr. David ' Bispham gave me mityy to enjoy. I wish to say here that for she has been so interested lately. Will call you on of my ability to hold the position.. someone said, ‘We have a little girl in our town second public appearance ‘on any phone as soon as her hand is well enough to resume And then, just as I had got down to practice my who can do that, too.’ I was brought forward, her practice.” right hand was caught in a bicycle chain and so badly and Blind Tom played an original march of his It is well for teachers ter know how to handle a case How to Make Your Practice Time injured that the doctor said it would be at least two own, which I promptly repeated, to great ap¬ “In a well-known piano company of Chi¬ like this, for you are bound to be confronted with just weeks before I could use it. Less Tedious plause. I was put down as a, genius and was such situations. cago I found a friend who recognized my I was in despair. But after three unhappy days of given the very best instruction the town af¬ talent as a song writer and whose sympathy A ou will not only have your plans interrupted,: but idleness, a brilliant thought occurred to me. It was By E. H. P. forded. and encouragement meant more than anything your pupil is apt to fall back to some extent. this: ^ our left hand is far behind your riuht in tech¬ else to me at that time, Mr. Carl Bronson, The telephone is a poor place to discuss personal mat¬ nical skill; why not take this time to bring it up to now living in Los Angeles, through whose ters at any great length. So the young lady was re¬ the mark?” The best way of all is to be actively interested in what you are doing. If you are trying to memorize influence this company offered to pay all ex¬ quested to call at my studio and be provided with a So I got down to hard work and practiced scales, some attractive piece which you hope to play at a re¬ penses for a public recital for me, furnish¬ book on the History of Music and Biographies of Great octaves, arpeggios and chords and all the left-hand ing hall, program and advertising and, at the Masters that, while she was away from her piano prac¬ studies I could get hold of. cital, or if you are intent on attaining a certain metro¬ nome speed, or some other particular point of excel¬ concert I was assisted by Jessie Bartlett Davis. tice, her ambitions might be inspired to greater work. That injured right hand is now, as I look back, one of Mr. Paul Schossling, former ’cellist of the Her hand was injured, and not her brain. the greatest blessings that ever came my way. For lence on a particular exercise, the time wilt pass hefore you know it, but if you are simply trying to kill time Theodore Thomas Orchestra, Mr. Charles W. It would be just as sensible to stop a whole railroad' when I got the invalid right hand back on the piano Clark, the singer, and a little girl whose name keys, I was delighted to note that the left hand no at the keyboard for the space of an hour, two hours from operating just because a single engine was or whatever the case may be, it will ahvavs seem dull I do net now recall. The concert dress that I wrecked. longer lagged behind, but took its part with skill and to you. However, even with the best intentions in the wore that night was made out of one of the The pupil was delighted'at the suggestion .and, after energy. It had caught up with its mate. And it has lace curtains which had been in my former kept that winning stride ever since. world, there are certain things about practice that will some fascinating facts were told of certain old masters, home, and I could never tell you how many The young lady saw the application of this experience be unavoidable drudgery, and for these it is best to she fairly danced in her hurry to go home and begin allot a certain definite part of the practice hour—ten yards of feather-stitching and French knots I her new work. to her own case and came faithfully for left-hand prac¬ put on—little bands of satin which I appliqued tice as long as her right hand was in its sling. And minutes to this, fifteen minutes to that, etc ‘turn for an advertisement At the close of our pleasant, little talk, I told her, on to this lace so it would not show that it to-day she, too, looks upon the accident as a real bles¬ Madame de Stael, a clever French essayist of the last magai also, of an experience of my own, when ,1 was just iys that I sewed for'her, trying to had ever hung in anybody’s window 1 It was sing in disguise. century, once remarked: “! see that time divided ^ elf bellei. that I was ea-ning the Carrie Jacobs-Bond never long, and that regularity abridges all things." longest hours of my lue. THE ETUDE SEPTEMBER 1920 Page 585 Page 58J+ SEPTEMBER 1920 I had gained some confidence in myself g for Miss Margaret Anglin (who later finished just a few moments before it was time for me “Would it not be splendid if the great symphony orchee ' ' tras would give, occasionally during each season, programs s . .. <,lately f ' s to get into the cab which was drawn by a pair of tired of simple music with admission wUhin.tte^reaA^cif^alh said, If you Will com i t list _ old horses. The people were so kind and my musi¬ •mb! it n of my little theatre a nominal sum liroadway), and give ...._ - r three maUndes cians were so splendid that it was another red-letter day downstairs lor grand opera could irect the setting of the little stage witbin the reach ot the poor tired who take almost their she came to personal for my recitals. bh< nt word to three charitable asso- in my life and through the interest which the piano very last dollar und almost r last bit of strength, and thetn a percentage of the receipts the topmost gallery to refresh their souls. They editions offering to g company created for me I found myself the possessor if they would allow names to be used. This was very of $300.00. This amount was the beginning of my busi¬ are the real music lovers, so why not give them a chance •rtlsing as I was absolutely unknown in New more often than we do to enjoy in comfort the music that York City Out of these recitals I cleared several hundred 1 ness which I started at that time in a little hall bedroom, they starve to hear. If we really want the masses to dollars, it alwuy- Uj th”' ,h''s“ *everal lain. 8 x 10 feet, with a closet just the depth of a sheet of understand the best in music these things will have to be offered done for them. The wonderful education given by the I was desperately poor for seven * ' ' music. I had written at that time about twenty-five phonograph and the elevation that these instruments have years and at that time almost an inva Why Underpay the Music Teacher? songs. This constituted the stock. It seems to me produced in the minds of the people should be proof Some Principles of Success that, at that time, I saw myself with shelves and shelves enough to great musical organizations that they can help advance the higher class of music in our country if they “This is a day when magazines are flooded with pre¬ of music in the downstairs of a house that I had earned By the Well-known Chicago Teacher and Editor would only begin. We must get out and preach the gospel scriptions for success. I am frequently asked the source myself; that I should live upstairs, but that there of everything in a loving and understanding way, not with CHARLES E. WATT would be a little bell on the door (such as there are in condemnation, but with sympathy. of power which has brought success to me. Of course, , m r l the little shops in England) and when anybody opened The Importance of Good Friends success is never to be attributed to any one thing but the door, I would rush madly down and wait upon the to a great many things, all backed by hard work, pa¬ “Often one hears the story of a ‘self-made man’ or in public except in his own home and in his teacher’s customer—but that never happened. What really did tience, tact, etc. However, though all of these may be the adoption by all musicians of the slogan “Nothing woman. Of course, you have to be a worker for your¬ “The laborer is worthy of his hire."—I Timothy 3:18. happen was that I moved into a larger apartment. The in your possession, you will never be a success in studio. self, you have to get up earlier and go to bed later and for nothing.” ...... The public (intended purchasers in other words) should business was now large enough to occupy the dining music or anything else, unless you have the one im¬ This injunction is being insisted upon by every c’ass He predicted, during the war period, that, admirable ' keep yourself constantly thinking in order to succeed, hear him there and, if he is considered good enough room, about 14 feet square, with shelves extending portant thing, spirit, for, after all, the one thing for of workers save only the musicians and music teachers. as was the giving of music services to the soldiers, it no matter how many good friends you have, because, for a public appearance, no matter how small, he should around the room. We used the dining-room table for a which you deserve credit is the gift of the spirit of All sorts of artisans and laborers are receiving im¬ yet was a very bad economic move and would have its unless you prove to your friends that you are in earnest, ask real money for it and never, not even the first time, music table between meals. I now had a son who had the truth which is active within you. If, in your soul, yen mensely increased wages over pre-war scales, but it is reflex action in the very conditions which now obtain. they will not and cannot give their time to helping should he appear for nothing on the supposition that he ability and a desire to be of service to his mother, who are free from guile, jealousy, false pride and hate, very doubtful if, aside from some of the very great Nothing in this- world is more sure than that the public you. I have found the most wonderful friends, and needs the “routine” or the “experience”—but, on the came into the little shop. The shop outgrew the dining and if you work to do good for the greatest Dumber artists and teachers, anyone in the music world is re¬ ^allies everything by its listed price, and musicians, contrary, he should stick to the studio and to home room and finally owned the whole house. From that I am quite sure they have befriended me because they of your fellow-beings, this will lie reflected in every¬ ceiving an increase of more than ten per cent, over what like all other people, are considered worth just as much gatherings until these are fully attained. time on, it is a very simple story. ‘Nothing succeeds knew I was willing to befriend myself. Nobody in the thing you undertake. was paid five or six years ago. as their self-assumed valuations. It has always been The specious argument is used by club managers and like success,’ and the wheels had started to go around world is just ‘self-made.’ Good friends are the greatest “This article might not be considered complete unless Yet, according to government statistics, the cost of the practice in this country for musicians to give away by all sorts of societies that by appearing in one place on a chariot that pulled my music down to Michigan asset. I do not mean that they should give you money I said a word for the song that has proven my greatest living has increased not less than 102 per cent. The a part of their services without money and without price. for nothing the young musician will gain an “acquaint¬ Avenue in the business district.” . or that they should give you a position, but that, if success, A Perfect Day. So many wild stories have peculiar injustice of this lies in the fact that musicians Churches, lodges, clubs, societies and all sorts of groups ance” and “prestige” which will secure for him other you are worthy, they will make it possible for you to been told about this simple song, which was truly rit- were the ones who suffered most severely from acute and more lucrative engagements. No fallacy could be “It Looks So Easy” help yourself. I wish I could have the time and space ten for a place card at a dinner which was given upon war conditions during the late conflict, and they also "To see the results, it all looks so easy and pleasant to enumerate all of the good friends that I have had. constituted the class most appealed to for gratuitous more positive, for, as stated before, the public judges the return from my first visit to Mt. Rubidoux, where every musician by his own estimate of himself, and if that many will, I am sure, feel that they might do like¬ That would be impossible, but I must say a few words I saw the sunset from that lovely California mountain service. wise. Alas! no one ever hears of the failures, and for for those great artists who came to my rescue at the Not only did musicians lay down their special voca¬ he be willing to appear in one place for nothing, this for the first time. This little verse, which was whi¬ will lead to no more than offers to appear in other one success there are perhaps a thousand tragedies. No¬ beginning of my career. ten at the Mission Inn, Riverside, in about five minut> s, tion in order to take up arms, in just as great numbers places at the same price. body ever hears of the poor wretches who virtually sell “The one who came to my assistance, first was Jessie was put away with many other rhymes I had written, and as did any other class of the populace, and not only their health, minds and souls to do what I have been so Bartlett Davis. It was she who loaned me $250, and did they respond just as liberally as did every other “The nerve of Mr. Y1” said a society woman in my it was some months before I ever thought of it again. presence. “He sang at our club one afternoon for blessed in doing. If you think it is easy, all I have to say it was this money that made it possible for me to pub¬ The music came to me as I was driving across the class to all calls for financial contributions, and further, is, ‘Try it!’ Many a time I have spent my last nickel to lish my first little book, called Seven Songs. It was a not alone were they just as badly pinched by living nothing and seemed glad to do it, but now he is giving Mojave desert in the moonlight, with another party ,f a down-town concert and he sends tickets to me expect¬ go down town in Chicago to meet some successful pub¬ long time before I was able to return that loan, but conditions as anyone else, but also their means of liveli¬ nature-loving friends. I began to hum the verse of ing that I will buy. Why should I? I have heard him lisher, wait outside of his door possibly an hour or more, it was given to me in such a manner that I knew I hood were decreased from the very beginning of the Perfect Day to the original tune and one of my friend, once and if I have money to spare for concert tickets I and then be told to ‘call to-morrow.’ never had to worry about it. You know ther% is a great said, ‘Is that a new song?’ And I said 'maybe it . will spend it on someone I have not heard.” deal in the way you help a person. I know many who I completed the song before I went to sleep that night For—just as usual in times of political stress or eco¬ i ago, was the idea that she have been helped, but who have also heard of it many and from the very first, as I sang it, I was confident nomic necessity—the public decided very promptly, one. should only be n home-maker I that she could not possibly times from their helpers. A grateful person is glad to we were really in the world conflict, that, since some¬ Why Feed the Lawyer and Starve the Musician? do anything else, that that lid occupy her entire time, its appeal and that thousands of other people lsesiiU-‘ This idea has passed and tlx irld Is beginning to see that tell the world of the kind things that have been done myself had had at least one ‘Perfect Day.’ thing must be “given up” of “curtailed,” it should, of The lawyer will charge the musician ten dollars for of home maker and mother for them, but it certainly hurts to have it told about course, be music 1 And so almost everyone except the a very few words of needed advice and yet, has he a —u.- time a successful professional woman. In "And now to tell you the really greatest of all things fact, we know and still believe that the best place on you and ‘rubbed in.’ The next great person to help to comp to me through I Perfect Dan. On Novomtior llt'i. children gave up lessons—every society and committee death in his family and happens to be acquainted with a earth is -nd that the woman who does make of h r- me was Mr. David Bispham, who sang my songs, as you 1918, the day the Armistice was signed, my son was in curtailed the giving of concerts, and even the churches, singer, he hesitates not an instant in asking this friend self a real h( -maker and a mother who has the entire New York City, standing at the head of Central Park, r children is the one most capable and have been told in the former part of this article. Then when four men put their arms around each other's waists in making their new and more economical schedules, cut to sing for him and never dreams of payment and often, going into the world as a professional woman, came Madame Schumann-Heink who, for many years and began marching and singing A Perfect hint M\ out a lot of their music and reduced the pay for what when told the payment must be made, he is offended. hat anyone who has the ability to truly under- son Joined them and they gathered singing men until they A benefit concert is planned—maybe for a splendid leart of a child has the gift of helping humanity. has been my good friend, singing my songs as only she landed down at Madison Square with over 5,000 in that they maintained. In spite of all this, hundreds and could sing them. I have spoken of these artists espe¬ serpentine line all singing my song. When my son tele¬ hundreds of musicians gave themselves either wholly or cause. Society women who love the notoriety will give "In regard to women’s clubs—personally I owe them cially because they were the first people to help me. graphed me this news I said, ‘This is the end of A Perfect in very large part of their time to community • work, their time to plan it, but the hall rent must be paid, the a debt. I do not know for how many I have sung in the to camp activities in music, to trips abroad to give printing, the flowers, the refreshments, all cost money. last twenty years, nor of how many I am an honorary Music and the Gods entertainments. Even the janitor gets his fee. But musicians are asked member, but through this experience I have found that They were told again and again that thus would they to give their services on the program “for the good of . my simple home songs have made an appeal. These By Howard W. Roper help keep up the morale of the country and of the the cause.” .. . women know that the heart of a song is melody. A song The projectors of these events forget completely that Not only human beings, but gods as well,, have-sought soldiers and thus would they serve in one of the most without an appeal is dead. It must have the human Echos sweet and elusive strains lapped the soul in in this way the musicians are not only giving their entire and found solace in music. The love of music is by no effective ways. All this they did uncomplainingly and touch. Why is it you sing a simple song or whistle a dreamy bliss. The merry god Pan, with his syrinx or stock, their very living, but also, through the cheapening means confined to this sphere, but reaches out to the even eagerly. Now—what is their reword? familiar tune? Most often it is to cheer yourself, some¬ shepherd’s pipes, and Hermes, the inventor of the lyre, process of “free” appearances are ruining their future. other orbs of the universe, if myths, legends and times because you are especially happy, but if the little were both worshiped by the ancient Greeks. And what are the remedies? It must be confessed theologies are to be believed. All nations had deities Music Still Affected by War song brings a picture to your memory, of an incident, Nor was the love of music kept within the confines that they are as yet vaguely in mind, that any feasible of music; in cultured Greece, in wicked Babylon, and Of all occupations practiced in America music has then it has found its mission. Most people feel instinct¬ of ancient Greece; away to the eastward, in the Land plan of improvement is still in embryo. in dark Africa, shrines were erected to these potent been the slowest to recover from war effects. Although ively that music is the natural source of expression. The of Mysteries, Egypt, dwelt gods and goddesses whose Beyond any question, musicians must get together on Eods. musicians must meet all of the 102 per cent, increase result is song If you are musical and know how, you love of music was a passion. Isis, the goddess doubly the matter, and they must think out working plans if The Greeks had an intense love for music. Apollo, in living just like other people it is quite true that the can perhaps preserve the sentiment and the melody of sacred—as a deity and as a woman—always .carried a music as a means of livelihood in its ordinary sense is your own thoughts; and this is the basis of the highest god of music and poetry, drew sweet, plaintive melo- average of what they earn does not exceed a 10 per sistrum in her hand. Her votive priestesses in their of individuals, ask the musician to give of his profes¬ to be maintained at all. composition, whether you are a McDowell or Stephen d:es from his lyre; Orpheus, enamored of Eurydice, cent, increase on pre-war prices. love temples on the Nile played on gilded sistrums as sional work for nothing, with a nonchalance which would A certain Southern town reported to me not long ago Foster. The multitude needs music—perhaps more than played his instrument with such fervor that rocks, How do they do it? they sang soft hymns of praise to the mother goddess he amusing were it not so disastrous from the stand¬ that every professional there had signed an agreement the cultured few This inference has been the working trees and waters were moved by the ecstatic cadence Goodness only knows? If a voice could be found In the Rhineland, too, there are music myths; the point of the musician’s pocketbook. not to appear in public except for a definite, graded principle of my life, to supply that need out of my own of h.’s soulful numbers; Erato, Mistress of Lyric which could reach the public-at-large, it should be raised Lorelei, daughters of the Rhine, captured the hearts of Whenever a musician gives of his professional work price. In that town it was proposed that there would be heart and now 1 feel tha* if I were given my choice, I Poetry, found joy in the lyre, while Euterpe, Mistress in reproach, protest and demand for betterment of these all their auditors by the impassioned eloquence of their for nothing he at once establishes its worth in the public no music in churches, lodges, clubs or even at weddings would say, ‘let me write the simple songs for the people of Song, found consummate bliss in the shrill tone of conditions. seductive voices. And thus through all the cycles of mind at just that “nothing,” no more, no less.. If—to and funerals unless it was paid for. The only exception rather than the intricate and curious pieces which only the flute. However, not all Greek deities used instru¬ Churches should be told that it is a Christian duty romantic myths, we find constant reference to music; use a simile—everyone could go into Macy’s in New was at the Musicians’ Club, which, of course, is main¬ the critics extol for their eccentricities.’ John Howard ments ; some were noted for the power of their voices. to rehabilitate the musicians by an increased price. (he Spirit of Music dwelt everywhere—in the north, York, or Marshall Field’s in Chicago on certain days tained for mutual benefit, and so is properly the place for Payne, whose cousinship I claim, wrote ‘Home, Sweet Philomela, changed to a nightingale by kind gods, sang Clubs and societies all over the land should know that cast, south and west—all nations lay offerings at her of the week and get goods for nothing, is it reasonable mutual exchange of talents. Other towns could do the Home.’ I am sure that even one of the great musicians in soft, dulcet tones pleasing to the ear; the Sirens’ the resumption of all sorts of music functions and the feet, place laurel wreaths on her head and erect shrines to suppose that they would go in on other days and pay same. State associations ought to pass resolutions and would have been proud to contribute to the world the voices enchanted all who heard their song?, while payment of all sorts of musicians a living wage is a money for the same articles ? If then, a musician gives work diligently to the end that there shall be no such comfort that simple song has given. matter of civic help and uplift; and educational boards away his professional services at any one time, under thing as free giving of music services. Fugitive Musical Facts everywhere, should be brought to a realization that pay¬ All teachers should drill it into their pupils that they The Human Message ment for music work must be on a basis commensurate any excuse whatsoever, he must not be surprised if, at Teachers who drill their pupils in the “circle of the and other forms than the conventional notes, are hardly other times, the public declines to pay money for then?. must learn economic principles as well as artistic values. “Americans may well be proud of the high technical ■fifths” will 'be interested to know that the Chinese are with its importance and equal to that in every other Dilettante musicians and amateurs should positively stay attainments of our composers. All they need is the en¬ known to most people of the musical world. Yet they said to have used “circles of fifths” in their teach¬ line of educational work. Amateur and Professional out of public life unless they wish to uphold prices for couragement of the great music producers, and they ing “thousands of years ago.” This must have been were strongly endorsed and introduced by Lowell Mason But musicians themselves are very largely to blame Of course the line between the amateur and the pro¬ professionals. Critics should refuse to review events should be kindly criticized where criticism is needed. even before the modern conception of the scale, as em¬ to help in teaching sight seeing, and they are still used in for the bad conditions by which they are now sur¬ fessional is exceedingly difficult to define and there is where the performers are not paid. But some of our very greatest American works have ployed by the Greeks, was worked out in any way. enormous quantities in the South in rural districts. The rounded and, while a clarion voice to the whole public no standard by which the young musician can decide Finally—if needs must be—musicians everywhere must touched only the thin veneer of our great American Organ recitals are not new in their popularity. The scheme of the shaped note is to represent the different is needed, it is no more of a necessity than that some organize to the end that definite prices shall be charged public. They are prone to write themselves above their one should tell musicians themselves of their own lack just when he really is professional and really worthy great Frescobaldi (1583-1644), when he appeared in degrees of the scale by means of a different shape note. for every sort of public music service. hearts. The real problem is, how to reach the masses and the reasons why the public is so indifferent to their of money payment for his services. Rome at St. Peters, is said to have drawn crowds as For anyone who has passed the most elementary stages If all this be done and if young musicians everywhere with a broad, human message, and I believe the way to commercial needs. But the same rules which govern in all trades, busi¬ large as 30,000. Frescobaldi is known as the “Father in scale study the plan is quite useless in understanding will, each for himself, think out proper pay schedules do this is to get their interest in simple understandable of the Organ Voluntary.” For a long time this writer has preached the gospel nesses and occupations should obtain in music also and tonalities, intervals, etc., and it is not used in the large for his work and will hold to these consistently and will, ways. of adequate pay for all music service and has advocated the learner, the student, should appear nowhere at all Shaped notes, that is notes of square, lozenge, round music centers to any appreciable extent. THE ETUDE SEPTEMBER 1920 Page 587 Page 586 SEPTEMBER mo THE ETUDE The Opening Gun of the Teaching Season —-- — - ' as individuals, positively refuse all “nothing” engagements and will, further, urge all his fellows to do the same _i. a Full ClaSS thing, then indeed we will be on the road to the musical millenium 1 MW ■~ ■ - v - -■ : > . : --- But we must forget for the time being all the art and By Dr. Allan J. Eastman educational questions and even much of our finer desire for the “uplift of humanity” and think, first of all of the teacher attracts many of his best prospects through stu¬ commercial aspect of the situation. When the United States entered the great war, much For if we once get music upon a proper commercial dent recitals. The writer, years ago m New York City, ado was made about the gun and the crew that fired the All About “Variations” basis, and if once we begin to get that payment for all had a pupils’ recital which brought him new pupils whose 'e % - r- service which is our real due, we can—and naturally first shot. Their photographs and their names were sent tuition-fees during a course of several years brought in will—thereafter give even closer and better attention to all over the country, and their fame became a part ot sir , \ art and educational values, for inherently music is built national history. Fortunately, we were ready with abun¬ VeNonteaacheflike0s' to be placed in the position of press¬ By EDWIN HALL PIERCE upon these finer things and we need urging, not to de¬ dant troops, ammunition and provisions, and were not ing his services upon prospective pupils. Iftheteacher ■ velop them, but to insist upon the practical questions caught, like our British brothers, in a position of unpre¬ can have a secretary, or better still, some good friend or upon which depend the very practice of music itself. paredness which caused the loss of tens of thousands of relative who will stand at the door as the audience ,s music (This may not be available at present in sheet passing out from the recital and take the names ot hose Six different-colored panes of glass m each of the form, but may be found in any one of several collec¬ who manifest an interest in the work or even a desire ''Tmerica was alive with the gospel of preparedness, windows of a six-sided tower room in the house of tions of this sort of music.) to attend future recitals, a splendid list may be made up The Early Fall Recital which means looking ahead and doing in advance those a relative whom the writer used to visit occasionally For those whose technic and musicianship are equal One teacher of the writer’s acquaintance lias never spent things which, in our best judgment, we see must be done in his childhood days formed a never-ending source of to the highest tasks, we would also suggest the fol¬ a cent in printer’s ink, but has carefully watched pros¬ By Ella Y. Kennedy at some future time to insure success. Just now m amusement—the same landscape looked so entirely lowing, which are very elaborate and difficult: America the writer understands, from reports, that the pects of this kind and written personal letters which different through the red, the green, the yellow etc. music-teaching profession is an exceedingly busy one.. It have brought him an income of sufficient size to ,„able Schumann: Variations Symphoniques. One year when I had a very active summer class I There is always a certain pleasure, both to children is likely to continue such for many years to come, since him to purchase seven houses and insure himseli a < Brahms: Variations on a theme by Paganini. arranged to start the season with a recital, which was and older people, in seeing the same thing under dif¬ the need for production is very likely to insure high petence for the balance of his life. Beethoven: Last movement of Sonata, Op. 111. given on September 4th, on one of the hottest and most ferent aspects—witness the rapid changes of costume wages, and high wages mean money for music lessons. Good circulars and good newspaper advertising t i al¬ uncomfortable nights I have ever known. I immediately sometimes made by ballet-dancers or vaudeville artists. Grieg: Ballade. resolved never to repeat the experiment; but when I saw For this reason the question of getting pupils and induc¬ ways very fine, but better still are good personal iters This pleasure is not confined to the eye alone—if we These last two are not named “Variations,” but are the immediate and enthusiastic interest taken in the work, ing people to take lessons is not the serious matter of written at the right time. Here are two similar to those have seen some great actor in the part of Macbeth actually such, though with great freedom in form. and also acquired three new pupils thereby, it seemed to other years. The first consideration, after artistic accom¬ we look forward with interest to his interpretation of This camouflage of variation-form is exceedingly com- me a good plan. It is not always feasible, however, plishment is certain, is to establish good business methods. mon—even more so among modern composers than in unless you can devise some way to keep up the pupil’s Hamlet or King Lear. If we are interested in Ben¬ Good Business Methods jamin Franklin, the statesman, we also enjoy reading earlier works. We may mention as examples the first interest over the summer. Dear Mr. Watson : Several of my liest pupils in past movement of Haydn’s Trio No. i for Violin, Violon¬ What are good business methods? The best way to of his activities as a printer, an inventor, a scientist, years have interested me because of the fact that they cello and Piano; the Allegretto from Beethoven’s Sev¬ make a good estimate is to watch the methods of the a Freemason, a musical amateur. seemed to get under so much better headway about the enth Symphony, the choral part of Beethoven’s Ninth livest business man in your, own community. Why is it Does Your Pupil Know What Music to third or fourth month of the teaching year. In tracing In the musical form known as “Theme and Varia¬ Symphony (the only example we know of exhibiting that ten persons in a hundred will come out of the group this up I found that in most of the cases this was du to tions” composers pay tribute, consciously or uncon¬ variations for a' chorus), Liszt’s symphonic poem, The Bring to the First Fall Lesson ? and own a profitable business, while ninety lag behind? the fact that these pupils made a prompt beginning. sciously, to this same human desire for variety in Preludes. Most of these contain free episodes, or even Of course, no one can state any very definite plan for a That is, they began on or about September 1st, and h«n secondary themes, but are essentially nothing other By Martin Z. Umangst certain success in business, but if you ask the average t J J J j a j ? m lJJJ r-P-j+“- with that kind of resolution which always characterizes Bub before we go further, it will be well to define than “Theme and Variations” in disguise. man he will usually say something like: “He came up to the thing under discussion: The “theme” is a short Prume’s Melancholy Pastorale, a violin solo at one . When you were a student did you ever go to your the scratch,” “he was Johnny-on-the-spot," "he got there good work. It is hard to believe that one or two weeks Example 1 gives the first few measures of the theme. tune, rhythmically and metrically bounded; it may be time quite popular, although a slender little piece of first fall lesson and find your teacher in a mood a little ahead of the other fellow,” etc. What does this could make such a difference, but it was nevertheless the Example 2 shows it put in eighth-note rhythm by the as short as four measures, but more often consists of no very striking originality, contains one novel element for a pleasant reception but not for teaching? It helps mean to the music teacher ? case. One of my business friends said to me the other introduction of “changing-notes,” etc. Example 3 ex¬ eight, twelve, sixteen or twenty-four—rarely of more used in a very graceful way: at the end of the theme greatly to send an advance letter to every pupil giving It means that the successful teacher begins months in night that he usually found that the clerks who came in hibits triplet rhythm, brought about by the use of pass¬ than thirty-two measures. It is usually a melody is a short coda or refrain, which is repeated, prac¬ a list of the books, studies and pieces to be brought to advance to prepare for the season. The dealer in mer¬ promptly at the beginning of the day were the ones who ing-notes, while Example 4 shows sixteenth notes in either original with the composer or borrowed from tically unvaried at the close of each variation, with the first lesson, and indicating what should be done chandise usually buys at least a season ahead for the would do the most work during the course of the day. two different devices—the first measure being made up a popular song, hymn tune, opera melody; or, in some really poetic effect. It is strange that this device does with each. In each one of these letters there should be coming seasons. This issue of The Etude is being pre¬ It seems very desirable that all of my class should make of chords taken in a sort of arpeggio form, the second rare cases, an excerpt from the serious work of an¬ not seem to have been used by others. some note of encouragement, some promise of interest¬ pared in the spring. All the plans and all the outlines of a very prompt start this busy year, and I shall greatly measure of scale passages. ing work. In fact everything should be done to excite other composer. There are cases, however, where it DTndy, in his symphonic poem I star, uses the varia¬ the work of the successful business are mapped out long appreciate it if you can arrange to have Alice present Example 5 goes back to the original rhythm, but is a pleasurable interest in work to come. Following this is not the melody but the bass that forms the real tion-form in a unique way: the variations come first, in advance. The music teacher, however, often indulges at her very first lesson, which should take place on tin- put into the minor mode, with a more serious type of a published announcement in the daily paper of the theme: this is known as a “ground bass” or simply a the theme last. The reason for this very novel pro¬ in a two months’ vacation—a luxury which the business fifth of September. I have scheduled a long list o harmony, while Example 6 (returning to the major date of resumption of work is advisable. This may be cedure lies in the legend which the music is intended man gets every ten years or so, if, indeed, he gets it at interesting compositions which I hope to have her learn “ground.” mode) introduces a new and more varied rhythmic ele- done despite the fact that every pupil has had notice to symbolize: Istar, in the Oriental myth, makes a all 1 During that vacation practically nothing is done to this year. It will also help her to make some technica’ The Mechanism of the Variation in the form of a personal letter. The object is this— make ready for the coming season. The first of Sep¬ heroic attempt to bring back her husband from the advances, for which I have already selected the new The “variations” are simply repetitions of the theme If designed for a solo instrument with piano accom¬ pupils take a pride in letting others know that they are tember arrives, and the class is only half full—some come realms of death (much as in the Greek legend Orpheus book, Finger Gymnastics, by I. Philipp, Professor of paniment, all these variations, with the exception ot studying, and when they see a notice in the paper it is in by the fifteenth, and others by the first of October, in a more elaborate form, or so altered as to present does for his wife Euridice). Appearing at the gates pleasant for them to call the attention of others to it. Piano at the Paris Conservatoire. it in a new and striking light. They must be different Example 5, might have one and the same accompani¬ of Hades clad in jewels and rich clothing, she is and others not until late in the fall. ment: in fact, Paganini’s Variations on the Carnival They are also pleased when they hear their friends say r There is only one way in which this may be success¬ Your patronage is greatly appreciated and I am con¬ enough from the theme (and from each other) to stripped of her ornaments and garments one by one “I see that your teacher is going to commence his stantly striving to show it through Alice’s work. present constantly something new and interesting, and of Venice and Tartini’s Art of Bowing (which is really by the guardians of the gates she must pass through, fully avoided, and this is to let your patrons know well a set of variations on a theme of gavotte-like char¬ season soon.” in advance that you expect to register pupils far before Very cordially, yet they must preserve a consistent likeness to the until at last she must needs appear before the gods of acter) are constructed on this simple plan, the accom¬ the season commences, instead of upon the opening day. A. J. Eastman. theme in order to be recognized as developed from it. the infernal regions clad in nought but her own loveli¬ paniment being given once for all and merely repeated The president of a large school for girls told me last lust how this is managed by composers we shall en¬ ness. for each succeeding variation. This, however, repre¬ Painless Musical Bookkeeping May that he had practically every possible opening for If you are really ready; that is, if you have your studio deavor to show in the course of this article. The Ground Bass sents what is musically the very lowest type of varia¬ the present season filled then. He was a business man. in order, with all your music ordered and ready to hand Taken as a whole, the arrangement of the variations The theme of a set of variations need not always be By Francis Lintoln tions ; in piano music the left hand is sure to be given The trouble with the music teacher is that he sells the out to the pupils, you are setting an example which in such an order as to present a steady growth of a melody (in the popular sense of the word)—it may canno’t fail to have an effect upon the pupil. To have at least a share in the development, and often the har¬ time that is immediately ahead, whereas he might, with musical interest—to avoid monotony, to avoid anti¬ be a taw—in some rare cases nothing more than an Most teachers dread the thought of bookkeeping. In a tardy class during the first two or three weeks of mony changes greatly between one variation and an¬ the proper methods, register pupils for his time six climax, and to make the whole not a patchwork but a implied bass, in fact. Bach's Aria in G major with the old-fashioned way it becomes a great nuisance and. September is just like tossing away part of the salary other. In Example S we have suggested the possibil¬ months ahead. well-rounded and effective composition is a task for ity of a change of mode: this is not limited to the Thirty Variations is a fine example of this sort, but takes up much precious time. There is no advertising for most teachers that excels which may readily be yours with a little work and a the very highest musical taste and invention. “tonic minor” as here, but may be in the “relative we hesitate to recommend it to the piano student for It was my custom to have all my payments for twenty the personal letter to known prospects. The live music little prevision. actual practice, for it was written for the harpsichord The conventional formula for a set of variations is minor,” at the option of the composer. (In this case lessons in advance and I found the standard lesson reg¬ with two rows of keys and in attempting to play it on something like this: Suppose we have a theme m that would be, of course, D minor.) ister was a very great help. In the first place it made the piano the hands often get hopelessly in each other’s which quarter notes largely predominate; the first it easy for me to present the rather delicate matter of way. Some few organists, in particular Dr. Wolle, terms to the pupil. The Standard Lesson Record cards variation might be in eighth notes, the second in trip¬ Famous Variations Gradual Hand Stretching Exercise have succeeded in rendering it effectively on the organ. are bound in a book like a check book. The pupil gets let eighths, the third in some irregular figure such as As examples of the theme and variations in what Vitali’s Chaconne and Bach’s Chaconne are excellent the card to be punched at each lesson and the teacher an eighth and two sixteenths, the fourth in the same may be called the normal type—neither of puerile sim¬ examples: both these works are originally for violin keeps the stub as a record. The pupil’s card has a place By m. c. w. rhythm as the theme, but with a more elaborate har¬ plicity on the one hand nor of highly-wrought elab¬ unaccompanied, but the former has been fitted with an upon it recording whether the lessons have been paid monization, or, possibly, a change from major to orateness and complexity on the other—we would rec¬ excellent piano accompaniment by Ferdinand David, for or not. Mighty few pupils care to bring to each minor, the fifth and last in brilliant sixteenth-note pas¬ ommend the following for study: the latter by both Schumann and Mendelssohn, though lesson a record of the fact that a bill has not been paid, Hand-stretching exercises are dangerous unless there Arpeggios; and there are excellent books of exercises by sages, and brought to a close by a suitable coda. But Handel: The Harmonious Blacksmith. it is generally played unaccompanied just as the com¬ and I am sure that this card by bringing about prompt is a period of rest in between the stretchings. Many Philipp and Atherton. As a preliminary drill, the follow¬ young composers should beware relying too far on this poser intended. Bach’s Passacaglia is an excellent ex¬ a little hand has been hurt by introducing octaves be¬ ing will 1)0 found very practical. They are not easy, Mozart: Sonata IX in A, of which a theme and collections saved me hundreds of dollars. or any similar formula, for it was just this conven¬ ample for organ, and is much played at the present fore the hand was ready for them. There is a fine but they produce the results without doing any damage. variations form the first movement. tional habit, practiced by dozens of lesser composers, day, but most examples for the piano (or harpsichord) series of extension exercises in Mastering the Scales and Don’t play them too slowly. Mozart: Sonata X in D, of which a theme and that did much to tire the public of “variations in a are now too antique for our modern ears. Two excep¬ variations form the last movement. Death to Pinching Bugs generation now gone by and put the form temporarily tions at least may be made to this statement: Bee¬ Beethoven: Sonata in A flat. Op. 26, of which a thoven’s Thirty-two Variations on an Original Theme By Rena I. Carver out of fashion. theme and variations form the first movement. For the sake of simplicity we begin with the lowest in C minor (which are practically variations on a Mendelssohn: Variations Serieuses. type of variations-that in which the melody alone is ground-bass, and in Chaconne rhythm), and Arensky’s When explaining to Carlette the importance of train¬ fciiP developed by the use of changing-notes, paSsing-notes Schubert: Impromptu in B flat. Op. 142, known as Basso Ostinato, a piece written in our own day, and ing the tip or third joint of the finger not to bend inward, the Rosamonde Impromptu. thoroughly modem in spirit, in spite of its reviving an and other obvious and simple devices. she exclaimed, “Why! That is just what my writing For those who would like something a little out of old device. The old French folk song, Au clair de la lune, will teacher tells me. When I let it bend in he calls me a the beaten path we would also mention Byrd’s The A ground bass, by the way, is usually brief—either Pinching Bug.' ” My pupils formed a \ igilance Com¬ furnish us with a good sample theme, but to save Carman’s Whistle—a fine example of old English four or eight measures is the common length. In the mittee and Pinching Bugs soon disappeared. ^PTfnrrfeji-Ly=l--lfi m space we shall deal with only a few measures. SEPTEMBER 1920 Page 589 THE ETUDE

Page 588 SEPTEMBER 1920 Beethoven wrote many sets of variations-some I and occasionally even in the structure of , B !! themes popular in his day, are scarcely above latter part of the sixteenth century, extemporizing on *hem’° nlace aJ show but little traces of Ins genius, a ground bass was a very common amusement among the English composer Purcell being a grea . this branch of the art, but a further discussion of this f r r hi best he was unapproachable as a writer of musicians, and was usually practiced as a duet, one but.a'h' So’me of his best we have already men- player at the harpsichord, one on the viol There were point would lead us too far from the subject. We have already mentioned numerous sets ot van VanaH but his maste piece in this line we have reserved a few well-known “grounds” in most popular use, rtedll mention "under this head. Diabel.i, the known as “Farinelli’s ground,” “Purcell’s ground,” etc. tions for piano, together with several for violi , variations have been written for nearly all the more i nblisher was himself a composer of no mean ability, Ultra-Modern Music Explained The Follies of Spain, a violin piece, by Corelli, which and it occurred to him to write a theme and submit ,t I is still much played by concert artists, is really nothing important instruments and combinations of Discussed Expressly for The Etude by the Renowned more nor less than a series of variations on the Fari¬ ments. For two pianos (four hands) we should to all the most noted living composers of h.s day, m- Unusual “Futurist” Harmony and Form l " The absence in a work, of a well-established plan, de¬ Camille Erlanger. your hand simply because a famous editor marked it. * * * * gered for the individual and played with a rotary long, 1)4' inches wide, X inch the width of the uprights movement of the hand and an artistic use of the pedals velops in the composition a veritable anarchy. I remem¬ V. Don’t use complicated fingering. Simplicity in The illustration below is from the D’Albert edition, ber hearing certain works^whereAe end «neas^ ^? “These lines do not >pply fa any way to those whom we and rounds. fingering is the keynote of a great and facile technic. where passages have large skips. The ladders may be pasted in the front "i 1 “l1 and shows a distinct avoidance of the fourth and have been wont to call ‘the masters of a school, that VI. Don’t consider any passage too difficult until you is t6 say, those who owe to their own personal gifts their instruction book, and as each new sca t is ink :. up tl fifth fingers. In order to take the thumb he is obliged Why noUater on? YNothing in the music showed that have given deep consideration to the fingering. incontestable fame. The others, who are incapable of pupil figures out the proper letters which mu 1* usca to make two unnecessary shifts besides passing under on the end of the piece was coming. Such works have been VII. Don’t endeavor to do with one hand what is dragging from their own depths anything worth while— to make the length of the steps come just right, and me two black notes. This method is evident throughout very rightly called invertebrate. Often they are incon¬ often far simpler and more practical to do with two. who tow along in the wake of the real originators, m letters are placed on their respective rounds the entire Sonata, and is not at all necessary, owing sistent and vague; and vagueness is perhaps the greates^ VIII. Don’t hesitate to be original when once you the hope of giving the illusion of being ‘someone—of The scale of C may lie placed on the Iadd<' "luc!\ to the almost universal knowledge of modern muscu¬ fault in the conception of a work of art The funda understand fully the principles of correct fingering. these, poseurs I will say that they offer nothing that is to contain the sharps, hut tell the pupil that t • might lar development, whereby the fourth and fifth fingers mental ideas, upon which the piece should be constructed IX. Don’t depend upon your instructor to do all your be on the other ladder just as well. As new are capable of almost astounding feats of virtuosity. are vague, not at all clear-cut; the development of these worth taking seriously. ‘ ■. , . fingering. Study your individual needs under his “Ipdeed, before the war it was the fashion for these sharps arc taken up, the diagram shows dear that tnc ideas is consequently and necessarily vague And so we supervision. have often, unfortunately, a succession of embryonic ‘small fry* to compose works of the ‘laboratory’ or new sharp always occurs on the seventh r. v 1 ot me ‘research’ variety, avowedly ‘scientific,’ which were X. Don’t be afraid to make mistakes. Experience ideas, with an embryonic development; the work nmfer ladder, while in the other ladder the new flat >' alwa> Here the artist must use his ingenuity, not only m without charm,.sentiment,'beauty,.sincerityor art. This is the best teacher. comes to maturity-never has strong, clear-cut fea ure, found on the fourth round. Every artist is aware that his ultimate success fingering but also in the execution of the passages is not to imply that the laboratory method is to be H one were to write a certain number of works m this depends upon ease, freedom, perfection as to detail, In order to give a really beautiful performance of despised. It has its value. But only when the material style, they would logically and necessarily resemble each this figure of the Chaconna the pedal must be used is moulded by a master hand. The laboratory can serve individuality of conception, etc. This is acquired only The above indicates the place where the mellifluous with great discrimination. to forge the sonorities--tHe mew musical expression may- Legato—Staccato by reducing the difficulties to a minimum; they must, ^Everyone must admit that the impressionist school has beauty of the passage is marred by an avoidance of the It must be put down at the beginning of each quarter sub jugate the imponderables—and God knows if music if possible, cease to exist. created some charming works; at the same time, how Fingering, admirable for one student s hand, is often fourth and fifth fingers. It is always advisable to note and held throughout until the next quarter, then isn’t crammed with them ! . But that which is evolved ever, it must be admitted that such works are the ex- By May Hamilton Helm unsuitable for another, therefore, the artist clever in exchanging so rapidly and with so little motion as not should bow the' kriee to- Life. ' AM Life in Music is remain stationary as long as possible, using every its manipulation can simplify to suit his hand what to be perceptible to the onlooker. This perfect method Rhythm. Melody and Harmony. The combinations and finger in its most natural position, as in this way only CeWe'are now at the end of the criticisms which it would would otherwise often deprive him of a composition in of pedaling, allowing a free use of the rotary move¬ procedure come afterward. They have completely for¬ The following way of illustrating legal.' and stac¬ :an the virtuoso take the tempos at the accelerated have been impossible not to formulate. They are logical his repertoire that in every way appeals to his musical ment, and with a constantly relaxed state of the muscles gotten this, and it is high time that they should retrace cato is at least original. speed which is to-day deemed imperative. and could not have been omitted, but because of them in arms and hands, at once simplifies what would imagination. Equality of all the fingers is a necessity i‘f all fingers we shall be able to better appreciate the very rich and their steps.” otherwise be a very formidable demand on the technic Francis Casadesus. Avoiding Useless Practice are to be used in the execution of every conceivable fertile contributions of Modern Art to music. . Hours of ceaseless practice may often be avoided by of small hands. If executed correctly, the tone is rich Modem music has evidently brought about a revolution difficulty, and this is acquired only by strengthening the the change of a single fingering to one more practical and organ-like in quality, the execution easy and natu¬ in the art of composing almost comparable to the ad¬ muscles governing each finger. A hand narrow across for the individual case. As modern methods of finger¬ ral, thereby allowing the performer free play to inter¬ vance caused in Guido d’Arezzo’s time by the introduc¬ “I do not know more than two sorts of music— the fingers, but with a long thumb and large stretch ing come more into universal use, much substitution pret and bring out the meaning, without which it would tion of unprepared seventh chords. This theory of har from the latter to the index finger, is not debarred from goo5, and bad. of one finger for another will be eliminated by the be a farce...... mony has created-one may almost say-a new musical “There is very wholesome music among the works anything. Take, as an example, a passage from the simpler and more natural way of slipping easily from Many editions are now being devoted to simplifying of the ultra-moderns; and there is also music that is Saint-Saens G Minor Concerto, which I have fingered language, and renovated the old language by g.vmg it a one key to the next with the same finger, thus conserv¬ fingering to suit individual needs, but our own Dr. Wm- wider scope. This novel fashion of using chords, these truly detestable and useless, which is of a date previ¬ dolls lidding hands. (Everybody knov according to the principles mentioned above. Mason was one of the first to realize this necessity. fold paper to do this.) ing time and avoiding a ritard in tempo not intended new and unexpected combinations and linkings, have in¬ His' edition of If I Were a Bird (Henselt) for small ous. cecd by the composer. The ritard is unavoidable if the “Bad music exasperates me—it is of no importance These arc now "legato” (bound), fused new life into music. Art is entering a new phase. pianist reverts to the old method of substitution as a hands is so clearly manipulated as to place it within whether it be modern or pot—for this alone is danger¬ cut them apart, showing the pupil that what is What treasures of beauty, what unexpected-what ^un¬ delay is caused, be it ever so slight, which affects the reach of nearly every pianist, even for those with dreamed-of resources for him who can skillfully turn ous and inharmonious.” Xavier Leroux. is ‘he real meaning of the Italian “staccato" (cut exceptionally small hands. He also has an extremely When tones touch each other they are legato, rhythm and tempo. them to account! It frequently happens that any other Slipping from one key to the next without previous clever edition of the Bach Inventions, fingered in two older music, if heard immediately after hearing a piece cut off” they are staccato. I know no more str different ways. Dr. Mason was also the originator “iN art the absence of form is always reprehensible, preparation is especially adaptable for the first and of modern music, seems flat, and almost childish. We illustration of their literal meanings. of the special application mordent; That is in the way he and in music can never be excused, either by a program fifth (outer fingers) and. in many instances, also the must however, be careful not to go to extremes, for it or by what the composer imagined to himself. Just index finger. This method is adopted unanimously writes it out in full. . would be quite inadmissible to try to.deny or to destroy So far I have considered only the problems m finger¬ as a big boulder, in which one sees a suggestion of a by pianists understanding the rules governing relax¬ the beautiful creations of the past. If the defective con hufaan face and limbs, can never be called a statue, so ation and weight, but should not be attempted by stu¬ ing confronting pianists with small, narrow hands, but struction of which we have spoken may lead to anarchy it is impossible to call a formless collection of sounds dents without the guidance of an instructor conversant this class is not by any means so physically hampered {and certain modern works are proof of the fact) it is own accord, and a certain vibration is nai arising from some vague idea a piece of music.”— with the proper methods of procedure legitimate to hope that composers may avoid this mistake and constitutes its beauty. Wc even imitate FkLix Weingartner fa The Post-Bccthovcn Symphon- and this danger. Let us then retain of the new ideas |ton, not only on the wind, but also on th what is best and most profitable: instruments; nay, even o:i the pianoforte.’ THE ETUDE SEPTEMBER 1920 Page 593 Page 592 SEPTEMBER 1920 THE ETUDE six scholars. .They all resided together and contrivances are possible, either in the way 0f fingering had meals in common. ’ “ f ample allowance had origins b heel» >“ £ as those who are the unfortunate possessors of hands he blushingly confessed his knees would not go or otherwise, for large hands and bodies. OSEPH HAYDN seems to us now a “ ' the board, lodging and clothing pf the the piano, and also that he always felt cramped and How often, after inspecting the hand of a great J lolars, the increased cost of living re and bodies too. large. A tall man, six feet and over, figure of the remote past, so great uncomfortable at the keyboard; in short, as 1 artist do we hear exclamations of wonder at the feats Ited in the boys ot Ilaydns time being with hands and arms in proportion to his size, at a reg¬ have been the changes in the world orly fed and scantily clad, thing were a misfit. When the hand is too Hrge and oerformed, as it is indisputable that they are in many of music since he lived. But his name it thirteen Haydn tried to compose n ulation-sized keyboard (grand piano) looks like one the keys do not correspond in size contraction becomes iss hut was ridiculed by Iteutter, and instances exceedingly small. It is not size, but ,nanipil. will "always be read in the golden book ins? full of good sense at that early whose tailor has given him a suit of clothes too small necessary. This is especially difficult when performing , was aware, therefore lation that counts, and fingering can be considered one of classical music, and whatever the revo¬ for him, and is a pathetic object to one who knows what the delicate cadenzas so lavishly used in compositions of of the most important factors in the success of an the correct position at the piano should be. Chopin and Liszt, where lightness and delicacy are lutionary processes of the art may bring, artist A medium hand, well proportioned, is a boon A gifted young man whom I taught for several essential. The fingers are too thick and clumsy to go the time will never come when his most years was my first experience of the kind, and at the between the keys, and their very bulk prevents an artis¬ to a pianist, but even a very small, narrow hand. ls not important works will be forgotten. Com¬ sated such an obstacle to the acquirement of a fluent technic pared with Mozart, however, we notice a time caused me some consternation until I had studied tic performance, which is never denied the lighter lin¬ his1 origin al- his needs and adapted myself to them accordingly. He gered performr. as is the large, unwieldy hand with thick fingers, all out strange dissimilarity. The popularity of first seated himself at a great distance from the key¬ While thousands of ways and means are devised tor of orooortioVto the keyboard. Haydn has decreased while that of Mo¬ *tyLike Rousseau he bought, at a second¬ board. I immediately proceeded to correct him, when developing the pianist with small hands and bodies, few zart has considerably increased since their hand shop some theoretical books, among day; In fact, while Haydn in his life¬ others Gradus ad Parnassum of Lux and time became a dominating figure m the Mattheson’s Vollkommcncr Caprllmeister, world of music and reaped a rich harvest dry treatises which Haydn made his con¬ The Charm of Proportion in Music of fame and earthly goods, only a few of stant companions. Without either money the immense quantity of his works have or fire, shivering with cold ill his garret, oppressed with sleep as he pursued his By Francesco Berger preserved their vitality up to the present time On the contrary, Mozart, who had studies to a late hour of the night by the Art has been described as sublimated Nature, and side of a harpischord out of repair and ing us to grope about in the dark and find a way out to fight with squalid misery and was Most instruction books that deal with musical com¬ some of Nature’s laws have thejr parallel in art, notably falling to pieces in all parts, he was still as best we can. Even when we do emerge it is not into buried in the grave of the poor, has risen position tell us a lot about chords and discords, and in music Nature is full of symmetry and proportion. happy. The days and years flew on rapid bright sunshine, though we feel thankful for partial after his death to the most exalted height resolutions, false relations, progressions, accents, Those works of hers which are not symmetrical and wings, and he has often said that he never light after cold and damp obscurity. And, in a piece of and his instrumental works as well as rhythm and other purely technical matters. They tell enjoyed such felicity at any other period this length the total absence of all coda is an offense proportionate strike us as freaks. The human body is us a good deal about what to avoid, but very little, if his operas have still in cur modern day .of his life, Although it may sound para¬ against good taste. This as though the friend with an illustration. Every part of it, however different in anything, about how to proceed in constructing a piece a place of honor on the stage and on the doxical, these hardships and obstacles whom we had been conversing abruptly left us without shape or function, stands in complete relation with of music in order to make it completely satisfactory. concert platform. It will be interesting were instrumental in fecundating and the customary “good-bye.” every other—each concedes something to the others to investigate the reasons for this odd fructifying his genius, and to this self¬ There is one quality to be named presently which is That Schumann could, when he chose, compose pieces and receives like consideration from them. Not any dispensation of fortune. very essential in a “completely satisfactory” composi¬ one of them encroaches on the domain of the rest. teaching Hadyn owes, most likely, the with none of these blemishes, he clearly shows in the Haydn's life was a long, sane and, on tion, and which is not always to be found even in works finish of his Novelettcn and in his Traum es wvnren, Any violation of this produces ugliness, monstrosity, gigantic steps he made in art. the whole, fortunate existence. For many At the age of nineteen he was expelled by the “classics.” I do not claim to be the first to have both of which are perfect models of construction, deformity. A dwarf, a giant, a hunchback, are not years he remained obscure, but if he had discovered it. Others may have noticed its presence or and one has only to think of his stupendous Etudes from the class of choristers in conse¬ pretty objects to contemplate. A piece of music should his time of trial he never experienced a quence of a mischief he perpetrated, cut¬ absence, too, and may have felt about it as I do. But Symphoniques to recall examples of the happiest blend not resemble one of these. time of real failure. With practical wis¬ ting off the pig-tail of one of his com¬ very few have written about it with the consideration of matter with manner. In a full-grown tree we have another illustration of dom he conquered the fates and became which its importance deserves. Another instance of remarkable proportion is Chopin’s rades. Obliged to seek a shelter, chance Nature’s conformity to symmetry and pm portion. eminent. In the history of art his posi¬ It may be urged that in musical composition, as in hipromptu in A flat. Note how well the second “sub¬ threw in his way a wig-maker named Trunk, branches, twigs, leaves, blossom, fruit, have tion is of the first importance. He was all other pursuits, genius makes laws unto itself. This ject” contrasts with, and yet fits on to the first. How Keller, who, when at the cathedral, had each their proper place, their proper shape, their proper the originator of the string quartet and is doubtless true, but we are not all possessed of so-- ingeniously, by means of one note only, we find our¬ often admired the beauty of the boy’s of the symphony and he established the called “genius.” The advice which one offers to Smith, selves deported out of A flat major into F minor, and purpose. The fruit does not grow out of the trunk, the voice, and who offered him an asylum. basis of the modern orchestra. Without Jones or Robinson, is not needed by a Beethoven or how naturally we “return home to tea.” How reluc¬ leaves do not grow out of the fruit, the branches do Keller received him as a- son, sharing Mendelssohn. Genius such as theirs has the right to break tantly we part company at the end of the piece with not sprout from the ground. And as man’s eye follows him Beethoven would have been lmpos- with him his humble fare and charging away from existing laws, for it has the power to invent just sufficient lingering, but not a too-protracted fare¬ the upward growth of the tree it detects a graduated Secrets of the Success of Great his wife with the care of his clothing fresh ones. Though Shakespeare allotted a sea-coast to well. Contrast, proportion, symmetry are all employed, diminuendo of expansion leading to one or several Haydn was, consequently, able to pur¬ i Ilnyrti sue his studies. His residence here had, an inland country, he remains Shakespeare. And even but woven into the texture of the composition by the points and traveling downward encounters a rallentando iy of Marc it Rohrau, a small however, a fatal influence on his future had he been guilty of grammatical errors he would still hand of the great artist who knows how “to hide his of movement ending in the stationary root. A piece of Musicians life. Keller had two daughters. His stand where he stands. But there is no excuse for music should resemble a perfectly grown oak tree. wife and he soon planned to marry one others, not Shakespeares, to be at fault in their geog¬ A piece of moderate length exacts a moderately long The greatest composers of the past were able to com¬ raphy, or to use bad grammar. coda. Those that end without any at all resemble a By COMMENDATORE EUGENIO DI PIRANI of them to the young musician, and spoke bine in their works the two essentials of musical com¬ to him on the subject. Haydn, absorbed The quality I have in mind is “proportion.” Only in horse clipped of its most elegant appendage—its tail. position. They had much to say, and knew how best to a limited number of existing works do we find it in On the other hand, too long a coda is redundant and in his own meditations, made no objec¬ tell it. The “what” and the “how” of their work were t Frankfort- m . . .. tn this sefies 'vert: Chopin (February, rp/p); Verdi (April); Ruben- perfection. Many a piece of music that has other exasperating. Beethoven has, in the finale of one of tion. It is easy to understand that such in equal proportion. Others had a less important mes¬ y a little on ne prernous m^Jo**** J &rK« (September); Crieg merits is lacking in this one, and, fine though it be, it his symphonies, fallen into this error, and Sterndale r church he an union was anything rather than happy. sage to deliver, but compensated for this by exquisite would have been finer still if the composer had pos¬ Bennett has spoiled many of his pianoforte pieces by '<*»’• Schumann (February); Schubert As Haydn himself remarked, it did net workmanship. Of these it has been ironically remarked h of Joseph sessed a keener sense of proportion. “cropping” them. his peaceful V(March); Mendelssohn (April); Beethoven (May); Handel (June) and Bach (July). matter to her whether he were a cobbler that “they expressed beautifully the nothing they had To pass from the general to the particular, let us As a general rule, the “subject” should be announced or an artist. She used his manuscript to say.” Some of the ultra-modernists, however, fling ami the child sawed an accompam- compare such a piece as Beethoven’s well-known An¬ in the simplest, most unadorned fashion. Embellish¬ on an improvised fiddle, scores as curling papers and underlays for aside time-honored methods, hurl at us chunks of ill- dante in F with Schumann’s Aufschwung. The contrast ment of theme, ornamentation of passages, recherche lousin of the Cartwright, whose name the pastry, and wrote to him later, when shapen matter—hit us in the eye, offend us in the ear, ?raiikh a schoolmaster at Hflinburi,, in their treatment will at once be striking. In Beethoven harmonization, and other metamorphoses should follow, to Rohrau one Sunday and assisted he was in England, for money to buy “a outrage our love of order, of symmetry, of proportion. e trio He remarked that the child, Josef Haydn widow home,” in the belief that Haydn the length of each section, the choice of tonality in giving the effect of quasi afterthought. If, after excur¬ scarcely six years, old, kept the time which these are presented, the repetition of the first sions into foreign lands, you grow homesick and return Personally, I have long since made my choice. I astonishing precision, and as he was _ would die before he returned. would rather hear a piece that tells me little that is acquainted with music he proposed to ~ - " " \ jn ]759 prince Esterhazy, a Hungarian “subject” varied every time by more and more elabora¬ to your native hearth, do so with as little as possible of elat ions to take little Joseph to his tion, the judicious length of the coda, with just a acquired trappings. Raff does this most successfully in absolutely new, but tells it in polished terms, than listen and to teach him the first elements of , 'I nobleman of enormous wealth and pas- to one bristling with novelty but devoid of finish. • • He set out accordingly for Ham- -—sionately devoted to music, appointed final hint of the opening—all these points combine to his clever Giga con variasioni in ,D minor. in 1738. Frankh, who gave h: produce balance and proportion which satisfy the dis¬ Do not build up an entire movement on too slight or Others may feel differently about this, and probably the 1Hnydn*s** own ''expression, Haydn as vice-capellmcister in his serv¬ matter will ever remain a question of taste. cuffs t • erbread,” soon taught ice. It was certainly a providential event for Haydn, for criminating taste of the artist and are interesting even too short a “figure.” Do not belabor your initial figure >nly to play facility in music that even in my sixth year I w ■s bold bis young pupn mu it freed him from anxiety about his daily bread; but the to the uninitiated. a I’outrance. The incessant iteration of the same or Much music of the day (I could name the composers, lin and other instruments, enough to sing some masses m the choir to sing at the parish desk piece conditions of the agreement would be considered to-day And now, consider Schumann. The opening phrase very similar groups of notes on the same rhythmic but prefer to leave their identification to the reader) Haydn had been two years with Frankh when _ tat ion through the district. Incr fnr an artist. Here are some of is impassioned and promising enough, though tech¬ division becomes wearisome, a#d gives to the piece too strikes one as being mainly experimental, and, though of good fortune befell him. Chance brought to Frankh s s utterly humiliating for an artist, nically all but impracticable for the average hand. But much the character of an etude, suitable for study but experiments are very laudable in their object, they are A drummer being wanted for a local procession, young home Reutter, the Court Capellmeister of St Stephen them: _ it is “cut off in its prime,” not permitted to develop, not for relaxation or public performance. scarcely fit to be practiced in public. There is no sign Haydn undertook the part. Unfortunately he « cathedral church of Vienna. He was m search of chi - “When the orchestra shall be summoned to perform stunted to eight bars, and hustled aside to make room Select the tonalities of your main “subjects” with of our young composers being lacking in ideas or in small of stature that the instrument had to >e c.^ied dren to recruit his choir. The schoolmaster proposed his before company, the vice-capellmeister and all the mu¬ for a second “subject,” which so eagerly intrudes that care and discretion. Do not, for mere “cussedness” daring, but it is to be hoped they will show themselves before him on the back of a colleague. That this col¬ little relative. Reutter gave him a canon to sing at sight sicians shall appear in uniform, and the said Joseph even its tonality is not happily chosen. Having ac¬ place a subject in C flat when C would answer your more in sympathy with the charm of melodious simplic¬ league happened to be a hunchback only made the inci¬ The precision, purity of tone, the expression with which Haydn shall take care that he and the members of the corded no development to A, the composer proceeds purpose quite as well. There are plenty of remote to¬ ity, the charm of healthy material and the charm of dent more ludicrous. Haydn had rather a partiality for the child executed it, surprised him, but he was especially orchestra shall appear in white stockings, white linen, and to allot an overdose to B, and soon (as is not infrequent nalities for you to wander into, even if you start from proportion. It is time that the bizarre, the morbid, and the drum, “a satisfying instrument,” as Mereffith iay , charmed with the beauty of his voice. He only«uarked either with a pigtail or a tiewig.” with him) we are dragged into the growling depths of familiar ground; and remember, it is easier to get the dl-shapen were allowed to requiescat in pace. “because of its rotundity.” According to Pohl, the par that he did not shake and asked him: How is it that you “He shall abstain from undue familiarity and from the keyboard and held there until we sigh for relief. abroad than to find your road back. Even Chopin, I venture to suggest the following doggerel recipe: ticular instrument upon which he performed on tb* oc - cannot shake?” “How can you expect me to shake, re¬ vulgarity in eating, drinking and conversation.” We feel as though the train by which we are traveling great master as he was, has sometimes narrowly escaped “Classic sonata or wild rhapsodie, sion is still preserved in the choir of the church of Ham- plied the boy, “when Herr Frankh himself cannot shake. a bungle on his way home. These and other similar conditions have afforded matter has plunged into a tunnel and has broken down, forc- The more you prune them the better they be.” The great man, then drawing the child toward him, for aSgood deal of astonishment and indignation at the bUThe schoolmaster’s wife seems to have had peculiar taught him to make the vibrations in his throat reclmr) He was succeeded by his brother Nioo-jnico- and profit from the recent issues of THE ETUDE. It is fine to know that our efforts Anton diedrU762)■ awake of all musical journals but we are mos ofallw,de; always able to avoid spots of dirt on my old. along with him. Vienna was now to be Haydn s in the soubriquet of “The Magnificent.” are appreciated. We feel that something new and big has come into the world, delivered promptly to all our readers. The war DlavedTav- U J°T Nicolaus loved osttstentation *. and glitter above all things, wear- bom of the sacrifices of the great war. Music everywhere has taken on a new life departments of many papers. Clerical workers were h hj subscription which I was dreadfully ashamed” home for ten years. ing a uniform bedecked>edecked with diamonds.diamonds, Hen loved music, At all events, even if deplorably neglected in these >r himself and played the “baryton,” a and we are doing our best to keep you in tune with it, by keeping ourselves in tune :s of war job, N™that i^are ft was a performer himself and played the with it. This is the time when all music lovers must be e/l rapport with the great personal matters, he was really making progress with his Man>■interesting details must nave prompt, courteous service and we shall see that pulse of the music world. art Havdn himself, looking back upon these days, says SEPTEMBER 1920 Page 595

THE ETUDE THE ETUDE

Page 594 SEPTEMBER 1920 and thought it would flatter him if he himself learned to this devotion powerful monarchs rewarded him with — S’,hr -1 handle the baryton. This was a mistake, for when Haydn their high patronage. In our democratic times we made his debut with the instrument the prince gave him 10 Vi'nna ,he B"tho”" * to understand that he disapproved of. such'rivalry. Haydn surely not recommend such servility as worthy of mut arranged to have lessons from him. It .s generally wrote a surprising amount of music lor the baryton, no tion, although we must take notice of the fact that th« known that these lessons were practically a failure for fewer than oue hundred and seventy-hve compositions They have gone to oblivion together with the instrument was one of the principal causes of the artistic and pecu¬ Havdn after his great London success hail grown above which called them into life. niary success of Haydn. Bad enough that other great giving lessons even to a promising genius. In Vienna musicians who-like Mozart and Beethoven-disdained he was the idol of society and his whole time was occu- At this time he wrote also several quartets and sym- to “stoop to conquer” had to suffer in consequence o pied by engagements of many kinds and it cannot be I phonies. His fame was now manifestly spreading. Thus their noble pride. , *pri he neglected his pupil. the Wiener Diarium for 1766 includes him among the We have seen that Haydn’s marital life was far- from His second visit to London was still more successful. | most distinguished musicians of Vienna, and describes happy. It is therefore no wonder that Haydn sought Haydn remarked in his diary: “It is only m England him as “the darling of our nation.” “His amiable dis¬ compensation in some other affection. Among the mu¬ that one can earn 4,000 Gulden in one evening. He was was hard put to it to reach a final choice' and arrange¬ position,” says the panegyrist, “speaks through every one in assiduous study for thirteen years, appearing in public sicians who had been engaged for the Esterhazy service often invited to Carlton House by the Prince of Wales, This problem is not a new one to you, Miss or Mr. ment. It was too bad that she had to discard some ot of his works. His music has beauty, purity and a deli¬ only two or three times in all that time, until he emerged, were a couple named Polzelli; the husband a violinist, the who was himself a distinguished amateur; only he some¬ Graduate, for all through your course you have been the songs she did best, some modern French, but their cate and nobie simplicity which commends it to every in 1882, to astonish and conquer with his beautiful art. wife a second-rate vocalist. Luigia was a lively Italian times forgot to pay the soloists. Haydn, after waiting seeking more light to help you to a solution. You have appeal was too subtle, especially as the high potentate hearer.” If such is your goal, count the cost, for cost it will m girl of nineteen. Also her marriage seems not to have several monffis, at 1 ist sent from Vienna a bill for 100 talked of it often with your fellow-students. You have would not stand for the printing of the words on the In regard to his personal appearance, his biographers time, health, work and money. If your assets permit been made in Heaven, and Haydn first pitied her and guineas for twenty-six attendances at Carlton House, a ,-ead biographies of successful composers and perform¬ program. . , . . say that Haydn was below the middle height and his such expenditure, you may work patiently and steadily ultimately fell passionately in love with her. Signora very moderate demand which was discharged at once. ers in order to catch something of the inspiration, and If this is such a problem for the trained singer, 1 is legs were somewhat too short for his body. His expres¬ One of Haydn’s most original souvenirs followed him toward the high mark of an artist career. still more difficult for the pianist. It is a necessity to sion was animated, yet at the same time temperate and to sense some of the dynamic force back of their suc¬ to Vienna from a Leicester manufacturer who sent him have a full repertoire, representing various styles, moods gentle. His face wore a stern look when in repose, but » Mozart, Haydn t cess. You have devoured articles in The Etude advis¬ a complimentary letter accompanied by six pairs of All Beginnings Are Hard and schools, always including a bountiful proportion of in conversation it was smiling and cheerful. His nose ing you how to adjust yourself to ideals on one hand and All beginnings are difficult, but they are no); by any Chopin, because of his combination of poetry, technical was aquiline and disfigured by a polypus, which he always Wished eighty stockings into which were woven airs from Haydns to practical conditions on the other hand. tie Seven V‘" ds of Our compositions. Another curious gift was that ui a talk¬ You have already partly answered this vital question means so difficult as they once were, owing to the mul¬ demands, pure music, and grateful piano idioms. It is refused to have removed, and his face was deeply pitted iviotir on the Cross. This orator he compos .. for Cadiz. titude of clubs studying or fostering music. Of course, wiser to have at command a dozen comparatively short with the smallpox. This latter disease was probably the avdn tells us about this solem The bishop ing parrot which was sold for 1,400 florins after I laydn’s by specializing, to some degree, in your studies. Your major study has been the piano, or organ, or singing. with these possible openings it is easier to gam entrance numbers rather than a group of six long ones. Not only- cause of the dark complexion which earned him the by¬ icended the pulpit, pronounced o death. ‘ Two Famous Oratorios if vou have a name or prestige. Now, prestige is built can the shorter selections .be grouped more easily into name of “the Moor.” His underlip was large and hang¬ The twig has already been bent and the tree inclines in a definite direction toward some particular line of work. from small beginnings. To gain- a foothold on the first different mood-schemes to suit the occasion, but they ing, his jaw massive. It is peculiar that the Creation and the Seasons, the h discourse. Thi: work created a profound impres- This in itself is a great help, for you must be competent make less strenuous demands upon the atte'1‘I°^ °f i Haydn considered himself an ugly man and felicitated It was published fterwards with choruses and solos, two most important works of Haydn, were children of o have preferred it to all his other to do one thing very well. Every large city has in its average listener. At an exhibition at our Albright Art himself on the fact that it must be for something deeper old age. The first of the two met with some hostility business district expert window-cleaners, who do nothing Gallery in Buffalo, I noticed that the public gave rather than beauty that so many women fell in love with him! The Visit to London from his contemporaries. Schiller called it "a meaning¬ perfunctory notice to the large group canvases but re¬ In fact, Haydn took considerable pains to attract the else but clean windows. The ordinary charwoman is no With the death of the Prince in 1790 the Esterhazy less hodge-podge" and Beethoven made merry over its peatedly little groups of people would center about the fairer sex, and he was never at a loss for the suave turn¬ imitation of beasts and birds. The best par: of it are. longer eligible for that job. chapter of Haydn’s artistic career came to a close, and Assuming that your studies have equipped you tech¬ smaller one-subject pictures. Similarly, we care little ing of a compliment. To the day of his death he would however not those imitating natural sounds, but those Haydn embraced the opportunity to carry out the long nically and theoretically for your life work, you are for three-volume novels any more, but a short story of never receive visitors unless he was fully dressed; and meditated project of paying his first visit to London. which suggest the glorious phenomena of the creation, Maupassant or O. Henry gives us just the right-timed the arrangement of his room was so exact and methodical facing a world and wondering What? and the world is The violinist Salomon was going to organize in Lon¬ the sun, the moon, the ocean, etc. also asking of you, What? You are bewildered because, thrill Perhaps our modern emphasis upon concentra¬ that the least disorder caused him much annoyance. The don a series of concerts on a large scale and he went to although you have already studied and know a great deal tion of attention dulls the sense of the composite. This plan which he had laid down for himself in his eighteenth ons bear* signs of mental Vienna to engage Haydn. It was no easy decision to i not congenial to the out about music, you have not studied and do not know much is the day of the short-time -fuse. , Gems such as the year he continued, with very little alteration, to the end epb once nuked linydn which of the embark on such an extensive journey. First of all he of the big complex called the world. You hesitate before JEolian Harp and Butterfly etudes of Chopin require of his life. It was one of incessant industry, and it was near sixty. One of his reasons for his hesitation angels speak, and their talk Is of God the x, y, z of inexperience. Henceforth you will have only a couple pf minutes for performance. Yet think might serve to prove the exception to the rule which Seasons no one higher speaks than the funner was the deep attachment to Mozart. “I only wish,” he to study the world as well as your profession. of their availability as units in the kaleidoscope of almost characterizes all genius as whimsical and irregular. Both oratorios, however, added considerably to I said, “I could impress upon every great man the same fame and fortune. The effort was too much for In Fortunately the world is not a sphinx, and to your any program. Haydn spoke in the broad Austrian dialect, and his con¬ illness followed, which left him a broken man lo deep sympathy and profound appreciation I myself feel What? it answers definitely, “Seek, and ye shall find.” What Dr. Mason Did versation was sprinkled with the humorous turns of ex¬ exclaimed : "The Seasons brought on my weukneK-, for Mozart’s inimitable music; then all nations would never to have undertaken that work.” 11c compos Be assured the world is full of possibilities, and full of Are you expecting to teach? Teaching is the most pression common to the Austrian people. He spoke vie with each other to possess such a genius within their little after that. friends, the very things you are seeking. fruitful thing one can do. What won the war. e Italian fluently and a little French. After several years of seclusion llaydn appeared frontiers. It enrages me to think that the unparalleled lie for the last time (1808) when the Creation « So long as men are imperfect, and weak, and ignorant, man at the front, of course, hut it was because he was Mozart is not yet engaged at any Imperial Court. I love formed in Vienna. Salieri conducted. Haydn a • and as long as conditions and instruments are imperfect, the agent applying the work of the professor of chem¬ Hadyn’s Income into the Hall of the University where the concert w: that man so dearly!” Mozart heartily reciprocated this u-as announced by a burst or trumpets and drums there will be opportunities. Applied to things musical, istry or of mechanics—the teacher. Wilson was a The salary he received was not large as we would now affection. loud cheers of the audience. Haydn wns so mm h over the enthusiasm that it was thought well t" t: that means that your opportunities are endless, because - teacher, Clemenceau was a teacher, Orlando was a consider it—about $390 yearly, in addition to which he This noble trait alone -would stamp Haydn as a lofty home at the conclusion of the first pari. As he was there never has been a perfect performance or per¬ teacher. Many of the greatest men of the present time had certain allowances in kind—but it was sufficient to out Beethoven stooped to kiss his hnnds and fordo-;, former or instrument or composition, nor a perfect un¬ figure in art. It sounds almost like fiction that a musician Haydri died May 31, 1800, at the age of 77 > have been teachers. Fundamentally even our great free him from financial worry, had it not been for the —unfortunately musicians are Inclined to jealousy and envy—should feel so deep a veneration for a younger rival Vienna was being bombarded by the French. <»■ t derstanding of what music is and may be. artists are teachers, showing us how to co-ordinate all extravagance and bad management of his wife. His of June Mozart’s Requiem was performed at the s the factors necessary to a fine interpretation of a beauti¬ and—what is more—give him the benefit of such an enthu¬ Kirche. Many French officers were among tlic ... compositions also brought him some profits. He may siastic testimonial which would alone suffice to establish his fame. We should all take this wonderful example of the guard of honor wns chiefly composed of Fr.-m-h How Bach Overcame Imperfections ful idea. There isn’t one chance in a million for one to have saved £200 before 1796, the year he started for altruism as our guiding star. “Oh, papa!” Mozart said to Haydn had a kind of fear of his own narrow imliv A few illustrations from the life of Bach will help us develop into a great artist. It takes phenomenal endow¬ London. . The fact is that when he set out for the English Haydn, in loving anxiety over his departure for England; which he considered often an obstacle to the free fli “you have had no education for the wTide, wide world, and fantasy and invention. He frequently put down on to appraise this pregnant fact. His instruments had ment, a congenial soil, and an iron determination to pro¬ capital he had not only to draw upon the generosity of you speak so few languages.” Haydn answered: “My lan¬ certain number of notes taken at random, marked i three defects. They were tuned in such a way that one duce such a rara avis. But as a teacher there are endless the prince for the cost of the journey,, but had to sell guage is understood all over the world;” and obliged himself to make something ont of U • possibilities of development, advancement and usefulness At length Salomon won the point and everything was ar¬ could only play in a few keys; the “fingering” used m his home to provide for his wife until his return. ranged for the London visit. Haydn was to have: Bland, a London publisher, had been sent over to playing them permitted only limited possibilities; and the Although we can count music teachers by the tens ot Fifteen hundred dollars for six symphonies: One thousand dollars for twenty new compositions to he Vienna by Salomon (1787) to coax Haydn into an en¬ musical effects were restricted to a narrow range. Those thousands, our teaching is only stirring the surface. In and songs, the music lor produced by himself at the same number of concerts, and gagement. When he was admitted he found the com¬ three imperfections were three doors of opportunity for a vast number of cases, taking in every effort, the teach¬ •h he was partieulary f( ing is pitiably inadequate. Do you realize the pulsating and the greater part of his orchestral and chamber wo SOne thousand dollars for a benefit concert. poser in the act of shaving, and complaining of the every musician living in 1700. Bach saw those three and The operatic works were essentially pieces d’ occasion The composer paid his traveling expenses, being assisted bluntness of the razor. “I would give my best quartet many others, and seized the opportunity. He improved William Benbow push and progress of our modern educational methods; most of them have perished. ' ’ t matter by a~ A college president said recently that a text-book over Hardn like all geniuses, had a host of opponents. florins from the prince, for ? good razor!” Bland immediately rah hack to his the tuning for larger musical purposes, he enlarged the 1778' he applied for membership to the Tonkiinstlev The hospitality with received In London lodging and re'urning with his own razors of good Eng¬ scope of fingering, and in an attempt to amplify .the round upward you should have a good sizeable repertoire, five years old is out of date. Now, unless the recent tuI whom he had„„„ written...__o his orator: II ritorno di gratified HaydnmftL. extrem_ __ .. ; Frau von Gen- musical forces have been simply marking time, something Tobin. One would ‘have expected such a body to receive amiable and highly cultivated woman, for whom lish steel, presented them to Haydn, who gave him in range of effects of the instruments themselves, he devised always polished and ready for the moment when Oppor¬ him with open arms. Instead of that they asked a sum he entertained a pure and elevating friendship, t ,- . exchange his latest quartet still familiarly known as the a piano with catgut strings, which he called the lauten- tunity cries, “You’re next!” Try to realize what work of the kind is true of our musical text-books. The newer of 300 florins for the admission and the promise to com¬ enee in London having been announced in all newspapers hooks are striving to teach by more attractive methods pose for them whenever they chose to ask him. These within three days of his arrival, and he had received the Rasirmesser Quartett (Razor quartet). clavicymbalum, and in seeking an effect blending be¬ it entails just to keep what you have worked for so long exorbitant conditions, probably dictated by enlousv were most flattering attentions from the nobility. Haydn soon tween a ’cello and a viola, he invented his viola pomposa and hard semper paratus. In the vast majority of cases in order to bring about a quicker appreciation They not accepted by Haydn, and he withdrew his application gauged the musical taste of the English public. He doubted Elements in Hadyn’s Success are based upon a more satisfactory physiological prac¬ As often happens with similar musical organizations, they as to which of two evils he should choose; whether to insist These improvements had to do only with mechanical the call comes suddenly and demands immediate service. delay the recognition of a fellow-musician until he has be¬ on his stipulated composition being placed in the first part The reduced circumstances of his youth which pre¬ processes. If we were to dwell upon the improvements So often meetings, social, political, church, club, etc. are tice There is an immense field for fresh material in come famous, and then, when he does not need their support of the concert program, when its effect would have been vented him from taking lessons, which would probably connection with both technical and theoretical instruction. anv more, they run after him and are eager to honor him. marred by the continual noisy entrance of late comers, or he made in musical forms, etc., this would be too lengthy arranged at short notice, and the musical provision is How can you dilute and sugar five-finger and scale In ‘ fact later after his second visit to London, when the in the second, when a considerable portion of the audience have moulded his genius into narrow, restraining rules an article. , „ . not considered till the eleventh hour, then the artist gets entire world hailed him as a musical hero, the Tonkiinstler would be asleep before it began ! Haydn chose the hitter and, as often happens, dimmed his originality. practice? That question came to Dr William Mason Societat welcomed Haydn at a special i as the preferable alternative and the loud chord (Pauken- There is not a city or town in the country, from Greater his hurry call to “furnish some selections.” There s no one voice appointed him “assessor seenior” for life. In re- schlag) of the Andante-in his Surprif "’imphony h The hardships he had to suffer during the time of his New York to Sleepy Eye, that does not present musical time to “practice up,” to “brush up,” or to “look up some¬ ust as it will to you. We all know how he combined turn for this distinction Haydn was „—--- to have been a very comical device he artistic development which, compelling him to seek his the old practice with a new application, namely, with enough to forget the previous affront„„„„„ __.oand t present the the slumberers. conditions which may be improved. There always will be thing.” „ accents and varieties of touch. Take the scale up three society with his lmmr-‘“ oratorios,—*-- The Creationn~“ and The own way without any guidance, instead of harming hjs people who want pleasure, stimulation, or instruction in What Are You Going to Play? Seasons. On this occasion Haydn witnessed a “Handel Festival.” career resulted in fecundating and fructifying his musi¬ octaves with accents by 9’s, which was his favorite type. music. The situation reminds us of Edison, when he When the chance beckons, what are you going to play? He had never before heard a performance in which the cal gifts. Analyze all that means. Independence of fingers, smooth- If Haydn was thus less appreciated at home than he looked at the mighty waves of the Atlantic and said it This is probably more important than you think. By the orchestra and the chorus together numbered a thousand His obsequiousness toward those who stood highest ness, floating wrist, velocity, endurance, strong rhythmic deserved to be, there were others who knew the full drove him fairly crazy to see such power go to waste compositions you elect to play you are to make a first persons. The solo singers and instrumentalists were the upon the social ladder, which won him their patronage, sense on both main and subordinate divisions and con- value of his work. The king of Spain, to whom Haydn Not only are there open doors to every avenue, but at impression upon people whose favor is an asset. A goo best of the day. A guinea was the price of admission honors and wealth. Haydn was evidently satisfied that centration of attention. I placed attention last, but it sent the score of his opera, L’isola Disabitata, showed every door is a person, a potential friend, ready to hear first impression is like rolling a ball downhill. It is the and an advertisement in the Gazetteer announced that was one of the chief considerations m Mason s use, lor his sense of the honor by the gift of a gold snuff-box it was the duty of an artist to pay homage to the mighty your playing, your interpretation, your instruction, your first push that gives it a good start; the following im¬ “ladies will not be admitted in hats and are par¬ of the earth. it made the student think all the time. The pupil simply set in brilliants. Other marks of royal attention were inspiration. Facing this willingness to give you an audi- pressions, if favorable, simply add to the original impetus ticularly requested to come without feathers and with could not be a listless automaton. bestowed upon him by Prince Henry of Prussia, who The practical trend of his nature which, in spite of his ence what can you contribute? Do you wish to special- and accelerate the tempo. But a poor first impression very small hoops if any.” When at the Hallelujah This idea of nucleating a number of lines of develop¬ sent him a gold medal and his portrait in return for the lofty ideals, did not allow him to lose sight of the fact ize as a pianist? Then remember that everyone is a makes uphill work, where one must both lift and push. Chorus the whole assembly, including the King, rose to ment about one single operation or process will be one dedication of six new quartets: and King Wilhelm, who that ‘‘the jingling of the guinea helps the hurt that honor pianist nowadays, so you must have an exceptions As accompanist I was rehearsing for a concert with a their feet, Haydn wept like a child, exclaiming in over¬ feels. of the profitable to you as a teacher. When I gradu¬ gave him the famous gold ring which Haydn used to pianism to make any pronounced impression. Every singer who has sung hundreds of times m public. There powering emotion, “Handel is the master of us all!” ated from high school I was given a hunting-case watch regard as a talisman, which he always wore when The unselfish recognition and ungrudging praise he crossroads boasts of an infant prodigy these days. You she stood, with 300 songs she knew from memory^ But Haydn received at Oxford the degree of Doctor of and the separate watch-key. It was a very small key, composing. bestowed upon his fellow artists, which found the noblest know the story of de Pachmann. Although a graduate as neither of us knew anything of the musica caliber of Music and his Oxford Symphony, composed for the easily lost or mislaid. I had to press a spring to open Haydn no doubt catered to the favor of royalty. The expression in his behavior toward the transcending of a Vienna school, after making a tour in Russia he the expected audience, members of several lodges, she miraculous power he attributed to that ring is a proof occasion, was performed with great applause. His Doc¬ Mozart. was so dissatisfied with his work that he buried himself that, according to his views, “inferior beings” owe a tor’s degree had some influence in causing him to be In Haydn we revere: real worship to the mighty of the earth. In return for unusually feted. River parties, picnics and banquets THE FATHER OF THE MODERN SYMPHONY. SEPTEMBER 1920 Page 597 THE ETUDE THE ETUDE \ ' tt- ^ . that his country was just beginning to emerge Page 596 SEPTEMBER 1920 r JThe moral and economic paralysis consequent upon Bach, in the heyday of power and fame apphed for an the lid to see the face of the watch. But by having an organ position in Hamburg ^ to the terrible Thirty Years’ ar. open face and by incorporating a stem-winder those two After graduation-what. ^ ^ instruct ^ annoyances were done away with. More and more this combinational process will be applied to all our teaching inspire and 1**™" material. ministry of your art. The Teachers’ Round Table Wide Opportunities “dear living” in Leipsic, the curtailing of his fees, -It will pay you to study recent developments in public Conducted by N. J. COREY school music. The granting of credit for outside music study opens up a large prospect. Already the demand The Late-in-Life Beginner . . . „Teach” “What to Teach," etc., and not technical problems per- for music supervisors and teachers is greater than the supply, and superintendents of music are fairly clamor¬ By Thomas Tapper taxnmg to Musical ^ ^ ^ ^ accomfany all inquiries. ing for well-equipped instructors trained to public school methods. A splendid chance is here for a modified lec¬ „„„ ri-nintless nice ProbleH1S fof thC middlc'a8ed ture-recital which will explain and illustrate in detail That man or woman is fortunate who, at any time 7hefe f musk to carry about with him from the realm Early Neglect and Later Regret Tschaikowsky; Swing Song, Kroeger; Dance of the and then use repeatedly the best music. Conditions are in life finds that interest in music is arousing mitiatnre. lo,ver 0frmThev a“ fte harmonics of the scale of life. “I finished Koehler’s ten volumes and two Getting Down to Business Elves Grieg; Snowflake Mazurka, Op. 8, No. 2, Von favorable for just such a musical clinic, both in and Many people get into the thirties, fort.cs and beyond Music‘biography will delight him, for it teaches him volumes of Czerny in my first two years of study. “I have a pupil of 18 years who has-been with Wife’; Autumn Idyl, Renard; False Caractenstique, Did I gain anything^by going s°ntu8ta(ter thfs| out of schools, in every State of the Union. before they have any opportunity whatever to satisfy, Another sphere of boundless adventure is looming up nf%mdv She is artistic, intelligent, loves music Gilis; From Norway, Koelling; False Fenitienne, Rm- when'? Entered the Conservatory. But I now see by study and practice, what may be an inborn love to ^ “?tThk dp°riviUe tolh whhCthem:°a how necessary they are with my PuEU8-. jL*JF t in connection with the reproducing musical instruments, must What shall they do if, in the later years they “ap^Trhaps, but still near enough to perceive guet • Babbling Brook, Kern. You can make selection practicing Bach s Well-Tempered clavichord, but which have reached such a marvelous perfection. You from these. Be sure you keep a record of all pieces you my playing never sounds clear. Is this due to lacx fed the love of music still vital and the opportunity of that they are somewhat like himself-seekers after the of finger exercises in the beginning? . . can have on tap in your studio an ideal performance by leisure now for the first time m life, at hand. essenceof life and its truths. He has only to be earnest find successful, each piece under its own grade, for you In teaching should I use a ^r;et/ ofthbe°®kSain Bauer or Godowsky, who have corrected and retouched First they should thank the Father of us all that al and honest to find entrance here. will want to refer to it frequently in your teaching. g^uc°h XMSfa pupB accompUsh in a the record, as a painter his picture, until you have though the increase of their one talent has been deferre , year?”—W. E. * a presentation better than the artist himself could give it need no longer be neglected. And w;th this expression Whys and Wherefores Translating Music The foregoing is the gist of your very long letter. in any one sitting. Try to focus your imagination on of gratitude attended to, they should then busy ‘hem- be hefed? She wishes to become a concert “I have just begun teaching w*d }*« The object of finger exercises is to train those members such a sweep of possibilities as this suggests. It may selves in what will prove to be one of the happiest en¬ Let us now for a moment return to the matters ,,f his¬ pianist."—M. L. atl vice on certain points. I have given easily bring about as great an evolution as the moving tory and appreciation. If our latc-m-bfc begun.. > really npw Beginner’s Boole, and a pupil of four¬ in the way in which they should go. Unless your teacher treats any human being can build. For late - There are certain musicians who seem to exhaust all teen First Steps in Piano Playing. Have I chosen picture. Like it, this instrument will bring you the our beginner will find that there is much land he may £vL to translate music into its essential message "rough correctly? Both pupils are beginners. knew how to apply finger-exercise work, and saw that “atmosphere” of Paris or London, and it will reveal to the sense of hearing and the gateway of understanding . composition con,,™ for »•» .<» . each one was practiced with correct action, correct posi¬ of hearings, and they become tired of it. There are you every fleeting mood-play of the soul of the artist. y6To begin with, he must be sensible and realize that if he will find a mystical, magical world at lus,< imand tion, and properly worked up under these conditions, you There are so many kinds of these reproducing instru¬ he have absolutely no practical knowledge of a mus.cal in the repertoires even of mechanical mstrumc" We others who have been so in the habit of drifting abou were just as well off without them as with them, for from one thing to another for so many years that the Ml £& no^bCe°« gjg ments now on the market that one can procure just what instrument it is too late to give the hand that skill and know of a busy man who is learning to read <>i icstral you would have played them exactly as you probably is wanted for every kind of auditorium. And so many cunning which is needed for the delicate playing even of scores by the simple expedient of nttinft at tb, Mono¬ habit becomes fixed, and their drifting attention can played your pieces. Before deciding for you the cause records have been made that one has at command plenty graph, score in hand, of course. He has the .-thebe only be drawn back by something new, which with equal b°ts I C,P“nA, the first4 iSter^SheS simple things. But let him not despair, for there is much of the muddiness of your Bach, I should need .to know of ammunition for any kind of educational campaign. sense to adjust the instrument to its lowest v me of facility soon becomes tiresome. This is especially discon¬ not understand this.”—K. M. good music that demands motions which he can produce exactly the condition, of your playing mechanism. If It is significant and heartening to be assured that and control and at a speed which he can attain sound. Then he follows each family of instruments, tune certing when the student tires of a piece before 1 is You could not have chosen better than the two books people everywhere want to know more musically. An your fundamental work was completely neglected, nat¬ That is, even the little that is possible to the forty-odd- and time again, until he can grasp the entire ert.cal learned. A recent answer to a similar question, entitled you mention. They represent the best in elementary experienced impresario told me last week that ‘ the urally you would have difficulty, now that you are trying year-old pair of hands has a..lot of downright pleasure measure as readily as if it were for but a single instru¬ teaching. Meanwhile I think it would have been better public will appreciate the very best there is, and thank In Inverse Ratio, may help you. to do advanced work. It is impossible to play Bach well in it The fun there is in making the awkward fingers ment. This man is busy in the realm of large affairs, You say your pupil improvises m a manner that thrills if you had given the fourteen-year-old pupil the new you and pay you for it, if only you will explain it so learn new tricks is rare indeed. And there is always but a page of music and a faithful reproducing instru¬ without complete independence of finger action. A sys¬ her listeners, but that when she writes it down she plays Beginner’s Book also, as the very first principles are they can understand it.” Our land is swarming with tematic course of finger-study would doubtless he a good mastery to be attained in some degree. ment are for him, when the day’s work's'"', that presented in a maimer easier to grasp. The other could people waiting for you to “trouble the waters” and give But there are many people who once upon a time did magic carpet which wafts one to the Delectable aids. it dryly. I should suggest in this case that she should thing for you now, if done under the proper guide, as it them this sort of understanding. never write out her improvisations. The improvisations learn to play the piano a little. It is years, however One who plays a little could then turn to the piano toyou°wwTwrong in telling your pupil that the scale would help you in its application with your pupils. Your since they have touched the keyboard. Now if, with and pick out for himself the parts represented by the of even great musicians have been notoriously dull when . r aicn starts on A. or any other pupils will not prosper as they should, even now that New Creative Opportunities transcribed to paper. If she wishes to compose she these, the love of music is still alive, and opportunity brass, or the wood wind, or the strings, or what not. lettwof thVscale alphabet. What you should have told you are giving them finger exercises, unless you are Some years ago Rubinstein wrote a book in which he comes to give it a little attention, a little worshiping And bit by bit one would take it in and make it ones should study composition in the regular manner, and her was that at the beginning the scale of C was selected training them in their exact and correct use If pupils said, “With the death of Schumann and Chopin ‘finis attention let us call it, one will be surprised and glad¬ keep her improvisations by themselves as a diversion. own. for the key of the first exercises, as it * simply drift through finger exercises, as is the case with musicae,’” meaning particularly “musical creation, mel¬ dened to find that it is possible to awaken the sleeping Thus the late-in-life beginner has many assets, lie This really proves nothing in your question. of the keys to understand, as it contained no black keys, far too many teachers, they would be just as well off ody, thought.” While he was writing that book a new finger motions of earlier years. By some magic then can try inspiring his efforts with love and reverence for I should suggest that your pupil in taking up a new nor sharps nor flats on the staff. At the beginning no wine was working in the spirit of a young Parisian, and cunning is still there, and the physiological psychologists playing pieces. . . music. There is no end of joy in that. With Ins trying composition make a special and analytical study of it. Her further explanation was necessary. Let the pupil learn At the beginning of your teaching experience consequently just ten years after that book appeared an tell us why such acquirements are never wholly erad¬ to play he must learn to listen, and in his listening secure work at present is probably superficial. She skims over all possible in regard to any point, and then explain better that you should confine yourself to one course ot opera with decidedly revolutionary ideas was given in icated. But in the face of our fortune let us never mind definite meaning. Then there will come to him t! e wish the surface and hence soon tires of it. The remedy lies study for those starting. When you thoroughly under¬ Paris. In fact, many thinkers date the beginning of the why of it. . of King Solomon, namely, the possession of an under¬ as much with her as with you. In taking up a new ^IiTregard to the third space C all you need to explain stand it, and have mastered it you may then begin to modern French tendency from that premiere of “Pelleas Then let the late-in-life beginner go to it with a thank¬ standing heart. And by all means, let him read There piece she should give it slow and deliberate practice, to your pupil is that the staff of five lines and four spaces think of varying the list of studies. Meanwhile for be¬ et Melisande,” by Debussy. Men perish, but art en¬ ful heart. There is a lot he can do, and every bit of it are books enough about composers to enable one to be¬ not more than a phrase at a time, and learn it tho is printed on the paper as the place on which the keys ginners I can think of nothing more suitable than the dures. Our art is not a cul-de-sac, so keep an open will be as the joy of heaven to him, even if it isn’t all that come intimate with them. oughly. Learn the entire piece m the same manner. are to be represented, and that each key has its own new Beginner’s Book and the First Steps in Piano Study. mind and an open road. Let me illustrate by a para¬ to his family and neighbors. To-day the world of music Someone has said, “The world do move.” Our music Conquer all difficulties and bring them up to the tempo manner of representation. The reason why she cannot There is material in the new Beginner s Book that every graph from our late Horatio Parker, usually thought of is one of greater activity than ever before in its history. lover will find himself one of a large troubadour band to be maintained for the easier portions Tell her Strike some other C when the note is on the third space elementary student should be taught. It is impossible to as an obdurate conservative. Speaking of Strauss and Let our hero practice all he wants to—systematically and if he will acquaint himself with the wanderings and she must turn over a new leaf in her life if she expects is that it has been decided that the third space shall specify, how much a pupil should accomplish in a year Debussy, he said: “Each composer has a rich, individual, with an objective—but there is much more than this to be to amount to anything in her music. This is the firm represent the first C one octave higher than nnddle C There are two factors in the equation which are most personal, melodic and harmonic vocabulary; each offers done. Even his infantile stumblings over pieces of the doings of great artists through this magazine and the resolve to study thoroughly even to the last detail in Beyond that point no child needs to go. It is all the important, and which vary with pupils. First, the de¬ new and satisfying rhythmic discoveries; each shows a early grades will help him enormously to learn to listen. books of the day. future, abandon completely all idea of rapid pteyw* of information she needs for the time bemg. gree of talent, which varies from none to genius Sec¬ wealth of new and beautiful color.” Therefore all music that he hears will be an ever-increas¬ O late-in-life music lover! If you will Stretch forth any piece until after this preliminary and deliberate ond, the amount of time spent in practice daily I hav? Have you aspirations as a composer? If the urge is ing and developing joy to him because he is learning to your hand and take but a fragment of the good tilings study is accomplished. Establish a repertoire, piece by Rhythm and Weight known some pupils who would never complete the first strong and enduring enough, you will scarcely need or penetrate it with his own thought. Then he can enter that are within your reach, the true kingdom will fill piece, memorizing each one, and keeping themi m P™ book of the first grade in a year. Another of average heed much advice. But if you are seeking rewards let the human world of music and musicians through books your heart and there will shine in your face a radiance “1. Please suggest material for the development tice constantly. Paderewski has not dropped his reper ability with two hours daily practice, will easily cover the me remind you, you must be content and patient to believe and magazines. In fact, he should do this, for it helps by which men can see your good works and glorify Him fere after thirty years and more, but still plays the first and second grades. As you increase in experience that composition, like virtue, is its own reward. Re¬ him secure a knowledge of history and of appreciation. who backgrounds us all. same pieces. She should begin to study in same manner SevTand wrists move^up and down Unnecessarily. you will find you will gradually learn to appraise your member how Thomas Fuller put it: “Poetry is music She is a new P»PU who was taught by another. - and plan to keep up her repertoire, adding and with talent and be able to judge just about how much each will in words, and music is poetry m sound; both excellent W. A. drawing as it may seem best. be able to accomplish in a given time. sauce but they have lived and died poor that made 1 If vou mean by rhythm the simple process of beat¬ them’ their meat.” And in this connection I recall The Established Practice Hour ing' time, vou need nothing special beyond the routine a statement of the editor of The Etude, that he knew Work and Play “What should X give a pupil whok| only two modern composers who made a respectable By Lillian B. Martin ™di". Jpfc»y» r® }<,“r "f Without the Pedals living exclusively from their compositions. Neverthe¬ |lltsngF "by^ur|m“’A|o?hee names of Many of the most famous teachers of the past, sev¬ less, there are favorable times for the would-be com¬ some pieces I can give him?” W. S. eral of them experts with the pedals, have been very So many music students acquire the dangerous habit me Dest way to eliminate this musical laziness is poser who is willing to be discovered. Clubs and exacting in insisting that their pupils practice without establish the practice hour. Be sincere in your musk The Koehler studies are in the second grade, and the schools and publishers are offering all manner of prizes of neglecting the practice hour for some other pursuit —or perhaps recreation. The student frequently ex- endeavor, set a certain time for practice, and when y Burgmuller in the third. Whether or not the Pfed bas the pedals. It is very easy to get a sudden lnc',eabe l" and scholarships and royalties to nurse the budding sound for instance if you use the damper pedal, but have finally established the practice hour, observe done these well enough to advance rapidly ^yondthem -ZwnmdRhy°tLnbyHepler is also mostexcefent genius The conditions are rosy ripe for the American can you get a beautiful crescendo without the use of ^‘‘Ihaven’t had time to practice to-day, but I will make faithfully. You may think it hard to set a certain tii cannot be determined on your Imutal 2 Give her preparatory training m the manner of composer. This whole terraqueous globe seems to be the pedal? Recently the writer spoke to an advanced for practice, as you think you have too many otl Sometimes a pupil who has apparently finished a given using the fingers. Your pupil is Probably playmg afl her waiting for him, and, what’s more, expecting him. up for lost time to-morrow.” student only to find out that she had never tried a But when to-morrow dawns, the same excuse is things to do, but you have the dinner hour and tii set of studies has not acquired sufficient facffityto g{ notes with the wrist. If this is true she will need a When we decipher the code, perhaps the Seven Sisters crescendo or a decrescendo without thepeda. Scales for everything else, so you can set a certain time on, but needs something almost of the sam g . good deal of preliminary training. Select simple pieces of the Pleiades will wigwag an order for a septet, United waiting. form an excellent means of practicing this. Elay Why is it that the practice hour must be constantly practice just as easily. difficulty. You cannot go amiss, however, hy takmg Ld studies and consisting mostly of finger work until crescendo ascending and decrescendo descending. Then States preferred. - . ., • neglected for some other less-important work? The It may seem difficult for the first few days to obsei the third book of the Standard Graded Course, iin you can set up action independently of hands and wrist. Friends are a great asset, and you will find them play decrescendo ascending, and crescendo descending fact is, the student conveniently forgets the practice the practice hour, but if you earnestly comply with nection with the second book of SelecUd'. Studus by Sluggishness that is due to physical constitution will be everywhere. And you will need them. Think of the Czerny-Liebling. Do not use the Standard Giaded You will soon notice a difference in your powers of assistance given Bach in trying times by h.s friends hour, perhaps because he lacks musical interest and established rules you will soon acquire the habit, < animation and thinks the lessons too difficult, and will Course consecutively, but as a guide indicating fe-ogress^ expression. Herda, Erdmann and Gesner. the practice hour will be anticipated, and the work \ gladly perform the hardest work in order to evade the become more pleasant and less difficult. If : Give the Czerny pretty steadily throughout Begin tfe study of Heller, Op. 47. In order to p.an the rights? Don’t Be Discouraged drudgery of practice. The student should stop and haven t already established a practice hour, please t; The great secret of success consists in knowing how consider the fact that his negligence is doing him great steps to do so immediately, and you will be relieved of scale and arpeggio practice, get a Mastering This necessary constituent of forceful playing is a mos Don’t be discouraged. Bach had poor eyesight all to wait for success.—de MaisTre. injustice. For, so long as he neglects to practice, he will the drudgery which otherwise confronts you in y the Scales and Arpeggios and be guided by J_ Ex universally neglected. his days and ended them blind. When you meet m un¬ find great difficulty in mastering his difficulties. musical studies. cellent pieces in the third grade are The Skylark, expected quarters a “mercenary spirit, remember that Page 699 THE ETUDE SEPTEMBER 1920 Page 59S SEPTEMBER 1920 the etude Hearing Yourself TOREADOR’S SONG Order and Efficiency from “CABMEN” EDOUARD SCHUTT By Frank L. Eyer , ,h. finest ef modern wtlS'fobe pl.yed in orehestr.l style, In . fiery »nd e.l.rfni m.nner. By Thomas B. Empire Tlosest attention, but it is the left-hand part which A brilliant, masterly transcription by We are told to listen , our playing. It all sounds must be most accentuated. Still farther on, eleven . to listen? what are we to Grade « Allegro energieo ■Order is one of Heaven’s first 'laws. It should be very easy; but how are measures before that place where the key changes hack one of the musician’s strongholds upon a successful to flats again the left-hand part is difficult to play, ■liSShalfwe listen to the piece we are performing from career. but its difficulty must be so mastered as to enable the The teacher will find his time vastly increased, if the position of an auditor on a back seat in the hall. performer to listen to the right-hand part ... order to he will utilize every minute possible, to get and keep Shall we listen from the standpoint of the teacher. bring out that risirig sweep of melody leading to the Shall we listen to it from our position as a per¬ his possessions in perfect order. climax where the main theme appears m trmmphant 1. Catalog your music. Have it and all your other former? , . , Shall we listen to the composition as a whole. chords and octaves. . . . musical supplies, where you can lay your hand upon The writer has played this composition for years,- them at a moment’s notice. Shall we listen mostly to the right-hand part. Shall we listen to the left-hand part? what pianist has not?-and formerly he always looked 2. Never leave things at loose ends. at his left hand when he came to this passage, and 3. Keep a tablet with your day's appointments on it. These questions at first glance may sound somewhat listened to it most; but later, when he learned to forget . 4. Never be late for an appointment. You will save absurd, but when you come to consider the subject time by being on the minute. And you will find that there is much in them for meditation. about the difficulty of the left hand and look at the if you have a reputation for promptitude, it will in¬ There is so much to demand a player’s attention m right hand and listen to its part, the piece went better, crease your teaching list. Pupils do not like to wait the mere technical mastery of a piece of music that and finally, when he learned to look away iron his interminably for a tardy teacher. one often does not really hear what one is playmg- hands altogether and listen to the piece as he wanted 5. Try to keep rational hours, so that you may get That is, one hears, but not as the listener on the back the man in the rear seat in the hall to hear it. then he enough sleep. A drowsy teacher makes indifferent seat hears, and certainly not as the composer intended began to feel that he could really play Chopin’s Bal¬ the piece to be heard. Very frequently the. difficulty ot pupils. lade in A flat as Chopin had conceived it. 6. Maintain a steady routine of practice and teach¬ one hand’s part is such as to demand the closest atten¬ So it is that we must not allow technical problems to ing, and try to balance each day’s activities, so that tion from the performer. Consequently he practices interfere with intelligent listening. We met learn they will not be like the fat and lean streaks in a that part most, he gives it his closest attention when to listen to the part that demands most prominence. piece of bacon. he comes to it, he hears it more than the parts that Just how this shall lie done depends upon one’s atti¬ 7. Insist upon, your pupils’ keeping accurate time. go with it, and, as is very often the case, the other tude toward a piece. The writer often tmds that Do not allow them to slight rests, or to clip long notes, parts are the ones to be brought prominently to the looking at the hand performing a certain part an aid; as so many are inclined to do, from sheer nervous¬ fore in order to properly interpret the piece. again he finds looking away from his lia.uK imagining ness, in some instances. The observance of full values himself off the piano stool, out in the audi.-ure, con¬ in time will give the playing an assurance and feeling A Practical Example ducive to effective playing. Sometimes lie liU■- to take of ease that will greatly conduce to the comfort of For example take Chopin’s Ballade, Op. 47, at that the music away from the piano, place it on a music the audience when the pupil performs in public. place where the key changes to sharps. Here the le t rack, and then imagine himself conducting a perform¬ 8. Have a look every day or so, as to the accuracy hand has a great deal to do and requires much practice ance of it by some great orchestra. Such a procedure of your watch. Keep it assiduously with the official by itself, yet it is but a florid accompaniment to the is frequently a great eye-opener. Try it. time of .your locality. Otherwise you cannot blame right-hand part which really contains the melody and It’s a difficult matter to listen to your . wn playing; your pupils for growing careless in the matter of must be brought prominently to the .listener’s hearing. more difficult than these people who arc . n ' . K say¬ being on time. Tell them to insure the accuracy of A few measures later, the right-hand part becomes ing: “Listen to your own playing,” lead us to believe. their own time-pieces, and in case of tardiness you difficult with its skips of octaves, and demands ones can then lay the onus exactly where it belongs. 9. Try to keep your lessons within their time limit. Three Teachers True, it requires skill to condense what you have to tell the pupil into a certain number of minutes. But you By Norman H. Harney can do it. It takes practice and judgment. But it will repav you in many ways. Your teaching will tend to music. His pupils, like Jones, also learned much less Jones was a piano teacher. He was good natured, become crisper and more succinct. The pupil will give than they might have learned. Brown, too. In given easy-going, rather lazy mentally, though not without more attention to what you say, if it is not spread out up teaching. People said of him: “Good imi'ician— talent. Most people liked him. His pupils liked him. -hummed-and-hawed and diffused over the time. And very much in earnest and all that—but somehow his He was never severe with them, never exacting, never a pupil will value what he gets far more - “ "" pupils didn’t seem to take to him.” 5 than the ill-tempered. He cheerfully overlooked many of their cheapen your lesson by giving him far And then there was Smith. His natural a' ility and errors, and a poorly-prepared lesson left him quite time he pays for. • ... his musicianship were no greater than haics or 10 Keep tranquil. There is a mental order that will unruffled. He had a habit of complimenting his pupils Brown’s, but he managed to steer clear of their faults save you untold stress in your nerves and enable you to elaborately and predicting a rosy future and abundant and to combine within his own person the good keep vour temper under any provocation. Indeed it is success, even for the unpromising. The bright and qualities of each. He had the friendliness and good probable that this tenth rule is the most important of all, talented among his pupils learned something. The less- humor of the former, the seriousness and tin- sincerity for if your mind is orderly, all your outward affairs talented learned less. None of them learned as much of the latter. He was patient, but not indifferent: will fall into order without any special effort upon your as they should have learned. Jones is not teaching earnest, but not severe; thorough, but not exacting. any more. People said of him: “Nice fellow—talented He gave his pupils encouragement and inspiration, but and all that—but somehow he couldn’t make a suc¬ he did not flatter or mislead them as to their abilities. cess of the teaching game.” He gave them of his best, and, as a natural consequence, Brown was also a piano teacher. He was a very, brought out the best that was in them. He inspired con¬ A “ Pianist’s Triplet ” very serious man. You could see that at a glance. fidence in all with whom he came in contact, proved He had no patience with mediocrity, and no mercy for himself worthy of such confidence, and, as a result, By E. H. P. carelessness. He was nothing if not thorough. He became eminently successful. made his pupils toe the mark relentlessly, and ex¬ Here were three men just alxmt equal in talent, train¬ "A custom more honored in the breach than in the pected at all times work approaching perfection. A ing, opportunity and general ability. One succeeded observance."—Shakespeare. • , lesson poorly prepared not infrequently caused him to where two failed, for a teacher needs more than good Professional orchestral players of the better class lose his temper. His pupils were made to feel that musicianship to win success. He must have tact and are habituated to an accuracy of rhythm and phrasing they knew little or nothing—that the goal was quite courtesy, patience and self-control, sincerity and sym¬ which is not commonly attained by any pianists but the beyond their reach. He aroused no enthusiasm in them, pathy, earnestness and enthusiasm. These qualities very greatest. Consequently there are some little idio¬ failed to gain their confidence, gave them no encour¬ are a necessary part of his equipment. They make for syncrasies in the playing of ordinary pianists which are agement, and did nothing to develop their love of success. apt to excite their silent contempt; one, in particular, is that which is known as a “pianist s triplet. Nine out of ten pianists fail to divide the beat accurately into Sacrifice to the Graces three, in the case of a triplet of repeated notes, and when they think they are playing this : “Sacrifices to the Graces,” said Plato to a friend; and In every such case as this I invariably endeavor Lord Chesterfield repeated it many centuries later. If to impress upon the child the fact that he must n frnrrr we would be educated and cultured we must sacrifice. turn make some sacrifices to pay for those of the Success is often built on the bedrock of sacrifice. It parent. Clara Kathleen Rogers, in her recent auto¬ rtallv play something more like this: rarely comes in any other way. biography, tells how her mother came to her in I-eipzig There is a certain responsibility which every musical and told her that since her father (who was a noted child bears to the parent who is providing music les¬ musician, John Barnett 1 had been obliged to make ali fn^TT sons for that child. Among my own pupils there are sorts of sacrifices in order to send his daughter to the at least a dozen families who are “affording” music Leipzig Conservatory, she should “willingly forego any lessons by cutting out some other thing. That is, they and all social gatlierings to which you may l>e invited, are not doing without some mere luxury, but they are or anything that might distract you, keep you up late at doing without some things which we all regard as night, or in any way unfit you for your daily studies.” necessities, in order to secure the privilege of obtaining Is this too much sacrifice for you to make? If International Copyright secured musical knowledge for the child. Does this mean you? is, you stand a slim chance of being successful. Copyright 1820 Theo. Presser Co THE ETV fig Page 600 SEPTEMBER 1920 SEPTEMBER 1920 THE ETUDb the etude Page 602 SEPTEMBER 1920 VALSE ARABESQUE the melody is in the alto voice. The longer A brilliant “running” waltz by a popular modern French writer. In the second theme ( melody tones of the Trio are to be sustained by the pedal. Grade 4. ALBERT LANDRY Animate m.m.J-=72

Having ,h. and .ha .ccnp.ni,n.». ..5L5Swith a touch.Grad. Moderato tranquillo m.m. J =

British Copyright secured 4 8 12 5 5 2

Copyright 1920 by Theo.Presser Co.

Copyright 1920 by Theo.R-esser Co. International Copyright secure*1 SEPTEMBER 1920 Page 605

THE ETUDE jjtE ETUDE Page 604 SEPTEMBER 1920 DIXIE LAND dixie land SECONDO Arr. by ROBERT GOLDBECK

Arranged from Mr. Ooldbeck’s well-known Concert Paraphrase for piano solo. Vivace m.m. J= 108

4 S} flCT;,' 0 jt

/ j-4 'g~mr 9 i r'gss" J ' *" 4 4 4

4 **

X h A ^ N

L El fcs|^

Copyright t9

, m-7 n r. SEPTEMBER 1920 Page 609 THE ETUDE the etude ...-. Page 608 SEPTEMBER JJ J]]^ SHADOWS FALL

reverie NOCTURNE^ chords in sixteenths should be taken with a light A charming drawing-room piece, which will prove useful as a study m style. e rep WALTER ROLFE and bounding wrist. Grade 4. Andante m.m. J = 84

secured Copyright 1A20 by Theo. Presser Co. British Copyright SEPTEMBER 1920 Page 611 THE Er JLE the ETUDE Page 610 SEPTEMBER 1920 FROLICS In the style of a Polka. Caprice. Not to be played In strict time.In the Trio the melody is in ’ WILLIAM E. H .ESCHE GROVE’S Tempo di Polka m.m. J=86 , Moderato DICTIONARY * L. -- !MT >-r * ot MUSIC rflmnnmmninnm and MUSICIANS A Music Encyclopedia FIVE LARGE VOLUMES BOUND IN RED CLOTh STAMPED IN GOLD There are 4,000 pages and over 5,000,000 words from great authorities upon all phases of musical learning. The books are liberally il¬ lustrated with cuts, half-tones and notation examples. Thou¬ sands of subjects are dis¬ cussed: Biography, History, Musical Science, Theory, Mu¬ sical Industries, Instrumenta¬ tion, Esthetics, Musical Terms, etc., etc. The work is the most notable musical com¬ pendium in any language. Have these splendid musical books in your own home. What the Encyclopedia Bri- tannica is to General Informa¬ tion the Grove Dictionary is to Music. There is no better Musical Reference Library at any price in any language. Unabridged in any way. OUR LOW PRICE AND EASY PAYMENT PLAN MAKE IT POSSIBLE FOR YOU TO POSSESS THIS VALUABLE WORK The Early Editions Sold for 525.00

I WRITE FOR TERMS COVERING ORDERS | SUBJECT TO PART PAYMENTS | the brambach baby grand Send Your Order to THEO. PRESSER CO. ADDS THAT INDEFINABLE TOUCH Sole Agents rpHE atmosphere of your music room or studio is reflected by your 1710-1712-1714 CHESTNUT ST., PHILA., PA- 1 piano. Nowhere else can one thing so influence its entire surround¬ ings. The Brambach Baby Grand in its simple harmony appeals to the eye quite as pleasingly as it does to the ear The instrument occupies but the space of an upright and costs only about the same price See it. Write us for the name of your nearest dealer. Let us send you free illustrated catalog and paper pattern giving exact floor size of the Brambach Baby Grand. THE BRAMBACH PIANO COMPANY MARK P. CAMPBELL, President , 640 WEST 49th STREET NEW YORK a m

That Precautionary Accidental

By Maud H. Wimpenny

in the next measure, provided that the first dental note in this measure as we played in The older method of teaching the rule note in the new measure is exactly the the measure preceding. of accidental sharps, flats and naturals (or same as the last note in the preceding When that accidental affects only the "cancels,’’ as they are also named), seemed •measure where it is placed, why should measure. to achieve better results than the modern In the case where one note affected by the student not use his own gray matter an accidental is immedately followed in method. . and remember for himself that the followr To-day, in all instruction books, also m the next measure by a note upon the same ing measure is not similarly affected. Of simplified pieces and other teaching mate¬ line or space the second note is, according course, there is a rule that the last note rial, we find a reminder in the next meas¬ to rule, affected by the same accidental as of one measure, if changed in pitch by ure by a sign, either sharp, flat or natural the sign of an accidental, is the same pitch the previous note. that we must not observe the same acci-

Cepptigbt 1819 by Theo. Presser Co. British Copyright secured T ZS

SEPTEMBER 1020 Page 613 T1IE ETUDE TllE etude Page 612 SEPTEMBER 1020 cjlie Brunswick Method Brunswick In Many Styles Phonographs of Reproduction and Finishes Models De Luxe

A Brunswick for eyery Etude home A size, style and finish to 'meet your requirements

WE picture here some of the many models Brunswick Tone is superior because we could cjhe ^3eaaix(^yArf«5 of The Brunswick. But these arc faint not be content with the ordinary. We spent a for¬ resemblances, for pictures cannot display tune in improvements. And the result is amazing. the wonderful cabinet work nor finish. It does not take a trained ear to appreciate the bettered tonal qualities. A hearing wins instant We build these cabinets ourselves, as we build applause. A comparison gives the Brunswick a the Brunswick Phonograph complete. The usual place of its own. The Brunswick has been the custom is to assemble, buying cabinets and parts choice of those who want a finer phonograph, one from different makers. that overcomes old-time defects. Its purer, richer But that could never satisfy Brunswick stand¬ tone is a constant delight. he, [pmbeu’ch ards. We believe quality can be attained only It is easy to know for yourself that The Bruns¬ through controlling every process. wick is far in advance. Go to a Brunswick dealer. For instance, we have been engaged in wood¬ Ask to hear a few selections. Then he will show working for over 75 years. We pride ourselves on you the several features of the Brunswick Method Brunswick craftsmanship, the heritage of Reproduction, such as the Ultona, a revolutionary all-record reproducer, of all these years, and we are convinced and the Brunswick Tone Amplifier, that Brunswick cabinets are the finest on the market. built in accord with acoustic principles. Ask also to hear Brunswick Records, CJhcO DQ ford They are a perfect housing for so fine an instrument. For in The Bruns¬ which can be played on any phono¬ wick we present the ultimate in phono¬ graph with steel or fibre needles. graphic music. Brunswick Records Once you become acquainted with The next best thing Brunswick Phonographs and Bruns¬ Combined in the Brunswick Method —if you haven't a Brunswick wick Records you will never be content of Reproduction are the new-day inven¬ —is Brunswick Records the phonograph you have tions that have set new standards. with lesser phonographic music.

THE BRUNSWICK-BALKE-COLLENDER COMPANY

i Exemplify1”? effectively the nee of the psr.llel keys, D minor ,«

Standard Graded Course of Studies

FOR THE PIANOFORTE

Compiled by W* S» B. Mathews

IN TEN GRADES TEN BOOKS PRICE, $1.00 EACH GRADE An Unequaled Educational Work for the Piano

Thousands upon thousands of copies of these grades have been used for the instruction of piano students in all grades from the very beginning to the virtuoso stage. No such verdict of approval has ever before been given any educational music work.

This is a Complete, Progressive Series of the Indispensable Studies for the Piano from the Very Beginning to the Highest Grade

The Cream out of all the standard sets of studies is here brought together in progressive order and all those who have used this extremely successful set of studies know that they are

A Convenience to Teachers-An Advantage to Pupils

Each volume supplies all the needed material for the grade with which it treats, and in addition pieces for study diversion are suggested. Constant revising, enlarging and re- editing keep the system modernized and filled with the world’s best studies.

Any Teacher May Inspect Any or All of the Ten Grades LITTLE ALPINE SERENADE Our “On Sale” mail order examination system provides for the furnishing of teachers with material and only that which is used is paid for.

SUCCESS BRINGS IMITATORS, BUT THIS “ORIGINAL" GRADED COURSE HAS NEVER BEEN SUPERSEDED j» SEND FOR OUR HELPFUL BOOKLET FOR TEACHERS THAT ALSO CON¬ TAINS A DESCRIPTION OF MATHEWS’ STANDARD GRADED COURSE J- J- J-

•Bljiladelpfyci

1712 J&jestyut Str THE ETUDE Fttgem SEmMBER™° SILVER STREAM VALSE CAPRICE A real Valee Capri", with many changes of tempo and contrasting thematic material. The legato silthe with a variation in the Trio

portion are particularly effective. Grade 4. THURLOW LIEURANCE Allegro vivace

; -— 4 f- i. f-

4_-- 2 1 JL ""8 4 1 4 2 J

British Copyright secured

# FVom here go to the beginning and play to Fine, then play Trio British Copyright secured Copyright 1918 by Theo.Presser Co. SEPTEMBER 1920 Page 6lit fHE ETUDE

THE ETUDE Page 618 SEPTEMBER 1920 DREAMS . . mi,, fights of thirty-second notes must betaken with In the style of an air de ballet; to be played in a graceful but capricious manner. The g extreme lightness and rapidity. Grade 4.

THE SAILOR BOY E. E CHRISTIANI e played in a brusque and lively manner, in the style of a“hornpipe^Grade^_ 5 4—

British Copyright secured Copyright 1908 by Theo.Presser # From here go back to % and play to Fine^ri. ending! then play rflb. Copyright 1915 by Theo.Presser Co THE ETUI)^ Page 622 SEPTEMBER 1920 THE JONQUIL MAID johnw.metcalf ARTHUR MACY by, very popular American writer. Thin dainty number is to be delivered in narrative style,with verve and Ireedem. One of the most recent songs Allegretto

knew as. he blew, It was true thatthedew would nev-er, nev-er dry If the wind should (He; So he

MAY F. LAWRENCE A quiet but very expressive sacred solo suited for any devotional service.

Copyright 1920 by Theo.Fresser Qc British Copyright s^curt THE ETVle Page 624 SEPTEMBER 1920 ISweii: Solo 8'( Trem.) CANTIQUE D’AMOUR Choir: Dulciana Great: Wald Flute ERNEST H. SHEPPARD Pedal: 16' solo stops, with a varied accompaniment. In (he middle section a Vox Humana or Affording opportunity for the display of two contrasting

AYE MARIA MEDITATION ON THE 1st PRELUDE from the‘'Wen-Tempered Clavichord' CHARLES GOUNOD

A most ing.nbu. tdo. of (i.nn.d: that of Imposing upon tho Bach Pr.l,.4. a melodious and soui-.timng sotting of the -foe Maria.Play in broad and sweeping style.

Copyright 1920 by Theo.Presser Co. British Copyright secured SEPTEMBER 1920 rage 621 the ETUDE Musical Notation, New and Old

By Stephen Walbrook

has been largely confined to the choral There are very *ew musicians of Prom" inence who have not in their time been workers of Great Britain and her posses¬ excitedly buttonholed by some inventive sions. The so-called “shaped" or “buck¬ student who has established a new and es- wheat” notes used in rural portions of the necially simple form of musical notation United States for over half a century have which,' according to the propaganda of the their adherents, and we have been told originator, will reform the whole art of time and again of local wars fought in their behalf with an animosity which is m jj1C;s I10t inconceivable that our notation only equalled by that involving politics could be improved upon in many ways. and religion. Indeed the writer has seen two or three The reason why new notations cannot be different versions of new notations, some introduced is simply that there is a capital departing yery widely from the staff and interest in the old notation represented by clef idea, all of which might with practice millions and millions of dollars spent by be more easily read than the present nota- the publishers in existing publications and in musical plates. One can hardly expect U°sir Charles Villers Stanford in his his¬ the publishers to “junk” this valuable prop¬ tory of music (Stanford-Forsyth) says erty for the sake of a few changes. The that the invention of new notations, in the writer has been very much interested in middle ages became “a sort of fashionable the pedal sign introduced by The Etude amusement in monkish circles.” Our own years ago and employed to this day. This notation is merely a case of the survival is unquestionably a very much more defi¬ of the fittest and has undergone many nite and much more legible mode of pedal¬ gradual changes from the time of its ing. Most of the great musicians who earliest inception with the one, two, three have used it have praised it with sincere enthusiasm. Yet—what is the result? Not and four line staves. , . The only real competition that the es¬ one other publisher has adopted it thus Your complexion tells tablished notation has had has been the far. In all probability, however, it will Tonic Sol To. admittedly excellent for cer¬ be one of the things which will gradually tain kinds of sight-reading and choral pur¬ add itself to the notation just as, for in¬ a story to the world poses, but limited in its possibilities. This stance, “signatures” were added. NOTHING so quickly cre¬ Woodbury’s Facial Soap in ates an impression of your hands. Apply it to your Beethoven’s Terrible Sincerity your personality as your face and rub it into the pores skin. By keeping it soft, clear, thoroughly — always with an Probabi.y there never lived a man more instance is that connected with the com¬ poser Paer, whose opera, Fidelia, Bee¬ radiant—you can make it speak upward and outward motion. thoroughly brutal in his honesty than Lud¬ thoven went to hear. It is said that Paer instantly, unmistakably of fas¬ Rinse with warm water, then wig van Beethoven. When he planned to approached Beethoven after the perform¬ tidious freshness and charm. with cold—the colder the bet¬ do so he could play the part of the diplo¬ ance and naturally invited criticism, where¬ ter. If possible, rub your face mat—as his letters to his publishers and upon Beethoven blurted out, “I like your Don’t let your skin tell a story for thirty seconds with a piece to the royal personages to whom he dedi¬ opera very much—I will set it to music. of neglect or thoughtless hab¬ of ice. cated his works often show. But when This to the sensitive Paer, who had written its. Even if through the wrong Use this treatment regularly taken unawares Beethoven spoke his mind many musical successes, was tantamount kind of treatment your com¬ without thought of whom he might offend to saying, “I like your wife very much; plexion has lost the smoothness every night and see what an im¬ or how he might offend them. A historic I will marry her!” and freshness it should have, provement it gradually makes you can give it back the color inyour appearance—how much and clearness that make other firmer and drier your skin becomes under this care. Find Your Right Groove girls’ complexions so attractive. For your skin is constantly By Elliott Schwencke Special treatments for changing. Each day old skin every type of skin The writer is everlastingly grateful to very different qualifications can succeed dies and new skin takes its certain other inspirational writers of the likewise. The first element in musical place. And you will find that This is only one of the famous success is to study yourself very thor- type of Marsden, Crane, Smiles and others, this new skin, if given the care Woodbury treatments for im¬ who by their inextinguishable optimism oughly and find out for what you are best its particular need demands, proving the skin. Get the fitted. What you most dearly want to do and encouragement have pointed out so will respond instantly and booklet of treatments that is may be the same identical thing, but the many examples of people who have sue- wrapped around every cake of secret is to develop a desire to do those gratifyingly. ceeded in spite of all odds. This helps things which you are by nature fitted to do. Woodbury’s Facial Soap and one to overcome one’s own weaknesses. The most embarras¬ Think closely enough and you will not be use the treatment for your in¬ Books of the New Thought kind are an fooled. Recently the writer heard a young sing flaw—how to dividual type of skin. unquestioned stimulation. lady in a music store ask for Liszt’s sec¬ overcome it However, in music any casual observer Woodbury’s Facial Soap is sold ond Rhapsody arranged for Reed Organ. must notice many people who have been Of course, she could get a simplified ar¬ Perhaps you suffer from that at all drug stores and toilet failures because they .have failed to find rangement with a few of the tunes, but it embarrassing fault of so many goods counters in the United the right groove or position. Erasmus, would be about as near the real piano ar¬ complexions—an oily skin, and States and Canada. Get a cake greatest of educators, once said : ^ rangement as a Bach Fugue arranged for a nose that will get shiny. To today—begin your treatment “N'e c quovis liqno Mercurius fiat. flute. It can’t be done. If nature in¬ correct this excessive oiliness “Not every wood is fit for a statue of tonight. A 2 5-cent cake lasts tended you for a teacher you are wasting Mercury.” It is foolish to suppose that use this special treatment: for a month or six weeks of valuable time trying to be a great artist. because one person has succeeded in a any treatment and for general Find the right groove. Every night with warm water particular thing, that you who may have work up a .heavy lather of cleansing use.

“Your treatment for one week” Two Common Experiences Send 25 cents for a dainty minature set of Wood¬ By T. B. Empire bury’s skin preparations containing your complete Woodbury treatment for one week. in another half hour, when everything’s 1. What time is it, anyway? You twist You will find, first the little b°?Wet, ‘‘A Skin You Uve to going so smoothly? 1 really think I around to squint at the clock, which seems Touch,” then a trial-size cake of Woodbury s Facial Soap HAVE some talent after all! enough for seven nights of any treatment; a sample tube to leer at you and to go-just-as-slow-ly- We all have these experiences. In the of the new Woodbury’s Facial Cream, and samples of as-it-can. Tick—tock—tick—t-o-c-k. first case, we lack interest and therefore Woodbury’s Cold Cream and Facial Powder. Write today And you sigh, and bone-headedly keep concentration. In the second case there is for this special new Woodbury outfit Address The And eu Jergens Co., 5609 Spring Grove Ave., Cincinnati, Ohio. on with your practice. Music’s awfully a magic spell that appears to make the If you live in Canada, address The Andrew Jergens Co., stupid, isn’t it? hands on the clock fly round till they al¬ Limited, 5609 Sherbrooke Street, Perth, Ontario. most scorch the figures. Verbum sap: Put interest into your practice—you can do 2. What! The hour up already? Why, it, if you care to try. I’ve only just begun 1 How about getting Plea?* mention THE ETUDS wVh f'nr advertisers. SEPTEMBER 1920 Page 629 Page 628 SEPTEMBER 1920 THE etude THE ETUDE - — ,.The trouble is that the average student "Marchesi laid great stress upon the use . imoatient in these days to take time of the head voice. . . . Her vocal exer¬ ’s t0° sufficient training. The voice at the "- _ lor a sufficu^ ^ tralned lightly and care- cises were little more than scales sung outstar must not be the least strain. very slowly, single, sustained tones, re¬ Immediately they know of the fuUy' The young singer should practice peated time and again until her critical ear ■ • a v“ce, which simply means nothing was entirely satisfied, and then arpeggios. m°re noughStotlshoutlialSome of the singers After that came more complicated tech¬ WILDER KEYBOARD Department for Voice and Vocal Teachers easy enough to s ^ tQ employ a klnd of nical drill to prepare the pupil for the in unbone method. . . - Such singers dis- megaphone years. Their voices are fioritura work demanded in the more florid Edited by Eminent Voice Specialists in Music Centers All Over the Musical World appear ln . I think that every¬ operas. At the base of all were the sim¬ body should sing. .s_._ •„ 0??__<£ JW Jdeate plest kind of exercises.”—(Frances Alda o sing pianissimo with the in The Etude.) ance that makes it carry up to “Thank You for Your Most Sweet Voices.” SHAKESPEARE Kind. oi “A rock upon which many a career is 'learn, “LdTtt- wrecked early is a desire to obtain quan¬ difficult things aI(ter yeara Qf faithtul prac. (Two, Four or Seven and a Third Octaves) taineu my cariiest successes were tity, not quality of tone. . . . The first .ao ‘ in' the smallest kind of parts. ... thing to be considered is not volume, but “ 'turn UP your nose at little things. quality of tone; always quality, and fail¬ Every Piano Teacher and Student Will Want One Selections from Famous Authorities on Singing Don t mogt p{ my exercises mezza ' ’ ’ Probably more voices are ruined ure to secure this comes often from abso¬ lute ignorance of the art of proper breath¬ Prepared Especially for THE ETUDE by WALTER L. BOGART, M. A. W Strain than through any other cause. Th- singer must relax aU the time. This ing. . . . First, should come at least one 117 LIV ! With this keyboard, which is light, durable relax the tongue and to govern it at will Th = not mean flabbiness. . . . Relaxation year in the study of tone placing, then a Will I and with nothing to get out of order, the Latest and Most “The most beautiful tone is the most concept but also correct physical concepts.” The Vocal Zenith does no r,g gense ig a delicious condition so that it never stiffens and forms that hard thorough training in solfeggio. When all , Efficient Piano Methods can be Taught and Learned more perfectly produced, whether the singer —A. L. Manchester in The Etude for ‘‘When vocal art was at its zenith, breath¬ lump which can be plainly felt immediately Ofof buoyancy, t_reof ^lightness, of tightening of freedom, in anyof Directly, Accurately and Rapidly than at the riano. ing gymnastics were the Order of the day. beneath the chin under the jaw. ... A this has been well accomplished, some knows anything of vocal mechanism or February, 1919; entire article worth read¬ * * * Artistic breathing is the crying need singer must never cease listening to herself When I relax I feel as though every songs may follow.In this practice not. In such tone there is no conscious¬ ing. for singers of to-day if we are to get away intelligently and never neglect cultivating P?nm in my body were floating in space. A It is the most Radical and Important De- from the short phrase. ... I contend that the head tone or overtone of the voice, which the true way to go forward is never to vjce invented for Mastering Technical Difficulties, Develop¬ ness of mechanics or scientific laws. The is its salvation, for It means vibrancy, carrv- must* te^par Ocularly*1 care- lYaQILal "Much is written at this time about the breathing gymnastics will assist in securing sing loud, but mezza voce, paying close, ing Finger Strength and Lightness of Finger Action, and vocal mechanism is responding automatic¬ ing power and youth to a voice. Without It importance of the ear in developing a voice this essential lung capacity. Breathing very close attention to the breath, to qual¬ overcoming by simple and direct means the annoying and correctly. The contention is that teachers gymnastics have a beneficial effect on the the finest voice soon becomes worn and off Device ally to the highest law in the universe— pitch. Used Judiciously it will preserve a ity and smoothness of tone and legato.” perplexing problems of Hand and Finger Adjustment, and pupils must think beautiful tones in general health and therefore on the quality voice Into old age."—(A'ame.) up its £reatPSehumann-JIeink?t- This- in the law of beauty.”—D. A. Clippinger in order to teach and make them; that such of the voice; they save the voice from a Pasquale Amato. Legato and the Various Piano Touches. Musical Quarterly.” mental states are the sine qua non of prog¬ great deal of wear and tear; their value is “The singer should feel as if her jaw ress ; that if the singer conceives mentally historic. . . . Mr. Henderson in his The were detached and falling away from her It has standard black keys and V-shaped the effect desired the physical mechanism face. As one great singer expresses it: “The two great principles of voice pro¬ Art of the Singer says: ‘If you cannot corrugations in place of flat white keys which make im¬ duction are tone concept and freedom. When will act automatically to produce it. At¬ manage your breath you can never acquire ‘You should have the jaw of an imbecile For tractive as is this line of discourse, and a pure, steady, even flow of tone, the basis when emitting a tone. In faot you shouldn’t Age and Singing perative greater accuracy than the standard keyboard. these two principles have become automati¬ know that you have one.' . . The pure cally operative the difficulties of so-called true, too, to a certain degree, we can hardly of what is called Cantilena. If yon have no Accuracy It Solves the Problem of Class Instruction whether ot accept it as exact statement or systematic cantilena you arc no singer. You can never head tone sounds small and feeble to the two four or forty. (This does not mean there will be fewer voice placing disappear.”—Same. instruction. Environment and habit gener¬ singer who would rather use the chest qual¬ • By H. W. Greene be a singer unless you have a good legato ity ; but the head tone has the piercing, teachers, it means there will be More Pupils). ally form one’s models and ideals, and few style, for that is the bed-rock of lie' e-nto penetrating quality which makes It tell in a The Physical Side of Voice Production of our pupils have in mind the tone quali¬ and there is no legato without perfect b-enth The subject is a fruitful one. As far It has received the endorsement of the well-known ties and effects which we wish them to big hall."—(Same.) Meduai- science has accumulated so “Advocates of psychologic voice train¬ control.”—(Dr. H. Sanders in The Etldb, as we are able to judge from the desultory teachers who have seen it. . ... Sept., 1911.) much data based upon statistics and com¬ It is made of a material which will put the price within ing have stopped short of the full truth. Practicing with Closed Mouth parisons of experiences that there is hardly accounts afforded by the musical diction¬ reach of all. They have enunciated only a partial truth, and conversely, some find it hard to realize “Lift the chest as high as ever it will go, “Vocal work with closed mouth is a aries or the lives of singers, by their ad¬ “The noise nuisance of piano practice may now cease that a tone is right when it is finally brought anything left to chance, viewed from the the larger part undoubtedly, but leaving an into correct form. A teacher has two and keep it there throughout the whole powerful auxiliary to vocal agility. Many standpoint of the aggregate. The ques¬ miring friends, the hour or day that the and your silent practice become your best.” important corollary unstated. This omis¬ methods of leading such pupils to the point process of singing, from a single note to great artists perform their daily vocal ex¬ voice of the artist began to show signs of of recognizing and so demanding of them¬ tion which arises is, What is it that domi¬ sion has left a gulf between the highly selves good tone and refined style. One is a song. The object of the raised chest is ercises with the mouth shut, and I can nates the aggregate? There can be but decay is not given. It would be useless, „„ a postal card will WILDER KEYBOARD CO. important mental attitude and its neces¬ through imitation, a good method up to a threefold: 1. To get it out of the way and personally testify to the excellence of this one answer, and that is the individual. therefore, to attempt to state a dependable "* Fall Information. West Newt0n 65, Mass. sary physical application. certain point, but likely to lead the pupil away from the characteristics of his .own give free play to the lungs. 2. To give practice. But one should know how to We sav, for example, that the average average age of the voices of professional “Argue as we may, it is undeniably true voice. The other is to make the mechanism resonance to the voice. 3. To give pres¬ do it properly. . . . The artistic use of the life of a farmer is sixty-three years. This singers. There are many things to which of the voice operate normally, the positions does not mean that the individual farmer, that voice production has a physical side and actions of the different parts being those ence.”—(H. Plunket Greene, in "Interpre¬ ‘half voice’ is a very valuable adjunct in one can point, as possible causes for the which either aids or opposes the mental which usually result in good tone, and let tation in Song.”) all singing. It may be defined simply as when he gets to be sixty-three, may expect early decay of a voice. Very few of them, concept. . . . This physical side of voice the pupil’s ear become accustomed to that “The high chest position must be devel¬ the natural voice produced softly, with an to die ■ it docs mean that there are enough however, could be counted as unavoidable. result. Then the appeal to his taste to who die before that age and enough who production asserts itself predominantly further enhance the tone and infuse into it oped. The muscles of the chest will then extra strength of breath. It is this breathy Uncared-for colds, unnecessary exposure, live beyond that age to establish sixty- with untrained students. ... A large pro¬ something of character and expression might keep the unnecessary burden off the lungs, quality, however—which one must be care¬ ill-ventilated rooms, working too long or be in order.”—F. W. Boot in The Etude, three as the average. portion of untrained singers endeavor to ful never to exaggerate or the tone will Feb., 1916. and the diaphragm can utilize its powers Now, the question which interests the too hard in the extremes of the vocal com¬ assist the pitch organ by tongue and throat exclusively for support.”— ("Voice Fund¬ not carry—that gives that velvety effect to pass, straining the voice by singing too Modern Demands Government is, How shall this average be action, even though they may be fully amentals,” by Hurlbut.) the tone that is so delightful. . . . I would loudly, attempting to work with the voice “It is heard on all sides, and only with raised? The answer is self-evident. By convinced that pitch production is auto¬ aver that a fine enunciation, far from in¬ incorrectly placed; all these are contribu¬ few exceptions, that with the introduction “To maintain tIle expanded chest, increase impressing upon the mind of the individual matic. Here, so far as the writer’s obser¬ terfering with it, aids the voice pnxluction, tory to an early loss of the elasticity a id of the music-drama and the abandonment the outward pressure on the chest and the the fact that his Government realizes that vation goes, the psychologic advocates are inward and upper pressure of the abdominal makes it softer and more concentrated. everv dav and month and year that his life beauty of the voice. Therefore, as in the silent. They dismiss this phase of the of the florid style of singing a new era muscles. It relieves the throat of all pres¬ . . . Many too ambitious students are of activity can be prolonged beyond the case of the farmer, the question resolves question with the assertion that the less has dawned, no longer requiring that sure, the correct tension and vibration of schooling for the voice which the old the vocal cords being brought about bv the their own worst enemies in the culture of age of sixty or sixty-three he is fostering itself into one of individual responsibility. attention that is paid to mechanics the bet¬ reflex action of muscles and nerves.”_(“The agricultural conditions, for the reason that Nothing is more satisfying than the ter. Here, again, they utter a partial Italian masters found so necessary, and Voice,’’ by Dr. Frank E. Miller.) their voices. Because they have a large “To‘To ‘breathe natnvallv’naturally' tois ao precept™ that experience and maturity combined are an mental picture of an aged painter who sits truth; the perfect tone is produced with¬ which consisted in training it in the ‘le¬ vocal power, they want to shout all the ■s not originate with the thinker or ex¬ invaluable asset to the well-being of the at his easel creating masterpieces, each out consciousness of mechanics, but until gato,’ ‘staccato,’ ‘stentato,’ ‘martellato,’ pert. The ‘natural breath’ is the breath of time, in spite of the repeated admontions community at large. more wonderful than the last. The art something has brought about a perfect, and ‘portamento.’ For the very reason nnnrenaredness.”—unpreparedness.’ t O T Simon in The of their masters, who beg them to sing that modern composers, beginning with •Etude.) piano.”—(Enrico Caruso, “The Art of The application of this idea to singing is gift is priceless. Why shall r.ct the singer automatic control of mechanics, physical “Sbriglia insisted upon a firm, high chest not difficult. We are, unfortunately, en¬ assertion will obtrude the mechanics on Richard Wagner, demand so much of the for all pupils. For those who had weak Singing.”) so appreciate and care for his gift, the voice, even though in an entirely different chests he urged regular use of light dumb¬ tering a field which has afforded thus far most ephemera) of all art gifts, so that he the consciousness. . . . “It has been demonstrated scientifically direction from the old style, for that very bells and persistent effort to maintain a high no statistics, because we are considering can, at his latest day, thrill his listeners “I look in vain for any instruction as chest. I have seen him make a student that when a singer has learned to confine the age, not of the man, but of his voice. reason the voice needs the most thorough work hard to hold his chest as high as pos¬ the process of pronunciation to the front of with the power and beauty of his tone? to how the physical instrument is to be It has been said before in these columns and the most complete training, which is sible. and then bring the chin down toward the tongue, the back will remain loose and I was reading recently about a great singer made fit and responsiveness gained. Cer¬ it. day after day, as a physical exercise to free, leaving the larynx at liberty to main¬ that singers, especially singing teachers, the one insisted upon by the old Italian who, many years ago, delighted a London- tain I am that mere tone conception will develop the chest.”— (Perley Dunn Aldrich tain perfect poise and action, and insuring are a Preferred Risk with the insurance in The Etude, Feb., 1911.) the open throat so necessary for the com¬ audience with his magnificent voice, and not produce it. There exists a real phys¬ masters, starting with Caccini (1558- mand of sonority and tone color. ... It companies. When we speak of the age of ical obstacle which must be surmounted. 1640). Richard Wagner himself insisted “The foundation of singing is breathing cannot be sufficiently emphasized that the the voice we do so in relation to its em¬ who at the time of his last appearance had control of the tongue becomes within a very It cannot be ignored nor can it be thought that the Old Italian Method be adhered and control. There must never be any ployment professionally. Why is it that passed the century mark. short time sub-conscious and automatic. These are only suggestive observations out of existence. The physical instrument to.”—(The Etude for October, 1914.) pressure from the throat. You must learn There is, of course, a preliminary period of so many voices die young, while those who made with the hope that many of the must be studied, the functions of its vari¬ to control this flow of air, so that no mus¬ conscious correction. . . . The control must possess them live on voiceless, so to speak? be centered in the tip, and it is here young singers who see them may give ous parts understood and their relation¬ “Let us here quote Danlel-Frederici who cular action of the throat can shut it off. that the effort of correction must be We know that Patti, who died recently, published his method of singing in 1619: thought to the wisdom of beginning now ship to the whole comprehended. It must The physical sensation should be first an focused.”—Mag Laird Brown. sang at the age of seventy, and that there ‘Every one who wishes to learn and prac¬ to take the utm-st care of the instrument be trained to the state of responsiveness tice music, must, above all things have taste effort on the part of the diaphragm to are many artists who preserved their “Most voices need the upper resonance which is so precious an inheritance. demanded. It must be made fit. This is and love for it, must take care that he press the air up against the chest box, then voices until they were ripe in years. modulates and masters his voice well and most. Jean de Reszke, a supremely great the sensation of a perfectly open throat, a thing apart from tone concept. Tone skillfully, and that he understands how to artist wrote: ‘The great question of the concept can dominate conditions and find use his breath properly. Those who shout and, lastly, the sensation that the air is and shriek till they are as red as a turkey voice becomes a question of the nose.’ Pol unrestricted movement from the mind of cock, with the mouth as wide onen as if thev passing freely into the cavities of the head Musical Vocabulary In singing, I always feel as if I were forc¬ Planqon, one of the greatest vocalists that the singer to the ear of the hearer when would thrust a haystack into it. let all the Tackle the job and put it through. Get breath out and are compelled to take a fresh ing my breath against my chest. This ever lived, used to spend hours in soft prac¬ specialized training has made the physical breath for every few notes,—these are use¬ What would you think of an engineer a dictionary and learn to spell and pro¬ feeling is known as “breath-support” in tice to get the resonance of the cavities of instrument fit. less as regards music.’ . . . Tosi, born who did not know the names of the parts nounce the musical terms; find out how 1650, says : ‘Win every high note in soft¬ Italian, “apoggio,” which is breath prop. the face and head. To sing ‘dans la of his engine, or the names of famous to pronounce the names of the composers, “To be complete the psychologic method ness’; and Matheson, born 1681, ‘Study all Never for a moment sing without this masque’ is a great thing; no singer can be the notes, first piano then gradually louder.’ engineers of the past, or the technical opera singers, conductors, compositions. must include the treatment of this physical apoggio, this breath prop.”— (Mme Tet¬ great without it.”— (Nicholas Douty, t'» The simple axiom of the old masters seems, terms of his profession? Yet there are Learn the terms used for certain chords side of tone production, and, in the ma¬ first get the note rightly produced, then add razzini, in "Monthly Musical Record ” of The Etude.) many musicians who are lamentably ig¬ force to this. If sinking—to describe it and combinations and for every item that jority of instances, this treatment must London.) norant as to the nomenclature of musical briefly—is the art of producing much sound ‘Except at rehearsal, I always use my has to do with your instrument. This is precede the actual application of tone con¬ with little breath, we could with equal truth things, who do not know how to pro¬ voice pianissimo. If you practice forte part of a rounded musicianship- Do not cept. . . . Psychologic voice training i the path of the nounce the names of the musical terms tuning a loose tongue."—(IF. Shakespeare "in the won neglect it. should comprise not only beautiful tone you cannot sing pianissimo afterwards.”— that every musician uses every day. Please mention THE ETUDE when addressing our advertisers. (Mine. Melba.) THE ETUDE SEPTEMBER 1920 Page GS1 Page 630 SEPTEMBER 1930 the etude Who’s Who? The Secret of By Martin X. Flynn One of the most interesting types of and pull. These are the only ones worthy a Beautiful volumes dealing with present-day music- of consideration, the others are Question and Answer Department making is that known as Who's Who. In- eruptions of vanity, of interes so^y^ Conducted by Arthur de Guichard s,r:.■s-nrnr; 6 Voice work rests largely upon the honesty, good ^it;reS^“2cturerS1'one ^s hun-

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Imersora Piai© Voice Question and Answer Department you buy an instrument that have a tendency to be sharp? Why are tity at the expense of quality may also, you will regard with e others habitually flatf-M. K. L. injure some of his choristers. In my growing satisfaction as the years go by. I found that the first class were not using to S>ve ^advice as to the^correct use of the Never Sleep More pleasure and Q. I L. .S. Q. With a film-coat on your teeth stronger family bonds are A. “It is the c All statements approved by high dental in the homes that Q. Does it harm the voice to sing in a d"1hea^work^who an EMERSON Piano.

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ZAHKli HltOTTIIKltS* rtUSIC PRINTERS *nb ENGRAVERS When a baby comes into the world the PISOS first cry it makes is unmistakably marked by the coup de glotte, and its voice is for Coughs & Colds characterized all through babyhood by this SEPTEMBER 1920 . Page 688 THE ETUDE the etude Page 682 SEPTEMBER 1920 Concerning Organ Recitals r.j: - By R. Huntington Woodman

Notwithstanding the increase of the ence who otherwise could not hear it at ", : ^ ■■ ■■ ___— use of the organ for other than church all. An organ performance of either of purposes and the growing familiarity of the above mentioned overtures in New the public with organ effects, the fact still York City seems to the writer to be un¬ remains that the average organ concert is justifiable. uninteresting and, in many cases, it is a On the other hand, such transcriptions Department for Organists decided bore. Is this condition the fault as the V or spiel to Parsifal, or the cele¬ of the organ, the organist, or the public? brated Tschaikowsky string quartet are Certainly not the organ—for never were perfectly legitimate, because the compos¬ Edited for September by the Well-Known Composer, Organist, Teacher, greater possibilities at the command of a er’s ideas can be approximately reproduced player. The trouble lies with the player on an adequate organ, and the notes are R. HUNTINGTON WOODMAN and the public; both are responsible for the within the grasp of the two hands and feet indisputable fact that organ recitals as a of the performer. class are not artistic successes. It is the style of performance of these The eloquent organ waits for the master to waken the spirit. DOLE With the public as at present educated, selections which makes, more than any one bizarre effects and catchpenny tricks are thing, for an interesting recital. demanded of the performer in order to If the program is selected with-judg¬ make the organ “interesting.” The organ¬ ment, with due regard to the size and re¬ ist has to comply or lose his job. He can, sources of the particular organ on which How to Better the Congregational Singing in Your Church however, do a little missionary work by it is to be played, if it is properly pre¬ playing occasional “high-brow” pieces of pared so that the music may be really in¬ By R. Huntington Woodman a character not too modern. The first terpreted, the chances are that the recital A Corn? step is the education of the audience to will be an interesting one. The real test of preparation is memor¬ This should be phrased as indicated. A know and enjoy the good things in music, Why, a touch will end it! There are organists, eminent as per¬ As an example of a good tune let us Of these three expedients, the writer and in order to accomplish this the good izing. Practically no pianist ever thinks look at Micaea, set in almost every hymnal uses the second. The third method is very short break at the sign "x" would not of playing in public until he has so mas¬ formers or as composers, who play so music must lie performed as it should be; A corn today is needless, and millions of people badly for congregational singing that this to the words, “Holy, Holy, Holy, Lord rather indefinite, depending entirely on be objectionable; but the sense of the text and just there is the seat of the trouble, so tered his selection that it is a part of him¬ whether the people can understand just feature of worship is all but eliminated God Almighty.” This combines all the seems to indicate the longer phrase. The far as the organist is concerned. Many self. Very few organists have done this. when the organist will reach the note on from their church services. This is de¬ features of a good tune. To illustrate the congregation will, without doubt, phrase at recitalists are improperly prepared for con¬ Those who have, give the most interesting Years ago nearly every woman had them. Now which he expects them to begin to sing. plorable, for it really is of the utmost importance of a strong harmonization of that point. It seems better, therefore, that cert work. They lack the interpretive recitals every time. women who know Blue-jay never suffer corns. a good rhythmic melody, let us try' the The first method is probably the most importance that congregational singing the organ should not. talent; or, if they have that, they are fre¬ As yet, the public does not know enough usual, but it has a somewhat trivial effect. Ask your own friends. should be cultivated and fostered by all following arrangement of the second line quently “shy” on their preparation, and to discriminate between the shades of good A good choir will, of course, help enor¬ church organists worthy of the name. of this tune, giving it a weak harmoniza- hence the music fails to make an impres¬ organ playing. All it knows is whether mously, and they can be easily trained to Third Verse Blue-jay comes in liquid form or plaster. One applies They should realize that they are enlisted sion. Again, many recitalists fail to real¬ the recital is a bore or not. The people attack at the proper moment. Without a in the cause of religion, and that congre¬ “Yes! Thou art still the Life: Thou att ize the limitations of the organ, both in a are growing slowly in knowledge, but the it in a jiffy—by a touch. choir, the organist must in some way give gational singing is the greatest means for general way and in regard to the particular younger generation of organists will do the congregation a warning to begin to the way The pain stops. In a little time the whole corn the expression of religious fervor on the instrument on which they are to play. The \yell to prepare themselves thoroughly in sing—and under such circumstances the The holiest know; Light, Life and Way loosens and comes out. part of a body of people. great compositions of organ literature re¬ their young days; for the time is not far first or the second method will be found of heaven!" There are other organists, and many of quire organs of size anJ resources to make distant when as much will be expected of The proof is everywhere. Tens of millions ot corns the most exact. them, who do realize their responsibilities The phrasing of this is indicated by the an impression. Certain transcriptions are a concert organist as of a concert pianist have been ended in this simple, easy way. A few hymnals have been published and who are trying to improve the music slurs in the following : ridiculous on small organs that would sound to-day. So be on the front seat—select with dynamic signs preceding each line of This is the scientific method—the modern way of in their churches, both choir and congre¬ Musically, this part of the tune is well on large ones; and, again, there are your music with discriminating judgment, the hymn. As a general rule, a congrega¬ dealing with a corn. It was created by this world-famed gational singing. ruined, and the other lines can be mutilated transcriptions which are not appropriate to study it and make it a part of yourselves, tion will not observe them. A body of and train yourselves to play from memory For such earnest church organists let in similar fashion. the organ and should never be played. laboratory, which every physician respects. worshipers will either sing heartily or us consider how congregational singing The best results in congregational sing¬ The organist’s poor judgment in select¬ a reasonable number of pieces of various without much volume. If the people are One test will solve all your corn problems. Make it may be improved. ing will be obtained if care is exercised in ing programs too elaborate for the organ styles. singing with spirit and fervor, do not try One great trouble with organists has tonight. Buy Blue-jay from your druggist. First and foremost there must be a the selection of a tune embodying a com¬ or the occasion is responsible for many to stop them or pin them down too closely been the desire to have a large repertoire. mutual desire on the part of the people bination of melody, harmony and rhythm. dreary hours of organ playing. to rules. With an adequate organ, and This is all right if it can be accomplished and the organist to have congregational Such transcriptions as the Tannhauser When the Congregation Drags particularly with a chorus choir, the clever without sacrificing the quality of perform- singing. If either party is lukewarm or overture and the Meistcrsinger prelude are 2. Ministers in particular worry because organist can vary the power or color of ance—but it is the hearing of the program Jl/QBlue-jay antagonistic the result will be doubtful. absolutely unsuitable to the organ, and Cordial co-operation toward the end in congregations “drag” in singing hymns: the organ, giving “expression” in that way, that will show the artist—not the reading The last. line of the hymn is : should never be played without apology. /q/7/(2/ Plaster or Liquid They often will say to the organist, “Play while the choir and the congregation con¬ view is essential. With that established The orchestral effects are impossible of re¬ of a copy of. it sent by mail to a large the hymns faster and keep the people up to tinue with full voice. Let the choir lead “Toil by the Light, Life, Way which Thou address list. This may be good business The Scientific Corn Ender what can the organist do ? production with only ten fingers, and if 1. He must select a good tune for the time.” This is a fallacy. A congregation a verse now and then without the organ; hast given.” advertising, but it does not improve the can never be hurried beyond a certain played at all, they should merely bring a hymn to be sung—and what is a good but if the use of such expedients results The phrasing of this follows: suggestion of the music before an audi¬ artistic value of organ recitals. point; and the larger the congregation the in stopping the general singing, it would A good hymn tune is a combination of more true is this principle—“Large bodies better not be tried. move slowly.” But this must not be good melody, strong rhythm and interest¬ Artistic phrasing in the organ part will ing harmony. If one of these three char¬ understood as meaning that tunes should About Voluntaries be sung in a drawling, lifeless fashion. assist materially in developing expressive acteristics is wanting, the tune is weak¬ congregational singing. The organist ened. To illustrate this let us notice the On the contrary, the organist must play By Hamilton MacDougall with life and precision, at such a tempo as should follow the words of every stanza, melody of the following tune (Bamby’s but care must be taken not to make the will give emphasis to the rhythmic ele¬ and by a judicious use of a staccato touch be tolerated only on the ground of its Hymnary, Tune 500) : broken notes at N.B. too scrappy. The In a pamphlet recently issued by the {Permanency of Quality ments in the tune, without giving the ef¬ mark the end of ope phrase and the be¬ merits, and it may be said that organ English “Church Music Society” Mr. S. fect of haste to the notes of short value ginning of another. best effect will usually be obtained by playing does not become meritorious or H. Nicholson, the newly appointed organ¬ and the effect of drawling to notes of Care must be exercised not to exag¬ phrasing the upper parts but holding the edifying merely by becoming Bach-ish. Tonally and structurally has assured the ist of Westminster Abbey, boldly ques¬ longer duration. A congregation will feel gerate the phrasing to the point of scrap¬ bass or the tenor legato; but no absolute Many of the great compositions are in¬ tions the desirability of the normal vol¬ constant success year after year of the the “swing” of a good time if it is given piness, but the larger phrases can be ar¬ rule can be given. effective on an ordinary organ, and few untary—though he seems to foget that out by the organist in a tempo, usually tistically marked without offending musical Congregations are very apt to breathe organists have the time to prepare a moderate, but which avoids dullness with¬ the average church-goer may escape it taste. according to the musical phrase. There is really big piece every week. Volunta¬ out suggesting haste or triviality. by being either too late in coming or ries should neither bore the unmusical nor This is such an important feature that no way to prevent it, unless rehearsals for early in leaving. There is a line of dis¬ In giving out a tune the organist should repel the musical. The mood of the vol¬ it merits special attention. I therefore tinction, Mr. Nicholson remarks, between play in the same tempo that is to be used hymn singing can be held. But artistic, untary ought to be in keeping with the Jesse Freiefe frail Piano It goes straight along in absolutely un¬ quote the beginning of two verses of a when the tune is sung. Long notes should unexaggerated phrasing on the part of the the prelude played on a noble cathedral broken rhythm, with no chance to take hymn by Theodore Parker, with the mel¬ day on which it is played. The organ¬ have their full value and short notes should organist will do much to call the people s organ, as it whispers down the long- ist, Mr. Nicholson, concludes, has it in To those who demand unexcelled excellence. breath, unless by holding over the end of a ody of a tune by Sir John Stainer, to drawn aisles, or the majestic fugue peal¬ not be hurried. Proper phrasing, with a attention to the words they are singing, and his power to make or to mar the whole line. The harmony is good, but the lack of which it is set: ing along the nave and echoing among very slight rallentando at cadences, will add of the service. If he is careless or slov¬ variety of rhythm is fatal to the tune as an some improvement in this line can be the arches, and the introductory volun¬ to the effectiveness and authority of the enly in the matter of his voluntaries he JESSE FRENCH & SONS, NEW CASTLE, IND. expression of religious feeling on the part First Verse looked for. tary incorrectly played on a poor instru¬ “giving out” of the tune. will at least miss a great opportunity. If of a congregation. One of the uncertain moments in hymn “O Thou great Friend to all the sons of The general effect of a hymn tune ment in a small and mean building. The It may be asked at this point, why is he always treats them with the attention , singing is the beginning of the stanzas. should be—in the writer’s judgment— voluntary, Mr. Nicholson, goes on to say, and care that they deserve he will ac¬ Old Hundred a good tune? Although it The methods employed by organists are Who once did come, in humblest guise legato. Occasional phrases of staccato can only justify its existence by being a quire an influenec for good which it is does keep on without a break in the even, thing of beauty, and it must be at least three. chords (usually with legato bass) may be beyond his power to estimate. regular rhythm, it is usually sung slowly 1. Holding the soprano note (sometimes useful to put a little snap into a lethargic better than silence. Its continuance can and with pauses at the end of the lines, „ needed organ, choir and solo music for the preceded by an appoggiatura) about one congregation, but if too long continued or Suggested-material will be gladly sent for examination. which serve to break somewhat the other¬ beat before attacking the tune. Gburcb 1 for our helpful folders. Sacred Song Gems, A Reliable too frequently used, they miss their point. wise monotonous, even beat. This also ex¬ •2. Holding a pedal note between verses XT ,, Guilders bert van Os, known as “Albert the Great,” r _ List5 of“chOTU8es”and Anthems and'or,A Snoo^st-ionsSbgges'tions for the Organist.Organ! No one knows who were the builders t ^ about n20i is said t0 have been plains the adaptability of the German and releasing it just one beat before at¬ Congregational singing can be fostered theo. presser co., oh PHILADELPHIA of the first organs. In fact, the art was organ builder. His iHjUSIC Chorale to congregational singing of a tacking the tune. and developed if there is a real desire for centuries old before any name or any the^ done at Utrecht type not now popular except in certain 3. Rolling up a chord and attacking on it V all concerned in its making; and to personality became identified with it. Al Please mention THE ETUDE when addressing advertisers. localities. reaching the top note. those these few hints are offered. SEPTEMBER 1920 Page 635 TEE ETUDR tiie etude Page G8)+ SEPTEMBER 1920 Boy Choir Development i ' The development and training of the particular. Adult singers as a boy choir moreover demand an experi- more upon themselves for *e .nterpreta ence that is impossible to acquire with tion in singing, but boys wi P Sdiomacker either mixed or men’s choirs. Boys have the accompaniment will suggest Ag no idea of the delicacy of their vocal accompanist should be able o Style F organs. The care of the voice on the part the voice parts, to see at a g an“J Department for Violinists of children is made manifest to them by what is needed in any one p the careful methods that they observe strengthen a weak place or to aid tne GRAND Edited by ROBERT BRAINE the choirmaster dealing with' them in giv¬ entrance of a part in an important lead. ing them instructions in proper breathing, If the organist is at the same time choir¬ “// All Would Play First Violin We Could Get No Orchestra Together.”—R. SCHUMANN position of the tongue, placement of tone, master or leader he should be able to read The quality of its tone readily from four part vocal score in or¬ and the insistence on soft singing. Boys enraptures the heart as its are quick to observe care or negligence in der to be of assistance when for one rea¬ this matter. Moreover, they son or other some of the parts are weak beauty of construction de¬ Mastering Difficult Passages confidence in a choirmaster when they per- or unsteady. This ability on the part of lights the eye. ceive that he has not the ability to get re- the organist emphasizes the fact that it and the performance often ends up with The first measure in Fig. 1 can be played suits. Hence the great need of a thorough is not enough that he be a fairly good The average violin student often fails beans, and the other containing half a in two bows at first, and when mastered dozen. On being asked whether he had a lot of feeble out-of-tune caterwauling knowledge of this particular phase of lit- musician, one who can play showy organ Schomacker Piano Co. to achieve complete success in his public and scratching, which completely destroys in that manner, can then be practised as started a course in truck farming, he ex¬ urgical service on the part of the organist, pieces or transpose a hymn. Anyone with Established 1838 performances, because he does not give the effect of any good playing he may written. In a string of double stops slur¬ Without it he will be a dismal failure and ordinary work can make a good showing sufficient time to mastering the difficult plained to his friend that he had set out to Philadelphia, Pa. have done in the earlier parts of the com¬ red in a single bow, it will usually be work untold harm to the vocal mechanism at organ playing, but it requires the play a difficult cadenza in one of his piano bits of technic which almost every violin position. Now, having recognized that found that the student uses up his bow of the boys, a harm that can never be trained musician to deal successfully with compositions five hundred times. Each solo contains There will be measures these last eight measures are the weakest too fast, and there will be hardly any bow remedied. the liturgical church choir. which will take twenty times as much time he played it, he transferred a bean part of his chain he should concentrate left for the concluding chords of the pass¬ In the matter of accompaniment the The highest practical requirement then practice to master as some of the easier from one box to the other. “I find,” he his practice on mastering them. The dif¬ age. This gives the distressing effect of organist in the liturgical. church service of the liturgical church organist is capa- AUSTIN ORGANS measures in the composition. Many stu¬ said, “that changing the bean gives my ficulties commence with the following: a singer fighting for breath at the end of must again be something more than an bility in choir training and all that goes dents are not willing to give the extra hand just sufficient relaxation after play¬ a phrase. Practicing such passages at a . ,_ at least, theoretical A record through twenty years instrumentalist. His knowledge of the with it, a practical o for reliability of woikmanship. finish, time to such passages, and the result will ing the cadenza. I also have the satisfac¬ much slower tempo than they are intended familiarity with vocal methods and voice quality and blend of lone. an<^ s‘zc °f s and his innate taste will guide him be an uneven performance, with break¬ tion of knowing when the box has been to be played will do much towards over¬ blendings, cojtnbined with a thorough a such a way that he will make the downs more or less pronounced at the dif¬ emptied that I have actually played the coming this fault. It is also an aid to companiment secondary to the voice, a knowledge of the boy voice. The impor¬ There is nothing belter than a passage 500 times. If I did not use the mark the divisions of the bow in chalk on means, as it were, to bring out all the tance of proper control of a choir, a sym¬ fine Austin Organ, and few organa ficult parts. that^call forth »uch adn iratiou and beans, I should probably play it 25 times Double Stopping the stick of the bow, and see to it that artistic beauty and meaning possible con- pathetic attitude towards the boys both Imperfect Bars and think I had done it a hundred.” each part of the passage gets its proper tained in the vocal parts. In accompany- collectively and individually, is m Approval from over 900 users Double stopping is always difficult in A chain is no stronger than its weakest Field had the correct idea of practice. amount of bow. By practicing these pass¬ ing the church organist should know underestimated. Perfect familiarity with link—neither is a violin solo more com¬ the earlier stages of violin playing. The when to follow and when to lead. He the key-board, and facility of playing so Many students talk of playing a passage ages in this manner, it will be seen that plete than its imperfect bars. A compara¬ first thing to be done is to learn to elim¬ can be of great assistance to the choir by that all attention can be directed to the fifty or a hundred times, but never act¬ the difficulties are taken up one after an¬ tively easy piece, played with technical inate the scratching and roughness which artistic accompaniment, cooperating with choir, are absolute requirements of the AUSTIN ORGAN CO. ually do it. The result is that they never other and conquered separately, instead of and artistic perfection creates a much bet¬ results from resting the whole weight of them in their interpretation of. the choir liturgical church organist. Finally, hut 165 Woodland St. Hartford, Conn. solidly learn anything but the easier parts overwhelming the pupil all at once. ter impression than a piece much more the arm on the strings, and playing with selections. The accompaniment, especially not the least of the requirements must of a violin solo. Concentration on the a rigid wrist. Both strings must be difficult, full of false playing. A practical with boy choirs, means so much in the be mentioned a thorough knowledge of difficult passages is the secret of real suc¬ made to sound simultaneously, giving the production of beautiful tone. A judicious, the liturgy of each service, and if possible illustration will often bring this fact home cess, and in getting the most out of a effect of two violins playing in duet. The artistic accompaniment has a most won- a complete understanding of these serv- Six Free ‘Scholarships to the pupil. Ask the girl pupil if she given amount of practice. A solo should bow must be drawn over the strings with derful effect on the singing of boys in ices in their detail. would wear a dress to a party which was be systematically analyzed, and the diffi¬ a supple, elastic wrist, and not dug down not finished—which had only part of the cult parts marked for special practice. into the strings like saw-filing. Open trimming on, and some of the buttons They should be first played in their sim¬ strings can be used at first. Play as missing. Ask the young man if he would The last three measures require very GUILMANT plest possible form, and the difficulties softly as possible, without any pressure Self-Reliance wear a half-made suit. Then demand fine bow control to produce the long sus¬ ■added until they can finally be mastered at all at first. At first count four to each tained chord. Many a student succeeds of them why they would think of playing as written. bow, then eight, twelve, sixteen or more. By T. L. Rickaby ORGAN SCHOOL in mastering the whole composition with a half-learned violin solo in public. Try and get a perfect singing tone, with¬ WILLIAM C. CARL. Director the exception of this one chord. It will be So many violin students practice the Musical Stumbling Blocks out a particle of grit or scratch. found helpful to make an exercise out of Musicianship and the ability to play creased indefinitely. Great artists who had piece they are trying to master in a half¬ 22d Year, Oct. 12th The average violin student has many Having mastered a good tone with long this chord, playing it many times first with are the result of the satisfactory fulfilment the advantage of instruction from famous hearted way, always making the same mis¬ violin solos in his music cabinet which bows, the notes of the composition can be the down and then with the up bow, count¬ of three conditions. First, we must know teachers, were not great merely because £i!i!s* 17 East Eleventh St.. N.Y. takes when they come to the difficult and be able to do many things without be¬ of such instruction, but because they made are useless to him because they contain taken up. Do not use the slurs or time ing at least sixteen very slowly to each •passages, and breaking down at the same ing taught or told. In other words, defi¬ the most of their own gifts—building their certain difficult passages which he has values at first, play only one note to a bow stroke of the bow. The two pizzicato notes, points. When they make a mistake they played with the second finger of the left nite musical tendencies must be born with own superstructure on the firm foundation THE“ORGOBLO” never had the patience’ to master. They very slowly in half or whole notes as in may go back and play the passage over hand, offer no difficulties whatever. or in us. Second, we must follow care¬ that the teaching laid for them. As a are like unfinished paintings, unfit for the following, and in perfect tune. two or three, or possibly, a half dozen It is often found that two or three times fully the directions of the teacher, giving finale, ponder these words from a recent hanging in any gallery. close attention to his instruction, and mak¬ issue of the Musical Courier: times, and let it go at that, thinking their Fig* as much practice must be given to these Take Drdla’s Souvenir, for instance, ing every effort to remember and profit by “Our object is to make the music student duty has been done. If they would play last eight bars, as to all the rest of the which is played by almost every violin it. In the third place, we must be able to understand that, unless he teaches himself, the passage fifty or a hundred times it piece together. All difficult passages find out for ourselves many other things no music teacher is going to make an artist would very likely yield, and smooth in student all over the world, even by those should be analyzed and their difficulties who have not a quarter enough technic to separated and attacked one by one, and by deduction, which is not a difficult thing out of him.' The pupil who has no object with the rest of the piece. Keep practicing in this manner until all play it. The average student succeeds practiced in this manner and if they are to do for those who have minds and are but to satisfy his teacher will not become A friend once found Field, who wrote the notes in the last eight bars can be willing to make an effort to use them. one of the eminent artists of the day. The pretty well with the composition until he at all within the technical possibilities of L-Ulc and Jamestown Expositions the famous nocturnes, seated before his played in tune with perfect ease. Then the gets to the last eight bars, with the dou¬ the student, they will be found to yield. If the first and third of these conditions technical demands of to-day are immensely piano, at either end of which was placed bowing and time values can be taken up. greater than they were. All the more rea¬ ble stops. Then the trouble commences, are met, the second will not be so neces¬ a pasteboard box, one almost filled with sary. Many of the great musicians reached son that the young musician who hopes to Arranging and Correction of Mss their exalted plane by reason of their own be acclaimed an artist must make long and A SPECIALTY exertions. Best, one of England’s eminent bitter sacrifices. He must be relentless in A. W. BORST, Presser Bldg., Phila., Pa United States organists, was entirely self-taught. Elgar, the struggle with his weaknesses and short¬ Sevcik in the Watch the Thumb Ithaca, New .York, and expects to remain a shining light in England’s present-day comings. Even the greatest of teachers One by one the great teachers of music musical firmament, never “took lessons” cannot give him a technic. Many of the „ , . £ fnp student will play every note more or permanently in the United States. One of the principal difficulties of the ^ inexperienced teachers will of the Old World are seeking residence m and never “graduated” anywhere. Schu¬ most important artists before the public to¬ Sevcik became famous as a violin beginner in position work is the moving of noticc that the pupil is constantly the United States, since here they can ob¬ bert was not overburdened with instruc¬ day have had little or no instruction worthy teacher following the great success of his the thumb as well as the fingers to th « flat in his early position work, but tain an atmosphere of peace so necessary tion ; Paganini was his own master; the name. Which proves that a Demos¬ pupil, Kubelik, who won world-wide fame higher position. The third position is las ^ m(lra r,f the mnnwl Chopin must have taught himself many thenes need not pay the fees to learn the will fail to notice that one of the principal for their work, as well as the best market as a violin virtuoso of the first rank. Sev¬ it should he) usually the* first of the things, and doubtless the list might he in¬ art of Isocrates.” causes i the lagging back of the thumb. in the world in which to sell their talents. cik was also the instructor of Kocian, who Ask her with the adorable complexion what higher positions to be studied. The begin- magic charms away the tell-tales of time When playing in the second and third The latest famous teacher to seek our had a distinguished career, and many other ner, unless constantly corrected by tne and leaves her fair face so free from blem¬ positions the thumb should be advanced on shores is Prof. Otakar Sevcik, the world- well-known violinists. ish. She will tell you teacher, will invariably let the thumb lag the neck of the violin until it assumes the renowned teacher of the violin, and author Sevcik is known, primarily, as a great Schumann's Silence Lablache — a word ^ behind in the first position, or maybe a same relative position to the fingers as technician. Few human beings have ever you so often hear of technical studies for that instrument. Kittle higher after he has advanced his when playing in the first position. Some One of the peculiar harbingers of Schu¬ his most brilliant period was admittedly among discern- .egBS9gfp||||prSV lived who understood violin technic and ing Women. hand and fingers to the higher position- •• • *;>_ do this without much diffi- There is no doubt that the decision of one of the finest critical writers in Europe the art of teaching it as does this great mann’s last illness, which was an affliction In other words he is trying to P13^ w'. j\,tv but others have to be continually Prof. Leopold Auer to make his perma¬ and produced more literary work than any teacher. He is the author of many tech¬ of the bones of the skull, proved to be an his fingers in the third position and his and admonished to take the nent home in the United States, and the musician save Wagner. Once Wagner nical works for the violin, covering every ever-increasing silence. Even among his thumb almost in the first position. i with the fingers when they called upon Schumann and during the success attending his location here, had department of study, and providing exer¬ best friends he became more and more ret¬ effect of this will be that the thumb M *g£er positions. visit talked without rest. After he left much to do with inducing Sevcik to take, cises for the mastery of every conceivable icent—indeed he rarely uttered more than gradually dragging the fingers back, an g_____ difficulty. These works cover the subject Wagner’s comment was, “What an awful ---- articles are now awaiting the same step. a few words at a time to anyone save his person! No one can get a word out of Numerous exceptionally fine ^ ^ £ * Buescher-Grand Cornet to the principal difficulties makes it go study. In time, the pupils he trains will twice as far. be found scattered all over the country, TINDALE MUSIC CABINETS spreading the gospel of their masters Prof. Sevcik is a man of 68, having Just what you CONDUCTED BY BU1ZABDTH A GE.ST been born in Pisek in 1852, but he pos¬ methods and his skill in developing pupils. have been wanting Who Knows? Quality Not Quantity Will keep your music Marjorie and the Little Gilt Clock Typewriters and Pens 1. By whom was the development of The Violin Department of The Etude year. I have been taking lessons in order, free from —» biggest tone and the most perfect of any Cornet Do not use typewriters in the competi¬ music chiefly carried on during the made. Double your pleasure, popularity ana income by is constantly in receipt of letters asking just six months; the time before I strug¬ damage and where you playing a Buescher-Grand Cornet or Trombone. tions, because it is not fair to those who first thousand years after Christ? for advice, which it is impossible to give. gled by myself, although my father can easily find it. Va¬ By Eveline Nutter 6 Days* Free Trial showed me my positions. I have never rious sizes, holding 200 have not the opportunity to type their 2. Who were the Troubadours? Too can order any Buescher Instrument and try it 6 days A great proportion of these letters give n Tour own home, without obligation. If perfectly satisfied. pay practiced over two hours daily, and very contributions. Neatness is one of the con¬ 3. What were the Trouveres? lists of pieces and studies which the to 1200 pieces or more. Marjorie looked at the clock sharply. writers say they have mastered in a given seldom even two. But this summer and ditions, of course, but it must be hand¬ Marjorie opened her book of exercises 4. In what century did they flourish? Oak or Mahogany. writing neatness, not typewriting neatness. “But I must be mistaken,” she said. Buescher Band instrument Co. length of time, and then ask the editor from now on, if I practice at least six and sighed. Then she climbed up on a 5. On what instruments did they ac¬ Send for Catalog I And do not have your mother or older “Of course it can’t talkl” 325Buescher Blocs_ELWHAPT, IMP. to inform them whether they have made hours a day would it be possible to reach chair so she could reach the little gilt company themselves? T1NDALE CABINET CO., 8 Eui sister copy your work—it must be all your “Of course—I can—of course—I can,” good progress. How much more they the rank of Spalding, etc. Very few peo¬ clock that stood on the mantel, and put it 6. What were the Minnesingers? very own’ best writing. Please remember must study (before they can qualify as ple have heard me play the hard music, on the table, close to the piano. ticked the clock. 7. What were the Meistersingers? first violinist in a symphony orchestra? although I have made several public ap- this. This time Marjorie was certain. She leaned over and seized the clock in both 8. Who was Hans Sachs? How1 long it will take them to equal pearances, just to play rather easy music, 9. Through what opera has he been Elman? Whether they have real genius, such* as the first of the•' two romances by hands and shook it. She was qu.te angry. Playing for Others made famous? or merely talent for the violin? etc., etc. Beethoven, the one with the double stops. “If you can talk,” she said, “tell me this: Wiiat do you do when you arc asked to 10. How long did the Meistersingers People who write letters of this kind I am very anxious to know, so please an¬ Why do you always make my practice do not seem to be able to understand that swer this, even if I am nothing but a play? And how do you say it? half-hour so long? Why can’t you tick it exist? Do you act in an awkward manner and it is not the number and rank of the com¬ ‘kid.’ Yours truly. -.” grin and say: “I don’t know anything off faster?” positions they have studied which deter¬ The above is a fair specimen of many For a moment the dock stopped ticking, without my notes,” or, “I have not prac¬ Answers to Last Month’s mines their progress and artistic standing, letters received by the Violin Department. and Marjorie shook it again. “Oh, well,” Walter Pickenhaiin ticed lately,” or, "I have a sore finger, Questions but how well they play them. Many vio¬ On the strength of this lad’s statement answered the dock, talking in a tiny, sulky lin students attempt difficult concertos that he has mastered many works includ¬ MUSIC ENGRAVING etc., etc.? 1. No one knows how old music is: it You know it is a compliment to be asked voice, “when you—sit there—and sigh— years before they are ready for them, or ing the St.-Saens’ Rondo Capriccioso, and and PRINTING and stare—it’s hard—to tick—just right— has probably existed as long as man has the Mendelssohn Concerto in one year, to play, and you should receive it as such. “Tick, tock,” said the clock, impatiently. before they have mastered the funda¬ ESTIMATES CHEERFULLY GIVEN and quick 1” been on the earth. only six months of which was with a When you are asked to play, smile pleas¬ “Oh, dear!” sighed Marjorie. "Hateful 2. It is not known where it originated. mentals of violin playing < "Honestly, is it?” asked Marjorie. well. It is quite useless for people to send teacher, the editor is expected to furnish 893 Arch Street - Philadelphia. Pa. antly and say : “Why, yes, 1 will be glad to old dock! Here I have to listen to your 3. The Greek modes were scales used in play or. if you really have a sore finger, “Yes, yes,” ticked the clock, rather lists of compositions they have studied to a prediction of the exact time which it will tick for half an hour while I play these ancient Greece, similar to present-day Notice, to AH Kinds of Violinists say: “Well, I have a sore finger, but if sadly. ^ We can supply you^with everything you may desire the editor of the Violin Department and take him to equal the well-known eminent' scales, but differing in arrangement of you will excuse that I will be glad to do old scales and things.” “Why, you poor old thing 1” cried Mar¬ ask for an opinion of their progress and American violinist Spalding! “Tick, tock,” said the clock, reprovingly, whole and half-tones, or steps. REVIVOR the best I can.” If you really do not know jorie. “I know how that is. Sometimes STTTDF.NTR- VIOLINS, from $15.00 to $60.00. talent. This can be determined only by ; With a little reflection we think our An Italian Master's Recipe 4. During the first few centuries after many pieces without your notes, say: “I pointing with its hands to remind Mar¬ personal hearing. youthful correspondent must readily see TX)R cleaning and reviving the varnish of v in* i when I’m taking a lesson I get all tangled Christ music was developed' chiefly by the ns by*real m&k^|^from$70.00 to $3,000.00, e kindred Instruments. Greatly Improve ihe U\ do not know many pieces yet, hut I’ll play jorie that it was eight o’clock. up because. Professor Nimblefinger stares Among the letters of this kind recently that the whole matter hinges on how well “I don’t qare if it is eight o’clock 1” said monks and in the churches. 0ER ART" Violins, from the ones 1 do know, and they are very at me so. Shall I put you back on the 5. The first training school for church at $20, $30 and $40 each. received, the following unique communica¬ he plays the compositions he names. If Marjorie. “Sometimes I think you move tion written by a bright boy in a western the facts he gives in his letter are true he mantel?” singers is said to have been founded by t.. *18.00, made your old hands slowly just for spite—so I strument sent on ten days trial upon receipt state, will serve as a type: “I am a boy, must be a second Paganini, for young P Tlicn go to the piano and tell your lis¬ Pope Sylvester, A. D. 330. - —"~uments taken in part payment teners the names of your selections and have to practice until I’m almost dead— e^pay meats arranged for violins age 13, and would like to know what violin students of positive genius rarely 6. Gregorian chant is the name given and then I know you run faster to make chance there is for me to become an artist arrive at the stage where they can play the composers, and do it in an easy, pleas¬ to the music that was sung in the early on the violin. I have a teacher who is an the compositions he names in an artistic A Little Gem for the Violin ant way. For instance, “This is called up for lost time while I’m out of doors church, named for Pope Gregory, who did HUGU5T GEMONDER Sl 50N5 artist, a pupil of-, who is a pupil of manner, short of four or five years’ study Spring, by So-and-So. It is one of my playing with Kathleen.” qp a great deal for the development of church TAMBOURINE BALLET favoritesor, “This is a movement from “What if—I do—what if—I do,’ ’ticked the great Ysaye. I would have consulted with a great teacher. By F. P. Atherton Pkice. 60 cents singing. her, but I did not have the courage, so I a sonatina by So-and-So that I think you the dock, quite plainly. 7. Parallel lines were first used in writ¬ The above letter is a type of many This charming violin and piano piece with thought I would ask you: I know from which perplex the editor to know just how will like.” “Of course I only imagined that,” she ing music during the ninth or tenth cen¬ a touch of the Oriental should be in the A willingness to play and a few pleasant memory and well enough for the average to answer with any degree of satisfaction repertoire of every violinist. May also be said. “A dock, even a little gilt dock turies. AKADEMIE & ETERNELLE remarks will always make people like you, audience, the following: Mozart Concerto. the writer. If a man wrote to the edi¬ used to good advantage in teaching. that came from Paris, can’t say anything “Yes, yes!” begged the dock. 8. Guido d’Arezzo was a teacher, singer Silk Strings as well as enjoy hearing you play, and it No. 6 in E flat; first movement Mendels¬ tor of a health journal that he could lift but tick, tock.” So Marjorie put the dock back on the and monk of the eleventh century, who did LA FAVORITA & ELITE will add a great deal to the store of per- sohn Concerto (I will learn the rest a 500-pound weight with one hand the edi¬ Then Marjorie played a scale or two and mantel and began to practice again. Then much to develop music, and is said to have Gut Strings sonal magnetism” that you will want to soon) ; Praeludium and Allegro, Pugnani- tor could safely assure him that he had looked back at the clock. The hands were the little gilt dock moved its hands just invented the four-line staff. or Sale by Leading Importers and Jobbers possess when you grow up and become the 9. Line after line was added to the staff, Kreisler; Introduction and Rondo Ca¬ good, strong arm muscles, but if a corre¬ hardly moving at all. as fast, as it could, while no one was Sol. Distributors M. E. SCHOENING CO., Inc. musician you hope to be. until at one time there were eleven, the priccioso, by Saint-Saens; Habanera, by spondent writes to this department that he “Oh, dear!” she groaned. How I hate watching it, and very, very soon it struck Sarasate; besides many lighter works such has learned the Mendelssohn Concerto ii middle one being retained now as middle practicing!” the half hour. Souvenir, by Drdla; Spring Song, by four weeks and can play it very well Letter Box Then she played another scale, but this ■ “Why,” cried Marjorie, “what a short OUR “SPECIAL” Mendelssohn, etc. I am taking the deed, the editor must be pardoned if he Send 30 cents in stamps (professional price) 10. The round notes, such as are used to¬ Dear Junior Etude: time she kept her eyes on the dock while half-hour! I do believe it worked! I OCr 1° Tested Lengths, Kreutzer Studies and will soon take Fio- declines to extend congratulations until for a copy of this very pleasing number. day, were first used in the fifteenth cen¬ I have been taking The Etude for about she played. never shall watch you again, little gilt £3^ Silk Violin E, for 25c rillo. I have accomplished this in a little he has heard the performance. “There!” she said. “I knew it! That tury. THEODORE PRESSER CO., PHILA., a year and like it very much, especially the clock,” Send for Violin and Cello Catalogue Letter Box and the Junior page, and mean old clock is holding its hands abso¬ Then the dock made a funny little noise MUSICIANS SUPPLY CO. Rosin Accumulation would like to hear from one of its readers. lutely still. How I hate to practice! —as though it were trying not to laugh— Any Kind of Hand “I hate—it, too—I hate—it, too,” ticked One of the queerest superstitions about use, from the time the violin is new, the From your friend, and went on ticking away as before. There are hands that are long, Roberta Quail (age 10), the clock, briskly. the violin is the idea that the rosin should varnish will always retain its beauty and And hands that are short, Unionville, Mo. Etude Brand Violin Strings be allowed to accumulate and cake under luster. If left on, it ruins the varnish in And hands that are clumsy and fat, the bridge, with the idea that this im¬ time, and forms an unsightly cake under And hands that are strong, Used by leading violinists everywhere. Dear Junior Etude: THEODORE PRESSER CO., PHILA., PA. proves the tone. People often write to the bridge. This is injurious to the violin And hands that are weak, The Etude to inquire if this is the truth. I have taken music lessons^ for about And some are relaxed and all that. and to its value. Thousands, of people They would at once see the absurdity of two years, and my mother is a music A IS QUITS A PB3TTY SIGN, imagine that the more unsightly an old plastering a bell with mud to improve the teacher. My brother (who is eight years But ’most any hand violin is the greater its value. This is a LOOKS SOMEWHAT JAPAHSSI3; clearness of its tone, so why does not their old) and I play in her recitals. We love Will do for a start, IT ONLY MBiHS ONE-HALF STEP UP, own intelligence and common sense tell great mistake. Old violins, like old the Junior Etude, and before we could If practicing’s done every day, them that clogging the surface of the are much more valuable when well pre¬ read, mother read it to us; but now we can YOU SEE THAT'S HATHBB EASY. And so if you work, belly of the violin with a foreign sub¬ served. A good or bad state of preserva- read it ourselves and make out the puzzles. Persevere and don’t shirk, stance can only be detrimental Stradivarius violin, for instance, From your friend, Some day you will find you can play! If the rosin which accumulates under the might make a difference of several thou Helen Statler (age 6), Friendsville, Md. bridge is dusted off with a cloth, after sand dollars in its selling price. SEPTEMBER 1920 Page 639 THE ETUDE TEE etude Page 688 SEPTEMBER 1920 The Advantages of Mail Useful Tkings Given Junior Etude Competition for Your Spare Time Forgetting to Remember Order Music Buying Many people do not realize what valu¬ The Junior Etude will award three Sometimes people tell us to remember This magazine, The Etude, was started able rewards may be had for telling then pretty prizes each month for the neatest one thing by remembering something else in 1883, and the music business of the friends about The Etude and taking and best original stories or essays and instead. Have you ever tried it? For Theodore Presser Co. began immediately their subscriptions. Below are listed only as a natural sequence. The publisher of answers to puzzles. a very small number of the premiums instance, they tell us to remember the The Etude, Mr. Theodore Presser, now Subject for story or essay this month, spaces on the staff by f-a-c-e-, face; and that mav thus be had. Our complete F K_I cannot Judge of your progress ably placed thereby^he owneror the president and active head of this business, catalog will be sent to you on request “Looking Forward.” the order of the scales by Can-George-Do- without hearing you play,play. 2. The fodowmg not more than one chance in 500,00 was forced into the supplying of teachers and shows you that rewards of surpris¬ (Must relate to music.) It must con¬ Anything-Ever-B righter ? C-G-D-A-E-B ■; works would be or great va.— --- ,, - your violin is geniune. with educational material. Anything that ing value may be had in return for a very tain not over ISO words. Write on one Violin Mastery, by Martens; The vto nmsi« and the order of sharps by Fanny-Can- Lexicon, by George Lehman; 3lie 1 was mentioned in the pages of The small effort. Send us $2.00 for each sub¬ side of the paper only. Any boy or girl Get-Dinner-And-Early-Breakfast, F-C-G- How to Master It, by Honeyman; famous Etude was immediately ordered by mail scription you obtain and your premium under fifteen years of age may compete. D-A-E-B. Violinists of To-day and Yesterday, by Lane.. > go to a violin teacher, , .. v by the teachers, and thus this mail order will go forward, postpaid, without delays There are many others which you may set business started. In other words, the All contributions must bear name, age This system is all right if we do not at any music *•— ”3.° rmThe'" “’-“’stretching■'b.ov a t and get his opinion. 2. Private i,,s. is practical, and e greatly to be preferred to a corre- natural advantages of mail order music For TWO Subscriptions and address of sender (not written on a forget to remember the thing that we ate if properly spondence cour o the lingers would buying were so many and so great that (One of which may be your own Renewal) separate piece of paper) and must be sent going to remember the other thing by, but this business began of itself, and by care¬ J. DeP.—I am afraid you are trying to add Beginner’s Method. Theo. Presser. to Junior Etude Competition, 1712 Chest¬ when we forget to remember the thing the top story to your house before you have ful nursing has developed until now there J. A. L.—The use of a mute does not injure Celebrated Compositions by Famous nut Street, Philadelphia, Pa., before the that we are going to remember the other put in any foundation. No violin student, are few music teachers, schools of music, a violin. 2. The mute is used in the or¬ no matter what his talent, should he prac¬ twentieth of September. thing by, why—we might as well forget chestra when the composer specmciaiiy m- convents or colleges who have not had an Composers. rects its use, and by the violin soloist when ticing in the middle of Krcutzer s Etudes of 20,000 records; in fact, everything Chopin. Waltzes or Nocturnes. The names of the prize winners and to remember the real thing in the first the composer indicates its use, or when in after eight months’ study. The DeHeriot that can be obtained from the factory. account on our books. Czerny-Liebling Selected Studies. In their contributions will be published in the place, when we would not have quite so the Judgment of the soloist the style of -- in addition to these we are constantly There have always been many advan¬ position calls for the peculiar_ _e qualities tor you. Nothing is so demoralizing to*'tbe tages of buying by mail order from the three books. Any one book. November issue. much forgetting to remember. pupil’s progress as trying to play big works L. Theodore Presser Company, now picking up from various dealers, big and Mathews, 2 vols. Standard Graded produced by the —j| *3. 1Yes, but this Theodore Presser Co., but for the season Please comply with all of these condi¬ [about method of tun- without any technic to go on. Ii is like that another year has rounded out, again little, records that have not been made by Course of Studies. Vol. I, Grade 1, to trying to fly without wings. Make haste presents a Money-SavingMoney-navmy \jyOffer m thatumi the Victor Company iorfor many mourns.months of 1920-1921 there are more advantages tions ahd do not use typewriters. more slowly. Have the patience to lay a and more reasons for so buying than ever Vol. VII, Grade 7. Musical Game to Teach Dif¬ C. Z.—L. H.—R. Q.—M. A. D—There are good foundation. - things to attention at ex- This accounts for the fact that many of Modern Clutch Pencil. Always sharp. millions of violins in existence with Stradi- v prices, it will be well for our mail-order customers write us that before. Waterproof Apron. (Wonderfully pop¬ WHAT THE PIANO SAID ferent Kinds of Rests varius labels such as you send. Only G. A. S.—Do you mean LeBrelmi or F. everyone interested in music to carefully they can get records from us that they There are three great advantages, two Breton? I cannot Bud any details , r Hie life ular.) the very smallest fraction of these are gen¬ consider the works and to take the utmost ]lilVe ordered elsewhere many times with- of which have been mentioned before. (Prize Winner) uine. Write to some of the violin dealers who of LeBretou. H. Bauer in his Practical His- The third is peculiar to this season and By Laura Rountree Smith advertise in The Etude, and arrange for an Violin gives the following con- advantage of Ihe offer. This offer is most out success. We want to send you our Any two of the following can be had for The piano says all sorts of things, examination of your violin. opportune, inasmuch as it comes at the new lists; and if you have been trying to these times. TWO Subscriptions at $2.00 each It brings so many joys The children sing. Tune, “Twinkle Lit¬ beginning of the season when new things elsewhere for records with poor results, 1. The first advantage of mail order (One of these can be your own Renewal) M. L. H.—As you are somewhat doubtful li light yellowish or brownish look To all the children of the world— tle Star.” nish, and of a broad, dark, sympathy art- needed lo strengthen anil modernize send the list to us and we will do our buying is the obtaining at first hand, easy of your talent, and as your ambition is to and promptly, either on selection or Chopin, F. Complete Waltzes. Both little girls and boys. become a concert violinist, your best course They are excellent orchestral insin ihe curriculum. The low prices enable best to fill your order. At any rate, let Duet Hour. Collection for the Piano. Into Music Land we go, would be to go to some great violin authority, Violins made by comparatively otherwise, of the publications of Theo. makers of this class are not to be . the progressive teacher to become ac- us pUt you on our mailing list. We mail Manicure Set. For if your heart is weary And we need to rest you know, play for him and get him to examine you as quai„t,-d with new works for this purpose ap orders for three or more records, Presser Co. front a catalog of 20,000 to your talent. Many violin students do numbers, covering every phase of musi¬ Popular Recital Repertoire (31 pieces). And you play a little tune So we sometimes find it best,. this. Most of the great violin teachers in the slonally such a maker baa produced i Many of'the works offered at final intro- postpaid, safely packed and guaranteed Presser, Theo. Beginner’s Book. large cities would arrange to give you an pieee as regards tone. cal, educational work. Your troubles all will leave you— t To nid-nod and take a rest! It is very difficult to get details of . due-ton prices have been on the market against loss or'breakage. Singer’s Repertoire (39 songs for me¬ opinion in this manner, which is called an for some months and have attained a 2. Second only to easy access to such You just don’t know how soon. “audition” (hearing), the fee for which of such makers. dium voice). Cards containing rests are pinned on a most flatUwing sale. Those who have To Choir Directors a catalog is the fact that this business varies in amount. carries on hand a stock of the miscellane¬ screen, and the children may say in turn, been using these works will instantly real- &nd Organists But children aren’t the only ones .v the ous publications of the world, as great in Any one of the following can be had for G. M. B.—Your translation of the label in THREE Subscriptions at $2.00 each The piano helps to cheer I am tired as you see, your violin is correct. The label is a copy of mder- volume and variety as is to be found any¬ A whole rest is the one for me. a genuine Guarnerius label. It is surprising stand that It Is impossible to os . _ Baltzell. History of Music. For grown-up folks it loves as much, that so many violin owners lay so much student’s talent and probable fill nr,-, with¬ where. This also means promptness in No matter what their year. stress on whether the labels in their violin out a personal hearing. Try and consult the filling of orders. Cooke. Standard History of Music. This child must go up to the screen and are worded exactly like genuine labels. Peo¬ some good musical authority in v„nr own 3. Many music buyers consider the Diamond-shaped Lavalliere. take the whole rest. If she takes any ple making counterfeit labels naturally imi¬ town, or in the nearest large eil.v 2. The Hohinann Method is widely used. ..nil is above two advantages all sufficient. Ladies’ Fountain Pen. And if the day has been too long other rest, than the one mentioned in her tate the genuine as closely as possible, as to Picture Frame (oval or oblong, 3x5). When comes the twilight hour, wording, paper, type, inscription, etc., Just effective if carefully studied. j® "Tix -x s -rs?.r£ ccts r Added to the above, however, is the verse, she is clapped out of the game. ns bnnk note counterfeiters try to make their frequent «■ a-cs £]£?%& eessful in presenting such Octavo music question of prices and discounts. The re¬ The piano says sweet things to you we must pu> tomes close to tde iow casn ^ n music as the puWlc wants. They use the little verse naming any bills as nearly like the original as possible. tail prices on our publications are propor¬ More sweet than scent of flower. price quoted. Does it pay us. Indi- | churches in the remote rest they see. E. D.—It would be a great risk starting at tionately less than the prices of any Mary L. Bergett (Age 14), on,, to ad- rectly, yes. The value of acquainting ywe are sure find it diffi- works by any other publisher. Further, Do You Compose? The song is repeated each time after a seventeen with the idea of becoming a profes¬ our patrons with these new publications ^ tQ rocure suitable selections. We Iquawka, Ill. sional violinist or pianist. Study for this the discounts which are allowed this year HAVE THAT COMPOSITION PER¬ rest is chosen. is apparent in the reorders upon reorders anPexcellent corps of experienced profession should begin before ten years of give an'opinion*1 without dewing > '/'play! are by far greater than those of any FORATED ON THE PLAYER ROLL age, the earlier the better. Most of the musi¬ You have a somewhat late start in violin that come io us from teachers who were have ^ ^ ^ charge ()f our WHAT THE PIANO SAID cians with whom you would compete would other publisher or dealer throughout the Y„U’J be Surprised at Rrsulle. Write for ‘Particulars. Puzzle Corner have reached the professional standard before snfflciciillaying, hut if you have great t;i'•••. 1, and delighted with the first copy obtained at 0ctayo jjLartment who stand ready to United States. In these days of high (Prize Winner) you had begun to study, so what -chance lffleient perseverance. It Is p.,-- i.i,- you an introductory price. . . our patrons in the selection of the J. LAWRENCE COOK prices it is the duty of every person to 2400 7th Avenue. Apt. 46 NEW YORK would you have in competition with them? It hass only been a few hours since we - music- for- that purpose. take full advantage of this fact. It is by Fiorina was practicing when I entered If. however, von are determined to try, you .- -’reived notices from paper mills b Wg shaU be very glad indeed if the the room and seated myself in a chair will have- ... ..top high school at once, and so doing that normal conditions will be e all your time to music study. If you and jobbers of increased prices, and leaders will send us word to place facing the piano. Suddenly it seemed to more quickly resumed. -until your graduation at the age of nine- printing and binding costs are contmu- down on our Novelty List, and we Music sent on selection from our im¬ me that I was sitting before a man who een. the case would be hopeless. Have you - - -a.™ «... -Vvelopment of ally mounting, yet we are refraining from ^ be glad to send them periodically a mense stock on the most liberal terms; had many playthings in his lap, and like Rearrange the letters in each of the h on study in increases wherever possible, and the low gmaU y(|ume of our new publications on introductory offers on modern works; extreme youth ? the sturdy oak in the forest, he seemed following so that they spell the names of prices on works included in the zlimua/ lection-> that are returnable at the end prepaid postal cards to send orders to usF Money-Sa: iny Offer, on page 640, but ^ season In this way choir leaders School Course at ^ colleg8 0„d th0 fading to sit there for ever and ever ready and famous composers. one'of* the°fi novelties sent monthly on selection; cata- tise in The signalizes a policy to refrain from pass- have access to much new and inter- Wfjfijlpg-? giygtn^n?tSe''n^1k1TOI^ waiting for someone to play on his play¬ 1. Diver. 8. Thebcurs. logs, information and advice free for the ing the major part of the increases to ^ Octavo music, which they other- asking. These are a few of the minor AmnrKan school ol Cotretaondence l, things. Presently he spoke to me and 2. Moans. 9. Kwicdhac. ai m-ies are named aner laui- —Giovanni Battista Zanoli. the profession. In fact, the Theodore wise would not know of, at very little advantages of dealing with the Theo. 3. Phonic. 10. Ragle. nos men. As a rule only the cheaper makes Presser C ompany has been a ctual nse> only the postage. It is also well “Fiorina has been playing with me for of factory violins are branded in this manner. Presser Co. by mail order. .4. Gnawer. 11. Ipuncic. ' buffer for the profession where nigh costs , for cbojr leaders to include in this Send an initial order promptly, so that hours, but you would rather play out of 5. Handy. 12. Tamesens. are concerned, and is offering the lowest orde® the new organ music that we issue, we can s^art you. In making a selection * SUMMY’S CORNER * doors. She will be proud to have played 13. Sirosin. prices and best discounts to the profes- even the new sacred solos and duets order give us ample information as to with my playthings, and later on she will Battista means John the Baptist, in Italian. sion. This is quite an endeavor, since gheet fjrm A11 of this music we will 7. Wamocllde. 14. Hanadmice. V indicate the 2. From your description, a new neck has number of pupils, grade, special require¬ appear in concerts before the public. Now, many publishers have found it necessary ^ jad indeed to send to any choir direc- ments as to studies, etc., etc. nethod of identification by been grafted on in place of the old neck for AT ' do you not envy her, and are you not a former owner some reason or other, either because it was to forego reprinting many of the’r publi- during the season. We have at the Full information sent promptly to all A J Answers to July Puzzle too short, or else had been broken, or worn. ' cations due to the high costs of produc- ent time a large number of choir those unfamiliar with our liberal methods. going to do as she does? \\hen first made the neck and head were tion books. The most pronou Clef; Hymn: Oboe; Pick; Idyl; Note; }}■ ’ —The label, translated would tn one piece, of course. lion. Only the most expert purchasing v ^ wbo are dojng this, and we wish This year is the year of all years to “I opened my eyes and there he sat in Composer, Chopin. read : Joseph Guarnerius made this vio'in of paper, printing and binding, combined make it known that we are in a posi- mand for the Very Firat L silence, waiting for me to play, and I at Cremona (Italy) in the year 1737.” The allow Theo. Presser Co. to take care of Piano, by Mrs. Crosby Adas .. 0,le cnn judge of the autl entic- with a perfected organization for handling ^ supply choirs anywhere with these made a resolution to play with his play¬ Prize Winners letters 'I. n. S. stand for "Jesus, Savior of all orders for musical supplies. Our com¬ Men,” in Latin. Guarnerius was verv pious lty of a violin without examining i thousands of orders promptly and a will- ^ issues as they come out at very plete organization is waiting and readv things carefully and faithfully every day. Evelyn R. Ditto (Age 15). and put these initials on all his labels'. There can I tell you in a few words how ingness to work on decreased profits nse> so send in your name. This Md. : Helen Stoekard (Age 10 Is no way of learning what the Denoil marks ir your violin is genuine. It takes ye to serve every school and teacher of re Preliminary Studies, (30 cents) an< Jeanette Mailloux (Age 11), N. C. ; Sol Jacobs (Age 12), E put beneath the label mean. They were prob study and experience to qualify as a during these abnormal times, make 1 arrangement may be discontinued at any music. Don’t hesitate, order promptly. > Study B°®hs{ 40 cents) by Mrs Woonsocket, R. I. possible for the Theodore Presser Gom- n giytng us notice pany to keep the majority of its publioa- Prize Contest WHAT THE PIANO SAID bury, Helen Mauthe. ...,French, _Margaret tions in print and sell them at compara- Renew Your Etude The Child at the Piano, by MedaZarbell Kohlman, Seva Crews. Joseph Moskowi,... tively slight increases over n°w«al Times. . September for Young People (Prize Winner) Eleanore C. Lahde. Harriet C. Silver. Elaine On another page of this issue will be The girl sat down at the piano ar Bair. Anne McLaughlin, Alice Frances Hard¬ Semi-Quavers slowly an old-time melody. Soon t ing. Viola Ritter, Anna Rose Solomon. Alice found details of a prize contest which we seemed to speak to her and say. “Y ... Fosoldy, Vincent D. Aita. Dorothea O'Neil, lilfe S .M ■££ are offering for juvenile composers. There very old myself; I have been handed a,,.... Dorothy C. Parker. Frances Stewart, Anna By W. Francis Gates KLnUtotol ,nd will be three prizes aggregating $30.00. for generations until I have become an heir¬ Earle Crenshaw', Catherine Stouffer, Grace They will be divided into two classes: Graded Studies for the piano, complied loom. Now I am not as active as I used to Jones, Yvonne Fievet, Dora Toepper, Lillian the lowest prices on music publications. ^ou^nity to obtain some needed music by Mrs. Crosby Adams-7 books for two be, my keys stick, the enamel is wearing Enghauser, Ruth Houghton. Any sort of person can learn musical Class I. Young Folks under age of off and my strings are r-~’~ 'r— “■*-*“ If you don’t understand a composition, ^ , T „ bargain we offer the following to hands. 3 books for four hands-show the per- Talking Machine ,bose wh„ renew their Etude this month. Twelve Years. roanent place which they have made for them¬ 3 repaired facts; but it takes an educated mind to don’t blame the composer. selves by the steady increase in the sale ct and soon I will be traded off for a new Honorable Mention for Com¬ make good use of them. Records The combination price is given in the sec- Class II. Young Folks from Twelve to each volume, securely holding their instrument. But, little girl, when you are Sixteen Years. discouraged in your music always think of We have just issued another list of ond coiumn! Price Price positions The compositions that win the prizes me saying, ‘Cheer up, work on and succeed.’ ” Some great musicians are born great— In printing a musical program see Victor and Brunswick “records that you ot^ adoption. The girl would not allow the piano to be Viola McKay, Genevieve Dershug, Winifred that all the essentials are present—city, can yet.” The shortage of Victor records Bngelmann H Album of Fn- will he published in The Etude, and we sold. It was made new again, and on it Hall, Marjorie Williams, Evelyn R. Ditto, they couldn’t help it. Perhaps they look forward to very hearty returns from she practices faithfully every day in order Dehra Llewellyn, Evelyn Barry, Elgie Deck, showed no more application than many hall, year, month, day, hour and auspices. has been so great during the past year H,a best to succeed. Magaret Danischek, Verna Duncan, Anna this contest. Every composition sent in a man who has failed. They get credit And in advertising use the same dis- that? we have been sending forth, from Josei-hine Edmonds (Age 14), Bleckman, Vita A. Kerr. Vivian Newton, time to time, lists of desirable records bj _ «n“ou“^av“ to us will receive the most careful atten¬ CLAYTON F. SUMMY CO. Miami. Mo. Lucile Carpenter, Aline l'ates, Anna Earle —he gets derision. But both profit in tion. There are a number of conditions Publishers Crenshaw, Violet Brockway, Jeanne Fugitt, the best artists—records that we have Poimlar IMeces (3» pieces ) ■ Mary Margaret Ramsay, Josephine McDan¬ some shape or other by their -effort. tried and tested and which we could rec- Popular Recital ^perto.re that should be observed in this contest, 64 E. Van Buren Street, Chicago If one but tries to do one’s best . iel. Dorothy Furgeson, Louise Lucas, Bea¬ too numerous to mention here, but they trice Rosenthal, Ruth Sick, Bernadine Jealousy is not a stepping-stone: it is bmmend to our mail order customers ( Pj gong Treasury (48 “without a hearing.’’ These lists do not One need not worry ’bout the rest; Archie, Catherine Stouffer, Geneva Phillips, Do you cultivate musical ghosts? Said a stumbling block. The musician who ^ f Because one’s best is all one needs; Violet Schmidt, Florence Weber. Ellen P. Wharton, Mary Alice Smith, Wilma Rhein- Chopin: “Every mistake made in prac- harbors it displaces just that much power And if ambitious, one succeeds. boldt. ice is a ghost to disturb you later on.” for success. SEPTEMBER 1920 Page 641 THE ETUDE the etude Page 640 SEPTEMBER 1920 Annual Sept. Money Saving Opportunity for Music Buyers On This Page are Final Introductory Offers on New Publications On This Page are Offers on Works in Advance of Publication .i : • .11. , .• ... e. w k., NnmV.ee Cash to accomDanv all orders; postage Knowing that acquainting■ the musician with these late publications will rouse an Conditions: Order by Offer Number. Cash to accompany all orders; postage Numbers 1 to 21 are works not yet published that will be delivered the moment Conditions:— Order by Offer Number. Cash to accompany all orders; postage enthusiasm that will lead to many more desirable sales, the publishers present this additional when charged to regular account. At these low offer prices the works they appear from press. The low price offers greatly aid and reward the enterprise last chance to secure these important works at just about the cost of manufacture. are not returnable. Final Introductory Offer Prices are good only for September, of thousands of progressive music workers who want to be among the first to secure One copy only at these prices. The offers (Nos. 22 to 53 inclusive) on this page 1920. Remember there is a bonus offered on $3.00 and $5.00 purchases made from Oft- the latest and best works. Incidentally the publishers secure the best possible in- refer‘to'worksfer to works already published and immediatelyir deliverable. ers Nos. 1 to 53 inclusive. Send orders only to Theo. Presser Co., 1712 Chestnut St.. Phila., Pa. *3 “ ttlSmctaLS It n***. P„ No. 30—Old Rhymes With New No. 39—Nursery Tales Retold, by Geo. {C^rM'1’ No. 15—Beethoven’s Selected Sonatas PIANO TECHNIC L. Spaulding Until s.Pt.so,ua> Tunes—Six Piano Pieces, The complete Beethoven Sonatas comprise No. 22-Twenty Progressive Studies in A very pretty and entertaining collection of p Ten Works to be Adde d to the Presser Catalog by Geo. F. Hamer the Second Grade, by M. Greenwald Until SePt.3o,mo 11 hao’in in the second grade and ^ In this interesting set of teaching pied Offered for the First Time in Advance of Publication n 00 They are bright and No. 1—Stults’ Anthem Book Caih No. 6—New Pipe Organ Collection c„h _ Op. 10, Nos. We will issue during the Fall a vol- Pri“> Pontpaid This new collection will be a eontinua- i Pri“' P»«*paid Pathetique,” Op. 14, Nos 1 am nine containing anthems by the very pop- ~ tion of a series which contains the two light Sonata”; Op. 31, Nos. 2 >auce net- ular composer, It. M. Stults. Mr. Stults At wonderfully successful compilations enti- C/ L Sonata” and "The Sonata A| is an experienced choir director, with a MM 1— tied “The Organ Player” and ‘"Organ Rep- a No. 31—Pictures from Holiday Land, gift for composing. There are many feat- /.II ertoire.” The new book will be similar in M m I by David Dick Slater ures about this volume that will interest ■■ V scope to those just mentioned, and it will ■ No 23—Introductory Polyphonic Studies prl"dup0“rlp.u“h Although Mr. Slater ranks as one of the lea choir leaders. First, the anthems are all of a uni¬ be about the same grade of difficulty as the "Organ ing composers that Great Britain has pr form difficulty, and they are very melodic, and they Player.” It will contain brand new material, how¬ No. 16—Home Pleasures, for the Pianoforte Until s.,.. jo,mo are of a medium grade, within the capacity of the ever, selected from the entire range of organ litera¬ ...* _..... tv.,- books that especially treat a ^ „ ordinary choir. Mr. Stults- music is of such a ture, and including nlso many striking novelties. by C. Gaenschals nature that it can be sung by ths most highly I,,, literature is very scant. trained and expensive choirs in the large cities, as well as the small volunteer ehoir in the country. We No. 7—Schumann’s Fantasie Stiicke Jjjjpjjjjj, c»h i the left hand is also very simple have a large range of anthems from which to select, in features of the work are the p -sTs systematized and grnded. and only those will be included in this volume that (Fanciful Pieces) Op. 12 Price, p«"P.id Indies and easy arrangements througl 309 Mills who have linished the t have attained wide popularity. This volume is the most popular of Seim- —a ill be part original mann’s original piano compositions, con- OpC taining as it does the well-known “Gril- M No. 2—Wedding and Funeral Music pdr?nc' of r . leu” (Whims), “Warum” (Why), "Auf- /..| for the Organ, by E. A. Kraft Pri«"p“"iPa“d schwung," and not forgetting “Traumes Wirren” (Dream Visions). Besides these there are No. 24—Twenty-Five Melodies for Eye, three^or four other piloted compositions included. No. 17—Seven Songs from the South, «j, c..h by Lily Strickland Price, Ponp.w Ear and Hand Training, The volume will contain all the conven- 1fift- Ilf Next to Chopin Schumann stands pre-eminent as a by Mathilde Bilbro tional music that lias been used for wed- v w modern piano composer, and we take great, pleasure dings and funerals, with many new selections and in recommending this volume to all piano lovers. These little pieces are intended to aid arrangements and combinations by Mr. Kraft. The establishing l‘ Religion,” “The African Jerei 6 keyboard, No. 8—Kohler’s Children’s Album Ad""«."' c h f

copy. Alb“ f“ *• mm is&r ISISt; c

No. 19-In Santa Claus Land, c„h No. 4—First Position Pieces for **£•- by G. M. Rohrer Pn«. p«.m- Violin and Piano Pdce, p„s,P.id

with Ut„e preparation.catchy.20-

No. 5—Melodic Study-Pieces for the $*35 - Cish Left Hand Alone, by A. Sartorio, Pn«, Po..Paid

SSSiSS'SSxE 20

No^21—Child’s Own Book of Great

^E*£mm**ior"" ^ “MSSSrct r*'„rs DU lime, carefully edited and revised, wUl contain the two great “Preludes in C Sharp Minor” and in “G Minor,"

THE BONUS OFFER ON $3.00 AND $5.00 d Pieces in Easier c,lh PURCHASES IS AN OPPORTUNITY TO OBTAIN A VALUABLE WORK AT NO COST MMrnfw —SEE PAGE 642— Send Order, for Advance of Publication and Final Introductory Offer. Only to PRESSER CO., PHILADELPHIA, PA. THE ETUDE SEPTEMBER 1920 Page 642 SEPTEMBER 1920 the ETUDE

Annual September Money-Saving Opportunity for Music Buyers—Continued Final Introductory Offers on New Publications—Continued BIOGRAPHY with Schools and Collides First Position for the Violin, Until Sept.30,1920 A Bonus CHICAGO AND ILLINOIS ^ No. 47—Child’s Own Book of Great Price,"postpaid by Chas. Levenson 4 AC ,7,, am uawt AffK "f’ »'» am M I™ ,nt nm im lljif ll|U ll,n Milt Musicians—Verdi Until Sept.30,1920 In the c >mpilation of these fifty studies the $3 and $5 Purchases One of the most interesting of all the I __s ransacked practically all of violin literature. It is the best collection of easy — - . Each $3.00 purchase made during September, practical” ■ U cal ^ lesson-workless material for childrei first position studies ever gotten together. The40 book sis Teachers like these books because they prt arranged in progressive order so that the first Btudy in 1920 of any of offers Nos. 1 to 53 (on these pages) vide something t 12 the book will be the very first study taken up by the will entitle the customer to a choice of one of the complishmei'_ Each book has a ser student. The book may be started just after the studenl following valuable musical publications without ad¬ ...._ purposes, and these are pa has had the preliminary elementary instruction places by the little ones. They put ditional charge. Chicago Musical College >ery great need for just such a ’ ’■ ~ i1' study as few other things could, and, impress in a vivid manner upon the cl No. 51—Selected Studies for the Violin ( Souvenirs of the Masters FELIX BOROWSKI, President Dr. F. ZIEGFELD, President Emeritus OARL D. KINSEY, Vice-President and Manager mental knowledge of music biography. in the Second and Third Positions, ibtuWjo; For the Pianoforte Given By GEO. L. SPAULDING The Leading and Largest College of Music and Dramatic Art of America by Chas. Levenson Famous melodics arranged in easv form LITERATURE with for the piano. Excellent for second grade This is another book of selected studies by students. Text ad lib. No. 48—Piano Questions Answered, Mr. Levenson, which is intended to follow the FALL TERM OPENS SEPTEMBER 13 Price, Postpaid book mentioned above. These are not difficult - . Until Sept.30,1920 40c $3a00 \ First Studies in Octave by Josef Hofmann studies, but they lie in the first place in the second posi¬ Faculty of Mote than 100 Teachcra including the following noted artists: (Alphabetically Arranged) contains possibly tore practical tion, and finally in the third position; aU carefully I Playing playing than graded and arranged in progressive ~”” order vnr ai violin 100 selected- from'-ticall” practically ^all of-* ‘the violin masters of PIANO VUL LOUISELUUlhJi rhKKflFERRARIS ollection in all respects. MAURICE ARONSON gLIAS BREDIN ER MAX FISCHEL distinguished pianist, but the principal feu- * Any BARTON BACHMANN BELLE FORBEi^ FREDERIK FREDERIKSEN ture of the work is the Question and Answer Depart No. 52—Favorite Old-Time Tunes for EDOUARD DU FRESNE MAURICE GOLDBLATT one EDWARD COLLINS RAY HUNTINGTON ment, published wme years^ ago in the Ladies’ Horn Violin and Piano 1,111 Popular Recital Reper¬ HARRY DETWEILER ARTHUR DUNHAM of these GLENN DILLARD GUNN MRS. O. L. FOX LEON SAMETINI created such a demand that they have been published i There is always a demand for the old Jigs toire ROSE LUTIGER GANNON ’ " ’ —folk dances arranged in works MAX KRAMM MABEL SHARP HERDIEN ORGAN popular and playable i for violin and ALEXANDER RAAB CLARENCE EDDY piano. Thir . volume— contains andlcbuuV'Ab birnAimcc" “wim hh-d KARL RECKZEH JOHN B. MILLER ERIC DE LAMARTER sive colleetk of the very best and 35? in the 31 gems in this album. ADOLF MUHLMANN HELEN W. ROSS VIOLIN AND MANDOLIN ?asy to play on the part of both instru- LUulb Viuun onnn EDOAFDO SACERDOTE C. GORDON WEDERTZ A $5.00 purchase will entitle the customer C GORDON WEDERTZ BURTON THATCHER Introductory Cash No. 49—First Studies for the Violin in Price, Postpaid to any one of the works below. uARivinNY COMPOSITION, COUNTERPOINT, CANON AND FUGUE the First Position, by Richard Until Sept.30,1320 No. 53—Henlein New Melodic School p^up~tpaid“h / Beginner’s Book FELIX BORoSs^MOLOmsSm?OR?AAR HAROLD B. MARYOTT LAURA D. HARRIS BARTON BACHMANN Hofmann, Op. 25, Book 1 for the Mandolin, Book 1 umu’sept.30,1920 Given I School of the Pianoforte—Vol.l TEACHERS’ NORMAL COURSES REPERTOIRE ^INTERPRETATION This is one of the standard books use- This is one of the best of all instructors for - with I By THEO. PRESSER andolin. It is so plain and practical that Jg J|v 25 may be used even for self-instruction. It \ supplied with many diagrams, which serve $5.00 HAROLD B. MARYOTT (Vocal) OO™MAX J^CHEL( (Violin)’ E§g®'DWAKL’ HCS!ESF?BURTON THATCHER ^ ..... all details of fingering, .... 40‘ ) Celebrated Compositions WALTON PYRE (Expression and Dramatic Art) _ ___ . i the student acquii which was formerly in the catalog of order by Famous Composers thorough knowledge of the fi t position and the publisher, las now been taken over by us and ' ' 33 famous numbers that delight good ni mi is- cpHOOT MUSIC SCHOOL OF OPERA usual bowings and fingering! printed a 1 ew edition that we feel certain will fit PUBHAKOLD B°MAEYOTT L ARTHUR DUNHAM ADOLF MUHLMANN EDOARDO SACERDOTE position. din teachers and students. Any one Album of Descriptive DRAMATIC ART AND EXPRESSION WALTON PYRE MINNA MAE LEWIS All Orchestral Instruments Taught of these Pieces Send Orders for Advance of Publication and THEODORE PRESSER CO. works Final Introductory Offers only to THEODORE * 1 nLODOIUa 1 PRESSER CO., Philadelphia, Pa. Remember % ic Publish. in making up your order there is a bonus offered v Mail Order Music Supply House -* FREE SCHOLARSHIPS AND PRIZES** $3.00 and $5.00 purchases. 1710-1712-1714 Chestnut St., Philadelphia, Pa.

dormitory accommodations> 620 SOUTH MICHIGAN AVENUE Special Notices and Announcements By W. S. B. MATHEWS TEN VOLUMES - TEN GRADES PRICE, $1.00 EACH 55th YEAR The Original Graded Course. A great aid to the teacher; helpful to scholars. ANNOUNCEMENTS THEODORE PRESSER CO., mo-iro-nn chestnut st„ PHILADELPHIA, PA.

WANTED_A man or woman with music MUSIC COMPOSED—Send words. Manu- MILL1KIN CONSERVATORY OF MUSIC Cosmopolitan isiness experience bv a large music publish- scripts corrected. Harmony, corresponde g house. One with 'pleasing personality for lessons Dr. Wooier, Buffalo, N. Y. [YCEU/n executive position requiring s Professional Directory School of Music and Address P. C, care of The Etude. MUSIC COMPOSED reasonably. Paul Jeffries, Michigan, Arctic, Atlantic City, N. J. EASTERN VESTEF WANTED—Studio accompanying position Dramatic Art in Philadelphia. Experienced and capable. %QLR"rS Address F. M., care of The Etude. I?-,,- I- T/NINAI f BEECHWOOD rsSSsS AMFRICftN "s"“S“ Your Music Is iorni QOMSERVATORY va^^^siS^f&rM: COMBS It will Take One Minute to ARNOLD ¥SSi8N^ Repair it by Using DUNNING GSaJ *22 Dept. E, 600-610 Lyon & Healy MuItum-in-Parvo Binding Tape BROWN “SS EDDY; ELIAS DAY, President and Teacher of Dramatic Art. cur pi BUR ROWES* THEODORE HARRISON, Director Music Department and Free to Violinists Teacher of Voice. SIGHT READING F1 ALEXANDER ZUKOVSKY, Head of Violin Department. MAURICE ROSENFELD, Head of Piano Department. VOCAL-Dr. Carver JEANNE BOYD, Head of Theory Department. RRXS-KEMRS.HIJ-I*'r- Beach; Mrs. Rubi KRIENS SIou - ,. — Lamarter; William Phillips; Elij Other members of the faculty include: Katharine Howard- MOULTON ZSfrs-BZ C0LUKIBIA Ward, Chas. Edward Clarke, James Hamilton, Ora Padget- VIOLIN—Melvin Marti Langer, Anna Imig, Lawrence Creath Ammons, Karl Klam- Paul Vernon. HEW YORK ■BSSSa DAHM PETERSEN“t= DRAMATIC ART-Fll N G. Hi I.I steiner, Thirza Mosher-Parmenter, Oranne Truitt Day, Clara POSITIONS FOR YOUNG TEACHERS University ORGAN- K. Stanley Sri. Louise Thurston, Will H. Bickett, Frank Borstadt, Marguerite The Shenrood Music School, founded 25 yc„, ego by V AESTHETICS—Dr. Carver Williams. RftPISARDA|S DETROIT (^School ofMusic VIOLONCELLO—Day Williams. Kelpsch, Rachel Steinman Clarke, Minna Krokowsky. ™ THEORY—Rossetter G. Cole. KEYBOARD HARMONY-Mary Carve: We specialize in giving thorough preparation for concert work and have placed in good concert positions more than 400 SALVINI DETROIT PUBLICSCHOOL MUS1C-J. Beach Cragur young people during the past seven years. Fait Season Opens s£~-sm~sss3s VIRGIL ‘-fete. KNOX September 13 DIPLOMAS, DEGREES and TEACHERS’ CERTIFICATES For particulars address Free Catalog on Request COSMOPOLITAN SCHOOL HAVE MANY MORE OPENINGS TO FILL BRYANT SSrSS TOMLINSON: OUR MOTTO: “Definite Preparation for Definite Work” CONVERSE COLLEGE”—?? WESTERN gfESISSSS SEPTEMBER 1920 Page 6^5 the ETUDE THE ETUDE Page 6U SEPTEMBER 1920 Schools and Colleges <2, Schools and Colleges <® CHICAGO AND DETROIT CHICAGO AND MIDDLE WEST ^ BUSH CONSERVATORY CHICAGO EDWARD H. SCHWENKER AMERICAN CONSERVATORY KENNETH M. BRADLEY EDGAR A. NELSON Secretary President Vice-President UNSURPASSED faculty of more than CHICAGO’S FOREMOST SCHOOL OF MUSIC An Institution of 70 teachers, many of international Located in Spacious Quarters in the New Kimball Building in the Heart of Chicago s Musical Center National Prominence reputation. Among them are: . Thirty-fourth Session Begins September 9, 1920 Accredited Courses in Charles W. Clark Richard Czerwonky Expression TV/ff ICIU Dancing Mme. Julie Rive King Cecile Ay res-de Horvath Languages itiuOlVA Physical Culture Mme. Louise Dotti Moses Boguslawski Unsurpassed faculty of ninety artists. Courses of study modern and progressive. Superior Normal Courses in these subjects and Gustaf Holmquist Edgar A. Nelson Teachers’ Training School Supplies Teachers for Colleges. Students Orchestra, Lectures, Public School Music John J. Blackmore Herbert Miller Concerts, Recitals, Diplomas, Degrees and Teachers’ Certificates. Dormitory accommodations. Academic credits given qualified Students Mae Graves Atkins Edgar Brazelton Rowland Leach Mme. Justine Wegener EVERY advantage is offered the am- Among the prominent members of the faculty, the following might be mentioned: ' bitious student by reason of PIANO—Heniot Levy, Allen Spencer, Vic¬ ORGAN—William Middelschulte, Frank Van PUBLIC SCHOOLMUSIC-O. E. Robinson. Location in one of the world’s great art centers Dusen, Herbert E. Hyde. HARP—Enrico Tramonti. tor Garwood, Silvio Scionti, Louise Robyn. Greatest faculty of any American institution Fall Term VOICE—Karleton Hackett, Ragna Linne^ E. MUSICAL THEORY, COMPOSITION— SCHOOL OF ACTING AND EXPRES- Warren, K. Howe, Charles La Berge. Adolf Weidig, Arthur O. Andersen, John SION—Letitia Kempster Barnum, Direc¬ Finest equipment of any Chicago music school opens VIOLIN —Herbert Butler, Adolf Weidig, Palmer, Leo Sowerby. tor. Stage Training, Public Reading, A friendly, personal interest in the student Ramon Girvin. VIOLONCELLO—Robert Ambrosius. Physical Expression. September 14, 1920 and many others Norma’ lectures in all departments Dormitory Reservations for Fall Interpretation and Repertoire Classes should be made at once. Guest Instructors, 1920—Josef Lhevinne, David Bispham Weekly Recitals by Artists and Students A stay sum -frtrr/yp . Including admission to Conservatory Recitals (by members of the faculty and advanced pupils); Teachers NormalTrain- Jrrec JTUVClU lUgCS. ingSchool; Lectures; Students’ Orchestra; Vocal Sight Reading Class and ACapellaChoir. 25 free competitive scholar¬ ships. (Examinations from Sept. 3toSept. 7. Apply for examination blank.) Gold and silver medals by competition. A Musical Bureau for securing portions. THE ONLY CONSERVATORY IN CHICAGO ^A!^'V,™GRim'nrNCS DORMITORIES Lyceum and Chautauqua engagements secured and with EXCLUSIVE USE OF ITS OWN BUILDINGS Examinations Free • Catalog mailed free on application • Moderate Tuition Rates Please state course of study and if Dormitory application is desired. FREE CATALOG MAILED ON REQUEST. - 839 North Dearborn Street, Chicago, Ill. AMERICAN CONSERVATORY, 571 Kimball Flail,Wabash Ave. and Jackson Blvd.; Chicago Address: T. G. JONES, Registrar JOHN J. HATTSTAEDT, President—Karleton Hackett, Adolf Weidig, Heniot Levy, Associate Directors mUSi dlSlBl® DETROIT INSTITUTE OF MUSICAL ART __GUY BEVIER WILLIAMS, President- 47th Year Private Teachers «£*•£ Minneapolis School of Music, A School which offers every advantage incidental the Detroit Symphony Orchestra bership in* the Westefn Conservatory may provide regula «) Artist Teachers, including 12 of the leadmg m. DETROIT i :.c only scnooi in Detro.L ...... - - NORTHWESTERN CONSERVATORY Conservatory advantages for their pupils at home. JFor Catalogue^ Address H. B. MANVILLE, Bus. Mgr. AFFILIATED WITH STANLEY HALL AND STANLEY COLLEGE E. H. SCOTT, Kimball Hall, Chicago. Fall Term Begins September 6th MUSIC-ART-EXPRESSION to 1121 Woodward venue, DETROIT, MICH. CONSERVATORY of The ’‘University Course of Music Study” Adopted by This School Christine Nordstrom-Carter. Voice. All BRANCHES OF MUSIC AND DRAMATIC A] Rosalind Day, (St Louis) Thirty-Sixth Year Opens September 7 th COLLEGER BURROWES COURSE Francis L. York, M. A., President of MUSIC STUDY Elizabeth Johnson, Vice-President OLIVE. A. EVERS, President ROBERT PARMENTER, Dean Michigan State Normal College Conservatory of Music KINDERGARTEN and PRIMARY Finest Conservatory in the West 814-816 NICOLLET AVE. Catalogue on Request MINNEAPOLIS, MINN. MENTION Happy Pupils—Satisfied Parents—Prosperous Teachers. MUSIC YPSILANTI, MICHIGAN Classes doubled by use of this method in singing, piano, organ, violin and theory. Offers to earnest students courses of study based upon the best mod¬ 'or training supervisors and teachers of publio school music. Summer Courses held by ern and educational principles. Renowned faculty of 70. Students Graduation leads to ahfe certificate valid In m_ The Etude Miss Katharine Burrowes, 246 Highland Ave.. LAWRENCE CONSERVATORY Total living expenses need not exceed six dollars per week. Tuition and fees exceptionally H. P.. Detroit. Michigan. orchestra, concerts and recitals. Diplomas and degrees conferred. Write for Catalog When writing for fur¬ Miss Eva Frances Pike. 2289 West 16th Street. A DEPARTMENT OF LAWRENCE COLLEGE CONSERVATORY OF MUSIC, BOX 9, YPSILANTI, MICHIGAN - Los Angeles, California. Teachers’ certificates. Desirable boarding accommodations. ther information in Miss Evaline Parke. 837 Clinton Street. Car- ■A. education, with a splendid faculty teaching every branch of connection with ad¬ Miss^hCathrynS°Jamieson, 119 Powell Avenue, Students may enter at any time. Individual and class instruction. vertisements. The Fall Term Opens Sept. 13, 1920 Courses in organ, piano, violin, voice, public^ school^music and Ottawa, Ontario. advertisers and pub¬ The teachers' course includes five weeks' study in UNRIVALED FREE ADVANTAGES Ear Training. Melody Writing, Elementary Har- S Certificate, diploma, and degree courses. Superior dormitories for MacPhail School of Music lishers greatly appre¬ )ny, .Musical Form. Analyzing, Ti t Vorlr TUT A • Eli7abeth Singing—Archibald C Jackson, Mrs. Chas. ciate this courtesy. n In the Burn Tohnson^Lou^IJnsworth^Cra^g,Blanch Strong^ IE Clements, Miss Elizabeth H. Bennett, Mrs^ 806 Nicollet Ave., Minneapolis, Minn. raphernalia. &E TOto. Otolne Dot” AileD Zuider^ Carrie F. Travers Carl Mann, Jess.e More¬ For detailed information and free catalog address PUBLIC SCHOOL MUSIC-THADDEUS P. CIDDINGS, Teacher KATHARINE BURROWES. Dept. D, 246 Highland At ls Doc.; Mabel Guess, Mus Bac.; Nita house. Her mme Lor ^ ^ Carl J. Waterman, Dean Appleton, Wis. Complete Courses in Piano. Voice, Violin, Organ. Teachers’ Cert H. P., Detroit, Michigan, or any of the above address Ba?rEffiS,SAtaa GT«keand30 addh Abramowit*. Miss Grace Ashdown, Edna Fall Term Opens Sept 7th. Students May Ente tl0Organ—FrarmisL. York, M. A.; Alle D. Zuidema, Mus. Doc. 1 CINCINNATI CONSERVATORY of MUSIC established 186-. j| Cello—Ludwig Nas' iv. el. COREY ny. Com, tition—Alle D. Zuidema, Mus. Doc.— 52ND YEAR CLARA BAUR, Foundre.a Post Gradl ■rtment Francis L. York. M. A. Conducted according to methods of most DANA’S MUSICAL INSTITUTE Pianist, Organist and Musical Lecturer G. Poli progressive European conservatories to*. WARREN, OHIO Public School Music and Drawing—Miss Hermme Elocution—M USIC—Languages THE SCHOOL OF DAILY INSTRUCTION IN ALL HSchoo/ of Expression—Miss Lilly Adela Darling. Faculty of International Reputation Examinations Free. For Catalog Exceptional advantages for post-graduate and repertoire BRANCHES OF MUSIC and Other Information, Address work. Department of Opera. Ideal location and residence Address LYNN B. DANA, President Desk E, WARREN, OHIO Ifiyli department with superior equipment. JAMES H. BELL, Secretary, 1013 Woodward Ave., Box 7—Detroit, Mich. For catalogue and Information, address Miss BERTHA BAUR. Directress, Cincinnati, Ohio. EUGENE YSAYE Season 1919-20 Fleaae mention THE ETUDE when addressing o sp V* See Pages 643, 645 and 647 for Other Chicago Schools # ^ One of the oldest and best Music Schools is the United States n THE ETUDE when addressing oi THE ETUDE Page 646 SEPTEMBER 1920 tiie etude SEPTEMBER 1920 Page 61,7 Thoroughness and Enthusiasm

By Herbert William Reed Schools and Colleges CANADA, PENNSYLVANIA AND INDIANA CHICAGO There is a wealth of suggestion for the music students in .this equation: Thor¬ oughness plus Enthusiasm equals Success. One can conceive of nothing so essential in the work of the music teacher as the elements of thoroughness and enthusiasm. COLUMBIA__ The old-time Teutonic thoroughness which once dominated class-room and con¬ ( servatory, was pedantic and dry as dust, SCHOOL OF'"* 1 with a very perceptible boneyard savor. e Persistent pedagogues propounded their — theories with the steady monotonous mo¬ tion of a grindstone, and dominated their students to such an extent that inspiration (CONSERVATORY was given no chance to bud' and blossom, FACULTY and originality was looked upon as but lit¬ Piano Voice tle short of criminal. 5MUSICCLARE OSBORNE REED, Dire. Opens Clare Osborne Reed George Nelson Holt Of Beethoven, his teachers said that he Gertrude H. Murdough TWENTIETH SEASON OPENS SEPTEMBER 6th Louise St.John Wcstervelt Sept. 2ist would never learn to do anything decently Walter Spry Registration Days September 2nd, 3rd and 4th Lillian Price Year because of his disregard for established Ottokar Malek William Clifford MUSIC Edna VerHaar rules. Helen B. Lawrence School Year44 Weeks William Hill Ann Trimingham HE Conservatory occupies a beautiful building devoted Berlioz, with unfaltering courage, openly T Arthur Oglesbee Ethel Jones exclusively to its own use. In the building are forty- rebelled against the teachers of the Con¬ Kathleen Air Georgia R. Nettles eight practice rooms, each containing a piano. In addition, servatory, and held to his own ideas with Mary W. Holt PIANO • THEORY • VOICE • VIOLIN Violin there are large studios and special rooms for Harmony. unfaltering courage. Elizabeth Parker Parthenia Carmichael Public School Music Methods — Teachers’ Normal Training For recitals, ensemble work, etc., there is a Recital Ilall, Chopin, by taking the advice of a former Ludwig Becker Olive Kriebs Certificates, Diplomas and Degrees by authority of the State of Illinois George Dasch thoroughly furnished with every appliance for such work. teacher, barely escaped a three-year ordeal Pearl Marie Barker c_-i Advanced Interpretation for The special features of the course are William Montelius with the egotistical, supercilious, and su¬ Special professionai Musicians; Special Methods and Applied Psychology, Practice Bertha Farrington Classes Courses for the Post Graduate Teaching, Orchestra Conducting, Chore* Natalie Robinson A complete and broad musical education based upon the best perficial Kalkhrcimer. Lena B. Moore Teacher, Kindergarten, Ear Training, Har¬ modern American and European principles is offered in: Mabel Lee mony, Dalcroze Eurythmics, Sight Read¬ Normal Training Pupils and public cannot long be de¬ ing, Orchestral and Choral Conducting, Jessie E. Sage T eachers’ Nor mal Training Clare Osborne Reed ceived in these modern days. Very Ethel Watts r* History of Music, Faculty PIANO, VOICE, VIOLIN, ALL ORCHESTRAL INSTRUMENTS quickly do they discern, cither to their Vfe Concerts. Pupils' Recitals, Gertrude H. Murdough Katherine Hedglin Advantages Chorus Class, Orchestra, l-ouise St. John Westervelt Musical Theory, Harmony, Counterpoint, joy or to their undoing, the qualities of Anna Chinlund Demonstration of Children’s Class Work, Helen B. Lawrence Margaret McArthur Lectures. Graduates assisted to positions ositions pay good salaries under ideal Composition, Musical History, Appreciation him who poses as an instructor. The through the School Employment Bureau. forking conditions. The Columbia School Ludwig Becker young teacher who starts out with a stern Maude Jaeger (FREE) Senior Orchestra for f Music offers an excellent training and George Nelson Holt Students advanced pupils> junjor 0r- ssists its graduates to secure these places look and a set method will find, in climb¬ Esther Rich Kathleen Air PUBLIC SCHOOL MUSIC, EAR TRAINING, SIGHT SINGING, Helen Elizabeth Taylor Orcnestra chestra for younger pupils. ing the hill of success, some insurmount¬ An unusual experience for advanced pupils Thecourseincludesthorough and practical Olive Kriebs CHORUS and OPERATIC CLASSES Edwina Hastings : ’“--10, Voice and Violin to appear at work in Elementary Teaching and Ad- Mary Strawn Vernon able difficulties unless his stern look gives Marie Jackson vanced Pedagogy by means of a compre¬ way to an enthusiastic one and his set hensive course of lectures on Psychology Saida Sparks FULLY EQUIPPED ORCHESTRA OF 40-50 MEMBERS UNDER Florence Breyfogle Students9 Chorus (FREE) Open to and Teaching as well as practical lessons AN EXPERIENCED SYMPHONY CONDUCTOR method becomes one of elasticity. Thor¬ Gladys Owen students of all departments. on teaching both class and private as it Public School Olga Junge applies to children’s work. Classes are also WITH EUROPEAN REPUTATION. oughness may achieve some sort of good Public School Music held in History of Music, Dalcroze and Har¬ Music result unassisted, but nothing like that Helen Frish The course requires two years for gradua¬ mony. Pract?ce**Schoo?r<>in°thIs*schooTare* more Mary Strawn Vernon LYCEUM ART COURSE sweet, genuine, unalloyed, abiding success tion but in many instances one year may be than two hundred children receiving instruction credited by sufficient teaching experience, in Ear-Training.Sight Reading, Preliminary Har- Ann Trimingham which comes only through the gracious in¬ Theory music study, College or University work, ■ Adolf Brunc Thorough preparation for Platform and Stage in fluence of that esteemed handmaid, and students are enabled thereby to grad¬ Adolf Brunc uate and secure their Diplomas in one year. Enthusiasm. Mary Strawn Vernon VIOLIN, VOICE, PIANO, ALL ORCHESTRAL nichael And do not lie led to think that success INSTRUMENTS and in DRAMATIC ART COLUMBIA SCHOOL OF MUSIC may be gained by the employment of en¬ Box 173. 309 South Wabash Avenue, CHICAGO SPECIAL COACHING FOR PROFESSIONAL thusiasm alone. The success gained by i i mmw enthusiasm alone is as the flower of the MUSICIANS, ACTORS and READERS field, which quickly perisheth, or like tile glittering bubble, which disappears under DEGREES, DIPLOMAS, TEACHERS’ CERTIFICATES so small an influence as a pin prick. LYCEUM and CHAUTAUQUA engagements secured Thoroughness is cultivated by giving T»E AARYWQODCHArSE/CHO©L C one's self up to long periods of toil, Schools and Colleges The Faculty consists of highly educated and experienced study, and reflection; enthusiasm bubbles oFAUSIgAL ARTS forth from a deep-seated love for one’s Musicians of International recognition. £os C M I C A G O lvcn » hbalv bl GENERAL work, and demonstrates itself by the sparkle of the eye, the ring of the voice, MODERATE TERMS the springiness of the step, and the of Improved Music Study STUDENTS MAY ENTER ANY TIME warmth of the hand-grasp. Thorough¬ A School for the Training of Professional Musicians DUNNING SYSTEM for Beginners ness is the condition of a trained mind; The Demand for Dunning Teachers Cannot Be Supplied. Why? enthusiasm the outburst of a warm heart. Fifteenth Season Begins September 7, 1920 The Conservatory is located so near Chicago that it must One is of lmt little avail without the NORMAL CLASSES AS FOLLOWS: compete with the best work done there, so th'at Valparaiso other. But both together mean* success students have every advantage that they could possibly and great attainment. Modern Courses in Theory, Composition, Piano, Voice, \ loiin, ’Cello, MRS. CARRE LOUISE DUNNING, Originate St 40th St., New York City. Ear Training, Keyboard Harmony, Harmonic and Advanced Technic, Mary E. Breckben. 354 Irving St., Toledo, Ohio. . have in the city and at an expense not one-fifth as great. Harriet Bacon MacDonald, 3623 Pine Grove Ave„ Chicago, Illinois, e: Dalcroze Eurythmics, Dramatic Art, Teacher s Normal Courses. Anna Craig Bates, 732 Pierce Bldg., St. Louis, Mo. Normal Class, Se Mrs. Oscar E. Busby, 233 North Ewing Ave., Dallas, Texas. The Professional Courses offer unusual opportunities for the serious Jeanette Currey Fuller, 50 Erion Crescent, Rochester, New York. The low cost of all courses has not been brought about by student, both for teaching and for the concert stage. A cknowledged by Mrs. Jean Warren Carrick. 977 East Madison St., Portland, Ore. Clara Sabin Winter, 410 North Main St., Yates Center, Kansas. sacrificing a high grade of instruction, but by applying Chicago College of Music Concert Artists to be the most thorough and artistic work Obtainable. N. Beth Davis, Whitman Conservatory of Music, Walla Walla, Wash. business principles to the St udents have frequent opportunity for performance. Free advantages. Mrs. Wesley Porter Mason. 5011 Worth St., Dallas, Tesas. Virginia Ryan, 1115 Wa ESTHER HARRIS DUA, President An Eminent Faculty of Artists includes: Mary Wood Chase, Bessie Carrie Munger Long, 60 Cost of Living Williams Sherman, Grace L. Seiberling, Elizabeth H. Logan, Emma 6th’ _ 26th YEAR OPENS SEPTEMBER 6th, 1920 Mcnke, Bernice King, Edna M. Nelson, Amanda Jorgensen. Monica _ . Everett St., ) so that the most satisfactory accommodations for board Graham Stults, Charles Link, Violet Martens Link, Zetta Gay Whitson, Mrs. Ura Wrinkle Svnnott, 824 North Ewing Ave., Dallas, Tesas. and room may be had at $90.00 per quarter of 12 weeks. Elizabeth Oik Roehlk, Lucy Duncan Hall, Marie I ydia Standish, Elsa MibJdE*nLi'tleMd'. MO 1"Somh1 l”j to^St^Tuiss * Okla. Tulsa, Okla., Sept., Sedalia, Mo.,0 Dramatic Art. Normal Training for teachers in all branches. Durand Mower, and many others. Cara Matthews Garrett, Bay City, Tesas. Isabel M. Tone, 469 Grand View St., Los Angeles, Cal. Certificates, Diplomas. Degrees. Medals. Publ.c Rectals, Orchestral Elizabeth Hasemeier 41 South 21st St., Richmond, Ind. For Free Catalog Address Concerts and many free advantages. . ... n, r , n Mrs. Beatrice S. Eikri, Kidd-Key Cons., Sherman, Tesas. Write Now for 1920-21 Year Book— Mrs. H. R. Watkins. 124 East 11th St., Oklahoma City, Okla. HENRY KINSEY BROWN, President 40 Free and 160 Partial Scholarships. Special Ke8t'l?avers Chicago Una Clayson Talbot. 3068 Washington Boulevard, Indianapolis, Indiana. Grand Pianos and valuable Violin to be awarded to best players. Chicago Adda C. Eddy, Beliefontaine, Ohio Sept. 6th. Mrs. Anna W. Whitlock. U0J Hurley Ave., Fort Worth, Tesas. Box E, University Hall, Valparaiso, Ind. Recital to be given best singer. Winona Hill. 75 Sprague Ave., Bellevue, P. 0., Pittsburg, Pa.. Nov. 1 to Mar. 15th. Address for free catalog, DEPT. 23 WRITE THE ETUDE SUBSCRIPTION DEPT. INFORMATION AND BOOKLET UPON REQUEST 1234 KIMBALL BUILDING A. G. DUA, Manager CHICAGO, ILL. Do You Desire to Earn Money to Study ? FOR PARTICULARS Please mention THE ETUDE when addressing our advertisers. Please mention T THE ETUDE Page 648 SEPTEMBER 1920 =S3= Scarcity of Paper Now Acute Wood pulp is now selling for $ 150 a ton. $40 was a high price a few months back. Paper makers now predict a $200 price. The magazine industry cannot survive Schools and Collets such an increase without instant and sharp advances in subscription rates. NEW YORK, NEW ENGLAND AND SOUTHERN__

Peabody Conservatory BALTIMORE, MD. - HAROLD RANDOLPH, Director ARE you satisfied with your out¬ look in the profession—-don’t Have Removed to Their New Building Recognized as the leading endowed musical conservatory of the country you feel that you could estab¬ lish yourself in a position of greater 150 Riverside Drive (Corner 87th St.) responsibility and incidentally enjoy a better financial future if you spent RALFE LEECH STERNER, Director Summer Session Jul, 5,M" a little time on brushing up your own knowledge? Staff of eminent European and American Master, including: IDEAL location overlooking Hudson River. |f An ounce of proof is worth a pound Building completely equipped for resident i „ T- O 1 Upiin Fermin J. C. Van Hulsteyn Gustave btrube of promise. Making claims is easy— and day pupils. Gorgeously decorated studios p “making good” is the real test of and concert hall. All large sunlit rooms, roof p Mabel Thomas merit. Many readers of The Etude garden, elevator, and every modern conven- § ETUDE. 2.00\J°'h'or ience. A real home for music and art stud- p Tuition $10 to $30 according to study greatly benefited by our courses— „ • 1 ,r,n,ement with the JOHNS HOPKINS UNIVERSITY others have seen our announcement in thi publication for years, but Woman’s Home Comp. 2.00 / U- ents. Proper chaperonage for young ladies, p cBryedT.TnV.rratrmhr.nche. may I. offered fo.• th. B. S. d.8re. if the All branches of music and the arts taught, § as yet have no direct personal knowledge from the beginning to the highest artistic f Practice Pianos and Organs Available ETUDE. finish, by a faculty composed of most eminent p Circulars Mailed FREDERICK R. HUBER, Manager Christian Herald : 2H5 TheModernPrisci teachers of Europe and America. _ All rec- p Arrangements for classes now being made Sherwood Piano Lessons reational advantages.. Terms, including p ETUDE. 2.00')A1I‘ohrree tuition, board, practicing, etc., on application. for Woman’sHomeComp. 2.00 j 25 American (address') • 2.50) Students and Teachers ETUDE Modern Priscilla . Xs Skidmore School They contain complete, explicit instruction on every phase of of Arts piano playing and teaching. No stone has been left unturned to make ETUDE. this absolutely perfect. It would surprise you to know that Sherwood Little Folks Sb-25 Charles Henry Keyes, Ph.D., President devoted to each lesson enough time to earn at least $100.00 in teach- A college for women offering broad general and in <>■ Tt is nossihle for you to get all this time and energy and devo¬ THEO. PRESSER CO., Publishers cultural courses, while providing splendid oppor- tion to the art for almost nothing, compared to what it cost. The The Etude 1712 CHESTNUT STREET - PHILADELPHIA, PA. Music, Voice Culture, Ear Training, A11 Instruments. ITHACA CONSERVATORY OF MUSIC ..-'--tographs of Sherwood at the Chorus and Orche^ral W^irk.^Secretarial^Domestic Offers unique advantages to those who look forward lamination papers. To he a to educational or concert work. All Instruments, give, not only the proper in¬ andnGtener£? courses? with related Ssub jects At¬ Vocal Dramatic Art, and Physical Training. Gradu- tractive opportunity for High School graduates. ates of Musical. Public Speaking and Physical Train¬ struction hut to ask the right questions at the right time, which will Degree Granted. 4 year course leads to B. S. 2 and ing Departments eligible to teach In N. Y. State Publlo Schools without State Certificate. Maintains several develop the students’ use of the knowledge imparted. The Sherwood cert1flcatermResidence' accommodations’? 400 stu¬ Companies In the Lyceum field. Dormitories ana Course is available to every teacher throughout the country. Nn dents. For catalogue address Secretary, Box J. need to give up your present classes and leav i home for private Rewards Easily Obtained SARATOGA SPRINGS, N. Y. instruction. CaTheReiirtr»r. 1 DeWitt Psrk, Ithaca, N. Y. Tell your neighbors about THE ETUDE. Take their subscriptions Louisville r_ and send us the $2.00 you collect for each. These rewards given for your Atlanta Conservatory of Music Harmony trouble. &f>e American Institute qf Applied Music | Conservatory of Music | Waterproof Apron si LOUISVILLE. KENTUCKY IS i Your Appearance | THIRTY-FIFTH SEASON, OCTOBER 21,1920 Advantages Equal to Those Found Anywhere A knowledge of Harmony Is necessary for every student and Students may enter at any time. Send lof 5.* Faculty of artists and teacher: teacher. You can study the Harmony Course prepared especially Catalog. GEO. F. LINDNER, Director The Apron is guar- Courses in Voice, Pianoforte, Violin, Harmony fg Individual Training. Personal Attention ih for us bv Adolnh Rosenbecker, former Soloist and Conductor, pupil ss, anteed waterproof. Peachtree and Broad Streets, Atlanta, Georgia of Richter and Dr. Daniel Protheroe, Eminent Composer, Choral Con¬ 'ft 11 will not crack, Send lor ( Students may enter any time ductor and Teacher. You will receive the personal instruction of KATE S. CHITTENDEN, Dean r stain or discolor. Full I, Write for catalogue, FP.EDEEIC A. COWLES, Director .7; length, one-piece gar- awPthis is ^ur^chance^study^he subject thoroughly. „ent, form-fitting, with School of Music neck-band tapes. Blue Crane Normal Institute of Music OF and white, or black and Training School for Supervisor* of Music SHENANDOAH COLLEGIATE ■ EVERY SCHOOL CARD Harmony Teaches You to white, pink and white or BOTH SEXES ■ lavender and white check. Voice culture, sight-singing, ear-training, harmony. SUMMER INSTITUTE ON THESE PAGES IF ^ Two sizes. Given for two LEADING SCHOOL OF MUSIC IN THE SOUTH ^ Teachers READ YOU ARE THINKING subscriptions. COURSE Accompanists I OF SERIOUSLY STUDYING THIS SEASON New Story Books CARNEGIE HALL, NEW YORK Your Name on This Umbrella Ask (or Bookiel FREE.' S.'c. I. BOX iloTDAYTON, VA. prepaid

MR. and MRS. CROSBY ADAMS INSTITUTE OF MUSICAL ART Annual Summer Classes for Teachers of Piano OF THE CITY OF NEW YORK for the Study of Teaching Material Special PREPARATORY CENTERS in different parts of MONTREAT, N. C. July 8-23-1920-Auguat 5~2°6trrmg the city for children between seven and twelve years of age. MARIO letterefrom TeachersCwho have taken the Course. SALVINI FRANK DAMROSCH, Director MONTREAT, NORTH CAROLINA VOICE The Courtright System of Musical Kindergarten Oldest and most practical system. Write for particulars of correspondence course. Hr*. I,Milan Conrtrlght Card, 116 Mna Arc,,Bridgeport,Conn. - College of Fine Arts - VIRGIL CONSERVATORY CATIONAL AGENCY and you will benefit much.' Syracuse University MRS. BABCOCK MRS. A. M. VIRGIL, Director Unexcelled advantages for the study of music. Facul f\FFERS Teaching Positions, Col- ty of 20 specialists. Regular four-year course lead leges, Conservatories, Schools. to the degree of Mus. B. Special certificate courses Also Church and Concert Engagements Virgil Method of Piano Technic Used Exclusively—Rapid Advancement Assured University Extension Conservatory For catalogue and full information, address Registrar, Syracuse University, Syracuse, N. Y CARNEGIE HALL, NEW YORK THEO. PRESSER CO., Publishers Advanced Students Trained in Teaching Dept. A9 Siegel-Myers Bldg. Chicago, Ill. The Etude 1712 CHESTNUT ST., PHILADELPHIA, PA. Advanced Players Coached in Concert Programs for Recital Work The National Conservatory of Music of America RThe only School of Music in the V. S. chartered by Congress JEANNETTE M. THURBER, Founder NEW ADDRESS: 120 WEST 72ND STREET, NEW YORK CITY VdS^Ki W° 79th St.? New York'city Please mention THE ETUDE when addressing 01 SMALL GRANDS

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