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

4-1-1943 Volume 61, Number 04 (April 1943) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 61, Number 04 (April 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/229

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It is not pleasant to have your peaceful life upset by wartime needs and

. . . It is to restrictions and activities. not pleasant die, either. . . . Between you who live at home and the men who die at the front there is a direct connection. ... By your actions,

definitely, a certain number of these men will die or they will come through alive.

If you do everything you can to hasten victory and do every bit of it as fast as you

will save the lives of some men who will otherwise can . . . then, sure as fate you die because

it you let the war last too long. . . .Think over. Till the war is won you cannot,

in fairness to them, complain or waste or shirk. Instead, you will apply every last ounce of

this thing done. ... In the name of and your effort to getting God your fellow man, that is your job.

BY HIS DEEDS MEASURE YOURS

vJOHN FALTER

'-vuidn war i gamzation needs , your help. The Government rmed Citizens Service Corps as part of local Defense Councils. 3 8r° UP ' S 34 W° rk ' n your community, cooperate with it t thet limit of your ability. organize one If none existSi help to 66 b°° klet te »ing will be you what to do and how to do it to you g 3t nn charge if you win write to this magazine. 1 "is is your war u 1 neip win — it. Choose what you will do now !

every Civ ILIAN A FIGHTER and the NBC Symphony Orchestra paid a tribute to American in a program on February 7, when they played the joyous Comedy Overture on Negro Themes of Henry Gilbert; Night Soliloquy of Kent Kennan; The White Peacock of Charles Griffes; and the “” of Ferde Grofe. The last named work, now widely recognized as one of the great orchestral masterpieces of Ameri- can music, received a huge ovation. The miniature score recently has been issued by the Robbins Music Corp.

ROY HARRIS’ “FIFTH SYMPHONY,” dedicated HERE, THERE, AN D EVERYWHERE to The Union of Soviet Socialist Republics, had IN THE MUSICAL WORLD its world premiere when it was presented on the program, February 27, TIIE BACH CHOIR, under of the Boston Symphony BETHLEHEM hold its Orchestra, in Boston, Music Week, May 2-9 the direction of Ifor Jones, will and Serge Roy thirty-sixth Bach Festival Friday under the baton of Harris the 1943 Saturday, May 14 and 15, in Bethlehem, Koussevitzky. Describing by foolhardiness. They are "plenty tough” THE SPECIAL KEYNOTE of Pennsylvania. Works to be presented, in new symphony, Mr. Harris writes that not Music Week will be “Foster American the when the time comes, but they do in- the Music,” ac- addition to the “Mass in B minor,” he hoped in it to express qualities of lose their heads and this accounts in and World Unity Through of the Na- clude three motets; Cantatas, Numbers 4, American people which our popular dance measure for the almost fabulous cording to the announcement large and a Kyrie in minor. reveal. Inter-American Music Week 144, and 180; D music, by its very nature, cannot records of American gunners in the air. tional and programs will be pre- The success of “I Love Life,” so long a Committee. Special DESIRE DE FAUW, a member of the mu- by schools, churches, music clubs, PAUL KOEPKE, concert favorite, as a wartime song of sented V'.r of the Con- service ,K conductor staff of the Theodore Presser music teachers, women’s clubs, sic editorial inspiration, is a great surprise to many. certs Symphonique of is the winner of the prize of and many educational and recrea- Company, clubs, Jr Montreal, has been ap- hundred dollars in the composition tional agencies. This will be the twentieth one FREDERICK JACOBI’S “Ode for Or- vl pointed musical director of Music Week and contest of the Chicago Singing Teachers’ chestra" was given its premiere in Febru- annual observance ^ features will be and conductor of the Guild. His prize-winning song for voice ary, when it was played by the San one of the outstanding conducted on Chicago Symphony Or- and , entitled The Ivory Tower, is Francisco Symphony Orchestra under the the festival of music to be Federation of chestra for the season to lyrics written by Ensign Virginia direction of Pierre Monteux. the air by the National set of 1943-44. Hans Lange, Fager, U.S.N.R. It was selected as the Music Clubs. D6sirr con- Db Fauw associate conductor with best of more than two hundred manu- Suggestions for programs to be — be se- the late Frederick Stock scripts. (Competitions — ducted during Music Week may for seven years, will continue his con- cured from C. M. Tremaine, Secretary of will con- and Inter -American Music nection with the orchestra and SERGEI PROKOFIEFF’S cantata, “Alex- W. LEVENTRITT the National THE EDGAR Fourth Avenue, duct part of next season’s concerts. In Nevsky,” had its American pre- Week Committee, 315 ander FOUNDATION has announced that its addition, he also will direct the activi- City. on March 7, when it was presented open New York miere fourth annual competition will be ties of the Civic Orchestra, the train- di- by the NBC Symphony Orchestra, pianists and violinists between to both (WASHINGTON) PHIL- ing group of the Symphony Orchestra. Leopold Stokowski. Participat- players TIIE TACOMA rected by the ages of 17 and 25, instead of Mi-. De Fauw will be only the third di- event was the Westminster HARMONIC ORCHESTRA reports that it ing in the of only one of these instruments, as for- rector in the history of the Chicago Princeton, . The has been able to complete a most success- Choir from merly. The winners will have appearances Symphony Orchestra, since its founding artistically and financially, cantata, which first was heard in 1939 in with the New York Philhar- ful season, next season incon- in 1891 by Theodore Thomas, who con- with the acting as despite restrictions and other Moscow, monic-Symphony Orchestra. Applications ducted imtil his death in 1905, to be of wartime necessity. With al- conductor, was developed from incidental be received until May 15, and full veniences will sixty- succeeded by Dr. Stock, who conducted Prokofieff had written for most half of its membership of music which details may be secured by addressing the from 1905 to 1942. made up of women players, the or- a Soviet film of the same name. The Foundation at 30 Broad Street, New five chestra, under its founder-director, Eu- work is considered especially timely, as York City. MERLE EVANS, director of the Hardin- expulsion Linden, presented a series of four it deals with the defeat and gene Simmons University Cowboy Band, has by concerts, at two of which the soloists from Russia of the German invaders, COMPOSI- resigned in order to return to Ringling THE FIRST STUDENT were Mona Paulee, Metropolitan audition the national hero, Alexander Nevsky. the Brothers and Barnum and Bailey Circus. TION CONTEST, sponsored by tenor. winner, and Theo. Karle, noted director of the circus National Federation of Music Clubs, Evans, who was SERGEI RACHMANINOFF, Russian com- open to native born composers between band for twenty-four years, gave up that HUTCHESON, distinguished poser-pianist, and Mrs. Rachmaninoff the ages of eighteen and twenty-five, is ERNEST position last summer, when the entire and president of the became citizens of the United States at a announced by the president of the Fed- pianist, composer, band was ordered out on strike due to a Patterson Gannett. Music, was awarded in New York on February 1. eration, Mrs. Guy of controversy over wages. ceremony classifications with prizes Music become a United There are two an honorary degree of Doctor of “I am very happy to each of fifty and .twenty-five dollars in at the midwinter com- citizen in this land of opportunity on January 24, CARLTON COOLEY, former player States classification. The national chairman of Rachmaninoff’s mencement of Rutgers University. with the Philadelphia Orchestra, was and equality,” was Mr. the Student Composition Contest is the following the event. Amercan composer and au- represented on the program of that or- comment distinguished ADELE LEWING, pian- thor, Miss Marion Bauer, 115 WesP Sev- ganization when his “Caponsacchi,” an teach- enty-third Street, , from ist, composer, and epic poem for orchestra, had its first MANA ZUCCA’S “I Love all details may be procured. er, died on February 16 hearing Friday after- apparently one whom Philadelphia on Life” is City, at in New York noon, February 12, with a repetition on the great hits of the of are an- the age of eighty-two. evening, February 13. camps and mili- FOUR AWARDS OF $1,000 Saturday army nounced by the National Federation of She was born in Han- recreation centers, tary Music Clubs for the outstanding violinist, over, Germany, and stud- THE , after lively song has for this pianist, man and woman singer, to be ied at the Leipzig Con- years of work in preparing the greatest hundreds of known been used $• selected by a group of nationally servatory under Reinecke collection of recorded American folk mu- radio business session of the times during the judges during the and Jadassohn. She ap- sic in the world, has announced that as a of Federation which will take the place of programs and tours Mana peared as soloist with result of a grant from the Carnegie Cor- the Biennial Convention, cancelled be- John Charles Thomas, ZUCCA major symphony orchestras and poration it is in a position to supply cause of transportation difficulties, in May, many James Melton, Alec Tern- Kneisel Quartet. For three years duplicates of its folk-song records to Bert 1943. Full details of the young artists’ and with the Selma Kaye, Jan Peerce, Leschetizky other libraries, schools, colleges, and to nleton, student musicians’ contests may be secured she studied with Theodor Colona, and Steven Kennedy recordings Lahr Jerry from Miss Ruth M. Ferry, 24 Edgewood and later used the Leschetizky method the general public. These are . The "boys” me programmed it 185 times) Avenue, New Haven, Connecticut, and when she established her studio in New particularly authentic because of their the fatal- an opposite attitude from Mrs. Fred Gillette, 2109 Austin Street, York. She had been a friend of Clara having been reproduced not from studio take of Japs who glory in disaster, all Houston, Texas. Schumann, Nikisch, Brahms, Busoni, recordings but from recordings made in istic keep which means that they propose to Carreno, and MacDowell. 0Continued on Page 242) not risk victory their wits about them and "FORW'ARD MARCH W ITH MUSIC 217 APRIL, 1943 .. . . !

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THE Oil 0IE PRESS EH LIT :w 1712 Chestnut Street, Philadelphia, Pa. S a,n foundland, P - p<^u and N cara ua S ' 75 t veir AAll °' Uruguav V. " h 'r W 218 I Editorial

tfje Rtetng of tfie Jsmn

“LO, I AM WITH YOU ALWAY, EVEN UNTO THE END OF THE WORLD.” Matthew 28:20

kindly old pastor asked him if he believed that AIL to the glorious season of Easter, when choirs of see Him. A “Yes.” “Well,” said the old churches throughout the world sing of that Resurrec- he had brains. The reply was clergyman, “how can you be sure of it? You never have seen H tion Morn which came when Mary Magdalene, Mary, your brains.” Ofttimes, the most abstract and intangible the mother of James, and Salome went with sweet spices to things are the most important in the Sepulchre “at the rising of life. the sun.” This is the hour of the LYRA DAVIDICA Music is one of the most in- rebirth of life to a great part of tangible of all things. The sounds the world. It is not our concern pour out on the air, but in a few whether the thrill of the Spring seconds they become silenced. festival comes to you as a Chris- They must be reborn, resurrected, tian fete, as a celebration of the every time they are heard. Those Jewish Passover, or even as the who are engaged in music some- awakening of some pagan relic of how come to know that incessant the time when the sacred rites of resurrection is a part of life and Spring brought the world again to happiness. That is one of the happiness, flowers, fruit, sunshine, reasons why the Easter season is and rejoicing. We all need the of such great significance to renaissance of Spring this year, musicians. more than ever in the world’s Few great creative workers history. have escaped the inspiration of When the bells ring out on Spring. Beethoven used to long Easter morning and you go to the for those days when, according to sanctuary fragrant with lilies and the old legend, three holy men of hyacinths, and listen to the exalt- ice, who were supposed to mark ing strains of Jesus Christ Is the end of winter, came down Risen To-day, you cannot fail to from the high Alps and, with a feel a new uplift in the thought last, dreary, frozen draft, passed that the satanic powers of evil, on so that Spring could enter in that have been seeking to bring all her glory. Then the great about another period of the Dark master could resume his immortal Ages, are being vanquished and walks in the Vienna woods, where that through the frightful din and many of his finest themes came murk of battle the voice of Christ to him. He had the same dream is still saying, “Peace be unto which later moved the genius of you.” the curious English poet, William Our faith is being tested hourly Blake, when he wrote: in the fires of Destiny. Heads are bowed in sorrow all over the “Oh thou with dewy locks, world for those who have made who lookest down the supreme sacrifice on the altars Through the clear ivindows of right and freedom. Many have of the morning; turn had their faith badly shaken. They Thine angel eyes upon our have turned their backs upon western isle, Divine power. They are like the Which in full choir, hails thy man who said that he did not be- approach, 0 Spring /” lieve in God because he could not (Continued on Page 272)

219 APRIL, 1943 Youth and Music

A Musical Community Plan Which Works

F ONE WERE to formulate plans I for an ideal musical community ui new uanecs never certainly those plans would in- before presented in Newark; other clude performances by world famous artists to follow are Marian Ander- artists presented at prices that ev- son, Jascha Heifetz, Vladimir Horo- eryone and particularly the young witz, and the Primrose Quartet. people in the community could emmon The Ballet Theatre also launched afford; music making by local in- X a second season of Youth Festival strumental and vocal aggregations; Concerts with a matinee perform- meetings and conferences that ance for young people. would provide stimulus for schools Still another series of events spon- and pupils and teachers and musical sored by the Foundation in coopera- where- ’ensembles; and some system tion with many of the high schools achievement the part of in- by on and state teachers colleges of north- dividuals groups could be evalu- ern and New Jersey is a list of attractions ated and compared with those of designed to raise the level of pro- individuals and groups in that other grams presented in school assem- community. Furtherance of such blies. In pursuance of this idea the plans would depend for success on Edwin Strawbridge Ballet Company, the cooperation of all musical the Trapp Family Choir, and Mil- minded persons within the pre- dred Dilling, harpist, have been pre- scribed area—whether performers or sented to a dozen of these northern listeners necessitate pa- —and would New Jersey institutions. tronage and support for such events Last October, lay and professional as might be scheduled. But that the leaders of music and high school results would be well worth the ef- students of northern New Jersey met fort involved has been demonstrated for the Foundation’s annual All-Day in northern New Jersey where the Institute. At this time a vocal musical activity follows just such a semi- r aS Queena comprehensive pattern. There, pro- ?nrnJ ^ Mario, ° f Me fessional and layman unite in a com- OperaOnerfp ‘™P°litan Company; a violin seminar mon purpose; there, races and was conducted by Hans Lets, mem- creeds pool their efforts. They have be! of the Juilliard Music School as their touchstone the belief that faculty and teacher of unity of aim and effort obliterates Travers Patricia New Jersey’s fourteen-year- racial and religious boundaries. It MRS. PARKER O. GRIFFITH old violin prodigy; piano is thought and procedure that lead technic was discussed by Isidor President and Founder of the Griffith Music Foundation Philipp- and to salutary results. composition and America’s cont'ribu- Credit for originating the plan tion to creative music were that has been followed in New Jersey by Aaron discussed Copland. Miss Travers must go to Mrs. Parker O. Griffith, ™‘er “ <* '“lb founder and president of the Grif- engagements with the New York fith Foundation which has its head- Philharmonic-Sym- quarters in Newark. It was her idea long before surrounding territory, though in several of the chestra, °» the present program was inaugurated affairs the whole state participates. Symphony successful Orchestra, and the Ford that there should “come into being a commu- spoke ? Education and Entertainment briefly, giy^g some T™' nity-wide organization that would sponsor a full w^SonTdere d ’ 6 to aspiring young performers. all-year program of music, including orchestras, The first of the concert series started on high Two hundredd fin school students, represeiUin^ apprecia- November 1, with a recital by Artur , recitals by great artists, music Schnabel, schools of northern y New Jersev nnrH f tion lectures, participating music groups and and before the season is over it will include and a Youth seminar to assist ambitious young recitals by other master pianists: Robert concerts which would Casa- open to young musicians outgrowth desus, Bartlett and Robertson, in a world at war “ New Jersey artists.” The Foundation, Rudolf Serkin, conference was Ws shared with Artur Rubinstein. The led by directors of music of her musical beliefs and those who subscription price for this northern in New Jersey city schools her the idea that youth should be surrounded entire series was so low that music students could and other of the states most prominent all-year program of music, was or- easily afford tickets only figures in the by such an — one dollar ten cents of musical field for education. Two ganized in December, 1937. the five concerts, or less than twenty-five motion pictures of particu ar interest to In this, its fifth anniversary season, the cents for each one. Making this series musicians were an educa- The Maestro," shown Foundation sponsors a program of interest and tional as well as an entertainment starring Ignace J™ iL feature, the and "They parts of which range from Foundation provided Shall Have Music, value, the composite annotated programs of ^ featuring playing of Jascha mB Tethe local concerts and meetings to entertainment in each recital that could be studied Heifetz with i „ in advance of Junior Symphony ^ ^ Calitornia army camps and on the high seas. Broadly, it the performance. Orchestra. series, an all-day institute, includes two concert — uusu—aitnoug auditions, and a War Effort Music Com- balcony seats for State Auditions annual the series cost less than a study of ways and means average of mittee which makes a fifty cents—is a second group of cor with ' whereby music can be made available to our men certs. The Ballet Theatre, music educators' coBl,ei ate most recent adapts ^New^Je"Jersey"A centers in Newark and the tion of traditional ond successive for the sec- in service. Activity Russian ballet to the year in „„ ^ Amei tions 1*1"6 music for all residentssiaents (n™?” aucfi- 220 "FORWARD ( Continued on MARCH WITH MUSIC' Page 272) Music and Culture

it, often a consolation, a refuge? To relinquish to a machine the careful reproduction of all the poetry, all the passion of a musical work, to de- prive one’s self thus of translating it into sound The Portal of Musical Dreams with one’s own feeling, is not being a musician. There are dreams, there are sentiments, which cannot be expressed save by a personal interpre- tation. Never can the machine replace the human execution, no matter how perfect the machine Lij. j-^roj^edAor J. PlJipp may be. In fact, the misdeeds of machinery are nothing but the deeds of inferior quality of. effort. The large number of poor teachers (the most mediocre of students can call himself a professor) A Message to All Teachers and Pupils from One does much harm, and turns from the study of music many a gifted child. Of intelligent and of the Greatest World’s Masters of the Piano skilled masters there are many, but these are often pushed aside by the stratagems of the others, and musical culture suffers TRANSLATED BY FLORENCE LEONARD increasingly from such practices. Then there are also to-day the so-called amateurs, who do not like to hear you speak of “working.” But did this amateur HE PIANO IS THE PORTAL to musical and arpeggios. But, to force the study of the scale learn to read and write without studying? It is dreams, but in order to climb to that portal or the arpeggio, for example, beyond the purely delightful to be a listener to the phonograph T one must surmount various ladders of tech" physiological utility of the wrist and the fingers records, or to the TSF, but what will the listener nic, which should be made as interesting as which result from it, offers perhaps less of ad- do when there are no more musicians? thinkable. In these days, when students are pre- vantage than of difficulty. That the pianist may occupied with the idea that they must at once acquire strength and rapidity from it, is hardly Work Must Be Varied make use of what they have learned, their study doubtful. But he contracts habits which may re- How should one work? This question permits goes much less deep than it should. Too often taliate by paralyzing him to some extent. Auto- of many answers which vary somewhat according they forget that technic is something more than matic playing may lie in wait for him. Only the to the personality of the student, the object manual skill. The brain is what actually enables analyist of the elementary formulae will enable which he has in view and the circumstances in us to resolve the problems of technic which come him to preserve the advantages and avoid the which he finds himself. If the student must con- to light on every page of the works of the mas- evils of this system. form himself to studying, so also must the study ters. The formative process is what remains after be adapted to the student, and perhaps in even Importance of the Piano all else has been forgotten; one truly knows only greater measure. The period of working, for in- that which has been worked over many times, The piano plays an important part in general stance, should decidedly be variable, both ac- according to my illustrious teacher and friend, education. That fact is forgotten too often to- cording to the ambition of the student and Saint-Saens. day. It is a mistake to think that the results of according to his aptitude. Likewise it is impossible How to work is a science which takes long in piano study are merely musical and nothing more. to determine absolutely what proportion of this the learning. Much time is lost, much effort is Consider the mental effort which is required in period should be set aside for that practice which wasted, if the student is not guided by wise ad- making, at the same time, movements for two- consists, strictly speaking, of exercises. One could vice. Those teachers are rare who know the right note groups in one hand and three-note groups devote to them a third of the total amount of paths and can lead to the goal without hesita- in the- other; in playing forte with one hand, daily practice. At all events, one should avoid too tions, without delays; rarer still are those who, Viano with the other; staccato with one hand, much work on them, and the fatigue which can knowing the secret, are willing to impart it. Most legato with the other. Such of the methods or treatises which are devoted to dissociation of the muscular these problems stop half-way after analyzing activities has a general value them, and do not advance beyond the ground of which cannot be questioned. what is already known by experience. To be sure, From the musical point of they lead to the usual types of scales, arpeggios, view, the piano is the instru- trills, various forms of double notes and the like. ment par excellence for artist They give numerous formulae, often excellent and amateur alike. It is for ones, for strengthening or loosening the fingers. the piano that the greatest But what is wrong with them is that they limit works of art have been com- themselves to the ready-made formulae which posed. Thanks to the piano, are more or less like the most difficult passages one can become acquainted of the most famous pieces in the pianist’s reper- with the beautiful composi- toire. The student, puzzled by a difficult passage tions for other instruments, of Beethoven, Chopin or Liszt, hunts through ten for voice or for orchestra. The volumes of Czerny, Henselt or Tausig, trying to piano is to music what en- find in them the form which most nearly resem- graving is to painting. To be bles this extract. Such a task of finding a passage sure, it is easier to make a difficulty is childish; likewise, the needle over a disc, or, sit- to match the run comfortable chair, labor of repeating the exact twenty, fifty or a ting in a to hundred times in succession, while gradually in- listen to the sounds that come (any creasing the tempo, gives results which are only to us from TSF radio

on. station ! than to work a little uncertain, not to be depended ) , Further, the usual types of pianistic forms, every day at the piano. But is of value in them- it not a satisfaction to inter- scales, trills, arpeggios, are no in music in pret for one’s self the great selves! They are hardly ever found impart these simple forms. Their practical value is that compositions, to to little one’s enthu- they develop certain elementary movements of others a of the fingers, hand, or wrist, which shall be imme- siasm for the noblest of arts? it source of the high- diately applicable to all passages of piano litera- Is not a arpeggios est personal enjoyment, just ture. One must learn the scales and scales as reading is to one who loves Maitre I. Philipp first through some authoritative book of and his intimate friend, the late Ferruccio Busoni WITH MUSIC 11 221 APRIL, 1945 "FORWARD MARCH Music and Culture A private recital, when the pupil meets require- Holding the Interest of Pupils ments chosen by the teacher, makes a high light in the students’ study. Invitations and programs quickly result from such excess. The student for such a recital may be mimeographed at L Wlrs. PLtt should not work too long at a time, nor without JeUton slight expense; and the pupil may be rewarded interruption. After a half-hour or three quarters with a pin. of an hour of work, real work, thoughtful, intelli- Then make a series of public recitals a musical gent and concentrated, the fingers, and perhaps a T A TIME when some instructors are com- event. For these it might be well to engage a even more the brain, require some rest. The sub- plaining of having too few pupils, it hall. Encourage pupils to talk about the series ject matter of the study should not always be behooves the music teacher to .use every and write publicity for the newspapers. Include arranged in the same order, exercises, Furthermore, at all as etude, method to create interest. some specialties on the program such as: danc- piece. Any habit of practice which can degenerate should be the joy of ing, times it is the duty and songs, or dramatic readings by pupils of into routine should be avoided. the attractive that Sometimes the teacher to make lessons so other teachers. Let baby sister sing the piece work should begin with the study of pieces, put- to the studio. One which the child will want to come little brother plays. She will announce ting aside exercises and etudes till the end of the pupil we know, said to her her own little Chinese whom song in the manner of an artist. day. If the fingers are supple and obedient, do like Christmas when Have mother, “Every Saturday is your own assignment books. Use the rain- not drill them except on some difficult passages I can take my music lesson.” bow pad idea, having colored sheets mixed with from your pieces. These may take the place, for can interest a pupil, the pupil can the white. If a teacher Put some special stress on a colored the day, of the regular exercises. interest the parent. Too often, when the purse page. Award stars for each subject treated, if Before you begin to work, know what you wish tightened, the parent regards well done, strings must be and a seal for a complete, satisfactory to do. Think first, play afterward. The work of music lessons as the first item to be cut from esson. Suit the seals to the season of the year. the brain must thus precede that of the fingers expenses. If a child pleads for the opportunity Keep a tray with four boxes, one for each week and afterward never cease to direct it, to watch study, the parent will usually find a way. The of the month. to The children enthusiastically plan over it, to control it. In studying the piano the vary her methods to fit teacher, therefore, must ahead to win each seal. essential factor is the brain factor: one quarter the individual needs and tastes of the pupil. g n r°US Praise. Some day, many of fingers, three quarters brain. This mental activity A few precepts gathered from my own ex- thF“fp I f, WlU play far better than insures the greatest economy of time to the stu- will doubt be of interest you Let perience in teaching, no TOmsturifnT a , P aCe where they love to come dent. If you work out a technical problem to other teachers. alone or^n ^gr “ Encoura ge them to run up with intelligence, seeking useful variants, with Besides the personal contact at the private t v u° n °r- t0 be merriIy greeted I’m rhythms which displace the accent and thus lesson, it is wise to group students in classes of u* — °Wn teaCher now and there strengthen every finger with varying sonorities, ten for an hour of theory, ear training and sight are so ma« nf ' Remember all the knowl- you will be led to a prompt result and progress reading. In presenting theory, the clever and edge of muL L rv™'^ will be certain. create won ’t attract children original teacher should games. Equip the if covered bv tnr» 116 dignity studio with paper keyboards which are glued on - A S-at m °frmdl/ Slow Practice card tables and shellaced to insure their wear- A severeV Sestion, anyway. e teachhprr mo y “eate ing qualities. Invest in twenty dollars’ worth of there ap “tist here and One cannot insist too much that slow practice , ir/h; Jf rhythm instruments and lively rhythm scores. heart. She “ the average is useful and necessary. The greatest of teachers will drive awav thfhT Such equipment is better than a full page ad- to people who want have agreed on this point. George Mathias has learn to play for thef/ local newspaper. Charge vertisement in a enough enioyment ’ told me that Chopin obliged his pupils to play at So, when compTainin? T* for the hour of instruction to remunerate the °£ 110 pupils search first slowly, very slowly, with full tone, and often yourself and ask have A > teacher for the amount invested in instruments; 1 '°Ved my very loud. Godowsky also advised even those who I tried to attract th students, have no parent objects to such a small sum when read very well, to practice very slowly and to in- interesting 6 mUSiC to them? Besidet divided among ten pupils. be sure th* suggestion crease the tempo only gradually. Above all he you are staying One need not study a particular system, s up to n ? ,f’ counseled them to have patience. Stephen Heller but and music. date in methods remembering the main points of music, summed up the same advice in a striking for- by they be presented in an interesting way. mula: work, very slow; progress, very rapid. And may Provide for each child for sight reading, Saint-Saens also said, with that touch of humor discs theory, ear training drills. Have races in building with which he often invested his remarks: “One and scales on the keyboards; and also present Died in must work slowly, then more slowly, and finally chords, Action tetrachords, and harmony in this way. very slowly.” The student must never be impatient Keep a file, to divide the work into at the necessity of very slow study; one cannot subjects, Reqniescat in Pace such as: 'stories, games, technic, ear Saxophone arrive at certainty and absolute correctness ex- training] OMEONE sight reading, rhythm. Place in the file enough " OUGHT To vne cept through slow and intelligent work. Rat" OERECTamonu envelopes to cover the various subjects Salmon’s As with speed, so force. you wish Ph° with One must avoid an S obituary ne ’ Here to teach. Read each issue of The Etude, “ in the excess of power, which soon leads to tenseness especially Rat” f Dail Salmon V Sket ' the Junior Department from which you may copy used t and fatigue, and blocks the playing and alters dance band. P ay the saxophc suited to your needs. Write He found „ l the tone. But slow and thoughtful items out in detail a work admits chant Navy. better job in tl each idea as it comes to you, to be of giving constant attention to the touch and to carefully filed for future use. a " the quality of sound which depends on the touch. £ f bettSr 5ax " Once a month conduct a sort t0°’ so When one works fast one trusts to luck, hesitates, of “Quiz.” Let C?™e the winning pupil wear a pin similar to and plays false. those e is 1 011 offered the publishers safe, ? Were sunk fotJ One lose by of The Etude. At ? and back* ? should never sight of the fact that the for which London end of the teaching season, . but th there natural talent, let the pupil he nearly ln'f , where is not technical prac- who of the My lost bis has won the most often, keep the pin as sea. life, is at the tice will not give rapid results. Without inborn his very Once elementary own. Conduct this test as a game of “Rat” talent, without the gifts of physical chance together Make a list of twenty questions in XoPhone were skill and musical comprehension, one cannot go for ten pupils an open hn °f the f After writing the numbers of the derelict and they kept far quickly. But even those students who have not questions on 8ame crew'T*’n the blackboard, let each - good such gifts may make progress by means of care- pupil choose a number They spirits ur If the first student cannot 6 ue 1 yWS “ Jeal ful training, patient study, and a method of answer the questio ~, shiP arrived ousy" w r let the others draw from hey • which develops the intelligence and en- a box of discs werp rti teaching numbered 1 understanding. from one to ten. The one drawing all Went 10USy " riches the the i 0Wwestp i °n the again w number gets first chance. WhenWh foui'tvfth ship a torpedo* ^ to be sur Radio oilers another method for Pm 1 “ of the Teacher holding tn t0 "?’ Rat” was Responsibilities pupil his ? hhioad'vital to earnest work. If there is a “ cab 1 St0res broadcast^* ®, at the hit ’ The “Sax This is moreover, the mission of the teacher. station in or near your locality, try to have aPd the n ° £ several co. gives much less trouble to the pupils appear, either y°Ur sea A talented student on an open studio fo/n was ciompet h °Ur Possession of ing with th teacher one who is less gifted. Plainly, the children’s hour, of even for ’ a Tlm thr»e than a contra cfen e after fairways. is difficult and interesting where "lesser lights" 10 timl ?. problem of the latter are ?. e at ” aio^l^!? ' regar charged thro ( Continued on Page 270) work harder for U1 dless to solve. Here is where such an event hotnot°h 0 f i?18 than for **„ break 0Wp r„ecital.J through Jl safety. But le 8 bad died rescued but t "FORWARD > 22 2 MARCH WITH MUSIC" ip actkf —

Music and Culture

Backstage with the Orchestrator

A Conference with

d3ennett

Distinguished American Composer

Outstanding Orchestrator and Arranger

SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT

Russell Bennett was "born in Kansas found that the notes as I played City, where his musical gilts asserted them didn’t sound at all with the themselves before he was six years piano—something was wrong with old. He studied instruments (piano, the key. By ear, then, I transposed violin, trumpet) with his parents, up to G what was written in F. That both of whom were well-known was my first transaction with a teachers of music, and harmony and transposing instrument. counterpoint with Carl Busch. Later, “What are the requirements of a he studied composition in Paris, with good orchestrator? Generally, that Nadia Boulanger. Mr. Bennett’s first deep in his heart, he set himself a published music appeared when he goal higher than mere orchestra- was sixteen, in The Etude. Since then, ting! All of our best orchestrators he has earned distinguished recogni- are—or have been, or hope to be tion in two separate fields of en- and could be—composers. Thus, deavor. As a serious composer, he is they need to draw on a gift for perhaps best known for his , melody, for inspired harmonization, “Maria Malibran," his symphony, for musical balance, exactly as a “Abraham Lincoln," and his “Etudes composer does. These gifts must be for Symphony Orchestra" As ar- developed by a thorough study of harmony and counterpoint, and of ranger and orchestrator, he is re- sponsible for the scores of “Rose several instruments as well. The Marie," “Show Boat," “Panama Hat- piano is valuable for its harmonic tie," “Louisiana Purchase ," and many possibilities; orchestral instruments other “hit" shows. Anonymously, Mr. are valuable for their practice in Bennett also contributed to the scores color and in blending. Added to this, the films “Rebecca" and “The the young orchestrator needs the for Originator and Conductor "Russell Bennett's Notebook," of gift and the ability to make ar- Hunchback of Notre Dame." In his Mutual Broadcasting Company. rangements. own name he has screen credits for Most of all, perhaps, he needs the ability to instru- many more. It is in his capacity of hear can give it new life or luster. The music itself orchestrator that Mr. Bennett sets mental coloring clearly; he should have, for ex- always comes first and must always be judged ample, a keen reaction to the color of forth the intricacies of that craft to the oboe first. And, in order to work with music, the or- opposed to that the Etude readers.—Editor’s Note. as of English horn—the chestrator must first of all be a musician. difference between three flutes and three . He hears these differences, catalogs them in Special Requirements his mind, and draws on them in his future work. “Like any other specialized branch of the larger “The best preliminary experience he can get is NE OF THE HARDEST THINGS a musician field of music, requires both special to play with a small group—preferably a dance has to overcome is the aura that attaches gifts and special studies. One does not ‘learn’ band, where the instruments are of all colors with the exception O to being known as a good orchestrator. orchestration, any more than one ‘learns’ a gift of violoncellos, harps, and horns learning the feeling of these instruments, as well For some inexplicable reason, the public critical for tune creation, or for violin playing. The gift as the sensation of making his own combine with mind seems unwilling to grant the craft serious must first be there, inborn. After that, one devel- the time composition, the others, for color and balance. One of our connection with music. Just about that ops it. Harmony, counterpoint, and get a good grip on musical comedy instrumentation are vitally necessary studies to finest orchestrators was , who I began to played, not with violoncellist orchestration, the public discovered the term, bring about the development, but such studies bands, but as in orchestral groups, including the Metropolitan ‘orchestration.’ After that, the term was used in alone do not and never can produce a first-class reviews have attainment of that happy state Opera House orchestra; early in his life he got season and out. Serious musical orchestrator. The in terms gift orchestral color and for the feeling of group balance and color. Later, the been known to comment on a piece of depends upon a for but ‘good orchestration.’ Now, in harmonic variations. It also depends upon long young orchestrator needs the experience of work- its ‘poor music’ I have never found a poor piece and often arduous experience. I made my first ing at his craft under the conditions imposed by all my experience, to good orchestration! orchestration when I was nine, and my sister was the work itself—conditions for which it is not of music that lent itself exactly easy to prepare academically. Let me out- Orchestration, actually, is the rounding out and seven. I had a trumpet, and heard my sister means of instru- playing on the piano a piece called, I believe, line for you the process of orchestrating a light filling out of the melodic line by goes with Naughty Pixie. I had played this with her on my tune (great music does not require the services mentation, harmonic color ( and all that thought it would be a good idea this of an orchestrator, as a rule—the composer and rhythmic emphases. If the original mel- violin, and it) , embellishments day to join her with my trumpet. To my horror, I attends to his own ( Continued on Page 273) ody is poor, none of these added "FORWARD MARCH WITH MUSIC" 223 APRIL, 1943 °

Music and Culture

Class Piano Instruction in 1943

How Subtle Management and T WAS the writer’s privilege recently to visit some interesting classes in piano instruction, Informal Encouragement Produce Results I conducted by a gifted and an experienced teacher in this field. There were certain phases of this type of pedagogy, as here demonstrated, which were, to say the least, somewhat of a most pleasant revelation. From the beginning, there was prevalent in all Itj ^Jlelen am the classes a sense of relaxation, both mental and physical, and an utter “at homeness,” so to speak. There existed a vibration of harmony and a cooperation which were apparently so natural as to be unconscious and totally taken for granted. well as her ready recognition the class, the All criticism assumed the nature of positive sense of fitness, as aim being nuance, expression and were encouraging with- interpretation; rather than of negative statement and there was of praiseworthy effort, and third, transposition of famil- overdone. She invited faith and respect iar compositions a simple coordination of thought and purpose, out being into various keys, at first nearly gave praise only where it was due, related tonalities which, nevertheless, was not necessarily in agree- because she and later, extraneous ones. The in witholding it, she impressed her students students read ment on all points discussed, for there were many but, from their own music as they sincerity, so that individualistic ideas expressed in the matter of with a regard for honesty and listened. take, a compliment was known to be well earned. The first nuance. There was an attitude of give and game proved the mettle of the student opinion, as each student Quiet discipline was an outstanding factor and was a good and one of flexible demonstration of nerve control. thoughtfully the ex- awaited A composition of not too great planation another student, of difficulty was placed before or of the instructor, thereby him and the metronome was forming a pleasant conclusion i set at whatever speed the in- with his own interpretation of structor thought to be fair. the matter under discussion. Two monitors, so-called, were stationed at either Clever Handling of Problems side of him, the teacher standing at his There was a definite feeling back. They voted on his abil- of equality and a happy, ity to read accurately, includ- agreeable competition rather ing notes, fingering, expression than a striving to excel at any and other important points. cost, or an attitude of “I am This was indeed are wrong.” a test and a right and you most valuable There was a complete absence one. Each stu- I t had a . ? . chance at this of condescension or of bitter sight reading 0 f rivalry, which fact impressed perhaps a pa 01 so > while me as being rather un- J® the class voted on the usual in groups among the one who was best equipped under lower grades, or indeed, of all considera- ions. a junior high school age. This different number was to each was due, no doubt, in part, to student in order iminate the excellent example set by : any possible play- ing by ear. this very wise and fair-minded It was found that instructor, who obviously has 0n® Plaved the cor- rpi?i notes understand- y but with a discriminating Th „, no expression. ing of teaching psychology ne uneven rhythm. Armfv?her and of human nature in gen- °ne blurred with the nprf 0\ eral, particularly among the MARTIN HAAKE missed notes. And PIANO CLASS OF GAIL OF CHICAGO thus adolescent. it went. 1 Her own manner of ap- '!16 second to be' . game proved regarding interpretation was ever of a which prevailed in all these classes and fresh SP proach various avenues 6ndid example of the throughout the of ann positive nature and never did she set herself interest never lagged period, learning aCh Used to play the by students class in the matter of comparison re- which was packed full of constructive ideas. nian° *T above her rapid reader j’ n sonie instances, a but who nim garding good and bad taste. In the case of wrong- Competition was never anything friendly and written, °nly gave a cold What he saW or of wrong notes, her sense of humor completely lacking in jealousy. They could have rendfti fingering though he was ‘ on o£ the music, al- present to make light but impressive put their elders to shame in the matter of their falrlv an was ever tering and 6 as to notes and the errors. This clever han- unusually fine “mass conduct.” other remarks concerning iom his detahtHe '.. nee

Music and Culture

The Problem of the Young Singer in Opera

A Conference with

LIril Euck Mus. Due.

Director of the New Opera Company

SECURED EXPRESSLY FOR THE ETUDE BY BURTON PAIGE

formance about the individual needs and idio- syncrasies of the featured performers. The other Fritz Busch, son of the distinguished school occupies itself with the stimulating task violin maker, Wilhelm Busch, and brother of grooming inexperienced newcomers in the of Adolf Busch, violinist, and of Hermann drill of operatic routine. I take my stand with Busch, violoncellist, has contributed the second school. There is a special zest in work- more, perhaps, than any other contem- ing with your singers. They are unspoiled, they porary musician to the vitality of opera. bring a tremendous reverence to the work of the Dr. Busch became operatic conductor at great masters, and they possess the enthusiasm Riga at the, age of nineteen, and two without which no worthy career can be built. years later he entered upon the duties After having conducted hundreds of auditions, I of Director of Music at Aachen. He suc- feel justified in saying that America is full of ceeded Max von Schillings as chief con- talented young singers who can easily scale the CAROLINA SAGRERA ductor of the Stuttgart Opera and, from heights of competent performance provided they Soprano of the New Opera Company 1922 to the beginning of the current polit- — are given the chance. There is great interest in ical regime in Germany, served as Gen- the opera here, and many small, local opera com- and they eral Musical Director of the State Opera lack any permanent and reliable basis panies have sprung into existence throughout of support. at Dresden. During this period, he pre- Thus, while it is comparatively easy to find gifted young singers, it sented world premieres of the operatic is harder to works of Richard Strauss, Busoni, Hinde- give them the training, the experience, and the mith, Weil, Wolf-Ferrari, and Stravinsky, rounding out of repertoire that they require. besides launching a Verdi revival which “In my work in pre-Nazi drew the attention of the musical world. Dresden, I ac- cepted dozens of untried, In 1934, Dr. Busch launched the notable inexperienced young singers into the Mozart Festivals at Glyndebourne, Eng- company, many of whom, to-day, hold land, during which more than two hun- distinguished posts in the great houses of the world. They showed dred performances of Mozart’s operas no greater ability, when I found them, than were given. After a period of activity in do the young Americans who have Buenos Aires, Dr. Busch assumed direc- sung for me but they were enabled to reach greater torship of the New Opera Company, in — heights because of a sustained period of the U.S.A. Under the sponsorship of routine experience and drill. The first prob- Mrs. Lytle Hull, the New Opera Company lem, therefore, lies in awakening public in- has a twofold goal: the presentation of terest to the intimate, chamber opera under the high- need of more and better experimental opera companies throughout est of traditional artistic standards, and the United States. the training of young, entirely inex- American singers in operatic perienced Where to Begin routine. Since it is precisely this training “As to the needs of the ambitious young which is among America’s first musical singers themselves, let us begin at the be- needs, The Etude has asked Dr. Busch to ginning! Ownership of a splendid piano is give his opinions on the problems of the not synonymous with distinguished pianistic Editor's Note. young singer in opera . — performance. Similarly, a fortunate struc- ture of throat does not mean vocal artistry. There are only two practical ways of build- DR. FRITZ BUSCH ing such vocal artistry. The first is intensive Founder and Director of the Glyndebourne Mozart Festi- study with a teacher who understands, not vals; formerly Chief Conductor of the Stuttgart Opera merely vocal production, but the needs, and General Musical Director of the Dresden State Opera abilities, and limitations of the individual rom THE DIRECTOR’S point Of. view, voice. How can the young singer be certain there are two widely diverging schools of the country. The great pity is that the tremen- that he is in the hands of the right teacher? Fthought on the subject of operatic singers. dous hazard of financial insecurity must surround Actually, there is no guarantee, except the sensa- The ‘star’ system makes use of experienced, these ventures. They exist as the result of private tions of ease, well-being, and flexibility that established artists, often draping the entire per- sponsorship, the state allows them no subsidy, result from applying ( Continued on Page 276)

APRIL, 1943 ' FORWARD MARCH WITH lMUSIC 225 °

Music and Culture

D Canada, Glorious and Free!

Canada’s Most Loved Patriotic Songs

h.f Wlfvin Ch. White

for many years. Mr. Weir’s song is not at all a but reflects a fine consciousness a choir literal translation of five hundred voices and engaged eighty destiny of the Canadian nation, within the musicians for of the orchestra for the British Commonwealth. concert at Quebec. When it was all over the government declined to pay the costs and "O Canada" avallee financially broken, went to the United CALIXA LAVALLEE Canada, our home and native land, States. O Canadian triends aided him, however, in Canada's Most Loved Composer True patriot-love in all thy sons command, his musical studies and in his later career. With glowing hearts we see thee rise, W nt t0 the front in the Civil War SUALLY THE WORDS of most great songs The true North, strong and free, withLhl^ ^ 16 Fourth Regi- guard, O Canada, Rhode Island are composed before the tune. Not so, how- And stand on ment andTW115 ™11"1 himself that he was U ever, with O Canada. In this case the tune We stand on guard for thee. DromntpL t? rank ° £ Ueut“ant. Years later was created first. It was in 1881 at a great con- he was ohns ? ^present American musicians vention of St. Jean Baptiste, in Quebec City, when Chorus at I , ° the Socle some sort glorious and free, ‘y OI Professional a call arose from the delegates for O Canada, MuJciSfs n I. nd| and was eI president of nationalizing hymn that should express the We stand on guard, we stand on guard for of the AssnL ected ° £ ^ican Ten aspirations of the French-Canadians as a nation thee. years aftr t, L Musicians. Presser founded Music in Canada. A committee was appointed, with O Canada, we stand on guard for thee. Teachers the Association . Lavallee became Judge Routhier as chairman, for the purpose of its president for* “ <1886 - to do this Canada, where pines and maples grow, years 87) - Por eigW getting a French-Canadian composer O he was director spread and lordly rivers flow; 3 Pera company on behalf of the convention. The only French- Great prairies in New York. Moving g laterter to Bost for Canadian composer capable of such an inspiring How dear to us thy broad domain, a time a ninnicf ^ ^ °n he was western sea; 5034™ £erry ln task Calixa Lavallee, a famous pianist then From east to a ' a teacher was Boston musical aFiri living in Quebec. So quickly was it all done, so Thou land of hope for all who toil, at the ° £ mUS‘ C Cathedral of North, strong and free. thF H ly much after the manner of an inspiration, that Thou true that city TOSS ' He died ” January 24 1891,lam and in the very next day the composer sent word that Mount Benedict \ was buried thy shining skies he was ready. O Canada, beneath was taken ’ ater WS b°^ stalwart sons and gentle maidens rise IrMmZaF wTr" ' When the committee called upon him they May grimage consisting a musical pl1 the of hu,7n e found that he had composed not one, but four To keep thee steadfast through years followed the ?™ndreds of motor cars casket As tht five melodies, all of which he played for them. From east to western sea; each parade through or parish on th ^ Passed Unanimously they accepted the melody which Our own beloved native land, boundary, °anadian side of the chui-eh* bellsuL, has become so famous as the voice of the French- Our true North, strong and free. composer. tolled in tribute to the Canadian race. Catching up the inspirational Slr Adolphe Supreme, Who hearest humble Basil mood of the composer, Judge Routhier at once Ruler prayer, words of utluer, who wrote the o Cana tin , wrote his memorable verses to fit the tune, and Hold our Dominion in Thy loving care; bee, 0 in ' on ™ St ' placide ue May a, f8 . « before the convention broke up both words and Help us to find, O God, in Thee, 39 Tr? the bar he became a brilliant career at music were enthusiastically acclaimed, adopted A lasting, rich reward, Of ainn"86 ° Quebec, from £ tlle SuPel'ior Court As waiting for the Better Day which 1 and sung. m 1806. ret‘ red ustice He also as chie£ i Within a few years thousands of French- We ever stand on guard. but was nntl as his reputation wss a writer and poet, Canadians had learned this majestic hymn, but ° astaL Canada, which now blished when he wrote it was almost twenty years before it got up as Calixa Lavallee was born in Montreal, Decem- Stands Anthem itself next to National t n the far as Ontario, where it was used first at military ber 29, 1842. At the age of eleven he was appointed the f Pie. It supplanted ° £ the Canadian peo- tattoos in Niagara Camp; later in a march-past organist of the Cathedral of St. Hyacinthe. Adept the eJ°r which at one Vive la Canadienne, at the reception accorded the future King George at orchestration and facile in composition, he tirnewa. lench-Canada. t£le "national” song of V, in Toronto—when Dr. A. S. Vogt, then con- wrote many works including two operas, an ora- Choir, asked a band- torio, a symphony, two orchestra suites, ductor of the Mendelssohn two Maple USecl Leaf nat>°nal song, The is that wonderful thing?” On string quartets, a sonata, thirty piano pieces Forever^hls . master—“What and Portant * as an history. interesting and inr- being told, he made a note of it, and a few years other musical works. He won international recog- later the Mendelssohn Choir gave the first choral nition when his opera “La Veuve” was performed performance of “O Canada,” using the admirable in Paris. He is the composer of one of the most In days 6 604 and orchestral setting and English trans- charming piano pieces written in America. or^or^the Forever" choral hei^ '° The which has been Britain's glory Wolfe, lation, made by Dr. T. B. Richardson of Toronto, Butterfly, played by a n m And ln who had become familiar with the piece when millions. Planted firm ' camp. Canada of the nineteenth century d S SSaS an officer at Niagara treated d°^‘ ' with far less consideration There are at least five English versions of the Lavallee than Canada H«X it lt few of them have attained the of to-day. When the Marquis of Lome and Pride original song, but the ^ ’ Louise went to Canada With ^idy^ Thigti^'^b^tt^rF^’ general acceptance which has been accorded that Princess to occupy Rideau Hall at Ottawa, he was asked to The Maple OCk who was Recorder of Montreal write a Leaf ’ Rose of R. Stanley Weir, cantata foreveT‘ ' "FORWARD MARCH ” 226 WITH MUSIC (Continued, on Page 283) ”

Music and Culture

Cecil Burleigh his work, and with whom he was closely associ- ated for many years. During World War I, Mr. Klemm served as bandmaster at Camp Holabird. Voice from the West A After the war he returned to Peabody Conserva- Among tory, where he received a two-year scholarship in violoncello with Bart Wirtz. At this time he was assistant dramatic and music critic of the Balti- more Evening Sun. He also has written for the American Mercury, The American Spectator, The the Musical Quarterly, Life, The Etude, Musical Courier, and other magazines and newspapers. In addition to his composing, writing, teaching, con- ducting, and musical editorial duties, he is as- sociated with the Baltimore Symphony Orchestra Composers and provides the program notes for the concerts given by this ninety-five piece organization. He - recently completed the score of his fourth motion picture to be produced by the United States Gov- lover naturally has a keen in- Every music ernment. This is a two-reel picture which has terest and curiosity concerning the lives for its locale the ( Continued on Page 228) of the corn-posers whose works he plays. The Etude has had in preparation for a long time a series of articles about these present-day and recent writers whose Thurlow Lieurance on compositions are widely performed. We also have asked these composers for an expression of personal opinion upon com- Going into Inspiration positions in general, and these timely contributions ivill be printed from time to time in this newly inaugurated depart- ment.

CECIL BURLEIGH

ECIL BURLEIGH was born in Wyoming, New York, April 17, 1885. At ten he began C the study of violin with L. E. Hersey in “Rhythm ComEs First," Bloomington, Illinois. For two years in he studied violin with A. Witek, and theory and composition with Hugo Leichtentritt. He then Says Gustav Klemm returned to America and continued his studies at the Chicago Musical College where his teachers included Sauret, Heermann, and Borowski. After A MERICAN COMPOSER, conductor, writer on concertizing for two years he accepted a position music, and music critic, Gustav Klemm was “* as violin teacher at Western Institute of Music ^‘born in Baltimore, Maryland, in 1897. He and Dramatic Art in Denver, Colorado. He since studied at the Peabody Conservatory for four has taught at Morningside College, Sioux City, years under the tuition of Gustav Strube, Howard Iowa; the University of Montana; and in New Thatcher, and Robert Paul. During these years York City. He is now teaching in the violin and he met Victor Herbert, who took an interest in composition departments at the University of Wisconsin. THURLOW LIEURANCE One would have to read a more detailed ac- count of Cecil Burleigh’s life and work than is HURLOW possible to present here, to understand the rea- LIEURANCE was born in Oska- loosa, Iowa, March 21, 1878. After his service sons which, in early years, led to a veritable land- T as army bandmaster in the Spanish-Amer- slide of composition untempered by the search- ican War, he enrolled at the College of Music in light of discrimination which allowed much that

Cincinnati- (Mus. Doc., Hon, C., 1925) . was mediocre to stand. Since then, however, his Herman publishers have generously cooperated with him Bellstaedt, the famous cornetist and bandmaster, gave him instruction in orchestration, harmony, in gradually sweeping away this dead timber, theory and arranging. Mr. Lieurance has devoted with the expiring of editions, and preserving all twenty years to musical research among the that deserves to represent his earlier period. Because of the devastating effects of his early American Indians, making recordings etc. He is now Dean of the Department of Music, Municipal prolific tendencies, Mr. Burleigh has formed University of Wichita, Wichita, Kansas. Among definite views in regard to composition of the his best known are: Waters present and future. He believes the composer works By the of Minnetonka; Romance in Remembered; Folio should write less and live longer with his work. F; “Nine Indian Falling “Allow compositions to mature slowly into a fixed of Songs”; Sad Moon of Simrise; American expression.” This has been his creed in regard Leaf; Waltz Brilliante; Indian period, which began Rhapsody; The Angelus; and Carita Mia. to all the music of his middle Mr. Lieurance, in speaking of inspiration, says: about ten years ago, and which is only now “ is most unpredictable reaching its final stage. This includes works for the thing in the world. composer ever will be able piano, violin and piano, voice, chamber music, No to tell how a composition comes to him. Of course and symphonies, all striking a far more con- anyone can go off in a corner and write notes. sistently modern note, the natural result of im- 228) But I do not call that inspired composition. Sur- patient efforts to < Continued on Page GUSTAV KLEMM 227 APRIL, 1943 "FORWARD MARCH WITH MUSIC — . n .

begins her lessons under the shadow of the and if it stands this test, then it will survive, Mary Music and Culture looking for- just as every worth-while work of art survives. well meaning mother, who has been “However, the American composer must be ward to assuming the important role of standing child’s Mary gets heard, and it is here, where the menacing situa- back of her musical education. ease, health, good food, and leisure pieces along roundings, tion arises, against which we should be ever on along so beautifully; she soon gets Sometimes it is a sometimes produce the result. which those foreign violin- with her studies. She surprises me on one occasion and guard; a situation in change of scene, as I have found in France to by returning a piece, saying, “Mother doesn’t like ists, pianists, or conductors—I refer equally However, there is no rule. Think of in Mexico. thuse who are foreign in their sympathies al- it. She says it has no melody!” who went only a few miles Bach and Schubert, though they may be American citizens—push “Did she play it?” their birthplaces. True, they lived in moun- from aside the American, regardless of his merits, to “Oh no, she can’t play, but I tried the first line.” beautiful country. Bach, with his tainous and make room for the music of their choice. I wonder until I glance at the price, then I score of children, never lived in plenty, and understand. “To me, all composition divides itself into three “Very well, try this one next week.” Schubert was next door to being a pauper most (Price classes; absolutism, impressionism, and realism. 25 cents) of his lifetime. Yet think of the wealth of melody Personally, I greatly favor the first two, but in “Mother likes it!” I was sure of it! came to them! Mary is that any case, the music must be able to stand alone doing very well, but mother is again “The wise composer who works constructively dissatisfied. regardless of its program. It appears that Mary has a playmate ready to put down themes when they is always “The better type of pictorial music as, for who has studied a shorter time and can play the him and to work them out later. That “Blue come to instance, some of the tone poems of Strauss, will Danube.” Of course this means nothing to invariable plan of Bach, Beethoven, and was the always endure because of its innate worth as me, because, first, the child might be brighter. who got many of their best themes while Brahms, music, but when such realism relies upon me- Secondly, nothing is said about how she plays the walking in the woods. Picturesque surroundings chanical devices to assist in presenting the pic- piece. Third, Mary plays pieces more important to are inspiring and stimulate the imagination, but her. Fourth, ture, it drops from legitimate music into mere chances are that it is a simplified the best themes come in a very singular manj of theatrical stunt writing.” of the “Blue Danube.” manner. For years, before I became Dean of Music We manage, however, after much explaining, to of Wichita University, I managed and produced agree on a more strict supervision on the part of many Chautauqua companies and was ‘on the Gustav Klemm the mother and a weekly report on practice hours. the time. I have known of com- road’ most of 227) Satisfied with her increased con- (iContinued from Page importance in assum- posers who deliberately put themselves in a ing greater authority, vigilance and responsibility, relaxation and silence and dition of dream-like and appeased at the highlands of our country. Considera- suggestion that I get a copy waited for themes to come. Sometimes themes southern of the ‘Blue Danube” for her daughter, she goes. soul in that way, but ble use is made of folk-tunes. Among Mr. sing themselves into one's In time Mary has and reading and the Klemm’s best known compositions are: Sounds, developed a sincere, deep love with me, travel and change for music but her spirit is . things which Indian Sunset, The Bells of Notre Dame, Waltz of disturbed. “Mother” . drama and adventure—any and all and she The Fairy Field, bursts into bitter is active cerebration seem to stimu- the Seasons, A Shepherd’s Tune, tears. I learn that she lead to more — not satisfied again! Thereafter comes Tom Cats, Melodie Triste, I Thought of You, In- late my musical imagination. "®Ut hy “ Moods ?” 1 aSk ' craftsmanship. Unless you know how to handle dian Sketch, Neapolitana, Three and a You are doing so well. You Yovely touch are not likely to amount to Theme, and Colinette. > and play with feeling; and your themes, they yovon mastered however, are the raw prod- In remarking upon his methods of composition, “ some classics.” very much. Themes, She You must have them, and no mat- Mr Klemm notes: says I spend too much time on ucts of music. nnp hit- 606 &nd may have, you “I must feel the rhythm first. When I begin a ’ ^ Wants me to do more alld ter how much craftsmanship you get ahead can never turn a leaden theme into a golden new work I usually find that it is the rhythm rhythm commences to ‘revolve’ starts me. A ahead - Ever classic that yotfmastet Y new in my consciousness and gradually a melody S1X months ’ work for the de- velopment it gS comes with it. This is probably natural, as the y°U in technic, in- teroretatinn H expression, musical effort seems to Burleigh first sign of aboriginal musici-ship. Progress Cecil have come rhythmically. Of course there is a scheme or outline kind of nebulous harmonic of 6 d0eSn,t care anything ( Continued from Page 227) aboufteThnto'and'eXDi^ the entire projected composition. Composing, she wants 11 interPretation; with a definite rhythmic design me to get “i" however, starts ° SoneTong f aster. She asks, ‘HoW through the older order, as manifested in background that a painter many neonlPP Q . f break the charcoal mte classics? ’ like to She wants me compositions all the way through his canvas before putting in be able to various works in upon his the P eC SGt before anc when - me ’ her friendj ! early period. oil pigments.” come t works are: Pieces to play ^ Among Mr. Burleigh’s best known that they can — A eniov”^™y ' (Violin and Piano) “Second Violin Concerto”; significant silence fmw 5 ' between * Poor Mary is torn Moto Perpetuo; Hills; The Village Dance; Andante love for molhJ ^ ’°ve of ) music Ior the kind (from “First Violin Concerto”). (Songs —Song Handling the Meddlesome now implanted ^Ply we Break-Break. try to m her heart ’ So of the Broob; Awake, it is the Day; compromise* with uslc r Foo; Pondering character, that is of li Shte (Piano Solo) Coasting; Wing Mother but it is . turnea! is (“Three Mood Pictures”); Ballad of Early Hew too easy; she does not “Mother says it Want me and England. money.” i swallow vm to waste time Itj. (fertrucle Conte de Regarding American music, Mr. Burleigh has cause she has tor Mary’s sake be- now mf‘Wn Very written to The Etude, “I think I can safely say Then one dear to me. comes to dav tv.t" composition, HEN A NEW PUPIL my studio the ppears- '-“to that what we all want in American ticking noise It \? witW10J.J.h longlUIlg nails, accompanied by her mother, I know what se of wWhichbich it delicate . . _ primarily, is music that has vitality, whether tl„ drowns her beautiful music to expect, for the latter invariably says, Says issues from this country or abroad. The W appear in tllat 1 simply can’t nothing about music. I took a societvanvmn principal thing. I profess I cannot “Of course, I know I must .^^withsuchshortnails-er wlth such nails- itself is the keep Uo wpuh .? short ' WH senti- few lessons years ago, but didn’t like to practice, p conscientiously join the ranks of those who ashamed of fashion ... she is child to learn, my hands for Americans’ so I gave it up. But I want my and but mentally howl about ‘America let Mary work n°t to interfere. shall not allow her to make my mistake. I’ll see out 1 every other consideration. I know salyation; by above every day!" At this point there is imbed sympathy only with those that she practices the sense dL™” od “First of all, I am in and love ln her en°ugh g° Mary, begins to look worried, so I lead her for her art writers who write music which is un- child, courage provide American and strength °J the necessary Indian, Negro, gently to the piano. fl any literal use of jazz, We let *° ®ht her touched by . a week own battles, nationalistic Later, when we discuss rates, the mother loses go b a in the effort to give it a joy and or folk tunes, Mary’s Joi ^y overwhelming like that some of her determination. “Of course, I don’t great * that is broader in meaning, has acquired We find motbeI flavor Music it, so I a that Debussy, while it know how Mary will take don’t want to w!?*’ Brahms Tschaikowsky, or womens’ club 6^' She has ined 0 of coun- go into this too deeply,” which means she does and is spend 3° take on the character of the various P ndln the will naturally regulr.r rate. A shorter activities! S her time in all is addressed to the not want to pay the period whlh it emanates, finally financially. ’ or "m 01 fall is suggested to meet her The price until +• American composer will rise wdhwith our next tlme world The studies > we proceec suits her but the short period does not. However, in r>e can quality of his music. He should n , Tccording to the persuaded to try it for a few ^- progress a definite direc- with the foreign article, she is finally weeks.’ handhng Without ° be willing to compete 0 f the bstacles and furthei medd^*1 s rf FORWARD MARCH WITH MUSIC" °me mother. Bless her! 228 .

Music in She Home

New Standards

in New Records

ACH: CONCERTO IN E MAJOR, for violin and not been able to refute. After a quarter of a cen- orchestra; played by Adolf Busch and the tury of work on his symphonic style, Sibelius B Busch Chamber Players. Columbia 530. wrote his “Symphony No. 7” in one set long move-, It has been said that Bach’s works for violin ment, thus coordinating his thematic develop- alone are among the most unique in their own ment in a more closely knit form. sphere in the whole range of art, because he The first symphony hardly needs comment to- “transmuted ideas which had the spacious nature day; it has become a favorite in the concert hall. NOW, RECORDS OF GLASS! Peggy Lee, popular radio of organ music into terms which enlarged the The seventh, on the other hand, has yet to estab- singer, poses behind this new type of recording developed by Selmer, Inc. range of what was possible for the violin” (Parry) lish its popularity. The so-called “subtle simplic- Bach’s concertos for the violin are unlike ities” and the inaccessibility modern characteristic of doubtedly, if the Koussevitzky set did not exist, works, in that the violin is not exploited solely as Sibelius’ thought are hallmarks of this score. Per- this one would be better appreciated. a virtuoso instrument but employed rather in the haps Tovey is nearer to the fact when he says Smetana: The Moldau; The National Symphony of a musical dialog. For, that manner although the any analysis one might make “would prob- Orchestra, conducted by Hans Kindler. Victor set violin is the leading instrument of the ensemble, ably find its points more evident in the music DM-921. is than in it nonetheless contrasted against the basso any words.” Despite the excellence of the reproduction here, ostinato, and thus to appreciate these works fully, Barbirolli’s performance of the first symphony this performance of Smetana’s widely-loved tone listener should his ears to the bass line remains the attune one of the best things he has accom- poem, depicting the development and glory of as well as to the passage of the solo violin. plished on records; it is imaginatively set forth Bohemia’s famous river, the Moldau, does not do Previous performances of this work on records and full of a youthful surge. Moreover, it is ex- justice to the lyrical beauty of the score. There left much to be desired. And although it can be cellently recorded. His performance, although not is a thickness of texture, a lack of the essential that tonally Busch occasion leaves so tonally rich one, will said upon as the recent Ormandy fluidity of the thematic material here, which is something to be desired here, it will be noted by appeal to those who feel that Ormandy is too not apparent in the performances of Kubelik all admirers of Bach’s music that Busch alone straightforward in his interpretation of the work. and Walter. This is a disappointing duplication achieves the purest and most appreciable style. As for Golschmann’s performance of the at this time when record material is so scarce. the small instru- seventh, finds this musicianly job which Further, fact that he employs a one a Our preference for the Kubelik performance is mental ensemble permits a better clarity of line. emerges from the records in a richly glowing occasioned by the fact that the conductor by Our only quarrel here would be what seems to us manner. Koussevitzky’s' performance, recorded nature of his birth is temperamentally closer to an unnecessary subduing of the instrumental about eight years ago, is, however, a stronger and Smetana, and also because in his set (Victor 523) background upon occasion when the solo violin is more fervently dramatic treatment of the music; one acquires not only a fine reading of the Moldau heard; the pattern of sound is thus reduced pure- and he alone brings out the voices of the brasses but an equally fine one of that lovely pastoral ly to harmonic sounds. However, when all is said (for which no composer has written more elo- tone poem, From Bohemia's Fields and Meadows. and done, Busch’s fulfillment of stylistic values quently than Sibelius) in a telling manner. How- Shostakovich: Quartet for Strings, Op. 49; The Stuy- places this set in the forefront of all others. The ever, the beauty of the string tone in Golsch- vesant String Quartet. Columbia set 231. recording is good, but it may be necessary to mann’s set may well appeal to those who appre- One should not approach this work with ears employ a chromium needle for several playings to ciate such qualities in a fine, modern recording. attuned to the quartets of the classical and ro- open the record grooves. Debussy: La Mer—Trois esquisses symphoniques; The mantic schools. Although not a modern work in conducted by Artur Rodzin- Sibelius: Symphony No. 1 in E minor, Op. 39; The Cleveland Orchestra, the accepted term of being dissonant, this is a -Symphony Orchestra, ski. Columbia set 531. modern work by virtue of its reactionary type of conducted by John Barbirolli. Columbia set 532. Debussy, as much as any composer, needs high- writing. This is not by way of disparagement, for Sibelius: Symphony No. 7 in C major, Op. 105; The ly imaginative treatment in the performance of we are quite willing to agree with those who con- St. Louis Symphony Orchestra, conducted by his instrumental music. Clarity of line, and tend that this is an excellently contrived string Vladimir Golschmann. Victor set DM-922. straightforward handling of this music do not quartet, albeit its development is not along tradi- Here we have re-recordings of Sibelius’ most produce an evocative achievement. There is much tional lines. The work is conceived more in the youthful symphony, written in his thirty-fourth to admire in tins performance, which is splendidly manner of a suite; thus its opening movement year, and of his latest published symphony, writ- recorded, but when one compares it to the Kous- has not the usual formality of structure but in- unavoidable) ten twenty-six years later. The listener whose sevitzky version (and this is one stead is based upon the development of two con- brilliant and ears are attuned to the pattern of the classical finds that Koussevitzky’s more vivid trasting themes. The second movement is song- interplay symphony may find upon his first approach to colorings and his more subtle of in- ful and most appealing. The third is an agitated Sibelius symphonies some bewilderment in the strumental effects produces the more evocative scherzo, and the finale is based on dance tunes. manner in which the composer handles his mate- achievement. As a recording, this set is far better Shostakovich is strangely conservative in this the Koussevitzky one, particularly rial, for Sibelius evolves these works from the in- contrived than score, but nonetheless appealing as we have dis- teraction of many melodic germs—in other words since there are no differences at any time in the covered over a period of time. No group plays this the music grows out of itself. Cecil Gray’s asser- recording technique on the turn of the disc. Un- music with greater sympathy and fervor than the 1” tion that Sibelius’ “Symphony No. is the last of Stuyvesants, who have programmed it more than an old line rather than the first of a new, despite a hundred times in the past three years. The its alteration of the classical pattern, is irrefut- tonal quality of the recording improves with play- able. There are echoes of Tschaikowsky in the RECORDS ing. work which even his most ardent supporters have Villa-Lobos: Rag Doll; ( Continued on Page 282) ” APRIL, 1943 "FORWARD MARCH WITH MUSIC 229 Music in the Home

R. FRANK BLACK, the eminent conductor and general music director of the National D Broadcasting Company, contends that the most vital music production is taking place these days in the United States and Russia. “Russia News of the Networks encourages national music,” says Dr. Black, “and stimulates the use of folk material. The reasons for the success of Russian composers is that they Momentous Music Over the Air write with an audience in mind. Like the Amer- Free for Everyone ican composers, they know that the people are the ultimate judges of their music. The creative spirit of the Russians is reflected in their opti- mistic music, just as the buoyant spirit of Amer- Lij- -^llf^recl 1/ifjorcj.a.n. ica finds its way into our music. The greater un- derstanding between the Soviet and American peoples has been enhanced by their mutual ap- preciation of their cultural achievements, espe- cially in the field of music. “Radio has brought many works by Russian and plenty of it—popular music for those who oa casts, and it would not surprise us someday and American composers to millions of people do not feel the need for the greater emotional to read that certain noted men of the high com- who otherwise would not have an opportunity to stimulus, and lots of good music for those who do. an of our enemies during this war found solace hear them. It is the aim of radio to bring to the The need for music in such times as we are going in broadcast programs of American music. Make people not only the music they know and love, through has been better met and taken care of llStake these are interesting days on the but also the new, vital musical creations of con- on the American radio than any place else in the radio temporary composers, whatever their nationality.” world. And the short-wave broadcasts of the best ls actually less an escape from Dr. Black, through the many 1S an enn °bling of reality, says years of his association with Samuelmielttotao,IN”, o£ the N3C Muslc Divisioni «jn radio, has been one of the most We ’ d0 not foreet the world, we re- assiduous exploiters of the Amer- cmve S rage t0 face There 110 ican composer, and he also has auestinn be tw USiC in wartime is one of the played many Russian scores. Dr. most INP ? ntf aids to morale ” Chotzinoff Black is undeniably one of the contends Mr. tw ®e need music desperately in war- greatest leading forces in the time , to Quiet " 111 n erves and to raise our spirits musical life of the National to the exaltntio „ °f future Broadcasting Company; his wide tocTo ? victory. “The impor- rS hinctioning to-day,” “can versatility and knowledge of the best he re r he says, ™hen we wants of the music-listening flveye”" consider that twenty- public cannot be too highly World War ^ the thr°eS I weN^uVhh praised. encountered consid-f erable difficulty in 8 broadcasts That the interest in Russian we are hearing of the type to d y music is considerable to-day one UCh pr0 rams as those given by Toscanini ~A S would not deny. Leopold Stokow- broadcasts Stok°wski, and the of the atmday ski, on his return to the podium ances of the Met afternoon perform- of the NBC Symphony Orchestra 1 tM Wagnerkpmris^wereNitlui In ^917 ' announced plans '° °" on February 14, Politan repertoire, fl m th° Metr his subsequent seven and to the to play in ner and Richard qN, concert hall Wag- S5 broadcasts many Russian works. This is had pretty hard goinS ' an aspect of mu - Thus, on February 21, we found Mr. Chotzinoff tWs war,” contends programming “whi?h Stokowski for the that is the Anting out, and wholeheartedd first time Stravinsky’s recently °f the American acceptan ce on the part In- public composed “Symphony in C.” A letter enemy music.” from a , terest in this work was enhanced Broadcasting 1 sent to National cnmno, - the by the fact that this is the only as 1S cited showing the atfiH^ by Mr. Chotzinoff symphony that Stravinsky has called and feelin so- enemy must h & toward written since his student days y 0Ur reads in part- fighting forces. It when he wrote a youthful sym- “i arri nCerely continuing the fateful to you for he dedicated to his nla v?n phony which music. While 0f German composers’ Rimsky-Korsa- I am *L_ famous teacher, ward to he service for- complete viotov and look koff. And on March 7, Stokowski hope we never y °Vei tlle Axis nations, I gave the first Western Hemi- become S literature of ° that we lose the performance of “Alexan- music pn sphere others.” 6 from Brahms-and der Nevsky,” an epic cantata by of 1 n FRED FEIBEL Bach, feels that the music This score, Beethoven S! 5 Serge Prokofieff. 5 Strauss ' Wagne1 Rich- continues '. and which grew out of the incidental ther611 to"!be that sponsored by American radio hot performed because music that Prokofieff composed for the Russian is goes out to anything t„ any of the earth. moteiy of this even in 1938, tells the story of the four corners We can be sure reminiscent nr music film of the same title so - when we are enjoying some great ? are cahed Nazi philoso- Russian hero, Alexander Nevsky, and the orchestral con- reasonablv the f ltain from the frozen cert, that many of our boys in the outlying mili- American that the Sreater routing of the Teutonic knights meni° musicSlc in ment with lovei*s near Pskov, in 1242. By tary posts of the world are enjoying it also. And him. are in full agree- surface of Lake Peipus, AnotherA had won one has a sneaking suspicion that many of series extending his original film music, which our of nv, enemies tune in on a lot of our fan recently 1' muslc be- acclaim, Prokofieff created a score of epic good musical on TuesdaTN/ Programs wide EWT, 0ll work as the 3:30 P. grandeur. Stokowski aptly described the Columbia to 4 °0 thei IN™tw° e programs rk - This ltt “an expression of freedom.” of popm A . series, American Ur lnt“esfc from These are interesting days on the fam°us . emanates Musiek °i 001 musi„ scho or depressing news of the war RADIO in Ne °ls-the Mamies radio. Exalting mem‘‘ JN » Yori a ° Dr - As the radio scene. Music is heard Blach's thou§h in endorse- does not dominate hcu„.”s renia,3 ksU interest in RuJ™ <* the American pub- ' Con "FORWARD MARCH WITH MUSIC" tinued on Page 288) the etude Angel Mo’s Son Music in the Home

One of the most gifted and accomplished of all American Negroes tells, in “Angel Mo’ and Her Son,” how he attained rare distinction in the field of music. Roland Hayes relates, in an autobiography chronicled by MacKinley Helm, The Etude his struggle to rise from literal poverty to in- ternational fame. Moreover, he makes it a tribute to his remarkable mother known as “Angel Mo’.” His narrative of his experiences is related so ingenuously and so directly and with such a Music Lover’s Bookshelf flavor of a child of the South that the book takes on a peculiar literary value. How much of this is due to Roland Hayes and how much to Mac- Any book here Kinley Helm is of course not discernible. reviewed may be secured from The book is one of amazing contrasts. How he THE ETUDE MUSIC did what he did is a matter of astonishing MAGAZINE at the arice given plus achievement and a lesson to all students, black postage. or white, who strike out for the seemingly im- possible. Born the son of liberated slaves in Georgia, put in a steel mill at fourteen, his only wealth was his ambition to rise to the top in his profession and to do something of high credit for his race. Even when he took London by storm bijf. $3. ^Yleredith (3a. chman and captivated America by repeated tours, he did not lose his modesty and appreciation of his Musical America and Then Some! culiarly American style relating to our country’s ascent. One of the queerest contrasts in the book rugged figures, real and fictional, such as “Paul starts with the relation of his experience at a An altogether original and distinctive book Bunyan,” “Davy Crockett,” “John Henry,” “Daniel this concert in Prague. At about period his from cover to cover is “America Sings,” by a Boone,” “Johnny Appleseed,” “Oregon Smith,” mother, “Angel Mo’,” was in her last days. She whole coterie of ingenious and artistic collabo- “Ichabod Paddock.” had written her successful son this unusual let- rators, including the author, Carl Carmer, the Carmer, in an out-and-out American home- ter. “Well, Roland, stay in the bounds of reason. publisher, Alfred A. Knopf, the illustrator, Eliza- town style, prefaces each song with three or four Do not let folks cheer you to death. Watch your- beth Black Carmer, the musical arranger, Dr. pages of very picturesque story telling, making self. I don’t think you have as much flesh on Edwin John Stringham, the type designer, W. A. a fitting foreground which enhances the value yourself as you had when you let the Lord do Dwiggins, the offset lithographer, William C. D. of the songs themselves. The illustrations look for you. Watch how you use the fisical man. Glaser, and the binder, H. Wolff. In fact, the like primitives that might have been found in Don’t worry about me. I’m alright. I have the moment you take the volume in your hands you any early American backwoods shop and give whole Church around me.” realize that you have something new in book the book a “collector’s” atmosphere. Before going to Prague, he had met with fine making. recognition on the continent, but in the Czecho- There are twenty-nine lesser known American “America Sings” slovak capital he had placed some German songs By Carl Carmer (Schubert and Brahms) on his program. This Pages: 243 was in 1923, but at that time the hatred for the Price: $3.00 German tongue was so bitter that when Hayes’ Publisher: Alfred A. Knopf accompanist announced a change in the pro- gram in German, the Mayor of the city arose Tschaikowsky’s Somber Story and forbade the continuance of the concert. Soon the concert room was in an uproar. Finally the From 1840 to 1893 Peter Ilyitch Tschaikowsky Mayor was appeased and the concert went on. passed through an existence much of which was This indicates the intense feeling against Ger- very obviously unhappy, and in the same period many in Czecho-Slovakia, even two decades ago. he produced some of the most joyous and jubilant Shortly thereafter Hayes went to his Boston music in the history of the art. He has become home, where he found among the effects of his one of the most popular composers of all times. beloved mother the following will. Not all connoisseurs of music, however, are unani- “I, Fannie Hayes, is writing my will. When I mous in their appreciation of Tschaikowsky. die I have 4 boys. I have 10 acres of land in Many of the moderns already are looking upon Georgia. I want my boys to have it and do what him as “old-fashioned.” Some have even found they like with it. I have a dollar or two in a bank his music satiating. , for in- here in Boston. At my death if I don’t spend it stance, who was a strong Bach, Beethoven, Wag- before I die I want my boys to divide the money ner, and Brahms addict and was very enthusiastic amoung themselves. Now my personal things, I over Stravinsky, often professed a distaste for have 3 quilts for the baby, one silk quilt, two Tschaikowsky’s music. cotton ones. If I stay with Roland till I die, all However, a very practical way of taking a poll the other things I have is Rolands. He can do upon the demands of the public and their atti- as he likes with them. This is Fannie Hayes will tude toward a great public figure is the number writen 13 day of April, 1916.” of books dealing with this or that personage. We Surely few Americans of any race have are not surprised to find the number of works ascended from humble beginnings to such heights upon Tschaikowsky increasing. in art. We recommend this book with enthusiasm A new story of Tschaikowsky, “Stormy Victory,” for those who relish a frank and honest story of by Claire Lee Purdy, is a useful work, in that the tunes with words, melody, and piano accompani- achievement. writer employs an intimate technique of expres- ment. These evidences of musical folklore, how- sion designed to take the reader very close to ever, are songs which are highlights in the pe- “Angel Mo’ and Her Son, Roland Hayes” Tschaikowsky, from his childhood to his last By MacKinley Helm days in his home at Klin, which, by the way, was Pages: 289 one of the first shrines despoiled by the Nazis Price: $2.75 BOOKS when they entered Russia. She has not exag- Publishers: Little, Brown & Company gerated the atmosphere ( Continued on Page 288) "FORWARD MARCH WITH MUSIC” 231 APRIL , 1943 ’ • ° ;

Music and Study IhG Teacher’s Round Table An Introduction to Tone For a long time worried questions on tone production have threatened to en- gulf our Round Table. Often I have re- and so on. In experimenting with these various solved to stem the tide, but after work- Conducted Monthly touches remember that the dan- ing futilely to formulate clear concise gers of badly played down touches are answers, I have invariably given up, many—unpleasant percussiveness, squeez- ing, coward that I am! After all, how much yanking, and inaccuracy, while the can one say about “tone’' in a column or virtues of well-played down touches are two, how convince Round-Tablers with- full, rich, mellow tones of “exhaled,” restful, out aural and visual demonstration? So, or passive quality. Up touch is I hope faithful readers like C.E. (Il- the touch of key contact, of “inhaled” linois) L.M.B. (Texas) R.C.G. (New quality, of phrase , , 7. Noted Pianist launching, rhythmic York) and many others will forgive me vitality, active energy/ Down touch be- and Music Educator for not trying to pontificate answers to gins with high elbow held away from such questions as, “Will you explain the the body, and with arm and wrist sus- physiological or technical control neces- pended over the key; up touch begins sary to produce on the piano the tone with low elbow held close to the body, and students can develop their own ap- coloring illustrated by those markings and with level or low wrist. proach to variety and beauty of tone, de- ff-f-mf-mp-p-pp?”; “I derive no satis- Round Tablers pending of course on the will, I hope, forgive me mental, mu- for faction whatsoever from my own play- not being more explicit sical and physical equipment of each at this time ing all pieces but remember, because my have become individual. I said this month’s article was only ‘wooden’ and dead to my ears. What can to be an introduction to tone That piano- tone-production is a com- I do to correct this?”; “Can one distin- production. Later I hope bination of active energy, or force, exert- to give clearer, guish pitch, key, modulation, and so more helpful details. ed by body, arm, and finger in necessary forth on the piano (as I do) and yet amounts on the key, and alert weight- actually lack potential ability to recog- mass (body, arm and hand) moved into nize subtleties of nuance and tone color, Atpresent I the key and controlled according to need. have seven piano students as I seem to?”; “We read and hear so stud The pianist most in control y^B with me for about of his tone- ayear.r I think much about tone production, most of it that students should begin color palette is the one who play for undersigned knows each other and for an audience contradictory, that we, the simple, easily un- best very early, there are a few sound, how to mix active energy and alert but recitals with pupils no if there is students, would like to know to work from: weight, a v anced derstood principles when to give one or the other

APRIL, 1943 "FORWARD MARCH WITH MUSIC” Y

Music and Study

Does Your Child Want

to Study Music?

lu ^Irtlxur Oiaj^ tnclerAen Mus. Doc.

performer, UPPOSE YOU WANT your child to study a ginner’s chances are of succeeding as a , how would you go he must have a fairly good instrument to practice S about arranging for him to receive a fair upon and to hear himself. The importance of and comprehensive trial? this cannot be too strongly stressed, for so many DR. ARTHUR OLAF ANDERSEN essayed performance The answer to this question holds many possi- young people who have have almost at once when the bilities. Among them are: 1. The question of an become discouraged because of a poor instru- instrument; 2. the question of the proper physical odds were against them ment that did not produce the proper response attributes suitable for performance; 3. the ques- nder that the . _ son is discouraged? poor, dilapidated, out-of-tune . tion of his mental attitude towards music; 4. the in practice. A a rlyY° S00d instrun^ent makes the production wolfy fiddle from which it is impossible tvf l . matter of his determination to practice faith- piano; a ne eaSiei *nd sm°other for the beginner; tone; an old-fashioned clarinet bPir>cf>,° i. fully; and 5. the teacher. Let us discuss each of to draw a correct p* ay in tune; takes the extra effort with a poor reed; a trumpet, or horn, with faulty fr . ? these important factors in turn. c nical attainment valves; a violoncello with a loose back, and , . ^ that a poor instru- 1111 t0 CaUSe; and frees The Instrument that they do not respond to the ' altogether, strings so dried hta fi-nnYththe instrument not in good “any mental hazards that beset In order properly to determine what the be- bow; or any type of shape, thYwY Th certain to discourage the beginner. “.’ although he and his parents is mav not - We often hear of parents digging a a more encouraging start is offered himt*CaU Strad” out of the attic 6 ° f hls g00d fortune having “genuine for a worthYm Y f in to for his first lessons. UP°n praCtiC6 their child use technic and W“Ch ‘° This instrument may have been dust- stuT“ 1 ra 11 g Pianist, the covered for years, the sound post rat- keys the action of ancYh rY mg tling around on the inside, the sides are Poth °i great importance. Keys that stint unglued. Papa fixes it with commercial br° k6n ®dg®3 OT ho nofrtpt d the sound post to aTYT glue, rights with a are not 5™“ flnger p"^ conducive to oYh hairpin and the child then “takes les- ’ nor satisfactory sons.” What a mistake this is! The digitaf prog^' is in all probability a factory “ USt the “Strad” sakeYof Yearning aCt easily for product, manufactured by the thou- c°rrect and coordinating use of this important ** sands, and of no value tonally because The instrument ln harm°ny blending- it has not been properly repaired and shYmY”be kept the sake of pitcTsen?t?vi in tune for adjusted. This is a discouraging factor portance “ thls is of vital should the YY youngster 1 for the who may need a further ^ 6"1 desire to advanoe into musicYtiirt half or three-quarter sized instrument ear and take courses training, sight up “1 upon which to begin. Teachers should nei ng and harmony ’ mus>c dictation i n order to , feel themselves responsible for such a conipiisLd^utaYp” 8611 “ m°re ^ situation and should explain to the tomeY” parents why an instrument, unsuitable Physical in all respects, does not offer the be- Th Attributes ginner a fair chance to prove himself. formers on ?hyslcal attributes for per- But teachers often neglect to inform variousYn dinarily U nts is important. Or- parents of such a situation the pianist shY, ,?l the and a sized W hands, ve fairly e enerou discouraged pupil results. with Angers f,' a flexible n0tYto° stubby, and with stretch A i ,t, least to 41 ® flnger that extends at Out of the Depths the first' iY Y decided advantage the fourth Anger 13 Or it may be that papa, when a boy, n , deal has ®tave stretches. A great played the in his high been wrYl but there adout the hands school band. The son must emulate are manv ev pianist’s that they U°nS to the general r«le his dad, and the horn is brought forth must be lomYfi and flexible. ngered from the depths of the basement We cohmY , wide-stretching’ ° f fine, instan pianists storeroom. Papa essays a few tones on artistic attainmYY ces of angers on who have but foW it but it will not toot properly. The their left Y formers a lds; 01 per- THE FRONT! son takes it to school, and the with small splendid YOUTH TO band h aD dsi reaching an lncaPable of barely instructor inspects it and advises ex- octave- a ? , Pittsburgh music lovers, including seasoned critics, o vo thousand repairs. is hot measure °thers hands year old Pittsburgh boy tensive It taken to a local un t n n whose udly applauded Lorin Maazel, twelve are ldeal Orchestra repair man who oils the exception,,,, standards. These had conducted the Pittsburgh Symphony the valves. .JYf , odigy, after he This tllan without a single mistake. He used no score, of help, youngster the rule the a two hour program, is no great for the instrument blessed wit}-. & and difficult ones. With him though the selections on the program were requires factory work; the Jersey, who appeared pads have ^nt^'^exi-^ Travers, of New fourteen year old Patricia dried to the worY — point of beaver as solo violinist on the program. board The violinist’s hands "FORWARD MARCH WITH MUSIC’1 {Continued on Page 272) THE ETUDE ”

Music end Study

while the diaphragm resumes its domed shape, with very little action on the part of the ab- dominal muscles. Most ordinary conversation is carried on in this manner, but as the front ends Twenty Practical Exercises of the ribs can fall but little and the rising diaphragm has not much power of its own, such tones have little force and do not carry; they have only short duration, after which a fresh to Improve Your Voice breath must be taken. Those who get in the habit of speaking or singing off the top of the lungs, as this is termed, have to strain to produce much tone and their voices are weak and subject to various disorders. It is most difficult for them to learn the proper method, which is often termed speaking from the diaphragm, though the abdominal muscles are the chief source of vocal power. The following exercises are useful in acquir- ing and developing the proper method.

Exercise 1 Stand erect and take a deep breath. Hold the Recently a book (“Secrets of Voice Production Self-Taught”) came to the Editor’s upper chest quite rigid and the shoulders back. desk. Although in size it was small, it seemed so filled with common sense about Mentally set the vocal organs to produce an open the practical use of the voice, not merely for singing, but fer all public purposes, vowel as o in go. Then gradually draw in the that we asked the author to prepare this article, giving some of his activating muscles of the abdomen for, say, a couple of ideas. In sending in his manuscript he wrote: “1 am not a singer or vocal teacher, inches while sounding the tone. This may last and got into this through instructing actors how to make their voices carry in from a quarter to half a minute. a theater, when I found some in rehearsal who were not doing it. I found it When the breath is used up do not allow the occupied considerable time, so decided to write a little book for them. Gradually shoulders to slump, but keep them up and the chest still rigid. Draw in another breath it grew larger. I did not intend to publish it, but to hand it out in mimeographed which form to actors, but found it got too long. It works very well; even a group of will cause the abdomen to expand, along with the lower ribs. The for this exercise amateur actors can build up their voices in a week or so to fill the theater. I tone may be got the original idea about twenty-five years ago from an Italian-American quite soft, not loud, and should be at unchanging pitch. singer. Being also interested in vocal inventions for talkies 1 got into the theory deeper than most teachers do.”—Editor’s Note. Exercise 2

Repeat Exercise 1 with the vowels of a as in father, o as in not, a as in at, and u as in cup. For these vowels the tongue should be kept low in the mouth. Arch the tongue for the vowels of ai as in paid, i as in tip, oo as in tool and ee as HE THEORY of voice production is simple, cept acting automatically and beneath the plane in meet. but it needs to be understood in order to of consciousness once the thought is formed. Exercise 3 Tprogress along the right lines. The diaphragm cannot be controlled consciously Imagine an automobile horn with two rubber but the abdominal muscle can be. Having learned to produce a continuous tone bulbs, one beneath the other, but not connected by this diaphragm method, the next step and of To Produce Tone the first importance is to learn to produce by an air passage. You squeeze the lower bulb, words a note is to be sounded or intoned con- in the manner. whereupon it presses against the upper bulb, When same is vocal lips producing compressing the bottom of it and forcing the tinuously a breath drawn and the While a as in father continuously, the hole, called close your eyes and have air in the upper bulb out through the horn’s are set by approximation of V someone strike you a throat, producing a squawk. the glottis; that is, the sides of the V close light blow in the stomach. The object of closing The lower bulb corresponds to the abdomen, together parallel. the eyes is so that you will not know just when the blow is be struck. it is the upper bulb to the lungs and the horn’s The diaphragm, which is connected by muscles to When struck your floating lower of throat will produce a kind of bark, thereafter throat to the vocal cords. The upper bulb alone to the backbone, ribs and end itself. produces a resuming the tone. The sudden excess may be squeezed but since in the human frame the breastbone, flattens This rush of partial vacuum in the lungs which causes the air caused by the blow changes the vibration of it is enclosed by a rib cage the results are much in. The inrushing air and the chest the vocal lips. The blow may be repeated several inferior to abdominal squeezing. air to rush the ribs, which causes the outer times. To produce far-carrying tones in the most effec- muscles expand strongly ends to rise slightly. The viscera pressed down- Then produce the barks by sudden, voluntary tive manner the lower bulb must be be com- ward by the diaphragm expand the abdominal blow-like indrawings of the abdominal muscles. squeezed; that is, the abdomen must muscles, which walls. This makes it clear that the force which pro- pressed by its belt and diagonal the diaphragm. The tone is then produced by slightly draw- duces sound comes from the midriff. You can action exerts pressure up against muscular ing in the abdominal muscles, causing the vis- bark thus from off the top of the lungs but not The diaphragm is a double-domed which acts as a cera to press against the diaphragm, which also with such effect. membrane, its convex side up, for the viscera assists by tending to resume its domed shape. floor for the lungs and a ceiling Exercise 4 from below it This drives the air out of the lungs and through below it. When pressed against driving the the vocal lips, mentally set to vibrate and pro- To produce a word instead of a bark, con- rises and presses against the lungs, vocal cords duce sound. tinuously produce the vowel oo as in shoot. Then air out of them and between the two cords However, a tone may be produced by con- form the tongue, mouth and lips to utter the which vibrate, creating sound waves. The the tracting the chest, that is, allowing it to slump sound in you, and draw the abdomen in with are more properly speaking ledges or lips, in y a sudden blow-like stroke, and the word Adam’s apple extending front and back in a you will result. Of course the blow should not be V shaped opening when at rest, the point toward strong enough to cause any physical injury. the front. VOICE Similarly produce not by holding The singer cannot consciously control the vocal no of the con- tongue against the upper teeth, which makes a lips. The control comes through a mental

APRJL, 1943 "FORWARD MARCH WITH MUSIC 235 Music and Study

Denver's Great “Theatre of the Rockies” nasal sound. Then strike the abdominal blow, L t^odcoe at the same time drawing the tongue away from the upper teeth and instantly replacing it. You N THE RED ROCKS PARK, fourteen miles — tun, jiuuo ui will utter not. uiic vast auuiwuuui southwest of Denver, Colorado, is a new mag- are Colorado Produce the short a of watt. Then form the evergreen—an arrangement de- I nificent amphitheatre chiseled from the an- signed to screen off foreign sound. lips and sound waw, waw, waw and strike the in- movement and cient mountains of the Rockies. The stage, some ward abdominal blow, at the same time putting one hundred seventy-five by The spectator, seated high at the top of the seventy-five the tongue against the upper teeth. This will feet, is so large that trucks may clamshell-shaped bowl, more than three hundred drive upon it cause you to utter the word watt. Prefix the to unload scenery and accessories. feet from the stage, may look far over the rolling There is no curtain; aspirate h as huh-waw and then make the blow the ramp houses at the sides plains beyond the foothills to the East. Behind are used for entrance red and the t. Thus you will utter the word spelled and exit. The convoluted him, are the shadows of snowy peaks. This the- sandstone of the what which in sound' is hwat, not wuw-hat. natural sounding board, as rich in atre, cut from the same natural red sandstone color as maroon Practice with other words soon will enable you velvet, furnishes a mighty back- as those mountains and re-inforced when neces- drop for such to produce a sentence by a succession of inward spectacles as the emergence of the sary by cement, lies in beauty which Nature dragon, Fafnir. blows and proper vocal sets. This proves that the The theatre seats 10,000 persons. carved hundreds of centuries ago. J. T. Priester, This gigantic power comes from the midriff. theatre, shaped like a lyre, is as National Parks Service Inspector, declares that sensitive as a valuable musical instrument. If a the theatre will last for thousands of years; it spectator Exercise 5 stands at the base of the wedge-shaped becomes one of our great national monu- ledge thus of sandstone below crags The previous tones have been soft. To produce the two mighty ments. which flank the loud, far-carrying tones draw in the abdominal auditorium, his voice will carry George C. Cramner, manager of Denver’s parks lull and clear to the muscles with a strong inward force, and give the uppermost seats. In concerts, and improvements, first conceived the idea of the the tone of any instrument is picked up and given vocal lips a stronger mental set of approxima- huge open auditorium. The National Park Serv- an astonishing vibrancy. himself tion. A strong tone requires strength in the The architect ice and the CCC worked four years to complete marked, “As muscles far as acoustics were concerned, abdominal muscles and strength in the the monument. my main job was to keep out Helen which stretch the vocal cords front to back. This Hoyt, who designed of their way.” The architect, Burham the Jepson who dedicated the the amphitheatre at the determines the pitch. The strength of interior of the Riverside Baptist (Rockefeller) notary International last year, exclaimed, “The approximation determines loudness. This may in New York, planned the theatre with Church tneatre sings for you.” be illustrated by holding the lips of the mouth music foremost in mind. Mr. Hoyt calls the with its will together more and more firmly and striking the orchestra pit the “music abyss” of Richard awesome dimensions deep S C f GP1C type - abdomen. Long practice in strengthening all foresees this theatre to be the scene U is the monument to Wagner. He the p?iof f° eT these muscles results in strong tones. The will Nibelungen and music to the of mighty opera—Wagner’s Ring, > — forces in ZWest-to the Red which power must also be exerted. Powerful Orpheus, Aida. It will also sound the notes of the dramet J ,1 Rockies h t0ry °f the abdominal muscles driving air against of Beethoven, Moussorgsky, and Stravinsky. **“ naU°n *° music tu“ „erations powerfully held vocal lips creates a balanced tension and makes for a big, strong voice.

Exercise 6 Accuracy in the pronunciation of vowels and consonants is necessary if speech and song are to be intelligible. A vowel sound can be intoned continuously, but a consonant comes to a stop ,a,t once, except the sibilants s, z and zh. Vowels can be sung on different pitches but consonants are always the same in pitch. In two ladders of equal length, one may have a dozen rungs and the other a hundred. The rungs may be spaced apart equally or they may be at unequal spaclngs. The vowels are formed in the mouth mainly by the positioning of the tongue and its contours. The tongue in moving from a particular vowel to a consonant and then to another vowel may move only slightly, while for other vowels and consonants the movement may be considerable. Some persons can form and recognize a hundred different vowel sounds, as in a ladder with a hundred rungs. But for most a list of twenty-two vowel positions is ample, of which fourteen are spaced at approxi- mately equal intervals. These are arranged in two series, the heavy vowels and the light vowels, sometimes called the long and short vowels. HEAVY VOWELS LIGHT VOWELS

1. team 2. tip

3. tame 4. tep 6. 5. tare (as in Harry) tap astahsk) 7. tar (as in father) 8. task (broad 10. tot 9. tall THE THEATRE OF THE ROCKIES 12. tup 11. toll The upper picture is an airplane view of the out- 14. took door theatre at Red Rocks Park. Denver. The inset 13. tool shows a crowd entering the theatre, giving an ( Continued on Page 268 idea of the immensity of the open-air auditorium. /MARCH 236 "FORWARD WITH MUSIC" THE ETUVZ —

ecause the keyboard of the is piano Music and Study the same as that of the pipe organ the B common impression is that there is little difference between the two instruments; espe- cially does this fallacy seem to be common among church music-committees, resulting in the fact that many of the church organists of America are pianists and they sound like it. Important Differences The antelope and the buffalo both have horns in but that does not make them the same animal. Aside from the appearance of the keyboard noth- ing in the way of performance on the organ is done the same as it is done on the piano. There the Technic of Piano Playing are, principally, two reasons for this: (1) On the organ the tone continues to sound as long as the key is depressed; (2) On the piano it begins to fade away immediately after the key depression, a weakness that has resulted in the invention of and Organ Playing the damper-pedal. In organ playing as in piano playing we have tone, melody, legato, staccato, fingering, accents, scales, arpeggios, chords, octaves, trills, diminu- endos and crescendos; none of which are treated Lvj. Orville Ol. cjCindquiit alike on both instruments. Let us examine this list in the order given. The quality or quantity of tone on the piano depends upon the amount of pressure that is the piano. We have three types of this touch; connection) in arpeggio playing, especially in applied to the key; on the organ it depends en- staccato, staccatissimo, and portamento. All are fast tempos, or when the damper-pedal is de- tirely upon what stops are used. The piano is possible on the organ, but it, no doubt, will sur- pressed, is not necessary on the piano. Some limited pretty to one quality of much tone, prise many readers to know that the piano is teachers do not believe this but the slow motion whereas, the organist incapable of produc- camera shows that artists do not do it. has at his command ing the second of In piano playing notes are constantly being all the colors of the these. If there be accented; a mechanical accent on the organ is modern symphony or- any 'disbelievers let impossible. Strange, however, in spite of this fact, chestra. them try this: While the playing of an organist can sound exceedingly A melody, on the watching and listen- rhythmic. piano, can be brought ing, strike a stacca- It is a muscular, nervous force that produces into prominence while, tissimo on the piano; a strong chord on the piano, on the organ the at the same time, it will be noticed loudness of the chord depends upon what stops the accompaniment is that the tone con- are drawn. A child is able to play just as strong in the kept back- tinues to sound after a chord as an artist can. ground. This is impos- the key is up. This Octaves in organ compositions are usually of sible on the organ un- should be satisfying the legato type; seldom are wrist octaves en- less the two are played proof that staccatis- countered. The bravura type of octave, as played on different manuals; simo on the piano is from the elbow by pianists, is never used, for but many composi- an illusion. force is never necessary on the organ. Another tions are of such a We have already reason why wrist octaves are so little used is that nature that this can- seen that legato on the same effect can be obtained by simply pulling done. not be the organ is depend- out an octave stop, which adds the octave to ent on key-connec- each note, its key is Hymn Playing as depressed. tion. The fact that Because the pipe or- this is so makes fin- Playing an Organ Trill is a gan church in- gering on this in- Trills are performed in the same manner on strument we are in- strument far more both instruments, except that the effect is a clined to think that complex than it is little different. The organ trill, because of the it is ideal for hymn on the piano, result- quick shut off of tone, is very clear; on the piano playing. This is not so ing in a constant it becomes a mixture of tone. except that, because changing of fingers It is quite difficult for pianists to make a quick of its power, it is on keys in order to diminuendo on a trill because the notes previously ideal for accompany- make smooth con- played continue to be too prominent. Artists over- ing congregational nections; most of come this difficulty by making several little mo- singing. A hymn prop- this finger-changing mentary stops in their trilling thereby achieving erly played on the is done away with on a quicker diminuendo—one of the tricks of the piano comes nearest the piano by the use trade. All that it is necessary for the organist to to one performed by of the damper-pedal. do is to close the swell-pedal with his foot. an a cappella choir because the pianist can bring On the organ scales depend on key-connection, A friend of MacDowell called on him late one out the various graduations of tone in each voice; while on the piano it is more a matter of rhythmic evening to tell him that he had just heard an this cannot be done on the organ. motion. It is possible on the piano to have perfect organ recital in which the organist played the The fact that the organ tone is silenced the key-connection and still have a jumpy scale. composer’s To a Wild Rose. MacDowell had a good instant the key is up makes legato dependent laugh over it. He said it made him think of a Organ Arpeggios entirely on key connection. There cannot be the hippopotamus going around carrying a clover in slightest gap between the rise of one key and Arpeggios on the organ are more difficult than his mouth. However, no composition can be too the depression of the next or the legato is spoiled. on the piano because of the passing under the dainty to be played on the pipe organ for on no On the piano, because of the damper-pedal, key- hand of the thumb; this thumb-passing (key- other instrument can so soft a tone be produced, connection is not necessary; half-notes can be nor such a loud one, either. struck like eighth-notes and still sound legato. It is a common impression that, because the Staccato is played in the same manner on both ORGAN pipe organ is capable of producing such a tre- instriiments but the effect is different. Staccato mendous volume of sound it takes a strong is on the organ much cleaner cut than it is on person to play it. This ( Continued on Page 270)

APRIL, 1943 FORWARD MARCH WHTH MUSIC 237 !

Music and Study

Music Education by Proxy

lit ^Yflctrauerite Id. ^JJrood

pleasure It is with extreme that we present to our readers this article \by Miss Marguerite V. Hood. In these days, when our Music Education program and staff so seriously affected by the war, it is are both refreshing and stimulating to find enthusiasm as evinced by the author. such Miss Hood has served as music super- the Havre and Bozeman visor of Montana Public Schools, and later as supervisor music for the State of Montana. She has of been a guest member of the faculty of the Eastern Washington College of Education and a member of the faculty of the University of Southern , where she received her degree of Master of Music. Miss Hood is also a member the of Board of Directors of the Music Educators National Conference.—Editor’s Note. ‘

MARGUERITE V. HOOD some music education training, but often the junior high school boys are singing, are du it is simply one who as a child studied to a slight epidemic of orneriness, or to the fac when debs become champion piano for several years and, therefore, has more a several N THESE DAYS changing voices dropped their atten- musical background than anyone else on the have riveters, and quiet matrons turn ,: mnot sins the part they learned he I bombs, every school staff. In some communities professional mppV ; tion to the making of deadly he elementary wit available to take over the teacher who handles profession and occupation can expect new and musicians are work. ie V Je ,“ problem of teaching R's an Perhaps the one who is employed is the local n the three sometimes startling changes of personnel. Cer- 61 b '|ects in the modern curriculum t the case of the organist and choir director, who has long nursed fnrtv „ fl^ . tainly this is proving to be true in wiggling of the school band, young Americans, ofte great job of teaching music to the children in the a devout hatred orchestra and wilihs , nfle< by the pros a are doing all its kin, but who must now stifle his personal Pect °f schools of the nation. Music educators orchest,-r °r ? over those school ™s rehearsal, even though si workers in other fields are doing—strug- feelings and take music or- mav hi™ as the 3, g°°d ground ganizations for the duration. From here and there muslcal background, and col gling to close their ranks so as not to lose siderawi p P n0e country we learn of many Playing OT singing in scho when the business of winning a war takes many over the similar cases, mn? A, H r where dance band musicians, piano teachers, r°UP SinghlB at a of the finest members temporarily from the pro- assembly o? PTrEe?EA violinists, and one-time professional singers meetlng ^ay be a nerve-sha fession. are terina PVr,o,-; coming forward to lend a helping hand. f°r her! The man with a la ce Substitute It is likely that no other experience could record in dance bands Finding a pos- find himsei f p ^ tely sibly make these substitute music teachers so lost when he tries to fl Government agencies, school administrators, ap- the pla?e of » preciate the variety of skills that the school music Wh°Se and community leaders constantly are reminding band is the pridi teacher in the small town must have. Many a o^theT"™e town; and he is bafflf us of the importance of teachers and of schools bythecomniw- . V and private teacher, or retired professional musician, section °1Ved ln tuning the stri> to the war effort and to the post-war world, of the' orchesE because he is now attempting to fill one 6 °r beg11 music, in in- of these mng ’ startinS the they are calling for our product, clarinet class'^ school music jobs, is acquiring a new Thus, more than ever, we are and healthy h creasing quantities. C d0 ab continuing respect for the work he formerly may have °Ut aU this who are le vitally concerned with the problem of inIctiie “mE . we criticized. PUbllc tl schools, large and small, university scllool music, or in the music program in or collee larger cities But this is no time for us to chuckle at such mUSic We in spite of manpower difficulties. In We can say that ,1® education work? the efforts of belated recognition. Much of the future of the the P° USe in abo it is becoming necessary to spread Situation- we worrying areas, school music program in these small schools, and mlv &S t0 the remaining music teachers over wide as an outgrowth Wel1 be resiSned shall we of continued public interest in it, is dependent of thl ill order to solve the problem. But what and its W® 00" sigh upon the success or failure of this teacher, possible effect do in the smaller community when the music whose musical on”'some of our proud°'"de duties are so new and strange to him. standards t/ or sometimes completely elim- It is no or °ur town enoug staff is reduced, somehow fortnn’ot is large offers of small matter, even when one is trained for it inated, as a result of draft calls or of and staff, we n°ugh to kee a ful1 mUS experienced in it, to know how to can feel sm?,f P systems? matter how far teach music lose ug wllile better jobs in larger No most .’ surrounding tow or all of t , school music to the new first grade, with its flock of non- « we stretch our existing supply of smile in a nusic teachers. We small com- singers; or to know where the sixth grade teacher superior ‘n'f ! teachers, there are going to be many built t0ld"you~so" as can find suitable songs and instruments musical organivat way where music will be eliminated almost for the a °nS munities really capable go to Pieces becaU substitute help unit her class is doing on Brazil; or tern™ completely from the schools unless how to speak laiy te ul recognize whether the difficulties the musical acher does not q outside of the music education in the new song laf from local sources, are accustomed 8Uage to which the studer used. We profession, is lege and continue to conduct d absence of the univei-sitv , keep the work going in the the USlC To plans we coul'ses according many small town school boards BAND. ORCHESTRA made in « music teacher, ourselves pre ~ l,sti teacher, with war days, adi have called upon a general elementary intellect , and diminishing fortitude to the rapi‘ school teacher who is a specialist in CHORUS or a high °an lmen t- is an indi- decide to In other words, other subject. Preferably this Edited fay William D. Revelll do hn some stand, ess as < in music, and without *“ usua l at the vidual who has a special interest res-arn Won music the fact that the hat programSiam isi/°X, "FORWARD MARCH WITH 1 l Continued on Page 21 238 MUSIC THE ETUI N PREVIOUS DISCUSSIONS of the woodwind Music and Study quintet, we have spoken of the choice of suit- I able materials for the group, and also of cer- tain basic problems of balance, intonation, and so on, which affect the woodwinds, and which have to be reckoned with in the training of a really outstanding quintet. We have spoken too, of the particular function, both individually and The Woodwind Ensemble collectively, of each of the five different instru- ments which come together to form the wood- wind quintet and the part each plays as a member of the ensemble. It seems pertinent, in this third and final section, to go into the organization of A Study of Its Basic Problems the quintet; leadership; rehearsal routine; and finally, the practical value of the quintet.

Leadership of the Quintet A word may now be said about the leadership ly. t^Caurence ^JcLL^for of the quintet. Since there is to be no conductor in public performance, one of the five members must start the group, set the tempo, indicate cut- offs and duration of holds, end the group to-

Woodwind Ensemble, the Lau- peat, is continued rehearsing together. The play- rent Woodwind Quintet, the ers must look to that one of their number who Taffanel Woodwind Ensemble. has been selected as leader, for the start, the end of the composition, for nuances, shadings, cut- Problems of the Director offs, and other effects, just as they regularly The music director who would look to an orchestra conductor for such seriously sets out to develop a elements of performance. fine wind quintet will have his problems. Woodwind players Rehearsal Routine are always by nature and A quintet rehearsal is a different kind of re- training “rugged individual- hearsal from orchestra or band rehearsals, and ists.” Each one is a soloist by must be undertaken in a different manner. It is inclination and tradition, and recommended that there be not less than two it takes a strong hand on the rehearsals a week, and that each should be not reins to keep them from pull- more than perhaps an hour and twenty minutes ing away from one another. in duration. A quintet rehearsal is necessarily Then too, they have to be in- rather intensive. Very little time is lost in such a parts structed how to obtrude their small group ; and while the in quintet music particular part when it is the are, or should be, for the most part, more grati- most important voice; and fyingly written for the instruments, more lyric in then to “retire back” into the nature usually, and offer the greatest possible ensemble when their solo part satisfaction to the player, nevertheless, after an ends, and another instrument hour and a half of intensive rehearsal, however takes up the leading part. This great the interest of the players, there seems to “tooling in and out” of each begin a noticeable tendency to sag; to “just play instrument as its particular notes”; to become a little bit sloppy or careless THE COLUMBIA UNIVERSITY WOODWIND ENSEMBLE prominent or in playing. With young players, especially, in- Laurence Taylor, part becomes the (Left to right) Stephen Hewitt, oboe; Leonora Belsito, bassoon; French horn. subsidiary during the playing tensity cannot be maintained at too high an flutist and director; Alfred Mamelok, clarinet; David Mead, of a number, is one of the most artistic level for too long a period. important factors in making Let us end the rehearsal before this natural woodwind ensemble, and is nec- “let-down” even starts to set in. To stop thus, at gether, make an occasional appropriate gesture, for a successful due to the peculiarities of woodwind scor- the high point in the rehearsal will give a sense and otherwise act more or less as pacemaker and essary, said, particularly features of accomplishment and satisfaction to the play- director. ing, which, as we have changing of tone color possible with ers, and will cause them to look forward to the For obvious reasons, the horn and bassoon are the rapid a group. next rehearsal with enthusiasm. In other words, not available for this service; their instruments such of the manner in which five wind- it will be seen that our suggestion of an hour and are too heavy and bulky, too stationary, to be We spoke placed together in a quintet, tend to pull twenty minute rehearsal period is a purely arbi- used in making gestures. The oboist should not players, from one another. The best cure for this trary one; the director has to judge for himself have this added responsibility, because he has to away continued, steady, rehearsing together until how long his own particular group can play at a take care of possible reed changes, especially in is everyone’s part; a thing which highly artistic and intensive level, before this chamber music where a small group of instru- everyone knows is is necessary before a wind quintet can give a inevitable let-down and carelessness would begin ments is depended upon all the time and there or really unified “concertante” performance. Twenty to show itself. It may be a longer, or it may be a less time for resting. This leaves the flutist the good; amateur violinists can be trained to bow in uni- much shorter period in which your group can clarinetist for leadership duties. Either is son more quickly than five wind-players can be maintain this high artistic standard of re- the better musician of the two should be chosen, made to band together as a single-minded unit. hearsing. In this connection, the suggestion to however, we prefer having the flutist act as di- to That is doubtless due to the fact that string play- have a quintet rehearsal, naturally a very inti- rector. It is very easy and also graceful make ers have been accustomed to en masse playing mate and personal kind of rehearsal, in a private an occasional gesture while playing the flute. (A from their earliest training, while woodwind home, as suggested by some directors, is strongly warning—it must not be overdone.) Also strongly players, as we have noted, are by training soloists repudiated by the writer. A quintet rehearsal in favor of having the flutist act as director of —“first-chair men.” must not be allowed to turn into a social hour, the woodwind ensemble is the tradition of both cure for this “individualism,” re- if are really interested in getting anywhere past and present. From time immemorial and to The only we we with our group. quintet is not to be allowed this very day, the well-known woodwind ensem- The to be considered as extra-curricular rehearsal bles of the world have borne the name of the an group. Rehearsals should be held right flutist of the group, as founder and director. We BAND and ORCHESTRA always in Edited by William 0. Revelli the school at specified hour. The quintet should need but mention a few with flutists at the helm: a to the ( Continued on Page the Blaisdell Woodwind Ensemble, the Barrere be held up band 275)

APRIL, 1943 'FORWARD MARCH WITH MUSIC 239 Music and Study snare) drum; the smaller percussion instruments (triangle, chimes, and the gong, and so on) ; kettle-drums or tympani. The tympani are the most important as they are the only instruments in the battery that need tuning. The first thing the drummer learns is how to hold his sticks. For the small drum, the left stick is cradled in the Musicianship and Drums round arch between the thumb and index finger, and is guided by the index and fourth fingers. The stick is held just firmly enough to prevent its falling. At any time, another person should An Interview v/ifh be able to twist it freely as it lies in the drum- mer’s grasp. Hand, wrist, and arm must be re- laxed. The motion of tne left hand is exactly that used in turning a door knob. The right stick is Cj(ci33mcin held in the natural grasp one uses in picking up a pencil from a table. The motion of the right hand is a natural, First Tympanist, simple down stroke, guided underneath by the third and fourth fingers. The next NBC Symphony Orchestra thing the drummer learns is not to practice elementary work on a drum! Instead, he uses heavy rubber practice pads. -Also, he should use ETUDE BY JENNIFER ROYCE SECURED EXPRESSLY FOR THE sticks suitable for drum corps work but too heavy for orchestral playing. When he ultimately takes up orchestral sticks, his technic will be sufficient to get proper action. orchestrally unless the drummer also has The N ORCHESTRAL MUSIC, most of the effects of suffice rudiments of drumming are built upon ability to apply it artistically. Many the long pure color and atmosphere are secured by the musical roll, without a proper mastery of which I excellent rudimentary drummers are poor or- no good drum the percussion group of the battery section. stroke is possible. This is a com- players. They can accomplish the strokes, pound stroke, Drums, tympani, cymbals, triangles, tambourines, chestral made up of a, main stroke and a the musicianship to apply them. Where rebound gongs, and the like, add nothing to the melodic but lack of equal intensity and duration, follow- score calls for a drum roll for part of a ing each line or the harmonic depth of a composition; but the other as quickly as. possible. In the be- harmony has measure (a dotted quarter note in 4-4 time, for ginning, of course, once the pattern of melody and the succession is not very fast. been established, they give it life, In finished drum technic, a series color, richness. Oddly enough, the of long rolls sounds like one con- battery instruments have entered, tinuous purr. All drum strokes are our at one time or other, most of a combination, or variation, of the lives as a joke. Christmas drums, essentials of~ the all-important toy cymbals, little gongs, and tam- long roll. The five-stroke roll, for bourines are fun-makers. The child example, consists of one compound who begs for an extra half hour of beat begun with either hand, one playtime before practicing, will compound beat with the other, and gladly devote it to beating his the. main stroke of the first hand drum. Yet the fun-making drum as final stroke. The seven-stroke is as vital to a symphonic rendi- roll ends with the opposite hand tion of Beethoven’s "Ninth Sym- fi'om the one which began it. The phony” as a violin. And somewhere drummer must be ambidextrous. between the fun stage and the Another drum figure the symphonic stage of a drummer’s is W ich is a main stroke pre- training in mu- ? life there lies a ^ceded by ope grace note. Here sicianship, alertness, and discipline there 1S no inbound, people and the ac- more arduous than most cent is not on the first tap, but on realize. A drum is always a drum? stroke which follows it. Don’t think it! Ttl rag stroke of a Karl Glassman, first tympanist rinuwi consists 61 106 note the of the Symphony Orchestra, Preceding NBC main^fstroke,? of a l 1 while the four-stroke states that the chief requisite ril aS three grace preced- good drummer is, not a love of inf f n°tes e main of stroke . use hitting things, but a deep musical the if H- The 1 1118 fingers ability fortified by sound musical mentioned be- fore iq * Gnd the ain ’ background and training. Every freelf^ °/ stick ”P aS eaSily ac- serious drum student should learn ’ for repeated KARL GLASSMAN Uon in hhe at least one other instrument and COmposite roll strokes, In nH 4t0 should take a thorough course in follow scores, the instance), the drummer must calculate the drummer Glassman began his own career as in- strokes, kn° harmony. Mr. exactly as a W chair of the second dividual rolls he can fit into the measure without violiSsflronnist TZ violinist, occupying the first knows his scales- destroying the rhythmic pattern. According Indianapolis Symphony Orchestra. to violins in the e percussion instru- his speed, he can secure his effect by a five-stroke g TYmpcm! He turned his attention to “The kettle-dramT established himself as roll, a seven-stroke roll, and so on. No one tells other 0? tymt ments only alter he had drums in Panl, differ fro® depend on his musicianship. that t’hev i Before joining the NBC him; he must Each tone. 1 ave an experienced musician. Usually, they ? Positive pitch and percussionist with the conductor demands special effects from the tym- with Orchestra, he served as a Pairs; larger one pani but getting them depends upon the twenty-eight-i^l ?„ a Orchestra, and as tympanist — tym- F to c, head Opera ' that from Metropolitan musicianship. Further, and a smaller plays Orchestra, the Russian panist’s one of the across, „ ae with the Victor Herbert that pi - twenty-five inches and the drummer’s chief responsibilities is to know when ays Orchestra, the Sousa Opera, equipped at to best Symphony not to play. Many works—especially modern organizations K (The Symphony. ones tympani ahLDhave New York . overwritten in the tympani parts; completing supplementary to overemphasize the —are a good yery the "It would be difficult large one, they consist of musical background,” tympanist knows when an exact following of the , with a drummer's need of a solid plays from thirty-i that tech- score would overbalance the passage musically. low-c to a nch head Glassman. “There are special drum a ery says Mr. “Percussion technics deal with the small twenty-three-inch smaU one, with but the best technic will not (or A.) head ?J nics, to be sure, On the that plays from D to modern (Cm , "FORWARD MARCH WITH MUSIC" Continued on Page 274) 240 the etude Music and Study

A Noted Violinist’s Hoad

to Musical Victory

From a Conference with

udi ^lldenuhin

Yehudi Menuhin and his wife, Nola Nicholas Menuhin SECURED EXPRESSLY FOR THE ETUDE BY SAMUEL APPLEBAUM

O YEHUDI MENUHIN must be credited an unusual attitude towards the music which attitude well be The plays, an which might violinist, is Institute Samuel Applebaum, a graduate of the of Musical Art of the instilled in the minds of all pupils. What can he Juilliard School of Music. After his graduation, he studied ivith Professor Leopold the composer of this piece? What learn about Auer, until the death of the famous pedagog. Mr. Applebaum’.s articles on violin editors shouldn’t changes have the made? Why playing and teaching are widely read throughout America, and in England. he examine the original edition of the work, if it —Editor’s Note. is possible to procure it? At any rate, he must examine various editions of it. Is it necessary to follow the accepted grooves in the performance of the piece as set out by other violinists? This scholarly desire to probe into the back- a good solid detache above the middle, and,” he the tail piece. ground of a work has led Menuhin to interesting smilingly points out, “it’s that way in the The “high wrist, low elbow” undoubtedly re- “Adelaide Con- ” experiences. He discovered the original ! sulted from the use of this chin rest, which had certo” of Mozart; he revived a violin concerto by Menuhin’s bow control is so miraculous that an the disadvantage of flattening the position Schumann. Among the modern works of famous analysis of the mechanics of his right arm will (angle) of the violin. Now we are taught, in the but neglected composers first played by Menuhin, be of great benefit to students. Much of the dis- Russian School (Professor Auer) that the upper and now universally known through his concerts tinctive beauty of his tone, and his mastery of the arm is held in such a way that there is prac- and recordings, are the sonatas of Enesco, Piz- various bowings, can be attributed to his manner tically a straight line between the elbow and the zetti and Lekeu. of holding the bow. hand. Menuhin goes one step further. He holds In the works for violin alone written by Bach, The tip of his right thumb is placed on the the bow so that the elbow finds itself higher. Menuhin’s research makes his interpretations au- curved edge of the nut so that part of the thumb There is a definite inward turn in the elbow joint thoritative and exemplary. In discussing with him is slightly bent. The second and third fingers are of at least forty-five degrees. the Bach sonatas and partitas, it is evident how placed around the bow so that the thumb is op- One of the most miraculous feats of Menuhin’s much analytical study the young artist has given posite his second finger. The outer side of the first right arm is his ability to change bowings with- them. (After one examines the various editions finger is placed on the bow stick so that the bow out a break in tone. His use of the high elbow and then closely delves into the original as found rests at the crease of the joint, while the first is very helpful. Menuhin is capable of making a in the Joachim version, he is in a position to and second joints are curved around the stick. practically imperceptible bow change at the nut appreciate Menuhin’s analytical work.) The little finger is placed on the bow so that only of the bow in double piano, using all of the hair the tip of it touches the bow. or using about three-quarters of the hair. The Detailed Analysis Very little has been written about the height firmness with which his little finger balances the One or two provocative phrasings in each so- of the right arm, and much has been said about bow plays an important part in this. For the nata have resulted in many versions on the part the height of Menuhin’s right arm. It is certainly development of the little finger, Menuhin has of concert players. Menuhin marked several such higher than that common to the other artists. made a special study of numerously repeated violinistic, notes, played quickly at the nut, using only about phrases with a pencil. The results were Years . ago, violinists played with what we now musicianly, and bore a definite connection to the consider the “old-fashioned, high wrist, low elbow an inch and a half of bow. original. To the question, “Why, in the last chord bowing.” Ex.l of each measure of the first eight bars of the The violin chin rest was invented by Spohr. In Bach Chaconne, do you play only the top note?” Spohr’s day, the technical developments of the Menuhin replied, “I have given this opening a violin made it necessary to use a chin rest. Pre- great deal of thought. In the dotted quarters viously, the player placed his chin on whichever which precede each one of these chords, the en- side of the tail piece he chose. Evidence of this Menuhin demonstrated this bow change—he the varnish on the right as well tire chord is played, which immediately estab- is found in worn knows how great this problem is to violinists. He lishes the harmony. Once the harmony is as on the left sides of many old violins. The played it in two different ways, a few times using violin is equally worn definitely felt, we then can play the top eighth writer has a which on both the entire wrist, and a few times with just a very note, to define more forcefully the rhythm.” sides of the tail piece. In examining one of the slight use of the fingers. Various ’controversial An interesting example of how passages are original Spohr chin rests, it was found to be a opinions were brought up. Menuhin said, “In often changed by editors is to be found in the rather cumbersome affair, and differs from our making a bow change at the nut, I do not limit “Kreutzer Sonata” of Beethoven for violin and modern ones by being placed centrally on top of myself to only one manner of doing this. There piano, in the first movement, twenty-one bars are times when I will change with the wrist, and after B (Auer edition). Menuhin’s performance at other times, when I wish to go very near to the takes on new life and exuberance. “And what VIOLIN nut before making the change, I use only the have I done?” he asks. Edited by Robert Braine fingers. You see, it is now second nature to me. “I take all eighth notes in separate bows, using Instinctively, I can change to either of these

" APRIL, 1943 "FORWARD MARCH WITH MUSIC 241 ,

methods without any disturbance.” the low to the high octave, as shown possible, but Menuhin is emphatic in of Australia. In September, 1939, a belief that, modern violin daughter, Now, as to Menuhin’s vibrato. No in Example 2. (These exercises are to his “no Zamira, was born to them, one can deny that Menuhin has one be played as suggested for the pre- will enable one to bring out the noble and a year later a son was added to tones possible when playing on a their family. of the most beautiful tones of any of ceding exercise; that is, on the G The Menuhins, when genuine Strad”; and adds, “One does not on tour (his the artists. In discussing the vibrato, string in the listed keys, using the young wife accom- Rembrandt’s value panies he advises pupils to make up their same finger throughout, then trans- not judge a by the violinist on his travels) weighing the paint and the portrait.” live on own special studies, vibrating with posed so that they may be played on a large ranch in Los Gatos, The two bows, which Menuhin al- California. the hand away from the ribs, then the remaining strings.) They swim, and hike, and ways carries with him, are remark- go horseback touching the ribs; vibrating on long Ex. 3 riding; or study and able specimens of Voirin. Incidental- read, and play music for relaxation. notes in double piano , and in double ly, for public work Menuhin uses a It is a healthy forte. When practicing in double life, and fits the bril- gut A string, although many of the liant young artist his piano, the bow is to be drawn quite admirably for artists are changing to aluminum- far-flung near to the fingerboard. Each violin- concert engagements. wound A strings. He is a ist should make his own special splendid physical type, fine posture, studies along these lines, bearing in Backstage with a number of the ruddy complexion, and mind Menuhin’s advice. A crescendo leading artists ‘during the intermis- emanates a complete sense of well- their concerts, being. and diminuendo in the same long sions of it is interest- Intellectually, he has benefit- ing to observe their resting ed note are also beneficial. habits. much through his association walks witl\ Menuhin also suggests using these Elman up and down his dress- the great figures in art and ing room; Heifetz smokes literature exercises to practice: Starting and a cigarette and music. Menuhin speaks thoughtfully; Hubermann sits and stopping the vibrato suddenly. This is down writes in six languages. an important phase of vibrato devel- with an extra coat (he likes to keep He is extremely meticulous about despite the opment often neglected. He claims warm temperature of the details in connection with his home, room) Milstein chats lightly and that the ability to stop and start the ; while manages to take care of small smoking; and Szigeti smokes quietly. matters vibrato quickly is most important. He which one would think he Iv vibrato very slow- (2nd finger) Menuhin indulges in a few rejuvenat- would be inclined also practices the n (simile) to leave to others. A , a _ ing calisthenics. There ly, and then very quickly, so that he was the matter of the garden- strips to the ing. can find himself completely in con- He waist (after the The man in charge failed to exercises he changes completely) sits appear to trol of the vibrato in the two extreme , take care of the seeding of down, grasps the arms lawns speeds. of his chair, on the Menuhin ranch, and and twists his body from Obligingly, Menuhin demonstrated side to side Yehudi sent a note to him. No reply relax his tense what he does when he starts his to muscles. Then, he stands with his heels practicing in the morning—just what about a foot apart, inhales, rises on toes, reaching his left-hand setting up exercises * own received no xepij- his arms overhead. Then he he are. brings gardener had shown the first his arms down stiffly between note The following scales are to be his to a local group of townspeople, legs, exhaling and bending his and played on the G string. Practice them knees, someone had offered him ten dol- touching the floor with the backs lars for slowly, pressing the fingers firmly. (It The desirability of three and four- of it. Menuhin’s second letter brought up, his hands as far behind his heels as had would be beneficial to apply various octave scale work was gotten a slightly higher price, these did not he can possibly reach. wnen the bowings and rhythms to and Menuhin replied that he gardener finally appeared After a few more scales.) After playing them on the G do much of either, but spent most of exercises familiar to finish his work, Menuhin demand- they which he con- in ordinary gymnastic work, he ed to string in the various keys listed, the time on arpeggios, gives know the reason for his rude- that they Summing it all himself a rubdown with a liniment ness and should be transposed so siders more valuable. delay. “You did not even containing alcohol and some 6 may be played on the remaining up, he declared, winter- my letters -” ex- green. Following * the violinist strings. Also they should be prac- to cover every note a few moments of rw. e “My object is ' and was extremely amused the very relaxation in a chair, he drinks wlnenJJ ticed as chromatic scales—using the from the open string to a the man replied “Why, glass of warm milk from wryly, should fingerboard. I a thermos ’ same finger throughout. They highest note on the bOP 1 g y0U new bottle which he a send me a be practiced also in the keys indi- the above exercises daily in var- carries with him to o nTne ety dayf use ° - They pay a great deal of every concert. He then is l ! h cated: ious tempos and rhythms. Much ready to more than gardening!” start the second the technical material used by teach- half of his program. In one or ers can easily be eliminated. A great two serious chats with deal of benefit is to be had from an American music analytical survey of the difficult pas- has been brought up World of Music important concerti. This Mr. Menuhin declared that sages of the Yehud (Continued is becoming from will eliminate drudgery, and at the more and more inter Page 217 ) ested in the trend same time the important passages in now taken b American these works will have been mastered. composers, and that h A very advanced player,” Menuhin definitely is interested in music b contemporaries. added, “often wastes too much time Of course, he is ver Song - A scales.” discriminating about the new " practicing work pnoe of each rect that he plays, and may be obtain The violin which Yehudi Menuhin studies them ver f ree by addressing Archive of , is beauti- carefully before he Amf uses most often in public a makes any F°lk Song M ‘ de Division ' even cisions, but soon his the Sh! ful Strad with full round tone, programs wi] ington, y °f c m ajor.)_ he enjoys playing Plant IV (Fourth finger practice in D missed the Hill classification.” for them ww presenta„ e j H Certificate of d witt Menuhin definitely believes that no doing a good deal to benefit lndiv war an Merit at idual Pr relief causes,” a violin made by a modern maker can Mr. Menuhin D m0ny in declarec C., on L>ecemh Was sound as well as a Strad or a Guar- proudly. 10, Roosevelt honored? when 1 scientist re- Late in 1938 te nerius. A well-known , Yehudi dividual " workers He then played various passages in Menuhin Ws suggest? " cently declared that this might be marned m London to creased s had B«w octaves, using the same finger from Nola Nichoh proEpr°ddction Plants. in their p "FORWARD MARCH WITH MUSIC" 242 THE etude Music and Study sical notation little melodies ol’ his own invention, bits of music that he remem- bers having heard, and little pieces that Questions is What Did Sibelius Mean? and Answers he studying under his piano teacher; (4) that he constantly ask his teacher Q. I should very much like to hear questions about chords, cadences, the- your explanation for the spacing of the Music Information final chords in Sibelius’ “Fifth Sym- A Service matic development, contrapuntal treat- phony.” What is the effect which Sibelius ment, form, and so on, as he encounters Is attempting to achieve? Is the main these in the piano music that he is learn- "bell” theme of the movement supposed ing to play. This will probably to continue ringing in the mind and Conducted by lead to hence coincide at logical points with the further illustrations played by the teach- oddly spaced final chords? Some musical er—or by you!—and it will probably logic have dictated arrange- must the eventuate in an organized study of har- ment of these chords. Strangely enough, keft$ mony, counterpoint, Koussevltzky entirely disregards the time ,J and form. This ex- of these chords when he conducts the w. perience, incidentally, should be of great symphony.—L. A. C. & value to you as well as to J(J Mus. Doc. your friend, A. Sibelius’ style generally does not and I am guessing that it will make you employ long coda material. Usually when far more intelligent about all music, and Professor Emeritus that his theme has developed to a final con- your piano playing—and especially Oberlin College your sight clusion, that is, when he has said all reading—will be definitely affected. that it is necessary to say, he ends im- of three in each measure, but on gen- Editor, mediately. Music Webster’s New Finally, I advise you to write to Alec Consequently, after develop- eral principles you had better get used ing his Sibelius International Templeton, who, although blind theme, concludes this to counting six in a measure whenever Dictionary from symphony birth, has made much of himself, with four fortissimo chords the measure sign is six-eight or six-four. and followed by the final unison dominant- who would naturally have a sympathetic tonic ending. Because of the greatness attitude toward another blind man. You of the chords and the consequent reso- How Can a Blind Man Become might send this reply of mine to Mr. Templeton nance, the composer undoubtedly felt a Composer? (200 East Chestnut Street, impelled to space Chicago) and ask him (1) whether the the chords widely to Q. I have a friend who is totally blind advice I have gain the utmost effectiveness. The first and has always lived in a state of poverty given is sound; and (2) Whether of the chords coming on the second beat, that we with security and jobs can’t he has any better suggestions. realize. I’m the rankest of amateurs, but In the end, however, preceded by the full silence, better serves it is your friend’s it seems to me that this man has ability own attitude that will finally to emphasize its massiveness than if it in improvising that should be developed. determine whether he makes had followed immediately on the first He has stiff fingers and can’t relax, so something of his tal- finds difficulty in hitting ent or whether beat. Note that the following three the right keys. he merely amuses him- He has a good voice, and he learned to chords are self and entertains his friends by in- all equally spaced. The first play the accordion .this summer; but who venting “pretty pieces.” of the three is a pure dominant chord, wants to hear an art song sung by a The latter is good fun, and I the second a discord by reason of the baritone with accordion accompaniment? am not sneering at it; I, myself, am taking piano lessons and but becoming a‘ real double lower-neighboring tones, which musician is a great can play seccnd-grade music—if I go deal better—a thrilling way, in fact dissonance causes the last chord on the slowly and cautiously. I tried to get my —of spending one’s life. dominant to stand out all the more be- piano teacher .interested, but he ridiculed the idea. Finally I painstakingly and cause of its purity. The final unison with great difficulty wrote a piano ver- dominant-tonic ending accentuated is sion of one of his songs and showed it More About the Seven Rhythms very much by its syncopation. Thus it to the teacher. He asked my friend to sing it and I felt that In reply to the would seem that the chords constitute a he was greatly request in the July impressed. Etude for more information simple, grand ending, No question will be answered in regarding the spaced for effec- It is unfortunate that the first really THE ETUDE unless accompanied by the full name “Seven Rhythms,” I tiveness and resonance, and probably not interesting piece that my friend made am glad to submit and address of the inquirer. Only initials, the following: They are a having any other direct relationship was a strange, mystic, irregular sort of or pseudonym given, will be published. method used thing. I finally made it fit into twelve- in piano playing to develop speed, with the “bell” theme. There can be smooth- eight time but he said no orchestra ness, little and finger dexterity in cadenzas, doubt but that Sibelius was dis- would bother with it that way, so he or other rapid passages in tinctly aware of the details of spacing, changed it into a waltz—and lost the piano com- mysticism; so now it is just a cute tune. there positions. Tire following are the and meant that the chords should be is no reason why your friend rhythms How can I help this penniless, would-be used: performed should not have the deep satisfaction of as the score indicates. composer find himself?—A. C. performing some of the works of the You have set me one of those prob- A. great composers, while at the same time i.ni j rm lems for which there is no solution ex- How Count Six-Four Measure ? he will be learning something of form cept in the passion of the individual and style, of harmony and counterpoint, Q. Will you please tell me how to count himself for creating. If this passion is ,2. / J. J. six-four as used by Bach, Mozart, and the rest. S rm. measure? Should it be counted as lacking, there isn’t much that another three-four or should it be counted It will probably irk him to have to begin straight six? can do. If your friend has an Especially in The Swan of person with very simple compositions, but if he Saint-Saens. overwhelming desire to be a creative has the real passion for creating music, S.J-J J J rm artist, he will overcome all obstacles of he will be willing to do the preliminary Ex. 1 blindness, poverty, and the like; he will work for the sake of achieving his final play the piano, will study har- learn to goal. And if he is not willing, then he 4. rm rm will, mony and counterpoint; in other will thus demonstrate the fact that he is words, make himself a musician so that just another one of the many who have he himself is able to catch and organize a certain innate musical ability, plus a 5. J J J“3 rr n Would it be correct to count as in three- the musical ideas that come surging up romantic feeling that they want four? to be in him, but that without intellectual con- musicians, but are not willing to spend trol backed by well developed taste will the hours—and the years—that becoming 0. J J J J rm Ex.2 remain mere fantasy, mere incoherent a musician imposes on anyone—even on and chaotic dreaming. those who can see. Prom what you have written, I would So I advise you to tell your friend four 7. J J J J J rrj venture to guess that your friend must things: (1) that blindness is no bar to discipline himself to the study of piano becoming a composer provided Which notes get their beat f It has always he has The kind of notes does not interfere puzzled me, and will be glad to get the and piano literature, and if you have any the talent plus the I necessary backbone with their use, whether sixteenth, answer thirty- in The Etcde. influence on him, I advise you to use it to spend some years in developing his second, or sixty-fourth, that is: A. Six-four is sextuple measure just in the direction of urging him to find talent and bring it under control; (2) a 1. Long—short—long—short. as six-eight is, count it some way of taking piano lessons and to that he must begin by learning and you should to play 2. Short—long—short—long. one-two-three-/our-five-six the accents practice regularly and systematically at the piano adequately, thus — also becom- 3. The first two short—last two long. falling on one and actually least two or three hours a day for sev- ing acquainted with the four. There is styles of com- 4. Middle 2 short—1st and last long. no difference between and six- eral years. The teacher would have to posers whose works six-eight have withstood the 5. First 2 long—last 2 short. four although some think teach him by ear, but this is not impos- ravages people seem to of time Decause they have in 6. First 3 are triplets. that six-four gives sible, and if your own piano teacher or them the feeling of — them those elements of greatness that 7. Last 3 are triplets. a slower tempo. Of course in the case some other good musician—will take the make them “classical;” (3) that he mas- Practicing with these is fascinating, of The Swan the musical effect would be extra time that is necessarily involved in ter the musical phase of Braille and and I hope M. W. finds them as beneficial same even if you instruction to a blind the counted two pail's giving person. begin at pnce to record in Braille mu- as I have.—G. F.

APRIL , 1943 "FORWARD- /MARCH WITH MUSIC' • 243 — ,

Music and Study up their modes and scales on all tones, which are known to us as the Phrygian, Lydian, Myxolydian, and so on, while the Indian pentaphonic scale corresponds to the lydian mode, or to the con- temporary minor scale with suppression of the second and sixth degrees and natural seventh degree. Thus, if we take the C major mode of Indian Music the modern musical system, the Indian scale wil1 be like this: A, C, D. E, G, A. If we take F major the corresponding Indian scale will be: D, F, G, A, C, D, and so on. The Indian of the cordillera still holds to his in Ancient Ecuador native music and is not yet contaminated by Spanish or European elements which have re- sulted in the modern Ecuadorian music, the criollo or mixed style with which the traveler grows more familiar when he visits our towns and lij Cjaitavo SJU has the opportunity to hear serenades played on the typical instruments of the Spanish con- quest— the guitar, the mandoline, the harp or the fiddle. The bond between our sister countries in South America and our oion country To catch the full effect of Indian both continents. This is music, it must has been strengthened greatly by musical interests on be played on Indian mercenary instruments, and here lies no sudden outbreak of material or commercial interests based upon the subject of the present article. were It started over century ago when travelers brought What gains or competition. half a , the instruments known better than to the Indians before the back some of the lovely and highly individual melodies which tell Spanish conquest? What was the level of musical else the sympathetic, aesthetic nature of our friends in Latin America. anything culture which they attained? Ecuador, because its more or less isolated location, has a musical individuality of °ther arts> the Indian music keePs close relationship all its own. We never have seen elsewhere the characteristics of witwvTwith the ^degree of culture attained by people . Note. a of that country presented as graphically as in this article Editor’s tai P0Ch 0f histor have h» V y- Beethoven would advanced the Greeks and DrobaWv r> M ,° P Would ha™ b ^n a primitive mustfln nodernT tunes. Beethoven could only luxuriant musician. Before him will appear the silent, stoic come out i he TRAVELER has just left the a S ty wll descendant of the Caras °se techniques and vegetation of the Ecuadorian coast and is figure of an Indian—the civilization he reached°T 7° a superior stage. On the 5 standing on the mound of contrarv T entering the triumphal avenue of the Andes and the Incas' who, Or e“S as a magician for a society studded with volcanoes leading up through the a valley and surrounded by his dog and sheep, just emere?r?f T or, sitting on a gray # gray immensity to Quito. The traveler falls into is playing the rondador the cerro 1 is playing his mute contemplation. Everything is grandiose, and shapeless stone of , fearful, mysterious. Toward the east and the pingullu. west both cordilleras extend to the horizon their Many books have been walls of rocks and snow. Nothing enlivens this written on this important solitude—no man, no tree, except some twisted subject and it seems that shrubs; few animals—some geese and ducks on historrians and investigators the banks of the lagunas 1 the hawk and the , uke Ainsworth Means, Cu- condor which describe their circles upwards in uow, Jijon, and others, have the frozen air. agreed In dry stating that our Nothing varies this severe landscape: the Indians attained superior grass spreads on the soil a uniformly gray tint. a ge of barbarism, No word could express the intense charm of this . a stage me tiding the solitude when the brusque night of the tropics development of agriculture, cattle falls on the colorless landscape. Life and death breeding, elaboration of seem to lose all meaning amidst this serene and some metals, especially where nothing has been done gold and silver; silent immobility tanning for man. and weaving, the use of stones From the silent contemplation of this mournful for buildings and fortresses, landscape, the traveler is brusquely caught up weapons like °ws and by strange and gloomy arrows, copper a spears, melody which emerges from and so on. the depth of an undulating The Instruments Used valley or from the top of a Ecuadorian Indians playing the tunduli, a small drum, These paramo-. It would be the randadores, a primitive form of the achievements of In- dsoolate and Pipes of Pan* man almost impossible to find culture generally ac- °w some other thing that suits edged by historians The woeful monody imbues na- US as marvelously the barren musical instruments am? to t,lie question of this ture and men with its profound dorians. theSe ' solitude of the Andes as By observing anclent Ecua and renders still more deso- morim for it is the sadness are the lnstru plaintive melody, favorites of ments which late the wilderness. our P completion, the most genuine deduce that ans il is to percussion ? ’. Possible perhaps the very were the Wind expression, The Indian's Scale Analyzed two kinds instruments zaleo known A' spirit of this wearisome na- and Cafiar the °ld Cara Paut' tribel , Should we analyze the monody the ( A ture. If the traveler is fa- country, most advanced » the pingullu or indeed if T he will played on rondador, laa h miliar with music, a high stage culture did not 5 . we would soon find out that it is in perceive the sounds D, F, technique was *°rkin this based on the pentaphonic scale strictly confi S. °r « G, A, C, D, repeated in Poses namely to GUSTAVO SALGADO peoples the religious pur- on common to many who have re of decomm numberless combinations priests; or ot tem at- not reached a high level in their to m° Ples, the a monotonous rhythmical h 01 weapons, P Ses ? it ’ as the produe- musical culture. It is the same pentaphonic scale i s comm 7 basis. ments ensible . the Greeks of the could not ‘hat string from his bewilder- that we find among heroic ™S™st yet When the traveler recovers ™ments, be Produced.Produoi epoch, with the only difference that they built l" especialiv Yu String try to discover the unknown the highest ment, he will technical metaUic ones, are (Continued

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Copyright 1940 by Theodore Presser Co. APRIL 1943 245 246 THS ETVV$ APRIL 1943 247 AMORES EN SEVILLA (LOVE IN SEVILLA) TANGO Senor Alberto Jonas has caught the delightful rhythms of his native Spain in this, the most engaging of all his compositions.Sevillaisinthe heart of rhythms of Amoves en Sevilla Andalusia, famed for the luscious fragrance of its characteristic melodies. The , which may seem a little, tricky at first,

THE ETUVti WISHING- STAR DAINTY ’KERCHIEF Rendered with a characteristic swing, this will prove an This new “novelty’’ piece wilt be played with zest by many readers of The Etude. work number. entertaining studio CHARLES E. OVERHOLT

1st II Last 1 Poco meno mosso

Prosser Co. Copyright 1942 by Theodore 250 se“ British Copyright TSS THROUGH WOODLAND TRAILS Through Woodland Trails has.the lilt which has made many of Mr. King’s works popular. The piece should be played fluently and delicate^

then play Trio. * From here go back to the beginning and play to British Copyright seemed Copyright 194 -l by Theodore Fresser Co. ATH1L 1943 S5i Mr. Federer has the to bring this out , composer’s sejise of melodic suspense . In order watch the little horizontal notes, SU which should be stressed slightly. Also observe the little pause marks indicating a kind of rubato lnarks the interD • under t a ^ ve indicated by regular rest notation signs. The small notes in the. left hand of the fourth measur.e res ^ which be of the • cannot Vivo u . n chord, as though dually are these notes were part of the last beat of the previous measure. “rushed” in before the 253 APRIL 1943 EASTER MORN This postlude for the Sunday School pianist has the jubilant spirit of the Resurrection, with its suggestion of Spring and of joy. CYRUS ™ .... . S. MALLARD icmpo di Marcia Arranged by Rob Roy Peery

Copyright 1942 by Theodore Presser Co. 254 British Copyrigilt secured THE ETUDE Text by Alfred Whitehead THE KING’S WELCOME Based on the French Lenten Carol (O HARK! THE CRY) <{Quittez, Pasteurs” (from. “Noels Anciens,” SONG FOR PALM SUNDAY ALFRED WHITEHEAD L. Roques, XIX century, undated) Tma jzr’rrnTZ

MENUET JEAN PHILIPPE RAMEAU

International Copyright secured Go.r Copyright 1938 by Theodore Presser ^ APRIL 1943 Swell: Full without.Mixtures. (Box.closed) (10) 10-8741r000 Great: Diapasons 16' 8' & 4’ with Trumpet RESXJRREXIT Choir: Flutes 8'& 4' with Orch. Oboe (or Clar.) Chorus Magnus Hammond Organ Registration:, (b) (11) 00-2312-431 Pedal: 16' 8' & 4' (to Great) On “The Strife is O’er” (10) 40-8745-312 i -Coup. Sw. to Gt.unis:- Sw. to Choir Largo maestoso M. M. J=60

MANUAL

Copyright 1929 by Theodore Presser Co. British 260 Copyright secured THE ETUDE 261 APRIL 1948 IN SCHUBERT’S BAY SECONDO Allegretto M-M. J= 126 RICH. KRENTZLlN,Op.l09

* thbBT011 IN SCHUBERT’S BAY PRIMO RICH. KRENTZLIN, Op. 109

263 APRIL 1913

BUNNY RABBIT IMA IMPULSE AND SAMMY SLOWFAST See Technistory and application on opposite page OUT FOR A CANTER GUY MAIER

SILVER MOON JUMPS, TOO

PRELUDE (SLOW MOTION LEAPS' AIM ACHBIVlMilMT DIM PHAM© STUDY The Technic aff the Month The Conducted by ^IfyJcLiet' Pianist’s L Digest A Collection of 250 Excerpts From the Great Classic and Ima Impulse and Sammy Slowfast Contemporary Masterworks For the Piano If PriicitL B.•OlUll Compiled by MAURICE With Application and Music by GDY MAIEH ARONSON

LaVay Williams (Illustrations by ) THE PIANIST'S ® DIGEST includes 20 © The student's ceaseless search for conveniently classified chapters of 250 perfection in pianoforte playing has been representative selections with valuable ex- rewarded at last . . . MA IMPULSE and Sammy Slow- know the how and the which of it.” planatory text . . . fast lived on an Indiana farm So Ima Impulse grew full of wishes This new 184 page volume of excerpts I where the moon spreads a gold and Sammy Slowfast grew slow then In addition, there are countless references from the piano masters not only provides to hundreds of auxiliary study pieces care- the perfect examples of technical blanket over the wheat fields. fast. Each night they whispered to art, but fully chosen from the entire library of serves to arouse greater appreciation Ima the wheat fields, “Someday we’ll Impulse was full of wishes. piano literature. and a finer sense in music. When she watched the bluebirds fly- jump over the moon.” ing, wishes came creeping in her blue One day their uncle named Big eyes. If she ran with her feet across Pockets sent them each a special gift “Mr. Aronson's monumental col-

lection calls for cheers . . . truly the gold fields, the breezes hid wishes -a black horse and a white horse. gressive piano teacher who seeks a landmark in scholarship, scope to stimulate the imagination in her gold hair behind. If she Sammy Slowfast patted the soft of flying and presentation.” his students." wiggled her shadow wa- black nose of his horse, “I’ll call her toes in the —Musical Courier —Musical America ters of Crooked Creek the fishes Bluemoon,” he said, straddled her white glistened with blue gold wishes. At Ima Impulse Price $2.00 Net (except Canada) evening she looked away out over horse. “I’ll call her Silvermoon,” she the wheat fields at the gold blanket said. At Your Music Dealer or Direct From of the moon and whispered a wish, Bluemoon carried Sammy Slowfast “Someday I’ll jump over the moon,” and Silvermoon carried Ima Impulse EDWARD B. MARKS MUSIC CORPORATION she said. over the gold fields, over the banks R. C. A. Building Radio City New York Sammy Slowfast was sometimes fast and sometimes slow. Once in a while the rain his freckles. washed ""'Ill Then he did everything fast. Some- For times the sunbeams were all mixed exquisite musical UP in his red hair. Then he was slow. At night he looked away out over the performance wheat fields spread with the gold blanket of the moon and whispered a wish, “Someday I’ll jump over the moon,” he said to Ima Impulse. Each morning Ima Impulse and Sammy Slowfast sat resting on the fence thinking what they must do THE and the how and the which of it. best seller everywhere Always they did the how and the "WHOLE WORLD"* AND which of it together. "MASTER COMPOSER" SERIES lllllllin.. One day Sammy and Ima were sitting on the fence just thinking. ‘What RING BINDERS is the secret of which is really Piano Collections FOR SHEET MUSIC fast and asked Preserve your sheet music by taping with Readi- which is really slow?” CHILDREN'S PIANO tape and placing it in beautiful simulated leather binder loose-leaf WORLD PLAYS with flexibility. Music lies flat Sammy Slowfast. Binder, $2.50. . Readi-tape, 25c for six CHOPIN AT HOME. . . strips. Tauimrb CONCERT PIANO PIECE service available for all types of music. “That’s easy,” said Ima. “First you Write rest to and think what you’re going k-v , MUSIC MATERIALS COMPANY do. 1033 Pleasant Place Oak Park, Illinois Then do it very slow, slower than ; WHOLE WORLD an eyewink—he jumped. the sun creeping, and then the next Quicker than E WHOLE WORLD time very eye- quick, quicker than an * PROVE TO YOURSELF YOU CAN PLAY THIS NEW. EASY VI Of Crooked Creek, under the trees giST . wink. When mother sends me to the PIANO CLASSICS THE WHOLE WORLD PLAYS up. Best of all they PIANO DUETS THE WHOLE PLAYS. PiduAed. pick --reaching high WORLD . _ garden, I I must - - stop and think . foyw,__ o QrnrnT7 PIANO PIECES FOR EVERYONE to um rail fences^ Sammy PIANO PIECES THE Piano the pickles. slowly liked J P WHOLE WORLD PLAYS. The first time I go RECITAL PIANO PIECES THE WHOLE to a rail fence far acioss the WORLD fill Plafuuj. stepping the rows pointed carefully between SACRED MUSIC THE WHOLE WORLD LOVES field. “That's the highest," he said, SontMO^oMllustrativo^am£l^shoet to the bed Of Lies. But the next SCHUBERT AT HOME p TSCH Al KOWSKY AT HOME and Ima whispered • Beautifully printed in five colors. Blue time because I Then Sammy leys/ Yellow leys/ Red I think and go fast guide the soft pointed ears of their toys/ Transparent hands/ Full, modern . Even it. into those know the how and the which of At all music stores unsuccessful with "methods" play immediately. is really or direct horses the seciet of which upon receipt of “That’s easv” said «!ammv "When price. • Group of four chosen selections — (Tschailowsly's "Lonely Send for free catalogue. Heart," "Western Skies," etc.), $1.35.

• MOTHERS: Four attractive children's pieces, $0.75. * Reg. U. S. Pat. Off. Order today .... We'll Rush Music PICTURE PIANO WALLACE. D. APPLETON-CENTURY — IDAHO between the row" of shelves looking on COMPANY, Inc. to^do, wh.speredlma 31 West 32nd St. Now carefully to pick the toothpicks. But going York, N. Y. Bluemoon rested her soft black the next time I go fast because I "FORWARD MARCH WITH MUSIC” APRIL, 1943 267 — .

(broad a) nose on the top rail. “Think what 7. tar 8. gask Practical Exercises you’re going to do,” whispered Twenty 9. talk 10. got the lower register for weeks or Sammy. 11. tone 12. gut months, forcing it up as high as pos- Then trotting far away from the for Improving the Voice 13. tool 14. cook sible without going over into the fence thinking fast the black upper register. The upper tones will and Exercise 9 horse and the white horse ran fast. (Continued from Page 236) be white and harsh, as playing the Quicker than an eyewink they leaped When two vowels occur without an violin G string up to the fourth oc- consonant the sound is over the fence each at the same time. When the sequence of heavy intervening tave at the top of finger board. The a diphthong, or glide. The upper Sammy Slowfast and Ima Impulse vowels is pronounced they seem to called tones, however, improve with ones are: to I, as in aisle, practice. laughed with wishes, “Someday we’ll make a circuit in the mouth, begin- principal A high; to I in oil, toy; A to jump over the moon,” they said. ning at the front and then going eye, ice, O Then strengthen the upper register and I to in cue, few, One night a blue rimmed moon back deep in the throat and forward U in tau, owl; U by singing it as far down on the music (mih-you-sick, not scale streamed silver streamers on the wa- again to the front. Similarly the light mule and as possible. As it goes down it moo-sic) gets ters of the river. Sammy and Ima vowels make a circuit. weak, as the thin violin E string straddled their horses riding out on would if lowered Practice pronouncing the vowels in Exercise 10 to unison with the the wheat fields spread with the gold each circuit without the consonants, violin G string. Sound an open vowel as a in father, After blanket of the moon. as ee, oo, ih, uh, in the order of the strengthening the vocal cords 0 in go or 00 in pool. Then gradually by Strange it seems, but Sammy Slow- uneven numbers, then the even num- practicing the registers separately fast Impulse swell the volume of tone until very or and Ima never returned. bers and then the numbers 1 to 14 a long time, the transition may Some people say, “They joined loud, and then gradually diminish to be a in serial order. The latter is much made by singing the lower reg- circus riding horses bareback.” Oth- the initial softness. In singing this is ister more difficult. up to, say, A-sharp and then ers say, “No, in the moon, the blue called “messa di voce” and is an ex- going to The other eight vowels to make up the upper register at B. rimmed and silver moon, we see their cellent exercise. Similarly the twenty-two are 9Vz, tort; 13 Vk, on the way down leave the shadows. Each of them, Sammy Slow- upper doom; 4%, terp; 6V2. toff; 1014, trol- Exercise 11 register on one tone and go fast and Ima Impulse, knew which 14i/ into ley; loy tun; 121/2, turf; and 2 , the lower 2 , register on the next is really Produce a throbbing pitch, as do, fast and which is really slow. full. These are not less important but lower tone. mi; ray, mi, fa; mi, First they rested, then they thought indicate that the tongue ray, fa, sol; fa, Seme the fractions singers, however, are able to double fast, and then presto Quicker sol, la, and so on, both going up and c ! positions are about half way between ange registers the scale, using a single while singing a par- than an eyewink they jumped over these vowels may dowp vowel ticular the others. Some of tone. The will sound, the third item the loudest. teacher’s ear the moon. as the positions not be be termed planetoids able to detect when the they take depend on the various ad- Exercise 12 change m register is made, it it is joining consonants. properly done. If you want to run half a mile very Go back to the first step each time, mi; fast without getting tired, what do Exercise 7 as do, ray; do, do, fa; do, sol; do. Exercise 16 and so on. you do? Do you walk the whole are sometimes la, E flat The letters l and r f T," may be seen in the volume, not in pitch, using 16 vocal U S a single P . when they ap- can run it without exhaustion? Of proximo^ vowel sound, that is louder with each do no ^ become entirely course not! You start running a short Heavy Vowels nnrtni 1 .T step up, the basic starting point 1 bUt leave a distance first in sma11 oval-shaped the day and gradually 1. steer aperture,aner!' the original loudness. as shown by photographs, lengthen the run each day. Then, as stayer 3. Ir°m you lengthen the distance you in- E-flat up are often 5. stare Exercise 14 caned Ials®tt0 crease ' but they are not false the speed. 7. star tonef is and Should In playing the piano have It often undesirable and unnec- be called oval you to 9. sawyer tnn^’ h essary to take a full, deep 6 t hlnese sin plan even more carefully. It is not breath each l S by the hour 91/2. stork usine- nn i time. Practice at taking short y the oval tones, without wise for a pianist to work for speed 11. bore breaths voice Sound a y - by practicing a whole piece slowly vowel repeatedly, shorter chanSe to the upper 13. boor leiiL, TSlobld and shorter in duration until c°me before the oval and then afterward gradually play- you are tone is Vowels panting rapidly. is reached. StU1 ing it faster and faster until it is Light This also strength- Wgber, perhaps ’ ° ens the abdominal muscles. W °Val hoIes s played “up to tempo” as we say. It 2. irregular the vn bow between rdS - The is wiser to do it by slow-fast im- 4. errand tones, and Exercise 15 indeld w neS repeated r ’ should pulse practicing. That sounds queer, 41/2. earned (like prachee be sunS la Many singers powerfnlly doesn’t it! But is really very sensible. in stirrer) have the fault as possible, of The I f ’ mixed registration. The 0 tUra S strongest That’s how Ima Impulse and Sammy 6. arable theory is not above H *T tone is P fully understood. The voice an<1 She may Slowfast finally learned how to jump 8. orange has two double 80 UP *° registers called upper ffigh-6. over the moon. They started showing 10. orchid and lower. On the way up the pitch their horses the low hurdles, then, 12. curtail scale, at some Exercise point, from about 17 taking them higher over the fences, 121/2. worm A to D, the lower register walls, and finally that last wonderful 14. tour (not tower) is discontinued and the up- especially, the throat per register should be kept jump. comes into play. Similar well open. This does Exercise 8 not mean By impulses we mean thinking of ly on the way down the relaxed. The outer neck upper muscles should any group of notes on the piano The tongue should be under sensi- register is changed to the lower from be relaxed but the about D to A. inner throat muscles should even as few as two or three, which tive and exact control. An exercise But the lower register be ex- may be carried panded, so that the throat can be played in a single “spurt.” for it is the following list of words, much higher and becomes the an almost steel-like By slowfast we mean first play- which should be rapidly pronounced upper register much lower. tube, as large Mixed as consistent with the physique. ing these groups very slowly and with the lips open and the teeth register indicates that the Practice the vibrato, then singer is using which can be thoughtfully once or twice, and closed. both registers simul- heard on phonograph records, being after a pause, Zip', playing the group taneously over several notes. 1. eat 2. tick This is used by all great singers. It consists very fast right through to the last a dangerous fault and eventually 3. ate 4. teck may in changing the pitch of a tone note. But even before you play slowly ruin a voice. If the lower 5. air 6. tack register slightly, say a quarter of a tone sharp be sure to think right through to the is used up to B, say, then the 7. are 8. upper and then a task (broad a) quarter of a tone flat six last note. Then after you play to the register should be brought in for 9. taught 10. tock C, times a second your arm bounce in the or thereabouts with last note let and vice versa on the way down. If the 11. tote 12. tuck sharp peak twice as air and drop to your lap. Your both registers are used for loud as the 13. tool 14. took B and also flat pait. help you to form short The pulsations teacher will for C it is somewhat similar to play- should be groups in all these 1. team 2. ^ T ' in and long impulse git ing a tone on two strings Pitch changes, of a violin thnetime n't fun', and helps to 3. tape of pulsationf pieces. It’s great 4. get at once, each string and changes of being regarded loudness the pieces in no time at all. 5. tare 6. gat between master as a separate register. the sharp and flat continued on Page 2791 268 "FORW'ARD MARCH WITH MUSIC” THE ETUDE ?t t t, — — —

47 of the most Voice Questions singable of $OmG§ FOLKS .Answered L DR. NICHOLAS DOUTY OF AMERICAN Colemnn Br Solis W. Bregman and Adolph Adolph BreB^™ Collected by No question will be answered in THE ETUDE unless accompanied by the full name years of J°“, available no- of t,h e nf and address the inquirer. Only initials, or pseudonym given, will be published. country. 20 ccompanuncnts of

the distinction o. — — published, yet its price is but 15o a copy. In tho following list aro featured some oi uur vci.v latest Issues, including tlio works of four of today's Could One Become an Opera Singer, by Should She Develop Her Voice From the Upper most popular composers. Per Week? Tones Down? Teachers, pupils and players will find them all of Taking One Singing Lesson exceptional value, especially Kay Armour's "Modem ambi- will it to light Q. I have a pood friend who has the C>. How long take carry the Piano Method” and Walter Itoife’s "liook on Har- high quality mony." can buy them at your dealer or direct tion of becoming an opera singer the easy way. of the female voice down into You the middle and lower ranges, blending He is an accomplished pianist with a degree the Teachers who use and recommend Century music lead- entire voice, having in music. He says that he could become a the same quality and win tho everlasting gratitude of parents who can't Company volume—all tones matching t Should one sing afford tho high prices generally asked for teaching Night ing singer in the music. Century musio helps you hold your old pupils Saturday lesson per week in the light quality altogether until this is in five years by taking one and also aids in enrolling new ones. home accomplished Your money refunded without question. If not from a good teacher and practicing at Serenade 2. What is the best plan- and exercises fully satisfied with your purchase. the other days. I say that it is impossible, for to SATURDAY NIGHT follow to insure quickest and best results EVERY he would ruin his voice by studying at home 3. The head quality my voice is 9:45 P. M. EWT without a teacher. of much Network student know harmony or better, more easy, free and clear than is the Columbia i>. .Must a voice lower range, but not strong enough. I studied the other elements of music?—P. D. M. Broadcast for two years and my teacher always made See us to give an ^ A It Is quite impossible for me push the lower quality up.—Mrs. R. L. II.- TR When in N. Y. opinion concerning either the voice or the ||| musical ability of your friend, without a per- A. You have been most unfortunate In nmoDERn Pinna mETHDD Write for Tickets almost sonal interview. Many things are that you have for two years "forced up the JESSICA equally Important with the voice for an aspir- lower quality” of your voice. With this FDR BEGIflllERS good fig- ant for grand opera—good looks, a method a break Is sure to appear about F ability to act and ure, a pleasing personality, or F-sharp (first space, treble staff), sooner 3198— desire 3199— KRTHLEEn RRR10UR a knowledge of languages. We have no or later. It will certainly take a considerable we can scarcely look PRICE 15c EACH PART DRAGONETTE to pose as a prophet and time to "Blend the entire voice so that all Here is something decidedly new and original. It years as you and your friend sug- the tones will match.” It is quite question America's Beloved Soprano ahead five a is issued in five parts in sheet musio form and each gG t of opinion as to the best plan and the best part sells at the regular price at 15c per copy, which singing student Is helped very much exercis-s to adopt to insure the quickest enables the pupil to start tho study of tho piano with 2 The very little financial outlay. This modem work is based play an instrument, by learn- and best results, depending upon the con- will tav being able to on tho middle c approach and is so clear ami step- FREEMANTEL read music fluently and by knowing dition of your voice and your present knowl- wise that tho pupil is playing littlo tunes almost at ing to tho outset. the rudiments of music. We can edge of the art of singing. Please read Miss Profusely illustrated. Teachers, bo sure train YOUR VOICE something of to see this outstanding work. imagine how a man can hope for a Jessica Dragonette’s fine article in the August 3196 Part I— Learning Letters Keyboard tended a concert Riven by Mary Stewart, a scarcely on tho r/™°™ er knowing at least some- of 3197 Part II —Notes, Bars, Time Signatures Pupil of Frederic Freemantel. I was so great success without 1940 issue The Etude. It contains excel- impressed Part III—Five Finger Exercises by her fine singing I travelled 10.000 the fundamentals of the art, he lent advice to sopranos of a light type, and Part IV— 3 from privl- thing of The 2/4. Time Signature I Shanghai to New York for the le£e"If practice. It explains clearly some vexed questions of 3200 Part V—Introducing tho 8th Nolo of studying with Mr. Freemantel." intends to breathing and resonance. Obtain also Nellie (Signed) Priscilla Pote-IIunt CENTURY PIANO SOLOS, ea. Three Famous Celebrities and Other Questions. Melba’s book "Method of Singing." It seems 15c FREEMANTEL STUDIO voice has Miliza Kor- (Capital letter indicates key-number the grade) _20S n. What type of to us that you should find some one to ex- Wait 57th St. New York, N. Y. 3178 A Wish (Symp. No. 3), F—2.fieethoven-ltolfe her range t What roles docs she jusf What is plain the theory of the resonances to you, 3180 A Prayer (Simp. 2>. U—2, Beethoven-Rolfo and teach you how to sing without forcing, 3171 A Little Ballad. G— 2 Chopin -ltolfc 3143 A May Day Dance. C—F— 2 Crosby type of voice has Jan Kiepura that exactly What so you may know just what you 31.65 An Airplano Ride (Arpeggio), 2— 1>. ltlchter what is his range are to do. The book mentioned mav be secured 3107 Andante Cantabilo, Km—5 'ISchal lam sky and 3!»5 Ave Maria, cantilena ? F —» Schubert .1. What is a from the publishers of The Etude. Eggert. 3189 Barberini's Minuet. C—2 llnsse type of voire has Marta Bounce Ball. ; What 3166 the C— 2 lllrhter range? Dors she sing other 3168 Busy Little Bro and What is her A Young Girl of Thirteen (Valse Capr). Am— 2. Richter What type 3179 Chlrades (Simp. 8). F— 2. Beethoven -IColfo than Mini! In fLa BohCme”? I have been studying "tiles Q. singing for only 3155 Oartmq In and Out. C— 1 Armour sing D. M. of songs does she — a few months because my parents thought 3175 Dark. Eyes (Easy), D—Mi—3 Armour 3170 Dancing tho Minuet, G 2 Cliopin-RoKe thirteen years too young to start. However I — you perhaps know, Miliza Korjus 3190 First Waltz. C—2 Durand-Rolfe A As sang for a teacher who said I had lovely 3184 Flight of Bumble Bee. American reputation in the mov- a C—5, Itimslsy-Korsakoff PERFECT VOICE CHICAGO made her voice, to 3188 Garland of Roses (Waltz), C—2 Streabbog INSTITUTE,'“surf* 55 84,' E4 L UkiSU Is a but hesitated take me because / picture, “The Great Waltz.” She 3154 In Rose Time (Waltz), F Mb—1.... Armour ing training in piano playing. 1 sing she is often had no can 3134 In Gay Costumo (Mlnuettn), G—C—2. Crosby beautiful woman, and although EDWARD HIPSHER, an High-0 easily, but have never tried to sec how 3IG2 Jumping Ropo (March Te..ipo). C—2.. ltlchter ELLSWORTH coloratura soprano, she has 3137 Jolly Little Sambo, F lib— called a low I could go. What can I do to develop my 2 Crosby MUS. DOC.. A.R.A.M. rather rare in 3173 Laces and Frills, Am—2 Etude unusual number of low notes Chopin-Itolfe Twenty Years Associate Editor The clear and bright voice, as it is very light and airy ? What is 3176 March Militairo. C-3 Schubert-liolfo of voice, as well as 3182 March of tho Sardar, 5 Instruction by Correspondence uer tvne good girl years T Does E— — (J —m. Iwannw especially in Berlin a range for a of my 3156 Moonlight Waltz, Harmony, Counterpoint, Musical Form, hi Italian pocket simplified 5SCHOOL 3 Th° of notes. A sized method of the elements means unusual number high Try rather of OF translated as a "Little Song.” It a harmony, embracing tlio sealos and their con- MUSIC for a comfortable production and beauty of struction, intervals, CONVERSE COLLEGE short passage or piece of either tho tho triads in both major and comparatively quality let minor keys up to and including tho dominant 7tU, Ernst liecun. Dean, Bpartaneburg. 8. C. the tone and time and your natural or instrumental music In song and its inversions. vocal growth bring the other things to you. Everything is quoted in tho simplest terms pos- St always been sible so that even that Marta Eggert has It has our opinion that a a child with a year or so of piano 4. are Informed study can easily "follow Department of Music We knowledge of the rudiments of music is thru" with it. Bo sure to Illinois great success in Germany In moving see it. PRICE, 25c. Galesburg. made a absolutely necessary to success in a musical t lialrmnn James MacC. Weddell, and operas of a lighter type. There, Tlio Century Catalogue contains over 8,000 compo- (Plfy 0 g|Pi reauest. pictures career. Catalogue sent upon she has As your teacher sugested, you should sifions consisting of PIANO SOLOS—DUOS nnd and in several adjacent countries, TR them. At learn how to play the piano. OS-VIOLIN and PIANO — DUOS — TRIOS ulaved leading roles in many of nnd QUARTETS — SAXAPHONE nnd PIANO — singing In New York MANDOLIN nnd GUITAR VOCAL. the moment she is and Ask your dealer for Century musio, and if ho can't The Metropolitan Opera Company in supply City n the sighing of arced; you. send your order direct to ns. Our com- SHENANDOAH will furnish you with more de- plete catalogue will bo mailed Courses leading to New York n the gushing a rill; you FREE on request. Kates concerning Miss Eggert. of the B. Mils., nnd B. Mus. EU. degrees. tailed information v in all things, if men had cars: CENTURY MUSIC PUBLISHING sings many types CO. reOHonublf. In the heart of the Shenandoah if you will write them. She s but an echo of the spheres. 254 West 40 St., Now York. N. Y. Valley, Dayton, Virginia. of songs in seven languages. —Byron

"FORWARD MARCH WITH MUSIC” APRIL, 1943 “

pride? Can we, without assuming a all the extra effort it requires. snobbish “holier than thou” attitude, This exchange of help has beer- encourage them? It is true that it tried with success many times be- may be necessary to sacrifice some fore. The writer has two friends who of the fine polishing we would like recently taught in adjoining small to give to our own performing groups towns, and who exchanged ideas with of under normal conditions, or some of rather amazing results. She, a vocal the special activities we would like specialist, arranged to work with his to provide for our classes, in order to chorus a number of times. In return, The University of Rochester have time for these extra duties. But he, an instrumental specialist, worked the satisfaction of knowing of the with her orchestra. When her or- , Director great group of children who will be chestra achieved a higher rating than Raymond Wilson, Assistant Director benefited, will it worth while! make his at the spring festival, and his chorus was ranked hers, Undergraduate and Graduate Departments Doing the Unexpected higher than it is hard to say who was the prouder. It is probable that some among us And so it is for all of us, whether never have expected to do teacher music SUMMER SESSION JUNE 28 - AUGUST 6, 1943 educators in the field, or training work, and certainly not as teacher trainers. “Share-the-ride” music education missionaries. But may be the slogan in industry, but then, neither did that quiet little FALL SESSION SEPTEMBER 14, 1943 - MAY 27, 1944 “Share-the-idea” is the slogan that woman in the next block ever expect can save the day in music education. to be making bombs, or that church After Broadcasts all, our value to the wartime Eastman School of Music in Coast to Coast CBS organist expect to direct a school program of the schools depends en- Each Thursday 3:30—4:00 P.M. EWT band. A pooling of the musical re- tirely upon what American children sources of a district or county for everywhere For further information address: get from the music in mutual help will pay dividends not that program. None of us can afford only to the new teachers, but also ARTHUR H. LARSON, Secretary-Registrar to walk alone in solitary grandeur to the old standby music educators with the situation as it is to-day. So, who always profit by some elbow rub- Eastman School of Music brother—and sister too—can you bing. Every such venture encourages spare an hour—or even just a single Rochester, New York a spirit of cooperation and a com- idea to help bolster some struggling radely feeling that will repay us for school music program?

Important ^f)h? Qlrhrlanii^hfititirtr of d)iifl tr DillBrancGs in the TBchnic Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma of Piano Playing WARD LEWIS, Dean of the Faculty and Organ Playing Beryl Rubinstein, Director (on leave of absence) 341 1 Euclid Ave., Cleveland, O. ( Continued from Page 237)

insti- used to be so when the tracker-action riety—special summer courses— How is organs were in vogue, it with the piano page? tutes and visits to the schools by but the action Quite Music Education by Proxy — different. A half-note be workers? of the modern organ is so light may sympathetic, capable field a played like an child can play it. eighth-note or a quar- ( Continued 238) courses for those The piano from Page How about refresher action er-note, half is much heavier. of the rests are not who have had some music education xeally rests If we examine at all because of the crumbling away in the rural schools training in the past, but need a quick the printed page of damper-pedal a composition for being down; and, as and small towns all around us! brushup on modern methods and ma- organ with one xar as for the sound goes, notes marked Yes, we can do that, but being terials? Why not some fundamental piano we see no difference staccato might well musicians except that one is written be whole-notes. American, and believing in our work, training courses for those on three It is all very bewildering to the ama- and in what music can do for chil- who are new in the various fields of staves and the other on two; how- teur, and often to not either vocal or in- ever, the difference between the professional. dren in a wartime world, we will music education, them So we see is actually that, although the key- do that! Instead, what will we do? strumental? Perhaps we can learn a very great. The organ boards of these are of value in score explains very clearly two instruments Well, let’s see! First, what can teach- great deal that will be just what identical, the performer they are about as far from ers’ colleges and normal schools do our methods courses, as we strive to must do; even an being alike as the antelope the about the few lessons, clearly, sympa- amateur is never misled. and about this situation? How give in a A half-note buffalo, a means a half-note, fact that is well for the music classes in these institutions? thetically, and pared down to abso- a rest means a reader to remember, for some day he Are they helping to prepare those lute essentials, the fundamentals in rest, and a staccato means a staccato may be on some church music-com- elementary teachers for their special our special fields! And, let’s have Everything is done as indicated. mittee that is looking for an organist. wartime musical duties? Are extra available for those who need them, help and training being given to the some outlines of materials and ac- re- tivities, perhaps a good course of better musicians in these groups, or The membering that the whole musical study that will acquaint these new Portal of Musical Dreams development of a small community, teachers with the real aims of the ( Continued from instrumental and vocal, may rest work they are trying to do, and will Page 222) their shoulders for the dura- help point the way toward the ac- the teacher shows his wisdom and upon working which is excellent for one Even though they are not music complishment of those aims. talent. According to whether the tion? pupil may spell disaster for another are they having an oppor- Finally, how can the teacher who guidance is good or poor, the student majors, The individual initiative will must be tunity for a wide and practical musi- is continuing with his work in the go forward or will stand still. developed in every student, will inspire them, public schools help to solve these Thus it happens and he cal experience that that well-endowed must be taught to detest routine give them confidence in their present problems? There will not be students can remain mediocre while The and 8 pinch hit as music many large festivals or contests while others, ' himse« own powers to without remarkable gilts, ob- reset™ and without the war lasts, so how about using tain excellent results. 6nable the student leaders? But how much to profit Lv T? colleges and uni- some of that festival time for °Wn Then, what can a spe- one must feel one’s way before he exPerience. Lessons c oncl versities, where music education spe- cial clinic or institute for giving con- knows how to u c ted under these advise a talented stu- conditions are trained, be doing to meet centrated help to these struggling dent; how be cialists much one must meditate teacher testing to the needs out in the field? music teachers? Can we exchange before 4 UiMul these vital knowing how to guide a tor the student. extension courses, visits with some of them, less In 2l tages ° Can we have more indirectly gifted one! What variety f progress the can there is in beZt JL work the practical, down-to-earth va- helping them, but still saving their artistic. This of hands, in brains! A certain is the one precau- way of (Continued on Page 279) 270 "FORWARD MARCH WITH MUSIC THE ETUDE ^ 1 —

Organ and Choir Questions CLrl m\ll3lClClll:S today are playing SACRED IRAMSCRIPIIOWS FOR THE PIANO „Answered ly. HENRY S. FRY, MlIS. DoC. By Wilda Jackson Auld ° Partial list of contents: Ex-Dean of the Pennsylvania Chapter of the A. G. O. A Mighty Fortress is Our God Break Thou the Bread of Life No questions will be answered in THE ETUDE unless accompanied by the full Faith of Our Fathers Hiding In Thee name and address the inquirer. Only initials, or pseudonym given, will be pub- of Near the Cross all friends and advertisers, we can express no opinion lished. Naturally, in fairness to Nearer, My God, to Thee as to the relative qualities of various instruments. The , ,,,, ,, Church's One Foundation (Try these measures of Near the Cross ) A book of modern keyboard arrangements, based on the great hymns of the church. ft ft The column. For books we suggest "The Contem- Q. Will you please give the ad lire of Pianists are enthusiastic in their appraisal of those preludes and offertories. Organ,” Barnes; “The Elec- American Guild of Organists? Will you give porary American tric Organ.” “Cinema and Thea- For the student, this ranks with the best of technic the title of any books dealing with theatrical Whitworth; Piano Teacher and book studies organ playing and advise where such hooks tre Organs,” Whitworth; and “How to Build generously marked for inlerpretation and carefully numbered for correct "fingering. a Chamber Organ.” Milne. The three last mug he secured t—W. F. K. 75£ a copy. named being published abroad, price and de- Write for our Free illustrated catalog of Sacred Music cannot be guaranteed. The first book A. The address of The American Guild of livery listed may be secured through the publishers LILLENAS PUBLISHING CO. 2923-R Traost, Kansas City. Organists is Room 3405, International Build- Mo. of The Etude. ing. Rockefeller Center, 630 Fifth Avenue, New York City. Books you might investigate, am organist a church and would and which may be had from the publishers Q. I of like to know whether at the end of the hymn IVE of Tub ETrnE, include “Organ Jazz," Eigen- YOUR PLAYING and between verses, the last note should be schenk and “Organ Interpretation of Popular held a little longer than indicated. The choir Songs,” Charles. director tells me that I should stop playing when the congregation is stopped, but I have Q. Will you give the meaning of the ini- muscular co-ordination. Quick results. Practice effort names noticed in other churches that the organist OYlU minimized. Used by famous pianists, teachers and tials used connection with organists’ in the last note. P. H. .^gg students. No obligation. 0. holds — as follows: A. G. 0.,—F. A. G. 0.,—A. A. G. Broadwell Sludios, Dept. 63-D Covina, California -B: W. A. Despite the fact that some organists do so. we do not recommend the holding of the of The A. A. G. O. indicates a Founder last note on the organ after the choir direc- American Organists (list closed for “J-— Guild of tor has stopped the congregational singing. Fellow in .inin some years). F. A. G. O indicates a We do not consider the practice artistic or You can now learn precision tuning. Our new Associate in the ' ' Temperameter and Beat Gance is an infallible the Guild and A. A. G. O. an desirable. The last note on the organ should *•' ‘ 6 same every"''*' guide for Home Study. Eliminates guess work: organization. stop at the director's signal and the new orga"‘ s,s assures accuracy. verse begin likewise at the director’s signal, V3 Be Independent! where J ettn Make Money Quickly and Easily! Q. Will you kindly advise me without any preliminary note on the organ. * * i I H L A N D Modem facilities for oral students. secure the hook '‘How to Build a Bred Organ G 40th yr. column? Diploma granted. Write Tor Frco Booklet. by II. F. Milne mentioned in your Q. Wc have recently had installed in our * ILLINOIS BRYANT SCHOOL. 78-B. Augusta. , Mich. Also, with whom can I get in touch to secure church a small pipe organ, with stops named a blower for installation in a reed organ? on enclosed list. I hare been experimenting to best possible registration for congre- A. M. .S'. find the Buy More Bonds and Stamps for Victory gational singing. Our organ chamber is above War entrance while the console A. We are advised that the book men- the vestibule or be the choir near the front of the church tioned is “out of print." Perhaps it may faces to is not too loud for the choir, but printed again, and we would advise you Full organ are sitting at the rear say it is a little too bear it in mind for later inquiry. We those Open Diapason 16' is the sending you information in reference to loud. It seems the cause so I hare been using full organ except blowers for reed organ by mail. for Open Diapason 16' and Fifteenth. Home- times I use the Full Swell organ and that Q. Will you please diagram position choir seems satisfactory to the congregation, but members should take, where there are so- di- the choir members say the other combination pranos, altos, tenors, basses and a choir on the Great is more satisfactory to them for rector?—A. B. accompaniment. I would appreciate receiving opinion on this matter and also what not state your A. Your communication does registration you would suggest to accompany circumstances with the placing of connected clioir anthems for about twelve to fifteen the some weight in choir, which might have voices, and what stops to use for solos, ducts our conventional seat- recommendation. The and sextets. Is it permissible to use the ing is tremolo with anthems, solos and so forth? I Bass Tenor never use it for hymns or the Order of Bernice. Soprano Alto What stops should I use in place of Stopped Director Ftute S'—Gamba—Clarinet?—M. K.

specification Q. I have a small reed organ, A. It is, perhaps, unfortunate that the you sugges are so far from the choir, but • A MOMENTOUS ANNOUNCEMENT of which I am enclosing. Will organ pipes — be usic you will some different combinations that can since the instrument is so arranged muster the best of it. We for hymns, and popular probably have to make The Distinguished the tiemoio can well omit the 16' Open I would like, to know how to use think you of music your accompaniment registra- and Vox Humana in different kinds Diapason from co - suggest its frequent use For what are Bass and Treble tion as we would not purpose - an r the size indicated by your pier8 used? Will you send me names in an organ of ‘ U The instrument, not having dresses of pipe organ builders? Can ,J, ... specification. to buna and the duplication suggested by me where I can secure a book on how couplers, HAMPTON CATALOG your two manuals leads us a names in stops in pipe organ?—J. F. unified, duplexed to think that you have a Formerly Published by Hampton Publications, Inc., 402 Madison Ave., New York layin organ so that your full Swell organ would A. The registration for hymn P £, similar to the Great organ in the church, organ is to be us be d'pend on how much stops not appearing on both Including for class except for the hymn being played, and . to be used for woplc manuals. The registration popular music the registration L ^L. choir of about fifteen voices, played- y lir accompanying a on the type of passage to be . forth will depend solos duets, sextets and so 8' stops produce HAMPTON'S general information the passage being played, amount of sup- STANDARD ORCHESTRA WORKS 4' stops p on pitch (same as piano) and and so forth. If the tremolo Diapason p port required a tone one octave higher. violent a type it might be all so is not of too 8' Dolce 8 a suitable, HAMPTON MINIATURE MUSICforTWO ably a loud tone and right to use it occasionally when of the pitch. Celeste may conai passages. You are cor- same ®Y,„ n ^ ls for accompaniment ARROW SCORES (Four Hands! tones, waving. Vox . for hymns undulating or rect in not using the tremolo organ, an 8' usually a tremolo in a rerd and the Order of Service. Gcdeckt would of hot Flute 8' not understand the appearance be the stop to be used for Stopped in your specification. Use the trem Salicional for Gamba (probably the usu y and Has Been Acquired by the effect is suitable. do not . softer than the Gamba meant We •• Salicional is ommend its use with loud ensemble For the Clarinet, which you do do to be used). Bass coupler couples keys an octave have, you will have to substitute some p not IBWARB B„ MARKS MUSIC CORPORATION within a limited range, and treble different quality or experiment to get a d stop of couples keys an octave upward. in a tone as near as you can to approximate RoCcAo Building Radio City New York the P stops with the runge. The “Forte” stops increase the tone you wish. Try some of the stops being used. We. of course, Qulntadena included. builders in not give a list of pipe organ "FORW^ARD MARCH WITH MUSIC 271 APRIL , 1943 :

developed gradually until they are awards for special proficiency in At the Rising of readily controlled. singing or the playing of any instru- Indian Music The general health of the beginner ment; for original work in composi- the Sun should be considered. Any sort of tion; for the best examination pa- in physical disability should be noted, per in music history, appreciation ( Continued from Page 219) such as defective eyesight or hearing; and general knowledge; and for spe- Ancient Ecuador or The most famous of Easter hymns poor coordination of muscles, weak cial achievements, individual respiration, so on. It is not neces- group. Last year nearly nine hun- is that in the illustration with this and ( Continued from Page 244) persons evinced their interest editorial. Apparently it is to be found sary that all these attributes be ab- dred presenting themselves for audi- for the first time in a collection solutely perfect but the more nearly by achievement of a civilized society, called “Lyra Davidica, or a Collection perfect they are the better chance the tion. Effort and the more complicated they are, of Divine Songs and Hymns, partly beginner has for success in his field The Foundation’s War already the more advanced is the instrument- newly composed, partly translated of endeavor. Music Committee, which has our making technique. from the High German and Latin rendered noteworthy service to Menial Attitude in the armed forces, had its Under the European influence, Hymns, set to easy and pleasant men and percussion The mental attitude of the music origin in the complaint of some of some and wind instru- tunes for more General Use,” which have well the members of the military guard ments been transformed or the was published in 1708. There it was novice towards music itself is at Newark airport that jukebox old instruments have been replaced entitled The Resurrection. In some worth taking into consideration. Try by modern ones. is learning to music was the daily and only musi- But here we want later books it was attributed to John to discover whether he served there. This classi- to produce a list as complete as pos- Worgan. Worgan, however, was not play an instrument because he needs cal fare minded group appealed to a sible of instruments known in an- born until 1708. This hymn was used an outlet for a genuine feeling for cally Salvation Army representative at cient times or now' 'by "Ecuadorian with the text of Charles Wesley’s music, or because he just wants to the USO Club for better music,' and Indians Easter hymn, Christ the Lord Is Risen be in the band or orchestra because transmitted their request to the The taqui: a big drum, To-day, and appeared in what was his pals have joined one of these or- he used for Griffith Foundation. The result was warlike or religious known as “The Foundry Hymn Book” ganizations. There are many tests purposes, and the creation of the War Effort Music which, by its powerful sound, (1742). This was a collection by the advocated for discovering a person’s was Committee and a campaign designed able to bring people together composer’s brother, John Wesley. musical aptitude and in many in- from examinations have to supply good music to our men in long distances. is “Lyra stances these There only one copy of the The tunduli: of inestimable value; but, uniform. Immediate entertainment a small drum, which Davidica” extant and that is in the proved contradic- went out to the men at the Airport was used for religious processions British Museum. again, they have proved the subject who in the form of phonograph record- and produced a soft, muffled sound. No one knows the real composer tory, and sometimes negative results ings of great music, which will be- The tincullpa: a set of of the tune, which has been at- took the tests with small discs acceptable come part of a permanent music made of bone, which tributed to G. F. Handel and to Henry has turned out to be an produced a difference library there. These recordings are sound resembling that Carey. The words given here are not musician. There is a vast of castanets; music used, as they arrive, for weekly con- used during feasts. those of Wesley but are those in the between enjoying listening to not certs; and as an added feature the The quena: it is Episcopal Hymnal in the version of and making music. There are still one of the tonally deaf, head of the music department of favorite wind instruments Tate and Brady, first published in many people who are in South- to hear any sort one of Newark’s high schools lec- ern Ecuador and Peru. 1696. It may be called with proper and who do not care It is a long are a great many tures informally and answers music instrument, shaped reserve, not merely the greatest of of music, but there something like a lighter questions the men may care to ask. saxophone and made of Easter hymns, but one of listeners who care only for the wood, played the greatest in musical com- Records—25,000 of them—as well as a sitting position, it of all hymns. type of music, such as produces a swing, popular songs. Classi- musical instruments, have been sent very melancholy melody May this Spring be to all of us who edy, and not interest them, but also to men in the Navy; and one The vingullu: a sort work in music the harbinger of a cal music does ol piccolo, sailor, least, left radio is beginning young at no doubt made of wood and finer, better day in the world, when we believe that the provided with converts to the more in the minds of those who worked hoies which were cut the spirit of rebirth will bring hap- to make many off directly by heavier types of compo- on this project or contributed to it the Angers in order piness to all people who lived serious and to produce have their efforts are diffeient the sition. In endeavoring to gauge the that appreciated. sounds. their lives to deserve it. person, all types His letter, sent to a young woman The rondador: mental attitude of a its name is a Span- should be taken into who had donated a prized album of 1 bUt the of composition ns lnstrum ent is played rhyth- records read in part as follows: by IndiansTori' consideration. It may be that m the mountains and plays big part in “Since your name and address are valleys of the mical stimulus a Andes. It is a set of Such compositions on the album, I assume that the reeds different in Does Your Child their enjoyment. size and well tied recording of Schubert’s “B-Flat by means as a stirring march or a particularly of strings. The sounds Trio” which are Want to wild swing number affects them. Or, major was given us by by PreSSlng is a gift from to , again, a sentimental melody reaches the USO, you. Your to'Tbebthe holes in the — tops Study Music? religious gift was far better than woolen socks The bocina: an inner response; or a a kind of rustic or boxes of food. The Navy clothes a horn 234) song, or a hymn may be the medium favorite instrument ( Continued from Page in the prov- and feeds us as well as it can, but mces of their interest. But, just so long as of Canar, Loja and Azuay somewhat similar to the interest of in the field of music, we get very should be there is a demonstrated a kmd ot wooden little. As a ’cellist myself tie whis- pianist’s but it is especially necessary some sort, there is hope that through and a t" nS 111 the vast farms lover of Schubert’s chamber music, of ri for him to have a long little finger. participation in making music, ap- 13 0 Use thls instrument I nearly shouted when I saw callcalAn ? ^ to This is almost vital in importance, preciation will gradually develop. your the laborers to work in the cabinet liable to recording as we sailed ' as fourth-finger reaches are 1 * 1UStiC out of New York. For many be out of tune if the finger is too months trumpet.^' good for viola now our only ration of music will Some short. The same holds historians say that the only players. be in the records aboard. We can’t string instrument and violoncello used by the In- and woodwind per- use the radio.” dians was the tiny With brass A Musical a, a primitive and hands are important but Last November the All-State rustic guitar. The formers the strings were made are those of the Chorus and Orchestra Concert had O animal not as much so as Community Plan gut. There are no instrumentalist. a patriotic theme and a of the evidences pianist and stringed patriotic use of this instrument purpose. Part hut tn! They must be flexible and strong, which Works of the proceeds of this fact that animals were not so i and alert- annual affair, sponsored by the dant " ' capable of instant reflex De- in America, and player needs (Continued from Page 220) partment of Music of the \TtHe ness. What the wind New Jersey Education more than almost anything else are Association, went to the lips. of the state to whom music repre- Griffith Foundation’s breath control, good teeth, and War Effort em- sents a career or an avocation. This Music Committee. These are his standbys. The With this sum adjustment of means comparative measuring of the twenty-five bedside (2) Paramo: bouchure, position or radios were pur- a cold miit in the various parts ‘n the other organs in work being done chased and presented to AndeS ' the lips, tongue, and the hospital (3) Can 221 the state, and the giving of for soldiers Yi ^ must be of at ' wind instrument, Camp Kilmer the Andes ,1 lbes in playing a before the ’ Cetro; COnqUeSt ' show-covered momtSn. 212 'TORW'ARD MARCH WITH MUSIC’ the etude . — —

job, inasmuch as he has something Backstage with the less than three weeks in which to Orchestrator turn out the six hundred to a thou- sand pages of manuscript that clothe the average musical show. ( Continued from Page 223) “Exactly how does the orchestrator go to work? There is no set, single ) way. Each man proceeds according “First, an author writes a play for to his own aptitudes. When I or- music and gets a composer and a chestrate for a musical show, I hear lyric writer to do the songs. These at once, in my mind’s ear, the har- I’m Ready two read the play and work out a monies and instrumental combina- number of song titles, based on epi- tions I am to make. As I watch the for Concert sodes in the story. Usually, a good dance routines, and consult the piano suitable title is all an experienced copy of the tunes, I hear in my mind Work, Now!" composer needs to get to work. Often, exactly the instrumental combina- Ready, and able a song writer can make an acceptable tions I wish to make. When I go home to turn in a fine performance because of supreme in cases he to work, I need only set down what is piano sketch, but most confidence in her command of * n mind. I always beats out, whistles, or sings a chorus mY work this way tempo. When the timing cannot makes cer- and never in my experience have two falter a split-second from the score (maybe a verse, too) , and melodies called for ...it is then that professionals, tain the lyricist is on hand to witness exactly the same teachers and students alike turn to creation and acquaint harmonic or instrumental combina- the process of the musical world’s standard of tions could they, since himself with the tune. Next, the lyric —nor each accuracy, the melody carries its For Authentic VIOLIN Information Read writer sets words (lyrics) to the new- own requirements with it. The orchestrator VIOLINS and VIOLINISTS born melody—and a song is ready. must dis- ELECTRONOME cover, from nowhere but his ear (Trade Mark Rec. U.S. Pat. Olf. I An American Publication Devoted to the Now the various creative spirits in own Interests of String Instrument Players the producer, read and his own good taste, based on ex- Subscription 25c the process go to ELECTRIC METRONOME $2.50 for 12; single copy perience, just play, and beat out, whistle, what these exactly WILLIAM LEWIS £ SON, 207 S. Wabjsh Ave, Chicago him the suitable combinations are to be. Simply plug in, flip the switch, and it Send for Unique and Instructive Catalogue of or sing him the songs. Not a line is Violins request begins heating out the tempo, with —Free on “That, then, is the process properly written down as yet of supreme accuracy from 40 to 208 beats per minute. Change has the orchestrator made craftsmanship to which the young tempo right neither while it’s running and with one hand, this is to orchestrator may look forward. How BE YOUR OWN VIOLIN TEACHER his appearance, although at that! No matter what your instru- New is he to get into it? If ment, your practice will be doubly Invention—Endorsed by greatest Artists. his life-story, professionally speak- he plays in You feel and see where fingers should be” be valuable, and your performance doubly nniy — a band, he will Violin SI., Chicago hears all and undoubtedly be burn- li- Keyboard System, 4HE-H17 N. Bernard ing The producer effective' when an ELECTRONOME ing to try his hand at agrees to produce the show, where- arrangements Metronome sets the tempo. interrupted for for his own group to play. He grows 5-year service guarantee in play a deagan marimba" upon all activity is writing from that infc - exclamations of joy! P° on If he makes PRICE *12.50 Easy to master . . . enough good arrangements in “Next all hands go to the music home See it at your Music Store or always popular . . . agrees to bring out territory, his work will be spotted, write to ui for 6-day trial offer • who richly publisher, satisfying. promised If it is spotted and played often the music in view of the Write FRED.GRETSCH mfg co Dept. E. listens to the tunes enough, he may have an opportunity production. He "A Makers of Musical Instruments Since 1883 "A J- C. DEAGAN, to take to do some arranging for a ‘big name’ INC., CHICAGO and sends for his arranger 60 BROADWAY, BROOKLYN, NEW YORK band. After that, he is on down the lead sheet (the first pencil his own, melodies making the best effects he can, ac- written version of the WM. the cording to the gifts and the crafts- S. HAYNES COMPANY alone) The arranger takes down composer’s dictation, manship over which he can dispose, Flutes of Distinction tunes from the the harmonies. Next Successful arrangements attract the sterling silver—gold—platinum and sketches in of a piano attention of the music publishers; he makes several copies Catalog on request and, up to now, the music arrangement. Then the show goes publishers Challenge •08 m Massachusetts Avenue, Boston, Mass. the or- have the most to say about who shall into production (Patience, be called in to orchestrate which chestrator will soon arrive.) oflistening\ shows, “Production begins with the dance assembles the singing “Orchestrators are often asked why director, who * w SWING PIANO! exist teaches them they at all—are not the com- Howard d. McKinney play real Swing for free Home dancing chorus, sfnH?, Piano. Send and TEACHERS: write for business offer the rhyth- posers capable of turning out their aA

—Countess Delphine Potocka—and could hold back their pent-up emo- her companion, Frederic Chopin. tions any longer, Chopin broke into Occasionally the throng thinned one of his graceful mazurkas. . . . Chopin, Herald of out enough to reveal the sensitive On the morning of October 17, face of the musician—a mimic whose 1849, when his frail body, racked by clever impersonations were eliciting tuberculosis, struggled to find the smiles of amazement from those near peace it so craved, the door of his by. Then, with a final burst of laugh- Paris apartment suddenly opened on ter, the group fell apart. the form of the Countess Potocka. “He has promised to Polish Liberty paint “At last . . my . you have come?” His picture on the piano,” proudly ex- lips barely formed the words. Then claimed the lovely young Countess. as his friends wheeled in the piano “Haven’t you, Fritz?” for her to sing the songs he had re- With these words there was a great quested, Chopin ^Ijonna i^Kij fancf Cjraves opened his eyes l if moving of chairs and rustling of silk wider to fasten them on the beloved as the guests settled themselves for features of the Countess. the promised This is the Second Part of the article which ap- treat. From lip to lip When the last note was hushed, he coursed the peared in the March Etude under the title, "The significant whisper, smiled faintly and then wearily Polish Liberty."—Editor’s Note. “Chopin is going to play for Bugle Call of us. Hush] closed his eyes. Those nearest to him Chopin is about to play.” caught his half-murmured words . . Somewhat diffidently, the slender “So far . . . from home.” attempted young man sat down HOPIN HAD AT FIRST been the valiant Poles as they to the piano. His eyelids fluttered open once accompanied to Vienna by his to stem the Nazi hordes. Impatiently he ran his hand through more, and then closed forever. C close friend, Titus Woyciechow- Although Chopin popularized vari- his long brown locks, and just as But the music of Chopin will go ski. When news of the Polish revolu- ous dance forms, it was in the polo- quickly ran them lightly over the on forever. In the every keys. heart of tion reached them, Titus immediately naise that he best expressed his na- Pole to-day, Waiting there is the dream that left for to join the patriots. tionalism. Under his skillful interpre- until the Countess Potocka their country had taken will be free. On that Alone and homesick, Frederic wrote tation it ceased to be the stiff and her seat, he bowed for- glorious day, the music of Frederic home, frantically begging his parents stately court dance of early times, mally. “As you wish, Countess. Only Fiancois Chopin, his ” - champion of J 1«L T- : 4-T-. r. t- 4 4- n v, tone-tnnD- ’—theref.hpVO tlrOC o 1 : j j to let him return, so that he could Instead it became an animated was a slight hesitation- country’s freedom, will again ring out enlist and fight along with his picture of —a cavalcade of its “for a portrait I must know my col- in everlasting triumph. friends. In fact he even hired a car- former glories, a passionate cry ors. You will allow me?” And stepping riage and followed Titus along the against former injustices, and a fiery to her side, he drew the shawl from unconquered Polish her shoulders road to Warsaw. Fortunately for the appeal to the and threw it over the musical world, a letter from the fam- spirit. keyboard just as the servants dimmed ily caught up with him before he had Aside from the national aspect, the the candles. Musicianship and Drums gone very far. fact that most of his thirteen polo- In the shadowy room, surrounded his na- by his friends, “Stay where you are, my son,” naises were written far from the young ( Pole seemed Continued from Page 240) his father urged him. “You are tive Poland, probably accounts for at his best his not — long slender fingers fervor. gliding strong enough to bear the hardships their intensely patriotic dreamily over the keys American Such tympani, equipped with au- and fatigue of a soldier’s life. You Other composers—Bach, Handel, Mo- was his wizardry, that the portrait tomatic tuning take can serve your country in other ways zart, Beethoven, Schubert, Weber and h e UnteSS pedals, which D6lPhine rapid£y ae place of the of the . . . with your music. . . Wagner have also contributed polo- took f orm° hand screws older none are imbued with that At the instruments, it is possible to The year that he spent in Germany naises, but conclusion of his perform- Play a clear was not an enjoyable one at least almost fanatic zeal which colors ance, the audience chromatic scale. It is an — sighed delightedly Give immense advantage, to as far as friends were concerned. Chopin’s. us another. Do, Chopin,” of course, they une automatically, the Whether it was his innate antipathy entreated, at the same time thus keeping Personality mm-mur- a ‘' A Many-sided ‘ ee toward the Germans (he liked the mg5 to oneuue anotheranother , —but again, the musician- incredulous „ , o£ Austrians) or his passion- It is unfair to picture Chopin solely “How does he p the the , whether do it tympanist must be of with a shawl over K“ ate adoration for his country ex- as the ardent patriot, for he was the keys?” °rclcr to accomplish accurate t L i cluded the ready making of friends many-sided. Fond of company, he Timidly, Chopin g wbile the The glanced . . orchestra plays. m, the whatever the cause, he was glad to was also an excellent mimic, as one rection of di- ndlcates of — the Countess * key and changes to see if she k leave, July of the following year, 1831. of his biographers reveals in the fol- had sensed the 1 y Beethoven break motive that hi was the first to string , After giving several concerts, he lowing incident. Of beautifully y iom the limiting matchedd pearls monotonous on Paris he In the early nineteenth century, embroidered . was his way to when his whole ymPan i and . scoring tonic VlSa ~ drm to learned that Warsaw had fallen to the French were friendly toward the tion? But her a" st face reflected t~and tlle nu> that ’nn°n e tympanist the Russians, September 8. Chopin Poles, so that Paris soon came to be ardor which ' °f cZDtantly to had insPUecl . tune ana retune, first was cast into the depths of despair, a second home for a great number of write some of to keeoP his best corn CCUlate pltch playing In his agony he pictured Warsaw exiled Polish noblemen. There they Positions. the n while P1St second flames. His living bf does >. and, in in family ... his friends set up their estates, in much Musical Portraits t0 «' ’ Set hls dying. “Who could have foreseen the same manner they were accus- S instrument for a PaSSage Ad" such a calamity?” he wrung his hands tomed in Poland’s pre-revolution- 6 in a different key. to “tal” ‘“ned to vnuo„ i ^Lfovef’H tuning greates despondently, “if only I had some- ary days. portraits et0hing requires the of his host accuracyac r .” Md°uS of ear. talk . one to to . One of the most influential of the As the guest servants re-lighted 11° s. the 6 tympani coin- But there was no one. Poland never expatriates was Prince Csartoryski, the tall candles M last 01 roll is not a Cholil noi'ml S so dear nor so far away as friend of Dumas, Victor Hugo, Liszt U 6 ' bUt seemed — introduction to one ed the a Sin6le ofhis° T Sng e ?W this time. Picking up his notebook, and many others. On the evening in It was °naises Tt sPe ed is achieved at greeted with ' thp vnn' his soul passionate incident al^id h Pldlty ha»d lie bared in these which this well-known took applause, as Urst with which the each one ot alternc f “Oh, God, where art Thou? place, the Prince was holding one of his quickly™ 1, 6 ' The words, partner. chose ment nature ° £ the inS‘^ there invitations f roD Art Thou*»•“ “““and dost Thou not his famous soirees, to" Then to SUCh tllat a compound Chopin's i. . would avenge Thyself? Art Thou not sated which were eagerly sought after by the nsPired 0t allow vihr# elegantlv-atti . music the head to 11 ed » freelv l with...44-v, murder?murder?” . . . the socially elite of Paris, nnadmiaded __ . °Kuestc,uests ldeed re in ' it natural and out of fv Pi’ome- verhor l is the Chopin did far more, however, than As the evening advanced, the bril- followed roorn closelv thnG o s. Thev “ °f the instrument vlif pour out his agony in words. Rushing liantly lighted salon of the Prince’s cated Prince helm con his coinn Who inn- Ure the effect of round he gave utterance to all chateau revealed a large and by tinuL to the piano fashion- of a small tlle - ty 1,1 can h 6 Posit the strokes. In longings, his hopes in the famous able gathering. At the far end of the had don work his beginning of th ned at dness essentia Etude. It was this same drawing room stood a pah, polon tIle of tone is Revolutionary distinc- With the &ise. S m USt? ton3 be worked like Etude, and also his military polo- tive even in this brilliant assemblage, tempo, illcrea quah v for cheeks 'se 0f m any battlecries of It was the famous beauty of nuslled; the °ther instrument. that became the the day ened. Who,, ^ evpo , ... “In ^ naise, When it y s b Sln8 se«med' ! «ght- tbe tympani sticks, aas l£ff PositionPositim-. #>**^ "FORWARD nothing which is the same for 274 MARCH WITH MUSIC Continued on Page 281) "

The Woodwind Ensemble

Page 239) ( Continued from AMERICAN and orchestra members as a regular, exercises in octaves. These exercises recognized group, a select ensemble all serve the essential purpose of call- students’ attention to the which is a natural goal and desider- ing the CONSERVATORY atum for all serious woodwind play- “desirability” of playing in tune! several keys, ers; in fact, it should be looked upon They may be played in as the viost exclusive “musical fra- with further intricacies being devel- -/MUSIC ternity” in the school, something oped at the discretion of the con- toward which younger players should ductor. CHICAGO 57th SEASON of seating- strive. Here is a diagram the author has found most Accredited courses in piano, vocal, violin, all of In these rehearsals, all the mem- plan that the organ and other branches for the woodwind quintet. Music and Dramatic Art leading to bers are to be encouraged to partici- desirable pate actively; make suggestions; ad- DEGREE—BACHELOR OF MUSIC vance and solve their own musical DEGREE—MASTER OF MUSIC problems without too much prompt- Under Authority State of Illinois ing from the director. This teaches listen- alertness, self-reliance, careful Unsurpassed faculty of 130 artist instructors, many of national and ing, precision; encourages the stu- international reputation. dent to “think” about what he is Thorough preparation for concert, radio, opera and teaching a chance posi- playing; and also gives him tions. Weekly recitals, lectures, school of opera, training in students’ to express his own musical thoughts, symphony orchestra, bureau for securing positions. which, at the start, may be rather crude and undeveloped. If he has a the value of the SUMMER MASTER SCHOOL chance to express himself and to hear In addition to his own woodwind quintet in the school, as the ideas of his colleagues, Three Summer Sessions—May 13 to June 23, undeveloped, already set forth in a previous article musicianship, however June 24 to August 4 and August 5 to September 15 December, 1942), will be much more speedily developed (The Etude for hectic days, a new and advanced through listening to there is, in these Special Summer Courses in Public School Music, School of Acting, placed upon quintet Children’s Musical Training (Robyn System), Oxford Piano Course the ideas of the other members of value suddenly dis- •playing. There is the inestimable the quintet. This inducement to Member of the National Association of Schools Music those mu- of cuss musical problems with his own value of the quintet to already playing in Send free catalog. Address colleagues (and with the director sicians who are for John R. Hattstaedt, President expect some day beneficently hovering in the back- Army Bands, or who so. With a school background ground) is one of the great training to do AMERICAN CONSERVATORY OF MUSIC in quintet training and literature, values of the small ensemble. 573 Kimball Hall, Chicago, they can form a similar group within 111. The First Rehearsal their Regimental Band and thereby with a type of delicate play- Let us look in now at the first re- continue alas, not generally as- hearsal of a woodwind quintet that ing which is, with the average Army Band. never before has played together as a sociated Buy More War Bonds and Stamps there are not a great many College of Fine group. We might expect each of the Not that Arts capable and musicianly Army five players here to blow loudly and highly Syracuse University of the Post Instructor at One of Our Three Motor Organs part, bandleaders, but so many B“hdor robustly forward on his own Degrees : so much playing of “Post Master of Music with for what the Bands do complete disregard “Morning Piano, Piano Teacher Training, Voice, Drills,” “Review Drills,” others are playing, and no cognizance Violin, Organ, , Harp, Composition, ’” etc., that the poor, harassed of interdependence of parts, and so Drills Public School Music has very little opportunity All the advantages of a large University. on. Just often the case bandleader Special the opposite is musicians with much dormitory, with 35 practice pianos for women provide his music students, at a first rehearsal of a newly formed to 5 pipe organs. Concert Band reper- Summer Semester June 2 play in of the really fine — 8 to Sept. 4 quintet. They very often will Summer Session with the result that many Army —July 5 to Aug. 14 a timid, half-fearful toire, For bulletin address hesitant, and find the musical fur- and Navy Bandsmen Dean H. L. BUTLER manner, and listen somewhat Station Post or Training Room 3 5, College of Fine Arts is going life in a tively and amazedly to what and tedious. Syracuse, N. Y. they Band highly monotonous on all about The fact is, them. Band situation, it may be are out” very The Army “feeling each other this time, is increas- in the pointed out at gingerly. They are like “babes and more bands conductor ingly hopeful. More 0zmaiL JSMOPOUTAN woods.” They miss their up to forty-five rec- are being authorized SCHOOL OF very much! In such a case, it is and these MUSIC even fifty-six men, SHIRLEY GANDELL. M.A.. Oxford encouraged and ' University, England, ommended that they be at least one excellent Cmi&tvatoti/ President. with less should provide •th year. Accredited. Offers courses to play more vigorously, quintet (and in all branches of Music. Cortlllcates, quintet. This diplomas and degrees. resolute and woodwind Desirable board- fearfulness, and a more other small ensembles ing accommodations. Located in down- Encour- indeed any town musical center. forward.” Box E. 305 S. Wabash Avo.. Ciilcaan. self-reliant “going out of the Band, such as ofMulic play m a formed age them from the start to quartets, brass quartets, interest-compelling clarinet A Division of Brenau College brisk, virile, and so on), will provide a Etude Advertisers Open the Doors to Real turn sextets, and All branches of music. Distinguished fac- later to ulty. Splendid equipment. Preparation for manner. Time enough link with the musical past Opportunities shadings, welcome careers as teachers or performers. their attention to nuances, participating bandsmen, and Symphony orchestra. Choral club. Military ay for the band. Vested choirs (a capelin and accom- retards, Have them P interest panied). Smaller vocal and string ensemble accelerandos. serve to keep alive their “unafraid will units. Performance of two operas. Frequent from the start in an in the “indoor,” concert-hall student recitals. Public school music. 0 and skill Courses In conducting. Opportunities for INSTITUTE tendency of them hearing concert artists. DETROIT manner. Discourage that of playing which many the musi type forma- Moderate rate for board and room in OF MUSICAL ART "lag,” that failure to keep miss. Assuredly, the College Dormitory on 350-acre campus...... so keenly Since 1914 has prepared ambitious young seem A.B. with major In musio. going which ensembles would DEGREES: B.Mut. or people for careers In music, dancing, steadily forward, tion of small wind dra- woodwin unvarying- For catalog, address: matic art. All instruments, voice, theory, so naturally to beset the much to alleviate the composition, sacred music, conducting, cam- do BRENAU CONSERVATORY radio technique. Accredited. quintet. routine of any Service BOX M-4 GAINESVILLE GEORGIA panology, Di- . tedium and plomas and degrees. Faculty of 70. Catalog. reheal sa H. B. Mnnvlllo, Bus. Mar.. 52 Pulliam Avo.. Dotrnil. Midi A good way to start every Band. is by of tuning-up playing a series "FORWARD MARCH WITH MUSIC APRIL, 1943 — —

The Problem of Mexican Musical The Young Singer -ef- te- - in ¥ Pr ^ Opera Harp j— j Folklore ( Continued from Page 225)

the teacher’s methods. That is the only test. It is precarious to depend upon name value alone in selecting cuter a Oho m teacher, because the master who understands the needs of one voice may not do so well with another. The singer This is the third and concluding part of Mr. Mayer- must look for only one thing— not Serra’s interesting and informative article, the first section spectacular ‘results,’ but the de- of which appeared in the January Etude. Editor’s Note. velopment of his own, natural voice in the most comfortable, natural way. This leads us straight to the second requirement, which is char- acter, intelligent discrimination, and N ONE of his essays devoted to patience. The singer must be willing these table dances, Garcia Cubas, to take time to learn, to study his I the noted writer on Mexican cus- teacher along with his vocal exer- toms, enlarges on another aspect of cises, to satisfy himself that his voice the huapango. The performance that is being developed along natural, he writes of occurred on the banks of healthful lines. He must learn to the Nautla on the Vera Cruz coast. lealize that a quick or a Amongst the dances that impressed success, mge success, works than him most, was the de la banda in more harm good in the end. ar- which “a ribbon sash was stretched Only continued tistic and vocal long out on the table. Without falling out surety, over a Period of the of rhythm, the dancers gradually time, can establish value of any wound it about their legs, tying three singer. °nce the suc- . _ young singer has symmetrical knots in it largest in . — ec * n finding competent the middle. Once the sash had thus t a ache whose the been made into a garland, it was f> methods allow ° eel he placed on the head of the jarocho “ /° ! right at all times, egih a i the who took part in the dance.” ,,, , once to round out “ of , his general musicianship- tt nfortunateiy,n The Afro-Cuban Influence the general musical ng Similar feats the perform- of singers front mark t hp!^i has receded n s ance of the bamba, one of the oldest ards of Mozart’s time! It i nos«!ih?e ? ~ dances of Afro-Cuban inspiration. to day to draw a distinction hpf,„ n Bellemare devotes the following tenors’ an d ‘musical tenors. ThZ 1 paragraph to it: ans one class is inter- s part—and the the understands this, there would also untie the most intricate unrelenti. but miFf, copation which 8 syn- for him and that, around constant/t M amt™ to do knots in a silk sash wound displaces the altera nply 0 rhythmic *, and „" ’ is to devote a part their feet. This dance is known as Ues each intricate ' Such ay s study singer rhythmical31 J„/! * to music! The the bamba.” These sones which may be heard found wherever P * ay can c W th/ be rk aU day at his voca> With the bamba we come upon along the Gulf Coast from the south- tervened negroes exeiriL ? in have in- ' Americ:U1 Let hlm set aside a certain another ethnic element which has ern part of the State of Vera Cruz typicaltvnicnl - numhf musical for music; thn h° pia S ° Urs each day for ”? left its imprint on Mexican folklor- right to the American frontier, dis- Cuban f Brazil Practice and ’ f0r at Port practice at solfege, ism, particularly along the Eastern play a great rhythmic wealth and da,mas, Rlcan Sb-ht the rumb Qort-traI illB musica the ' tor mastering coast: we refer to the African or above all a melodic purity that is itual lle mstohistn,-F and the Wo-spir-; y and Such more strictly the Afro-Cuban influ- wholly lacking in most other types recent 1®0 In operatic tradition. times^t more em a bamba reflects of Mexican folklore. The instru- has^'" has well ence. The very name out the world artivK Practical as in i lc believed to be the negro ments that accompany the voice * tr^h! Valll e; the instinctive this it is typical public break 0 f j.^^^of the fepl ^8 corruption of the Spanish banda the jarana and the harp—develop mni Tflcal authority and respond 111 amazingly rich harmonic effects. *5" t0 the singer wh° ^ Foster In following fragment veals it The folklorist G. Baqueiro the of an- Music is perhaps the i the first recording other son de huapango, entitled La in best has recently made the warm _ re: is U - lt Creati another qualification this Morenita, the characteristics is “Iso °h th^- of authentic bamba. From of this P-erfier in tL an m \Zthe besth - • Grn opera whi® world, it* -T, — q° tic performer record we have transcribed the fol- coastal music become even more ap- of C lS the mav eem tn comradeship,' best bona controversial. That is parent : matt lowing fragment: a 0 DR PP e aranee. It is imP - »«»* tantant to-day should^ 276 "FORWARD MARCH C„aNE that the singer WITH MUSIC Continued on Page 282 ) —

The Piano Accordion WHERE SHALL I GO TO STUDY?

a no no nu itd ns ini fni i?d 00 no mi rrn nn fin im rru hh on fra Tru irn fin iru on rru rfn fin ononofioigjgfgjgjgMgMgMgigniifiiilnifnirronorrorFiFioriiifgr^l Private Teachers (New York city) Preparing for the Spring | Private Teachers (Western] |

LUCIA LIVERETTE HADLEY (Inez Barbour)! Concert | O'BRIEN MRS. HENRY- Accordion VOICE Soprano | s Oratorio, Concert, g Graduate of Samoiloff's Teacher's Course Authority on the Art of Singing, hy • ;• Recital and general repertoire. Will accept a limitedjg hj. f-^ietro 2)eiro 5] Reasonable terms. 3 Phone NO 2-1030 EX 1141 number of talented students. [3 616 HENRY HADLEY STUDIO E As told to ElVera Collins 3 N. Normandie Ave. , Calif. THE 15 W. 67th Street New York CityE By Appointment Only. Sus. 7-0100 E be prepared well in HE APPROACH OF SPRING has Solos should 'i ROSE OUGH concert date so that a particular significance to ac- advance of the 1 VOICE MME. FLORANCE LEE HOLTZMAn| Former Assistant to Lazar S. Samoiloff the the remaining time may be devoted [jj] T cordionists for it heralds [3 in Hollywood Teacher and Coach E rjj] Reopened arrival spring ac- to putting on the finer touches such Her Voice Studios at VOICE—OPERA—RADIO—CONCERT of the annual [3 1931—8TH AVENUE OAKLAND, CALIFORNIA | shading of tone and other cordion concerts and festivals. These as delicate [3 Telephone Glencourt 6115 Internationally known E of rituals requisites so essential to interpretive 58 W. 57th St. New York Cityi concerts have become sort Tel. Ci. remind accordionists of 1 EDNA GUNNAR PETERSON 6-9323 | with all progressive accordion teach- playing. We frequently give about Concert Pianist—Artist Teacher ers from coast to coast. Students are the advice we j|] 1] 3 229 So. Harvard Blvd. Los Angeles, Calif. ALBERTO before an rehearsing. Listen carefully and criti- JONAS | given an opportunity to go H FE. 2597 they cally to your own playing and be sure Celebrated Spanish Piano Virtuoso £ audience and prove just what Teacher of many famous pianists ^ repetition is made to cor- LAZAR S. SAMOILOFF have, accomplished during the year. that every 1 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-8920 Voice teacher of famous singers | rect some specific fault. Thoughtless U On Thursdays in Philadelphia, 132 South 18th Street. [H Some will come through with flying From g rudiments to professional engagements Tel. Victor 1577 or Locust 9409 E repetitions waste valuable practice Beginners accepted. colors and others will fail so dismally g Special teachers' courses Not connected with any Conservatory. E] Dr. Samoiloff will teach all Segre- =j] summer at his Studios, dis- time and accomplish nothing. that they will be thoroughly g Write for catalogue—Special rates for the gate difficult passages and concen- duration. couraged. g !' they are 610 So. Van Ness Ave., Los Angeles, EDITH SYRENE LISTER on them until |j Cal. Many reasons, or we might say trate AUTHENTIC VOICE PRODUCTION 1 mastered. 405 , New excuses, are given for failures in pub- ELIZABETH SIMPSON York City [g Students are often guilty of two Collaborator and Associate Teacher with the late W. E] lie performances. shall concede of We g Author "Basic Pianoforte Technique" Warren Shaw and Endorsed by Dr. Floyd S. Muckey things the first time they play m E] that a certain percentage is due to 3 Teacher of Teachers. Coach of Young Artists. Wednesday: Troup Music Studio, Lancaster, Pa. 3 Pupils Prepared for Concert Work. ^ of the public, 'they o no Class Courses Thursday: 309 Prosser Bldg., Philadelphia, Pa. nervousness but if we group all 3 in Technique, Pianistic Interpretation, Normal [§j the accoustics of the con- for other excuses together and analyze sideration 3 Methods Piano Teachers. play |3 609 Sutter St., San Francisco; (Frank) cert hall and think they must (Ernesto) ; them we shall find that most of them 2833 Webster St., Berkeley, Cal. loud as possible. They completely g LaFORGE-BERUMEN STUDIOS simmer down to lack of preparedness, as |

about tonal shadings and Voice—Piano , i The for the forget all Private Teachers (Mid-West) entire practice system | Frank LaForge teacher of Lawrence Tibbett expression. Nervousness may also since 1922(1] year may Students 1100 Park Ave., Corner 89th St., h'.ve been wrong. so New York S them jn-e-e ‘heir tempo RAYMOND ALLYN SMITH, Ph.B., A.A.G.O. are mistaken™ they tMn! they can make | Tel. Atwater 9-7470 that the last part of a selection is g Dean neglect their practice through the g Central Y.M.C.A. College Winter semesters and then P g School of Music RICHARD ^.^11innmg ™re"arned is fore- 3 Complete courses leading to degrees. Coeduca- McCLANAHAN 1 in- be0 Fully accredited. make up for it by a few weeks of , tional. Day or Evening. Low tuition, Representative TOBIAS MATTHAY E will Private armed, so Kimball Hall, 306 S. Wabash Ave., lessons, class lessons in Fundamentals E tensified concert, g Chicago, 1 lllnol*: study just before a Lecture-demonstrations for teachers E conscious of these common errors aand 3 Dependable technic is not built that 806 Steinway Bldg., New York City [g Way. avoid them. 1 DR. FRANCIS L. YORK gAdvance Piano Interpretation and the Theory work Here which g required for the EDWARD E. TREUMANN are a few suggestions Avoid Personal Mannerisms degrees of Mus. Bach., and Mus. 1 3 Mas. Concert Pianist Artist-Teacher may help accordionists who are mak- DETROIT INSTITUTE — E all the technical g OF MUSICAL ART

Tel. Co. 5-4629 , "SE ' he is having a HthS'- cult task and that | York City Pertaining selection with some tech- can Tel. Vo. 5-1362 time doing it. The bellows FREDERIC FREEMANTEL | hical passages received far hard will be manipulated so skillfully and with | a be 3 Voice Instruction Private teachers in the better when well played than will larger cities will find^j that the audience Author of 24 home study such ease S lessons, this column quite effective in advertising their® lengthy heavy overture. True enough, fore- “"The Fundamental Principals of Voice Production and conscious of them. The courses to the thousands of Etude the of an never be “Singing"; also "High Tones and How to Sing Them" readers® latter may provide more be to make the who plan to pursue advanced study most thought should Studios: 205 West 57th Street with a n S of tech- City established teacher away from opportunity for an exhibition pleasure gNew York Phone Circle 7-5420 home. }§j audience think that it is a hic but we suggest that it be reserved ‘or a future the stuaeu. time after shou itjers and drooping has become to an audi- should accustomed arg inexcusable. Students 6nce posture and keep - always watch their Importance of Prepara** ^^^^'chhfsSd It is concert ma the lcey- important that rest upon the top of terial No ef- be learned thoroughly. sh0Uid be focused to- d Tlie eyes lort should be spared in rehearsing nail and not upon ^ concert PLAY to^a point perfection as P' s" DO YOU THE ACCORDION? as near keyboard. OUR 1943 CATALOG sible. n LEARN 'SWING" MUSIC if a student play a selecti is impressed either CONTAINS can audience Quick courso to players i °hly in a An 1000 SOLOS AND 125 METHODS passably home by the embellishments. flgurat ton ,~biue no 1 os. vviiole tc well at favorably or unfavorably AND FOLIOS 8 tamiliar own family, accordionist Sent Free in Entile Subscribers MODERN DANCE ARRANGING room before his expression of an Duets, trios, imurieites ensomblos— facial Address Dept. E anil -spocinl choruses he certainly need not expect to play form the habit of —modulating to other keys- suspensions— anticipations students should —organ points—color effects—stvlngy backgrounds it any better so well before animated expression, O. PAGANS & SR©. Wrlto today. nor half with an ELMER B. FUCHS a Playu 289 Bleccker St. New York large strange concert Page 288) 335 East 19th St. Brooklyn. N. Y. audience in a \Continued on hall. "FORWARD MARCH WITH MUSIC" APRIL, 1 943 — —— — "' . . ;

MUSIC SUGGESTIONS FOR SPECIAL OCCASIONS AHEAD F

° These selected lists will prove helpful in choosing appro- priate and Flag ©ay interesting material for the many special pro- grams to be arranged for schools, clubs, (JUNE I4TH) societies, church Mother's Day organizations, etc. The piano numbers may be used with timely advantage • (MAY 9TH) CHORUS NUMBERS for pupil-recitals or study needs. Music to meet any described requirements 15541 The Is cheerfully sent Flag Passing By (Mixed) . . . . Barrett for examination. 219 O Glorious Emblem (Mixed) O'Neill ... - f.. VOCAL SOLOS 224 Hail to the Flag (Mixed) Jeffery ... T /tie and Composer Range Price 25176 , 35260 Stars and Stripes ( Candle Light. Forever Mixed) . Sousa .... M ay Bay .Chas Wakefield 35234 Stars Stripes Cadman .$0.50 Forever . and (S.A.B.) . . Sousa .... d-a. . 35232 26132 Candle Stars and Stripes Forever ( Light.. Unison ). Sousa .... (MAY 1ST) Chas. Wakefield

10732 Our Country's Cadman - 50 Flag (Unison) Wolcott b fltrt-E flat...... and other Spring Festivals ‘ " x,l“isite 35233 Stars and Stripes Forever (2 Pt. S poem by Lee Shipper in a musical f art icuIar p r,t hness - Thii rong has School Chorus) Sousa .... hill”* i° . J , CHORUS NUMBERS PPM by the 4 American Parent-Teacher C2I76 Flag Song (Fling Out Her Glorious ,0r ' ,0 Cat. No. Title "’”'s Day Programs. Composer Price 26559VASCO Motheri Folds) (Male) Mine. - 50 Hammond. O A'thur Kellogg c-sharp to g. • 20230 In May (Unison)son) Ira B. Wilson . 35119 Stars and Stripes ( $0.06 ”5*?. /*”“ unusually Forever Male ) . . Sousa .... i l sympathetic setting of 35326 In Maytime (S.S.A.A . . Oley . Speaks . . Our Flag (Cantata for School) .... Root .10 ?Ann? w text b y Kipling. 35342 In Maytime (T.T.B.B.) Spi ks-Peery . . 40 Our Colors (Short Cantata for .15 H - Gr°V C-E 10234 Blossom Time Pt.) J. I9MR (2 ..:... W.' Lerman. °° ! " •'*° 31 Alfred . . Men's Voices) .15 HaN . . flat-g. Spross .... 175567996 u° t" E 1 15 Dawn of May, The (2 Pt.) . . F. Berger Mother.. 35428 Stars and Stripes Forever .12 Stanley F. Widener c-F.... •« 20409 'Tis May (2 Pt.) Ira S B. Wilson’ .08 S 1 *’ an excellent text. marsh . . .15 240224 22 °OUld c L- °'t ft' 20672 'Tis May Upon the Mountain F-Mened Mather Of Min. SOLOS Pt.) (2 William Baines ..

. . 021 Spaulding . . Gr. 2 . . .30 " 15512 Lilacs (2 Pt.) Cadman-Forman

. . . .50 Grey .... . ,Gr.2'/2 15504 Lovely Springtime (2 Pt.) . . Moszkowski-Forma l .12 24020 ^ ” ...... 40 Spaulding .Gr. 3. 6174 May March (2 Pt.) R. R. Old Fashioned Forman .15 Mother Of Mine . . . Ralph . . . -Gr. 2'/ .40 2 6165 Maypole, The (2 Pt.) H. E. R'chord - 60 Warner Kountz • .12 p sharp-q. . • . jg Kern ...... Gr. 3 . . .60 20297 May Time (2 Pt.) R. M. Stults 8 {publi^d in 3 keys) a song .08 which J'm "do £ ig 1 . . an . Spaulding . .Gr. . .25 heart or 20370 Spring Fantasy, A (2 Pt.). .Norwood Dale hear at aL l°"

. Gr. 3 . . .35 25776 L lttl. —Treble) R. M. Stults Mother •« .12 “iongeU. Lehman ... d-E. .. . r. . Sousa . . . . . Gr. 4. . R-50 20188 Come, Let Us Go A-Maying 30552 Stars and Stripes ForeverP 15632 Little (3 Pt.—Treble) Ira B. Wilson Mather (Simplified .10 Edition) .. Sousa ...... Gr. 2'/ R-50 2 10866 That We Two Were D r O ' 60 13652 Under the Stars and ies ' l848° •***•- Str True .Gr. 3 . . .50 Uttl, Maying Pt.— . . (3 Treble) H. W. Wareinq SX o^MTn 27154 Our Flag (With .12 Word: . . Adler . Gr. 2. . .25 274 May Pole Dance, The (3 Pt. 0 •» 27261 Star-Spangled 6884 "'-.- E. flat-E flat. . . . . Banner Arr. Richtei • Gr. l'/ .25 2 —S. A. B.) R. E. Motw'o^u!' DeReef. . ° B 88 .15 24043 ' d-E My Math • a TW0 PIANOS—FOUR hands 35036 Maytime. Waltz Song (3 Pt. -6° 9 J ° h " . . • 15404 Openshaw. . . d-g . 30862 Stars and Stripes —Treble) Clar Never Fo^.t Forever. Sousa-Zadora Gr. 5. . I. R. Ricci. Y°" n . .18 15715 Glad May Morning, A (4 Pt. .*>' -8696 Old —Mixed) E. L. Ashford OUR FLAG—By Frank L. Bristow .12 1,420 20123 In the Pride of May (4 Pt.— ' Sang A flag song, march, and drill, with directions and illustra- Ar Mother of .( ear • Pageant of Flowers (Operetta foi A number ^- C. Davis Mixed )• s '*-* ' a f Bn 0 X/^l ..( c “'< 0p .i°, ns CHORUS NUMBERS 0 is of - While riot diff- Children) Richard a q°t i Kountz K r • 21002 ' Quartets >al w,n Oh, Hail Us, Ye Free. From "Ernani" A splendid 20 minute singing, .60 or cbofn, sat isfy tbe best , dancing and scenir , Arr. Felton Male) .. Verdi tion, indoors or outdoors. For girls and ( $0.12 boys or girls aV° ne ' 35227 Hail Brave Washington Mixed ).. Powers 06 ( PIANO SOLOS CANTA Slumber Song, TA 21153 Lexington Ode. .( Unison) .. Schubert-Felton 08 22636 May Dance C. Huerter M 0 r 2>A adonna (For 21 195 2 May Women’s Voices) Ode to America. . (Mixed) . .Costa-Davis 15 14125 May Day D. D. Slater A teo Gr. 2 -1 ...$l-00 Complete Orchestration 1.50 Small Orch. beauti/Ci' A ?9 $ ; $1.05. 9632 May Day Waltz. L. A. Bugbee. . . .Gr. I. b in spiring text of 21322 Our Flag Is Passing By (Mixed). H. P. Hopkins .12 j^i^yes makes^u'a'l i 9631 Maypole Dance . L. A. Bugbee. ' J, . . .Gr. Mother's * * colltT 'bution to a 35434 Give us the Tools (Mixed) Dichmont 10 | Oar Program 16201 Maypole Dance . A. M. Foerster. Gr. 3 21454 ( God Bless America Mixed )... Cooke 08 15019 Maypole Frolics W. Berwald Gr. l 21503 2 /2 March on, America! ( Unison ).. Thunder 10 27284 Dance of the Pink 35438 Messiah of Nations (S.S.A.) .... Sousa 12 Petals C. D. Richardson. Gr 31/, 21504 To Arms, America! ( Mixed) .... Strickland 12 TWO PIANOS—FOUR HANDS 21478 V for Victory (Mixed) Elmore-Reed .. .10 26614 Joy of Spring C. Kohlmann . . . Gr. 21493 V for Victory (Male) Elmore-Reed .. .10 4 Great Days of the American Revolution (8 Patri- Memorial Day otic Choruses— S. A. T. B.)..Peery 60 Each chorus finds its inspiration in one of the June important battles the Revolutionary IVar. Weddings of Cal - CHORUS Ho. „ numbers Paul Revere's Ride (Cantata for Mixed Voices) T Appropriate and effective 35154 Comradl Gantvoort 75 the 0 " W sieger and or,*?* 9 °f H °P» The Lost Locket (Juvenile Operetta) .. Forman .60 coming (M°ed ! wedding ceremonies L “V Adam . . PIANO SOLOS 3S3398^ m HimutTMfxId-s VOCAL 1 SOLOS Memorial ' ' Smith • • Fourth of July Liebling ..Gr.2l/ Day L '? 0 2 30318 Nuptial Song—Davis V MixedMix^T -Secular)c''' ..Gr.2l/2 , Nevin ... 6818 Independence Day Cadman 30173 For You, Dear Heart $0.40 —Speaks (Two Keys) 11825 Independence Day (Intro. O T.60 2257 PIAN 0 SOLOS 30172 All For You—d'Hardelot (Two Keys) 3 Abrah Columbia the Gem of the T.60 12268 O Perfect Love—Burleigh (Two Keys) Ocean and Yankee Doodle) Spaulding . . Gr. 2. 24163 0 Perfect Love — Kinder .60 ! 22571 John Paul Jones Blake Gr. 2 /2 17012 You Came to Me With Love- brame. .50 ! 30044 Liberty Bell March Sousa Gr. 3 /2 .30 18489 1 Love You Best—Brown 15101 Patriotic Day Crammond. .Gr. 2. . .35 ' PIPE PS ' ' olfe ® r Military ' Spirit of '76 Rebe Gr. 2 ORGAN " , 25826 March ? ! ' *— • • bngelmann .Gr. Hail to the Spirit of Liberty. Sousa Gr. 4 . 30326 8rid °' us hic 30860 '*jj_ Wedding" Goldmark 27356 Marines' Hymn ("From the Halls 24991 A Merry Wedding Tune Saar .35

Arr. Carleton.. .Gr. I 4427 Bridal Chorus ( of Montezuma") '/2 Lohengrin )—Wagner .50 13486 Wedding March Mendelssohn.... .40 24970 Love Song Drdla-Mansfield .60 . 27285 Dreams (Wedding .50 THEODORE patriotic songs schools, clubs, homes Prelude) .. Streiezk'i-Sw i stirring t service gatherings, and community sing CHORUS— .35 PRESSE Accompaniment Book. $1 MIXED Voice Edition. 10 cents .25 veryfhing O Perfect Love Kinder /„ Music Publicc Chest "“t it., Philadel, Twenty Practical Exercises for Improving the Voice MERLIN ( Continued from Page 268)

atre groups is desirable. One of the parts. Sing up the scales on the vi- exercises in acting, and one brato, six notes a second. Mastery of best which brings out the meaning of the the vibrato is a splendid accomplish- text is to shift emphasis from word ment. the best with the to word in a sentence, until COLLEGE It should not be confused found. tremolo, which runs in pulsation sense is Read the sentence over as many about twice as fast and is an uncon- times as there are words in it, and CONSERVATORY OF MUSIC trolled, nervous quivering. accent each word successively, as: for home. Exercise 18 1. He was starting out in an attractive He was starting out for home. A professional music school Avoid crooning, in which the outer 2. was starting out for home. college town. (Member of the National muscles of the neck are contracted to 3. He was starting out for home. of Music.) make the throat smaller for the 4. He Association of Schools for home. 5. He was starting out pianissimo. The pianissimo is prop- carefully selected He was starting out for home. Thorough instruction for erly with the vocal cords slight- 6. made italics. This is students in all branches of music under artist teachers. more lung air Accent the words in ly apart and uses up should be a good test for the ear. It Special training in band and choir direction. than ordinary singing. one listened to by a teacher or some Write for catalogue describing Obcrlin’s conservatory Exercise 19 with a good ear, as a student will shifting the courses and its superior equipment (200 practice Here the often suppose that he is Practice at whispering. of when such is not the case. rooms, 23 modern organs, etc.). Degrees: Bachelor vocal cords are entirely apart and accent Accent, or emphasis, is produced in Music, Bachelor of School Music; Master of produce no vibration, the sounds ways: by changes up or down in being produced by friction of the air three Music, Master of Music Education. increases or decreases in loud- passing the formations of pitch, through shortening or lengthen- Frank H. Shaw, Director, Box 543, Oberlin, Ohio. and lips ness, and by the throat, mouth, tongue the word. Prac- It ing the duration of usually set for tonal production. exercise by varying the is ex- tice the uses up lung air prodigally and one, any mus- methods of emphasis, using cellent exercise for the whole on the em- two, or all three of them cular system of air supply. the phasized word. Select two of one for pri- Exercise 20 words of the sentence, the other for secondary neglect the mary and Many singers entirely Pauses before or after talent for emphasis. art of acting, or have little some emphasis. the- words also add it. Acting with amateurs or little

Dreams The Portal of Musical

(Continued from Page 270) the Great variety is required in tion against com- that that can be taken of exercises. If one finds period of mu- plete neglect after the exercises give particularly pnncipi sical education is over. The results, he should return e SCK°0L Etude of be formula But as Answering Adver- the method must tliem from time to time. D;»M TKE;drA ™ fT and must has been con- ' tisements always pays with precision, soon as one difficulty sections work, so that proceed to another, delights the reads of the ered he should IE and the min all im- are no uncertainties in The requirement which is he has a should listen with = SCHOOL OF MUSIC= the pupil, so that ° portant is that he JUILLIARD question, a soi wanders too answer to every Our attention President progres care. Lrnest Hutcheson, for every difficulty. The «. worth more to work one en ' is intern- the development of the musical with constant control of aptitude o to work sev- JUILLIARD SUMMER SCHOOL gence and of the SOUnd of detail, than si of fingers must proceed side by hours without thinking. First George A. Wedge, Director to account of the There are three objectives one must take P are cer- at sight; ’ technic. There July 5 to August 13, 1943 in mind: 1. reading s j n one’s whic long formance without finish, problems which demand and personal announces call “clearing the way”; 3. meditation, investigation, that lS the nature of pupi s finished performance, ’ study. I repeat, Its regular program in all branches of music in a nia quickly, having execution of the work differs. Some develop organs are slow in Special intensive courses applicable to the war effort as perfect as the musical natural taient; others student everything technic of the some accomplish One-week "refresher” courses in repertoire and teaching aids tion and the of ro difficulties others must labor are achieve. The eflort| students able to for ^ Program for high school same result. Many. Piano are not the immediate playing on request will exec the advice that is give Catalog all performers. One hand , soorn scales to most severe of teach- with ease the trills, the untll the 120 Claremont Avenue Room 122 New York, N. Y. cost Sie experience, obliges t double notes which ® foie ers, to another. Practice must t and to think, up ? be divided accordingly. "FORWARD MAR WITH MUSIC" ' ^

During these games, as they may definitely bring Class Piano Instruction startling results. The mained calm and be termed, the teacher sat back and class cannot become unruffled. Each listless and ab- child drew a allowed the students to conduct pro- sent-minded or number from a basket, in 1943 self-centered because and then waited ceedings. This responsibility was flat- his turn, according so many tilings are going on to re- to number. If anyone forgot spoke ( Continued from Page 224) tering to them and it gave them a quire attention. The and student is not out of turn, splendid training which would be his name was written on attending class only to play for his naturally there the blackboard and cross af- were many degrees most valuable if they themselves teacher or only to play a was at all. He is fixed after of types between the two mentioned. were later it, showing that he had to become instructors. In attending class in order to compare been impatient. The point of this game is to teach any case, it taught This idea worked them to listen his ideas with those of his classmates the listener like a charm, as to observe not only the critically but constructively. They with whom he must measure it assumed the na- technical up, as ture of a game proficiency of a perform- actually know what is going on and well as to win the and each child wanted ance, commendation of to be a but also the lack or the pres- this training fits them for his good sport and to outshine score instructor. It is a matter of ence of musicianship. pride the others reading when attending opera and with him to show the when his chance finally fruits of his arrived The third “hazard” was the playing symphony concerts. The psychology practice in to perform. a flattering light, but at of a composition which had been of this is that they are taking part the same time, he knows sub- Watch studied by the entire class and which actively instead of passively looking consciously perhaps Progress with a Smile that he will also was thus familiar to them all, in its on as just a mere listener must do. Again was benefit from the mental conclusions the positive, construc- original key. This lve number had first of his colleagues. form of direction employed to been analyzed harmonically and No Disciplinary Measures ery &ood These classes under discussion effect. This experienced structurally (which procedure During Games were teacher^ should composed of students would suggest that in clap- be of from ten a matter of course) and as the It is interesting to note that no to about twenty ping and years of age and marching to certain student went to the piano, a mem- disciplinary measures in ihythms, are necessary some cases, these various the ones who were quick ber of the class an o would mention the during these games because everyone proaches would not grasp the situation key be wise or prac- would be ap- in which he was to play the is busy and alert, listening, ticable pointed and with children of kindergarten as monitors to help the less piece. At first, only nearly related straining e every nerve to find some- or of pre-school age. children. Thus was avoided any keys are feasible for e use, but as the thing to voice, either as a question Later the opportunity ing of superiority came to ob- over the slower student progresses in transposition, or as a point for lembers discussion. serve the conducting of a of the class, but the idea tonalities piano class of extraneous relationship In the transposition class, where for pre-school was handled so may children. The contrast naturally and with be introduced. For, if the stu- two pianos are available, it is good uch subtlety a in the handling of these that it almost passed dent knows his students harmony as he should, idea to have two students play simul- was marked in 0tl ed by some respects because the observer. This and if he has a fairly retentive mem- taneously, methodmoH I as this heightens the ex- of the difference in age, of working ory as regards and, there with children melody, he will com- citement in the contest spirit besides fore, a new method G extend bine of procedure ed to older groups also these two factors into a smooth putting the listener on the alert to was if eu necessary In the case of lnstruct°r is to and accurate transposition, the younee, inf tactful enough no mat- see which player is in error, when a children, there Ce the ter was more need pIan without making what the key in question. Nat- discrepancy occurs. to- her inf . discipline because they ntentlor>s urally, this all wanted known; but this must procedure must be ap- This is probably one of the most express their to behe done opinions in unison very carefully. proached gradually; and a wise in- vitally important, It interesting and first this was quite confusing Cher structor knows to 'the who can enter into- how large should be valuable phases of the work that a observer but th«e , apparently it ™ with the doses. did the same spirit as piano teacher can use as it that b does disturb the instructor, by the for she r7 who students is the one forth with the best TA Teachers DiplomaTIT 1

1 ABachelors Degree 111 . InYour Spare Time at Home

N EVERY COMMUNITY there are ambitious We offer them without obligation to you. men and women who know the advantages of 1 new inspiration and ideas for their musical ad- We are the only school giving instruction in cessfu.%^1^ / music now in its the Study 39th sue- vancement. It is to those our Extension Courses are Home Method which includes in its and many l0E ed and teaching suceessfu!e ^ ,ramed S '?tul mm musicians all the courses necessary to obtain anrao tead1 T of the greatest benefit. the Degree of Bachel advanH~.°^" whic ers~T„ of Music. lor The most successful ! 1 8 ' V e n musician, of course, is the very Thene Cou to l bem. Don't wait trated lessor, Pon will h : „ busy one. Yet he is the one who finds extra time for Openings in the music field are something worth while. And to such a ab°ut one Extension growing very rapidly. There are This Is the lessons which are Courses the greatest boon. It isn’t always possi- big paying positions for those give up ble to an interesting class or position and who are ready for them. go away for instruction. ------^JSPAYJ. Please is ' A ' Study Method is ' The Home equally advantageous to Do you hold fhe Key Send me catalog !’ !"° 333 sar , the beginner or the amateur. Because the work an X below. mple lessons can be s a "d to fhe best teaching fun information done at home in spare time, with no interference regarding course I have one’s regular work, many minutes each day £28%:; i with may Public School jjarniony position a Diploma? Mu. r • be used which ordinarily go to waste. — Public Smner School Mus AH s V d Com — ancod Ear Trv - Posifio? vi^CoZ? fhe It is up to YOU. On your Look Back Over Last Year 8,lt Singin History 'of"Music g own decision will rest your C,^''"ducting have you What progress made? Ferhaps you have future success. Fit yourself for DM B » M wanted to send for our catalog and sample lessons be- a bigger position — demand ^-ranging look into them. That is your fore—just to privilege. larger fees. You can do it! The Increased Requirement for DEGREES has Resulted in Larger Demands for the ADVANCED COURSES offered by Are you teachi Dlie UNIVERSITY EXTENSION CONSERVATORY hold (Address Dept. A-333 ) 1 525 E. 53rd ST., CHICAGO, ILL. Would you like to

"FORWARD MARCH WITH MUSIC ” — SAMOILOFF BEL CANTO STUDIOS & OPERA ACADEMY ANNOUNCES SPECIAL. TEACHER'S TRAINING COURSE

readers of Dr. SamoilofTs book, for further In answer to many requests from instruction in his methods. Dr. vocal Teacher’s Course. Academic credit for this instruction SamoilofT is offering a special can be arranged. concerning the Teacher’s Training Course. Write for further information are available from Dr. Samoiloff and his associate teachers throughout Private and class vocal lessons the year.

MARGARET PHELAN ROBERT BRINK Miss Phelan won from 86 of Southern California’s the Metro- Brink won a $500 prize at the finals of best women singers the privilege of singing with e "gag politan Auditions of the Air. He is the Los Angeles Symphony Orchestra under the Philadelphia Opera0 sing leading roles for the baton of Albert Coates at the Hollywood Bowl proving a grea Company this season and is this summer. The critics acclaimed her singing. cess. Dear Maestro: Dear Maestro: “My unending gratitude to you for your in- ,, you have, „ done “My deep gratitude for all spiration and guidance in the technique of true all other singer Bel Canto. You for my voice. I only wish ALONE can present correct tone with yo placement have the opportunity of working so clearly and concisely. The day I exp D they might experience the thrill I am first came to your studio will always remain the luckiest at each lesson.” in my life.”

610 SOUTH VAN NESS FEDERAL WRITE FOR CATALOGUE 8294

tympani sticks at all, but by snare has “Tympani work is less a matter of the added responsibility of results. She submerge herself, >— T" 1- 1 " •4 "”" rt™ must of delicacy. Hence, finger drum sticks. In his latter days, Gus- counting his measures, both of rest as re- force than it were, but at the same time, tav Mahler developed an intense dis- and of work. wrist technic are more impor- In addition to master- tain her the matter and adult mastery of arm work. The forearm is like for the effect of soft sticks and ing the rudimentary technics, the at hand, of the tant than plus her mastery more forceful dynamic demanded hard ones for all tympani battery man must count like a cash given used only for subject matter, which must be unusual power or passages. register! Often one must count more out with gradations, when with friendly authority, but normal playing, “The bass drum, in orchestral than a hundred measures speed is desired. For before an absence “school marm” is ‘effects’ coming of the action serves as motive work, limited chiefly to in with one light tap—but flavor. of the wrist She should be youthful delicate passages, military colorings, thunder rolls, and that tap must be perfectly timed. the nower while for spirit, vibrant of personality, called into play, so on. Berlioz makes splendid use of Never should the tympanist depend and the fingers alone are Possessor of tireless energy as solo it. on cues from other The nine notes that occur instruments, or blessed with to keep the on familiar passages the ability part in the Funeral March in the score. ball must tympani Other Effects rolling every minute. There for ex- The value of the cue is merely from ‘Goetterdaemmerung,’ to hever be “The expert battery man must un- confirm the correctness a dull moment. require a delicacy that could of one’s own grati- ample, Needless to say, it is most wrist or arm ac- derstand the other percussion instru- counting. A split second’s inaccuracy never be secured by fying to watch gongs, cymbals, bells, chimes, in responding to an instructor the most valuable exer- ments— to the cue of another progress tion One of “Progress with a smile,” this development of a good, tambourine, triangle, xylophone, and player may ruin a performance. c is the being foundation, in addition to drums and tym- Hence, in the last built on a solid . made by the fingers alone, so on— analysis, the tym- with oi rapid, roll no short cuts, easy methods forearm should behp used pani. Although these instruments re- panist must depend upon himself and ac- Wrist and grandstand ballyhoo. It is an and only as quire the most careful manipulation his own musicianship. Indeed, with the greatest care, it is pomplishment and cher- of the in symphonic work, the player is precisely the solid well earned speed and dynamics musicianship re- ished nothing the by the students, to say demand. generally guided as to their use, quired for counting, tuning, and put- of doubt, passage their parents, who have, no either by the indications in the score ting the proper color and life into make made sacrifices in order to For Variety in Color or by the wishes of the conductor. one’s effects that lifts the tympan- size of the instruments is marked music study a possibility. color effects is secured The ist’s work from the level of mechan- “Variety in j . xi_ never down, and, in the case of the cym- ical drum beating to , The tympanist orchestral by *he sticks .. « c^o-ipngle nair.pa r He bals, indications are given as to standards. That is why I urgently confines himself to a s use; a light- whether they are to be clashed or advise prospective tympanists one pair for general to let has and whether the pair for delicate work, struck, striking the ‘boom boom’ wait until they have Musicianship and er narrower pair for pas- sticks are to be hard or soft. In the acquired a thorough musical and a heavier, larger back- larger, more col- Prelude to ‘Lohengrin’ (as also in cer- ground through the study of theory, Drums sages that demand +Vwa otlflf.Q IS in tain Debussy works) a fine swishing TheTuse~ of the sticks is in , harmony, and at least one other or- ( Continued from Page 2741 the musical judg- effect is secured by gently scraping chestral instrument.” most, cacases left to ^ tympanist,t.vmpanist, although the edge of one cymbal against the the ment "of the hands—resembles the position of and even some other. Such special effects must be It S fight hand work. carefully worked out and diligently "It is in small drum °mnnsers indicate their own prefer- the nature of instrumental is the relaxed grasp, guided Variations, for practiced music in its highest form to express natural In one of the by the from enTes “SinceSince tthe percussion instruments in third and fourth fingers Elgar indicates a roll on sounds ivhat is inexpressible in nat- instance beneath, and manipulated in a be executed, not by are not in constant use, the player words.”—Wagner the C-tympani to ural downward stroke. "FORWARD MARCH WITH MUSIC 281 APRIL, 1943 — °

— oci ui gcbiuies. June secieu The Problem of of effective operatic production lies ’ in “ working out the performance as a the Young Singer whole, with each member expressing Qrown-Ups the character (not the gestures!) that animates it. And the animating in Opera principle must always be the ideal CAM LIAiM T@ PLAY of the composer. The stage director bends his ( Continued from Page 276) energies, therefore, not to coaching THE PSAM© roles but to bringing to life a unified conception, free from ex- For Years "Grown-Up" Music Beginners Felt That an look attractive, from the stage The aggerations Instrument Calling for Single Note Reading was Their Only and wholly true to the modern eye is so surfeited wishes Chance to Enjoy Making Music. To-day, Through These Spe- with of the composer. there pulchritude in Always, cially-Prepared Books, They Find the Greater Advantages of — Hollywood in the are wo traditions sports world, —the right one and the Piano, From Which Melody, Rhythm, and Harmony May in the fashion adver- the wrong! Our task is to be Brought Forth by a Single Performer, Are Opened to Them. tisements that to-day — it makes certain ot out the visual demands, wrong one, to free the Piano Teachers Everywhere Are Enlarging Their and the intelligent operatic form from unjustified lib- Pupil Lists In Using These Books. singer will try to satisfy them. Cer- es’ * and to em ele- tainly, , Phasize those it is not necessary to m make ® which the desired one’s self over into a y.,- composer ‘glamour girl- 1S enef GROWN-UP or s to find in the work. BEGINNER'S BOOK boy! but it is necessary „ T that have found young For the Piano By William M. Felton details of figure, of grooming, that the and S eager to in Here is a of general taste _ establish himself book of piano instruction material for grown-ups, high I be watched. It is hi school age pupils and college young men and women, that really not arresting beauty iS deli Bhtfnl material to leads towards a definite goal—not the digital dexterity of the of feature work that He ls yirtuoso-7-but the ability to play the many fine compositions of I stress—that, of tractable, he brings | course, is AY intermediate grade, and the playable arrangements of classic and some- t usiasm standard thing that cannot to his work, he- has compositions, that are available. It begins with the 1 be nnt in f h rudiments, manufactured s ]lis but quickly has the pupil playing interesting melodies —but attractiveness in awe for the great com- while making rapid acquaintance with fundamental technical stage appear- Dn and problems. Keyboard illustrations ance. If he is less rest assist in correlating the notes of an audition , inclined to the printed page candidate on with the keys of the piano. Everything in the presents herself laureIs indeed, no book is designed for the adult student—the music will appeal to who shows — he has a eross laurelslaurel tot the adult intelligence, the pieces and exercises are arranged for unrestrained rest on! playing figure, carelessnessTor by fully-matured hands. While intended for use with a enc teacher, the explanations 1 plain bad °uraging our are so clear and easily understood that taste!) in coiffure success of the diligent self-help student may get much and owTY assistance from the cosmetics, and 8 °up lnclines that study of it Price, SI. 00 garish clothes w other me to feel maU COInPanies of young PROGRESSING PIANO STUDIES StagersS Cr fntL f or the operatic For the 0, ^™ Grown-Up Student By William M. Felton lancethatsheis Here in this book are gathered together etudes that have all the characteristics that appeal «lY ~ a< u ts: d'e same type of material employed in the author's Beginner's Book. Ti J Grown-Up ,ey have been carefully graded in order; *J progressive the fingering plainly marked, and the editing has been most thorough. Teachers will be delighted with so comprehensive a course of studies under one cover. Adult pupils will welcome the economy effected and will Important appreciate the opportunity of perfecting their technique to a point where they can play the Elements not-so-difficult pieces of 4 wi- composers such as Schumann, Mozart and Haydn among the sheer vocal magnificence classic writers and Nevin, too alone MacDowell, Engelmann, Cadman, Kern and others numerous enough. wp, In to mention among the moderns Price, SI. 00 We demand that the™ the Foundation ductor MELODIES EVERYONE LOVES shall conceive and organs a well-grounded, well-rounded of Touch An Album of Piano Pieces fop the Grown-Up Music Lover romance; that per the orchestral (Continued mans shall musYus‘- from Compiled and Arranged by William M. Felton play as ably as “ Page 233) For grown-ups phonic body; that from 16 to 60, this new volume is a compilation of light opera and grand opera the sets and Sages favorites, mi in of broken ch( folksongs, classics and light rhythmic selections. Each number has been chosen tumes shan be harmonious, left-h^H because of its popular appeal but there are many pieces included that will not be found in convinc accorn mg and ern usp h paniments. IV ordinary collections. All of the 56 melodies have been arranged or revised so that they may pleasing; that the d be played and enjoyed pianists have had only a few seasons of study. Even am- stage di' 0t S‘° by who rector shall do Pioyment ”, P at SUCh bitious youngsters can attempt these versions because although the harmonies are full and more than °but indite 863 the rotatiOT pianistically good, all of the notes are written “under the hands’’ and octaves constitute the the moment when h«P the only demands Price, $1.00 the performf accent in this regard rush 4 in rapid pass£ to the footlights and consisting of throw oYut lrregular their arms; that the coL?L groups. PLAY WITH PLEASURE singers he a„ , in the sense ° 10111 °* ““ “* Piano Student of giving appear An Album for the Grown-Up ~e u? inZayi* Compiled and Arranged by William M„ Felton of

Teen-age students who have completed the first books of instruction and pieces, as well as adult pianists of limited attainments, or with little time to practice, can get a lot of fun out equal in S of playing these numbers. There are arrangements of folksong and ballads, gems from importanc^to from the classics, pieces in light rhythmic style. Many voca™uret‘ety ^ EW the operas and overtures, selections I do not mean ™ - Standards are well-known as radio "signatures” and movie “theme music.” None of the arrange- that a young in ments requires more technical proficiency than that acquired by the pianist able to play- must necessarily 1 Ber Price, have nLvert grade three music $1.00 stage before °n the New he is ready fnr Records PIECES PIANO DUETS work. Quite the contrary. 'Continued BOOK OF PIANO BOOK OF TiT* from Page 229) it is a distinct advantage '-ardboard FOR ADULT BEGINNERS to Doll- FOR ABOUT BEGINNERS with inexperienced 0* D °" 3 f INos ' '• 2 will singers Y? n>m is numbers Th, After the first few months of learning the Here an album of 19 that give a have a long, useful, pleasure-giving life them the N ,”' Fami| Guioi “geography” of the keyboard and in getting and stage °vaes y) : the right finger to do the right thing at the around the piano in the average home. It is need. ZSinTeP (pla no) Each operatic y 17355 ’ d right time, there is then the chance to begin ideal for this purpose, but some older be- -d. Columbia performaitnce - at- ginners will find it especially helpful to quires the “ re enjoying one's own rendition of some services of a tractive music. That is where this book their piano progress by enlisting the aid stage mpetent 6 older, who director as ls comes in. It provides clever, easy-to-play of playing mates, younger or well as th ture a^T^asy simple in str arrangements of favorite melodies from have a little more piano-playing experience. conductor. 6 ° f a ? Neither part difficult to being per- What the Pleasant grasp ’ These classic, folk, operatic and standard sources is play, cond.mf little with a dozen original compositions by haps what would be assigned to the aver- for the music, does J? along the stage direr!” contrasted with eflecti' favorite contemporary composers 27 pieces age younger student in grade 2. or early for rhJJ ? Price, $1.00 the visual es 110 il Price, 75 cents grade 3 part of ?° Patterns, ;n a the prodY Donizetti; L Y™ That is a to say, he n ' (sung !° ri,a—0 mi° Ferna has his in It ception own a i ia Published by of what the Jeanne aild TchaikOVS perta-L™"'° d'A, « should be, and *ance ,eu he .. forets (sung trains hi ^i'ench) • p- -or singing ngers Stev actors—to f Prano) ens (mezzo plan fit n f Theodore Presser There is little !° * S by orchestra conduc C°- sense to Erich r • coaching y ’ heinsdorf. vocalists in their „ m 71440 -d. Columbia c 1712 CHESTNUT STREET. PHILADELPHIA, PA . then bringing 158 and them together Miss Steves.' .. stage to emit those w ® stags both these ai >th at)Pn able style a a lev tonal qual nd 282 "FORWARD MARCH WITH MUSIC" ^ 1

Yorkville town hall being filled with Canada, an enthusiastic audience, who gave loud proof of their gratitude when The Maple Leaf Forever was sung for Glorious and Free! the first time in public. It was at once acclaimed as a great patriotic song. that occasion Mr. Muir was pre- ( Continued, from Page 226) On sented with a large brass-bound Bible has which is now in the possession of his \oVf *eir Chorus George, at Newmarket. Success^ _ Co^«YP toi A son *lS tjeopYeJ wVjaJd The Maple Leaf our emblem dear, After two years at Newmarket he The Maple Leaf forever, went to Beverton, but in 1884, he re- „ die 9°^,/ Avon'— rtOi>‘-3 God Save our King, and Heaven turned to Toronto as principal of edge Patrick’s bless, Howard School in old St. ?> 4 The Maple Leaf forever. Ward. A few years later he was trans- cat' fee ferred to Gladstone Avenue School, known as Alexander Muir C This Canadian national air was now ^ ^ remained until his er School, where he iifl eI composed by Alexander Muir who _ _ in January, 1906. was born at Skellyhill school house death ehse The facts as to how Alexander Muir at Waterside, near Lesmahagow, in ° rv f°r vheot^- . r She ftck A came to write The Maple Leaf For- Lanarkshire, Scotland, April 5, 1830. are very interesting. In the e He was the older of two sons of John ever Kve^ of 1867, he was walking along Muir and his wife, Catherine Mc- autumn George Leslie—the son of the Diarmid. When he was three years with of Leslieville—and a maple old his to Can- founder parents migrated tree leaf fluttered down from a big ada, settling at Scarboro near To- on Maple Street, and settled on his ronto, where it was not long before shoulder. He picked it off and said, John Muir received an appointment maple leaf forever; the maple to teach Agincourt, near by. “The school at “Why don’t you write educa- leaf forever.” Alexander received his early Alexander?” asked it in a song, tion in his father’s school, and when JUILLIARD SCHOOL OF MUSIC' George Leslie, and he did. He wrote still in his teens he was sent through that night, and the next morn- President great parents, to it all ERNEST HUTCHESON, sacrifice by his his son James into the Ontario. ing he took Queen’s College, Kingston, room and setting him on a There remarkable ap- drawing INSTITUTE OF MUSICAL ART he manifested the song. Alexander year stool taught him titude and in his twenty-first school, but GEORGE A. WEDGE, Dean taught it to’ his class in graduated of arts. as bachelor until the Boer War in a it was not Individual vocal and instrumental instruction. Classes in Theory, Com- Returning to Toronto, he took generally known. 1899 that it became position, and all branches of music education. post Scarboro. In a as a teacher in one thousand copies struck few principal He had Courses leading to diploma and B. S. and M. S. degrees in instru- years he was appointed Methodist Book Room, but part off at the mental, singing, and public school music departments. of the school at Leslieville, then out of an invest- got back only $4.00 of Scarboro, but long since annexed that inspired Catalog on request. ment of $30.00. The tree to the city Toronto. His little south of of him stands a few yards Room 122, 120 Claremont Avenue, New York school was what is now Avenue, in located at Queen Street, on Laing Queen and Curzon Streets. From it front of Maple Cottage. he radiated an influence for good, Philadelphia Conservatory which affected whole community. the BOSTON UNIVERSITY of Music It was while he was there that in NOTE PLEASE 216 patriotic limitations it has been South 20th Street 1866 he wrote famous to space COLLEGE OF MUSIC his Due important items Maria Ezehman Drake to omit several hymn immortal, at npcessary • preparation for careers in Managing Director and made himself Part Two of Miss Florence Thorough t il th;* issue. music. B.Mus. or Diploma in Voice, Piano, Faculty headed by least concerned. article, “Traimng the as far as Canada is Leonard’s valuable Organ. Violin, Cello, Brass, Wood-wind Olga Samaroff, Playing,” scheduled for Mus. D. transferred for Piano and Percussion instruments. B.Mus. In From Leslieville, he was Hands Also the Courses leading to will appear in May. Music, Musicology. Degrees to of the Hds issue, and the Composition, Church Newmarket as principal Instruments Department B.Mus. and M.Mus.Ed. in Public School ‘Fretted column are school there. His departure from To- “vZlS Questions Answered" Music. A.M. through Graduate School. in May. Glee Club. Orchestra, Band. Fac- RIVERDRIVE SCHOOL OF MUSIC unusual omitted, to be resumed Chorus, & ARTS ronto was marked by an ulty of distinguished musicians Includ- the Symphony Orchestra 84 Riverside Drive demonstration of popular esteem, ing many Boston members and • the Stradivarius String New York City Quartet. Cultural opportunities of Bos- FREDERICK G. KOEHLER, Director ETUDE and ask them to give ton. Attractive dormitories. Catalog. Dormitories . I THE DISTINGUISHED FACULTY Tell Loving Friends a " subscriptions. Alfred H. Meyer, Dean your Music ,|ie j r Students may enter o j n 53 Blagden Street Boston, Mass. at any time. you the privilege * you send or catalogue and information address Secretary Reuar subscriptions Ash for Catalog o) . Philadelphia, Pa. THE ETUDE 1712 Chestnut Street Buy More War Bonds and Stamps for Victory '— OF MUSIC BALDWIN-WALLACE JUILLIARD SCHOOL OF MUSIC M1LL1KIN CONSERVATORY OF MUSIC DECATUR, ILLINOIS CONSERVATORY Ernest Hutcheson, President RFREA. OHIO (suburb of Clovoland) I Offers tlioro training in music. Courses College. i Liberal Arts and I( . « ”*fi ra class1 , with Courses for I Bachelor Diploma Faculty Piano Teachers of Music Degree. Affiliated M ,e»dln* to degrees tc Organ, Pu “ catalogue or U.forma- P' ano - Voice, Violin, ‘L for £S? Methods.hods 5° S“rs Send Music Methods and Music Kindergarten Artist | Berea, Ohi request RIEMENSCHNEIDEB. Dean. Bulletin sent free upon A LB ERT BERNICE FROST W. ST. CLARE, M INTURN, Director at the

A Revealing New Book in JUILLIARD SUMMER SCHOOL C0UNTINU -Woods PARAGON OF RHYTHMIG SainI Mail George A. Wedge, Director FOR ALL RHYTHMS HARMONIZING July 5th to August 13th, 1943 PARAGON OF a m B.A. and j other ln- ’recs of p vlo„n 0, Beautiful, nell- “HARMONIZATIONS tion. pi ?" pMltion, harmony 120 Claremont Avenue New York, N. Y. rom ° po FOUR KINDS “of' campus - AU b£83SS«. sp°cloua explanatory circular Send for 8U Woods. Indiana Cnt 1 Marv-f-tb- EFFA ELL,S PER ,EL 5i° ir sir- in, J; VnrkTorK City !03 Now , fEast 86th St. (Park Avc.) nopiF/ A J?D MARCH IWITH MUSIC’’

A PR 1 Our Musical President

by Alfred I. Tooke

The early presidents of the United college band, and after his college States were kept very busy organiz- days were over, a neighboring town ing and governing the new little re- announced a band contest. “We public; yet politics did not take all of ought to get into this,” he told his their thoughts—they found time to fellow townsmen, and soon he had be interested in the arts, too. them George Washington rehearsing strenuously; he even himself is said peisuaded to have been the tradesmen to put up very fond of music, and two hundred dollars for uni- he imported a harpsichord for his smart ornis, promising to step-daughter, Nellie Custis. repay the amount He is out of also said the prize he was sure they to have played the flute Edited by would win. Sure although in a letter to Francis enough, the uniforms Hop- weie paid kinson he wrote that for. He later would often he could not stop ELIZABETH A.GEST in to hear a play any instrument. This letter rehearsal of the was nited States written in 1788, so perhaps after Marine Band when he his lived in retirement to Mt. Vernon he may Washington; he also ex- have learned ( Continued on to play a little. Francis Next Page) Hopkinson, a great friend of Wash- ington, was one of the signers of the Declaration of Independence, and he is considered to Nature’s Eludes be America’s first Junior Club Outline No. 2D composer. He by Marjorie dedicated some of his Hum Pettit songs to Washington. WUUjur Then, had you lived in the citv of Washington at the beginning of a. When was Mendelssohn born and Harmony Outline for the three the nineteenth century and were when did he positions of triads, passing the die? White House, you might h. Play the pattern given herewith have heard b. He is considered a great composer the strains of a 2 of tonic triad, in second inversion accompanied by in both the classical and romantic a guitar. Could you (marked followed by dominant have peeped style of composition. Describe %) , in you might have 7 seen these styles. seventh (marked V ) and tonic Thomas Jefferson playing two the violin with root in bass, in four major while his friend c. How old was he when he wrote Benjamin Franklin and four minor keys. was playmg the the music to Shakespeare’s “Mid- guitar. Jefferson" A program of Mendelssohn’s music daughter was summer Night’s Dream?” also a musician an! is easy to arrange, except in the very she might have been d. Of what orchestra was he the con- providing her early grades, when simplified ar- share of the musical ductor? evening rangements may be used. Good num- If passing the White House hoven listening almost to the wind's arpeggio e. What musical conservatory did he bers, some of which you probably a century later, you might have heard establish? play, include: Consolation, Op. 10, the Sunday evening hymn service No. 3; Venetian Boat Song, Op. 19, inaugurated by President McKinw No. Children’s Piece, Op. 72, No. who had an 6; 2; exceilent voice. Anothw Melody from “Concerto in G minor”; president with a good vnic Ul ’ Upon .: - P'ayed Nocturne from “Midsummer Night’s Woodrow Wilson, {, harpsichordh . who was a vaiua^ of shade. Dream”; Priest’s March from “Atha- tenor in Ins college glee c]„h ! lia”; Fingals Cave, four hands (from chapel choir while at d Princeton Pi Uplav" |" i,h slir,i, “Miniature from the Great ident e" t™'' ‘S Duets Coohdge also liked In ” ™nnd to sw sliarp Masters”) . All of the above may be especially " , when his wife Upo, ‘ 11 gh nd m,°"’ was at »hin. S icaf obtained from the publishers of The piano. theLne b’i, 5 o„m“ Etude. Also listen to some recordings Perhaps the most noted . 0 " 11 of Mendelssohn’s larger compositions, among the *>f presidents was Hard --n ""1 Keyboard Harmony pattern symphonies, and other works. He played in the brass A dance vivace V "'* Pane— section in Up°" w?| d hfs a crystal’ ^“ ™ ti a f. a triad is said to be in an inverted form, or used in inversion, when either the third degree or the fifth is used in the bass, instead of the root, or first degree. g. Review your November Keyboard

Trills and trills Obiectswwcha™ « by Nellie V. Mellichanip TheSe onV°!S obS arV says that trills are frills My teacher be 01 *hC That compositions wear; substitute! ^a^ To dress themselves for concert use They tuck them in their hair. SeS d by objects 0k the And grace notes, too, and sparkling the t w 6 jng the Th6 play ' longest u ; runs titles, °t correc sue'P-pft , All make a lovely dress. 6 by the winner. ob i ect£ And so, a Mozart Minuet Some"" f George Washington playing the flute, Neilie 'The suggestions are: Custis at the ' Last Is clothed like that, I guess. ham u Martha Washington listening. (From a painting in the Mt. Vernon bells (The Summer '> collect"^) BeliTs V Bells) °f s *- Mary’s 01 284 "FORWARD MARCH WITH MUSIC” . The Junior Etude will T?d Class A, fifteen to T 1 eight- Endless Chain Puzzle Our Musical Presidents award three worth while een years of age; Class i_[J (1 J1 ll 11 11 U U 11. Ju I UttHE! for the Each link in the is prizes each month B, twelve to fifteen ; Class chain a musical

most interesting and orig- un(*er twelve years, term whose first letter is the last ( Continued ) [PrmTmfl'Oe?! essays a inal stories or on cLd LLU illL fiLcLn O) H. Names of all of the prize letter of the previous term. What given subject, and for cor- winners and their con- musical terms make the chain? pressed a desire that Washington rect answers to puzzles. tributions will appear on would become the musical center of Contest is open to all boys and girls un- this page in a future issue of The the world. der eighteen years of age, whether a Ju- Etude. The thirty next best contributors This famous Marine Band, through nior Club member or not. Contestants will be given a rating of honorable men- grouped according to age as follows : tion. its radio concerts, has become a are familiar name to listeners throughout SUBJECT FOR THIS MONTH the country and its fine, spirited per- £ formances have been much enjoyed. i~ai/or"ite instrument Most of the world’s great pianists, m 1. A brass wind instrument; singers and violinists have given re- 2. must bo All entries neither a sharp nor a flat; 3. the citals in the large “East Room” of opposite to the staccato; 4. a drama set White House, from Jenny Lind, CONTEST RULES to music; 5. extra emphasis; 6. a in 1846, New York Mease. 285 APRIL, 1943 ? — , 1

THE COVER FOR THIS MONTH—In these may be ordered at the special advance Spring days there are thousands through- cash price of 35 cents, postpaid. Copy- out the country each of whom will be right restrictions, however, limit the sale sitting his enjoying “a at or her piano of this book to the United States and its Spring reverie.” The photographic con- possessions. tent of this picture on the cover suggests the great number of church and Sunday School pianists who in the glorious Easter THREE LITTLE PIGS, A Story tcifft Music for season, with its triumphant Easter-tide, Piano by Ada Richter—-The story part of will be enriching musically the church or this new book has been proof-read, the Sunday School hours. music has been engraved and edited, the There is a constant sale running into artist has completed the drawings, and thousands and thousands of copies of such A MONT-HLY -B U/LL-ET I N the cover design will piano solo albums as Sunday Piano Music, is ready so that this probably be place Sabbath Day Music for Piano, Con- the last opportunity to OF INTEREST/! an order for low cert Transcriptions of Favorite Hymns this book at the special advance an- (Kohlmann), Piano Voluntaries, Class- of publication price. As nounced in Little ics for the Church Pianist (Earhart) TO ALL l( preceding issues, Three Pigs is the Reverie Album, Sacred Music for Piano newest addition to Mrs. Rich- ter’s Solo, Evening Moods Piano Solo Album, popular “Story with Music” series for young its Tranquil Hours For Piano Solo, and a beginning pianists. Like predecessors, few other like books attesting to the fact the “story” is interwoven with that in this great country of ours there tuneful and descriptive easy grade piano are many, many pianists helping with pieces and songs. Such a combina- tion the various religious services conducted serves as both recreational and re- by churches and mission groups. cital material. Suggestions for use will be Never before has there been a spring- included in the back of the book and the time in United States church questions illustrations, which colored, will the when and problems regarding the may be /] ./jniO serve as a playlet- music—whether it be piano or organ or Stpril / v4-J r‘Eht music to use. For Commencement guide in staging as a accompaniment ' Day. for instance, Teachers who have placed an vocal with instrumental it may be advisable not already order for so —could mean so much to these United © to present a cantata or a choral program this unique book should do interspersed now while pri ce States of America. In these war-troubled with orchestral selections the special advance cash on the of 25 cents, days it is great to have a springtime, ADVANCE OF PUBLICATION other hand, a complete ^^tru* postpaid, is still in effect. since springtime always is a time of mental program may nrrun C be desired. The va" promise, with its blossoms, greens, UH-tlO nous conservatories new and private studios and feeling of music everywhere and al- wil1 offer several programs All of the books in this list are in each, in which ways with a triumphant feeling of Vic- preparation publication. The outstanding pupils will for perform. In all tory. Cash Prices ap- cases, the success of low Advance Offer the event can easilv Lqmont has received well-deserved recog- ply only to orders placed NOW. be determined by the nition right selection nf for his many contributions to the Delivery (postpaid) will be made music. Hence, it is a good Ulan tr. k, literature for as EASTER MUSIC THOUGHTS Did you ever »•«*» «« tuUMed. programs piano. Such works well in advance of their facile Fingers, to the conclusion that there describing each pub- Ten Short Melodious come was a Paragraph performance dates. “ This leadsieaas USn t studies, and for . to Eighteen Studies lication appear on these pages. . SUg- Short definite responsibility which you should t th aLf g you S*ve the expertly technic and de- do your utmost to meet Certainly this trained Style, as well as many lightful, Favorite First Position Pieces— PreSSer used Album of Co - an op- melodic pieces widely Easter season brings a responsibility to nm-hirvi f are For Viola and Piano 50 portumtyv^fto^ help.iff If by y0U will1 descri teachers. the church choirmaster, church organist, Child's Czerny Arnold .25 your general nlans be Composers— nr Specific * WOrth Childhood Days of Famous . needs to y Edition publications chorister to greater , , US to these and Sunday School a Coit-Bampton .20 our clerks will be Bach happy to select ciiitowT’ is new ShoR* Duet Richter SUltabl technic book Sixteen degree than any other year’s celebration Favorite Hymns— Piano ... .35 materials from OUT e ,n m,h' Gr Unlimited Etudes for which of Easter. With civilization being nailed F "'".'" 5 Technic and Phrasing *h,i.. .1= and send them to S£ you^xaminT' be publis Music hed to a cross of unspeakable suffering by A ' b “ m soon in the mUSiC tery+ “ .« ' “ Series short conquest- rfS “nu”: - This of power-mad dictators and Piano Conductor .35 beis of all kinds, ^“l volume orchestral wnrirc « Vers such rapidW thirsty nationalities, it is well for all r ,h W°rld s B '” , Know s‘cal Problems as ° '. " batches, operettas, fpnpff S° . . . a P te . : 1.00 °z°ll\an!' . . great notes sixths, recall that the greatest Vic- vkrtetv ’ le eato thirds and Christians to Singing Children of the Sun Lieurance .20 °f VOCal and instrumental lpff 2 matArinilal , d right its Lemont .25 > and hand arpeggios tory the world has ever known had Sixteen Short Etudes publications in mnnv for ifS octaves, Songs of My Country-For Piano ..Richter .40 cl aSSlfications be- prelude of suffering. here£ arp right hand and divided Three Little Pigs-f or Piano Richter .25 in quantities, twpJ? and it Wonlri b°th sus- inspiring spoken We're For America—Operetta Q LDe a hands work Supplementing the pleasure andd a nriviWa 7 . melody - e tainpH dd HOl ‘ of biblical FihS" •“ gainst arpeggiated accompan*' messages and the readings to you. Our 4„Tpp?o m mpnf. va^frr s rapid scale and passages, music can help more than any- for £uU cre Passages for left 1 ™ all copies returned S ; an S else convey to humankind the 1 f 3 ’ chord studies, embellish; thing to " ves °“ly ™. a sma ll m?uL ? ination. Any or all of the single copies of amount to cover brilliance and grandeur of the Easter Tri- maltog and return °Vei prollte» o£ phrasing. All numbers sent for “on approval." If un- postage. these\® eicises umph as well as the profound significance ive our famous are in the easier niajot used, may be returned for credit. Jf Mail Order and of that Triumph. Service o keys anci s ng Ssuall cover already have prepared their mu- “ TT UnteIeci ami Many bTg - earlv ^° in the third but °hvmemg fn, h sic contributions to Easter services, P™* «f ito Worth. raaes 01 Piano study. W1 SPRING CONCERTS, RECITALS, COM- nublkhR16 / I‘ a for those who always seem to need the details are being complete EXERCISES—In keeping a sinai P minute” this is a reminder that MENCEMENT Py ° f nkt> "last remarkable be this valuable book few weeks remaining for with the high efficiency and FAVORITE MOVEMENTS orriprpA at cash there are only a FnnK° the special advance output of our war and defense industries, GREAT M THE PPrice6 o£nf os the preparation of Easter music. SYMPHONIES-For p 25 «nts, generally Compiled postpaid. of this paragraph the coming weeks will know a by Henry Levine The Perhaps some reader — serious Plan increased activity in other fields, partic- dent as well as ° sfcu ~ may be an individual of musical accom- the home nlavp Tftb. designed to sustain the fine joys diversion 0 en “ a church where ularly those at the • THE plishments who attends keyboard emm-s /»r these will much of W find C2ERNY-Selc ««! S,udi« choir nor a choirmaster func- morale of our people. Among interest and real ^ there is no Worfh Be nn‘ be, as always, the thousands of studio soon-to-be-published this ^c. r-Compiled hV tioning and yet that individual knows collection Arnold h!S ^ ° 16 " £orth collection accept a re- recitals and musical programs, now so tents will include con selectpri coming or she were to the . that if he bett61 ~^ Czerny °nly weeks integral a part of American life, and the movements from nown studies will not sponsibility he could, in but the few the loveliest take it. ^ an< Pla e usrf exercises in inspired ^ most °. among the most ' get a choir group together and annual Commencement Day music of master - teaching remaining, clasS1C an aterial need of our nation, mantic ^ r°- . bn* will fill a that his fellow churchgoers have the schools and colleges symphonic long felt see to it composer ArPCl cert reason’ There will be weeks of diligent applica- rangements are ^be ar “ ainly with good of exalting music in the Easter musicianlv V fo^its o' t the benefit v n ntS dis- tion, careful preparation, and pleasurable ficult, with °^ WiU reflect the care, service. pedalling, fine*- cemment Sr*ng and judgment phrasing ’ editorial possible to find music for anticipation, which, of course, is as it carefully worked and of good It is always out an ently is nothing more cal- indicated. clearl successful teacher special church needs through the should be. There With this volume y children any pianist th^avera Presser Co., 1712 Chestnut St., culated to cheer us through troublesome can add symphonic* Se Theodore “nf1 ILD S l,a will days than song, nor anything so certain the concerto mes ” to CzERMY will unW Philadelphia, Pa. A postal request “themes” madp , among c?p be folders listing to hold our faces to the light. the recently issued avadable hi V coUections the reason about a delivery of collecti that ft for bring ^ 0 Easter anthems, Easter In connection with the above men- from the Great Piano ^^mes the 8 * 11 ““'e than forty and showing Conc S masterll™* a organ num- tioned activities, there naturally will be same compiler. by the PeSt and studies, services, Easter While the - rearranged easiest solos, Easter 6»crt°laa r , required the customary amount of ad- publishing details - t and r treble the or if desired, we will send upon are berne- original and bass from bers etc., C°mpl trpui°le for exam- vance planning. Once again arise the single copy of this pted a CleI versions. neces- request a selection of numbers desirahu»uie sary to When ' c°hipilatioi 6 purp 5 Advertisement 1 °se of the book, tran Positions°ns t to CTOPle than the 286 keys, other ? ,

originals have been made. The demands —and makes possible the thrill of play- were born or in which they live or lived, The parts will take care of all the band of modern teachers for early grade treble ing at the piano easy arrangements of This forthcoming publication is under and orchestra instruments, including and bass Czerny material have made this familiar songs. Containing over forty the able editorial supervision of Mr. Guy Flutes, B-flat Clarinets (Bass Clarinet new necessity. numbers, the contents are divided into McCoy, an Assistant Editor on the staff lib) B-flat book a ad , Trumpets () , E- This new book will be published in the four sections: Earliest Patriotic Songs— of The Etude Music Magazine. Take ad- flat Alto Saxophones (E-flat Baritone oblong format so popular with young “Chester,” “Yankee Doodle,” “America,” vantage of this splendid offer by order- Saxophone ad lib), Trombones or Bari- students today. Titles appealing to chil- and “The Star Spangled Banner”; ing a single copy of this book at our tones, F-Horns (Altos or Mellophones) dren will be used throughout, and inter- Famous War Songs of the Early Years— special advance of publication cash price Violins, , and . Books with esting illustrations will be included. While “The Girl I Left Behind Me,” “Just Be- of $1.00, postpaid. Delivery will be made two harmony parts will be provided for details of publication are being cared for, fore The Battle, Mother,” and “Soldier’s as soon as the work comes from the press. D-flat Piccolos, Oboes, Bassoons, B-flat Farewell”; Songs Our Fighting Men Like a single copy may be ordered at the spe- — Saxophones, and E-flat Clarinets. One cial advance of publication cash price of To Sing “Capital Ship,” “And the Band book will include the parts for String Played Bolt,” the 25 cents postpaid. Delivery will be made On,” “Ben “Home on SINGING CHILDREN OF THE SUN-/I Book Bass, Tubas and Basses, and the percus- Range.” Several Stephen Foster favorites, as soon as the book is released. of Indian Songs for Unison Singing, by sion book will have parts for Drums, and selected hymns loved by the service Thurlow Lieurance—Published in the con- Timpani, and Bell Lyra. The Piano book men; Famous War Songs and Patriotic venient “community song book” size, this (Conductor’s Score) provides excellent Later Years—“American Patrol,” CHILDHOOD DAYS OF FAMOUS COM- Tunes of new work by the distinguished composer suggestions for the formation of en- "Marine’s Hymn,” “Madamoiselle from POSERS—T/ie Child Bach, by Lottie Ells- of By the Waters of Minnetonka will be semble groups. Armentieres,” “You’re in the Army Now,” worth Coit and Ruth Bampton—'The final ideal for assembly singing, clubs, homes, Prior to publication a single set of these “Taps,” and "Reveille.” books, work in connection with this second in a and service gatherings. The contents in- seventeen in all, may be ordered Published in the convenient oblong new series of delightful books is com- clude some of the best known Indian at the low advance of publication cash format, with attractive illustrations add- pleted and copies are expected from the Melodies such as By Singing Waters, price of 15 cents each for the Instru- ing to its interest, this book will be avail- printers very soon. Like The Child Wi-um, Love Song, Where the Blue mental books and 35 cents for the Con- able as soon as editorial and printing de- ductor’s Mozart, first of the series, this book con- Heron Nests, and of course, By the Score (Piano) book. Due to tails are completed. While in the process tains interesting biographical material, Waters of Minnetonka. Several new songs copyright restrictions, the sale of thi? publication Songs of My Country is music simply arranged, and charming of which have never previously been pub- album is confined to the United States offered to our readers at the special cash its possessions. illustrations. Pull directions are given for lished are presented. and price of 40 cents, postpaid, for a single, dramatizing the story if desired, and in- Piano are available copy. Because of copyright restrictions structions for the setting up of a minia- for all the songs in the collection, and the sale is limited to the United States ture stage in illustration of a certain the vocal part is in a comfortable range and its possessions. WE’RE FOR AMERICA, Operetta In Two episode also are provided. The music in- suitable for unison singing. Program Acts, Music and Lyrics by Marian Hall, cludes an adaptation of a song, O Saviour notes are also provided to give interest- Book by Thccla Fitzgerald—There has al- Sweet; Minuet in Minor; Musette in ing data on the American Indian back- G ways been a great demand for operettas D; While Bagpipers Play, arranged from ALBUM OF FAVORITE FIRST POSITION ground of the lovely melodies. A single of higher quality, both musically and “The Peasant Cantata”; and a duet ar- PIECES FOR VIOLA AND PIANO—Long a copy may now be ordered at our special advance of publication price dramatically. Here, then, is a truly tune- rangement of the familiar My Heart Ever favorite of violinists and violin teachers cash of 20 cents, postpaid. ful, attractive, and up-to-date work Faithful. in its original form, this collection is soon getting which deserves careful consideration. Place your order now to insure to be made available to the young viola The arrival of a refugee girl at the a first-from-the -press copy of this book player for whom there is such a limited FIRST ENSEMBLE ALBUM-For All Band campus of Livermore Junior College and at the low advance of publication cash amount of material. August Molzer, who and Orchestra Instruments — Arranged by a song competition serve as the sparks price of 20 cents, postpaid. transcribed and arranged this col- has that set off ,, . . . A Howard S. Monger—With the general adop- a train of serio-comic events lection for the viola, is an experienced tion of instrumental music in our public which culminate in the awakening of the and performer on this instru- teacher schools and the formation of ensemble student body to the realization that only FAVORITE HYMNS-in Easy Arrangements His wide experience and deep ment. groups of varying sizes among the through cooperation with each other can for Piano Duet— Compiled and Arranged of the viola is evidenced in knowledge students, there arises an unprecedented they best serve their school and their by Ada Richter- amazing success of arrangements of these easy- The the splendid for material. country. this in need It is true that an To has been added just Mrs. Richter’s My Own Hymn Book, study and recreational pieces. In- to-play almost unlimited supply of band and or- enough romance, mystery, and humor to Which she provides simple, playable, and the twenty-two interesting eluded among chestral arrangements is provide excellent the __ available in the„„„ an background story for effective piano solo versions of are compositions by such outstand- pieces diSerent levels of dj ffloui ty and that the numerous delightful musical publi- , num- favorite prompted the Fiank • reenwa hymns, has composers as , ing ^ere are qUan tities of music to be had bers which include numerous solos, duets, cation of this duet collection. In it will Kern, Papini, Quiros, ourneur, Haesche, jQr smau ensembles. However, there is a and choruses for boys, girls, and mixed be found arrangements of four-hand and Zimmerman. limited supply of music for any combina- voices. Twelve principals are required, in- more than hymns, easy period of publication, a twenty popular During the ^on instruments. So, for this reason, cluding five sopranos, two mezzo-so- to read and thoroughly pianistic in style. of the Album of Favorite single copy we believe this book will hold a unique pranos, one contralto, two tenors, one The primo secondo parts will be of Pieces for Viola and and First Position piace> Since it •will serve well as pre- baritone, and one bass in addition to sev- about an so that they with piano part) may be equal grade level Piano (complete orChes trai and pre-band material for eral non-singers. can be interchanged players if the low cash price of 50 cen s, between ordered at gr0Up S 0f any size from a duet combina- A production of this work will require desired. The each hymn will restrictions limi e first verse of postpaid. Copyright tion up t0 complete band or orchestra, no expensive costumes and there are no be included which, in book to the United b a es with the music sale of this Adaptability is the keynote to the suc- difficult staging problems for the direc- Urn suitable , will be published in a key its possessions. cess this book will achieve. Most of the tor to solve. The music itself Jor and is de- congregational or group singing. parts will appear in score with three cidedly original and engaging, but has at the Among the favorites Mrs. Richter others, making four harmony parts in all. same time it makes no excessive chosen Praise demands for this collection are: WORLD’S BEST- These four parts will be known as A, B, on the soloists or chorus; PORTRAITS OF THE thus it is ideal from Flow; Bi- D, and will be in accord with the Whom all Blessings MUSICIANS, will. Thu,Mail C, and for use in high schools, colleges, and u°7ne. Jesus, KNOWN Thou Almighty King; A notable addition to rest of the book, so that any two, three, other amateur organizations. Order oeruphica/ l sheichea« your Lower of God to works or more instruments can be played My Soul; Nearer, My catalog of reference key copy now for the special advance of ee Christian our exce Parts can be ‘ Rock of Ages; Onward, j,ook which every together. A and B used for publication cash price of 60 cents, post- J\ this i;° Soldiers; Sweet is is duets; A, B, and C will serve for trio Lead, Kindly Light; invaluable . There paid (only one copy may be ordered music-lovei find at ear of Prayer; with Me. the effect that work, and quartets can be played from this price) delivery will and Abide rb tQ , and be made as when an old Chine v In During the period of preparation, ^ thousand words, A, B, C, and D, cases where more soon as the work is off the press. plc ^ ls ready, one ' instruments are available “doubling” can ^tractive book is made . true in the case . being ticulariy a this is pa single copy ordered at the and we only be d0ne with advantageous results. In- may be famous special price of . so doing, groups of almost any advance of publication cash facts and dates deed by ° through such ADVANCE 35 cents, restric- encyci0pedias, size up to those of orchestra and band OF PUBLICATION OFFER WITH- postpaid. Copyright “ B as we 8^.* utilized. In the meantime, each DRAWN Readers of these Publisher’s however, of this iii be found can be — ts, limit the sale nn jume W " etc. In this participant will be given that confidence Notes owners of Organs °k to the its PoS qJ outstanding — Hammond and United States and 4.5UU v about accompanied by which comes of knowing that he does not those who plan to install one of these fine s °“ * ’ musical P® “carry on” alone. instruments in their home, chaplains and iving a few highlights brief paragiapn^g Monger, skilled Chicago musician their boys in the Service i ^ pply E wherever Dr. Camps—have individual and ™ * 011 the and arranger, has chosen nineteen shown remarkable interest in the new OF MY C.OVXIRY-Arranued for on fbfXes anddates' of bbbirth,th and deep and dates of familiar numbers, all well suited to the instruction book first announced in the ?/ /i,la K'cfcfe.—Mrs. Richter’s living, places Undn° r not for this last issue S a on“those first ensemble efforts, book. of The Etude Music Magazine. ndlng ol children coupled with knoS r Among them are: Largo by Dvorak; the Numerous orders and inquiries have been knowledge of how biographical material will gained by experience, ^portraits and “Finlandia”; Wald- received a F order, but Theme from Sibelius’ and the Publishers are convinced ,° PPeal to them, is again evident in alphabetical in *b ai ranged p teufel’s Skater’s Waltz; Home on the that this will prove a most timely pub- Splenclicl piano be Qr resialng m the studer,f Yolume for young composers n t Range; Dark Eyes; Juanita; Country lication. listed in the index The aPProach is through tha be ever they Gardens; and Aloha Oe. Copies of the book now are ready for S nt £eeiin hearts of respective states in which younrr „„ ? g in the ^fafthe e and old country Advertisement alike—love of our 287 delivery to advance subscribers and, with the small sum of $2.50 per year, with this notice, the special advance of publi- around $50.00 worth of music if that Backstage with cation price is withdrawn. Ask for a copy music were purchased separately. No at your music dealer’s or send to the music teacher, student or music lover can Publishers for an “on approval” copy. afford to be without it. the Orchestrator The Hammond Organ, adapted from fled A copy of our new premium catalog (Continued from Page 273) “The Organ” by Sir John Stainer, with will be mailed to you immediately Hammond Organ application by Ken- upon receipt of your repuest. neth A. Hallett fills a need that has ex- isted, ever since this remarkable instru- gard it as a craft—something to be ment has been available. Mr. Hallett. ontL done as a potboiler while he pre- church and concert organist of note, has Preparing for pares himself for demands spent years in demonstrating and teach- the the higher of independent If ing the Hammond Organ. Employing for creative artistry. study material the manual and pedal ex- Spring ever he lets go the hope of writing ercises and many of the pieces in the his own music and gives himself up Stainer work, applying these to the ef- to orchestrating completely, the , obtained Accordion Recital fects that may be with them chances are that he will never do on the Hammond Organ, he presents de- anything ^Continued else. If he feels that, po- scriptions and illustrations that every from Page 277) tentially at least, he his own teacher will appreciate and which should has This can be work before means be of tremendous importance to self-help acquired without going him and never to let students. to the other extreme of a set it go, the chances are that, stage even This new book shows clear illustrations grin. Mannerisms of all kinds such along with his orchestrating, as he of the various controls; concise explana- scowling, biting of the lips or bobbing may be able to round out Iris tions of the harmonic drawbars, pre-set the head should stature as a be avoided or else creative artist. If a man keys, chorus control, tremulant, and ex- the audience is capable will pay more attention of making himself a really pression pedal are given, with complete to fine such antics than to the orchestrator at all, he has the directions as to the ready-mixed tone music Those who have become musical feeling and the imagination colors designed to meet average require- accustomed to beating time with that would carry And ments of organ playing. There are sug- the foot should him further. break themselves he should go. gestions for combinations approximating of the habit before never quite let that they make their Actually, all instruments of the orchestra, with a concert debut it is difficult to draw the If the concert one line section devoted to special percussion ef- selection has been that completely separates fects. prepared m ample time good music time there will be from trash. Only And last, but by no means least, the no need for draws much practice the dav that line. In the mind of the music selections will appeal to present- of the concert. It people, is all right to however, there is a very defi- day organists as all of them are worthy play the selection over 111 ® Pathway the of inclusion in the average per- once or twice from the cheap to player’s but frenzied goo repetitions bring . in my view- manent repertoire. Price, $1.50. Sold only FIORELLO LA GUARDIA about broadcasts, my nervousness and point is in the U. S. A. uncertainty so in that all music is fun, but stead of arriving at the e>gi eater MAYOR FIORELLO LA GUARDIA concert hall it is, the more exciting mayor, brought up refreshed, the it becomes. New York’s musical player will be ex This standard of taste an Army post in which his father WE WILL APPRECIATE YOUR CO-OPERA- on hausted and unable to can be worked was bandmaster, always has made do his best up in any musical TION—During these trying days when “horse It is n°‘ advisable Pie ium. music one of his chief joys. His to dwell mentally The orchestrator can do his “business as usual” is out of the question sense,” vigor, and trenchant power of upon the nare notes of a selection by clinging ideals. for the increas- expression make his article upon "Music whilee to his best Duration, it has become waiting to Municipality” what is called play. ei all, ingly difficult for us to maintain normal and the both Brahms and Wagner colloquially “a humdinger." Our closing thought began as service to our readers. Therefore we then to begin orchestrators!” ners is to leave no earnestly urge all Etude subscribers who HOW TO DEVELOP AN ARPEGGIO stone unturned the preparation In have occasion to change their addresses, TECHNIC for their debut Packer has written many and to give us, at the very least, four weeks Harold C. then to have faith in for The Etude. This, themselves practical articles never for and notice—more if possible—in order that is of his keenest and a moment to News on arpeggios, one allow an ele- of there may be no interruption in the de- best. It shows how an arpeggio technic ment of doubt to enter your playing. their mind livery of copies. Such notice should con- may better They must believe in themselves and the tain, plainly written, the name, the old SINGING know that they Networks FREEDOM IN will be successful address and the new address. Lovely Lily Djanel of the Metropolitan ( Continued We also ask that in the event of com- Opera Company is known for her effort- from Page 230) less singing. The Etude sent a repre- plaint of non delivery of copies, you sentative to find how she accomplishes the unusual ob- endeavor to understand this, and our voice teachers and pupils music, the helpful series began in Febri stacles which we are now facing both will enjoy every word of this a article. erfoimanc from a labor shortage and transportation and stimulating TIie Etude e of ShostJ vioh’s ««T?.Plan service is not what it ° Quintet,” brillia difficulties and if TUNES FOR TOUCH TIMES DlavpH , would normally be, we ask your con- Colonel William A. Ganoe, U. S. A., the Co°lidge String Q 1 Music Lover's tet and w siderate indulgence. Your complaint will hard-hitting commander of the Re- nk Sheridan, Ar serve Unit of Pennsylvania, places a ican the receive and careful attention pianist.nfe ? as prompt very high valuation upon music in the the existing con- Bookshelf as is possible under Army. To him it is a necessity which M ° f ~ he New ohd (Thursd ditions. our armed forces should realize more U ! w generally. He spares no words to give < Continued from '' Page 231) network) EWT his opinions in straight-from-the- nat Program WITHOUT MUCH shoulder fashion in this very "differ- of mysticism desiP-nor* which PREMIUMS - YOURS with which so ° ent" article, which strikes a new note n trace the developn If you are an Etude premium have sought to of mnsir* WORK— in discussions of wartime music. surround the * received our lij he Ericas from worker, you no doubt have the composer, nor does Pre Co, if she dwell b ai1 of premiums offered for MEMORIZING IS EASY ° era the pres latest catalogue duly upon his long has ! and platonic T' 01e new Etude subscriptions. If you have not Chester Barris, concert pianist fri pr°grams to go. T) member of the Faculty of the Music ship with Nadejda von five are ) we will be glad to mail Meek or 6<1 received yours, Department of Wooster College, gives the most °f Under a general request. abnormal and “The inf one upon receipt of your very valuable hints to those who find ’em P ndences ” which to “tell romances In the history briefly Should you be a regular subscriber memorizing difficult. It is a fine 0 f m deserih^ how” article. The book is richly Presentation The Etude, interested in taking subscrip- supplied Problems of with r Cltlzenship, citiz worker, kindly write tion examples. The rights nnrt , tions as a premium HAVE FUN WITH MUSIC woodcut ilim Uties ' s this is your desire tions are by etudy which >ea d « to us, indicating that Among America's “big men” who make Vera Bock, whose mo of the necessary in- music an essential part of their daily 6”8 behind v“ and we will send you the was a friend of the composer struggles lives is Mr. Kent Cooper, able manag- for^f structions and supplies. titles government, ing head of the great Associated Press. ‘•Stormy Victory” of the « is not hard to sell sub- ve are Remember it He tells how music may bring endless By Claire Lee Purdy follows- V® -F broadcasts your musical “ to The Etude to fun to the hard-worked business man 5 '‘ scriptions Pages: 241 April ' Valle5 P01 ' acquaintances. A few mo- of to-day. 12 4he‘V friends and Price: $2:50 April iq „ir virgin of Guadalu] ments of your time will convince them " A ri l *«• musical value for Publisher: Julian Messner Gentlemen P that here is a super Inc f Chlle Mas “Llaneros.” > and " WITH ” 288 FORWARD MARCH MUSIC ^nnp FOR THE POISE, CULTURE, AND CAPABLE LEADERSHIP WHICH BOB JONES COLLEGE GRADUATES MANIFEST IN WHATEVER BUSINESS OR PROFESSION THEY ARE FOUND BOB JONES COLLEGE stresses a practical Christian phi- losophy which equips young men and young women to meet successfully the emergencies of life.

BOB JONES COLLEGE offers individual personal attention which meets the needs and trains the talents of the indi- vidual student.

BOB JONES COLLEGE emphasizes the artistic and cultural and develops personality through train- VOICE, PIANO, VIOLIN,

ing in these fields. PIPE ORGAN, SPEECH, AND ART WITHOUT AD- DITIONAL COST ABOVE REGULAR ACADEMIC TUITION.

If you can attend college for only one or two years before entering the service of your country, we strongly advise your coming to Bob Jones College for this year or two of character preparation and intellectual and spiritual train- ing so essential now.

If you are still in high school we advise you to come to Bob Jones College Academy (a four-year, fully-accredited high school) for educational and Christian training before you enter upon your military service.

of courses leading to Bachelor of Arts and Bachelor of Science Bob Jones College offers a wide variety of Religion courses leading to the Master of Arts degree. Begin- degrees, and in the Graduate School courses leading to the Doctor of Philosophy degree will also be offered ning with the school year 1943-44, College has high scholastic standards. It also stands without apology ^ the field of religion. Bob Jones absolute authority of the Bible. ior the "old-time religion" and for the FOR DETAILED INFORMATION WRITE

DR. BOB JONES, JR. , bob TONES COLLEGE ^^^^^^CLEVELAND, TENNESSEE .

’llLe to a ^y^ppteciation oj^ tlu

lAJorfj 5 Cjreciteat Sbj,mpl%onied THE ANALYTIC YMPHONY SERIES Edited and Annotated by PERCY GDErSCHIUS, Mus. Dne.

JPr o v ide 6 ..

“ The Analytic Symphony Series” com- two-hand piano 1. Playable scores of the great symphonies, prises volumes already published, forty-four symphonic poems, and overtures, with others in preparation, covering the most important symphonies, symphonic 2. Complete analytical notes on the structure and poems, and overtures of the world’s greatest orchestration. masters. are beautifully printed, with notes appraising They 3. Critical the significance of the com- clear, legible text and music, on ivory- fine position and its salient points. toned paper, and are durably bound in heavy cover-paper. Each volume contains 4. A portrait and brief biography of the composer an excellent portrait of the composer. giving insiaht into his creative methods and the place of the work iif his development. HAYDN

No. 6, in G major (Surprise) .75 1. Symphony MENDELSSOHN TCHAIKOVSKY No. I I, in major (Military) .75 19. Symphony G minor No. in (Scotch) . 8. Symphony 3, A . 1.00 ^Symphony (London). .75 No - 6 in 22. Symphony No. 2, in D major ' 8 minor (Pathetic) 13. Symphony No. 4, in A major (Italian) .75 16 • S y m pbony No. 39. Symphony No. 16, in G major (Oxford) .75 4, in F. minor 30. Symphony No. MOZART FRANCK 5, in E minor. 10. Symphony in D minor |.00 WAGNER 2. Symphony No. 48, in G minor 75 42. Prelude to The Mastersinger* 11. Symphony No. 49, in C major (Jupiter) .75 SCHUMANN \ of Nuremburg.. .75 18. Symphony No. 47, in Eb major 75 5. Symphony No. I, in Bb major 75 DVORAK 23. Symphony No. 35, in D major 75 17. Symphony No. 2, in C major. 75 ’ S ym llon No. 24. Symphony No. 38, in D (without Minuet) .75 P y 5, in E minor 32. Symphony No. 3, in Eb major 75 d-indy (New World). BEETHOVEN 35. Symphony No. 4,, in D minor 27. Symphony No. 2, in 5, in C minor 1.00 Bb major. 3. Symphony No. BRAHMS

major (Eroica). . 1.25 12. Symphony No. 3, in Eb saint-saens 6. Symphony No. 2, in D major | qq Symphony No. I, in C major 75 21. 28. Symp I, hony 20. Symphony No. in C minor No. 3, ; n 1.25 Symphony No. 6, in F major (Pastoral). 1.00 | Q0 C minor. 25. SIBELIUS 33. Symphony No. 3, F majors. . . in major 1.00 . | .00 26. Symphony No. 7, A 2*7. 36. Symphony No. 4, E minor Symphony major 75 | .00 No. i, in 1.25 31. Symphony No. 2, in D ..... E minor 4 - C'nlandia No. in Bb major 75 (Tone Poem) .75 34. Symphony 4, LISZT No. in F major .75 37. Symphony 8, RIMSKY-KORSAKOV 41. Les Preludes () in D minor (Choral).. 1.50 75 38. Symphony No. 9, 43. Scheherazade (Symphonic Suite).... 1.50 SCHUBERT (Unfinished) .75 Oliver minor 4. Symphony No. 8, in B Oils,,,, l 75 « »„ • in Bb major IWo™ Symphony No. 5, 1 4. p c „ * 1.25 , Symphony No. 10, in C major - Chestnut 15. Street, Philadelphia, Pa .