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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
4-1-1929 Volume 47, Number 04 (April 1929) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 47, Number 04 (April 1929)." , (1929). https://digitalcommons.gardner-webb.edu/etude/766
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THE APOTHEOSIS OF MUSIC
$2.00 A YEAR PRICE 25 CENTS April ig2g N S I_ L. APRIL 1929 Page 2^9 THE ETUDE
Play in Public Yourself? Teach Others to Play? Play for Your Own Pleasure? IF YOU DO THE TEACHER’S SUMMER AIDS DO YOU bound. Be sure to look over the title-pages reproduced below, and send for the complete catalogue.
Special Summer Piano glasses for Young Beginners Classes of Boys and Girls Who Feel Considerably the Seniors of Make Tour Class-Times ‘‘Play-Times’’ for the Children by Using Kindergarten and Primary Tots Progress Finely with This Remarkable Easiest of All Piano Instructors— MUSIC PLAY FOR EVERY DAY FIRST YEAR AT THE PIANO By John M. Williams ^PubUshecfiATwenty-Playtlmes (for ^Uvidualor^ass'v^e^Pi^e^fvi cents'each" An “irresistible” book for piano beginners that engages the interest of Complete in One Book, Price #1.00 In Four Parts fot Class Use* Each 35c children just like a delightful little tots story and picture book It is the Few progressive teachers are not somewhat acquainted with the practical composite work of warm-hearted educators who have spent years in finding out and successful teaching ideas of John M. Williams. Many agree that the the ways in which children can be led to an eagerness for beneficial knowledge Grand Operas Light Operas “First Year at the Piano” is one of his finest educational works. Tremendously Modern Opera and musical performing ability. “Music Play for Every Day is just filled with successful as published originally complete, popular demand for it in parts tor charming and captivating pages that give much in fascinating pictures, pretty convenience in its use as a class instructor caused its recent publication in tour little melodies, story-like explanations and a natural step-by-step procedure that parts. It is a commonsense work throughout and aids the teacher to achieve never lets a new step appear like a problem. A publisher’s announcement of a excellent results. marvelous book to follow “Music Play” will soon be made.
Four-Octave Keyboard Charts for Use in Piano Class Instruction Paper, 15 cents; Card, 50 cents; Linen-Backed Card, 75 cents A Book that Magnifies the Aver¬ A Text-Book that hays a Most Sub¬ age Child’s Interest in All Music stantial Foundation for Real Musi¬ Technical Material for ^Advanced Study. Ideal for Easily Formed cianship by Making the First Steps Special Summer Primaries in in Harmony Easy to Grasp Students and the Teacher’s Personal Musical History Harmony Book use in Rebuilding Technical Art Young Folks’ Picture Light Violin Violin Encyclopedia Exercises for Devel¬ for Beginners Complete School of History of Music By Preston Ware Orem Technic oping Accuracy in “Harmony Book for Beginners” is By Isidor Philipp Piano Playing By James Francis Cooke brief, simple, vital, practical, and dis¬ A compendium of modem technic by a By Gustav L. Becker tinctive. It is an excellent text book The author begins with the old contemporary teacher, exhaustive in all Greek fable regarding the origin of for class or private instruction, as well details and including all forms of finger exer¬ Contains numerous exercises of a thor¬ as an admirable book for self'help. It music and soon leads to the facts relat' cises, scales, chords, arpeggios, double notes, oughly practical character, which are sure ing to the growth of musical art in such gives the main essentials of the subject octaves, etc. The exercises are carried out to have a ippst beneficial effect upon the in such simple, understandable and in¬ an engaging manner that the young in full through all keys and in various technic of the students. This work may be reader is fascinated with musical lore. teresting manner that it will prove in¬ rhythms. used by students anywhere from the third valuable in first Harmony instruction or Then, in due course, little biographical Price, $2.00 to the seventh grade. outlines and anecdotes are given of the as a self-tutor. This work is ncrt a re¬ Price, 75 cents hash of the old "cut and dried” har¬ old masters. More important modern monies, but a fresh, new, sound treat¬ Hand Culture masters are briefly introduced, thus ac¬ ment along modern lines. quainting the young musician with A System of Double-Note Finger Concentrated practically all of the great composers. Organ Music Musical Comedy Saxophone Solos Price, $1.25 Training Throughout the printed pages of the Violin Songs Violin Operas Technic book there are numbered spaces and it By Anna Busch Flint is play for the juvenile to cut out of By Alois F. Lejeal picture sheets provided, the one hun¬ For Further Study The mechanism of the modern piano re¬ quires great strength in each individual Exercises that enable the advanced student dred and some odd pictures and paste Theory and Composition finger to produce and hold a tone. Build up to develop flexibility of the fingers and the them in proper spaces in the book. the muscular strength of the weak fingers and wrist. By devoting about thirty minutes These attractive illustrations arouse an of Music the mastery of all technical difficulties is daily to the practice of these easily-memo¬ interest in the things and individuals accomplished. The ideas in this work are rised exercises, the self help student should and instruments pictured, and while By Preston Ware Orem based on physiological laws. • obtain very satisfactory results. they apparently provide play with scis¬ May be taken up by anyone having Price, 90 cents Price, 90 cents sors and paste, they are leading the an elementary knowledge of harmony. child to a wealth of information on It teaches melody making, harmonising things musical. melodies, how to write an accompani¬ A natural play-like process of evolv¬ ment, modulation, modern harmony, ing tunes is given, a feature that never fails and musical forms. Theodore Presser Co. to interest. Price, $1.25 Direct Mail Service on Everything in Music Publications Price, #1.00 1712-1714 CHESTNUT STREET PHILADELPHIA, PA. Home Songs Concert Songs Folk Songs FREE! This new 1929 cata¬ Form a Special Summer 'Music History glass or Study glub Using as a Guide logue, containing de¬ scriptions and complete contents — lists of all The Standard History of Music By James Francis Cooke the volumes illustrated, PROFUSELY ILLUSTRATED—ENGAGINGLY WRITTEN—UP-TO-DATE—THE MOST POPULAR MUSICAL HISTORY—CLOTH BOUND will be sent free of Price, #1.50 charge to any Etude ' ' ; J —■■■; The matter of a summer music history class need not be approached timidly by the teacher. Every == subscriber in the United respectable member of the community may be invited to join. Not one, but a number of classes or States (not in Canada). Every pupil regularly taking music history clubs may be started and the nominal fee to each member for each meeting brings the The more folk the teacher Just aslc for it on a teacher a comfortable and profitable summer revenue. Classes for school children, afternoon classes for the ladies, and evening classes for those who cannot conveniently devote daylight hours are either through class, private postcard. possible if proper publicity, initiative and intelligence are combined in the teacher’s activities. If the community is small, a family affair, with all ages represented, can be made interesting and profitable readily will future pupils to all. Thousands of teachers know “The Standard History of Music” and how admirably it Every Modern Music Store in the United States Can Supply These Books answers for a text-book. Those who do not know it need only to examine a copy to have their study be secured. enthusiasm aroused over the possibilities of using it to stir up a real musical interest in their communities. D. APPLETON & COMPANY, Publishers :: 35-39 W. 32nd St., New York City X_ THE WORLD OF MUSIC
Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everywhere Thomas Tailts J. S. Bach THE ETUDE APRIL 1929 Page 253 Page 252 APRIL 1929 THE ETUDE Some Hints on Advertising FASCINATING PIECES FOR THE MUSICAL HOME
By Patricia Rayburn a personal message, which she mails to Newspaper advertising is undoubtedly parents of prospects. For instance, she the quickest and most popular method. knew one child who impressed her as the MARCH OF THE ARCHERS The keynote of this should be dignity and musical type. So she wrote the following In rugged old English s.jde.Grade 3. MONTAGUE EWING simplicity, since music is one of the grea to the little girl’s mother: “Your little arts. For this same reason there should daughter, Jane, is indeed the type which be „o boasting; rather, the advertisement could gain much from music, and she is should be limited to a statement of the now at the age when a start could most essential points. If the teacher is estab¬ advantageously be made. Shall I call and lished in the community, his name is su - talk it over with you? Or, if you prefer, ficient; if he has a reputation to make, he I am in my studio on-street from two should mention the musical college from to five P. M., Tuesdays, and shall be which he graduated or where he studied. (a „nii there.” Naturally, the endeavor is to reach the parents of eligible children. In °'le clty there appears each Thursday a half-page Care was taken to vary the note and of school news which is written by and its tone to suit the child and his parents. about the pupils of the public schools an And there is an individual touch about which naturally receives careful reading these short personal messages, which gains from both parents and children. Here it interviews and pupils in a most gratify¬ is that one clever music teacher placed her “ad.” Another good location is on the ing manner. A personal letter to the parents is like¬ Home Page, a portion of the paper which wise invaluable in cases where the advan¬ usually receives careful reading—from the tages of a musical education are to be feminine contingent, at any rate. The Home Complete Other good locations will suggest them¬ set forth. The publishers of The Etude selves. If the “ad” is to be so advan¬ have prepared a number of letters for the with a New tageously placed, however, it must be put use of teachers who desire convincing in the hands of the publisher in plenty of messages to parents upon the need for music education of a high type. These There are other ways. The same teacher letters are already typewritten on fine sta¬ KIMBALL has a neatly printed stiff card about post¬ tionery and may be purchased with the card size, with a blank space below the teacher’s imprint, together with envelopes, business heading. In this space she writes for a nominal price. THE importance of music in the home is perhaps more recognized today than has been possible in the past. The piano as the basic instrument of all music study there¬ fore deserves great consideration. House of Accuracy
To complete the home with a' new Kimball piano, either By Rena Idelle Carver grand or upright, associates your surroundings with those In dealing with pupils in the interme¬ better than 10,000 pages skimmed over,” qualities of excellence for which this name has long been diate grades of advancement we often find he said thoughtfully. “Or one page or ex¬ ercise done well is more useful than mil¬ famous, and which are realized in every instrument. them unwilling to take pains. Unobservant of details, they have nevertheless reached lions of pieces run through.” To Kimball reliability and prestige over a long period of the point where the glories of the way are “Well, here is the scale of D in four- four time to be played in half, quarter, years is added all that is modern in piano manufacture, opening to them. Yet their fingers are reluctant to “make haste slowly.” eighth, sixteenth and thirty-second notes. design and finish, and a vitality of tonal beauty that in¬ Many fine articles have been printed on Now, if I set the metronome slowly enough I can get that. I said I couldn’t, but if I stantly appeals to student or professional artist. studying pieces at least four times as slow¬ put it to forty it seems as though I could." ly as they are marked. Slow practice is We invite you to see the Kimball grands in classic-modern He set to work and watched everything always advised. One student secured a closely. After getting it correctly at slow or period designs; uprights in the “Junior” size as here glimpse of the truth when the Bureau of tempo he noticed that he did not have illustrated—only 3 ft. 9 in. high, or larger sizes. This de¬ Standards, with its business of standard¬ trouble with the faster time. lightful “Junior” size will surprise you in its remarkable izing and measuring, was explained to Then he started his little Bach prelude volume, tonal beauty and evenness of scale. and took it eight times as slowly as m irked, Accurately measuring everything under giving care to details. He surprised him¬ the sun is a romance and a magic story Q Catalogs on request. If you 'e not conveniently self by going through without an error. of infinitesimal things. It is amazing to near to a Kimball dealer, we c n supply you direct. “That was another thing I though: not think that the millionth part of an inch worth while, but it makes good sense even is of more importance than a yard in at that snail’s pace. Believe I can have W. W. KIMBALL COMPANY the every-day life of us all. this right up to time in two weeks! he “So one measure accurately played is declared as he folded his music satchel. (Established 1857) Department KE, 306 South Wabash Avenue, CHICAGO, U.S. A.
Learning (Rapid Jiote'Reading
STANDARD EDUCATIONAL WORKS THE FUNDAMENTALS By W. L. Clark KNOWN THE WORLD OVER 1. Learn notes for right-hand play¬ 5. Watch out for the grouping of notes OF ing before attempting those for left. into phrases. BEGINNER’S BOOK by THEO. PRESSER TONE PRODUCTION 2. Take extra drill on notes for left- 6. Locate as many notes of the same School for the Pianoforte—Volume One hand playing. kind as possible, in a given selection, in a Price, $1.00 3. Read aloud the notes in an exercise given period of time—such as locating all The greatest of 6rst piano instructors. By before attempting to play them. the “A’s” or “C’s” in a composition. STANDARD GRADED COURSE OF STUDIES Joan O’Vark 4. Drill on exercises involving both 7. Do not let a day pass without play¬ For the Pianoforte By W. S. B. MATHEWS hands. In Ten Grades, Ten Volumes ing something at first sight. ^ ^ Price, $1.00 each ^ In this excellent work, tone production A A A A A A is reduced to its simplest and most natur¬ p y... T Sf m r m K K A A HARMONY BOOK FOR BEGINNERS al basis. Under its guidance any voice By PRESTON WARE OREM Price, $1.25 can be formed or re-formed. Accent Every Music Student should have this work. STANDARD HISTORY OF MUSIC By Le Roy V. Brant * * J G ■ By JAMES FRANCIS COOKE Price, $1.50 ^PT fUr J m The average student, even though he Sf 1 Adopted by many leading schools and colleges. would explain the matter of primary and -j. i i -i— Any Presser publication sent for exam - Mme. JOAN O’VARK has studied several years, does not know ?Hr f r r A o ■ ■ J -- ■ 9 J secondary stresses. Brahms, that greatest H— jr Studio 706 Steinway Hall the difference between % and % time or be¬ of all masters of dramatic rhythms, ob¬ tween % and %. This is truly regrettable, -y-r.1* *o' 0 tains many of his most striking effects by 109 West 57th St., New York City and it would appear that the teacher who such subtle means. Rhythm is the very Copyright 1928 by Theodore Presser Co. ' ^ ^ 8 is endeavoring to do really excellent work heartbeat of all music. Other Music Sections in this issue on pages 281,289,321 International Copyright secured Please mention THE ETUDE when addressing our advertisers APRIL 1929 TER ETUDE the etude Page 254 APRIL 1929 ON THE LEVEE A rollicking Southern dance. Grade 3. DANCE MAURICE ARNOLD
TRIPPING through the meadows Grade 3. AXtAA A. L. BROWN, Op. 82 M. M. 126SO g4 4 _J Tempo di mazurkasurka grazugrazioso)SO M. M. #J= = 4 4 5 Tempo mas 5 1 Last time to Codafy 3 --^ 1 . )Y| h g
p leggiero ~==z~z P-== ■0- -0-
Copyright 1929 by Theodore Pregger Co. r * A good display piece with TUSCANY DANCE British Copyright secured heavy octave work. Grade 4. Allegro con spirito m. m. J = PAUL VALDEMAR
Copyright 1929 by Theodore Pregger Co. British Copyright secured APRIL 1929 Page 257 THE ETUDE THE ETUDE Page 256 APRIL 1929 DREAM PICTURES In the singing style.Grade 3. MELODY ORA HART WEDDLE
rmTfl/t vouri V I7^N «T~/KJ I'Ll I- AL> 11/ 1/ I )() • o y'e)
Of the few truly great pianos, SINGERS of international fame Baldwin alone possesses the purity . . . Chaliapin . . . Bori . . . and delicate shadings of tone . . . Johnson . . . Easton ... of the CHALIAPIN the intimate responsiveness . . . Metropolitan Opera. Raisa, of E O R- I the inspiring brilliancy and instru¬ the Chicago Civic Opera. Names mental support upon which these that are synonymous with the JOUNV'ON artists depend for their con¬ ultimate in operatic achievement! tL /\ l ^ /X tinued success. Voices that have sung with even greater triumph in the colorful EA/TO N To own a piano with such pageant of the recent opera associations is to bring into your season! home a constant source of pride and gratification ... to realize the As like seeks like ... as quality is drawn to quality ... so have these and other of ultimate in artistic beauty and musical the world’s greatest artists chosen the excellence. Ask your Baldwin dealer Baldwin piano exclusively for their for a demonstration. Baldwin Grands accompaniments on the concert are priced from $1450 . . . terms stage and in their homes. to suit you.
THE BALDWIN PIANO COMPANY, Cincinnati
"tAttbe Baldwin" radio presentations each Sunday evening feature musicians of JM&WUX international fame. Broadcast over Sta¬ tion WJZ and network of seventeen Associated Stations. 7=3°ta 8:00 P- M ~ Eastern Standard Time. British Copyright secured THE ETUDE APRIL 1929 Page 259 Page 258 APRIL 1020 THE ETUDE
Qan You T5ell? r» Musical Education in the Home 1. What is a Clef? 2. Which is the oldest music publishing house still in existence? 3. Would E-natural be a diatonic tone in the key of F-minor? Conducted by 4. Write a sixth of a beat in % measure. Margaret Wheeler Ross tr\' 5. In what year was the Boston Symphony Orchestra founded ? 6. What is the difference between a Relative Minor and a Tonic Minor key ? \ >f 7. What was the first music book printed in America ? i the Brambach... 8. Of what word is mf. the abbreviation, and what does it mean? f the tone is ideal ’ Playing for Others 9. What is a Rest? for accompanying 10. What composer was called “Papa” by what other great A NUMBER of letters from dis¬ tact and tenderness to avoid unhappiness composer ? couraged mothers, on the subject and the awakening of a dislike for the singer”. of “Playing for Others," have been music-study in the heart of the child. The pursuit of music should be a joyful id-made in Mahc received. The complaint is made that the —EVELYN HERBERT turn to page 320 and check up your answers. experience, and any association of unpleas¬ child when “playing for company” makes says of the... mistakes and stumbles in compositions that antness with its practice should be avoided. $67 5 it will play perfectly at the practice period Never should it be used as a means of punishment. That this is frequently done or in the studio. The problem of playing for others is is sufficient explanation for so many chil¬ one that every mother should work out dren discontinuing music as soon as they for herself after carefully studying the reach any degree of self-assertion. They temperament of the particular child. Un¬ remember the practice hour and the en¬ forced “playing for others” as seasons of ■ BRAMBACH doubtedly many young children in so per¬ forming actually suffer. Especially is drudgery and humiliation and therefore get T5he Qharm of ^Musical '■Biography away from the hated occupation as soon this true if “the others” are adults. Most By H. Edmond Elverson children play for each other in a natural and as possible. BABY GRAND unaffected manner and without nerve strain. The mother must remember that no one Biography will forever possess a charm broader view of any feature of his art They meet in the studio and are accustomed is quite as interested in your child’s musical for the reader and the student, for in it It is only by such means that his greates . to being listened to by other children; progress as she is and that the performance there is always the potent appeal of human of the average child is not interesting to YOU, TOO, will be delighted with the possibilities will be developed. hence there is no fear or thought of fail¬ interest. In the accomplishments of those In order that our readers may have ai ure connected with the performance. How¬ the average adult. The child who is hav¬ sweetest tone ever bestowed on a little who have led in their field of action there opportunity to acquire an interest in tin ever, the opposite is almost certain to be ing the advantage of music study should will be always found the mainspring of lives of the creators of our great inusica the case with children studying with a be made to feel a responsibility in assisting grand piano of popular price. Tone that never inspiration for the one with a goal in view. art, The Etude is now issuing u "New in the entertainment of guests by playing private teacher who uses a small studio in could have been imparted to such a compact WORLD-FAMOUS COLLEC¬ One of the surest ways of interesting Gallery of Musical Celebrities' supple her own home and who for lack of room in the home when so requested, without A children in their musical studies is by mak¬ TION CONTAINING OVER mentary to the one which was so en has pupils perform only at recitals. Study¬ fussing or pouting about it. But all chil¬ ing them acquainted with the lives and baby grand without the exclusive features of the 200 SELECTIONS BY THE thusiastically received some fifteen year: ing under such conditions with few op¬ dren should get their training for public FOLLOWING COMPOSERS characteristics of the composers whose ago. In this “New Gallery” there will bi portunities to play before adults they are performance at the open recital where the world’s largest makers of small grand pianos. works they are about, to study. Especially Lack introduced much fresh material relating t< naturally nervous when confronting the hearers are free agents, not helpless vic- Lange will they be interested in anything per¬ Lasson the older masters; and, of course, then “grown-ups” and should therefore not be taining to the childhood of these geniuses. Lefebure-Wely will be additions of those who har e "mack expected to acquit themselves creditably. The Futility of Force The heart and soul of a piano—the sound¬ Leschetizky What young musician has not been Legbach their mark” on the road to fame sinc< Such children need sympathy and un¬ thrilled if allowed to know the story of MUSIC should put joy into life. If the former series was discontinued. derstanding. The mere fact that a child ing board—in a Brambach exceeds in area and Loeschhorn the young Handel who, when but seven the mother wants her children to Teachers are herewith furnished a poten “plays her pieces perfectly at practice time years of age, started out to follow on foot love the art she must be wise and forbear¬ in string length that found in any other small Macpowell means of increasing the relish of thei| and in the presence of her teacher and the his father’s carriage when he was going ing, and until they have overcome the fear students for all their musical studies. Tin family” and fails before guests proves it on a visit to an older son who was in the and anxiety of playing for others—which grand. It is guaranteed unconditionally. The self-help student will find this a ready en to be a case of “nerves” because of the employ of the Duke of Saxe-Weissenfels— result must be brought about by patience cyclopedia of reference and especially unusual conditions. Such children are dis¬ Brambach Tone Expander amplifies volume hovv he was discovered and taken into the and understanding on her part, with the valuable because in it will be include! tracted, cannot concentrate, lose their poise vehicle, how on reaching the palace the intelligent cooperation of the teacher— portraits and biographical sketches oi and consequently “forget and stumble.” until it rivals instruments much larger in size boy soon found his way to the chapel she must not deliberately force them into organ and played in such a manner that many a musician who has not yet fount failing in the eyes of others. For she is ...the Brambach Piano Scale is acknowledged the nobleman sent for the father and ad¬ his way into the written annals of our art A Cure for Fferves thereby developing an inferiority complex vised his cultivating the musical talents to which death seems all-too-often th< THE WISE thing to do with these chil¬ in them which may follow them through the finest made. of the son. necessary key for an opening of the gates dren is to put them in a school of life and defeat the thing she most desires. By the introduction of such materials Nothing that the most painstaking researcl music where they will have the advantage Let the mother examine herself carefully into lessons, the imagination of the stu¬ can accomplish will be spared from tin of frequent public recitals and the spur and and make sure that it is not vanity or self- Brambach dealers are prepared to exhibit not alone making of this “Gallery” to be a unique competition of many other children all glorification that prompts her when she dent is fired and he is spurred on to the beauty of Brambach tone, but the surprising higher and greater aims. The wide-awake collection of the most authentic portrait: playing in public to audiences made up insists upon pushing her children into the teacher is always on the lookout for any¬ of these notables and of the most reliable largely of adults. Moreover they should be limelight against their inclinations. beauty of cabinet work in Modern and Period models. data connected with their lives and achieve thing which will add a spark to the fires encouraged by frequent reminders to listen After all, the remedy is simply this : teach Terms of purchase you will find very, very liberal. of the young student’s enthusiasm for a ments Preserved, it will become an in¬ to their own playing, especially when it is the children to listen to their own playing: valuable book of reference. being done from memory with the mind be tactful and patient ; if you are satisfied relieved of the task of watching notes and that it is nervousness that induces failure, expression marks. The listening habit en¬ ask them to play for others only when courages concentration, which in turn les¬ the conditions are favorable and non-irri¬ When ‘Pupils Qhoose Ueir Own Music sens the tendency towards nervousness. tating; and lastly, be absolutely certain of The wise parent must exercise much sympathetic and interested hearers. By Sarah A. Hanson I BROUGHT along a new niprv* "IVif found it in the agtticnwlneshe Se'd ^-bis particular T house and shee wants me to learn'it.”learn'it.' Yesyp, tefu. \ ^, !’I’upiisUp,ls place themselves in tins occurs atit timpctimes. *’ ie!eacheracner fs hands anHand fforthwith refuse "It has been the purpose of mu,sic to increase the joy of the world. Not knowing which pieces . be teachable? At the sound of music cares and distresses are overborne, and the soul is them, - suited to *P whlch are m line with their m ~ u,e «actier should coi set adrift on a) tide that flows toward radiant horizons. And this triumph Westbrook ***£ ‘each- shou.d cor Wilson present course of studies, pupils „ Ilkes and dislikes of the pupil of the soul of which music testifies is no mere distraction, bringing false kef economic or sentimental reasons, will’brinsr \°W ?n occasional composition to Yo°uferoff comfort by concealing the truth. It imparts strength because its majestic a piece of music with the firm purpose of by the child himself. But the learning that and no other. A p3tj JAdgment sh°»'d always he left to movement tells of tireless power; it opens vistas of hope because its would hardly think of prescribing the teacher t0 judge~"to the comp< golden tones bear no trace of the discordant sounds of earthly struggle and lamenting.”—Edward Dickinson. APRIL 1929 Page 261
THE ETUDE the etude Page 260 APRIL 1929 REHEARSALS ARE T5he Musical Home ‘Heading 15 able Anything and Everything, as long as it is Instructive and Interesting NOW QOINQ ON Conducted by A. S. Garbett Folk-Tune Book by Angela Diller and Symphony Audiences, A. P). 1791 still being worn as a regulation part of Kate Stearns Page Those who stroll into a modern concert full dress, and special weapons were al¬ hall a few minutes before the symphony Q. "what is the outstanding dWercnc ways provided at a grand concert for the starts and settle down in plush seats no thatVtfl^P^weTchords constructt u. win you hinoi,, less comfortable than those in the limou¬ use of the instrumental solo performers si,matures of the Gb and Cb * sine which brought them and, after the who, when about to appear on the plat¬ X the Db minor scale f-Q. E. form, were girt for the occasion by an at¬ concert, will take them away, have little ^‘e/ttoe^oterTthl'tonicfits A. Do you really mean the idea of what concert-going was like in tendant known as the ‘sword-bearer.’ ’’ have mentioned? Or do you mei «ad “.“S only, without any dissonances live minors? There are no sue 1791. This was the year Haydn went to In addition, of course, the men in the S dtords, is no? susceptible of much varia¬ natures as Gb minor, Cb minor. tion1 other than its two fc*1® London and started the fashion of sym¬ orchestra and audience alike wore enor¬ r major key- phony concert-going. His concerts were *!53l several’series°of^superpose
the etude
$100 00 WORTH OF GAS English-speaking master teachers of the highest rank in America, , t. «inn00 will buy for your auto- and with present American living conditions, the student who CCrJ"' fflNK how much gas $ u °ent ^ a pian0 salesman is limited for time will find that the American Schools offer • u Llnld to induce a customer to purchase an m- practical advantages of obvious value. For the money, time m the 1 $100.00 less than that of a competitor, and effort expended, the American Summer School can often strument that was priced »iu cheaper piano was an in- do more for the student in six weeks than can be accomplished On investigating, we foun d d the purchaser would otherwise in much longer time. We are proud of the fact that for twenty years we have strongly endorsed the Summer School idea. It is correcting serious waste in our musical educational field. We strongly urge private teachers to continue their classes as far into the Summer as permissible. On the whole we were becoming under¬ phatically advocated purchasing pianos upon the basis ot an nourished as a musical nation. We were going unfed for sev¬ investment, just as diamonds are bought. «100 00 eral valuable months in the year. We turned from feast to Suppose the customer mentioned above had savcd S HXU O famine and expected to thrive artistically. and invested it in gasoline. The gasoline would somhave run the opera house at nice One of the most interesting of all Summer Schools is the itself through the carburetor and passed out in invisible gases. THE casino and opera house at monte carlo National Band and Orchestra Camp, conducted by Mr. Joseph The customer would have enjoyed some delightful rides bu E. Maddy, at Interlochen, Michigan. Thither we motored last the gasoline and the $100.00 would have disappeared like last summer arriving at the camp at ten in the night. After wan¬ night’s moon. The $100.00 invested in value in a piano would dering through miles of wilderness we suddenly came upon hun¬ last for years and years. dreds of automobiles in the woods. They represented the cars Our piano expert, who has been consulted by such great fytusic on the JYtoon'Kisscd RivicTd of thousands of music lovers who had come miles to hear numbers of people prior to their purchasing an instrument, the remarkable High School Orchestra conducted by Mr. Maddy. has repeatedly tried to make clear that it is the height ot tolly Musical Travelogues-Intimate Visits to European Musical Shrines This work is so remarkable that it would take pages to describe to get a very cheap piano, unless you are absolutely ^ forced to Sixth in a Series of it. There Mr. Maddy, Thaddeus Giddings, Superintendent of do so by lack of means. The cheap “bargain sale” piano is Music, and other zealots are doing one of the most remarkable usually far more expensive in the long run than one bought at things in music education. The boys and girls come from all a just price.
tee etude Page 270 APRIL 1929 Surely a peace ethics would make a . j . the most beauti¬ wonderful sail for our great American the source of many inspirations or awaken¬ ful an cf uplifting and constructive poems, ship, but every sail needs wind, and Wild Melodies from the Arctic ings of creative powers. Think over the or the self-same liters may be u ed to America’s new carillon music idea might inventors and creative minds during that write the worst doggerel. Music great awakening period in Florentine his¬ well be utilized for a tremendous moving past has been a great power back °f ■ ‘By John Fredson tory and then note the importance of the power behind these sails. ethics of militarism, but w°“ld * time immemorial these two distinct types of religious life of the time, charged as it ™ be more sane, constructive healthtul inhabitants fought; but today, due to was with art and with tranquil music to inaugurate, as a background to Amer owever primitive a man church work and the government, all are of fundamental vibration. SELF-TEST QUESTIONS ON MR. H ica’s new enthusiasm in carillons may be, he has music of one form friendly. On the banks of the peaceful CAMPBELLS ARTICLE The Carillon and the Finer Emotions chimes, an ethics of peace? or another; and though it may be Koynkuk River these inhabitants live and 1. Name five Belgian cities possessing V^ES, THE sincere inspired music of produced in a crude way, it is within him, have lived for centuries. Each hour of day and night Singing Towers. * the heart intoned in simple bell mel¬ and it usually creeps forth. It is but a few Allakaket is about one hundred miles Is circled, dark or bright, 2. Why may the carillons of Belgium be years ago that the Indians of interior inside the Arctic Circle, and it gets odies from those old towers of Belgium By startled silvery clamor of the Oeus, has undoubtedly exerted a powerful in¬ said to regulate the lives of the people? Alaska were in the Dark Ages. I am only slightly cold sometimes. The thermometer Telling of time in flight. fluence upon the lives of these sturdy 3. What is your interpretation of the a young man; yet my father remembered was once noticed at seventy degrees below peoples. These melodies are folk-songs, Still pealing, swift, or slow— statement, "Music is agreeable?” the time when he had to rub two sticks zero; then again in June or July the same together to build a fire. What a terrific thermometer registered around one hun¬ patriotic songs, tranquil music, the reaction These hours that measure so 4. Why is music called the "binding" to which is relaxation and repose. This The making and the breaking of mens contrast. Stone Age yesterday. Civiliza¬ dred degrees in the shade. artt music is heard at the time of twilight tion today! One winter, in December and January, 5. How do carillons differ from ordi¬ when strong moods are upon people, They go, they go,—they go. Though it does get warm there some¬ the late Venerable Hudson Stuck and I moods for reverie, romance and love. Kathline Warren. nary tower bells t times ; yet often the northern native faced visited Allakaket; and the wonderful dis¬ These powerful melodies, rich with asso¬ by death, starvation, and the biting, rigor¬ plays of the Aurora Borealis were beyond ciations not only of sincere and dignified ous cold, still found time to express his description. To this mysterious phe¬ words but with the past history of their fihe Value of the Mental Picture feelings through simple melodies which nomenon the noble forefathers formed a fatherland, are played over and over until By Bertha McCorkle were whistled, hummed or sung. The tune. How thrilling it is to see the grand airs fell into five different groups: those they become threaded into the very woof Every young teacher finds it difficult and the rest, Mary forgets that she is displav of lights! They are made up of all and warp of the national life. that were sung at the feasts; those that to interest some pupils in their lessons, working and enjoys the game. the colors of the rainbow, crossing the America needs more patriotism, more were chanted to the spirits; those that They have entered her class under com- The five-finger exercises become inter¬ whole clear cold northern sky (east and love of country, and only a deepening of were used at the dances; those that formed pulsion or, though willing to learn to esting to the young pupil win u the fingers west), like a tremendous silk veil, thin the emotional content of the soul of the the laments; and, finally, those that made play the piano, are yet unwilling to work are ten little playmates jumping or see- and transparent. They move quickly; they people will accomplish this end. For out dash this way and that, they flicker, they to attain this end. sawing or playing leap-frog. The thumb up the love songs. of the deeper emotional self comes real dance, and huge tongues of fire shoot forth But even these students are interested in always under and on his back! patriotism, love of country and therefore Gathering Native Tunes and appear to lick the dark star-inlaid sky. games, and no game is too hard for them. In the early teaching of expression, the respect for the laws of the country. Out IT HAS BEEN my privilege to travel But, with all the movements and colora¬ To them a puzzle is not work: it is play, mental picture is invaluable. To say “play of the richer emotions come also joy, hap¬ a great deal throughout the interior of tion, not a sound is produced. All is dead And interest does not lag until the puzzle loudly” or “play softly” may cause a piness, broad sympathies and finer sensi¬ Alaska with Episcopal missionaries—by silent! Can the simple-hearted natives is solved. So the young teacher can make change in intensity, but expression is bilities. boats in the summer and with dog teams in be blamed for, at least, making a song of of her lessons a game, and with mental something more and must first be felt, With this philosophy and ideal in mind the winter. In these wanderings, tunes praise to this mystery of Natures own the encouraging of the carillon and chimes pictures intrigue the child’s interest and The title of a composition will nearly which were handed down from pre¬ handiwork ? in America might not be amiss. In fact make a pleasure of practice. always give a clue, but, when no vivid pic- historic times often came to my ears. Miss it might be a means of deepening our The very first lesson can be made a ture is suggested by the title, the child’s Bertha Baur, President of the Cincinnati £ Aurora Borealis charming game. The notes are new imagination must lie put into play to create basic virtues. With it would come an in¬ Across the land from lost Liege, Conservatory of Music, has been interested friends (each with a name) playing on a his own background, creased appreciation for better music, for Storm-driven by the German rage? in these wild airs of the cold Arctic, and fence or step. After the pupil has “been In a title like “In the Woodland,” for the best music is always based upon the The other Carillons have ceased; it is at her suggestion that a few facts JOHN FREDSON WITH MISS BERTHS BAUR, DIRECTOR OF THE CINCINNATI CON- folk-song. Art in general would receive Fallen is Hasselt, fallen Diest, introduced” to middle C and then finds him instance, there is unlimited opportunity, have been set down along with each melody. J SERVATORY OF MUSIC a new impetus, and the religious life of From Ghent and Bruges no voices come, on a sheet of music—in a crowd—he To the very young pupil you might say, America would realize a richer back¬ Antwerp is silent, Termonde dumb. knows that note for all time. Then, when “Now, Mary, we will take a little walk “Don’t Leave Me” terrific cold and the many hardships with the gray waters of the mighty river, ground. It is told of Napoleon that upon he has learned to know all the notes and into the woods with the man who com- ON DOWN the Yukon, about three which the man of the Stone Age had to smoothly, yet swiftly. Through the thick, a certain occasion he was moving a cannon “But in thy belfry, O Malines, their places on the piano, he will be inter- posed this piece and see ii we can see hundred miles below Fort Yukon, contend. To get a deer, he had to run over a difficult pass in the Alps. Man¬ The master of the bells unseen ested in making them talk loudly or softly, what he does. This little melody is you, there is another settlement. This village massive, snow-white clouds which hung after it; to get a bear, he had to tight it “My Girl is Li\e a Fish” close to the earth, the Arctic sky appeared power had been used to the limit with no Has climbed to where the keyboard walk and run, keep step or walk alone. Mary, singing as you go." Mary is named after the Tanana River that with his hands. Often in the dead of THE AVERAGE READER would as blue as the deep sea. All was life! avail when Napoleon called upon the band stands ; “Now, Mary,” you will say, “when you learns to play legato. “This running ac- comes in from the South. As this is a good winter he was forced to plow through deep smile at this heading; but after to play a patriotic air. New life seemed Under the hot sun that shines forth for Tonight his heart is in his hands! go for a walk with a little girl your size, companiment is the brookli t. and, oh, spot for hunting and fishing, it has been snow, with his snow-shoes, to get his understanding the original makeup of the of a sudden to possess the men, and the twenty-four hours of the day at this time Once more, before invasion’s hell you keep step right with her, and when Mary, play softly! Then i rabbit! occupied from all times. At this point, moose. Men who could endure such hard¬ song, another view may be taken. The cannon was moved easily into the desired Breaks ’round the tower he loves so well. of the year, flowers of all description and you go with big brother you take two Play these chords loud, Mary. That’s a looking over the wide Yukon and the ships must have been one hundred per northern native never knew anything about position. Once more he strikes the well-worn keys, beauty and the leaves on the trees were steps to his one. But when you go with d°g barking. But hurry 1 The rabbit Tanana, the great bulk of Denali, or Mt. cent, perfect physically. What a test for agriculture. So his life depended on what During the late gigantic struggle the And sends out aerial harmonies father you have to take three steps to his must get away 1” McKinley, may often be seen- Though it bursting into life quickly, yet silently. The he hunted in the woods and what hsn fate of Democracy hung trembling in the Far-floating through the twilight dim the “survival of the fittest!” one! Now, if baby brother is along, he The minor strain will be played with is one hundred and fifty miles away, its ducks quacked here and there, and the he got out of the water. As all stories and balance especially in the early days of the In patriotic song and holy hymn. must take four steps for every one of like expression if it pictures a baby bird cold icy peaks soar high and clear above geese honked at us (the intruders) in the legends came down by word of mouth, so war. Military experts tell us that the “great open.” Birds that had just returned g After the Hunt “0 listen burghers of Malines! father s, but mother and father step right that cannot fly, while the closing strain the rest of the land. Once upon a time this tune came down to the present day only thing that saved the Allies was the from the South-land to spend their vaca¬ Soldier and workman, pale Beguine, together every time.” and chords will express joy if made to in the good old days, a true-hearted beauti¬ in the usual fashion. almost miraculous feat of the Belgians tion around the Pole sang sweet songs And mother with a trembling flock show the baby bird at last flying into the ful maiden stood on the bank of the river A certain youth loved a girl dearly; to holding on until the Allies had time to which were impossible to be put into Of children clinging to thy frock, low branch of a tree. here and cried, “Don’t leave me,” as her his mind it was almost impossible to com¬ better organize. words, yet were heavenly. My friend was Look up and listen, listen all! This kind of training does more than loved one paddled away in his birch-bark pare her beauty with anything. Now it in a real love-land with his loved one when What tunes are these that gently fall lighten the teacher's task. It develops canoe for the “battle grounds.” He re¬ happened that there was a peculiar kind of Belgium's Bells he sang, forming his own words, this Around you like a benison? the child’s imagination and gives the turned victorious, and then she no longer fish with many colors; it was really beau¬ /\ S IN THE case of Napoleon just ‘The Flemish Lion,’ ‘Brabanconne,’ teacher a glimpse into the mind and heart melody that has come down from the ages: tiful, and fish was one of the sources of cited the Belgians’ manpower, plus had to sing: of the pupil. It makes of the child a livelihood. It was a compliment to com¬ perhaps their years of accumulated emo¬ ‘O Brave Liege’ and all the airs j Don’t Leave Me That Belgium in her bosom bears. Down the Yukon pare her with the fish; and she took it so. tional power resulting in no small part closer observer and lover of nature while teaching her to think constructively. In these olden times there were regular from their beloved bells, made it possible “Ring up, ye silvery octaves high, Soon the pupil is ready to grasp the mu¬ fishing seasons; and at this time all were for them to accomplish this supreme task. Whose notes like circling swallows fly; sical idea of the composer from the music busy storing away for the winter; but if Who shall say that it might not have And ring, each old sonorous bell, It is not a surprise, then, that the native itself, the melody, the phrases and periods, the fishing failed, hardships and often been in this very critical moment that the ‘Jesu,’ ‘Maria,’ ‘Michael!’ feasted and danced when he had “good the rhythm, the expression, because the starvation were the results. Melodies such war was won ? Henry Van Dyke’s won¬ Weave in and out, and high and low, luck.” After a successful hunt there was as this are a few of the remaining links derful words on this event bear so strik¬ The magic music that you know, drudgery of practice has been eliminated always a feast and a general get-together. of the chain that goes directly back into ingly upon the point in question that I can¬ And let it float and flutter down and the understanding of musical expres¬ All took part in the singing, while the ages that are traditional. not refrain from quoting them: To cheer the heart of the troubled town.' sion has begun its work of enlightening leader beat a crude drum made out of skin. Certain ones, especially those who “The gabled roofs of old Malines Ring out, ‘Salvator’ lord of all— While trying to “keep step” with father child™^ ^ eXaIti"g *he heart °f were light on their feet, danced in the 5 My Girl is Like a Fish Are russet red and grey and green ‘Roland’ in Ghent may hear thee call! center, with perfect time and rhythm, very And o’er them in the sunset hour “Down the YuJ(on “0 brave bell-music of Malines, much like the other Red Brothers farther Looms, dark and huge, St. Rombold’s Basket Pall In this dark hour how much you mean! ON A BEAUTIFUL June day I was south. The singers stood around in a circle. Tower. ,, , B> Rena Idella Carver once going down the Yukon River, in The dreadful night of blood and tears This was kept up until all were exhausted. High in that rugged nest concealed Sweeps down on Belgium, but she- heaf-s the region known as the Yukon Flats, near The sweetest bells that ever pealed, fc play this game tha^letds'To^confidence maV"6,! ^ begi" again' The 0116 ^ Deep in her heart the melody ’ ' , at the piano. e m®kes the most baskets is on the honor the little village of Fort Yukon, which is The deepest bells that ever rung, Of songs she learned when she was'free, just inside the Arctic Circle. The passenger “After the Hunt” “Aurora Borealis” The lightest bells that ever sung, She will not falter, faint nor fail, When the children have formed a semi- m boat was a stern-wheeler similar to those CROSS LAND, about one hundred Are waiting for the Master’s hand .circle around the piano one of them ' nen the group is adept in jumping one ERHAPS it is safe to say that hunting A Such are the melodies as I have heard But fight until her rights prevail used on the Mississippi. On this boat was P and twenty-five miles north of Ta¬ To fling their music o’er the land. chosen to start the game. She seats w* °C
the etude THE ETUI® Page 272 APRIL 1929 <&he Cardinal ‘Principles of Weight Playing man is said to be able to turn out but A Unique Orchestra of the three instruments a day. Py Clarence G. Hamilton Air—Chinese ‘Pigeon The Chinese themselves offer no satis¬ From what has been said above the for* factory explanation as to the origin of this derived from rotation is increased ny a for a moment, and then release it. The Whistles quaint custom; for it is not the pigeon that WHAT IS meant by “weight play¬ resulting forcible descent into the lap will high wrist. profits from this practice, but merely the ing?” In answer, perhaps I can show the importance of this kind o By Herbert Beardsley human ear which feasts on the wind-blown do no better than quote the defini¬ Principle IV weight touch. tunes and derives esthetic pleasure from tion given by Leroy B. Campbell in h.s T TERE WE are brought into contact Among the quite ingenious and odd musi¬ the music. book Relaxation in Piano Playing. cal instruments recently brought to this HES another CM WwMT “Weight in piano playing is the use under Principle II nested by the addition made to Mr Camp country by an explorer from China are a control of the power furnished by a fall collection of unique Pigeon Whistles. AS OUR second Cardinal Principle; bells definition, namely: Weight in Pay¬ ing body (the playing arm) instead of or We are wont to speak of the Chinese as What is Meant by ‘“Musical”! let us consider the following: ing may supplement or cooperate with in connection with the power secured a sober, practical and prosaic race, worldly- HK ADVENT of the Boston Sym- The recording of this work completes The effectiveness of weight playing will active muscular effort. . T by forcible muscular action. (1 have minded, bestowing all their efforts on use¬ By Cyril Scott n A nrrhestra’s return to discs the symphonic quartet ol Brahms upon depend (1) on the amount of weight that For instance: In the rotation movements added the words in italics.) Now suddenly release the arm weight al ful temporal things; yet the people are by bought wth it an assurance of discs, since all four symphonies can now is released. , , described ^Jhe^mere When we apply the adjective “musical” This definition recognizes two means of lowing the middle finger to descend mto no means lacking in purely emotional mat¬ to either man, woman or child, although • i nu ;! the recording of one of be gotten in electrically recorded versions. In the above experiments we have found ters of great attractiveness; and their traits *> pr«- smng. .0 .... although (he “ThM" U tb, producing power by the player: 0) by that the power generated by relaxing the its key. So considerable is the force Sufficient To produce a considerable amount we are persuaded that we know exactly active effort of the muscles, and (2) by of the blow that one has to hold back a of force. If to this force however the par- of a deep poetical quality stand out promi¬ what it means, we merely think we do; in America grea , ases which most immediately appealing, it has never- various members varies from the negligible passive fall of the arm or its component portion of the weight, lest he break either tial or entire weight of the arm be added, nently in the invention and use of the point of fact we are but loosely using a Sened a" Shivbe aS byRician theless been neglected and is the last ,o thud of the fingers alone to the powerful Pigeon Whistles. will unquestio y ; tience born find itself recorded. Hadow writes that descent of the entire arm. Here let ffie string or his own finger! Repeat the there will be a corresponding augmentation catch-word which may denote well-nigh ^Such a passive movement evidently as¬ experiment several times, slanting the hand Jf the force, and the loudness of the one anything. Indeed, so relative is the term of^appreciative interest. This Pilgrim “it is perhaps the finest, certainly the clear- observe that the same member may gener¬ sumes that the law of gravitation is al¬ towards you more and more, wiU increase in proportion. Other suen band boasts a choir of silken strings est, of all Brahms instrumental compos.- ate different degrees of power according as that on one person’s lips it may mean one lowed to take its course, that the falling same amount of relaxation the force of thing, and on another’s it may mean an¬ it is liberated wholly or only partially. instances will be noted later on. which are now a matter of recorded his- t.ons for orchestra lore,Me and vigorous member has been suspended by some force the blow gradually lessens, until, when.the other; if applied to a child it connotes torv since they are veraciously projected in movement, delightful m melody, and, of This fact was indicated in the definition which force is suddenly withdrawn. Here by the words “use under control of the hand starts from the level or below it, Principle V something different from when applied 'to from the disc. co«rsf- fa,u,tJfs in construction-’’ Brahms we come to the condition necessary for cower” Relaxation, therefore, may he the tone is decidedly softer than at first. rTTE HAVE seen that weight has very an adult; and when applied to a profes¬ Sergei Kussevitzky, an eminent con- introduced this symphony u, the Viennese the employment of weight playing, which complete or partial. In the former case From this demonstration we may con¬ W little part in the pure finger touch sional it means something different from ductor of the most superb artistic attri- public during the winte, of 1883, where- is the release from some sort of musculo) the maximum of power from weight a one clude that, in using the weight touch a With the hand touch, however, it is ot when applied to a layman. butes has chosen a modern work for his upon it was immediately claimed and more powerful tone is obtainable when the A small child who discordantly strums tension. is generated, while, in the latter, part , of greater consequence, so that wc may > • first recording. This is a suite from played in every leading musical centre in wrist is held high than when it is held on the piano is often regarded as a musi¬ this force is held back. In the hand touch, the weight of the hand Stravinsky’s ballet, Petroushka. The pur- Germany—a decidedly different reception Principle I low. No doubt, much of the brilliancy of cal child, but a man who discordantly Accordingly the player must cultivate and arm are important factors. pose of recording an arrangement from from those of the other three. This work what Mr. Campbell calls Relaxation Con¬ Liszt’s playing was due to the proverbial strums on the piano is regarded as an m- this ballet was to present a suite which will be found upon Victor discs Nos. 6886 WE ARE now prepared to state, as the By Z hand touch we mean, that the keys first of our Cardinal Principles, sciousness or the accurate mental gaugeof high position of his wrist. musical man. Yet to the person who is could be enjoyed as abstract music apart to 6890. In tone production, moreover, we must are sounded by throwing the hand in*° not in the least interested in music, that the following: Weight playing is pro¬ just how far relaxation is to be carried from the program of the ballet. It begins take into account not only the forward-and- them, individual tones being Produ“d by very man by reason of wishing to strum duced bv the sudden relaxation of a part Imperfect relaxation consciousness results the impact of the proper finger In this with the energetic Russian Dance and ends String Quartet of Debussy back movements of the hand and arm but on the piano at all is regarded as musical or the whole of the arm and hand. in that lack of control of weight which is touch the hand is kept perfectly free at with the Grand Carnival festivities. It TTTTTr» XHI7 nf ruhnssv’s —even to be fond of producing pseudo¬ Examining the various members which so necessary to intelligent playing. also their sidewise motions. the wrist so that the throw is accomplished Holding the wrist high, as in the fore¬ musical sounds is, in the eyes of countless may be thus treated, we find that they Most pianists, for instance, realize the by a quick upward jerk of the f°rear™’ going illustration, press down a key with people, to merit the honor of being thus inal score without the characteristic in- Se, No. jooln Their album series of master are four in number: The fingers (collec¬ importance of a relaxed wrist and imagine just as one shakes water off of the ends the third finger, keeping the weight cen¬ termed.—The Sackbut. tively), hand, forearm and full arm. that they have succeeded m obtaining one "UT^e who'Stely know the ballet d*?' This Quartet belongs to the second tered upon it just as though you were A PIGEON WHISTLE These are, indeed, like four distinct in- when relaxation is far from complete. I 0fT°oethefiforceS'of this throw is evidently will probably miss the excisions of the Penod °f that master - creative gemu, standing on one foot. The result is that struments, all of which are under the find my hands getting tired during the added the weight of the hand itself. wh.ch hand-organ music, the episode of the little having been composed in Ins thirtieth year. the center of gravity of the hand and arm control of a single player who may use performance of Alabieff-Liszts . is by no means negligible. In this case, The musical loving Chinamen find a de¬ Where the ‘Blame ‘Pasted Ballerina and that of the Moor, besides 's a work °f 8rt'at M-iicities an n hale ” writes a correspondent, although I is focused directly upon the key. lightful pastime and obtain pleasing melo¬ them individually or in combination however, the weight of the forearm acts the death of Petroushka and the appari- in which the t0"al rf keen my wrists perfectly relaxed. Ex¬ Now sound the next key with the fourth dies from a flock of pigeons whose tails To appreciate the possibilities of relax¬ merely as a regulator. For when the The great conductor, Sousa, was put¬ tion of his ghost. Others will welcome strument are veritably exhausted Ih.s cuse me, Madam, but you deceive your¬ finger, transferring the center of gravity are adorned with these fantastic and tune¬ ing each of these members, sit before a downward motion of the hand is abruptly ting his band through a rehearsal. There the suite for its rhythmic life, its modern cartel is quite apart > mi the chamber self in the matter. For your wrists are to it by moving the hand slightly sidewise ful contrivances. The whistles are very table so that the finger tips rest on its top stopped by contact with the keys, the wrist was a recruit to the organization. The musical optimism and the fact that it stYle of ‘he Beethoven Quartets wherein relaxed only ninety per cent., while the to the right. Next sound a key with the light, weighing but a few grams, and are and the upper side of arm and hand are in hasPa decided tendency to spring up into new member’s instrument was a tuba. This is played by the famous Bostonians and the sonata form reached the peak of per- other ten per cent, of stiffness remains to second finger simultaneously throwing the attached to the tails of young pigeons, by person seemed incapable of getting through their able leader. The suite occupies five Action and equal delineation by the various a level, straight line. Now raise each of hand over it to the left. When the arm the air, just as one end of a see,sa^ ‘ei J to jump up when the other end hits the means of fine copper wire, so that when a somewhat difficult passage without mak¬ sides of three Victor discs, numbers 6882- instruments was carefulh -might after. ^ the fingers in turn as high as possible and brew all the trouble. . . . w. weight is transferred from one key to an¬ suddenly relax it so that it falls loosely. Ask a player to relax the wrist of his ground. Here the weight of the forearm the birds fly, the wind blowing through the ing a hideous hash of his part of it. 83-84. On the sixth side will be found Debussy creates color and builds his other in this manner the maximum of There will be a slight thud as it hits the right hand and then to hold the hand comes in to moderate or even practically whistles sets them vibrating and produces Sousa halted the others and glanced re¬ an excerpt from the latest ballet by Stra- sonorities until the music seems as though weight rests upon each in turn. Any undue table top, but the force of the falling while changing loosely from the wrist a eliminate this upward spring. Otherwise an open-air concert. The instruments, one provingly at the offender. vinsky which is written entirely for strings 11 were being played by a chamber or- sidewise motion of the hand then upsets the finger is evidently negligible as to its p ay- few inches above the piano keys. Then a running passage played by the hand carried by each bird of a flock of pigeons, “What’s the matter with you?” he de¬ in the Mozartian manner. This charming chestra rather than by the usual four in- center of gravity and weakens the pressure let him gradually lower the hand until the touch is accompanied by a contmual jerky are all tuned differently. manded. music is simplicity itself; its melodic struments of a quartet. Again and again —just as, when you are standing on one ‘"Next'puil the hand back from the wrist fingers sink into the keys. Ten to one There are two types, those consisting of “It ain't me,” explained the perspiring purity is immediately appealing. one hears the second violin or the viola foot, a sidewise bend in either direction movement of the wrist. , . bamboo tubes placed side by side, and a as far as possible and let it fall. The just as the fingers are about to touch the Sometimes, however, as in the playing of musician; “it’s this dam horn.” He shook sounding like i clarinet or oboe, and often makes you topple over. thud is now much more evident, involving keys the hand will rise a little, showing individual chords, this upward jerk may kind based on the principle of tubes attach¬ the misbehaving instrument. “I blow in it This focusing of the weight upon indi¬ Brahms' "Third Symphony” tbe ’ce,1° tone is reminiscent of a horn. imperfect wrist relaxation. produce special emphasis, ,f the weight of ed to gourd body or wind-chest. They are so nice and sweet und it comes out so y r y The illusion of a miniature orchestra is enough power to drive down a PTflrudv vidual keys is the real end and aim of the lacquered in black and other colors, to T Now, holding forearm and hand firmly I cannot urge too strongly the impor¬ the arm is thrown simultaneously over r-r-rotten!” HE RECORDING of Brahms’ “Third absolutely complete. The Lener Quartet so-called “forearm rotation” which makes together, raise them to a vertical position tance of acquiring the ability to relax com¬ and upon the keys. As an instance of such protect the material from the destructive ymphony by Stokowski and his of Budapest have interpreted this work it possible, by twisting the forearm to the influences of the atmosphere. and then relax. The lingers now lut the pletely any of the muscles called upon in an effect, we may cite the first chord of famous Quaker band was a most welcome with an instrumental virtuosity which is playing. If every player, indeed, shou d The tube whistles have either two, three, addition to the growing library of musical most effective, and the recording is uti- table with a resounding thump, winchlf Beethoven’s Sonata, Op. 13. or five tubes. The gourd whistles are fur¬ To Eliminate Pauses applied to the piano, produces a loud tone. snend two or three minutes of his daily class.es. Stokowskis interpretation of this usually full and resonant. Perhaps the nished with a mouthpiece and small aper¬ practice time in merely allowing h.s hands wor is an i eal one based upon its rhyth- best playing is in the reproduction of the Principle VI tures to the number of two, three, six, ten, By Norah Smaridge to dangle limply from the wrists his com¬ TTi u reading of it in the concert slow movement, wherein the composers rr HE ARM-WEIGHT touch, with loose and even thirteen. A few have the mand of the keyboard would be immensely hall, it has been said, was wrought with mystic touch of beauty is recreated with l iprist is well adapted to the produc¬ shape of a pig’s head. There is a decided tendency for the increased. • pupil to make a considerable pause at the treasurable marvels. The slow movement rare appreciative regard, Having secured such complete relaxa¬ tion of sustained tone, in alternation with was particularly incomparable in its tender, the hand touch. In the arm-weight touch, end of this or that measure. Usually it tion one may readily learn to hold in re¬ wide-eyed loveliness, a gem of purest seren¬ the wrist starts from a position either level is found that such a measure has pre¬ serve any desired degree of firmness. ity. And how ineffably yearning, how full Piano Concertos with or a little above the arm and hand. sented especial difficulties and has, there¬ Thus, in allowing the hand to dr0P 0I} of sHnting sunlight, was the Allegretto!" 'T'HREE PIANO concertos recently e.t- By a sudden relaxation of the forearm cr fore, been practiced over and over by it¬ to the table top, one may lessen the thud Rotation, to rigtvt entire arm the wrist falls, so that the arm self. With the habit of pausing at the is and more too is true, for Stokowski A gaged our attention for their artistic of the fingers at will by making the relaxa¬ evidently nurtures a deep fondness for interpretations and their excellent record- right or left, to concentrate the weight hangs on a finger or fingers as the tone end of it thus firmly fixed, the pupil con¬ tion only partial. tinues to do so even after the difficulties this symphony. mgs. These were Chopin’s “Concerto m upon whatever key is to be sounded. is produced. have been mastered. i he recording itself is an excellent one, E Minor,” Opus 11, Liszt's “Concerto » This tendency may be avoided, in the one which can be enjoyed for its pure, E Flat,” Opus 22. and Schumann's “Con- Principle III case of practicing an intricate measure sensuous beauty as well as for the poetical certo in A Minor,” Opus 54. r-pHE EFFECTIVENESS of weight apart from the rest of the piece, by start¬ interpretation of the conductor. At the Chopin’s “Concerto in E Minor” was 1 playing ivill depend (2) on the direc¬ ing with any note except the first one and same tune it does not do Mr. Stokowski written in 1831, when the composer was tion in which the weight is released. ending with any note except the last. ul justice, for his range of emotional only twenty-one; yet already his exquisite This principle is well illustrated when CHINESE PIGEON WHISTLES Then, once the difficulty is overcome,, the concept is considerably eclipsed in the melodic genius was fully in evidence, one drives in a nail. A hit directly on its pupil plays straight on without the tend¬ recor ing. t no time does the orchestra Chopin never acquired fame for orchestra head is evidently worth several sidewise ency to pause at the bar-line—a tempta¬ Renuine pianissimo, but compromises writing; his creative gift expressed itselt Now sit back, from the table, resting The whistles are manufactured with blows. So, if the arm weight descends tion which would ordinarily suggest itself * ,nd x h f mezzo-forte and a mezzo- only through the keyboard of the piano- your hands loosely in your lap. * straight down into the key, the maximum great cleverness and ingenuity. The mate¬ to him had be been in the habit of stop¬ upper arm, forearm and hand held firmly 4 signed to th ' T“T’ be as" S° 11 is not uprising to find the orches- of force results. /j% rials used in their construction are: small ping there. together, pull up the whole combination, gourds that serve for the bodies, and sev¬ wouW , rrdmg dlrect0r’ but « tration an uneventful part of this con- Suspend your hand an inch or two over S l 0 the present writer that the certo. But, since a concerto is primarily by shrugging up the shoulders as high as eral kinds of bamboo for the large and the keys, so that it hangs down from the Fig.5 Up and. down arm. know L S °f- a ,Stokowski should designed to display the skill and artistry you are able (probably four or five wrist as nearly perpendicular as possible. Rotation to left small tubes. The various pieces are fas¬ "Alas for those who sing, but die with inches). Hold the arm thus suspended tened together by means of fish glue. Their all their music in them.” whaT in th. Pr°miSl n the de'ivery of of the solo performer and since the piano making requires much time and skill. One —Oliver Wendell Holmes. feet concept. * ha ' haS been a PeN part of this one is full of emotional ex- (Continued on page 311) APRIL 1929 Page 275 THE ETUDE Page 274 APRIL 1929 the etude No great degree of force is thus normally curved only slightly, so that they press Scientific Legato Playing generated; but the resulting rather than drive down the keys. rich and well adapted to the sustained and By Arthur Bender department of legato style since there is a decided tend¬ Principle IX ency for the finger to continue clinging to I had an ordinary spring scales before needle went back to aero instead of eight the key. Often this touch is employed to 'THE APPLICATION of weight me the kind that has a round dial with a ounces, I knew I had broken my legato, Pahds AND Orchestras start a phrase which is continued by the should cease or be minimised as soon “hf ^hat registers up to twenty- I tried with greater speed and soon was as the desired tone is produced. In the player from the band. At first I had hand touch, with a gradually rising wrist, fom pounds and is much used in kitch- able to make the needle go to four pounds case of a staccato tone this direction Conducted Monthly him use a small bore melophone with as in these instances: e°r Through curiosity, I struck its little at each stroke and come back no . further HE FRENCH horn, with its rich
GEORGE L. LINDSAY DIRECTOR OF MUSIC, PHILADELPHIA PUBLIC SCHOOLS
DURING the past ten years there has a language pride will be realized only beent much progress made i through the development in song and ^ohc Values in Voice (Culture speech of finely attuned ears that are super¬ teaching of voice culture to classes former, you may each week down artist seldom performs publicly anything of senior high school students. Progres¬ sensitive to the beauties of their mother ir three, to be transposed various which he has not played and played well sive teachers in many cities throughout the tongue. The ideal will have with it the agreeable than others. Finally (glasses for Senior High keys such as the following: for at least a year. country have abandoned the haphazard “hit courage. A consciousness of all these Vacation Lapses 3. Memorize each measure with the u he___ may... sprout, an ambition to play for or miss” methods for the adoption of care¬ things can spring from the voice culture most exactness so that you can recall himself a piece that especially appeals t classes for post-adolescent voices. That fully planned courses. These involve the School Students srm \rm mentally every item of notes and fingering, his fancy. use of text material with required written is the great period of opportunity for start in October and stop in April, 4. Before playing at a concert, be able If piano recitals are not available, play examinations on the theory of the. subject, moulding the young human to an appre¬ take a long vacation and then appear to perform the whole composition on top to him standard pieces, pointing out some for which, together with solo tests, grades ciation of the beautiful in song and speech. to have forgotten all that they have gained. Shall I have H-p™ review of the keys, so that no sound is heard. This of their attractive features. A few are given and promotional credits are By Frederick H. Haywood old books and piec, will show up any weak spot in your armor, minutes spent in this way at the lesson granted. In many instances where the new ones of the sa: The Basis for a Sound Musical it i ons impossible to advi G. M. M. 5. Finally, in playing, keep firmly in w;n tend to make him discriminating and ^ ,status °* but will so improve the relation of singer is a sure indicati6n of culture and indi¬ Education mind that your wrist should be loose delighted in the discovery of unexpected of an elective to that of ^rmna required™ sub-«,h and s'ng'ng tbat eacb student will enjoy viduality and an invaluable social asset. HE RELATION of the teacher to With a new start it is always better to and your tempo unhurried. Controlling beauties. nearly complete musical experience How many miss the chance of improving T ject. With these progressive teachers who sucjj his class is quite different from the begin with fresh materials which are de¬ the muscles in this way, you may then de- Play to to him, also, a new piece be- we feel certain is enjoyed by the themselves in the art of singing because have been doing this important pioneer relation of the teacher toward the private cidedly more likely to arouse a pupil’s vote your chief attention to making each f0re he begins to practice on it, putting a student of the violin who plays in the of stubborn circumstances, financial and work, the subject is no longer considered student. To be successful he must organ¬ enthusiasm than a “warming over” of high school orchestra. A • i e™ netnvp triads phrase as beautiful and meaningful as pos- lot of “pep” into your performance. Per- in the light of an experiment. It is pro¬ otherwise, and “die with their songs i ize the lessons and proceed along pedagog¬ thingstninsrs aireauyalready siuuwu.studied. Even **if **a pupil -Arpeggios -- r-~oo— may^ begin*-■ with octave.. , triads ^ tQ up thc whole com_ haps you may succeed in infecting him their throats unsung.” claimed to be not alone possible, but ical lines. Digression from this plan has apparently forgotten all that he has played in sequence through all keys, pro- a constant increase of interest, with the swing of the music to such a de- essentially practical and a delightful ex¬ Benefits Nfot Restricted to Choral The establishment of voice culture means destruction. His approach to the previously learned, his memory ought to gressing-^-— chromatically upwardsrrU »»a m th,s classes in the high schools throughout the Fill your mind with such fruitful thoughts gree that he will attack it with vigor, perience. Therefore we venture definitely Singing musical phases of the course must be com¬ revive under the inspiration of an attrac¬ formula: country would greatly reduce the number as the above and there will be Then, for a further incentive, let him pre¬ prehensive and searching. 11 e must be tive new piece or study. Meanwhile you of such tragedies. left in it for self-consciousness. pare a piece for a definite occasion, per¬ classes of from twenty to thirty students -*• not restricted to choral singing, for sure that the three subjects, voice culture, may review scales or> finger exercises by haps a pupils’ recital. Again, get your' ,n each group is a present day reality and from the voice culture class soloists will style in singing and song interpretation presenting them in a new light. If the pupils together occasionally and let them one of the most progressive contributions come forth in large numbers and of such Health Benefits pupil has practiced scales in a certain com¬ are given equal consideration. In mastering Does Not Li\e ‘Piano Study catch the spirit of good-natured rivalry u- u S PU!?^C music education plan for quality as. to surprise the most skeptical ' ■I "'HE BENEFITS to health from this pass, for instance, give them to him in an¬ these the student will gain a complete in performing before each other. When high school students in the country to-day. of critics. This is inevitable. Just that. A specibcs training are most important other part of the piano or let him play Technical drill of this kind may be musical education together with a famil¬ this pupil sees that his practice is going The writer is acquainted with a case in as they apply generally aside from the iarity of poetic literature from which all them from the top downward instead of applied to velocity studies, such as Gur- wku is absolutely -added that he does to amount to something in the way of Conservation of the Post-Adolescent in which some five or six high school application to health for the singer in great songs spring into being. from the bottom upward. litt’s Op. 141 (“School of Velocity for .. study music.__ Howev.TT , A„ ing lessons,__ and— -1 practices practical results, he may come to realize y • students began to sing in solo church choir particular. The benefits to the singer are To be a singer means a great deal more If he has a book that is not yet com- Beginners”), Kohlers Op. 242 (, Ll“le „.x hours a week. The lessons that the game is worth the candle. \ liJTunnc r , , positions at the year of their graduation through correct breathing which means than being able to produce bcauiiful tones, pleted, why not go on with it where he School of Velocity”), and Brauer’s Op. are learned passably well. He is a M i-T, ■ t0r , , protection of the and as a direct result of the training in correct posture, a supple and sound body, left off, jogging his memory of previous IS which are introductory to Czerny s boy of high standards and knows it and this perspective should be the corner¬ is the right thing to do, hut when he ld ™Cu and, the nurturing-of the voice which they received in their high body rhythm, poise and self-control. An details ?’ Or, if it seems best, start with a “School of Velocity,” Op. 299. changing voice have been given much atten- school classes. interest in good health through singing is stone upon which to build methods of Fingering of -Arpeggios voice culture for both individual and class new book of practically the same grade. There are also plenty of classics which ion for a rather satisfactory and happy the biggest “ounce of prevention” obtain- But take care that you do not discourage you may utilize, the polyphonic school 1. Is there any way to tell instruction. whether the third or the fourth fin¬ conclusion. But, though these phases are, c i c- • rn • p, able. And it is so verv aereeablv admin n by giving the impression that you a represented by Bach’s “Little Preludes generally speaking competently handled, Solo Stnging Ultimate Objective istered! It is general.?conceded thatX ger should be used in chords as we “putting him back.” and Fugues” (Presser Collection No. 128), find them in pieces, for instance, methods for the cultivation of the post- 'T'HE REAL purpose and ultimate ob- physically fit are mentally fit and so better Private Teachers to Profit ” although now he is the chords D-F#-A-D or Bb-D-F-B|j his “Fifteen Two-Part Inventions,” and in the left hand? Does the size adolescent voice have received little con- A jective of the voice culture class equipped to grasp the meaning of life’s U'VERY HIGH school student with a the later classical school by Beethoven s problem of the lower interval determine this? sideration from a technical standpoint. In- should be to train students m solo singing, problems •*—' background of two years of voice Fundamentals of technic Sonata Op. 49, No. 2 and Schumann’s 2. How are the minor arpeggios deed previous to the past ten years, no This can be done in such manner as to Aside from the required strength used cf C, F and Bb fingered when the culture and training in the art of singing 1. I would like information in re¬ “Album for the Young,” Op. 68. [ have had other pupils go through thumb is not used on the black effort was made to standardize or organize give the individual student of the class in singing for the purpose of sustaining ■ same experience but have always will be a most desirable student for the gard to a pnpil, a boy of sixteen, 2. Classics: Kuhlau, Sonatincs, Op. 55, night them out of it in a few keys?—B. S. material of instruction that could be def- the advantages of specialized study avail- the voice we make a suhtlp mint who has never h."-' singing teacher of good repute and ability. or classical music. Nos. 1, 2, 3. eks bv means of a fascinating initely followed to any conclusion. „ ercises, polyphonii cp or ' an encouraging talk. But As a general rule, it is best to use the “ -.. " «* I**, lesson. Indite ',”2 £ “t.Tft'e One of the results of class instruction Concone and Burgmiiller Schubert: First three Waltzes, boy has felt this way^ for the aJ™e; . v?ice classification has been of thoughtrnt and action can thus hebe gained,trained upon Tund'phyTicaf—_i _• i conditionT"• Thfhu-_^ . with another teacher,teacher, and afterafi five . .... fourth finger when the interval to be will be well-versed singers at the age of years of study finds Czerny’s Op. 9. four months. He ' has attempted for the purpose of assigning In this plan are included correct reading, man ear is very slow to catch the a r t twenty years instead of beginners with difficult. Wha. - Beethoven: Albumleaf, Fiir Elise. u niCPl‘V spanned is a third and the third finger parts in glee dubs and choral units, but rhythm, intonation and interpretation, qualities of the vocal tone and the frai? would you recommend? throats already stiffened with interference Popular or semi-classic: when the interval is a fourth (I am speak- tins has been done on a somewhat specula- channels through which the student may ing of the ear is an exree’rltacri 2. What1 pieces (popular, from ill usage and overmuch forcing. The classical) would you advise Pacher: Austrian Song. To interest such a pupil you must arouse jng of the lower interval for the left tive basis with but temporary effect and learn to feel the moods of music in song study. It ? a noticeable facf ^ girl of ten who is between t young singer will have gained much by Hitz: Pastorale, Op. 174. his enthusiasm for what he is to practice hand and the upper interval for the right), results. _ In spite of these facts, for many form He thus can learn to perform pro- person who is free from physicatremessiM ond and third grades in her this preparation for intensive study with 3. Do you consider —J Poldini: Valse Serenade in D. years singing requirements in glee clubs ficiently as a soloist and, like the violinist and interference sines? with P „ _d all the or give him some definite and desirable In accordance with this rule, the fourth a private teacher and will select with 3. This depends on how they are per¬ and choral units have been exacted in of an orchestra, first play alone, gaining rhythSc’SfiZdTt It ^ music that appeal__ in The Etude, aim for which to work. Anger is used in measures 1 and 3 of the discrimination his instructor for this ad¬ with the exeerDeceptioni!- of a few very formed. If the player reads them with As to the first method, try to find some- following example and the third in meas- . the rendition of music: difficult of range mastery of his instrument and himself in He is supple and unrestrained aSd™™^ difflcult selectii ana too frequently beyond the physical this way. vanced study as a solo singer. uiuoui. - - “• considerable accuracy as to technic andana “ . , and „ive.. ;t tQ him jf it 2 and 4: sympathetically keen. We say he is There will be a vastly increased number capacity of still very young throats. It To refer again to the glee club and musical! 1. Spend the first few minutes of each interpretation, yes; if he merely drums g within his reach Perhaps he has - This keenness of ear and n of students for the private teacher as a _ drill upon_ theibo Girtaomentnlsfundamentals nfof ♦thembee, ihrmio-tithrough, with nothingnothinc tnto show for IS at a** Within his re . P has been an experience of singing— =~:= with choral, - i: J* obviously a group of singers cal feeling is within the reach nf =,11 „„ piece over the radio or played direct result of the high school voice For such purpose there are plenty it but “notes, notes, notes,” no. instruments untrained in the technic of technically trained will easily outsing in sons who can acquire n?? i r 1 technic. — -, _ _ concert, in which he expresses some inter¬ culture classes. of books filled with endless exercises. But voice production. tone quality, interpretation and mufical clastiSy oTt^ bTdv Wa '* L ^ est. Even if it is too difficult for him or is personally I prefer to choose just the right The senior high school student is suffi- intelligence any group of individuals with- ancy alertness sunnlenes^ Ik?’’? bu°y" ‘Playing in Public a jazzy selection of which you do not ciently grown physically and mentally to out this background. Incidental . to the are culture classes to be as follows: materials for the pupil’s weekly needs and wholly approve, don’t turn it down, since, grasp the importance of voice training and growth of musicianly singers is the much ing-freedom S rce in smg- L The saving of time at a ratio of to write what I wish him to practice in twenty to one, making it possible to reach . Would it be a if you can cultivate in him a real zest for to comprehend the theories of voice cul- desired development of moral courage Sensitive ears are P«pnt,\,i <- a book of music manuscript which he o play v s. also alert enough to realize through solo singing. . . e essential tot0 an appre-appre' many more students than could be taught brings to each lesson. I get n but a single piece, you have broken down individually. the value of understanding the technic of The frequency of solo performances the Titricafe^scak als° ? If, for instance, he does not know the g tth g his defenses. This rule may be freely disregarded, _?II)olayounknov It is sometimes surprising to find what the vocal function through which he can before the class makes for courage in that the singer must us . n8,“f§e'.*ounds . 2- The use of text material, examina¬ scales, write out one or two of them each [ could do to overci however, when it is plainly more sensible tion and pedagogical procedure convincing week for him to learn. When several or sness, as I would 1 a pupil can do if only he be fired^ by mor’. safely sing the music required of aesthetic achievement and contest. This is fundamental tone and tw?, uu? \he much to be able to play fri - «r-r- - . - . , T__ to reverse its provisions; thus, in the fol- him’ , Quite as important and desirable as physi- must express himself t / ‘ch he to the school principal; the granting of all of them are fixed in his mind by this ory?—A. M. O. genuine spirit of accomplishment. I once j arpeggios, it is evidently easier t took ao emailsmall nimilpupil of mine to 3a pianoDlcMO re¬Tc- ...... A knowledge of correct breathing, of cal development and courage in physical row, ecstasy, desire gratitude f J°y’ “r' credits for the subject, an additional stim¬ means, you may assign groups of them for the third in the right hand, although ulus for recruiting students. comfortable both for cital during which he was especially de- clear articulation, pure enunciation and contest. Certainly in the pursuit of hap- and life. ’ 8 tuae’ love> Praise special practice. One week, for instance, It would be r it spans the interval of a third, while the 3. The protection of the post-adolescent you may prescribe the sharp scales, to be you and your audience for you to use your lighted by Poldini’s Marche mignonne and faultless pronunciation are all first line piness moral courage is as essential as' The tuning of the , , ...-.. fourth finger is perfectly practicable for defenses against vocal strain and injury, physical courage. This can be attained in given to the studv nf th “ the rare voice by training in the correct technical practiced through one octave in parallel notes rather than attempt to play without inquired if he could not take “ w ’ 1ps- These points of vocal theory should be the voice culture classes, all of which sounds required in?,Win P,Ure VOWel use of the instrument. and contrary motion. Another week you them under a severe nervous strain,_ _ __ Although the piece seemed absurdly the left hand: 4. The development of a superior tone may assign the flat scales to. be played if you^_ intend to play_ much public, you difficult for him to attempt, I let him “peg contained m the method for the post- brings us to another valuation too impor- delible impression unnTtff makesJan ,n' Ex. 2 adolescent voices. The students can learn tant to be discounted or overlooked. By this training the^tudlm T — mmd or glee club and choral singing; elimina- through two octaves several rhythms, should take means to get control of the away” at it with the result that he as- of these requirements and at the same time The boy or girl who can, with poise, comes a student,f ^“i Smgmg be‘ 10" °f danger from incorrect singing. such as the following: situation. Try acting on the following tonished me by learning to perform it quite become aware of the limitations of the stand up before friends and entertain with takes courage to sn^k mSI IT*? „It .’ The training for body strength and plan: creditably in a short time. Ex. 1 human voice and thus build for sound a song, beautifully rendered, is imme- than the “other fello ” f t beautifully poise through correct breathing, the culti¬ 1. Choose a piece well within your Let your pupil have opportunities of ability, not something which taxes you to hearing piano music well played as often judgment on matters of voice develop- diately in demand, for the ability to sing an affected high brow tb- °f being vation of an appreciation for pure singing '■inn n n| I do not quite understand your second ment. This will not only protect the a song artistically and thereby contribute speech is the first essentia diction, the stimulation of interest in beau- the utmost. as ?0-SS,de wiifsoon begffi ^distinguish questionlestion but have based these last ex;examples voices in the glee club and choral singing, something of beauty to recreational hours ing of a lammacrp e upbuild- Let this piece be one which you have music,” ? tltuI speech, the training of an accurate Occasionallyoccasionally cnangechange onoff iuifor a icwfew weeks i-- — .— - 7 . , u ._. • . i the keys about which you ask. 6 priae. a people with to finger exercises or arpeggios. Of the studied and re-studied several times. An between pieces and realize that certain ones (Continued on page 313) APRIL 1929 Page 279 TEE ETUDE Page 278 APRIL 1929 THE ETUDE ” Sonata, Op. 27, Ho. 2 ‘Beethoven’s “VXloonlight THE NEW ETUDE GALLERY OF MUSICAL CELEBRITIES M. Bonner 1 How to Use This Gallery:—1. Cut- on dotted. line atI left.# ofi«» th^ mPa^ JndassT7club work7V“Use‘thei',rv u« S"S.« picturesf to make
Johannes Brahms Jenny Lind Anton Rubinstein
Underwood
Franz Schreker William Mason Fritz Kreisler Other Music Sections in this issue on pages 253, 289, 321 THE ETULi Page 282 APRIL 1929 SONATA PER IL CEMBALO ANTONIO SACCHINI 1734-1786
ANTONIO SACCHINI was bom in 1734 at Pozzuoli, near Naples.and died in Paris in 1786. Although the greater part of his musical ac¬ tivities were devoted to opera, he wrote some Oratorios and Chamber Music. He always preserved an elevate an o y s y e, o ten bringing Mozart to mind; as the Sonata which we here publish clearly demonstrates, although written longbefore a ozar ian s y e cou d ever have existed. # f- A rare Classical Revival made especially for The Etude by the American Italian Master G. Francesco Malipiero. "1^
P m f f p \>ML -P-- THE ETUDE APRIL 1929 APRIL 1929 Page 287 THE ETUDE APRIL 1929 Page 289 THE ETULe the ETUDE Page 288 APRIL 1929 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES bM1 ”• ly™', , UNE PAGE DAMOUR alexa8£e2VnoTLITz' by the great song writer. Grade 5 r > -■ &.- Moderate appassionato m.m. J = 72 --
% From here go back to the beginning and piay to Fine; then pla"y~Trio British Copyright secured Copyright 1928 by Theodore Presser Co. Copyright 1926 by Theodore Presser Co. Oco noi qoi Other Music Sections in this issue on pages 253, 281, 321 International Copyright secured APRIL 1929 Page 291 TER ETULR Page 290 APRIL 1929 SPRING FOLLY the etude CECIL FANNING FRANCESCO B. DE LEONE •M. X - . . 1 K K h, 1
Oh! v rhy was I so care - less on that fair A - pri]
| ^ fscherzando nip ff.... k r sH p r
A slow movement, in 1VJAJW1NMOONLIGHT ON THE LAKE CHRISTOPHER MARKS the true organ style I _ 0 J" Andante tranqmllo M.M. * - 7° win - ter had been ]one - ly; My heart was hard and And I had grown im-
Manual
in with sau-cy_grace. And like the first blue - bird of spring caim - ]y u . surped the
British Copyright secured Copyright 1929 by Theodore Presser Co. British Copyright secured Copyright 1929 by Theodore Presser Co. APRIL 1929 Page 293 Page 292 APRIL 1929 TRR RTUty LA COQUETTE . (SILHOUETTE) Arr.by PRESTON WARE OREM ... SECONDO A. ARENSKY Allegretto (tempo rubato) 5B 5 MINSKY f, . - .
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Copyright 1929 by Theodore Prefer Co. F«ge2H APRIL 1929 SECONDO *TVLB
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ARNOLD D. SCAMMELL
7 Page 296 APRIL 1929 APRIL 1929 Page 297 PURPLE IRIS *” **** the etude May be played a]] in the First Positioj VALSE DE SALON CARL WILHELM KERN,Op.35o,No.2 Educational Study Motes on Music Allegretto m.m > di Valse in *5his Etude VIOLIN By Edgar Alden Barrell March of the Archers, by Montague Not rDff IVERS & POND PIANO ilfp PIANOS i/tavfbeenF^ou?h to^vTgidismS mmmonata per a Cembalo, by Antonio
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In the>lepr*major section note the right-hand Etude Lament THE REFINED ELEGANCE »e‘;;m^x^,and tw" Dont sohn- of Louis XVI Design France’s greatest art" epoch, shows in w% this lovely small grand. Picture in your fsesstt xm home or studio the distinction and luxury of a present day “period” grand. Then immmm m write for our catalogue! Ivers & Pond PIANOS a delightful tone quality which their sterling integrity of construction guards through the years. Built, as from the first, in but one grade — the highest — under the original ownership^management, they are used in over 6oo conservatories and schools and 75,000 homes.
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Ivers & Pond Piano Co. 141 Boylston Street Mass.
Copyright 1926 by Theodore Presser Co.
British Copyright secured APRIL 1929 Page 299 Page 298 APRIL 1929 TEE ETUDE tiie etude J<[o Tjime for cPo\er Faces By E. A. B. You remember that Shakespeare’s Ham¬ attention is helplessly riveted upon the T3he SINGER’S ETUDE let in addressing the players previous to singer’s face! their performance before the king, di¬ Secondly, it is an established fact that Edited for April rected them to “suit the action to the the - facial play has a definite part in de¬ word.” This phrase is worth noting, and termining the timbre (quality of tone) PROBABLY no reader of these lines ©y Eminent Specialists lower lip against the upper teeth and then for singers it is especially useful when which you employ for a given song or por¬ has not heard the remark, “When making the explosion. transformed to read thus: “Suit the facial tion of a song. Leon Melchissedek, the I listen to a singer I like to hear the IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VOICE DEPARTMENT The n is a vocal consonant and the f action to the words of the text.” The great Parisian baritone, was well aware words.” (Many a church singer obtains “A VOCALIST’S MAGAZINE, COMPLETE IN ITSELF.” unvocal. This may easily be seen by pro¬ countenance must be mobile, expressive, of this, and in technical articles for and retains a good Church position because nouncing or singing the words veal and ai;ve_and the moods and emotions of French periodicals he often made men¬ she enunciates distinctly, and the good old feel. The two words are, phonetically the words should picture themselves un¬ tion of it. Why such a thing is so, no deacons who often supply the money for exactly alike except for the difference in failingly and convincingly on the sing¬ one knows; but over and over again it the music can tell whether the singer is the initial consonant. has been proven to be true. Therefore, er’s face. , , singing “O for the Wings of a Dove” or It is little less than absurd for a singer to get the particular timbre in your voice “O for winks of a Duffer.” Phonetically C - ' , ‘ to try to project the meaning and spirit of which shall convey the desired emotion, Gutturals speaking there is not such a great dif- GUUUCVltlOU _ a fine poem when his facial technic is adapt your countenance accordingly. ference, however much the sense may 'T'HE G AND K are made by tigntly inadequate or else entirely lacking. Put Incidentally, for remedying deficiencies dlcer-) ...... 1 closinS ‘hroat and then exploding yourself in the position of the audience. and awkwardness in this matter, we would Some singers enunciate distinctly almost (T) p UN A into the succeeding vowel sound. The a How warmly would you respond to a recommend the not very inspiring—but naturally without giving the matter much JT ERLEY IvUNN /YLDRICH (mi) has a sound like the da or ba but the singer who came out on the stage and extremely effective—practice of confront¬ thought, while others find it extremely explosion of the sound is done with thl sang Brahms’ Standchen—that charming ing your mirror for about half an hour difficult, either from some slight defect baci. tb . . and lilting serenade—with what could be each day, and at that time making up in the organs of speech or from a mental Each of the consonants, l, n, t, d and r, not help. A little prolonging of the vowel therefore a vocal consonant Th ui'i described only as a “poker face?” Or every kind of face (and grimace) you sluggishness that prevents them from giv- has a distinct individuality which must be helps at first, but the r must be attacked js unvoCal * Ie k 'ka) how loudly would you applaud him, on can think of, descriptive of the complete ing the matter due attention. Distinct 'carefully observed. Four of them are vo- swiftly and deftly. the other hand, if he sang this song emotional gamut. This will gradually put enunciation is, after all, a matter of using cal consonants, although the d has very Sibilants looking like Napoleon after Waterloo, or mobility into your countenance, with the the organs of speech correctly and with a little sound. The t has no sound at all like Hairbreadth Harry in the Sunday result that your singing will grow certain deftness. This deftness must be and is therefore an unvocal consonant, Labials ''THE FOLLOWING consonants are comics? Why, the delicate loveliness of steadily more colorful and varied and your acquired as a pianist _ acquires agility of Otherwise it is quite like the d. This is ' I 'HOSE consonantsus thatuiai aieare producedurouuccu ,1 . Called, sibilants,, , • c - lit,, th (vocal), the Standchen vanishes mist-like as your audience more pleased to see you. finger action by eliminating all unneces- easily seen if one says or sin (which is by the lips termed labials. They c}’ 9 (.soft> and ar,c made by blowing sary musical muscular action and training much better) the words d d P, b. the breath through the teeth and then Tra\e! the necessary muscles to function ac- , * By pronouncing these consonants with haZ.i”g d e*pl“de 1,lto ,tbe vowel sound, Enunciation curately and swiftly. In the process of THe S0Und °.f the d °I *. « absolutely a vowel sound ma, pa, ba, one may observe *be A’ 11 (vocal) j, and g (soft) necessary to the correct finish of the Word. acquiring correct and distinct enunciation that they are produced by the lips pressing are. v°cal consonants, while s. th (think) (Continued, from page 298) each consonant must be made with the together and then exploding with a slight ?nd ch are unvoca!- Sometimes a lisp can the initial vowel sound of these vocal con- Linguals L. N. T. D. R. turope - we/rd muscles or organs intended for its forma¬ The Kfecessary ?{asal movement of the lower jaw. The im- . remed'ed by calling attention to the sonants is confined back of the tongue, laugh nard tar d tion and no others. Many singers use the ^J^HE N is one of the few nasal sounds portant thing is the clean cut explosion of difference between s and th and practicing and the vibration is xfelt-u -in the “““nose. ThUThis knee teem d jaw entirely too much in pronouncing the the lips for, if the movement of the lips two words ’’ke sing and thing in linguals, whereas only the tongue is needed. the English language, and its nasal is easily proven, for, by touching the loan quality is absolutely necessary. To illus¬ is sluggish, the consonant will not be def- suc«-)s,on- nose lightly with the fingers, the vibration ^on via This makesincwvco theme atiiuuaction auso suustiff duuand CUIIIUCIcumber- - , , , . M. P. B. inite. It will also be observed that the m .ls tIle onIy aspirant and is made by can be felt as well as heard. When the Labials some that the consonants lack distinctness trate this one has only to sing all the syl¬ lables nay, nah, nee, no, noo, with the and b are vocal conafciants requiring a forcing tbe breath over the vocal cords explosion of the consonants occurs, this main and are not easily understood. sound before the consonant is struck. The 'n a sudden gust. The cords themselves Consonantsconsonants are divided into groups ac-a ,^n^e5s Eghtly touching the nose. It will , • unvoc,i . . , . . ' vibration must cease instantly and all the mean the *orm tbe explosion as the lips make the new vowel sound must be in the mouth. move £ool cording to the action that produces them be obse™d that, just before the tongue fe formTtSn' * linguals. ouu’ then sub-dividedauu-uiviucu uuuinto classes caneacalled eIm‘S the co". s°nant,' *he nose. . , is vibrating-° eXpl0S1On for lts formatlon- If some of the nasal quality is left the Labio_Dentals voice sounds nasal. This quality should p , vocal and unvocal. The difference be- wlth a“. nasal res°nance whichwhlch disappears Tlasal Consonants tween the two should be carefully noted “s*antIy .whe." the consonant is struck. Labio'Dentals be entirely eliminated from the voice as thane they by the student and carefully practiced. If there i feeling of resonance TN ENGLISH three nasal consonant it is very disagreeable. theme though r I TIE TWO consonants that a thorax though The unvocal consonant has r the i when the n opens into pro- actions need careful attention n, m and Examples: foam vogue the^owel ceeding vowel il makes the voice nasal duced by the lower lip and the upper 't9- Examples: nard, name, need, know, CABIN itself and simply explodes into theuic vowevuwu , ,r ,, , pliminat-prl... . - „„„ u. teetb are f and v. Jr sound which follows, while each vocal and sboud be ehminated ; Just before the n and m are exploded noon, mark, main, mead, mould, moon. Gutturals These are produced by pressing the Today they choose TOURIST Third Cabin—for they’ve consonant has a sound which precedes the d . a s lgbt guttural vowel sound just (Continued on page 299) The other nasal sound is the ending ing G. K. Q. Y and W consonant explosion and which is necessary Prt;vlous l° tb.® tongue stroke. Otherwise or ng. Here the vowel sound of the word ™ralf.. quaff found it lively—free of social duties—with many of the :ame quail to its formation. The student should 11 ls exactly like t. The t is the one un- is suddenly closed by the tongue, and a gay canieel gueale yield members of their own set there. carefully note the difference as it appears vocaI ,consonant of this group, as will vibration is felt in the nose. This vibra- goal coa The pride they take in relating European experiences in each group and practice carefully until easl y be seen by singing, on one note, tah, tion must be ended suddenly by a con- ghoul coo yule it is perfectly mastered. tay’ tee> t0- t00> and then dali, day, dee Voice Production sonant action almost like the hard g. If Aspirant —the poise, the background it lends—make the annual do, doo. this is not done the word is left unfinished ha hate heed hole hoot trip an essential. It broadens their outlook on life The r stands by itself, in a sense, and immeasurably—it’s a modern necessity. Traveling By Edwin Holland and will not be distinct. Sibilants Linguals is one of the most difficult of our con¬ Examples: sing, thing, fling, song, sung, g 2. sh, th, ch, J, C (soft), X. TOURIST Third Cabin via White Star, Red Star or 'T'HE CONSONANTS that are made sonants for it needs to lie rolled a little singing, thinking, living. salve za ' shard charrn^ jar^ Atlantic Transport Line is within the reach of every at the tip of the tongue. For some stu¬ _ by a stroke of the tongue are called T to gel S taSTSe°»eS lies finu^ th .themSel.ve% they have t0 dlsco.n’ cheat jean purse. Round-trips as low as $184.50. linguals: 1, n, t, d, r. When these are dents this is almost impossible and for in a perfectly loose throat and the,r pract,ce for tw° or three weeks jaw, until the vocal cords regain their normal ■ sung with the vowel ah they ?occasional i quite impossible. This tongue lissom and lying flat in the month 1 .... e Double Consonants In our fleets you have a choice of such famous liners iuse of some .. and nroner action of .5 m0utb condition. as the Majestic, world’s largest ship, Olympic, Homeric, WHEN TWO or three consonants Syllables and Words -- v. w., piuuuuuu uni^ uicstruKC , , ~~ - "°—.. . XJL cvciy nunarecl hue a. • . , & . 1 , appear together in one syllable Belgenland, Lapland, etc.—and two remarkable steam¬ Language is really nothing but a series of the tongue is necessary td make them der the tongue whlcb prevents the facile PuP'ls. beginning to sing, contract the .1? u ‘ rcglster’ but other vo,ces bave usually both must receive their correct ers, Minnehahda and Minnesota, that carry Tourist —' ■’ . liil ..— muscles of the throat therehv emit*- three—chest, medium and head. Mezzo of vowel sounds chained together by perfectly. If the jaw is used at the same acdou that » necessary. ’ muscles of the throat'thereby^emffting'a so™1;11''^ and head’ formation: Third Cabin passengers exclusively. time the consonants are “thick” and lack To gain faci,ity m making the r the guttural or throaty tone; it is the vocal and altos have the greatest dlfb' consonants. To enunciate the language the deftness necessary to their perfect foUowmg words may be found useful: cords alone which are to be contracted 2? *y !"„passlng the break. It is here at correctly the vowel sounds must be pure production. This stroke of the tongue traln (TrTR) rnin fr . ,WITDX to c!,uality- the cavities of the mouth F’ ?r G that the pup‘l haS and the consonants clean-cut. must be sharp and decisive like the snap- drain (DUR) rain vromnn (VER) Joman fnd n°rtnls glve resonance and brightness tube of 'fh ‘’f6 ‘S "0 contract,on of thf employ nds Syllables or words that begin with a ping of the fingers. !,rav Ji’t-R) ray grave (GDR) rave tbe cavities between the back of the tmJ S” °f. tbe throat and no alteration of consonant and end with one may be com¬ If. the la, U be spoken or sung, the (BUK) ray ^ (CUR> — and ‘b« pbarynx give fulness. Ld the hps md °f the ,ary"X' By ea£mf‘ pared to a complete circle, the circle being tongue goes > the roof- of the mouth- —c To practice these words the syllable in bestand vowelmouth give color to the sounds The ^ |111 adoptlng a slight rounding of the finished when the final consonant has ex¬ ,, and allowing fining the sound bang made m the back capital letters should be dwelt upon slight- broad l o commence exercises on is the ““ “‘c ‘UHe r- 10 au’> ana al,,lw",B For those whose enunciation is especially ploded. The word bud, for example, be¬ gins with the vocal labial b made with of the mouth and then exploding it, as it ly before attacking the roll of the r■ Then , ’ “ father. Here- the-~w mouth th! |aryi,1X t0„fa11 sl|ghtly instead of rising, defective it is well to practice some of were, into the open vowel. It is the deft- the tongue should try to roll the r swiftly tongue"™,;!!" mst be perfectlyperfectlv loose,We theth. practice! e bIeak a wl11 in t,me be,,•«= united. , In vowel these words by making the consonants the lips which explodes into the vowel account sound of u. The singer dwells on this ness and accuracy of this stroke (with- and lightly-especially lightly. This should flaw th tensene« and lying of !hP1,lf ( ! 3re d,ffi,cult separately. The word strange, for ex¬ Accommodations are reserved exclusively for American out sluggishness) that makes the conso- he done, first speaking and then singing flat 111 the ™uth. In fact, the lower teeth °f the usua' ‘endency to place .. vowel as long as the note demands and ample, may be said or sung, s-t-range. vacationists—the sort of people you will enjoy travel¬ nantdist.net. Furthermore, it must be pro- upon some note that lies easy for thf ‘w6 Iower>ip should move as one dosing tW " fauI‘ °,ccurs “ then tosses the word into the air, with When the two consonants are of the ing with. same class, as in the word bent, the first the vocal lingual d. So the word is sent on its way to the listener. dependent of the jaw consonant is not completed, as the organs are already in position to produce the The complete circle is finished as the For many people this is not easy.. A hand voice until .. WHITE /TAR LINE second: bent, not benet; Mamma, not d is exploded, and the word is sent into mirrorm* mmay be used to watch the unruly Others may then be taken up. mainaina. the air like a soap bubble. RED/TAR UNE ATLANTIC TRAN/PORT UNE jaw until the action becomes perfect and ’ Suppos'eT for “example? that the word enJuvh at a ‘ime » !,bef„udent haf discovered his good vowel INTERNATIONAL MERCANTILE MARINE COMPANY a time is he may copy the s n the others. « is seen definitely that the tongue is act- draindrain should be found the easiest. Others three nr fn,?!a!-1Ce' ^lMSb's mayr lay be doned°ne ThenThen^au!^ of,.-_ • , , Address Tourist Third Cabin Dept., No. 1 Broadway, New York, mg with an independent movement and like drink, drove, dream, drive and drank should havf nof T 3 day' The Pupil taf^ T""®,1 6 vowels’.he "It is our instinctive delight in beauty that first attracts us to music that the jaw floats,” so to say, while the could be added. After a little practice after, 1 sensati°n in the throat on sente'ice of words and practice them and often it is the drills and preparations for future skills that come be¬ our offices elsewhere or authorized steamship agents. tongue moves swiftly and accurately. the student will learn that hurrying does voice to sucTa /UP'Is ,often fatigue tht extreme7 no^ °ffi sKca,e' 'Wt takmg the tween us and the beauty in music and cause us to become discouraged and t such a degree that, instead of ad- fncltes first» but keeping to the miaaie of the voice. to give up the practice of the art.”—Karl W. Gehrkens. APRIL 1929 Page 301 tee etude the ETUDE Page 300 APRIL 1929 Toranscriptions on the Organ By Henry E. Eversham 5 UMM Y’S CORNER There will be always a certain class of the works of other well-known composers. musicians who well might be styled the The “Leipzig Cantor” certainly turned “purists” of the art and who will insist that some of his violin concertos into pieces all compositions should be restricted in their for the harpsichord, and even into orches¬ TECHNIC and MUSICIANSHIP performance to the particular medium for tral preludes for cantatas. Neither did he must go hand in hand if one is to develop Pianism to an Art. In the absence of a capable choir or which their creators originally intended hesitate, on occasion, to translate a hitherto NE DAMP, wintry day, in the city Eminent Specialists The old fashioned TECHNICAL STUDIES did not: conformthis O piano, the congregation can be depended them. Which is all quite right in prin¬ secular theme to a sacred use. high ideal. They were dry and uninteresting, to be endured but of M-, I was engaged to play upon to carry the melody, if favorite and ciple and to be most highly commended, So, after all, the turning of a composi¬ for a noontide wedding. Arriving IT IS THE AMBITION OF THE ETUDE TO MAKE THIS ORGAN DEPARTMENT tion from its original to a new use rests enjoyed. . well-known hymns, such as “Jesus, Love unless the transcription be done by a skill¬ MODERN TECHNICAL STUDIES are as interesting as recreational at the time appointed, I found the organ, "AN ORGANIST’S ETUDE, COMPLETE IN ITSELF” largely upon the manner in which it is of My Soul,” “Rock of Ages” and’“Com? ful and reverent hand. nieces They stress technical problems just as definitely, but tn y a small, two-manual instrument, in a some¬ done. So long as no violence is done to Thou Fount,” are sung. Invariably a con’ But when it comes to unqualified con¬ attractively* written, building not alone for sound technical equipment, but what clammy condition. Testing it, the the spirit of the composition, there is no gregation has at least one good leading demning of transcriptions, it must be borne for ideals of beauty and good taste. swell was found to have several keys in mind that even the greatest of the good reason for cavil. The organ liter¬ voice. However, with a congregation un¬ A new and unique approach to the study of Piano Technic is the near the middle of the keyboard that ci¬ masters were not averse to the “borrowing ature has been surely enriched by the accustomed to singing alone, it may de' “Point View” in phered (that is, continued to sound after habit.” Mozart did it; Handel was a splendid transcriptions of the classics, by volve upon the organist to give the correct the key had been released). Such a state notorious “plagiarist” without giving credit, the versatile Hest. If the great fugues pitch and start every verse himself. KEYS TO THE KING’S CASTLE of affairs is often due to some derange¬ When the Organ Fails and not always from his own creations; and fantasias of Bach can be glorified and ment in the mechanism of the instrument If, perchance, the organ is excluded en- and the Bach, who, as it is so often said, made to glow anew by such orchestral by John Mokrejs 1 tirely from service for some length of caused either by chilled metal or wood- ‘By Eugene F. Marks considered it sacrilegious to change a musi¬ adaptations as have been done by Stokow¬ “Fundamental tones d-3-5-8 of any key) and their overtones, constitute POINTS aud parts swollen from dampness or from both. time in order to make some extensive re cal thought, made many re-arrangements ski and other great conductors, then COUNTERPOINTS and are the “‘“f TiXf'tmd it is astonishingly simple, clear, In this case uncoupling the Swell to pairs or build in a new instrument, the of his compositions as well as sometimes certainly there can be no censuring of and ?ciem7.,73Tealth oMntaresting7ieces is given whereby the Point system is taught. Great gave„_ a partialr.__ relief;_, but__. two keys damp weather, drawing on the couplers In order to be prepared for any emer- organist should view the matter as_ _a for- “borrowing” without compunctions from their use for the resourceful organ. _ the middle of the keyboard still tbe keyboards are observed to approach gency along this line it is well to study tunate opporunity to drill the choir s„ Books, I, II, HI.Each $ °-60 continued to cipher. Raising the two eacb other, the Swell sometimes descend- out and practice now and then, while thoroughly that it will rely solely upon ‘‘He {Bach) took a quite fresh standpoint. His predecessors had for the keys from the underside with my hand ‘ng towards the Great almost as much as everything is moving smoothly, how to itself for active service, Other technical studies embodying the modern ideal are: caused a complete cessation of tone But a (luarter °f 311 inch. This change of the act under different circumstances, just as nost part used the melody as their only source of inspiration, whereas Bach THE SELECTED GEMS OF THE CZERNY STUDIES « , when I had prepared my registration- keys. from theuir nor“al position is aP‘ t0 firemen occasionally test their prepared- T/ie Organist at the Piano ilways looked to the words for guidance in his treatment. The result is v arrive at his very soul in these compositions which can be regarded Books I and II.Each * being careful to leave the-two manuals un- pr°dure a cipher ,wbich’ h°wever- 111 sucb ne« by scurrymg to an imaginary tire. ™0UGH that .A1iniAj „ « , T , , « cases is very simple to remedy, as one need It is no mere waste of time to rehearse I ‘ ! . 1(1 organist epitome of his whole work.’’—Dr. MacPherson. by John Mokrejs of the sner’at If ° n 0 p ay °"e only dispense with the use of the coupler such fancied mishaps, for, in endeavoring proves a mediocre pianist, displaying FIRST STUDIES IN STYLE...... of the special selections to precede the causing the defect. to change or manipulate his instrument, a monotonous touch, engendered by his fa- ceremony, je o c . t e two eys, on being Generally a cipher is confined to one the organist will add many new points to Vunte instrument, lie should at least keep I3he Tjwo ^Manual Organ FIFTEEN INTERMEDIATE STUDIES .. CHARACTERISTIC STACCATO STUDIES (New).73 touched, emitted a continuous sound pro- manual, usually the Swell. The stops be- his knowledge of registration, besides ac- his piano-touch in such command that he (Continued from page 300) ducing t by Frances Terry ducing two organ points in the middle longing to that manual in which the cipher quiring a more practical understanding of can produce the gradal , , of tone re¬ TONE PICTURES FOR THE BEGINNER ?s register e 1 Direction: CHARLES H. DEMOREST and HENRY FRANCIS PARKS Famous Theatre Organists Buescher SUMMER MASTER SCHOOL l These Features June 24 to August 3 (Six Weeks) HARMONY BY MAIL "Tow!5 matSVr/acL if you have SCHEDULE OF LESSONS s!3^SSSafiCH.y. MUSIC ENGRAVING used to “bury” the mouthpiece in their lips. Therefore, if you are stopping the horn This does not mean that the horn player with your hand you should transpose to a was using pressure. It was due to the half . tone higher. This will work from player using a narrow-rimmed mouthpiece the top of the horn to the bottom, and the FREE FELLOWSHIPS which developed the muscles of his lips. other method will not. Musical Home Reading Table (Continued from page 260) :r or winter catalog on request Jhat ta^edfed’on^s, washing" to express Spontini burst int0P a terrible invective I NOW OPEN for organ study r .1 his pleasure in G-’s article about him, against Berlioz as a man who, with the like STUDENT DORMITORIES S295SK sissHl! gs “Si" “— Ls■ &:■ SE ZSL r.t sis s CHICAGO “r * 1 once. On one of these occasions Liszt a du talent comme critique.’ (Sir, \Ifsi MUSICAL f observed to him that Berlioz was a great Berlioz has some talent as a critic.) MUSIC PRINTERS Commend the Pupil's Wor\ COLLEGE By i 60 East Van Buren St. (Siisms) Chicago, III. I WE PRINT FOR INDIVIDUALS I him When he plays a piece, an exercise ; , done i-compare, for instance m^baSnsulbShea. A universitytof music IBiSm s—-ssss - sM cms TUB ETUDE Page 304 APRIL 1929 APRIL 1929 Page 305 tee ETUDE cBowing Phrases You ask tkree tkings By Caroline V. Wood It is safe to say, I believe, that the out good bowing one cannot have good of a violin string majority of ’cello students would play the phrasing — and phrases are musical following passage, not as indicated in sentences. THE VIOLIN bridge which we see Writers for the Violin a (the correct way) but as in 6: A flexible wrist is important. The bow to-day has had a long history. It should always cross the strings at a right IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VIOLIN DEPARTMENT angle, never obliquely, and should be drawn has undergone many changes and By Sid G. Hedges As AN artist, seeking perfection,, your con¬ “A VIOLINIST’S MAGAZINE, COMPLETE IN ITSELF. slowly and evenly for its full length. In modifications before developing to its stant quest is for a durable string, a true present form. The purpose of the violin mong composers there ’cello playing the pressure of the first A string, a smooth string. And the Armour , bridge is to transmit vibrations of the many notable names belonging finger on the bow grip largely controls strings to the body of the violin. In doing peculiarly to violinists; and only the volume of tone. The change of bow ‘‘Concert Master” is all three. this it must not dampen the vibrations or the most outstanding among these have should be made as nearly imperceptible as Only the freshest and finest sheep gut is impart undesirable tone qualities to the been selected for this list. Some, like possible. Another good exercise is to selected for ‘‘The Concert Master. As a. re¬ violin. The bridge must be rigid and Beethoven, have been included because start the bow forte (the hair must “bite” sult, it will equal or outlast any other string, the string at the start), gradually di¬ “J take pleasure to acknowledge’receipt of the strong enough to sustain the pressure of Violin ^Bridges although they belong to the whole world Many students of bowed instruments for quality determines durability. Concert Master Violin Strings which you sent the strings and at the same time transmit of music, they have made undying con¬ seem incapable of making a crescendo or minishing the tone. me. I thought them excellent in every regard. ‘‘The Concert Master” is so accurately They can stand any comparison with the best their vibrations freely to the violin body. tributions to violin literature. The first decresccndo other than on a single note. It is hard to tell in print how to bow an Modern psychologists are carefully in¬ “Are these sensations lost? Unfor¬ vestigating what happens to the listener tunately, not at all! They lead into visual W. OTTO when he hears a piece of music. Recently perceptive responses just as auditory sensa¬ book comprised of a series of essays tions lead into auditory perceptive re¬ A Specific Piano Method for Every Need hv various eminent scholars has been pub¬ sponses. And with this development their lished under the title “The Effects of importance in musical appreciation in¬ The Age and Individuality of the Pupil and the Teacher’s Methods of Instruction Have Much to Do Music,” edited by Max Schoen. From an creases. The movements of the orchestral essay by Otto Ortmann, it is interesting conductor, the facial expressions of the With the Very First Work Given the Pupil. This Page is Valuable to the Teacher for Immediate Use to learn that our ears and rhythmic sense singer, the bowing of the violinist and the in Selecting Instructors Now for Anticipated New Pupils as Well as for Future Reference and Help not the only physical factors involved. key-attack of the pianist are all visual ’ ■ ” responses stimulations . . . “In order to ascertain in a general way the ratio of auditory response to non- auditory in the normal concert audience, Miessner It is a Matter of Great Importance to the Teacher Desiring Success to he Informed on the Details of Such Wor^s as These our^purposes the most important. In its the results obtained, allowing again for basic stage, the sensorial two elements any doubtful cases, still showed less than Eminent Composer and Authority TUNES FOR TINY TOTS MUSIC PLAY FOR EVERY DAY NEW RHYMES AND TUNES function, brightness and color. The gold four per cent, of pure auditory response By JOHN M. WILLIAMS Price 75c “THE GATEWAY TO PIANO PLAYING” FOR LITTLE PIANISTS of the harp, the brilliant hue of the brass and approximately ninety per cent, of on Class Piano Instruction and Thin in a hoolr for the Very first lessons urit-h 1 if fie “Music Play for Every Day” meets the modern By HELEN L. CRAMM Price. 75c instruments, the soft grey light of the visual response. Of course, the visual re¬ rs of age, but i of the most popular — - auditorium, the delicate pink of Mrs. sponse does not necessarily exclude audi¬ _use with any system of elementary tech- tory response, but it does mean that visual Public School Music estruction. where both cl-'" -.'.1 Smith’s new evening gown, are color-sensa- Has been engaged as a regular member of the faculty of the £ Letters From Etude Friends *| I CHICAGO MUSICAL COLLEGE Mr. Miessner has taught in the Summer Master School for many years. He will teach this coming summer and continue next year and future years as Director of the Public School Music Department. SUMMER amteaehm*IIP®!! the correct way of playmg t and S MASTER SCHOOL iss2- ps m■as ssrssarHgfsss^is^immmmmm *—- JUNE 24 to AUGUST 3, 1929 FIRST YEAR AT THE PIANO By JOHN M. WILLIAMS Price $1.00 Select Your Dealer with Care soggioU BOOK FOR OLDER FIRST STEPS IN PIANOFORTE STUDY Fall Session Opens Sept. 9, 1929 BEGINNERS Compiled by THEODORE PRESSER Price, $1.„ By JOHN M. WILLIAMS ' Price. $1.00 Complete Summer or Winter Catalog on Request Herbert^ Witherspoon CARL D. KINSEY, Manager fcsSES LEONpSAMETlNl 60 E. Van Buren Street, RUDOLPH GANZ Chicago, III. A UNIVERSITY OF MUSIC II ^ THE ETUDE APRIL 1929 Page 811 Page 810 APRIL 1929 THE ETUDE Pictures Aid Interpretation tDifficult Measures By Carma Cray COSMOPOLITAN By Joseph George Jacobson Normal children, almost without ex¬ THE SCHOOL MUSIC & DRAMATIC ing fairies. As the child studied them, she In many compositions there will occur ception, possess vivid imagination, either was given a few words of explanation. WlicifloDoSecondAtTfiePiaiio SHIRLEY GANDELL—President measures which are comparatively much in an active or a latent state, and the GUNN SCHOOL 60 Artists. Normal trai. k Then the teacher hummed Airy Fairies more difficult than the rest of the piece. music teacher who would obtain the most and, holding her fingers very lightly, OF MUSIC Diploma's, Decrees and T eachers’ Certificates. But often this difficulty can be overcome satisfying results from his teaching must moved the child’s arm gently with the Departments—Plano, Voice, Violin, Musical appeal to these imaginations and develop Theory. Composition, Violoncello, Orches¬ by reapportioning the notes as assigned time of the music. tral Instruments, Public School Music them to the greatest possible extent. “Can’t you see the fairies and hear Dramatic Art, etc. Students may enter at to right and left hands. This will in no way change the idea of the composition As a means to this end one teacher has them?” the teacher whispered. “Now, Many Free Advantages and Scholarships but will make a smoother execution pos- Further on, beginning at the ninth tneas- found pictures invaluable, since they are play Airy Fairies,’’ she continued. “Play l'iano and Violin Priies sible and save much practicing. Often ure after the change to four sharps, the likely to convey more to a child’s mind the right notes, of course, and keep the Announces For particulars address—Edwin L. Stephen, Mgr. and awaken more responses in it than do COSMOPOLITAN SCHOOL OF MUSIC difficulties seem to be greater for some following will be much easier especially right time, but all the way through think words. Her store of pictures collected Bot E, 16th Floor Kimball Hall Bldg., Chicago hands, especially when they are small or for small hands : of the fairies," and the pictures were through the years from various sources the fingers weak. The following change Bx 2 placed on the piano before the child. She MASTER has illustrated many compositions and played it over and over, and it grew from in Liszt’s D flat Etude, Un Sospiro, has made them possible of interpretation for a dull, mechanical thing to one of interest CLASSES CONSERVATORY of MUSIC been found beneficial when pupils stumble many little—and some not so little— and beauty. At the end she looked up Franklin Stead, Director over the fourth and fifth measures (count¬ pupils. with glowing face. “Oh,” she breathed, Renowned faculty—Concerts, Recitals. FOR THE SUMMER TERM ing from the change of key into three One little girl who did not like music with a long deep sigh, “I didn’t know sharps) : came to this teacher for instruction. music was like that!” June 24 to August 5 Among the compositions which she had Another little girl was playing The Voice. been studying with another teacher was Parade from “London’s Reed Organ Spaulding’s charming Airy Fairies. Method.” “I can’t feel it like a parade,” Dept!for Children. All athle...__ “Surely you like Airy Fairies," the she apologized. Fireproof buildings with ample grounds. Two beauti¬ V and the 4th beat of measure 12 ful dormitories on campus. For catalogue address teacher said. “Look at my pictures of parades,” the To carry on the thousands of pupils who have been The fourth beat of measure 12 may be: GUY MAIER the Director. “No-o,” faltered the child. “I don’t. teacher suggested, “and see what you find.” enjoying WHAT TO DO FIRST AT THE PIANO. Celebrated pianist, who Students may enter at any time. will introduce his New The Starrett School Conservatory But my teacher said it was good exercise She studied several carefully but laid Price, each book, 75 cents and Revolutionary of Music for my fingers.” them aside. Suddenly she picked one up. Box E, 45 IS Drexel Blvd., Chicago Method for the Teach¬ “Yes,” the teacher replied, “and good “Why, it’s a circus parade,” she beamed. ing of Beginners in a exercise for the fairies’ feet.” “Look at the monkeys. I couldn’t make Special Course of Ten She looked puzzled. that piece sound like anything but mon¬ TECHNIC TALES Daily Sessions comprising “Are you acquainted with fairies?” was keys, and I understand it now.” By LOUISE ROBYN Forty Hours. This Course the next question. “Let’s look at them Of course, this plan takes a little time, can be taken in Two A most attractive book of easy pieces and exercises for children. in pictures.” And the teacher selected but it is time well spent and pays, in Weeks. In response to Copiously illustrated. Descriptive interlined text. from her collection several scenes of danc¬ results, a thousand-fold. wide-spread national inter¬ On the last page much ease may be est in the Visuola, Mr. gained by giving the left hand more notes Teacher’s Manual^to TECHNIC TALES Maier has deemed it wise to play than are printed. to incorporate in his course L3he temperature of a Genius Price, each book, 75 cents a complete teaching exposi¬ tion of the Visuola, a re¬ Didn’t Know and Didn’t Listen Heifetz was making his American debut green essence of envy—geniuses being OLIVER DITSON COMPANY 179 Tremont St., Boston markable new teaching aid. at Carnegie Hall before a tremendous audi¬ proverbially jealous of other geniuses. Chas. H. Ditson & Co., 10 East 34th St., New York By D. M. Harwood ence. In a box sat Godowsky, the pianist Almost immediately the famous per¬ Try Your Music StoregFirst and composer, and with him was a certain former who had accompanied Godowsky not met the little (and some- ers the measures into a composite whole, was in a profuse perspiration. He fetched FRANTZ distinguished violinist. Very shortly, it eu little) pupil who, though he Third, she may tell the pupil about out a handkerchief and applied it vigorous¬ PROSCHOWSKY follows his fame values and counts aloud, grandmother’s quilt. Each block is the was plain that in this newcomer, Heifetz, ly to his streaming face. frequently has four beats in his waltzes, same size though made of dif. was an artist who would njake the world “Heavens,” he remarked under his breath, Celebrated Teacher of Singers. at large happier for his playing, but by Renowned Vocal Authority. Au¬ Swf intr° U,Ct7 °-f \PaT’ uab- ferently sized bits of cloth “it’s frightfully hot here tonight 1” WITHOUT COST TO YOU OR SOlutdyjmaccounted for ,nJte rhythm, This is the way measures are made in thor of Famous Books on the the same token would fill the souls of a “So?” said Godowsky. “It’s hot maybe at the end of each measure? Either he Service OBLIGATION ON YOUR PART Art of Song. music. good many rival violinists with the pea- for fiddlers—but not for pianists.” “didn’t know” or he “didn’t listen.” Private Lessons Send for Built These pauses are often due to the fact But we have no quilt unless those blocks LET US GIVE YOU ANY OF THESE HELPS are firmly stitched together! Suppose WHICH HAVE BEEN PRODUCED TO AID THE that the measure gives a wider spacing on TEACHER AND ACTIVE MUSIC WORKER TECHNIC AND MILL1KIN CONSERVATORY OF MUSIC the page between the final count of each some wintry night each block drew a Master Discs INTERPRETATION DECATUR, ILLINOIS measure and the succeeding “one” count. quarter of an inch away from its neighbor. “Guide to New Teachers on Teaching the Violin” Offers thoro training in music. Courses leadi Most beginners are so conscious of su¬ Then how could one keep warm? (Continued from page 272) CLASSES Bachelor of Music Degree, Diploma, and Ct cate in Piano. Voice. Violin. Organ. Public S, preme effort in finding the right note with mAt this point the pupipupil is told to play Music Methods and Music Kindergarten Metl the correct finger that they fail to get the his Piece again. If there are gaps betwee Bulletin sent free upon request “Guide to New Teachers on Teaching the Piano”—New Edition Glenn Dillard Gunn effect of the sounds they prpduce. a few measures the teacher slyly and smil accompaniment ii_ _ W. ST. CLARE MINTURN, Director “A Master Pedagogue of There are three ways of correcting this ingl}^ refers to the quilt. Then, when th Liszt was invariably t Chicago” trouble. First, the teacher may explain to pupil has the idea developed in his mint may well expect his cc —James Gibbon Huneker C- pupil anew the function of the bar— by his oxvn efforts at his instrument, th technical brilliancies, ..._ m Represented by artist students LOUISVILLE l ‘ .“te t0 the where the accented instructor plays his piece for him in th a sentiment born more of s in the concerts of the Chicago CONSERVATORY .taLgi™"“T" “» manner. I,: i. . imagination. The present work is almo Symphony and other famous Set-nnH bo m , e^ts' , satisfying to poor strugglers to be abl too well-known to describe intimately. T1 orchestras and by many teachers recording of this concerto and also that ( on the faculties of noted schools. OF MUSIC ingslowlytheVp’fl^ ^ play’ f° te" whe" “Teacher” if wrong! And i ciallv accented Th; i sh°u d be spe‘ is so satisfying to have “the quilt all nicel; Chopin are about as perfect as one cou Private Lessons Summer and Fall Courses ciaiiy accented. This nearly always gath- stitched I” imagine such recordings could be. Tht Given with Cooperation of were made by the Polydor Company whi( “How To Study” the University of Louisville to date has some of the finest piano recori Class, Normal Classes Member National Association Schools of Music Let’s Pretend ings in existence. If space permitted v would like to enumerate a few of the MUSIC - DRAMATICS - ART By Elizabeth Lawrence unusual recordings, but, since it does nc Or Free Booklets and Folders Upon Any Classification of Music in Frank Waller we shall confine ourselves to the concerti Catalog 626 S. Brook St., Louisville, Ky. Which You Are Interested. Famous Coach of Famous teacher can'"call^theif-if61611'1’ '• ^ & t0 be the grandmother or a favori in question. Singers, who offers the profes¬ into me / d.,magmat,ons auntie or one of mother’s callers and asl Alexander Brailowsky, the Russian piai S&B rEaDY » SKfifc of sional an attractive list of new , f am tbem for P°ise in playing her the usual questions, such as, “Are yc ist who has been favorably heard in co: songs and is prepared to arrange Atlanta Conservatory of Music before people. taking music? and, “From whom? Th< cert in this country, plays both these worl and coach programs and roles. THE FOREMOST SCHOOL OF FINE ARTS As soon as Marjorie has memorized a sbe .^Presses a wish to hear her pla with a perfect regard fr- Mr. Waller is a conductor of IN THE SOUTH ittle piece the teacher and she play “Let’s ^ar-i°r^e goes to the piano, standing 1 content and also with ; experience in such organizations Idrintagei Equal to Thoie’Found An,where. pretend we have company.” The teacher tbe sto°b and announces her selection ai as the Chicago Civic Opera. He Students mi, enter at an, time. Send for ciency which, being unoui CATALOGpKc~S,nI8ICAl has appeared as guest conductor -ataloi. QB0. F. LINDNER, Director moves her chair from beside the nian something of importance connected wi doubly effective. He is au. with most of the important Peachtree and Broad Streets, Atlanta, Georgia a corner in the studio and the little begin- V fo*j*xan,ple. “l shall play Little Harp_ Julius Pruwer, conducting th< orchestras of Europe. ner sife her> Th "me by Presser, arpeggios in six-eight! harmonic Orchestra. The Liszt con* ■---Pretends rhythm.” Then she seats herself, arranf Will be found on Polydor discs Nos. 6< For Summer Bulletin Address ESTABLISHED 1857 her-- dress,—puu puts nether handsudiiua in position - /51-752, and the Chopin work will be f JENNE BERHENKE plays her little piece from memory. on discs Nos. 66753 to 756, inclusive. Registrar Of course the teacher praises her, ai ! CO. chmSSSSI™. PHILADELPHIA, PA. PEABODY conservatory if there have been any mistakes made Electrical Rt Fine Arts Bldg., Chicago 1 BALTIMORE, MD. resumes the “teacher” pose a few minut _ OTTO ORTMANN, Director SCHUMANN’S Coi When real company comes the lij One of the Oldest and Most Noted Music Schools i Performer has the advantage of knowi exactly what to do. I THE ETUDE Page SI2 APRIL 1929 the etude APRIL 1929 Page 318 DETROIT CONSERVATORY of MUSIC School Music Department Acknowledged Pre-eminent as a Conservatory of Al Unrivaled Free Advantagea Students may enter at any time DENVER (Continued from page 276) i j THIRTY-FOURTH ANNUAL A ereat diversity of courses under the supervision of a renowned faculty. Training in Piano, ' ice, Violin, Cello, Harp, Organ, Theory, and sensitive ear, the cure of self-conscious¬ are the real enthusiasts when they catch irmal Training for Piano Teachers, Band COLLEGE OF MUSIC Instruments” Schoof of Expri ness and the building of moral courage by the thought of becoming solo singers. The Concerts, and Recitals before Special JOHN C. WILCOX, Director 1DR. EDWIN J. STRINGHAM, Dean sporting element of fair competition enters ^...... nd Recital Halls. Tej frequent solo singing before the class, the tificates, Diplomas and Degrees. Desirable Boarding Accoi Institutional member of National Association of Schools of Music ability to entertain through the artistic into the class solo singing. The student SCHOOL OF THEATRE ORGAN PLAYING with the fine talent helps the student with SummerSession Examinations Free. For Catalog and Other Information, Ac rendition of beautiful song literature, the JAMES H. BELL, Secretary, 5035 Woodward Arenue, Box 7, Det SUMMER SESSION, JULY 1 — AUG. 3 growth in appreciation of poetry and the less natural gift, and the student with the song form, the opportunity to study sing¬ least voice plods along realizing that his Guest Teachers: ing without the need of money to buy the achievement is the maximum for him and instruction, the chance to evaluate one’s therefore worthy of attempt. Frequently the student with the least promise surpasses Percy Rector vocal gifts and talent properly by compari¬ another of talent who might be the first STEPHENS Cowell Lawrence son with other voices in the class and to Detroit Institute of Musical Art tv America. Foremost Wor.. hope o'f the class. The member of the develop the powers of discrimination in rs Pianist Master Class teaching celebrated Sa voice culture class who is the soloist for MICHIGAN’S FOREMOST SCHOOL OF MUSIC ry for Pianists. Auditory system. judging artists who sing before the public, Class for Teachers. class day is, the lion of the occasion. rancis L. York, M. A., Mm. Doc., Chairman of the Board the acquiring of a sane viewpoint on matters Edward B. Mamrille, F. A. G. O., Mus Doc., President Thirty-second Year Regular Faculty Teachers: pertaining to singing as it appliqg to the op¬ Training of Teachers Students May Enter at Any Time. ” ” ■■ ■ „ r portunity of the individual who wants to NOTED FACULTY OF 84 Blanche Dingley Francis HE PERCENTAGE of public school chers’ Certificates, Diplomas and Degrees. know “if it will pay” to take singing les¬ music teachers who have had training jt Catalogue and View Book A MATHEWS HENDRIKS sons, the increase in number of persons Detroit, Michigan ifted Composer; in voice culture is very small. There is a Dept. 2, 52 Putn Located in Detroits A ading authority in Fundamentals of who will study singing for the purpose of to Pedagogy. Ore >r Teachers. great need for teachers who know the cultural development, the destroying of fundamentals of voice culture theories, as wild ambitions based on false hopes and Michigan State Normal College Conservatory of Music John C. John C. well as of those who have had experience HE SUMMER misleading advice. in singing. The subject will not thrive C9 SESSIONS of Courses in singing, piano, organ, violin and theory. WILCOX KENDEL This array of good results to be attained Courses for training supervisors and teachers of public school music. #6-weeks accredited course under the direction of instrumental teachers the Sherwood Music Widely known VoiceTeacher, by voice culture classes is in nowise a specu¬ highly Graduation leads to a life certificate valid in most states of the union. (June 17.July 24) in Public or persons who have but a meager knowl¬ Total living expenses need not exceed twelve dollars per week. Tuition and fees exceptionally low. School Music Methods; ( las. lative outline of future possibilities. It is a School serve the inter¬ oral Pedagogy and Private edge of music in general. country. Stud< Piano; Orchestral Instruments. faithful report of facts based on the reac¬ ests of the teacher or am¬ ted. Coaching f< The ideal, which is somewhat in the far Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, Mich. tions of students and teachers from all over bitious student who wants dudes actual practice GINSBURG TRUSTMAN STAPS future as even a possibility, will he to have to accomplish a great deal in Master Cellist the country. voice culture classes under the able direc¬ Wherever there is an orchestra of sixty stops, are provided for practice purposes. tion of teachers who have had the experi¬ a short time, leading to pro¬ LAWRENCE CONSERVATORY of MUSIC or eighty student players there should also ence of the singer as well as the experi¬ fessional advancement. Cata¬ Certificates—Degrees A Department of Lawrence College be a voice culture class of the same num¬ Summer Session courses lead to Teachers’ ence of the teacher. This will ultimately log gladly mailed upon request. Piano, Voice, Violin, Cello, Organ, Composition, Public School Music and ber. And this is a modest suggestion. For Normal Certificates in Plano, Voice, Violin, he realized' as a natural consequence of Tuition rates very moderate. Organ; also to Special Public School Music 12 FREE FELLOWSHIPS WILL BE AWARDED from out of the total population of the Instrumental School Music Supervision. Courses Lead to Mus.B. Degree. demand and supply. Meantime many well Teacher’s Certificate; and are credited For free catalog address average high school this combined force of Outstanding features of the towards the Bachelor or Master of Music intentioned persons will follow the lead of CARL J. WATERMAN, Dean, Box E, Lawrence Conservatory, Appleton, Wisconsin Write at once for Summer School Catalog giving complete information orchestra and voice class is a very small 1929 Summer Session: Degree. . the text material at hand and find them¬ Recitals ♦These courses carry College Credits percentage of students to be receiving a selves and their expression in the new field Private Instruction Six recitals by members of the Artist SEND FOR OUR specialized musical experience the results because they have a talent for the subject,’ In Piano, Voice, Violin, Church and Con- Faculty; free admission to Summer Session Thematic Catalog of Easy Piano Pieces, Grades lto3. Contains Excerpts of over 200 W DENVER COLLEGE OF MUSIC of which they can take with them at their cert Organ, Theater Organ, Dramatic Art, whereas without the lead of organized text students. attractive compositions that will be of value to the piano teacher in early grade work. 1000 GRANT STREET, DENVER, COLO. graduation and feel that they have a Dancing, ’Cello, Wind Instruments, Theory, material and a demand for the subject they Composition, Languages. Faculty of 150, Living Accommodations THEODORE PRESSER CO., 1712-14 CHESTNUT STREET, PHILA., PA. foundation for a more complete and com¬ including many concert, operatic and ora¬ a Sher would blunder on in a maze of Simless torio artists of national and international prehensive musical education. effort, get nowhere with the classes and It is the hope of the writer that each and listed by School. never discover their own talent in this spe¬ Special Classes year will see the establishment of classes, Six Vacation Excursions cialized music training. Piano Master Class, conducted by Sidney A series of Six Vacation Excursions, con- until every’ high school in the country where Silber. Violin Master and Normal Class, ducted by the School on Saturday after¬ During the past seven or eight years conducted by P. Marinus Paulsen. Other music is a required subject will point to there has been evidence of interest on the noons, assures its Summer Sessiot the voice training group with pride and classes in Piano Normal and Teaching mple re 1. Ah it trip on Lake SUMMER MASTER CLASSES part of supervisors who have had the build¬ Repertoire; Harmony, Theory and Compo¬ Michigan. 2. A visit to the Field Mus with a realization that an appreciation of ing of the conference programs in the sub¬ sition; Orchestra Conducting; Accompany¬ 3. An automobile tour of the Chicago the beautiful things of life, as they are ex¬ ing; History and Appreciation of Music; parks. 4. A visit to the Art Institute. 5. A ject of voice culture classes, and with a Stage Deportment; Personal Development; pressed in intelligent singing, makes for visit to the Chicago Theater. 6. A trip to few exceptions the conferences have made Choral Conducting and Church Music; Ravinia Park to attend grand opera with happy individuals and true citizens. Sight-Singing and Ear-Training; Ensemble MetropolitanandChicagoGrandOpera stars. room for demonstrations of text materials. Playing; Operatic Ensemble. Mme. SCHUMANN ■ HEINK At the last National Conference at Chi¬ Financial Aid Voice Culture Popular with Students cago an entire major session was given Class Piano The Sherwood Music School maintains to the subject and the executive board has Teacher-training course in the Class thirty-four Neighborhood Branches in SECOND WORLD MASTER CLASS — June 10th to July 13th, 1929 'T'HE ENTHUSIASM of the students Method of Teaching Piano, now so widely Chicago and suburbs, in which are taught for voice culture is one of the joys established a permanent committee on vocal used in public schools and private studios upwards of four thousand junior students (Five Weeks) THREE CLASSES WEEKLY (Total Fifteen Lessons) of the director of choral training. After affairs. The new president elect, Miss —with Certificate. of Piano, Violin, Voice, Wind Instruments Mabelle Glenn, says in her column of the beginning the first year work with a small Public School Music talented students of these subjects who wish First of the Great Singers to Teach While Still Active in Opera and Concert group of ten or twelve skeptical youngsters, Supervisors’ Journal, “Voice culture classes A seven-weeks course, leading to a Special to begin courses of preparation lasting con¬ in the senior high school have aroused Public School Music Teacher’s Certificate, tinuously over two or more years, but whose it is the rule to have four times the number and providing thorough training in much enthusiasm. . . . That vocal train¬ funds are not entirely sufficient for their Private Instruction under Madame Schumann-Heink THREE FREE SCHOLARSHIPS!!! enroll for the second year class; thereafter Methods, Sight-Singing, Ear-Training, Mu- plans, the School can provide teaching it is not uncommon to have a waiting list. ing will be offered in every high school in sic Literature, Appreciation, Conducting, positions in these Branches which will help Orchestration, History of Music, Harmony, Girls are expected to have an interest in America in the near future is the prophecy to defray the expenses of advanced study. and Applied Music. Special classes for Applicants for financial aid through these the gentler cultural subjects, but the boys of many.” Supervisors, in the advanced phases of teaching positions are given a special course school music. Department headed by of training to fit them for their duties as Charles Espenshade and Lillian Lucas, who The length hold positions of unusual responsibility in to take That Oft'Time Vreaded Practice the Chicago Public Schools. aid i MAURICE DUMESNIL Band Conducting experience of applicants. Summer Session NOTED FRENCH PIANIST By D. D. Little courses are offered which help applicants to qualify themselves in a minimum of Thf. teacher should assign a certain soft, quick, slow), triplets, trills and so amount to work on and then show the forth. SIX WEEKS MASTER CLASS — June 10th to July 20th, 1929 20 minutes—New work, new studies and pupil how to practice it. When a compo¬ Coming from Europe to Teach the Summer Session. Chosen by DEBUSSY AND RAVEL to give parts of compositions newly assigned. sition or part of one is given to a pupil 10 minutes—Review, memory work, “fin¬ premiere performances of their compositions. His Paris studio the Mecca for American Pianists for a week’s practice the teacher should ishing touches.” divide it into five parts. Then the pupil 10 minutes—Sight-reading, work to he FREE SCHOLARSHIPS!!! is to practice each day one new part and studied in the future. review the preceding parts. On the sixth 10 minutes—Scales and arpeggios. day the pupil should have the entire assign¬ A copy of this given to each pupil will Also Special Courses in the Following Subjects: HARMONY, MUSICIANSHIP, LANGUAGES DICTION STArc rnmnDTurNT ment perfectly. He should be told to prac¬ help him to understand what is expected CHORUS AND ORCHESTRA CONDUCTING OEPOK1 MEN , tice first the new part for each day. The of him. The lesson is useful only as it hour for practice can best be divided as affords the teacher an opportunity of di¬ For Particulars Write recting the pupil in what he is to do the Sneruiooli Quaic School follows: 10 minutes—Mechanical exercise (loud, following week. {Founded 1895 by Wm. H. Sherwood} KANSAS CITY - HORNER CONSERVATORY ™oo troost avenue _ KANSAS CITY, MISSOURI FINE ARTS BUILDING "Each day sees some new edition of some forgotten or neglected 410 Sp. Michigan Avenue, CHICAGO, ILLINOIS ^ literary classic. In music, whole continents are still unexplored. Sir »«.ch with the higher idenls „f „rt „„U life. Richard Terry. TIIE etude APRIL 1929 Page 815 Page 8U APRIL 1929 TEE ETUDE Planting the Fingers in Weight Shifting By Ruth Harville Cincinnati (fonseroatorig ° best that could be devised, but it is suffi¬ toire,” by Preston Ware Orem; “Organ These Fine Articles Given cient, I hope, to be helpfully suggestive, Melodies,” by C. W. Landon; and “Organ — Absolutely Without Cost — taking at random pieces of various styles Transcriptions,” by O. A. Mansfield. and schools. In the foregoing, list numbers marked For Securing New Subscriptions to Armstrong, W. D.—Alleluia! Alleluia! with an asterisk are those which are The Etude Music Magazine Chorale. Op. 115, No. 1; Evening Medita¬ registered nominally for a three-manual INTEREST your musical friends in The Etude. Get them to subscribe. tion; Fanfare Triotnphalc, Op. 120; Fes¬ organ, but in which the use of a third 1 Send their orders with payment direct to us and we will promptly send tival Fantasy; Hosanna in Excelsis, Op. manual is not in any sense important. you the award of your choice. US, No. 2. The same remark would apply to a num¬ - IT’S EASY! BEGIN TODAY! - Barrell, E. A.—Berceuse. ber of standard works which we have not Camp, John S.—Invocation. mentioned, such as the sonatas of Rhein- Diggle, R.—Barcarolle. berger, Merkel and, in most cases, even Elgar, Edward—Salute d'Amour. Guilmant, and the well-known “Gothic Eaulkes, Wm.—Canzone. China Plate Suite” by Boellmann. In general any or¬ New and most attracts Frysinger, J. F.—Processional March. this Golden Maize Chi Hauser, M— Cradle Song (arranged by gan composition whose worth rests more Plate has a bright nickel ri in its intrinsic musical content than in and flowered designs. I Noelsch). Hopkins, H. P.~Christmas Postlude; the matter of richly varied tone color Easter Joy; Short Postlude in G. may be played effectively on even the Keats, F.—March of the Noble. smallest two-manual organs. This I ven¬ Kern, C. W.—Festival March, Op. 486. ture to repeat. High C: “Particular! Why if they are Kroeger, E. — Festal March, Op. 67, In closing I wish to answer a question ? ? ? Ask Another ? ? ? as careless as they are now, what would No. 8. which would be a mere platitude to ex¬ Evening in the Studio they be if the teacher were less severe?” Lowden, C. H.—Andantino in B-flat. perienced organists, but which sometimes 1. What is the meaning of poco a poco Middle C: “The trouble with the whole Marks, E. F.—Lullaby in G; Royal embarrasses them to answer off-hand ritardando ? JUNIOR ETUDE—Continued Sterling New Music Publications Junior Etude Contest IN SHEET AND OCTAVO FORM The Junior Etude will award three before the tenth of April. Names of Supervisors, Music Teachers, Performers and Music Lovers will find here a most pretty prizes each month for the best and prize winners and their contributions will neatest original stories or essays and an¬ meritorious lot of new material with which they should become acquainted be published in the issue for July. Evening in the Studio Little Biographies for (flub Meetings swers to puzzles. Put your name and age on upper left Subject for story or essay this month— ANY OF THESE COMPOSITIONS MAY BE HAD FOR EXAMINATION (Continued from page 317) Mo. 18 “Poetry and Music.” Must contain not hand corner of paper, and address on upper right hand corner of paper. If your con¬ Middle C: “Anil Edith Scatterbrain But after this it is going to be different. Verdi over one hundred and fifty words. Any must memorize.” (Notes show pleasure.) A child should boy or girl under fifteen years of age may tribution takes more than one piece of pa¬ PIANO SOLOS VOCAL compete whether a subscriber or not. per do this on each piece. Low C: “And Ruth Know-it-all cannot learn to do his part, and do it well. When One can scarcely think of opera with¬ letto,” “II Trovatore” (The Troubador), 0. Gr. Pr. Songs and Ballads All contributions must bear name, age Do not use typewriters. BEETHOVEN,, L. van VO. Gr. I have a new piece at every lesson." they do that I’ll know they are real out thinking of Verdi, for he wrote so “La Traviata,” “The Masked Ball,” Contra llance, No. 2... 4 $0.25 and address of sender written plainly, and BARRELL, E. A. JR. Second Space C: “Sh! Be still. Here soldiers of progress. As long as they many which are given today and which “Aida,” “Otello” and “Falstaff,” the last Competitors who do not comply with EGGELING GEORG Dear Miss Rose (b-D). $0. comes Miss Patience." do not, they are deserters, and everyone two being written at the ages of seventy- must be received at the Junior Etude ALL of the above conditions will not be At the Shepherd's Hut. 3J6 .50 : do (d-f) . contain melodies that are familar to every¬ HARTHAN, HANS COOKE, JAMES FRANCIS Middle C: “And she looks determined knows what becomes of soldiers who run body. Nearly every Junior is familiar four and eighty, respectively. Few men Office, 1712 Chestnut St., Philadelphia, Pa., considered. 24360 Time’s End (If I Could enough, too.” away.” (She goes to the piano. Sits have continued their active creative work HELLLER,11 STEPHEN ' Live a Thousand with some of these melodies, although he 24377 Courtly Minuet, Op. 125 Years) Violin Obbl. (Enter Miss Patience) down.) “Ah! we must all do our part, or she may never have heard any of the to such an advanced age, whether compos¬ Raising My Musical Raising My Musical No. 2. 3 .25 (d flat-E flat). too, to make the world more beautiful ers, poets or painters, but to Verdi the JESSEL, LEON I do (E flat-F). Miss Patience: “I cannot go on like this. operas. Miracle of the Roses... 4 .40 1 do (F-g) . I am simply going to insist on better work. with our music." (She plays softly) : The Italians are musical people, of word, “retire,” meant nothing. And; Standard Standard They must count. They must play slowly, “Rest is not quitting course, and enjoy melody, and Verdi ex¬ strange to say, “Falstaff,” even though (Prize Winner) (Prize Winner) SACRED SONGS or I will not have them.” This busy career. celled in this melodic gift, although it written at the age ot eighty, is one of his Raising my musical standard is like THREE MOOD PICTURES HOPE, LAWRENCE All the Notes: “Bravo 1 Bravo!” Rest is the fitting seems to be only operas that inspired him, finest and strongest operas. When I first started music I found it FOR CROSSING THE HANDS Jesu, Lover of My Soul building a castle. My scales are the (b-D opt—F). (Miss Patience picks up music and puts Of self for one’s sphere.” for he wrote practically nothing else. He Except for a short time spent in Paris hard to practice, but, in order to learn By ELLA KETTERER foundation. The rugs must be woven with i do (c-sharp-E opt. g). away books. She then sits down and gives (Notes join with her in singing a familiar is considered a link between the old school and London, where he produced one opera my lesson's and better myself in music, Grade 2'A 1 do (d-F opt. a flat).. that material that only years of hard 24440 Jollity . . $0.35 a sigh of relief.) melody.) and the music of Wagner. in each city, he' spent all of his long life practicing was the thing most needed. In 24441 A Cheerful Mome SCHUBERT, FRANZ study can weave. The pieces of music Litany (For the Feast of Miss Patience: “It has been a hard day! CURTAIN Giuseppe Verdi (Jew-seppy Vehr-dee) in Italy. He was thoroughly Italian and practicing, the lesson must be studied out 24442 In Deep Thought All Souls) (c-E flat). was born in Italy in 1813. As a small wrote in what is called the “Italian Style” are the trimmings. Suppose you wanted and worked on because we want to and WANSBOROUGH, HAROLD N. to play a piece and could not because you not because we are made to do it. In LIEURANCE, THURLOW boy his musical talent was noticeable. —that is, lovely melodies with lots of runs 24409 Midnight Lagoon . 4 ; Dwell In My Heart When only ten years old he became the and trills for the voice, a rather quiet had built your foundation too weak! You first grade music, fifteen minutes was the LISZT, FRANZ Miss Gill’s Secret organist of,his village church. At twenty- orchestra and nothing very dramatic; but would find only ruins of your castle left. practice time but as I grew older this 24404 five his first opera was given in Milan at as he grew older he broke away somewhat We must build our foundations so securely increased. In selecting music, it should be ANTHEMS By Gladys M. Stein the opera house called La Scala, one Of from this style and became much more that there will he no danger of them ever from the works of the great composers. I NOELCK, AUGUST BAINES, WILLIAM Skating, Op. 289. 20866 King Shall Joy in Thy the most famous opera houses in the dramatic. falling into ruin. select pieces that are hard and need prac¬ PRESTON, M. L. “Miss Gill,” asked Evelyn as she fin¬ Strength, The . “Yes,” replied Miss Gill, “Verdi re¬ world. The success of this led to several His one religious work was a “Re¬ Betty Manchester, tice, for if I took only pieces that are Before the Footlights . . BARRELL, E. A. JR. ished her violin lesson, “could yoXi tell me ceived many honors.” Tommy's New Drum .. 20873 Day of Resurrection ... other operas, and his reputation became quiem,” written as a memorial to an (Age 11), Indiana. easy to play I would not be raising my ROBERTS, J. E. anything about Verdi, the great com- CAMPBELL, BRADF.ORD “None of the girls seemed to know what established. Italian statesman. musical standard. 24398 20849 Heaven Is Our Home. instrument he had studied or played.” SCHULER, GEORGE S. 20848 They Who ^Seek the He died in 1901 at the advanced age of Emma Ruth Siler, 24437 Hillside Romance, A... 3 56 ‘T’ll try,” answered the teacher. “What “I believe he was an organist and con¬ ‘Raising My Musical eighty-eight years and, being of a kind and (Age 12), Virginia. SHEWELL, GEORGE HOPKINS, H. P. ductor as well as a composer,” answered DUNBAR 20860 Blessed Is Every One charitable nature, left a large sum of “All about his life and compositions,” the teacher. Standard 24420 Haunted Flame, The ... 4 20875 Christ the Lord is Risen money for the founding of a home for Honorable Mention for January SPECK, JAY explained Evelyn. “You see, our music “What was the name of the first comic 24399 aged musicians. (Prize Winner) MARKS, EUGENE' F.' club is planning on studying the life of opera he wrote?” Essays SITTER, R. a™5' 20865 10) Praise the Lord Some of Verdi’s melodies that you can I would love to play well and be a good Lueile Young, Helen White, Martha Kuight, 24338 McDonald, harl Verdi at the October meeting.” “ ‘Un Giorno di Regno’ which he wrote VAN REES, CORNELIUS 20855 Hold Not Thy Tongue, play at your meetings are: musician. So to raise my musical standard Mary Lee Reynolds. Betty Ann Hull. Arello Miss Gill examined the music history Shay, Theony Mitchell, Marjory Manners. 24410 Orchids . 4 O God ..... in 1839. His wife died while he was I am trying to observe these rules. Keep ZIOLKOWSKI, M. SCHUBERT, FRANZ books on the shelf before answering. Home to Our Mountains from “II Hilda Holmes. Muriel Hinchman, Mildred 24358 working on this opera,” said Miss Gill. the wrist flexible when playing. Raise Blackburn, Alberta Mintng. Grace Baker, Menuet . 6 20876 Litany (Arr. W. M. Fel- “Here is a book that might help you, Trovatore.” (Arranged by Beliak.) Krakoviak . 6 “He certainly did write a lot of music,” hand at end of phrase. Use fingers cor¬ Helen Lee Munson. Betty McMiehael, John 20859 Omnipotence,' The ' (Arr. Evelyn,” she said. “It is one I used as a La donna c mobile from “Rigoletto.” Raymond, Nellie Alexander, Anita Grayson, marveled Evelyn as she read the long list rectly on keys. Never play two phrases Dixie Ray Boyd Viola Carver. PIANO—FOUR HANDS W. M. Felton) . student in Boston. On the blank pages 1 Rigoletto Airs■ (Arranged for four SHEPPARD, ERNEST H. of compositions given in the book. that are alike v, ith just the same tone color. have pasted stories of composers and of hands by Streabbog.) KERN. C. W. 20868 Awake! Put on Strength “Did you know that it was in ‘Rigoletto’ Fix in mind the signature before playing. STULTS, R. M. operas that I cut out of the Etude.” that two of our best known singers made March from “Aida.” (Arranged by 20874 Hymn of Gladness . Engelmann.) Use up-arm touch for the end of a slur. Buzzle (forner SWINNEN. FIRMIN “That is just the book,” cried Evelyn, their American operatic debuts?” asked Do not allow the bar to interrupt the ROLFE. WALTER 20861 Weary of Earth . opening the volume and reading it in her the teacher. Anvil Chorus from “II Trovatore.” (Ar¬ Answer to January Puzzle TIMMINGS, WILLIAM T. ranged for four hands by Engelmann.) thought of a phrase. Be sure to hold each 20857 Sing, This Blessed Morn haste to learn more about Verdi. “Why “No, I didn’t. Who were they and 1. Bach, Beach, Beethoven, Chopin, (There arc a great many “records” from note its full value. Practice slowly and here are the stories of ‘Aida’ and ‘Falstaff.' when did it happen?” Gounod. Liszt, Mozart, Nevin, Verdi, PIANO—SIX HANDS the Verdi operas, and, if you cannot have watch the accent. Do not have back bent PART SONGS It says that Verdi was sixty-eight years “Caruso made his debut in 1903, and Chaminade (or Dekoven). KOELLING, CARL old when ‘Aida’ was produced in Cairo Galli-Curci appeared in 1916. Galli-Curci a phonograph at your meetings, you when playing. Sit in an erect and com¬ U Muimai-y. Kupsodie Mig- Mixed Voices fortable position. Always do your best. FELTON, WILLIAM M. for the first time, and he considered him¬ has also been very successful in Verdi’s ‘La should try to hear some of them whenever 20871 Would God I Were the you have an opportunity.) Theresa Zupan, Prize Winners for January Tender Apple Blossom self too old to undertake the ocean voyage Traviata.’ He wrote ‘La Traviata’ in less VIOLIN AND PIANO to Cairo. Steamships couldn't have been than one month.” (Age 10), Oregon. Puzzle Men’s Voices BENSON, G. N. NEVIN, GORDON BALCH as comfortable as they are today.” “No wonder you enjoy teaching, Miss Lillian Armstrong (Age 14), Florida. 24347 Captivation . 3 20864 Love’s Golden Dream. “Verdi lived to be a very old man; and On account of the sudden death of his Questions on Little Biographies BOSSI, C. ADOLFO NEVIN, SHIRLEY D. Gill,” cried Evelyn. “You read all about Hidden Musical Words Ruth Stelzer (Age 12), Nebraska. 24396 .20862- l)e Hoot Owl . lie is the greatest dramatic composer that these great musicians and the music means wife and two children he'naturally became 1. Where was Verdi bom? Frieda Gernant (Age 13), Michigan. DUPRE, DENIS Italy ever produced,” continued Miss Gill. more to you than just a lot of notes!” depressed for a while, but the success of By Helen Oliphant Bates 24406 Reve d'Amour _ 2. How many operas did he write? ZELLER, CARL SCHOOL CHORUSES “Oh! here is what Lucy was trying to “Well, I’m glad you discovered my secret. his operas drew him away from his own 3. Name four of his most fahious Each sentence contains a musical term. 24392 Tyrolean Song ( ADAMS, GEORGE BYRON tell at the last club meeting,” cried Evelyn. Maybe you will try it, too.” grief. He took up writing again and kept Answers to As\ Another Oscar J. Lehrer). 20852 Holland (Two-Part) ... 1. Mary is a most affectionate child. "In 1872 when ‘A'ida’ was given in Milan, “I will,” declared Evelyn, and the pro¬ writing operas for the Italian theaters the BAINES, WILLIAM 4. What was the “Italian Style” of 2. John has no teacher now. 1. Little by little getting slower. 20867 Bagpipe Man, The (Two- Verdi was called to the stage thirty-two gram that was given at the October meet¬ rest of his long life. Among the most Part) . opera ? 3. We bought a barrel of apples. 2. Austrian. times and given an ivory baton, which was ing proved that she had kept her word. famous of his thirty operas are “Rigo¬ 20869 Hiking (S. A. B.). 5. When did Verdi die? 4. Father gave me a Tricycle for * my 3. Haydn- 20863 Snowflakes (Two-Part). ornamented with rubies, diamonds and Never before did the club members learn 4.. A symbol meaning to count the sec¬ BARNBY, JOSEPH and other stones. Probably no other com¬ so much at a club meeting and in such an birthday. 20844 Sweet and Low (S. A. 5. Travel in Egypt is fascinating. ond of the two notes tied but not to re- poser was ever so loved while still living. interesting way! BROWN,' G.' A.'. 6. Grandpa uses a cane when he walks. s°und it. 20843 Class Song (S. A. B.) . . 7. Ellen told me you had gone to town. 5. A series of four operas by Wagner DVORAK, ANTON on subjects derived from Scandinavian 20838 Callin’ Me (Arr. W. M 8. Slow practice will make me a sure Felton) (S. A. B.) ... pianist. mythology. FELTON, WILLIAM M. 20837 Volga Boatman’s Song 9. Won’t you stay for tea! 6. Six flats. (S. A. IL). 10. My pay check is due tomorrow. 7. C# major. GARLAND, A. 20835 Brave Old Oak, The (S. 11- I waited so long that I got tired. 8. 1750. 12. Father established this business many 9. The notes of all the instruments or PIPE ORGAN GEIBEL, ADAM. Dear Junior Etude: voices that are being employed in a com¬ 20833 Happy Days (S. A. B.) Dear Junior Etude: years ago. COMMETTE. E. HAWTHORNE, ALICE I am ten years old. We have an in¬ position (whereas each performer uses 24433 Dear Junior Etude: Dear Junior Etude: 20841 Whispering Hope (Arr. teresting music club. We meet every I like to practice. I play piano and fife- notes of his own part only). LACEY,0 FREDERIC" ^ W. M. Felton) (S. A. Our music teacher has formed a club Honorable Mention for January 24393 Grand ChoCur Soleiinelle 3 .6 Our music club is federated, and this week. We have not named the club yet Next year I hope to play ’the piano at 10. Triumphal March from “Aida,” by NEVIN, GORDON BALCH of six girls. We call it the Butterfly year the entire club will- attend the State school. I am in the fife band and have - Puzzle Souvenir Rotnanti<]ue. . . o .5 koschat; Thomas' but are planning to name it soon. I have a Verdi. 20839 Moon Magic (S. A. B ) Club. We meet once a month. I have Convention and take part in the contests. taken part in several concerts. My mother Ponntsa Musehnlek, Rozella Bush, Pauline ROGERS. JAMES H. LAWSON, PAUL hard time getting the right fingering when Slel?’I r,,|ia Cramer. Virginia Latimer. 20831 Rose Petals (S. A. B.). never seen any letter from Maine, so I Whether we win or not, we think it will teaches piano in classes. But I have sep¬ thought I would write one. I practice but I suppose others have the Hattie, Lilly, Alice Ber- do us good and raise our musical standard. same trouble too. arate lessons, and she does not help me My teacher says From your friend, From your friend, any more than the other pupils. From your friend, Ueinn t , naxei ceumaii. i I’m doing well. Everything in Music Publications Jeanne Soule, Dixie Ray Boyd (Age 11), From your friend, i*urehmni?vinIi -lunzen. Viola Carver. Myrtle THEODORE PRESSER CO. 1712-14 CHESTNUT STREET, PHILA., PA. Cascile Middleton (Age 10), Maiw I- ik J'ois Blnnn. Kathleen Mason, I hope it’s true; Maine. New Mexico. Dorothy E. Hammer. McBrldi L®water, Essie Johnson, Maxine But time will tell. Mississippi. (Age 10), Indiana. «mrlile, Bernard Gehrig. THE ETUDE the etude • APRIL 1929 Page 321 Page 320 APRIL 1929 DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS £DUCATIOKAL STUDY KQTES OK MUSIC A lively dance-form used by classic writers in the suite. IK the JUKIOR etude It must be well accented throughout and played with GIGUE N91 a bluff heartiness suggestive of a country dance.Grade 2±. By Edgar Alden Barrell JIG HELEN L. CRAMM, Op. 42, N9 2 M. M. = 120 At Ihe Circus, by Paul Voldemar. Allegro J 1 saw a letter from Marie Daniels in the July Etude. I don’t know whether I do as much as she does or not, but I (Age 13), North Dakota. Copyright 1928 by Theodore Presser Co. British Copyright secured Very easy. Grade 1. DOLLIE WALTZ the etude APRIL 1929 Page 323 » THE ETUDE Page 322 APRIL 1929 WITCHES ELLA KETTERER Went to helpthe Cubans and to fight the Spanish too. Theodore Roosevelt,Theodore Roosevelt Led his men to victory on San Juan Hill. Across the veldt of Africa wild beasts he did pursue, ★ The rhythm of the verse is found in the first twelve measures and then skips to the twelfth measure from the endand uses the next fourmeasures. Copyright 1925 by Theodore Presser Co. British Copyright secured * = a Pause or Hold; sustain at will THE etude APRIL 1929 Page 325 THU ETUDE APRIL 1929 NEW YORK SCHOOL of MU SIC and ARTS COMBS 310 West 92nd Street, New York City (At Riverside Drive) RALFE LEECH STERNER, Director CONSERVATORY Special Summer Courses for Teachers Gilbert Raynolds Combs, Founder and Director Starling May 15th Students Can Enter Any Day, Six FORTY-FOURTH YEAR PHILADELPHIA and Ten Weeks Courses. Regular Faculty of Celebrated American and European Artists in Attendance All Institutional Member of National Association of Schools of Music Summer. Dormitory in School Building, Beautiful Rooms, Private Baths, New Pianos. A School for the Beginner, Ambitious Amateur, and the Professional Send for Catalogue, Summer Leaflet and Biographies of Teachers Telephone Schuyler 4140 No Entrance Requirements except for Certificate, Diplonxa or Degree Courses INSTITUTE OF MUSICAL ART SUMMER SCHOOL of the JUILLIARD SCHOOL OF MUSIC July 1st to August 10th 120 Claremont Ave. New York City FRANK DAMROSCH, Dean Regular Faculty of 95 Eminent Instructors A school for serious students. All branches. Moderate tuition fees. and SPECIAL ANNOUNCEMENT Distingi ished Specialists in Osbourne McConathy, All talented advanced violin students will come under the personal Pub • School Music Director Public School Music observation and instruction of Department PROF. LEOPOLD AUER Courses are approved and accredited by Pennsylvania and other State Boards of Education, and include all subjects required of Supervisors in grades, junior and senior high schools, normal VIRGIL SCHOOL OF MUSIC schools, and colleges and lead to degrees of Bachelor of Music Founded by the late A.f K^VIRGIL q Education. Sp e c i a 1 ’ C our se s'lHSSSl:?"" Orchestra and Band Conducting For all particulars address: THE A. K. VIRGIL CLAVIER CO., o Brass and Wood wind Instrumentation MRS. A. K. VIRGIL, Director Applied Music In addition to the various classes, private instruction is offered in all branches. B. fKawltna laker DORMITORIES Write for special Summer School Circular ADMINISTRATION BUILDING 1331 S. Broad Street, Philadelphia, Pa. TEMPLE UNIVERSITY School of Music * School of Music — 521 LOCUST ST PHILADELPHIA, PA. Philadelphia Polytechnic Institute of The Y. M. C. A. of Philadelphia .Thaddeus Rich, Mus.Doc., Deanj GRANBERRY iHiHI E. F. Ulrich, A-- n„„„ Li! PIANO SCHOOL 149 East 61st St., New York, N. Y. For PIANISTS, ACCOMPANISTS and TEACHERS "SKST0 ■UPILS MAY ENTER AT ANY INTERNATIONAL cational agency TIME DURING THE YEAR M Dormitories. Branch School, Write for Catali MRS. BABCOCK ZECKWER-HAHN /■AFFERS Teaching Positions, Col- I • MODULATION COURSE — Not leges. Conservatories, Schools. PIANO DELIGHT Philadelphia Musical Academy^ I M Send^SSIor^Rhjt Also Church and Concert Engagements Contaip"«M 8in47r. 'uiH-Pnge Excerpts of Piano Piece*fr?,;,; .;.11 Grades from 1 to 5, selected Hlghel^Standards of Musical Instruction ■F AddressAddress, EFFA ELLIS PERFIELD iromfrom „,ry best recent publications For year book, address CARNEGIE HALL, NEW YORK f 111 MADISON AVE. [cOB. 30TH ! t-Card Brings a Free Copy Theodob Frederick Hahn, President-Director 1617 Spruce Street SPECIAL TRAINING IP FOR TEACHERS PI Sit Weeks Summer Term Virgil Piano Conservatory 24th to August 3rd 137-39 West 72nd Street M M' » Special Course for Teachers Pittsburgh Musical 1929 Catalog r NEW YORK CITY I i! with the higher idea THE ETUDE THE etude APRIL 1929 Page 327 Page 326 APRIL 1929 Changes of Position for the Violin Book of Trios Necessary Jingles For Piano, Violin and Cello For the Pi A NOFORTE World of Music By O. Sevick—Op. 8 1 no playing is one of the most inter- Bl> Blanche Fox Steenman (Continued from page 251) This will be a new volume in the Presser esting forms of chamber music. In the A large amount of subject matter is Publisher’s Mon Collection. Sevcik’s Opus 8 is a very im- past, owing to the scarcity of ’cello play- covered in this beginner’s book, but it is THE THIRTY-FIFTH ANNIVERSARY of ortant work in modern violin technic. ers, it has not been easy to make up trio Presented in such an attractive manner After the student has learned to play well parties; but now since the ’cello is being that !t is easily grasped by even the in the first position, he must learn “to studied more generally, this is easier to youngest pupil. The following technical shift,” and then he learns the positions accomplish. Before taking up even the P°*nts are covered: Independence of Fin- THE LA SCALA COMPANY, of Milan, with one by one. There is no better way of easier classic trios, it is necessary to ob- gers’ Thumb Preparation for Scales, Key 1 personnel of about four hundred and seventy— accomplishing the shift than to use these tain_j ...some v r.--practice in mmemoteensemble playing.praying, g-r—sGrouping in— Scales,v.„, Fingeringriujcuuj ofw onica,Scales, bu?djed:.a studies. The present volume is edited by and this is the object of our new Book of Triads and Arpeggios (Crossing Hands), jfr. Otto Meyer, who is an authorized rep¬ 1 nos. These are splendidly effectiveBook ar- of Wrist Work and Chromatic Scales. Each t^stdir^0nvi0sitA&Tf°or- raaS®ments of some of the best and most foehn ical problem is worked out with ap- resentative of Prof. Sevcik in this country. ^ The^ announced ^irobal The special introductory price in ad¬ suitable numbers in our catalog, together ProPriate verses and pen drawings and peras, Donizetti’s OUR SOURCE OF INSPIRATION The Cover of this Issue vance of publication is 30 cents per copy, w™ a few pieces by standard writers. tlle child’s interest is thus stimulated work by one of postpaid. The special introductory price in ad- throughout. This little work may be used lodern composers. Music and the Commence' "V tOTHING galvanizes the naturally enthusiastic and zealous person The Etude has presented to its readers in vance of publication is 75 cents tier codv in conjunction with any other beginner’s the last year or more many exceptionally ment Exercises JV like encouragement. How can we of the large Pre er tiff t 1 to postpaid. * ‘ ’ book for tiny tots. GRAHAM McNAMEE writes in the X “work our heads off” to please our patrons when we receive by the interesting illustrations of a musical char¬ Fiddling for Fun, or Playtime The special_ introductory__J tprice_ „„ mencan Magazine, “When I first bj On the commencement programs of thou¬ hundreds letters like the following, which just arrived from a valued acter. The subjects of some of these il¬ for the Young Violinist vance of publication is 30 cents a copy, broadc'ast e'they sands of schools, colleges, and academies, lustrations have been personages and Classic and Modern Band and postpaidnnstr»nlH 1 . jazz, me aen friend in Virginia: A Method for the Youngest Beginner music has come to be an inseparable part, places abroad held in high esteem by Orchestra Collection and those who are charged with arrang¬ “Permit me to say that words fail adequately to express my well-informed musical folk, and others By Hob Roy Peery By Joseph E. Maddy Wilfred Wilson COMPOSITIONS FOR THE De' ing these programs are now seeking ma¬ deep appreciation of your prompt service, advice, and general have been reproductions of famous paint¬ With the violin, more so probably than ®ASY terial from which they can make appro¬ acts of kindness and courtesy that you have always given me. it ings hanging in Europe’s leading art gal¬ with any other instrument, it is very diffi¬ The school band or orchestra requires a VELOPMENT OF TECHNIC AND THE ONE-HUNDREDTH ANNIVERSARY priate selections. The aim always is to would be impossible to carry on my work successfully without leries. cult to hold the interest of the real young more extensive instrumentation and a dif¬ of the premiere of Goethe’s “Faust” in the Court display the capabilities of those who par¬ your help, and I feel that the leniency and courtesy you extend Among the reproductions of musical ferent manner of arrangement than that Tonality Theatre of Brunswick, Germany, on January 19, beginner. There are so many tedious pre¬ For the Pianoforte ticipate in the musical numbers, particu¬ me demand expression of my heart’s deepest gratitude. subjects brought back to this country by of the usual professional make-up. In ar¬ liminary details regarding the correct By N. Louise Wrioht opened in that city on January* 19th,'Tas* dfs- larly in those institutions of learning that the representatives of The Etude, who manner of holding the violin and Bow ranging for the school band or orchestra, plying how the work, in its century of existence, are blessed with a department of music. No one realizes more than we do that perfection is an ideal- We traveled extensively in Europe for the spe¬ necessary to make every instrument • ™\.ta “?otJier. ™e of Miss Wright’s had been heard in all —-£ Al--ie globe.-,-1- strive constantly to overcome any defects in our system as they become which require attention before the pupil Whether the musical selections are to be cific purpose of locating things of interest may proceed with the actual playing of count,:, without writing parts that are over- f te.r®.stl“g books for y°unS PuPils- for chorus singing, vocal or instrumental apparent to us. We are exultant in the fact that complaints for short¬ to our readers, was a photograpii of a ly difficult to play, while at the same time in this book the composer goes into some comings are so few that musicians generally, who deal with us by mad, notes, that the child beginner’s interest is THE WAGNER-MOZART FESTIVAL , solo or ensemble work, the desire is to decoration in the Paris Grand Opera often given a most severe test. Here is a making the arrangements full and bril- ?/ ,ua keys’ a.nd Jbis makes be celebrated at Munich from July 23rd to j present the performers at their best. are assured as satisfactory service as is humanly possible. House. The central portion of this decora¬ liant. In this art, Messrs. Maddy and “ especially useful, since m the earlier just 31st, at the Prinz Regent Theater. 1 If you have never opened an account with the Theodore Presser Co. book that is intended to hold the interest Wilson have excelled. The present col- fades writers are very prone to stick to Jerman Chamber Music Festival will take pi For the convenience of those who are tion was taken from the photograpii re¬ of the young pupil from the very begin¬ it Baden-Baden in the middle of July. now engaged in seeking this material, the (especially if there is no adequate music store in your vicinity) you lection is made up of gems from the works & / famlllar keys. All of Miss Wright’s production, and after being colored by an ning. The first studies are illustrated Theodore Presser Co. extends an invita¬ will find it a most profitable step to write today for particulars relating artist of high standing, was reproduced of classic, modern gand contemporary JXwc d aPPreciated by tion to make use of the far-famed Pres¬ to the simple method of starting a delightful business connection. with stories in rhyme. The finger position DR. CHARLES W. PEARCE, for the cover of this issue of The Etude. for the tones on the G string (second and writers. It will be wholly different" how- t . . English organist, J!-J -*■ D- ser Service, which includes the selection The entire decoration in the Paris Grand ever, from other books; while the contents v• lnJrodactary P™e “ ad- -u-_ jr(r jusj of appropriate material by a large, effi¬ third fingers close together) is used as a are similar, the band and orchestra parts Publlcatlon 18 25 cents per cojly, Opera House includes, beneath the cloud finger pattern for all the other strings. cient corps of trained experts, the con¬ enwreathed vision showing on our cover are not interchangeable. The various ” P The book goes along delightfully through¬ venience of obtaining this material for ex¬ this month, a singer Upon the stage with out and the student accompanied by the nU^be/S^nl ,be.,esPeciallY suitable for STUDIES IN MUSICIANSHIP amination, with return privileges, and the Advance of Publication Offers—April, 1929 the darkened orchestra pit in front and in intest and exhibition purposes. liberal professional and quantity discounts the shadows on the side, boxes filled with teacher is playing little melodies almost The special introductory price in ad¬ For t e Pianoforte—In Four Books Paragraphs on These Forthcoming Publications will be found under These Notes. before he knows it. Books Three and Four on purchases. beautifully gowned ladies and formally vance of publication for the instrumental “JUBILEE FUND” in excess of three thou- A folder, “Commencement Music,” is These Works are in the course of Preparation and Ordered Copies will be dressed gentlemen. The special introductory price in ad¬ parts, either for band or orchestra, is 25 Select Studies from Stephen Heller dollars has been collected by admirers of published in which may be found lists of delivered when ready. Evidently the artist in designing a dec¬ vance of publication is 40 cents a copy, cents each, postpaid; the piano accom¬ Edited by Isidor Philipp Ethel Smyth, to finance a program of her suitable numbers, including choruses, in postpaid. ’ ’ by the Berlin Phil- n Dances—Piano—R. S. Stoogh*on.60c Light Opera Production—Gwynne Burrows.60c oration of this character witii such a paniment to the orchestral version, 40 In another of these notes mention is harmonic Orchestra and the Kittel Choir. It unison, two, three and four parts for idge Idyls—Piano—Lily Strickland.60c Necessary Jingles for the Piano—Blanche lovely group floating above the singer’s cents, postpaid. mixed, men’s or treble voices, vocal solos - Trios for Piano, Violin and Cello.75c Fox Steenman .30c made of the withdrawal from the advance work! were’fiJ-st^l^rd^iVh'0?1116 Smyth’s la: i of Position — Violin — Sevcik,^ New Piano Album for Young Players-35c head, desired to show that music, with its Viola, ’Cello and Bass Parts to of publication offer of Book Two of this <’“r and duets, piano ensemble numbers, prizes, beauties of tone and Inspirational forces, awards and gifts. This folder will be sent and" Modern " Band * and* Orchestra' Our Little American Cousins-Lalla^ Concert Orchestra Folio series, Book One having been withdrawn transports one into close proximity to Lehrer’s Ensemble Method some months since. Books Three and Four RUSSIAN OPERA COMPANY is reporte free upon request. AND. ,Wl.LFRED.25c REQumM Mass* * «' Two-'p^ * Chorus- things heavenly. By Will H. Bhyant This collection is now ready and the ive been formed in Paris. The movement Among the numbers published during are not as yet ready for publication, but sore Volga Boatmen’s Song, arr. by William man for the engrossing and of an en¬ How to Master the Violin from music. by leading schools and colleges and normal graver for the special work on the medals. playing and general study purposes. Mr or only a littlCj 5ut it will be more effective of ii nnn • K ^ M. Felton, 6 cents. By Frederick E. Hahn Resolved, to provide special Summer teachers, it is possible to apply self-study Through this arrangement the charges are Stewart is a master hand at this style of if the dancing is somewhat elaborated. Nafiona^Merafion of'Musk ClubTfor ^com' music study opportunities to hold the in¬ in Theory, Harmony, Composition or D being dry or abstruse, this book Mixed Voices kept at a minimum, but it is suggested writing. The pieces will be published to- musjc js jn Miss Bilbro’s best vein and position in any form for solo piano with or- terest of present students and gain new Counterpoint, and the benefits of “brush¬ that those who wish to utilize this service, L-Jjjv? an exhaustive disquisition upon gether in a handsome volume. the entire work is of a high class. chestra, to take fifteen to forty-five minutes in Pastorale, by Charles B. Macklin, 20 students. ing up” neglected technic should not be place their orders in ample time, at least Dlavm "l Petraining to the art of violin The special introductory price in ad- Th special introductory price in ad- ^ c^novai TelfthadTAvenu,? cents. Resolved, to seek, as a teacher, oppor¬ overlooked. two or three weeks in advance, so that V®’ -v a practical teacher of many of publication 60 cents per copy, vance ./publication is 35 cents per copy, Pennsylvania ’ 1633 Shady Ave"Ue’ Plttsbur«h’ Pickaninny Sandman, by Sarah Talbert, The Theodore Presser Co. will be very tunities for personal further advancement vexatious delays and possible disappoint¬ thTS jT'f’erienee. Mr. Frederick E. Hahn, postpaid. postpaid. 4-j. 12 cents. in the art in order to be better equipped glad to suggest materials for special study ments may be avoided. Prices will be bp/!* -1’, has produced a work that we for the start of a New Season, after a rea¬ classes and books and technical material quoted upon application. Kindly mention PortanfWI take its place among the im- TX THE ELIZABETH SPRAGUE COOLIDGE Men’s Voices for self-study. Six Study Pieces for the Left -ALGERIAN DANCES PRIZE of one thousand dollars for a quintet sonable few weeks’ vacation between exact lettering desired when writing for „ ,, for flute, oboe, clarinet, bassoon and French horn De Hoot Owl, by Shirley Dean Nevin, classes. The teacher who has the opportunity to price quotations. S'if‘err„ aturePe, TAneh0 pbookJCi‘! is'VOrkS in no insense aH anVi °-in-lin Hand Alone Suite for the Pianoforte or for piano and four wind instruments, is open attend special summer classes will find By R. S. Stoughton to composers of all nationalities. Also another It is possible for every teacher to hold prove lan bo°k- It is much more, and will By Francesco Berger to these resolutions. Even if the students many suggestions in the announcements of nil a valuable aid both to the pu- l- workork is now inm thetne handsnanus-ui -of The music of tbe 0rient furnishes splen- extended ^ompositio/for^two3 Nanos""!^/^1/. are going away, arrangements can be made schools and colleges of music in the cur¬ Look Out for Swindlers exnonmi *j8dher. Using the principles as This new work ls.n . dy verv did material for idealization. These era), open only to composers who are citizens with the parents to have them do some rent issues of The Etude. Be on your guard against strangers Kr^ V’-V that ,naster technician, R. our engravers and it w .y, y dances in the Oriental manner are not only J,hei/inM Sp^rtk„iJhe fCompfn t,0A-ci0se! soon. In looking oyer quality usefuI for aesthetic dancing, but they the Music Division, Library o^Tongresfh'wasK Expiration Date soliciting subscriptions for The Etude able h; V tbe a,ithor proceeds to give valu- have been struck by the compact quanty ^ yery attractive piano solos Thiy ington> D. C. y g eSS’ Wash Music Magazine. There are too many un¬ these ?n the practical application of Note the expiration date which appears scrupulous men and women who impose on ties j Princ,ples in mastering the difficul- and general usefulness of t Sin'Ie by Mr. Stoughton was written espe- .3-_ t. to the right of your name and address. our musical friends. Do not pay any violin ,..some °t the standard works of If the date is April, 1929, it means that money unless you are willing to assume and ariif^?ture’ The progressive teacher 81 Conceit may puff a man up but never prop him up. and this gain will be both t The special introductory price in ad- Music for a cantata for chorus, not less than the last paid for copy was mailed with the the responsibility of it reaching us. Sign Ik ‘°?S student will be quick to musical. _ . vance of publication is 60 cents per copy, Th°e inti?na«nn,ais°initL«"d £Trchest,ra- April issue. Please let us have your re¬ —John Rus\in no contract or enter into no contract with¬ Protrmtm Va ue of such a work and will The special ia/oductory pnce in ad newal promptly, which will avoid misun¬ out carefully reading it. We cannot be special ' P .p his order for a copy at the derstanding and confusion. responsible for the work of swindlers. one d,.npriCe in advance of publication of vance of publication is 25 cents per py, (Continued on page 328) ^chard Coplev’ 10 East «rd -Street, New York Advertisement do ar> Postpaid. postpaid. Advertisement Page 328 APRIL 1929 work is in the course of preparation or¬ Our Little American Cousins ders are being accepted at the special Six Characteristic Pieces rou the price in advance of publication of 40 cents Pianoforte With Words a copy, postpaid. By Lai.la Ryckoff In this little collection of pieces various familiar characters and scenes are happily Advance of Publication depicted. Although very easy to play, the little pieces are highly characteristic. They Offers Withdrawn are especially good for rhythmic drill and With this issue of Tiie Etude Music as studies in style. They will be published Magazine we are pleased to announce the complete in an attractive little volume. publication of several works that have ap¬ The special introductory price in ad¬ peared during the past months in these vance of publication is 30 cents per copy, pages at special advance of publication postpaid. cash prices. These special prices are now Music has always ranked high among pro¬ withdrawn and the books are obtainable Blue Ridge Idyls at the prices here quoted. Teachers and fessions. There is never an overcrowded Suite for the Pianoforte active music workers may obtain copies Magazines That Delight By Lily Strickland for examination according to our usual terms. field for the well trained teacher There is a strain of pure Anglo-Saxon Studies in Musicianship, Boole Two. Combined with The Etude origin in the southern mountains of this Selected Studies from Stephen Heller. Ed¬ NTERESTING positions are open in Schools country. It reflects itself in the manners _e Theodor,. . I ited by Isidor Philipp. This is the second jfi uarv 1911, Miss Hillyaril was and Colleges calling for teachers with and customs of the people and in their hook of the four-volume series containing ' 'ashier of the .1. E. Ditson & music. The composer, who is a native of ,, music dealers and Philadelphia At Prices That Please gems from the musical pianoforte educa¬ i branch of the Oliver Ditson I'n. executive ability and highly specialized train¬ the south, has caught the spirit and the tional writings of Stephen Heller, com¬ nl tt„„„ the discontinuance of the .1. romance of these mountain people and in¬ Take advantage of these special offers to order your favorite ing. Standardized teaching makes it necessary piled and edited by his foremost pupil, n & Co. branch. Miss Hill- corporated them into a very interesting magazines with The Etude at reduced prices. Subscriptions may Isidor Philipp, Professor of Pianoforte at for every teacher to be equipped for his work. set of piano pieces. They are distinctive ii.« Bookkeeping ... - be new or renewal, may go to different addresses and may begin the Paris Conservatoire. The first book the Theodore Presser Competition is keen even in small communities. in style and not difficult to play. lias been on the market for several months The special introductory price in ad¬ when you wish. and already has been included in the cur¬ f faithful, manner site soon advanced vance of publication is 60 cents per copy, ricula of many private teachers, conserva¬ postpaid. in this department and since 1921 The ambitious teacher of today does not rely on tories and colleges of music. Price, $1.25. if has handled what we please to term Save Money! Order Now! Students' Concertos, Nos. 1 and 2, by F. I the Purchase Ledger work. THE ETU DE Music Magazine $2.00 ) Both THE ETUDE Music Magazine the haphazard use of books and methods but Light Opera Production I; In maintaining the world s larg- PICTORIAL REVIEW. Seitz, for Violin and Piano. A brand new i! est stock of music publications, c.m- M‘=CAU-'S..100| $2.35 chooses a definite method and with special prep¬ For School and Community edition of these famous compositions, so jj ducting a great publlshln^busiiiess Ilf! 0 By Gwynne Burrows frequently used as recital material for ad¬ THE ETUDE Music Magazine aration meets the teaching competition. ji of music havers in all parts of the WOMeTfSHOMECTAN?ON$LOOj. $2°7'5 DELINEATOR. $2 5 It is often a matter of circumstances vancing students, and mentioned hereto¬ civilized world, there are many pur 1\ II chases of all kinds of music pnb- Regular price. and a desire to accomplish something for fore in these notes as Concertinos, No. 1 THE ETUDE Music Magazine $2.001 Both T H E ETU DE Music Magazine and 2, has recently been added to the lications, supplies printing paper BETTER HOMES AND GAR When you can affiliate with a school recom¬ the benefit of an organization, school, binding, etc., and Miss 11 illy:, r. i CHRISTIAN HERALD.2.00 1 $2.85 5 church or community that an individual Presser Collection. Every violin teacher makes certain that every bill lias Regular price.$4.0ol Save $1.15 mended by thousands of successful teachers you finds devolving upon him the entire re¬ should know this splendid new edition. been properly okehed and figur'd. T H E ETU D E Music Magazine $2.00 ) Both Regular price u After an auditing has been made PEOPLE’S HOME JOURNAL .50 ! $2.25 T H E ET U D E Music Magazine may be sure that their confidence justifies your sponsibility for putting through the pro¬ Price, 75 cents each. of invoices and statements .there OPEN ROAD FOR BOYS... 5 duction of a musical play. Practically all Stories to Sing To, by Gladys Taylor. are many cheeks to be drawn and Regular price.$2.5ol Save 25c confidence in new ideas for your work which are A method for inculcating a sense of pitch THE ETUDE Music Magazine $2.00 i Both -ll s of us have seen musical plays where the for the Treasurer's signature. Any- PATHFINDER.L00 t $2.35 available to you. characters, each time they had a solo, step in tiny tots of kindergarten age by means MOD 1R N DP rTsC |CLL A !! “Y?. )Oo forward in almost concert style to sing it of two little stories in which the cries of .voujd luickly a Regular price. -SlsS to the audience, and when the chorus was animals and the sounds of bells are in¬ t thes. t lndlea T H E ET U D E Music Magazine 0 reat volume u. uumum mm n>. - ^ot0h0 We put you in position to earn more and to required, its members just flocked on the troduced. This is a unique and most inter¬ aits such economical purchases as 50c prepare for bigger things. Quick advancement stage and gathered in a confused group esting little book. Price, 60 cents. o make possible the most reason- Regular price. -Sr a to sing to the audience the chorus number blr [tricing of music publications nd the granting of many, liberal can be yours in the great teaching field. the score indicated that they should sing at that point. Such amateur blights upon Save a Dollar Raise your standard of teaching and make your the performance would have been avoided Your opportunity to secure 24 fine edi¬ if the conductor and stage manager were tions of The Etude Music Magazine for own lessons worth more. W ith a Certificate or fully informed upon technical details, $3.00 is here. The last date on which the Bachelor's Degree you can meet all competition. which, carried out, would take the produc¬ special two-year money-saving price will tion out of the amateur class and give it be accepted is Monday, April 15, 1929, at We offer high class instruction to you, gained in that finish and brilliance that will make twelve o’clock noon. Why not place your a busy experience of twenty-five years. Do not the audience feel the performance has pro¬ own subscriptien for one year if you wish New Piano Album for Young fessional qualities. This book gives in¬ and do a favor for a musical friend not imagine the lessons dry, uninteresting and hard structions along these lines, all the way Players familiar with The Etude Music Magazine THE G CLEF to learn. They contain complete, explicit in¬ from guidance in the selection of the light The Theodore Presser Co. issues a series by entering his name for one year? You opera or musical play to the management will be doing him not only a real kindness TWO PART CHORUS struction on every phase of music. No stone has of reasonably priced albums that have a and staging of the performance. very large sale. Special large plates are but will be giving him a real musical help. BOOK been left unturned to make them absolutely per¬ In advance of publication an order may Bring this two-year special one dollar used in printing these albums, making it be placed for a copy at 60 cents. Price, 50 Cents fect—no expense spared in any way whatever. possible to give within the given number saving rate of $3.00 net to the attention Discounts on Quantity Dots of pages several times the number of of your musical friends. They cannot A finer variety and a more useful col¬ pieces that it would be possible to include To a Katydid make a better musical investment. lection of material In a compilation of Follow the example of hundreds of other teach¬ with the ordinary plates. We have in Cantata for Children’s Chorus nineteen numbers would be difiicult to give. Everyone interested in the cho¬ ers who have examined our lessons available to preparation a new album fob this reason¬ By Carl Busch Changes of Address rus work of schools, girls’ glee clubs ably priced series and this new album is and women’s choruses should get this Etude readers by sending for Catalog today. to be for young players. It will contain This new cantata is very nearly ready. If you desire the address changed on We will have it out in ample time to be our Etude list, be careful to give both Examination Privileges extended to Seeing is believing. a very generous quantity of attractive first colli er’^s^natl! ^w*£ejklY2.'oo1 $• and second grade pieces that will supply ■studied for the commencement and exhibi¬ your old and new addresses. Our files are school supervisors and chorus directors J U N1ORUHOME,SMAGAZ^NE*li50j $3°2>5 50 excellent recreation material to keep up tion events of the coming spring and early arranged geographically by state, town and THEODORE PRESSER CO. Regular price.$4.00 > Sa UNIVERSITY EXTENSION CONSERVATORY the interest of the young piano students. summer seasons. This is a delightful work name, and unless we have both addresses 1712-1714 Chestnut St., Phila., Pa. THE ETUDE Music Magazine $2.00 ) Both F AS HI O N AB LEMDCRESSaZWW. *3.00 l $’ for choral study, rather pretentious in NATURE MAGAZINE. 3.00 I $4.00 75$ Dept. B26, SIEGEL-MYERS^RLDGm ^CHICAGO ^ We are introducing this new volume by delay in locating a subscriber must ensue. Regular price.$5.00 i Sav accepting advance of publication orders character but not difficult to sing. It is now at 35 cents a copy, delivery to be intended as a purely musical effort with¬ l h MT liDfEe"f.c. -Ma5“ziK.e. y™ j. $3° 85 ^ HYgIia! ?.E. M.TC. M.TZine. $3.oS | $< 0h0 out action or costume. l university extension conservatory, made as soon as the book is published. Dept. B26, Siegel-Myers Building, Chicago, Illinois The special introductory price in ad¬ THEETUDE Music Magazine $2,001 A1, vance of publication is 30 cents a copy, MODERN PRISCILLA. 2.00 1 . -- Please send me catalog, sample lessons and full information regarding Requiem Mass PICTORIAL REVIEW. 1.00$4.00 PEOPLE’S HOME'JOURNAL .50 > $1 80 Foa Two-Paet Chorus postpaid. Beginner’s Method course I have marked with an X below. By Geremia M. Fabrizi Three Scenes from Henry VIII THE ETUDE Music Magazine $2.00\ □ Piano, Normal □ Cornet □ Violin Considering the frequent use that is YOUTH’SDCOMPANfoNZinTrumpet made of them, for Funerals, Anniversaries For the Saxophone Teachers □ Ear Training and By Edw. German □ Organ (Reed) and Month’s Mind Masses, there are com¬ □ Piar Course foi Sight Singing paratively few Requiem Masses frotn Written originally for the production of By H. BENNE HENTON Students □ Voice □ Mandolin which to choose, and Catholic organists the play Henry VIII in 1892, these three □ History of Music □ Adv. Composition j ^ PRICES DO NOT INCLUDE CANADIAN OR FOREIGN POSTAGE | □ Public School and choir directors will, no doubt, welcome dances have grown in popularity with the Price, $1.25 □ Harmony □ Choral Conducting the publication of this new easy Mass. It development of the radio and the wide¬ A Classic in Saxophone Instructors Send Orders With 'Payment Direct to is arranged for two-part singing and is spread increase in the number of good Name . Age.. excellent for use either by the children of orchestras. While these dances are played A master saxop hone artist prepared this instructor for beginners on the saxophone the Parochial School, Young Ladies’ So¬ frequently by both the professional or¬ and everything is presented in a clear, simple aid practical manner. Abundant The Etude. Music Magazine Street No... dality Choir or by a two-part chorus of chestras and the excellent school orches¬ explanations illustrations and a complete chart of the saxophone aid the teacher and Theodore Presser Co., Publishers young men’s voices in Preparatory Col¬ tras, they make very satisfactory piano These helps even make it possible for use in self-study where no teacher is City . State. leges, High Schools or Seminaries. Por¬ solos. Each of the three dances—The Mor¬ available. Excellent musical selections are utilized in developing plaving ability. Mr. 1712-14 CHESTNUT STREET PHILADELPHIA, PA. tions of the Gregorian chant are intro¬ ris Dance—The Shepherd’s Dance—The Henton is conadered by many to be the greatest of saxophone soloists. duced occasionally, giving the work an Torch Dance—is highly characteristic and added dignity. Of course, it is strictly may be used to good advantage as a con¬ liturgical. Orders for single copies are cert or drawing room number, or for THEODORE PRESSER CO., Philadelphia, Pa. being booked, while the work is in prep¬ classic dance purposes. Everything in Music Public! aration for publication, at the very low A new edition of this set is to be issued 1712-1714 CHESTNUT STREET price of 35 cents a copy, postpaid. in the Presser Collection, and while the Advertisement Every piano teacher in America v*hmiI(I teach piano by the class method Because many piano teachers are finding that pimw class methods hold many advantages over the inmviduaL method of instruction ^ ww *%, m1w \\w>%, m ^ wv\v m vc The Great Piano Problem OR the past twenty years the great majority of piano teachers have F Hundreds of piano teachers the country over have started their own been experiencing a gradual decline in their business. Year after piano classes. They have found it a great boon to their business. In year, the problem of keeping children interested in their piano studies its wake follow not only increased business, but the uncovering of a until they reached a point where they could actually play, has loomed great number of talented pupils, who would otherwise have remained larger and larger upon the pedagogical horizon. undiscovered. Of course, there was no single reason for this condition. There were many. Undoubtedly, the introduction and growth in popularity of the Start Your Own Piano Classes automobile and the radio has had much to do with it. But perhaps the biggest reason was that the individual method of teaching piano to chil¬ Perhaps the most important and most necessary thing at this moment dren was too tedious and boresome to permit of.enthusiasm. lor the piano teaching profession is that every piano teacher in this coun¬ Piano teachers today must face the facts. Those who have made an ex¬ try start his or her own piano classes. Many of the leading men and tensive investigation of the conditions in piano study as they have existed, women in music have come to regard Class Piano Instruction as the sal¬ are agreed that the reason for the increase in piano mortality has been vation ol the piano teaching profession as well as of the piano in¬ the difficulty surrounding the various individual methods of instruction. dustry. We urge and advise the piano teachers of this country not only to in¬ The New Idea—Class Piano Instruction vestigate the whys and wherefores of Class Piano Instruction, but also to start piano classes of their own. There are no mysteries in Class Piarn [I Indeed, a few years ago, it seemed that the piano teaching profession was Instruction. It is both sound and easily started. ^ to die a natural death. But gradually there evolved from the best minds of the profession a new idea. This idea may be familiar to some of you. INSTRUCTION1 ma^°rity il is unknown- 11 is called CUASS PIANO Information Available Teaching children to play the piano in classes is both educationally and The National Bureau for the Advancement of Music, located at 45 West psychology sound. Many of the great minds of the world were developed h Street, New York City, has an abundance of material dealing with in classes that would have otherwise remained undis¬ this—the most important development in the history of music. The Bureau covered, if they had depended for their education will be glad to send you literature which will describe upon expensive private tutoring. in detail the methods of operation which are proving so successful both in the public schools and with private teachers. The finest thing that could possibly happen Public Schools Teaching Piano both to the piano teaching profession and to the piano The idea of Class Piano Instruction is sweeping the industry would be to see the starting of piano classes by country. It is so successful in its methods of operation every piano teacher in America. that today almost 400 cities in this countrv have deemed it wise to make piano study by the class Write today for this literature. method, an integral part of their system of public education. It meaniTlhuch to youT NATIONAL PIANO MANUFACTURERS ASSOCIATION, 247 PARK AVENUE, NEW YORK