Gardner-Webb University Digital Commons @ Gardner-Webb University
The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
6-1-1927 Volume 45, Number 06 (June 1927) James Francis Cooke
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons
Recommended Citation Cooke, James Francis. "Volume 45, Number 06 (June 1927)." , (1927). https://digitalcommons.gardner-webb.edu/etude/746
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. v^gOuJCLo-^X-S-JU MUSIC STUDY EXALTS LIFE
[ JUNE 1927 Page m THE ETUDE
-THe Greatest Collection of Piano Music in the World MASTERPIECES OF PIANO MUSIC Enjoy Your Summer Spare Moments in Profitable Reading
These Books Offer Every Music Lover, Teacher and Student an Opportunity to Acquire a Wealth of Musical Knowledge by Utilizing Vacation Hours to Good Advantage
For Pianists and Lovers of Piano Music For Followers of the Vocal Art How to Succeed in Singing What the Vocal Student Great Pianists on Piano How to Play the Piano v A. Buzzi-Peccia Price, $1.50 Should Know Playing By Mark Hambourg Price, $1 client volume bj; a ^faster ^Voic By Nicholas Douty Price, $1.00 By J< mis Cooke Price, $2.25 This is a volume well worth possessing, who offers valuable advic This book has obtained great favor because Everyone interested in piano playing, who the reader is at all interested in bemg^an it tells in a concise manner many important ead this very popular book, should things that the vocal student should know. immediately. This is a group of would^take rrany^lessoris to gain all the ad¬ As a conclusion of the work Mr. Douty has study vice given by this eminent piano virtuoso in this book which contains^material that would ^iven a series of excellent daily exercises .terpreta in their pursuit of the devious roads to suc¬ cess. In presenting this contribution to the biographic sketches are also included. vocal world the author employs his own Diction for Singers and superb qualifications and a distinct style m writing as a background. Composers What to Play—What to Teach The Pianist’s Daily Dozen By Dr. H. Caines Hawn Price, $1.75 By Harriette Brower Price, $2.00 By Charles B. Mackiin Price, 50 cents Great Singers on the Art This book c< an interestln^an”# histructive 5 manner^di's” o have is well cusses pianoforte material from the .first of Singing beginnings of the work of the great pianists, By James Francis Cooke Price, $2.25 this helpful work. '"ost of the celebrated^ vocaHsts of the past Principles of Expression _ce and vocal experience. There are 27 How to Sing full page portraits-and biographies given. By A. F. Christian! Price, $2.50 tm. $.% work of absorbing interest to all By Luisa Tetrazzini Price, $2.00 ■ers and followers of the vocal art. Perhaps the most brilliant coloratura so¬ forte playing. Practically all explanations prano in jecent musical history is rrspnnsi- The study^, by musicalr examples. Choir and Chorus Conducting rhythmi vocal art. In this book she has expressed melodic < Descriptive Analyses of By F. W. Wodell Price, $2.00 some of her very positive ideas in a^ very There is much opportunity in the field of Piano Works student of singing will fail to take advantage y Edw. Baxter Perry Price, $2 1 orchestra conducting.'™^ . this opportunity to add to his library an Basic Principles in Pianoforte :—- -tant and instructive kook
For Ji giiSsi Young Folks’^Picture F *. c„l„ Modern Music Shops throughout the United States (Not Sold in Canada) CLOTH BOUND $3.00 — or sent postpaid on receipt of price by - PAPER BOUND $2.00 , THE MUMIL PUBLISHING CO. - 1140 Broadway, New York City The “Whole World” Music Series : Lover is the world’s premier line of musical collections for piano, violin, voice, organ and other instru¬ ments. Each volume contains 256 or more pages devoted to the choicest classic and modern com¬ positions. Printed from engraved plates on clear white paper, and substantially bound in either cloth or paper. 1 History of-* Here is the Complete List of “Whole World” Collections
Child’s Own Book of Great
Musical Progre tusic Masters, Old and New mm S UMM Y’S CORNJjR rWrgrsr-
Of Special Interest to Music Teachers IDEAL LESSONS FOR CHILD TRAINING IN PpA^°5®cTUDY Secrets of the S Great Musi ^ - *• Very efthtceM FINGER SONGS FOR THE PIANO.^ ^ This “Whole World” Catalogue may f”V'ry ^ P'ayi"8' ^ ^ ^ ^ ^ Is Sent Free FINGER SONGS OF THE WOODS to every music lover in the United States (not in Canada) on request. It is an intensely interesting , , , . r r __e-.etoc Life Stories of Great FINGER SONGS FOR TWO p ^ the books listed above. Whether you are a a student or a musical amateur, you will lumber of SONGS FOR ARM AND FINGER RELAXATION GAMES books for violin, piano, voice, < etc., which will prove the most : ory collec- THEODORE PRESSER CO. tions which you have ever used, card today with your name anc JSIC PUBLISHERS AND DEALERS catalogue will he sent by return n Everythii CLAYTON F. SUM MY CO., Publishers 429 South Wabash Avenue Chicago, Ill. JUNE 1027 Page 411 TEE ETUDE THE ETUDE Page 410 JUNE 1927 Introducing Another Group of Favorite Piano Composers
By Giving Attention to this Page Each Month Music Teachers, Students and Music Lovers EARN A DIPLOMA Will Become Acquainted with Worth-while Composers and Them Compositions, OR Which are Excellent for Teaching, Recital or Diversion
THE SHORT BIOGRAPHICAL SKETCHEScwTCHHii PORTRAITSPORTRAI^b AND hSSELECTEDmqn areLISTS being OF COMPOSITIONS repr0DUCED OFIN Teacher's Certificate °ffeeing ™ past months- FROM Notably Successful Compositions of V ORN in Ravenna, Ohio, in FRANCESCO B. DE LEONE s 1887 and educated in this B°’ country and at th.e Royal * FRANCESCO B. De LEONE | A Recognized School W#' _.Conservatory^ at_ Naples, _ Italy, IK*-m Cavaliere FRANCESCO B. ■tlWBm LEONE located permanently in Akron, Ohio, in the year 1910. He There are bigger opportunities, higher recognition, greater financial returns waiting for you in has been, since 1920, director and professor of music at the Univer- Music just as soon as you are prepared for them. In your spare time, in your own home, and sity of Akron, and the newest “feather in his cap” is the great without any interference with your regular work, you can make a wonderful investment in your success of his opera “Alglala.” Mr. de Leone is a fluent writer. His songs, piano musical equipment that will pay you big dividends. pieces, etc., have met with warmest approbation from all quarters; for this compos"' ”’U1’ heritance, has the '. '' WE BRING THE CONSERVATORY TO YOU lovely melody. * iiuumniiinitin GEORG EGGELING E t ARTHUR L. i V \ You Study with the best Teachers in the Country t * * * * *****.* * * * .*..♦ * e. ♦ •> v ❖ * * *1*' P . Thousands Of Letters Like ATHILDE BILBRO. noted Study in Your Own Home with the Best eorg eggeling, noted BUO/Nl resident M G of Pittsfijur^BK Penna., has teacher, writer and com¬ These In Our Files German teacher and com¬ poser, was born in Tuske- poser, was born in Braun¬ A the hono/ 4f having created Teachers in the Country of the /most successful of gee, Alabama, in 1880. For many schweig in 1866. He studied at years now her home has been in No longer is it necessary for the ambitious music student to incur the expense of leaving home Emil Breslaur’s school in Berlin American d/awing-room pieces. A Public School music graduate writes: -‘Lovp/Dreams” has been pop¬ Gadsden, Alabama, where, since to study at an expensive resident conservatory. By the University Extension System the masters’ and also privately with Professor 1912, she has devoted all her time “Thank you for prompt delivery of Di¬ ular for a quarter of a century. methods are taught in the home by easily understood lessons sent by mail. Edward Franck. For ten years to composition. plomas. They have been recognized by the (1890 to 1900) Herr Eggeling Mr. Brown is not a composer by profession, but during most of his Miss Bilbro’s “specialty” is edu¬ State University and a life certificate issued The Piano student has the lessons of the marvelous teacher, Sherwood. The Cometist tudies taught in the Breslaui school. cational books. Her methods of Since then he has headed a school life he has been connected with a me. Through them I have secured a posi¬ instruction are so wise and so with the master Weldon; Crampton trains the voice of the singer; Heft shows how to interpret the of his own in the German capital. prominent manufacturing concern. tion with an increase in salary of $50.00 a Music is his avocation. He has been a very prolific “painless” that only the most stubborn of beginners soul of music on the Violin; Rosenbecker and Protheroe'take the pupil through every pha^e of the His writings, largely educational, number about could fail to enjoy, and benefit by the process. month.” two hundred and fifty opus numbers. He also has writer of teaching and drawing-room pieces. study of Harmony; Protheroe gives his authoritative instruction in Choral Conducting - Frances E. a musical lexicon to his credit. Another graduate writes: Clark gives the most practical methods in Public School Music; Frederick J. Bacon, the great banjo- Appealing Piano Numbers of “I have just been selected as director of the ist; Samue! Siegel, world-renowned mandolinist, and William Foden, famous guitarist, give their MATHILDE BILBRO voice department in a Music College as a re¬ methods for mastering these instruments. The History Course, including Analysis and Appreciation sult of my lessons with you.” 18292 The Camp .. of Music, by Glenn Dillard Gunn, and Advanced Composition, by Herbert J. Wrightstou are ad- lia, Vol From another one we learn: Under the Rose Bower “I was elected assistant supervisor of the Arab Dance . grades and junior high.” A Jolly Ride . 18291 Swinging . One studying in New York City states: 19541 The Fancy Dress Ball . 19542 Jamie Has a Violin ... “I received full two-years’ credit for my 19544 Tea Table Gossip . work with you.” This Is Your Opportunity-Mail the Coupon TODAY! One Night It Rained . . Fill in the coupon below—send it now for four lessons , . Off t e Camp . A teacher who has had four courses with us Pygmy Dance . writes: you full details of our offer to teachers and students, and the offe'r ^ T 7'" The Humming Bird, Silhouette . IIIJ4 of the courses. Get the catalog and lessons—then decide. f samples froni one Saucy Sally, Country Dance. Ill A “The instruction in your Extension Courses I Wonder What the Brook Says! is the best possible for one to obtain. The >f May II ling on the Merry-Go-Round. II person who knows and can use his knowledge to enable him to do as timer Is Leaving . II well and just a little better, usually gets ahead — regardless of the e Castle Goblin, Scherzo . Ill A method by which he received his information—whether in college or conservatory" Dept A-19 ita . UIA with, a book by an open fire-place, or during his spare moments under PI, J 4'5* Str“1' Chl“80. NMnoia tar. Oriental Sketch . Ill A the written direction of a teacher a thousand miles away. This js my third year in charge of the Music Department in the Normal School. regardfng’courseThav^marked witli'an'x’belowl inforn,ali°n POINSETTIA, Valse I have nothing but praise for your courses, which have been of ines* □Piano, Course for Students □Violin MATHILDE BILBRO Price tunable value to me in my work.” Grade III 54 □Piano, Norma. Trai„i»g UM“tIin □History of Music □Voice Course for Teachers ^Guitar □Cornet, Amateur dPuhlic School Music □Cornet, Professional anjo □Harmony □Ear Training and Sight Singing"□Organ (Reed) DChoral Conducting University Extension Conservatory □Advanced Composition
LANGLEY AVENUE and 41st STREET
DEPT. A-19 CHICAGO, ILL. Please mention THE ETUDE when addressing 01 JUNE 1927 Page 413 THE ETUDE
Eight Teaching Saturday Positions 192? Sutmmpr i>p50um Vacation Excursions In Our Branches June 20 4 August 13 THE Sherwood Music A Faculty of 150 including these Public School School now has thirty- Master Classes four N eighborhood Branches and other Music Piano Master Class, conducted by in Chicago, offering positions Artist Instructors A six-weeks course, leading tc for advanced students and Andre Skalski, world-famous Special Public School Mu: teachers who are qualified pianist. Teacher's Certificate, and pro¬ and wish to study and teach Voice Master Class, conducted viding thorough training in at the same time. The rapid jointly by Else Harthan Arendt, Methods, Sight-Singing, Ear expansion of the Neighbor¬ noted concert and oratorio sing¬ Training, Musical Literature, hood Branch enrollment er, and Irene Pavloska, Prima Conducting, Folk Dancing, His¬ makes necessary the addition Donna, Chicago Civic Opera. tory of Music, Form, Analysis, a number of new teachers Violin Master Class, conducted Appreciation, and Harmony. __ the Faculty, for the 192.7- by P. Marinus Paulsen, noted 2.8 teaching season, begin¬ violin virtuoso, composer and ning in September. These will be engaged from the students and teachers attending the 192.7 Summer Session. There are, besides, numerous excel¬ lent openings in the thousand and more Extension Branches if the School, locat throughout the country.
Ask for details An automo¬ and Application Blank bile ride (no obligation), giving through information about your Chicago's previous training, and experience, if any.
the Art Institute. Low Tuition (Lecture by Certificates—Degrees Rates Piano Normal The Summer Session courses lead Class i Teachers' Normal Certificates $64.00 to $96.00 A thirty-two hour course, set¬ Piano, Voice, Violin, Organ; for eight weeks of private in¬ ting forth the latest develop¬ also to Special Public School struction from a renowned Music Teacher's Certificate; and ments in the science of musical arecredited towards theBachelor artist teacher, a full hour pedagogy; and explaining the weekly. of Music Degree. The credits of methods used by the Sherwood the Sherwood Music School are Music School in conducting a issued by authority of the State $120.00 Junior Department of over four of Illinois, and the School is thousand pupils, with a success on theAccreditedListoftheFed- for membership in six classes Theater Organ that is attracting nation-wide eral Government of the United (total of ninety-six hours of An intensive eight-weeks I those with some training "cates for Foreign Students. class instruction from artist attention. course, given privately by and experience, it leads to teachers), embodying class Mildred Fitzpatrick, popu- | qualification for better po- Living work necessary for Teacher's Piano Teaching i_:..ac sitions. The Accommodations Normal Certificate in Piano. Repertoire Class $95.00 Presenting a wide range of the rates. Students are given all for membership in six classes best, up-to-date teaching mate¬ necessary assistance in getrng (total of sixty-four hours of rial, which most teachers do not satisfactorily located. The Star¬ class instruction from artist have time to select for them¬ wood Dormitory for Women and teachers), embodying class selves, out of the mass of current Girls offers all the advantages ol work necessary for Teacher’s real home life, in an ideal en¬ Normal Certificate in Voice. r those with screen J^our- vironment. theater organ training, | manual movie organs, with Newberry Lectures and this course is intended to a tremendous rangeor stops, A Friendly Interest $100.00 Recitals pfovide the elementsofprep- are provided for practice Besides providing all the usual aration for a position. For | purposes. for membership in six classes Seven recitals by members of the advantages of a center of higher musical musical learning, the Sherwood manuscripts. (total of sixty-four hours of Artist Faculty. Six lectures on In writing for your catalogue, please Music School takes a friendly, class instruction from artist inspirational and practical top¬ teachers), embodying class mention The Etude. helpful interest in the prog"" ics. Free to Summer Session work necessary for Teacher's of everyone connected wit! Normal Certificate in Violin. students. Address
$70.00 for the class work necessaty to earn a Special Public School Music Teacher's Cer¬ tificate (total of one hundred twenty hours of class in¬ SklMCMlSM struction). FOUNDED I8Q5 BY WM. H. SHERWOOD “A journey in chartered car tc Fine Arts Building 410 S. Mifhigan Avenue Ravinia Park to attend -and more limited operatic performance. Metropolitan and Chicago courses at even CHICAGO, ILLINOIS Grand Opera sta lower rates 1 Par/r 4-lh -JUNE 192\ PRESSER’S MUSICAL MAGAZINE • RENEWAL.-No receipt is sent for renewals. On SUBSCRIPTION PRICE, $2.00 per year in the ie wrapper of the next issue sent you will be printed United States and Possessions, Argentine, Bolivia, ie date on which your subscription is paid up, which Brazil, Colombia, Costa Rica, Cuba, Dominican Re¬ public, Ecuador, El Salvador, Guatemala, Mexico, irves as a receipt for your subscription. Nicaragua, Paraguay, Republic of Honduras, Spain including Balearic Islands, Canary Islands and Pos¬ Tfie Liberal Premiums and cash deductions are allowed for On Tg Greater sessions in North Africa (Ceuta, Melilla and Tan¬ gier) Peru and Uruguay. In Canada, $2.25 per year. MANUSCRIPTS.—Manuscripts should be addres All other countries, $2.72 per year. Musical Achievement. Single copy. Price 25 cents. REMITTANCES should be made by post-office or ex- k^th~etpublisheraS°are not hotographs either while in Profit and Pleasim A MONTHLY JOURNAL FOR THE MUSICIAN, MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by James Francis Cooke ADVERTISING RATES will be s. Assistant Editor, Edward Ellsworth Hipsher V.1.XLV. No.6 -JUNEbligj
The World of Music
ifftroe
Melodious, Attractivf Compositions That Have Madf Mreic Study RoadMore Interring To Thousands of Pup£s THE
Page 416 JUNE 1927 Class Instruction CHICAGO pi'^» THE ETUDE JUNE, 1927 Single Copies 25 Cents VOL. XLV, No. 6
MUSICAL Plajiij of men and affairs. In Spain he was the Mussolini of his day. A Real Musical Doctor Whether by policy or by conviction, he practiced the Golden A famous singer who was actually employed to rid a king Rule in his affairs in a remarkable manner. His enemies were of mental forebodings and melancholia is one of the most pic¬ invariably avenged with kindness and royal favors and not The widespreadjnteres^ m 62nd Year turesque figures in all of the history of music. Ranking only with punishment or extinction. COLLEGE with the great Caruso in world prestige is the name of Carlo SeT^f KacherS “ '° What “ “ 'nd Broschi, known as Farinelli, born at Naples, Italy, m 1705. HERBERT WITHERSPOON, President how to go about it. Farinelli was a male soprano. His father is reported to The Tin Can have been a miller, and from that source he took his stage name “The trouble with music in America is that it is the tin fszs. {Farina, flour). He was however, the nephew of a noted con¬ can tied to the tail of- society.” FALL TERM OPENS SEPTEMBER 12 temporary composer, Cristiano Farinelli, and it is reasonable The speaker was a violinist of mediocre achievements and to suppose that he took this family name. Russian birth. He had recently returned to America from his tuition fee for each pupil is nominal and at the same time Farinelli was the pupil and protege of the great teacher, native land where he had spent four years in the home of his More than 125 teachers of world-wide reputation. Private | yo« “e not only developing prospective pup.1. for private Porpora, the maestro of most of the celebrated singers of his Semitic forbears in an attempt to work into the variegated lessons only or courses leading to Teachers Certificates, instruction later but also receiving higher financial returns time, including Caffarelli, Senesino and Tosi. He also taught Bolshevistic life which he had extolled to the skies before he Graduation and Degrees in Piano, Voice, Violin, Cello, for teaching periods than for individual teaching. Haydn composition. Porpora was a most accomplished/fnusi- left “impossible America.” Admitting that the policies of the great Marx were wonderful in theory but that in practice they Church Organ, Movie Organ, Theory, Public School Music, Teaching Material for Classes of Young Tots cian and a hard taskmaster. At his death he left evinces of enormous industry but slight genius. There wer^/nfty-thnee demanded a Utopia which was not to be found in present-day Dramatic Art and Expression, Toe, Ballet, Interpretative kindergarten TSK5S tunes FOR TINY TOTS operas and six oratorios—ntow all extinct. Unquestionably' his Russia, he was nevertheless so infected with communism that K«RGARTEN young°stUS THE ETUDE freedom thus obtained lies in the fact that each muscular motion is complete be¬ FTER HAVING taught the piano A fore the next one begins; so none of the for many years, I have, much interference spoken of above is possible. against my will, come to the con¬ This kind of muscular action influences clusion that many of the fundamental the mind in such a way that it functions , i. „a the contributions of a Croesus may principles on which we depend in our much more accurately, has a much more On the other ha ’ . tJons of his means. In no way teaching are radically wrong. In my youth “Every piano ought to be tuned at least three or four times distinct idea of the tones to be played be wise, humanistici»PP P of his holdings to the better 1 was told, and later I myself taught that a year. More than this, each time a piano is tuned the action the foundation of good piano playing is a and directs more clearly. In the study of other subjects we. make should be gone over. The screws should be tightened, the lost- good legato. As I acquired more experi¬ use of this same principle; that is, we ence I became convinced that this is not motion taken up, the pedals adjusted and the tone regulated. try to think clearly of each separate detail true and that the staccato touch is the true “The trouble with piano owners is that they let the piano of a problem. Not until we can accom¬ basis of piano technic. Very slowly, care¬ go until they ‘have company.’ Then they want it tuned at once, ss-iS «- s— - plish this can we think of the whole clearly, fully and with many misgivings, for no accurately and fluently. For instance, if and they expect the tuner to undo damages that have been the conscientious piano teacher wishes to try “"However, antes the, have earned their positions as eom- we see a long and unfamiliar word that result of a year or two of neglect. They have the foolish idea experiments on his pupils, I began to put pete„“mu,ie.i authorities through preened, the same o„£ we wish to learn to pronounce, what do that because the piano is not used it is not necessary to tune it. to proof this new principle. My pupils r i • i i -j-nrihr the musician himselt, it is ausuru to we do? We use this same method of in turn tried it with their pupils. In They seem amazed when they are told that the tension of the articulation; we ta!.e the word to pieces ;C“fhe "o-1 entitle the. to pose as advisor, almost every case the results were very strings keeps a piano under the strain of about 40,000 pounds, and learn to pronounce the syllables satisfactory and were often surprisingly h, ™ The editor remember,; ,11 too well, an aggress.ve Dan.sh separately (staccato) until we are thor¬ or twenty tons, when it is in good shape. good. My young teachers often came back oontractor who was a member of . etareh -»e ttee. oughly familiar with them. Then we “Another thing that piano owners don’t know is that the to me with very .enthusiastic reports of can think them rapidly, put them as This individual, without any practical knowledge of music »h.it- their success with this staccato principle finer the instrument, the more need there is for protecting it closely together as we wish, and pronounce soever, attempted to regulate the church music matters w.tl. after they had failed in using the legato from atmospheric changes. This is because the sound-board in them fluently. In learning music should principle. a fine piano is graduated in thickness according to acoustical such ignorant intrusions of his authority that the writer w.u we not use this same method and learn The piano is essentially and by nature a science. The cheap piano has a sound-board of uniform thick¬ hard put to it to keep from resigning his position as organ t. to play each note by itself, staccato, clearly, staccato instrument. Not that tones are well-rounded? Then, when the necessity ness that has not had special attention. For this reason it sounds The American musical public must learn that money power necessarily detached, hut the beginning of arises (which, as I have said, does not is only one of the reservoirs of energy in America Mum, is, the tone is so emphasized by the strbke of thumpy. The graduated sound-board is more readily affected occur so frequently as we have thought), the hammer .fiat the continuity of the by extremes of heat and cold, wetness and dryness, and so on. in itself, a tremendous power. Take, for instance, the nitwit ion we may play them legato. passage is broken. All tones on the piano “If you are going to buy a piano, make inquiries about the in Cleveland. Citizens of that great Ohio metropolis arc de¬ Besides clearness of thinking and freedom are made by percussion and the impact of wrest-plank, if you expect your piano to stay in tune for any servedly proud of the wonderful Union Trust Company, om- of of muscular action, staccato practice gives, the hammer on the wire. No matter how as its most important advantage, clear¬ length of time. The wrest-plank in a good piano is made of the financial gibraltars of America. But the Union I'mst hard we may try to disguise it this is Staccato, the Spice of Music ness of tone. From the standpoint of three or four crossed veneers of very tough wood, such as rock Company, great monetary bulwark as it is, is no greater a -ct always perceptible. listening, legato means that each tone is maple. The pins for holding the wires are driven into this wood. to the city than is the splendid Cleveland Orchestra brought to The teaching of the piano, however, has By FRANCIS L. YORK heard until the next one takes its place. systematically disregarded this fact since ' Remember these pins bear a weight or strain equal to that of existence by the initiative and energy of Mrs. Adela Prentice From the mechanical standpoint of piano all piano methods are based on the sup¬ twenty tons of coal. Think of it! Hughes and ably conducted for years by Nikolai Sokolotf. Francis L. York has an eminent place in the musical world, of Amer¬ playing, legato means that the damper of position that the piano is naturally a legato one wire must stop its tone exactly as “In any ordinary piece of solid wood they would twist This fine orchestra, touring to distant cities as far as Havana, instrument, such as the voice, the violin ica, as pianist, organist, director, composer and educator. After study with the damper of the next rises and allows and such wind instruments as the flute or around under this weight and the piano could not be kept in lets the world know that Cleveland stands for the higher, the the best teachers of Boston and New York, he made several visits to Europe, its tone to sound. Thus, if the action of clarinet. People sang and played stringed tune. I have known folks to spend many dollars upon a piano noble things in life and in this way is an asset of the greatest the damper were such as to stop its tone and wind instruments long before the piano during two of which he was under the tutelage of Alexander Guilmant, the instantly, the dampers would pass each with a cheap wrest-plank, even though I advised them to get rid importance. existed, so, naturally, the methods of piano famous French master of the piano, organ and composition. Dr. York other, one up, one down, exactly half¬ of the instrument. Folks don’t want to take the tuner’s advice teaching were greatly influenced by the If you have never realized that mere money power is only has for years been President of the Detroit Conservatory of Music, and way. But the dampers do not act instanta¬ methods already in vogue:—this in spite until they find the costs of repeated repairs mounting out of sight. one of an infinite number of symbols of power, think for a neously; it takes an appreciable time for of the fact that real legato, such as is at the same time has held prominent positions in the National Music “Don’t buy a piano with a cheap action. The action of a moment of the Carpenter of Galilee who lived a pauper and the damper completely to stop its wire heard on these other instruments, is not piano is like the engine in an automobile. A cheap engine is Teachers’ Association. His article is unusual in practical interest. from sounding. Thus, there is a little died a pauper. What greater power has the world ever known ? possible on the piano. For, though the “hang-over” of tone for an instant after always a source of trouble and disaster. tones may actually touch, it is impossible ning from the fi fth^hngvp /si/that both the damper rests on its wire. Suppose “It is hard to be conscientious with some folks. They for one tone to merge into the next with¬ From the standpoint of the piano teacher fingers are connecfet^W the extensor that it takes one-tenth of a second for Earning One’s Way out a change of intensity and without the it is much easier and more satisfactory if expect miracles. Time and again I tell them that it is worthless muscle. /T^he extei/sors are the muscles the damper to stop its tone and we are shock produced by the hammer making the the student learn first to play each tone to spend money in repairing a worn-out instrument; but they go We have a kind of fraternal interest in the music student in the /upper sjde^of the forearm which playing ten notes a second (twice this tone begin suddenly. With other instru¬ separately (staccato). In this way he right ahead and order it done. The tuner is helpless. There raise ot exten^The fingers.) velocity is possible), then each tone will ■who elects to earn his own way while studying. Our inter -t ments a tone may begin so softly as thinks more clearly ami the] action of each *■ We aii-kffow the difficulty of playing not cease sounding until the next tone has comes a time when the only way to tune a piano is to move it is multiplied by the fact that during our own student daVs " c scarcely to be heard and may be increased finger is much more/Uefinite. It is strange clearly three contiguous notes in succes- had its full time—surely an effort to play out on the rubbish pile and get a new instrument. People hang or diminished at will. (On the flute, for that piano tea rh erst have. been so slow to earned practically every cent we expended upon our own n ls/oH; particularly if the fourth finger is on staccato will not come amiss here. example, it is the same column of air that adopt the methods used in teaching otheij on to old good-for-nothing pianos long after they should have cal instruction, asking favors from no one. Not every student a black key followed by the fifth or third In slow melody playing this action of vibrates at all the different pitches of subjects. The fundamental. prtocipM^j/ been discarded. A tuner spends a lifetime in learning his work, on a white key, as C. Ct, D played with the damper is no disadvantage—it may is situated as was the Editor of The Etude in a large nietr■>- which the instrument is capable.) But on modem pedagogy—first the idea/and(/:hen the third, fourth and fifth fingers. Now even be a help in covering up the percus¬ and is then condemned because he cannot bring to life any kind politan center such as New York City. the piano we have a separate action, almost the expression of the idea—is almost com¬ observe what happens in playing these sion with which each tone begins and of musical corpse that ought to have been buried long ago. Few a complete instrument, for each tone. No pletely disregarded in teaching the piano. However, there is usually the way when there is the will. notes. The fourth finger plays Cfi: when make the legato more nearly perfect. pianos will last a lifetime, even with moderate use. The piece tone can make a crescendo into the next Students are continually taught to trans¬ How can you do it? Easily! You are surrounded with oppor¬ that key is down it is nearly on a level But if brilliancy is wanted or if we are tone or even keep its intensity unimpaired late the black and white/f the printed of furniture is there, to be sure; but remember, a piano is some¬ with the white keys. We now attempt to to play rapidly, the result is just the tunities which only remain to be uncovered. Your progress until it reaches the next tone. A series page into the black and White of the key¬ thing more than a piece of furniture. It is a musical instrument. put down the D with the fifth finger and opposite. For brilliancy results from the depends largely upon your three I’s, INGENUITY INIT1 V- of tones on the piano would be represented board without having the slightest idea of If you want real joy from your music, you must not expect it the meaning of the music or of the group¬ at the same time take up the CS with the clear, clean articulation of each tone, TIVE and INDUSTRY. Coupled with this'is the little matt, r to the eye thus: 'J^==~~7^===‘ — fourth finger in order to make the two from an 1900 instrument, any more than from an 1900 auto¬ ing or combinations of the tones they pro¬ what Busoni calls granulato, granulated. ot pocketing one’s false pride. tones legato. The fourth must be, rela¬ mobile. Sometimes even a ten-year-old piano has given all that Percussion the Keyboard’s Peculiarity duce. Many piano players who play in a We know of one exceptional student in a large city who blurred and “mussy” style would have a tively to the fifth, twice as high in order Freeing the Thumb HIS BEING the case, the best and it has and should be retired for a new instrument.” T clear, clean technic if from the first they to release the key, the black key being ” “ “tr*”d™U P^ist. Sho is “making a go of it” l.v most skillful writers for the piano OW IF it is once admitted that scales, had thought each tone separately as to its on a higher level than the white. But N serving as a waitress in a fashionable boarding house. The wrote music that was adapted to it, not runs and passage work are to be production and then in a group as to its the same muscle that is raising .the fourth Money Power and Music in the style of voice or violin music, not played staccato, our method of scale prac¬ patrons know of her aim and respect her for It It is strange relation to other tones. finger is connected with the fifth (the long sustained tones merging into each tice will have to be revised. We have It is extraordinary what importance some people persist Some one' has said, that a beautifully one we are trying to press down) and is iTew lSvl™*”^ *° wh° ”* "lling to sacrifice all worked many weary hours training the in putting upon mere money power. Money is a symbol of other, not cantabile passages m which a played scale or passage should be like a attempting to pull it up. Thus there is thumb to play its tone under the hand in tone may swell or diminish during its string of evenly matched pearls, each tone a conflict between these two fingers. accumulated energy. If it is acquired honestly by the brains, hour of triumph’arrives ^ ,0rg0‘l™ '' h'n lhe glori,>us an almost impossible position. Thus in length or as it approaches another tone, a clear, distinct, clean individual; “but,” In legato playing this action is necessary brawn, activity and thrift of its possessor, money power de¬ but music suitable for an instrument of the scale of C how much time we have he goes on to say, “how often do we hear as the dampers must pass each other servedly commands respect. percussion. So, if the student will examine spent passing the thumb under the third own Si: - *hr scales played that are more like a string on the way, one going up, the other com¬ finger to F and under the fourth finger However, because a man is rich does not mean that he is be the possession of , , -v that (loes not seem to any book of piano music, he will find that of over-cooked peas.” The brilliancy and ing down. Play a series of tones requir¬ a very large proportion of the tones give to C in order to connect these tones necessarily a fine trapeze performer, an expert geologist or beauty of the pearls come largely from the ing all five fingers as C, Ci, D, D#, E, them. Almost invariably^!T^ ^ the best effect if they are not legato. Pa¬ closely. But, if these tones need not be a good musician. The moneyed man may merely be a clever fact that they do not fit together closely; with the fingers 1, 2, 3, 4, 5, legato. Then ers. It is not a matter of dumb luck „ P-S ff° -t0 ^ ™r.k' derewski’s beautiful scales, runs and pas¬ connected, the thumb is ■ free and is not if they were cut in the form of cubes so play the same tones staccato, allowing speculator, an ordinary gambler, a shrewd miser, an illiterate required to play in this cramped and un¬ principle of work and sacrifice ’ W ™ ,lmaSlne* 1S ^IC sages are never legato but, especially in that the surfaces fitted together, much of each key to come back to its level, its stevedore, a festive bootlegger, or, worse yet, the possessor of rapid work, are as staccato as possible. natural position. If the hand is turned the beauty would be lost. It is the sep¬ finger being completely relaxed, before Thousand, of r„d«rwtr, ;n. W'th rcnl annbi,i0n' slightly toward the thumb, the wrist held money inherited from some “money magnet.” This gives the much admired “pearly arateness, the articulation, that gives them pressing the next key. You will at once stand in their way have sunpoiS th "T” ‘° 'Ct rather high, the arm moved steadily along Yet, in many communities the rich man or the rich woman, touch.” The tones of the so-called Al¬ brilliancy. Just so with tones in piano see how much easier and freer the fingers honorable occupation which * d themse,ves through any berti (broken chord) accompaniment, so the key-board, the tones played staccato, playing. feel and how much clearer is the mental with an inclination toward art and a fair liberality, is consulted, too menial or Jo dwleeauj itself- XothinS - frequent in Mozart, Beethoven and Men¬ then each finger will fall on its key just in Z Frbm the physical standpoint, the stac¬ impression of the tones. “looked up to” and revered as an authority. This wealth delssohn, have in most cases, by far the time. There will be no temptation to end. For instance, yfaT^o * S*," rt,lcads to the dcsired cato study is the true one. One of its is often an obstacle to artistic progress in the community as best effect when played staccato. Of Training the Fourth Finger twist the wrist every time the thumb is of the conservatory sane the ^ the ~vounKer students most important uses is in freeing the course it does not follow that all piano used (that bane of young players), for a whole. fourth finger from the fifth. The THIS FORM of staccato (separate) older students actually buried fh!3!™/01' the dead w,li,e the music should be played staccato,. but it is the thumb can then be used in an easy tendon or cord, running from the playing aids wonderfully in training 418 true that a very large proportion of it natural position, producing the same quality fourth finger, is joined to the tendon run¬ the fourth finger. The reason for the should be so played. THE ETUDE JUNE 1927 Page W THE ETUDE Page 1,20 JUNE 1927 A Glimpse of Jenny Lind point in mentioning of tone as the fingers, and the result will What Effect has Jazz Upon By A. Walsall The Power of Accidentals Outside the Measure be a perfectly even scale, clear, clean and Present Day Music and brilliant. Liza Lehmann, composer of “In a Per. By EUGENE F. MARKS X can not make it too plain that slow, Composers? sian- Garden," studied singing with Jenny closely legato passages are not to be played __ • A of the stltools >»n I”™'1 * in- Lind (Mine. Goldschmidt), and in her n the Assai Allegro of Op. Chopin’s Method in this way. In a slow melody it is fre¬ HE SHARP OR flat signs, given themes, passages, phrases, sections and By Walter Spry autobiography gives us a somewhat un¬ T OMING to the modern writings of quently best to lap the tones slightly. In motives. This unusual power of attraction C usual picture of the great singer: immediately after the clef in the Chopin we find he dispensed with the slow scales—which by the way seldom signature of a composition to is accent. / \ “She was wonderfully kind to my humble device of using the b It and b b to cancel occur—the tones must ordinarily he played O PUT the above question to a Otherwise they remain as ignorant in music designate the key or pitch and affecting “Tick/tick, tide, tick,” says the clock T fess-Ks self, but sometimes treated certain of her a * or bb (see Prelude, Op. 28, No. 13, legato. But a careful, unprejudiced ex¬ teacher of classical music may seenfi every note of the same name throughout withlbierfect iregularity, and although the ' as’was the/o!d colored mammy.of pref®*- pupils with almost cruel harshness and sar¬ where a * in the second measure is de¬ amination 'of piano music will reveal the beside the mark; and still such a; the piece, are limited in their scope by tickTariAalAja? equal intensity we find casm. No doubt her musical nerves were stroyed by a single tt an octave lower in the fact that a large proportion of our play¬ person should be a keen observer, for hg idea 5>f-.Heaver.: “When I gits dem daz similar signs, termed, “accidentals,” appear¬ ou/sqwesNnnconsciously counting or plac¬ strained almost to the breaking-point. In third measure) or to alter a flatted note to ing should, not be legato. hak,under his charge the young people who zlihl' gospel shoes an’ shakes my haM be¬ ing throughout a piece and affecting the ing slibser ticks into groups of two, four fact, looking back, I cannot imagine how the same note sharped or vice versa. Chopin There is still another advantage in stac¬ ave the* musicians , of future generations. neath dat crown o stars, I s a8 notes they accompany. These accidentals or/lefght. To divide them into groups of cato practice; the finger is trained to act Jazz is a result of exuberant spirits ex¬ she could tolerate any of us—but, curiously wrote before each note to be changed the voice or chromatic signs are five in number and thrbe ticks takes mental effort which, instantly when called upon, thus acquiring pressed in the*popular musical idiom of tfte enough, I believe she loved teaching. Her are divided into two classes. Iwrst) are! wvhen relaxed, ranges the ticks into twos sign which gave the exact tone he wished: from this simple exactness he largely ig¬ a velocity that it can not get in legato day. The present-day American idiom has ”but--"* manner in ordinary life at that time was those that affect natural notes: tfie^dharnfl /again. In the realm of music no single practice, for, as the physical actions and been greatly .influenced by Negro folk far removed from what would be called (Jf) and double sharp (*), which raise ’’sound produces music. Two sounds at nored previous changes of a note even in the same measure, so in the thirteenth the mental actions mutually ‘influence each music, and there are three elements that feat, for »= **, affable. A stem and unrelenting kind of the pitch a semi-tone and tone respectively; least are required for the purpose of com¬ The b sign before the note B in meas¬ measure of the popular Nocturne in Eb, other, staccato practice tends to make characterize this music. It is melodiojis, its have- quite a group of young composers Puritanism seemed to emanate from her and the flat (b) and double flats—(^b) parison or contrast. In the tick-tock, tick- ure 46 cancels the power of the b appear¬ the mind more alert; slovenly thinking Op. 9, No. 2, Cb is followed by C# with rhythm is strongly syncopated, and its who, first of. all, are scholars, and. added to personality. She was deeply religious— which lower it similarly. Secjfeid, there tock of the clock, contrary to the usual ing before the same note an octave higher and slovenly playing become impossible. only one note, Bb, intervening. Yet no harmony very primitive. their learning, they are not ashamed to almost to the point of bigotry. I remem¬ is the chromatic called the .natural sign conception, the unaccented tick precedes in measure 45. This was so written for Teachers have emphasized too much the one to-day would play this C sharp as C putjn their music a little real fun of the ber on one occasion when my mother and (i), which affects notes alreacly raised or the. accented one. This unaccented-ac¬ two reasons: first, to destroy the power proper beginning of a tone and have too Deadly Monotony of the flat sign in the preceding measure; natural, though, according to the old American flavor. I were having tea with her, an innocent¬ lowered and jiQssj|ses th THE ETUDE the ETUDE Page 430 JUNE 1927 “Getting Your Handin’’ secure the kind of musical training so in¬ the statement that it is twice as difficult to A NEW DEPARTMENT OF PUBLIC SCHOOL MUSIC dispensable to long and continued success in attain substantial success today as it was By John H. Duddy when Adelina Patti was a child. her art. Her appearances at the Metropoli¬ Conducted Monthly tan Opera House proved among the great One of the chief obstacles of young sing¬ By using the above notes and making ers has been impatience. This is particu¬ sensations of New York operatic history. each pair to be a dotted sixteenth followed larly true of American singers. They ex¬ A great many By GEORGE L. LINDSAY, Director of Music, Philadelphia Public Schools Wealthy patrons of art and musical foun¬ by a thirty-second note, a rhythm suggest¬ pect their careers to be meteoric or nothing. come very simple to readiness dations are continually importuned to pro¬ ing “humpty-dumpty”—"humpty-dumpty” They are unwilling to devote sufficient time With ambition, gse ob- vide funds for singers, in order to enable to do honest key board ^ ‘f the is obtained. Which of us children did not to preparation, and invite disaster by this. them to give all their attention to their art like to build with blocks, piling one upon When Jenny Lind went to Manuel Garcia at the time of life when it is most needed the other then later to build toy cities? his report upon her voice was so discourag¬ and when the body should not be subjected By taking the first two notes, one above the to dangerous privations. Often the funds ing that she was broken-hearted. It was car and fails, not because of lack oi The Function of Music in the School Assembly other, and striking them simultaneously. A devotional song or a song of high are asked for European travel. Musical only after a great deal of the most tedious telligence, or of strength of pe^ce rules of the school. Little singing was ethical character should always be sung tours abroad are illuminating experiences, kind of preparatory labor that it was possi¬ but because he does not see the difficulty Ft. 5 Thine Eyes,” “All through the Night,” The man that hath no music in himself. permitted and when it was, formal hymns at the opening of the assembly. This but it should be remembered that very few ble for her to lay the foundation upon which the American songs of Stephen Foster in the right light. .. . Nor is not moved with concord of sweet were sung. Military commands were should be followed by a fine interpretive schools„of music in Europe today can com¬ her brilliant career was founded. Before playing a passage do a Utue and many others which everyone should given and the pupils filed out in silence, unison or two-part song that has been pare with the best American music In the writer’s opinion, there is no ques¬ practice in your brain rather than on the sounds. Is fit for treasons, stratagems, and spoils; relieved that the ordeal was over tor memorized or well learned. A three-part schools. tion whatever that dozens of excellent keyboard. Study the measure carefully. Some musical people decry the use of The motions of his spirit are dull as night, round may follow or another part-song. The writer knows one young artist who voices in America are launched years be¬ Get a clear idea of its harmonic structure, these songs, and say that they are cheap the day...... And his affections dark as Erebus. The term “chapel” is still applied in The special number by the glee club, for some years eked out a living as a wait¬ fore they are ready to stand the terrific that is, the chord from which the figure is and hackneyed, but we must realize that strain which' modern music imposes upon Let no such man be trusted. many institutions to the opening period single class, orchestra or soloist should ress in a Childs’ Restaurant in New York derived. Take the following passage, for these songs have the same appeal to e of the day where formal Bible reading them. The writer knows of two sisters; the idea of building has served two pur¬ The Merchant of Venice. Act V. Scene I. musically uninitiated that they once must come next. The talented, or even fair y City. She was a pianist of ability and had instance, of which the subject is: and hymn singing obtains. If such chapel had really good positions in western col¬ one submitted to long and patient training poses. First—to secure more assurance have had for their unkind critics. Let good pupils, singers and players, should hakespeare has thus aptly stated attendance is on a voluntary basis, as it leges. These she abandoned in order to under a great teacher, and became a very technically; second—renewed interest. S us sing the great ballads in unison and not be overlooked in the solo work. A the importance of an appreciation of is in certain colleges and private schools, community song or a well-liked unison continue with her studies. The sacrifice famous, singer. The other, who was In the following study e left hand use the best of the rounds for natural music and its relation as a measure the reaction of the students is readily was a great one and it broke down her launched in the' operatic field several years plays smoothly while the ri . lit hand uses part singing. Let us strive for harmonic song may be used in closing. of character. How true this is in char- measured by the small attendance at the health. Had she been assisted with funds before she was able to sing properly, be¬ the humpty-dumpty rhythi By revers¬ singing with the proper material and Little time should be devoted to the acterizing the life of the school which has, chapel. There are assemblies in our pres¬ learning of part-songs in the assembly. her loss to art would have been averted. came a notorious failure. Of the two Let us begin with the first figure of the ing the foregoing idea, .. "iual amount preparation. Let us above all things make the girl who was a failure probably had or has not, an assembly organized (and ent day where music has no place. Time should be provided for this m the Civilization is perhaps asking too much subject. The object is to “get your hand of good may he derived. the music, which has its inception in the the better voice at the start. unitfh for the development of such “con¬ After the Bibfereading, at/he opening, regular class-room work, even if each class of the young artist to pay the cost. Far in;” that is, “to get the feel” of the notes. Ex.6 class-room, not live and die there, but cord of sweet sounds.” The far-seeing the rest of iWTtinfi/Vfevoted to the has to interrupt the regular music program better for some patron to come in at the In’ doing this the student’s ingenuity is function in the' assembly as the basis for school principal knows that the school reading of rfmicVo^stening to speakers occasionally to learn a single part in the right time with the necessary cash and the taxed to make up new exercises, as we the program of art songs and part song assembly is his most valuable asset in and/fffpgramaowiicn have an abstract re- class-room. The new unison songs are necessary direction, when the talent is really shall see. These are very much like the Accuracy in Chord Playing seuimj a standard for the work of the day. selections. latibri KvitML^khool life and the building readily learned in the assembly as are the manifest and the ambition ample! swings made by a golf player in trying How important it is that these mass Assembly Use of Class-Room Material rounds. The average teacher underesti¬ By Ruth French out a new club. Look at the following: Launching a Career ga’lv rings of those of formative age shall rjOW FEW music-supervisors realize °f iWxm^tcly, the average principal has mates the ability of children to learn ONE OF THE difficulties is that, after (rpr tfA; have a carefully planned program of IT the possibility of utilizing in the as¬ been trained to see the wisdom of hav¬ readily new unison songs or contrapuntal Many pupils who can play melodies ethical and cultural activities. Every ef- the .student is educated, the mere mat¬ Do you rememlier when youngsters sembly the' song material that has beed ing massed assembly participation m song part-songs. The assembly is the place, smoothly will fumble when called upon jtfi i j j p=^=.,,. fort should be made to plan a musical ter of starting a singer upon a career has we played Cow-boy and Indi ? How the so carefully prepared in the class-rojinjA and he knows of its value in stimulating not for drilling, but for inspirational sing- to play a series of chords. program which will reflect the best that become so extravagantly expensive that In this example we take the second note Indians swept the camp, cn; ring the un¬ Herein lies the gok’ Ihportunitwtfc/the the morale of the student-body for the The first step in accurate chord playing the combined efforts of the school faculty only a few are enabled to achieve wide of the triplet to accent, bringing the re¬ suspecting Cow-punchers, tl tying them music supervisor /b ^Scher, p(j*ibly to activities of the day. In this type of m“' Seating of an Assembly fame. The competition in the musical field is to get a clear and correct mental picture mainder of the notes together in chord and student body can produce. uitcd to music assembly, the pupils enter to the strains ANY OF THE elementary buildings of the chord: the second is to coordinate to trees by walking round .mil round the double the time altti M When we think of the school assembly is huge. Launching a singer upon a career fashion. You know it is not so much tree and thus binding the ■ tim so that in the school program! Jfcre is some- of a rousing march in a spirit of en¬ in use today are not of the most the musles of the hand and arm with that we must think in terms of massed par- has become very much like launching a what we say, but how we say it, that there was little possibility oi . ‘•cape. This thing of greater value ii s project than thusiasm for the mass gathering of the modern type. The popularization of business. The singer must be advertised image. counts. By that we mean that in taking ticiintion in the great indoor activity of :ime for music dav. They may march in or they may junior and senior high school education For practice have the pupil hold his following example is indeed imilar to the the question of adding rr in the most intelligent and ingenious man¬ the previous example and accenting the the school and nation; and the medium is the control file in while the orchestra or pianist holds has taxed the resources of the average hand away from the keyboard and think story, for the whole note I ustained tn in the school day; and/- ner possible. This requires great quantities last note of the triplet, another new idea of that is music. In the broadest sense, their attention with interesting music. The c-e-g-c under the first, second, third and each hand while the other notes are played. of selection in the type of music used. community in its efforts to house the in¬ of printer’s ink and the skilled direction of is found from the same notes. It is the music, both vocal and instrumental, proves fifth fingers, respectively. (If the hand is If the matter of selection is left entirely principal rises and greets the pupils with creasing numbers of high school pupils. an advertising genius, experienced in this same thing as when we shift the accent Ex.T to be’the contact subject with all human small, use e-g-c with fingers one, two and to the school principal or assembly leader, a hearty “Good Morning” and the pupils The high schools invariably have large on words being read; as, endeavor. There is no other force which particular field. Of course, if the talent five.) With the hand outstretched thus, much inferior music, even of the popular respond in kind. After the short devo¬ auditoriums. The best type of elementary can socialize, energize and guide the emo¬ of the singer is sufficient, and if all things let him place his fingers on the keys. If James, go close the door. jazz variety, may insidiously establish it¬ tional period, conducted by the principal, school is that which has an auditorium tions of the masses like good music go well, the investment of a few thousand each finger is not exactly placed on the James, go close the door. self. The practice of using word books, the assembly leader directs the group in of sufficient capacity to seat the pupils ol dollars at the outstart of a career may proper key, have him repeat the exercise When studying, Josef Hofmann plays properly classified and artistically pre¬ or of copying words in copy-books instead a few well-chosen songs. The glee club, the upper elementary grades, four, five and prove enormously profitable to the singer until the fingers are correctly fitted to over and over the same group of notes, sented In order to justify and reveal of using song-books, militates against ac¬ class choirs, orchestra, or a guest soloist, six, or higher. Most of the old and many and possibly to the “backer.” The element the chord. The procedure for the left using many various rhythms and touches. the high place which it has been accorded curacy and intelligent interpretation in may have an opportunity to present an of the new elementary schools have no of speculation is naturally very great. hand is the same, only with the necessary One measure may find him using a high 1, great philosophers of all ages, the extra number, and the! assembled pupils auditoriums. It is necessary, therefore, to The next study might 1» unison as well as part singing. changes of fingering. finger action, for brittleness; the next music selected for this important mission The problem of making use of the class¬ may feel free to applaud. After a few use several adjoining rooms on each floor The Singer’s Secret One Hand and Rub the Other The' second' and third positions of the measure a low gluey touch, for exquisite mu DEPARTMENT OF BANDS AND ORCHESTRAS The lower register notes, Studies on Harmonics Ex. 9 By BEN VANASEK lying within 100 to 400 vibrations per The only American Trumpeter to achieve a first prize distinction at the Conservatoire Nationale of Paris second, are obtained by 40 per cent, action, divided according to the skill of the player, a boat is an exercise that tends to stiffen the real essence of music is self-expres¬ ollowing the article pub¬ Generators: On all three valve instru- The fifth generator and its harmonics Extreme Carelessness the wrist as much as anything* that I know F by 20 per cent, lip-concentration and 20 sion, and beside that mere technical display lished in The Etude (January 1927, nents, seven fundamental tones, called two whole tones (major third) lower per cent, wind-pressure. I have a pupil, a bright girl of of ’ hence it cannot help octave playing or is as sounding brass. page 11) on "Practical Acoustics •generators," and their corresponding har- the primal pitch—are obtained by tne - anything else, that has to do with piano The middle register notes, wltti^e^piano'wor^bur'also with I am suspicious of the young person who for Musicians,” we shall treat the same monies, are obtainable. Each generator multaneous action of the second and tnirci technic. Choose rather some neutral exer¬ '"shfhM hafa Convene Study for professes to play the Rondo Capriccioso subject as applied to the Trumpet—to all lowers the pitch of the instrument Ex. 10 cise, such as walking or swimming, and be almost four months, and still makes or the Moonlight Sonata after so short a brass-valve instruments. Many profes¬ Ex.5 mistakes, even though the latter are chary of base-ball or anything else that rlVarlv marked. It is not because period of study. For such compositions sional cornetists, who have gone through Generators depends on a firm wrist. Tennis or fencing she doesn’t know the notes, for she as these are performed by great artists the celebrated Arban-Method of three hun- fpHE FIRST GENERATOR and it =^1 ,-an put the whole set of Holman are not so bad, as they require a wrist that cards, thirty-six in number, on the only after years of hard work. The trou¬ dred and fifty pages, have overlooked the 1 following harmonics are called open- lying within 400 to 700 vibrations, present¬ is at least limber. For indoor exercise, excellent providing it be supported by a T5 . os mnnv seconds—the best ble with amateurs is that they are too easily “Table of Harmonics.” As to “Studies tones ing an augmented percentage . > f 300 vibra¬ there are plenty of body and free-arm ex¬ proper emphasis on the fundamentals; satisfied, and toy glibly with compositions on Harmonics”—they never heard of it 1 the u The sixth generator and its harmonics tions, are obtained by 70 per cent, action, ercises such as Walter Camp’s “Daily otherwise it may make the pupil careless. istnntly preach i ►w practice, before which a mature artist stands in Acoustics is the science of properties —two and a half tones (perfect fourth) divided according to the skill of the player. seems to me tha Dozen,” which are well adapted to the You would do well to provide, her with, a ntegory. I reverence. and relations of sound. Musical acoustics, lower than the primal pitch—are obtained The higher register notes, ■ plans in my good course of study, such as Mathews So do not he afraid to go slowly in pianist. , the science' of musical tones, distinguishes by the simultaneous action of the first and This morning, and her mother offeied It is not brute strength which the pianist Graded Course. She is probably ready for a nickel for every one that T could your own work and that of your pupils, between tones and noises. A tone of sus¬ third valves. should cultivate, so much as the power of rase next week. I suppose I shall with the certainty that your results will the second or third book. This course may tained and equal pitch is generated by , , mp them then—and no doubt the .controlling and rightly directing the finally prove the wisdom of your course. be occasionally supplemented by an attrac¬ Pillowing week she will make them strength which he already possesses. I regular and constant vibrations of the air, Thfi S£Cond nerator and ;ts harmonics As to your inability to play rapidly, I am tive piece which she may thoroughly mas¬ these being generated by similar vibrations _a ha]f.tone (minor seCond) lower than ;'!,atvto dTln! plraseEa%isHn,c have heard a muscular person weighing at lying within 700 to 1000 vibration*, again wondering if your wrists are sufficiently ter and memorize. in a tone-producing body; whereas a noise ...... least 150 pounds play with a feebler and presenting an augmented ; entage of loose. There is nothing like relaxing ex¬ Her playing of popular music by ear is caused by irregular and fluctuating vi¬ Evidently the trouble is that the pupil less interesting touch than a child of nine ercises to free the fingers for rapid execu¬ shows that she has real musical ability. brations (Theo. Baker). Briefly, the sen¬ 300 vibrations, are obtained a 100 per is so interested in carrying out the musical who had been taught to utilize her strength The seventh generator and its harmonics cent, action. The fluctuation <.i t bis divisiou idea—in “playing the piece through”—that tion. I believe, too, that the metronome It is therefore up to you to guide this sation caused by a tone is produced by to the best advantage. —three tones (diminished fifth) lower than she balks at preliminary details. Thus she should be employed in very small doses, ability into the proper channels of taste rapid periodic movements; that caused by constantly varies and mostly depends upon So I advise you, while building up a good the primal pitch—are obtained by the si¬ since its ticking is enough to destroy all and expression. Surely it is too bad for a noise, by imperiodic movements (Helm¬ the amount of right practicing, lip prepara¬ has the musical urge, but not enough of physique, to stress relaxation above every¬ multaneous action of the thre'e valves. musical inspiration. Forget the metronome her to spend her time in talking musical holtz). tion and regular daily exercise We' can¬ the ability to plod. thing in your practice, and so to work marks, and don’t worry about mere ra¬ .slang 1 Resonance: With the exception of a not too highly recommend the study of Accordingly, the problem is how to make toward that freedom of finger, hand and pidity. few instruments of percussion, all musical harmonics, throughout the seven genera¬ her concentrate first on details, until these arm which gives plasticity to every motion. School Credits While insisting on accurate work from instruments possess three elements: a mo- . tors, which, similar to the sewn positions are ready to be put together. Try having As for the trouble with your little your pupils, you may further their progress ‘ vibrator and a resonator. The comet the Prlmal Pitch—are obtained by the ac- of the slide trombone, will always and her practice from the end rather than the finger, I suggest that you invent exercises, by judicious sight-reading. Spend a few Will you please ask teachers who has the lungs of the performer for of the first valve. infallibly bring the best results. beginning of a new piece. You may even such as the following, for stretching it minutes of each lesson-period in this work, have had similar difficulties to write motor, the lips for a vibrator, and the Speaking of registers, many instrumental¬ divide off the section to be studied into away from the fourth finger: how such troubles have been over- Thus, the natural. “Harmonic Chord of and encourage them to read duets with gradually enlarging tube, terminating in ists are troubled with the higher compass.' It phrases, by checking them thus: V V °Our pupils usually discontinue the Seventh,” each other. the flaring bell, for a resonator. Tone, in must be borne in mind that all high notes Now, require her to learn the last phrase, lessons after reaching the Junior are centrifuged within the flowing stream first with the hands separately and then High School grades, owing to the long the musical sense, is the remit of rapid, Developing the Muscles hours of the school sessions and the called a "column of air,” which must never with them together, next, the phrase be¬ amount of home work required—this periodic vibration. The pitch of the tone Since I was a young fellow I have it that with the^necessary depends upon the “number” of vibrations be cut, but constantly be kep: alive by- fore it, then the one before that, and so on studied the piano. Times when 1 The fourth generator and its harmonics recreation time there are few hours in a given period; the loudness of tone being continuously speeded through the until she reaches the beginning. When she left for music study. The pupils —one and a half tones (minor third) tubes of the instrument. Every note lies comes for her lesson, let her play for you who do make an attempt to continue depends upon the “amplitude” of the vi¬ tieed instead. Now I find that I am through the high school are unable lower than the primal pitch—are obtained within the power of breath-control. the phrases in the above order, beginning not as fit physically as i should like brations; the quality of tone depends upon t0 he—i mean as regards the piano. to give more than a half-hour daily by the simultaneous action of the first and based upon the fundamental principle The lip-muscles must act upon the with the last. This process ought to induce to music. I have lost several of my the “form” of the vibrations; and the of acoustics, when taken as a daily How may I develop the muscles used most interested and promising pupils column of air, deviating its 1 current, her to notice the details rather than to in playing, so that I may have power¬ due to this cause. The schools of form of the vibrations depends upon the exercise, will work up the lips to the ful hands and fingers, and what out¬ More about Accredited Teachers according to each register. A free air- rush thoughtlessly through the piece from this state (New Hampshire) do not resonator. It is the vibrations of the air Ex. 4 highest state of their flexibility. To the door work and other exercises may I am glad to publish the following letter recognize or gi current must be compelled ■utward— beginning to end. X use that will not injure the hands mental music in any way. i name in the resonance chamber of the' human . P rf- earnest student, this will be a pass-kev to and fingers? Also, how may I learn from an “accredited teacher” in the State from the diaphragm up—into : ic instru- After all, the great point is to avoid here some three years ago, and each instrument, together with induced vibra¬ ■ga- eg—the possibilities of easier playing this, to applv the principle of relaxation of Oregon. If similar customs prevail in year have practically a new class, as The lips unking mistakes at the outset. Save, if ini playing? ’ForFor example. I have tions of the instrument itself, which give § ‘ through the natural laws of his instrument! ment and straight to the bell, other states, will not someone inform us the old pupils are advanced to the oncentra- possible, the thankless task of correcting higher school grades and discontinue tone its sonority, its reach, its color, and have two actions—vibration and e playing. and explain the conditions on which teach¬ music. Consequently, I cannot point its emotional power (Fillebrown). tion—against the air-pressure from the tii m after they are firmly imbedded m the „„„_... good health tc to any advanced pupils as an adver- piano properly ? ers are appointed? Harmonics: A tone-producing body diaphragm. The higher register consists pupil’s mind. am particularly troubled none beyond the third grade. also vibrates in its various fractional parts. simply in lifting the air-pressure up to Slow but Sure In the December number of The I found upon coming here that it p urea-1 snuyiwoc ucumoc Etude you ask for Information re¬ is the custom of the local teachers The points of rest where such vibrating the level of the note required. We should I have been teaching live years in a know how to apply the principle garding accredited teachers. In smell town, and have had about to give lessons at the pupils’ homes. portions meet are called nodes, or nodal always play with a pneumatic-breath-con¬ •elaxation. I am also bothered Oregon teachers are recognized as I have lost several pupils because same number of pupils each y i my little finjrer, which has a "accredited” after passing an exam¬ they would not come to my studio. points; the tones produced by the vibrat¬ trol, more than with the lips, and should seems that my pupils a a little b< lency to turn in. Are there ex- ination, blanks for which are sent 4-rx nllKn ? CJ foillf 9 How may these difficulties be over¬ ing divisions are called harmonics or over¬ bear in mind that every note has its par¬ hind thus- -«*" *“> ■ upon request from the State Board of come? Please do not suggest that I t heir attention to all (leiails - Education. These blanks are filled talk with the school authorities, for tones ; and the entire series, including the ticular amount of air-pressure. Tone out and sworn to before a notary nnfa^’erank”^ the subject of finger¬ that has been done, and, with them, generator or fundamental, are called par¬ quality depends entirely upon the "Resona¬ Certainly, good health.is a valuable asset public. the school studies (no matter how ing I go over the lesson each time All applications are passed upon desirous and talented the child may tial tones, njtmed after the tonic-pedal. tor” being held in perfect pitch; the with them, so that nothing is oyer- in piano playing, as in everything else. by a committee of five prominent looked. Do you thank this is a good be in a musical way) are made qf Instrument: Musical theory owes slightest deviation therefrom will deflect music teachers of the State, ap¬ paramount importance. So the child Idea ?I have a great deal of patience, While it is wise to develop the muscles pointed by the State Teachers’ As- is made to think that class-room work highly important discoveries to the in¬ the air-column at the expense of lip-vi¬ and am very honest, never over-prais- used in playing, however, one should be bration. By breath is given life and by iug anv pupil, but giving credit whe-.e If the above committee reports E. A. Sherman’. vestigation of the harmonics, of which it is diie. All my pupils like me very careful not to stress those which may favorably on the application, the ap¬ discoveries practical music in turn reaps thought is given the soul. The birth of much, and I think that is a great gam actually hinder one’s freedom of execution. plicant is so notified and is sent a What has been found the best solution the benefit. On wind instruments, from tone requires both: its immortal beauty certificate to that effect. ° Recently I read of a young woman For instance, we should constantly curb High school pupils taking lessons of your difficulty is to obtain school cred¬ which harmonics are obtained by varying is hidden within the depth of our nature. who in two and a half years had the natural tendency to stiffen the wrist. of such a teacher and covering^the its for outside work in practical music. the intensity and direction of the air- completed quite a bit of work, such as Mendelssohn’s Rondo Capnccnotto In nearly all our actions in ordinary life— Course of^itudg, may receive credit Since such credits are now granted in current, they are indispensable for extend¬ and Beethoven's Moonlight Sonata. whether we throw a ball, lift up a book many places, why not also in your town? ing and completing the natural scale. Repertoire: The Trumpet I have been studying these pieces for Mabel C. Lauohlin over a year, and wouldn’t think of tc read or even shake hands wtih a friend— To obtain such credits, the community Thus, the bugle which, without valves, has Considered as a Solo- saying that 1 had completed them. we call on the wrist muscles. But in piano must first be educated up to them, so that ■but one fundamental tone, depends entirely My teacher insists on much met¬ A Poor Sight Reader Instrument ronome work, but after I have mem¬ playing, our very existence demands that One of my pupils, a sixteen year pressure may be brought to bear upon those on the harmonics of its tube for its upper orized a piece I hate that constant these muscles be kept relaxed except when old girl, plays the popular music register. ticking! It seems to stiffen me up. of the day by ear, yet cannot read in command. Bring groups of people to¬ By Ben Vanasek I like slow music best and can called on for special purposes. Hence in at Sight the simplest first-grade gether; show them the importance of the Valves: In brass wind-instruments the play slow movements beautifully. piano practice the most important consider¬ composition. The bass clef is quite movement; present a logical plan of ac¬ valves are devices ,for diverting the air- but most people do not appreciate ation of all is to counteract by conscious difficult for her. She has studied SINCE THE beginning of the prese them, and I feel disheartened in a with a teacher only six months, and tion. Get the musical clubs interested current from the main tube to an addi¬ century, traditional composers « recital to hear others play more relaxation the influence of our daily mus¬ has in mind the major scales of C, tional side-tube, thus lengthening the air- brilliantly. However, most people en¬ O D and P, through one octave only. and see the school supervisor and enlist France, most of them Grand Priz joy my simple music, for I try hard cular stiffness. column and lowering the pitch of the in¬ I plan for her to do much sight- his cooperation. I can point to several , Komc- have been officially request to play with genuine expression. ! Accordingly, in physical exercises, what¬ reading and duet playing, letting her want to plav so that others will find towns where just such lines of action have strument’s entire scale. By the aid of o write original compositions of instr ever tends to emphasize rigidity in the play the bass until It becomes famil¬ valves, natural instruments are altered to real enjoyment in my music. ^ ^ iar! Blit what about studies and finally prevailed. mental music. These pieces are publish wrists is harmful, since it merely increases pieces? R- F- May we have the advice of teachers who chromatic instruments commanding a chro¬ the amount of stiffness which you must y the French government, under the til So long as your ideals are so high, you are working under such conditions? matic scale throughout the compass destroy by piano practice. Now, rowing The sight-reading which you propose is (Baker). ■ orce®ttx de Concours," and are a have no reason to feel discouraged. For BEN VANASEK 8 ed t0 ,he advanced students as annu (Continued on page 469) THE ETUDE JUNE 1927 Page 435 Page m 'JUNE 1927 THE PHYSICS OF PIANO TONE the etude NOTE READING "QUAKERISH The following extract from “The Sci¬ YALSE MINIATURE MONTAGUE EWING ence of Musical Sound,” by Dayton Clar¬ , AND POPISH" A worthy companion piece to Mr. Ewing’s very popular Sleeping Princess. Grade 3. In 1700, when Boston was a town of ence Miller, will interest students of the about 7,000 population (says William Arms act of touch: Fisher in his “Notes on Music in Old The Musical Scrap Book “The piano can produce wonderful vari¬ eties of tone color in chords and groups Boston”) the need arose1 for printed music, Anything and Everything, as Long as it is Instructive "The first- book iss-ued to meet this new of notes,” says Miller, “and its music is want,” he says, “was entitled ‘A Vei'y and Interesting full, rich and varied. The sounds from Plain and Easy Introduction to the Art any one key are also susceptible of much of Singing Psalm Tunes, with the Cantus Conducted by A. S. GARBEIT variation through the nature of the stroke or Trebles of Twenty-eight Psalm Tunes on the key. So skillful does the accom¬ contrived in such a manner as that the plished performer become in producing Learner may attain the Skill of Singing variety of tone quality in piano music, them with the greatest ease and Speed which expresses his musical moods, th'at imaginable, by Rev. Mr. John Tufts, ANTHEMS FOR KING CHARLES it is often said that something of the per¬ Price 6d. or 5s. the doz.’ “But Church and stage were not tar sonality of the player is transmitted by Henry Purcell, greatest of English “This little took of a few pages, the apart at the Court of Charles, and, more¬ the ‘touch’ to the tone produced, some¬ seventeenth century composers and so far first American book of sacred music pub¬ over, the more nearly the music of the thing which is quite independent of the the greatest of any English composers, is lished, was issued in Boston in 1714 or Church resembled that of the stage, the loudness of the tone. It is also claimed believed by many to have written inci¬ 1715, and Was so successful, in spite of its better the royal ears were pleased. Fepys that a variety of tone qualities may be substitution of letters for notes, as to dental music for the theater when he was soul was filled with delighted approval obtained from one key, by a. variation in reach its eleventh edition in 1744. eighteen, and to have composed “Dido when he noticed the royal hand beating the artistic or emotional touch of the fin¬ “The innovation of note singing raised and Aeneas’’ in his twenty-second year. the time during the anthem, and, in fact, ger upon the key, even when the different a great tempest among the older people But his biographer, John F. Runciman, is Charles insisted on anthems he could beat touches all produce sounds .if the same who regarded it as a plan to shut them skeptical. time to. He disliked the old Cath¬ loudness. This opinion is almost univer¬ out from one of the ordinances of wor¬ “The prosaic truth is that Purcell came olic music; he distiked quite as much Pur¬ sal among artistic musician and doubt¬ ship. It was bitterly objected to as ‘Quak¬ before the world as a composer for the itan psalm-singing. He wanted jolly less honestly so ... erish and Popish,’ and introductive of in¬ theater in the very year of his appoint¬ church music sung in time and in tune'; “Having investigated this inestion with strumental music; ‘the names given to ment to Westminster Abbey,” says Runci¬ ample facilities, we are con lied by the the notes are blasphemous; it is a needless man, “and during the last five years of his enuren. definite results to say that, n tones of the way, since the good fathers are gone to life he turned out huge quantities of mu¬ “His taste coincided with Purcell’s own. same loudness are produced striking a heaven without it; its admirers are a com¬ sic for the theater. It is easy to believe Along with some of the old-fashioned, single key of a piano with .i variety of pany of young upstarts; they spent too genuine devotional music, Purcell must touches, the tones are alw and neces¬ much time about learning, and tarry out that his first experiments were for the have heard from childhood a good deal of sarily of identical quality: r, in other a-nights disorderly,’ with many other Church. He was brought up in the Church the' stamp he was destined to write; he words, a variation of artbti touch can¬ equally strenuous and weighty reasons. and sang there; when his voice broke he went on as organist. Some of his rela¬ must often have taken his part in church not produce a variation in tone quality “One of the valiant defenders of the music that might with perfect propriety ‘new way’ was the Rev. Thomas Walter, tives and most of his friends were Church from one key, if the resulting tones are all have been given in a theater.” of Roxbury, who brought out in 1721 musicians. of the same loudness. The Grounds and Rules of Mustek Ex¬ “From this principle it follows that any plained, or an Introduction to the Art of tone quality which can be induced by hand playing can to identical I' reproduced Singing by Note. This, the1 first practi¬ “ONWARD, CHRISTIAN SOLDIERS” cal American instruction book, said to be by machine playing, it being necessary the first music printed with bar-lines in How Sullivan came to write his most nary,’ and for this book Sullivan composed only that the various key- be struck automatically so as to produ the same America, was from the press of J. Frank¬ famous hymn-tune, and how a royal thirst his glorious tune. loudness -as was obtained by hand and be lin at a time when his younger brother, for a glass of beer provoked a festival “1871-72 is also memorable as the time struck in the same relation to one an- Benjamin, then a lad of fifteen, was learn¬ Tc Deum are told in Henry Saxe in which the late King Edward, then ing the printer’s trade as his apprentice.” Wyndham’s life of the composer of Prince of Wales, was stricken with ty¬ phoid fever and was kept for many De¬ “Pinafore.” ORGANISTS SHOULD IMPROVISE cember days at Sandringham with the dark "Emotions of any kind are ' i nduced by “It is scarcely too much to say,” de¬ shadow hovering very near. The well- melody and rhythm. . . . Mu-..: has thus Saint-Saens who, besides being a great clares Wvndham, “that the most notable known story goes that the illustrious pa¬ the power to form character Aristotle. composer, was fof twenty years organist composition of the year 1872 was the tient at the period of the crisis asked for at the Church of The Madeleine in Paris, famous hymn, ‘Onward, Christian Sol¬ a glass of Bass’s beer which he was al¬ SCRIABIN’S MIST. : KE says in his “Musical Memories”: diers.’ According to Sir Arthur’s own lowed to have,'and from that moment be¬ There is such a thing as too much piano “Under the pretext that an improvisa¬ account of the origin of this, told to Mr. gan to mend. There were celebrations all tion is not so good as one of Sebastian practice if the experience of riabin, the Findon, it was written as the result of a over the country in honor of his recov¬ Bach’.s or Mendelssohn’s masterpieces, Russian composer, goes for an. thing. Cer¬ quarrel. There was a dispute between the ery, and for the Crystal Palace Sullivan young organist have stopped improvising. tainly is this the case if the practice is of proprietors of ‘Hymns Ancient and Mod¬ composed a Te Deum early in 1872 into “The point, of view is harmful because the injudicious kind. ern’ and the firm of Novello, printers of which he introduced the well-known melo¬ it is absolutely false; it is simply the nega¬ Alfred Swan’s biography oi this com¬ the work. This was ended by the proprie¬ dy of St. Anne’s. An enormous audience tion of eloquence. Consider what the legis¬ poser tells us that Scriabin, in his early tors transferring their publication to be was present and, of course, other and lative hall, thelecture room and the court student years, “used to appeal at the con¬ printed by the firm of Messrs. Clowes, more popular items appeared on the pro¬ would be like if nothing but set pieces were servatoire concerts playing Schumann s gram; but for many years after the Fes¬ delivered. We are familiar with the fact who still do it. ‘Papillons.’ Chopin’s Mazurka- and Bach’s “The other party to the dispute, Messrs. tival Tc Deum held its own in the esti¬ that many an orator or lawyer who is Fugues. Wishing to be the first not only Novello, then proceeded to issue a rival brilliant when he talks becomes dry as mation of choral societies in the United in interpretation but also in sheer technic, collection of hymns entitled the ‘Hym¬ Kingdom.” dust when he tries to write. The same Scriabin attacked such stupendously diffi¬ tiling happens in music. Lefebure-Wely cult pieces as Balakirev’s ‘Islamey’ and was a wonderful improviser (I can say Liszt’s ‘Don Juan.’ It was then that he this emphatically, for I heard him) but BLUES! nearly ruined, Schumann-like, his whole he left only a few unimportant composi¬ career. tions for the organ. . . . The organ is This from “Negro Workaday Songs,” At other times the dominant note is one of “His right hand was paralyzed and the thought-provoking. As one touches the by Odum and Johnson, both of the Univer¬ disappointment. doctors had given it up. But with stoic organ, the imagination is awakened, and sity of Carolina where they have made an “A third characteristic of the blues is perseverance Scriabin practiced with the the unforeseen rises from the depths of the exhaustive study of Negro songs. (The the expression of self-pity. Often this is paralyzed hand and brought it nearly to its unconscious. It is a world of its own, passage is slightly condensed.) : the outstanding feature of the’ song. There former perfection. Exercising the fingers ever new, which comes out of the dark¬ “What are the characteristics of the na¬ seems to be a tendency for the despondent of his right hand on whatever object they ness as an enchanted island comes from tive blues, in so far as they can be spoken or blue singer to use the technic of the happened to lie became a characteristic the sea. of as a type of song apart from other Ne¬ martyr to draw from others a reaction of gesture with him all through his later life. "I am fully aware of what may be said sympathy. gro songs? But a certain crampedness of the right against improvisation. There are players “In the first place, blues are character¬ hand in rapid octave passages fortissimo who improvise badly and their playing is consists of rationalization, by which \ ized by a tone of plaintiveness. Both words never disappeared entirely and was the uninteresting. But many preachers speak cess the singer not only excuses his she and music give the impression of loneliness source of much trouble during his concert badly. That, however, has nothing to comings, but also attracts the attend to“rs even to the last years of his life- do with the real issue. A mediocre im¬ and melancholy. In fact, it was this quality, and sympathy of others—in imaginatior combined with the Negro’s peculiar use of “His studies under Safonov taking an provisation is always endurable if the orr least—to his hard lot.” auspicious turn, Scriabin was, in the spring the word ‘blues,’ which gave the'songs their ganist has grasped the idea that church Referring to the popularization of b of 1891, awarded a pianist’s diploma with music should harmonize with the service by the phonograph records, these autl the gold medal for piano-playing, an honor “In the second place, the theme of most and aid meditation and prayer.” observe: “It is doubtful whether the that was bestowed on his mother twenty blues is that of the love relation between tory of song affords a parallel to years earlier.” "In many instances the opera does sound man and woman. There are many blues American situation with regard to bl ridiculous in English, but not because of the built around homesickness and hard luck Here we have the phenomenon of a English, but because of stupid translations in general, but the love theme is the princi¬ of folksong becoming a great fad and bi . "Rhythm and harmony find their way of foreign operas.”—Charles Hackett. pal one. Sometimes it is a note of longing. exploited in every conceivable form.” mto the inward places of the soul”— International Copyright secured Copyright 1927 by Theodore Presser Co. JUNE 1927 Page 437 THE ETUDE Page 436 JUNE 1927 the etude From a new set of pieces, based upon ■ DEVIL DANCE LILY STRICKLAND Indian Hill-tunes. Grade 5. TIBETAN from HIMALAYAN SKETCHES, N? 4 Copyright 19.27 by Theodore Presser Co. British Copyright secured A lively teaching piece, with MERRY CHATTER well contrasted themes. Grade SCHERZINO Allegretto con spirito m.m. J = 108 W. ALETTER * 3 11*'* , - 3- m mf r\J ~ " ' *?/ p * — J—H -''I T ~ International Copyright secured JUNE 1927 Page 439 the etude f/fE ETUDE Page 438 JUNE 1927 WATER LILIES WATER LILIES RUDOLF FRI^l SECONDO To be played with a joyous lilt (rhythmically, and not too fast. m f rre--x-—- ii i r______i-1-:-—-c-a - x- i-n i * ras -TJ 4 a jifTI m+- i i Copyright 1927 by Theodore Presser Co. international Copyright secured THE ETUDE JUNE 1927 Page 441 Page 440 JUNE 1927 THE ETUDE HERE COMES THE PARADE HERE COMES THE PARADE M.L.PRESTON M.L. PRESTON SECONDO PRIMO Tempo di Marcia M.'M. J.= i08 Copyright 1927 by Theodore Presser Co. British Copyright secured the etude uSe«2 ja*E» ABOYE THE STARS A brilliant new drawing-room waits, tirade 4. (jBER DEN STERNEN RICHARD KRENTZLIN,Op.l22 Allegretto M.M. J.=78 WALTZ Copyright 1987 by Theodore Presser Co. # From here go back to % and play to Fine International Copyright secured THE etude the etule " _ nss4927 Pag‘445 Page 444 JUNE 1927 Grandiose SERBIAN FETE DAY Thefirst theme is the same as that occuring in Tschaikowsky s Marche Slave. Grade 3. Arranged by HELLER NICHOLLS A DAINTY GAVOTTE A little rhythmic dance. Grade 15. N.LOUISE WRIGHT British Copyright secured Copyright 1927 by Theodore Preseer Co. JUNE 1927 Page 447 THE ETUDE Page 446 JUNE 1927 the etude DUCKS IN THE POND BARN DANCE JAMES H. ROGERS From Mr. Rogers’ newset: Idioms Old and Hew. A splend.id‘'stuot”pieee jo the Amerieao maooer. Grade o. Ducks in the Pond Copyright 1927 by Theoucre Presser Co. British Copyright secured TgZ STUDS JUNS 1927 P*S° 449 Page 448 p £’roi>g THE PERFORMING BEAR Copyright 1927 by Theodore Presser Co. International Copyright sec JUNE 1927 Page 451 THS ETUDE IN DREAMLAND ,Sw. Soft 8' ILP. HOPKINS,Op. 114 prepare: ICh.or Gt. Duloiana 8' Iped.Soft 16' coup.to Ch.or Gt. Avery pretty soft Voluntary. Suitable for weddings. Languido M.M.«M.M.J-=541 -=54 Sw.^—- •) ™ * 1 _ pp espressivo *•' f MANUAL' pp Cb.or Gt. PEDAL Slightly faster Tempo I. Sw.Vox Celeste British Copyright secure Copyright 1927 by Theodore Presser Co. „ vrrrrnv JUNE 1927 F Copyright 1927 by Theodore Presser Co. British Copyright secured Page 454 JUNE 1927 JUNE 1927 Page 455 PEE Ettjdj, the ETUDE E.V. L.CARY* VYLDA’S LULLABY HOW THE ELEPHANT GOT HIS TRUNK Andante L.J. OSCAR FONTAINE, Op. i66, No 3 MUSICAL RECITATION FRIEDA PEYCKE At last he came to the jungle - town -where the way he went, Gay and dapper and well content. (a little scarey) streets were crowdedwitb monkeys brown.There were bears and camelsand ti - gers too, and a great, big cap-er-ing Kan-ga-roo (happily) At length when the day was al-most done, And he’d spent his money and had great fun. Just one thing only was commanding Jam-bo-ree, so he went to the door but a mon-key black said” you’re too big so left to see, The mon-keys dance at the i (surprise and work up to a ^toed^round to the side of the house and stood by the door As still as a mouse, But the moment he put his you go back I” So he tip British Copyright secured British Copyright secured Copyright 1927 by Theodore Presser Co. Page 457 THE ETUDE JUNE 1927 Page 456 JUNE 1927 ™E STUD* He pulled and he jerked but tie story goes That nothing gave way but the Elephants nose! And what was only a foot, no more R.S. STOUGHTON Copyright 1927 by Theodore Presser Co. British Copyright secured JUNE 1927 Page 459 fflE ETUDE Page 458 JUNE 1927 THE PTUDp Rev. r s.yerks YE MUST BE BORN AGAIN Moderato Mrs. R. R. FORMAN with much expression & t n: i J) 1 1 - - 1 Mr- , J 61'“ H 1' h h 1 .■ -T-JT?g*s=g H— Seek-ing^ the high - way of peace, truth and light, Light-for his path - Jay, and peace— for his lieve we, nnH wait- the an - swer giv’n, How_can a man a gain-! be Thus through his faith- the new life re - ceives. Not_by the high - way of works, wealth or less you have faith in the dy - ing Lord. God’s_way, not your way, di - vine-law re- ~4»- == soul,— The truth he would have the Mas-ter un - foldTl But the Mas - ter’s an-swer to Win/ was born;— A mir - a - cle this wouldst thou per - form._ But the Mas - ter answer’d him once a - worth— Can sin - ners find rest in sec - ond birth.- from a - bove it comes,said the Masterof But the Mas - ter’s an-swer to _ But the Mas - ter an-swer’d him once a - gain,_ Ye must,-_ ye From a - bove it comes,said the Mas-ter of men ' Ye must,_ ye mes-sage to dy - Ye must,_ ye Ye must,_ ye ■V^N every field of endeavor, true leadership after the test of 'Of tjme} is determined through merit and achievement, alone. Among pianos, Baldwin supremacy is best appreciated through its continued indorsement by the world’s great artists. G[The finer purity of Baldwin tone and more intimate response of Baldwin action have made it,particularly for pianists, the ideal interpretive instrument with which to achieve and maintain their artistic rep¬ utations. Q As on the concert stage, so for the home, the Baldwin piano reveals new possibilities of musical expression. Q Up¬ rights from $850, Grands from $1400, Reproducing Models from $850, at most leading dealers. Convenient terms, if desired. THE BALDWIN PIANO COMPANY * CINCINNATI JMfmnn Copyright 1927 by Theodore Presser Co. British Copyright secured JUNE 1927 Page 461 the etude Page 460 JUNE 1927 THE etude Must “Feel” the Tone ingly, then there is a chance for intelligent HE BEGINNING is for the pupil absolutely clear in his mind, so that , T knowsli-Mciiire pvtieth;exactly t.tthofwhat he intends_i « work and progress. to form a clear conception of the do. He -OTHING satisfactory can be estab- tone. Tone is the result of the im¬ must have a deep breath, and then ^ lished until he knows by his .own Learning Early pulse of the will; and the sound is pro¬ the throat open and the breathing m’ m"1 experience how a free tone feels. Then THE YOUNG student who is in earnest duced by the functioning of a delicately The Singer’s Etude elastic, will to sing the determined tn- he must learn how this sounds. It may finds out early that he cannot tell adjusted physical mechanism. If your He : will i sustain it evenly a > him just the : accurately about the quality of his own . brain is so constituted that it is sensitive Edited, for June o the very end. A hfdesired. That makes no difference; the voice and that he must learn by intelli¬ to musical flnpressions, if, as the saying by invariably the young student’s mind only thing that counts is whether or not gent observation and careful listening is, “you have a good ear,” then you have ders during the production of the it suits his teacher. If the student knew under direction how the true tone should the basic equipment for a singer. Throat, KARLETON HACKETT He has not learned to concentrate r ;ust how his tone ought to sound and sound. Many will not take the pains ;Cso lungs and the resonating chambers vary thing to be attended , but permits when he was producing his best tone, he much the worse for them. with all the infinite human variation; but, It is the Ambition of THE ETUDE to Make This Voice Department it to be disturbed by extraneous consider- would know everything, all that-any teacher Learning to recognize the true tone is if you have a brain sensitive to music, “A Vocalist’s Magazine Complete in Itself” aiions. Singing is an active principle. The could show him about tone, and conse¬ not a gift of nature. It comes only as then you can do something. student must find exactly what lie is tn A quently would need no instruction. the result of training and good brain work. The same intricate chain which enables and then train himself to keep his mind One of the many things very difficult Until the young student has established an you to move a finger at: will functions intent on his purpose until the very end for the student to learn is that he cannot active sense of tone production—the elastic when you will to produce a tone. (Scien¬ His purpose is to produce a certain vowel trust his < 1 this vital matter functioning of the breathing muscles and tifically this statement would need many The Mental Perception in Vocal Art on a definite pitch and to sustain it with without guidance from his teacher. Every the freedom of the throat—he has nothing and complex qualifications; but for the the closest approach to physical elasticity teacher has had the following experience to go on. When the complex physical practical purposes of living and singing it that is possible. times without number. The student pro¬ mechanism has been properly adjusted, s he knows the shape of his nose; shortest way home," also a seeming para- will do.) Like all functional action it has The whole complicated mechanism re¬ duces a tone which is satisfactory to his when, as the saying is “the voice has been ...| RVH.v „„„ .JL Uaiu.c and 'le thinks of it as a thing fixed and dox. But, being interpreted, it means per- mplicity and inevitableness of nature sponds to the impulse of the will. If the own ear but does not suit that of the placed,” then he must learn to recognize —when it works well—yet is inconceivably unchangeable. The natural timbrp of his haps that the shortest way home is found image in the brain is distinct and the will teacher. After working a while he finally the tone and to know accurately the qual¬ complicated*• • when' you come' to analyze i• voice may be. pleasing; but there may be by the man who takes the pains to find active, the muscles vocal habits already forming which will where he is going and to be sure he is with vigor and produces a tone which the teacher knows ity of the pure tone. elasticity, since such absolutely is a better tone, more freely The art of singing is based on the Tone Is Will injure tire tone and prevent it from ever on the right road before he starts. Thismis ... • , 'aw- The elas- n\rr- tc ..uir ■ , growing into its full development unless is as true in the studio as in any other ..® muscu ai ,i> ii n is the primary produced and with a more musical quality. singer’s power to produce tones of beauty. ' ■ HunjiONE IStb MADEMADii in response to the they are changed. This he does not know walk in life. - consideration^ s.nce it manifestly i But it does not sound so to the pupil’s ear Unless your tone is beautiful to the ear impulse of the will, and again whether an'd cannot understand. It is because of possible for the ear to h-ar the tone until and of course lie is disappointed. Who you have not succeeded in learning the the muscles have produced it. art. Beauty of tone comes from freedom you produce the speaking tone or the sing- such conditions that the teacher exists, The Young Student’s Hindrance then shall decide? The teacher, of course. mg tone depends on the will; you can The young singer tend, to listen for the The reason why the student takes les¬ of tone production. You must master HE YOUNG STUDENThas'noclear make either one you choose. Our speaking The Teacher’s Problem T ne as produced rather an to concentrate sons is primarily because he believes that this basic law and then the other ' good voices are simpler to manage, principally t . conceptc of his own tone. He knows on producing it. This < ublishes a nega- the teacher knows a pure tone when he things will be within your reach. In the because in ordinary life we make fewer gLTHEIS confronted m a way the sound of his voice; but this tive attitude of mind diich renders it hears it. If he is not convinced of this studio it takes the trained ear to recog¬ demands on them. ’ We do not, alas, con- V th!s. diffic.u11 problem. The young is confused- with ideals of what his tone impossible for the re- e of the tone- in his own mind, he is foolish to study nize the true tone. Your teacher has it, cern ourselves much about the quality of s'n?ef hkes his quite ought to be, and these ideals are usually producing muscles t vigorous and with this teacher. Then, if the teacher so take his word for it. If the teacher our speaking voices nor as to whether we sat'sfied than satisfied with a vague compound of the voices of Galli- e|a tic ought to i .. This differ- does know the true tone when he hears does not know the pure tone when he hears use them so that they will carry well in quality. Consequently he does not Curci, Schumann-Heink> McCormack and it, the only sensible thing for the student it, he is no teacher and you are foolish The Name KIMBALL realize that if these defects are to be Ruffo. He does ’not”'Slink'~somuchTf enc.e be!"'e.en the actiu dude of mind, - a large hall and last through evening after ;f Wm -“ ’ ~ |Hg He does not think so much of to do is to take his word for it. When to study with him. The pure tone you evening without fatigue. If you were remedied there must lie a change; and what his voice actually sounds like as of WtaCh IS 1"tent on. lhr niali,n« of the he has taken his teacher’s word for this must have but it requires the guidance of this, of course, he will notice immediately what he wishes—and hopes_it sounds tone’ and t-e negative attitude, which is using your speaking voice to deliver and has begun to govern himself accord¬ the teacher to enable you to recognize it. On Your Piano Shakespeare’s lines adequately, you would in the quality of the tone. It will sound like. Much of the time he does not live wa5tin* to note what ■ rt of a tone is not find it so simple, not by any manner different, not what he is accustomed to, in the present but in some glorious future produced, is a vital thing. The young NE solitary imprinted word, more often of means. not “like his own voice.” Unless he be in which-by some mysterious means, which stude:lt must learn this difference and ad- O than not, sums up the whole character The singing voice must be beautiful in carefully handled at this time he will be- he does not bother to analyze, his voice will Just himself vigorously in the active prin- Dare to Use Your Breath quality, produced with such ease as en¬ come disappointed and disheartened; then have become as beautiful as that of one ciple. of a cultured home. It is the name on your piano. ables you to sing without fatigue and at least for the time being the whole of his vocal heroes. HE VO (CE is a wind instrument. The but let it flow into the tone as freely as managed with such skill as enables you to thing may go to smash. It is well that the young student should The Singers “ Bl'Trock tone is.produced by the breath as it is it wishes. Yet under normal conditions In all your environment, nothing makes a more cope with the technical difficulties of the r..(ian,n°,t be SUre °f himse!f until have these drcams and ambitions, since, TP HE SUSTAINED T> i\E is the basis exhaled. Almost all young students you have little trouble in speaking; in fact, lasting impression on every guest you entertain. music. If you cannot do all these things, he has learned the of his own lacking them, he would have no energizing -*■ of the singer’s art. After all has fear to use their breath freely enough. most people talk too much and once they somebody in the audience is sure to ask, ™*cc- But this is not revealed any principle. But studio work must be prac- teen properly prepared. > vcl and pitch This is inevitable from the very nature get started act as though they would never The name Kimball on your piano identifies your “Why do you suppose he sings? He has no illuminating flash but comes as the result tical; and dreams stop. But let somebody start to sing and be realized only clear in the mind, proper breath and the of things. \\ e all feel timid and con¬ taste in music with that of those illustrious figures voice.” And it is difficult to find a satis- °f gradual growth under favorable by the intelligent work which gets “right freedom of the muscular action assured, strained in doing anything which we do you stiffen up all over, hold your breath as factory answer. If you cannot sing with ditions. not understand. Our nervous system is though each particle were as valuable as of opera, concert and conservatory who have He !,bti|S tacks fd dOCS WOrk- . the tone shouId he begun -tly. A heavy such beauty of tone and interpretative Yet the student must always have so So constituted that under such conditions pure gold, and as though if, once this bit of his worktio-t0-'east dur'ng attack almost inevitably r; ns an explosive chosen the Kimball piano to express their genius force as gives pleasure to your listeners, dung practical to work for, a goal he his working hours, m this actual world. we hold our breath back. This is an in¬ breath were gone you would never get why sing? ^ -tack- If the attack is t.><> heavy there in successive decades of the last half century. comprehend. Otherwise there can be r learn by experience and' intelli- stinctive and at first uncontrollable act. another. No wonder your singing is la¬ How is the young pupil to form a prac- real progress. He makes tone in response gent observation how TfreT tone iiTnro- WlH always ,ljc improper tension in the But singing i done by the outbreathing bored and you feel short-winded, since you tical concept of tone? How shall he know to the impulse of his will. But he can duced, what it feels like, and by the musc,cs' ma!'dnS their act? , stiff where it of the breath, and if you hold it back are going at it the wrong way around and when he is producing a beautiful tone, and 'lave 110 dear idea of the true tone until actual hearing of it, what it sounds like sboidd be clastic. Then there is not the through nervous tension^n the muscles you making it as hard as possible for your¬ KIMBALL PIANOS one in which the natural timbre of his the production is free and the voice well When he knows these three things from proper physical poise, and -nscquently the cannot possibly produce a free tone. self. aremadeinmanystyles—grands in period designs—also voice has favorable conditions for develop- poised. How then is he to get started? his own personal experience, then he has f’ne will not flow freely. There will enter Nature intended you to sing; always The tone is made by the outflowing classic-modern, reproducing grands, uprights, and play¬ It seems as though we were facing a para- his feet on something solid with the chance the sense of effort. Too heavy a pres- keep this clearly in mind. The exhaling of breath, so let it flow; and remember that This is the business of the studio since, dox- that he will develop his powers and be- £ure of the breath always brings the sense the breath is one of the primary functions ers. There is a Kimball exactly suited to your home. if the pupil could find this out for him¬ breath is the one commodity in the world Catalogs and our nearest dealer’s addr ess sent on request. The Single-Track Mind a °J fon^fon about the threat and the of nature; and it is while exhaling that self, there would be little reason for his you produce tone. When you wish to which still is absolutely free. So dare studying. . icclingr that one must push to get the 'TU iE HUMAN MIND is so consti- The Free Tone tone up into place in the resonating cham- speak you do not hold back your breath W. W. KIMBALL COMPANY The Italian Ideal / “IT™* lttCan C°nCentrate upon TTtHAT does a free tone mean? It Such a tone has had a wrong start (Established 1857) Department KE, 306 South Wabash Avenue, CHICAGO, U. S. A. The FUNDAMENTAL principle o( SLf’.T * “ ^ 5 1 lI;e oId Italian school of singing was student so that he'can grasp the problem strain but th n r w , 110 sense of , g d° Save start over agam aud Good English this: that beauty of tone comes through in concrete form and wrertle whl^iVuntil po^sudfaf^ufeln!1*1 Tt!™6 °f poise; 'u ^ that *be attack is quie* HERE IS NOW in this country a indistinct. Fine English should be our freedom of the tone production. This is he shall have conquered it. The pure, true nace on an 00™“ n walklng at a sood a> the muscles acting freely. Any student T natural speech, and it is, in those homes genuine demand, and a growing the basis of all successful teachings of the tone can come only when the proper physi- Nature intended ™ ^ a'r.1S bnsk- W1° WlH put other considerations to one in which fine English is spoken. Then NEW COURSE of SINGING one, for the use of English in song. voice today as it was then. But the prac- cal conditions have been established. These constructed an exnnUbei TI?’ Smce she Slde and conccntrate his mind on it can the child speaks clearly and correctly, be¬ by CORRESPONDENCE tical application involves great difficulties, are freedom of the throat and elas- nism hi his thrbat for tin7 ^eIlcate mecha' he sure of doing this. The singer “must tell the story,” and in Including Voice Culture, Sight Singing and Mu¬ such fashion as makes it understandable cause that is the only speech he knows. sical Knowledge. A thorough, practical course. Lacking this best of all instruction, he to his audience, or he is seriously handi¬ A/so Harmony Co rrespondenceCourse must learn correct speech at school; and SMssa capped. here his models are not always above re¬ Smlta“°d2unctlyTMcli crane you deem;. In this matter of good English we suf¬ ALFRED WOOLER, MUS. DOC. WE TEACH YOU AT HOME proach. But, where there is the ardent fer from several handicaps. We are not Suite A. 171 Cleveland Avenue, Buffalo, n. Y. desire to learn, the way, somehow, will be «* voiceL, “e ih‘ “a“,,tn.fo.V* -»»» a unified race with a cultural background voice is not a something which comes tion on relaxing all physical rigMityand «ddSrttlST“ hwS md “ peace Many Pvr’nC,p'ewh,ch kcu^the tone gour-- founded on English. Many of our stu¬ found. We have no recognized standards for from nature, exactly pcised and fully tension 1 y g y a d cheerfuIneM of spirit obeys them, pure Manj y un<- s'ngers have learned to pre¬ dents come from homes in which English, IN RADIO LAND correct speech. There is a distinct dif¬ grown. Natural gifts, both of voice and This seems like startino- mrn tone aPPears- You cannot force Nature to pare everything well and start the tone or. as some prefer and not without rea¬ (The Childrens' Hour) ference between New England and New musical temperament, the student must goal lies south Again ^ have the seem ^ ° but if you will goinff properly; but when they listen for son, American, is not the family tongue. LITTLE SUITE FOR THE PIANO Orleans. There is no absolute authority By Anna Priscilla Risher have. But these grow to full develop- i„g paradox that tone is made only asTe frea^mav bTvonr ^ °tbern,way round, h they forget to keep it going. Conse- Too many have not grown up in homes to which we all can turn. This is natural Queen Titania and Her Sandman. "’"•it onl,y through long, careful and cor- result of the impulse of the wilh yet it will be humility ,first step the I0!16 begins to waver and to ■n which the beauty of the English lan¬ The Dolly of Radioland. in a republic which recognizes no over- rect work in the studio and in the prac- appears that the wilfcannot function prop- _ ^ , . quallty which grows lose ‘ts true character. The fundamental guage was deeply felt so that they came The story of Uncle Remus. lord and in which each part has the pre¬ The B.... spontaneously in the breasts of the Principle is the active one-to attack the to have an instinctive reverence for it. Little Forget-Me-Not. iCi °UrS' • , . , , . . , Nrly until the correct physical conditions young. scriptive right to settle its local affairs to hi young singer thinks his voice as ‘a have been established. This is a fact and tone correctly and then to sustain it evenly We often hear the phrase, “Sing the Little Boy Blue. its own satisfaction. But, alas! we have Descriptive folder containing excerpts of God glven gift. He has heard such after you have had enough experience you words clearly, just as you would speak WHY NOT UTILIZE YOUR SPARE TIME ? The Vital Impulse and firm'y to the end. This must be not pride in our native tongue. If we had, Tu°f nUmber and taken will find that the seeming paradox dis- them.” Heaven help the young student Write today hr 29th AnnUetsary Edition of our FREE hook. ^pHE ESSENTIAL is the will • tInl'ed int0 the studant untiI '* bec°me3 the unwritten law of custom would decree ♦ who would follow this instruction liter- ••Winning Independence" and GUARANTY PLAN. Lnowsatwen< ,t A W*. haVe 3 ^1 .. t0 the. A In actualat-LUctl SIUCIIOstudio Wnrlrwork the studentI lPart of.*, his mauuuncinstinctive thoughtUJUUgiu of tone-- that tour leaders and teachers should speak L a”-v- For our speech is, alas! not infre¬ BRYANT SCHOOL,82 Bryant Bldg., Augusta, Mich. that The longest way round is the must have the nitcbpitch anand a tb=the vowel..—e nf ~hTHenen withoutwithou't uosettinnupsetting this principle he (Continued on page 47~) un must learn to hear the tone. quently careless, slovenly, inaccurate and higher ideals of art and life. When you write to onr advc■ rtisers always mention THE ETUDE. It JUNE im Page SOS Page 462 JUNE 1927 rue etude tave. The melody, played in the ridn the same time rhythmic, pulsing inter¬ when an audience is to sing; and never PEOPLE like music. The workman, hand, may be played on the note writ pretation of the hymn words. wait for a lot of congregational singers at the bench will hum a tune as he ten, upon an Oboe or Clarinet, or on" [AUSTIN ORGANS] This treatment is effective upon one to influence your tempo. They may catch plies his trade; a boy carrying gro¬ octave above upon a Flute, or one octay6 manual, without pedals. In the case of two up with you sometimes, perhaps. Keep ceries in a basket puffs out his cheeks below upon a Diapason, the amount of manuals, use a contrasting tone for the a steady, well-marked meter, remembering whistling his favorite tunes. In Italy, por¬ The Organist’s Etude A*£££ES2LtttiBL that there exists a marked difference be¬ sound in the accompaniment being adjudged right-hand-speaking of the words; all of ters in the streets will sing operatic arias tween meter and rhythm, Finally, avoid Edited for June in accordance with what the solo ston which refers to “giving out” the hymn. as they push their carts. The’concerts in might need for tonal balance. P Play loudly, with much accent, making playing Evangelical “Patter” hymns, unless our parks are listened to attentively by By HARRY ROWE SHELLEY always dependable, as any first grade prod- slight, very slight, pauses between chords, positively necessary, which sometimes it is. multitudes of people. A song strikes the Eminent Organist and Composer Get Variety floma New York church after twenty-five public fancy and everybody "does his bit” yZs Z on account of selling the prop¬ Our Friend Diapason towards letting it be heard. Congrega¬ It is the Ambition of THE ETUDE to make this Organ Department A NOTHER more difficult, but effective erty, was found to be in perfect playing fk manner would be to play two parts condition. — OUNDS coming from organ pipes organ sounds, for it has become part of tions in churches go at a well-known hymn “An Organist’s Etude Complete in Itself" S with a vengeance. In short the world likes with the right hand, pedal for bass, using have always produced a particular the show. (This is another phases .of the to sing that which it likes to sing, and this a solo stop for playing the tenor voice AUSTIN ORGAN CO. kind of emotional effect upon the lis- Deacons idea, whose conscience oozes along brings us to the topic. Using these two methods together is prac¬ 165 Woodland St. Hartford, Conn. ' tener. Music, sung or played upon instru- at the Friday night meeting; but don t let s Hymn singing, when successful in the Hymn Playing tical, playing the first half one way and the ments other than the organ, also affects be too hard on the Deacon, e s av singing congregations, must be done in a latter half the second way. While the the vibratory functions of the human ner- perfectly good time), fashion agreeable to the singers. Notes effect is produced, strengthening the sup¬ lower than written, another feature of play¬ congregation is singing, the right hand INSTRUCTION IN vous system; but it rests with organ Modern Demands and words are printed. Few may be able port of the voices singing their respective ing the hymn, before the general singing, may play an octave higher than written sounds to do that which no other instru- DESIRE for new thrills in sound to read the notes of the music; but the parts. This doubling of chord notes is par¬ is to employ some solo stop for the time for the voices, unless the same effect is THEATRE ORfiAN PLAYING ment, or combination of instruments, or | co[or keeps pace with the mad rush notes must be there to show the trend of ticularly effective should the hymn be itself, upon one manual, with the accom¬ to be obtained by an Octave or Super Practice Facilities. Special course for solo voice, or massed voices, loud or soft, ^ ^ modern day. Compositions are the composer’s melody, though rarely does sung in unison. To add these extra notes, paniment upon another. In the printed coupler. pianists changing to organ. has ever been able to do isgued calu for all sorts 0f strange con- an audience give correct note valuation. as suggested in the left hand, a little ele¬ music of the hymn there is nothing to sug¬ There are beautiful soft-string tone Advanced pupils have the advantage of Theodore Thomas said that one set of ^ tQne lnstruments huge in size gest just where the left hand accompani¬ No, they give a swing, an interpretation mental knowledge of harmony would effects, when hymns are played upon the ‘Tame solid, sonorous, heavy diapason pipes gives ^ yol placed in memorial halls, ment should be placed. We know that the which is resultant from having heard time- greatly assist the inexperienced hymn swell organ in the very highest regis¬ any large theatre. a background for chorus and orchestra sound their thunders. Wonderful exhibits honored tunes sung again and again from player. If the gaining of such knowledge chord to be played is C, A, F, but where? ter or position-way up . the top of the OUR PUPU S SUCCEED WHERE OTHER which a large number of wmd instruments q{ ^ prod‘im the years of study spent It is a sure-fire test'of the natural mu¬ 0U ORGANISTS FAIL childhood. These hymns rightly may be be not practical, let the organist simply keyboard—but very softly with the softest might not produce; for he had tried it at player. Each and all of these have KUdea Pipe Organ sical nature of a player to start way down •called church folk songs, for they have reproduce in the left hand the same notes stop. This treatment i a good back¬ a Festival with four times the usual wind ^ placement in the realms of low on the keyboard with the three-noted VERM0N1) KNAUSS SCHOOL OF been accepted and adopted by the people, in the lower octave, as may be found in ground for the playing favorite hymns choir, used where there was no organ, out- ^ optrarui / chord, then move upward using the same THEATRE ORGAN PLAYING after having been tried out for genera¬ the music of the right hand. during the communion -vice, no pedal side of the usual number employed by the ictures our long-suffering Craftsmanship notes each time, but now in a different tions. No man ever knew that he had com¬ being used. Much change in stop registra¬ 210 North 7th St., Allentown, Pa. composer, without getting desired results, , to stacks of inquiries, Foundation Notes position. C, A, F, in the next position, is posed really a folk song: it was necessary tion is to be avoided while playing for the It seems to be the continuous unbroken about this Diapason business; what QUESTION often asked is: “How F, C, A; in the next position, moving up¬ was bom in 1640 for the succeeding generation to have ac¬ A congregation. A good -1 tonal support flow of sound which holds the attention. j play and when piay ;t?” The shall I know what notes to play in the ward, it would be A, F, C; and so on up¬ cepted it before the term folk song might is recommended. left hand?” Play the notes of the chord ward, until some place would be found ~ r.|„„ /~\ iff Diapason is patient; it does not squeak, be surely applied to it. It is advised that the organist play the YOU who are too busy to study Diapason Tone Color / \ JJ J trenTble or fight with a twin- (Qack in those dim days as they exist in the right hand. C, A, F, where the chord would sound as a chord notes of the hymn during singing and not THEA TRE ORGAN in the IAPASONS have their own brother tone a trifle above or beiow. when the beacon of art and The National Anthem is the chord of F major. If it is played of accompaniment should sound—not too D change harmonies or add nourishes of dividuality in tone colort It fs-tne lov at the center of the keyboard, the same This place should be just a docile creation, waiting to say some- science shone only in mon¬ ANY HAVE PUBLISHED things contrapuntal origin. It disturbs the con¬ of the modem organ builder to dilate upon >h 1iv.;rlg M notes will be found exactly an octave the middle of Ralph Waldo Emerson . in hope that it will not be asteries, Sebastian Kilgen with the title “America’s National gregation—who may write letters to that imitative orchestra sounds -toning from above, and likewise the same notes another t-fire test” being asked to make a ludicrous show of itself, Anthem.” All that remains of these is the effect, which letters may be sent without pipes cunningly constructeLyemaining tan¬ learned to build pipe or¬ title; and “America” still goes its sound¬ octave above. They are all the same notes will find the right ident School — like an individual facing the awfulness of signatures. the Diapason unexpected after-dinner speech re- gans. An ivy-clad abbey ing way. Congregations have a way of of the same chord, only in different places for accompaniment ly at home on any available goes on, al .jever mistaken was his school and master- singing “Nearer My God to Thee” which or registers. Apply the same principle in ely the chord far down the pe or make of organ, The Revival Hymn for anythii _ like anything else. qUeS ' Extemporizing differs from the notes, in that the first line the lower octaves. There will be but three growl while a position too y-manual organ with pedals workmen, his tutors. His rT'HE EVANGELICAL hymn is in a A deacon said /that would rather is sung in Y time, while the second is notes F, A and C, up and down the keys, keyboard would produce an ! lodge, hall or theatre instru- first organ he made for a A class by itsel f, being a product for use swung into a broad ~/4 meter, then again no more nor less, always those thred notes ^ effect. is ail you need—so simple and times called extemporization. at certain functions among Anglo-Ameri¬ hvmns olaved u6on an old melodeon than nearby house of worship. back to Y for the third line, with % for for the first chord in “Sun of My Soul.” >, having found the proper place for andable is our course. Your .. Grand the eift of Playing offhand is either very easy to the During the past three the fourth line. An organist who tries to The exact reproduction of these three the left hand chord, let it be held . until can church worshippers. i is personally followed until upon a new . Vb t deacon gifted or the opposite to the less blessed a ! all-fledged theatre organist. keep the meter of Y throughout this hymn notes, in the lower octave, would souikl'ioo the chord of the hymn music changes, at I'rom the standpoint of its usage it a well-meaning parishione. d person, If the player be naturally musical, centuries the Kilgen will not be playing folk song, or folk hymn muddy or thick (because of tha''(yiport- which time move the notes of the first might be called Revival Hymn or even iy he thectUritiriIePy°oui trien°ts! atthS how Simple a matter to take a phrase, : Family has built thousands Patter Hymn, the first term being sug¬ hymn, as adopted and settled in the people’s ance of the middle'note or diiJd of the chord to the notes nearest those of the I! i„dag for FREE question- bit of striking beauty in the anthem to fol¬ of toneful descendants of chord). Therefore, a safe (general rule second chord. gested because this style of hymn singing najt r ;0 Qualify your enrollment wheezy. What the man actually said w subconscious interpretaion. That’s the way low later on in the service as a pattern, that early instrument; and they wish it done and that’s the way they to be followed J^uje^fTie octave F with obtains at highly emotional religious “It sounds more holy. making, perhaps, a change in the harmonies the C which is tfie fifth of the chord, The Quiet Hand gatherings, where the audience consists of Waldo Emerson Theatre through them maintained will do it, unless interfered with by organ Environment Tells now and then (“Close harmonies” always thereby giving a full sonorous foundation people with a white skin, ut never among C L 1 Suite 1609, Masonic Temple Bldg. leadership in the craft. sounds with which they entirely disagree. t in THIS PROCESS of chord support School J2 W. Randolph, Chicago for the upper parts in tae right hand. p-raviDMLs^. To take away the ritard.from the final A in the left hand, it will be found that colored worshippers at such meetings, for g«»£»£»>i SJriSTS £ Today, millions of music It is well to sustain in (the left hand the line of Star Spangled Banner would be a there is very little moving about; the with them is to be found a truly beautiful notes added by the player, when the same 7p=Sc Nation.-JVith music played actual mmicas iff*;)*• lovers are inspired in great presumption on the part of the organist. The hand remains in almost the same position, musical style all their own. The term soft-voiced Diapasons during' a music would be in keeping with what i chord is repeated, once or more times. schools, auditoriums and folks want that ritard. An organist play¬ as the notes of the following chord are “Patter” symbolics the i ntinuous repe¬ upon sott-voicea —R™ t0 follow, so that when the listener does Thus, in the case of the hymn in question, churches of every size and ing hymns for congregations will do well approached. Care must be exercised that tition of a note, used for many words, play the right hand three times in the first Guilmant Organ School to get the swing, tempo rubato, of those the notes. nearest are used in this chord until it becomes wearisome to the musi¬ denomin ation by the inspir¬ measure, holding the left hand throughout singing, ana save the finer interpretations connection process, so that the hand does cian. Please do not allow this repetitional Dr. William C. Carl ing tones of Kilgen Organ the measure. Otherwise the striking of for his choir, for the paid singers.' There not jump to the ensuing chord in its first feature to be confounded or connected Director the left hand notes, everytime the right imagination from the Sanctuary ™ -g-j --- Music. If If you are plan¬ will be plenty of opportunity in the an¬ position. Thus C, A, F, being followed by the same called! Music is played before singing, to hand strikes the chord, would be simply with the Chant, which stands funda¬ Movie Picture house : here ning a new instrument thems for the choir loft to show its per¬ the chord of C could move to the notes A Distinctive School for but that is all. It has neither pre- a pianoforte technic transferred to the or¬ mentally quite different. kinds of pipes, this time set up to por- fect work. And all this is putting no pre¬ E, C, G, really next door to it, thereby Serious Students >r introduced that which is to fol- take advantage of the gan (for fuller illustrations of the latter, No, the Evangelical hymn depends upon tray music reflective of the screen photos, pared mium upon ignorance. The world has not avoiding a moving of the entire hand from —» , , , ... . „ , nlavpr low. After a short prelude before the help that will be gladly see “Movie House Organ Playing, Some of the text of the words; many, many words, the time for general special music educa¬ C, A, F to G, E, C. This close associa¬ Free Scholarships It”). The above is practical advice re¬ telling some story, using over and then “dinWmotionawithi!i the peoples’ imagina- Dominie takes up the service, soft Diapa¬ given by Kilgen Organ tion; “people like music,” like to sing; tion of chord connecting notes is based set m iiiuuuh ..- r ‘ . son sounds have made perfectly natural the garding what is known as "straight play¬ again the same music, generally not long tion wiggles like those which their eyes se architects. Your inquiry they feel uplifted when they have the op¬ upon the supposition of a pedal-board, Writ* for Catalog opening of 'the Prayer Book. The atmos- ing.” There is little opportunity under these co portunity to sing about “the land of the upon which the bass note, as written in in actual measures by count. is made without any Solo Stops 17 East Eleventh St., N. Y. ditions for Diapason music. Vivid, strik- phere is Jhere (perhaps the Deacon free and the brave.” (Don’t interrupt them the hymn, is played. far off after all). When all colors have obligation on you* part. The Organ Style tag, lurid, blatant, often discordant n or try experiments with their inherited in¬ HEN a certain degree of surety has In the case of no pedal notes, it would ing, luuu, ----- . ... o{ the been shown> the last brilliant fireworks Geo. Kilgen & Son, Inc., terpretation: it may prove costly). W‘ been reached regarding the right be necessary to move to the next chord TT MAY BE SEEN that the repeated sp,ts itself out to t burned out, the quiet, sweet-voiced Diapa- 4034 North Union Blvd. Before this hymn singing has taken place, to be used in the left hand, played as written in the hymn, but in a lower oc- A striking of the same notes of a chord picture itself. The one^sad ptose^ to "Here I am; what a lot St. Louis, U. S. A. there is the chance for the organist to would suggest the percussion of notes 0RG0BL0 “give out” the tune, and of doing this there struck upon a piano: this is not organ forget that the first organ sound are many ways. Organs for Kindling playing. from a Diapason pipe (of course, Accompanying the Hymn Should the meeting be held with the HERE ARE four parts written for By Henry E. Eliot piano as the leading instrument, it would merry-go-round. And yet a movie T vere to make human kind far the poorer). as many singers: high and low voices be well to play the hymn as written, re¬ ”ce would feel cheated if there we for both men and women. These notes In those middle decades of the seven¬ chapels shall be taken away and uttei peated notes and all, with the left hand must be so written; they tell the different teenth century, when England was torn defaced, and none other hereafter set lower as before suggested. In case of a Fingering voices exactly which note is expected. To by religious upheavals, the organ came in in their places.” reed or pipe organ, hold the chords in the play those four parts only in organ ac¬ for its share of abuse. Few organs escaped this “slaughter left hand (with a held pedal note), play- By Sylvia Weinstein companiment would be to give but a Thus, we read that on May 9, 1644, a the innocents,” but among them were the ing in the right hand the repeated notes, meager support to singing. tain note, it is always the one immedi¬ parliamentary ordinance was passed for in the cathedrals of St. Paul, Durha just where they are written, and keeping Fingering which has been planned with “Sun of My Soul” (in F major) sounds York and Lincoln, and Tewkesbury Abbe in mind the words of one of the verses. 200 Sheets, 100 Envelopes 1 .oo care and study will often simplify an ately following which must be taken into rather weak and thin upon the organ, when “demolishing monuments of Idolatry and and 50 Cards, Name and I POST also, those in the college chapels of Ma Phrase where a singer might breathe, in consideration. only the four singing voice parts are Superstition.” Just as reforms usually run Address Printed ... X PiUD otherwise difficult passage. delen and St. John at Oxford, and Chris troducing two notes in the right hand In writing the fingering for a phrase played: whereas, taking the three upper to excess, this inhibition decreed that High Grade Bond Paper sice 6 by A minimum of changes of the position and King’s at Cambridge. However, th< which presents difficulties, a good pro¬ notes F, C, A, in the right hand, with F, “All organs and the frames and cases duet fashion, should opportunity present of the hand, as well as of stretching posi¬ were primitively guiltless of either ped: itself. In this fashion the listener hears envelope and card. * Postpaid S1.00. (West ol cedure is to play the passage backwards, C, F in the left hand, a full sustaining wherein they stand in all churches and or pedal pipes. Denver SI .10.) tions, should be sought after. both the harmony, well sustained, and a Hite Stationery Preas.410 W.College St.,Brownsville,Tenn. since in determining the fingering of a c touch with the higher ideals of a , mention THE ETUDE. It identifies JUNE im 0E ETUDE Page Wk JUNE 1927 THE ETUDE Organ and Choir Questions Answered Musical Pointers By HENRY S. FRY nt of tin National Association of Organists, Dean of the I for Chapter of the A. G. 0. Musical Parents rwvwus Conducted by MARGARET WHEELER ROSS The Mecca of the Music Lover Think of the thrill of visiting the birth-places and t What Price Music, for the Boys ? :S of creative work of the world’s g of attending the Opera in Paris, in Berlin . of hearing “A Storm in the Alps” played, only as it la ed on the great organ of the Hofkirche at Li To attend the 1927 Festival of the y Old World e of his happiest y of Music and tl lore in $770 and up Sailing from New York on the s.s. I Due back in New York by the s.s. C —June - July -August— THREE BIG SUMMER ISSUES OF The Etude Music Magazine Only 35c with THE ETUDE MUSIC MAGAZINE 50 EXCELLENT PIECES OF MUSIC ) INSPIRING EDUCATIONAL ARTICLES FOR ONLY 35c You would think nothing of spending several dollars for a lunch e a good musical friend—why not give these friends a musical ' em to the world’s most widely demanded musi- e of only a few cents. 1 the names and addresses with remittance of 35c each r and we will do the rest. THE ETUDE MUSIC MAGAZINE The Biggest Musical Buy of the Time! JUNE 1927 Page 467 THE ETUDE the etude - Page 466 JUNE 1927 radio, and yet not get anything but musical wrist being quiet. Now on the up-bow not necessary in the Bohm works. Some Know the thrill A CORRESPONDENT writes: “In a trash-jazz, mushy songs, banjo thumping depress the middle joints of the fingers players produce the single note spiccato small town, sixty miles from a city accordion artists, to say nothing 0f the and the knuckles of the hand. This pres¬ with the bow high over the strings, the of owning and of any size, I am trying to learn to work of rank amateurs, in all branches of sure an.d relaxation, with immediate re¬ raised arm moving swiftly. There is no playing a violin play the violin. We never have any high the musical art, who are eager to inflict wrist or finger action. The upper third of The Violinist’s Etude sponse from the string, produces the sharp made by a class violin concerts—nothing but country themselves on the public “over the radio " staccato and the more accented martele, the bow is used. The opening measures fiddling. Would a radio help me? Shall I Still, by watching his opportunity the with no fatigue on the part of the hand of the Overture to Mendelssohn’s Midsum¬ famous master— buy one?” >( Edited by ROBERT BRAINE violin student can get much which’win and arm. mer Night’s Dream furnish an illustration Our answer is, emphatically, “Yes. be of value to him. He is enabled to get of spiccato bowing of this kind. Some teachers raise the middle finger Heinrich There is a wonderful trinity of inventions It is the Ambition of THE ETUDE to make this Department hints on interpretation, style, tempo and while practicing the martele. This is not The Pique Stroke which have come into universal vogue “A Violinist’s Magazine Complete in Itself’’ what a composition should “sound like” necessary. The thumb is always bent out¬ Th. Heberlein, Jr. HE PIQUE Stroke, found in the last within the past few years—the radio, the when played by a good violinist. He be¬ ward nearly opposite to the middle finger. T movement of the Sonata in D Major phonograph and the player piano. These comes familiar with many famous com¬ Practice the martele at the middle, point by Leclair, also in the Devil’s Trill Sonata inventions are a godsend to the music positions and gets an idea of which violin and upper third of the bow. This bowing by Tartini is difficult. It has a sharp, student who lives in the country or in compositions are in most demand and most is very effective and brilliant. Undoubt¬ biting effect, produced by sharp pressure small towns where it is impossible to hear popular at the moment. He gets an idea (HALFONTE- edly it descends from Baillot who was its Radio and Phonograph for the “Home-Study” Violinist of the first finger on the bow, which re¬ good artists, as well as to the student of what will be appropriate and effective exponent and from Massart. who lives in medium and large cities, peats its stroke over the same spot for music can be heard absolutely free of hear the very work he is studying played to play at any given event. whose means are limited and whose purse flADDONHAIl each succeeding note. charge. The music schools and conserva¬ over and over again, ad libitum, by a great The music student living on the lonely The Spiccato will not stand the drain of constant con¬ tories are constantly giving faculty and artist, until he has caught its exact style prairie, on the steep mountain side and in ATLANTIC CITY PICCATO bowing is best practiced The Hammered Stroke at the Point cert going. S student recitals to which the public is and interpretation if not its beauty of tone. the small village, by the turning of a of the Bow It is impossible to over-estimate the im¬ On the Beach and Boardwalk. In eery center of things with any simple exercise, as from invited. Many of these recitals are of a It would be better, of course, to hear the knob, finds himself in the concert halls portance to the student of living in a Kayser or Kreutzer, No. 2. The natural THE ARM and hand move up and high order of merit. The music in the living violinist make these constant repe¬ of New York, Boston, Chicago or Phila¬ Welcome you to Atlantic City constant atmosphere of good music. The with all the hospitality and spiccato is found in the Perpetual Mobile down stiffly, the bow striking on the churches is excellent; there are many con¬ titions, but this would be decidedly ex¬ delphia, listening to the interpretation of mind must be educated as well as the friendly atmosphere of home. by Bohm. This is a simple work and flat surface very much like a hammer. certs, and the production of oratorios and pensive or practically impossible, so the great compositions by great artists. This fingers. The student who knows how a easily mastered. In it we repeat each Examples of this bowing may be found cantatas are usually entirely free. Even phonograph offers a convenient substitute. is certainly of the highest value. American Plan only. Always open. “Dual-Trio” piece should sound—how “it ought to note. The stroke is on the flat hair of the in the Gnomentans by Goby Eberhardt, the bands in the parks play a great deal of The phonograph has the advantage of In advising the violin student to listen Radio Concerts every Tuesday Evening. go”—can learn it in half the time. Tune in WPG at 9. Illustrated bow, while the staccato may be best played also in the Ballade by Vieuxtemps. music of a high character, sandwiched being free from the annoyance of static to good concerts on the radio, I do not folder and rates on request. on the outer edge of the hair. The spic¬ Music is a language, and the best and The Ricochet Stroke between popular numbers. If he attends and conflicting stations, but it has the dis¬ mean that it is not necessary for him to go cato stroke is lateral and downward from quickest way to learn it is to listen to advantage of having to be continually to concerts where he can hear and see the LEEDS and LIPPINCOTT COMPANY HE RICOCHET stroke, so much that language as much as possible. If a conservatory, he will often have an op¬ the wrist, a combined stroke of a rotary T wound up, unless fitted with the somewhat artists. Radio will not give him the true used by de Beriot, is not very dif¬ anyone wishes to learn German or French, portunity of hearing symphony concerts at nature. The elbow must not sink below expensive electrical winding-up device. conception of violin tone, although it gives ficult, if the player remembers to move in the best and quickest way, the thing reduced (students’) rates. the level of the string. Moreover records and needles wear out. him many other things, lie must actually his arm up and down in string crossing, to do is to go to Germany or France, Now as to the help afforded by these re¬ The spiccato will never be tedious if the The radio offers the advantage of cheap¬ see and hear the violinist m the flesh to get using the flat bow hair, with a very great where he will hear the languages con¬ producing instruments. The piano student wrist and fingers are free. The Ries ness, since there are no records to buy. his conception of performance at its high¬ freedom in the up and down movement stantly spoken and will be forced to speak is naturally helped most by the player Perpetual Motion, the Bohm works and At the present time a good radio may be est and tone at its best. The point is that of the hand from the wrist. The left it himself in order to go about comforta¬ piano, because the piano is actually played the more difficult examples of Novacek purchased at a very reasonable price. If it is difficult or impossil 1 tor many violin hand should be under control, the fingers bly and enjoy the pleasure of social inter¬ in his own house. The violin player is and Paganini are excellent. When the the student is ingenious he can buy the students to hear good violin playing fre¬ anticipating the arpeggio; that is, the entire course with the people. Studying a lan¬ best helped by the radio or phonograph, spiccato is to be played with single notes, ’IX7'HEN you draw parts and make his own radio. If he is arpeggio should be seen at once, the fingers guage in its own country will give him a although he could get much indirect help quently. In this case they should make there is a movement of the arm necessary ^ t your bow across from the player piano. Violin tone is re¬ desirous of getting comparatively distant free use of the radio or phonograph. falling simultaneously into position. powerful urge to read the language also, to produce the required effect. This is a Heberlein Violin you stations, a five or six-tube set should be even if it is only in the daily paper. Then produced, more or less successfully, by the radio or phonograph, although no one purchased, but, if he cannot afford this can expect an excel¬ the signs on the buildings, as well as di¬ HUBU5T GEMUNDER Si 50N5 claims that it can be made to sound exactly and lives in or near a large city, he can Acquiring True Intonation lence of tone, a quick rections and notices of all kinds will whet Various Bowings Makers of the World Famous often get fair results from a single tube or responsiveness, a his curiosity to learn what they mean. like the original. In much of the radio By H. E. S. carrying power, that The idiom of the language will be poked and phonographic reproductions of violin crystal set which may be bought for a By Edith L. Wynn “GEMUNDER ART” VIOLINS music the violin tone takes on the charac¬ few dollars. In the large cities the im¬ The Violins With the Soulful Tone One violinist who has lived long “Please!” the pupil muttered. will inspire you to at the learner from every direction, and IllustraUd catalog free “Ah. then,” the master replied, “Do you teristics, to some extent, of a wind instru- portant stations can be got direct on these The Crescendo and Diminuendo enough since then to laugh reminiscently unusual achievement. he will get a working knowledge of it in not pain my ears and I shall be careful one-tenth the time it would have taken him small crystal sets and, in cities of second This Crescendo and Diminuendo bowing REAL AND RARE OLD VIOLINS over his childhood mistakes remembers HeinrichTh. Heber¬ importance, from chain stations which get Illustrated catalog free ' of yours. And after this, when you are had he stayed in his own country and re¬ is very difficult to teach in early study. Finest Strings Artistic Repairs the time (and has still the scrawl on his lein, Jr. is known as the Ideal Tone as a Teacher relays from the big stations in New York, the performer, do not forget to be the lied on text-books and class-room methods. The child may even sec : a good staccato Violins sent for two weeks’ trial exercise book to recall it to him) when greatest violin maker In the same way it will take only a frac¬ T DEAL VIOLIN tone is not what the Chicago and the larger cities. long before he has any idea of the grad¬ Send for our chart and we will fit your indioiduality listener, also.” he thought the command ‘Watch your It was a year or so later when an elec¬ in Germany today— tion of the time to learn any other foreign A violin student gets from listening to uation of tone in his pi- Long drawn 125-127 West 42d St..Pept.E. New York the phonograph or radio. He should hear The Musical Newspaper ‘intrination’ ” a polite way of saying tric storm put the lights out all along the one of the few master language in its native land. bows seem monotonous ; him. He must block. The pupil’s hour of practice seemed craftsmen who has not Bayard Taylor, the famous American the living violinist for that. What he does ' ■ 'HE STUDENT owning a good radio work many hours path The G scale “Watch your step!” “Intrination” has fin¬ destined to be admitted to the land of commercialized his writer on foreign travel, said that if he get are ideas in interpretation, phrasing, -A can get symphony concerts, grand in three octaves must L practiced faith¬ ally resolved itself into the more lucid style, nuance and tempo—the general char¬ lost things, when someone suggested, “Why art. Every Heberlein were allowed three days in a foreign coun¬ opera, string quartet, oratorio, solo playing fully. Tone gradation - is very difficult. term, “intonation,” with the usual designa¬ try (which he had not previously visited acter and effect of the composition, in by great violinists, ’cellists, pianists and Some students of a very musical nature tion,’but even now such a command is a don’t you practice in the dark?” A new must be worthy of the and whose language he had never studied) short. Much of the violtq music repro¬ other instrumentalists, singing by great seem to sense graduation f tone naturally. Profit-Free Offer Violin Bow! sign’ for him to brace up and bring every idea! name made famous With the first touch of bow to string he could at the end of these three days, duced over the radio or 'on the phono¬ vocalists and organ recitals. In short, he Learning to vary the t ne by directing faculty to the highest pitch of attention. through three gener¬ graph sounds crude, to a certain extent, For a limited'time only (without profit) a strange thing happened. Chairs, tables, witli the help of a pocket dictionary, get has the musical world at his feet. The the bow from a point almost over the Two incidents have enforced this idea ations. but is still of enormous benefit to the radio is like a great musical newspaper A Violin Bow Worth all of $6.00 for only $2.95 small objects, rugs, chandeliers, simply were around very well, making known the sim¬ finger board, in pianissimo, to a point near (plus postage). This is a fine good quality bow and upon him with especial vigor. student who has little opportunity of listen¬ no more. They had gone to the land of ple wants of a traveler and asking simple giving the musical news and pulse beat of the bridge, in double forte passages, is if after inspection you do not think it worth 56.0 I In a room overlooking a crimson sunset Genuine Heberlein Violins ing to really good music. the world. lost things 1 Instead in that vast, empty directions. very necessary. All playing seems with¬ On the same terms we will give a much finer, on the Hudson, the great violin teacher as low as $50 The phonograph and radio both have Of course the music comes over the out color unless the student understands strictly $15.00 Violin Bow for only $7.20 (plus was listening to the child play six measures blackness there grew one bright, real, liv¬ We are proud to offer at such moder¬ The Musician’s Pocket Dictionary their advantages. As a general thing a postage). Only one bow to a customer with the ing thing. It spread from the center and radio, at times, more or less blurred and this form of bowing. of a simple melody. “The B is false, ate prices, $50 to $250, a complete line N THE SAME way the learning of high class phonograph gives a better repro¬ privilege of withdrawing this offer without further I distorted. It is like a newspaper half-tone Often a student will practice five Pr in,;: .■ . ..'ii-: .on absol “The A is too flat,” “Play that F again! fled around the outer rim of the world. It of these fine handmade violins. music is enormously hastened by con¬ duction of a violin work than the radio, our finely ^illustrated 88 page^VioIin Catalog reproduction of a great oil painting by six years without acquiring a tone that were ejaculations that thrust themselves made a glowing light in the darkness. Send for Catalog stantly listening to music, even to the and there is the added advantage that the Correggio. There is the inevitable “static,” interests the public. Suddenly he begins teacher. Send for your choice of above^two bows now and then into the pupil’s opaque con¬ Small chance then of overlooking the Illustrates and describes the Heberlein playing of an instrument other than the record can be played over and over again and the nuisance of conflicting stations, to play musically. His friends are de¬ sciousness. Suddenly the violin was true essence of tone! Was it not quite full and other fine violins, and the complete one which is being studied. (A violin stu¬ until the student becomes thoroughly old violins? Cata°8 "° when a jazz band, a violinist playing the lighted. The fact is that at first he was W. K. LEWIS & SONS, New and Old Violins snatched from his hands. or soft enough? Change it! Was it a Wurlitzer line of every known musical dent, for instance, can learn evenness of familiar with it. Records of most of the ~PAChlcago,JU. Meditation from “Thais,” and a soprano mastering the physical side of tone color “Ach, you will kill me yet 1 See, I shall shade off? Right it! The hour raced instrument. Shows how easy and satis¬ tempo, vigorous rhythm and forcible at¬ principal violin and ’cello works are ob¬ singing The Jewel Song from “Faust” are do the same to you! Can you not hear by as do those in which one converses with factory it is to buy from us direct, on tack by listening to a bass drum.) Every tainable—at least the shorter ones—as and teaching his muscles to respond. At deferred payment plan. seemingly trying to drown out each other this—and this—and this !”* Then, with the a dear friend. For tone did for the music teacher knows how much easier it played by the greatest violinists and ’cell¬ the last he understood the method of se¬ Then there are times when the student most excruciating exactness the master first time become a tangible, lovely ^ Old Violins $75 Up is for the younger children in a musical ists of the day. The student can thus curing a musical tone. may sweep the whole country with his played the same simple melody with the thing, capable of being molded. Now, family to learn music when they have had The Martele MASTER REPRODUCTIONS same deviations. “Listen!” he reiterated, when the violinist is asked to explain his table oTeverj^CMd’vloUn w« the advantage of listening to their parents HE MARTELE may be practiced in and other Vega Violin Models success, he mentions first of all these two and older brothers and sisters practice in¬ T and played A just a shade flat. “Do you the middle of the bow at first. There $50 and Up circumstances:—a master who dared to be strumental music or singing. Since these like it! Listen, thenl” should be no tightening of the muscles o cruel and a storm that refused to be a re¬ young pupils have heard the musical lan¬ Golden Rules phone 3 Banfos!a nd^ oriie^'orchelmT and Band The pupil winced. “Listen again! and the arm and wrist. The Kayser and specter of persons! guage from their earliest infancy, their Instruments. Write for catalogs! a distorted F sound came from the violin. Kreutzer etudes offer many examples o The VEGA Co. 159-80 Columbus Are., Boston minds have become so trained to music WuruTzer By Arthur Troostwyk this bowing. Advanced students may P}aY that it is easy for them to learn when they PIANOS. ORGANS. HARPS. RADIOS the first Rode Caprice in this way, using The Undiscovered Country start the study of an instrument or of sing¬ In violin playing, as in everything else, MUSICAL INSTRUMENTS The bow arm should never be stiff' Stores and Dealers in Principal Cities ing. Happy the family where every mem¬ thoroughness is necessary if one is to be the point of the bow. , VIOLINS By Jean Barrett The thumb should never be pressed! To obtain a fundamental stroke w> / ber plays or sings, aiid where there is a successful. Deep, Mellow, Soulful THE RUDOLPH WURLITZER CO. Dept. A-264 The violin should always be held erect! the martele, press the string at the middle Practicing very slow movements, where- radio, phonograph and piano player! Mu¬ One of the most important points to be For the violinist 121 E. 4th St., Cincinnati 329 S. Wabash Ave., Chicago All of the fingers should be used in of the bow sharply. Do not use any §Cj»nstr "The undiscovered country from „ the whole bow is used at each stroke, 129 W. 42nd St., New York 816 S. Broadway, Los Angeles sic is easy to a pupil who enjoys such an observed is good intonation (playing or appreciated bythe ^ Please send me without obligation your 1927 Catalog of atmosphere. singing in tunc). holding the bow! Do not raise the fourth pressure with the middle finger. The firs whose bourne no traveller returns will familiarize one with this “undis- and third fingers do the work. The finger Heberlein In the same manner music pupils in the One of the first steps towards good finger from the bow! eirsTAV v. henning .s the two inches or s the nut and ered country.” It will then be found pieasePlease send me your special catalog of Old Violt and knuckle stroke is produced by depres¬ - -• ,Tlord St.. Denver. « Q r T7r»r thPV .. a i_i_ larger cities progress much faster because intonation is to have the strings on the . Thf. wri,st-which serves as the carburetor point on the violinist’s bow. For they 3 sterile waste, full of pitfalls, but Also please explain co: sion of the hand at these points, on t e .of the constant opportunities of hearing instrument perfectly in tune before starting in violin playing, should never be pressed! Toll vour Music Loving Friends about 1T1E : reached only the final note of up-stroke. Press on the down-stroke- -- - a iairyianufairyland whereinwnereui siiaiigc,strange, new tone-tunc- good music. In the larger cities, in addi¬ to play. To have good strings is half the When practicing remember that two ETUDE and ask them to give you the privi- Dip the joints and the knuckles on t e lefie of sending in their subscriptions. fit'ind'tt?fimdrUts waver ingly into Sowers bloom and rainbow shadings fill tion to the large number of pay concerts battle! hours of concentrated practicing is worth for Catalog of Rewards for subscriptions you send. up-stroke. by the best artists, a vast amount of good Always be patient and willing to learn! ten hours of casual practicing! . THE ETUDE, 1712 Chestnut St., Phita.,Pa. Draw the bow, using the hand only! tne dtad .....1.. Til ft 1, m™le. you ... I. rlth the higher JUNE 1927 Page 469 THE ETUDE Page 468 JUNE 1927 Band and Orchestra 1 Violin Questions Answered (Continued from Page 432) competitive examinations, at the Paris Frank and Saint-SaensI What^have^ye By MR. BRJINE The Famous a*# saw? o.rss.“ ” Every Piano Has conception**1^a bfie^liithert^^alway^neg- future—this splendid voice of the glorious 88 “Fingers”! lected trumpet shall be heard in the temple of PAGANINI STRAD Thus, we have to-day a collection of classical concert music in rivalry with the 150 West 57th Street NEW YORK CITY «SSS Essdli SsEssa# taking into consideration that wonderful d&SUred Witll & Maitlll With it is also on display the largest collection of other illsgiSiP i; beerf living during this period. Gaubert “ 18 onV^ had the pleasure of s It seems as though the very soul of 1914-Variations en Re -Henri Biisser AIADTIM BBSsa this marvelous instrument from time; im- J914-Choral & Variations.-Mar-r Delmas MHrV U W W. R. FORD COMPANY, Inc. i isisip si ,..s RARE, OLD AND \ m & Mr. Frank W. Howard l with Mr. W. R. Ford in the conduct of the b You may laugh at him or with him or do both BUT— OLD FOGY His Musical Opinions and Grotesques With an Introduction and Edited by JAMES HUNEKER stf. THEODORE PRESSER CO. 1712-1714 CHESTNUT ST. PHILADELPHIA, PA. JUNE 1927 Page 471 TEE ETUDE t*» etude Page 470 JUNE 1927 Educational Study Notes on Music in this Etude By EDGAR ALDEN BARRELL by Hans S. Linnj SCHIRMER’S iSisi Smmmi SCHOOL CHORAL SERIES .HS sssssi m g®#* Upfgs Sel:^X Ralph L. Baldwin MUSICAL APPRECIATION and the STUDIO CLUB by Eva Clare LONGMANS, GREEN & CO. PIANO TUNERS and TECHNICIANS f.r4siedm^ inn^^^rrsS. S«d for Catalog E. Y.M.C. A. Piano Technicians Sc! t seventeen measures constitute the please, that there are no staccato notes in these I^IIdlUlIl 1 :laying- tion- r re 3 was. a lime, during the first decade of the slmMli| i*ra?s= MF&ZvKS JUNE 1927 Page 478 THE ETUDl TEE ETUDE Page 472 JUNE 1927 SUMMER Cincinnati (^Tonscruatorja ^Xjfesic MASTER BUSH S'XTIBT—— SCHOOL CONSERVATORY EDGAR NELSON Chicago June 27 to August 6, 1927 (41st Season) Summer school DANA’S MUSICAL INSTITUTE June 27 to August 6 The Only University of Music in the World GUEST ARTISTS JOSEF LHEVINNE All branches LYNN g DANA, Pres. Desk E. FREDERIC ALFRED World Renowned Piano Virtuoso. Repertoire Teacher’s Classes. Auditor Classes. LAMOND BLUMEN WORLD FAMOUS PIANIST NOTED VIENNESE PIANIST ARTHUR ©lit Qleta laui>Inst'tutc MIDDLETON OSCAR FOREMOST AMERICAN BARITONE of (Quale SAENGER PRIVATE INSTRUCTION AND NORMAL COURSES Summer School June 20 - July 30 IN ALL BRANCHES, OF MUSIC, CLASS PIANO INSTRUCTION, SCHOOL MUSIC, DRAMATIC ART, STAGE CRAFT, EXPRESSION, HENIOT LEVY DANCING, LANGUAGES SILVIO SCIONTI MASTER REPERTOIRE CLASSES Brilliant pianists and eminent instructors. Repertory and Teacher’s Gasses. ^CREDITS GRANTED TOWARD CERTIFICATE, DIPLOMA and DECREES Entire Faculty Available During Summer School KARLETON HACKETT STUDENT DORMITORIES Distinguished vocal instructor and critic. Repertory and Teacher’s Gasses. Write for Summer Catalog Theatre Organ Playing JACQUES GORDON T. E. SCHWENKER, Manager, 839 N. Dearborn Street, Chicago, III. Famous violin virtuoso and Concert Master Chicago Symphony Orchestra. HERBERT BUTLER Eminent teacher of the violin. iOOLUMBIA me oenvefi 1M SCHOOL OF XyTI Faculty of over one hundred artist teachers GOLLGGe OF mUSIG me MUSIC Special Summer Courses for Supervisors of zne lrrgcsg in zne wesz An Endowed, Non-Profit, Public Institution Public School Music —O. E. Robinson, Director Degrees and Diplomas DETROIT CON«p5 Fully accredited courses leading to James H. Bell, Sec,. vr Excellent Faculty and Educational CERTIFICATES, DIPLOMAS Special Summer Courses in Dramatic Art, Facilities Courses in all branches of theoretical and applied By Authority of the State of Illinois EBHfflfflfflH Expression—Walton Pyre, Director Training in the following departments: School for Theatre Organ Playing Plano. Voice. Violin, Theory, violoncello. Normal Training. Public School Music. Michigan State Normal College Conservatory of Music Frank VanDusen, Director Chorus Singing. Correlated Arts. History of Music, Ensemble, Orchestra, Professional Accompanying, Conducting. Harp, Brass and Lectures by Eminent Educators, Recitals by Distinguished Artists Wood Wind Instruments. Dramatic Express¬ ion, English and Psychology. Send for complete catalog , Dept. 9, Ypi FREE SCHOLARSHIPS GUIDE TO NEW TEACHERS ON COLUMBIA SCHOOL OF MUSIC To talented and deserving students awarded after competitive examinations. TEACHING THE PIANOFORTE Box M, 509 S. Wabash Ave., Chicago Josef Lhevinne will award one scholarship for private and two for reper¬ A booklet full of helpful information for piano tory class lessons. Oscar Saenger will award two scholarships for private lessons and five scholarships in the Opera Class. stan.erSendga Postal'for'lt'Now." Very Theodore Presser Co., Phila., Pa. 1- F H'i Wire or write for application and particulars. Superior Dormitory Accommodations. Rates of Tuition Moderate rRFDITS will be given for summer courses taken, toward Certificates, CAVLiLM 1 vJ Diplomas, Degrees—granted by authority of the State of Illinois. DETROIT Summer Session prospectus, regular catalog and Public School Music circular mailed free on application. For detailed information address CONSERVATORY OF MUSIC AMERICAN 53rd Year SUMMER Francis L. York, M. A., Pres. Elizabeth Johnson, Vice-Pres. 0FS jn Piano, Voice, Violin, Cello, Organ, MASTER 9ral Interpretation, etc. Work based on best CONSERVATORY modern, and educational principles. Numerous lectures. Concerts SCH00L- tion. T5 thTOUgflout thc year. Excellent Board Accoramoda- Manyfree advanta^,' builT ng,^ located ‘ ' ’ OF MUSIC June 27 to August 6— 571 KIMBALL HALL Chicago, Illinois Six Weeks ' For particulars of summer session and detailed information address JOHN J. HATTSTAEDT, President JAMES H. BELL, Sec., Box 7,5035 Woodward Are., DETROIT, MICH. s mention THE ETLDE. It i THE ETUDE Page tfk JUNE 1927 TheGunn School SUMMER Public of Music ANDDRAMAncART MASTER School CHICAGO SCHOOL Music oAn Intensive, SUMMER MASTER June 27 to August 6 (Six Weeks) Six-Weeks, Summer Session CLASSES, 1927 (.ALPHABETICALLY ARRANGED) Course Voice Percy Rector Stephens June 20—July 29 Franz Proschowsky PASQUALE AMATO Burton Thatcher FAMOUS SINGER OF METROPOLITAN OPERA Albert Borroff Our Public School Music students enjoy Stuart Barker PROF. LEOPOLD AUER the musical atmosphere found only in a Piano MASTER VIOLIN INSTRUCTOR OF THE WORLD large conservatory. The Summer Session Glenn Dillard Gunn course represents one-fourth of the credit Marcian Thalberg required for our regular Public School Arthur Granquist Music Teacher’s Certificate. A Special MOISSAYE BOGUSLAWSKI Theodore Militzer NOTED'RUSSIAN PIANIST Certificate is granted to those who com- plete the Summer Session course, in Violin EDWARD COLLINS recognition of the credit earned. The Amy Neill RENOWNED AMERICAN PIANIST tuition for all class work of the Summer Guy H. Woodard Session course (120 hours of instruction) is only #70. Special courses are offered Theory CHARLES M. COURBOIN in the advanced phases of Public School Ralph Ambrose FAMOUS BELGIAN-AMERICAN ORGANIST Theodore Militzer Dramatic Art CHARLES H. DEMOREST See our full-page advertisement Edwin Stanley CELEBRATED THEATRE ORGANIST elsewhere in this Sophia Swanstrom Young for Catalog. Viola Roth PERCY GRAINGER Courses of study leading to the granting WORLD RENOWNED PIANIST of diplomas, degrees, and certificates according to the curricula established by SlitnuooiCDrac School the National Association of Schools of RICHARD HAGEMAN (Founded 1895 hy Wm. H. Sherwood) Music and Allied Arts. NOTED COACH AND ACCOMPANIST Fine Arts Building 410 South Michigan Avenue W. OTTO MIESSNER CHICAGO, ILLINOIS Fine Arts Building, Chicago NOTABLE AUTHORITY ON PUBLIC SCHOOL MUSIC ALEXANDER RAAB COSMOPOLITAN L awrence LEON SAMET1NI scsr music&dt/tic ConservditoTi) of Music HERBERT WITHERSPOON FREE FELLOWSHIPS »tarr*tt grftooi TEACHERS’ CERTIFICATES and DEGREES CONSERVATORY of MUSIC 20 to July 25 STUDENT DORMITORIES . - . - u—.Theory, Har..,„„v, Composition, Cello, Opera Study—Dept, of Speech and Dramatic Art and Public School Music. Special Dept, for Children. All athletics. Horseback riding Fireproof buildings with ample grounds. Two beauti¬ ful dormitories on campus. 43rd year. For catalogue address the Director. 8 The Starrett School Conservatory of Music CHICAGO Box E, 4515 Drex id., Chici North!.. — School of Mump .. MUSICAL Bachelor of Music Degree, Diploma, and Certifi- SCHOOL of M^M^yrndMus^cS^rt^Me^oi Bulletin sent free upon request MUSIC COLLEGE W. ST. CLARE MINTURN, Director. NlaSHKS?PN I •Kj3ESS:r.r.u«H>r** 60 EAST VAN BUREN ST. Chicago, III. ORECOLLEf4VOF^TRH^UvURE SLTUDY AT SOME LEADING SCHOOL Y°U Can hften the 80.1 of your ambitions by seeking ized Etude agent and a 1 money securing subscriptions in your spare time. > THE ETUDE. It i k the higher Ideals of art and life, - — JUNE 1927 Page 477 THE ETUDE TEE ETUDE Page 476 JUNE 1927 Singer’s Etude (Continued from page 461) ITHACA CONSERVATORY NEW YORK SCHOOL OF MUSIC AND ARTS ■ h correct pronunciation and distinct good English they should be compelled to Ideal location at Central Park entrance. One of the most beautiful and best equipped school buildings in New Y ration Then our singers would have bear but a small share of the blame. We 25th YEAR 26 West 86th Street R*lfe Leech Sterner, Director -rST-Wi on which to form are a nation, but as a race we are yet in themselves, but they would have also an the formative state, and the English lan¬ of MUSIC telligent public insisting upon conform- guage is the cultural background of only W. GRANT EGBERT, Musical Director SIX WEEKS SUMMER COURSES for Teachers and Profession^ to the standard . . . a part of our people. As our’ speech im¬ Starting May 15 pupils may enter any day Rates: $250 and S300 (aCCOrdl'lg l° Ucturcs,daa"eS,concerts, teachers' certificates, etc. The singers and the teachers of singing proves in the home it will improve in the by and uflder.the CELEBRATED FACULTY INCLUDING have their faults, but in this matter of concert hall. Leila Yale Arthur Friedhetm Ralfe Leech Sterner Aloys Kr Teacher of Public School Music in )ne of the world's greatest pianists. ci‘tcXi^m*!n7nrT9iriir*r?'l” ” York City Schools. Frederick Rlesberg Distinct Enunciation SUMMER MASTER SCHOOL of Piano under the Direction of Frank Howard Warner Pianist, Composer and Lecturer. r Scharwenka and Carl 1 X IS in the matter of clear enuncia¬ derstand it. The first thing for you as a LEON SAMPAIX, Master Pianist and Pedagogue: Paul Stoevirrg I ter, scholar Alice Davis Alexander Pero AND MANY OTHERS tion that our singers are most to be singer to comprehend in all its bearings Ten-Week Term, June 6 to August 12—Six Week Term, July 5 to August 12 Accompanying, Organ and Harp criticised. In the beauty of their Batu¬ is that you are not speaking the words, but win Piano Used Faculty will Remain in New York City and Teach all Summer. Free and Partial Free Scholarships Open for Competition in these Courses ra! voices and in vocal technic they hold singing them. You are singing,, not speak¬ Concert, Chautauqua, Lyceum and. Teachers’ courses. Repo-tojre■ PubHc per; formance classes. Graduates in this school have won honors abroad as well as in Lt own well enough; but there is con¬ ing. The sustained tone of song is the the United States and Canada. stant complaint concerning their enuncia- essential; and the enunciation must be so adjusted that it in no way interferes with VIOLIN and VOCAL MASTER COURSES AVAILABLE Virgil Conservatory COMBS are several small problems with- the beauty of the singing tone. Many young singers fail to grasp the importance SPECIAL COURSE IN COMPOSITION Directed by A. M. VIRGIL, Director J*Tl»ger »e. It b recently Conservatory o/Music there has been an insistent demand from of this elemental fact. They try to WALLINGFORD RIEGGER, INTENSIVE SUMMER COURSE the American public for the use of clear, enunciate the words “clearly, just as 1Y1US. 1JOC.' YYlIlUCi i (iuc*cnoni *** 1923, Coolidge prizes 1925. PHILADELPHIA t and--J sr-.v-.-JKeyboard Harmony. June 20th to July 15th understandable English in singing. For •though they were speaking them,” and so Personally conducted classes in Harmony, Couni the most part, our young singers have lose the sense of the vocal poise—and all HHPHHMrillrhools will hehe. in aessiot.session, ..during the FORTY-THIRD YEAR Mmoleted" lead to certificates,Jrtificates, diplomas, degrees.^degrees Sixaix JarfHiarw TUITION FEES VERY MODERATE .pent much more time and mental energy the fat is in the fire. fall should be made NOW. Write for Particulars A SCHOOL OF on mastering Italian, French or German How It Is Done FALL TERM BEGINS SEPTEMBER 22, 1927 UNPARALLELED FACILITIES than they have on their English. Also, Service. Four-year Course they have felt more pride m being compli¬ THE ARTICULATION of the con¬ Write for full details. Year Book and special catalogs. to Degree of Mus.B. Band an A School for the Beginner, Ambitious mented on their proficiency m any foreign sonants is, of course, essential to Orchestra Rehearsals—Choru 139 West 72nd Street Amateur and the Professional Musi¬ Address, Registrar Accredited in N. Y„ Pa. an tongue than in English. In fact, English clear enunciation, but this does not in any cian. Instruction in all branches. ■ way interfere with the’vocal poise. The Orchestral and Band Departments. was left pretty much to shift for itself. tone is a question of the freedom of the Ithaca, New York rly 5th. Catalog. Two Complete Student Symphony 1 DeWitt Park ilbert Edmund Brown, Dean Orchestras. Pedagogy and Normal Enunciation Means Study throat action; whereas, in singing, the Training. Approved and Accredited consonants are formed by the lips, the TWO NEW COURSES NOW, when it comes to distinct enun¬ Every Teacher Should Send a Poatal for a Copy of Our ITHACA INSTITUTION Courses in Public School Music. teeth and the tip of the tongue. . If the OF ciation in singing, no tongue can be Degrees Conferred. No Entrance tone is freely produced it focuses’'in the BAND SQHOOL “GRADED THEMATIC CATALOG OF INSTITUTE OF MUSICAL ART Requirements except for Certificate, left to shift for itself. Clear enunciation CONWAY PUBLIC SCHOOL front of the mouth, where the enunciatory PIANOFORTE COMPOSITIONS” FRANK DAMROSCH, Director Diploma and Degree Courses. is altogether too difficult in any language MUSIC A organs can get at it to the best advantage. Shows Portions ot 22S Piano Compositions 120 Claremont Avenue New York, N. Y. SIX SPACIOUS BUILDINGS for such free, and easy methods. 301 DeWitt Park, Ithaca, N. Y. ™ The inter-action between the tone produc¬ There is no charge for it DORMITORIES FOR WOMEN There is another and very pressing ques¬ CRITICAL AND PEDAGOGIC COURSE ing mechanism and the enunciatory or¬ THEODORE PRESSER CO., for Teachers and Advanced Pianists under CARL FRIEDBERG tion. Whether or not, after all your labors, 1712-1714 Chestnut St., Phtia., Pa. —College of Fine Arts— Send for Illustrated Year Book you pronounce your French properly and gans is a natural function. When we un¬ NORMAL COURSE FOR TEACHERS derstand nature’s laws and have so trained Syracuse University Gilbert Raynolds Combs, Director clearly most of your audience cannot tell, Harold L. Butler, Dean Methods of interrelating all theoretic subjects and correlating them ourselves that we comply with them, the with the study of piano, violin, voice, etc. Administration Building for the simple reason that they do not un¬ Syracuse, N. Y. 1331 South Broad Street tone can be formed into words with ease TUITION FEES VERY MODERATE. CATALOGUE UPON REQUEST, ADDRESS DEPT. U derstand the language. But when it comes MUSIC, ART, ARCHITECTURE to English, they are competent judges. and precision. This training is studio EASTMAN SCHOOL OF MUSIC 900 STUDENTS 42 INSTRUCTORS They know well whether or not you told work; but it can he done and fine results Four-year Courses in Zeckwer-Hahn the story of the song so that they could produced. OF THE UNIVERSITY OF ROCHESTER Piano, Voice, Organ, Violin, Com¬ VIRGIL SCHOOL OF MUSIC Philadelphia MusicaL Academy understand it. Consequently, they can Remember, however, that you are not position, Public School Music 57 yearsof continued success in training musicians apply much more exacting standards to speaking the words; you are singing them. leading to the Bachelor’s degree Founded by the late A. K. VIRGIL HOWARD HANSON, Director Highest Standards of Musical Instruction the English : and, very properly, they do With this basic thought clearly in your (Originator of the Virgil Method, Inventor of the Virgil Practice Clavier) RAYMOND WILSON, Acting Director of the Summer Session Summer Session July 5th to August 12th For year book, address apply them. For many singers it is un¬ mind, the whole subject begins to shape c_* 1 C _ ^ „ For Teachers, Players and Earnest Charlton Lewis Murphy, Managing Director jp6Cl£ll L ourses Students of All Grades 1617 Spruce Street fortunate that the most severe standard itself so that the various parts coordinate. is to be applied to the language with which SUMMER SESSION For all particulars address: THE A. K. VIRGIL CLAVIER CO., or The tone comes first, and it must he they have taken the least pains. Time to MRS. A. K. VIRGIL, Director beautiful or there is no reason for sing¬ June 22 —July 29, 1927 tflMMFR Six weeks from June 20. wake up! ing. Then this tone must he formed into JUlULULiX Daily theory and normal All Departments Open For Instruction by Members of the words correctly pronounced and distinctly Regular Faculty of the School TERM Masses for music teachers. Why Sing English? enunciated without disturbing the vocal 'T'HERE is little sense in singing a song SUMMER MASTER CLASS poise. Unless the student learns to do this, SPECIAL COURSES FOR TEACHERS Pittsburgh Musical Institute, Inc. in English unless you can tell its he will never become an artist. ' EEfStSIsSi_ in VIOLIN STUDY at 131-133 Bellefield Avenue story so clearly that your hearers will un¬ Cover All Work Prescribed in Public School Music Courses Co. afford appearances while learning. ATLANTIC CITY, NEW JERSEY PITTSBURGH, PA. June 1st to September 15th Classes in Normal Methods, Voice Training in Classes, Piano Keep Time Teaching in Classes, Stringed Instruments, Brass and Woodwind Instruments, Conducting, Ear Training, Harmony, Appreciation. GRANBERRY if he is to make a profession out of it. LEARN TO COUNT, so that you But why should you not also know yours? NORMAL and REPERTORY CLASSES can keep time. Many young sing¬ PIANO SCHOOL There is not great difficulty about the • ers are indifferent as to the time for Teachers of Piano MRS. BABCOCK 149 East 61st St., New York,N. Y. matter for one who is naturally musical. values of the notes and apt to grow re¬ /"YFFERS Teaching Positions, Col- Trinity Principle Pedagogy It means simply getting “down to brass COURSE for MOTION PICTURE ORGANISTS leges. Conservatories, Schools. The Courtright sentful if the matter be insisted upon by Sight fnot "Do-re-mi” For PIANISTS, tacks” and counting. If you wish ro Also Church and Concert Engagements System of Musical „. . •< “ “Intervals" the teacher. There is nothing the matter COURSES for CHURCH ORGANISTS Kindergarten ~;t~, Singing ( .. "Numbers" ACCOMPANISTS and TEACHERS with them. They merely do not realize know how mt*h money you have in your CARNEGIE H SUMMER SCHOOL JULY purse, how do you find out? If you wish Mr.. Lillian Courtright Card, 116 Edn! Normal Teacher. I,. Every Stale Sight-Touch-Hearing-System. Send for Booklet. the importance of the subject. They think ACADEMIC STUDIES in the UNIVERSITY Address: 121 Madison Ave., New York Mr. Granberry will continue to direct the University of Georgia that singing is all a question of voice plus to be sure of the time in music, you must e-C , era* ■ ’ ne 20th to July 30th. Athen*,Ga. something of that mysterious quality do exactly the same thing. Count it. Full program of professional and non-professional courses lead¬ Virgil Portable Keyboard known as “soul.” Voice and soul, in very A young singer once got an engagement ing to degree. Special program in Junior High School Education truth, the singer must have; but to make to tour with an orchestra. The conduc¬ in co-operation with a Junior High School of 500 pupils as a For Pianists and Piano Students AMERICAN INSTITUTE OF APPLIED MUSIC these gifts of avail he must know his pro¬ tor was much pleased with his-voice and laboratory. Programs in Kindergarten, primary and elemen¬ fession, and the foundation of music is style and Said to his teacher, I like him Keep Up Repertoire METROPOLITAN COLLEGE OF MUSIC tary grades and special education conducted in co-operation with 212 West Fifty-ninth Street, New York City rhythm. Perfect Your Technic very much. He has a fine voice, sings a grade school as a laboratory. If you are to enter on the third beat well and I think will make a genuine suc¬ Strengthen Fingers on this Instrument A SCHOOL FOR THE STUDENT AND TEACHER For Information Address Key Action Perfect KATE S. CHITTENDEN, Dean of the Faculty of the fourth measure of a song in four- cess’ And when he has finished this tour four time, how will you know when the Touch Light to Heavy Summer Session, July 5th to August 12th, 1927 he will look on a sixteenth note with more Arthur See, Secretary, Eastman School of Music Catalog on request exact moment has arrived? Manifestly respect than he now looks on a ten-dollar Private and Class Instruction in Piano and Theory only by counting all the preceding beats. Rochester, New York VIRGIL PIANO SCHOOL CO. Normal Training Course Leading to a Teacher’s Certificate It is not enough to have a good accom¬ 137-139 West 72nd Street New York City For Booklet write ETHEL MclNTOSH, Managing Director Before this conductor had finished with panist on whom to depend. He may know him he knew how to count. Identifies yon as one in touch with the higher ideals of art and life. When mention THE ETUDE. It identifies hls Profession, and he certainly ought to rtisers always mention THE ETUDE. It When yon write to our ndv. JUNE 1927 Page 479 0E ETUDE Page J/7S JUNE 1927 T11E ETUDE The Penny Method By Josephine Clark r« the piano bench or on a shelf, have cement the two sections together with five h child keep his penny box with name pennies. There is no assignment or other SCHOOL FOR WARD-BELMONT minently affixed and a sure covet. Toy limit on money earned. At the lesson he rr and fancy receptacles of all kinds must prove his right to the money. We Teachers or Advanced Students Tw off well, and the children are proud don’t argue any more about counting aloud. f them Offer to double the money We simply put no pennies in the box THE TRAINING OF MSEUVM lined by the winner at the next recital after an otherwise perfect performance. SIX WEEKS SUMMER COURSE nd work out your own system for earn¬ After a piece has been completely otf MUS^ ing them. . “pennied,” it is put in repertoire and played Mv goal « a repertoire for every pupil. with five pennies every day, the' pupil earn¬ Begins June 8 th— Frederic A. Cowles Music Center THEATRE ORGANISTS ing one for each day he does it. In play¬ Director of the South 1„ studying a new piece the child starts wjth five pennies at the left of the key¬ ing repertoire I grant the whole five' or Later Registrations Accommodated Accredited School conferring Degrees, .nstruction in the study of Pianoforte, Organ, Voice, Violin, Dramatic Art, Art, Orchestral board marks off a four measure section six pennies if the piece is played without Instruments, and all Theoretical Subjects. Private and Class and begins his work as methodically as a stop or change of expression for lessons. Student and Faculty recitals. Cultural Subjects accredited if he were building a brick wall. Right blunders. If it gets inaccurate, it is taken June 27 to August 6 (Six Weeks) PIANO-VIOLIN—VOICE by Universities. Two and three year Public School Music Courses hand’s part: tap- the rhythm with the out of repertoire and pennied all over leading to Supervisors Certificate and Diploma. Practice Teaching Lawrence Goodman metronome: say the names of the notes in Public Schools. Graduates accepted by State Boards of Educa¬ aloud, looking for accidentals especially Director of School of Piano for eight years. tion. Teachers Training Course. Enrollment over 1800. All Depart¬ When the pupil has five pieces we call and studying the fingering. Then mem¬ ments open year round. Special Summer Courses start in June. them Old Repertoire. Make cards for each Direction: CHARLES H. DEMOREST and HENRY FRANCIS Formerly teacher of Piano, Von Encle School orize it with tin- itciinies, putting one on of Music, New York City. Concert artist Fall terms September 6. Each pupil receives individual attention to piece but go over only the top card with PARKS, Famous Theatre Organists musical needs. Information and catalog from the right side of the piano when a perfect the five pennies and the rest once with and Duo Art Recording Artist. repetition has hoc n accomplished and bring¬ John L. Gruber, President, 218 West Broadway, Louisville, Ky. the music very carefully. When he has ing them all hack when a mistake has been Students have lessons and practice before the Screens pro¬ ten, he joins the repertoire class and wc have a grand celebration. vided by the College in its studios. New two, three and four When all five- arc finally over, one is It is Ijetter not to look into the boxes manual Wurlitzer and Moeller theatre organs for lessons dropped into ific box which is carried back and forth to the music lessons. or allow the pupil to do so till thp final and practice, owned and operated by the College. Repeat for the other hand and repeat again count, as that keeps everyone working. This is the only prize I give now and is for both together, giving the child three SCHEDULE OF LESSONS Kenneth Rose Summer Normal Classes for the first foi r measures. Then go over by far the fairest, as each peimy represents 1st week lessons—Preparatory for Screen playing Violin and Concert artist for nine years. For¬ For Teachers of Pianoforte the next section in tile same way; lastly, work not talent. merly teacher Metropolitan School of Music, JULY 12th to 28th, 1927 2nd week lessons—Playing of weekly News feature Indianapolis, and Concert Master Indian¬ 3rd week lessons—Short feature film and jazz A comprehensive course in modern pedagogical meth¬ Public School Music Department apolis Symphony Orchestra. ods, with classified lists of material and practical de¬ 4th week lessons—Short feature film, comedy and jazz monstrations. Endorsed by the Cincinnati Conserva¬ (Continued from page 431) Gaetano Salvatore De Luca * tory of Music and many prominent musicians. Write 5th week lessons—Long feature film and comedy leader, and that is the general.. fault of Director of School of Voice for nine years. with a small raised platform and the pian¬ 6th week lessons—Long feature film, comedy, cartoon, scenic ist should ha., the piano swung around creating an unmusical hiatus in the inter¬ Only teacher of Joseph T. Miacpherson. For and effects; and playing of song slides. in a position to observe the beat of the pretation of songs. The school teacher is three years Pupil of Chevalier Edouardo leader. The lid of the piano should be trained to observe definitely the punctua¬ Carrado, Famous Teacher of Italy; for two opened and, in this position, away from the tion of poetry, and she will carry this prac¬ Improvisation, modulation, arranging orchestral works for years Pupil of Chevalier Alfredo Sermiento, tice out in the interpretation of songs. wall, the maximum resonance will be ob¬ organ, harmonizing from violin and melody parts; dramatiz¬ Some great poetry is complete ,in itself Caruso’s Coach; Pupil of Commendatore B. tained. Carelli, Director Naples Conservatory; Pu¬ and cannot be linked to music, while musi¬ ing the picture musically; taking cues and playing from cue pil of Lombardi, Florence. Italy; Pupil of Selection of the Leader and cal verse lends itself readily to musical lists and playing with orchestra are all given attention in the Accompanist Carbone, New York; Pupil of Signor Bar- setting. With this thought in mind we course. Various styles of playing jazz, ballads, intermezzos, should guard against taking of Too great aldi, London. SPACE WILL XOT permit of a dis¬ Peabody Conservatory liberty with the rhythm of the song. Par¬ characteristic numbers, etc., will be thoroly covered. cussion of the qualifications of the Amelie Throne BALTIMORE, MD. assembly leader and accompanist. The ticular care should be exercised in joining Piano Pupil of Maurice Aronson, Vienna; HAROLD RANDOLPH, Director teachers who are best qualified should be phrases. No dead stops should occur in Joseph Lhevinne, Berlin; Sigismund Sto- selected. The principal and the music the body of the song. This staggers the Recognized as the leading endowed musical conservatory of the country jowski, New York. supervisor arc often in a quandary with re¬ flow of rhythm and disturbs the singers gard to this selection. When this is the unduly, as their natural impulse is to sing FREE FELLOWSHIPS case, a plan of rotating all of the teachers on to the final cadence or point of repose. Mr. Demorest and Mr. Parks have each consented to award Summer Session a"*2/* in these positions may be adopted. Each The period form in music is ordinarily teacher should be called on to conduct the larger than the sentence in verse. The Free Fellowships of two lessons weekly, each of thirty min¬ Staff of eminent European and American Masters including: stanza is the artistic unit, and the meas¬ assembly for a period of two or more utes, to the students who, after an open Competitive examin¬ H' B0CHAU LOUIS ROBERT PASQUALE TALLARICO ured form of its musical setting must VIRGINIA C. BLACKHEAD■ • • LUBOV BREIT KEEFER HOWARD R. THATCHER weeks. The outstanding teacher or teach¬ ation, are found to possess the greatest gift for playing organ. AUSTIN CONRADI OTTO ORTMANN MABEL THOMAS ers who can conduct well and play well move from start to finish without pause CARLOTTA HELLER FRANK GITTELSON J. C. VAN HULSTEYN will be discovered. In due course of time unless definitely marked by the composer. Free Fellowship application blank on request. It is considered most inartistic to insert Helen Todd Sloan the best combination should be regularly Tuition $20 to $35, according to study holds or pauses at the end of phrases. Pupil of George Deane, Boston; Isidore By special arrangement with the JOHNS HOPKINS UNIVERSITY assigned to the work and alternates chosen FALL SESSION OPENS SEPTEMBER 12 credits in certain branches may be offered for the B. S. decree for service whenever the occasion arises. The long notes of the musical setting rep¬ Braggiotti, Florence, Italy; Gaetano S. De COMPLETE SUMMER OR WINTER CATALOG ON REQUEST There is an outstanding observation to resent the composer’s interpretation of the Luca, Nashville. WINTER TERM NOW OPEN FOR ORGAN STUDY Circulars Mailed FREDERICK R. HUBER, Manager make in regard to the interpretation of text; and we must not consciously, or Arrangements for classes now being songs by the average school assembly unconsciously, disturb the original form. Work May Apply on Certificate or Diploma For Rales and other Information mite Atlanta Conservatory of Music Combined Course in History, Appreciation and Harmony STUDENT DORMITORIES Part Vn Artistic and comfortable dormitory accommodations for men and women in college building. Piano furnished with each room. Prices reasonable. Ward-Belmont Conservatory (Continued from page 402, May, 1927, Issue) Make reservations now. Page numbers referring to Musical History study are those in ‘‘The Nashville, Tennessee History of Music” (Cooke)' those aligned with Appreciation listings are pag . Peachtree and Broad Streets, Atlanta, Georgia “Standard History Record Supplement;” and the book for^“each Sufistub Staunton , Virgin The Choir Master JUNIOR ETUDE—Continued Each Month Under This Heading We Shall Give a List of Anthems, Solos and Voluntaries Appropriate for Morning and Evening Our Happy Club of Services Throughout the Year. Junior Etude Contest Puzzle opposite "a" are anthems of moderate difficulty, opposite "b“ those of a simple type. Any bf the works named may be had for examination. Our retail prices are always reason¬ The Junior Etude will award three Found in the Name able and the discounts the best obtainable. pretty prizes each month for the best and Premium Earners neatest original stories or essays and an¬ “Beethoven” CHOIR MASTER’S GUIDE FOR AUGUST, 1927 swers to puzzles. By E. Mendes Simply Secure New Subscriptions for THE ETUDE and You SUNDAY MORNING, August 7 SUNDAY MORNING, August 21 Subject for story or essay this month— PRELUDE ‘‘Are Vacations Good for Music Stu¬ PRELUDE 1. An insect. Not Only Become a Member But May Have Your Organ: Chanson du Matin... .Gillette Organ : Larghetto ..Mozart dents?” Must contain not over one hun¬ Piano: The Choir ln\isMe.Schneidcr Piano: Adagio Cantabile from dred and fifty words. Any boy or girl 2. A vegetable. Choice of Any of These Splendid Rewards . For Liturgical Services: Sonata Opus 13 .Beethoven under fifteen years of age may compete 3. A bird. Te Deum. Schackley ANTHEMS whether a subscriber or not. 4. Part of the verb “to be.” ANTHEMS (a) In Humble Faith and Holy All contributions must bear name, age 5. Two pronouns. ABSOLUTELY WITHOUT COST TO YOU! (a) Teach me, O Lord.Attwood Love .Garrett 6. A measure of weight. (b) On Our Way Rejoicing.. .Stults and address of sender written plainly, and (b) Light of Those Whose Dreary 1 at the Junior Etude 7. Two n OFFERTORY Dwelling .Potter e, 1712 God’s Will.Stults OFFERTORY (T. solo) Jesus, Lover of My Soul... .Rockwell bif March'HiddetTcomposer POSTLUDE (Duet, S. and A.) inners and their contributions will j Nevin. 2, Verdi; 3, Homer; 4, Mason; Organ: Grand Chorus in C..Maitland POSTLUDE A in the issue for September. % Chopin; 6> Handei; 7, Bach. Piano: Chorale .Concone information and enjoyment' yo^hateXund hTevery* issue 'of PTHE°E Organ: Hero’s March... Mendelssohn will be surprised how easy it is to secure not only one s ‘ Piano: March of the Halberdiers SUNDAY EVENING, August 7 Wely addr " SUNDAY EVENING, August 21 reallyrwrthwhTWithr P°'nt ‘T“d b"T ^ p!etey catalogue! 6 Start ToXyT* PRELUDE Organ : Andantino .Lemare Piano: Old Mission Chimes.. Widener ANTHEMS (a) Turn Thy Face.,.Attwood “ sfsisr*-^! (b) Now the Day is Over... [Pooler OFFERTORY Heaven Is Our Home... .MacDougal'l SHOE HORN AND (B. solo) BUTTON HOOK POSTLUDE Organ: Festival March.Krocgcr Piano: Twilight Devotion ...Stanley SUNDAY MORNING, August 28 PRELUDE Organ: Theme..VieUJCtemps-Stewart Piano: Idylle.Wely ANTHEMS (o) Even Me.J. E. Roberts (b) Onward Christian Soldiers MacDougall OFFERTORY Acquaint now Thyself with God AMERICA (A. solo) .Riket (Choir. Organ, Violin, Congregation) POSTLUDE POSTLUDE Organ: Processional March.. ..Kinder Organ: March .Pctrali Piano: Convent Bells .Spindler Piano: Evening Prayer .Weil SUNDAY EVENING, August 14 PRELUDE SUNDAY EVENING, August 28 Organ: Evening Prelude .:.Read Piano: Star of Hope Organ: At Twilight .....Schuler Batiste-Goerdeler Piano.: Andante .Kavanagh ANTHEMS ANTHEMS (a) Walking with Thee.Wooler. (a) Holy Spirit from on High.MarAi lb) One Sweetly Solemn Thought (b) He Leadeth Me. .Bradbury-Allen Ambrose OFFERTORY OFFERTORY I Know in Whom I Have Believed We Thank Thee, O Father....Wooler (S. solo) .Scott (Duet, T. and B.) POSTLUDE POSTLUDE Organ : March in C. Read Organ: Postlude in G.Read Piano: Holy God, We Praise Thy Piano: Jerusalem the Golden Name .Martin Goerdeler A Remarkable Book Every Singer, Vocal Teacher, Opera Lover, Concert Goer and Talking Machine Owner should read GREAT SINGERS ON THE ART OF SINGING ltlographlcal Sketches ot Creat singers Cloth Bound, Stamped in Gold—Price, $2.25 The advice of most of the great singers of the last twenty-five years is given in this book. There are chapters by Alda, Amato, Bispham, Butt, Oam- panari, Caruso, Claussen, Dalmores, Dippel, Eames, Easton, Farrar, Gadski, Galli-Curci, Garden, Gluck, de Gogoraa, Hempel, Melba, de Pasquale, Sembrich, Schumann-Hemk, Scotti, Scott, Thursby, Werrenrath, SCHUMANN-HEINK THEODORE PRESSER CO., PHILADELPHIA, PA. BISPHAM S«^c^zr f S this far-reaching opportunity open to YOUR child ? Through the years when the young mind is acquiring those ideals on which character depends, piano study lifts the child out of the commonplace into the Noted Authorities brighter realms of happy, normal development. Recommend NOW is the time to set your child’s life to music. The piano, the basic musical in¬ strument, places the feet of your child on the road to loftier stations in life—even to The Piano to Every Parent leadership. Poise, Magnetism, Charm, Culture—these qualities go hand in hand with the ability Helen T. Woolley, Director, Institute of to play the piano. Think what the future holds for the boy or girl who can summon Child Welfare Research, Teachers College, Columbia University, says: forth the magic that lies beneath the piano’s keyboard! “It is in my judgment a valuable thing Is There a Piano in Your Home ? for little children to have a piano in the parental obligation that transcends this? house and to hear it played. It is the For a hundred years the American family New Methods of Piano Study most common of musical instruments and has rallied around the piano. It is the heart- a necessary element in modern cultural Perhaps you have already heard of the instrument of the home. In great mansions, life. Music and familiarity with at least newer, quicker and pleasanter methods of one musical instrument should be a part in small homes, wherever there are chil¬ piano study. Let us send you a booklet of every child's experience from the start.’■ dren, the country over, the piano is a vital that tells you what you want to know about force in broadening culture and strengthen¬ Mrs. Herman !M. Biggs, President, this method of learning to play the piano. National Federation of Day Nurseries, ing the ties of home life. says: In the years to come, will your child be NATIONAL PIANO MANUFACTURERS’ “It is the duty of every mother to give her one of the countless unaccomplished or ASSOCIATION child the opportunity to become acquainted one of the envied few? Is there any 247 Park Avenue New York, N. Y. with at least one musical instrument. In my opinion the piano is the most desirable of all, embodying as it does all the elements of music, harmony, melody and rhythm.” THE BASIC Q MUSICAL %IANO INSTRUMENT