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

2-1-1936 Volume 54, Number 02 (February 1936) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 54, Number 02 (February 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/841

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. jn This Issue GETTING FUN OUT OF MUSIC" by Hendrik W. Van Loo, SPECIAL NOTICES AND Meeting Piano Teachers’ Needs ANNOUNCEMENTS

first year at the piano

JOHN- M. WILLIAMS

SECOND YEAR AT THE PIANO

Either or Both of These Manuals FREE to Any Piano Teacher—

FEBRUARY, 1936 65 Editor JAMES FRANCIS COOKE

THE ETUDE Associate Editor EDWARD ELLSWORTH Music Magazine HIPSHER Printed in >J» MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND ALL LOVERS O United State, of America

Vol. LIY No. 2 . FEBRUARY, 1936

The World of Music

Interesting and Important Items Gleaned in a Constant JT atch o Happenings and Activities Pertaining to Things Musical Everywhere

DR. GUIDO ADLER, ROME’S OPERA SEASON opened on the JEAN SIBELIUS, the renowned Finnish eminent musicologist of composer, who celebrated on December 8th traditional Eve of St. Stephen (December Vienna, who, till pensioned his seventieth birthday, had received on No¬ 26th), with a performance at the Royal Opera a few' years ago, was the A ROTARY CONCERT IN THE INTERNATIONAL FRIENDSHIP GROVE House (formerly Teatro Costanzi) of the vember 7th the gold medal of the Royal phl'- harmonic Society of London, one of the most leading professor of musi- 1 “Iris” of Mascagni, with Gigli in the leading cologv in the University of tenor role. It was a resplendent social event rarely bestowed and also most coveted of Vienna, and who still is active in his scientific with the Royal Family, Rome’s diplomatic musical distinctions in all the world. •a-1>- I’,,, ( .. ill..- h.- iml.h.h.il and government corps, both church and state, GIANT GRAND PIANOS, eleven feet and memoirs under the title Wollen usd Wirktu. a large chorus, orchestra and soloists. Rach¬ its aristocracy and many distinguished visitors eight inches long, are being built by a Lon¬ One of the early champions of Wagner, his present—in fact a society spectacle not often maninoff will appear on one program as soloist don firm, to please radio pianists who com¬ book relates his experiences at the wst Bay- A Great Objective for Rotary in a concerto with the Philharmonic Orchestra equalled in the world. A new “Cyrano de reuth Festival, with Wagner, Cosima, Lisa Bergerac” by Alfano is to have its world plain that the present length of strings is of London, and on another day he will appear responsible for the “wooden” tone in the as guest conductor of this famous organization. premiere in this series. upper treble register of their instruments •8-tf ■8-»• HE fine aims of the Rotary Clubs in all parts of the has been decorated by the Governments of France, Belgium, “CARMEN,” announced for two perform¬ KURT SCHINDLER, conductor, composer when heard over the air. THE HISTORIC MUNICIPAL OPERA T ances in the third week of November, by the and musical editor, and founder of the Schola •8-1- of Berlin-Charlottenbcrg, which has been world are too well known to need recounting. Their Italy, Hungary, Czechoslovakia and Germany; he is a Cleveland Symphony Orchestra under Artur Cantorum of New York, of which for seven¬ THE STATE OPERA of Vienna in its renovated and modernized to become^ a na¬ ideals and their spirit have benefited our civic and member of the Society of Political Economy of Paris, the Rodzinski, sold out the house for both nights, teen years he was conductor, died on Novem¬ opening week offered as guests three Salzburg tional theater under the name of the German business life in a really magnificent manner. Similar service Statistical Societies of Paris and Hungary, and the Academie Festival celebrities: Dusolina Giannini as "a 0|>era House, was reopened on November 15th with such a demand that there was a third ber 17, 1935, in New York, at the age of fifty- clubs have extended the idea, and there can be no question du Var, France. This world acquaintance and personal performance on the evening of December 2nd. three. He was a native of Berlin, Germany, ravishing Tosco’’; Ezio Pinza as the Don Gio¬ with a performance of "Die Meistersinger.'’ and was educated in the universities of Berlin vanni of Mozart’s masterpiece; and Emanuel 4--► that this has lubricated our complex problems of living in contacts with men and movements abroad have been placed, THE METROPOLITAN OPERA COM¬ and Munich. List as the Baron Ochs von Lerchenau of “Der WALTER HENRY HALL, one of our innumerable very important ways. con amore, at the disposal of the Pawtucket Rotary. PANY of New York is to be congratulated on •a-»• Rosenkavalier.” Furtwiingler aroused “wild foremost authorities on church music, and Now comes a plan to enlist Rotary to employ music as one Music is the only universal language. The International having successfully navigated the shoals, THE FERDINAND HILLER Orchestra¬ enthusiasm” by his reading of “Tannhauser”; especially that of the male choir, died in New of the means of furthering its great objectives. The pro¬ Service feels that this universal characteristic of the three rapids and stormy currents of a troubled re¬ tion of Handel’s “Theodora,” which was done and revivals of Lortzing's “Czar und Zimmcn- York, December 10, 1935. Born in London organization, so that on December 16th it for the only German production of this ora¬ mann” and of Nicolai’s “The Merry Wives of April 25, 1862, his training was finished al the posal has come from the fertile brain of Dr. William H. thousand eight hundred and forty-seven Rotary Clubs, with opened the present season with a splendid per¬ torio, at Cologne, in 1860, with Dr. Hiller Windsor” pleased patrons with a taste for Royal Academy of Music: and at twenty-one Tolman, now a resident of Pawtucket, Rhode Island, hut their membership of one hundred and sixty-one thousand leading, is on display in the Ryerson Library formance of “La Traviata” in which Lucrezia music of a more sprightly iflood. he came to America and liecame organist and erstwhile a citizen of the world. Dr. Tolman is one of the in sixty-seven countries of the world, can be utilized in a Bori was the Violetta, and Richard Crooks of the Art Institute of Chicago. .3-1- choirmaster of St. Luke's Church, German¬ foremost economists of the times. plan whereby these Rotarian centers may promote and the Alfredo. The troupe will visit Philadel¬ ISIDORE DE LARA, widely known com¬ town, Pennsylvania, St. Peter's, Albany, New phia and Brooklyn for four performances each. KATHRYN MEISLE has won a distin¬ poser, died on September 2nd, at Paris. Born York, and St. James', New York City. He After extended deliberation he came to the conclusion support State music festivals, to the great delight and inspi¬ Long life and success to this group with its guished success with the San Francisco Opera in London in 1858, he was musically educated founded the Brooklyn Oratorio Society and that one of the ways in which Rotary might be of most ration of these world centers. Company, when, as Erda in “Das Rheingold” splendid traditions. mostly in Italy. His “The Garden of Sleep” was a Professor of Music in Columbia l m- service to communities all over the world was to formulate The power of Rotary, in furthering such a movement, she “sang gloriously,” recalling the “voices of was long a favorite, especially with contral¬ THE AUCKLAND SOCIETY OF MUSI¬ great Erdas of other days.” Later, as Fricka versity from 1913 to 1930 when he became a plan in which Rotary might back the organization of could be tremendous. Rotary might acquaint itself with tos; and of his several operas “Messaline” professor emeritus. His anthems and other CIANS (New Zealand) recently gave a pro¬ in “Die Walkiire,” Miss Meisle was “regal, regular choral festivals in hundreds of our cities everywhere. the splendid work already accomplished by the American gram devoted to the works of Schubert and was produced at La Scala of Milan, with church music have been widely used, as is his dignified, poised, with a voice both opulent Toscanini conducting, and later at the Metro¬ This plan was inaugurated with the idea of establishing Choral and Festival Alliance, Incorporated, founded by Schumann, including the “Trio in B-flat” of and fresh.” “Essentials of Choir and Voice Training. Schubert; the “Quintet in E-flat, Op. 44” of politan of New York. 4-► in Pawtucket an International Friendship Grove, promoted Mrs. William Arms Fisher, and lend it the practical support Schumann; and songs of both masters. THE SECOND MASS, IN D MINOR, a LE THEATRE DE LA MONNAIE, the by the Pawtucket Rotary. This Grove consists of sixty-seven which groups of business men would gladly give if they took •(! *• PROFESSOR C. SANFORD TERRY, the - seldom heard work by Luigi Cherubini, was eminent English musician and writer, has time-honored Opera of the Belgian capital, trees, each of which symbolizes each of the sixty-seven coun¬ the time to analyze the profitable results which come from LOUIS ECKSTEIN, Chicago music patron, presented on December 7, 1935, by the Uni¬ has commemorated the centenary of the birth who chose for his “vacation” the sponsoring received from the University of Leipzig the tries where Rotary has been established. The Friendship such humanizing activities as may be brought about by versity Extension Department of Music of honorary degree of Doctor of Philosophy, in of Saint-Sacns with a gala performance ol ha and managing for twenty years, of summer "Samson et Dalila.” A happy choice, since Garden in the same park, the creation of Park Superin¬ mass singing of a high and inspiring order. Columbia University, New York. The Barnard recognition of his “distinguished work on seasons of opera at Ravinia Park, instead of Glee Club, Columbia University Glee Club, tendent Corrente, is the locale for the Shakespeare Garden, In the dedicatory address, Dr. Tolman said: luxuriating on a yacht, died at his home on the lives of Johann Sebastian and Johann this work was given in Brussels, in the ongmal Columbia University Chapel Choir, Columbia French, on the platform of the Soddte de a suggestion of the Pawtucket Rotary, where Mr. Corrente November 21st. American music is greatly Christian Bach.” “Some six years ago, contact with the Rotary Club University Orchestra, and soloists, all com¬ •a---sr Musique, in 1878, within a year of its world has assembled specimens of all the plants and flowers men¬ in debt to the fine spirit of this benefactor, bined, were led by Lowell P. Beveridge. at Toulouse, France, disclosed the existence of an insti¬ whose noble “hobby” is said to have cost him WILLEM MENGELBERG has made his premiere at Weimar on December 2, 18/'. tioned in the plays and poems of the Bard of Avon. reappearance with the famous Concertgebouw after having been denied a performance by tution known as the Academie des Jeux, Floraux. Its more than a million dollars. PRINCESS TSIANINA, internationally The dedication of the Shakespeare Garden on August Orchestra of Amsterdam, Holland, when he the leading theaters of its native Paris. objective is the cultivation of songs and poetry in known Indian soprano, made a farewell to her led the program of October 24th. It was - - 18th of last year was intrusted to Percy Hodgson, Immediate THE SAN FRANCISCO ACCORDION musical career when, on November 30th, she 4 1 annual competitions which have continued uninter¬ CLUB drew a crowd of ten thousand to its October 24th of 1895 that he made his debut WELLINGTON, NEW ZEALAND, has Past President of the Pawtucket Rotary, as Chairman of appeared in a concert at the Wilshire-Ebell had a musical competition for which there ruptedly for the last six hundred years, excepting the annual picnic at California Park of Fairfax a Theater of Los Angeles. She was assisted by with this organization, as soloist in the “Con¬ the Music Festival, with Stuart Barstow, Lawrence W. Cor¬ suburb of that city. The press deplored the certo in E-flat” of Liszt, with Willem Kes were entries of more than three thousand period of the French Revolution. Ishtiopi, a young Indian baritone; Georgia rente, Thomas A. Widdop and William Mikeljohn as commercializing instead of emphasizing the conducting. Three years later he led his first competitors. Included in it was a Grand Op¬ “This idea and ideal appealed to the Pawtucket Williams, violinist; and Charles Wakefield concert of the Concertgebouw. colleagues. They organized the choral resources of the artistic import of the event. Good! Cadman and Homer Grunn, composers. The era Contest, won by Colin Franklyn-Browne Rotarians, who nurtured and cultivated the thought of Wanganui. city into a large chorus, with fine instrumental support and Princess now plans to enter religious work. which today culminates in this music festival. “HET MEISJE VAN xiuin. iuu Jtsui_Hainan GALLOWA offered a superb Music Festival to some eight thousand ^ ; ZAVENTEM (The Most eminent lawyer, musicologist, composer ai “The unity of this Friendship Grove, surrounded by NINA HAGERUP GRIEG, widow of Ed¬ FREDERICK JACOBI, auditors. The soloist of the Festival was the well known Jmkfk Beautiful Love),” a new vard Grieg, celebrated on November 24th her writer, passed away on December 12th, of the younger group of its gardens of flowers, is emblematic of power and national opera, had its first operatic baritone, Forrest C. Dennis. ninetieth birthday, in Copenhagen, where she Columbus, Ohio. Born in Columbus, Octob American composers, heard beauty, which would include the whole world through performance in Antwerp has lived since 1915, except for a few months 13, 1863, Judge Galloway finished hip educ his “Concerto for Violon¬ The International Service of the Pawtucket, like all other friendship and peace. This is the lofty and noble ideal (Belgium), when recently of the summer when she returns to the Har- tion at Amherst College, was admitted to t cello and Orchestra,” when Rotary Clubs, is a liaison for the promotion of better world presented at the Royal bar and twice elected Probate Judge of Fran which the Pawtucket Rotary Club is offering for your danger Fiord of Norway, where the master it recently appeared on a acquaintance, understanding and appreciation. Its Chair¬ Flemish Opera. Its world wrote many of his best works. A noted singer Un County. Throughout his life he had program of the Cleveland contemplation and realization. premiere had been at Gand, man, Dr. William H. Tolman, has resided in many of the in her day, Mme. Grieg contributed much to strong interest in music, with a unique gift f Symphony Orchestra, with “Trees, flowers, music, friendship, peace.” on February 17, 1934. The the popularizing of her husband’s songs and composition. His songs became widely know Victor de Gomez, principal European capitals; he has been officially connected with Emile score is by Emile Hulle- was generally reputed to be his best interpreter. and The Gypsy Trail was sung th'rougho violoncellist of the orches¬ some eleven international expositions and congresses; he Here is a movement which, in the hands of men of vision, Hullebroeck broeck and is said to be of •8-»■ the English speaking world. As a writ. tra, as soloist,, and Artur Fuedfuick just the type called for by THE RADIO is estimated now to reach two Judge Galloway had a picturesque style Rodzinski conducting. The Jacobi hundred million listeners—about one in ten the picturesque, colorful, delightfully folklor- presenting tales from musical life and loi composer was called to the istic story, of which the great Flemish painter, of all the human race. And sixty-seven per and he long was among the most brillia stage for an ovation to himself and the soloist. Van Dyck, is the central figure. cent of what they hear is music. writers for The Etude. (Continued on Page 122) ^ Would you be happy? Let music illumine your soul. a ® Music Study Exalts Life FEBRUARY, 1936 67 Getting Joy Out of Music

Getting The Best From Radio From a Conference secured expressly for The Etude Music Magazine, may easily attain magnificent proportions. One wise sage recently said, “Many men do not have enough vision to with the renowned Historian-Geographer -\TOW that radio rect.vnigsclshawheeri “ “jf, oil the hinges of the eyes of a mosquito. Not so the Rotary a remarkable maimer^the oext^sKp^was ^ ^ ^ group. They have always shown themselves willing and ready to promote any plan of genuine consequence in our the public in selecting the ‘jPJ? and Teievlsl0n Corporation Hendrik Willem van Loon civic life. , . . the air day and night. Ph th Radio Institute of the In employing music to bring together the great objectives in many countries and on my own experi¬ of Rotary, the most powerful human emotional engine tor highways, the shops, even the night clubs benefited mentally; or he will acquire ex¬ Hendrik Willem van Loon was born in ceptional opportunities to make money. ence as a musician. motivating great masses of mankind would be thrown into Holland, January 14, 1882, and in his youth and the theaters, one might conclude that man is the most forlorn of animals. The parent points to Paderewski, Menuhin, action. The triumphant figures of history, from Babylon came to America. He received his Bachelor Galli-Curci, Eddie Duchin, Frank Black A Boy’s Musical Fun of Arts degree at Cornell and later studied to this day, have realized that in music there is a force tor A Worrying Nation or George Gershwin, and to the fortunes WITH ME the study of the violin was stimulating the best in vast groups of men. In Rotary there at Harvard, finally securing, in 1911, his they have made from music. Isn’t that a begun at the age of seven and was Ph.D. degree at the University of Munich. HE REASON is that Americans, are many of the finest minds and characters oi this age. despite the considerably reduced hours fine inspiration for music study? They continued for some twenty years. For Surely a large enough section of this great organization During the revolution in Russia, he was never have the honesty to whisper in the years I played in orchestras, from small Associated Press correspondent in Moscow, of labor, are overworked and overburdened will picture the possibilities of this powerful influence to young hopeful’s ear that talent and genius groups to those of symphonic dimensions. St. Petersburg and Warsaw. He has been with worries and fears. With merely a inspire wide action among Rotary Clubs everywhere, to fraction of the tragic circumstances that are “God given” and that thousands with¬ Was I paid for it? Goodness no! I a lecturer on history and the history of art, out natural gifts rarely rise above the played for the delight I received. In fact put music into use in developing the high practical altru¬ at different universities in the United have flooded Europe for two decades, our fellow citizens have been developing worry general average, despite long and hard I think I have played with most of the istic aims of the organization! which are n which almost anyone can afford. States. At the beginning of the War he work. When music is studied as a kind of leading cafe orchestras of Europe. I used In the great chorus in praise of the usefulness of music became Associated Press correspondent in into a fine art. One of the reasons is that “PTTe ‘ of Ae Audible Aru. while of great we have not learned the secret of making social lever, it is often likely to be miser¬ to take my fiddle along and join the group, to man and the State, the sage phrase of Napoleon I stands Belgium and also served the Associated ably disappointing. Those whose playing whether it was a conventional orchestra or value to the home, is of equal value to the schoolsandthe our own fun. out in bold relief: Press in England, France, Italy, Switzer¬ and singing are sought by social groups a band of gypsies. My, what fun it was! twenty-six million school children of America. ThcRadio land, Holland, Norway, Sweden and Den¬ For this reason, if for no other, music is “Music, of all the arts, has the greatest influence over one of the things which is of greatest im¬ are almost invariably those who have mas¬ In that way I learned most of the literature Institute has much valuable material in the way of booklets, mark. In 1915 he became a lecturer upon of the violin, and now I know of no greater the passions, and is that to which the legislator ought portance to Americans at this time. I am tered the art for the joy of the thing. Sch Se of immense value to the music lover and to the teacher European history, at Cornell; and in 1922 Most fortunate of all is he who takes up fun than getting out a Bach concerto and to give the greatest encouragement ” he advanced to Professor of History at not even a little bit concerned about the These have been prepared by eminent musicians. Copies of profound educational, sociological or ma¬ music for the fun he can get out of it. We working with it. Now let us suppose I had Antioch College. From 1923 to 1924 he do not study how to read, so that we may been foolish enough to say, “I shall not No one knew the forces which sway masses of men better some of these are still available without cost, to anyonewho was Associate Editor of “The Baltimore terial value of music to those who study will write to the Institute, at 80 Broadway New York TTus is music; that it is one of the finest media for become elocutionists. We learn to read attempt to do very much, because I can¬ than the little Corsican. Sun." not play like a Heifetz or a Menuhin.” I one of the most important free services to American educational generating joy in the human individual is because we know that much of the joy of He is the author of many books, among life would be closed to us if we could not would have barricaded one of the chief and musical interests yet inaugurated. enough for me. the most notable being “The Fall of the read the great literature of the world. Is avenues to joy in my life. The Institute recently circulated millions of copies ot a Dutch Republic," “The Rise of the Dutch About, Face! not that also reason enough for studying The Piano and Your Problems Kingdom," “The Golden Book of the Dutch statement made by your Editor. This statement was extracted N FACT, I have a very strong feeling music? The literature of music is a vast Let Work Mean Happiness Navigators,” “A Short History of Dis¬ treasure house. Everyone with ears may OME STUDENTS despair because (7-7AKDW DO YOU SOLVE your problems? How do you from the following editorial: , . , , . covery," "Ancient Man,” "The Story of that our whole approach to music is S “Out of the vast ocean of radio programs that flood the ether altogether wrong. The child is led to be¬ enjoy parts of it when heard over the radio; they have to play music within the l/L find a way out when the time comes that you must Mankind,” “The Story of the Bible," “Life daily, there are many programs of outstanding educational and lieve that if he studies music he will have but the highest enjoyment is reserved for limits of their technic. They want to play make a momentous decision? Decisions are the great moments of Peter Stuyvesant,” “Man, the Miracle artistic importance. America far and away leads the entire certain material advantages—he will be¬ those who take the pains to study the art Beethoven concertos at once. They want in life. The more important the man, the more the decisions Maker,” “R. v. R., Life and Times of and become capable of playing music. That to become virtuosi over night. To such I world in this respect. The Radio Institute of the Audible Arts Rembrandt van Rijn,” “Van Loon’s Geog¬ come a more acceptable person socially; he will escape being a wallflower; he will be conviction is based upon wide observation would say, “Be patient!” You do not multiply. has as one of its projects a plan to enable the public to pick out raphy”; and for many years he has con¬ There comes a time when decisions become so troublesome abandon learning to read because you can¬ these valuable cultural broadcasts so that this privilege of our tributed articles to many of the leading that one’s thinking apparatus seems to stop. The busy man rec¬ not be an Otis Skinner or a Katharine Cor¬ modern civilization may be more readily and profitably enjoyed. magazines. In 1923 he was awarded the ognizes it as a state of brain fag. Unimportant decisions do not nell. Get exhibitionism out of your head. “Educators throughout centuries have extolled the value of John Newberry medal. Study music for the same reason that matter. We knew one good lady who found herself in terrible Mr. Van Loon has a practical interest golfers play golf. Those who play it be¬ music in child life. It is clearly the primary duty of every in all of the arts. He is gifted as a drafts¬ distress when it came to the matter of what color of hat she cause it is good for their health or good parent to direct the child to do what is good and to protect him man and has always been an enthusiastic should wear. The difficulty which millions of her sisters had for their business usually drop some day from what is harmful. Even wild animals and birds have this musician, having had very extensive train¬ was how to get any kind of a becoming hat at all. When trifling at the tenth hole, with heart disease. Those problems become magnified—look out! This sometimes is a instinct. ing as a violinist. who do it for the sport they find in it are He is heard regularly over the National “Do not deny your children the fullest musical opportunities. the ones who get the most from it. Other¬ harbinger of nervous disorders. Broadcasting Company’s circuit and has Fine music will enhance their joy of living, quicken their in¬ wise, it is merely something tagged onto The average active business man often goes home with many this become a familiar figure in millions of tellects, exalt their ideals, elevate their appreciation of beauty the regular daily job. unsolved problems. The popular psychological books (“How to homes.—Editorial Note. Succeed Without Fits,” and so on) tell him to banish his business and help solve the growing problem of vastly increased leisure. I actually get a kind of intoxication from troubles until the next day. Ever try it? If you succeed in “Radio today is one of the great vital elements in promoting playing a Bach fugue. There is a thrill to it I cannot describe with words. For me, doing it, you are either a miracle man or you have some such and fostering musical education. Every one of America's The Joy of Living twenty-six million school children can now hear music of the HOLD a brief for joy. Joy is the obli¬ this is reason eonugh to study music. It plan as we are about to suggest. If you can forget your prob¬ I makes my life fuller, more interesting, more lems, without displacing them temporarily in your mind with masters. gation of the race, especially in these impossible years, when the thin veneer fascinating. Not for anything would I give some engaging form of activity that compels close concentration, “Through the radio, the appreciation of good music has up the ability to play. So long as my of civilization is still unable to conceal you are a fathead. An absorbing book or a lively game may do advanced more during the last ten years than in the previous those traits of savagery inherited from fingers can move I shall expect to have ten centuries. It has developed a new desire to study the fas¬ it. That is the reason why so many men go in for detective aboriginal man, which do so much to bring the irreplacable joy of playing. stories and poker. These, however, do not begin to have the cinating art through a musical instrument which, in turn, makes unnecessary tragedy into life. None of us, Music on the Air brain resting power that music unquestionably possesses. all radio programs far more enjoyable. This is clearly shown in this day, get the joy from living to which Lucky is the man who has been trained in his boyhood in by the large number of people, young and old, now taking up I believe we must be entitled. This is NOW THERE IS another reason why one should study music in these days, music. He possesses one of the most valuable of all life assets music study. especially true in America, where we make and it is a very important reason. When —a means of resting his tired brain and allowing his thought “Therefore, the receiving sets, large or small, must be of the frantic efforts to be amused but get very I was a boy in Holland it was one of the processes, that permit sound judgment, to become coordinated highest tonal perfection and efficiency, to get adequate results. little joy. Fun is a personal matter. If you do not treats of my life to attend concerts. That and adjusted for a fresh start. The public should know that the set with the larger ‘baffle believe this, look at a kitten playing with took effort and money, but they were a Scores of business men, many in the highest positions of re¬ board’ (front surface) naturally produces superior reception. a ball of yarn or a small boy taking a clock great privilege. I am glad in this day to sponsibility in the land, have told us that when things get into Inferior sets do untold damage to the child's tonal perception, to pieces. The technic of joy begins when attend as many concerts as time permits. such a mix that they do not know which way to turn, they as well as to the nervous system, by painful distortion of even one starts to make mud pies, but somehow It would have been hard to imagine in my spend an hour or so at the piano keyboard, and that after this the best broadcasts. The best sets are now like opening a door thousands of misguided folks seem to lose childhood that some day concerts would mental and nervous rehabilitation they approach their problems to the very room in which the broadcast is given. the idea and imagine that fun is something be piped right into my home through in¬ visible conduits thousands of miles long afresh, only to find that by some mysterious process of the sub¬ “Every parent and Parent-Teacher Association should in¬ which must be bought. Of course one can and at a cost so slight that it is negligible conscious mind, business situations which seemed impossible to buy laughter via books, movies, radio, the sist that every schoolroom be radio-equipped, so that every child to the public. Edward Bellamy, in his solve, have solved themselves. The father who buys a good theater, magazines and the immortal clowns in America may become familiar with the great music of the “Looking Backward,” prophesied this great piano for his boy, and who sees that he has a practical training of the sawdust ring; but has not everyone past and present. By promoting this, you will be furthering had the experience that the fun one gets privilege: but his book was looked upon as in playing it, is making a life investment which should prove a not only the aesthetic development of your own children but by making it oneself is far more satisfying the harmless dream of a rhapsodist. The hundred times as valuable as the money spent in an automobile also the educational, cultural and social development of our —far more profitable? radio, which has made this dream come at the same price. America.” Addison is quoted as having said, “Man true, has come as one of the greatest bless¬ is the merriest, the most joyous of all the ings to music, as well as to mankind. Will species of creation—above him and below it impede music study? Certainly not the him all are serious.” That may have been right kind of music study, inspired by a true of the man of England of Addison’s sincere desire to get fun and spiritual profit day, but if one were to judge by the faces out of the best in music. one sees in the American subways, the The concerts in Amsterdam, when I was

69 68 THE ETVDE FEBRUARY, 1936 thing with my fiddling but just getting fun seem to conceive how important a part it out of it. Of course there is only one fore¬ 1. The advancement of your musical un¬ a boy, drew students by the score to the is destined to become in the life of the most art—the art of living. Anything that metropolis. They did not suppress music derstanding. child. ? Music is relegated to a second place contributes to that one art helps all the 2. The quality of the, music you hear study, they increased it. The radio should in the parent’s mind, and the pupil soon others. For instance, when I am making Poland s Leading Composer Since Chopin have just that effect upon our present day over the air. . . finds this out. Any excuse for *e pup sketches for my books I actually find that musical life. One may hear a Tschaikow- 3. The excellence of your receiving set. give up a lesson is sufficient. The poor If you are musically ignorant, or are my mind works better when I hear music, sky concerto over the air. It is enjoyed. darling” has a cold, she has to go to particularly the music of Bach. Fine! But, unless you are a musician, I content to listen to trash on a cheap radio party to a football game, or any old thing Karol Szymanowski set that gives imperfect reception, get all America has pathetically little fun, al¬ can assure you that I take about ten times to get out of the obligation for regular though we make frantic efforts to get it. the delight in hearing that concerto than the fun out of it you can; but remember study. Sometimes I think that th°ught es that you are very much like a myopic old This is largely because we have a distorted you possibly can, because I know the con¬ parents are the worst enemies of musical idea of what is fun. That is, we do not By Kate Malecka certo and played in an orchestra that per¬ gentleman trying to read a cheap paper by advancement. They are satisfied to feed make enough of it ourselves. We do not formed it. That phase alone of musical candlelight. In other words, ttee more you the pupil a few sugar-coated musical pills need more brilliant virtuosi, but what we joy in hearing the radio ought to make know about music, the more you will enjoy and later on, when the child, with only a do need are far more accomplished, well- fantastic atmosphere and expression. The millions want to know music. your radio, the better programs you will smattering of a musical training, gives up oriental origin. This influence of the East, seek and the finer receiving set you will trained amateurs. There are now alto¬ READERS OF The Etude have been Szymanowski brought with him from his polyphony is of the so-called horizontal It is difficult to explain this to the per¬ music,” they advertise the worthlessness of gether too many professional musicians, in hearing over the air the remarkable type such as we meet in the works of son not trained in music, so that he will procure. music study. In Europe parents unques¬ native Ukrainia, where in bygone days proportion to the number of amateurs. I . works of Karol Szymanowski, Po¬ Stravinsky. This means that the parts realize it clearly. Perhaps this is a good tionably have a more wholesome attitude wild tribes from Asia had overrun the Joy in Achievement should say that there might be from one land’s most liberally gifted composer since are led contrapuntally, without regard to comparison. Suppose you went to hear a toward the art. The child is made to see country; where Turks and Tartars had HAVE A VERY FIRM belief that all to five professional artists in every hun¬ Chopin. With the death of Chopin, it pillaged and devastated, but also at times harmony, resulting in polytonality, that is, great foreign actress, such as was Sarah I that the joys of music come through sacri¬ greatness comes from joy. The idea dred finely trained musicians. The per¬ seemed for a time as if Polish musical did trade with the ruling lords, brought a combination of several tonalities; melody Bernhardt. Unless you understood the fice and work, and no child would think that greatness is nurtured by misery is rot. centage now is probably from fifteen to genius was resting on its laurels. It is rich carpets and stuffs and ornaments from and harmony being freed from their de¬ French language, all that you could get of trumping up silly excuses to get out ot Even in the case of an impoverished artist twenty per cent. Let us have more fine true that Stanislaus Moniusko, born in the mysterious East, and with them many pendence on the tonic. would be the pantomime, the scenery and practice and music lessons. Let us hope working in a garret, there is an element of amateurs and they will create more oppor¬ 1819, stands out as the father of Polish a song or chant that found its way into the The rhythm is complicated, being car¬ the charm of her wonderful voice. Other that something will occur to make Ameri¬ opera, having produced immortal works joy in the contemplation of the creation of tunities for the really worthy professionals. folk music where we may still discover ried to the last degree of polyrhythm,-and than that, you would have some job making can parents assume the responsibility ot of national character; but in the domain a masterpiece that many of those who pity Finally, do not forget the motivating traces of melodies based on subtler scales. his orchestra is of huge dimensions, having, out what it was all about. That is the seeing that their children get the kind of of purely instrumental music no great position of the average radio listener. It him can never understand. He even finds power of joy. Schiller, in his “Ode to Joy” Szymanowski, with his exceptionally fine in addition to the usual large orchestra, musical education that will insure untold talents showed themselves until the end two harps, organ and pianoforte. is somewhat as though I should deliver a joy in tears, as do the Hungarians when (which Beethoven used in part for the This mountaineer music appeals to him hearing, detected the hidden harmonies joy to them in later life. of the 19th century. This was in a great Szymanowski likes to introduce the piano one-quarter or. one-half of my broadcasts they say, “We are happiest when we are choral finale of his Ninth Symphony), and is the basis of many of his finest com¬ with their quarter tones, and, in his “In¬ measure due to political circumstances. into his orchestra. In his latest “Sym¬ over WJZ in Dutch, French, German sad.” Art is Long wisely says: positions, of which the latest is the ballet dian Love Songs,” and the “Songs of the The Polish people were occupied in keep¬ phony, No. 4,” an important solo part is or Russian. You would get part of my The trouble with most music lessons, as “Joy, in Nature's wide dominion music, “Harnasz,” representing scenes from Mad Muezzin,” which scintillate with tonal I have observed them in America, lies not OF COURSE musical training is really ing alive their national individuality, in coloring in ever changing harmonies, often given to the pianoforte, which the composer message but much of it would remain ob¬ Mightiest cause of all is found. Polish mountaineer life. never completed. Recently in Paris combating efforts to Russianize or Ger¬ himself played at its first performance in scure. Therefore the musical fun you get with the pupil or the teacher, but with the And ’tis joy that moves the pinion Szymanowski has broken with the con¬ polytonal, he creates a truly eastern at¬ I did some special study under Jan Ham- manize them. The flower of the nation Warsaw. But this does not mean that out of listening to the radio must depend parent. Parents do not lay enough stress When the wheel of time goes round.” ventional Polish music founded on national mosphere. A Hindoo writer on music has bourg; and yet I have no idea of doing any- perished in prison or in Siberia, and the the composition is a concerto for piano and upon three important things: upon the value of music. They do not dances, which the imitators of Chopin had said that no European composer has so conditions in general were little favorable orchestra. It is a symphony in which the debased into pretty drawing room pieces. faithfully reproduced the spirit of India in to the practice of the arts. Moreover the his music as has Karol Szymanowski. piano is treated like any other orchestral ruling powers offered no encouragement He drank at the original source, followed the shepherds as they led their herds, sing¬ But it is in his symphonies that Szy¬ part. As an example of the composer’s What Grade? to Polish artists, seeking rather to sup¬ manowski finds the real field for his genius. harmonies the following few bars from his press manifestations of independent thought ing the while, attended their weddings, Rieka by was present at their wild dances, called Gifted with an exceptional constructive By T. L. or expression. sense, he is at his best in the large instru¬ Great talent, however, fights its way the brigand dances, handed down from the mental forms. His “Third Symphony, Op. Mason’s work) carried through two article gives one light upon a very big through, as we see in the works of times when the Tatra Mountains were the VERY TEACHER, at one time or standards which can be recognized gener¬ 27,” a symphony cantata, or ode, with E octaves, although it is no more difficult to subject. Most teachers, however, grade Mieczyslaw Karlowicz, born in 1870. stronghold of brigands. Listening to their another, has been asked the question ally. songs, Szymanowski detected the weird sub-title “Song of the Night,” is written play four octaves than two. according to the acknowledged difficulty of Though under the influence of Richard by pupils, “In what grade am I?” harmonies founded on ancient scales, not for orchestra, tenor solo and chorus, and Ninety-five Per Cent Scales and the pieces that the student is able to master. Strauss and German program music, his Though this is a difficult question to an¬ on our diatonic one, but with traces of is founded on an eastern poem of strongly Chords The Metronome Takes Part A few years ago the publishers of The compositions have a marked Polish char¬ swer satisfactorily, nevertheless it is a Etude Music Magazine employed a large acter. In his Lithuanian Rhapsody and XERCISES for five fingers (such as N THE TWO grades suggested, the natural and reasonable one and ought to E I staff of musical educators (several of Returning Waves, Karlowicz voices the those by Schmitt and others), exer¬ chief principles stressed have been cor¬ be answered. world renown) to make a work entitled. tragedy of Poland’s captivity more pessi¬ cises for two fingers (by Dr. Mason), rectness and the formation of good mental The only grading that is practicable and “Guide to New Teachers of the Piano¬ mistically than Chopin, through whose exercises for the thumb, wrist and so forth, and physical habits generally without any definite is that which is done on a purely forte.” Thousands of copies of this have creations there runs always a strain of are for finger training, to secure even move¬ special emphasis being put on speed. In technical basis. Solos (“pieces”) cannot been given away to Etude readers entirely optimism and of faith in the ultimate very well be graded, because some are dif¬ ment of the fingers and to strengthen and the third grade the element of speed will cut a much greater figure. All scales and free, and copies are still obtainable for the renascence of his country. But Karlowicz ficult in one way, others in an entirely gain complete control of the muscles of the was a product of the century’s end and hand so that they become ready to act as arpeggios must be played at a rr\uch higher asking. The pieces and the studies in this different way. Again, certain pieces are complimentary sixty-four page booklet perhaps too he had a premonition of his quite difficult to one class of pupils and the will directs. rate, and the metronome will come in for are graded in the early grades (of the early death, for he perished tragically in comparatively easy to others. Further, But scales, chords, arpeggios and octaves a more extended and regular use. Set at grading of ten) on the following basis: 1909, buried by an avalanche in the Tatra no one (teacher, composer or publisher) form the actual material out of which 100, it must be increased gradually and Another characteristic phrase from the the playing done at four notes to a beat Mountains. He was only at the beginning seems to be able to agree on the exact ninety-five per cent of all music for the Grade I— of his career, but in any case he was the grading of pieces. It is easy to find any piano is constructed. They are funda¬ or stroke. In this grade a beginning might This includes pieces in the five-finger be made with scales and arpeggios played precursor of the modernist movement in number of solos graded differently in dif¬ mental and should be faithfully practiced position, in either or both hands; pieces all Polish music. ferent catalogs. Many pieces are easy till they become absolutely automatic move¬ with two hands together, both in unison in the treble clef; pieces entirely on the and in sixths. Octaves ought to form a technically, but require much of any player ments. Pupils who play a limpidly rapid white keys; pieces all within the compass A Master Complete scale, a securely firm arpeggio and an part of the requirements. who interprets them adequately. A case of an octave; pieces with not more than HE SUCCESSOR of Karlowicz, who Szymanowski has also written two op¬ elastic and musical octave will play their For a fourth grade the requirements will T in point lies in the poem, “The night has one or two sharps or flats. In nearly all eras “Hagith” and “King Roger,” both solos very much more satisfactorily than include all major and minor scales, arpeg¬ has carried on his work to its fulfill¬ a thousand eyes” which has but two words these cases the left hand remains practically ment, is the subject of today’s sketch— of which have been performed in Warsaw. those who play the scale and chord exer¬ gios on the common chords, arpeggios on of more than one syllable. Though any in a stationary positioa Karol Szymanowski. Born in 1882, in They make enormous demands on the in¬ cises only moderately well. the diminished seventh chords and their child in the second reader can read it, it Ukrainia, Szymanowski began his musical terpreters and also, be it said, on the is not found in second readers, because of It might be objected that these features derivatives, octaves in both scale and ar¬ Grade II— studies in Warsaw, under Noskowski. Al¬ audience. In truth the music of this com¬ its mature thought. Liszt’s Rhapsodie do not furnish material for the more ad¬ peggio forms played with each hand sepa¬ ' This grade introduces the octave scale ready, with his Preludes, Op. 1, he poser is difficult in the extreme. His strong No. 2 is listed in different catalogs as vanced students. But is it wise to continue rately and with both hands together, all but usually not further than this. The left attracted attention by the novelty and rich¬ individuality makes no concession to his being in any grade from six to ten. There this system too long? When the young played at a very high rate of speed. This hand in this grade has more to do, occa¬ ness of his invention and by the boldness hearers. He has much to say and says are many players who could perform it girl was asked what grade she was in at grade will also call for scales in double sionally it may play a melody. It has also of his harmonies. From the time of it in his own forcible way, compelling at¬ with considerable force and brilliance but school she replied very haughtily, “I’m not thirds and sixths. more or less elementary passage work. Chopin, no piano works of such elevation tention. If one is willing to give it, to who might fail to impress discriminating in any grade. I’m in high school 1” In Slight deviations from this schedule More accidentals are employed and ad¬ and poetry had appeared. The influence follow the musician into new and strange listeners with a tone poem as elementary our school system there are twelve grades. might be made to suit particular tastes or ditional keys are introduced. of Skriabin is evident; but even in this lands, then one is rewarded by entering into as MacDowell’s To a Wild Rose, Mas¬ But, just as it is customary to refer to a to meet particular cases. Less might be Grade III— early work a strong individuality shows senet’s Elegie, or, to venture a little higher, pupil’s being a member of only the earlier required for grade one and more for grade a region of sublime poetry. This grade usually requires that either itself. There followed Variations for Chopin’s Prelude in D flat, just to men¬ ones, so, in music, the grading should be two. The study of the minor scales may It is impossible in so slight an article hand must span an octave. Occasional easy Piano, Op. 3, and the “Sonata in C minor. tion a trio of pieces representing hundreds just up to four, with whatever super¬ be begun whenever, in the teacher’s judg¬ to give any idea of what Szymanowski Op. 4” which gained the first prize at a of others, all of which require an artist structure possible being built on this ment, the pupil is able to understand them. octaves are introduced, likewise more ex¬ really is, but if this should lead to a de¬ musical contest in Lwow. In this com¬ to play them properly. These are. the foundation. Octaves should not be attempted until the tended chords and arpeggios. The left hand sire to become more acquainted with this position we have an example of his emi¬ pieces that establish a real grade, if it The major scales of C, G, F, D and B- pupil can reach an octave easily. The prin¬ moves rather freely. Much good drawing¬ very interesting musician, then indeed will nent polyphonic talent. were necessary to grade pieces at all. flat, each hand separately through one ciples underlying octave playing, however, room music is included in this grade. the writer’s object have been fulfilled. The famous “Standard Graded Course of octave, with common chords and simple should be brought to the pupil’s attention But it is with his Variations, Op. 10 that Grade IV— Szymanowski treads for the first time a SELF-TEST QUESTIONS ON Studies” (Mathews), which is the invalu¬ arpeggios, may be considered one point of very early, by working for a flexible and This grade is an amplification of Grade path which he was to follow and wherein MISS MALECKA’S ARTICLE able backbone of the musical education of progress, gradually leading up to scales relaxed wrist even in finger exercises. In III. More octaves are introduced, and 1. Who has been called “The Father of the majority of students in America, solves calling for three and four sharps and flats, fact certain of the exercises in Dr. Mason’s he was to open new ways, discovering practically all keys are employed. A be¬ fresh mines of Polish folk music. The Polish Opera"? the matter of grading only to a very limited all played rhythmically, two, three and “Two-Finger Exercise” in Volume I of ginning is made in more or less ornate pas¬ theme of these variations is a melody of 2. What are characteristic qualities of extent. Some teachers have not yet found perhaps four notes to a count. This makes “Touch and Technic” are ideal as a prepa¬ sage work in either hand and considerable the people of the Tatra Mountains. It Chopin’s music? its huge value. (This is hard to explain.) a complete first grade. ration for octave work. independence of the hands is requisite. runs thus, 3. In what work did Szymanowski first Others make the mistake of using only two, For the second grade, all the scales with Nothing has been said about any theoreti¬ This is consistent with the scientific show his real individuality? three or four books and then of “branching the arpeggios on their common chords, ex¬ cal work in this article, for it is taken for grading employed in the "Standard Grad™ 4. From what source does Szymanoivski out” in other directions for subsequent tended through two or more octaves, may granted in our day that some knowledge Course” and has been maintained with all derive much of his musical inspiration? material. There are many other collections be demanded. This grade reasonably calls of elementary harmony is always demanded of the gTeat number of regular revisions, 5. In what forms is this composer at his for the introduction of the arpeggios of the of graded studies, all possessing merits, in piano study. refinements and improvements in this -p1 cj-Lr c best? but they fall far short of providing definite diminished seventh (as set forth in Dr. Editor’s Note: Mr. Rickaby’s excellent course. FEBRUARY, 1936 71 70 THE ETUDE Mozart for Little Folk Eminent Recognition

By Ruth E. Matthews The most distinguished permanent work lation of 5,000 copies a few years after its upon American biography is the Dictionary launching to one of over 250,000 copies at Tone Quality and Tone Color m Piano Playing of American Biography published under the time of Presser’s death. Not long after the auspices of the American Council of the foundation of The Etude, Presser Learned Societies, by Charles Scribner’s established in Philadelphia The Theodore Sons. No biography is included in this Presser Company, a publishing house for By W. Ward Wright till after the death of its subject. Readers music and books about music. In 1891 of The Etude will be interested, therefore, Presser resigned the editorship of The in noting how this famous dictionary pre¬ Etude in order to devote more time to his sents the life of the late Theodore Presser, publishing and philanthropic activities. As a publisher, with the substantial aid of in its latest edition. calculations of the requirements of the key. ertion with each succeeding note. That is, Remember, tone production is but a mo¬ The Etude, he showed that strange com¬ THERE ARE THOSE who state the arm must be fully poised behind each mentary act, while the poised arm (in bination of commercial shrewdness and that neither tone quality nor tone Perhaps it is well, however, that manu¬ PRESSER, THEODORE (July 3, facturers have taken the precaution to make finger as a basis from which the finger finger passages) is continuous. altruism which was one of his outstanding color are possible on the piano, that 1848-Oct. 28, 1925), music publisher, key-bottom most solid, especially when so can act to best advantage. Now if we What then is our tonal result in a scale characteristics. He interested his employees one cannot produce a tone other than that philanthropist, editor, was born in Pitts¬ many players bump it with the force of repeat each note as in thus played staccato? If we have played and safeguarded his own interests by the the instrument possesses in itself. They burgh, Pa., the son of Christian Presser, a the accomplished pile driver. loudly we have a brilliancy with good tone German emigrant from the Saar Valley in allotment to them of stock in the business. infer that tone quality is a problem for the manufacturer and not for the performer. unattainable in any other way. The scale Rhenish Prussia, who came to the United In the formation of his policies he was an Making the Trial or passage will sound extremely clear but independent, who dealt with prices and Indeed this reasoning of the musical mate¬ States in 1820, and his wife, Caroline Dietz ERE LET THE READER go to the never harsh or metallic; musical and terms as suited him best—a trait which rialist sounds logical enough, were it not of Gettysburg, Pa.. _ In the last years of the piano and from some distance above rhythmic, and not machinelike. Therefore did not tend to make him popular with his for the fact that the one and same instru¬ we will experience how this basis feels Civil War the boy worked in a foundry the keyboard drop the weight of the arm on in all passages demanding this extreme where cannonballs were cast for the Union competitors. His commercial gains, how¬ ment either can be made a medium of in¬ for each key. For slow practice, let us a single note. If he has really heard the clarity and brilliancy, the staccato touch armies, but the hard manual labor proved ever, were devoted to the alleviation of dis¬ finite beauty and variety when played by consider the progressive steps that will tone thus emitted, he will have noticed its becomes imperative. However, because of too much for his youthful strength, and in tress and the furtherance of appreciation the well informed, or can be made to sound enable us to experience those sensations so unmistakably harsh and ugly quality. Cer¬ its percussive nature we should exercise 1864 he entered the retail music and piano in the field of music. like a tonal anvil when mistreated by the necessary to ease and agility, as well as tainly it could not have been otherwise, indeed a keen artistic judgment as to when store of Charles C. Mellor of Pittsburgh In 1906 he established the Presser Home uninformed. What then is the secret that to tone control. In slow practice we can inasmuch as he did not use the key. Rather, it may be properly used. as a clerk. He rented a piano and took for Retired Music Teachers, which was differentiates the playing of the artist and well and with great advantage use those indeed, we might say that such treatment Now let us consider the legato touch. lessons, later continuing them at Mount later permanently located in Germantown the talented amateur, from that of the rotary stresses of the forearm (so neces¬ is gross abuse and in time may injure the Legato, by definition, means an even flow Union College, Alliance, Ohio, and estab¬ in a handsome building with, accommoda¬ mere strummer of notes? sary) in such a way to make them evident sensitive cartilages of the finger joints as of sound from note to note; and because lished himself as a teacher of piano. He tions for sixty-five inmates. In 1916 the While there may be a half truth in the as actual movements. well as damage the key action itself. This of the percussive nature of the piano (mo¬ taught piano at the Ohio Northern Univer¬ Presser Foundation was established for the assertion that no instrument can give forth Play the G of Exercise 1, therefore, then he must not do. mentary tone production) absolute legato sity, Ada, Ohio, from 1869 to 1871; at consolidation and administration of various any other tone than that built into it, yet with a slight rotary tension (movement) Again let him raise the finger and strike is unattainable on our instrument; but we Smith College and at Xenia Conservatory, private philanthropies which the founder it remains a fact that even a very superior towards and with the thumb, immediately the key, that is, deliver a blow against can approximate the absolute to such an in Xenia, Ohio, 1872-75, and at the Ohio was conducting at the time. It included a one can be made to sound quite harsh and allowing the key to rise; and, from this G key-bottom. Again the same results ensue, extent that the illusion of legato is all- Wesleyan University, Delaware, Ohio. In department for the relief of deserving metallic by key-mistreatment. (at surface level) as a pivot, help the next for the key has not been used, only mis¬ satisfying. Every player well knows that the meantime he took courses in the New musicians and a department for assigning finger on with an outward rotary stress Mechanical Insight used. Again he might tap the key with a tone once sounded on the piano begins to England Conservatory of Music, in Boston, to colleges scholarships for music students. (visible movement) towards and with the sort of shove downwards with like results. “die” immediately, even though the key where he studied with Stephen Albert A third department was instrumental in FIRST OF ALL, then, it becomes im¬ second finger, repeating the same for the be held or the pedal used, and that it will, Emery, Benjamin Johnson Lang [qq.v.], assisting colleges to erect music buildings. perative that we understand at least Therefore we see that we must never fall third and fifth fingers. Again, let us onto the key, strike, jam, peck at it, or for if given time, actually fade away into and George Elbridge Whiting. In 1878, In the year of its founder’s death the the general facts of the true nature of the gradually quicken the tempo, maintaining that matter even press it. (Indeed the silence. How then shall we accomplish like many other American students and Foundation was prqviding 137 scholarships key itself. We, as pianists, must realize at the same feeling of ease and stress, but the term “pressure touch” is apt to be mis¬ this touch effectively and musically, with teachers, he went to Leipzig to complete in music in the United States. Presser all times that the keyboard in reality is faster we play the less time we shall have leading; “nonpercussive” is the better ease and certainty? We have said that his musical education. There he studied wrote First Steps in Pianoforte Study no more a part of the piano than is the for visible rotary movements, which will the key can accomplish tone duration by from 1878 to 1880, under Salomon Jadas¬ (1900), School for the Pianoforte (3 vols., violinist’s bow a part of the violin. It is term.) be consumed as it were in finger movement simply keeping it depressed, but how to sohn, Karl H. C. Reinecke, and Bruno 1916), and Polyphonic Piano Playing simply a conveniently placed “set of tone- Thus we learn that tone quality of the only. It will seem that only the intent of Zwintscher. On his return to the United (1921), and a number of piano studies and tools” to be used to produce tone. That individual single note might be said to be these rotary movements will remain (if keep it thus depressed is indeed the cause States, Presser went to Hollins College, pieces of a routine nature. He was a is, we do not (or should not) play upon absolute, either good or bad, nothing more: we do this correctly); but this intent and of much trouble to all uninformed players. Hollins, Va., as professor of music, a posi¬ founder of the National Music Teacher’s keys but with them. All too often the good if well and accurately aimed, bad if feeling are everything. Furthermore we Indeed there are but two ways that this tion he held from 1880 to 1883. Association in 1876, and a founder and player considers the hand or fingers as unaimed or misaimed. How then can we must remember that the rotary stress can be done. In 1883 with a capital of two hundred honorary member of the Philadelphia the tools to play upon, keys, whereas in produce that beautiful illusion of tone (visible or invisible) on reaching the fifth First, we may let the hand lie (rest) and fifty dollars he founded The Etude, Music Teacher’s Association. He married, fact they are but the anatomical members color or so-called tone inflection? finger is reversed as in at key-bottom, instead of at key-surface in 1890, Helen Louise, daughter of John that should at all times take hold of the Now there are but three things that the as for staccato, though ever so lightly so a monthly musical journal, in Lynchberg, Ex. 3 _towards (owards Va. His own wide experience as a private Curran of Philadelphia, and three years key to play upon the string itself, which is key can accomplish, namely: that it will compel the finger to keep the and conservatory teacher had made him after her death in 1905, married Elise, the quite another matter. Just as the carpenter 1. Produce tone, key depressed. This might be called the daughter of Russell Houston of that city. might be said to grasp or take hold of the 2. Control tone amount (tone quality), “natural legato” touch. And what of the realize the possibilities of a magazine of a It all began with a gift. And out of sepia print picture of Mozart himself. He died of heart failure, following an oper¬ hammer to drive a nail, so also the pianist 3. Control tone duration (this latter of finger? To produce tone it does exactly very popular educational type, one that that gift grew a fascinating scheme for In the meantime, work was begun on a ation in the Samaritan Hospital, Philadel¬ should take hold of the key to produce course by key release). the same thing as in staccato touch—aims would appeal especially to the average perking up pupils’ interest in music and, Mozart program. Numbers were selected piano teacher, whose objectives were strict¬ phia, Pa. tone. And, no matter whether we be True, so-called finger passages can be made its impulse (with of course the added—not [Who’s Who in America, 1924-25 ; W. R. Til- at the same time, adding to their musical according to the ability of the students and carpenters, golfers, or pianists, we do not to sound brilliant or pearly or flowing in Thus we see that all finger passages con¬ necessarily visible—forearm stress or help) ly practical, rather than purely cultural or ford, “A Character Study of Theodore Presser background. The device is so simple, yet sufficient time was allowed for them to tain these rotary stresses, visible they may esthetic. The magazine and its owner re¬ the Man,” Etude, Jan. 1926, contains also do anything to the tool to be used, but we effect, when many notes are “strung to¬ to tone production point—ceasing its en¬ tributes by Owen Wister, William Arms Fisher, proved so successful, in the large western master the compositions. Then a Mozart do accomplish our ends with it. This fact gether”; but this is not only a product of be if slow, invisible if fast in tempo. Study ergy or muscular exertion immediately. moved to Philadelphia in 1884. Beginning John Philip Sousa, O. G. Sonneck, and Charles music school where it was used, that it is recital was held, with the children in the the following figures, as a teachers’ journal, with simple articles Wakefield Cadman; sketch by W. S. Smith, cannot be stated too emphatically, for what degree of tonal intensity but also a tonal The loose lying hand at key-bottom there¬ Grove’s Dictionary of Music and Musicians, believed others might benefit from a simi¬ costume of the period. In addition to we do with the key is of the utmost im¬ illusion resulting from how we “string” Ex.4a fore accomplishes the connecting of the on applied pedagogy and a supplement of voi. IV (1928) ; Public Ledger (Phila.), Oct. lar experience. minuets, sonatas, and early- compositions studies and “pieces,” it rose from a circu¬ 29, 1925.] F.H.M. portance. As pianists our aim should be them together; that is, whether we play notes. Thus we might say that this nat¬ Some time ago the conservatory received for the piano, the program included com¬ to produce, at will, tone that is beautiful staccato, nonlegato, or legato. It is im¬ ural legato touch is in the nature of a a handsome bust of Mozart as a gift. The positions for violin and string quartette. and musical at all times. perative therefore that we now understand Luj ~J |Jj j 'j -j ^-j-1 weight transfer from finger to finger, young musicians were pleased with the new The highlight of the recital was the piano The key itself, in reality, is a slightly fully how to play staccato, nonlegato and Ex.4*> though so light is the weight required— addition to the school and asked many duet presented by a small boy who imper¬ overbalanced “teeter-totter” which must be legato, and this with consummate ease and only enough to prevent the key from rising. questions about the master. This gave the sonated Mozart as a child and a little girl floated downward to a definite point to surety. As staccato is the basis of all This does not mean, however, that we roll Samt-Sa£ns as a Prima Donna director of music the idea of furnishing a who played the part of Nannerl, the com¬ produce tone. It is not enough that tone agility and velocity, let us first consider the weight from finger to finger, but that “Mozart Corner.” Here was an oppor¬ poser’s beloved sister. happens only as the result of some in¬ this very important touch. we release or pass on the weight from the tunity to turn the students’ curiosity and So successful was the Mozart Corner definite manner of using (more often abus¬ First, the upper arm must hang loosely finger just used to the next finger pre¬ By G. A. Selwyn interest into informative channels. Ac¬ in encouraging the children to learn more ing) the key; for we should use the key at the side, the forearm must be delicately cisely at that moment that that next finger’s cordingly, an alcove of the large, home like about the composer that the plan was ex¬ for the definite purpose of producing a poised and self-supported by its own work of tone making is completed. A school lounge was turned over entirely to tended. Soon Beethoven held the place preconceived ideal of tone. That is, we muscles, so that the loose-lying hand may good exercise to accomplish this is, Even the most serious of composers have attempted to perform Offenbach’s La Belle the children—and to Mozart. Occupying of honor in the children’s comer, and he must listen for as well as hear what we rest at key-surface upon the keys. Let us In Exercise 4b, at X we must in passing their lighter moments. Mozart danced. Helene in costume.” the center of attraction was the impressive was welcomed as enthusiastically as Mo¬ have produced. Only thus can we gain consider the following, from E to F reverse the rotary stress Beethoven invented puns. Wagner designed In addition “Saint-Saens went so far as bust. Pictures of the composer were hung zart had been. Then came Bach. tonal control without which real music towards the thumb, though the scale be dressing-gowns of padded silk. The French to compose for the above reunions a one- on the walls and every scrap of available As the plan developed, new ideas were making becomes impossible. progressing in the same direction. Also composer, Camille Saint-Saens, was given act opera-bouffe entitled Gabriella di Vergy, material pertaining to his life and works brought in. For example, the children There is, furthermore, a definite place at Y we must reverse outwards to the to burlesque to which Chopin also was ad¬ as a parody of the old Italian style. In was gathered for this corner. Examples were encouraged to collect as much of in key descent where the felt hammer “kicks third finger momentarily and then again dicted. 1885 this piece was performed at one of of his music were provided: minuets, so¬ their own material as possible. Some of off” to the string to produce tone; but, stress inwards towards the thumb. To In his earlier days, while organist at the the soirees of the Society known as La natas, sonatinas and other forms. And them like to make scrap-books with the though we cannot see this place, neverthe¬ If tone production is but a momentary state the rule: The direction of rotation is w't'.Tfansfer Church of the Madeleine in Paris, Saint- Trompette.” But there were other jests. did the children seem interested? They data they gather. Others bring their ar¬ less we can by our tactile sense feel it, act, all we have to do then is to float (with always from the last finger used towards Saens lived at home with his mother and “It is said that on one occasion,” Hervey certainly did. One by one they became ticles and pictures to the Composer’s Cor¬ and that is the all important factor. It is the finger) the key to tone production the next finger used. We can rest assured With the light weight of the hand poised gave reunions every Monday evening. observes with becoming guardedness, “in “Mozart conscious.” Before and after les¬ ner for the bulletin board. Then there are therefore to this place that we must direct point (slowly for a soft note, more quickly that, if a scale or passage seems sticky or on C, we play the triplet “d’s” (finger “Music naturally formed the great attrac¬ the salon of Mme. Viardot, Saint-Saens sons they flocked around the table in the the informal get together meetings where or aim the downward float of the key to for a louder note) and immediately cease uneven, we are either touch plus rotary impulse) and then at tions of these evenings,” says his biogra¬ took part in a charade in which he appeared cozy Mozart corner, completely absorbed information and ideas are exchanged. produce good tone. What we do after the this exertion precisely at the moment that 1. Failing to let the hand rest (with will, on the second beat we pass this weight pher, Arthur Hervey, who also records in costume as Marguerite in the Jewel in this new pastime. To add to their in¬ The results of this plan are too obvious tone has been once gotten under way, can we hear tone, thus allowing the key to wrist therefore unrelaxed), with the finger onto “d” and so on. This gravely that “at times a spirit of fun was Scene from ‘Faust!’ ” terest a jig-saw puzzle of Mozart was to require elaboration. In the first place, in nowise affect the tone; for on the piano, rise again with the finger. But remember 2. Mis-aiming the key, legato is used in all flowing “color” forma¬ given free play.” One has only to remember that Saint- provided, and a prize offered at the end these children will develop a more com¬ unlike the violin, tone production is but a that, with the heavier actions of our mod¬ 3. Failing to adjust rotarily, tions, as in Exercise 6, where the melody To prove this he tells that on one occa¬ Saens had black whiskers and a large of the month to all who succeeded in put¬ prehensive attitude than that of the boy momentary act. Key-bottom is merely a ern pianofortes, we must also give a slight 4. Or failing to cease exertion immedi¬ notes alone are played with momentary sion “the gay young artists and their hosts Hebraic nose. ting the puzzle together. The prize was a (Continued on Page 120) sort of backstop to our unsensitive mis- aid to the finger with a forearm rotary ex¬ ately that tone is heard. weight release of the arm; all others by

72 THE ETUDE FEBRUARY, 1936 73 (legato, nonlegato, staccato) make of the this quotation from the Nocturne, Op. 9, fugue a beautiful creation not only of de¬ for the inquisitive mind of a child; but it this natural weight transfer, finger touch sign but of tonal contrast. Indeed it is could scarcely be called music, even though No. 2 of Chopin, Liszt and Wagner legato. very often the lack of these details that both melody and harmony (and a certain metronomic rhythm) be involved.. One causes the music of Bach to sound so dry lexicographer says that “Music is the and uninteresting. As Seen by the Famous Hungarian Statesman science and art of the rhythmic combina¬ Thus, by assimilating these few princi¬ tion of tones, vocal or instrumental, em¬ ples the reader may augment this discus¬ bracing melody and harmony.” He well sion with almost any music at hand. Count Albert Apponyi might have said, “The rhythmic and pro¬ Experiment will enable him to ascertain just which proportion or combination of portionate combination of tones.” Let us The late Count Albert Apponyi was one of the most brilliant minds of the past century. As a Hungarian patriot, consider experimentally the case of a tonal intensities will give the exact mood single tenth, as, suggested by the composer. The painter, he stood preeminent. His services at the Peace Conference at Versailles were memorable, because it was pos¬ not content with the first stroke of his sible for him to address his confreres in six tongues. The following vivid pictures of Liszt and Wagner are re¬ brush, tries yet another and another color, printed from his important “Memoirs,” by permission of the publishers. The MacMillan Company. that he may get just the right shade which will produce the vivid reality he seeks. So not ask Liszt to play. Whoever did so we, who paint with tones, must seek out USIC, the art of pure emotion, M fell from grace and spoiled the atmosphere the perfect nuance, the perfect blend that has played a quite unique role in will give the ideal recreation of the com¬ my life. I am neither a creative of the whole evening: it had to be done Indeed a good way to “unprominentize” a We have in these two notes played simul¬ at his own suggestion. I was a constant passage is to play it with this species of taneously just three ways in which to pro¬ poser’s intentions. Mood, that intangible musician, nor a performer, nor even versed we must make each chord softer and superlative-plus of real music making, must in musical theory, but merely susceptible guest at those evening gatherings, where legato. duce tonal variety, so called. We can softer, for the reason that our piano melody I felt, to a certain extent, like Saul among The only possible other way to produce be tirelessly sought out and assimilated. to its gifts. This is the case to such an “cut away” the bottom note with a lyrical tone is fading away, but which neverthe¬ the prophets.. Other famous artists also legato is to hold the key down muscularly How often in the practice hour, by sheer extent that music has formed an intrinsic effect produced, or play the two notes of less must sing on until the next melody used to come there, musicians who had from the staccato resting basis, from note accident as it were, we catch the vital liv¬ part of my life and has influenced my the octave with equal intensity and with a note be played. Also we must be sure to visited Budapest to pay their respects to to note. But this holding of each indi¬ ing message of the composer, only to lose whole personality. That applies also to full round" effect resulting, or we may “cut play the succeeding melody note just with vidual key with each individual finger jnust my political activity. Of course I never Liszt, even if they were not giving a con¬ away” the top. note which will give a the amount of tone to which the preceding it at the moment of performance. But cert. These naturally took an active part be accomplished with a lightness and somber effect. knowledge of what one wishes to accom¬ have tried to find the solution to a tariff minimum of muscular exertion compatible one has faded, else we shall have the effect problem, or to a difficult point of con¬ in the musical performances, but they all For a practical example, let us consider of an accent, thus destroying the sensitive plish, plus the knowledge of how to accom¬ sat as pupils at Liszt’s feet and listened with ease and agility. In fact it takes less the following from the Etude, Op. 10, No. plish it, gives the performer a sureness and stitutional or international law, in Johann muscular exertion to hold a key depressed melodic flow of tone. Sebastian Bach or in Mozart, in Beethoven to his every word as if it were the saying 3 of Chopin, In true polyphony, such as a Bach self-confidence in public performance that of an oracle. Among them were some of than to sound it at its softest. This arti¬ relying on the sheer inspiration of the or in Richard Wagner. But I have felt ficial or compelled legato must be used in fugue, the horizontal proportion (dynamic quite clearly that the influence of the great¬ the greatest—Rubinstein, Paderewski, and rise and fall of theme and countertheme) moment never can furnish. Self-confidence of famous violonists, Wieniawski and all cases where the passages are in the brings mastery, and mastery produces con¬ est—but only of the greatest—music has presents the main problem. Furthermore, others. nature of fast moving melodies as in this viction; for he who has assimilated thor¬ increased my perceptive powers, and also Fantaisie-Impromptu, Op. 66, by Chopin, each melodic pattern must take its own my facility for surveying and grasping oughly all the problems of his art is surest Master and Man rightful place in relationship to every other some question, even of politics, in its en- pattern (vertical proportion). This, to¬ at all times to “recapture that first careless OW THAT I WAS ABLE to ob¬ rapture.” N gether with the different touch effects This profound attachment to the art of serve Liszt almost daily in his own music originated during my years in circle, there grew up, besides the admiration Kalksburg. In early childhood I enjoyed which I felt for the artist, genuine esteem and affection for the man. He was not She Made Curl Papers of His Sonatas ordinary piano lessons—if I can use the word enjoyment in such a connection. without his faults. The seed of vanity These lessons bored me to death, especially which sprouts in every man could not be By Kenneth P. Wood the insipid drawing-room pieces which I lacking in him, after an unparalleled career had to learn, like other children in the as a virtuoso such as he had enjoyed. This same plight, for birthdays and feast-days. asserted itself sometimes in a way that de¬ Joseph Haydn had the most unhappy invited clerical men to her table, tore When I went to Kalksburg the piano was tracted from his dignity. But he was a married life of any of his contemporaries. Haydn’s written musical scores and made among, the minor subjects taught. I looked noble and good man, one of the best I His wife was extremely unsympathetic. In curl-papers of them, and yet Haydn bore forward with resignation to that half hour have ever known. Jealousy and ill will We notice at a glance that the pnrase is 17S8, after great struggles he had advanced it all as well as he could. How he was three times a week. As it turned out, a were unknown to him. How many musi¬ twice played ; and, while the composer has so far as to obtain a musical directorship able to create those lovely, sunny tone-pic¬ teacher took me in hand whose conception cians became known through Liszt, and given us the clue, so to speak, by marking with Count Morzin and settled in Vienna. tures in the “Seasons,” and the beautiful and method wrought a complete change. owed any recognition they received to the the first phrase mf and the second phrase His salary was only two hundred florins, music in the “Creation” is difficult to com¬ p, we gain further contrast or tonal variety He was an unassuming Bohemian musician publicity he gave them! It admits of a nicety of key-control and but he had board and lodging free. Many prehend. by slightly “cutting away” the lower note named Franz Frey, no great virtuoso, but It was an immense satisfaction to him tonal selectivity for each note not possible pupils came to him, and among others, two In one of his letters he says: “My wife in the right hand sixth in the second a man well grounded in the theory of to discover talent, and anyone who wished under the natural legato. Furthermore it daughters of the hairdresser Keller. is mostly sick, and is always in a bad tem¬ phrase. The full effect of the first phrase music and filled with a glowing enthusiasm to make serious progress in music always will give an added clarity which is so often Haydn fell deeply in love with the young¬ per. It is the same to her whether her (notes equal in intensity with, as is evi¬ for the art into which he had to initiate found him actively encouraging. I would desired in place of the extreme nondura¬ er, but his affection was not returned, for husband is a shoemaker or an artist.” dent, a more subdued left hand) is thus a lot of ungrateful boys. In me he found stress this absence of jealousy in his char¬ tion clarity of the staccato touch. she entered a convent and became a nun. After he had suffered thus for thirty- most beautifully contrasted by the lyrical an appreciative pupil, and I mention his acter, because I have never met with it to There yet remains a discussion of the Father Keller, who was very intimate two years he seemed exhausted, and then, effect of the second phrase which must be name because this modest, and in no way such a degree in any other man of im¬ nonlegato which is perhaps the happy a renowned composer, he wrote to a friend made to sound different. Thus we see that with Haydn and had helped him often in prominent, but nevertheless efficient and portance having rivals in his own field. medium between the two extreme foregoing in London: “My wife, that infernal in our ability to subdue properly certain earlier times, persuaded the young com¬ conscientious, man was a determining in¬ The close friendship which had united him touches. Indeed it has been aptly called by poser to marry his elder daughter, and the woman, has written me such horrible things in earlier years with Chopin is a proof of Busoni “the natural piano touch.” To notes or groups of notes lies the secret of fluence in my education. variety in our playing. marriage was celebrated November 26th, that I will not return home again.” teacher gave me after he had been in ments and seemed anxious to devote most this. It did not exclude an occasional quote him further: “In it (the nonlegato) 1760. At last Haydn separated from his wife The Perfect Teacher shaft of malice about his equals—but only is to be sought for example the secret MacDowell, himself, recognized this Vienna and had heard “Lohengrin.” That of his energy to the fostering of music in principle of tonal variety through the Maria Anna however, made their married and placed her as a boarder with a school¬ I REMEMBER, as if it had been but day there was no real lesson but only tor¬ his own land, for his heart had always re¬ about them. The following little story of the ‘pearly’ touch, which is based on life miserable. She was extravagant, big¬ master in Baden, where she died in 1810. illustrates this. He told it to me himself, the same preconditions of separatedness, medium of tonal contrast, by plainly stat¬ yesterday, how in the first lesson I had rential outbursts of enthusiasm about the mained true to Hungary. There was talk ing that the lower note of the octave in oted, scolded all day, and was utterly un¬ Her memory was always disagreeable to with him he was trying to gauge the ex¬ master’s great work, and of faith in his of founding an Academy of Music in Buda¬ perhaps thirty years after it had happened, softness, and evenness.” It is produced companionable to a musician. him. When showing her portrait to a with an obvious pleasure at the success of with the hand feeling as if it were lying his From an Indian Lodge is to be played tent of my knowledge. I had played over epoch-making mission. pest and of placing Ferencz Liszt at its Finally she became so bad that she did friend in his home in 1805, Haydn an¬ his joke. in the float of the key. What a delightful a bit louder than the top note; and then, to him one or other of the drawing-room In this way I gathered what I might head. Our relations at first were of a com¬ only those things that she thought would swered, on being asked who she was: When his fame as a virtuoso was at its sensation it is to experience this nonlegato reversing the tonal scheme of the same pieces in my repertory, when he thought call intellectual impressions of music, since monplace, social kind. He could have no annoy her husband. She dressed in the “That is my wife, she has often infuriated height, in the forties of last century, Liszt touch wherein the loose-lying hand seems passage in the last part of the piece, by for a moment and then said, “Look here, I had as yet had no opportunity of hearing insight into my mind and could not detect prevailing fashion, unsuited to her position, was staying for a while in Paris at the to be floated along from key to key by the playing the top note a bit louder. we are not going to waste our time with any major works. My head was full of all the enthusiasm for music which was same time as Chopin. One evening they reaction ensuing from the actively engaged Again, in the middle section of Chopin’s that sort of stuff. I am going to introduce these impressions when I entered upon the stirring in me, and especially for the type finger—especially in fast passages. If we Octave Etude we may well begin the you to classical music.” With these words first two years of my university life in of music whose chief representative, after both took part in a musical soiree, at the really accomplish this touch perfectly, “cantabile” section with a slight overbal¬ he laid the Adagio from Beethoven’s Vienna. There I could satisfy the craving Wagner, was himself. house of some great lady. On that occa¬ ance of the top note (for lyrical effect) “Sonata Pathetique” on the piano, played for musical knowlegde to my heart’s con¬ Liszt then had a modest flat on the Fisch- sion, Liszt had the feeling that Chopin had velocity itself becomes easier than a slower Fifty Years Ago This Month tempo. Musically, it is often used in but gradually use the full- equal octave near it to me and bade me try my own hand at tent. As a matter of fact, I spent three platz, which has completely disappeared in put him in the shade; and, in spite of their piano literature, and when controlled to a the bottom of the page where tonal intensity it, a task in which I proved fairly com¬ years—1863 to 1866—studying in Vienna; the course of town planning. In the eve¬ friendship, this irritated him. Then he soft degree of tone we attain the “leg- is needed for the musical climax. M. Lussy wrote in The Etude : “This comparison furnishes a simple and petent. But that is not the principal thing. for, as I have already explained in another ning I would often meet a little group of had a brilliant idea. While Chopin was giero” or “pearly” touch so often found And what a wonderful effect Chopin at¬ “Ascending is striving, physically as rational explanation of the inclination The impression it made on me was one of connection, I devoted a year exclusively to friends there from the Budapest world of sitting at the piano and playing magnifi¬ in Lisztian cadenzas. tains in the closing page of his Prelude, well as morally. which musicians have, of hastening, at the utter bewilderment in face of a new world philosophical studies after matriculating. music. Sometimes they had come to supper, cently, Ferencz Liszt crept up to the hostess Thus we have learned that tone color in Op. 28, No. 17, wherein the returning “It is raising one’s self to a superior commencement of ascending phrases, and that opened before me. Further and ever During these years almost the only pleas¬ which at Liszt’s always consisted of cold and whispered to her that it would be in¬ finger passage work is the direct result, of melody is played softly over a recurring elevation, against the tendency of our be¬ retarding towards the end. further I advanced, for each hour at the ures that I allowed myself in the intervals dishes, and which he called “cold treat¬ teresting to hear Chopin in the dark. mastering these different, tone duration forte A-flat in the base. Not only is the ing. The more the ascent is steep, bristling “Descending, on the other hand, is reach¬ piano was also an hour of musical discus¬ of my studies were musical. Listening and ment.” There were always stimulating Would she not have the lights put out? touches. But we have yet to consider the melody itself actually played more softly, with obstacles and asperities, the more ing an inferior degree, physically as well sion, an introduction of the fourteen-year- reflecting, I took in all that opera, phil¬ and instructive conversations. In the course As soon as this had been done, Liszt vast amount of literature wherein tonal but it will indeed sound at a whisper, re¬ force is required, the more rapidly our as morally. It is following one’s natural old boy into the heart of great musical harmonic society concerts, chamber music of them, Liszt would often take his seat at slipped into the chair next to Chopin, and inflection becomes the great factor. This trospective in mood as it were, by sheer pulses beat, the greater becomes our ani¬ bent. And the impulse is in proportion to creations. and the performances of great virtuosos the piano, perhaps to illustrate his words, whispered that he should let him go on is a problem in proportion (tone quantity) contrast with those now famous eleven mation; but also, the sooner we are ex¬ the length and uniformity of the descent. Frey was enthusiastic about Richard had to give. and the enviable members of that circle playing. Chopin entered into the joke, and, and what Percy Grainger has so aptly ringing A-flats of the base. hausted. Once the summit is attained, "From this arises the inclination to ac¬ Wagner, which was nothing remarkable in would hear fragments of Beethoven or without anyone noticing, Liszt took over A Genius at Ease termed “simultaneous tone color contrasts.” Every composition, then, has its distinct we experience a certain well-being; we celerate and the necessity to retard, on uni¬ those days; for I am speaking now of the Mozart sonatas played in the most spon¬ from him the musical phrases which had Without proportion music is nonexistent, tonal levels, which, if we are to make breathe easily—the victory makes us happy. formly descending passages.” early sixties, when Hanslick was still AT THE END of the sixties and the be- taneous manner, untrammelled by any already begun, and played his piece through being little more than a composite of tones music, must at all times be kept distinct. supreme in Viennese musical criticism, and . ginning of the seventies, Ferencz thought of a public. to the end. Nobody suspected what had of which the old-fashioned music box is a Also we must remember that where we “Wagnerite” was equivalent with “crank.” Liszt began to spend a part of each year in Those were real courses in musical his¬ happened, and there was boundless amaze¬ have a single sustained melody note, with I remember a piano lesson which my concrete example. The tinkle of the mys¬ "As leisure increases, music becomes more and n ■c necessary. You ci Budapest. He was free from all engage¬ tory. It was understood that we should ment among the people when the lights terious little box may afford amusement continuing color chords in the base, as in have too much of it.”—George Eastman. FEBRUARY. 1936 75 n THE ETUDE what we experienced that day It was garian money on the support of a German simply music, an emotion evoked by sound versation and went up to Wagner s room were lit again and they saw Liszt sitting undertaking. Enthusiasm form^h^ together. Sandor Apponyi entered and more glorious than any expressible by at the piano. Standing up, the latter said Wagner was not so general among tne thought or speech. Modulation Is Not Difficult to Chopin, “My dear Frederic, just do me found there a piano on which -stood the open public of Budapest as it afterwardsbecame. music of Johann Strauss’s Blue Danube. When the rehearsal was over, the few a favor by sitting down at the piano and The protests caught on, and tickets * people who had been present went to playing so as to make the people think The conversation must have turned to this, the Wagner concert were selling so badly for Wagner sat down at the piano and luncheon together. Not a word was spoken, that it’s Liszt!” that we began to fear a fiasco, which would not a murmur of applause. Everyone felt By Paul W. Selonke This harmless joke, with which Liszt played a few bars of the immortal Danube have been very unpleasant for the master Waltz, enthusiastically praising, its beauty. instinctively that silence alone was be¬ had procured a satisfaction from his friend and not exactly to the credit ofour.capital I envied my cousin this experience; it is fitting the mood in which we were. Richard and rival that would otherwise have been Liszt was informed of the state of thing not everyone who can hear Richard Wag¬ Wagner had sought out Liszt, and they, too, A Simple Technical Discussion of a Fascinating Theoretical Problem denied him, did not in the least disturb and he at once said, “I will play Beethoven s were silent as they walked from the room. their friendly relations. Liszt took pleas¬ ner playing Strauss.. ‘Concerto in E-flat major’ at the same con¬ This admiration for Strauss, which I It was only when we were sitting at ure in this anecdote all his life, just as cert.” On the day when this decision ot heartily endorsed, is very characteristic of table that the spell was broken, and anyone of us might enjoy recalling some the master became known, all the tickets Wagner’s attitude to other musicians. As Wagner turned excitedly to Liszt with the offers a supertonic (with raised fifth) and harmless but successful prank of youth. S MODULATION as difficult as it is major and minor keys, those whose tonics of course, upon whether the modulations a contrast to Liszt, who was able to appre¬ for the concert were sold out. words, “My dear Franz, you have beaten I the minor form of the dominant. The first, The concert consisted of two parts, rn too often supposed to be? Does it are formed from the same keynote, to in¬ are transient or moving definitely to a new ciate everything, Richard Wagner’s own me well and truly today! What can I do when used as the interlocking subdominant, Liszt, the Creator the first came the Wagner extracts, con¬ loom gigantic as a complication of terchange tones. Therefore, in C major, personality always influenced his judgment to compare with the playing we have just will lead to A minor; the second, to D ducted by the master himself; m the second, vague, cryptic rules of operation? The we may introduce B-flat, E-flat and A-flat For additional major triads in the origi¬ IT WAS a fashion then, and long after¬ of other composers. His highest admira¬ heard?” And so the talk went on, with minor. the Beethoven piano concerto, played by answer is, emphatically, in the negative. (all tones of C minor). Thus, an E-flat nal tonality we cannot forget the second¬ wards, to admire in Ferencz Liszt only tion was reserved for those who stood exclamations of humble admiration for And, as mentioned earlier, major and Ferencz Liszt and conducted by Wans Transposition from one tonality to another, major chord may be formed by lowering ary dominant formations, which theorists the pianist and to disparage the composer. completely outside his own sphere, and Beethoven’s genius and of gratitude to minor tonalities on the same keynote may Richter. We looked forward excitedly to though simple in itself, is a sadly neglected the root and fifth of the mediant; an A- agree belong to the original tonality. They It is quite otherwise now, and, from the whom he could criticise quite objectively. Liszt, who could bring it so magically to borrow tones from each other. In C minor this event, and I must say that Liszt s per¬ part of the average musician’s equipment. flat major chord, by lowering the root and are the dominant of the dominant (D very first, the great impression which many Hence his appreciative words about the old- we may borrow an E-natural from C major. formance aroused the greatest enthusiasm. life. Basically, the problem of shifting to a fifth of the submediant; a B-flat major major), dominant of the submediant (E of Liszt’s works produced on me con¬ style Italian operas, and his joy in Johann This would add, as minor triads, the His career as a pianist had long since come remote key should give one no more trouble chord, by lowering the root of the leading- major), dominant of the supertonic (A vinced me that this verdict was unjust. Strauss. His supreme veneration of Bee¬ An Epoch Begins mediant with raised root and fifth and the to an end, and for many years he had re¬ than a tonic to dominant modulation. tone triad. So modulations to B-flat major, major), and the dominant of the mediant It must be admitted that in the mass of his thoven arose out of the nature of Beetho¬ submediant with raised root and fifth; and fused to appear in public. It was a unique AS MAY BE SUPPOSED, I went to Because of the unlimited scope of modu¬ to E-flat major, and to F major become (B major). Using these chords, we are output there is some indifferent work of ven’s art, which was spiritual and removed they afford modulatory opportunities to B experience to hear him once more playing Bayreuth for the three first cycles cf lation, let us consider one form, a simple possible. able to shift from C into A major, B major, an ephemeral kind; but is not this the case from all subjective impulses. I once saw E major, or F-sharp major, respectively. minor and E minor. with every creative artist who fills many to crowds of people, now, in his maturity “Der Ring des Nibelungen” in the Festival and interesting experiment which shows the proud head of Richard Wagner bowed 5x.5a Here is a modulation into F-sharp major, It is obvious that, by this method, we volumes, either of poetry or of music? Is long since freed from all the dross of Theater. A remarkable incident came my the relationship of keys. And as a starting in deep humility before Beethoven, and way in the course of one of the perform¬ might also modulate from minor to major everything supremely great in the thirty- nothing has moved me more than this virtuosity, the creator of magnificent re- point we might use this elementary pro¬ ances. During an interval, my friend keys. If we borrow the E-natural from odd volumes of Goethe’s works? Have homage by genius to the greatness which ligious music. For this wonderful ex¬ gression, perience we had to thank his devoted Mihaiovich wanted to speak to one of the C major, we get a tonic with a raised we not mediocre products, even of Bee¬ he felt himself unable to reach. I have Ex. 1 third. Upon use as a subdominant entrance thoven’s muse? The capacity of a creative friendship for Richard Wagner. From the Wagner family and for this purpose went also seen flashes of self-criticism cn the into a new tonality, it will readily evolve mind is to be reckoned from its greatest musical point of view, we looked forward up into a part of the theater which was part of Richard Wagner which belong to into G major. achievement. And what treasures we find the most interesting psychological experi¬ to the result with confidence. Our orches¬ reserved to them. By chance he entered tra was even then so highly trained that, a room in which he found the master sitting amongst the music which Ferencz Liszt ences in my recollection. My mental pic¬ Ex. 8 has bequeathed to us! I will only mention ture of this man is very different from that suitably conducted, it would prove equal alone before a writing table and musing. the “Dante” and “Faust” symphonies, the usually drawn. to anything. It was led by Hans Richter, Seeing someone he knew, Wagner rose and (m i piano concertos and sonatas, a few of the whom Wagner called his “partner,” and said, almost in a tone of discouragement, songs, the Esztergom and coronation A Protecting Angel to whom he had entrusted the first per¬ “No, that is not what I imagined. It falls -f~r masses, and the oratorios “Elizabeth” and AT MY NEXT meeting with Wagner, formance of “Der Ring des Nibelungen.” far short of what I intended." Mihalo¬ It is an accepted truth that, to establish J J J “Christus.” The last, especially, contains . Ferencz Liszt was again in the fore¬ vich, thinking that the performance was a tonality, one must introduce one of its 4+ Pianism, Supreme i r i i 1=1=1 ideas as profound as the finest religious ground, and this time the two great living responsible for his dissatisfaction, began ~r-r~~- subdominant formations; that is, there I3l music ever written. geniuses were joined by a third, invisible IT IS SAFE, I think, to assert that to defend it. Wagner answered, “It is must be the feeling of a complete cadence. c h IV Va.5 It is no far cry from Liszt to Wagner. but affecting them by his magic spell— Ferencz Liszt’s playing of the “E-flat nothing to do with that. I know the people Therefore, if we consider the final tonic I Through Liszt, I met that great man; and, namely, Beethoven. Preparations were go¬ major Concerto” at this rehearsal marked are doing their best; but what I have writ¬ of the above progression as the subdomi¬ thanks to my friendship with my com¬ ing on for the opening of the Bayreuth his highest achievement as a pianist, per¬ ten is not what lived in my imagination." nant of G major, and we extend the pro¬ The Neapolitan Sixth in C minor pre¬ patriot, I had the entree to the Villa Wahn- theater, but the undertaking labored under haps the highest achievement of which This remarkable observation, which gression with a G major cadence, does it sents a modulation into A-flat major; fried, which was not a common privilege. financial difficulties. To overcome these, artistic interpretation is capable. As if throws light on the creative processes of not result in a modulation to that tonality? dominant of the dominant, to A major; Certain impressions that mark the highest Wagner decided, much against his will, to bewitched, Hans Richter and the orchestra genius, does not in any way lessen the tt mediant, to B-flat major; subdominant point of my musical experience belong in¬ conduct concerts in various German towns, followed the indications of the great master greatness of the creation to which it re¬ Ex. 3 W A A (raised third), to C major; dominant separably to my recollection of these two, and to introduce extracts from his works, whom they were privileged to accompany, ferred. Genius experiences more than it Jj^L (major form), to D major; submediant, to with whom there associated in spirit a which he hated doing. For example, he and in no way did their playing disturb can reproduce, and inevitably it resents this JjJ. m E-flat major; the leading tone triad with Titan from the realm of the dead—namely, conducted the well known arrangement of the perfection of the impression, or rather disproportion between inspiration and the w B-flat as the root—or subtonic, as it is Beethoven. the Overhire and the Liebestod from the impression of perfection, which one means available for expressing it. Such called—with lead to F major. “Tristan” the funeral music after Sieg¬ received from Liszt. It is now fifty-seven bitterness would occasionally break out in A A Modulation from major to minor keys An Intimate Picture fried’s death from the “Ring” and various years since I had the experience of hearing the case of so spontaneous and violent a What other minor triads are there in the presents no new difficulties. Used as a Beethoven interpreted by Liszt for Wagner, NCE when Richard Wagner came to other passages. I do not know how it hap¬ nature as that of Richard Wagner. We reiterate that these are not con¬ C minor series? Considering that it is subdominant entrance: tonic (minor form, O yet it rings as freshly in my ears and in Budapest he partook of a quiet lunch¬ pened, but one day we were amazed to Music has influenced my whole existence, G: IV V, I sidered perfect modulations as they stand. built on the melodic minor scale (which with lowered third borrowed from its my mind as though it had been yesterday. eon with Ferencz Liszt, Frau Cosima, hear that Budapest had been included in and the fact that I have met some of its They are entrances and need further affords us either the flat or natural on the parallel minor) leads into G minor; super¬ One could feel how, at every important Of course, I am first to admit that all Mihalovich, my cousin Sandor Apponyi the list of cities where these concerts were greatest figures has immeasurably deepened cadences in the new tonalities, depending, sixth and seventh degree), we find that it tonic, into A minor; mediant, into B minor; and myself. We had brought my cousin, to take place. This happened a year be¬ turn in that marvelous work, the two living the effect of their art on my life, dedicated these chords can be identified in C major; subdominant (with lowered third), into C although he was not such a musical en¬ fore the Bayreuth theater was opened with masters, pianist and listener, were in though it has been for the most part to but with added chords in G the new tonal¬ minor; dominant (with lowered third), into spiritual communion with . each other, ity could be definitely established. thusiast as I; yet he could admire what the first performance of the “Ring.” practical tasks. I have been saved by F-sharp minor. happy in their common understanding of Developing this idea further, why not was great in music, and was so intelligent As soon as the Wagner concert was music, from becoming shallow, and through A natural query at this point would be, announced in Budapest, opposition imme¬ the dead genius. Invisible threads of sug¬ use the dominant chord of C as the sub¬ and widely cultured that he was at home it my striving for lofty ends has been en¬ “Is it always necessary to use the sub¬ diately arose. Voices were raised in the gestion passed from that source of the dominant entrance into D major? dominant as the interlocking chord?” Ab¬ among intellectuals of any kind. His couraged. I thank God, Who gave it to press, claiming that Budapest was not a profoundest feeling to us ordinary listeners, Do You Want More Theory? solutely not. Think of all the other triads presence was welcomed by Richard Wag¬ me, and the artists by whose help I have Ex. 3 ner, who enjoyed talking to him. They German city, and that no defence could be and found their way into our grateful and of subdominant character. The supertonics, been enabled to understand it left the dining-room of the hotel in con¬ put forward for the attempt to spend Hun¬ receptive souls. Words fail to describe the submediants, the augmented formations, You, friend reader, are the guiding hand in the the dominants of the dominant, the Nea¬ politan formations—considering all these make up of The Etude. You tell us what you want, with their countless variations, then one can readily see how limitless is this form What Radio Offers the Young Composer and we try to give it to you in ample measure. We of modulation. And of all subdominant know that only a certain section of the body of our interlocking devices, there are none more From an address to the Schoolmen’s Convention at Philadelphia, beautiful than the seventh and ninth chords by Pitts Sanborn, Director of the Radio Institute of the Audible Arts readers is sufficiently advanced in music to appreciate in their regular and altered forms. With no more apparent major chords in the original tonality, it would seem that our Theory of Music. It would be interesting for us to was returned to the limbo from which it Boston, Philadelphia, Chicago, Philhar¬ Cincinnati, all broadcast during the season; experiment would end here. But not so. “Radio certainly does offer the young Paderewski can enjoy a joke, even composer what is perhaps the best oppor¬ had emerged. Chamber music composition monic and New York Symphony Orches¬ and their varied fare is at the disposal of Consider the much used Neapolitan Sixth, have some estimate of how large this section is. Sev¬ had become almost a lost art, because there tras led the field—in fact, they practically every listener in the land. Radio need not which is a major triad built upon the at his own expense; and so he tells tunity in the history of music to show his eral of our readers have written us in praise of the wares. Not so many years ago, when an were so few groups with a following large monopolized it. There was a struggling hesitate to assume much of the credit for lowered supertonic. This will lead us into with unction of the Boston bootblack enough to make playing new material organization or two on the West Coast, American aspirant completed a suite or an this growth in musical resources, even in A-flat major. articles of that very renowned, precise and lucid who approached him with an appeal¬ overture there were less than half a dozen practicable. Now the number of “first but the chief musical centers were in the the period of depression, when all cultural ing "Have a shine}” He goes on to Ex.4 orchestras of standing in the country to times” increases every season. There are East. The music lover of Colorado, Min¬ movements suffered considerably.” theorist, Dr. Percy Goetschius, written for The Etude say, "I replied, 'No, but if you will many small groups eager and ready to give which to offer it. Then, if it was accepted, nesota, or Iowa had a long way to go to wash your face, I will give you a a reading to new works of promise. More¬ enjoy one priceless evening with any of some two years ago. (They are now published in the cost of rehearsals and attendant pro¬ Ppi quarter.’ Quickly the young 'shine’ cedure was so great, and the potential over, subsidized by the station or a com¬ these ensembles. w ‘t r r was off to a nearby horse trough and w book form, as “The Structure of Music.”) If you audience so small, that the chances were mercial sponsor, more novelties are made “Today we find, on the air, strong pro¬ Robert Browning, perhaps the available than ever before. The outlook grams from the Detroit Symphony and pp -Ul j back with a radiant face. He ac¬ infinitely against its being given a success¬ most intellectual of English poets, PrJ- want more articles on Theory, please write to us. for composers is extremely healthy. the Minneapolis Symphony Orchestra— cepted the quarter thankfully; but, ful hearing. Finally, if it did have a per¬ -wrote, "There is no truer truth ob¬ formance, at best two or three thousand “Radio has brought increased following both commercially sponsored. The Kansas C: I i glancing up at me, he handed it back Afcrv v listeners could hear it at once; and, unless and accomplishment to our symphony or¬ City Symphony Orchestra, as well as those tained by man than comes through 1 viit with, 'Here, mister, take it and get that reception was astounding, the work chestras too. A decade or two ago, the of Cleveland, St. Louis, San Francisco and music.” There is a harmonic license that allows a hair cut.’ ”

76 THE ETUDE FEBRUARY, 1936 77 records and radio vVhy Every Child Should Have A Musical Training By Peter Hugh Reed

By Helen Oliphant Bates gives a fine account of himself in a work Mexico's Significance in Ix has been a source of great pleasu which is long overdue on records, Bach's to find that such programs as those of the Capriccio on the Departure of a Beloved (One of the letters which just missed winning a NBC Music Guild, because of wide public Brother. Because this work is program prise in our recent contest under the above heading) . i • . i_ fittpH this winter into music, some people refer to it as an indis¬ Present Day Music an evening schedule. lne cretion of the composer’s youth, although -m >TUSie embodies in itself all the cipline which music provides, and the un¬ Guild has done much to prove that chamb it does not deserve this patronization, for \/| attributes of a scientific study, a derstanding it gives of art and esthetics, are music is in reality the most ‘deal music it undeniably points the way to the greater 1'-L pastime and. an art. It trains sufficient to justify for it a place in edu¬ for the home. People who had the idea Bach. The Capriccio is a work which simultaneously the .body, mind, and soul. cation. But music is more than a study that chamber music was something only conclusively proves that the composer had By Verna Arvey In its power to promote clear,' rapid think¬ to be left behind when'the pupil walks out for the musical highbrows have become a sense of humor. Coupled with it (reverse ing, dependable memory, and squfid reason¬ of the door of the . schooLroom.- Music aware, through these programs, that this face of second disc) is a valuable historical prepares for the fuffesf life of serviceJ and kind of music has a wider appeal than they ing, mirsic is equivalent to algebra, geom¬ excerpt, part of a “Sonata” by the eight¬ USICALLY speaking, Mexico These native orchestras, usually num¬ pleasure after the years at school. It makes believed. Radio can and does remove a M etry, physics, or Latin; and for the average eenth century Italian composer Paradies. bering about seven or eight men, play the home a place where family and friends City has passed through a great person it is far more practical and enjoy¬ great many prejudices. (Victor discs 4293-4) mostly “criollo” music, which is a corrup¬ love to gather for evenings of wholesome The music lover who is truly interested many epochs. One by one, the able. Percy Scholes’ “History of Music by tion of Spanish song and dance, with no recreation, and it is, for this reason, of in chamber music undoubtedly has the French, German and Italian styles of music In addition to affording mental growth, Ear and Eye,” originally compiled for Indian sources whatever. They are com¬ vital significance in molding strong Chris¬ greatest cause to be thankful for the radio have had their effects on Mexico. Sud¬ music is also a most pleasant form of English Columbia, of which we have writ¬ posed of violins, guitars, cornets and gui- and phonograph. For in the home, he can denly there appeared a young man by the physical culture/. The breath control and tian character. ten at length in the past, has been issued tarron, and sometimes they also use the Consider the spirit of the home where the concentrate and absorb such music to the name of Carlos Chavez (now head of the chest expansion which result from daily at last by domestic Columbia. The first falsetto human voice as if it were an ad¬ family is united by a common interest in greatest degree of satisfaction. The human Department of Fine Arts in the govern¬ exercise in singing, or from the playing album gives musical examples “To the ditional instrument. Their music is, as music which binds them together and helps element and the lack of intimacy so essen¬ mental organization) who made drastic of a wind instrument, wards off many a Opening of the Seventeenth Century”; the. one writer put it, “so disorganizedly har¬ them to cooperate for mutual advancement, tial to the true enjoyment of such music reforms. As a result of these reforms, and doctor’s bill; and the muscular coordination second gives examples up to the death of of Chavez’s preference for the music that monious.” One is amazed at the many that comes from practice on the piano or as compared with the home where, night in the concert hall does not permit the counter-rhythms these men play without after night, each member of the family listener always to apprehend or fathom Handel and Bach; the third gives examples is wholly Mexican, Mexico is coming into string instruments is, to say the least, more of sonatas, symphonies and songs, bringing its own as a country whose music will make worrying in the least over the outcome; conducive to physical poise and grace than skips off to a different part of town, leav¬ a work fully. Chamber music needs repe¬ for violins may be heard playing 2/4 tition to permit the utmost enjoyment, and us up to 1830; and the fourth gives ex¬ an outstanding contribution to the world’s much of the work in the gymnasium classes. ing the house dark and deserted, because against 3/4; then voices singing 6/8 there is no means of home entertainment since the phonograph permits this the wise amples of “Music as Romance” covering finest musical literature. While training the mind and the body, against the 3/4 accompaniment. So per¬ music lover supplements his radio with the nineteenth century. There may be Outside of Mexico City, musical life has music develops the instincts and emotions and no bond of sympathy between members fect are all these wild Mariachi orchestras records. For radio programs only whet shortcomings in these sets, but on the gone on in the same way for many years. and draws out all latent powers. It satis¬ of the family. that one writer wondered where, they hid Music, therefore, may become a powerful the appetite, while recorded music pro¬ whole their purpose has been conceived The schools are unusually progressive fies a pressing need for the finer type of themselves during their “student” period, factor in the creating of true homes, and in grams—largely because one selects them and carried out in a most creditable man¬ along those lines, and almost all of them self-expression. It teaches an appreciation and whether they ever really did practice raising boys and girls into poise, balance ner. Mr. Scholes has wisely chosen to devote a good deal of time to intelligent of truth and beauty that enables the child himself—gratifies it. before playing for people. Indeed, the and spiritual grace sufficient to counteract The string quartet was Haydn s most cover a limited ground thoroughly rather musical study. Even the poorest Mexican to lead more than a dry, matter-of-fact music is constantly improvised, therefore the dangers of the present materialistic, natural mode of expressing himself. Hence, than a wide territory incompletely, thus peon has the “aficion,” or love for music. existence. constantly changing. mechanical era. when we find a new recording of a Haydn making his sets enjoyable as well as valu¬ He cannot help it, for ever since his birth, LOVE SONGS OF THE SPANISH VAQUERO OF OLD MEXICO The mental, physical and spiritual dis- Piano transcriptions of this sort of mu¬ Quartet we are certain that we are in for able alike to the music lover and the stu¬ his life and his habits have been bound up AND OUR SOUTHWEST sic are inadequate. At best they are only a thoroughly enjoyable half hour. The dent. We recommend all record buyers with music. A child is born to the accom¬ With his guitar he serenades the lady of his dreams, as he stands beneath her a melody and an accompaniment or a latest to come to our attention, Haydn’s to add at least one or more of these sets paniment of lullabies; he continues his life window. These songs will be included in the musical activities of the Texas Be Kind to the Tuner “Quartet in F Minor, Opus 20, No. 5” to their library, as the rewards they offer to appropriate melodies; and he is buried melody and a counter-rhythm. Mexican Centennial Exposition at Dallas, next year, where Folk Music will be a real (Columbia set 228) is one of his best are multiple. The booklets by Mr. Scholes to the usual funeral chants. For instance, music is harmonically very poor, but me- feature. The picture is reproduced by permission of Russ Gudgeon of Dallas. in the mountain towns of Michoacan, some lodically and rhythmically rich. Harmon¬ By C. F. Thompson, Jr. works. This music is filled with a depth alone are worth acquiring. of feeling not ordinarily associated with Weingartner’s reading of Beethoven’s of the loveliest of all Mexican music is ically, it is based on tonic, dominant and “Ninth Symphony” (Columbia set 227) is composed and sung as an accompaniment subdominant chords. Transcribed, there¬ men have emulated the modern Italian com¬ will become known, just as Diego Rivera, forgetting that the ear becomes accustomed the genial Haydn. Some historians point There should be a Society For the Pre¬ the outgrowth of over a half century’s to a nuptial dance. Every big ranch in fore, it becomes monotonous, and loses its posers and have gone back to ancient in a more flamboyant way, was the means to terrible things through habitual associa- to its Minuet as Mozart’s inspiration for vention of Cruelty to Piano Tuners. Of the same movement in his great “G Minor familiarity with the music. This is a grand Mexico has its own Mariachi, or native native quality. forms for their inspiration. On the walls of publicizing Mexican art. Chavez made course folks mean well, but gosh! the performance, splendidly recorded. The orchestra. And now almost all of the The world has scarcely heard of Mex¬ it known that Mexicans who put French Don’t, oh, please don’t, sing the pitch of Quintet.” The Finale of this quartet is of the conservatory in Mexico City are things they do! The writer is just a poor first and last movements of this titanic schools have open air theaters of their ico’s creative musicians. Almost a score and Italian labels on their music were not the string on which your tuner is working, particularly impressive with its fugue in posted, like axioms, the scales of the Mex¬ hardworking tuner who does his best on work probably have never been better per¬ own, where the students begin their public of them are doing really worth while work. in official favor. He whipped the national and tell him you have “perfect pitch.” The two subjects. We can easily believe that ican ancients. Here they are: instruments which are not always attended formed on records, nor have we ever artistic pursuits. But in studying their compositions it will orchestra into shape. He was rigid, and tuner does not care if you have, and it it must have interested Beethoven greatly. the Tarascan to as often as they should be. Here are a The work in the recording is beautifully heard a more clearly defined Scherzo. The be found that almost all of them have the musicians chafed a bit under the re¬ makes his job harder to struggle against Native Orchestras Ex.l few don’ts to remember: played by the Roth String Quartet. recording was made in Vienna with one been influenced, whether consciously or straint. No longer were they allowed to unnecessary noises. Don’t ask your tuner to bring an old of the finest orchestras in Europe—the T IS IMPOSSIBLE to understand the not, by the native music. Even a composer read newspapers during rehearsals. It has Don’t let little Willie overhaul the tool Edwin Fischer plays Beethoven’s “Ap- I piano up to standard pitch so you can Vienna Philharmonic; and the singers and heritage of Mexico’s many fine creative like Rolon, known in Europe, and with become an orchestra of which any large kit, or bang out a little tune on the other passionata Sonata” (Victor set M279) play with the boy friend’s saxophone, with¬ chorus were chosen from the famous musicians, without first understanding the a sturdy foundation of harmony and coun¬ city might be proud. When there was a end of the keyboard, or perhaps toot his with dramatic fire and fervor, but his out first considering that perhaps the piano Mariachi, the rhythmic devices of which terpoint and all the old masters behind and the Aztec choice to be made, Chavez always chose toy horn while the job is being done. And pedaling in the first movement, particu¬ Vienna State Opera. never was tuned to our present standard larly in the syncopated sections, destroys Eugene Ormandy gives a most eloquent underlie almost all of Mexico’s sophisticated him, chooses typical Mexican subjects for that which was Mexican. He brought to if he does these things, do not tell him Ex.2 (A 440), and also remembering that the requisite clarity of line. His is a con¬ reading of Bruckner’s “Seventh Symphony” music. his major works. In many cases these Mexico, too, the best of modern European that you know he is a mechanical genius, strings, like bones, grow brittle with the troversial reading, one that yields little to in Victor album M276. Here we have a works and the best of the classics. He de¬ years. or an embryo musician—lead him gently plored the dressing up of Mexican mel¬ away, and earn the gratitude of the tuner. sentiment, although his second movement work also planned on titanic lines but less Don’t neglect your piano for ten years, odies in European clothes and their subse¬ Funny things, aren’t they? But folks retrieves it from the category of an exer¬ inspired than Beethoven’s great score. which is really the old pentatonic scale then when it is tuned complain that it cise. It is his last movement which we Bruckner is formidable fare. His archi¬ quent exhibition as Mexican curios. “sounds funny.” Folks do that very thing, do them. Think it over. found in the Orient and in Scotland. And like best. For here his passage work and tecture is his most impressive feature, al¬ these are the intervals of the teponaxtles Another Voice timing are particularly fine. The record¬ though it is somewhat hybrid. (native ancient drums). ing of the piano on a higher fidelity ma¬ There is a depth of feeling and a true AS A COMPOSER, Chavez is very dry. Music They Understand chine reproduces realistically. melancholic beauty in the long slow move¬ . He is clear, brusque and matter-of- The latest set of the American Society ment of this symphony, which is dedicated fact. One writer says he has taught him¬ of Ancient Instruments (Victor set M271) to the memory of Wagner, and a blazing self to be a supple and electric conductor. By Horace G. Bartlett is not historically authentic, for all the splendor to the spires of his impressive Angel Salas classes him as a rebel, a works it contains are re-arrangements. first movement. It is a long work, how¬ It is strange that Mexico’s best modern leader and a teacher who awakens in¬ Many pedagogical careers in music have magnificent disdain before his juniors. Only the overly-fastidious however will ever, one which takes over an hour to music is composed for orchestra. There quietude. He was born in 1900. In 1912 crashed upon the cruel rock of failure to Musical understanding and appreciation fail to take pleasure in the music as it is reproduce, and after the slow movement is very little for piano, and the songs are he began to study the piano with Manuel give pupils and patrons “music they can grow gradually. Millions are incapable of presented. The set contains a genial one is very apt to find his patience tried. almost all transcriptions of folk tunes, not Ponce, and in 1918 he began to compose. understand.” Just what is it that so upsets appreciating much so-called “modern music” “Suite” by Carl Philipp Emanuel Bach, We recommend this symphony to the atten¬ creations. Moreover, very little of this No one taught him; he simply composed. the judgment of the “cub” teachers that and indeed may never do so. They certain¬ the lovely Second Sinfonia from his father’s tion of all music lovers who do not knew new music is published. Of Mexico’s best Conservative musicians would consider him they often stubbornly refuse to teach pieces ly have their musical rights and it is as “Church Cantata, No. 35” and excerpts Bruckner's music, and to those who desire composers, only their earliest efforts have unprepared. Some of his first major other than those which the highbrows have much the obligation of the sensible teacher from Handel’s “Royal Fireworks Music.” an outstanding expression of his genius. seen the light of day; and of Mexico’s works were for orchestra: “The New stamped as “elect”? If a piece happens to to cater to them as to the lofty intelligentsia. Speaking of Handel’s “Royal Fireworks Recommended recordings: Kreisler’s secondary composers, much music has been Fire” and “The Four Suns.” Frankly be by Strawinsky, Hindemith, or any of the When you think of music, do not be like Music” brings us to the arrangement consummate performance of Mendelssohn's printed, thus giving the investigating pub¬ speaking, few people understand Chavez’s moderns, it is “marvelous,” while pieces the character in Moliere’s “Le Medecin that Harty made for modern orchestra “Violin Concerto” (Victor set M277): the lic a very poor idea of the nation’s musical works. They appeal to few people. How¬ by some of the high class composers of salon Malgre Lui” who said, “Oui, qa est si beau (Columbia set 229). Here the music is Budapest String Quartet’s rich performance resources. One of the finest composers ever he is an individualist who happens to music are scorned. This form of musical que je n’y entends goutte.” (“Yes, that is given the full-blooded performance it de¬ of Brahms’ “String Quartet in A Minor, confided that he had had only one compo¬ be a Mexican. His musical thought proc¬ snobbery immediately advertises the callow so fine that I don’t understand a particle serves, . and its true royal pomp and cir¬ Opus 51, No. 2” (Victor set M278); Con¬ sition published. He had never made any esses are a bit difficult to follow at first, musical cad. He is like the little boy in of it.”) After all, the greatest art always cumstance are presented with appropriate stant Lambert’s famous symphonic-jazz money on it, and in the end he was put to but they are easier when one is at last his first long pants, parading himself with has been simple art. elan and dignity. This music was written work, “Rio Grande,” which many people an enormous expense. He never tried it accustomed to them. His thoughts are by Royal Command to celebrate the con¬ think should have emanated from America again. He felt it was not worth the simply different. Even in the simplest clusion of the war of the Austrian Suc¬ (Columbia set 230) ; and the British DANCING THE JARABE trouble. arrangements, such as his “Cantos Mexi- The human voice cannot be as astounding in technical feats as some instru¬ cession in 1748. Although really made-to- Broadcasting Symphony Orchestra’s record¬ A small Mariachi orchestra, ivith Concha Michel and partner dancing the Jarabe Chavez, however, is proving to be the canos” for piano, his harmonies are in¬ ments, but it may be the most emotionally effective musical instrument, if order music, it nonetheless has inspiration. ing of the Pantomime Music from “Haensel in the foreground. Don Pancho is at the extreme right, with his guitar. instrument through which Mexico’s music triguing. properly used.—Pacific Coast Musician. Arthur Schnabel’s son, Karl Ulrich, and Gretel” (Victor disc 11832). FEBRUARY, 1936 79 78 THE ETUDE BAND AND ORCHESTRA DEPARTMENT Conducted Monthly by VICTOR J. GRABEL FAMOUS BAND TRAINER AND CONDUCTOR

Trombone Secrets

This is, of course, accompanied by various By Joseph Russell Despite the ever present argument over his El Renacuajo Paseador (based on a rhythmic devices. More in understand¬ Chavez as a composer, the fact remains Mexican children’s tale) for orchestra, on able form is Pomar’s Huapango lov sym¬ a phonograph disc that gave sixty-six rev¬ that he has done more than any other one phony orchestra, based on folk themes and RUE GENIUS,” said the apt creasing the speed, as it is repeated, until Keeping Trombonistically Fit olutions to the minute instead of thirty- T man for Mexican music. Almost everyone “sones.” In this, the violins are ordered phraseologist, “is one-tenth inspira¬ the desired tempo has been attained. Waste NOTHER HELP to become a thor¬ three. Even with that discrepancy, it was A agrees that he,iS a marvelous politician to bow short, in the middle of the bow, as tion and nine-tenths perspiration.” no time on the easier measures. Master oughly capable player lies in the utili¬ easy to. see that his rhythms were piquant, and a good organizer. If he wanted to do the Mariachi members. They are told However this is much more than a cleverly the difficult ones, and the easier ones will zation of spare moments. Suppose, in the original and spontaneous. When his many use his political ability to do harm, he Even "though the works of this period to forget beauty of tone and strive for the phrased group of words. It is a terse soon fall into line. The surprising part changing rhythms were commented upon, morning or before dinner, there are fifteen could do a great deal of it; for he is an were written in the so-called accepted characteristic thing. statement of an eternal truth. To prove of this thinking before playing is that in idle minutes. Snap them up! Utilize he said that he does not write in that way able man. But because he is sincere and forms, Pomar displayed leanings toward A modest, unassuming man is Candelario which, one needs but take a glance at some a very short while the correct habit is merely to be different; he does it because 11 Tli|i|~| ifrrrr** tatari them! Make every one of them helpful, well disposed, he never will. He has few individuality and modernity. He wrote the Huizar, born in 1888 in Zacatecas and now who have mastered their respective instru¬ formed, so that accurate thought becomes pleasurable minutes in keeping “trombon¬ friends in whom he confides and is ret¬ those are the rhythms he hears from the whole toned scale and chords of the 9th, in charge of the library at the Conserva¬ automatic. people in the streets. And he is eminently ments. istically fit.” icent about his plans with regard to years before he even knew how they were tory of Music in Mexico City. He makes Watch an accomplished trombonist while right. One has only to travel through the Here is the formula. governmental affairs. He has, however, designated harmonically. During this no comment on the fact that he never stu¬ Mexican countryside to realize that he listening to his playing. Note the facial Conscientious Practice met with much opposition from time to period he harmonized many Mexican melo¬ died in Europe, but says simply that he is Ex.3 alone has caught its spirit. Like Chavez, movements; how breath is taken; the mar¬ time, because he is not a man who is in¬ dies, thus, he says, disfiguring them com¬ the pupil, in Mexico, of Gustavo A. Campo. HINK BACK to the time of the very he was born in 1900; but he is a violinist, velous ease with which tones are produced; T stantly liked by all people. His personality, pletely. A transitional, unstable period fol¬ That he has far transcended his teacher is first lesson. What was your feeling? not a pianist. He composes solely for or¬ and, especially, how delightfully simple the like his music, must grow on one. lowed this first one, and he has now, in his evident from his latest orchestral works: rendition appears to be. Actually he de¬ Undoubtedly one of pent-up ambition and p f j) p-^f p P- f -P --- =» chestra. He is one of the few Mexican third period, left the old forms completely. “Pueblerinas,” composed of three move¬ rives as much pleasure as the listeners, great enthusiasm. A Forward Program composers who write abstractly, having His new music has a social and political Ambition and Enthusiasm! What words many chamber works to his credit. At ments, in which he pits many rhythms and and sometimes more. YPICAL of the man and his ideals significance. It is a representation of class rhythmic variations against each other; and ever to be repeated! Ambition, in the T the time of the writer’s visit, he was finish¬ The secret of his masterful success lies is the educational program he mapped struggle. His music now has a meaning plainest words, is a consuming desire to ing his Caminos for symphony orchestra. “Sinfonia” in which he uses abstract in just these few words: “Early practice mrrrr8 rr*rrnH^ 11 out at the beginning of the year 1934. far beyond that of “art for art’s sake.” In become an accomplished trombonist. En¬ Ventanas and Janitzio are also his. He is themes. It is significant that in this, correctly and conscientiously directed.” Sustain each tone for four very slow This comprised many programs, designed 1932 he decided to write a Prelude and thusiasm can best be described as a feeling as able with his pen as he is with his pencil. though his title, themes and development Today, with its rushing and hurrying, The first queries of the careful student counts, making an absolutely even crescen¬ to expand artistic education and to be Fugue for percussion instruments only of inspiration; or, a happy, “bubbling-over” He always composes music in pencil; he are all abstract, the Mexican rhythmic rare indeed is the trombonist who devotes will be: do on the first two counts, and an equally presented to paying audiences at the (including in that category the piano, harp says it is quicker that way. On the pro¬ heritage persists. “Pueblerinas” is in free four hours a day to the study of his in¬ (a) What are the key and time sig¬ smooth diminuendo on the last two. government’s Hidalgo Theater, and to and xylophone). Before it was written Conscientious practice means putting grams of the Mexican Symphony Orches¬ form, and the instruments used are the strument. Though the majority might natures ? non-paying audiences of the working class other Mexican composers laughed at his forth the very best effort; and this requires Lip Slurs tra can be seen Revueltas’ ironic, apt typical ones of the people. This excerpt wish to give more, yet forty-five minutes (b) Where are the “tough spots?” at the Venustiano Carranza Open Air project and labelled it impossible of ac¬ both ambition and enthusiasm. No getting program notes. Says he, for instance: “The is from a quartet of horns in "Pueblerinas”: seems to be the average practice time. Hum or softly whistle them until Theater. Plays by famous and local dra¬ complishment. After the performance they away from it! There are drudgery and music of Satie is agreeable, intelligent and Into this period then must be packed such absolutely clear in the mind. matists were scheduled; concerts by the all agreed that he had succeeded in making hard work on the road to becoming a cap¬ without common sense”; and “Serious exercises as will lead to making a capable, (c) What legitimate or auxiliary posi¬ National Conservatory Orchestra under his Fugue melodic, in writing it in perfect able player; but this drudgery and hard people condemned Till Eulenspiegel to better than the average trombonist. How tions will be used to simplify the Revueltas’ direction; by the Conservatory form, and in bringing it to a thrilling cli¬ work are made enjoyable through infusing death, but they did not condemn Strauss.” can it be done? more difficult passages? Choir, under Sandi; by Chavez's own max, from a merely rhythmic beginning. into each study period both ambition and About his own Ventanas he says, "Ventanas (d) What expression or feeling shall it National Symphony Orchestra; and by the For the performance, Revueltas supplied it enthusiasm. rTr i r f r i f7> ei is sharply romantic music. Who does not Practicing Correctly have? Mexican Symphony Orchestra which com¬ with this subtle program note: “It is in¬ Start each practice period with some remember a window by the light of the ORE AND MORE, amateurs and bines the use of Mexican and European dubitable that Pomar studied counterpoint. M In this manner the trombonist knows such resolution as: “Now for forty-five moon, or without it?” professionals, teachers and experts instruments. Chavez does not believe He is impregnated with classicism and has minutes of my best effort.” What a de¬ Jose Pomar is an example of a strange are acknowledging that to play the trom¬ clearly just what to expect, and there will merely in “giving the public what it wants.” always respected the great masters, so that be no hesitation. However, in attempting lightful surprise awaits you! Progress musical development. Because he is gifted bone properly requires just as much thought He believes that a wise guiding hand should now he writes this work for percussion. will be more rapid; and there will be nearly with an analytical, human, intelligent, and practice as the mastery of any science. to execute the exercise each passage which formulate the public’s likes and dislikes. The lovers of melody, of counterpoint, and gives the least difficulty must have careful, as much pleasure in listening to one’s own broad mind, he is able to recognize and Let us analyze the mastery of this pas¬ 1934 witnessed the debuts of these younger of fugue, will be eternally grateful.” Here thoughtful study. Perhaps an auxiliary playing as in hearing a master of the in¬ Play this softly, with little mouthpiece distinguish the different periods of his de¬ Mexican composers: Bias Galindo, Daniel is an excerpt from this very modern fugue, sage: strument. In reality you are following in pressure. Bring the diaphragm into play. velopment alone. Born in 1880, it was position may make smooth sailing. Then Ayala, Salvador Contreras, Pablo Con¬ the beginning of one of the piano passages, play it slowly the first time, gradually in¬ bis footsteps. 1912 before he entered into what he termed Chromatic Scales treras and Higinio Ruvalcaba. From a showing Pomar’s striking change from his his pro-European period. An example of musical standpoint Mexico’s finest com¬ his work at that time is best shown by earlier styles. posers are Silvestre Revueltas, Jose Pomar, this excerpt from his “Sonata in F-sharp,” Ex.5 | II i_ yr|»rf>f.A Candelario Huizar. Prominent too are written in 1913: HuizaFs earliest works, however, were Jose Rolon, Manuel Ponce, Luis Sandi written for solo voice with accompaniment and Angel Salas. Personally they are all Perhaps the best known of Mexican com¬ as intelligent and remarkable as their mu¬ gajA.n< posers outside of Mexico are two who have sic prophesies, and they are also mutually added to their Mexican heritage the ad¬ generous in their thoughts. vantage of European training: Manuel Revueltas’ musical themes are not au¬ P^l thentically folkloristic, but all have a pop¬ Ponce and Jose Rolon. Surely the world ular quality. Mexicans consider him their will be surprised to find that Ponce has Most budding players jump right in and foremost and best composer. We heard (Continued on Page 128) play it over and over again, giving too little thought to the musical message of the theme. They seem to think that mere repetition is all that is necessary. Thus early grows a fallacious habit which makes the trombone twice as hard to master. Practice this with a round, full tone, Practice this passage one measure at a first legato, and then staccato. Strive to time, very slowly; give the utmost atten¬ have all the tones alike, both in time value tion to attack and to steadiness of tone. and in clearness. In addition to keeping Try to develop a beautiful, singing quality the tone solid, exercises of this nature so that each tone starts with a velvety bring out the true trombone quality. Also touch and then sings sweetly on and on to they are of tremendous value in practicing its very end. Finally play the passage in lip slurs. More than any other practice, its entirety; and, with these carefully they train and strengthen dormant muscles, studied fragments welded together, there in a short time putting an end to the com¬ will be a melody that will move and thrill plaint of tired lips. the hearer by the very lusciousness of its What would be the result if a pianist cadences. The recent Jubilee Festival Brass Band Contest, at Belle Vue, Manchester, England, brought together this band of two thousand instrumentalists with J. H. lies con¬ were to practice only those notes assigned Take this exercise, applying thought to ducting the Patriot March “England” and the National Anthem. The photograph to the left hand? Still worse would it be for is presented through the courtesy of Associated Newspapers, Ltd., of London. (Continued on Page 113)

FEBRUARY, 1936 81 course MUSIC EXTENSION STUDY Analysis of Piano Music A Monthly Etude Feature appearing in Teachers’ Round Table of practical value, For Piano Teachers and Students the Music Section hy an eminent of this Issue Conducted Monthly by Specialist By Dr. John Thompson GUY MAIER NOTED PIANIST AND MUSIC EDUCATOR

number, as with other great compositions chord in the left hand against little orna¬ as a musical soliloquy according to the of the masters, The Etude makes possible No question will be answered in these columns unless accompanied by the W DROWSY LILIES ments in sixteenths in the right hand, is and address of the writer. Only initials, or a furnished pseudonym will be published. a Master Lesson from a noted artist on By Evangeline Lehman played forte and piano in alternation as The Etude ushers in February’s music The first theme recurs, its three-four one’s own hearthstone. and it is with great difficulty that rhythm making marked rhythmical con¬ indicated in the music. pieces which are often inflicted on them. he tries to make the change. ■with a quiet tone picture by Evangeline Begin measure 25 softly and build a C, Nebraska. trast with the four-four of the second sec¬ TRADERS FROM THE DESERT Locating the Notes Avoid such titles as The Dance of the Lehman. The Drowsy Lilies of Miss Leh¬ crescendo and diminuendo while playing Such a case needs only a little ingenuity. tion, and sings its way to the finale at By Allene K. Bixby i.—i Daisies, The Cuckoo’s Carnival and The man’s musical meditation are those in the the repeated figure in the right hand. This __>een taking lessons Your student (like most others) has a very measure 16. A number with an Oriental flavor is ars, although not regu- Fairies’ Frolic. What tragic torture the garden of the great impressionist painter passage leads back to the reentrance of this of Miss Bixby’s. _ln_i;ly. _ arted her with John M. piano-playing boys have for years gone sluggist, stiff thumb. Therefore, make up Claude Monet who, during his lifetime, Williams’ ‘’Tunes for Tiny Tots,” AT THE DAWN' OF DAY the first theme which in turn goes into a In the first two measures the open fifths through! But, thank goodness, the present a few exercises that will persuade him to loved to set his easel in a little boat and using the keyboard chart that conies By S. Coleridge-Taylor short Coda. Note the accents on the third in the left hand are played in a droning with this. She is now taking John generation is in open rebellion and will move it swiftly and easily. Try this on paint while drifting among the flowers. M. Williams’ “First Grade Book," A timely publication is this of Coleridge- beat of measures 3 and 4 from the end. manner in support of the oriental melody tolerate no more of these inanities. him: The tempo of the music is that of a but is unable to recognize the printed in the right hand. notes, although she can locate them With the right hand have him play C, berceuse. Following a two measure Intro¬ Taylor’s which presents an interesting folk on the piano. I tell her what a note Also in the Lullaby by Paul Juon, de¬ TWILIGHT An accelerando is in effect in the third D (with the thumb and second finger) so duction the melody begins in the alto voice, tune from Ethiopia. Appreciating the dra¬ is and why it is that particular note, press silently t]je introductory F and C in matic possibilities of this tune the com¬ By Nathaniel Irving Hyatt and fourth measures, the tempo dropping then if the same note appears in the fast that the tones sound almost together. right hand, and continues in this register next measure, she does not recognize Cannot Identify Notes the bass, using the sustaining pedal. Then Mr. Hyatt’s contribution to the music back to normal in measure 5. At the same moment his hand and arm fly until measure 11 is reached where the poser has adorned it with crashing big it. I have tried various methods I have a pupil who Is eight. She proceed to play. harmonies, and the piece opens with ma¬ of the month bears the subtitle Meditation An increase in the tempo—pin mosso— of teaching her to read the n started to take lessons from me on up from the piano and rest in the air, wrist soprano assumes it for the next eight her sixth birthday and she took It follows therefore that the music should is indicated in measure 9 and continues but have had no s Ex. 3 and fingers hanging loosely from the arm measures. Here once more the melody is jestic sweep. Needless to say, the pedal suggest something? twelve or fourteen lessons, then must be used with care in playing the be played in thoughtful mood. The tempo throughout the section. At measure 17 the 2. —This pupil has very small, thin stopped until five weeks ago and now (about a foot higher than the keyboard) resumed by the lower voice of the right is Moderate and the text calls for expres- hands. I am giving her simple finger she does not seem to be able to tell the thumb having been flipped swiftly opening section. opening motif is again heard, used this exercises to be practiced on a table, her notes apart. She will he play- hand. The middle section runs along with sivo—much expression. time as part of a four-measure Coda which to build up her hand position. Is under the fingers (in the palm of the hand) It is an important point to establish The melody lies in the upper voice of this all right or is there danger of “ffownwhat™otet0isathatr “she win the moment C and D have been played. proper tonal balance between the melody hands in unison for the most part and is brings a conclusion to the composition. injuring the muscles of her hands? ponder over it, then she will name it rather quieter in tone and mood. Carefully the right hand and the thickness of the 3. —I also have two boys, ages and always name the wrong note. All this must be done lightly, easily and and the accompanying figures in eighth melodic line changes constantly as it MISS BO-PEEP eight and nine years, whom I have Could you please suggest^ some ^oxcr- simultaneously, that is, the playing, the notes in the right hand. Play the melody observe the legato and accent signs when started with Williams’ “First Grade playing this section. weaves its way along. By H. P. Hopkins Piano Book.” Will they require thing for her to write for me on the flying up of the arm, the under-flipping with deep pressure touch and the eighth Phrasing, pedal markings and dynamic This little grade two piece develops mel¬ any studies other than this for blackboard?—M. W., Maine. thumb, must be thought of as one impulse, As the first theme returns—measure 37 awhile?—L. H., Illinois. If your shoe sole is broad enough you can notes with a more shallow touch. Roll signs are clearly indicated and if followed ody playing in the left hand. done as fast as you can wink an eye. Then, rather than finger these. —it is heard an octave higher. Note:—The answer to this question is hold down the left hand (soft) pedal and closely will aid materially in achieving the The right hand supplies a chord accom¬ 1. —Have you ever used Sutor’s “Note after a moment of relaxed holding the arm The pedal is used twice to the measure The volume of tone should be kept full the same as answer No. 1 to L. H., Illinois. the middle pedal simultaneously with your interpretation intended by the composer. paniment, the notes of which must be sub¬ this way in the air (wrist hanging!) go throughout the composition. After the to the very end, where the low accented Spelling Book?” It is a very complete left foot, making a still more beautiful dued in order not to encroach upon the and attractive writing book for learning down lightly to the keyboard and prepare pause at measure 26 the melody is heard C’s of the bass offer a dramatic ending. pianissimo effect. Most sustaining pedals ON WINGS OF SONG melody. The first theme is in G major. for the next C, D (1, 2). This should against an accompaniment in triplets. The the notes. Another good little volume— The Middle Pedal and on upright pianos do not “work” above IN HOOPSKIRT AND CRINOLINE By Mendelssohn-Liszt The second theme, beginning measure 33 is not quite so complete as the Sutor book— be done all over the instrument. Just re¬ tempo, however, from this point is some¬ This beautiful song of Mendelssohn’s middle C. By Cedric W. Lemont in C major the subdominant key with the is Bilbro’s “Spelling Lessons in Time and Chromatic Scales 2—The chromatic scale is simply the member that the thumb must always feel what slower, the mood one of reverie as transcribed for piano solo by the great This number, in the style of a minuet melody in the right hand while the left Notation.” I have been reading your maga¬ scale of twelve, half-tones, which includes as light as air, and flip under as swiftly as before. This number, aside from being an Liszt is a recognized gem of the piano zine for many years and enjoy it should be played with all the grace char¬ plays a broken chord accompaniment. Besides using one of the above spelling all the notes in an octave. Usually no electricity. interesting piece for the student recital, literature. It should be in the repertoire of immensely. acteristic of that particular form of the After the second theme the piece reverts books, try a few games with her: 1. —Please explain the use of the definite keys are’thought of although you Now repeat the exercise, but this time offers a good study in themadizing on all pianists. Into its measures Mendels¬ dance. Redolent of the Colonial and Civil to the beginning, D.C.—and ends at Fine. (a) Play some very short easy first grade middle pedal. can think of the scale as being in the key keep the hand and finger on D after you either side of the right hand while the sohn has woven one of the few beautiful 2. —How many chromatic scales War period this music too is particularly pieces asking her to follow the music are there and how are they con¬ on which you start (keynote) and finish. play it, that is, your thumb flips under hand is engaged in playing accompaniment melodies which will stand endless repeti¬ MY PRANCING PONY adapted to the spirit of February which is (holding a separate copy of the book away structed ? Teachers neglect this scale shamefully. lightly as your arm and wrist go up and figures. tion without becoming stale and hackneyed. By L. G. Phippen 3. —When teaching scales, is it the birthmonth of Washington and Lin¬ from the piano) with her eyes and fingers. correct to say “seventh tone raised” ? It should be constantly taught, for students out, but your finger and hand do not leave coln. It should have light and dainty treat¬ It affords excellent practice in developing Mr. Phippen’s second grade piece de¬ Stop playing suddenly, ask her to point out S. C., New York. the .key. Do this also all over the key¬ JUNIOR HIGH PARADE control and evenness in themadizing, as the velops broken chord playing, divided be¬ love it; it is easy to play and is one of ment throughout—the rhythm well marked the last note played and tell you what it the best exercises for eliminating “thumb board. Keep your elbow high and loose! By Ludwig Renk melody is divided between the hands— tween the hands in triplet form. Play 1.—The middle pedal on grand pianos and steady. is. To make it harder (and funnier!) bumps.” You see, the thumb being used If I were a betting man I would wager February, with its patriotic holidays, is written on the middle staff—and is taken these triplets smoothly and evenly. With of American make is usually the tone-sus¬ The opening chords should be played sometimes play fast, making her jump so often in the chromatic scale, the player you that this simple procedure will benefit a fine month in which to learn a stirring for the most part by the thumb side of care they should sound as though played taining or sostenuto pedal. Play one or march for the school assembly or other with forearm staccato. The following little quickly to follow you. more tones together anywhere on the piano; quickly finds that he cannot play it smooth¬ not only your problem boy but will help passage should be divided between the either hand. with one hand. (b) “Flash” cards on her, that is, single every student to play smoother, swifter, occasions. Mr. Renk’s composition should Read with care the lesson on this com¬ In the second section the triplet figures then (still holding the keys down) depress ly with a tight or high thumb. be played with vigor and dash. Crisp and hands and rolled off with a sharp release tones, intervals or chords which are writ¬ the middle pedal. This will sustain these The best fingering for all ordinary pur¬ easier scales. on the top note. This motif is repeated position in the current issue of The Etude continue divided between the hands but the ten or printed on cards. Use both clefs, May I say one word about “thumb crackling rhythm should prevail through¬ by Mark Hambourg, eminent Russian left hand is required to pass back and forth tones (that is, make them sound) as though poses is: out. Use the pedal only where indicated. several times in the first theme and, ex¬ and make the staff and notes large. Put you had put down the damper (right hand) Right hand (ascending, C to C) bumps”? (That’s a good name for them, cept where a crescendo is in force, should pianist. Mr. Hambourg goes into minute over the right. one of these before her. Give her 5 (or isn’t it?) A tight, bumpy thumb is caused Accents, always important, are especially detail in analyzing this work and practically Several pauses are indicated—one to pedal; and as long as you keep this middle 2, 3, 1, 3, 1, 2, 3, 1, 2, 3, 4, 1, 2. so in a march. The supplementary accent be given the same treatment in each repeti¬ 10) seconds for each card. If she has a pedal down you can use the right hand Left hand (descending, C to C) (1) by a hard, heavy, contracted elbow tion. every phrase bears notations and directions show where the pony takes a long leap, passably good accuracy record, give her a tip. If you can think constantly of your placed on the second beat of the measure- of a helpful sort. With this Mendelssohn and another to suggest a stop when the pedal or anything you wish, as in this 1, 2, 3, 1, 2, 3, 4, 1, 2, 3, 1, 3, 1. measures five and six—should not be over¬ The second section, with a sustained small prize (a gold, blue or red star on a example from the Coronation Scene from elbow tip floating lightly in the air and young rider cries “Whoa!” Chromatic scales should be practiced in looked. chart will do). Then make it more com¬ “Boris Godounoff” by Moussorgsky. accents of fours and sixes; when both hands moving easily with every note you play (all The Trio section in the subdominant key THE SURPRISE plicated. Show her a very easy piece and are used together it is best to play them in during the scale) your thumb will quickly A Musical Honor Card tell her that while you count it slowly she (A-flat major) is somewhat quieter in By Susan Schmitt contrary motion from D, in parallel mo¬ loosen up. It works like a charm! (2) character. A typical trombone passage will By Mrs. Anna M. Logan Wallin How many Etude readers recognize in must name aloud the first note in each tion (beginning anywhere) two octaves by curving the thumb too much and pass¬ measure, and play it on the piano without be noted in measures 28 and 36. As this this theme an old friend? apart, and in major thirds and sixths. ing it high up under your hand instead of looking at the keyboard. You will, of section progresses it builds constantly in Teachers who employ the honor reward Susan Schmitt has taken a theme from 3.—I am sorry not to know exactly what always just grazing the tops of the keys course, count strictly but very slowly in¬ tonal intensity until a big fortissimo is system will find the accompanying design the well known “Surprise Symphony” of you mean by raising the seventh tone of a as you flip it under. Try this old exercise: deed to help her out; for she must name '4U- > u reached in measure 65. After a return of useful. Haydn and cleverly adapted it as a second T scale. But this I can say, that for all and play the note whenever you say “One.” the first theme the march ends at Fine, grade piece. practical teaching purposes, the seventh The gold stars and red stars may be By the way, this last game is one of the measure 16. This little number develops ease in play¬ step of the major and harmonic minor secured from almost any publisher or best exercises to develop sight players, for ing staccati contrasted with sostenuto tones. scales comes always one half tone below dealer in teachers’ supplies. it forces students to look ahead and not to A MIDSUMMER WOOING Also there is considerable crossing of the the keynote. The raised seventh can only Give the red stars (No. 2) as a reward worry about the in-between notes. But you must be sure at the moment By Walter Rolfe hands, a proceeding calculated to inspire a occur in speaking of certain Greek scales for excellence at the lesson. Many teachers (Prepared and printed flash cards may when you put down the middle pedal that The third finger is held silently (but Another lyric composition from the pro¬ feeling of importance and delight in the (or modes) or the “melodic” minor which attach these right on the studies and the be obtained from music publishers.) you are not using the right hand , pedal, loosely) on E while the thumb slips swift¬ lific pen of Walter Rolfe. average second grader. at times need to have their seventh step pieces of music. 2. —I beg you not to worry about her and that your fingers are holding down the ly from C to F and back. This should be Play this number in the style of an raised to make our major or minor scales. When the pupil has acquired ten red small hand, and do not ever give her any keys. (You can, of course, release these as much a movement of your light elbow- improvisation. It permits much freedom PARADE OF THE BUTTERFLIES But I advise you not to bother about stars, one large gold star (No. 4) is placed exercises away from the piano. At her keys as soon as the sustaining pedal has and rubato in interpretation. A smooth By Cecil Ellis this, for it is too confusing. It is unneces¬ tip as of the thumb itself. This thumb on the lyre, as represented. It is surpris¬ age she should have almost no exercises caught them.) As you readily hear, many slides easily back and forth (not too legato is necessary in the first theme as Ellis’s Butterflies show their individual¬ sary to teach any scales other than major, ing what an-incentive the getting of more whatsoever, even at the piano. Get her to beautiful effects can be obtained in this well as a fine singing tone. The melody ity even in the matter of staging a parade. harmonic minor, and chromatic. curved!) right over the tops of the keys. runs the gamut from piano to forte in short and more gold stars becomes to the pupil. Note that the parade is in three-quarter play freely and happily. Teach her to make way. Sometimes a pianist wants to sus¬ Sometimes in practicing this, let the order. When the lyre is filled, it presents a very time. The dotted eighths and triplets em¬ her little pieces “swing and sing” from her tain certain tones- through the changing thumb movement be lightning swift after The tempo—not too fast. The text, as brilliant appearance. The design should ployed by the composer give an erratic arms; and the hands will develop strength harmonies of a passage or page; he silently you play the tone, but then wait a few a matter of fact reads “Slowly as in a be on a card about five and a half inches movement to the rhythm which suggests and flexibility with increasing growth. depresses those keys—using the sustaining Passing Thumb Under seconds when you get over the next key dream.” The next section after the double by six inches in size. Any teacher may the dipping and recovery of butterflies m 3. —Give the boys plenty of supplemen¬ pedal on them—before he begins the piece. What would you advise me to do before playing it. This will help to check Note this example from the Berceuse, by with a piano pupil who had never bar reaches emotional heights and is played readily draw these lyres in spare moments. flight. tary, attractive pieces in connection with been taught by his former instructor up whether you are keeping your thumb and somewhat faster—pin mosso, con passione. The pupils do appreciate them and may This little composition would be played their piano work; they will not need studies Chopin. Before you begin, play the low to use the thumb movement by pass¬ elbow tip free, and will make you really In its repetition, beginning measure 23, even look upon it as a privilege to be with a light touch. An airy daintiness for awhile. But do not make the mistake D flat silently, “catching” it with the sus¬ ing it under the fingers as the second think about the constant need in piano both mood and tempo change. It is played allowed to help in their making. should pervade every measure. of giving strong “husky” boys the silly taining pedal. Hold it as long as you like. playing for sure and swift preparation.

82 THE ETUDE FEBRUARY, 1936 83 On Wings of Song FASCINATING PIECES FOR THE MUSICAL HOME the Piano by Liszt DROWSY LILIES One of Mendelssohn’s Most Inspired Song Melodies Transcribed for On the pond of Claude Monet’s garden at Giverny

A MASTER LESSON At the foot of the hill of Giverny, on the banks of the Seine near the lovely city of Vernon, lived the greatest of impressionist painters, Claude Monet, By the Eminent Virtuoso Pianist-Teacher Beyond the garden,where flowers grow in a riot of colors, lies a peaceful pond where the master often went to paint. In the shadow of weeping willows and high poplar trees, among drowsy lilies and reflections of fleecy clouds, rests the small boat in which the great painter set his easel. Mark Hambourg Grade 4. On the music will be found marked all where a breath would naturally be taken melody which commences on the last eighth the fingering that I use in playing this Felix Mendelssohn, bom in if the melody were being sung, that is note of the up beat of measure 2. Although Hamburg, Germany, on February 3, to say, at the end of each phrase. Thus, piece; but there are just a few places where 1809, and died at Leipzig on Novem¬ marked sempre pianissimo, there should be I substitute the left hand for the right, in a slight crescendo in the first measure, and at the end of the first phrase, after the ber 4, 1847, dominated the musical world of quarter note G, on the fourth and fifth order to facilitate the phrasing. Germany, during his short lifetime, per¬ a corresponding decrescendo in the second For instance, in measure 11, I take the measure, so as to furnish the right con¬ beats of measure 4, the finger which holds haps more than any other musician ever the G should be raised a fraction of time fifth eighth note, B-flat, of the melody sistency of sound for the approaching has done, before or since; and he exercised before continuing to the eighth note E-flat with the second finger of the left hand, the same influence in England, even for melody. on the last beat of this measure. Here, interposing this hand just for the one The four A-flats, dotted quarter notes, more than a generation after his death. as at the end of measure 2, a little cres¬ note. I do this again in measure 13, in a on the first and fourth beats of the bass The great popularity which his music cendo should be made from the E-flat on similar place; whilst in measure 15 I play enjoyed from its first appearance was due of these two opening measures, must be the third sixteenth note, D-flat, of the played a trifle heavily; since they have to the last beat of measure 4, to the B-flat to its pure melodic outline and to its warm on the first beat of measure 5; and a running accompaniment, with the first sentiment which charmed while never de¬ support the whole structure of the broken finger of the left hand, though it is marked chord passages which proceed from them. slight hesitation may be made on the same generating into vulgarity. At the same E-flat, before proceeding to the B-flat. in the music to be played with the right time his genius does not lack in virility Upon the entrance of the melody, on hand. Care must be taken though, not to and dramatic power, whilst his sense of E-flat at the end of measure 2, taken with Creating an Atmosphere give an accent to this D-flat, as it is only the second finger of the left hand, a hardly rhythm and style is admirable. THE WHOLE MELODY ought to a sixteenth note in the accompaniment, Mendelssohn did not deviate far from perceptible hesitation should be made be¬ and any inclination to emphasize it when fore proceeding with the first finger of the float on the running accompaniment, his conceptions of the classical mold. There which must be supporting it with a firm taking it with the first finger of the left is little that is daringly original in. his right hand on the next note, C, on the hand must be resisted, as this emphasis first beat of measure 3. This C should be but unobtrusive tone. In fact, the player compositions; but all is polished, dignified would destroy the symmetry of the melody. played with a gentle emphasis, and the must imagine that he is both singer and and colorful. I change the hands here only to facilitate endeavor should be to try to create the accompanist combined. the execution. A Release from Oblivion feeling of a portamento from the E-flat In measure 7 a crescendo should pro¬ ceed from the eighth note C on the fourth There are, however, four notes, in meas¬ HE INFLUENCE of Bach, Bee¬ to the C, as a singer or a player of a T stringed instrument would perform this beat up to the apex of the phrase, which is ure 15, which should be brought out; and thoven and Mozart is to be found in the E-flat on the first beat of measure 8, these are D-flat, F, E-flat and D-flat: all his works. Mendelssohn was the first interval. The melody, all through the piece, must and then die away to the dotted eighth namely, the third, fourth, fifth and sixth of the nineteenth century musicians to res¬ note F on the fifth beat of this measure. beats of the melody. cue Bach’s music from the neglect into be played tenderly, with due regard for the rise and fall of the melodic line, the Again, before striking the sixteenth note which it had fallen. Preserving the Song Feeling intention being to imitate as far as pos¬ F on the last half beat of measure 8, the Mendelssohn’s “Songs without Words” finger should be raised from the keyboard, ROCEEDING to measure 18, the right were among the most universally beloved sible the singing voice. To further this P illusion, breathing should be indicated, as just the fraction of a second, in order to hand should be raised from the key¬ of his creations; and there was a time give the impression of a breath being board at the end of the phrase in this meas¬ when no pianist’s repertoire was complete in singing, by a slight shortening of the duration of the sound of any of the notes taken. ure, on the tied eighth note. B-flat, of the without a share of them; nor was there fourth beat, to give the effect of taking any amateur player who did not linger breath. The same movement should hap¬ lovingly over their no uncertain beauties. pen in measure 21, between the quarter Mendelssohn invented the name of “Lieder note G on the fourth beat and the A- ohne Worte (Songs without Words)” for natural on the sixth beat. The preceding > these graceful trifles, which flowed so measure, 20, should be played in a slightly easily from his pen; and this charming quicker tempo, as also measure 21, and title will remain associated with his name, amongst the general musical public, with then a little ritardando should be made in a particular affection. measure 22. Measures 23, 24, 25 and 26 must be A Musical Missionary given with as much color and emotion as NOT THE LEAST of Mendelssohn’s the placidity of the music allows; and the services to music lies in that he initi¬ bass note on the first and fourth beats ated abroad a taste for the German Lieder of these measures must be emphasized. (well composed songs), a class of music Having arrived at the last beat of meas¬ which up till his advent had not become ure 27, where the melody is resumed, now popular outside of Germany. His own in octaves, I play all the octaves of meas¬ songs, because of their spontaneity of ure 28 with the right hand, except the melody, and of something direct in their last one in the measure, which is divided appeal, gained instant success wherever between the two hands. In measure 30. I they were performed, and they paved the play the first two octaves with the right way for an appreciation of the deeper beau¬ hand, as also the fourth and fifth. The ties of the songs of Schubert and Brahms. third and sixth octaves are divided be¬ The work we are here considering, On tween the two hands. Wings of Song, is perhaps the greatest In measure 32 I take the first two oc¬ favorite among all of Mendelssohn’s songs, taves, on C, with the right hand: the third and deservedly so; for no one could have octave I divide: the fourth and fifth I conceived a sweeter and more graceful play with the right hand, on C and D-flat: melody combined with enticing harmonies and the sixth one I divide. and elegance of rhythm. It has been ar¬ Continuing to measure 40, the top notes ■ ranged for the piano, by Franz Liszt; who of the octaves F, E-flat and D-flat, on the possessed the unique gift, when transcrib¬ last three beats of the measure, must be ing vocal music for the piano, of throwing brought out. In measure 45, the tempo new light on the composer’s thoughts and should be a little accelerated and should even of enhancing their beauty, without continue quicker in measure 46; but meas¬ destroying the original feeling of the ure 47 should slow down again. music. The additions which he made may In measures 48 to 51 the chords in the be sometimes questioned; but he was able right hand must be played with varying to put himself so entirely in sympathy with tone color, and not too lightly, so as to the original creator, whose work he was rivet the attention of the listener and to arranging, that he rarely made errors of make him feel that there is more interest taste. In his hands, adaptations seem to to come, even though the melody has tem¬ acquire an added musical interest and im¬ porarily ceased. The bass notes on the portance. first and fourth beats of measures 48-51, Our present piece opens with two meas¬ namely, A-flat, G-flat, F, F-flat, E-flat, C, ures of flowing accompaniment, which pre¬ FELIX MENDELSSOHN B-flat, and E-flat, all must be stressed; and pare the listener for the advent of the From a famous oil portrait by F. Magnus. (Continued on Page 118)

84 THE ETUDE JUNIOR HIGH PARADE LUDWIG RENK GRAND MARCH

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FEBRUARY 1936 93

I OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES THERE’S JUST”DNE SONG Words and Music by LUCILE SNOW LIND II

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CHARLOTTE ELLIOTT HAROLD K. MARKS Violin

Piano

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Copyright 1915 by Theodore Presser Co. British Copyright secured FEBRUARY 1936 THE ETUDE FEBRUARY 1936 IN A POLISH GARDEN IN A POLISH GARDEN pRIM0 FREDERICK A. WILLIAMS SECONDO FREDERICK A. WILLIAMS Tempo di Mazurka Tem po di JVlazur ka > > J J A ^ , ii? 4 /ry^- i —i— i i ^ =rr ti

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THE SURPRISE! THE ETUDE HISTORICAL From the Andante of Adapted by MUSICAL PORTRAIT SERIES Haydn’s Sixth Symphony SUSAN SCHMITT An Alphabetical Serial Collection of

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Copyright 1935 by Theodore Presser Co. British Copyright secured 106 THE ETUDE Making the Song ''Click"

By Ruth Sweeny Marsh

the SINGER’S ETUDE are not rest periods for the singer—they OPERETTAS, JUVENILE SONGS, MUSICAL written about voice production; but are a part of the musical story. Edited for February by Eminent Specialists READINGS, MUSICAL COMEDIES, PLAYS very little has been written about song Get the feeling of your song! Know for all occasions where the climax of the story is, and think production, with the thought for most en¬ ESTABLISHED 1888 t a “Singer’s Etude" complete in itself. Delightfully amusing, simple entertainments for joyment of the listener. your way up to this climax (convincingly It is the ambition of The Etude to make this departmen The layman is not interested in the tech- and rhythmically). It is the rhythm of a 60 years.| Complete selection of nical side of singing, but he is interested in song that makes you laugh—that makes Among those with dramatic clubs, lodges. having his emotions stirred by a lovely you tap your toes. a keener apprecia¬ T. S. DENISON & COMPANY The third step is the one you would like What is the satisfaction of a method to to have tried at first. It is better as a tion for solid worth n(j Forward Tone produce a voice correctly unless the singer third step and easier and quicker in the and lasting satisfac¬ has some method of producing his song to end. If the melody is simple, you will tion, will be found Some Secrets of the Production of a Fre the greatest enjoyment of the listener? probably sing it as you sight read it; but the great majority The average audience does not care to if the intervals are difficult (have your of Lester i Wilbur Alonza Skiles analyze a singer’s technic, but it knows accompanist) play the melody until you By when a singer and song “click.” are sure every note is learned correctly. „ throat off” Style of production does not creep i„ rt 'n nn A if such erroneous and da"fero“s with this emphasis of the /. The tip of Getting at the Spirit The Tale Beautiful 0 TONE can be free from tight- free-throated and PurV"KT'descend conditions were wiped out by corr ' tongue should remain as loose in the “J JOW CAN. I sing my. song_ ' it VTOW YOU ARE READY to tell your Nness and musically pure, clicks?” asks the young singer: i.\l lovely story in beautiful harmonies, made- -by a—* “driving •«out” pressure.“ * - First, read the song, poem, or story s0 it will be satisfying to yourself as well Such a method can result in only an un¬ steps upward. Notice this tained, many so-called tenors u^reds6 of long enough, by the natural coordinate aloud, so that it sounds pleasing to your¬ as to your listener. What is this you say? musical nasal tang, which is too often tense the tone becomes. OontiniV J^d themselves as baritones, and hand d bc_ action „f the breath and tongue, to insure self; until its meaning is clear and you “It is not satisfying!” Well, dear singer, mistaken by aspiring singers for the de¬ manner to encourage the ton ^ “steam boat whistle sopranos w the audibility of their production. The have the real mood or feeling of the story. go back to your story, perhaps you have sired “ring” quality. Head and chest 4th—With the lips and teeth p t CQme glorious contraltos. throat must lie iicrmitted to expand freely Analyze this interesting story and new failed to select the key words that bring resonance are thus unable to lend intensity, the tip ot the tongue touching loosely W £xcrcisc: Speak slowly .andJJ“"JJs and naturally, as in yawning, while this meanings will be revealed. Marking the out the meaning of your story. Now try beauty and blend to the ., —, - . roof of the mouth 3ust behmd ^ articulating each consonant in each rcliini„ary / is sung. Then the tongue important words with a pencil will be a to color the words as beautifully as you the whole range of the i will be greatly front teeth sing in a hu™™ g , . ^ adequately but not overly exaggerat e _ J.an and wt\\ I* free to move naturally. great convenience for later study. If you by making the vowel sounds round impoverished in quality. have chosen to sing “The Years At the and full, the consonants quick and firm To'b7^“anTcorrectly produced, any ^ ^as'tT probed the Spring,” from Browning’s poem “Pippa and definite, with the tip of the tongue or Passes,” of course you would read the lips, whichever the consonant may require, second line of the , Pin shown at •r sxizs&« sr-.* ^ - - ”” > 25c, silver plate „ _ poem. If it is Then You’ll Remember Me You know the meaning of your story, -— - —■ j xr .... nnw be employed care to articulate f 5 "you-der ” 10th—Initiate these Italian sounded gold plate. Ring at ■ or I Dreamt I Dwelt in Marble Halls kave found the key words, and you know _ 3 the frontal structures of ingly forward. Ng can now oe em]as “hid-den,” yonder vocal muscles, ' Remember vowels with m and n and sing mah-mh, Aar from “The Bohemian Girl,” by Balfe, you jlow y0U w;sh to color, the key words, • • —- —-—t, with free ac- catalog. would read a short synopsis of the Opera You knQW the rhythm and mood the COm- C. K. GROUSE COMPANY 1 intelligent background poser has chosen to express in story. ErifFeS ^n’of'Vhc-tongue,t.ip. ££ J*. Bruce Ave., North Attleboro, Mass. ' ing,” in order to prevent students from mouth as this combination is sung, as l ^ ^ giyen sentence must be mutu- the thr<''VhnmX^hkhX tone can float You know the melody perfectly, note by The Intimate Acquaintance Jr^lace^at^*SchiStrSnfm2abeSS '‘TA-In'to improved tone quality, sing «gyandhpT. out’^from the chest. so to speak (Only As you sing this song over, and over, Lester Pmo Co. HE SECOND STEP is a very im¬ by some miraculous feat. Such wrong moon, spoon, and continue ™lth a"y ™°a^ ^hile “hin hidden, is produced by the the raw materials, the vibratwis from MUSIC PRINTERS T and over, again, let its sentiments fill your portant one. Before beginning to sing, soul until you are living its story, and 1306 CHESTNUT ST. ENGRAVERS*1* LITHOGRAPHERS i look at the tempo and see in what kind of until this song is a part of your own ex¬ rs r s* r ~ sa ssl r..,: 1S rhythm the composer has chosen to tell PHILADELPHIA ■ PRINT ANYTHING IN MUSIC-BY ANY PROCESS | perience. When it lifts you completely out the story musically. As the accompanist mof yourself Mluand yuuyou sualsoar JUin theulc „realms of I WE PRINT FOR INDIVIDUALS plays over the song, clap the rhythm lightly tWs sQng Qnl then and then only Step by Step practice, notice that the tone s^rs mto ^ bfeath upQn the {ront teeth, as it comes chambers of the body where they are am- t REFERENCE ANY PUBLISHER INHERE ARE ten distinct steps to be depths heretofore unrecognmed. Ad d t from *e lungs and through the u„- plified anil beautified. with your hands, until the feeling of the song convincing to your audience. song from the beginning to end is acquired. 1 taken towards producing a free for- resonance will have thfn ££ obstructed throat. This exercise should be- done rapdl . TINDALE ward tone on the lower and medium pitches The tower tones will rea y ^ fch m_0n the G pitch, sing apple. The in a consecutive fashion, M many times u It is important to think a song through Music Filing Cabinet from the beginning to the end. Interludes of any vocal range. The higher tones nance The ™Pr vowels and liquid l should suffice as the final ending possible on one deep breath InhU the Needed by every Musician, will come forward with adequate head vibratonly on the lips as both vowel^and That ^ ^ M not S(llind production of /. these liquid prefixes re¬ Music Student. Library, School and Convent. resonance, after the lower tones diave once consonants not °over-emohasize these as “appid” or “appcl." Very artistic quire a loose motion of the jaw for tl orderly. been correctly encouraged and bu.lt; that freedom Do t overemphasize^these ^ be givengiyen such words by the makingniakin, and for the execution of tins «- An Outline to Guide the Student's Approach to the , after they will action and spoas the musical effect of the word, simple _ and correct-rect sounding of this final f.I. ercise in alternate and consecutive style matically in response Study of Singing > that beauty passes out of the picture, It tends to encourage the tone forward to Much care must be given to this too*1**' upon the vocal cords. Bear in mind that the throat a decided musical degree. However, it that it remains throughout the by Naomi Royde-Smith ist_Attempt a gentle cough or clear- so to speak. would be far better to sing the undesired of these combined vowels and consoia--. By D. A. Clippinger ing of the throat, and notice the involun- should be expanding freely, "A musical novel of really of yawning, when these consonants : “appii/” or “appel” than an over empha- These three liquid consonants, /. m tary action of the vocal cords as they move of yr— . sized / in such instances. In the correct are worthy of much more careful sOT exceptional merit, exciting, in response to the breath. Repeat this ac- sung.ing. sensitive, moving; a delight 6th—In words containing n articulation of /, the tongue is touching than the other consonants; though ail w RDERLY thinking is as necessary in Try to let yourself sing, not make your¬ for those who know music.” understanding^and ^recognition of the deli- syllable, such as fountain mountain and loosely against the roof of the mouth, bc- worthy of any singer’s most sincere pt*- O at home: voice training as in mathematics. self sing. —The Forum cate “tick” of the vocal cords. This sentence, the consonant between the syl- hind the upper front teeth. Many singers tjcc These liquids are so much the m** cate us.*. , . ;s what lables must be purely and fully made by a prefer singing “appel" instead of the cor- sjngablc. they are so near to the M"'ri Correct singing is the result of correct The speaker undertakes to make his au¬ all bookstores $2.50 iSESSgis*** dience know: the singer undertakes to MACMILLAN • New York rect “app-/-.” humming lone, which is the musical thinking. cfaldfie^ th^vocaTattack^idf in turn, gives crisp action of the tongue or whatever Training a singer is developing concepts, make his audience feel. Ae best raw material from which to build organ of voice is necessarily employed for Other words, such as humble and trundle, dement of any voice. Through cornu tne Desi uw the mak;ng 0{ thiS consonant. If con- with endings of “mble,” “ndle,” and so on, use 0f tbes* liquid consonants, the «•" not muscles. The singer’s emotions should lie close To produce beautiful tone, one must to the surface and be easily stirred. t02nd—Place a hand upon the chest while sonants are not adequately formed, are expedient mediums by which one can automatically becomes in tune, so to sp® know beautiful tone. A mastery of dramatic utterance is of SUMMY’S CORNER speaking the words moon, loom, spoon, and quality and volume well as the vowel comfortably encourage forward tones. Ten -fhat is pure intonation comes abort ' \Vbo Training the voice is easy, if a correct primary importance to the singer. so on. Notice how the resonant vibrations production,_ , badly impaired. Moun- minutes of daily practice with sonant voluntarily from tree resonances Are you teaching these important CARTER books? tone concept has been formed. Without a quickened imagination, good can be felt within the chest and, too, on the x~*“ may become moun-un, sentence comes groups of this type will have a most grati- We have free•ce resonance,rcvmance, the .tone ,*1" ,^1 Two important questions concerning s;ngjng ;s impossible, BEGINNER’S PIANOBOOK FOR OLDER STUDENTS SI.00 lips. If this cannot be felt on the lips, es¬ as sen-ence or sen-unce, and so on. Such fying effect upon the singing tdne. pitch, because the vocal and W bad habits in speech are quite common 8th—With the articulation of the liquid ne: How does it sound? Is it easily It is your m;ndj not your body, that i pecially, the tone produced is tight, strident, organs will act with nc condneum Carries the Older Student, the Adult, swiftly and surely from the Rudiments to among our English speaking populace. I well in hand, sing lali (with ah as in produced? musical. throaty or breathless. Such vibratory sen¬ disturbance of tbeir natural .. # The pure singing > steady, rich, full-sounding arrangements of familiar tunes. Extensively used in Private Instruc¬ sations must accompany every tone made, T7 T/;. 7 P 7 .. father—Italian a) and encourage the ah There will be created suchcccMi ^ When you cease to question your musi tion, High Schools, Colleges, and Adult Education Projects. The Vital Relaxation to remain forward where the / focused resonant, sympathetic. cal taste, you cease to improve. if the tone is to be free, musical m quality will assist in the achioement A good tone is easily produced. It is the Logical presentation • Appeals to the mature mind • Always interesting OR PURE, unrestricted tone, the That is. the ah should bc felt to he rc- Concentration, industry and persever- and forward in its position F ami richest tone possible for the in® bad tone that is difficult. throat must be free and open. For this sounding and focusing just in front of the these are the student’s most valuable Start your next class of Adults with BEGINNER’S PIANOBOOK course the higher voice under study. Good singing51UM1UU lais da 11healthy,CcL1U.1V, invigorating111 v IgUl tttnig . r ‘1 ytt-.L about so 'mudTof this sensation within the acquisitionuisition one has only to let the throat upper front teeth and behind the upper lip exercise. A tired throat indicates effort assets. With these, he cannot fad. With- chest and on the lips as do the lower ones; alone,ne, just as it is when one speaks nat- at the base or the bonal structure of the at the wrong place. out them, he cannot succeed. KEYBOARD HARMONY replace urally and under healthy physical condi- nose. CLAYTON F. SUMMY CO. head resonance will Voice training is largely a matter of Nothing worth while ever was accom- WITH ILLUSTRATIVE PIANO PIECES 7Sleisurely■ ..nineteenth centnry,. tmn- * , “The words of a song are as important as the music, but, in many of the application. Use with any book of sec¬ Back to Nature flar words are wrongly enunciated, the These should be sung with i‘ ' 1 . toaa_ young:_1 frtend,-:—j a~vp,detest"*.1J, ‘art songs,’ the voice-line is merely an unimportant background for an Street. •RD—HUM GENTLY, but firmly, on throat does not and cannot remain freely quality for about five minutes cad dav’ comfort and luxury uere intriguing, though frequently beautiful, ‘modern’ accompaniment. There¬ ond grade or more. City. State. 3i fore, with the music of the vocal line playing such a humble part, what is Send for These Books On Approval the use of the zuords, and why make it a song at all?”—Bernard Hamblen. S:,;'«..”eT.nd the teeth .p.tt- i, .heetd be expended f™„y. Hence, ente . FEBRUARY, 1936 108 THE WHERE SHALL I GO CHIMES and ORGAN TO STUDY? The Balanced Pedals of the Organ ORGANIST’S ETUDE By William Reed Private Teachers (Western) A WELL-CONTROLLED management toward attaining facility with this pedal. make this department an “Organist’s Etude” complete of the balanced organ pedals may Ex.I It is the ambition of The Etude VERA BARSTOW 1 1. be regarded as something of a study Concert Violin—Teacher—Chamber Music in itself, graded effects being obtainable 1831 N. Beverly Glen Boul. Los Angeles, Calif. Phone West Los Angeles—322-37 in such perfection as was impossible by means of the limited aid of the old fash¬ CHARLES DALMORES ioned pedal even when this was doubly 12 Years Principal Tenor with Manhattan, notched. Then the Crescendo Pedal, used Metropolitan and Chicago Operas Teaching Opera,Concerts, Radi<^ Movies either alone or in combination with the others, is valuable in bringing on cumu¬ How to Become Acquainted with Your Pract.ce Organ 5873 Franklin Ave„ Hollywood, Calif. lative effects that are more felt than heard. Phone Hempsted 9949 Consequently there are at command not only ordinary crescendo and diminuendo “ ABBY DE AVIRETT requirements, but a crescendo within a n I_4 P MgrH TEACHERS OF PIANO By Edward G. Mead general crescendo, and a diminuendo within 108 South Larchmont Los Angeles, Calif. a general diminuendo, these moving or $835. r Tremolo is eight pistons operating the stops of each HAROLD HURLBUT , „ j -i0 register. If the wave of tn manual and those of the pedals and about static as required, but even the somewhat /»T THE BEGINNING of organ study, The Ear the Guide slow ;t should be adjusted to m -r~ „i— tl. fanciful effect of a crescendo and a diminu¬ __: number for pedals alone. Voice Teacher of Dick Powell, Erik Rhodes and In these the effects of the dynamic mark¬ value been offered. Take ad¬ Z\ it is well to become acquainted with rj-tHE NEXT MATTER is that of listen- fasterj as’ n0 tonal effect is more unsatts- pedal pistons may be operated from the Other Screen Stars, de Reszke Exponent endo moving simultaneously; and all of ings are unobtrusive, while assisting accen¬ vantage of present low prices. 2150 Beachwood Drive Hollywood, Calif. these obtained with a minimum of registra¬ £ the tonal and mechanical features X ing t0 tbe tone 0f the various stops, but factor’y than a Tremolo that is manuals or by toe studs. Notice that tuation, and adding to vocal color by means Give yourself or your church tional preparation. The player, keeping of the practice organ. Perhaps the fol- before doing so it would be well to know «wobbiy;> these pistons usually may lie adjusted to of simple registration. The moving and the pleasure of owning a pipe DR. GEORGE LIEBLING “the tail of the eye” on the indicating dial, lowing plan may be of help in learning to that organ t0ne is divided generally into Studying the Mechanicals move any or all stops on their own tr* static points need to be carefully measured. organ. Chimes may be installed MasterClasses—June, July, August 1936 notes gradations and statics, careful of Again, for the reason that ascending remote from the organ, thus know this instrument, whether it be a two- four main gr0ups-Diapason, String, Elute, NOTICE the mechanical acces- ual and 'also on the pedal. If the stops Teaching Methods, Materials and Interpretation. Liszt Exponent. the movement of the pedals in either direc¬ and descending passages suggest respective¬ providing an echo effect. =“i:u'"8" 7of • snl «s:n ,-*%*£* * 5533 Hollywood Blvd., Hollywood, Calif. tion, and especially avoiding sudden and ly some increase or diminution of sound, Write to-day for booklet explosive results. even when not so indicated, some differ¬ MARGARET ELLEN MACCONACHIE For most preludes and fugues, the organ ence—however slight—should be made, ssmsmssw! STUDIOS is to be prepared at f or mf, with additions WICKS PIPE ORGAN CO. Teacher of Voice made by touches of the different pedals, E | noting the Address Care of Musical Courier HIGHLAND, ILL. 2 Roosevelt Hotel — Hollywood, Calif. the episodes being reduced or not, accord¬ ing to the player’s ideas. In such composi¬ Dept. Et. hoactaves0Tf ^rg^alX^Puroffbthe O^or Grand Crescendo Pedal forward, observing set on these pistons. In the stop-key type JOHN A. PATTON tions as the Toccata from Widor’s “Fifth VOICE Symphony,” and the Fiat Lux of Dubois, 1 tri«rM2 First Teacher of a similar addition and subtraction are to • tone Similarly study the tone of any ness (a few of the couplers may also be tbat manuai. To set stops of this type, Josephine Antoine of Metropolitan Opera 6655 De Longpre Ave., Hollywood, Calif. be made, the organ always duly prepared. other Diapason stop in the Great—the six- brought on). Then move the pedal back, press the piston on which it is desired to GL. 7523 As examples especially suitable for this teen foot four foot and so on, and any whereby the opposite tonal effect is pro- sct stops or couplers and hold piston until plan of study, may be mentioned Bach’s EDNA GUNNAR PETERSON . . , _ . “mixtures” of Diapason quality. Then duced. such stops or couplers as are desired have Passacaglia in C minor; Rheinberger’s Observation of the subtle gradations twelve keys each and an additional C above ^raw alj t^e Diapason stops and listen to Next in order are the couplers. It the i)cen pushcd down, then release the piston. Concert Pianist—Artist Teacher Passacaglia from the “Eighth Sonata”; Broadwell Studios, Dept. lll-B, Bendit Bids. Us AoS'ta, Calif 229 So. Flarvard Blvd. Los Angeles, Calif. of expression, as accomplished by a good High C to complete the highest octave. ensemble Diapason tone or “Diapason stops are of the draw-type, the couplers Some or aU 0f thc manual pistons may be FE. 2597 and Handel’s Variations on a Ground Bass orchestra or chamber music organization, Next, look at the pedal keyboard and Chorus» as it is ^lled. generally are in the form of tilting tablets dupiicated by toe studs, or there may be from one of the lesser known organ con¬ will suggest points imitable on the organ. notice that the compass is thirty-two keys, Follow the same plan with the String located above the top manual. If the toe studs which supplement the manual EDOARDO SACERDOTE certos. These and other like numbers To take the score of some familiar com¬ “FLYING FINGERS” and Flute stops (including any “mixtures” stops are of the stop-key type, they are pjstonSf or there may be both varieties. Teacher of Voice—Coaching—Opera Classes afford large scope for cumulative effects position and follow closely its dynamic will be yours, when you learn to play pop¬ Ex.2 0£ either group) and lastly the Reed stops, usually at the right of the stop keys with There also may he toe studs or levers —Master Classes. June, July, August 1936 and variety of registration. shadings in performance is an excellent ular music, this new and interesting way! . .. - ~~ —« Then draw all speaking stops on the Great which they are associated and generally whJch move couplers to thc “on” or "off” My students get results! ■ 6054 Yucca—Hollywood, Calif. Phone GL. 1285 For the accompaniment of a choir of means of realizing possible expressional You will, too! 7 11 and listen to the composite tone effect. In black in color. Couplers are of two types posjtions, or which adjust all swell pedals moderate, size, the Crescendo Pedal should LAZAR S. SAMOILOFF effects. The performed ones may seem Write FLYING FINGERS SYSTEM ^ like manner study the stops of the Swell, —unison (eight foot) and octave (sixteen tQ one pcda]f as jn the case of a "master” be seldom needed, the other pedals being Voice teacher of famous singers easy of imitation or suggestion but are not on older instruments this may stop with Choir and Solo manuals. Then take the and four foot). First notice the unison swel, ^ast but by no means the least adequate both for purposes of expression so easily reproduced without repeated ex¬ the F just below this highest G. Pedal stops—the sixteen, thirty-two, eight, manual to manual couplers and manual to effective amon(? the pistons are the “gen- Beginners accepted. Special teachers' courses and for the suggested reenforcement of perimental attempts. The next matter is the stops—first, the and four foot stops and any “mixtures.” pedal couplers, then the same two groups erais” operated either by manual buttons 610 So. Van Ness Ave., Los Angeles, Cal. accents whether noted or not, the player Admitting that in a general way the TEACHERS WANTED—NOW type of stop control (draw-stops or stop- Next, take each of the accessory speaking at the sub-octave and super-octave pitches, af toe studs or tj^h. Any of these pistons improvising, as it were, such help to his BERTHA VAUGHN balanced pedals constitute an artificial key) * second, the names and fundamental stops such as the Chimes, Harp, and and finally the sub and super-octave coup- may bring all stops or couplers singers as he may judge necessary. A means, the player primarily expresses him¬ • , t . c ii-. rViarar- n+Uat.Tirscia Wimtm the 1ei*5 on the same manual and the super- .i _ Voice Teacher of Many Young Artists Shannon School (Est 10 yrs.), 3520 Main, Kansas City, Mo, pitches of the stops; and third, the charac- Celesta, otherwise known collectively as the lers and may be set in the same way as manual slight forward pressure of one of the pedals self according as the expression marks the pedal (if present). Now Before the Public teristic quality and volume of tone asso- Percussion group. After these the Tre- octave couple or pedal pistons. If there are any other Folder on Request —preferably that of the Swell—is usually are printed or not. If they are, they are ciated with each stop. molo (or Tremolos) should be drawn and The last important.. accessories *t mechanical accessories—"gadgets” in other Beaux Arts Building Los Angeles, Calif. sufficient for holding the voices together to be regarded as reminders of the manner As to the first point, observe that the tbe effect of this stop noticed with a String studied are the pistons. Observe that there words—such as Harp Sostenuto, these may in time and tune, and for accentuation. in which a musicianly player will naturally draw-stops (or stop-knobs) are grouped or Flute stop, particularly in the higher may be from two or three to six or even now be examined. Private Teachers Leads, faulty intonation, hurrying and express himself. It is, therefore, in the according to the divisions of the organ (Eastern) dragging, may all be regulated by such skilful application of individual feeling on which they operate and are placed in The Grand Ensemble means, a 4 foot Harmonic Flute being in¬ that true expression has its founda¬ CSINY PUBLISHER. O perpendicular rows on either side of the ; - ' ; THE LAST POINT is the combining KATE S. CHITTENDEN cluded when the intonation is at fault. For tion, perfected results lying between the ~ ~ WRITE FOR P manual keyboard. Stop-keys (tablets), on "t, - .* | -- -• of the stops of the various tonal divi¬ Pianoforte — Repertory— Appreciation general hymn accompaniment, the Cres¬ player’s individuality and his use of the the other hand, are placed horizontally in _ mi W sions into the Full Organ. Do not include THE WYOMING, 853 7th AVE., cendo Pedal may sometimes be necessary, different pedals,- the control ' of which a a row (or rows) above the top manual. All.' -4-, >■ .. *.. NEW YORK in the “Full Organ” the Tremolo, the stops but should not be in evidence beyond a exacts much care and experience, both of Make THE ETUDE Your Marketing Place These stop-keys are like small levers which certain restrained "oint. of the Percussive group, or solo stops of ALBERTO JONAS which, patiently exercised, will in the long Etude Advertisers Open the Doors to Real are “drawn” by being pushed down from The following scudies will be useful such special character as the Vox Humana, Celebrated Spanish Piano Virtuoso run be found worth while in their results. Opportunities the lower part. Stop-keys which represent Teacher of many famous pianists speaking stops or the Tremolo are either Clarinet, Orchestral Oboe or English Horn, since none of these stops blends satisfac¬ 19 WEST 85TH STREET, NEW YORK CITY all white or of various colors, each color Tel. Endicott 2-2084 On Wednesdays in Philadelphia ■ ON TEACHING THE PIANO * C»P» being associated with one or the main fami¬ torily with all the other stops. Ih build¬ ing up to Full Organ, either add stops The Puissant Hymn lies of tone of the organ. Tells how to begin, the equipment needed, In regard to the names and fundamental separately in the order of families of tone, LaFORGE-BERUMEN STUDIOS what publicity to use, and gives a carefully pitches of the stops, notice that stops speak¬ or set the stops on manual and pedal pis¬ Voice—Piano graded list of materials. By Dr. Ernest MacMillan tons and use these. After the stops a« Frank LaForge teacher of Lawrence Tibbett since Oct. ing at eight foot pitch are in unison with Theodore Pressor Co., 1712 Chestnut St., Phila., Pa. the corresponding tones on the piano, drawn with the exceptions already noted, whereas stops of sixteen foot pitch are an couple all manuals to Great and to Pedal- The very potency of hymn singing in he exhorted us to “sing with the heart, and octave lower, those of four foot pitch an Open the swell boxes in the order of SweU, the emotional sphere carries with it a with the understanding.” Every portion octave higher, and so on. First learn the Choir, Great, Solo. Another way to obfam GEORGE S. MADDEN FRANTZ PROSCHOWSKI danger—the danger, namely, that emotion of a church service should have an emo¬ names of the stops of the Great Organ in the same effect is to use the “Sforzando Scientific—Mental Art of Singing Vocal Teacher may become uncontrolled, and the intelli¬ tional appeal, but we have no right to (manual button or toe stud) which in¬ sed on psychological 100 P. C. tone vibr the order of eight, sixteen, four and two By a Singer Who Makes Singers t. 57th St., New gence almost entirely submerged. Emo¬ make of the music, or of any other por¬ foot pitch, and then (if present) the “mix¬ stantly puts the Full Organ “on l® tion, to be sure, is the driving power of tion, a mere wallowing in an easy-going ture” stops which have pitches other than “off”), then open swell boxes as abo EDWARD E. TREUMANN religion, but intelligence is a necessary sentimentality, which, while it may give those mentioned above. In similar manner Observe carefully the tonal effect ot me Concert Pianist—Artist-Teacher rudder without which we merely drift. It the unthinking a certain personal satisfac¬ learn the names of stops on the Swell, Full Organ, whether of brilliant sonority RICHARD McCLANAHAN Representative TOBIAS MATTHAY Recommended by is too often assumed that the sermon pro¬ tion for the time being, nevertheless will Choir, Solo and Pedal. Since the standard or of a certain harshness. . Emil Von Sauer and Josef Hofmann Private-lessons,| class-lessons in Fundamentals vides all the intellectual stimulus necessary cause the wise man to shake his head of pitch on the Pedal is an octave lower The console of the great organ in St. Michael’s Church, Hamburg, Germany The foregoing outline may seem lengnF >, Carnegie Hall, Suite 827, 57th St. at 7th A and that music is to be regarded as a mere dubiously and quote a familiar passage than that of the manuals, begin with six¬ iolumbus 5-4357 New York C When dedicated on October 19, 1912, it was the largest organ in the ivorld with but by following it the student shorn<1 806 STEINWAY BLDG., NEW YORK CITY emotional underlining of the argument. about “shallow ground where there is not teen foot stops, then those of thirty-two, 12,174 pipes, 86 bells, and 163 speaking stops all of which extend throughout the able to learn the resources oi his pf* ^ The old Psalmist was wiser than this when much earth.” —The Diapason. eight and four foot pitch, and then “mix¬ entire compass of sixty-one notes on the manuals, and with thirty-two notes on organ and how they may be used to g tures” (if any). the pedals. advantage. FEBRUARY, 1936 111 110 THE ETIDE ORGAN AND CHOIR QUESTIONS Maintaining Broadcasting Standards Answered Bands and Orchestras* he Etude has repeatedly called the Mr. William S. Paley Eresident of the T (Continued from Page 81) attention of its readers to the fact Columbia Broadcastmg^ System^has^just By Henry S. Fry, Mus. Doc. that our American system of broad-uruau- «»»sent —us - booklet, “New Policies,” which Ex-dean of the Fennsy.vania Charier of Ur. A. G. O. casting offers advantages matthat aare hardly contains a list of the trombone player, w . ^ he to play con- riety of human emotion may be accurately thinkable under the govermental plans of will be greeted with g a follow_ stantly in one register, To overcome this, and sympathetically interpreted through , . the ETUDE unless accompanied by the full name practice the chromatic scale conscientiously, the trombone. Because it is less mechan- operation common in Europe Here is the Z°iplaced™TZ upon broadcasts No questions will be answered initials, or pseudonym given, will be published. difference. In Europe the radio user pays mg restrictions and address of the inquirer. Only tmtuus, v first lagato, then staccato. Later make up ical than s brass brothers (trumpets and reed sisters (clarinets and sax- a tax for the use of the radio in his home. children: varied programs with which to alternate valves), thereby creating ophones), the trombone is placed in the This tax, together with whatever subsidy "The exalting, as modern heroes, of from week to week, the Government chooses to put to it, pays aused by notes being placed eternal freshness. “perfect” class, along with the violin and gangsters, criminals and racketeers, voice. It is constantly gaining in popular¬ the broadcasting bill. In America that Q. Will you please giv® jf2 art of the keyboard and tliir will not be allowed. of a church organ of four mu , 8Wg. would be preser* —— A Colorful Instrument ity and use. The time is not far off when bill is paid by' the broadcasting companies, played as written. By " Disrespect for either parental or ■OOOrHow her * there will have been attained for it a rank who in return are supported by sponsors nlJneoole for approiimaUly $20,000! stow stops we pres.mte you mean “Unison Off> The trombone is a most important other proper authority must not be fl dthPe tone of the Cor ^glais Vr^ce0^h These stops cancel the speaking of stops both a solo and who are advertisers. In recompense for ™ nn» T secure copies of (iThe Diapdrawn on the particular manual, except strument in both the band and orchestra, of the highest standing glorified or encouraged. i And their Its possibilities are limitless. Every va- an ensemble instrument. what thev pay, the sponsors may tell the Cruelty, greed, and selfishness must public over the air about their merchan- WA?“__ “ not be presented as worthy motiva- Next add Swell number of notes included m a set of cn s.Swell 4/ couplervss.-x and you wL.-- At first it might appear to many that Programs that arouse harmful nerv¬ the. European system is more economical A*. BThe amount of orsand|£ends “o^the couple?® “wlB/ko aptririgiSl ous reactions in the child must not be for the price you name depenas on pitch through the Swell to Great coupler, The Questionnaire Review and’ practical. However, it does not work builder selected. We ^ ^nding £ ft Inouropinloi^ the_organ ta lacking injpeak- out that way. The cost of broadcasting, presented. Conceit, smugness, or an unwar¬ By Florence Scheib as it is presented in America today, is the Great Organ—Och fabulous. If this cost were transferred to ranted sense of superiority over others less fortunate, may not be presented as brfght ' Of the Piano Accordion it may truly the public, in the form of taxes, it might -s small a, As a means to provide a novel and inter¬ result in a political revolution. Yet to laudable. you specify. a will have to in- esting form of review, one which serves a be said that it is the instrument of joy ... the advisability of and pleasure. Modern, smart and pop¬ secure the magnificent features which Recklessness and abandon must not the instrument and the definite purpose for the young student of be falsely identified with a healthy ular, for every social occasion, the deep American broadcasting companies, includ¬ he furnished you by the the piano as. well as for the teacher, the rich melody of the Piano Accordion is &?sslng C.^’L„hinh^te in the United States! ordinal builders"'.'! ithe organ or some other ing the N. B. C. and the Columbia systems, spirit of adventure. following “questionnaire” has proved bene¬ a source of delight to all lovers of provide daily, an immense expenditure is Unfair exploitation of others for $1.50 per yet _.j obligation. Easy terms. Write today. liH ficial and successful. This’ type of “test” In order to distinguish one note from -uiated fro: modern music. unavoidable. To levy this cost directly, personal gain must not be made praise¬ ■L- . , nnwever that Some Q. What Is the traditional tempo of the PAN - A M E R I CAN is used extensively in the various lines of another,’ they are placed on a staff of eleven HOHNER PIANO ACCORDIONS tax-wise, upon the people, would be un¬ worthy. instruments study in the schoolroom, so why not in¬ lines called the . staff. The top “the world’s best” thinkable. The fact that advertisers find Dishonesty and deceit are not to be compass ^ofC°“Ch°mes”^rrdlng I note falling on this line is called middle EASY TO PLAY regularly receive. o is put upon broadcasting should he usedt Will you ojirrect the order oiistlcs and so forth. The tempos This little review is really the student’s When discussing this matter in Wash¬ ion that a taboo is put upon broadcasting rt« s of study or practice are required to 3 graphically or repellantly of ^ernice Jtg{£ltWitWmu& preferabie for the suggesteu for the Halleluiah Chora* vary own story of the work covered by him in i proficient accordion player. The Blilen- ington, before the CongressionaluxicNu—a Commit- ‘which describes graphically or repellantly »/ £' "We ‘tffinlTir iui5» pr from } = 1.12 (J = (HI) to J = 84 with a approximately his first twelve lessons. It The staff is divided into even sections, | asked whether such any internal bodily 7So rpom-^not^in the \holr Jocatiom seeming preference for J = 72. I)r. Henry replaces any “point-blank” questioning, on called., by lines known as. • broadcasts, which are far and away above results of internal disturbances,” non or co rue kuwuo should be de- Coward in "Choral Technique and Interpreta¬ From one bar to the next is a . ■ u authority in the church, tion" says—"It should he sung majestically the part of the teacher, but it enables her the average of European broadcasts, could on. It is reassuring to learn tha n° J= b/eem to be the predominantly useu at about the speed indicated—M. 72, four nevertheless to ascertain whether or not Just as one’s mother uses a measuring cup ] S TpUced gov,™, ope,- .m S»S~ b. «™> Sor, i |U|o|S«oS «\8lK"WSK crochets. to a bar—and not hurried, as it to measure sugar and flour, a measure in Write for * ** *‘ '* yard also indicates that the her efforts have been fruitful. music measures off a sufficient number of log of Hoh e Lord God omnipotent If possible, it would be best if the teacher gratifying b tat BKk-TE-. - ..- - notes to make up the necessary number of , AZ could provide mimeographed copies of the that the 1 P1 7 ti „_ condition fuoon evening programs) no longer than sinee a Gloria Patri is used after the lesson Hlat,.ly mnum-r at about M. 00, the original counts. How many? That is what the | to music as well as to any other condition (.upon evening f s . ' b devoted from the Old Testament. tempo M. 72 being resumed at the Hnllelu- following “story.” life. The famous basso, Chaliapin, was, six minutes in the hour y / am in about the fifth grade of piano jolts." pr. Coward suggests a decided slack- signature, at the beginning, tells. rennrted exoected’ to' return to to commercial announcements. —Save_Jiave hhadad Bach's two part invention*,invention* cuing of the time (J - 50) for The Mng- The piano keyboard is made up of a HOHNER In the time signature, two-four, at the 1 ’ ■ —1-~ h« niianin and ...... o( ti,e World." Our recollection Is that number of black and white “keys.” There R»„» (UPS SR.) to'sing lor a c.mpara- 0«,„ MSXVif 'll” has usually been used in the Halle¬ beginning of the measure, the “two” tells PIANO ACCORDIONS tivelv low fee offered in currency that advertising more secure in protecting tn school ncxt tcrm a8 wcn a* continuing Piano lujahs and I>r. Henry Gordon Thunder of are__black keys and.white . and the lower _____ wv.-T-t-n. vhn lms conducted the "Messiah” S tioTbe removed from that country, buying public are de signed to put broach Imould li^to^ ones. All together, there are.keys. number “four” indicates the note value for Meanwhile, Chaliapin had sung here for casting on a higher etlucal plane, ihes wtsh Do y0u think it would be wise to do The black keys are divided into groups WHAT IS THE thousands of dollars a night. Naturally, are certainly movements in the right direc- eo^Do ett 0. I practice on ann organ of which 1 of.’s and.’s. The white keys The other kinds of time I have had, are: the artist sells his wares in the highest tion. of practice T—M. K. clone lint of stop*. Willt ill VO„nii I pleosenlraae explainftdI are named from the first seven letters of four-four and three-four. MODERN TREND when and how to use the ico expression market. Americans should know that have rep^teffly a^ur^teAnicV^e folealon^hyTo^^ulS^ pedalsf There _ lo them which the alphabet, these being...... Three-four time means . counts IN REED SECTIONS ? broadcasting programs have cost as high readers that we have felt that tne great tak(. the study of the organ. of ,' is used for full orge effects. i« I to a measure, a . note receiving as°a thousand dollars a minute. This is ocean of American broadcasting would courseware not familiar with^he^ualiu^of correct and when and how Will you tell me whi Between the two black keys there is a the price reported to have been paid to the create a vast interest in music study school ciaSs.S tou should get as much prac- j,*r; 'welt, full, without IS' ■at, fir TEACH MODERN PIANO white key. The name of this key is. Returning again to the keyboard, every New York Philharmonic Symphony Or- that is, the study of an instrument. Piano tiee.. ■— on—- the organ— o— ——as is— .-possible while keeping- - —_.. Gru,ivat nt to I St h coupled tv * - —- -11 - Here is a picture of “D” in three positions: . . , in-1 iorreaQino* in all ' The CHRISTENSEN Way .th white key, we find, is the same. ™-to*. to a fS.jrftS'SjTl Upon playing them together, we discover ATntnr<; Hmir'i the country. Radio listeners are not con t^ manUal organ. What is the best regis- for Diapasonsf Phase give prices of ibejol- 1V1ULUI Iiui ) • roiin- tent to do without investigating the mys- tration for regular church hymn playing? lairing: Master studies for the Organ INCREASE YOUR INCOME something else. The effect does not “hurt The objection, rising in our own COun- tent to ao Wjmvui , b s j When using Chimes for ‘ Silent Sight" what Carl: "Eight Little Preludes and Fugue, for one’s ears,” as the tones are exactly the trv tn the \merican system of supporting teries of music through music study. registration would be effectlvet Our choir Organ" by Barb.—I., w. V. We Help You Enroll Pupils try, to me ^ crr)Tn recentlv entertained a world famous pianist is to sing Adam’s Cantique de Noel. What A. Unfortunately for you. the organ is * same, only one is higher in the scale than radio by commercial sponsors, came irom recently eineiia that before would you suggest as a suitable registration typical theater instrument and is not adapted the first. As we move up the keyboard, obvious abuses which the big over the week end. He told us t /0r that numbert Give the nanus of some to the class of compositions ye” “riHentlv ... - i-Via lAnrnpd that one British o+nn3 that you think could be added to the use. We do not know the details the tone becomes higher, lower (cross out broadcasting companies are smyiug amifacturer was making five hundred organ, or any changes that might be made; stops ure conncontrolled by your Individual ex- A “picture” of a key, producing a given incorrect word). The tones included be¬ Elkhaxt Indii getically to remedy by estabhshmg basic manufacturer was ma g aJso t,le approximnie C0*,. //OH. may the presslon.._ pedal,pedals. We suggest your finding tween one key, and its repetition, compose S , c _t;nn which are far more pianos a month and could not supply the "Off" stops be vsedt—-A. B. these details b>by trying o ‘ ----- . . sound with a given pitch, is called a note. codes ot operation wmen are iai mo sttrihuted this to the interest A. The organ is very limited in scope. ,.,,i(,rs and notl.-e wlii-h expression p- dal There are different kinds of notes. The what is known as an . stringent than those which affect many demand. He attribut F„r hymn playing with congregational sing- produces a crr.cratio and diminuendo on tk*’ From one key to the next is called a h in mustc created by the radio. Ing we suggest: Swell—Snlicional, stooped Stop beingfU Usedoeu. 4/tionCrrsrrndo um«and —-t various note values which I have studied EASY FOR newspapers. Diapason and Flute 4'. Great—Dulcfana, ire the functionsunctions of the expression oboxes. thus far are: (use C above middle C for .step; if there is a key between, ■n Diapason. Pedal—Diehl We do not know definitely that the lever yoa -J— '' uplers—Swell to ' n Is a "full organ" pedal. It y°» •jj example). -- - -j Great, - Great to Pedal, • ' action, it can be used when f«U Thus far, I have learned two key signa¬ Anyone to PLAY Swell to Pedal and Swell __ ^Arpeggiomg" the Arpeggios additional brightness add Gret ‘ "quickly.” - tures : key of ., having no sharps ™— -impanyingaccompanying chimesehi you might select h,n,s nerenssi,,,, nI1(i for,'h are not “on TO SUPERVISORS OF MUSIC, SCHOOL MUSIC DIREC¬ or flats, and the key of . having TORS, AND BAND AND ORCHESTRA LEADERS, known one sharp. This sharp tells me that every By Gladys M. Stein min °TOmbinationscombinations fr0m. th' foUowlnB SweU when'generally "full reversible—thatorgan" Is used. isThese pressing, pednU down »" FREE to us as such, or who properly identify themselves time the note “F” appears in the number I Aeoline and Stopped— Diapason will. reverse the position "on" or “off. Salickmal and V : Celeste specification ... .. 128-PAGE BOOK containing 124 Optional 1st Violin Parts (complete, and entirely in the am about to play, I will have to raise it a A novel, but very beneficial method of Play the left hand two octaves lower, such conihinai i<>ns ns “Swell fun half step. In other words, I will play Fjt. practicing Arpeggios on the piano is in the Roll the ascending chords upwards, and The melody eai also be given on chimes —'Great full"—' treat to 15th, 1st position) to the Walter Jacobs Standard Marches and Galops; and/or without any -- mniment. In accompany- Swell and "Gre: t full to Mixtures For The names of the following signs are: downwards, playing 111 16’" you might omu form of arpeggio chords like those shown the descending ' hda ve suggest that you 'Swell full with 84-PAGE BOOK containing 141 Conductor-Solo Bb Cornet Parts (full size) from the • Thousands, yom in the following illustration (“A” ascend- ««all the "notesntP5 staccato except those which the Swell organ to some of the loudei the Deagan Marir support the v on the Great. Melo-

If a cross section of all classes of stu¬ two things will have to be correct, first, Faultless intonation is the result of un- The best method, the writer has found, only necessities to good tone production. dents were analyzed it probably would be conscious finger adjustments. In other to develop any faculty is to do over and IT IS RATHER difficult to establish a the position of the hand and second the found that tone production on the whole is violin making. Satisfaction guar- Normal body motion is an embellishment, words, one’s fingers slide to the exact pitch over again the thing one wishes to accom- CHELSEA ^FRASER definite boundary line between purely manner in which the fingers are dropped. faulty among those whose bow pressure at VV lor8 8nteeGUSTAV V. HENNING while excessive, * uncontrolled motion is location without any thought on our part: a plish. Playing in one position will never Information 301 Fischer Studio Seattle, Wash. mechanical technic upon an instrument It is possible to play fairly well w.thou the tip is weak and uncontrolled. The and musical expression. In a correct inter¬ rarely a help. , , the left hand being entirely efficient. But reflex action of the muscles resulting from teach one to shift, neither will shifting help The following experiment is recommended reason for this is that good tone production pretation of any composition these two if we take up the study of finger pressure impressions made upon the brain by the one to space his fingers correctly, regard- to the student. Grip the instrument firmly necessitates bow control in both speed and elements are interwoven in such a manner and persevere along correct lines, weak¬ auditory nerves. An unconscious perform- ing steps and half steps, in the diatonic and play. The right and left arms are then pressure. When the problem of bow pres¬ TOY SYMPHONY HUGU5T GEMUNDER Si 50N5 that one can scarcely define where technic ness of hand position will disappear and ance, similar to beating time with one’s foot, scale. But this phase of the subj ect is well 119West 42nd St., New York in motion. If the chin grip must be changed sure has not been given special study it and MUSIC KINDERGARTEN ends and expression begins. musical expression in general will show a One of our physical senses may be so known, so we will center our attention on Improved, complete correspondence course. often or if the body goes through motions is normal for the pressure to be less at the New features, including certificate. Home of fl# Old & New VIOLINS Many pupils of violin and viola reach trained, by constant association in some act how to develop one’s tone finding faculty, zjrD.y “Gemunder Art Violins” other than a slight sway from side to side, vast improvement. tip than at the nut. When this has been world famous Century of Progress Toy Sym¬ an impasse in musical expression and often with another of our physical senses, that it Take each finger (including the fourth), phony. Teachers increase income 100 per cent. j| l Bows, Cases, Strings, Experl Repairing a mirror should be used to ascertain the studied, however, a steady, firm tone can t the key to the situation lies in the solution Bow Pressure at Tip will respond, simultaneously, to the same separately, and attempt to play on one Only $30. Terms. Particulars free. PIVV Est. 1846 Send for Catalog E. character of this excess motion, why it was be obtained over the entire length of the BRUCE SCHOOL, Inc. ' jj'J America’s Famous Violin House of some mechanical or technical problem. T IS a common fault with students to impulses. This is why people, when they are string, with one finger, different scales, ar- 6308 Troost Ave. Kansas City, Mo. done and what was the cause of it ; is it I However, there are three primary obstacles have inadequate bow pressure at the tip. bow. .... not thinking, do such strange things, as well peggios, and familiar melodies. The chro- of any assistance to actual performance? A student who is not aware of this bow which must be overcome before the student the weight of the bow on the string at as to acquire so many undesirable habits, matic scale, two notes to each finger, (in- Is it an advantage or disadvantage? fault does not realize what a tremendous can develop into the well-rounded artist- the tip is naturally less than at the nut. But habit is nature’s way of accomplishing eluding the Fourth), when done slowly and Of course, it is only when practicing that difference it makes in his performance. three mechanical phases which every artist Therefore, it is more difficult to exercise difficult things which require precision in with rapt attention, will also be found very the student should keep his rniiid on this This mere mechanical defect may mark has long since mastered and which every bow pressure at the tip. It requires special muscular movements. productive of unconscious muscular move- tlNTERS/^CS^ problem. If the proper body conduct is as deficient in musical expression, a per¬ ISP Music Pi student must learn if he desires to become training to: develop firm tone at the upper So important to a 'violinist are these un- ments. not developed by the student in the studio, formance which otherwise might be fairly end of the bow, since the natural elements conscious muscular movements that we shall Then, for more advanced players, we an artist. These are: until it becomes a habit, any thought of it First, body motion; second, left hand acceptable. A tone that constantly dimin¬ attempt to set forth a plan by which they would suggest the practice of thirds and during a public performance may interfere of weight and pressure are obstacles to be finger pressure; third, bow pressure at the ishes at the tip can not convey correctly may more quickly be developed. sixths in the same way; using the same with an otherwise satisfactory interpreta- overcome. Where this problem is not taken into consideration a continual de- the true musical sense of a composition. In the first place, we must remember that pair of fingers continuously on the same rf)IJm tip. The benefits to be derived from develop¬ f PV Engravers Body Motion crescendo is experienced when bowing it is a dual performance, in which two en- two strings. The fact of the half steps con- ing tip pressure will affect the performance ALL MOTION other than movement of Finger Pressure towards the Bp, and this detracts consider¬ tirely different faculties are taking part, stantly changing from one string to the in general. The student will feel a more each of which must be accurately timed to other as one’s hand moves to the next posi- ;&• Lithographers _ the arms is classified as body motion. SIMPLE EXPERIMENT will dem¬ ably from good musical form or interpre¬ A direct sensation of bow control since he act with the other. A rather complicated tion, makes this exercise especially valu- D Write to us about anything in ibis line It seems almost necessary for some onstrate the different qualities of tone tation. will be conscious of pressing at the tip affair? Something like teaching a child able in that it compels one to think which students, when reaching for a lower string, produced with varying finger pressure. In cases where poor tone production is SEND FOR ITEMIZED PRICE LIST whereas previously he had merely drawn how to walk, and then leaving him to finish finger must move the greater distance to to bend forward at the waist instead of Place a finger of the left hand on the string found to be a fault of the bow arm it is the bow in that portion. Bow pressure at the job by himself. Or, differently ex- produce the required tone, raising the right arm; to sway the body with medium pressure, pluck the string, usually because of weak pressure at the the tip is one of the few technical details pressed, muscular reaction to what one I know of no exercise more troublesome or to shift the instrument to the right or and then repeat with firm finger pressure. bow tip more than any other single bow which can scarcely be overemphasized. hears. to the average violinist—when two fingers left when going into a high position (in¬ The firm pressure assures a more clear fault. It is possible for the student to go It should be kept in mind that these three The placing of one’s fingers on the strings are placed, and the distance to be moved is stead of allowing the left arm to do the and resonant tone than when the medium through many bow exercises utterly un- phases of violin technic must be mastered is, of course, determined by what one hears; not the same for each finger—than moving work) ; or perhaps to go into a series of pressure is used. Although this difference conscious of this problem. Once the study absurd motions when a difficult passage is of tip pressure is taken up however, a if the player would be considered in the but the direction they should move to cor- the hand one position at a time. Shifting Lhevinne. is not strikingly distinct when the bow is and play Baldwin. You’ll encountered. There are other instances more comprehensive understanding of the artist class and no student can hope to be rect a flat or sharp note is determined by two positions at a time is much less con- in • used, it is present enough to be considered musically at his best unless he has con¬ where body motion is substituted for the one of the symbols by which the'artist is mastery of the bow is obtained. An even another mental faculty which, gradually, fusing than shifting one, which requires a quered these mechanical functions which, is withdrawn as one becomes capable of more complicated respacing of the fingers correct arm movements. Of course, the distinguished from the student. tone control and a clearer realization of the TODAY'S GREAT PIANO BALDWIN PIANOS after all, can be mastered with careful, thesis of an absolutely rigid body is not Finger pressure beyond a certain point meaning of dynamics are brought to the doing without it. This condition takes to conform to the new position the hand being advanced. But, if the body sways does not enhance tone production, but patient repetition. place when the fingers slide automatically has taken in the scale. However, master it unduly or goes through any kind of un¬ diminish it below this point and the tone (without volition on our part) to the right if you would become a player! necessary motions, displacing the position quality immediately suffers. Finger pres¬ note. We must not overlook the playing of of the instrument—its angle and the pres¬ Letters from Etude Friends sure in this case is a mechanical prerequi¬ Women Violin Makers What we shall now say may be rather octaves; because, there is nothing quite sure with which it is held—we must sooner site which has direct bearing upon playing unconventional, so far as “time-worn” their equal to develop tone finding. The or later arrive at a condition which will with what we term “expression.” methods are concerned, but we are in a fact that one must listen to both notes at add untold difficulties to the performance. The study of firm finger pressure will By Robert Braine modern age and not supposed, always, to the same time, and pick out the one which An Unusual Class pupil a few exercises that will help relax the The duty of the bow is to produce vibra¬ hand and arm. At the next lesson give an not only yield direct results in overcom¬ teach or to do, precisely, as our prehistoric is out of tune, is especially good for de¬ To The Etude : Illustration to show the importance of relax¬ tion of the strings. Continual shifting of In my sixty-second year I am teaching a ing flaccid fingers but will also lead to Why is it that the fair sex have commented on the dearth of women violin ancestors did. veloping automatic muscular movements. ation. For example the teacher might tell the instrument resulting in the constant makers and repairers. Referring to this class of seven piano pupils, two guitar pupils, the pupil that to play with a stiff wrist would certain other improvements in the left hand. taken to violin making and repairing V- - ...... five mandolin pupils and two xylophone pupils. he like a motorist driving without oil. Later varying of the angle made by the bow and ■'cle, a subscriber to The Etude, living Out of that number I have four paying pupils It is not difficult to press the finger greater extent? The woman violin maker article, —and out of that number only two would the violin, is merely yielding to certain Nova Scotia, Canada, wrote that he the pupil should he told to play al? passages firmly when playing long or extended is indeed rare in the field of the art be taking from other teachers and they are softly, at times, so as to get the feel of re¬ bow weaknesses. It is sometimes possible _, woodnvuu knewiun.n v,*of kiuoiseveral women violin UKuveismakers if' High Harmonics neighbor children. tones; but since firm pressure is also a have women sculptors, artists, ■ We have an orchestra of nine members and laxation. by the use of such shifting to cover faults carvers, lace makers, costume designers, England, who had done excellent work. If the foregoing formula is followed re¬ necessity in fast passages, the student must they have made ten public appearances—a very laxation becomes part of the pupil's approach in bowing to a certain degree. For the anil mntpr? and desiernpre of all sorts of ‘The writer, Mr. Eric L. Armstrong, who enthusiastic class of children who are enjoy¬ be absolute master of this technical prob¬ and makers and designers of all sorts ot By Frank W. Hill ing group work and who ofttimes put forth toward his work. Other ideas can be driven artist having a peculiar inability, such beautiful and useful articles. It is strange is a violinist himself, wrote: home in the same way. A minister once said methods may sometimes be necessary, lhe lem. It can be seen that if the left hand that his congregation never had any idea is not in a strained or tight position, it then that they have not given more atten¬ “It mav interest you to know that a If you have difficult r in shifting to a practice moving the bow slowly during what he was talking about until he had re¬ aim of the student, however, should be to tion to the art of violin making, and to the Rev. William Meredith of Bridgenorth, l^young e peated it three or four times. discover such faults and to try to overcome becomes a simple matter to drop the fingers high position to play ; harmonic such as the shift. This does not mean to change —Harold Mynnino. on the strings, using their own weight repairing of string instruments. It would England, had a daughter who was a very here indicated the tempo but it will be necessary to use them. ., . seem that this work would offer an excel¬ talented violin maker. She and her father Scaling a Ladder Excessive body motions do not aid tone and length as levers (as though the finger less bow on the shift. This procedure re¬ lent field for women, who are— constantly-made a ‘set’ of violins, named after the ir happy times we would production. Where they are not used as a tip was the head of a hammer and the sults in bringing out the harmonic tone in inio°^: knuckle joint the end of the handle). With looking for new lines of endeavor,endr- leading' twelve apostles. It was my pleasure to have a clear and brilliant style. Nothing more —Mrs. John Reid. cloak to cover deficiencies they are quite le practice. One way ir this relaxation as a beginning it is not to fame and perhapsIans fortune. played on the violin christened ‘Luke. _ definitely marks the master of the bow and likely due to uncontrolled nerves or poor Driving the Idea Home - scales has been difficult to add a reasonable amount of At the present time we do not knowiuiuw uiof which had a tone that I have never heard 1 ■ strings than does the ability to draw a clear i ladder, and tlx habits. They also divert attention from -. on any other violin. Imagine a full-voiced To Thehe Etude: - n usually p: ' necessary motions, especially when practic¬ force so that the finger tip drops firmly a single really eminent woman violin maker, and sympathetic harmonic tone. Manyny piano teachers hihave a scholarly ap- they can res upon the string. who has produced instruments of a genu¬ Stradivarius with a suggestion of that proach--- to their calling a faHjt can be _-_—d then gra.,,._ ing. Some artists have singular, individ¬ found with their- eruditic--- _at they do not „ as sign of the achievement. If a boy ual motions of the body, but these motions At any rate, no matter what method is inely fine quality, comparable to those of crispness which a trombone player calls _y good pupils because they over- can watch the performance or visualize it, he chosen in the study of firm finger pressure the masters, although there may be a few ‘rip,’ and you have it, yet the ‘rip’ enhanced e simple rule. will make the comparison very easily. should not be copied without reason, by Kinne memorize music it will be found that the dropping of the female experts in this field tucked away in the tonetone, and in the hands of a brilliant MANUSCRIPT REPRODUCTIONS It is n enough to tell a pupil to keep his I have watched a very jumbled scale become the student. After the correct elements Memorizing Course «ulck sure id : the idea must be driven home. gradually straightened out into a smooth run are mastered certain liberties may be fingers will have to be under control. The obscure corners of Europe, from which violinist’ linist would be a priceless treasure. ends forgetting Lrason^by Corr^rnlence By building up the idea in the pupil's --‘•--i with a clear top note, to show the top more this firm pressure is mastered the news in some lines of artistic endeavor ‘The Rev. William Meredith Morns, Music Reproductions I thro of the ladder ; and going d excused. However, the point for the stu¬ Marion Kinne, 1324 So. Lindenwood St., W. Philadelphia,Pa. 320 Henshaw Bldg. Oakland. Calif. succession of the correct n dent to keep in mind is that a firmly held closer one approaches a perfect hand posi¬ reaching the outside world, author of the work, ‘British Violin Makers, —D. D. Freas. instrument and proper arm motions are the tion, for in order to acquire good pressure. recent issue of The Etude, i Past and Present,’ had made fourteen FEBRUARY, 1936 115 THE ETUDE 1U VIOLIN QUESTIONS JUILLIARD SCHOOL OF MUSIC ■ Answered John Erskine, President HAROLD HURLBUT By Robert Braine JUILLIARD SUMMER SCHOOL of Singing and Speaking Voice „ l ...A in THE ETUDE unless accompanied by the full name George A. Wedge, Director Dick Powell Famous Movie Star says July 7 to August 14, 1936 Violinist3 Etude consists of written i violins. v/#*^On the basis of these, the (Much of the ™°ila?Ze\abeU°oJh n hf,dt. tnetrihrir value.vaiue. Wewe rearet “To my Friend and Teacher Harold Hurlbut. descriptions, photthe violins be examined. The Instrumental and vocal courses for beginning and advanced students indicatioi In Appreciation of the Great Help You Have All branches of the Theory of Music and Music Education ZTay that “thU VouJcr}^ », take or send i Tj°ai%etlf™ner of a. supposed-vahuMe otamo^u^ ^ ^ ^ Been to Me.” Special Lecture Courses °! The EtUde °nd °thtr mUSiCal (Signed) Dick Powell Piano Methods, Guy Maier Voice Methods Fraser Gange lications.) Violin Methods, Louis Persinger The Gist of Music, George Wedge A Testore Violin. Others who have studied with Mr. Hurlbut include Layman’s Music Normal Course, Harriet Johnson Progress at Sixty-eight. detalls o£ the T A. D.—Carlo Giuseppe Testore violins Composition, Modern Harmony and Orchestration, Roy Harris W. B. B.—I cannot tod Sniin who made (Miian, Italy) rank high among Italian in¬ Erik Rhodes, Edward Everett Horton, Leslie Fenton, violin maker Terence ,01h*”giruVlOB Angeles, struments. Assuming the specimen, about violins in Boston, and later tjie infor- which you inquire, is genuine, and in good Catalog sent on request condition, its value would probably be in the Laura La Plante, Ann Dvorak, Dorothy Christy, etc. P0assibly some -demean iT S£5L/°" neighborhood of $1,500. A specimen of this 130 Claremont Avenue Room 22 IF New York, N. Y. maker is offered at that price, in the catalog of a leading American dealer. Violins by the 2“auy S£ same maker vary considerably in price accord¬ Master Classes for Singers and Teachers feearanleat0Kreear.feaJ! ^lad^on’ %e the ing to quality. Violinist’s8 Etude, and that it helps you. Concerning Guanieriux. JUNE, JULY, AUGUST—1936 E A. 1*.—Joseph Guarnenus was one of SNST1TUTE OF MUSIC ReMhar,r,nsg-Y0eu “aTfind.^mplete^nstruc. the greatest violin makers of Cremona (Italy). AND FINE ARTS The price of his instruments has increased For Sale LONG BEACH, CALIF. greatly of late years. There have been sales PRIVATE LESSONS SUMMER MASTER CLASSES by a Professional as high as $25,000, or even more in the case REPERTOIRE-INTERPRETATION CLASSES (Twice weekly) I obtained through The Etl of choice specimens, within the past ten or COLLEGE OF MUSIC fifteen years. There are, however, hundreds rs Training Courses in Piano, s re-hairi of thousands of imitations of Guarnerius TEACHERS’ TRAINING CLASSES (Twice weekly) Accredited school in thriving western city. violins, some of which sell -for only nomiual ee and^Partial Scholars} prices. It is best to be very careful when Established 12 years. 500 pupils. Own purchasing these high priced old Instruments. Taught in Paris, Rome and Nice. Formerly N. Y. representative of property including concert hall, Fully Violin Purtting. ZOELLNER SCHOOL A. F.—The purfling a Judging Progress. Jean de Reszke equipped. Three grands, Nine uprights. ■ — * belly of a K S. M.—So many subscribers write to the Present owner wants change for personal OF MUSIC Violinist’s Etude, giving a list of tie violin comnosltlons they have studied, and tow many Winter Circular or Summer Master Class Announcement on request Founded by Zoellner String Quartet years they have studied on them. They then All Branches of Music and Dramatic Art wish to know whether they have made good Write The Etude, progress, and whether It is worth while for theta FREE SCHOLARSHIP of two private lessons weekly for the summer AMANDUS ZOELLNER, DIRECTOR i without purfling, contiuue their studies. They do not seem 7000 Hollywood Blvd. Hollywood, Calif. 2100 S. Western Ave., Los Angeles, Cal. m in the cheaper to the most talented singer making application. Scholarship blank on unfinished nppear- opinion

A Notable Work By an American Composer— SONATA IN D MINOR FOR VIOLIN AND PIANO BY CHARLES GILBERT SPROSS

THE JOHN CHURCH COMPANY E PRESSER CO., SELLING AGENTS ; 1712 CHESTNUT STREET PHILADELPHIA. PA.

FEBRUARY, 1936 117 THE ETUDE A Worth While Contest QUESTION AND ANSWER DEPARTMENT Conducted by By Ruth Price Farrar Karl W. Gehrkens bound with the material contained in the Professor of School Music, Oberlin College AMERICAN Why not try a contest which will keep accompanying envelope.) Musical Editor, Webster New International Dictionary your pupils interested far «°r|. ^ ^ When four cards have been earned a Earn a Diploma No question will be answered in THE ETUDE unless accompanied by the full )lJnJe book is given. and address of the inquirer. Only initials, or pseudonym given, will be published. CONSERVATORY When three books have been earned a Oft dren who study for years as well as those bronze pin is given. When two bronze pins have been earned OF MUSIC WhE°arthraeedmgonths of the year we give a silver pin is exchanged for the bronze. TeachePs Certificate | a recital and award the prizes earned dur- When two silver pins have been earned ing that period and those accrued during a gold pin is exchanged for the silver. the past periods three groups: These pins are obtainable from Presser’s

DEGREE—MASTER OF MUSIC fifth grade up- DEGREE—BACHELOR OF MUSIC for each piece or Llu ‘ ;‘ number of DIPLOMAS—TEACHER’S CERTIFICATES

thoughrFTisHli their numDero sis sst^ given"s E1 ,swhQ could»’“y. berJc=fx.'L awarded the first isprize; SUMMER MASTER SCHOOL Three Summer Sessions-May 14 to June 24 earns the first prize. (There is a set of June 25 to August 5 and August 6 to September 16 having on one side a colored photograph Eve the first prize. It is explained to and'the 'birthplace, and onfte reverseside £ach cbiu, aOtb lesson Wore^t^Kt

minds0)' Ibrgeaachhys’etS”staabl “Music Mze thufov^m^ng b^h tatU

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AMERICAN CONSERVATORY OF MUSIC ^.arrafiWBook of Great ttyey ^(ee"'^Urest'bur^carGd^pllnnld 575 Kimball Hall, Chicago, Ill.

On Wings of Song

from Page 84)

Sz Edth the F and G octaves on the bass staff of

d eighth ^note STtt j-J-W

in measure 55 the treble chords must be do should be introduced, and the note played lightly, but with the top note of D-flat, with the quarter note on the fourth C#P each chord brought out. beat tied to the dotted sixteenth note on Play the first octave of B-flat, on the the sixth heat, should lie brought out. as 41st Annual second beat of measure 54. _mth the right also the two Cs following them on the beat^ theane0xtthme0aCsuree ° °n ^ Iff dS J^n^of this

FEBRUARY, 1936 119 118 WE ETWE Mastering Those Difficult Passages COMPOSITIONS BY

By Harold Mynning

to play the piece with accuracy later on. „ . ,TER every pianist comes EASTMAN SCHOOL OF MUSIC Sooner or later eve y i jie For passages of extreme difficulty it Charles Wakefield Cadman across a passage that, try ^ prac- might be well do adopt the procedure of of does not seem able to waste • * but playing four notes forward and backward. This idea works, so to speak, when all SELECTED FROM THE CATALOGS OF THE JOHN CHURCH COMPANY. Obviously other ideas fail. Simply proceed in the The University of Rochester seeS *nohe =£eSimprovemeri y q{ acticeV. THE OLIVER DITSON CO. AND THE THEODORE PRESSER CO. passages require a speoalbe_ following manner. Play four notes in time Howard Hanson, Director and with the correct fingering. Now play Raymond Wilson, Assistant Director these four notes backward. In playing • Important, indeed, are the contributions of this versatile composer to American music. Prac¬ The orchestra of 110 students, backward the same fingering is used ex¬ tically his entire musical education teas obtained in this country. In the field of American This is an endowed institution of often the case where the hand has ^ band, ensembles and chorus broad¬ cept that it is reversed; that is, if the fin¬ Indian music he is well-known here and abroad for his lecture recitals and for his composi¬ national scope offering courses in contracted suddenly or shifted gering is 1,2, 4, 5, it is, when played back¬ tions in the idiom of the American Indian. Probably best known to teachers and music all branches of music. The recog¬ cast over NBC system, Thursdays, position. Master this weak + part ot ^ ward, 5, 4, 2, 1. Now start with the second students through the delightful melodies of his popular songs and piano pieces, a few of tvhich are listed on this page. Dr. Cadman’s composing efforts have by no means been limited nized University degrees, B.M., 3:15 P. M., E.S.T. passage and the chanC« ty h [ scemed note of the four notes just played and play M.A. in Music, M.M. and Ph.D be able to overcome a difhculty mat a to the smaller forms. Orchestras and instrumental ensembles frequently feature Cadman four more notes forward and backward, compositions, especially in radio broadcasting. His well-known Indian opera “Shanetvis was in Music are granted. Due to limited enrollment early bTspiteOUofPaTthat has been said about and so on. Each time drop the first note originally produced at the Metropolitan, and his typically American opera “The Witch of Salem registration is advisable both for of the four notes played and add one new was produced by the Chicago Grand Opera Company. Dr. Cadman was born in Johnstown, Pa, Library facilities, physical equip¬ (1881), but since 1916 has made his residence in California. ment and University affiliation af¬ summer and winter sessions. note; that is, if the scale were to be prac¬ ford unusual opportunities for ticed in this way, the pupil would first play The Placement Bureau has avail¬ c, d, e, f, forward and backward, then he graduate study. SU able candidates for professional the same fingering every time And would play d, e, f, g, forward and back¬ Several yearly concerts enable master the correct fingering it “ ward, and so on. positions and for teaching in col¬ VOCAL SOLOS VOCAL SOLOS—(Con't.) composers to hear own works per¬ necessary to start right. Do not make a This requires time and patience but the leges, public and private schools. practice of playing a piece carekssly several result is well worth all the painstaking Absent (d-E) . $0.30 To-Morrow (d-g) . $0.60 formed. times to see “how it sounds.’ This care At Dawning (E flat-g) . .50 To-Morrow (b flat-E flat) .60 Fall Session Opens September 22 effort one may put forth. Summer Session June 22-July 25 !“s playing is apt to make it more difficult At Dawning (d flat-F) . .50 To What May Love Be Likened (c-g) .40 At Dawning (b-D sharp) . When Loris Smiles on Me (d-F sharp) .30 For Information and Catalogs Address: At Dawning (c-E) . Where You Are (E flat-g) .40 The Birthday Star of the King. Christmas (F-g) The World’s Prayer (d-g) .60 PIANO SOLOS Arthur H. Larson, Secretary-Registrar Developing Swift Wrist Action The Birthday Star of the King. Christmas (d-E) Across the Table (Gr. 3>/2) . $0.35 Eastman School of Music, Rochester, N. Y. Celtic Love Song (F-a flat) . At Dawning (Gr. 3) ..50 Golden Sunset (F-F) . A Nubian Face on the Nile (Gr. 4) .50 Blandishments (Gr. 3V2) ..40 By George Brownson The Heart of Her (F-g) . The Heart of Her (d-E) . Dance of the Midgets (Gr. 3) .35 I Have a Secret (F sharp-g) . Dance of the Sunbeams (Gr. 2) .30 ones. A more flexible, swifter wrist action Innisfail (E flat-a flat) . .50 From the Land of Poppies (Gr. 3>/2) .50 College of Fine Arts In playing much of the pianoforte is possible in playing the eighth notes In the Moon of Falling Leaves (E flat-F) . .40 Syracuse University literature, particularly of the early grades, followed by quarter notes on which one is Lilacs (c-F) ...... 40 a swift rather than an enduring wrist .40 Degrees: able to relax, than would be possible if the Lilacs (a-D) . action is essential. For example, in order A Little While (c-F) . .35 eighth notes were continuous. Piano, Piano Teacher Training, Voice, to gain facility in playing these or similar The Lotus and the Moon (E flat-F) . .50 (fonserdatorjg 4llusic Violin, Organ, Cello, Harp, Composition, The Lotus and the Moon (c-D) . .50 Public School Music The Love Path (G-g) .. .50 Under Aneptoes of Cincinnati Instate ofjto Arts All the advantages of a large University ^Special Ex. 1 _____ The Love Path (d-D) . .50 Affiliated with University of Cincinnati dormitory,^ studePts_ 5 p^pe 0Igans The Lyric Rose of Love. The Legend of Venus and Institutional Member National fjrm i Association Schools of Music nm Adonis (d sharp-a) . .50 SUMMER SESSION July 6 to Aug. 14 it would be a mistake to practice exercises Magic (F sharp-a) . .50 •SSi SIXTY-NINTH SEASON -JKu, For bulletin address nil- T rl.F\ .50 Dean H. L. BUTLER such as .50 Special Students May Enter at Any Time The Meadows of the Lord (d-g) In the Palace Garden (Gr. 4) .40 Write for literature and Detailed Information Room 3 5, College of Fine Arts Ex. 2______Memories (E flat-g) . .50 Syracuse, N. Y. .50 In the Pavilion. Intermezzo (Gr. 3) .35 2650 Highland Ave. Cincinnati, Oh.o Memories (d flat-F) . Independence Day. Military March (Gr. 2Y2).35 f 4 4 4~i 5ss * Memories (b flat-D) . .50 .50 Indian Love Song (Gr. 3Vi) .25 which, since they require endurance afford Memory (d-g) . Just a Little Waltz (Gr. 4) .30 l MUSICAL ART little practice in swiftness. One has to Music Without Words (Gr. 3>/2) .35 SCHOOL OF MUSIC SK™ play this type of exercise slowly and then On the Plaza. Spanish Intermezzo (Gr. 3’/2) .30 OF THE UNIVERSITY OF MICHIGAN gradually to increase the speed. Sacrificing Pompadour's Fan (Gr. 6) .50 Complete curricula leading to degrees in - .... ™—.><. a-, swiftness for endurance, as can be seen Revellers. Intermezzo (Gr. 3) .40 all-ii branches ofor Music,music. facultyi«.u,iy o,of distin- — from the preceding illustration, is contrary VOCAL DUETS Song at Dusk (Gr. 3V2) .35 Stately Lady. Menuet a 1’Antique (Gr. 3) .40 guished artist teachers. Concerts and May t. to the requirements of the music. When exercise A can be played proceed At Dawning (High & Medium). $0.50 Festival by world s greatest artists and Addr to exercise B and so on. Additional exer¬ At Dawning (Medium & Low).50 To a Comedian, prom Hollywood (Gr. 6) .40 To develop swiftness and along with it To a Vanishing Race (Gr. 3y2) .40 organizations in Hill Auditorium seating cises may be formed after these suggested Lilacs (Sop. & Alto) ...I.. .50 5 000. Chorus of 350; student symphony endurance the following exercises are ex¬ Whitemania (Gr. 3) .35 OBERUN CONSERVATORY OF MUSIC cellent. If an octave is too great a stretch rhythmic patterns. ANTHEMS—MIXED VOICES Youth and Old Age. Caprice (Gr. 3) .40 The Hymn Triumphant .20 each week on $75,000 organ. BdVdegrees?Uc^ college for'a. b. for the young student he may play the ex¬ ercises in sixths. Relax on the long notes The World’s Prayer . 08 f Second Semester T] Fof^ntiance, 'high* B^ho^o^erndvatotf^SltOTies! PART SONGS—TREBLE VOICES Begins If catalog. Frank H. Shaw. Dir.. Box 526. Oherlm, Ohio to prepare for the playing of the short WHERE THE LOTUS BLOOMS February 17 JJ_——— After Shipwreck. Three Part .10 Grade 3 Price, 40c At Dawning. Three Part .12 Butterflies. Three Part .12 Mozart for Little Folk Candle Light. Three Part .12 Egyptian Bridal Procession. Four Part .15 CONVERSE COLLtCjh SCHOOL OF MUSIC FOR WOMEN (Continued from Page 72) Fickle. Three Part .12 SPARTANBURG, SOUTH CAROLINA I Have a Secret. Three Part .12 An Endowed Professional School, Nationally Indian Mountain Song. Four Part .15 Accredited. Full B. Mus. Degree and Diploma giving concerts alone and with Bis sister Lilacs. Two Part .10 Courses. College Environment. Teachers of name his favorite book. The lad wa when he was no older than the ch.ldrffl Little Papoose on the Wind-Swung Bough. Three National Reputation. Artists Concerts. My Gift for You (with violin) (E flat-b flat). .50 PIANO DUETS Summer Session. Moderate Tuition Fees. prompt enough with the title of his selec now gathered in the Mozart comer. Part .12 In the Pavilion. Intermezzo (Gr. 3). $0.50 For Catalogues My Gift for You (with violin) (b flat-E flat)... .50 The Call of the Lark. Three Part .10 g Hyatt, Dean tion, but when asked who wrote the boo they think of Mozart these chlldr?J® , My Universe (E-a) . .60 Indian Love Song (Gr. 3) .25 he replied: “Aw, I dunno. I never pa of that little boy grown to manhood, My Universe (c-F) . .60 PART SONGS—MEN'S VOICES any attention to the authors.” Childre brilliant but unappreciated genius, one O Bird in the Dawn (d-a) . .50 At Dawning .12 PIANO COLLECTIONS INCREASE YOUR ATLANTA are often like that when it comes to ident the greatest masters the world has O Bird in the Dawn (b-F) . .50 Awake! Awake! .12 From Hollywood. Suite of Four Pieces . 1.50 CONSERVATORY of MUSIC fying composers with their composition Reeds (d-g) . .35 ’’Come!” Says the Drum. Indian Chorus .15 Three Moods .75 INCOME! GEORG LINDNER known. .n»s Easily—Substantially—Pleasantly And, when the name Bach or Beethovr The Shrine (c-C) . .25 Memories .15 Aside, then, from making the The Shrine (E-E) . Venetian Boat Song .10 -Take Subscription, for- means no more to a child than Smith < .25 VIOLIN AND PIANO PUBLIC'SCHOOL MUSIC,'NORMAL TRAIN¬ spare time count, this plan stuim . Jones, that is only to be expected. B Just a Little Waltz (Gr. 3) .35 THE ETUDE MUSIC MAGAZINE ING, DRAMATIC ART AND DANCING thinking along musical lines, sharpens — Write for particulars — to the children whose time was spent June on the Boulevard (Gr. 3) .50 1712 CHESTNUT ST. PHILADELPHIA, PA. the Mozart corner, Mozart is more th; terest and gives the pupil a stron® THE STRING QUINTET a name. He is, first of all, a lively litl tive to acquire a musical backgroti To a Vanishing Race . 60 boy who loved fun almost as much as with the technical instruction l* r ^ SECOND SEMESTER OPENS FEBRIJARY 4 loved music. He is the gifted child of in the studio. It requires but a s John Church Company talented father and a sympathetic moth, fort and portion of the teachers ti THEODORE PRESSER CO., Selling Agents a child who travelled throughout Euro , the results will amply repay her- if» ^)hp (Qhhrlatib^nafilutp nf (Qubit 1712 CHESTNUT ST., PHILADELPHIA, PA. BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, Ohio_ FEBRUARY, 1936 m

THE 011* World of Music {Continued, from Page 66) INSTITUTE OF MUSICAL ART *0$ Publisher’s Monthly Lett of the . . T pmnska tag orchestras of the world is second in age “GALE,” a one-act opera by Ethel. L®gl”lp ’ 0nly to the celebrated Gewandhaus Orchestra A Bulletin of Interest for All Music Lovers MILLIARD SCHOOL OF MUSIC had Us first performance on any stage when is in its one hundred and twenty- ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean given by the Chicago Clty°l'er£C ch^ries fourth season. For the first concert, Sir on November 30th, with J°“n • Thomas Beecham opened the program with Thorough instruction in all branches of musical education. Private Thomas, Frank Forest and Julia rete a licameo.like in detail” interpretation of in all standard instruments, courses in theory and composition.normal the three leading roles, and the .co™p°*proved Beethoven’s “Pastoral Symphony.” courses for teachers, methods of group training for children, preparatory ducting. The critics seem to'^r“Pp their .*•-» courses for children, extension courses, and many others. _ with Public School Music course leading to degree of Bachelor of Science with j? fvlltf ptt’imate for°a second hearing. WALTER F. SKEELE, for forty years dean definite estimate a a-s. of tbe School of Music of the University of Major in Music. HENRY ’ BEHREND, composer of the Southern California, of Los Angeles, was Catalog on request. Getting Fun Out Of It The Cover for This Month famous song. Daddy, died in London, on ino- honored for this service, when on December Advance of Publication 120 Claremont Avenue, New York vember 30th, at the age of eighty-two. «e sth a bronze bust of him was presented to the Offers—February 1936 • When we secured the article in this issue from Hendrik Willem One of the most ro¬ was a grandson of Michael Balfe, composer of universjty by friends and students of the van Loon, on “Getting Fun out of Music”, we were impressed with mantic figures among “The Bohemian Girl.”__ School of Music. American composers is All of the Forthcoming Publications the fact that the late Theodore Presser had very much the same THE CHOIR ENSEMBLE SOCIETY of -a tr Ethelbert Nevin who in the Offers Listed Below are Fully philosophy about all work. He believed that if you did not get gave to the world a NEW YORK SCHOOL of MUSIC and ARTS Johnstown, Pennsylvania, with Edwara a. COMPETITIONS Described in the Paragraphs Follow¬ fun out of your work you should change your work, because work remarkable number of 310 West 92nd Street, New York City (At Riverside Drive) Fuhrmann as f°ru“^:C0“NoVemte 2Sth. THE SOUTHERN CALIFORNIA FES- ing. These Works are in the Course of that does not thrill one in the doing of it, rarely succeeds. The season with a “nc co5peration of the TIVAL of the Allied Arts offers numerous Preparation. The Low Advance Offer known and loved the RALFE LEECH STERNER, Director best worker is always the happiest worker. Vnuna°PMDi?s Choufthe Senior Choir, and prizes and scholarships of One Hundred to Prices Apply to Orders Placed Now, world over, not only by All rates for tuition and board I Orchestra aU of Johnstown. One Thousand Dollars, in Music, Drama and with Delivery to be Made When A venerable music clerk who had served thousands of customers, musicians, but also by the Symphony Orchestra, a-Specch Arts, Dance, Art, Poetry, and Cine- once said that he could tell the successful teacher by the interest, hundreds of thousands greatly reduced. Finished. who only know xiaoov PATTERSON HOPKINS of Bal- matography, in a contest to be held from May enthusiasm and delight with which that teacher went over new Around the May Pole—Dance Tunes for in the light of what it fmnlhas been awarded the prize of one 4th to 29th, 1936. Open to all America. Par- piano music as she inspected it at the store. When she found “just himHred dollars offered by the Eurydice ticulars may be had from Mrs. Grace Widney Piano—Baines . $0.30 is pleasing for them to hear over and over Birds of Au. Feathers—Musical Sketch— TRINITY PRINCIPLE Chorus of PhUadelphia! for a composition for Mabee, 1151 South Broadway, Los Angeles, the piece” for one of her pupils, she was greatly pleased. There have been a number of Nevins who "Good INSTRUCTION PEDAGOGY female chorus with accompaniment for small California. ^^ Easter Lily—Musical Playlet—Loretta The only Scientific Pedagogy based instrumental ensemble. Wilson . Make your work a joy if you want to make your life a success. have gained prominence as composers. Ethel¬ Music on Piano, Voice, Violin and on Feeling, and practically mstrumen ^-» THE ELIZABETH SPRAGUE COOL- Educational Vocal Technique in Song bert Nevin, however, was the first to estab¬ ' applied to Music. Develops all other Orchestral Instru¬ AMY SHERWIN, famous opera, concert IDgE PRIZE of one thousand dollars is and Speech—Volume Two—Shaw and lish the name of Nevin in music although his ments. Harmony and Com¬ Lindsay—Each . father was something of a musician, delving Culture” and oratorio soprano of her day, died on Sep- offered, in a competition open to composers Evening Moods—Album of Piano Solos ... position Counterpoint. tember 21, 1935, in Bromley near London, of al] nationalities, for a chamber music work into the art in his leisure even to the extent Little Classics—Orchestra Folio- of publishing a political song at the time Polk Individual Instruction for beginners England. Bom in Tasmania, her operatic for four stringed instruments. Compositions Parts—Each . Easter Lily Plan Your Spring Program Now or advanced students. Moderate was running for president. Nevin’s father career began in Melbourne, Australia, and she must be submitted before September 30th, Piano Accompaniment .. A Musical Playlet for Children Piano teachers, and those educators upon Tuition fees. Dormitories—Branch came to America in 1880 to make her debut 1036; and particulars may be had from the was Robert Peebles Nevin and he was born Marchette Band Book- By Loretta Wilson whom falls the task of arranging the school in 1820. The Nevins origin’ally were of Schools. WANTED: A REPRESENTATIVE as Marguerite in Berlioz’ “Faust.” Once in Coolidge Foundation, Library of Congress, Parts, Single Copies—Each. Spring and Commencement music programs, affluence, a love for fine style in living depleted Washington, D. C. Scotch-Irish origin. Ethelbert’s great-grand¬ Courses leading to the Degree of Parts, 25 or More Assorted—Each. In ample time for re¬ are now engaged in the annual search for father, Daniel Nevin, who was born in New Bachelor and Master of Music. her resources till her last days were spent in a ^b Piano (Conductor’s Score). hearsing, we will have Train Children’s Voices materials to use in presenting the pupils who York in 1744, settled in Western Pennsyl¬ Pupils may enter at any time during nursing home as a charge upon chanty. Piano Studies for the Grown-up Beginner ready this delightful little are to participate in these affairs. vania and there in Western Pennsylvania the year. High grade work with excellent remuneration THREE PRIZES, of One Thousand, Five Presser s Manuscript Volume . musical play, suitable for SIR LANDON RONALD has completed a __ Thousands of these have learned from ex¬ at “Vineacre” in Edgeworth, a few miles No High School Education re¬ Louise Weigester School Hundred and Two Hundred and Fifty Dollars Sabbath Day Solos—High Voice . presentation in the Sunday perience that the liberal examination privi¬ from Pittsburgh on the Ohio River, Ethel¬ F quarter of a century as Principal of the Guild- eachi aL_offered by_ the__„ National Broadcasting Sabbath Day Solos—Low Voice . School, or in public and quired except for the Bachelor and 160 West 73rd- - St.- New York leges of the “On Sale Plan”, created by the bert Woodridge Nevin was born on the Master of Music Degree Courses. hall School of Music, in London; and the Company, for chamber music compositions Sacred Choruses for Men’s Voices . private day schools. All Theodore Presser Co., afford the simplest, 25th of November, 1862. He died February event was the occasion for a large gathering of by native composers or foreign born corn- Singing Melodies—Piano Album . parts may be taken by children between six easiest means of obtaining just what is 17, 1901, at the age of 38, and in his all of distinguished musicians on November 3rd, posers who have taken out their first naturali- Six Octavb and Chord Journeys—Piano— and twelve years of age. The cast lists seven needed. One may have for examination single too short span of life there is much of interest CHOOL MUSIC at the Savoy Hotel, for a dinner in his honor. zatjon papers. The competition closes Rodgers . girls and four boys, but any number may 0f TKMPLE UNIVERSITY Ten Famous Solos—Clarinet, Corn copies of any chorus, operetta, cantata, or as we read of him as a little tot, as an *3--tr February 29, 1936; and full particulars may Alto Saxophone, ~Trombone — With be used in the chorus. piano solo or ensemble number from an im¬ exuberant boy, as a young music student, as 1812 Spring Garden St., Phila. THE ROYAL PHILHARMONIC be had from the National Broadcasting Com- E. F. ULRICH, R. M d Piano Acc.—Each Book The story is unusual and quite entertain¬ mense stock of music publications, the larg¬ a brother, as a successful composer, as a con¬ thaddeus rich SCHOOLS-COLLEGES SOCIETY of London, which among the lead- pany, 30 Rockefeller Plaza, New York City. Ten Tonal Tales—Piano—Locke. ing, while the music is tuneful and, of course, est in the world. cert artist, as a bridegroom, as a devoted hus¬ When Voices Are Changing—Chorus within the range of children’s voices. No Catalogs and advertising literature, listing band, and as a fond father. special scenery is required and full directions SCHOOLS OF MUSIC and describing recital and commencement The compositions of Ethelbert Nevin cover sTReaJre, 3 T?nhftrt. Braun. Dlr< for staging and costuming the playlet will material, are free for the asking. a wide range, and the programs of singers, BRAUN Musical Books Reviewed be found right in the book. pianists, violinists, ensemble groups, orches¬ 5SE |S!>SBrf>gS This is the final month in which orders tras, bands, and choral groups show frequent may be placed for copies at the special ad¬ Little Classics featurings of works by this composer. It is ava. »■ »• Easter Music vance of publication cash price, 20 cents, CONVERSE COLLEGER Ch.rk by reading Mr. Hale s notes. Now that the Folio for Orchestra a great tribute to Nevin that world-famous _ ,,UCK~ symphony has Selecting music for Easter will engage the postpaid. singers have used his numbers and continue KATHERINE CAREY By Martin Cooper ,i„. comparatively Uny auditoriums and serious attention of organists and choir di¬ It is easy to view classics at too great a to do so, but even greater is the generous CONSERVATORY OF MUSIC Of all the outstanding masters of music, euters millions of homes by way of the radio, distance and in too impersonal a way. As an Successor to Mrs. Babcock'S probably less has been written about Gluck „ „r,,at d,.al wlu l>(, logt unless our cultural rectors long in advance of the festival date representation of Nevin’s music usually found which this year falls on April 12th. This is The First “Family Album illustration, one might pass a hillside and KNOX than any other. Yet his life was exceedingly pi,i,lic takes time to study such books as this note that it was covered with wild straw¬ INTERNATIONAL MUSICAL -“ ~~-Hi of Mr. Hale, with its Introduction by the an ideal date for Easter, just when nature of Music” ICONSERVATORY tgraphy and appreciative perhaps equally authoritative Lawrence Gil¬ has definitely begun to celebrate its release berry plants. Little would be obtained out and EDUCATIONAL AGENCY MUSIC, ~- s' upon hihis compositions is excelldlently The Etude feels that it is fulfilling its duty NORTHWESTERN: from winter’s cold. Time was when nearly every American home of such an observation, but there would be _ jhievements in 1 ... --e in musical In keeping with the spirit of the occasion, great delight in getting in the midst of those to the many lovers of The Rosary, Mighty S’riceY $43°50. boasted a large Family Album wherein one Lak’ a Rose, A Day in Venice (Suite), Nar¬ history, indepen- of__ comparisons with Publishers : Doubleday, Doran & Companj Easter should be signalized by the best musi¬ would find a pictorial record of “kith and plants and searching out the choice berries. Wagner and his technic,1~*- His development. This collection, in a certain measure, is the cissus, Oh! That We Two Were Maying, from his earliest ope: Inc. cal performance of the year on the part of kin”—young and old, great and small. Al¬ teen-forties, to his _ _ . _ result of a search through master writings Barchetta, Mon Desir, and other numbers, in choirs, soloists and organists. Easter music though the unwieldy bound volume has now presenting this cover portrait of the composer “Armide,” “iphigenie en Tauride” . A Fugue in-Cycles and Bells is practically in a class by itself and has had virtually disappeared, the “Family Album” for charming portions which might be ex¬ “Iphigfinie en Aulide,” is traced, with the tracted from larger works and used as com¬ of these great favorites. advantage of much new material which we By John Mills the attention of many celebrated composers, finds its counterpart in other forms, such are told is presented for the first time in This Is a very unusual book by a physicist so it is never difficult to find appropriate plete short numbers in themselves and of who has been engaged not so much in college as the “snap-shot” scrapbook. The Etude English. numbers of all types. Historical Musical Portrait Series is a “Fam¬ finding little gems which have been over¬ Pages: 293. teaching or university research work but looked by others. Presser s Manuscript Volume Price: $3.75. rather in Sound Engineering. He has been The Theodore Presser Co. publishes a ily Album”, presented in installments, of the Publishers: Oxford University Press. associated with the great work done by the large and growing list of Easter music such world’s best known musicians—a pictorial Obviously, such a collection as this for the Bell Telephone Company, and the result is students in a school orchestra builds up their Modem teachers of harmony and the ad¬ a book upon nconstics, entirely different froni as carols, anthems, cantatas, solos, etc. and record, plus a brief biography, of everyone Philip Hale’s Boston Symphony is amply prepared to submit single copies of taste for good music and provides them with vanced forms of musical composition must For Class and Individual Instruction any we have ever seen. The book is of especial deserving recognition because of his or her be including in their curricula advice on Programme Notes value to those who wish to delve into the these for examination. Among recent an¬ contribution to the art. an unusually fine repertoire. This collection major problems relating to radio and broad¬ “system and order,” judging from the re¬ EDUCATIONAL VOCAL TECHNIQUE Edited 6y John N. Bcrk them publications we mention Lawrence’s is compiled by Rob Roy Peery whose Easiest casting. as it tells what electricity is doing Starting in February 1932, with a first Orchestra Collection and Progressing Orches¬ quests music dealers are receiving for some IN SONG AND SPEECH For over forty years Philip Hale was one for music. For He That Was Dead Is Risen, Hopkins’ installment of 41 picture-biographies, the of the most active of the Boston newspaper Where Life Is Waking All Around, Maskell’s tra Book have been so successful. Here method of keeping a permanent record of writers upon musical subjects. Many of his “Album” has grown month by month, so again he is providing easy-to-play arrange¬ class room sketches and exercises. By W. Warren Shaw contemporaries considered him the ablest Publishers: 'D. Yan Nostrand Company, When It Was Yet Dark; also two that are that to date it includes 49 pages containing just off the press—Strickland’s Christ, The ments which stay chiefly in about the same Probably nothing is more practical than In Collaboration With "ritic of his time. His most important pictures and brief biographies of 2156 mem¬ grade as the numbers in the Easiest Orchestra articles appeared in the*‘Boston’'Berald 'and , Lord, Is Risen To-day, with parts for solo bers of the great international “family” of a well bound, cloth-covered volume of good- George L. Lindsay voices, and Nagle’s Now Is The Hour of Collection. They may have just a few more quality paper ruled for music writing. Here :hestraf°fand1Swere **disi?nctive, ^scholarly Chamber and Orchestral Musk of music. Each new issue of The Etude for demands upon the players, yet there is noth¬ In Two Volumes 1 popular in their interest. These are now Darkness Past and a cappella number for many months to come will add 44 more to may be kept all of those priceless examples Johannes Brahms ing forbidding for the beginning group which given by the instructor; in this book may , «y ,™™P<>ser3 .and present interpre¬ the collection. This is a comprehensive course in fundamental vocal procedure and tations of literally all of the" works found By Ebwin Evass (Senior) There are also several effective numbers has had a start of several months’ instruc¬ be copied those problems especially well practical voice training, presented in two volumes comprising twenty-five Edwin Evans (Senior) h 1 for treble voices, both two and three part, When the series is completed, those who tion. The instrumentation will cover all solved, those themes that inspiration has units Each unit includes instruction, a study song, vocal exercises and an that are rarely contribution to the Brahms literature, jj have followed “all the way” will have the heard, such as Vaughan \ iams' “A London iue English language. His handbook « also bright tuneful cantatas for two-part parts desirable for the modern school orches¬ brought. In connection with the latter art song. Throughout the work there are timely, helpful suggestions which Symphony” ; SchBnberg’s crkldrte Nacht” ; Brahms' complete vocal works has long nee singing and a generous assortment of these most comprehensive pictorial and biograph¬ tra including a Solo Violin part for any of thought, we believe many composers would cover the finer points of artistic voice production aud inteiTretatmn. These and Prokofieff's “Scythian »" authoritative guide. He r™ oresem ical work available in any form—the first the violin section who may be just a little S of American music in this period the second series of his Handbook to th for full mixed choir. Send for catalog of find a book of this kind useful. studies are based on Mr. Shaw’s celebrated vocal method, lauded by Tibbett Easter Music; it’s free for the asking. “Family Album of Music”. more proficient. There also will be a Tenor Tokatyan, Jagel, Gladys Swarthout and other operatic artists and arranged m. tw.S fiy the the one hundred Chamber and Orchestral Music of B”“!L Banjo part with diagram charts for players Presseds Manuscript Volume will soon be S?l™2nt&five works listed include but one which, following the first volume, c""™ Any of our Easter publications will be For the convenience of new subscribers ready for delivery to those who have sub¬ for class or private instruction by Mr. Lindsay, Director of Music in the each of three American composers- Mac- -- - •-a Opus-*- 6--- -- * c sent for examination promptly on request. who would like past installments, and those of other fretted instruments. Dowell, Taylor and Carpenter ; and one each - - •First‘T'irst Symphony, which ,; scribed for copies in advance of publication. Philadelphia Public Schools. by the naturalized Americans, Bloch and l when Brahms was forty-foi Just give us an idea as to the type of desiring extra copies of any page in the In advance of publication a single copy of When placed on the market the price will -_Price, One Dollar each volume Loeffler. Seventy-tw o works are b.- t symphonies of this m music wanted, the size and approximate capa¬ series for special scrap books and music ap¬ as many parts as desired may be ordered at be considerably higher than the special rate fourteen are in tms seconit senes, ‘“-^twok f^ bility of the choir and we will undertake preciation work, we have printed separate the low advance of publication price of 15 ^THEODORE PRESSER CO.. 1712 chestnut st„ PHILA., PA. lows the careful and detailed plan of ana }- at which orders are now being booked, 60 One of the danger to submit material from which satisfactory copies of each installment. These we will be cents a part, postpaid. The piano part or¬ Music Publishers, Dealers and Importers s of the present ng which characterizes the other memoraoi cents a copy, postpaid. superficiality. Going 3 concert ,’ H an eventrent volume. selections may be made. You can deal with glad to supply at the nominal price of 5 dered in advance of publication may be had --, — ‘he ..„stonBoston Pages : 350. us without red tape. at 35 cents, postpaid. (Continued on Page 124) tie preparations by Price : $7 50 Ivance, or at least Publishers : Charles Scribner’s Sons. Advertisement FEBRUARY, 1936 THE ETVDE M ’ ■ such artists as Tibbett, Tokatyan and Jagel, 23824 A S if' Thanksgiving—’ ’ Biggie. and, as he developed under the able guid¬ All of these do not wish to join professional leasi to the audience. pleasing studies. and arranged for school use by Mr. Lindsay, or— l—«vllocal amateuromuirnir KnnHband and orchestra oream-organi¬ r .1 __4.,,™;, i these grades have ear to-day, it might be thought ance and advice of Hermann Mohr, a veteran Although the costuming and staging may acter. Students m uiesw ts;““‘ and their nieces * Octave anil chord studies, at best, who is Music Director of the Philadelphia OCTAVO—MIXED VOICES, SACRED relmann thus made himself notice! Philadelphia teacher, and of Theodore Presser zations. We believe many would be glad to be made quite colorful, the production need ‘“^XKefSLnts must exactly exciting, but in this book six 10206 Lift Up Your Heads—Hopkin and other publishers who found promise in his Public Schools. The work is a well planned early works, he put his melodic gifts to good use get together occasionally for an evenings not become expensive, as crepe-paper cos- desire to display tnese act I- attractive melodious piano compositions give series of vocalises, song studies, and art songs 6245 S ’ ” ■' T pleasure, playing over satisfying and not too and sincerely and simply created thousands of tumes and decorations will suffice. ^Howeve^r' there are many pianists of abil- the student an introduction to octave and and its use should do much to improve the Matthews . , compositions for the piano, chiefly in the begin¬ difficult pieces. . There is still time ^ month to order Howe , music of the quiet, chords that should lay a secure foundation quality of school chorus singing. Price, $1.00. 20982 Still, Still with Thee—Reed...12 adelph ning and early intermediate grades. Picking favor¬ Therefore, we are publishing this series of single copies of Birds of All Feathers at the ity wh° J> P £ music of a dignified for future technical advancement, 35040 My Faith Looks Up to Thee—Havens .10 H w 1872, the ites is difficult since Engelmann had so many suc¬ solos or duets for Clarinet, Cornet or Trum¬ 21085 Abide with Me— Williams.12 only s cesses, such as Melody of Love. Apple Blossoms. special pre-publication price, 25 cents, post- —phttive t^rous.c th°ere arc "many We call the attention of piano teachers ^study^of Concert Polonaise, En Route March, Grande Valse pet, Alto Saxophone, Trombone or Baritone The Paint That Stayed OCTAVO—MIXED VOICES, SECULAR Caprice. In the Arena, Over Hill and Dale, Tape, (Bass Clef). Each book will have the same "a,d- church and Sunday School pianists_ who rank21 specially to this new work and suggest that high in .peHo abfihy.^Fo^suchFor such heas they place an order for a copy now while it 10768 A Pickaninny Lullaby—Stults. $0.12 12 wh Under the Mistletoe and When the Lights Are Low. ten solos—Mighty Lak’ a Rose, By the ™ In a certain large auditorium the walls were 261 The Miller’s Wooing—Faning.12 tered^ f Heidelberg to take His few more difficult numbers running into Waters of Minnetonka, Recessional, I Love When Voices Are Changing these, this" book is 'being made. That there is obtainable at the special advance of pub¬ beautified by a coat of paint but not many the fifth and sixth grades achieved the "best Chorus Book for Boys kind lication cash price, 25 cents, postpaid. months elapsed before it began to crack, peel OCTAVO—WOMEN’S VOICES, SACRED to him seller” status in those grades, just the same as his Life, The Gypsy Trail, I Heard the Voice is a genuine demand for a book of this kind easier pieces topped the lists in student pieces. of Jesus Say, My Heart Is a Haven, The Every one in the field is shown by the many orders that have been and drop to the floor. Several times this 20234 I Heard the Voice of Jesus Say theory With so prolific a writer, only a comparatively Green Cathedral, I Shall Not Pass Again of training young folks |_ _ the initial announcement of auditorium was repainted, with the same re¬ -—Rathbun-Bliss . 2 $0.10 Eng n of hi This Way, and Awakening. A solo and duet to sing in groups is this book’s forthcoming publication. sults. Eventually one of these paint jobs proved successful. Perhaps it was just some¬ OCTAVO—WOMEN’S VOICES, SECULAR book will be published for each instrument agreed that there-- is There is still time this month to plate Compositions of Hans Engelmann and these will be interchangeable, making it dearth of acceptable your order for a copy at the special cash thing different in the paint used that time, possible to play Clarinet and Comet duets, choruses for boys of the prjce, 30 cents, postpaid, or perhaps previous unsuccessful coats of PIANO SOLO ages when the voice of paint did help prepare the wall to hold the rade Price Cat. No. Title Cornet and Trombone duets, etc. The Piano 35096 Trees—Hahn . Valse Capri, accompaniment book may be used with all the young male begins coat that finally proved permanent. 35309 My Little White Rose—Bliss. . iss. Polka . instruments. to break from the tones Sabbath Day Solos It is almost as difficult sometimes to find 35313 Shepherd Maid, Why Tarry ?— In advance of publication orders may of earlier years. It is r T, . the successful element in music compositions. Deems Taylor. therefore with great High Voice—Low Voice Perhaps certain indefinable elements make 35314 Sweet, Sweet Lady—Spross. . .. Santa Claus .. be placed for any of the books—solo, duet 35251 The Voice of the Chimes—Hah: . Meditation 8023 Hop 1 Skip I Jump ! Gal or piano—at a special cash price of 30 cents pleasure that the Theo- For real economy in purchasing songs, some numbers mpre successful than others, 35003 I Have Hung My Tent i . Song Withe 3462 Hungarian Dance .... a copy, postpaid. Be sure to state which dore Presser Co. editorial staff has been there is no better method than to buy a col- or perhaps some numbers which have not 4207 Hungarian Rhapsodie working, in collaboration with experienced and lection under one cover. For the price of proved successful at least served a purpose •12 3230 Barn Dance . 6915 In a Moorish Garden parts are desired. 7683 Bear Dance . successful school educators, to produce this two or three, one is able to get a dozen or in preparing tastes for the acceptance of suc¬ OCTAVO—MEN’S VOICES, SACRED 7685 Behind the Scenes. I compilation of choruses, with suitable texts more songs permanently bound. The general ceeding numbers. 20199 Praise Ye the Father—Gounod-Morris $( .10 7908 Belles and Beaux. G: March Piano Studies for the Grown-Up and with the parts in suitable ranges for school objection is the fact that often*" only' _“ ‘ Compositions which never get beyond the Dance . first edition in a publishing house are like OCTAVO—MEN’S VOICES, SECULAR 5771 Bohemian Dance. 4295 In the Arena. March. boys in the vocal stages referred to above. -~songs in a ~given™-- compilationa‘ are especially no 7863 Boots and Saddles .. 4218 Laughing Waters. Intermt Beginner Only a single copy may be ordered in ad- desirable. the unsuccessful coats of paint which peel 6131 All Through the Night—Sn 7684 The Lion. 21185 That Qua ’ __Barn’ ’ " 'jjj Bd —Pe 12 19038 Bugle Boy. March . ; and supervision, giv e of publication at the low adva In the case of this book, however, it is the off and are forgotten, but on the publisher’s _H, in the West—Parker.. 'in 19066 Bunny. Waltz . 3370 Little Home Pets Waltz Marchettc Band Book printing orders of editions to replenish stocks 35009 ns 2611 Butterfly. March... 3461 Little Lords ind Ladies Gay the preparation of material for the Grown- publication cash price of 25 cents a copy. purpose of the compiler to select only the Old King Cole—Nevin. 2608 Butterfly. Polka . .. Up Beginner’s Book, by Wm. M. Felton has postpaid, best songs recently published, and to thus Arranged by Mayhew Lake we find the numbers which seem to have 2610 Butterfly. Redowa . been devoted to the assembly of suitable supply a selection of attractive sacred num¬ From the immediate response to established a permanency. Listing some of 2609 Butterfly. Schottisch bers offering a rich repertoire, churchly in the numbers selected from last month’s print¬ •1B 2607 Butterfly. Walts .. . study material for this new volume. Easiest Orchestra Collection announcement of this new book, 6380 Cathedral Chimes at A new departure from the usual collection musical content and varied in text. ing order here gives opportunity for teachers A New Part for parent that a folio of easy little marches of etudes will be found in the use of tech¬ Sopranos and tenors, and mezzos for band is just what many supervisors and and professional music workers to name some 4556 Cherry Blossoms. Solo Violin of these selections as ones they would like Snow White and the Seven Dwarfs—Root. . Dance . nical passages taken from master works in average vocal range, will use the volume for baiuI leaders are looking for. 4364 Coming of the Ban a fitting application of their value to the de¬ Almost every grade school beginner’s high while the requirements of altos, 0ur st8temcnt that the arrangements of to have the Theodore Presser Co. send to The Golden Whistle (Juvenile)—Forman.. mands and requirements of the ' modem"~,“™ orcbestra hi violinists who baritones, and basses will be them with examination privileges so that they MUSICAL LITERATURE tbe yob this book would !>e prepared by one of the thus may make acquaintance with works techi" have had_____ the advantage of previous study, The contents of the foremost bandsmen in the country is justified The Standard History of Music—Cooke le Review The contents will include selections from and who have progressed beyond the first volumes are identical. uv „ur prraelll .. which are making headway and which pre¬ Bach (ChUd's Own Book of Mustc and Ml 2451 Par by our present announcement that r viously had not come to their attention. cians)—Tapper . 'e Gavotl many of the great composers including position stage of violin playing. Naturally, Before this offer is withdrawn, place your olber thilI1 Mayhew Lake of New York has Handel (Child’s Own Book of Mustc t Czerny, Bach, Handel, Heller, Mozart, Bee- these “star” performers are not satisfied order ffor~ a" "—'--single copy at *theL~ adv~J. — -f ‘. . Schottische .. 2% 7931 Quartet. _ From Rigoletto arranged this entire book. Mr. Lake’s work SHEET MUSIC—PIANO SOLOS 4873 Dancing Shadows. Mazur, thoven, and Liszt, with study suggestions, s;t beside Johnny and Mary, who just publication cash price of 30 cents each, post¬ as band leader and arranger needs no com¬ Cat. No. Title and Composer Grade Price i of Music- 2570 Return of the Heroes. Mar special editing, fingering, and pedaling. commencing the violin. paid. Be sure to specify whether the high ment here. His popular radio programs and 23965 The Flowers Are Nodding at Me VIOLIN METHOD 3459 Day Dreams. Reverie .. .1/ilita ire . This book may be used by pupils who have To provide a special ad libitum part for or low voice is desired. 7061 Days of Yore. Meditation 40 19405 Revel of the Goblins. Galop many published compositions and transcrip¬ cal Method for the Young Violinist— 8698 Dreaming of Thee. Woit en Concert . advanced well along in, or who have finished, these players, one which generally duplicates tions are familiar wherever hand music is 26067 Swing Song—Dunn .1 Aiqouni. $1.25 19102 Dreaming. Reverie - 2531 Rough Riders’ March ...... 3 any first hook in adult instruction. ' the melody an octave higher, we have pre- known. The parts are easy and thoroughly 5789 Jolly Raindrops—Spaulding ... 1 4833 Dreamland. Reverie Nod A single copy may now be ordered, to be de- pared a Solo Violin book which utilizes the Around the May Pole cross-curd for small combinations. In Mr. 24324 The Brook—Ketterer. 1 7666 Ducklings . livered’ when’ published,” 5 at‘ the-——- special advai tbJrd position and octave harmonic with 12160 Soldiers Marching By—Renard 1 Bind Your 1935 Etudes 7667 Elephant. ... _ Waltz nf this nart Eisbt May Pole Dance Tunes for Piano Lake’s own words. “These marches remain 15445 Heigh! Ho! March—Rolfe .... 1 1956 En Route March. . Military March . of publication cash price of 40 cents a copy, fourth finger extended, the octave is with Instructions for Dancing first grade in all parts, with each instrument 24871 Marigold—Grey . 1 The Etude offers to all of its musical friends 3360 Escamillo. Spanish Dane 4 Tender Avowal. Interm postpaid. for doubling the melody _ —. 22532 Columbus—Blake.2 a fine binder which will hold 12 copies of The 4061 Estella Spanish Dance . quite effective and adds brilliance and color- By William Baines ™nfined to the smallest practical range, and 18880 Let’s Play Soldiers \—Geibel ... 2 t— _A T_ U_— Ttfl le, fin. eT SI 1 ."?e- " UltZeS .. 3% • • still sound ‘big’.’’ 19585 May Blossoms. A Flower Song Etude Music Magazine... The binder . - to the instrumentation. This e being pub- -Lawson . 2 ished in blue silk buckram with "The Etude” 9883 Follow the Flag. March. 2\ Ten Tonal Tales Copies are now available. Price, 35 s positively the Thirty-one different 6697 Starlight Walts— Brainard .... 2 mouth during which lished, as follows: 30063 The Lightning Bug—Mono- stamped in gold on the back. The regular 19039 Fond Longings. Song Without ^ Melodious Studies for the Development of this book may be ordered price for this binder is $2.25. Subscribers may 94g9 Fond Memories’.'' Meditation''. 3> Style in Piano Playing Educational Vocal Technique at the special advance of D-flat. Piccolo, C Flute and Piccolo, 26023 Indian Sunset—Klentm .2% secure one of these binders at actual cost of 11566 Fond Recollections. Reverie .. 3' 11872 Tugs—Engelmann.3 By Harold Locke publication price. Within a E-flat Clarinet, 1st B-flat Clarinet. M manufacture by adding $1.25 to the subscrip- 16844 For Home and Country- March 3 In Song and Speech B-flat Clarinet, 3rd B-flat Clarinet, Alto 24184 Joyous Days. Waltz—Moore .. 3 For the piano student in the second year very short time we expect 14291 Dance of the Kewpies—Ashford 3 tion price when renewing for the year 1936 . 7666 Frolic of the Lambs. 1 By W. Warren Shaw in Collaboration Clarinet, Bass Clarinet, Oboe, Bassoon, 2962 Dance of the Elves—Grieg .... 3 of study, there is often need for melodious to have copies in the hands Binders open flat and keep copies fresh, neat 4007 Garden Party Mazurka. 2 of advance subscribers so that rehearsals Soprano Saxophone, 1st Alto Saxophone, 4161 Pomponnette—Durand.3 and clean, and always accessible. 59903220 GrandRra,,a Festival March . material to supplement the method used, 2nd Alto Saxophone, Tenor Saxophone, 22626 Grande Valse Brillante— may be started for the forthcoming May Krentzlin . 4 material which the student looks upon as at¬ Baritone Saxophone, Solo B-flat Comet, OLO—SECULAR tractive pieces but which the teacher finds In another note on these pages will be Day celebrations, 23488 The Fairies’ Jubilee—Benson .. 4 found the announcement of the publication For the benefit of those who may not 1st B-flat Comet, 2nd and 3rd B-flat 1447 Second Valse—Godard . 4 Beware of Swindlers! will cover the essential technical points at Comets, 1st and 2nd E-flat Altos, 3rd 4586 The Silver Nymph—Heins .... 4 4459 Melody of Love .. this stage of thele pupil’sms advancement.jumws™- of the first volume of this new vocal in- have read previous announcements, this'book 23580 In Leafy Bower—Pesse.5 We again caution our musical friends every¬ VOCAL SOLO—SACRED studies making up this book struction book for classes and in schools, includes, in addition to the music and the and ith E-flat Altos, 1st and 2nd Homs 2037 Second Mazurka—Godard . 5 where against paying money to strangers. As- The various studies making up thi: in F, 3rd and J,th Homs in F, Baritone 1716 Second Valse in A-flat—Durand 5 24124 O Lord With W. We’re Yearning . are given such picturesque titles as Topsy-w- AsA- :*- will— be several months, before any descriptions of the dances, two songs and 23627 German Dance—Beethoven_5 sure yourself of the responsibility of the can¬ Turvy Circus Seals, Mumblety-Peg, Wood- class will complete-' Althe-- work-Volume One, directions for costuming the participants and (bass def). Baritone (treble def), W 30418 Evening Star. From Tann- , ANTHEM vasser. Do not permit contracts or receipts to Prayer . peckers in the Woods,rr __Chasing,„,3_ the Fox,_ and _the_ editors and our engra;_ and printers for setting the scene. There is also a brief and 2nd Trombones (bass def), be changed. The printed conditions in a con- Frog Without sacrificing melodic concentrated on that part first so as to pro- history of May Pole dancing. String orches- T rombone (bass def), 1st and 2nd PART SONG interest each one is based on some point of vide opportunity for classes to begin study tra parts—First Violin, Obbligato Violin, Tenors (treble def). B-flat Bass (treble Ef “ Z*. technic,■ ■ ’ as crossing• of' the hands,—J- triplets, __-*■ the_ opening, - of the winter semester. Vol- Second Violin, Viola, Cello and Bass—will be def). Basses, Drums, Piano (Conduc¬ though securing subscriptions for magazines. PIANO SOLO ALBUMS rapid repeated notes, grace notes, staccato ume Twomwo will follow in1 another month or available, tor’s Score). Swindlers take advantage of this fact, offering Album of Favorite Compositions . $1.00 Easy Engelmi ilenty of time for the groups complet- If you are planning a May Day celebra- 24589 Song of the Drum—Richer. IV r Small and legato touch, left hand melodies, and so so, in pier*- ,v“ While the advance of publication cash 22627 Peek-A-Boo. Waltz—Cramm .. 2 combinations at ridiculously cut prices, col- A1jja“ds° Wen.f'.75 forth. “g Volun One, and while this second book tion be sure to order your copy of this book 18209 Homeward Bound. March—An¬ lecting what they can, but never sending in an is sun m preparation copies may be or- now at the special pre-publication cash price for each individual book is 15 cents. A single copy may now be ordered at the inducement to secure 25 or more assort00 thony . 2% order. We cannot be responsible for the work PIANO DUET album special pre-publication cash price, 25 cents, dered at the special advance of publication 30 cents, postpaid, 4783 At the Village Blacksmith’s— of “crooks.” Engelmann Four Hand Album . $1.00 cash price, 40 cents, postpaid. (Continued on Page 125) parts is offered at 10 cents each: the Fiano postpaid. (Conductor’s Score), 25 cents, postpaid- Advertisement FEBRUARY, 1936 125 m THE ETUDE JUNIOR ETUDE —(Continued)

The Boys Play a Duet JUNIOR ETUDE CONTEST The JUNIOR ETUDE will award three 1714 Chestnut Street, Philadelphia, Pa., By Daisy Lee pretty prizes each month for the best and before the eighteenth of February. Results neatest original stories or essays, and for of contest will appear in the May issue. Put your name, age and Class in which Edwin and Howard had just finished stage,” went on the teacher, „ “and go answers to puzzles. you are entering on upper left hand corner playing their duet, and Miss Benson said through the duet once more.” Any boy or girl under sixteen years of of paper and your address on upper right it was very good, indeed. “And,” she con¬ “Howard,” she directed, “you, as the age may compete, whether a subscriber hand corner. If your contribution takes tinued, “when you play it for the P. T. A. primo player, should come on the platform or not, and whether a member of a Junior more than one sheet of paper do this on meeting tomorrow, be sure to remember first with Edwin following close behind. Club or not. Class A, fourteen to sixteen that the one playing the primo (treble) Then when you are both near the piano years of age; Qass B, eleven to under each sheet. Do not use typewriters and do not have part takes care of the pedals. There are bench you should pause, and bow to the fourteen; Class C, under eleven years of any one copy your work for you. more runs and extra notes in this part, audience. The primo player,” she con¬ ago. When schools or clubs compete, please and if the bass player pedaled according tinued, “goes around the right and the Subject for story or essay this month, have a preliminary contest and send in to his music it might blur the higher bass player the left end of the bench.” “Rhythm in Music.” Must aontain not only the best five papers. section.” “Oh, that’s easy to do!” declared the over one hundred and fifty words. Competitors who do not comply with “So that’s why you asked me to do the boys. All contributions must bear name, age all of the above conditions will not be pedaling!” exclaimed Howard. “But you must not be in such a hurry and address of sender, written clearly, and “Yes,” nodded the teacher. “I also had to put your hands on the keys and start be received at the Junior Etude Office, considered. Dollars and Cents playing!” interrupted the teacher. “Wait quoises, amethysts, jaspars, agates and Edwin turn the pages because his right Enigma “Ho hum,” yawned the flute from its arm is nearer the center of the keyboard until you have the music fixed; the bench case in the window of the Music Shop, garnets.” By Gladys Hutchinson just the right distance from the piano, The piano now turned to the fourth and he can easily reach up and turn the By Purie Rodriguez “another dull evening ahead, I suppose.” and your feet on the pedals!” visitor. “This is a harpsichord. It is also Dollars and cents mean something to music with this hand. It would be awk¬ “I hardly think so,” replied the baby Once again the boys crossed the make- Why Music Is Necessary My first is in SMORZANDO, a keyboard instrument, its strings being everybody. Therefore as a means of learn¬ ward for you to reach so far with, your Why Music Is Necessary grand piano. “We should have some believe stage and played their duet. This And also in STRINGENDO. plucked. There were different kinds of ing the relation of one note to another, right hand, and few people turn pages well (Prize Winner) (Prize Winner) let’s pretend that a with their left hands.” time they carefully placed and removed “Visitors?” exclaimed the violin. “Who harpsichords with peculiar names, such as IINK. Mus- : trains the will. It edi i the My second is in CALANDO, whole note is worth.$4.00 “Who should carry the music?” Edwin their hands from the keys at the same ; hearing and of sight; oil_s the would come to see us at night?” clavicytherium, clavicymbalum, and clav¬ ____e reason why _languages; And also in CRESCENDO. half note is worth. 2.00 inquired. . time, and also sat down and rose from o study it. lids in the study of various “I have invited some of my relatives to icembalo. The oldest harpsichord in ex¬ kens the memory , trains in habits quarter note is worth. 1.00 “The bass player, who walks in last,’ the bench together. old saying that people can interest, of instant decision, call. They should be here now.” istence is a clavicembalo made in Rome in in one thing at a time and My third is in OTTAVA, eighth note is worth.50 replied Miss Benson. “And be sure to “That looks much better!” praised Miss tration. As the piano spoke five oddly shaped 1521. Its outer case is covered with leather e of the principal means through And also in OBBLIGATO. sixteenth note is worth. 25 place it on the piano ready for playing Benson. “I’m so glad that you remem¬ 3 expressed, '"hj —n— and very old instruments came into the “hands, arms, feet and imagination before either of you sit down on the bered to bow again after playing, too!” education is enable the indiviSt velvet. If the measure signature is two-four it STV ice. Thinking about so many things faculties with which he My fourth is in LARGHETTO, bench.” “We’ll do even better tomorrow,” they s very good training. Studying music “First,” the piano said, “I want to in¬ “Some harpsichords had two keyboards means that there would be $2.00 in every ou want to listen more too. And one way that we can be And also in OfGGIERO. “Let’s pretend that this studio is a promised. >u learn music it helps you make troduce to you the clavichord, this instru¬ in front and a small octave instrument or “purse” and that every quarter note would Bertha Mae Monroe spinet built into the side, but they were be valued at $1.00. Distr:dstrict of Columbia. My fifth is in ESPRESSIVO, ment that looks something like a piano, though not so large. The clavichord was very rare. During the sixteenth, seven¬ In the following exercise place the And also in ENERGICO. “money value” over each note and make Betty Macs (Age 9), C first known in Italy in the 1400’s but it teenth and eighteenth centuries the harpsi¬ Musical Arithmetic Puzzle chord was as important as the piano is sure that there is $2.00 in every “purse” Letter Box My whole is very important in music. today.” (measure). By Stella M. Hadden The piano turned to the fifth and last ! we like to play, ana to sing, aim The year of Handel’s birth, PLUS Why Music Is Necessary (Answer: SCALE) s to whistle, too. We have formed s visitor. “This piano, though by no means 3. little music club by ourselves and e Schubert’s age, PLUS the number of sym¬ (Prize Winner) the oldest, is one of the queerest I could ith we give a recital of all the phonies written by Beethoven, MINUS the e learned. Our teacher is the Many people lack the power to concentrate, show you. It was made in Amsterdam in get a good t number of letters in Brahms’ first name, to decide quickly, and to persevere. Music 1810. It is seven feet tall, over four develops these powers, since the mere play¬ A Musical Valentine about our linpruv rinrii PLUS the number of strings on a violin, ing of a scale requires each one. ^ ^ feet wide and two feet deep. It has six making out the prograi PLUS Haydn’s age, PLUS the number octaves and six pedals. Its case is of artis'ts ^owi^their success to hands that were By Carmen Malone of semitones in an octave, will give the carefully trained by music to act quickly mahogany. Each of the two legs under year in which the composer of Traumerei and correctly. , I wanted very much to greet the keyboard represents a lion’s head and Many people owe their popularity to music was born. JUNIOR VIOLINISTS This birthday month of two great men, foot. because if they can play or sing they can Dear Junior Etude : . „ Who was he and when was he born? gain admittance to society. Why not study Rieser Family, Ohio With stirring tunes of dignity “The first pianos were really harpsi¬ I live down here in the Caribbean Sea on (Answers must give the entire problem.) music, a living language, instead of the dead And honor, on my violin. the Virgin Island of St. Croix. languages? Music is a universal language chords and in the eighteenth century were The Musical Doctor I take piano lessons, and together with because it appeals to all nations alike. called grand pianoforte harpsichords and four others we form a club called the St. Dr. Charles Eliot, former president of How to Practice the Piano I wanted very much to tell By Annette M. Lingelbach Croix Music Club. We hold meetings once Harvard University, said, "Music rightly fortepianos. The grand piano was shaped a month. I am sending you a kodak picture taught is the best mind-trainer in the By Marwin S. Cassel (Age 9) Their stories with a sweep of bow, Kodak Pictures A nimble stopping of the strings, Teddy had just come home from his US‘ From your friend, Daphna M. Horxe (Age 12), Class B. A person who has started a new piece should health examination. While he visited the Alice B. Nei.thropi- (Age 14), The Junior Etude has some very ex¬ Arkansas. always practice very slowly and not take too And perfect pitch, both high and low. Estate Granard, much of the piece at once. It is best when doctor only twice a year, he played doctor cellent kodak pictures of clubs and classes, starting a new piece to take each hand alone awaiting their turn for publication, but of at least ten times and then take both hands But February came too soon; at home once a week, by pretending to be Honorable Mention course, only one or two can appear each together ten times. For so contrary are my hands, became most popular in Germany. Bach a musical doctor. Carefully he examined For November Essays: After you have had a page or so, then begin preferred it to the pianoforte and Mozart his patient, called “His Musical Self.” By montjh. two or three more measures. As soon as you They will not play a stirring tune, Answers to November Puzzle: Lucille Vorster, have finished the piece, then start going back¬ Although so firm are my commands! and Beethoven both used it. It seems there playing through his lesson, he could judge There is one picture in the Junior Etude ). Hathaway, Vivian Morin, Helen wards, take the last two lines, then the last were certain tone eflects that could be his patient’s state of health. If the lesson S-chubert files', at present, very good and clear, but mH_ _z Edell, Burke O'Neal Esaias, throe lines, etc., until you have gone back to Edgar Vivian Donisthorpe, Ethel Stech, Virginia the beginning this way. I sympathize! Of course I know produced only on the clavichord. was good, he cheered his patient by the withJ no name or identification of any Debout, Diana Hadfieid, Mary Thorne Tyson, Never play a piece by heart for anyone until My hands have not been playing long; “This particular one was made in Ger¬ news of his rapid recovery. If the lesson kind, except “Merry Musicians, Class Jack Iobin, Lillian King, Lillian Reardon. you know it thoroughly. S-chumann Roger Mahrt. Stella Anderson, Barbara Rose N. II. (Marwin is the son of the well-known But I resolve they will perform many in 1751. It has a greater range- was poor, he recommended certain rem¬ 1935”. There are forty members in the Fischer. Evelyn Jewell. Margie Ihle, Patricia I-mpro vising composer, Mana-Zucca.) So well next year no note is wrong. five octaves and a third—than clavichords edies that, taken in regular doses, would picture, boys and girls. The picture is a Klein. Josephine Fischer. Charlotte Weaver, A-ccidentals Frances Brady, Virginia Hampton. Mary usually had and is more lavishly decorated. mean the return of health and good spirits. large print, about eight by ten inches. Katherine Ihle, Lilian Lela Hill, Elisa Cas¬ “This box-like instrument,” continued M-ozart So, Merry Musicians, please send us taneda Villarreal. Nancy P. Gordon. Jerry TRIALS of a Young Musician For stiff fingers, he prescribed Czemy- Mae Mangmn, Opal Lincoln, Etta Hansen, the piano turning to another visitor, “is a pills of daily etudes. For faulty tempo, The initials rearranged spell “Messiah”, your address so that some time we can Betty .T. Allred, Lois Ivory, Shirley Ohlroyd, By Frances Wilson (Age 11) virginal. It was much used in England he named bottles of scales in all the dif¬ the great oratorio by Handel. print your nice picture. Fred' Guymon, Bernice Dahl, Jessica Hoshino. (A blind Junior) during the sixteenth and the beginning ferent rhythms. For dull phrasing, he of the seventeenth centuries, though its Prize Winners Musicians play with joyous tone, spoke of daily spoonfuls of dainty slurs, Or make the music sob and moan. tone was thin and feeble. The strings were glissando runs, pearly arpeggios, and grace¬ For November Puzzles: plucked and not struck by hammers as I wish that I could do the same— ful legato. For wrong notes, he advised Class A, Ethel Stech, (Age 15), With unskilled hands I try in vain. were those of the clavichord. There were regular medicine of read-out-loud and double virginals too, a large virginal with Illinois. french harpsichord slowly-liands-first-alone, which was to be Class B, Barbara Nance, (Age 11), My fingers change to thumbs, it seems. an octave instrument fitted into the side, Elaborately Carved. Eighteenth Century taken, just before the patient played his As I try out some strange, new themes; but we have none of these to show you. Virginia. piece. No matter what the ailment, com¬ And when I try to smooth the bumps “Here we have a spinet which was made Class C, Helene Grace Beckman, (Age mon or rare, old or new, Teddy the Musi¬ My fingers just wont make the jumps. in Italy in 1577. It, too, was played by like the harpsichord and the square piano 10), Texas. cal Doctor, always had a remedy for it- plucking the strings with plectra. Its name like the clavichord.” Having discovered what was wrong, If I should practice every day, comes either from the spina, a thorn, or Suddenly a clatter was heard on the Honorable Mention This February I shall play and prescribed the necessary medicine, Perhaps some time I’ll learn to play from the name Spinetti, a Venetian who street outside. “Oh, we must be going,” For November Puzzles: The pieces which I know the best, Teddy .sent “His Musical Self” home to As other good musicians do, In honor of St. Valentine- invented the oblong form of the instru¬ exclaimed the clavichord. “The milkman practice his advice daily at the piano. For And entertain folks just like you. Each tone shall be a music-fest. ment. is making his rounds.” the time soon came for his lesson, and _...... __ Bernard Lafond, “As with other instruments, the cases So the queer old instruments disappeared Eileenn Kulpanek,Knlpanel Erna Huber, Ethel Mont- So I shall always practice hard when his teacher gave him his final and gomery, Gladys— - Henderson, Lillian Hyatt, And every note I read and play of spinets were very highly decorated, in¬ and the new ones settled back with sighs And try for “good” on my school card; thorough examination on the work he had Grace Hopkins, Shall be a Valentine from me side and out. See how this one is orna¬ of pleasure. ’ -, Muriel And then, perchance, some future day done that week, he wanted it to be a good Weymouth, Upon their birthdays—Lincoln, and mented with ivory and almost a thousand “It teas a pleasant JUNIOR MUSIC CLUB, CHRISTIANSTED, ST. CROIX, VIRGIN ISLANDS You’ll hear me marvelously play! evening after all,” grade, and pass the musical health exami¬ L-, Robert J George Washington, in memory. pearls, emeralds, rubies, sapphires, tur¬ remarked the flute. nation. FEBRUARY, 1936 127 THE ETUDE Mexico's Significance in Present Day Music NEW DITSON PUBLICATIONS (Continued from Page 80) , „ Arts ail life are the two very fine pianists, Salvador the Department of Fme^ Ordonez and Vilma Erenyi. Incidentally, shed, besides the oft-sung composers is Angel saias wno nas * hool students are learning urui “Estrellita,” many other truly noteworthy completed a pageant for symphony orches- of the Pnn?"^ „s andthestu- they -- husband- and wife.. They are and worth while compositions His “Three tra, “El Retorno de los Dioses Blancos ” Mexico s mdigenous songs,^ ^ thy of noteote because they are the best dents m the higher grades Poems” for voice and piano are lovely and on primitive Aztec themes. Into this he dents 1 S * f u the Amen- of Mexico very few good interpreters of 1 IMPORTANT ADDITIONS TO MODERN PIANO PEDAGOGY | the best of the folk songs of all the Amen e worthy of a place in any singer's rep- has pm all his, knowledge _of__folk^rnusm, the best oUthe music. The four major music critics in cas and other foreign countries. Mexico City are jokingly called "The Four Since 1895, Julian Carrillo (born m Horsemen of the Apocalypse” by some of cally and contrapuntally : “Sonata musical articles for the publication, ‘ Breve” for violin and piano. He has dedi¬ Folkways,” which, incidentally, con- Mexico’s, S“1., P^s ^een ^forking on the intelligentsia. They usually disagree, FOR THE PIANO cated to Andres Segovia thirty-eight newly the most authentic of all collected Germany s thirteenthirteentnth sumsound) m,. Their names: Jose Barros Sierra, Baqueiro completed works for guitar. For orchestra >ks'Ffearhdly com- Foster, Alfonso Robalo and Saloman he has Dansa y Canto de Antiguo Mexico toms. “El Retorno,” because it is a pag- At first glance this loof eant in which many things pass in review, plicated; but i■ seemi Members of Mexico’s musical ranks who and a cycle called “Chapultepec,” of which by mmerals, the first two parts are impressionistic and can therefore be applauded for being tern of writing the salon style of several decades ROBYN ROTE-CARDS . _ ...... x. _r «-.t-™4nnntrlucing no change at all in writ the third a realistic musical picture of a 1 fleetingly impressioi However, detailful it ago Ricardo Castro, Carlos del Cas¬ Mariachi band. Ponce believes firmly that barbaric in harmonies, „ a number of interested ‘tillo,:,,~ E. Elorduy, J. Ituarte, M. Morales, TEACHING MUSICAL NOTATION WITH PICTURE all modern music is gaining definite char-; and rhythms, and is tl noteworthy than this Villanueva. Esparza Oteo, composer ROBYN ROTE-CARDS acter and melody, and that it is losing ex¬ i heard by the writer thatfact that Carrillo, when of "Mi V.ejo Amor sung by T.to Schipa, SYMBOLS AND STORY ELEMENT tra, useless notes. He cannot be called a played by Salas on tl . :L Mexican Symphony has written other things in the same melo- modernist though he often seems to be, .. vears nasr brought to die style. Although he is heartily derided “Tell us a story” has been the cry of humanity since the world began. The greatest by his use of clever harmonic devices. This V nreviously unheard by Mexico’s intellectuals, a man who has of the previous y captured the musical fancy of half of Mex¬ delights of childhood are fairy-tales, story-books and the endless sagas of the “funny parts.” passage from his Arietta, played by Iturbi, But when pre-school children face the abstract facts of musical education, they are bewildered. best illustrates this point, ico should not go entirely unnoticed: Only by turning this dry, abstract, technical knowledge into story form can the child-mind Ex. 7 Augustin Lara. His music is composed on |T themes given him by someone else, and it grasp them. Uninteresting facts can only be understood by the child through the opening of that great shining door, the imagination. t he has 1 This book, the system of Robyn Rote-cards, is based entirely upon pictures with story all bearing a decided similarity to each element. Each rote-card has a definite and individual story behind it, and each story is based Next Month other, and he often plays his own music on a different and necessary musical notational fact.

that all of its BY LOUISE ROBYN .75

apparent in its native music: and, because it is artistic, it will eventually THE ADULT APPROACH SELF-TEST QUESTIONS ON MISS ARVEY’S ARTICLE OF JULES MASSENET ‘tftfits.r TO THE PIANO r^-.=-=-3ai-S:Sk=E MARY BACON MASON

The ADULT APPROACH TO THE PIANO is a method and §k§£ not merely a collection of pieces for older beginners. It combines THE MARCH THRTHROUGH THE CENTURIES method and good musical literature adapted to the purpose, carefully graded and designed for quick development.

CHORD CRAFTERS

LOUISE ROBYN Price, 75 cents Little attention has been directed to the subject of fundamental chord playing in the piano literature for the beginner. CHORD CRAFTERS will for this reason, take its place as the first book introducing the EIGHT FUNDAMENTAL CHORD- ATTACKS with full explanatory material and technical exam¬ ples for both teacher and student. The author has in CHORD CRAFTERS adapted the complex principles of chord technic to the plane of the child’s under¬ standing and interest. The Eight Fundamental Chord:attacks of two part,: "G.llo (midnight serenade) The ooly contemporary Mexican com- classic.-all nine „f Beofho.en', . Act 1 with every evidence of perplexity. ™ are introduced with adaptable story element and attractive pic¬ Romantica” and “Fiesta.” Obviously this poser who writes mostly for the voice is phonies, for instance and it is said h - When the lights went up, he turned to his tures, each technical principle embodied in short exercises and comprises the musical memories of his Luis Sandi. His only piano WOrks the first to introduce impressionistic mu- neighbor and said: ’Where’s the swan I’ve etudes which will interest the young student and also simplify chord principles for the teacher. Mariachi, and it is true that this is not EJ Venado ais0 by Sandi> is for a smaU than as a composer and now has “" rcheT “ ‘Oh, the swan is in Lohengrin, and this CHORD CRAFTERS is designed to fill the needs not only truly Spanish, nor truly native; it is a orchestra of native instruments, and it is tra of his own. ' is Carmen,’ was the reply. of the child but also of the older student at the piano.

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