Gardner-Webb University Digital Commons @ Gardner-Webb University

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

2-1-1920 Volume 38, Number 02 (February 1920) James Francis Cooke

Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons

Recommended Citation Cooke, James Francis. "Volume 38, Number 02 (February 1920)." , (1920). https://digitalcommons.gardner-webb.edu/etude/665

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDj\ THE ETUit . . * ■ H Page Dewied j~~zz .z... VERDI-CHILD’S OWN BOOK Subscription Price, $2.00 per year in United PRESSER’S MUSICAL MAGAZINE RENEWAL.—No receipt is sent for renewals. On OLD RHYMES WITH NEW TUNES States, Alaska, Cuba, Porto Rico, Mexico, Hawaii, the wrapper of the next issue sent you will be OF GREAT MUSICANS Philippines, Panama, Guam, Tutuila, and the City printed the date on which your subscription is paid of Shanghai. In Canada, $2 25 per year. In England up, which serves as a receipt for your subscription. to the most ByThe Geo. six F.easy.p.anoforte Hamer compositionsPrlCe ^.n6 fthisjittlehifli!tk Price, 20 cents and Colonies, 11 Shillings-2di in France, 14 Francs) The latest of a series written by Thomas Tapper when remitted by International Postal money order, volume comprise the best set. of M can mfurnish he child music student with interesting payable at Philadelphia. All other countries, $2.72 Melodies the publishers have ever pianist Single‘copy. Price 20 cents. MANUSCRIPTS.—Manuscripts should be addressed to Recent music or the^fiule'singw.alTherteacher^)f ^children will be REMITTANCES should be made by post-office or ex- THE ETUDE. Write on one side of the sheet only. Con¬ hiterested to know that these numbers are also pub tributions on music-teaching and music-study are solicited. sate tarag Uafted1s“tres0poestageastampesC are alwa'ys “received'fir 'as"' Although every possible care is taken the publishers are not lished separately in sheet form. IIIis ready This is one of the most successful Money sent in letters is dangerous, and we are not responsible for its safe arrival. then “possession pr'in’trensR0' Un°avfiUblc manuscripts'wifi works for the child music student. be returned. PICTURES FROM HOLIDAY LAND DISCONTINUANCES.—Owing to the educational A MONTHLY JOURNAL FOR THE MUSICIAN, THE Publications MUSIC STUDENT, AND ALL MUSIC LOVERS. ADVERTISING RATES will be sent on application. character of THE ETUDE a majority of its readers By David Dick Slater Pwee, $1.00 ffflfe Advertisements nnm reach this office not later than the 1st SUNNY DAY SONGS do not wish to miss an issue. Therefore, the pub¬ THE PROGRESSIVE MUSICIAN IS lishers are pleased to extend credit covering a Twelve Edited by James Francis Cooke bc^ranks^‘one^f^hTleading'composm'^th^ Grqat By Helen L. Cramm Price, 75 cents Vol. XXXVIII No. 2_1_ FEBRUARY 1920 HERE GIVEN A RESUME OF THE !^°p®!lo,JU*Th1>M ofno)T^“ub»cHbo“s*not>wishin“**’"' Britain has produced in our time Aa| >s °jjach \ delightful book of a dozen and one bright easy NOTEWORTHY MUSIC WORKS PUB¬ great aptness in producing pmces for children. Each •A ^ imhprc with words between the staves. These LISHED DURING PAST MONTHS niece has an appropriate verse under the title, aaaing vcma° or instrumental pieces furnish excellent recrea- Merest to the piece itself. The compositions are y.ocal ° ‘rial for httle players and singers. This BY THE about grade two. work^s the latest of Miss Cramm's popular books Theodore Presser Company BIRTHDAY JEWELS for little pianists. PHILADELPHIA, PA. VOCAL OR INSTRUMENTAL little tunes for little people By Geo. L. Spaulding Price, 75 cents FOR THE PIANOFORTE The World of Music An attractive new volume of little pianopieces w.th By Francesco B. DeLeone Price, 75 cents verses which may be sung ad. lib. The verses are This new work consists of a set of a dozen studies pleasing and of the type that appeals to ‘he luvenile^ each of which has a characteristic title, all of these | Vocal | As the title of the book indicates there is a little cn tuneful as to be considered a real piece. piece for each month of the year with verse tortne They cannot fail to interest the student. The Studies CELEBRATED RECITAL SONGS appropriate birthstone. The numbers are easy to Ire graded and carry the student through the keys play, very melodious, and similar in style and grade major and minor, and lead up gradually to the Third Compiled and Edited by David Bispham Price, $2.00 to those in Mr. Spaulding's successful book, Tunes Grade, but start in the Second Grade. A distinctive compilation of good vocal numbers. and Rhymes. The work of an artist is clearly indicated by the excellent type and variety of the forty-four songs together with the well written preface and the Albums of Piano Music of Unusual Worth copious annotations. The volume is a handsome one of 184 pages and the songs are just such num¬ bers as will be found needful in the preparation of CELEBRATED COMPOSITIONS recital programs as well as being extremely fine AMERICAN COMPOSER S ALBUM for every vocal teacher and vocal student, in tact, BY FAMOUS COMPOSERS it is just such a volume as every singer will find FOR THE PIANOFORTE Price, $1.00 profitable to possess. A descriptive circular giving Price, $1.25 list of contents and price to profession gladly sent This collection is the result of careful selection We were inspired to bring out an album of pieces with the aim to incorporate in one volume such com¬ to any professional requesting same. by the best American composers of music, h-xcellent positions as every good pianist delights in. 1 ,ie best material for this purpose was available to us, and this description is the following, which are included in the Technic is a volume that is a credit to American music. We thirty-three numbers in this volume : | | did not include any of the difficult pieces, but only Fur Elise, Beethoven; Intermezzo, Brahms; heart those of medium grade and of special merit. Dance, Chaminade; Nocturne, Chopin; Humorcske, PEDAL BOOK Dvorak; Second Valse, Godard; Butterfly Grieg; By Dr. Joh. M. Blose Price, $1.00 SPAULDING ALBUM Largo, Handel; Gipsy Rondo, Haydn; The Mill, This is an excellent work offering foundation Jensen; Idilio, Lack; Spring Song, Mendelssohn; studies for acquiring artistic piano effects. It can For the Pianoforte Price $1.00 Prelude, Rachmaninoff; Polish Dance, Scharwenka; be taken up by a student in the second year of study Traumerei, Schumann; Reverie, Schutt; Simple A new collection of intermediate grade. Spauld¬ Aveu,Thome; Chant Sans Paroles.Tschaikowsky.etc. and it is at about this point in the pupil s work that ing’s work is so well known that it needs no intro¬ disagreeable and unmusical effects arising from duction here, and the many lovers of his music will incorrect use of the pedal should be avoided by a welcome the opportunity to possess so many of his FAVORITE COMPOSITIONS clear understanding of the purpose of the pedal and then adequate drill such as that for which this successes all in the one volume. FOR THE PIANOFORTE book endeavors to provide a foundation. Remem¬ By Carl Bohm Price, 75 cents ber that although it has been said, The pedal is the PAUL WACHS’ ALBUM Bohm’s music supplies the kind of material which soul of the piano,” a student should not depend on For the Pianoforte Price, $1.00 is invaluable in teaching pupils who demand melo¬ “soul” or “inspiration,” but be guided in using the dies. Many of Bohm’s compositions contain melo- pedal by systematic and intelligent practice. All lovers of good drawing-room music will be does so near the folk song type that they necessarily delighted with this excellent collection. It has been have become extremely popular. There are twenty- THE ART OF THE PIANO prepared with the greatest care and contains nine¬ four brilliant and popular gems in this album that By Theodore Lack Opus 289 Price, $1.50 teen compositions carefully chosen from the best have been carefully edited and revised. They are and most popular numbers of Wachs. They are chiefly of intermediate grade to moderately ad¬ This is a modern system of technic for piano play¬ chiefly of intermediate grade (Grades III-V). vanced. ing by a leading French composer and virtuoso. Wachs is one of the foremost French salon com¬ There are one hundred special exercises in mechan¬ posers, and this collection is, indeed, a notable one in ism of medium difficulty. All the various points of music publications. technic are covered in the modern manner and in Violin | addition to furnishing extremely fine materia for teaching purposes this work supplies material tor COMPREHENSIVE VIOLIN METHOD anv pianist’s daily practice at the keyboard. An Opportunity to Ascertain By Mr. and Mrs. Frank T. Benjamin Price, $1.25 the Real Worth of the The one method among all violin instructors which | Piano—Four Hands\ is really adapted for “self-instruction.” A complete Publications of the system of diagrams and pictures shows tne exact position of each finger on each string in all the FOUR-HAND EXHIBITION Theodore Presser Company scales. A book which does something toward light¬ PIECES FOR THE PIANO ening so pleasantly the labor of routine instruction. ■ Price, $1.25 To afford a better opportunity of judging the Besides the usual scales and exercises, the book con¬ This is the duet album offered in advance of genuine value of the books listed on this page we will tains 100 easy duets for violin and piano, including publication under the title of Difficult Four-hand gladly send any of them ___ . . . many old-time favorites. The more advanced exer¬ cises are selected from standard works. Album. The numbers are both original duets as for examination. To fur¬ well as arrangements of compositions by such writers as Rachmaninoff, Grieg, Tschaikowsky, ther assist in the selection Moszkowski, Dvorak, Gottschalk, Brahms and others. It is such a compilation of four-hand num¬ logs covering every clas¬ bers as to be regarded as valuable to all good play¬ sification. We will gladly THEODORE PRESSER COMPANY 4 ers While this compilation offers excellent material send any of these gratis. for recital or concert work it is at the same time useful for profitable practice and recreation playing. MAIL ORDER SUPPLY HOUSE FOR SHEET MUSIC AND MUSIC BOOKS 1710-1712-1714 CHESTNUT STREET, PHILADELPHIA, PA* FEBRUARY 1920 Page 7/5 THE ETUDE Page 74 FEBRUARY 1920 A List Selected for Aiding Every Buyer to Obtain the Best and Most Used Instructors, Studies and Collections for Piano, Voice, Violin and Organ

A Careful Study of This List May Bring to Your Attention Just the Type of Work of Which You Are in Need Hi

VOCAL COLLECTIONS PIANO COLLECTIONS JUVENILE SONG BOOK. BACH, ARTISTIC VOCAL ALBUM FOR HIGH VOICE J L1EURANCE. THURLOW. Indian Song. “ lu... ARTISTIC VOCAL ALBUM FOR LOW VOICE 1 MEN S CLUB COLLECTION. “ First Study of Bach (Leefs. CEC1L1AN CHOIR. Sacred two part Songs for NE1DLINGER. Little Folks’ Song Book “ Well Tempered Clavichord, Vol. I MATHEWS. Standard First and Second Grade CELEBRATED RECITAL SONGS. Compiled and SACRED DUETS. For all Voices . BERTINI. H. 25 Studies for Pianoforte AMERICAN COMPOSERS’ ALBUM 1 Pieces. 1 Edited by David Bispham 2 SINGER’S REPERTOIR. 36 Songs. '• 25 Studies for Pianoforte, Op. 100. BACH, J. S. Album of Faeorite Pieces ’• Standard Third and Fourth Grade Pieces . . 1 CHOIR BOOK FOR WOMEN’S VOICES SLATER, D. D. Four Sacred Songs BIEHL, A. Elements of Piano Playing. BEETHOVEN. Selections from Piano Works 1 “ Standard Fifth and Sixth Grade Pieces. CHURCH AND HOME. Sacred Songs, High Voice 1 STANDARD SONG TREASURY. 48 Songs. BILBKO. MATHILDE. General Stud, “ Easier Piano Compositions.. Large collections for teaching and recreation “ Sacred Songs, Low Voice. ] STANDARD VOCALIST. 50 Songs. BOHM, C. Album of Favorite Compositions ... GALLOWAY, TOD B. Seven Memory Songs 1 TWO PART SONGS. Women’s voice. BUGBEE-DAVIS, L. A. Merry Rhymes for Child- StandKd Compositions; Voi. I, Grade I to GLEE SINGERS’ COLLECTION. Mixed voices. WOMEN’S CLUB COLLECTION. Vol. VII, Grade VII, each. BLOSE, JOH. M. Pedal Book. CELEBRATED '"COMPOSITIONS TfAMOUS MENDELSSOHN. Songs Without Word. (Com- BUGBEE, L. A. First Grade Studies. Easy, COMPOSERS . I plete). * original, melodious study pieces. CHAMINADE, C. Album of Favorite Composition. MODERN DANCE ALBUM. ORGAN WORKS “ id Credo ' "-•*-*** CHOPIN, F. Complete Waltaes MODERN DRAWING-ROOM PIECES 1 MOSZKOWSK1, M. Favorite Composition. MOZART, W. A. Sonatas, 2.ols., each 1 ORGAN REPERTOIRE. Pipe Orgs • Selected Works (L PhUlip). “ Sonatas, Complete.. I -R, THEO. Veloci ~ “ Polonaises. > “ Album of Favorite Compositions. 1 elp in an unoccupie CLEMENTI, M. Sonatinas for Piano NEW AND MODERN SONATINA ALBUM 1 BACH. J. S. Eight Short Preludes and Fugue. 75 REED ORGAN PLAYER. COMPOSITIONS FOR THE PIANOFORTE BY OLD FAVORITES’ ALBUM CLASSIC AND MODERN GEMS for Reed Organ 1 25 and modern pieces. CHORDS AND ARPEGGIOS ( WOMAN COMPOSERS. PARLOR and SCHOOL MARCHES 1 LANDON, C. W. Organ Melodies.. ISO ROGERS, J. H. Graded Materials for Pipe Organ. CLEMENT1. M. Grads ' ~ CRAMM, H. M. New Tunes and Rhymea for PIANO PLAYER S REPERTOIRE OF POPULAR CONCONE, J. Selected Studies. PIECES. 39 Popular Pieces. STAINER, Dr. J. The Organ. “ Op. 24; 25; 30; 31, each. POPULAR HOME ALBUM. 46 Pieces. Twenty-four Brilliant Preludes, Op. 37. POPULAR PARLOR ALBUM. STANDARD ORGANIST. Pipe Organ Piece. COOKE, J. F. Mastering tbe Scales. taming the staff nc POPULAR RECITAL REPERTOIRE. 31 Pieces “ School of Reed Organ Playing,4 vois., 4 grades, WHITING, CEO. E. 24 Progressive Studies lor ths Enables the teacher to^ start scale study ROGERS, J. H. Toy Shop Sketches . ROWE, DANIEL. Tone Stories for Boys and Girl. OREM, P. W. The Organ' Player—Pipe Organ “ The Beginner’s Pipe Organ Book. A standard ABBOTT Mr*. A. T. .„ - ^ ...._ ctical Piano Method, Op. highest Jegree of proficiency with advanced Large notes; suitable for young pupils or Perfect Knowledge of the Note*. $0 25 249. Vol*. UI and III, each. $0 DUTTON, THEODORA. Ths First Progress ... kindergarten work. Lively and pleasing. BATCHELLOR-LANDON. Musical Kindergarten LANDON, C. W. Foundation Materials for Piano. EASY DANCE ALBUM SALON ALBUM. Favorite Parlor Pieces . Method. 2 00 ^eads to solid musicianship through an ENCELMANN, H. 24 Pieces for Small Hands SCHOOL AND HOME MARCHES.• For the nursery and classroom. This work easily graded, pleasant and interesting “ Album of Easy Pieces. 26 most popular teach- SCHUBERT, F. irooromptus. Moment. Musicals. MUSICAL THEORY, REFERENCE course of practical study. SCHUMANN, R. Selected Works. BEGINNER’S METHOD! Theo. Presser. 100 PRESSER, THEO. School of the Pianoforte. Stu- " Album*of Favorite Pieces His best drawiog- “ Album for the Young, Op. 68. . BOOKS, GENERAL MUSICAL Intended for the youngest beginners and room pieces, including "Melody of Love”. . “ Scenes from Childhood, Op. 15. . perfectly adapted to their FIRST DANCE ALBUM SLATER, D. D. Pictures from Fairyland. FIRST PARLOR PIECES. LITERATURE FIRST RECITAL PIECES. FIRST SONATINAS . FIRST PIECES IN THE CLASSICS GODARD ALBUM SONATA ALBUM, Vol. I, 15 Sona GREENWALD. M. Children s^Songs and Games teaching, especially suited for self-instruction. SONATINA ALBUM (Louis Kohler) RRY. Descriptive Analyses of Piano Works. !?JS&S;,c.'..,en8s0,,gs.... SPAULDING, GEORGE L. Souv BENDER G.C. Business Manual lor MusicTeacbers ’ Stories of Standard Teaching Pieces.. " Children’s Rhymes from A to Z CLARKE, H. A. Harmony, A Text-Book ^ GRI.'G, ED. First Peer Gynt Suite, Op. 46 ... “ Album of Miscellaneous Pieces. and^omprehensively the fact's and rules of the GURLITT. Album Leaves for the Young. “ Album of Selected Compositions (Mathews) PIANO COLLECTIONS—FOUR HANDS HAMER, G. F. Old Rhymes W.th New Tunes . HANDEL ALBUM (Presser). HANDEL, G. F. Twelve Pieces for the Pianoforte HARTMANN, A. Fifty-one Old Hungarian Melodies Playable versions of old folk melodies ar- A first History for'Stud'enta'at all ages. ^40 SKINNER. O. R. First Year in Theory. HAYDN? jf Sonatas, Vol. I. 150 excellent portraits and illustrations. SCHMITT. H. Pedal, of the Piano “ Sonatas, Vol. II. STREATFIELD. Life Stories of Great Composer. ’ " -bn»rsK HEINS, CARL. Album of Pianoforte Piece.. COOKE. J. F. Great Pianists on the Art of TAPPER. First Studies in Music Biography HUDSON. Musical Poems for Children. STANDARD STUDENT’S CLASSIC ALBUM.. Pianoforte Playing. 1 A History of Music for Children. Direct, “ Musical Picture Book.. SUNDAY PIANO MUSIC.. . • Personal conferences on technic, interpretation, exp readable and never heavy. Full sketch of KERN, C. W. Mississippi River Sketches Dignified piano music, especially useful sion and style with oar most distinguished virtuosos. ELSON. L. C. Mistakes and Disputed Points in iUu8trations?er * ' * *'* POrUa‘ S Poet and Pc SWIFT, fT Storytime and Playtime Music and Music Teaching. “ Education of the Music Teacher. KROGMANN, C. W. Five-Note Recreatio TERRY, F. Little Artist, The. GROVE’S DICTIONARY OF MUSIC AND MUSI¬ WILKINSON, C. W. How to Play Well-known excellent little teaching pieces. . TREBLE CLEF ALBUM.... CIANS. 5 vols., 4,000 pages. II Pianoforte solos. KUHLAU, F. Sonatinas. 20TH CENTURY DANCE ALBUM. WODELL, F. W. Choir and Chorus Conducting... LEFT HAND RECREATION ALBUM HEACOX, ARTHUR E. Ear Training. LICHNER. H. Sonatinas. Ops. 4. 49. 66. LISZT. F. Album of Celebrated Work. TEACHERS’ SPECIALTIES VIOLIN MATERIAL i ► | VOCAL METHODS AND STUDIES j BILLS OR RECEIPTS. Package of 100... MUSIC WRITING PENS. Per dozen. BLANK BILLS. Large size (50). PRESSER S FIRST MUSIC WRITING BOOK BLANK MUSIC BOOKS. 6 staves, 32 pal STANDARD PRACTICE SLI PS. Pad of 100... GREENE, W. Standard Graded Course of S1EBER. F. Elementary Exercises, 36 8-Me.sure STANDARD LESSON RECORD H. ^ Studies, Op. 92, Soprano 60 STUDENT’S HARMONY TABLET TIME CARDS. Lesson and Practice Recorc ll 1 *5 MARCH£Z .f Sim'iie,,OpPr58re"i,e 00 - 8E:»94J:At!MSopr,n“ S 90 ; ^^SS'IS125 MYER, EDMUND J. Vocal Instructor. A practical guide to artistic methods . 1 25 VACCAI, N. Practical Italian Vocal Method 15 ‘ '"Io”' r.tav«! 29S | » “ A Revelation to the Vocal World 60 VIEHL, G. Graded Studies in Sight Singing .... 75 REDDALE, F. The 'School Singer. For normal A complete sight singing manual for class or 8}<. 100 sheets...' CLARKE, H. A. Harmc for all purposes. 60 GUARD, F. F. Music I i Lesson Book and ROOT, F. W. Methodical Sight Singing. The WHELPTON, G. Vocal Studies for Soprano and Tenor. ■ 75 MUSIC TEACHER’SDESK TABLET. Pad of ” Methodical Sight Singing, Through the Keys. 60 * Student’s Manual of Sight Singing. Clear, R “ Methodical Sight Singing, Progressive Musi- cianship . M ” VocaTstudies for°Medium Voice 25 A help for the busy teacher.^ The needed . Guide 1 or°M ale *Volce . 1 25 Catalogs That Are Classified Guides The Theodore Presser Company cheerfully opens accounts with responsi¬ of musical works, including Singer’s Hand Book, Piano Study Guide, Hand ble individuals, grants liberal discounts to the profession and offers many Book for Violin Music, Hand Book for Pipe and Reed Organ, Choir and Chorus other advantages, such as the “On Sale” Plan, to the Mail-Order music buyer. Hand Book, Hand Book for 4, 6, 8 and 12 Hands. Catalog of Juvenile Musical Publications. Thematic Catalogs and complete Catalogs of Vocal and Instru¬ mental Music will be sent to you on request, without obligating you to buy. form will be sent gratis upon request Our Octavo Catalog is extensive and comprehensive, continually increasing with many notable accessions. We publish anthems, choruses and part songs, all styles, and in all degrees of difficulty. We aim to assist in every way possible THEO. PRESSER COMPANY, mKydhousues1c Philadelphia, Pa. the busy organist and choral director. -]OmUSir5aB5CKiri

THE ETUDE .... ■ — Page 76 FEBRUARY 1920 EASTER MUSIC Music As Education A Selected List for Choirmasters r-pHE listed niRteriaLthouKh cofilmed to^theoughtfu^presentation THE following selection is made up of new and standard I broadening in necessary to an ideal foundation numbers from our catalogue. Every number is a gem. fr°m thC SUmmy Solos, Duets and Anthems all have the true festal ring “Edition” Series. THE ETUDE In addition to our own large and comprehensive catalogue we have VOL. XXXVIII, No. 2 a complete stock of the music of all publishers. We will gladly ELEMENTS OF HARMONY. o By Emil Barth, 35c. ^ FEBRUARY, 1920 Single Copies 20 Cents send for your examination copies of any music we have. signatures and rhythms. “You have a Board of Education, because education is a The Voice of Beauty matter of very great importance to the public. You have UPLIFTING EASTER SOLOS BRILLIANT EASTER ANTHEMS PR^SLIc.Sf' The voice of beauty is a clarion in the morning of life. commissions of streets and highways, of parks, of buildings, of 12948 Chi t Hath Risen. High, Stroll through the slums of any large city any midsummer day the fire department and many other departments because of olin Ob.) ...:.K ia I.Stults orrectly develop the natural rhythmic 14798 Chi t the Lord is_ Risen with a bouquet of flowers in your hand, and little children will . ...Pelafield their importance for the publie welfare. We have a fc 12530 Christ’ High. R. W. Martin clamor for them until your heart melts and your bouquet dis¬ NH.Hinge- Commission for the same reason. While I say the Music Com appears. It is the voice of beauty in the child soul calling for mission is inevitable, great credit belongs to Mayor Wozencraft, 12532 The pupil ia able to think ii 8924 Come Ye Faithful. Med. through actual experianc its own. It is appealing for lovely flowers, lovely music, lovely Minetti various keys and to cor" for his broad and far-sighted vision which enabled him to recog¬ 12534 Death is \ anquished. High. I Shew You..Can npTTF Vtfttt*T> AT°THE PIANO. By Meda Z. Steele, 60e. thoughts, fairy dreams of better things. Deny this to the nize the trend of the times and bring to Dallas the prestige of T ThVTieccI i„ this “ planned to build up logically-step by step -a 12535 .. Med., definue pfano musicianship based upon a uniform progress in ear training and coming population and we shall cultivate some hideous monster being one of the pioneer cities to inaugurate a music commis- Neidlinger 10472 Christ is —some Bolshevik Frankenstein that will destroy our very iden¬ 16162 Easter Dawn. (New.) Med. 10475 Christ is C. P. Scott 10221 Christ is a Bourse of forty lessons for the piano 12721 EasterTriumph. High. Shelley tity In almost every large city there are now high-minded “If music were still regarded as the possession of the cul¬ 12722 “ ” Med. “ A ho^o^efaf^to^th^acher of limited opportunities. self-sacrificing people in the less fortunate districts who are 12723 “ “ Low. “ tured few, as a luxury which only the refined could relish, and 6330 Glory to God. High. .A. Rotoli THE VERY FIRST LESSONS AT THE PIANO administering music in Settlement Schools, not so much for the 5321 Med, Bv Mrs. Crosby Adams, 75c. . , only boarding school girls should study, a music commission 5362 Almost universally used by teachers who desire the best material for early art of music as for the good of mankind. These Beacons in the s Morn. Viol instruction. Mrs. Adams demonstrates in these Lessons the new spirit OlMuca would be unnecessary. If music had even reached the stage Ob. High. . . Geibel tion. The great success of this book lies in the attractiveness of the Lessons to “East Side” arc glorious testimony of the fine spirit of the times. Hail Glorious Morn. 6040 Day of Resurri where only its educational and recreational value were realized, They labor that the Voice of Beauty may be heard where it is 12748 Hail Thou Risen One. High. 10601 Death is Swal] GRADED STUDIES FOR THE PIANO and it was considered a legitimate course of the school curric¬ Ward-Stevens Compiled by Mrs. Crosby Adams most needed. -—--— ulum for all children, a music commission would still be a super¬ 12749 Hail Thou Risen One. Low. Seven books for two hands. 6891 Hail to the Risen Lord. High. Three books for four hands, each, Stl.OO. Muscle and Matter fluous institution. But the day has come when music is not only Harding The authority of Mrs. Adams as an educator Is unquestioned. This series of Chopin, tired, sick and soul-weary, visited England and enjoyed bv millions, but when it is known that these millions are 3077 10391 Glorious Mo Graded Studies are an expression of a much higher educational purpose limn the mere 10163 Glory, O Go ability to play to-day something a little more difficult than one could play yester- Scotland in his last days. His beautiful touch, never like the being mentally and physically, socially and spiritually helped 10487 God Hath S day ; they stimulate vitalized teaching. In the Dawn of Early FOUR LITTLE WRIST STUDIES (S. E.) giant force of which Liszt or Rubinstein was capable, was more bv it ; that, moreover, music bestows its benefits not only upon ing. Low. Violin Ot Sh 10903 Hail! Festi By Mrs. Crosby Adams, 40c. delicate than ever—yet there was a psychic intensity in his individuals, but also upon the group, the community—whatever Lord is Risen. High. lelujah! Christ is Risen! Very musical studies, excellent for the cultivation of a loose wrist. Ob. PEDAL STUDIES, FOR THE PIANO (S. E.) playing, a something relative that made his crescendos very the unit may be. Any force that can do this is a matter of Lord is Risen. Lc Violin By Mrs. Crosby Adams, $1 .OO. impressive. It was the power of Chopin’s dynamic mind work¬ public importance.” 8061 Light of Hope. High..Geibel The pupil learns why and how to pedal artistically. These studies deal with 8062 - “ ’’ Low... “ principles instead of markings: in that regard they are a radical as well as helpful ing over the enfeebled matter of his body. . 16241 Lord of Life and Glory. departure in the teaching of the pedal. High .F. A. Clark PRIMARY TONE PICTURES FOR THE PIANO (S. E.) How much greater might have been the effect if Chopin Climate and Your Piano 9868 Resurrection Song. High. Brackett By Mrs. Crosby Adams, 60c. had been a vigorous, healthy man. Many of the greatest Stults A splendid idea of interpretation Is developed through story telling in tones. “Snap!” goes the violinist’s string on a humid night. 8069 Risen Lord. High.Geibel Neidlinger pianists have hail muscles like giants. One or two we know have THE BOY AND THE BROWNIE (S. E.) Heat throws the wind instruments “off pitch.” The whole 7692 Sini ith t the Sons of By Ruth Lydia Bagley, 75c. such powerful shoulders and hacks that they seem deformed. Gkiry. 1 .Mueller Eighteen tiny pieces for very young beginners, introducing the whole staff at orchestra seems out of sorts. What about the piano? 7142 They Cam< he Sepulchre. ! Lord, y God. . ...Steal once by pieces with words which form a connected musical narrative. Let us not belittle the need for the strong, sound, well-exercised High. .. .Solly 10162 Mot Few piano owners know how seriously dampness and 5206 Victor Imr • Hi*. . .. EQUALIZING EXERCISES FOR ALL SCALES (S. E.) and well-nurtured body in pianoforte playing. Since every 10376 Morn’s Roseate Hues. By George Bailhe, $1.50. humidity affect instruments. Place a dish of salt near your 4715 Voice Triumphan Bohannan Intelligently teaching scales and arpeggios In a manner which is economy in keyboard action must go through the mind and down through 15586 Now is Christ Risen..Clark piano. ' If the salt cakes or is moist in the least, close your 10115 Passion and Victory .Dressier both time and effort. the fingers, passing myriads of cells, nerves and muscles, it is 15595 The Resurrection..R. M. Stults ALBUM OF PIANO STUDIES (S. E.) piano at once when you are not using it. This is a very good 15598 The Risen Lord. By Florence A. Goodrich, $1.35. merely good sense to keep this human playing apparatus in EASTER DUETS R. S. Morrison Each study is limited exclusively to the solving of one single technical problem. ling, Gladly Sing. .. .Wodell the very best possible condition. 14467 Christ Victorious. (New.) 10689 Sing, Ye Hea.. SYNTHETIC SERIES OF PIANO PIECES (S. E.) In some climates, pianos of a special type are required to (Alt. a ' By Florence A. Goodrich 10801 Song of Triumph.. .Morrison stand the dampness. Few pianos can endure the dampness of 10575 Thanks Be to God . .Hotchkiss Part one, 75c; Parts two and three, each, $1.00. lOS74 Th.rlnRrtnRod ...Lansing Civic Music Commissions 14381 I am the Resurrection. The creative teaching which these works furnish is inspirational and pro¬ the seashore. The keys stick, the wires rust and the whole d ..Marchant ductive of fine musical growth. While thousands are convinced that music is a civic (Sop. and Alt.) .Stults ster Morning. action of the instrument seems to suffer. The little dish of salt 14403 Easter Morn. (Sop. and Dressier MY FIRST SOLOS (S. E.) By Anna Heuermann Hamilton, »Oc. asset it has remained for Dallas, Texas, to take the initiative Alt.) .Schoebel 10389 Triumphant Lord. ...Berwald Solos which develop true tone and independent thinking. will tell the tale. On the other hand, continued dryness seems 10063 Welcome, Happy Morning. FOUR LITTLE ETUDES (S. E.) By Clara L. Lucas, 35c. in forming a Municipal Music Commission. It should be re¬ BRILLIANT EASTER ANTHEMS Brackett Introducing the arpeggio, broken chord scale and grace note in a tuneful way. to be bad for some instruments. The remedy some employ is 15662 Weicome. Happy Morning STUDIES IN SIXTHS (S. E.) By Clare Rockafield, 5©c. membered that Dallas has for years taken an exceedingly active 10999 All Hail the Glorious Morn. a bowl filled with water in which is placed a large sponge 10309 Why Seek Ye the Living. Repeated sixths, legato and staccato sixths in both trill and scale figures, for and wholly commendable interest in music, supporting opera, W. H. Eastham equal progress in both hands (preparatory for octaves). so as to hasten evaporation. This is located carefully in the symphony and many different kinds of concerts in a way that ON THE ROAD TO TONELAND (S. E.) instrument so that it will be impossible to upset the bowL By Bessie W. Sherman, 75c. has amazed other cities. The purpose of such a commis¬ WOMEN’S VOICES At an unusually early period the pupil is made to feel he is getting on. sion is to advance the local interests of music in every conceiv¬ APPLIED TOUCH AND TECHNIC (S. E.) ■ U By Earle C. Smith, $1 .OO. able manner. Mr. R. C. Tremaine, director of the National For very serious pupils and competent teachers in the making. The Latest and Best MEN’S VOICES LITTLE BEGINNERS’ PIANOFORTE ALBUM (S. E.) Bureau for the Advancement of Music, who has had this idea How much of his business success is due to the immediate By Hannah Smith, 60c. close to his heart for a longtime sends us an interesting address I Shew You a Mystery. Teaching tiny hands to feel at home on the keyboard. office environment of the professional man is difficult to estimate. s Risen. . .Minshall-Nevin made by a member of the commission, Mr. B. Heyer, at a recent i! (New) . EIGHT SHORT STUDIES (S. E.) By Elsa E. Swartz, 60c. The reader knows, however, that the badly-kept, poorly-lighted, th All the Sons. Difficult technical problems when given In short bits are productive of good large gathering in Dallas. Mr. Heyer said in part: results in the earlier grades. / I untidy, scantily equipped store, is usually the one with the “A Municipal Music Commission is the natural product EASTER CANTATAS CANONS (S. E.) By Adolf Weidig, $1.35. fewest patrons. The war has shown thousands of soldiers and Tone poems in this form are splendid preparation for polyphonic playing. of a new era—the era of music. The war has demonstrated the THE GREATEST LOVE VICTORY DIVINE sailors the latest and best in medical equipment, and the doctors, value of music with absolute conclusiveness. It demonstrated By H. W. Petrie 75 cents By J. C. Marks $1.00 upon returning, are demanding new office equipment of the the versatility of music, its unquestioned influence on both mind DAWN OF THE KINGDOM THE WONDROUS CROSS CLAYTON F. SUMMY CO., Publishers latest and the best. They find that it pays not merely and body—health, energy, courage, determination. Music By J. T. Wolcott 60 cents By I. Berge 60 cents 64 E. Van Buren St., Chicago through the impression made upon their patients, but because Eastern Agency, Harold Flammer Inc., 56 W. 45th St., New York served every faculty of man. It enabled him to do his best, IMMORTALITY they can themselves do better work when surrounded^ with By R. M. Stult* 60 cents to be his best. Since the war, music has served mankind even the proper apparatus, books, etc. If you have an old-fashioned, KEYBOARD STAFF AND SIGNATURE CHART—Four Octoves, 25c. more, for its field has broadened as people came to realize that antiquated equipment in vour studio, invest some of the money Any of the above Publications will gladly be sent for examination Made to fit the regular piano keyboard, A most complete fundamentals which may be used with excellent results in the school room. it could serve all mankind in every phase of human life. Hence you are making during this prosperous season in buying the Attention is called to the works of Calvin B. Cady, entitled Mime Educatic the Music Commission. It was as inevitable as a commission equipment which your position makes imperative. ^ THEO. PRESSER CO. for any other subject of importance to the people. 1712 Chestnut Street :: Philadelphia, Pa. is stimulating, helpful and valuable.”

Please mention THE ETUDE when addressing our advertisers. FEBRUARY 1920 Page 79 TEE ETUDE FEBRUARY 1920 r , -~“ 1 .* The Etudes of Chopin and How They Ought to be Practiced [WELCOME By I. PHILIPP Professor of Pianoforte Playing at the Paris Conservatoire I MUSIC teachers ' At less than twenty years of age (October 20, 1829) The etude requires to be practiced two measures at Chopin wrote from Warsaw to his friend, Titus Woy- a time, and (above all things) with careful listening NATIONAL ASSOCIATION ciechowski, “I have composed an etude after my own to the tones produced on the piano. peculiar manner.” And on the 11th of November of Transpose to all keys. the same year he announced to the same friend that he Hold all notes as long as possible. had completed a series of etude's with which he would be delighted to have him become acquainted. It was be¬ tween Chopin’s nineteenth and his twenty-fifth year that he composed the twelve etudes (Op. 10) which re¬ vealed more than any others his extraordinary genius. In these, one might say, he transformed musical art in general. For these etudes mark an epoch. Let us consider the repertoire of etudes in the year 1830— when one plays those of other composers: the pretty etudes bf Moscheles and of Cramer, of Humell and of Berger, so mediocre; those of Clementi, so classic; those of Kessler, so necessary for the development of pianistic technic, but so dry! Bertini’s agreeable studies and exercises, or Czerny’s innumerable and use¬ ful technical works, useful and occasionally graceful. We may play all of these only to discover that they do not compare with those of Chopin. For these mas¬ terpiece.: open a horizon to music and technic—these With interpolated double notes, play very carefully. inventions, so audacious, so full of poetry and abso¬ Practice each group of notes three times. lute perfection of form. The American biographer of Chopin, the spirited and ingenious writer, James Huneker, in his fine book. “Chopin, the Man and the Artist.”' speaks of these etudes as the work of a Titan, and predicts for them that they will last forever. “They will never be equalled,” says another critic, Nieks. “These studies are emphatically the aesthetic view of the otherwise •H?— - n ^ dry technic,” Kullak says. “In a remarkable manner In the same manner as the others, Lento J7 Chopin here gives all his art—all his genius. He is so young, so virile in these etudes—more so than in r* — "-T. any of his other works,” writes George Matthias. “Here in these etudes,” says Stephen Heller, “is all the freshness of youth and all the originality of genius. A Notable Group of American He has penetrated an unexplored region of harmony and rhythm.” •n f'f * n -h. The biographer of Liszt, Mme. Ramann, on the con¬ Musical Educators trary, insinuates lightly that they were largely inspired by Liszt. The reverse is the truth. The date of his r~ This photograph, made during the recent Convention of the Music composition is all against it. 11 of Smith College; Professor R. Lewis, of Tuft’s College; Mr. Theodore T Teachers’ National Association, in Philadelphia, December 29th, 30th and For instance, let us analyze especially the etudes Presser standing in center of steps; Mr. James Francis Cooke (standing (Op. 10) dedicated to Franz Liszt. 31st, was taken on the steps of the Presser Home for Retired Music below Mr. Presser) ; Francis L. York (standing at bottom of steps on No. i, A Major. In teaching his pupil, Mile. Teachers, in Germantown, shortly after a Reception Luncheon at the right of picture); behind him, to his left, is Harold Randolph, Director of Streicher, this etude, Chopin said to her, “This etude Home. the Peabody Conservatory; Mr. Braun, Mr. Huff, H. L. Fry, and Dr. will do you very much good if you study it correctly; Those familiar with many of the distinguished men and women will George Coleman. Gow, Professor of Music at Vassar College (front row it will stretch your hand. But if you study it badly it will injure you.” On a bass proud and strong these be able to recognize on the top row, reading from left to right, Prof. with fur collar). Among the many ladies represented are Mrs. Frederick Charles H. Farnsworth, of Columbia University (Teachers' Training formidable arpeggios traverse the keyboard. Before W. Abbott, Mrs. Crosby Adams, Mrs. Patterson, Mrs. Heizer Mrs H K Chopin no one had ever dared these extensions, mount¬ School), N. Y.; Prof. J. Lawrence Erb, of the University of Illinois; Butterworth. Mrs. Williams, Mrs. Hinshaw, Mrs. Williams’ Mrs Con¬ ing and ascending, and this etude inaugurated what was Oscar G. T. Sonneck, of G. Schirmer, N. Y, seated on the rail; Leroy W. way, Mrs. J. F. Cooke, Miss Laura Staley, Mrs. Garrigues,’Miss Price. of a certainty a new school of technic. It is novel, Campbell, A. J. Ganvoort (Director of the Cincinnati Conservatory), Paul Miss Sleeper, Miss Barrow, Miss Anne McDonough, Miss F I T audacious, both in design and arrangement. The etude Browne Patterson, Gustav L. Becker (standing beside column). Seabury, Mrs. Frances E. Clarke, Miss Elizabeth A. Gest. should be played slower, as it is marked 160 to the Standing on the steps, at the back, may be seen the following gen¬ quarter note, perhaps, with a strong, broad tone, forte Many others our correspondent has been unable to identify, owing to tlemen: C. F. Jackson, A. A. Stanley, Professor of Music, University of throughout, increasing to a fortissimo in the disso¬ the fact that this photograph was received only a very short time before nances. The severe character a la Bach of it must be Michigan; Dr. Hugh A. Clarke, Professor of Music at the University of going to press, our only apology for what would otherwise seem a dis¬ preserved. Pennsylvania; Dr. Leonard B. McWhood, Professor of Music at Dart¬ courtesy. Preparatory Exercises Hold as long as possible, but do not overdo. mouth College (left of column on right) ; C. F. Hoban (right of column) ; The convention included many important conferences in which one Walter Spry; Leon Maxwell, behind Mr. Spry; Holmes Cowper; Henry of the most representative groups of American musical educators ever he.—-i a iiether it is possible to grade these Tovey; Dean McCutchen, of DePauw University; Professor A. L. Man¬ etudess in tlx ich they should be taken accord assembled participated with enthusiasm. In later issues of The Etude we ing too their difficulties : 1„jt here is a grading that is fai ' chester, of Hardin College; Prof. Karl Gherkins, Prof. F. V. Evans, Mr. j-jjt k' I fd hjtEjJfl ■ rational Op. 25. No. 2 : Op. 25, No. 7 : Op. 25. No. shall hope to present parts of papers and discussions of interest to our o. 5 ; Op. 10, No. fl : Op. 25, No. 3; Op. 25, No. McKenzie. readers. No. 0 : Op. 10. No. F : Op. 10, No. 3 : Op. 10. No. At the bottom, reading from left to right, may be seen, among others, F: Op. 25. No. 8 : Op. 10, No. 4: Op. 10, No. Those desiring unmounted photographic prints of this picture may ,. 10: Op. 25, No. 12; Op. 10, No. 12; Op. 10, No. Burton T. Scales, Girard College; Professor Alexander Heinemann, obtain them, postpaid, by sending one dollar to the Philadelphia Com¬ 11 : Op. 10. No. 2: Op. 10, No. 1 ; Op. 25, No. 6; Op. 25, No. Catholic University of Washington, D. C.; Professor Henry Dike Sleeper, 10 ; Op. 25, No. 11. mercial Photographic Co., at 808 Chestnut Street, Philadelphia Pa

A FEBRUARY 1920 Page 81 THE ETUDE Page 80 FEBRUARY 1920 bid its being done. The teacher must inculcate what is * * < ' '■ , „ Practiced thus, this etude will give power to the fingers, ing the Rubato. Hans von Billow said of , correct When he inculcates what is correct and his "One cannot apprehend from a half-baked pianist and develop the stretching muscles of the hand. The lessons are not practiced he follows them up with what is the Rubato of Chopin any more than one can student must guard against practicing too long, and I being angry. When he follows them up with being advise him not to use too much power. The arms, the learn from a chair what is the philosophy of Kant. angry then, contrary to what should be, he is The Indispensables in Pianistic Success wrists should be allowed to be free and supple while Bars 32, 33 and 36, 37 should be played very rap¬ offended with his son. * * * When father and son the fingers press firmly on the keys. All the parts of the idly, holding back the time slightly in the last three come to be offended with each other the case is evil. right hand require to be practiced with the left. double croches of bars 33 and 37. Bar 38-42 and 46-52 The ancients exchanged sons, and one taught the son An Interview with the Eminent Piano Virtuoso are to be played very fast. Bars 43 and 4a should b of another.”’ . played slowly. The pedal plays an nnmensety impor- Please observe that Mencius suggests an excellent Etude Op. 10, No. 2 JOSEF HOFMANN tant part in this etude. It must be used to shape the solution of the difficulty: exchange lessons with some This is one of the most difficult of all the etudes in phrasing, to vitalize the melodic “line, and must be other teacher who has children. If no such opportu¬ the pianistic repertoire. It requires not only the su¬ changed often, and with easy, sure movement, avoid nity offers put your child under the instruction of one preme technic of the first etude, but also all the orig- ing the “bumping” that is the mark of the tyro in pedal of your own advanced pupils who shows an aptitude ±- nality, and it requires to be played with the greatest and a desire to teach. Incidentally, it will furnish her _ lightness, the most absolute suppleness and with an technic. with a most splendid recommendation and be a help to Month) even and consummate pianissimo. If one is master of her far beyond the small sum that you may pay for the (The First Section of this Interview Appeared in The ETUDE Last chord is an instrument which is out of date, though his fingers he may produce the effect of a delicate mur¬ child’s tuition. Notice, we are using the feminine pro¬ employed. There are thousands of such pieces that “In the art of piano’ playing we hkve much the same the music of Bach is still a part and parcel of the mu¬ mur, of a reverie in this little chef d’oeuvre. noun in this last sentence: children should begin music indicate the use of scales, chords, arpeggios, thirds, line of curve. At first there was childlike simplicity. sical literature of to-day. The oldest known specimen If one can play this etude well at M.144 to the at a very early age, where possible, and women are, etc., and the pupil is encouraged to find that what he quarter note, as indicated by Chopin, it may be played Then, with the further development of the art, we find without doubt, the best to deal with very youthful has been working so hard to acquire may be made the of the clavichord (dated 1537) is in the Metropolitan at the higher speed of 160 to the quarter note. minds. At a later age—say from twelve years up— the tendency toward enormous technical accomplish¬ source of beautiful expression in a real piece of music. Museum of Art, in New York City. Should you hap¬ Here is an interesting exercise for all the keys: the male teacher begins to have a slight advantage in ment and very great complexity. Fifty years ago This, to my mind, should be part of the regular pro¬ pen to view this instrument you would realize at once the matter of commanding respect and enforcing at¬ technic was everything. The art of piano playing was that its action is entirely different from that of the the art of the musical speedometer; the art of play¬ gram of the student from the very start; and it is what tention. The main point, however, is to have a really piano, just as its tone was different. You cannot pos¬ competent teacher, regardless of sex, who is some¬ ing the greatest number of notes in the shortest pos¬ I mean when I say that the work of the pupil in tech¬ sibly make a piano sound like a clavichord through Practice first, emphasizing strongly the top notes— what less familiarly associated with the child than are sible time. Of course, there were a few outstanding nic and in musical appreciation should go hand in any medium of touch or pedals. Therefore, why not not the bottom ones—then the same with the next his own parents. giants, Rubinsteins, Liszts and Chopins, who made hand from the beginning. play the piano as a piano? Why try to do the impos¬ fingering. their technic subordinate tq their message; but the The Indispensable Pedal sible thing in endeavoring to make the piano sound public was dazzled with technic—one might better say Multiple Rhythm pyrotechnics. Now we find the circle drawing toward “The use of the pedal is an art in itself. Unfortu¬ like another instrument of a different mechanism? the point of simplicity again. Great beauty, com¬ nately, with many it is an expedient to shield deficiency Why not make a piano sound like a piano? Must we Right (i-tllJ. J||S;3||!-i|| By Hazel Victoria Goodwin bined with adequate technic, is demanded rather than —a cloak to cover up inaccuracy and poor touch. It is always endure listening to Wagner’s music in a vari¬ Hand enormous technic divorced from beauty. employed as the veils that fading dowagers adopt to ety show and to Strauss’ waltzes in Carnegie Hall? . 1 2 1 2 2 31| 2 1|| obscure wrinkles. The pedal is even more than a The archaics discovered that one of the most charm¬ “Technic represents the material side of art, as Indispensable Guidance ing effects in music is the sustaining of two or more money represents the material side of life. By all medium of coloring. It .provides the background so /I 2 11 1 simultaneous melodies. We, a step further, realize the means achieve a fine technic, but do not dream that indispensable in artistic playing. Imagine a picture “If one were to ask me what is the indispensable painted without any background and you may have an Left | 4 5 11 3 loveliness of effect in sustaining thus not only unlike you will be artistically happy with this alone. Thou¬ thing in the education of a pianist, I would say: ‘First melodies, but unlike rhythms. While this effect is not sands—millions—of people believe that money is the inkling of what the effect of the properly used pedal is of all, a good guide.’ By this I do not mean merely a Hand 2 lj[2 2 I difficult for orchestra or chorus, it is a feat for the basis of great happiness, only to find, when they have in piano playing. It has always seemed to me that it good teacher, but rather a mentor, a pilot who can (5 4 || 5 3 || 5 4 I pianist, especially in the rhythmic combination of two, accumulated vast fortunes, that money is only one of does in piano playing what the wind instruments do in and who will oversee the early steps of the career six and three. the extraneous details which may—or may not—con¬ the tonal mass of the orchestra. The wind instru¬ of a young person. In my own case, I was fortunate ments usually make a sort of background for the The rhythm of six always resolves itself, we remem¬ tribute to real content in life. in having a father, a professional musician, who real¬ ber, into either a rhythm of three or a rhythm of two. music of the other instruments. One who has at¬ Shall Parents Teach Their Own “Technic is a chest of tools from which the skilled ized my musical possibilities, and from the very begin¬ When there is this simultaneous two, six and three tended the rehearsal of a great orchestra and has artisan draws what he needs at the right time for the ning was intensely interested in my career, not merely Children Music? rhythm—as follows: Two in the uppermost part, six heard the violins rehearsed alone, and then together right purpose. The mere possession of the tools means as a father, but as an artist guiding and piloting every in the middle and three in the lowest (and this occurs with the wind instruments, will understand exactly in well-known instances; cf. Chopin’s Waltz, Opus 42 nothing; it is the instinct—the artistic intuition as to day of my early life. Fate is such a peculiar mystery, By Ben Venuto what I mean. or Schumann’s “Soaring”), the middle part, being am¬ when and how to use the tools that counts. It is like and the student, in his young life, can have but a “How and when to introduce the pedal to provide biguous, generally mimics the bass more effectively opening the drawer and finding what one needs at the slight idea of what is before him in the future. There¬ When this question is propounded an array of illlus- certain effects is almost the study of a lifetime. From than the soprano. This is because the soprano (other moment. the very start, where the student is taught the bad fore, the need of a mentor is essential. I am sur.e that trious examples springs into mind—the matchless Wolf¬ things being equal) is always the most conspicuous The Technic which Liberates effect of holding down the ‘loud’ pedal while two unre¬ my father was the author of a great deal of the suc¬ gang Amadeus Mozart, whose first and only teacher part, and stands evenly against competitors in the “There is a technic which liberates and a technic lated chords are played, to the time when he is taught cess that I have enjoyed. It was he who took me to was his father, Leopold Mozart—Madame Clara Schu¬ lower voices. Thus, in the case under discussion, when which represses the artistic self. All technic ought to to use the pedal for the accomplishment of atmos¬ Moszkowski and Rubinstein. The critical advice— mann, so admirably educated by her father, Friedrich the alto accents a note out of every two, one will ob¬ be a means of expression. It is perfectly possible to pheric effects that are like painting in the most subtle Wieck—and not a few whole families of musicians with serve that the piece is infinitely more compelling than especially that of Rubinstein—was invaluable to me. accumulate a technic that is next to useless. I recall and delicate shades, the study of the pedal is continu¬ The rhythmic practice of chromatics .alone will be whqm (as with the Bach family) the traditions of mu¬ when it accents one out of every three. The student should have unrelenting criticism from a very useful for obtaining great digital facility. sical art have been handed down direct from father to the case of a musician in Paris who studied counter¬ ously a source of the most interesting experiment and master mind. Even when it is caustic, as was von son (or daughter) for many generations. Or passing point, harmony and fugue for eight years, and at the revelation. Biilow’is, it may be very beneficial. I remember once from the sublime to the commonplace—the present end of that time he was incapable of using any of his No Hard and Fast Pedal Rules in the home of Moszkowski that I played for von writer is only one of many teachers who can testify knowledge in practical musical composition. Why? “There should be no hard-and-fast rules governing that some of their best-prepared and most satisfactory Biilow. The taciturn, cynical conductor-pianist simply bum mm Pm Because he had spent all of his time on the mere dry the use of the pedal. It is. the branch of pianoforte pupils are those who were first taught by their parents. Imii crushed me with his criticism of my playing. But, technic of composition, and none in actual composition. playing in which there must always be the greatest lati¬ young though I was, I was not so conceited as to fail In spite of this frank admission and these illustri¬ He told me that he had been years trying to link tude. For instance, in the playing of Bach’s works on to realize that he was right. I shook hands with him ous examples, we are firmly convinced that in most HHHili the modern pianoforte there seems to have been a very B UM UM M. his technic to the artistic side of things—to write com¬ and thanked him for his advice and criticism. Von cases the parent is not the best teacher for the young great deal of confusion as to the propriety of the music student. If the father or mother is a profes¬ positions that embodied real music, and not merely the Biilow laughed and said, “Why do you thank me? It The practice of double chromatics using one fingering use of the pedal. The Bach music, which is played sional musician the child’s lessons are apt to be post¬ reflex of uninspired technical exercises. I am a firm is like the chicken thanking the one who had eaten it, for groups of three, will aid in developing the glissando To carry a rhythm of in an alto such as this, one now on the keyboard of the modern piano was, for the poned or omitted at frequent times to accommodate would, of course, slightly accent C, E-flat, E, C, believer in having technic go hand in hand with veri¬ for doing so.’ Von Billow, on that same day played necessary for this etude. table musical development from the start. Neither can most part, originally written for either the clavier or other engagements: this irregularity is in itself a great E-flat, D-flat, etc., and leave unaccented D, D-flat, in such a jumbled manner with his old, stiffened fin¬ be studied alone; one must balance the other. The for the organ. The clavichord had a very short sound, drawback. On the other hand, where the parent is a F, etc. D-flat, however, partakes of the soprano mel¬ resembling in a way the staccato touch on the present- gers/ that I asked Moszkowski how in the world it 454545 353535 343434 good musician but not an experienced teacher, there is ody as a sustained melody note that must be kept teacher who gives a pupil a long course in strict tech¬ nic unbroken by the intelligent study of real music, day piano, whereas the organ was, and is capable of might be passible for von Biilow to keep a concert en¬ 5 4 5 4 5-4 5 3 5 3 5 3 434343 a certainty of the same pedagogic errors in method afloat over successive alto notes and a. bass chord. is producing a musical mechanic—an artisan, not an a great volume of sound of sustained quality. Due to gagement which I knew him to have a few days later which any other untrained teacher is sure to commit. How to stress it in the soprano and leave it un¬ the contradictory nature of these two instruments and I am not speaking now of any ignorance of purely artist. in Berlin. Moszkowski replied: ‘Let von Biilow alone This may be extended to three notes: stressed in the alto is the question. It is an un¬ the fact that many people do not know whether a com¬ musical facts, but of that good judgment in “grad¬ “Please do not quote me as making a diatribe against for that. You don’t know him. If he sets out to do stressed note of the alto. And to make it appear un¬ position at hand was written for the clavichord or for ing,” in length of lessons assigned, in choice of mate¬ technic. I believe in technic to the fullest extent in something, he is going to do it.’ 3 4 5 etc. stressed (though in reality it is stressed) it is neces¬ the organ, some of them try to imitate the organ rial, and of other details which can come only through its proper place. Rosenthal, who was unquestionably sary to create around it the illusion of non-stress. sound by holding the pedal all the time or most of the “Von Biilow’s playing, however, was almost always long experience as a teacher, coupled with a natural This can be done by leaving unstressed the other one of the greatest technicians, once said to me: T time, while others try to imitate the clavichord and pedantic, although unquestionably scholarly. There I advise, also, the practice of fragments of four talent for teaching. Where, owing to some misman¬ even eight-notes of the second part—that is, the D and have found that the people who claim that technic is refrain from the use of the pedal altogether. These was none of the leonine spontaneity of Rubinstein. measures at a time with different nuances—FF, F, Mp, agement' in these respects, the child’s progress is un¬ not an important thing in piano playing simply do not the F—stressing C, E-flat and E. This results in the extreme theories, as in the case of all extreme theories, Rubenstein was a very exacting schoolmaster at the P, PP. The accompanying notes played with great satisfactory, there is apt to arise a mutual impatience possess it.’ For instance, one hears now and then that force, and then as lightly and distinctly as the fingers first being stressed; the second, unstressed; the third, are undoubtedly wrong. piano when he first undertook to train me; but he and ill-feeling such as should never exist in the rela¬ scales are unnecessary in piano practice. A well- can play it. stressed; the fourth, stressed and held; the fifth, “One may have the clavichord in mind in playing one often said to me, ‘The main object is to make the tions between parent and child. stressed, and the sixth, unstressed. played scale is a truly beautiful thing, but few people Etude 3 piece and the organ in mind in playing another. There music sound right, even though you have to play with The Chinese sage Mencius, born B. C. 371, hit the Consciousness is a unit and can focus itself upon play them well because they do • not practice them your nose!’ With Rubinstein there was no ignus One of Chopin’s pupils, Gutman, relates that his nail on the head in his remarks on this subject. Al¬ can be nothing wrong about that, but to transform the but one thing at any one time. The pianist can no enough. Scales are among the most difficult things in fatuus oc mere method. Any method that would lead illustrious master often said in his presence that never though what he had in mind was general education, modern pianoforte, which has distinctly specific tonal more keep his mind in full swing with a rhythm of piano playing; and how the student who aspires to to fine artistic results—to beautiful and effective per¬ had he found a more beautiful melody than this etude; or, possibly, instruction in manners and morals, yet attributes, into a clavichord or into an organ must re¬ two while he is appreciating a rhythm of three, than rise.above mediocrity can hope to succeed without a formance—was justifiable in his eyes. and one day, while he was playing it, that' Chopin his ideas apply so perfectly to niusical education as thorough and far-reaching drill in all kinds of scales, I sult in a tonal abuse. can two similar cubes of wood be simultaneously “Finally, to the student let me say: always work hard sighed deeply and ejaculated, “Oh. my country!” The well that it seems worth while to quote them almost do not know’. I do know, however, that I was drilled “The pedal is just as much a part of the pianoforte placed in the space occupied by one. However, the and strive to do your best. Secure a reliable mentor double notes which abound in the middle part must entire: unrelentingly in them, and that I have been grateful as are the stops and the couplers a part of the organ pianist can teach his fingers, with close attention, to if you can possibly do so. and depend upon his advice first be studied absolutely thoroughly to make one mas¬ "Kung-sun Chow said: 'Why is it that the superior carry rhythms later without his attention, no matter for this all my life. Do not despise scales, but rather or the brass tangents a part of the clavichord. It is ter of all these difficulties. Only thus may one inter¬ as to your career. Even with the best advice there is man does not himself teach his son?’ how contrary to the one in which his attention happens seek to make them beautiful. artistically impossible to so camouflage the tone of the pret this magnificent work, without too greatly sacrific¬ always the element of fate—the introduction of the “Mencius replied: ‘The circumstances of the case for¬ to be engrossed. ' “The clever teacher will always find some piece that pianoforte as to make it sound like either the organ unknown—the strangeness of coincidence which will illustrate the use and result of the technical means or the clavichord. Even were this possible, the davi- THE ETUDE Page 82 FEBRUARY 1920 FEBRUARY 1920 Page 83 Some Errors and How I Corrected Them THE ETUDE _ - would almost make one believe in astrology and its dictum that our terrestrial course may be guided by By A. W. S. the stars. In 1887, when I played in Washington as a child of eleven, I was introduced to a young lady, "Tesy to the audience, place at the piano, cues, acknowl¬ SIS 25 SB who was the daughter of Senator James B. Eustis. (Tactful plans for avoiding “friction," which have edging encores and applause, etc. What is Shape in Music Little did I dream that this young woman, of all the been tried out by a practical teacher•) hundreds and hundreds of girls introduced to me dur¬ Little Details for Comfort and Success By PROFESSOR FREDERICK CORDER < : 1 ing my tours, would some day be my wife. Fate plays Furnishing the Music, Piece by Piece, As Needed Especially the young and nervous are trained to care its role—but do not be tempted into the fallacious be¬ Some patrons complained that it was inconvenient, for hand-comfort. Talcum and cologne are always of the Royal Academy of Music of London sometimes, to pay for them, and many people of moder¬ lief that success and everything else depend upon fate, to be had, and some “big sister” of a senior soothes - ate means are unwilling to undertake indefinite expense for the biggest factor is, after all, hard work and intel¬ and quiets the excited little things. Everybody’s place of this sort. Now, my term-card names a certain amount ligent guidance. is chalked on the floor, especially the precise spot to be paid, at the beginning of each quarter, for whichI where, in crossing to the piano, they turn and bow to Plan of a Binary •movement. A—B—:|| AB—A—B undertake to furnish all music and material needed. T.—Afraid? the audience. Another point practiced over and over Pupil.—I am afraid, Professor, that I found your last “Just One Moment” In some cases I lose a little on this transaction, but P.—Yes, afraid you would snap my—ahem!—You do or in plain words—1st subject—2d subject (this por¬ is the turning leaves quickly. I do not stand by them; article somewhat dull. tion used to be repeated, for fear lest you failed to this is more than made up by the average sales, and Teacher.—From which I gather that you are one of snap sometimes, you know. ' they know just what to do, and it looks better and grasp it). Bits of both or either of the subjects modu¬ By Mae-Aileen Erb especially the simplified bookkeeping. Patrons like it, the many who endeavor to write music without knowl¬ T.—I fear I do. Well, take it from me that it is because they can figure out the exact cost of the easier. „ ta lating around. Then 1st and 2d subjects as at first, Undesirable Pupils edge or method. the worst thing a teacher can do. Pupils come to be quarter’s music. It is a recognized regulation, novv, with the difference that instead of being in different, P.—Without much method, yes; but don’t say without taught, not scolded. “Richard," called his mother from an adjoining and, being “in black and white,” on the printed card, is Trying to keep all pupils, no matter how unwilling (related) keys both are now in the initial key. Usually room, “it’s time you commenced your practicing.” or unreliable. I felt that some of my pupils did me knowledge. You have taught me quite a lot. p.—O, when one is really stupid a little scolding T.—It is not a question of what I have taught, but there is a Coda or tail-piece, a section so designed as to “All right,' mother—just one moment,” returned the no credit and brought down the class standard. So, brightens one up, I think. But please, what is Form? of what you have learnt. Is this a specimen that you emphasize the ending. To Minimize Bookkeeping now, when it becomes evident that one doesn’t care and T.—Form is simply the manner and order in which boy as he placidly turned a page of the book he was have brought me—this unhappy-looking pencil smudge? Plan of a Rondo movement. A—b—A—c—A—b. won’t try, I say, “Why not stop for awhile, if you musical material is displayed. This is always, when reading. I let people pay as they wished to, and sent in bills P.—Yes, I thought I had the idea for such a nice The difference here is that the principal subject is very have so many interruptions?” I take them at their you come to the bed-rock of it, as simple as simple can Fifteen minutes later his mother entered the room to those who did not pay in advance. Some lessons piano piece, but the horrid thing has gone and got stuck. definite and recurs twice, with much less important sub¬ word, in a pleasant sort of way, showing no annoy¬ be. and quietly took the book out of her son’s hand. went unpaid for months. Parents sometimes insisted T.—They generally do when you have no clear idea jects (usually mis-called episodes) between. To make ance, and follow up with a nice friendly note to the P.—Simple! I wish I could find it so. “Dick,” she said, “I have noticed symptoms develop¬ that I was mistaken, and I found it necessary to take of what you want to say. A young man making his this plan seem less patchy Beethoven adopted the plan parents. With most children, this results in an early T.—Just as a tune has either two halves or three less than was due, in order to avoid unpleasantness. first speech comes to grief in the same way unless he ing in you the past two months which have caused me and earnest call from a worried mother, and a fine of making b (and sometimes also c) recur in the tonic Finally I decided that there must be something less has learnt the art of laying out his whole discourse portions of the 1st and 3d alike, so a movement has a great deal of concern.” heart-to-heart talk. It always ends the thing pleas¬ key, as in a Ternary movement. nerve-racking, for music and bookkeeping don’t mix ahead and not being distracted by the portion that he either a first and second part or three with the first and “Symptoms! What kind of symptoms?” asked very well. So my term-card says, “if the lessons are antly, anyhow, and the financial loss (rather heavy, third al^ke. Taking elaborate Sonata or Symphony There is almost always a Coda to a Rondo. Richard quickly. sometimes, I admit) is better than a pupil who lias no is speaking. P.—But all this business seems far too elaborate for paid for as taken, and none missed, the last of the P.—I might do that in speaking, but it doesn't seem movements of modern times you sometimes find devia¬ “Symptoms of procrastination—do you know what quarter is a free or ‘premium’ lesson.” This premium “esprit de corps." Sometimes the lame excuses cover a such a trifling piece as I was wanting to write. possible in music. tions from this scheme, but essentially the following list is one of the class honors, read with the other real reason which they didn’t like to tell, and, in their T.—Yes; as I told you at first the essential thing is that means?” replied Mrs. Barton. T.—Yet you find it not only possible but natural in two sentences describe the form of any musical piece: honors at the annual concert. More than half the relief at being helped over an awkward situation, they to get away from your subject and key; do something “Oh, some new kind of a disease, I imagine,” the boy dress-making or cookery. Say something: say something else : say the first again. very often send someone to fill the vacancy, and do returned impatiently. class have a perfect record. P.—Oh yes, those are real things. Music is different. Be in your key: be out of your key: return to your else and then return. Now, whether you do this in a much to promote the success of the class. “No, you are wrong, Richard. Procrastination is not T.—Not actually, only in your—may I say nebulous? tune like the Bluebells of Scotland The Annual Concert key. a disease, but it is almost as bad as a disease and some¬ —mind. When you understand it well enough to plan Be Discreet in Speech Mantelpiece Symmetry times it is even more difficult to cure. It means put¬ The annual concert was dreaded by many of the it out like a dress or a dish you will never “get stuck.” pupils and many played far below their real ability, No matter what happens, keep things outwardly If you think of it this is pretty much as you dispose ting things off to what seems a more agreeable time.” At present do you know what you are doing? Why ornaments upon the mantelpiece: Two vases or pictures from sheer nervousness. Our annual piano examina¬ serene, because what you say sternly or impatiently instead of composing music you are-expecting the piece “Oh, is that all!” laughed Richard, with obvious re¬ tion, at the end of the winter, prepares the class for to match, separated by a clock in the middle. You will not be softened by repetition, and you never know to compose itself. Do you seriously think it will? lief. “I thought perhaps something dreadful was the the public concert. The examination, conducted by a might think this vulgar in its simplicity, but really it is what the pupil’s real feelings may be. Much awkward¬ P.—I don’t know ... I suppose it won’t. matter with me!” fellow-teacher of high standing ip a nearby city, brings only an expansion of the ground-concept in music that ness will be avoided by having the printed term-cards; T.—And if, by some miracle, it did, it wouldn’t be “That is quite bad enough, my son, for when people together the whole class, with their parents. We get everything, from beats and bars up to entire large you establish a legal right thereby, which people are your composition, would it? become confirmed slaves to this habit of putting off all the terror we want, then, and get through with it, careful not to transgress. And also bear in mind that works, must go either in twos or threes. And observe, P.—Well—I started it, at any rate, and . . . O this extreme simplicity of skeleton does not in the least things to some future time they are apt to come to and their examination determines their place on the music, not being a bread-and-butter necessity, is a or whether you do it in separate chunks of eight bars you are horrid! prevent the ornamentation of it from being as elaborate grief. I reminded you of your practicing three times program—beginners and juniors opening the enter¬ sign of grace in those who take it up, and be ready to each, as in dance music, or in delicately joined sections, Dull Hymn-Tunes? as you please. Whether it be a Nocturne of Chopin, this morning and each time your answer has been tainment, and advanced pupils finishing with good meet them more than half-way, with tact and as in a Chopin Nocturne, or in an apparently jointless Mendelssohn’s Violin Concerto, or the most ambitious concerto and sonata playing. The program is made sympathy. T.—I had sooner have you write dull hymn-tunes and piece like the Prelude to Wagner’s Tristan and Isolde, the same—‘just one moment.’ Now I am going to tell symphony ever written, this framework of what used up in April, and all go to work with a will. It is I used to ask, at the end of the hour, “What mistakes chants, knowing what you intended to do, than splash you are only doing the same thing in a more or less you a story I once heard about a waiter in a Chicago understood that before vacation every number must to be called Binary, but is now more properly called did you make?” Psychologically, that is a mistake in about like this with pencil and india rubber, wasting skillful fashion. In dance music each portion is suffered restaurant. This waiter was extremely agreeable and be satisfactory. They can practice" at their leisure Ternary, form, is found to be sufficient to build upon, itself, deepening a wrong impression. Rather, point your valuable time in aimless scribbling, on the chance to come to its natural conclusion, and another portion attentive, but he had the annoying habit of saying, during vacation, and I get the orchestrations ready. out improvements, and the class will give you plenty that, with luck, it may turn out a masterpiece. indeed, so satisfactory, that there seems no need for in a closely related key follows on, with no regard for ‘just one moment.’ If the gentleman he had just served Then, in September, final rehearsals with the orches¬ to point out. P. (tearfully)—O you are horrid. And, say what any other. anything but the demands of the dancers’ feet. Here with coffee asked him for a spoon he would deliber¬ tra, and drill on every little point. The bow or cour- An ounce of praise is worth a pound of fault-finding. you like, masterpieces are a matter of chance. Every¬ , P.—But there are others, are there not? What about there is no attempt at composition, as we understand ately pick up a glass and start to polish it with a body says so. Rondo form? the term. It is like a mere stack of loose bricks. But napkin, saying at the same time, ‘just one moment, T.—Then of course it must be true. But own at T.—This is only a variety of Ternary form, and often if you want to make your piece seem to extend itself please.’ Should he happen to be crumbing the table Work While You Work least that a masterpiece is a piece by a master (or mis¬ differs so little from it that one can hardly distinguish and continue in what seems a natural and wholesome tress). And if you haven’t got so far as to make a when a customer asked for a glass of water he would the difference. The idea is this : fashion- piece at all, but only as far as sticking in the middle, reply, ‘Just one moment, sir,’ and calmly finish his task. By Gertrude C. McLeland P.—Which is just what I do want, and what I have Nothing ruffled him, nothing hurried him. His time why ... never been able to manage yet. Do tell me how it is was always the more important, and the other person “Work while you work and play while you play.” A P. (exasperated)—Don’t you think you might tell mue time tor- reading at home, so done. could do the waiting. very wise man said this a long time ago; it sounded embraced the opportunity to read while he practic me what to do, instead of jeering at my well-meant Previous Articles in This Series sensible; and we have been repeating it ever since. Of T,—In the most unlikely way in the world: by taking “One day this waiter paid a visit to friends in a the usually despised finger exercises. He had ji efforts ? course a few really great persons have practiced the T.—Rightly reminded. Now see here: without even [Editor's Note Many of The Etude readers thought. country town- some distance away. While at the sta¬ finished reading a borrowed copy of Tom Sawyer a who followed Professor Corder’s Instructive and at theory given in this old saw, and have thereby attained P.—I believe you are sneering at me again. I have tion awaiting the train to take him home he stepped his mother was none the wiser. a glance at your—er—piece, I will tell you just where the same time always entertaining articles on musical great ends, but the majority of us quote it for the bene¬ it came to grief and why. composition will be delighted to have them resumed. thought until my head ached. out on the railroad tracks and, picking up a handful I daresay that by combining these two pursuits fit of those around us! P.—Can you really? O you are clever. There are literally thousands of people who have a of Stones, commenced throwing them at a dog a few missed much of the enjoyment of reading who strong desire to construct a little musical composition Unprompted Ideas yards away. So intent was he in trying to hit his After a holiday when students arrange for their next T.—What key is it in? heartedly about Tom Sawyer’s doing; and I know tl —if they ‘‘only knew how to go about it.” Profes¬ T.—-First of all, you must abandon that silly notion target that he failed to hear the express which was session’s work, will the first month of study be the best p.—Well, there is an introduction, which I don’t sor Corder’s articles have been so plain that anyone in the year? Will these students be able to stop play¬ he missed the satisfaction of well-prepared piano 1 that only unprompted ideas are any good. You have rapidly bearing down upon him with terrific speed, think I shall keep, and then the principal subject starts playing third or fourth grade piano, pieces who has ing and begin working? My own experience as a sons. Wpuld it not have been better if this motl had a good drilling in scales and keys should be able invented your starting theme—never mind how, but you but he heard the warning cry of a man: ‘Get off the in A flat— teacher leads me to think that this will not be the had seen that her boy worked on his finger exerci to appreciate them. In connection with this course invented it. God didn’t, though I believe you fancy track! Get off the track!’ There was one more stone T.—And goes along all right for about 16 measures as it has been running in The Etude we can confi¬ case. Play and work are likely to be badly fused dur¬ for fifteen minutes every day at the top of his be dently advise a good beginner’s harmony, such as that He did. remaining—‘Just one moment,’ he called, as he took a and then ends in A flat. last aim at the vanishing dog, but in that one moment ing the first month, and the music lessons are generally and allowed him to spend the other fifteen minu of Preston Ware Orem. Indeed by procuring the pre¬ P. (weakly)—No, I don’t. P:—Yes, how did you know? « ceding and the succeeding articles in connection with the train roared by and the waiter was hurried into preluded with the remark that it takes a little while in uninterrupted enjoyment of Tom Sawyer? Aga T.—In all reverence I venture to say that the Maker T.—All inspirations do that. And the full close in self-study in the elements of harmony, many might the land of eternity where, presumably, he didn’t want to get down to work again. Why should it? Why the girl who sits at her desk with a harmony book a easily learn enough to essay a few simple pieces. To has got something better to do. You invented that cannot earnest work begin at once? the Tonic slams a door in your face and says, “That’s to go. a plate of cheese crackers will require more hours the one who can compose, but who is not yet sure of theme and now you have got to invent another by main At this high pressure time more .than ever before, all—go away.” his ground, Professor Corder’s articles will be found “Think of that waiter, Dick, whenever you are the preparation of the harmony lesson than she w do we need to work while we work and play while we P. (with an unwilling smile)—So it does. Well, how invaluable. The previous articles in this series have tempted to make that reply, and let us see how quickly works intently until a specified amount is accomplish P.—But themes invented by main force are never any play, for the coming year will bring new demands upon can I help it? been] : you can free yourself from that weakling’s habit,” fin¬ and leaves her luncheon to unoccupied moments. January, 1919—How to Compose. good. all of us, and time for practice and study will in many T.—By stopping after you have written the first half ished his mother, as she patted him on the back and T.—I thought I had disproved that assertion in my cases be reduced to fewer hours per day. Therefore rJT”VTe T„time We are confronted by such sta of your subject (at the 9th measure) and saying to March—How to Use the Three Chords of the left the room. ments as the following: “The English and the Frer last paper (which you found so dull because it contra¬ more intense application will be necessary in order that yourself: “That’s all right; I know how to continue that. Key, and to Make Cadences. Richard sat thoughtfully staring into space for a have been producing greater poetry during the 1 dicted your cherished beliefs). If you can invent one the work be profitable to the student and satisfactory Now what are we going to do next?” April—Inversions and Part Writing. few seconds; but presently his mother, in another part four years than have Americans. They have been p theme you can invent another, and you have just got to. to the teacher. One of my pupils who was making P —But oughtn’t the subject itself to suggest that? May—The Dominant Seventh. of the house, heard the unmistakable tones of the C ducing greater art especially in the realm of ill P.—I seem paralyzed when I try. How does one almost no headway in the use of his fingers and hands T.—No, not until you have had vast experience. And scale. ’Tis true, they began very softly and reluc¬ tration. How has the war affected American art a June—Ornamental Notes. consciously invent? It seems impossible. at the piano told me that he enjoyed practicing finger American music? Are other nations going to prod, even then to do the obvious thing is not always wise. tantly; but in a short while they rang out firmly and July—Uncommon Chords. T.—I have heard you extemporize a fairy tale to the exercises far more than pieces. I was puzzled. His more or greater music than will the Americans? p— Ought I to invent a second idea quite uncon¬ confidently. Richard’s mother was satisfied. mother confirmed his statement by telling me that he children most brilliantly. our young people of to-day lies the future of Americ nected with the first, then? August—The Minor Key. devoted at least half of his practice time to these music. We cannot make talent or genius, but we c T—Unconnected in the first instance, but then your September—Part Writing. P.—O, that is quite different; one takes the old stock Faith in his subject is an indispensable requisite in exercises. Still there was. no progress. After some develop the capacity for sincere work that may U skill has to be exerted to join the ideas. characters and incidents and places them in fresh cir¬ tactful questioning ‘ I learned that this pupil was al- December—Borrowed and Fancy Chords. the work of an artist.—Mendelssohn. to wonderful achievement. P— Is that what is meant by Musical Form? I have cumstances and it seems to go of itself. January, 1920—Making Melodies and Tunes. been longing to ask you something about that, only I T.—Precisely what I want you to do in music. Dia¬ was afraid. tonic phrases are not very numerous, yet you think the TEE ETUDE

Page 8-4 FEBRUARY 1920 p._I had, but I don’t think I shall keep it. It doesn’t process of selection bewildering. Realize, firstly, the P.-O, I recollect! Through the relative minor, seem suitable. limitations. You know (or ought to know) what key wasn’t it? _How can you tell that .f the piece is not yet your subject ought to be in, what time it must be in, T.—Yes. In the second half of your subject you written? . , , , and what rhythm it should not be in- would find no sort of difficulty in getting into F minor, p_q_ i don’t know! It doesn t seem to suggest what whence a D natural will steer you into E flat major, P.—How do you mean? where your period can terminate with the harmonies is coming. T.—Clearly you want it to be as different as possible T—How could it, if you dont know yourself what Is Playing by Ear Harmful ? from the previous subject; if this has lain chiefly in Pjfi is coming ? You can’t introduce a subject you haven’t short notes, the new one should be chiefly in long ones, thought of, any more than you can introduce a person , Play What You See, See What You Play; Play What You Hear, Hear What i J or vice versa. you are not acquainted with. You Play; See What You Hear, Hear What You See f/Y " m P.—I never thought of that. P.-Do you mean that I ought to write the piece fir-st¬ or something to that effect. And then you are ready T.—It should be your first thought; your second and the introduction afterwards? , ’ M ' ' should be that the melody should lie over a different for your new subject. T-Isn’t it obvious? Why, you cannot write a mere By JAMES W. BLEECKER succession of harmonies, or failing this, harmonies P. (with an air of profound wisdom)—Ah, it sounds scale passage leading up to a subject until you know changing more quickly or slowly than did the previous very simple; but it takes a lot of doing. what note that subject begins on, and then you write ones. With these guides your search for a forcibly in¬ T.—Still, it has been done a few million times; and the scale backwards from the end. You cannot write “What do you mean by being able to perform what is produced, and strive to file it away in our memories The title suggests a distinction between musicianship vented subject would be much facilitated. it is the first and simplest step in musical composition. the opening bars of a song or other trifle until all that you see?” Unfortunately, everyone learning to play for future use. A real effort must be made to remem- ( and playing or singing. Unfortunately the distinction • P.—So it would. I think—I fancy—I could almost Once you have accomplished it, the way for the rest of is to follow has been completely sketched in. Of course spends far too milch time in doing simply this and little ber the effect certain rhythms, harmonies and melodies is easily made. It seems to be true that the more we make up one now. your piece lies so open and obvious that you can again you do not attempt to write an introduction before you else. A black spot on the paper (a note) means a cer¬ have upon our feelings, as well as the symbols by which specialize in any branch of learning, the more we sacri¬ they are represented on paper. Upon hearing a piece T.—Genius burns, eh? afford to say, “That’s all right; I know how to continue know what it is going to introduce-whether, indeed tain tiny locality on the instrument. Certain other fice the breadth of the whole subject. In music this a good musician should know instantly the key and time . P.—Don’t be captious! But I will try, now I see how that,” and once more take thought as to what other you require such a thing at all, which nobody could tell marks mean that a note is to be held just so long, that should not be true, because a player who is not a signature. He should also recognize every chord in its to set about it with method, as you call it. But then subjects, if any, you shall introduce and, above all, just it is to be played loud or soft, legato or staccato. beforehand. musician can be replaced with profit by some self¬ relation to the key and every note in its relation to there is the joining on, which always seems so forced how. you shall end your piece. P.—But it seems such a messy way of writing to do This is all purely mechanical. It is very necessary to playing instrument, of which we have so many wonder¬ some chord. and unnatural when I do contrive it. be sure (we must be able to read the literature of P.—Surely that at least can take care of itself. it all in separate bits, as you want me to do. ful examples at the present time. The statement that “How can I learn to hear what I see and to see what T.—Here again method helps. Much of the difficulty T._Well, the writing straight on end doesn’t seem we lose in breadth as we specialize is. well illustrated music) but as we progress we become more and more conscious of other and higher needs. Everything we I hear?” This is really the most difficult question to vanishes when you have learnt just where you ought The All Important to work, does it? And composition—which >nu may by the history of organ playing. The present day do in music has relation to our feelings and until we answer because, while there are many things that will to be before beginning your new subject. T.—Not a bit of it. In music the end is the most know means “placing together’’—is just that fitting and. organist is often a virtuoso in playing the works of can see through the printed page to the 'soul of the help, the way to full mastery is long and difficult. Still P.—Where is that? important, thing. However a piece may have bored or joining of separate pieces which you find quite proper others, but at the same time, he is often weak on other music, we are little more than mechanics. The higher we must all start the journey bravely. One of the best T.—You should have got to the dominant of the new puzzled the listener, it can be saved by an impressive in dressmaking. I know you are still obsessed by those points which require real musicianship for their display. ways is intelligent listening. On this subject alone ending. The whole character—sad, gay, common, ro¬ silly old pictures of poets or prophets turning their He can seldom improvise in an acceptable manner; need is that the brain, the feelings and the hand be so key, preferably by a half-close in that key. Then, and bound each to each that they are practically one. So volumes might be written. In a general way we may mantic or mysterious—depends entirely upon how it eyes up to the solid clouds, where equally solid angels does very little or no composing; and is even depend¬ then only, are you ready for the new subject. we see that while being able to play what we see is say that everything we do in music has an effect. It is ends; and more compositions than you would ever be¬ sit and are supposed to be telling them what to write; ent upon the publisher for his transpositions. How P.—l am not sure that I know how to contrive a half¬ necessary, it is but the first feeble step in the right this effect and the means producing it that we must lieve have been frittered away by anti-climax or point¬ but again I assure you that this kind of thing does not different with the old organists who, while perhaps study and remember. Playing by ear will help, be¬ close. direction. less conclusion. If you have any sort of clear idea in happen in real life and never did. Besides, why should weak in certain points of technic, could improvise well, cause it .forces one to do just this. Improvising I con¬ T.—Because you always think of the dominant chord See What You Play your mind as to the impression you want to make- you want it to? What is the objection to u-ork in com¬ compose, and do many things requiring real musician- sider one of the very best ways of all, even if done in as having a seventh. This converts it from a concord alas ! many composers haven’t—it is of the utmost im¬ position, which all amateurs have? ship, quite as a matter of course. I have been aston¬ “What is meant by seeing what you play?” One a very simple way. One has to remember effects to im¬ into a discord, to rest upon which is impossible. portance that this impression shall be the last one the P. (earnestly)—I haven’t. I love work. I only say ished by the inability of many musicians to deal with should be able to vision mentally how everything one provise at all. It also is very conducive to concentra¬ plays or sings would look on paper. This has to do P.—Then after the first half of my first subject in A hearer receives. Never mind how your piece begins if that a labored composition can never be so nice as a tone as a writer would with words. At times it is tion and memorizing. In trying to remember effects a with notation. One must know the proper way to write flat I ought to get to something ending in B flat; is that it ends well. And for this maxim we have Shakespeare spontaneous one, and really clever people don't write only a simple thing which causes his downfall. I have name will help if they have one, but there are many the idea? found a musician with absolute pitch, who could not each sound, rhythm and expression mark. Good nota¬ himself to back us. in that laborious fashion. effects for which we shall have to make our own defini¬ T.—Yes; but it will take you some time to do that. tell the third of the chord from the fifth by the sound tion is even more mechanical than the first requirement tions. P.—I didn’t know there were many ways of ending T.—Which is as much as to say that Beethoven was P.—Some time? I should never get there! and who could not take a note and make it a root, third mentioned above. I have seen otherwise good musi¬ An Interesting Comparison a clod and Rossini a demi-god, for the former was in¬ or fifth of a chord and sing the other notes completing cians make mistakes in this matter. Stems are some¬ T.—Yet I have lmown you get to much more remote T.—Didn’t you? Then take down only your volume credibly clumsy and laborious, while the latter wrote the chord. I have even had a teacher of harmony tell times omitted or turned the wrong way, rhythms are An interesting comparison may be made between the places. of Chopin’s Nocturnes and read the last line or so of so fast that he could only put heads to his notes and me that a major third was minor. Instances like the misinterpreted, sharps used where flats would have triangle in music and a similar one in language. In P.—That was only when I didn’t want to. each. There are fourteen pieces of very similar char¬ no tails! above could be multiplied endlessly, but I think suffi¬ beep more appropriate. Slurs have been carelessly language we certainly learn to do with ease and accu¬ T.—Inspiration seems a failure, then. Try common- acter, yet the endings of all are as different as if they P. (impetuously)—I don’t want to be like either of cient has been said to prove that the distinction between drawn and expression marks confused. Notation is a racy that which almost everyone thinks is next to im¬ sense. Have 'I not shown you, in one of my earlier were fourteen different landscape paintings. By the them; I only want to write a nice little piece. musicianship and playing does exist and that it is easy simple matter, but it is not therefore to be neglected. possible in music. We can produce readily a compli¬ lectures, how to get to the dominant? way, you said you had an introduction. T.—So be it! I can't do more than show you how. to make. Some may ask, however, “What is musician- Poor notation in music is like poor orthography in cated sound when we se it in print as a word. When, ship?” The present article is an effort to answer the English. What would be thought of a writer who did we hear this same word we can easily see it mentally question. not know how to spell, or to use punctuation in the in print. We can imitate quickly and exactly strange Schumann says, “Someone maintained, that a perfect right place? • sounds in speech. We have little trouble in seeing what musician must be able, upon hearing a complicated “Is not playing what you hear playing by ear? And we hear and vice versa. In other words we fulfill in All Sorts and Conditions of Pupils orchestral work, to see it bodily in score before him. is not plaving by ear bad ” Yes, it is playing by ear, language with ease the conditions which seem so dif¬ That is the highest that can be conceived of.” It is but playing by ear is not bad. I would like to meet ficult in music. In speech we look upon the fulfillment indeed the highest but the quotation does not say the person responsible for the superstition that play¬ of these conditions as natural and easy, and think of it By Hannah Smith enough. We must be more specific. I have constructed ing by ear is bad. I will admit that careless playing is as a matter of course. In music we are apt to think the following diagram in an endeavor to make clear bad, but in this case it is not the playing by ear that that it is well nigh impossible, and should not even be to my pupils the real meaning of musici^iship: does the harm, but the carelessness. It may also con¬ attempted except by the talented few—the geniuses. If The average pianoforte teacher has possibly (one overestimation of their talents and abilities. Their own these words will certainly never give pleasure to any sume time which should be used otherwise; and, again, the end has been compassed in language why has it not could not venture to say probably) in the course of a opinion is to them of more weight than the teacher’s hearer uninfluenced by an affectionate personal regard it is not the playing that is harmful, but the negl gence been in music? I am inclined to think that it has never lifetime of teaching, one pupil of whom it might per¬ counsels, and their intense self-satisfaction stands like for the- performer; but to the pupil herself it is of the student to make up the solid work that should been attempted with enough method and persistence. True, a full realization of this ideal will require much haps be said, as the old organist said of little Franz a rock in the path of all possible advancement. Such a undoubtedly a joy and an absorbing interest. have been done. Playing by ear improves the mem¬ gchubert, that whenever he wished to teach him any¬ diligence and no faltering. When we practice music pupil is a real thorn in the flesh, whose irritation would And if this interest does not interfere with interests ory for tones and effects, it trains the hand to express thing he seemed to know it already. Great is the joy sometimes be unbearable .were it not for the soothing naturally and spontaneously the feelings, and it cre¬ more as we practice speech, the end may not seem so which are more important, if this joy is not procured of the teacher to whom is vouchsafed such a boon; a ates a familiarity with the instrument and confidence far off. In learning to talk, the young child first learns balm supplied by the serious, intelligent pupil who, at the cost of undue sacrifices on the part of others, trust to be reverently accepted, with the joy tempered though endowed with only' moderate talent, is, after that can be gained in no other way. Any musician the sound of a word, and then its meaning. This he why not continue on the path which, though it leads to by the weight of responsibility involved in the guidance all, the most reliable source of genuine pleasure and worth the name can—and undoubtedly does—play by keeps on repeating time and time again until the per¬ nowhere, yet is traveled with such pleasure? If the and development of such a precious talent. But the satisfaction to afiy instructor. To such a one the ear whenever necessary or desirable. In answering sonality of the word becomes part of himself/ Long teacher will only comprehend and accept the situation, average instructor seldom has other than average teacher gives of his best without stint, and his reward the mother of one of my pupils who was somewhat after, when he has acquired a small vocabulary, he realizing what is possible and what is impossible to ac¬ pupils; though among these the variations are wide. is not lacking. perturbed at the idea of playing by ear, I asked her learns the symbols for the sounds he knows. Thus, Next—in the degree of satisfaction afforded the complish, and adapt the means to the standard ox the if she had learned to talk by ear or if she had first language is a living thing from the beginning. In music, But what is to be said of the pupil who has assuredly, teacher—to the talent bordering upon unmistakable possible, the lessons need not necessarily be the nerve- learned to spell and read. The analogy is simple. We however, we generally deal with its dead body—the at one time or another, fallen to the lot of every genius, is the lesser, but real, musical gift which is com¬ exhausting experience they . re sure to be if a really first; learn to talk by listening to others talk (by ear). notes. The real musical effects are hardly noticed, so bined with intellectuality, will power and desire to teacher?—the girl with not a particle of musical talent, musical performance is striven for. The ease and natural simplicity gained in this way that a student, after playing- for several years, is utterly learn; a combination unfortunately somewhat rare. with a defective sense of rhythm, with no apprehen¬ Is art only for the delectation of the chosen few who clings to us through all our later studies. We finally at a loss to reproduce anything that he feels or has How many talents are wasted and atrophied by sheer sion of pitch save by the distance on the staff as gauged apprehend its most subtle meanings and are ecstatically reach a point where we can instantly see in print, men¬ heard, unless he has the notes before Kim. The reason lack of concentration and perseverance?- Every teacher by sight, who stiffly and conscientiously does, what to thrilled by waves of emotion and beauty which pervade tally, a word that we hear, or, we can instantly hear is that he has never learned in music that which would knows well the pupils who might be such a pleasure her seems to be indicated upon the printed page, but correspond to a word in speech, and he is bankrupt, the ether far above the heads of the multitude, and mentally a word that we see in print. When we reach and credit, but are too easily turned aside from serious is absolutely without that inner sense which alone en¬ so far as a musical vocabulary is concerned. It will be can establish connection only with those whose souls The diagram may be explained as follows: The tri- this stage we may be said to have a certain command work by almost anything that happens to attract them— ables a player to grasp the musical meaning of a com¬ ingle represents the. person and his feelings, tempera- well, also, for teachers to remember that they seldom are attuned to their vibrations? Are pictures for those of the spoken and written language. How many stu¬ “unstable as water, they shall not excel.” position and strive, however imperfectly, toward the nent, etc. The eye, ear . and voice, the three doors dents ever reach this stage in music? get more than they expect from pupils. If the re¬ only who appreciate the Botticellis and the Dante Ros¬ On the other hand, how frequently does a pupil with translation of that meaning into tones; and who, eading in and out. The arrows may be interpreted as quirements are easy the student usually takes it easy. settis? Does not many a sweet, uncultured soul find natural facility of execution and willingness to work, nevertheless, plods along diligently (though, alas! in¬ aying, one should be able to perform what one sees, Do You Hear What You Play ? If the requirements are high the student is incited to fail to penetrate beyond the surface meaning of a com¬ effectively) day after day, and says enthusiastically—“I genuine delight in domestic interiors, and spiritual ex¬ higher effort. ilso, to see what one performs. One should also be “Do we not all hear what we perform?” Yes, but position. No teacher can do more than develop and wouldn’t give up my music for anything”—who is irre¬ altation in modern madonna's? ible’ to perform anything that one hears and likewise not always intelligently. I am afraid that most of us In closing let me add-a few observations. I think train the germ of talent implanted by nature, yet how proachable as a student, constraining the teacher, al¬ Shall not the player to whom Beethoven, Schumann hould hear intelligently everything one performs. that a very large percentage of the teaching up to the often does it seem that with but a little more effort it and Chopin are a sealed book, enjoy without reproach listen to our performance much as we would listen to though so painfully conscious of lack of progress and ;n addition to this one must hear mentally what one present time has had to do with performing what w-e would be possible to make such a pupil understand, and a conversation in the next room while we were en¬ impossibility of achievement to praise for diligence pretty waltzes and sentimental songs? Even if the ices and also see mentally what one hears. It should see, or in the case of theory, writing what we have supply the one thing lacking; and how vainly does the and for patient, methodical work with a pitiful wonder¬ gaged in reading a pleasing narrative. We could say level of appreciation is no higher than an ordinary >e give and take between the two senses. In holding learned (purely mechanical in either event). With this teacher spend herself in such efforts? ment of what, to this pupil, the words “my mus.ic” that we heard the voices, but we could not give a good march or lively dance tune, is it not better to have the his ideal before my pupils, I have been asked many ll- method and plenty of time and much practice, it may¬ Yet more trying, whatever their musical attainments, musical pulses stirred by such as these than to dwell n.iPctmtiQ nf which I will give some of the account of the conversation. To listen intelligently we be possible to become a thorough musician, the other are the pupils with moral defects—egotism, vanity, or What to her is represented by the idea expressed in always in the apathy of tone-deafness? must notice the means by which each and every effect FEBRUARY 1920 Pag. THE ETUDE____ ^ ^ ^ ,. THE ETUDE Page 86 FEBRUARY 1920 '' .r-il Key Relationship and Key Signatures necessary qualifications having been gained as a sort of by-product of the work done. We must admit, though, — that this is an expensive and uncertain way of arriving By Arthur S. Garbett at the desired result. What is really needed is a method Secrets of the Success of Great Musicians that shall combine all the essentials from the very be¬ The almost invariable m.ethod of teaching key iSi W : i; ' I ginning. These essentials are explained by the above signatures, is by way of the cycle of fifths C no IIP | ; :S1| By EUGENIO DI PIRANI diagram. Success will come, not by emphasizing any sharps, G one sharp, D two, A three, etc. By this ...... 7 xeries “The Secrets of the Success of Orcat Musicians. one essential at the expense of another, but rather by a means of course the pupil soon learns on behold¬ ^Jjf7£upon thetoapjn ^f^YoomofiJune)! VstflJuly) ; " TsMIcowsTcy |;li.3 judicious combination of all. To sum up, music is ing the signature of his piece to say what “key it produced by the performer reading notes and playing is in. H.e also methodically learns to play his these upon his instrument. At the same time he must scales the same way (unless by good fortune he feel the exact force of every chord, note and rhythm follows the method better suited to scale-fingering Robert Schumann and produce it so that just the right mood is created suggested in Mastering the Scales and Arpeggios). It fied with Leipsic and decided to go to Heidelberg. He in his audience. To do this he cannot blindly play may seem late in the day to offer any. criticism of this did not go without regret: “A girl soul,” he wrote T„ « o, . notes any more than a good speaker can just blindly time-honored method, but to the writer it has what upliftmg and fascinating, the more so if we are a_llo y He was more interested in hearing good quartet April, 1829, “beautiful, happy and pure has enslaved me. read words. To do more than read notes means that seems to be a grave disadvantage. to listen to his own words and to hear from his own , . ^ Carns> and in having a chat with Wieck, It cost me many struggles but it is all over now and the sound, the symbol and the means of expressing it The disadvantage is this: it emphasizes the difference 2 3 4 5 6 7 mouth interesting details of his steadily grow g, pianoforte teacher of Germany. Soon young here I am looking forward to a beautiful life at Heidel¬ are one in the player’s consciousness. This brings us between keys, and ignores the similarities. When a berg, full of hope and courage.” back to the triangle. Play what you see, see what you glorious career. Robert Schumann, through s l^tt Schumann decided to take lessons from Wieck. It young beginner in music has learned the scale of C, and other writings, affords us such a rare ^portun ^y^, ^ a momentous decision, as he became intimate But even at Heidelberg he did not busy himself much play; play what you hear, hear what you play; see natu ally the most striking thing about the new I uS enjoy for a while his inspiring company. He with law. It is typical of the German students, espec¬ what you hear and hear what you see. This is surely scale of G is the one sharp. It is something new with his favorite teacher and his daughter, Clara, then never, as a composer, as a writer, as a man, departed ially those belonging to “corporations” that they very a high ideal. So let it be. to his eye, and something new to his fingers, and only nine years old, who was destined to become a from the lofty ideals which he had put before himself seldom if ever visit the University. Their time is taken therefore looms large in his imagination. The famous pianist. Her nature was sunny, and it is little as his guiding stars. We shall consider him in this up mostly with fighting duels and drinking enormous additional sharp, however, is not the only impor¬ wonder that she inspired Schumann with admiration quantities of beer, and this is a matter of pride with tant thing; the fact that six tones in the scales of threefold aspect. Three Lessons Music was to him not intoxication of the senses them. Schumann practiced piano seven hours a day ; G are the same as those in the scale of C is also very he gave improvisation concerts in the evening and important. of hearing, or an arithmetic problem, as it is for many music lovers and composers, but the perfect started in for earnest composition. By W. Francis Gates This latter importance, unfortunately, is not real¬ Further he wanted to educate himself by travel. ized until the student has reached an advanced expression of the soul. He was a poet, even in his The student should be encouraged to play over The diary of his visit to Italy reads like a novel. stage. If it is not emphasized by the teacher, the ordinary writings, in his criticisms. Hear how lie A critic of teachers—this must be a new sort of mu¬ these scales, comparing the scale last written with From Milan he writes to his sister-in-law Theresa need of it is not felt by the student, and the con¬ portrays Chopin’s playing: "Imagine that an seolian sical profession, one would think who reads the line. that of C, so that his ear will appreciate the in¬ Schumann, about “a beautiful English woman who sequence is that it often escapes the student’s own harp possessed all the scales, and that an ar is s Possibly a sort of super-teacher who is to judge the creasing remoteness of the scales as the number seemed to have fallen in love less with me than with attention until he has become a practicing musician. hand struck this with all kinds of fantastically ele¬ faults and merits of his confreres. of notes they have in common with the starting my piano playing. English women are all like that, He feels the lack of such knowledge the moment gant embellishment, even rendering audible a deep But no! the .ubiquitous critic of teachers simply is point diminishes. All keys in turn should be made they love with their intellect, that is they love a he is called upon to make a simple modulation from fundamental tone and a softly flowing upper voice- —the pupil. You who are teachers know that. Rare the starting point (that is, written out first on the Lord Byron, a Mozart or a Raphael and are not so one key to another, or whenev.er he attempts to and you will have some idea of Chopin s playing. is the incapable pupil who does not avail himself of compose a piece of music involving a simple change middle staff) so that the student will come naturally As a man he was the most ardent and faithful lover, much attracted by the physical beauty of an Apollo opportunity of criticising his teacher. to look for, and to feel, the inter-relations!:ip of keys. the most disinterestedly helpful friend, a wonderful or an Adonis unless it enshrines a beautiful mind. As a general thing the other teachers get a bit the A simple way of impressing the similar notes of a He should also be l,ed to take the next step, which figure from every point of view. . Italian women do the exact opposite and love with worst of it, but the fact that he is studying with a man new scale upon the mind of a beginner is this: Let is to build triads on the scale tones. He will then It can be said that Schumann embodied in music their heart only. German women love both with does not detract from the pupil’s ability to criticize that him take a sheet of music paper of fifteen staves. come to appreciate the fact that only a limited the tendencies which German Romanticism had for heart and intellect as a rule, unless they fall in love personage. On the middle staff, leaving seven above and seven number of foundation-chords exist in music, and the most part embodied in its literary production. with a circus rider, a dancer, or some Croesus ready When the criticism becomes strong enough, then the below, he writes the scale of C major in whole that these are used over and over again in all keys, He was not exactly a revolutionary, but a member to marry them on the spot.” pupil makes up his mind in lofty superiority that he notes. The upper s,even staves will be reserved for their sound-value depending upon their relationship of a recognized party who counted among its leaders Paganini's playing stimulated him with new fervor has learned all that particular teacher has to impart, the sharp keys and the lower seven for the flat. On to the key-note. some of the greatest poets and essayists of his age. for music and he wrote to Wieck his intention of and he hies himself to another—to continue the same the first staff above the scale of C, he writes the Most particularly, he must be brought to see the The romantic movement in Germany was not only becoming a pianist, and asking his advice. Wieck process. His idea is that by absorbing all that each scal,e of G, again using whole notes, except on the clos.e relationship that exists between the tonic, a reaction against classical tradition, it was almost wrote back a cautious letter, pointing out to him teacher can tell him—in a few lessons with each—he seventh degree, F sharp, which he writes as a tail¬ dominant and sub-dominant keys (the central scale, a war of Protestantism against Catholicism. the difficulties of the career. Schumann, however, becomes as learned and as able as all put together. less black note. Let him number the notes com¬ the one above, and the one below). Bemuse these was not to be shaken from his decision. Once back An instance came under my observation recently. mon to the scales of C and G. Above the scale of three scales have more notes in common than any Schumann’s Early Love for Music in Leipsic Schumann took up his residence with the Two vocal teachers of national fame were discussing a G he writes that of D in similar fashion, again other, they also have more chords in common. From his earliest childhood Schumann had pas¬ Wiecks and studied for piano in earnest. His prog¬ young teacher. “Yes,” said one, “he took three les¬ using black tailless notes for the sharpened notes. Because of this relationship they provide the most sionate love for music; he sat for hours at the piano ress, though rapid, was too slow for his ambition, sons of me, and now announces himself as one of my Above D he writes the scale of A, in similar fash¬ satisfactory means of obtaining both unity and and improvised. His father, a bookseller in a pro¬ and he invented a machine for holding up the fourth pupils.” ion, and so on until th,e sharp keys are worked out. variety in building up a composition—how many vincial town and a man of unusual perspicacity, was finger while the others played exercises. This was “And, do you know,” said the other, a man of world¬ Then below the scale of C he works out the flat thousands of marches, minuets and salon pieces quicker to perceive his musical talent than his a fatal mistake; after a few trials he strained the wide reputation, “he came to me in Europe, and took keys in the same way. Written out the result ap¬ have the first theme in the key of the tonic, the mother, who, anxious as all mothers are, preferred a muscles in the third finger of his right hand and the just three lessons. Does he take three lessons of every pears like this (only two scales above and below second in that of the dominant, and the “trio” in so-called bread-winning profession to the thorny injury was made worse by careless treatment. The C are actually here shown to save space): sub-dominant! path of art. Robert Schumann was a pianist at six, finger remained practically useless and the career of “Oh, no! You and I were exceptionally favored. I a composer at seven, and within a few years we find a virtuoso was gone forever! Perhaps better for understand that in Europe he went to sixteen different the child, already famous as an extemporizer, tak¬ him, as it led him to the smaller and nobler com¬ teachers and had twenty-three lessons, all told.” Be Thorough ing part in public performances where he had to pany of great composers. Thus one can say that this “Well, don’t you see that in this way he accumu¬ stand up at the piano in order to reach the keys. seeming calamity was his greatest fortune. “Sweet By T. L. Rickaby lated the important points in the teaching of all six¬ His first teacher was Kuntssch, organist of the are the uses of adversity.” He seemed not very much teen of us and of the others whom we do not know Marien-Kirche of Zwickau, who soon declared that 1 concerned about his crippled hand and he writes to a No one can teach American literature—except in a of its growth from century to century. Not only that, about, and thus can beat us all at our own game”— his pupil had nothing more to learn from him. Robert Clara Schumann. friend: “My prospects are very bright; my reception very superficial way—without a well-grounded knowl¬ and then they had a hearty laugh. but musicians ought to know something of the music There was at first some question of his studying in the world of art could not have been more encourag¬ edge of English Literature, which, again, has its roots of other nations, even those whose tonal systems are This is not manufactured to point an article; it actu¬ with Karl Maria von Weber, but a delay was caused and love, even at that early age. Besides the piano¬ ing. Wieck is my oldest friend and as for Clara— ally occurred. But it does offer a decidedly sharp point deep in the literature of all times and all races. The very different from ours. The Hindus, Chinese, Jap¬ by the latter’s trip to England up to the time when forte lessons, Schumann worked at harmony and imagine everything that is perfect and I will endorse to the subject. That young man was a critic of teach¬ anese, Persians and Egyptians all have, or have had, genuine student of English must know something of death deprived him of his father, in 1826. Young counterpoint, and made a special study of Bach that it!” For composition he went to Dorn, the conductor ers. In one lesson he could tell what the teacher had elaborate systems of music, and while they seem to the ancient Greek, Roman, Hindoo, Scandinavian, He¬ accounts for the polyphonic trend in Schumann s music. of the Leipsic opera. Dorn’s new pupil does not seem to offer him—whether the teacher told it or not. have little in common with ours, yet we may have ab¬ Robert, then sixteen years old, was thus left to follow brew and Germanic literatures as they have come his own instincts without guidance. In a letter to Hum¬ In this respect it is of great interest to hear what to have been very docile, but he worked hard. During This flitting bee could pass from flower to flower, down to us. Only in this way can he really know the sorbed something from them as we have from Greece and Rome. , mel, Schumann writes: “To give you an idea of the Schumann has to say: “Mozart and Haydn, although the winter of 1831 he wrote a symphony in F minor, and in a half-hour with each extract all the honey— sources from which our linguistic, culture springs. started a pianoforte concerto, and began to revolve in In fact the music of any race (and ours in a spe¬ vigorous reforms my teacher had to institute, I must much nearer to Bach, knew him less than the later and come away from the garden with a storehouse of It is so with music. Music is not the product of a his mind the project of forming a musical journal to cial degree) owes something to every other race that tell you that although I could play any concerto at sight. composers of the Romantic school. Mozart and Haydn knowledge equaling that of all the teachers together. At few men in any one .period of time in any one coun¬ embody the ideas of the new school. least, that was his own opinion. ever even pretended to have a systematic theory or I had to go back and learn the scale of C major. had only a partial and imperfect knowledge of Bach, try. It represents a perfect example of evolution and we can have no idea how Bach, had they known My readers will at once see the reductio ad absurdum practice of the tonal art. Learn all you can. In fact Meanwhile his literary education was not neglected. Schumann the Journalist from the crudest beginnings, and to understand thor¬ him in all his greatness, would have affected their crea¬ in this method of peripatetic study—if one were to musical history is an imperative necessity. A little In 1828 he matriculated at Leipsic as studiosus juris, Accordingly in April, 1834. appeared the first number oughly the art as it presents itself to us to-day, we tive power. Mendelssohn, Bennett, Chopin, Hiller, in dignify it by the name of study. knowledge is not only a dangerous thing. In these although he had a hearty contempt for that subject, of Neue Zeitschrift fiir Musik, issued twice a week and must know all that can be known of its origin and fact, the so-called Romantic school, approach Bach far How much better would it be to stay with a teacher days it is a useless thing. Be thorough. devoted entirely to musical criticism and polemics. and his enthusiasm was all concentrated in the works more nearly in their music than Mozart ever did: until one had acquired all that teacher had won through One feature of the new journal was the formation of of Jean Paul. Of all German musicians none was so indeed, all of them know Bach most thoroughly. I years of study and experience, rather than to patch to¬ Hearing Wrong Fingering powerfully influenced by this writer as Schumann. the “Davidsbund,” whose members, however, were only gether a vocal “method” out of the facts and fallacies myself confess my sins daily to that mighty one, and This influence certainly was not confined to the form, in the imagination of Schumann. Florestan, Eusebius, and fads of twenty teachers—or half-a-dozen, for that By Francis Lincoln endeavor to purify and strengthen myself through him.” but affected the innermost being of the man and of the As an explanation of this strange phenomenon, I Raro, Jonathan were creations of Schumann’s fancy, matter. If a pupil comes to the point of acquiring yet he treats them as real beings, records their meetings, either by the method of the hammer and tongs or of It was said of the late Rafael Joseffy that he could artist. “All the world would be better for reading must inform the student that only a small portion of the respect that Joseffy gained as teacher, is to be able Jean Paul,” he wrote to a friend. “He has often the works of Bach were published while he was living, mentions their works and composes even a march of the sponge, all that one teacher can impart, he is to hear the wrong fingering. That is he knew that in the “Davidsbundler” against the “Philistines.” The to correct even the smallest details. The teacher can¬ brought me to the verge of madness, but through a and for about 50 years this master was almost totally be congratulated, for then, in time, he may become as certain passages smoothness could be obtained only by name “Davidites” was invented by Schumann to include not know the work too well. We have heard of one mist of tears shines the rainbow of peace and a hover¬ forgotten. To Mendelssohn is principally due the credit good an instructor as was his teacher. the use of one special fingering. With his back turned himself and his various impersonations as well as teacher who memorized two such courses as the ing spirit of humanity, and the heart is marvelously that Bach’s greatness was brought to light through the But to make a practical and a true mosaic out of away from the piano, he was known to have repeatedly friends whose sympathies were with him in his war Standard Graded Course, so that he would not have performance of his Passion of St. Matthaus, in Berlin, twenty fragments is absurd. The right process is to corrected his pupils. saying, “Use the third finger in¬ uplifted and gently illuminated.” Obviously, the dry against the old fashioned Philistines. Schumann’s own stead of the fourth, etc.” in 1829. . . select a teacher with care—based on the teacher’s log¬ to have his eyes riveted on the notes all the time and study of law did not advance with great success. “I criticisms were signed with their different names. ical results and his educational powers, and then stick How many teachers even attempt to know what they could give the right attention to other details. Not a have not been to a single lecture,” he writes to his Meanwhile Schumann grew more and more dissatis¬ to him for a goodly length of time. teach so thoroughly that they could do this? To gain bad idea! THE ETUDE' FEBRUARY 1920 Page 89 ye,88 FEBRUARY 1920 THE ETUDE I love not men whose lives are not in unison with piano and David as first violin. In April of that year Eusebius would be filled with enthusiasm over some their works. new composition, while Florestan would ruthlessly was opened the Leipsic Conservatorium with Mendel¬ One voice that blames has the strength of ten that Hill reveal the faults which Eusebius had overlooked. Raro ssohn as director and Schumann as professor of composi¬ tion, Gade and Moscheles joining the staff later on. with his sound judgment was perhaps intended to PrRichard Wagner. Schumann was to remain within them. tributors with fanciful names when he enrolled them The extraordinary in an artist is unfortunately not as Davidites. Thus Julius was Knorr; Jeanquirit was puzzled at the strange personality and he wrote to Gather Memories! always recognized at once. Stephen Heller; Diamond was Zuccalmaglio; Chiara or Mendelssohn : “Wagner is undoubtedly a clever fellow, full of crazy ideas and bold to a degree. The aristoc¬ How few presents are made disinterestedly. Chiarina was Clara Wieck; and Mendelssohn he called Mannerism is already displeasing in the original, to Felix Meritis. racy are raving about his Rienzi, but I declare he cannot The True Story of a Musician Who Did Not Schumann remained always a true idealist who write four consecutive bars that are melodious or even say nothing of the same fault in the imitator. worked only for his noble cause, not for reward or correct.” And in another letter: “Wagner is—to put Nothing worse can happen to a man than to be praised By CONSTANTIN VON STERNBERG wealth. it concisely—not a good musician. He has no sense of by a rasgal. The compositions of 1834 include Carnival and Etudes form or euphony. His music, considered apart from Two different readings of ■the same work are often the setting, is inferior—often quite amateurish, mean¬ equally good. the time so gained had been spent in forming friend¬ Symphoniques. Many years ago there lived a man widely known as point, a dot of life surrounded by nothing and, this sol¬ A little episode of unfaithfulness to his Clara, by his ingless, and repugnant; and it is a sign of decadence in People say: "it pleased” or "it did not please” as if itary point once abandoned, his mind and heart had ships, in social intercourse, in the open, in picture art that such music is ranked with the masterpieces of there were nothing higher in art than to please the a writer of practical—though rather dry—piano studies. entering info a short engagement of a few months to nothing to enjoy, nothing to live for. The error of his galleries, in reading good books, say, books on travel. Ernestine von Fricken, needs hardly to be mentioned, German drama.” He had tried his hand at more pretentious work (trios, public. life was in believing that happiness and joy of life All this would have brought him into touch with for his feelings for Clara Wieck were too deeprooted On the contrary, Schumann admired Mendelssohn: Schumann Anecdotes quartets, solo pieces) but it was unsuccesful for rea¬ could be brought to him from the outside; that they congenial people, with superior minds. It would have to be thus set aside. In fact for nearly four years “Do you know,” he writes, “his St. Paul, which is a sons which the course of this story will reveal. His While Schumann was in Wien, 1838, the police stimulated his imagination and created “Wanderlust” Schumann sustained all the torments of suspense re¬ chain of beautiful thoughts? He is actually the first name, familiar probably to most of my kindly readers, could be bought if one had only money enough to buy authorities looked out sharp for any revolutionary in him, a proper curiosity to know something about the garding Clara Wieck, which inspired him with some to give the graces a place in church music, and they was C. A. Loeschhcrn, born 1819 in Berlin, which city them. symptom, and as a measure of precaution had prohibited , (Just between ourselves, dear reader, and in a whis¬ “people behind the mountains.” He would, then, have of his most famous compositions, such for instance as really should not be forgotten, although until now the he never left, and in which he'died, 1905. I knew him the performance of the Marseillaise. Schumann com¬ per : isn’t that the very idea that our average business traveled and seen something of life, of the world. He his Fantasia in C, Fantasiestiicke, Novelletten, Kreis- ubiquitous fugue had barred the way.” but slightly, just well enough to exchange greetings, posed the Faschingschwank aus Wien in which there man holds? Doesn’t he want to “die in the saddle” might have become interested in one of the innumer¬ leriana, Kinderscenen, Arabeske. He writes to Clara: 1846-47 Schumann visited Vienna, Prague and and once in a while a few words when we met on the suddenly appears a caricature of the forbidden tune. rather than give some younger fellow a chance? And able revelations which Nature is so generously ready to “No maiden, no angel from heaven, would be truer to Berlin. In 1851 his illness, which had shown itself street. It was generally known among musicians at the It is masked in so masterly a fashion that it passed un¬ is it not so' because his circle of interests begins and make to an inquiring mind. Any one of these things me than you are; you alone could love me thus with a previously, grew worse. He became taciturn and time of my studies in Berlin that he was teaching the noticed by the authorities. ends with his business; is it not that he is afraid to love so inexpressibly noble.” apathetic. In 1854 the disease returned in a more earlier grades of piano-playing ten or eleven hours would have awakened and developed dormant qualities in One evening at Wieck’s Schumann was anxious to retire because he feels that he has no funds within And Clara writes of him in 1839: “My love for malignant form. Hallucinations grew more persistent a day, and that he used his Sundays for the writing of him that might have interested some good woman suffi¬ hear some new Chopin’s works which he had just himself wherewith to fill out and beautify the re¬ Schumann is, it is true, a passionate love. I do not, and vivid. Physical pain was intensified by periods of finger studies. He was never seen at concerts or ciently to make him think that he wanted to marry her— received. Realizing that his lame finger rendered him mainder of life after retirement?) however, love him solely out of passion and sentimental mental distress; memory began to fail, and, after an operas. but why heap up suggestions ? Two hours a day are, in the enthusiasm, hut furthermore because I think him one attempt at suicide, Schumann was placed under incapable of playing he cried out despairingly: "Who It may be said that all great musicians have kept at short space of eighteen months, over a thousand hours, If I had ever heard the slightest unfavorable com¬ of the best of men, because I believe no other man restraint in a private asylum near Bonn, where he will lend- me fingers?” “I will,” said Clara, and she their work until death, but this is, in the first place, and a thousand well spent hours (which beget other ment upon his responsibility as a man or any doubt could love me as purely and nobly as he or so under- lingered for two years. He died in his wife’s arms July sat down and played the pieces for him. She lent him not true of many of them. (Rossini, for instance, thousands) are bound to produce a considerable and about his musical knowledge and his reliability as a standingly; and I believe also on my part that I can make 29, 1856, at the age of 46 years. her fingers, and that is especially what she did for him wrote his William Tell at 45, and “never wrote a note” favorable change in a man's mental and physical teacher, his name should not have been mentioned here. him wholly happy through allowing him to possess me.” through life in making his piano and chamber music afterwards, though he lived until 78—but of this later.) make-up. Are we not all influenced by the books we Schumann Aphorisms (Dc mortuis—). It is mentioned, however, because what Dorn speaks of her as “a fascinating girl, graceful in compositions known. Secondly, our friend was not a “great” musician. Many read, by the sights we see, by the people we meet? I wish to say about him will not detract from his mem¬ figure, of blooming complexion, with delicate white A few- aphorisms taken from his letters and writings In one of his youthful letters Schumann writes to of those whom the world has crowned with immortality True, his fortune might, then, not have grown enough hands, a profusion of black hair, and wise glowing will give a clearer insight into the man and artist. Clara: Promptly at eleven o’clock to-morrow mPoland should surely have work together better than a group of people from the all your programs within a medium range of oice, for claiming precedence over antiquated forms and limited have not much to say. It is the same in music; when lowing them. The head of a school has a style of his been someone else. I wonder how many there were same locality. Set a night for a meeting at the house there is nothing that will so quickly make tie- members brain conception. Wagner gave some evidence of among the Paris conferees that could have addressed qn acknowledged master of composition reveals beau¬ 0Wn_not merely a few exceptional procedures—he is of a central member. Make a little occasion of the drop out of your chorus as finding that i' y cannot courage and vitality in 1849, prompted in his sincerity the French, the English and Americans, the Italians ties never dreamt of before, beauties of color produc¬ a complete law unto himself. The musician (or con first meeting, have refreshments, and a little music, but reach the notes. by a love for his country. In the present case, one and Germans, each in their language (none of which tions of rhythm, melodic scales, harmonic surprises and temporary artist) who has gained publicity, has but one not enough to encroach upon the discussion of plans. You will be surprised to find how your ch ms grows, ruler undertook to change the map of the world, but was Paderewski's own) as he was able to do; not to what not, he is pounced upon by innumerable compos¬ ambition, and that is to produce individual works, and what pleasure both young and old will < t out of it happened that he stumbled against things that be speak of the general demeanor and the style of utter¬ Then, before things have time to cool down, get ers and would-be’s, plodders tremendously circum¬ works that have been brought up to date as much as right down to work. Divide your committee into 'sec¬ it. Start right away and add your vilt to the did not foresee. Chopin’s revolutionary etude there¬ ance customary in higher diplomatic circles, all of scribed in their conception of art who present us with fore is not such an extraordinary phenomenon after all. possible. He could not find any more the time for tions. Two or three women will find it easier to work already long list of singing communities. which Paderewski had, so to speak, at his fingers’ ends. hysterical imitations of such men as Debussy, D’lndy, The most advanced and outspoken, composers, the devoting himself to forming disciples, or in elaborat¬ together than a larger number. Appoint two members And how about my friend, Josef Hofmann, whose Rimsky-Korsakoff or even Richard Strauss, the one Russians, some French, an Englishman or two, have ing a grammar that would make it possible to form a unit to get the free use of a building as centrally playing is admired by all the world, and who is, be¬ Relaxation and Subsequent Action who particularly delights in implied discords and un¬ come to enlarge the emotional range of music, to add disciples. In the future there are to be no more heads located as possible. The District School House is good sides, a biologist, chemist, electrician, engineer master sightly enlargements of Wagner. a new utterance; but we have found out by listening of schools, no more disciples; nothing but admirers! mechanic, an inventor of no mean achievement, a phi¬ as it sometimes has a piano in it. Try to have the dis¬ Many of these composers, as we learn to know them, to others that repetitions, forced polyphony, blazing or¬ There are critics and musicians who, wedded to the losopher and a writer of highly interesting and pro¬ trict school teacher on your committee, to smooth the By T. MacLeod seem to be possessed with but one principal idea, a fear chestration, and other tricks of Wagner, .as for exam¬ outpourings of the so-called German School, have found essays? If he should some day retire from the way. that some one may supplant them; an abundance of ple the sedulous employment of the Dim. 7th. have taken exception to the French master who has exerted concert stage—and may a kind fate prevent him for Appoint another unit to hunt up a music teacher or There is no one class which needs more t consider good musical thoughts may be with them, but to pre¬ been done to death by hundreds of imitators the error the strongest influence of his day developing most a long time from doing so—would he be likely not organist in a church who will consent to drill the the benefits of relaxation than that of professional sent these in a proper, worthy fashion is quite a dif¬ beautiful, sonorous and harmonic effects. Rob it of to know “what to do with himself.” of whose ways offers no attraction. chorus. Even if you can give him but little as incen¬ musicians. Much unnecessary strain is endured by ferent matter. rhythm, melody, emotion or expression, there will Making the Most of Life tive in the way of salary, he will get pupils all over them in the performance of their artistic or pedagogic We know that each turn of a musical phrase is con¬ Substance and Structure remain but little charm in its diffused harmony, subtle mannerism, very susceptible to please delicate ears. People speak usually of “dying in the saddle” as of the county through the advertisement, getting task, simply because they do not know hov, to relax. trolled by a series of new ideas which must be either Quite a while, ago it came to pass with would-be Strange, is it not, that such procedure gives birth to something that is meritorious beyond all doubt. Well, acquainted with new people, etc. Now, this screed is not intended to lay down the exact intentional or justifiable. There is something pecu¬ and real critics that Brahms, long before he passed perverted ideas, a sensation, rather than a picture that it shall not be denied that it is entirely honorable— A third unit should be named as publicity agents, procedure for such—for each one may have a different liarly deceptive in this pursuit of a musical thought away had ceased to be sympathetic though the learned for a cavalry man. It may, however, be regarded also to let everyone know that the chorus is forming, and method, and there are thousands of ways. I hit all or that comes and goes at most inopportune moments; its would aim, by such means, to replace music of the past. ones have allowed that his music is amenable to intel¬ as a well-deserved punishment for a mounted bandit. to urge all to join. Do not confine the membership any of these ways to relax are useless if :he person development may last for years, but if properly caught Robbed of its freedom and confident rise towards light lectual control; but mastery of structure in its scho¬ which is defined by clearness, symmetry, rhythm and Which shows that the merit of it hinges upon circum¬ of the chorus to the young people—get everyone who, needing relaxation will not give the propc attention and given to the world, uninfluenced by the work of lastic aspect is not the outpouring of an inspired mind. stances ; more especially so when we reflect that even can pipe a note, from the age of sixteen to seventy. others, the artist presents a sincere reproduction of his succession of sound musical ideas, we obtain a view to the subject. It is as much to be learned and prac¬ We have taken exception to Wagner for too much the cavalry man might possibly have preferred to live, The younger people would go well in a secondary vision transformed into audible or visible reality, a of pure and perfect music of classic art, more like ticed as if it were a new method of fingering the polyphony but the trend of music in the primitive stage rather than to die, in the saddle. What we should aim Junior chorus,, which could be drilled on a separate work of superior merit. Franck’s Symphony in D Minor, the 3d in C Minor scales, or of adjusting the digital machiner to arpeg¬ of our new era will undergo many changes bringing at is, therefore, not to die in the saddle but to remain night, to avoid confusion. More than that: if the work gives evidence of for orchestra and piano by Saens, Lalo’s, one of the gios. It should be the subject of regular addition, to about harmonies resultant from complex melodic lines as long as possible fit for some saddle, and by this fit¬ intense mental concentration on the ideal, and is free most personal and perfect composers among us; also the Have one unit for organizing “features.” An occa¬ be practiced painstakingly until its accomplishment is of polyphony, to which we are drifting gradually,- the ness I refer, of course, (with due appreciation of its sional out-of-door supper in the summertime, to pre¬ from tricks and deceit, it not only impresses us with Symphony for Orchestra and Piano by D’lndv. assured. leading part always dominating. physical application) to the impressionableness and cede the chorus singing, or an elocutionist who will; its originality, but also presents its maker as a mighty Learn to relax between tasks—after giving a pupil The unrelated chords have already come to stay Is Musical Germany Decadent? ^ vigor of mind and soul. There is no regimen for pre¬ give his services in between the singing, to rest the prophet of truth. a command, for instance—relax while that command is serving this particular fitness like the one which dear voices. Thes'e semi-occasional “features,” spread broad¬ while dissonances will help to secure polophonic effects. Germany’s musical progress to-day gives us some¬ being carried out; do not tense every musch to accord Limitations of Other Days Most modern composers have aimed to abolish what master Liszt prescribed—“Gather memories!” Turn cast by the publicity unit, will help to keep the mem¬ thing to think about. Since the death of Richard with the pupil’s effort. It won’t help a bit. and it will mere occurrences into experiences, in the professional bership filling up and all the seats occupied at every Ip days that are past, the confined symphonic form served as useful guides to leaders of the past, and the Wagner we are dosed with repetitions of Beyreuth wear you out. Let this be an inevitable motto: “Tense pursuit of life as well as outside of it; have a hobby, meeting. rendered it practically impossible- for a composer to best of them are departing from those ways, for they when Brahms and Berlioz are not imitated. Richard or, better, have several hobbies; to have friends, be a for action only; relax at all other times.” have ceased to be slaves of a system that throttled all You will meet with some objections, in inviting peo¬ move outside of the narrow, structural limitations, and Strauss himself, notwithstanding the power of his friend and—above all—love ! Love the daily work! ambition. ple- to join.- They will say, “Why, I can’t sing—I any such deviations would have been unintelligible to symphonic works, the undisputable value of Salome Love humanity 1 Love all God’s nature! For, unless The school of composition that will infuse art with never sang a'note in my life.” And sometimes the an ordinary hearer; but the auditors of yore advanced and Electro, notwithstanding his prodigious orchestral our heart is eloquent with love we can never draw a Making Ihe Mind Concentrate new blood, new vitality, is already here and we will ones who most loudly declare this are the ones who in musical understanding, and with the advent of new skill, shows no semblance of genius ; he is a personifi¬ response from other hearts, and all our playing, sing¬ composers who were fearless in giving forth original find it among its founders. Balakireff. Borodine, Cut. cation of modern Germany in its essence and its ex¬ ing, conducting and composing remains meaningless, are the most musical. It is a sort of shyness, and you By Blanche J. Stannard Moussorgskv and Rimsky-Korsakoff \vhose divergence must overcome it in whatever way suggests itself to ideas, patrons of art became, duly acquainted with the pression—perhaps its symbol. Richard Wagner was like unto a “sounding brass, or a tinkling cymbal.” in style and moods reflects the sensitive and impres¬ your sense of tact. One good way is not to argue structural design of Beethoven, each of whose sympho¬ the musician of a rising Germany whose labors and sionable character of their people. A large number of “Gather memories” the matter, merely say, “0. well, come and listen to nies, by the way, is absolutely dissimilar from the other; patience led upward. Richard Strauss is, in spite of all imitators has already come into existence, but per¬ peare. Thank heaven, the piano teacher is not oft with the lyrism of Mendelssohn, with Schumann, Ber¬ his gifts, but a musician of German decadence, com¬ the rest sing—it will encourage them to have you functory workmanship interests no longer an audience come.” Rest assured that if they once get into the called upon to do that! lioz, Liszt, Dvorak and Tschaikowsky. poser of false ability leaning only on the power of the Trys for the Teacher that has drunk in the unlooked-for startling exposi¬ crowd, they will find themselves joining in, simply We are often asked, however, to advise a method "Wagner, at first, was unintelligible to all but a very orchestra and exaggerated sensations. He is in reality tions of melodic and harmonic progressions of Bo.ra- because they can’t help themselves. Tell them, too. gaining the power of mind-concentration upon the wo few, and his orchestration was not enjoyed. the best that Germany of to-day could put forward. By E. E. Hipsher dine and his confreres, of Cesar Franck, Maurice that ft is not a serious musical, undertaking—just, an' Although certain piano sonatas of Beethoven have His genius is an illusion and is wanting those intel¬ of the study hour. Here is a plan that has prov Ravel, D’lndy, Charles Szymanowski the Pole, Jean opportunity to get acquainted with their neighbors fallen away from repertoires (such as the first and lectual virtues that assure success and justify it in the successful and is applicable to pupil and teacher alii Sibelius the Finnish landscape painter, Ricardo Zan- Try to be cheerful always. from a little way off. And never let anyone get the second symphonies) he introduced bold innovations in eyes of all. This opinion is based on what Mr. Wil¬ It may be the hypnotic power of the tones of t donai, the two Andalusians Manuel de Falla and Try never to use a word that will hurt. idea that there is anything “highbrow” about the thing. music and worked on lines afterward adopted by liam Ritter, who used to be one of the strongest apolo¬ voice that secures concentration of the pupil’s mi Joaquin Turina. From the first let your program be made up of songs Cesar Franck. This brings us close to the musical gists of Strauss and Mailer, said in the “Mercure de Try to put yourself in the place of the pupil. when the teacher counts aloud. The idea of this arth The art of yesterday has gone to wrack and ruin, and that everybody can sing-songs that have grdwn up conceptions of Glazounoff, Rimsky-Korsakoff, Bala- Try patience when perplexed. is to carry that a step further. It is to teach the pu the tendencies of what is coming will be healthier, France,” of March, 1905. with people—with an occasional plain, well-known hymn kireff, Scriabine, Stravinsky, and their confreres, the Try in your judgments to be just. o not only count aloud to himself, but, also, to ma The temple of musical Germany has been for the thrown in. Choose songs that have a hearty' feeling French masters of modern composition, who have given fewer leit-motifs and more moods and feelings. Try to keep youthful in spirit. his own corrections aloud. If the pupil is really The nationalist revival of Russian music has enlarged last twenty years not at Bonn, Weimar, Munich or about them—songs that the singers can throw them¬ us something more to think about and to relish. Bayreuth, but at Essen. The efforts of German or¬ Try to pluck weeds from your pupil’s path and to earnest he will find that so doing will keep his mi the emotional range of the intelligent student and his selves into with gusto. . With these outpourings a direct appeal to our emo¬ chestration were directed in the sense of quantity and plant flowers in their stead. trom wandering. influence will be left to the future to decide. As Her¬ If it is not convenient to throw the words of the tional nature has come and an impatience of technical not toward the discovery of new instrumental re¬ Try to help your pupil to search for beauty in music Correcting aloud is not easy to do at first, even f bert Spencer said upon a time, “Progress is not an song on a screen, have the community chorus song restraint, as for example in Arianc et Barbe Bleu, by sources, in their most valuable expression, such as and not barely to master the notes. an adult. One may feel a bit self-conscious in the beg accident, but a necessity.” books handed out. Or, better still, have these on sale, Dukas; Salome, by Schmitt, or Istar, by D’lndy; all Salome or Elektra by Strauss or the Seventh Sym¬ Try to make music study as interesting as reading mng, but persistence brings its own reward. All < There exist no more influences of masters, or disci¬ so that the members may take the words home and these and a number of other works, orchestral, oper¬ phony by Mahler. a story. s acles can be overcome by concentration of the men ples to learn the ways of a certain school; masters, sing them about the house. atic, etc., are modem, but they are not the musical We have admirable and prodigious composers in Try so to live that your pupils will want to be like powers upon them, so any scheme is worth while yes; there are musicians whom one would honor with Have your pianist play the tune of the song once type that we may expect now, after the war. other lands including America, where heretofore we through before the chorus sings it. Even in the case t brings about its object. Here the object is making t Surveying the musical field we can readily see the such a title; disciples, pupils, even if they exist no were possessed by germanic conception from which mind mind. By that test this plan is successful. desire of many to get away from old ideas, genius longer, it is because there are no more leaders of THE ETUDE FEBRUARY 1920 Page 93 Page 92 FEBRUARY 1920 THE ETUDE our composers have, been awakened to aa appreciation Note Reading and Keyboard Drill of the. real grandeur and universal value of'an epoch that has seen the birth of the Symphony on a Moun¬ By Vera Arnica Johnson __; tain' Theme by Vincent D’Indy, Iberia by Debussy, Starting with B below middle C, and counting down French-Suite by Roger-Ducasse. Nothing more sump¬ For the pupil who is unable to read at all the fol¬ seven keys, is the small group; below that, the large tuous, more rich, more promising has been unfolded to lowing plan is practical, thorough and at the same time group, which is followed by the contra, and the last our eyes. easily understood, even by very young pupils. The out¬ two keys comprise the subcontra group (A and B). line of study is as follows: The Teachers’ Round Table 1. The seven letters of the musical alphabet to be Write in the pupil’s lesson book these nine names of How a Great Pedagog Taught a Famous learned forward and backward. the different octaves, to be learned for the next .les¬ Conducted by N. J. COREY Daughter 2. Location of each letter on keyboard by its group son, at which time the pupil should be able to locate or octave name. one-line C, three-line F, four-line B, small D, contra , and not technical problems pertaining to This is how Friedrich Wieck describes his first les¬ 3. Reading by position. E, large A, etc.; in fact, any and every key on call. This department is designed to help the teacher upon questions pertaining to “How to Teach," “ What to Teach,' sons in tune to his talented daughter who afterwards 4. Reading by letter names. This drill should be continued for several lessons, Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department. Full i • and address must accompany all inquiries. became Clara Schumann: It is not absolutely necessary to follow the exact till the location of each key is thoroughly mastered. Father: Come, Clara, repeat these letters after me: order of the above outline as No. 3 can be used first, C, D, E, F. if desired, although the writer generally spends the Note Reading by Position series which are attractive, building up the list one by Graduating first lesson or two on technic (up and down finger Hands Separately Clara: C, D, E, F. The quickest method of note reading is by position; one, and see that she keeps it in constant practice. .. Must a person take up harmony before gradu- motions and hand gymnastics) at a table, and the loca¬ g from music? Could it not be taken up after- Father: Go on: G, A, B, C. that is, to teach the relation of notes on staff to key¬ Every little while give her a “repertoire lesson;” that is, Clara: G, A, B, C. tion of letters at the keyboard—learning the Cs and Fs one devoted entirely to hearing her play these pieces. there any special studies or hooks o a1 first lesson, and working from that foundation in the board, regardless of the letter names, followed later • up before graduating, and what * Father: Once more. Again and again: the first four. by letter naming as a separate exercise. If she can only regularly take one lesson a week, 1. M. lessons following. Not necessarily. You muse learn to use your judg¬ Right! Now all the eight together: C, D, E, F, G, Call attention to Exercise 1 of Presser’s pinner’s present her with a monthly lesson, in which you hear ment in regard to this, and teach your pupils, who are 1. Graduation is a relative term and by no means A, B, C. Home Work Following the First Lesson Book, of which the first note is in the third >i ace, and the repertoire at some odd time. Make her understand sufficiently advanced' to begin to develop their own. It refers to completion. In most institutions, academic or Clara: C, D. E, F, G, A, B, C. In the pupil’s lesson book write the seven letters located on the keyboard in the two-line up, the that this is exactly what the great virtuosi do. They is a wise plan, however, to attack all difficulties with have a series of pieces which they keep in constant musical, it refers to a certain course of study which Father: Backward: C, B, A, G—F, E, D, C. backwards—G F E D C B A—as home work for first white key at left of two blacks. one hand at a time. Especially passages of peculiar lts?On, with instructions' to parent to ask questions The next note following, which is one higl on the practice, and always ready, with the exception of a has been laid down, and after a student has finished Clara: C, B, A, G—F, E, D, C. intricacy. The hands and fingers can thus be better regarding the position of the different letters, for staff, is the next key higher on the keyboat md the little polishing, for their public recitals. Paderewski on it he is given a diploma to that effect. Although a Father: (After several repetitions). Very good! taught to shape themselves properly to the keys for any example: What letter comes after D going backwards ? third note the next higher key on the keyboa: ate. In his last trip played the same pieces he did on his first school may have more' or less leeway as to the course Look, now you have learned something already. ■ That given passage, and retain that position when the two (C) What letter comes after A? (G), etc. Also other words, one note higher on staff is alwa\ me key nearly thirty years ago, and there were but few changes. is the Musical Alphabet, and these letters are the names hands come together. Meanwhile in etudes and pieces of study insisted upon, yet it is generally guided by the have the child start with a different letter each time higher on keyboard, and one note lower tuff is Next, if it is possible, have pupils’ recitals, even if only of the white keys on the piano. Now you shall know it is frequently the case that the right hand will have standard requirements for a good general education and say the alphabet backwards from that point. For one key lower on keyboard. in your own parlor; these prove most excellent incen¬ immediately how to find and to name each of them. work of considerable difficulty, while the left hand that have been proven necessary in past experience. example, begin with E and say E, D, C, B, A, G, F; With this much preliminary knowledge the average tives for students to work up and polish their pieces. Before that, however, I must make the remark (at the plays a simple accompaniment in chords, or similar con¬ Graduation simply indicates that a person has had the then start with some other letter (for instance, B) and pupil will soon learn to play the first page either Everybody works with more enthusiasm and earnest¬ same time I run with my fingers from middle C to¬ ventional accompaniment figure. There are many cases repeat in correct order. The importance of this simple hand. ness if they have some definite object in view. Pupils ability and application to complete a given course of wards the highest Treble) that this way the sounds rise exercise cannot be over-estimated. of this sort in which it is not necessary at any time to This is pleasing to both pupil and parent, s each will often work twice as hard on a piece they expect study, but guarantees nothing as to that person’s ability —become higher, finer; and that this, the other way separate the hands, particularly with an advanced to play for an audience. This is the chief rationale of in applying his knowledge in teaching. This is a mat¬ The Next Step feels that the pupil has really made a beginning. (while I run my fingers from middle C towards the player. the pupils’ recital. ter to be tested out by experience. Graduation gives To teach the location of letters on keyboard, ask Besides, an advanced player should develop sufficient lowest Bass), the sounds fall—become lower, duller. Letter-Naming and Note-Spelling one a certain prestige, however, with the average run The half to the right upwards is called the Treble, the pupil to look at keyboard. What color are the keys? sight-reading capacity so as to play simple passages at How are the black" keys grouped? (In 2s and 3s), At the next lesson, letter-naming can be started and Time Out of Joint of people. It follows from this that an institution may other half downwards the Bass. Perhaps you can dis¬ once without excessive work. What have the years of Locate the groups of two blacks nearest the center. it is surprising how easily and quickly a pupil can read “Owing to former incompetent teaching an eleven- lay down a course in piano playing, the completion of tinguish already with your ear the difference between practice been worth if this does not become one of year old pupil really moans her counting, with the Now look, again and find the white key at left of the first few, pages. Reading exercises, inwever, which wins a diploma. Meanwhile, that diploma, if the fine, high sounds and the low, dull ones? Further, the assets of a player, to read simple music at once? result that she is hopelessly out of time. She those two blacks. This is called middle C, or one-line should be continued for several lessons, togetln r with Try and develop your judgment as to all such matters, plays, and counts afterwards. How can she be the thing that you see here before you, and that you are helped?”—A. R. K. rightly worded, can only refer to piano study and not C. Now locate all the Cs on keyboard. note writing. Sutor’s Note-Speller is a great help at and at the same time learn to be self-reliant. to learn to play upon, is called the keyboard; it consists this point. to musicianship. There can be no musicianship in the The next step is to find the group of three black keys First teach your pupil to count measures regularly, of white and black keys. The black keys we shall learn A Interesting Device simple ability to manipulate the keys, although that and the white key at the left. This is called F. Locate away from the instrument, speaking all the counts by-and-by, and the white keys we shall call by their The Mason Touch seems to be as far as the average layman looks. Gradu¬ all the Fs. For very young pupils a simple and in resting decisively, and the accented counts sharply; thus, ONE right names presently. You see there are upon the For home work, locate all the Cs and Fs—and tell device as an aid to reading can be easily made at 'Willill you please tell me whether ation, to imply musicianship, should imply the study _produce! g the finger :-- two, ONE two, or ONE two three, ONE two three, or whole keyboard always two black keys together, and which group of blacks (2s or 3s) are located nearest home. Take a long piece of cardboard, abom bv 24 as taught by i and others, is con- ONE two three four, ONE two three four, and so on. of such subjects as go to make musicians, such as then again three black keys together, and side by side. to them. sidered out o . __>een told that this Is inches, and draw the five staff lines one-! inch e heard it spoken of as a “wiping'’ In the latter measure, accent the third beat less sharply harmony, counterpoint, history, analysis, etc. Gradua¬ At the .next lesson, all the different letters can be Now, put the first finger of your right hand upon the apart, for the G clef; below this draw short h lines or “brushing’ touch. Personally, it. seems to me than the first. Next, while thus speaking the counts, tion applies to the general education along routine lines. lower of the two black keys lying side by side, and slide located, and. the octave or group names learned (unless that * -*•... jo full of vitality and splendid clear- for middle C, followed by five lines for t clef r happily described by either of those have her clap her hands sharply together on the first Specialization is accomplished in post-graduate Study. with it downward upon the nearest white key, C, over the pupil is very slow or backward, and with them, as below, to be used later. terms. I had a great deal of practice In that m or accented count, and more lightly for the third count In some institutions counterpoint is left for post¬ all the keyboard. Can you tell me now what the one with every pupil, the amount of home work assigned ner of playing, f J -[- am perfectlv- positive”**■*”“ 4that'w it Take another piece of cardboard and cut ir small , both in developing a good in the measures with four beats. Third, go* to the graduate study, although harmony is insisted upon. next will be called ? Repeat the Musical Alphabet: should be according to each one’s natural ability). Be¬ did wonders foi —. . one-half inch squares, on each one of which t one staccato and also poiseise anda-- lightness of hand and piano and play and teach her to count in this decided 2. In academic study there are certain things in a ginning at middle C and continuing t-> the right as far clean articulation of legato-"—S. passages. - M. Clara: C, D, E, F, G, A, B, C. letter of the musical alphabet, making in about manner to your playing. A good deal of this drill will prescribed collegiate course which are necessary for as the first B, is the one-line group; and the next seven Father: It is D, you see. seventy letters, 1G As, 10 Bs, 10 Cs, etc. be necessary. Next take the simplest music she plays a liberal education. In English literature, for example, letters above (C to B) the two-line group; the next You are perfectly right in your conclusions, and Clara: And next comes E. The children enjoy placing these letters on th lines your opinion as to what the system has done for you is and have her count in same manner, first with right how much would a person know who had not studied seven, the three-line group; the next seven, four-line Father: Yes, and then F. The F over the whole key¬ and spaces, and if the pupil is old enough spell valuable. The terms wiping or brushing can do no the lives of, and become familiar with, a certain num¬ group; and the last key (C) is in the five-line group. hand alone, then with left hand alone, and finally with board you can find just as easily, by putting again the ordinary words, added interest is created. harm, except by the inflection placed upon them in both together. Then do the same way with some more ber of the representative writings of Chaucer, Spenser, %-st finger upon the lowest of these three black keys speaking, and the words do possess a certain amount difficult pieces that she has already learned. In learn¬ Shakespeare, Milton, Bacon, Browning, Tennyson, that lie together, and sliding down to the nearest white of descriptive significance as to the manner in which ing new pieces, count the hands separately at first, then Thackeray, Dickens and others? It is the same in key. In these two white keys, C and F, which you will some of the motions are made. The Mason ideas try together. Do not expect to see much improvement music. You should know something about the great find at once in the manner I have shown you, both in Have the Scale Degrees Different Effects? are right in line with the most progressive ideas of in a week. It will perhaps require patient work for composers. The piano player who takes no interest the treble and bass, you have now the surest clue for the the day. Those who decry them very likely do not months. in the lives and personalities of the great composers By E. E. Delary recognition of all the white keys. For now the one understand them. Meanwhile you should not forget you may safely infer will only glide along the surface. next F is called—? that nearly every kind of touch that has ever been in Hence graduation should include this sort of study. When a composer sets out to make a piece of music Learning the Notes Clara: G; and then A, B, and so on. Technical use is made a part of modern piano playing. There is Then you must acquire a knowledge of the representa¬ and employs all that he knows of the art of composi¬ “I have a small pupil of five years who plays the Father: Now let us repeat forward and backward the Degree Name no such thing now as placing the hand in a given posi¬ tive works of the great composers. Bach, Beethoven, tion, he will find himself in a very unproductive state little tunes she hears her older sister play. Shall names of the keys, give the names of some of them out First Tonic tion, and never permitting it to move except when it I use the Musical Moments of Stella M. Livsey and Haydn, Mozart, Schubert, Schumann, Chopin and until the actual inspiration comes. No amount of Finality or “Home.” T teach her these without learning the notes? The of the order, and continue with that for a short time. ear is satisfied. rises as a hinge on the wrist, which used to be taught others. Take Beethoven, for example. You should knowledge will make music; but good music cannot pupil is supposed to play these before learning the At the end'of the lesson we will go over the whole once Second Supertonic fifty years ago. To make of yourself a devotee of the notes. Thus far I have been unable to teach her to be made without the essential knowledge. This may A desire to fall to the ton learn the names of the notes by any method. Or own a complete copy of his sonatas. Certain repre¬ more, and thus, for the next lesson, you will at once Third Mediant Calmness, quietness, restfi Mason system does not prevent your being a champion shall I advise her mother to let her wait a year sentative ones you should make your own by long and apparently come by intuition, as some composers of also of every other good idea that is brought to the or so?”—-G. L. know all the white keys, both in their order and out of notable popular successes have been musically illiterate ness. The ear is satisfie conscientious study. The great virtuosi select certain it; only you must give yourself a little practice in it— Fourth Subdomiriant front in piano playing. Keep in touch with all new ones and make them a lifetime study. They never —that is, they have had no specific musical training, ' Dullness and a tendency If you have any way of easily teaching a pupil of and you can make no mistake, for you have a hold at fall to the third degre suggestions and ideas, and whatever seems good, and allow them to slip away from them. The rest of them but nevertheless they have subconsciously done a great five to play by rote, by all means do so. They first once in the C and in the F. Now, let us shortly take The ear is unsatisfied. particularly what proves good, incorporate in your you should take down from the shelves frequently and deal of thinking about music and have heard a great Fifth learn to sing in this manner. Why not to play also? something yet quite different, which will also please Dominant Brightness. The ear is sati work. read through at sight, until you are thoroughly deal of music, and this has served for theory. One of the great drawbacks of elementary piano teach¬ you. I told you before, that the sounds this way (run¬ fied. An English theorist has collected in a table the vari¬ Whimsical ing is the necessity for the pupil fixing the attention on familiar with them. Then you will understand any ning up with the fingers) rise—become higher, and this Sixth Submediant ous effects associated with the different tones of the The note above the brig several things at a time. This is a complication of reference to them in your reading, and will be able to way (running down with the fingers) descend—become “I have a pupil of seventeen now working in the scale. Dr. Frank J. Sawyer, the compiler of the fol¬ dominant and desiring fourth grade, who seems to do good work except mental processes which is confusing to children, and form an opinion when you hear any of them played by a lower. Thus not one sound is like another, but either lowing, was a Doctor of Music of Oxford University fall to that degree. that she never quite finishes her pieces, but loses one cause of the distaste of many of them in their first concert pianist, and may also select from them for your higher or lower. I suppose you can hear that already? Seventh Leading Note her Interest and wants another one. Her pieces and a graduate of the Leipsic Conservatory. A strong desire to lead up attempts at learning to play the piano. Pupils who various pupils. As to studies, these are more and more Well, turn round now, with your back towards me. I now the tonic. quickly slip from her memory. She is getting along finely in her harmony and is musical. How can I first learn to play by rote later learn the names of the being left to the individual judgment of teachers, so strike two sounds one after the other: which is the counteract her defect?”—M. O. S. long is the list. Meanwhile a certain number by higher, the first or the second? (I go on in this manner, notes very rapidly. We learn to speak first, learning the sounds entirely by ear. In later years we learn the Cramer and dementi should be studied, and, of course, and bring the sounds nearer and nearer to each other— Your pupil has evidently never been trained to work When the Pupil Starts for continuity of purpose. Her fault is a common one, letters, and how they are used in spelling the sounds the Chopin studies are a sine qua non with all finished perhaps, also, in order to perplex and to strain the at¬ pianists. In conclusion, you must remember that there tention, I give the lower sounds softly, and the higher especially with players who work without a teacher. If we already know. This is a rational process that has pampered too much in it her entire musical career will been difficult to imitate in devising methods of playing is practically no such arbitrary thing as graduation. In sounds more firmly, and in this manner I go by degrees * Slv,es *?Y forming the habit of sending a bill for a year’s subscription wrib STuSf ETU°E colleges they have, at graduation, what they call Com¬ at thethebegmnmgof beginning of the teaching year. Their pupils have soon learnedlearner! th ^.bl t,mtIOn be endangered. You should first convince her that she the piano. It is a problem that ought to be solved, down into the Bass, according to the capabilities of the mencement Day. In other words, graduation is only pupil.) I suppose the listening tires you somewhat? ought to have a repertoire of pieces at her instant com¬ however. How to teach the pupils to learn to make it is THE ETUDE’S aim to supplement the work of the teacheeter^p^iffi way ^ thlS' ^ the beginning of life. It is equally true in music. Ah, but a fine ear is requisite to play the piano. mand, which are always at her finger ends. Pick out a music first, and the signs that represent it afterwards. FEBRUARY *1920 Page 95 THE ETUDE THE ETUDE Page H FEBRUARY 1920 Protestato The Italian public in former years employed a cus¬ In the mode™ <»,erm.„o style. To be , section. Note the brilliant endi„8 with.he tom (which is still in vogue in some parts of Italy) of deciding for itself whether a singer shall or shall not be engaged for an operatic season. Let us sup¬ pose that a new singer makes his debut in a strange opera house. He is hissed and howled off the stage on the first night. He has still two other chances to make good. If he is hissed down three nights in succession he is said to be “protestato,” that is, he must give up his position for the season and stand the stigma of being “protested.” Just how any singer, especially one of Latin parentage, could live down such a disgrace is hard to tell. One can also see how a claque could ruin a really worthy debutante under such conditions.

Don’t Manufacture Difficulties Many of the difficulties that the self-help student in music encounters are not difficulties in fact, but merely difficulties in the mind of the player. Picture a cer¬ tain passage as difficult, and at once it becomes more and more difficult. Just as an experiment, why not take a little section of the most difficult piece you have —not something physically beyond1 the reach of your hand, but something technically possible. First look at it carefully several times and ask yourself: “Why does this seem difficult to me? Wliat makes ETUDE Prize Contest it difficult? What are my shortcomings in it? Do I (Second Series) hold my hand right? Do I look at it too quickly to understand the notes or the time?” IN The Etude for January our readers will find comments upon the final adjudication of Then play it very slowly, all the time trying to find The Etude Prize Contest for Musical Composition, as well as biographies and portraits of out for yourself why it is difficult. Then say to your¬ three of the successful contestants, J. Frank Freysinger, Edward F. Laubin, Albert L. Norris. self : “I think I have the hang of this. I am going to This month we take pleasure in printing three other biographies of composers whose works have make an attempt to play it with ease and not with given much pleasure to readers of THE ETUDE. difficulty.” Half of poor sightreading and poor playing comes from imagined difficulties. Robert Louis Stevenson, IRENE MARCHAND RITTER already given recitals in public at sixteen. Later he dropped mercantile affairs and devoted himself en¬ who made himself one of the great masters of i'.nglish, Irene Marchand Ritter was born in Philadelphia, despite the fact that his invalid body made all life dif¬ tirely to music. Mr. Kroeger was one of the founders of talented and cultured parents. Her gift of music ficult to him, once said: of the American Guild of Organists. He has held manifested itself at a phenomenally early age. When “Go not out of your way to make difficulties* organ positions ever since he was fifteen, and has she was a baby of two she was given a toy piano, on which she played a perfect rhythm to what her mother written much music for the organ, piano and orchestra. performed on the large piano. When two and a half He was educated entirely in the United States. His The Joy of Well Doing prize winning composition, Humoresque Americaine, is years of age, little Irene listened to her mother repri¬ . By Thomas B. Empire manding a careless pupil, and eagerly asserted that she among the musical numbers in this issue. The teacher’s life is often an irksome one. full of could play the piece in question better than the pupil. difficulties, long hours, broken appointments, missed Whereupon, being lifted up to the piano, the child WALLACE A. JOHNSON lessons, disarranged plans, often unpaid bills, and in¬ Wallace A. Johnson was born in Plainville, Conn., played it perfectly. After this the mother began the gratitude of hard-taught pupils. November 3, 1868. As a child he was known as a serious musical training of Irene. At three she played Nevertheless, there is, in the profession of the in public. At five she played at entertainments with musical prodigy, playing the piano before he, could teacher, whether of the school teacher or of the music the keys covered. At six she composed her first piece, speak plainly, and appearing in public when he was six, teacher, the greatest fund of satisfaction in good work. a little waltz called Irene. Miss Ritter has studied previous to taking lessons. At seven he began to A true teacher must inevitably feel, in work done theory, piano and organ with Dr. Duerner, Denver, study, his only instrument being a small melodeon, his conscientiously, that he is working hand in hand with Colo., and harmony and voice with Ida Cosden de teacher a local musician. His parents were people of the great purposes of evolution. He must feel that Socio, who arranges her compositions for the pub¬ straitened means, so the boy was obliged to leave school part of the advance of the world is helped on by his lisher. Some of her music has had a hearing at Willow at an early age and go to work. For three years there¬ whole-hearted efforts, and that future generations will, Grove with much success. Miss Ritter’s prize winning after he worked ten hours a day and practiced his be a degree or so higher than if he had not assumed composition, Sparkling Fountain, will be found in the music for two or three hours every evening, taking the responsibility for that hard-urged step ahead -which is the province of the teacher. music of this issue. lessons with a good teacher, for which he himself paid In the light of this thought, the mere material “mint with what he earned. At sixteen he had made such and cumin” is of little consequence. What if the ERNEST R. KROEGER progress that he was playing at concerts jhd teaching pupil did give a lot of trouble—through stupidity, care¬ Ernest R. Kroeger, composer, organist, pianist, the piano and organ. Besides these activities he Was lessness, tardiness, unreliability?—she DID learn some¬ teacher, was born at St Louis, Mo., on August 10, composing songs and instrumental pieces, many of thing from you, and she learned it as thoroughly as 1862. His musical trend was early discovered, and he which he readily sold. He also took up piano tuning, you were able to teach it to her. What if she failed to appreciate what you had done for her? You knew was given good instruction. His father, however, died and has since practiced this in connection with his other work. In 1905 he removed to Pasadena, Calif., on ac¬ that she had improved, didn’t you? What if, after all. when the boy was nineteen, so he was obliged to enter count of ill-health. Here he devoted himself almost she went to a rival teacher? Well, this is something into a mercantile career. But so determined was he to entirely to composition. Among other piano pieces he that tests the teacher’s philosophy. But you can take succeed musically, that he rose early every morning wrote The Treaty of Peace, dedicated to Theodore it in such a way that it will be, not a mortifying circum¬ and practiced until it was time to go to business. He Roosevelt, for which he received a personal letter of stance, but a veritable asset in the formation of your practiced also in the evening. He had composed from appreciation from Mr. Roosevelt. Mr. Johnson’s prize character. The life of the teacher is blest in pro- the time he was ten years of age, and each year he winning composition, Ferns and Flowers, is to be found portion as he advances himself, for so he is better able gave a concert of his musical compositions. He had in the music of this number. to advance his pupils. Drudgery? No doubt. But much more than drudg¬ ery if one goes at it in the right way. He can both get and give a liberal education—and in a wider and Definitions for Pianists deeper field than that of music. He can, in fact, teach technic, and learn punctuality, patience, forethought, Flexor Muscles—Muscles that bend a joint from The point where the fingers join the hand is the meta¬ philosophy, order, command, and many other valuable straight to an angle; they oppose the extensor muscle. carpal joint. —yes, invaluable lessons. And so thinking, he will Rotary Motion—Motion which proceeds in a circle; Extensor Muscles—Muscles that act in extending or inevitably become, at the end of his teaching life, not movement upon an axis. The hand has a rotary motion straightening a joint or part. a weary, pessimistic, crabbed, jealous, wornout man, when it turns the knob on a door. but a happy, sincere, aspiring soul, which has achieved Tendons—The hard, gristly fibers which bind the Pressure Touch—A touch opposed to the touch of on this earthplane all that a soul can achieve in one muscles to the bones. percussion or striking. A touch in which the finger is life, a soul with many pleasant memories, and the up¬ Metacarpal Joint—The metacarpus is that part (or first brought into contact with the key before it is lifting love of numbers of other souls who have ad¬ process) between the wrist and the bones of the palm. pressed down. vanced through his teaching. FEBRUARY 1920 Page 97 THE etude THE ETUDE FEBRUARY 1920

A good practice piece for first velocity work. Grade

British Copyright secured FEBRUARY 1920 Page 99 THE ETUDE THE ETUDE HUMORESQUE AMERICAIAE E.R.KROEGER , ■ nrlH _isi-ntr t0 a fine climax.The middle sectionis in the style of anegro spiritual? A fine characteristic number, displaying strength and vigor of conception and g o „ „ 3 3 4 _2 Allegro energico m.m.J

- 5^.4 5-- . 4 4^5 4/ , . 5 4

rTJTg1 nr?— JTi. r-T- j-7 j r7 ! 7* r-c M, 1 -US *SfL?voco—a— poco *1 3 Pj * L wesc. -1—

^_ ^4 Ni 1 " ' , 1 > ^ 2 "A- P j 2 i ^_*•-

i > ■" ® “* > > dim. cresc. & — #■

—M- V tr

Copyrightl920 by Theo. Presser Co Copyrightl920 by Theo. Presser Co British Copyrightsecured British Copyrigb cured FEBRUARY 1920 Page 101 THE ETUDE the etude Page 100 FEBRUARY 1920 __• ^ __ . FRISKA FRISKA from HUNGARIAN RHAPSODY No 6 from HUNGARIAN RHAPSODY No.6

A brilliant Pinali from one of the mostpopulor of List’s Hungarian Rhapsodies. Especially adapted for four hai F. LISZT Allegro SECONDO Z^g.g-g It.

2 tep'iv Li h m FEBRUARY 1920 Page 103 THE ETUDE Page 10 4 FEBRUARY 1920 Prize Composition SPARKLINGF OU NTAIN Etude Contest A Valse di ballet in modern French style. Grade 4 IRENE MARSCHAND RITTER Vivace m.m.J -72

l « i — — cresc 1 |dim. e rit.2 \ l V jjjT Fine Z==W~ a j 7l> 1 -w- 1> bf? £ i , L- , ! j-

% F"rom here'po to the beginning; and play to Fine then play Trio. Copyright 1920 by Ther.Pressor Co. British Copyright secured FEBRUARY 1920 Page 107 THE ETUDE Page 106 FEBRUARY 1920 THE ETUDE HENRY R. BISHOP THE INDIAN JOHN HOWARD PAYNE HOME,SWEET HOME!

, ’Mid pleas- -urns and pal- -a-ces though.we may roam,

Bow to Reduce Present Homeboildiiig Costs $100 MINUS Caava

Copyrig-ht-1920 by Theo. Presser Co. British Copyright secured. FEBRUARY 1920 Page 109

yPjprpr*T7 j TIIE ETUDE

FEBRUARY 1920

Interpreted by Noted Directors Reproduces All Tonal Beauties

ffinmaunck records

A noted director interprets the musical theme. PHONOGRAPHS nd now a third Brunswick triumph. After A Thus we unite the talent of the artist with the . long preparation, we announce Bruns¬ At the turn of a hand, the Ultona presents genius of the composer. We provide the factor IKE the tuning fork that issues its fixed wick Records. With the Brunswick history L to each make of record the proper diaphragm, usually overlooked in the recording studio. , tones, free from all impurities, so the of musical achievement before you, it is as¬ the proper needle. It brings out tones hitherto We attain the utmost from the artist and Brunswick Phonograph brings fullness of tone, sured that they do not follow the ordinary. lost. Each record is heard at its best. simultaneously develop musical selections as clarity of expression and faithful rendition. Imagine an opera without its maestro, an Being made entirely of wood, on the violin they would be directed by the composers. We The fidelity of Brunswick reproduction has orchestra without its conductor, a drama principle, the Brunswick Tone Amplifier gives bring a new guiding hand into record making. set a new standard in phonographic tone without its director—without an authority proper acoustic staging to tone vibrations. ' Judge Brunswick values. Thousands and thousands of music to guide and trans¬ By eliminating all metal it avoids harsh and Records as you lovers, critical of musical expression, have late genius, to bring strident notes. judge Brunswick received The Brunswick with enthusiastic forth every quality. Phonographs. Make approval. These advance¬ The application comparisons. W e Two remarkable ments are yours in of that fundamental invite them. Then improvements i n owning a Bruns¬ to the production see if you agree that reproduction have wick. You need of Brunswick Rec¬ we have brought brought about this only hear The ords has made each you something marked preference Brunswick to de¬ selection a beauti¬ better — something —the Ultona and cide. Your ear will ful musical picture. long wanted. the Tone Amplifier, tell, after a compar¬ found only on The ison, why Bruns¬ Brunswick. wick is superior.

The BRUNSWICK-BALKE-COLLENDER comply The BRUNSWICK-BALKE-COLLENDER Company Avenue, CHICAGO General Offices: 623-633 South Wabash Avenue, CHICAGO General Offices: 623-633 South Canadian Distributors: Musical Merchandise Branch Houses In Principal Cities of Canadian Distributors: Musical Merchandise Branch Houses in Principal Cities of Sales Co., 819 Yonge Street, Toronto United States, Mexico and Canada Sales Co., 819 Yonfie Street, Toronto United States, Mexico and Canada FEBRUARY 1920 Page 111 ,E/u&° AOS p fifty.bp. * THE ETUDE THE cricket Page 110 FEBRUARY 1920 _ _ ■ Sprightly finger-work for the right hand, with an attractive left hand melody in the Trio. Grade MATILEE LOEB-EVANS

Newest and Best of Elementary Piano Methods 4_Tb i ---- i

% m I

4 I»

there is a C on the sin C is the key of <.'■?

i appearance \jetva <

lesson 11 The teach* •r ^ shall play some 16 or .12 Schumann

(or pupi^) clap the rhythm, one clap to a c

■}B ciap the rhythm, accented notes loud, the ■_ un(j „ The p»t • other half clap unac ap rhythm. On accented notes ) the Young Pianist On unaccented beats, OR That C and G sound like a I’lay them again, striking every fcHAZEL GERTRUDE KlNSCELLA than the, rest. That is accent. BOOM TO teacher: A Logical and Concise Method That Creates Love of Study N this volume of ten lessons, each one a complete step in itself, the composer lias suggested several new ways of presenting the old and ever necessary tacts. As rhythm is the pulse or heart-beat of all music, each lesson has been preceded by one or more suggested rhythm drills. , . In First Steps, also, both clefs are taught together from the very beginning as Miss Kinscella lias found from her own experience that tins new way is ol no greater difficulty than the old. The writer also suggests the use of the syllables— Do, Re, Mi, Fa and so on in connection with the teaching of the key names it the pupil has learned these syllables at school All pupils may not be able to complete one entire lesson a week hut at the close of the ten lessons, the pupils will have gained considerable huger independence, the knowledge of certain fundamentals of piano playing and the ability to play musically in the keys of C, G, D, A and F. , . ,, , Altogether, we consider this the most practically worth-while piano method for beginners ever devised. Ask Your Dealer About This Book Pries*, 75 C©nt% Net

3 East 43d Street G. SCHIRMER Mew York City Copyright 1919 by The.). Presser Co. British Copyright secured THF ETUDE FEBRUARY 1920 Page 113 FEBRUARY 1920 the ETUDE FEBRUARY 1920 Page 115 Page 114 FEBRUARY 1920 theIttJjj etudeJhJ-UJyjR -—• CACHOUCHA-CAPRICE

Arr. by W. P. Mero . o The are the ! bless -ed rain on des - ert sands, A easy and playable arrangement of t'ne principal themes from a well-known semi-c assi • ^ • 4 , */ ro se dawn on' tl ie skj You The i the 3 Sab-bath in^the June of year, Allegro non troppo I fi rst wild flowr o f t»pri ng. You

L i*- l W 1 i ) r ,_ ^ r ■ 8

9J rivriv-er - er that re-deems the nwil-der - n^TTl The heal - ing stream that runs through wea-ry lands — -,-t. fair-est day when June is come The gra - cious autumn,with full fru - it - ion here,

Copyright 1920 by Theo.Presser Co. ~Y~OTT British Copyright secured

nelly hart Wordsworth “For you are everything” A charming ballad, with a broad and swinging refrain. STANLEY F.WIDENER Moderato

fresh-ness when the long day goes by, You are the day spring and the sun - rise, too, The food when Pm fam - ish - ing. You are the drop 0f hon - ey in the flow’r, In the

Copyright 1917 by TheoJPresser Co. British Copyright secured THE ETUDE FEBRUARY 1920 Page 116 FEBRUARY 1920 THE etude

WHERE LOVE IS ALL ARTHUR F. TATE IF YOU BUT KNEW MARY GLEADALL ANNA PRISCILLA RISHER EILEEN NEWTON A neat and well-written love-song,of the declamatory type. The latest song by one of the most popular of contemporary English writers. 3 ten. cresc. Andante mf Moderato V „

One vis - ion on - ly Cheers me night and day; Far from my dear one Though 1 may be, Love’s thous-and voi - ces Float a - cross my dreams, Ech - oe’s of rap - ture Call fromthe pas^

Yet Love’s fair king-dom Shines for you and me Come seei Love’s gold-en clime, Landev-er new, Un - til they draw me Back to you at last_ B ’ ’

British Copyright secured Copyright 1920 by Theo.Presser Co. International Copyright secured Coovrifirht 1920 bv Theo.Presser Co. FEBRUARY 1920 fttge 119

Eag» U8 FEBRUARY mO __ ^ ^ T _ jBE ETUDE FROLIC A NOVELETTE , C. S. MORRISON,Op.igg A bright encore number of medium difficulty, full of color and vivacity. Also published for piano solo. Moderato m.m. J=108 w_ e r\ V hr ^ hr t h >r J2. ^J * b

Great: 8'& 4'(f) Sw. coupled THE BELLS OF ABERDOVEY Swell: Soft 8'& 4' with Oboe H.J. STEWART Choir: Concert Harp,and Soft Flute 8 irL£j SABBATH EVENING CHIMES FANTASIA FOR THE ORGAN * g Solo: Chimes Pedal: 10'& 8', to Gt.& Sw. Andante S'HTTZ.r* - --HT

# Founded on a piano fantasia by Willie Pape British Copyright secured Copyright 1920 by Theo.Presser Co

FEBRUARY 1920 Page 123 Page. 122 FEBRUARY 1920 MENUET TniB ^TVER the etude His Satanic Majesty in Opera Arr. by Greenwald from in M. “SYMPHONY” Ei> Setting the devil to music has become himself. Faust, without Mephistopheles, one of the casual matters in musical his¬ would be like Hamlet without Hamlet. tory. His favorite' role is in the opera Accordingly, he named his work Mefis- 0f Faust, but there are other Satanic operas tofele. which have won fame in days past. No The Faust-Mephistopheles idea has one has ever been able to determine the been placed in a musical setting over forty ■ origin of the idea of bartering one’s soul times, and there are at least a dozen in¬ to the devil for a consideration which is stances in which other operas introduce the usually a life of licentiousness. It is said devil as an accessory before or after the to be traceable to pagan times. Certainly fact. Lucifer at once links our imagina¬ the dark ages developed many fabulous tion with the superstitions of the middle stories revolving aronnd this idea. Many ages, and somehow many of us like it, famous men were alleged to have made when we do not permit ourselves to this peculiar bargain, among them Zoro¬ think. The picturesque costumes, the dia¬ aster, Virgil, Merlin and Paganini. The original Dr. Faustus was a traveling sor¬ bolical grimaces, the mystic powers which cerer and magician, who was detested by Satan is believed to possess are all a bis contemporaries. He appears in litera¬ part of that fabric of credulity which ture for the first time in 1587, in a Ger¬ most of us possess unconsciously. In¬ man story. In 1593 Christopher Marlowe deed, a large part of the world is quite made his famous tragedy of the “Tragical ready to accept the belief in the occa¬ History of the Life and Death of Dr. sional visits of the devil in person, in¬ Faustus.” So many times has this.fasci¬ cluding the cloven foot, the pitchfork, nating romance appeared in literature that self-starter and all modern improvements. books have been written upon the sub¬ Nothing is quite so easy to mint as any ject. It was Goethe who introduced the fairy tale connected with the machina¬ love element in the story. Gounod was tions of the evil one. During the great by no means the first to set the idea to war such tales were current everywhere music, and he was by no means the last, in Europe among the peasantry. Mr. H. since Wagner, Berlioz and Boito have E. Krehbiel, in his recent and excellent contributed notable music to the theme. work, a Book of Operas, quotes a report Boitu, the remarkable poet musi¬ that during the Franco-Prussian war Bis¬ cian, who furnished the librettos for Pon- marck was credited with having sold part chielli’s La Gioconda and Verdi’s Otello of his soul to the evil one for an infernal and I'alstaff and other works, was half machine which wrought havoc with the Italian and half Pole. His literary sense enemy. This was nothing other than the showed him that it was not Faust that Prussian needle gun—as purely material made the legend popular, but the devil a piece of ordnance as was ever invented.

Musical Dictionary

By M. E. Keating

A stands for Andante, play somewhat O stands for Opera, music and story. slow. P stands for Piano, practice, win glory. B stands for Beret use. rock to and fro. Q stands for Quickstep, swift, lively for < oda, short or long tail. beat. D stands for Peerse, a part of a scale. R stands, for Rests, for hands and for E stands for Etude, something to feet. learn. S Stands for Scales, they’re practiced F stands for Fine, no page to turn. both ways. of oyMusic, G stands for Grace-note, one never T stands for Tacet, (sometimes it joyous as the H stands for Harmony, mixture of pays). . song of birds, lives in The Cheney. U stands for Unison, sounding to¬ Transcendent beauty of tone, the I stands for Idyl, short tender piece. gether. J stands for Jodeln, called Tyrolese. V stands for Vivo, like windy weather. gift of acoustic science, and com K stands for Keynote, where scales W stands for Walts, a dance fit for all. • The violin-shaped summate art in cabinet-making, begin. X stands for Xylophone, played in a resonator of The L stands for Legato, full tones, not give The Cheney unique distinction. hall. Cheney creates true thin. Y stands for Ysaye, a violinist of tonal beauty and M stands for Marcato, play rather adds rare quality Cheney tone supremacy rests se- fame. to vocal or instru¬ curely upon basic patents which Z stands for Zither, sweet sounds in a mental records. N stands for Notes, you never play cover an entirely original applica- wrong. frame. tion of acoustic principles to the Good Humour problem of tone reproduction. Like a beautiful jewel in a perfect By Maso Brevoort setting, the serene purity of Cheney Try being thoroughly good humoured cnly one of the losses consequent upon tone is worthily enshrined in cab¬ for a day, and see how easy it makes the letting go of your self-command. There inetwork of exquisite design. teaching day. Is a pupil late? That’s pro¬ are other losses following irritability that voking, to be sure—BUT the clock won’t mount up when they are multiplied, and This master instrument plays all move back—no matter how you scowl. count seriously in middle life. records — better than ever they You have lost perhaps fifteen minutes— When you feel tense and inclined to were played before. let it go at that. Do not permit this loss “get mad,” let go instead—relax, smile— to invite another—the loss of even a modicum of your vitality. And this is and again, smile!

An Easy Mistake C7Ae By S. J. Bolin Lheney Heard at a music counter: I wonder if you don’t mean “Sutor’s.” Miss Roth—Yes, I am sure it must be Miss Roth (a successful young CHENEY TALKI MACHINE 0 M P AN Y CHICAGO “Sutor’s;” but, you see, I do so much teacher) : May I have a copy of Tutor’s tutoring and have so few suitors, that the Note-Spelling Book? mistake was an easy one for me to make. Clerk—We haven’t “Tutor’s,” Miss Roth; n THE ETUDE * FEBRUARY 1920 Page 125 THE ETUDE’ Page 12k- FEBRUARY 1920 THE ETUDE Evolving Physical Concepts in Voice Study . _” - ' s By Arthur L. Manchester

Department for Voice and Vocal Teachers This is an attempt to answer the third the waist upward, and that the outflow question, propounded in the preceding of breath is not even and flowing. We Edited for February by ARTHUR MANCHESTER article, by concrete application of prin¬ find lack of control and sluggishness of ciples laid down therein. action combined with strain and stiff¬ A Splendidly Instructive Department from the Eminent Chicago Teacher Singing tone is produced by the vibra¬ ness. If we watch this situation care¬ IVERS & POND tion of the vocal cords set in motion by fully, we will discover that stiffness of a current of breath flowing upward laryngeal action and muscular reactions “ Thank You for Your Most Sweet Voices.” — SHAKESPEARE through the larynx. Among the attri¬ of jaw, tongue and throat accompany butes of the tone thus produced is that these manifestations of wrong breathing PIANOS of pitch. The various pitches of the action. If, by chance, we do emit a flow Vocal Concepts—Tonal and Physical voice result from the variation of tension of breath with ease and freedom and are and shape of the vocal cords. This varia¬ watching closely, we notice that ease of tion of tension and shape is regulated by throat, jaw and tongue are manifestly By Arthur Manchester the muscles of the larynx whose action more pronounced. Thinking this over, is automatic, responding to the will of we conclude that there must be a close the singer as he thinks the pitch he relationship between breath management Readers of The Etude have noted the singers are subject to the same law, they tion are involved. But here detailed training in the application of these pro¬ wishes to produce. Beyond the release of and ease in phonation. discussion of the relative merits of the must be based; on knowledge absolutely knowledge assumes greater importance. cesses, in order to acquire the control nec¬ the iiscles of the jaw, allowing the A study of breathing will give us a scientific and psychological methods of accurate and comprehensive enough to Before imagination can do its perfect essary. Stiff, unresponsive muscles, an mouth to open, the muscles of jaw, clue to this relationship. If we locate training the singing voice, in recent is- produce correctness. Just here the proper work, a study of muscles, their functions, obstinate jaw and tongue, a pronounced tor cue and throat do not participate in and train' the muscles involved in breath 3 of the magazine, and doubtless re- * balance must be maintained their relationships, the effect of their tendency to produce pitch by contraction the actual production of tone. Phona- control and obtain a mastery over their member the emphasis that has been permit knowledge of detail to activities on the automatically acting of the throat induce certain interferences ti-1 ; is simply a matter of breath pressure action that results in their instantaneous placed upon the importance of tonal con¬ usurp a position to which it has no right. larynx must be taken up and such con¬ that will prevent even an approach to the vibrating the vocal cords, which give and freely acting response to the will cepts. In the February (1919) This is the great fault of the scientific trol acquired as will eliminate every form physical concept. This brings us to the forih different pitches in response to the and a steady even flow of breath through called attention to the necessity of ex- method; it makes knowledge supreme, of interference. While this knowledge second question. am matic action of the muscles of the the larynx, we will find these reactions tending these.mental concepts to certain and strives to reach• its goal• by way of must be comprehensive enough to in¬ The specific knowledge demanded re¬ lar.ox. The motive power is the breath of jaw, tongue and throat muscles disap¬ physical acts. The purpose of the de- rigid manipulation according to uncor- clude all that pertains to the actual pro¬ lates to the vocal machinery alluded to in wlv h must flow past the vocal cords pearing and the larynx performing its partment, this month, is to place the mat- related principles. The problem which duction of tone and must be scientifically the preceding paragraph, hirst, there wiiii a steady pressure sufficiently strong work automatically. While space does ter of mental concepts before students of the student of singing must solve is what accurate, it should not, and need not must be an understanding of the underly¬ to produce free vibration. Reduced to not permit a full exposition of this study singing in as clear and practical a man- constitutes a correct concept of singing usurp too great a place. It is studied to ing principle of phonation. To know how its implest terms, this is the explanation it is necessary to point out its essentials. ner as possible. The announcement and wbat does it include and upon what de¬ become the servant—not the master of the voice is produced is to be prepared to oi m act of phonation. Having con¬ The part played by rib muscles, by the singer. exposition of beliefs and theories is in- Sree of knowledge of the details of tone understand the relationship and correla¬ ceived a pure tone, what phys:cal con¬ diaphragm and muscles of the back teresting and not particularly difficult production it shall be based, This study of muscle should lead to tion of all physical acts involved. Sec¬ cepts of this act of phonation should be should be understood. Training which definite physical concepts of right muscu¬ i starting point, possess value. ond, muscles used in breathing must be formed to realize the tonal concept, and will give easy, firm and direct control lar conditions, correlations, activities and how shall these concepts be evolved? But the real need is for a definite and Two Important Divisions discovered and properly used. Third, the over the action of these muscles should practically applicable explanation of relaxations that will give instant and part played by the muscles of jaw, tongue, 11 will be noted that three instrumental¬ be continued until intake and outflow of complete mental control. At this point methods of using principles and theories Concept, so far as it relates to sing¬ and hard and soft palate in tone produc¬ ities enter into the act of phonation. The breath is performed with ease and cer¬ ing, may be considered under two divis¬ three questions present themselves: breath, the larynx and that part of the that will bring results. tion must be clearly understood. And, tainty and without the slightest feeling ARTISTIC GRANDS ions—tonal and physical. Of these the What is the nature of these physical fourth, the co-operative action of each lin k above the larynx which includes the of stuffiness in the upper chest or at the tonal demands attention first. Funda¬ concepts? Upon what specific knowl¬ part of this vocal machinery must be real¬ mouth and throat. What are the func¬ larynx. The firm and rather high condi¬ OWHERE has Ivers and Pond achievement In Every Phase of Life edge are they to be based? How shall tions of these instrumentalities, and how N mental to the production of a beautiful ized and applied. The completion of this tion of chest should be made habitual, It is hardly necessary to discuss the' tone is its concept. In the forming of this knowledge be applied to produce detailed study and the mastery of all do they impress the mind? What mental with a sense of ease at the points of the been more notable than in perfecting the value of concepts, yet, for the sake of this concept imagination and knowledge them? muscular action involved will enable one feel ng should there be to evolve a physi¬ shoulders. Power to inhale a fairly full small grand. Early among American man¬ clearness, it may be said that they unite. The portal through which much cal concept of phonation? Taking these Mental Hearing to preconceive the act of tone production breath and then to exhale it evenly and ) every phase of life. In everyday °f knowledge and imagination enter in its entirety, and practice in developing instrumentalities in detail and turning with steadiness of pressure at the lips ufacturers we foresaw the present day popularity of affairs the act of preconception is so prev¬ the conception of pure tone is the ear. A tonal concept is the mental hearing tonal and physical singing concepts will , attention first to the larynx, we will dis- and with a feeling of freedom of the this most useful type. Dismissing temptations to alent that it has become subconscious. There is, in all of us, an intuitive reac¬ of a tone. A physical concept is the pre¬ give the mind complete mastery. Then ' cover that the larynx, performing its walls of the body, must be gained and In performing an ordinary duty, an er¬ tion to truly beautiful tone. Let one conception of the physical sensations one will have established a singing con¬ functions automatically and without sen- made automatic. This (detailed training produce quantity at the expense of quality, our hear a tone that is mellow, clear, velvety which accompany physical action. The rand or some similar thing, the mind nat¬ cept that is all-inclusive and which makes saidii, gives rise to a feeling of ease, must he carried to the point of easy con¬ product, while numerically inadequate to meet an urally preconceives the different acts and and resonant, even though it be pianis¬ production of a singing tone is always actual tone production completely auto¬ o : tse, unconsciousness and if we would trol and then the whole act of breathing establishes the order in which they shall simo, and it is immediately recognized as accompanied by certain distinguishable matic and subconscious. 1 r . rlv conceive its action we must de- so correlated that the mind conceives it insistent demand, upholds the highest quality tradi¬ be done. We see, in mind, the completed beautiful tone. The first step in the physical sensations. If all goes well—if \o >p this concept of passivity. So, also, as a single act. When this point is house in all its details both of interior conception of good tone is the cultivation there be no interference, there will ac¬ with the part lying above the larynx; tions of our house. In design, material, variety, Practical Application reached the student will be ready to pre¬ and exterior before the plans are put °f the art of intelligent, observant lis- company actual tone production a sensa¬ scrutiny of muscle action and feeling conceive the act of breathing in a phys¬ and value, comparison will reveal the leading position upon paper. The painter conceives, to tening and the development of powers of tion of firmly established, easy and well- The third question is still to be an¬ there will make plain that .he same sense ical concept that can be realized in actual swered, and in its answer is the culmina¬ the last detail, the picture he would, paint comparison. The importance of seeking balanced physical action. The manage¬ of ease, release, unconsciousness should performance. of our grands. before he sets brush to canvas, and the correct models is self-evident. It is at ment of breath, fre dom of larynx and tion of the whole matter. As was stated he maintained and the mental concept is This control of breath will immediately sculptor has a mental vision of the statue P°‘nt we meet a serious obstacle, the released condition of jaw, tongue and in the opening paragraph, it is the prac¬ the same as that of the larynx. Thus result in a considerable lessening of the throat will all be registered in a sensa¬ tical application of theories that really before he takes chisel and mallet in Too much of the singing of to-day fails far, then, the physical concept is one of stiffness of throat, tongue, jaw and tion that is unmistakable. It is the men¬ matters, and what has thus far been hand. The singer cannot escape this this respect. Bigness of voice, dra- no conscious muscular effort, but of pas¬ larynx. A long step toward a com¬ IVERS & POND PIANOS law ; the concept must visualize the matic delivery of the text, tricks of inter¬ tal realization of this physical sensation presented is intended to prepare for a sivity and release from all tendency to¬ plete physical concept of the act of tone are now used in over 500 leading Educational Institutions and product of the vocal organs with all pretation too often are substituted for before actual production of tone that con¬ practical application of these theories to ward tension. production will have been taken. But a stitutes physical concept in singing and it a definite mode of procedure. This will 65,000 discriminating homes. Whether your need calls for necessary details if results are to be sat- Pure tone production. Unfortunately too bothersome obstacle may yet remain. It isfactory. To be complete, the concept many teachers are unable to supply the must be felt if the automatic action nec¬ be attempted in the succeeding article. Disciplining the Tongue, and the Jaw has been said that the larynx tunes the grand, upright or player-piano, there is an Ivers & Pond to fit essary to realization of the tonal concept But before proceeding to this attempt of the singer must be twofold; it must models so needful to the student, and Our efforts to arrive at this conclu¬ voice—produces different pitches—auto¬ include the tone as a finished product popular demand for quick results adds is achieved. It must be distinct and let us summarize certain points to con¬ it. Our policy of “but one quality—the best”—insures the sion, however, have doubtless revealed matically. This is very hard for some and the physical acts which precede and complication. None the less one who impress itself upon the mind so com¬ centrate attention. purchaser the utmost security in his investment in any another thing; we have discovered that students to realize and they will continue accompany it. Perfect automatism is desires to develop knowledge and imag- pletely as to give mental control over the tongue, jaw and throat are decidedly not to try to assist the larynx in this act by Ivers & Pond. Leading dealers throughout the United Stales reached only by way of such complete ination to the point of recognizing good varied physical activities included in the Summary inclined to remain quiescent. The tongue contraction of the throat muscles. This concept. tone and forming correct tone concept act of singing. display and sell our product. If none is convenient to you we Production of pure tone is the result draws back and presses down or rises, must be overcome by establishing most can find models which will aid him. In- can arrange to ship from the factory, on, advantageous terms. of combined tonal and physical concepts. the jaw stiffens, the muscles of the throat clearly a sense of forgetfulness of pitch Concepts Often Wrong telligence, close observation and compari- Stiff Muscles A tonal concept is the mental hearing contract and Ihe realization of our con¬ formation. The mind must be trained For catalogue and valuable information to buyers,write us today. son will awaken reaction to good tone of tone. Concepts too frequently are either par- and stimulate the imagination until tonal That this physical concept cannot be cept of muscular release and ease is not to completely forget the pitch of tone in daily or entirely wrong. To produce concept is clear and right sensed without accurate knowledge of Physical concept is the mental con¬ attained. In spite of will effort these its actual production. When breath con¬ proper results the concept must be true To the singer physical concept and the muscles involved, of their functions sciousness of particular physical action. muscular actions continue. We have trol has been acquired together with the in every particular. It is equally clear tonal concept are of equal impor- and of the proper manner of inducing Tonal concept can be realised only made a measure of progress; we have physical concept of passivity and ease of that correct concepts can come only from tance. Correct tonal concept must pre- and controlling their action is obvious. when the physical concept is so clearly learned what the physical concept should throat jaw, tongue and the inside of the Ivers & Pond Piano Co. a complete and accurate knowledge of cede but production of that concept will This knowledge must come from within • registered that it produces complete phys¬ be as it relates to these parts. Why then, mouth, then a concept of the complete ithe thm£ to be conceived. In childhood be' effective only when the muscular ac- it cannot be heard, as in the case of tonal ical obedience to the will. cannot we overcome resistance and pro¬ physical act of tone production; includ¬ 141 Boylston St. Boston, Mass. (?ur concepts of life are more or less tivities involved are perfectly correlated concept. Observation of others may help Physical concept is dependent on ac¬ duce the tone we have so clearly in our ing breathing and phonation must he untrue because of our ignorance of.the and controlled; and this mastery can but will not give the intimate knowledge curate knowledge of and control over mind? evolved. The mind, subconsciously tak¬ conditions which affect life. As we grow be achieved only when physical concept required. It comes only from an analyti¬ the muscles involved. Continuing our study and experimenta¬ ing in the detailed acts of breathing and cal scrutiny of one’s own muscular activ¬ older our knowledge increases and be- has preceded action. The duty has been This knowledge and control is ac¬ tion, we note that the third instrumental¬ maintaining ease and freedom of body, ity. It follows that there must be some cjimes more accurate and our concepts assigned, its detailed performance re- quired by adequate analytical study of ity—the breath—does not do its work preconceives the complete physical act preliminary study of these muscles, an clhange. Some are entirely abandoned, quires preconceived conditions of activ- the action of the muscles; and such train¬ with ease. There is a sense of stuffiness of singing preventing all interference and ot.hers are modified. The concepts of the ity. Here, also, knowledge and imagina¬ acquaintance with the processes by which ing as places them under instantaneous at the throat and in the upper chest, a giving free emission to the tone that has they are manipulated and some degree of direction of the will. stiffness of the walls of the body from mentally been formed. io mention THE ETUDE when addressing our advertisers. FEBRUARY 1920 Page 127 THE etude THE ETUDE Page 126 FEBRUARY 1920 Practical Application larly applicable and useful, but as much depends upon the viewpoint and mental The reader will derive benefit from Why Pearly Teeth attitude of both teacher and pupil as this attempt practically to apply the prin¬ upon mere exercise. The whole thing is ciple of tonal and physical concepts to Question and Answer Department the last word in mental control based on tone production only to the degree in comprehensive and definite understand¬ Conducted by Arthur de Guichard Grow Dingy and Decay which he perceives its psychological bear¬ ing of underlying principles of tone pro¬ ing on the matter. The thought of the All Statements Approved by High Dental Authorities duction and its physical accompaniments. writer is that the physiology of singing, No questions will t Explanations, illustrations and exercises Always send your full name and address its physical acts, should be studied in suf¬ been neglected. will need variation according to the indi¬ acid in contact with the teeth to ficient detail to enable the student to Only your Initials or a chosen nom de plur e will be printed. translate them into physical concepts viduality of the student. The first requi¬ Take Out Tickle Make your questions short and to the point. cause decay. site is to reach t|je mentality of the stu¬ which are true to nature; and that the Ouestions regarding particular pieces, metron of interest Millions of germs breed in it. muscles involved in actual production dent, to develop powers of conceiving Refresh the mouth; sweeten to the greater number of ETUDE readers will no the breath; clear the head; soothe They,with tartar, are the chief cause should be so trained on the basis of the based on accurate perception of facts and experiences. Each detail of vocal devel¬ the throat. n J should like to have some help with in the form of a suite, without the ternary of pyorrhea. knowledge acquired that they will offer No coloring: no narcoUcs the time indications when there w no metro¬ form proper to the sonata, but composed of a no impediment to the realization of these opment must receive similar treatment. nome number given.. 1 have an idea, what veritable cycle of three or four movements. Film-coated teeth are cloudy and The cause of each stoppage, whether Moderato, Vivace, Lento, etc., mean; but the In 1667 he wrote the Benivoglia, Op. 8, No. 1, physical concepts. The vocal machinery time -Lento” for one piece may not be Lento which became celebrated and served as a unclean. So dental science has for mental or physical, of the pupil’s prog¬ model for the later Italian sonatas. Vitali thus completely controlled by the will, for another. Chopin’s False, Op. b». No. J, is years sought a way to combat film, EMERSON ress must be discovered, and the mental (1644-1692) reduced to three the number of tonal concept of pure, beautiful tone can Lento and also indicated #= 138. Played movements of his suite-sonatas. That which i That way has now been found. be actualized without physical hindrance. attitude toward it made definitely correct. ;t docs not seem slow to me. On my most remarkable in his writings is his use Until this is done, mechanical practice Metronome 138 is included in the group or ai cnieichief themetueme whichwuicu is heardura again and Able authorities have proved it by PIANOS To reach this consummation it is very marked “Andante,” which is not so slow as again throughout the whole important that every stage be' mentally will avail nothing. In conclusion it can sonata. Corelli employed the same men at tC careful tests. And leading dentists Le,If°(,ne finds the number on the metronome him, an idea which Cesar Franck developed to visualized and correct concepts formed. be said that such vocal study is absorb¬ indicated bn an Italian name, such as-Allegro, are giving its highest expression. Bassani (16o7-1710) all over America are now urging Any failure here will vitiate the entire ingly interesting and, what is most satis¬ Kiii, /, is Lorn 151 to 18.’,, how should the piece wrote sonatas only in the binary form. He hr ulaiwd if the cruet time is not indicated, was Corelli’s violin teacher. its adoption. scheme. factory, productive of certain results in should KWh beat of the pendulum receive one Pleasure and entertainment properly placed, purely emitted beautiful beat of the measure! I am especially anxious The ternary form of the initial movement No attempt has been made to dictate D. A. CLIPPINGER til know the metronome time of Chopin s of the sonata was finally established by the methods by which this psychological tones, which responds to the singer’s Yalse, op. Hi, No. 2.—K. C., Houston, Texas. Italians: Arcangelo Corelli, Francesco Gemin- We Now Apply Culture and refinement iani, Francesco Maria Veracini, Giuseppe vocal study shall be done. The writer thought and take on the color of emotion \ The Italian terms jueuio,Lento, /\uuu.uw;,Andante, Al-lxi- Tartini, Pietro Locatelli, Giovanni Battista The Head Voice and Other Problems , t • . are words employed to give an Active Pepsin has found certain exercises to be particu¬ spontaneously. Pescetti, Baldassare Galuppi, Pietro Nardmi, Perfect tone Price One Dollar idea ’of the approximate (d pen pres, ‘near and Gaetano Pugnani. bv") pace of a movement, or part of a ^ove- This film combatant is embodied Much impressed by its soundness and or piece. So very imprecise are these Beethoven's earliest German forerunners Beauty and long service sanity—Clara Kathleen Rogers term* that other Italian words are used to in the composition of the sonata were: in a dentifrice called Pepsodent. qualify or modify them, and to give them a Johann Kuhnau, Johann Mattheson, Georg Musicianship of Singers The best presentation of the modem voice more particular value; for example: Allegro, Philip Telemann, Christoph Graupner, Georg And a 10-Day Tube is being sent Perpetual satisfaction method for the student—David C. Taylor. quick, lively, fast; Allegro assai, quick Friedrich Handel, Johann Sebastian Bach, Kuhnau was the immediate predecessor ol for home test to everyone who asks. Ought to be read by every student enough (whatever that may mean, but noth¬ Bach as Cantor, at the Thomas Schule at in- precise) : Allegro moderato, moderately Leipzig. lie was the first German who wrote —in many thousands of By Thomas Noble MacBurney singing—Herbert With e kspoon quirk : Allegro furioso, quick with fury ; and Pepsodent is based on pepsin, s:„ forth—a score or more kinds of Allegro. chamber sonatas for clavecin alone. The ma¬ Systematic Voice Training—rn.. tin. Hollar jority of his compositions consisted ot four You Leave a Film the digestant of albumin. The film homes. Similarly also for Andante, which, by the movements, the others being in suite form. “Frequently we have asked opera im- “Beauty of tone must be left to the wav is usually and erroneously understood Graupner was a pupil of Kuhnau at the 8amt to Mar Them is albuminous matter. The object to mean slowly ; whereas it really signifies a Thomas School. The only compositions pressarios, concert and chautauqua man¬ voice specialist, who should know physi¬ walking movement—as the Italian pel ceman le true sonata - of Pepsodent is to dissolve it, then Dealers in Principal Cities .. i.V the crowd, to prevent sidewalk Con¬ written ii Millions know that teeth brushed agers what they required chiefly of those ology, the science of health through diet : anda! anda!’ move on . move on. for hautbois, or violin, •r flute. J. S. Bach wrote very few sonatas daily still discolor and decay. This to day by day combat it. who come from, the vocal studio to enter¬ and exercise, genetic psychology and the £ uving 1” This term is also again modi- n true sonata form, in general‘ eousinauuuconstruction laws of acoustics, resonance and tone tlie use of other words, as : Andante tain their audiences. Invariably the an¬ grazioso, moving gracefully :; aAndante canta- they are more closely allied to the old Italian is the reason for it: Only lately has this method been production. sonatas by Locatelli and Corelli, but only as Emerson riano Co. swer has been: Musicianship, interpreta¬ Bile, moving in singing style, e regards the number of the movements made possible. Pepsin must be ESTABLISHED 1849 tive power, personality and beauty of “Since no student can sing a tone for The metronome »=, o. vow--- There forms on the teeth a slimy ■Pin- that it beats thei precis their grouping and not at all for then activated and the usual agent is an which he has no mental picture, it quite icated ny tne nuiu- for the trid writing is a step in the direc¬ film. You can feel it with your Boston - Mass. ears> per minute, as indicated tion of chamber music. “This means two things to the voice naturally follows that the broader the The Italian placed by the side tongue. It clings to teeth, enters acid harmful to the teeth. But science of these numbers misleading to the Following these came Carl Philip Emman¬ teacher: The widening of his own hori¬ vision of beauty in the student’s mind, ordinary scholar, because they- are 'again-.again uel Bach, Johann Heinrich Rolle, Johann has now discovered a harmles acti¬ Georg Leopold Mozart, «eorg Benda, Johann crevices and stays. Brushing in the zon and co-operation with all other the better his mental pictures will he for -noriilied bv the kind of time-note given ..to the : whether 42. for instance, may equal a Christian Bach Johann Wilhelm Haessler, usual way leaves much of it intact. vating method. And that method branches of music. the interpretative effects in tone. and an Italian named Pietro Domenico Farm It may do a ceaseless damage. And now enables us to fight that film “The teaching of musicianship must “This, then, means an appreciation of “ <«sually. chiefly ’ a two movement auui with pepsin. be put in the hands of teachers of piano, the allied kindred arts, most easily pre¬ of these was C. P. Emmanuel n most tooth troubles are now traced f conducto; ‘inS'SSSSS also Do you know that poetry of the lyric O What is the difference between melodic Haydn’s Creation. and harmonic progressionf—Ivan S. weather safeguard your Modern composers, REG.U.S. flj tender skin against the frosty or singable type, has accents and pauses douses A. Melodic progression has to do with the w blasts by dusting on fragrantly and weak and strong beats, and long and J J J J ; J - ationship between single consecutive notes Who knows where you | go? nretatkna'of *the ^Italian ^ames^leaves^ wWe _tiwrothoi- • hnrmnnic nroeression con- 0 scented, clinging, comforting short notes,, just as music has? margin In value : for example, see Massenet s The New-Day Dentifrice Take this little verse, for instance: Thais, where the quarter-note ranees from so All lyric poetry should be so accurate (Allegro maestoso I to 92. 9b. 1°4 Babbling brook (Allegro), 120 (Allegro moderato) and Ida Now advised by leading dentists everywhere From your nook that it swings along in perfect rhythm. (Allegro agitato). . , . . I freeman's The time of the valse in question is in¬ A. “Sus. and sus.” indicates a suspended $ FACE POWDER In the woods you flow. Some poets are careless, and put in the dicated as Allegro glusto, which “ te (in harmony) and the note on wtnen u jjjjj Protective, soothing and entirely On you run first word that comes into their heads, moderate, steady Allegro. As any precise , to he resolved. They should not be value for the beat is a matter "/artistic ap ard together, although it frequently so Ten-Day Tube Free harmless. In favor for 40 years. ’Neath the sun— instead of searching for the word that predation and temperament no MM time can AH tints a^cdl^wdet counters 50c (double the Who knows where you go? will fit. Then, of course, the verse is be given here. It should, however, be Borne Send This Coupon the pepsodent company. in mind that Chopin wrote his values nom contemporary composers all higglety-pigglety, and not real verse 0. Who were the Dept. 998,1104 S. Wabash Ave., Chicago, 111. ft* Miniature box mailed for 4c plus 1 c war tax. If you were to put it into accurate time the French and Polish ideas of valse time, of Beethoven, who i note music in the Sonata Then note how clean the teeth jg The ^Freeman Perfume Co., it would go this way: at all. which Is considerably quicker than ours. form! Please give some idea of themf—R. feel after using Pepsodent. Mark Mail 10-Day Tube of Pepsodent to the Violinist, a German S„ I' the absence of the slimy film. See | Some verse goes into 6/8 time; some Q. Was Kreutzer, me nv; A. Muzio Clementi (1752-1852), eighteen hr an Austrian, and for what how teeth whiten as the fixed film into 3/4, and it may be almost any kind bratedt—Golda O. ears older than Beethoven, born in Rome, but t Versailles, fi'lived in London, Eng., wrote 64 sonatas tor disappears. In ten days you will Bab bling brook of time, but it must match and the accent -r ... „as born at vcrooilies, piano. Beethoven was at first influe.nced by France; ne became private musician and know what is best. must fall on the right syllables. | Address.. Any verse in which the accent falls in brated by the violin sonata which Beethoven For Restoring Color * From your nook | such a way that a word must be mis¬ pronounced—like wa-ter, or play-/,,/ 0r sassst 1812), who was at one time termed the wrote athcons?d,nraMetnumbaer So? compositions un-der-stand,—is certainly not real lyric J - fecbelestal!1'HuimeL allknew1®’ ^ethoven mor^ oMess, JJ J I J poetry. Every accent in poetry should In the woods you flow method which bears his name. A Scientific System of Voice Culture, fall in such a way that the words can be Without Exercises Q. Were there any sonatas written by to'Vome^pnpUs"6«r“8*3j; By FRANK J. BENEDICT pronounced in their proper way. Italian composers before the time of Bee Simple, Practical, Thorough, Complete J j J *| thovenf Who were the forerunners of Bee twTor^fou/hands! ’ “Tells Exactly How” On you run | And the same rule should be followed thoven in sonata composition f—M. R. Clout , Boards, $1.00^ Cloth, $5 00 about the sounds of the words. No word Alorlatrillt* real sonatas wrote sonatas for AddressaTHE BENEDICT VOCAL STUDIO 1 should 'have to be mis-pronounced to V. The first Italians '2054-2060 W.Lake St, Chicago,Ill. 0I 0j 0: .*. I BAYNER, DALHEIM fe Co rhyme with another word. But this—as ’Neath the sun Please mention THE ETUDE when addressing Mr. Kipling says—is another story. our advertisers. FEBRUARY 1920 Page 129 Page 128 FEBRUARY 1920 THE ETUDE the ETUDE example, by omitting the pedal. Cesar is not ready to attack, then that choir is Franck also saw the advantage of writ¬ inefficiently led. The rawest, undevel¬ ing for the manuals alone. oped school children can be taught, in¬ The accepted theory for the pedals is deed they are taught in our public that they furnish a solid foundation. schools, to make attacks and even key They probably do, but they also cause changes. elephantiasis. Music does not always Here are the types of leading notes used, and which can be well dispensed need a foundation. with; De partment for Organists While on the subject of pedals, is there Ex.3 any good reason why the pedals should At Night— Edited by Noted Specialists always play an octave lower? Max Reger, Karg-Elert, Widor, Bon¬ ‘1 look upon the history and development of the organ for Christian uses as a sublime instance of the guiding hand of God. It is net and a host of other modernistic writ¬ a thorough bath ers achieve agreeable effects by writing the most complex of all instruments, it is the most harmonious of all, it is the grandest of all. No orchestra that ever for the pedals in the upper registers. for your Face existed had the breadth, the majesty, the grandeur that belongs to this prince of instruments.”—HENRY WARD BEECHER. The great danger that comes from play¬ If the boy choir does not need a note ing an octave lower is that of becoming of preparation, how much less does the a one-footed organist., If the notes are trained quartette. Organ Marches and How to Play Them played where they are written, both feet While on the subject of the prepara¬ If you want a skin that is clear, have to be used. Of course that will de¬ tory note, there is another note that brilliant with color — let it By Edward Hardy must be cited and that is the after note prive one of the delights of the over¬ breathe at night Of all forms of organ music, the worked swell pedals, but then a certain on the pedal. to sound; to sound well and march-like, Where the Vs are, he broke the legato commenced. He also tested the effec't luminosity will be noticeable in the play¬ An anthem or a solo may end March form is, I think, one of the most and he worked away with that concep- connection. Try the experiment your- of a break between these two n tes, but difficult for the average organist. I have ing where all was mud before. TINY, invisible dust particles— tion in view. self. Play it over in a perfectly legato finally decided that by joining them he When the hymns or chants are played, always, always falling on heard organists give a very fair render¬ The first eight bars he told me, he touch (there is no contrary touch direc- obtained an impetuous effect inch he play the pedal where the bass is written. your unprotected face. ing of a Sonata or Prelude and Fugue, played over fifty times before he was sat-, tion) then play it over as in Et 1 i. e„ rather liked. You have been told that to use the but when they came to the March, it isfied with it. A number of times he was a dead failure. got just that right catch and swing with Now if the student will work : these Crescendo Pedal is bad art. It is not. In crowds—in shops—in theatres all The reason is, I think, because you are it, that he desired. The next time it lines, that is, make the piece mid in¬ It is bad lying to depreciate it. The day long, the delicate skin of your left more on your own responsibility was gone. The next time or so he missed telligent, make it express the miment Crescendo Pedal is the greatest inven¬ face is exposed to millions of unseen tion in organ building since the electric than in other pieces, because you have to it in parts, so at last he determined to underlying it, make it have mt vim enemies. action was installed. It is only bad art bring out of the music something you notice carefully what he did when it and go that it would receive : played but the sustained pedal note goes on for¬ when one uses it unintelligently and be- cannot see with the eye, and because it satisfied him and mark his copy so that by a first-class orchestra, he ill find ever. Amens also are played that way. That is why a thorough bath for goes dead against one of the most im¬ he had sombthing permanent to aid his his practice more interesting t.> himself . cause one is lazy. your face at night is so important. portant canons of all good organ play¬ memory. This is what he did. and the result more pleasing to hear¬ They say that the Vox Humana is possible, rub your face for thirty sec¬ sentimental and squallish. It is. So is ing, viz; perfect accuracy in the duration ers and be on the road to self-progress During sleep the skin of your face onds with a piece of ice. Dry care¬ of notes and rests. and development. the Diapason stupid and dull if used should be allowed to rest—to breathe. fully. To remove the blackheads Here is an illustration. At a series of without tonal relief. Use the Vox Hu¬ /cM' ■■ 1 V J— The delicate pores should be freed already formed, substitute a flesh organ recitals, I heard two organists play One must not forget that m.-t play¬ mana as often as you please, only use brush for the washcloth in the treat¬ Mendelssohn’s “Cornelius March,” edit¬ ^4- p •- ers feel this music all right, bn: through good judgment and combine it with a from the dust and dirt that have ment above. Then protect the fin¬ ed by Best. A played it exactly as writ¬ lack of study of the organ as an ex¬ soft Diapason or Melodia. In that way accumulated during the day. ganists would do this instinctively, but it ten; right notes, right time, and just pressive instrument, fail to com v this you rob it of its lachrymose qualities. Speaking of Amens, is it necessary for gers with a handkerchief and press out is certain that a good many cannot do those notes played staccato that feeling to their hearers. If qm-tinned If there is one fallacy that is a hardy our hymns and anthems that go loudly For remember—authorities on the the blackheads. marked so. on the subject, they would talk very perennial it is the fallacy of the prepara¬ and joyfully to end with a Pianissimo skin now agree that most of the com¬ After this experiment, B played over Yet the opinion was "it was rather easily on the limitations of “the organ,” Amen? It isn’t more churchly or rev¬ moner skin troubles come from bac¬ Treatments for blemishes—for con¬ a number of marches in his repertoire and tory note. poor,” “not much of a march,” etc., and but if they could hear a first-class artist erent—it is a foolish habit that has crept teria and parasites that are carried spicuous nose pores—for all the com¬ adopted the same formula for all and Some organists have an idea that you might reply, “what more could the play, they would soon discover that the moner skin defects—are given in the found it worked out with complete sat¬ everything sung by the choir must have into the pores through dust and small man do, what more do you want?” barrier to expression is not so unbi cakable We organists have many things we little booklet that is wrapped around isfaction. The formula wa<-: “in tipping a note of preparation. It would not be particles in the air. B played it at the next recital and it as they thought. With the voice. >r on may be proud of, and many things that passages,” join most perfectly the short so bad if it were confined to amateur every cake of Woodbury’s Facial at once became a strong, virile, living the violin or piano, it is easier U xpress do not engender pride at all, but we have note to the long, and separate the long organizations, but when it is heard in o If, from neglect or the wrong method Soap. Find the treatment that your thing. Everyone was delighted with your feelings, but because it is .fficult a few things it is just as well to out¬ note from the next short note. the large city churches it is ridiculous. of cleansing, your skin has lost the particular type of skin demands— it. Wherein lay the difference? A, to do so on the organ, don't g away grow and forget. As our technic grows, With regard to the joining of the sec¬ Only an untrained, slovenly choir, with flawless dearness it should have—be¬ then use it regularly each night before like the plodding person he was, was with the impression that it is impossible, a lazy choirmaster, needs a sounding there are new angles to b.e considered, content to have it note and time per¬ ond minion in bar 1 to the dotted quaver but work away, experiment, and j down and every once in a while we would do gin tonight to change this condition. retiring. You will be surprised to m bar 2 it does not come under the rule note. You can make your skin just what it see how quickly your skin will gain fect. B had a conception of how it ought your results until you have mac!, your¬ If, after a hymn tune, chant or prelude well to straighten up our attics and dis¬ because the “tripping passage” had not card the vestments of our grandfathers. should be. For every day it is chang- self master of its inmost soul. (in anthem) has been played, the choir in attractiveness—how smooth, clear ing—old skin dies and new skin takes and colorful you can keep it by this its place. By giving the new skin, as Fallacies in Organ Playing it forms, the special treatment its Handel’s Organ Concertos need demands, you can make it as Woodbury’s Facial Soap is on sale at By Harvey B. Gaul Sources of life, suspend your course ... any drug store or toilet goods counter Tiik habit of Handel—one might say al¬ Listen, listen, Handel the incomparable plays! soft, as clear and smooth as you most a craving—for improvising was the Oh look, when he, the powerful man, makes in the United States or Canada. Get “The time has come,” the Walrus said, glory of the church and the traditions of origin of the grand Organ Concertos. After would like to have it. the National Association of Organists the fashion of his time, Handel conducted the forces of the organ resound, a cake today—begin using it tonight. “To talk of many things.” the past. The pianist says we have in¬ Why do we not phrase more than we his operas and oratorios from the clavier. Joy assembles its cohorts, malice is ap- convention in Portland. For clean-cut A 25 cent cake lasts a month or six ertia, and the orchestra men claim it is do. Phraseless playing seems to be the He accompanied the singers with a marvelous The famous treatment Thus spoke the delectable Lewis Car- articulate playing they were some of the art. blending himself with their fancy, and atrophy. We know it is neither, only best recitals given in America. only kind that is sacrosant. We set our when the singer had done he delivered his roll, and though he mentions cabbages, tradition. pupils going like little tick-tocking own version. From the interludes on the for blackheads he also refers to kings, though not in No one tries to play the Bach “Little G clavier in bis operas he passed to the fan¬ Silence, bunglers in art! It is nothing here A fallacy that has lately been disturbed metronomes, and the result is they grind tasies or caprices on the organ in the to have the favor of great lords. Here, We shall be glad to send connection with the organ and its alleged Mmor,’ the D minor, the “Big G Minor” entr'actes of his oratorios, and his success Perhaps, in your case, failure to use is the legato playing fetish. Legato or D major in a legato manner. off their fugues and studies with the was so great that he never abandoned this Handel is king!” regality. While the time may be here, playing is said to be the foundation of artistic abandon of a train going over It is necessary, then, to view these Organ the right method of cleansing for your you a trial size cake E is perfectly impossible to play notes custom. One might say that the public were Concertos in the proper sense of magnificent there are a vaster number of things than organ playing, and as a foundation it is a trestle. While some of our recitalists drawn to his oratorios more by his improvisa¬ type of skin has resulted in disfigur¬ like this— tions on the organ than by the oratorios concerts for a huge public. Great shadows, Tor six cents we will send you a trial one can talk about in one short article. good, but as a superstructure or complete Phrase, there are few teachers who teach themselves. Two volumes of the Organ Con¬ erreat lights, strong and joyous contrasts all ing little blackheads. This condition It is quite as important that we have plan it is worthless. certos were published during the lifetime ot are conceived in view of a colossal effect. can be overcome—and your skin can size cake of Woodbury’s Facial Soap it, and schools of students who phrase Handel, in 1738 and 1740; the third a little The orchestra usually consists of two oboes, abolitionists and iconoclasts as it is that Legato playing is not a whit more im¬ no more than a calliope on a rampage. after ills death, in 1760. two violins, viola and basses (violoncellos, be smooth and clear in future. (enough for a week or ten days of any we have conservatives and orthodoxists. portant than staccato. In the old days of These symbols are colorful and poten¬ To Judge them properly it is necessary to bassoons and cembalo), occasionally two Woodbury facial treatment), together We need all kinds, as long as they are hear in mind that they were destined for the flutes, some contrabassos and a harp. The the tracker action it was. In this day of tial when observed A ' ~~-— ——; theater. It would be absurd to expect worts concertos are in three or four movements, To keep your skin free from this with the booklet of treatments, “A constructionists. One trouble with the in the strict, vigorous and involved style ot lighter-than-piano electric action it is not sforzando, subito, stringendo, allargando, .T. S. Bach. They were brilliant divertisse¬ which are generally connected in pairs. Usu¬ trouble, try using every night this Skin You Love to Touch.” Or for organist’s profession is that- it does not the great desideratum. The pianist and and the other dynamic marks that give ments, of which the style, somewhat common¬ ally they open with a pomposo or a staccato in the style of the French overture; often an famous treatment: 15 cents we will send you the treat¬ contain a concentrated progressive party, violinist do not use legato continuously, place yet luminous and pompous, preserves editors sleepless nights and engravers the character of oratorio improvisations, hna- allegro in the same style follows. For the ment booklet and samples of Wood¬ but has only an occasional malcontent, neither does the singer—why do ive profaneful days. conclusion, an allegro moderato, or an an¬ ing their immediate effect on the great audi¬ Apply hot cloths to the face until the bury’s Facial Soap, Facial Powder, who is the victim of his own inhibitions. alone everlastingly try to make it The pedal organ was a happy inspira¬ ence. When he gave a concerto, says Haw¬ dante, somewhat animated—sometimes some The profession of organ playing dates kins, “his method in general was to introduce dances. The adagio in the middle is often skin is reddened. Then, with a rough Facial Cream and Cold Cream. Ad¬ smooth? We were told to play Bach tion in the pre-Bach period. Since then it with a voluntary movement on the diapa¬ missing, and is left to he improvised on the washcloth, work up a heavy lather of dress The Andrew Jergens Co., 5602 back to Palestrina, and probably our legato and we nearly wore the cuticle many an organist has tripped over it and sons, which stole on the ear in a slow ano organ. The form has a certain relation with lineage goes even to the Psalmist and his solemn progression; the harmony close- that of the sonata in throe movements, olle- Woodbury’s Facial Soap and rub it Spring Grove Ave., Cincinnati, Ohio. off trying to do it. To-day does anyone fallen into harmful habits. We over¬ wrought and as full as could possibly he ex¬ qro-adanio-allegro. preceded by an introduc¬ water pipes; consequently, we have in¬ try to play Bach Toccatas or free Pre¬ use the pedals. There is no excuse for pressed ; the passages concatenated with stu¬ tion. The first pieces of these two first con¬ Into the pores thoroughly, always herited many traditions. Among the tra¬ pendous art, the whole at the same time certos published in Volume XUVIII of the with an upward and outward motion. If you live in Canada, address The ludes or repetitive notes that are writ¬ Playing them continuously. The ’cellos being perfectly intelligible and carrying the Complete Edition (second volume) are in a ditions are some that are fallacious, to Andrew Jergens Co., Limited, 5602 ten allegro or moderate, legato? Echo and double basses in the orchestra do appearance of great simplicity. This kind of picturesque and descriptive style. The long Rinse with clear, hot water, then begin with, and some that have been out- prelude was succeeded by the concerto itself, Concerto in F Major in the same volume has Sherbrooke St., Perth, Ontario. answers with a sforzando NO! not play from start to finish. which he executed with a degree of spirit the swing of festival music, very closely allied with cold—the colder the better; If There is not a brilliant recitalist in this Play some verses of the hymns, verses and firmness that no one can ever pretend to to the open-air style. Finally, one must The other arts have striven for equal.” Even at the height of the cabal notice the beautiful experiment, unfortunately country who does not use the staccato of chants and some of the transcriptions which was organized against Handel, the not continued, of the Concerto for two emancipation. Post-Impressionism; Fu¬ touch as much as he does the legato. Grub Street Journal published an enthusias¬ organs, and that, more astonishing still, turism, Vers Libre, The Little Theater, y°A ,make y°urself without using the tic poem on Handel’s Organ Concertos: of a Concerto Jor Organ terminated by a There were four or five examples of pedal. Your congregation and choir will Chorus, thus opening the way for Beethoven » have all opened new channels. The or¬ nonsense to that in a recent American Guild of Or¬ nd it a relief. Bach produced admirable “Oh, winds, softly, softly raise your golden fine Ninth Fiimptiong. and to those of hi ganist is still wrapped, cocoon-like, in the .. . t . . ,and we as well bury wings among tfte branches! successors, Berlioz, Liszt and Mahler. ganists’ Convention in New York and in that false idea now and forever. effects in his Toc-atas and the middle That all may be silent, make even the whis¬ R. Holland. movement of the St. Anne’s Fugue, for perings of Zephyrs to cease. Please mention THE ETUDE when addressing our advertisers. THE ETUDE Page 130 FEBRUARY 1920 FEBRUARY 1920 Page 131 the ETUDE (AUSTIN ORGANS) The Etude Letter Box T’HE super-eminent place given to the New Musical Books work of the Austin factory is con¬ stantly revealed in the number and im¬ Schomacker THE etude wants to share with its readers some of the very interesting letters ing are classics, notably “The Philosophy ot portance of contracts, a large propor¬ Memories of a Musical Career. By Clara /Singing.” She married Henry M. Rogers, a Hose Supporter that come to it. We can not, of course, allow our correspondents to indulge in tion of which come with no competition. Kathleen Rogers (Clara Doria). 503 pages, famous Boston attorney. Memories of a Music Style F bound in cloth, illustrated with half-tone lengthy, polemical discussions of articles. We do, however, enjoy reading terse, Famous for large organs, equally famous Career takes the reader pleasantly through a interesting remarks from our supporters. Therefore we shall be on the 10.0K.: cuts. Price, $4.00. Published by Little, lone train of interesting and instructive ex- i timely topics and shall Brown and Company. pei-fences, and is told with such charm and out for short, pithy letters from practical people c From large to small the sa One of the most charming autobiographies ease that one feels present in the picture print them now and then. GRAND in musical literature, told with fine sincerity most of the time. Mrs. Rogers might easily and skill from a life rick in musical experi¬ have been a successful author of fine fiction Silent Scale Practice A Trifle Goes a Long Way ences. Mrs. Rogers comes from a noted if she had not chosen the field of me. Etude: To The Etude : , family of which Meyerbeer was a member. Etude readers have enjoyed many of ner playing " I do not agree with The Etude correspond; AUSTIN ORGAN CO. The quality of its tone Her father, John Barnett, was a noted Eng¬ interesting articles in these columns. recent number who thinks “rag-time ' lish composer in his day, and her cousin, a student,. ( tried^several^eit Shod syncopation practice. Perhaps a 165 Woodland St. Hartford, Conn. enraptures the heart as its The Complete Opera Book. By. Gustav making s defect one of small fraction is good for the musical John Francis Barnett, was. also a noted plan- obbfi. 873 pages cloth bound. Published Droved eminently tern, but I doubt it. Becently in one o ist and composer. Mrs. Rogers was educated Kobbe.^uy G. P. OTd^pages,Putnam’s Sons, New York and Lon which, to ny surprise, lias proved eminently sell music I heard tl beauty of construction de¬ at her parents’ home in England. In Leipzig, successful. or is it “raggiste, - - at the Conservatorium, she studied piano with d°The lover of opera, will 8“^ to tola book .my scales through, touc lights the eye. Moscheles and Plaidy, theory with Pappentz l1 thiTeys_ 8^ t being careful to try n< song, bv Cowles, in RAGTIME ! tin* most comprehensive infoimation on tne ly sound. At first, of course, ats later this marvelous young and Richter, ensemble playing with David subject published. The stories of the various person “jazzed" Chopin’s GUILMANT and Rietz, and singing with Goetz. In Milan nnpras from Gluck to the present day are told tnuniDs and the stronger.nds fingers of my h she studied for the stage with Sangiovanm. could be heard when they touched the 1 what I it--” Schomacker Piano Co. Interestingly and illustrated profusely with but after about a week's practice at th chewing” Organ School After a successful career as a singer in Italy rwirtmits and scenes and 400 succeeded in playing all the scales witnoui - Established 1838 making aianv sound, although I touched all the J*e Persons cannot distinguish t__ — Dr. William C. Carl, Director Then, when I played my scales in the rerencc. _ their musical education. Philadelphia, Pa. of teachers can they have had? Very truly, 150 Students Holding Positions ? befon Oiling the Machinery » the method of practic- Practice Facilities The Individuality of Each By Edwina van Haaven i! Student Studied PISO’S really expect that our digits will do their Every one knows, in this day of auto¬ for Coughs & Colds best work under such adverse conditions. mobiles and of sewing machines, that . Hands and fingers washed in warm Trials of True Tone by Tune-a-Phouo smooth working is largely dependent water, properly cold-creamed at njght, upon the lubrication of adjacent parts. and with closely-trimmed nails, will do Your Music Is Torn! Capitalize YOUR Ability Yet we go to the piano to practice scales much better work than hands which have It will Take One Minute to the world pays for skill and swift passages, with cold hands, had no such attention. Oil your machin- Repair it by Using This profession now offers unusual opportu¬ nities for making money. It is uncrowded, your rough hands, unmanicured hands. And time is your own. Our Correspondence Course Multum-in-Parvo Binding Tape with tools, and the wonderful Tune-a-Pbone, our patented instrument of precision in sound. make the seemingly difficult easy to understand by any- Make the Time Fly!

By Thomas B. Empire Theo. Presser Co., Philadelphia, Ps. Yet this work can glide along in such How the minutes flash past when we Wonderful Opportunity are thoroughly engrossed in anything in¬ a way that the hands of the clock will Moller Pipe Organs to become a good teacher and pianist teresting. When it is done how we glance fairly spin round and the time will melt for a small financial consideration at the clock and exclaim: “Why, I didn t away like magic. How? Why, just put A Course of Thirty-six Piano Lessons Compiled and edited by dream that it was so late! your whole mind to what you are doing. CARRIE WOODS-BUSH On the other hand, how the time drags Watch carefully so that no thought about Position at the piano and correct position of the hands when we are putting through an uncon¬ anything else gets into your attention. M. P. MOLLER Hagerstown, Maryland Treatment ofe<8cales, Signatures, Inter-ato, Chords genial task. Practicing scales, for in¬ In a word—CONCENTRATE. stance, or doing formative finger work. T T~^ You wish to Study / H Harmony, Counterpoint, or Instrumentation let me 1 g^g Vs PREkURR-A^SEMBLER; Letters from Pleased Patrons advise you. Write for particulars. OSCAR COON, Oswego, N. Y. (Author of Harmony and Instrumentation) The Pedal Book, by Dr. Blose, Is just what jissh* ?«***■ I need in my work.^ ^ B Sl0WE) Maine. ngnts young Alice E. Law. Keeps Skin Smooth,Firm,Fresh Every number is good in the Spaulding — — Youthful Looking ISIS Blose, are very E. lN-GnAM. Album- 3. R. GILLIES. I am delighted with my copy of- American Faust School of Tuning he SpauldingSpaulding .-IlhamAll Is just what I bav< Composers. ^ p p Diceie ited for a long ti Florence Hardy. I would not know how to do without All of my pupils for Bomey«irS have had Orem’s Harmony Book in my teaching work. and h“i“yed' if “Ut let ft Umpire Mabel E. Parkhubst. American Composers should be a valued [fi addition to the pianist’s repertoire. I can speak of it in the highest terms. it I shall find the Pedal Book, Mrs. Joei. Goodlett. y useful with all my pupils. W. W. Gatenby. posers is a splen a collection In every way. I have already used^ ten_ jj_ets of the Child's Mrs. J. V. Cook. new Old Rhymes u h Hew Tunes is perfectly Nana tucker. Mrs. Oscar Crowell.

Piano Scratches Save Magazine Money est I have ever seen. ' ^ K WlIjS05r. Vanish Instantly

THE ETUDE, Theo. Presser Co., Pub’s. i Philadelphia, Pa. jgass&W.^my pupils. VymilDIMPMl&ht ond Morning. sBSSgSSS H*ve Strong, Healthy SSSSSr Ml" Eyes. If they Tire, Itch, Alice E. Law. Tor dkWsJm Smart or Bum, if Sore, M. L. CAMPBELL COMPANY \A . ~K/r C Irritated, Inflamed or YOUR EYEJGranulated,use Murine often. Soothes, Refreshes. Safe for FEBRUARY 1920 Page 183 Page 182 FEBRUARY 1920 THE ETUDE THE ETUDE In my own individual teaching, I find, pendicular, the next twist of the peg will r in looking over the list of pupils I have bring it down with a crash, often break¬ taught, that of those who became really ing the bridge, or even cracking the belly good violinists, capable of playing con¬ and bringing the sound-post down in ad¬ certos and standard compositions for the dition in many cases* thus putting the A Revelation violin, almost all of -them had at least 120 violinist out of commission for the rest to the Music World minutes of earnest private instruction of the evening. Even if the violinist had every week the year round, although there an extra bridge the exact size of the Department for Violinists For eight long years our experts worked and ex¬ were occasional pupils of great talent who broken one to put on, and had a sound- perimented, selecting, planning, discarding, al Edited by ROBERT BRAINE attained good results with half that time. post setter in his case, so that bridge and The time for much and frequent in¬ sound-post could be gotten back into ways changing, always improving, to pe,, “If All Would Play First Violin We Could Get No Orchestra Together—R. SCHUMANN struction is in the beginning, while the position in a few minutes, it would be ideal harp string. This ideal has finally been bowing is being formed, and the proper quite a while before the violin would realized in M stand in tune. Once the strings are position and movement of the left arm, hand and fingers are being attained. Once down, and bridge and sound-post thoroughly grounded in these, less fre¬ changed, it requires a great deal of tun- j The Centenary of Henri Vieuxtemps quent lessons will suffice, although con¬ ing before the violin can be made to stant watchfulness is necessary to prevent stand in tune. Armours Henri Vieuxtemps, the great violinist, now to London to become soloist at the again to Russia, where the Czar, charmed Thus far was the ascending curve of a relapse into bad habits. An experienced violinist watches to see was born at Verviers, Belgium, on Feb¬ Philharmonic Concerts; now to Vienna; by the young musician’s art, appointed Vieuxtemps’ career. Now began his de¬ that his. bridge retains its upright posi¬ ruary 20, 1820. His father, a retired of¬ him solo violinist to his court; then to cline. In 1865 his father died, and the Danger From Snapping Strings tion after every tuning, and if it leans ficer, was an instrument maker and piano Antwerp, where, at the Rubens Fete, following year he lost his wife. He then Many violinists who would like to towards the fingerboard Jje straightens it. HARP STRINGS tuner. The boy began very early the study Vieuxtemps was decorated with the Order suffered a paralytic stroke, which affected change from gut and silk to steel E To do this the violin should be held be¬ of the violin, appearing at the age of six as of Leopold; after this, to Paris, a second his left side and put an end to his violin strings are deterred on account of the tween the knees and the bridge grasped Made of the finest selected materials, each string soloist with the orchestra in Rode’s Fifth time to London and a visit to America. playing. After a partial recovery, Vieux¬ idea that a snapping steel E string might between the thumb and first and second gets individual attention during every process ol Concerto. Soon after this his father took In all of these wanderings he received ex¬ temps was able to resume teaching. But endanger the eyes. The great _ violin finger of each hand and pulled carefully manufacture. Accurately gauged, these strings the boy on a concert tour. During this traordinary honors, and took place as one his career as a virtuoso was over. His teacher, Sevcik, teacher of Kubelik, lost back into position. When the notches of lessen the Harpist’s troubles by one-half. Pro¬ tour De Beriot, the famous French violin¬ of the famous violinists of his day. Be¬ passion for traveling remained as strong ail eve by a snapping string and is obliged the bridge are filled with rosin, it is ist, heard him play, and was so impressed sides his activities as a virtuoso, Vieux¬ as ever, and till his death, on June 6, 1881, nounced by those who have tried them to be the to wear a green shade over the damaged often difficult to pull the bridge back to with his talent that he took him as a pupil in Mustapha-lez-Alger, in Algiers, he finest and most durable Harp Strings on the temps composed much music for the vio¬ eye, but Anton Witek, the well known position, and too energetic a pull will and gave him a thorough musical educa¬ wandered over the world, finding pleas¬ lin—concertos, fantasies, a sonata for violinist, late concert master of the Boston often bring it down. This trouble can be market. tion. In 1828 Vieuxtemps made his debut ure in new and ever-changing scenes. violin and piano, and three cadenzas for Symphony orchestra, is authority for the obviated by rubbing a minute quantity of Try Armour’s Oval Brand Harp Strings. You in Paris under the management of De Vieuxtemps had an unsurpassed com¬ Beethoven’s violin concerto, as well as a statement that the string which injured soap in the notches of the bridge. will give your appreciation of tonal purity, as well Beriot. After this the boy returned to large number of concert pieces. Many mand of the bow, using a sweeping and the great teacher’s eye was of gut and Treated in this way the bridge can be forceful style; among other technical as your fingers, a real treat. Belgium, where he continued his studies of his compositions are still upon the not a steel string at all. pulled back without danger of falling. by himself, practicing with great as¬ achievements being able to produce a programs of the violinists of to-day. I have never known of a case, aside A good bridge will last for many years siduity. Vieuxtemps was contemporary with crisp staccato with an up-and-down bow; from that of Sevcik, where the eye¬ his intonation was impeccable, his tone of if kept perpendicular. The bridge is a In 1833 he accomplished another tour, four other great violinists—De Beriot, sight was absolutely lost by a snapping very important element of good tone, and ARMOIJRgCOMPANV rare breadth and power. In phrasing, his this time through Germany. During the Spohr, Paganini and Norman Neruda, string. Once in a while the end of a it is a calamity to break one which gives accent was characteristically marked and course of this lengthy tour, Vieuxtemps for whom he wrote a concerto. breaking string will strike the face and an especially fine quality of tone. The MUSICAL STRING DEPARTMENT virile, and he delighted in strong contrasts came into contact with many of the fore¬ In 1845 he married Josephine Eder, an leave a tiny red welt on the skin which thickness of the bridge and the wood in tone and feeling. CHICAGO most musicians of the day and heard eminent Viennese pianist. The next ten will smart for a little while, but it soon from which it is made have much to do He and De Beriot were estimated as the disappears. From my experience there much great music. years were spent in continuous wander¬ with the tone. leaders of the modern French school. As is less danger in the case of a steel string Vieuxtemps was by nature a wanderer. ings over Europe, with another concert Aside from the danger of the bridge a composer he and Spohr are considered than in that of gut. A parting steel He traveled from one place to another— Henri Vieuxtemps tour in the United States. breaking, it is apt to warp badly if not the forefront of writers for the violin. string does not fly as is the case of the kept perpendicular, especially if the gut, as it is much less flexible. The steel bridge is cut rather thin. Pupils are, as string usually parts quietly and does not a rule, extremely careless in looking after fly. With the violin in the ordinary play¬ the bridge, and they should be continu¬ ing position I should regard it as almost ally cautioned by the teacher. How Long Should My Music Lesson Be? impossible for any serious injury to the eye to be sustained. The danger would The best length for violin lessons— Scales "Jesse French, a months a lesson every day is necessary uppuiiumty ior advancement be greater if the violin were being half, three-quarters, or full hour lessons, ' ® »***v.vj W1L1I pujjiia, dim ICI1 Nothing keeps the violinist in good name well known and he was certainly correct in his view. in the way of having plenty of time for examined for any cause, while being held rinr, IH7 *1 or even longer is a fruitful theme for dis¬ them all to come the following day. technical shape like the daily practice of Every experienced teacher knows that study, attending concerts, etc. His teach¬ close to the face, while not being played. cussion among teachers and pupils, and Then he would return to the young genius the scales in three octaves, in thirds, it is practically impossible to give the ers give him overtime, throw engage¬ In the latter case a snapping string might their parents. It is probable that the and continue the lesson until he had made sixths, octaves, and tenths, and the average young pupil a correct foundation ments in his way, introduce him to emi¬ inflict serious injury on the eye if the great majority of lessons in the United every point clear, no matter how long it chromatic scale through three octaves. in violin playing in one half-hour lesson nent musicians, procure him opportunities string struck exactly in the right place. States are limited to one-half hour, and a week. There is no instrument so diffi¬ took. In describing these lessons my Various bowings can be used in practic¬ for string quartet, orchestra ar.d ensemble former pupil said: “These lessons with Even then there would be less danger if two or more lessons are given in the cult to teach as the violin, if the pupil work of all kinds, and strive to advance ing the scales, thus killing two birds Thomson, were strenuous affairs. I from the steel than from the gut string. course of a week, this length is no doubt is to acquire an absolutely correct bow¬ his interests in every way, shape, and with one stone. Such practice is really would usually leave the class room drip¬ the best in the case of young pupils and ing, and correct position and action of the form. It is of course to the interest of Keeping the Bridge Perpendicular a wonderful labor saver, as there is little beginners, whose attention is inclined to ping with perspiration, even on the coldest doubt that twenty minutes of concen¬ wrist, arms and fingers. In this respect the teacher to do this, as one good pupil The bridge must be kept perpendicular wander after a half hour of concentrated of course there is a great difference in days, and completely exhausted in mind trated scale practice does as much to will bring many more to the teacher’s and body.” at all times, for successive tunings will work. Older pupils and experienced vio¬ pupils. Some fall into the correct posi¬ keep the violinist in good technical shape lin students can take longer lessons. It is only pupils of great talent who get gradually pull the top of the bridge to¬ tions and movements with little difficulty, In a recent article, Josef Hoffman, the as a full hour spent on miscellaneous lessons like that. Mediocrity and doubt¬ wards the fingerboard. When it has From the standpoint of the teacher, while others seem naturally and inher¬ pianist, tells of his lessons, with Anton pieces. ful talent is cut off at the very minute the been pulled far enough out of the per¬ half hour lessons are the best, for, as the ently to do everything wrong, and it Rubinstein, the famous pianist. He states time for the lesson is up, if not a little greater part of the business of the aver¬ appears to be impossible to give them a that his lessons were always two hours in age teacher consists in lessons to young correct bowing. Some violin pupils do length (he was sixteen years old at the before. Really capable teachers take a pride in their work when they have good people who attend school, or who are not seem to be able to grasp the correct time, and already well advanced). In read¬ Inlaying the Bridge material to work with, and are usually employed during the day, and he has to positions and movements even when they ing the lives of eminent violinists, telling can be cut from the bridge where the E give the majority of His lessons in the willing to give such pupils over-time. Two difficulties which are met with in try hard to do so, while others are care¬ of their student days, one is always string rests and a piece of ebony of the the use of steel E strings for the violin Mahogany, afternoon or evening or on Saturdays, he less and do not try. Suph pupils do not struck with the fact that the teachers of As to whether it is possible to become a f same size glued in its place. Some vio¬ would find it very difficult to take care of can be easily overcome. The first is that Polished or help the teacher at all in his efforts to these young geniuses took no note of good violinist with only one half hour Art Finish of tuning the wire E, owing to its rigid¬ lin makers make these ebony inlays a large class in the case of full hour give them the correct movements, and time as regards the length of the lesson lesson a week, opinions will differ. I have ity. This can be remedied by the use of under each string, but this is hardly lessons. In addition to this, the cost of naturally fail to acquire them. In many cases the lesson lasted until known instances where it has been done, a screw tuning attachment, by which the necessary. long lessons would be so high that the Pupils of great talent have a much bet¬ teacher and pupil were both thoroughly but it was in cases of pupils of extraordi¬ tuning is done from the tail-piece, and A correspondent of The Etude writes average pupil could not afford to pay it. ter chance of “arriving” than their less exhausted. nary natural talent for the violin, and ]esse French & Sons Grand not from the peg. This gives perfect of another plan for accomplishing, the Other things being equal, two half talented brethren, since their teachers In my own personal experience I recall where the pupil had an opportunity of get¬ results. A slight touch of the screw at same result. He says: “Get a drill one- ii«trumSitworth™S*- respectively, by accident, succeed in learning did new ideas. and don’t depend too much on other peo¬ almost to a whismor t played too en- Sincerely your friend and teacher, THEODORE PRESSER CO., Publisher.8 PHILADELPHIA, PA. “rgetically. ’ - — of such a mute Price, $1.2S — Cloth Bound ple to help you. Influence from parents Ruth Rinewalt. the tone of ---in would-HR hardly carry and friends is fine, but grit is better. rrom one room to another unless there »cn J' A‘—Whether you are ready for Kreut- THEODORE PRESSER CO. THE MUSICAL AMERICA CO. connecting doors between the two rooms, or zer after having completed the studies vou in open transom. Theatrical violinists often name, depends altogether on how well vou PHILADELPHIA, PA. THE MUSIC TRADES CO. ise a very large mute to reduce the tone of play them. Any violin student who can p'lav SOI Fifth Avenue, New York :he violin when it is used to accompany Schradiecks Scales and Mazas‘ Brilliant Mistaken Ideals speaking on the stage. Mnnv netnre Studies technically and musically well, ought Be the Best Paid Teacher TINDALE MUSIC CABINETS eery finicky about having 5 tone reduced to be ready for Kreutzer. s Oruiicaua. cu H.ww many pyop.n — tion wages. XfeAccordingly ST2SSthe manager- In Your Town Just what you B( an ideal! Because you have an t’tZt then cenzo Panorma, Paris, 1740- brother wrote him a letter which read: bition to become a great painter does not have been wanting “The Violin Price Problem” ome excellent violins, the best “Mistakes and Disputed “Dear Harry:—Don’t play the fiddle Make this clear to the pupil and he will of which ■re copied from Stradivarius mean that you have the ability, or that ucai - *" “ T A Pamphlet for Violin Students and Advanced Players readily see that when he has not been able models. IT ?as of a roving disposition and By Mail-Easy Payments Will keep your music We are ready to mail copies of this pamphlet, one of to practice for some reason or other, he his work y very unequal. His four - Points in Music by you may acquire the abiKjyto Wme one any long ^ ^ ^ ^ &t 35 in order, free from the best m our series of Educational Pamphlets, to any needs a lesson more than ever. It has were also v ing new methods—graded lessons— beginner or advanced player who will ask for it. It will been my experience that a little talk along dealer- • vali meriean violin One of the crudest of all mistakes « Mat w Come on tour and act. The the right start for young beginners—- damage and where you aid greatly in arriving at the solution of the ever impor- the above lines eliminates this mistaken from $500 to Louis C. Elson_ idea about missed lessons. $700, or more, In the case of choice speci¬ of fighting ceaselessly to become so : land ol an actor can commcommence at11 can easily find it. Var¬ » ——*— obtaining the best violin for the price one mens. Whether your friei ™ e's violin is a T&e fiddler took his brother’s ad- ious sizes, holding 200 genuine Panorma or not ca i be determined «great■« 8 for instance, Gay Comrades, Left Hand — CGGCGG a valuable set of exercises this will make Songs and Dances from Foreign Lands, an instantaneous selection of material. tense emotional character and its sincer¬ by any teacher than a copy of this work. songs. Tliis is a most desirable volume veioc|ty study; The Hunter’s Call, broken In this way simple pieces can be noted. for every pianist. They are especially Paloverde . Of course it is impossible to establish Our special advance price, postpaid, is in all respects. . . chord study;'Oof eft Me, study in rhythm; /VA pupilUUUU liciohas AAvri.not to— worry.J over7 the posi-* ,n Ciesilllieudesigned toLU uvciwmuovercome the hitting-© of- wrong Standard American Album. ity. The Indian songs and pieces breathe . .1_1_ ._rr 4-V,^ of an Standard Elementary Album. and maintain a fully-equipped music tlie spirit of the mountains, the forests— one dollar. The special introductory price in ad- ( jumpin'(. Jack wrist study; Lullaby, tion on the staff or the time, and will noteSj thereby spoiling the beauty of Teaching Song Album. store within the four walls of your studio, they come from the wigwams and the ■ mddication is 40 cents per copy, legato- and' staccato study;-n-nm.:„ etc. This new„„„ . readily take up the tune when he entire composition. The work is . pub¬ Twenty-five Melodies for Eye, Ear and tepees. They are, in many instances, A New Anthem Book postpaid. not taxed with notation. The experi- lished in sheet music at a retail price ot Hand, Bilbro . but it, is possible for you to have a book of studies will prove a welcome wonderful success with Twenty Progressive Studies, Greenwald. well-selected supply of music, suitable veritable Indian melodies which this com¬ We have issued, from time to time, se¬ lief for both student and teacher from ment has proven - --- . $1.25, subject to our usual liberal profes¬ for your needs, constantly on hand dur¬ poser secured at very great sacrifice lections taken from our most popular Keyboard Chart _of the stereotyped works used little tots; in addition it M a wonderful sional discount. assistance to the memory. They Easter Music ing the teaching season by taking ad¬ directly through his years of friendship anthems which have become immensely We will continue the special price on at this point of the student’s progress. In planning for the Easter Services, mit their little exercises and pieces with Finger Gymnastics by I. Philipp has vantage of our liberal “on sale” plan and with the Indians in all parts of the west. popular with church choirs. There are ‘ the Keyboard Chart during tlie present The special introductory price in ad¬ choir directors should send for “on sale” This new collection of songs by Lieu- two things that especially recommend vance of publication is 35 cents per copy, very little trouble with this method. appeared from the press. There has been our system of sending you every month a month. ' This chart is intended for begin¬ The special advance price for the book considerable delay in getting proofs back copies of our Easter Cantatas, all of rance includes some of his most success¬ these volumes: first, that they contain postpaid. which are of proven merit. package of new publications which will ners in starting to locate the notes on the is but 35 cents, postpaid. and forth from France, as we wanted the serve to freshen up your supply and give ful numbers, such as By the Waters of anthems that have found their wav into staff and the keyboard. It can be placed Victory Divine, by J. Christopher Minnetonka, Dying Moon Flower, From popularity; and secondly, that they are work to appear under Mr. Philipp s per¬ Marks, is a work of sterling worth by an you new ideas and material to work with- back of the keys. It contains four Polyphonic Studies sonal observation. The success of the the Ghost Dance Canyon, By Weeping extremely low in price. It gives choirs octaves of the keyboard with the neces¬ Advanced Study Pieces eminent composer of church music and is Thousands of teachers have, and are at Waters, Canoe Song, etc. It is not an opportunity to procure a large num¬ for the Pianoforte two volumes of piano technic, Preparatory especially recommended to choirs capa¬ present, availing . themselves of this sary rudimentary' information. It can for the Pianoforte and the Complete Method, by Philipp, is merely an attractive and useful collection ber of anthems at a very nominal rate. also be used for'silent practice by plac- ThisI._ is a most interesting work ble of handling the best in music. splendid opportunity, and we are confi¬ for the concert singer but a group of The advance price for a single, sample This ii sufficient reason for every teacher to The Wondrous Cross, by Irene Berge, dent that many more would make use of ing the c hart flat on the tabic. This chart course of preparation, desire to look over this new volume. such songs as one likes to have in the copy is but 20 cents, postpaid should go with the first elementary in- " ’ ” is rich in melodic material and, while bril¬ this plan if they but realized the assis¬ We have already published some ten Ms-g-sswith the very easiest. The book is m- sr-sssHSAddition to its Copies will be sent on inspection to any liant, is of moderate difficulty. tance it would be to them in their work. struction on the keyboard and could he of our patrons. The advance of publication price is different volumes of this kind and all taken in connection with the first in¬ tended to serve as a Preparatory ^ ^ sgrve some special purpose Immortality, by R. M. Stults, is sure A large corps of music clerks is em¬ 50 cents. have proven to be of great service to to please those who have used other struction book. p«pS«,™ ™ CSST? bK » a* 1" the line of teetotal end,.™,. _ There ployed by us, who, through long traihing choirs. The one that we will now issue Our special advance price on the above February Bargains works by this composer. and experience, understand the needs of Musical Theory and will be fully up to the rank of its pred¬ publication is but 20 cents, postpaid. M'MirftolSnS;bSr“to for in Magazines' Greatest Love, by H. W. Petrie, can be the teacher and who are competent to fill ecessors. There is no risk to anyone Writing Book of this DO _n,-rW to arpeggio work, scales, etc. . _ With the endin recommended to volunteer choirs and is your order quickly and intelligently. in ordering this work. The price at With the ending of the month of Feb¬ both tuneful and dramatic. By Carl Venth price to ,d- ruary, the opportunity of buying maga¬ We also publish a complete line of which we offer it is merely the cost of Twenty-five Melodies for Eye, Dawn of the Kingdom, by J. Truman This work, which will appear in print about ’the de- «»« of publication to « cento per copy, zines cheaply will end, as this is the end catalogues, both descriptive and themat¬ sample pages of anthems. Don’t forget, Ear and Hand Training Wolcott, is short enough to be used in before this issue of The Etude is pub¬ the price is only 20 cents, postpaid. sired independence of hand and mdepend- postpaid, of the subscription season. Publishers connection with the church service and is ic, to aid you in making a selection of lished, is one that is bound to work its By Mathilde Bilbro who have been holding off increases in material needed. A postal card will ence of thinking, which are the prime req- . within the capabilities of the average way to the front among educational First Studies for the Violin This work will be off the press in a uisites of all intelligent polyphonic ’fhe Presser MUSIC the magazine prices during the busy sea¬ bring any of these to you, free for the works. It can be taken up with almost verv short time, but the special mtro- son are unable to hold off any longer, for Easter Anthems asking. In writing for these catalogues in the First Position Album Binders the first lessons on the piano. It im¬ ductorv offer will be continued during the ^The^special introductory price is 40 subscribers have had ample opportunity kindly mention whether you wish them to Opus 25, Book I current month. Those who are familiar : pleased to be able to present to Upon another page we give a list of presses, through the writing exercises, cents per copy, postpaid. ■ -a -i . . , to take advantage of the old rates. Easter anthems, taken from our large help you select music for piano, voice, just the knowledge of theory that every By R. Hoffman with Miss Bilbro’s various instructive the music profession an economical and ., tu„ names cf s;x- violin or organ. We also publish, and volumes for young students will need no and comprehensive Octavo Catalog. It music student should possess. There is This publication will be off the press Standard American Album teen magazines wMch=inced increases is difficult to set forth the individual will be pleased to furnish, catalogues and nothing that impresses more firmly than in a few days, but we are continuing the introduction to this work. All of the merits of each anthem, but a selected selected lists of music and music books writing and this work is to be written. special introductory offer during the cur¬ works of Miss Bilbro have proven most for the Pianoforte Styies, each s^le m three srzes. ^^sizes ^th flnd that Every_ group will be sent for inspection to choir suitable for the use of choirs and choruses, There is scarcely a page of it that has rent month. Hoffman's First Studies is acceptable, both from a musical ana a This volume is to be made up from our are \ni/t ’ i the old large body’s Magazine will increase its price leaders and organists making inquiry. bands and orchestras. not some writing to be done, some real one of the standard, teaching books for practical standpoint. This new book is special large plates. It will be the most “ ^ic size, 1U x lU The styfes soon'and should be added to the list, just what its title implies; it is intended About this time of the year many work with the pencil or pen. There is the violin, in fact it is almost indispensa¬ expensive collection of intermediate The following offers have been made Easter Music for Solo Voices to furnish a certain all-round training teachers begin to prepare their pupils for theoretical information given throughout ble. It is just the sort of a book to be pieces ever published,^ in which ^only ^ A heavy> art cover made of a sub- only for the month of February: A selected group of high class Easter the book, which is afterwards to be firmly used in conjunction with any first instruc¬ with the idea of developing technic and solos, some with effective violin obbliga¬ the graduation recital. The selection of American writers VePr_„„.n_ stantial heavy, cover paper, holding from impressed by writing. As this will be tion book or to follow some of the shorter musicianship hand in hand, and providing writers being largely contemporary tos, will be sent “on sale” to those inter¬ material for this purpose requires no the last month in all probability that the violin methods. The studies are all for certain points in instruction which are '"all*1 of the most one to ten pieces. Tlie price of the large ktude ...... $3.50 ested. Compositions by Ward-Stevens, little amount of tact and discrimination, i __...u..a.],, clippt music size is 20 cents, the other sizes ]’ictorlal Review book can be had at a low advance price, eminently practical and they are ar¬ frequently omitted or postponed to more KSJS.SS S they V il= 20 “<*■ *te ““ With ETUDE 2 y Shelley, Neidlinger, Lansing, Shackley and, in many cases, a lot of valuable we would strongly advise our readers to ranged in progressive order. 'Their spe¬ advanced grades. _ . , for a variety of purposes, for study, for are 15 cents each. and other well-known composers are in- time that might be spent in a less nerve- variety 2. The second stvle has a leatherette avail themselves of this opportunity to cial aim is to perfect a solid foundation The special introductory price in ad¬ \ $3.75 racking manner. Why not have our order at least one copy during the present for future work. vance of publication is 30 cents per copy, home playing, cover, thicker than the first, holding from piecesmcucs —" all~ 1 well contrasted in char¬ Organ Music efficient Selection Department help you month. The special introductory price in ad¬ postpaid. one to sixteen pieces. The large sheet acter" andeach number is a gem in itself. music size is 40 cents, the other two sizes We publish a number of festival com¬ make your selection? Write and tell us Our special advance price is 50 cents, vance of publication is 25 cents per copy, The special introductory price in ad¬ ETUDE. $2.00 positions which are suitable for Easter of your needs. Mention the number of postpaid. postpaid. are 25 cents each. McCall's.. 1.00 $2.50 Nursery Tales Retold vance of publication is 50 cents per copy, With ETUDE 2 years. $4.25. preludes, offertories and postludes. Or¬ pupils and the grades of music desired 3. The third style is made of cloth, a By Geo. L. Spaulding postpaid. more lasting, heavy cover. As strong, as ganists looking for such material are re¬ and we will be pleased to send you a Easy Arrangements of quested to write us for “on sale” selec- (Four Hand Pieces for the Pianoforte) artistic a cover as anyone has been able \ $3.75 carefully selected lot of music, suitable Celebrated Pieces the Second and Third Positions This book is now in print but the spe¬ Favorite Old-Time Tunes to offer heretofore, holding from one to for recital purposes, from which you can for the Pianoforte Compiled and Edited cial introductory offer will be continued for Violin and Piano twenty-four pieces. The size 11" x 14" is make your choice of the comnositions By Chas. Levenson 10" x VM/t" is $1.75, and the ETUDE . Kjerulf’s Album of Songs Our catalogue is replete with easy during the current month. It is a very In this collection winwill beue foundwuu all the $1.90, the • $3.75 We have on hand a number of volumes best suited to display the talent and In this compilation Mr. Levenson has L" is $1.50* Everybody's. progress of each particular pupil. You arrangements of masterpieces and cele¬ pretty and entertaining collection of good oldld tunes wwhichhich violinists are fre- size 7 /„ with ETUDE 2 y of Kjerulf’s songs which we will dispose used some of the best second and third easy four-hand pieces, suitable tor scu- h 11 . ,irinn tn nlav. 1 Every one of these covers contains an are privileged to return any of the music brated classics. We will arrange a position studies ever written, compiled The fluently called upon to play. There are of at a very nominal rate while they last. volume containing the best of these dents of the first and second grades, lhe index and will easily hind sheet music as not used and it will be credited to vour from the works of such masters as Alard, iigs, reels, and various country dances, to- - $4.75 Kjerulf ranks as one of the great song pieces and those that have become popu¬ duets are similar in style to those of Mr. • .,* .:».i. n„aintompntR of some ofof'the the well as the insert, and every piece will account. If you have no account with us Mazas, de Beriot and others. These geth’er with arrangements of some c writers of the present age. He is of Nor¬ lar. This will include such writers as Snaulding’s two previous duet books, en¬ open flat. These albums will cover, (To one address) with ETUDE supply a few business references in your studies are arranged in progressive order old songs and folk tunes. All such wegian birth. The songs are all of a re¬ Moszkowski, Sartorio, Harthan and titled respectively, You and I and Just classify and index sheet music, including and they may be taken up just as soon bers seem especially suited to tlie violin, fined and artistic nature. Singers, who letter and the selection will be forwarded others. This volume will make an ex¬ We Two. In the new book the idea is single' inserts. They will bind, classify as the young student is ready to leave and they should not be neglected in favor ETUDE. $2.00 1 are desirous of adding to their repertoire, promptly. The constant aim of the Theo¬ cellent introduction to the original works. adopted of taking some of the old nursery of larger and more ambitious works. They and index pages from any music publica¬ $3.75 will find this a very good volume at a temporarily the first position. American Boy. 2.00 I dore Presser Co. is to help the music- The spirit of the original compositions is tales - and modernizing_—,B them.. Each piece- good0Q Iorfor study as well .... for recrea- tion, manuscript and pamphlets. With ETUDE 2 years, $5.50. very nominal rate. While the stock lasts teacher. Let us know your wants and retained in these simplifications to a won¬ The special introductory price in ad¬ has a of words which may be sung and for playing in the home circle. If cash accompanies the order, we will we will dispose of them at 30 cents each, you may rest assured that your communi¬ derful extent. vance of publication is 35 cents per copy, ad lib. ship the albums post paid at the above ostpaid. These volumes are all pub- postpaid. in ad- The special introductory price in »<’- : transportation will be BoUs Life $3.50 cation will receive our prompt attention The special introductory price of the The special introductory price vanee of publicati- -s ™20 cents per ccopy. prices, otherwis With ETUDE 2 y shed in England and are marked $1.50. and consideration. Advance of publication cash price, 35 charged. volume is but 40 cents. vance of publication is 30 cents per copy, postpaid. cents, postpaid postpaid. FEBRUARY 1920 Page 1*1 THE fjjE ETUDE Page UO FEBRUARY 1920 Summer Master School June 28 to August 7 [Six Weeks]

❖ FACULTY * ORGAN VIOLIN VOCAL CLARENCE EDDY PIANO LEON SAMETINI ERIC DeLAMARTER PERCY GRAINGER OSCAR SAENGER MAX fischel C GORDON WEDERTZ RUDOLPH REUTER HERBERT WITHERSPOON FREDERIK FREDERIKSEf HELEN W. ROSS MME. DELIA VALERI MAURICE GOLDBLATT ELIAS BREDIN ALEXANDER RAAB FLORENCE HINKLE LOUISE FERRARIS HAROLD MICKWITZ ADOLPH MUHLMANN RUDOLPH REINERS EDWARD COLLINS LOIS DYSON ARE you satisfied with your out¬ MAURICE ARONSON KATHERYN MILLS look in the profession—don’t MAX KRAMM • RAY HUNTINGTON you feel that you could estab¬ LOTTA MILLS HOUGH repertoire and interpretation classes lish yourself in a. position of greater LOUIS VICTOR SAAR JOHN B. MILLtn KARL RECKZEH ROSE LUT1GER GANNON responsibility and incidentally enjoy HARRY DETWEILER EDOUARD DUFRESNE OSCAR SAENGERfNHgEfRr B!^(Voca 1THERSP^ dVe°ua v a better financial future if you spent C. GORDON WEDERTZ GENEVRA JOHNSTONE-B SHOP PERCY GRAINGER fPia a little time on brushing up your own BARTON BACHMANN EDITH W. GRIFFING, ELIAS BREDIN knowledge? ' f i BARTON BACHMANN PAULINE HOUCK- An ounce of proof is worth a pound X BOROWSKI LOUIS VICTOR SAAR HAROLD B. MARYOTT LAUKA u. n - of promise. Making-/Claims is easy— “making good" is' the real test of TEACHERS NORMAL COURSES merit. Many readers of The Etude HERBERT WITHERSPOON (Voo«“ HAROLD B. MARYOTT (Vocal] —teachers arid students, have been PERCY GRAINGER (Piano) H,5SYB.«slcMV,Nr greatly benefited by our courses— JULIA LOIS CARUTHERS (Piani others have sefen our announcement in this publication for years, but ENSlEeonL|aPMLfgn7G & WHS* SCHOOL OF OPERA Professional Directory as yet have no direct personal knowledge of the ITALIAN nFRENCH SNE ESSfcffi KooTe ■S! GLADYS BENEDICT (Dancing) AMEDEO C. NOBILI EDOUARDEDOUAHU —DUFRESNE Sherwood Piano Lessons ppptr SCHOLARSHIPS BEEGHWOOD Pa N (*2 0*xnin aof Phil adelphla) AMERICANS for ARNOLD' Students and Teachers Improved Mnalc Study for DORMITORY ACCOMMODATIONS FALL btSSIUN V -_ DUNNING BROWN' They contain complete, explicit instruction on every phase of piano playing and teaching. No stone has been left unturned to make this absolutely perfect. It would surprise you to know that Sherwood i FELIX BOROWSKI, President FABRI SaaBOSBH burrowes;; devoted to each lesson enough time to earn at least $100.00 in teach¬ DR. F. ZIEGFELD, President Emeritus ing. It is possible,for you to get all this time and energy and devo¬ CHICAGO! tion to the^/rfor almost nothing, compared to what it cost. The HAWTHORNE lessons are itMtraterf with life-like photographs of Sherwood at the piano. They are' given with weekly examination papers. To be a KRIENS CINCINNATI successful teacher one must be able to give, not only the proper in¬ struction, but to ask the right questions at the right time, which will I SCHOOL OF If develop the students’ use of the knowledge imparted. The Sherwood MOULTON 10 S. lMhBt. S“r°b8phn!drf| COLUMBIA3' Course is available to every teacher throughout the cduntry. No need to give up your present classes and leave home for private NEW YORK DAHM PETERSEO instruction. RAPISARDAIsllPS DETROIT CONSERVATORY OF Harmony 1 Scandinavian composers — Edward Urieg. nis rcci- y SALVINI A knowledge of Harmony Is necessary for every student and just been published for the first time in America for two pianos, DETRIOT L7-19 Woodward Ave. teacher. You can study the Harmony Course prepared especially NORWAY gave to the "world the «»«« d for us by Adolph Rosenbecker, former Soloist and Conductor, pupil N Suites” and Sther beautiful compositions have9, No. 2, nd Pizzicati by Delibes can also now be had. VIRGIL of Richter, and Dr. Daniel Protheroe, Eminent Composer, Choral Con¬ KNOX' ductor and Teacher. You will receive the personal instruction of four hands, TheW* C1>0P“ NoCtUme’ °P' SPECIAL PRICES GOOD ONLY A M. NORMAL TEACHER Herbert J. Wrightson, Theorist and Composer. You need Harmony and this is your chance to study 'the subject thoroughly. UNTIL MARCH 15, 1920 CONSERVATORY OF MUSIC. TOMLINSON SS SPECIAL PRICES GOOD ONLY JUST PUBLISHED for the FIRST TIME BRYANT I i Arts Bldg., CHICAGO UNTIL MARCH 15, 1920 Axel R. Wachtmeister a,.Re KPrice*r Harmony Teaches You to Regular SpeeW Prelude and Fugue. .5 32:25 $1.00 Edward Grieg 0r»de ,n WESTERN5 , , , „ 31Z Sl.hO SO.67 ONLY EDITION CONVERSE COLLEGERS'? 1. Analyze Music, thus enabling 4. Detect Wrong Notes and faulty Auf dem Bergen. 3/2 AMERICAN COMPOSERS you to determine the key of any progressions in printed music or t, o 4 ,7o •ia composition and its various har¬ during the performance of a com¬ Butterfly. * 9q monic progressions. W. C. E. Seeboeck position. Wedding Day at Trolhaugen 4 2.UU • $1.00 $0.45 2. Transpose at sight more easily 5. Memorize Rapidly, one of the Minuet a l’Antico. Anthem Collections accompaniments which you may be very greatest benefits derived from March of the Dwarfs. 4 • rpHE most reasonably priced anthem collections called upon to play. the study of Harmony. Peer Gynt Suites Nos. 1 & 2 each • ^ ^ Chas. Gilbert Spross ■X obtainable. Each volume in this series has met 2.00 3. Harmonize Melodies correctly 6. Substitute other notes when for Norwegian Dance. * Valse Caprice. 4 Special Notices and^ arrange music for bands and any reason the ones written are Price, 35 cents each, postpaid inconvenient to play. Sunshine Song. ^ L5° '6? Edward A. Mueller £3 ANNOUNCEMENTS Per Dozen, not postpaid, $3.00 The Volunteer Choir Anthem Devotion Frederic Chopin EDWABD GRIEG F arandola . ^ ' hem Treasury Anthem Worship _hem Offering Anthem Repertoire Unprecedented Special Offer! Nocturne Op. 9, No. 2.... 5 • : MUSIC COMPOSED—Send words. Manu¬ Anthem Service Model Anthems Anice Terhune scripts corrected. Harmony. - Anthems of Prayer and Praise Will you take advantage of our offer of 6 lessons which we offer Bridal Song... 2 lessons Dr. Wooler, Buffalo, plete descriptive circular gladly sent on request to Etude readers without charge or obligation on their part? We Leo Delibes will send you 6 lessons from the Normal Piano or Harmony Course Pizzicati . * Edouard Hesselbbrg • THEODORE PRESSER COMPANY or 6 lessons selected from some other subject, If you prefer. We ul,d for publicatioi 1710-1712-1714 Chestnut St., Phlla., Pa. El Trocadero. 4 i. Compositions erit have courses in Piano (one for students and one for teachers), Har¬ W. A. Mozart , 046 Beiden Ave mony, Voice, Choral Conducting, Public School Music, Violin, Cornet, Guitar and Mandolin. Select the course you are interested in and Sonata in C {.First Movement) 3 G. H. Rowe write now for 6 lessons and catalog. You will receive full details of — ___j forgetForget Meivie Notiwi...... 3 t MUSICAU K\OWI,- the course and be under no obligation to us. The cost is nothing Xaver Scharwenka Every Pianist and you will benefit much. A Polish Dance. ^5 150 '67 rnvfPOSERS SELECTED and RECOMMENDED by IGN ACE J AN PADEREW will find something extremely attractive in the numbers shown n,^iCOMPosmoNsroR "^“^“es^josef hofmann concert program us^a^n up*. in our little folder “Noteworthy DISTINCTIVE SUCLLMLO e. Piano Compositions.” Thematics show the merits of the numbers. University Extension Conservatory Send a Postal Requesting this Folder Clarence Eddy, Dean instruction thoroughly THE JOHN CHURCH COMPANY those desiring church THEODORE PRESSER CO. A NEW YORK 39 West 32d Street 1AJ1NUU1N tre positions. Write 6251 Siegel-Myers Bldg. Chicago, Ill. Box 2086, Middle 1710-12-14 CHESTNUT ST. PH1LA., PA. Pleaie mention THE ETUDE when addressing advertisers. tee etude FEBRUARY 1920 Page US VHE ETUDE F Page U2 FEBRUARY 1920 Studio Smiles By S. M. C. chools and Colleges Schools and Colleges Schools and Colleges CHICAGO AND OHIO The following conversation took place NEW YORK AND NEW ENGLAND PENNSYLVANIA, OHIO AND SOUTHERN between Lucy and her teacher a week after she had received her first lesson on ■HH iiiiiiaiiiiiiiiiiiiiiiiiiifflii major and minor intervals. IRGIL PIANO CONSERVATORY “I don’t remember what you told me 1 COMBS CONSERVATORY V about the sergeant last week,” said Lucy PHILADELPHIA (29th Season) innocently. ■ THIRTY-FIFTH YEAR "The sergeant! I said nothing to you American Conservatory A Residential and Day School of unparalleled Facilitks for the attainment of a complete about a sergeant.” VIRGIL METHOD OF TECHNIC “Well, it was a colonel then.” A SCHOOL OF INDIVIDUAL INSTRUCTION Greatest of all teaching methods “0,1 see, you mean major.” ======of Music — (Theoretical and Applied Branches Taught Priralely and in Claaaea) RESULTS TELL Because^of its^distinguishcd^facuhy, original^ and s£!e,“ifi'n^managiment^the’cosms Little Gladys, aged seven, had been 34th Season Superior Instruction in Piano, Harmony, Theory, Conservatory affords opportunities not obtainable elsewhere for a complete musical cducktion. taught the location of middle C. Some¬ CHICAGO’S FOREMOST SCHOOL OF MUSIC All branches, Normal Training Course for Teachers. Public School Music Supervision. Public Performance time after she said to her teacher: Complete Military Band Department. Four Pupils’ Recitals a week. Two Complete THE CONSERVATORY ANNOUNCES THE EXCLUSIVE TEACHING ENGAGEMENT Pupils’ Symphony Orchestras. Reciprocal relations with University of Pennsylvania. Foundational and Advanced Courses “My piano isn’t like yours; you said ‘UAe only Conservatoru in the State urlth Dormitories for Women middle C is in the middle of the key¬ FOR THE SUMMER SCHOOL OF TWO WORLD FAMOUS ARTISTS A School of Inspiration, Enthusiasm, Loyalty and Success TEACHERS’ CERTIFICATES DIPLOMAS board, and I measured it with a tapeline Illustrated Year Book Free For Particulars, Address and it isn’t exactly in the middle.” GILBERT RAYNOLDS COMBS, Director °ffic Broad 'and* Reed Streets0"** MRS. A. M. VIRGIL :: 11 W. 68th St, New York Joseph Lhevinne David Bispham - Sallie and her mother from Stringtown Joseph Lhevinne and David Bispham aside applied to the city teacher for lessons. from giving private instruction will conduct “Has your daughter had any previous Repertoire classes especially designed for luTn Philadelphia PITTSBURGH INSTITUTE OF MUSICAL ART instruction in music?” said the teacher. Professional pianists and singers, for advanced OF THE CITY OF NEW YORK ’“Well, I should-say so,” promptly an- students and teachers. Mr. Bispham will also Musical Academy have a class in Recitation to Music. MUSICAL INSTITUTE,me. Special PREPARATORY CENTERS in different parts of "swerctl the mother. “She’s already way vancett'ouplfs urfcfcr eminent artUWeachera.^heory. College Degrees for Music Students the city for children between seven and twelve years of age. up in sheet music.” Only a limited number of students accepted. --—j ?x°r with University of Pittsburgh Apply without delay. Special prospectus 4259 FIFTH AVENUE FRANK DAMROSCH, Director 120 CneAwRyorNkTc1^nue mailed on application. New Conceptions of Popular Music Summer Normal CINCINNATI CONSERVATORY of MUSIC, established iser. Is Recognized as One of the Leading Mu I 52ND YEAR CLARA BAUR, Foundress Session | progressive European conservatories Six weeks, from June 28 to August 7, 1920. w would-l>e liigh- Special Course tn Public School Music of six Elocution—MUSIC—Languages of t weeks, June 28 to August 7, 1920. Lectures; CM m iS“ttonmnrR Rentals. All Departments of Music and Faculty of International Reputation if this JOSEPH LHEVINNE Broad Experience in i-iioii«ii. il i» due primarily Dramatic Art. DAVID BISPHAM Exceptional advantages for post-graduate and repertoire ; work. Department of Opera. Ideal location and residence \ rnph and player piano, which ^ department with superior equipment. Ninety Artist Instructors—Among the Most Prominent May Be Mentioned -Ithaca Conservatory of Music— an opportunity to become fa¬ mish- of all sorts. The first Voice: Karleon Haokett, Ragna Linne, E. Piano: Hcniot Levy, Allen Spencer, Victor Violincello: Robert Ambrosius. For catalogue and information, address ipecial advantages for those who look for 11s bought by an unmusical Warren. K. Howe. Charles La Berge. Garwood, Silvio Scionti, Louise Robyn, Public School Music: O. E. Robinson. Miss Bertha Baur, Directress, Cincinnati, Ohio. EUGENE YSAYE Season 1919-20 the people follow their own Violin: Herbert Butler, Adolph Weidig, Kurt Wanieck, Earl Blair, May Doelling. Harp: EnricoTramonti, Helena S.Torgerson Vlice he eatehy kind; that is, tunes melody and pronounced rhythm Orgon7wima"inMiddelschulte, Herbert “weidig,Arthur °CXAn d^^arr.-Rrhrt-dramatic Art: Letitia Kempstet Barr - bo caught at a single hearing, Hyde, Frank Van Dusen. Palmer. Leo Sowerby. And others of equal importance. Culture g these wear out, literally and DANA’S MUSICAL INSTITUTE Rile il is found that music of Supreme ■od structure and complicated free. Send fo WARREN, OHIO me records of which have been ippearance’s sake in the first AMERICAN CONSERVATORY OF MUSIC, 571 Kimball Hall, Chicago, Illinois THE SCHOOL OF DAILY INSTRUCTION IN ALL by repetition comprehensible JOHN J. HATTSTAEDT. President KARLETON HACKETT, ADOLF WEIDIG, HENIOT LEVY, Associate Directors The Courtright System of Musical Kindergarten It is only tile few of inborn BRANCHES OF MUSIC t or of cultivated ear who can Oldest and most practical system. Write >g of a difficult composition at Address LYNN B. DANA, President Desk E, WARREN, OHIO For people not so gifted or (iii»£. symphony concert once a year is not sufficient to of high-class music, and ESTABLISHED 1857 not have even this oppor- MR. and MRS. CROSBY ADAMS " therefore subjected I0L—> Annual Summer Classes for Teachers of Piano ■ iuii' they did not have the taste of -^niversi^ for the Study of Teaching Material PFARHTW CONSERVATORY ami Germans who heard the best of Art Important Announcement MONTREAT, N. C. and frequently. This lack in 1 I-J.rl.JLlv/iy 1 BALTIMORE, MD. i life was first relieved hy machine to Music Teachers! (teySchool of Music Reading Write'fUlyb 8"k23_,92°i—Autfust s'20 ml now that the demand has been _ Sight Singing-- HAROLD RANDOLPH, Director Dr twenty-three years the Fletcher Music Method MARTA MILINOWSKI, B. A., Director 3 Improvising 6 Rote Song good orchestras are becoming more as been taught in private classes, schools and 7 Rhythm and Rhythmic Dictation 1mon°treat\ north'carolina the campus of Columbit " ' mservatories—bringing success and happiness to A Musical School with College Standards. 8 Keyboard and Written Harmony One of the oldest and r noted Music Schools i i of the College Sound training under teachers of wide 9 Keyboard, Sharp, Flat, etc. idienoes of 5-000 s conscientious exponents and stimulating al- lOBc.WmcP.da^ >or niprht aft reputation and long experience. Four — How to correlate precedi-^ • night tt years course for degree and diploma. with the FIRST year’s pit School of Music programs. Ii -gathering This fall Mrs. Fletcher Copp postpon her Nor- Special courses in Keyboard Harmony, PRICE of this COURSE is: OF r exclamatloi of delight such as mal Class and spent her time in provi History of Music and Appreciation. Cash with Application $25, Skidmore School of Arts number, for I have methods are not only adaptable —1 -1—-1—1-id recitals. Con- or $35 in Three Payments— ■ SHENANDOAH COLLEGIATE ■ MRS. BABCOCK don't see much to that Schools, but so success’"' ‘1--‘ — BSchool- Board, $15 Down, balance in TWO " its children Monthly Payments. INSTITUTE Fine and Applied Arts, Home Economics QFFERS Teaching Positions, Col- imited. Address leges, Conservatories, Schools. •eady for it next time.’’ EFFA ELLIS PERFIELD MUSIC SCHOOL, Inc. ^LEADING SCHOOL OF MUSIC IN THE SOUTH Music, Physical Education, Secretarial, ’ The Director, Box 105, Lake Forest, Ill. 050 McClurg Bldg., 218 S. Wabash Ave. General Studies, Athletics Also Church and Concert Engagements wiped... Schools and Colleges word about The Etude to your acquaintances. “You need The Etude!" The following magazines have given notice of increase in rate: AH {Continued from page Ij6) “It s worth while —if you will just say things like that to your friends, Outdoors, Boy’s Life, Christian Herald, Country Life, Current Opin¬ MIDDLEIDU WEST you will have no difficulty in obtaining the subscriptions of three or four or ion, Farm and Fireside, Garden Magazine, Little Folks, Magazine of a dozen Oeotole for The Etude. Write for ntir rnmnlelp ttremtnm minis,* Wall St., Metropolitan, Normal Instructor, Physical Culture, Review of Reviews, Scribner’s, Short Stories, World Outlook. The time to buy 7" ALP AR AISO Betty Barker’s Training Camp your reading matter is NOW! Next month 16 more may increase their rates. ' UNIVERSITY SCHOOL OF MUSIC

Just as Mrs. Barker neared the^door running and endurance. Let us see which s School oi Music,

I-jlist can’t make Toward the end of the first page the my fingers go to-day. The sun isis^snin- shin- leftIeft hand made quite a few mistakes..

and Margaret playing down the street- -Tis scarcely fair,” she said. "toTn'ter if only it were five o’clock!” and she Company B in a contest when Company sighed again. A is so superior. We will fir-t drill Com-

Detroit Institute of Musical Art I was thinking of Elizabeth. “Sup- : 58 for a few min¬ utes. When the left hand can play i

BURROWES COURSE of music study —180- ifMhtilt

State Normal SSKSssr**

t he said caused the great change in °ne. but I’m not going to he up until MacPhail School of Music ?” Company B can tie with Company A in Vhy, yes, mother; he said it was the a comcst> or, better yet, can come out

•“Exactly. By repeating those same ercises regularly, day after day, Brot “That’s the proper spirit, daughter,” Ben has become almost physically HUNTINGTON COLLEGE CONSERVATORY KSS now thatMrS‘ BarkCr afPpr°vingl[j. “and

Offered: YrMrini Pi{A^?r-^1Mo,f^Avj^0F^PFlIir.MY-5j r.p camp while you play the ‘Military March’

on his next leave of absence. Hand me

BEETHOVEN CONSERVATORY*;;-: One of the oldest and best Music School, in the United States 4S2S 01iveRS?,S..^StTLLNuis, Mo.

,t play-he has te exercise several Permanently Adopted by Foremost Teachers it a time! I’ll sit here to-day and |H . en sol- STANDARD HISTORY OF MUSIC ly!” “Well, that "is one time the old c By JAMES FRANCIS COOKE

/Q-> >T HISTORY C : FOR STUDENTS AT ALL AGES ;‘jz t COMPANY i: PHILADELPHIA, PENNA. le new steam treatment for

booklet, "A Skin You Love to Touch pale sallow skins Or for 13 cents we will send you the treatment booklet and samples of Wood¬ bury’s Facial Soap, Facial Powder. motion. Then rinse well, first with warm Facial Cream and Cold Cream. When your skin is pale and colorless, water, then with cold. Finish by rubbing "pasty,” try this treatment one night a for thirty seconds with a piece of ice. Address The Andrew Jergens Co., 5601 week. After the very first treatment Spring Grove Avenue, Cincinnati, Ohio. your cheeks will begin to show a fresh, A 25c cake of Woodbury’s Facial Soap is new color. sufficient for a month or six weeks of this If you live in Canada address, The Andrew treatment and daily cleansing For sale Jergens Co., Limited, Fill your basin full of hot water—almost at drug stores and toilet goods counters 5601 Sherbrooke St., r~ - boiling hot. Bend oyer the top of the throughout the United States and Perth, Ontario. basin and cover your head and the basin Canada. with a heavy bath towel, so that no A'SK'N-toi, steam can escape. Steam your face tor Send for sample cake of soap with booklet of thirty seconds. famous treatments and samples of Woodbury s 'Facial Powder, Facial Cream and Cold Cream. Now lather a hot cloth with Woodbury’s Send six cents for a trial size cake (enough Facial Soap. With this, wash your face for a week or ten days of any Woodbury thoroughly, rubbing the lather well into Facial Treatment) together with the Qtin with an upward and outward

.jcrn danced otft of