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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
1-1-1924 Volume 42, Number 01 (January 1924) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 42, Number 01 (January 1924)." , (1924). https://digitalcommons.gardner-webb.edu/etude/708
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]. ~~>~d i».pir..ion for hi. OrMorio. -T» whilo " PRESSER’S MUSICAL MAGAZINE SUBSCRIPTION PRICE, $2.00 per year in the United States and Possessions, Argentine, Bolivia, Brazil, Columbia, Costa Rica, Cuba, Dominican Re¬ ALBUM OF SIX COMPOSI¬ FORGOTTEN TRAILS public, Ecuador, El Salvador, Guatemala, Mexico, FOUR SONGS Nicaragua, Paraguay, Republic of Honduras, Spain including Balearic Islands, Canary Islands and Pos¬ m TIONS Words by Charles O. Roos sessions in North Africa (Ceuta, Melilla and Tan- IN MODERN STYLE Music by Thurlow Lieurance AUrotheerUcondtUrUS$2y72 'n Canada> $2 2S per year' For the Pianoforte Price, $1.00 Single copy. Price 25 cents. By Charles Huerter Price, $1.00 The announcement of a new collection of songs by REMITTANCES should be made by post-office or ex- This is a novelty that will prove a source of delight this talented American composer is always welcome United States postage stamps "are always recefved for cash. to singers of discrimination. Mr. Lieurance has won Money sent in letters is dangerous, and we are not responsible , MONTHLY JOURNAL FOR THE MUSICIAN, THE to every pianist. Mr. Huerter, one of the best con¬ MUSIC STUDENT, AND ALL MUSIC LOVERS. temporary composers, has made some interesting ex¬ his way into ‘the hearts of thi music public by his DISCONTINUANCES.—Owing to the educational Edited by James Francis Cooke periments in ultra-modern methods of harmonization artistic harmonization of aboriginal melodies and by character of THE ETUDE a majority of its readers and these pleasing fourth and fifth grade pieces are his original and fascinating song compositions depict¬ do not wish to miss an issue. Therefore, the pub¬ Assistant Editor, Edward Ellsworth Hipsher ing life in the great outdoors. In this collection all lishers are pleased to extend credit covering a Twelve bl. XLII. No. 1 JANUARY, 1924 the result. At no time, however, does the composer Months’ subscription beyond expiration of the paid- lose his vein of original melody and while the har¬ of the melodies are original with Mr. Lieurance, and up period. Those of our subscribers not * 1 * Entered as second-class matter Jan. 16, 1884, at the P. O. at monic treatment is unique the compositions are always his sympathetic treatment of the beautiful lyrics of -selves of this Philadelphia, Pa., under the Act of March 3, 1879. interesting and playable. They should go very well Charles O. Roos will appeal to all lovers of the vocal :e for (opyright, 1924, by Theodore Presser Co., for U. S. A. and Great Britain as recital numbers. EXHIBITION PIECES ORATORIO REPERTOIRE For the Pianoforte A COLLECTION OF SOLOS FROM STANDARD Price, 75 cents WORKS The World of Music Modern compositions and several delightful tran¬ Selected and Edited by Nicholas Douty scriptions of the classics in Grades 7 to 10 are here Published in Four Volumes M. Camille Deepens has succeeded to Mattia Battistini has said farewell to The Centenary of the Birth of Sme¬ the position of Director of the Franco-Ameri- the stage at the Stockholm ’ Royal Opera tana, the great Czech composer, is to lie collected in a convenient and reasonably priced al¬ SOPRANO—ALTO—TENOR—BASS House. The “golden-voiced” Italian baritone : the Metropolitan Opera! House on celebrated by a gala performance at the bum. These pieces afford splendid training in style can School of Music at Fontainebleau, which Price, $1.00 each was left vacant by the resignation of Max made his last appearance as Scarpia in Puc¬ Vienna Opera on March 2. and finish, containing both scale and chord technic d’Ollone. M. Deereus has been assistant to cini's “La Tosca.” There was tremendous and every number is especially valuable for the con¬ The arias from the standard oratorios are always Philipp on the faculty of the school and is enthusiasm by a crowded house, which in¬ At tlie 18th Annual Band Festival, Albert W. Horst, well known as a com¬ in demand. Not only church singers, but artists of not unknown to Americans, having *- — cluded many members of the Royal Family. vhich took place at the Crystal Palace, Syd- cert or recital program. Every good player is at ■ninpanist nham (London) in October, one hundred and poser and church organist, died at his home times called upon for pieces which tend to display the recital platform as well, include them in their in Philadelphia, October 31, 1923. Mr. Borst Feodor Chaliapin will tour, next sea¬ orty-five bands from all parts of England was born in Liverpool, but migrated to the powers of execution, of velocity, of endurance and ' programs and many teachers use these numbers with son, at the head of his own company, pre¬ nd Wales were in the lists. The Thousand United States in 1886. Mme. Louise Homer's advanced pupils. These splendid collections (one for senting an evening of three complete acts ;e Trophy was awarded to the even of bravura, and all such pieces wul b’e found Luton Red Cross Band. first solo position was with this choir when herein. No pianist’s library is complete without this each of the principal voices) containing many arias publishers, for .__ -- — from operas with which he is particularly he was organist of the Northminster Presby¬ terian Church of Philadelphia. excellent album. not found in similar albums, have been selected and dignity and artistic personality, resulting edited by a recognized authority, Mr. Douty, well from the publication of a fox trot including known as an oratorio soloist, voice teacher and com¬ a theme from “Madama Butterfly.” ed by King George to Her Valuable Collection of Mimical “Music’s Influence Upon the Nation” their American premiere on November 1 dur¬ ’ ‘— large part Instruments has been given by Mrs. Adrian CHURCH SOLOIST poser. was the topic for special discussion on Pa¬ ing the first week of the Wagnerian Opera Hoffman Joline to Barnard College Among triotism Day, November 20, 1923, included in Company at the Great Northern Theater in cell, Scarlatti and most of the prominent com¬ the instruments are many highly prized for A COLLECTION OF SACRED SONGS New York. posers of the sixteenth century. Among mod- their historical associations, some dating back FIRST PIANO LESSONS the American Education Week program ar¬ to the fifteenth century, and others are of FOR GENERAL USE ranged by the United States Bureau of Edu¬ great value because ornamented with designs MUSICAL PROGRESS cation in conjunction with the National Edu¬ Musical Progrums on Transconti¬ or paintings by the old masters. The evolu¬ AT HOME High Voice Low Voice cation Association and the American Legion. nental Trains for the entertainment of Price, $1.00 each A SERIES OF PRACTICAL DISCUSSIONS OF Music was given a prominent place in all tion of both the piano and violin are well FOR THE VERY YOUNG CHILDREN PRESENT-DAY PROBLEMS IN THE the meetings. lug raflroads ofD the*United States. represented in the group. By Anna H. Hamilton These two volumes include a generous number of excellent sacred songs by the best composers, most TONE WORLD The Coneertsebouw Orchestra of Mitjn Nikiscli won the approval of both Piano Book I Price, 75 cents of which have never hitherto appeared, in any pub¬ By Henry T. Finck Price, $2.00 Amsterdam, one of the most celebrated of critics and public in his recent New York such organizations of Europe, will soon cele¬ debut. Thus it would setm that the son may Piano Book II Price, 75 cents lished collection. A collection of this kind will prove The author of this book is one of the most versa¬ brate its thirty-fifth anniversary. Seven of its Felix Foul-drain, well-known operatic duplicate the achievements of an illustrious Writing Book I Price, 25 cents a convenience and an economy for the singer who is tile, informative and entertaining writers of the day. original members still retain their places. this winter. composer, and more especially of those in father who was so prominent a figure in lighter rein, died October 24, at Paris. His American musical art. Writing Book II Price, 25 cents called upon to sing at religious services. A copy of All the interest and fascination that have made his opera “La Grille” was in preparation for its the book in the' home will be a most welcome Sunday books on general subjects nationally successful, will --w-dtmgt premiere after v eight years. “One step at a time” is the watchword in this unique companion. Symphony’’ were the leading features of a Lient. Comm. John Philip Sousa had piano instructor for wee tots. Nearly every page be found in his latest musical book, “Musical Prog¬ He Meistersii the honorary degree of Doctor of Music con¬ ress” which embodies his experience of over half a Memorial Concert given at Queen’s Hall, Lon¬ introduces some new element but so gradual is the don, as a tribute to the late Bouar Law, un¬ Metropolitan Opera_, ferred upon him by Marquette University of century as the leading music critic of New York der the baton of England’s eminent conduc¬ November 9, after having t Milwaukee. Wisconsin, on November 16. 1923. advancement that no tedious repetition is necessary. tor, Sir Henry J. Wood. George E. ’Whiting-, composer, teacher that stage for six years. The formalities took place at a student-faculty THE TWO PLAYERS Every music lover is urged to read this splendid and conductor, of international reputation, ’ nvocation. The “March King” became The Writing Books go hand in hand with the Piano book. It will prove not only interesting, but helpful THIRTY-THREE PIANO PIECES FOR FOUR- Victor Maurel, probably the greatest died on October 14, in his eighty-second year, . Georg Schumann, the eminent European nd Books and must be used with them to obtain satisfac¬ to all. baritone of the last generation, passed away, at the home of his daughter, Jamaica Plain, composer and conductor, will spend the com¬ ..... _ .._isa tory results. Although this material is intended pri¬ HAND ENTERTAINMENT October 22, at his New York home. Born Massachusetts. ing summer season in America. While here Band since 1892. France, Belgium and Eng¬ marily for mothers and elder sisters to use in the in Marseilles, June 17. 1848, he became . * •’ malpositions land are among the countries in which he Price, 75 cents world famous, not only as one of the most Tlie Nations, has been honored with decorations. home, many music teachers have adopted it, particu¬ A good album of piano duets is always in demand. MON-DAH-MIN finished of singers but also for his histrionie sedation, the Authors’ League of America, larly for very young pupils. Teachers use piano duets to inculcate a sense and truthfulness in the interpretation of his roles. and the American Society of Composers, Au¬ AMERICAN INDIAN LEGEND He was the Creator of both lago and Falstaff thors and Publishers, all are working towards feeling of rhythm in their pupils, they are always at¬ Cantata for Treble Voices n Verdi's “Otello” and “Falstaff.” the end of securing from radio broadcasting tractive on recital program0 and many players like to stations a proper remuneration for their per¬ Elkan Naumburg, at an estimated cost of tion by its Advisory Board for recommend- have a collection of duets at hand when visited by By Paul Bliss Price, 60 cents Montevideo. Uruguay, has lately closed sonal services in rendering programs and for $100,000. It is to be used for free summer tion for publication in its sixth season. 1924- music-loving friends. This new album contains some Indian legends are always fascinating and the 1925, not later than October 15, 1924. Par¬ BILBRO’S FIRST GRADE of other art centers of the world. With ticulars from William Burnet Tuthill, Secre¬ of the best recently published duets all within the musical setting of this Ojibwa story is most attrac¬ Marinuzzi conducting a repertoire of stand¬ Grand Opera While You Eat is pro¬ tary, 185 Madison Avenue, New York. BOOK ability of average players. tive. There are no solos and the choruses are all ard operas interpreted by such artists as vided by the enterprising manager of the either two or three-part with piano accompaniment. Raisa, Fleta and .Tournet; and with Richard Lyons Corner House, a leading London restau¬ Strauss leading the Philharmonic Orchestra Mine. Gnlli-Cnrel has announced that at FOR YOUNG BEGINNERS Many of the numbers are based on authentic Indian five months’ _ _ _= _ rant. Members of the Carl Rosa Opera Com¬ of Vienna; certainly our trans-equatorial They adjudicated at several musical festivals pany give tabloid versions of the standard the close of the present season she will discon¬ For the Pianoforte melodies. This cantata would make a splendid nov¬ neighbors have little left to be desired for tinue her connection with the Chicago Civic notably the one at Winnipeg. Opera Company. By Mathilde Bilbro Price, $1.00 A Open to Everyone Interested elty for a woman’s club program and ambitious school their tonal repast. supervisors will find it splendid for the grades. No writer excels Miss Bilbro in the production of All Utl cr in these New Publications The Wagnerian Opera Company re¬ I- * V Josef Stmn interesting piano study material for juveniles and cently started from Berlin and in twelve days I ’ v ductorship of t______|_| gave its first performance in Washington. Orchestra, after a service of fifteen years. As this work will be numbered as one of her very best. In order that our patrons may be afforded D. C., the curtain rising but five minutes after a mark of appreciation of his work the man¬ It introduces everything that is necessary for young a better opportunity to ascertain the genuine BOBOLINKS the scheduled time. agement voted him an honorarium of fifteen CONTENTS FOR JANUARY, 1924 thousand dollars. children just above the kindergarten age, including value of the books listed on this page, we will Cantata for Children’s Voices hand position, the rudiments as far as necessary and cheerfully send any of them for examination. By Carl Busch Price, 60 cents Eben E. Hevford, author of the versos spelling lessons. This book may be used to accom¬ violin teachers of the ., .... __ World of Mu Questions and Answers ..A. do Ouichard of “Silver Threads Among the Gold.” will Catalogs of any classification in music, piano, This is a bright, tuneful cantata for children’s work in the United States, the students of Organists’ Etude. have a tablet to his memory erected by tlie pany any instruction book and may even replace the voices. The text is most happily chosen and the story this instrument have no good reason for en¬ Choirmasters’ Guide. regular instructor as it is especially suited for children vocal, violin, etc., sent gratis upon request. gaging passage for Europe. Pedagogic Don’ts.//. Xordlin holds the attention of young and old. The work is Farmers and Music.It. Stephens with small hands and does not go beyond the first of Festival proportions, but the music is so singable William Ivins, one of the pioneer organ t Mns . .11. C. Violinists’ Etude.It. Brainc ford was a favo grade. that many school supervisors will be glad to use it builders of America, died at his home in The First Lesson.J. M. Wil. Junior Etude./;. A. Gcst Chicago, October 1, 1923, at the age of 87. Praise of Poor Piano.K. Pirani 10 in concert with piano accompaniment only. The time Mr. King was of Scotch-Irish descent and Half-Hour a Day.V. K. Stoddard 10 required for rendition is about 15 minutes. emigrated to this country when a boy. He Humor of Richard Wagner MUSIC _f Chicag„,_, „TO„ „ was the builder of many fine instruments in Treasured Memories.11\ A. Johnson a chevalier of the Legion of Honor New York, Philadelphia and other large cities. Personal Glimpses of the Masters..*7... 12 Menuet de l’Arlesienne.. . .Bizet-Schuett the French Government, in recognition of ETUDES MINIATURES Points in Gaining Control....//. Brown- 13 Marionette Theatre.It. Krrntzlin his services in behalf of French music The For the Pianoforte THE0. PRESSER CO. 44 PEDAL STUDIES Marcel Dnpre finished on October 20, a Style .’../<’. Berger 14 Song of the Plowman./’. Hartmann recognition is all the more notable since Mr. ESTABLISHED 1883 series of ten recitals in the Church of St. Helping Neglected Muscles../,, ft. Ashton 14 Frolic of the Demons (Four Hands) ™ - ' t was born By Frances Terry Price, $1.25 For the Organ Andrew and St. Paul, at Montreal, Canada, Community Recitals.E. Bekhardt 14 ,/. Martin By J. Schneider, Op. 48 Price, 75 cents in which for the third time he has interpreted To Become Accompanist This is a book of twenty-six studies, or study- for the public the entire organ works of Bnch. Richard JJnqcmnn 15 Moriiing Scrollade. .VI'. Eogrling The JnilliuW pieces, in grades two and two and a half. They are MUSIC PUBLISHERS AND DEALERS A new edition of this standard work has recently Thinking Seales.O. F. Schwartz 16 Progress Gavotte.A. Gcibrl Hl.ip of Harva.„„„ „„„ tuneful throughout and have much rhythmic variety been added to the Presser Collection. After the stu¬ Mine. Sfsrlri Onegin has been awarded Pay of Musician.11’. F. dates 16 Shadow Dance..V, /,. Wright to \\\ H. Platon, Jr. of Boston and Everything in Music Publications recently the gold medal of Vnsa. by the King Principles of Piano Playing On the Indian Trail.If. Paldi and harmonic interest. The author is an experienced dent has finished the first instruction book, studies of of Sweden. This is a distinction not usually • icj Lhevinnr. The Chariot Race.It. It. Pccru and successful writer of educational material for this type are needed. They are intended to develop a conferred upon a woman artist, being gener¬ Skipping the Rope.77i. Ucnrancc 1710-1712-1714 Chestnut St. thorough pedal technic together with independence of ally reserved as a reward for some distinc¬ , _s...... L. juvenile piano students. Teachers will find it a great tive service to the fatherland. Gntty Sellars, who has given more than the hands and feet and an appreciation and under¬ Do You Give Lessons V. ... 1/. a. Osgood 18 knight Rupert.I*..It. Schumann twenty-five hundred recitals in America lias help to use new studies such as these in deprrting C rossing Hands.C. A. Harris 19 Humming Birds’ Lullaby. . .1/. /,. Preston PHILADELPHIA, PA. standing of the true organ style. The work is edited A $2,000 Fellowship In Musical Com¬ Double Acting Question Box.//. /. Carver 19 been appointed Organist and Mnsical Director from a set curriculum from time to time to avoid Sleepy Song (Violin and Piano) "f tho Kingsway Hall of London, one of by Mr. E. A. Kraft, the well-known concert organist. position. is offered by the American Academy Russian Music.11'. Q. Smith 20 ftchilUo-Rioh “getting in a rut.” in Rome, in its fourth competition which Menuetto from Septet Op. 20 (Organ) "i Britain has to closes April 1, 1924. The offer is open to L. van Beethoven If with all Your Hearts (Vocal) of "th^United1 St ales.1’0 Partionlar * " ” "" F. Mendelssohn Enlali Cornor, a pupil of Giacinto Gorno Musical Scrap Boo Day Dreams of You (Vocal) ot Cincinnati, has won the One Thons-iml. Academy of Rome, 101 Park A By Experience.... Dollar Alfred Snydaker Prize in Chicago! Singers’ Etude..., Olay Smith Within Your Heart (Vocal)..C. 0. Ellis (Continued on Page 65) Paije 2 JANUARY 1924 THE ETUDE JANUARY 192J, Page 2 THE ETUDE Progressive Educators! FOUNDATION BOOKS ELOW are mentioned a selected group beginning the new year suggest that EVERY TEACHER AND PUPIL SHOULD USE B■ i of our most distinctive publications you either examine the works in which Every year witnesses an increase in the you are interested at your regular dealer’s number of educators using them in all or send to us for free illuminating pub- parts of the country. As a good action for licity matter about them. Musical Essentials BY H. B. MARRYOTT, Mus. Doc. AN ENCYCLOPEDIC COMPILATION OF MUSICAL KNOWLEDGE PIANO VIOLIN (AND PIANO) ENSEMBLEILE BOYS’ CHORUS BOOK A Text-Book of the Greatest Value DILLER- QUAILE BOOKS RIEGGER, WALLINGFORD BERGQUIST and PROBST First Solo Book (5.5.5., 51) 60 A WELL-PRINTED, WELL-BOUND VOLUME—In plain lan¬ Second Solo Book (S.S.S., 72) '75 Easy Opera Classics (For beginners on the The Chorus Book for Boys j qq Third Solo Book (S.S.S., 105) ‘90 violin; arranged for elementary en¬ This ingenious book solves the problem of “What guage—so plain a person who has little knowledge of music may semble playing in the following com¬ First Book OP!!fJ!?'THOLOGY (Celebrated arias 1*"' »»» „„f selected from operas by old and modern “THE RED M. & L.” DICTIONARY composers) (Edited by Max Spicker) This is the “popular” title of, we believe, the best selling VIOLIN I — Soprano, II—Alto ttt Dictionary of Music published in America IV-Baritone, V-Bass ’ eS 1.50 I SCHOOL orchestra I sveCenski, LOUIS The Authentic Title is— Preparatory Exercises (For the trill the A standard collection which has no counter- vibrato and the staccato: preceded by fhl1' . kn?wn and constantly used bv MATHEWS & LIEBLING corrective studies for the first and wherf Smgers and teachcrs every! sc^S^s!^\,zcTTRAS^s PRONOUNCING and DEFINING moderately difficu,t gLdeSieaSy and fourth fingers) (S.S.S., 118) 1 25 Arranged by Otto Langly *S) Specialized Exercises (In shifting and in crossing the strings) (S.S.S., 137) 75 ANTHOLOGY OF AMERICAN SONG fA RiK,„and V. t. F. DICTIONARY OF MUSIC collection of 25 songs by well-known Red Cloth Binding 250 Pages . , Tw? magnificent works by a master-educator’ nf American composers) n j ^ international fame which have been acclaimed bv wlth TEN THOUSAND LIVE—PRACTICAL—MUSICAL TERMS defined and and offering standard works bv 0M°Urjlst _.V‘obn Parts, pronounced. No obsolete vocabulary. It would have been a simple matter SpSfd V10limStS- EaCh book * “ English and Lesson No. 19 “Changing Words to Notes.” AnSeserie? ,"nqueStionabIy rtJds^ alone iTiSTiH’ to have had the “RED M. & L.” larger and heavier—by incorporating unused An especially comprehensive folder fulle r!1 -u®d' Write In both clefs. terms. The editors, however, insisted on making it a COMPLETE PRACTI¬ ,ho complot. lia comtiiliot^Skte CAL HAND DICTIONARY, therefore the “RED M. & L.” still retains i’.s - —- former size—5)^x 7%. ?.|-inch thick. SCHIRMER’S LIBRARY (A i.J TWO HUNDRED AND FIFTY PAGES crammed full of MUSICAL TERMS. Defined and self-pronouncing, and in addition, important useful knowledge “j.Schi/?r SCHIRMER’S SCHOLASTIC SERlFc tion has been constantly augmented imunf Cissies. This edi- Material for vocal and instrumental studf^fromthZ ^ in the way of illustrations of terms musical notation—classification of 1500 volumes, covering the Nicest Kt ! noV c°ntains nearly forms—and short “one to two” line sketches of musicians, their nativity, Thisc • very easiest ,0 the difficult" 1 CV . j ... -- date of birth and death. much of which is *nc)1t1avaiIabIe Page J, JANUARY 1924 D. Appleton and Company Present A Distinctive Collection of Children’s Piano Another Song by Geoffrey 0 Hara Pieces Entitled That Is Making a “Hit” Everywhere! THF. F.TUDE DREAMING OF MY OLD JANUARY, 1924 Single Copies 25 Cents___ _ Price, $1.25 The Musical Mark of a Gentleman HOME, SWEET HOME The Greatest Question Postpaid John Wesley is quoted as saying “The Welsh are as igno¬ WORDS AND MUSIC BY GEOFFREY O’HARA We were just about to wish all our readers and our musi¬ rant as Cherokee Indians.” Like many pulpit utterances this cal friends, for the fortieth time, This is one of those songs that has a genuine popular was flagrantly erroneous. The Welsh in Wesley’s day may S’ze 7K" * 9^' “A Joyous, Prosperous, Happy New Year,” . have been short on the kind of book learning that he deemed appeal and wins a place as soon as it is heard when we realized that the greatest material question of man is necessary; but in folklore, husbandry and in other wavs they “Dreaming of My Old Home, Sweet Home” appeals “how can I obtain the most real happiness?” showed a wisdom which their English brothers often missed. to the Imagination and Melody Love of Children, It was no mere rhetorical climax when Thomas Jefferson While the Englishman considered Ins sword the mark ot a Delights the Sentiment cf Youth and Awakens wrote into the declaration of independence his list of inalien¬ gentleman the Welshman considered the harp the mark of a Memories in Older Folks Paper Bound able rights, “Life, Liberty, and the Pursuit of Happiness.” gentleman. It remained for a Welshman, Lloyd George, to have The pursuit of happiness is the basis of all true thrift, in¬ the supreme position in Great Britian during the greatest o dustry, ambition and much of our good behavior. wars. It was a case of the gentleman with the harp directing In sincerely wishing you who hold this new year copy of the policies of the sword holders. In ancient Wales no one could This collection is designed for either teaching or recreative the Etude in your hand a happy and successful new year, we be considered a gentleman who could not play upon the harp. purposes. It covers the first three grades compre¬ are certain that you, as a music lover, realize that you possess For this reason it was expressly forbidden to teach slaves to hensively with the following one of the greatest instruments for happiness—music. You play the harp. Only the King’s musicians and gentlemen were are blessed more than ordinary mortals with the fairy wand to allowed to own harps. Moreover it was illegal to seize a gentle¬ The refrain is harmonized for solo or duet PARTIAL CONTENTS bring gladness and consolation to others. man’s harp for debt, because that would have reduced him to the Little Classics Modern Pieces (Continued) Price, 50 cents a copy Orchestration, 50c Your own joy in music, your success in the art, your suc¬ rank of a slave. .Gavotte in D Kleinmichel, R. .. .Hungarian Dance Bach, J. S. ... cess in life, must depend very largely upon how much genuine THE UNIVERSAL APPEAL OF THIS NEW O’HARA SONG MAKES IT IDEAL .Minuet Knayer, Ch.Always Jolly FOR COMMUNITY SINGING, SCHOOL SINGING AND FOR BANQUETS Beethoven, L. .•.Andante Ladoukhin, N. ...Happy Moments ha,ppiness you can carry to others with your music. Musicians and Tobacco OR OTHER GATHERINGS WHERE EVERYBODY WANTS SING. MANY .Song of the Morning . Minuet Landstein, W. If you can bring the joy of tears and the joy of laughter COMMUNITY SONG LEADERS ARE USING IT ALREADY WITH IMMENSE .Turkish March Lange, G. .Heather Rose Musicians are accused of inordinate use of tobacco. Many SUCCESS. _ Chopin, Fr.Mazurka .In Rank and Pile to multitudes, the world will discover that you are a great musi¬ are inveterate smokers; but many more are total abstainers. Lichner, H. .. .Nocturne “ Prelude No. 7 cian, whether you are Harry Lauder, Jan Ignace Paderewski or The use of smoking tobacco in various forms has increased pro¬ “ Prelude No. 20 .Parade March THEO. PRESSER CO. Clementi, M.Sonatina Movement .Jolly Huntsman just plain Susie Smith. digiously during the last few years. The anti-tobacco crusaders Dussek, J. L.Rondo _General Bum-Bum 1710-1712-1714 Chestnut St. PHILADELPHIA, PA. attack the use of the weed with Volstcdian ferocity. Are then- Gounod, Ch..Serenade .Merry Mandarin, The Many Happy Returns Handel, G. F. .HarmoniousBlacksmith Reinecke, C. . ...Ave Maria attacks well founded or necessary ? We purpose discussing this Haydn, Jos...... Andante .Evening Prayer The Etude has had its Fortieth Birthday. We have question, not determining it in this short editorial. .Little Chatterbox Kohler, L.Little Soldier’s March eaten our cake that we baked in the October Anniversary issue America is responsible for the weed and the habit. How Kullak, Th.Clock, The Reinhold, H. . .Fairy Tale Mendelssohn, F, .Spring Song .Silhouette and have recovered from the consequent indigestion. It was long it had been used by our native Indians before Columbus Mozart, W. A.Minuet (Don Juan) Rubenstein, A.Melody in F quite a Party, judging from the vast number of letters that discovered them smoking it wrapped in cigarettes of corn husks, Schubert, Fr.Moment Musical Scharwenka, X. .Song Without Words “ .Wild Rose, The Spindler, Fr.Fragrant Violet reached us from delighted friends. no one knows. In less than a century its use spread all over Schumann, R.Happy Farmer “ Pearly Scales We are grateful to the very large number who have written Europe and parts of Asia. Its consumption has always in¬ Musical “ .Hunting Song Streabbog, L.Morning Prayer to us anent the October issue and wish that we might print all creased, never decreased. The plant is a first cousin of the “ Soldier’s March “ Restless Galop Weber, C. M.Huntsmen’s Chorus Thome, Fr.Melody of the wonderful letters that have come to us from old friends, Irish potato, the egg plant, the jimson weed and the tomato. “ ...Weber’s Last Thought Tschaikowsky, P.Italian Song telling us how much the Etude has meant to them for ten, It gets its generic name, Nicotiana, from Jean Nicot, French Wilm, N. von.Circle Dance Progress and 12 others ‘ twenty, thirty, forty years. We thank you all for your cor¬ Ambassador to Portugal, who, in 1560, sent seeds of this popular Zilcher, P. Merry Modern Pieces and 29 others dial good wishes. member of the nightshade family to Paris. By Henry T. Finck Bachmann, G. ...Serenade (Aubade) We resolved to print the first letter of congratulations that Tobacco is a sedative and a narcotic. Our interest in it at * Price, $2.00 in cloth Batiste, E.Angel Voices Operatic Pieces* came to us as a type of the many, many greetings. Strangely present is to give our musician readers a means of judging for Beaumont, P.Woodland Revcry Faust . Duet enough it came in advance of the Anniversary itself and from themselves whether its moderate use is likely to injure them in Leading Critics, Teachers and Music Lovers, Great Behr, Fr.First Violet, The Faust .Waltz our overseas contemporary, The Musical Standard of London. and Small, Are Unanimous in Pronouncing This One “ .May-Day March Freischutz.Huntsmen’s Chorus their professional work. Medical opinion in the past has been “ Skaters, The Lpcia .• ■.Sextette “We note with great interest the announcement of The 40th varied. For instance, many years ago some Dr. Richardson, in of the Most Interesting Books on Musical Subjects “ Waits Norma .March anniversary of the founding of ‘The Etude’ and venture to “MUSICAL PROGRESS” IS ENTERTAINING Berens, H.Merry Frolic Martha .Ah! So Fair the London Lancet, said of it: “It is innocent, compared with Brunner, E.Angel of Peace congratulate our contemporary upon forty years of splendid AND INSTRUCTIVE Oberon.Song of the Mermaids alcohol; it does indefinitely less harm than opium; it is in no Button, H. E.Vainly Asking Orfco . Andante work on behalf of the lovely Art of Music. Chwatal, F.Bee-Hive, The sense worse than tea; and by the side of high living it contrasts Tales of Hoffman.Barcarolle “The Etude, in its great work of encouragement to the “ .Glorious Race, A Travatore . .Home to Our Mountains most favorably.” Nevertheless, it is a drug; and the enormous Czerny, C. .■.Little Song American Composer and Artist, while ignoring no phase, no JOHN C. FREUND, Editor of and 6 others increase in its consumption makes careful attention at this time Czibulka, A.Winter’s Talc, A development of musical progress abroad, follows a policy we Diabelli, A.Gasing at the Stars Folks Songs and Dances desirable. ... Eiges, K.Lawn Party, The have tried to adhere to in our own Journal. The best work we have ever seen upon the subject is the Mr. Finck has the born writer’s America .Henry Carey gift of determining what is really Fischer, O..Wayside Rose, The “The Musical press of any country should be the patron of Gade, N. W.Christmas-Tree March Annie Laurie .Folk-Song recently published volume, Tobacco and Mental Efficiency, by worth preserving in print and native composers and executants, altho’ unhappily enough this then preserving it in such fasci¬ Goedicke, A.Holiday-Time Auld Lang Syne .Folk-Song M. V. O’Shea (The Macmillan Company). The author is pro¬ nating. witty and interesting Grieg, Ed. .Album Leaf Blue Bells of Scotland.Folk-Song is not always so. It should be the earnest desire of all thinking Home, Sweet Home.H. R. Bishop fessor of education at the University of Wisconsin. He has for fashion that every paragraph is Gurlitt, C.Fair, The American and British musicians to seek in every way to advance worth-while reading. His life¬ “ Slumber Song Marseillaise, The-Rouget De Lisle years been carefully collecting statements from physicians, and assist each other, since in many senses the music of these time experience as a music critic “ .Sunny Morning Old Black Joe.Stephen Foster university presidents, psychologists, scientists, literary men, enabled him to present in this Heins, C.Shepherd’s Idyl Old Folks at Home.. .Stephen Foster two great English-speaking nations does not occupy the strong Hermann, Willy .Content Old Oaken Bucket.S. Woodworth artists, musicians, presidents, judges, schoolmen, financieis, book a wealth of musical topics world position it undoubtedly should. that will interest every music Hunten, Fr.At the Theatre Red, White and Blue.T. a’Becket military and naval officers, and other public men. Ninety-five Russian Dance.Anonymoul “The Etude seems ever ready to publish the views and lover. Wisdom, fun and prac¬ “ Rustic Dance per cent of the men of distinction thus consulted say that they tical advice make this volume of Jadassohn, S.Song of Love, A Star-Spangled Banner.J. S. Smith teachings of English as well as American creative musical artists. 421 pages the most delightful Kjerulf, H..Last Night and 4 others have been unable to detect any mental or physical injury from It is of much importance that this is so in a magazine which by reading a music lover can secure. the use of tobacco. All, however, seem to take a positive stand To Canadian Readers of “The Etude”—Owing to copyright restrictions, noi virtue of its extremely high aims and its splendid literary qual¬ of the books in the “Whole World” Music Series are sold in Canada except in the matter of smoking in youth, which they concede to be special edition of “Piano Pieces the Whole World Plays” sent postpaid for $1.50. ity must penetrate into American home life and thus disseminate THEO. PRESSER CO. very injurious. 1710-1712-1714 Chestnut Street Of Special Interest—The new 56-page catalogue of the “Whole World” Music the ideals of its editors and proprietors. We wish The Series will be mailed free of charge to any reader of “The Etude.” Now, let us look at the reports of delicately contrived PHILADELPHIA, PA. Etude continued prosperity and success.” H. A. Dean, Mgr. D. APPLETON AND COMPANY 38-39 WEST 32nd STREET NEW YORK CITY Please mention THE ETUDE when addressing our advertisers. JANUARY 1921,. Faye 7 THE ETUDE scientific apparatus which, with the faithfulness and veracity of Beach, Schiitt, and some others, strikes into unconventional The Thresholds of Vocal Art and wholly delightful lanes. In the masterly set of pianoforte all machines, tells the actual facts. Prof. O’Shea, who cannot An Interview Secured Expressly for THE ETUDE with the World-Famous Diva be accused of being illiberal, devotes the second half of his book pieces by Mrs. Beach, called “In Grandma’s Garden, as in the to this subject. delightful Nocturne in F Sharp Minor of Josef Hofmann, there MME. AMEL1TA GALLI-CURCI The reports of investigations made by public school are passages that do not immediately fall under thc fingeis. teachers among students have indicated that the advantage is They require a little work but they amply repay the student Biographical overwhelmingly in favor of the non-smoker. He stands higher for all such labor. Gilda, was one of the most sensational appear¬ Pietro Mascagni the famous composer who zvas in his class, is more healthy, more energetic, has better memory, The editor recently played through the Brahms Album The success of Galli-Curci has often been ances in American history. Since then her suc¬ described as “meteoric,” but familarity with her a friend of her family. Exactly six years after better reasoning powers, is braver, more obedient, more truthful, just issued. There are few measures in Brahms that do not cesses have been a continual procession of tri¬ biography reveals that, as in thc case with all her debut as a piano virtuoso in Milan she ap¬ more attentive, less irritable; and, in fact, is in every way a contain unconventional hand positions. Brahms composed with umphs. Mme. Galli-Curci is a woman of excep¬ really great artists, it is the result of long and peared as Gilda in “Rigoletto” at the Teatro Co¬ superior individual. University statistics also show a great his brains and not with his fingers, despite the fact that lie was tionally broad culture, remarkably well read, pos¬ hard work combined with extraordinary gifts. st anzi in Rome with pronounced success. Thc sessing a library in various languages (with which superiority of the non-smoker. At Columbia University, New a pianist of ability and often performed in public. Because She was born in Milan. Her early ambition was marvel of it was that she had received no vocal she has an uncanny familiarity) which would be \ork, one hundred per cent more smokers failed than non- the fingers balk at certain passages some lazy students are to become a pianist. After her graduation from instruction but had studied everything by herself. the envy of many a college. Her husband, who smokers. Indeed, in schools and in high schools, as well as done with them at once. For this reason many of the works thc Milan Conservatorio, with the first prize and True, she had attended opera since childhood, accompanies her at all her concerts, is Mr. Homer universities, the cold facts show that the student who has main¬ of Brahms have been very slow in securing world popularity. diploma, she made many very successful concert and her family was musical; but zvhat she Samuels, a well-known American composer of tained a good average when a non-smoker has gone down appearances as a virtuoso pianist. Her repertoire achieved by herself is one of the startling in¬ Just as the athlete grows by seeking new opposition to Welsh- ancestry. Mme. Galli-Curci spends her zoos comprehensive, her technic brilliant and stances of self-instruction in music. After her steadily and infallibly when he has become a smoker. his muscles, new weights to lift, new tests of strength and agil¬ summers at her palatial home in the Catskills, hard her tonal coloring brought high encomiums from successes in Italy, Spain, South America and The results of all the laboratory tests, conducted with ity, so the musician will grow, not by dodging difficulty but at work every day with Mr. Samuels and her the critics. After hearing Busoni at a concert, Cuba, she came to America, still a comparatively scientific apparatus with mature persons, show that, taking a by courting it and mastering it. mentor, Franz Proschowsky, continually en¬ however, she was so overcome by the enormity of unknown singer in this country. When she zvas large number of individuals (mature), tobacco will slow down deavoring to expand and develop her art.. Note his technical skill that she went home, closed her brought to the attention of Campanini, then and disturb the intellectual processes in a majority of them. that Mme. Galli-Curci- speaks as an American, as piano and decided to abandon her musical career. impressario of thc Chicago Opera Company, he she is very proud of her American citizenship. More particularly, for the musician, the pianist and violinist— What's the Matter With Jazz? It uias then that she “discovered” her voice. It is immediately recognised her immense possibilities. whose executive ability at the instrument is of greatest impor¬ Demand for records of her voice is world-zvide. First, Jazz, at its worst, is an unforgivable orgy of noise, more .truthful to say that it was discovered by Her debut in Chicago, November 18, 1916, as tance in rapidity of tapping, muscular fatigue, steadiness of a not of discord, usually perpetrated by players of scant motor control, memory span and facility in learning—tobacco musical training who believe that their random whoops, blasts, Are Singers Born, Not Made? shows detrimental effects, reducing the efficiency of the indi¬ American Singers and the Vowel Sense crashes and aboriginal tomtoining is something akin to genius. “It has always been my very decided impression that struggle. I often wonder why, on the threshold of vocal vidual from .35 to 42.12 per cent. Therefore, it is obvious that, “America, like Italy, is a land that has produced many Second, Jazz, at its worst, is often associated with vile while only hard, long, unremitting work can make an art, the voice teachers do not teach their pupils to read lovely voices; but the American singer on the threshold for the musician and the music student, smoking is a hindrance artist, singers are unquestionably born with certain throat aloud sonorous sonnets and beautiful prose, giving each surroundings, filthy words, unmentionable dances and obscene of her art must learn to speak with an open throat. to progress. formations and certain mental and emotional endowments vowel its most beautiful quality. I am sure that a half plays with which respectable Americans are so disgusted that Americans do not realize it, but the observer coming Because some of the great musicians and performers of the which are the essential basis for the superstructure of hour or an hour a day, spent in cultivating a sense of they turn with dismay at the mere mention of “Jazz,” which vowel beauty, would be quite as valuable for many singers here first from a foreign land notices first of all that past have been inveterate smokers does not mean that they labor and persistence which in the end brings success. they naturally blame for the whole fearful caravan of vice and “It would seem silly to me to .think otherwise. One as time spent in so-called vocal exercises which are many of the people seem to talk with mouths almost might noH^ave been even greater if they had not smoked. near-vice. can never make a crow sing like a thrush although they worthless because the vowel sense has not been developed. closed. The jaws are stiff and there is no other thought are both birds, both have throats and both make noises. I would even urge them to learn the beautiful Italian than that of expressing oneself forcibly and lucidly. Yet, in the music itself there is often much that is language for this purpose; because the Italian poets and The educated Italian, on the other hand, tries to show Pre-digested Music You can never make a bass sing like a soprano nor charmmg and genuinely fascinating when written and played a tenor sing like an alto. Their throat formation makes authors make a conscious effort ot have all of their sen¬ his culture by talking beautifully. Such habits have come down to him for centuries. He has very little Arf. we having an era of too much pre-digested music? effectively. There is no more harm in well written Jazz than it impossible. In a less degree the throat of every human tences rich and beautiful in sound. “Of course poets in other tongues, Tennyson, Heine, to overcome. The American, the German and the Eng¬ By pre-digested music we mean pieces and editions in leie is m a Liszt Rhapsody. Some of the tunes employed in being differs just as the features of everyone is slightly different from others. Racine, Lowell, all strove to have their verses musical; lishman, on the contrary, often has to upset his vocal which all suggestions of difficulties are so carefully screened Jazz couid be manipulated by a master into a composition of “Singing teachers, pointing to some singer with a poor but there is something about the Italian language that ancestry before he begins his vocal work. world currency and permanence. On the other hand, many of out that the student has as little work as possible in assimilating natural vocal equipment but with great mentality, great lends itself to the free emission of vowels so that the Beauty as the Basis of Singing the piece. . ° the Jazz arrangements made especially for the talking machine soul and great persistance, who by dint of unremitting mere recitation of some of the Italian verse is as beau¬ “The realization of beauty transmits itself to the voice Expert dieticians have found that some of our many bodily records are among the most ingenious and fresh bits of original labor, attains success, preach, ‘voices are made not born.’ tiful as a song. Mme. Elonora Duse is an instance of this. Her voice is music in itself. without question. America is a glorious country and its ailments are due without question, to the too great refinement orchestrating we have heard in years. Surely there is no harm Naturally it brings them pupils; but it has been also the source of the crudest kind of disappointment natural beauties are unsurpassed. On the other of foodstuffs. Foods are clarified and purified and beautified to thousands of students who, after years of hand there is still a great deal that is ugly in its tion Uforfor tho^'thousands f of7 people PTidC to whomrhjthmic such and a musicalmcl°dic prod is ;l until the food value is gone. We require the valuable bran study realize, that they have spent their time cities. During the last twenty-five years the country has made great strides in beautification. and mineral salts in wheat, for instance; and there are thou¬ leal god-send. I\hat a humdrum life this would lie without and money chasing an ignis faliius—a will-o- This in time will show itself upon the American sands now who demand whole wheat and bran bread, who were inspiriting music. True, you and we mav get it from the the-wisp through the swamps of musical despair. "Probably every voice can be improved by voice. In the Italy of Caruso and Gigli and other o'r or ScD f S*mSraz,ade' Chabrier Spanish llhccp- sensible, skillful instruction in the hands of a great masters of singing, the child is taught to it was UP t0 bClieVe that the White1' brCad "'aS the bettcr sody, or the Dukas Sorcerer s Apprentice; but there are others ' real vocal master, but every voice has its limita¬ love beauty—beauty in nature and beauty in art. Beauty is emphasized everywhere. America, In music the student often selects pieces in which there is hose musical taste may demand a more primitive form of tions that came to it with birth; and no singer so little to do m the way of fingering or in difficulties of any and no teacher can pass beyond those limita¬ recent years, has been famed largely for S°“Jazz”a°t r-1C °rC.he.Strati0n- We have no quarrel its business prowess. The art instinct has been kind that the pieces “play themselves.” Publishers all know with Jazz when it is artistically worked out, effectively tions. If this were not true there would be a hundred thousand prima donnas in America here as evidenced by the early American that such pieces “sell best.” The teacher and the student played and done among decent surroundings now instead of a very few. The honest painters and by the poets, architects and others. ca l for them pre-digested.” In this way much extremely Alongin September, the Mayor of Philadelphia Hon T teachers know this and do not hesitate to state But America had more serious business for its delightful music is side-tracked. Very often just a little more Hampton Moore one of the finest executives thedty has ever the truth to their pupils. welfare on hand. Its great problem was to build, to utilize its territory, to assimilate the earnest practice would master certain apparently intricate had, revoked the license of a leading theater nlavint/, • i “A musical and vocal ancestry does not that were pouring in from all the pieces and put the performer in possession of many interest- always insure vocal success. Patti’s parents b“rf ’"s*1? *w itr.v.g.Lf:x;:: were opera singers, as were Malibran’s. My countries of the world. ...g additions to the repertoire. If the performer does not do ance wasjio objectionable in it, intent that even the eullouied own mother was a singer but not a profes¬ tins he is likely to go on playing pieces that have been worn noses of the hardened theatrical critics turned up with disgust sional. My grandmother, Carolnia Galli-Rota, The American Renaissance threadbare, just because they are pre-digested. Naturally Jazz was blamed. Thc monev loss J n > was a well-known opera singer, but her hus¬ "Whether you realize it or not, America is now at the period of its Renaissance, its spirit¬ n i ^ 1ins1tance’ thc delightful False Christine by was reported to be immense—possibly $75 000 band. Giovanni Galli, was an operatic conduc¬ ual rebirth. The great war gave us a wonder¬ Rudolf Friml, which appeared as the first number in the July theatrical managers are never brought to their senses until tor of note. I was eleven when I last heard my grandmother. Her voice is still in my ears. ful national quickening of our ambition to Etude. Here is a piece which is comparatively simple; but they get a good stiff kick in the pocket-book. 1 heard her sing once the famous aria from a cultural as well as a commercial it docs not fall under the hands” as it might if Gustave Lange If the makers of Jazz desire to continue their success and “It Barbicrc di Siviglia” Una Vocc poco Fa, nation. America's attitude toward the unfor- had developed the theme in conventional style. It contains piovide musical entertainment that is inspiriting without being and the smoothness and brilliance with which in other lands, even in enemy lands, has slightly different chords and passages; and, because thc per¬ offenave, they may take a lesson from experiences ilke S she sang was unforgetable. I am sure that I been ennobling. It has commanded the admira- of the world. We still lack in contempla¬ former has not played them over and over again thousands "Inch are likely to increase in number with tlm , ,. absorbed a great deal sub-consciously through public indignation over the evils of jIL ^cumulating hearing my grandmother and other singers at tive moods, in serenity, calm and in the observa¬ of times, they do unquestionably present difficulties to some the opera and at our home. tion of the beautiful. There is a conspicious students. However, none of these difficulties are such that they neglect of poetry. Americans do not seem cannot be readily mastered by. a little earnest practice. Two da„gfr”s dmg.'“ “ 'Vh°l"0me ,<>,,iC; b“d “ “Iwaja a Language and Singing to understand the value, the inspiration, the or three hours.may be needed by some; but at the end, instead “Italy has produced a great many singers of refreshment that is to be derived from poetry. All these things take time. of having a piece that sounds like everything that everybody world renown. Some have attributed this to “If we are to consider the thresholds of else has played for years and years, you have a piece with Rhythm, even before melody is the basis of music Certni„ thc climate, some to the diet, some to the open air life. These may have helped; but it seems vocal art, it would be absurd to talk learnedly the kind of freshness that comes with unconventionality. Afncan tribes carry the mastery of rhythm so far that 1 to me that the most important element in the upon the subject and fail to treat upon these have been known to communicate with each other in, ™ !\C.y Much of the music of Schumann, Brahms, Debussy, Mrs. success of the Italian-born singer is the Italian principles of life upon which all great ultimate lance, by mean, ,f canon, rhythm, beat on, „PJ thZZluZ. language itself. Its lovely open vowels, Ah, ay, success must depend. All these things have ce, oh, oo, emitted from a perfectly open throat, a phychic effect upon the voice and upon the tend to avoid from birth the obstacles with art of singing. They are of vastly more which many singers of other lands have to importance to the future of vocal art in Page 8 JANUARY 19H tub etude JANUARY 192Jf. Page 9 aim was to correct nature which gave us a pair of hands TEE ETUDE names°Untry ^ ^ solfeggios and teachers with big Chats With Serious Piano Students no two fingers of which are equally strong or independ’ The Singer’s Musical Knowledge ent. Technic was, according to these preceptors, limited By Sidney Silber to “finger-wiggling.” Their philosophy was just as false What to Teach at the Very First Lessons “The singer’s musical knowledge is also fundamental. as that which assumes that a man of great means may General and Special Education *’c time is coming when the vocalist who has the voice be the happiest and most efficient citizen. For, while of an angel and the musicianship of a poll-parrot will By JOHN M. WILLIAMS have difficulty m drawing large audience. Luckily the day has passed when a person who money is the technic of life (or may become so) and I while each of us must possess enough of it to keep 1*% 'Learn an instrument by all means. The singer can¬ played a musical instrument acceptably was considered not well begin vocal work in earnest before the age a musician. This notion is no more current than that a and soul together, still it does not necessarily follow Practical Advice for the Young Teacher of eighteen or nineteen; but during the previous years person who is able to extract teeth can be considered that the possession of money tends toward the enjoy¬ ment of the most abundant life. It is indeed a misspent she can perfect herself as the performer upon some a dentist. In all of the professions where state control Do you want to learn how to teach? Mr. Williams’ series, of which this is the first article, will .show you. instrument and ever after have the great advantages is imposed before the individual is permitted to practice, life which concentrates its entire energy upon the that this will bring her. I began the study of the piano he is required to have a general education before taking acquiring of money, in the hope that with the advent l*6,28' °/ five' 1 heard Practically all of the notable up his specialty. The dentist, for example, must have of old age the individual will lie able to enjoy life Thousands of young and aspiring musicians are plan¬ whose study a child would have to be a music lover obtained from the publisher at so little cost as to render operate performances at La Scala until I was seventeen. a knowledge of anatomy, physiology and hygiene before The time to enjoy life is NOW. The time to make ning to be teachers. Some, from excellent schools or their making an almost useless trouble. To make one, 1 Prac‘>e«l P«no about one and a half hours he can intelligently perform his operations in dental music is NOW. So, too, with music students there teachers, perhaps have a good technical foundation and Human beings, or at least those of us who are musical cut a piece of cardboard twenty-nine inches long, out¬ a day, eventually practicing three hours a day. At the surgery. But, even before he takes up the study of must be some interpretative problems which you can a repertoire of standard and classic concert numbers; love “tunes.” Choose a book that has an abundance of side measurement, and five inches high. From the first fwhnC°nSeHatTy Vlad t0 Iearn the major works of anatomy, physiology and hygiene, he is required to have adequately solve with your existing technic, incomplete but do they know how to give the very first lesson? tunes. The melody arouses the interest of the pupil, note in the bass, low C, to the highest note in the treble, Beethoven, Haydn, Mozart, Schumann, Chopin and a general literary education. So, too, the musician who though it be. This does not mean that you should give sugar-coats the pill, so to speak, and the work is done— high C, is exactly twenty-six inches, the same as on the Types of Pupils S the ■ F,P tayK' t?h°Pin E Min°r Concerto and all would build his musical structure aright will seek to no thought concerning additions to your technical but the benefit is derived just the same. keyboard. There is Jenny Jones, nine years old and a beginner. in Idditinn 7 g ‘ FTUeS °f Bach'” After graduation, gain a general literary education along with his general equipment. Specialization over extended periods, in the Place this chart directly back of the keys, in the niche n l Ty WOrk as a concert pianist, I taught muscial education, before launching upon his specialty. purely gymnastic side of piano playing is sure to blunt She is taking lessons for no reason whatever except that The Test of a Beginners’ Book between the keys and the name-board, and the notes on P anoforte for four years. This experience, as well as One does not become a virtuoso by merely manipulating the finer sensibilities. Rather carry out the words of all the other other children do. Then, Bobby Smith, a What is the test of a good instruction book, v or of a the chart will correspond exactly with the. keys they that of having the guidance of musical parents, was tlie keyboard. Nor does the composer gain in creative Robert Burns: “As we go through life, let us live by rosy-cheeked, healthy, out-of-doors boy, brings his piece? The child, himself, is the court of last resort. If represent on the keyboard. The pupil will thus get a fihcf'r16 Va'Ue *° me' 1 can weI1 r~ber my inspiration by simply studying the traditional rules of roller skates to his lesson—his music is purely incidental, you are able to arouse his interest in the exercises or correct idea of the grand staff from the very beginning. fatlier playing over the score of such an opera as “Tris¬ harmony, counterpoint, form and composition. In the an annoying interruption of his sports. The adult be¬ “tunes,” the book is good; if you cannot, it is bad for Do not try -to teach the names of the lines and spaces tan and Isolde” before going to his office5 In such an arts, above all, there is hardly any knowledge pertain¬ ginner follows the six-year-old tot—in one case the yet; the pupil learns them later, by absorbtion. How¬ ing to the intellectual, emotional and spiritual evolution An Ancient Musical Faction mind moving faster than the fingers, and in the other The material in the book should be very, very easy. ever, show the child, in his music book, the different Thus conference will be continued in the next issue of the race which may not serve to inspire the creative just the opposite. The “nervous child;” the sub-deb Why? Because we need technically simple material, so kinds (whole, half and quarter) of notes. CurH l-nTUDE MUSIC Magazine’ which Mme. Galli- as well as recreative musician and pedaaoeue whose mind is entirely on beaus, movies and dancing; that the mind of the pupil may be focused on correct Curc. will present some of the very exercises she used By S. M. Charles the adolescent boy who is so “difficult” to manage; the playing conditions instead of on notes, rests, and such The Grand Staff Building the Musical Structure foreign child (frequently Jewish) who is learning a Explain the Grand Staff, consisting of eleven lines The successful and efficient musical life, then, should The history of music during the last three hundred new language, going to school, helps at home with the How shall we teach these things to a six or eight- and the spaces between them. The top five lines belong heve architectural features. It must first have a firm years, records a number of rivalries and antagonisms babies and housework, works in the store after school year-old child in a lesson of thirty minutes? to Mrs. G. or Treble Clef, who has a numerous family whtl ^i 6 foundation t0 sustai" properly a structure which arose from time to time between composers, and Saturdays, but finds time to practice two and a half of children (represented by the treble notes). The bot¬ Berlioz’s Pot-Boiling Period winch will serve some useful purpose. As there are singers, or virtuosi. Probably the most famih • is the hours a day and brings in the best lessons in the class. The Problem of the First Music Lesson tom five notes belong to Mr. F, or Bass, Clef, who also innumerable buildings conceivable and possible, serving contest between Handel and Buononcini, in 1720, in which A child coming to its first music lesson is all excite¬ has a number of children (represented by the bass By Lynne Roche useful ends, so, too, the musical structure has its attri- the former scored the victory. About 1780, Gluck and Music and “Service” ment and anticipation. He expects to learn “to play a notes). But Mr. Bass Clef and Mrs. Treble Clef also butes conforming with well-established rules and tradi- Piccini, both writers of opera, put all Paris into a fer¬ The modern cry in all lines is for service. A child piece” or to “make music” in some fashion or form; and have a child (note) Middle C, which sits on an imagin¬ tions. The competent architect begins with a definite who has been taking music lessons for three or four if he leaves the studio the first time, and all he has heard ary line between them. Use the following little exercise anxio^s0i/anher’ himSflf an eminent Physician, was ment by their rival schools of composition. < uzzoni n , t lat his son should succeed to his laurels years and cannot play a hymn or read at sight an easy is “lines” and “spaces,” “table work,” “names of keys” to help to teach the location of Middle C. usfoe hirjn f6 !-UildS accordi"g to his needs. and Bordoni, two vocal favorites brought to England by Hmi rs Precocity in music was discouraged and ior a us,ng his experience and enl.ghtment, adding his original Handel, engaged in open and disgraceful warfare, which accompaniment for his parents, no matter how well he and “hand position,” he is going to be disappointed. A i brar^wereTl mterested an,atomy’ But in his father’s of hi ®xecutl0n- H°w grotesque would that piece resulted in factions headed by e um,- . . .. !„, , xerted ■ plays his “pieces,” is a failure. disappointed child is very apt to be a rebellious child, of architecture appear which contained all styles jumbled such an influence over society that ladies refused to re¬ The majority of piano pupils are in their first year. and a rebellious child is generally a bad pupil. wkjs, atsasr.- together, without any idea of unity, symmetry bahnee ceive visits from adherents of the opposite musical Your class is apt to be much larger if you specialize in Hence the very first lesson is tremendously important, party In 1836, the pianists, Liszt and Thalberg, con¬ teaching children. They will lead into more advanced and the teacher cannot put too much time or thought on tested for popular favor. This rivalry assume,1 such the. preparation of himself or herself to become compe¬ proportions that, to maintain a standing in society, it The Musical Education of the Child tent to give this lesson. Music is the only art which cultivates three senses Tht XeMary t0 dCClarC in favor <)f one or 1,1 >' "iher. Before attempting to understand the workings of h conservatoire. Imploring letters, begging his this notable controversy terminated in an overwlielimne any educational system, it is advisable that we ask our¬ simultaneously, sight, hearing and touch. On this 10 ^ b^ht a -«S ol o? triumph for Liszt. selves. “What is Education?” account it is invaluable for training the facilities, but this srs rzs also makes the first lesson a difficult proposition for both hold true3 "1 St0re’ °r a dwe,ling’ the same Should Education is a matter of first-hand individual obser- An Interesting Rivalry teacher and pupil. f A"rnt hist,0ry ?ls° records an interesting rival - . or No one can educate another person. We may as¬ Let us see what the pupil has to do. Foundations of the Pianistic Structure faction, namely, that between the Pythagorean- or sist; but we cannot do the learning any more than we First—Learn the names of the keys. S- *“ W.‘br^d S?-SL"S can eat and digest a meal for another. Second—The names of the notes. or™oX600 BACSt0XeHiang °f harmonists- Third—The value of the notes (counting). If we go back to our original question, “What Is Line and Space Notes ™SjTf Slsi-Sgr Fourth—Find the correct fingers on each hand and ST"1" "*d”™ Education?” and insert the word “musical,” we have, Draw attention to the difference between Line notes musical education is a matter of first hand individual use them on these notes. Next, he must Correlate these four efforts. In other and Space notes. The line goes directly through the srert ~ £ observation. It follows, naturally, that the child must middle of a line note, while the space note is between ^This Tge S 3 °f hiS mUsicaI salifications words, to play even the simplest tune, for instance, be trained to observe. the lines. Ex. 1 Place the Chart on the music rack, or directly back harmony and melodv m • 1 art’ rhythm, By interest. of the keys if you prefer. Explain the difference be¬ perfect fifth is 3m? 'a r , at the Pr°P°rtion of the How shall we arouse this interest? tween high and low on the keyboard and show that, as These £, °1‘•'?«*. 4 3. By attractive material attractively presented. the notes are placed higher on the chart they are higher he fixed at 9 to S„“ that ,of the whoIe step, which Can you do this? Technic on the keyboard, and vice versa. PythagoraTne^ tL tenreCOg?,Zed at the Pr«cnt day. Yes? .... Success! requires of the pupil four separate and distinct mental Call attention to the fact that Middle C oil the tones falling between ,.asce!'tain the true Place of the No? .... Failure! impulses, not to say a word about correct playing condi- keyboard and the middle line of the Grand Staff are me at d sight,silL^ antcame any the’I_I canreply. sing anything you can give8 th..on.o “t, ”Sic“;Lin .h'iSM5c nf”4"- cessful. He Sded ^ but was Ponder foe foregoing paragraph. Are your pupils one and the same thing. (The symbol represents the The devil!” retorted the tyrant, “but we have no Technic, technic, technic. That Sdeed ““’i't ’ music here.” e na\e no called tetrachords but not ’lnt° 5r0Ups of four' interested; or do they “enjoy” a good lesson about as Teaching the Keys sound.) the major third the res.in knowmg the true ratio of much as having a tooth pulled? Is it a matter of the Draw the attention of the pupil to the fact that the “Well, what do you want? T ran «“et It is not necessary to teach the names of the notes ears w^u.d SnSer^ oTtX ^ pupil being nagged every day at home, and a mixture of keys of the piano are of two colors, black and white. on the lines and spaces (F—A—C—E and E—G—B—D all the operas of Gluck, Piccini, Salieri, Ram^u-Sp'on- Technic is not limited to the business ’ coaxing and bullying on your part; or is it spontaneous The black keys are divided into groups of twos and —F) ; nor is it desirable that the pupil study the notes AtGthTsry'rhr°Zart rnd Clmarosa’ h°m memory.”5 JSSSTS-S; £ *• * - Ar'istolle, „«■ „0 action on the part of the child, engendered through threes. away from the piano. He will absorb this knowledge At this other applicants slunk away, and the fiftv serve as the source of th y’ End °ne 0n rhythm, which interest. The white keys are named from the first seven letters naturally and easily. He learns by doing, not by telling. of the Greek the greater part of our knowledge of the alphabet, A, B, C, D, E, F, G. Teaoh the numbering of the fingers of the hand. situation.station3 TolThoughth hebS sometimesean,ed ^ made reIie vague-d referenceMkS Duty of the Music Teacher Teach the location of the different D’s on the key¬ to his dramatic career, the truth of this engagement was number'1^ ? Ask yourself, then, “What is the first duty of the With small children, an excellent idea is to pretend principle of everythin- inchlw? - re^ulatmg board. Explain “high” and “low.” disclosed only after Berlioz had risen to dSinrtfon music teacher?” Answer: “To arouse the interest of that the fingers of each hand are “five little pigs,” and asserted that hearing is’the sot & •tn,U’S'C’ Ar,stoxcnus the student.” Before D comes C. After D comes E. Teach the that each little pig has a house in which he must stay. t onship. A spirited 1,1 Cntenon of ‘one-rela- Bartholomew says: “The prerequisite of all educa¬ group, C, D, E, in different positions on the keyboard, They must not go visiting. Meyerbeer’s Industry = ts divided themselves into two fartionsXh ^ mU!icians tion is the interest of the student.” Joseph Cook said: having the pupil name the keys aloud as he plays Now Teach the First Little Tune Meyerbeer, a man of 1 to the old theory of actlons> the one clinging “Interest is the mother of attention, and attention is the them. , the Wivanat,,,2,?. £«X"n„L0Itabi“ that of Aristoxenus Pythagoras- the other accepting great returns from his oper and ZTnTh T"'? express his intentions. Every adenL* * u- means t0 mother of memory.” Our problem, then,. is to interest Next, teach A; then the group, A, B, C; later E and Ex. 3 Bar Bat Bar It remained wealthiest of the master composers He livj’baby the conscious before it can become Ttf hmc must be the stud:nt—the average child, remember, not the the group, E, F, G. These may be called the “Groups tuous ease, yet worked with“e zll fo' T any one and only way to attaffi t n -'T0115' Is ^ere the Egyptian astronomer, about ISO A genius. It is the child who should be considered; not of Three.” It is important that the child correlate these PP period of each day. fo1 a regular mastery? By no means. n technical proficiency and of geometric fame, to -ive to th and Euc the teacher, because a piece of music by Bach interests and think of them in groups instead of isolated sounds < Shall I play’ Yes one r. I shall play it or keys. To a friend who begged him to take more time for of the major third, i e'‘ 5 to 4 d the trUc r;i the teacher is no reason to suppose it will interest the -g-f- -f- An Exploded Theory determinations of Didymus of A, lemJ Published small pupil. Next take the "Groups of Fives,” C, D, E, F, G, and 3S23AT* T1 •I'”1'1 —k. TLm which gave us the tr,! * ■’ f Alexandria, B. C A, B, C D, E. rob myself of my greatest pleasure; for I am so ac Importance of the First Book customed to work that it has become a necesshv” pursued TfaErtheoly^for °1 jnstructors have the major scale, in muchThe^ °f ^ ^ f°Ur tones Now the entire .seven in rotation, A, B, C, D, E, F, G. Do not use the notes for this. Teach it by rote. W hat a lesson to students who dream of tfiA +• u control of the finge^ The^ deveIoPment and them to-day. h the same manner as we acc, The next thing is, “How shall we arouse this While he watches the keys, play it correctly. Let interest ?” recognition of their achievements is to corne l 6 Whe" could attain mastery of I^keT611, ^ before °ne Correlating Sound and Symbol him imitate you. Do not count—sing it. When he can In the first place, choose the first instruction book very The teacher should now use a keyboard chart. By this play this, show him the notes he has been playing, either “ "My ..t«« ..a Artists are the priestr a. carefully. Many excellent “beginners’ books” are on the ’ the **™tors of the public. means the pupils grasp the subject much more readily. on the chart or in the book. When he can play it market; but there are also antiquated volumes, to survive These charts may be made at home, or they may be —Br,\hms. easily, watching the notes on the chart or in the book, JANUARY 1924 Pnr/e 11 Payc 10 JANUARY 102J, TTTfi ETUDE and getting the general idea of «/> and down, and of ing the keys and ten minutes for practicing the first The Half-Hour a Day the relative values’ciiuco ofui theme notes, draw his attention to exercise—thus learning about Bars, Measures, Time The Humor of Richard Wagner the fact that he is playing a piece by note. He has Signatures, The Fingers of the Hand, the Names of the By Yetta Kay Stoddard been led “from the known to the unknown,” a sound Five Notes (two on either side of Middle C which he Written Expressly for The Etude by the Son of the Great Master pedagogical principle. learns through using them in a little tune, not by study¬ “I’m not doing anything with my music now—I haven’t ing them away, from the piano), and the values of the the time!” Note Values, Bars, Measures, Time Signatures SIEGFRIED WAGNER quarter and half notes, considerable will have been Time! If you added up the number of times you’ve The pupil can now play something correctly by note; accomplished before the second lesson. This is quite said something of this sort, how many minutes would with those of his father. As the grandson of Liszt and the but we have yet to explain the values of notes, the a lot for one lesson; but fifteen minutes a day of practice you now have at your disposal for music? And if these Siegfried Wagner was born June 6th, 1869, at bars, measures, time signatures, and so forth. son of Wagner he has inherited traits of genius that many were augmented by the other wasted little fragments of Tricbschen. His parents wished him to become an archi¬ Show how: will easily master it. in his native land believe will some day entitle him to recog¬ eternity that have been yours, would you not—now, hon¬ tect, and he studied this subject at a Polytechnic School. Bars divide the Lines into Measures; and nition as a great composer, which critics who insist upon Importance of Materials or “Tools” estly!—have one half-hour out of each twenty-four for Later he studied music under Kniese and Humperdinck. From one Bar to the Next is a Measure. comparing his works with those of liis father refuse to give I truly think I should have to quit music teaching the development of that musical talent that was most He became a concert conductor in 1893 and later became „.HJ Style JANUARY 192^ Page 15 Some others (probably Hiller and Reinecke) have rcquibicc-b ill me uiiuse uI uiu liana aocs much of • w THE ETUDE gloried in the same tradition, which may be summed up playing depend. P'anoJ By Francesco Berger as strict adhesion to prescribed text, with a modicum How to gain these two ends is a glowing (note the expression) of personal liberty. Now, again, and again, let us say that the great JUCst’9n-] Not only has each truly great performer his own in¬ for strengthening and enlivening the whole handerCise cJ„“ StX,sir** "■'w*™«, .f terpretative “style,” but also style of some sort is con¬ especially this part of it, is the elastic staccato d« ’ •fd An admixture of a f 'crc must be right notes only. spicuous in the works of all truly great composers. In ones wHl „7do 3 feW Wrong °»<* with many right by Dr. Mason, in Touch and Technic; that is thr^'”"5 a few cases it has degenerated into mannerism, and such ping of the whole finger from the joint, off’ th music has very properly died a natural death. But every I would like every pupil of mine to practice cvervtR allAequallyS^m^rtai«?niep^ee(t^n^UNr requisites, thinking musician will recognize the style of Beethoven fingering (whicli renders ti, (tem]0) 18 one; correct in their lessons, from finger exercises to pirn s with e as distinct from that of Schumann, Mendelssohn, as dis¬ touch. No special, written page need be mentioned t band, secures l^LTT y for the ™ ™ tinct from Chopin, and will rejoice that this is so may be applied to every note struck. a 11 What Must I Know to Become a Good Accompanist? is another; coloring is ’a third /^i ?orfect Phrasing) lrZe are moments in Sullivan’s “Pinafore” absolutely Another gymnastic for the strengthening of ,|,k i •, An Interview with the Distinguished Conductor, Composer and Teacher shade, uuutccs of every kind ^W.1lch inclu Page 22 JANUARY 1924 the MENTAL DISCIPLINE OP JANUARY 1924 Page 23 MUSIC . THE ETUDE WHAT GOETHE WROTE OF Music teachers who occasionally COn MENDELSSOHN front the parent who asks scornfully TREASURED MEMORIES Mendelssohn visited Goethe, the great “What’s the Use of Music?” may fi’ An expressive reverie requiring a clear singing tone. Grade 3|. WALLACE A. JOHNSON, Op. 102 German poet, for the last time in 1830, The Musical Scrap Book interest in some remarks made by W. t when he was in his twenty-second year. Fay in a speech to the New York State He stayed a fortnight. After the visit, Anything and Everything as Long as it is Instructs Teachers’ Association. Mr. Fay is super Goethe wrote to Zelter, Mendelssohn’s visor of instrumental music in the schools teacher, and said, as reported by M. E. von and Interesting of Rochester, but has also taught Latin Glehn in his book, Goethe and Mendels¬ Conducted by A. S. GARBETT and algebra, the last and admittedly “use. sohn: “His (Mendelssohn’s) coming did ful" study. “As a mental discipline, music me a great deal of good, for my feelings is invaluable,” he says, “and in my opin. about music are unchanged; I hear it with ion, the most effective of any subject in pleasure, interest and reflection; I love its the curriculum, without exception. . history, for who can understand any In no subject taught in our schools j8 subject without thoroughly initiating him¬ THE IMPORTANCE OF SIGHT-READING there required such promptness and accu- self into its origin and progress? It is a have only a few minutes daily to give To Reading music at sight would seem to racy in the solution of a given problem as great thing that Felix fully recognizes the his instrument, but they are sufficient for be as necessary for the musician as read¬ in instrumental music. Take a violinist value of going through its successive him to understand a new work, to recall ing literature at sight is for anybody; yet reading an orchestral part at a moderately stages, and happily his memory is so good the symphony heard the previous night, or many pianists make little effort to develop rapid tempo. The pitch, duration and in- as to furnish him with any number of ex¬ to give him beforehand a taste of th this important branch of their training. tensity of a note, together with its par- amples of all kinds. From the Bach period opera to be heard on the morrow A good No doubt much more effort is involved. ticular expression, must lx- determined in downwards he has brought Haydn, Mozart reader is always prepared to take part, A pianistic sight-reader has to solve rid¬ the fraction of a second and the solution and Gluck to life for me, has given me without previous study, in ensemble p ay- dles of fingering, rhythm and chord- of the problem given almost instantane¬ clear ideas of the great modern masters of ing; he can accompany a song, he is technic, and lastly has made me understand structure, such as we do not meet with in ously, or the opportunity has passed and reading prose. But it can be done by far always ready under all circumstnces. his own productions, and left me plenty to “It is only by work that we can attain will not return. And all "f this with a think about in himself. He took away with more pianists than is thought. “Reading nicety of muscular co-ordination and a (at sight) is of no less importance than this end. No doubt a pupil’s natural him my warmest blessing.” ability must enter in a great or less degree precision of bow-arm and finger that It is significant that Goethe omits the execution, especially for the amateur,” says shames the finest of the manual arts. H. Parent, in The Study of the Piano. “A into the results obtained; but without name of Beethoven as among those whom work, the ability, however promising it Compare the results which we all see Mendelssohn “brought to life” for him. time comes, indeed, when there is no may be, will produce nothing serious or attained every day with tin- solution of a Mendelssohn tried hard to make Goethe longer leisure to devote several hours a problem in Latin or algebra. Having lasting.” love Beethoven’s music, but the good Ger¬ day to an accomplishment. taught both. I delicately draw a veil over “If once the repertory is exhausted, if Half an hour a day, given to reading man poet found Beethoven puzzling and the contrast.” reading instead of being a pleasure is only new music not too difficult, will work won¬ even terrifying. Beethoven and Goethe There is great truth in this—a truth a laborious study, music is given up, and ders. Also practice with an orchestra or had met, but no friendship followed. that should be brought home to more the piano closed not to be reopened. choral society, even with a singer or vio¬ Beethoven had been three years dead when parents and school teachers. It would be “The good reader, on the other hand, linist, will provide excellent routine drill the above letter was written, and the untrue to say that musicians as a class are can keep up his music all his life. He may in keeping time. Try it. greatness of his genius was no longer open “more intelligent” than any other trained to question. and educated people; but quickness o( MEYERBEERS INSPIRATION perception, and quick mental adjustment, Fortune is not on the side of the faint¬ “There is music in the growling of the served, and to the astonishment of his arc perhaps the most common attributes hearted. Sophocles. of well-trained musicians A musician gale,” wrote W. S. Gilbert in “the Mi¬ guests he hastened from the room to his musical chamber and left them to take who is slow-witted is rarely met BACH'S KEYBOARD TECHNIC kado” and apparently Meyerbeer, composer of “Les Huguenots” and many other care of themselves for the rest of the “Johann Sebastian Bach is called the notable operas agreed with him. From a evening.” What natural qualifications must a greatest clavier-player of his time, perhaps press clipping we learn that “Meyerbeer It reminds us that Beethoven was also of future times as well,” wrote Adolph song-accompanist possess: Firstly, he gathered his thoughts amid the rumble of tremendously influenced by storms and must be earnestly musical; secondly, Kullak in The Aesthetics of Pianoforte- thunder, the flash of lightning and down¬ loved to walk bare-headed in the rain. He Playing- “The chief characteristic of his earnestly musical: thirdly, earnestly pour of rain. In order more fully to ex¬ even “invented" the rain upon occasion and musical 1—Carl Reineckk. style is said to have been extreme distinct¬ pose himself to the stimulating effects of was in the habit while composing of pour¬ ness of touch. This was attained through the elements he had constructed for him¬ ing cold water over his wrists and head the following method. Bach held the five self at the top of his house a room whose from a pitcher regardless of where it fell. MUSICAL NOTES AND NEWS fingers so bent that their tips were brought sides were entirely of' glass, and here he From this arose much of his trouble with “We may do without many things; we into a straight line, each finger being held would hasten at the approach of a storm his landladies, no doubt. But we who lis¬ may deny ourselves much nt the comfort of in this position over its key, ready for and amid its fury would have a rush of ten to his music have reaped the benefit of life; but music we must have or shrivel striking. The method of touch accom¬ musical thoughts. it in his “Pastoral Symphony” and in up,” says “Uncle" Joe Cannon, the veteran panying this position, (according to For- “There is a story about him to the many other works. Beethoven loved kel) was that no finger fell, or was thrown politician. effect that once when entertaining friends nature in all her moods. Chopin is said to upon the key, but must be borne down The Scientific American s that almost at dinner he heard a distant rumble of have written the Raindrop Prelude as the with a certain sense of power and mas¬ the first parlor car used on American lines thunder just as the soup course was direct result of being storm-bound by rain. tery over the movement. This power, was especially built for Jenny Lind, when bearing upon the key, or the degree of she made her tour into the wilds of the pressure, must be sustained in equal United States under the management of P- SH-SH! strength, namely by not lifting the finger T. Barnum. She jokingly called it her directly up from the key, but causing it In, his highly entertaining volume of not partial. But at this concert the “parlor car,” and the name has stuck. The to slip away from the front end of the reminiscences, A Quaker Singer’s Recol¬ walked up the aisle, leapt upon the st seats of an ordinary car wen removed and key by gradually drawing in the finger¬ lections, the late David Bispham tells the arched his back, rubbed his fur against replaced by chairs, tables and other furni¬ tip towards the palm of the hand. following: “During the autumn and winter leg, elevated his tail, and purred with g ture. “In passing on from one key to another, of 1895 I gave a number of concerts of satisfaction as he made a series of fig The Department of Phonetics at Uni¬ this degree of power or pressure bearing old English music with Arnold Dolmetsch, of eight between my feet. versity College, England, has discovered a on the first tone is thrown, by this slipping accompanied by the old-fashioned instru¬ “Dolmetsch, seated with his back to window cleaner named Strathie Mackay, away, with extreme swiftness upon the ments, the harpsichord, the lute and the saw nothing of what was going on. I who can sing the ordinary C in the treble following finger. This method, by means viola da gamba. ... It happened that to continue with my song, but whe clef, while also singing the C in the bass. of which Forkel seeks to explain the great once while Dolmetsch was accompanying young girl burst into a giggle of m Professor Jones says he makes one of his precision of Bach’s, touch, stands in direct me on the harpsichord, as I sang Henry ment, the whole audience went into shi vocal cords vibrate at half, a third, a opposition to our modern style, which Purcell’s remarkable ‘Let the Dreadful of laughter. fourth or fifth the rate of the other, at founds the principle of touch upon the Engines,’ I observed a cat quietly walking “Presently the distinguished Bel will. He ought to get a vaudeville job sing¬ movement of the whole finger (not as across the back of the hall. He glanced harpsichordist, turning to see the caus ing duets with himself. Bach did upon the finger-tip alone) . re¬ up the middle aisle and caught sight of the disturbance and catching sight of The New York Times reports an instru¬ quires a distinct lift, and allows a drawing- me, in whom he doubtless recognized a cat, hastily snatched from the piano- ment has been invented to arrange perfumes in of the finger-tip only in special cases. sympathetic friend, for I am fond of ‘ the whole volume of music and hurk The further statement that Bach played animals. A dog has come upon the stage in an order corresponding to the mOS** at the beast, which with a savage ' scale. The instrument is called an “°®>" with so easy and slight a movement of to me, two rats have played at my feet for sprang into the air, almost into mv ' the fingers that it was hardly perceptible, a considerable time in the glare of the phone.” The heavy odors such as vanilla and dashed away. The laughter of represent the lower notes. The higher notes can be explained only from the light action footlights, and at a concert a bat kept fly¬ audience continued so long and loud of the instruments then built. . . . ing about my head—much to my discom¬ are peppermint and citronella. “A har¬ we performers were obliged to leave monious blend, for instance, would be Bach’s method likewise developed all the fiture, for to that sort of creature I am stage, not to return for many minute' fingers to perfect equality. All were chord of C." Fine! Now tell us, what alike in strength and usefulness, so that would the smell of a diminished seventh be double-notes, and runs, simple and double Among the vast number of readers of THE ETUDE there must b like? trills, even trills with accompanying who come across clippings which should make very interesting r a-* °Usands melody in the same hand, were executed department. Why not assist Mr. Garbett by sending them in oL”8 ^ th,S Truthfulness is an indispensable req1^ with equal case.” their source- Editor’s Note. m-always stating site in every artistic mind, as in ever? upright disposition. Wagner- JANUARY 1924 Page 25 THE ETUDls THE ETUDE Page 24 JANEARY 1924 -^.tvTATTTI MENTTET DE L’ARLESIENNE DE BIZET Transcription for Piano by EDOUARD SCHUETT A new and most effective transcription of a very popular ballet number. Grade 5. Copyright 1923 by Theo. Presser Co. International Copyright secure THE ETUDE JANUARY 1924 Rage 27 THE ETUDE Page 26 JANUARY 1924 MARI()NBTTB THEATRE SONG OF THE PLOWMAN gavotte to style. Hay fleetly $2!SR~ *. ®H. KRENTZLIN, Op.92 A vigorous left hand melody with contrasting finger work in the right hand. Grade 3. FRITZ HARTMANN, Op. 207 Allegretto m.M. J=ios y Coquettishly,gracefullu -^ ^ ^ , , , -f" ft p Moderato m.m. J = 72 Copyright 1923 by Theo. PresserCo. International Copyright secured JANUARY 1924 Page 29 THE ETUDE Page 28 JANUARY 1924 FROLIC OF THE DEMONS FROLIC OF THE DEMONS GALOP CAPRICE A ihowy concert Galop to be played at top speed cprrwmn Allegro molto M.M.J=144 SE.OOJND 3 3 T 1 * 3 4 5 1 lo - It 4 3 2 5 ' *4. j r 76iTJ ■ 4J: 1. >>> ■fz Fine ntfmarcato J.- - ^ , ,5t. 8 1 *8 T3 14• ^• 44 bV6f 4 1 7 . 2 i|L ? JT3 ife 'V W- - i ■V 9 i S* V1* -—i nr- i -- ' *2- -f r 8 3 18 -)*-• M. wi 1 m < p legato cresc ' -# 1 2 ■#■ a ^ 8 5 "4^"? s 1 1 Sjr Vs 'V"—X "—* wt-—^ Copyright 1923 by Theo.Presser Co. $From here go back to and play to Fine, then play Trio Vi # From here go back to$ and play to Fine, then play Trio British Copyright secured THE ETUDE Page 32 JANUARY 1924 Edited and fingered by ^UCOU CLAUDE DAQUIN PAOLO CxALLICO nf the old fashioned contrapuntal treatment of vecinist. Le Coucou is a fine example ot t Averv graceful song without words in semi-classic style. Let the melody sing out. Grade 4. GEORG EGGELING, Op. 227 % From here go back to the beginning and play to A, then go to B. Copyright 1914 by Theo.Presser Co. JANUARY 1924 Page 39 TBS ETUDE SHADOW DANCE N. LOUISE WRIGHT In modern style,with occasional unresolved dissonances. Grade.3 Copyright 1923 by Theo.Presser Co. . British Copyright secured Copyright 1923 by Theo.Presser Co. British Copyright secured Page 41 THE ETUDE JANUARY 1924 Page 40 JANUARY 1924 the etude ON THE INDIAN TRAIL In characteristic Indian style, although not based upon an aboriginal theme. Grade 3. MARI PALDI SKIPPING THE ROPE THURLOW LIEURANCE These are from a set of characteristic teaching pieces of more than ordinary merit, adapted for young players. Grade 2|. Moderato M.M.J = 144 ^-^IS *, ^ « . a * a ftf) £u . 4 3_3 -„ 3 , 4 | S I 3|- a^ 13 t S I j j/M °|^-| n [ 7 l.M l . jS I, 'v* ski < , iu H i; ^ bM= 1^2 5 The chariots draw n'ear_ ROB ROY PEERY, Op. 17, No. 5 All gold, and_ are. those horses wild? JANUARY 1924 Page 43 THE ETUDE fBE ETUDE Page 42 JANUARY 1924 SPOOKS KNIGHT RUPERT A NOCTURNAL EPISODE MINER WALDEN GALLUP gneeht Ruprechi is the European Santa Claus. Insome villages the presents for the children are sent to one person who, clad in high buskins a white robe, An attractive characteristic number,full of humor. Grade 3. mask and an enormous flax wig, goes from house to house, calls for the children and gives them presents, according to the parents’ report of good behavior dur¬ fc-Mysteriously m.m, J=ios ing the year. Grade 2£. R gQjjjjMANN, 0p. 68> No. 12 Allegro m.m. J=H6 •Aj1 t } A A A A 5 If—1 1| A i ■■■ w A A i.tn ui (1.4 4 e jy ^ w ilN iff# j A A A A K sfsfsf A . A A A tP An Vz =£—ii t nr 4 r1 2 1 3 s 4 ^»1 t 5 j^TM i »a j ■ ^ p A i 5a a f, a ^2 ggfr F p ~F~F \ Fi 5 o A A A A •t A A A A sf’ftf 4 5 1 * , ***/ a 3 r- -i— I ^1 —— , nyi in== ,^i f—*T~ 0, *£ g Ok^i.JJJ.JJ lATfrTcrr 3 8 1 ''4 *2 * 5 5 -f mareato :— k. ~ Aa 5 A 4 Fine A A A A 3A 1A, a 3A 5 i w. = p-t ill l! FT 11 1 r -i PJ If ttfep 4 , MS- ZX4T^ A_ >- A j 1? — * A A A A J-.JJ ^ a 1 ^ £ 3 v v .—■ ^ 4 a r > r"" iranquuio 3 ^ 4 14 2 0 » 2 i 4251 4 __ 3 1 4^2 3 i 4 4 2 132^-4 \ »j II -o I lr m p (■ 0 fTTf-y £ 1 mJ—J 3 14 2 i — ■«'1 < 3 1 Li. L'lJ'n,.] 31 4231 5 3 * VfJ-f F* 4 * 3 15 2 3 15 2 i . 4 ^ 4 2 3 l 4 142 ° » 2 4 4 ^ 1 tJ bliX■>__ rE.kdi_ sf ZZ=— V ^bsfcfad == LyelrL£ir .—■ Q m 0 p - IT " ^ 5 4^ 1 2 4 77TTffl=r~ 3 14 2 3 2 12 Copyright 1923 by Theo.Presser Co. British CopyrightTecured JANUARY 1924 Page 45 THE ETUDE THE ETUDE Page 44 JANUARY 1924 HUMMING BIRDS’ LULLABY To be played in a droning manner and extremely legato. Grade 2|. M. L. PRESTON THE ETUDE Page 46 JANUARY 1924 ( Sw. -String & Gedecht, Trem. \Gt. -Clarabella iErzahler MENUBTTO Regis.< Ch.-Clarinet from SEPTETT, Op. 20 L.van BEETHOVEN / Ped.-Soft 16'-Bourdon Arr. by GORDON BALCH NEVIN ' Sw.to Gt., Sw. to Ped. ' , « . „ . An admirable transcription,displaying faithfully the color and contrast of the original instrumentation. Agoodvoluntaryreci^a or movie piece. Tempo di Menuetto m.m. J =72 MANUAL pj. hir < -l>- fpf irith thumb)+ |*"\F M£a J i J S’ v Lh Ainijajp w Pf r # r # r- ■y J Page 48 JANUARY 1924 rmsrvti f0 ETUDE JANUARY 1924 Page 49 Chorus rit- Prf- Him! “If with all your hearts yetru-Iy seek me, ye shall ev-arsure-ly find me.’’ Dream-ing day-dreams just of you? . Dream - - ing, dream-ing of you All thru the Dream-ing day - dreams just of you?. -j. ^7^j= .a - y r t W i ~rff~ ^rr*rr ^ yggk a a philanderjohnson DAY-DREAMS OF YOU CLAY SMITH Moderato con espressione ^ \/Li J 1 -ffi i 1 I 1. --1 J. If. J 1 . „ 1 J 1 1—. 1 -J-..—1 Do you know who comes to cheer me^When the hours growdark with t=9 al - li - ties fad ing a - way. • Dream ing of eyes that ar D° y°u ^now the skies a - bove you_ Brin,? to me your smile so ™ l L - 0 "3 1 TrTf \ f f ^rffTrrail ~ -- a tempo ~ —1—0- ... 1 p . J 0 blue And smiles like a sun - beam’s play, The world seems a - new Some-thing 3=3 THE etude JANUARY 19H Page 51 Page 50 JANUARY 1924 theeTVh Facts About French Composers ^ords and Music tv WITHIN YOUR HEART •yyHEN Lully (born Italian, 1633-1687) advanced years he devoted himself to paint¬ CECIL OSIK ELLis •as dying, his father confessor forced him ing, and great painters lauded his efforts. Moderate m put the scores of his opera “Achille et Halevy (1799-1862) so indulged his Polyxene” in the flames because if its vo- fancy for fortissimo climaxes that they luptousness. Later when he thought he was became the butt of many jokes among the recovering he said to a friend “S-h-h-h, I German critics. “Punch” of Vienna said 0„ly burned a copy.” that “Halevy made the brass play so loudly When the musicians of the orchestra that the French Horns were actually blown IVERS & POND burned Rousseau (1712-1778) in effigy, out straight.” after the performance of his opera “Le Auber (1782-1871), master more espe¬ Devin du Village,” the composer said, “I cially of Opera Comique, and idol of the don’t wonder that they should hang me audiences of his day, was absolutely indif¬ ferent to renown. He never attended the PIANOS now after having so long put me to tor- performance of his own pieces, and dis¬ Gretry (1741-1813) said of his teacher dained applause. The highest and most of music, “What made us tremble with fear valued distinctions were showered upon him; orders, jeweled swords, diamond was to see him knock down a pupil and beat snuffboxes, were poured in from all the him; for then we were sure he would courts of Europe. Innumerable invitations treat some others in the same manner, one urged him to visit other capitals and re¬ victim being insufficient to gratify his ceive honors from all the courts of Eu¬ In mod-est splen - do Be-neath your smile,dear, hid - ftig in gloom, ferocity.” rope. But Auber was a true Parisian and I wait your an - swer, tbo’ years are long Cherubini (born Italy, 1760-1842) lived could not be induced to leave his beloved most of his artistic life in Paris. In his Paris. By Experience I Have Found That By Nell V. Mellichamp The few minutes spent in waiting for memory when the school term begins in the preceding pupil to finish at the piano, the fall, will do much to stimulate sum¬ may be profitably spent by the child. mer practice; and if patriotic songs and _* I . js__a te mpo__ I', Copies of the Etude, with articles of hymns are included in the list, the chil¬ —.A' Jy- special interest marked, make interesting dren will do a good bit of helpful sight reading. A box of musical puzzles reading during the holidays, and there There grows a fl yearn - ihg to bloom, affords much pleasure to the little ones; will be less lost technic in September. Sui3 - shine is beam - ing « Each day I'm h op - mg’ you’ll hear my song. with -in your heart, while some task such as marking off mu¬ In preparation for two piano work, sic into measures, or writing a line each have pupils play scales, arpeggies, and of 4/4, 2/4, 3/4 time, pleases all begin¬ Czerny studies at compainion pianos, with ners. They will soon form the habit of ar without metronome rates. This accus¬ 7 f j | 7qgjp} 57 looking for something to do when they toms them to the sound of the other piano mpy collaynn^_* s temm_ ^ arrive at the Studio. and helps them to keep strict time. 4*4 Hymn study is splendid preparation for A welcome change in the lesson routine Bach. Have the pupil play each voice, is to put aside the regular work and ask Soprano, Alto, Tenor, and Bass separately the child to give you a concert. He may An Ideal Home Grand 4 and carefully. Explain part singing. pretend—and children love to make be¬ Then when Bach Inventions come, fol¬ lieve—that he is one of the great pianists, The satisfying simplicity of early American lowed by the fugues, they will not seem and is giving a concert to a large audi¬ work, depending solely on beauty of line, so formidable to the young student. ence. His childish repertoire will be To offer a prize to the student who can greatly strengthened by an occasional con¬ material and finish for artistic effect marks play the greatest number of pieces from cert lesson. the Five Foot Colonial Grand shown above. Smaller grands are built, but at a sacrifice of The Etude Monthly Test Questions tone, touch and line incompatible with Ivers Iff Pond standards. Larger grands involve Musical Questions You Can Answer Through This Issue of The Etude an expense in money and space your needs The answers will be found on the pages given in parenthesis. may not call for. Let us mail you a catalog What is the most important element in the success of the Italian-born of this attractive piano. singer? (7) What operas did Berlioz know from memory when he entered the Paris Conservatoire ? (8) What are the Foundations of Piano Playing? (8) Ivers & Pond What is the test of a Beginners’ Instruction Book? (9) Who was the first to construct Overtures from themes to appear later PIANOS in the opera? (12) are built in all desirable types and sizes, but in one quality only—the highest. Their acknowledged position in the musical What composer was so fond of working in the open air that he would world is evidenced by their use in more than 500 Conservatories have a piano moved out of doors for the purpose? (12) and Schools and 70,000 discriminating homes. How shall we learn the principle of free moments? (13) What are the differences in the limitations placed on the interpreter of How to Buy Classic and of Romantic music? (14) Where no dealer sells IVERS & POND pianos we quote lowest prices and ship from the factory tho’ your home be in the most What is one absolute necessity for the professional accompanist? (15) remote village in the United States. Attractive, easy payment What composer was the first to make notable use of the crossing of the plans. Liberal allowance for old pianos in exchange. Every intending buyer should have our new catalog. Write for it. hands in playing the piano? (19) Did Beethoven ever write “Program Music” ? (20) Which is the Una Corda pedal of the piano? (21) Have you achieved proper delicacy in your piano playing? (17) Ivers & Pond Piano Co. What are the chief causes of vocal fatigue? (52) What length of study is necessary to become a professional 141 Boylston Street Boston, Mass. musician? (55) How are the pedals best used in hymn playing ? (56) How shall we prevent slipping of violin pegs ? (60) How shall musical phrases be inflected ? (62) Please mention THE ETUDE when addressing our advertisers. Page 52 JANUARY 1924 THE ETUDB tee ETUDE JANUARY 1924 Pag breathing and those of the throat in Pr by singing alone. Please note • that it is readily stores up following periods of inac¬ training by regular daily work> gu!Per “by means of exercises which cause the tion or overwork, which in turn causes that from these conditions; for during «‘S produce voice. In its incipient stage it chest to expand” that the results are ob¬ lameness and stiffness when new work is causes the singer to work a little harder for period of inactivity the muscles, just'”6 tained. There is no greater fallacy than undertaken. the amount of voice usually to be had by when they are overworked, store up quaJS the idea of voluntary deep breathing. Vol¬ As we do best, then, those movements normal efforts. In its advanced stage it ap¬ The Singer’s Etude ties of waste materials which the action f untary deep breathing, when practiced for which we are accustomed to do, it is of proaches a state of aphonia, which means' “Aren’t you going to invite the muscles must burn up and which tu any length of time, defeats its own purpose vital importance to cultivate, by an effort absolute loss of voice for the singer unless that Mr. Johnson who plays blood must eliminate. Thus we see tli by over-oxygenating the blood and thus of the will, the habit of a calm, poised way a long period of rest is taken followed by Edited by Vocal Experts so well to our anniversary importance of regular work for the m * causing congestion. But by performing of performing the daily actions of life so very careful voice training to be done only cles, sufficient, in fact, to enable themT some bodily movement which causes the that the nervous impulses engendered by party? A good piano play- when the individual is physically fresh and It is the Ambition of THE ETUDE to Make This Voice Department be kept in that fine condition meant by ath° breath to be taken quicker and deeper, the er certainly ‘makes’ a party." rested. thought will have a normal receptive field “A Vocalist’s Magazine Complete in Itself" letes when they say they are in “good train' lungs, the chest muscles and the diaphragm in which to operate, without the antago¬ The object of this paper is to establish “Yes, that’s just why I’m ing.” Muscles kept in training can stand are given real exercise which makes them nisms created by tension and lack of poise. the fundamental causes of vocal fatigue afraid to invite him. Im¬ a greater quantity of hard work without work, and they become developed. 4. With both the beginner and the tired and to suggest sane and practical ways of agine how awful it would be the fatigue which inevitably follows th out singer the teacher can help enormously avoiding it and of curing it. There is no when he started to play on sudden use of muscles not in good train! Clear the Head by remembering that muscular education desire to lay down pedantic rules that must ing. that piano of ours.” be followed by each and every student, but I do not mean to say that it is unwise to leads to an economy of force. Therefore “When the Voice Gets Tired” To try to sing, then, whilst the muscles rather to approach an old and vexatious take a few deep breaths now and then to the teacher must skillfully encourage the are suffering from the stiffness of fatigue subject from a new angle. In other words, ‘‘clear the head,” as one says; but I do practice of vocal exercises in such a man¬ whilst they are in the process of disposing I attribute many of the failures in singing What Causes Tired Voice. How to Remedy It. The Physiology wish to point out carefully that, to ner that the desired results are obtained of these waste products, similar to a kind (and, for teachers, of their failures with of Vocal Fatigue strengthen the breathing powers, exercises with the least possible expenditure of mus¬ She hadn’t the courage to invite him students) to the fact of the student not of auto-intoxication, is distinctly injurious must be performed which cause the breath¬ cular and nervous force; “a maximum of to the voice. effect with a minimum of effort,” Well keeping in physical condition for his task. By Frederic Warren ing muscles to work. I do not refer here to the hygiene of the Thus it is seen that physical exercise in trained muscles, relaxed and poised for (From a Lecture Delivered Before the New York Singing Teachers’ Association.) “Driving” the Voice Oh, the disappointment and chanics. And these wonderful voice or throat, nor to the abstract or general can be of the greatest assistance to effort, does not mean that flabby collapse One of the common mistakes productive spiritual side of singing, but purely to the singers in keeping the local sets of muscles so often thought of when the word “relax” embarrassment a poor piano can qualities of the Weaver give a of fatigue of the voice is to torture it by physical side. used in the act of voice production in such is used, otherwise, in the language of lifetime of splendid service. n, • . _ . ?tate caused br waste materials of arriving at his lesson, most of the time, singing too long in one way. I mean by cause. But in the homes where good condition that they will respond much Weber and Fields, it would be: “You sing, UDviousiy, the first and outstanding cause broken down tissue. As the blood is busy instead of so rarely, in the most favorable that when a difficult phrase or a high note there are Weaver Pianos assur¬ Write us for the name of the more readily to the big demands made upon and you sing, and you sing, and noddings or vocal iatigue .is a, wrongT “ nway of -o—o*singing, for a 1period of from two to rouifour iJwuihours, a, LUUUUIUUcondition toLU blllg.sing. XTUUdUiyProbably IIUJn teachers is sung repeatedly in the effort to get it 1 nut, however, is what I call a J.nrnl fonca anrl nfff»r nmlnno-fid a-vavsvsoo 1 - ,i_ _•« «• them and will thus afford the singer a cer¬ comes out!” ance, satisfaction and enjoyment Weaver dealer in your locality, is what 1 call a local cause, and after prolonged exercise much longer, do speak to. pupils regarding-„ - regular right, or to sing an aria through several tain amount of immunity to the usual fa¬ 5. Never sing directly after any consid¬ abound. For the tone of the and ask for the Weaver catalog. - , — a wrong way of singing in carrying away this waste, and rebuild- normal-1 life,1>r such1 as sufficient- • • sleep,« steady times in succession. By this driving of the is so very often the result of the poor/ ing new tissue, it is ^ tigue; and this in turn would be conducive erable amount of physical exercise. Mus¬ the least favorable application to practice, and diet. But I voice too long in the same vowel forms, Weaver Piano is unsurpassed. Convenient terms are easily ar¬ physical condition of the student, who, time in which to sing, to the singer doing his work most of the cular movements demand an increased sup¬ imagine in general terms only. It is my thus using over and over the same set of Its mechanism is so perfect that ranged, and a liberal allowance gradually becomes accustomed to that This sluggish state of the blood, which is time under favorable conditions which ply of blood, and just before singing the frank opinion that the singing teacher is muscles, just as shown by the example of veiled tone, to that slightly hoarse tone, to equivalent to a state of bodily fatigue, can would engender self-confidence and sure¬ blood should be quiet and equally distrib¬ it removes all thought of me¬ made on your former piano. blamed for a great many ills for which he the held out arm, the muscles become over¬ t at unnecessary pressure, to that difficultv also be induced by intellectual work, worry ness in his vocal efforts and help enor¬ uted in the body, quickly available for the way responsible. After all, he can worked, and instead of the effort tecoming mously to kill that very great defect -self- demands to lie made upon it by the throat. partof'hhf birdirIn'T1 and *inkinVt “2 TV°US Strain‘. Take the singer at the but adv!se and direct the student; he can- more easy, it becomes increasingly more consciousness! Therefore, do not walk to the lesson; take WEAVER PIANO COMPANY, Inc. he in To welt “J?•, f"? °Ut Why 6nd °f 3 s„°ngr recital or after sinSmg an not force the student to do things! In difficult, as the muscles have not had time As already indicated, I cannot possibly the ivalk after the lesson. Factory and General Offices: York, Pa. poorHo^rrL 7 t0‘day’ ^ f T : VHe teadler after a these days, especially in America, when the to recover. Variety is spice to the voice, 6. If in a state of good training, the However leaving aside rb b • days teacbmg; take the student, unhappy teacher must fight against the “get-method- embody within the limits of this short paper Weaver, York and Livingston Pianos and Player Pianos and the singer should reverse the proverb, all of the vocal sins which may contribute throat will not .tire very quickly, but should causes of vocalfaZ, t 6 °bvi0US -d dlsC0Uuraged m h,s work> take the quick” students,, who cannot be persuaded, never put off until to-morrow what you uses ol. vocal fatigue, such as over prac- singer at the moment of making an audi- ~~ J -’ ■ • • ■ • to fatigue of the voice. Individually they it do so during practice, the only thing to tice the tea™ e7,X'VT U,CI- p,rac' £**?*.“I'j"1™1 oi making an audi- nor indeed coerced, to study‘the basic can do to-day” to “put off until to-morrow ce, the heavy strain of a long recital or tion the favorable outcome of which may forms of tone production long enough be- are well known; and I shall be happy if I do is to take a short rest. Freshness of operatic role or fatigue which results mean his daily bread; they ; what you cannot do to-day” and save the voice and a long career is much more cer¬ n a fore they rush to coaching difficult songs have succeeded in showing that they can, WEAVER voice. tain by avoiding the habit of “singing away from singing under such adverse circum- state of nervous exhaustion almost c om- and arias, straining the voice before it is by comparatively simple means, be pre¬ stances as at the end of a tiring journey, parable to that of a football player at It is not necessary here to refer much to vented at their source. a cold” than by using the voice at all dur¬ the well grounded; when the teacher is met on the minor and well known causes of tem¬ P I A N O S on a cold, or for instance, after the dance of end of a hard game, To enjoy the beneficent and inspiring ■ ing a “cold.” every hand with prematurely tired voices, porary fatigue of the whole voice such as the seven veils in -Salome,” let us examine To sing, then, while in this condition, effects of singing most of the time with a 7. It is advisable to give the throat and the last instance given, or faulty production / voice that is fresh and rested, vital and lungs a “fresh air bath” of ten or fifteen :s of fatigue. of the voice, but rather, as already indi¬ minutes every day before using the voice. to overwork; for, as the individual i ing for a cure-all” to make them sing like capable of resisting fatigue, the observance, cated, to dwell upon the principle that these This can be done by taking a short walk out FROM Blood Tells already in a state of bodily fatigue, it re angels! Also, when the teacher is called in general, of the following rules will help A WORD HATCH quires an extra effort to sing, and he over very causes would be reduced to a mini¬ profoundly: of doors, or by doing a few exercises in a The singer, before all other human works. In the c upon for help by cases of legitimate vocal of the student singing fatigue resulting from mum if the student could be in good physi¬ room, the air of which has been cleared by /To the Piano Teacher Who Always Selects the wearying recital, cal condition when the lesson is taken, and an open window. ^Physical for his audition : the nervous strain of too many rehearsals, - Rules for Singers strenuous t likewise the singer for rehearsal or public 8. Be careful to have a wide variety of Best for the Young Beginner or Adult Beginner bloodafesstA-fassss that feeds his vocal chords deoends rSSS-sKSSS appearance. The teacher, student or 1. In addition to the usual normal care exercises for the voice. Avoid “driving” so much the quality of the tone. ' The if thishe condition, while on "the other hand, “First'Aid”. to all— of "theseTv"vy uavinghaving a accepted he disdains the earth, singer, by the observance of the main thing, of the body, such as bathing and dieting, at top-notes, and avoid singing a difficult singer’s vocal chords act for him as a sort treads simple knowledge of the modifications FIRST MELODY LESSONS by Mathilde Bilbro air and sings well at his first re¬ that of keeping the body in a state of the singer should practice in moderation operatic aria, or any one thing too many of barometer, registering, instead of atmos¬ ffikmg place m muscles when exercised, One of the most practical Beginner’s Books ever published. Contains short hearsal. physical fitness, will find the muscles able seme agreeable form of physical exercise. times over at one practice, thus using one and melodious studies that are as interesting as pieces and pieces that are pheric pressure, blood quality! When a then, the application of the usual singing to resist the increased demands made upon If the exercise is in the form of tennis, set of muscles to the point of fatigue. instructive as well as entertaining. Engraved with LARGE NOTES. Price 1.00 The ordinary actions of life require = exercises will te doubly effective, freshen- them for singing. golf, prolonged swimming or walking, it 9. There is a normal fatigue and an ab¬ that person is, at the time, reasonably SECOND MELODY LESSONS by Mathilde Bilbro If all the elevators in Carnegie Hall should be done a sufficient number of hours normal fatigue following work. As to be in pretty jiSSSgood physical condition. I irSESawsare habitual and more automatic; but the SSSS5SS55the teacher’s skill in assisting the individ,,"^ Answers that question so frequently asked “What Book Will BE the BEST TO should fail to operate one day and the before any amount of important singing ■already seen, normal fatigue is a condition have heard that in Italy the singers often singer_j has to perform an extraordinary ac- to be first in a right phyS tat USE NEXT”. Contains sixteen charming pieces and many concise studies . one requiring a voluntary and power- y tate’ students of singing having lessons there takes place, to give the body time to read¬ which promotes growth of the muscles through the keys new to the young pianist. Decidedly Grade Two. .Price 1.00 lime carbonatt‘ 0 f magnesium from fuT’effortof "the" will,"for*-— to sing he must should be obliged to walk up, the physical just itself to normal. In other words, used; abnormal fatigue is a condition re¬ time to time during the day to lighten the use ’ " Lame Throats intellectual force as well as muscular fitness to sing of those who would have to major forms of exercises should be done sulting from overwork. It is an everyday’ TWENTY MELODIES for ADULT BEGINNERS by Bilbro blood and thus insure a clear voice‘fo; ffS TorceZ^Z'T^ weU as ™scuIar Vocal fatigue is equivalent totc a condition With the tremendous interest in a Musical America, there seems to be an increasing climb to the higher floors would be much between important times of singing, not occurrence to hear young artists finish song nerformanceperformance „fof tb,the evening. TWThat'might forewarn't'he mosVfarguing " °f thCSe °* °y,erwork and can be instanced by the just before. tendency toward ADULT BEGINNERS IN PIANO PLAYING. In this old illiistra+inti ™— .11. < impaired; and the teacher would not have recitals with voices congested, forced, thin work the author presents excellent lesson material FREE from childish limitations be a dangerous practice in northern climes; g g’ old illustration of the man told to hold out 2. Some minor form of exercise, such an easy time of it. The result of this and weak. They rush through a recital as both of title and musical substance.Price 1.00 for by thinning the blood we lay ourselves Physical and Moral Training m on a horizontal plane for five min- as the Swedish exercise, or some bodily unusual amount of exercise just before if the devil were at their heels. A little open to chills; but we can have recourse The modifications taking place in the movement including bending and twisting, PRIMER OF EYE TRAINING by M. S. Morris To sum up thus far, then, vocal fatigue muscles is just the singing would bring about, in a small way, knowledge of the action of exercise upon o physical exercise which is’the" ve^y test is caused'by'wrong^‘wavs'of ZIT TT* '• jUSt the Same as when we sing the effects already noted. The blood would should be done daily at home. These Helpful in teaching Beginners to read the m is with certainty and to confirm his the muscles would show them that just a eye-impression by the copying of examples .Price .40 means of elimination of blood impurities, tion which revert back to tte tonda^t 1 T a”g J" •°ne Way’ or Slnff when we are be busy eliminating from the muscles df minor exercises need not take more than and at the same>ome time develops strength and re7eJt .ack to the fundamental already fatigued, as alreadv seen slightly longer pause between groups, and cause, that of the individual singing when blood rushes tr ’’ ■ • • - y Seen' the legs the results of the work of climbing, ten or fifteen minutes, can be done at any The idea conveyed here i > the deltoid muscles more “MUSIC TEACHER’S ORDER GUIDE” free upon request already in a^ state of bodily fatigue, the and more a: leaving the throat inadequately supplied time, and will help the breathing. an intermission of six or eight minutes is the position becomes more and deTr ‘S Mj "eed good latter'being "the^esuk of either physical “o (The Swedish exercise is done as fol¬ would give the muscles time to recover, e fatiguing; it requires an ever increas- with calm, clear blood, besides all of HATCH MUSIC CO. 611 Washington St. lows: Stand erect without rigidity, take a allowing the blood to recede from the con¬ which the individual would be in a partial (Formerly of Philadelphia, Pa.) BOSTON-11, MASS. must so arrange3 his habit? as^to du^brbgTabout fc^ditTont^oVemcilb state of breathlessness, with a rapidly beat¬ deep, full inhalation until the lungs are gested throat and the breathing to become thatf condition when he sings. , which projuefes" voc^f fatfgm ' For example,C°n n’ W- he SingS> ’which Produces vocal fa«^- mltl maximum of T ing heart. Such a condition is not a favor¬ completely filled with air (being sure to more normal. one shotlldshould neverriPVPr singcirm- NovT"NT- let ... « power and blood having gone to the mus- able one in which to sing well, but never¬ start the breath at the base of the lungs) 10. Aside from fundamental conditions Teachers—let me give you a regular wtit,Tr-££ theless. students and singers only too often then, whilst holding the breath, draw the being right, I will here bring to mind a last o throw off the ZZ&sis .SSL;zi subject themselves to such a strain as this abdomen inwards and upwards strongly and most effective means of avoiding local 30c size tube of Kondon’s— walk. The reason is that the modifications teachen H is expeded to’/ra n his puffils ST”? T'the raP!d combust on m some way or other. and let it out again five times in succession; fatigue of the muscles which produce voice. We want school teachers to Keep nose and head clear with taking place m the blood make it almosj not only vocally, bm physically and mol S P’ e’ ^ themSe'VeS ' release the breath, rest a moment and re¬ . know and value Kondon’s and overwork, or nervous exhaustion, anTtte I think a great deal can be done for the It is a very simple device, but one which / to advise this healthy habit to / Kondon’s. It prevents infec- Y tion, colds and catarrh. Just as gooPdOSworek nd Vmger t0 d° ? U5Ua'ly a,Iy’ He automatically tecomestheh^guide arm falls. This single illustration will development and preservation of the sing¬ commence. This exercise should be done goes back again to the keeping of tte mus¬ y their boys andgirls. 3^100 teach- f° d^0^l!nd?.UI1COnS,C,OUsly KS0«S mentor, agent and manager. Entirely tod important as cleaning the teeth. to other means to get results. how what takes place in the muscles of ing voice by the use of judicious physical .out ten times at one standing, or five cles of breathing in an elastic and well Hence he much is expected of him. The time for a l!mes twice a day. Note : While the abdo- Send the names of 20 or more Clip this ad. Mail it at once induces a state of vocal fatigue which may social visit’ • , . , * ** voice when overtaxed Tiiavr exercise and an avoidance of the strain put trained state. A common fault of singers i / parents of your pupils. We will / with the 20 or more names and is certainly not at the lesson thrown, for the time beimr into n should be drawn inwards and upwards | // send you, not a sample, but a reg- last from two days to two weeks; and, if time upon the voice caused by using it under is to take in more breath at the end of each Y addresses to KondonMfg. Co. However, I feel that the subject of lameness and soreness whkh lndu ° with a powerful and steady movement, it | * ular size 30c tube of Kondon’s. Minneapolis, Minn. he makes a practice of this, he will be this paper . unfavorable circumstances. phrase, forgetting to let out any breath mpr ,a ?ne that the teacher should by means of-more excise ? .""u' The effect of exercise upon the breath¬ should be let out gently.) singing in a state of vocal fatigue more take up with the student, excepting that which was used up in sing¬ Take these four steps for pupils’ health less all the time. convinced blood has restored the aching muscles ing of the singer is most salutary. The • A fairly regular practice of these ing, thus gradually inducing a state of con¬ that^nmny of the vocal troubles“ againstaor"”’c+ 3 normal condition. muscles to lungs themselves and the muscles of the ajor and minor exercises will tend to SOLD BY chest can be kept in a far better state of r7ep. /he muscles in an elastic and lithe gestion. The remedy is to let a little of the e the iSft“*r.blood i a a thick and sluggish nated if we could depend■»«'« uponV/stoZ'HmuSS. Th» student or singer who practices i, elasticity and resiliency by means of exer- ndition and keep the body free from old breath inaudibly escape at the end of ^CATARRHAL JELLY ALL DEALERS ’C1S€S which cause the chest to expand than °se poisonous waste products which it the last note of a phrase, or even push it Please mention THE ETUDE when addressing our advertisers. Page 54 JANUARY 1924 THE ETUDE- THE etude JANUARY 1924 Page 55 body in general and in the muscles in par. out, so that on the rebound new, fresh air rushes into the lungs. This interchange of ticular when habituated to regular work the breath, done quickly and deeply by the increase their strength in resisting fatigue’ breathing muscles, gives the throat muscles and develop them according to the class an instant’s relief frequently throughout of exercise given them to do. EIGHT NEW PIANO PIECES the song; and’each time this is done it not The singer should, then, realize that mus¬ Question and Answer Department By WALTER ROLFE only prevents the piling up of old used cular movements, and especially those re¬ KIMBALL breath in the lungs, but also allows the quiring a large amount of nervous control Conducted by Arthur de Guichard IN A MOONLIT GARDEN - - . Gr. IV. Pr. 60c. congestion of blood at the throat to recede, as in the act of singing, demand a certain “The Instrument of Yesterday, Today and Tomorrow” A standard composition full of beautiful melody. re-oxygenates the blood, and thus keeps length of time for rehabilitation before they the singer comparatively fresh to the end STOLEN KISSES— Waltz - - Gr. IV. Pr. 60c. will again be in a fresh and rested state for Always send your full name and address. No questions will Destined to become as popular as the same composer’s “Kiss of the song. new work, and that care should be taken been neglected. Renowned alike throughout “Off with the old breath before taking on of Spring. to avoid using the voice when the muscles Only your Initials or a~chosen nom de plume will be printed. the new.” Make your questions short and to the point. .Europe and America among HONEYMOON DANCE - - - Gr. 111%. Pr. 50c. The outstanding fact to be remembered are already in a fatigued condition. This Questions regarding particularpieces, i it likely tc le of Interest operatic sopranos of her time, Already a big hit. Known on the “Victor” and “Edison” talk¬ by teachers and singers is that the function simple fact ought to help the singer to so mber of ETUDE readers will n ing machines as "Sunbeam Dance.” of a muscle is modified by exercise, and plan out his activities as to be in the best Lillian Nordica placed upon the ELFIN DREAMS possible physical condition when he sings. A Caudal Appendage! might designate a trio of three violins, or of - Gr. II. Pr. 50c. that the changes which take place in the 0 What is tlie real signification o] three other string instruments, or of three KIMBALL the seal of her highest A dreamy tuneful little piece that will live. "coda!”—Byng, London, Eng. pianos, where each instrument might have A “Thereby hangs a tail I” Coda (Italian, tiii w, four, or more notes to play. In the CANDLE-GLOW - - . _ - Gr. IV. Pr. 60c. Circles of Resonance from the Latin, cauda, a tail) is applied to con¬ usual acceptation, a trio is a composition for preference and heartfelt admiration. cluding measures of certain instrumental com¬ three performers, or for three parts. In some A song-like composition, already becoming a big success. positions, in which there have been repeats. (lance movements and in marches the term By Charles Tamme After the repeat, by way of conclusion, a coda, "Trio” is applied to a movement of a more Morgan Kingston, one of our HOLLYHOCKS.Gr. 111%. Pr. 60c. ir tail-piece is added. The name is also given melodious nature and, usually, somewhat to chords or notes which are added at the favorite living tenors, voices his A brilliant teaching number on the order of the famous The singer can only reach mechanical the nose. Herein are the higher vibra- slower pace. It seems that this term "Edelwiess Glide. close of a regular canon, but of which they do originated with Lully, who wrote a move¬ and muscular perfection through processes tions or overtones of the voice, and the not form an integral part. A short movement, ment of a character different from the rest delight with the KIMBALL Piano bearing the designation of “coda,” is often of the piece and had it performed by a trio KIMBALL LONGING -.Gr. IV. Pr. 60c. of the imagination. Therefore it is not quality which these overtones give is a found at the close of a sonata or symphony. composed of two hautbois and one bassoon. in a single emphatic phrase: “One Qrand Pianos Music Time only will prove the intrinsic value of this beautiful essential for him to possess a great deal bright, so-called, white-timbre. These Upright Piai—* DU- composition. Playertyer PianosPi-- Pipe Organs of physiological data. In fact, knowledge overtones can be intensified to the extreme Questioner is Referred to Text Boohs. Absolute Pitch. of the best toned instruments I Reproducing Pianos of this kind often tends to cause undue by muscular tension, forced breath pres- Q. Please answer the following questions, uwvi suuuuTusound -at theme basei>ase ofoi thetne tion,” Cecil Forsyth (Macmillan), “Practical s per second for th achievements by the KIMBALL— •and its rannhi'KiJoc nose and by the action of the soft palate.reflate. Instrumentation,” Richard Hofmann (G. - --—a, treble). The persoi Thematics free. Very special rates to teachers ordering direct. Ask ms®! its tendencies and its capabilities, the Schirmer). Question excepted: "Why has . . ling absolute pitch has this la fixed ii the piano of imperishable fame. about our terms of consignment. Get on our mailing list; we are in the more competent is he to lead his pupil The spacesPace at the posterior portionpor of the Viola the C clef? Answer: For greater mind and is able to recognize any deviatioi business to stay. This is only our small beginning. towards artistic perfection. In other tlle nose—that part which gives us su convenience in writing, by reducing the num¬ from it. He is right and is able to determin ber of leger lines which would be otherwise any departure from it, either on the par words, the vocal teacher depends very mucb trouble when we haw a cold in required. This also answers the third ques- of the instrument or of the performer. Th J W. W. KIMBALL CO., Dept. B Address much for his results on a thorough scien- to® head—is the second circle of reso- idea of “mere approximation,” therefore, doe apply. A pound in weight is s ess, sent to you on request I Gentlemen: Please mail catalog and information on instru- tific knowledge; but he succeeds best when nance- It is approximately three or four unces, whether the scales be ti I ment marked X: n KIMBALL Reproducing Pianos WALTER ROLFE, Publisher he can translate that knowledge to imagi- times the size o{ the first circle. Herein Q. Who mix the first to use stereotypes W. W. KIMBALL CO. I □ KIMBALL Grand Pianos □ KIMBALL Phonographs native appeal, in the mind of his pupil. ,ie overtones farther down in the series in the printing of music!—J. E., Hoboken, (Established 1857) { □ KIMBALL Upright Pianos □ KIMBALL Player Pianos RUMFORD, MAINE, U. S. A. N. J. Q. Why do I yawn continually after hav¬ For instance, there may be a passage to and tbey are fuller and richer in quality A. Francois Reinhardt, an Alsatian music- ing sung for a few minutest I experience be sung, of light-hearted joy. Physiologi- tban those of the first circle. This sec- printer of Strnsburg, in Alsace, France, > the same embarrassment after reading aloud le of stereotypes for mu for a short time.. Can it be overcome!—L. A. cally speaking, the passage ought to be 01ld circle is controlled, too, by the soft printing a t the y r 1S00. D„ Allentown, Pa. sung “dans la masque”; that is, in the an- Pa*ate- A. This tendency to yawn when, or after, A Cnse of Malpractice. singing or speaking, is caused by a certain terior portion of the nasal cavity. But Tbe second circle of resonance cannot Q. I hare hern studying■ voice for three stiffness of the muscles of the jaws, near the Just Out the artistic result is most readily obtained be l,sed by itself, but must be added to the ears, sometimes also by stiffness of the larynx made a change, the new teacher saying I have from pressure by the root of the tongue. To COLLECTIVE VOICE TRAINING by getting that passage sung through men- ^rst c*rcle- It can be emphasized to sound a "lovely rnier, hut. not placed right." It is correct it, keep a loose jaw at all times, and Pianologues By D. A. CLIPPINGER tal interpretation. The actual placing of Iouder than the first. now being placed high, but with such a feel¬ do not allow the tongue to slip back; it The clever pianologue merits place on every enter- "BEjJNMTi;■Uii We can teach you ing in my throat of rawness, soreness and should lightly touch the lower front teeth drawing to”ejwil1 be the same in either case, pro- Tlle third circle of resonance is repre- hoarseness! Doth teachers are considered at all times, except when articulating conso- ESsit .irfes voi“ vided the passage is sung correctly; but sented by the buccal cavity. Added to the good, charging five dollars for thirty minutes nine times out of ten the imaginative way brs* and second circles, it gives a still Will you giro me some advice and tell me TRA,N,NG- wi* what, teacher to go to in -? Kath- iidS^“s;°LsS?MAT,c vo,CE «'•«. will be simpler to do, as well as more richer tonc, somewhat darker in quality, BYN T. THE HEAD VOICE AND OTHER PROBLEMS. Price $1.25. beautiful as to result. However, so many This third circle is controlled by lower- A. Consult a good throat doctor. If he J he clearest discussion of voice training in modem times, tells you there is nothing the matter physi¬ vocal students pick up stray scraps and mS the jaw, arching the soft palate, cup- these books will be sent postpaid on receipt of price. cally, there can be no doubt that yon are -wing ^JrHANDSOME; bits of the physiology of voice mechanism, P»"g the tongue and opening the entire either practicing or being taught incorrectly. Endorsed by high \ ^ the count?" S SUCCCSS “ “ V°iCe buildCr “ tringing t0 him Singers from a11 Parts mat it is often necessary, for their Intel- Posterior portion of the mouth. When it You ought to get a competent teacher for art authorities. YEARBOOK “"5 price you give. For obvious Students trained by members of t$ • our Faculty are tilling bigb-sa,n»,}<>»i . rKttYO* t. CLIPPINGER, 617-618 Kimball Hall, Chicago, III. tZ ft S.flsfact’on- ,t° enter into some of !s added to the first and second circles, the details of the physical aspect of sing- 11 produces full voice. _35c. The set of ten “Etude 1924 Collection,’ $3.00. to Enrolled Students. . • The fourth circle of resonance is in How- 1,0 n a: to Become a “Frofes- Complete list of entertainment material on request. Write today for Art Year Book. ^ T. S. DENISON & CO. there is, for example, the eternal ques- . throat. Added to the other three, it 0- i. How long docs it take one of aver¬ ion of tone coloring. Tones can be glves the voice a deep, sonorous and dark age ability and general education to become a Dramatic Publishers $CHG9LaFAmiED ART professional artistic (sic) pianist, taking tip 623 S.WABASH AVE., DEPT. 73, CHICAGO Applied Art Bldg.Ropm 14.BftTTLEChlEK fijlCH. colored entirely through the working of a ?uality- This circle is governed, mainly, the study of the instrument at the age of SUMMY’S CORNER vivid imagination;, but the mechanics of by Bwering the larynx, sixteen! ii Would dumbell exercises hinder A. They are both correct: (i) the Melo¬ tone coloring can also be taught techni- .Altbough all voices can use these circles one in acquiring a perfect tcehnic in piano dic minor of A; (ii) the Harmonic minor of BAND and ORCHESTRA PUBLICATIONS The importance of Sight Reading is acknowledged by all teachers —Michael N., Hardy Street, Salem, A. The latter is the most modern form of cally—that is, through the use of the vari- Wlthout fear or danger, extremes must be minor scale and the I ist beautiful. __ _ Prompt Service-Reasonable Priees-Our Stock Embraces Classical, Standard and Popular But only recently have teachers agreed that good Sight Reading ous resonators. The resonators are the avoided- They can also be used on any A. i. Beginning piano study at the age easily recognized as hav ig a minor third and Band and Orchestra Music of All Publishers. of sixteen, it would require at least ten years » mini!! , __rvnl from the minor THEO. PRESSER CO., 1710-1712-1714 Chestnut Street, PHILA., PA. \St much on getting a quick concept of the RHYTHM hollow spaces in the mouth, the nose and note of tbe scaIe. but it is not advisable to (and up) to begin to be a professional per¬ sixth to the major seventh forming an aug¬ . t'KN as on a correct reading of the notes. Only a few the throat, roughly speaking, which am- Use tbe f°urth circle persistently on high former. il. Dumbell exercises and any other mented second (three semitones). 1 1 manual work which tends to stiffen the minutes of the lesson time may be allotted to Sight Reading. There¬ phfy the overtones of pitch vibrations. ?,otes-, or k will destroy the elasticity of lingers, hands or wrists must be avoided. “The Sands of the Desert.” fore the teacher must have exactly the right material to work with. T, , ay b5\ that tbe, muscles, the bones, !),e throat and cause what is known in Q. Gan you tell me, please, of what com¬ and possibly the bloodstream, influence tbe Profession as carrying the chest voice Time, Tempo; Rhythm, Meter. position “The Sands of the Desert” is an imi¬ V. How do these differ from one another: tation? I refer to the style of the music — Sight-Reading Material should consist of a collection of pieces, short irVT’ -v16 resonance of the over- .t0° h‘eh- The first and second circles VernonC,^f0Yr,i^/^ft”,’ meter!—Ignorant, Mt. E. I. M., Syracuse, N. Y. tones of- pitch. vibration;—*™ii, but,our, so far, tlthere ,end ‘Selves very readily to the high in ength, definite in rhythms, interesting in content, with variety A. Time is the division of music into reg¬ A. The Bolero. - T, de.fin!te knowledge that theyipu do.»i/-> tonestones;, and fhpthe thmithird circle, «-qt middle ular portions with regard to the value of of keys. All these points are met in the following collections:** ine air in a resonator is normally pas¬ tones of the voice. the notes, having the whole-note ( ) for The Whole-tone Seale. sive. It only becomes active when a - _ the standard. The term “time” is also ap¬ O. i. How would you explain the. fact that SKIPS AMD RHYTHMIC ACTIVITIES.. ..Buckingham .$1.00 The circles of resonance can be used plied to the pace of a movement. Tempo is Ft and Gb, while different in notation, are THIRTY IMPROVISATIONS (all keys)... .Mrs. Crosby Adams... .$1.00 mechanical way to illustrate the the Italian for time, having the aforemen- really the same tone on the piano when the. therTH po ?!f,AaSSeS-°Vr ltS opening: !f a. mechanical way to illustrate applications and meanings. A tempo scale is considered as having eight tones? which / tone “ tbat column of air technic of expression. If one wishes to NOTE :-In using these books for Sight Reading, a point which insures , a return to the regular movement Also why not continue in sharps, thus: C resonator Tv ?th *e sPace of the “avey. tb® idea of joy or brilliancy, the or the piece as indicated by the time-signature d e ft gi a$ bi C, since there are no half- success, ,s Arst to teach the Rhythm Pattern away from the plan" together with such qualifying words as alle¬ steps! (ii). Where should one write for either by clapping, tapping or Dalcroze. Piano, I then amP,ificd. frst Clr V/T UCH lias been written on this subject, must not be glued to the swell pedai An organist can do much to encourage portion must be chosen from these and new 1V1 but ‘he experienced organist who has This latter must be left severely alone the people. Let his playing be firm, decided, and less familiar tunes used very sparingly, I Have Found Out had opportunities of visiting churches, unless the pedal part can be looked after | you (an Make Your and, above all, rhythmical; not necessarily but repeated rather frequently until they other than his own, will probably agree that satisfactorily as well. loud, but with a good body of tone, at least also can be added to our list of well How to Get Rid of there is still much room for improvement The Organist’s Etude Hymns should be carefully practiced Own Music Rolls until the congregation has the tune well in known tunes. in this important department of a church The most convenient method of pedalling hand. Study the expression required by Congregational singing is a fine, helpful Superfluous Hair musician’s work and that, although in the - With the' ~ must be chosen and kept if possible. Stu¬ the words, on broad lines. Do not be too thing for our people and we organists past twenty years progress has been made, dents will soon realize the easiest way It is the Ambition of THE ETUDE to make this Organ Department punctilious about pianissimos. Then, if the must do our utmost to foster it. The pres¬ there is still a long way to travel before and eventually a bird’s-eye view will suffice Leabarjax Perforator At Once hymns (tunes) are chosen with discretion, ent writer numbers among his most pleas¬ refined and inspiring accompaniment is the “An Organist’s Magazine Complete in Itself” Organ students studying with a view to improvement will be noticeable in a month ant recollections the services at a military general rule, rather than the exception as taking a church position should be intro¬ Here’s the Secret it is at present. church in England at which he was privi¬ duced to accompanying just as soon as Try to gain the confidence of the minis¬ leged to play and at which the singing was Probably the chief cause of so much Edited by Noted Specialists they are able to pedal with some degree of ter, so that the hymns may be chosen in I had become utterly discouraged poor work is because many organ freedom and have mastered a few trios consultation. Many of our hymns are not entirely in.the hands of from 1400 to 1800 with a heavy growth of hair on my teachers devote too little time to accom¬ or other exercises for manuals and pedals really sung and never will be; so make a Coldstream Guards, singing that taxed the face and lip. I had tried every sort paniment in their pupils’ lessons. The combined. Stainer idoes this in his admir¬ particular note of those that go well. power of a'tonally large Organ to support, of depilatory and elec¬ trolysis and even a playing of voluntaries and recitals, though able method, though perhaps we have him If congregational singing is to be gen¬ and when the National Anthem was sung, very desirable, is not essential. Congre¬ razor. But I couldn’t to thank for the frequent use of soloing eral, our choice is somewhat limited. with a drum roll in addition, the effect gations can and frequently do avail them¬ get rid of it. The Accompaniment of a Church Service the melody, as mentioned above. Note There are perhaps SO or 60 worth-while was overwhelming and will live long in the selves of the opportunity to retire at the Then I made a won¬ however, he does not suggest solos with tunes that go everywhere. A goodly pro¬ memory of those present. earliest possible moment, and, if there is derful discovery. I four-foot and two-foot stops. Single and each roll the individuality ) found a simple method an organ solo at the offertory, or else¬ With a Few Hints for Young Organists double chants are always easy to play, and give the piece if playing by hand. by which I removed where in the service, the piece chosen is The Leabarjan Perforator is used and etu if a store of these are memorized in the The Church Pianist the hair at once and usually of a simple character not making By George F. Austen dorsed by player piano owners the world over. with which I have kept early days of study, the Episcopalian It makes accurate rolls for any style player piano. serious demands on the player’s technic, it removed. My face the bass of hymns, chants and other set organist would get the habit of playing We furnish all the necessary materials at low cost Mrs. Robert McConaughy and better so, as this is hardly the place to good and assists congregational singing, if The Leabarjan Perforator is not expensive, is now as smooth as a show off a performer’s skill. pieces in the octave that best suits the the harmonies are not of the sickly chro¬ these without the book and later on would and it may be bought on easy monthly payments. ^ baby’s, not only A further reason for poor accompani¬ player, and the habit of dabbing at the matic type. Every young player is strongly find his work much lightened when accom¬ . Write today for free •' The problems of the church organist are to the organ. Anthem accompaniments free from super¬ ments is probably that so many pianists pedals with the left toe, leaving the keys urged to write out these and other varia¬ panying the psalms, perhaps the most diffi¬ sJTHE LEABARJANMEG.CO, many; but the difficulties of the church should in general be played with the fluous hair, but take church positions, without sufficient in order to find the next one, as if they tions from the text, that he intends to cult thing he will have to perform. HAMILTON. pianist are more. The piano is not exactly directions as suggested above for hymns, from pimples and training. Not that one would decry the were red hot. Under this heading might OHIO suited to the church service; yet in hun- that is, with due regard for time, accent, blemishes. I have make. If preferred, they can be memo¬ Registration explained this dis- capable pianist, their technic should stand also be included the tiresome habit of rized, but to attempt them on the spur of dreds of churches it must be used. Unsuit- phrasing, and pedaling, putting the pedal note down long before Excellent books have recently appeared c o v e r y to thou¬ them in good stead, but, as the idiom of the moment is only safe to the fully able selections for preludes and offertories, The selection of appropriate preludes the hands get to work and leaving the on stop registration, and among others sands of women the organ is so different from the piano trained, mature organist. and poor playing of hymns and anthems and offertories should not be difficult. The -ho have had the pedal note down between verses, no matter one by G. B. Nevin. As this subject is too and because a correct pedal technic is Picking out the melody with stops of are the rule rather than the exception. A piano is preeminently the popular instru- same experience how long a rest is made on the manuals. big to tackle seriously in a magazine absolutely necessary, no pianist ought to acute pitch is tiresome, and even with TWENTY FIFTH YEAR pianist may be well trained and efficient in ment for composers; and its vast literature with it that I article, the student should make a point accept a church position, however badly Eliminating Weaknesses an 8-ft. stop, be moderate. A prominent other lines but lack the ability to adapt affords unlimited material for use in the and I will of adding all he can afford t.> his library, .explain it to the extra money may be needed, without Now a few words of advice as to the tenor part is seldom satisfactory, only, GUILMANT her skill to the requirements of the church church service. Why then the sentimental of studying them carefully and refreshing service. trivial stuff that one hears played in you if you first placing himself for some time with correction of the above faults. in fact, when that part has the chief mel¬ his memory with them from time to time. also have a good organ teacher. 1. Noisy playing. Adopt the habit of ody, as in a few Anglican chants. This ORGAN SCHOOL First in importance is the efficient play- church? It is suitable only for the movies, The following hints, howe\ er, might be superfluous hair. It For a clever pianist, the preparatory reading the words of hymns and psalms fault seems rather popular, presumably ing of hymns. Here the most common and hardly to be commended there, of some use to an organist in his early isn’t like anything training need not be long, given a good through before service. Note the oppor¬ because it usually is the easiest change fault is uneven attack. The left hand The following compositions are suggest- attempts in public. Diapason tone, either Dr. William C. Carl, Director you have ever used. teacher and daily practice on the organ tunities for a climax; the effect will be that can be made. Above all, do not do comes down an instant before the right, or ed as worthy and suitable for preludes, It is not a powder, soft or loud, always forms a good back¬ (short practice daily is always far more more lasting if it is short. Study your this kind of thing when playing the tune A distinctive school the chords are rolled from left to right. Andante Cantabile from the String Quar- paste, wax or liquid, valuable than one or two long practices instrument well. Do not work up your ground for voices, and should enable the The player often does this unconsciously, tet. Op 9.Tschaikowsky not a razor, not elec¬ choir to sing in tune, and they will not for talented organists and one should listen carefully to one’s Pilgrim’s Chorus from “Tannhauser” in a week), the earnest student will usually climaxes with the crescendo pedal; save Sometimes the alto part, superimposed tricity. It causes no itching or burn¬ encourage shouting to the extent the more ing and leaves no scars. As easy to be sufficiently prepared in a few months this for an emergency. This method is the above the soprano, sounds well; but the Write-for Catalog own playing to see that this reprehensible Wagner. fiery reeds will. If, however, flattening of use as your comb or brush. to play an ordinary service tastefully, lazy one and tends to make one’s playing best effect of this kind is gained by creat- habit has not been formed. “America” and Largo -„. Handel. the voices does appear, try an added four- 17 EAST ELEVENTH ST. NEW YORK the “Doxology” have been murdered in this My Heart Ever Faithful...... Bach-Heinze provided that accompaniment has been monotonous, as the stops must always come mg a new melody from the treble, alto and foot register. This will often correct the Send for Free Book systematically taught, though to gain a on in the same rotation. Learn to work tenor, with the assistance of any notes of way, times without end. The choppy player Nachtstiicke, No. 4.Schumann. real mastery and to play moderately diffi¬ fault more quickly than increasing the up a climax with diapason tone only. Do the chord that may not actually occur. always comes out strong on the familiar Preludes in E Major and C Minor cult standard works well, the course of power by other means. hymns! Chopin. the same with reeds, flute or string toned All these devices, however nicely done study must extend over years rather than Unless there is a director on whom to Andante from the “Fifty Symphony” stops. (It must be said, however, that should be used sparingly, and seldom with Manual doubles (sixteen feet) should be months. used sparingly in accompaniment and (AUSTIN ORGAN 'rely, one can hardly be too careful about Beethoven. Dept. 812,PCare Hygienic Laboratories, 204 s! lucky is the man whose organ permits all a loud organ. Congregations need en¬ Peoria Street, Chicago, Ill. Noisy Playing this.) In other words, discover how to never on the Great, unless the congre¬ CONTRACT for the n time. The writer has been a church or- A. D. 1620, from “Sea Tales”.MacDowell. couragement to take their part, and the '-'um organ for ChatU: ganist for thirty-five years, yet finds it Contemplation and Adoration from “Holy Now a few words with regard to some get variety and how to make a joyful organist should do all he can to help them. gation is singing lustily in a well-known of the more frequent indiscretions, which noise in different ways. hymn. Take care, when adding the swell st of our wise to count inaudibly for all new hymns City” . Gaul. Lhe,has *rcal desire t0 hear the People suggest themselves as a result of hearing 2. The tremulant should be used spar¬ sing, he will be very careful not to intro reeds, that the box is tightly closed. Keen — Among these: Los-Angeles M. E. and many times for the old ones. A com- Nocturne from “Midsummer Night’s ingly, never with a loud organ, the oppor¬ string toned stops require care. Some Church, University of Colorado, Cincin¬ mon fault is cutting off the last beat of Dream” .Mendelssohn many services in the United States, duce any element into his playing that nati Music Hall. each line. The final note should be held its Am Mcer .Schubert-Liszt Canada and England. tunities for its artistic use in psalms and would tend to prevent them. singers find it difficult to pick up their The highest tonal excellence and the leads from- them, and celestes leave the full time, and the sustained tone can be Au Matin . Godard. . Perhaps the most common mistake hymns are few and far between. This One other fault, of a kindred nature, is best quality of material used character- secured on the piano only by a pressure By The Sea./....Stephen Emery is noisy, coarse playing, and this notwith¬ fault can be cured at once, the remedy filling in the intervals of the melody with question of pitch somewhat indefinite too, legato touch and the use of the damper Yestergloiv.R. Deane Shure. standing the fact that so much has been being, of course, don’t do it. But, after passing notes. Diatonic passing notes are so they are better avoided for this, if for pe Adeline S., II. L.. T. U. O., G. T Y and CLASS PINS others. The Etude is swamped with in- A System of Harmony FRFF PATAI Mi6,VE NAME °F school quiries about violins with Stradivarius labels. im UrtlHLUu CLUBANDNUMBEHIN CLASS-2^ There are millions of these imitation Strads, CURWEN EDITION Either pin illustrated made with any 3 let- ttjMjSg, worth from $1 up. It is quite impossible for Silver plate, 250 ea .$2.50 doz. SleiMnq us to give an opinion on a violin we have ^Harmony Work with Many Individual Points examined by an Expert”18 Write Vo' some of many famous violin makers win ihe dealers who advertise in The Etude, made by Stradivarius, Guano and arrange for an examination. Bergonzi, and many other A nisting,■tailing. Label Mark SCHOOL OPERETTAS i A‘ 1 know of no distinguishing mark, — -urging or for pleasurable mo¬ 1-e" ,cT^an am.nteur cal1 ascertain for him¬ for children ments of recreation at the keyboard with other singers. self whether a violin with a Gimrnerius label - «,ogeDUlne’” wklch y°«ir latter asks for. If Practically all combinations of two voices are covered there were such a mark, the imitators would and in this one hundred and two page volume there is a wealth of carefully selected, good duets. .riurcuus i.uiaamuB tpi The Violinists’ Repertoire ably the same person as “Floreno Guidant Price $1.25 W. H. L.—As your lpttpr was an eighteenth eenturv Italian vioun maker of some note. His labels read: THEODORE PRESSER CO., PHILADELPHIA, PA. or'^jusY howamimlfrconcertlaworkaiyolu111do*1 j “Joaiines Fiorenus Guidant us, Fecit Bononiae yt ’SVffy the t-vpe P^es Mastering the Scales and Arpeggios PROMPT, GUARANTEED DELIVERY TO ALL PARTS ON vm1- C01?stvtute w°uld depend on By James Francis Cooke *■“ :';Td^ndV^ gar* Victor and Brunswick Records hajraenrenerm?'r,ry,,,V“Ii.nei8t kpweve^ sho^W The! er .stuili''s would be next in order, A large stock of these favorite records always on hand, kept up-to-date with new records suitable nieces Mh V™311' e°mPosed of u-mtifi c?nta,n many bowing exercises which iton U as soon as they appear. Our service to mail order patrons is unsurpassed. Catalogs and at Short noticehe 2-H& «52?1VO you lh,k technic of the bow. 2— A work selected lists cheerfully sent on request. jU'u Z’, artists of that rank, have ful v you 1,1 iff*11 fret Bohn drr Haidc by hv Ai I S'la,„ aaratina by Raff. Paust, arr. rSS'Js’SS'.'SSlJttljOn® hv r j by Svondsen. Orientate THEO. PRESSER CO. Seitz*’ aiU the Thiril Pupil’ 8 Concerto by Philadelphia, I tit ™Spfae+<“tS’-~th- would i ueeni sudicient to keei ISMHi “Hintsb ’ J',7'1 Eti de. containing article; might6 p?articet,naandlJ,r(1' *oule “*vs they lo S,,I]1I‘R a Violin.” It is difficult le.arainrnewew“ak7 ahnTn’,hcSpe,CialI}' whei. etc 1opposed Strads. Maggini's, Amati s, kon'wn h“_ve a certificate front weli- pronouncing them genuine. KMliVVHU customers would be afraid >>uy. If your violim Betty and the Symphony Orchestra > difficulty in selling By Elizabeth A. Gest Price’ 10 - .'Mins with Stead Mick dSt°f ^“Mndg servatory” on to Lk “Con- seryatory” is used bv way of 1 Had* “CT Itis needless to say that such a violin S Strntv Ei... ^—Violin Teaching, and Violin Can;Plsbc-herElk7weY^kUcitvr!s u'werk which nisi*•Jjdfe^'m®fa“pa^:r vMhfJ 7nC tS sfde the violfn wSernSo ,2T?'hP cleats in- staccato* bowing*** martele,* s^liT .ST * by the repairer when ^he two^ ^laC^d there lS| THEO. PRESSER CO. Philadelphia, Pa. Page 64 JANUARY 1624 THE etude T0 ETUDE JANUARY 1924 Page 65 Bach Easter 1924 Musical Calendars First Lessons in Polyphonic Studies What the Vocal Student World of Music For Everybody Walter Carroll Music By For Violin Classes Should Know (Continued from page 1) A most successful Christmas season has A fine musical calendar is one of t) By Oscar J. Lehrer By Nicholas Douty Tlie Ballad Concert, so long a national This well-known compilation will be just passed. Our large and comprehensive things that the teacher and the student can Of the many methods for violin classes Of course the vocal student should know institution of England, is reported to be much A DEPARTMENT OF INFORMATION on the wane In popularity. stock made adequate selections easy and not afford to do without in the music rn ° aded to the Presser Collection. It is a which are being introduced nowadays volumes before he is even launched upon REGARDING early decisions as to programs, prevented We make a special effort every year0? 3 mpwhat different book from either the there are few which deserve the serious his career as a singer. There are certain Tlie Flonzaley Quartet has finished annoying disappointment. have our annual musical calendar bette° rirU study of Bach or the Lighter Com- consideration that is due the ensemble indispensable things, however, that the twenty years of its artistic endeavors. No The Theo. Presser Co. “On Sale” facili¬ than the previous successes. This venr ‘ Ztions of Bach edited by Kullak. With methods of Oscar J. Lehrer. These Poly¬ famous author of this book has discerned similar organization has sustained a more f°few° exceptions all of the pieces in this consistently high plane of work; and in all New Music Works ties in regard to Easter Music will give have “hit it” with a calendar we know is phonic Studies are written to follow the in his years of experience as an artist, a these years but one change has been made choir directors and organists the same ex¬ sure to delight every purchaser, because Volume are from the Clavier Book of Anna author’s earlier work, entitled Ensemble practical musician, a composer and a in its personnel. AND OTHER MATTERS OF INTEREST cellent service and we urge that requests of the following features: 1. Size iqv Magdalena Bach. These charming little Method for the Violin, and form a natural teacher. In What the Vocal Student Tlie One ‘Hiundredtli Anniversary of TO MUSIC BUYERS for approval copies be sent to us promptly. x 10%, that is, the size of Tiie Et,'„,,1 teaching pieces provide elementary ma¬ supplement for the same, inasmuch as Should Know he presents this information Smetana’s Birth will he celebrated at the Many novelties are included in this 2. Portraits. Twelve portraits of the terial of rare value. Such music as this where the first written work is entirely in such concise fashion that few students Opera of Vienna, March 2, 1924. year’s lists. Especial mention is made of greatest masters of music are printed on lies at the very foundation not only of in the first position the Polyphonic Studies could possibly read this book without polyphonic playing but of good music in A Drive for a Half Million Dollars a new soprano solo# He is Risen, by Paul one card, surrounded by a beautiful de are written to use the third as well as the getting value ten times its price in actual was started in St. Louis on October 29th, this Ambrose, which will' find favor with all SJ8\ A Infarnjation- The birth and' general. Our new edition of this work first position. printed instruction. At the end of the fund to be used to insure deficits for the next singers looking for high class songs. death dates of the masters are given als has been very carefully revised, edited and Mr. Lehrer has been wise in writing a book are given what might humorously be three years in the maintaining of the »t. Mr. R. M. Stults has written a new the birth dates of many other composers Louis Symphony Orchestra, of which Rudolph fingered. work in which the technical material is called “Douty’s Daily Dozen,” exercises Ganz is conductor. __JH l4 Easter Cantata entitled ‘‘Alleluia,” de are given grouped in connection with the The special introductory price in ad¬ NEW WORKS all in three parts, as well as the melodious for each voice, to be taken every day to service—good and prompt service_and cri',e<^ elsewhere in these notes. months. 4. Convenience. Each month is vance of publication is 20 cents per copy, pieces which follow the necessary technical keep the voice in prime condition. These Advance of Publication Offers (to be considered even in these days! Among the new anthems, we menti( printed on the face of the calendar (no postpaid. exercises. Every difficulty of time, bowing invaluable exercises are not all original gelima’nn,” has been performed at the Volks- reasonable prices. Berwald’s Rejoice and be Gladt Stuli calendar pads), so that you can refer to or style has been painstakingly illustrated with Mr. Douty but are taken from those iffsr The Presser Company aims to make its 8in0 witlt the Sons °f Glory, Kountz’s past or to future months immediately s Scene de Ballet January, 1924 Sp,*ri0« with harmonious three-part exercises, so of the greatest singing teachers of the Tlie Origin French Manuscript of patrons not merely customers but good Today Gie Lord is Risen. Price. 10 cents apiece; $1.00 a dozen’ For Violin and Piano that the pupils will take a real interest in past. The advance of publication price ^•’““^Compositions for the Pianoforte friends and to give its friends the best, A fine list of anthems for men’s voices affords us a very little profit but gives By Charles de Beriot the technic as well as the pieces. Another of this work is 50 cents, postpaid. Album Of Six Hand Pieces, Sartorio_ ,30 most prompt, most courteous and most *s available and also another group for thousands- of teachers and students advantage of the work is that all three ■ euui-c ...... u, .....—. u. the French <—.— , Album of Trills for the Pianoforte. . I® economical service to be had. treble voices in two and three parts. There are certain studies and pieces Music-Writing Book .... a result of the long-standing legal dispute means of securing an inexpensive but ex parts of every piece are of equal difficulty, prosecuted by the heirs of Victor Hugo, whose Alleluia—Easter Cantata—stmts Among the standard Lenten and Easter tremely attractive Christmas-New Year which are considered as standard teach¬ Amateur Musician—Gilbert .on ing material, and when a certain piece is so that the pupils may in turn play each By Anna Heuermann Hamilton drama “Hernanl” is the basis of the libretto Cantatas published by the Theo. Presser gift, that will be useful for 36(5 days The part, thus making the work equal in value used by Verdi. The case was begun by Hugo rrmT?8' Jha-Gperetta for Women's What tO Play— thought of simply as a standard teaching A music-writing book that combines the while in exile in the Jersey Islands, in 1S63, <->„ Stainer's Cruxifixion, Wolcott’s Calendars are ready now. We are sure to one three times its size. Add to this the Concerto No? 1. “^Violin and ' Piano— '4° What to Teach Raton of the Kingdom., Berge’s Wondrous number it is liable to be used in that way best elements of an elementary theory book and has never been definitely decided. that there will be a big demand and fact that the author has been wise enough will prove a novelty to many of our read¬ Cross, Stults’ Living Christ, Immortality, only and not as a real serious concert Easy Opera Album—Piano Solo!..!!.!! 'If Harriette BfOWer strongly advise immediate orders so that solo. Such a number is de Beriot’s Scene to intersperse the well-known but excellent ers. The trouble with most theory books Maud Powell’s Library of Music has „ „ . From Death Unto Life, Rossini’s Stabat there may be no chance of disappointment been given to the Public Library of Detroit. lou? Seasons—C^t^t ' \.. ■ -20 We take great pleasure in i de Ballet, which when well played is folk tunes with selections from the great¬ of the past is that there has been too It includes a most complete collection of vio¬ From should our supply fail to meet the demand: est classical masters, and one can readily much theory and too little practice—too lin works, many of which bear annotations in Krent_ a very showy and nmsicianly solo. It is -- --j successfu a number which will display one’s ability see that those who have the difficult task little actual work. Mrs. Hamilton is a Miss Powell’s own handwriting. In the eol- K^yser,avser. 259.F. Selets«inoted d Studies for VinHn.lLViolin— ' 0 musical subjects.sub-facts. MissMice BrowerRrnwB, _ bs?r Cantatas, Solos, Anthems and Or¬ lection are many pieces so rare that Miss Pleased With Our On Sale in all sorts of violin technic and is sure of finding music which is suitable for class practical teacher with an original outlook Powell often loaned them to others who were gan Compositions. You will probably find study can find no better works for their of Dreams,' A—Operetta—j. w. .40 teacher with extensive experience here and' fh^etaAust what voTa- re seeking. Plan of Ordering to please every kind of audience. We are upon the educational field. Her ideas unable to secure copies elsewhere. and M. H. Dodge . abroad. She has been acquainted with J What you a offering a new edition of this very effective purpose than the Ensemble Method for the have been demonstrated in the success of Lemare Organ Transcriptions ;60 great numbers of teachers and famous . Are you a subscriber to our New Issue Violin, followed by the Polyphonic studies, her other books published by this company. “Jnz» Music Writing Book—Hamilton On Sale Service? This service keeps the number, which we feel will appeal to all Musical Readings—Clay Smith. .20 pianists. The scheme of her new book is The Amateur Musician serious violin students and soloists. It both by Mr. Lehrer. The plan of the Music-Writing Book we New Album of Marches. busy music teacher in touch with the latest ._id of the Italian Government .36 «“°fi'tJntrresti"g 11 covers the en‘ By Russell Snively Gilbert is being edited by Thaddcus Rich, the dis¬ The advance of publication price for the are now preparing for publication is sim¬ petitions carrying great lists of names, accor New Instruction Book—John M. Williams .40 *,re of music of the past bv selecting J and best in teaching material, as the nov¬ New Recital Album, Piano. tinguished Concert Master of the Phila¬ Polyphonic Studies is 40 cents, postpaid. ple, direct and comprehensive. It gives ing to reports from Paris. Apparently tl New Theory Book—Orem •|5 from each epoch numbers of pieces par- content! of des,c,riPtio1? of elties are selected with the utmost care for all the needed material that the pupil 60 ticularly worthy of being developed by the ” J f thlS boob would rcquire more their educational value and sent in small delphia Orchestra. The special introduc¬ P°LehrefiC Studies for Violin ’ cias'sds— tory price in advance of publication is Concerto No. 1 should put down in black and white him¬ 40 student and by the teacher. Tlnfse she has that the K T “sually/,ve- Let us state or large parcels as you desire. We send self in his own handwriting to insure the sses for Concerts have been Rainbow’s End—Children’s Operetta_ 30 cents a copy, postpaid, a truly low Violin and Piano C„ ntlna Dodge grouped into artistic programs in all musician '*• a \ thorouEh these novelty On Sale parcels at intervals teacher that he does actually know all the abolished by the Musical Managers’ Associn- 40 grades from the elementary to those bf JnlIs. c ' ,s intended for the various during the teaching season, from Novem¬ price for this best edition of so desirable By J. E. Accolay tion of'■ New York, with fines of $2i$250 to $500 Scene de Ballet—deBeriot. a violin number. little ins and outs of the basic principles for infractions of the agreement. Songs for Girls, Album.. To the virtuoso. While the book is peeuliariy fcsed ^ling and ber to April. The New Issue Service em¬ One of the hardest problems that the of music. There is not too much nor too Standard Vocal Repertoire 35 one for the progressive teacher the self i reased appreciation. It is not an in- braces not only Piano Music, but also conscientious teacher of the violin has to Stories Notes Can Tell—Terrv. Thirty-six Studies or little. It is the kind of a book to make An “Author’s Copy’’ of “Dixie” has Studies for Violin—Fiorillo 3. 35 help student will find it a most useful that wm awak”0' b°°k’ but one Vocal, Octavo Sacred or Secular, Organ face is that of introducing the student to the pupil think for himself—the acme of been presented to Cornell University of Ithaca, Sweney’s Anthem Selections. and Violin publications. Thousands and Caprices for Violin the concerto literature. After a series of New York, by Charles W. Curtis, of Roches¬ If guide in helping him to select and arrange one ilb lratTnn fb mte.rest For elementary musical training. You cannot ter, alumnus of the class of 1888. The original TW~ManIez^Ie Me:odies t°r the Piano music of the masters which he should ?nHnwfa * * 5’ tba fifth exercise has the thousands of Teachers and Schools By F. Fiorillo studies and easier pieces de Genre, the fail to be delighted when you receive your copy was stolen from the composer and this 30 gradually add to his repertoire. Until fo°wmg^ words, “lean write a tune like Vocal studios for Low Voice—Wheliiton throughout United States and Canada The thirty-six Studies or Caprices of teacher must find a bridge over which the first copy, which you may do immediately pupil may go with surety to the “Studien WBarowerlay_What *° Teac“—Harriette 30 the book is actually published our patrons lu ’ ,, thf *une beSins with G A and have availed themselves of the On Sale Fiorillo are used by many violin teachers as upon publication by sending in your or¬ 75 may have the opportunity to have their f0Lfln words are left blank, Novelty Plan, and hardly a day passes Concerte” of Viotti, Rode, Kreutzer, etc. der now at the special introductory price W—Dorn V°Cal Student Should Know an introduction to the famous Kreutzer nients has been incorporated in the course orders registered here bv sending 75 cents u°-ba „ d [n by,the P“Pd> the final note that we do not receive letters from studies. The Kreutzer studies are essen¬ After the so-called study concertos above of 20 cents, postpaid. of music offered in the public schools of 50 now. This insures you having your copy beln& G. Thus the student creates a por- teachers and customers everywhere com¬ tially of a technical nature and for that mentioned, technique and style are so de¬ Washington, D. C. Time and Money-saving as soon as the book is off the press, post- °l ^^Vossibly a tune like this, mending this service and extolling the reason pupils who are not naturally of a veloped that the modern concerto litera¬ A Knight of Dreams, or paid. w A B A G A G comprised of only three educational merits of the material selected, ture may be commenced with confidence. Wnrtbnr* Castle, near Eisenach, inter¬ Service to Music Buyers notes. Tbe _j_.• V very musical nature are apt, during their A Modern Pygmalion and esting to musicians through its association notes The tune thus made will tend to moreover renewing their subscription for Perhaps the best concerto that can be stimulate musical feeling, and the young necessarily long study of them, to lag in Galatea with certain scenes in Wagner’s “Tannhauser” Th«,CaStaways-ppere.ta the coining year. A postal request will the musical side of their development. used as an introduction to the study of and Liszt's “St. Elizabeth,’’ and more than a pupil will be delighted with the result concertos is the first by Accolay. It has By May Hewes Dodge and thousand years old, has been closed to tour¬ but any one who has attempted to obtain ^or_Women S Voices start these packages of new music coming While these studies of Fiorillo are most I his sort of exercise covers a page or so to you and they may lie discontinued when all of the style of the older concertos, John Wilson Dodge ists because of financial difficulties. even a few of these from the ordinary Fay Foster The next step is to add one note more! valuable in developing the technical side of you desire. Full return privileges are the young student, being especially calcu¬ without being quite as difficult. Being A new musical comedy for mixed voices The 2,0«l0tli Program of the Free Or¬ „„„source , of,. supplyj must have observedwnci veu theme We luiKiuaconsider ourselves fortunate in se- —?. ngex®reises comprised of four allowed on this music the same as upon lated to increase proficiency in double written mainly in the minor mode it de¬ with up-to-date dialog and music that is gan Recitals of the Carnegie Institute of uncertainty and delay incidental to such curing this new operetta by Fay Foster '.'°tes’ and so it: g°es «n along this line any other material secured according to velops the ear of the pupil who has been most effective and not too difficult. The Pittsburgh was passed during the present stops and stretches in the left hand and season. Of these 451 were given by Fred¬ ?-SS -ger USerS °f mus!c are cor_ and believe >t tbe best and most interest- f?r some tlme- Then other similar diver- our On Sale Plan. If you are not familiar principally playing in the major modes, novelty of the plot will hold the attention responctingly inconvenienced owing to con- ing operetta for women’s voices we have S1,°nS. are taken UP which require only smoothness in various forms of string erick Archer, 170 by Edwin H. Lemare, 195 with the “On Sale” Plan, ask us for crossings and arpeggios in the bow arm, and the fact that it is written largely in of an audience from curtain to curtain. by guest performers, and 1213 by Charles ditions for -Which the dealer generally is seen. The plot is fascinating. A party of t,layi"E- The book is one that will in- triplets will give much-needed practice in Heinroth, the present official organist. details. You will find it the most helpful .ret they are written in so musical a style, A struggling artist dreams the entire sec¬ not at all responsible. The fact is, the women of the most modern types find terest every mother, teacher and pupil and that style of time. Starting with a bold service ever offered the music profession. that several of them are used by famous ond act which is filled with the funniest of ^m!?i J** iIS T demanding greatly themselves shipwrecked on an unknown we ca" recommend it highly to our read- introduction, a passage of not too difficult The Cros “CnvaHei UlHciale il artists as concert pieces. Especially valu¬ situations, classic and modern characters complete stocks and a personnel prepared island inhabited by dark-skinned natives, f®' “ takes one out of the beaten track double notes follows, and then come pas¬ Rainbow’s End able also are the examples of the old being all mixed up. The third act pro¬ ferred upon Giullo Gatti-Casazza by the King to serve a wide variety of wants. Unless Very amusing situations develop and the Iato.new fields. So, do not neglect pur- sages in Martele, legato, etc. The melo¬ of Italy. This leaves but one Italian “dis¬ Operetta for Children florid style of slow movement, in which vides the happy solution. Staging and cos¬ tne local demand is exceptional the vol- discovery of one white girl among the c'hasing a copy of this work while it is dies are beautiful and much in the style tinction” for Gatti-Casazza to win, the “Col- every violinist who wishes to play with tuming are easily done and the production lare di Annunziata,” after which he will be ume ot business transacted is rarely islanders leads to a fitting, happy ending stdI. on thetbe special offer.offer By Cynthia Dodge of the older concertos which are later to may be made as simple or as elaborate good taste the classical works for the “cousin of the King himself.” sufficient to justify a large investment in The music is original and strong, charm-' The special price in advance of publica¬ Joan, a little girl, and Peter, her follow. One can find almost every kind as desired! This musical comedy will pro¬ violin should have special instruction. We stock, fixtures and help. This is un- ing to the ear and a delight to sing. Orien- tion is 30 cents per copy, postpaid. brother, are aided by a mysterious old of bowing in this miniature concerto, and vide an entire evening's enjoyment and Frederick Stock, conductor of the Chi¬ have in preparation a new edition of the tortunate, as it deprives many musicians tal touches are interspersed, including woman in their search for the pot of gold if studied with care the pupil should offers an excellent suggestion for a Spring cago Symphony Orchestra, by the gracious ,the. Privilege of examining musical ceremonial dances and rites of the native Twentv-five SpWtf>r1 Fiorillo studies, which will be edited by consent of its board of directors, has accepted at the rainbow’s end. The Sprites of the greatly benefit in rhythm, bowing and in Entertainment. One copy may be ob¬ an Invitation to conduct performances of Wag¬ works before purchase and forces them to women. The contrasts in costumes afford PorTuI Ilye selected Studies Night, Moon-fairies, Snow-fairies, Ocean- i, tP^o Meyer, who has been appointed style. The Theo. Presser Co. will, in the tained at the low advance of publication ner’s “Siegfried” when that opera is given at wa,t until wanted items are procured, lovely stage pictures and the staging, FQrtlle Viohn tairies. Flame-fairies, Rainbow-fairies oy Professor Otakar Sevcik to represent near future, publish a splendid new edi¬ price, 35 cents, postpaid. ’ -in by the Chicago However, there are a limited number of which remains the same throughout the ^ Kayser help all they can. The story is well told in 111 the United States. tion of this concerto, the advance of pub¬ supply houses actually equipped to meet performance, is very easily managed. Our Second Violin Part (in Score') the dialogue and the contents of the pot The advance of publication cash price is lication cash price being 35 cents, postpaid. Album of Piano Pieces the demands of every description of musi- advance of publication price for one copy Arranged and Edited j of gold which- are found to be Stiek-to-it- oo cents, postpaid. For Six Hands cal interests and among these the Theo. is 40 cents, postpaid. W njrui j Edited lveness, Courage, Honesty and Knowledge Contemporary March Album Bulletin of the Home for Retired Music I resser Company has long held a leading ^ Charles Levenson New Theory Book By A. Sartorio bring home a splendid 'lesson. This op- (New Album of Marches for the Teachers place. This is not merely a music store Alleluia» r, ^ presenting this new Edition of a By Preston Ware Orem This book is very nearly ready but the eretta iS ]n three scenes of which the introductory offer will be continued for Sevebai. meetings of different kinds were m the ordinary sense, but a veritable musi- ^*leluJa- Standard work, a verv valuable addition third is very short and may be omitted. Pianoforte) held at the Home last month, much to the This book is intended for students who one month longer. This will be a compre¬ interest and delight of the residents. One cal service station prepared not only to Choral Cantata for Easter IS being made to the list of Violin Studies Ihe music is for children and is most The above title has been selected for supply the every-day things in music but By R. M. Stults ?r. Charles Levenson has selected twentv- nave mastered the elements of harmony, hensive volume containing original six- was a meeting of the Board of the Philadel¬ bright and catchy. The costumes are t goes into the theoretical side of musi- this new album which is now on the press. phia Music Teachers’ Association. After this also the unusual and even the unprofitable The iov of the Res„^reeti , five of tbe most useful studies from Kav- hand pieces by Mr. Sartorio, also trans¬ easy to make and fully described and the ai construction and by actually doing It is the best collection of marches that meeting the members of the association gave we have ever issued. The three principal criptions from well-known works, to¬ an impromptu concert, which was greatly staging very simply done. tnmgs the student at the’ same time learns appreciated. Addresses were made bv Mr. types of marches, military march, parade gether with some very successful original K- s- a®5rs a.% rsj *3 One copy only may be obtained at our e whys and wherefores. The remaining pieces by other writers. These pieces will Stanley Muschamp, Mrs. Frances E. Clarke, advance of publication price, 40 cents, Portions of harmony should have no ter- march and grand march, are all well repre¬ Mr. John Grolle, Mr. James Francis' Cooke. postpaid. sented. These marches are chiefly by liv¬ be of intermediate grade chiefly, although Miss Agnes Clune Quinlan ; and Mr. Maurits magnificent business. It has taken many Solo voices will find mf f 1 . the interest to have otherwise possiblv^drv °rs ’0T the student who has mastered tbe as a rule in six-hand pieces the parts for Leefson played to great applause, and Mr. sc of the common chords and of the ing writers and they are strictly up to Lewis James Howell made a very great hit Descriptive Catalogs date They have been selected not only the second and third players are easier with the “Largo al Factotum” aria from oomuiant seventh chord. Modulation, than those for the first pl iyer. Some of “The Barber of Seville.” On November 17 iSb,f.n5TiS7«h“?r^t"«v'^™’ The Theo. Presser Co. will gladly send for their 'attractive qualities musically, lcb bas proved a bugbear to so many, but also because they can be used for the third player's parts in this book are Allen Hensel Lewry, violinist: Mary Yoos oecomes perfectly easy and natural when but little beyond the first grade in point soprano, and Edith M. Griffenborg, pianist, Hvencatalogs a"V °f the followinS descrT" P operjy anc| practically presented. Tbe actual marching purposes. The book is gave a recital at the home which was warmlv strength is not chiefly in its material re- Joy is the main theme of thio , the Value of tbe Ka>'ser studies will wel- preceded by an introduction explaining of difficulty. All of the pieces are melo¬ appreciated by the residents. The admission Descriptive Catalog of Piano Collections, jea °‘ this book throughout is to en- the various types of marches and their dious and decidedly attractive. fee to the Home will be raised from $200 to descriptive Catalog of Vocal Collections, av"!' to make practical use of all theo¬ The special introductory price in ad¬ $400 beginning with the first of April. The retical musical knowledge, other qualifications are that the applicant descriptive Catalog of Violin Collections. USThe special introductory price in ad¬ vance of publication is 35 cents per copy, shall have taught music in the United States cordia! support5 *of"'co^T■ “• ^ w^tro^m“d co^°"- onfyTaO^^ntf■»“|»«««h.«-• pX^" “ tn'SLVXX Descriptive Catalog of Organ Collections. van? sl)ecia' introductory price in ad- vance of publication is 35 cents per copy, postpaid. for not less than twenty-five years shall lie Descriptive Catalog of Theoretical between the ages of sixty-five and scventv-flve lication of 4,0 cents a copy, postpaid. P ' Postpaid Publicat'on is 60 cents per copy, (“Publisher’s Notes” continued on page 66) years, and shall have ordinarily good health Works and Musical Literature. postpaid. Page 66 JANUARY 1924 tee etude tee etude JANUARY 1924 Page 67 the privilege of securing these or anv Lemare Album of Favorite Musical Readings > Album of Trills Theo. Presser Co. publications for exami¬ Organ Transcriptions and Pianologues For the Piano nation. The Lemare Album is destined to reach By Clay Smith This new book is now about ready but Crown Orchestra Collection. (Offered the music desks of thousands of organs An entirely new collection of Musical the special offer will be continued during as Church Orchestra Collection.) This is because it is only very rarely that tlte or- Recitations in which the greatest possible the current month. This volume starts a a superb collection for any Church, Sun¬ gamst has an opportunity to secure such variety is offered. Serious and gay long new series: Study Pieces for Special Pur- day Schoolscnooi or Amateurmmueur orchestraorcnestra 0organi- Schools and Collides a diversified book with so many practical an(j short, but always with an accompani- poses. Each volume in the series is de- zation. From a catalog of thousands of CHICAGO AND MIDDLE WEST C7 selections. It contains transcriptions and ment which js not too difficult but f, j voted to some special and important point successful copyright numbers not avail- original compositions by Mr. Lemare with interpret the meaning of the words. Each in piano technic. The volume now under able to other publishers there have been novel effects in registration and clirec- number is a veritable gem and the collec- consideration is devoted to Trills. The selected a number of attractive composi¬ tions for the treatment of the chimes tion is without doubt a most useful vol- numbers in this volume are not studies, tions, the majority of which are of a type where accessible. All or the masters of ume to possess. they are real pieces, but in each one of suitable for Church and Sunday School the past have had a great respect for Our advance of publication price for them the trill is either an important or playing. Beside a dozen and one good tolk-nmsic, but in America our own beau- one copy only is 50 cents, postpaid. an exclusive factor. This volume may be melodious numbers of this character that Chicago Musical College tiful melodies, such as those of Stephan used to advantage with any good third are also suitable for various calls upon Foster and others have rarely received Album of Comnositions grade student. The pieces are arranged an amateur orchestra there are about FELIX BOROWSKI, President CARL D. KINSEY, Manager a masterly treatment. Every organist g a. . prp„fori in progressive order. eight favorite hymns. Eight expert or- needs tbe type of materia^ which will be J * • Ston The special introductory price in ad- chestra arrangers have assisted in makim- The Leading and Largest Conservatory ofMusic and Dramatic Art in A merica _ jf pi - .. J’re)ton, also known in our vance of publication is 30 cents per copy, this collection and all the arrangements lication price is only 50 cents, postpaid. catalog as M. Loeb-Evans, is one of those postpaid,■:A are effective, yet not difficult. Parts for FALL TERM NOW OPEN writers who have the real gift of melodic all the instruments now in general use Four Seasons—Cantata Faculty of more than 100 Teachers including the following Noted Artists: (Alphabetically Arranged) invention. Her pieces are not only tune- Tbp Standard may be obtained, . price ( By Kieserling ful but they have also a certain originality. // , t?ndaI'Cl. cents, parts 30 cents each. PIANO: Maurice Aronson, Moissaye Boguslawski, Edward Collins, Harry Detweiler, Max Kramm, It is not often that we havenave a manu¬manu- ^rS- Preston exc.ells especially in teaching VoCal Repertoire School of Violin Technic, by Sevcik Alexander Raab, Louis Victor Saar, C. Gordon Wedertz. VOCAL: Belle Forbes Cutter, Edouard Duf- script that meets Op. 1, Part 1. A fine new edition of these reone, Rose Lutiger Gannon, Mabel Sharp Herdien, Dr. Fery Lulek, Edoardo Sacerdote, Burton Thatcher. exercises ii " VIOLIN: Lois Dyson, Max Fischel, Maurice Goldblatt, Rudolph Re iners, Leon Sametini. ORGAN: isEHf$FL a ^short cantata- of four sections »er compositions, including pieces i:i dance choice so that the entire contents may be P,e edltlng j}8? been done rby *r=Mr. Otto Clarence Eddy, Howard Neumiller, Helen W. Ross, C. Gordon Wedertz. HARMONY, COMPO¬ arranged for women’s voices in^ three . “ characteristic- "style,style, reveries, of’ interest. Meyer. a weH-known teacher and player SITION, ETC.: Felix Borowski, Laura D. Harris, Pauline Houck, Harold B. Marvott, Louis Victor parts, not difficult but extremely interest¬ songs-without-wordsj etc. All singers, teachers, students and per¬ The special introductory price in ad- formers will be delighted to obtain bound ...... - -• •> Saar. PUBLIC SCHOOL MUSIC: Harold B. Maryott. SCHOOL OF OPERA: Edoardo ing. It can be performed without scenery, vance" of^ubHcation o0 cents per COpy) Sacerdote. DRAMATIC ART AND EXPRESSION: Walton Pyre. TEACHERS’ A section is devoted to each season of the postpaid * in one album such a pleasing variety of wlU PrefeT .tl”*e In Your Spare Time at Home CONDUCTED BY ELIZABETH A.GEST New Year’s Resolutions A Visit From F Sharp Terms Used in Music Did you ever hear of WILL POWER? The following list contains some of the Why don’t you, too, get new ideas to use in your teaching, And if you did, do you know what it IS? By Marion Benson Matthews most frequently used terms found in music. It is one of the unexplainable, They are mostly Italian, but a few are make your work a real pleasure and increase your income at the same time? All-important things that helps Of course, it must have been a dream, scheme,” said F Sharp. “Take your red taken from other languages. Copy them Us to reach SUCCESS. although it was difficult to convince Nan. crayon, and before playing your exercises in your notebook. The list will be con¬ You can use your originality, adapt the lessons of a great artist to your teaching and gain independence. If you have it, all well and good. It was far too real for a dream, she go through them carefully and make a tinued. USE IT, and use it to good ADVAN¬ declared. heavy line under every note where I Accelerando—Growing faster. TAGE. She was curled up in the easy chair appear. Then when you practice you will Adagio—Moving very slowly. But if you have none of it “set to WORK” when she noticed a creature of the most remember, when you come to the red line, Ad libitum—Play as it pleases you, not in At once and DFA FLOP it. peculiar shape sitting on the mantel, that I am to be played. Don’t you think a very strict manner. Think about yourself for a moment. swinging his legs to and fro. After gazing that idea will be of some help to you?” he Agitato—With agitation or excitement. Start the New Year Right asked, smiling. What do you REALLY amount to? at Nan a moment, the creature smiled Allegretto—Somewhat quick and cheerful. Now is- the time to take “inventory.” It's the time for for Teacher’s Certificate and Degree—you will benefit greatl}' Are you just tile sort of a person broadly and said, “Don’t you recognize me, Allegro—Quick and lively, as though skip¬ new resolutions. Look back over the year that has just passed. by the Sherwood lessons, which are yours for the asking. You would really like to BE? do you?” ping. If you are not making more money and teaching larger classes And perhaps take it for granted “I’m afraid I do not,” admitted Nan. Andante—Slow and dignified,, as though “You never do,” responded the creature. walking. , than you were a year ago, it’s time for you to make the start That you ARK? Many Etude readers are now using our courses with success. If you think you need IMPROVING, “Your teacher has spoken of me many, Aria—An air or song. that will put. you ahead when another year passes. If you are The courses are endorsed by the world’s greatest musicians Why not IMPROVE? many times. Only yesterday she tried to Arpeggio—Ascending or descending pas¬ content to go on in the same old way instead of standardizing But make the big RESOLUTION make you realize what an important per¬ sages, formed by using the tones of a and by thousands of teachers who have completed the course. sonage I am, and how necessary I am to chord in succession. That whatever you try to DO your work, this announcement will not interest you. If you are your success in music; yet to-day in your A tempo—Play in time, generally indi¬ Don’t take the advice of scyne one who hasn’t had the lessons, You will have enough WILL POWER practicing you ignored me as blithely as if cated after a ritard. ambitious—sincere in your desire to enlarge your class, work but let the teacher who has tested them help you decide. To stick to it until it is DONE. Then your chances of SUCCESS >ou had never heard of me.” "Oh!” cried Nan, “you must be—” Will be fairly good. Read What These Grad¬ “Yes, I am F Sharp,” finished the crea¬ Club Entertainments Good resolutions are Fine. ture. “I came to ask if you had a great uates Tell of Their Affiliation With Noted Chicago College for You may resolve to do better PRACTIC¬ For some time past, a number of you dislike for me, or whether it is merely have been writing to the Junior Etude to ING, your thoughtlessness that prevents you Progress Residential Work Gives Our Graduates And never slight your SCALES, tell about the musical clubs that you belong from making my acquaintance.” to or have formed. Mr. C. M. Fuller, of Michigan, writes: And always have a good LESSON; “Of course, I don’t dislike you,” said “I believe it will,” replied Nan, “and I But unless you develop the WILL How are they all coming on? You “After having four courses with you and now Nan, “but you know I have not been shall try it this very day.” working on the fifth, I am in position to say that Credit for the Extension Courses know, forming a club is a very good thing POWER studying the Key of G very long, and I “Do,” said F Sharp, “and when you have the University Extension Conservatory gives the To keep such RESOLUTIONS, to do, but it must not stop there. You simply can't remember where you are.” learned to recognize me without difficulty, earnest, thoughtful student as much as any other Perhaps you have seen our offer many times. but don’t know how to get it. Your desire, to Why, what good are the RESOLU¬ must keep up the good work, meet regu¬ school in the world. With the Sherwood Course F Sharp frowned. “Let me think,” he you will no longer need the red line, for, larly, study about music and the composers We have been advertisers in The Etude columns give your pupils more—make your own work TIONS? you offer, a teacher can use his own ideas.” said. A moment later he raised his head. of course, you would not like to be depend¬ of music and other important and inter¬ Stick to your resolutions ent on that all your life. Good-bye!” And since 1908. Each year adds more ambitious men easier and more delightful—issue a Diploma, etc., “Have you a red crayon?” he asked. esting things. Then you must conduct Miss Alice Tombleson, of Nebraska, states: And you will finally find the SUCCESS and women to our classes. You have the same “Several,” answered Nan in surprise. with a wave of his hand F Sharp disap¬ “I am Music Supervisor and am very successful, is far greater than any excuse you can think of That you have been dreaming abou‘. your meetings in a businesslike way. all due to your Public School Music Course. The “Then I should like to have you try this peared up the chimney. The Junior Department of the National advantage which were given to them. Without to delay you. The start is everything. Few credits received from the University Extension Federation of Music Clubs is a big move¬ the expense of leaving home' and giving up your Conservatory have been readily accepted in the teachers would admit to themselves that they lack ment that is growing rapidly all over the States where I have taught.” Lutes classes, you can improve your knowledge and courage, but many a person has held back from United States, arid it would be glad to Snow Ball Time Of course, you have often heard of a by the minstrels and troubadours for ac- Mr. R. C. Bolling, of Virginia, after completing four teach at the same time. have your club join the Federation too, if courses, writes : the path he should follow—simply because he Did you ever make music out of snow lute but did you ever see one? They companying their songs and ballads, balls ? your members are interested. Think it “The instruction in your Extension Courses is Be progressive! Many people .want success lacked the initiative to make the start. are ’ frequently mentioned in poetry, and Music written for the lute was not the best possible for one to obtain. The person Snow is just about tlie most silent thing in Shakespeare’s Taming of the Shrew a written as the music of to-day, but Very often someone writes to the who knows and can use his knowledge as to in nature, so it may seem hard to find any ; used, called “tab- lute plays quite an important part in one fashioned jystem ’“=~1 Junior Etude for information about giv¬ enable him to do as well and just a little better, possible way of making it mean music. The following is an example ing a party for their club or class, wanting usually gets ahead—regardless of the method by But you can make it mean music, just as which he received his information—whether in This Is Your Opportunity to know some nice interesting ways to en¬ Mail the Coupon TODAY! you can make a pencil and paper mean college or with a book by an open fire-place, or tertain Ihe club. If your club has had any music when you write down notes. during his spare moments under the written direc¬ Fdl m the coupon below—send it now for four lessons and our late catalog We entertainments or parties that were inter¬ Find a place where the snow is smooth tion of a teacher a thousand miles away. This is will give you full details of our offer to teachers and students, and the offer calls for esting or original and enjoyable, the Junior my third year in charge of the Music Department and hard, or “pack it down” so that it will Etude would be glad to hear about them in the Normal School. I have nothing but praise samples from one of the courses. Get the catalog and lessons-then decide be smooth and hard. Then get five long The lute was much used long ago, be- of lute tablature of the sLxteenth century. , . ,_ .c „,.r„ It looks very queer to our eyes, but it so that it can tell other dubs about your for your courses, which have been of inestimable brings and lay them parallel on the snow value to me in my work.” fore some of our modern mstrume reajiy meant something to the sixteenth- entertainments. about three or four inches apart for the so perfectly developed. It was on the century musicians, and they would prob¬ Always give your name, age and address, staff. You can stretch them tight with order of a guitar, and consequently did ably consider our present-day notation and the name of your club and number of sticks or stones. Draw a clef sign at the members. University Extension Conservatory •eft end of the staff with a stick or with not have a very big tone. It was used complicated. your finger, then build it up with soft snow Dept. B-51 Langley Avenue and 41st Street Chicago, Ill. until it is about two inches high and well 1 Dear Junior Etude: formed. 1 1 l-T I have been taking music lessons tor four Make snowball notes and place them on f, L years and I like music very much. I often University Extension Conservatory Dept. B. 51 Langley Ave. and 41st St T ■t P ^ 0 . P F go to New York to hear concerts as I live Chicago, Ill- the staff to make one of your favorite 1 1 only fifteen miles from New York. Please send me catalog, 4 lessons and full information regarding course I have marked with an X below. simple tunes. \ l Last winter two friends of mine and I gave L r 4 cl 4 1 * 4 cJ o&d a recital. I played the piano and they played □Students’ Piano, by Wm. FT. Sherwood. □Harmony, by Rosenbecker & Protheroe. For an out-of-door class or club enter- c % 7 the violin and drum. We sold tickets for • ) l ten cents and made over seven dollars. We □Teachers’ Piano, by Wm. FI. Sherwood. □Advanced Composition, by FF J. Wrightson. animent, a prize might be given to the one i j [•fpT' l T n r htfir m k sent the money away to the poor. amateur, Dy A. F. Weldon. making the best snowball tune. □Voice, by George Crampton. □History of Music, by Glenn Dillard Gunn. d 0 Jic7 0Qtd» i d 1 c From your friend. □ Cornet Professional by A. F. Weldon. This is lots of fun. Try it. Your first > 0 Frank Crafft (age 11) □Choral Conducting, by Dr. Protheroe. □Public School Music, by Frances E. Clark. ) r 1 New York. attempt may not be very good, but some k i f- tj I PP i. r rFM 1 1 1 » N. B. How many of you, only eleven years □Guitar, by William Foden. □Mandolin, by Samuel Siegel. nSrg*n /rReed)’ b-v Frank w- Van Dusen. Jht iPlc c 5 1 o old, have gotten up recitals and given the □ Banjo (five string), by F. J. Bacon. eautiful staffs and notes have been made; l f fff Pfl money to the poor? That was a splendid and those of you who live where there is j thing for Frank and his friends to do. Name •Age , .Address .How large class have you?, ,ots of snow should be very skillful. Please mention THE ETTJDE when addressing our advertisers. THE ETUDE > 72 JANUARY . JUNIOR ETUDE—Continued SPECIAL NOTICES AND SEND YOUR MAGAZINE ORDERS SCHOOL FOR THE ANNOUNCEMENTS PREMIUMS FOR NEW PIANOFORTE Etude The Junior Etude ------PERSONAL, FOR SALE TO THEO. PRESSER COMPANY IN THREE VOLUMES pretty prizes each month for the best and the square. Begin any place and move ETUDE SUBSCRIPTIONS! Vol. I—Beginner’s Book neatest original stories or essays and an- always to the next square in any direction, or WANTED Vol. II—Student’s Book Rate 10c per word_ 1710-12-14 Chestnut Street Philadelphia, Pa. Vol. Ill—Player’s Book swers to puzzles. After the words are found, their middle Subject for story or essay this month— letters, reading down, will give the FOB SALE—Virgil Clavier mahoganv a of the i tr;,1:--L-" i You Can Secure Any or All of the Useful d fifty v and Save Money! girl under fifteen years of age may com¬ Rewards Described Below W N S N A pete.^ whether a subscriber or not. The Regular Price Is Given—Note the Saving by WITHOUT ONE PENNY CASH OUTLAY Sending Us Your Order Today -1 Tu t Your Spare Time Into Profit! PRICES SUBJECT TO ADV/ SS=iElS]s^ We Will Send to You hand comer of paper, and address on upper Resular price.s™ » °° right hand corner of paper. If your con- ber. 5.—A 1 FOR ONE FOR TWO FOR THREE BUoPo^, SUBSCRIPTION SUBSCRIPTIONS SUBSCRIPTIONS E5=.-Isjs^o eEBr:3}£» avalliere solid gold \ ;°:Z Es“'BE:::2}f5o I .HOOL^^So^, THREE DSMsrF“"-“ Earrr.“::: ::stSj$“0 **GSBSSSBPslL Uneda Canning Set- =S:“:::l}sf3ss A Hfo?dys srt-J sbsz&b E r un^erlTi ‘o^fs»,uo„pass Water Proof Apron- SE.'ATf'iw Relish Dish-nickel Several sent in lists of only Fm-infS?TSSrS >f ? Several had over some had over THEO. PRESSER CO. music we would 111 fell eightA and a few over a hundred! So, of ri 0-1712-1714 Chestnut St. Phila, Pa. A?£rra0f3K£ E£“i“i5,”= tstirjzr —,0’ th0“wi,h ^■sarar*^- s:«= 1710-17120^7lAECh«tr^tFS^:SsEp,. irfei Film Pack. Takes a naking ^ a record for Musical of bar pin filled,Tery P°P«- Shell — R mtssssr^^^ Composition 1847. "lIBirlffiCIFi SLIHES’5 1 ’assess Gold Cloth Powder ^snver handler St6r “=;sm as2&,S3 imfi “oo — sdSP Regular price.$5.00 ) Save $1.00 Catalog of Bargain E”“: 3b Christian Herald Send for Catalog ETUDE It is Loved by Home Folks ^ Rewards',0na Music Magazine Be Had on Request “=L=2Ik zsimfs One Year—12 Sparkling Numbers Only $2.00 | ABOVE PRICES DO NOT INCLUDE CANADIAN NOR FOREIGN POSTAGE | \ LET US BE YOUR MAGAZINE THEO. PRESSER COMPANY CLEARING HOUSE ! 1710-12-14 Chestr TWO WORLD FAMOUS MUSICAL WORKS THAT COVER EXCELLENTLY IMPORTANT BRANCHES IN MUSICAL EDUCATION Thousands of Teachers. Schools and Cclleses Have Adopted These Works. These Books Hove Helped Many Music Lovers in Self-Study _ Standard History of Music Harmony Book for Beginners BY JAMES FRANCIS COOKE PRICE $1.50 THEO. BY PRESTON WARE OREM PRICE $1.25 RESSE Price, $1.00 CO. THEODORE PRESSER CO. 1710-1712-1714 H Jf / You Wouldn’t Scour Piano Keys... WASH- Don’t Scour Teeth SURELY you wouldn’t use a moves a portion of that precious gritty cleanser on piano surface. keys. Grit would scratch them Avoid harsh grit in a dentifrice. and mar their beauty. Colgate’s contains none. You Teeth and ivory are first cousins can use Colgate’s during a long —composed of the same basic lifetime without injuring in the substances. Grit scratches tooth slightest degree the delicate, irre¬ enamel—and every scratch re¬ placeable enamel of your teeth. COLGATE’S CLEANS TEETH THE RIGHT WAY “Washes” and Polishes—Doesn’t Scratch or Scour If you scoured away your skin Na¬ for daily use is one that offers the ture could replace that. Silverware combined action of fine, non-gritty scoured with grit can also be restored precipitated chalk and pure soap. if damaged. But Nature will not re¬ Thus, in Colgate’s you get what mod¬ place tooth enamel once it is worn away. It is better to use a safe dental ern science finds best. Its non-gritty precipitated chalk loosens clinging cream now than suffer years of re¬ gret later on. particles from the enamel. Pure and mild, its vegetable-oil soap washes The most trustworthy tooth cleanser them away. Colgate’s cleans teeth thor¬ oughly—no safe dentifrice does more. A Large tube costs 25 cents. irutn in Advertising Implies Honesty in Manufacture