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

8-1-1942 Volume 60, Number 08 (August 1942) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 60, Number 08 (August 1942)." , (1942). https://digitalcommons.gardner-webb.edu/etude/236

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ANDOR FOLDES AND JOSEPH SZIGET1 Mozart will present the entire eighteen series of violin and piano sonatas in a of concerts in New York City, the first perhaps them to be on November 4. This . . the com- TEACHERS AGREE will mark the first rendition of LEADING PIANO plete cycle. THE METROPOLITAN OPER A ASSOCIA- Method to of its Choosing the Right TION has made a drastic revision price schedule for the coming season which will result in the top price being Factor seven dollars and Is A Vital five dollars instead of Suit the Student This adjustment, according tfT>IAN0‘&00\ J/ie Wot£d of fifty cents. to announcement, has been made pos- sible by the cooperation of all the various HtCHTE^ in Achieving Results! organizations concerned. Definite an- HERE, THERE. AND EVERYWHERE nouncement also has been made assur- ing Philadelphia of a season of seven THE MUSICAL WORLD for the 1942-43 season. Here INSTRUCTION MA- IN performances PRESSER'S STUDIO-TESTED PIANO also a revision of subscription prices will

' of all ages. TERIALS cover all needs the per- and Paris. Among his well known pupils be in effect, also made possible, accord- MY PIANO BOOK it was “perfectly clear that M.WIUIAMS' congenial. Their were Paul Althouse, Reinald Werrenrath, ing to General Manager, Edward John- JOHN Liberal formers found their task In Two Parts offers Examination Privileges, late Dan Gridley, and the sympathetic coopera- "PRESSER SERVICE" labors charmed the public, which ac- Lucy Marsh, the son, “through part any reli- YEAR By Ada Richter Price, 50 cents, each Account Conveniences to the late Jeannette Vreeland, who became tion of the administrative staff and the FIRST Discounts, and Charge claimed them. . . “After kindergarten" books for Juvenile piano his third wife. various unions concerned, Including the Is teacher. beginners In which first instruction material able piano like a suc- the American Guild of AT THE so attractively presented as to seem ARTHUR PRYOR, noted orchestra and Oblong form. cession of pretty pieces. MAKE YOUR SELECTION from the successful books here THE INTERNATIONAL SOCIETY FOR bandmaster and com- TIIE DEPARTMENT OK MUSIC of the Musical Artists.” MUSIC Will hold its University of Texas has recently occupied us send your choice for examination with full CONTEMPORARY poser, who for more listed ... let 1-9, at nineteenth annual festival August than fifty years had its new music building, constructed a THE OUTDOOR MUSICAL SEASON is return privileges. TUNES FOR TINY TOTS on the campus of the University of Cal- provided the world with cost of $475,000, including a $35,000 pipe going ahead on full schedule, despite Representatives of completely air- A Piano Method for Pre-School Beginners ifornia in Berkeley. some of its most inspir- organ. The structure, blackout drills and the vagaries of the or fifteen countries are expected conditioned. represents the latest word In York, the Goldman By John M. Williams Price, 75 cents twelve ing band music, died on weather. New the piano PIANO attend. This is only the second time the science of acoustics, several of the concerts are attracting the usual MUSIC PLAY FOR EVERY DAY Thousands of teachers regularly use BEGINNER S BOOK FIRST YEAR AT THE to June 18, at West Long in Band teaching material of this noted pedagogical au- festival has been held in this authorities in this field In the the verses in M. Williams Price, $1.00 that the Branch, New Jersey, at foremost large crowds, while In Philadelphia The Gateway to Piano Playing thority. The delightful little tunes and School for the Piano—Vol. I By John meet- Arthur this book are designed to prepare the pupil for immensely popular beginner's book for stu- country. Last year the place of the age of seventy-one. country having been called upon for ex- Robin Hood Dell concerts have had some Price, $1.00 An Pryor Price, $1.25 the regular instruction book. By Theodore Presser between the ages of 9 and 12 years by a dents ing was New York City. was born at St. Jos- pert advice. notable programs, with Lawrence Tib- An introduction to the piano for pupils of pre- The familiar "red book" that has started thou- leading authority on piano pedagogy Also pub- He fascinat- of school or kindergarten ages by means of sands of young pupils between 6 and 9 years lished in 4 parts (35c ea.i for convenience In eph, Missouri, Sept. 22, 1870. At one time bett on toe opening night drawing an ing pictures, tuneful melodies, and gamelike piano playing. This new and "Second Year at the Piano" ($1.00) age on the road to class teaching. MUSIC IN SWITZERLAND is not entirely PRADE, procedures. revised edition employs both clefs from the start. follows this work. almost as well known to the public as ERNEST LA audience of over 7500 and Artur Rubin- BILBRO'S "MIDDLE C" the comes throttled by the war; for news the late John Philip Sousa, Pryor is said director of music research stein, several nights later, attracting HAPPY DAYS IN MUSIC PLAY Festival, KINDERGARTEN BOOK that the International Music to have played 10,000 solos during the for the National Broad- music lovers to the number of over 8000. (The Sequel to "Music Play for Every Day") Arturo Tosca- By Mathilde Bilbro Price, 75 Cents inaugurated in 1938 by years he was trombone soloist and as- casting Company, whose Price. $1.25 again this fall at A fine instruction book for use with the youngest STUDENT'S BOOK TUNEFUL TASKS nini, will take place sistant bandmaster in Sousa’s band. For work in this capacity has CENEVIEVE TERRY, fifteen year old So rapid Is the advancement of pupils in Music beginners at the piano, in class or private les- II Lucerne. Although the programs and per- Play for Every Day that frequently youngsters of sons, using both clefs from the start. School for the Piano—Vol. years he toured with Sousa and then in brought national recog- violinist of Cheyenne, Wyoming, is toe grade Twenty Little Tunes in Etude Form for only 6 years are almost ready for second formers have not been announced, the of By Theodore Presser Price, $1.00 1902, when Pryor’s father died, the son nition, was awarded the winner of the 1942 Edgar Stillman Kelley study. This book, with its fascinating method First Year Students into the given in the Lucerne presentation, carries the student well Continuing where the "Beginner’s Book" leaves concerts will be took over the direction and reorganiza- degree of Doctor of Music Junior Scholarship of toe Natiorial Fed- second grade. ___ off this book enables the pupil to progress rapidly By John Thompson Price, 75 cents Concert Hall, and in the park of Trieb- because the necessary technical studies on grace tion of the parent organization, which by the College of Music eration of IN LAND Cheerful tunes, in a variety of rhythmic patterns, Music Clubs. The scholarship, ADVENTURES MUSIC broken chords, arpeggios, syncopation, park marks the site LITTLE PLAYERS notes written by a noted pedagogical authority for use schen, nearby. The had been known as Pryor’s Silver Cornet of Cincinnati on June hand crossing, wrist motion, etc., are interspersed which comprises two hundred and fifty Instruction Book for Young People as supplementary material the instruction Piano Method for Very Young Beginners A Modern to first of the Villa Triebschen, where for sev- A by interest-sustaining material. book. Band. Followed then some thirty years 12. During a varied dollars In tuition fees, renewable an- Ella Ketterer Price, $1.00 eral years, from December 1865, Wagner By Robert Nolan Kerr Price. 50 cents By in which Pryor’s Band became inter- career of over forty years in music, Dr. nually on toe basis of merit, was won by An engaging and thoroughly fascinating pre- Interspersed throughout this book are attractive made his home and where he completed nationally known. For nineteen successive Prade has been associated with Leo- features of the quite a few with verses that may La Miss Terry over twenty-three competi- school piano book. Distinguishing little pieces, number of his most important works, Its "rote note” presentation, rhyth- be sung. This book goes much further in tonality a the band at Damrosch in book are and summers appeared Asbury pold Stokowski and Walter tors from seven western states. She is activities and a number of clever Illus- than the average beginner’s book. PLAYER'S BOOK mic play including “Die Meistersinger” and “Got- Park, Jersey. important radio projects. trations whioh will delight any child. TECHNIC FOR BEGINNERS New a member of the Junior Symphony Or- School for the Piano—Vol. Ill terdammerung.” In 1933 the Villa was By Anna Priscilla Risher Price, 75 cents chestra of Denver. Colorado, and of toe By Theodore Presser Price, $1.00 converted into a Wagner museum. SCHOOL ADA RICHTER'S KINDERGARTEN Teachers, with an eye trained to the future of PERCY RECTOR STEPHENS, well known THE CARDINAL HAYES HIGH newly organized Women’s This volume, the third in the series, presents Symphony Or- NEW RHYMES AND TUNES talented pupils, early introduce this work as a CLASS BOOK pleasing study material arranged in logical order, teacher of voice and former president of ORCHESTRA, conducted by the Reverend chestra of Denver, preparation for the studies of Hanon, Philipp, conducted by Antonia which treats in detail trills, octaves, two notes THE SEVENTH SYM- Approach for Little Tots For Little Pianists etc. the New York Singing Teachers Associa- John W. Ziemak, was the winner of the Brico. A Plano against three, the pedal and other matters neces- PHONY by Shostakovich sary to technic. Memory study and ear training tion, died June 16, in New York City. Seventh Annual Catholic School Music By Ada Richter Price, $1,00 By Helen L. Cramm Price, 75 cents He are especially stressed. Pleasing pieces supple- will have its American While the simplicity of this book Is attractive to Answers the question "What shall I do with the ment each group of studies. was born in Chicago, September 24, 1876, Contest Festival held at Town Hall, New teaching premiere on the August THE CENTENARY OF children, it really is full of Important children while they are trying to learn the notes studied voice in Chicago, York, City, on 24. clever Illustrations which and the staff?" Many teachers have found this and New York May features. Replete with 16 program of the Berk- SIR ARTHUR SULLIVAN’S may be colored by pupils as "busy work." The book a valuable accessory during the young pupil’s closing pages outline a little operetta which may first months of study. Both clefs are used from BEGINNING WITH THE PEDALS shire Music Center. The birth has been observed be presented by the class. the start. STANDARD GRADED COURSE ON THE PIANO orchestra, consisting of C^ompelitionS in many parts of the By Helen L. students of the Music world, with concerts and For the Piano Cramm Price, 75 cents Miss Cramm, who has many successful Center assisting art- operatic performances of Compiled Juvenile and by W. S. B. Mathews publications to her credit, here gives young stu- Dmitri THE SIXTH ANNUAL COMPETI- versity Station, Baton Rouge, Louisiana. ists, will be directed by Iris works. Even faraway J4<>fps for f^tano iJecickerS Price, $1.00 Each Grade dents excellent material for making a first ac- Shostakovich TION for the W. W. Kimball Company quaintance with the pedals. The pieces, while This Port-of-Spain, Trinidad. The original and still the most widely used com- Serge Koussevitzky. prize of $100 is announced tuneful, are sufficiently easy for pupils in by the Chi- Printed In full color, A striking folde plete course of studies for the piano. 10 volumes grade AN AWARD OF $100 IS OFFERED by attractive an- two to play, almost at sight will be the final concert in a series of cago Singing Teachers Guild; the prize British West Indies, re- this which graphical! 10 grades. The new and revised edition of Grade nouncement stresses the H. W. Gray Company, under the presents the pai 1 uses both clefs from the start. three week-end programs beginning with this season to be awarded to the composer ports a most successful Sir Aromi the delightful and ent's responsibilit auspices of the American Guild of Organ- Sullivan profitable employment In guiding thei Saturday and Sunday, August first and submitting the best setting for solo voice, event of which the fea- of mind and body ists, to the composer of the best anthem children along th second. interesting sidelight in con- with piano accompaniment of a text to ture was “Trial which music study road to succes An submitted by a musician residing in the By Jury,” given at the brings. Space under be selected by the composer himself. Pub- •- — through musi nection with this premiere is the manner United States or Canada. The text may be Government Training College Hall under flap, below picture, study. The reverse side contains a forcefi CZERNY-LIEBLING GROWN-UP BEGINNER'S BOOK lication of the winning manuscript also provided for teacher’s letter addressed to the parent, in whic in which the score was brought to this selected by the composer but must be in toe direction of Irene Umllta McShine. is guaranteed name and address. the value of music training Selected Czerny Studies For the Piano by the Guild. Full details is given adde — In Three Vols. country, indicative of the scientific devel- English. For full details, address the Amer- Size 4 Vi" x 6". Price, emphasis by life real examples. Space i may be secured from Walter Allen Stults, 50c a hundred. provided at Selected and Edited by Emil Liebling ican Guild of Organists, 630 Fiftli Avenue, the bottom of the letter for th opments going on constantly. The score P. GREGOR PI.ATIGORSKY has teacher’s name This book leads O. Box 694, Evanston, Illinois. been ap- and address. Size, 6" x 9 Vi Each Volume, Price, $1.00 toward a definite goal, the ulay- New York City. The contest will close (unfolded). Price, ing of the and parts were printed on a 100-foot pointed to 35c a hundred. The "cream many fine compositions and arrange- toe faculty of toe Curtis In- of Czerny" studies carefully and in- ments about on January 1, 1943. This arresting folder places emphasis on telligently medium grade, that are available roll of 35 -millimeter microfilm and flown grouped in three volumes that will for piano THE THIRD NATIONWIDE COM- stitute of Music in Philadelphia to suc- piano lessons as basic music instruction and supply players. Everything in the book was Adaptable for use as either an envelope e earnest students with material for tech- this country in a small circular tin, stresses the social obligation of parents placed there with the adult student in to POSITION CONTEST of the National ceed the late Emanuel to closure or a mailing card, this practic nical practice from the second to the mind Feuermann. Mr. rovide musical training for seventh the exercises are for mature their children. announcement stresses music training hands, the PDieces probably the first time a major sym- Federation of Music Clubs, to give recog- A COMPETITION FOR AN OPERA pace last page provided appeal to the adult intelligence. Piatigorsky will teach violoncello g on for teacher’s vital and 9 a life ass nition to native creative talent, is an- by an American-born composer is Imprint. Four pages, 'A" x W. Price, 45c phonic work has been transported in an- William Primrose Printed In blue i: will be in charge of hundred nounced by the on India color pc this fashion. committee in charge of nounced by Mrs. Lytle Hull, president (blank) " the chamber music classes. card — size 5»/4 the event. The contest this 75c a year will be of the New Opera Company, New York. hun- 3 V'. Price, dred 45c limited to classifications with hundred (blank) two —a chamber The award is $1000 cash and a guarantee ..* •- A NEW “CONCERTO FOR VIOLIN,” by . --r .~T: - your wSLtxtV**'-'- name /5c a hundred music work THE CHICAGO OPF.RA and ad* wi Theodore and a choral composition. The of a performance by the New Opera COMPANY will your name and a Presser George Dyson, was recently given its dress. Co. choral competition closes give #-tK5«Keu.:-v on July 1 and the Company. The contest closes November a season of five weeks, beginning dress. public Everything in first performance when it was on chamber music contest Music Publications - World's Largest Stock on November 1. 1, and full details may be secured by November 7, with Fortune Gallo again the program of the London Symphony Full 1712 details may be secured from Miss addressing the New Opera Company, 113 toe capable general director. CHESTNUT STREET, P H I LAD E L Among toe mmmsMm P H I A , PA. Orchestra, with Albert Sammons as the Helen L. Gunderson, National Contest West Fifty-seventh Street, New York artists will be Lily Pons, Helen Jepson, very capable soloist, and with the com- Chairman, Louisiana State University, Uni- City. Rose Bampton, Richard Crooks. poser conducting. According to reports, Law- rence Tibbett, and John Charles Thomas. AUGUST, 1942 505 l ‘

Editorial

KedponJ EOT© looting 7 t/iisic (SeflinnerS UBUJ ' e5e ^jjeciuf -r,'- to the ^Ijtpeci tofJL PUBLISHED,MONTHLY PHILADELPHIA, PA. THEODORE PRESSER CO., inter- BY HE BOOKS ABOUT THE PERFORMANCE of al- Round Table Department of The Etude. If you are RY S l A I f K D ITORI A L -t N O AD V ISO find in the first volume of Wil- ^Jeachincj Walerials . . • most every kind of instrument are littered with com- ested in relaxation you will Editor l)K. JAMES FRANCIS COOKE. ments upon the importance of relaxation. These works liam Mason’s “Touch and Technic” a presentation of key- McCoy and Priscilla Brown, Assistant EJims T Guy 125 Music Editor relaxation principles so simple and so practical that THIRTY RHYTHMIC PANTOMIMES William M. Felton, have a great deal to say about the specific application of board Kindergarten and Pre-Piano Classes Krick Dr. Rob Rm Peer, For Home, Brainc Dr. Henry S. Fry Georec C. this day. Robert Rcccl certain principles to the arm and to the fingers, but few they seem startling in Gaynor Blake W. Gehrkeris Blanche Lemmon Kier Hugh By Alice C. D. Riley, Jessie L. Gay nor? and Dorothy Pietro Deiro Karl Gest Or Goy Majer William D. Revellr relaxation as pos- volumes Dorothy Gaynor BlAje has selected Dr. Nicholas Booty Elizabeth recognize that relaxation is by no means a local condition, The art of acquiring as nearly complete From .he celebrated Sang. >1 >hr Child Vd.rU ^ Page each are clever nurch stick Paul Koepke N. Ch%rd for this book thirty most attrwivc songs. Accompanying - sible is both physiological and psy- foriwi youngyoun^. peop E R keyboard exercises, for in- mgsings wmthwhich showsnow thetnc rhythmicrnytnmic action 1883 BY THEODORE PRESS or that \ appreciation and aamtf wort FOCSDED developed, the sh.1,1 thus .s given early training m music g^p with pre-school chlUna in the chological. Nearly everyone has had Muthers, too. can use these rhythmic pantomimes and songs stance, can not bring effective re- original volumes also are home. Suggestions for use of the rhythmics with other songs in the that after long, hard, given. Complete texts, of course. laxation unless the student practices the experience entire physical labor the mind may be so • SONGS OF THE CHILD WORLD 13 Vo Is.) Each, 1.25 the relaxation of the body. ^^hucj-iidtt By Alice C, D. Riley and Jessie L. Gaynor (^ontentj j'Ot' 1942 The young teacher who said, “I alert that it is difficult to go to these have been used in The most popular collections of children s songs published. For years and private schools, and in juve- until I sleep. Your body is “dog-tired” but the home, in the kindergarten, in primary classes in public • PRICE 23 CENTS have relaxed and relaxed seasons occasions, for various VOLUME LX, No. 8 nile clubs and societies. Hie songs are classified for various and even devotional, 505 like activities in the life of a child. They are educational, recreational, yes, and WORLD OF MUSIC feel like a tired oyster, but I do not your mind leaps about a induced. as several sacred songs for Sunday school groups are EDITORIAL 507 get results,” did not understand mountain goat in Montana. There The Right. Kind of Relaxation FOR THE PIANO I For Little Children) 1.00 • A METHOD YOUTH AND MUSIC that there is a sense of balance, of also may be pathological condi- l.t, mmon 508 By Jessie L. Gaynor Climbing to Musical Success Blanche is transcription to the printed page nervous equilibrium tions affecting the nervous system Published late in Mrs. Gaynor s career tin's book really a MUSIC AND CULTURE muscular and comprehend the beginnings D of her successful plan of teaching by which little children quickly Music, Morale, and Elsa Maxwell .Rout Ihylhut 509 teacher and pupil duets. is prevent high degree of of piano playing. Includes interesting pieces and The Amazing Garcias FVunc/.v 510 during performance which quite which a Claude/ A/ruu 511 Creative Technic for the Pianist different from the ludicrous “flop- relaxation. In such a case, you will • FIRST PEDAL STUDIES FOR THE PIANO 60 Black Key Rote Playing Prior to Sight Reading Mabel Madison U atson 513 By Jessie L. Gaynor MUSIC IN THE HOME piness” which some people con- require the skilled attention of a 515 works for very young Midsummer Radio Programs : Alfred Lindsay Martian This is probably the most frequently used of Mrs. Gaynor’s educational must pre- Recent Notable Music on Records Peter Huyh Herd 510 piano students. It gives the juvenile the fundamental work in pedal technic which found with true relaxation. The physician trained in the modern Bookshelf B. Meredith (.'adman 517 pare for the further study as an advanced student and does so in an understandable manner, The Etude Music Lover's interesting to the pupil. This book may be taken up in the second grade. MUSIC AND STUDY condition of complete relaxation schools of medicine and psychiatry. The Maladjusted Child in Music Instruction Dr. Margaret Wolf 519 one in inducing • SONGS OF MODERN CHILD LIFE 7.00 The Strauss Waltzes Give a Ball for the Instruments of the Orchestra that employs sleep The normal physiological and Harvey Peake 520 By Jessie L. Gaynor and Dorothy Gaynor Blake is not like that of the virtuoso be- Yes, Singing Lessons for the Masses . Zeta I H Hod 521 neurological condition in which an This book, the last work of Mrs. Gaynor. has groups of juvenile songs devoted to health, Cherubini and Napoleon Waidemar Schweisheinu r 522 safety, science and invention, the home and community relationship. These were suggested The Church Pianist and Her Problems Chari,At Seal 523 fore the keyboard who, while free artist must find himself in public by the Council of Public Safety and the Child Health Organization of America. What Band Music Should Be Edwin Franko Goldman 025 : from nervous tension, is at Enlisting Music for Men in Service Mary Jarman s ./> 526 the performance stands half way be- • SONGS AND SHADOW PICTURES for the Child World. .75 Original American Folk Music . Henry Morton MeUahan 527 The Recovery of a Weakened Violin Technique Marion G. itsi/ood 527 same time mentally and muscularly tween utter relaxation, such as By Jessie L. Gaynor The Teacher s Round Table Dr. Gun Mu,/ r 528 alert in every cell. A little art-music book of songs for children. The verses were contributed by Rachel Barton "A Piano for Mary" Evelyn McCann Prior 529 nerve that which should precede sleep, Butler and the shadow picture illustrations are in free-hand paper cutting by Susanne Fenimorc Questions and Answers Dr. Karl G, hr/.-, as .530 Technical Tyndale. Makes a most delightful gift book tor youngsters. Counterpoint in Plain Language Arthur n Garl/v.'l 531 strength is developed and the extreme tension which Becoming a Conductor John Barinml/i 532 Technic of the Month—Heller Op. Ko. 16 Dr. Gun largely through alternate tension teachers are • FINGER PLAYS I Elemental Hand and Finger Exercises) . .60 J7, Mai 555 of piano frequently Ear Training Is Helpful to Accordionists Pietro Dt in, 505 By Jessie L. Gaynor and relaxation. Technical ability Marc Aurelio Zani de Ferranti Georye C K ri, 587 obliged to combat. Perhaps your descriptive verses and charming A half dozen games, with interesting and tunes, for use in MUSIC is finger Numerous illustrations also quite a different thing. That teaching hand position and movements. accompany the descrip- Classic and Contemporary Selections imagination may be assisted in at- tions. aa Hite SgP, Johann Strauss, Op. 533 depends upon control—a control of taining the desired state of relaxed Waltz—from ‘Serenade for Strings” Tschaikotoska-Peer,) 536 TUrnne froni Piano Concerto in A Minor Schumann'-!., vine 538 the fingers so precise, so delicate, balance by picturing one 510 of the so finely poised, f ^iano piecestecei Itj Jessie oC. Cjtaijnor 040 so responsive that long strings upon a harp. If the On Venetian Waters 041 Cat. No. Grade Price Cat. No. Grade Price ..LoutcF.Muirs 542 no other calling demands such a Vocal and Instrumental Selections screws (tuning pegs) are turned *3022$ Guitar Serenade, The 2 .30 30191 j Moon Boat, The) .30 My Shadow — 1 1/2 So Near to God (Vocal) high degree of mental and physical ) j William Arms Fisher 543 30226 Little Trombone Solo, The.. 2 .30 Come On, America (Vocal) so that the strings hang loosely, no 30192 l Blacksmith, The) Kenneth M Murchison 544 ’ ** • ... I .30 Chanson du Soir (Organ) coordination. 30008 March of the Wee Folk.... 2 .30 /Tea Kettle, The( !/2 Clarence K, if™, Morning Song (Violin) K 540 musical effect can be achieved. If 30193 (Light Bird, The ItZTh T Jc,Zn £ Minuet In the Old Style 3'/j .40 ) Excerpt 547 THE 1/2 .30 from “Fantaisie Hongroise" (Eb Alto To most people relaxation is a PROPHET OF RELAXATION (Song of the Kitchen Clock Saxophone) . . a Be in- 548 | the strings are tightened up, there Princess Donees, .30 a (Fm, Uands) 30736 The 3 30194 Froggies’ Singing School) “ Louise Woodbrfdge 550 While Ludwig Deppe is called "the father of relaxation," in re- j DelightfulD 2tS?l*rPieces ?for Youngv Players:, word, and not an experience. Owl, The '72 .30 Few' j J lation fo pianoforte playing. Leschetizky comes a point where the 30735 Voice of the Wind 3 .30 Mister Cricket Plays His Fiddle was certainly its major strings 30195 (Squirrel and the Honey iC fr0“ ** 0pCTa “Alceste” 552 have the slightest idea of what it prophet. 30190 1 Little Shoemaker, The Bee, '.V-'.V.V. are in tune. is a .V/2 -30 The k....| .30 Red Timr GluXoar^ 552 This normal re- (Song of the Shearer )* ’)- Bernieoe Rose Fly, The Swaying Tries 7.'.7.7.7.7.7. Copeland 553 means. Some years ago a very un- • Also Janet Glass laxation. If the published for Two Pianos. Four Hands (50c) Technic of the Month 553 screws are still derstanding trained nurse, Anna MARCH OF THE WEE FOLK Melody with Repeated Chord Accompaniment further tightened, the strings may Stephen Heller, Op. No. is Payson Call, wrote ! > ij 554 a book which she THE JUNIOR ETUDE entitled, “Power become so taut that they can no longer stand the strain, /no— Elizabeth Gest 572 and — MISCELLANEOUS Through Repose.” In a sense it was an inspired book, in will break. This is destructive tension. A Forgotten Swiss Opera Is Revived n It must be obvious, r er *tj> Why and When Do Teachers Really e 512 that the writer was able to work upon Fail?. . qUiH i?, , the reader’s imagi- then, that the ‘ 1 ,lrr 514 desired state of poised relaxation The Rhythm of the Malaguena ‘ ! may be Mrytleit Gordon Roberts nation Music for Defense 514 until a degree of relaxation was actually acquired. achieved by learning Paganini, Champion of Restlessness .7.7.7 518 how to relax completely, as well as » 1 1 A I? So lou Can’t E ' Marshall 518 We have recommended Play Plain I . this book to Chant . . . performers for years • • by developing • one’s Practicing Wrong Notes .... ^ Muse 524 greatest possible technical strength in Voice Robert iforrw Treadwell and have Questions Answered 524 had many grateful letters of thanks. Relaxation the i llJ =j Organ and Choir Questions Answered* N^chola* Douty 557 arms, hands, and fingers, and then discovering the '=m Ul point Good or Bad Intonation? lz Henry Fry 559 at the keyboard, without the 30008 fundamental removal of as where there is, Violin Questions Answered -Gaylord Yost 560 on the one hand, no undue tension, and on The • Robert much bodily Value of Encouragement Brainc 561 tension as possible, is sure to be a disappoint- the Musicians in the Past Leonora Sill Ashton 562 other hand, no absurd “floppiness.” Four Advertising ment to the Approaches for the Teacher J? itter 576 performer. All that Deppe, Leschetizky, Philipp, Letter to The Etude Ruth Price Farrar 576 Your Editor for years has practiced a system of self- 576 Breithaupt, and Matthay wrote and practiced Entered as second-class matter at the key- hypnosis of his January 16 1 RRA tu* on . m « own devising which has helped a board was widely him to secure ,879 ' C°Pyrigh ’’ ,9<2 'p°;, proclaimed in - h Lheodort le America by William Mason, .Ca. fo/u. “s'A. total relaxation, producing a quality of sleep which from the time of his brings The John Church return to America in 1885, and is Company about more rest in an hour than sometimes may be acquired Theodore Pressor Co., Distributors, B O ' iombij to-day 1712 - c< expounded Chestnut St., Philadelphia, Pa. r ffi -> monthly by Guy Maier in The Teacher’s 5“i through eight hours of restless sleep. Some day we may found Jd, S2Y5 a ^tc^, £ Continued on Page 558 506 r THE ETUDE AUGUST, 1942 Music and Culture for this test the /.HninvshiD And in preparation made it possible for Ssic and Art Foundation Youth and Music Peter Meremblum. him to study with came to Los An- The Philadelphia Orchestra Paul was a senior, and geles the spring when Alexander HUsberg, the concert during their- stay Music, Morale, and audition. A month later master, conducted Paul’s had won the scholar- Paul was notified that he Climbing to report to Philadelphia in ship- that he was to he would study with Mr. the fall; and that Elsa Maxwell Hilsberg. of auditions in This was the first of a series He traveled across which Paul was successful. Expressly for The Etude with seemed to him then like An Interview Secured Success the continent, which Musical He had no way of know- a great deal of territory. International Figures many times that One of the Most Picturesque ing that he would later cover number of miles in company with the men and women of two famous orchestras. He only knew this, his that this trip was wonderful, and op- portunity, was the most priceless birthday present a boy ever received. He was just sixteen on the day he reported to Curtis Institute. After he had studied there for three years

time he reached his twelfth HEN PAUL CRANE Institute Orchestra, under Fritz Reiner, a second birthday, violin playing had SHURE was eight chance for an audition came. Though more con- T IS THE HIGH MARK of achievement when tired of parties. Until the war is won, she S become considerably more to years old he built a ultra of has no heart for them. Such parties as W fident than on first auditions, Paul knew the a name alone stands as the non plus the boy than a pleasurable it with piano harp, strung competition would be keen. Like thousands of I its owner’s product. When you hear Stradi- are—and must be—given, should find their and pastime; it was the thing he wires, painted it golden, other young people he was trying for a place varius, you think of violins; when you hear reason in benefiting war causes, rounding Elsa Maxwell's infectious humor always hoped to follow as his life it to perfect pitch. "gels" her audiences. tuned in the All American Youth Orchestra, being Steinway, you think of pianos. And when you out pleasant hours for the men of our have some- work. Then, in order to formed by Leopold Stokowski. hear Elsa Maxwell, you think of parties. Alert, armed forces, or building up public morale. thing to play, he wrote a song But it was a disappoint- It was a great moment in his life when he energetic, most successfully concealing that am- Otherwise they degenerate into vacuous with harp accompaniment. ment to Paul and his parents learned that he had won. Rehearsals started in plitude of girth that forms the main joke of her noise, and vacuous noise has no place in present- I still do. That discovery came immediately after In some way his achieve- that lessons were not regu- Atlantic City. Paul was surprised to find himself radio program, Miss Maxwell has made of parties day America. what might be termed my d^but in "Lohengrin,” ment was noised abroad, and lar; instead they had to be assigned to first chair. Of course such a position a business, a sport, and a wedge into fame. If you To what shall we turn, then, to take the place and it did even worse for me than the original he was asked to perform on curtailed whenever other in your high school orchestra is one thing; it is think that such an intensive concentration on of idle gaiety? To no one special thing, Miss Max- performance. I was exhibited, exploited, told how his home constructed instru- more pressing claims ab- indeed a distinction of another sort playing be- fun has made of Miss Maxwell a brittle feather- well tells you—but to something, anything, that too, too marvelous I was—and never once taken ment for a meeting of a Par- sorbed the family income. fore one of the greatest conductors in the world. brain, whose idea of a real problem is whether carries with it the spiritual power to penetrate seriously. If I had been, perhaps . . . but that’s a ent Teachers Association. His Paul always found a solu- his tour, the decorations, you are beneath the surface idle appearance on that occasion tion. When he had no On return from the South American to use gold or blue in of gaiety. One person long time ago. Paul tried another audition in mistaken. Miss is lady of turn to art; gave teachers in the Los An- teacher, he practiced by him- —membership the badly Maxwell a may another to good books; a third “I never had a music lesson in my life, of any Philadelphia geles schools their second self. Orchestra. Had there been an open- thoughtful temper and searching intellect, with to useful services. Elsa Maxwell herself turns to kind; yet I could always play, accompany, com- prophetic indication that then- The result of his study ing for a violinist he might have been taken into a keen wit and an instinct for reaching down to music. She is well able to do so. A gifted and ac- pose. If you play by instinct, you can’t go wrong. school system harbored an ex- manifested itself when he its membership at nineteen, but as there was the root-causes of things and bringing up star- complished musician, she has been at home with Only those who depend on rules can make mis- ceptional musician. The first was assigned the concert no vacancy in the violin section he went on a tling truth. For the time being, Miss Maxwell is music since her earliest childhood; has earned takes. I once played “La Tosca” for Puccini. I tour of had been his successful sing- master’s chair of the high the United States with the second All her livelihood in various branches of had no idea what the score looks like, but I knew American Youth Orchestra, ing and speaking in a school PAUL CRANE SHURE school orchestra. He filled a again acting as its the art; has retained for it an ardent how it sounds. So I played it as it sounds; not play. concert master. Last fall an opening did occur and refreshing enthusiasm. just melody and accompaniment, but with in the Teachers in the school which Philadelphia Orchestra and Paul was strings, clarinets, oboes — orchestrally. Puccini he attended already knew that he was above A Child Prodigy asked me how I did it. I wish I knew! Well, when average mentally, for a Binet Intelligence Test He was the “baby” of the orchestra and as “I was a child prodigy,” Miss Max- in my early ’teens I had to make my own living, placed him in a room with mentally superior such might, perhaps, have been patronized a well tells you, “and it ruined what I turned naturally to music. There I was, with children. They knew, too, that he was not robust. little. But the men of this great organization might have been a worthy artistic my instinctive ear that never made mistakes, In fact he had been so delicate that his parents treated him as a fellow artist, and during this career. When I was seven, my father and the adulation of all those who had heard had not allowed him to enter school until he past season he has enjoyed the inspiration of took me to hear a performance of me in pigtails; surely the world was waiting for was seven. their superb musicianship, the warmth of their “Lohengrin.” It was my very first me to show myself! I did show myself playing But Paul in no way thought a frail body a comradeship and has had the pleasure — of opera and I sat there spellbound. I the piano in a cinema theatre. That was quite an handicap. Fulfilling a desire of his father, he playing under the leadership of such men as remember feeling immensely sorry for auspicious beginning. started violin lessons in his ninth year. He found Eugene Ormandy, Arturo Toscanini and Sir the blonde heroine the violin even more fascinating than his —quite apart from “For years I was a professional musician at harp. Thomas Beecham. While he considers — it an the fact that her name was Elsa His spare time was devoted to drawing pictures.* honor and an — least, I made my living from music. As accom- achievement to have won a and wanting Living near Hollywood, he and his small friends most desperately to rush panist, I have played for Caruso, Melba, Alda. place as one of the personnel with the Phila- I were naturally interested in up on the stage and tell her to be wrote music, too. Kreisler, motion pictures, and delphia Orchestra, at his Melchior, Tibbett, age, he does not sensible on one occasion they gave Walt Disney a bit and not let sheer idle curios- Alda, and many Paul is the boy with the harp that he expect to rest on his laurels, more distinguished artists have but intends to ity wreck of competition. With painstaking artistic efforts, made himself at a school in Los Angeles. continue her romance with that included my compositions on their studying and working toward an programs. I they covered a large roll of wrapping paper, then lovely, be-curled knight. And the mu- wrote even higher goal in the musical scores for revues and musical comedies, world sic! cranked it by hand between lights and a screen. similar position also in the All City High Schools In the It was as modern in those days and I have at least one major Shure household there has been much symphonic work A little later their interest swerved to musical and Junior Colleges Orchestra. rejoicing as Shostakovitsch is now, and it lifted to my credit. And, over Paul’s record of accomplishment of course, I got to know’ people. journalism, and this time it into was The Etude Such honor was a pleasure of course; yet this but Paul is me those super-earthly realms The next step anxious that it shall be was giving parties for my friends. that seemed to be in for some competition. Their confined to that one was local and transitory. How Paul was to con- the family circle. can sense but can’t explain. And before I “You mustn’t tell knew it, I had a reputation—not as sheet, of which Paul was editor-in-chief, people how was tinue with violin lessons when there were young I Well, the moment we returned home, a musician no was when I did this or that ” but as a party gal! Now, the odd thing mimeographed, and sold during its extremely he often I funds at his command was a problem. By the warns sat down at the piano and played is that his mother. “It sounds like parties—even though I enjoy them, brief lifetime for one cent a copy. time he was boasting." the and a senior the school officials and Paul started a whole of Elsa’s Dream by ear. That who does new chapter in his life not?—have never meant anything to While Paul was in junior high school he was representatives of the Music and Art recently. was my undoing. Foundation He enlisted in the From that moment me. Giving parties is given Navy and joined the about as significant as feed- a scholarship by the Chouinard School of Inc., of Los Angeles, had formed Navy on, I a plan. Paul’s a Thl med the was a prodigy. It was discovered, ing peanuts to the Art. This enabled him to attend classes Sp0t in which his animals in the zoo. Yet my there record was so outstanding that it musical unfortunately, seemed to point tafaientent couldLTbest be used that I could play any- parties earned me that during two summer vacations. Drawing remains definitely for his country during dreaded “specialization" to a career. He had entered school this thing, by ear, on any time when we all instrument that tag, while my music one of his chief interests to-day, and, if must put America’s was never taken seriously he had at seven; he would be graduated at fifteen col came within and eeve interest Bret. To my reach—I still can— at all. How could a party not cared quite so much about the violin, America a half with scholastic niany thta may seem gal be expected (or and musical honors. He and when I had nothing else to play, might have gained another Whistler. te to allowed) to write, or perform, or But by the was advised to try for a Curtis Institute a successful I even think of of Music careei,career' butho! ?"?i“to Mr. made up songs, sonatinas, operas, serious and ( Continued on Page music? My artistic aspirations 556) Miss Maxwell is a capable musician. and even were 308 symphonies of my own absolutely ruined.” ( Continued on Pape 570) THE ETUDE AUGUST, 1942 309 , —

Music and Culture America, Europe sible for her in her home. was ready to welcome experience be- Music and Culture Her two years of York public had fore the New transformed the promising debu- fledged artist. arcia established tante into a full in Paris. grown in richness himself again The Her voice had Technic performances of range. Creative G After a few quality and in extent of his voice could find of opera, in which Cool headed critics no longer showed that it could minor defects in it, but her on, he gave all his her be counted father’s training and own the teaching of singing, en- time to Garcias instincts and intelligence for which his long musical life Amazing disguise its short- abled her to for the Pianist fitted him. He died in so well comings and emphasize its beau- 1832, at the early age of fifty- she was rather ties. In physique seven. Conference with small, but well proportioned, A As a singer, Manuel Garcia more’ charming than beautiful won his victories by the Intensity — and always costumed in the best of his style “the Andalusian taste. frenzy of the man”—and his of actress she had in- mastery of vocal technique. He As an rrcui Andalusian frenzy” was not a lovable man and this herited “the ,ranciA Every note she ut- lack must have been apparent 3 of her father. Internationally Distinguished and every gesture she made in his singing. His strong will tered Chilean Pianist and domineering temper won for were charged with an emotion him respect, rather than affec- that no audience could resist. tion. Even his children seem to As her father’s daughter, she have feared more than they knew no fear and by her almost Pari II ES loved him. His lessons must have incredible self-reliance accom- SECURED EXPRESSLY FOR THE ETUDE BY MYLES FELLOW been exhausting, even harrow- plished many seemingly impos- ing, experiences. Tradition has sible tours de force. Only twice passers-by would hear one the it that were failures charged to her account— processes, but, in the long run, has been much sounds of distress Issuing from his house. On the Moor himself in Rossini s laryngologists than to singers. impersonation of Claudio Arrau, icho ranks among the most eminent of the younger pianists, is a inquiry they would be told, “Oh, that’s nothing! more valuable to a “Otello”; the other was an attempt to dance asserted themselves at an unusually early age, Garcia himself soon discovered that its chief native of Chile. His pianistic gifts It’s only Mr. Garcia teaching his pupils how her career theo- mazurka on the stage. In the course of already established as a concert artist in his own country. value to him was that it confirmed certain PROBLEM of the pianist and at five, he was to sing.” dozen years she took HE ULTIMATE other students of voice of scarcely more than a Two years later, the Chilean government granted him a scholarship for further equally ruthless with himself when ries that he, as well as is one of interpretation. The goal of his He was operas, in some of which she to be true. part in thirty-five study in Europe. At seven, he went to Berlin, to work under Martin Krause, him- there was a desirable goal to be obtained. In his before him, had held T studies may be simply stated: the com- memorize a new Garcia, Junior, was knew more than one role. To distinguished teacher. there lingered the tradition of the vocal The number of pupils of prehension and re-statement of the thought of self a pupil of Liszt and a Upon completing his studies, day hours. or another many famous role took her only a few recognition recitalist orchestral soloist feats performed by the castrati. Garcia seemed legion. At one time the composer. It is not so simple, however, to Mr. Arrau won immediate as and abroad, singers, well as countless mediocrities and to fulfill the promise his childhood in South America. ap- to be determined to show that he could duplicate, as Romance and Tragedy attain that goal! The thought of the composer and went back of He his studio. Among the even surpass, their skill with his normal mas- nonentities, frequented as well as comprehended: peared in North America for the first time during the season of 1939-40, earning a full must be expressed sisters, Maria and Pauline; In January, 1828, Malibran inaugurated culine voice. He excelled all his contemporaries famous were his two and the means of expression involve the mastery acclaim throughout his country-icide tour.—Editorial Note. have greatly and brilliant season in Paris. Her father was in the ease and security with which he executed Jennie Lind (whom he seems not to problems which, in them- with much of of purely mechanical admired) Johanna Wagner (a niece of Richard) with her for a while and sang the most difficult ornaments. His musicianship ; selves, have little relation to music as such. That but his physical powers were fine for a singer. In the Mathilde Marchesi, Stockhausen, Charles Sant- his old mastery, too was extraordinarily is where the matter of technic arises. There is waning. The night he sang Otello all course of his career he composed some forty ley, Marie Tempest (probably still living) all of evidently little musical value in turning out fireworks of dividual parts of a picture-puzzle. The problem The first step in the process lies with the long ago, were proud to call him master. his youthful fire seemed to be his again. After operas, all of which were forgotten whom digital facility digital facility—but this same of the advanced student is not how to execute teacher. The business of the teacher is not to attested his musical facility and technical On his hundredth anniversary the sovereigns one poignant scene the curtain fell with Desde- but must be present in order to express the musical feet of the some single point of technic, but how to provide insist upon special methods of passing under skill. of Spain, Germany and England sent him deco- mona crushed and weeping at the thought that lies behind fleet, difficult technical himself with a complete and enduring technical the thumb or holding rations and laudatory messages; other admirers, jealous Moor. There was an outburst of approval the wrists, but to give his passages. One may compare the pianist’s tech- that will be ready for all sorts of pupil Garcia, Junior including celebrities in both the medical and the and the curtain rose, discovering father and equipment a foundation of natural relaxation. Ten- nical equipment with the writer’s use of words. service and will remain ready at all times. Thus, sions Manuel Garcia, Junior, was born in Catalonia, musical world, gave him a dinner and presented daughter hand in hand, ready to acknowledge — and tightnesses that creep into the early When we read the work of some master novelist, the larger problem of technic is one of resource. Spain, in 1805, and died in London in 1906, the him with a fine portrait of himself, painted by the applause. But now her face was almost as lessons may mar fluency later on. Now, it is not we are absorbed by the story, the thought; we longest-lived of all singers or teachers of singing, the American, Sargent. No one so well as he was black as his, for in her joy at his success she a difficult thing to get a young student to relax do not stop to comment on his correctness of Creative Technic though statistics show that teachers of singing capable of passing on the best traditions of the had thrown herself into his arms and kissed the real task is to have him stay relaxed while sentence structure, his knowledge of punctua- are exceptionally addicted to longevity. Tem- nineteenth century to the twentieth. his sooty countenance. After the first few years of study, the pianist he plays, without diminishing of power. This may tion, his ability to frame paragraphs without peramentally, he was the antithesis of his father, All Europe wished to hear the young prima is no longer concerned with individual difficul- be accomplished by acquiring the habit of play- An Unfortunate Step errors of grammar! Still, those correctnesses who tried in vain to mould him in his own pat- donna. From Paris, she went to London, then ties; rather, he tries to provide himself with a ing with the entire arm instead of the half that must be present, in order to convey the thought complete resource of technic tern. For the first twenty years the boy was under Maria Garcia’s marriage to Malibran took back to Paris by way of Brussels. There was a —a reserve fund of begins at the elbow and ends at the finger tips. his father’s tutelage and, as already mentioned, place in York in March, 1826. she con- itself. From the writer’s point of view, they are finger-fluency that will enable New Why glorious tour in Italy with Lablache, the great him to master By acquiring big, full arm movements, the Joints a necessary technic; from the reader’s point of any was in his opera company in America. His voice sented to marry him or why her father per- basso. Everywhere she was acclaimed as a musi- keyboard problem. When he arrives at this tend to remain relaxed because the weight view, they safely is was a baritone, capable of singing both Figaro mitted her to do so are questions that have cal genius. may be taken for granted. Tne point of his development, he finds that the way, distributed. It is precisely this distribution of and Leporello; also equal to his father’s tenor never been answered. The chances of a happy same is true of pianistic technic. The pianist or method, of expressing In 1836 she obtained the annulment of her himself technically is body weight that results in free playing. must command a technic that will One role in an emergency. But theatrical life was dis- union between a high-spirited and talented girl marriage to Malibran, probably enable him of little importance. What counts is through the in- to achieve should never play from the fingers. The tips to express any and all of tasteful to the young man, who was of a quiet, of eighteen and a man of more than sixty were tervention of our and her forms of musical thought. the expression itself! It is in this sense old Revolutionary that Liszt the fingers are merely the points of contact be- studious disposition, much more at ease in the very slight. Within a few weeks she was com- friend, He uses it for that purpose only—never as an once said, “Never Lafayette, who had known her in New mind how you play it—play it tween the player and the instrument. studio than behind the footlights. It was not pletely disillusioned. independent means of exhibitionism. The force Malibran proved himself to York and now declared her to be the Thus, the with your foot or your nose if necessary latest and —but that presses the keys down should be body- long before, much to his father’s disgust, he be an unprincipled ^adventurer first step in approaching technic is to under- without money last sweetheart of his long life. As soon make it sound right!” Thus, in the final analysis, as she weight, not finger tension. As an experiment, try gave up all thought of a stage career and de- or sense of honor. In the fall of 1826, the Garcia stand its use! technical was free she married Charles de Beriot, a Belgian mastery is the means of making music to sound a forte tone voted himself exclusively to the teaching of sing- The practical with finger power alone. troupe departed for Mexico, leaving Maria to violinist of note. Their approach to technical mastery "sound right,” regardless of home in Brussels was finger positions, You will be conscious of effort, of ing, for which his instincts and his education share the dubious fortunes of her varies with the advancement of the student. tension, of a husband. She of the happiest. The “methods,” and the like. It is this ability to as- sense of separateness between the finger so well fitted him. took part in some English operettas and occa- beginner finds that he has his hands full in and the One morning she was thrown from her horse sure one’s self of the means of making music arm. In 1829 he was made a professor of sionally learning Now strike the same key with the singing sang solos in Grace Church, but there in a London to overcome single problems—he must sound right full park. Her injuries were probably that I call creative technic. weight of the entire relaxed in the Paris Conservatory; in 1848 he moved his was no real opportunity for her to exercise her learn how to hold his hands, how to raise arm behind it. At not necessarily fatal, but she insisted his Creative technic follows no set rules, or studio to London, which was his home during on singing method, once you will notice the difference. unusual gifts and after a year of unhappy strug- the fingers, how to execute scales, runs, arpeggi, There is no same night and, although the pain was in- or “school.” It consists in learning how to move the next fifty-eight years of his life. For more gle she left trills, tension, no effort; the full body America, never to return, taking cessant, octaves, leaps, and the like. Each new prob- weight is now continued her strenuous life about the keyboard in the most natural than eighty years he devoted his great intelli- with her without way. carried over to the key. It is only her husband’s name, which, curi- lem that he encounters completely fills the hori- released through abatement. She was engaged to How, then, is the student to gence to the study of the human voice. In 1854 ously sing at a great achieve the means the finger tip, but it enough, she always used during the rest zon. As his work, and his fluency progress, does not originate there. music festival in Manchester how- of learning how to create technically he gave to the world his invention, the laryngo- of her short life. and though in no —to pro- That is the secret of relaxed condition ever, these problems take on a different value. vide playing. The finger scope, to appear at all, she himself with a resource of technic that which has told us much about the vocal But though there was no sang not only They fall into will tips must be kept firm and strong, operatic career pos- what was their proper places, like the in- help without ten- announced ( Continued him to master any difficulty? on Page 562) sion, while the weight on the keys 510 is simply AUGUST, 1942 THE ETUDE 511 ,

Music and Culture

Is Revived Music and Culture Swiss Opera period of A Forgotten written for my own beginners over a years have been collected into a volume and Cliinger (fL 2),-. Jiani published in 1931, under the title of “Songs and through them. If one thinks of his fin- released musical talent he pos- Black Key Rote Playing Duets on Black Keys.” These of his force, the living with the Finger Games, gers and hands as the source fairy tn earn his BEGINNING of the year 1828, a reached the age of thirty, catchy tunes are easily learned by rote. Their becomes tense; if he thinks of them N THE Before he had playing completed by Franz sessed on which body opera. “Fortunat,” was expected to settle permanently the harmonies are supplied by the teacher’s part. merely as the channels through nobleman he had I von Wartensee, a near Sempach How- full attention released to the keys, his playing be- Xaver Schnyder estate, Wartensee, This allows the child to give his weight is reviewed favorably parental of Lucerne, Switzerland. It was that his fathers all-too- to correct handling of the keys, while his musi- comes relaxed and free. ever he soon discovered contemporary musicians. The opera by leading activities had impoverished the Prior to Sight Reading cal taste and rhythmic sense are being subcon- lavis’h charitable of Technic 1831 and was exceptional y Basis Good had its premiere in sell the property and sciously developed through hearing the secondos. only three family. He was forced to habit of received. However, it was sung While the teacher is inculcating the well a music teacher in the Here is also a wealth of material for first recital hundred had to take a position as he should also study times and then was forgotten for one relaxation into his pupils, at Yverdon. After this school programs. good Pestalozzi Institute their natural habits of motion. The basis of and ten years. section success- Franz Xaver Schnyder von Warten- A New Teaching Device It is regrettable but true that a certain moving and October, 1941, it received a highly was closed, technic is to find the natural way of In the teaching profession that Theater at Basle. himself as music instructor at of music maintains keyboard motions. No two people ful revival in the Municipal see established to apply it to correct form is not necessary in piano playing, phenomenon is mainly to be where he soon had consider- move in exactly the same way; no two pairs of The key to this Frankfort-on-Main, recent years Found Fascinating to Little Dnes at least for the beginner. To these teachers of constructed exactly alike. The basis found in the fact that Switzerland in able success. hands are course technical points appeal as of its cultural heritage. opera, “Fortunat,” Franz would not ad- of good technic, then, is to explore individual has become conscious In addition to the realized that Switzerland wrote other vantageous, but even they cannot fail to admit possibilities and limitations, and to discover the Music historians had Xaver Schnyder von Wartensee musicians even in the nine- works, after a few try-outs that the “natural” manner most natural, freest means of manipulation in had a few eminent musical plays, also several choral four of handling the black keys is approximately the each student. The important thing in teaching teenth century. symphonies, and a large amount of chamber von Wartensee, scion of academically correct one. This is not true of is develop the instinct for natural movement, Franz Xaver Schnyder weie favorably re- VUatdon to music. Most of these works l„ WaU MUiton was born in 1786, at Lu- the white key start. In defense of this modern so that the student can find for himself the an aristocratic family, became forgotten. He died in probably ceived, but later particular movement needed for each technical cerne. His youth was carefree, and he vogue for starting keyboard work without re- IHfiR t.hat, in later years have problem. The teacher’s task is not to insist upon nevpr Hrpamprt he would gard to form, it is un- a special way of holding the hands, but to en- doubtedly the reaction courage the student to find out that way of In these days when the starting point I. The child’s interest from the old stiff pedan- ! holding the hands which is most natural for in the teacher’s work is to capture is aroused and his mu- tic methods of pounding him. Naturalness of motion makes for relaxation the child’s natural interest and en- sical taste fostered the same five white keys —and relaxation is the basis of sound technic. thusiasm for music at once, many through the beautiful M with firm, rigidly bent thoughtful In this sense, then, I believe that a strange devices and methods have music built upon the in- and high lifted fingers. discrimination be made in assigning exer- should been used. The child’s natural instinct tervals of the Pentatonic It Fortunately this last cises for study. At the beginning, of course, while at the start is to want to play and to Scale, sometimes known named procedure is now the hands are finding themselves at the key- to play want something that he de- as the “Scotch,” some- so out-dated that it need board, intensive work at scales and exercises is scribes pretty. as Therefore, many times as the “Chinese” scarcely be cited. How- to be recommended. Such studies are useful in teachers have offered as bait “playing scale, which may be ever, the opposite swing fingers the gymnastic drill they need giving the by ear” or rote playing a very for short played entirely on black of the pendulum its —they are even more useful in accustoming the has period, to keep the child interested keys. These fine simple * hands to finding their natural movements. Any own dangers. No intel- until the handicaps of elementary melodies are easily of the standard exercises are good. The impor- ligent person would ar- notation have been mastered. The learned by rote in the tant thing is, not which exercises to play, but gue against the impor- child is curious about the black keys very the way in which they are to be practiced. Me- first lessons. More- tance of correct form in as well as the white keys. Of course over, paradoxical chanical repetition is quite valueless. Practice as it any athletic game of he cannot read five and six flats or may seem, the is useful only when it has a definite object in penta- skill. The tennis or golf five and six sharps, and is not ex- view. One can sit for an hour passing the thumb tonic tonality prepares player or the archer pected to do so, but the teacher can. the ear for under, and derive no good from the work. But many so- studies every detail of Without looking at the music, the called if, in practicing, one experiments with the arch- “modern” effects his form from his stance ing, the turning, the position of the hand in child’s hand is placed over the keys in present day music. to the exact position of order to discover which shade of difference feels and is taught the tune by rote, while II. The plainly dis- each finger on racquet, freest and most natural, the hour thus spent the teacher plays the accompaniment. cernible groups of two club or bow, and he does results in a twofold advantage—the thumb tech- Miss Mabel Madison Watson, a spe- and three black keys this at the start. Cor- nic is facilitated, and the hand learns to acquire cialist in child music training, ex- (unlike the long uniform bank of white keys) rect form does not develop that position plains this from incorrect be- and motion which are most com- device in clear fashion. are a great help in teaching by rote. Figurations ginnings, and habits are tough things to break. fortable, most natural, and hence most likely to There is already a considerable num- on two, three or more black keys are easily Of course in piano playing render constructive service the practice ber pieces the ideal to be at- when of published for those copied in all octaves, so the modern beginner tained is that position of the period is done and the thumb needs to be used teachers who employ this system. entire playing travels all over the keyboard from the start, in independent passages. mechanism, from finger-tips to torso, which —Editor’s Note. falling naturally into a proper correlation of will yield the greatest speed and accuracy with The Ultimate Goal arm, wrist and fingers long before his progress the least effort, the most perfect control com- in note reading would make it possible for him As the student gains in mastery, however, I bined with maximum freedom and ease. This to study pieces covering such a range. He learns believe that formal exercises may be dropped desirable combination is most nearly initiated N THE LAST DECADE a quite different pro- the “feel” of and that the whole keyboard ahead of his by starting the same method of applying natural cedure of initiating the first lessons on black keys. A baby the beginner into his ability to read or write notes, exactly movements may be used in difficult technical I as he ac- pupil whose arm can scarcely very first work at the piano has been per- quired command the a speaking vocabulary before he could stretch passages taken from the works themselves. In ceptibly gaining favor of two octaves may stand up and walk among many progressive lead or write. Moreover every case, however, the he has unconsciously along at first student should strive, teachers; this is the practice as he plays his figurations on the of giving the first absorbed familiarity with figuration, not to master a single difficulty, but to find that which will various octaves. This will keyboard work on the black keys instead of on be outwit the bogey of of greatest assistance to him later in listening means of using his natural hand movements the white, and of teaching stiffness like nothing else, and fingers and wrists by rote at the start. to and in analyzing music. that will enable him to Memorizing by means are all the overcome the difficulty This is not to be considered as a time making their own “natural” “Forward March With Music” substitute of figurations is very easily presented whenever and wherever he finds it. for to the adjustments to the Thus a re- sight reading which is a totally different arm. Look at these fine little youngest pupil. source of technic is kiddies with their War By far built up, in an individual subject and is more clearly and logically pre- the largest proportion of technical Bonds and fiddles. The youngsters III. A lot of “DON’TS” are taken out and creative way. in this little war effort 100%. At one sented on the white of teach- piano teaching material, music class time they gathered keys. It is beyond dispute, ing by the including etudes, is in the Northwest are “on their black key start. If there is People are coming more and more to realize way.” oichestras 5,000-strong however, that ear one word written entirely on white Not only have they for outstanding perfor: and hand training should a child hates keys, while nearly all won their first defense stamps with his whole heart it is “don’t.” the fact that technic lies, not in the hands alone, ances at Treasure Island, during precede music reading or the playing repertory beyond the for perfect attendance, the San Fra writing. Although the Change it earliest grades but, tiny as to “do ' and you have but in the whole person. Psychological they are cisco World Fair, beginnings his cooperation, is in keys other inhibitions these children and at the Hollywood Bowl of signt reading on white keys may but than C major or A minor. Even are participating in “victory pro- make the thing you wish done easy and and complexes often show themselves in tech- Hollywood. Now these children start simultaneously with rote in these tonalities many black grams for the sale of stamps are studying ha playing on black natural to do right, keys occur in and bonds in their so that and difficult to do wrong. nical peculiarities. A pianist, for example, will their talent will keys the writer finds it modulations or as accidentals. community. count in a big job' Tt advisable to delay this Owing to the Thus very little are helping comparatively recent use of the actual frequently show the ( Continued on Page 562) Students to keep spirits for a few lessons until the black playing may be done near of the National Institute high-with music, key start is black key approach the tips of the and Arts their own firmly there is as yet little material white towns. established. Reasons for this are obvious: keys. Yet with a start of several published along this line. Black months 512 key duets I had or even years in this position the pupil instinc- THE ETUDE AUGUST, 1942 513 . —

Music in the Home Really Fail? Music and Culture Whv and When Do Teachers Bf Sidney SifLr possible opportunity, tively reverts to it at every ever, feels Pianist and Pedagog and only after several more seasons, if Concert else. It is amazing equally at home anywhere full of basic and technical of success- dent crammed this inhibition retards growth TEACHER that makes a ability to use this in- how greatly T ISN’T THE information, without the for exploring himself. This ease and limits freedom musician. It is the musician than that laid down Programs speed and ful other way Radio in any Midsummer formation literature. Though we all know I never be forgotten by either without the abil- general musical is a fact that must teacher; in other words, intended to be will do by his that this technical material is or teacher. One teacher, it is true, pupil to think for himself. and minor keys, it is but in the last ity transposed to all major more to help a pupil than another; who has good ground- It is only the pupil accustomed at the start his success chiefly to evident that the pupil analysis, the pupil will owe think for himself that will make find this a work and can easy use of black keys should Recently a pupil who had studied in to the himself. unusual success—although other sincere pu- Dorothy Kirsten, so- and where as often to the writer an UGUST MAY NOT L transposing far less difficult; western state for many years came prano, as regular soloist, transposing ex- large class all USUALLY be re- ¥ limited time precludes adequate He was a member of a very was recently inaugurated hamper only worth while success. A" lead- lack should not as greatly teacher; but he was the garded as a perience, this taught by the same pupils who will never be able over the NBC-Red net- are not studies There are some with the pupil whose earliest impressions one who felt justified in continuing his ing musical month think much for themselves; and they, of work. The program is a on white keys. progress due to his teacher, or to radio, but looking over entirely formed further. Was his majority. The teachei must religious one, dedicated “When, if course, constitute the m oCindsay Iordan answer to the obvious question himself? Chiefly to himself. This is proved by the list of programs ^d(fred In to these than with the others. m all listeners who, white keys?”— other labor harder with to will it be safe to play on the that the same teacher taught forty scheduled for this August ever, the fact intelligently, patiently and been well large And if he does this whatever their creed, very workable solution which has and if success were due, in a very we certainly think that a pupils; get very happy results. figuration on five of conscientiously, he will turn to God in times of tested is as follows: Give a measure, to the teacher at least some others radio listeners have repeat But he must not expect the same results from trial and tribulation. The outstanding music of black keys up several octaves and back; class also would have carried their studies much of a music feast, over which to rejoice. the the others. And, where fifth finger play- these that he would from all religions is featured on these programs, which it on four black keys with the further. Most of the familiar and popular musical fourth pupils are not able to think for themselves, the are all selected and arranged by Dr. Black. Miss ing a white key; next three blacks with The same teacher who taught George Wash- shows are continuing, and there are several new his ideals of teaching, two black, If a teacher must depart from Kirsten, the regular soloist, is the young soprano and fifth on white; now one and ington, taught dozens of other students. features on the air. Among the latter there are the thumb and think and act for them, if he is to retain protegee of Miss Grace Moore. three, four and five white; next only pupil’s success were due to his teacher, there the Sunday afternoon concerts from the famous plays white. them as pupils, and be of any use at all to them. plays black, and finally every finger would have been more George Washingtons! Chautauqua Institution (3:15 to 4:00 P.M., EWT The British-American Festival of Music, which has finger teachers fail to discriminate between the hand must still remain where any A teacher can do only two things, namely: Some been featured on Fridays at 3:30 P.M., EWT (Co- But —NBC-Blue network) . Four of these will be without reaching or well known rules their pupils in this respect and try to make them the can play a black key 1. He can teach his pupils the heard this month, each featuring a noted solo- lumbia network) was changed on July 3rd to The result is, that those facts of his subject; and, all think for themselves. Soviet-American Festival. programs featuring stretching. and fundamental ist and the Chautauqua Symphony Orchestra, under The unable to think for themselves, training has been given, playing help t.o think for themselves— pupils who are When this 2. He can them the direction of Albert Stoessel. The soloists are orchestral and ensemble works are now pre- to teachers less ought to be well enough established to sometimes! soon grow dissatisfied and go form Suzanne Fisher, soprano (August 2) John senting each week compositions by Soviet and accommodating. A wise ; permit using one of the many beginning books If he does either of these two things well, he exacting and more Abrams, pianist (August 9) Robert Mann, violin- American composers, instead of by British and wise. discrimination and retain ; on white keys. But here is a hint to the is a great teacher, and merits his pupils’ eternal teacher will exercise ist (August 16) and Evan Evans, baritone American as formerly. Bernard Herrmann is ; Since most of these books stick around middle gratitude. One of these things is just as im- both classes of pupils. (August 23) conductor. get it clearly into his C or the notes within the staff for quite a long portant as the other. It is most lamentable to see But—every pupil should Chautauqua is one of the oldest summer NBC has announced that Dr. Walter Dam- time, the best antidote is to repeat short figura- a brilliant pupil trying to think for himself, mind that his success depends very much more schools of music in the country. Through the rosch's Music Appreciation Hour will be temporarily tions from the white key material in several without any background of facts and facility upon himself than upon his teacher—no matter outgrowth of this organization developed from discontinued this coming season. The exigencies octaves. It may also be easily “sharped” or upon which to work out his ideas; and, on the who the teacher may be—and every teacher Sunday School Assemblies first held at pictur- of the war demand so much of the available time “flatted,” or even transposed to tonalities using other hand, it is just as regrettable to see a stu- should understand this too! esque Lake Chautauqua in Western New York in that it has been found impossible to grant Dr. all five black keys. Thus we may keep up the 1874, its popularity led expansion, Damrosch the full hour which he requires for freedom of movement and good form which have to with special provision his separate courses designed for students rang- already been gained by the black key start. being made for musical instruction and leadership. Its musical activities during ing from small children to young people in high A list of representative black key material fol- The Rhythm of the Malaguena July and schools and colleges. Although a suggestion was lows: August include orchestral concerts, operatic W! l& )?oL'h performances made to reduce the time to a half an hour each Easy Bf r QoJon (most of the talent for the latter being drawn from the Juilliard School of Music JOSEPHINE ANTOINE week, Damrosch did not feel that this was suf- Blackie Robert Nolan Kerr LITTLE SPANISH MUSIC on a recital pro- ujl uuiu-iAjxus anu gongs in New ficient to carry on properly his educational York City) , chamber and children’s con- Cotton Pickers George Anson Dance of the gram often adds zest, color, and variety. it is music before rhythm, music which comes project. certs, and organ recitals. Albert Stoessel of the larity in the past year. At first most of the ar- Five Black Kittens at Play Helen T. Weston A In these days, too, the thought of the to down us untouched by the invention of the Damrosch Juilliard School has been musical director of rangements were chosen by the players The Music Appreciation Hour has been Edith Milloy but in Five Little Chinamen American public has turned with great interest modern scale, from an antiquity out of which on the air for the years. Chautauqua since 1928, and conductor of its recent months many of them have been the past fourteen It has been Five Pickaninnies, The Helen MacGregor to activities of South America, and particularly the plain chant is a first step towards modern estimated that he reached orchestra since 1922. Mr. Stoessel’s concerts are result of requests from ardent listeners. It is an audience of over its music. Friendly Black Eyes Estelle Philleo harmony. And this Moorish music is. like Moorish six always well planned and listeners will do well to amazing what effects million young people yearly. At a testimonial Since this southern continent four pianos can obtain, Indian Lullaby Jean Williams has inherited architecture, and arabesque ... it has the same tune in on these programs. and the sheer novelty of the banquet in Dr. Damrosch’s honor, given in the many characteristics of old sound does intrigue Ma’m’selle Ting-Ling Bill Gillock Spain, let us note the endlessness, motion without beginning or end, Those Sunday Morning Recital Periods, featuring one particularly spring at the Ohio State Institute for Education type of music suitable for a South American when the pieces have rhythmic Mammy’s Hum-tune.Hermene Warlick Eichhorn turning upon itself in a kind of infinity varied mainly by Radio, a “Walter Damrosch Musical Scholar- program. musicians from the NBC Symphony Or- buoyancy and activity. monotony. . . . Ming Low Adrienne Zick Penny The passion of this music is like chestra, are ship” was presented to Ohio State on behalf An audience responds scheduled to continue through August. The Carnation Hour (Mondays 10 P.M., EWT of quickly to the unique no other passion; fierce, immoderate, On Skis Marian Leitch Wozencraft sustained Heard from 11:15 11.45 the Blue Network, which has featured his educa- accented rhythm of the Malaguena, a type to A.M., EWT—NBC-Blue NBC-Red) is featuring the American coloratura of . . . and it thrills one Piccaninny Dance Minnie Mansfield White precisely because it seems network, these tional hour for the past fourteen years. Spanish dance. The intrinsic qualities programs are among the best soprano, Josephine Antoine for its summer pro- Making of this to be so far from humanity, .” so inexplicable. . . Pickaninnies on the Black Keys. . .Hannah Smith serious the presentation, Edgar Kobak, particular dance reveal an interesting music programs of the day. grams. Miss Antoine, a member of the Metro- the network's history. Here, then, are some of the intrinsic Pickaninny Pranks Leota Stilwell qualities Radio City Music Hall executive vice president, said in part: “If Although the Mohammedan conquest of will also continue its con- politan Opera Co., was trained at the Juilliard those Spain of a Malaguena. First, it is Eastern Sambo and His Banjo Mae-Aileen Erb music. Even certs. who benefit by this scholarship will is well known, little do we realize that the inva- During the summer these programs are School of Music. be inspired to Albeniz, a Spaniard, composed one of Sunbeams Bernice Frost the most varied, but mainly put into their work some of the zeal sion of Arabs, Syrians and Berbers, and the close popular they feature the orchestra, The Bell Telephone Hour (Mondays 9:00 to 9:30 and energy of these rhythms. He always called him- of Dr. proximity of Spain to Africa, and instrumental and vocal soloists. However, P M., EWT Damrosch. some of his missionary fervor for More Advanced had a lasting effect self an Arab, rather —NBC -Red ( continues its Great Artist than a Spaniard. the task of on the music of Spain. The Mohammedan con- some chamber music ensembles have been pre- Series this month featuring the following disseminating music and knowledge Black Second, the Malaguena is artists: Sambo Lena W. Chambers like a Moorish sented. of music, this scholarship quest itself lasted five hundred years. For an- arabesque. Jascha Heifetz, violinist (August will carry through the Chinese Jingle Mary Sanger Simonds That is, it winds in and out in sequen- 3); James Mel- other two hundred years Granada Emma Otero, the Cuban soprano, ton, tenor years not only the name but the idealism and and a few tial wider curves, but with continues to (August 10); John Charles Thomas, Coolie Boy Willa Ward ports recurring motives. please nobility of Walter around Cadiz remained in the hands of with her noontime recital (12:30 to 1:00 baritone (August 17) Damrosch." An arabesque in art ; Helen Traubel, soprano Five Little Scotchmen E. L. Sanford has no perspective, so this the Moors but were finally conquered in 1492. P.M., EWT—NBC-Red) aided (August The Saturday broadcasts of the dance should by H. Leopold 24) ; and Oscar Levant, pianist NBC Symphony be played rather flatly in (August Arthur Symons in his “Cities tone Spitalny and his 31). Orchestra (9:00 to 9:45 P.M., and Sea—Coasts quality. There orchestra. Usually this singer is EWT—NBC-Blue I * * » * * are no extremes of loud and soft and Islands” writes: “You cannot walk through heard in one or more operatic A new will be under the direction of the except in places of great dramatic arias and in three Sunday afternoon program called We American con- a little town in the south of interest. or ductor, Edwin Spain without hear- Last, the four songs. Particularly appealing are the Believe, featuring Frank Black, the McArthur, for the first three con- “A man should hear a little music, read a little Malaguena has a wailing conductor, a ing a strange sound between crying quality with soprano’s voicing certs in August. and chant- e ° f of popular Latin-American 75-piece orchestra, a chorus of fifty poetry, and see a fine picture every day of his life, the oldne ss, endlessness voices, and ing, which wanders out to you from and fatalism songs. There will be two concerts in behind V!f Stern from the Lewisohn order that worldly cares may not obliterate the barred windows and Pe0ples ‘ With such a historical from among the tinkling ,J *, The First Piano Quartet Stadium in New York City this sense d r l ng f continues its recitals month; they will of the beautiful which God has implanted bells of the mules. The ° the Mala9uena. a musician Malaguena they call this ,h n H H (12:15 to 12:30 P.M., be heard on Fridays (August 7 in the Ve & EWT—NBC-Blue) . This is a and 14) at 8:00 human soul.” —Goethe kind of singing. " interPretati °« of ... It is as Eastern rhythm and to 8:55 P.M., as the music tone colcu program that has grown considerably in popu- EWT. As in past seasons the New York Philharmonic- 514 ( Continued on Page 560) AUGUST, 1942 THE ETUDE 515 ;

the impressive, but com- Music in Home raving of tne orchestra is Active Listening to Music by Szell and the with the performance parison Music is intended for ears, but what happens Music in the Home Philharmonic reveals more esteemable Czech to it in the area between one’s ears determines, to in the latter Szell’s treatment of musical values a large extent, how valuable it is to us. Theodore rhythmic structure of the score the syncopated trained abroad and now Director of Iturbi’s. The latter’s M. Finney, less jerky than is smoother, University of Pittsburgh, furnishes The Etude movements may make Music at the agitation in the quicker makes Music consistent the newest book on music appreciation and Recent Notable excitement, but it is not with for more a very fine job of it. His chief endeavor is to intentions. In our estimation, the best Dvorak’s present music as a language that can be compre- on records remains the one by Szell nerformance hended better if one understands the funda- though the recording is less brilliant Music Lover’s Bookshelf even principles underlying that language. He Op. 45; Chicago mental Glaxounov: Carnaval Overture, you to let music talk to you. The book is Dn Records Frederick Stock, conductor. wants Orchestra, Symphony original and practical in its approach to the sub- disc 11771-D. Columbia useful for general reading Any book here of a ject and will be found Glazounov’s musical delineation Russian reviewed may as well as an excellent text book upon the subject. lacking in the lyrical capriciousness be secured from Peed carnaval is “Hearing Music” THE ETUDE MUSIC lij sketch of a Bohem- at the f^eter Jduffh of the more familiar Dvorak MAGAZINE Tschaikowsky and Author; Theodore M. Finney price given plus ian fair. The influence of postage. with Pages: 354 is apparent here. Opening gusto, Brahms Price; $3.50 the music give< way to a Publisher : Harcourt, Brace and Company curiously devised slow sec- tion, and then spreads it- he curtailment of new recordings value the set. self with more telling ef- A Musical Bridge Beethoven: Crosse Fuge, ordered in April by the War Productions fects in the last part. As Busch Cham- Acoustics per se has a great deal to do with the < WUJuk CaJ,man of Op. 133; The 8 affect the output the score will E T Board did not directly a novelty , science of sound, but little the ber Music Players, Adolf with the problems of the different companies until June, since undoubtedly appeal. Both directing. Colum- sound as the musician is obliged to employ it in releases had already been scheduled before Busch the performance and re- May connection with musical composition and musical Lucille Coreas has made the delightful fanciful with a Mexican share-cropper who carried in his order went into effect. Victor alone, however, bia set X-221. cording are excellent. the illustrations (many in color) should be a "must” text, of interpretation. , head the tunes, and stage directions for a list to three albums and a Busch’s treatment cut down its June Counod : Faust — Waltzes for every highly technical score In “The Musical Ear,” by LI. S. Lloyd, C.B., M.A. piano top in every home where healthy Miracle play requiring four hours and twenty couple of single discs. This was in marked con- this Boston “Pops” Orchestra, more more expressive (Cantab.) he discusses Intonation, Electrotonic fun and original tunes are appreciated. actors to perform. We have been in constant trast to the dozen or more sets and ten or proves conducted by Arthur Fied- The volume is sheet music size been issuing in the than any performance we Organs, The Sounds of Church Bells, The Notes and attractively touch with people who felt that inability to im- single discs which Victor had ler. Victor disc 10-1009. appreciable have heard to date. As of the Harmonic Series, The Sounds of Distant bound. It will make a most welcome Christmas provise by ear unfamiliar tunes in three- or four- past. Columbia’s June list showed no Fiedler gives a straight- Music, The gift. There are one hundred separate numbers change over those which have gone before, since one New York critic said Scales and the Musical Ear, in terms part harmony marked one as unmusical. Such forward and unsenti- carefully, brought forward six albums and recently, the work has al- as lucid as the mathematical nature of the sub- tastefully, and playably arranged for artists with their audiences have created and this company mentalized account of the single discs. ways seemed too big for a ject permits. An excellent book for thoughtful piano and voice by Albert Sirmay, who has had preserved for America a heritage folk an equal number of familiar dance music of song June issues of Columbia there were string quartet and over- musicians. proper pity upon those Savoyarde addicts who and folk music equal to any in Among the from the Kermeuse scene the world. Such several outstanding orchestral recordings. For- weighted in a full orches- “The Musical Ear” want to get the true flavor of the good red beef folk have made America a singing country.” of “Faust.” The recording Columbia’s tral arrangement. A By: LI. S. Lloyd and Yorkshire pudding of this tunately, we were able to hear most of British humor, but The twenty-eight pages in the introduction tell- company has chamber ensemble, such is on the coarse side. Pages: 87 whose piano technic new sets, despite the fact that the has not gone very far beyond ing the purpose and the best means of singing the pro- seems Wagner: Lohengrin—Pre- discontinued its long established policy of as Busch employs, Price: $1.75 the strumming stage. There is a late Victorian songs, and the voluminous lude; The Pittsburgh Sym- notes in the book, are viding review copies. Only Victor continues to on the other hand to sub- Publisher: Oxford University Press aroma to the whole edition which will charm and phony Orchestra, con- invaluable. The melodies of the songs are pre- cooperate in this matter. stantiate better both the cajole. ducted by Fritz Reiner. sented without accompaniments. Schumann: Symphony No. 2, in C major. Op. 61; sensitivity and grandeur “A Treasury of Gilbert and Sullivan” A Treasury of Jollity/ Our histories are for the most part devoted to Minneapolis Symphony Orchestra, direction of of the music. The “Grand Columbia disc 11772-D. Edited by Deems Taylor The flood of the outstanding men and women of a genera- Dimitri Mitropoulos. Columbia set 503. Fugue” is a complex work, Although Reiner gives “innocent merriment” with a back Pages: LILY PONS 405 a capable account of this wash of the keenest tion, to the educated and sophisticated members There will probably be as many divergent view- full of mysterious beau- sophistry of the mauve age Price: $5.00 this sym- ties rugged, biting music, he does not suc- that came with the of society. Very little attention, however, is given points on Mitropoulos’ interpretation of and advent of Gilbert and Sul- Publishers: Simon & Schuster is in livan to the so-called phony as there are on the merits of the work bigness. It both repels and awes one, but it ceed effacing the memory of the more expres- swept all before it in the last years of the common people, with whom fine interest. Busch’s perform- sively shaded version of Toscanini. past century. Abraham Lincoln itself. The performance is distinguished for nevertheless of great Many have been the revivals of the assured us we were so plenti- live Mozart: in B-flat, Savoy fully phrasing and a considerate attention to dy- ance may well do much to make the music Concerto K. 595; Robert Casa- operettas on the boards of the stage and American Ballads supplied. There is of course a deep seated namics. However, Mitropoulos provides more dra- for many listeners who do not like the existent desus (piano) and the Philharmonic-Symphony between the boards of books, but interest in what these people thought felt. the volume that John A. Lomax, and with string versions. Orchestra has Honorary Consultant and Cura- matic intensity than is usually associated quartet of New York, direction of John Bar- just appeared from the house of Simon & This has now fortunately been preserved in our tor of the Archives of American Folk Song of the Schumann’s music. That this proves advanta- Strauss: Salome—Salome’s Dance; The Cleveland birolli. Columbia set 490. Schuster ought to be especially welcome ballads and folk songs. This literature, at this Library of Congress, and Alan (both geous to the greater welfare of the music, par- Orchestra, direction of Artur Rodzinski. Columbia Eight years ago Schnabel with Barbirolli and hour of world blackout. Lomax, together poems and with tunes) has given the reviewer many movements few, we disc 11781-D. Ruth Crawford Seeger as Music Editor, bring ticularly to the two outer the London Symphony Orchestra recorded this Sir Arthur Seymour Sullivan was by no delightful hours in hearing more about means together in one volume over two the soul believe, will deny. Save for the broadly expres- Music like this needs a substantiation of its work for H. M. V. in England. The performance one of the greatest musicians hundred ballads of the Negro, the of his day, but, who and folk poor white, the Creoles of Lou- the first movement, both tonal splendor in reproduction to it live. songs which is a kind of vocal history sive introduction to make was admirable in the pianist’s playing of the has ever written more fascinating isiana, the soldiers, tunes? W. F of a large sailors, lumberjacks, team- outer movements definitely show the composer’s And here we have superb recordings, richly res- quicker movements, but the exceedingly Gilbert’s cross-section of the American people slow effervescent lines called for a peculiar sters, cowboys, railroaders, hoboes, miners, farm- ailing state of mind at the time of writing. In the onant and textually clear. Rodzinski’s flair as they have sung their emotions into for tempo he adopted for the slow movement de- type of excellent musical craftsmanship, that his- ers, and outlaws. and fate tory. It lovely adagio, which is probably the finest sym- the music of Richard Strauss is strikingly re- stroyed the rhythmic qualities ordained is a work of long research made possible of the music. that this should be found in the genius This book should be phonic slow movement Schumann wrote, the vealed in this disc; through a grant available in every library, not only does he substantiate Casadesus’ sensitive and more rhythmically valid of Sullivan. At the made by the Carnegie Founda- very outset (“Cox andBox,” school and college for important conductor achieves the right contrast to sub- the dramatic intensity and sensuousness of tion due to the “imagination reference in- . the account of the slow movement is a decided “Trial by Jury”) and understanding” point this infinite cleverness was clear- formation. music’s nobility and repose. As a score of Dr. The work is excellently done and is stantiate the but he supplies precision and strength in favor of his performance apart from the ly evident Frederick P. Keppel, former President a finer in the work of these masters of of credit recording the set ranks among Columbia’s best. which most previous versions mirth the to American scholarship. have lacked. This reproduction the set offers. Moreover, the in- and melody. Foundation. Midsummer Night’s Dream Over- “Our Singing Country” Mendelssohn: A — is by far the best performance and recording to trospective aspects of the Your reviewer has visited score are alone con- In the years from 1867 to 1896 (with some of the sections ture. Scherzo, Nocturne, Intermezzo, Wedding March; date. sidered time out of the By: John A. Lomax and Alan Lomax by the French pianist, who plays through- for a historic feud, country from which these persistent in- direction of Artur 1889-1893), they kept most of Pages. " 7”) The Cleveland Orchestra, Rod- Dvolak: Symphony No. 5 in E minor, Op. 95 (From out with vestigators have 416 (9»/2 x impressionable feeling and polish. The the intelligent world in mined their materials and has zinski. Columbia set 504. the New World) spontaneous titters and Price: $5.00 ; Rochester Philharmonic Or- outer movements repeatedly here should not be performed screams of mirth. The remarkable encountered such conditions as repre- Time has not diminished the effectiveness of chestra, direction of Jose Iturbi. thing is that Publishers: The Victor set 899. in the extraneously objective their virility sented in the following quotation: Macmillan Company manner which makes them “box office” today. this music. Of all music that owes its inspiration It is the recording rather than the interpreta- Schnabel It plays them, for there is a note of grav- was Gilbert, with his “We have known country fiddlers who couldn’t to Shakespeare, there is none that fits its purpose tion of the pen dipped in audacity, wit music which places this set in the ity beneath the read or music’s ostentation and brilliance. and joy dust, who taught write, but could play two, three, or four better than this score. Although Rodzinski’s per- forefront of the several versions the world how to write Opera from 1600-1041 of the “New This was the last of Mozart’s the patter hundred tunes. We have formance is stylistically secure, he does not how- piano concertos which revolutionized known white ballad World” on records. Iturbi’s feeling for and pro- and musical stage one of the most expressive satire, and it singers who remembered one, Six hundred and three ever obtain the lightness, buoyancy or nuanced jection he wrote. The was Sullivan who possessed that two, three hundred pages may seem an of this music is appreciable, and the Larghetto type Cantabile is a deeply felt of musical tailoring ballads. We have known Negroes unusually generous length for lyricism which such conductors as Toscanini and expression. to set them forth in the fit- who could sing a book, but they Barbirolli’s treatment of ting several hundred are none Beecham bring to such excerpts as the Overture, the score is too weighty musical garb. Sullivan had more spirituals. We have shaken hands too few to cover the outlines of throughout, real tunes opera and lacking in the in one operetta as presented by Wallace the Scherzo and the Nocturne. The richness of refinement which than many composers have in a Brockway and Herbert Casadesus brings to the lifetime. Weinstock, the recorded sound here nonetheless has its ap- keyboard part. one of the most comprehensive and RECORDS r hm S: S,X ln peal, and for this reason one suspects many will * ermeIli and Two Rhapsodies; Artur The new volume, for which carefully revised popular books M. .l f . ! Deems Taylor has upon the subject Rubinstein (piano). BOOKS ( Continued done the we have on Page 566) descriptive text and the editing, and yet seen. The authors have been most 516 meticulous in their preparation of the material THE ETUDE AUGUST, 1942 517 .

Music and Study HE READER MAY ASK: “Why music in- struction for the maladjusted child? Is it Music in (he Home Defense Music for T not enough if he or she can get normal school education?” Let us answer with the words Bu Jleola Steed The phonograph and the music of the radio of Willem Van de Wall, the well known musician have brought the music of opera to millions of psychotherapist: “the musical arts are valuable a defense savings Maladjusted Child will certainly and replaced by for mental treatment because they may be en- The homes, and tomorrow the television are removed instead of candy, silver the other stu- Thus opera, EFENSE STAMPS, be left on the chart for listed for the redirection of tendencies and bring some vision of the performers. awards for stamp, to stars, or movie tickets are the limit to the number of which yesteryear was purely an urban perform- to see. There is no thinking that have been seeking emotional sat- music pupils of the dents D good work among the earn. projects its music to homes in the most student may isfaction on pathological and social levels.” (“A ance, now she declares stamps a writer. That is “music for defense,” to mean very remote rural districts. This has vastly increased penny at home has long ceased Systematic Program for Mental Hospitals.”) Let A chart of soft A Instruction is the plan works: In This fifty Music how with forty or the Interest in opera which started as a pastime much to a child, but a chart us consider furthermore what N. Scheidemann inches by thirty-six inches, Bardi, a Florentine beaver board, thirty sparkling red thumb tacks, in the home of Giovanni a names, together with states in her book, “Psychology of Exceptional fastened on the wall or placed on top of count. From the idealist beginnings of the first is Children”: “All children have the same general operatic composers, Jacopo Peri and Giulio Cac- qualitative make-up. Exceptional children differ Back cini to Virgil Thomson’s all Negro “Four Saints in from normal children quantitatively; they differ Can the Abnormal Child Be Brought Three Acts,” there is a record of nearly three in degree or amount, not in quality of various centuries and a half of astounding operatic ac- traits.” This means that exceptional children John tivity. The irascible English voice teacher, being built of the same material as normal chil- To Normalcy Through Music? for Retired Towers, who died at the Presser Home dren, are capable of learning as the latter are. Teachers, in Philadelphia, in January, 1922, Music They need but to be approached differently. once prepared a none too at the age of eighty-six, This different approach may be illustrated by accurate catalog of twenty-seven thousand two cases out of my practice as a teacher of the that have been performed. operas piano with maladjusted children. They repre- L >,. The new work wisely selects only the most sig- 2 WJf nificant of these and makes clear the trends which produced them so that anyone who reads this voluminous work should be excellently orien- tated in opera. The freshness of the approach Margaret born in Vienna in former Austria. She attended the high may be indicated by the unique titles to many of Wolf was the chapters, such as “The Beethoven Heresy” school and the university, inhere she received her Ph.D. in the history of music (in which his undramatic but musically beautiful and in child psychology. She also, studied with Claire Schwaiger, a pupil of Les- sadly) Divine Organ- chetizky. Later she taught piano, harmony, history of music, musical appreciation, “Fidelio” fares rather , “The improvisation at the piano, and ear training at a Vienna Conservatory and in Grinder’” (Rossini) , “Mad Scenes” (musical psy- pennies, and defense savings stamps, works like chiatry a la “Lucia di Lammermoor”) , “The music cabinet. Names of students are arranged her own private school. Before coming to America in 1938, she took the psycho- French Comic Spirit’” (the merry Gretry, Mehul, in columns with eleven red thumb tacks placed magic. analysis course at the Vienna Psychoanalytic Institute; and later, in America, At first the chart was used only with pupils up Auber, Halevy, et cie) , “Damaged Demigods” after each name, spaced in a row, to allow ten she attended the New York Psychoanalytic Institute. Her articles on the child's (Cherubini, Spontini, who didn’t quite make pennies to be slipped in between them. through the sixth grade, but later the pupils of musical development and on the music instruction of the problem child have “tops”) “The Grand Opera Fanfare” (with their value, Junior High School age also wanted one, and it , Pieces or exercises are pro-rated on appeared in Austrian, Czechoslovakian, English, Swiss, and American periodicals. Meyerbeer at the head of the procession) “Val- page, but the entire has been equally successful with them. The chart , usually about a penny to a —Editorial Note. halla” (Wagner and his triumphs), and so on, composition must be finished before the reward is the center of attraction in the studio. It is a all treated in interesting fashion. is given. When the ten pennies are earned, they marvelous incentive to good work. "The Opera” By: Wallace Brockway and Herbert Weinstock system of notes was put down. Dr. Scheidemann The striking thing about this girl Is that she Pages: 603 Paganini, Champion says in regard to the instruction of feeble feels music in a plastic manner. When she played Price: $3.75 of Restlessness minded children: “The teacher’s method must the German folksong Kommt ein Vogel geflogen Publishers: Simon and Schuster be simpler and involve more concrete and illus- (A Bird Comes Flying ) she described her im- Bf c. n WuMtl trative material. Many visual aids must be pressions in the words, “There is a child lying The Nostalgia of Hits utilized and often made entertaining as by in- in a cradle; round about there are flowers and HE FAMOUS VIOLIN WIZARD, Paganini, They set out again only to storir meet with a troducing games.” Recognizing this fact, I made on top of Your reviewer does not attempt to review music a rose a bird is swinging itself.” Chords whose entire life was one of unrest and which drove them to Cannes. Here, too, thej plain to my pupil the conception “note on the in the accompaniment that were broken by the in this department, not even collections of mu- T change, was not permitted, even in death, could not land. Because of the expense, the sor line” by comparing it with apple stick. sic, but the “Songs of Yesterday,” collected by an on a pattern, c-g-e-g, were always called by her “The to remain quiet and undisturbed. decided he must bury his father on a lonelj Philip D. Jordan Lillian Kessler, The “note in the space” was for us an apple on swinging thing.” An accompaniment and contains so Since his death in Nice in 1840, Paganini’s re- island, Ste. Ferreol. which broke a shelf, whose boards were compared with the every much commentative material representing more mains have been embalmed twice, moved ten chord within an octave up and down re- There the body remained four years before ii than collected by of framing staff lines. To make her recognize two minded her that many the scavengers of times and have had six burials—two of which was made ready of a Punch and Judy show and the for its ninth journey to a thirc equal notes being early Americana who have picked up our worst were re-burials equal I had her count the chord of the dominant seventh with the root in the same grave from which burial in a garden in Parma. Not long after and neglected our best, that we include it here. drawers of my writing desk, to assure her that D gave her the body was exhumed. some friends made so MARGARET WOLF the idea of a wedding in a church. many criticisms of the those The introduction, “The Songs of Yesterday,” which were on both sides at the same The girl is Paganini’s death occurred in a hospital in embalming that the body was again exhumed very keen on singing, and she has presents a contrasted picture of the long and Nice. His body was taken level had to be numbered equally. a strong and agreeable to Rue Ste. Reparte, given another embalming, and re-buried. Tin: voice. She is especially sent two different extremes one, a girl with an somewhat bucolic beginnings of our early devel- brought back to the hospital, and carried to the — able to grasp the of song, a was fourth burial and the first time that tin intelligence mood a even if it is a opment popular far below her years, but musically Vivid Impressions of music; then the best of these cellar in Villefranche where his son hoped he same grave was used. foreign one, deviating thoroughly from ours in gifted, the other, a very intelligent boy songs are given, in nineteen different classifica- might remain until permission could be given After whose J. L. Mursell says in his book, “Principles of harmony thirty-six years of unceasing effort, per- musicality and melody. Often she reproduces, in for his was totally undeveloped. Both chil- Music Education,” tions, such as Fine Gentlemen and Ladies, Stocks burial in consecrated ground. Certain mission was at last that “a considerable amount repeating a melody, a sort granted that Paganini b< dren started the piano of variation. These and Bonds Speculators, facts were so well known that this with me from the very of the enjoyment we feel in a and Rustic Rube and City longed-for buried in consecrated ground. In 1876 composition comes self-composed modifications seem not to the corps* beginning, and I succeeded in come Slicker; Tragedies of Land and Sea, permission was only a matter of conjecture. making them both from its association.” Furthermore Will You Buy took its tenth journey to the church of the Ma- he advises to her consciousness. She is also able to extem- The neighbors susceptible to the instruction. the My Wares, Kind Sir? Songs of the Ballot Box, and waited three weeks before they donna della Staccata, in teacher: “Songs taught in kindergarten and porize Parma, for a fifth burial The girl with ease a pleasing and ingenious melody decided that they had endured began her piano lessons at the age of the grades should so on. As with the ballads of all lands, the songs enough. One Superstitious minds must have be chosen for their associa- to a little verse. played with th* twelve. She had to night they forcibly entered the cellar be taught at home in all tive appeal.” So for are largely topical and reflect our picturesque as and idea that all these journeys were a long time I used little With regard to the caused because school subjects, since she pitch of notes my pupil has well removed the coffin to the edge of the ocean. Paga- of the had learned reading tunes familiar to pupil as our material beginnings. Each section is edict that prevented Paganini’s my to practice our ac- gradually become a fairly nini’s son discovered grave and writing under the greatest strain good sight player. But, preceded this and, with great diffi- being dug in and arith- quired knowledge of notes. In by an interesting discussion of the a cemetery belonging to his church the beginning after two years of instruction, culty, had a grave excavated at metic only to the most elementary degree. she still under- origin and significance of the Cape St. Hospice. and that now At her sight reading was so slow that songs. such restlessness would end the she could not stands the rhythmic value of the A year passed. Still the Pope’s permission outset of our instruction, remembering the recognize single notes The work has a popular value for the curious had But seventeen years later the songs. But then suddenly in a the great man had tc difficulties she pas- only hazily. Until now, I found only not been obtained, so the son, dissatisfied with had experienced in learning let- sage two ways and unquestioned importance for research. see daylight again. The pretext the melody line came to her consciousness of the grave, chartered this time was all ters she had the tackling the rhythmical problem with a boat at Marseilles in but ridiculous— greatest imaginable aversion in spite of the long her. “Songs of Yesterday” identification! After the time she needed from one For easy and short which to remove his father’s body to Genoa on- to learning how to read notes. So in the begin- pieces, I had her copy them By: Philip D. Jordan and Lillian Kessler the lookers had been satisfied touch to the other. Then she would birthplace of Paganini. by the son’s positive ning we proceeded exclaim as I had played them for her. statement very slowly. For months I delightedly, In other cases Pages: 390 (11 in. by 8 in.) that the still well-preserved But that is funny, you can hear while But the authorities interfered. An body wa< could not expect my pupil to she herself played a piece at sight, I Price: epidemic of fat er recognize a note that, you can understand moved $3.00 ’ this restless irit that.” For weeks and cholera had been raging at Marseilles sP was given absolutely. It was a record performance a pencil over the notes to indicate their Publisher. Doubleday, when they its sixth burial^ for her, weeks it was an ever new value Doran and Co. Inc. embarked and they were m a second interment in the when she sensation that this by stopping and going not permitted to land. cathedral succeeded in recognizing a printed with the rhythm during where it still remains. painstaking spelling of notes would note on a strip of paper on finally which I counted. 518 which the whole bring her a musical experience. On the whole, it can (Continued THE ETUDE AUGUST on Page 556) , 1942 519 Music and Study

Yes, Singing Lessons for the Masses

UR EXPERIENCES during the three years V. Wood prior to 1941 in Panama City, Republic de O Panama, were such that we seem to be STRAUSS WALTZES GIVE A BALL in a situation somewhat similar to one who has THE converted to a new religious belief, the just been experience that it was announced voice production. It has been my first reaction of which is that he wants to tell University of Panama. When THE ORCHESTRA sections of the city many would-be students of music are so retarded FOR THE INSTRUMENTS OF others about the new experience, that they too in the Spanish and English American singing teacher in their development that they do not even con- the may enjoy the benefits of the newly found solu- papers that a North the notes that make up tone deafness to be any barrier After a particularly hard evening, problems. was opening free classes at the University there sider complete the orchestra. tion to life and its waltzes said to the instruments that make up to the singing voice. Also I have seen would-be Strauss Before going to South America it was realized was such a rush for enrollment and so many to dance by. e tired of making music for human beings that students of singing so deficient in bodily growth “We are that something new would have to be discovered telephone calls at the office of the president but ourselves!” could count five on one intake of give a ball for nobody practice in regard to the business a notice had to be published the next day that that they not winds, and the rest, and put into “Go to it!” answered the violins, horns, wood breath. And yet some of end of our work as a sing- been wanting to do that for years!” tone deaf, mentally, “We’ve hoped to these as you can see by ing teacher, if we And so it was planned and was a big success, and physically deficient and the in- continue to make a fair these pictures. The notes danced with the instruments people will lay down a tui- wall-flowers to feel living; and we began to struments danced with the notes. There were no for term, think on “mass produc- tion in advance a sorry for and everybody was happy. think that the teacher tion.” and There had been a time, somehow can perform a when my school for singers miracle over them and in New York City was at make them sing. Or, on the its height, that a fee of ten other hand, some of them dollars for every hour of think that singing is so teaching time was actually easy, that even though they received; but as the years have failed to do anything of the recession dragged on else worth while in educa- it was realized that those tion, it will not be difficult days probably were “gone to sing. with the wind,” and a new No chances, therefore, solution would have to be were taken with those sixty found. The solution, it ap- people; I told them that I peared, must be in “mass would take them into a production” — more stu- preparatory class and teach dents at less money per them something of the lesson. rudiments of notation and It seemed then, as now, rhythm; how to read the that it was a mistake to be printed page of music; so determined to withstand THE SCHOLA CANTORUM PREPARATORY CLASS (SECTION FIVE) OF SAN FRANCISCO. CALIFORNIA how to relax the mind and the years of the depression The Director, Zeta V. Wood, is sitting in the center, front row the body so that they could and to try to stage a “come concentrate on the instruc- back” in the same location. A new location means applicants were not to phone or call at the tion; how to stand correctly and how to breathe. a new start; putting failure behind and looking president’s office. Also I would explain the principles of voice pro- forward to new friends and new students, one With the help of two assistants a preliminary duction such as resonance, open throat, breath should select a new environment. hearing was given to all of these applicants and control, and so on; and then teach them some It was then that we left the United States, a selection of sixty voices made for the prepara- songs in the group, first unison songs, then two, and set sail for Yes, South America. this took tory class, which we called “The Demonstration three, and four part songs, applying all these courage and confidence; it was indeed an ad- Class.” While many of the applicants applied for principles of voice production. This song work venture, but at least it would be different from private lessons, it could be seen that this might was to include phrasing, diction, enunciation of trying to attempt a in York. “comeback” New be a serious handicap to future success for sev- vowel and consonant sounds, continuity of tone, The consciousness that I had made good in New eral reasons, and right here is the core of the and general expression. York was most encouraging, and I hoped to bene- whole idea, the entire experiment. In the first fit by my experience there. place a teacher’s students must make good be- The Experiment Begins cause every student is a living advertisement of Written down here, that looks like New Fields to Conquer a big order one’s teaching. Many people, both young and for a six months preparatory course of instruc- On July 26, 1937, we arrived at the Isthmus, middle aged, fancy they want to study singing tion; however, the group was divided into two passed through the wonderful Panama Canal when they know absolutely nothing about music sections and asked to report to class twice and spent the a — /s next few days exploring the won- or what it means to study singing. In week. m dealing We were off flying e>\ to a start. There was Q' ders / \ and the beauties of the tropics. After mak- with the masses of people we find there are ma ny no guarantee to make singers of them in six ing rather hurried inspection tours, we decided of them who have not acquired a sufficient ele- months but they were assured that they would to locate in City, Panama just across the line mentary education to enable them to understand know something of the rudiments and what it from the Canal Zone. even the rudiments of music, to say nothing of means to study singing. In six months they would There is one National University in the Repub- discover “what it was all about,” and \ lic of Panama, be able | and its president received me to make an intelligent decision as to the advisi- very graciously and listened with interest to my bility of undertaking serious study. In this ideas. The result was that in October the Schola trial i. VOICE class they would get enough understanding ^ I Cantorum of Panama of City was opened in the the fundamentals of (Continued on Page 556) AUGUST , 1942 521 . — — —

Music and Study complicated in comparison w^th too noisy and „ which so gently caresses that of Paisiello, Music and Study been observed in countless cases, and th Cherubini is said to This has perfectly,” that piano “I Understand we have about come to the conclusion me if I don t think replied, “but forgive taught more about harmony, have compositions to your students need to be to adapt my chords, and, most ft necessary The Church Pianist given more exercises in solid thoroughly grounded in time. Napoleon told Cherubini of all, to be ^on'another occasion read at sight, learned and Second only to the ability to his music was too Napoleon his face that the many occa- to memorize. On Cherubini and be that he did not is the ability to It may well German.” incidental music is needed, or when “L scores and that he sions when Cherubini’s elaborate selections like melodies and one finds at the last minute that more preferred the tranquil Her Prohlems actually and prepared, the composers, such as will be needed than have been harmonies of contemporary ability to play from memory is invaluable. Aside of Personalities Zingarelli. Paisiello was his favorite Remarkable Clash Paisiello and of emergency, A services of the King from its convenience in case composer and he begged his memorization is useful in rendering the pianist to set him up as a rival to of Naples in order Cherubini’s frank and free to pay attention to better interpretation. Cherubini. But certainly much influence on by C^barfotte l^jeai manly kind of speaking had Many Compensations ^lll <2). Napoleon’s antipathic judgment. L 'IVafJemar ^ckwelilieimer, In spite of trials and tribulations the work Suspect of the Revolutionary Crowd has many compensations, and the higher the Cherubini standard set, the greater will be the pianist’s During the French Revolution, had however, had a J. Hoge’s entered the vestry by one door and confronted, improvement. Any pianist who is interested in an unpleasant adventure which, HE NOTE SOUNDED in Mr. T. door, an equally bedecked, do well to take Zenobio Salvatore ending. He had arrived in Paris in 1786, excellent and authoritative article on the entering by the other becoming an accompanist would The hundredth anniversary of the death of Maria Luigi Carlo harmless the equally decorous quartet and pianist who had position, if only for a few months. The his day, even in Ger- because of his good relations with Royal T tribulations of the volunteer choir, in The a church March fifteenth of this year. In and Cherubini was celebrated cast at a help. Be- than Beethoven. entrusted with the musical direc- Etude for March, touched such a responsive come with the procession! A double experience gained would be of much many, this great contrapuntalist was considered greater even Court, he was newly founded Italian opera. One chord that we have been inspired to augment theatrical presentation may stimulate audience sides reading and memorization, the student His encounters ivith Napoleon were striking . Editorial Note. tion of the of lawless interest, at a funeral it just would not do. “brush up” on transpo- day he was in the street when a band it with a “sympathetic vibration” from the piano. but would have a chance to fairly order and unnecessarily citizens came along, singing and shouting. They Since many readers undoubtedly belong to that So the “locals” retired in good sition. Some hymns are pitched recognized him and insisted that he lead them. large and useful group of individuals who serve contented themselves by sitting in the back of high for congregational singing, and a pianist He refused until a churches in small towns where a pipe organ is the auditorium and listening to their rivals’ ef- who can transpose is a valuable asset in these APOLEON WAS A FAMOUS SPONSOR of des Arts) on October friend, caught by an unknown luxury, we offer a few gleanings forts, with an air of tolerantly critical patronage. cases. the arts; but as is the case with most 1, 1797. After the per- same crowd, The deduction to be drawn from the foregoing is the ability to follow that N' autocrats, they are inclined to show more formance the com- the from our own experience. Added to these — hastily thrust a vio- this size (less one thou- examples seems to be that the church pianist so pianists fail, and appreciation of the artist who seems to agree poser paid Napoleon In most towns of than golden art in which many into his hands to be ready for emergency; visiting accompanists. with their own ideas and theories. As a rule, the customary visit in lin sand population) the churches do not pay their has any therefore disqualify themselves as pianist to play at sight autocrats do not appreciate artists who believe the State Box. Napo- and told him to play. pianists, but elect them each year by vote of ministers who expect the This can be measurably improved by a few service; themselves entitled to the expression of their leon, instead of com- The two musicians the congregation. The pianist is expected to play some unfamiliar composition during the months practice in a small church. In direct own mind and opinion. plimenting him, re- were dragged about for two services every Sunday, to accompany the traveling evangelists who sing solos without re- contrast to the ability to follow, is the ability That is the basic the whole day by the solo or other special number at each service, hearsal and take unheard-of liberties with the to lead. Complicating the task of leading, is the reason why two char- crowd. In the eve- and to play an appropriate selection of the time and tempo; guest soloists who calmly in- fact that it must seldom be done openly. Volun- acters such as Cheru- ning they were seen proper length for a prelude and an offertory. form the pianist that the composition they ex- teer choirs (see Mr. Hoge’s article) are notorious bini and Napoleon standing on a bar- For baptism and communion services, there is pect to use is too high in spots, and will the in the matter of deviation from pitch and could not be friends rel, playing while a also incidental music to be played. Added to pianist please play it in six flats instead of five rhythm. It becomes the pianist’s responsibility during their whole banquet was going these are the usual activities of the church for sharps as written, and memorize it in the half to hold the group together—to bolster up the lifetime. They both on in the market which music is required, including weddings, and hour that remains before service so that the uncertain basses, encourage the timid tenors, Italian came from place around them. funerals. When a church wedding occurs, the soloist may use the one available copy? “squelch” the lustily flatting altos, and lead the Cherubini families — In this period of church pianist is expected to provide the usual wavering sopranos back into the melody line from Florence, where Accompanist and Soloist continuous political musical program. by unobtrusive but insistent stressing of their he was born in 1760; restlessness Cheru- A minor annoyance is the traveling speaker part—all this during the public performance. Napoleon Bonaparte Resourcefulness a Premium bini wrote the heroic or evangelist who brings his own pianist without Music for church services need not be difficult. from Corsican Ajac- opera, “Lodoiska,” Funerals constitute the largest number of the local incumbent’s having been notified that Many selections of high musical worth are ar- cio. Napoleon did not “extra-curricular” which was per- obligations for the church her services will not be required. Many an hour ranged in grade three, and a few are slightly like to be reminded first 1791. pianist. funerals are of precious formed in Few held from the mortuary time has been wasted by the house- lower. Grade four will include a majority of of his Italian descent It had enormous suc- in small towns; people still cling to the church wife who “doubles” as church pianist, when, and name, while pieces suitable for the church pianist’s needs, cess and had two funeral. In a community such as this, the ar- having been told she will be needed, she leaves Cherubini never dis- and if he wishes something more pretentious, hundred perform- rangements for music at funerals are often very household duties, practices several selections, avowed his national- there are many classics in grade five. The pianist ances during the indefinite, sometimes because of the fact that and hurries to the church through rain or shine, ity. Napoleon persist- who plays in grades six, seven, or higher will first year. When the the responsibility for such arrangements is not only to ' find upon arrival that other arrange- ed in pronouncing the have to choose his music very carefully to avoid Conservatoire was specifically vested in any one person or group. ments have been made. composer’s name, in numbers that might be over the heads of his founded, Cherubini Results are sometimes more confusing than con- To be thoroughly efficient, French fashion, the church pianist hearers. (We believe strongly in the idea of rais- soling, to the mourners as well as (Shay-ru-been) a was elected one of to the must combine to an unusual degree the qualities ing the taste , musical of our congregations by the of musicians! necessary in both the of pronunci- L. CHERUBIN1 after Inspectors accompanist and the piano giving manner a portrait by J. A. D. Ingres. On the right. them something more than Chapel Bells NAPOLEON that institution. One On one such occasion, the funeral party ar- soloist. Her work includes both types ation which was of- BONAPARTE after a painting by Paul Delaroche of playing. or The Shepherd Boy. But educating the public of his duties as offi- rived from another town, expecting to use the For congregational singing, her fensive to the Italian touch must be is a very gradual process and must be approached cial was to compose local church, only to find that no one, save the firm, her time flawless, Cherubini (kay-ru- marked, her sight reading per- slowly.) “Monsieur republican hymns janitor, been-6) for festivities, such as hymns had been notified. The procession was fect. She must lead without appearing to lead; Cherubin, you have to liberty, Here is a list of selections which have been songs of victory, and oaths of hatred at the church door when the panic-stricken she must convey the Cherubini never hid made a mistake; spirit of the hymn to the found most useful, given according your for tyrants. janitor, to grade, and this dislike, nor did realizing the situation, dashed madly singers and set the correct music is far too tempo according to type of occasion for which suitable. noisy. How had this native over to the he fail to tell the of Italy come to France? pianist’s home, literally snatched the type of service and the sentiment of the Profound grief is es- Cherubini blunt truth other was born in Florence in her out of her kitchen, and rushed her back to text. Incidentally, on sentially monotone.” 1760, the son why is it that many girls who Preludes of a musician. He was the church, her occasions. He had been reared in the free ideas Cherubini was very angry, and a singer and composer coat hastily thrown on over a have studied piano for several years and without foresee- in his who MacDowell To a Wild Rose and At of early boyhood. The house dress, her hat askew, An Old the French Revolution. At an early occasion ing the consequences of his response, Grand Duke of Tus- but with the Chopin play pieces of moderate difficulty, cannot play he replied cany, later Trysting Place; Chopin—“Preludes, Opus 28” he brought upon himself the displeasure of “I see, Emperor Leopold II, Funeral March at her fingertips which were the General, the music you like is struck by his — simplest hymn in four-part harmony in such the kind compositions, (any of the slower ones, especially the B minor Napoleon, then First Consul. Cherubini had re- which does not particularly a Mass he still dripping with dishwater! a manner hinder you from reflecting on wrote when that a congregation can follow it? and the C minor) — he was thirteen ; Chopin “Nocturnes” the E- ceived the commission to compose a grand affairs of State.” years old, granted him a pension The reverse of this situation occurred on an- — flat and B-flat are funeral piece on the to enable him to study other occasion. especially good for evening decease of General Hoche. Another version of this intermezzo under the famous com- After careful rehearsal on spe- is less 0S®r services; Mendelssohn—“Rondo The First Consul assisted at its execution, prob- ’ Glu®epPe SartL In cially selected Capriccioso” polite. According to it, Napoleon said, 1779 he followed Sarti hymns, the pianist and the local “You have ?o “ Opening movement only; end ably in the Opera (Theatre de la Republique et gieat talent, flrSt °pera quartet, all wearing with a tonic chord Monsieur Cherubin, but ’ n Quint0 Fabio,” was their best attire and the your music ge?v^ in'n ORGAN just before fast part; Bendel— Allesandria. c doefully decorous faces Sunday Morning Continued on Page 558 ) put on for such occasions, 522 Op. No. — 39, 1; Liszt Consolation No. 3 also THE ETUDE AUGUST, 1942 524 — — ——. — — — — —— I 4 1 — —

Music and Study presented by In the last issue of The Etude, we of the neumatic Wrong Notes taken notions of the meaning Practicing the author, an article by the able % Music and Study accord permission of new, correct editions are in York Herald- notation. The critic, Virgil Thomson, of the New with the official Vatican edition. commenting upon the type of music let Idolcrt dliorrii idrecidwedd Tribune, open your book, you are confronted, /fdij good for funerals. A much loved melody. As you used in the modern concert band. Dr. Edwin something like this: us say, with Franko Goldman of New York in his reply to Mr. Offertories ECENTLY IN THE COURSE of a conversa- Thomson, gives his valuable opinions upon the Band Music Should Be Ex. What Monastery Garden—good for friend who lives band, and of the military Ketelbey—In a tion on music, a opposite needs of ’ the concert June Prelude; Borodin organist spends William D. Revelli. evening; Tschaikowsky R a church where the con- band of to-day.— prelude) Thome Au Couvent (also good for ; siderable time at the organ, referred to him and choice Andante Reliyioso; Borowski Adoration— remarked, somewhat quaintly, “He practices AVING OPENED the subject of band reper- it? or concert version in time is this? How do I play of grade 4 arrangements “What sort of wrong notes a great deal.” tory, I have since been the recipient of Animam” (to chant, or plain chant, is grade 6; Llszt-Rossini—“Cujus you ask. Gregorian How can one practice wrong notes—not inten- H much comment on that subject. The fol- of two first double bar) written in free rhythm; that is, in groups tionally, of course? The organist who has fallen lowing letter from Mr. Edwin Franko Goldman alternating freely. notes, or groups of three notes, he is unaware of or indif- matter with such clarity and Service into such a state that exposes the whole Communion This does not mean that you may sing or play erent to his faulty playing needs a severe jolt. completeness that it seems useless for me to go Bach—'"Chorales"—O Sacred Head, and others; with the utmost freedom of time; the chant years ago the writer received such a jolt; further. His thoroughly professional voice says groups Some Stainer Hymn from “The Crucifixion.” composer had the freedom of using only study it was at the beginning of my with Dr. it all: of two or three notes. Weddings William C. Carl. As a demonstration piece, I Modern versions take the eighth note as the Nevin—“Day in Venice Suite,” omitting Gon- played part of Bach’s St. Anne's Fugue. Dr. Carl Mr. Virgil Thomson unit, which means that you count one to each dolieri; Grieg Ich Liebe Dich; Rubinstein stopped me short with the comment, “You’re be- c/o Herald Tribune eighth note, and count two to each quarter note. Romance; Liszt Liebestraum—No. 2 and No. 3. hind the beat, Mr. Treadwell.” At the time I New York, New York In the above example we will count by groups in any other, the world can put the spirit into a military march rather resented this criticism, for this was the Dear Mr. Thomson: scarcely be performed satisfactorily Funerals of two and three as follows: of years I have that a band can. But a program of marches very piece on which I had passed the Associate I should like, first of all, to thank you for your in most instances. For a number through the American would be tiring and very monotonous to the Grieg Ase’s Death; Schubert Death and the Test for the American Guild of Organists. article entitled “Band Music” which appeared in tried personally, and also to have a universal listener as well as the performer. I feel that at Maid;. Mendelssohn Consolation; Beethoven The remedy for lack of rhythmic precision is the issue of the Herald Tribune of Sunday, June Bandmasters’ Association, instrumentation adopted. each concert several marches should be included Andante from “Sonata Pathetique”; Dvorak prompt; this matter is very much emphasized in 22. It is one of the very Count 1-2. 1-2, 1-2, 1-2, 1-2-3, 1-2-3, 1-2-3, 1-2, 1-2. is stand- if not in the programs, at least as extra num- Largo from “New World Symphony”; Beethoven Mrs. A. M. Virgil’s method. She gives the rule few times that one of the The orchestra — parts of the bers. This we do at each concert — sometimes —Adagio from “Moonlight” Sonata; Handel Each of these counts is of equal length. Beware that the finger motion must be quick, regardless prominent music critics ardized in all adding from three to five or six after the regular Laschia chio Pango from “Armida”; Tschaikow- of making the groups of three notes into triplets. of the length of the note or tempo of the music, has given serious thought world. program. sky Chanson Triste. Set your metronome ticking about 120=1, and and that the up motion is as important as the to the band, or allotted In the past, few com- In the past, bands in general have had a very try to play the melody evenly. down! it worth while space, so I posers wrote directly for Collections of Piano Music for the repertoire. one considered the Here is another test to see if you understand So many organists have the abominable habit am doubly grateful to bands—thinking, as most limited When Church Pianist Overture,” the “Poet and Peasant,” free rhythm. Play this example, counting as in- of shifting the fingers over the keys. Stainer’s you. Please do not mis- people do, that they were “William Tell “Classics for the Church Pianist”—Earhart Sextette “Lucia,” a few waltzes, gavottes, : from dicated old method, as I remember, actually contained understand me—I do not purely military organiza- (especially fine) “Sunday Piano Music”; “Evan- quadrilles ; exercises in which the fingers were shuffled tions. To-day we have polkas, potpourris medleys and even Ex. 3 from refer to my own band, for gelistic Piano Playing.” (For the person who one key to another. Mrs. Virgil presented a dia- we have always been over 75,000 bands in the there wasn’t much else. In most instances, the needs help in “filling in” full chords on hymns, gram showing the notes as circles: the perfect treated with considera- United States (mostly music was poorly arranged and badly edited. rather than simply playing the four parts, this played Count 1-2-3, 1-2, 1-2, legato, the circles just touching; the overlapping tion and fairness at all school organizations) that They published the music so it could be book is helpful.) “Selections For Reed Organ”; tones, like the links of a chain; the half staccato, times. I refer to bands as are devoting their time (as the catalogs said) satisfactorily by fourteen Landon’s “Reed Organ Method.” (These last two Now play this example, counting as indicated: a half circle. Dr. Carl gave us a positive rule that a whole. Bands in general to concert music. or seventy men—which is impossible. The parts are of especial use for the pianist who desires the organist must not use the sharp staccato. are looked upon as some- As stated before, few for the different instruments were simply doubled numbers in third grade and lower; also good Ex. He claimed very rightly that the key did not thing very inferior to the composers have devoted —and the general effect was nil. Then, too, most for the occasional very short number, or for the remain down long enough for the wind to pass orchestra. Most people much time to the band, of the arrangements were made for strictly com- church which possesses a reed organ.) Count 1-2, 1-2-3, 1-2, through the pipe fully. Hence, a “pop” tone was (including critics) con- but they are certainly mercial purposes—simplified, put into bad keys, The foregoing list includes only a few, of the result. I have heard some very wonderful sider them a medium for starting to do so now. and so on. The so-called staff arrangers of cer- course, but those few are among those of which If you counted evenly, these two examples should organists produce this tone or part of a tone. parades, picnics, football Such men as Holst, tain publishing houses had to work with speed congregations do not tire, and which will be Vaug- sound alike in time. To obviate further the practicing of wrong games. to earn perhaps a weekly salary. found always appropriate and in good taste. Fourth of July han-Williams, Grainger, They had a Then why the different groupings? To explain notes, care must be taken always to place the celebrations and the like. Hadley, Roussel, Respighi, stereotyped way of writing for the clarinet, the would require much of your time in studying the finger exactly on the middle of the key. They scarcely ever con- Roy Harris, Aaron Cop- flute, the cornet and so on—and never deviated rendition of neums. Our purpose now is to help The well-grounded organist is so schooled in sider them from the land, have composed from that—so that, whether it was an arrange- you play the chant in correct time. harmony, counterpoint, notation and kindred purely musical angles. worth while works—some ment of an overture, a symphonic movement, a So You Can't Play Plain Chant! Of course, plain chant is not without expres- theory that he too often acquires a fatal facility The band is not inferior of them at my request characteristic piece, a waltz, or a march, they all sion. The usual rules for crescendo and decres- in sight reading; as a friend sometimes remarks, to the orchestra. It is and more will follow. sounded alike. I personally have fought that £.j cendo in rising or falling melodies are observed, “I manage PUL nu to get by.” As a matter of fact, he simply different. And Composers are beginning type of arrangement for years. I do believe, how- and the last two groups of a phrase have a ral- does not get by; everybody is there “wise” to him but is no reason in the to realize that there is ever, in the type of arrangement that we per- lentando and diminuendo. himself. HETHER OR NOT one likes plain chant world why a band should more opportunity for fin- form to-day. As you continue to play chant, soon the This sight depends to a great extent upon the man- desire reading facility leads many an or- not play as artistically as ancial gain We must have transcriptions to learn more about in writing of orchestra its history, its notation and ganist to play music on Sunday an orchestra, W ner in which he has heard it sung. Even without even given the band music, and greater music. Otherwise, how could we maintain the in- rendition will come to you. But if you can play trying it over before though he is not yet enraptured of its chaste the service. I once attended a same type of musicians, chance for performances. terest of so thousands chant in time, with ordinary many of people each night beauty, the modern expression, then recital in a large church, during the organist must have some which there came same amount of re- The music publishers have for sixty consecutive concerts? If we were to this article has been of some help. a play knowledge of plain chant, for it is rapidly pause. I looked around to the saw hearsing, and EDWIN FRANKO GOLDMAN being gallery and a fine con- long realized that band some of the old “band music” that you suggest, given its rightful place of prominence the recitails. looking in his ductor. as the offi- music shelves for the music is a Mr. Thomson, our audiences next good invest- would walk out. Most cial music of the Church. number. His playing reminded me of a There are two types of bands to-day—the Mili- ment—and now every publisher in the country, of that music has outlived its usefulness and “But I don’t understand it, schooner loaded and I have no time with lumber and laboring tary Band, which does military duty in connec- including the “tin-pan through alley” publishers, has whatever charm and appeal it may have once to study,” someone is heard to complain. Do not An Amusing Musical Episode heavy seas! tion with a regiment, and the Concert Band, opened so-called educational departments, con- had. Our bands are different to-day—different in be discouraged; this article is written for you. I can hear the reader saying to himself, “How which devotes its energies to concert music. The sisting mostly of band and school size terrible," music. I men- —and different in instrumentation. We have Let me give you a few hints, so that you can Ajf / / \Jandervoort 1 when he should Concert be saying, “Do I ever Band in this country achieved fame tion this merely to prove that the oboes play play that composer who and bassoons — and French horns, and chant accompaniments. way?” through such men as Gilmore and Sousa. My will write worth while band music has a great other instruments, and insist First of all, get a new and we that they have up-to-date edition Once, when an ' — tu puuilL pciiUim own organization is purely a impresario vented his Concert Band. future. The trouble is, there are not “individual” parts, of an accompaniment to the spite on ance with enough good and not merely “double” with “Kyriale,” or some Rossini by giving him insufficient preparation. Finally, never Your article contained truths, an impossible libretto many but there composers in the world—men who devote them- some other instruments. ’ use new edition of a good hymnal with chant ac- Rossini returned any music in public of which are some points the compliment by writing you are not mas- on which I beg to differ from selves seriously to the art of companiments. If you have ridic ter. Not so composition. As to what we should play. You suggest Wag- any chant accom- ulous music which long ago, the New York gave an you. It is true that included tenor parts for Times we have a very limited reper- Now, what should the band play ner. paniments published thirty or forty years the account of —since it starts True—practical Wagner music is effective ago, bass, contralto parts for a concert, mentioning the organist toire when it comes to original the soprano and other band music, and out with a handicap? Of course, no orchestra when properly with a weird conglomeration of half notes, quar- similarly thus: “The organ in scored for band—but so is much ludicrous devices, including one was more or less under the that we must depend principally upon transcrip- ter notes and eighth notes, throw orches- con i° of Tschaikowsky, Beethoven. Bach. them °f , Speaking away. tration wherein the violins were Do more memorizing. some tions and arrangements of These required to begin Have of orchestra music. One queer-looking versions would baffle St. each nid of a practice Bach—I might say that most of his organ works measure of a certain instrument either of our greatest drawbacks is Gregory composition by raD- at home, the fact that the that himself, for they are based upon mis- ping on the °rga °r pedal BAND and have been transcribed for orchestra sound tin shades over their pian° attachment. Give up instrumentation of bands differs in all countries ORCHESTRA candles. smeary ,? far better than old Bach ever playing. Be an artist. —and the music Edited by William dreamed of. The 524 published in one country can D. Revelli band approximates an ( Continued on Page 563) THE ETUDE AUGUST, 1942 323 »

Music and Study

Music and Study perimental purposes; it can be “chorded,” as a mountain fiddler terms it, and left to remain at this pitch, without fear of injury to the in- strument. A violin tuned in this manner will Original American Folk Music have certain peculiar characteristics of tone: penetrating pitch, Enlisting Music for 1. It will have a high, thin, resembling an oboe or a bagpipe, according to its structure. 2. Tones played in the style of orton an fingering required will be of a peculiar timbre l if ^Jienrif WcQok or quality. 3. The high positions will have a Men in Service somewhat thin but veiled smooth, even calibre, not found in any other methods of playing. here are two distinct types of foregoing manner, played by two real moun- According to tradition, many mountain folk 4 Cripple mountain music, one of which is seldom taineers, will upset the nerves of some in a man- dances, such as Sourwood Mountains, band Sugar in the Gourd, Cumber- Musicians May Help in T heard over a microphone. This latter is a ner quite similar to that produced by a Creek, Liza Jane, How curious kind of frontier music which is rapidly of Scotch bagpipers. land Gap, Old Coon Dog, and others, originated becoming obsolete. Most of the old-time fiddlers This style of playing is original, to say the with a “chorded fiddle.” by musicians A violinist has been accustomed to a Bringing Music to the Camps who played in this style in their youth are now least, and worthy of investigation who too old to attempt very much radio classical tone should not practice in broadcasting and very few of our this style over five minutes at a time; young folks even know that it ever for, like many other primitive ways existed. of playing, the tone will become dis- *1 Just as the Hawaiians tune their agreeable and monotonous to the well liij litnj lle(son / barman guitars in “A” and impart a peculiar, trained ear. plaintive tone to that instrument, so Yet a violin played as described, in do many of the old mountain fiddlers combination with a five string banjo, employ a special tuning for their Spanish guitar, “slap bass,” and (be- “fiddles.” This gives a weird and lieve it or not) a washboard, will HAT RALE IS MUSIC playing in the lives new A.E.F. But for the pres- of our men in arms during this present ent, the soldiers’ favorites are somewhat penetrating tone which, produce a kind of sound wave un- however crude and unconventional, in W conflict? Why have not more stirring coming from our broadcasting usual the extreme. songs come out of this war? What kind of music studios. can be obtained in no other manner. Musicians who are interested in re- do the soldiers like best? What can I, as a musi- In the training areas at The E and A strings are tuned as search and the kind of music our cian, do to contribute to the happiness and home—in barracks or in the usual, except sometimes when E is early frontier forefathers had to con- morale of our men in camp? field—the soldier turns to his lowered to C-sharp. The D and G tend with, can easily try this method strings are raised These questions are being asked by civilian radio. The finest symphony Hold on there, big boy, or you'll blow the Japzies ofl the map! This photograph. each one tone, to of tuning and style of playing. It will Department. musicians everywhere, and especially by those or the low-downest boogie- by

Music and Study Music and Study Teacher's Hound Table There is another fear that parents have. If The time is given to practice, will there be any left for dancing lessons, social interests, or clubs? Against State Licensing does The Case this plan of practice. Why this pat- The parent often says, “I want my child to be a tern idea of playing the scales result in TABLERS Piano for Mary” normal and well balanced individual. I encour- more than the “A O THAT ROUND Monthly greater velocity any usual Conducted scale study? may be on their guard, I prom- routine of careful Is there age him to join many clubs, and to take part in present some fundamental reason, or is it like S ised last month to pink, sugar-coated many school activities. Isn’t this what he should the doctor's pills, some of the arguments against com- mostly psychological?—G. D. G., Kansas. do?” of music pulsory state licensing Sorry, I don’t quite understand your Is It “Up to Mary” to SuccEed Few people to-day believe in a “well balanced” is to teachers. The best way I know question. You speak of students first life, if by that is meant that the child is to learn give you the following communica- mastering the blocked scale way of prac- a little of everything, but nothing really well. Montague think tion, and to thank Mrs. J. Q tice, then being free to afterward. Without Parental Cooperation? Obviously, a genuinely well balanced individual, and her com- Noted Pianist How can that be? Properly practiced Holland (Virginia) participating in every phase of life at once, is as heading off the vicious and Music Educator blocked scales compel swift, hard think- mittee for much an impossibility in this complex world, as ing before each pattern is played, mak- bill and for letting us profit by the is the mastery of all known truth. it impossible to fool around with prompt action of the Richmond mu- ing scales in the old lackadaisical, dum-dum No sane teacher would attempt to dictate what sic teachers. Here it is: way. The pupil simply cannot get away any given child should do regarding the exclu- "The Committee appointed by the I with it. He is forced to concentrate every sion of “outside interests,” except in cases where Richmond Chapter of the National second; he' increases his scale speed away been hand, shape and length an outstanding talent is concerned. The only Guild of Piano Teachers has tion and span of teacher’s of beyond his or his expectations introduced fingers, technical grade, type thing that can be done is to point out the obvious advised that a bill will be of and he loves the process. coordination required to produce the limit of twenty-four hours to every day, and to in the 1942 session of the General Again, you ask why the pupil develops and so on. musical effect desired, <£vJyn WjcCann nor suggest that what is done In these limits is always Assembly providing in effect that no greater speed from practicing blocked Pri So, as to (I), I would say, only change person can take any private pupil scales than through the “usual routine done at the expense of not doing something else repeated notes (a) if it facili- Correspondents with this Depart fingers on that also, or pupils unless he or she is certified Letters of careful study.” Why, simply because may be, desirable. A sacrifice has to be went are requested to limit tates the playing of the notes, (b) if you Fifty Words. think by the State Board of Education as to One Hundred and using the he is compelled to ahead in pat- made somewhere. cannot get the proper color by “. that this certificate terns and finger groups instead of single . We have bought a piano for Mary, and she a teacher: and same fingers, (c) if it makes you feel tones. In other words, the ancient futile has started Substitute must be renewed from time to time better. to take music lessons. She practices No for Practice practice of lifting each finger teacher may be disqualified fingers when- up and or the Artists avoid changing regularly and well. . . . She loves her music. . . Parents need to know that there Is no substi- “(5) Through the opportunities “laying” it down is discarded. as a teacher. ever possible—and this goes for slow as tute for regular, But please don’t think that I advocate concentrated, and uninterrupted “Our Chapter has unanimously given pupils to take part in the Na- well as rapid repeated notes. Why? Be- throwing overboard the slow, practice. The pianist is not merely gaining tional Piano Guild Tournaments, disturbs the bal- careful way. knowl- decided it does not consider the bill cause changing fingers Not at all! Students must practice edge; he is also building skill, National Federation of Music Clubs’ of hand and arm. Disregarding the all and developing beneficial to the public nor fair to ance ORTUNATE MARY, who has such a good parents fear they will kill all love of music if you scales slowly and exactly with flashing many muscles not normally trained contests and public school festivals, rule is (as you say) what makes start! Perhaps she will by any other the teachers of the State as a whole. fingers, quiet hands, floating elbow need no more, if her they force a child to practice when she’d rather slide off the keys. In slow singing phrases and activity in his life. following are the reasons and also because parents and peo- Flove, talent, and enthusiasm are “The free flipping thumbs. In the blocked scale as great read, or see a “show,” or skate. ple it is astounding how much variety one Along with good instruction and regular influenced our decision: throughout the country are be- plan, as you and I hope that they are. prac- that tone using I’m simply offering a modus op- can bring to a repeated by tice, Johnny like all of coming more music conscious, music erandi for developing And yet, the Compelling Practice — us—needs encourage- “(1) A certified teacher does not the same finger but with different touches. scale speed, as world is filled with those whose teaching standards are being greatly against the stupid ment and vital stimulation. Yet his Interest, once necessarily mean a good teacher—to You can play a highly colored succession old method of start- talent was unquestioned, whose love of music Parents have forgotten: Children usually improved. Let have aroused, will us be sure that no law ing slowly and gradually increasing ve- still persists amaze his elders, as will his ap- put requirements low enough to en- of tones using up fling, up swing, “paint —and who have not taken any to be made to do all things worth while. The hinders this progress.” locity. Teachers and students parently boundless capacity for able most teachers to pass puts a brush,” full arm rebound, full arm “dip,” who persist lessons, done any practicing, or even sight read enthusiasm. in technique used may vary from persuasion to re- So, teachers beware! In times like following that old-fashioned method However, because he is stamp of approval on a lower stand- forearm percussion, close finger percus- any of this genuinely loved music in years and younger, he Is propor- these, will just have to continue ward and punishment. The pattern may be that civic, state and federal legis- sion, and many other approaches—all being dissat- tionately impatient. A “bird in the ard. A high standard creates a mo- years. of daily hand" he can lators are looking isfied with lack of speed in scale nagging, or it may be that of the estab- for fresh fields to with the same finger. pas- appreciate; but two, far plumper, birds nopoly and would deprive many sages. Why has this happened so many, many times? lishment in the tax. As the (2) of unbroken routine, too inevitable to pickings become slimmer, Using the fourth finger on black bush; that is a harder teachers of their means of liveli- Many teachers Why are so many adults now unable to idea to grasp. Immediate they will almost key octaves depends on size and span of have written me telling do that be worth combatting by the child. But some certainly run a fine success; immediate praise; hood. For example, several years of the fine results they've which they would “give anything” to be able tangible rewards, at tooth comb through our professional hand, also on the speed, tone quality and had in follow- power is always back of each improvement made. ago, only one applicant out of ing the blocked to do? once: these are the things he craves. quantity required. Many persons with scale routine (see this The mind earnings. . . . When they do, let’s rebels at classing art with force. But fifteen for private teach- see page in the There are the piano small hands find it impossible to use September 1941 issue). I One reason may, perhaps, many times when tangible rewards to it that it’s done legitimately be found in the back of art must be sound craftsmanship, ers’ certificate the and only wish I could and that the passed harmony fourth finger octaves at all in rapid pas- have gone into it more thousands of entries in child can see, touch, feel, play with, or with no permanent injury. thousands of diaries: that means years of unrelenting work. Is requirement. Many of them were ex- sages. For “normal” explicitly at that time. it not eat, are hands, slow legato “We have bought a piano for Mary, and she useful aids to accomplishment. If a child Will you write has always true, whether we like to believe it or not, cellent teachers with long experi- octaves require the fourth on black keys. me again when you have loves stars as prizes been started to take music lessons.” For this entry that excellence for completed pieces—then Fingering Rules In long sustained, brilliant able to judge the results— in any field means endless hours ence. We do not feel that a law passages the good or caused many give him those. If the stars bad-from your use parents to be justly proud. “Now,” of work, and sacrifice mean nothing unless should be passed that would make My piano teacher has set down two hand tires more quickly if you use fourth of the blocked scale of things we like for those plan? they had said, “it’s he is in competition with others, rules for fingering: (1) Change fingers finger; on up to Mary!” that like or with him- continuation in the work dependent on the other hand for rapid pas- we more? repeated notes, and (2) black note oc- Was it all “up to self—then give him contests. If sages requiring evenness the fourth fin- Mary” from that point on? The intelligent parent will we, as adults, on the whim of the individual ex- taves must be played with fingers 1 recognize such ab- and 4. Was it are too cynical to In trying to observe ger on black keys is more effective. This enough to have bought a piano, and to stract believe he would care for these aminer. rule 1, I invariably Hands Apart and Records truths. But that may not prevent his feel- get mixed up or slide is have (as perhaps off the key, espe- because the use of the fourth finger provided lessons with a good teacher? ing that they he will not)—try chocolates, or cially when is you te11 do not apply to his John "(2) The small fees that teachers it a black key. I can do it makes for me what you think of and Mary. books, economy of in-and-out move- ,using No, for Mary stopped or music, or bicycles, much better with one finger, records for piano pupils her music lessons soon It is scarcely necessary, or yachts! Use what- in rural districts are able to obtain but the ment. who never he feels, to be too serious teacher says. '’No." You can prove this for yourself by ha\e an opportunity after she ever ingenuity Then when I try rule to hear real artists? reached grade three. She always about this practice can devise and pocketbooks per- prohibit their studying for certifica- 2, I find myself holding playing a chromatic octave a PuPh who business. Triumphantly he a breath because passage first studied the Nocturne thought she’d start mit. There is no limit except I feel insecure with the 1-4 Chopin. again, but somehow never wifi say, “I don’t that of never promis- tion or renewals, so that teachers fingering. If with all fifth fingers, then with the r'/^’ky SO I got Paderewski’s want my child to be a ‘concert you could give the did. She still ing what we are me the psychological jus- temP° Is very slow; Is It loves music. She’s richer culturally unwilling, or unable, fourth on black keys. (Don’t i™ . cus- pianist’.” to perform who are now serving their commu- tifications of these rules, forget to I t0 Play I’ll work some 11 so? And how can I ex- than she would have been Many of us live within more to make them work. hold your wrist high!) Note how Dlain Th f C had she never started. Surprising as is a few miles of a music nities would be forced to stop teach- much that he does not Ia the this needless fear, it is too I hanS* ? , P V She hopes center, would also appreciate your sugges- less hand and arm dislocation er'ffer! to have her daughter start. But she, and yet do not take ing; and children in there is ' POPU exclaims widespread to be ignored. advantage of the such communi- tions for books or parts lm,iT, An amazingly large of books devoted when you use the ° ?*’ that ls their first herself, no longer opportunity to fourth. h * reaction. It plays. number that is ours to hear the ties would lose all opportunity for fingering.—R. B„ Illinois. bdt m° °n the of parents seem to live in daily fear best in music, spot ! that Sorry, I can’t find any 1 explained that There s little offered “psychological 3 1 doubt but what at a musical enlightenment. Sorry, take those liberties; Mary’s daughter their children will learn nominal cost—or at none I don’t know !™ ', but I too much but that any book on this justification” for you; sensible don't ke will study and play too physical haVe to d ° ‘hat- I used de piano, eventually; but what is of effort to • there well. attend. Truly, “(3) Although doctors and law- subject—someone should certainly write reasons are enough Parhr„i we are often to be for me. recordm8 of the Polonaise. to ward off tragedy one. But who will Onm again? What assurance can numbered with those yers are required by the State to undertake such a by Chopin, for a pupil en- who starve, in the midst thankless terinV we have that job? After a lifetime of re- plano contest a few years ago. the time will not come when she, Pleasure in Performance of plenty. pass an examination before being Blocked The n.Ht, com search, the author probably Scales Again 8 Plimented her on her work also, will say, “I never learned, allowed to practice, couldn’t buth,Tf ineliminatedf but I hope to Actually the Of course, many will testify her , parents’ and the teacher’s plateaus of learning will make such a book readable and In one of your recent because he did not have my wishes surely come convinc- Round Table dis- interpretation daughter learn to play.” are that it has not kept out incompe- cussions, . Is that fair when the same. Each to every pupil. ing, no one would take the you went into some detaU so hopes to give the student a There must be discouraging trouble to explain tc y 0 16 havc different The time has come for days, tency. Furthermore, the principle of blocked f® ? ideas how us to realize that it’s lasting love those profes- read it, everyone would “jump” scale pat- ChH?d ° should be of music, and a joy in that stretch quite frequently on him, erns and how they can played? Were not the never really “up to playing well to weeks, when sions are not be employe?P y tccc nth f Ct< Mary.” There will always be no periodically subjected and he would go down to a increase one’s S more important in a high enough so that performance progress pauper’s velocity. school n, if . endless may bring pleasure at all can be discerned. P f0r generations of These are the to the hazard of being thrown grave, cynical and embittered. e h ee he said she Played beau- adults with thwarted However, out I’m afraid ™ an interesting man- tifully?^.tUuIlv, T‘-, appreciation and basic skills inevitable crises J°2 Jorking\V t„ South Dakota. reams, unless we all are not in learning, moments of their life’s work by the require- it’s too much to ask anyone to be with scale forms, and admit that music is work, too when it is a most of my cheaply bought. The ability to easy martyr in younger students are No use beating and dare to say, play enough to to give up the struggle, ment of renewal of their certificates. such a thankless cause. pleas around the bush: let’. “Make Mary work!” although success is concerned with the novelty accompany a friend, or to It is unwise to of n 6 enemy Th har read a piece at sight near at hand. lay down any sweeping Now before one of boldly, whatever thi est thing for “(4) No other state in the them masters the ro! H, m Parents to grasp is why cannot be union fingering su . The u ?, i created over night. rules, for so many S° h mlnd is mannerism a child with Furthermore, if Mary is has unpredictable free for thought of playing on< talent should hate to too young to know these seen fit to pass such a law. factors Twan?I want to putf to hand work. Instead the child stops truths which must be considered; you the question after the other is of studying when he conforma- is in my that one of the mos realizing that finds that psychologists have mind in regard to the the greater the talent, the found. But Mary’s purpose o! ( music makes daily parents 528 Continued on Page 569) greater may be demands upon his time, he should the dislike of practice, also, the know, and not be fooled at will probably stop, never to try again. any time bv seeming, temporary, (Continued THE ETUDE AUGUST, 1942 on Page 558)

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the strings even though the contact with THE STUDENT of mechanism is HEN key is released. This said a Parisian counterpoint has gained Music and Study to have been devised by piano in the manner maker and shown in London in 1862, but Wsome skill in comes invertible counterpoint introduced in the United previously described, he is likely Questions and it was early the twelfth. Twelve steps up the States by the firm of Steinway and is to be put back to start all over Analysis of a Rachmaninoff scale ladder makes C-D-F-E be- found on most fine grand pianos of to- again so as to learn the prin- come in the treble, G-A-C-B, Concerto day. ciples of inversion. Other pedal mechanisms have been in- Counterpoint with corresponding changes in Q, I read, with much pleasure, your In harmony, inversion has and would like to vented and some pianos of American all the other parts of course. page In The E7n he, only one meaning, and refers to ask a favor Will you suggest where I Answers manufacture have had as many as five; of Rachmaninoff’s re-arrangement of chord may obtain an analysis only the three above described are the Possibilities 17"? music club la but Limitless "Concerto. Opus Our C-E-G is a we have considered authentic, namely, (I) the tones. The chord studying a number of concern— The possible combinations and an analysts and the concerto played by Service damper pedal, (2) the “soft pedal” with triad in “root position”; raise the pianists. Tills favor will be greatly Music Information permutations are staggering. But two A various kinds of mechanism, and (3) the C an octave, and it is in its first m appreciated.—Mrs. A. J. B. sostenuto pedal which either controls inversion: E-G-C; raise the E this is only a beginning! We have above described or else kind of A. I think you have made a mistake in the mechanism an octave, in turn, and the chord still to consider another Rachmaninoff lias writ- y constitutes a partial damper pedal which altogether: inversion the opus number. Conducted By is in its second inversion G-C-E. inversion three concerti, their opus numbers lifts all the dampers of about thirty ten That’s all there is to it. by interval. that being 1. 18, and 30. It it is Op. 18 strings in the bass but has no effect crib In counterpoint, inversion is a Taking Mozart’s theme again, you are doing, you will find an analysis whatever on the rest of the strings. tremendous subject. There are Plain Language C-D-F-E, C to D is a whole step, in Philip Hale’s "Boston Symphony Pro- This middle pedal is actually used very %[). inversion of D to F a minor third, F to E a gram Notes” on Page 232. This book may little as compared with the right and two basic kinds: Doc. of The Mus. of half step. put those inter- be secured from the publishers j(J left ones, and although it is useful oc- melody and inversion the in- Now Ill of Etude. You might also find Vol. casionally it is not to be thought of as tervals of a melody. vals in reverse or “contrary mo- Analysis” use- Tovey’s “Essays in Musical being in the same class with the damper Melodies may be written in tion.” In this case it is easy: ful in studying other concerti although pedals, whose and the soft invention double, triple, quadruple, quin- b E-D-B-C, the intervals match. he does not analyse the Op. 18 of Rach- was actually epoch-making so far as Professor Emeritus tuple counterpoint, meaning two, Also, the inversion could be maninoff. pianistic effects sire concerned. three, four, five for more) “voice- played simultaneously with the Oberlin College Sometimes the middle pedal is a so- parts,” all invertible. They all original, so that the Cantus called “fake pedal” and does not actually Various Intervals positions in Music Editor, Webster’s New produce any different effect than that may change turn so Firmus (C.F.) would supply its Q. I would be grateful for a definition for which the soft pedal is already re- that the part for the alto may own counterpoint Moreover, this of diminished Intervals and examples of International Dictionary them In the key of C. One teacher taught sponsible. In this case the pedal is of no appear next time in the bass; ur S. Garbett counterpoint derived from “In- that In the key of C the diminished me value so far as performance is concerned, treble may sing the former bass version of Intervals” (I.I.) is also third Is Ct-Eb; the diminished fourth, being useful only as a salesman’s talk- part, C5-F1). Another teacher instructed me tenor may sing the former invertible in the octave as to In this same key the diminished ing point. The way to determine what that treble part. The possible muta- position, and might be written third Is C-Ebb; the diminished fourth. sort of pedals any particular piano has tions C-Fb- Another point on which these of these parts increase either above or below the C.F.: closely the Is whether or not all In- is to look at mechanism in- teachers disagree What Does Plagal Mean? enormously with the number of E D B C or C.F.: tervals can be augmented and diminished. side the case and see just what happens C D F E parts. The mathematics it If some can not be augmented and di- Q. 1. What is the meaning of the word of is C.F. C D F E 1.1. when each pedal is depressed. Part Three: Music Takes Wings E D B C minished, would you kindly tell me which fermata, thus: "jii” the corfu written over a same for bells in change These two parts could now be ones?—M. L. D. plagal mean? 2. What does the word ringing. Substituting notes on —N. Z. C. A Thirteen-) ear-Old Hoy inverted as to position in the the piano for A. A diminished interval results when bells, you may ex- tenth, giving us two more parts perfect or minor interval is reduced A. 1. I have never happened to see Asks a Question periment a little. any having a fresh flavor. Finally all size a chromatic half-step. If you are this combination but since corta means Q. In Ph. E. Bach’s ’’Solfeggletto” with If there in are only two notes four parts is it constitutes you play the first note, could be sounded reckoning intervals from C in the key of “short,” my guess that which hand do available, say piano? L. M. two black keys, there are only two for much repetition, and the transference of together: no particular reason a warning not to hold the fermata note E-flat, on the — C. there would be ways of playing them in succession, 1-2, 2-1. If parts by inversion is one way to get it. Most 1.1. at 10th: to start from Cjf as your first teacher has too long. G F D E No question will be answered in THE ETUDE A. pianists begin it with the sec- there are three 2. originally used Most notes, however, then they may composers write double or triple counterpoint C.F. done. C;-E[, is a diminished third, but a The word plagal was unless accompanied by the lull name at 10th: E F A G of There denote a use of and address of the inquirer. Only initials, ond finger the right hand. be played six ways: 1-2-3, 1-3-2, 2-1-3, 2-3-1, from habit. diminished fourth is C;-Fs, not C;-F|v in the church modes to A remarkable case of quintuple coun- 1.1. at Oct.: E D B C or pseudonym given, will be published is also an arrangement for left hand 3-1-2, 3-2-1. Prom Ciq, the diminished third is C-Efc,bl an original mode in which the scale was If there are four notes, they may terpoint in a symphony occurs in the finale of alone which begins with the third finger CANTUS FIRMUS: C D F E fourth is C-Pj,. conceived as running from dominant to be played the diminished twenty-four ways; begin with 1, then Mozart’s “Jupiter Symphony.” For some reason, of that hand. Inspection of these four parts reveals that All intervals can, of course, be dimin- dominant instead of from final to final. work the other three they six ways as before; then in this movement this inexhaustible melodist are in quadruple ished or augmented, but in most ordinary To-day the word is used mostly in con- begin counterpoint and could there- with 2, and work the other notes 1-3-4, chose to use as his theme a plain, old-fashioned harmonic music one does not find altered nection with the classification of ca- fore be inverted as to position in twenty-four South American Music six ways, and so on. If there are five dences. Thus, a plagal cadence is one in notes avail- Cantus firmus of four whole notes: C-D-F-E, intervals which are the enharmonic ways, though not all would be equally effective. pedal is released, the felts are pushed Q. 1. I wish to give a program of South able the number of inversions equivalents of perfect intervals. This which the tonic chord is preceded by becomes five times relying on his contrapuntal skill to weave melo- The against the strings again, thus stopping American music, using classical selections composer would have to consider how to the subdominant chord. This is some- twenty-four, or a hundred and means that the following intervals are for piano and voice, with perhaps a few twenty. Six notes dies and counter melodies around it to hold your avoid —or damping—their vibration. The “soft crossing of parts, the proper placing of generally not used; diminished second, times called the “amen cadence.” popular numbers. A Junior Muric Club, would give 6 times 120, or 720. interest. The foregoing pedal” acts in one or the other of passage from it is quin- voices, the two composed of high school seniors, will be total effect. For piano or organ, this augmented third, diminished sixth, and Substitute the transposition of melodies tuple counterpoint ways: either it brings the hammers the performers. If you can sr nd me a sug- from capable of 120 inversions. would be the simplest augmented seventh; and since one always one part to arrangement: About Piano Pedals closer to the strings, so that when a key gested program or can recommend any another in counterpoint and a five- The movement is distinctly fugal reckons intervals in character, by counting up, a other service bureau. I shall be vciy part Q. I wish to get reliable and authori- is depressed the blow struck by the passage can be repeated 120 times, each and a fugue cannot be Ex.2 diminished prime is inconceivable. grateful. time written without invertible tative information In regard to the use hammer is shorter and sounding a little therefore the 2. Can you suggest a short musical different. counterpoint. Such The following chart shows all practical of the sOHlenuln, or middle pedal, on a movements in symphonies amount of tone less, or it moves the en- comedy of South American nature (in At this intervals from C: grand piano. My last teacher told me that point, the reader may wax indignant are comparatively rare, but tire English)? Any information suggestions invertible counter- It is a fake, merely action about an eighth of an inch or put on as a talking “But that’s so mechanical! is will be appreciated very much.—Mrs. What possible use point not. The symphony scores, indeed all point in selling pianos, and that It Is to the right so that the hammer strikes the W. V. M. can it be?” In the above, the parts are of little or no use to real musicians. These major works, of Mozart, moving in parallel only one of the two strings in the middle Beethoven, Schubert, thirds pedals are found on high priced and and. as we say, “in contrary motion,” lower register, or two of the Mendelssohn, Schumann, Brahms, Wagner, the P. fine grands, and seem three in Liszt,’ R A.P. Mi. 2 Ma.2 A.2 to be useful when A. 1. I suggest that you send for the upper thirds moving down as the lower successive notes in the upper parts are the middle higher register. In earlier Dvorak, Tschaikowsky, Franck, Richard thirds following books, and after looking them Strauss,’ move up, dissonant If held with the usual damper pianos the soft and vice versa. Thus Beethoven pedal sometimes inter- through choose Sibelius, to name only a few, are crowded writes pedal. It is to be noticed that there are the one you like better with a similar posed a strip of thin cloth between ham- and such passages. passage in the slow movement of his sometimes two kinds of damper pedals, select your program numbers from In most cases, the counterpoint is mer and strings, “Fifth and also of eontenuto pedals. One kind of thus “muting” the Symphony”: D.3 Mi.3 Ma.,3 D.4 R4 A.4 D.5 P.5 A.5 it: “Mexican and Spanish Songs,” edited so fluent and melodious that one is each operated over the entire strings. The great not aware of keyboard, advantage of the type by Manuel the and the other kind only on the lowest Goya; “Spanish and Latin display of contrapuntal learning of soft pedal which moves the hammer until one Ex. 3 twenty-eight to thirty keys. What do the American Songs,” arranged by the Krones, studies to the side lies in the the score. best musicians say in regard to the value fact that it pro- Beatrice and duces an Max: “Latin American and use of these pedals?—W. J. C. ethereal variation in timbre Mi.6 Ma.6 A.6 D.7 Mi.7 Ma.7 Songs,” D. Stevens, D.8 R8 A.8 because a editor and compiler. The Next Step part of the tone is generated A. Originally there were only two ped- by the After sympathetic vibration of the un- invertible counterpoint in the octave, You will find a very clear explanation als on the piano—the 2. I do not happen to know any such damper pedal and struck strings. comes invertible of all intervals in Lessons 10 and 25 of the operettas but counterpoint in the tenth. In “soft” pedal. The damper pedal, as A third pedal I am sure the publishers (the middle one) is this case, a “Harmony for Ear, Eye, and Keyboard" its name implies, acts on com- of The Etude would you melody in the bass is “inverted” the dampers, monly to be found on modern be able to send by by A. E. Heacox. This book is pianos and one moving it ten which which are pieces of soft felt resting most or more on selection. They would steps up the scale ladder. Thus, frequently this middle pedal widely used among teachers and students against the ’is a also be able C-D-F-A, Mozart’s strings to keep them from sort of selective damper to supply you with the books theme, would become E-F-A-c! because of its clear exposition of pedal. The best the sub- vibrating. When the damper pedal mentioned in the first ques- in the treble, is form of mechanism of part of your but of course capable of further ject matter, may be obtained from the this so-called tion depressed all the felts move away from sostenuto and perhaps some others of the same inversion pedal is that in in the octave so it could be publishers of The Etude. Study it very the strings, thus allowing which the sort. The moved That passage is also free vibration pedal causes the Pan-American Union in Wash- down again invertible twenty-four carefully. dampers of any strings for the hass to sing it! The of the entire series of strings. ington, D. C., In any sustained same ways; but it is highly When the that have been struck perhaps could assist you work, the composer needs with the unlikely that Beethoven to remain out of along variety other parts. this line. combined with consciously wrote it as an 530 unity of design. This calls After invertible essay in quadruple counterpoint in the tenth counterpoint. He was ( Continued on Page THE ETUDE AUGUST, 1942 570) 531 Music and Study VIENNA LIFE This famous waltz of Johann Strauss II was originally called “Wiener Blut”or“Vienna Blood!’ There is something about Vienna which “gets into the aN ARTIST who is sincere and serious must of the individual, no matter where he may have been LA have a belief in himself. The musician who is blood”and has an indescribable influence upon the gaity, the humanity, and the understanding honest with himself, who treads his own path born. Beautiful flowers, noble woods, lovely music, art and poetry, and a lack of care lead to a kind of joyous Viennese dream existence which Strauss constantly but not obstinately, will come out on a Conductor has caught magically in this waltz. Grade 4. top. He should not be too stubborn to listen to Becoming TOHANN STRAUSS. Od.354 others, nor too frail to have faith in his own con- victions. I am a great believer in the young artist struggling to develop himself from within rather A Conference with than aping the tempos and mannerisms of older artists which the facilities of radio and the pho- nograph have tended to accentuate. One cannot change minute by minute in response to some- I1ohn d3arliro((i one else's thoughts. Change comes only with 3 British Conductor growth and sincerity. There is a kind of beauty Distinguished in the impetuousness of youth, the richness of maturity and the serenity of age. In 1936 when, at the age of thirty-six, I took SECURED EXPRESSLY FOR THE ETUDE BY VERNA ARVEY Arturo Toscanini’s place at the helm of the New York Philharmonic-Symphony Orchestra, I looked back over my musical life and was in- finitely glad of the chance which had be cited. I was scheduled to conduct the been mine to know the orchestra inti- might performance of a three-movement composi- mately from so many different points first Arnold Bax with the Royal Philharmonic of view. I was glad that I had been a tion by I been studying it for member of orchestras during my youth Society of London. had night before the first rehearsal, for, among many things, it taught me some weeks. The that a good conductor must also be a the score was lost. I reconstructed from memory good psychologist. a skeleton score, corrected the manuscript or- For example, I knew that a conductor chestral parts and conducted the rehearsals and has to pull things out of some players, the concert without the composer knowing what while for others who are sensitive and had happened until it was all over. responsive a flicker of the eye will suf- A writer once described me as being an English- fice. The latter type of player just re- man with Latin ancestry and temperament. Be- sents being browbeaten. It had been cause my father and grandfather before me were said that certain orchestras had the musicians, it was perhaps inevitable that I reputation of being “tough.” This was should adopt the same profession; that I should not found to be true of any of them, start to study the fiddle at the age of seven; that once they felt that the conductor knew I should change to the violoncello and make my his business. The musicians can sum first public appearance when I was eleven. up a new conductor in fifteen minutes. I had tremendous musical opportunities in my If he is bluffing, they know it and act boyhood. My father and grandfather, who had accordingly. No orchestra resents sin- both taken part in the first performances of cerity; all will cooperate if approached Verdi’s “Otello,” supplied a vivid operatic back- correctly. The orchestra men are excel- ground of reminiscences regarding tempos and lent judges of what is" or is not worth other musical habits of the great singers and while musically, even if they do not conductors of that era, while at the Royal Acad- understand a composition at the outset. emy when I had a scholarship, I had played all Their reactions are important and ac- the Beethoven “String Quartets” by the time I curate, for they have played so much was twelve years of age. All this helped to give music that they are able to make just a wide grasp of musical literature. comparisons. Needless to say, struggling When Sir Henry Wood conducted at Queen’s to read the bad manuscript of a new Hall every orchestra member pass. work makes them angry and weary. had one free I used to turn up outside the Very often composers are not thought- hall a half hour JOHN BARBIROLLI before the concert and ful enough to write legibly. beg a ticket. I generally got one. At that What of the young musician who time I liked conventional music, such as Italian wants to be a conductor? If opera, Beethoven, Brahms, and he is not born to mood of the men at the moment. Sometimes a so on. In 1912 I heard Delius’ conduct, he will never make it. People cannot “Dance Rhapsody” rigid beat is required, sometimes just the general and it bowled me over. It be taught to conduct. They can only be taught feeling. revealed a new and unsuspected to beat time, but there is more to conducting musical horizon. Immediately I Conducting from memory is a stunt and a than began to spend all of that. A conductor can make the most per- fraud if my spare pennies buying the conductor knows only the high spots. fect the music of Ravel, motions, but succeed in getting nothing If however, Debussy and other contem- he can write down every note of the from them. One conducts with the mind through poraries. On the instant I decided that Mozart score from memory, if he knows the music the eye. so was pretty, but That is to say that conducting is a thoroughly that dull; I could not bear Brahms his mind is free and he does not and form of hypnosis. worry Schumann, and so on. But my liking for over what is coming next, if his conduct- Handel and Bach was never ing is equally good without a score, lost. Much later, Conductor or Time Beater then there is when no need my classical development came and when for him to use a score if he does There are two sides not Mozart, to conducting, the physical care to. Schumann and Brahms took their cor- Some conductors discard scores from and the mental. The first is so rect places in easy that almost necessity, because their my conception of music, I realized eyesight is bad. I use anyone can accomplish it. Learning the ow healthy had music is scores because I consider been my acquaintance with it more important to at once the most important and the most dif- the music of my enlarge my repertoire than to spend own time. ficult. Rarely time memo- will a good conductor worry about rizing a my early years I was comparatively small number of . somewhat of a prodigy. a constantly rigid beat. composi- e He will know the music tions. Yet, by outset I did what other for the time I have finished studying musicians try thoroughly, then indicate what he wants from years to do: I played a new score, I know it so well concerti with big orchestras. the that there is players by any means at his disposal. This is n 0t t0 let scarcely any need for the written U turn my head, nor to be de- determined by the type page As an pJ, e!f k of the music and the illustration, the y the glamour of story of the Bax composition it. I did not just idly it for engagements 532 ( Continued on Page 564) AUGUST m2 THE ETUDE S33 0 - — * L ——Lf: — — —

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MINOR XL CONCERTO IN A THEMEX XXXJJXLXX FROMX PIANO by Robert Schumann. The power melodies conceived one of the most eloquent an Opus 54 , is . been The main theme of the“Piano Concerto in A minor,” nstrumentation for orchestra has criticized, for he instrument. one of the five greatest concertos written . by Clara Schumann in I846..Itscom- Concerto itself is considered f f8t performed power, emotional appeal, and br structurally a work of superb • piece for solo performance, it is organically and herewith mmakes an excellent to develop. The arrangement presented position, however, was begun in 1841 and took five years

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AUGUST 1942 THE ETUDE 539 -— — '

Grade 24. NODDING POPPIES In waltz time M.M.d-=58 MILO STEVENS l.h.over r.h. l/o. \ „ T)fJ\ 4 3 9 1 — — *** * 1 1 F=p5^f=^==^= wl.^L -7 « V I fl “K r 1 1* • a f - raP-!T j t - r 4 * L ’ cresc. f f * rff i ./ ^J— 1 ^1 r —__ — ^fp= 1* lrf53- -T ?

Copyright MCMXLII by Oliver Ditson Company International Copyright secured Grade 3. , Allegro moderato m.m. J = 92 CANTERING WILLIAM BAINES

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ON VENETIAN WATERS SO NEAR TO GOD Johnstone Grade 3i. Cordon WILLIAM ARMS FISHER LOUISE E. STAIRS Slowly and well sustained m. m. J- = 60

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Adapted from Edmund Vance Cooke COME ON, AMERICA! * r ' Vance Cooke. nrThe musical setting is stirring and bri]J Thu words of this challenging song were wr ittenby the famous American poet, Edmund iant ^ spirit. makes a line patriotic spot in anv program at this hour. Sing it with vim, speed, and KENNETH M. MURCHTRom

AUGUST 1942 545 MORNING SONG

JOSEPH J. McGRATH

w Copyright 1942 by Theodore Presser Co. British Copyright secured AUGUST 1942 547 EXCERPT FROM

FANTAISIE HONGrROISE A. BELOV Solo for Et Alto Saxophone

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E(, Alto Saxophone

PIANO

AUGUST 4942 549 M — —

THE PENGUINS DANCE THE PENGUINS DANCE SECONDO LOUISE WOODBRIDGE PRIMO LOUISE WOODBRIDGE Allegretto m.m. J= 88

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MISTER CRICKET PLAYS HIS FIDDLE BED TIME HUGH ARNOLD Grade 1. BER NIECE ROSE COPELAND Not too fast m. m. J = 120 1 / 1 j- — r 1 t=f=n Vf—r —41 ^ —4' 11 — J ^ J. J 4 11 -tens to me < ''When I go to b

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* £ say my prayers, Then she goes back down the stairs. %ut I nev - er mind at all, Fine

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' - " . - ACCOMPANIMENT . , . WITH REPEATED CHORD The Technic of the Month MELODY opposite page Op. With lesson by Dr. Guy Maier on STEPHEN HELLER, 47, No. 16 5 -'4 Conducted by Qal} Water Moderato m.m.J =76-80

Melody with Repeated Chord Accompaniment

Heller Op. 47, No. 16

We take 'pleasure in announcing that beginning in the Sep- music has enjoyed For thirty-eight years Century Etude, the Technic of the Month page will finest editions tember issue of The distinction of being one of the the copy. Dublished, yet its price is but 15c a “Technistories” by Miss Priscilla Brown, Assis- some of our very present a series of In the following list are featured the works of four of today s and music latest Issues, including tant Editor of The Etude, with practical application most popular composers. them all of Teachers, pupils and players will And for the stories supplied by Dr. Maier. 4s most Etude readers know, exceptional value, especially Kay Armour s "Modern Piano Method" and Walter Itolfe’s "Book on Har- his outstanding reputation as pianist and falter a Dr. Maier in addition to . . . When the timing cannot mony/* You can. buy them at your dealer or direct artist teacher, is one of the nation’s leading authorities on early split-second from the score ... it is Teachers who use and recommend Century music can’t and win the everlasting gratitude of parents who and problems. then that professionals, teachers generally asked for teaching grade piano teaching methods afford the high prices students alike turn to the musical music. Century music helps you hold your old pupils has long felt that the basic technical principles upon which in enrolling new ones. He and also aids world’s standard of accuracy . . Your money refunded without question, if not later pianistic progress depends have not been sufficiently simpli- fully satisfied with your purchase. fied for young children. Therefore, in this unique series of “Tech- ELECTRONOME NEW a*ut nistories,’’ Miss Brown and Dr. Maier—by a fascinating and im- 'Trade Mark R*«. U.ft. Pat. Oft.) aginative approach—will clarify these all important matters for ELECTRIC METRONOME five-to-ten-year olds.—Editor’s Note. IMPORTANT our One of science’s smallest precision motors ticks off supremely accurate mnQDERn pinna mETHOD tempo from 40 to 208 beats per min- LOVELY, cool study com- tips in constant key contact depress HIS ute simply at the flip of a switch. Amaz- FDR BEGIIMERS pletes our brief Heller series. each chord gently (down touch) with changeable 3197— ingly convenient; tempo 3198— TToo bad we cannot extend it the full arm balanced lightly over the with one hand and right while it is 3199— 3200— RRmoun KflTHLEEn indefinitely. The first volume of Isidor keyboard. Use no finger “action” or running. No springs, no winding. PRICE 15c EACH PART Covered by 5 year written guarantee. It selection of Heller dipping wrist movement—re- Here is something decidedly new and original. Philipp’s excellent down is five music form and each issued in parts in sheet touch is part sells at the regular price at 15c per copy, which etudes called “Studies in Musician- member always that a down PRICE *12.50 enables pupil to start the study of the piano with the all, very little financial outlay. This modern work is based ship” will lead you pleasantly and really an in touch—and above be See it at your local music store. Six-day ^ on the middls C approach and is so clear and step- FREE trial at our risk. Send for details at Heller path. The sure to permit the keys to come * • * • ,i lilt wise that the pupil is playing little tunes almost profitably along the not of money-back offer. —m. the outset. Profusely illustrated. Teachers, be sure to see taxing, all the to the top after the = 1 rrT this outstanding work. studies, not at all technically back way 3196 rrr 1LLiJ —Part I—Learning Letters on the Keyboard 2 i Part I! —Notes, Bars, Time Signatures will greatly improve students’ sensi- chords are played. Just before the FRED.GRETSCH mfg go. U Part III Five Finger Kxercises 4 -HP Makers ol Musical Instruments Since III] Part IV The 2/4, Time Signature bility to color tone and phrasing. keys reach their tops depress them Part V—Introducing the 8th Note BROADWAY, BROOKLYN. NEW YORK « tempo Especially recommended are the again with a quick “letting out” of 60 —^ CENTURY PIANO SOLOS, ea. 15c etudes on Pages 4, 6, 14, 24, 56 and 58. your arm and body. . . . Continue the (Capital letter indicates key-number the grade) 3178 A Wish (Symp. No. 3), F—2.Beethoven-Rolfe process with each of the re- T, welcome “let same 3180 i — u - This month’s study, a A• Prayer (Symp. 2), Gv —2, Beethoven-Bolfe - A ' r* ~ ft 3171 A Little Ballad,"alia G—2 Chopin-Rolfe peated chords. SWING PIANO! 1 J mr enervating August (jfa n 3143 down” for the J A May Day Dance, C—F—2 Crosby Learn lo play real Swing Piano. Send for free Horne 3165 An Airplane Rido (Arpeggio), 2—D, Richter If you have a grand piano, you can Study Folder. TEACHcRS: write for business Qtler 3187 Andante days, is sometimes called “Shepherd’s oix; Cantabile, Km—5 Tschalk*wsky CHRISTENSEN STUDIOS. 52 Kimball Hall. Chicago 3 85 Ave Maria, F^-4 Schubert check up on yourself to see if you are 20 3189 Barberim’s Evening Hymn” ... As if any shep- ) P Minuet, C—2 Hasse ^ ^ 3166 Bounce tho Ball, C—2 Richter could be musically sophisticated doing this properly. Push back your 3168 Busy Little Bee (Valse Capr), Am— 2. Richter herd 3 79 Chicades (Symp. a -m- 8). F— 2. Beethoven- Rolf the of it! music rack so you can see the ham- ar ,n ,n and 0u t- enough even to hum tune i 2 R J J C— 1 Armour * * * 3 75 Dark Eyes (Easy). t It t 'i-s D—Mi—3 Armour title givers! mers as they strike the strings. After / iv- ih '® Dancing the Minuet, 2 Chopin-Rolfe Away with these nuisance I ^ M > ir Hfi ft tip pcizpEzggirjtr. § G— p fp 3190 First Waltz, C—2 Hurand-Roife you have played a chord don’t let the |jM Flight of Bumble Bee. Pay no attention to them. Let each 1 C— 5. Rimsky- Korsakoff 1—1 1 — _4—l rrftejiijjiiEi YOURSHEETMUSIC LJ— Garland of Roses — =3= !=j?=— (Waltz), C—2. . . .Streabbog ! hammers drop all the back, but 3 54 n Rose Time student make his own title. way (Waltz), F—B£— 1. .. .Armour always where n Gay Costume (Minuettn). C—2. Crosby f ! G— weigh or balance them gently when ?!§2 Jumping Rope (March Te..ipo), C—2. .Richter Whenever pianists are required to you want it 3 37 Jolly Little Sambo, F—B£—2 Crosby they near the bottom; then send Laces and F rills. repeated chord accompani- Vi 7c Am—2 Chopin-Rolfe play a —WHEN YOU WANT IT 3176 March Militaire, C—3 Schubert-Rolfe them quickly and lightly back to the 3182 March of the Sardar, E—5—€—m, Iwanow ment to a melody as in this study, or 3156 Moonlight Waltz, No more distracting searches for G—1 Armour strings for the next chord. To keep 3164 rd ke a Wa,k ~ in Chopin Prelude in E minor (No. sheet music when you own a TONK- - c 2 Richter the 3051 K' J«, J* £ W y Ll ,e et (Valse), C—2 Hopkins relaxed, you have only to be conscious abinet. Specially designed draw- 3150 N an nett«e £ 5 7 Poeo10^ Animato). F—-v — 1i Armour 5), or the Chopin Etude in C-sharp ers file it handily, keep it 4 K * Vl * J , ! ! I D fl ihA O n / IT .. 1 . „ \ a • • . on the Ocean (Waltz).ivvttuzi. ; I IJ d,. C—v —2z Hopkinsif op ions of a delicately poised “paint brush” 31693 1 be) PUSSVPussy Wlllnuf IVik.nl C' O n:., willow (Valse), C—2 Richter minor, Op. 25, it is not enough to play 3151 Roaming Up and DownfMar.), 3054 C—1, Armour elbow tip. i R reast (Waltz). ® ?‘L? F—2. . . .Hopkins the accompaniment softly and unob- 3161 Sail on Little Boat (Bare.). F . Richter 3139 Scouts —2, Played this way the chords emerge on Parade (March). G—C—2. Cro^hy trusively. To support the melody, the 3135 ad0* Waltz (Valse), C— 3131 fj G— 2. ... .Crosby as a series of soft legato vibrations, Skaters Waltz, C—2 Waldeiifel-Rolfe chords must not only move in large TONKabinets are requiring only large handsomely styled (four and eight chord) and small and small rhythmical impulses for finest homes, (two chord) rhythmical impulses, to move them, built of rich cabi- and the rich right-hand melody soar- net woods. Ail have thus: special file drawers ing above them to breathe beauty that almost hand you the music vaM* into the lovely texture. when you want it. UJRLTER RDLFE Much opportunity is offered in the ™thod of the oleraen etude ' to apply exquisite le M ales and their phrase color struct ion tl.I. co thc -rtarta WRITE for ' in both major a. ilKS . d iucludm, . by means of short and long elbow « the dominant 7t and its Inversion!,. free illustrated litera- circles and sensitive treatment of the ture allowing many siWe's^that n slmi,lest terms P° (Gentle Stresses)^. styles. We’ll send eren a°c.hi],t n-*il'' Arm nearest sequences and repetitive patterns in dealer’s name. rft.TRfa«“- s Measures 6, 7, 8 and 10, 11, 12. TONK MFG. CO. (Dept. 21Z' I 1980 N. Magnolia Ave., Chicago 8 C but the actual chord repetitions must And MA NDOL?N and P ^ now the decks are cleared for GU?TA R V0C^? Centm !Usic not sound like separately repeated our snppl^a ' "nd u he can fascinating series of S “Techni- 0 w1u T articulations but like softly rein- stories” for ONKa hin ets cpIitmT children! Adults will (I’m C PUBLISHING C< forced, continued vibrations. There is sure!) find the stories ™l.£!KL254 West 40 as intriguing St., New York. N. Y only one way to do this. With finger as the youngsters. for Sheet Music AUGUST, 1942 555 —

Music Instruction production. Those of the preparatory The Maladjusted Child in Yes, Singing Lessons lor class who did not enroll for regular the A Cap- Page 519) lessons were admitted to ( Continued from Sunday the Masses pella Choir which met every afternoon; and no singers were ad- the note falling on the white or the the course of this choral group unless be said that in mitted to this which was tried black key. ( Continued from Page 521) instruction nothing they had gone through the prepara- remains in every respect as absolutely But he a observed to has had to be given up ^4n>wereJ Lg DR. NICHOLAS DDUTY tory class. This rule was little odd person, who must be The progress is very slow. voice production to the letter during the three years we hopeless. music and of not treated in his own way. I could fill here the outer success does to get results from fur- conducted the choir with the result But enable them thing is pages describing all degrees by which decide the issue. The main ther private lessons or they would that the standard of our singing approached my person, from a central position he the something beyond and the material of our programs that music has realize that it was child. first declining or consenting move- will be answeredin THE ETUDE unless accompanied by the full name of this unfortunate No question father's money something entirely different in the life Only initials, or pseudonym given, will be published. them and thus save was of his head to his first and address of the inquirer. often says that dealing ments dis- and unnecessary wear and tear on from what had ever been done be- She herself only thing that tinctly pronounced “Yes,” or “No,” logical that fore on the Isthmus. with music is the the teacher. It seemed on until at this world. Thus I be- and from then last a we would discover In these classes pleases her in not normal dialog developed between this case, to remove the tonsils and the ade- Reaping the Reward lieve the effort spent here was us. Starting a Career some good voices and some good ma- Breathing, noids would not be sufficient. The nasal But I succeeded decidedly in devel- Knowitiy how important the correct students, so we The next demonstration class was too great. O catarrh itself should also be cured. terial for future is to the singer, I have oping his ear and in refining it. method of breathing out in question two. in a few The other case to be considered He subject. So 3. As we have pointed called it a “Demonstration Class.” promptly announced and a great many boohs on this too, certain read it is too late for prevention. We can only already mentioned, a boy often shows, a definite artists who come to the important were going to demonstrate days ninety members were enrolled. here is, as many of the hope for a cure by an efficient throat doctor. They live, use clavicu- at eight sense of the timbre of sounds. concerts, in the town where I offer hi the way These were divided into three groups, who started lessons with me 4. If the tonsils and adenoids are completely what they had to breathing. Mme. S. who sang At Dawning intelligent is extremely fond of lar removed and the catarrh relieved by a com- I was in six months seventy-five of years of age. He was very He very Me '.—put Iter hands on the of voice and intelligence and and and Oh Promise petent throat doctor, it is not likely that then com- strong and especially of dotted kind of braced herself and demonstrate my ability as them gave a stirring concert at the but his musicality was music rack and they will grow again. going to and chest to raise way finds all marches helped the shoulders university hall and were awarded pletely unawakened. Besides he was rhythms. He splen- the last a teacher. same holds true of Mr. C ., up and the A Breathy Grinding While Singing Tones shut up in himself. He did. For a long time he compared him. I cannot understand why they Very carefully and very thought- certificates. absolutely time I saw grind breathing is a better Q. llow can one eliminate a breathy fatigue, later every kind of music with the do it, when abdominal Means new freedom for secretaries. New’ speed, less fully, a course of instruction was In all we had four of these classes had been a stutterer, but was march ing in the tones? I have practiced explosive method. My range is from beloto Middle-C to Nevertheless type to the disadvantage of every consonants like K and D thus, Ka and Da, time energy. Automatic margin set outlined for these classes to cover which not only supplied the Schola healed of this defect. Iligh-B and sometimes High-O, depending on new typing aids all save and striving for how but to no avail. I think that the opening be- period. Text books Cantorum with constant publicity remained so shy, that he talked other genre. He rejects completely the vowel sound. I am not the six months he quality tween the vocal cords is too wide, allowing — new concealed touch selector — new line space mechanism. high I can sing, but for good tone and ordered, also music writing but also produced all the private only to persons known to him for a sensitive and sentimental music. an escape of breath unvocalized. Is this so? were and good pronunciation. Smith floating ship, interchange- eliminate itf Mrs. A. D. M. Retained also are the famous all class students that I could months of One can imagine that finding started on the road to a What exercise will — books, octavo sheets, pencils, of and long time. During many pieces 2 . Mow can I get willing to go to any platens and other time prov en features. for in the form of teach; and all the while we had a never said a word to for the instruction of such a child musical career T I am A. We agree that the “breathy grinding” able which were paid instruction he had. 1 great town where there is work to be may be caused by too wide an opening be- an enrollment fee of seven dollars fine choral group. me. When I sang or played for him, would be a most difficult business. experiences of employment but have other tween the cords. The thyro-arytenold and the For ri‘nlal» and service, «e«* our deal- would love to become a a person. In the second year we secured our promptly turned his back to me. Since this boy, at eight years of age, music is a part of me. X crice-arytenoid muscles do not approximate principal he spend ers or liranchrit In all ritiM. concert singer and I would be willing to the cords firmly enough, thus allowing un- We followed the outlined course, own studios in a new building right I tried to call his attention to the had not the slightest interest in a long time in a conservatory. Many thanks for vocalized breath to escape between them, as city is a SMITH & CORONA TYPEWRITERS, INC. and forty-five of these preparatory in the heart of the on Central words of the tunes in order to make music, the acceptance of some of the any information you can give me. Here you say. To practice explosive consonants, I C some the songs I can sing—thirty- students finished the course and Avenue and furnished it in keeping use of their associative appeal to music offered to him, marks a def- list of of such as you suggest, far from eliminating the fault, would tend to increase it, especially if were presented in a public concert with our standards. which I have already referred. Now inite degree of success. you use a strong and explosive breath pres- of ensemble numbers; also there We could have gone on and on but this sure as well. with odd child this expedient But to stress the main point in K. Perhaps you think the artists of whom Reduce the pressure of breath, and prac- were solos by those individuals who for the fact that life in the tropics was of no avail. But I soon observed the musical instruction you complain are using the clavicular method of this boy, tice humming jingle tones well in the mid- of breathing alone, because you do not showed marked ability. As a climax began to take its toll and at the that the boy followed up the succeeded in pro- move- who was originally so morbidly re- definitely understand Just where the dia- dle voice. When you have to the concert the students were pre- same time I was burning with the ducing a few well controlled tones, without ment of my fingers, while I played, served, I will quote de phragm Is situated In the body. Many singers Van Wall: breathiness,” quietly hum an exer- TRAIN sented with a “Certificate Award” desire to see how the “Demonstra- push the lower abdomen In and out, in a vain “grinding with furtive side glances. Prof. “During and after occupation cise through the Interval of a fifth, thus: FREEMANTEL will with and useless effort to Increase the volume of filled out by hand to show that they tion Class” idea would work in the Mursell insists that “the teacher music, patients of introvert inclina- air inspired and to control Its exit. The lungs train YOUR VOICE had satisfactorily completed the States. After much inquiry and in- and diaphragm are not to be found In the by Stewart, a should always have in mind the tion seem to develop initiative to **I Attended a concert siren Mary Schola Cantorum Preparatory course vestigation we selected the city of lower abdomen at all, but in the chest. We former pupil of Frederic Freemante). I waa so supreme importance of some sort of overcome inhibitions, Impressed by her fine singing I travelled 10.000 to turn their suggest that you obtain a book on anatomy, We build, and might be admitted as regular San Francisco, California, for our Do not proceed to vowel sounds until you miles from Shanghai to New York for the privi- stronirtbcn lb* vocal organa effective motivation.” He states fur- with Illustrations which wUl show you Mr. Freemsntei." not with tinging Inton*-but by viuntl. aci- focus of attention from introspec- lege of studying with entlAcnUy correct silent and vocal rxctruri. experiments in can satisfactorily produce these hummed (Signed) Priscilla Pole -Hunt students and also that they were this country and thermore: “A proper clearly where both these organs are. We •nd absolutely guarantee complete aatiafactlon management tive subjects to environmental situ- tones through most of your scale. Then sing wlUi results. Write for Voice Rook. KR*:K. Seat Co no have often protested vigorously in these FREEMANTEL STUDIO one under year* old unloaa sailed from 17 signed to parent. now qualified to become members of Panama on March 29th. of the impulses the same exercises upon several vowel sounds, y that lead to a zealous ations and to participate columns against any partial method of in- 205 W.st 57th St. Now York, N. Y. PERFECT VOICE INSTITUTE.5IUW C-iSI.HE.Uk.SL in group careful teach- CHICAGO the A Cappella Choir of the Schola Upon our arrival in San Francisco spiration expiration. Learn to breathe notably AH and Owe. You need learning is essential throughout the life.” and Cantorum. we opened the Schola with aU the breathing muscles, not with only ing to overcome this bad fault. Cantorum development of the pupil.” Applying So we see some of them. You should clarify your Ideas Demonstration Class, and by the that music instruction this principle I made about breathing before you criticize such fine Does the Removal of the Teeth Destroy Great Excitement use of the can be made a compensation for the end of the fourth week there were artists as Mme. S. and Mr. C. Resonance? boy’s interest in the motor side of maladjusted Everyone was excited on the night three sections organized and work- child. A skillful teacher 2. It is very difficult to embark upon a Q. Because of health conditions my dentist my playing. I executed the pieces musical career; and yet some talented, well- advises me to nave my teeth out and to wear of the concert which was given in ing. equipped with the necessary psycho- so slowly, that prepared. and personable young musicians plates. Will not this largely destroy my reso- he was able to follow logical insight, the great hall of the university; the We used the radio and the news- may use it, further- do so every year. Are you well enough pre- nance and overtones f Will it be possible to the movement of my fingers from more, pared? If you feel that are, let nothing overcome this? S. singing was the best I have ever had papers for the announcement of as an agency to bring the you —R. W. key to key. To make him sing, I discourage you. But be sure that your prep- from such amateurs; the audience these classes, stressing put child nearer to normalcy and save A. As we have so often pointed out in this the theme, the aration Is adequate before you come to one of numbers of the fingering under column, resonance in singing is largely the filled the hall; and everyone was “Personality Development through him at least partially from the fate the great cities, where the competition In result of co-vibration (reenforcement, if you the melody. As the change of white every form of musical endeavor—teaching, Engravers happy about the whole experiment. Music.” The response to date has of being excluded from all social prefer the word) in the bones and cavities of and black keys singing In church, concert, radio, and opera obviously interested head. It is questionable Before the class had finished I had been all one could wish for, and as contacts. Thus we see in regard to —Is so extraordinarily keen. Study hard, to the*chest, mouth and my young pupil, I if the teeth are important as resonaters. If begun to “spot” the desirable soon as we have enrolled sometimes sang the problem child Improve your voice, your musicianship, your Lithographers voices one hun- a splendid task your dentist is skillful enough to make plates the tones of a tune with the diction, your education, and your appear- and coached them in solos for dred voices, the classes will words is provided for the that fit your mouth so well that they do not Write to as about anything in this line the be closed. sympathetic and ance; and, If you have the stuff of which real white and “black” according interfere either with these resonances or final concert; and in every case when Personally, we are convinced that to understanding music teacher. artists are made, you will eventually arrive. SEND FOR ITEMIZED PRICE LIST with the formation of consonants, you may it was suggested that I would accept the problem of starting in a new Some Questions from Kentucky safely go ahead. them for private lessons they said location and the problem of getting Q. If a person talks or sings through the Tonsileclomv they were ready and had planned to new students have been definitely nose, what causes itf daughter, fourteen years solved. If 2. If it results from infected tonsils and Q. My of age, has continue with lessons. Besides these other teachers of singing Mezzosoprano adenoids, and, although this these an exceptional voice, and she Climbing to , in case who were enrolled for private les- can get a similar vision in Musical has been studying for three years. It is the regard to Success have been removed, she still talks and sings opinion several physicians that her tonsils sons, even before the close of the music for the masses; if others can through the nose, what would cause itf of ( Continued should be removed. Will this from How can it. have an effect preparatory class, be inspired or Page 508) be preventedt there were about enthused to similar upon her voice ? doctor TRY 4. l)o you think the tonsils and adenoids One said that singers ten who enrolled in a class to be action by the experience herein have grown back should have their tonsils removed by a special re- Mrs. Shure t—M. K. It. it also represents a tri- method. Is there anything in this theory? given two lessons per week at a lated, we shall feel that the experi- photography, airplane-model build- A. Nasal singing and speaking may have umph—a physical one. For several Please recommend a reliable surgeon in the nominal fee ment has been doubly it means ing causes. First—it may be a family which they could afford. worth while. and experimentation of all sorts. neighborhood of Pittsburgh.—Mrs. J. Y„ Jr. that Paul, once a frail and habit. Some people talk with a nasal twang Because they had already been ini- * * * * shielded He has built because For the Children individual, a model airplane with they have heard It In their homes A. If your daughter’s tonsils are diseased, is now in perfect physical from tiated in theory they were all agreed ‘‘Thought, ideas and emotions a gasoline motor a infancy and have formed the habit. of course they should be removed by a sur- run condition. and has had 2. It The flavor is not likely that Infected tonsils geon who knows his business. It is not diffi- and action please them that they should have one theory in the veins of the creative great many alone worker in Paul is still motorless ones on dis- could cause a nasal twang. Perhaps cult to take them out, but quite impossible to lesson interested in many you a week and one ensemble musical art; invisible as they play. When he have had enlarged adenoids, as well, and put them back again. Therefore have are, lines of endeavor, gets out of the Navy some very singing lesson each and the Shure nasal catarrh which has Infected the good advice before you undertake the week in addi- they are nevertheless ever present.” he is going to get back on apartment is filled with to work mucous membrane covering the turbinate operation. tion to the technical work in tone evidence of that —Eduard Hanslick his gas motor “job” nasal twang likely love for drawing, which he hopes •n.i* would most re- A moment’s reflection will make you see sculpturing, ’ will fly! “°pause the resonance of these bones that this magazine could scarcely recommend Children will and cavities easily learn to gargle with 356 would be greatly diminished. In one surgeon to the exclusion of another. Lavoris THE ETUDE AUGUST, 1942 . -

admiration even from Napoleon. The was the soothing sound of a word like ‘mur- Cherubini and realization that he object The Right Rind of mur,’ or the soft tones of a friend s of the Emperor’s antipathy produced voice. Napoleon a long lasting nervous depression in Break the dropped music Relaxation “Get up and stretch. Cherubini. He again throughout the yeors tension of your work. Take a lesson from Page 522) and spent some time in the study Page 507) ( Continued i Continued from have seen invited from the cat—surely you botany. He was by the is a fTicks Organ!! of A Definite -Answered Lj HENRY S. FRY, Mus. Doc. ...that graceful animal demonstrate compositions, to be a guest and Practical System this Then came more new Prince of Chimay in residence, outline this for readers of The Etude, These exquisite to i the tonic there is in stretching tired an invitation village, and there Cherubini ALL Piano Student# would like to know new operas, and his quiet Ex-Dean of the Penmylvania Chapter of the A. G. O. if enough of them getting Paris and Teachers Should Investigate or studio organs maintain muscles. Imitate the cat. Just London. From there he went to recovered from his illness and de- about it. from your desk and walking became an inti- a standard of musical and up where he pression. 1—For Beginners . . Dr. Louis E. Bisch, whose inter- in 1786, Vol. around the room, or taking a few violinist, Viotti, mechanical excellence 1942, mate friend of the Vol. 2— For Students with full and view in The Etude for January No questions will be answered in THE ETUDE unless accompanied by the front of a window, Marie An- Fair Knowledge . . *1.00 deep breaths in influence with A Prolific Composer be pub - surpassed. on the subject, “Stage Fright Need whose name and address of the inquirer. Only initials, or pseudonym given, will which cannot be will refresh you marvelously. the post of the Vol. 3“”Advanced Students *1.00 opinions attracted wide at- toinette secured him rural seclusion of Chimay, lished. Naturally, in fairness to all friends and advertisers, we can express no Not Be a Bogie!” In the Here indeed is a “sound” "Exercise neck and back muscles. opera in Paris. as to the relative qualities of various instruments. issued a book, director of the Italian his first impor- tention, has recently Cherubini composed SHEFTE PIANO IMPROVISING In the back of the neck and the frequent sarcastic re- instrument paying contin- which is filled with Despite his “Mass in F,” the forerunner oi “Why Be Shy?” vulnerable tant small of the back are Cherubini, Napoleon dividends of joyous advice which should be invaluable to marks about much beautiful church music. Che- uous points where pain often develops respected him. He per- Piano teachers students, teachers, and performers seems to have rubini was a prolific composer. A should write us satisfaction!! * * • after prolonged mental strain. Flex the brought face to mitted him to retain his post at for special adver- who are constantly catalog of his works, compiled by plan. and rotate the head; do bending tising Celeste. Choral strain of meet- Conservatoire while, on the other Q. I am practicing on an organ including Flute. Vox Jubllante or Vox face with the nervous himself, contains 11 Masses, 2 re- Jubllante or exercises with your trunk, touching MUSIC stops named on enclosed list. The last organ- for any heavy 8' stops. Vox courtesy denied him the Cross of ing the public. Through the hand, he 18 Credos, 4 litanies, 1 ora- PUBLISHER INC. ist except might be used as solo stops. The Sub while you hold your legs quiems, FORSTER and the present one use full Swell Choral your toes Honor when his col- stops be used to sug- of the publishers, Simon and Schus- the Legion of motets, 15 Italian Tremolo and Pedal Bourdon, and Swell S' and Bass and Bourdon may manipulation will stretch torio, 38 and with single publish the rigid. Such Gossec, Mehul, and Gretry y for hymns. I have noticed that an article gest the pedal stops if played ter, we are permitted to leagues, 1 ballet, 17 cantatas, size the muscles and tendons and ease French operas, in The Etude said that the Open Diapason on notes or octaves by the left hand. The decorated. Cherubini retired at the organ following extract: were 77 songs, 8 hymns, 6 string quartets, aCNEd TAUGHT the Great should be used for hymns. What of the room to be served tonally by them. PIANO TUNING would not “As read this book your body times from music and dedicated him- ARTS would be a good combination for hymns using would depend on acoustics, and we you quintet, piano sonatas, 1 sonata Splendid field for men and women musicians. “Lie doivn: take a nap if you can. 1 6 the Open Diapsont Does it harm the Tremolo care to give an opinion on the question. The tensions of which self to the study of botany, one of Sehool endorsed by Steinway &. Sons. Baldwin Piano Co., is full of muscular to f it room contribute You’d be surprised at the number for two organs. W. W. Kimball Co. and other leading piano mfrs. use it often I have been told that does. acoustics of the present may I information are completely unaware until Write for What do you think ( from the specifications) to the unsatisfactory effect you notice. We you After Napoleon’s fall, the Conser- of go-getting executives who have Dr. William Braid White, Principal would be a good combination Wagner’s suggest the placing of the instrument bring them to your attention at this for cannot in their offices which they vatoire was temporarily abolished Sweet Evening Star? Do you think that Full for you. To avoid the 16' tone In the accom- face and sofas on Off to New Fields School of Pianoforte Technology moment. Muscles of your Great including Swell and Great couplers paniment the Bourdon treble is being snatch catnaps. Napoleon actually and Cherubini lost his position as 5148 AGATITE AVE., CHICAGO when eyes, of hands and arms, of shoul- Some of his opera compositions of would be too loud for a Postludet—J. TV. used as a solo stop you will have to keep slept while in the saddle. David Lloyd Inspector of the Conservatoire. Upon the or less famous the accompaniment out of the range of ders, torso, legs, are more these years were. “Medea” ; the George, during the World War, kept resumption of the Paris Conserva- A. The amount of organ to be used in the solo stop, using stop or stops for accompany- contracted even though you may be “Les deux journees (The Water-car- accompaniment to hymns will depend on the ing that will produce the proper effect. You fit locking himself in his office toire in 1816, however, he was ap- . by ,” Send 1 Of Today for Your Copy of . "heartiness" of singing. If it is Choir or reading in bed. rier) “Anacreon” (1803), the over- the hearty can simulate the effect of Great. after lunch each day for a fifteen pointed Professor of Composition by enough to Include the use of the Great organ Swell organ In amount of tone, but other- “You’d like to prove it? Very well. ture of which is the Cherubini com- minute snooze. King Louis XVIII. Later he was ap- SONGS OF FREEDOM Diapason that stop can be used with the addi- wise the effect would probably prove un- Think of the muscles of your body; position most frequently played in Includes The Stars and Stripes Forever, tion of the Swell stops (use Swell to Great satisfactory except for use of solo stops. You "Get a hobby. If you do work with pointed Music Intendent, and in 1822 Come On, America, The Star-Spangled coupler. 4' couplers will add brilliancy to the might have person listen to ascertain now, one by one, let them sag. Relax! our times. But he never was satisfied some your mind, relax Banner, V for Victory, America the Beau- combination. We suggest also the use of the whether you are using too much organ for surprised how by doing woodwork he was made Director of the Conser- Go limp! You will be in Paris, because he was usually tiful, Give Us the Tools, Hail, Land of Dulclana Pedal and Swell and Great to Pedal the accompaniment of solo voices. Avoid use or some other craft hobby that re- vatoire. This institution Freedom, and a dozen other stirring pat- of your muscles were in a taut was newly couplers. If Swell to Great 4’ coupler Is used of a “clinging” legato If the result Is "mud- many ignored by. Napoleon and his Court. riotic songs for home, school, and com- quires work with your hands. If your organized and experienced a tre- 6" 9" add Swell to Pedal 4'. We do not advise the diness.” Landon’s “Reed Organ Method" In- condition until you made a conscious Thus, in he gladly accepted the munity singing. Handy x size, clearly WICHS 1805, use of the 16' couplers as a rule, as the effect cludes a chapter on the use of stops. The job calls for physical labor, relax mendous rise under Cherubini’s con- printed on good paper. Attractive red, effort to relax thetn. opportunity to abandon Paris for white, and blue cover. would be too “muddy.” The registration for only suggestion we can make for music for with a book or some other mind scientious and proverbially orderly the Evening Star number will depend on the your use is that of collections of reed organ “This demonstrates that you can Vienna, where he had the order to $1.00 a Dozen — $8.00 a Hundred arrangement, but for the solo you might try hobby. leadership. That even in his old age music. After all your Instrument Is not a pipe ORGANS actually learn to relax. Lie down, or write a new opera (“Faniska”). THEODORE PRESSER CO. Geigen Principal and Sallcional, using Con- organ, and. that tone seems be your “ Take a heat bath. Exposure to the as to settle back comfortably in a chair, he never failed to stick to what he ^ 1712 Chestnut St., Phila., Pa. cert Flute and Duciana for accompanying Cherubini’s operas in Vienna met Ideal, the tone of your Instrument probably Highland . . Illinois sun or basking under stops. Pedal stops balance. and give the various muscle groups a lamp soothes considered the truth, we know from to We do not ad- does not satLsfy that Ideal, and the unsatis- with high success and Haydn and vise the overuse of the Tremolo, not because factory result may be enhanced by poor This sound tired nerves and muscles. Massage, Berlioz’s highly a mental message. may Beethoven pronounced the first amusing memories of harm to the Tremolo, but from a sense of acoustics. properly done, him advice, but a serves the same pur- about his Etude Advertisements are good taste. The use of the stop should not like vague and complex dramatic composer of his time. Espe- encounters with “pedantic” pose.* Bulletins of Splendid Buy- cause any harm beyond the natural wear. We In .wMlnaMI.’H trial will show you how simple it Cherubini. Q. The Etude you advised that a very cially his gift for writing ensemble Opportunities do not think the combination you mention complete book on “Keep rested. This is basic to all I ing 1 how to build a reed organ Pianists— 8cnd for fret booklet show- really is. Smooth out the muscles of would be for compositions was held in highest es- Recognition came from all quarters too loud postludes, but would can be secured through the publishers of The ing how you may greatly improve your memorizing, sight methods of relaxing. You can’t let suggest that overuse of the 16' coupler be Etude. Please let technic, accuracy, your neck and throat by holding and he was a in me know the price of this thru teem. When Napoleon came to Vi- power the musical avoided. reading and playing mental the orders you unconsciously yourself go if your body is over- book.—V. E. M. muscular co-ordination. Quirk results. Practice effort back world. He died on March 1842, pianists, teachers wrought enna, the Duke of Bassano made 15, minimized. Used by famous and which con- and tense from lack of Q. Enclosed is the specifications of my students. No obligation. send them make them feel nearly eighty-two years of age. Up SPECIAL NOTICES A. The book available through the pub- sleep. him that it was a reproach for reed organ. Will you please supply me with Broad well Studios, Dept. 62 -H Carina, California tract. Do the same for other muscle lishers of The Etude is “The Reed Organ—its France that to a few weeks before the end, he the other names used for the stops on my “Lull your mind with a renowned composer, Design and Construction.” by H. F. Milne. On groups. are rag doll mental t Pretend you a attended to his duties AND organ Can you suggest what stops are best account of present conditions, stunts. who had made France his adopted as Director since the book without rigid element in your body. Count from one to one hun- suited for solo work! Are the Sub Bass and has to a country and of the Conservatoire. be imported neither price nor delivery UllCir LOVERS had devoted Bourdon stops really dred, then backward his talents worth having on my can be guaranteed. Fine bar- It is pleasantly easy to do! from one hun- The present quoted price I records at to her since ANNOUNCEMENTS organ f When are they usedt Approximately gain dred to one. Count 1788, should be reduced Is $2.50. prices. Bach, “Books have been written on the by twos, then by how large a building would this organ serve Beethoven, Brahms. Mozart, Wagner, etc., playable to seeking a livelihood threes. in a foreign as to power t At present I on any phonograph. Original imports cost $1.50 to art of relaxing; useful and practical Think of long words and have the organ Q. Enclosed are the specifications of an land. $2.50 each—American duplicates only 50c and 75c. in a small oblong room, ir/irn I open the organ which our church is contemplating buy- count the consonants in them. Think Send for FREE catalogue containing hundreds books; but here are a few basic tricks “A Piano crescendo swell the sound is almost unbear- ing a very small of for Mary” SPECIAL NOTICE — organ because our church selections. of words beginning with each letter able, being harsh and of relaxation that will help you im- A European Celebrity unmusical. Is this be- cannot afford to pay much. There will be some of the (Continued cause of acoustics of the room t Can you sug- blank tablets The GRAMOPHONE SHOP, Dept. E mensely in overcoming tensions and alphabet. Monotonous, yes,', from Page 529) FOR SALE:—VIOLIN made by Chase, that we may add stops in the The gest the probable best place for the organ 18 East 48th Street. New York but this very fact famous male soprano, Giro- copy of Guarnerius, beautiful tone in ex- future. Is this organ unified and duplexed, thus prevent the cumulative strains, keeps your mind in a room about eighty-eight inches wide and lamo Crescentini, a cellent condition. Price $100.00. MUSIC for and if not, should it be! I am in favor of the from busying itself favorite of Napo- lack of growth piano, organ, cello, violin, one hundred twenty-seven inches mental and physical, that are a per- with ‘important’ or development. string ensemble, long! TViien Vox Humana as the first stop to be added in leon, took brass quartette, voice cantatas, ' worries.” generous advantage of his One of and ora- I use Bourdon in the treble for a solo stop, the future. Would this fect breeding ground for fears. the happiest thoughts is torios. meet with your ap- Answering Etude Adver- favored RECORDINGS Victor, symphonic do I have to play the bass an octave lower proval! The position to support this others. J. builder will give us a $9 nofe (Copyright 1942 by opin- that of the countless and P. care of ETUDE. « “Let your mind drift peacefully. Simon and near tragedies than written, to avoid the solo stop which tisements > ion. Tor Humana for two hundred dollars. Is this always pays Napoleon, without any doubt, averted extends a few notes below middle Think of old songs of childhood, the Schuster) by the love and watchful C! When practical or would a Tox Humana of the full learned with pipe organ music is being used can * and delights the reader. J. * The Editor of The Etude astonishment that Che- care of how I number of notes be much better! For several rhythmic drip of water, the sound of has had parents, teachers, and simulate the rubini ANNOUNCEMENTS effects for Ewell, Choir or Great weeks we had in the church a electric beneficial results from was a European celebrity. friends. 1 a rustling forest breeze, the lazy an infra-red How infinitely poorer would organ t When accompanying a singer, is there organ trying it out. When Do you think it wise for ray light, Napoleon and Cherubini SINGING any way of knowing whether too many stops to peace of a field of grain, the drone which he has used for met the world have been had Mrs. Mac- MADE EASY: For information us get a low priced pipe organ or should in Schoenbrunn address—Eastern Studio, Chambersburg, arc being used t How can I get a legato effect we. stick ” years. The infra-red ray Palace near Vienna, Dowell to the “fool-proof ! The pipe Schools—Colleges of insects in the summer sun. Let the lamp, un- never spanked her young without making the result sound muddy and organ company Napoleon tried to show has agreed to service the organ like the violet ray, does not more justice truant, the melody lacking in distinction! Is it pos- soothing quiet of it all soak into your produce Edward, and sent him, tear- LEARN PIANO for twenty dollars per year. Is this reason- and appreciation TUNING — Simplified, sible to get truly artistic “sun burn.” to the composer ful, authentic instruction. effects from a reed able! In your opinion is this a well balanced soul. Try this two or three times a to the piano, again! $4.00—Literature organ who, however, I rof. Boss, 456 Elmira, ! Will you name a book that treats of organ for small church workt c ONVERSE COLLEGE did not care for this Beecher St., —V. L. C. Ernst Bacon. Dean, day, for fifteen minute periods. ***** If we genuinely believe that in the reed organ exhaustively! Can you suggest Bpartansburg. B. C. condescension, and he where I might secure music “Concentrate on some pleasant wounded the these troubled times, especially written A. The specification Indicates a unified “A true artist employs his medium “all passes, art for my instrument! Emperor’s vanity by his free I find reed organ tone and duplexed Instrument, to which we memory. Dwell, for instance, on some as an ut- alone endures,” unpleasant do not Galesburg. ID. instrument of expression and we must not shirk 0 to my ear. Is that a state of mind! object where limited NOV J»®ea terances. ™ mel°dies. Original music compose! funds make It neces- PI II 1 MacC. Weddell. Chairman. painting you particularly enjoy, our f J' U ^ I like the pipe organ and feel that perhaps sary. K * ^ ** Catalogue aant free on he values his own technical skill in responsibilities. We know that words. Send work for free criti The Vox Humana would not be our upon request Political conditions o?om° Hari that fact dulls the appreciation limited that vacation afternoon compelled Che- artistic Cooler, B, Music, 1484 of my choice as the first stop to be added. Of course when you the handling of it according to development is never just a wJ^Kua&hburn Ave„7 instrument. E. E. E. the rubini to return to Detroi t, Mich. — a 61 note Vox Humana would be lay on your back in the grass Paris. Again he preferable and measure that he is enabled happenstance. We know that it re- to a 49 note stop, but 49 thereby was obviously neglected OFP TO OIjD a note stop probably watched the clouds drift by, or by the Em- sults Da'tHn.T,? GLORY” a nev A. We are giving you the names of some would prove satisfactory. even to express himself more effectively.’’ not from wishful thinking, but s ns Publ ished by "Westmore' We, of course, can- S HENANDOAH peror, although his PortiolS £ other stops for which those Included in your not state “SS 3 a preference on such a tiny pleasant new opera ’ e l 0 I sale r for any particular type thing as the from planned ,' l. b 5 Ly°n & Heals Instrument ,, . .. Courses leading to —Noyes working towards de- Cclv, o'' l, T might be used—Bourdon—Lieb- of Instrument ti B. Pimmalione,” wrung h ‘ n& Music Store as the policy of The Mus., find B. Mus. Ed. dpgreps. ’ F1 Etude Rate** a tribute of Dod|e lich Gedackt 16' or any 16' stops. sired ends. iowa Diapason will not permit it. The service n th * of the fee you men- I" Shenandoah 558 or Open Diapason. Flute d’Amour or any 4' tion seems reasonable. \ alley, Dayton, Virginia. THE ETUDE AUGUST, 1942 559 —

and the orchestra is Bob compromise. baritone, ... . „ instruments purely as a show, which outstanding Stanley’s. The opens Violin Probably the two most The Recovery of a Weakened with a special theme song by Leonard Violin Questions perfect intonation in the examples of called I Am an American, world to-day are Whitcup Technique string instrument the studios of Another Par- originates in WOR. Pablo Casals and Jascha Heifetz. is a new weekly, heard 527) achieved, Living Art < Continued from Page Casals, who has ticularly from 4:30 to 4:45 P.M., BRAINE OF SHERWOOD’S perfect intona- Tuesdays _A„MerJ Ly ROBERT we believe, the most from player EWT—Columbia network. It replaced being “down and out,” because he repeated. Unless quite tired tion of any string instrument DISTINGUISHED recently the schedule heretofore questions will be answered in THE ETUDE unless accompanied by the full name former abil- the first day’s attempts, the exact Alexanian, pupil No was sure to recover his of all time. M. Diran address of the inquirer. Only initials, or pseudonym given, will be published. and , on the “Casals known as “Living History.” This new ARTIST-TEACHERS ity. This teacher gave him a set of program may be followed and author of the of Casals presented in conjunc- the addition of “Casals cares series is being rules to follow, but preceded them second day, with ’Cello Method,” states: Without watching and the Metropolitan Museum Uncertain Origin playing a single note. third tion with Of , _ with the word don’t! He explained two more scales, playing in the for the ‘comma’ arbitrarily extremely doubtful that your hearing you play. I cannot say what success nothing sfp j jp jt is ici Greve scale of Art in New York. The programs Gasparo Da Salo. who you would have. Try and study with a good Sen “Don't force your muscles at all; no and fourth positions, each mathematical calculation violin is the work of dictated by give conducted by John D. Morse, of in Brescia (Italy) from 1550 to teacher. Such a one could you many of scales I give two octaves, in key of D; for third separation of a are made violins doubling the number as the set measure of He was one of the ear- ideas, and help you greatly. You deserve con- Artist Teacher of Voice; renowned as an Museum staff and former in- 1612 (approximately). or the limit of the position begin with second finger on tonal scale from its the there are few of his violins gratulations in deciding to keep up your you extending given degree of a liest makers, but operatic buss, and as teacher of numerous position structor at the Detroit Institute of history considers Gasparo violin study, notwithstanding your affliction. schedule of practice! I know you are G string; for the fourth equivalent. He exacts low left to us. Modern Hussa, enharmonic the modern violin. His 2—Get Schradiecks’ “Scale Studies,” and his eminent artists, including Maria this Art. Regarding this new series, Ly- Da Salo the creator of ambitious, anxious to get back to use first finger on G string. If on high sharps. He is not con- have very large "School of Technics,” the first for practicing flats and violins are large in size, and acclaimed for her success as stellar so- feels freer Bryson, CBS education director, yellow or tenths, and the technical school for finger normal playing; you will accomplish second day the bow arm sevenths or with leading- man holes The varmish is of a deep tent with ff with Vienna, Berlin, Chicago and of fine quality. There are many strengthening. 3.—The descending run with prano long, if you stronger, the whole bow should attrac- says that “the problems translat- dark brown of it, and before so very and tones unless the harmonic the third finger alone is played by placing imitations of his violins, and the genuine Metropolitan Opera Companies. directions, but be used for each note, and now, if caused ing the plastic arts into words is one iden- the third finger on the string, and proceed- faithfully follow my tions governing them have ones are very scarce indeed. There are no more notes which has been puzzling educators which you can tell whether ing down the string with a series of little not unless you do. To force your it comes easily—two or them to deviate from their mean tifying marks by Instruction from eminent artist-teachers is available to talented students will have to rely jerks. 4.—The books. “How to Study Kreut- long before radio came into vour violin is genuine. You Degree courses in all in- muscles and nerves now would only to a bow may be used. A week of position in which they are inert— since zer”—"Fiorello”—“Rode," and so on, are from the beginning of their studies at Sherwood. — on an expert. You might send your violin to for- have talked about the but they should be studied with voice, public school music, conducting, theory, and composition. produce a bad strain or lameness, this practice should set you until they almost touch the point use. But men Lyon and Healy. violin dealers, Chicago, I1U- good, a struments, skillful violin Thev can tell you all about it. its value, teacher. rates. perhaps a ‘stitch’ in the shoulder. ward considerably. The playing of toward which they are tending. This arts in ways that have aroused in- Enroll now for new term beginning September li. Moderate scales in different positions has terest enthusiasm, and we be- Dormitory accommodations. 412 S. Michigan Ave^ Chicago, III. For a week or so you must content is what Casals calls ‘expressive in- and Orcheslral Bowings fingers can help to S. L.—Sorry, but you are wrong in your yourself with making slow progress, helped to strengthen the tonation’ it is thing no musi- lieve that radio increase and a supposition that violinists in symphony or- but sure. equally, and you can gradually ex- having appreciation of things that are beau- Books on Violin Lore cian can ever forget, once violins of good chestras use the nut and middle part of the C. W. D.—Books on selecting “For the first two days’ practice tend the periods of practice, and tiful to the eye. We are not just talk- bow almost exclusively, rarely using the tip realized the effect of it through hear- quality and value are as follows: "How to usie School of the bow. They use different parts of the use only the lower half of the bow, may play all scales, using various ing about pictures on ‘Living Art,’ Choose a Violin," Porter: "Information for ing Casals.” bow to suit the passages required. If you will OF NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC Players, Owners. Dealers,” W. Hepworth; INSTITUTIONAL MEMBER as your arm is weak, and using the positions and combinations; but as but also about those things which watch the violinists playing in a symphony In other words, high sharps and "The Violin—How to Choose One." W. C. cause strain. Play yet you should ‘make haste slowly!’ orchestra, you will see that they use the whole bow may low flats mean that F-sharp is closer the cunning hands of man have Honeyman; "A Dictionary of Violin Makers.” Racster. parts of the bow best adapted to the passages the scale of C, two octaves, third Very soon you can resume the easier C. Stainer; "Chats on Violins.” Olga to G than it is to F while G-flat is made, whatever they are, to please being played. Sometimes long bows are re- For general Information about the violin you finger on G string and extend the studies of Kreutzer, then the diffi- of anyone quired. at other times short bows at the closer to F than it is to G. Subse- the eye who takes the might read the article on "The Violin” in College of Music middle, frog or tip. Different compositions DDfinirV fourth finger for C on the E string. cult ones; by that time you will feel trouble to look.” Horace H. F. Jayne, Sir George Grove's "Dictionary of Music and HEIDELBERG COLLEGE quently, we have small and large require different bowings. Sometimes, but D If HULL I Polytechnic Institute very slowly, trying for reper- Musicians,” which you will probably And in Play evenness able to welcome back your half-steps and, to state the matter vice-director of the Metropolitan not always, the composer indicates the bow- CONSERVATORY OF MUSIC the public library in your city. Peoria, Iuinois of tone, but do not press the bow; tory of solos; you will be surprised think the ings, which, in his opinion, are best adapted TIFFIN. OHIO in another way, we may say that all Museum of Art, visualizes the pur- Of the books named above. I Distinguished artist faculty; progressive curricula to bring out the meaning of the composition. keep the tone light. Play this scale to find your execution better than poses these one by W. C. Honeyman would answer your Degree courses In I’iano. Voice, Violin. Oman. leading to It. Mu*.. It. Mu*. Kd.. and It. A. de- half-steps occurring on the same de- of programs as “simply Violinists in an orchestra usually use uniform Theory and Public School Music. Outstanding grees in piano, organ, voice, string*, woodwinds, brass, purpose the best. Catalog request. three or four times, taking brief ever. For general strength and gree of the scale to expand the meaning of the word bowing, taking their cue from the concert choir. Expense moderate. on composition, and ix-hool music. Moderate expense. (E and E-sharp) are Send for tree bulletins. Director rests when necessary. Next play the solidifying of both finger and bow master. H. R. BEHRENS. HALSEY STEVENS. Director larger than those occurring on dif- art, to spell the word with a small ‘a,’ Fact or Fiction? same scale in the same manner, but technic the Campagnoli volume, J. M. S. The fanciful story you refer to ferent degrees of the scale (E-sharp so to speak. We wish to remind peo- — Did Leslie Howard Play? about a missing violin concerto by Robert in the second position. About eight ‘Seven Divertissements, Op. 18’ is to E. C. H.—I have seen the motion picture, and F-sharp) . Such helpful sugges- ple that art exists outside of museums Schumann having been discovered In Berlin, minutes "Intermezzo.” but do not recall which studio of this practice is enough be commended. These are studies in tions as and played for the first time in England, by these are never touched upon as well as in them, which is certainly In Hollywood sponsored It. About Leslie How- for the first period, which should be first, second, third, fourth, fifth, a well known foreign violinist, has gone the by the majority of violin one of the ard playing the violin solo in this movie, it Give your friends a retd musical treat inexpensively teachers to- ways in which every mu- rounds of the press in the United States and in the early part of the day; in the sixth, and seventh positions; each looked to me as if he actually did the play- day, and thus there is seum can serve its Europe quite frequently of late. much to be community.” ing. but there are so many tricks in the afternoon or evening it should be one is a separate gem!” According to the story, the discovery of the desired in the matter of intonation The St. Louis Municipal Opera Will movies, that this may be an illusion in which lost concerto was achieved by contact with some one else does the playing, and Howard among string instrument players present the final four of its series a ouija board at a spiritualistic meeting in goes through the motions. This may be a generally, England. It had lain in oblivion in Berlin for since most of them do not of programs on Sundays August 2, studio secret. Better write to Radio Guide, seventy-five years, because Schumann wished Special Trial know what to do to improve 9,' 23. the movie magazine, 731 Plymouth Court. their 16, and These broadcasts, heard It so. The concerto was unfinished when Chicago, Illinois. They are in close „ touch intonation and bring it to from 1:35 found, but was finished and arranged by a Good or Bad Intonation? greater to 2:00 P.M., EWT, are a with movie affairs, and can furnish you with prominent European violinist, whose name perfection. feature of all the Information which the studio is will- the Columbia network. was not given. The ing to give out. empirical method of teaching The programs present selections from Of course it is the height of absurdity to t music suppose that a missing Schumann concerto, may be all very good and quite light operas and musical comedies Pieces for Viola Offer.-.-.- if there was such a composition, was dis- sufficient for the L. H.—The viola is a noble instrument, 1 genius, since he will in the outdoor opera company’s cur- covered by means of a ouija board. Missing and A new method for the intermediate the in the hands of an artist performer makes zine sensitive ear is forced to accept instinctively find his way in spite rent compositions are not found that way; but it of repertoire. The singers are a very effective solo instrument. The litera- t grade of violin study, written by a the tempered scale, but with all his teaching. is entirely possible that such a composition However, the average mostly young Americans, include ture for the viola is of course, very small w and was found, although the facts have not yet well known violinist, laid considerable string instruments of the non-fretted compared with that for the violin, still .StttttS talented player must be given more Lorraine Bridges, soprano, been authenticated. The musical world awaits but PUBLISH t stress who has a number of good selections can be obtained. upon intonation, with frequent variety there is no necessity for this detailed instruction with great interest the true facts, and there £\vtke if he is to become been featured in several prominent Good viola concerti are scarce. One of the reference to the piano as an intona- acceptance since, will be an enormous world demand to hear fi< I with these instru- thoroughly competent. It is, best of these is the viola concerto, ”Der f7 perhaps, Hollywood productions; Robert Field, the new work, IT it is a genuine Schumann tional guide for students to follow. ments, it is possible to Schwanendreher," by Paul Hindemith, which utilize the per- much more important to have highly tenor, violin concerto. The world needs some new who has successfully sung on has become quite famous. It was recently 1 After a careful reading, it came to fect diatonic scale. Now the perfect competent players violin concerti. of average talent Broadway; and Bob Lawrence, the performed with great success by William me that, in all of the methods and diatonic scale is far more emotionally it Primrose, “first \ot than is to have desk” violist of the National geniuses. young baritone, Playing Under Difficulties 1 books devoted to violin study, no hint expressive and satisfying who played in a mu- Broadcasting Symphony Orchestra. than the P. S.—1. Please accept my sincere sympathy b$u£5) sical this past year in New York Many good arrangements for viola and *“aUi t is given that would shed the least tempered scale, for the same reason in the loss of two of your fingers of the left i piano can be obtained, including the fol- »«;;;* City. Marthe Errolle, lyric soprano, hand in an automobile accident. In such a s light upon pure intonation or how that the truth is more satisfying than lowing: Spring’.? Awakening, Romance, Bach; (June Midsummer who case ninety-nine out of a hundred violin- 1 to Radio made her St. Louis opera debut Air for the O String, Bach; The Broken Mel- 1 go about improving bad intona- falsehood. ists would give violin, up the study of the ody, 1 at the end of June, is the daughter of van Biene; Kol Nidrei, Max Bruch; Noc- tion. If we examine the tempered scale, but, as you have been studying for years NT Programs turne Op. 9, Chopin; Orientate, Cui; Can- VI • ETUDE readers can introduce 1 the Metropolitan tenor with the view of teaching the instrument, Of course, it is a truism to repeat we learn that the twelve Ralph Er- zonetta. Op. 67, Drdla; Serenade from “Les 1 THE ETUDE with Its many inspiring and in- chromatic it makes it doubly hard to think of giving up that one must listen with the greatest intervals in (Continued from Page 515) rolle. Although one of the youngest Millions d' Arlequln,” R. Drlgo; H umoreuke. 10 structive features to their pupils and musical the octave are divided into playing and teaching, at the age of thirty- friends Dvorak; Spring Song, Mendelssohn; very inexpensively . . . and what a prima donnas of three. If you Cava- auditory attention to all intervals, but twelve equal intervals; but the company, she were ten years of age, I would I E*iro favor you will be doing them! For only 35r. such divi- Symphony is the officiating tina, Raff; The Swan, Saint Safins; Voice of 1 Ot orchestra. has sung advise you to play in the left-handed man- post®#® we will enter a three months trial subscription, what is entirely acceptable to some sion is accepted only leading roles in both grand Hove, R. Schumann; Dark and Wondrous because it would The conductors for ner, fingering with the right and bowing with Conoco" sending the June, July and August issues for these concerts and light opera. Night, Otto Urack. Any of these make pleas- players is quite false to the super- be impossible to make keyed or key- The baritone Wilbur the left hand. Thousands play in this man- 1942. had not been announced ing concert numbers for viola solo. — at time of Evans, ner, some with considerable success. With Just clip this ad. or if you prefer, simply sensitive ears of others. And why is board instruments otherwise, without who has been heard in several send going to press. the loss of two fingers of left how- us 35? (U. S. stamps acceptable) with each this true? Because productions, the hand, name most violin adding many more keys. This would is well known for his ever, you could hardly master thor- I and address to whom you would like A new program called hope to the trial teachers Starlight and concert, oughly Those who place their orders subscription to go. This offer is good rely upon the piano as a make execution tremendously opera and radio work. He the great concerti you wish to mas- for the more Music, featuring a For Authentic VIOLIN Information Read for trial subscriptions will summer months only and will not be re- guide half hour of ro- ter. If you would be satisfied to do teaching peated this year. to intonation, and the piano is complex than it is was a pupil of the later have the opportunity at present and, mantic music noted baritone, alone, this would solve cer- and popular the problem to a VIOLINS and VIOLINISTS to secure a new full year’s no more reliable a guide than is ballads Emilio De tain any therefore, would be impracticable! Gogorza. Ben Field and his extent. You, of course, understand that with recently began on the An American Publication Devoted to the subscription credit al- THIS other keyed instrument Mutual net- the position of the re- OFFER WILL EXPIRE for the And so the tempered scale was work orchestra handle the instrumental strings has to be Interests of String Instrument Players lowed for the 35fi already (Sundays, 9:30 to versed for the left-handed player. violin paid. simple reason that the piano 10:00 P.M. parts Some Subscription $2.50 for 12; single copy AUGUST 31, 1942 employs generally adopted for all orchestral of the programs, and part of teachers do 25c EWT). The soloists are a certain amount of teaching the tempered scale. In piano playing keyed Genevieve the chorus without playing WILLIAM LEWIS & SON, 207 S. Wabash Ave„ Chicago instruments and the from the themselves. I knew a famous THE ETUDE MUSIC • keyboard Rowe, soprano, Municipal Opera Send for Unique and Instructive MACAZINE 1712 CHESTNUT ST., and Leonard Stokes, violin teacher in Chicago, who would often Catalogue of PHILA., PA. also participate. Violins—Free on request 560 go through a violin lesson without, himself,

THE ETUDE AUGUST, 1942 561 • — 1

Brahms were Band Music Should Be Saint Saens, Bizet and What STUDY? friends, a The Value of I GO TO The Amazing Garcias her devoted and intimate WHERE SHALL great lady, in truly great artist and we shall And (Continued Page 525) (Continued from Page 510) all the annals of song Encouragement from and no one who did more to adorn art of singing. dignify the oCeonorci -S / (( -Hilton the program, but, in addition, the time, Lablache, Rubini, Grisi, Gar- (f3ij on So, farewell to the amazing accurately than an effects that no band can achieve. year later far more all the encores that the greedy pub- Tamburini and Persian!. A all of organ cias! For a hundred years— want to Both have their own fields of ex- a French- short time ago, Harold G. Sea- orchestra. When composers FREEMANTEL lic asked for. The third day of the she married Louis Viardot, their name A ROSE OUGH FREDERIC the nineteenth century— effect, they have to pression and usefulness. proclivities, with shore and Alexander Bavelas, psy- achieve an organ VOICE Instruction festival she collapsed and a few days man of literary was best in the Voice stood for all that the wind instruments One of the first things our detrac- Former Assistont to Lazar S. Samoiloff lived happily for more chologists at Springfield College, ex- so through Author of 24 home study lessons, . later, September 23, 1836, she died. whom she to- do in Hollywood of song. Although no ears is about the lack of Voice Production andj world Bach can and should tors will always say Voice Studios at "The Fundamental Principals brief, so than forty years. A son of theirs sur- perimented with the effect that the —so I feel that Reopened Her to Sing Them £ Malibran’s career was so heard any of them CALIFORNIA Singing"; also "High Tones and How day ever actually for band. Naturally, of strings. Well, naturally, if we had 1931 —8TH AVENUE OAKLAND, for us, vived them till 1941. strain of repeated drill in any study transcribed Glencourt 6115 Studios: 205 West 57th Street feverish, that it is hard who lives may still be Telephone sing, the story of their lends itself strings it wouldn’t be a band. But Ph° ne Clrcle 7-5420} real She made triumphal appearances physical effort, carried on without all orchestra music New York City never heard her, to estimate her noble, ambitions of not serve to inspire to transcription. There are, did any one ever realize that in some merit as a singer. She flashed across in Madrid, Vienna, St. Petersburg, approval, has upon children. to band the student, whose ear, if, by chance, arrangements (in certain GUNNAR PETERSON Moscow, and Edinborough. (She daily practice on the piano some works that sound even of our fine EDNA HENKE the heavens like a meteor, dazzling imaginative turn of While however, MARGARET he be of an orchestra, passages) some of our best musi- Pianist Artist Teacher leaving them pow- never sang publicly in Italy.) The placed first in this category of for band than for Concert — Oratorio & Concert Soprano all beholders and perhaps, even to-day was better mind, may, will agree cians have listened at a distance, or 229 So. Harvard Blvd. Los Angeles, Calif. Bel-Canto Art of Singing" erless to indicate coherently the path musical world concurred in Gautier’s “drill” activities, the actual experi- and many noted musicians Teacher of the "Old Italian catch some of the melodious rever- FE. 2597 Overstrained, defective voices odiusted favorite point. “Finlandia,” over the radio, and didn’t know she had followed. Her personal mag- first verdict. Meyerbeer, the ment was made by the drawing of a with me on this 510 Riverside Dr., New York Washington, D. C. berations of those glorious voices. that I would sug- whether they were listening to a Edgecombe 4-2388 netism was so overwhelming that composer of the epoch, thought so picture of a man. of Sibelius, is one of the “Tann- band or a symphony orchestra? I LAZAR S. SAMOILOFF dispassionate criticism of her art was highly of her that he wrote for her The performance aimed to dupli- gest, and the finale the role of Fides in “Le Prophete,” is another. Many of can cite several such instances. And Voice teacher of famous singers all but impossible. Her published for the cate approximately the sort of trying hauser” overture ALBERTO JONAS Creative Technic the to professional engagements improvisations and songs show that which was sung by her a total of are daily great composers themselves ar- here is an instance which shows From rudiments situations which faced by the Beginners accepted. Special teachers' courses Celebrated Spanish Piano Virtuoso give creatively, some two hundred times. In 1860, at in a variety of injustice of some criticism as well as pianists she had something to thousands of children at home and ranged their music Dr. Samoiloff will teach all summer at his Studios. Teacher of many famous Pianist for the 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-8920 but dramatically she left behind her the instance of Berlioz, another great they would not have done lack of knowledge. A few years ago Write for catalogue—Special rates in school—namely, monotonous toil ways—and duration. Philadelphia, 132 South 18th Street. no definite tradition, as have many admirer of her art, Gluck’s “Orphee” (Continued from Page 512) thought it would be a prominent singer sang Elizabeth's On Thursdays in without encouragement. this had they 610 So. Van Ness Ave., Los Angeles, Cal. Tel. Victor 1577 or Locust 9409 was revived for her in Paris. She was with my Conservatory. operatic artists: for instance, Lilli The only words spoken to the chil- harmful. Prayer (“Tannhauser”) Not connected with any Lehmann in the later Wagner roles; the first woman to sing this famous and faster as his famous band. One well known critic wrote tendency to play faster dren painstakingly finishing drawing Handel did not write ELIZABETH SIMPSON Victor Maurel as Giovanni, role, which had been written for a follows: “The Gold- Don Iago the passage becomes more difficult. after drawing were: “Draw another Largo for the violin or the orchestra the next day as Author of "Basic Pianoforte Technique" and Falstaff, Calve as Carmen, and castrata and sung subsequently by of saying that played the accompani- EDITH SYRENE LISTER This is a clear way man. This time a better one.” There —yet it sounds more wonderful that man Band Teacher of Teachers. Coach of Young Artists. AUTHENTIC VOICE PRODUCTION Chaliapin as Boris Godunoff. Pos- a tenor. Viardot-Garcia sang it at he has had trouble with that passage, as he wrote ment very well. It was too bad that was no scolding or fault finding; but way than for the voice, Pupils Prepared for Concert Work. Class Courses 405 Carnegie Hall, New York City sibly Rossini’s was the final word least a hundred times; since her day in Technique, Pianistic Interpretation, Normal that he is afraid of a certain part of not write his rhapsodies the arrangement wasn’t better.” As Collaborator and Associate Teacher with the late W. there was purposely no approval ex- it. Liszt did Methods for Piano Teachers. her: “I in life it has been always assigned to Warren Shaw and Endorsed by Dr. Floyd S. Muckey about have known my a it, and wishes to get past this part as yet they are far a matter of fact, we played the ac- pressed of any efforts put forth. When for the orchestra, St., San Francisco; three singers of real — woman. In 1861, Gluck’s “Alceste” 609 Sutter Wednesday: Troup Music Studio, Lancaster, Pa. only genius quickly as possible! If the passage precisely as Wagner Webster St., Berkeley, Cal. a child rebelled against continuing more colorful that way than for the companiment 2833 Thursday: 309 Preiser Bldg., Philadelphia, Pa. Lablache, Rubini and that spoiled also was revived for her benefit. studied tremen- had been so that no the work, the question was asked: piano. wrote it. It is for reed and wood in- child of nature, Malibran.” dous difficulties had been allowed to struments only, no strings being used Private Teachers (Mid-West) A Notable Teaching Career “Won’t you draw this last one?” A few years ago I wanted to play Very different in temperament crop up, the acceleration would not didn’t have to alter (Frank) (Ernesto) The results as shown by the chil- Ravel’s Bolero—but the publishers in the aria, so we from her sister, Maria, Pauline was Two years later she retired from show itself. Similarly, rapid fatigue critic, however, did not LaFORGE-BERUMEN STUDIOS dren were varied. Some were angry, would not permit it. Finally they a note. The ARNOLD SCHULTZ Garcia, and the difference is written the operatic stage and settled in may be an indication of an inferiority Teacher of Piano Voice—Piano and said so. One answered, “I won’t.” agreed that if Mr. Ravel approved, it know that. clearly in the records of their respec- Baden. Author of the revolutionary treatise on Frank LaForge teacher of Lawrence Tibbett since 1922 After the Franco-Prussian complex of some kind. So may the distant Another said, “You are too mean.” would be quite all right. The band I hope the day is not far piano technique 1 100 Park Ave., Corner 89th St., New York tive careers. war she returned to Paris, where she "The Riddle of the Pianists' Fingers" Tel. Atwater 9-7470 tendency to strike wrong notes. At will come into its Several closed their lips tightly and score was sent to the composer, who when the band published by the University of Chicago Press Pauline was born in Paris in 1821 spent the rest of her life, surrounded some time in the lives of many mu- preserved a threatening silence. All was greatly pleased with it—and who own and when it will be treated, in 622 FINE ARTS BLDG. CHICAGO. ILL. and made her only visit to America by adoring pupils and all the intel- sicians, an inner conflict arises as showed the strain in unusual fa- suggested that it be published. I general, more fairly and with the four years later. She was as pre- lectual and artistic elite of the to whether or not they should con- deserves. Un- RICHARD McCLANAHAN cocious mentally tigue; and, in the case of one small realize fully that music can be utter- consideration which it RAYMOND ALLYN SMITH, Ph.B., A.A.G.O., and musically as French capital. She died in 1910, tinue with their careers. At such Representative TOBIAS MATTHAY girl, I found that most Dean Maria, but as docile a severe attack of trembling and ly ruined in a transcription, but if fortunately, have Private lessons, closs lessons in Fundamentals and as amenable nearly three quarters of a century times, while the period of conflict Central Y.M.C.A. College is inability people do not know the instrumen- Lecture-demonstrations for teachers to discipline as her sister was after to speak ensued. In every the proper compositions are chosen School of Music im- her sister. at its height, decided defects of tech- 806 Steinway Bldg., New York City case, it well balanced band, nor Complete courses leading to degrees. Coeduca- patient and rebellious; as her father Pauline Garcia’s was clearly found that the and then arranged by a musician of tation of a appeal was always nic may reveal themselves. In such tional. Fully accredited. Day or Evening. Low tuition. strain of continued repetition experience and taste no harm can do they realize the wonderful effects expressed it, “the one must be bound more to the intellectuals and Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois than to the cases, of course, the remedy is not drill, achieved. They look upon by a chain, the other may be led by uninstructed public. without a word of approval, accrue. Of course, the band won’t that can be Neither her face to be found in added hours of prac- EDWARD E. TREUMANN a silken thread.” At the age of eight, nor was severe. sound like the orchestral version the band as a thing of power and her tall, gaunt figure was spe- tice, but in removing the Concert Pianist Artist-Teacher cause of DR. FRANCIS L. YORK — Pauline was already perched on cially So much for the psychological ar- and we don’t want it to. But it can noise. They scarcely realize what Recommended by Emil Von Sauer, Moritz Moszkowski| a pleasing to the eye, and her the spiritual conflict. All of us, to be Advonce Piano Interpretation and the Theory work and Josef Hofmann. piano stool, playing guments of the experiment. In prac- sound artistic and satisfying. gorgeous pianissimo effects can be required for degrees accompaniments voice, despite its wide range and the of Mus. Bach., Mus. Mas., Suite sure, have problems Studio, Carnegie Hall, 837, 57th St. at 7th Ave. I and conflicts and Ph. D. in music. for her father’s tical results, it was It must be that thou- achieved. The band is in reality in Tel. Columbus 5-4357 New York Cityj pupils. A few more technical security, was not always and decisions found that noth- remembered DETROIT INSTITUTE OF MUSICAL ART to face. Let us not for Summer Master Class—June to Sept.—Apply now. years and she could speak five lan- ingratiating ing was gained. Every child was sands of people too get their first its infancy and the surface of its Detroit, Mich. in quality. But the truly an instant suppose that the summit guages fluently. She was only eleven noble artistic stature observed to lose in the ability to draw love of music at our concerts. I feel possibilities has not even been YiixiiiiiTiinxmiiiiiiiirTriiTiiiiiiiiriTiixiiiiYYXXY of the woman, of musicianship can be attained only when her father died—too young to her splendid musicianship, and in the intelligence with which that through our concerts many scratched yet. All it awaits is some _ her elo- after __life’s0 uuldifficulties„uIllro havellave disap-uisaD- have had her voice trained by him. quence as an actress he or she began the work. music lovers are created and that great composers and a few more won the praise peared. They never do disannean Tt She This PIANO TUNING PAYS MUSIC ENGRAVING always said that her mother ol the beet musician, In Europe. experiment reveals an impor- they eventually become the sup- really capable arrangers. is only whS the proteS Piano, Band, and was her ^Tcon- tant You can now learn precision tuning. Our new Orchestra Octavo work. We teacher, but we are safe in Robert Schumann dedicated to her element in music teaching the porters of the various orchestras, Incidentally, I note that you are flicts become symptomatic that they — Temperameter and Beat Gauge is an infall ihl© specialize in book work: also engraved titles. attributing value of guide for Home Study. Eliminates guess work; much of her vocal mas- his song cycle, Opus 24. encouragement to a pupil and other musical organizations. to head a group of critics who are to She won manifest themselves. Then assures accuracy. Send your mss. for estimate. tery to the best the advice of her brother and Richard Wagner’s through approval of his After all, it is like prizes composi- Be Independent! admiration by the course is to explore the efforts. just the work of award for the best OTTO A. C. NULSEN to mind and Make Money Quickly and Easily! her own remarkable instincts accuracy To indulge in a P. O. Box 774 and and understanding with free a personal recollec- great painter. If he paints a beau- tions. Why not include a prize for Modem facilities for oral students. 40th it from the source of worry yr. 124 intelligence. tion, Diploma granted. Write for Free Booklet. Government Place Cincinnati, Ohio which she deciphered at sight several the writer realizes that the mo- tiful woman in a red dress and the best work for band? Such a work Technical mastery is achieved only — BRYANT SCHOOL, 78-B, Augusta, tfich. pages of his Isolde. Gounod wrote through tive power to practice, in her own then paints the same woman with a would be published at once and the Pauline Viardot-Garcia the absence of tension of for hls °pera “Sapho.” childhood days, lay in blue dress ’ any sort. Mental the anticipa- —she will still be beautiful chances for satisfactory returns to PLAY A DEAGAN MARIMBA . and In 1838 she . spiritual diffi- tion WM. S. HAYNES made a concert tour A hundred years ago Paris of the performance of in a different coloring. I COMPANY - . was the culties her little That’s are greater . how composer than any „ . , , should be rooted the out anri t_ Easy to master . . . of Germany with her brother-in-law, artistic and pieces when she feel intellectual center of the tied through counsel mri played them for the about arrangements. The or- other type of composition. Flutes or Distinction De Beriot, and decision, always popular . . . a year later debuts world. In it, creating family in the early chestra masterpieces M^cular ten,:^! v, evening hours can play arrangements of Again I want to thank you for your STERLING SILVER—GOLD—PLATINUM in London and 6 ieVed by richly satisfying. Paris as Desdemona of art and letters, were to be before bedtime. operatic or found concentrating on reilv V f chamber music, or far- interesting article. I’m glad you like Catalog on request and La Cenarentola. Theophile Gau- Liszt, Chopin, The eagerness Write Dept. E. Rossini, Meyerbeer Hon; by avowing with which the lat- fetched arrangements of Bach, Han- my marches. There are eighty-three tier hails her ee weif?ht of 108 Massachusetts Avenue, Boston, Mass. forthwithvith as “a star Berlioz Wnp-ner BpIpop .u. . est accomplishment del J. C. DEAGAN, INC., CHICAGO «“ *» «ow at the piano was and other old masters, but the of them. Perhaps too many. It pleased of the first magnitude.” “S’ from ,h,““ whS.'Wn° Ie arm She had lit-m! Heine, Flaubert, Hugo, ’ anticipated by GeorgesSand’ and" mo^ XT.nT a music loving mother, band is criticized for it. tie beauty me, too, that you liked my son’s of face or figure, but un- ’ WWaB and Michelet, Dela Croix and others as great™ the approving, appreciative What the band usual vivacity LSralL/ ofn? m°vement, words needs is consider- transcription of the Stravinsky music and personal charm, famous. In this galaxy often linked ably Music Lovers to earn LIBERAL COMMISSIONS of talent whatpvpr it with advice for im- more attention and sympa- and the Haydn “Concerto for Trum- Her voice was a mercosopra.ro “Keyboard securing subscriptions tor THE ETUDE. of Pauline Vl.rdot-GfSlTwas provement, too—from the thetic treatment. Port or Uoml ZTb, LTlJS family as- The band is a pet,” despite the fact that both of full time. wide range and thrilling quality. At nent ’ the P^nist No Cost or Obligation. Write for com- luminary, admired aiffi loved builds himself sembled in the library, worth while eighteen T °' still sound medium for the expres- them were arrangements. plete details TODAY! Address: she was singing first roles by all. Later, in during her tl!?™ the memory and stir sion of with SuS 2 Sble 52' h h warmth in music. It can achieve effects In conclusion, I to that CIRCULATION DEP'T the most celebrated singers of Germany, creates tech~ want say Turgeniev, Tschaikowsky, nically. the heart. which THE ETUDE MUSIC the orchestra cannot achieve we do not aim to be “highbrow.” MACAZINE We 1712 CHESTNUT ST., (Continued on just PHILA.. PA. 562 Page 568) as the orchestra can achieve (Continued on Page 568) THE ETUDE AUGUST, 1942 563 |

morning I would get up to study for reading, which consists from my before rehearsal. history, I a few hours Since Becoming a Conductor mainly of biography and inno- my mother was French and my have learned that youth and AMD /ICCUHDIOIV I knew have their de- father Italian, their native ( Continued, from Page 532) vation will always right languages, and the knowledge helped tractors, but those with the in the opera house. Any conductor AMERICAN manage that never materialized — for of shortsighted that they are not pre- stuff in them will generally become ennobled who wishes to conduct operas with course, one always comes to the pared for a real opportunity when it to survive, and even is Helpful to Accordionists have sense should know the languages in Ear Training place where he Is not in constant comes. Some are impatient. Some and enriched by the ordeal they which they are sung. Opera is not demand; I did not ask always to be wait for opportunities when they to undergo. CONSERVATORY were just notes, it is also drama. I am one a star. There were no patrons. When should be working. Some waste time The years, from 1917 to 1919, By Pi.l.o Zb.ir of the few to have conducted I had to earn my living I did it hoping to be the greatest or the lost to music, for I joined the army opera returned in Covent Garden in four languages. As Told to ElVera Collins wherever and whenever I could, and foremost this or that. Some mope and went to war. When I s^MUSIC 1927 I was conducting everywhere I learned something. around, fretting at the circum- to England the country was in such By the Lon- don Symphony Orchestra and accu- 57th SEASON My musical life, playing in the or- stances in which they find them- a state that there was not money the E OFTEN HEAR accordionists then sing it, and then test its CHICAGO and yet, Royal Philharmonic Orchestra. pipe. At the chestras at movie and opera houses, selves. In the end, they blame their enough for large orchestras lament the fact that they racy with the pitch American Conserva- Founded in 1886 by John J. Hattstaedt, today The in theatre and chamber ensembles, lack of success on lack of oppor- when the need for music was felt, cannot play by ear. They beginning of the game he will prob- music education in Musical England W tory of Music is outstanding among institutions for gave me great happiness. I took tunity. there sprang up many chamber en- quite few tones out of the positions of honor must either have the notes before ably he a this country. Its graduates are to be found occupying everything possible from every liv- While I delved into little- It is strange that many critics will soon of played in orchestras I was sembles which ;hem or play something which they way but persistent efforts and responsibility in every department music. ing moment; I did not spend my working constantly, hoping that the known music. In 1924 I started to comment on how well I play Delius’ from the notes. bring him to a fair degree of ac- have memorized the National Association of Schools of Music I perhaps Member of time wishing were doing some- day would come when I would get a music, but this thought players are accom- curacy. When perfected he should Many of these Engagements thing else. Toscanini and Nikisch chance comes to them when they The Faculty One hundred and thirty Professional and Teaching to conduct. I bought and pressed the people who heard it so remember have taken try to identify other tones such as — Conservatory have plished musicians who artist teachers, many of national and in- —Graduates of the rose from the ranks of orchestra studied that were both as teachers and men miniature scores, practiced that I was engaged for a series. Soon we born in England. large reper- C, G and D. Some students prefer to ternational reputation, including pian- been much in demand the time to memorize opera, radio, orchestra, to be famous conductors. They ists: Heniot Levy, Rudolph Reuter, Al- also in concert, were and prepared myself. I wanted to Frederic Austin, at that time director Actually, we are countrymen only with pitch pipe instead work. The News Bul- toires of difficult selections. They begin a C len Spencer, Edward Collins, Kurt lyceum and choir unlike those young tyros who con- conduct so badly that even at the of the British National Opera Com- through an accident of birth Wanieck, Louise Roby.n, Earl Blair, letin containing a list of about 300 suc- and not, however, taken the time to of A. graduates holding responsible sider themselves too good to learn have Mabel Osmer and others; Voice: Theo- cessful age of four I used to shut myself up pany which succeeded the Beecham should be far apart in temperament, John in Universities, Colleges, Con- consider why it is that they The next step is to learn relative dore Harrison, Charles LaBerge, positions ip a humble stop and Violin: John servatories. and Public Schools will be way, who insist on hav- in a room, sing Wilcox, Elaine De Sellem ; to myself and con- Company, heard my group and en- for I am of Italo-French descent and is ability to measure cannot hear a melody and then pitch which the Weicher. Herbert Butler. Scott Willits, sent upon request. ing fine instruments, plenty of time duct by the hour. In my native Eng- gaged me, whereupon I was called he of German ancestry. Very often one tone to an- Stella Roberts; Organists: Frank Van recognize the intervals by sound so the distance from Tuition is reasonable in keeping with the for meditation wealthy Edward EUenschenk ; Theory: and patrons land a big opportunity seemed to be upon to conduct Gounod’s modern English Dusen, times and may be paid in convenient in- “Romeo composers like Delius other. Intervals are the medium by Leo Sowerby, John Palmer, Irwin Fischer. to make the easier, they are able to play it without notes. stallments. Complete particulars given in way and whose a long way off, for there were not Juliet,” School Music—C. Dissinger, Ann Trim- as and Verdi’s “A'ida” and Puc- and Vaughan-Williams are received which measure distance for they catalog which will be mailed on request. horizons are necessarily The idea seems prevalent that un- we ingham, Henry Sopkin. narrow, many large orchestras as in America, cini’s “Madame Butterfly”—all in the with suspicion because someone has represent the difference between any Students* Self Help The management their inner selves limited in accordionist has a special Accredited Courses are offered in Piano, expe- and those that existed were first less an makes every endeavor to assist needy already week with approximately three doggedly kept up the pretense Vocal. Violin, Organ, Orchestra and Band rience that never be able to learn two notes and are named according students to find part-time employment. and feeling. well supplied with able talent he will Instruments, Public School Music. Chil- conductors. hours for rehearsal! Within a year I the English people are Many find work as teachers, accom- “unmusical.” concede that those to the number of lines and spaces dren’s Piano Work, Class Piano, Musical In the lives of many to play by ear. We panists or part-time positions working Recognize people there was conducting m Covent Garden in Last summer, when I Theory. Dramatic Art and Dajicing. Opportunity was supposed gift certainly have an they include. for commercial houses, etc. have been moments when they have the so-called who have this “Grand” season. to be taking a vacation, I Degrees- -Bachelor of Music, Bachelor Dormitories desirable living and board- I do not think there is scored an not mean it The following explanations may — such a thing wavered. There was such advantage but that does of Music Education, Master of Music a moment During this time, I was acquiring “Elizabethan Suite” ing accommodations can be secured at as people not for strings and assure ac- seem quite elementary to those who and Master of Music Education are con- the Conservatory Dormitories at moder- having opportunities, in my life when I decided I is hopeless for others. We wanted a repertoire. Those were gruelling four horns, ferred by authority of the State of Illi- ate rates. Particulars on request. nor do I think it made up of two compo- have already studied along these possible for an op- to be a doctor. I cordionists that if they have enough nois and recognized as a guarantee of Now am glad I could days. All day rehearsals Students enrolled at any time. portunity went on. sitions by Giles Farnaby, one received sufficient accomplishment. to miss the right person. not afford it by persistence to work hard for a while lines but we have a at the time. But from Evenings were taken up with per- John But it is possible for people Bull, one by William Byrd and number of inquiries to warrant our to be so my brief study along they will not need to envy others for free catalog address John R . Hattstaedt , President those lines and formances. Then at five the For next ( Continued on Page 566) they will be able to do as well them- devoting space to detailed explana- Chicago, III. selves. The basic principle back of tions. We shall confine our discus- 580 Kimball Hall, playing by ear is careful listening so sion on ear training to the melodic that the melody is heard inwardly, pattern and reserve the subjects of and then constant thinking of the rhythm, length of sounds and har- Select Just the mony for another time. Music You Need pitch of the tones and the distance of the intervals between them. Notes written on lines form the Established 1857 .... right in your Accordionists have told us that following intervals with notes writ- own home or studio! they experienced their greatest joy ten on the lines successively above: in music when they were able to third, fifth, seventh, ninth, and so • think a melody and then piay it, im- on. Example: The interval from C Through the conveniences of “Presser Service” ivlUblC tt? a ptjttgo to is third, fifth and and others active in the Music ™ J TEACHERS provising at will. This seems to bring E a C to G a so or r material s for JProsier s On Approval examination with a view to ?? music closer, for it comes from with- on. This rule applies to notes written Pacha$es Panningnlannint well ahead^ "Ton the 1942-43 music season needs of the in. The attainment of this goal is on spaces compared to other notes PACKAGE NO. 1 KA8Y PIANO TEACH- A E "?• :Excellent TIANO I’JWES. (‘on lull) s approximately one £mmi i£ , *T . STUDIES in the medium reached by series of progressive written on spaces successively above. dozen first grade pieces, one grades to use at le ‘ RUre ri a Conservatory dozen ht The Peabody second ’ as supplementary material own home or studto" ^ ^ Four grade pieces and one dozen third to cover specific wiloufexnlZf’ grade Phases of technic. steps, for is defi- Example: The interval from F to pieces. under way. re h SeaS°n ' S music governed by A PACKAGE NO. 9 One (Ask for details of PACKAGE NO. 2—medium — dozen satisfying our"%rL?e”VlnZ°? S° fh ? grade SAt IUyl) SONGS. Indicate which you know the liberal that y0U may nite laws. is a third, from F to C a fifth, and BALTIMORE, MD. PIANO TEACHING PIECES. Contains pre- terms of “Presser rer—- High, Medium or Low. Service”) approximately Bitten third grade pieces PACKAGE NO. 10—-Ten POTt The logical beginning for ear train- so on. REGINALD STEWART, Director and fifteen fourth grade pieces. ANTHEMS VOLUNTEER CHOIRS." Effective, but n® PACKAGE NO. 3—Contains around thirty dlllicult anthems tor the average volunteer ing is to acquire definite pitch. We When a note is written on a line and sixth grade PIANO choir. I M Kits ‘Send use the the intervals formed with notes fol- announces the addition NO. fACKAGE NO. II—Ten ANTHEMS J?or J^ome word “acquire” purposely be- of 4—Contains one dozen fine LARGE, FOR oj? . . i.OMib; excellent for teaching purposes, PROFICIENT CHOIRS. or cause most accordionists find it lowing which are written on succes- as light recital numbers. Indicate which PACKAGE NO. 12—-CANTATXS FOR - 11 ' Medium or Low. CHORUSES. BAUER, pianist r,DAraArc ulf Delightful cantatas necessary to do so. There are not sive spaces are a second, fourth, HAROLD ' 5 Approximately twenty 1 nU ^ brilliant PIECES In first and melodious in many who are naturally gifted with sixth, eighth, and so on. Example: C position character NADIA BOULANGER, composer ?°‘ 6 ,flwn PIPK Nr\tRVU« ? ORGAN PACKAGE NO. 13 Fifteen PRESSER'S absolute pitch so they can identify to D is a second, C to F a fourth, and NUMBERS for — EASY CHO- teaching and recital use. RUSES FOR PACKAGE SCHOOL USE Two part CHARLES M. COURBOIN, organist NO. 7—PRACTICAL choruses for treble - sSS any tone so on. The same rule applies to notes KLF- voices. - by sound or sing the cor- ' n and R S K0R rs, : ,N PIAN0 PACKAGE NO. 14—-A i^tkIc\tov m , dozen ACCORDION us. 1712 CO. to continue until they is considered a perfect interval. It is CHESTNUT STREET, HEADQUARTERS especially written two. PHILA.,PA. master it. Using A above middle C as the same whether found in the *6 Greenwich Ave., N.Y.C. tested—Correspom Write for Free Catalog roorses-that guarantee r*> an ^ rite for FREE Infom example, the student major or minor scale. Co., Inc. should first The names of Acme Accordion HLADQUi think his 43 W. 16th ST.. N. Y. C. York conception of that tone, ( Continued on Page 568) (Bet. Sth & 6th Ave«.) Fh.la. the etude AUGUST, 1942 565 , ,

Becoming a Conductor Necessary for Morale Page 564) Music is Not Seventy-Sixth Year ( Continued from

from memory. Some cannot read one by an anonymous composer. Fitz- music and must learn by Tonic Sol These were all from the old Ferranti CHICAGO MUSICAL COLLEGE Even now they’re doing this, Marco Aurelio Zani de william Virginal Book, and their Fa. intact. though in a reduced way because of RUDOLPH GANZ, President original harmonies were left T'j eortfe This is an These charming pieces were a prod- war conditions. impressive use spare time, getting uct of this ‘‘unmusical” England, at way to in Member of the North Central Association of Colleges and ne of the most remark- which Ferranti mastered with ease a time when anyone who wanted to touch with beauty by learning Secondary personalities in guitar upon his instrument were unplay- Schools; Institutional member of the National gentleman and move masterpieces. I do not think we have able call himself a was Marco Aurelio Zani able by other guitarists and no one Association of Schools of Music. to be this to the same extent in America, O history in certain social circles had discover his Ferranti, guitar virtuoso, com- since has been able to able to participate in after-dinner and an extension of choral enter- de A Professional school of music conferring accredited man of letters. He was secret of prolonging and uniting his musical performances. In those days, prise would be a healthy musical poser and Italy, July 6, 1800, notes. His slurred chord passages, Bachelor and Master of Music Degrees with major in because sign. born in Bologna, people did things simply independent ac- died in Pisa, November 28, 1878. and melody with Piano, Voice, Violin, 'Cello, Organ, Orchestral Instru- they wanted to do them, not for The comparative lack is perhaps and from an ancient Venetian companiment were most marvelous ments, Musicology, Music Education, or Composition. money, or to create a sensation. It due to the fact that there is so much Descended came to Lucca in Tuscany, and entrancing. After another con- was a classic sincere period from good music on tap that many don’t family, he age of seven with his pre- cert tour through Holland, he visited which emerged a classic sincere take the trouble to learn it for them- at the Faculty of internationally and Abbot Ronti, to receive his London, and together with the vio- music, an exciting living music even selves. They are too content to listen, ceptor, nationally famous artist which was most thorough. linist Sivori, came to America, where teachers. yet, but it is practically unknown and then many never know the joys education, gifted with very pre- both artists were received with the save to scholars. Surely one cannot of participation. One should always Ferranti was intelligence and prodigious greatest enthusiasm. Student aid available to a number of deserving students. justly call a country or a people who keep one’s respect for fine music. It cocious his poetic talent manifested Returning to Brussels, in 1846, he produced such music, “unmusical!” should never become too familiar. memory; duties as professor itself from early childhood, for when again took up his FALL SEMESTER OPENS MONDAY, Nor is modern England unmusical. The young musician who is to-day years of age he had com- at the Royal Conservatory and was A wonderful part of its musical life, going out into the world must learn twelve SEPTEMBER 9. Latin poetry which was read occupied as such till the end of 1854, especially in the North, in York- to broaden his musical horizon; he posed throughout Italy. Attending a con- when his restless spirit manifested shire and Wales, are the great volun- must love music far too much to care Write now for Free Catalogue; Address the Registrar cert given by the violinist, Paganini, itself again and he arranged an ar- tary, amateur choral societies, com- for its nationality, but at the same he was so profoundly impressed with tistic tour through France, to his posed of miners, factory workers, and time he must learn that there are After his farewell con- so on. Some of these the performance of this artist that native land. date back two other masters besides those of Ger- FAITH PHILOSOPHY OF THE CHICAGO MUSICAL music became his passion, and he at certs in Brussels and The Hague, a THE CHRISTIAN AND COLLEGE hundred years or more and member- man birth. He must explore the great violin critic writes in the Brussels Echo: ship is by subscription. The members once began the study of the ADEQUATELY THIS NEED R. A. Elmquist, Business Manager musical literature of all nations and INSTITUTION MEET learn compositions under Gerli, the celebrated teacher. “We have heard this artist many like Bach’s “B all epochs. The true artist never M EAST VAN BUREN STREET, CHICAGO, minor Mass” His progress was phenomenal, and times and upon every occasion his BUT music is an important feature of Bob Jones College ILLINOIS and modern works such stops learning; never stoops to hypo- as the age of sixteen his extraordi- playing was so brilliant and so Walton’s “Belshazzar’s Feast” crisy or loses his questing mind. at life and training. nary talent promised a violinist of varied, that he revealed to us some the first order; but he subsequently new wonder quite unexpected. What A strong and talented faculty offer: piano, voice, pipe organ, instrument for the Paganini is on the violin, Thalberg inORTH PARIi COLLEGE abandoned this violin, speech, and art without additional cost. The oratorio enwoo guitar. His outstanding genius on on the piano, Servais on the violon- A E. Clifford society, choir, a cappella, chorus, orchestra, and hand are out- jSckool Recent the latter instrument made him cello, Ferranti is on the guitar. He is Toren, Notable Music on Records standing. CONSERVATORY OF MUSIC Director (.Music,> 50th famous in the musical world. a discoverer. He has surpassed all Diritionof Year LindentcoodColleoe (Continued from Page In 1820, he visited Paris where he his celebrated rivals in vanquishing Jot Women. Thorough prepara- 516) Bob Jones College offers a Bachelor of Arts degree with a major tion for careers in music under Trains students for spent most of his time experiment- the difficulties which this instrument a distinguished faculty. B.M. active musical careers in their chosen field. in music training young people for successful careers. The degree, certificate and diploma Progressive faculty. Conserv- Victor set 893. in the hands of others offers. He has atory occupies have ing with new methods of playing the in piano, voice, violin, organ, own building. Piano, voice, toured with the Charles L. YJohn, cello, reed of offers harp, other instruments, pub- and brass instruments, church Rubinstein, a famous exponent of guitar. Towards the end of the same found new effects harmonious traits course in “the ministry music” unexcelled opportuni- lic school music, and choral music, Wagner Opera Company. theory, har- theory, music education and the Most of the mony, history and appreciation expression. Fall semester begins music of Chopin, reveals year we find him in St. Petersburg, of extraordinary wealth and power. ties to young wish invest their lives September 16. in his duets, arias and ensembles, people who to in Christian of music. Well-equipped stu- playing as well dios, beautiful Write E. CLIFFORD here that he is equally Russia, where he was engaged as Add to all the secrets of his technic buildings on TOREN, Dir. at as many important recitatives service as choir directors, etc. 138 acres near 8t. 3201 Foster Avenue, have Louis with Chicago, Illinois. home in the music of Brahms. librarian to Meitleff a clearness, a broadness and ad- its frequent concerts, operas, The been preserved. Senator and other In our estimation musical attractions. For intimate and reflective qualities of later as private secretary to Prince mirable equality of tone; add the catalog and view book, write this version of the the music opera remains a •k k it Harry Morehouse are set forth with rare Varishkin, cousin of the Emperor. rapidity, the vigour, the neatness of Gage, Pres. satisfactory and valid one for home Box 1242, St. Charles, Mo. -SMOPOLITAN feeling and expression. One has but consumption. The frequent periods of leisure, fingering and above all the inspira- SCHOOL Vocally Reggiani is a OF MUSIC to cite the pianist’s performances of which these positions afforded, gave tion, the rapture, the almost super- Further information about the Music SHIRLEY GANDELL, pleasanter Rosina than Capsir, Department and other M.A., Oxford such works as the E-fiat and University, England. President. minor and Landi is him ample opportunity to carry on natural in the person, which evi- 39th year. an artistic Count. ph ases of the work of Boh Jones College will be sent upon DETROITINSTITUTE Accredited. Offers courses the C major Intermezzi Ramirez in all as his branches of Music. Certificates, examples owns a experiments with the innovations dences the true artist, and you will diplomas and lusty and powerful OF MUSICAL ART degrees. Desirable board- of his insight into the voice, request. For Bob Jones College is not just a music school. It is ing accommodations. Located in intentions of and have but a faint idea of the talent Since 1914 has prepared ambitious young down- which he uses improvements he had in mind town musical center. the with considerable people for careers in music, dancing, composer; they are a Liberal Arts college, and the wide variety of courses offered dra- Box E. 306 S. Wabash Ave., Chicago. given un- youthful in connection with guitar technic. of Ferranti. The pieces which he matic art. All instruments, voice, theory, matched enthusiasm, but he is lack- composition, sacred music, conducting, performances here In cam- on rec- ing in 1824, he appeared in Hamburg as composes are charming, and if Fer- includes: four-year college course . . . four-year high school panology, radio Stracciari’s subtleties. technique. Accredited. Di- ords. Further the reproduction Repro- plomas and degrees. Faculty of 70. Catalog. does guitar soloist, ranti was not a virtuoso of the first BALDWIN-WALLACE ductively the set with much success. course . . . four-year secondary elementary H. B. Manville, full is almost too realis- and teachers’ courses Bus. Mgr., 52 Putnam Ave., Detroit, Mich. justice to the pianist’s tone. tic at During the next three years he gave rank he would shine amongst com- CONSERVATORY OF MUSIC times. . . . Rossini: two-year elementary teachers’ course . . . one-year business The Barber of Seville (abridged recitals BEREA, OHM) (suburb of Cleveland) Three in Brussels, Paris, and Lon- posers.” version); Operatic Arias; Lily Pons With With a flr8t sung by Hilde and secretarial course. MILLIKIN « Liberal Arts College, Reggiani don. In CONSERVATORY OF MUSIC ib our and five Columbia 1827, after his second con- In January, 1855, Ferranti arrived year courses leading to degrees. Faculty Opera Orchestra, of (Rosina), Bruno direction DECATUR, ILLINOIS Artist Teachers. Send for catalogue or informa- Landi ( Count Al- cert tion to: of ietro in Brussels, he was appointed in Paris, where he was welcomed in maviva ? Cimara. Columbia set 505, Located in the beautiful Tennessee Valiev ), Carlos rT . section of the Offers thoro traininijn music. ALBERT Ramirez ( Figaro South, Couraea leading to RIEMEWSCHMEIOER. Dean, Berea. Ohio ) The arias professor of the guitar Italian the salons of the most eminent poets Bachelor of Music are Regnava and Degree. Diploma and Certifi. John Gurney (Basilio.) net silenzio Bob Jones College is cate in Lorenzo accredited as a four-year institution by the Piano v°ice. Violin, Oraan. Public School Al- rom “Lucia,” language at the Royal Conservatory and musicians. After his first recital, Music Methods and vary (Bartolo) Pourquoi dans les Music Kindergarten Methods with the Victor Sym- of Department of FMucation Make THE ETUDE Your Marketing grands bois from that city. These years of continu- Fetis wrote, “If the guitar has a of the state of Tennessee. Credits Bulltlin t*nl frt* upon request Place phony “Lakme,” and Etude Orchestra and Chorus, con- Om- W. ST. CLARE Advertisers Open the Doors to Real bre legere ous study brought Paganini it owes this glory to Fer- are accepted MINTURN. Director ducted by from “Dinorah.” Of him his reward, by leading universities, conservatories, and grad- Opportunities Giuseppe Bamboschek the two display pieces by discovering a method of produc- ranti.” Paganini, who was also a Victor set 898. the singer is most uate schools in all sections of the country. effective in ing a sustained, singing guitarist of rare ability, after at- Although this the last; in the tone on his set does not efface Lucia ana she is instrument, obtaining tending one of Ferranti’s recitals memories of the often breathy and upon all tne exten- complete perform- sion For illustrated literature and occasion off -pitch. of which it was susceptible. The wrote, “I heard you, sir, with such catalogue write QbfaflatibJhfiltlutF ance of the opera, featuring It is our impres- uf Capsir, sion that results of his Borgioh, Stracciari the acoustic qualities experiments were made emotion that I have scarcely enough Confer. and Baccaloni of the Bachelor of Mu.ic Degree, Master of Music it 1Ch the public in two recitals given in reason left to tell you that you are Degree, Artist Diploma is nonetheless an ingeniously recording was ac- Faculty of Nationally devised complishedenmnr ^ Brussels in DR. BOB JONES, JR. Known Muticiant and well sung are not flattering 1832, and subsequently the most miraculous guitarist that BERYL RUBINSTEIN. version. Many of the to the he Director, 3411 Euclid Avenue, S V01 111 was honored by appointment I have ever met in my life.” After Cleveland. Ohio principals have sung in ?' the more subdued the a Metropolitan lTifm , of Bob Jones College performances Lakme selection, the guitarist to the King of the Bel- recital at the residence of the famous Cleveland, Tennessee of the opera, and soprano’s tonal 566 all quality is gians. It is more happily revealed. said that the difficulties (Continued on Page 569)

AUGUST. 1942 THE ETUDE 567 So, no matter what some artists do, hardest part it will be found that the Enlisting Music for Men Marco Aurelia Zani let’s try to confine the hands apart busi- Ear Training Is Helpful of ear training has been accom- ness to an occasional “emotional” effect plished. in Service de Ferranti —say once in a piece, or better still, once to Accordionists The radio may be put to good use a month! I’m glad you brought up the question if accordionists will listen to various from Page 526) (Continued from Page 567) 565) (Continued of imitating records of concert pian- ( Continued from Page melodies and then try to play them the ists. It is profitable, of course, to listen by ear. poet, Alexander Dumas, M. French to such records as often as you wish, but We believe that modern accordion a Hammond organ. “Ferranti other intervals will be discussed in a concrete sugges- equipped with had this to say: question, these Pleyel beware of trying . to copy them. Piano schools should recognize the im- this usually kept future lesson. A thorough knowledge These chapels are open for three whole hours the de- tions are offered: • charmed recording still leaves much to be have _ portance of ear training and all day Sunday, and seem to be a aesthetical audience. of all scales in all keys is essential strike out wildly in the most select and sired. Dynamic gradation in records is their curriculum include instruction 1. Do not intervals. energies point of interest to which the men alone has been the at- neither so wide nor subtle, tone not so when studying dark, and dissipate your The guitar upon it as well as upon the reading their visiting friends and rela- Students will probably have no dif- Always go directly to bring traction of this soiree, but the genius pure as the original; but more important, of notes. Ear training reduces the and good will. ficulty with the intervals of a third in tives. The Chaplains sometimes have supple, so extended reproducing machines vary so greatly these officials: the USO director of Ferranti is so task of memorizing to a minimum, finding competent players that the contradictions in quality, dy- and a fifth for they are accustomed city’s recreation difficulty so varied that one did not have thereby providing extra practice camp or in your and even two hear them in chords. The second for the morning worship periods not namics, and speed produced by to center; the Chaplain of a regiment, a suspicion of monotony. Do time. Accordionists who anticipate Protestant and different machines completely nullify any and the octave will also be relatively Officer of an organ- (Catholic, Jewish the guitar any more, gentle- playing professionally should give of the recreation scorn claim to “faithful” reproduction. CONSERVATORY OF MUSIC intervals of a fourth, all are held in the easy but the your city’s committee services same the hands of Ferranti, the special attention to this subject. ization; or men. In Any pianist will tell you that imperfec- seventh may require more . has sixth and with the military building) As anyone who played becomes an orchestra, a mili- usually Pietro Deiro will answer questions which cooperates guitar tions in playing or recording are practice. entertain- the Hammond organ knows, it is forced to compro- about accordion playing. Letters authorities for providing tary band.” unavoidable, so he is A professional music school in an attractive We suggest that students test then- often the person with an excellent Paris, Ferranti traveled mise when he releases a record. Further- should be addressed to him in care ment. From National pitch frequently when practicing, college town. (Member of the is needed and natural ear, rather than the tradi- to Italy, giving re- more, don’t forget that however “simple” of The Etude, 1712 Chestnut Street, 2. Find out what through France, for a beginner may get off pitch, and centers tionally trained organist, who can an artist’s effects may sound, the student Association of Schools of Music.) Philadelphia, Pennsylvania. what the men want. USO citals in all important cities, includ- unless corrected he may continue bring the best music out of these who does not possess the artist’s equip- report constant pleas for pianos, ing the fashionable resorts, Nice and for carefully selected ment, often cannot approximate them, Thorough instruction that way through the entire exercise. in- instruments. You could offer the sound-proof practice rooms, good Cannes, and finally settled in Pisa, teachers. Example No. 1 shows the type of and becomes confused or discouraged. students in all branches of music under artist records, music and music Regimental Chaplain your services frequent recitals. His struments, where he gave The pupil must learn to recreate a com- exercise to practice, for it provides of teaching a small group of musi- Special training in hand and choir direction. stands. If you make a monetary con- last years were mostly occupied with just accompaniment position according to his own technical enough to help What cally talented soldiers the funda- Band Music tribution, ear-mark it for some literary work. As a composer, Fer- musical lights. Ohcrlin’s conservatory the student correct any errors. and Write for catalogue describing mentals of church organ playing. specific musical purpose. ranti deserves a place amongst the There is nothing we can do about the courses and its superior equipment (200 practice Should Be 7. If you are a choir director, Ex. 1 3. Give materials if you can’t give seek foremost writers of music for guitar. judge who did not “like” your student’s rooms, 25 modern organs, etc.). Degrees: Bachelor of money. But do not give worn-out or out groups of men singers to aug- interpretation. That is his right as well (Continued from Page 563) The rendition of his original works services. as yours and mine. Could it perhaps be Music; Master of discarded machines or records. A ment your own Suggest that requires technic of the highest order Music, Bachelor of School your choir members invite them into possible that he had studied Chopin Philadelphia professional man gave as all of these were composed for use Music, Master of Music Education. feel that unless we give some music harder, or that he had more musical ex- his fine record-playing machine and their homes for Sunday dinner. of in his recitals. While some of these the masters our concerts would perience than you? In such cases, I al- Frank II. Shaw, Director, Box 572, Obcrlin, Ohio. large record library to the USO as Make them feel that they are an manuscript prin- be in vain. We have experimented remained in the ways insist on a rehearing of the student, a loan for the duration. That is true appreciated addition to your com- many times and we know our cipal ones were published. The list and a brief written report from the judge what munity, patriotism! even though their stay may Fantasia Varie; his audiences want and demand. I wish includes: Op. 1, giving explicit reasons for the re- be brief. Op. Rondo de Fees; “Op. 8, Six jection. you would see some of the requests Variety of Services 2, A 8. Perhaps the greatest treat for we receive—for works we would not Nocturnes;” Op. 4, Ma derniere Fan- 4. Some of the convalescent wards any soldier far from home, is to be dare attempt. I mean music of the tasie; Op. 5, Fantasia Varie Sur of the station hospitals have pianos invited into the home of a civilian. classic and modern masters. We do he Carnival de Venice; Op. 6, Loin de in their recreation rooms. Your serv- If you live within a radius of thirty not shun the “Tell” Overture or the Toi Caprice; Op. 7, Fantasia Sur La \ Example No. 2 shows another exer- ices might be appreciated for a short or forty miles of a military post, Sextette from “Lucia.” We try to Romance de Otello; Op. 8, Diverti- BOSTON UNIVERSITY cise which will help the student to period once a week. The patients register your name with the / \ please all “musical” tastes. USO, a mento on Three favorite English learn the intervals of a major and particularly enjoy singers and play- Chaplain or an organization UNIVERSITY COLLEGE OF MUSIC May I say in conclusion that I Com- romances; Op. 9, Nocturne Sur La / \ minor sixth. ers who will give “request” programs, feel you have mander. Tell them you are a musi- • Thorough preparation for careers In done something worth derniere Pensee de Weber; Op. 10, / \ M.Mus. Ed. and A.M. de- or accompany them in group sing- cian music. B.Mus., while for bands through your interested in entertaining sol- Fantasia Varie, grees In graduate school. Diplomas In Ex. 2 article? ing. Don’t O Cara Memoria. THE SCHOOL OF be patronizing or high- diers over-night or for the week-end, / CONSERVATORY \ Voice, Plano. Organ. Violin, Cello, Brass. The artistic career of this master, Percussion Instruments. Pub- hat, or you will get the cold shoulder. Wind and especially some OF MUSIC lic Music. of who like to play or his early struggles, his determina- / \ School Theory. History Keep your visits brief, informal l/ttu&ic Music, Musicology. Composition. Church and sing. Suggest that they bring their tion to place the guitar and its music / 76th YEAR \ Music. Chorus, glee club, orchestra, band. friendly. One successful New York offers accredited courses in Piano, Voice. instruments along. Call for them, on A complete school of music, dramatic Faculty of distinguished musicians In- The a higher plane should serve as an art and dancing. degrees. cluding many Boston Symphony Orches- Value of piano teacher gave up her classes and take Violin, Organ, Public School Music, / Courses lead to \ them back to camp, or pay Special students mav enter at anv time. tra members. Cultural opportunities of and entered the example and provide inspiration to Harmony, and Orchestral Instruments. Red Cross as a pro- their way. Soldiers / \ Boston. Attractive dormitories. Write make very little every Confers Degrees of B. M„ A. B.. and REGISTRATION— Encouragement fessional worker. In odd moments guitarist of the present. for catalog. money, and do not have much to M. M. / September 3 4 5 Alfred Meyer, she , , \ H. Dean gives lessons to men in wheel Write for catalog Blagden Street Boston, spend on bus or train fare. This is Distinguished faculty including S3 Mass. ( Continued from Page 562) chairs and on / 2630 Highland Ave. Cincinnati, Ohio. crutches. She has practical and worth while. ARTHUR C. BECKER found that learning to play the You may bring home a promising SERGEI TARNOWSKY The thought of that motivating piano is of far greater A Revealing New Book in Two Parts in- therapeutic young tenor, whose fluence musical educa- MME. MARIA KURENKO often comes to me, when I value than listening to concerts. If The PARAGON OF RHYTHMIC COUNTING INCREASE tion has been interrupted by the Teacher’s YOUR see pupils whose sole you are skilled RICHARD CZERWONKY FOR ALL RHYTHMS contact with at teaching adult be- draft; you INCOME ! the may find a boy who was WALTER KNUPFER PARAGON OF HARMONIZING family, as far as interest in his ginners, this would make a worthy Easily— Substantially — Pleasantly These examples were from concertmeister in his high school Round Table applied to taken music study goes, is spare SAMUEL A. LIEBERSON — Tske Subscriptions for — confined to a time undertaking. FOUR KINDS OF HARMONIZATIONS the textbook “Rhythmical Articula- orchestra, now a member of an anti- THE ETUDE short period during the lesson 5. If you are (Continued The Dept, of Drama offers a 3-year Course MUSIC MAGAZINE hour, a good accompanist, aircraft from Page 528) Send for explanatory circular tion,” by Alfred d’Auberge. battery; or you may draw — Write far particulars — when a visit is made to the teacher give one evening EFFA ELLIS PERFIELD a week to small Address Registrar for Bulletin 1712 ST. Songs such as The Last Rose an ex-Montana cow-hand, abhorrent 103 East 86th St. (Park Ave.) New York City CHESTNUT PHILADELPHIA PA. of to inquire, “How is who is a of pianistic habits, and is as Bobby getting instrumental or choral groups in Summer, Old Folks at Home, and second Gene Autry, inexcusable in the DePAUL UNIVERSITY on?” need of a when he is not artist as in the stu- pianist. You may have to parachuting. dent! other well known melodies provide Make “home folks” Several well known pianists of the Room 401, 64 E. Lake Street, Chicago, 111. From parents and teachers alike, play on a terrible of JUILLIARD SCHOOL OF MUSIC instrument. You them. late lamented *• practice material for the student to signs These men get “romantic” school played < of approval are a necessity to may be met at desperately the first rehearsal lonely so flagrantly hands apart that ^ learn to name the intervals as he the child, for family, children, the prac- ERNEST HUTCHESON, President during the drill of learning by a guitar, a saxophone pets, tice became and a har- home-cooking a fashion; a whole flock oi hums the tunes and studies the up- to play. Let the sign be and the music of a only the no- monica. You may find a imitators rose up in the land. Indeed, one ward and downward movement of group of family group. SINGERS v.r fllvione tice of the proper curve and position players whom I knew well Apprentice Theatre—Now Casting principals & chorus for INSTITUTE who heavy OF light MUSICAL cannot read was so congenitally & opera. Broadway, also Summer Theatre ART the melody. music, and af- pre- of the thumb in This suggestion may flicted with sentations, Producers & Scouts inviteo. playing a scale; or a want someone to play seem lacking “hands-apartitis” that a con- (Also Separate Screen Youngsters* Dept.) GEORGE A. WEDGE. Dean Unfamiliar through a For terms, Apply Sec'y Suppe, 1780 B*way, N. Y. melodic patterns are weak finger gaining in m drama. But such a visit will uctor accompaning strength; or batch of music until they can do him in a concerto best for that part of practice in ear an get it more for the exasperated Individual improvement in legato playing. by ear.” Or you “morale” of a soldier by the mannerism, cracked, vocal and instrumental instruction. Classes in Theory, Com- training may be surprised e where the student sings the Approval of stationed a thousand , vich hand do RIVERORIVE SCHOOL OF MUSIC position, and all branches “something attempted; by a string quartette. miles from his you vant me to & ARTS of music education. melody from the notes without home ggompany, da left play- something , than any or right vun?” done” will ' 84 Riverside Drive create a reso- 6 are an or8 number of camp Courses leading to diploma and B. S. and M. S. degrees in instru- ' /° amst we ing it in order . ' y° u could a11 d° it: to judge the distance . concerts some of us (includ- nance in the musical consciousness offer 7to and entertainments. He will New York City mental, singing, give a series of Sundayuuimay truly!) and public school music departments. of the intervals. This is not easy to of a pupil,dudiI t.hA v hrptinnt _ aner-after feel “”moreJlc even play right hand FREDERICK G. KOEHLER, Director the vibrations of which noon recitals than"“a11 ever mshis responresponsibility In manv V V'"’ eft ' Dormitories do at first but when once will for Try it and see how hard Catalog on request. perfected reach to immeasurable lengths, defendin S the it SUMMER SESSION regiment , AmeriCanAmerican home COUrse has its own' that way is just smalf chapel , as bad Students may enter at any time. and wlTTme^ as theth 4 Room 122, 120 Claremont Avenue, New York 568 other. For catalogue and information address Secretary

THE ETUDE AUGUST, 1942 569 E F A G; then in eighth notes: FGBA contra- eighth notes. terms, expansion Depict Humor in Music gags. That's what I for a theme. Many The To then a flock terial nature. Let’s forget material fun, not merely Counterpoint in Plain as notes GACB; ABDC BCED; something deep have written fugues on the and contraction, would surely be bet- the opposite of aug- give Music, Morale, and comforts for a while and concentrate mean by feeling— puntists Diminution, of sixteenth notes on A-F, to This, of course, is this connection, but they are permanent. We have B-A-C-H. ter in mentation, is often humorously used. the on our spiritual fibres. A bit of ma- and human and Language name a dominant ninth effect, while our songs, into our- polyphonic pleasantry of little not so used. opens the prelude of “Die Elsa Maxwell terial lack won’t hurt us; but starva- got to put it into iust Wagner trombones are tramping up and art. (Continued from Page 531) in itself. Yet it has led In the fugue and other such works, with the pompous tion of the mind and the soul means selves, into our importance Meistersinger” the harmony notes. Meanwhile (Continued from Page 509) the down I wrote the first wai achievements. Attention has augmentation and diminution of the mastersingers, gor- death. Until we get rid of our fads “Incidentally, to great theme of the traps are warming up till at last was called Carry On, in a previous article to theme are normal devices often used orchestrated. Later, when about music and bring music itself song in 1914. It so saturated in the art that it prob- been called geously we come to the dull sickening thud big Lon- series of arbitrarily in development. For example see Miss Maxwell deplores the Amer- part of and it went into one of the itself,” and like Topsy, use of a their “pert apprentices” mimic them, to the people as a necessary ably “came of Liszt’s of a blunt instrument, and a clash hours derived Fugue No. of Bach’s “Forty-eight.” ican tendency toward over-publi- lives, have don revues just forty-eight was notes from which he 8, theme reappears in diminished their personal we shall “just growed.” He undoubtedly chosen the of cymbals. Thus music is murdered, cized, over-commercialized ‘‘speciali- after war was declared. The people of his Preludes. More Compare the “answer” of the theme impudent in no great composer, no great audi- aware of its potentialities. the themes form, sprightly and swell that sounds swell! in Measure but all’s zation.” According to our accepted ences, and great art.” liked it and so did the boys. Long occurs Edward Elgar first made as it appears beginning no A similar passage also in recently, staccato woodwind. The same in reverse, a descending measure of values, a man who writes after the Armistice, I was one of a famous with his “Enigma 3, with its augmentation (in the use of diminution Miss Maxwell agreed that such a the Allegro Grazioso., the slow move- himself A more serious sequence slowly augmenting, gives us a dozen jazz hits must sign a pen- houseparty staying with Admiral on a theme of his own, tenor) at Measure 62, et sequente, of “Samson and program is more readily outlined ment of Tschaikowsky’s “Symphony Variations” occurs at the end diminuendo. string quartet; girl who his ex- (in treble) at 77. a name to a a than put into action. How, exactly, Beatty, and he told us of Since then, a variation of which is a portrait and again the M. Delilah,” where Saint-Saens has De- Pathetique.” modern each Rossini, famous for his crescendos, succeeds in musical comedy has a periences at the Battle of Jutland. These devices, however, reappear Samson by sing- are we to make the nation realize practice has developed of moving of a friend. lilah mock the blind devices with great skill, hard time entering opera. Not be- had heard surprisingly in music of a used such its need, not of hit shows, big names, He mentioned a song he blocks of chords in contrary modern back at him some of his own whole ing so did Auber. They may be cause abilities lack intrinsic merit, real spirit,’ he Other Polyphonic Devices turn. fre- and and glamour programs, but of the on shipboard. ‘It had motion, or “mirroring,” as Eaglefield more romantic The most lovelorn phrases in diminution. cheap, but little children in cheese- but because they are “known” for said; ‘only a true Britisher could some skill in the quent use of augmentation is to give essence of music? Hull calls it. He quotes the following Having acquired Diminution often results in a kind dare not budge from cloth, running around the stage as a specialty and have written it.’ I asked what the our student of special emphasis to some theme pre- “I can’t tell you how to do it,” re- passage from the “Second Sym- use of inversion, of “fore-shortening” of a longer Amazons and what it. song was. viously heard, especially at the end. Nubian Slaves, plied Miss Maxwell, “but I can tell phony” by Edward Elgar, who was counterpoint passes on to other phrase. In his Menuetto. Humoresque, “ think it’s just dandy. “Unfortunately,” says Miss Max- ‘I don’t recall the name,’ he said, the Chorale in Sibelius’ “Fin- not, you what the doing must be built much addicted to such writing: polyphonic devices, such as augmen- Thus Grieg diminishes, or compresses, the well, “American music has been fed The noble old art of counterpoint, ‘but it went like this . . first in quarter upon — honest sincerity of feeling. tation, diminution, canon, imitation, landia” appears two-measure opening phrase into a on the blind snobbery of fads. We’ve of soaring to sublime heights, “At the first notes, I went to the notes, but it reappears with a blaze capable Take the current wartime music as all steps toward the consummation descending sequence of eighth notes. been so busy with the wrappings of piano and played Carry On. ‘How can unbend enough to give juveniles an illustration. In the last war, of contrapuntal studies in the fugue. of brass and rolling drums, in half the package that we’ve hardly begun of all ages the thrill of drama. people felt deeply, ardently, sincere- do you happen to know that tune?’ Augmentation and diminution are notes at the end—somewhat abbre- to explore its contents. Just consider asked I Use of the Sequence In any case, an important duty of ly. You could sense that feeling in the Admiral. ‘Because,’ said, simple both in harmony and viated to avoid undue repetition of the fads crazes our music quite and nas ‘I happened write it!”’ of notes counterpoint is to provide rumpus the very air you breathed. The war to counterpoint, but the terms have a theme now familiar to the listener. A sequence is a pattern been through: opera must have ‘so- chords) repeated at in an orchestra. This may be done posters were noble and inspiring. The broader use in the latter. In har- Humperdinck similarly enlarges the or figures (also cial’ value; the classics struggle with Away with Fads manner, as Wagner war songs meant something. But relate to intervals Prayer at the climax of his Dream different pitch levels in a “chain.” in the grand the ‘highbrow’ handicap (even though mony the terms now? Wisecracks! American music, Miss Maxwell is is in conjunction with does in “Die Meistersinger,” by com- The posters I’ve only: C to G is a perfect fifth; C to Music in “Hansel and Gretel.” It often used the people gladly accept classic and seen so far, show you streamlined convinced, needs to free itself from rarely, exceedingly effec- diminution to form a crescendo. A bining themes in cross-rhythms themes in mutilated jazz borrow- G-sharp is an augmented fifth; C More an trying fads and prejudices and echoes. It is familiar in contrast; or just by writing in a glamour gals to sell you some- Since this is six-part writing, it is to G-flat is a diminished fifth. This tive use is made of a soft augmenta- simple form of this in ings!) ; some time ago, all music had needs to as Bee- thing—buy this, buy that. And the reach the people, not as a capable of 720 inversions. In final, lingering cadence comic opera. Over a dominant pedal lot of small notes repeating, to come by way of foreigners, and many applies also in counterpoint; but tion for the songs! About some slaphappy cappy star-performance, but as spiritual consecutive fourths (say G) it goes something like this: thoven does in his “Pastoral Sym- an American artist had a fearful cases, the would here the terms also relate to the of a tender melody. Thus Dvorak who wants to lick the Jappy. Well, sustenance. The one way to make sequence is established in quarter phony,” where basses and violon- struggle unless he added an -ino or become consecutive fifths, but no- duration of notes. A theme in quar- concludes the beautiful Largo of his a gags and wisecracks won’t lick any- people realize their need of an art is notes, slowly at first: G A C B; D cellos, scrubbing and rubbing at a an offsky to his name. Nonsense like body minds that nowadays. ter notes is “augmented” when the “New World Symphony.” Thus also, thing except the mental resources of to infuse that art with the genuine thump, thump) A B D C; rapid repeated figure, replace the that has retarded our basic apprecia- Inversions in the octave are still time value is increased so that the Grieg prolongs the mournful final (thump, ; those who can’t think in sentiment that fills the empty places any other : bars tympani in supplying the necessary tion of music itself. Happily enough, used, and in fact imperative; but in- quarter notes become half notes; it cadence of Ase’s Tod, in his “Peer E (three thumps) Then two terms. The fewest of our song writers of the heart and the spirit. And when F; rumble of thunder. the worst of these misfit notions have versions in the tenth or twelfth, or is “diminished” when they become Gynt Suite.” of quarter notes, going up: D E G concern themselves with true, deep the people begin exploring heart and died out. We’re beginning to realize inversions of position seldom—at patriotic feeling—they’re busy writ- spirit instead of dulling them with that music itself has value, regard- least deliberately. The development ing hits. And they offer those hits to wisecracks, they are building morale. less of its trimmings. But we still of harmony and modulation made our soldiers — and the boys won’t That is what we need now. We’ve have a long way to go. possible by the tempered scale offers have them. What are they singing in got to do more than win; we must simpler and often more effective the camps to-day? Not the slap- show the stuff that makes A Spiritual Conception of Music winners. methods. Such contrapuntal inver- Teachers DiplomaT\ \i happy cappy, A but the old songs— Music can help us provided we’re “For one thing, we must stop treat- — sions date obviously from the Gre- Madelon; Over There; The willing to pay attention Long , to music and ing music like the Salvation Army, Long gorian age before modulation was Trail. And why? Because those forget about the trimmings. To Elsa for which funds are raised by an known. songs give out feeling, ardor. Of Maxwell, that appeal for charity is enormously more They include, by the donations. We course there’s way, one more fun in them; but real important than parties. have no subsidies for music; art device known as retrogression, which I Bachelor’s 11 \ I has EARNA Degree IN MUSIC no accepted position in our com- simply means reversal of the order munities. For all its misguided polit- of notes, so that C D F E becomes ical doctrines, Europe has elevated E F D C. Such retrogressions may In "Your Spare Time at Home art to a position of honorable inde- again be inverted all ways. pendence. Countries no larger than The arbitrary manipulation of our state of Ohio have two hundred notes to form themes which may be N EVERY COMMUNITY there are ambitious We offer them without obligation to you. This great musical organization now in its 37th suc- municipal opera houses. America has developed by men and women who know the advantages of cessful year—has developed and trained many musicians such means as the giving three / new inspiration and ideas for their musical ad- We are the only school instruction in music by and many successful teachers. To you we offer the same permanent operatic organiza- above is another old practice Study includes which vancement. It is Courses are the Home Method which in its teaching advantages which have been given to them. Don't wait tions to those our Extension —and if ever they run has all courses necessary to short of had modern repercussions. It of the greatest benefit. the obtain the Degree of Bachelor any longer! The coupon will bring you our catalog, illus- funds, they carry the hat around in dates from the of Music. trated lessons and information about the lessons which period of scholastic The most successful musician, of course, is the very order to go on living. And the poor, exhibitionism busy will be of untold value. which produced Jos- one. Yet he is the one who finds extra time for Openings in the music field are defeated, browbeaten something American com- quin des Pres and his kind before worth while. And to such a one Extension ;rowing very rapidly. There are This Is YOUR Opportunity—Mail the Coupon TODAY! Courses poser! He writes, not because his own the Golden are the greatest boon. It isn’t always possi- big paying positions for those Age achieved its climax ble people need or want to give up an interesting class or position and who are ready for them. UNIVERSITY EXTENSION CONSERVATORY, him, but in in Palestrina. go away Dept. A-299 for instruction. , 1525 E. 53rd Street, Chicago, order to live! If Illinois. he dares to write At one time, for instance, Josquin The Please send me catalog, sample lessons and full information melody, Home Study Method is equally advantageous to Do you hold the Key regarding course I have the highbrows pound him des Pres marked with an X below. (1450-1521) was hunting a the beginner or the amateur. Because the work can be for being ‘unmodern’; Piano, Teacher's Normal Course and if he’s job at the done at home in to the best teaching Harmony Violin French court. Over and spare time, with no interference Piano, Student’s Course modern,’ the people at large with one’s Cornet—Trumpet Cuitar don’t over, the courtier to regular work, many minutes each day may Public School Mus.—Beginner's Advanced Cornet Mandolin whom he ap- be used position—a Diploma? know what he’s talking about and plied which ordinarily go to waste. Public School Mus.—Advanced Voice Saxophone — met him with the Italian Advanced Composition care less. an- Choral Conducting Piano Accordion What a sorry spectacle it is swer: Ear Training & Sight Singing “Lascia fare mi,” equivalent Look It is up to YOU. On your Clarinet Reed Organ when a nation Back Over the Last Year History of Music Dance Band Arranging Banjo knows and needs so to own decision will rest your “nothing doing.” Getting tired of little of its own art! What progress have future success. yourself for it, Josquin have you made? Perhaps you Fit Name. used the syllables for wanted to send Adult or Juvenile. “How are we to change for our catalog and sample lessons be- a bigger position — demand all this?” notes: “La, Sol, tore ust Fa, Re, Mi.” Using ) to look into them. That is your privilege. larger fees. You can do it! Miss Maxwell continues. “By making Street No this as a theme, he contrived music at a whole The least as important as sports mass Increased Requirement for DEGREES has Resulted in Cit out of it—and got the job! Y State... in building national morale. We can Larger Demands for the ADVANCED COURSES offered by •Its just to get my son up in Most of us are get the morning-hes home on familiar with the Are you teaching now? If so, how many pupils have you? game fields or anything else for furlough.' Do you little Northern Song, in which Schu- the workers—provided hold it’s of a ma- mann honored ^UNIVERSITY EXTENSION CONSERVATORY a Teacher's Certificate? Have you studied Harmony? his Danish friend, (Address Gade, by Dept. A-299) 1 525 E. 53rd ST., CHICACO, ILL. 570 using the letters G-A-D-E Would you like to earn the Degree of Bachelor of Music?

THE ETUDE AUGUST, 1942 571 —

Pedal Counts The Piano Pin The Piano Pin (Continued) Bu .Alhrtka St.oyer evere the prize. j. Mian VanM the way I play it,” said Sally sure now, about g, “It’s of playing with Last came Sally. She tried to forget “I’ll ready to play as soon as I piece, but instead she skated away. be as your hands just count aloud, and use evening she heard Norman the pin, and do her best. As she figure out the pedaling in this new in the shape of a tiny grand Norman’s March. She felt sure That A pin Miss Anne smiled, and seemed called as Carl, his the pedal on the correct beats. would win the pin. those two measures over and bowed, piece,” Joseph piano hung on the wall in Miss Norman playing Carl after Joseph he was getting them right! very much pleased. chum, opened the living room door. “Now,” continued Hathaway’s studio. A card, pinned to “But,” she thought to herself, “I over, and there would be some good to study had finished doing this, “play the left Elfin Dance very win the pin. But Sally felt “I knew “Let me show you how the wall under the pin read: will make my light, He would too.” she expected to playing,” she said. “It was so very that pedaling!” exclaimed Carl after hand notes, and use the pedal and I will do a lot of hard work on happier than when are two piano pins playing Joseph did this, and then played “The pupil who plays the best at Sonatina.” herself. good that there listening to Joseph’s blurred the win it right win this pin. one for Norman, and one for Sally.” minutes. the piece through with the the next recital will Later she heard Norman playing At last came the recital. Norman — for several a chance to win it.” and Sally’s Everyone clapped when Sally and “I wish you would,” sighed Joseph. Everybody has the Sonatina across the street. She swung through his March, very light. Then it Norman took their prizes. “Pedaling new pieces always bothers was startled, and began to count and Elfin Dance was Sally thought, “I can win that pin. said for each one to play the “If it hadn’t been for you,” me.” blue dress. tap her foot. was time It will look lovely on my Norman on the way home, “I never piano teacher he’s getting Sonatina. “I see that your Yes, I intend to win it.” “Why — the time tripped over a sharp. One would have won my pin.” marks in the pedaling with a ruler Norman thought, “I can win that wrong!” she said. Someone chord. When Norman Sally looked down at her own little the same as mine does,” Carl re- brown There it was again, that mistake girl forgot a pin. It will look fine on my shining on her blue dress. to those two troublesome mea- piano, marked as he sat down on the bench suit. Yes, I intend to win it.” in time. All at once a queer little idea came held her breath, but he “Doing the right thing won a pair beside Joseph. “So, let’s mark in the After the Music Club meeting Sally popped into Sally’s head. sures Sally the time perfectly. She was of pins,” she said. counts in each measure where you (a) and Norman walked home together. “I’ll let Norman play the piece that played 1 M II are to change the pedal like this: “Everyone has to play the Sonatina way!” she thought. “Then I may win (a) Indicates teacher’s pedal marks. and one other piece to win the pin,” the pin!” (b) / 3 ' But something seemed wrong. (b) Indicates the counts added by said Norman. “I’ll have the Sonatina Even surprise the boys. hand and pedal. Much to his memorized in a week. For the piece a butterscotch lollipop didn’t taste any gu first measure you put the the pedaling didn’t bother him SUL m. JLLU I choose myself, I will play the sweet. When Sally went into the “In the one, and then more, even when he tried playing March.” house, she could still hear Norman pedal down on count Drop A from Goldmark’s homeland, opera and leave a bet. it count three. In with both hands. “The is making that mistake. change quickly on and leave famished. Drop O from Sonatina not easy to do Dear Junior Etude : a Christmas hymn and Dear Junior Ktcde : . to , , it on “That certainly is a good way well,” Next day, when Sally practiced, music and started piano lessons an lien I have been taking The Etude for two years the next measure you change Drop B from a group of wind-instru- leave boy’s said Sallie. She knew she would the I love a name. old. 1 am now taking ootn but have never written to you before. 1 enjoy music.” he I was eight years then hold it down practice pedaling in new have to work hard on it; and her Sonatina would not go right, count one, and ment players and leave a Drop P from no piano and band. . your puzzles and stories and especially your part of . an organ and „ written to thanks a lot for show- 1 have ever declared, “and other pieces were not as brilliant as matter how she tried. When she This is the first lime letters to great composers. the rest of the measure. Suppose,” conjunction. leave a pastry. went just realized how much 1 he you : 1 have really I play piano and started six and a half years the whole ing me how to do it!” Drop C from a consecutive roller skating, Norman was outside, Etude helps me in my music. he added, “you go through series Drop Qu from the English name for ^ whistling. of ascending or descending an eighth note and leave to Midsummer Music “I’ve memorized tones and leave a transaction. affirm. two pages of the A Finger Frolic Drop D from a part of a piano and Drop R from a minstrel Sonatina,” he told her. and leave WarlL V. BiJ. Dear .Timor Etude: . , , leave the sound of bell. gf “I know it all,” said Sally, pin and thank a the opposite of good. but she I received my prize of the Eu EuJun EeLar prize. It is very pretty. Drop E from a pastoral Midsummer sings its buzzing song, didn’t feel happy. vou very much for my pipe and Drop S from Biblical l a hymn and Mr teachers in school— I have six—said leave a color. A happy, lazy air; While she skated, feel it an honor to get it. leave a tropical tree. she kept think- should fingers out to play into Then, as I play my favorite things, I like to make note books and wish the I send my Drop F from a shrill instrument and Drop Song birds and bees; wind-rippled ing. It wasn’t her fault if T from a musical instrument Norman Junior Etude could have a note hook contest. their keyboard yard each day; how each finger does its best and sings, leave My brother had the best note book in his class an exclamation. and leave a chimney. brooks, got the time wrong. If he did get it year. I hope mine will be the best this soon as with its own special bit to add to Drop last gaily do they skip and run as G from a funeral hymn and Are trilling everywhere. wrong, she year, if I win, it will he a pleasure Drop U from an opera and leave might win the pin. But but do not make the music gay or sad. to know that I tried and learned something practicing’s begun. leave dreadful. speedy. suddenly she knew what to do. As she new. My brother and I are going. Sometimes they scamper up the When every finger does its best to Drop H from a combination I hope to become a great band leader when of tones Drop V from to change the form of rested she began humming. I grow up. My teacher said if I listen to my keys in scales, and then come down grow more skilled in music’s quest, and leave a string. “Is that is a triad and leave sluggish. the way the Sonatina sister I will learn a lot about music ; she a very good pianist and teacher. She went to with ease; and when arpeggios I do, I find my practice is such fun, before Drop I from Richard Strauss’ birth- Drop goes?” said Juniors of Appleton, Wisconsin. W from increase in volume of Norman. live with my grandmother and took the piano place, they have a game of leap-frog, too. I know, the hour is done! and leave to crunch. tone and leave ( Continued along, so now when I Nvant to play the piano to vend. on Next Page) ago, and I enjoy it very much. I never have to Drop J I have to walk about a mile to do it. I hope from Paderewski’s middle I like classical music Drop X from a part of a wheel and soon to have a piano and also a trumpet. I be coaxed to practice, and Dear Junior Etude : is very large but we live near name and leave an article. leave take lessons on the drum and am in our school much better than the so-called popular vari- My tONvn not As usual, the Junior Etude contests are something to drink. band. a larger town, so Nve do hear some good music ety. I enjoy playing for people and hope to be omitted in August. Get your pencils and Drop K from a pealing of a bell have very tine and Drop Y from the last My brother and I are going to send you a teacher of in a public school. there. In our churches we name of the a music to enter the picture of us with our drums if it is good. organists, choirs and choir leaders. I am in a papers ready September con- leave a girl’s name. composer From your friend, of Horne Sweet From your friend. church choir and enjoy it very much ; every Mori.ok test. Drop L from a symbol in notation Dwight Rexkker (Age 10). Dorothy (Age 12), year our choir gives an operetta or play with Home and leave a part of a Answers to April contest will appear in and Pennsylvania New York music, which is always very good. Sometimes leave obese. window. Attention Please we go to the Community and Celebrity Con- September. Drop M from an opera by Bellini and Drop Z certs, which are very tine, given by four differ- from the last name of a ent musicians. I like the singers and orchestras leave a girl’s name. Hungarian composer Have you sent in your knitted the best. Then of course at our church meet- and ings. women’s gatherings Drop N from a famous squares clubs, and of any composer of leave a catalog. yet for the Junior Etude kind there is always some music, singing, Junior Club Outline violin or some other form of musical enter- ( Answers on Next Page) Red Cross blanket? If Answers lo Drop the Alphabet not, hurry up tainment. So, even living in a small place, we and do so, as blankets are needed. Assignment for August can hear lots of good music. Hung(A)ry: (B)and: s(C)ale: pe(D)al; I would love to hear about the music in re(E)d; fl(F)e: dlr(G)e; c(H)ord: Mun(I)ch; The squares must be four some tONvns in S. and one- the U. A. (J)an; (K)nell; f(L)at: Nor(M)a: Wag(N)er; half From your friend, inches, any color. Send to Junior car(0)l; pl(P)e; (QU)aver; ba(R)d: p(S)alm; A Sing-Song Game History i. What is meant by “enharmonic”? Mary E. Grafton. Etude Office, 1712 19 Melville Street. flu(T)e; Fa(U)st; ln(V)ert; s(W)ell: a(X)le, Chestnut Street, a. j. What is a gavotte? When did Mozart live? Dundas, Ontario, Canada Pa(Y)ne; Lis(Z)t. B) -AUka Philadelphia, Pennsylvania, as soon m Bonn., b. In what four fields of composition as you have them ready, and they did he excel? The leader starts the will game by sing- there’s no place like home. be put together and given Keyboard Harmony to c. Name two of his operas. ing a few words from k. I, IV, V, I triads four a well known Second singer—“Home, the American Red Cross. Play the An home on Names of d. What is a suite? song; the next player must be on the knitters major keys. the range, where the will be included in list alert There’s singing in e. How many “choirs” of instru- to carry on by taking — the grasses and l. Play the tonic triad, three posi- the last Third singer “The birds printed in Junior Etude. Send warble The weeds along one or ments are there in word sung and using it for the first the ditch; more a symphony tions in three minor keys. sweetly in springtime; there’s where squares, and look in your May word A cricket chorus shrills orchestra? of the new song, and so on; this old— aloft, Junior m. Play the I, V, I in three minor With Etude for the first announce- each player must pounce on ever rising pitch. a word Fourth singer—“Old MacDonald ment of this. By knitting keys. cue. these Failing to think of one, the squares n. Play the tonic had a farm, E-I-E-f the Junior Etude readers and dominant player drops The locust in the tree-top f- out or pays a forfeit. Fifth singer— drums may What is a double sharp? triads, right hand, root in left I came from Ala- His contribute to the comfort of rhythmic tune with g- Give Example: bama with, and glee some soldiers a term meaning to play as hand, in rhythm as they fall in — so on, until all the And bullfrogs who will be kept warm First singer “Be it furnish bass, in softly as ever so humble, players have been eliminated. this under a Junior Etude possible, London Bridge. Sing or hum the Midsummer harmony! Red Cross h. blanket. What is a score? melody at the same time.

572 amamm THE ETUDE . — ———— ; —

cassed, among them such points as the concerto themes, al- all parts are easily read and played at vance offer on this book are urged to . containing and about trying something different, +Vl one fundamentals of tone production timid received. sight, the numbers are effective for both examine it at their local music dealer enthusiastically of mu- THE COVER FOR THIS MONTH—“The Last yet experience has proven that a novelty ready Approval” voice placement, development forthcoming Favorite Movements large and small bands. An added feature or send to us for a copy “On Rose of Summer" inspired the artist to such as an organ and piano duet is al- Tire sicianship, personality, dress, posture, Great Symphonies reflects the is the cued in words for singing by mem- with full return privileges. create the drawing used on the front ways welcome. The compositions in this from the public speaking, the importance of a well- astute judgment, not only in bers of the band or as a guide in accom- cover of this issue. Music and flowers al- collection will include classic numbers compiler’s rounded education, physical fitness, etc. contents but also in mat- panying community or assembly “sings.” SYMPHONIC SKELETON SCORES—/! Lis- to together and some have as Schubert, Brahms, choice of single ways seem go from such masters the and Concert, by In advance of publication, a editorship. The pedalling, finger- Parts are to be published for: D-flat tener’s Guide for Radio not hesitated to state that music and Beethoven, and Tschaikowsky, as well as ters of of The Singer’s Handbook may be etc., all point Piccolo; Flute Piccolo; E-flat Clar- Violet Katzner—No. 8, Symphony No. 3 in copy anything to phrasing, dynamics, C and flowers come the nearest of seasonal fantasies by Mr. Kohlmann. ing ordered for $1.25 cash, postpaid. musicianship which has given inet; Solo, and 1st B-flat Clarinets; 2nd F Major by Brahms—The publication in giving man something of a foretaste of These well-arranged, moderately difficult to the fine enviable reputation and a place B-flat Clarinet; 3rd B-flat Clarinet; E- skeleton form the beauties of heaven. compositions are suitable for prelude, him an flat Alto Clarinet; B-flat Clarinet; of this richly LAST CHANCE ON INTRODUCTORY OF- music, flowers have been the in- in artistic circles. Bass In postlude, and offertory, as well as special unique to piano solo versions will in- Oboe; Bassoon; B-flat Soprano Saxo- endowed sym- FER-Do you have a musical friend spiration of many vocal and instrumental services for both morning and evening. These new movements from the sym- phone; 1st E-flat Alto Saxophone; 2nd phonic work whom you would like to introduce the de- compositions. Spring and summertime So that both players may follow the clude favorite sumphonicLome Etude . . . to com- Beethoven, Brahms, Dvorak, E-flat Alto Saxophone; B-flat Tenor will prove espe- lights and inspiration of The pupil recitals often are devoted a the other, the music is published phonies of part of skeletonLelelo in your class plete program of pieces in which titles Haydn, Mozart, Schubert, and Saxophone; E-flat Baritone Saxophone; cially conveni- or perhaps there are pupils in convenient score form, requiring two Franck, Etude of flowers are featured. The many re- Every pianist who wishes B-flat Bass Saxophone (B-flat Bass or ent for the who have never subscribed to The copies for performance. Two copies may Tschaikowsky. — scores 3rd of like to do so, on a limited quests for pieces of tills kind were copy of this album at the Trombone, Treble Clef) ; Solo B-flat thousands and would now be ordered at the special advance to secure a tout **tran Cornet responsible for the publication of the of publication cash price of 35 or Trumpet (Conductor) ; 1st B- American mu- budget. of publication cash price of 80 cents (40c advance interesting album for piano students en- postpaid, should send in his order flat Cornet or Trumpet; 2nd B-flat Cor- sic lovers who Well, here is your opportunity to do for each copy) postpaid. The sale is con- cents titled Music of the Flowers (Grades 2 Vs one copy will be reserved for a net; 3rd B-flat Cornet; 1st E-flat Horn enjoy the fine recordings and broadcasts these musical friends a good turn, to fined to the United States and Its Pos- now. But to 4—Price 75 cents) this special price, and the or Alto; 2nd E-flat Horn or Alto; 3rd of famous symphony orchestras—folks support your favorite magazine and to sessions. customer at artist responsible for the cover on fully music by means of The sale, due to copyright restrictions, is and 4th E-flat Horns or Altos; 1st Trom- who want to understand and more advance the cause of this issue of The Etude Music Magazine CATHEDRAL ECHOES-.4n Organ Collection m Ess TTnit-e»H St.aLps nnri bone; 2nd Trombone; 1st and 2nd Trom- enjoy the beautiful music that is within The Etude’s annual introductory offer of is Mr. Wilmer S. Richter, a resident of tilth Hammond Registration, compiled is a and bones or Tenors (Treble Clef) ; 3rd such easy reach today. In this “melody three summer issues for 35c. Here one of Philadelphia's suburbs and an William Felton— arranged by M. The tre- Trombone; Baritone; Baritone (Treble guide,” as in the seven already issued. super musical bargain . . . 35c for three artist well-known among publishers and success of the collection FAMOUS mendous of or- CHILDHOOD DAYS OF COM- Clef) ; Basses; Drums; Piano-Conductor. Miss Katzner has arranged the melodic issues which would normally cost 75c and engravers in Philadelphia. gan numbers, “At the Console” has POSERS—The Child Mozart, by Lottie Ells- Wise directors can add this new band line, which she extracted from the in- which give many times this in actual occasioned the publication of another vol- worth Coit and Ruth Bampton—A really in- collection to their libraries at a con- tricacies of the complete orchestral score, value in musical compositions, inspiring PRE-SEASON PREPARATION SUGGESTIONS ume of similar design and content by the teresting book about the life of a great siderable saving by ordering now the in graphic form. Notations above and articles and informative news. -The moral of the familiar “early bird” same arranger, William M. Felton. The composer as a small boy parts they will need at the special ad- below the single staff clarify the formal Just remember that for this small legend is especially pointed this year. In urf 1942 teristic of everything he does, he here A“9 late Mr. Felton was associated for many this is not a biography of a vance of publication cash price of 20 structure and indicate the various in- amount, you are securing in music alone, view of the congested traffic everywhere, presents a group of highly beneficial years with the music publishing staff of famous musician, but rather cents for each part, postpaid. The piano- struments as they pick up and carry the a supply of music from the pens of classi- concurrent with intensified war produc- works in rich colors and tones. the Theodore Presser Company, and was the story of a lad, like one conductor score, for support during re- melody throughout the entire composi- cal and contemporary composers (around tion, it seems particularly wise at this Among the pictures Dr. Maier has pro- the composer of many fine works for or- meets in school today, who hearsals and for the director on the tion. Introductory notes facilitate an 50 selections) which if purchased over time to plan activities well in advance duced from his harmonic color box, one gan. His fine arrangements are well had an avid desire for mu- podium, may be ordered now at the spe- understanding of the symphony's com- the counter separately would cost be- and to allow ample time for the delivery finds: The Sounding Sea; Santa Bar- ADVANCE OF PUBLICATION known, and his reputation as a musician sic along with the usual cial advance cash price of 30 cents, post- poser, its origin, its objective, and its tween four and five dollars. Just mall to of equipment. The man who depends bara Mission at Sundown; Chinese Tem- j of great merit is again exemplified in boyish liking for fun and paid. construction. upon supplies in order to carry out his ple; Oriental Blues; Drear December; us to-day the name and address of the OFFERS this latest book of organ gems. Not only to youngsters of to- season’s plans will do well to emulate the November Rain; Melancholy and The play. His similarity This ingenious presentation which individual to whom you wish these three are the selections of fine caliber from the presented makes him seem THREE LITrLE PIGS, A Story with Music, it above mentioned ornithological specimen Wayward Brook. The classics include: day as here makes easily possible for those unac- issues to go, with your remittance of 35c very best of the classic composers, but students will in- for Piano, by Ada Richter— and order his material in time to have All of the books in this list are in The Stars, Let Me Dream, and Under the more real to young and A delightful ad- customed to reading full scores, or with in stamps. The offer will expire August the arrangements are excellent, reflect- about his life dition to the “Stories it reach him, despite transit delays, be- preparation for publication. The Linden Tree, all by Schubert: Roses at still a desire to learn more with Music” series little musical training, to follow the 31st. lou> Advance Offer Cash Prices ap- ing Mr. Felton’s thorough understanding by Mrs. Richter is fore he actually needs it. Not only will Evening by Brahms; a Minuet and an and his music. the enchanting Three melody and appreciate the full beauty of ply only to orders placed . of the organ. Besides these fine arrange- it do its bit in forestalling extra trans- NOW Adagio by Mozart; The Madonna’s Lul- Such an opportunity is here offered. Little Pigs, known and the work—has won the approval of lead- PROMPT SERVICE ON ADDRESS CHANGES Delivery (postpaid ) -will be made ments and transcriptions, there are sev- portation problems in the fall, when rail- laby, a folk tune; and the unfamiliar Along with the story of the early life of loved by children every- ing music clubs, symphony study groups, —Many subscribers who have gone when the books are published. eral original road, express, and postal facilities numbers which are inter- where. material has and music educators in public are Paragraphs describing each Ave Maria by Franz. Mozart there will be five solos and one The both and away for the summer will be returning pub- esting and particularly taxed to their utmost, but it will afford Advance of well adapted for duet (two of were written before been handled in much the private schools. lication appear on these pages . publication orders for a which to their homes late this month or early satisfaction organ performance (some of these num- no end in the thought that single copy of this book are now being he was eight years of age) arranged for same manner as In the While this soon-to-be-lssued sym- next month. It Is the desire of The Etude supplies are bers are being published for the organ on hand and ready. taken at the cash price of 35 cents, post- the student to learn to play himself. Also, preceding books of Cin- phonic melody guide is being readied Staff to render as prompt and efficient Album of Duets For Organ and Piano for For the the first time) . This collection is teacher who looks to the more Kohlmann .40 paid. there will be a supplemental list of pieces derella, Jack and the for the press, a single copy may be or- service as possible to these or any other Cathedral Echoes For Organ Felton .60 adaptable for home active days of autumn, the convenient and church playing. and recordings to enlarge the student’s Beanstalk, and The Nut- dered at the special advance cash price Chapel Musings For Piano Peery .40 subscribers who are changing their ad- The registration is for two-manual “On Sale” system of the Theodore Pres- Childhood Days of Famous Composers— GHAPEI. organ knowledge of the works of this great com- cracker Suite (Tschaikow- of 25 cents, postpaid. MUSINGS—An . Album of Sacred dresses. Please let us have the new ad- Coit-Bampton .20 with pleasing ser Co. is a boon of immeasurable value. Mozart and suitable harmonic poser and to give further opportunities story being Favorite Movements from the Great Composition, for the Piano, Compiled by sky), the cun- dress at least four weeks in advance of This plan, drawbar, and with pre-set the advantages of which are Symphonies Levine .35 directions for for appreciation. Rob Roy Peery—This excellent collection is ningly interwoven among the many pages THE SINGER’S HANDBOOK—by Lazar S. the delivery of the issue you desire to go familiar to musicians the Let's Cheer Band Book. . Fulton-Chenette the Hammond organ. The pedal parts world over, unique in that its Mrs. Coit and Miss Bampton are both of intriguing descriptive music. Samoiloff— Band Books, Each .20 contents do not dupli- The name of Lazar S. Sam- to the new address and at the same time merits the wonderful popularity it has are of only moderate difficulty and the Piano Conductor .30 cate numbers already in other collec- well qualified to write for children be- One fact worthy of note is that the oiloff has long been associated with the give us the old address so that we may won for the simple reason that it Pastels for Piano Tone and Relaxation player of average ability will empha- tions, and it includes find he will cause of their extensive Studies Maier .35 compositions and knowledge of Three Little Pigs is readily adaptable best in vocal technique and musicianship, check accurately. sizes "Service” to the have no difficulty fullest meaning of Three Little Pigs— For Piano Richter with these numbers. music .25 arrangements written expressly for it. and their familiarity with that for recital use, since the story can be and his outstanding success first as a the word. It not only The Singer's Handbook Samoiloff 1.25 During the period provides an ample Such fine composers of publication, a single which appeals Symphonic Skeleton Scores—Katzner as G. O. Hornberger, to the young music be- read aloud by the teacher or an older singer and later as a teacher of voice has MORE MERCHANDISE stock from which the teacher can choose copy may be ordered at FOR PREMIUM No. 8, Symphony No. 3 in F Major Carl Wilhelm Kern, the special cash ginner. Special and Ralph Federer features of this book are student while the musical episodes can earned him a reputation which is inter- WORKERS—Although the “right piece” for this or that pupil, Brahms .25 price of 60 cents postpaid. we have been forced are represented; and the Sale is limited interesting illustrations titles, On Mount and suggestions be played and sung by younger pupils. national in scope. The success of many to eliminate, by governmental restriction, but it offers constantly helpful recital to the United States and Its Possessions. Olive, Prayer, Moonlight Over Nazareth, for dramatizing the story for recital use, Young folks also will enjoy coloring the of his students in suggestions in studios where programs opera, concert, movie, some of our most attractive premiums, we Faith, and Vesper Prayer typify including directions are given the peace FAVORITE MOVEMENTS FROM THE for constructing excellent illustrations contained in the and radio work bears potent testimony to are glad to announce by the pupils at frequent in- Entertaining and that we have been 2) ; Piano Pieces (Grades 3 tranquillity of the Sabbath miniature scenes tervals. manifest GREAT SYMPHONIES—Compiled by Henry to illustrate the com- book. his ability and sincerity as a vocal able to , secure a number of useful and to 6) ; Melo-Themes (Grades 3 to and throughout the 5) ; compositions in this book. Levine-The positions played or a portion A letter or post card mailed instantaneous success of the of the com- The story is unique in that it provides pedagogue. Up to the present time his serviceable articles to take to us to- Songs of Exquisite Charm. Other useful Selections suitable their place. It for prelude, offertory, lately published poser’s life. This first book in a new opportunities for descriptive knowledge day will bring your studio stock to “Themes from the Great many mu- and guidance were available requires but a few moments you lists are: Choirmaster’s Handbook; Cho- postlude, and quiet series of your valu- music are included as Piano already has attracted considerable sical episodes, and the composer has thor- only to the in ample time to be ready for the first Concertos”, also com- few privileged ones who were able time to secure Etude subscriptions rus Director’s Handbook; A Guide to New well as music for such special interest new or returning occasions piled by Mr. —in advance of publication a oughly exploited these possibilities in fortunate enough to study pupil to ring your bell. Teachers on Teaching the as Levine, augurs under his di- among your musical friends and by so Violin; and Christmas and Easter. Dr. Peery, who single copy may be Specify that your order is well for the reception await- ordered now at the such pieces as We’re Off to Build Our rection either privately or in to be charged the Guide to New Teachers on Teaching as an experienced his Master doing, you can earn some of these in- church organist, is special cash price of 20 cents, postpaid. Houses, “On Sale,” which means that you may the Piano. ing this new' book. And Invitation to the Fair, The Wolf’s Classes which were held in many of the teresting premiums: familiar with the needs of keep the music until the church certainly Song, Little Pig Sleeps, and Rolling large next June, when musician, with good reason, Home music centers throughout the The New American Cook is admirably qualified to com- Book—Here you may return that which is unused for for both of these collections in the Butter Churn. United States. Now, however, his I*ASTELS FOR PIANO— Tone and Relaxation pile this volume of excellent uhon methods is something entirely new in premiums sacred piano and Major Ed. 1 full credit before making final settle- represent “the cream of the Chcnclte-Designec Orders for a single copy of Three Lit- and suggestions are lucidly Studies, by Guy Maier- It is with special music for Sunday services. 0 outlined in a volume which is a veritable encyclopedia ment for meet the need of the the season. pleasure crop” in their respective average banc tle Pigs may be placed now at our ad- The Singer’s Handbook, and will be that we announce the forth- Order your copy of Chapel 01 pleasing, made of cookery, household arts and When ordering Musings fields. melodic selections to plaj home “On Sale” materials, coming publication of this new now at our vance of publication cash price of 25 available to all those interested in the economics. work by special advance of publica- lor rallies, There are 1024 pages of new we suggest that you clarify the matter The wave of fresh assemblies, parades, footbal cents, postpaid. Deliveries will be development a famous artist, distinguished pedagog, tion cash price of popularity, on which made of the voice. recipes, each tested of grades 40 cents, postpaid. the games, and other one and approved, and the kinds of pieces, studies, editor, great symphonic works special school anc immediately after prihting. Amateur and and journalist, whose scholarly have swept community professional singers who with additional information on etc., you prefer. Also an idea of the country, events, the publication of thii house- the size article, “The Teacher’s Round Table,” indicates a new and far will follow for the prescribed period ALBUM OF DI ETS- f or new collection of keeping and all kinds of suggestions of your class will help. The expert clerks Organ and Piano, greater general should prove welcome new: for and whose wisely chosen "Technic of the Arranged public appreciation. No ERRATTA—In announcing the publication time the basic principles outlined in this cooking. in our Selection by Clarence Kohlmann- o many a high The volume is bound in wash- Department will do the Month” are The well- longer, thanks to the school, college, or com- last month, important regular features known organist radio, the talking in Publisher’s Notes, of book will benefit materially. For the able, imitation rest. and composer, Clarence munity band director. leather and may be had of The Etude. In more direct machine, the sound films, Stunts for Piano by Ada Richter the benefit parlance, Kohlmann, has compiled and the great of vocal teachers many problems for TWO NEW Our many catalogs and folders have Dr. a group of com- al fresco in march form, ETUDE SUBSCRIP- Maier needs no introduction. positions summer festivals, is the enjoy- but readilj listed price was incorrectly given as 50 are discussed exhaustively, and been prepared for your for this collection which daptabie to pertinent TIONS. use, and a request In this book of lovely should ment of the finest orchestral concert styling, the con- cents. correct Pastels, Dr. be a delight to those music lim- The price is 60 cents, which suggestions are given for solving them Composer will promptly bring you a set. Especially who are searching ited to nc des such Plates—Last month we an- Maier has combined a series of charming, a favored few. Today, almost . „. well-known favorite: the many hundreds of teachers or- as they helpful for new material for church at a ^ who appear. Included also is an ex- nounced, in are the thematic pamphlets: impressionistic, or program moment’s arine a special advertisement, an- and original notice, one can, Hymn - Yankee Doodle dered Pleasure tone pic- use. As a special treat by one means Home m and have now received this very tensive list of songs for various types of Giving New Piano Pieces for for the congrega- or other new premium which we believe tures with a number of his excellent another, treat himself Range, In the Gloaming first exercise book will will tion there is to a masterly and r T . agree is a fair and voices which will suggest Beginners (Grades 1 to 2%) Piano nothing more acceptable invaluable ma- be in great demand ; En- adaptations from rendition of Jmks - lus among our musical the classics. With the than a well a master work. In keeping P several excellenl reasonable amount for such a clever and terial for joyment for Young Folk rendered piano new CT use in the studio, in auditions, friends. It is (Grades 1 and certainty and organ with es six a set of and musicianship so charac- this heartening trend, teen in all. The scoring attractive porcelain plates, duet. Too many church Mr. Levine is rich a j f 77 book. Any of our readers who or on the concert stage. organists are has prepared n full eight in number, each with the Advertisement this companion volume throughout, and although may not have accepted head or 574 to the special ad- Many important details are also dis- bust of a famous composer, imprinted in AUGUST. Advertisement THE ETUDE 1942 575 * — • w

SONGS the parents and teachers the oppor- Sacred sepia on the front and a brief biography Past tunity to discuss the children and back. They can be used for decora- Musicians in the on the their problems. Questions are asked, HOI EVERY ONE THAT THIRSTETH (bto D range) tive purposes in the studio or for the and the mothers are encouraged to By Graham Godfrey serving of food. Complete set can be had Simpson W. fitter Bf offer suggestions for solving home IF WITH US (d-flaf to F range) for SEVEN SUBSCRIPTIONS to The THOU GO By Robert Coverley 50 Etude, or individual plates can be selected tu During most of the seventeenth difficulties. SUBSCRIPTION. The For all of the studio events each (b to E range) for ONE NEW century, what is to-day Bulgaria NONE OTHER NAME composers are represented: called on the telephone, By Graham Godfrey -50 following maintained a special book of laws mother is Beethoven, Chopin, Grieg, Liszt, Men- to bring a friend affecting musicians and singers. and asked (more ONLY A STEP (E-flat to F range) delssohn, Paderewski, Schubert and 40 laws were in their than one if space permits) who By David Marshall Tschaikowsky. Many of these WUL to would be interested. Usually, these reduced them PRAYER, A (Ave Maria) (c to a-flat range) Candy Dish—Here is one of the few favor, but others friends are mothers, too, and By Garth Edmundson 50 premiums of this kind of material we the level of serfs. For example: a of course prospective patrons. However, have left—a wrought aluminum dish, player specifically engaged to per- Secular that suitable for candy, shelled nuts, etc. THE SEPTEMBER ETUDE OPENS form on a given occasion had to be we never suggest the friend be useful orna- COME ON, AMERICA! (E-flat to E-flat range) which will prove both and paid a certain rate, which inciden- asked because she has children. All A NEW YEAR OF OPPORTUNITY RECENT TO THE -50 mental. It is 8*4 " long, 4’i" wide and frequent the CATALOG By Kenneth M. Murchison FOR MUSIC AND MUSIC WORKERS tally was quite high for those days; people who studio, 3" high. Awarded for securing TWO to F range) orchestras that played in taverns whether active or not, will be boost- I CANNOT WEEP (c (g) ETUDE SUBSCRIPTIONS. OF TSON CO. By Madalyn Phillips 50 could not halt their ers, and one can never judge the Cigarette Case—An admirable going- and wineshops far reaching results of these personal away gift for some friend in the Service. concert, except momentarily, while contacts. LOSS AND GAIN It is a leather case, holds a full pack a single patron dined, drank or re- PIANO SOLOS of cigarettes and has a zipper opening mained in the dining-room unless Perhaps one of the best means of By Gustav Klemm 50 (Gr. 2-3) «„ ARABS ON HORSEBACK HIGHWAYS IN ETUDE LAND ( ... In..,. .. v.rf. to insert the entire pack, with a flap to they had been playing for twenty advertising is the demonstration- By Edna B. Griebel - 35 (The Child's Hanon) obtain individual cigarettes. of Made continuous hours; if they failed to lecture we give at P.T.A. meetings. By Louise Robyn sturdy leather, this handy case comes in MARIGOLDS (Gr. 3-4) obey this ruling they not only for- Usually one or more of our mothers ARDENT . 35 assorted colors. May be had for ONE By Edna B. Griebel Presents 12 exercises with applied etudes necessary ?n the funda- feited their entire pay but also suf- is active in P.T.A. work and, after NEW SUBSCRIPTION. mental technical training of the child begun In Technic Tales, fered a short term of imprisonment a recital during which I explain my AUTUMN REVERIE (Gr. 5) Leather Pocket Picture Frame An- Books One and Two. Each exercise has been "brought to life" — John Kirtland 40 studio work, I asked By with other new premium suitable for a gift or several strokes of the lash. A Bul- am to give a a descriptive story element. Helpful explanatory notes and (Gr. photographic illustrations. to the man in the Service. This is a garian musician who could not play half-hour lecture with children dem- BENEATH AN ARABIAN MOON 4) Robert Stolz 40 leather case with space for two pictures a tune requested by a nobleman onstrating. These I spend much By Price, 75 cents and folds in the center so that the case might be imprisoned for a year or, time on, trying to condense the vital CARNIVAL IN VIENNA (Gr. 4) can be carried in ordinary an pocket. if his playing failed to please, the points of our methods into logical By Robert Stolz .50 It is 3" x 4" in size and is just the thing nobleman might confiscate the play- sequences and to buoy them up with CAPERS (Gr. ORGAN SOLOS for the departing soldier or sailor who CLOWN 2) er’s instrument. On the other hand, excerpts from well-known psycholo- By Milo Stevens 30 BELLS AT TWILIGHT wants to take with him photos of the no musician need want for or gists. By Frederic Groton folks back home. It may be had for ONE food 40 shelter, for the law stated that These are only NEW ETUDE SUBSCRIPTION. he a few ways of mak- OVERTURE From Cantata "For Us a Child Is Born" VIVIAN DELLA CHIESA Burns' Slicing Knife—Here’s a premium might have either for a single song at ing contacts, but are most effective By J. S. Bach—Arr. By Harvey Gaul 40 C«rrn*M New I MI Oim which may be very hard to get in the any tavern, or both for two songs if diligently carried ECHOES OF A JOURNEY NOSTALGIA (c to E range) out. VIOLIN (or Cello) near future. It is a stainless steel knife SUCCESSFUL SINCINC whether or not there was an audience Suit* for Piano WITH PIANO By Robert Stolz 60 with serrated edge and Robert Stoll NOSTALGIA (Gr. wooden handle Vivian della Chiesa. acclaimed nation- present. By 5) TAKE, O TAKE THOSE LIPS AWAY (d-sharp to F range) wide as one of the most brilliant of the ... a very desirable addition to any This delightful new suite by a distinguished Viennese composer By Robert Stolz 75 present day radio singers, tells how she By Garth Edmundson 35 kitchen. TWO NEW SUBSCRIPTIONS has attained her great success. includes four ingratiating pieces—Beneath An Arabian Moon, to The Etude will win this Norwegian Peasant Wedding, Fountains of Versailles, and Carnival TROMBOWE SOLO premium. HOW CHOPIN REALLY LOOKED in Vienna. Each number is prefaced by suitable lines. Illustrated DEEP RIVER (William Arms Fisher Arr.) WHITE NOCTURNE We had never seen a photograph of and attractively bound. About grade 4. Arr. for Chopin, as he died only a few years after Trombone by N. Clifford Page 50 By Paul Nordoff .50 I the process of photography was invented. A en Year Old Expresses Price, $1.50 Songs and Finger Games on Black There were drawings, etchings and oil Keys Four Advertising The numbers in this suite also are published separately. - — - -- paintings, but no actual photographs. Ap- See listing. RA1MD The will Herself In the Form of Duets for First Recital Etude present in September an Pieces authenticated photograph never hitherto To The Etude : VALSE BALLET By MABEL MADISON WATSON published in America, showing how Chopin proaches for the Teacher Enclosed you will find a sincere reaciion on really looked. the part of a ten year old child who was re- By Here is a distinct James M. Fulton novelty in the field of early quested to read the article, grade piano material. The “How Do We He- ENCHANTED work of a noted edu- SELLING YOUR have at the Piano?” EVENING (Gr. 3) cational authority, It affords invaluable Ay fcutli price Scirrar by Margaret Ann Aiders. A melodic new work by one of the foremost composers and mentary supple- (June By Elmer C. training, especially In utilizing the up- MUSICAL ABILITY 1937 issue of The Etude.) 1 am sending Gattermeyer .35 to-the-minute arrangers for band. Effective, yet presents no difficulties for the "black key approach." These duets you this for use as you see lit. Perhaps there all have words The Etude has received thousands of and are to be taught byy rote Personal contact is generally are other teachers who find certain students FOUNTAINS OF VERSAILLES (Gr. overage band. Too, grateful letters in the past from those rec- 4 ) there are special explanations of the finger eames who have appreciated its practical, whose reactions to the printed word are more By (D.C.E. No. 313) Price, 75 cents com- ognized as the best Robert Stolz 40 mon sense advice upon personal, financial means of adver- positive than the spoken word. and business problems of the musician tising, yet the average I am sure that the author would care to see Complete $2.00 Extra Parts, 15c THEODORE PRESSER CO. and teacher cannot HAWAIIAN TWILIGHT (Gr. 3) the teacher. In September we take this child’s response. The student is Frances up editorially the most productive find time to visit Lepselter, By John Tieman. 1712 Chestnut St., Philo., Pa. means prospective patrons 1964 Sixty -sixth Street, Brooklyn, . 30 of selling your musical ability. New \ork. and, at the same time, keep in con- LITTLE COUNTRY —Ben Tabatchuek, DANCE (Gr. I) WOODWIND A PROFITABLE MUSICAL tact with By QUINTET the active patrons. We New York City. Lewis Brown 30 CALLING FOR WOMEN have learned BADINERIE that “mass” contact is When my teacher makes a reeitle I always LITTLE William Braid White, one of America’s REAPER'S SONG (Gr. 2 (from Second Suit* in B Minor) get nervous. When ) A Practical Voice Class Method best known research experts upon just as effective my teacher says my name By the as house calls, if to play in front Richard L. Bruce.. has made a study of the possi- of the people my hands get ,30 By Johann Sebastian Bach ice cold. bilities of the profession of piano tuning done in a “personal interest” Finealy when I am seated I begin to man- LITTLE SKIPPER Here is o fine example of the gracious, animated style so individual with for women. He feels that in order to meet jnav. w hile I am playing I say to my self, (Gr. 2) the ner. hy Bach in his lighter works. In that infectious combination of minor EDUCATIONAL demand of the future, thousands of W am I shivering? The people in here won’t By Alexander Bennett key and women should be trained. do anything 30 gay, spirited motion. It comes forth in this adaptation a notable contribu- First, we send a to me.” And while saying that to monthly letter to myself oyer tion to the easier literature for wind instruments. The crisp, staccato man- and over I make a couple of mis- LOTUS BUD (Gr. each family, takes. After 2-3) ner lends a piquant charm. VOCAL TECHNIQUE RAPID SIGHT READINC telling of special studio Fve corrected those mistakes i THE SONG OF By Edna B. Griebel AMERICA Do you play readily after 1 am finished playing 35 Price, 75c at sight? Some do activities, recitals, coming you should IN SONG AND SPEECH and some don't. Just musical feel my hand. This article that mv Historical Pageant for Narrator and Chorus of why has been a h MEMORY problem to many music lovers and teach- events, musical r gav< me t0 road for this week was OF SPRINGTIME Mixed Voices movies and the ad- ™™ ? * N , (Gr 3) FLUTE ENSEItIBLE By W. WARREN in ers. You are sure to find in <*r«*ting and By SHAW workable Ideas , from now on when my Morgan West vancement ac ei Text by Walter Raiguel Music by i" freneh’s practical article on of each child. These let- ma ^ es a reeitle I will never get shivery H. Alexander Matthews Collaboration with George L. Lindsay Rapid Sight Playing.” ^ K *i AFFETUOSO h r e° ' ters are W This article tau h t me a NODDING A timely and impressive work mimeographed except for good fesson. S POPPIES (Gr. 21 new which con be produced in any Vol. I $1.00 By Dr. Thomas Arne Arr. degree of simplicity — Vol. II—$1.00 NEW JOYS the By Milo Stevens A. — by Laurence Taylor or elaboration. In six episodes, the develop- FROM ANCIENT child’s individual report. —Fiuxces ment and expansion of 35 our nation from its Tills earliest doys down to unique song method presents a practical From a composition by the distinguished composer of "Rule Brittannia" INSTRUMENTS the present time is here presented in pogeantry oed means for cultivating the voice for singing Second, and very important, and "Dido Aeneas", Laurence Taylor has music. No and Many of is the made this graceful arrangement solo parts. Performance time .‘.peaking, states the the present day wedd,ns |Gr - V/4 hours. underlying theory', and musical In- "i for three flutes. It also terpretations monthly recital. is well adapted to the instrument yet offers no technical introduces ihe pupil to the of Bach and Handel Every ’ * literature of would pupil is in- "srr" .50 difficulties. As song sound very "Music a concert specialty number or for ensemble experience Simple but excellent exercises set to in- different to them if heard and religion are alike in pur- Vocal Score, $1.00 terestlng vited and urged poses, "Affetuoso” will verses, introduce the common vocal upon the instruments of to-day. To get to attend, but only ORGAN prove d worthwhile addition to the flute players’ U h toe® ther the ieal their MAN, THE (Gr. Stage Manager’s Guide and Orchestra with the suggestion as to how effect they must be heard upon fundamental law. Ruskin has 2) repertoire. Paris on Rental fn roasteri, o , them. the several of them perform. By jP, Each lesson also includes some instruments which existed at the time The usual given Josephine Hovey Perry bit of a vocal gem from the master of those great a simple but satisfying 40 Score and Parts, 50c composers masters.. Ben Stad of Phila- announcements are defini- operatlc or from the tolk songs and la organized the made in the PRANKS lightfnti. opera “American Society tion of an artist, (Gr. 2) sources. A few of the study phases of fche Ancient Instruments,” as one who has sub- covered . . which has papers and, if the are ! The Fundamental size of By Tone. Changing met with distinguished patronage. the city mitted Lewis Brown C s, Artlcula 0n to a law which it j. Leading Music Dealers Everywhere Carry rn and Enunciation. warrants it, was painful A Stock of These Publications Th?1 wifv.Kii U we publish T* ? Flexible Tongue. Resonance, and Vocal pictures be- end nce to obey, in order PUPPETS (Gr. vol. °ne: Daily Torso Calis- MUSIC AND ATHLETICS fore that he may bestow 2) »h2«P £ i £ or after the recital. (0 Relat,on ol Speech and Dozens a By William tLcBato Slneln80f of letters come to us asking delight which it is Scher - “nd The Trill, In Vol. Third, gracious to Two*' a th tiCS arC harmfUl to many of these J(J SnJSJS-Q A iu V music recitals are bestow. £ju$®n ts. A. Wesson of California has But that is also a definition RIDING THE terviewed in- class demonstrations, WAVES (Gr. Published by, many musical stars upon the sub- giving the par- 3) THEODORE PRESSER CO. Ject and gives of religion. There is y Sidney OLIVER the very significant nothing in the Lawrence DITSON C O results ents of a glimpse into 1712 Chestnut St., Philo., his survey in the September studio life. jg Pa. Etude. world so much like prayer as SEA THEODORE PRESSER CO., DISTRIBUTORS Fourth, frequent music MOOD, A (Gr. teas. There 4 ) are no is.” By children Orville A. Lindquist 17 12 present at these teas giving CHESTNUT STREET, PHILADELPHIA, P A 376 —William P. Merrill, D.D. THE ETUDE

PRINTEO IN IHE U. S.A. BY THE CUNEO PRESS, INC. : , MUSIC 3 -volume ^TZ’.rJ/Qj your enjoyment with this famous LISTENER'SICTEM I LIBRARY

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r TH£ >2S§ / For A// 3 Volumes, / BlOCKAFH^^ Complete. Boxed / aqY 0* a DICTIONS :|gg ^ . - .E DEEMS TAYLOR’S i-te O accomplishments of every major and minor 8 500 entries — lives, dates, MUSICW^ pronunciation in 16 languages. 3 composer, musician, performer; with key to oper^ ©151 GREAT OPERAS operatic composers — plots, casts, musical themes, history. ctjlDE by 60 greatest . ^ 0438 CONCERT WORKS and passages to by 112 immortal composers — meanings, what themes Everything You Want to Know About Music! listen for, how they came to be written, etc. The Lives and Accomplishments of 8,500 Composers, Musicians; The VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV' Operas, 438 Symphonic Compositions, and their Composers tune Stories of 151 o VOD LOVE GOOD MUSIC, You will refer to these volumes modern figures as Sibelius, SCHUBERT—Symphonies No. 8 (the They bring the whole rich 151 OPERAS ••Unfinished”). No. 9; Serenade; want to enjoy it even more and again. Stravinsky, Paul Whiteman, Overture to “Rosamunde" ^nd within you g P- of char- 9 the “Men of world of music The stories ; casts Symphonies No. 1, know Gershwin, Jerome Kern. etc. SCHUMANN— fully First, of Contents first performance; No. 2. No. 3 (the “Rhenish”), D of carefully the Table acters stories Read ; “Man- " Second, know the and No. 4; Overture to Music it can ^e only a singers in principal roles; fred” the sublime blending here-even though Symphony No. 1: Fin- great operas— of musical great arias and themes ; and 438 SIBELIUS— vast amount CREAT Swan of drama. Third, hint of the of 151 landia; Valse Triste; Smusic poetry, and toese lives of the composers Tuonela ^onnation yo^ wifi tad, in operas, including: CONCERT WORKS STRAUSS. Richard—Don Juan, know'more about the glorious syrn- Death and Transfiguration. Till masterpieces. The meanings, stories, Eulenspiegel, Eln Heldenleben, phonic obligation and theme developments, what Don Quixote now-without Y—Sympbon ies No . 4 in advance. music and instruments to TSC H A I KOVS K All Three without paying a penny No. 5. and No. 6 (the “Pathe- How to Know listen for, lives of the com- tique”); Nutcracker Suite; Marche more Slave; 1812 Overture; Andante So that you may know ' posers of 438 great concert the u A U F V works, including Cantabile about these three subjects, C WAGNER—Overtures to Rienzi, Fly- P N D^ nNOw MONEY BACH — Saint Matthew Passion; ing Dutchman. Tannhauser: Pre- •‘l istener’s Library” has just been Suites No. 2, 3. 4; B Minor ludes to Ixihengrin. Meistersinger, u Mass; Brandenburg Concertos No. Tristan and Isolde; Siegfried on^^iMjdtte. ’ EXAMINATION 1-6; Prelude. Chorale assembled. 5 DflYS FREE and Fugue, Idyl ^ from the ••Well-Tempered Clavi- Overtures to Oberon, Der chord” WEBER— Freischutz; Invitation to the Ser CriUC ’ radl n ELLIN I—Norma r P° ’ ° BIZET—Carmen BEETHOVEN— All 9 Symphonies, Dance cou^n 33? DEBUSSY—Pelleas and Mellsande including Ernies, Pastoral, and C0~n?atore Chorale: Leonora, Egmont, Corln- ^‘Listener’s« Lakme more- (For- v^me DELIBES— lanus, Fidelia . . and HUNDREDS me°xpensive volumes DONIZETTI Lucia dl Lammermoor Overtures These — BERLIOZ—Romeo Juliet; PLOTOWV—Martha and Dam- merly $1.00; NOW r 1 v not wish to keep It. But Faust nation of Foust: Symphonic Fan- 438 IN ALL! ? } Return It IS you do QOUNOD— tastinue; Roman virtually every these volumes Hansel and C. ret el Carnival Over- ) cover the other hand . HUMPERDINCK— ture all three lf on LEONCAVALLO—PafifliKCCl work, you a new BR AH MS —Symphonies 1-4; How the Orchestra every symphonic (formerly $7 .00) open up to MASCAGNI—Cavallerla Ruslicana No. opera, understand- Thais Variations on a Theme by Haydn; 1510 interest- world of musical appreciation, MASSENET—Manon, Academic Festival is Formed every composer. In MOZART Marriage of Figaro, Don Overture: then send only $1 and — Hungarian Dances; ••Tragic” Ov- partial Table of lng. and pleasure, Giovanni, Magic Flute Ctossary of ing Da«espages (See $1 one montn NICOLAI—Merry Wives of Windsor erture tv, pep books»ooks the balance In two payments: BRUCKNER—Symphonies No. 2, No. Contents at left) these postage and PUCCINI—Ia» Boheme, Tosch, Mad- Musical Terms g5 cent8 (p , us 20c Lesoaut 4 (••Romantic”). No. 7. No. 9 uves, ^ ame Butterfly, Manon tell you Of the composers month alter that, Co«| d’Or CHOPIN—Funeral March handllng charges) one RIMSKY-KORSAKOW— DEBUSSY—Prelude to Af- about, how c°npnn ROSSINI—William Tell, Barber of what their music is ou rlsk nothtng by mailing this ternoon of a Faun; La Y Dept, Seville Mer; for what instru- poubleday. Inc., SAINT-SAENS-Samson and Delilah Iberia; Three Noc- they wrote it; now NElson Rosen- turnes listen to York. STRAUSS. Richard—Salome, *‘Ne\v and how to E . a, Garden City, New kavalier DVORAK— World” ments, Piratesof Symphony (No. 5); Sla- stories be- SULLIVAN—Pinafore, vonic Dances; them;’ the _ Penzance, Patience, Iolauthe, The Carnival wm Mikado Overture hind the great music. mm mm mm mm mm mm mm mm TAYLOR—The King’s PR A NCK—Symphony In D FREE DEEMS Minor ^ Henchman GRIEG—Peer Gynt Suite I VERDI—Rigroletto, La Traviata. II HANDEL— "Largo”; Water * Library /oaond Trovatore, Aida, Otello 5 (:„[[ EXAMINATION FORM Flying Dutchman, Tann- Music: Messiah jjyy i WAGNER— HAYDN—Six Symphonies, Children Will I — I hauser. Lohengrin, Tristan and Your Meistersinger. Das including the “Surprise” Isolde. Die (No. the “Military” NELSON DOUBLEDAY, Ine. Rhein eold. Die Walkure. Sieg- 6), Always L-nerisnCherish . Parsifal (No. 11) > Dept E 8 Carden city> Ncw Y ork fried, Gotterdammerung, LISZT—Preludes: Hungar- ian Rhapsody No. 2 I . . . and 88 more! The inspiration you | Send, me, for 5 days’ Tree examination, the 3-volume, 1510 MACDOWELI Indian Suite $7. 00 MAHLER—Symphonies No. can derive from good page "Listener’s Library," attractively boxed Formerly days If 1. 4. 8 mimicmusic aepenQSripnends onOil VOUryuui I (Shipping weight. 5 lbs.) 1 will examine it for 5 E ,. i obligation. 8,500 MEND LSSOHN — Sym- j deolde not w k c„ lt , wll , return u w thou i | phonies No. 3 (the familiarity with it. ROW otherwise. I will send only SI first payment. $1 one month “Scotch”) and 4 (the cents (plus 20c packing, postage and handling I COMPOSERS “Italian”); Overtures to much more beautv you will I later, and 05 >''“‘ rul1 - Midsummer Night’s cl> ar*e»> “i" momh a,,cr ,hat - “ l>a nt ln MUSICIANS Dream. Fingal’s Cave; find in the Unfinished Sym- | Elijah you know the _ The Handy-Dial Gultle to the entries, containing up- MOZART—Symphonies K. phony When FPFE* 8,500 This Handy-Dial Guide to Great Operas and Composers, biographies of world’s 543, 550. and 551 (the poignant Story behind its com- I ALL to-date “Jupiter”); Overtures to great musical figures, past Marriage of Figaro, Don Great Operas and Composers position, and that of unhappy Giovanni, Magic Flute; Name I and present. Schubert who set it down ! How Requiem Here's a new easy way Pronouncing dictionary of Sym- to learn Important RACHMANINOFF— facts about great operas and composers. Just much more grandeur will cling I Isle of the ‘ given names and titles ; key phony No. 2; keep it near your radio or phonograph. Flick majestic opera filling _ 16 K!_ -*ad to the to the pronunciation of RAVEL — Dap bn is and the dial to the names of operas or composers living room—when you I city state I languages. Chloe; La Valse; Rhap- you hear mentioned. Instantly will appear the your In Canada: 21o Victoria Street. Toronto. abbrevia- sody Espagnol; “Mother composer's nationality, dates of birth and know its history and legend! List of musical Goose” Sketches institu- death, greatest works, an interesting fact about appealhlg tions. titles, dignities, R I And how much more MSKY-KORSAKOW- . (SAVE 20c. Check box at lert If you are attaching check I Capriccio Espagnole; him; the opera's first performance, locale, tions. for I or money-order for 82.95 WITH this coupon a« pay- Scheherazade Suite; composer, number of acts, leading characters, VOU can make good music ™ m In to the classical oUiirivpn I Irnent in full. Then we will prepay the 20c packing. addition Suite from Le Coq d'Or; principal arias! It’s if FREE— you accept tills cnilaren Wn6n you C3.I1 6X- | | postage and handling Char-re. The same 5-day money- masters, Includes also such Flight of the Bumblebee offer! plain music to them from its I b‘*cl1 privilege appite., or course. human side! bh h mm mi mm mb bm mb mb bm