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

10-1-1927 Volume 45, Number 10 (October 1927) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 45, Number 10 (October 1927)." , (1927). https://digitalcommons.gardner-webb.edu/etude/750

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]. The Journal of the TMusical Home Everywhere THE ETUDE TMustc (^Magazine

Price 25 Cents OCTOBER, 1927 $2.00 a Year The Ninth Monthly Presentation of Composers and Their IVorks

1712-14 Chestnut St. Published By The biographies THEODORE PRESSER CO. of four outstanding piano com¬ PHILADELPHIA, Pa. posers with lists of their works are given on this page each month. Teachers will find the biographical notes of value to their pupils and the suggestions for teaching material timely. Folders of distinguished composers presented in previous issues will be cheerfully supplied upon request,

| E. RR. KROEGER LILY STRICKLAND MORITZ MOSZKOWSKIKOWSKI J THE WORLD OF MUSIC ER. KROEGER, who was born Lily Strickland was bom THE brilliant concert pianist, # in St. Louis, Missouri, in 1862, in Anderson, South Carolina, teacher and composer, MOR¬ and who has achieved such in 1887. She studied at Con¬ ITZ MOSZKOWSKI, was Interesting and Important Items Gleaned in a Constant Watch on success in his art that the famous verse College in that state, and after born in Breslau, Germany, in 1854 Happenings and Activities Pertaining to Things Musical Everywhere French Academy made him a member her graduation lived in Anderson, and died in Paris, France, 1925. of that body in 1904, received his en¬ where she held an organ position. At As a youth he studied at the. Dres¬ tire musical education from local' the time of her marriage, in 1910, she den Conservatory and also at the teachers. In 1887 he was called to be¬ removed to New York City. While a conservatories of Stern and Kullak in come Director of Music at Forest resident there she found time for study Berlin. In the last of these he was a Park University; in 1904 he founded and composing—and three operas, teacher for several years. Moszkow- his own school of music. many songs and piano pieces, and other . When we think of St. Louis and its ski’s first public concert was given in . writings were produced during that Berlin in 1873, and after that he made .music, two names come at once to our minds: GANZ period. , an(l KROEGER, both great musicians. Mr. Kroe- numerous highly successful tours throughout Europe. She now lives in Bombay, India. Her compositions From 1897 till his death he lived in Paris. His gers organ playing—at the Panama Exposition and are characterized by a great melodic fertility and an throughout the United States—has disclosed skill and inimitably light touch. legacy of elegant and dainty salon music is, and for¬ insight. His compositions, large in number, are musi- ever will be, invaluable to the pianist. cianly and well-liked by teachers and pupils every- where. IMPROMPTU MOMENT MUSICAL—(In B Flat) No. 15909 LILY STRICKLAND Price, 30 cents SWING SONG No. 8328 M. MOSZKOWSKI Price, 25 cents j No. 7058 E. R. ^KROEGER Price, 30 cents Grade V

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Pace 713 THE ETUDE OCTOBER 1927 Page 715 Page 71J, OCTOBER 1927 THE ETUDE IF YOU HAVE A MUSICAL PM SHEFTE SUCCESS BACKGROUND THE ETUDE MUSIC MAGAZINE THE -AND CAN SELL- Founded by Theodore Presser, 1883 Qan You YbelV. » One of the most important activities ever inaugurated in P/MO “Music for Everybody’ IN MUSIC 1. What names are given to the various degrees of every POCKET MUSIC the teaching of the piano; scale ? - ... owned, controlled and fi¬ Success in Music is easy—it 2. Who invented the first real pianoforte as we now know it ? nanced by the foremost makers of musical instru¬ QUICK how is merely the adding each When was it invented ? What great oratorios did Handel write? ments in the world, requires week, each month, a little STUDENT able field representatives. If What family of great dance composers lived in Vienna? you have the ability, the Contents for October, 1927 more knowledge, a little more The opening books in a new Who are considered the two leaders of the Romantic School standing and ,calibre, and skill through properly direct¬ series of interest to every stu¬ in composition? ■ can so convince us, we offer p. What is Harmony? _ • splendid opportunities to cer¬ CHEER UPiJtirfe^ dent and lover of tain representatives. Write Wanted to Do- World of Music. ed study and training. Thou¬ How many common chords may be written in each scale? “Can You Tell” . fully. Play Popular Music Contents . sands of good musicians are MUSIC (b) Upon what degrees are they found? in a Few Months! Musical Education in the Home.. What is meant by the Inversion of a Chord? Address standing still—are “in a rut” Room 1008 Question and Answer Department... . What is meant by the Dominant Seventh Chord? ART SHEFTE, Master Pianld and Teacher, shows Low in Price Pocket size 689 Fifth Avenue The Musical Home Reading Table . —because they have gone as Who was called the Russian Chopin? tt&SttLKSZ Editorials. 1 Paper bound New York City Operatic Triumphs .Iscng Tapales 1 far as their training in music TURN TO PAGE 781 AND CHECK UP YOUR ANSWERS. Ilow Can I Raise the Standard of My Playing’.F. Leonard 1 these questions and answers as they appear in each issue of Thb Etude Music Magazine month will permit. month, and you will have fine entertainment material when you are host to a group of muaic loving Beethoven Monument ds. Teachers can make a scrap book of them for the benefit of early pupils or others who sit by the Happy Sides to Beethoven’s Life ...... E. Ballantine 1 Is this your case? If so, then jtion room reading table. Shefte Rapid Course Pads and Fallacies in Modern Pianism .F. Berger ' The Why and How How to Teach Scales. L. D. Hopkins ' the solution is a simple and Two Pianos._ V. A. Fullhardt ' of Music Study Popular Music and Syncopation Queerest String Instrument in the Y»or’rid ....P.J.Searles ’ easy one. More money, great¬ Selections for lleginners . F. Bascorn-Phillips ' er recognition, higher posi¬ By Scottish and Other Folk Songs .... .H. Hope kirk ' Prof. Charles H. Farnsworth What Is "Meant by “Equal temperament?” FOR PIANO A Fascinating Game.. A. M. Fiene tions are ready and waiting By William C. Bowden Translating Practice Into Pleasure .... L. 1C. Baker 1 for you, just as soon as you An analysis of musical talent, Amber Light for Reading Music. ./. Chicago will get more enjoyment from playing. Twilight m Autumn (Organ) ... ' WM in , By Some pianists have contrasts too slight MANUSCRIPTS REVIEWED WITH WRITTEN SUGGESTIONS Thou’rt Like Unto a Flower (Vocal)’ ’ ’' / Z'/ Walter S. Swisher for effective interpretation. Here is a good University Extension JVriie for particulars before mailing manuscripts Teach Me Thy Wav (Vocal) ’'' 1 thought to remember. When you are sup¬ Department Address, 1712 Chestnut Street Philadelphia, Pa. %h™ "°Ce8 f°r Juni0r Etud* Readers ^ ' Langley Ave. & 41st St Gives the teacher a working posed “to play loud,” play loud! When Hark, Vesper Beils’.’...iS" /’ filter ' knowledge of modern psychology you are supposed “to play soft” play soft! A Little Waltz .• ■ ■ ■ W. A. Johnson • Please send me free and without any as applied to teaching problems. obligation full details of your remark¬ A very fine example of this may be seen which is suddenly Pianissimo (Una UMe Wooden )")") V.'* i&Sj* J able Home Study Method, and also in the following measures taken from Corda) again. Starry Skies . sample lessons from the course I have Beethoven’s famous “Andante Favori” in F. This contrast will hold your audience Little Processional March . checked. Measure One is to be played Mezzo Forte; spell-bound, whereas, without this contrast, ON SALE WHEREVER Each book, 60 cents net Plano □Pub. School the last part of Measure Two is suddenly your music will sound too mechanical and MUSIC IS SOLD ORj □Course for Music Before November 1st any two Pianissimo (Una Corda), 'also Measure \vill not be pleasing to hear. Students CVolce DIRECT FROM □Normal LOrgan books will be mailed for 70 cents consult the Reader's Guide which are a^ised to Course for □Guitar Public libraries. Copies of previous ri»6e found in most Teachers □Mandolin Try your music store first : Violin CBanjo- Four Music Albums in This Issue WhCn not oat «/ Print, U\he Cornet— 5 String Amateur As a part of the distinctive Improvement in THE ETUDE now developing, our readers will fbrster Music Pubtisherlnc. □ □Tenor OLIVER DITSON find a greatly demanded change In the arrangement of the music. The first music section (page TI7) Is devoted to Salon Music and music of the higher type; the second section (page 74S) to music of the more serious and classic type; the third sec’ion (page TS7) to pieces for Organ, 218 So. Wabash. Ave. COMPANY Violin, Voice and Duet; and the fourth section (page 789) to pieces for children. This plan Chicago.Illinois has the merit of taking the first and second gride pieces and putting them apart by them¬ 179 Tremont St., Boston selves In the Junior, f tude Section. We are ’sure that our readers will find this classification Immensely to their Uking and convenience. Please mention THE ETUDE w THE ETUDE OCTOBER 1927 Page 717 Page 71G OCTOBER 1927 THE ET UDE FASCINATING PIECES FOR THE MUSICAL HOME

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Street No. . ■ Age.. City . State . How long have you taught Piano?.„. you now? rs , ... many pupils have Copyright 1926 by Theodore Presser Co. International Copyright secured Other Music Sections in this issue on pages 745, 757, 789. Bachelor of Music?... d y°U ‘ke to earn ,he. DcSrce of Please mentionn THE ETUDE when addressing our advertise THE ETUDE Pag* 718 Or TO HER 1927 „ A drawing-room waltz of the “swaying” TT A ft CyTIV AT TCXN" WA.L -L ^ type. Good also for dancing. Grade 3j. WM. H. BUCKLEY

Copyright 1926 by Theodore Presser Co. --- Pert, s int H6 British Copyright secured OCTOBER 1927 Page 721 THE ETUDE

‘Musical Education in the Home

Conducted by

Margaret Wheeler Ross

No questions will be answered in The Etude unless accompanied by the full name and address of the inquirer. Oulu initials, or pseudonym piren, will be published

THIS MONTH being our anniversa¬ of keeping alive interest in music study ry,' we are going to throw a few- and practice, remembering that, very often, bouquets in our own direction, hop¬ what seems to her a trivial incident may ing they may prove a fragrant boomerang solve a difficult problem for some other and scatter the benefit of their perfume mother. generously upon the readers of this de¬ Here is an amusing and a valuable sug¬ partment. gestion, an experience which actually hap¬ It is now one year since the department pened in the home of a pupil of one of was established, and we feel, from the my friends, a very successful teacher. We response of appreciative Etude mothers will call it and teachers, that it has justified its ex¬ istence. We have received letters from A Clever Stunt by a Clever Mother Canada, from far away New Zealand jV/TARY WAS expected to play on a and from most of the states in our own program at school. The day before beloved country, even Texas and Ar¬ her mother, led her to the piano and said: kansas which many easterners still con¬ “Now daughter, you must announce your sider outside of the United States. We number and give the name of the composer are glad that we can report tremendous in clear, strong tones; then sit down and musical activity in these two states, and, begin to play. No matter what I do, you How Your Child would adore since the cultural value of music is now will continue to play to the end of your undisputed, the older sections of the East piece, if you can.” Mother then walked had better “watch out.” over to the corner of the room and seated this beautiful little instrument! herself. She began to talk aloud, whisper, Hopes Realized giggle, cough and rustle a paper she held . , - . //ND how quickly would come Think of it f A , . D . . c WHEN the department was established in her hand. She got up and sat down C-/ J- real proficiency in playing. For we hoped to help the parents of the several times and endeavored to attract the A real child’s piano at the A . . . , country, especially those untrained musical¬ attention of imaginary people, even toss¬ cost of a good phonograph these new miniature pianos are beau- ly, in their problems connected with the ing a few paper wads across the room. or radio! Lacquer-finished tjfui jn appearance, lovely in tone, children’s progress. We did not anticipate Finally Mary played the last chord of in lovely reds.greens, pinks, rr ' ., that the service would go further. There¬ her composition, and Mother called, “Fine! blues, ivories—the colors ample in volume. They provide a fore, it is especially pleasing to know that I see you can concentrate while distracting it is of interest and service to the teaching things that you did not anticipate are P“so"al rk"° for the c,hlld-s“ profession. A recent letter from a teacher going on. ' I am sure you will be a credit wide, 22 inches deep, necessary for regular, undisturbed to all of us tomorrow.” in Texas says, “1 have been reading your Priced from $245. up. practice—and so compact they can be articles written for The Etude and enjoy In what unusual way have you helped every one of them. I wish we could get your child? Please pass it on through this placed right in the child’s own room. them before the mothers of all of our department. Through perfect proportions, pupils. It would make teaching easier.” Another young teacher informs me that An Interesting Query keyboard and pedals meet little she has regular meetings of the mothers, MRS. C. T. A. I was,interested in see¬ hands and feet at just the right of her pupils and uses the department for ing the fine programs of your pupils program material and discussion. She and am sure you are doing splendid work position—they give the natural says it has been of great assistance to her in your community. The family ensem¬ “feel” so essential to correct in getting the cooperation of the mothers ble idea is one of my hobbies, and I am of her class of young children. A clever glad you can report.one such among your practice and playing. teacher in Taihape, New Zealand, used patrons. Concerning the Chautauqua—you Thoughtful music teachers the material from one of the department will find the situation fully discussed in issues which covered the educational value authentic articles appearing in the May and and parents have long desired of music study for the child, as the basis June 1927 Bookman which you can order just such a piano as this. It of a letter which he contributed to his from any magazine or book dealer or local newspaper under his own signature, doubtless find in your public library. It meets the need for culture and to awaken parental interest in music study is becoming increasingly difficult to get in the community. He says: “As news¬ musical education of every on a Chautauqua circuit. Many of these paper correspondence attracts so much organizations maintain their own schools child in a wonderful new way. attention, I think it would be an excellent for training platform entertainers and idea to suggest to your teacher subscribers speakers, and employ only their own stu¬ that they write a letter of such nature dents, unless the applicant has something to their local papers. In conjunction with KOHLER & CAMPBELL, Inc. especially unique to offer or is already a your ‘teacher to parent' articles this national celebrity. The moving pictures would be an added inducement to parents.” 50th Street and 11th Avenue ^ New York, N. Y. and the radio have reduced the patronage of the Chautauquas tremendously, so that Helping the Many they do not flourish as they did in former 1 Campbell Little Pianos, send coupon for address of I T IS most gratifying to learn that the one near you—and for two delightful booklets about years. The only way to get on a circuit the child and the piano, written by William Wade A teachers, as well as the parents, have is to make application directly to head¬ Hinshaw, World famous musician. been benefited by the department, and we quarters, presenting your qualifications and And have you thought how adaptable these instru¬ ments are for yachts and motor boats, bungalows, would welcome further letters from the your references. studios — wherever a perfect small piano is needed ? profession giving us information of the use they have made of the department material and offering ideas and suggestions upon "Of the nine the loveliest three KOHLER & CAMPBELL, Inc. any particular phase they would like to Are painting, music, poetry; 50th St. and 11th Ave., New York But thou art freest of the free. Please send without obligation the see covered. We would also be glad to booklets by Mr. Hinshaw and name have each Etude mother pass on her Matchless muse of harmony.’’ and address of nearest dealer showing the new Litde Pianos. personal discoveries of ways and means —Grillparzer. <.Address- British Copyright secured Please mention THE ETUDE when addressing oar advertisers. THE OCTOBER 1927 Page 723 THE ETUDE Page 722 OCTOBER 1927 __ # Facial Exercise Helpful Suggestions Question: Irons out /^IWinWes, Question an Department To Make Sure of WHAT SHALL Conducted by A Quality Piano— ARTHUR DE GUICHARD IUseTo INTEREST FOR CLUBS, SCHOOLS, TEACHERS TL. AND STUDENTS ing the famous Wess3f, Nicl Something different and vitally interesting The piano action is the piano's most MY PUPILS? STUDY of MODERN tal part. It must be delicately respan- yet built to stand years of usage. FRENCH OPERA The WesseB, Nickel & Gross action ts By ■ by the oldest, largest and leading Milhaud has written successfully for the stage of high-gradedegrade piapiano a- - Mrs. F. S. WARDWELL, Highland Rd., Stamford, Conn. three symphonies for small orchestra, two _xortd’shiqhest-pric^ ' ’ si-priced piano action. New Material You Will Be Glad to Know Includes 13 operas, sketches of composers, librettists, - symphonic suites, five string quartets, several It is today the_;e choice of America's tead- authors, portraits, lists of instrumental and vocal »c.—Feed. M„, Bangor, sonatas for piano and.other instruments, one > makers—and has been since music. Suggests reading of libretto, costumes and sonata for piano-solu-fchdfk number of songs., FROM THE NORTHLAND ..ces. The Honegger, a Frenchman (as are all the ALL AROUND THE HOUSE KEYBOARD SECRETS By Marie Seuel-Holst aCt'°S'end'for.dtscriptm circular of this fond other a cylinder in shape; the oboe is others), but of German-Swiss origin, is a WESSELL, NICKEL & GROSS By Edouard Mayor By Dorothy Gaynor Blake books in the series for music study. 'he clarinet has a single reed; the prolific’ composer of orchestral music, best Supplementary to any method. Both Short finger-drills to develop key¬ The smallest complete sonata Price $1.50 and 10c postage iboe has a double reed. The series of hat- known for his remarkable symphony, “Pacific, Established 1874 New York City clefs throughout. Special attention to left- board freedom, accuracy, rapidity, written. It is prefaced by an a uonics■ in the oboe follow each other in the 231.” His first opera was the “Mort de hand. Fine foundation studies for sight- strength and control. Progress is alytical story, illustrated with m Mrg. F. S. WARDWELL, Highland Rd., Stamford, Conn. 1 - 2 3, <4. The series of harmonics in Sainte-Almdenne.” His latest is the opera Price, 60 cents .. other in the ratio of "Judith," on a Biblical subject, in which gradual, systematic and thorough. sical figures and charming pictures. t, the first overtone Mary Garden hai '' ’ *—* M “ CHILDREN’S SONGS Planned to follow “Melody Book Recommended as a favorite for of the oboe is its octave, Hodgkins—Little Miss Crocus .40 I.” Considered the most modern program and teaching. Faust School of Tuning overtone of-the. clarinet is its tweirrn Tins is the reason for the difficulty in playing Peycke—Go Get it {Recitation) .60 and practical wprk on the market. Price. 60 cents shakes and rapid passages on some parts of PIANO SOLOS Handsomely illustrated with pic¬ the clarinet. The extreme compass ot the Adair—Jumping Jack. .35 tures to color. THRO’ THE CASTLE GATE clarinet is about three octaves and a halt Price. $1.00 By Dorothy Gaynor Blake from E (second space in the bass or 1< clei) : Fitzhugh—Gathering Daisies .30 the extreme compass of the oboe is two oc¬ Fitzhugh—Hay Ride.30 IN MARCH TIME A captivating piano suite for the taves and a fifth from B fiat (just below Fitzhugh—The Garden Party .35 development of facility and style middle C, to F, one octave above the top A wonderful collection of marches line in the treble or G clef). With the ex¬ Fitzhugh—Merry Hikers... .35 for schools, drills, calisthenics, introducing greater freedom over ception of the clarinet in C, tile clarinet is Woodrow—Voice of the gymnasium or outdoor pageants. the various registers of the key¬ Heart.45 Price. S3 cents board. Price. 75 cents IN RADIO LAND Question of Pitch: Piano—(lari (The Children’s Horn) a Certain pitch for orchestral accompi LITTLE SUITE FOR THE PIANO I). How many different pitches —■ FAMOUS METHODS AND COLLECTIONS FOR BEGINNERS By Anna Priscilla Eisber tuned inf c. What arc the i Queen Titania and Her Sandman.30c middle O in eacht tl. Can a piano m i»ii™ Bilbro’s Very First Piano Lessons.. Woodrow—In October Sunshine. .65 The Dolly of Radioland. 35c too high or too low for a clarinet t—“Respect¬ Blake’s Melody Book 1.75 Thomas—Five Tuneful Tales.65 The Story of Uncle Remus. 30c fully," Montrose, South Dakota. Major's Nature Pictures.65 The Blue Bird.35c A. The new pitch A—140. C—523! is Alehin—Song Stories for Piano.65 Little Forget-Me-Not. 30c generally used for the orchestra. Up to a Roege’s Songs and Silhouettes.. Fox—Miniature of a Dutch Family.65 Little Boy Blue. 30c few years ago, A—435, C—517“ was used. Bilbro’s Little Etudes for Little Fingers.. .65 Parkhurst-Mistrcss Maryand Her Garden .10 Descriptive folder containing excerpts of the The old pitches : Philharmonic, A—431, C— Bilbro’s Study of the Bass Notes.65 Mayor—Piano Pictures lor Little Arti-i .65 above mailed free on request. Order 539® and the American pitch, A—401, C— Bilbro’s Happy Half Hours.90 from your local dealer or 54S8 have not been and will not be used again. Mayor—All Around the House.65 If a clarinet Is pitched A—440 or A—435, Berold’s Piano Course. 4 Vols. ea.50 two strings (someth Cadman—Holidays. 1.25 w. A. QUINCKE & CO such a pitch is ' " “ *- ." - It comes from Russia, »...... Peters’ Modern Piano Method. 1.00 Blake—Melody Book (A Second Book) .65 430 Sc les, Cali it to accompany their popular Blake's The Eight Intervals.75 Blake—Adventures in Style.75 first mention of it goes hack t Teter the Great (1672-1725). Blake’s First Steps in the Use of the Pedal Bilbro—Folio of Characteristic Pieces. LOO for Piano.75 A Dintonfc Melody. Blake’s The Three Majors.75 FOUR-HAND COLLECTIONS Dillerand Quaile-Tunesfrom Many Lands 1.25 Keyes—Nine Little Playtime Ducts.65 Diller and Quaile—When All the World McIntyre—Sunshine and Laughter.65 Chopin Waltz—Beethoven Ecoxsnlxe. was Young. 1.25 Q. How is the trill played over the D, in Fnml Musical Adventures for Four- second, measure of the Chopin Waltz, Op. TO, Easiest Sonatina Album.go Hands White-Rutgers—History of Music. 150 No. It Pupils seem to get only a turn on it. Diatonic In the l~0th measure of the Busoni edition of nnnlv the Mattingly—A Visit to Orchestraland. . . .65 McIntyre—Wondrous Tales . .75 Four-Hand Recreations. Vol. I.75 Beethoven’s Ecossaise, there is a fz over the miar,r gcai. __ second pulse. Is this to be felt as an accent, progressions and chords belonging i or a continuation of the dynamic on the first key. Diatonic intervals and melodic progres- AXEL CHRISTENSEN pulse for the right hand—A. B., Brooklyn, gjons an<} diatonic chords must belong to one (Famous Vaudeville and Radio Star) New York. key or scale unaltered; that is, the notes of A- the scale are adhered to and no chromatic Distinctly Definite Teaching Pieces Which Pupils Enjoy JAZZ PIANO PLAYING alterations allowed except in modulating to GRADE I J 3 n new key. provided that the sharp or flat i IN 20 LESSONS alteration belongs to the scale of the new ss for You—Hyatt (Tonal balance). GRADE II (Continued) | His wonderfal^ejrstem^as made thousands of When the Sun Hangs Low—Adair (Gross hand) Turkey Parade-.- Thomas „UInas staccato)(Staccato)... key. Rosemary Fox (Left-hand melody playing) (interpretation). Yodel, Jodel, Jodi, Jodeln. Up Hill and Down—Adair (ScalepraJcl) Q. What is really meant by “to Yodel f” Why 4 out 5 make The Little Corporal—Blake (Rhythm) I cannot find a. good description of it any¬ Fairyland Music—Piaget (Broken chords)'" where t Is it done anywhere else than on Happy and Gay—Adair (Phrasing). the vaudeville stage f—Edna S. Newton Center, this great sacrifice When Falls the Dew—Hyatt (Ringing Tone) Mc^nShXwslBur*^'^. ;; Massachusetts. A. “Yodel” should be spelled jodel, the Pyorrhea continues to wage a victorious war, GRADE II , GRADE III letter “J” of this German word taking the undermining health and youth, disfiguring the In Colonial Days—Woodrow (Rhythm1 Beethoven, Ecossaise regular German pronunciation. It really means to warble, but in a special manner, as features of the face, often causing such ills as In aM«d Garden—Thomas (Thumb practiced by the Swiss and Tyrolese moun¬ rheumatism, anemia and stomach troubles. And Little Canoe—Blake (Cross handf)' taineers. It is done by a rapid transition 4 persons out of 5 past 40 (many younger) sur¬ Rad,ant Sparks-Hutcheson (Rhythm) . '. from the ordinary voice to the falsetto voice Earn $18 tofBO a week RETOUCHD^Photos.^Menor and back again. From constant practice render to this enemy. f (fc) jodelers (those who jodel) usually possess You can provide protection against Pyorrhea,

Lta1LdmoSrraeWri“,Cto-day!8hA^G^^ STWMOS! 1 ® 1 S J§ very strong, yet musical, falsetto voices. Just go to your dentist for an examination at least Dept. D-3, 3900 Sheridan Road, Chicago. New Musical Playlets for Children ~T- (“'Fit |,-E=f J twice a year and start usi ng For han’s-for the Gums. ^iJHE CAT Bu Matbi|de B||bro en> Quickly Memorized and Staged This dentifrice contains Forhan’s Pyorrhea Kill The Hair Root Liquid used by dentists everywhere. When used regularly, it thwarts Pyorrhea or checks its Price, so cents EOod ^ Stage' Ing again. Easy, painless, harmless. No scars. Booklet me the meaning of the Plus Sign in fingering. course if used in time. It firms the gum tissue and free. Write today enclosing 3 red stamps. We teach Beauty —D. P.. Pawtucket. R. I. cent! Price. 75 cents Culture. D. J. Mahler, 140-A Mahler Park, Providence, R. I. A. Fingering: Ital. Applicatura; French, protects teeth against acids which cause decay. le Name Represents. Application. Doiater; German, Applicator, Keep your gums strong and. healthy. Keep your Etude, it is mentioned Finnersetzung. The plus sign (+) is the KEYBOARD CARDS that Darius Milhaud, the French composer, English mode for fingering the thumb, teeth white and free from decay. Use Forhan’s. An Illustrated Catalog ‘ VIRGINIA WHITTINGHAM is one of the ‘•originals’’ of “The Six." Please Its taste is pleasant and refreshing. Teach your 59 Old Short Hills Road Millbum, N. J. tell me irho and what is meant by “The Six.’’ Tlie Brothers JTindemith, Paul and children to use it. It is health insurance. At all PRICE $1.00 —A. B. S., Lawrence, Massachusetts. Rudolf. Send you, mme’aZZddnEto"^"0- “ fREt A. “The Six” is a name given to a group Q. Can you tell me anything about a com- druggists—35c and 60c. of French impressionistic composers whose poser named Hindemith? The name is not Formula of R. J. Forhan, D. D. S. works- display--’— - daring disregard- of euphony-- in my dictionary...„. --„-...I read your column—,.. with and of the school of classical composition. In great interest whenever I am fortunate Forhan Company, New York this respect they have certainly shown them- enough to find a copy here.—C. N. G. C., Oran, selves as “originals.” The group, as origin- Algiers. ally constituted, consisted of Georges Auric, A. There arc two brothers Hindemith, Forl\aits jbr the gums THE WILLIS MUSIC CO Louis Edmond Durey, Arthur Honegger, Paul and Rudolf, natives of Hesse-Nassau - ... — . _ _ Darius Milhaud, Francois Poulenc and G. (Germany). Paul (born, 1895) Is a talented Any' PUBLISHER. OUR. REFERENCE Taillefere. Having become disintegrated, only violinist and excellent composer, coneert- 137 WEST FOURTH ST., CINCINNATI, OHIO * - .—■=»-««• ooe-ec ~ two of the “Six” remain ns propagandists of master at the Frankfort Opera. His brother their impressionistic interpretations—the two Rudolf (born, 1900) is the violincello soloist ■■ ■ 2054W. LAKE ST. CHICAGO. ILL most important, Milhaud and Honegger, at the Vienna Opera (Austria). “ ertlsers always mention THE ETUDE. It Identifies you as one In touch with the higher ideals of OCTOBER 1927 Rage 725 THE ETUDE Page 721* OCTOBER 1927 . UVB

Your Most Delightful Means of Getting Music The Musical Home Reading Table Anything and Everything, as long as it is Instructive and Interesting

Conducted by A. S. GARBETT

How Wagner (Composed j'c' MVS1C ffi- *’ STVBIO Your Postman “Wagner composed at the piano,” says seek his ideas at the piano. He went to Ferdinand Praeger in his “Wagner as I the piano with his idea already composed Brings Right to Knew Him.” “With him composing was and made the piano his sketch-book where¬ a work of excitement and much labor. He in he worked and reworked his subject, Your Door the did not shake the notes from his pen as steadily modeling his matter till it assumed pepper from a caster. How could it be the shape he had in his mind. Very Music You otherwise than labor with a man holding "The morning’s work over, Wagner’s such views as his ? Listen to what he says : practice was to take a bath immediately. Need Now To 'For a work to live, to go down to future His old complaint, erysipelas, had induced generations, it must be reflective.’ and him to try the water cure, for which pur¬ Examine Right again in ‘Opera and Drama,’ written about pose he had been to hydropathic estab¬ this time, ‘A composer in planning and lishments, and he continued the treatment in Your Own working out a great idea, must pass with as much success as possible in i the through a kind of parturition.’ Mark the chalet.” Studio word ‘parturition.’ Such it was with The above passage refers to the year him. He labored excessively. Not to find 1856, when Praeger spent two months or to make up a phrase. No, he did not with Wagner at Zurich.

Pet Chords of the Masters

“Even the best of composers have oc¬ the first movement of the Sitifonia Eroica, casionally shown marked preference for where Napoleonic conflicts are suggested, a given chord,” remarks Edgar Stillman gives utterance to whole broadsides oT di¬ Kelley in his book on “Chopin the Com¬ minished seventh-chords. Bach himself poser,” which no Chopin worshipper should employs this same chord for some, six fail to read. consecutive measures in the Toccata of the THE UNITED STATES FAST MAIL LINKS YOUR MUSIC ROOM “Thus, Mendelssohn was fond of ninth- 'D-minor Fugue’ for organ. (And Mr. chords, especially that in the minor, G-B- Kelley might have added Weber to the list WITH THE WORLD'S LARGEST MUSIC STORF D-F-A flat, while Grieg doted on its major of diminished-seventh worshippers.) complement, A natural for A flat. Both “Mascagni, in the Intermezzo of his THROUGH THE “ON SALE” SYSTEM CREATED BY THE THEODORE PRESSER CO. composers ran the risk of overindulgence, Cavalleria Rusticana, is fascinated by the The Bennett-Bretz, a Stieff - made but Grieg had a thousand devices in reserve, chord of the seventh founded on the second piano of remarkable excellence in its so that one’s attention is diverted before 25 Million Pieces and Books- 45 Years’ Experience Four p , degree in major (as D-F-A-C) ; other com¬ price range—an instrument that will a sense of monotony is experienced. Such posers, of late, are equally hypnotized by favoritism was at one time shown by appeal to music lovers of more mod¬ its melancholy sister, founded on the second including a Huge Staff of Noted Musical Authorities and Expert Mu^aerks' Wagner for the versatile chord of the di¬ est means and to whom the owner¬ degree of the minor scale (as D-F-A flat- minished seventh, B-D-F-A flat. Some ship of a Stieff is an eventuality. years since, to gratify my curiosity, I care¬ C). A young enthusiast once told me he fully inspected the piano score of The Fly¬ introduced it whenever possible. Debussy The Greatest Musieat Season in American History is Opening and others who employ the whole-tone scale Other Bennett-Bretz Period ing Dutchman and. found the chord on Encasements Priced $8;o nearly every page. Liszt, too, in his piano are enamored of the augmented triad—in¬ Colonial Models $7 50 Unless You have Immediate Access fantasies, employed it lavishly. Even deed, here it is a case of Hobson’s choice, - 1. On postal request without cash outlay we will Beethoven, in the working-out section of none other being available.” to an Adequate Music Store You Convenient Terms send at once an -on sale” package of anv kind of Should Open an Account with the music for your study and teaching needs. A Strong, Strong ‘Pull An 18-color chart, Theodore Presser Company At Once. Harold Simpson’s book, “A Century words ‘with a long, long pull, and a strong, showing the internat¬ " 2. We trust you absolutely. The hiVh of Ballads,” contains some interesting strong pull,’ he stretched out his hand to Bennett'Bret stories of familiar English songs and turn over the music on the piano, and Free / ional development of JUST SEE HOW SIMPLE IT IS_ musical pc„ple has ^ »f Piano-Forte Compo¬ their composers. Naturally we hear much his cuff-link caught in the accompanist’s " Send £ sition from 1668 to ormtinc permit you to keep the "on sale” m ^ of Fred E. Weatherley, the writer of lyrics, hair. It was a wig, and it began to come to which three famous composers of this off! 1926; also a story of Thousands and Thousands of Teach¬ For Piano studio for daily use and e^aminatioTuse what school of music wrote many familiar “Suddenly realizing the situation, the the growth and pro¬ ers All Over the World for Over melodies—J. L. Roeckel, Molloy, and accompanist clapped both his hands to his gress of the world's you need and settle for the balance at the h This Stephen Adams. head just in time, and Maybrick was left finest musical instru¬ Forty Years have Used This Un¬ Adams’ real name was Maybrick, and S“U”‘ of th. teaching yj to go on unaccompanied.” ment— the piano-forte. Made By The he was famous as a singer as well as a From the same authority, we learn with Bennett-Bretz matched Presser Mail Order Service composer. He made the setting for interest that the words of Love’s Old 8611(1 today a trial order for • , Weatherley’s Midshipmite and many others Piano Company with Unbounded Enthusiasm. ' 5" Sweet Song were written by Clifton even more popular. The Midshipmite is Division of still sung, so the following little story Bingham “at four o'clock in the morning CHAS. M. STIEFF, Inc. Chas. M. Stieff, Inc. about it is not without interest. in February, 1882, which seems an un- Our Reputation has been made by Lonff-ExnenVn^d t • , ^ “Once when Maybrick was singing the propitious time for writing a song of Est. 1842 twilight.” Accuracy, Unusual Promptness, Generous Liberality Un^ 1 XP^ts> Extreme song at a concert, just as he came to the Stieff Hall Baltimore, Md. an Eyer-Helpful Understanding of the Teacher's Problems Cmute^ and Warerooms in principal cities Regularly Employs a Large Resident Staff of Prominent Business First Metropolitan Appearances of Geraldine Farrar US1C Teachers. In her lively book of memoirs, Geraldine appeared on the stage of the Metropolitan, Farrar tells of how at the age of sixteen I found him surrounded by a great many You may send me literature regarding We Are Awaiting Your Letter with Great Pleasure she first got a hearing by Maurice Grau, people, members of the Metropolitan Bennett-Bretz then impresario, at the Metropolitan Opera Company, business associates, ad¬ irights Players Grands Reproducers Opera House in New York. visers and others. What my emotions □ □ □ □ “Mrs. Grau made an appointment for me were when I passed through the stage L ™EODORE presser co^,v /. Mu* --- to sing to her husband—privately, as I door I cannot describe. Curiously enough, thought,” says the singer. “But when I (Continued on Page 770) Please mention THE ETUDE addressing our advertisers. editorials

LIGHTING THE WAY TO THE ART OF PIANO PLAYING

ONE of the most curious museums in Europe is Surely no one in the dark and barbaric ages ever that inthe old Tower of the Burg in Niirnberg. heard such unbearable rows as your Editor has heard HE Visuola, a new scientific invention which There is housed a ghastly exhibition of the instru- this year in parts of Europe under the guise of “mo¬ T dernity.” Confessing a deep and profound admiration translates, simplifies and reduces the printed ments of torture, not only of the Middle Ages, but of some of the finer works of Stravinsky, Debussy, page to its practical application at the key' also even those used as late as 1820. Grim with age, despite the floral environment which Ravel “and company,” we have been forced to admit board is the product of years of artistic and at the end of some of the compositions of so-called scientific research and craftsmanship. has grown up around this medieval castle, the museum of torture in the tower is a tragic monument to the moderns that almost any kind of humanly-conceived" punishment would be jus¬ The Visuola has accomplished outstanding achieve' “good old days” when tifiable to expiate the mu¬ those who disagreed with ments in the new field of modem elementary piano sical torture to our ears the State or with the pedagogy. This has been exemplified in the results of and to those of all others Church were treated to a eight thousand research cases through which new not carried away with the variety of cruelties almost “Oh, isn’t it wonderful!” truths have been established, arid by which shorter, inconceivable at this time snobbery of people who more interesting ways have been discovered for im' Surely the devil’f have no musical knowl¬ mediately introducing the beginner to fluent playing foundry was rarely idle ir edge or taste but follow and earlier reading ability. turning out thumbscrews the sensationalists merely racks, iron-maidens anc because it is fashionable to As a result, the Visuola has been proclaimed an headsman’s axes. admire the “shocking.” epoch-making development in elementary pianistic There was a nicetj For musicians whose education by such eminent authorities as Paderewski, about the particular in crime is incompetency, strument of torture usee Hofmann, Kate S. Chittenden, Alexander Lambert we have little sympathy. (as Gilbert put it) “t< Walter Damrosch, Diller-Quaile, Mrs. E. A Miller’ We enjoy hearing little make the punishment fi George Gartlan, Rudolph Gan*, Frederic Lamond Katherine stumble over the crime.” her baby pieces until she Percy Grainger, Otto Miessner, Osbourne McCona- Accordingly bad musi can play them profi¬ thy, and many other leaders of musical thought. cians were liable to havi ciently. The very indus¬ their fingers locked in ai try of healthy piano prac¬ pTA^?1AFrpany of New York. ^on, iron flute and forced ti tice (even technical prac¬ Pmis Madnd Mdbojmie and Sydney has endowed stand upon a rough plat tice) has something so the Aeolian Hall School for Music Research for form meeting the publi constructive and worth¬ the advancement of modem Piano Pedagogy. scorn. The illustratioi while about it that it is on this page came fror The Aeolian Hall School for Music Research in' inspiring. It points to a the torture tower. It pic future of great usefulness vites the cooperation of all teachers of piano in a tures this unique punisl to the individual and to major educational program which has been instituted ment in its proper setting mankind. for more and better elementary piano teaching We assume that b On the other hand, “bad musician,” jud^ even in the students’ re¬ byThe Visuola™ pedag0glcal thou8ht “ exempted ment was placed upo cital, the teacher should the performer’s lack c strive to have the pieces Send for the beautiful brochure “Blazing A New artistry rather than on h so well within the grade lack of integrity c Tf . ,nfPia"° P^ng which presents a valuabk .limits of the pupil that solu ion for lighting up” the new places and St morals. We can only sup¬ each piece may be played with security and heard ing through the difficult places. ght pose that he was sentenced to so many days for so many cacaphonic crimes. with pleasure. The question is, what would the good burghers do Musicians, likewise, have no right to take up the For literature and further information without obliga- by way of punishment if they were to come back time of auditors with pieces which they are not tion, address the Secretary, ° today? How would they penalize the orchestra play- capable of interpreting, for then they give no real ing some of the so-called fcfccubist music? Would pleasure nor inspiration to the hearer. The greatest they handcuff all the players to their instruments for mistake in all music is that of playing a piece beyond THE VISUOLA CORPORATION every discord, or would they want to boil them in one’s grasp. Why torture auditors when it so easy to play a simpler piece in a way which delights them? AEOLIAN HALL Fifth Avenue at Fifty-fourth Street New York City fthe ETUDE MUSIC MAGAZINE

Page 727 THE ETUDE OCTOBER 1927 Page 729

training the mind and coordinating the body^th the mind INVESTING “LEISURE TIME” UT,” you say, “young folks don’t have any leisure time B they wotld want t^stSymS, because a knowledge of music these days.” Su^ knowing how to play an instrument enhances ones The fact is, they have just a little more leisure time now than they ever had. The school hours never were shorter and enjoyment of music a thousandfold. , • All this was too obvious to your editor to need explanation. the day at the shop is ridiculously small compared with those halcyon days of our daddies who reported for work at six A. M. Therefore, he has advocated enthusiastically, for over twenty and considered themselves lucky if they put up the shutters years, the wisdom of adopting the very latest and best means ■ at-seven or eight P. M. for bringing master interpreters to the studio, through the With eight hours for sleep, and seven or eight hours for phonograph, the player-piano and the radio. II he were teaching work, there is a whole day for the remainder of our undertak¬ today, he would not dream of doing without these instruments. ings. About three hours arc spent in dressing and eating. One of the very finest performers and teachers in Phila What happens during die remaining four or five hours is the delphia, a famous specialist in technic, the late Maurits Leefson, chart by which most careers are determined. whose pupils won numerous national prizes, always had a The Edisons, Coolidges, Steinmctrxs, Garys, MacDowells, player-piano in his studio, and used it regularly for illustrative Sargents, Rixiscvelts and Mussolinis are largely the result of purposes. the investment of leisure hours in a life ambition. The giants In these days it is not enough for the teacher merely to of history have been men and women who have made use of know that the radio exists. His musical patrons will constantly their leisure time. court his opinion upon the tone qualities and the artistic capacity Most people are, however, so organized that they can for reproduction of the various makes of radio. It is a part work just so long and no longer. These people look forward to of his business to know the different makes and to give advice spending the evening hours in recreation. Many are stupid upon them. He does not need to be a technical expert; but he enough to think that recreation consists in watching someone should be the finest possible kind of a judge of musical values, else try to entertain them. and his influence in deciding a purchase should be very True recreation comes from the ability to entertain oneself. important. Uood games are one way. Profitable reading is- another. We Now and then one meets a teacher who persistently refuses doubt if there is a means of recreation from which more real to get into the rhythm of the times. What grandfather did was pleasure can be derived than from the ability to play an instru¬ good enough and is still good enough. This philosophy carries ment effectively. one back to the first musical instruments. Why not be content There is a kind of satisfaction in being able to master a to return to the jungle and beat upon a drum made of a hollow piece and to interpret it that is unequalled by any other form tree? of recreation. It embraces all of the fine attributes of an ex¬ One of the typewriter companies persistently refused to citing game, of a good book, and at the same time keeps the turn to visible typewriting, contending that it was a useless mind so thoroughly engrossed that it affords a complete change accomplishment. The public, however, demanded a visible- from one s regular daily routine. This is one of the reasons why writing typewriter, and the company that refused to provide so many business men are turning to music as a recreation one nearly went out of business. Parents should realize this. Anyone with the ability to The public just now demands the best in the world in the play need never be alone. Music is a companion, a friend and way of musical interpretation. The teacher who persistently a consoler. It is always a good investment. neglects to take advantage of the benefits that come through the possession and understanding of a fine player-piano, a fine OUT OF RHYTHM 'these°day^ ^ d°eS n0t dcSCrVC to “““d 111 HTHERE is nothing so pathetic as the teacher who is out of Music is one of the most delightful studies in the world 7 rhy.thm ™lth the latest thought and development in the art of music and in the science of teaching in all of its multifarious ramifications. When the elderly teacher of music is out of rhythm, it is little short of a life tragedy. s Tz,for reproducingT™ * and 4°, disseminating ^ interpretations of Music has made Cyclopean advances in countless directions during the past half century. The wide-awake teacher keeps m step with these advances and appropriates the latest dis¬ coveries and inventions for his use. MUSIC, A MESSENGER OF MERCY Over twenty years ago your editor foresaw the great de- ve opment of musical possibilities, which was coming through the A” talking-machine, and introduced the machine and the best records a r^jlar Part of his teaching equipment in New York ThC PUP1 f T® d^?hted and their Progress was accel¬ erated very markedly Other teachers at that time looked A celebrated physician in mmm. .f”™® t"e nerves. askance. What right had a machine in the studio—and espe¬ “The idea has sound medical basis vr Up°nu th'S llas sai cially a machine which might make music so delightful that '■ ««■ a mental eq-SL IftoTh “ T there would be no need for the teacher’s services? operation, of course, much wm.lrl i j the success of t and an extremely nervous person a UP°n th° Patier ^ .£ 7as ,clear rthat no reproducing apparatus could possibly take the place of the real teacher in training the pupil It was also clear that the more people understood and liked ILSS.-1 “ indi“d * music, the more they knew about music, the more they would comprehend that the actual study of music—that is, the art clan with whom we'hLftSrf'f&f rdinS t0 »»» phyi and the atmosphere of the opemt.ng T^ ^" aPPrehensic stnfmpnfsmg uf m music’ throuSh singing or with an in¬ strument—would be appreciated as one of the finest means of scientific application of music to aDeS ^ ,nfelIl8cnt ar Operatic triumph Over fountain'High Obstacles can not help but be a blessing to maSnd V SUCh Condltio1

Do not be ashamed of any labor, even the dirtiest. Be ashamed of one thma , An Interview with Madame Isang Tapales namely, idleness.—The Talmud J ” g °nly’ T5he Operatic Sensation of Europe

The remarkable story of an Oriental soprano who in a few years has Opera at Brussels, the latter remarked, ”By no means leave Europe without made one of the greatest successes known in the history of opera in Europe. hearing Tapales Isang.” The following interview was secured in person by the Editor of The Etude Portraits of this singer, heralded as the great Japanese prima donna, during the past year. were to be seen in all parts of Brussels. Accordingly, when the Editor Isang Tapales, or, as she is frequently billed, Tapales Isang, has made reached Paris, he immediately secured seats for a performance of “Madame such astonishing success in Europe that she has cast aside many established Butterfly” at the Opera Comiquc. precedents. While the Editor was visiting the genial Director of the Royal It is only fair to state that the Editor, for many years, has been an THE ETUDE OCTOBER 1927 Page 781 Page 7SO OCTOBER 1927 THE ETUDE

intimate, personal friend of Mr. John Luther Long, the author f , Butterfly,'' and, because of this long-continued friendship, n nh„rntic How Can I T^ise the Standard of My Flaying? ' ably more performances of “Madame Butterfly” than of any ot e p

With this experience, he was naturally a little skeptical of JfeCf Place the right hand upon the left arm, In still others it will approach HAT QUALITIES belong to the They are distinct, certainly, but you feel to the histrionic genius of the artist. This was something that the W just above the left hand, the right fifth finger, the normal finger, the every cog in the wheel, every jerk of the had never seen before; at any performance of “Madame Butterfly. „ finger lying on the left wrist, at the base finger as moved in the knuckle mechanism. Why should you not? What At the end of the third act, in the famous death scene of Butter y, of the hand. Beneath the right forearm only, without any help from the arm? is the objection? the artist rose to heights of acting that can be compared, only with the grea The finger is a small member. It is and wrist should Ije placed a book of such In A2 (curved finger), you feel each thickness that, when the arm rests upon it, Sarah Bernhardt. easily movable. It is quickly movable, separate stroke on the left arm; but the the fingertips, knuckles and wrist will be At the end, the Parisian audience, which packed every seat, gave t because it is small and because it can (stiff, hard, or very muscular joints). strokes are grouped; they have more con¬ on a level. The right arm and wrist must little singer by far the greatest ovation that the Editor had heard given to be moved easily. Because it can be moved The position must be that in which the tinuity. any artist during an extensive tour of European music centers. _ quickly, it can have a swift impact on the lie comfortably on this support.. hand feels as little tension as possible—a In A3 (flat finger), they have still more Here, then, is the story of Tapales Isang, but more interesting still to key. It cannot have a heavy impact, be¬ long finger, lying as flat as it can without continuity, but are less distinct. In some Etude readers is this singular fact. At the end of the performance, the cause it is small and not heavy. It is tension. Each hand must find its own hands these strokes will be most swift. not made of bronze or lead. Small, light Editor went to the dressing room of the singer to compliment her upon comfortable position. In all hands the cocked finger strokes are GIACOMO PUCCINI GIACOMO PUCCINI objects cannot be massive in impact. The From this position, make the same light, the remarkable occasion. For a few moments the conversation was least swift. Notice the difference between finger can have a somewhat strong im¬ swift stroke, with the same succession of the “thickness” of the "cocked” finger An Italian Caricature of the in French; then the singer said, “But you are an American, aren t you: (1712-1781) pact, according to the strength of its mus¬ fingers. But observe that the fingers are strokes when they try to be very rapid, The Editor replied that he was about asAmerican as anyone could possibly Composer of “Madame Butterfly” Great-Great-Grandfathci < >f cles. But its value as a playing member not now standing on their tips. That is, and the flowing (continuous or group ef¬ be. Then she said, “I am an American, too. I was born a Filipino, in the Puccini, also a Composer of Fame depends very greatly upon its lightness. you are not playing on the tips of your, fect) quality, combined with distinctness Philippine Islands, under the American fletg. I am not in any sense Japanese Its normal strength is valuable also, and fingers. The impact occurs at some dis¬ in both the other positions. J WAS BORN in Manila, the Capital and have no Japanese blood. / was educated in American schools and should be carefully developed. But its tance hack from the tip, perhaps even as When you try A4, and watch the left Whenever there was any musical togram of the Philippine Islands. Al¬ have studied- music in Italy only eight months. I have been a regular reader lightness, its mobility, are the first points far back as the first joint. The move¬ arm, you will feel the same differences in “r for any occasion, such as the Fourth of though the American flag has been of The Etude Music Magazine most of my life.” to study. ment should be a light, flapping sort of continuity and distinctness. But even July or Washington’s Birthday, they flying over the Philippine Islands for The finger can be moved up and down, movement. though you do not use more strength, the nearly thirty years, I find that on the whole would give me a prominent place on the sidewise and in rotation. These move¬ invention, the talking machine. I listened strokes will be heavier. Now you are al¬ Americans know very little of some of first place in violin at the famous Con¬ program, and this was in itself a source ments should be clearly distinguished, for Al. Lift each finger as high as you Study the Sensations to record after record and dreamed that lowing the hand to lean on the finger, and the most interesting things about the archi¬ servatoire du Verdi at Milan. His maes¬ of great inspiration to me. the purpose of using that movement only can, bending it sharply (like cocking a tro assures me that he will become an some day I might sing like the great /COMPARE, now, in the right hand thus have added the weight of your hand pelago. The islands contain one hundred which we select. Lay the hand flat on the gun). Then strike the left arm, lightly, artist of high rank. artists I heard. Can you picture how Talking Machine Inspiration (playing hand) the sensations accom¬ to the weight of your finger. and twenty-eight thousand square miles. table and move the fingers up and down. but suddenly, using the fingers 1234543212- “With the coming of American occupa¬ distant such a career seemed to a little panying Al, A2, and A3. In which ex¬ They are much larger in size than the “AFTER FIVE years in the public Or, holding the hand in the air, close it 3454321. Do not, in this experiment, try tion, American music teachers were eager Filipino girl of very moderate means, periment has the hand the least tension N°w>, the Piano British Isles, and larger than all of the ** schools, I went to a college, and and open it, flinging the fingers back as to use strength. Try, rather, to preserve to bring their best methods to the Philip¬ situated thousands and thousands of miles (feeling of pull, in the muscles, or of tight¬ New England states together. They are there I spent three years—hoping, dream¬ far as possible when you open it. This -is, a light feeling in each knuckle as if the HEN THESE movements are thor¬ pines, and this, of course, influenced sig¬ away from the great music centers of the ness) ? In which can you make the most] W larger than New York, New Jersey, Penn¬ fingers were attached merely by threads. world, where there were no vocal teachers ing, working. My great source .>i inspira¬ of course, the up and down movement. rapid group of 54321? Which gives the oughly understood, and are mentally sylvania and Delaware combined. It may nificantly our musical life. There are a of international fame? tion did not come from books, hut rather (Test this sensation by giving a stronger highest fling of the finger? Which can and physically distinct from each other, surprise some Americans to realize that great many Filipino musicians in the “My father’s income from his work from the talking machine. I listened to The Lateral Movement stroke, and feel the muscles tighten in make the most repetitions without fa¬ transfer them to the piano. there are twenty active volcanoes In the bands of the United States Navy. They naturally was very slender. Bandmasters all the records 1 could possibly secure and, each knuckle!) The tip of the thumb is tigue? Which, in other words, feels the A5. Place the fingers 2345, on c, d, e, f. Philippine Islands. There are several are devoted to music, practice hard and LAY THE HAND flat on the table through this means alone, I learned to to be bent sharply in, but the movement lightest and swiftest? Power, we are Use, in succession, the positions of Al, A2, large rivers, some considerably over one love their work. in the army do not get large salaries. I and slide the fingers as far apart as sing a great number of ballads and at at the root or base of the thumb must not seeking at present. A3. Begin slowly, and work up to a hundred and fifty miles in length. The realized that whatever 1 might do must you can; then bring them close together. least eight famous operatic am-- such be as light as possible. This ts the most It should be noted that some hands moderately fast speed: 2345 : 5432. The islands are very rich in mineral wealth. Early Studies come from a great struggle. I knew I They must not leave the surface of the as Mi Chiamano Mimi from Puccini’s favorable aspect of the “hammer stroke.” tone must be kept soft or very soft. There are said to be over forty • million would have to wait and hope to find a table. This is the sidewise movement. which have had a long training with high “TT7HEN I was a girl of ten, I began ‘La Boheme’ and the Canto dn ilioielli i A2. Use the same fingers—123454321- We are seeking the freest possible action acres of forest. The population of the way. I attended the public school, but my Raise the wrist, so that the hand droops knuckles may, at first trial, find the flat to study solfeggio under my from ‘Faust.’ 23454321, but change the shape of the of the fingers. If we try for loud tone, islands is estimated at about seven million interest in music was so great and the from the wrist, with the fingertip touching position awkward or uncomfortable. But father. Later, I studied the piano. These “My1 teachers and various msical fingers and do not lift so high. The shape people. ‘music book1 so absorbed me that I neg¬ the table. With the tip, describe a circle the experiment should be continued until we shall interfere with that freedom. In studies, however, did not completely satis¬ friends helped me in every possible way is now a gradual curve, not a series of “Magellan landed upon the islands in lected the other studies. The American on the table. Do not lift the finger from the normal sensation of comfort, ease and using the flat finger, make sure that finger¬ fy me. Why? Because of an. American and were greatly interested in my ambi¬ sharp angles. The lift is measured at the 1521. Spain took sovereignty over the teachers were extremely good to me. the surface of the table. Do not move lightness is attained. For the position is tips, knuckles and wrist are on a level, tion. They advised me to go t>> Milan second joint. islands in 1571. Thus, there has been over the hand nor the wrist. This is the ro- a truly natural one. The curved finger thus: to study. We were in such reduced cir¬ The thumb is less sharply bent at the a portion of the island, at least, a Christian tary movement. should fling only as high as is comfort¬ cumstances that this seemed like saying, tip, and thus the whole tension in it is civilization for three hundred and fifty-six All three of these movements are move¬ able. The flat finger should “flap” high. ‘Take a trip to the moon.’ How could I lessened. Keep a light feeling in the years. In 1762 Manila was taken by the ments of the finger in the knuckle only. But in neither case should the lift be realize my great ideal ? knuckles as in Al, and make a swift, not English during the war with Spain and In the present article we are especially con¬ strained. The sensation to think of is France. “One day, I decided to earn money by strong, stroke on the left arm. Study the that of flying or flapping in the knuckle, cerned with the up and down movement. feeling of freedom in the right hand. “The modern progress of the country, giving concerts, as I felt sure in my own The finger can take various shapes. It not that of striking or hammering on the Compare Al and A2. Which has the naturally, commenced with the entrance of mind that 1 was singing well. Fortunately, can be flat or curved. It can be lifted arm. swifter movement? Which has more the Americans after the Spanish fleet at the first concert was a great success, ar¬ straight, slightly curved or sharply bent It is well to observe and compare the freedom and lightness in knuckle and Manila was destroyed by Admiral Dewey tistically and financially. I then realized at each joint. sensations in the forearm of the playing in 1898. Since that time, there has been it might be possible for me to earn money hand ? Which has the higher lift, meas¬ hand. Do you get freest motion in an enormous educational advance in the in this way. .1 continued to give concerts ured at the second joint? For accuracy, these muscles when the fingers are cocked, country. A vast number of teachers have from province to province until I had earned it is amusing to take a small ruler and curved or flat? You can feel more or gone out from America; and a new era enough money to cover my expenses and my note exactly how high each finger lifts in less tightness in these muscles by taking of progress and modern sanitation per¬ brother’s expenses for the costly trip half 1A, IB, and 1C, respectively. the forearm between the thumb and sec¬ mitting further progress was introduced. way round the world to Italy. 1 had to A3. Lay the fingers perfectly flat. The ond finger of the left hand. “Most of all, however, I desire to call earn my brother’s expenses as well, be¬ tip of the thumb is as straight as may be, A4. Add another book to the one sup¬ attention to the fact that this wonderful cause my father would not consent to have but the second joint is “squared.” porting the right arm, so that the wrist country has had the unique advantage of me go to Milan alone. With this great Note carefully that this position differs is about four inches above the level of Compare first the freedom and speed Occidental civilization, in the matter of ideal, every concert was a joy, and soon in different hands. In some hands the the left arm. Try the three experiments of the fingers. Then compare the tones music culture, longer than any other Asia¬ I found myself in possession of money line of the top of the hand will be almost with the wrist high, testing for ease and as to quality and smoothness of grouping. tic land, or for that matter, much longer, enough to study for a year and a half in speed. You will find the cocked position If you have worked the experiments out even, than Australia and New Zealand. difficult, but the curved or flat position accurately, and if your ear is good, you easy. will surely say to yourself, “I get most The Musicdl Filipinos speed and freedom with flat fingers, but I ---- UIIUtT IIIC id never could play on the flat of my finger, “HPHE SPANISH missionaries to the baritone, Ernesto Caronna. tiis away back at the joint, and, even if I could, A Philippines brought with them exercises were very few, very simple and I should not like that tone effect. The their native love for music, and this was were not taken from any book but were soon communicated to their Christian con¬ tones are not distinct enough.” adapted especially to my needs. They were with a depression at the knuckle (double A6. Place 12345 upon E, FS, G8, AS, verts ; with the result that the Filipinos in largely the scales and the arpeggios and the cities generally are devoted music jointed). B. Repeat the three movements, Al, A2, the vowels and the study of smorzando; In others it will be A3. Try to keep the action of the thumb all vowels with the tone extended as long Illustrations 1A, IB, 1C “My father was a musician and a band in the root joint as light as the action of “°nfP°ss;My could with one breath. He the other fingers in the knuckle. Begin conductor He has directed the famous used the syllables, ma, me, mi mo and mu, Let us study the effects of these differ¬ bands of the Filipino Scouts. My brother is slowly, studying feeling and tone—12345 m my particular case, a 'very great deal. ent shapes of the finger in lifting and fall¬ assistant director of the Band of the ing (up and down movement). Returning to Experiment Al, examine and 54321. Then make the groups more Twenty-Seventh American Infantry at JOHN LUTHER LONG reali^T W3S a Very wise teacher. He Experiment A. Position. Lay the left in the left arm the sensations made by the rapid. Remember that you are thinking Honolulu. My younger brother has won voice d i,hat °ne of the greatest things m strokes of the cocked finger. Do you no¬ of flying fingers, not of hammering or Distinguished American Author of “Madame Butterfly” voice cu ture ,s the development of the arm and hand across the lap, diagonally, the tips of the fingers on the right knee. (normal). tice that they seem like the blows of a (Continued on page 777) (Continued on page 783) OCTOBER 1927 Page 7S3 THE ETUDE Happy Sides to ^Beethovens Life

43y Edward Ballantine if not impossible for many an Adonis.” IN POPULAR TRADITION Beetho¬ After he had suffered many heart-breaks ven is a man who knew much of suf¬ he met the charming Amalie Sebald, of fering and little of joy, a Prometheus “the fascinatingly lovely singing voice,” who gave the precious fire of his music to humanity while an eagle plucked at his and there is evidence-of at least a very de¬ heart. Even so distinguished a musician lightful flirtation between the two. Bee¬ and scholar as Casella, in his critical edi¬ thoven wrote to a friend, “Give to the tion of Beethoven’s sonatas, which every Countess a very tender yet reverential thorough student of these works should handgrasp, to Amalie-an ardent kiss when study, says, that the tragedy of Beethoven's no one sees us.” To Amalie herself he existence “surpasses the cruellest martyr¬ wrote: “. . . . if the moon shines doms of history.” There is a certain foun¬ brighter for me this evening than the sun dation for this conception, hut it has by day you will see with you the least of been greatly exaggerated for the sake of men. . . What dream of yours that you its dramatic picturesqueness in making his are nothing to me.” music seem all the more wonderful. A careful study of the life of Beethoven The Brentano Incident shows that he had a large share of posi¬ THE YOUNG and ardent Bettina tive happiness and that even his hardships Brentano, who later became Frau had unusual compensations. von Amim, left a wonderful record of her Beethoven’s deafness naturally arouses heart-to-heart talks with Beethoven. Some the sympathy of everyone and causes won¬ of this record has been questioned as to der as to how it was possible for him to accuracy, but Thayer vouches for the truth compose in spite of it. The symptoms of of most of it. Bettina was born to be the deafness did not show themselves until confidante of genius and acted as some¬ toward his twenty-eighth year, when his what of an interpreter between Goethe and inner hearing! his power of imagining mu¬ the great composer. sical sounds without outside aid, was long Thayer tells the story of her friendship established through constant occupation with Beethoven as follows: with music since early childhood. He al¬ “One day in May, Beethoven, sitting at ready had the habit of doing a great part the pianoforte with a song just composed of his composing without a piano, which before him, was surprised by a pair of is true of other composers who are not hands being placed upon his shoulders. He deaf. This is a remarkable faculty, but looked up ‘gloomily,’ and he saw a beauti¬ not peculiar to Beethoven. ful young woman who, putting her mouth to his ear, said : ‘My name is Brentano.’ His Tragic Deafness “He smiled, gave her his hand without t F BEETHOVEN had been born deaf, rising and said: “I have just made a 1 he never could have composed; and, beautiful song for you; do you want to if he had lost his hearing before he was hear it?’ mature, he would have been seriously hin¬ “Thereupon he sang—raspinglv . . . but EDWARD BALLANTINE dered. His deafness came gradually. As transcending training and agreeabless by late as his forty-eighth year he could hear reason of the cry of passion which reacted the piano well enough to correct his on the hearer—‘Kennst du das Land ?’ He nephew’s playing; and when he was fifty- asked: ‘Well, how do you like it?’ two, five years before his death, he en¬ EDWARD BALLAHTIHE, noted American composer and Assist¬ ant Professor of Music at Harvard College, was born in Oberlin, Ohio, ' “She nodded. joyed hearing a piece by Cherubini played ‘“It is beautiful, isn’t it?' he said en¬ in 1886, and received his musical training under such noted teachers by a musical clock whose chimes were, of thusiastically, “marvelously beautiful; I’ll course, more penetrating than ordinary as Arthur Schnabel, Rudolf Ganz, Mme. Helen Hope\ir\, and John sing it again.’ He sang1 it again, looked at musical instruments. In his complaints of Knowles Paine. He also studied at the Schola Cantorum in Paris. her with a triumphant expression, and see¬ deafness, he never expressed the fear that Mr. Ballantine has written symphonic poems, “The Eve of St. Agnes’ ing her cheeks and eyes glow, rejoiced over it might prevent his composition in any and “The Awa\ening of the Woods”; incidental music to Hagedom’s her happy approval. ‘Aha,’ said he, ‘most way; he was only afraid that hostile critics “Delectabje Forest’’; the songs, “Lyrics from the Gree\"; and the people are touched by a good thing; but might he tempted to attack his music as humorous “Variations on 'Mary Had a Little Lamb,’ in the Styles of they are not artist-natures. Artists are that of a deaf man. fiery; they do not weep.’ How many people have had to endure Ten Composers.” “He then sang another song of Goethe’s, the trial of deafness which has cut them ‘Dry not tears of eternal love.’ off entirely from the pleasure of music! “There was a large dinner party that But Beethoven had the wonderful recourse could not realize, nor could he gain satis¬ ing, but also the consciousness of power day at Franz Brentano’s and Bettina told to composition and, more than that, the and of joy in its exercise. Beethoven he must change his old coat for confidence that his composition was im¬ faction from it. a better, and accompany her hither. portant to the world. While it is a pity Domestic Life Debarred “The Immortal Beloved” “‘Oh,’ said he jokingly, ‘I have sev¬ that Beethoven could not hear his later eral good coats,’ and took her to the ward¬ orchestral and chamber music, still, with¬ HAT BEETHOVEN never found BEETHOVEN must have suffered a robe to see them. Changing his coat, he in himself, he heard ideal interpretations the domestic happiness for which he much deeper wound from the thwart¬ went down with her to the street, but and might have been annoyed by the short¬ longed is a sad fact which entitles him to ing, however it may have come about, of stopped there and said he must return comings of actual performances, as he had great sympathy: but also in this respect his passion for “The Immortal Beloved,” for a moment. He came down again been with certain earlier works. he had the refuge of composition and, even the unknown person to whom he wrote the laughing with the old coat on. She re¬ It is even doubtful whether his deafness in the midst of one of his most famous famous love letter. But even this affair monstrated; he went up again, dressed affected his composition in respect to ef¬ love affairs, art was recognized as a serious has its happier sid», for it shows Beetho¬ himself properly and went with her.” fects of tone, for thick bass chords occur rival of the lady. In writing to his friend ven’s capacity for the ecstacy of romantic in his quite early works. The slow move¬ Dr. Wegeler concerning the Countess emotion. In the? letter he says: “Your love Must not Beethoven have been gratified by such glowing appreciation as she ex¬ ment of the “Ninth Symphony," written at Guicciardi, he says: “There have been a makes me at once the happiest and the un- a time when he could scarcely hear an or¬ few blessed moments in the last two years happiest of men.” He was living intense¬ pressed in a letter to Goethe: “When I chestra, contains some of his most ex¬ and it is the first time that I feel marriage ly, even if in part painfully, and under¬ saw him ... I forgot the whole world quisite orchestration; and the variations of might bring happiness. Alas ! She is not going an experience which became fuel —as the world still vanishes when mem¬ the last piano sonatas are full of ethereal of my station—and now—it would be im¬ for great music. ory recalls the scene . . . Beethoven tonal effects. Thayer and other Beethoven possible for me to marry. I must still • The end of this relationship did not mean stalks far ahead of the culture of man¬ scholars agree that, as far as his music was bustle about most actively.” Tears have the end of romance. Beethoven had so kind. Shall we ever overtake him?” And BEETHOVEN S GREAT “FUNERAL MARCH ON THE DFATr ™ A concerned, his deafness was a blessing in been shed over this affair, but the remarks many love affairs that -he may well have was he not happy when, “after dinner, “This masterpiece is so forcefully characteristic in mood and movement, so so forcefully characteristic in mood and movement, so Thus comment W ^ HERO disguise, because it compelled him to con¬ that “marriage might bring happiness” and spent more time in the hopeful stages of without being asked, he sat down to the full of gloomy grandeur, of dramatic intensity, of depth and richness of sombre Pianoforte Works,’"upo^l^^2' Perry- in his “Descriptive Analyses of centrate on creative work without the dis¬ the eagerness “to bustle about most ac¬ courtship than in the unhappiness of dis¬ instrument and played long and marvel¬ harmonic coloring, that it may be ranked among his very ablest creations. tively” make the tears seem wasted. Later appointment. Dr. Wegeler said: “There ously; there was a simultaneous fermenta¬ of a Hero” from the “Sonata -~ter,y “Funeral March on the traction and waste of energy involved in “It should be played with the utmost fullness of tone, but not extremely in the letter Beethoven says of his work: never was a time when Beethoven was not tion in his pride and in his genius. When is by E. Benet of Paris. Tn thi at’, ^Pus 26- The famous French sculpt^ playing and conducting, and because it loud even in the climaxes, and never hard or rough—so as to convey the impress “Day by day I am approaching the goal in love, and that in the highest degree. he is in such a state of exaltation his spirit muffled drums and tolling bells* marve ous composition one can fairly hear the deepened his experience of life and made sion of suppressed power and of a noble, sustained sorrow, not a spasmodic, him reflect on essential values. But this which I apprehend, hut cannot describe.” . . . . He occasionally made a con¬ begets the incomprehensible and his fingers petulant distress.” It was not only courage that kept him go¬ quest which would have been very difficult accomplish the impossible.” 1802.he S°nata’ °PUS 265 was written in 1801 and published in Vienna, March 3, was a benefit which the composer himself OCTOBER 1927 Page 786 the etude THE ETUDE Page 734 OCTOBER 1927 “The Awakening of Cheerful Feelings on Arrival in the Country.” Beethoven Was Beethoven not enjoying life when, ture into his friendships as certain of his those cheerful feelings by long experience as Bettina says, “He conies to me every letters testify. His youthful friend, Fads and Fallacies in ^Modern Pianism —the music alone would prove it. day or I go to him. For this I neglect so¬ Reiriia, a gifted musician, said, “We were —SsSfi cial meetings, galleries, the theater, and united in bond like that of Orestes and wi Vienna . . . The Genius of Mozart is F. Amenda goes to Vienna, where he *2 hot-beds open—the perfume was bewilder¬ again. At last Beethoven was satisfied mourning and weeping over the death of should quality „f I.i * 'hatacteu. several times meets Beethoven at the table ing; Beethoven stopped in the oppressive and dropped again into the Rondo. Ihe her pupil. She found a refuge but no L far richer than we are. But unfortun- violin or cello, for in playing on these sunshine and said: ‘Not only because of d’hote, attempts to enter into conversation entire audience was delighted. occupation with the inexhaustible Haydn- ately in looking around me, and comparing the finger comes into direct contact wit their contents, but also because of their with him, but without success, since Bee¬ through him she wishes to form a union oresent-day production and performance the strings, and an oscillating movement rhythm, Goethe’s ■ poems have a great thoven remains very reserved. After some The Insatiable Reader with another. With the help of assiduous wfih those of the past, I fail to see any of hand, while retaining the pressing finger power over me, I am tuned up and stimu¬ time, Amenda, who meanwhile had be¬ such indication. We have very many more produces corresponding vibration, after the A GREAT RESOURCE for Beethoven labor you. shall receive Mozart’s spirit lated to composition by this language which come music teacher at the home of composers, but no Mozart or Beethoven; initial one. To imagine that any such effect ■C* was literature. He was moved to from Haydn’s hands.” builds itself into higher orders as if Mozart’s widow, receives an invitation very many more pianists, but not a Chopin can be produced on the piano is to im- from a friendly family and there plays read more from an ambition to improve Such praise must have warmed the through the work of spirits, and already or Liszt And not only is this so, but fal- agine a vain thing. . , first violin in a quartet. While he was his mind than for the desire of enter¬ heart of Beethoven, and he had a good bears in itself the mystery of the har¬ lacies and abuses abound, of which it is Does an orator trouble himself about I hope I have made this quite clear, and But modem composers do playing, somebody turned the pages for tainment, but for this reason he read per¬ deal of it all his life. In his thirty-first monies.’ ” as difficult to trace the origin as to ac- the derivation of the words he uses? Does will now pass on to consider the other those signs at all. They him, and when he turned about at the haps with an all the more eager zest. He year he wrote: “I could sell everything I Other Fair Friends compose five times over and at a good count for their wide adoption. a danseuse study anatomy? Does the q{ „ note;" mordents in full, si that finish he was frightened to see Beethoven, himself said, “There is no treatise which Having devoted more than half a cen- painter worry about the mgredients that As a, stated BESIDES serious love affairs and flirta¬ who had taken the trouble to do this and would easily prove too learned for me. price ... I ask, and thc> pay.” The adu¬ As already stated, it has, or should have turv to the study and practice of the “king compose h.s colors? Does the novehst cross stroke tions, Beethoven had many friend¬ now withdrew with a bow. The next day Without laying the slightest claim to true lation which he received :■ in the royalty little cross stroke through its stem, to of 'instruments,” and, during my extended go to Birmingham to inspect the works it from half-sister, and its / ships with women of great musical talent the extremely amiable host at the evening scholarship, I have yet, from childhood on, of Europe at the Congre of Vienna in life having heard every great pianist, of where his steel pen points are manufac- and general culture. He had a keen sense party appeared and cried out: ‘What have endeavored to grasp the thought of the 1814 is a familiar story. In 1824 it was Italian name is “acciaccatura.” The word \ either sex, who has contributed to the tured? The answer to all these queries^ of honor, but these friendships often you done? You have captured Beethoven’s not Beethoven who begm 1 for a per¬ :r sex, wuu uao —- , « «« ,« looks iormiaauie,formidable, butuui uucan easily be^ mas- best and wisest of every age. Shame on total of our present-day pianism an emphatic No Then why should the fi depriVed of its ending reached an unconventional degree of inti¬ heart! Beethoven' requests that you re¬ the artist who does not think it his duty formance of the 9th S-. mphony, but a (most of them have honored« i me -with *.1.1- xltheir 1— pianistr.inn.'ef be tlizsthe /vnlxronly rvrwaone finto Viabe tinhandicapped 11 1C n nnfln ’ * .. . T. «• r macy. The Countess Erdody gave him joice him with your company.’ Amenda, to advance at least to this point in this group of thirty of his ii-cnds, including common ending in Italian for personal friendship), I venture, in the fol- with how his tone is produced. Not any of much sympathetic admiration and practi¬ much pleased, hurries to Beethoven, who the leading musical people i Vienna, who, substantives derived from verbs. Ah- respect.” lowing lines, to point out some, but not all, the great_pianists of the past were : cal help, as well as “the run of the house.” at once asks him to play with him. This In the April number of the Musical in the most flattering le t- a composer ing lines, tu — — —' - ° cneeakcheeak kan-tooraiikah-toorah” is «uwuiabout as near Obviously, here again the proper accent of commission of which content- dered. They contented themselves with Cpheonetic explanation of its pronunciation A contemporary describes her as a “very is done, and when, after several hours, Quarterly there is an article by J. G. could receive, implored him to produce can be given only if the acciaccature be porary pianists are guilty. I know that in playing, and reaching the hearts of their ^ given. To “acciaccare” means beautiful, fine little woman . . . whose Amenda takes his leave, Beethoven accom¬ Prod’homme which gives a remarkably his new symphony. played before the first note of the left sole entertainment (being an invalid) is doing so I shall encounter the non-agree- hearers by judicious use of their fingers „ that a “crushing note” is t- panies him to his quarters, where there thorough and interesting account of the hand. found in music. She plays Beethoven’s meat of some, but, if I succeed in recalling Nor has a single living pianist of the front ■ kind Qf .. race note” was music again. As Beethoven finally books which Beethoven is known to have Creating the “Appassionato," I happen to possess an early English pieces very well and limps from one piano¬ a few stray sheep to the safe folds from rank submitted to this ridiculous mama. nterai juig* n iui .. ... prepared to go he said to Amenda, ‘I sup¬ read. The’ Odyssey was his “bed-side” HE JOY of creati->i generally re¬ Unlike its half-sister, it is to be played edition of Chopin’s pianoforte works. It forte to another, yet is so merry and T which they have wandered, I shall have pose you can accompany me?’ This is volume, and in the copy which he habitu¬ garded as one of the greatest of as rapidly as possible before the succeed- js probably the first ever published in friendly and good.” rendered some service to the Art of Music, Ornaments done, and Beethoven kept -Amenda until ally read there have been found more than ing note, taking into itself no perceptible England, and may, for a time, have been What pleasure Beethoven must have had human joys and who h had this joy and that will suffice for my comfort. evening and went with him to his home fifty passages underlined by him. After LL EMBELLISHMENTS and orna¬ amount of time. Here we encounter one tIle oniy one, because Chopin was slow in coaching the Baroness Dorothea von more than Beethoven? That the process A late at night. From that time the mutual his death his library was found to con¬ ments are collectively “graces.” But, of several instances in which modem ;n being generally recognized as he now is, Ertmann in the playing of his composi¬ of composition often caused him much visits became more and more numerous tain Plutarch’s Lives, in a badly used Touch in modem days, the definition “grace n practice clashes with traditional usage. and publishers did not, in his early days. tions! She was recognized by him and labor is true; but it wax a labor of love and the two took walks together, so that condition, which proved that its pages T WAS LOUDLY proclaimed, a few is applied only, to a single note, always The modernists insist that this insignificant fl00d the market with rival editions. This the musical world of Vienna as being his which engaged all his high - powers and the people in the streets when they saw were often turned and that he carried years ago that a “discovery” had been printed in smaller type than the rest of little insect shall be dignified into a quad- 01Ie was published by Wessel, who, in greatest woman interpreter, so that he one of them at once called out, ‘Where distracted him from sordid cares. He I his volume in his pocket while out walk¬ was an extraordinary pmviser, and made in the’ matter of pianoforte touch, the text, to indicate that it does not form ruped by being played on the beat, instead Chopin’s lifetime, was the only important called her his “Dorothea-Cecilia.” An¬ is the other one?’” that all previous methods were faulty, an integral part of the music. It might of before it. This is contrary to the publisher of contemporary foreign music ing. What he thought of Goethe we saw he could not have written such a great other great performer of his works was that the new one was the only safe road be omitted altogether without serious dam- tradition which has reached us through jn London. It must either have been cop- Madame Marie Bigot. Thayer relates: in his remarks to Bettina Brentano, and to number of things if he had stopped to The Practical Jo\er to proficiency. Much exaggerated nonsense age to the composition. Of these single centuries. . ied from Chopin’s manuscript, or from a “One day she played a sonata, which he Goethe himself he wrote, “I live in your revise every measure. There must have was shouted, printed, and taught about it; “grace notes” there are two distinct species Though I never knew Beethoven in the foreign edition, as there was no English had just composed, in such a manner as to BEETHOVEN’S humor kept cropping writings.” Shakespeare and Schiller were been many times when a stream of new and like most other’things in modem life that have little in common, either in name flesh, I am old enough to have studied one to serve as a model. In it; all small- draw from him the remark: ‘That is not out so continually that it must have also favorite authors. If Beethoven spent ideas would come rushiti through his that succeed up to a point if sufficiently or manner of • performance. The “grace under one of his most distinguished con- typed notes are so laid out that their final exactly the character which I wanted to come from natural high spirits and not so much of his time in reading, when he. head faster than he could write them advertised, the new gospel found many note” that has no little stroke across its temporaries, Moscheles, who was his note comes on the beat, thus: give the piece; but go right on. If it is merely from a grim effort to keep smiling. was not composing, he could not have had down. His pupil, Ries. tells about the dupes among those who jump at any short- stem is one; the “grace note” that has the pupil. I cannot imagine that his method not wholly mine it is something better.’ ” In music his humor took on wonderfully much time left in which to brood upon composition of the final. f the Appas- cut to success, or are enamoured with any- little stroke is the other. In modern edi- would differ from that of his master, Beethoven had a warm personal regard original and distinguished forms, while in his troubles. sionata: “In one of the I-tig walks, in thing that looks novel and sounds quixotic, tions this diversity is carefully observed, 0r from his contemporaries, Czerny, for Mme. Bigot, which was probably inno¬ daily life it more often took the form of which we went so far astr . that we did The Mature Lover But the “discovery” on being tested but in older ones the two are painfully con- Diabelli, Hummel, Clementi, Dussek, cent enough, but which put her husband bad puns and practical jokes. His joking not get back home until nearly right notes to Baron Zmeskall are familiar, he npHAT BEETHOVEN loved nature is by results, has proved to be no discovery founded, to the bewilderment of the per- Cramer, Kalkbrenner, Ludwig Berger; r> y K also innocently enough on his guard. o’clock, he had been all the time humming whatever,’and has utterly failed to pro- former. and I am positive that he and these did , When Beethoven wanted to take her out addressing his noble friend as “Music -*- well known, but people may fail to and sometimes howling, always up and duce a single pianist of the first rank. The one that has no little cross stroke not teach or play the acciaccatura as And this is precisely how 1 maintain these for a long drive alone, Bigot opposed it. Count,” “Cheapest Baron,” and with other realize that he loved nature with a pas¬ down, without singing any definite What is good and serviceable in it is as is known by the Italian name “appoggia- modern pianists do. Nor did successive ornaments should be performed, not the Then Beethoven proposed taking the witty salutations. In the note 'which be¬ sionate delight such as may never have note . . . He said, ‘A theme for the last gins “My dearest Baron Muck cart- old as the structure of the piano, has been tura,” derived from the Verb “appoggiare” generations of pianists—Mendelssohn, other way. How, when, and by whose daughter along as a chaperon, but that been experienced by those who pity him movement of the sonata has occurred to driver,” he says, "I forbid you henceforth for his sufferings. He was fortunate, in taught for generations, and has been prac- (to lean against). It is felt to lean against Bennett, Liszt, Thalberg, Chopin, Field, vandal hands have these matters been also was refused. me!’ When we entered the room he ran to rob me of the good humor into which both Bonn and Vienna, in having access ticed by the entire race of eminent pianists the following note, like a newspaper that Rubinstein, Biilow, Henselt, Clara Schu- altered? . Another lady who cheered Beethoven to the pianoforte without taking off his I occasionally fall, for yesterday your to lovely hill country in which to take for more than a century. And what is leans against a bottle at a luncheon table, mann and others—depart from the old I am aware that Reinecke, in his ‘Letters with her unusual beauty and great intel¬ hat. I took a seat in the comer and he Zmeskall-damanovitzian chatter made me his countless long walks. To one young new in it and purports to be essential is It never ascends, but invariably descends manner. With so many great names to to a lady” on Beethoven’s Sonatas, advo- lectual and musical gifts was Frau Marie soon forgot all about me. Now he melancholy. The devil take you; I want lady he wrote: “How joyous I am when completely unessential, if not absolutely a tone or semitone, and never more. It uphold a rendering, one wonders what cates the modern fad. But, after all, one Pachler-Koschak, who came- to see him stormed for at least an hour . . . Finally more of your moral precepts for Power I can walk amongst bushes and trees imaginary. ’ is generally (but not always) provided authority present-day pianists can possibly swallow does not denote summer; and. in his forty-seventh year. According to he got up, was surprised to see me and her account, they were “often in each is the morality of men who loom above herbs rocks; nobody can love the country To tell pupils that the power required with a little slur, connecting it with its rely upon to warrant their innovation. with all respect for his memory and for said, ‘I cannot give you a lesson today. for striking a key is generated in the fore- resolving note, and generally (but not I maintain that the acciaccatura should the good work he modestly did in his day, other’s company.” Beethoven wrote her the others, and it is also mine; . . . .” as I do-smee woods, trees, rocks return I must do some more work.' ” I cannot accept him as an authority i two notes in pencil—one utterly illegible, Thayer recounts a story which shows the answer which man wants to hear” _ _r the back tooth, that it emanates always) turned in the opposite be played before the beat, thus: If Beethoven had not had consolations pianoforte music, good all-round musician the other in terms placing her as a player Beethoven’s humor and good nature in a from the elbow or the big toe, is to harass direction its follower, thus: tZ° “°re ldy“iC vwalk Can be imagined and joys of a rare quality, it would not of his pianoforte music even higher than delightful way. The incident took place at and bewilder them with considerations and though he was. frn r",6 Beethoven often took out have been possible that in his music vigor Other instances of wrong interpretation Frau von Ertmann. He wrote: “I am a time when Beethoven is supposed to from,‘he 1,t ie town of Baden near Vienna technical restrictions totally beside real re- j0k road, f0r even four todav miles' numerous illnesses; there was nothing of an experienced teacher, will find Out for past wrote one thing and meant another. the weakling or the neurasthenic about do. Not even excepting the great pianists; Though Beethoven, no*doubt, found much automobile road excent ' , himself all that is necessary for a round, It it also generally (but not always) For had they intended their embellish¬ him. they either have nothing but technic or to criticize in the transcription, it seems ether side of t^k! 0Theghtpa°tnht 6 musical tone, for even scales, for light printed as a note of half the value of the ments to bear modern rendering, why did are affected. You are the true guardian to have interested him sufficiently to lead hned w’th ancient beeches, and behind Consider the inward peace of a roan touch when required or a heavier one when following one. Its modern interpretation they not write them so, as they could eas¬ of mj* intellectual offspring.” him to undertake a thorough remodeling who was able to say as Beethoven did: wanted, without troubling to acquire surgi- does not vary from the old. In both, it ily have done? of the score, on the cover of which he “I have no fear for mv music—it caa cal knowledge of any kind. And for those takes unto itself half the value of the note His Men Friends wrote the whimsical title: meet no evil fate. Those'who understand who are neither intelligent nor studious, that follows, whatever that one’s own A Modem Vice it must be freed by it from all the miseries N YOUTH and early manhood Bee¬ Arrangementmeat oi a Terzettxerzet a the pursuit of music is a hopeless one. length may be. Thus HIS INTERFERENCE with the I 3-voiced Quintet which others drag about with themselves. T thoven was rich in friendships with original text is part of the modern by Mr. Goodwill Most of us have felt the expression of other men, while later in life, through and from the appearance of o voices The Wriggling Habit vice, which “reads into” music, as well as I'sdi't of day in 5 real voices thoven often poetized, or a. X, B that peace in many compositions of Bee the marriage of these friends or their and lifted from the most abject Miserabilitat IN CONNECTION with the wriggling Its value, small though it be, should’ be into books, meanings that composers and removal to other places, or owing to his to moderate respectability composed.” On the cover’to so™ SSy’ thoven; it impressed me very latel> ^ of the hand from right to left and back by Mr. Wellwisher the Adagio of the “Quartet,” Op. 59, No. A taken from the preceding note, not the authors were quite, innocent of. It is ab- deafness and his unfortunately exacting 1817 again, while a particular finger is holding succeeding one. And this will enable the solutely monstrous to be told, as we are ways, he was thrown largely on the August 14. VS aptneaSernlTr^ which occurred to him when contempt4' down a key, is it not obvious that (the keys anrhythms, old modes, syncopation, and because it has gathered into itself who happens to fall into his net, even distant past liefore Guam was discovered speed. Then the spirit of competition other things that the less fortunate stu- the simplest and most unforgettable venturing to “improve” Mendelssohn with by the Spanish, have had indigenous songs, enters the field; the pupils pick-up is dent is apt to find difficult and strange, thoughts of the generations, it is the arrogant and vulgar changes. but today absolutely nothing of the kind quickened; chord playing Incomes solidi¬ are unconsciously imbibed. soil , where all great art is rooted. To assume that past generations were all exists. When the United States seized fied; the attack is sharpened; tempo preci¬ Amongst the folk music of the world, Wherever it is spoken by the fireside, wrong in their interpretations, and that the island from Spain in 1899, Spanish sion is acquired; and the legato becomes al¬ that of Scotland occupies an important or sung by the roadside, or carved upon the only correct ones are those of to-day, music was in vogue, but now this has most liquefied. The pupil’s ears have Income place on account of its beauty, appealing the lintel, appreciation of the arts, is grossly impertinent and gratuitously l.een supplanted by American jazz, and the so much lietter trained because of the con¬ quality and variety. There is the Low- which a single mind gives unity and de¬ misleading. By all means let us have jingle of It Ain’t Coin’ Rain No More and stant double piano playing that the differ¬ land Scottish and the Celtic Scottish sign to, spreads quickly when the hour modernity, for we live in the present, not Bananas is heard where formerly the ence between his playing and that of the very different in character, al- ” in the past; but before adopting the new. teacher is clearly discerned. At this time, dreamy Latin waltzes sounded. The only though the Lowlanders have appropri Gaelic or Celtic we require to be shown what is wrong with too, scales become as clear as crystal and the old. survival of Spanish days is the sacred ated a number of Celtic tunes which staccato as crisp as crackling snow. If THE LOWLAND MUSIC of Scot¬ music, brought to the island by various wandered across the border and across the pupil slurs his notes or breaks the scale land is so well known everywhere orders of Catholic missionaries, and still to the sea from Ireland. Some of the when turning the thumb under the hand, that I Shall speak first of the Gaelic or be heard, not only in the churches, but Celtic music is so ancient that the im¬ How to 'Beach Scales the unbroken scale of the teacher is a agination has to travel back through Celtic, much of which had never been also during the religious festival proces¬ very active reproach and brings about that centuries and through differenticia lands,mll„„ written down till Mrs. Kennedy Fraser By Lulu D. Hopkins sions, and at the innumerable singing much desired inborn determination to im- following the i wanderings began her wonderful work of collecting novenas” heard on every possible occa- jolhe years ago. This truly gifted TN SCALE playing have the pupil hold from Asia, through Europe, i A the hand rather high to aid the thumb Advanced players appreciate best the in¬ ferent; settlements, some of which were woman and musician has spent her movements and to give a full stroke for the Only rarely nowadays is the balumbau¬ calculable benefits to la* derived from in Austria, northwest France, Spain, summers for years, since about 1906, weak fourth and fifth fingers. Make the tujan heard. But a few exist mong the the use of two pianos. Improvisation on Ireland and Scotland. in the remote islands of the Hebrides, thumb move toward the next key as soon older inhabitants, and fewer still arc a given theme begun by .jthe teacher and where music is in the hearts and con¬ as it has released any tone. That is, make played upon. The notes are wailing and followed by the pupil (or given by the An Exotic 'Museum stantly on the flips of the people, going the movement from one thumb note to the not always pleasant to occidental ears; the pupil and continued by the teacher) is one WHEN LIVING in Vienna, we through many adventures to “get a next a gradual progress instead of a jerk range is small, and tuning is unknown. of the most interesting phases of piano used to spend our summers in a song” wherever she heard one could be at the last movement. Thus, in playing But now and then, as the faint strains are study and is also of superlative lxmefit. little village in the heart of great obtained, provided she could overcome the scale of C major: the chest of the player as, lazily reclining, heard in the midnight jungle, one’s mind i raining in transposition is enhanced, and mountains in the Talkammergut, Hal- the shyness of some young fisherman, Ex.l he pours out his melody. Across the bow leverts to the ancient days of barbaric modulating into various tempo- is made statt on the Halstattersee. It was very or some old grandmother. Sometimes are stretched from one to three strings, splendor, a thousand years ago, when the simp e by this intensive practice. primitive, built up the mountain side, she would enlist the sympathies of the made of gut, or even, in inferior instru¬ and one liardlv expected to find there a kind priest who would arrange for her minstrels with their balumbautujans sang All m all, the confidence instilled, the ments, from vegetable fibre. The playing - - ' ' ' But there to go Out in a fishing smack, when she to kings of their heroic ancestors. 9 eiT . advanced, tile playing qualities museum of Celtic antiquities. heard that : polished, and the artistry perfected by the kept up by Bana Fishers’Sea-Prayer (Scotland) fisher had a par¬ use of two pianos, prove heyond doubt the government, The thumb is moved from C to E while VYCa\ing Selections of Music for Beginners ticular song she e importance and value of such teaching. which every year the second finger is on D, and from E to wanted. After By Florence Bascom-Phillips continues to ex¬ F while the third finger strikes E. After hours, sometimes, HPINY BEGINNERS may thoroughly The right relation between intellect, in cavate an the thumb strikes F»shift fingers onward when they got ac¬ X enjoy music with “Papa,” “Mamma,” '"e general acceptance of the term, and to the collection. over it by a motion of the whole hand so customed to her and "School” titles, but when a pupil has °.’ a luve ot courage, s Many most inter¬ that the fingers may be kept in their proper and war must guide the. teacher in capacity will always be difficult | presence, sudden - reached the teen-age, l>efore beginning the etennme.”-—Erik Brewkrton. esting relits of position. First have the pupil play the music with a real appeal. I ly. she would hear scale slowly, gradually increasing the study of music, adolescent psychology must the race are there, In selecting pieces either for boys an exquisite love speed. The pupil should have major be taken into consideration in selecting throwing j ni u c h. girls it behooves the thoughtful' w eet\s scales and their relative minors, in thirds, music. w_cu light on 11 h e i r song, pouring out sixths, octaves as well as the chromatic Beginners of that age are usually girls, to consider the titles from the sta By Gladys Natter Fitzsimmons lives; bracelets, from the soul of scales. Advanced pupils should play the and pieces with such titles as “June Moon¬ of the pupils age and mental devel Ckrtajk weeks ,nay wel| ])e set aside brooches, n e c k- one of the men. scales through a compass of four or five light,” “Summer Roses,” “Moonlight on as well as from the standpoint laces, instruments iv. ,i"nC t0 time f‘>r specializing in one Mrs. Fraser, be¬ octaves, at all degrees of power, from soft¬ the Lake” and “Snowflake Waltz” allow the finger exercise or reading drill th of agriculture and Particular branch of musical study. The ing of Celtic an¬ est to' loudest. expression through practice music of the furmshes It will be helpful to stt warfare, domes¬ student can have a “Fingering Week.” cestry, and know¬ The following formula pent-up emotions of adolescent girlhood. tic utensil® and bitions113 S PeC',liar I,references ai ing Gaelic, is em¬ To the trained musician’s ear, all teach¬ Week" a,,<1 a “Scales so on—-all with Ex. 2 ing pieces for beginners may sound very shnnt/i During tile week in question he inently fitted for Very few of our pupils will ever b should concentrate Cvery e on the the well-known much alike, but to the teen-age girl music l the course of such work i those isles where no Eng- musicians, but each one should be «ie subject named. Celtic desighs. which awakens thoughts of flowers, moon¬ receive real enjoyment from hi, , reading, my husband discovered that lish is spoken. She lived among the CDEFGABC light: nights, sunsets and dancing snow¬ e °r ^otes Week” he should try to have Halstatt represented the early Iron Age people, sang to them, listened to their knowledge, an enjoyment which sho flakes seems much more worthy of real on? u-"°. e played at the lesson a perfect about 400 to 800 B. C., and was an im- songs, and became their friend, by her depend upon his reaching an advam effort than, “silly little kid pieces.” If the portant settlement because of the salt understanding, quick sympathy, and en¬ vwvvw derstandmg of music but Z dear ,tt'fg U c,carb’ and with the proper pupil’s musical education has been neglected, cato \V°U°!md- His “Legato and Stac- mities, and owing to its position on the thusiasm. „ ., , the teacher can tactfully select pieces which frnnf li ,,by brin8mg touch to the fore- great trade route between the Elbe and Her “Hebridean Folksongs should be will satisfy her emotional cravings, at the of to.. loll^.make for purity and delicacy the Adriatic. known by all who are interested in the of a major diatonic scale will aid in fix¬ same time inspiring her to further en- ing the scale idea in mind. tion fr' T !1S metl,od gives a bit of vaca¬ This is not such a digression from subject. The accompaniments are very nt afWi 1,6 dai,y routi'ie of practicing the main subject as it seems to be, be- original and picturesque, suggesting the ficient £dS opf>or‘un‘tfes for becoming pro- every branch of musical training- Page 788 OCTOBER 1927 TBE mit OCTOBER 1927 Page 789 THE ETUDE ™“ of th® songs as she heard, “God, the Father, with Thee in sleep. A Fascinating Game md beat^f'rh r; Wlth *he SUrge ^ Christ, with Thee in sleep, By Alice M. Fiene and beat of the sea as the constant back-J God> the Spi’rit, with Thec s,Peep» ground. They have igni cance Qne 0£ ^ most mov;ng experiences I An Easy Way to Understand the Lbriads for musical art and the increasing knowl-' Usb ordinary filing by^six Th^^| have had was hearing Bantock’s arrange¬ inches (you will need forty-six). Across any on er aecK or playing garaes sj edge of them in Great Britain is bound - *| —■■- - to ‘‘.Solitaire, Flinch, ‘‘Old Maid” to permeate the thought and so to influ¬ ment of this for chorus sung by tlie Or- the blank - side of each carefully rule a to Solitaire Flinch.’ “Old Maid’ L5he triads Introduce themselves Personally to the Self-Help Student The ingenious teacher ^ £ ence the composers of the future. pheus Choir, when the beauty of the words staff in the exact center, leaving half an Authors. The ingenious ‘ inch between the lines. This will leave able to invent many more. and music and the reverent and devotional room for three added linesi:*a* and fnurfour soaces.spaces. A good plan is to have several «sets„ <8y the J\[oted theory Expert, J. B. Herbert rendering bv this unique body .df singers both above and below the staff, allowing and to lend them out, for a week at made an unforgettable impression. The also half an inch between the leger-lmes. time, to pupils m whose families there a. Dominant seventh—in fact, abhorred the Orpheus Choir, under the conductorship “The primary are the strong chords: calls me the “Substitutionary chord for Prefix a treble clef sign on the left- two or more members who are musij latter. of Hugh Roberton, a man of genius and they define and assert the key,” says John the Sub-dominant.” My first inversion hand side of twertty-three cards, and the Tins will also help to arouse the interest gives an approach to the close as steady of rare sympathetic perception, has been' B. M’Ewen, English theorist. Dr. Prout bass clef on the remaining twenty-three. of brothers and sisters, and perhaps other and dignified as that secured by this rival heard last season in the principal American Write but one note on each card, using playmates, tells us that secondary chords produce an chord. cities, revealing an ideal of choral singing a different line or space every time. Thus If the notes are made quite large the effect of .weakness, but may be “judiciously rarely met with. In addition to the best all notes from the third G below Middle cards may lie used in class-work. ji. inter-mixed”’ with the primary triads. classical works, they sing fine arrange¬ C to the third F above will be represented, teacher who has no blacklward will appre Our attention is called to the fact that ments of folk song at every concert, which while the notes from E below Middle C ciate this. It may lie found practical Bach and Handel made liberal use of the have been enthusiastically appreciated by to A above are used•• in 'both ’ clefs.’ r- use only the whole notes at first; however secondary triads, while later, in the works more cards may l»e added, employing dif’ their audiences. Many a Scottish exile in of Haydn, Mozart, and Beethoven, they Handel preferred A or B-. not C. ferent note values, also rests. listening to them has felt the old "home were less frequently employed; and har- The reverse side of the cards is ruled calling to him and for the time has been rhonic variety was secured more through The Minor Scale and may he used in various ways for the primary chords and modulation. back in his old croft in the islands, or The major diatonic scale has remained problems in scale construction, interval “The First Nod,” an old Christmas fixed for about two centuries, but the Granville Bantock has used songs from r°Und ‘.he gIowing peat fire’ where in the building, musical symMs and expressions Carol, contains all the triads of* the major minor existed long before the major in >s. Fraser’s hoots fnr h;= “wShr.vw,, lon£ winter evenings they gather to sing J. B. HERBERT Mrs. Fraser’s books for his “Hebridean as well as biographies of composers. ’ key. The student should analyze and the form of the Symphony,” and glorious subjects they are and recite verses about the deeds of their The leger-lines should be measured and (Many games of this order may be memorize this beautiful old carol. Some years ago I heard it plaved in great heroes. ruled with as much care as the staff it- purchased, printed, at a very slight cost IT MAY be well to warn the enthusiastic Other interesting studies in triads are:— I am the Sub-Mediant Triad formed Edinburgh by Professor Donald Francis self. Needless to say, the cards will look Your dealer will be glad to tell you student of harmony who revels in dis¬ Old Hundredth upon the sixth degree of the major scale, Toyey’s orchestra. Before the symphony cords essential and unessential, in chroma¬ When All Were Harpers neater if the work is done in ink. about them.—Editor’s Note.) Portuguese Hymn one of the most important of the minor he discarded the conventions of symphony tic chords of varied forms, in chords of Missionary Chant-Zeuner triads. I am “useful in avoiding the mo¬ concerts and had all the songs used by TN ANCIENT TIMES, at the great the dominant ninth, eleventh, and thir¬ O God our Help—Wm. Croft notony of too much tonic harmony.” I Hantock sung with the accompaniment of 1 feasts, a harp used to be passed around, teenth, in chords of the added sixth, aug¬ The Strife is O’er—Palestrina often follow the Dominant.or Dominant tne Clarsach—the ancient harp of the and the one who could not share in the ftranslating Practice Into Pleasure mented sixth, and diminished seventh, and These can all be found in any standard seventh, at the end of a phrase, forming This scale lacks the leading tone; so we damtwrnf Mir Kfen™dy Fraser’ entertaining °f the company usually beat in modulations to extraneous keys, and so collection of hymns. a deceptive cadence where the Tonic is supply it, and secure at once the By Louise Kimball Baker forth, that there is danger of neglecting irv bemn fm The ^ W3S * qUiet retreat rather than be thought >*- But the Triads, themselves, should be expected. If, as has been said, “Compo¬ very beautiful, and one appreciated all musical! Many songs were improvised by the study of plain, common chords and Too much stress is put on the number permitted to present their own claims for sition is the art of avoiding a full close.” were detlnn Way T which they wandering minstrels to harp accompani- Let us suppose that a five-finger exer¬ failing to cultivate a practical, working recognition, along with individual char¬ I fulfill a very important function by thus of minutes a pupil should practice. Par¬ were developed m the symphony. ments, then quickly caught by the people, cise is part of the lesson. Impress upon knowledge of and acquaintance with the acteristics. The Tonic of course, will be serving as a temporary substitute for the ticularly is this true in the case of the Torn* -p. „ and in that way came to be handed down the pupil’s mind the many things one must triads of the key. the first to speak. tonic chord. To the Hem of Thy Garment I Cling (India) from generation to generation. The early young pupil,' to whom the hour a day “No state of mind is more frequent with watch in order that the exercise may be , | | I , _[ , | kings had their harpers who sang and is, too often, just so much time to be put the student than that of underestimating The Tonic Triad: The Mediant Triad: of any value; the hand in position, the improvised on the exciting events-of the in at the piano, what is done during that the significance of simple triads,” says I am one of the triads of the major key. I am the Mediant Triad formed upon the Other minor scales might be mentioned, times. The Scottish Gael has retained time being of secondary importance. fingers lifted quickly, the finger brought Walter R. Spalding. “We cannot compose There are seven of us: three major, three third degree of the major scale and called but the Harmonic Minor is the one upon Ins facility in improvising verses, and one well-knit music without triads, even if we Much of the pupil’s attitude toward this down on the key like a little hammer with¬ minor and one diminished triad. All tri¬ the weakest of all the triads of the key. which the harmony of the minor scale is of their quaint customs is to visit each should wish to; they are the framework subjects depends on the teacher and how out changing the hand position, the count ads having a perfect fifth and a major or I am frequently found in the first inverted mostly formed. other on New Year’s' night, and on the of all our music, both simple and complex.” As all progressions and cadences in the ingenious she is in making his work varied made very even like a clock, slow time and minor third are called common chords and form near the end of a section or piece of threshold of the house quickly invent Furthermore, according to Frederick Cor- the common chord is the “back-bone of music, to aid in forming a cadence; but minor key are to a great extent similar and interesting. quick motions being striven for. Five verses suitable to the occasion. ' der, “The inexperienced student crams into all musical construction.” the Dominant thirteenth now claims me, to those in the major, it is needless to in¬ Most of the songs in the, remote isles Try making out a written plan or chart ^times played slowly and watchfully is his work all the beautiful chords he has I am the Tonic Triad, the one which and I am no longer called the first inver¬ troduce the triads individually as we did are sung without any instrumental accom¬ for the lesson, with the number of times worth twice that number without care and recently learnt with the result of making determines the key. I have been called sion of the Mediant, and figured 6, but the in the major key. Instead they will all paniments, except those supplied by nature each part should be practiced each day thought. Vary the same exercise by no definite impression at all.” “the most important of all the Triads,” Dominant thirteenth and figured 13. unite and tell briefly of their relationship or the work in which the people are en¬ and with a space for it to be checked off Only triads, with the aid of their first “the essential Triad of the scale,” “the to each other and to the key. Intriguing Rhythms changing accent and count. Teach the gaged. The boating songs have the ac¬ when finished. I find these records ap¬ inversions, are allowed in strict counter¬ Alpha and Omega of the harmonic sys¬ companiment of the oars and the swish of pupil to watch for improvement himself Ex. 3 The Triads of the Minor Key: PHE RHYTHM.S of Celtic folksong ™"' peal to children and are convenient for point; yet a sure foundation, in cultivating tem.” I can progress to every chord of L are so unusual and soo varied that me• w?te! ’ the croon'•*'*"* is13 sung“ul‘« tqlui theme rock-rocn- future reference. and he will develop habits of careful ap¬ a natural flowing style, and a certain skill, the key and may be written in the direct We art the triads of the minor scale in anyone brought up to sing these songs -the _cr,adIc’ tlle sPinning songs to plication and concentration. not otherwise attainable, in handling the form or inverted. Of all the Triads used its harmonic form; and we can surely or even to hear them often sung, would °f thf? whcel; and so 01>- In the free concordant triads is thus given the in the second inversion, I am the most im¬ boast of a greater variety of chords than have little trouble with rhythm or under- i-f °* lona’ ofte11, in ^le tender twi- student. portant. the major scale possesses, for two of us standing of old modes when studying art “fht’. we ^tened to a quaint Jorram Dr. J. Humphrey Anger holds that the are minor, two, major, two, diminished, music, as so,, many students have in “cul- u loatln§: as a boat would return Amber Light for fading Music common chord and its inversions constitute The Dominant Triad: » Formerly figured 6. and one, augmented: tured cities.’’ They present no difficulties ap the ca!m waters of the Sound, % J- G. Hinderer the “foundation of the whole fabric of I am the Dominant Triad, built on the to the peasant people who sing as easily in ' ’C dellcate Yp4 intense toloring, the still- musical composition” and that all discords fifth degree of the major scale, and, after The student is warned to use me spar¬ 7/4. or S/4 rhyfhms as in the simpler ones ‘leSS’ °?ly broken V the song stealing It *Is a well-known fact that -mi,,.. may be regarded as modifications of con¬ the Tonic, the leading Triad of the key. ingly, especially in the root position. As glasses are soothing to thP “ a. soft’ warm, golden glow that hartno- and who hum tunes of their own making across the water- coming nearer and nearer, cords. I am called the governing chord because my first inversion (in a cadence) is classed in Dorian, Phrygian, Lydian cvr Hypolyd- ?eated aa, atmosphere that touched one’s motor toulists using them to protectTf-' ”**** with color scheme and The Triads of the major scale are I draw all other chords to me and because by many as a Dominant thirteenth, and lan modes, all the time, quite uncon- .rt’ T le milking songs, , ,by girlish'’vision in a blazing sun tbelr greatly enhanced the appearance of the divided intd two classes. Primary and I am more closely related to the Tonic my second inversion is seldom used, there sciously. In cities, music is generally re- V0Ices> are very sweet and: appealing, y Secondary. The primary triads are the than any other Triad, leading directly is little left of which to boast. However, - - - .In talking of Scottish music, I must not garded as a luxury. To the”Celt of the - „ . - . ----- of a sub-tropical summer* three major chords: tonic, dominant, and to that chord and forming with it a per¬ I am still found in the dignified chorale, in remote islands and mountain districts it Ior^ . bagpipes, although they sub-dominant. The secondary triads are fect close or cadence. No Other chord contrapuntal writing, and in the formal - .. :*~1-* r *•<- . 1 nppnliarpeculiar to Scotland. liritkEWithin threeAi hun- district eight thm, !L /X‘ r,CCaI,Cd that in of our western states is a vital part of life;and7^7^/ For P/Cfar t0 Scotland. Wuhin toe hum high ^ the three minor chords: supertonic, medi¬ can make a similar claim. sequence. all their work they-have songs, weaving , s/ears ,thd>' ,had taken the .place the veryy rar^tmosph"rare atm°si P f au,0nwbild ‘«-ing guide signs are af' Pr,I'tcd in black on a yellow background, ant and sub-mediant. The diminished triad, songs, spinning songs, flailing songs, harp-formerly, - . had.,— ——**Each chief'-““-i ofui a clan , f , t!e .^stance to the the subtonic, rests on the leadifig tone. The Sub-Dominant Triad: The Sub-Tonic Triad: had his piper who was a very magnificent --„u.WIlen a , . and 1wo ^ors that harmonize well and at the crooning songs, boating pongs, songs for - ' tbe rehef experienced, when a pair 0f I am the Subdominant Triad, built on I am the Sub-tonic Triad, formed upon As in the major key, the chords of the person, owned land and had a servant to gles were purchased the write g°f Same time ldcnd with the various hues of the fourth degree of the major scale, and, the leading tone of the major scale. Em¬ Tonic, Sub-dominant and Dominant are Jewish Students’ Lament carry his pipes. The Isle of Skye used .to experimented with the lighting effeT 5' natUre- II was "oticed that such signs are after the Tonic and Dominant, the next inent theorists do not all agree to my stand¬ the primary triads, the! others being sec¬ have a school for pipers, and no pupil ns studio, substituting a forty watt - ,mi'ch more casy to read, especially at night in importance. ing among the secondary triads of the key. ondary. was received who had not a ‘‘good ear for .u I°r a white seventy-five watt 'r J m a sP°t-Iight, than those printed with a We three major chords establish the Some still class me among the common Two of the primary chords—the Tonic music.” Many legends are told of the character of the key and stand in close chords, while others, because of my di¬ and Sub-dominant—are minor, but the famous Macrimmon family, celebrated as m a piano lamp. The same soothing 7 '" backKround or settings of other relation to each other. With the Tonic, minished fifth, put me in a class by my¬ Dominant is major. These triads may be pipers. One member of the family was was experienced, and it was ! * shades' I often form a plagal or “Amen” cadence used in their root position and first or sec¬ bold enough to enter a cave inhabited by self. ^rethat tte cleariy amber while light s brought^ outom Lth nnnotesoted andf** color h ’’ghwayexperts constructionwho have engineerscarefully at the close of a hymn tune or anthem. Still others insist I am nothing but the ond inversion precisely the same as in the fairies, playing his pipes as he marched Curwen says I am the chord of seriousness, first inversion of the Dominant seventh the major key. Every major scale has its m, till the music got fainter and fainter ape ^ Thand Shee" shiny^white S'UdiCd ^ ma«er find ‘ha‘ *** °r 07 Dominant, Sub-mediant, Sub-tonic. while the Dominant is . a chord of motion, with the fundamental omitted. If this be relative minor beginning on the sixth de¬ and then ceased. His friends were wait’ vantait Thlf.proyed to be a distLrad ange and hlack are the most suitable col- gree of the major. It is Dr. Anger’s opin¬ mg outside for his return, when sud¬ and the Tonic of rest. true, there is no loss without some gain, sic , C’ inaking ;t eas;er tQ * ors for clear reading, musicians, who are for, in my first inverted form I am al¬ ion that minor scales are constructed from denly his dog rushed out in great terror, The three primary triads may be written The Super-Tonic Triad: lowed some liberties denied the second the major, and that the minor is an arti- # the’ ies Th m°re comfortable Z I T "" da>'.t0 the severe eye-strain of in root position, or in the first or second snouiu — inversion of the Dominant seventh. In an ficial scale. ’ The amber bulbs, too, gave off comPl>cated music, should take inversion. The minor and diminished tri¬ I am the Super-tonic Triad, formed departing soul used to be hylped through heard if nnTtn.f i ‘ P Pe ,®USIC 18 in this field. approach to a cadence my first inversion We are closely related to the major, and -^ve off advantage of their experience ir **“•'fie,d’ ads seldom appear in their second inver¬ upon the second degree of the major scale, the Valley of the Shadow^,% ad^ ^ ^ is often used as a substitute for the second are well named the relative minor, for “A sion. All triads may be employed in the and usually given the first place among solemn and movmg death croon: (To he continued) ' inversion of the Dominant seventh. It major scale and its relative minor are so "A lasting reputation is <• u first inversion. The chord of the sixtji the minor triads of the key. According closely bound together that they may be gives melodic smoothness to the bass and to Franklin Peterson my first inversion has always been a source of satisfaction •> i ° ** r> »r„. to know that Handel preferred my first conveniently looked upon as one and the "““h- - ':xc *, other parts as well, and allows almost any produces a softer and richer effect than h0n Covered and reu ardcd."-C*Dallas, in February, 1927, the superinten¬ greatly in a few years’ time when each si'de of the And I know of no subject (for I have taught many) a result of the general awakening in Amer¬ what belongs to music. And by that fifth apart—for the simple reason that you do not possess hand has to work independently. study of vocal and instrumental music dents had an illuminating experience in that is better worth being taught than music, or that is means he will become clear from all re¬ fingers a sixth or more apart! The tactile sense should ica .to a realization of the need of social and develops a mental alertness and calls for attending a concert given by the great In the four-note chord, major, the notes are all so better worth being taught well. proachful actions, for now, having reaped cultural humanizing contacts in order to a complex response of co-ordinated powers National High School Orchestra of two counteract the materialistic tendencies of the noblest fruit of music, he may be of which no other subject affords. hundred and sixty-six players, assembled great use, not only to himself but also the age. These club movements which em¬ When we look about us and observe the from thirty-eight states. body community projects and cultural to the commonwealth; while music teaches rapt attention that is given to the per¬ Music was the theme of the Dallas him to abstain from everything that is study plans have had an important effect formances of our great symphony or¬ meeting and a resolution was adopted .indecent, both in word, and deed, and cPractical Qhord Study on the lives of the adult population. Music chestras, choral societies and grand opera which will go far toward making music to observe decorum, temperance and has motivated many of these projects, and companies; when we realize the part that the motivation of all school activities and ‘By Margaret F. Stroh tangible results have been obtained. We music plays in forming the life philosophy in setting new standards for greater con¬ regularity.” hear on all sides the opinions of business, T N THESE days of broader musicianship, a knowledge “NoI” (usually). “All right, try it and see.” political and social leaders who readily I. IV, I, I—transposing them to all keys from the A of chords is essential to every piano student. The After finding that the major chords of G do come on v, assert that good music is the greatest ability to read by chords instead of by separate notes is 1. 4 and 5, and remembering that the pattern for all pattern. It may be necessary for him to write them in force in socializing and uplifting the lives cJ3he Importance of Organizing for the comparable to the ability to read by words instead of by scales is the same, the pupil concludes that the major a ‘ew keys at first, but if possible it is I letter just to of every race and creed. By choosing letters. Besides that, the ear training, the practice in chords always come on those three notes. Now it is time play them. Caution: Be sure he knows what he is play¬ music and cultural pursuits as motivating transposing, the increased ease in memorizing and sight ing and does not do it by ear. to explain that as songs and hymns contain principally factors, our adult population is earnestly cBetterment of School VYCusic reading gained by the following method more than repays While he is learning to play the cadences he may begin trying to create high standards of right the extra effort. these major chords he will get acquainted with them meetings from large and small communi¬ place in the lives of boys and girls. Music in all keys. He should write them out like this • to analyze songs like "Swanee River” and the simpler living. It is the duty of the school ad- THERE ARE many agencies which The teacher begins somewhat in this manner: ties situated a hundred or more miles is a comparatively new subject in the ymns, taking an old book and writing the name of the ministratoss to know the need of the times, are working for the advancement “Suppose you were asked to play' a chord beginning on apart. Study plans of common interest school curriculum compared to the “tradi¬ chord underneath it. There will, of course, be chords to use proper instrumentalities and to face of the types of music education C, what would you play?” The pupil readily plays c, e, g. have been projected' and music memory tional” subjects. a e cannot know and for the first few hymns it may issues of national and world-wide im¬ which are being given to the public school “Now do you know you can form a chord like that or study projects have been presented to The music supervisor is trained in a portance by preparing the boys and girls pupils in urban and rural communities. The (a note, its third and fifth) on every note in the scale? abneetter t0 mark thCSe’ but later 1et him do il entirc ' the children in the schools of the com¬ “doing” process, not in a rhetorical field in their care to envisage life and the part great National Music Supervisors’ Con¬ Suppose you do that.” The pupil then plays c, e, g; munities represented. as are his fellow-school workers, and Next he learns the V- chord and its resolution by they must play as future citizens in carry¬ ference now meets biennially because of d, f, a, etc. There is great need for further or¬ therefore he must prove by doing and a"d Wr‘ting and the simpler cadences from a ing the torch handed down to them by the growth of the underlying sectional “Now do that again and see if you can tell me which ganization and cooperation on the part exploiting the work of his pupils in order rhnr/l arm°"y book may be learned—introducing the those who gave their all that democracy conferences which also meet biennially in chords are major and which are minor.” Some surpris¬ of the supervisors in order that the chil¬ to obtain larger consideration of school might live. There is greater need today alternate years with the national body of ing results usually ensue for I do not think any pupil has annlv v ^ Slfh and thc six-four. Alwavs have him dren in the schools may have the benefit time and expense for the study and appre¬ and play them and should also find in how many keys the studying5 kn°Wledge t0 Pieces and exercises he is foj- the ameliorating influence of good which they are a part. ciation of music in the schools. The in¬ heard them all right the first time, but judicious guiding There are many strong state educational of the research findings of the national same chord appears. Then it is time to teach him the music in the schools, homes, business and creased standards in the preparation of by the teacher and listening by the pupil will bring out organizations which hold departmental ses¬ committees and especially of the forward different positions (1, 3 5; 1, 3, 6; 1. 4, 6) of the ole thoroucrMv3 fbar-v nu,line °f a course whose aim is to social world than ever before. the music supervisors and of the teach¬ the fact that the chords formed on c, f and g, are major sions annually. These in turn create in¬ movements which come about by the ap¬ chord, and here the teacher must be very sure that the chords8^ fami lanzc thc Pupil with the fundamental Education is said to be the greatest ers who are called upon to present music and that these notes are the first, fourth and fifth notes terest in having their members attend the plication of general study plans developed of the scale. pupil does not confuse the three major chords in one kev numedrn d he,r USC: and '* can be enlarged or varied m power in the reduction of crime. This has been recognized in the higher status sectional conferences of states and the for local needs. and the three positions of one chord. After he has written of it im5 WayS-, Whi,C ,he Pupil may not see the value is unquestionably true in raising the social of the musical ability of the children; and “Do 3?bu think it would be the same with the G scale?” and played this last he may begin playing great national meetings of school music broadeninn-6) !att i‘ will go all through his playing, and moral standards of the illiterate. But Prove by Doing the time is at hand when music in the broadening his musical ability in every line. what of the so-called educated class? Has supervisors. In centers of population, r_p HE AVERAGE music supervisor schools must be accorded a high place in their education given them the power of supervisors’ clubs have been organized and 1 cannot justify his plea for the con¬ the revised program suited to the life discrimination and high standards of serve to maintain social and educational Art depends upon economic foundations. In turn, Art, notably Music, stimulates • sideration of music education in the preparation of the modern child. selection in'the wholesome use of leisure contacts which are invaluable. The super¬ schools so adroitly as many of his fellow The music supervisor makes a very- progress, by creating new ambitions and new ideals, new demands. Our count™ r ‘uSP‘reS industrial and commercial time? An education which, aims merely visors in and.about New York, Chicago, educators in other fields. The supervisor serious mistake when he becomes so to train or discipline the mind or to pro¬ Philadelphia and other centers have or¬ parts with boundless economic prosperity, and the outlook for the present i thlS moment is blessed in various has an up-hill fight in convincing his board absorbed in his own field that he pays vide vocational preparation for personal ganized "In and About” music super¬ -— P esent musical season is extraordinarily fine. of education or his superintendent that little heed to the research findings. gain or privilege is not following the ac¬ visors’ clubs which have attracted inter¬ the proper study of music fills a large (Continued on page 781) cepted cardinal principles of the purpose ested supervisors and teachers to their THE ETl OCTOBER 1927 Page 74-3 Page 742 OCTOBER 1927 THE ETUDE

13he Teachers’ Round Table DEPARTMENT I (Conducted by The Pioneer Idea CHAMBER MUSIC is a form of art Prof. Clarence G. Hamilton, M. A. that was originally intended for per¬ QF COURSE we must expect that TECHNICAL PROBLEMS PER" 15he ‘Place of (fhamber ^Music in the ^ ideas as heretical as ours cannot bu PIANOFORTE PLAYING, WELLESLEY COLLEGE formance in a room or small hall, in TAINING TO MUSICAL contradistinction to that intended for the cause the worshippers at the shrine of tt, THEORY, HISTORY, ETC., ALL OF WHICH PROPERLY BE" concert hall, church or opera house. In Home, the Qoncert Hall and theater cult of unpleasing sounds to arouse them* selves from their lethargy and anathema TO THE ^QUESTIONS its instrumentation it was ordinarily made ANSWERS DEPART" up of small combinations, such as trios, bassoon, or tume from the bottom of the pile, the violin is always present at other times octaves below, using the fingers 5-3-1. pendium of all sorts of five-finger exer¬ ment of the wox^s, as would the singer. sometimes with the French horn. This in the old Sameness, which, to a music dious pieces. When we have had occasion cises—exercises which can, by the way, be DlHKCTIO-WS The speed may be fistoxed a little, as you last, although not of wood, still, because More Variety lover of orchestral effects, acts as a to learn these pieces, it has liecn as a men¬ made trebly effective if practiced in all tal study, which lias Ix-cn possibje liecause 1. Place the fingers over the proper suggest, for the whce&vug tones of the of the blending qualities of its tone, is fre- O ECAUSE of the similarity of char soporific even in the most exciting at¬ kevs. Before striking, hold the hand keys. quently combined with these instruments L> ter in so much of QUr chamber mu tempts. of “dry” technical work done In-forehand, in a well-arched position, bending the For more expansive technical work I “Erl King.” involving the principles contained in these! third and fourth fingers Inward, close It is related that Schubert ohcestarted and is musically regarded as a member of this episode is very suggestive, as it n to the palm of the hand. suggest Mastering the Scales and Arpcg-. Our study has simply been confined to this class. In times past all forms and be thought that a great many of the Adding the WoodWinds 2. With the third and fourth gios by James Francis Cooke. to play the accompaniment before>s£ine familiarizing ourselves with the style and fingers thus out of the way. play the friends, but stopped abruptly in the mideftf, combinations for this class of music were called "novelties” were taken from “ VX/'E KNOW of no string combination chord, utilizing only the first, second All such purely technical exercises may performed, enjoyed and appreciated in the bottom of the pile,” in respect to original- expression, by means of extemporaneous and fifth fingers. Do not bend the well be supplemented by velocity studies, saying, “Let the devil play the rest, for^ - -JRR vv of instruments but, we believe, work containing the principles and diffi¬ thumb and fifth finger which should concerts given by its votaries, while, at ity of ideas or to variety ' be held somewhat firm ' ' ' ‘ * such as Czerny’s Op. 299 or Berens’ Op. 61. to variety. We do not would be improved by the addition of one culties found in these “pieces.” But never the present time, the term chamber deny but that thehe best of ourc chamber or more of the wood-winds, or the French tense. Proceed now to t Be sure that your wrists are relaxed, music, to those of the general public who have we dwelt on them any more than was chords, fingering them i >ic (string) is usually pleasing to listen horn. This, may sound almost sacrilegious 3. Try to go from key to key w however, before practicing any of thesP give it any thought at all, is confined al- to, as well a. absolutely necessary, as we regard any such as well as instructive to the highest to the worshippers of string music; still a gliding touch. The exercises r exercises, since otherwise you will never Chords and Single Notes Again What is Musical Talent? most entirely to such string combinations degree. Still,”" study as liecoming monotonous, and likelv be played with___ every _dIt*—* of *"touch, the best of friends we suggest a thrill to such as these, never- ..o and legato, from pianissimo become a fluent player however hard you to render the “pieces" distasteful. This In the July Etude I asked for lists of I am a boy of fifteen years, have continuous compan- theless. The addition of at least’a few to fortissimo. may work. taken lessons for seven years and *** v **»- •«. should do away with anything that might Note that the exercises deal only teaching" pieces which combine chords in love good music, particularly t.hq tically unknown except to the limited few it cannot be expected that music even occasional notes of a different timber’ with white keys. Through my use one hand(with single notes in the other. works of the great masters. I cor¬ be charged against us in saying that cham¬ of them, I have attained a marked dially detest jazz. who are interested in the subject. any exception and cannot but become would vary what is so often a deadly mono- degree of relaxation, also power com¬ In response I have received the following monotonous when there is no change and tony. In fact, the addition of the wood- ber music is beyond our ability to under¬ Dotted J\[otes with Triplets At the present time 1 have com¬ bined with speed and ease. ^ ^ list from Miss Theodate Stahl, of Forest pleted the sixth hook of Mathew's stand or appreciate. Graded Course. I have also learned In teaching Beethoven’s Sonatas, Park, Erie, Pennsylvania, to whom I ex¬ All that we have said so far applies to is it correct to say that, when a dot¬ to play such pieees as Grieg's But¬ the strings alone in chamber music. As No doubt the writer would favor the ted eighth and sixteenth occur over tend the thanks of the Round Table mem¬ terfly,’ Sibelius' Romance in D flat, application of this exercise to other posi¬ triplet eighths, the sixteenth note, Chopin's Berceuse and several of in combinations ,n the early history the fact that the average audience does not greatly enhanced in their musical vib,^ for those combinations containing wood¬ bers for her trouble in compiling it. Bach s Inventions. should be played with the last' note I practice two hours daily and of chamber music, the wood-winds have for consider concert going a course in school- The gush over so-called chamber m • winds, we are almut sure that the average ' tions of the three-note chord. of the triplet? I was taught to.do She says: May I add that wrist relaxation will this, but have since heard a different wish to follow the career of a musi¬ a long time remained practically out of mg, and in this we should regard also the at the present time A, music person has but little, if any, knowledge opinion. G. F. , .lust now I came across the ques¬ cian, particularly that of a virtuoso, be still more furthered if the wrist be tion regarding chords ami single if possible. I am prepared to apply existence, as far as their employment in dilettanti and music lovers who can be sa- of Hans Christian AnHer US °f ^ |St°,ry of their existence, and what they do know the utmost diligence and shall have this manner is concerned. _ _, allowed to “bob up” slightly at each notes and so am forwarding the ih„ —< The strings tiated with too much of. the same thing rEmpeTor’s S ciofe! "’ ^ is decidedly hazy, to say the least. Some¬ During the first half of the eighteenth names of some pieces .that I have fifteen hundred dollars yearly which we all century, the dot after a note wis some¬ used and that have been very satis¬ have persistently and continually held the dinned into their ears with no change. " have'read in our chilrlW a-T" ““ times it is even ludicrous. But in this we My t( what variable in its value, and. was factory throughout. stage, posing as the only form of chamber There is much truth in the old saying the story two ItraS tabors C° S would say that ignorance is a better ex¬ Hong of the lteager.Crnmmond music, without any signs of waning and that “Enough is as good as a feast” To EmDernr anb r f tailors came to the cuse than ignoring the subject. Use of Sonatinas—Octaves adapted to the rhythm in which ft oc¬ True Devotion.Blake curred. Ordinarily, the dot was given June Morning.Calamara kL°DB C. with every expectation of keeping on in- the average person, to whom the music could make him Huff they Joyous Hong.Hartman Are sonatinas indispensable to the more time than at present, and: the fallow¬ fhtnfory' ? r ? m,'gh!.be said, that °f the tri0 ou quartette of the better class wonderful kind of cloth whSf3 Let the "Winds" Blow pianist? If so, are dementi's sona- Kitty Kittens' Dame.Gilbert “Musical talent’’ is one of those vague th.s form figuratively speaking, is being is too technical — the one who wants invisible to all wiL , „ . WOuId tines the first in order? At what ing note was played very shorty Bjit. when The ’Cello.Blake TP HE WRITER has in mind mahy small *. Merry Brook.Uislier expressions which is glibly spoken but is grade would you introduce them? such notes were played in'bonnectibn with ■ crammed down our throats to an extent “tunes” only—this saying applies As a nleased t? werf n0t Wlse* ^his combinations written by the great When (In what grade) would you ' 1 Dreaming,. hard to define accurately. Ordinarily we In Merry Harvest: Time.Rolfe : is a veritable satiety, tq rule, but few of the laity ’have enough thdr masters composed of various instruments introduce octave studies, and what triplets, the shorter note' was lengthened,, associate it with the ability to respond to book would you use? I took A. D. so that it came with the last note of the The Knave >.f Hearts.I’aldl express it mildly.^ musical training toiu beoe eve/-sufficient^even -sufficiently ed- set to work 1°on fthe appcarai "si t Fs «« tailor other than the string quartette alone, al¬ Turner’s Method of Octave Planing. The Soldiers' Song (Starts with both whatever is best in music and the ardent hands in bass).Steinbeimer It iss true thattha^ noveltiesnovelties” are continually ucated in musical appreciation really to'to time thevthey werew, ri f 'rom time ,0 though it may have been in part for them. Is there not a more advanced book triplet. This is the case" in the works of desire to express one’s thoughts and feel- of octave studies? Handel and Bach. For instance, in this The Lobster Quadrille.I’aldi being announced; but to some of us it is enjoy such music. It might be not even the Emperor 7 thcir work b>' These contain, with one or two strings, M. C. Rose Petals (exceptionally pretty) .ings through some musical medium. ever suggestive of the story told of a fa- hazardous to say that many of the laitv to see how h ? members of his court passage from Handel’s Harmonious Black-. one of the various wood-winds, such as “Temperament” is often cited as the Sonatinas furnish excellent material for smith, the thirty-second ntfte in the middle Broken Toys ..Mana Zueea mous actor in the past, at one of our thea- who appear to understand and enjoy mug How r g " Pr°gressed’ the flute, olxie, clarinet, bassoon, or French Memories of Spring Walts. Anthony attribute of persons whose feelings run tors, of whom it was said that he kept his of the higher class do - ' however, at time could any one see study or for sight-reading, although I part is to be played with the third six¬ Impromptu Brilliant .Sartorio horn, varied in different combinations riot over their better judgment and who wardrobe in a barrel. The story goes that tier as a j should not consider them as absolutely es¬ teenth-in the triplet below it: Narcissus .Slater a person we kimw wh^leT ^ which have been resurrected from time to In the pern Glen.Campbell therefore play in a sentimental, over¬ this man was of a very economical turn of predation ,, _ sential for every piano pupil, since their Song of the Plowman... Hartmann non of a symphony concert was in wnrlr imotions of their time, only to sink again out of sight, possi¬ wrought style. I should say that a person mind, and, to save expense, was prone to watching the motions of the player on the could not ., . • place may often be well-filled by studies. Ex.l Heartsease (difficult but very wear the same costume too long and too timpani. b ,ec anything, as it would have bly because too often they did not consist The two sonatinas (in F and G) by Bee¬ beautiful). .Mrs. II. H. A. Beach has real musical talent when he possesses of the type of trash to suit the general pub¬ Dancing Along.Barnes thoven are first in order, since they are of The Cat .Maxim temperament plus the- ability properly to often for appearance’s sake, regardless of From experience in playing ’cello for of wisdom TtlZ "V'f1' part of a lack lic or were not dry enough to please the the second grade. Clementi’s would not control it and subject it to the dictates of casinnPr0PnateneSS °f ^ P'ay °r th6 °C" m?ny years in strinS combinations, and like to admit n°.ne °.f us would June"M,7ning .'.'.'.'.'.'.''.•.-.'.Forman ‘music lover,” self-styled. At the present come before the third or fourth grade. I I trust that these may help "I.. M. musical taste. Ca~?"- , . with respect for the work as a most valua- carried tto \ wll°Ie thing was time attempts are being made to resurrect .T..'’ and should he pleased to hear This actors costuming was a source of ble form of musical mathematics we un tiffed tW v ,md tl,e Emperor was no- advise you to procure the Sonatina Album But whatever you have, whether tem¬ again this music. This is being done by despair to the manager who was unable to hesitatingly grant all credit and ’glory to he e ir lt £***> Wcrc fi"«hcd; and (voluttie 49 of the Presser Collection) perament or talent or both, these must be the broadcasting of wood-wind ensembles prevail upon the actor to make the suit- the educational value of the music which had them n, t ^ °ff to his People which contains the best of the classic sona¬ Another correspondent, Miss ... regulated by hard and intelligent practice over the radio, in addition to the occa¬ tinas. From these you can draw what recommends Passing Clouds by George before they put you firmly on the. he thmmhf b .th5. playS gIve"’ At last bas been written hY the great masters for tailors went thro,’ °t,ler W',rds- the he thought he had hit upon a plan by 1m- the strings. Nevertheless, one must if tine- them * * ”gb7’7 tbc motions of put_ sional playing of these in concert, by sev¬ seems most adapted to the individual pupil. Later in the century, however, this lax¬ Spaulding (Grade 2); and An Evening road that leads virtuosity and musician- pressivdy telling the actor of a new play candid and unbiased in the matter, admit !nto! ™’..*’d the EmPe™r ' eral of our organizations, some of which Octave studies should be sparsely given ity in the use of the dot gave .place to Concert by William Kern, Op. ship. I should have to meet you and hear be put on that required especial care that with all their technical vahte .. n the streets under a are giving positively superb results. during the early grades and then not at all more accurate notation. Leopold’ Mozart (Grade 3). you play before advising you in detail; ose of lettin; m the dressing, and requested him to make not but characterize even the best of"them * Evet^vn?1"^ mS peopIe see them, I he use of such wood-winds has been to children or older persons with short (1719-1787), father of the great composer, but if you have a taste for the best, music, Everyone p an effort for a better appearance with an as other than pretty ancl pleasing bm mS,^! t0 admire them very long almost an unknown factor to so many fingers—since they tend decidedly toward invented the double dot, writing, “It would a genuine ambition to excel as a pianist, of our people who, when they were not Schubert’s “Erl King” and are able to practice with thoughtful¬ Dromised^t ^ thls the actor never' approaching the height that is onlookers^who0”6 t^ C^'ld amo,1S the stiffening of the wrists. be well if this prolongation of the dot promised to comply, and hope seemed to reached in orchestral music. The monoto- exclaimed ^Wt, uk"°W1"g a">' letter satisfied with the softness of the strings, Doring’s School of Octave Playing (two were to be made very definite and exact.” ness and perseverance—also if you have and wanted an amount of noise such as Not only was this'mveirtiftif* made use of tire Erf King, he played? Should it the means to take lessons from experienced be on the horizon; but when the play cjime ny of tone quality throughout the com- clothes on at^uT- ^ EmPeror has no books) extend from the fourth through the . be played as raj»dl£ as the vocal these could not give, developed.a fondness and faithful teachers—I see no reason why the-manager s d,SgUSt’the actor:ap- position ^ _the unvarying sameness, ex- tS&ZS™ Jhe W °f 5-“ sixth grades. Horvath has 12 Melodic by his distinguished s6n, „^ut in one .in¬ solo? And is the' part where the peared with one of the old costumes, which, ccpt either fast :- that we need some little chTldto and desire for brass instruments which VErl King" speaks to the child to be' you should not become a fine player, if Octave Studies, Op. 43, that are a little stance W. A. Mozart has employed a*. played very rapidly. M. K. however, had not been seen for some time, other designation could accommodate them to their hearts not a virtuoso. After all, your best asset - describe the above over thft who are in ecstacy easier, beginning in the fourth grade (also triple dot to indicate that the dotted note - and which all hoped had been lost “ esire. However, when the average person condition. Even when in the comparatively nothing about it S'C that they kn°w in two books). More advanced is Kullak's should lie prolonged seven-eighth of its You doubtless refer to Liszt’s arranj is a determination to succeed backed by 01 the Ia'ty can be educated to appreciate School of Octave Playing, consisting of original value. ment of the song. the quality of stick-to-it-iveness 1 (Continued on page 779) OCTOBER 1927 Page 745 THE ETUI)]? Page 7U OCTOBER 7927 (Beaching Scales CLASSIC, MODERN AND CONTEMPORARY MASTER WORKS Ma\ing 'Bhose First Stephen (Rollins Foster By Gladys M. Stein Exercises Interesting HE FOLLOWING method has proven Peoples Were Made Glad Because of Him T By Maude W. Tregaskis successful in teaching scales to chil¬ A very clever essay in modern harmonies, with THE RIVER dren. atmospheric effects. Grade 5. PRELUDE THE DIFFICULTY and unpleasant¬ By Ruth Robinson 1 2 3 1 2 3 4 S HARL Me. DONALD ness of practicing at the very outset GABCDEFSg Andante tranqnillo M. M. J= of the study of music is responsible, I am TN THE United States, July 4th stands over one hundred and fifty songs, but the 5 4 3 2 1 3 2 1 sure, for the inability of many people to foremost among out patriotic holidays two best known undoubtedly are My Old The letters give the notes of the scale play the piano. How many times we hear because if commemorates the signing of Kentucky Home and Old Folks at Home, The figures above the letters give the fin¬ grown folks say, “If my parents had only the “Declaration of Independence,” thus the latter being also known as II ay Down gering for the right hand, and those below made me practice 1 But I hated it so much assuring national freedom to the citizens Upon the Syiance Ribber. Other of his the fingering for the left. songs, familiar to everyone, are Uncle A ed, that they did not insist"—a most natural of this country. Sgales written opt in this way in the Old Black Joe and fossa's In the Cold, attitude, it seems to me, from the point of That day also has a significance in the back of the pupil’s exercise book preven; view of both the child and his parents. musical history of the United States. It Cold Ground. any dispute concerning what scales hav, The citizens of Pittsburgh have not been A child (especially one who likes to listen marks the birth of Stephen C. Foster, an or have not been studied. Also pupils find r __—“ w_ * unmindful of the fact that their city was to music) will naturally dread the repe¬ American ballad writer, whose reputation it easy to remember scales learned in this The melody well^ pronounced. Molto legato ^ A A A A A_A—A—A— titions of the first exercises necessary be¬ rests chiefly on his negro melodies and the birthplace of this illustrious musician. manner. fore proceeding to the playing of little folk-songs. f Foster’s home on Penn Avenue has been “pieces" or the still more interesting ad¬ Stephen. Collins Foster was bom in preserved and contains many ntementos be¬ vanced work. Besides, the problem of Pittsburgh oh July 4, 1826. A great deal longing to Foster and his family. His Stop that “Bang” keeping accurate time, which is so impor¬ of his yojrfh was spent playing on the river memory has been further honored by the tant at the very beginning of the study of banks around Pittsburgh, where he listened erection of a statue representing Foster By Abbie Llewellyn Snoddy piano, is a difficult and irksome one to the to the negro stevedores whose singipg had with a negro playing a banjo at his side. children. an Influence on his own later musical com- This statue stands in beautiful Highland r)0 MUCH cannot k said against In a number of the new elementary, 'positions. Park, overlooking the Allegheny River. allowing a child to 'bang'’ upon the books for piano students an occasional Although he wrote both words and music Foster’s life was a tragic one and Ins piano before he is ready to begin regular accompaniment is written with the ^exer¬ for most of his songs, he never was a death, in abject poverty in . a New \ork lessons. cise. The following is an illustration: learned composer. However, his songs rooming house, occurred as the result of "I am sure Sara is going to be musical. “most nearly fulfill the mission of folk- an accident. After an unfortunate mar¬ 1 just can’t keep her away from the piano!" music in America.” He became a profi¬ riage and the death of his mother, whom How often one hears it, and with what cient pianist and was well educated and he loved dearly, he became the victim of increasing difficulty one listens politely! informed on various subjects other than drink. Many of his songs were sold for For Sara, after the manner of her kind, any small sum that would bangs upon the piano with the same zeal great because of his buy for him a drink from she might exhibit upon a tin tub, only inborn genius for mel¬ “the cup that cheers,” but having, perhaps, the added incentive of jjij i jiji i ody, his sensitive per¬ which for him brought no knowing that the piano is something which ceptions, his innate cheer, but only temporary can be damaged considerably if left to tenderness and nobil¬ forgetfulness. It has been the mercy of two small hands. I ity of character.” said that “if he had erred, But even if indifferent to the piano’s ll ".=q It was said he wrote ‘the light that led astray was feelings Sara's mother should consider the text and music for light from Heaven.’ ” .. harm Sara is doing to herself and the pain v - - she will cause her future music teacher. For, if allowed to continue her incessant “pecking,” Sara will develop a stiff-fin¬ gered, petrified wrist action that it will take her teacher months to undo, and, further, she may acquire a lazy-minded u-r-J 1 r r-^ desire to fumble for the notes upon the r f keyboard instead of placing them accu¬ This is an idea, it seems to me, that rately according to the music—a habit cannot be too highly commended. In the from which she may never recover. first place, the accompaniment takes the As soon as a child shows an interest in place of the metronome which many chil¬ music she should be led to sing and al¬ dren dislike heartily. Moreover, the pres¬ lowed to tap out, upon a toy drum or ence of another person in the room and cymbals, rhythmic accompaniments to her his participation in the practicing is an mother’s playing. Then, as soon as her encouragement. Most of all, the im¬ little hands develop sufficiently, she should proved rnusical results to young cars make be taught by mother or teacher how to this a most satisfactory tvay of getting place those hands and fingers properly past the first and worst stage of learning upon the keys and should be trained at once to play piano. I have found an excellent to catch the relation between the notes and book of duets for beginners and have used the tones of the piano. But, until that day it with great benefit to the children. arriyes, keep her away from the piano! A mother need have no great knowledge of music in order to improvise a simple accompaniment for each of the child’s first exercises, and it is a small sacrifice to give the time, since it is necessary oply until the child reaches a stage a little more Hour advanced, when the work, of course, be¬ By Annette M. Lingelbach • comes more interesting. However, it is of the utmost importance that the accom¬ 'T'HE TEACHER said, “Your child paniment should be played in absolutely plays well. But why can't she con¬ accurate time. centrate ? He isn’t here ten minutes until hes listening to the doorbell’s ringing or someone s telephone conversation.” 1 he mother pondered on what she pad (Bhe thumb’s (Debut I>een told and decided to adopt a new By Richard Hacker. plan. While Anne practiced, Charles was put on duty to answer the doorbell, and to npHE THUMB is coming into its own! lell the children Anne couldn't be disturbed Notice, in modern works, how much between four and five in the afternoon. oftener it is used than in older composi¬ Anne did the same duties while Charles tions! So get used to cavorting with it was practicing. Mother did her part by over the black keys, to executing a small telling her friends not to telephone during dance with it around the other fingers and the children’s practice-hours. to seeing it making astonishing discoveries Anne and Charles can now concentrate. in its flights'at the North and South poles They have improved in the matter of er¬ 'f the keyboard. A lifeless member of rors and smooth playing and show much he hand family? Har.dly! Not since British Copyright secured more poise in their recital-performance? Copyright 1927 by Theodore Presser Co. Bach brought it to being and baptized it mainly because of their ability to fix the; Other Music Sections in this issue on pages 717, 757,789. with his Fugues and Inventions! minds on their music and not on their audience. OCTOBER 1927 Page 747 THE ETUDB *H‘™ OCTOBER 1927 MARCXA FUNEBRE tmetvde MARCIA FUNEBRE L. van BEETHOVEN SULLA MORTE D’UN EROE SULLA MORTE D’UN EROE L van BEETHOVEN of'thTsteSue. Originally for piano solo,this movement is still more For iuteresting material in connection with this famous number see another page effective as a duet. Maestoso andante M. M. J =63 , SECONDO

* From here go back to ^ and play to then play Coda.

# From here go back to % and play to ^, then play Coda. OCTOBER 1927 Page 749 the etude Page 748 OCTOBER 1927 MINUET ANTIQUE

W. BERWALD In the true classic vein. Grade 3.

Copyright 1905 hy Ed. Bote & G. Bock International Copyright secured OCTOBER 1927 Huge 751 tee etude the etude Page 750 OCTOBER 1927 POOR PIERROT!