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

7-1-1916 Volume 34, Number 07 (July 1916) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 34, Number 07 (July 1916)." , (1916).

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----- 1 473 THE ETUDE



World of Music . Success Guides.G. if. Grecnhalyh A Practice Hour of Pleasure.C. W. London Can You Pass This Examination .'. The Part the Should Pla^. .J. K. MacDonald The Layman's Attitude T W.’ R. Bpaldint

Teaching Use of Bass Clef.Russell Carter 482

The Effect of Mechanical Ins :s Upon Musical jojuucu Lion.(Symposium) Royal Performers on the Flute. The Real Meaning of Rhythm.. .Lerou B. Campbell A Useful Finger Exercise.Wilbur F. Unger Discouraging the Pupil.Edna J. Warren Can There Be Any Real New Music?... How Parents Can Help...Geo. J. \Heckman First Requisites In Technic.Guy Maier Proper Understanding of Time Signature, C. Johnstone Massenet the Wit ... A Few Do’s.Edna J. Warren The Tone of the Piano.Hans Schneider Misplaced Bar Lines .Philip Gordon A Practicing Plan .G. Buhrman How Not to Teach the Piano.G. B. Nevin Wagner as a Teacher.Henry T. Finch The Efficient Position at the Piano.J. F. Leve The Strain of Hard Practice.C. W. London Music and Color .J. S. Watson Ufye The Founders of the Danish School. Clean Keys .Rena Bauer The Origin of Dixie. The Teachers’ Round Table. Educational Notes on Etude Music... .P. W. Orem Make The Etude More Valuable. Picking Out a Piano .B. H. Wike The Joy of Service.H. M. Howes Emerson Know Your Piano .Anna Hurst . Department for Singers. I Department for Organists. , ELECTRIC Questions and Answers . Department for Violinists .R. Ilraine Department for Children.Jo-Shipley Watson MUSIC

Military Dance . Player Piano Fly Away .Ludwig Renh The Angelus.F. N. Shackley Class Reception March (Four Hands).Chas. Lindsay Minuet in G (Four Hands).L. van Beethoven occupies its present pre-eminent position be¬ Northern Song (Four Hands).R. Schumann Soaring.R. Schumann Polka . ■ Biret.GreenAt.n1tl cause in human quality, tone and worth, it Song of the Harvesters .... ■ E. L. Ashford Gypsy Rondo. . . F. J. Haydn represents the leading musical thought and Good for Nothing' Spinning Wheel Chorus fro 'Flying Dutch- ... .R. Wagner experience of over half a century. ..a Scintilla . It. Gottschalk 4 Berceuse (Violin and Piano).. . . F,. S. Phelps -- (Violin —J -- E. Haesche i£X‘ End of the Lane (Vocal).Davenport Kerrison By means of the AccompanO, a remarkable new A Heart of Gold (Vocal).R. Billin Curious Story (Pipe Organ) .R. Schumt Call Me Thine Own“—l ((Pipe OrOrgan). F-. Haievy- - invention, you can stand or sit at a distance Except to Eat from the Emerson Player Piano and control and regulate the music just as though you were seated at the keys.

An Absorbing Musical Romance Dealers in principal Sold onlq in Packages Like THE ETUDE has constantly aimed to cities and towns bring delight as well as practical instruc¬ tion to all of its readers. While it would be Send for catalog hard to imagine a more utilitarian paper there has always been a vein of human interest obove- which makes it appeal to every member of homes without number where music is made a daily source of inspiration and delight In the issue for October THE ETUDE will commence an absorbing romance entitled The Composer by the highly successful writers Agnes and EMERSON PIANO CO. Egerton Castle. Do not fail to acquaint your friends with this information, so that Established 1849 they will not miss the first chapter of this BOSTON MASS. yery interesting work. Copyright 1916 by Cream of Wheat Co. THE ETUDE 475

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Practice Time

Beside the metronome—an Ingersoll “Two- in-One”. This is an Ingersoll watch in a handsome white frame that looks like ivory. Tells when to practice, when to stop. These Ingersoll “Two-in-Ones” have many uses about the house; this is one. Another is on the dressing-table or desk. Can’t you think of others?


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r,» OQ o o «> o o .. .» o .».> «>«T 478 THE ETUDE Impromptu dances are a delight wherever there is a Victrola The Victrola is always as ready to play as the young folks are to dance. It is just the kind of music they want all the newest dances. The kind of music every one appreciates—perfect in tone, volume and JULY, 1916 VOL. XXXIV No. 7 rhythm. The faultless playing of famous bands and orchestras whose superb dance What One Woman Did Music and the Incorrigible Child music brings joy to the heart—and feet. Far up in the extreme northwestern corner of the United States The Settlement Schools of America have in a quiet way been And on the Victrola it becomes is the city of Bellingham, Washington with thirty thousand or confronting some of the most significant problems in our musical more residents. There, three thousand miles away from the American work. During the last twenty years these schools, often working the delight of countless thousands. music centres of yesterday, a woman has established an orchestra in what more fortunate people call the slums, have produced extra¬ which has attracted wide attention. This band of players was or¬ ordinary results. Genius is often a synonym of work and the people There are Victors and Victrolas in great variety ganized five years ago and now numbers eighty performers. Many with little means expect to work far more than the rich. from 310 to 3400. Any Victor dealer will gladly of the members owe their musical existence largely to Mrs. Daven- Mr. David Mannes, was for years the head of the leading New York Settlement Music School. He is an artist of distinction and demonstrate them and play the latest dance music port-Engeberg, the founder and conductor of the orchestra. At the this year compositions of many great masters were a man of splendid sincerity of purpose. In an interview printed or any other music you wish to hear. included; among them the Schubert “Unfinished” Symphony, the in the New York Evening Post he tells of the wonderful effect of Victor Talking Machine Co. Beethoven “Egmont” Overture, “Vorspiel” (Act III). music upon incorrigible children. Nothing could be more indicative of the shifting centres of “I have watched the entire nature and action of a child being Camden, N. J., u. S. A. remodeled through music. Through the proper study of music, the Berliner Gramophone Co., Montreal, Canadian Dittributora musical interest in the United States nor of the diversity of musical activity. The standards of musical culture in Boston, Chicago, incorrigible child has become tractable, because his mind has been Important warning. Victor Records can be safely and satisfac¬ Philadelphia, New York, Baltimore, Cincinnati and St. Louis arc turned into channels of mental and spiritual interest. The child torily played only with Victor Needles or Tungs-tone Stylus on Victor* of the incorrigible type is one in whom ideals have been crushed or Victrolas. Victor Records cannot be safely played on machines with higher than ever before. The “effete” East is by no means an jeweled or other reproducing points. extinct volcano as far as musical accomplishment goes. But a still or suppressed (and this type of child of course appears in luxurious more significant sign of our great progress in the art is this very homes just as he does in slums). This unmanageable child is called New Victor Records demonstrated at ‘bad’—which means usually that he has a vivid enough personality all dealers on the 28th of each month diversity of interest. A map of Western Europe looks strangely small when superimposed upon that of the United States. The to be ‘good’ if his energies can just be turned in the proper direction. denser population fostered musical taste. The Boston Symphony “Music is one of the greatest aids at such a time in a child’s Orchestra, play as industriously as it will every day in the year, can development. Music furnishes him a personal ideal which is not serve but a very small number in our great population spread over selfish, which, is not aggrandizing—for there is a subtle influence a country of vast distances. The only solution of the problem is from art’s expression which helps the human being to realize a the development of local centres of interest such as Mrs. Davenport- personal ideal. Merely listening to music will not develop this ideal; Engeberg has founded with her orchestra. Local music teachers, the child must play on some instrument. And it is very wasteful the local church, the local choral society, the local music club are to wait until an energetic child becomes unmanageable before this in their way doing quite as much for the great musical advance great influence of music is resorted to.” in America as the Boston Symphony Orchestra or the Mahler Chorus At a recent convention of the Music Settlement Schools held in of Philadelphia. Philadelphia, Mr. Mannes was one of the speakers. He laid great There are thousands .of people of the East to whom the city stress upon the fact that music itself is the real refining force in the of Bellingham is a lives of the children mere name. These who attend the schools. Music car¬ people like to think ries idealism into of themselves as edu¬ the homes of the cated. Yet they students. M u s i c would be the last to brings the golden do just what Mrs. sunlight of ope of Davenport - Enge- the greatest bless¬ berg has done and ings given to man¬ [ay the blame to lack kind, not alone into of resources. Mrs. the dark corners of Engeberg made her dismal homes, but own resources and to the inner cham¬ there is no reason bers of souls made why what she has accomplished in a sombre by misfor¬ city of 30,000 peo¬ tune and economic ple on the coast of oppression. Surely the Pacific could not Milton was right be accomplished in when he said “Sweet scores of other cities compulsion doth in all over the country. music lie.” Victrola XVI, $200 Victrola XVI, electric, $250 479 Mahogany or oak Please mention THE ETUDE when ad Iressing 481 480 THE ETUDE THE ETUDE The Part the Piano Should Play in A Practice Hour Filled With Pleasure Success Guides for Young Teachers Musical Education

By G. M. Greenhalgh By C. W. Landon By J. Catherine Macdonald Here is a set of rules and suggestions which one The practice hour may seem ten minutes long or ten [Miss Macdonald is ani ins motor at the Institute 0f teacher has found so helpful that we reproduce them. hours long, depending upon how the hour is spent. Musical Art and an assistant it the Teacher s College in >( significant interest to all It would pay many a young teacher to have them Whether practice is a pleasure or not depends upon ' New York. Her subject is one interest and interest alone. Teachers seek so-called music teachers.—Editob of iiii copied and hung up in the music room. pretty pieces and hope thereby to gain the child’s inter¬ Musical education should not be begun at the piano. est. That is only one way in which interest may be The instrument is not the best means of awakening the secured. There are many others. Naturally, the child The First Impression. musical sense. History shows that since the invention is aftracted by beautif il things more than by ugly of keyboard instruments people have become far Make the very best possible impression at the first things. However, if this is the only path to interest lesson. Make the pupil understand that you are a the child will soon lack in the appreciation of ,his prac¬ less musical than they were in the days when singing friend who is ever ready to assist when the rough tice opportunity. was popular, because attention has come to be fixed The study of phrasing may be made a center of inter¬ more on a complicated mechanism than on the music est even with very young children. Children like to itself; so that at present, instead of the art of music II. pull things apart for the sake of getting a kind of inner occupying a place on the college curriculum of equal Mind Your Own Business. knowledge. Each phrase should be so well learned that dignity and importance with English literature, as was Your business is to teach the pupil, not to criticise the there is no feeling of hesitancy at any point. Try to the case in the days of Queen Elizabeth, it is often former teacher. Those who lampoon, evaluate or bring out all the combative instinct of the child in his looked upon with disfavor by educators—and not with¬ “throw mud” at others are always suspected of having study, his ambition, his determination, his persistency. out reason, considering the way it has been taught. similar weaknesses. Make his practice a game—a game to be won by will¬ Cecil Sharpe, the well-known collector of English power. Show him the delights of victory. Give the folk songs, says that if children could only sing these to the development of our natural resources and to in this country they are starved, and hence become ill- pupil a definite task to be accomplished. Do not say (Professor Spalding sounds an important note in this III. beautiful melodies of all lands for three years before making money—and I grant that all this had to come merely, “Practice this piece, and if you practice hard significant article. It was Bismarck who foresaw that humored, discontented, or at any rate fail to do their Don't Promise Too Much. first—we must cultivate in a more systematic and enthu¬ you will get it all right.” If the pupil says, “I would being taught anything about the science of music or the music, of all the arts, was the one which would bring best work because the highest portions of their being— You cannot estimate what you can do with a new siastic manner thati heretofureThe arts, and, above all, their sympathies and emotional natures—are starved. give anything if I could play that right,” take him at art of handling an instrument, that wi* piano teachers unity to the German nations. Professor Spalding feels pupil. One man can take a horse to water, but ten men the art of music, wHiclEprcsvides the best nourishment him word, and tell him that if he will give up only a would have musical people to deal with. But until such that music will solve the important problem of helping Music is the most directly moving, the most cooperative, cannot make him drink. for our emotions, imaginations and souls; and I sub¬ the most sympathy-impelling, of all the arts, and noth¬ few of the trivial things he is doing all the time the an ideal state of things exists we ourselves must be the us absorb the great masses that come to us from over mit that such an attitude toward music on the part of ing, I submit, would solve the immigration problem piece may be easily learned. ones to make the children musical; as far as that is the seas.—Editor's Note.) IV. every citizen of our country would have distinct prac¬ quicker than to have all our large cities, with their possible. The question is—how ? Avoid Too Difficult Music. Before setting forth certain suggestions in regard to tical advantages. cosmopolitan population, institute definite means of giv¬ This is really not quite so difficult a matter as some Give etudes and pieces within the grasp of the pupil. this question, let us be clear as to just what is the ing the newcomers rudimentary training in music, pro¬ Too difficult music has been the blight of many a are inclined to believe. For one thing, it is perfectly import of the terms “layman” and “music.” By “lay¬ viding, that is, for this irrepressible craving on their career. Can You Pass This Musical practical to insist on a child’s listening continually while man” we mean any member of the body-politic, man, part just as definite means of satisfaction as we provide Examination? he is playing. It is amazing to think how much this woman or child, who is not practicing the profession of for other needs in our schools, parks and hospitals. V. simple principle is ignored at the piano. We talk largely a musician as a wage-earner, but who, we may assume, Understand Your Pupils. The Etude Day Page about concentration—but on what do wc teach the chil¬ wishes his life to be as well rounded as possible and The Natural Refreshment for Tired Minds Meanwhile Etude Read. dren to focus their attention? Usually on the notes, Insight as to the pupil’s character, tastes, whims and of Musical Efficiency. to have at his disposal all available means for mental A more intelligent attitude toward music on the part habits; sympathy with his desires and ambitions; tact on the keys of the piano and on their own fingers. But and spiritual pleasure, refreshment and ■ stimulation. of laymen would also tend to a fairer estimate of just in inciting him to work are a very considerable part of how often do wc insist on their listening to the sound? It is not easy to define music any more than electricity. The answers to these examination what a composer is and what should he the feeling the teacher’s equipment. The first thing to be done for a beginner is what has Music is acknowledged to be the universal language of toward the many and oftentimes perplexing composi¬ questions in musical information will • always been done—to teach him to read the notes. It the soul, and to be a means of intimate emotional ex¬ tions of the modern school. We often hear business •VI. be published in THE ETUDE next is perfectly possible to teach this in connection with ear pression created through centuries of experimentation men, who realize quite clearly that music furnishes the Study Facial Expressions. training—in fact, that is the only sensible way to do it from the natural forces of rhythm and sound. Music most natural means for refreshment and change of month. They are simple questions may likewise be considered a great phenomenon, like The face is a barometer of the pupil’s interest, his Teach the sound first, the symbol next, and the name mental activity, acknowledge that they cannot make the ocean or a sunrise. It certainly is elemental, con¬ grasp, his nerve control and his pleasure. Make your¬ which every well-trained American last of all. And just as they are taught short words head or tail of modern music, and so we find our mov¬ sisting, as has just been stated, of such vital material music student should, be able to answer and syllables first, and letters later on, so should they ing-picture halls and our vaudeville shows thronged self sensitive to his facial expression. as rhythm (which in its broad sense of motion is at with comparative ease. be taught short phrases (or rather motives of two or with countless citizens who oftentimes are spending the bottom of everything) and sound; and ever since their time and money on what, even at best, is a very VII. No answers to these questions will three notes) first, and the single notes later on. there were human beings on the earth this material has Be Wholly Candid All the Time. This manner of teaching to read, however, is rather low and frivolous kind of amusement. Modern music been used as the means of expressing, however crudely, has become a very subjective art, I grant, but all it Your pupil must come to know that everything you be sent privately under any consider¬ too slow to suit the average parent. So it is sometimes their physical emotion, joy and sorrow, and, above all, requires for its proper appreciation is the same amount say is the truth and nothing but the truth. Children ation whatsoever. The reader must advisable to give the children words to spell by means their ideal longings and aspirations. of natural concentration, sympathy and enthusiastic co¬ are especially sensitive to flattery. To say a piece is of notes—a game used by many teachers with very wait until the next issue of THE operation which every business man will give to golf, well played merely to encourage a pupil who plays in¬ ETUDE for the answers. quick results. One must be careful, though, to explain Music’s Vast Appeal billiards or to a “best-seller,” and the power to appre¬ differently is a very bad policy. that it is a game, and not music at all. Every human being with a pulsating heart must he ciate music will far more richly repay effort. A propos So much for the elements of sense training and read¬ stirred bjt the rhythmic vitality of music, and all men of the subjective trend of music an anecdote of the VIII. 1. What is a quaver? ing. With regard to rhythm, this is not likely to be tend to like pleasing sounds, just as we like to look at famous artist, Whistler, is always opportune. This Give Definite Instruction. neglected at the piano. But to inculcate a sense of the the green grass or the blue sky. Music is by far the genius, when to one of his pictures the following objec¬ 2. What great Shakespeare play steady beat (which is the foundation of all rhythmical Never let the pupil leave the lesson without some most sensuous of the arts, in the best sense of that tion was made by a well-meaning but rather misguided was set to music by a German feeling) by means of an artificial and mechanical derice, definite advice, some definite task, some definite ideas term. Love or human sympathy is the generative cause art patroness: composer only 18 years old? of a new subject or a new aspect of an old subject. like the metronome,- is a very bad thing. It will prob¬ for the existence of music, love in all its aspirations “Oh, Mr. Whistler, I never saw a sunset like that.” By this your pupil’s interest is kept aflame. Avoid the Who was the composer? ably quickly destroy any natural sense of pitch or tone- and influences; and the eternal nobility and validity of The famous American painter replied, “No, madame, use of “don’t.” If for instance your pupil is playing color that the child may have. Counting is good—bui music is shown by our acknowledgment also that God but don’t you wish you had.” too loud, say, “Please play that a little softer;” not, 3. Are the themes of Brahms’ some children cannot count evenly. There is an excel¬ is love. If modern music is sometimes difficult to understand, “Don’t play that so loud.” One is a correction—the “Hungarian Dances ’ ’ original lent way to make them do it. however. Have them We are now in a position to suggest what the relation let the layman bear in mind the necessity for a sus¬ other definite advice. with Brahms? count as they walk, in time to their own step, which is should be between the laymen and this vital and eternal pended judgment before he praises or condemns. He always regular. If you can train a child to do that as form of human expression; that is, what the attitude should first ask himself, Do I understand? and if any IX. 4. Why is Haydn’s Surprise Sym¬ he walks along the street, in time he will develop a should be toward it. Evidently one of the most enthu¬ Professor Walter R. Spalding. one retorts, “Yes, but understanding implies mental Be Constantly Alert. phony given that name? perfect feeling for the steadiness of the beat. siastic and reverent love, of intelligent appreciation of activity,” the valid modern reply is that rest is merely Keep yourself in such physical condition that every As an outline for a first piano lesson of half an hour, the great geniuses who have developed it, of apprecia¬ Is Music Destined to Erase the Hyphen? a change in activity and not a cessation. lesson is full of the best you can give. One sleepy 5. What is the meaning of the ten minutes might be given up to the singing of a tion of the transcendent joys and deep sorrows and The best refreshment, in our modern world, is gained short and simple little scrap of tune over and over One of the most burning questions at present before lesson is the couch upon which many other sleepy word “Leitmotif”? longings which are recorded by these means, and of America, as every one is aware, is how can some more by “putting our minds on something,” and not by allow¬ lessons may repose in the future. again—of course with interesting and appropriate words. keen hunger to become more and more capable of ing them to lie fallow like yellow pumpkins in a sunny Five minutes might then be devoted to having him pick genuine “esprit de corps” be worked out between the 6. Give the names of four wood being touched and uplifted by its divine and mysterious field. Let these placid souls once acquire the habit of it out on the piano, the best way he can. without regard millions of foreigners, who come every year to our X. wind instruments in the mod¬ charm. This statement needs no proof, for it is the attending regularly symphony concerts or good operatic to fingering— the teacher, however, starting him off in shores, and the Americans who have been in this coun¬ Make Friends and Keep Them. ern orchestra? keynote of some of the most eloquent words ever ut¬ performances and recitals of songs or pianoforte liter¬ an easy key. During the next five minutes lie should try for several centuries and have developed the coun¬ The teacher must receive the fullest confidence from tered by Milton, Shakespeare, Shelley, Wordsworth, try along its present lines. We often blame these ature, and they will receive a tonic and refreshment write down a very short phrase, such as can be found Schiller, Browing, Pater, Thoreau, Carlisle, Emerson, the families of his patrons. To be respected all that is 7. What is a pentatonic Scale? people for not identifying themselves as thoroughly as which, after a short time, they will acknowledge is an in Calvin B. Cady’s book on Music Education-but Whitman and Nietsche. needed is to do those things which command respect. they might with our national life and customs, and yet without regard to time. Merely to get the position of indispensable part of a happy, efficient and well-rounded One violation of friendship, one word spoken to injure 8. Give the Italian musical terms In the modern world, with its whirling rush of activ¬ we forget that, with very few exceptions, there has as the notes on the staff. After that could come a rhvthm human existence. another in order to secure slight temporary personal for the following words; soft, ities and its numerous inventions for an entirely novel yet been instituted no national movement to provide lesson, consisting of walking round the room with the adjustment of time and space, the still, small voice of gain has cost many a man his future. Music teachers loud, very fast, very slow, lively, these newcomers with one of the factors in daily life pupil and showing the difference between two and three music has often become drowned. We are far behind must realize that the world is so bound together that sweet. which they consider absolutely essential to their well¬ Readers of The Etude are aware of its policy to time by a stamp of the foot on the accent. Finally, the the man who deliberately undermines another with the the Greeks in our appreciation of the moral and social being and pleasure. The Italians, Russians, Poles, Hun¬ bring the meaning of music to laymen as clearly as lesson could be concluded by showing the names of the hope of gaining, himself, is doomed. In making oppor¬ 9. What instrument did Henri value of music, and even deficient in that enthusiastic garians, Hebrews, and so on, consider that music is an possible to our American public. Unless music be¬ notes on the keyboard in the old way. which is naturally tunities for yourself make opportunities for others. Vieuxtemps play? regard in which music was held in the Elizabethan indispensable factor in human life, just as necessary comes a vital part of our everyday life our musical Stealing another’s’opportunity or his good name is just indispensable if the child is to lean, to plav. Two notes times, when every one who pretended to be a man of for a well-rounded existence as shoes for the feet, endeavor has failed. The foremost men of the hour a little bit worse than stealing his watch or his purse. 10. Who was the greatest composer a lesson should be enough for the first few lessons, cultivation or t gentleman could sing at sight his part clothing for the body and food for the human machine. are the first to recognize the significance of music. If you wish to stand well in your profession look out of Denmark? and instead of taking adjacent notes as in the case of in a glee or part song. If we are ever to become any¬ They have had it in some form or other for centuries Etude readers should advertise this great truth in for the other fellow and help him along. the reading lesson, it is better to take two notes a fifth thing beyond a merely materialistic nation, given over apart, and show them, of course in every octave in the lands of their birth. When they do not find it their conversations with thinking laymen. 483 482 THE ETUDE THE ETUDE Practice the Hard Parts Separately The Most Subtle Secret of Success Teaching the Use of the Bass Clef By Ida Kennedy By Ben Venuto By Russell Carter A bright school teacher was once asked how he managed to teach his class to spell correctly so quickly. “Why is it, that some music teachers, - thoroughly Teachers of the piano complain frequently of the "Teach the hard syllable first,” was his simple explana-’ competent and well equipped, faithful in their work, difficulty in bringing pupils to a working knowledge tion. “The word ‘separate’ is rarely misspelled if the and above reproach personally fail nevertheless to at¬ of the bass clef. The real difficulty lies in the fact pupil’s attention is first directed to and fixed upon the tract or to retain pupils and never at any time have a that they are ignorant of its historical significance, and The Effect of Mechanical Instruments persist in regarding the so-called “treble” and “bass” second syllable.” good-sized class?” This question, or its equivalent in The same principle can also be applied to piano study. staves as two distinct things, whereas they are really other words, has been asked many times of the editor Until the hardest measures can be played in time, with of this and other musical periodicals, but in every case but two parts of one staff. For the benefit of those perfect ease, the remainder of the piece should be gone Upon Musical Education they feel constrained merely to admit the fact without who .have experienced' this difficulty, the following over very slowly. Little credit is due the pupil who be¬ venturing an explanation. The real reason lies in the lesson outline is given. Its usefulness has been proven gins his piece with a great show of confidence then sud¬ A Symposium from Noted American Educators Upon a mental attitude. The teacher’s finished product is his by the results of several years’ teaching of piano pupils denly halts and stumbles when the first difficulty is met. pupil One must be interested in each pupil personally and of pupils in the public schools in the grades where The listener or teacher knows exactly where the col¬ Question of Wide Significance as a human being, and keep in mind not only the the use of the bass clef is necessary: lapse will occur. The little player, though, having at technical progress of that pupil, but what that pupil last scrambled through the hard passage, gets on firm personally wishes to accomplish with his music, or what A Lesson Outline ground again and scampers along faster than ever-to part it fills in his life. This may be discovered, with a Many hundred years ago people had no means of make up for lost time. little tact, without any questions of a meddlesome or writing music, and the only way that new tunes could Such a pupil as this should be made to use a metro¬ nome. Beginners do not like this martinet of the prac¬ impertinent nature, and will be of the very highest be learned was by hearing someone play or sing them, tice hour, because of the restraint a metronome imposes value as a guide to the teacher in governing the pupil’s and then imitating the sounds. Finally, someone upon them—but that is the very reason why they should course. Then, again, the pupil who is led to feel that thought that if little marks were placed above the have it. The little baton should be kept at "slow” rate, This inherent desire to express something ourselves the teacher is seconding his own plans and ambitions words of a song, they might show whether the singer Rossiter W. Cole will be a loyal pupil, and will prove soon a walking because the pupil, unaided, can afterward increase the Composer, Organist, Teacher. is seen in the child—no matter what father does, was to sing high or low. These marks were called The Following Questions Were Asked Willie may enjoy seeing or hearing him do it for a advertisement for his teacher—the most effective means speed if his progress warrants it. From the standpoint of musical appreciation I can “neumes” and looked something like this: in This Symposium time, but it always ends up that Willie insists, “Let me possible for a growth in numbers of his class. Another cause of stumbling over hard parts is inade¬ see a large preponderance of good results upon mu¬ do it.” That same desire fosters our disposition toward Of those teachers, thoroughly competent, etc., who quate knowledge of note values. Beginners especially sical education accruing from the hearing of mechan¬ 1. Have you, in your own work, noted should study the lesson apart from the instrument be¬ the mechanical musical instrument; we enjoy listening fail, there are two types: The first includes those who ically produced music, provided always that the music any progress upon the part of a pupil, fore attempting to play it. The difficult measure should to it for a time, but soon human nature asserts itself regard (perhaps unknown to themselves) the use and J J J j is of a sufficiently good quality, and in the long run this directly attributable to music me¬ be thoroughly analyzed, and the pupil required to show aspect of the problem will take care of itself, for, and we want to do it. thorough completion of some more or less excellent chanically reproduced? which treble and which bass notes go together, whether where there is an abundance of good music available To illustrate, just last week a young man across the course or method, as their end and aim with pupils, and street from our school who runs a store filled with The difficulty in their use lay in the fact that unless a certain note comes on a beat or between beats, and in this form, even the most confirmed ragtimers will 2. Do you know of any case where the the pupils themselves as so much necessary raw mate¬ player-pianos and who has in his stock nearly every the singer had heard the tune before he did not know why, etc. While beginners may be expected to find a sooner or later reach up after it. There can be no musical interest in the study of any rial, those who fit well into the course being highly piece (and, by the way, he has already arrived at the how'far up or dowtv to go, but the neumes were of difficulty in understanding note-values, it is surprising doubt that the ability to reproduce successfully by instrument has diminished owing to satisfactory, and those who do not, troublesome and stage where nothing but the best music satisfies him) some help because they served at least as a reminder to find that often quite advanced players betray very mechanical means the individual interpretations of great mechanically reproduced music? vexatious. (Of course, one might object that failures in mechanical literature, hearing many of them day of a tune. After a long time, someone else had the hazy notions about our system of notation and note- artists has been of tremendous value in bringing these arise also from a teacher having no properly graded 3. Have your business interests ever suf¬ after day, expressed an earnest desire to learn to play idea of drawing a linfe across the page of music and values. _ artists into personal touch with many thousands of himself, if only to be able to play simple pieces of the course.and beating about in a haphazard and experi¬ writing all the neumes belonging above some one letter intelligent lovers of music who otherwise would have fered through the introduction of Massenet Elegy type. Simply one of the many coming mental manner, but as such a teacher could scarcely —siy middle C—above that line, and all the other Beginning at Both Ends been denied this privilege. I think no thorough teacher mechanically reproduced music in under my own personal observation who, following the be called “thoroughly competent,” that falls outside the neutnes below it. When this was done, musicians soon of music need fear the rivalry of any of these mechan¬ the homes of any of your pupils? natural tendency, wishes to express something himself. range of this discussion.) The second type of com¬ saw that if one line was of so much help in reading the By Hazel Victoria Goodwin ical instruments. On the contrary, I have known of The mechanical instrument, as my experience proves, petent but unsuccessful teacher includes those who go position of the neumes, several lines would be of more instances where they have brought about a very whole¬ has been a stimulus to music study both as a factor in through all the motions of good teaching, so to speak, help, and so lines were; added until music was being It is possible for one to take a long and difficult some stimulation of interest in music study through the space of time. We have learned better methods; how interesting more students, as well as often being a but are inwardly rebellious at their occupation and feel written on a staff of eleven lines. It was difficult to way to any goal—and the goal of artistic piano-playing opportunities offered in the home for the pupils either to think, concentrate and discriminate. great help to the student in giving him good ideas on that they were really cut out for performers, read from this staff, because there were so many lines is no exception. A conception prevails that this range to play or to hear played worthy compositions that I do not think, up to the present time, my business some masterpiece which he may be studying. orchestral conductors, composers, or what not. If one that the eye became confused in trying to follow the of endeavor is exempt. To speak in the first person, were far beyond them technically and with which they interests have suffered in any degree through the preva¬ let me say, I have in several instances, saved myself lence of these mechanical contrivances. I must plead does not believe in what he is doing, no matter how notes—particularly those that were in the middle part had no other means of acquaintance. Anything that a great deal of non-constructive work. I used to take stimulates greater love for good music ultimately in¬ guilty to the personal enjoyment of some things I do careful he is as to outward expression, it will show of the staff, and thus it came that another change was J. Lawrence Erb a piece through at a slow tempo and gradually increase creases the desire for music study. But no matter how not have to work for, though I believe the joy of work itself in one way or another in his attitude to those made; The middle line was erased, leaving two groups Composer, Author, Teacher. that tempo until the indicated M.M. was reached. The is one of the greatest boons we have to be thankful for. around him, and will repel. As Confucius said in a of five lines each. The erased line was the one which perfectly these mechanical instruments may approx¬ The invention of mechanically reproducing musical similar case, “How can a man be concealed I How can we now call Middle C, and it is called “middle” because effect, when the piece was "finished,” was bulgy and imate the performance of the artist-musician, they will instruments can be likened in importance only to the unwieldy. Later I took phrase by phrase, working never supersede him nor quench the desire of any per¬ a man be concealed 1” it occupied that position in the old great staff of eleven John J. Hattstaedt invention of printing from movable type. As an edu¬ each up1 independently. In this way, I got the indi¬ son with music in his soul to equip himself as far as There are many causes which may lead to very lines—not because the key to which it belongs is near Conservatory Director. cational asset it is of the very highest rank. In ten possible for self-expression through performance of limited success in the calling of a music teacher; for the.middle of the modern piano. vidual phrases molded nicely—nicely for independent I laid the three questions you present in your letter years. or more of rather intimate acquaintance with instance, lack of patience and courtesy, eccentricity in phrases—but, upon putting them together, found I had some kind. before the principal members of our faculty and find mechanical instruments of one sort or another, during dress or behavior, poor business management, but all the piece distorted and ill-proportioned. Phrases that a decided variance in their written answers. Judging most of which time I have used them in my teaching, such causes are evident to the public and often to the should have been as delicate as a fern frond, or hvacinth, J. Warren Andrews from their experience and my own, I would give the I hive found not a single instance where they have teacher himself, if he looks at his own case frankly. came out with the baldness of a billiard-ball, and I Organist, Composer, Teacher. following opinion: been other than a benefit to the students. After all, Where none of these plain and evident causes exist, I had a rare “job” unlearning such phrases. Working For some unexplained reason the mechanical player Question 1. Various students have been benefited in even the most industrious and gifted human being is feel sure that the secret of success lies in attending to toward perfection of execution means more than the has never interested me. While it is wonderful in its their work by the use of the better class of mechanical very much limited in his ability to learn and perform those points which I have just been discussing. gradual increasing of the tempo from the first slow perfection, there is a coldness about its performance instruments. music. There are besides the limitations of natural reading, to the indicated M.M. A piece must be ap¬ which fails to arouse enthusiasm. I have also failed Question 2. In families owning player-pianos, students endowment to aid to the handicap of only eight hours proached as though it were some ferocious beast: from to note any special artistic progress resultant upon its sometimes have lost their interest and stopped lessons. of work in the day. So that from the standpoint of If we place the finger upon the first added line above different angles. use. Question 3. The American Conservatory has not widening the musical horizon alone, all such agencies the. bass staff we have located middle C, and we can As well as playing a piece through the various speeds, With the sound reproducing machine, especially with suffered through the epidemic of producing music by are of the greatest value and have proven so in many The Live Teacher—Am I One ? count the lines and spaces downward to find the letter thus over-emphasizing the consideration of the finger its recent improvements, great things may be ex¬ mechanical means. cases. For instance, the dreary drudgery of learning to names of the staff. If we point to the first added line movements, one must also bring about the requisite pected ; an advance in higher artistic appreciation must Personally I have no use for the player-piano, and play the piano has been lightened in many cases and a By Herbert William Reed below the treble staff, we are pointing to the same arm movements discoverable only when the piece is take place with its most common use, although, if deem it more^of a detriment than an advantage. The new impetus given to students by the use of player middle C, and by counting upward we may find the taken at the final tempo with the proper proportioning musical taste tends in the wrong direction, more harm finer instruments of the sound-reproducing kind per¬ rolls, which presented the finished product in such form letter names of the lines and spaces upon that staff. of phrases (expression). Ritenuto. accelerando, tempo than good may result. There is, however, a tendency form a real service and cannot but raise the general The live teacher: as to remove the universal and hackneyed complaint, giusto,—all determine the policy of the arms in their in most dispositions to hear the great things because musical understanding and taste. Continues to study. "But I don’t like this piece,” a complaint which arises Teach Bass and Treble Clefs Together myriad movements throughout' the piece. And with they bear the stamp of approval of those versed in the Keeps up his practice. in the vast majority of cases from the fact that the these movements vary the elevations of the wrists, the art. LeRoy B. Campbell Reads the music magazines. If piano teachers would teach the two clefs simultan¬ student is so busy disentangling notes and fingers that angles laterally between the hand and arm, and the I have not noticed any diminution of interest in music Conservatory Director, Teacher and Author. Informs himself on other topics. eously, they would find that in addition to being his¬ there is not the faintest conception of the musical angles at the knuckles, upon which, in turn, depend the students on account of these mechanical helps, for helps Belongs to the state association. torically correct, they were teaching in accordance with Human nature is predisposed to expression, and beauty of the composition, and by the time that the tactics of the fingers. So that if the arm training is they certainly may become. On the contrary, musical Takes part in the local organization. pedagogic principles which, in effect, tells us not to mechanical instruments seem to have no deterrent in¬ mechanical difficulties have been mastered, all the fresh¬ not started correctly from the beginning, quite naturally, zest and ambition seem to be stimulated thereby. Ac¬ Has an interest in civic improvements. teach things which later have to be untaught, so to speak. fluence upon this God-given disposition. On the con¬ ness and spontaneity have been lost, with the result a great deal of unlearning will have to be done. cording to my observation I do not think students, Pays his poll tax and is an eligible voter. If children are taught for weeks that the first space is trary, these instruments furnish more and more impres¬ that though he may be able to play the notes, his mind Acquainting one’s self with the general musical move¬ considering the general average, are as serious, or as Keeps his name before the public by advertising. always F, they are naturally confused when they hear sions throughout the length and breadth of the land, is no longer interested in the composition. While in ment of the piece, therefore.—stretching the imagina- studious, as they were a few years ago; nor do they Bo'osts his work by having his pupils appear in that after a certain time they will be obliged to read and since every impression has its expression, there certain cases I have recommended the purchase of a continue their studies for so large a portion of each the first space as A, in playing the left-hand part. Even where °"e ^ems really to be playing what the naturally comes much more into the general concept player-piano or a sound reproducing machine instead mind hears while coaxing the arms into swings, pro- year as formerly. I do not believe this is due to any Conducts a choir, a choral club, or an orchestra. in teaching vocal music to children, where, in ths case mass to express than before these instruments made of taking lessons where there was no slightest evidence mechanical devices, but rather to the pleasure-seeking Affiliates himself with his chosen religious de¬ of the girls, the vocal score will always be written in mnvl™ ,PhaSeS (not Phases) of this musical their advent into our musical life. True, there are of either talent or inclination to study, yet the total effect age. Then it was unceasing work if one would win. nomination. the treble clef, it is best to teach the letter names on : hUS'ay,ng in the general arm scheme from many unworthy records, but every dealer tells me that of mechanical players has been to increase interest in It is now rather exceptional to find the rigid determina¬ Is on congenial terms with the public-school super¬ treble staff, not as absolutely fixed, but merely as the (Tn d!sregarding the striking of notes while the course of his customers’ tastes, as a rule, runs like music and to stimulate a desire to make music on one’s doing so,-for the actual striking is in the precinct tion to succeed that once actuated the student. Those intendent. names for the staff which is then being used to sing this: The first few months after he buys a machine he own account. I suspect the proportion of the ungifted who possess this usually have marked success. It Finds time to write occasional articles and notes from. The information may be added that there is „ : alternating this mode of attack with uses ragtime and popular songs, the next period he and uninterested who will study music will be lessened might be well to state in this connection that the for .the local paper. another part to the same staff which is not to be used bri ki yfCTud procedure, will give the piece tends toward the Italian and French , and ends through the talking machine and the piano-player, but methods of teaching of to-day are far in advance of Collects all bills promptly and pays his own debts for the present, but which they will learn about when awav w'th a"d Unla.bored effect, in the end. and do up after a year with trading in most of his former I can see no other result than that those who have the same way. they are older. those of even twenty-five years ago. It then took records for the best arias and masterpieces by the musical inclinations will find these instruments simply sgx:„Tof »«- longer to accomplish what is now done in a shorter great artists. aids to developing their musical ability. Interpretation, 485 484 THE ETUDE THE ETUDE Everett E. Truette The fact is the more I look into these mechanical in¬ cleanness of execution, and many other details which Organist and Teacher struments the more surprised I am at what they have are lost in the maze of hieroglyphics on the printed already accomplished and the more enthusiastic I feel Replying to your queries relative to the effect of page may be and are made manifest to the student mechanical instruments upon musical education, I *iU through the mechanical players. The proportion of in regard to their possibilities in advancing the musical say that in my personal teaching (organ, piano, har¬ mediocre public performances ought to diminish with life of the future. mony, theory and counterpoint) I have not observed the increase of these instruments, and that will be a any progress attributable to the use of the mechanical blessing. I do not see how they can ever diminish Frederic W. Root to any appreciable extent the number of those who Teacher and Author. machine. However, I have know of several vocal want to make music in their own way, just as I have pupils of other teachers who have been materially bene¬ From the slight indications I have had of the influence fited by repeatedly listening to the records of the great not observed any falling off in the number of candi¬ of mechanically produced music upon my pupils in singers. dates for the stage with the increasing ability to read singing, I incline to the opinion that the influence has and the cheapness and accessibility of literature. I My personal business interests have never suffered, to been favorable on the whole. think the two cases are entirely parallel. my knowledge, from the introduction of the mechan¬ Reproductions of the singing of distinguished artists ical machines. I have known of several pupils who stimulate a desire to learn the music which they sing were making slow progress in the study of the piano, John Orth and give a model for its rendition. The objections to who gave up the study when they secured a mechan¬ Teacher and Composer. this, which sometimes become manifest, are that pupils ical machine, as it enabled them to enjoy correct per¬ A most interesting question indeed. In the first are led to attempt that which in grade or method of formances of music which they could never be able to place, then, what is all this talk about “canned” music? phrasing are inappropriate for them. Don’t you like canned peaches, pears, etc. Well, then, This, however, is easily regulated by the teacher, who what’s the matter? Why isn’t one kind of can just in other respects realizes the aid received from the F. W. Wodell as good as another? If not, why not? I pause for a pupil’s interest in the reproduction. But it is only in Teacher and Author. reply. repertoire work that mechanical music affects the situa¬ The Real Meaning of Rhythm I have heard a good many foolish things said about tion appreciably. The player-piano has no direct relation to my work “canned music” by people who wouldn’t know a fine The training of singers is so largely in voice-building as a teacher of singing. By LE ROY B. CAMPBELL performance of a significant composition of any kind and musicianship, work in which these artistic reproduc¬ The hearing of pieces—vocal records—on sound- or for any instrument when they heard it. I believe in tions do not compete with the teacher, that the business reproducing machines of a high order has in certain sense, horse-sense, common-sense, which isn’t nearly as of voice teaching is not likely to be interfered with. cases stimulated a desire for vocal study, and in others Music in its highest forms affects our emotions so profoundly that we fail to realize its more subtle and, in the common as it ought to be, and I hope will be some day. Another view of the subject is suggested by the re¬ a determination to persevere to further attainment in end, more abiding architectural beauties. Those who have given little thought to this aspect of musi¬ Let us then look at these mechanical musical devices in vocal technic and interpretation. mark sometimes made by a pupil who has listened to a cal art will find in Mr. Campbell’s article the key to new realms of aesthetic delight. a common-sense way. Strange, isn’t it; but most people, masterly performance: “I could never do like that; I The writer is now specializing in the use of the sound- especially the fond parent, would rather hear his daugh¬ might as well give it up.” reproducing machine in his studio as a means of giving be like without this very rise and fall—loud and soft? ter, or someone else’s daughter, sit down and rumble, However, such remarks are rarely if ever an an¬ pupils an opportunity to “hear themselves as others Ever since a savage, in the dim and distant past, riods, must not be in ill proportion; or the symmetry tumble, fumble, jumble through Mendelssohn’s Spring nouncement of genuine intention; they usually prelude hear them,” to a considerable extent. He has estab¬ beat upon a hollow log, rhythm has been the chief or balance of design in a piece of music must not be Sculpture also teaches us the ideal beauty of the curved Song, a Chopin waltz, or the Sonata Pathetique than a determination to work all the harder. lished a system whereby records are made by students asset to the muse of Orpheus and St. Cecilia. No less contorted. When these essentials are out of shape, surface; for example the Venus de Melos is beautiful to hear it done by an unseen performer on a much I have known of no instances in which the business at regular intervals, of both exercises and pieces, and an authority than Von Biilow called rhythm “the Holy out of true, out of symmetry, then the music fails to because of its perfect lines, but if these lines were higher plane as regards all the fundamentals of inter¬ of teaching was affected in this way. In the field of reproduced for critical hearing and comparison by the Ghost of music.” Another eminent musician defines it give- its full measure of satisfaction to the intelligent flat the beauty would be lost. pretation, such as rhythm, tempo, nuances, and espe¬ instrumental work the case may be different; but to the pupil. It is well known that in many cases it is ex¬ as, “the main artery of music.” Other noted musical listener. We should strive to keep ever present in our music cially right notes which seem to play a very unim¬ voice teacher’s business I regard the “discs” as aids tremely difficult to convince pupils of certain faults; personages have been lavish with illustrations, all of Note in the magnificent York Cathedral the balance this attribute which we see in sculpture and the rolling portant part in the mind of the average listener. All rather than opponents. as, for instance, of the existence of a “tremolo” or dis¬ which purport to emphasize the importance of rhythm of towers, the symmetry of the West front, the regu¬ landscape; every phrase in our music should present you have to do for most of those people is to sit down, position to sing “sharp” on certain pitches. Here is in music. We will all no doubt agree that rhythm is larity of window, buttress and pillar, even the smaller a curved surface, in that it should have our most dis¬ hang onto the pedal, make a big swash and rumpus where the record is of a certain value in the studio. It Hans Schneider not only a most important factor, but that it is the detail in the various windows, or in the manifold stone criminating attention relative to dynamic shading. and the deed is done, as far as they are concerned. is of especial service also in showing the pupil his lack Noted Teacher and Lecturer. carvings here, there and everywhere, all show a beauti¬ I know of a little nine-year-old girl who went to call of power to sustain tone firmly and evenly and to sing very life of our beloved art. The Rubato The question whether the mechanical players and ful evenness and regularity that is a joy to behold. on her uncle with her parents on Thanksgiving Day. with the true “legato,” avoiding occasional “explo¬ Mr. Constantine von Sternberg only a few months She soon spied a piano-player of the highest class in other such instruments are a blessing or a drawback to Text-book Definitions of Rhythm Large sectors, small sectors; short pillars, tall pillars; sions” on a pitch or a syllable. ago in The Etude admirably showed us how to use one corner of the room. She was told she might select music depends a good deal upon how one looks upon It has always therefore seemed a strange thing to mammoth windows, tiny windows; high towers, short While it is true that the talking machine as a mean? the rubato. He graphically illustrated the fact that and play any roll she wished. She selected the Moon¬ “Music.” If the musical faculty in man is developed me that some consistent definition has not been univer¬ towers; greater proportions, lesser proportions; in fine of reproducing the singing voice has limitation, and if we gain time in one place we should lose in another, light Sonata. She was much interested and worked only for the purpose to provide a living for the music sally adopted for use in our text-books on Musical an aggregation of varied details differing greatly from that there is a certain skill to be acquired in its use, or if we lose time in one part of a measure we should over it quite a while. After she had finished, her uncle teacher, then those instruments are surely a drawback Theory. Several books define it thus, “rhythm is the each other yet all so consistently arranged as to be in these do not detract to any important degree from its gain in another, so that in the end, balance has been said to her, “You like that piece?” “Oh, yes, I think to this profession, for in time the profession of music¬ regular recurring pulse in music.” Other writers say perfect harmony even to the most sensitive critic. teaching would be reduced to a very small size, but if value for the purposes mentioned. our watchword, and if the section or period should it’s the nicest piece I ever heard.” “Is that so. Well that "rhythm is the various time figures which may Rhythm is the keynote to this splendid. symphony in now you see you won’t have to learn that piece; you the musical faculty is given to man to make him enjoy take two minutes to play it in perfect time, it should be arranged in an infinite number of patterns and made stone. The cathedral offers, therefore, a splendid les¬ can come here and play it anytime; you won’t need “music” and derive all the benefits therefrom, then also take two minutes to play it in rubato time. Royal Performers on the Flute to fit any measure.” Still other theorists define it as son for the student who wishes to infuse real life and your hands at all.” “Oh, but I just want to learn to these instruments are a blessing and the surest and By way of parenthesis it might be mentioned here, the “distribution of time in music.” Very recently a art into his music. play it myself and I want my teacher to give it to me quickest way to realize this ideal. There used to be an old riddle, "What is worse than that the more the student becomes acquainted with the just as soon as she thinks I am ready for it.” musician whom I greatly respect, corrected my defini¬ The enjoyment of music is one with acquaintance of a flute?” To which the answer was, “Two flutes’’ The Parthenon and Elastic Rhythm study of the various arts and masterpieces, the more You see this kind of a little girl would receive real tion by blue penciling the following definition, “rhythm its literature, and you will agree with me that ninety Nevertheless, flute playing may be considered, like golf, resources he will have for real expression. Such signs inspiration for higher effort by this means. per cent, of all music students never get to the point the sport of kings. A footnote in H. Macaulay Fitz- is the regular measure of accent.” While music embodies this perfect regularity as seen Now it appears to me that all of these definitions in the cathedral, yet it has ritards, accellerandos, phras¬ as pp, ff, cresc.—rit., etc., mechanically followed, are only A Talking Machine in Every Music Room where real “musical literature” begins. To them music Gibbons’ interesting work, The Story of the Flute. outside adornment, quite superficial, but a serious study as an art will forever remain a book with seven seals, tells us that: “The flute can boast that it is the only are inadequate; for instance, the last definition would ing, artistic pauses, rubato, etc. All these licenses tend What is a person to do who wishes to hear one of into the arts will awaken in the student a power of if all the art of music they can consume must come produce a rhythmic effect, true, but that is not defining to break up an otherwise too flat, too rigid, too me¬ many compositions like Handel’s Hallelujah Chorus, instrument on which a great sovereign has ever attained true expression that will be ever available. through their own efforts. And the above is not alone rhythm in music. Some or all of the definitions men¬ chanical, too mathematical a structure. In the most Schubert’s Unfinished Symphony, Mendelssohn’s Violin proficiency and for which a monarch has composed. tioned have to do, with rhythm, but do not consistently ideal architecture such as the master-piece of all time, What Constitutes a Definition for Rhythm? Concerto, and a Brahms, Liszt or Beethoven concerto for true of amateurs, but also of music teachers, the Nevertheless, Frederick the Great was by no means the define the important term, rhythm, in its true relation the Parthenon at Athens, Phidias, the incomparable the piano? How is he to satisfy this craving? Why majority of whom have not any too extensive acquaint¬ only flautist of royal blood. The infamous Nero was a We have now noted that regularity is an essential in architect, shows us how his art can also be rendered would he not instinctively reach out for some device ance with literature. flute player of some note in his day; King Auletes, of to music. Most theorists confuse‘time, accent, measure, all music and in that sense our first, third and fourth which would meet this desire? A man might have in I consider the mechanical player as one of the greatest Greece, the last of the Ptolemies and father of Cleo- pulse, tempo, etc., with rhythm. As a matter of fact elastic and possessed of the artistic curved surfaces definition of rhythm at the beginning of this discussion his family someone who played the piano let us say, or aids to the music student. I know from my own home patra, played in public contests with professional flute all the above named attributes belong to, and go to instead of the mechanically flat surfaces. In short, the had a bearing. violin, or ’cello, or who could sing, but what about that my daughter has received more real music benefit players, and was inordinately proud of his perform¬ make up rhythm. marble foundation line, 104 feet in length, across the The second definition relative to rhythmic patterns symphony or oratorio? It looks to me that the day is from her “records” than from her music studies, and ance. Our own bluff King Hal (Henry VIII) de¬ front of this structure upon which rest the eight mag¬ Some of the Sources of Rhythm might in a sense be twisted into an explanation of likely to come when no music room, especially those while she is but a very limited player, I consider her lighted in the flute and played it daily, says Holinshed nificent Doric columns, has a rise of seven inches in rhythm, but here you have to call the notes of various away from musical centers, will be considered quite musical appreciation quite highly developed. I use (1577). Seventy-two flutes are mentioned in the in¬ Let us take a cursory glance over the broad subject the middle, thus presenting a graceful curve to the lengths which go to make up the pattern, rhythms; in complete without a mechanical musical apparatus of records frequently in classes of our school and shall ventory of his wardrobe, 1547. Some are of ivory, of music and some of the allied arts and see if we eye; the pillars are also spaced so as to give a rounded some kind. Just think of being able to call upon Kreis- doing this we call two terms by the same name: each make extensive use of mechanical players as soon as I tipped with gold, others of glass, and one of wood can arrive at any tangible conclusions. Music is as or curved appearance by making the widest distance ler, Schumann-Heink, De Pachmann and Paderewski small group is a rhythm and these rhythms go to make am able to work out a plan, which probably will be painted like glass. The same list mentions six fifes old or older than the other allied arts but on account between the two columns, in the direct middle, while at a moment’s notice to appear and play or sing any¬ up the broader term, rhythm. Scientific men do not done next summer. and numbers of recorders. of its immaterial structure, was the last art to develop; on either side the spacing gets narrower between each thing one might like to hear, besides having at com¬ look with favor upon such a confusion of terms, so let The mechanical player does for music what the oil it had this advantage however: it had the other per¬ two successive columns as they approach the extremes. mand a full orchestra or chorus for symphony or us see if we cannot improve upon this definition. If print has done for painting and the printing years ago gary (1678-1711). and Frederick, Markgraf of Branden fected arts from which to draw upon for its fund of This superb piece of artistry should be an ever-present oratorio! for literature,, and I look forward to the time when the theorists who favored this idea had called these Don’t you see what an advantage it is if children can burg-Culmbach- (1711-63), were flute players expression. For example, aside from the most primi¬ guide and lesson to the student as he seeks to give music, real music, will be taught in schools and col¬ short rhythmic figures “time patterns” or “time idioms,” grow up in an atmosphere of real music artistically Albert, Prince Consort of Queen Victoria, played wel tive beginnings, music finds in architecture its closest artistic elasticity to his musical renditions in the leges in place of the present instruction, which may be then the definition would have been more consistent performed? Wouldn’t they learn to appreciate and and took lesSons from Benjamin Wells. Prince Xicho affinity relative to rhythm and rhythmic resources. higher lights of his art. practically called a waste of time and which does not than it is at present. love the real thing instead of being swamped in the las, of Greece, is an accomplished flautist, and ha In Hobema’s Avenue of Trees a peculiarly interest¬ get the students anywhere near real music. Architecture and Rhythm We have further noted that the measure, phrase, sec¬ superficial and meretricious? written a concerto on themes furnished by the composi ing painting, we see a lesson in how to make a ritard Music means the thoughts of our great classic and tion, period, yes, and the structure or form (such as tions of Frederick the Great, some of whose instru Architecture depends upon symmetry, regularity, or an accellerando. Note the gradually decreasing Musical Turtles modern composers, and to become acquainted with only first subject, trio, and return to first subject), all of ments he possesses. The Count of Syracuse, brothe balance, proportion, etc., for its chief appeal to the distance between each succeeding tree. These spacings a small part of it, by way of studying its technic first, these should have balance and be used symmetrically. How about the musical turtles who crawl over the °.f *e Kil>g of Naples, learned the flute from Brie sense of the beautiful; these elements furnish the are not spasmodic or sudden, but are truly beautiful These divisions and subdivisions therefore come under would take two lifetimes, and a short cut therefore is keys, whose technic is bounded on the north, south, aaldi in 1837. Moreover, Carmen Sylva, the Queen o rhythm as it were, for architecture. Architecture to the aesthetic sense as they so gracefully and evenly the head of rhythm. The tempo, with its variations not alone most welcome but absolutely necessary. Yet east and west by Handel’s Largo and two or three Bohemia, is whispered to be a flautiste.” Whether o would not appeal to the artistic sense or give pleasure, recede toward the old church in the distance. found in the ritard, accellerando, and rubato, must pieces like that. Will they give up when they meet a the absorbing of musical literature in a mechanical way not Carmen Sylva ever played the flute is open t if its arches were out of proportion, the pillars irregular have balance and symmetry, therefore this also is gov¬ mechanical device and see what it can do? I doubt it. does not necessarily do away with one’s own personal The Rhythmic Rise and Fall in Tone Throughout a Piece doubt, but she certainly never was Queen of Behemis or the symmetry or balance of one part or another, erned by rhythm. And again the rise and fall in tone, I think they will stick just the same, although I find it effort, as the enjoyment from this activity is of an Carmen Sylva was the pen-name of Elizabeth, Quee: contorted. In the same manner the pillars of music, Then we see in many an ideal landscape a gentle accentuation and other dynamic attributes are rhythmic. difficult to figure out the basis for their persistence entirely different character than that of pure apprecia¬ the recurring pulse of the measure, must not be ir¬ rise and fall, hills and valleys. This is also a form From this general review of the subject can we not tion of good music. and patience. few and hCr dCath °CCUrred Within the bS regular; the arches, music’s phrases, sections and pe¬ of rhythm, in a way irregular, but what would music arrive at a better definition of rhythm than any of 487 THE ETUDE 486 THE ETUDE

those we have noted? A definition that is not a partial Discouraging the Pupil one that tells some of the truth, but on the other hand, By Edna Johnson Warren one that is inclusive, one that is consistent? _ Suppose, therefore, that we consider this'"Rhythm is that in To discourage a pupil! Some of the kindest people agement instead of fault finding? One mistake, more music which regulates and defines the flow of the or less, harms nobody. Who doesn’t make mistakes? melodic and harmonic outline in its various aspects in the world and with nothing but the best of inten¬ tions do exactly this, without having the least knowl¬ Adults may. do th^ir best and hardly a day passes both in the larger as well as the smaller divisions and but a mistake more serious than a wrong note in edge of it. Recently a married lady told me that subdivisions.” music is .niade. A little leading along in a sym¬ when she was about twelve years old her father pur¬ I present this definition after many months of thought- pathetic way, a little more patience and tact on the chased an organ and engaged a teacher for her. She ful consideration of this subject. Our art is surely part of the parent and much less haste in dealing was full of music and delight.ed at the prospect in need of a good definition for its foundation factor- out judgment is what is needed. rhythm, and only in the interest of being a servant to before her. She took twenty lessons and then A little' girl of eight, with a highly nervous tem¬ the highest good of the art, I offer the definition just stopped for a short rest during school vacation. She perament, was.seated on a piano stool in the parlor. quoted. had two or three little melodies which she could An equally nervous mother stood in the doorway What I sincerely hope is, that It may provoke study play passably well and was urged to do so in front leading to the kitchen, the mother overtired from a and research on the part of more capable scholars and of the immediate members of the family. If a neigh¬ hard day’s work and the child fatigued from a day hasten the perfection of an adequate and consistent bor happened in (and child-like, she was anxious to in school. The practice started. Before the third definition for the term which has been so aptly described show what she had learned), either her father or measure was reached the mother was shouting, “You but not defined as “The Holy Ghost of Music.” mother would straightway give out the information didn’t Jo that right, now do it over.” Several sim- that “she couldn’t play nothing but exercises yet.” ilar phrases were rendered freely before the first She became so disheartened after a few months that strain was completed and the picture closes with a A Useful Finger Exercise she gave up her music entirely. Two girl cousins tear-stained pitiful face leaving the piano and a little who started at the same time and were encouraged girl sobbing out, “I know as well as you do that I in playing as well as they could for whoever came can’t learn it.” Gradually extend this exercise, taking one or two By Wilbur Follett Unger Foundations of Technic A in. They are more than average musicians to-day, I could stand it no longer, and without much car¬ n * .. * , > additional tones each time, until two octaves are and the lady in question says that if she had received ing how it would end for me, I took the child by the The basic principles for the acquiring of a good reached. Practice especially the passing of the thumb Whenever you have had a pupil whose fingers technic are so simple that it is a wonder that more encouragement in those days of childhood she feels hand, led her back to the piano and after a quiet under the fourth finger, i. e., play very slowly several pianists do not hold fingers, wrists and arms under seemed weak, or could not attain desired velocity, certain nothing would have kept her from a musical talk helped her through the difficult passage. The times, as heretofore, (C) and (D) ; then rapidly, with absolute control. The fault lies in the fact that many haven’t you wished that you knew of some specific career. This is only one of the many cases which smile I received was reward enough, but fortunately a pause between; finally play (E) rapidly as possible. exercise to give pupils that would prove efficacious in could be cited by almost any observing teacher. the mother too was pleased, and as the old adage teachers and students imagine that by the playing of a short time, without having to wade through innumer¬ When will parents learn the necessity of encour¬ goes “all’s well that ends well. dozens, nay hundreds of etudes, and by endless scale able volumes of etudes? and arpeggio practice, they will somehow reach their * * Some time ago, I discovered that the little exercise technical Parnassus. After years of such maddening 1 given below proved an all’round beneficial piece of drill they usually play with considerable facility, but Now play in similar manner the C major arpeggio work for all pupils, inasmuch as it gives strength of Can There Be Any Real New Music? very rarely with absolute certainty and security. Others with the left hand for four octaves; only one trial to evade the issue altogether and deny the need of techni¬ fingers, speed, delicacy, and above all, control or inde¬ determine control. The hand should not jump from cal work, or practice furiously at some of the modern one octave to another in descending or ascending, but pendence of fingers. When we were children—fifteen or fifty years ago, of themes which are unquestionably reminiscent Han¬ systems of weight playing. They are acquainted with the thumb should pass instantaneously under the hand I insist on each pupil’s mastering the exercise up as you please—our geographies mapped out large por¬ del, Rossini and others thought little of "plagiarizing” all the latest devitalization ideas, can call all the as soon as the second finger has struck; there should to a certain speed, and by “mastering,” I mean that tions of the earth and then marked them “unexplored.” from themselves. Even where the accusation of delib¬ To-day locomotives chug swiftly past the lion’s lair erate stealing of tunes is unfounded, it is not surpris¬ muscles of the hands, arms and feet by name—and be scarcely any turn of the hand and no break between every note shall be played clearly instead of all run yet they wonder why they cannot play as confidently the octaves. The arpeggio (like the scale) should together (as will be the case if practiced too fast at and the giraffe scurries off to find some new but ever- ing that many tunes bear a close resemblance. decreasing bit of the “unexplored.” For eight hun¬ How can composers avoid these resemblances? In and securely as many others who do not even know sound as though the hand had a dozen fingers playing first), and that the whole shall have a smooth, even These exercises may be applied to the arpeggio and dred years music workers have been delving into their the first place, the field for discovery is really far of the existence of some modern technical writers. one after another. flow of rhythm without the slightest break between the chromatic scale, i. e., for the right hand ar¬ vast unknown, and hundreds of people are asking each larger than it appears, and through numberless twists Taken at the proper stage of the game the technical Then, for further tests, play the C major left hand peggio play (F) and (G), both slowly and fast, and other, “Can there really be anything new in music?” and turns an almost unlimited number of tunes can be principles propounded by these and by many other scale, and the right hand arpeggio; then play the estimable men, are of the greatest value; however, scale with both hands (two octaves apart); play the with a little pause between; then (H) rapidly; to be Ascending. One octave. Of course, they all know that there is something new, devised. In addition to this, the art of weaving melo¬ because Messers. Strauss, Debussy, Puccini et Cie see dies (counterpoint), the art of making chords (har¬ despite the assertions of one or two prominent pianists printed exercise two or three times in succession with¬ extended ad libitum. to it that they are reminded very constantly. But, is mony,), and the art of mixing tone qualities (orchestra¬ (who have worked for years to perfect their technic); out pause; play it backwards once or twice, play only it really new or simply a rehash of the 28,000 tion), extends the field enormously. Richard Strauss, despite certain others who force their notions of one-half of it—all these little tests to determine your General Directions ^ 8 4 ! 8 J which John Towers records in his book of operas which for instance, is wonderfully adept in building har¬ “Natural Law,” devitalization, etc., etc., upon all classes control over your fingers. The thumb must go under as swiftly as possible and conditions of students—it has been conclusively have been performed? monies in a somewhat different manner from that in whenever the second finger strikes, in order to be over 5 3 4 2 3 1 et°‘ proven that the first requisite is absolute independence As a matter of fact, a great deal of what is con¬ which Wagner worked, although both men are Cydo- The Scale of C Major for Several Years its note, before it is called upon to play it There and evenness of the fingers. Until a pure, firm, rapid- sidered new is really very old. Opera itself is now pian in their ideals and methods. Debussy, by the use A good finger technic can be developed by practicing must be no break, no twisting of the hand, no flattenr stroke, finger action is secured, until perfect control aged three centuries. Long before Paris began to think of the whole tone scale, evolves a harmonic treatment for several years the C major scale, the C major ar¬ ing of the fingers (especially of the outermost joint) of one’s finger tips is acquired, it is not wise for the of sanitary plumbing, when the Louvre and the salons that is singularly delightful to many. What is the peggio, the above exercise, the chromatic scale, and a and no jumping from one position to another. The student to delve into the perplexities of advanced of the “city of light” reeked with disgusting odors, much-discussed whole tone scale ? Go to the piano and few Czerny studies (Opus 740, Nos. 1. 2, 5). They only movement of the arm occurs after the thumb has Descending. technic. The sooner the pianist begins each day to there were performances of opera which, from the play a series of notes up or down, always seeing to it should be memorized at once, and should be practiced struck in order to place the fingers over the notes that work toward this end, the sooner will he play with spectacular standpoint, would compare quite favorably that one piano key (white or black) comes between daily. By practicing these etudes faithfully (especially the ease, and with the control that is invariably de¬ follow; this should be swiftly and decisively done so with some of our modern productions. Any musician each step. Ah 1 Something new at last. By no means the first one in C) for two or three years the student that each finger is amply prepared for its next tone. who chooses to set himself to the task can take the manded, whether in the singing of a melody or in the —the whole-toned scale was in use in Java long before will without doubt be well on the way toward acquir¬ The fingers should always “snap” down to the keys scores of operas of that period and find in the works playing of a Chopin etude. Nero Claudius Caesar Drusus Germanicus played his ing independence, freedom, surety and positive con¬ and back briskly, whether the scale be played slowly or of some of the present-day writers occasional snatches 3 4 3 5 6tC' famous Pyrotechnical Concerto in Rome. Acquiring Finger Control trol of his fingers. rapidly. Keep the fingers as loose as possible. The The Czerny studies, like the scale, arpeggio and the If the student will go to the piano, sit erect and re- wrist should be neither flabby nor tight, but should be above short exercise, must be continually practiced in laxed, place his hand on middle C, and play rapidly the held in an elastic, pliable and springy state. small groups of even as few as three or four notes, How Parents Can Help C major scale for two octaves, ascending and descend- Of wrist and arm technic, it is impossible in an single handed and then with both hands. In the scale, article of this length to speak, but these are mere Begin to practice this exercise very slowly (M.M. ^ ing, keeping the hand quiet, the wrist low, the fingers for instance, play very slowly with the left hand the By Geo. J. Heckman “side issues” compared to finger technic, and are much = 60), raising the fingers high at first, lowering them (especially the outermost joint) curved, employing following exercise (A), placing the thumb under the nothing but pure, high stroke action (*. e., without more easily and quickly acquired. The student needs gradually as you increase the rate of speed. Try to Children go to school six days out of every week hpnd very swiftly as soon as the second finger strikes: a painstaking, wide-awake teacher to oversee his per¬ produce a loud tone at first, gradually diminishing the ------umuiui inrougn misunoerstanuu pushing in the least from the arm), without turning the and five hours every day. A music teacher sees the hand at the passing of the thumb, and playing the formance of these exercises several times weekly, for tone as the speed increases. Accent strongly the first child one day of the week and from one-half to one °rij efWISC misquote the teacher and say “teach told me to do this, or teacher told me to do that.’’ The scale perfectly the first time, he will see what it means he himself will not see more than one-half of his own and seventh notes, and slightly accent the first, third hour of that day. Many parents wonder why their was one student in particular, about ten years ol to have his fingers under control. At the first attempt, imperfections. Above all let him strive for a beauti¬ and fifth notes of each group of 32d notes. child is more proficient in his school studies than his whose progress was such that the writer finally se the scale should sound absolutely smooth, very rapid, ful technic. By constant, critical listening, by much It would be a good plan to make the pupil study music. There are many reasons, according to the tor her mother and insisted that the mother be prese and beautiful. A perfect scale will sound exactly like crystal-clear pianissimo playing, by seeking each day for the' fingering first away from the piano, naming aloud child’s nature. However, the tendency in the school tor at least four lessons. After giving the moth a glissando. After playing the scale, the student should Pause at the third finger, with thumb over G; then a smoother, purer, lovelier scale, will he approximate the fingering: “5-3, 4-2, 3-1,” until the fingers can be system is to eliminate home work as much as possible. advice how to watch her daughter’s practice, at tl play a glissando for two betaves for the purpose of play slowly and firmly (B) with the thumb going soonest the technic that in Mr. Bauer and Mr. Ga- controlled. Then try the actual notes on the piano, With a musical education home practice is an absolute end of the four lessons the girl made over twice h comparison. The real test does not consist in playing under as far as possible without twisting the hand brilowitsch is exemplified in its most glorified form. practicing the whole exercise up and down for one necessity. In school the constant repetition of routine usual progress. She had ability but lacked self-pr the scale five or twenty-five times, and finally by push¬ about. A low wrist should be used in all these exer¬ octave, repeating each measure. Keep the pupil prac¬ work in the class is bound to show results in the nor¬ cises, since a pure finger technic is developed sooner pulsion. Later in life this girl will thank her moth< ing with the arm or by other expedients forcing it to No art form is so fleeting and so subject to the dic¬ ticing this several times each day, until it becomes mal child. But with music study, the child’s individual¬ and Wlth good reasons. Many older students mal sound tolerably smooth. If one cannot do it the first by holding the wrist low, because a firm stroke from tates of fashion as opera. It has always been the play¬ memorized. Then time the pupil for speed. The aver¬ ity must assert itself for results. Parents can help th.s remark: “If only I had listened to mother when time, if it is “jerky,” insecure and rough, then he has the knuckle joint is accentuated and the inclination to thing of fashion, and suffers from its changes. To-day age pupil can play this exercise in about half a minute. wonderfully though musically uneducated themselves, was younger.” little or no positive technic. In performing a piece in push from the elbow is minimized. by following a few simple rules. the stilted figures of Hasse, Pergolesi, Rameau, and Clever pupils can play it as fast as 12 seconds. Record The responsiWHty for the chnd,s continuance ve public, one is not permitted two or more “trys” at a Now play (A) rapidly, evenly and firmly as possible First would be the practicing. Parents should in¬ even Gluck, seem as grotesque to us as the wigs and the time taken to play it from, one lesson to another, passage, but the muscles must be so trained that they (raise your fingers!); then, after a moment’s pause, sist upon a certain time for practice and not let the often devolves upon the mother. The child needs su. buckles of their contemporaries. To Palestrina’s masses and rejoice in watching the pupil’s interest as he tries will invariably respond upon the first attempt. This play (B) in the same manner, finally play the two in child’s whim or their own give way. The veriest be¬ disc.phne and training. One student’s father gives h and madrigals, Rameau’s and Couperin’s clavecin pieces, to improve his speed. Be careful, however, that on succession as rapidly as possible, and without a break, ginner should devote at least one hour a day to prac¬ son a certain amount of spending monev if he pra is technic, the rest is mere facility. and all of Bach, we can still listen without this sense no account you permit the pupil to try for speed until Now try the following exercise, bearing in mind these thus: tice, though it may be divided into two, three or four dantl,? muan>' h°Urs a week‘ Another mother lets h of incongruity. * * * The fact is, that music which same admonitions: curved and high fingers, quiet hand, he has mastered the work at a slow tempo I periods. Parents should frequently be present at the is tied down to the conventionalities and moods of its bm htVC 3 monthl-v Par‘y ^ her grades are goc low wrist, no pushing from the elbow, every note of Incidentally, a great deal of interest could be said lesson hour. Some children need this especially, as it but makes her practice so much extra every day if hi time and place can never appeal but to the particular both hands clearly played. The first notes, last notes, about the scheme of “timing” pupils to show results, shows to the child that both parent and teacher are time and mood which gave it birth.—Edward Mac- and all between must come exactly together. Sit erect. but that’s material for another article. more than interested. Many parents would be surprised Do well. nnd out the different methods of doing so. Play perfectly (very rapidly) at the first attempt. 489 488 THE ETUDE THE ETUDE

The Proper Understanding of the Massenet, The Wit Time-Signature Mr. Louis Lombard, the teacher, composer, conduc¬ measures of an old Provencal folk-song he introduces 0 tor, financier, whose career has often been outlined in in the opera of Sapho. By Chas. Johnstone, Mus. Bac. The Etude, knew Massenet very well indeed. He sends Hearing my remark that still draws the largest us the following recollections of some conversations audiences, he adds: “Just the opposite as regards indicating the quick and witty mind of the French woman. The more we know an opera, the more we The Tone of the Piano A great number of beginners seem to have a very master: love it. The more we know . . .” and here he gal¬ hazy conception of the real meaning of the Time- Massenet’s poetic, emotional nature was balanced by lantly stops short. By the way, he told me that he By HANS SCHNEIDER Signature. The reason for this is that the music does made his debut in Faust, appearing as the triangle not carry out literally the figures in the signature, but an intellect so healthy that even a melophobe would have admired in him the man of wit. player in the orchestra of the Paris Opera, while a merely indicates the sum-total of the measure. For During the forty minutes on the train carrying us student at the Conservatory. instance, in the following illustration:— Imagination is the faculty of the human mind to the sonority of the parent tone. Of the different of the mechanism take away much from its quan¬ to a certain lovely nook of Europe, the composer Complaining of some criticism in a Paris journal, and occupy itself with things of which it has no exact tones contra C has 1280; small c, 320, and four-line tity. emphasized my opinion he could'have achieved great¬ heedless of my soothing assumption that this critic must be ignorant, jealous, envious, Massenet exclaims: "I knowledge. The less knowledge the brain has c only 10 overtones. When we now consider that Duration of tones on a high-class concert grand: ness in other fields also. This may be said of the about such things the freer rein can it give to its i|j. J 1 majority of those who distinguish themselves in any don’t know any more how to compose! If I write as all piano tones are produced by strings, made of Without pedal sub-contra C 7 sec. with pedal 7 sec. I feel, they say: ‘Oh 1 I understand that music. It is imagination, and the more luxuriously will this the same material (metal) that all strings are set large A 14 “ 18 “ one branch, for the main factors of their success are grow around the matter. Whenever applied to mat¬ similar: brains and creative energy. too simple.’ If complicated, critics maintain ‘it is nebu¬ to motion in the same way, then a piano can pro¬ small a 11 “ IS “ while the signature calls for two quarters in each meas¬ lous; but, at least, he now tries to imitate a good model, ters of fancy pure and simple, matters without any duce but one tone, namely, a piano tone with all its 1 line a 9 “ 14 “ As we enter the railway carriage, I introduce him concrete existence, it is of the greatest- benefit, but ure, there is, as a matter of fact, only one quarter Wagner.’” And in a sorrowful voice, while shaking his drawbacks and advantages. to a fine-looking girl. “May I ask,” says he, “what whenever we apply it to matters that are subject A piano tone can be either loud or soft, but it note in the whole passage. At the same time there is head in utter discouragement, he asserts that “in the is your nationality. Mademoiselle?” to exact principles, that can be measured, it be¬ can only have one quality of tone, and all these the sum-total value of two. quarters in each measure. eyes of some of those French critics, to be a good Tone and Imagination “I am half German, half English.” comes easily misleading and builds cardhouses that qualities depend entirely on the speed of the ham¬ But still to read the time-signature as a sum-total of musician one must either b? dead or German.” mer, and there is 'no other way of changing the “Well, you certainly could not say you are half the correct thinker must tear down, no matter how There are thus no poetic, no mysterious, no the measure is not very helpful to the pupil. The be¬ His every remark was accompanied by fitting facial pretty,” he quickly retorts. little he likes the job. liquid, no romantic tones in the piano; these only tone, except by means of the pedal. The limit of ginner pays too much attention to the upper-figure, expression and gesture. His forceful mimicry con¬ The piano has become a necessary piece of furni¬ exist in the psychic or inner ear and the imagina¬ quantity is quicker reached in loud tones than in whilst, in point of fact it is the lower figure which is Another lady tells him: “I looked at you from our vinced he could have been a great actor. I had special ture in almost every household, like the sewing tion of the player and listener. And whenever one soft ones. There can be but little increase above all-important. The following may serve to illustrate box over the stage the other night while you were con¬ opportunities to discover that gift of his. While show¬ machine, etc. It is obvious that its mission and claims that he can actually distinguish such, the a “forte” without straining the tone and without this more definitely. In the commercial world every ducting, and (with a little pout) you never once looked ing me the scores of Sapho and Cendrillon he was making it not alone harsh, but also destroying its at me.” also it mechanism should be misunderstood. But fact is due to associations of the physical sense of commodity has its unit of measurement; coal is sold about to complete, Massenet would sing to me ever)' hearing with other tonal images, with pictorial and carrying capacity. by the ton, cloth by the yard, meat by the pound, and “I am so sorry,” he replies with a regretful air, “but, few users of it are well enough instructed to know vocal part and occasionally shout out some instrumental poetic ideas stored up from previous experiences. Each kind of material has just so much power wood by the cord, etc. In a dry-goods store, the one you see, my dear Madam, while conducting I have its exact nature. Imagination, carelessness of ob¬ obbligato, all the time accompanying himself upon, above, servation and lack of discrimination between phys¬ All these matters are strictly individual and can of resistance; its rate of motion is limited, and important thing for a clerk to know in piece-goods, is the bad habit of looking now and then at the or¬ and below the piano. If necessary to particularly im¬ never be argued, for the outsider cannot know the the price of one yard. He cannot sell ten yards till chestra.” ical properties and sensations aroused have woven when we attempt to overstep this limit we get less press some incident or scene upon my bewildered and around the tone of the piano a very misleading gar¬ basis for these sensations in the listener. A tone effect from the increase, and if the string does not he knows the price of one. It matters not how many To another fellow-traveler, also of the effusive sex, admiring self, he would impersonate the hero, the ment, endowing it With qualities that it never had, may be poetic to one but not to somebody else, yards there may be in the whole piece of goods. He who tells him: . “I am so glad to meet you, dear break entirely, it produces unmusical tones. A soft heroine or the villain, as if the life of the solar system and never will have, as long as the whole mechan¬ for the imagination of one may travel in an en¬ tone has far more shades, and it can be shaded certainly cannot sell more than it contains. But he Maestro! I have often thought I would give five years itself hung upon the thoroughness of that impersona¬ ical process of its production is not changed en- tirely different road from the other. If we- find down to a just barely audible effect. In this it cannot sell even one yard till he knows the selling of my life to make your acquaintance,” he roguishly tion. “quasi cornu” written in a piano score, it is a help follows the natural tendency of the tone which is price. asks: “To whom would you give those years?” The rehearsal of that far-famed Monte Carlo orches¬ to the imagination of the player, to lead it in a decrescendo by nature. Yet it is far more difficult In music the standard of measurement is the count. The husband of a singer he had recently heard wishes The duty of the piano is to produce tones and tra interested me in more than a musical way. How certain direction, but the piano will never sound to play softly than loud, for it takes far more mus¬ And this is always expressed by the lower figure in to know his opinion. “Your wife sings like an angel,” incidentally to reproduce music written by men inspiring, and, which is rarer yet, how kind and encour¬ to an outsider like two French horns in spite of cular control and a higher developed tone sense. the Time-Signature. In the following Time-Signature he dramatically asserts, while, in the same breath, who were able to think in tones. Unfortunately, aging Massenet was to the musicians 1 It was a memor¬ the horn fifths. If the piano tone could have such On the other hand, a pair of Willing fists and the the 4 shows that one count is worth a quarter note. for the purpose of seeing clear, the word music is whispering into my ear: “Of course, you know, I have able lesson to me who, up to that time, had never distinctive and different qualities, such qualities Knowing this, we can easily calculate the relative value never heard angels sing.” constantly substituted everywhere for tone, and it absence of all sense for tone shading can easily dreamt of being tactful, or even considerate during a would have to be apparent to everybody, which is of other notes. If a quarter note has one count, then is a question whether there exists any other dis¬ push the piano to the limit. TUen he seriously informs me that the digestion of rehearsal. not the case. The piano can produce tones of dif¬ it follows that a would have two counts, a one of his favorite - interpreters was not good in cipline or art in which such a confusing terminology A piano tone can be full, ringing and sonorous ferent pitch, of different quantity and of good and and will then have good carrying capacity. All whole note four counts, a dotted quarter note one and America, “because she has been regular at her meals all v renen, ne used to say things which, uttered by a tact¬ exists. bad quality, but only piano tones. these qualities may be summed up in the expres¬ one half counts, a dotted half note three, and an eighth her life, and since crossing the Atlantic all her meals less man, would wound. A young woman I brought The tone of the piano is the result of a string Quantity and quality are properties of the piano sion “good tone.” Such quality may be the conse¬ note half a count, and so on. The clerk in the store have been five hours late.” to his studio had just sung without feeling his own set to vibration by the blow of the hammer, re¬ must know two things: the prices of the goods, and .tone that are inseparable, because the quality of the quence of good construction of the instrument, ex¬ He also refers to one of his librettists who greatly poignant Elcgie. Thereupon he imitated an imaginary enforced and intensified through the sounding- the value of the various coins he is handling. If he tone is due to the presence or absence of overtones, act workmanship and first-class material used in resembles him. “That unfortunate collaborator of mine old ady singing with exaggerated pathos, then, turning board. Each different musical instrument has its is lacking in either of these two points he is sure and so is the quantity to a certain extent. When strings; hammers, as far as the felt is concerned, seems to seek opportunities for overhearing anything to the young singer, he gently remarked: “After all, own characteristic sound qualities according to the either to defraud his employer or the customer. So we use, for instance, the sustaining pedal, we not and careful selection of the wood for the sounding- unpleasant that may be said of our works. In a theatre Mademoiselle, there may be something here worth imi¬ nature of the material it is made of and according with the beginner in music. He must know not only only change the quantity of tone, but, at the same board, upon which depends a great deal. box, within my co-worker’s hearing, someone was tear¬ tating! The polite hint was not lost upon that inex¬ to the different ways of producing the tone. And what kind of notes he is looking at, but also how many time, we change its quality. The tone will not ing to tatters a recent opera of. ours when, suddenly perienced singer, now a well-known artist. such quality is its exclusive attribute shared with These qualities are also due to the manner in counts each one is worth, even to a fraction. To do alone be louder, but also more brilliant—“lighter mistaking my fellow-singer for me, a lady audibly whis¬ Massenet seemed to be a very modest man; yet, in no other. A clarinet tone results from a blown which the keys are handled. If the key is struck this accurately he must first know what kind of note in color”—and, at the same time, will sound or last pers : ‘Hush, there’s the composer.’ ‘Never mind,’ adds his heart of hearts, he was not that. The superior in- wood instrument, a tone is produced by a with the striking body in an elastic condition, if has one count. He will soon see for himself what the longer. The duration of the piano tone is shorter the individual who had mistaken my luckless librettist e lect knows its superiority. He simply pretended not blown brass instrument; violin, harp and piano more swing and weight is used than contraction, upper figure should be, even if he did not notice it in for me, *’tis not the music I was disgusted with; it’s to care for praise. The pride of humility is not monop¬ tones are tones of strings set into motion by dif¬ than the tone of all other instruments, and, there¬ if compound, natural motions are made, instead of the signature for he could not count more than there the libretto I hate 1’ ” ferent agents and therefore sound differently. fore, the piano, as far as tone is concerned, is the single unnatural ones, the string, when responding was in the measure any more than the clerk could sell olized by theologians. Modest ways in a world-renowed genius may disguise vanity. The very rich dislike to most inferior of all instruments. It is also the to the blow of the hammer, will develop its tone more yards than was in the piece of goods. Therefore most mechanical of all, and perhaps no other in¬ To an Autograph Maniac speak of their wealth, the very talented of their talents. What Piano Tone Is in a natural way. This means that the overtones he should look at the lower figure first as the unit of strument allows such a close analysis of its tones. will follow each other in their natural sequence and measurement. Of course some knowledge of fractional To an autograph maniac who writes him for a annL reiteration of a flagrant fact may The tone of the piano is a combination of vibra¬ >Va tha* In the voice, where the human being is the very the string will produce the maximum value of tone values is necessary to do this. For this reason it is a few bars of Sapho, an opera he was composing at 1S •t*le °^scure. though able, man who needs tions of metal strings and many so-called by¬ instrument, also in the wind instrument, the tone it possesses. wise plan to give pupils thorough practice in relative that time, and from, which work, according to contract ,, J®if~assertlve.' wh° must throw bouquets to himself, noises, such as the blow of the hammer, loose parts fractional values. nothing could be given out before the first public per¬ suggesting to the world to throw him some, of the action and so forth, and whoever has heard is subject to changes under direct emotional strain. The time which the hammer consumes in agitat¬ In the violin the fingers come in contact with the ing the string has a great deal to do with the beauty In connection with this matter a word might be formance, our waggish musician—too courteous to re¬ often mr(althatuS practical psychology, for mankind of a piano string agitated by alternating electric fuse and too intelligent to explain—simply mails a few currents, and heard it in its pure unadulterated string, and in all these instruments the tone can be of the tone. The string needs a certain amount of spoken about the first measure, a matter of frequent loZ ofluggeltionr1131 ‘° aPP’aUd' ^ * * increased or decreased at will, but not so in the trouble to beginners. It is not always necessary to have beauty, will be convinced that these by-noises form time to develop its qualities or tone, because the piano where the tone dies almost at the very mo¬ blow of the hammer, which starts the vibration, a complete measure to commence with. It depends a very important part of the piano tone. ment of its birth, and the air, the very element that upon the accent of the musical foot. If there is not A string vibrates in its total and also in its parts, hits the string in only one spot, and from here this carries its sound away, also destroys it by con¬ a complete measure at the beginning, whatever there is so that the tone of a piano string is a composite disturbance can only gradually spread over the whole stantly decreasing the vibration of the string which will of course be the last part of the measure. In the like all tones, of its partial or overtones. The strings. following illustration A Few Things to “Do” number of overtones—the presence of some and produces it. the absence of others—their predominance over the Physical Conditions of Bad Tone How the Sustaining Pedal Affects Tone By Edna Johnson Warren parent tone greatly changes the quality of the tone The conditions which are responsible for bad of a piano, which fact depends a good deal upon The sustaining pedal is the only means of tone are necessarily opposite. Here it is the sud¬ We see so much written on don’ts that I would like the construction of the so-called “scale” of the lengthening the tone whose duration is slightly den blow of shortest duration which sends back the to' give a few do’s for pupil and teacher. For the Teacher piano, the quality of wire, felt, and, above all, the different in the different registers. The tones of hammer immediately instead of allowing the string sounding-board. the bass and the middle register have the longest For the Pupil to develop its overtones in natural order, and the though the signature calls for four quarters in each enters^hpkf6 ,:°Urself in the pupil’s place when hi The presence and number of overtones also life on account of the longer strings, which con¬ overtones will appear in disorder; some overtones 1. Do try and be on time at your lessons and appear enters the studio and give him a pleasant greeting. measure we find only one such note in the first measure. change with the different registers of the piano. sequently have more overtones, and the length of will be given undue prominence, some higher ones regularly on the day appointed, This note is simply the last count of the measure and In the long bass strings the overtones are frequent; tone decreases as we go up to the higher tones and will appear before the lower ones have been k 2. Do have clean hands and clean piano keys (to say prepare. ^ that has been P>en him t< shows that the musical foot commences on four thus: yes, often the third and fourth, are too predomi¬ find smaller strings. Yet the bass tones do not sounded, and everything is jumbled together in nothing of clean scales and clean arpeggios). nant, and apt to sound louder than the parent tone. last as long as those of the middle section on ac¬ consequence of the brutal jar the string has re¬ 3- Do learn your lesson, as far as possible, at home, do3'toD° *h0W the s*mc courtes>' to children that yo, As we go higher in pitch and the strings become count of the thickness of the strings and the extra ceived, and such tones have also poor carrying in order that your teacher may have more time to them. g UPS and the same that you expect fron shorter, their number of overtones diminishes. 411 2 3 4112 3 411 2 3 devote to your advance work. wire spun around it, so that the middle part of the quality. They are short lived and reproduce upon The best tone of the piano is found in the middle piano containing large, small and one line octave 4. Do act as if your teacher knew more than you the human ear the same unpleasant sensation and register, because here the number of. overtones are is the best part of the piano, where the tone lasts j and follow her directions implicitly. once°ndrthTberfthaAWe 311 trave,ed ** same roac the same effect as the hammer has produced upon It is well to remind beginners that the sign C is just ce and that we found many rocks along the way. balanced best; there is not an excessive amount of the string. 5. Do come to your lessons with a cheerful face and longest, because here the balance between parent the same as the figures f and must be counted ac¬ overtones present which would predominate over tone and overtone is most perfect. you will be more likely to go away happy. treatmen/S PUpiIS more’ and use individua The human ear is perfectly attuned and in sym¬ cordingly. 6. Do keep your finger nails short. the parent tone, and, on the other hand, there are In the highest registers the actual tone is minus pathy with the law of overtones, and derives the onTem aiL S°me ^ °,d no overtones lacking whose absence would impair of all assisting overtones, and also the by-noises greatest pleasure from the natural and satisfactory 491 T H E E T U D E 490 THE ETUDE

stimulation of its function and vice versa. All Practicing Plan that is Worth While pleasurable sensations are due to a perfect har¬ mony between the strength of the incoming sensa¬ By Godfrey Buhrman tions with the function of our organ. Pain is a sections at a time. Remember that although each brick consequence of the opposite. As far as the human No one but an insane man would think of trying to in a house was a separate piece that once rested in „ machine is concerned in the production of bad put up a great building without the architect s blue indiscriminate heap in the street it becomes a pan 0: tones, rigidity of joints overcontract the whole arm, prints. A plan is not only indispensable, but in this and the consequent absence of the ever necessary the main structure and is lost in the whole. That is the day of keen competition the student should see to it way in which your building must go up. margin of elasticity and flexibility are principally that his plan is the best obtainable for his personal responsible for all bad tones. needs. The Finishing Stage It may be here repeated again that the piano is In studying a new piece the work seems to divide but a mechanical instrument whose “modus oper- Here the student takes the skeleton structure, builds itself into the following periods or stages: andi” can be studied and which is subject to the upon a firm foundation and commences to fill it i„. laws and conditions of its construction and its The Preparation Stage. This stage is all the name implies it should be. Htrt single parts. As in all mechanical devices, the high¬ the sub-sections are 'ignored and the practice is devoted The Mastering Stage. est efficiency can only be obtained if the efforts of to the. work as a whole or any special difficulties which operating them follow the lines laid down by their The Finishing Stage. may develop. As a result of aimless practice mam construction. students tire of a work before it is really finished. I5 In each of these stages one should have a plan for the finishing stage you must imagine the work as or.e work, and before passing to the next stage everything played in public. Conjure up an imaginary audience that ought to be done in the first stage should be Misplaced Bar Lines and feel that this audience is listening every minute to checked off and put down in the player’s conscience as every note. There is no test as severe as this if the By Philip Gordon work honestly and thoroughly accomplished. student is sufficiently conscientious. After reading through the piece once or twice from ' For the student who works six days a week the This subject of misplaced bar lines is by far the beginning to end at the proper tempo, ignoring errors, whole work may be divided thus: easiest to understand of all those connected with the but continually aspiring to play as artistically and cor¬ rhythmic structure of music. Nevertheless, it is a very rectly as the conditions permit as a drill and a test for Monday J Drill on all obvious difficulties of important subject. For every measure has one im¬ sight reading, the student is ready to take up the first Wednesday i portant accent, coming on the first beat of the measure, technic and expression until nicely Wagner as a stage of his work. Thursday ( that is, directly after the bar line. If the bar line is polished. Saturday / in the wrong place, the music will be incorrectly ac- The Preparation Stage T eacher In the preparation stage our practice blue prints call Play the piece through once and The rule for accent is very simple. In a phrase of Tuesday j I SIEGFRIED FORGING THE SWORD, NOTHUNG. for a good foundation. The dirt and rocks which once only as though it were your THE ARRIVAL OF LOHENGRIN. four measures the strongest accents come on the second By HENRY T. FINCK mark the spot where our musical structure is to stand Friday j only chance at a concert. and fourth measures; to be more precise, they come must be cleared out. All technical obstructions must on the first beat of the measure. be carefully and completely removed. To do this On the days on which you play the piece in concert Wagner’s innovations the field of the music drama called into being a new art for the singer divide your piece into its natural sub-sections, of from form note with minute care just where your nfistakes Schubert—Impromptu, Op. 14a. No. 3. four to sixteen or even thirty-two measures each. come. On the other days devote a few moments ef of which he alone knew the secret Practice these exactly as though they were separate vigorous, scientific compelling drill. Command your fingers to play with certainty. little compositions. The realization of art is a process, day the vocal music in Lohengrin seems quite simple Liszt when that opera had its first performance anywhere, Such development actually finishes the work not only was one of the greatest teachers of not an operation. Content in accomplishing some little and tuneful, even in the second act, which foreshadows at Weimar. Naturally, the orchestral splendors and beau¬ technically but artistically. It invests the player with singing the world has ever seen. The success of those but definite advancement each day on one sub-section who came under his instruction proves this even more the Nibelung style; yet the great song writer, Robert ties of the score were fully revealed under the direction two great things. Perspective and poise. to the next while the power of concentration is still in Franz, though he liked this opera, wrote that “it is diffi¬ of Liszt, whose conducting was as wonderful in its way Practice of this kind results in: eloquently than his writings. A few words of explana¬ its youth. In this first stage of practice omit all pas¬ tion would often enable them to overcome a seemingly cult to understand how the singers can memorize as his piano playing. But he could not create competent sages that you can play with ease. Why waste time singers. Wagner himself realized that he could not Efficient performance. unsurmountable difficulty. He paid much attention to melodic phrases like these, apparently written so much upon them? Go directly to the real work of the piece proper breathing, but his usual method was to approach against the grain.” “expect the Lord to work private miracles” in his behalf and master that. If a builder has a natural excavation Economy of time. the matter from the mental side; to thoroughly under¬ What would he have thought of Tristan and Isoldet by making singers of the kind he needed “grow on all ready in which to commence his foundation he Economy of effort. stand a passage was, in his opinion, to master half its It was not only the unprecedented intervals in Wag¬ trees.” Yet it annoyed him exceedingly to find that does not waste time in digging a new one. those who heard his opera at Weimar were impressed Variety of interest. technical difficulty. ner’s melodious recitatives that the singers found it These words appeared as a footnote in my Wagner difficult to master. He had to teach them the art of by the music, but not by the action and the singing The Mastering Stage Monotony is the headsman of success in practice. and His Works, the first edition of which is dated 1893. harmonizing their acting with their singing. Before his on the stage. “If at the performance of my Lohengrin the music alone—nay, as a rule, the orchestra alone— This is the constructive period. The student com¬ Once let monotony enter and interest fades away. The It includes a considerable number of details regarding day, opera singers were not expected to be actors and mences to build upon his foundation piers. He thus enemy of monotony is just the kind of practice plan Wagner’s method of teaching his singers and orchestral actresses, except in a very vague and general way. A attracts attention, you may be sure that the singers unites them into one complete structure. Unite a few that we have described here. musicians to grasp and execute his intentions; but I few did act, but even these would have opened wide have fallen far below the level of their task.” did not have at that time the advantage of utilizing their eyes at Wagner’s demands. His essay on the How true this was, we who have heard such singers some books that have since appeared, notably Lilli proper performance of the Flying Dutchman, which and historical artists as Emma Eames, Lillian Nordica, Lehmann’s memoirs and, above all, the illuminating every student of operatic singing should read and re¬ Johanna Gadski, Marianne Brandt, Jean and Edouard , Yet in this example it will be clear, even to those who How Not to Teach the Piano volume, entitled Richard Wagner an seine Kunstler, read and ponder and again ponder, gives a vivid insight de Resyke in this opera can attest. know nothing of harmony, that the strongest accents which contains invaluable hints in abundance.. into his conception of the intimate union of singing and come on the beats marked with the asterisk. That is, By Gordon Batch Nevin It is a book of 414 pages, containing his letters to acting. Six solid pages are devoted to the Hollander “Tristan and Isolde” and “Die Meistersinger” the bar lines should all be moved forward two beats. the artists who assisted him in giving his three Bayreuth alone, demonstrating his every movement and gesture, A few good singers did “grow on trees” for Wagner One has but to play the passage with the two possible How not to teach the piano? A strange subject? need of the pupil may be. The series is, festivals, the first of which was devoted to Beethoven’s in close association with the music; and the characters after the Weimar premiere of Lohengrin, which occurred accentuations; he will feel at once that the better and The author should have written positively: HOW to therefore, about as effective as some correspondence Ninth Symphony, the second to his four Nibelung are similarly treated. in 1850. Yet as late as 1863 (when he had already reached correct version is the one we advocate. teach, not negatively: how not to teach, you think? courses we know of! Think of it! The girl with the dramas, the third to . The number of letters There is also an essay on the proper performance of his fiftieth year) his Tristan was given up as “im¬ The student of harmony will see that it is all a Well, there are many articles written from that view¬ stiff wrist, the girl with the pudgy fingers unable to in this book is 360, and there is another volume in which Tannhduser, which is even more valuable. Wagner possible” after fifty-four rehearsals in , where matter of cadences. Cadence means weight or accent; point, and sometimes a truth can best be taught by span an octave, the one lacking independence of finger are printed his letters relating to the purely business wrote it because it was not possible for him to travel the Opera had, as he himself wrote, “better singers than if the cadences fall regularly on the third beat, the comparison, so we are going to consider some things action, all get the same menu of exercises and pieces! affairs of the festival. These two books give a vivid from city to city and instruct the singers and conductors the theatres elsewhere.” It was useless for him to point bar lines are incorrectly placed. This subject should that should not find a place in teaching. Let me assure you that I am not over-drawing the idea of Wagner’s amazing capacity for hard work. personally as to the best way of learning to perform not be confounded with that of compound measures, in I will paint you a picture, partly a composite, of a picture; this is a positive fact. Edison once said that genius is one per cent, inspiration this opera. out. that Viardot-Garcia, in Paris, had once sung the which the accents usually come on the third beat. In part of Isolde in the second act at sight for him. She man who has given nearly one hundred lessons each Now briefly to sum up the lesson from this por¬ and ninety-nine per cent, perspiration. On reading cases of bar lining the accent comes on every second was not available in , and Paris, at that time, week for years past; his lessons are supposed to be of trayal, the root of this species of art depravity is Wagner’s Bayreuth letters, one realizes that this is not measure; in cases of compound time it comes in every How to Study an Opera would not have understood his opera. half-hour length, but in reality are from twelve to commercialism, that form of greed that will debase an such an exaggeration as at first it seems to be. After measure. In the four measures of Example 1 there A glaring light is thrown in this essay on the differ¬ At last he found in Schnorr von Carolsfeld an ideal twenty minutes long. He schedules his lessons closely, ar o the gutter provided enough monetary gain is devoting a quarter of a century to the conception and are but two important cadences or accents; in the two ence between the old way of staging an opera and his Tristan. To him, after his death, he devoted a long and with no allowance for time spent going from one house corralled; however, it must be said that ii composing of his four colossal Nibelung operas, he measures to another, and has been doing this for years. When 1 fact in the was confronted by a task that would have appalled instructive essay, in which he pointed out how Schnorr Heller—Studies, Op. 45. No. 1. , — -“C three cases from which I have The old way was to send to each singer his part, contrasted with the who sang Lohengrin at a pupil or the parent of a pupil complains of this he- drawn this composite, there was lacking any real talent. any one but himself—the Herculean labor of finding which he was expected to study at the piano till he knew Weimar. By his wonderful dramatic and vocal art approximates a little nearer to the understood time ut the point that needs to be driven home is this.making musicians who could sing and play them. for a while—then gradually lapses back into his usual it by heart. Then all the singers were assembled for a Schnorr “held the rapt attention of the whole audience all possible allowances for innate inefficiency, there is curtailment routine. During the lesson time he is rehearsal, during which the stage manager gave them in such a way that this orchestral symphony seemed, in f"r cuttlnK time on lessons, being occupied much occupied writing in his little black appointment From “Rienzi” to “Lohengrin” a few hints as to the acting of their part. with other things during the lesson time, or, with the comparison to his song, like the simplest accompaniment It is not easy for us to comprehend the difficulties That was not Wagner’s way of teaching his singers. book, and when through with that he manicures his vast amount of printer’s ink shed each vear in pointing to an operatic solo, or rather, disappeared as a separate finger-nails; this from one who is supposed tq be im¬ that confronted Wagner. To-day, opera singers of the Before they got a glimpse of the music, he had them factor, and seemed to be part and parcel of his song.” out now to instruct, being guiltv of such hopelessly meet the conductor and stage manager and read in their parting the knowledge of an art! In actual instruction dramatic class, are expected as a matter of course to Much of this success was directly due to Wagner’s Tbove8 3nd ‘nefficlent methods as are sketched out presence their respective parts, even .the chorus being given he is as interesting as in the above-mentioned do the Wagner roles. But when he began to write his teaching. “Never,” Wagner wrote, “has the most matters; the pupil is given all the brilliant rapid move¬ operas there were no Wagner singers. He had to present. His directions were that this should be done bungling singer or player accepted so much detailed in¬ ments (he calls them “fast” movements) and is told nr!™herS °f pupi,s each Fear have lost air desire to create those, as well as the operas!” repeatedly, till each of the vocalists got into the spirit of Example 2 there are two of these major accents, struction from me as this vocal hero, whose art touched each on the third beat of the measure. The difference that “anyone can play the slow movements!” Think and h sh^lH ?’C J>ecausc of ‘he work of such teachers, His Rienzi was all right, for that was more or less of his or her part, just as if they were going to act it on supreme mastery.” between the two cases is quite apparent. of it! The slow movements of Beethoven’s sonatas the 1“ btthe part of a" teachers, and especially in the prevailing Meyerbeer style; yet even that made without music. After that, they were to receive their Many helpful and interesting instances of incorrect passed over with the comment that “anyone can play Satform®/?Ct]erS JUSt starti"S out, ,0 adhere to a what he himself called “extravagant demands on the vocal parts, which they would then study with greatly Instructive glimpses of Wagner as a teacher are given bar lining could be cited. We may mention as two of them!” 22?™ °f truI-v, artistic and ennobling ideals, laying singers.” The Flying Dutchman went much farther increased understanding, and therefore greatly increased in Ludwig Nohl's Neties Skissenbuch. They relate to the most accessible, Chopin’s Nocturne in Eb and the He has a series of graded books, pieces, etc., mapped- JlrdLTth* PUP1 S Pr°grcss and welfare first, and re- away from the styles to which the singers were accus¬ interest and chances of success. the rehearsals, in , of Die Meistersinger, an theme of the variations in Mozart’s Sonata in A (the out, to which he adheres with each and every pupil; TcZl E miT7 returns as incidental; in short, tomed, while Tannhduser and Lohengrin seemed to cap Concerning Lohengrin the most valuable pedagogic opera in which “every step, every, nod of the head, every one with the Turkish March). no change from this series is made, no matter what the the climax of novelty and difficulty. To singers of our hints are to be found in a long letter written by Wagner to gesture of the arms, every opening of the door, is ?ESE&“ldhobTE,icHr“ H'"'‘ “ 492 THE ETUDE 493 and the Flower Girls THE ETUDE musically illustrated.” Two details may be quoted from joy” at having found in her “one of those whom I really could teach something.” One of the four artists who realized the tremendous this Boswellian book: advantage of studying under Wagner himself, and who “Wagner showed the impersonator of Beckmesser, at Wagner knew that every year many fine voices are therefore refused payment for singing at Bayreuth, was the point where he finally is driven frantic by Sach’s ruined in the German opera houses by the enormous Lilli Lehmann. She was too young, in 1876, to do the persistent singing and hammering, how he must sud¬ demands made on them—the necessity of not only sing¬ denly rush at the ‘malicious and insolent’ cobbler... It ing very often, but in widely different styles. When part of Briinnhilde, of which she subsequently became was a positively tigerlike, quivering jump, which Holtzel he discovered Scaria, the great bass, who, also, could the greatest of all interpreters; but she sang the role had trouble to imitate even partially. ping with a true melodious legato and at the same time of the first Rhine Maiden most charmingly. For the “If anything in the orchestra displeases him, which enunciate the text with astonishing distinctness, he had Parsifal festival Wagner intended at first to secure her The Efficient Position at the Piano happens not infrequently, he jumps up as if a snake this danger in mind. “Were I a Meyerbeer,” he wrote as leader of the Flower Girls, but changed his mind because she would have been too conspicuous by her had bitten him, claps his hands, and calls to the orches¬ to him (meaning if he were as rich as Meyerbeer), I By J. FRANK LEVE tra, after Bulow has rapped for silence: ‘Piano, gentle¬ would at once take you away from the opera house beauty of person and voice. For this chorus he wanted an ensemble of girls abso¬ men; piano! That must be played softly, softly, softly, in order to preserve your whole strength for my A LAW is a principle of uniform operation in the In Chopin’s Etude, Op. 25, No. 11, after the per¬ motion, illustrating the principle of economy of motion lutely even and flawless. Besides Lilli Lehmann, he got as if it came to us from another world.’ And the cause:” economy of nature. The law of motion is an estab¬ former has gone through a rapid technical feat for in chromatic octave playing. To manipulate the keys “Short rehearsals which do not fatigue” are, in Wag¬ Humperdinck and Porges to help him find and train orchestra begins again. ‘More softly still,’ cries Wag¬ lished factor in the system of the universe. The law the right hand, it is necessary to conserve sufficient fluently in chromatic octavo passages requires unusual such a bevy of girls. Conductor Levi was told that if ner, with an appropriate gesture. 'So, so, so, gut, gut, ner’s 'opinion, “the only ones that lead to success.” He of economy of motion in piano playing has its status energy to bridge over the following four octaves of an technical control in order to avoid gymnastic gyrations cautioned Materna to keep her voice fresh. “Do not one of them could not sing the high B flat softly and gut, sehr schone.’ ” and must be reckoned with in the mastery of technic. ascending melodic scale in A minor marked fff. where a combination of wrist, hand and arm is em¬ let the winter repertory fatigue you too much. Take tenderly, “away with her!" And to Lehmann he wrote: In this article the writer will explain how the operation In order to do this stunt the principles of economy ployed. This excerpt is executed with the fifth finger it ehsy and keep your precious vocal powers untired.” “A single shrill voice would spoil everything.” A Herculean Task of this law governing the principle of economy of of motion must be observed to gain both speed and When he engaged Materna to sing selections from It was difficult to secure such a chorus—but then, striking the white keys in proximity to the black keys Each of the operas so far considered called for only motion works to the advantage of the student and his music dramas in Vienna, he wrote to her: “You everything about Wagner’s works was difficult at that force. Avoid hanging the thumb off the keyboard; which are struck with the fourth finger. This is done about half-a-dozen artists. But when Wagner had simultaneously gives beauty of appearance in the posi¬ must not fail to sing the scene by heart. That increases time. Lilli Lehmann points out, in her Memoirs, how move the hands in a direct line along the keyboard in without any back and forward motion of the arm and completed the Ring of the Nibelung he needed no fewer tion at the piano. the effect, even at a concert.” even Materna, with her powerful voice and physique, a glissando manner, simultaneously moving the thumb elbow, but with a motion of the hand in a direct line than forty-nine artists who could act as well as sing. needed all her strength to carry out Wagner's wishes. Follow the Line of Least Resistance under the hand in sympathy with the rapidity of the along the keyboard, securing repose and effecting a All these required his personal instruction—and got it! Another famous singer, Frau von Voggenhuber, stipu¬ Students and pianists more or less are subject to scale, in order to be prepared to strike the next key smooth, rapid playing by means of this economy of On this point the collection of letters to his Bayreuth Time Wasted on Mediocrities lated that she must not be called on to sing for a whole mannerisms resulting when the law of economy of when turning the thumb under the hand. artists, which is referred to at the beginning of this With artists like Materna and Scaria, or Niemann motion. week before and after her every appearance as Isolde! motion is violated. Thus in the execution of difficult article, leaves no doubt. “I am obliged,” he wrote to and Betz, it was worth while for Wagner to give his In our last excerpt from the Symphonic Etude, Op. Gradually the singers learned to cope with all the diffi¬ passages the student seeks involuntarily a round-about the famous tenor, Albert Niemann, “to devote this precious time to instructing them. But many of those 12, by Robert Schumann, an excellent example of culties, and in 1890, Lehmann points out, she and Vogl way in attaining his point instead of following the whole winter to visiting all the German opera houses, he was called upon to teach were quite undeserving of economy of motion is demonstrated by accuracy in play¬ appeared in New York as Isolde and Tristan three times direct line of least resistance. Tremendous technic big and small, in order to find out about their singers” such a privilege. On this point , who knew ing the leap chords, followed by single and octave notes in six days. “Thus do times, views and capabilities should not be considered the height of ambition, but When he had found out, and had laid his plans, he all about it, as he lived with Wagner five years, speaks only a means of expressing creative thought, commend¬ in unison. To execute this difficult passage containing invited the chosen ones separately to his home at Bay¬ with bitterness in his essay on “Conducting.” change.” a succession of leaps from one position to another re¬ Every student of Wagner’s art should read the ing and setting it forth in a beautiful manner. reuth and gave them preliminary personal instructions “All who were closely associated with Wagner,” he quires careful observation by the student to avoid all chapters on Bayreuth in Lehmann’s Memoirs (the Eng¬ In the aesthetics of music, the beauty of appearance regarding their parts. None of, them could be trusted writes, “remember how impressively and with what a in the position at the piano is essential to grandeur double movements of the hands and to eliminate all to find their way unaided in this new realm of art. To variety of voices he was able to sing -the different lish version of her book is entitled My Path Through Life.) She gives instances showing how artists to of sound, and to gain this beauty of appearance (which superfluous movements of any member of the body em¬ the celebrated Betz he wrote in 1874: “I therefore ex¬ roles for those who had been chosen to interpret'them, is a logical result of economy of motion) definite rules ployed. This can only be accomplished by a direct fall pect you this summer, at your convenience, to come and how marvellously he phrased them all. It is also whom their parts were as riddles, quickly learned to answer them under Wagner’s guidance. She devotes a must be observed. Deppe speaks about economy in the of the hands on the keys intended to be struck, avoiding for the first perusal of your part at the piano, to lay known, alas! how few artists are able to imitate him. expenditure of force attained through quick muscular any hesitating or double movements. Thus we have the foundation for study.” Karl Hill he begged not to It always makes me sad when I think of how I saw whole page to describing in detail how he coached one of the prima donnas in the part of Sieglinde, concluding recovery, whereby strength is restored almost as fast economy of motion exemplified simultaneously with the look at the music of the parts assigned to him till he Wagner wasting his vitality, noj only by singing their as it is exhausted, and also advises against superfluous securance of accuracy in playing leaps. could come to Bayreuth, “because I prefer that you parts to some of his artists, but acting out the smallest with the words: “The way Wagner, with his poor figure, acted this, was indescribably touching in its movements of the hands, which detract from the beauty should make your first acquaintance with them through details, and of how few they were who were responsive of appearance in the position at the piano. The under¬ expression. Never has any Sieglinde even remotely me, since I consider myself the only one qualified for to his wishes. lying principles in economy of expenditure of force this.” Those who can recall the rehearsals for The Ring approached him in this part.” and economy of motion are similar, whereby strength is A similar example of moving the hands along the. of the Nibelung and afterwards Parsifal, at Bayreuth, Thus did Wagner teach all his singers, women as restored in economy of force and speed is attained in keyboard in a direct line while executing broken arpeg¬ Hints to Famous Singers will agree with me that much was afterwards forgotten well as men, to act and sing their parts. No detail was neglected. In a letter to Fricke he calls attention to the economy of motion. gios is contained in Beethoven’s Moonlight Sonata. which had laboriously to be thought out in part Beauty of appearance in the position at the piano is Most of the vocalists whom Wagner engaged were fact that the twenty-four flower girls in Parsifal must This example illustrates the thumb of the right hand later. ... essential. This attribute can be acquired by employing already famous, and it was his desire (as it was Liszt’s enact something “quite unlike a balletand he adds, “I striking E, CS, G# ascending and the thumb of tHej left “But only the few initiated know how many of Wag¬ only movements of the hands which are necessary, in practice with his pupils) to take technical skill for can show you how.” hand striking E, Of, Gif descending. This passage ner’s days were wasted in useless study with different the execution, eliminating all superfluous movement and granted and confine his instruction to questions of shows the necessity of training the hands to move interpretation; yet sometimes he had to go back to first Siegfrieds, Hagens, Hundings, Sieglindes, etc. I also thereby avoiding any disturbing influence which does How an Actor Learned from Wagner along smoothly from black to white keys and. vice principles, as in the case of , whom he wish to recall the rehearsals for Tannhduser and Lohen¬ not materially assist a student in the performance of a versa with hardly any perceptible motion. Thus demon¬ In comparing various schools of piano playing which complimented on having mastered what he had been grin, in Vienna, in 1875. Then his was the task of One of the most famous German actors, Emanuel composition, whether it be of a light character or ex¬ creating a Tannhauser out of a bad Raoul, of forming strating the practicability of applying the principles of illustrate the development of the Art, we recognize that told about the character of his part, but advised to Reicher, has related in a Viennese journal how he once tremely difficult. technic has become a tremendous factor by a process of a Telramund out of a singer to whom had never been economy of motion in piano playing. devote more time to vocal exercises in order to get saw Wagner coach his wife, Hcdwig Rcicher-Kinder- To give the student a lucid conception of what is evolution. ' No individual school should claim the right assigned a half-important role; and yet when, after a Accuracy in leaps is most essential in piano playing rid of the throaty quality of his voice. mann. She had been suddenly called upon to take the understood as a disturbing influence in the position at of having contributed everything in the advancement of fair degree of success, Wagner asked for consideration to induce greater technic. By a correct application a He evidently took this singer because no better was part of Erda in Siegfried. Mottl was to have played the piano we will state that it embraces all kinds of piano art. Each separate school of piano playing has on the ground that he had to do the best he could way for connecting a succession of leap runs can be at hand. Unlike the average teacher, he did not believe the piano at the special rehearsal, but as he was delayed mannerisms, such as soaring, double movements, zigzag- set for itself a new standard of accomplishment founded with existing material, the critics fell upon him like a that by means of exercises a silk purse could be made Wagner himself sat down at the instrument. For a ing of the hands and elbows, etc.; in other words, a acquired by means of economy of motion. upon the principles ’of the school which preceded it. pack of wolves and dogs as a mark of gratitude for his out of a sow’s ear. “I have never discovered,” he time he seemed satisfied, but when she sang the lines, wasteful expenditure of motion, which otherwise could This modification was always in proportion to the self-sacrificing exertions.” wrote to Hans von Wolzogen, “that a person afflicted “Why came you. stubborn wild one, to disturb the be employed in shaping movements to exert a maximum Presto m M. J = 108 change demanded for the purpose of acquiring greater with throaty tone and careless enunciation has learned Wala’s sleep?” Wagner complained of insufficient ex¬ of result from a minimum of effort, thereby producing technical ability. Thus the writer has demonstrated the how really to sing. On the other hand, I have at vari¬ Plan for a High School of Dramatic Singing pression. “My wife sang the lines again, but he was beautiful and graceful movements in the position at the necessity for teachers and students to observe and ous times come across singers with good tone emission The Germans and Austrians have given to the world still dissatisfied. Again he stopped, in his familiar, piano. Thus the organs of sight and hearing are simul¬ analyze any improvement recorded for the advancement and enunciation whom I had to teach little besides cor¬ many musical geniuses, but their greatness was seldom impatient and rather rude manner. He struck the piano taneously fused into each other and delighted by the of technical control. Any superfluous amount of need¬ rect phrasing, by telling them when and where to take sensation of sound and the beauty of appearance. In realized by their contemporaries. To singers of our keys, looked at my wife with a furious mien, and sang less juggling and gymnastic gyrations exploited having breath, in order to get from them the best they were the music with an incredibly unpliant, disagreeable perfecting the physical exercise involving different day it seems incomprehensible that Wagner’s plan of es¬ no bearing on the composition and its execution must capable of. I believe that in this matter the most voice, even off the pitch, but his eyes, his look, the movements the main object is to have these movements tablishing a high school of dramatic singing at Bayreuth In the above example, by Carl Czerny, from his School be eliminated by the use of economy of motion and a important thing is praxis and living example. intense grief depicted in his face, the poignant accentua¬ regular, rhythmical and beautiful. and of producing, under his personal supervision, all of of Velocity, Op. 299, No. 1, is an illustration where all sympathetic bond will be stimulated between performer Wagner did not like the explosive style so common tion of the words ‘to disturb the Wala’s sleep’—these Grace Goes with Little Effort disturbing movements of the hands should be elim¬ and listener, which is known under the guise of per¬ among German singers, any more than he did a throaty his operas in succession, came to naught because so things made an indelible impression. An elemental Herbert Spencer says: “Truly graceful motions are inated. In this example the successive leaps from A to sonality. voice. During the rehearsals for the Bayreuth festival few were interested in it or discerned the tremendous tragic emanation came from the master’s soul to mine. those performed with comparatively little effort.” The B, as marked, require a low curved motion of the in 1876 he had a notice posted behind the scenes begin¬ advantages offered. I was like one bewitched, and whenever I recall the graceful way of performing any evolution is the way hands along the keyboard in a semi-circular movement ning with these words: “To the Singers : Distinctness With four exceptions, he even had to pay the artists scene I am affected the same way. Many a successful that costs the least effort. This principle in piano in connecting the end of the measure to the beginning —the big notes come of themselves, the small notes who sang at the Bayreuth festival performances. The moment in my tragic impersonations has its origin in playing is applied when the hands tnove over the key¬ The Strain of Hard Practice and their text are the main thing”—words aimed at others did not realize that the fame they got from being what I saw on that occasion.” of the following one, thus giving beauty of appearance board in the easiest and least constrained manner. How and conserving the energy to produce the tones with¬ the explosive singers, whose method resulted in a chosen by him, and the blessing of his personal instruc¬ By far the most emotional and inspired song ever can the hands move over the keyboard responding to By C. W. Landon out the least sign of effort. This demonstrates to the choppy effect which gave the erroneous impression that tion : outweighed a thousand times what they could do composed by Brahms is one almost unknown—the grue- the demands of grace and at the same time move in student the value of economy of motion in this kind there is no smooth legato in Wagner’s vocal style. We for him. some Scotch ballad Edward. I shall never forget Dr. the easiest and most appropriate manner? The follow¬ who have heard Lilli Lehmann, Nordica, Gadski and Few even took the trouble to hand down the illu¬ Wullner’s singing of this, with Tilly Koenen. His art ing illustrations will demonstrate how to eliminate of leap. “The strain of hard practice” is in most cases a Jean de Resyke, among others, know how ridiculous minating remarks he made to them about his roles. For¬ was simply terrible—as terrible as Salvini's when he errors against the economy of motion and will show joke. The average diet of the school girl with its this notion was. tunately, his “Boswell,” Heinrich Porges, issued a book smothered Desdemona—growing more so as. in suc¬ that mannerisms and strenuous efforts are a hindrance accompanying load of sweets, the late hours at parties on the Nibelung rehearsals of 1876 which contains cessive verses, the secret is graduallv wrung from him to beauty, grace and ease at the piano. and dances and a dozen other things could be named Materna and Scaria many valuable hints. This was done at Wagner’s special that he has slain his father—at the bidding of the which are far more injurious than the so-called hard Having had the privilege of attending the first Bay¬ request. He also secured for Bayreuth the services of mother, at whom he now hurls his curses. The emi¬ practice. Yet practice is given the blame for most reuth festival (as well as the second), I can attest Julius Hey, whom he held in the highest esteem as an nent German baritone, Eugen Gura (one of the Bay¬ of the nervous wrecks. The average girl who sits reuth artists),relates in his Eritmerungen aus meincm from personal experience that only a few of the artists “ideal teacher,” and who subsequently published a eight hours a day in front of a typewriter working whom Wagner had so industriously selected for these method of German singing, which is the fullest embod¬ Leben how Wagner once gave him a lesson regarding the emotional coloring of those increasinglv agonized like a beaver thinks little of it so long as her pay occasions were capable of singing his “speech-song” iment of Wagner’s thoughts on the training of the envelope comes around at the end of the week. Yet with a legato that melodized it. One of these few was voice for the stage. Particularly valuable are the chap¬ ohs in Loewe's setting of this ballad. Could Wag¬ In the above example, by Franz Liszt, from the ar¬ if a girl were to spend the same amount of time in Materna, who created Briinnhilde. In a letter to her, ters on the treatment of the vowel and consonantal ner have heard Wiillner he would have been paralyzed with joy at having found at last his ideal of emotional rangement of his Campanella Etude, is a chromatic front of a piano keyboard she would be hailed as one written in November, 1878, he expressed his “lingering sounds peculiar to the German language. singing—the art-singing of the future octave passage for the right and left hands in contrary of the heroines of music. 495 THE ETUDE

494 the etude The Origin of “Dixie” Music and Color The Founders of the Danish School of Music How many of us know Dixie Land? Dixie Land is a real heart song, and we should all know how to By Jo-Shipley Watson Geographical position has much to do with the musi¬ cal development of a country. This is certainly proved sing it. Have you ever listened to American men and women singing the old songs together? They start out To the composer who paints in sound, the twenty- by the case of Denmark, which, of all Scandinavian countries, is the one that lies furthest south and nearest bravely enough, but after a while you will hear them four keys are his color palette, they represent different humming tra-la-la or tiddle-dum-dum. They have for¬ tints and you will find among composers a strong pref¬ to the centers of European civilization. The result of gotten the words ; or more likely they have never known erence for keys; for instance, look at Mendelssohn’s this physical fact has been that many foreign musicians them. How different from even the boys and girls .. Songs Without Words and you will see that he seems visited the country and not a few spent long years across the water. They know their songs and legends, to prefer the key of A major, and so it is with nearly there. Indeed, if Grove’s Dictionary is to be believed, and when they sing they do it with a will. They all of our great tone painters. "the three founders of the Danish school of music, never hum tiddle-dum-dum. They know their words In Gardiner’s Music of Nature I found this interest¬ C. E. F. Weyse, F. Kuhlau and J. Hartmann, were and they sing verse after verse without a break. Dixie ing table giving the various complexions, as the writer Germans by birth.” A strong tinge of the German Land is a stirring song and has thrilled thousands and called it, of the twenty-four keys. element has prevailed through the works of Danish F is rich, mild and sober. D, its relative minor, pos¬ musicians even to the present day. This is notably the thousands of hearts. Can you sing it with all the Knuckling Down to Business sesses the same qualities but of a heavier and darker case with Denmark’s greatest composer, Niels W. Gade, words to all the verses? Infantile Impudence ticing one hour a day, how is a student practicing a who came strongly under the influence of Schumann Some years ago, Edward B'ok, writing in the Pitts¬ half hour to accomplish the same result with one half “Should children be made to keep knuckles firm, cast.. “A boy of twelve Insists upon disputing every¬ and lift fingers from knuckle Joints from very first and especially that of Mendelssohn, who was disrespect¬ burg Dispatch, gave an account of a visit he paid to thing, even position of fingers. I have been patient the studies? If this can be done, why should pupil C is bold, vigorous and commanding; suited to the but am at my wit’s end, for he will accomplish noth¬ lesson? I find children's hands so limp that such a expression of war and enterprise. fully, if wittily, dubbed “Mrs. Mendelssohn.” This is Daniel Decatur Emmett—the man who wrote Dixie. In ing His older brother gives me no trouble. Would he Number One continue practicing one hour, when by position seems impossible. If this position is neces¬ not quite fair to him, however, since an unmistakably the course' of the visit Mr. Emmett told Mr. Bok how better go to a man teacher with a high temper who imitating pupil Number Two he can accomplish the sary. how do teachers make them maintain It? A minor is plaintive. might frighten him? If forced .to drop him, what One's own illustration seems to do no good. Some G is gay and sprightly, adapted to i wide range of Scandinavian flavor is to be found in much of his he came to write Dixie and here is the story as it was _„i„nnHon non T malm to his nnrpnts?” O. T,. same amount in one half the time and with one half tell me I should crack their knuckles with a pencil, but this seems extreme.” H, A. subjects. music, especially that of his fater years. printed in the newspaper: “Dixie Land, which is really the studies? By a still farther rcductio ad absurdum If you are really at your wit’s end, and have become E minor is persuasive, soft and the proper name of the song, was you might logically enable pupils to accomplish an Children’s hands vaTy greatly, some being long and convinced that you can do nothing more, you would written by Emmett in 1859, while he equal amount by doing no practice. The child who thin, and others fat and chubby. In the latter case, was a member of the celebrated better go frankly to the parents and state that the D is grand and noble, having more practices a half hour a day must expect to take much lifting the fingers higher than the knuckle joints is an 'Bryant’s Minstrels.’ which then held boy’s temperament is such that you do not seem to be fire, than C. • longer to accomplish the same result as a pupil of the impossibility. This is often true of the hands of adults forth at No. 472 Broadway, in New able to acquire the right sort of influence over him. B minor is bewailing. same ability practicing double the time. There is no also. If you will arrange your hand in playing posi¬ York City. His engagement with You can explain how the older brother makes himself way of escaping this fact, and those who cannot find A is golden, warm and sunny. F tion on the table, perfectly level from the wrist to the them was to the effect that he should amenable to your teaching, but that the younger one the time for practice must expect to be proportionally sharp minor is mournfully grand. curve in the fingers, and then raise it one and even two hold himself in readiness to compose seems to resent it, and to follow his own impulses in slow in advancing. With short practice time both you E is bright, adapted to brilliant inches, you will find there is ample play for the fingers for them a new ‘walk-around’ when¬ everything. In all cases, if a disagreeable situation and your pupil must exercise patience, and be prepared subjects. In this key Haydn has in a downward thrust. Many distinguished players do ever called upon to do so, and to must be met, it should always be met with the truth, to wait a longer time for given results. A pupil prac¬ written his most elegant thoughts. not lift their fingers above the kunckle joints, as phy¬ sing the same at the close of the although that truth should be softened as much as ticing fifteen minutes must: expect to make very tiny B in sharps, keen and piercing, but sical conformation often renders it impossible. Yhu seldom used. performance. The circumstances at¬ possible, and presented in a tactful manner. If you progress. He could hardly spend his time on more must train your judgment so as to be able to discrim¬ B flat is the least interesting of tending the composition of Dixie point out the lovable characteristics of the boy, and than one thing each week, or a half portion of two inate in children’s hands,* and train them accordingly. any. It has not sufficient fire to ren¬ Land are interesting: One Satur¬ explain that your feelings have been hurt by his un¬ things, according to their length. There is nothing Children of average growth should be taught correct der it majestic or grand and it is too day night after a performance Mr. willingness to cooperate with you in your instruction, accomplished in leading pupils to believe that they can movement of the fingers from the first. I have fre- dull for songs. Emmett left the hall and was pro¬ you will more easily gain the sympathy of the parents, do the usual amount of work in less than the average .quently called attention to the fact, however, that very E flat is full, mellow, soft and ceeding homeward when he was and perhaps some solution of the problem may arise out amount of time. All comparisons must be made with small children have not sufficient strength in their beautiful. It is a key in which all overtaken by Jerry Bryant and ask¬ of the consultation. Much harm is often the result pupils of similar ability, for every teacher knows that hands to depress a key on a modern piano with merely musicians delight. C minor is com¬ ed to make a ‘hooray’ and bring it of presenting the disagreeable side of the truth, instead some pupils will accomplish as much in one hour as finger power. Small violin students may be provided plaining, having something of the to the rehearsal Monday morning. of placing all the accent on-the agreeable side. The others will do in three. whining cant of B minor. Mr. Emmett replied that it was a old proverb as to the wisdom of taking the bull by with small violins, suitable for their immature hands. Although this is even more necessary 'in the case of A flat is the most lovely of the short time in which to make a good the horns is a good one, but it is generally better to ‘Never Too Old to Learn” tribe; unassuming, gentle, soft and one, but that he would do his best deal with the bull by remaining on the opposite side the piano, yet there are no pianos for this purpose, 1. I do not understand the lines In the following and people could not afford the extra expense if there tender, having none of the pertness to please Mr. Bryant. He composed of the fence and feeding his majesty some toothsome example: of A in sharps. Every author has the ‘walk-around’ next day, Sunday, morsel of which he is particularly fond. The bull will were. In such cases a modified touch must be used, been sensible of the charm of this and took it to rehearsal Monday thus gain a better opinion of you, and perhaps deal waiting for later growth to insist on strict action. It morning, music and words complete. with you much more pacifically. In other words learn is for this reason that kindergarten methods are val¬ F minor is religious, penitential The tune and words as now sung tact in all your dealings, the lack of which occasions uable with such little folk, for they can thereby be and gloomy. are exactly as he wrote them.” infinite and unnecessary trouble. 2. How Is the following executed? acquiring an elementary knowledge of music and mu¬ D flat is awfully dark. In this re¬ Dixie Land, however, did not at sicianship while waiting for their hands to grow to a mote key Beethoven has written his Can One Evade the Beginning? point where they can correctly manipulate them on A FAMOUS PICTURE OF WAGNER IN HIS HOME. once become popular. It was not un¬ sublimest thoughts. He never enters til later that Dixie became the “What studies should be used with a pupil of 19 gitil the keyboard. Cracking the knuckles of your student it but for tragic purposes. This picture. by G. Papperitz, has frequently been seen, but few readers have been able to taking bis first lessons on the piano, and in what will do no good. The best plan to secure action of the rsonages. The persons standing are (from left to right) : The singer, Scaria : the Southern war-song. This is how it order should they he taken? What ought such a Unfortunately, the accuracy of orchestral conduct or, Fr. Sischer (the individual bending over Franz Liszt is unidentified) ; the came into favor. “A spectacular pupil to accomplish in one year, practicing from 3. Why is a rest placed above a note as follows? fingers is to take the pupil to a table, and make him Gardiner’s opinions as regards key- singer, Niemann ; the Countess Usedom. The persons seated are (from left to right) : The painter, one-half to an hour dally 7 H. K. study and apply that action without regard to what he 1 Wagner as a boy ; Madame . Mme. Materna, Richard Wagner. Fr. performance was being given in color cannot be universally ac- Brandt, Meclfaniail Expert at Bayreuth Festival Theatre: Hermann Lew, orchestral conductor • New Orleans late in the fall of It makes no difference what may be the age of a hears. At the piano they are more interested in what cepted. Indeed, it has been con- Franz Liszt; Hans : Richter, orchestral conductor; Countess Schleinitz; Joukowski, noted painter. 1860. Each part had been filled; pupil, there are certain elementary steps that cannot they hear, than in how they use their fingers. Chil¬ troverted by no less distinguished all that was lacking was a national be avoided. The only difference is that some may pass dren’s hands are naturally weak and tender, as are musicians than Lavignac, the great French theorist, and Clean Keys song and march for the grand chorus, a part the lead¬ over them with more rapidity than others, which may 4. I have neglected my general education and I the bones and muscles of very young animals. It is Berlioz (in his work on instrumentation). Each differs now desire to make up for It. At eighteen years of for this reason that children’s bones break far less er had omitted till the very last moment. A great many be due to age, greater ability, closer application, or a age would you think me too old to go to a private from each. The key of-C, for instance, which Gardi¬ marches and songs were tried but none could be decid¬ more concentrated interest. The primary steps must Institution and Improve my general education as readily than those of the adult. By Rena Bauer well as my musical? B. M. ner calls “bold, vigorous and commanding,” is regarded ed upon. Dixie was suggested and tried, and all were be undertaken, however. I know of nothing that fills by Lavignac as “Simple, naive, frank; or flat and com¬ so enthusiastic over it that it was at once adopted and the bill better for all pupils than Presser’s New Be¬ 1. They simply indicate a double whole note. A Music and Morals This is a bid for clean keys. Many housewives who monplace.” Berlioz, who is writing of violins in this given in the performance. Immediately it was taken up ginners’ Book. A smart pupil may finish this in six “What effect have crooked fingers n piano play- would not think of having a speck of dirt on the mantle- whole note has the value of four quarters. In four- by the populace, and sung in the streets, in homes and months; a dull one will take longer. From it you may ing? Do you think turning them th opposHeway key, finds it “Grave, but dull and vague.” The key of piece will let the keyboard, go, fearing that water may two measure, however, there are eight quarters. The would make them straight?" B Apt, which Gardiner despises, is found “Noble and concert halls daily. It was taken to the battlefields and proceed in to the Standard Graded Course, judiciously whole note is given its proper length by means of the injure the keys. Of course water will injure the keys Exactly the same effect as crooked morals on con¬ elegant; graceful” by Lavignac, and “Noble; but with¬ if you go to work scrubbing them as you would the there established as the Southern Confederate war song. intermingling Czerny-Liebling, Book I. The order of double lines. duct. The result is not pleasant. Distorted music out distinction”—whatever that seeming contradiction kitchen floor. But a damp cloth and then a dry cloth When asked what suggested the words and tune of study is consecutively and progressively arranged in 2. The grace note indicates that the trill on A begins offends the aesthetic sense, and distorted conduct the means—by Berlioz. is enough to remove the dirt and polish the keys with¬ Dixie, Mr. Emmett said that when the cold wintry the books. A student of nineteen ought to have a on B and is trilled from the top note throughout. moral. Therefore, if you can “make the crooked out injuring them. There is no more excuse for dirty days of the North set in, all minstrels had a great sufficiently mature intelligence to enable him to pass Ordinarily a trill is played from the lower note up. On the other hand, sometimes all three authorities straight,” by teaching the pupil correct hand and finger keys than there is for dirty dishes or dirty teeth. A desire to go to ‘Dixie’s land’ to escape the hardships over the elementary stages' much faster than a child. 3. A rest over a note indicates that there are other come near agreeing. Lavignac finds the key of A flat position, you will have solved your problem. Mean¬ hostess would certainly feel insulted if a musician came and cold. On a cold day a common saying was, as On the other hand, a student of that age is likely to parts, as, for example,- soprano and alto. In the above “gentle, caressing; or pompous; Gardiner, “Unassum¬ while your question is vague, in that it does not specify to the house in soiled clothing. Mr. Emmett expresses it, ‘Oh 1 I wish I was in Dixie’s encounter that period of stiff ligaments sooner or later, example the note would be considered as alto, and the ing, delicate, tender;” Berlioz, “Soft, veiled; very noble.” whether or not the crookedness is a physical defect or Dirty keys are more frequently found in the home land,’ and with this as key he concluded with the and may find his progress more or less hampered by rest indicate a silent soprano part. To make your All three regard E major with favor, agreeing that it words as sung/* mental obliquity. If a physical deformity, it is hardly of the individual who does not play. Five or ten this fact. Even though children seem to take a much measure correct you should have either written a whole longer time to work through the elementary stages, yet possible to express an opinion on “turning them the is brilliant and warm. On the whole, however, one is seconds and a little alcohol on a piece of cheese cloth There is then no such place as Dixie’s land in reality. rest, or indicated the remaining soprano notes required opposite way” without knowing just what the trouble is. forced to conclude that these opinions, though they will remove the dirty key disgrace. It is the name of the dream corner that we all have they are generally able to accomplish much more in by the measure. Instrumental music is often conceived come from men of authority, are purely arbitrary, and in our hearts to which we would like to go when the the long run, as the freeing of the muscles is accom¬ in parts. For example, a melody and accompaniment If they have been turned the wrong way by improper are of no more scientific value than anybody else’s. days seem long and the things we want seem impossible plished at the right period. on the same line, in which case the accompaniment methods and practice, then you should certainly en¬ deavor to turn them into the way that is right and Composers will continue to write in whatever key they Nothing is so inviting to the pianist as a bright “smil¬ l° gn*V.£Ut We never reallv «et there. When we are notes would have their own rests independently of the small children, we think we shall reach it when we grow proper in order to play the piano. please regardless of any tabulated lists of “suitable ing” row of ivory keys. Let your keyboard be one of Tabloid Study njelody. In your playing you should learn to dis¬ keys for special purposes.” welcome to your fingers and those of your friends. up, but when that time comes it seems as if we must “Is a child who can only practice,_ _ half hour criminate between the various parts. have left it behind when we were children each day supposed —... *~*-take every study in the first ny-Ltebling, or only a few of them in 4. Your plan to increase your general education is Pleasure for Two If they take all the studies, a year or worthy of all praise. When I was in college some of “Will you kindly give me the names of a few required, not to mention later books, duets for two little girls still doing primary work ?“ pupils practicing only fifteen min- the graduates were over thirty, and their education E. L. it possible to accomplish a Sixty Days from now your season will virtually begin. Sixty fine days for “preparedness.” There is onl enabled them to attain success. The only drawback your age would have would be along the line of muscu¬ For little folk in the primary grade secure a copy to avoid the Summer slump in practice, in interest and in progress, that is by using a part or whole of ev ^ °n,;e If the amount of work in a book like the one you lar training in your fingers, and the severity of ycur of You and I, four-hand pieces for the piano, by George sixty days in preparation for the first lessons of next year. Every hour, every minute is precious to the leach °* thOSC mention is so arranged and graded that it is ail neces¬ troubles in that would depend largely upon the use to L. Spaulding. You will find that these will meet your sary in accomplishing a given result, with a pupil prac- which you have put your hands in the past. requirements in a very delightful manner. 497 THE ETUDE 496 THE ETUDE

MILITARY DANCE—C. S. MORRISON. Mr. C. S. Morrison is an American composer, who help us MAKE THE etude WHERE BLUE BELLS BLOOM has had some very successful pieces to his credit. His Military Dance is a vigorous mazurka movement, even more valuable brilliant and effective. In this composition particular attention should be paid to the groups of thirty-sec¬ Believing that the cooperation of our ond notes. These must be played clearly and evenly readers will assist us immensely in caring and without any interruptions of the general rhyth¬ for their musical tastes and needs The mic flow. Grade 3J4. Etude herewith offers a WHERE BLUE BELLS BLOOM—H. WILDER- MERE. A Prize of a Complete Set A very melodious drawing-room piece by a popular writer. This composition is of the type popularized of by Lange’s celebrated Flower Song. It is in no sense, however, an imitation of the last named. It will serve Grove's Dictionary of as a study in style and the production of the singing tone. Grade 3. Music and Musicians THE ANGELUS—F. N. SHACKLEY. An ornate drawing-room piece affording good prac¬ (Valued at $15.00) tice in grace notes and in bell-like effects. Mr. Shack- ley is a well-known American writer, who has had for the best letter of not more than 200 many successes. This is his most recent composition. words containing the most original, the Grade 3. most practical, the most useful and the best expressed ideas for new Etude features FLY AWAY—L. RENK. that will make The Etude more valuable A lively teaching piece requiring nimble fingers and good control. This number should be played as rapidly to its great body of readers, ideas that will as possible, consistent with clearness and accuracy. make our journal even brighter and more Grade 3. helpful to the greatest number. In addition to the letter itself we shall THREE GOOD EASY TEACHING PIECES. expect each contestant to answer the fol¬ Mrs. E. L. Ashford is a well-known American com¬ poser and musical educator. Mrs. Ashford is chiefly lowing questions frankly, tersely and in known through her church music and songs, but sbe such a manner that we may get a more is no less successful in her teaching pieces for the definite idea of what phase of The Etude piano. Her Song of the Harvesters is a very good seems to be the most needed. specimen. This bright and cheerful number is some¬ what in the style of Schumann’s Happy Farmer, with Please answer the questions in the its sturdy left hand theme. Grade 2j4. order given.

There have been many demands for an easy and 1. To which department or page do you playable arrangement of the Spinning Chorus from habitually turn first when you open a MR. W. E. HAESCHE. Wagner’s Flying Dutchman. The transcription of¬ new issue? Me. William E. Haesche was born at New Haven, fered this month is easy to play, but it retains the 2. Which ten Etude articles during the Connecticut in 1867. He is a successful American com¬ original harmonies intact, while the accompanying past year have interested or helped you poser who has had American training. Mr. Haesche figure still gives the desired spinning effect. Grade most ? 2Vz. specializes in musical theory and as a teacher of this 3. Name twenty pieces from The Etude branch he is connected with the faculty of the Musical Mr. M. Greenwald’s Carmen Polka introduces some of last year of the type you prefer to Department of Yale University. He is also a conductor of the most popular melodies from Bizet’s celebrated and musical director. As a composer he is at home opera. Grade 2. use in your own work as a performer or both in the larger and smaller forms. His works for as a teacher. the violin have been particularly successful, his Con¬ THE FOUR HAND NUMBERS. 4. Are there any things about The Etude cert Mazurkas being widely and favorably known. Chas. Lindsay’s Class Reception March is a bright which do not meet with your entire and tuneful four hand number with a very catchy His Kamazur which appeared in The Etude of Nov¬ approval, anything you would like to see rhythmic swing. ember 1914, is a fi-tie example of this style of writing. changed ? Mr. Haesche has an original flow of melody and an excellent command of modern harmonic resources. Beethoven’s Minuet in G has been arranged in re¬ 5. Which do you look for most ? Articles Latterly he has been writing some interesting teaching sponse to numerous demands. It will be found very on Technic, Articles on Interpretation, pieces for the pianoforte, his set of 5 characteristic effective. Articles on Biography. Articles on pieces entitled The Passing Show, several numbers Criticism, or what ? Self Help Articles, from which have appeared in our music pages, having Schumann’s Northern Song, with its characteristic “How to Teach” Articles, Musical or been very favorably received. Mr. Haesche has also theme based on the letters in the name of the Danish Fiction. written some successful songs. composer, G-A-D-E, is even more sonorous in the duet arrangement than as a solo. 6. Would you like to see more illustrations in The Etude or fewer illustrations? LA SCINTILLA—L. M. GOTTSCHALK. THE VIOLIN NUMBERS. One of the most brilliant of Gottschalk’s lesser 7. For what feature principally do you compositions. La Scintilla is a concert or recital Both the violin numbers are rather easy to play, take The Etude ? piece in the idealized mazurka rhythm. It displays the but they are well made and effective. Possibly it same tunefulness which is to be found in all of Gott¬ would be best in Mr. Phelps’ Berceuse to use the “mute” throughout. schalk’s works, and as it lies well under the hands, This IS not any easy way in which to earn a the passage work sounds more difficult than it really A portrait and sketch of Mr. W. E. Haesche will teen dollar set of books. The letters will req is. A good show piece. Grade S. thought, time and care. Do not sit down and c be found in another column. His Marguerite False on a tew words and expect them to receive serious GYPSY RONDO—F. J. HAYDN. is an excellent teaching piece. tention. The famous Gypsy Rondo by Haydn is taken from the Trio in G. The original arrangement for piano It is not unlikely that different readers i THE PIPE-ORGAN NUMBERS. bring forward the same ideas. In such a case solo is rather long drawn out and does not lie any , Schumann’s Curious Story, as arranged for the or¬ reward wril be given to the first received. Let too well under the hands. The present arrangement gan, will make a very satisfactory Prelude or Inter¬ receipt numbered and datcd in ‘he order of t by Mr. Hans Harthan will be found easy to play and lude where a comparatively brief number is desired. at the same time very effective, all the essential music vr>..r on °?e side of a sheet of paper and n material being retained. This is one of the stand¬ Halevy’s Call Me Thine Own is in frequent demand >our letter as brief and to the point as possible. ard classics which should be known by all pianists. for use during wedding ceremonies. -■ j^°,lctt<:r ".'l11 be returned and the only Jiotil Grade 3. in The Etude n °f *hc prize that publis OVER THE HILLS—H. D. HEWITT. THE VOCAL NUMBERS. n8 wil1 1,6 Mr. H. D. Hewitt excels in pieces which combine The songs by Mr. Davenport Kerrison and Mr. R. Do not write about other ,matteri in your let the best features of drawing-room music with real Billin are both suitable for general use as teaching Do not fail to give your full name and addt teaching value. Over the Hills is an excellent ex¬ or recital numbers. ample of this style of writing. It will afford good Mr. Kerrison’s To the End of the Lane would finger practice and at the same time serve as a study make a very good encore song, while Mr. Billin’s Address The Editor of THE ETUDE in style and phrasing. This will be appreciated as a Heart of Gold might be used as one of a group for recital number. Grade 3yi. concert purposes. 1714 Chestnut St., Philadelphia, Pa. Copyright 1916 by Theo. Presser Co. British Copyright secured THE ETUDE 498 THE ETUDE OVER THE HILLS

Copyright 1916 by Theo Presser Co Copyright 1916 by Th-o Pres-erCo. British Copyright secured THE ETUDE THE ETUDE 501 '500 FLY AWAY! SCHERZO CAPRICE LUDWin renk 8 > J | 4^<| T'"-' ^7£- *» A J>7 VJ Lpfrp1? A1 legro M M. J-- i i tfj,

nip • it _ J ' ‘ l>iP * ttr , , t jbtl’i i . '- * 1 5# fz.A 5 1 #- i -j-*-—— ni: j. ~t3 3r-T-1 \ 1. 1, 1. j^Hf5-M 1 : -f j Vcre** motto P A- I- — ilfej 1 i* li—'T—-.j 0 test* &Jw biimWiJ w 3 2 V 3 5 1 5 5 5 6 i^‘r l" TT: YfWi ^=| £k j P £e |A frTfi f£*i (y 1 L-* ._.: .-L !. 1- ‘f •-=-'.. JL. T V UP 0 ♦ # ♦ 1 iA 1 — Fine /. fl i a -1— piuf ^ a - 1 *jYH

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s fir- . 4 2 4 1 1 b P ? ? ? i i i ^--v 1 . i ,

^ mi jp poco crese. ~J" J J S 4 S 4

Copyright 1916 by Theo. Presser Co. British Copyright secured THE ETUDE 505 MENUET IN G MENUETIN G W. P. Mero , L.van BEETHOVEN Moderato m.m.J =

NORTHERN SONG NORDISCHES LIED l.M.J = 72 (Gruss an G) R. SCHUMANN, Op.68,No.41 ImYolkSton (In the Style of a Folk-Song) SECONDO 4 THE ETUDE 507 506 THE ETUDE SOARING AUFSCHWUNG “Soaring” is essentially a fantasia, or more properly a rhapsody, mood changes. The form is a sort of rondo °ftbr«« subjects.The first the tempo, is not to be held strictly, but to be faster or slower as the subject occurs four tiroes; the second twice; the third once only.

Notes by WS. B. Mathews ROBERT SCHUMANN, Op. 12, No.2 Molto allegro M.M.J.= 96 _ Fingered by M Moszkowski sehr rasc7/. *• i •%>,

4 " 5 * ’ 1 1 m 5 ^ 3 5 ~ « ~T • _scherz. 2 2 3 2 3 4 2 3

! ^ ^ i ? * * / 11* 1 2 * fll, 4-- ii* (a) *2 3 13 1 ? •? * 5SX3SSS3CSS3EE3 “f J- ritarF{ ? - J ~**j ~ 1| m m J ‘j tJjn *•

g[ i, ih L ^ jj __

- ■Z-0- • s r ' ~ a tempo _ a i ys, rjrr 4- * J -J) <■ ,Ji r1 F

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Probably> le8t lt should unduly shorten the^Irtw nok hands by playing the lower C and B flat of the melody with the left ) 1 he tenor phrase of six notes here is made to sound out softlybutqui hand, the right hand will take the part when it comes within the oc¬ perceptibly; it is a subordinate melody.The principle difficulty of th tave. This method leaves the left hand still free to play the bass note passage is to carry the sixteenth notes in a perfectly uniform ral in the third measure. ot movement. r ; b) At the beginning of the second measure bring out the upper D flat; it needs to sound out like a . bt rtrtklnfu!h”0/10 produce a me,odyef fect with ri*bt h*nd he I ml ? “Pper note8 t0° strongly. c) Take the first chord with the right hand, after which the left hand ilThe eh. rds in the right hand ought to be played rather firmly, and here. The dotted quarter notes must be held their full value, and in will continue the alto melody, here and later throughout the piece. 5 Lr,whM -b* ■■,*1 the upper note has to sound out like a song, the entire effect is order that the tone may continue in satisfactory quantity they must Observe that the low C ip an octave lower than written. that of a choral movement, the melody a little louder than the other be taken with a little more force than would otherwise be necessary, d) The two soprano Ffe are not tied by this slur, although the notation has voices,the eighth notes carrying the rythm of the accompaniment. The same is true of the dotted half notes in the bass. nothing to show the contrary The customary dot over the first note j)This effect is much like that above at “fjbut the whole is louder THE ETUDE 50H

^ Jr WF: > k) ^ J5 • I J ■" fe" liror iimr r r ^ —

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k) Mysteriously. __ m)The Metronome marks indicate approximately the tempi usually l) Here original tempo is resumed, and the climax is reached with the taken bvby artUuartists in the* differcnt of ^ pfece sonorous entrance of the principal subject at the double bar. Copyright 1S16 by Theo.Presser Co. British Copyright secured THE ETUDE 511 THE ETUDE 510 SONG OF THE HARVESTERS

“The sylvan slopes with corn-clad fields Are hung, as if with golden shields.”


Finale of the Trio in G Hans Harthan JOS. HAYDN

Presto m.m.J= 126^

Copyright 1901 by The Lorenz Publishing Co. Copyright transferred 1916 to Theo. Bresser Co- Copyright 1916 by Theo. Presser Co. THE ETUDE 513 SPINNING-WHEEL CHORUS THE FLYING DUTCHMAN M. Greenwald FIRST PERFORMED AT DRESDEN, 1843 RICHARD WAGNER THE ETUDE 515 THE ETUDE 514 LA SCINTILLA The Spark I V Etincelle MAZURKA SENTIMENTALE t nirrc MnokAlI GOTTS CHALK On

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fanimato 1 brillante P /! | U j l f= :===ffei T'll- ^ 517 THE ETUDE THE ETUDE To Geo. E. Bucci, New York MARGUERITE BERCEUSE WALTZ WILLIAM E.HAESCHE CRADLE SONG Tempo di Valse m.m. -=54 E.S. PHELPS

Andante con moto p dolce t dolce




«■ 3 3 w w ♦ ♦ V V v V Con anima

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cresc. dim. e rit. m U *S\ 4—4— mm ^. i I i ^

British Copyright secured Copyright 1916 by Theo. Presses Co. Copyright 1916 by Theo. Presser Co. Briti.h Copyright secoi«« 51» THE ETUDE THE ETUDE 518 TO THE END OF THE LANE DAVENPORT KERRISQN sprightly Moderate*

me my love?love? WhentheTo the stile, lane oris_ the passed bridge,or and thethe great oak tree? The pathla?e -way“ ® throughlile?fe£ isd Sad'andsad ana ?one,AndtteJ!ione,Anameres

A HEART OF GOLD ROBERT W. SERVICE REGINALD BILLIN THE ETUDE THE ETUDE 521 520 Picking Out the Right Kind of a Piano i Sw. soft 8 ft- Re5i«.,»ionj G«dM,M.9..«S»Sw CURIOUS STORY By B. H. Wike Prelude People who buy their first piapo Re wary of the piano salesman who should be as careful and considerate as calls some one in on his own invitation Moderato M.M.J = they would be in buying clothing. A alone to try the new instrument in your good piano is a joy for years. Of course home. If you know the person as well standard makes are preferred above as he does, all may be well. I once those that are not standardized. Usu¬ received such an invitation one evening ally, you will find the old standards and to go to a neighbor’s house where a “reliables" advertised regularly from new piano stood in a conspicuous place year to year. A durable instrument m the front room waiting in dumb anxi¬ YOUR CHIU) RIGHT by getting a superb should have a well balanced action, ety for its intended buyer to say the which makes it easier to play than those word and pass over the price. This Kranich & Bach. Eager interest is aroused by the hastily thrown together by unreliable salesman had said nothing to the family inspiration in its exquisite tone. Fifty years of un¬ as to his intentions; but he spoke to me companies. All things considered, it is swerving effort have made the Kranich & Bach the about playing “something soft and mild.” best for the inexperienced buyer to call virtuoso’s choice—it is none too good for beginners. I was willing enough to try the new in¬ upon some musical friend to help make strument, but had my mind made up Built for a life-time, the piano of the girl will he a selection from the most reliable dealer ■that I would see what was really inside the piano of the woman—if it’s a Kranich & Bach. to be found. of that highly polished case, no matter FACTORY and OFFICES; 233-245 E23d St.. New York City If the home will permit, either as to whether I played ppp or fff. I tried room or as to finances, it is preferable " Mission” Style mall both effects for my own satisfaction with Obtainable to ,buy a grand piano. Then you will the result that I was fairly well satis- upright iffith patented A “Vwlyn" Plate and otkei $ C anywhere— get greater volume and sonority of tone. ~fied with it when playing piano, but write On the other hand, the upright serves its greatly disgusted when I ventured into for purpose, occupies less space and is usu¬ forte. The thing had no clarity and evi¬ ally cheaper. If the piano be for a be¬ dently wouldn’t stand any great vibration catalog ginner in music see that the action is without going to pieces. Later, the sales¬ responsive enough so that none of the man was in a rage when he met me and muscles of either the arm or the hand said: “What made you play too loud will be injured from any amount of prac¬ on that piano that evening? You tice. I once saw a piano with a hard, stiff shouldn’t do that when showing off a action which the purchaser, on advice new piano.” His remark seemed fatu¬ of the family music teacher, had adjusted ous, and I instantly remembered that I Cpl. Rid to Gt. to accommodate the child’s weak fingers. had before played upon new instruments Copyright 1915 by Theo.Presser Co. I did not see how the change was of that were a delight no matter what my any benefit, for a trial at this piano one dynamic notions were. Be careful where V MEDITATION* evening convinced me that it was much your new piano comes from. You will harder to play on than it would have find many reliable makes and a great I Sw. Vox Celeste and Viole de Orch. “Call Me Thine Own” been without the adjustment. Prepare < Gt. Dulciana F. HALEVY many unreliable ones. (Ped. Bourdon 16 ft. Andante M!.M. ® = 84 The Joy of Service

By Hazel M. Howes

\ sw.—===== How many music teachers, especially go from home for their lessons and we those in or near large cities, where the must understand and respect this atti¬ \ iGt' 14- responsibilities and opportunities are nr Jji a tude. There are instances where ill- great, are doing all in their power to SJm health would prohibit the pupil’s attend¬ inspire and uplift their community ance. Are we, as teachers, not over¬ through the wonderful art of music? A V TV looking a great opportunity by not mak¬ V A ~ F * Many are doing splendid work within the ? * * t A T ing the necessary sacrifice to instruct z four walls of the. studio or in the con¬ these persons? cert hall, but are they not shirking re¬ sponsibility and pleasure by these limita¬ Would it not be worth the inconven¬ INTERESTING NEWS tions? I do not wish to infer that the ience to devote at least one afternoon a studio is not a good medium by which week going to pupils who are unable to to reach the public. Every experienced come to the studio? By arranging the FOR ALL ETUDE READERS teacher knows of its merits. pupils according to the location of their But what of the pupils, and there are various homes, much time may be saved, THE ETUDE HAS SECURED THE SERIAL RIGHTS OF many in the average town, that find it and who could not enjoy a walk through impossible to come to the studio ? Many a few streets of his home city or town mothers do not wish small children to once a week? “The Composer” Know Your Piano A Most Interesting Musical Romance By Anna Hurst By "Know yourself,” is an adage deemed piano. The violinist gives the greatest an important one—so important, indeed, amount of attention to the matter of tone Agnes and Egerton Castle that it is hurled at us from the mouths production because he has to make every of great teachers ever since it first deco¬ note he plays. The pianist has this work HE Castles have some of the most fascinating fiction, of the rated the portals of the temple at Mem¬ done for him mechanically, and- therefore T phis. Why should not the musician para¬ he never thinks about the process. present day. Enormous editions of ‘The Pride of Jennico,” phrase this into “Know your piano?” In addition, the student and the teacher “The Bath.Comedy” and other works by these gifted authors have In addition to the musician’s technical should know very certainly, indeed, the been issued. “The Composer” is one of the best works the Castles knowledge of music he should as a matter limitations of the piano, where it should °f common knowledge know as much of have ever written. It is immensely interesting from the beginning to be placed in a room, how it should be the piano as possible. The teacher may the end. The publication of this work in The Etude will give ad¬ cared for and various other things which reply that one does not have to see inside ditional zest to the excellent educational material which The Etude °f a clock to tell time. But one does not are continually ignored. They should work the wheels of a clock—it is auto¬ know why the lid of the piano should be may always be depended upon to present in generous measure. matic. When one sits in front of a opened for solos and closed for accom¬ piano he becomes part of the machine paniments. There are, of course, cases WATCH FOR “THE COMPOSER” beginning in the and the player must realize this and know where this procedure should be reversed, a little something about the principles of depending upon the volume of tone of OCTOBER ISSUE OF THE ETUDE. You will be interested ^Especially suitable for weddings Jhat machine. All that the violinist does the piano, the location of the piano in in every word of this thrilling and fascinating romance. >n the way of making tone with his fingers the room, the size of the instrument and Copyright 1915 by Theo. Presser Co. and his bow is done mechanically in the the size of the hall. Please mention THE ETUDE when addressing our advertisers. THE ETUDE 523

dozen would-be disciples who were all the student, ere the voice-emission can eager to avail themselves of the tempting be said to be free from defects and the offer. It is the age “par excellence” of voice to be perfectly developed.” get-rich-quick and learn things quick. Most people seem to think that a good natural voice, with perhaps a pleasing What is Legato ? appearance added, suffice to make one a In order that the reader may under¬ singer. These endowments are but the stand why the “legato” (I do not fundamental (requisite) conditions which, qualify it by the adjective “perfect,” be¬ at most, justify the contemplation of a cause an imperfect legato is an anomaly) career as a singer. But patience, con¬ is so difficult and requires so much time stant application and unquenchable enthu¬ for its acquisition, I will give him the siasm are needed to reach the goal. Some Vital Truths About Singing underlying physiological reasons, with the One of the details that Wagner had By S. Camillo Engel request not to let them linger in his In mind, when he wrote the quotation fflind whilst practicing it. The legato de¬ given, is the necessity for investigating illustrate with his own voice all of A Better Term > the student what non-rigidity means. pends on the degree of precision with the nature and character of each vowel and Those of my readers who expect to se is one of the requirements of the “Inception” as defined by Webster which the vocal bands adjust themselves in find in the following lines anything new consonant, of insuring the proper pro¬ entirely oveHoXd, which^n be 7^1.teacher and the student shouM bear means: “act, or .process of beginning, conformity with the pitch of each suc¬ nunciation of the one and clear articula¬ regarding singing will be disappointed. - • ' ' the word this in mind before he commences or commencement, initiation;” and that is used to advantage, and this cessive tone (half or whole) in the most tion of the other. Nor must the beauty All that possibly can be said about it during his studies, deciding to have what everyone means. Then why not “responsive.” rapid as well as slow tempo. This pre¬ of the tone-quality be sacrificed to cer¬ has been done. The subject has been nothing to do with one who is deficient use the word that is proper to the mean¬ The body must be responsive, it mi cision must be accompanied by such tain vowels which are more difficult to treated not only exhaustively but re¬ in this important qualification. The ear ing? The “inception of the tone,” there¬ be on the alert, must in its entirety smoothness that the tones, to the auditor, peatedly from all possible angles, from P is the sole judge and arbiter of the fore, must not be accompanied by a small pronounce than others. One vowel “ You simply must an anatomical, physiological and physical well as in parts respond instinctively do not so much follow each other as should be as perfect as the other and the demands of the tone beautiful. It nature of the tone and having conquered explosion, sounding like a click; it must point of view. Nor is it worth my while must not beinert, as the word “passive,” for itself that place of eminence thah not be preceded by an aspirate either, drop into each other’s places. If one will be, too, if the student, undaunted by do something for your nerves!” to produce in the reader that languid ... _i i^inncTQ i,, it the student, hav- were enabled to see the marvelous ac¬ failures, strives to accomplish it. Differ¬ U .... that other word rightfully belongs to it, the student, hav¬ but, the release of air and precise ad¬ feeling of indifference, caused by the ing assiduously cultivated it, will be safe justment of the vocal bands being ex¬ curacy and swiftness with which the ing from others, I also insist that my Ordinarily they get reiteration of statements, made before, laxed” faintly indicates. Every muscle- fibre must thrill sympathetically with and from stumbling into that dangerous pit- actly simultaneous (please forget it!), delicate parts of the larynx, in obedience students retain—and not modify—the and often conflicting, merely to fill a to the mental feat to reproduce an ideal purity of the vowel throughout the en¬ enough nourishment so many thousands of them have to the initiatory and continued vibrations fall “physical sensation’ which still is the tone will make its appearance full written letters commend- few columns of The Etude. But to sift legato, unerringly cooperate, one would tire range of the voice. It is accom¬ from the regular diet. of the vocal bands. This can only happen the slogan of many. \ ou simply cannot round, on the pitch and well poised, as it lis and others of Sanato- the “truth” from all the chaff that ob¬ certainly have to admit that it takes a plished by the irresistance of the soft if the body is permeated with expectancy; go by sensation. It is easy to understand should. But the distraction of unusual virtues. scures it; to present it unceasingly until great deal of time to bring about the parts of the oral cavity. It is positively if it is instantly responsive and not that certain physical changes in the vocal This leads me to speak of another ex¬ overwork or worry has E. Perrichetti, Physician to the its rays of light shall have penetrated the necessary automatic control. To further ridiculous to assert, as so many do, that merely negatively passive, or relaxed, organs have to take place when singing pression that in the minds of the most obdurate mind, and shall have con¬ impress the reader, 1 repeat it: the true they can sing only on, “O” or, “ah,” etc. exhausted this supply— The one means cooperation, the other, different tones and vowels. Giving him- different people using it assumes a quered the most prejudiced attitude, that legato is the instantaneous substitution of Altogether, I may say that, no field rcjtfy holding aloof, thereby defeating the ob- self up to watching for these changes, different meaning. It is “placing” the and they are starving. is worth the present writer’s while and one tone for another without a break, of human endeavor presents such a ject of the mental-spiritual element which the student cannot fail to notice the voice. One author means by it the it is this that the reader will find within slide or aspirate being permitted to in¬ quagmire of ignorance as that of sing¬ They must be fed more of eeds a compliant vehicle for various physical sensations. But how ability to intone correctly; another, the their vital foods, particularly these lines. I take it for granted that all trude between them. ing. The teaching of it is in the hands or to the’overworked body and mind.” skill with which the voice is focused (?) phosphorus, as your doctor will of us believe in an orderly universe; a pression. earth can anybody tell whether they s To the discriminating musician the of so many quacks, who themselves forward; a third one takes it literally tell you. If you are still wondering if universe regulated and controlled by all¬ the correct ones or the opposite ? Whereas, singing of to-day, either on or off the know nothing about the art, that knowl¬ The Importance of the *Ear and the reader is led to believe that the Sanatogen can actually do this wise, unalterable, unchangeable law's. The if the ear and the ear alone is left to stage, is entirely void of color. What one edge on the subject is impossible to But Sanatogen is not only a for you, why not do the one In pursuing any object, after the means , u t -i.„ voice should be put—as we might a con¬ mere means of giving this law of acoustics is one of them. It towards its accomplishment have been watch the result of the mental hears, regardless of the sentiment ex¬ spread. This deplorable state of affairs thing which can convince you crete object—in a certain locality. Another phosphorus — Sanatogen gives governs all sound, from the thunderous perfected, no one will... ever continue"to rnnrpntmnconception, nnpone learnsIMme tnto linf»rrtncunerringlyrlv judge pressed, is either of an unyielding, rigid affects also the critic. There are very, —give Sanatogen a trial ? one again confounds it with the'develop- it "in such a form,” as Dr. C. roll of a Niagara Falls to the chirp of the think of them, but give his undivided the tone-quality, and if that is satisfactory loudness, or of a breathy, toneless very few who have time and inclination ment of the voice, mechanical and other¬ W. Saleehy says, "that the ner¬ And with your nerves al¬ cricket. One of that law’s eternal truths - ■ • the physical adjustment is "ipso facto quality. In manipulating his tints, in to make as profound a study of the art vous system can actually take most begging you for help, why attention to the desired result. So like¬ wise, etc. I take it that what is meant is that elastic, not rigid, bodies will suc¬ coloring, it is again the painter who can of singing as it requires, to be thoroughly hold of it.” That is why Sana- not do this soon? wise, in singing do not pay attention correct and does not have to be watched by it in its ultimate sense is the Impres¬ cessfully carry sound-vibrations. There¬ give the singer an example. If the understood; yet they have the imperti¬ the complex machinery of your voice, b If then the ear is so trained that it sion to be produced that the voice ap¬ fore, rigidity of the body or parts, or singer fails to color his voice according nence to criticise a subject that is entirely excluding every other thought, be solely fulfills its all-important mission so that pear to come from on high; that it soar only one part of it, is antagonistic to the to the sentiments expressed by the words outside their mentality. I know one of Awarded Grand Prize at Sanatogen is sold by good concerned with the vocal sound or quality consciousness of physical sensation docs far above the stored-up sea of air under¬ International Congress of druggists everywhere, in sound beautiful. and music, his performance falls far short these scribes who confessed to a few you wish to produce. What the eye not exist for him, the student will hav< neath it, unmindful of the tone-producing Medicine, London, 1913. sizes from $1.00 upwards. of artistic requirements, hence the study friends his gross ignorance on music in Cultivate Non-Rigidity to the painter or sculptor, the ear is to the moral satisfaction (which is a sensa- instrument or the motive power that sets ODTONIc] of the messa di voce cannot be dispensed general and singing in particular; yet Hence it is the first duty and the first the musician. It is through the vibrations entirely different kind) of it going. Hence, to “poise” the voice with. He must learn to in- and de-crease he is allowed to keep up his balderdash. task of the student of singing to culti¬ of the extreme filaments of the nerve bathingi yes bathing in the beautiful tone- would be, in my humble opinion, the the volume of his voice, without injuring “O tempora, O mores.” O Cicero! What vate non-rigidity of the body, making of hearing, ending in the ear, that the Quality of hjs artistically produced, more accurate term; and my practical brain is enabled to perceive sound. Or, the quality; to express truthfully by wouldst thou say, if thou were’t to live such baneful influences on the voice as, :, which will envelop him with a per- experience teaches me that the student Sanatogen means of it the entire gamut of the in our day? The consonants either retard fixed diaphragm, fixed larynx, or fixed shortly and colloquially expressed, it is £ t wealth of isochronous vibrations, has a distinct and clear conception of ENDORSED BY OVERll.'pQO PHYSICIANS through the ear, that we recognize sound emotions. It may not be quite unneces¬ or interrupt the vowel-sound. Both the Send chest position, etc., impossible. Absence what I mean by poise of the voice, in its multiform character. And just sary to mention it, but the performance retardation and interruption must occur lot ‘THE ART OF LIVING,” a ^charming booklet .by Richard Le th^quewtor of bodily stiffness can be acquired by the Inexact Terminology whereas, “placing the voice" gives him a the devotee to “Art” trains mind, and eye. of the “messa di voce” does not entail with such rapidity, without affecting the power of mind over matter. Try the fol¬ wonderful how inexact the ter-' hazy, foggy' idea, the sense of which he lowing (Hindoo) exercise: lying on the t the musician do, substituting the minology of the text-books any muscular pressure in the neck or clearness or precision of articulation that, ^THE BAUER CHEMICAL COMPANY, 29G Irving Place, New York City. perceives only in its outlines, without en¬ elsewhere which in- or de-creases with to the hearer, the tone is to all appearances floor on your back, raise first one arm, ear for the eye. The terms used, not only do not awaken abling him to grasp the substance. the tone Nor should the mouth be a continuous one. This again demands then the other—saying to yourself as you In the majority of cases of singing a definite idea in the student’s mind, but do so, “heavy as lead,” “heavy as lead.” students the ear is never mentioned, much The Real Legato gradually closed in diminishing the forte, the separate study of each consonant; very often create even a false one. Take and as the principal mechanical means Dropping the arm, make up your mind to less taken Of all the styles in singing, the ‘legato” as so often noticeable. A perfect messa release its weight, to let it pass out of it, a one is aware that the quality of the di voce is synonymous with perfect of their production are the tongue, jaw or attackT'T'.t of the tone. I have discussed is the most difficult to acquire, as it is bringing home to your consciousness the voice is ’ suffering from one or several breath-control; yet one must never think and lips each of these organs must first this utterly misleading word before. the rarest to be heard in our day. The be developed to a high degree of effi¬ ensuing feeling of lightness. Repeat same defects? I even know of cases, where a reason why it is so seldom met with? of the breath. Think the tone soft and “Attack” includes two conditions abso¬ ciency by suitable exercises before at¬ with the legs. Rise, and go through the most pronounced wobbling passed un¬ It takes so long to accomplish it, and it will issue soft; think of it as an in¬ lutely antagonistic to a good tone. First, tempting to articulate the individual same process. noticed by its producer. And all of this, we live in such a hurried, shoddy age. creasing tone and it will leave you as it conveys violence. One cannot attack such. Truly, it may be said: “as the consonant. Away With Wrinkles because the importance of listening crit¬ An age that not only tolerates but sub¬ ically to one’s self is brought to the anything, from an enemy in the trefich to mits to superficiality. The leather-soles man thinketh (the tone) so it is.” Various as are the complicated condi¬ If one considers the wealth of material The Failures student’s attention. There are great a dinner before c ae, without violence or of our shoes are not leather, the silk of tions of our civilization, they all lead up to be mastered in order to become a All of which again spells: time, patience numbers of pretenders to the honors of vehemence, which differs only in degree our hose is not silk, the wool of our to a certain definite tenseness of life, the and assiduous application. Those that teaching singing, who accompany each with the nature of the object to be at¬ clothes is not-wool, and so on ad infinitum. singer, one cannot help but marvel at expression of which can be plainly read the universal ignorance amongst the after only a few trials become impatient tone of their victims’, even simplest, tacked, aside from the physical aspect, It is an age in which the man. who in our faces. The following advice will masses, not only as regards the time and petulantly exclaim: “It’s of no use, exercises with the piano. The result which in tone-production. promises to teach any language in twenty not only prevent the premature estab¬ required, but also as to the means to I shall never get it,” ought to turn their that the person to be sacrificed listens to quently reiterated, is entirely misplaced lessons, not only exists but flourishes. I lishment of the inevitable wrinkles, but be employed. I know of a number of attention to something else. My own the piano-tone and not to that of the Second, it is only an enemy that one heard the same promises held out by at will also promote the conscious “letting “i™, which is the essential. All I can -, , — , . ... students, who were given operatic airs teacher used to advise them, if they , .... . would attack, i. e., fall upon with force, least one violin-teacher who, however, go” of the habitual tightness of our face- of the florid variety, without any prepara¬ were girls, to go and mend—not their say to these misguided persons isRue But the tone-producing instrument is not "as considerate enough to extend the muscles in special, and muscle-tightness m rebellion againstaaainst such 'palpableb alb able xanor-ignor¬ ^ A . 8 1 1S no1 tion, to develop their voices on. One, ways—but their brothers’ socks. Clara our enemy. On the contrary, in the time to three months, and one vocal in general. Before making ready to go ance of what constitutes the very corner- . , personally known to me, studied in this Kathleen Rogers says: “Every unac¬ teacher—a broken-down opera singer, to bed, or after one is in bed before fall¬ stone of singing and deprive the under- majority., V/ of. casesCases 1it is justified to con¬ fashion, one entire year; her pabulum customed act we perform is difficult at ing asleep, make up your mind to relax miners of their hopes and aspirations.” sldesider.r ltsits ^umbentincumbent in that light and though still below thirty—of my ac¬ was “Lieti signor’.” Richard Wagner, first, even to the quickest-witted and most quaintance claims to place students m the skin of the face from the forehead If„ the_ art-student’s__ attentionJPU _ought to attack him for the manifold mal- who has been wrongfully accused of intelligent of us; but with each repeti¬ and temples downward. By watching called to the expression of beauty of treatment received at his hands. The opera after six months of study. It having been the cause of the deteriora¬ tion it becomes easier and more natural, an age in which a man is permitted to (mentally, not in a glass) the resulting form and color will he ever learn to chemist uses Jhat admirable locution tion o{ singing has this to say: “No provided we keep our minds steadily bent movement you will be astonished at the recognize it? If the student of singing is status nascent” if he wishes to indicate come before the socially elect, and dis¬ doubt, there is no study requiring such on what we mean to do.” The rock on ZABEL BROTHERS habitually screwed up condition of your not given the living example of the ideal the precise moment when a chemical course on his wonderful discovery of a close application as the study of singing. which we are apt to slip is, that we do new and short way to become a singer face. This will help you understand what tone, and a practical demonstration of element or combination of elements is It demands not only the unceasing at¬ not keep on trying long enough. After by psychology. This happened a f«* is meant by acquiring non-rigidity of any all the faults and defects :-produc- born. Why, then, should not we use the tention to the smallest details on the each of the consonants and the vowels MUSIC PRINTERS m ENGRAVERS years ago in the drawing-room of 3 Send for Itemized Price List and Samples part of the body. A variety of words, tion is liable to suffer from, how"r he Phrase “inception of tone” when we wish Part of the teacher, but requires inces¬ have become perfect, the student may wealthy New York woman. After the such as plastic, passive, elastic, etc., has tell the difference between the o and to indicate its being brought into e-r sant and patience-trying exercises ex¬ commence to sing on syllables, then on COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. -■Li- __ lecture a sheet of paper was passed and been used by different writers to convey the many kinds of the other? To be able istence? tending over a long time, on behalf of the lecturer collected the names of two Please mention THE ETUDE when addressing our advertisers. THE ETUDE ,525

THE ETUDE from the compass of your voice. Notice of the body which is indicative of the 524 how many seconds the tone will last. mental attitude, and all singers agree that Physical Culture Exercise No. 2. Starting at middle C Let the student ever bear in nund that individually before combining them. Here singing is mental. From these exercises, again I take leave from my reader, hop¬ on the keyboard, taking a breath, placing if practiced faithfully and earnestly for for the Face though the means that control the pro¬ the word noo and going slowly and Will make you look younger Keyboard Harmony and Transposition duction of the vowel-sound differ rad¬ ing that my words will have made some a long period, the student will derive the gchsmatW softly up the scale and down the scale, By ANNA HEUERMANN HAMILTON^ ically from those that create the con¬ impression upon him; cherishing the benefits which I have stated, for I have nal treatments you might use singing noo, no, naw, nah, nau, nay, nee, sonants, they not only must not interfere PIANO 1 never seen them fail. As the student pro¬ Harmony founded op the principle thought that he will be prompted to ex¬ & ni, constantly watching that the tone is in any way with one another, but that gresses, the exercises producing other re¬ To experience i. to know amine himself critically and endeavor to well suspended on the breath, and ob¬ they must fulfill their respective tasks— The Schomacker Piano possesses sults such as trilling, legato, staccato, This new presentment plasslc n^JiWucatarsfc! correct eventual deficiencies. After all, serving carefully how you manipulate at though different in nature—in harmonious we live to learn and humanity’s greatest that rounded beauty and perfection stentato, and so on, will come; but for cooperation; and that therefore it 13 the beginning of your instruction and curse is and always has been, ignorance. of expression which can come only to the first few quarters, or a year or so, I imperative to master these two factors how you improve at the end of two an instrument of superior merit weeks, a month, and so on. These words know of nothing better than these which SfEfisKsrrssi which has embodied in its construc¬ The Cupid Grand all starting with n have the vowels a, e, I have just given you. And to my « £ wu! u^exD^na^on 9* thatare pragmatic in then Fundamental Training in Voice Culture removing8the wrinkleslhey cause. The practicality, crystalline in iheir clearness, all-encom¬ tion the best musical thought of over The first small grand piano ever made was the i, o, u, which will bring the lips in the readers I can only trust that my article is passing in their scope three quarters of a century. right position, and as they are set in understandable and that you will try it out and hollow? filled"in? No Preliminary Studies in Keyboard Harmony and By Mary L. Stuart Butterworth product of Sohmer. That was over twenty- old or too young to benefit. for a term and see what benefits you de¬ In New York rod Philadelphia al the nine years ago. In this over a quarter of a words they teach you phrasing, which is My*system makes double ing of an umbrella, keep the mouth indeed a very necessary part in the art rive from it for your efforts. I feel The greatest of gifts that God has century we have been constantly striving to closed so as not to drink in the air, and WANAMAKER STORES ONLY of singing, as the student will see as he sure you will have the total sum of breath bestowed upon His children is a beautiful perfect this type of instrument. The result is Non Dealera in other Principal Cities advances in their study. Do you see control, continuity, elasticity, lip place¬ breathe through the nostrils. Repeat a piano without an equal among diminutive voice. The word beautiful here means what the n is for, what the vowels are ment and some phrasing which will aid this several times (in the open, pure air Write today for my FREE New Booklet. much, and it takes time to develop a SCHOMACKER PIANO CO. grands in which tone is in no manner sacrificed in developing the God-given talent of all of course is more advantageous). While tablith for and what the words are for? Then If you will tell me what improvement yo voice in order to make it beautiful from I 1838 to architectural requirements. Length 5ft. 4", I can write you more helpfully. Your i— -. practicing this, note just what happens there is still another good point to -this talents—the voice. held in strictest confidence. every standpoint. 23rd & CHESTNUT STS. PHILADELPHIA, PA. width 4ft. V— price $675. Terms arranged. exercise, and that is singing the words Do not learn anything about certain Inasmuch as the message of Truth can and try to see the sense in it, and watch DEANE DOSSERT Send for illustrated catalog and full information. up and down the scale, which in time registers of the voice, but pay all atten¬ KATHRYN MURRAY be delivered to the ready listener from the improvement with practice. brings elasticity of the vocal chords or tion to the continuity of tone quality. Suite J. 7, Garland Building, Chicago FRANK DOSSERT a human song bird, and inasmuch as the Exercise No. 2. Take this same ex¬ the velvety quality which all singers wish Too much technical physiological or ana¬ The first woman to teach Scientific Facial Exercise Voice Teachers voice is a God-given talent, it becomes ercise and count in your mind how many SUBSCRIBE FOR CHRISTENSEN’S . jrmerly of Pari.—Now in New Yor to acquire. There is another important tomical information tends to hinder the all the more plain to us that the voice seconds you can hold it, before expelling. Suite 1204-1205 CARNEGIE HALL point for the student to remember at all student and will therefore impede the Residence Studio should be handled and treated skilfully, Keep trying this for ten minutes and RAGTIME times, and that is: not to stiffen the jaw progress of the art which he has selected No. 2 WEST 88th STREET just as the violinist handles his instru¬ watch carefully how much longer you can and the muscles of the throat. Some¬ to follow. Keep, your mind dwelling in Artist pupil, in tending Opera Hou.e. ment. Many beautiful voices have been hold it at the end of the ten minutes than REVIEW 315 Fifth Avenue times the pupil will say, “Oh, I’m dis¬ encouragement, which is one of the con¬ Mile. Jeanette Allen, , Berlin. spoiled by too much training, or by you did when you started. You will find A Monthly Magaxine for Amateur and Pro- Mme. Marguerite Sylva, Opera Comique, Paris and faaaional Pianist.-Devot.d to Rartimeend New York, N. Y. couraged. There is so much to re¬ structive elements in life, and remember Chicago Grand-Opera. wrong methods used, or by forcing the it grows longer every day until a limit, Popular Music—Covering the field of Vau¬ member.” Let me say to that one: Do always the soul reveals itself through the Mr. George Feodoroff, Solo Tenor, Grand Opera, vocal cords either too low or high in of course, is reached. With the practice deville and Pictura Piano Playing-Edited Paris. and Published by Axel Christensen, the not entertain that thought for a moment, voice. Do what you can to make it grow Mr. Henry Miller, Basso, La Scaia, Milan and pitch. Many times bad results have been comes the improvement. "Cxar of Ragtime.” everything will come right in its place, if more beautiful; for a voice, be it low or effected through the over-anxious condi¬ Exercise No. 3. For learning to control Contains piano muaic every month —new and Mr. Edmund Burke, Baritone, Covent Garden, Lon- inappy rags, songs and popular music—leaaona is you will only give it the proper time. high in pitch, is a flower of beauty. tion of mind on the part of the pupil to the breath or, as the small boy says, for vaudeville, ragtime picture piano playing, revKwo! Nadine Discouragement is an evil which can have One thing more that is important to obtain in a short period what by nature doing stunts with it, do as follows; Take alWhe new popular music, ete^ I’ll, Face Powder no part in any workman’s career, let remember when studying the voice is(: To use O- Cedar takes a long period, for if you inquire a deep breath and exhale only a part of happy, pulsating “rag" and the aonga and mckdici alone a singer. No truly great singers The influence of temper upon tone quality Polish means that TO YOU amongst teachers you will find that it slowly, then exhale a part of it quickly, that make (or happtnc.s and delight. (In Green Boxes Only) were ever made in a day or a year. Then and quantity deserves earnest considera¬ after all the dust, You can get the "Ragtime Review” lor only SO grime and scum are Who expect to take singing lessons this many students when they first start in then slowly, and so on until it has gone centa a year—aample copy for ten 1 -cent atampe- remember, discouragement is a mental tion, for it is an old adage that in the fall, please feel free to consult me by letter to develop their voices expect in a short ao send along your subscription. It will ‘ ' taken off your fur¬ entirely. Repeat this several times dur¬ IN Keeps the Complexion hazard. If your voice is harsh at first, voice there is no deception, for it is the or personal call. I will gladly give you a time to be artists, when in reality it takes biggest money’a worth you ever received. niture, it is given a thorough explanation of my work. ing your terms of practice. It is interest¬ SO cents a yeai—samp'e copy 10 cs H Beautiful keep in mind all times that these soft index to the mind, denoting its qualities, high, hard, durable, years to become a beautiful singer. I ing to take notice just how slowly exercises will tame or tone it down and and a beautiful voice is enjoyed as much CHRISTENSEN’S RAGTIME REVIEW f Soft and veK lasting polish. Fall Teaching begins Sept. 10th have seen pupils start in taking singing can expel it, and how much you have .n iielypleased. Nad by conscious effort you can harmonize in a lullaby as it is in a sanctuary or lessons by using the most harsh exer¬ Room 930. 526 S. Weatern Aye., Chicago, 111. This lustre is re¬ reserve. your mind with the mellow, sonorous, home and always gains an audience of cises on their undeveloped vocal chords. Piano teachers write for "Teacher's Propoaitkn.” tained if you simply Geo. Chadwick Stock Exercise No. 4. Take a deep breath rich voice which you are seeking, and in ready listeners; besides being a great add a few drops of As a result the tone in a short time quickly and expel it quickly, as if blow¬ due time who knows but that which you satisfaction to the singer who probably became grating and harsh or shrill. White. SOdfb'y toiiet coimters VOICE STUDIO ing your breath upon a mirror or ex¬ Dept. T. E. have idealized may be yours. It is a had to struggle to attain to the highest Y. M. C. A. Bldg. New Haver Just stop to think. Using any instru¬ tinguishing a candle. The deep breath Toilet Co., Paria, Tenn., U. S. A. known fact that the voice is the organ of all arts—the art of singing. Author of “Guiding Thought ment harshly, what would happen? PIANO TUNING Sold by Prei " 1 ' r, 'Dilson, Lyon & Healy emits in an instant. Practice that also, OG&e Wouldn’t there be wear and tear upon as it is especially beneficial in learning to REGULATING and REPAIRING to your dusting cloth it and would not the sweetness fade sing staccato or short phrases. as you use it daily. away? These are all good, harmless breathing How Music Reveals the Souls of Nations So it is with the human voice. Over¬ 25c to $5.00 exercises, enabling you to learn how to By J. CREE FISCHER zealousness and too much exercise in the That music and kindred arts rather sight. It shows in Germany the treasures Sizes control your breath, and if practiced will beginning of training the voice are just Price $1.75 than political happenings are the true re¬ of faith and activity which were silently bring the desired results. There are What to Teach as bad for the vocal cords as too much A work of great practical value. Arranged vealing sources of the history of mankind accumulating; it shows simple and heroic Channell Chemical Company running and jumping and stooping ex¬ systematically in lessons and thoroughly illus¬ CHICAGO TORONTO LONDON gymnasium work is for the heart. trated, making a book that can be used forself- is the interesting theory of Romain Rol- characters like Heinrich Schiitz who, dur¬ ercises which tend towards breath con¬ Moderate exercise is the only lasting instruction, correspondence courses or text in Every Grade land. In the introduction to his work, ing the Thirty Years’ War, in the midst trol, too, but these I have given will be book in schools and conservatories. A valu¬ thing. able lesson J« that on the tuning, regulalii of the worst disasters that ever devasted found the most helpful, and if indulged Some Musicians of Fortner Days, he The thing that is most important and rejrairing of reed organs. We think Sensible Standardization a country, quietly went his way, singing in, in a good honest way, the student will -id will appeal to teachers and shows how in history’s darkest hours THEO. PRESSER CO., Philadelphia, Pa. in the fine art of singing is the breathing _who live tn the smaller towns and his own robust and resolute faith. About find that his belt is growing tighter and glorious music has been the forerunner and the control of it. Tone work comes rural districts rarely visited by professional Just as the navigator must have him were Johann Christopher Bach and .his chest measure increasing, besides charts and compass always at of happier days, showing that the divine later, suspended or poised by the breath. It will’ also be a valuable work lor a young Michel Bach (ancestors of the great MAME BARBEREUX PARRY gaining an immeasurable amount of hand the teacher needs some element in the human spirit can be If you will notice the great singers we man or woman who wishes to add to the in¬ Bach), who seemed to carry with them benefit from inhaling fresh air into the come^ from teaching by keeping pupils’pianos guide to tell what may be given dimmed but never quenched. “The es¬ Author1 ( Limitation and have in the world to-day, you will see the quiet presentment of the genius who of V OCSl | Its Elimination expanding lungs, and knowing that the in each grade. sence of the great interest of art lies in A definite WAY to develop RANGE and RESONANCE how important their breathing is to them. THEO. PRESSER CO., Philadelphia, Pa. followed them. Beside these were Pachel¬ lungs are controlled by the muscles de¬ After years of experience, prep¬ the way it reveals the true feeling of the bel, Kuhnau, Buxtehude, Zachow, and Summer Course of Study for teach¬ And why should it not be? Inasmuch as aration, selection and grading, ers, July 3rd to 28th. Send for terms, etc. we have to take a breath before we utter veloped in respiration. soul, the secrets of its inner lite, and the Erlebach—great souls who were shut up The pupil from the beginning of vocal we have published a list known world of passion that has long accumu¬ Studiot 514 FINE ARTS BLDG., CHICAGO a sound, does it not seem proper that READ as "A Selected Graded List of all their lives in the narrow sphere of our breath should be the starting point study must know the motive power is Pieces, Studies and Books” lated and fermented there before surging a little provincial town, known only to a for development? Yes, the first thing is the breath, and unless he masters this Systematic Voice Training which we will send gratis to up to the surface. Very often, thanks to few men, without worldly ambition, with¬ Learn Harmony and Composition exercises for the development of the power, that which is desired—a beautiful any teacher who sends a postal its depth and spontaneity, music is the out hope of leaving anything to posterity, voice—will be unavailable. By D. A. CLIPPINGER diaphragmic muscles of the body, to It Win Interest You in His Special Work in Volet first indication of tendencies which later singing for themselves alone and for Beautifully loosen up, as it were, these muscles that Now as to the singing or the placement Production and Interpretation. Circular. This list is sixteen pages long. translate themselves into words, and their God; and who, among all their sor¬ Wavy and Curly Over Night have probably been inactive; for in sing¬ of tone. This is where the power of Address 1210 Kimball Hall, Chicago. Ill. It contains the names of over afterwards into deeds. The Eroica Sym¬ rows of home life and public life, slowly thought and intelligence comes in, as the Try the new way—theSilmerine way— Wilcox School of Composition ing the first training comes there, and if seven hundred pieces, studies phony anticipated by more than ten years and persistently gathered reserves of and you’ll never again use the ruinous Box E. 225 Fifth Ave., New York City, N. Y. these muscles are properly trained, and study of singing is a mental thing. A and exercises, arranged in the the awakening of the German nation. strength and moral well-being, building heated iron. The curliness will appear following classification in each student’s technic depends upon the use stone by stone the great future of Ger¬ altogether natural. the pupil understands their use and learns grade, Classic Pieces, Semi- The Meistersinger and Siegfried pro¬ STUDY HARMONY to control the output of voice with or of his mentality. E. PRESSON MILLER claimed ten years beforehand the im¬ many. In Italy, at the same time, there Exercise No. 1. Standing fairly erect, Classic, Popular, Four Hands, Liquid Silmerine and COMPOSITION from them then the other points which Collections and Studies. perial triumph of Germany. There are was a great ebullition of music, which is applied at night with a dean tooth brush. Ia by MAIL "eSTy constitute good singing will come more but not stiffly, take the breath (already Teacher of Singing even cases where music is the only wit¬ streamed all over Europe. It flooded neither sticky nor greasy. Serves also aa a splen¬ gives all Instruction and correctsall The list may be used with the Stand- did dressing for the hair. Directions accompany lessons. Number ol pupils limited. easily and of course more naturally, stated) and place a tone upon it, using STUDIO OPEN ALL SLIMMER. Special rate) ard Graded Course (in ten grades) or ness of a whole inner life, which never , Austria and England, showing bottle. Sold by druggists everywhere. A simple, concise and practical the word ttah. Reasons for nah are: to teachers and student* who t»\e adraotift« may be used independently. keeping in mind that progress is slow. Summer Course from May 29th to August Uth. reaches the surface. that Italian genius in the seventeenth Se6oSosSSPScta?da There are plenty of exercises for learn¬ That the consonant n brings the tone “What does the political history of century was still supreme; and in this ALFRED WOOLER, Mus. Doc. forward and the ah drops the jaw natur¬ 826 Carnegie Hall New York City scientioualy and intelligently has as 322 W. Utica St., Buffalo, N. Y. ing breath control, and these may be complete a system of standardization Italy and Germany in the seventeenth cen¬ splendid exuberance of musical produc¬ learned through most of our teachers. ally and allows the tone to come forward. as need be provided. tury teach us? A series of court in¬ tion, a succession of thoughtful geniuses These I now quote have been most Do not sing tones loudly, use pianissimo Remember,—It cosh you nothing but a trigues, of military defeats, of miseries, like Monteverde at Mantua, Carissimi at i postal and the time it takes to write it. while developing. The forte will come 35 Hugh A. C1arke.Mus.Doc. helpful to me. WALTER L. BOGERT and of one ruin after another. How is one, Rome, and Provanzale at Naples gave evi¬ later as you advance. Hold the tone nah then, to account for the miraculous resur¬ dence of loftiness of soul and purity of LESSONS BY MAIL Practical Exercises in Breathing President National Association Teachers of SincW- HlwTn upon the breath until the breath is out. President of N.Y. State Muaic Teachers' Assn, 1911- THEO. PRESSER CO. rection of these two nations in the eight¬ heart which was preserved among the Exercise No. 1. Take the breath deeply Member of Examining Committee. In Harmony, Counterpoint Then either take a tone higher or lower 1712 Chestnut St, Philadelphia, Pa. eenth and nineteenth centuries? The frivolities and dissoluteness of Italian with the thought of expansion in the and do the same thing, keeping that up and Composition TEACHER OF SINGING work of their musicians gives us an in- courts.” BE! mind, centered at the diaphragm, trying for at least ten minutes at the start, not 43 4618 CHESTER AVE., PHILADELPHIA, PA. Please mention THE ETUDE when addressing to bring out slowly the ribs, like the open¬ Llease mention THE ETUDE when addressing forcing your tone too high or too low our advertisers. our advertisers. Please mention THE ETUDE when addressing our advertisers. 527 THE ETUDE 526 the etude teachers in small towns and villages are our guild; for no instrument is so com- always likewise the organists. Especi- plicated as our beloved one and no artist WHAT IS ally in Germany this multifarious func- is obliged to practice so incessantly and tionary is often a good one, sometimes patiently as the organist. Imagine an or- mediocre, seldom a bad one. The reason ganist hanging his lessons on the hat peg “THE CHOROPHONE” Department for Organists for this is that many of these teachers and spending his days in the organ loft! Edited by Noted Specialists take up the organ while attending the The organ, by virtue of its almost un¬ 77? _ seminary, thus they acquire a certain limited possibilities, is perhaps the most routine, which, if opportunity is favor- sensitive of musical instruments. Through We believe it to be the “IDEAL” small organ. able and circumstances demand it, often it, one can be transported to the highest blossoms into more or less virtuosity, summit of sublimity and quite as easily It is strictly a pipe organ of the highest grade, identical in materials, Who is an Organist? One is often surprised to hear in a very be dashed into the lowest depth of vulgar voicing and workmanship with our largest instruments. It is built Keeping Out of the Rut forlorn village, a very good organist. triviality. Therefore as organists, let it on a special system giving greater use, fullness, and flexibility from the be our foremost duty to heed these costly pipes available. By Roland Diggle The Organists Utopia jewels and above all things let us take We believe it to be by far the most valuable pipe organ ever offered to The time may come when professional every opportunity to protect them against the public at a cost under $2,000.00. It has electric action, is complete in In answer to the question “who is an his own good name against any assault or church organists will be so well paid that tormentors, pretenders, and any others Perhaps organists are more apt to get pices which could sing at conventions, all modern improvements, and it carries our same valuable guarantee. organist?” I hear someone say: Anybody as valiantly as the color-bearer does his they can concentrate all their time on unacquainted with the secrets and true into a rut than any other members of the banquets and meetings. The idea took who plays an organ. This answer is regiment’s flag. their organ. This would be utopia for nature of our art. Write us for special illustrated “CHOROPHONE” booklet. musical profession. Why this should be hold and they told him to go ahead and literally correct, but in reality empty it is hard to say, but I am afraid it is organize one. They did not offer him any The Pianist-Organist salary but gave him a room and piano words. Firstly, there are those who can owing to the fact that when they start Among thousands of this kind there for practice and $20 for music. At the play; secondly, those who think or are out to follow their profession they have may be an exception, but this only proves end of four months he had a glee club of told they can; thirdly, those who play be¬ “Play That” at Vespers Austin Organ Company a lot of spare time which lies heavy on the rule. A shining exception is perhaps thirty-five voices who made such an im¬ cause there is nobody else within call who their hands; if this time is not made Saint-Saens who, it is well known, is an pression at the first banquet they sang at, can. Let us begin with these last men¬ HARTFORD, CONN. use of in the right way they soon elegant pianist and distinguished organist, By Monsignor Hugh T. Henry that the Chamber of Commerce voted tioned. For countries where towns, with become lazy, and in a little while are and he is one of the best evidences that $400 a year to keep it going, and it is of course the obligato churches, shoot satisfied to follow the lines of least resis¬ piano and organ virtuosity cannot be still going. During his second year he out of the ground and blossom over night A pastor of a country parish desired a de B. V. M. (complete) for one or four tance. Another reason perhaps is the loss combined and be equally successful. Per¬ organized a Choral Society, and three con¬ with the agility of a jack-in-the-box or complete Vesper service in his church, voices (B. Hamma); or any of the thirty of enthusiasm. How many organists are sonally I consider him a far better pianist there who have gone to their first church certs have been given each year since. with the celerity of the rank and wily but experienced much difficulty in arrang¬ than organist, and, certain it is, he can¬ entries of this kind in the Catalogue of full of enthusiasm and fine ideas, only to Four years ago the church installed a fine weed in the corn field, it is an utter im¬ ing for it, because of the lack of expe¬ not be compared to a Guilmant or even to Church Music, or the Guide to Catholic find an apa'hetic- choir and congregation, new organ for him and he gives eight possibility to supply all the numberless rience and of competent musical ability a Widor and perhaps to many others, al¬ Church Music by Prof. Singenberger.” and a minister who gives no support or recitals a year to packed audiences. Dur¬ organ benches with people worthy of the on the part of his poorly equipped choir. though as a musician he stands mountain The editor thereupon adds the caution: encouragement? It takes a wonderful ing the past year he has organized an seat. Under such circumstances, anybody He accordingly wrote a statement of his high above them all. This collection of “It is proper to notice here the unfor¬ amount of enthusiasm and personality to orchestra which gave two concerts and is good enough and he, she or it, who perplexity (and headed his statement: organ players can most fittingly be called, tunate fact that in some of the published overcome such obstacles as these, but assisted the Choral Society in a May fes¬ can perch on a bench, count to six, hum "Music That a Country Pastor Wonts”) Niagara to the Sea ptano-playing-organists. The second part Vesper services, the psalms only (with¬ at the same time it is safe to say that the tival. Old Hundred, knows by sight a keyboard to the magazine of Church Music, which of group No. 2 consists of those who out the appropriate antiphons) are given. really big men in the profession are the Here then is a man who has kept and can thumb and finger it for better had been just established for the purpose have either self-learned or been taught to The rubrics require the singing or the ones who have made a success of their out of the rut, and if you ask me how he or for worse, is invested with the most of facilitating the reform in sacred music VIA THE THOUSAND ISLANDS recitation of the antiphons; and there are work under such conditions, and surely did it I would say by keeping busy. Such honorable title of Organist of the- play a reed or cabinet organ. Good prescribed by Pope Pius X. The maga¬ many “services” which give both in com¬ the picturesque: there is nothing that would broaden one’s Church. This collection comes under the friends, and of course admiring ones, zine editor, having read the statement, a man is not satisfied unless he is learning ALL-WATER ROUTE character, or keep one out of the rut something all the time. He is not content head of Emergency or Chance Organists, persuade them to climb higher, for yott prefixed to it the title “Play That”—a plete and easy form. Music publishers will cheerfully furnish “services” adapted better than such a success. to buy a two-dollar collection of organ and if they unfortunately must be toler¬ know if you can play a small organ, you highly appropriate and withal practical I have in mind a man who accepted music and make that do until it falls ated, they can neither be taken in earnest certainly can a church organ, which is bit of humor—and printed it. to the limitations or excellences of any such a post some eight years ago. The apart. He will not be satisfied doing the or made to suffer for the multitude of much more interesting and pays so much To understand the pastor’s perplexity, choir, from which the organist may select salary was small, the organ poor, and the same old anthems over and over again their sins; for truly, they know not what better, and then the influential friends it will be interesting and informing to anything that may suggest itself as appro¬ choir consisted of some seven members. because he is too lazy to look over the they do. They are, so to speak, a neces¬ provide the necessary position. print the letter in full, for Church Music priate or desirable.” A more discouraging outlook for an new ones. No! such a man is constantly sary evil and by faith of their musical Thus, little by little, these amateurs de¬ gave a practical reply. The pastor wrote: Accordingly, the organist, having stated organist could not be imagined, and yet seeking new works and new ideas, is con¬ impotence, the innocent authors of shows velop into the kind of organists who “I am an ordinary country pastor, who in a letter to any publisher .of Catholic to-day that man has through his own tinually creating new opportunities and in which the poor organs are the chief double the stumbling attempts to pedal as a boy had learned to play simple Church music, the character and limita¬ efforts created one of the best posts in making the best of, and improving, the mourners. The second group—those who the bass notes with the left hand, the pieces on the piano, and who can find tions of his choir (e. g., whether it is the state. His church salary is $1,500; conditions under which he has to work. think or are told they can—are ten effect of which is as disgusting to the eye now a dozen members of my flock who posed of boys only, or of boys and he has a fine new organ; a choir of 75 And what about the man who is in a thousand times worse than those just as it is painful to the ear of every real know as much music as I do, but no more. whether these are well-trained o. m- voices; all the teaching he can attend to; rut? From personal acquaintance he is mentioned. Among this kind, the piano- organist. Such organ players, sailing as I love the Church’s music, as nearly all trained, etc.), will receive several “Ves¬ LEAVING QUEBEC is the “big man” musically in a city of a sour, discouraged individual, he says, “O organ players, who usurp organ positions they do under the auspices of loving and priests do, and wish to have it in my pers,” that is to say, a complete Vesper QUEBEC 25,000, and is the happiest and most go- my organ is only a small two-manual; which justly only can or should be held powerful friends, can well be called, church. But what shall I do? service (which, by the way, the organist ahead organist of my acquaintance. You there is no encouragement to work on be qualified organists, are the foremost “patronage organists." “Vespers always had a special charm should specifically ask for, mentioning In this unique pleasure trip, every hour has couldn’t put a man like this in a rut if such an instrument, if I only had a good malefactors. Pianists as a rule consider for me. We use Benziger’s hymn book, also that he desires the antiphons for the lation of beauty, grandeur and historic inter, The grandest The Real Organist —the fairy-like Thousand Islands, the thrill¬ you wanted to. three-manual, etc.” He overlooks the fact organists several degrees below them on which has the psalm tunes; but I would psalms as well as the psalms for various trip in America How did he do it? Well, in the first The genuine organist is one who has ing. descent of the marvellous rapids, (MONTBE2 that there is very little organ music that the scale of musical importance. Many like to have the antiphons as well. Where kinds of Feasts, such as the “Immaculate the famous old cities of Montreal for health and place he did a whole lot for nothing. He of them mount an organ bench with the made a long and special study of the cannot be played on a two-manual, and can I find a few pages of music contain¬ Conception,” or “St. John the Baptist and Quebec, the stupendous Capes recreation. 800 hadn’t been in the place a week before he that although he may not enjoy it, the assurance of a commander-in-chief and church or concert organ. Both feet and ing the complete Vespers, which I can (or, possibly, of the patron of the church “Trinity” and “Eterrw’ miles of lakes, advertised that he would give free voice members of the congregation would. declare, pedal playing is an unnecessary hands are minutely trained and each is hand to a volunteer organist with the sim¬ of which he is organist), etc. He may the Saguenay River, Coteau Rapid} rivers and lessons for three months to all would When the time came for a new instru¬ handicap, an occasional tip with the left master of its part. Each one apparently ple direction: ‘Play that ?’ There is plenty select any one of these “Vespers” and then the broad e? long Sault Rapid} . sign an agreement to sing for one year in ment, it would be much, easier for him to toe is quite sufficient and, as to the works alone, but in reality it is only one of plain chant in modern notation for ex¬ render it every Sunday; for by a Decree pause of the mighty PRESCOTTag^ rapids. iSt. Lawrence roll¬ his choir. At the end of one mon'h he was get what he wanted if he had got all he manuals, compared to the piano keyboard of many, which, forming a whole, has pert musicians, but no one thinks of the of the Sacred Congregation of Rites, giving fifty lessons a week, and at the end ing onward to BROCKVILLE could out of his old organ. And so on any baby can play them. True it is many but one end in view, vis.: Perfection! country organist. . . . There is plenty dated December 29, 1884, churches which Up-to-date Canada Steam¬ of the third month eighty lessons a week. This can only be attained by constantly with his choir and teaching; instead of of these wise men do play the organ as of music for those who have studied har¬ are not under obligation to the Canonical KINGSTON ship Hotels, “The Manoir Early in the third month the organ broke getting out and making a success of things only babies could. In my many years of playing from three staffs and as not mony, and can supply the accompani¬ recitation of Vespers (and that means Richelieu” at Murray^ Bay down altogether so he called a meeting he can only sit back and grumble. Is it experience as an organist, during which every organist can properly and quickly ments; but where is the music for those practically every church in the United CLAYTON and “Hotel Tadousffb’’~at of the choir and told them he would con¬ any wonder that he never gets anywhere an organ was intrusted to my sole care, play from two staffs, all organ music who can play only what is written, and States), may select the Vespers of any tinue the lessons for another month free at all? So I say to you who are afraid I never, under any circumstances, allowed should be written on three. An organist not even that unless it is simple? feast for rendition by the choir on Tadousac. JffaaSi if they would each sell ten tickets for a LAKE/ of getting into a rut, awake to your op¬ a piano-organ player, or perhaps better, who plays from a- piano score is like a “In all this talk about plain chant and Sundays. concert in aid of the organ fund. Over 1000 portunities, keep your enthusiasm and a piano-playing-organist, to touch it. I leader of an orchestra conducting from Church music, the people of little country SHOOTING THE RAPIDS tickets were sold and $400 .raised which Having selected any “Vespers” that ap¬ above all keep busy. If the mountain won’t consider it the duty of every organist to a piano arrangement. parishes, who would appreciate it most, put the organ in working order again. peal to his taste and judgment as to the come to you, it’s up to you to go to the guard his organ as faithfully against all The daily bread of an organist is are forgotten.” ' Not only this but the advertisement he abilities of his little choir, the country (or mountain. Johann Sebastian Bach, and his works The editor replied that “complete Ves¬ got from the concert was worth more to such offenders and intruders as he does the city) organist can place the-booklet should be played day and night, not like per services for many different Feasts him than anything else could have been, of 8vo size on the desk of the organ or a machine, but the player should fashion have been published, with the proper HAMILTON’ for it showed the people that he could do harmonium and simply “play that” and color it according to the length and assignment of psalm-tones for the psalms, things. It was now time to charge for straight ahead, page after page. So, too, breadth of his own individuality, if he has with the plain-chant melody (harnlonized) ed booklet, map and guide to lessons, for you must remember that up Popular Interest in Bach the singers will turn page after page, se¬ any, but if not, the sooner he finds it of the various antiphons, with the Four to this time he had not received anything cure that everything has been provided JOHN F. PIERCE Dr. J. Fred Wolle, in an address to Antiphons of the Blessed Virgin (gen¬ apart from his church salary of $50 a I claim that one need not understand the out the better, for it is a thousand times for as respects the liturgical completeness Asst. Pass. Traffic Mgr. his famous Bach Choir at Bethlehem, erally in modern melody and harmoniza¬ month. He agreed with his choir to con¬ technic of it to be moved and uplifted by better to be a skilled and successful of the Vespers. 157 R. &. O. Building tion). These can be had composed with tinue their lessons for twenty-five cents said one night after a rehearsal: great music. The musically untrained are copyist than a blinded plagiarist, whose The program is really a simple one. It Montreal, Canada a view to the needs and difficulties of a lesson; to all outsiders the price was “Most of Bach’s music is written dia- just as deeply impressed by an eloquent personality at best can only be a con¬ expects, however, that the little choir shall many kinds of choirs. Literally, a ‘coun¬ a dollar a lesson. At the end of the sixth tonically. If you will look beneath the production as professional musicians. sumptive shadow of somebody else. Au¬ have been instructed in the pronunciation try pastor’ needs only to hand such a Ves¬ month forty-three of his choir were ornamentation you will find that the When I walk along a country road and gust Haupt. the renowned German organ¬ of Latin, shall have been practiced in the per-service to his organist with the sim¬ IN THE THOUSAND ISLANDS still studying and he had some twenty seeming complexity -of Bach vanishes and see a beautiful tree I enjoy the sight of ist and Bach connoisseur, used to say that actual use of the Latin psalms so far as it to the utmost. I couldn’t admire it ple direction: ‘Play that!’” pupils besides. About this time he went you have music as natural as the har¬ he went to bed w-ith Bach, slept with him, their correct reading is concerned, and any more if I were a botanist and could The editor further particularized: “We to the president of the local Chamber of monic progressions of the folksong. got up with him, spent most of the day shall have been drilled in singing the ever- CANADA STEAMSHIP LINES describe the structure and scientifically should advise our correspondent to look with him. and was always sorry that the varying verses of each psalm to the one Commerce and suggested that they “That is why people who don’t know classify that tree. And so it is with the over Vesperce in Honor. D. V. M. for So¬ should have a glee club under their aus¬ one note from another may enjoy Bach. days and nights were so short. In Ger¬ stated melody set for it. music of Bach. It has universal appeal.” many and parts of France the school prano and Alto (L. Bonvin, Op. 9); Vesp. the etude 528 THE ETUDE 529 Improvisation The THE GUILMANT By Frederic Campbell, Sc.D., Former Organist of Princeton University GreatGrove Dictionary The Keystone of Every ORGAN of music must at least be familiar. One The word “improvize” means to do the Musical Library unforeseen or the unplanned. In music must know scales and chords, the rela¬ SCHOOL improvization is composing and execu¬ tions of keys to one another, and of ting on the instant. Some have a peculiar minors to majors. Thus, if playing in gift for this, like Lemare, who publicly the key of C, the player should realize the improvizes on the organ. But most com¬ possibilities in open doors to other keys Grove’s posers must take time for the develop¬ and their harmonies, in which C also ap¬ Six Free Scholarships pears. Familiarity with a few funda¬ Write for particulars ment of their themes. Doubtless, in many instances, great musicians could impro¬ mental principles of music will enable 44 W. 12th ST. NEW YORK vize, if they would; for composition is one to go forward and accomplish some¬ Dictionary nothing but the more labored develop¬ thing worth while. ment of what would otherwise be im¬ Highly important was the advice given provization. Indeed, some great com¬ by that splendid man and musician, the of Music and posers have improvized, like Beethoven late Herve D. Wilkins, of Rochester, HUTCHINGS and Chopin, who held their hearers spell¬ N. Y., namely, to think music. This he bound, while, through the open floodgates enjoined as an habitual practice. Keep of their souls, the torrents poured forth. the melodies and harmonies going in Musicians (Uritiila&rljoalof dfptrrf) ffiiuatr ORGAN Mozart, Handel, Mendelssohn and Guil- your soul; have all-day chamber music Five Large Volumes Bound in Red A Training School for Organu mant also possessed this faculty in a in the seclusion of your mind. In this Cloth and Gold. Price, $25.00 COMPANY superlative degree. way the musical faculty is developed, and Headquarters, 90 Trinity Place. New York Good players of other men’s composi¬ with it the ability to express the inner See these splendid musical FELIX LAMOND, Director thought in outer sound. True, one will Daily training in the Liturgy and Music of the BOSTON NEW YORK tions often assume that they themselves books in your own home. What be subject to moods, so that he cannot Episcopal Church. For particulars addresa The could compose nothing; but it is pure as¬ the Encyclopedia Britannica is Secretary, Trinity School of Cburcb Music, Plant at Waltham, Mass. sumption. How can they know till they improvize always as sometimes; but, when 90 Trinity Place, New York City. “Mum” to General Information the have persistently tried? In the marble the favoring gale of feeling blows over (as easy to use as to sty) Grove Dictionary is to Music. quarry of any breast there may lie hid¬ his soul, he will not infrequently surprise There is no better Musical Refer¬ STEERE ORGANS den a composer only waiting to be himself. GORBILL UNIVERSITY, BAILEY HALT. neutralizes chiseled out. Strange is the timidity and If one has learned how to improvize. ence Library at any price in any 79 atopa; dedicated October 8th, 1914 language. Unabridged in any NEW ORGAN MUSIC strange the lack of initiative of many he possesses an inexhaustible store of mala, 87 atopa; dedicated June 25th, 1915 perspiration odors otherwise good musicians, in not making joy upon which to draw for both others way. TALI UNIVERSITY, W00L8EY HAI.T. 4 manuals, 154 atopa; now building. To be dedi¬ and preserves the after-bath freshness even feeble efforts to produce music of and himself. His auditors will be de¬ cated October. 1916 “ON SALE” lighted to hear his “music in the mak¬ J. W. STEERE & SON ORGAN CO. of the body throughout the hottest their own. This is the latest revised and Have your name entered for the receiv¬ Now, as in the 70s we had the slogan, ing,” and, whatever be the adverse cir¬ day. enlarged edition of Sir George ing of a few small packages of new music “The way to resume is to resume,” so cumstances that surround them or him, Does not check perspiration—that ON SALE during the professional season, Grove’s masterpiece of musical we may assure ourselves that the way to he can command solace, tranquility and -ESTEY CHURCH ORGANS- would be harmful. no guarantee as to amount to be kept; scholarship. There are 4,000 Estey standard maintained. discount the best obtainable; the only re¬ improvize is to improvize. Start in. courage from his own God-given re¬ ‘MUM" MFC. CO., 1106 Chestnut St .PhilsJ.lphls.Pa, sponsibility the small amount of postage; Make the fingers move among the notes sources. pages and over 5,000,000 words Highest grade of product. returns of unused music to be made once of the scale until a pleasing melody takes An organist is handicapped if, in per¬ from great authorities upon all Pioneere and leaden always. each year; a postal card will stop the shape. Fill out the harmony. Try one forming his highly important part of the Examine stop action and wonderlul reediest phases of musical learning. The Oboe, , Clarinet, etc. sending any time. Thousands of teachers harmony and another, until you get what service, he be unable to improvize ac¬ books are liberally illustrated receive piano music from us in this way. ESTEY ORGAN CO.,,, U. S. A you want. Work out the rhythm. Let cording to the demands of the moment, with cuts, half-tones and notation THEO. PRESSER CO., Philadelphia, Pa. and to provide something worthy of a all conform to the rules of musical gram¬ examples. Thousands of subjects mar, as far as known. Do this not once hearing, a credit to himself, his noble in¬ See Moscheles’ descriptive Studies, Op. 95, are discussed: Biography, His¬ (J. I have a pupil dll of whose Angers are nor twice, but constantly, daily, many strument and his divine art. But equally double-jointed. She plays her scales, arpeg¬ No. 12, “Terror,” for some excellent examples tory, Musical Science, Theory, gios and some pieces with her hands In good of this marking. Are you an organist? If THE MEDAL OF times a day. What begins feebly will should every teacher be able to evoke Faust School of Tuning so you will know that In playing, let us sav, Musical Industries, Instrumenta¬ position, but in all octave playing the second on the Full Swell, it would be easy to pro¬ HONOR steadily grow in strength, power, variety music from his own soul, in order to give joint and knuckle of the fifth finger and the duce a crescendo with the Swell Pedal, but ae highest award in orgai the best instruction. For, as litera¬ tion, ./Esthetics, Musical Terms, second joint of the thumb sink in. She seems blowing at the and beauty, until the results will fully i lauvy riaycr-riauu, ripe «nu i\ccu to have no control whatever over these joints. quite Impossible to begin or end It piano justify all the labor. And, in many an ture is taught when its students are made etc., etc. The work is the most I have given her such exercises as crumpling unless we changed our registration. Our PANAMA PACIFIC Organ Courses. Year book free. crescendo would then be from mf to f, and instance, a composer will be the outcome. writers as well as readers, so no musical notable musical compendium in a newspaper with one hand, “direct stroke" our diminuendo the reverse. INTERNATIONAL exercises, playing chords with the knuckles Beethoven often followed his cresc. by p, EXPOSITION There are certain prerequisites to suc¬ teaching is complete that makes per¬ any language. high, sustaining a key with the thumb, and playing each finger up and down the scale e. g„ the opening measures of the Rondo of cessful improvization. The fundamentals formers, but not composers. separately. She has practiced these faithfully Sonata in E, Op. 14, No. 1. Carefully Now issued in America exclu¬ and yet her joints still sink in. Her hands are study the fine crescendo passage which ushers PAPA or MAMA of good size and her fingers are sufficiently in the Coda In the first movement of the long to stretch an octave without effort. She so-called Appassionato Sonata, Op. 57, In F sively by Theo. Presser Co. says that her joints ache after she plays a minor. Here we have five measures pp, then few octaves. She is a diligent student and two cresc. leading to three measures p, then Your Music Is Torn! Some Interesting Facts About Organs and Organists her parents desire to give her every musical a further cresc. of five measures, followed advantage.—C. S. S. by a lengthy and brilliant passage of agitated The old English cathedral statutes ers, who apparently preferred their The Purchase of a Lifetime t Md dainty picture*. Little Folki A. It is difficult to prescribe for this pupil broken chords and wildly sweeping arpeggios. without first seeing her and becoming ac¬ Dr. Coward, justly acknowledged to be the The Hall Organ Co. provided salaries for organ-blowers, but Sunday dinner to Mendelssohn’s music, These books are of such high to keep them boar all the year round. Sand stamp for sample. quainted with her general condition. I have c * choral conductor in the world, says, In New Haven, Conn. LITTLE FOLKS, Dept. E, Salem, Mass. his book on Choral Technique and Interpre¬ Multum-in-Parvo Binding Tape none for organists. The position of or¬ took the blower away just as Mendel¬ character, of such vast scope, and had a number of pupils who have had this tation. "It is by these two elements—cres¬ 5-yard roll of white linen or lO.yard ganist was not recognized, and his duties same trouble. In every case I have found roll of paper, 86 cents each, postpaid. ssohn reached the climax of Bach’s A are so substantially bound that that back of it all lay the inability to concen¬ cendo and diminuendo—that ebb and flow of were performed by each of the lay-vicars sound is secured, which, when skillfully man¬ minor fugue. RIESLING’S TEACHING PIECES trate the mind and control the muscles from aged, is comparable to a well-planned garden Transparent Adhesive Mending Tissue or vicars-choral, who took it in turn as they will last a “lifetime.” the brain. If I could devise any exercise that Electricity began to be applied to the Pw Plano, sre sold by i would be infallible in making every pupil use whose mounds and banks seem to melt into part of the duty of the week. As the years go by the original delightful undulating lawns.” You may de¬ II your music dealer does not carry it, send to key action of organs in England by Dr. her brains, I would gladly pass it on to per¬ rive further help from an article entitled The fifteenth century organ was an in¬ purchase money will seem insignif¬ plexed teachers. Gauntlett in 1850. When the famous Have you tried a thorough course of table A Better Understanding of Crescendo, which Theo. Presser Co., Philadelphia, Pa. strument containing sometimes as many icant in comparison with the con¬ I had the pleasure of contributing to The exhibition at the Crystal Palace, London, exercises for hand shaping and finger train¬ Etdob for September, 1915.—Da. Oblando A. as four keyboards. The action, however, tinuous service you will get from fingered and phrased. Sen ing? Follow them by the Mason two-finger Mansfield. MOLLER PIPE ORGANS was being planned, he suggested that exercise. I have found the following exercise was somewhat heavier than we could the books. The early editions Over two thousand in use. Strictly facsimiles of eight of the most famous Composer,1035 Gatos Ato., Brooklyn, N.T. useful In conjunction with those Just men¬ Q. When is the finger staccato and when is high grade. Gold Medals and Diplomas tolerate these days, for a chord of four tioned : the wrist staccato usedt Is the wrist stac¬ organs in Europe might be erected and cost $25.00. Play the octave G-G, and while holding the at Six International Expositions. Specifi¬ notes was produced as follows: Two keys down, slide the hand forward toward the cato much employed in classic musioT—E. played from a central keyboard with the SCHOOL OF M. D. cations and Estimates on request. Write notes with the right and left fists, one name-board till the thumb and fifth finger are A. The terms finger and wrist staccato are NORTHWESTERN OHIO SCHOOL aid of electricity. His plan was rejected This greatly enlarged between the black keys; pinch these black for catalogs. with the knees and one with the foot. keys—A flat and F sharp—for an Instant, variously Interpreted In different technical M. P. MOLLER, Hageretown, Maryland systems. Most modem methods employ mus¬ The pedal keyboard is believed to have with the statement: “Dr. Gauntlett, you PIANO TUNING then slide the hand back, raise it. from the cular effort mainly to depress a key, and been invented by Van Vaelbake, of Bra¬ will never hear a note of music in the latest edition costs Pitno Tuning, Regulating and Repairing taught by keyboard, and shake It loosely on the wrist insist upon a relaxation immediately after¬ PIANO TUNING expert; thorough, practical instruction in repair joint. Repeat a few times, being careful not wards that Is partial or complete, according bant, who died in 1312. An old Flemish Crystal Palace. The Exhibition is in¬ to overdo. 20th year, Circulir for stamp’. as the tone is to be legato or staccato. In chronicle declares he was “the first who tended for higher purposes. We do not only $15.00 Look up the Mason octave exercises—they the staccato the relaxation occurs at the - O-l—I-a 2849 N. 11* Street are indispensable. precise Instant that the tone is produced, so GEO. KILGEN & SON mentions treading in the manner that want music and we shall never have Notwithstanding this low price made for cash Philadelphia, Pa Can your pupil play octave passagi we have decided to accept orders subject to pay¬ that the key rebounds to its customary level. men nowadays practice.” it.” Dr. Gauntlett let the matter drop in spite of the condition of which yoi In its relaxed condition the finger rises with Pipe Organ Builders ment imhirt 12 months. Write foe terms. ^ If so, why not let well enough alone? the key, as though the latter were a little Music typography in all its Branches i Organists presiding over electrically with the remark that without music the I think we sometimes make the mistake of [ ST. LOUIS. MO. elevator. ing ofT’ ,ub>scnptk« *to* TTuT ETUDE at GUIDE FOR THE MALE VOICE trying to make the hand fit our method, In¬ ^ ^ HYMN AND TUNE BOOK PLATES | controlled instruments may congratulate whole affair would become bankrupt. He 51.50 each. Accordingly, this form of staccato takes °T?’ EREDERIC W- ROOT Price, $1-00 stead of making our method fit the hand.— the place of both the finger and wrist stac¬ themselves that they are no longer de¬ was right. After 1855, the Crystal Palace Perlee V. Jervis. catos of the older methods, which involved pendent upon a hired blower—nor yet became one of the most important musi¬ development of bass, baritone and tenor voice?. 0. Why should a piano tuner heat his not only a downward movement but also a |^^^?:Dudley T. Limerick! upon the whims of the verger. When Remember that the house of Theo. Presser tuning hammer in the fire before tuning my consequent jerk backward, based on the er¬ cal auditoriums in Europe. A great or¬ stand.-, behind thia transaction in every way- teacheJJhnd'this vo'uuwto be ^0*1^1^001^0- pianot 'He claimed it made it better.—A. C. roneous assumption that the key Is thus —GOSPEL SONG PLATES-1 Mendelssohn attempted to “play the peo¬ gan was built, a symphony orchestra Send your order to “1“m of all necessary knowledge. No other manual A. Reputable tuners laugh when they hear made to rise more quickly. In addition to si Bennett Organ Co. ple out” on the organ at St. Paul’s of such an instance. There Is no more need the economy of effort which results from the employed, and whenever choral concerts THEO.pStijssER CO., Philadelphia, Pa. of heating a tuning hammer than there Is of substitution of one for two or more muscular ORGAN BUILDERS Cathedral, September 10, 1837, the con¬ were given on a large scale, such as the boiling one’s fingers before starting to play. activities, the modern method, by keeping the Theo. Presser Co. Unfortunately there are some Itinerant tuners ROCK ISLAND - - ILLINOIS gregation was so entranced that people Handel Festivals in which as many as finger in constant contact with the key, mini¬ Sole Agents and of who Impose upon some Ignorant piano owners mizes the chance of Inaccuracy In execution. The organa we build are as near perfection refused to move, in spite of the fact three thousand voices were sometimes Arranging Correction Mss. and use such tricks to impress their patrons. What might be called a wrist staccato oc that they were repeatedly informed that , A SPECIALTY Indeed, these fake tuners are not above de¬ sionally occurs at the end of a quick r heard, the Crystal Palace was usually PHILADELPHIA, PENNA. manding a special price for some thoroughly when the wrist is tossed lightly away fr “the service was over.” Finally the verg¬ the place of performance. A W. B0RST, Presser Bldg., Phila., Pa. useless operation to which they give a fancy the keys, throwing the inert hand with If uwwiiruit8t.,nui».,r» Please mention THE ETUDE when addressing Clarence G. Hamilton. our advertisers. Please mention THE ETUDE w our advertisers. THE ETUDE THE ETUDE 531

brought out a poem which he had com¬ Lipinski was a prolific composer, writ¬ STANDARD 22 MODERN posed, setting forth the poetical ideas ing compositions for the violin principally, I OF INTEREST TO VIOLINISTS"! including concertos, fantasias, variations, which Tartini had embodied in the sonata. This advertisement changed monthly. instruction BOOKS He directed Lipinski to read this poem sonatas, etc. None of these has survived FOR THE PIANOFORTE aloud with all possible expression, and with the exception of the Military AUGUST GEMONDER 8? 50N5 afterwards to try and depict these ideas Concerto. 141 West 42d St., New York As a violinist Lipinski had a broad, ' BEGINNER’S BOOK in his playing of the sonata. Lipinski respectfully refer all prospective purchasers of School of the Pianoforte did so, and the aged violinist soon began noble style, and an exceptionally powerful violins to By iHEO. PRESSER Price, 75 cento to applaud his efforts. After this experi¬ tone, but the action of his right arm and wrist were somewhat heavy. He attrib¬ THE GREATEST VIOLINISTS ence Lipinski made it a point to try and Karl Joseph Lipinski is entirdy Irish and it presented in an attractive uted his big tone to his early studies on The Thickness of Violin Strings ,nner It is intended for the veriest beginner; little lots just embody some poetical idea in the playing MateT,!RepaLerseyand°Derieers in^Ra'rToid Position of the Bow Arm A generation or two ago it was the the ’cello, and it is very probable that Violins. It is of the utmost importance, if the hard to find and command a very high Mufkindetsarten. Averylarse note is used in the early of each composition, a practice which A violinist who is teaching i« Texas ambition of every advanced student of the □sit of the book. QuesUons and answers are given to clinch the study of that instrument was re¬ YOU CAN FIND THEIR OPINIONS writes - “Some teachers insist on the elbow violin is to sound at its best, that it be price, ■“try subject. Writing exercises are introduced at the very brought him much success. violin to master the Military Concerto nut. The utmost care has been given to every part of the sponsible for the heavy action of his in our Catalogue No. 2 (E) which will be sent free remaining close to the side,-even tying strung with strings of the proper size. Spohr’s Opinion At LeipSic, Lipinski met Schumann, of Lipinski, and while that interesting bow arm. His intonation was perfect, it down. What about this? I am teach¬ Violin strings of the same kind are made who was so much impressed by the even in the most difficult double stopping, The great violinist Spohr says on this composition is not studied so much at JJjSed by all who have to deal with elementary piano Also ask for a sample copy of "The Violin World,” ing pupils that there are four planes for slightly different in thickness, since some ^ _ _ - instruction. Liberal discounts. musicianship of the Polish violinist that passages in octaves, etc. He was a sound the Fiddler’s friend. point; “In order to obtain a full and present and is rarely heard in public, the the elbow, corresponding to the four violins sound better with thin, others with ;f j t the largest strings the in- he dedicated to him the Carneval Op. 9, musician and an excellent performer of Note Address Above strings on the violin, that on the G string life ©f its author has much in it to in¬ STEPS IN PIANOFORTE thickthirk and others with medium strings. 1strument can bear, _11.. are generally preferred one of his most famous compositions for chamber music, and in his later years the elbow is high and on the E Low. _ For ascertaining the exact size of strings terest the student of violin playing. such as will easily and quickly produce STUDY the piano. Lipinski visited England in played the string quartets of Beethoven Our correspondent is entirely correct in little instrument called a string gauge Karl Joseph Lipinski, violinist, ’cellist, Price, $1.00 1836, winning much fame by his rendition and the solo compositions of Bach in her view of the matter, and she might is used. This consists of a thin plate of tow without .t * composer of violin music, and the honored The combined and condensed results of the work of several practical teachers of the young of his Military Concerto. In 1839 he was preference to anything else. add that there are three additional planes, friend and associate of Paganini and chosen to fill the important post of Con- Lipinski died in 1861 at Urlow, near Edited and Revised by THEO. PRESSER which are employed when playing double other leading musicians, was among the certmeister at Dresden. Lemberg, where he had a country house. ses This book begins at the beginning and serves as a practical stops, the position of the elbow being most famous of the many eminent vio¬ and melodious introduction to the study of pianoforte playing. lowest when using double stops on the linists which Poland has given to the It is most carefully graded ; the instructive matter is presented E-A, somewhat higher for the A-D, and in a way that is easily understood and there is nothing^dull, ascertained. The correct gauge once full and effective ton , p y d violin art. He was born in 1790 at highest for the D-G. _ , learned, strings of the proper size can be more command ove_hi» mstirument, and SStbySe who make a specialty of teaching beginners is Radzyn, in Poland, and was the son of a Of all mischievous half-truths it is ordered from the dealer by number, can add degance and tot P Pawnshop Violins real estate agent, who was an amateur doubtful if there is any one which has Strings of the same gauge should always formance. The relative pnfwrtwo of the Foundation materials for done more harm to the development of be used when once the best thickness has power of the strings must be such as to violinist as well. The boy inherited the It is probable that the pawnshops of would deduct the date on the bogus label the correct method of violin playing than been learned give every one an equal share of richness musical talent of his father, who was his THE PIANOFORTE the United States sell more violins, and inside the violin, from the year in which this mistaken theory, which is so prevalent first instructor. He soon learned all his By CHARLES W. LANDON Price. $1.00 other string instruments, and more musi¬ the violin was sold, thus proving to his An expert professional violinist learns and volume of tone. Experimentiste TU nUe«i and r-xrrcues are all short, attractive and of among ignorant violin teachers and ama¬ by experience the exact size of strings only guide in this matter. An unevenness father had to teach, and by way of diver¬ cal small goods than the music stores. customer that the violin was 200 or more experience in this field of musical teurs, that the arm should be held close which suits his violin best, but the student m l*1e t°n® a s nng, w . sion took up the study of the ’cello, by This comes from two causes; first, be¬ years old, while as a matter of fact the to the side at all times in bowing, no or amateur is rarely competent to judge be remedied by the sound-post and bridge himself, advancing so rapidly that he was cause there is a general impression on the varnish was hardly dry on it. matter what string is used. These teachers in this matter. It would be worth many may sometimes be equalized by the soon able to play Romberg’s Concertos. Js? iririted' part of the public that old violins and As to finding genuine Cremonas in have their pupils continually practicing times its cost for him to take his violin ffr£ater °r ®ss °,ne , ? nnce In later years Lipinski always attributed other string instruments are better than pawnshops, it is possible, but of very rare with a book under their arm, or tie the to his teacher or any good experienced When the size of e r 8 the broad and powerful tone on the LANDON’S PIANOFORTE new, and second, because there are so occurrence, much more rare than finding upper arm to the body with a piece of violinist, for the latter to experiment fixed. let 11 not be changed. q violin, for which he was noted, to these many stories afloat of where valuable old a $1,000 pearl in a plate of oysters on the clothes line. I even heard of one bright METHOD with, in order to ascertain the size of each alteration from small to ge early studies on the ’cello. He sometimes Price. $1.50 violins—even genuine Cremonas—have half shell. It is true that the famous genius who had his pupil bring an old string E, A, D, G, which suits the violin mental both to the player and to the in- appeared at concerts as both violinist and This book h by • practical teacher who ha. proven the value been picked up in pawnshops for a mere “Bott” Stradivarius, the theft of which coat when he came for his lesson, and best. The size of the strings makes a strument. The strings which are pur- • ■ ’wd in hi. ow 1 - " ” ’ ’cellist. ;,pu^,uPspfc song. For these two reasons the average caused its owner in New York to die of gravely stitched the sleeve to the body of very great difference in the tone of the chased ought therefore always to be the Theta He soon returned to his violin, and at the pawnshop does as large or larger busi¬ a broken heart, some years ago, was the coat and directed his pupil to always violin Many violins which sound com- most suitable to the instrument, for which age of 20 we find him director at the theatre ness in these goods than the average found in a pawnshop in Brooklyn, after practice in that coat. paratively well with thin strings would be purchase a string gauge can be used, at Lemberg. The leader in this position music store, and in many of the smaller his death, and other cases, more especi¬ It is quite true that the elbow should be insufferable with very thick. Again, it The average violin pupil pays very GUSTAV DAMM’S PIANO New Violin Music “On Sale” held close to the side when bowing on was expected to conduct the rehearsals cities the pawnbroker has almost a ally in European cities, are on record, but Have your name entered for the receiving of a does not follow that all the strings should little attention to the relative size of the few small packages of new music ON SALE during the E string, not hugged tight to the with the piano, but as Lipinski could not SCHOOL such cases are extremely rare, and the be proportionately thin or thick. Very strings as best suited to his violin, and, monopoly of this trade. side, but in a comfortable, free position. play the piano, he led the musicians with WITH ENGLISH AND GERMAN TEXT customer who is not an expert judge of to be kept: discount is the best obtainable; the only few violins are perfectly even in tone, as a rule, buys strings without paying any Price, Bound in boarda (329 p The fact of the matter is, however, responsibility the small amount of postage; returns If the pupil in the earlier stages of violin the violin. By the use of double stops violins is likely to he badly stung if he and the violin often has to be humored attention to their gauge. In this he' that pawnshops, with very few excep¬ of unused music to be made once each year; a postal bowing occasionally holds a book under and broken chords, he was accustomed of which may be judged by th card^will stop the sending any time. _ ^ as to the size of strings. Some violins makes a great mistake, for the tone of his tions, are very poor places to buy musical tries to pick up a genuine Cremona in a his arm only while playing on the E to play two or more parts of the opera, publuhet hu inued no lea tha_ might stand a comparatively heavy E and violin would be vastly improved by being Our edition h romewhat larger th, instruments, unless the customer is an pawnshop. Besides, the pawnbroker him¬ string and when using the upper part of and this constant practice in part playing ng this the D, but require a thin A, in fact every strung with strings of the proper size, expert judge. The public is at fault in self is well aware of the value of genuine the bow, he may get a good idea of the gave him great facility in this branch of ideal dibho fab£h teccW cXpuptl. violin is a law to itself, and much ex- and as a result his playing would also its reasoning in this matter. It is quite old violins by good makers, and if a and organ music this way; any or all to responsible proper position of the bow arm when violin technic, which proved of the An Enlarged and Revised Edition of perimenting must be done to get at the be improved, for, being accustomed to violin comes in which seems above the THECh PRESSER CO., Philadelphia, Pa. being used in that plane, but to try and greatest value to him in his solo work true that old string instruments are as exact size of each string which make it drawing a good tone from a string of a ordinary, he is very apt to take it to a keep the arm close to the side while bow¬ when playing at concerts. He became LOUIS KOEHLER’S PRACTICAL good er better than new, always provided violin expert, and discover what it is ing on each string of the violin, spells sound best. One of the prime essentials certain size, he would not draw as good famous for the purity and good intona¬ METHOD FOR PIANOFORTE that they are in good preservation and in of a good violin is one. with a perfectly tone if a string of different size were really worth. Very few really fine violins Belgian School of Violin disaster if persisted in. The science of tion of his double stopping and broken Opu> 249; Volume. I and U. Each, 50c. Combined, $1.00 good repair. Once in a long while a good even scale, from the open G to the highest substituted, at least not until he got ac- Reriied by the Author's daughter, are pledged at a common pawnshop, as by Henri Leonard the matter is this; the wrist must work chords. CLARA KOEHLER-HEBERLEIN old instrument can be picked up cheap at all times in the same position (at the note on the E, but such violins are very customed to it. Thiiisawork needing no introduction to teachei^There for a small price at a pawnbroker’s, but the owners are usually able to sell them After four years at Lemberg, Lipinski , ___* PRACTICAL at private sale, or get a loan from a angle of greatest freedom of movement) very seldom. The number of violins Ovide Musin resigned in order to spend three years in MEfSSotOD is recognized as definite—it is the edition par violin dealer who knows their value. no matter what string is being played private study. The wonderful stories of ce for the AMERICAN PUPIL; neverthel«s. which come in for loans is never very upon, and the only way to accomplish large, and they are mostly of a very cheap, In spite of the rarity of finding a really the violin playing of Paganini next at¬ Ics, Staccato, Shifting, Ch this, is to raise the elbow, as the A, D inferior quality, or else badly out of re¬ fine violin in “soak,” many violin col¬ The Charm of Modesty tracted him to Italy. He first heard the lectors and violinists find a peculiar fas¬ and G strings are used. Let anyone hold great Italian at Piacenzi, and attracted FIRST INSTRUCTION BOOK pair. Nine-tenths of the violins and Speaking of the modest bearing of the estly, how wholly forgetful of himself in other string instruments offered for sale cination in haunting pawnshops and a book under his right arm and try to attention to himself while seated in the FOR THE PIANOFORTE great violinist Joachim, while playing the text he considers it an honor to be in pawnshops have not been pledged at second-hand stores, in the hopes that the use the full length of the bow on the audience by being the only person to By E.B. WAGNER. Parti. Price,$1.00 AddresB Registrar, great violin works in public, a London allowed to interpret to the crowd—we unexpected will happen, and that they A, D and G strings without letting the applaud the first adagio played by . Our new edition of this standard instruction book is superior all, but are brand new and usually of the need scarcely remind our readers. Not mall respects. Wagner’s "Instruction Book" b one of the cheapest grade, violins, for instance, will be able to pick up a violin worth book fall, and the ridiculous contortions critic once wrote: “One great result at¬ Paganini. After the concert he was in¬ most popular of its class. The material is all of a pleasing which sell at wholesale for from $3 to $6, $500 and upwards for a few dollars. The he will make, in the effort, will at once tending Herr Joachim’s professional visit a single, eccentricity of carriage or de¬ troduced to Paganini and they became character, calculated to interest and encourage the pupil. "EASY VIOLIN MUSIC" convince him of the absurdity of holding and bows which sell wholesale for from pawnshops of London, and the large cities to London is that it yields both pro¬ meanor, not a moment of egotistical dis¬ great friends, often practicing together For Solo Work, Sunday School, Church and Ama- the arm close to the side, at all times. fessors and amateurs opportunity after play to remind his hearers that, although MUSICAL IDEAS FOR BEGIN¬ SO cents to $1.50. of the continent of Europe, offer an and on two different occasions playing especially inviting field for the sport of print^Libera’i dUcounifto ’f cache?™ School. *and The position of the bow arm, the wrist, opportunity of studying his manner of Beethoven is being played, it is Joachim NERS ON THE PIANOFORTE As is well known, the cheap violin together at public concerts. This friend¬ violin hunting, which many violin col¬ P™Rroi™Yh» Violin.” and “Roof. Special Violin and the various curves and movements playing the works of the giants of music. who is playing, ever escapes this truly By MARION RALSTON Price, $1.00 factories of Germany, Austria and other ship was shattered later when the two lectors follow with the zeal displayed by Strings” our leaders. Send for catalogues. necessary for correct bowing, must be How Herr Joachim executes these com¬ admirable and (if words might be allowed A valuable elementary work; the remit of many years of European countries turn out vast quan¬ violinists met at Warsaw in 1829, for they practical experience in teaching and handling young students. the hunter of big game in the wilds of E. T. Root & Sons, 1515E.55thSt, Chicago the same, no matter what string is being positions—how differently from the self- to bear their legitimate signification) Not strictly an instruction Lxx>k. It may be takenjipj0 good tities of “imitation old” factory fiddles. played upon, consequently the elbow and became rivals, and there were warm argu¬ Africa. The sight of an old mahogany styled ‘virtuosi,’ how purely, how mod- most accomplished of virtuosi.” ments among their respective adherents These instruments are really new, but the arm must be raised the proper distance material is of decidedly attractive character. violin case, covered with dust, tucked as to which was the greater violinist At. signs of wear and age are cleverly imi¬ as the back strings are attacked, to bring tated, and with the uninitiated they away on a neglected shelf of “mein this time it was said that Paganini was Kindergarten mat! this about. Thus it results that there ELEMENTARY SCHOOL 0F~ readily pass for old violins. These fake onkel,” gives them a thrill, for it may asked who was the greatest violinist in Secure, and hold, the child’, inte are seven planes (t. e. positions for the old violins are to be found in large contain a real specimen of one of the Europe. To this the Italian wizard PIANOFORTE PLAYING Color Bird Scale. Staff Peg Board, Foldir arm and elbow) one for each string of By FERD. BEYER. Op. 101 numbers at the pawnshops, and as the Italian masters. Boards, Keyboard Diagram and many < Spacing the Strings modestly replied: “The second greatest tractive things. Send for Catalog. the violin, and one each for the three Price, stronglybound in heavy paper, 50 cents; public goes to these places for the very Once in a while a pawnshop is found Violinists should see to it that their and the G string directly above the center is certainly Lipinski.” double stop combinations, E-A, A-D, and Our edition of this standard piano method has been prepared purpose of buying old violins at a sac¬ where the proprietor knows something of strings are correctly spaced on the bridge. of the left foot This brings these . An interesting story is told of Lipinski’s with the utmost care. All of the original material has been violins, and sells fair instruments at D-G. retained and important new material has been supplied. It *s rifice, it is small wonder that it Is gulled The victims of this false theory of Violinists and violin students who set strings directly above the sound-post and visit to Dr. Mazzurana, an aged Italian. reasonable prices, but the rank and file «« of the best known of Jl instruction boob. into buying them. I once knew a pawn¬ OUR “SPECIAL” keeping the arm constantly pressed tightly their own bridges, and even some violin bass bar, respectively, which is the best 90 years of age. who had formerly been broker who handled nothing but these of these places is no place for the novice to the side are legion, and thousands of makers, who are not experts in their pro- position for them. The spacing of the a pupil of Tartini. the object of the visit new “old” violins, and it was a really to buy a violin. He will do much better OCrlO Tested Lengths, OCp violin players have been ruined for any fession, space the strings on the bridge strings for a full-sized violin and normal- being to get some ideas of Tartini’s style. country. Any of our works s comical sight to see him reach for a slate at a reliable, lortg-established music store, £DCSilk Violin E, for good playing by being started in this man¬ by guess, as a rule, whereas the strings sized bridge is indicated in the following The aged doctor told Lipinski, who and pencil, which he kept handy for the or a violin dealer’s, which has a reputa¬ Send for Violin and Cello Catalogue ner. I have seen any number of pupils should be spaced with the greatest care, diagram: played a sonata by Tartini for him, that purpose, and figure up the age of an tion for fair dealing, and which makes a MUSICIANS SUPPLY CO. who have acquired a faulty cat’s-paw his style was nothing like that of Tartini. specialty of handling violins and other The E string should be set directly above I I | | imitation Stradivarius, for an unsophis¬ method of bowing in this manner which but was unable to play it for him 0,1 THEO. PRESSER CO., Philadelphia, Pa. ticated customer from the country. He string instruments. it was almost impossible to eradicate. the center of the right foot of the bridge, G. D A. E. account of his great age. He, however, THE ETUDE 533 532 THE ETUDE On Sale Music The Musical Booklet for Fall Use. Library. We are now hooking orders for delivery At very slight cost you may now have on or before the opening of the usual fall an excellent little library of information SUMMER MAGAZINE term, and as an inducement to send in the upon special subjects by specialists. The orders between now and August 15th, we following list of booklets which we have READING agree to combine the shipment with others planned to publish contains much that BELOW are given the most popular going to the same section and to prepay Etude readers are constantly demanding. magazine clubs—making it possible the freight to a near-by distributing point, “Progressive Ways of Securing New to renew your subscription to The Etude whence the individual orders will be re- Pupils,” for instance, gives in concise form in combination with other magazines at forwarded to their several destinations much less than the regular subscription with only a nominal expense for delivery; the experience of a very successful teacher price. AE subscriptions are for one year, and, what is more important, we shall in a large eastern city. He tells just can be new or renewal, and can go to not only be able to save expense for cus¬ how he did it, and what he has to say is „„„„ „„ how Concertl for two violins with piano aceom- to have an Innate craving for the passionate different addresses (except m the tew tomers, but will have ample time to make worth dollars to others. cases stated otherwise). sessSefsks s*ssuM sressft5 up the best possible assortment of teach¬ All of the books are practical in the Canadian andI foreignforeurn postagenoslaee additional: Canadian NEW WORKS. Yearly Settlements ing material and to get it In the teachers’ THEE ETUDE, 25 hands before the season begins, thus over¬ »*about 50 1, 1916. Advance of Publication Offers— of Accounts. How Edward MacDowell Taught the Plano. Mrk°o*6the gTJSZSEJt fe's^ * coming the delays and inconveniences in¬ By Mrs. Edward MacDowell. Special Price July, 1916. SOffer1 In the June issue of The Etude, and cidental to orders that are not in our pos¬ Progressive Ways for Securing New Pupils. $045 Price session until the tremendous fall rush has By Allan J. Eastman. THE ETUDE . . likewise with the June 1st statement sent Making a Success of the Pupils’ Recital. Modern Priscilla . . v"rlS^vBOH?°S 'bUmethods ton* ”aT tillWM SSTS"-5 £2 SSS.3MSILTSTW Children's Harmony Book— out to our patrons, detailed information actually begun. These early orders may aSd sSs fo? violta playing l^vfbeen wilt- violins. I could not pass an opinion on It ricochet bowing advisable In this case, as Preston Ware Orem $0.30 be made out entirely by the teacher with By Perlee V. Jervis. is given with regard to the return of all Trills and How They Should Be Played. McCall’s (free pattern) ten to be studied under the guidance of a without examination. 3. A violin Is said to in all others, you ought to follow your teacher’s Child's Own Book of Great Musician*— names and composers of the music likely By James Francis Cooke. teacher and consequently have very little possess a "woody" tone when the tone Is dull instructions as long as you have confidence in Thoe. Tapper On Sale music unused and the settlement to be needed, or left to our judgment First Step ln the Study of the Pedals. By THE ETUDE explanation* accompanying the exercises. For and lacking in resonance, and lacks the clear, him. No doubt when the time comes he will Easy Octave Studies for the Pianoforte • ' \ -)$08S sclf-tuftlon1 the® Dancla Method for tte Violin, liquid, singing quality which we find la a five you minute Instruction In the use of both of all accounts. guided by such helpful suggestions as the Carol Sherman. Companion) m Elementary Violin Method for Beginners, Profitable Physical Exercises for Plano Woman’s Home Op. 52, would probably be as good as any. well-made vloUn. $££&£?££%& Op. 38—P. Wohlfahrt. Thousands of our patrons have been teacher may give us. As a ready as¬ attem) . ■) s.t.65ch. 26 Students. By Dr. W. R. C. Latson. McCall’s (free pattern) Mrs M J S. D.—1. Whether the program F. M. T.—I could hardly advise you dell- than others, Qodard Album for the Pianoforte heard from. A credit memorandum show¬ sistant in making up orders for teaching Passing the Dead Line ln Music Study. drove's Dictionary. ing the value of the returns has been pieces and studies we will furnish a copy By Thomas Tapper. THE ETUDE . . you send me would be «o“‘gered «■ j*markj $ jgXt ^your violin wtiboutU M. W B -l The backs of violin, are usn- Melodies ln Difficult Kaye for the Plano been played bj a vlollnpuptl ft your vtolln was made ally made In two pieces, although many are immediately sent, as well as a statement of the Hand Book of Piano Music free Peer Gynt, A Dramatic Prose Reading. Modern Priscilla . . * - thirteen years of age'would lepend on how ing the Instrument If your yi°Un v ^ forte—Mathilda Bllbro . . for the asking. Teachers who once try Arr. from Notes of Richard Mansfield. 2 3 - - —-■* with with the backs made from a single Few Book First Plano Pieces. Home Needlework . long the pupil had been ^y^g ^e vl°‘ln by a Ipiece of" woodwood. 2. Stradlvartus usually mader-J- with this amount deducted showing the the plan of ordering fall supplies in the How to Use the Metronome Correctly. By New Method for the Pianoforte balance due. To all those who have not Prof. Clarence G. Hamilton, M.A. A. Schmoll summer never intentionally go back to the Patrons ordering these booklets in ad¬ THE ETUDE . $015 made their returns we would ask atten¬ old way of waiting until too late to get Progieiiive Plano Student— vance of publication may have them at Woman’s Home Companii Thao. Prosser tion to those previous notices, particularly the best service. Orders sent for early Modern Priscilla . Sacred Two Part Song*. with regard to the returning of the same delivery should plainly state when or by the following prices: Two copies for 15 of scientific violin teaching we often And pupils necks is very common, but they are usually q e H.—Violin, which have heads of School of VloUn Technics—Book I— by the cheapest transportation method, what date the music is wanted; (if no cents, and five copies selected for 80 cents, of twelve or thirteen playing the standard shorter than longer. I liayc seen a Strati!- n011s grifnns, human beings, etc.. Instead 7. and to one other important message, that the entire nine announced above for 45 THE ETUDE . . 1$ 025 concertl and difficult miscellaneous composl- varius violin which was the; f“yoHte concert gcroiIs and bave the ribs and backs Inlaid date is given the order might be inter¬ Woman’s Home Comp tions for the violin. 2. The fact that your violin of Sarasate the great yiollnlat which wltb mother-of pearl designs, or decorated _—Ms* P. Heller. Every Package that is returned have upon preted as for immediate delivery.) cents. The books are ready to go to press violin has a loud tone, and an “S” on the had a neck fully half an Inch Wuh scenery, lnacrlptlons of various sorts, Sixty Progressive Exercises—J. Plschna the outside the Name and the Address of at once, so they will be upon advance American Magazine . J Save0 $1.25 neck, hardly forms a sufficient basis for me normal. All violin necks In the days of the ,.t are ot of great ralue elcept ln r„- The Musical Booklet Library— the Sender, ' ■ • - 7- - — ■- Cremona makers were much shorter than they instances Thev are not at all unusual and offer but a very short time. Some of the o judge what m Two Copies. Only once during each twelve months Elijah and are at present and most old Instrument, have live Copies . single copies contain the best of a $2.00 THE ETUDE . $375 A. W. B. K.—Cases are on record of vio¬ had the necks lengthened. own them It wouid be impossible to places do we require a positive settlement of Messiah. linists who have mastered violin technic thor- T ,,_, Nine Copies . lecture or a $5.00 lesson. Woman’s Home Companii j r g._1. How much time a violin teacher value on your violin without seeing it. The Organ (New Edition)—John Stainer the On Sale account, but we do desire oughly enough, after having commenced at should give”■ to the study of the piano depends R B _Tbe vlbrato ha, ;„*n extensively that one settlement—a most necessary We are continuing during the present Pictorial Review . the age of nineteen or twenty, to be able to f”® The Young Violinist, Op. 10—CE Wichtl month the special offer on these two im¬ play the standard concertl and first violin on Jnethe ainou passedon^be £g Thirty-Fire Easy Studies, Op. ISO— provision. The account for regular pur¬ Children’s Harmony Book parts to orchestra music in the usual reper- “"'J™™ chases is, of course, due and payable. portant oratorios. Those choir leaders or THE ETUDE . . 1*175 tolre of symphony orchestras, but such cases J1 U , J , *] Js. li. to ilwe to the Of the vibrato Is Violin Vibrato, It* ilattery choral directors who are contemplating By Preston Ware Orem. To-Day’s (pattern) . are rather rare. The violin should be studied “®y® on ) a' .. Schmoll 'if the On Sale package has been quite giving either of these works this coming It is our present intention to have this from the age„__comple of six or seven If complete mas- P‘an0- Lc! ss5-H ™. Well-Tempered Clavichord—Bs satisfactory during the past season, and McCall’s (pattern) . 1 Save 75 eta. Levy uv us difficulties Is the object. 1I should c: _ be* your mVin'ffiXrmentV you ^of. and ^.ouldte&2&&SK& in .the library of winter will be glad to see our new edition new work ready in ample time for the violin _ it is desired to ,be kept during another of them. We expect to have the best paper, fall teaching. A very flattering amount not like to advise anyone to commence tne "light t spend’ thre<°tl-- nym Hmp« ««* much 'loi.n1 btstudent. The subject la treated li THE ETUDE . . study of the violin at nineteen or twenty with "do in piano every possible detail. The Composer season subject to additions, then by special printing, and engraving in this edition of of interest has been shown as demon¬ the object of making violin playing a profes- ; tn violin practice 1 Review of Reviews . }*3- By Agnes and Egerton Castle. correspondence, including the payment of ours that has ever been used in any edi¬ strated by the large number of orders in a certain proportion of the account, it is tion previously gotten out. In advance advance of publication. All teachers who Saa^^ ih°e piafo1 is° to^e’a's'de'lssul,1^ cannot lfc „uulu oc In The Etude there will be quite a new possible for the returns to be postponed 1 aK expect to become a finished pianist unless you ^..aa if 1 «|,ould of the publication of our edition we are are interested in elementary work in the¬ THE ETUDE . feature introduced, and that is a serial, for one other year. This has advantages, r without ■ which will commence in the fall months. offering single copies at the very low rate ory should not fail to secure an advance Delineator (Mu.n !3- in that it saves transportation two ways, of 30 cents each. copy. The book is so laid out as to be We have procured the right for one of but the cash settlement of the regular Everybody’s r-°ddr« the most popular musical novels that was very suitable for class teaching, especially anrvs rs&with Bresclan ®J®s&sas^iffiissa as ssfftras&’asarjRSA-. account, and for the amount used from with beginners. The subject is presented THE ETUDE . . ..&gHa^«^lsfXvX1of32gen|: advent’anT pfaying^rder. Jhe Strings lou 8ay „„ you nare na0 ever written, entitled “The Composer,” by the On Sale, of course, is imperative. Sacred Two-Part Songs. $3- “• ass ' Agnes and Egerton Castle. The story in as clear and simple a manner as possi¬ Youth’s Companion . nlifl8* 1 f-btspessary also*tha *the°*btrhhgs°1 hi rerraP^wae"der“?hd,Pta^rt2-kr-T°-U We desire to take this opportunity of We are continuing this month the spe¬ ble, all unnecessary rules and directions will hold the reader’s interest from the cial offer on this new volume. Anthems ;unlties often occur when such violins__ proper distance apart If the strings 8loia, violin’maker to d. very beginning to end, and it is our sin¬ thanking any of our patrons under whose being rigidly excluded. There are many and other sacred numbers arranged for novel features In the book which we feel bought for much less. 4. Any reputable dealer cere desire that the readers of The Etude attention this notice may fall, for the THE ETUDE . . in old violins could furnish a Maggini If the ,£^^f^TKlSSStS^’S7—7,, 1- t’JJ.—,i! i!, vov ix uiue depressionsuepre___..5^ _ two part singing are always useful for will prove attractive both to the teacher 532 order were placed with him. finger tips start with the very first installment, and favor and privilege of having been able Modem Priscilla . . finger will n_b^h strides enualW If Polats of the finger-board, tones which ate the repertoire of any choir. There are so and students. Our special introductory msare lieklneQ von'can- made bv PressinK the fingers on the strings we promise you a very interesting and to supply their wants during the past Ladies’ World . . any of these conditions a teaching season, and we trust that our many occasions when all four voices are price in advance of publication Is 30 cents, ULLie wors, v iij Lin. u *«. not expect to play perfect fifths.*’ The b«t fwalglng^u d|PrTou° mla^ i“.l»Tooi fascinating romance. Pictorial Review . . by, Honeyman,--ly which 50 cents. It violinists often have to try several lengths of lf voln°resf" efforts have been sufficiently satisfactory not to be had, and there are other occa¬ postpaid. quires expert knowledge, and much experl- string, one after the other, before they find fr/n^„ntlv e«7ses « ^t?lln^ “ “ C-- to merit continuation of those valued sions where a two-part number gives enee, to be able to select a good violin. You strings which will give perfect fifths. It fv^u«utly <»use8 a ratUlng «■ Music for Summer THE ETUDE .*185 -finger-board ot orders. variety to a program. In this new will not doubt gain many Ideas from the above would be a revelation to the student lf he work there will be found hymn anthems New Etude Prize Designer . . work. could see the Infinite care which vlollnlsta of vloiin mlker n your violin by a good Classes. Save 40 CU, and scriptural anthems and also hymn Contest. M. L.—As a starr tor your musical library hi»h rank Si7e to striagta« thelr violins. ‘ Among those who specialize in music hild’s Own Book of Great THE ETUDE you could not get anything better than Sir M. L. C.—1. The works by Sevcik and „ “r, S—Advising a violinist what kind teaching during the summer months, many tune arrangements and adaptations suit¬ Our Etude Prize Contest is rapidly ap¬ >$2^ George Grove’s Dictionary of Music and Musi- Kayser you are studying are very good. You rest to uae ls, a KOod d€*‘ are likely to find considerable use for usicians. Thos. Tapper. able for all phases of Christian worship. proaching its close. All those who intend Woman’s Home Companion Save 50 cti. clans. This work, in four volumes, is an would also find it an advantage to study advisingJ?1?? ,a peP/ rso“ whom 1 have never seen The book is compiled by Mr. J. C. War- to participate should have their contri¬ encyclopedia.. . covering-„-„ every topic-musical o' —’ -Schradieck’s ------Scales. “2. "For - easy pieces you twhat*fb?i hat?f vieyle n* a- shoe would -be ---the mostcoin- music combining both educational and We are pleased to announce that by the THE ETUDE . . interest. All the articles were written by might get Danclas’ Six Little Fantasias, and Paop'e differ so much in build. agreeable features rather than so much ne this issue reaches our subscribers two hurst, who has had considerable experi¬ bution in on or before August first. $ — eminent specialists, and the young musician Six Airs vanes, the Singelfe arrangement of Jf”gth,0,J°eok. slope of shoulder, and plunqs of the heavy and severe compositions that ence in this line of work. It will compare There is still ample time, however to pre¬ Mother’s Magazine . 2 can gain a liberal education in music from ore of this series will be ready to send Save $1.00 Faust, Berceuse in a by Reynard, and pieces ^ 'bftSt’ „tbai a„Shl" „ form the back-bone of the winter teaching. the thousands of our patrons who have very favorably with any of our four-part pare new compositions, and we would like this work if he will only study it diligently. of that grade. 3. If, vour teacher exact,-V suit one would be uncomfortable tc collections. The special price in advance in the present month to see a very sub¬ THE ETUDE . Is a good judge of vl-, — ...should be able another- Personally I use a large flat-model To make a success of one’s summer work dered them in advance of publication, to get one for $100 which would_„_vour ebony cb,n resL and also use a moderately it is desirable to have at hand a liberal of publication is 15 cents, postpaid. stantial addition to the compositions which *32 vio- Klzed pad placed under the coat. I do not be two books which will now be sent Collier’s Weekly purpose, although, of course, a first-class vlo- assortment of well-edited and well-printed •e those devoted to the biography of are already in. All three of the classes „-- ■--—--u 4-. With care for the pads attached to the chin rest seem to be proving popular and a goodly passages a little pressure brim » hours’- -practice-- y ought to have your by a spring. Many players require a very teaching pieces in all grades from which -humann and Mendelssohn. Easy Octave Studies THE ETUDE . $1 60 - re-haired two or three times „ high chin rest like the Sevcik model, which Is to make selections suited to each pupil’s number of composers are represented in Luuie width of the hair in contact with the very popular. The soft rubber chin rest No set of works have received any For the Pianoforte. Woman’s World . string. 2. The bow arm is held close to the least. 5. As you gain experience you will Individual requirements. A summer “ON each. There is no restriction as to the body only when playing on the E string. The learn when your bow needs rosin, just as a has many adherents. About the only thing -eater attention or seemed destined to To compile a collection of easy octave number of manuscripts which may be sub¬ barber strops his razor when It becomes dull. to do would be for you to have a" music SALE” package from Theo. Presser Co. •eater popularity than these little chil- THE ETUDE $|85 elbow Is gradually raised as the A, D, and G, studies is a rather difficult task, but we mitted by any one composer, and abso¬ strings are used; and gradually lowered in L"- ■- - oblong wooden box. dealer send you several different models of Is a positive lessener of the teacher’s ren’s biographies by Mr Tapper. Home Needlework playing the G, D, A, and E, strings in that See that the surface of thelie rusiu uoes DOl __-| | ' and experiment.UJL-UL with"in them until troubles in finding satisfactory pieces. feel that it has been accomplished in the lutely impartial decisions will be rendered that the bpw hair y0S, fl»d which exactly suits, Written in childish language, inter- order. The wrist must move at the same Such a package may be obtained promptly very best manner in this new work. In in all cases. angle, no matter what string is used, and this t every stroke over a.—Diving, as you do, in a1 small town >ersed with bits of contemporary Amer- THE ETUDE . _rosin and tbare is *><> opportunity for you to and in accordance with any particular order to obtain the necessary material all is only possible when the arm is held at the - r- . r: an history, the illustrations on separate *2“ proper distance from the bodyV inIn playinguiaviuK on aat— too-— quickly.-*-■> ■ --Fifteen o twenty times over study with a good violin teacher, your only tuggestions made by the teacher when possible sources have been ransacked. Modern Priscilla . s about keeping the rosin before your dally practice should bo ™u.rse ls to learn as much as possible from leets to be pasted in by the child, the Progressive Piano Student writing the order. Just write to us for There are piles upon piles of octave stud¬ all times which sufficient, if the surface of the rosin is in good i>?°,ks aa<1 Pictures dealing with the art of 3ok itself to be bound with the silk cord By Theo. Presser. ■ - - - ■ condition; but the time to rosin a bow ls vlolln playing, and to —-—*' •»» a summer “ON SALE” assortment and ies, but there are in reality very few THE ETUDE are found in so many out-of-date, cheap in¬ id needle which comes along as part of *2— struction boobs, has done infinite harm to the opportunity of hearing violinists who msy •ay how many pupils you have and in easy ones worth playing. In this hook all This work is still in the process of Ladies’ World Save 50 cU. art of violin playing. 3. In playing on the G 6. The mute is used to give a * Isit your own or adjacent towns. The works le outfit by the child itself, aU go to the good ones have been assembled. It making, but it is progressing, and we are you mention are all good. Probably at your what grades. We are sure that the re- string raise your arm. Do not change the color to the tones of the lake a most interesting and up-to-date is a work which may be taken up at a hoping to have it out during the summer, THE ETUDE . »2oo position of your violin. which _ reatly fromnun. itsns ordinaryuruinarv present stage of advancement yon would find •ults will be more than satisfactory. In almost_ __,compositions the com- It beat to study the Kayser Studies, Op. -?■ sample of modern education methods. comparatively early stage, and may be so as to have it ready for fall teaching. Christian Herald where he‘ desires the" ite to ;.ou had best get all three books and study The last of the present series will be used in preparation for the more advanced There is already a large demand for a be used. Schubert’s Serenade could u* ^ucc-effec- them-- all. —As you do not totv spend —ai a Vacation Opportunities. book to follow the very popular Begin¬ Played with a mute if you prefer it. n]°°1?v for lesssons, why not bay books and sued in a month or two, and the offer octave studies. In present-day piano THE ETUDE . allowed ..... I:-jS.11? put all your time on one instru- S'udies with the money which you would Notice in the June issue of The Etude f 50 cents for the first six will then playing an octave technic is almost in¬ ner’s Book, and this volume cannot fail s24-« will be found that t has eaten its v ment, instead pf dividing it up between the njherwise spend for lessons. Hermann’s Flol» has flooded our Agency Division with re¬ to interest those who are looking for a Delineator . . . Save 60 ets. the varnish ln i manner that It spire for all time. The regular rates dispensable, since it lies at the foundation quests for particulars regarding our Va¬ ■ill thereafter be in vogue, 15 cents each. of nearly all modern passage work. In continuation of that work, as it is designed ■•thea°liek'clotheea^h1timehafte It li used most‘d llfic‘h® fanylng the ever. ises. au.l Is tarted in the early fall taking in the "concert piece” in Italian) is one for two ln- teacher claims, that in theVase of so'mp’nnntis “ aaLtblne f,,r self tuition. you wish to turn to profit? If so, just other than Bach, Mozart, Sehu- value. The special introductory price in Beginner’s Book should obtain a copy of struments of the same kind. A double violin the vibrato and the ricochet bowln?"™S,?h, b t» J* 1° p,Ct Th'^'c'cn’s Tiolfn Trrhmr. drop a postal to the Agency Division of this new work while it can be had at our concerto is one which is played by two violin- themselves in time.” yet there is noC°reason dens W°ok,A from wh,ch you ran get mat advance of publication is 15 cents, post- Remit by Check or Money Order to .— .. really an exalted violin duet in why you should not have instruction”nn both article giving advice to players The Etude for details of our generous special price of 20 cents. concerto form. It may have a piano or or- of these important elements of violin terh with thick fingers will appear ln The Etui* offer. The Etude, Philadelphia, Pa. chestral accompaniment. The Bach Double if you ate sufficiently advanced kome i nr l for June ill Hi. 3. You will find the different Concerto for the violin is the most famous, even in the early stages of violin playing>*seem forms of staccato bowing Illustrated and ex¬ plained in the above-named works. THE ETUDE 535 534 THE ETUDE Appropriate Premiums for School of Violin Grove’s Early Summer Closing. Etude Workers. Technics, Book 1 Dictionary. By H. Schradieck. Small things sometimes cause dissatis¬ About a year ago we began negotiations BOOKS FOR YOUNG PEOPLE Have you yet completed your Vacation We are continuing during the current faction. Our effort is to attend to every Plans? Wouldn’t a nice, new Traveling- with the proprietors of Grove’s “Diction¬ order on the day it is recieved, but when month the special advance offer on our ary of Music and Musicians” with regard THE A B C OF PIANO MUSIC Old Advertisements bag, Suit-case, Hand-bag, an Umbrella new edition of this standard work. This we close an hour earlier during the sum¬ Vanity Case, Vacuum Bottle, Sweater’ to buying a large supply at a price that By MRS. H. B. HUDSON mer months on week days, Saturday a is one of the indispensable volumes in the would permit us to offer the work to our Tennis Racket, Toilet Set, Mirror or general course of studies for the violin, Price, 50 cents half day earlier, orders that otherwise E have repeatedly known of ETUDE readers ordering patrons at a price more attractive than W Manicure Set be a most desirable addi¬ such as should be used by all teachers A little book, which Is intended to pre¬ would be filled on that same day wait the original one, $25.00, which seemed to cede any piano method. It is based on from advertisements that appeared ten years ago. tion to your luggage? Now, any of the everywhere. Our new edition has been until the next day, and twelve hours is be beyond the reach of many who desired the principle of familiarizing the pupil valuable articles above mentioned may be prepared with a great deal of care by with the piano keys before taking up ofttimes lost. Our patrons will please to own it. We had some difficulty in con¬ consider this in sending their orders and This is a circumstance that happens with about one yours for but slight effort among the Mr. Frederick Hahn, who is a successful notation. After the hand has been vincing the original publishers that it shaped and placed upon tine keyboard, receiving the same. On those orders re¬ publication in ten thousand. The average periodical is short music-lovers of your locality. We have teacher of wide experience. This volume the young student begins playing at once, ceived before noon any day no difference been very successful in the purchasing of will soon be ready and we commend our would pay them to transfer the work to playing from large capital letters in¬ will be occasioned, but orders received by lived. The Etude is retained for years and years because of a limited number of each of the articles new edition to the attention of all. The us for further distribution, but an agree¬ stead of from notes. us in the late afternoon mails will natur¬ the useful information it contains. It is rarely thrown away. offered by us for the securing of sub¬ special price in advance of publication is ment was finally reached and we began ally be affected, and for those shortcom¬ 20 cents, postpaid. advertising this unique $25.00 encyclo¬ MUSICAL FAIRY BOOK scriptions to The Etude at the regular Treble Clef Pieces (Grades 1-2. Op. 586) ings we ask indulgence. People look up old advertisements in THE ETUDE because rate of $1.50 per year, and while they paedia of musical knowledge for $15.00 as By ARNOLDO SARTORIO last your choice may be had on the follow¬ The Young Violinist a sequel to which we have sold practically they have come to depend upon the reliability of the paper. By G. Wichtl, Op. 10. double the quantity contracted for for the Melodies in Difficult Keys ing basis: These tuneful little treble clef pieces for the Pianoforte The advertising columns of THE ETUDE are often as valu¬ No. Yearly We will add to the Presser Collection first twelve months. are intended to illustrate, musically, the Article. Subicrlptlons. The Dictionary is published in five large various fairy tales. Naturally they are •Travelling-bag, Goat-skin, Black the famous instruction book for the violin By Mathilde Bilbro. able to the reader as the reading columns. When you write volumes containing about 4,000 pages and all easy to play and suited to young Pin Seal . 8 by Wichtl. This has been one of the mdst students. They are accompanied by This set of study pieces is now almost please remember to add “1 saw it in THE ETUDE.” •Travelling-bag, Cow Hide, Tan, widely used of all such works. It may is of the utmost value to all serious stu¬ proper texts, which may be sung or re¬ 10-inch . 8 dents and teachers of music. It should cited. An excellent book for kinder¬ ready for delivery. It is designed to give •Suit-Case, Cow Hide, Tan, 24-inch 0 be taken up by the young beginner as the garten work. the pupil of intermediate grade practice Hand-Bag, Goat Skin, Sllk-llned very first violin book, and it contains all be in the library of every music club. On in familiarizing the more difficult keys (Sea Page 475) . 3 the necessary material for about the first request we will mail a condensed descrip¬ TEN FIVE NOTE RECREATIONS which are commonly avoided. The melo¬ Umbrella, Union Silk, Mission Finish . 4 year’s work. Our new edition will be tion. As above stated the price for the By MRS. C. W. KROGMANN dies are all agreeable and musical, and Vanity Case, Warranted, French printed from clear and handsomely en¬ present is $15.00 payable either in cash Op. 110. Price, 75 cants will hold the interest of the player. They Gray . 4 graved plates, and the paper and binding or in installments,—$3.00 as a first pay¬ Vacuum Bottle, Quart, Gun Metal Throughout all the pieces each hand all lie well under the hands; the principal Summer Offer of Summer Classes in Finish . 5 will be of the best. The special price in ment and the remainder at $1.00 per lies in the five-finger position. In spite difficulty being in reading them. The of the technical limitations that this Musical History. Sweater, Ladles’. Two-toned, Blue advance of publication will be 30 cents month or in larger amounts if the buyer special price in advance of publication for Magazine Club Bargains. or Old Rose. 8 places upon the composer, the pieces will postpaid. prefers. be found to be decidedly interesting and this volume Is but 15 cents, postpaid. Tennis Racket, Wright A Dltson Special arrangements have been made The fact that a good working knowledge Make . 3 attractive. They are in various charac¬ with a number of publishers, permitting of the main principles of musical history Toilet Set, Mirror, Comb and teristic rhythms, and each piece is ac¬ Brush. Ivory Finish. 5 companied by appropriate verses which Short Melodious Studies of our offering Etude readers some rare can be acquired in the Summer time by Toilet Mirror, Beveled. Ebony bargains in conjunction with their renewal For the Pianoforte means of regular instruction has led many Finish, Long Handle. 2 subscriptions or orders for friends. Also, to use months of July and August for this Manicure Set, Seven Pieces, Imita¬ THE VERY FIRST PIECES tion Ivory . 4 By Max P. Heller. our arrangements are for a limited time delightful study. Musical History more Price, 50 cents only and we must therefore urge you to (•) Shipped Charges COLLECT. First Announcement This is a collection of the very easiest This new publication is now ready, but than 'that of any other art or science is pieces. The first pieces in the book lie the special introductory price will be con¬ act QUICKLY. filled with interest and romance. Every By showing your friends that The entirely in the treble clef for both hands, Note these ‘ attractive clubs and place music student who has made himself Etude opens the gate to the big things in a few being in the five-finger position in tinued during the current month. There either hand. Every one of these pieces is always room for another good book of your order now while these bargain prices familiar with the history of the great music of Yesterday—To-day—To-morrow is a little musical gem which cannot fail second-grade studies, and those who once prevail. masters and what they have done not only —keep's them in intimate touch with all to please and Interest the pupil. The pieces are of various styles and the col¬ use these very tuneful studies by Max has a much richer basis for understanding, that is worth-while musically—provides 35 Easy Studies, Op. 130 60 Progressive Exercises lection is carefully graded. Heller want to use them again. They are THE ETUDE . an introduction and acquaintance with To-Dav's (iree pattern). •1*1.75 but takes a far keener delight in the By Gurlitt. By J. Pischna. liked by students, and the practice of .J Save 75 cts. study of music. This applies to the little Music’s Hall of Fame—you will be sur¬ PUSSY WILLOWS AND OTHER McCall’s (free pattern). We now have in the process of publish¬ them cannot fail to prove of real benefit. tot as well as to the advanced student. prised how simple an effort It will be to We will publish during the summer ing the Pischna studies. These are not to NATURE SONGS Our special introductory price is 15 cents, THE ETUDE . • 1*2.10 The Standard History of Music by secure their subscriptions. Just try TO¬ months this little volume of 35 instructive postpaid. Modern* Priscilla . ' ' ' j Save 40 cb. pieces by the ever popular Gurlitt Many be confused with the Little Pischna by B. By JOHN B. GRANT James Francis Cooke presents the subject DAY. of our patrons are acquainted with this Wolff, but they are the original by J. Price, 75 cents THE ETUDE . ...1*2.00 in the most engaging, practical and clear Would you like a few sample copies of opus. It is in the second grade, and every Pischna himself. These studies have be¬ Twenty-eight little songs, easy to sing New Book of First Mother’s Magazine . manner. The forty concise chapters are a recent issue of The Etude? A postal number has a name which is descriptive come immensely popular of late, because and easy to play. The melodies are written so that they are so simple that a card will bring them, as well as a com¬ of their instrinsic value for technical pur¬ bright and pleasing and just in the right Piano Pieces. THE ETUDE . of the piece itself. We are forced to compass for the child voice. The verses •1*2.45 little child can readily understand them plete list of our hundreds of premium publish this because the demand requires poses. They commence at about the are mostly original, other than a few This new addition to our popular series McCall’s .'.7.7.7. ..’. ..JS.ve55cb. but at the same time any adult will find offers. it. It will be brought out in the Presser fourth grade in the scale of ten. The selections from “Mother Goose.” of 50-cent collections should prove one of them very readable. 800 musicians are Edition in the usual attractive form, and central idea of Pischna is that every figure the most popular of all. It provides more THE ETUDE . 1*2.50 is taken through all the keys. This work MUSICAL ZOO Woman’s Home Companion. represented in the 250 pages. There are Advance of Publication Offers those that are unfamiliar with this work especially for the beginner or the second^ '" JSave50ct>. 150 illustrations. The book is handsomely will do well to acquaint themselves at will be ready for delivery in time for the Eight Piano Duets for Tescher and Pupil grade student. It will contain a far THE ETUDE . •••1*2.75 bound in red cloth stamped in gold. The Withdrawn July 1st. this time, when the work can be purchased fall teaching. The special advance price By D. D. WOOD greater number of pieces than any similar Ladies’ World . at a very small rate. Our special advance is 25 cents. Price, 75 cents Modern Priscilla . .7 J Save75ct». price is $1.25. (In lots of six or more a With the date of this issue of The volume, and the quality will be equal to reduction is made.) Hundreds of musical price will be but 15 cents, postpaid. These remarkably Interesting and char¬ Etude, July 1st, the following new pub¬ acteristic pieces were written for the the quantity in all respects. The most THE ETUDE . •1*3.00 clubs and classes have used this book as Elementary Violin Method composer’s daughter to fit the various Delineator . lications are withdrawn from the intro¬ popular writers of easy-teaching pieces :::$i.5o a text-book. We have a special plan to stages of her early progress on the piano. Everybody’s ... ductory advance prices. They are now Well-Tempered Clavichord for Beginners In the first seven duets the pupil plays will be represented by their best selec¬ Must go to same address help the teacher who wishes to start a on sale by the Theo. Presser Co. and By Bach. By F. Wohlfahrt, Op. 38 the Primo part, beginning with the right tions. The pieces are arranged in pro¬ THE ETUDE . class. Write us and we shall be glad to hand alone in the five-finger position, and ;;; 1*3.15 leading music dealers of the country at gressive order and they run through Pictorial Review . send you full particulars. We have in process of publication, Wohlfahrt’s Op. 38 is one of the most then progressing by gradual stages until grades- one and two, but not beyond. Modern Priscilla . . . ..) Save85cts. the regular professional prices and will Bach’s Well-Tempered Clavichord, con¬ popular and most widely used of all easy in the final duet the pupil, having begun Only the most melodious and attractive THE ETUDE . be sent, of course, subject to examination: taining the 24 Preludes and Fugues. The violin methods. This is a work which may partarD the baSS cle*’ PlayS the Secondo material has been selected. Our catalog Woman’s Home Companion. 7: J *8.2.^ Three Months’ Summer Artistic Vocal Album. This volume edition that we will use will be the stand¬ be given to the youngest beginners. It is especially strong in pieces of this na¬ Must go to same address Etude Subscription. contains the cream of our songs. Only ard edition of Czerny. The volume will starts out in the most elementary manner JUVENILE MUSICAL POEMS ture. This volume will be ready in a very those compositions that have achieved the contain a sketch of the life of Czerny and possible, and proceeds by easy and logical By CARO SENOUR short time. The special introductory price During the summer months there is most positive popularity will be found his portrait. This work is possibly the stages. It has been used by teachers with Price, 75 centa in advance of publication is 20 cents, nothing that will assist in keeping alive included. A volume par excellence. A most standard of all works for the ambi¬ great success for many years, and it is This is a collection of twenty-nine postpaid. the musical interest of the pupil better volume containing 28 songs, everyone tious student. It is absolutely necessary likely to hold its own for a long time to children’s songs with words and music There are listed on page 532 of this that every student must have a course in come. We have in preparation a brand by Caro Senour. These songs are in¬ than the reading of a good musical jour¬ available for studio and concert use. for issue a number of other very attractive nal, and also the supply of pleasing music. Bach, and nothing has ever been devised new edition carefully prepared and re¬ tended for the schoool, kindergarten and the price of but two or three of them. home. The composer has been very suc¬ Summer New Music offers, and if desired, a mere postal card It has been our custom to offer The Etude better than this volume. We are in hopes vised, printed from special new plates. cessful in interesting young children, and Price $1.00. The book will be published on Sale request will bring you our Handsome and during the three summer months for this to have the work ready for early fall and This edition will prove superior to all these songs cannot fail to please. The for both high and low voice. verses are bright and the music tuneful Complete 36-page Magazine Guide, mailed purpose for only 25 cents. A great many we are placing the work on our special others, and we take pleasure in commend¬ and easy to sing. There is no innovation of ours in con¬ FREE. teachers avail themselves of this oppor¬ Standard Duet Player’s Album. This is offer at 80 cents. ing it to the attention of all violin teachers. nection with music selling that has given tunity to get up a club among their pupils. another of our popular 50-cent series. The special introductory price in advance TOY SHOP SKETCHES greater satisfaction and convenience to Popular because of the large number of New Method for the Almost any teacher can do this with little "he Organ (New Edition) of publication is 25 cents, postpaid. Sevea Characteristic Pieces for the Pianoforte our patrons than our method of sending effort. There is really more time during pieces each one of these volumes contains, $y John Stainer. By JAMES H. ROGERS new music On Sale each month during Pianoforte the vacation months for reading and for and for the fact that there is no padding Godard Album for Complete, 50 cents. Separate Numbers, 25 cents “The Organ,” by John Stainer, has been the winter season. About ten pieces of By A. Schmoll. practice than during the winter. If a in any of them, every piece has been se¬ the Pianoforte. An attractive little volume of bright piano or vocal, or both, during the busiest teacher is desirous that the pupils should lected because it has merit These duets he standard work for beginning the study and snappy teaching pieces, profusely The first part of this work we hope to teaching months. not lose their interest during the summer are about third or fourth grade of diffi¬ .f the pipe organ for many years. Its We have in preparation a new volume illustrated in colors, and printed in large have on the market before the teaching reat disadvantage has been that it is comprising all the best and most popular sized notation. We have found that many teachers con¬ months, try this idea of three months’ sub¬ culty, suitable for sight reading, ensemble ■ Although easy to play these pieces all season opens. This offer is something Usually published with what is known as of the pianoforte compositions of Ben¬ tinue their work, in fact, many teachers scription to The Etude for 25 cents, and playing, recreation or amusement. have genuine musical value. Thev are that no practical teacher ought to let go see the good results of it. he American, or rather the English, fin- jamin Godard. This new volume will dif¬ from the pen of one of America’s'most do all of their work during the summer Preparatory Octave Studies, Op. DOS by. A work that has sold enormously, to •ering. We have in preparation a new fer from other Godard albums in the fact distinguished composers and lecturers, season in certain sections of the country, —Arnoldo Sartorio. Another set of stud¬ Mr. James H. Rogers. Following are the the extent of 28 editions in France, must dition which employs the Continental fin- that it will be more comprehensive, con¬ titles of the pieces: Jolly Teddy Bears, and to those teachers we are pleased to 25 Melodious Pieces, Op. 50 ies by this highly successful composer of have some merit. The work is written by •ering, which is now in general use. In taining more pieces. Godard has proven Toy Soldiers Parade, Dance of the Toys, send during the summer months one or By A. Schmoll. that class of works. These studies tend ddition, the book has been carefully re¬ one of the most popular of modern Fairy Stories, Hobby Horse, Punch and a German in France. It has the thorough¬ Judy, Dolly’s Delight. two packages of new music On Sale, no to stretch and develop the hand by means used, and while retaining all the original writers. His “Second Valse” and “Second different from the winter selections as to ness of the jvork of a German and the This is the last month that this work sprightliness of the French. We can of broken octaves and holding notes. As naterial, some very useful annotations Mazurka” are played wherever pianos are A complete catalog of Juvenile Musical size or contents. All will be merged with will appear on the special offer, so ;nd directions have been added, as well to be found. Those in search of drawing¬ Publications is now ready for distribution positively promise something valuable, and is well known, Mr. Sartorio has a most (sendfor your copy). any other account, On Sale or otherwise, have not availed yourself of the inexhaustible flow of melody, and this is some additional music pages. In its room music of the very highest calibre every active teacher should procure at this is the last call. This work is com¬ settlement to be made at the end of the enters into his studies as well as his teaeh- lew guise the work will be more useful can find no better collection. Our special least one copy. Our special advance price posed of study pieces, that is, pieces with teaching season, whenever most conve¬ ing pieces. These studies are in the third han ever. The special introductory price introductory price in advance of publi¬ for the first part is 30 cents. The retail an educational idea. The grades are one nient to the patron, not more than once grade, and are well worthy of examination _ nf mihlication will be 30 cents cation for this new volume will be 20 THEO. PRESSER CO., Philadelphia, Pa. price of this part in the original French and two, and some few, two and a half each year preferred. A postal card will by every teacher. Thev "are published cents per copy, postpaid. bring’these summer packages. edition is $1.20. Our advance price is but 20 cents. Please mention THE ETUDE when addressing sheet music. Price $1.00. our advertisers. 537 536 THE ETUDE THE ETUDE V-= New Etude Schools and Colleges Prize Contest PENNSYLVANIA r™ Piano Compositions, Songs and Anthems A Musical Paper Bag Party COMBS CONSERVATORY OUR previous contests, both for Nearly every one feels curious about The compositions are numbered from one If he cannot do this before the leader pianoforte compositions and for a parcel and there is always an air of to ten. The following list of well-known counts ten, he goes out of the circle. — songs, have all been highly suc¬ mystery surrounding people who carry compositions is suggested: cessful. The interest displayed in these The Letter Hunt past contests and the frequent requests paper bags. This unique party arranged (1) The Rosary. (2) Mendelssohn’s for a new contest have inspired the in¬ for children who are studying music has Spring Song. (3) Narcissus. (4) Wed¬ Choose some long word connected with stitution of a new contest in which sev¬ the paper bag as the basis of interest. ding March from Lohengrin. (5) To a music study, such as: Pianoforte, Counter¬ eral interesting features are combined. Striped paper bags are used to shade the Wild Rose. (6) Moonlight Sonata. (7) point, Thoroughbass. On separate cards Undoubtedly competitions of this kind print the letters in the word. Put the electric lights. Yellow bags are used for Traumerei. (8) Schubert's Serenade. will awaken a wider interest in compo¬ cards in tiny bags and hide the bags in sition and stimulate to effort many vases; goldenrod or sunflowers harmo¬ (9) Mendelssohn’s Wedding March. (10) composers, both those who are known nize with these odd flower jars. A out of the way places in the room. Each Sextet from Lucia. player is given a tablet with pencil at¬ and those who are yet striving for recog¬ festoon of small inflated bags hung from nition, bringing to the winners a desirable the chandeliers adds another interesting tached. The first one to construct the publicity in addition to the immediate The Mysteries of Music right word from the scattered letters wins touch. The hostess wears a paper bag financial return. It seems unnecessary the game. A bag of candy may be given to note that the fame of the composer cap and it is more amusing when the The second game is called The Myster¬ as a prize. will in no way influence the selection children come with paper bag head¬ ies of Music. Form a circle and to lively and that the pieces will be selected by dresses. The size, color and variety of absolutely impartial judges. music start a bag around the circle; when “The Stunt” these head-pieces are endless. Small toy the music stops the one holding the bag The stunt is really very funny and in¬ musical instruments can be used as fa¬ opens it. Each bag contains a composer’s structive as well. Those who play the Six Hundred Dollars vors; tie these in tiny paper bags and picture. If the player cannot tell the El piano are required to do so with paper place them in a heap in the center of the name of the composer during the time the GILBERT RAYNOLDS COMBS will be divided among the successful bags over their heads. composers in the following manner: table, the bags containing the favors are leader counts ten, he is counted out and Founder and Director If the pupils have never played without numbered and corresponding numbers are leaves the circle. The winner of the prize Place 1 For the best pianoforte looking at the fingers this game will be H <^iass i. p.eces o{ intermediate or hidden about the room in out of the way is the last one to leave. A picture or a revelation. I f any of you have followed Henry Schradieck places. The children are invited to hunt plaster bust of a famous composer makes A SCHOOL OF INDIVIDUAL INSTRUCTION advanced grade in any style: Mozart’s life you will recall that upon the numbers and claim their favors. a suitable prize. This game can be varied COLLATERAL AND APPLIED BRANCHES TAUGHT IN CLASSES First Prize.$100.00 one occasion he was required to play with Second Prize... 60.00 by placing different things in the bags; the keys covered. Imagine that you are You cannot intelligently decide the important question as to where the soundest musical education may he obtained until Third Prize 40.00 Measuring Music for instance, instead of composers’ pic¬ Mozart and do your best when your turn you have acquainted yourself with the methods and achievements of the Combs Conservatory of Music. tures use the titles of well-known songs. Place IT For the best songs suit- The first game is called a test in comes. To the best player give some sort V^iaSS 11. able either for teaching, The following are suggested: Star measured music. Each player i§ given a of paper hat or cap. For the poorest one, recital or concert use: little bag with pencil attached. Play two Spangled Banner, Old Oaken Bucket, a pair of doll shoes (for de feet). Your Success is Assured Special Systems First Prize.$100.00 or three measures from some well-known Annie Laurie, America, Old Black Joe, The refreshments for this party are We have arranged in logical order the underlying principles Second Prize... 60.00 To the earnest, diligent and capable pupil who desires to com¬ Dixie, My Bonnie, Robin Adair, Old involved in the proper study and interpretation of music and by Third Prize 40.00 composition. Each player writes down served in paper bags. The bags in which prehend adequately and interpret worthily a noble art, The Combs what he thinks is the name of the piece. Folks at Home,- Last Rose of Summer, the refreshments have been served are employing these principles in their direct application to individual Conservatory affords opportunities not obtainable elsewhere. The Class III. For the best anthems If the pianist select a few measures from Cornin' thro’ the Rye. When the music saved and inflated; at a given signal from needs, we insure a thorough musical training with a minimum ex¬ for mixed voices suit¬ instruction is individual. All Branches of Music Taught. Normal the middle of the same composition there stops and the player opens the bag he the leader the bags are popped open and penditure of time, effort and money. able for general use: will be some difficulty and a great deal must be able to sing, hum or play the this ends the paper bag party. Training Course for Teachers, Public School Music Supervision, First Prize.$100.00 Second Prize.. 60.00 of amusement in finding out the name. song, the title of which appears in the bag. (Continued on page 543.) Piano Tuning, Player Piano Regulating, etc. Daily Supervised Eminent Faculty Third Prize 40.00 Practice, Four Pupils’ Recitals a week, Daily Reports, Frequent Gilbert Raynolds Combs, Piano; Henry Schradieck, Violin; Examinations, Two Complete Pupils’ Symphony Orchestras. Hugh A. Clarke, Mus. Doc., Theory; Herman Sandby, Violoncello; Nelson A. Chesnutt, Voice; and seventy assistant teachers, gradu¬ Dormitories for Young Women ates of the Conservatory—trained in the scientific, psychological Safe, comfortable and homelike with ideal environments and the methods which have brought the Conservatory to unparalleled and inspiration of continual association with ambitious fellow students. permanent success. Chartered by State of Pennsylvania with Accommodations for 2500 Day and power to confer degrees. Dormitory Students.

Illustrated Year Book University Advantages Outlining all phases of our work. This book has been. the demdmg^pomt Reciprocal relations with the University of Pennsylvania enable pupils to in many musical careers. Maili is well worth the investi- take special courses in English, French, German, etc., withoiit extra charge. gation of any ambitious student. GILBERT RAYNOLDS COMBS, Director 1335 SOUTH BROAD STREET, PHILADELPHIA, PA.

E.R. KROEGER MISSOURI feMALCONSEkVATOB? FOREST PARK Open. Sept 20. NORDSTROM CARTER, VOICE. 56thY£AR. Senior and Junior Colleges. Prep, and Collegeof Music. BEETHOVEN CONSERVATORY ANNA S. CAIRNS, PHI I VCT One of the oldest and best Music Schools m the United States 4525 Olive Str. t, St. Louis, Mo. President, St. Louis, LU LLLVlL

Your Name Should Appear ii The Etude CENTRAL WESLEYAN COLLEGE AND CONSERVATm 7 building., gymnasium^finejampus^ bealthful^Cgl‘^oat)t|*'a<.eandI°^y° ***’ 0me8 ' ODD ONE MAN BANDS TO AMUSE CHILDREN THEO. PRESSER CO. Conservatory of Music under direction of J. C. Eisenberg, PUBLISHERS ,g £u“rlyAlnon?«me the 0r S2S& **“<«<>*<* the ™ i In the centre of such dans have visited our own conn- I , Roval Conservatory, Leipsic, Germany, maintains highest standard. Piano, PHILADELPHIA, PA. “Wished from the .Paris Mueica we see several typ^f^e maA\n3L M^o^Vh^ “USi eem to be virtuosos on the Ba* volc^vLfin.^New Gram! and^Upright pianos. Fall term Sept. 12. Catalog free. Send -hat of the man with the accordion toffi hand? , id is evidently a performer upon hese odd musicians come to America. THE ETUDE THE ETUDE 539 538 ■— ~ XJ-— Summer Schools 5chools and Colleges MICHIGAN BALTIMORE Schools and Colleges OHIO Peabody Conservatory BALTIMORE, MD. HAROLD RANDOLPH, Director Be a Teacher ol Music Year Course Recognized as the leading endowed musical conservatory of the country Teach music in the Public Schools. The pay is good and the work pleasant. We offer a complete and thorough course Summer Session JAug3i2th0 in Public School Music that may be finished in one year. We also teach Drawing, Home Economics, Physical Training, Staff of eminent European and American Masters including: Manual Training, Industrial Arts, Penmanship. Strong George F Boyle Minna D. Hill Harold D Phillips Elizabeth Coulson Henrietta Holthaus Gustave Strube faculty, beautiful location, unsurpassed equipment. Also two-year Eleanor Chase J- C. Van Hulsteyn Mabel Thomas course. Catalogue sent free. Otto Ortman Bart Wirtz For detailed information Tuition $10 to $30 according to Study address Dormitory Established By special arrangement with the JOHNS HOPKINS UNIVERSITY credits in certain branches may be offered for the B. S. degree Thomas Normal THE SECRETARY Practice Pianos and Organs Available 3029 West Grand Boulevard Privileges for 1869 Circulars Mailed FREDERICK R. HUBER, Manager Detroit, Mich. Arrangements for classes now being made Training School Ladies and by Gentlemen William H. Dana MICHIGAN STATE NORMAL COLLEGE Schools and Colleges < CONSERVATORY OF MUSIC ILLINOIS YPSILANTI, ... MICHIGAN Courses in singing, piano, organ, violin and theory Y Courses for mining roperviso tod teachers and public school music. ^Graduation lead, to . life certificate valid in most state, of the Un . TTotal living expenses need not exceed five dollars per week. Tuition and fee. exceptionally low. / THE MARY WOOD CHASE SCHOOL OF MUSICAL ARTS Director Conservatory of Music, Box 9, Ypsllanti, Michigan. MARY WOOD CHASE, DIRECTOR—Author ol “Natural Lawa in Piano Technic.” STUDENTS MAY REGISTER AT ANY TIME Complete Courses in all branches of music and dramatic art. Coaching students for DANA’S MUSICAL INSTITUTE concert stage. Special Normal Course for Teachers. For Year Book address the Secretary. UNIVERSITY SCHOOL DETROIT INSTITUTE 630 FINE ARTS BUILDING ...... CHICAGO ADVANTAGES OF MUSIC A DAILY LESSON IN YOUR CHOSEN STUDY A DAILY REHEARSAL IN BAND for band pupils ALBERT A. STANLEY, A.M., Dire OF MUSICAL ART A DAILY LESSON IN THEORY FOUR HOURS OF PRACTICE DAILY Ann Arbor, Michigan A DAILY LESSON IN MUSICAL HISTORY CONCERTS AND RECITALS ONCE EACH WEEK WESTERN CONSERVATORY ThirV.r°"d A DAILY LESSON IN SOLFEGGIO WEEKLY CHORUS REHEARSALS All Branches of Music, also Dramatic Art and Languages Offers courses in Piano, Voice, Violin, Organ, Public School Music, Diction, A DAILY REHEARSAL IN ORCHESTRA for orchestral pupils --SPECIAL INSTRUCTION IN ENSEMBLE PLAYING NORMAL COLLEGE COURSE FOR TEACHERS ‘‘A GATHERING PLACE FOR Dramatic Art, Languages, etc. Diplomas including octette, sextette, quartette, trio and duo, for such instruments as are used in these combinations. Branch Studio* in all parts of the United States, in which ne ADVANCED STUDENTS” and Degrees. Located in finest residen¬ tial district. Excellent dormitory. BRANCHES TAUGHT Send for Catalog. s Bldg., CHICAGO Fall Semester begins October 4 Piano, Organ, Stringed Instruments, Woodwind Instruments, Brass Instruments and Percussion, y for “Ann Arbor—An ideal Add re ■ Secret Public School Music and Voice. All branches of Theory taught by Modern Methods. Detroit, Michigan, For Illustrated catalogue, address LYNN B. DANA, President, Desk “E,” Warren, O. 67-69 Davenport St., Box 22 Centralizing School of MASSACHUSETTS VIRGINIA Music GUY BEVIER WILLIAMS Gertrude Radle-Paradis School of Music - New Dl9 land of Shenandoah Centralizing School of Acting Collegiate Institute Edward Dvorak, Director Summer .Schools For students of all branches of music, Departments: Piano, Theory, Voice, Violin, TEXAS Violoncello, Expression. Send for Booklet. DETROIT Francis L.York.ll..A fW this school offers unusual opportunities for Conservatory _i complete and thorough education. For En¬ CONSERVATORY oj semble playing, there is an orchestra of 26 pieces, a beginners’ band of 24 pieces lyCessarilerj and the 2nd Regimental Band of 28 pieces. Weekly concerts. SUMMER NORMAL Ce0rKDhectordWiCk’ ^ UNEXCELLED OPPORTUNITY ii tkeWed OF M U SIC Two manual organs (Hook and Hastings and M. P. Moller) offer a most BOSTON, MASS. unique department in organ playing. The violin department is unusually strong. Second Term, July 15- Fall Term, Sep. 10 Other advantages— Piano tuning. Voice culture. Elocution and Physical Culture, Theory, Public School' Music mod Drawini. The Largest and Best Equipped School of Music Arts and Crafts. Rates: $200 to $275. No extras. 41st year. For Catalog, HAHN MUSIC SCHOOL Oral Interpretation, etc. Work based on THE COLUMBIA SCHOOL OF MUSIC 3919 S. Junius St. DALLAS, TEXAS best modern and educational principles- bleated in the mu.ic center of America. It affords pupils the c"vironme”trvaS^!,a(u”°Spsnfe|di( ADDRESS BOX 110 DAYTON, VA. CLARE OSBORNE REED, Director Numerous Lectures. Concerts and Recitals Mcesury to a musical eduction. Its complete organization its imposing Conservatory Building, splendu throughout the year. Students' Orchestra. «Wmmt, and the Residence Building offer exceptional facilitiea for students. , . , _ Fall Term begins September 4th Y Studios. Excellent D Complete Curriculum. Courses in every branch of Music, applied and theoretical, indudmg^Opers ILLINOIS AND INDIANA PIANO-VOICE-VIOLIN-THEORY-PUBLIC SCHOOL MUSIC THESE TEACHERS ADVERTISING atalog address registrar :: :: 509 SOUTH WABASH AVENUE, CHICAGO Schools and Collegi i"8 before audiences, a ON OTHER PAGES OF THIS ISSUE Louise Burton NEW YORK AComolate Orches SOPRANO jnd public appearance) VOCAL TEACHERS Dramatic Departm Available for Concerts, Ora- RALPH L. FLANDERS, General Manager. MIDDLE WESTERN Pupils accepted? Addresser D. A. CLIPPINGER, 1208 Kimball Hall, Chicago. bulletin Box C, 520 Fine MATTE BARBEREUX PARRY, 514 Fine Arts Bldg., Chicago Arts Bldg., Chicago, Ill. THE von ENDE SCHOOL of MUSIC CONNECTICUT A HOME FOR YOUNG LADIES “The Foremost Musical Institution of America” SEND FOR SCHOOL OF MUSIC UNDER PROPER CHAPERONAGE NEW YORK CITY ILLUSTRATED BOOKLET The Courtriffht System of Musical Kindergarten VALPARAISO UNIVERSITY VALPARAISO, - INDIANA. iversity School of Music. offe-.-.-,-- :s in Piano,Voice.Violin, OrgaiJrgan, Thee Students maj the Music School and also take the regular work THE EXPENSES ARE THE LOWEST in, 836.00 per quartei Board with Furnished Room. A mother*! course, for firx.TnS with the regular ay.tern fa will be mailed free, t Henry B. Brown, Presiden ETUDE new offered for the firat time. Special advance price. Write for particulars. ^ ___ 43RD YEAR-STUDENTS ACCEPTED AT ANY TIME. Opening of Fall Sessions Should be Announced in August MRS. LILIAN COURTRIGHT CARD, 116 Edna Please mention THE ETUDE when addressing ot Pleas# msntion THE ETUDE when addressing our advertisers ------'


Schools and Colleges NEW YORK ximnmev School NEW YORK AND NEW ENGLAND The American Institute of Applied Music (METROPOLITAN COLLEGE OF MUSIC) NEW YORK SCHOOL OF MUSIC AND ARTS *\ 212 West 59th Street New York City Central Park West, cor. 95th St., New York City RALFE LEECH STERNER, Director Complete course* in Voice, Org School Music. Theorc ind ’Historical branches Ournew buildings give us the most beautiful and q • 1 C 'T' 1 f r* Unsurpassed.... r...... beauty of scene facing Central Park, 31st Season—October 2, 1916. Send for circulars and catalogue homelike school devoted to Music and the Arts OpCCial DUITimeif 1 eaCheifS UOUlfSeS which is the finest location JOHN B. CALVERT, D.D., Pre«. KATE S. CHITTENDEN, Dean .1 departments open throughout entire year. SPECIAL SUMMER COURSES MANY EUROPEAN CELEBRITIES AND EMINENT AMERICAN TEACHERS, including Piano, Voice, Violin, Organ, Theory and PUBLIC SCHOOL MUSIC. Piano—Arthur Friedheim, the Great Virtuoso; Liszt’s Greatest Pupil. Voice—Ralfe Leech Sterner, Celebrated Vocal Teacher. Violin—Clarence DeVaux Royer, the FACULTY OF EXCEPTIONAL REPUTATION AND ABILITY. Eminent Violinist. 'Cello—Paulo Gruppe, World’s Greatest ’Cellist. Harriette Brower, Harold A.'Fix, S. Reid Spencer, Frank Howard Warner, and many others. INSTITUTE OF MUSICAL ART SSI DORMITORY FOR LADIES. AN ENDOWED SCHOOL OF MUSIC If you are really serious about a musical education and your own success in the profession you owe it to yourself to investigate this Institution. The opportunities of the Institute are intended only for students of natural ability I FREDERIC A. COWLES, Director - 214 W- Broadway, Louisville, Ky, with an earnest purpose to do serious work, and no others will be accepted. For catalogue and full information address SECRETARY, 120 Claremont Avenue, New York. ILLINOIS THE FLETCHER MUSIC METHOD VIRGIL PIANO CONSERVATORY The Original Musical Kindergarten and Simplex Method of America THE HADLEY SCHOOL OF MUSIC, Inc. Famous for Instruction in Technic, Pedalling, Interpre¬ Brought to America through the interest of the New England Conservatory eighteen THE NEW VIRGIL Summer Normal Session, June 26th to Aug. 7th. Stiu* tation, Theory and Harmony Playing. ago; and during that time taught to over 700 music teachers (every one of whom could be s and Lectures. Terms moderate Dept. A-64 E. Jackson, Lyoo & Hi employed in Boston alone); the demand is growing rapidly for Fletcher Music Method SPECIALLY ATTRACTIVE AND COMPREHENSIVE teachers in spite of the many cheap copies of this system. THE SUMMER SCHOOL WILL BE DIVIDED INTO TWO CLASSES) PRACTICE CLAVIER THE FIRST OPENING MAY 29th, AND THE SECOND OPENING JULY 10th Far superior in its latest construction to any AMERICAN SUMMER COURSE FOR TEACHERS In the 200 hours of instruction, which last eight weeks, more ground is covered in practical other instrument for teaching and practice. June 26th to July 28th harmony than is covered in any Conservatory in two years. CONSERVATORY MUSIC-EDUCATION FOR CIRCULAR ADDRESS Read, “WHAT IS IN THE FLETCHER MUSIC METHOD,” Price $2.00 CALVIN B. CADY For full information regarding Normal__ classes_id and lectilecturea for Educational, VIRGIL SCHOOL OF MUSIC LECTURER IN MUSIC, TEACHERS COLLEGE, MRS. A. M. VIRGIL, Director 11 West 68th Street, NEW YORK Musical, and Mother ‘ Clubs,... apply direc . i w mm For Particulars address Secretary S^MUSIC COLUMBIA UNIVERSITY. NEW YORK. MRS. EVELYN FLETCHER-COPP, 31 YORK TERRACE, BROOKLINE, MASS. THE “TEK” is The “reaZ * \ / IRG1L Executive Office, 567 Third Ave., New York City Chicago’s Foremost School of Music NORMAL COURSES AND Offers courses in piano, voice, violin, organ, thing” for piano practice. K. V OR A. K. VIRGIL, ST. PETERSBURG, FLA. PRIVATE CLASSES public school music, theory, orchestral in¬ Of the greatest advantage struments, etc. Walton Pyre School of CHICAGO, ILLINOIS Dramatic Art and Expression. Superior UNIVERSITY SCHOOL FOR GIRLS to players and comfort of DUNNING SYSTEM Normal Training School, supplies teachers for colleges. 1106 Luke Shore Drive the household. IMPROVED MUSIC STUDY FOR BEGINNERS BURROWES COURSE of music study JUNE 26th to JULY 28th A HEART TO HEART TALK WITH TEACHERS FOR Appreciated by teachers, Kindergarten and Primary—Correspondence or Personal Instruction Progress the Demand of the Hour Happy Pupils—Satisfied Parents-Prosperous Teacher.. Classes are doubled by use of this method TEACHERS AND STUDENTS OF MUSIC- pupils and artists. Arc you satisfied with results in teaching beginners? Ar iSzSsrz KATHARINE BURROWES PIANOFORTE, VOCAL, KINDERGARTEN Saves wear of the piano. out availing yourself of the opportunity to possess a Musical AND PUBLIC SCHOOL 19 reasons why it excels ^Couraes in Music Appreciation Can you afford to ill be heard at the piano for practice. Symphony Concerts Of new ones? normal TRAINING CLASSES FOR 1916 EXPLANATORY CATALOG ON REQUEST MISS IDA OWENS KING Mrs. Carre Louise Dunning, 8 W. 40th St., New York. Normal Class. 164 Forest Avenue Oak Park, 111. ALBERT ROSS PARSONS ______recitals throughout -_ Address MRS. A. M. VIRGIL - 11 West 68th Street, NEW YORK Portland, Oregon, June 26th. Chicago, Aug. 6th. New York, Sept. 21st. — l*r* l “Certainly this specialist in artistic piano playing develops in- school year. Teachers’ Certificates, Diplomas Mrs. Addye Yeargain Hall, Musical Arts Bldg., St. Louis, Mo. Normal Students Qualified “^£5 and Degrees conferred by authority of the state of Illinois. Students’ Orchestra. Many free Class, June 16th. as Concert Pianists advantages. Thirty-first session begins Sep¬ MR. and MRS. CROSBY ADAMS Mrs. Chauncey Bever, Normal Class for Teachers, Billings, Mont., tember 7th, 1916. June 10th. The Conservatory is universally recognized as a Annual Summer Clauea for Teacher* ol Piano Granberry Piano School and Teachers : : Albert Ross Parsons, Ste,nWN*wYork>cfty.4th Sl‘ school of the highest standard, and is one of the largest Mrs. Jay Rector Bevitt, 3914 Third Ave., San Diego, Cal., July 19th. musical institutions in the country. Eighty artists for the Study of Teaching Material and teachers, many of international reputation. Lo¬ cated in new magnificent sixteen MONTREAT, N. C. : CHICAGO, ILL SUMMER NORMAL story Kimhall Flail Building. June 15-28 July 27-Au*. " [ MUSICAL AND E: THESE TEACHERS ADVERTISING Write tor booklet containing outline and on INTERNATIONAL cational agency “FROM BRAIN TO KEYBOARD” For free catalog and general information, letters trom Teachers who have taken the Cours ON OTHER PAGES OF THIS ISSUE Br^dway. New York of Playing TheMacdonald Smith System of Free Gymnastics for Address,671 KIMBALL HALL, Chicago,III. I8g& MONTREAT, NORTH CAROLINA Art MRS. BABCOCK the rapid acquisition of Perfect Touch and Technic. VOCAL TEACHERS Special Summer Courses, complete in Six Lessons EMILE SCHOEN Certificated and Authorized Teacher in America WALTER L BOGERT, 114 W. Studio: ^65 East 93rd Street, New York City FRANZ DOSSERT, 1204 Carn Training MusicTeachers toTeach E. PRESSON MILLER. 826 Ca w°Yorkl§ity. lEffa Ellis Perfield CARNEGIE HALL, NEW YORK GEO. CHADWICK STOCK, Y. PEDAGOGY sale, reliable Summer ^Schools <»J at of emir ruin with pur.— ORGAN SCHOOLS me. Write Now-Today. MINNESOTA EASTERN Ithaca Conservatory & Summer .Schools T OEQAN SCHOOL, 44 W. 12th St, Hew 1 GEORGIA Summer .Schools TRINITY SCHOOL CHURCH MUSIC, 90 Trinity PI NEW HOME of the MINNEAPOLIS SCHOOL of MUSIC ORATORY AND DRAMATIC ART f ^ De tment of 0rAtcI, „a PENNSYLVANIA Ne" violin teachers JULY SUMMER SCHOOL BRENAU Not a correspondence course nor a Kin¬ Most successful schools etarted PITTSBURGH MUSICAL dergarten System. Diploma issued under years ago advertising for their COLLEGE - CONSERVATORY corporate seal of State of Illinois. Accred¬ INSTITUTE, Inc. ited by the Chicago Board of Education. pupils of today. Today they are GAINESVILLE, GA. Effa Ellis Perfield Music School, Inc. advertising for their pupils of 4259 Fifth Avenue Pittsburgh Crane Normal Institute of Music tomorrow. Training School for Supervisors of Music SUMMER TERM, JUNE 29th SUMMER TERM, 1916 BOTH SEXES f Voice culture, sight-sinking, ear-twinin|, harmony, Standard College Courses — Special Circulars Upon Request Courses in Music, Oratory, Art, Domes¬ tic Science. Location, foot hills of Blue tbns'fn colkgesfcity and’normafschoola"2111 P°S‘ The Latest and Best Word in Voice Building Summer ^Schools Ridge, near Atlanta. 7 National Sorori¬ 53 MAIN ST., POTSDAM, NEW YORK ties. Attractive social life. Non-sectarian. OHIO 27 States represented. Write for descrip¬ THE VOCAL INSTRUCTOR Summer .Schools ous build- tive book and catalogue. Resident By EDMUND J. MYER ^ PRICE, $1.00 Skidmore School of Arts Catalog _ CINCINNATI CONSERVATORY of MUSIC established iser. BRENAU, Georgia. Gainesville, Box 97. NEW JERSEY CLARA BAUR, Foundress Faculty of International Reputation prrnt, the movement* upon whtcdi the whole aystetn i»bas*4; AH Departments Open Throughout the Summer Atlanta Conservatory of Music HEPARD Elocution—M U SIC—Languages Faculty of Artist-Reci I OYSTEMS CUMMER complete. School Oi Also Special Summer Coarse in School Music. Orat iry. Lang 1 OIMPLIFY OTUDY Take a few minutes to study the school PUBLIC SCHOOL MUSIC SUMMER SESSION BEGINS June 13th, 1916 announcements on these pages. Here are Location and surroundings ideal * Q#,,Hv the best Colleges, Conservatories, Schools THEO. PRESSER CO., nd Circular Addre: Atlanta Conservatory of Music 1712-14 Chestnut St., Philadelphia, Pa- Peachtree snd Brosd Streets, Atlsnls, Csoriis SHEPARD SCHOOL OF MUSIC, Orange, N. J.

Please mention THE I E when addressing our advertisers. B when addressing our advertisers. THE ETUDE 543 542 THE ETUDE Children’s Department DIRECTORY OF Special Notices (Continued from page SJ6) Professional Directory INSTITUTIONS OF LEARNING “The Sextette from ‘Lucia’ ” Do you like really truly stories? I do, SCHOOLS SCHOOLS and the one I am to tell you happened MIDDLE WESTERN ALBERT LEA COLLEGE FOR JUDSON COLLEGE, TO BUYERS eastern last winter in a grimy mining town on WOMEN, ^«,Ij“din!fSeTB. and'HS1 PROGRESSIVE PI degrees. Music course* tojfoic^an^ piano^with tTon^idrcs^'paulV .^Bomar^Presidtnt!'^'" ’a^orma' the edge of Lake Superior. In the sum¬ iat 72d Street* New Yor AMERICANen mer they call it “The Land of the Sky AMERICAN S. Kingsland, M.A., dean. JUNIATA COLLEGE, SuSS p‘;t<£ Blue Water,” in winter it is bleak and OF MUSIC BI |_LS "S*98Sft. lished 1876. Classical and General Culture, Science cold and there is nothing very poetic; h. Onrneiclerawljnsmker Hail, New York eguircie SOY DAVID. C BLACKSTONE FEMALE INSTI- and Music—Piano, Organ, Voice, Harmony, Theory Tim? Blackstone, Va. Prepares for Class A and History. B. F. Wampler, Director. ^ about it. Though there is real poetry in omponer. Teacher. BROWN_"" Tyon dcHealy Bating, Chicago 1 U 1IL, Colleges, and also maintains the best o: 426 BpringAveni my story. It all started in school where *1867? High la n d 2 advantages in music of any school of its grade in the BARTEL" South. Rates are very moderate. For catalog and LUTHERAN LADIES’ SEMINARY, Pietro and Maria go, the teacher didn’t CINCINNATI S' application blank address Geo. P. Adams, Sec’y know a thing about it until it was all over & Treat. Preparatory, 4 years; Sub-Preparatory,1 year; Short¬ Teachers and Schools hand and Typewriting, Home Economics. Conser- and then she told me. BEEGHWOOD .^HBS DANA'S Lt was a town of mixed races, there ARE ADVISED TO BLUE RIDGE COLLEGE, Wi” h£h PRINCIPAL. WANTED for sole charge request.0 D. G!Ridtad!Prcs.,Tcd°Win^Minn. °“ »fhool of music, live part of British Colum- were Poles and Norwegians and Italians henry: grade college with moderate prices. Located in one 4. School, care Etude._ COMBS ira3F*g of nature’s beauty spots. The School of Music affords and the little ones spoke a mixed lan¬ Order Early for Next Season PIANOFORTE SCHOOL. splendid opportunity in Voice, Piano and Violin. McFERRIN SCHOOL, it guage, sometimes the teacher could not KNOX' Write for information. Boys and Girls. Prepares for college. Expenses understand. There had been much mys¬ AND SET DATE FOR DELIVERY FAELTEN reasonable. For catalog and information, write to Etdde, 1714 Chestnut St., Philadelphia. VOICE G. L. Morclock. Principal. terious whispering going on for weeks, BRANDON INSTITUTE, ®asifiVashS?n'- MUSIC WRITTEN to words. Manuscripts at noon, at recess, even after school in Results:—Satisfaction and the Best Service HAWTHORNE doah Valley nearthe Blue Ridge; elevation 1400 feet; MANSFIELD FEMALE COLLEGE, corrected. Correspondence lessons in har¬ EASTERN easy accessibility by railways; well furnished and mony. Dr. Alfred Wooler, composer, Buf¬ the evening Pietro could be seen with TO CATER SUCCESSFULLY to the needs and desires of equipped building, healthful climate, Iithia water, Mansfield, La. In the land of the pine, magnolia rosea and jasmine. English, Teacher-Training, Music, falo, N. Y. the other girls and boys counting pennies a clientage of educators requires peculiar conditions and advantages MOULTON: courses,-Piano, Voice, Organ, Violin and Scientific. Art, Domestic Science. Write R. E. Bobbitt, Pres. and putting them into an old soap box. possessed by but few houses. FALK: Rates 3250 to 3350. Write for catalog. Brandon The teacher watched and waited; what Institute, Basic. Va. MARION COLLEGE AND SCHOOL THE HOUSE OF THEO. PRESSER has an experience of over NEW YORK > could this be, so much mystery and so thirty years as publishers, based on an intimate knowledge of the STOCK' OF MUSIC, ^“rConefeHyr.d'4h8^ many pennies ? The box was quite heavy, needs of the profession, the result of actual work. BROADDUS INSTITUTE. Mnh.°c,0Pi.n°o[ 2 years college). Music. Art, Expression, Domestic eiperienced, pro o r e s s I ve for the teacher kept it locked safely in NORMAL' Voice, Theory. For full particulars, address Dr. Science, Literary Courses. Modern building, 2150 teacher of piano, harmony, etc., desires Basis:—A large well selected stock of the publications of all houses, MIDDLE WESTERN Elkanah Hullcy, Pres., Philippi, W. Va. ft. elevation. $200 covers board, room and tuition. good locatioa. Highest references. Address her desk. At last the box was full and American and Foreign. A constantly increasing catalog of original publications a Studios of Vow Catalog. Address registrar. Pianist, care Etude._ _ another box was started; excitement in¬ of great educational value which will be found in the studio of almost every PATTERSON! music teacher. A force of 200 efficient employees, drilled and trained for our GROFFBRYANT CAROLINA COLLEGE, 0NU nCg WANTED—Earnest students of Harmony creased and so did the number of pen¬ MRS. CARLYLE by correspondence. Method simple, logical, particular business. Women; offers splendid literary course leading to MERIDETH COLLEGE, nies. Time went on and one day Pietro Courses in Literature, Music, Art, and Home Eco¬ thorough, —*— *— PETERSILEA A.B. degree, two-year normal course for teachers. assisted by Maria took the boxes away. TO WHICH WE ADD: VIOLIN Instruction in Piano, Voice, Expression, Art.Domes¬ nomics. High grade college. Total cost of room, board, tic Science, Physical Culture and Business course. light heat, physical culture and literary tuition for The next day at recess Pietro followed by Large Discounts, the same upon “On Sale” as upon regular orders. Ideal climate in famous sand-hill belt, splendid the year, 3225. For particulars address Chas. E the other children came to the teacher’s TRACY ' Brewer, President. Liberal Terms and Courteous Treatment. EASTERN desk handing out to her a round black Mercer,'president!'0'13 * Pn“’' rley, Balter H Promptness in Filling Orders. Accounts Solicited with any responsible professional musician. VIRGIL NORTH STAR COLLEGE CONSERV- ’btfadelphla. disk. Can you not guess what it was? It was the record of the famous Sextette Satisfaction Absolutely Guaranteed. KRIENS c M.^wVorkCty CARSON-NEWMAN CONSERVA¬ ATORY OF MUSIC, £ EACHER-Con- VIRGIL TORY OF MUSIC, ^"“lofatid Music whether it be piano or organ. Voice culture __, __ .o locate in some from “Lucia” and these dear Italian lovers Large or small orders receive exactly the same attention. “On Sale” packages or Southland Seminary, St MIDDLE WESTERN in the healthful section of East Tennessee. A corn- is also given special attention. Large chorus. We Southern City, teaching as mainstay, church. of music had bought the record and there sent cheerfully, even though regular orders or renewals of “On Sale” packages render Yfandel’s Messish every year. Piano aod was not a machine to play it upon. But are sent through the local dealer. and Vubl[c"School Music it de’sired^G.'M. and B°!^ Vocal recitals rendered monthly. Write todsy lor a degrees. Address J. M. Burnett. D.D., President, they were happy, they carried it to school LICHTENSTEIN' or Edith Davis Potter, Director. PRACTICE INSTRUMENT I Headquarters for Everything Needed in the Teacher’s Work —$50 will buy one of Mrs. A. and they carried it home; they felt of it BRANDON RANDOLPH-MACON INSTITUTE, well-known Teknlklavters ; good a.- with their tiny fingers, they were tre¬ (For Girls) College preparatonr. Special courses a short time and guarantee ■ ’ THEORY AND NORMAL COURSES CENTRAL COLLEGE AND CON¬ for those not wishing to go to College. Special ad¬ mendously happy although it was sound¬ EDMON MORRIS, SERVATORY OF FINE ARTS, vantages in Music, Art, Expression, Physical ex¬ CONVERSE COLLEGE Conway, Ark. For women. Educational center of less music they had in their hands. One the State. Excellent faculty and all modern advan¬ perienced. Boarding students limited to 100. WANTED—Advanced violinist wants to memorable day Hans, the foreman of the MUSIC “ON SALE” BEOYSTEM&SwlS tages. For catalog write John W. Conger, President. Attractive home life. Rates 3300. Address for catalog Charles G. Evans, A.M. Principal, Dan¬ exchange his services as assistant violin mines invited the children to his house teacher In some good conservatory or college and behold there was a machine for the To Teachers, Convents and Schools of Music PEABODY SSSb COMER SCHOOL OF MUSIC, ville, Va. of music for tuition in same. Am a young SP I and scttoo Coredale, Georgia. Courses in Piano, Theory, man, 23 years old. Can furnish best of refer¬ famous Sextette and Pietro was the one . . tn "jBudfpl'u History, Normal Training and Ensemble Work. ST. ANNE’S SCHOOL FOR GIRLS, ences. Address B. R. H., care Etude. to put it on. Now do you think little . L I KERNE Certificates and Diplomas given.j (Episcopal) Charlottesville, Va. College Prepara¬ A Year’s Supply of Returnable Teaching Material tory. Music Art and Modern Language depart¬ POSH ION W ANTED ill si.mi S American children would have done this? TO MUSIC TEACHERS remote from large music stores, and to all schools and ments. Large campua. modem buildings, illus¬ or Western school or conservatory by an Even supposing that little American chil¬ ELON COLLEGE AND CONSERVA- trated catalog. Mus Mary Hyde DuVal, Principal. eiperienced teacher of piano and theory. colleges, the +satur- of having selections “On Sale,” a stock of music on hand and TOPV Elon College, N. C. For men and Cincinnati Conservatory certificate. Autbor- dren had saved pennies for a record what returnable, is a decided advantage. The old way of ordering from a catalog has TORY, women An Abrade College, limited lied teacher of the Dunning System of Im¬ to 400 students. Music and all special departments SHENANDOAH COLLEGIATE IN¬ proved Music Study. Associate teacher Sher¬ would they have bought? I have guessed proven to be unsafe and disappointing. also. W. A. Harper, L. L.D., President. STITUTE AND SCHOOL OF MUSIC, wood Piano School, Chicago. Lcschetizky it already. ROOT'S Dayton, Va. College preparatory, fully accredited technic. C. E.. care Etude. INFORMATION TO PATRONS The Education by State of Va. and all leading colleger. Piano, Remember, that by giving plenty of good comprehensive information that custo¬ TECHNIC AND FLORIDA STATE COLLEGE FOR Voice, Elocution, Commercial Art. Piano Tuning, OF THE Orchestra, Band and Pipe Organ. Terms *200 to The Giver of All Good mer will gain much satisfaction by getting just what is wanted. The names of a few ART OF SINGING $275. No extras. Address S. C. I.. Box 110, Day- __residence quarters—In leased pieces in ordinary use by the customer is by far the better way of describing the WMMEN!rt ton. Va, building. Stock of music for teaching and The religious devotion of Bach, Haydn kind of music desired. A Series of Educational Work, in Singing admission, 15 standard units. Catalog on request. ensemble work. Small stock of instruments Music Teacher on Scientific Methods, for Use in Edw. Conradi, President. and of Mozart was marked. The simple We Ask No Guarantee As To Probable Sale. Private Instruction and in and accessories. Specializing in violin and SOUTHERN SEMINARY, v““e5& stringed instruments. Orchestras for juve¬ trust in God which these musical children We prefer returns on regular selections to be made but once during the year ; at nile and advanced pupils. Owners leaving THOMAS TAPPER’S LATEST By FREDERIC W. ROOT GREENFIELDTRAINING SCHOOL, lished 1867. In the Blue Ridge Mountains of Vir¬ learned from their parents never forsook the end of the season during June and July. ginia. College preparatory, finishing and special city. A bargain at $1,500 net. Address A. Selections can be changed or added to at any time. AND MOST HELPFUL BOOK I. Methodical Sight-Singing. Op. 21 courses. Music, including Pipe Organ, Art Expres¬ Schneider, 306 Oregonian Building, Portland, them. Oregon. The same large discounts are given as though purchased outright. dres^WrUiam^rhunnam'Green^eid^Tenn.'808* Ad" sion, Domestic Science. Rate 3295. Write for When Haydn wrote The Creation he PRICE $1.50 catalog and Book on Home life. Registrar. Keep “On Sale” music in a clean, systematic manner. Sep. rate the music as ATTENTION! Music Clubs and Choral was deeply moved, and at the top of every soon as received into classes ; piano easy, medium and difficult vocal; four hands, Societies! For sale at from 5c. to 10c. The movement for a more thorough II. Introductory Lessons in CONSERVATORY OF MUSIC OF STATE NORMAL SCHOOL, per copy, F.O.B., in lots of twenty copies page he wrote this phrase, “To the sole etc. We will supply manila wrappers for this purpose, free for the asking. education of the music teacher is national Voice Culture. Op. 22 - $1.00 MORRIS HARVEY COLLEGE, and upward. glory of God.” When he was compos¬ Expressage or postage charges both ways are borne by the purchaser. Barboursville, W. Va. Full courses offered in Piano, Pa. Music and Art On the Penna. R. R- and in its scope. The main point of Mr. III. Thirty-two Short Song Studies trolley to Philadelphia. Fits for teaching, college Verdi. Aido. Act 4. ’oo ™r.l« ing he did not think of the applause of Settlements are to be made at least once each year, in June or July. Tapper’s new and interesting work is to For high compass. Op. 24.60 Voice, VioHn, theory in a)l its branches and Com- or business. 3240 pays for board, tuition, etc, for Haydn, Creation. . .224 For medium compass. Op. 26... • .50 school year of 40 weeks. G. M. Philips, Principal- Elgar, Dream of Gernntiun.. the public, he thought only of the beau¬ show what the teacher must know to For lower compass. Op. 26.50 Sullivan, Golden Legend.■..177in NOVELTIES—NEW MUSIC “ON SALE” achieve the widest success and then how Etfs'worth'Hipsher^Mus'ica^Director!^011'5* EdWar<* Mendelssohn, WalpurgU Sight. ■ ■ .108 ties of creation, and he gave thanks in We are constantly issuing new, useful and interesting piano, vocal, octavo, organ IV. Scales and Various Exercises SUMMERLAND COLLEGE AND this knowledge and proficiency may be for the Voice. Op. 27 - 60c Beethoven, Choral Si/rop/ioni/ ....l*" his heart to the Giver of all good. When and violin compositions, all of which undergo a thorough revision by eminent SCHOOL OF MUSIC, Meyerbeer, The Huguenots.1 attained. The captions of a few chapters V. Twelve Analytical Studies. HOLLINS COLLEGE FOR WOMEN, Mascagni, Caralleria Kunticana. . .1 the work was produced the whole house teachers, which makes our editions particularly well adapted for instructive purposes. make clear the great value of a work of Op. 20 $1.00 Hollins^ Va. ^ Exceptionally thorough and complete Healthful climate, Christian home Catalog on Gilchrist, The Surens.1 rose at the burst of marvelous music, In order to give teachers and professionals an opportunity to examine these this character. request. P. E. Monroe, President. Orleg, At the Cloister G novelties we will send them “On Sale” about twelve pieces (piano or vocal) each VI. Sixty-eight Exercises in the . 25 “Let there be light!’’ They shouted for Synthetic Method. Op.28 75c efficient! musicianship^ ^o’lk'gl* co^sc10^03!'0)! «™uuu, Elijah . -- the composer, they demanded his pres¬ month from November until May, on the following conditions : Fundamental Requisites College Preparatory (2 years). Founded 1842. WESLEYAN COLLEGE, J 1. The sheet music will be billed at the large discount given on our own publi¬ (The General Principle of Vocalization.) Catalog on request. Miss Matty L. Cocke, Box 15, Handel, Messiah. 20 ence ; when Haydn was led forward tears Equipment and Success VII. Guide for the Male Voice. tution for the. education of women with a most Address Edmon Morris. Director Spartan- cations. excellent department of music. Joseph Maerz, narg Music Festival, Spartanburg. S. r. were seen coursing down his cheeks, he Music in the Home Op. 23. - $1-00 Director, C. R. Jenkins, D D., President. 2. It is necessary to mention which classifications are wanted. On Special Public School Music VIII. Studies in Florid Song, $1.00 LOUIS ARTHUR IU SSEI.L. Summer waved his hand saying with deep emo¬ Order we send about ten octavo selections, four times a year, containing High and Medium Voice HOWARD-PAYNE COLLEGE, classes during July and early August. Un¬ tion, "It came from God; it is not mine! any or all of the following classes: Sacred, Mixed; Secular, Mixed, Men’s The Basis of Music Memory WILSON COLLEGE, -SPECIAL OFFER- usual advantages for teachers and profes- Voices; Women’s Voices; also organ or Violin selections at longer intervals. Oratory'. MS°tVonFg°jS8cSleTe''iJSSSoXl »st established in 1870 affording excellent advantages thnsionai omupuis.students. nanoPiano iorie,forte, voice and Give glory to God!” Music Teaching as Service in music. Instruction in Organ, Piano, Violin and Mozart’s religious nature is revealed in 3. The novelties can be kept with any other “On Sale” music from us and all °iterury'\'uiti<>n

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Many an otherwise attractive person is a social failure be¬ The soothing, restoring influence that makes this possible cause of a poor complexion. If your skin is not fresh, smooth is the Resinol which this soap contains and which physicians and healthy, or has suffered from an unwise use of cosmetics, have prescribed for over twenty years, in Resinol Ointment, see if the daily use of Resinol Soap will not greatly improve it. for skin and scalp troubles. This same gentle medication, together with its freedom Resinol Soap is not only unusually cleansing and soften¬ from harsh, irritating alkali, adapt Resinol Soap admirably ing, but its regular use helps nature give to the skin and hair to the care of the hair, and of a baby’s delicate skin. that beauty of perfect health which is impossible to imitate. If the skin is in really bad condition through neglect or improper treat¬ Tendency to pimples is lessened, redness and roughness ment, Resinol Soap should at first be aided by a little Resinol Ointment. disappear, and in a very short time the complexion usually Resinol Soap is sold by all druggists and dealers in toilet goods. For becomes clear, fresh, and velvety. a free sample cake, write to Dept. 8-K, Resinol, Baltimore, Md.