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

9-1-1945 Volume 63, Number 09 (September 1945) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 63, Number 09 (September 1945)." , (1945). https://digitalcommons.gardner-webb.edu/etude/202

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The Qualities . Successful Elementary Teaching Pieces Should Have / EDUCATIONAL POINTS / APPEALING TO PUPIL /MELODY /PLEASING TO These Favorite Easy Piano LISTENERS /ADHERENCE TO GRADE /ATTRACTIVELY PUBLISHED Pieces Have Such Qualities

GRADE TWO—Legato and Staccato GRADE ONE—Various Keys Cat. No. Title Composer Price Price Cat. No. Title Composer 19219 Humming Birds’ Lullaby M. L. Preston .25 A descriptive little number giving an Ella Ketterer .30 opportunity for 23666 The Bobolink legato practice. Key of G. May be both played and sung. 25292 Hawaiian Nights .Daniel Rowe .25 Frank H. Grey 35 8400 The Contented Bird Very popular with young pianists. in In fancy one can hear This little piano piece is very popular. Written mostly the steel guitar and ukulele in the dreamy waltz melody, quarter and eighth notes. Key of F. C E *s y chords m th,rds and six 'hs. Introduces the 6631 Just a Bunch of Flowers Geo. L. Spaulding ,25 accfac t ra little waltz song that seems ever popular. Singing A pretty 6850 Folded Wings, Lullaby V d Form** notes only. Key of F. A very popular number in the Key of G. Splendid s£dyy 5786 Sing, Robin. Sing ....Geo L. Spaulding .30 in legato and staccato. Left hand melody. words. Fre- One of the most popular first grade pieces with Key of B flat. quently used as a first recital number. This little song without words is 'in'c' major a5d provides -N. Louise Wright .25 excellent pr.ctrce Nice finger A work in c ns, The Gateway to Piano Playing o r the ';““ r— 30 Price, $1.25 right hand. 4536“tr. Bo.i: The greatest of 2 all very first piano books for very young 25109 Jack and Jill. clef practice and clever verses. beginners Bass m ages 5 to 8. It just fairly captivates the little beginner. n • M wS t?, "ms'Ed Cross Hand Work GRADE TWO— BEGINNER’S BOOK 22657 Hickory Stlcka . First L> “No. ™c By Theodore Prosser practice for interlocking Renk - 25 £°77L.n 'S> Price, ?1 00 hands’ ,„d phrasing. ihnhm ,o' ,he pi,no 5003 Jolly Darkies - v One of the ' Bechler very best selling - 35 a>M pieces’ in thiV D , -d c; stfA imitation 8V,ALade w an - a of a banjo occurs -' A devcr J!SS£#fc in the midlu * and with brilliant climax. .. P.ece, the left SCCtl0n of a STANDARD hand’ carrying the melod} the Rondo torg.Eggelsng .40 GRADED 19188 Hungarian : COURSE is fully off, snap and go. 4320 The Song little Hungarian piece of the Katydid. This typical . . _ „ Keys of C and B flat. OF STUDIES A captivating A few easy runs are introduced. little piano piece ^ ' Re rn ,2 ^ valuahievaiuable n i , rhythm and melody « a study m style, By W. S. B. Mathews Jn Ten playing Grades, $1.00 ea. < S ll S best selected iv< stud ies for an grades Grade £ -S the study book for OnL” 6 ' S the ldcal Thiod©ii Prissir C©„ beginners of all ages over first =- rj ITU « CHESTNUT ST. PHILADELPHIA 1, PA. - '

THE THIRD ANNUAL PIEDMONT FESTI- VAL of Music and Art was held at Winston-Salem, North Carolina. July 25 to 29. The musical program of the festival included a colorful folk pageant, "United We Sing”; and the Brahms’ “Requiem” sung by the Festival chorus of three hun- dred, with the Festival Symphony Or- chestra. George King Raudenbush was the musical director of the event.

awarded jttuAiv DR. HOWARD HANSON was *7/ie Wot£d ofi the honorary degree of Doctor of Letters at the annual commencement exercises of Kenka College.

THE OUTDOOR sum- HERE, THERE, AND EVERYWHERE mer concert season, just IN THE MUSICAL WORLD closed, suffered greatly by the vageries of the weather. With the July rainfall in the eastern The NICHOLAS TCHEREP- THE NEW YORK concert series of part of the country un- Orchestra, which will open NINE, Russian composer, Philadelphia usually heavy, the Robin on October 2, will present Pierre Monteux died in June, in Paris, Hood Dell Concerts in Walter as guest conductors. where he had made his and Bruno Jeannette Philadelphia, especially Eugene Ormandy, the regular conductor, MacDonald home since 1921. He was were hard hit by torren- of American music was will be on the podium for eight of the ten A PROGRAM born in St. Petersburg downpours just at the concert hour, Moscow on July 4, in celebra- concerts, with the guest conductors each tial played in (now Leningrad) in 1873, the result that more than a dozen Independence Day. The having charge of one concert. with tion of American and studied under Rim- postponements, a record number, had to works by Roy Harris, program included sky-Korsakoff. Later he made. Nevertheless there were several Samuel Barber, Aaron Copland, and be conducted at the Rus- EIGHT HUNDRED THOUSAND DOLLARS outstanding events and record breaking- Wallingford Riegger. sian Royal Opera House, the estimated cost of restoring com- audiences. One of the highlights was the is and at the Maryinsky Theatre. In 1918 he Scala Opera House at Milan. the Verdi “Requiem” by a pletely La singing of at Tiflis. for many years head was director of the Conservatory Italy, damaged severely by the Nazi chorus of three hundred. An audience of JOHN R. DU BBS, of Following the First World War he estab- has already begun on thousand was present when the of the Rare Old Violin Department bombings. Work fifteen conservatory in Paris and was Dimitri and Healy, and an authority on old lished a the work of reconstruction. Ballet Russe was the attraction. Lyon other July 7. Mi*. identified with the Diaghileff and Mitropoulos was the general musical di- violins, died in Chicago on productions. In 1921 he began work conducted twenty Dubbs was one of the most expert ap- ballet conduc- rector of the Dell and Moussorgsky’s comic CHARLES PREVIN, well-known old violins, his long years of on the fragments of two of the twenty-eight concerts. Jean- praisers of tor, has been named musical director of an experience opera, “The Fair at Sorochinsk,” and MacDonald also drew a large audi- service having given him Radio City Music Hall, succeeding the nette into a finished opera, this field could duplicate. It transformed it ence. (16,000 admirers.) which few in late Erno Rapee. was first produced at Monte Carlo has been said that Mr. Dubbs knew inti- which and at the Metropolitan Opera mately and had handled practically every in 1923, House in New York in 1930. ALEXEI IIEIEFF AND LUKAS FOSS, ANTOINE has been awarded rare old violin in existence. JOSEPHINE young American composers, have been distinguished the Treasury Citation "for commissioned by the Koussevitzky Music rendered in behalf of the War services & Foundation to write pieces for the violon- Program.” Miss Antoine has sung Finance CCompetition cello short enough to be recorded on one rallies at which upwards of $50,000,000 at side of a twelve-inch record or on two raised. A total of 40,000 miles of has been of De a ten-inch record. The need for was OF ONE THOUSAND DOL- THE SCHOOL OF MUSIC sides of flying in this country and Canada A PRIZE originally ex- of the Paul University, Chicago, announces an short compositions was appearances. LARS is offered by the Trustees covered in making these Chopin Contest, the Piatigorsky, eminent Paderewski Fund for the best choral work Inter-American pressed by Gregor finals of which will be held in Chicago Kous- suitable for performance by a secondary violoncellist, and a director of the 1946. The contest is to select school chorus and orchestra requiring not in May, sevitzky Foundation. MURDOCK, Editor of the min- the outstanding Chopin pianist of the VICTOR less than twenty nor more than forty and long an enthusiastic hemisphere and entries are invited from Wichita Eagle utes for performance. The contest closes Etude, died in Wichita on be the United States, Mexico, Central OSCAR THOMPSON, for friend of The December 1, 1945, and all details may and South America. The first Murdock, one of the outstand- by addressing the Trustees of the America, the last eight years music july 8. Mr. secured Details prize is one thousand dollars. York statesmen of the Middle West, served Paderewski Fund, New England Con- critic of The New ing may be secured by writing to De Paul twelve years. He was servatory of Music, 290 Huntingdon Ave- Sun. and author of sev- in Congress for Lake Street, Chicago Massachusetts. University, 64 East music, died of the Progressive Campaign for nue, Boston, eral books on manager 1, Ulionis. Roosevelt. In 1917 President suddenly on July 3 in Theodore plus A PRIZE of one hundred dollars York City. Mr. Wilson appointed him to the Federal THE TWENTY -FIRST ANNUAL New royalty is offered by J. Fischer & Bro., he served Phila- Thompson was born in Commission, on which auspices of Award of the Eurydice Chorus of Trade New York City, under the Indiana, until 1924. Mr. Murdock the delphia, of one hundred dollars, for a Crawfordsville, as chairman the American Guild of Organists, to books and composition for women’s voices, is an- and was educated in wrote millions of words in his composer of the best composition for Thompson a “power” in the musician resid- nounced by The Philadelphia Art Alli- music. In 1919 he joined his editorials and was organ submitted by any The closing date is October 1, 1945, a capable musician the United States or Canada. The ance. the staff of Musical America, later be- Mid-West. He was ing in writing and full and all details may be secured by remaining in that the piano with facility. contest closes January 1, 1946; coming editor and and played to Miss Katherine Wolff, chairman of the details may be procured from the office position until 1943. He also served as 630 committee, The Philadelphia Art Alliance, of the American Guild of Organists, music critic of The New York EVening York. 251 South Eighteenth Street, Philadelphia. Fifth Avenue, New York 20, New Post and as a member of the music staff BORIS KOLTZEN and Elliott Carter of The New York Times. In 1937 he suc- been selected as winners in the THE NINTH ANNUAL Prize Song have THE SECOND ANNUAL COMPETI- critic of the American Competition, sponsored by the Chicago ceeded W. J. Henderson as music contest for members TION for the Ernest Bloch Award is by Broad- Singing Teachers Guild for the W. W. of The New York Sun. Mr. Thompson composers Alliance, sponsored announced by the United Temple Chorus hun- Kimball Company Prize of One Hundred taught music criticism at the Curtis In- Music, Inc. of Long Island. The award of one cast Dollars, is announced for 1945-1946. The stitute of Music in 1928 and at the time dred and fifty dollars is for a composi- contest is open to any citizen and resident tion based on a text from the Old Testa- of his death was lecturer on that subject the United States, Canada, or of any suitable for a chorus of of Columbia University. Editor of Music ment, and Manuscripts at 1 ,'0 C. SCHWARTZ, win- Central American Republic. Juvenile Mu- women’s voices. Publication of the Quarterly and Carl must be mailed not earlier than October Teachers’ ning chorus is guaranteed by July 8. in New 1945; and RUSSELL has the died suddenly on included in 1 nor later than October 15, SYDNEY KING won sician. Fischer. Inc. : and it will be Schwartz was born in all information may be secured from E. award of one hundred doHars in the vm-k City. Mi’. the next spring concert by the chorus. following Clifford Toren, North Park College, 3225 8. 1895. and December 1 and eighth annual song composition contest York on April The closing date is ; New the piano Foster Avenue, Chicago 25, Illinois. The years experience in further details may be secured from the conducted by the Chicago Singing Teach- many Kimball Prize has been a real means of he founded in 1933. the United Temple Chorus, The Ernest ers Guild. The name of his winning song Caching field, initiative to many $>oung com- 1943 Box 736, Woodmere, Long providing Teachers’ Review, changed m Bloch Award. is Harbor Night. Music York. posers. Teachers’ Quarterly. Island, New to Music "FORWARD MARCH WITH MUSIC" 481 SEPTEMBER, 1945 " . . . ?

i 9 mws§(£ mmgj Published Monthly By Theodore Presser VVAGM SS ADULT 1'IWO COURSE Vols. I and II Co., Philadelphia i, pa. A first instruction book for Adult, High School, and College Students l featuring the highly effective Chord Approach. Designed throughout EDITORIAL AND ADVISORY to appeal to the older beginners, the course progresses in an easy, STAFF logical and precise manner with ample foundation material at each DR. JAMES FRANCIS COOKE, Editor phase to provide substantial progress. The musical content includes Guy McCoy, Assistant Editor a choice selection of Classical and Operatic melodics as well as favorite Dr. Rob Roy Peery, Edieor, Music Section folk songs and extracts from standard piano literature, all of which Harold Berkley Dr. Nicholas Douty Karl W. Gehrkens are especially arranged and edited. Price, One Dollar per hook. Ruth Dr. Guy Maier Evans Buhman Edna Fort Elizabeth Gesc N. Clifford Page Pietro Deiro Dr. Henry S. Fry George C. Krick Peter Hugh Reed ONE. FOUR, FIVE PIANO ROOSC William D. Revelli By Bernard Wapness and William B. Coburn. A practical approach to har- mony study for the advancing student. An indispensable aid in developing and furthering student proficiency in fluent chord performance. The procedure of this book is unique, in that as soon as a principle is stated, it is used as a Sccondo to the melody played by the teacher. Cfontentd for 9) eplemher. / 045 Price, 75 cents.

S PLEDGE ALLEGIAIVCE VOLUME LXIII, No. 9 • PRICE 25 CENTS A patriotic album for all Americans. THE WORLD OF MUSIC Contains easy piano solo arrangements (with words) of eight famous national EDITORIAL songs. Fingered and phrased especially Make It Clear for teaching purposes. Beautifully illus- trated in Red, White and Blue through- MUSIC AND CULTURE out. this folio makes a delightful, inter- Our Musical Good Neighbor, esting and appropriate gift for every Brazil ' Ut9a Coelho 485 young student. Price, 35 cents. From a Studio Window ... _

Musical Advance in China (Part Two) . . Teachers—send for a complimen- Superstitious Musicians ~ en 487 ' wuiaemar tary copy of HOW TO TEACH THE The Greeks and Musical Therapeutics. Schweisheimer 488 ADULT BEGINNER. An Informal Discussion by Bernard Wagness. MUSIC IN THE HOME Highlights Among the New Recordings The Etude Music Lover's Bookshelf 7,‘JR So. Campbell Ave. MUSIC AND STUDY Chicago 12, Illinois. The Teacher's Round Table The Background of Background Music Concerning Tenors I Want to Know! Harmony in the Choir PIANISTS Teaching Woodwinds in the Schools... Help for the Nervous Performer Visualized Violin Technic Questions and Answers Improve your playing ...Dr. Karl What s Wrong With Our Concert Halls? W. Gehrkens 502 by Broadwell Technique MUSIC Classic and Contemporary Selections Learn how the Broadwell Principles of Mental-Muscular Coordination and Cottage by the Sea to gain proper keyboard habits can greatly the Keyboard Patterns Method Andante, from Sonata No. 1 in C. improve your Accuracy, Technique, Memorizing, Sightreading and Playing.

har - I need Thee Every Hour (from "Concert '£ es E Overholt 508 TranscribingS i REDUCE PRACTICE EFFORT— 10 TO 1 Hymns") ? f Fi»vorite Robert Lmnr, a rr ' ' Clar Your piano practice can he scientifically applied to eliminate Waste Effort aud Time. Learn now Nodding Water Lilies ence Kohlmann 509 repetition can do the work of ten; how memorizing and sightreading are reduced to one practice Starlight Serenade logical practice principles. The Broadwell System makes memorizing automatic. Makes sight- and accurate process. Blue Lagoon reading a natural, rapid " ma ' F ocal and Instrumental Compositions A Bussell 513 GAIN IMMEDIATE RESULTS The Mandolins (Violin & Piano) Frederick . to your playing is appreciated not in the A F Value of the Broadwell Methods applied own only ° ' 4S Be Still and Know That I P ’ N° ' 9 515 improved quality of playing, but also the speed with which improvements in technique, accuracy, Am God (Sacred song—high voice” sightreading and memorizing, etc. become, noticed. Improved mastery of skills such as trills, Thelma Jackson arpeggios, runs, octave passages, chord skips, is unmistakably evident after the first ten days. Autumn Days (Piano Duet) Smith 516 Delightful Pieces for Young Players ADOPTED BY FAMOUS TEACHER-PIANISTS My Blue Raincoat The Broadwell Metluods are used hv famous Concert Pianists, Professional Pianists, reputable Coclcelshells and Silver Bells. . Students ul Organists the world-over. These methods may be applied by the student, Teachers, an Good Morning! who has had but 6 nuoriths of previous piano instruction as well as by advanced students. The methods are as valualble to the player of popular music as to the classical pianist. The Broadwell THE Methods have been scuceessfully used for over twenty years by thousands of pianists. JUNIOR ETUDE MISCELLANEOUS BROADWELL PIANO TECHNIQUE

‘ — As to Music • - Mail Coupon No obligation tor Appreciation ;; Emma Murr 484 Band Questions ' race E -' zal) eth Answered Robinson 484 Composing William D. FREE BOOK -"TECHNIQUE'' Composers Reuelli 494 Voice Questions Answered B iris Randolph 497 Organ and Choir Dr ' Nict BROADWELL STUDIOS, Dept. 65-J Questions Answered. *o las Doutv 597 Violin Questions Answered Dr. Henry Covina, California s. Fry 529 Eiiten • Harold ond-cl r Berkley under }ai 531 "Technique” showing how I may quickly improve my Technique, Accuracy, Send^e^our FREE Book P ’’//.! V. S. , p c, Memorizing. Sightreading and Playing. I understand there is no obligation. NAME ADDRESS CITY STATE f&Hm. 9 ° therA countries. 482 "FORWARD MARCH k 'ith music DGAR BERGEN says to his lig- Editorial E neous cerebral progeny, Morti- The wise teacher first finds out mer Snerd : “How can you be so stupid?” and Mortimer replies: what the little one is most interested in. That is the surest way of gaining “It ain’t easy.” cl, nu. a the interest of the child. Then the Consider the foregoing sentence. Instead of calling Charlie McCar- problem must be analyzed; that is, thy’s pal “a wooden brain-child” we separated into its component parts used three clumsy Latinisms—“lig- very much as a watch is taken apart neous cerebral progeny.” It is really very easy to use simple, and the reason for each part described, so. that a student in watch understandable terms in any language, if one thinks clearly and making could put it together and make it tick perfectly. sharply. Yet we have heard teachers talking to little ones in a kind The description of the process, however, must be done by words, of learned slang (we might have said “pedagogic jargon”) which by designs, or example. If you want a lesson in words of power, which at the same time are no more than two syllables, we refer is wholly beyond the grasp of the child. Robert Louis Stevenson’s “Treasure Island,” a rare piece If the first act (we could have said “function”) of education is you to of word building. It is even more unusual as a type than Daniel to lead out (Latin e—out, duco—lead), the second is to make Defoe’s “Robinson Crusoe.” Moreover it is a style- clearly made to clear. Perhaps you will say that the third step is to inspire. The our edition we counted one running- great mind of Albert Einstein would place inspiration first. When fit a purpose. In thousand in this passage there were just fifteen words of three he was asked to create a motto to place over the portals of the words, and Astronomy Building of the or more syllables, or only Pasadena Junior College, one and five-tenths per cent of the whole. The rest of he wrote : “It is the su- the words were under two preme art of the teacher to syllables. No wonder awaken joy in creative ex- “Treasure Island” haS been pression and knowledge.” beloved by millions of The tablet really bears Mr. people. However, if Einstein’s words in Ger- young man, but for greater un- we turn to Stevenson's derstanding we have trans- foreword, which he wrote work, lated them to English. But to his master we joy and enthusiasm cannot find, in a similar running the overcome the obstacles cre- thousand words that of terms over three ated by a lack of under- number per cent. standing brought about by syllables is eight see that Stevenson the use of long, clumsy, We style, compared high-sounding words. That (whose with that of the pedantic is the reason why there are Samuel Johnson is not many teaching experts Dr. veiy lucid but who have made far-reach- only always vastly more effective) ing studies of the size of also more long words be- the child’s world of words used cause was speaking to (we might have said “vo- he motto by Albert Einstein on the tablet in an older group. It might be cabulary”) at various giv- English translation of the Pasadena Junior College. the vestibule of the Astronomy Building of the very excellent exercise en ages. Anything outside a for the teacher to read of this word world is a land “ active child for the purpose of ‘ unknown. (We might have said terra- incognito”) The teacher is “Treasure Island” aloud to some the same time, witness wasting his own time and that of the pupil in a show of his teach- acquiring a simple use of English, and at what a hold this kind of English has upon youth. ing skill. (We could have said “exhibition of pedantics.”) That A flexible use of English in the terms of today is an admirable is one of the most common reasons why some teachers fail. They thing. these days of radio, newspapers, magazines, and oceans never think that their first task is to measure the mental grasp of In together with the spread of high school and college the pupil, whatever his age. In treading from the known to the of books, is vastly different from that unknown, the teacher must make sure that the pupil knows what training, the employment of words this of even fifty years ago. Yet the moving picture powers still get lie (the teacher) is talking about. lie must check and “clinch” which admittedly are addressed to knowledge before taking the next step. their major returns from films those of a very low intelligence level. If the public does not under- One of our friends who is, perhaps, unjust to musicologists, has stand the film, the cascade of shekels in the box office soon stops. a way of saying, “I don’t even like that long name. My definition things only he under- The very great teachers of music always have been those who of a musicologist is a man who writes about describes have mastered the art of making things clear. One of the famous stands, in terms nobody else understands.” This also told us once that one-half hour with Leschetizky was some teachers who attempt to teach children in terms which only virtuosi worth hours spent with some of his other teachers. Leschetizky, in an adult could grasp. “My dear, you must approach this relatively so that your a few moments, with a penetration and insight rarely given to intricate problem with a kind of supreme relaxation, preserve their sensi- men, could throw shafts of interpretative light upon the perform- digits are vitalized and your fingertips may dangles her legs, scratches her nose, ance of a work which made the composition live forever in the tivity.” Pretty little Imogene course you un- minds of his students. The large repertory of salon music written gawks at the ceiling, and then Teacher says: “Of grunts Uh-huh, by able musicians is of great value and importance in general derstand, dear,” and Imogene smiles blindly and music education because of the greater clarity of these works and and mentally sneers at her teacher.

483 SEPTEMBER . 1945 : :

Music and Culture age in which the radio and the cinema are bringing am, .and Ferranti, all of which he played with ex- greatest performers in the perhaps too familiar in- cellent virtuosity. As a composer he has also proved timacy with the public. When a great virtuoso plays very fertile. Over one hundred of his compositions and “boogie-woogie” it may be accepted as joke compilations a by some, are in print, a number of which are set millions assimilate if others will look upon it as an endorsement for trio, the fact that can them who, con- but of this mandolin, quartets, and orchestras. His biggest fronted with the compositions of complicated of musical idiocy. achievement is more form his copious “Guitar School,” in two masters, be baffled. Devotees of Because we have been so deeply convinced that the volumes would Brahms, who which was published in 1321. He gave subse- turned their noses the simple and clearly process of analysis should be developed by all teachers, quent concerts up at defined in Chicago, New York’s Town Hall; and works of Carl Bohm, asked Simrock, his publisher in we have repeatedly endorsed in our editorials that ex- numerous concerts in all the important cities in the Berlin, published inconsequential things. cellent work, “The Principles of Expression in Piano- States confirmed his why he such reputation as a Virtuoso. In 1911 publisher replied, “I publish so I forte Playing.” This book might also have been called there ensued a The Bohm that can great concert tour through all the cities Understanding Pianoforte America. get th6 money to publish Brahms.” He might have ob- “The Principles of in Play- of On this concert tour Guiseppe Pettine, served that many of those who preferred Bohm be- ing.” In fact, the German translation of this work was mandolinist, and Frederick Bacon, banjoist, were the cause his works were clear and understandable would “Das Verstandiss im Klavierspiel” (“Understanding in co-artists with Mr. Foden.

. Adolf Friedrich Christiani a composer at some later time become the most ardent Brahms Pianoforte Playing”) was As William Foden has richness of coun- enthusiasts. The education of taste for most of us pro- born in Kassel, Germany, in 1836. He went to London terpoint, vigor of style, fullness of harmony, and strong gresses not by leaps and bounds but step-wise. The in 1855, where he taught until he came to America in glowing quality. He is a master who knows one altar more obvious and charming compositions of Gurlitt, 1877. Here he taught with great success in various con- and that is the ideal which dwells in his own heart. in Elizabeth, New Jersey, in His system of instruction, Heller, Schiitt, Godard, Poldini, Thome, Chaminade, servatories until his death Books I and II, embraces a Expression” was not published complete course for Sinding, Lack and scores of similar composers, par- 1885. “The Principles of the guitarist from the cradle to ticularly American composers, who have written some until one 'year after his death. The work, now nearly the threshold of a public career. old, fundamental and has not been sur- Mr. Foden believes high of the most beautiful and ingenious salon music, and sixty years is moral character is equally know, any more recent work. essential as skid in also the excellent pieces of salon music written by passed, insofar as we by eloquence; consequently his many in teaching we students receive Handel, Mozart, Beethoven, Chopin, Liszt, Tchaikov- When we were professionally engaged ethical guitaristic training and abun- it invaluable “making it clear.” We also noted dant advice. In point sky, Debussy, Ravel, MacDowell, Nevin, and others found in of performance, excellence and have significant place in music education, and foi-e- that the pupils who mastered it were invariably more sterling manhood, Mi-. Foden a stands alone. Among his performers. It is one of the pupils is Mr. George most teachers are the first to recognize this. appreciative and effective Krick, editor of the uepartmentDepartment of Of course there is a genius type of pupil who can be most important books in the literature of the art. Fretted Instruments for The Etude. started with the more serious works of Bach, Scarlatti, "Make it clear” might be a good motto for every and Beethoven, and who will continue in this classical studio and classroom. Perhaps you think Ralph Waldo channel with scanty excursions into the music of Emerson esoteric (or should we say “exclusive” or Chopin .and Schumann. This type of pupil is brought “high hat”) but he certainly showed his Yankee back- back in 1861 up to look upon the less austere composers with scorn ground when he wrote in his Journals ’way As to Music Appreciation and becomes a musical hypocrite of the worst type. “The man who can make hard things easy is the edu- This attitude has changed greatly in this more liberal cator.” h Q,ace ZlizaLtL Rolimon

™ 1 Guitarist CelebratEs Eighty-fifth Birthday Distinguished American 1 11 50 "' eU “• FK ^ th0 to Stayed .. wActTit %

by WU get anything Aut o^ttap^ce'^bjo^011 y° U Cannot put anything into "0t it. The compozer wrote he warited them *th?,PotesA as played, but there 7C ! Cathedral, looking down upon the fields and the River to music much ™re than just notes . There^T ®*« piession Mississippi. This view was familiar to him and at times imagination, > feeling, touch and so forth sitting there and it was so full of mystery. He liked things into a piece be PU th6Se ore we ge t Ynv J listening to the strange sounds the wind made, whis- and the more ° J «• we put in, Me Mole “f pering about the doorway of the great Cathedral. Goethe, the great ^ German po-t anrt \ Later, in remembrance of this, Mr. Foden composed once said, “A lover of music player mav* hnvoVv ' echmc and many lovely solos for the guitar: Zephyr Breezes, soul nor intelligence.” yet neither Silvery Sounds, Mystic Star, Evening Song, Tivilight. True, and on the other hand a Dreams, Meditation, Lullaby, Religioso, Goodnight, soul and intelligence player may have and nn ton?’ 10 With Thee, and many others. way of expressing himseh Motn ' theret°- n° The river, and all the sounds which the river boats pression mark ^ faVOrlte is “teMerfy » tat° created inspired him to compose the very beautiful “How can ” Sald a lumbler ' play tenderi“- compositions Our Bonnie Boat, Pilot March, and again many others. ni ally eSpped“aI SiV** T™*™ be He was thirteen when he started taking lessons on vocabulary. Accordin • 1-W ly th the guitar, first from Jeremiah McGrath and later of 1 **»* a« »a can be William O. Bateman. The young man made prodigious S" :~t playing during the next few progress in guitar years. « I£ one does n°t enjoy music it may be her.,, , fifteen, he played difficult pieces on the guitar Scarcely does not understand its language. and power. His Therefore it is with peculiar precision simple, boyish to the musician to interpret ™ the music in such a man unaffected manner and his total lack of self-con- ner that the listener will understand it sciousness won him respect and affection. At this and entoit early and the only way for the musician directed an orchestra which to do this is to age he gave many public bring it as close as possible to “human speech- performances. ’ *that is, to make it 'say ‘ something” to the During the next few years listener ‘ another white milestone A piece is made or marred hv . was added to his career. He gave his first concert 1 in it is presented to the Whlch public it is saic..uT ! his native city and was acclaimed “The Greatest ^ ADvorak’s Humoresque, which for mo, Guitarist of America”. nised, leaped Jacob Ortner, Professor at the State Academy of tive through the playing of it by Fritz effec- Music, Vienna, Austria, wrote of Mi’. Foden in the Aus- KreisiP1 . trian Guitar Review in 1930 ose for One player may pi ’ an example, “The greatest guitarist of America, a ay it nevl*^ virtuoso Wil- goes, but he “ far as liam Foden is distinguished does not technic by a brilliant and infal- “put aSi' so of course 0 ’” lible technique and a richness and he gets nothing the piece fullness of tone In out 1 WILLIAM FODEN other piece. ofV^11 is ” tremolo playing he is as yet Another i U5t an unparalleled and any one player not e A' alone, tries to With studymg his Fantasy on the song Alice find what -clinic Where Art MacDoLu ' Thou? he wrote the Tf ILLIAM FODEN. guitar virtuoso and com- which was published in 1894, must piece. He “ mind when regard him thiew read, thi£at A born in St. Louis, Missouri, March as the Father of modern tremolo ” away a scrap MacDowell once poser, was playing of n , httle age of seven he was taking 11115 S great C °nCert tune and whkh «'as 23rd, 1860. At the ..P” “ actiTlty betw that his written a “n 1890 and loom, X 611 W little boy, he often 1930 violin and theory lessons. A serious Ins programs comprised, ran across apart from his “ it and later the music own m" “ .A1 ° was found sitting on the stone steps of a nearby positions, mainly the best saying, Thls * Wecl to works by Sor Mertz j quite AS, MacDowell Gu ‘ -P«ed, “It ‘ U“e '" is nofso b d “> 484 "FORWARD ’ {Lont inued MARCH WITH MUSIC" on Page 524 ) —

Music&nd Culture

Our Musical Good Neighbor, Brazil

Olga Coelho has made a unique place for herself in world music. Possessing a thoroughly trained voice and a vast reper- A Conference with tory of classic works, she has chosen to devote herself to the folk songs of South America in general and of her native Brazil in particular, accompanying herself on the guitar. Much of this rich literature has been made available through Mme. Coelho's Of,net CoJL interpretations and transcriptions. Born in the Amazon province of Brazil, Mme. Coelho began piano study at the age of six. Her vocal debuf, however, came earlier. At three, she was Distinguished Brazilian SDprano and Guitarist taken on a boat trip along the Amazon and became lost on the ship. Fearing that the child had fallen overboard, her parents searched frantically for her and found her, at last, SECVRED EXPRESSLY FOR THE ETIDE BY STEPHEN standing by the little “German band," singing the Merry WEST Widow Waltz! At fourteen, she fell in love with the guitar, to which her parents objected on the grounds that it was too "popular" an instrument for serious study. When her godfather gave her money to buy an umbrella, young Olga promptly population. Whether in Brazil, Cuba, spent the sum on a cheap guitar which she smuggled into the or the United States, the character- kitchen, doing serious practicing under the indulgent protection istics which we call “Negro ele- the cook. Even of before this, the girl had become enamored ments,” merge with the native of the colorful native songs and legends, transmitted her by to elements in such a way that the an ex-slave of her grandmother's, an African Negress nearly a native strain suggests itself in tone hundred years old. Out of these early loves grew a distin- and rhythm. Hence, “Negro” guished career as folklorist and guitarist. After serious study music shows identical at the Conservatory of Rio de Janeiro, Mme. Coelho appeared elements in Brazil in Brazil—where she believed her success was due solely to and in the United States—but pro- the enthusiasm of her friends. Determined to put herself to a duces an entirely different effect impersonal more test, she accepted an engagement in the because its individualities have been Argentine where she was entirely unknown and where her suc- merged into European music of dif- cess was even greater than at home. Thus encouraged, she ferent background. Again, certain appeared in Germany, Italy, Austria, France, Holland, Belgium, rhythmic patterns which we think England, Portugal, and Hungary, coming at last to the United of as Negroid are sometimes purely States where she and her husband, Gaspar Coelho, the poet, Spanish and not African at all! now make their home. She has never relaxed her interest in Syncopation, for example, was in- folk-music and has supplemented her vocal and purely musical troduced by the Moors— studies with guitar instruction from Andres Segovia. In the who took it following conference, Mme. Coelho analyzes the character of to Spain, where the colonists of Brazilian folk-music and suggests effective means for the sing- long ago carried it to far-away lands folk-songs. ing of — Editor's Note. in which ( Continued on Page 526) OLGA COELHO

HE PURE FOLK-LORIST differentiates between dreds of years ago, coming to a rich, wild new land genuine folk-music which has no one composer to make their fortunes, but always hoping someday, T but grows gradually from the people themselves, somehow, to go back home. Whether or not they real- and composed or arranged folk-music which repre- ized this ambition, its spirit lived with them, and sents the work of individual composers expressed in hence, many of our Brazilian songs clearly show an the folk spirit. interesting blending of European form with a yearn- In my own work, I do not bind myself by this dis- ing, nostalgic spirit. The Fado is one of the most tinction, since songs that have been arranged or modi- typical of these Portuguese-strain folk-songs. It is fied by composers of the standing of de Falla, Albeniz, used chiefly as a serenade and is always sad and or our own Villa-Lobos deserve recognition. Anyone rather homesick in character. In comparatively recent who is genuinely interested in folk-music would do well years, our musicologists discovered that this Portu- to explore both kinds. Again, the folk-singer should guese song really originated in Brazil. It was developed not be misled by the seemingly artless nature of folk- by lonely, homesick colonists who felt a need for music. Certainly, it is artless enough when sung by expressing something they had never felt before, those who approach it as tradition and not as art; when they were at home in Portugal, and invented but when folk-music is given the art status of public this first native song in order to free their hearts. performance, it requires the same study and care as The second influence that has gone into the shaping any medium of art. Hence, I believe that the folk- of Brazilian music is that of the Negro—the African, singer needs the same firm background of vocal who was forcibly imported into Brazil in the slave projection and musical study as the singer of Lieder. trade. Because these people were brought in to be A specialist in folk-poetry once suggested to me that slaves, they lived in constant contact with the white intensive study would spoil my spontaneity. “Not at colonists—either as farm workers or house workers ail!” I replied; “Study never spoils anything—and cer- and they had no independent development of their tainly, you do not feel that your own work is spoiled own. This enforced close contact brought about an by a knowledge of grammar and rhetoric!” interesting musical development. The African Negro

is, of course, deeply musical ( as everyone in the United Blending of Strains A States well knows). However, native African music is Brazil has developed a music of its own since the wholly devoid of melody. It is sensitive to express eighteenth century. Brazilian folk-music blends the rich feeling, in chanting and intonation, and very rich in influences of three important strains. First there is the rhythm. Accordingly, the slaves who heard melodies Portuguese, brought over by the colonists, based on the of European origin soon adapted them to their own seven- tone scale, and reflecting distinctly European use through variations in rhythm and intonation. characteristics of melody and classical form. Naturally, All singers who learn by ear show a tendency to the Portuguese strain is frequently dominated by modify their songs, and soon it developed that two purely Spanish influences of rhythm and color—in- songs existed instead of one—the European original, deed, both Spanish and Portuguese music shows Moor- and the “new” song that blended the same melody ish qualities and it is perhaps this derivation from the with African elements of rhythm and tone. It is in- Moors that makes them rather similar fundamentally. teresting to observe, by the way, that this same to imagine these Portuguese colonists, hun- phenomenon occurs in all lands that have a Negro I! is easy OLGA COELHO IN CONCERT COSTUME

194’> WITH ' SEPTEMBER, '‘FORWARD MARCH MUSIC 485 ’

Music and Culture -Ex.l ,n.n n j j j j: J J Jj.Q J # j j jjj J :“J^J n j n n j jij j .qj:j j J2J2 j* j5 From a Studio Window r.ij j j j jjj ji • o oo o oo Then the same thing, substituting triplets for the eighths,

Ex. 2 bij *\Jiiva i\ichcirtbion JJJ Jjj etc.

and in the last twelve substituting four sixteenths for Observations Based on Thirty Years of Teaching at Illinois Conservatory eighths in each group.

of Music, Mount Holyoke College, and Northfield School for Girls. Ex. 3

purposely J J J Jtt3 c,c. HAT am I doing? Will this do it? Is it worth connected touch to become legato by holding doing?” I often ask myself these questions over each note after the next is played. which were once put to the students of a Do you dread to teach this pupil who does it to such This helps too, indirectly, in developing speed. W difficult matter? And Another assistance specialist in the medical profession. an extent that reading is a very to speed is the well known play the piece velocity pi inciple. Let us consider them for a moment in the light of do you ever recommend that the pupil Beginning with one note or section, works. For then she add another note our own profession. We are trying to teach others to first of all on top of the keys? It or section, placing fingers ahead as think each far as possible play the piano. The following are some of the prob- cannot use her ear and she must really over their respective keys, until the the right key is once passage is completed. lems we all meet along the way, and the solutions note. When the habit of taking Always only comfortably fast actual playing of it presents no diffi- and the speed will which I have found as “never fail” ones during my established, the grow from day to day under this treatment. And in long years of teaching. Some are original, some are culties. a purely technical passage the use teaching legato chords, when it of the metronome, assembled and modified, but all have become part of My pet method of working notch by notch from a between them slow beat, has my creed as a teacher, so I present them with en- is desirable to make some connection always seemed to me a most remarkable with the pedal, is to en- way of realizing our thusiasm. with the fingers as well as maximum goal, giving us control circle the name of the finger on which we are to as it does, from repetitions Who of us does not meet daily the problem of too in different speeds and at on to the finger which is the same time keeping loud an accompaniment, too swift a pedal, too lax a “pivot”; that is, we hang the interest as we watch our “pivot” on the own progress tempo in rubato? Each of these troubles may be cured encircled, raising all the others. We in black and white. ones not duplicated in the next chord, raising I often remind by applying the psychological principle of “going to one or my pupils of what Vladimir de ones which are duplicated in order to play them Pachmami said as he extremes.” the grew older, that he never would pupils Sometimes the finger on which we pivot will allow himself to play Remembering that Liszt used to counsel his again. a piece in public until he had composition “on top of not be the top finger, in which case it is more difficult, memorized it and forgotten to play the right hand of a it seven times-and of training, incidentally, for independence Paderewskis leniark, the keys” and then the left hand similarly, I experi- but excellent when he removed some Debussv a pupil of the fingers. The result of course is a sostenuto effect numbers which were mented one day in my early teaching when scheduled to close his program Rising Sun, by Torjussen with which cannot be obtained by pedal alone. saying that since he had known was playing To The them only four yearn' true especially And may I suggest a most efficacious way of helping as the time for his recital too loud an accompaniment. This was approached, of course he asked her to pupil to get' the feeling for a singing tone. Ask her did not have the temerity of the first and the last parts which I a to play them. Such examples of the which is warmer in actual temperature, a black or a are of course a revelation practice with the accompaniment ‘‘on top to students who are prone for Let her feel of them respectively for a few to tire quickly of their keys,” touching the keys with, well raised fingers white key. pieces and who need that the same touch she used inspired with to the sake of definiteness, but not depressing them, and moments. Then tell her high standards of perfection aloud determine the difference in warmth between the And when the time at the same time playing the left hand melody to comes for them to play want for pressing in public vigorous tone. She was a conscientious two keys is the type of touch we which is after all, their final with a full teacher, Lv atom few weeks time was electrify- out the tone of the lyrical passage—intimacy with the nervousness? Well, let us pupil and the result in a disregard it. As F Addison Then we applied the key on an outstretched finger and extreme sensitivity Porter, in the Normal ing to both teacher and parents. Department of The New England” Words Also as an antidote for superficial touch I Conservatory used same principle to Mendelssohn’s Song Without of feeling. to say, "Never mention nervS on top of the pupil’s hand, ask- No 1 where the accompaniment is divided between often play the melody The result at the piano Overlearning the hands in broken arpeggios, and also to chordal ing her to do the same to mine. Our Pieces were striving for. pieces where all but the top note is played on top of is the depth of tone we Philipp Method of holding “ itnportant the keys, as in Cyril Scott’s Lento, or in the last line This brings me to the onemp^paraSoraTdth^Tmr, a all the notes possible in a finger passage, which when the hour arri^. where it is effective for the alto to predominate as down vigorously while does many things for us technically besides being a an important one beforehand counter-melody, letting that sound means a larg" margin help in the aforesaid trouble of disjointedness. It is a of what corresponds to all other voices are played on top. “overlearning" in psychology on great aid in forming the habit of “placing” fingers °ur pieces must have The example of a too swift pedal, or pedaling had so much extra thoughts quickly over their respective keys, which Harold Bauer repetition that no the beat, may be cured in the same way by purposely matter how we feel as the training of the they ton be late pedal. ‘ Over- considers of as much importance depended upon to do what going to the other extreme of a too they have been so caie- fingers themselves. And such devices make us think fully trained to “are! lap the pedal,” I say to my pupils, after they have do. and for this reason if for no other, are slowly of changing the pedal and go slowly, And then as Matthay says, formed the habit very “we must keep a fine notes worthy of presentation. balance between ourself well after the note. (I cover up all succeeding and our other self-between one in question the conscious and with a sheet of music, except for the Thinking Each Note we Play! subconscious." The LeschetSkv taking one maxim, "First of all a so they are obliged to think and go slowly, piece must be accurate then followed for How important from both the interpretative and beautiful, then effective" step at a time.) This plan conscientiously often comes to my mind in the eai technical standpoints! If what we play sounds “in- the matter a few weeks while temporarily unpleasant to of preparation and rendition. Not having medium and a tended” as Matthay says, we have already gone a stayed over long in the does eventually bring us to the happy purely accurate stage, let toward making it convincing. And no real us pedal. long way be sure that our message correct legato is truly beautiful and effec- technical accomplishment is achieved otherwise. tive by being absolutely a part of us. Let Helps In the case of a very superficially played technical us give it The Metronome with sincerity and because we know it so well v going to the passage I have often asked the pupil to play the thumb freedom. ' withu Too free a rubato may be helped by Again the Leschetizkv Nocturne every time it occurs, on the wood just below the key ^ C°meS t0 extreme and playing even a Chopin mind, “You must either ™ other th ik , have heard Heinrich or even up on the rack. Next we do the second finger people are a11 once with the metronome, as I my friends—I love them- „ Too strict a tempo? this way, then the third, fourth and fifth. By this time 81 Thls Gebhard illustrate so successfully. audience is so many cabbage “keeping the the pupil has had to go slowly in order to think heads"®!” ' Yes but afterward a pupil emerges when In either case ^ d° 1 °are? you will be free also with the give and take she plays on the keyboard and when on the wood shape” and if musical, It is possible to that not a note can played “fool" ourselves i„t imagination dictates, without overdoing the be carelessly, and the result aCtually ' which his ticipating the event with a11 Bauer once said that the most im- is indeed a revelation. I have heard the middle section plea'su, cFth rubato. Harold sharing a beautiful Pleasure of “Lohengrin” he ever heard of the Schubert Impromptu Op. 142, No. 2 creation-and pressive performance of quite revo- selves dV re arc as only S lmg our- Boston Symphony Orchestra played lutionized and turned into a passage of channels to thi! enf was the time The sparkling formanee can When the to end with the jewels under this treatment. be a memo, ahil F it for rehearsal from beginning whlch comes 1*6 insplrati0" Rhythms too, are helpful to this end from the gito metronome. of making us performer— amTtakftake of audience and ad libitum in curing think through the hundreds and \vp , This principle may be continued of repetitions which are « by practicing legato necessary for the mastering patience and remember tha a sluggish touch, for instance, of a difficult passage painstakingles!, and Dm versa, helping a dis- thirty-six: went into this P severance which passages Anger staccato or vice I use rendition the,, efforts kn°"’ U '' have indeed been ° "FORWARD worth white*' 4sr> MARCH WITH MUSIC i’ti inh — —

Those who read the first section of this article in The Etude for Music August will find great interest in Mr. Lee's graphic description and Culture of the musical educational activities in China. He was born in Peiping, July 18, 1907, and received the degree of B.A. from the Yenching University (1930), the degree of B.Sch.Mus. (1937), and the degree of M.Mus.Ed. (February 1945, as of 1937) from Oberlin Conservatory. He has held many impor- tant musical positions in China, and has been a promoter and organizer of many of the progressive musical movements in his native land. In 1941 he organized and was one of the four of Musical conductors the 1000-Yoice Advance in Choral Concert in Chungking. China In 1942 he organized and conducted the Chungking Five-Uni- versity Chorus concert tour to Chengtu. He has written many books upon choral singing and they have been published in

Peiping, Chungking, Hongkong, and Calcutta . Editor's Note. Part Two

E ENCOURAGED choral singing in schools too, especially in colleges where generally en W there had been no music taught at all. As a part of my work in the Committee on Music Educa- Dean, National Conservatory of Music tion, I had the pleasant duty to organize and train choruses in five colleges and one high school in the Chunrjkinu. China area of Greater Chungking, traveling ninety miles every week on bus, truck, sedan chair, and sometimes on foot. I still remember very clearly a rainy evening six years ago. I went to the National School of Phar- and memorable event. We were very macy, ten miles out of Chungking, where I was to lucky to be able to borrow three trucks lead a chorus rehearsal. I went into the practice room to send these singers to their destina- in wet clothes and muddy shoes. My chorus gave me tions after the concert—the farthest be- such a hearty welcoming applause that I was embar- ing twenty miles out of town. As the last rassed like a child. They evidently hated to miss a truck started off at three o’clock in the rehearsal and, somehow, they did not expect me in morning, the uncomplaining singers, such weather. Moved as I was, I sat beside the four- tightly packed in the truck, were still octave reed-organ and conducted my chorus. The singing at the top of their lungs: “Sing light from the wood-oil lamps was dim, and the rain out, men, with jubilation; join the trou- outside was giving us quite a bit of competition, but badours of the nation.” it was one of the most responsive and inspired rehear- Since 1941, every year in the National sals I ever had. Spiritual Mobilization Day (March 12th, the day of the death of Dr. Sun Yat- The Massed-Choral Movement sen) , there are many places in Free We had the Chungking Six-School Joint Concert in China where 1,000-voice, sometimes even 1940 as a result of this extra-curricular musical activ- 10.000-voice, mass singing concerts have ity. We enlarged our activities the following year by mobilizing twenty-one choruses from high schools, colleges, factories, and troops, and gave a 1,000-Voice Choral Concert in the open air, celebrating the first anniversary of the National Spiritual Mobilization Movement. THE AUTHOR CONDUCTING The program was all Chinese, including several THE HUGE CHORUS songs specially written for that occasion. For The "conductor's stand" is two square tables the accompaniment, we picked sixty “crack" placed together. The specially organized band of players from ten bands. The program was given sixty players is in the center. In the background right after the Generalissimo’s address, most are bombed buildings in the process of being of the time “singing in the rain.” The Gen- % rebuilt. eralissimo was so pleased that we were asked king Five-University Chorus in 1942. Chung- to give a “command performance” that very king and Chengtu are the two biggest cities evening at the Spiritual Fortress in the down- in Szechwan province, with a distance of town section. We rushed everything and the three hundred miles in between. Both con- “street concert” began at 7:30 P.M. Just im- cert tours were exceedingly successful and agine a thousand smiling youths singing to an were received with great enthusiasm, in spite audience extending three or four blocks in all of many of the difficulties to overcome the four directions: it was a most impressive transportation was just one of them. These concerts not only bound the two sister cities in closer cultural relationship and in keener appreciation of each other, but also showed that there was nothing impossible under the THE CHENGTU FIVE-U CHORUS AND sun, once we determined to do it. THE CHUNGKING FIVE-U CHORUS The musical advance in China, which was They had a "swell" time together. Both conductors. noted in the first section of this article, was Miss Stella Graves, and the author, are Oberlin promoted by the Committee on Music Edu- trained. This snapshot was taken when one of the cation, established in the Ministry of Educa- professors in the group was shouting "Smile awhile, while you smile!" tion in 1938. After the first committee meet- ing was held, everybody, especially Minister been given. On account of my official Ch’en Li-fu, was so enthusiastic about how much music positions in the Ministry of Education could help in the war effort and in the reconstruction and later in the National Conservatory, of China that a permanent committee office was formed I have received during these few years with the Minister as chairman. Among many of its many letters asking for music teachers services, publication of a monthly magazine, “Musical who can organize and conduct a 1,000- Breeze,” (now in its fourth year), and many songs voice chorus. The 1,000-voice chorus has which have been published, deserve first mention. become so popular that we are literally There are at least two out of the many resolutions of singing our way to victory! the Committee which are of popular interest. The first Two more choral activities worth is that April 5th, the legendary birthday of Huang-Ti, mentioning are the Chengtu Five-Uni- First Emperor of China was chosen by the Committee FORBIDDEN CITY CHORAL CONCERT versity Chorus touring Chungking in and announced by the National Government to be Na- 1939 and return visit by the Chung- tional In front of the Palace of Supreme Harmony a Musical Day. In other ( Continued on Page 535)

SEPTEMBER, 1945 "FORWARD MARCH WITFI MUSIC’ 487 ' ” '

absurdity of the old superstition. Music cznd Culture At one time Offenbach’s opera “Tales of Hoffman” was supposed to bring bad luck to all who had any- thing to do with it. Robert Schumann, a mystically minded composer, once found a pen at the grave of Beethoven, and kept Superstitious Musicians it carefully. He intended to write a symphony with it. Examine Yourself

It is a psychological mistake to try to suppress those slight inclinations to superstition in other people. Ex- amine yourself—and you will find certain traits in your everyday life which may very well be called super- bij. e2 1AJalJ.em.ar ^cbweiiliweiSheimer stitions—and the more so, the more sensitive is your nature. Some of those superstitious customs give a feeling of security that cannot be acquired in another way. If they are taken away, there may be a gap in belief, if ever it touched Mr. Kolar at all, attitude which makes OME YEARS ago Victor Kolar, then musical di- stitious the mental for uncertainty and brings relief of only short duration. hesitation. Man is made up partly of tierves rector of the Detroit Symphony Orchestra, re- —and par- ticularly the high strung nerves of fused to conduct a performance of Tchaikovsky's musicians need S Napoleon III and the Opera special consideration and patience. Sixth Symphony. Miss Olga Fricker, a well known Modern psycho- Once a superstition fastens itself upon an object, it therapy has decidedly more understanding dancer, was scheduled to appear in the performance, for those not hard to shake off. In the days of Napoleon III the traits of the nervous system and the but Mr. Kolar refused to conduct because he did is mental attitude opera “Charles VI’’ by Jacques Halevy was dreaded by than the rougher therapy of the want Miss Fricker to take the risk of a fatal accident. past which wanted singers. The famous French tenor Eugene Massol to “harden” will power. Every Fifteen times, he said, after he had conducted the exaggeration, of course, title role, but on three successive nights some- is of evil as in any condition symphony, some one of his personal friends had died. sang the of mental behavior. house dropped dead after Massol had sung no explanation for the coincidence and he one in the He had last Haben- leading aria : O God, Kill Him! The was himself had no personal harm from the conducting. his ich, conductor of the opera. Massol refused to sing the To say that not only Massol but Kolar pointed to the fact that the Sixth was the quite a few other Mr. discontinued for nine Gabrilowitsch. role again and the opera was tenors and singers were inclined to superstition, would last symphony ever conducted by Ossip years. mean an understatement of rare Cooke, editor of The Etude, made an interesting quality. Caruso was Dr. ordered re- suf- At the beginning of 1858 Napoleon a the prototype of this kind of mental attitude. comment to that fact. Mr. Gabrilowitsch had been Dorothy the opera; Massol was supposed to sing the Caruso and Torrance Goddard slowly maturing intestinal cancer. Once vival of have described how he fering from a doors title role again. The house was jammed to the did pathetic things to avert the Gabrilowitsch called upon Dr. Cooke and anxiously catastrophe that he by an audience awaiting the arrival of Napoleon and felt threatened him. He was afraid described his pain which had persisted for a long time, of woman hunch- Eugenie. However, on the way to the opera backs; he never passed that he feared cancer. This was at Empress under a ladder or wore a new saying at the time the Italian the Tchai- house, Napoleon’s coach was bombed by suit for the first time on a Friday. Neither least two years before his performance of would he anarchist, Orsini, and though the Emperor was unin- depart or arrive on Friday. In one kowsky Sixth, and the connection between his death of his letters he jured, many people were killed. The opera was not 1 ecounts a series of small accidents that particular symphony seems, therefore, rather that had occurred and tried later on to prove the mysteriously super- performed and nobody during three ( Continued vrgue. Such insight into the actual cause of a on Page 530)

See reference in text to the Halevy Opera, "Charles VI

'T-ORWARD MARCH 4H8 WITH MUSIC Music and Culture

The Greeks and

Musical Therapeutics

Dn Their Use of Music to Curb the Passions.

Improve the Complexion, and Cure Diseases

~j£efice cle ^Jlori/ci til

Instructor in Violin and Theory

University of South Carolina

"The man who has music in bis soul trill be most in love with the loveliest PLATO The Republic, Book III, Sec. 4l)2 The many who have become interested in the use of music as a therapeutic will be intrigued in learning of the value placed upon the subject by the Greek philosophers. ITH INTEREST in the therapeutic value of —Editor's Note. music very much in the public mind at this W time, it is intriguing to search back through old records and remind ourselves how ancient is this belief in the efficacy of music to cure ills of both the would appear that of. Plato (427 body and the mind. Truly there is nothing new. We there were two kinds enhar- B.C.) and Aristotle (384-322 B.C.) credit think we are being very modern, but listen to some monic genera, at different periods, and it is the each mode, as well as each genus, with certain attri- ancient of (697 B.C., butes. of the stories from writers of antiquity. more these, attributed to Olympus The Dorian mode is masterful; the Lydian The Greeks attributed various aesthetic qualities to pupU of Marsyas), that wrought such marvelous sweet and effeminate; the Phrygian furious, and so their several genera and modes. There were three gen- effects. Plutarch, in his "Dialogue on Music” says, forth. It may be that a change of mode meant also era; the diatonic, the chromatic and the enharmonic. approximately, “Olympus is thought by musicians to a change in style and tempo. invented genus, for before Writers Aristides Quintillianus (page 118 in the treatise by have the enharmonic his speak of “soft Lydian, grave Dorian, furious time all was diatonic or chromatic. He is supposed Phrygian.” Perhaps these Meibomius) says, “The diatonic genus is manly; the terms correspond to our chromatic is sweet and the enharmonic animating and to have hit upon the invention in some such way allegros, lentos, furiosos. Perhaps the mode took its as this. preluding his lyre in the diatonic mild.” In another place he says, “The diatonic is the While on cue from certain poetic accents. Indeed, ancient writers genus, it is imagined that passing frequently in his most natural, because all who have ears, though unin- often speak of the “Lydian measure or Phrygian melody from Paramese and from Mese to Parhypate structed in music, are capable of singing it.” measure” as though it indicated a specific step or Plutarch (64 A. D.) Meson, skipping over the Lichanos, he observed the rhythm. One writer suggests that the Mixolydian , in his first essay against Colotes, the Epicurean, asks, “Why does the chromatic genus beauty of the effect. Being struck with it, he adopted mode might be compared to the trochaic foot; the melt and dissolve (the senses?), and the enharmonic and composed in it, in the Dorian mode, without Phrygian to the anapest; the hypo-lydian to the brace the nerves and compose the mind?” touching any string of his lyre peculiar only to the iambic, and so on. genus.” This means, According to the practical musician, Aristoxenus diatonic or chromatic in a simple manner of speaking, that the melodies of Olympus Various Modes, Various Attributes (fourth century B. Cj, the ears of the Greeks were scale that missed very sensitive as to intonation. Their language was were composed on a every third However this may be, the study of music was univer- sound in each tetrachord. Now if the Dorian mode, music itself, with its delicate inflections, and their sal in Greece and treated with the utmost seriousness. ill which composed, answers to our ears so accustomed to sweet sounds that they were Olympus key of According to their scholars, only by the pursuit of natural his available fastidious judges of melody, both by habit and D (Meibomius) then notes were music could good manners be obtained. Countries education. which did not stress music were “barbarians.” The Our ears have become dulled to melodic implication ancient Cretans decided to replace their battle trum- by reason of our complicated harmonic system. In pets with flutes “to curb the savagery of their soldiers.” hearing the various Greek modes in the different The first Arcadians were so rough and uncouth, ac- genera, we are not able to detect the quintessential cording to an account of Polybius (circa 204-122 B.C.) differences in the melodies created, but so many with such terrible tempers, that the government de- writers have mentioned the effects of music that, This is identical with the old Scot scale in the minor, cided to incorporate music into the very heart of the without understanding why, we are intrigued and a a plaintive, charming succession of sounds. people. It was made law that children from a very little envious that such obvious delight in the mono- This possible interpretation of Olympus' scale re- tender age to thirty must “sing in measure their songs phonic line should be denied us. ceives further confirmation in an article by Rameau and hymns; must assemble once a year in the public (1683-1764) who discovered an ancient Chinese scale, theatres and there dance and sing to the sound of Invention of An Olympus preserved in numbers, which turns out to be this flutes and participate in games suited to their various ages.” Polybius further goes to say “For though they In particular is the enharmonic genus extolled. Now identical Scot scale. may disown all knowledge of every other science, there is great disagreement among learned authors This is not to suggest that Chinese, Greek and well they dare not * * * * * deny that they are skilled as to the composition of this genus. On the one hand Scotch music had a common source, but it is in music.” To this practice of music, over a period of we are told that it contained the diesis, that is, the known that both Chinese and Greek musical systems years, was attributed the eventual refinement of the divided semi-tone, or quarter tone. “How,” queries were entirely monophonic and it is not at all impos- similar succession of Arcadians, their charming manners, fine complexions, D'r. Burney, in his Dissertation on ancient music, “can sible that both worked with a modern musicians conceive of pleasing effects pro- sounds. gentle customs and sweet dispositions! duced by intervals which they themselves are unable It is remarkable that all the ancient modes or keys If this taxes the credulity, hear what Homer says if introduce systems have come down of the power of music. On leaving Clytemnestra, to perform, and which, even they could were minor. No treatises or major key. This on them into melody, could be given no harmony that to us showing any provision for a Agamemnon places a musician guard over her, would be agreeable to the ear?” must have given a melancholy cast to all their to protect her chastity. Here is the quotation, Pope’s translation, Book i on In several passages from the old Greek writers, it melodies. III— Continued page 524) MUSIC’ SEPTEMBER, 194 7 ” FORWARD MARCH WITH 489 — a

Music in the Home

Highlights Among the New Recording;

almost every standpoint. The music demands not so Ig Peter Jht l. I'^eccl much showy virtuosity but the kind of technical as- g surance that Milstem possesses. He combines happily technical brilliance with a tonal lyricism which is most gratifying. The suite is recorded here sans the Inter- AVEL: DAPHNIS AND CLOE (Ballet) Suite exists, is no exception. What has been done here with mezzo which Sarasate always omitted in his No. 2; The Boston Symphony direc- per- Orchestra, that theme is to create a sort of symphonic fantasy formances. This particular movement tion of Serge has a charm R Koussevitzky. Victor set SP-1-. which will probably appeal to a lot of people, partic- of its own, but its omission is not lamentable in our Of the two suites that Ravel later drew from his ularly if they have not been subjected too much to the estimation. Mr. Ormandy provides Mr. ballet “Daphnis Milstein with and Cloe,” which he composed for per- popular song. Tansman’s Scherzo, although too rem- excellent orchestral support, and the recording is satis- formance by the Diaghileff Ballet Russe in Paris in iniscent for its own good, is a more definite piece. It factory. 1919, the second has been the most popular, and off to has gets a good start but turns too sentimental for Moussorgsky: Boris Godounoff-Exoerpts long been an established favorite ; Alexan- in the concert-hall. enduring pleasure. Perhaps it were best to consider dcr Kipnis (bass) Ilya , Tamarin i tenor) No other conductor seems quite to achieve the imag- , Victor Chorus these pieces as belonging to a sphere of their own— (direction Robert Shaw) Victor inative reading of this score , Symphony Orchestra that Koussevitzky does. sphere which those of us who are concert-hall minded conducted by Nicolai Berezowsky. He brings to his Victor set 1000 interpretation the scintillating polish, are not as yet convinced has shaped itself advan- Moussorgsky: Boris the Godounoff-Excerpts- Ezio fluidity and the subtlety that the score demands. tageously. Pinza (bass). The Metropolitan Opera Chorus The music is delicately pastoral in the opening, with Gould: American Salute (When Johnny Comes Orchestra, conducted and by Emil Coopers Columbia its chirping birds and its flutes of Pan. Later, it builds Marching Home), Yankee Doodle Went to Town; tot 563 and IC ' !"S Bol is Gociou to whirling finale nofr released a which can be most exciting in the the Boston “Pops” orchestra, conducted by Arthur retontlfwithinl ecently within a fewto weeks‘T reveals the concert hall. Nowhere has Ravel devised such effective ’Fiedler. Victor disc 11- keenness of the competitive orchestration as in this music; we forget that the 8762. spirit ex- isting in the themes are not in themselves especially distinguished, Morton Gould has a American record field, instead we hear the wonders he does with them in an quality of Peck’s Bad of the two sets, the orchestration which is filled with a varied interplay Boy in him; he is Victor appeals most to us of coloration. There is in this music both the spirit of slick, smart-alecky, and because it is sung in the the old world of France—the days of court ballets even vulgar. His Yankee original Rus- sian, and and a modernity which owes its enchantment to the Doodle is showy and because Kipnis proves enlarged symphony of our times. blatant bordering dan- to be more at home — in As admirable as the the role than Pinza. this recording is, it still only ap- gerously near to Tne proximates the wonder of the suite when heard in the burlesque, but one can Columbia set is sung ln Italian, concert hall. However, no one else has given this music believe it gets a big hand a language which weakens quite the same performance on records as Kousse- when it is heard at a the effect of vitzky, and Victor was very wise in having him re- Boston "Pops” concert. Moussorgsky’s vocal hnes. Pinza record it since his old set dated back to 1929. The What Gould has done is most im- pressive present recording brings out more luster, more beauty with the old tune Johnny in the Farciuell of Boris to of tone and it possesses a clarity of line which was Comes Marching Home his son and the Death formerly only hinted at. is much more applaud- Scene, but else- where the Debussy: Two Nocturnes— Nuages and Fetes; The able; there is a spon- music proves too high Philadelphia Orchestra, direction Eugene Ormandy. taneity and a liveness to for the best re- sults Columbia set X-247. this arrangement which m his voice—some of it he Mr. Ormandy plays these two impressionistic pieces is typically American has to shout, which is a of Debussy less vividly than some other conductors. He and appreciably zestful. pity. Kipnis, on the other realizes that they are nocturnes, in which the colors The music suggests a hand, sings through- out with are not bold, but subtle and subdued, and in so doing spirit of celebration for richly resonant tones he lends them a dream-like enchantment. Nuages or a "Johnny marching and evidences no difficulty Clouds is a contemplative landscape, one we might home.” It is quite dif- with the high tessitura. imagine by closing our eyes and thinking on a passage ferent from Roy Harris’ Both the Victor Chorus and of clouds in a night sky. It is music of a soft vaporous overture on the same Orchestra ac- quit themselves character, and its tonal tints are delicate throughout. song, which aimed for more aus- piciously than The recording here is quite good, but it should not be a higher artistic stand- the Metro- politan played at a high level, for to do so would be to spoil ard but which failed to Opera Chorus and the the lucent vibrations which the composer intended to realize the spontaneity unnamed orchestra employed be conveyed. that Gould achieves. WERNER JANSSEN in the Columbia lecording. Tr> - Fetes or Festivals is a different work: here the com- Fiedler plays both pieces poser the in an admirably straight-forward style and 1 evokes "the restless, dancing rhythms of the re- gives a more finished orch°L-a“ Sky atmosphere” and introduces an imaginative procession cording is excellent. PCTfm-m^nee°n, the latto which approaches, momentarily appears, and then Lalo: Symphonie Espagnole, Opus 21; Nathan Mil- 23ES ™ ££ stein (violin) recedes from view. Again the picture is one which one , The Philadelphia Orchestra, direction might find in a dream rather than in reality, for in of Eugene Ormandy. Columbia set 564. fi-rrusso^ both these nocturnes the impression conveyed is en- Lalo’s Symphonie Espagnole remains one of the most tains * V ctor set con- the first half of the mood in effective works in the violin repertoire. It onenw tirely visionary. Mr. Ormandy establishes his is, of course, the complete Coronation chorus: precision neither a symphony nor a concerto, Scene- the rhythms of the music, in an admirable but a suite. Based Monologue S°Hg: the of Boris; the DialnaZ of line when once the marching revelry begins. Others on Spanish melodies, it remains one of the most per- bet"’ een Shouisky and Boris, in Prince color, like a suasive works of this kind which the f seek to give this music more life and ever written, perhaps be- that fo er tells a pretender to "y the Czar completely cause it was originally the throne iu Mardi Gras, which to our way of thinking devised for the noted Spanish cination at hand: Scene which follow Hollit- disturbs the dreamlike quality of the score. The re- violinist Sarasate, and also because the latter gave ol Boris to His lastly the Farewell cording also well done. Lal^ advice and help when he of this nocturne is composed the work. Of set Scene contains - Motion Picture the several practically Columbia's Mercer-Raskin: Theme from the performances of this work on records. Mil- the chorus (a more opening scene for Laura; and Tansman: Scherzo from the Motion Pic- stein’s seems to this writer the most appreciable laudable .A from Coronation dUre ' ture Flesh and Fantasy; The Janssen Symphony Or- Scene; the MonnL : the complete conducted by Werner Janssen. Scene; the popular Hal,ucination chestra of Los Angeles, Polonaise foZclin'^ A humble us: p Aria Victor disc 11-8808. monk; and the ’men‘s Victor’s ware,ie Very little of the music devised for Hollywood pic- inclusion aitd Death Scenes. of the n- , treatment, and the Shouisky 5 tures lends itself to symphonic RECORDS and Boris ™6 between Prince on which a popular song already Eons provides^ Theme from Laura, two big scenes continulty between elusion which is o of 0mmendable. in- Pimens Tale , The "FORWARD toin 'Continuedi r 490 MARCH WITH MUSIC" on Page 494) Music in the Home The Greatest Of Tenors Enrico Caruso.” By Dorothy Caruso. Pages. 303. Price, $2.75. Publishers, Simon and Schuster. The Etude “A big chest, a big mouth, ninety per cent memory, ten per cent intelligence, lots of hard work and some- thing in the heart.” That was Enrico Caruso's answer when requested to give the requisites of a great singer. The little Neapolitan boy who became the world’s Music lover's Bookshelf greatest tenor, ranking in fame with the sopranos, Jenny Lind, Adelina Patti, and Amelita Galli-Curci, had an intimate domestic life which could be revealed by no one but his devoted wife, Dorothy Caruso. Mrs. Caruso, the daughter of a distinguished lawyer and editor, Park Benjamin, and the granddaughter of a noted newspaper publisher and lecturer also named Park Benjamin, was born into the social set in New York City. At thirteen she was sent to a convent school. In 1917 she met Enrico Caruso and a romance developed immediately. After a few months of court- ship, the world was surprised to hear of their elope- ment. Mrs. Caruso has written this very unusual book to interpret the real character of her noted husband to the public. Your reviewer, who has had enviable friendships with a large number of musical artists, including Caruso, has observed that thpy often have suffered from the distorted imaginations of well-intended press agents, who have built up ridiculous fictional tales about them, with no basis of fact. Some of these tales have been very injurious, and most of them are stupid. about the great tenor, some of which refute the tales He would have no caged birds at the villa in Signa. The public has a right to know of famous figures as often imposed upon him. These we reprint by per- He would not permit songbirds to be shot on his they are, and not as some ruthless scrivener would mission of the publishers, Simon and Schuster. property. make them appear. Dorothy Caruso has done the He never shattered either a mirror or a wineglass great tenor a fine posthumous service by revealing "Enrico was five feet nine inches tall (a half inch with his voice, as has been stated. the real man and not the effigy made in a press taller than I) and weighed 175 pounds. When he was well he went to bed at midnight and agent’s office. His complexion was cream, without color in the slept eight hours. The book is illustrated by many portraits of Caruso cheeks. He took no medicines of any kind except, the night in costume and in “mufti,” as well as by some of the His hair was black, coarse and straight. before he sang, half a bottle of Henri’s powdered tenor’s caricatures. Most interesting of all are the His body was hard but not muscular. magnesia in water. numerous letters, in which he addresses his wi£e as His hands were large and strong, with square fingers. He did not make his debut as a baritone. "My Doro Sweetheart,” "My Doro, my sweet love,” feet were small and broad. He never employed a claque, although he was "Sweetheart Doro my own,” “My Big Piece of Gold,” His He- could not run well because of the formation of warmly attached to old Schol, chief-of-claque at the and so on. Many of the letters were written en route, the Achilles tendon. Metropolitan. ( Continued on Page 494) literally from the footlights, and contain much in- He took two baths a day. formation that cannot fail to be of great interest to He bathed his face with witch hazel. all music lovers. The letters have not been tampered He did not use face powder except on the stage. with or polished in any way and they preserve in He used Caron perfumes; he walked around the epistolary form a kind of Italian-English dialect that apartment with a large atomizer, spraying the rooms is inimitable. The following endearing letter, written with scent. when he was singing in Mexico City, tells more than three pounds less after each per- could volumes of biographical comment. He weighed formance. He did not lie down to rest during the day. “Mexico City Bucareli 85 He did not ride, play golf or tennis, go for long Oct 23rd 1919 5 p. m. walks, or do setting-up exercises in the morning. My dearest Doro: He never learned to drive a car. When I reed you my heart jomp strongly and He did not overeat. how it seams that he want goes out to tell you He never ate five plates of spaghetti for lunch! much he loves you. He is so closed up that he cant His lunch was vegetable soup with the meat of chicken I feel him cry sad. but and go left in, and a green salad. You are a very darling with all your expressions For dinner he usually had a minute steak, two and be sure that I will do my best to let have a green vegetables and ice cream. during all life. paradise my When he was to sing, he ate only the white meat Mimmi wrote me, but without any affections—so of chicken or two small lamb chops. cold. This hirt me very much. He ate the crust of bread with every meal. leave with I must you my sorrow but I must do He loved ice cream and custard. something for my head. His favorite vegetable was raw fennel, which he cable you little later. I will A proposito, do you ate like fruit. I for cables know how much payed to you? Thou- He did not eat candies or chocolate. sand pesos, that means five hundred dollars, and He did not drink beer, highballs, milk or tea; he from your part the same, that means one thousand drank two or three quarts of bottled mineral water else will say, "Extrava- dollars, both. Somebody a day. Sometimes he took a little wine, and the only many I gant!” but I don’t care. How thousand am cocktail he liked was an Alexander. possible to be near in willing to pay if was you He did not chew gum. this minute. He smoked two packages of Egyptian cigarettes a You know what I do it to be nearly you before day, always in a holder. the time? I order a sleeping-car which bring me He loved children and dogs. directly from Laredo to New York without stopping He would have no pets in the city. any place, otherwise will take one day more. My love to you, sweetheart, and millions of sweet kisses. Rico” BOOKS ENRICO CARUSO, DOROTHY CARUSO, AND GLORIA Al the lime ol Ihe latter’s christening. Gloria was born De- In one section Mrs. Caruso puts down certain facts cember 18, 1919, and thus is now twenty-five years old. ” SEPTEMBER. 1945 ‘ FORWARD MARCH WITH MUSIC 491 !

Music and Study

A Give-and-Take Forum ORE and more this page is be- coming a true forum, a depart- M ment in which Round Tablers make observations on questions and an- The Teacher’s Round Table swers which have appeared, and offer helpful criticism on matters troubling their colleagues. To the many teachers who take time and energy out of busy Conducted by glee lives to drop us nuggets from the rich clubs, and so forth. They achieve treasure of their experience, may I say prestige; that is their reward. “So that I wish it were possible to quote their it seems to me there is much to be said letters in full, or even to print a part of for both ways of teaching, and that everyone’s message. But when the letters each method has its drawbacks. I always arrive in such profusion as during the dread the day when I notice that the Spring season of 1945, loaded with such first fine flush of enthusiasm has disap- Mus. Doc. peared from sage, shrewd comment, I am compelled a new pupil’s face as it often does. to present only brief extracts from the Noted Pianist On the other hand I have had pupils most generally helpful among them. from other towns whose dull in- The causes of this season’s freshet of and Music Educator difference is replaced by enthusiasm when letters were chiefly the answers to “Work- they learn the technic of careful studying ing or Playing the Piano” and “An Un- and notice the difference in the sound pleasant Crisis” in the February Etude, of their own playing. Let and “A Note to Mothers” in March. the pupil or parents make the choice. Tlie First, I confess that all these questions question seems to be, which May I offer a reading “game” help? is most were asked by the same correspondent, satisfying to a young person? To The teacher plays a short, simple eight or Play happily that I signed different initials to each to and carelessly at the piano, sixteen measure piece as the pupil (seat- and enjoy spare the questioner possible embarrass- it as he goes along, (which I at the keyboard of a second admit ment, and that I notified the writer that ed piano) is wonderful) or to work-at-piano . the note -line of I was doing this, stating that I considered follows the music with and receive his reward Correspondents with this Depart- with the ability I couldn’t eyes or finger tips. . . . Teacher makes to play well, the questions so important that ment are requested to limit Letters be chosen for honorary posi- in min Hundred and Fifty Words. a game of stopping suddenly at unex- and e resist trying to answer them all. CeiVe Prestige from his asso- pected spots, whereupon the pupil names Sfciates, whichJ , The correspondent was very much riled does not often happen to and plays the first note or notes following . . . writes, “I can start y girl by my replies. She «° Wh0 Plays-at-piano and f °/ the break. . . . Then teacher plays again hZ out by saying thanks for nothing. Boy! the hablt of to the next “surprise” stop. Do not al- you su* e dished it out to me. It must be X“V? ways play slow pieces, but insert zippy 6 great to know all the answers as you do. JT eyeful to M.A.B. who has you are ones also. If the piece has a well defined set forth the whole Well, sir! I don’t know how old matter in such ad- rhythmic pattern, or if certain last music, but I’ll the children don’t listen be- melodic mirably balanced or when you taught signature and convincing style. harmonic features recur, . last few years, are too busy looking at those or point out •lam sure she is bet it hasn’t been in the cause they an excellent teacher. shapes before you play. . . . more about the pictures, and often interrupt to tell about these Confine a IVa1 ' or you would know ' PI°, Wa ’ ^Presented or kitty or whatever it yourself to very easy music at first; if bybv MrfwMis. F.J.M.,T/ youngsters of today.” their own puppy adds this very sensible use only one clef. . for of trying to remember necessary . . This is a postscnpt: “No Ouch! ... I sincerely apologize my is. Also, instead matter how much read stimulating game to play between more mata apparent severity, and promise not to do the notes they are busy trying to m any lesson serious reading drills. Many teachers find must be - something of a page like of the song. . . . It's a wonder Tn^ it again. The chairman the words a ™ ed in con‘tauous suc- know-it- don't place an egg on the first “Note Spellers” a great help, not only for Ssston'rcession I am this finds it easy to assume a publishers sure that If the reading but for correct music writing. nlav-at- . . . it E, a gun for G, her all, laying-down-the-law attitude. line and say means mentloneti secures latest, I think the results shall try harder to avoid bucket for B.” The and best of these throlhT uoh In the future I and a S ”? vaneci material, and Tablers is John W. Schaum’s “Note Speller.” turns^nt fl these pitfalls. I wonder how other Round Players - he ““St also insist I business. I know on some n V In answer to E.M.’s question, may feel about this “picture” part of the lesson being To Work or to Play fected per- fifty, that I work but wouldn’t dare say it. . . . as nearly say that I’m just past what I think, as possible. If “Working or Playing the Piano” he is a teaching and practicing the The publishers would throttle me if I did pro- pushe." he must also hard at push the pupils to still duced interesting reactions, not all agree- be painstaking piano, and that I have taught and and thorough. To become More on Note Reading ing with me. M.A.B. (Michigan) writes: good players, . . . And to judge they teach many youngsters? must practice care- cor- (California) gives a fine “May I put up a bit of argument for the a letters from other Mrs. M. C. H. lly ' from numerous ' n0 ‘ jUSt flit have ‘work-at-piano’ teacher, for I that fr°m respondents commending my stand, the tip on reading. She says, “Always am flowVm%owe““ write. A special writing book kind? It seems to me there should be Well, Round Tablers, answers to the B.E.D., E.M. and M.E. the children which are vou pupils under room for both kinds of teachers in a 31 '"^ questions must have been helpful and is given to each of my new 110 ” a whether or not they have small town, as there is in mine. I, too, teacher ? stimulating. . . Before quoting from high school age the average have competition in a man who teaches these letters may I offer Round Tablers had lessons before. . . . With notes the play-at-piano method. He class some wise observations made by our in- beginner I have the pupil read the has a piece equal to mine who play-at-piano dignant correspondent on a matter which aloud first, then play the assigned and

writ- wonderful . . time the several times. Then I hand him the have a time. . About two has worried me for a long — subject of write weeks before a recital his pupils mothers: “You hit the question of excessive pictorial representa- ing book and pencil and have him know nail c the head with a wham books. Concern- the notes I dictate. ... At first it what they are to play, and they play after in your ‘Note tion in child beginners’ down Mothers'. fashion, some of . . . Unless the difficulty of teaching young chil- may be necessary to have him copy them a them pretty well, all mothers attei ing the all lessons with music; if is young I may of them with their music. their children dren to read notes, she says, “If you from the he up to t class does years old, I do not look at some of the beginners’ even have to guide his hand. By the end “My differently; they work- wish to hotiT would the children. first lesson he has written three at-piano, and work up their recital My problem books you might see why pupils cannot of the pieces. is l each staff in his writing The recital is something When I can succeTshm” concentrate on the music or on what or more notes on to hear, par- cental t" part of his assignment is ticularly the two-piano supervision all ° is saying. Every little piece is book. . . . Then, numbers which difficulties the teacher van 1 Ev more of the pieces he has they all love! They lesson to surrounded by pictures of all descriptions to copy one or play by heart entirely, Which these mothers with always writing in the names of and many of them iLf dogs, cats, bunnies, frogs, boys to play— get very tired of their dolls. can the notes. Every piece is studied thus for pieces before they play baseball bats, girls with How them. But most of black first lesson to be sure there are no them give creditable youngsters put their minds on and the performances at the there on slip-ups. It works.” recital, and afterward white objects called notes when are very happy this excellent often in colors, is a boy skating Thank you, M.C.H. for They all have pieces they the page, can play in 1 p- rope? While the teach- reminder of the importance of note writ- anybody s home. They Piano. tXaTTrSi girl jumping are . . . ™ or a invited to play ST God bless them!” about time-meter or key ing for the young student. m clubs by the er is talking organizations of the town, (Continued on "FORWARD MARCH Page 525) 402 WITH MUSIC" THE EUT'PV ”

Musi c and Study

The Background of Background Music

How NBC's Experts Fit Music- to the Mood

and Action of Dramatic Shows

hj l^ode

In 1930 when ihe National Broadcasting Company brought in Thomas Belviso as Program Builder and Conductor, it altered the development of radio entertainment. After study at Yale University, the Yale School of Music, and the Institute of Musical Art, Dr. Belviso had become Musical Director for Para- mount Theatres, in which capacity _he was responsible for a vast number of motion picture scorings. Arrived in radio, he was surprised to find that, to a large extent, mood and background music still leaned on the policy of dipping info familiar numbers for a bit of sad melody in sad places, and a bit of gay tune in gay spots. This disturbed Belviso who held that music must either fit the mood of drama exactly, or keep out of drama. Accordingly, he experimented with musical settings for dramatic scripts and at last presented a script accompanied throughout by original, specially written music. Dr. Belviso wrote the music himself, and took rank as the first to produce a dramatic script with all-original music. From then on, background music in radio changed from a digging-out of tunes to a valid and important medium of musical creation. To-day, as Head of NBC's Music Library Division, in v/hich capacity he supervises the Music Library, Music Traffic, Composing, Arranging, and Music Rights Clearance, Dr. Belviso passes on all music used on NBC shows, both radio and television. His staff of composers includes Leo A. Kempinski, known internationally since 1916 as composer of some of the earliest film musicals, and equally distinguished in the held of church music and of songs; and Morris Mamorsky, of the Yale School of Music, whose Piano Concerto won the Paderewski Prize for Orchestral Composition in 1939. Occasionally special assignments are given to other composers. Sometimes "printed works" are used as "mood music," but for the most part, when you hear an NBC drama, comedy, or narration that has music as its back- DR. THOMAS BELVISO ground or its "curtains," you are listening to specially composed works. Actually, there is as yet no fixed "theory" of background music. Some radio producers feel that drama Program builder and conductor at the National is best unfolded as drama, without music; some feel that music helps to enhance dramatic values. Broadcasting Company Nearly all producers use music as a means of transition— to serve as the rising and falling of the curtain of the invisible stage, and to indicate passing of time. It is generally held that background music is good wherever it blends with dramatic action. Editor's Note. E ONCE put on a story about Abraham — Lincoln,” Dr. Belviso relates, “in the middle W of which Ann Rutledge was introduced as coming back to life and telling of her love for Lincoln. A scene of such a nature was very effectively backed with music throughout. Ann’s talk was set against mu- sic, and the music was in no wise disturbing because used, what kind of music, and the exact spots it served a particular use in establishing mood. We where it is to go. Then the composer times the wanted to convey to the audience that this was a su- specified passages with a stop-watch and writes pernatural condition, anfl also one of tender emotion. suitable cues or bridges of desired length. Then re- We asked the composer to furnish two minutes of hearsals begin—and it can happen that necessary tender and slightly sad melody, moving against har- changes in the script play havoc with both the monies of supernatural effect. On another occasion, we length and mood of the music! A scene that ended had a narration (spoken by Graham McNamee) de- in a strong “punch line” may be rewritten to end scribing a then-current scene of exciting values which in a quiet fade-out—and the strong “punch-line” was contrasted, through flashback, to the Minute Men. music must be either rewritten or revised on no Here again we used background music calculated to notice at all. set off the two separate moods. We asked for a theme “All sorts of situations arise,” Mr. Mamorsky ob- of eerie quality, through which was heard, as in the serves. “I did the music for a sketch called ‘The distance, Yankee Doodle played by fife and drum. Creightons,’ a comedy involving the adventures of a rather mad family, all bound up in the arts. The Peculiar Difficulties sketch was comedy and the music had to reflect Back in 1930, we did a drama called “Skyscrapers” comedy—which is always a job, since funny music which had a man fall from a skyscraper and review is greatly limited whereas dramatic or tragic mu- his entire life, and its values, as he fell. I wrote the sic is much more free. Finally we hit on the idea of music for that myself, and endeavored to stress the supplying the show with musical gags, based on various emotional values of the things he remembered. lines in the script. If, for instance, the fantastic Oddly enough, we revived that show in 1944; this time, Father cried out about his love of life and living, Mr. Kempinski did the music for it—and although his we backed up the speech with a comedy-parody of themes were entirely different from mine, he stressed I Love Life. The assignment developed into sup- the same emotions! Thus, the test for background mu- plying original bridges and suddenly steering them sic is not so much the melodic value as the emotional into parodies of very well-known tunes that every- enhancement. The worth of background music, then, one could recognize.” depends on how well it fits the script. An excellent “No two shows require exactly the same treat- piece of music, as music, may be of no use whatever ment,” according to Mr. Kempinski. “Some scripts, if it fails to underscore the drama; on the other hand, by their nature, need much musical backing, and music that is less valuable, as music, may do a superb some need comparatively little. The show ‘Battle- job as a background blending of moods.” Stations,’ on which I worked, was a half-hour Messrs Kempinski and Mamorsky agree that the production, fully twenty minutes of which needed DR. FRANK BLACK composer has Iris troubles. When a script is cues. 'Arthur Hopkins Presents,’ a radio adapta- radio Conducting background music for the radio program, "We the author, tion of well-known plays, used music chiefly as assigned for production, the composer, Believe." Note the ear phones Dr. Black is wearing to check and the producer discuss how much music is to be curtains. As a rule, adaptations take less music the quick follow-ups for the spoken drama.

SEPTEMBER. 194 ^ "FORWARD MARCH WITH MUSIC 493 have involved hours Study not even be specially conscious) Music and of the most careful and detailed work. Band Questions Perhaps you ask, why is background music specially written for each and every dramatic air-show that Answered uses music at all? Why not use the March from "Aida'’ scene, Brahms’ Lullaby in a gentle-eve- than productions originating in radio and making use in a military ning-at-home scene, and so on? The answer is that of all radio’s vast facilities.” works of classic repertory stand indepen- Both gentlemen agreed, and with fervor, that they the great Lf William S. RmJfi music, and could not blend so effectively would far rather prepare a long score, backing twenty dently as with the specific emotions of given dramatic passages. or twenty-five minutes of a half-hour program and the question of timing is important. Five thus more or less continuous throughout it, than a Besides, martial music might cut off “Aida" at the twelve or fifteen unconnected, unrelated seconds of What Instrument Shall He Study? series of dint of long permits of wrong point. Even if it were possible, by thematic bridges. The continuous work Q. I am eleven and one-half compile and combine bits of existing years old and in the second year development, freer thought, and stands more research, to of piano study. I wish to join our school be freer jargon) into a satis- band. As I will — "it music (“printed" music, in radio taking piano lessons in addition to solidly as music "though,” Mr. Mamorsky put in, the band instrument, I can- the researcher would find not decide what instrument to study. music is not factory background score, What is your suggestion? must always be remembered that radio The had still another problem on his hands. —J. M. F., Florida. absolute music. The composer in radio accommodates that he familiarity of familiar music would tend, un- first, last, and all the time, to the needs of very A. I suggest himself, you continue the piano lessons, by all consciously, to distract attention from the dramatic script. He doesn’t write as he would a symphony. means. As to the his individual has associa- band instrument, it should be selected mind'that has to be continuity of the play. Each When he has a symphony in his on the basis of aptitude and adaptation. with of his own for “Parsifal,” the Seventh Symphony, Consult it in his own time. In radio, the show tions your band conductor set down, he does were used in a for advice regarding the matter. anything at all; and if such works comes first.” that did not correspond to the “Background music,” agreed Mr. Kempinski, “is ac- dramatic setting associations, he would feel jolted, his at- Selecting an Instrument tually an obbligato. It should never take attention individual’s be taken away from the play, and some script itself either for its goodness or tention would Q. I am a piano teacher away from the — and very busy, but would like to the of his pleasure would be spoiled. study an orchestral instrument its badness! If for any reason, the music outshines (no strings). What woodwind in radio is to aS in The business of background music nt W U,d require the ,east in story, it isn’t good background music. Thus, the com- orH/r £ amount of time Brahms and Beethoven order Lto h™become sufficiently proficient do just the reverse of what to 1perform in an poser must familiarize himself with the script and ensemble?—R. R., Massachusetts. Brahms and Beethoven rivet your attention. Radio steep himself in its mood.” do. for which it is meant, music, if it serves the purpose After composer, author, and producer have ironed depend grcatly your attention on something else—the emo- upon aPtitude preliminary adjustments, the music goes to the keeps and adaptation for a particular out the play. When we feel instrument, one might Sometimes the tional and dramatic values of possess the necessary copyist, and at last to the conductor. aptitude and talent any (perhaps slight) sense of hominess in a play, the to play composer conducts his own score. Whoever conducts, a one of the woodwinds or brasses, “hominess music" intensifies that yet totally lack the go over the score with the right amount of necessary physical however, the first task is to of requirements. I suggest you That’s why it’s there! If you have dreams that its performance values. Then feeling. select the instrument which musicians and perfect on the emotional you prefer, then consult the dra- writing music for radio, concentrate with a fine teacher joint rehearsals begin, the producer taking of that instrument for scripts. And the next time you hear two an appraisal their lines, and the. composer sit- value of as to your potentiahties as matic actors through otherwise nonmusical a performer. Your success seconds of love melody in an will depend to ting by, stop-watch in hand, to time (and if necessary a large extent upon your dedicate a bit of mental applause to the physical adau- the coinciding of his cues with the dramatic show, tation for the instrument: hence, adjust) experienced men who make background we mi? be certain hears the show, a few gifted and that the instrument of your entrances. When the audience preference is also the In- music possible. strument to which bars of background music (of which the listeners may you are best adapted.

Music Study After the War Debussy: Soiree dans Granade; Jardins sous la Q. I am twenty-live Hommage a Rameau; years old and at present Reflets dans I’eau; ' pluie; Bomber Command in India. For ln tt r the New one and -i lmif , Highlights Among que lente; Artur Rubinstein r Poissons d’or; La plus my induction I studied trombone Pn0 with AveL “mPetent. ^ set 998. teacher. After the war I hope to y (piano) . Victor devote mv .o«5 study of music, majoring t™e *? Rubinstein, who is thoroughly at home in romantic in trombone uider the Recordings Bill I will be eligible Prese to the subtle, perfumed to attend a recof d "!,.?'i music, seems less happily mated college, with a considerable £df;nd accredited too incisively; amount of style of Debussy. He plays too cleanly, by the government. Do you think 490) that* a" my^JTc-,?' ( Continued from Page interplay of impressionistic tonal my ambition? Will Schools of real,ze there is none of the Music provide ref, ®sh this especially designed for such er courses, Gieseking and others impart to student* •,* , A painting which yself . Although I have found it necessary to discontinue its favor, for Pinza is most agreeable. the Columbia set is an asset in music. Tonally, the recording present. I believe that l7an for the deveS hUr beauty. Kipnis, - - Danse Macabre; within a short time. ® and technic sings this aria with dignity and tonal Saint - Saens Liszt Horowitz: I have good^ov^* good ear, a feeling f concentration, a other hand, shows his artistic versatility in Variations on the Aria “La Ricordanza”, for rhythm and w on the Czerny: quality t0ld 1 play with make too Hoi’owitz (piano). excellent of tone.'" My object l Song, which he wisely does not Tchaikovsky: Dumka; Vladimir is^^he 6 a fin ‘ Varlaam’s bonist. and I am willing tosacrificVto^f?"?, ® tr0m in the two sets will le f Pes^ ex*ent in points of departure 1001. order that I may reach - realistic. The Victor set that goal T ,V . appealing to many shows us his un- attending a university ‘ n ‘ar stea >" undoubtedly make them equally Horowitz has chosen music which or coUege where nmsic'rt ? of the program. Will you * alor parl virtuosity. One listens to fleet fingered please h.i.l.a! record buyers. canny gift for regarding this mat(er?-Pri technical vate H. E. c„ Tchaikovsky: Mozartiana—Suite No. 4 in G major, work here which has nothing else to offer but »ei ffcg™ Orchestra of 61 The Philharmonic-Symphony brilliance and showmanship. letter Opus ; A. Your interests me very Rodzinski. Columbia set much and I greatlv New York, direction of Artur admire your ambition, sincerity, and spirit With v„, r determination, eagerness, and prompted aptitude, you eamint great admiration of Mozart fail. I suggest that Tchaikovsky’s Lover s you write to the Veteran’s hundredth anniversary of “Don The Etude Music Bureau him in 1887, on the which is stationed on the campus of the university based on some of Mozart s or Giovanni,” to write this suite college you wish to attend. The University School he chose were the piano of smaller works. The selections Bookshelf Music will be pleased to send you data on this matter. the motet Ave Verim Gigue, K. 574 and Minuet, K. 355, You will be glad to learn that music schools throughout piano Theme and Variations. K. 4j5, from Page 491) nation Corpus, and the (Continued the are already preparing to offer refresher improvised for Gluck on a theme which Mozart once courses for the returning veterans after Pilger von^Mekka^ the War is latter’s comic opera, “Die in only one amateur per- won. I hope that from the In all his life he sang you will realize your moot question as to whethei or ambition. It has always been a “Cavalleria Rusticana,” given in Naples as lie formance— really paid homage to Mozart not Tchaikovsky in 1892, admission free. and charm of the original piano How the intended The grace always retained his Italian citizenship. "Community Band" beauty of the mote He Functions exquisitely ethereal sing in Seces and the Above all countries he preferred to America.” the elaboration of orchestral are definitely altered in Mozart's music remains our feeling that biography. loss as to H°»ever, t am at a dress It is All in all, this is no ordinary The un- how they fmction T^i certainly this p;!y r- original guise— as well '; pa,d !or rehearsals more enjoyable In its mind and artistic® temperament of Caruso are as for concerts” Who i sung by voices usual Is the 8 1,1 baS>'m« s! the motet which when band conductor's noshCfa holds trae of written into his letters with an unreserved candour nun “T106 d0eS hC haVe and elevating. One cannot say other employmentAw. W.s.carada! proves more moving which makes these strangely vital, even when read not produce an agreeab e ort tZ Tchaikovsky did twenty -four years after his passing. h musicians are usually is A;,~ paid a very The sad tragedy of Caruso that he died before r ? , small hono- The expense the introduction of electronic recording. The records nereTs ° f tainSig be“n- usu^^aSSUmed by the lnc he made were marvels, but they could not do what sctao h victual, where no band ,l eXists process might have S m ' The bapd is recording is highly the more modern done to preserve usually conductor thismuaic, and the the hil " 'l band tor“e of one of the great vocal phenomena in history. conductOT or is otherwise naturalness. employe?employed in theIf agreeable for its tonal community. "FORWARD .MARCH WITH MUSIC" AOA t it n v’riinF. & LTHOUGH Von Billow is said once to have re- Music and Study /\ marked that “God made men, women and •JL JL tenors,” I question whether concert and oper- atic managers have found tenors more difficult or more temperamental to deal with than sopranos. That they have their peculiarities probably they themselves would admit. In my lifetime I have heard, met and known many singers, most of them connected with opera. The first Concerning Tenors operatic tenor whom I remember hearing was Max Alvary. I always think of him in the role of Siegfried which he sang repeatedly during the days of German opera at the Metropolitan. In my then hardly critical hj Millie ajCcithrop opinion he seemed the very embodiment of young Siegfried. In his costume of dark skins I thought him very handsome but later when I heard him in concert, quite ordinary I was disappointed to see that he was of the Metropolitan, but on the other hand, the chorus looking, at least by no means strikingly handsome. singers of those days were chiefly stodgy, elderly per- for Two other tenors of those days are recalled, sons who made no pretense of acting, and frequently different by the quite reasons. One was a German sang off key. of Vogel, with one of those strong voices of true name Later, under Conried, one destined to become known of Tristan, German calibre. He was singing the role as the world’s greatest tenor, was introduced to New and wishing evidently to give a realistic final scene, York. Whether or not it is true, the story goes that in Where Tristan lies placed his cos- dying, had inside looking over contracts with singers inherited from the tume a piece of red cloth. This, as he lay .dying and previous management, Conried found one with a cer- delirious, and tears off his bandages, was supposed tain Enrico Caruso, and asked who he was. Told that to suggest a gaping wound, but unfortunately the he had been singing in South America, and with -no cloth slipped and protruded in a puff, which was premonition of what was .to happen, Conried renewed visible even in the upper gallery, and caused some the contract. The results are too familiar to need irreverent snickers. comment. The luscious golden voice carried the public Another tenor of about this period was an Italian, Perotti, who was billed for the role of Manrico in “II Trovatore,” with the brilliant Anton Seidl conduct- ing. At the rehearsals Seidl cut short the long hold on the high-C of the prison aria which the tenor was accustomed to make. Perotti apparently made no objection, but on the night of the performance he strode to the footlights—tenors used to emerge from prison to sing this aria—and when he came to the high-C held it on and on. After a look of surprise Seidl laid down his baton and waited until the singer’s breath gave out. Those near him said that his face wore an expression of astonishment.

The Greatest Tenor Appears Of Jean de Reszke, who does not remember the ALESSANDRO BONCI exquisite finish of his singing, the perfection of his phrasing and acting? He made every role his own, was a strikingly handsome figure on the stage, always To Oscar Hammerstein goes the credit of introducing beautifully costumed, and was the idol of his audiences. to the American public many French operas never Those were the days of great casts. Never since lias before heard in New York, although some had been such a galaxy of stars been assembled on the stage given by French companies in New Orleans. Among the tenors in the new company was tall Dalmores, with his fine dramatic voice and stage presence. Frequently heard with another newcomer, Mary Garden, he was a favorite. I never met him.

A Humorous Incident Alessandro Bonci made a memoi'able place for him- self. His voice was not large but exquisitely pure, and he sang with admirable method and style, but then, unlike some singers today, he studied for years; first at the Pesaro Conservatory and later sang with the Sistine Chapel Choir in Rome, before turning to opera. He was so small that someone unkindly nicknamed him “Puss in Boots,” and his stature was somewhat of a handicap. When he sang with Melba, for instance, LUCIEN MURATORE who then was quite stout and elderly, the effect was rather amusing. Of his large operatic and concert by storm. He could do quite outrageous things; sob repertoire I shall always remember his beautiful sing- convulsively in “Cavalleria Rusticana” in a way to ing of Una furtiva lagrima in "L’Elisir d’Amore.” which audiences had not been accustomed, but with A comic occurrence is also fixed in my memory. It that voice nothing else mattered. He was no actor at was a first performance of, I think, “Mignon;” Cam- first, but improved greatly. I was one of the first per- panini had begun conducting the overture when sud- sons to interview him, and for the old “Theatre denly there was a wild outburst on the stage behind Magazine.” After he made the appointment I went the curtain. In loud tones someone was angrily dis- with a friend to the house where he was staying with puting; the sounds were audible all over the house and an Italian friend. He came in smiling, gay, chatted finally Campanini laid down his baton and left the freely, and before we left presented each of us with orchestra pit. A few minutes later he returned looking caricatures of himself; he had a real gift for carica- amused, began the overture again, and the curtain ture and found great enjoyment in it. rose on the first act, which proceeded smoothly. During the first intermission I met Arthur Hammerstein in the foyer. “Did you hear that racket?” he asked. •Yes,” I answered. “What happened?” “That was Bonci making a fuss because his costumes did not VOICE fit,” was the amused reply. It was hard to believe that the light JEAN DE RESZVE voice had made ( Continued on Page 526)

" MUSIC" SEPTEMBER , 1945 FORWARD MARCH WITH 495 ‘

.Music and Study

I Want to Know!

Facts, Curious and Interesting,

About All Kinds of Musical Matters

In, Juan Cjotjoi

IGTAIL (German zopf) music was the name fiddle" was brought to the Mozart home and investi- given to antiquated or outmoded trivial music in gations showed that the child’s sense of absolute pitch P the early eighteenth century. Therefore, musi- was exact. cians refer to angular, cheap, meaningless music as “zopf," or some tunes are known by the French term, “If the king loves music, there is little wrong “perique” iwig> music, from the wigs worn by musi- in the land.” cians. Once, in Paris, during the performance of Rous- MENCIUS: “Discourses” seau^ very conventional “Village Fortune Teller,” JEAN GEORGES NOVERRE some wag threw an old wig upon the stage. The opera One of the queerest fees ever given to a musician 0-727-1810) then was so ridiculed that it dropped from the boards was that paid to William Vincent Wallace, composer at once. of the operas, “Maritana” and “Lurline.” When he 1 was twenty-four he was in Sydney, Australia, and 016 small-town band ' when 'It turned out toto° welcomewehA A. “Music produces a kind of pleasure which the Governor of New South Wales invited the young visiting firemen.” human nature cannot do without.” violinist to give a concert. His fee was one hundred

sheep. ‘ t0 CONFUCIUS: “The Book of Rites” ^ B Ve Way '

Mozart's sense of absolute pitch was startling. When “I always loved music; whoso has skill in this SAMEUL PEPYS: “Diary” he was only seven, his father's friend, Schachtner, art is of good temperament, fitted for all ancient °f came for a visit. Schachtner had a fiddle, upon which things. We must teach music in schools; a music itself. IiTlGO^ as the art the* Lon?nd° little Wolfgang had played, which had a tone so oily schoolmaster ought to have skill in music, or a kind of n Musicians Company, seventeenth fPn t and sweet that it was called a “butter fiddle.” When I would not regard him; neither should we ordain men as preachers unless lty of the Schachtner entered the Mozart home, little Mozart young they musicians London - employed could nn h °, was playing. The child smiled and said, “My violin is have been well exercised in music.” ot four, in consor? “ Under the number with yiollnsvl f- an eighth of a tone flatter than yours.” The “butter MARTIN LUTHER: “Table-Talk” violated - Musicians who the rule were' fm^n“ea three shillings. The famous English actor, David Garrick S P (1717-1779), had an important part the human in the But flnds its%ood tam™.^. soul development of the Ballet. It was he who ' °SOR™ LILLO: suggested to the French ballet master, Jean “Fatal Curiosity" Georges Noverre (1727-1810), that the bal- let, like the opera, could be an entire five- of- the use °f a Bnd 0 act evening performance. Garrick called called a r ° f Sin was "vamp ers- horn” ana was ® « Noverre “The Shakespeare of the Dance.” in England. Used in churches The size of thp Noverre worked with both Mozart and this amplification have mad ' seem necessa'i v Gluck upon music for their ballets. Toe sung by y ' ^Some tunes were singers from th. , idea dancing did not come in until twenty years merely churches ' The anticipated the Awi after Noverre’s death. of today. electronicA amplification

“Generally, music feedeth the dis- way that m°St PErfect position of spirit which it findeth.” cord * s'veet of mind to each FRANCIS BACON: „Th" music I would form, ^y - When “Sylva Sylvarum” in mv mini in the highest degree happy, “Thi'dkk 1 as expressing their love them The Waits or Waytes played thei K a big part ward concord, and the in the life of Merrie England in the olden hmmoL'An a™sp beauty of their souls, lrltual days. They originally were made byy sweetteAtIy . up of the each other." singing to town watchmen who, through the night, JONATHAN EDWARDS: walked the streets to protect the house- "Miscellaneous Ob serrations on Important The holders, and used a musical instrument to ologlcaTgubleFts” mark the hours and to indicate that they John Banister (1630-1679) the of London i„ were “on job.” Gradually they became credit of being the first the town musicians. Later, they took on ornate person to certs at which an Ugura con- uniforms and frequently admission fee K > were called by the course W harged wealthy patrons, - Of gentry to perform at stately occasions. noble and One programs 6™’86 in their ' eave of their functions was palaces to groups to greet visitors to Banister of was a violinist nvitei attests, the town. Many of the waits had certain who started / ances in his Bive - tunes by which the group own home in Perfornl was identified. are 1672 ti!° described by flrst conc ts They were like the theme songs or Roger North in TA ® signa- Music,” ^ls written in “Memoires of tures which radio sponsors use to identify 1728: programs “on the air.” Owing to the fact that waits neer thlTemple Whitefl' yars were always employed at Christ- baS'gate^nd ' time for mas special music, many people in England and America associate the name 0°” solely with street seats and was founded serenaders on Christmas small tab « with Eve. Really, the shilling WANDERING MINSTRELS principal duty was fashlon - °na of the waits the price and oAf Pleased: ’° there was 5 U (ionttneduea 496 "FORWARD MARCH WITH MUSIC’ on Page 533) the eujde ,

N A SUCCESSFUL church choir there are two gen- Music and Study eral factors which usually contribute much to- I ward the harmonious working of the group. These may be referred to as harmony of voices, and harmony of personalities. By harmony of voices it is meant that all voices should blend. That is, all' of the sopranos should be able to sing as one voice. Then also, they should blend Harmony in the Choir with the other three parts in such a way that there is perfect harmony everywhere. This also applies to the alto, tenor, and base sections. In order to do this, the singer need not necessarily be highly trained; but there are a few things about which he should be Ilj. Costlier ^J'KroeL

careful. 9. The singer must concentrate on the words of the song or anthem. He must try his best to get the full meaning of the words. Then, when he tries to put a The homely suggestions in this article should prove most helpful to the many volunteer choirs, in It is recognized that conducting a successful church living meaning into them, the quality, pitch and other churches great and small, throughout the country. choir calls for much more than mere musical ability; and the director blessed with a "good fellow" musical meanings will come naturally. Only as the personality, plus genuine ability, is most fortunate. —Editor's Note. singer himself lives and believes in what he sings can the message touch the heart of his hearer. Each singer must listen carefully to the singer on either side of him as well as to all of the other singers. On the other hand, there are certain obligations Biography of Mendelssohn He must not sing so loud that his Voice will stand out which are very definitely the responsibility of the 10. Ladies’ trio, Still, Still ivith Thee, Mendelssohn above the others. Rhythm is so often lacking in many singer. 11. Biography of Lowell Mason choirs, but if each*, singer will listen to the others Choir members should have confidence in their con- 12. Quartet, Nearer My God to Thee Mason around him, and at the same time, observe a good ductor and seek his help when desired. They should 13. Games accent, the rhythm will be greatly improved. show appreciation for his work and efforts, and fol- 14. Refreshments, served in buffet or cafeteria The singer, of course, must keep his eyes on the di- low his instructions t® the best of their ability. They fashion. rector and follow his every movement. If possible, all should never criticize him in the presence of others, Enough chairs are placed around tfie room to seat songs should be memorized, or at least, the singer and they should always be willing to help and to co- all members. Pictures should be hung on the wall, rugs " should be so familiar with the words that these do not operate with him in any way. They too should seek put on the floor, and the piano placed in the proper require all of Ins attention, so that he is unable to the benefit of their conductor and use their singing location. Smaller articles, as floor and table lamps, concentrate on the thought of the song, and the in- talents to the best of service for others. cushions, and plants are attractive additions. A table structions ef the conductor. Attention to this point The choir director has a great responsibility, and may be in the center, with candles set at each end also is conducive to good rhythm in the choir. the singer should be reminded and assured that any and lighted during the meal. If the social is in a private Singers should take great pains to speak the words help he may give will be greatly appreciated. Especially home, these suggestions are not necessary. But if the clearly. The listener should be able to understand should both singer and director keep in mind that social is to be held in a larger room, other than in a every word, and in order to accomplish this, every they sing to the glory of God. private home, then these suggestions could be applied. syllable, vowel, and consonant must be given its proper Also, the committee could draw, on a large sheet of value. If the singer is handicapped with poor enuncia- Social Activities of the Choir stiff white paper, a staff with five measures of one of tion and pronunciation he must work to overcome this. Every choir must have some activities, which natu- the songs to be sung that evening. Beneath this the composer and his birth and death dates It will help greatly to read the words aloud several rally vary in nature. This is a good sign and should name of the times before singing them. be encouraged. Just as a valuable piece of machinery, could be written. is can done contribute the Sing with the mouth open. Do not try to squeeze the when left idle, becomes rusty and useless, so a choir There much that be to to successful harmonious functioning of the tones through, closed or partly closed teeth as this will in a passive stage becomes inadequate to serve to the and church and efficient director, aided by capable give a throaty quality which is very undesirable. Open best of its ability. By keeping alive the spirit of unity choir, the a committee, to get results will prove the mouth wide. (Practice opening and closing the and activity, the group is ready for service at all times. can do much which jaws quite fast for several minutes at a time every day, There should be various branches of religious activi- most valuable and helpful to the spiritual as well as the social life of the church. till they become flexible and the mouth takes on an ties, as well as social activities; informal gatherings deeply oval shape with almost every word) . Breathe where everybody feels free to associate with everybody and from the lungs, so that the diaphragm will make else, and where the tie of unity may be bound more Composing Composers an outward movement. Lifting of the shoulders is not firmly. Let us outline the plans for one such “social.” A Game for a Choir Social advised. Try to produce a full and rich head quality A few points should be taken into consideration, prob- in the voice. Let the tones pleasing, with order: be soft and ably in some such bit J3orid Randolph a sympathetic quality. You may not be a trained sing- 1. All choir members, as well as the conductor, hav- HE OBJECT in the following game is to compose er, but by listening to your neighbor, who probably is, agreed to give a social, a committee of about four the names of twenty famous composers by by following instructions of the conductor, and by a ing and two men) is selected to take charge matching one word witn another until all of the great deal of practice, you can improve yourself to (two ladies T and, when ready, to announce the place and date. It is words are used up. For instance: Given the word such an extent that people will desire to hear you understood that all are willing to help pay the various MASSE and the word NET, you might combine the either in choir or in solo work. expenses entailed. two to form the name MASSENET. You get 5 points If all singers would note these points and try to ob- 2. The committee meets to plan the details. for each right answer. serve them, there would be great improvement in the take great pains in decorating the chosen work of the choir. The director must constantly bring They 1. ACE 15. GOLD 29. OLD it as attractive and cozy as possible. A these facts to the attention of his singers. place, to make 2. AD 16. HAND 30. ON something such central theme may be decided upon, 3. AM 17. HER 31. ORE Centuries’’; all Harmony ox Personalities as, “Hymn Writeis of the Various and 4. BECK 18. HOP 32. RE the program and the decorations may be planned 19. IN 33. The attitude of the director toward the choir mem- of 5. BEN RICH accordingly. 6. BIS 20. IVAN 34. RIDGE bers is equally as important as the attitude of the 3. The program. 21. JAR 35. SLOW singers themselves toward their director. The con- 7. CHOP 8. COLE 22. LA 36. SOLO ductor should daily live those principles which he tries to This program was followed by one choir at a social, 9. DIET 23. LASS 37. STRAD hold before the singers. He should be kind, sympathetic, and it was a great success. Of course slight changes 10. EDICT 24. LO 38. WALL and patient with the faults of the singers; he should could always be made to meet various conditions. 11. EL 25. MON 39. have an eye and an ear able at all times to detect WOOD 1. Music as the guests are ushered into the room 12. ELLA 26. MY 40. WORTH all faults; he should encourage virtuousness and dis- 2. Informal address by the chairman of the com- 13. EN 27. NO courage selfishness in such a way as to touch their hearts mittee 14. FICE 28. OFF and create a desire always to be kind to one another. Musical number The choir director should feel a sense of duty to- 3. ANSWERS 4. Biography of Franz Gruber wards his singers and he should show appreciation of HLHOMaOOAV OD-68 aaONVAI 8S-0? 5. Song, Silent Night, Gruber’s masterpiece their efforts. He must try constantly to merit their aOVTlVM I ~88 crcoHaH 6S-LI 6. Life history of Johannes Brahms confidence; and he dare not allow himself to be easily vuuaavHLS SI-LS TaaNVH II-9I 7. Solo, Cradle Song, Brahms discouraged, he should never lose his temper in their NOHOTOS S2-98 Hoaacnoo -SI 8. Character sketches of several choir members presence or they will lose their respect for him. He AM3H 92-SS HoiHiaia 88-6 should be firm in his decisions, and not be easily aoiaano ti-ie aoaraauoo 1-8-8 swaydd by criticisms of others; though always ready AVOTSNO SE-OE NldOHO 61-L to adopt helpful suggestions. In general, he should N3SSVT EI-EZ aoHsia 8T-9 strive for the best of the singers and the congregation ORGAN OTVT fZ-ZZ jQiaaNaa 0I-Q he serves. ONHVP LZ-IZ IMVdV 8 -Z

SHPTEMBER. 1945 'FORWARD MARCH WITH MUSIC 497 Music and Study

Teaching Woodwinds in the Schools

considerable pride that we present the following article If is with by Mr. Wain, who is nationally recognized as one of the outstanding teachers of the country. In addition to his duties as l Assistant Woodwinds and Music Education at Oberlin Conservatory, Professor of Oberlin, Ohio, Mr. Wain is Ensemble Honorary Chairman of the Solo and Committee of the Nafidnal School Band Association, Coordinator of Competitions and Festivals in Ohio, and Director of the Oberlin Woodwind Ensemble most of the midwestern ahd eastern states. which has cone ertized in —Editor's Note.

The other example I want to cite to illustrate the quickly through fine performance than through any the teaching of other means. importance of sound musicianship in Admiration and respect are hers from was recently the time the woodwinds relates to a student who she makes her first public performance and starting on his teaching she is on graduated from college and is the road to success providing she can back flare for playing all the- up her performance career. He has a most unusual with an adequate teaching knowl- oboe, clarinet, bassoon, and edge of the other five woodwinds—flute, instruments, plus the other essential one with good tone quality teaching qualifications. saxophone. He plays each A high standard of perform- first chan- position in most ance gives a and a facility capable of a player a sensitive appreciation and a of our finer music “lift” which can be organizations. But he gained in no other way has a glaring weak- —not even by listening ness in Iris musician- to fine artist perform- drill ship. In spite of ers. There is a sensi- and drill, he drops tivity and carry-over short, of his phrases into the teaching , carelessly passes over the fine performer the dynamic mark- which, with other qual- ings, fails to hold ifications being equal, GEORGE E. WALN notes their full value, will clearly excel in the plays rhythms inac- influence upon his own curately, cannot hold pupils. a DISCUSSION of this topic is apt to lead to and a steady tempo, With more explicit qualifications and procedures comparison of the of pleasing educa- in spite reference again to the between the woodwind teacher in viusic on each A tone quality woodwinds, I want to clarinet, tion, and the private teacher of the flute, oboe, he lacks instrument, emphasise the impor- bassoon, or saxophone. Admittedly there are differ- sound musicianship. tance of learning a ences particularly in procedures, but let us confine of field and working knowledge our thoughts to the teaching in the school Knowledge of the them all. The band save the private teaching aspect for a later issue. Instruments and orchestra will In the school teaching field rarely does one find a If you were to ask surely suffer from lack teacher who can play all of the woodwinds adequately from which of the of a balanced instru- to impress his pupils by demonstration. As a conse- teachers would I mentation unless the quence, the teacher must have qualifications other two prefer to have my teacher has had train- than being a fine performer on every instrument he own son, Ronald, ing on them all and has to teach, for we know that thousands of instru- study his flute, you will therefore encour- mental teachers are teaching every instrument in the would find that I age not just the clari- band and orchestra. Many are doing a superior job would say without net, flute, and saxo- while some are doing more harm than good. hesitation, the former phone, but encourage with Teacher Qualifications man who has the confidence the study of the double musi- musical ideal, the First of all, the teacher must possess sound reeds, standard, the work- as well. Only an what this means cianship. Perhaps I can best illustrate the acquaintance of these yeai ing knowledge of which come to mind. Year after by two examples instruments, and yet more unusual wood- attended the state band at Columbus, Ohio, where I performing- winds which has been the playing not the "WOODWIND IMPRESSIONS" and orchestra contests, we used to enjoy gained Ohio, ability. by the teach- band and orchestra from eastern The hand positions for the various members of the of a certain should be em- er’s own and balance It woodwind family study and with its nice tone quality, good blend and phasized that a fine training will give her the instruments, and mature phrasing between performing ability on the did, that . . necessary knowl- in the playing. Knowing, as I , effective spirit more of the woodwinds is distinctly a desirable edge and courage to push and was primarily one or their inclusion in the instru- the director played no instrument young teacher going into a majtal thing for any teacher. The program. Above all, the asked him how he was able to develop teacher should under- a vocalist, I community can sell herself to the community more stand the principle small community where common to all the woodwinds of such effective playing in his In his modest 116 SC 6 h°les ale specialists were not available. °Pene

UNIVERSITY OF MICHIGAN AND HARVARD UNIVERSITY BANDS

Forward March!

If Wittian , 2). &Jk

public to “find” it adds friends and music sup- step, the uniform, manner of wearing it, the the Marching Band is seen by thousands, execution of unison movements, the in- porters slowly. A UNIVERSITY OF MICHIGAN BAND if it is a well-drilled and properly taught unit, dividual’s performance in a complicated and of practically all who hear it and In "Gold Star" formation maneuver; these and many other move- will hold the interest of a large majority who would ments provide a type of training which can thus enlist the support the medium of the marching never have been interested had they not seen and test, as well as a musical one, a more efficient musical be realized only through heard the band in parade or on the gridiron. The performance can be eventually realized through the band. improves coordination of marching band can serve as the connecting link be- development of endurance and stamina. I realize also 4. The Marching Band performance, the posi- tween the school, the civic and service clubs of a city, that the Marching Band might be detrimental to the mind and muscle. The musical individual’s part in and in addition to fostering a fine cooperative spirit development of tone, embouchure, and other elements tion, the guide, the maneuver, the effort and control in the community, can teach every band member some- of performance; this depends upon the judgment and each and the mental and physical call for the thing of the responsibilities, as well as the privileges of of the conductor his If necessary for the successful execution, intelligence and musicians. the nation. faculties i:i a manner citizenship in the community and loud, blatant, unmusical performance is tolerated then, alert functioning of all the permanent improvement 8. The Marching Band develops school spirit, pride of course, no worth-while musical result should be ex- which cannot but result in and body. and morale. Every student, administrator and faculty pected. On the other hand, full, sonorous playing can and increased efficiency of mind team work. No member is proud of his Marching Band, if it is a helpful in the development of a solid, rich The Marching Band teaches be very 5. Have you ever witnessed the is easier to teach through the good Marching Band. tone. I do not look upon the loud, blatant band as a teacher will deny that it In marching, every performance of “your” band on a gridiron at the •good” marching band. Fine tone quality, good balance medium of vision than any other. lack halves of the city championship game yes? Then you playing are just as essential move, correct or incorrect, is quickly seen and — and all around intelligent You haven’t? Don't miss part of but one individual is know of what I speak—No? on the field, as when performing in the concert hall. of team work on the exactly the next one, for then you will realize how important easily detected and the responsibility placed the school band is to morale and school pride. Precision, Coordination, Team Work where it belongs. Band instills organizational spirit 2. The Marching Band teaches rhythm. A good 6. The Marching the spirit of a The Marching Band Versus the Concert Band marching band should endeavor to instill in every and pride. Nothing has more appeal to American than a good marching This subject merits no argument in either school student's mind and body a keen sense of rhythm. I representative young with these youngsters we are or other educational circles. If the band was de- can think of no type of training which is so often band. When speaking band impressed with their loyalty and pride toward veloped for no other purpose than to play on the neglected or given less consideration. Here the March- readily “ballyhoo” in general, we could eliminate ing Band truly provides an important musical experi- their bands. march or to great deal to enlist everything except the noisy brass and percussion in- ence. One needs only to observe the performances of 7. The Marching Band does a school or college struments. If we were developing it to do nothing but some of our marching bands to realize how inade- community interest and support. The concert stage and expects sit the concert stage and play transcribed string quately the problem of rhythm is presented and ac- band which remains on the on eliminate a majority of the brass and quired by these students. Many find difficulty in march- music, we could uniforms, and call it an orchestra. If ing with proper beat feeling, much less performing percussion, the with proper rhythmic feeling the tones within the beat. we were developing a professional or amateur business band to perform concerts and marching engagements 3. The Marching Band teaches precision. Not only BAND and ORCHESTRA must the musical performance be correct from this out of doors, we would select an instrumentation for standpoint, but the position in rank, file, length of such purposes. However, in ( Continued on Page 533)

" 4 99 SEPTEMBER, 1945 'FORWARD MARCH WITH MUSIC Music and Study audience and tried in vain to swallow the piece of sandwich- in my mouth, but it refused to go down. By a great effort of will I calmed myself and answered the call (advanced half-an-hour because -the men singers had. not all appeared). As I sat down at the piano, I fixed my mind on the piece I was to play. It was necessary to concentrate, and concentrate I Help for the Nervous Performer did so thoroughly that I truly forgot my audience, I felt I was alone, playing in a vast hall to an unseen world, and it was only as I struck the two last chords that I remembered that I was on earth playing to thousands of people. My hands than trembled violently, but I held the chords by C^eciie cjCei firm, and it was all over. A Well-Earned Triumph Well, I won the prize and received a great deal of adulation and applause. Newspapermen thronged round with cameras and the judges congratulated me This pertinent article is from the pen of an Etude reader in Sussex, England. Nerves warmly, i believe that my success was due to several things— a very fine teacher, for the American Wager are quite the same in any part of the world, when they apply to public performance. Swayne had drilled me through that piece—the fact that I knew every —Editor's Note. note through and through—in fact, 1 written it out a few days before the Festival, and that somehow or other I managed to control myseh sufficiently to forget the audience, confrontin a singer little dil- S THERE ANY CURE for a very nervous per- not let your nervousness worry you; it will wear ferent S are a th0Se of atl Instrumentalist, though the former? We are thinking, of course, of one who is off (probably) as you play. It is a well-known fact , „ 0r thor°u» h mastery apply I making his debut as a professional perfojmer, and that the most gifted and brilliant musicians, and the tnTu ™ of the pieces aUke ' My son of the first few difficult start has been most perfectly trained are often very nervous Is a singer—a baritone years after a before Same? f Pera ' and th0UEh pre- made the first challenge, so to speak, to the public a performance, for being ardent and passionate lovers ° his ^alth has — cffided smI ° areer ' he and wishing to give the very has been a“e to d° some that you are a serious performer and that it is worth of music best of their concertfo fcert work,W u and has won a number of while paying to listen to you. How can the nervous Art, they become fearful and anxious lest they should A gieat prizes. source of nervousness that dread of not doing one’s best be overcome—a dread fall short of their high for the singer is he that incidentally may bring upon you the very failure ideals. must stand facing his is you seek to avoid? I remember my ex- audience, and it certainly for- First be very sure that you really know your piece, treme terror on the difficult to get the of all that it has been thoroughly practiced and brought morning of the Welsh presence the an au- very near perfection; also that it is so firmly in your National Eisteddfod, the members of dience are memory, that you could take a sheet of music paper oldest, probably the most when you looking directly at them- and write it out correctly by heart—that you know important of British Mu- Forty The best way seems to it so well that you could begin anywhere—for in- sical Festivals. be to on stance, on the tenth line of the music, third bar, competitors had entered fix your eyes quite some distant object, as left hand only. There are pianists Cl am writing more for the piano— an if you were looking f&r particularly to pianists as I am one myself) who, imposing number. The out to sea, and thus to some extent allow their hands and the sound to competition was held in went avoid meeting the chal- guide them. This is a somewhat risky thing to do. Carnarvon, and I train lenging eyes of the audi- The only safe way is that both brain and hands up by an early tors. if possible have certain that it is im- from Llanberis (where I cooperating should each be so your staying) literally own accompanist. possible to forget. was , shaking with cold, It makes quite a lot of difference, to First, Thorough Training though it was a hot especially a nervous person. Is this an impossible counsel? It does not seem so. summer’s morning. Nine The great bugbear for I received my final training in Paris, where for about o’clock was the hour for a singer is that may three years I was the pupil of one of the finest piano me to appear before the fear make his throat dry and teachers in the world the well-known American three adjudicators — all , — his voice maestro, Wager Swayne. He was a stern task-master, well-known musicians. shaky. It is very important that he and rightly so, for he produced results. He always Formidable Test should feel energetic insisted on thoroughness. I remember at one of my A and well. Fatigue will lessons over an hour was given to the first sixteen bars Fortunately I was the show at once in the of Chopin’s Ballade in A-flat—just going over and first of the forty to be voice. It is only a very over them again until I had mastered the correct ren- heard, for waiting for experienced expert who dering. And as for memory training, never a note of your turn to come is a nerve-racking experience. The piece was Chopin’s factorily when his role satis' music was allowed at lessons. Studies, sonatas, con- most he has a cold ^ Berceuse an excellent choice to test the ability of a It is customary * UP certos, and so forth, every note must be known by — with manystageig “Fleur-de-Lys,” for we all had tak a meali heart. In opinion, the teacher who allows the pianist. My name was some hours before singing They my feel fh Pv * ° , be knoWn by pseudonyms. without, but for the “ d better music to be used at lessons is paving the way for to very highly-stnm7 As I rose from the jpiano I was not dissatisfied with former, light but nourishing nervousness when his pupil prepares to play at a food about“an hou° my performance, but the judges merely said “Thank the concert rs not only concert without it. Then test your work over and over preferable but neceslarv you. Good Morning,” and I left to while away the time Nervous people, both singers again with groups of friends. and instrumentalist do favor until two-thirty that afternoon when, if I were one we to perform a new For a nervous performer, I am inclined to piece in the presence of the first three, I should be called upon to perform some a concerto at a first public performance. True, the of publicly in an enormous hall packed with several slightest slip is likely to throw out the orchestra, thousand people. The judges would at that time select whereas playing alone, you might cover your blunder, the winner after this final test in public. At first I did to and ready but the consoling feeling of the accompaniment with not allow the idea of so vast an audience to worry unduly n ot b6 does help to quiet the nerves, especially as you influenced by the ” you, methods m°f ne f yourself that the audience me, as I thought it unlikely that I should be one of temperament peifolmers whose may be able to persuade and staminaa niay If the first three though I did allow myself in imag- be ver different from more interested in the Conductor than it is in you, — your own. y is spend the prize money (twenty-five there are many other instruments to listen to. ination to dollars). also that ' the cadenza and have a couple However, this was a day-dream rather than a.T actual who fl iends ° f The EtudE By the time you get to inquire ^ 011^ public restored conviction of possible success. Besides the money 1 pages or so alone, your courage will be ordinarily they do ™?™; We flnd that of prize there a gold medal. At two o’clock not la/suffic will have ceased to tremble. And was (having- Physical S llP °n d your hands and mental condition still been too nervous to take my lunch at the p5 or ff,- solo parts come almost at once, you proper ance. to° publlc appealT pven if your Students build , : hour owing to a growing idea that I was up a kll ° f will back you in a minute or so going on IS purely fear c°mplex which feel the orchestra a mental muLni . play a piece m public the platform) I was eating a ham sandwich in a res- metimes help it, about ' this is brought not if you can by the lacerstinN Do taurant outside the hall, when suddenly I heard them « f? Y e teachers T^ainmg “ ° 0f calling “Fleur-de-Lys.” My heart began to thump, and sl or CQUrse ^ but - be mu“cian what would one to- unrelenting r E And Co my throat went bone-dry. I thought of f ^ public performance. the huge an who thrashed a „° atWa«b trainer for°yo" man w^hwith a« bulln "FORWARD MARCH WITH MUSIC" (Continued on page 524) 500 THE etude .p-c^ODAY we are hearing a great deal about the Music and Study I lack of enthusiasm for the violin. It is generally JL recognized that the mortality rate in violin students is far too high, and that too small a per- centage of those who do continue ever reach an advanced stage of skill. Certainly no ready panacea exists for the correction of these ills, and this article Violin Technic does not attempt to offer one! But there are known Visualized factors in the reasons for the existence of this con- dition. Perhaps by attacking the problems one by one, The known difficulty the situation can be corrected. Psychological Approach to discussed in this article is the all too frequent failure A of beginners to acquire skill in pitch reading and pitch locating. This failure undoubtedly accounts for Pitch Finding and Pitch Reading as many quitting violin study in the elementary stages as for any other reason. Finding a simple method of presenting this phase of study has always been a challenge to the ingenuity of violin teachers. The to nature of the problem is such that it is very easy start with simple steps and the best of intentions, only to wind up in a web of Rube Goldbergian detail and diagram! keyboard. The big obstacle is the absence of a visible the author under the in the following article was written and copyrighted by “fly The approach described blank fingerboard causes the violinist to violin classes m the public schools of Bay The title of "Fiddle Finger Forms" by Howard Lee Koch for his plan for visualizing interest among prominent music edu- blind.” Fortunately, there exists a Shore and Amityville. Long Island. It has aroused considerable interval patterns the task of both the pupil and the teacher the pitch locations through the basic cators. who consider it an important step in simplifying Sevfiik, Editor s Note. formed by the fingers. We credit this plan to in the elementary steps of violin study. who describes the approach in his book, the “Semi Tone System,” “wherein the semi-tones are produced same fingers, thus giving rise on all strings with the below. (The order of the groups does not represent SCALES BEGINNING ON OPEN STRINGS use of the same fingers on all strings.” The to the the recommended order in which they should be Ex. 3 pattern system used in modern elementary finger studied.) methods is an adaptation of this Sevfiik plan. But why first few is this pattern plan used to clarify only the For One Octave Major Scales, in the Compass, where steps, and then dropped completely at a point of One Position the going really gets tough for a beginner—in the keys the 1. The scales beginning on the open string, or sharps and flats? A study of Sevcik will show of many fourth finger, have the 2-3 finger pattern. the pattern plan applied to all keys and positions. The the 2. The scales beginning on the first finger have has been to find a plan of presentation which problem 3-4 finger pattern. can be used to clarify the complex keys as easily as finger have 3. The scales beginning on the second does the simple ones. Such a plan is proposed in it the All-Whole Step pattern. this article. finger have 4. The scales beginning on the third It seems like a tall order to say that one can clarify the 1-2 pattern. the entire pitch system of the violin to a beginner in to the Each of the pattern groups is presented a few lines. Yet this is possible through the simple below. pupil in the exact form of the example formulas of Visualized Technic. Not the least advan- tage of this is its effect in lifting the morale of the pupil. An experienced violinist can so easily forget The Psychological Basis of Visualized Technic how intangible and confusing pitch problems can be It is desired at this point to state the exact nature for a beginner! The author had this in mind when of this system, to avoid any possible misconception he chose the motto of his book from the lines of the of its purposes. Visualized Technic is based on all poet, Ben Jonson: important and primary ear guidance, plus a pattern “ What care I how simple it be recognition device to aid finger reflexes. So much has If it be not ever so simple to me!" been said about the detail of this device, that it may The Gist of Visualized Technic be thought that ear development is not receiving its proper due in this system. On the contrary, the ear 1. The pupil is taught that his fingers can be is constantly receiving attention, since the scales are grouped in only four different patterns in the playing taught by rote. The chief aid of Visualized Technic of the entire cycle of keys. is to be found in the kinesthetic aspect of pitch finding. 2. These four patterns are given simple, visualizing This is based on the following theory: The subtle names. faculties necessary to pat- coordination of locate a pitch 3. a.) The fingers are trained to fall into these CO O O CO *1 Lx Ti-Do on the fingerboard depends on two senses—the sense terns with automatic ease. D.. K- Mi-F» of pitch, and the sense of touch. While all beginners b) The eye is trained to recognize these patterns in C. Majbt have some degree of pitch sense, the touch sense, as reading it applies to finger technic on the violin, is wholly Because of this, The Simplifying Formulas of Visualized Technic undeveloped. even players with per- m o fect pitch play out of tune hi the beginning, in spite The visualizing names given to the four patterns p of all efforts not to do so. are follows: as Visualized Technic, through the imagery of the Scales Two-Octave Major pupil to anticipate Ex.l pattern names, helps the the proper Oi Each two-octave major scale is introduced after aiming and stretching of his fingers. Furthermore, Tim have been previously studied in one- pattern names have the faculty of conveying "All-Whole O2 its two patterns these the two-octave scale of 03 octave form. For example, a picture of the fingers in group formation, rather study of the one-octave G major is given following the than as single, unrelatetd finite. In the elementary O-' 0 * patterns. scales in the 2-3 and the 1-2 finger stage, where all technic is subject to conscious control, this use of the Gestalt principle has been found to When these patterns occur in lowered position, so Melodic Minor Scales The have unusual effect on left hand facility. This group that the first finger is a half step from the open melodic minor scales follow the same rule of concept helps to overcome the main cause of a be- 1-2,” 2-3,” The string, they are called the “Low “Low is, the pattern grouping as the major scale; that ginner’s stumbling both in reading and playing—that “Low 3-4,” and the “Low All-Whole Step.” on identical patterns are alike when the scales begin is, the mental halting due to his tendency to treat his The scales are studied in groups according to their presentation fingers. The example below shows the fingers and his notes as isolated units. Furthermore, like finger patterns. The rule governing this grouping plan of all the melodic minor scales. the habit of pattern anticipation improves intonation, is as follows: because the pitch faults of beginners are as much due Scales Beginning on The Same Finger and to his failure to recognize the proper interval as it is played in One Position Have the Same Finger VIOLIN to his failure to discriminate pitch differences. Which brings us to the treatment of note reading and Patterns Edited by Harold Berkley knowl- edge of elementary theory. ( Continued on Page The major scales are grouped accordingly, as shown 530)

SEPTEMBER. 1945 " FORWARD MARCH WITH MUSIC" 501 —

Music and Study must move together in absolute unity, and at such points the soloist becomes a part of the ensemble and follows the conductor just as all the other players Learning to Play With are doing. However, such spots are usu- ally worked out in advance of the public Expression Questions and Answers performance, and the conductor is sup- Q. I am thirteen years old and I won posed to adjust himself to the feelings first place in piano in a State Music Con- and wishes of the soloist even though he recently. The judges said that my test may not always like his interpretation. musical inclination is very obvious but by I swing- that I don’t seem to feel the music, there- Conducted am not well enough versed in fore my expression is not very good. Can band procedure to write 'with, authority, you tell what to do? me but my guess is that in the case of a also tell me the approximate Can you dance have grades of the following: (1) Clair de Lune, band the soloist does not by Debussy; (2) March of the Dwarfs, by c;,uvend nearly so much liberty. Romance in D-flat, by Sibelius; w. Grieg; (3) JCJ (4) Valse Romantigue, by Debussy.—C. M. What Is A. Without seeing you and hearing you Mus. Dqc. a Golliwogg? to help play I shall probably not be able Q. I have read your page in The Etude you very much. To play with expression Professor Emeritus with great enjoyment for several years, and now I have I a m one must feel the music as well as know a question which sure you will be able to answer if anyone are fairly young for that, stf berlin College it, and you can. I have a piece called Golliwog’s Cake outlining a schedule perhaps all you need is just to grow older. practical service in Walk and I want to know what a golliwog would Music Editor, Webster's New is. I Probably all your feelings will grow for you. As for works to study, I have heard that it is a rag doll, but now someone little or two as suggest that you try to cover a variety tells me that it is a stronger during the next year International Dictionary dog of some I have sort.—A. F. R. you come to know and respond to beauty of styles. In addition to what ques- in poetry, in sunsets, and in people, and mentioned in answer to your first A. A golliwog (or golliwogg) is a gro- this will undoubtedly strengthen your tion, I would add some Nocturnes, Ma- tesque black doll and Golliwog’s Cake Chopin. musical feeling also. Be sure to hear all zurkas, Preludes, or Waltzes by Walk is music that Debussy has com- Haydn, posed the music you possibly can. Ask your Sonatas by Scarlatti, Mozart, for the dance of such a doll. That Capricci, or is all teacher to play for you often, especially, and Beethoven, Intermezzi, there is to it, so don’t feel too aldesrauchen serious a piece to which you yourself do not re- Rhapsodies by Brahms, W as you play the piece. But be sure Liszt, and works by to strike spond. If you have access to a fine phono- or Gnovienreigen by all the right keys! • Preludes graph get some recordings of Chopin, more recent composers, such as Schumann, and other romantic com- by Debussy, Rachmaninoff, or Shostako- Ravel, posers and listen closely to the record vich, Sonatine or Jeux d’eau by Learning to Play by Ear printed V/hite Peacock or The Fountain Q. as you follow the music on the and The I have taken piano lessons for several years page. In these various ways you will prob- of the Acqua Paolo by Griff es. and have my A.T.C.M. diploma, but nev r Play anything I am ably come to the point of playing more married f by ear. and my husband plays the violin expressively in the course of a year or oy ear Between at dances so I would like to learn What Is the Difference to two. But musical feeling does not come accompany him on the piano. Is there any way- in which all at once—it grows slowly, following a Choral and a Glee Club? I could do this? —Mrs. L. B- the development of the person in the a Q. 1. Is there any difference between phases of his life. club? A. My first other choral and a glee suggestion is you en- scales that opinion 2. Is the fingering for the minor roll Grading is always a matter of in a course in keyboard harmony or because like that of the major? get rather than absolute fact, mostly scale someone to give 3. Is it more correct to begin the you private lessons pieces that are technically easy are with the in it. Since some of B -major in the left hand you have a diploma, you have so difficult to play expressively. How- fourth finger or the thumb? No question will be answered in THE probably taken work over a in written harmony, four 4. What does the sign 15ma mean ETUDE unless accompanied by the full ever, the approximate grades of the but such work is of group of notes? name and address oj the inquirer. Only ini- little help in learn- are as follows: (1) Grade 4; (2) tials, or pseudonym given, will be published. mg to play pieces 5. With which fingers do you begin the by ear. Keyboard harmony, Grade 3. motion? on Grade 3; (3) Grade 4; (4) scale of F-sharp major, contrary the other hand, gives considerable C. H. emphasis to the improvisation of accom- paniments group - to given in A. 1. Technically a glee club is a would use the fom th finger. melodies, and this How to Improve Technic One 3. 1 myself should be to sing glees, and (by exten- of great help to organized 4. 15ma means to play the passage two you. While you are Hour a Day sion) part songs, ballads and so forth. higher than written. This abbre- getting such work started octaves “ suggest club is any group of singers or- that you begin Q. 1. I have been studying piano for A choral viation, which is rarely encountered, has at once to im- compositions as con- provise at the years and play such ganized to practice choral (that is never been accepted as a standard musi- piano. Make up a little Fantasie and Fugue, oiu’-measure Bach's Chromatic certed vocal) music, either sacred ox- melody in your head, sing Op. 57 and Chopin's cal symbol. It is an abbreviation for the Beethoven's Sonata, kind of it aloud, and then practice secular. So a glee club is one quindicesima, which play chords for it. If Scherzo in B-flat Minor. Since my Italian alia means you can hour a day, actual practice, however, t think of a melody time is now limited to an choral club. In in the style of the fifteenth, or two oc- of your own, suggest to me the best find a very simple could you kindly there is considerable difference. A glee one in some children’s can taves higher than written, just as 8va way to utilize that time so that I (consisting song book and work club is usually much smaller ottava, in the style of the at it until you can improve my technic. Should I study the stands for all’ Play voices) and may con- a series of chords Czerny, or what of twenty to fifty , that sound well. Etudes of Chopin or of octave or eighth. Now break or all women, whereas a up these chords into other technical work? sist of all men 5. If you are beginning at the center a rhyth- one major mic accompaniment, 2. Would it be better to study choral club, or choral society, as such a with arpeggios, bits or else of the keyboard and working out use of work daily together with technic, large organi- counterpoint, and so forth prac- group is usually called, is a the second finger in each hand. But if until it several works and to alternate daily sounds right to voices, often having as you, at which time you tice on them? zation of mixed you are beginning at the extremities of mem- will naturally ask your husband 3. Would you consider the study of a three hundred or more to play many as the keyboard and working toward the the concerto a substitute for etudes or exer- sing seri- melody on his violin while you bers. Although glee clubs may center, use the fourth finger in the left play cises? short the accompaniment on the piano. music, they more often do or third in (I hope 4. Could you possibly outline a practice ous hand, and either the second Chox-al societies, he praises you!) schedule, and also give me a few sugges- frivolous compositions. the right hand. B. preten- Now take other melodies tions of what works to study?— R. on the other hand, usually sing and go through such as “The the same process, inventing recommend Chopin's tious and difficult music some original A. 1. I would melodies if "Elijah,” the Passions by Bach, Does the Conductor hollow the possible. When you They not only cover many tech- Messiah,” set started Etudes. in your work in keyboard problems, but are of the highest and so on. or harmony make nical major and Soloist, Vice Versa? yourself 2. The usual fingering for apply more and musical value. For a different kind of more of the alike except in the fol- Q. I am writing in hopes of settling an principles on some of Bach’s French minor scales are that you learn to style, work also F-sharp ma- argument which has been going on for your im- lowing cases: C-sharp and provismg It will English Suites, or some of the Pre- quite awhile among a few of my fellow of course take time to or minor in the right hand, and get from his “Well-Tem- jor and workers and myself. What we would like facility and ludes and Fugues mi- my greatest fear is that A-flat, and B-flat major and to know is: When a soloist is playing you E-flat, with will become impatient pered Clavichord.” . does not an orchestra, does the artist because you individual. nor in the left hand. Space follow the depends upon the orchestra, or vice p ay music 2 This the fingerings versa? We would like to : with your hus- to keep permit my wrjting out band think it is better know what applies in the case of a after a few In general I will find them swing weeks. However, any- them for these scales, but you band also. H. K. going, alternating — hing that is worth several things books of piano technique. I would while takes time, and every several days. in most either every day or Vir- A. In most 5 a great recommend especially Hanon, “The cases the orchestra follows nmm deal to you, you Part II; or Germcr. “The the soloist, just as bG Wllllng to the your musical piob- tuoso-Pianist'' any good accompanist liSVn Work along 4. Not knowing you, “ 1 have Technics of Pianoforte Playing,” Vol- does. But there often occur suggestea for a year- or two compositions you »'« climactic mo- . !:ms, or what n Older to accomplish I. ments during which your don’t I could be of no ume the entire ensemble aim. So .tudying, I am afraid give it up, but persist in your efforts. "FORWARD MARCH WITH MUSIC' }02 THE etude —

Music and Study

What’s Wrong With Uur Concert Halls?

HE TRUTH about music is that to enjoy it, we must be comfortable. Let us be completely Cjeorge Setc T honest and admit that the solar majesty of Beethoven and the ethereal tone poetry of Debussy can be knocked galley-west by a crick in the back of bling and clumping down the aisles—headed and vice versa. Worst of all, the rows of seats are spaced the neck, or a drafty hall. Besides, there’s more than herded by squads of ushers who heroically do their so close together that remarkable feats of exertion mere animal comfort to be considered. Like any best to squeeze the right patrons into the right seats. are required to squeeze past stout ladies and gentle- other jewel, good music should have its setting. It Perhaps some especially astute impresarios will take men who have “seats on the aisle.” can be played—and has been deeply loved—in an a leaf from the books of progressive moving-picture Most of these shortcomings arise because the man- attic; but, for most mortals, it sounds best in an theater managers, by providing a few seats equipped agements think it good business to crowd more people atmosphere of harmonious color and soft lighting. with special hearing devices for the deaf. Perhaps into a given amount of space by the simple expedient The truth about our concert halls is that a great some of them will set aside a seating area especially of buying small seats and placing the rows as close many things are wrong with most of them. But, now for use by physically handicapped persons. Others together as the traffic will bear. Such tactics were that we are approaching the threshold of peace, it is may seek to reduce the fire hazard by placing large successful, and bi-ought no great protest, during the reasonably safe to predict that many an opera house chromium-plated or stainless steel troughs in the pre-Wilsonian era when people expected discomfort or concert hall will be built—and many more will foyers, to catch the lighted cigarettes and cigar butts as a companion of cultui-e. have to be renovated—during the next five or six years. patrons now drop on the floox-s. Times have changed. For one thing, the moving What will these auditoriums of tomorrow be like? which expect all these improve- pictm-e theaters of restaurants Will they be much like those of today, except for a It may be too much to and some the have be only common sense to abolish taught us lessons in comfort. another few added frills? Or will they be havens of peace ments; but it would For thing, music nothing more than clog for our spirits and of rest for our bodies? If they are the check-room which does has grown up and, in doing so, has' grown younger. patrons both going and Youthful the latter, then air-conditioning will be indispensable, the lobby with anxious — music-lovers, accustomed to “streamlining" shortens the life and harms the and “glamour” in other forms of and it will pay off at the box-office, just as it has coming—and which entertainment will to the tender for the movies, by extending the concert season right appearance of all clothing entrusted demand it in the presentation of serious music—or on past April and through the sultry days of mid- mercies of its attendants. Here, certainly, is an excel- else they will feel inclined to let serious music summer. lent place to conserve manpower. All that need be alone. For that matter, grown-ups want comfort with An indispensable adjunct of air- their music and will make their wishes conditioning will be soundproofing, so known, in no uncertain fashion, when that off-key locomotive whistles and wartime conditions are softened and taxi horns will not cut into the fragile finally disappear. orchestral coloring of Mozart and It will come as a surprise to many Debussy. By no means should sound- music lovers to learn that the opei-a house which Richard proofing be overlooked, too, when the Wagner designed and built exclusively for the floors are planned. These, above all perform- ance of his own operas has rows else, should be securely anchored and of seats so widely cushioned so that heavy-footed ushers separated that one can walk from the side or suburbanites (tip-toeing out to catch aisles to one’s seat without disturbing anyone the 10:14 local) can stride up the in the slight- est. Indeed, this opera aisles without fear of a creaking ac- house (at Bay- companiment. reuth, Germany) has no longitudinal aisles leading from the foyer to the What About Late Comers? stage. Instead, there are a number of cleax-ly marked entrances on either That brings us to the perennial prob- side of the auditorium. Having chosen lem of late comers. They are a problem the correct one, ticketholdei-s find precisely because anj sensible person it a simple matter to walk directly toward knows that there are times when late- their seats, without need for an usher ness just can’t be prevented. and without disturbing anyone. At this particular stage of the world’s musical development, we have pro- Solving the Problem gressed to the point where we punish the late comers by making them wait Surely American ingenuity can im- prove upon the seating ixx the foyer until the opening number ideas of even has been completed. But there are Richard Wagner. One thing that should THE WAGNER FESTIVAL THEATER AT BAYREUTH the concept several things wrong with this arrange- go is of a “row” of seats. This theater was so revolutionary in construction that it has Each seat should be a separate unit, ment. First, the late comers (and theater building ever since its erection. affected the art of and should have usually there are many dozens of them) its own arm-rests possibly equipped then come rushing in (while musical with a program holder will not rattle proceedings are delayed for several minutes) making done is to install several rows of “self service” lockers (so that programs to the floor during a pianissimo passage) and much noise in their contrite efforts to be seated as of the type used so successfully in many railroad a shielded light so that either orchestral scores or programs quickly as possible. This means that practically all stations. could be read without Comfortable (?) Seats neighbors. rymphony programs must be planned, willy-nilly, to bothering will pay for provide for a short “curtain-raiser” before getting At home, when we turn on the radio for a nice Who all this? Citizens’ committees, the collecting contributions on down to the important business of the evening. comfortable Sunday afternoon session with New a city-wide or county-wide sink into the most comfortable basis, have raised the funds for It also means that the late comers are deprived York Philharmonic, we such purposes in a pocketbooks will permit. Yet what number of enterprising American of a portion of the program for which they have paid. armchairs that our communities. An- answer is Therefore, why not prevent them from disturbing do we do when we go to a concert or to the opera, other for private enterprise to build much us larger auditoriums anyone (while at the same time allowing them to after paying out a sum which makes most of than those now in use, perhaps even larger hear the music immediately upon their arrival) by practice certain rigorous economies for weeks after- than Constitution Hall in Washington, D. ushering all such to a special mezzanine section? After ward? You know the answer full well. C., where it is possible to seat nearly 4,000 persons. the seats are too small. They are Contrast that with the all, being herded off to a separate spot should be Practically all seating capacities of from and nat- 2,000 to 2,500 penalty enough—and in that spot they would all stay, constructed in a reasonably durable way, now offered by most halls. without exception, until intemxission. This plan, if urally so, because any sane manager wants to avoid Larger halls naturally call for increased operating- adopted, would be a heaven-sent boon to conductors, buying such equipment at frequent intervals. But the expense and capital investment yet, under good soloists, and indeed to evei-y sensitive musician and seats are not shaped to fit human anatomy. They are management, these should be offset by the sale of ’istener. How they all must shrink, inwardly, when hard and uncomfortable. If your neighbors get their mo>-e tickets. It is even likely that larger halls would of elbows planted on the arm rests then you can't and bring decreased admissioix ( • hat small army anxious late comers comes stum- — Continued on Page 538)

SEPTEMBER, 1945 "FORWARD MARCH WITH MUSIC" ^03 gesture of banging comes in unrhythmically, or in Music and Study just haphazard fashion, the emphasis is lost. In solving such problems of timing, it is helpful to think of the words as the melodic line—the part that is written across the staff—and of the gestures as the harmohic accompaniment—the chords that are written up and down on the staff. Music Help the Actor? The Value of Effective Timing Does “If you study dramatic techniques, you will find that this completely rhythmical art of timing is the source of most great dramatic effects. Young, inexperienced actors give tone— Conference with emphasis through greater volume of A they raise their voices when they come to the telling moment in their lines. Seasoned actors achieve em- phasis more through pauses and timing. Certainly they csCandi may raise their voices—sometimes the script calls for a louder tone—but they never depend on loudness alone. Actress at Stage and Screen Distinguished Such loudness is saved for the main beat of the phrase, and it is always fitted into the rhythmic relationship between words and gestures, quite as a crescendo would be bracketed across a complete Since SECURED EXPRESSLY FOR THE ETUDE BY JENNIFER ROYCE musical phrase. timing affects every combination of word and gesture in a play, it is readily seen how necessary it becomes AND THEREFORE SPEAKS for the actor MISS LANDI IS AN ACCOMPLISHED MUSICIAN to know music. Indeed, I have more than once AUTHORITY seen stage rehearsals in which the director UPON THIS SUBJECT WITH actually beat the time for the scene, quite as a con- ductor does in a symphonic rehearsal. “The professional biography „ the fact immensely important is, of the mod Importer,! item in her matter of timing Elissa Land! tell, with pride Ihet course, a well-known she hod already estab- technique, with every one She some here, in 1930, from London, where which theI the is is or, American dti.en. in the theater is steodrly familiar. For however, Broadway. in stock, end ,n film,, hove my own part, ana net »enin<.<=sensitive delineations. on- I lishcd a reputation, rnd he, -r"'" have discovered still Rnnt.hpv mi r. v,at-TOp.en Mrss Land, another relationship between of the loremost actresses of the do, is significant that, os one music and odded to thot reputation. It my work. Perhaps I say conferee, she outlines to should better music and the drama. In the following between mine and finds on integral relationship between my entire philosophy of living- pur ely dramatic music and the way in whrch music influences 1 early learned that readers of The Etude her own interest in it was quite impossible to accom- — Editor s Note. plish anything in music techniques. while in a state of tension. If your arms are tense you cannot produce a full tone on the piano; if your throat is tense, gesture and Y INTEREST in music began when I did. tion of you cannot sing well- iT which builds to Music was always a member of our home. speech If your music is |\/| effect. Sup- XV JL Singing and playing were as much a part of a telling sound forth as it pose your script says per- taken-for-granted routine of home as talking and should your entire the ‘And that is complete familiarity with ‘home simply: son must be relaxed, reading. Indeed, this on state of mind that. (Banging t easy, free. found music’ has bred in me a rather bad I have table.) ’ When are be at formal concerts. Making the exactly the same to I am never too comfortable of throw- you to speak the true entire of music has the curious effect about the an occasion are preference, I take music words? When business living! ing a barrier around it. For of the hearth you to do the bang- relaxation, lying on the floor before as the table? with perfect freedom. But that, ing on and absorbing it to Be Ready for desirable attitude, and I am What—if any—is I know, is anything but a be the relationship Opportunity training myself to overcome it. piano study with great between the words “Over and over again, “As a girl, I worked at and still do and the banging? I have noticed a curi- enthusiasm and little talent, and played— My best moments of There you have a ous thing. Whenever I play—fox- my own enjoyment. have keyboard problem in timing. It have let myself grow spiritual awareness come to me when I Schubert, is quite possible to tense strained over conversations with Bach, Beethoven, Brahms, and regarded music as speak and to bang in some problem, the re- and Schumann. At no time have I of immeasurable such a way that any sult has been unsatis- a possible career-yet music has been connection between factory. I in career. Whenever . help to me my them becomes dissi- have clung to an ar- A Happy Coincidence pated. Then you have dent faith that the re- which a weak effect. It is sult would I “By curious chance, seven out of ten plays in be what me also possible to time desired, it has so. have acted within the past years have required been I bang between Evidently, at a piano to play, sing, or both. Perhaps the the essence to sit down of perhaps there is something words so that it em- music is so deeply this is purely coincidence— heroines that phasizes them. Then implanted within us in the spiritual make-up of musical you have a forceful that harmonious makes them attractive to playwrights. Whatever the ad- achieved justment is the result was that I felt much more effect. It is necessary cause, though, successful had to start in by establishing an living— at home in my roles than if I had Inci- actual rhythmic pat- which, to mej is con- learning how to place my hands on the keys. early tern for the words cerned not at all with dentally, the management benefited also from my required and bringing in the ELISSA LANDI glamour and music lessons—since I could manage the glitter hire a pianist bang on one of the and material things,but playing myself, there was no need to beats. You really solely dub in the music from backstage! with a warm sense to acting count the rhythm, quite as you do in music study! fe“™Bhip the relationship between music and ' with all Of God's creatures. “But pattern into Anotheithe.' t°h being required Suppose we try it. Let us fashion our "a™ thing I have noticed far deeper than the odd chance of is that ambitious young roots three bars of four-part rhythm—one, two, three, four. acting is a rhythmic art, and lk themSelVeS ' " tn nlav on stage. Skilled into a state of stl ai oveftheTrone th? , aware of music and rhythm Bl The those who are deeply One two' three ( four zealous dinner, whether onlv a corn- in the fleid capture its fufiest flexibility. When — — — (AND a“ 0f muslc is hope to ' bent on one thing canran nop . ' wi.,4 tr, V»oo-in rehearsals,l-pVipnrfiflls. youVOU canCal —getting^getting a 1chance. assembled to begin He storms s v, newlv the agencies wavlay any f C two three (four P are musical and One [ . , i-.li which of the group (THAT (rest) (Bang) IS in™” from the way they work, ( “e not' You can tell it t «sar.-.r: few skilled actors-none two three sk very ( One = found that four 5 n ? have unmusical. — — great ones-are (THAT! — S'OX Wiethe o Viat-nrppn musicmusi and acting shows ".„i<,tinnshiprelationship between The of ra- The rhythm gives its pace to the words, and the W°‘ k timing is the very s(ralsoul d gesture the Properly .. unuiiB,ng and moment when* Ms' — the itself in ic i-.Vip furious s enters, in proper time, as part of the pattern. worries Timing is the curious syncopa- If the chance about getting ‘representation. are ovrer. He must be ( Continued on Page 528) "FORWARD MARCH WITH MUSIC 504 THE ETUVE COTTAGE BY THE SEA THUSNELDA BIRCSAK

Copyright MCMXLV by Oliver Ditsun Company International Copyright secured SEPTEMBER 1945 5 05 ANDANTE FROM SONATA No. 1 inC Dr. Ludwig Ritter von Kochel (pronounced Kerkel), Austrian musician and naturalist, catalogued the vast number of Mozart works and gave this, first number 279. first movement of this sonata has recently been the sonata, the The repopularized by Raymond Scott in a fluent orchestral arrangement entitled In an Eighteenth Century Drawing Room. This second movement is no less delightful and shou Id be played with li°-ht, sing- ‘ b ’ ing fingers and great sincerity. Grade 4.

Andante (Jr 60) 4 W. A. MOZART

4

506 thf. etude SEPTEMBER 1945 NANDINA The luster of the footlights of the gay and giddy Nineties sparkles in this interesting theatrical novelty. It must be played.with lightness and a piquant touch. Grade 3£. a tempo

I NEED THEE EVERY HOUR ROBERT LOWRY

Copyright 1U42 by Theoduro Presser Co

HXPTKMHKR Wli5 the etude 1 NODDING WATER LILIES

Sent it o assai

A A A -A 1

Copyright 1945 by Theodore Presser Co. British Copyright secured SEPTEMBER 1945 51 STARLIGHT SERENADE Faster, not in strict time

BLUE LAGOON VELMA A. RUSSELL THE ETUDE THE MANDOLINS BE STILL AND KNOW THAT I AM GOD Laura Downey* THELMA JACKSON SMITH

Word? copyright and used by permission. Co. Copyright 1943 by Theodore Presser British Copyright secured. J 16 THE etude — —

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SEPTEMBER 1945 —

FANFARE MIGNONNE Hammond Registration With WILLIAM M. FELTON

MANUALS

PEDAL

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SEPTEMBER 1945 5/9 AUTUMN DAYS (EXCERPT) CHAS. LINDSAY AUTUMN DAYS (EXCERPT)

Tempo di Marcia M.M. J = 120 PRIMO CHAS. LINDSAY

SEPTEMBER 1945 53/ MY BLUE RAINCOAT Grade 1. Up stems- Right Hand. Down stems- Left Hand. ANITA C. TIBBITTS

hh- A The Greek Isaac Vossius, greatly admired for and Musical elegant and classical Latin, in a work Cantu et 1 published in 1673 ( De Poem.

of . TWO DISTINCT • Therapeutics Virib. Rythmi.) attributes the efficacy the Greek and Roman music not to I line richness or refinement of melodic ( COURSES ( Continued from Page 489) PIANO but its rhytlnn- wholly to the force of “As long,” he says, “as music flourished True to his charge, the hard preserv’d in this flourished her rhythmic form, so long long to that power which was so adapted In honor’s limits, such the poioer of Song. excite, and calm the passions.” The JOHN M. WILLIAMS The Academy °* Memoires of the Plutarch tells of appeasing a violent Sciences, 1707, contain many reports from Grade-By-Grade Blue Books sedition by means of music while, on the doctors who believed that music had the other hand, he tells how Solon (seventh power of affecting not only the mind hut Original Blue Book with the staff century, E.C.) by reciting an elegy VERY FIRST PIANO BOOK — of a the nervous manner as .75 hundred verses (!) incited the system, in such a notation chart Athenians to hu to war. give not only temporary relief, girls who practice by cite HAPPY HOUR BOOK — Designed for boys and The trumpeter, repeated use, radical cures. They Herodorus of Megara, • only a-short tioie each day 1.00 many cases where after resis had the power, according to the a disease Athe- ing veS piano method nians, of all known remedies, length gi FIRST GRADE PIANO BOOK — The most celebrated animating the troops of Deme- at { way to the of har- before the public today. Written throughout in five-finger posi- trius so much, by sounding two trumpets “soft impressions 1.00 at a time, that mony.” tion in all keys they were able to move a machine towards Buried in this welter of superstition Designed especially to bridge the the ramparts which ADVANCED FIRST GRADE — and fairy tale he a 1.00 they had vainly tried to do for several there seems then to between the First and Second Grade Books is gap days. germ of truth which modern science Preparatory exercises of each exploiting Yet SECOND GRADE PIANO BOOK — Pythagoras (sixth century B.C. ^see- with remarkable results. demonstrate to the pupil the once again “there study thoroughly worked out to ing a young stranger so inflamed by wine we are reminded that 1.00 is nothing proper manner of study and by music in the Phrygian mode that new under the sun.” he was about to THIRD GRADE PIANO BOOK — Designed to follow the second set fire to his mistress’ house, had him taken grade book. Numerous preparation exercises explain in detail in hand, played music in the Lydian mode on how to practice each piece of study so that it will be mastered the flute to him, till he was calmed Help with ease 1.00 down and his for the Nervous drunkenness cured. Third FOURTH GRADE PIANO BOOK. Designed to follow the A painter, Theon, evidently not sure Performer Grade Book. Bach, Chopin, Mendelssohn, Schumann and of his reputation, was about to exhibit a upon for the studies Schubert are among the composers drawn picture of a soldier ready to fall ( Continued 1.00 on the from Page 500) in this beautifully laid out and carefully edited volume. enemy. Being a master of mob psychol- whip, when Each 1.00 ogy, be had music in the about to enter a race? TW I, II, III, and IV Phrygian mode GRADED SIGHT READING BOOKS °Uld Played till the audience was in a frenzy g0 upon ‘he ^age wi* Each .60 Sie in ld SCALES, BOOKS I and II ught that w°u MAJOR of excitement and patriotism—then un- J?° the audience e first instruction veiled his picture, to wild ee him fail- » FIRST BOOK FOR THE ADULT BEGINNER — A acclaim! -ho, ? succeed than w 61 with 1.00 In the interest of truth toat the audience is book written for older pupils it must be h m la against rs said, sadly, that music seemed to me him. If lie appe» — Collection of Songs lk FAVORITE MELODIES FOR THE ADULT most effective if the subject were ° a cowering, whipped cub' under he is ch room music, etc. vary- the influence of mg toe repe> from Operas, Plantation songs, drawing wine. Stem very baa t way to grade 1.00 Martinnus anTPtuduce, ing in difficulty from very easy to medium Capella (Lib. IX Musica) H® h a fiasco. 8lS » assures us that fevers may be cured by ° see “’-at his body is the Li e , song and says that Asclepiades (124 n- For mall before B.C.) a debut h. ?° y days cured deafness by the sound of the ™Id be especially careful °f diet ann See trumpet (one man’s poison being ,t° “ that there is pleat? an- O SL fir rest - other man’s meat) . Xenocrates (396 He s hould practice d®' FROST B.C.) gen Iv n, The BERNICE 0UrSe t0 employed the sound of instruments in ’ get ‘hat “fine edge S5 iL‘; an Individual Instruction the cure of maniacs and another writer only come with prac- Piano Books for Class or tiee but i S. assures us that music is a sovereign h0uld not over-practice. Moi ?, remedy for dejection 1 aI1 he to book based on folk- of the spirits and drugs should not resort BEGINNING AT THE PIANO — A preparatory V “' disorders of the mind; that the sound ° f EOme St tunes of to play and sing dents’ doing many countries of the flute would cure epilepsy toST calm nerves. and Bromirino . the with the song approach, a “nd ba AT THE I Beginning sciatica. Athenaeus agrees b‘tals in- PIANO-BOOK — with this SaTe?, >: in many Brief stories of the folk-music 6 & trail simple four note melody is used. theory but insists that the flute must which is sometimes ^ a matter nf and the masters play in the Phrygian mode. Here 8 eat regre ‘ at date, Aullus If MotSr a later i i 6 cannot The basic principle of this series, Gellius steps in with a very different calm the nerves AT THE PIANO -BOOK II — nomahvnoimally. drugsi this book by intro- treatment. He insists that soft can never do it. "Technic Through Music*, is maintained in and pieces gentle music must be used. ducing technical difficulties through carefully chosen This treat- ment he calls “enchanting the discorded Music from the Pre-Bach or Early AT THE PIANO -BOOK III — places.” He tells us that this understanding and ! effect is Classical School for development of musical jbrought about by causing Vibration in As ta Music Appreciation pianistic facility the afflicted I the fibres of part. ( Page 484) NEW - The sound of the flute was a specific Continued from chosen for its for the bite of the viper. And the Tyr- AT THE PIANO - BOOK IV —Each piece carefully but as simple as the wild roses that grow e rhenians never scourged their slaves, musical pianistic value and variety of sty behind the cabin” (referring to then- content, says Aristotle, except to the sound of summer home, a log cabin in a pine forest flutes, citing this as an evidence of their in New Hampshire) . From these fev humanity (sic!), the music acting as a measures MacDowell your examination later wrote what ^ Above books gladly sent for palliative to the pain. Perhaps, also, it deadened their cries. “““ These, then, are some of the old tales — f r e e 1 told by ancient writers. But down through the ages come other stories. M. Burette, T' I to an authority on music of ancient THE BOSTON | times, 1 STUDENTS and a physician in hi;, TEACHERS AND own right adds It is said that when ttan/TAi • I that it is his opinion that Handel was writing Catalog W-945 the reiterated “The Tv/rocoi.T -- , me Messiah he felt ~ I MUSIC COMPANY strokes and vibrations given to the God very uear nerves, fibres and animal hi 1 spirits by 116 Boylston Street music e d him h° may possibly be of use in the cure W beau«ful the mu- | srwas™ E and h° of some diseases. He insists, w much everyone liked it. Boston 16, Mass, however ha “ I 111 that Ply ' I ZONE STATE modern music, no less than ancient 5hould be sorry, if I CITY 0 onlyonlv f [possesses p eased people, i the same curative qualities. wish to make then

>74 "FORWARD MARCH WITH MUSIC” THE ETUDI: . ,

Teacher’s Table The Round ©THE SECOND OF A SERIES OF BALDWIN ADVERTISEMENTS IN TRIBUTE TO WORLD-FAMOUS ARTISTS

( Continued from Page 492)

To which we add three fervent to play with their dance orchestra, and because they are “Amens”. . . . L.R. is a wise teacher! am in constant demand always wanting to know how to ‘chord’ Auditions dance favorites in any key, how to im- provise blues and play boogie. Concerning auditions, subject on a “The boy who plays trumpet in the which I am strictly neutral, R.B. (Maine) orchestra is one of my piano students. a very intelligent teacher writes this: “I Last week when he came to his lesson he weighing the advisability of again am flopped down on the piano bench, played entering my pupils in the National Piano a few measures of boogie bass, stopped Playing Auditions for the 5th consecutive abruptly, and said, ‘Say, I want to talk year. I believe the project to be most sin- music to you!’ . . . So, we did not have cere in its objectives, but somehow to for a while. I found out that he doesn’t prepare for it does present a driving get along at school, or with people, or aspect which is extremely wearing in with life. He wanted to know what to do these days of wartime pressure on both about it. He is a senior in high school, so pupils and teacher. As I give considera- I’ve arranged with the Dean of the tion to the miscellaneous types of pupils Junior College to have the boy take an who present themselves for training for to him, aptitude test. . . . This appealed these auditions it seems that with most because it is something definite. We are of them music lessons are just one more hoping for good results from it. thing overcrowded crammed into an “When the boy told me that he smokes schedule, and today are that their minds and drinks beer, I did not scold him, for far too distracted to lean seriously to- I never condemn what these youngsters ward making the effort to achieve any are doing or thinking. I just remarked such auditions re- definite goal as the that moderation in all things, including quire. of the . . . Having had charge smoking and drinking—just learning to report cards each year I know how en- be a gentleman—is what is necessary for couraging the various judges have tried a happy life. It seems to me better to to be with ratings helpful sug- good and start with the young people on their own gestions. run, once the But in the long levels and then try to bring them up by ordeal student (for ^/ic choice of ifrent conductor is over, the average exposure to my standards. whom the devised) never auditions are “The girls bring everything to me, refers to them again; and I’ve noticed from hair-dos to dates! . . . One recently they about SERGE KOUSSEVITSKY express no voluntary inquiries brought a clipping about ‘Men’—nothing them as rolls around. I another year but innuendo of the worst sort. . . . All think they secretly regard them in the help her see- the^ I tried to do was to Serge Koussevitsky Boston Symphony class sure — with mid-year exams, and I’m truth; for I’m sure all of these youngsters the word appeal for —Baldwin . . . what a trio in the musical ‘judge’ hasn’t much are sincerely trying to make the right children.” adjustments toward their approaching culture of America! How What about it, Round Tablers? adult life.” have been your experiences with audi- Master of orchestral technique, Kous- Bravo, R.C.B. ! It is easy to see why you tions? them? is How do you feel about are such a popular teacher! sevitsky an international figure. He For teachers, parents and older adoles- has built his organization into one of the The Adolescents Again cents (15 to 17) I recommend “Love at finest orchestras of the world. And be- by Strain (Appleton- We all know that the persons who suf- the Threshold,” helpful book for young cause he stands today with the all-time fer most from the tensions of these Csntury) a sound, nonsense or sentimental- troubled times are the adolescents. I have people, with no geniuses of musicianship, his unreserved about it. There are chapters on “Dat- learned that these young people do not ity preference for Baldwin is praise indeed. “Understanding Other Boys and offer insurmountable problems if I am ing,” “Entertaining at Home,” “Going Koussevitsky finds in the honest and sincere with them, and treat Girls,” Baldwin "A “Romance," “Love-making,” and them rationally and forthrightly as Steady,” great work of musical art ... a truly what so forth. equals. First I try to show them orchestral tone, round, full and of mag- is to be done, then, why it is to be done, Practicin' nificent resonance and color! ... For the and finally how to do it intelligently, just read a delightful and re- economically, quickly. Nine out of ten I have orchestra, as well as for my own use, on army training and army times they respond magically to such vealing book Normal” by Arthur Mil- the Baldwin is PERFECTION.” You, first prove life, “Situation treatment. . . . But you must one of his many talks with too, as a teacher, and your pupils as well, to them that you've got the “goods.” If ler. ... In he asked a private in the you fail to convince them of your com- enlisted men can find in the Baldwin the perfect medi- what he did in civilian life. petence and reasonableness, sure as Fate tank corps um for stimulation and accomplishment. he mysteriously, “I spend my you will buck up against the stone wall “Oh,” said mostly practicin’.” “Practicing of their resistance. And we all know that time Baldwin and Baldwin-built pianos are asked. “Oh, jes’ practicin’. no more formidable obstacle exists than what?” Miller increasingly available. Your Baldwin nice girl I practice makin’ an adolescent’s orneriness! But, once you When I see a come across a dealer has set one aside so you can hear her. . . . When I secure their confidence, the sky is the love to practice shootin’ him. If play it limit. discuss big old rabbit I and any time you like. Let him . . . You must be ready to work comes along, and my old man all sorts of problems, musical and non- some tell you when and how you can own a tough with me I jes’ practice me nusical, with them, since an under- gets Baldwin. fun prac- some workin’. . . . It’s more standing teacher is sometimes a young than having you a regTar job”. . . . person’s court of last resort. ticin’ Concerning his post-war activities he was - Mrs. R.C.B. (Minn.) writes interest- “Wall, I’ll go ingly just as vague. . . . I reckon of her role as confessor and advisor to her right ’long practicin’ till the day I die!” class of young people : “I get most about describes our post-war to think about from the adolescent boys That just . . Only our prac- doesn’t it? . and girls. They are such a bewildered plans, too, bunch. ticin’ will be confined—we hope—to the paBiuin Outside their lessons I am in

. . . Not such a tough life to look THE contact with them every week when I piano. BALDWIN PIANO COMPANY. CINCINNATI help run learned forward to, is it, Round Tablers? . . . Also makers the ’teen-age dance. I’ve of ACROSONIC, HAMILTON and HOWARD PIANOS

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GRADE TWO—Designed to increase the technical facility of the student and stimulate his apprecia- new features: Pedal Studies, tion of music. Contains numerous Construction of Music, Note-Reading develop principles of technic. Tests. Original melodic compositions Delightful arrangements of master- musical taste of the student. works aid in stimulating the GRADE THREE—Now in Preparation. PRICE $1.00 EACH

A Practical Elementary Theory MASTERWORK5 Course SIMPLIFIED PIANO EDITIONS OF 60 WRITING LESSONS IN MUSICAL THEORY Mossman Transcribed by Ted Compiled by Edgar Moy (Chopin) NOCTURNE IN Eb MAJOR Provides beginners with a knowledge of the CHOPIN'S POLONAISE IN Ab rudiments of music and POLONAISE (Chopin) helps them put that knowledge on paper. Explains simply ETUDE IN E MAJOR (Chopin) MILITARY the termin- (Grieg) ology of music and the basic principles of theory. FANTASIE IMPROMPTU (Chopin) ANITRA'S DANCE IN TWO PARTS TO SPRING (Grieg) PRICE 35c EACH PRICE 40c EACH

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trary. and was apparently amiable and through the Another tenor new to the American efforts of the Jesuit Mis- Lucien agreeable. One could not but deplore this sionaries. In order to l/u Chicago was civilize and Concerning Tenors DUWDUDllLpuDiic.ic whowihjVVIJU LaLttlllCcame to Chris- , „ Flowerplanar fault min a sineersinger who otherwise miehtmight tianize the land, Muratore. His singing of the these Fathers sug- a have attained the highest rank as a gested that each exquisite; so tender, never colonial family take one Song was tenor. Indian he shout. Later he dramatic child and bring it up as ( Continued from Page 495) forced tone nor did a mem- ber of the beautiful Lina Cavalieri, but household. This is one of the married the many ways remain in America. by which Christianity was did not spread among the Indians, and the In- such a loud disturbance. An Unfortunate Failing dian children who were adopted grew up Another tenor who appeared at the days whom as colonial Brazilians. America One other tenor of those Manhattan for the first time in strange, []ur Musical Good not name showed such a was Amadeo Bassi, who later with others I shall According to trait as to bewilder one. Legend first Chicago unexplainable and Campanini formed the full, A much really magnificent voice, a more cultivated and sophisti- Opera Company. He had a sympathetic Z had a Neighbor, Brazil cated dramatic tenor, and a good strain came through the Incas, in voice of beautiful quality and a large resonant never knew Peru. Theirs is a pentatonic scale, and but ! One roles in stage presence, repertoire. He created the tenor key. Continued from Page 485) many of their melodies have a markedly or not he would sing on the ( “The Girl of the Golden West" and “The whether and would give an Oriental character. Legend has it that, For Sometimes he could Jewels of the Madonna" in Chicago. without straying centuries ago, the Maoris left New Zea- entire performance the first performances of the first named return land in boats, and touched the coast ox but perhaps the next time Negi'oes adapted it. But to to Italian publishing from pitch, South America, where they were opera, Ricordi of the from it. Cam- wel- he would wander painfully Brazil! house came to rehearsals to see that all cast strain in Brazilian music is comed because of their magnificent phy- once said to me: “How can I The third went as he wished, and was treated with panini con- siques. Perhaps the I never know how he that of the native Indian (not to be strangely Oriental anxious him often when the greatest attention. Bassi was fused with the more important South quality of Inca music comes from will sing?" them' costume cor- . T , to have every detail of his his debut in London s American Indian, the highly developed From the blending of I heard him at these strains, rect, and he, Mme. Bassi, and I visited really he gave a ) . the Brazilian Indian was then, comes the Covent Garden, where Inca Now, native music of Brazil. several pawn shops looking for a pistol performance of “Otello” and very different from the Negro. He kept Our love songs are almost one shop the magnificent entirely Euro- of the correct period. In unusually enthusiastic m pean the press was proudly to himself, had his own settle- m character. Our dances pawnbroker was so fascinated by Mme. Not often do show comments the next day. ments and his own life, and came into most clearly the that he could blending of influences. Bassi’s diamond ear-rings comment so favorably on husband. London critics as little contact with the white colonist The Coco, the Caterete, hardly pay attention to her appearance, he must as and the Choro an artist's first he could. Hence, his musical influence of large size, but no- as ” ‘S’WraUy native of They were stones win his public more gradually. Brazil; the Bassi a rule is the least important. The Indians were Batuque, the ticing the interest they aroused he Macumia, and later the same thing happened; the Liman explained: “The stones are But not rich in melody, and less rich rhyth- are clearly laughingly his first record and African. Most in did not live up to interesting, quite shallow. I bought them mically than the Negro. Their songs and peihaps, of the really gradually one seldom heard of him. African forms with Bra- America at a time when I did not dances lack variety, being confined zilian South This peculiarity has often puzzled me to roots, is the Lund spend.” u, one of tire have much money to The man was a fine fixed rhythms and to war-chants and oldest of our liked as it did others. dances, very gay his many roles I especially laments. Indian songs and lively Of physical specimen; it was not due to have a very mod- in its rhythms and adoring lover in "The very often religious in him as the blindly production; else how could ern flavor, however, since they plaintive, faulty tone use quar- its words! Such a jewels of the Madonna.” so mixture of religion and where he at times give an entire performance ter tones, the general effect of which worldlmess sympathetic, and in "I Pagliacci," is not at all incongruous, the without slipping? He gave no impression suggests sophisticated atonality! The and tragically despairing as Mu-hates most clearly lie was con- the way in which of extreme nervousness, quite the Indian influence entered Brazilian life wronged husband. • Continued on Page 528) "FORWARD MARCH WITH MUSIC” THE ETUDE .

Voice Uuestiois •

JlniwereJ Lj. DR. NICHOLAS DOUTY

IMPORTANT! tors. Sooner or later this bad method cf pro- duction results in: 1. Breathy tone; 2. Singing Owing to extreme wartime paper restrictions, all out of tune, either sharp or flat; 3. A tremolo; inquiries addressed to this department must not 4. Impairment of the tone quality: 5. Com- exceed one hundred words in length. plete loss of control of both the speaking and the singing voices. 1. Any valve which is attacked too strongly by a column of air will open slightly to A Soprano Wii’i a Faulty Memory relieve the pressure. The vocal cords form a breath is forced Q. I am a mezzo-soprano and an elocution- valve, and when too much unused breath leaks through, ist. My age is forty-seven, but I do not look against them, breathy tone. more than twenty-eight or thirty. I have stud- causing a 2. cords are struck by a column of ied voice for the love of singing and I am If the they resist, either considered to be the best vocalist in the small air stronger than can they causing the tone to flatten, or they pull town in which I live. I have also studied elo- sag, and the tone sharpens. cution and I am often aslced to sing or recite up too tightly, 3. whole structure of the larynx may at church and social affairs. My problem is The that wavering of the tone 1'iis; I may know my reading or my songs well tremble, causing end can put on a good performance at home, called tremolo. quality of a tone depends largely but in public the movements of people in the 4. The the presence or absence of overtones audience or their laughter at a piece of com- upon caused by the covibration of the bones and edy will suddenly make me forget. I also have the chest, mouth, head, and face. difficulty in remembering the piano accom- cavities of Too much pressure of breath tends to disturb paniment and on two different occasions have formation of the overtones in these bones had2. to stop and commence over again. We the cavities and to impair the fundamental have only mediocre pianists in this small town, and tone at the larynx as well, as has been ex- but it is not their fault that I forget but mine. plained in Answers 1, 2, and 3. I always sang on pitch, but recently I started 5. When too forceful a method of singing is off the key, stopped, started oi.ee more and persisted in for a long time, especially if the then everything was O.K. for the rest of the "glottis stroke” is associated with it, nodules numbers. Is it because I am used to my own formed upon the cords, thus preventing accompaniment and not sing enough with are exciting travel do vibration. Or the vocal muscles are Share experiences of your school other pianists? Should sing and recite more their free I xeddened, thus producing partial strained and . . . all or am I too old and should I take a back seat teams See the big games . . . Take part in complete loss of voice (Aphonia). and listen to others? This uncertainty gets or Your physician should examine your throat thrilling performances between halves — You me—it makes me uneasy. P. S. — and tell you how serious are the A. Your sometimes and larynx age, forty-seven, is can, if you join the school ! results of your forceful singing. Under his band With the rather critical in a woman's life. If she passes advice your singing teacher must explain to you’ll places, through this stage safely, often in better band go make friends, and be she is you a method of song which would, in time, health and spirits and more able to do her restore to your voice its former ease of emis- popular . . You’ll get more fun out of living! work in the world. After so many years of sion and beauty of quality. usefulness in music, it would be a great pity for you to give and speaking up your singing The Young Singer With a Tremolo FREE BOOKS FOR because of a merely temporary disability. 'TEEN-AGERS Q. bp until about four years ago I was Continue by all means and sing and speak singing alto in school and church choirs. I AND PARENTS much more often and the loss of in public now seventeen and I have sung soprano memory may disappear. * am although I have had no training. A uni- Perhaps piano parts solos "Fun and Popularity Through Music” you do not study the versity professor of music classed my voice is packed of your songs carefully enough and therefore advised train as a lyric soprano and me to with scores of ideas and examples showing when you play for yourself you may play Recently our music teacher in them for oratorio. out of time and rhythm so that when placed me in a trio. She found that the another school how you can enjoy advantages and op- pianist plays for you, the accompani- my voice did not blend but was heard above ments course may sound unfamiliar to you. Of the others. Laying the blame on my tremolo, portunities which* music training provides. we could but not be sure unless we heard you. she is trying to teach me to sing without a we "Music, The Emotional Outlet for have known several cases similar to yours. tremolo. I find this difficult because the trem- Youth” is The fact that start out of without my you occasionally olo seems to have come upon me an important guide for parents of growing tune rest duets and then, after a new start sing the noticing it. My sister and I have sung of the indi- that program quite on pitch seems to for years and my teacher admits my children. Widely acclaimed by authorities on cate the same thing. The remedy is clear. The voice blends in the duets ever} if it does not piano youth problems. Get your part of a modern song is 'just as im- in the trio. Could you tell me if the tremolo free copies from portant as the vocal part and must be care- natural or “put on’’ and why my voice is your friendly Conn dealer, or write to Conn fully and completely memorized. If you do blends in the duets but not in the trio? Thank this J. I. W. I think you need have no fear of forget- you for your consideration.— direct. No obligation. C. G. CONN, LTD., ting the songs. Also you must practice much ^ more often with your accompanist. Make an A. All too often a young girl with a pleasing, Elkhart, Indiana. 1002B appointment with her so that you and she can natural voice commences singing in a chorus study your repertoire together, meeting once too soon, before her voice is quite developed, training. or twice each week for a stated period, and and before she has had any The there are t think you will both get along much better. director is glad to get her because Sometimes it You never can know your words and music so few oleasing young voices. too well. does her no harm but at other times she develops a vocal fault or two quite uncon- rciously because she does not know any better. The Bad Throat Condition Caused In- tremolo is an example of this. In the Forcing Your the Voice young voice its usual cause is singing too Q- voice About tivo months ego I quit my long, too loud, and too high, thus putting a lessons, in because of a clogged, limp feeling greater strain upon the larynx than it is able my voice structure throat. I have a powerful resonant to resist. In consequence the whole which con- tremolo results. I used carelessly, singing loud of the larynx trembles and a stantly. I a overcome, but you Also I have smoked heavily. am It is a difficult fault to lessons baritone. While tuning up I discovered that are young and time and good singing mV extended tones tend to waver slightly, will surely obliterate it. Have patience and teacher. C. G. CONN, LTD., 913 CONN BLDG., while, previous to my trouble they were work hard, with a well trained ELKHART, IND. possible for us to steady. I am twenty-one. My teacher says 2. It would scarcely be Send FREE Books checked below: e can iron waves. I have been answer your question as to why your voice , out these "Fun not in the trio, with- and Popularity Through Music" singing with loud force for some years. Do blends in the duets and explanation suggests "Music, The Emotional ®°“ think I am. curable? My rerl trouble out hearing you. One Outlet for Youth" started the voices of yourself and your when I sang with terrific force in an itself. Perhaps certain resemblance, a sort of amateur opera while suffering from a throat sister have a cold likeness of quality, which makes them —s. J. A., Jr. family you have practiced to- sound well together; ADDRESS A. Too many nowadays rely upon gether for a long time and this has given you singers ensemble which must be very the very greatest pressure of breath to pro- an unconscious on singing with your sister, CITY Keep j duce their tones, and quite neglect the pose attractive. of do you both good. the voice and the proper use of the resona- It will | I am a LI Teacher Student MUSIC” SEPTEMBER, 1945 FORWARD MARCH WITH 521 ; e

young people, who cannot possibly have Does Music Help had sufficient experience of living to bul- wark their portrayals with personal truth, the 'Actor? music can help to lessen the gap between NOW- real and shamming. For an aware under- standing of music, reaches the ( Continued from Page 504) which emotions directly, without either word- Your Choruses symbols or picture-symbols, can build a Select ready for that chance—ready, with a highway into a knowledge of human vast resource of knowledge and technique hearts.’’ Season to prove himself worthy of his chance. For The New It is only in the proving that his habits of work, of thought, of living show themselves. Our Musical complete have recently had a most interesting The wide variety of selections listed below, and the “I experience with music. During the past of choruses, are especially noted as compo- Goad Neighbor, Brazil BMI catalogue months, I played in the Chicago com- famous edu- sitions frequently used by so many nationally pany of ‘To-Morrow the World,’ a play regular programs. that makes use of several child actors. ( Continued from Page 526) cators in their Festival Events, Clinics and Naturally, we had to have the children, and we also had to have a reserve supply three separate S.A.T.B. S.A. racial psychologies have of child understudies. Then there were become No. unified into the integral whole Cat. No. Cat. brothers and sisters. Altogether, we had that is Brazil. Tree (Perspicacity). GARTLAN KA.STALSKY-Ray 1 13*'The Lilac 103 Kail Gladdening Light . about eight school-age youngsters who Let Freedom Ring SCHRAMM — 104 *0 God Beneath Thy Guiding 120 The World Is Yours SCHRAMM could not go to school. We played seven A Curious Hand (20c) TALLIS-Loftin 121 Mixture Brave New World night shows and two matinees 105 Cantate Domino 122 a week, Come with me to (A Pan-American Song). . . .SCHRAMM Bahia, for instance, (Sing Unto the Lord) HASSLER-Terry and when you do that you cannot answer to view 123 Mon Petit Mari me great three-day festival of 106 In the Valley Below (20c) HERNRIED school bell at eight-thirty. (My Little Husband) the Now, the L d5’ av MANNEY (Arr. by) Bators , tha L takes place law is very rightly concerned about the °vTrv v °L”. ! 107 Fearin' of the Judgment Day. . 5WIFT 10**The Lilac Tree education of children, and so we had the religious festival? 1 S.A.B. honortag^Our Ladytn (Perspicacity) GARTLAN-Braine of a first-rate problem on Her threat our capacity of protectress Let Freedom Ring SCHRAMM Let Thy Shield From III of seamen- 112 WEBER-Spnnger hands. After an unsuccessful attempt at blende<1 God Save the People. . GENET-ELLIOTT Defend Us from PD*fiy Pagan 115 education-by-correspondence Itraimth«F Praise Jehovah (20c) Silent Night, Holy Night (With had been 116 .MOLLER-HOLST Palt ° £ (Psalm 117, 118) MOZART-Binder Unison Choir) (10c) . . made, my husband and I took over the background "f BrazTlh?/ Saviour of the World .... GOSS-Ray To A Withered Rose 1 17 O .BANGS-FALK task of ‘school-teaching’ those children. f 118 *The American Song (20c) (S. S.A.B.) Fhsfthere° “h-Chrlst^n origi^ MARTIN-SMITH Along with Latin, literature, history, "TbeaUtiful —all Pai'ade of boats the All Powerful (20c) algebra, and languages, we worked at sorts nf k 124 God, atS and Sld£fs decorateIi LWOFF-Waltor. S.S.A. with ' music. Every Friday, four of us went to fla« “L fl wers - Then Guide My Feet . . MEEKER .GOSS-Ray ? there is a 125 Sweet Jesus, O Saviour of the World ... the afternoon concert of the Symphony, religious processlnr 126 Brave New World GRIEG-COULTER-Loftm °n along the beach, In the Boat between times, we studied notation Then (A Pan-American Song) .... SCHRAMM Below (20c) and 1VGn spot, In the Valley7 sion halts f the proces- 127 Songs of Praise MANNEY (Arr. by) and solfeggio. And again I was stimu- S e faItMUl Into ‘ *“ BiItS GESSLER-MONTGOMERY . . GARTLAN to "The Lilac Tree (Perspicacity) lated by the vitality of the relationship 5ea as off Comfort Me! (12c) WALTON N° Spirit, W ' 128 Sweet 114 c unSet music and acting. Every odd thing is BRATTON-HERRICK SCHRAMM between one of toat exactlv thto"' 129 Let Freedom Ring occurs in ^ Same ntUal Lettest Thou Thy those gifted child actors was equally both Indi 130 Lord, Now Alon„ B“ id « ' h '’ S " 133 , Wai, thology KING p SON ! Servant (12c) G E s5l SIM gifted in music. Dickie Tyler composed',composed. Here, the xvxuuu Neath Jesus' Mother “of 'waters 131 Come Now, Mo.i.Wh.n5.«tV.i.«Di. Shepherd, another of our childh Goddess of .MOLLER-HOLST (Arr. by) Joan the Se“£ Cross (12c). |MHELiEy “ putbut evuevil * - Powerful leads, has absolute pitch °LT..fand had al- spirit, who the Lord, O My Soul .EISLER-BLAKE . lures 132 Bless . . . 135 Cradle Song. s trUBtlon men their (A Cappella) GESSLER JOKL-TENNYSON had instruction in one of toe coun- and must The Owl ready „f. , be pronitiated with Unto 140 SCHUBERT-Falk T I Lift Mine Eyes . ° 136 Will Up 142 Lacrimosa (12c) try's great conservatories. As Christmas Please this alluring the Hills (12c) ERWIN-Harlow Indiansdlans ^ being ,47 * Chri.tm.. Song we had special fun. and thpthe -NTorr^— . drew near, My hus- Negroes tos , 137 Christe Eleison (12c) jewelry, face S Perfume, PRES-Block KINGBLAKE band composed a simple and charming powder and „ JOSQUIN DES . 148 Twilight (120 - . . the cosme Ues Into "Hymn of the Soviet Union (10c) sung as a round, in seven parts. water. Yet thev rtj ? 138 ,57 Two CzeeHo-Slovak Folk carol, to be d 1 with the ALEXANDROV-UNTERMEYER pletely sincere ,? com_ and rell 141 Laudamus Te PERGOLESI-Falk Ch 5 10US feeling of °'" !0ld 5 “ 9 honoringS their ,? ' 59 A W .“! A Faultless Ear Pnull”e an Unto the Lord a New . StrkklinB n '° 143 Sing 7°o", tress. 0 dly P1 te°- Song FRANCIS no piano at rehearsals, urSdy a Beloved We had . and N vlato r 164 Oh, My ii, s .... ELLIOTT MOZART^Fa k 145 Where Willows Bend (20c) (Caro Bell' Idol) on Joan Shepherd's faultless depended eSthlEPSychol icaI 149 Kde Su Kravy Moje Irishman Lilts (12c) COWELL merg?nfirs^ntoto ^ 166 The ear to give us our pitch. Then we decided “ BationaI (Slovak Folk-tune) (20c) . SHIMMERLING to St BenedSB deference would be uncommonly effective b 150 Come My Way, My Truth, that it he was My Life (12c) WICKLINE T.T.B.B. the words into Latin, and boTto stiirr^r35 1 to translate I leai'ned when 152 Ode to America BLEDSOE travelpri Z,’ Mountain Girl (Boys' children (who had mastered a term ’ aS such 108 The the • > he became 155 All Mah Sins Been Taken Away by) the favorit-pV° c Chorus) MANNEY (Arr. Latin in less than rite Samt of the school four . Hernried of high fplf , Negroes who (Perspicacity). . GARTLAN 1 1 The Lilac Tree de”ocratic 1 156 of The Russian Plains did it themselves. On Christ- ' equality of the Song Satire) (25c) months) Church 119 Eleqy9Y (A when S (Meadowland) (20c) Strickling SCHIMMERLING-GUITERMAN Eve, we sang our carol for friends W a black " faced man mas - hon- 158 Afton Water (Old Scotch Song) ored witlY ^ yjo * Mvmn of the Soviet Union parents, and on Christmas Day, for ne ' EVery colonial ohureh (20c) .* Strickling and ta ^lOc) ....ALEXANDROV-UNTERMEYER Bri^ aS hrine at the theater. A neigh- to St - Benedict . . .KLEIN stagehands 160 The Immortal Father's Face. patriotic novelty). .WINKOPP the and ttfe 151 Hallelu! (a the non-colonialV natives Angels (Motet) . WALTON occupied thor- love him 161 All Ye of God in the Night boring apartment was by Holst ,53 Dork Wing, especially. 162 Come, Holy Ghost (Anthem) (12c) . . DALTON oughly ‘modern’ people, who took their The Irishman Lilts (12c) COWELL 165 - WALTON of the Nile'. - all the jazz (L'Arlesienne ,54 Song , music strictly as jazz, with A Rich and 167 Whispering Voices . . PRICHARD Rewarding Let It Happen Again Field BIZET-Sirickling Don't heard them, Suite No. 1) (12c) accessories. We had often “Our music reveals the amalgamation of * Orchestra parts available. and had felt no desire whatever to join *Band and Orchestra parts available. Brazil. It blends the melody of Christmas Eve, sophisti- in their fun. But on they cated Europe with otherwise specified toe rhythms the 15c each unless told me later, they almost came to join cadences, the intonations of the in ours. The day after Christmas, one primi- tive African and Indian. Hence it is » of them, whom we met in the elevator, rich, reference satisfying, and expressive BMI will send you FREE asked about the ‘beautiful music’ that ’music- and it delights me to see people of the choruses listed had flowed through to them—wanted of other copies of any lands and other to know what it was backgrounds of your request. —begged to have pleasure findtag above on receipt and release in it repeated. Seven little stage children it when they hear k mU “ repi' had been singing an ardent welcome to esente nat- rn-af m tl ss ut the Infant Christ, and the spirit of their Your Dealer Can Supply Copies, Too! music had surmounted the jazz. I like to remember that. «« not as UtotLf scious « ~lmcon emotional “There Is. then, the closest relation- expression if v ship between MUSIC, INC. music and the stage. Acting, BROADCAST in the last d ted Udy analysis, is the vivid can ifc portrayal music ^° give - Folk New York 19, N.Y. of human is and? 580 Fifth Avenue character at grips with rewarding field—but the its art w W business of living. And in 8 mUSt the case of toough art?"™ be p« s ™tGd "FORWARD MARCH WITH MUSIC" THE ETUDE Organ mr Choir Questions

FRY, Mus. Doc. Jlnuoerecl lf HENRY S.

IMPORTANT! tain the age of the organ, but was told it should not be too old as the pedals are ar- PIANO INSTRUCTION BOOK? Owing to extreme wartime paper restrictions, all ranged in the concave form of the later or- inquiries addressed to this department must not gans. I could not hear the organ played, be- Boogie-Woogie Jazz Swing Jump * exceed one hundred words in length. cause it needs new bellows. What do you suppose would be the price of the organ, in- Learn how to syncopate and play any popular cluding installation? estimating costs is not song right in your own home. Get America’s If amazing new piano Instruction Book—over 100 in your line can you recommend some person pages sparkling with novel piano im provisions! who could supply the necessary informa- Beginners, Medium or Advanced Players can Q. Have noticed that at times you have had tion?—W. F. B. now learn the business end of popular piano articles on reed organ. I am wondering there- build up any A. do not ordinarily recommend a resi- playing— how to reconstruct and fore whether you have inforsnation available We popular song like the sheet music demonstrator dence organ for church, but if are satis- on repairs of a reed organ. I am interested in a you and radio pianist. Fanciful NEW Funfest fea- available on how a reed organ fied there is sufficient tone present, and if you turing over 200 Bass Styles. 400 Sizzling Breaks, information another question arrange your full organ to eliminate stops such 105 Professional Introductions and Endings. may be tuned. Then there is regarding the volume of air it takes to produce as French Horn. Celestes, Clarinet, Orchestral A BRAND NEW EDITION! Complete with Clausa and your a chord when both hands are playing chords Oboe, Tibia so forth and have rules on how to apply all lessons. Easy instruc- R. T. Diapason family, including the Octave stop tions for the beginner—advanced material for simultaneously.— (it is absent) made smaller and brighter we those who play. Never before a book of its A. The publishers of The Etude do not have think the specification might prove satisfac- kind so complete. Included is an INSTRUC- of repairs for a reed organ. TION MANUAL explaining how to apply the any book treating tory. Although it cannot be put in perfect should an entire contents of this famous book, in a logi- Tuning of a reed organ be done by tune, if .borrowed, we suggest the unification cal and understandable manner. expert or experienced person. Tuning of reeds of a stop to produce a soft 2%" stop. We, of probably be unnecessary if the reeds are cannot estimate the co:t of installation HAVE FUN PLAYING THE PIANO! Notan ear or cor- will course be taken out of the instru- respondence everything to cleaned. They may of the organ, but suggest that you secure course. You receive be attached work with right at the start. The same material ar ment with a reed hook, which may figures from the builders of the organ, who m"i 5 ” “"Schools by Virg Cavanaugh, instrument, and reeds replaced after from The enlarging of the It’s to the are not far you. with a tooth brush. This should also to ascer- impres_. . _ - - cleaning instrument should be investigated, , avoid damage to SECRETS revealed for the first time in any book. be done with much care, to tain whether the necessary wind supply was Radio and Orchestra playing explained. the suction reeds. The reed organ is built on arranged for the additions. Also it should be „ This NEW EDITION intended for those who wish have a leaky bellows. To the this principle and may ascertained whether real individual crescendos finest! Thousands of hours spent in ci eating necessary for complete. — n-j«. ascertain the amount of air are available for each manual, or whether the now —TOt with both simultaneous playing of chords different swell pedals operate on the same sets used. hands a gauge should be of shutters. The concave pedal board is not a decisive factor in a decision as to whether the CAVANAUGH PIANO SCHOOLS our University, Q. Recently two speakers at organ is old or not, and the cause of a new 475 Fifth Ave. Dept. E New York 17, N.Y. other a Historian gave one a Minister, the , bellows being required should be investigated. credence to the assertion that the Negro Spir- ituals were not spirituals as such, but really church in our township secular in that most of them were used to Q. The members of a install small organ in a church New -PIPE ORGANS -Used convey secret messages to each other, in order wish to a understand the about 30' x 5O' in size. Will you kindly send Builders of pipe organs for church nnd studio. Ef- that the Master might not ficient, up-to-date used instruments on hand at all nor apprehend the slave-message us names and addresses of organ companies unit., pr.ct.i also rebuild nnd message very reasonably. We sacred or not? I do in our vicinity whom we might contact. We modernize tracker and tubular organs, additions oi senders. Are the Spirituals r ** in or good used or- stops, couplers and chimes Installed. Yearly cr to the folk-music of the Negro in its are interested a new of not refer organs. We solicit inquiries. gan. M. A. S. entirety, only the Spirituals—G. I. L. — Delosh Brothers Experts — Organ Much depends on the attitude of the A. The policy of The Etude will not permit our 3508-1 City A. 05th Street Corona, L. I., N. Y. as listener, and on the Spiritual in use. but we naming organ companies in your vicinity. Our writer Dr. Henry T. Burleigh told the suggestion is that you communicate with vari- recall it, make that he was advised by MacDowell to ous firms, telling them of your needs, and de- musical, which he did. and you in- ZHVELOP POWERFUL INFLUENCE his arrangements sires. and asking them to advise of = THE J who can dispute his effective arrangement of struments available, which are probably limited TFeOCHTINGER j&lhoJ fimrorJjeJ “Were You There,” as being spiritual and by war conditions. also arranged as an A Yo uft HI musical? Tflls number is JN Vo ICE by William M. Felton, as a Organ number an Orgatron is. ’\ 0 IT YOURSELF AT HOME simplicity. Q. Please tell me just what D •Lament” which is effective in its FREE’J Is it the same as the Hammond instrument? \ COritr for the finite Book and Also please give me the addresses of some I7yr.se/ age been appointed to investigate Sent only to those over 0 I have manufacturers of two manual reed organs with or Piano tor a church here purchase an Organ is price ‘‘The Reed Or- INSTITUTE j pedals. What the of PERFECT VOICE of five hundred dollars and if STUDIO CHICAGO 4, ILL. There is a fund gan, Its Design and Construction" by Milne. 5586, 910 KIMBALL HALL BLD., piano and Solo Vox it will we can trade in a C. B. eight hundred — probably raise it to seven or the choir director in consists of dollars. I happen to be A. An Orgatron, we understand, am very anxious to get an a reed tone amplified while the Hammond in- COMPANY this church and A FRANK WM. S. HAYNES neither organs nor pianos opera i discs. suggest that craan 1 know that strument is -d by We due to war conditions about these instru- STATEMENT OF FACTS ABOUT ere manufactured now, you may secure literature Flutes of Distinction get into and that our best chance will be to ments by addressing the Everett Piano Co., of the kind of AN IMPORTANT SUBJECT STERLING — PLATINUM contact with a firm who has taken South Haven, Michigan, in reference to the SILVER — GOLD pos- instrument we wish to obtain, in trade or Orgatron, and the Hammond Instrument Co., The church Auditorium Avenue, Chicago, Illinois. "fyed. there is some Catalog on request siblu repossessed. 2915 Northwestern people so that we Organ information about five hundred We are sending you Reed delay filling orders 108 Massachusetts Avenue, Boston 15, Mass. seats Can you in for Deagan would not need a large instrument. by mail. The publishers of the Milne book, we M. J. R. L. understand, have been bombed, and the price Marimbas. But it's the kind of delay offer any suggestions?— and delivery of the book cannot be guaran- that is that your best means worth while from two standpoints. A We agree with you teed at this time. one who has taken the kind First, it’s a patriotic delay, is to contact some caused instrument you need in trade, as new m- this by the fact that highly important war ruments cannot be legally furnished at advise such firms orders have first call on ne We suggest that you our facilities. the size of the Church Colleses your needs, stating Second, it’s a relatively insignificant Schools— capacity, whether uditorium. or the seating PIANO TEACHERS! including a gallery. We suggest delay when compared to the lifetime ie floor, or Auditorium seats about five swing piano satisfactionof at since your atrulyfine instrument. For PLAYING . - added to Book, long nationally ac- mdred people, that you pay especial atten- CONVERSE instrument Program more than half a century the DEAGAN COLLEGE' the carrying power of the Your Teaching gc'hioS'r na“if to Ernst Bpartausburg, ci. C ,n to mm Bacou, Dean, seating capacity is glamourize popular melodies select, especially if the Increases Your Income! name has Deen a symbol of supremacy ,u in really modern style with on one floor. nnd liberal 1 included perfect time, touch rhythm. Very wholesale in marimbas. If stheinstrumentamateurs price to teachers and musical colleges. Send for de- KNOX reed organ in our church tails if your local telephone book does not list a prefer and professionals insist upon. Q The present Christensen School. have to be replaced. I can buy at soon Be a hit! Our Break Bulletins J. C. DEAGAN, organ | INC. present time a used residence for contain fascinating arrange- e 1770 Borfoau Avenue, Chicago 111. because of the death of PIANISTS!1 ments for building extra 13, e thousand dollars, CONSERVATi The instrument has been enlarged choruses of popular hit-songs and standards by means e owner. of novel breaks, bass figures, riding the melody, etc. OF MUS. I understand. Would this ,o or three times Send 20 cents for sample copy. SHENANDOAH the value of the organ or impair lentil •tract from CHRISTENSEN SCHOOLS OF POPULAR MUSIC Courses Specifications arc enclosed. Do B - Muh., efficiency? nnd It. Mum. i'ifl. «'T BLDG. this organ would be suitable for 752 KIMBALL HALL CHICAGO 4, ILL. 1,1 tl>e bi'iirt of the ! ; u think VAlleyiin^ rT I omitted to ascer- ESTABLISHED 1903 fflSSESSBSSSSS] , Dayton, Virginia. tthnlic Church services? "FORW'ARD MARCH WITH MUSIC” SEPTEMBER. 1945 *>29 . . .

Visualized Violin Technic Prepare MOW For Tomorrow! ( Continued from Page 501) fear and awe of such keys when he learns Teaching Reading Skill that, no matter what the key, it can be analyzed in the terms of the four familiar The group recognition principle is con- iIfcn d finger patterns! tinued in teaching reading skill. The names of the notes and the facts of And Finally a 'Ylju.uc (donierl/alorij elementary theory are taught always in association with finger pattern and scale Visualized Technic is evolutionary rather pattern models. The scales become theory than revolutionary. Experienced teachers in 'bjour Own -.JIonic in action. Two types of writing exercises, will recognize in it familiar, using the cross word puzzle idea, are well-established principles. The efforts of this used. The first type calls for the finger method have been directed towards simplified patterns to be written on all strings. In presentation. It has had five years the example below, the blocks below the of successful use in both public school staff are “fill-ins” for the names of the classes and in private instruction. to take practical music Uncle Sam makes it possible for you notes and their proper accidentals. An inspection of our more recent "2-3” method books lessons by correspondence, even though you are thousands of The Pattern on the A string. shows the pendulum of common approval swinging back towards teacher. ' Ex. 4 miles away from your the use of more technical material. The swing in the early part of the century lessons (prepared by able, was Definite, concise, comprehensive a retreat from methods which were too dry explained always (= and difficult for the average pupil, recognized teachers) illustrated and clearly 1 2 3 4 unfortunately the reactionary movement before you to study and refer to over and over aqain. leached The second type is a scale writing an extreme where its sugar- coating example exercise as in the example fol- process crowded out muscle build- ing technic Nothing is left to guess work. lowing. to a vanishing point. The fallacy of this was apparent in the every lesson. If there is any- Ex. 5 mediocre results An examination paper accompanies it achieved. While all agreed with in detail by our the melody approach that thing you don't understand it is explained to you J I j 3?-° I » G ==I1 0U C< d Slng ifc ’ you could p!ay it,” teachers. imnp °°uld?? experienced n cn n deny thafc it sounded badly Do Re Mi-Fa Sol miTi-Do 8 La when „ P y th 3 'V°bbly a !™ve r ing bowV reading skill is promoted by in- said of our Piano course— Thus, ‘ PADEREWSKI S a home'y old motto which suring a thorough familiarity with both , aa omelet additions to the pedagog- . one must "It Is one of the most Important the staff and the fingerboard. An un- break 1 silort ’ ’ let published for years. I s face the literature on pianoforte playing usual amount of theory is conveyed in facts , , ical V1 °1,n technlc reliable practical fashion. A further benefit 15 attained "As an excellent guide for students and solid and this onh bv Sb °n Ibhdamentals. Such popular, is the overcoming of the traditional d?m need , , u advice for teachers, it is bound to become very uninteres ting, drill hazard regarding the multiple it but stamp of a real pianist, mental it must be.he Suchn ^ and the more so as it bears the realism will herald the sharp and fiat keys. The pupil loses his true renaissance accomplished musician and experienced pedagogue. of violin study

DEGREE OF BACHELOR OF MUSIC You are awarded a diploma when you have completed a course Superstitious Musicians Board of to the satisfaction of the Instruction Department and the (Continued Bachelor from Page 488) Directors. We are also authorized to issue the Degree of

our requirements. These and adds gravely: “I am sure that e ' of Music upon those who comply with days, Utei OWth ° f interview me yester- Composition and an Mr. R. who came to Uveness° are Harmony, History of Music, Advanced the evil day is a jettatore” (one who has or instru- * ** advanced practice course. The latter may be voice eye). V. R. Key tells a similar story. f semester hours. Pierre UStS ' A St °ry abollt mental. Each subject carries 30 Grassi, an elderly Giuseppe' Vradi In Salerno don Peppo wh!bhwhich may or may not be true is t„k impresario was an admirer of young by Sigmund the Spaeth—it concerns Remember there are splendid opportunities in Caruso. So concerned was he over his opening performance S of Verdi's oper- income. that as often as the critical Uiisa Miller." music field to make a very comfortable protege There was a certain ama Flower Song in “Carmen” approached he tear named Capecelatro Mail the coupon today who was eon Let us show you how. station himself in the wings, gaz- Sldered by Verdi's would friends a jettatore H, Caruso in a manner that seemed was blamed for ing upon the failure of “Alzira* “You must not break on the 13- because he had CONSERVATORY to say, shaken hands with Verd: UNIVERSITY EXTENSION flat.” If actually the splintering of the just before the performance and hac Blvd., Chicago. Dept. A-505 765 Oakwood note occurred, don Peppo would jump predicted top a great success. Every effort backward, run his fingers wildly through was therefore made to keep him awa\ and knock his head against one his hair, rom the composer on UNIVERSITY EXTENSION CONSERVATORY. Dept. A-505 the opening nigh of the wings—out of deep despair. No of Luisa 765 Oaliwood blvd., Chicago, lllino.s. Miller.” markea course I have wonder that such behavior jarred the informatic i regarding a send me catalog, sample lessons and full 8 0r0Wd ° ’ Please f Verdi s “ends »ur below. singer’s nerves. Finally Caruso rushed ronnd ed l wilh an X C°mtantly Violin into the wings before the aria ' and refused t Normal Courso Harmony approached, et CanecT, Piano, Teacher’s rumpet Cuitar Student's Course Cornet—T and cried, “Listen! if you stand Piano, Advanced Cornet Mandolin here Public School Mus.— Beginner s Saxophone § Voice again while I am singing the aria, I Public School Mus.—Advanced Organ will I Reed Composition Choral Conducting H?r£?a: Advanced Banjo leave the company. You are my jetta- & Sight Singing Clarinet a Ear Training Dance Band Arranging tore.” j History of Music That so intelligent a VNm s or Juvenile. man could be in- § . and, with Adult ervy of -AtAt last!wn- Name. fluenced by such superstitions—and threw his arms avnur many the composer. ai0Ur others As he rii* , which he had, Key S °’ Street No .•••* points out is a piece ' scenery fell t not so strange as may appear. ai , State For Caruso ” City. was highly emotional, and the iuringtoembotdnw^emrff pupils have you? Do you premoni- now? If so, how many tions he sometimes Are you teaching Harmony? experienced, seemed _ . Have you studied , , , ? ' hold a Teacher’s Certificated m some fashion to be identified aCt P^rco of Bachelor o. Musk? with that w-uld vou like to earn the- part of him which -ed, in can best be analyzed „tS2 t o Ure,r,L'l ( Continued on pase "FORWARD MsARCH WITH MUSIC" 534l ”

Now in Century Edition GREAT Violin SJuestions ^ORCHESTRAL WORKS hopin mf in musicianiy piano reductions Jin nwerecl L HAROLD BERKLEY — in Century Edition

require a flexible tone production IMPORTANT! movements at I5(j a copy. An edition of Chopin you in martele, detache, and legato bowing. After extreme wortime paper restrictions, would be proud to own at any price! Every piece listed here is one you will Owing to you have worked on this sonata, study No. 6. department must Each copy complete and unabridged; want all .inquiries addressed to this in E major. Later on. you should certainly for your own music library. They well not exceed one hundred words in length. study the D major Sonata. No. 4. If you prac- edited; well printed. Examine these are works that everyone knows and likes tice these three sonatas with an alive imagina- pieces and you will see at once that to play. Each is tastefully arranged. tion and a keenly critical ear. I am sure you Century Edition has much more than Lessons hy Mail (?) quality improving rapidly. And, best of all the Century price of I5£ will find your tone low cost to make it desirable. M. G. B., Ontario.—If you can take some a copy makes it inexpensive for you to lessons, even if only occasionally, personal 1403 Berceuse. Op. 57. Pft-6 do a great deal more for you than Concerning Cadenzas and Finger Markings own all of them. they would 2445 Etude ( Black Key) Op. II), So. S. (fb-G in violin playing. chief reason 2543 Etude ( Revolutionary a correspondence course A Q. E. H., Washington.—The ) Op. 10, No. 12, Cni-G 2544 Etude ( Butterfly > Op. tlb-ti number of subtle little faults can creep into why cadenzas to violin concerti are printed in 25. .Vo. 0. 3490 1180 Fantasic Impromptu, Op. 66, C=m-G Romanze, /Heine Nachtmusik, C-4. . . .Mozart observed the they are not written the your playing which must be by small notes is that by 587 Funeral March, Sonata No. 2, Bbm-G 3562 Intermezzo. L'Arleslennc', Eb-3 Bizet are to be properly corrected. composer, but are interpolations by another 254 Impromptu, Op. 20. Ah-G 2452 Valse Triste, 0-4-5 Sibelius teacher If they 3251 Mazurka in Bb, Op. 7, No. 1, -3 129 Then, too. there are details of technic which hand. The cadenza in the Mendelssohn Con- Allegretto. 7th Symphony, . .Beethoven Am-4. 3256 Mazurka in G-m. Op. 33. No. 1, -4 3561 Overture, impossible to describe in words, certo written by Mendelssohn himself, 1812 Condensed, Eb-3-1 are almost was 164 Mazurka in Gm, Op. 67. No. 2, -3 in a I agree Tsrhaikowsky but which can be clearly demonstrated and it is always printed in large notes. 1 176 Nocturne in Eb. Op. 9. No. 2, -!,

3566 Roumanian Eneseo 3343 Nocturne in F = , Op. -7 Rhapsody No. I, A-4 few minutes. However, if it is impossible for with you that it would be an advantage to the 15. Vo. 2, 3723 Hallelujah Chorus. Messiah, D-4 Handel 2354 Nocturne in Gm. Op. 1G, No. 3, -4 you to take any lessons, you might benefit player if interpolated cadenzas were printed 3330 Danse Macabre. Gin-3 Saint-Saens 3424 Nocturne in Db. Op. 27. Vo. 2, -G from the course, for at least you would be in slightly larger type. (2) It would undoubt- 337 Nocturne in B. Op. 32. No. -G 3422 Pavane pour une Infante Definite, 0-1. Ravel 1, systematically. Not knowing the easier, in cases, to read fingering 338 Nocturne in Gm. Op. 37. No. 1, -J, 2334 Minuet, Symphony in Eh, -3 Mozart studying edly be many I cannot say much 339 Nocturne in G. Op. 37. No. 2, -5 2198 Largo. Neir World Symphony, ... Dvorak course you have in mind. if the figures were always at the head of the Db-d 340 Nocturne in Fm. Op. 55. Vo. 1, -G 3605 Espana, that. If you da not already have F-4 Chabrler more than note. But in those cases where several leger 1725 Polonaise in C=m. Op. 26. No. 1, -G 2003 Rosamond, Ballet Mimic, G-3 Schubert them, the following books would help you: lines are used, there might often be confusion 3483 Polonaise in Ebm, Op. 26. No. 2, -G 361 Poet and Peasant Overture. !)-•! Suppe "Practical Violin Study” by Frederick Hahn; with the staves above or below. When the 1181 Polonaise Militairo, Op. $0, No. 1, A-t 3721 853 Preludes. Op. Nos. !, L'Apres-midi d'un Faune, E-l. Debussy Teaching and Violin Study." by Eu- widely 28. 3, 3643 "Violin figure and the head of the note are 854 Preludes, Op. 28. Nos. 6, 7, 9. 20 Allegretto Scherzando, Stli Symphony, "Modern Violin Playing.” by Bb-4 Beethoven gene Gruenberg; separated, the remedy is to practice the pas- 855 Prelude. (Baindrop) Op. 28, No. 1G, Db-G Forsyth; and "Violin Playing as 3346 Scherzo in Bbm, Op. 32, -7 3642 Good Friday Spell, l’arsifal, Wagner Grimson and sage slowly, so that the eye may take in both C-3 2444 Waltz in Eb. Op. 18. -h -5 3720 Danse Stravvinsky Teach it.” by Leopold Auer. These books Don’t you think Russe, Petrushka. C-4 I the note and the fingering. 1768 Waltz in Ab. Op. St,, No. 1, -5 1529 the publishers of The William Tell Overture, Em-5 Rossini may be procured from that if larger figures were used, as you sug- 3352 Waltz in Am. Op. 34, No. 2. -3 3722 Festival 3484 Waltz in F, at Bagdad, Schehrresade, Etude. gest. the result would be a cluttering up of Op. 34. No. 3, -1, G-4 Rimsky-Korsakoff 3425 Waltz in Ab. Op. 42, -6 the page, making it even more difficult to read? 3236 Finlandia, Ab-G Sibelius 1175 Waltz in Db (Minute). Op. 64. No. 1, -3 3380 1174 Waltz in C=m, Op. 64. No. 2, -i Trumpet Piece & Air in D, -3 Purcell Cannot Appraise 3340 3255 Waltz in Ab. Op. 64. No. 3, -5 Marche Slave, Am-4 Tsclialkousky E. B.. Saskatchewan.—The label in Mrs. A. Rosin 3351 Waltz in Ab. Op 69, No. 1, -3 3644 Polka. L’Aye Shostnkovltch To Remove Old il d’Or, C-4 your violin is that of a genuine J. B. Gua- 2446 Waltz in Bm, Op. G9, No. 2, -4 -5 1531 March, S.. Connecticut. For removing old rosin Athalia, F-4 Mendelssohn labels are even easier to imitate W. — 3353 Waltz in Gb, Op. 70, No. 1. -3 3719 Polka, dagnini. But beneath the strings and Bartered Bride, C-l Smetana therefore, no assurance that has collected 3485 Waltz in Fm. Op. 70, No. 2, -4 3182 Cortege than violins; you have, 3486 Waltz du . .Ippolltow-Iuanow is in Db. Op. 70. No. -i Sardar, E-5. . bridge, a good violin cleaner necessary. Al- 3, 3559 your violin is genuine. If it is. it could 1717 Waltz in Em, Waltz. Serenade for Birinas, that most any repairer can sell you a bottle. Or. if No. It, -4 G-5 Tsclialkousky worth ten thousand dollars; on the other be you prefer, you can have a very effective not be worth fifty. Not even the hand, it may Ask your dealer for Century music. It ne can- value an instru- cleaner made up at your local drug store. The Ask your dealer for Century music. If He can- most experienced expert can not supply you, send your order direct to us. formula is: Fine, raw linseed oil. seven parts; not supply ment without seeing it. Our complete catalog listing over 3700 num- you, send your order direct to us. oil of turpentine, one part; water, four parts. bers is FREE on request. Our complete catalog listing over 3700 num- After the mixture has been prepared and the bers is FREE on request. Mora Questions on the Vibrato bottle well shaken, pour a little of the mix- I very sorry CENTURY MUSIC PUBLISHING CO. J. L., San Salvador. C. A.— am ture on a soft cloth and rub gently over the first letter 254 West 40th Street York that my personal reply to your was violin until all traces of rosin have disap- New 18, N. Y. CENTURY MUSIC PUBLISHING CO. that the second lost in the mail, and I hope peared. Then polish with a clean cloth—pre- soon as yours was re- 254 West 40th Street New York 18, N. Y. letter, which I sent as ferably an old piece of silk—until the varnish this is in ceived. will reach you long before is completely dry. Keep on polishing until you. the subject of print. As I have written to there is no trace of stickiness anywhere. This with in detail in the the Vibrato was dealt mixture is widely used and it always gives and I trust you July. 1944. issue of The Etude, satisfactory results. RARE VIOLINS ©epenbabilitj) of that issue by the will have received a copy FRANCIS DRAKE BALLARD you read this. (formerly of Sauce 1874 periling a Clientele time 320 E. 42nd St.. New York City) The Right Wood for Violin Making Now Located At of TROY, PENNSYLVANIA Sfdcrfmfnatfng Saving planers R. B. A., Kansas.—I do not know of any Liebieli list of fine The Violin Maker, Scndjor new ol it violins. SIU5 to S2Q00. SPECIALISTS IN BOWS. REPAIRS, etc. Gottfried Lieb- well-made violin that has a sycamore back, VIOLINS, O. E. A.. California.—Johann CATALOGS and LITERATURE on REQUEST important mem- and I rather doubt that it has ever been used ich (1755-1824) was the most living by any of the better makers. Ruggieri some- ber of a large family of violin makers Germany. He founded the business times used poplar, but at least ninety-eight PLAY BY SIGHT IViliiam andSon in Saxony. If driZimJb- descendants. per cent of the well-known makers always PIANISTS. you cannot play a composition with- still carried on by his out constant practice, you 207 South Wabash Ave, Chicago 4, III- which is used maple. Experiments have been made with need special instruction — are quite well-made, his violins to eliminate this handicap. The best Pianists and Though they time, but they have AccompanistsApoftmnfinictu PUBLISHERS OF "VIOLINS and VIOLINISTS" high prices. Today other woods from time to sight Readers. The secret of never commanded Sight Reading is America’s only journal devoted to the violin have not been successful. -“vealed in "THE ART OF about one hundred or one hundred SIGHT READING” Specimen Copy 25(* 12 issues for $2.50 they bring — Improve your playing and advance more and fifty dollars. rapidly. announcing publication of 5 Lessons complete with Music $3.00 Value of Violins 1» F. A. Glass A LIMITED EDITION DANFORD HALL, 1358-AC Greenleaf, Mrs. M. E. W., California.—Friedrich August Chicago 26, III. A Nicholas Morlott Violin violins of Nicholas Mor- Glass worked in Klingenthal, Germany, be- H>tratis?” H J.. Ontario.—The “Slotu iWanp somewhat in the style of tween 1840 and 1855. Today, his violins are lott are well made, “(Due heritage from tlje itlaStci” rather large. worth from about fifty dollars to, at most, one FRANKIE (All LE -m OnMaiu/h, Didier Nicholas, and are usually sold for as hundred and fifty. Though he copied a number By Ernest N. Doring Snecimens in good condition have Sfy/ftf oftJ/lcdein P/aner Miy/ny hundred and fifty dollars. He of the famous makers, his instruments are not An important work of 380 pages recording ex- much as two Mirecourt, France, around 1825. favorably regarded, for he used inferior var- isting instruments with their stories and his- working in was nish and the tone is hard and glassy. torical background, containing over 100 illustra- tions work. of genuine specimens of Stradivari's Handel Sonatas Expert, Authentic, written in fascinating style. you do not ten me A Young Chamber Music Enthusiast S. P- I.. Virginia.—As The most ever presented. advancement, it Miss B. W.. Delaware. is a pleasure to complete survey anything about your technical —It to say which of the Handel hear from someone of your age who is as PRICE PER COPY $20 ?s not elsy for me you to study interested in Chamber music as you are. Most Sonatas would be the best for 6cftIJOUt your tone, I teen-agers, if they are talented, prefer to show ° However, as you want to develop ftni’Diile Mtc/et/tei No. 3. in F off in solos. To the discriminating string would suggest that you begin with sonata calls player, however, there is no musical pleasure AS 4f{ PLAYS THEM major. The first movement of the Answering Etude Adver- beautifully sustained, sing- equal to the playing of chamber music, and for and inspires, a MISSOURI WALTZ worthy of much study. The your present interest indicates that you are (Swing tisements always pays ing tone, and is HINDUSTAN a lofty and inspiring going to have a good deal of fun as you get third movement, also, is fourth older. Good luck to you. DOWN BY THE OLD and delights the reader. of music; while the second and MILL STREAM a piece ” ON THE ALAMO

A Revealing in THE ONE I LOVE New Book Two Parts

".FORWARD MARCH WITH MUSIC September. 194 ^ 331 — J ‘

the pupils. The teacher who is well Teaching Woodwinds trained and who loves her work will find this phase of her profession just a happy challenge. in the Schools Teaching Procedures

( Continued from Page 498) The three common procedures followed in the teaching of the woodwinds are of course to teach the class of mixed in- fingering and care of the instruments struments together, to teach the class of than boys. In fact, in one of my wood- like instruments, and the plan of indi- wind classes of music supervisors the vidual instruction. If teacher time per- other day I cited an example of the mits, a combination of indivual instruc- obvious lack of mechanical adaptability tion supplemented by either of the two on the part of one of my private pupils class procedures is highly desirable. In a young lady who was unable to locate many school systems, the teacher must a glaring break on her oboe. A woodwind follow the plan of teaching all winds class member who apparently had re- or all woodwinds together because of the sented my remark spoke up rather indig- shortage of teacher time or the short- nantly, “But, Mr. Wain, I’ll bet you can’t age of private teachers in the commu- make a dress.” With embarrassment I nity. The principal objections to the admitted that I couldn't make a dress, mixed group plan are the lack of indi- but I added that I was hardly expected vidual attention, the failure of any in- to make a dress while she, as an instru- struction book to be adapted most mentalist had chosen a profession where to the effective starting tones a knowledge of the mechanical workings and playing range for every instrument woodwinds is a “must.” (the oboe of the and bassoon The woodwind teacher must know suffer most in such a pro- cedure) , and the difficulty more than just how to finger the instru- of keeping all players progressing equally. ments. He or she must have a first hand There are two features of the understanding of embouchure, attack, mixed plan which can be listed as advantages: breathing, and intonation pecu- the stimula- proper tion to the children of playing in group, liarities. To actually play each of these a and the opportunity from instruments and get the feel is, of course, the school’s standpoint of teaching wise procedure, but without it one the many kinds the of instruments great deal by following the which are needed to fill can learn a the instrumentation of directions given in the leading instruc- the band and orchestra. The class of like tion books which are available at your instruments middle-of-the-road” procedure. music dealer orOl theUie uiitfcity musicmumi, juuua.jobber, ‘J1UUCUU16 ’ havinp-g 1WV. ad'antages I wish it were possible in this article to . mid disadvan- npared W th the other just one of these fundamental , tw0 discuss J S,o^ . ! ®.eem obvioUs There are phases of ’ . ‘ ® enough not to issues, “breathing.” T nn n - the problem of breathing which are com- ericas 7’oremost mon to all woodwinds and differences jrfm A Survey Is Made which apply to one and not the other. “ a survey thr°ugh With references to fingering again, I certain states, I 0 or the that authentic charts of both ensemble type of instruc- would urge J ™ ec fingerings and trills be secured from your ° *ors were using and t J? '' music jobber. Do not rely entirely upon 1 Bachman En- 8 CLEAR, “ Method - your mechanical sense in figuring the Aj“ In teacher train- £ °und COMPLETE correct fingering. Refer to the charts. .5°, this book reason- CORRECT AND 5 alon Recently a former music education stu- ^ B with a few other t THE STUDY THE PIANO °ds ' In the class FOUNDATION IN OF dent who is now teaching asked why the L of like wood- winds,n^, noneJ, can use of thumb “f” on the Albert any of the good fingering instruction books If she had secured a written for that Book Designed (for First Grade Pupils. clarinet is so sharp. par A ticulav instrument just fingering chart for the Albert clarinet as m the ca^ In this Book the author lays much stress of private instruction. would have found that thumb “f” It would be im- on MELODY PATTERNS, RHYTHMICAL she all, but f-sharp. y favorites ‘n an article and, isn’t “f” at w PATTERNS, HARMONY PATTERNS “rif Cently a request came to me forfoi the in all of his Books, “makes haste Equipment name of a book for as Repair which clarinet would be effective in the slowly." teaching situations the wood- the study of In most use of the trill available keys and embellish wind teacher should have ments A shortage of good material along PAPER HAS GONE TO WAR TOO! repair equipment such as pliers, this simple line leads me to suggest spring hook, cork the book War Time Restrictions on Paper necessitates using a small screw driver, which I use not only with my substitute Paper in publishing The John Thompson oil and swab conserva- grease, mechanism oil, bore tory clarinetists, but. Modern Course for the Piano. As soon as restrictions with my flute oboe was application, an assortment of pads, are lifted, the some high quality Paper as for and saxophone students as well, publishing of it is the formerly used shall again go into the springs, cork's, and pad-cork cement. Yes, Clarinet Methods, Part course. II, by my former this add reed trimmers, sand paper, we should teacher, Gustave Langenus. It presents razor blade. This formidable and a safety in an interesting manner not only the of supplies is not mentioned to list trill chart, but material for the develop- the young woodwind teacher. frighten ment of the several embellishments Co. woodwind repair man is not used The WILLIS MUSIC When the m playing. easily accessible, the teacher will often h b0 k ",hich at his own ability for .° has been 01 par- Cincinnati 2, Ohio amaze himself tMa°r ifi 124 East Fourth Street, necessary repairs. For the most ? me in teachin each making the woodf a e of S part, simple repairs are easy to make and tte °ne f °V “sloping 1 the study of SEND FOR THIS BOOK fun to do. Pleose send me complimentary and without obli- gation, THE JOHN THOMPSON MANUALS No. 1 Must Understand Children and No. 2 embracing a catalog of "THE MOD- A final requirement of ERN COURSE FOR PIANO"—"SUPPLEMENTARY the successful TECHNICAL BOOKS" and "THE STUDENT SERIES.' teacher is that he or she love his work, and understand eSteeraed the psychology of teach- teac trer. Mr. NAME ing and the psychology La“geiuf™nfa of working with made request he children. In class back 26 “7? STREET. work, the teacher must 111 the magazine, care foi “Woodwindwoodwind News,”?, individual differences in which unfortunately the i s muortunateiy progress of the no lnno^ ,7 CITY pupils, stimulate publl5hed - the chi]- a The request has dren to do their best, 7rectCt beannh solve problems of & upon this article He discipline, and yet hold the rc-spea of *ew nS£* for dpon "FORWARD MARCH WITH MUSIC a time all the "

A COMPLETE NEW SERIES PERENNIAL SOSiG SERIES A CHOSEN LIST OF DISTINGUISHED STANDARD AND PRODUCTION SONGS COMPOSER LOVE S OWN TITLE title Wildwood) Med.-High Simons SWEET SONG CHIMES OF SPRING (Spring Beautiful Spring) Med.-High .Lincke MARTA (Rambling Rose of the N ° rfon (from "Sari") Med Kalman COBBLER'S SONG (from "Chu Chin Chow") Med...... \ MY FAITHFUL STRADIVARI "Spring Maid High ReinhardtD HEAVENLY BLUE DAY DREAMS, VISIONS OF BLISS (from ) MY LITTLE NEST OF Lehar DEARIE Med -High (Frasquita Serenade from "Frasquita") Low-Med.-High GARDEN OF DREAMS (from "Red Feather") Med.-High de Koven NIGHTINGALE-Med Co9°f Sloane SILENCE (from "Mocking Bird") Med NIGHTS OF GLADNESS-Med Anc/iffe IN ..Unck IN THE SHADOWS— Low-Med.-High PLAY FIDDLE PLAY—Med Deutsch & Altman Med.-High Geiger JUST FOR TONIGHT— FOR LOVERS (from "Rose Maid") Med. . . Granichstaedten Kln ROSES BLOOM KING'S SERENADE—Med 9 THE OLD GYPSY (A Ven Cigany) Med Kondor AND SING EV'RY VOICE , Rcl.ihardt LIFT ... , „ , TWO LITTLE LOVE BEES (from "Spring Maid") Med Anthem) Med.-High J. R. Johnson (National Negro WHEN THE BELL IN THE LIGHTHOUSE RINGS—Low-Med Solman WHERE THE SUNSET TURNS THE OCEAN'S BLUE TO GOLD—Med Petrie Waitz from "Sari") Med.-High. . Kalman LOVE'S OWN*SWEET SONG (Sari Roig Med.-High O. Straus YOURS (Quiereme Mucho) Med.-High LOVE'S ROUNDELAY (from "Waltz Dream") at your local dealer or direct from PRICE 50(J EACH Available Send for our Free Vocal Thematic ° • N. Y. CORPORATION • RCA BLDG. RADIO CITY NEW* YORK 20, EDWARD B. MARKS MUSIC jwvjwjwjvwvywNvww' alignment and special ma- woodwind instruments were made of tention to neuvers and also, being relieved of the TTO EASY WAYa/£ wood, but with the advent of the silver gErq) piano music, they are able to assume all re- IK FE flute, and the silver clarinet, the name * sponsibilities concerned with the march- If ehL LS LS TEACHESPIANO? Woodwind should be changed. We timidly teachers routine. The plan of memorizing suggest Woodsilver-brasswind. What do ing marches should be followed only when TESTED PLAN to help jVit/iout AfutUc/ you suggest?” Yes, we might add the bandsmen have sufficient time to metal oboe and bassoon. With the title the you get more pupils learn every note of the march. would feel safer thoroughly Woodsilver-brasswind, I more musically dissatisfying saxophone into Nothing is Out of W. Otto Miessner’s many years with the inclusion of the to per- to hear a band attempting the woodwind family, as I have inten- than experience as one of America's great from memory a march that has not tionally done throughout this article. form music educators has been built a simple thoroughly prepared. In such in- woodwinds in been effective which you can follow to If the teacher of the parts and plan stances, they are “faking” the the field of music education possesses a get many new pupils at a bare minimum are attempting to play the melody- sound good performing all studied musicianship; a Yes, I have heard it! of expense. Dr. Miessner has a work- even the tubas. ability on one or more of them; and shows poor the problems of piano teaching from This is indeed degrading ing knowledge of all of them as to pro- judgment on the part of the conductor every viewpoint and in this new booklet cedures, materials, and simple repairs; tolerate such performance. gives you the benefit of the knowledge for work- who would an understanding of, and love rehearsal time In situations where ample he has gained. Write today for FREE ing with he or she is in a children, for the memorization of Get contribution is not provided copy of booklet, "New Ways to position to make a lasting course desirable parade repertory, it is of New Pupils” by W Otto Miessner. to the lives his pupils, and at the of the score. of a job to play from same time enjoy the satisfaction just Coupon for FREE Booklet Excellent musical performance is Mail well done. success of a good band as essential to the has frequently been MIESSNER MUSIC COMPANY is marching. As as Dept. A, 308 S. Wabash Ave., Chicago 4, 111. bands can march well, stated' “Some Please send me free booklet without obligation. few can some can play well, but only a Forward March! march and play well at the same time.” not personally believe in the use Page 499) I do Address (Continued from French Horns, bassoons, not doing of oboes, flutes, our school we are Make This Conclusive 10 Day Test I band work For ... Slate or bass clarinets, on the march. City- exclusively these things; therefore, it is alto average high school band these in- On arrivul deposit 11.19 pins postage I to provide the through postman. There is nothing I our obligation to the student financial invest- challenge of such an order. Yet, I am struments represent a more to pay. I aspect course carefully, I for experience in seohowsiiuployetthoroughiLis. Follow a complete musical warrant their use certain it can be done. Many superior \ which does not it for 10 days. Then if you aren't actu- both the concert and marching bands. ment inclement weather that is usually high school and university bands offer ally playing the piano and playing it well, if you aren't en- other, in the tirely stitislied and delighted with yonr discovery, return is without the the One incomplete marching season. positive proof of this fact. get your money musical associated with the course and hack. Piano playing is more and popular than ever. DON'T WAIT HUT WHITE 1 from both an educational to other voices TODAY If These parts may be cued you act now you will receive without extra cost the wonderful, viewpoint. Horns, big. 72-page Dave Minor piano song book of 50 songs. You of the French .. . and in the case quickly learn effective and ^ bell-front altos are more I want to Know! clarinets DAVE MINOR, n m 187LL, 230 E. Ohio St., Chicago heard. I prefer the metal (Continued from Page 496) 11, III, Music for the Marching Band can be marching purposes, since they are very good musick, for Banister cannot be obtained for The best results to checking or cracking and procure the best the mu- not subject found means to from any marching band unless every way. LEARN "SWING" MUSIC are more practical in hands in towne, and some voices sic selected. The marches Quick course to pincers of all instrument-,.-make your is carefully ' be striking, smart, there, and 8- horu l s obbligatos, Uniforms should to come and performe ombei lfslumm ts! figurations ’bufc* ? ? r be 0" 08 ' band should °'C ‘ for the average school Avoid the loud, of hu- MODERN DANCE ARRANGING full colorful, but dignified. there wanted no variety of an easy or medium grade with Duets, trios, quartettes mid ensembles— special choruses uniform. The himself l inter to oilier reeds elaborate, over-decorated mour, for Banister —modulating keys—suspensions -anticipations continuous parts for the brass, with de- —organ points—color effects—swine? backgrounds— style, and accessories ) did upon a flag- dif- color scheme, alia wonders Write today. in the register and not too ELMER B. medium consideration and should eolett to a thro' Base, and the FUCHS , erV e much 335 East 19th St. ficult. variations for clarinets should Brooklyn 26. N. Y. Any the dignity of the organization severall masters had their solos.” without difficult 01 preserve be technically easy in his announcements, spoke Reed ob- at all times. Banister, KEEP BUYING BONDS awkward fingering patterns. band Instru- TO drill of a good marching of his concerts as “a Parlay of effective on the The BRING bligatos are not usually evolutions which every OUR BOYS HOME for should include ments.” march. Attractive countermelodies expected to perform on the desirable and band is trombone and baritone are march, THIS MONTH—On this These consist of : Forward THE COVER FOR do sonority and street. much to help provide Increase front. issue we present the Prize-Winning Cover Percussion Halt, Play. Cease playing, Successful STUDY precision to the ensemble. was painted METHOD Diminish front, Countermarch, Column —“Russian Festival.” It by parts too decorative, but should not be many bands are Miss Lois Kerst, 31 Hilltop Rd.. Chestnut for • after right, Column left. Too COLLEGES SCHOOLS TEACHERS simple and “full.” Avoid too many spelling words and making vaii- Hill, Pa. This talented young Philadel- beats, with precision, adept at Endorsed by eminent authorities. “Musical as this plays havoc are totally deficient phia suburbanite with this work won the ous formations, yet lheory” by S. especially in formations where the bands- M. de S. M. Marcouiller combines evolutions mentioned above. first prize award in The Etude Cover De- in the Practice with theory in a simple, proven study men are widely spaced. which only students of conclusion. I wish to emphasize my sign Contest in method. If best results are In $2.75 complete. For folder address— time will permit, the be a good the Philadelphia Museum School of In- be belief that every band should achieved by the march to E. J. memorizing that every band should dustrial Art recently were invited to par- MARCOUILLER, 17 E. 42nd ST., NEW YORK 17 Played plan en- marching band; on’ the gridiron. This ticipate for three prizes. be a good concert band. I realize the ables the bandsmen to devote more at- "FORWARD MARCH WITH MUSIC 333 SEPTEMBER, 1945 ”

hotel—and unthinkingly tossed his hat Superstitious Musicians upon the bed. Campanini promptly took the hat, opened the window, and threw it into the street nine floors below, to avert (Continued from Page 530) bad luck. (He promised to replace it with a new hat, and he made good on AMERICAN acts. reception of the first two his promise, but as Mr. Defrere ruefully super- Italy is a preferred country of commented: “The hat he threw out of the stition in everyday life, and Puccini had window cost ten dollars; the one he gave CONSERVATORY various opportunities of overcoming diffi- me cost four.”) super- culties which were connected with One of Campanini’s most pronounced stitions of singers and conductors. Rich- idiosyncrasies was a belief in the efficacy ard Specht relates the story how in April of old nails picked up from the street "/MUSIC Boheme” triumphed at last, or elsewhere, 1896 “La and it was no unusual conducted the CHICAGO 60th SEASON when Leopoldo Mugnone thing for him to have a quarter or a very work at Palermo. Mugnone was half pound of such junk metal in the afraid lest the Founded in 1886 by Hattstaedt, today The American Conserva- superstitious and he was pocket of his coat. John J. a date, April 13—which was, moreover, Ezio Pinza, baritone of tory of Music is considered outstanding among institutions for music edu- the Metropoli- might prove doubly unlucky, and tan positions of Friday— Opera Association (who, by the way, cation in this country. Its graduates are to be found occupying the desk. hesitated to take his place at has the strange hobby of collecting an- honor and responsibility in every department of music. appear. Puccini Also the oboist failed to cient Roman poison rings, of which he him had almost to use force to make has a formidable collection) confesses , Member oj the National Association Schools Music But let us go on of of give the signal to begin. that there is in him a strong and un- every with this story to show that not controllable vein of The Faculty One hundred and thirty Professional and Teaching Engagements superstition. Accord- — right. It was an artist teachers, many of national and in- — Graduates of the Conservatory have superstition proves to be ing to David Ewen, Pinza has retained ternational reputation, including pian- been much in demand as teachers and enormous success, the singers had to be the small and ists: Heniot Levy, Rudolph Reuter, Al- in concert, opera, radio, orchestra, dingy dressing room at the also dressing rooms. len Spencer, Edward Collins, Kurt lyceum and choir work. The News Bul- fetched back from their Metropolitan Opera House which was Wanieck, Louise Robyn, Blair. letin containing a list of about 300 suc- expiring Earl pathetic scene of Mimi’s assigned to Edwin Gemmer, Merle West, and oth- cessful graduates holding responsible The him for his first appearance; Con- therefore performed for the ers; Voice; Theodore Harrison, Charles positions in Universities, Colleges, moments was he thinks it would break his luck to LaBerge, Grund, and Public Schools will be Louis Rousseau, Frances servatories, time, with the prima donna in her change. In Fred Weicher, upon request. second contrast wto many******* peoplepeuuits uehe B. Wise; Violin: John sent and Rodolfo without a Herbert Butler, Scott Willits, Stella Rob- everyday clothes believes that Friday and the in keeping with the number erts Organists : Frank Dusen, Ed- Tuition is reasonable phenome- ; Van that, that inconceivable thirteen and may be paid in. convenient in- wig, so are lucky for him. clings ward Eigenschenk; Theory: Leo Sower- times real- He Irwin stallments. Complete particulars given in the repetition of a death-scene, tenaciously by, John Palmer, Jeanne Boyd, non, to a luck-charm—a small, Fischer. School Music C. Dissinger, Ann catalog which will be mailed on request. occasion. And all — took place on this battered doll, Trimingham, Harvey. ly which is his mascot every- Russell The management night, Friday, the Students’ Self Help— this on an opening where and which always Accredited Courses are offered in Piano, makes every endeavor to assist needy decorates his Vocal, Violin, Organ, Orchestral Instru- students to find part-time employment. 13th! dressing table. teachers, accom- ments, Public School Music, Children’s Many find work as An editorial in The Piano Work, Class Piano, Musical Theory- panists or part-time positions tvorking Etude of 1937 men- houses, etc. tioned a for commercial Gustav Mahler singer who imagined that he Music, Bachelor reside at the Con- Degrees—Bachelor of Dormitories—Students was not at his best in of Music Education, Master of Music servatory Dormitory, at other desirable never through- the full of the houses Gustav Mahler could moon; and and Master of Music Education are con- dormitories and private boarding a pianist who felt of Illi- request. induced to play or show a that he ferred by authority of the State at moderate rates. Particulars on out his life be should not open the nois recognized as a guarantee of piano except just and any time. of a work which was not en- accomplishment. Students enrolled at single note before his performance. partly modesty The average ac- tirely completed. This was Well 1161' President ’’reticence, partly superstition. face For free catalog address John R. Hattstaedt, and the tnJ^yy of°Tosinglo in connection hS^hjob ^than superstition . known is his the

to attribute the success of a part to a School of Music Drama. The Ministry of pail’ of shoes, instead of to my own War has a Band Training School for ability.” training band leaders in the army. In ad- dition to all these governmental institu- tions, two church schools, West China Even Scientists are Human Union University and Ginling College for We are not so much surprised when we Women, have music departments too. hear of musicians and other artists pay- Inasmuch as all of the above institu- ing their tribute to certain superstitions. tions have been carrying on under more After all they are supposed to be sensi- or less the same conditions, I shall in- tive by profession. However—what about troduce only one of them which I know scientists? May we point out that even best: the National Conservatory of Mu- scientists are not free from human feel- sic in Chungking. ings and emotions. So numerous have been the requests tor choral arrangements that Some years ago, a physician, professor numbers. These selections in the Cradle of the Deep" we have prepared the following hymn of medicine at the University of Berlin, "Rocked are so familiar to radio listeners the country over that they are complained bitterly in a medical journal The National Conservatory is located classics. Talk it over with your choir director. that he had discovered in some scientific in Ch’ing Mu Kwan (literally ‘‘Green rapidly becoming medical publications the following lines: Wood Pass”), about forty miles out of RUGGED CROSS IN THE GARDEN Arranged by. Price Arranged by Price “Using this method we have had no Chungking on the Chungking-Chengtu No. 1560, SSA... Griffith J. Jones.... 16c No. 1941, SSA Griffith J. Jones built " " No. 2001, SATB . C. Austin Miles ....18c fatality so far, thank Heaven or “So highway. It was among bamboo No. 1942, SATB.. HE LIVES far this method has been very successful, bushes on the slope of a hill, right be- No. 1943, TTBB... No. 1944, SA ....16c No. 2005, SATB ..Griffith J. Jones.... 16c touch it would be bet- and historic Pass. All the wood." He insisted side the scenic FORWARD WITH CHRIST in- because of ter to omit such evidence of human houses are of one story, and No. 2007, SATB Arranged by Griffith J. Jones 16c adequacy scientific pub- are of thin and weakness in lack of funds, the walls made The above numbers are printed from new engraved plate.. lications. splints with clay pasted on the bamboo Order from your local music dealer or direct from the publisher. But I believe this lofty attitude did not outside. The roofs are made either of a do justice to human feelings and con- thick layer of dried grass or of a thin science. A new kind of treatment may layer of tiles—both types “nothing- appear safe, may seem infallible in cur- proof.” In good weather, it is quite poetic 1143 WEST NINTH STREET WINONA LAKE, INDIANA ing the sick, but still a man who has a to live in this kind of house, for one can feeling of responsibility knows within see stars glittering through many of the himself that there are no such things as tiny holes in the roof. When it is raining It HANDS you the Music you want Protects absolute certainty, safety and infallibil- at night, teachers and students have to music from ity in the world. So he devotes a word of and put their wash basins, tea dirt or get up TONKabinet has special damage. gratitude and appreciation to the un- cups, and everything that will hold wa- drawer-trays that file sheet Richly styled. known “Powers that Be” to Fate—the under the leaking places. music easily; keep it neat, or- — ter, directly derly, clean, findable. Every Beautifully secret partner in his success—a silent Some times they are compelled to open sheet is so quickly accessible, one sign that he has not forgotten about their above the pillow, and go to it almost hands you the an umbrella you want. At your dealer’s, or By makers of existence—and he feels safer and relieved bed again with the pitter-pattering of put it on your postwar shop- Nationally ping list. Tonk Mfg. Co. Tonk because he for himself to “pleasant dreams.” Known has not claimed water lulling them Furniture. alone, all the merits of a happy ending Once when a student came to my office of his endeavors. to complain, I just taught him to sing, Sizes and We better of this cradle of the deep, I lay styles not deprive him “Rocked in the TONKci bine ts for safety-measure that goes with his feel- me down in peace to sleep.” Homes, | ing of responsibility. It is still more Because of lack of sound-proof pro- Schools, con- Bands, etc. modest and more of a relief for all visions, all practice rooms and recitation for Sheet Music cerned, to knock on wood than to blow rooms are built in separate cabins, and one’s horn! are well scattered on the hill side. When one comes back from a lovely evening stroll along the highway, one can see the beautiful sight of these dimly lit cabins, BUY WAR BONDS AND Musical AdvancE in put on the hill side like toys, following STAMPS FOR VICTORY no other order than the natural shape, China and inclination of the hill. As you hear the sounds of instruments and singing, are very serious ( Continued from Page 487) you know your students in their studies. The headaches you ac- cumulated in the daytime are gone and words it sets the beginning of Music in you go back to your cabin, which you China over 4500 years ago. Second, a new home, light-heartedly and almost standard pitch has been set for Huang call of hopping with joy. Chung ( Yellow Bell) the lowest tone , the Chinese twelve-tone scale. It is 328 vibrations per second, equivalent to the The Instrumental Equipment D immediately above middle-C when A ten upright pianos and five is 440. We have four-octave reed-organs to meet the Members of the Committee still hold the entire Conservatory. Several their annual meetings, but the office is needs of the pianos must have been wedding now a part of the National Bureau of of some of the retired missionaries. Rituals and Music, when the latter was gifts to you should see how faithfully they established in 1943 for the purpose of But us. Every one of them is used from studying and revising rituals and music serve 5:30 A.M. to 9:30 P.M. Because those who in New China. are scheduled to practice in the first hour do not want to waste a single minute, it sitting at Music Now More Than Ever is not uncommon to find them piano ten or fifteen minutes ahead of In her eighth year of war, China is the Should they get there too early, paying more attention to the training of time. they just lean on the piano and doze off. music teachers and professional musi- have soon as the 5:30 morning bugle cians than before the war. Now we As sounds, all the pianos start off together two National Conservatories of Music, playing a modernistic sonata for one in Chungking and one in Fukien. Two as if Colleges ten pianos. Sometimes a few of the most out of the six National Teachers industrious youngsters can not resist the have music departments. There is a mu- following temptation to practice at night with the sic department in each of the pedal on. When it is my unpleasant institutions: Central University, National soft to stop them, I just go in with a College of Social Education, National duty Continued on Page 538) School of Dramatic Arts, and National ( WITH MUSIC SEPTEMBER, 1945 "TORWARD MARCH Ilonna Learns to Phrase

Carotan WliU

ONNA skipped happily along not phrase nicely? I can not under- the street, humming a gay little stand it. Really I can’t.” complained D tune. For one thing, it was a Miss Hope. gold and blue day, and for another, ‘‘I guess I am not very musical,” she was on her way to her music les- Donna replied, sadly. son. She loved to play the piano and “Yes. you are. That’s not the rea- wanted to learn to play beautifully, son. I think you just do not keep your bring happiness to so she could ears open. You know, there is a real hersslf. others as well as to conversation in music. Well, we will

A. GEST nf- ELIZABETH I ir\e s

Brain Work one thing But there was just wrong stop for today. You may expect a could not phrase well. Miss b —she letter from me in a few days.” 't constantly reminding Hope was her As Donna was walking home, she of it and explaining about it. Donna £.Jl. thought, “A letter! What can that a would forget all about phrasing when mean! Why would she send a letter the These are the strings that make move the hammers that strike the tone. These are the hammers strings that make the tone. These wrists that strike the strings that make the are the arms that guide the control tone. These are the keys that move that hinge the hands that the hammers that strike the strings the fingers that press the keys that the that make the tone. These are the move the hammers that strike These fingers that press the keys that move strings that make the tone. in the hammers that strike the strings are the shoulders that put weight playing, or, if she guide the wrists that she was remem- 16 that make the tone. These are the the arms that Wh6n 1 Was right there t0 talk the bered it, she would do it in the to?” hands that control the fingers that hinge the hands that control wrong place, “I like it just as well press the keys that move the ham- fingers that press the keys that move In three days the phrasing,” she mysterious letter that strike the strings without would tell arrived and mers that strike the strings that the hammers this is the way it was make the tone. These are the wrists that make the tone. bosses the that hinge the hands that control This is the brain that the fingers that press the keys that whole job.

Your Second Wind Hope, and Miss Hope Miss would 4 Bar d0nna 11 you would l,j jOitL W. JoJan answer, ‘‘You may think you do. but pluasenhrn u well you would be some day you will see a great big one G( my best pupils this diffeience. important matter of weary boys had been tramping of energy we have that is waiting phrasing you Two must attend to phrases effort we make Donna had seated herself at the for hours and had gotten lost in the for one last, extra ®s ™P°rtant to piano, and Miss Hope asked for . music as punctu- woods. Finally they reached spot to win! That is what we call second the , to a literature these sentences now and you Bach inue . e s egm with that strm where they recognized some land wind. Put it into action 18' ^ an onna t08ether without a the recital. today, played it very pausenous'% J marks but they knew they were still will be a success at for breath that's believe well except for one thing. the way yoiu far from home. “I’m tired,” exclaimed “O.K.,” said Margaret. “I “Very playing sounds you must make im- coming good,” remaiked Miss Hope, ‘‘all Ted; “I just can’t walk another step I feel that second wind but poitant places sound the phrasing. Why, O why, important il "Oh, on,” urged “Keep already.” do you makes no come Pete. sense if you don’t phrase going and you will soon get your please listen carefully see if you car second wind. That’s what always make a crescendo and diminuendo ir lands you at the goal, you know.” Storm Song your phrases so some places sound Back in the town Margaret was more important than other placef taking her piano lesson. “I’m tired !,u Wtartha V. BincL then it will be more musical and of this piece, Miss Brown. I just can- beautiful stop for breath before you not make any progress on it, and go to the next phrase lovingly miss hope.” I’ll never do it well enough for the recital,” she complained. Donna had to read the letter over and over again “Oh, come on,” urged Miss Brown; before it made sense to her. “keep going and you’ll soon get your “I don’t get it,” she remarked the need to give up first time she read second wind. No it; then she began to add now, after all the work you have some punctuation a rise am on it.” and fall of done voice as she i* ad “What has second wind to do with practicing a piece for the recital?” asked Margaret. “Well,” began Miss Brown, “you nearly always find the abil- know we Mlss to accom- H°pe certain "'a ity and strength we need distn iTff' iy ab°Ut i1; or win our battles, ' but she nee plish something, . . neve, h The br..W ,mg a ^homing The e again. up our reserves, just as rail, pounds loud ils polling I get the idea now. by calling The thunder drums roll* long. S reserves, Amid theIlf" wind'sI".. wild...ll J bure do in the army. Our enough, Miss Hope wa they The storm wind plays a shrill high fife Th.... storm hidden store song is a frightening Pleased, and in this case, are in that And joins the howling song. ^tth one she never had to remin all its Clashing themes! Donna of her phrasing again. 53(5 THE ETUDE ,

Junior Etude Contest

The Junior Etude will award three at- you enter on upper left corner of your tractive prizes each month for the neatest paper, and put your address on upper and best stories or essays and for answers right corner of your paper. to puzzles. Contest is open to all boys and Write on one side of paper only. Do not girls under eighteen years of age. use typewriters and do not have anyone Class A, fifteen to eighteen years of copy your work for you. 1H1US age; Class B, twelve to fifteen; Class C, Essay must contain not over one hun- under twelve years. dred and fifty words and must be re- Names of prize winners will appear on ceived at the Junior Etude Office, 1712 (1) Pa., this page in a future issue of The Etude. Chestnut Street, Philadelphia , by The thirty next best contributors will re- the 22nd of September. Results of contest ceive honorable mention. will appear in December. Subject for Put your name, age and class in which essay contest this month, “Recitals.” COLLEGE CONSERVATORY OF MUSIC Quiz No. 7 The Orchestra ( Prise winning essay in Class C ) 1. What nationality is Stravinsky? From my experience in musical A professional music scliool in an attractive 2. Was Saint-Saens a singer, pian- groups I like the orchestra best of college town. (Member of the National ist or composer? all because of its many qualities of 3. What is an augmented fifth? Association of Schools of Music.) tone. I played with an orchestra first 4. Which major scale has E-sharp the harp and I am now a violon- Thorough instruction for carefully selected for its third tone? on cello member of our High School Or- students in all branches of music under artist teachers. 10.5. What is meant by Da Capo? chestra. It is a good orchestra but 6. If a complete measure contains Special training in hand and choir direction. early in the morn- one quarter-note, two eighth- it practices very in our summer music Write for catalogue describing Obcrlin’s conservatory notes, two sixteenth-notes and ing. I am also orchestra. I enjoy attending practice four thirty-second notes what camp courses and its superior equipment (200 fine orchestras. should the time signature be? concerts by rooms, 23 modern organs, etc.). Degrees: Bachelor of thing about an orchestra is 7. wrote song, Hark Hark One Who the , Music, Bachelor of School Music; Master of the Lark? its many purposes. It supplies ac- of Music Education. companiments for soloists, music for Music, Master 8. What does this • • — suggest? dancing, music for operas, music for 9. What is a quartet? plays, besides giving its Frank H. Shaw, Director, Box 595, Oherlin, Ohio. What is the difference between own sym- a tone and a note? phony concerts. The only orchestra (Answers on this page) I do not like is the swing orchestra because that does not play what I call real music. Letter Box List Margaret Neal (Age 11),

Frederick R. Smith, Jr.; Barbara Butman; Missouri Larraine Youngquist; Edward Brown; Patty Wilkins; Barbara James; Anne Martin; Laverta Roettger; Sophis Myers; Charlene Schroer; Da Letter Box Laine Kaufman; Caliope Alexander; William Lomgner; Dorothy Leverett; Jack W. Pettit; (Answers to letters may l)e sent in care Miriam Annette Feldman; Amy Kazemba; Mary of the Junior Etude) Wrightson; Jimmie La Lumandier; Jona Gogel. Dear Junior Etude: I have been taking lessons two and a half j-ears and I love to play duets on the piano with my older sister. I think the Junior Etude Answers to Quiz ISJo. 7 * Questionnaire was a fine idea as it helps us girls and boys to get better acquainted. friend. 1, Russian; 2, Composer, but also From your Margaret R. Hack (Age 13). well known as pianist and organist;

3, A fifth whose upper tone is raised I have liked music since I was a small one - half - step by an accidental; child. I have been in an orchestra for a year and a half and have been in our school choir 4, C-sharp; 5, Return to and play for five years. I have always gotten an A from the beginning; 6, Three-four; in music, except twice, so that shows I am much interested in music study, and it 7, Schubert; 8, Beethoven “V” motif; very me many happy moments. I have instrumentalists has brought 9, Four singers or sung in a great many recitals and other places performing together, or music writ- and hope music will bring me as muck hap- piness in the future as it has in the past. performance; 10, A tone ten for such From your friend, is a musical sound, while a note is Robert Thompson (Age 15), Illinois. the written representation of it. Other Prize Winners in the June Essay Contest: Class A, Merle E. Baer (Age 16), Pennsylvania. Class B, Donald H. Kuhn (Age 14) New Jersey.

Honorable Mention for June Essays: Shirley Hindall; Melvyn Kwritzky: Freda Goldblatt; Donald R. Hunsberger; Marjorie Blake; Calvin Seerveld; Janis Ruth Smith; WESLEYAN CONSERVATORY OF MUSIC— A DIVISION OF WESLEYAN COLLEGE Hazel Buchanan; Norma Stollman: Sai-a Lois McRoy; Charlotte Harrison: Betty Maier; Fair- Institutional member of National Association of Schools of Music ley Cunningham: Mary Lou Snyder: Ruth Degrees : B. M. and Nottinger; Helena McIntyre; Iona Murtrie; A. B. with major in music Marvin Walters; Ethelinde Barnes; Buckie For Catalogue Mackenzie; Mary Jennings; Doris O'Shea; Al- and Information addreas: berta Trautler; Cornelia Besson; Audrey The Dean Wesleyan Gookins; Janis Wismer; Sydney Leary. Consebvatory Macon, Ga. MUSIC” SEPTEMBER, 1945 •FORWARD MARCH WITH 53 7 A — i ' » «

-JUI.LIARD SCHOOL OF MUSIC- Musical Advance in China

ERXEST HUTCHESON, President (Continued from Page 535) ART INSTITUTE OF MUSICAL smile and say. “Bill, I think you need development of our own music—the I to him GEORGE A. WEDGE, Dean the sleep.” What else could say policy of building a sky-scraper on our when I really want to hug him and say, own foundation. Our students play and Individual vocal and instrumental instruction. •‘God bless your heart.” sing Bach. Beethoven, Schubert, Chopin, education. We do not have fire in the winter, so and so forth, and my chorus sings Pales- Instruction in theory, composition and music we tolerate overcoats, scarfs, and even trina, Vittoria, Haydn, Handel, and so the B. S. and M. S. Degrees. Diplomas and hats in class rooms. When students prac- on. But, in addition, they also are often they have to rub their hands fre- given compositions of Catalog on request. tice, our own composers quently, warm their fingers with their and new arrangements of some of oui N.Y. there is a 120 Claremont Avenue Room 432 New York 27, breaths, or wear gloves. When old music. recital, they have a special treat by hav- Students, during the dreadful war pe- ing back-stage a fire-pot of burning riod, are very greatly undernourished basin of hot water charcoal. There is a and so are the teachers (I gained exactly OF FUNDS dip their hands into, thirty HELP YOUR COUNTRY NOW AND ASSURE YOURSELF on top for them to pounds in the five months since I they appear PURCHASES just a few minutes before left Chungking). Many of students LATER FOR A NEW MUSICAL INSTRUMENT THRU WAR BOND our in the program. are thousands of miles away from home high school gradu- We accept junior and haven’t heard from their home folks

piacuce STUDY? under dim oil lamps; many have WHERE SHALL 1 GO TO no money | to buy daily essentials; and quite a few are barefooted and wear grass sandals _ l summer and winter. I take

cii (New York y | Private Ieachers (Westoml Private Teachers DR. ELDON-ROI H. FREDERICK DAVIS NOTED TEACHER OF VOICE Chinese-music Screen Radio and of note that majors are are “bloody Stars of Stage but ' Singers Pupils include unbowed Teacher of Many Successful Metropolitan. Capable Assistants. required to take a certain amount of Accepted China's 'future is upon All Branches of Singing Tough). Beginners Phone Walnut 6487 1 and other not deoendins City, Utah of Music Western music majors are re- its Studio: 606 Templeton Bldg Salt Lake Philadelphia Guild | venerable u, Write— lo< klng 3-0316 (or 4-5746) for appointment Allied Arts—Teachers quired to include a certain amount of ' '! Phone and organized mnvem ; h.v Phila.. Penna. , Mthi t '"lU some d Write for Free Circular 908 Walnut, i Chinese music. This practice agrees with ! enable us her „!!!. t , STUDIOS our policy to apply the Western technique 6, haVe a HAROLD HURL BUT CHARLES LAGOURGUE part in the mnsiefi a' , '“in performance and composition usical development of man Paris—New York—Hollywood u of to the kind of Singing °5 Member Natl. Assn, of Teachers ggfffiife uf» ™ous to its sustaining Lecture-demonstrations for teachers I years o *“•*«,fund, ccvuneach ye«*-year. were . ^ THE Bldg.. New York City conducted in These are some wh»" SAMOILOFF 801 Steinway St. Ja4s of the things BEL CANTO STUDIOS & OPERA ACADEMY ranged in this Hah^™HaU ar ‘ are fashion wrong with the concerts, and The only place where you can leern the original Increases Somoiloff Bel such E. TREUMANN in size concert managers Canto Method which developed EDWARD win , halls of today. The outstanding voices as EDDY, BIANCA than help rather ir NELSON Pianist—Artist-Teacher chamber who have to c° SAROYA, DIMITRI ONOFRI and many others. Now Concert music consistently refused Recommended by Emil Von Sauer. Moritz Moszkowski °f e under the direction of Zepha Samoiloff. SWay la ™„ of these shortcomings. Write for Catalog, 4015 Wilshire Blvd., Los Angeles 5 1 ic s Tfol"; Svit. 837. 57th St. nt 7th A... Phone FE 8294 No charge for Audition fwdii? oSfnJJl. m& Probl th ° ld 5-4357 New York City las ™> a y "™ Tel Columbus Teen 'roIdy “l Master Class—June to Sept.-Apply now. fZi\by been deceiving themse Summer centers Wh.7, Obstructing art ELIZABETH SIMPSON g ''" Up the .***« “M-M reforms of Author of 'Basic Pianoforte Technique” a t gaher“ some S viola s bbraries. handsomely,hand! giovanna —and -- 1' at the tlrou- Teacher of Teachers. Coach of Young Artists. movlng-pictuf! 118118 “'em™ , Pupils Prepored for Concert Work. Class Courses Singing— Bel Canto" tSatirr"^' ould not off little Teacher of be builte hltCl Ch1 pay 7” be after Lllg tlm,.q , Will in technique, Pionistic Interpretation, Normal the war? sand ould _ and experience abroad in Opera, ah LuH year* yet cost of Methods for Piano Teachers. European training libraries get along 8alleries and the Concert. and Radio. Specializing in correct voice beautihui vast A09 Sutter St., San Francisco; her ' y Wlth f'on eompaid The placement. Write (or audition. music as a ch ™- ^ s tears, tter 2833 Webster St., Berkeley, Cal. Trafalgar 7-8230 comm blood, and bi L„g Phone: by the as illvi heartache, Coolidge Audit strated e “ West 86th Street New York City S which into the DR. FRANCIS L. YORK 8 of Congressl^f^ta the Libra^ have gone ° e world’s a wnnce Piano Interpretation and the Theory work most ' fine music. celebrated Country s JT .trials for the degrees of Mus. Bach., and Mus. CRYSTAL WATERS chamber Therefore, mem required given mmC among the war a Mcs Special Chopin interpretation. annually) series is m CONSERVATORY OF MUSIC Teacher of Voice and hv n "’Inch our will erect DETROIT Gallery of Art he NaUonal communities Detroit, Mich. Screen, Also ' spirit victory Radio, Concert If mP S Shin" of thankfulness for , Present-day ton ' ' Opera, Pedagogy o7 Peace, let there in the f01 m audiences Sedations be those the (New York city) 405 E. 54th St. New York seem a, for Private Teachers City we quated truly modern concert-halls where Tel. Vo. 5- 13&2 say it we ™ what shall baaksta wordless will h el what language of music _ „ is provided Se and see for forth l lV ' provide the fitting of HELEN ANDERSON Private teachers in the larger cities will find here it or 0ngbu dS? most not, hot-™ ! B <=- Pianist this column quite effective te memorials. * Concert in advertising their been recent Bigots . to innovations i! have wWjU Interesting course piano, harmony courses the thousands of Etude readers country’s Music is made of the stuff from “opera” h some of this Successful Pupils who plan to pursue advanced study our llS Many with an fries a dreams are shaped. We may i that hd . 4-838! many are lux! 1e Tel. Sc i established teacher away from t Y. C. ( home. dless fiably 166 W. 72nd St., N. [ not pinch pennies and over afford, “‘g-rooms still haggle do cost, it . of potatoes and —but . Greatest of overshoes reforms a 1*18' i„ tho great mistake for any to be presenta- man forward march gardly with his 5 .18 mrH Mu dreams. ——

THEODORE PRESSER CO.

Offers No. I to No. 13 are "Introductory Of- IMPORTANT— Prices are for payment with Except for Offers No. 3, No. 5, & No. II order. (Use check, money-order or stamps). No fers." returns, no exchanges, nor examination privi- (on which deliveries may be delayed a few All orders accepted leges on the low prices. liargain weeks) all "Introductory Offers" are ready for be de- Cjfall with the understanding that there may Offers print- immediate delivery. Send orders to lays in deliveries due to present paper single copy ing, and binding conditions. Only THEODORE PRESSER CO., PHILADELPHIA 1, PA. orders at these prices. On Recently Published Books and Others To Be Published. plays the vocal parts as the younger pupil in Grades 2 to 3, or of the the performer four OFFER No. 8 given in average book. But there are OFFER No 1 older beginner who has not had much more the hymn than one year of study. Here are such standard LAWRENCE KEATING'S many, many more presiding at church organs favorites as Engelmann's Melody of Love, Mor- and enjoying organs in their own homes who THE CHILD HANDEL do not have such extemporaneous arranging COMPOSERS) rison’s Meditation, Nevin 's Gondolieri, and The SECOND JUNIOR (CHILDHOOD DAYS OF FAMOUS Marines’ Hymn, along with a generous lot of ability. For such organists this new album is welcome It provides twenty Bv LOTTIE ELLSWORTH COIT melodic gems selected from the works of such CHOIR BOOK certain to be a aid. classical composers as Tschaikowsky, Wagner, transcriptions of popular hymns and they are ' BAMPTON and RUTH Schumann. Chopin. Brahms, and others. And, It has taken time to gather together worthy effective without going beyond the ability of in book to the market course, Mr. Williams in making his discern- material, write new numbers, and make special the average performer. They may be used as This latest have of congre- already has established itself as ing selection could not overlook the universal arrangements, but the result now brought forth instrumental solos or to accompany this series Mozart. The the preceding books The Child appeal of some folk melodies and hymn tunes, as Lawrence Keating’s Second Junior Choir gational or solo singing of the hymns. Through this Child Bach, and The Child Haydn. for which he has provided smooth and readily Book is certain to be well received and widely INTRODUCTORY CASH PRICE, young piano students early learn to ap- playable piano arrangements which enhance utilized. This Second Junior Choir Book besides book Handel. 70c Postpaid (List Price, 81.00) preciate the fine music written by these melodies. the original melodies and singable numbers by with Handel through Lawrence Keating includes settings of fine mel- They become acquainted PRICE. an interesting story presentation of his life. INTRODUCTORY CASH odies with sacred feeling from the music mas- OFFER No. 12 Then through easy-to-play arrangements of 70c Postpaid (List Price, SLOP) terpieces of Bach, Beethoven, Brahms, Franck, the Minuet in F, the Air from “Rinaldo", the Gounod, Grieg, Haydn, Mendelssohn, Mozart, READ THIS AND SING! Hornpipe, The Harmonious Blacksmith, and OFFER No. 5 and Schubert. These numbers are arranged for with an easy Grade 2-2 */2 piano duet arrange- two-part singing and may be used by girls alone ment of the Hallelujah Chorus from the "Mes- FAMOUS SONGS or by treble voice choirs including boys with siah” they have some of the gems of Handel’s TWELVE unchanged voices, and yet they are possessive (TEACHER’S MANUAL) music for their very own rendering. ARRANGED AS PIANO SOLOS of such qualities as to make them acceptable for use by adult choirs which have to get along By CLYDE R. DENGLER, Mus. Doc. INTRODUCTORY CASH PRICE, This new album is an addition to the catalog without any men singers. Please do not ask us Theodore In the first season of Read This and Sing! be- Postpaid (List Price, 35c) of The John Church Co. for which the to supply a quantity at the low Introductory 25c of ing available to voice teachers for use with in- Presser Co. is distributors. Over a number since can afford to supply only a Price we dividual or class pupils this introductory course years some of the most stalwart favorites in the single get-acquainted copy at the special Intro- No. songs of training for students of singing has well OFFER 2 repertoires of great singers have been ductory Price. published by The John Church Co. Pianists are proven its worth. Since the Teacher’s Manual was published only within the last year it is MY PIANO BOOK-PART III sure to find real playing pleasure for them- INTRODUCTORY CASH PRICE, included in our offer of new book publications selves and their friends in having a selection of 40c Postpaid (List Price, 60c) (A METHOD FOR CLASS OR INDIVIDUAL at special introductory prices. The worth of these melodious and musicianly vocal composi- INSTRUCTION) this book cannot be the price tions arranged as piano solos. These piano solo measured by placed upon it, and many prominent singers of By ADA RICHTER transcriptions have been made by such able OFFER No. 9 Levine, u llliam M. today each individually have spent hundreds Book Part One music craftsmen as Henry A few years back My Piano — Bruce Carleton, and. in some cases by of dollars in lessons with outstanding voice and Piano Book Part Two were brought 'Felton. REVERENTIAL ANTHEMS teachers before gaining the of the My — original composers. Teachers will find this knowledge forth to provide material would bridge the that album very useful with pupils m the third and principles of singing so concisely and so clearly the gap between the average Kindergarten in- By WILLIAM BAINES forth in this course singing. The fourth grade. Among the numbers included are sat of troductory piano and the usual regular of volunteer choirs have come to Teacher’s is not only a guide for the 37 book Mighty Lak’ a Rose Nevin; Recessional, De Thousands Manual piano instruction book. In both ca .es a great MacFadyen: I Love Life. depend upon the Theodore Presser Co. for lessons given in the Student’s Book but is also Koven; Cradle Song, churchly number of teachers have felt they wanted more Will-o’-tlie-Wisp, Spross; In May- anthems which while easy to sing have a compact resume of some of the best advice after Part Mana-Zucca; musical qualities and effectively convey to the and procedures in vocal art gleaned not material by Mrs. Richter to continue Speaks: Heart is a Haven, Steinel. the which they time. My congregation the special musical ministry of only from the author’s own wide and successful Two and now here is Part Three and The Green Cathedral, Hahn. have been calling for and waiting for patiently. the choir. William Baines for a number of years experience but from the best material put forth This Part Three provides the basic instruction INTRODUCTORY CASH PRICE, has been writing anthems which church choirs by the world's leading vocal exponents over of desirable and these suc- material fqr the average child’s second year ~Qe Postpaid (List Price, SLOP) have found especially many years past. study. Mrs. Richter has selected the material cessful anthems have been published by the INTRODUCTORY CASH PRICE, carefully and with her special creative gifts has No. 6 Theodore Presser Co. utilized appealing original material along with OFFER In keeping with the policy of offering church S1.10 Postpaid (List Price, S1.50) study material made up of arrangements of SUITE choirs every convenience and economy a se- popular melodies and of adaptations of studies NUTCRACKER lected dozen of Mr. Baines’ fine anthems have OFFER No. 13 been made available in a nominally priced col- from standard and classic sources. Bv P. I. TSCHAIKOWSKY lection which has been entitled Reverential INTRODUCTORY CASH PRICE, Arranged for PIANO DUET Anthems. We cannot afford to sell quantity lots PRACTICAL KEYBOARD 45c Postpaid (List Price, 75c) By WILLIAM M. FELTON at the special Introductory Price, but the choir- MODULATION Nutcracker Suite always de- master or any one else interested may obtain a Tschaikowsky’s single get-acquainted copy of this collection at the music lover and concert orchestras FOR CLASS, PRIVATE, OR SELF INSTRUCTION OFFER No. 3 li eh ts the low Introductory Cash Price. recital pianists always find these numbers and are By ROB ROY PEERY, Mus. Doc. hiehly appreciated by their audiences. They INTRODUCTORY CASH PRICE, GYNT justice difficult to believe PEER colorful numbers and. of course greater It is that there would be characteristic 25c Postpaid (List Price, 35c) anyone who plays the piano A GRIEG'S MUSIC can be done to their individual or the organ who. STORY WITH if already such qualities on the piano by the use of two per- not a thorough musician as to PIANO to do, FOR formers at one piano than is possible in piano be able so would not want to know how Felton had OFFER No. 10 to modulate from one key RICHTER solo renditions. The late William M. to another smoothly. Arranged by ADA musical contents of this special gifts and had developed a high The book supply the “know Mrs. Richter’s Stories with Music series al- transcrip- how". This book can be a self-instruction and the craftsmanship in making piano duet THE CALL OF THE STAR guide, ready includes four Cinderella, Jack gratifying yet it is a book that would ideal in- tions. It is. therefore, particularly be for the Beanstalk, Three Little Pigs, and an arrange- available to A CHRISTMAS CANTATA FOR dividual or class instruction on suite- that we have been able to make modulation ment of Tschaikowsky’s Nutcracker four-hand arrangements which piano or organ teachers should carry very useful pianists his one-piano VOLUNTEER CHOIR which many teachers have found suite. (Grade 4 to b.) out with their pupils. Clear and concise ex- all the numbers in this Readings) with pupils in early grades. This presentation of (With Scripture planations are given and numerous form ana PRICE, models lead of Grieg's Peer Gynt music in story INTRODUCTORY CASH Words by ELSIE DUNCAN YALE the amateur performer to an understanding of in Mrs. Richter’s clever arrangements within modulation and the steps to $1.20 Postpaid (Li t Price, $2.00) use for the shortest the reach of young pianists who ara up to a pom Music by LAWRENCE KEATING routes between keys. the third grade, gives the young pupil delight This cantata would run a little short of oc- in numbers as Morning Moocl, In- OFFER No. 7 INTRODUCTORY CASH PRICE, such Grieg cupying 45 minutes, but it supplies such ma- r, the (List grid's Lament, In the H ll of within that time 70c Postpaid Price, SI. 00) Death. Arabia DUET terials as to make it possible King, Solvejg’s Song, Ase's TWENTY PIANO for church choir group depending upon non- Peer Gyntrs Keturr a Dance, Anitra’s Dance, and professional singers to present effectively a Home. TRANSCRIPTIONS OF special Christmas message. Although running INTRODUCTORY CASH PRICE, from a quiet devotional assurance to the heights iAdvance of FAVORITE HYMNS is an impressive sim- Postpaid (List Price, 75c) of joyful praise, there 45c KOHLMANN plicity in the musical setting the composer has By CLARENCE provided. At several points in the cantata there ‘Publication Offers claim to only being From those who but laid is opportunity for the use of a reader who may OFFER No. 4 piano a little bit on up to truly given in able to play the limit himself or herself to text matter The Following Offers (Nos. 14 to 29) are on performers when they heard Claience use any selections FOR able the cantata or if desired may Forthcoming Publications. Deliveries on PIANO PIECES play any of his own piano transcrip- import. While no more than one copy Kohlmann of like Advance Offer Orders Made Publication. of hymns there was genuine admiration the special price, anyone On tions the may be obtained at PLEASURE the effectiveness of his renditions and interested obtain a single copy at this for played them. may by ease and smoothness with which he special price during September. Compiled and Arranged piano solo OFFER No. 14 The several published books of his PRICE, JOHN M. WILLIAMS transcriptions of hymn melodies have estab- INTRODUCTORY CASH This charming mid attractive phenomenal sales records, and in le- Postpaid (List Price, 60c) SELECTED FIRST GUIDE collection of lished might be 45c solos not only provides pianists of all ages wno snonse for similar piano material that per- perfonners cannot lay claims to being accomplished presented as piano duets with two STUDIES to piay. Twenty Piano Duet formers with 36 melodious selections rt one piano this book of No. 11 recrea- the late Mr. OFFER 1’IANO but it also gives encouraging study and Transcriptions was completed by FOR can use duets can be used very tional material which the teacher ad- Kohlmann. These piano TRANSCRIPTIONS Compiled bv i instrumental DAVID LAWTON vantageously supplementary assignments effectively as feature or incidental ORGAN for as conjunction with such instruction material music in connection with church services, A useful addition to the famous Music Mas- Piano or for accom- OF FAVORITE HYMNS tery Series, this John M. Williams Second Year at the or other religious gatherings, and new collection of first grade any other outlined course of study progressing panying the singing of these hymns by large CLARENCE KOHLMANN studies will furnish excellent supplementary By material selected of from Grade 2 to Grade 3. , groups they are ideal. from the work composers „ engraved who Every number has been especially INTRODUCTORY CASIf PRICE, Among organists there are those who with or have specialized in technical writing for for this book, and in many cases there are ar- without the hymn book in front of them can children. The compiler draws substantially rangements individual to this collection and 70c Postpaid (List Price, $1.00) effectively render a hymn on the organ with from such older composers as Louis Kohler, they permit possible piamstic presenta- more smoothness than usually is possible where the best Sold only In tlic United States and its Possessions. (Continued on next page) tion without making technical demands beyona

SEPTEMBER. 1945 539 — a f b

THEODORE PRESSER CO. ww-x- OFFER No. 26 CJ°P transcriptions do not exceed the final ycars ae° by the Theodore many music studios and homes. numbers are within Goes the Weasel and Three Blind Mice, r t in difficulty. Since all the Pop W be 6«eted with interest by as solos, clever combination of both orEmM. ,. PUBLICATION they may be used not only and closes with a tt ADVANCE OF c-asv ranged ' has been said that either solo or arrangement of the Second Piano SI Oslf.» . . * but aiso as accompaniments for themes. An CASH PRICE, 40c Postpaid string orchestra will be available on group singing. Part for ADVANCE OF PUBLICATION a rental basis. OFFER No. 16 ADVANCE OF PUBLICATION n '.nunmsi S VJFFERINU PRICE, 45c Postpaid ” CHAPEL Onean ist. ThP CASH CASH PRICE, 35c Postpaid of Organ PETER RABBIT SifltS rSTc^rPgSfdcopyrighted (A STORY W ITH MUSIC FOR PIANO) OFFER No. 20 will not bo found 0 SSer C °' ‘"’'i OFFER No. 24 in mho r boots? By ADA RICHTER R ALPH FEDERER’S PIANO ADVANCE OF PUBLICATION Peter Rabbit brings to young beginning pian- COME LET US ADORE HIM CASlL FRICE, Richters 90c Postpaid ists another in the series of Mrs. SOLO ALBUM CHRISTMAS CANTATA FOR charming Story with Music books. As in collection of good A A Tr, mnvo who are seeking a CHOIR Cinderella, Jack and the Bean Stalk, and VOLUNTEER OFFER No. 28 Three Little Pics, a familiar childhood story Compiled and Arranged by has been interwoven with delightfully descrip- saessaSmaterial. The maiKeu KEATING wealth of interesting LAWRENCE CHORAL tive original music in easy-to-play form. The a PRELUDES FOR choir directors will piano pieces with words may be used as first Many volunteer find this the answer to a major recital pieces or may be assigned as recreational new cantata part of THE organ Christmas needs. The music has „ material. Then, too, the entire book may be their been By JOHANN entirely from classic sources and SEBASTIAN BACH presented as a playlet. Numerous full-page fine ipsSsSlil chosen in- adaptations of well-known, drawings for coloring lend added interest. En- cludes singable evi sed, and Edited by and works of Brahms, Wagner, Tschaikowsky, ? thusiasm is the result of thorough interest, Bee- % 1N thoven. G. Braga. Schubert, and ARTHUR KRAFT book will do much toward Schumann . this attractive numbers include With a , alert one. siiilMlsifs The eleven lour mixed cho- t the iany be changing a listless pupil into an waiting who have publication a chorus for men’s and mixed patientlv ?v V lori£j advance of ruses, voices i this y lhrou gh the last season ADVANCE OF PUBLICATION four-part chorus for women's voices, promised « PRICE. 60c Postpaid an a'ltn linUing pub ieati °n. we are con* CASH solo with tenor and alto duet and to accemTv, ! CASH PRICE, 35c Postpaid chorus a tion. olders in advance of pubUca soprano and alto duet with alto solo, There a chnint 1 iny more ptano 21 with tenor solo, a tenor or soprano students than*?-- -- thousands OFFER No. solo with lishing ga students and. In our pub*. No. 17 chorus, and a baritone , OFFER humming solo. Onlv on* Vheri P to se be ordered in advance up monthly bas been necessary WORLD’S GREAT copy may of publication 01lties running THE Tins cantata will be on the time avaiUihm in allocating the THE CHILD BEETHOVEN market in October l)n ' these war h ‘L music printing presses (CHILDHOOD DAYS OF FAMOUS COMPOSERS) WALTZES ADVANCE l!apped def OF PUBLICATION api dadays> •’ and with the mand foror si,. . SOLO .* musicmi maipri-,1.. r.,.. 4 ,.,U„ hfi£lh By LOTTIE ELLSWORTH COIT for PIANO CASH PRICE, TO,; net’s H abmls for juvenile Deal Arranged Postpaid on the oiv n's c and RUTH BAMPTON KING lion S? btl"e poorly met by proo“ By STANFORD tacilitiJi e is against the rigidly all-work new oronn reasons fur postponing As disciplined of OFFER No. 25 f procedures ago. Some soon to j ore apparent. We IjOJ’ music study of 30 or 40 years 1 we can not but note, when seeing such books this press Put until that SINGING splendirl editionu? P® as have been created for this series, just how piano pupu CHILDREN etiues FOR 5 of Bach’s CHORM. within reach of the OF ,1 Hf:aN tbe for ' may at delightful music study is made these days 1 ’n *>« advance bary-n,P be ordered grade and, of co"™. „,.. 6 THE bC children and how much earlier they are led to for their o CHURCH aa soon Wi,b delivery 10 who ‘ just play Straus’ A S “buiS? feeling the worth and beauty of the music by SACRED CHORUSES lhe great master composers. This new addition FORK A pVANcE OF the Coit-Bampton series The Child Bee- JUNIOR CHOIR FI ISLICATION to course, three IASI1 made a of By ROB HOY PRICE, ,. thoven—has those features which have 8ZJA wJS PEEltY, Mu, n - SI) Postpaid^ so S& ' already published books in this series the favorites by | The title and sub-tifle given .K successful. There is the story appeal; the melodic describe this booh now V SO Well OFFER Nf„_ solo OF in prenar-Ub? n 29 appeal through cleverly simplified piano ADVANCE else need be said here on tbat little as 40c 1 o itpaid exceDttn ai arrangements of such Beethoven numbers CASH PRICE, who may not know of 11^ few the Dr? pkeiw’sku CLASSIC in G , Country Dance, Theme from successful Minuet compositions, cantatas Umerou s and folk Symphony," Theme from the “ Eighth tions, that he an,id com -Fifth Sym- No. 22 has had many yeaw m? Pila- S am phony,” Chorale from the “Ninth OFFER inist 91 MELODIES in THE ” and an easy piano duet presentation «iiony Symphony”: FROM THE FIRST of the Allegretto from the “ Fifth THEMES POSITION FOB appeal; joy of creating Church the dramatic and the tions bearing h'is name eivo°L PUblfca- In this book there are directions REPERTOIRE CELLo something. ORCHESTRAL understands the type that'hY AND PIANO the youngster may make a miniature 1 hv which for piano solo church choir, a special th e average oe'etTed the pictured scene of the composer s vounn ? e , ’ Arrungtsl by stage for or a junior choir can ?ple s ,,,,,1 Edllcl Arranged by handle dt0 i? choir and faction and ,• meir youth. Compiled to the salisfo, own

WAGNESS NAMES BERNARD WAGNESS PIANO COURSE Preparatory Book 50 Introduces new, logical procedures which lead to real achievements with pre-school age be- ginners. For private or class instruction. Oblong shape. That Denote Practical Book One 1 .00 Practical as a very first instructor for the average-age piano beginner or as a follow-up to the Preparatory Book. Reading cards covering three octaves, rhythmic drills, harmony fundamentals, and interesting pieces to play arc featured. Oblong shape.

Book Two 1 .00 Achieves progress as rapidly as is logically consistent with proper technical support, good car discernment, and basic musicianship. Supplementary pieces provide the pupil with a first recital TEACHING repertoire. MODERN Book Three r.oo Presents all major and tonic minor scales and revolutionary methods of chord analysis. Includes selections from favorite folk tunes, classics, etudes, and other interesting compositions. Copiously illustrated. THE ENSEMBLE BOOK 75 Provides Duet and Second Piano Parts for pieces in Book One of the Bernard Wagness Piano MATERIALS Course. Parts can be played by teacher, parent, or more advanced pupil. SECOND YEAR ETUDES 75 Musical studies to supplement Book Two of the Bernard Wagness Piano Course or any second year method. Helpful annotations throughout. THIRD YEAR ETUDES 75 for PIANO A collection of 33 third and fourth grade studies including works by Czerny, Heller, Burgmuller, Loeschhorn, etc., together with invaluable practice hints. TECHNIC FUNDAMENTALS 40 The most useful and successful work of its kind produced in recent years. Copiously illustrated with photographs of the author's hand "in action”. EIGHT CHORDAL ATTACKS An illuminating work on chord playing in which each phase is individually discussed and photographically illustrated. Practice material and recital pieces are a feature.

roorr. ROBYN MARY BACON MASON FOLK SONGS AND FAMOUS PICTURES 1.00 cleverly TECHNIC TALES A method book for beginners 7 to 1 1 years of age which presents notation, rhythm, scales, keyboard harmony, transposition, etc., from material based on folk songs and well- t. • • .75 Book One known art pictures. Over 75 pictures, cards, and charts are provided to be cut nut and pasted piano technic, building up In story form, this book presents 15 essential principles in first year in the book. thus a di the child's hand so that his finger dexterity equals his music-reading ability, g interpretative powers. TEACHER’S MANUAL available, 75c. FIRST CLASSICS AND FOUNDATION HARMONY 1.00 A second year book to follow "Folk Songs and Famous Pictures”, which correlates classical Book Two ' * 75 V ' u,- music, literature, pictures, and poems. The second half of the book is devoted to elementary additional technical principles e A continuation of Book One presenting 15 , , l" harmony presented with games and cut-out cards. second year correlating the musicianship studies of the modern * s TEACHER S MANUAL available. 757 c . technical development so essential to satisfactory playing. BOY MUSIC 75 music, Chord Crofters (Book Three) •• •75 A first method book for real boys 8 to 16. Everything— titles, texts and directions—has introduces the fundamental been designed to interest and appeal to the boy pupil. Encouragement to play as desired and Continuing the work of the two preceding books. Book Three ‘^ us.d in conju progress to sustain interest are features. chord attacks which may be given to students ready for grade 4. May be almost any course of study. CARDS 1.00 75 FLASH HIGHWAYS IN ETUDE LAND (The Child's Hanon) All piano teachers, regardless of the course of study preferred, can use these 60 flash cards for If* notational drill. technic. I tr.imnf of Includes 12 exercises wirh applied eludes necessary in the fundamental Two. Each exercse has been child begun in T«hm< T.rtr, Boat, One and ADULT APPROACH TO THE PIANO 1.00 explanatory notes and photographic illustrations. with a descriptive story element. Helpful Consisting of selected standard airs arranged, graded, and furnished with specific explanations, 75 this book is a practical guide for mature beginners. The pupil is expected to learn for himself KEYBOARD TOWN music* and thus progress more quickly. All childish titles, themes, ^woven the rudiments of etc. have of , deftly Town . Miss Robyn has Into a delightful story of that friendly community. Keyboard course been avoided. captivating^ introduction to sight the important basic facts about the keyboard and staff. ^ melodies are in reading. Four octaves are covered and more than 75 little ROBYN ROTE CARDS 75 music.l funny-picmres explains notar.on Especially designed for pre-school use, this book of organized sight-reading h principles, aids coordination, and leads to JOSEPHINE HOVEY PERRY ROBYN-HANKS HARMONY ^ THE HOUSE THAT JACK BUILT 75 finger charts this splendid book helps primary irrilto By means of note, key, and grade age beginners to “"VjUnio; Coulse," to ^de'n't,' if' ™ to' in' read. Charming Master Key for the teacher. read music notation and to play that which they illustrations and attractive training. Can be used with any method. Includes a ^ little pieces are featured. , TO THE PIANO |.00 in' Boik pie',' A PLEASURE PATH °°c("°ueV ;.p,V biguV pre-school beginners starts In illustrated story form, this study book for as a rote-playing book teacher. gradually until reading and playing are welded into one. written and keyboard work and a Master Key for the and progresses FOR BEGINNERS to s'tideV. u'p to BUSY WORK ^^Vnd'l'ejboTrd.'diit'ri'es' IhV ' with directions in rhyme, ^’"’‘conhm^s fundVm'etitais' of harmony "for iyV to Through entertaining, constructive busy work this book aims to "the any method. four-part writing and may be used in conjunction with teach the relationship between the fingers, piano keys and their note representations on the 75 grand staff. • • • •• robyn-gurlitt ' develop sight reading, pedal technique, BUSY WORK FOR BEGINNERS .75 especially sclecled and arranged ,o MORE Include. 85 eludes work” for pupils who have Gives carefully prepared "busy advanced to the First Grade in and rhythm. __ instruction book, 75 music. May be used with any modern ' ,' ' GOOSE FOR TWO. k ! MOTHER presena H '" - A MUSICAL .75 Finn, "Virtuoso Pianist". Miss Kpb.n h» illustrated, this book presents Hanon's hnger tecnmc. Profusely and attractively 12 very easy four-hand training young pupils in fundamental 1 nana numDCtsnumbers for especially adapted to juvenile pianists, each set to a Mother Goose text. KINDER CONCERTO—HAYDN (Two Pianos—Four Hands)

are needed for performance. KINDER CONCERTO—MOZART (Two Pianos—Four Hands) pianos. The second piano , . arranged for two n , , R.Flat" Oliver P 0 score. Aro copies are needed for performance, Ditson orchestral ?» r.'h*a £", ;educ”o'n“She Sig'nal Co. THE SNOW QUEEN—TCHAIKOVSKY co" d,stri »utors delightful music of^ig^Y*..; “«*" 1712 Chestnut tci the vnZZTT* This adaptation Andersen's fairy tale Street, of principles taught m l-hord trailers Philadelphia, the Young” illustrates in story and mus(c the Pa. series of events of American P in ted for the Magnavox collection by Walter Richards

How George M. Cohan came to write "You’re A Grand Old Flag"

it— grand feeling HE grizzled veteran raised his eyes as the There’s a special lift about a as is down Main Street 011 that has Mag- T breeze picked up the folds of "Old Glory” if you were marching stride navo* ““I®™ made 10Ice of s fifes and the drums. ^ ° “any artists-iie instrtt- and spread them over the little ceremony. * by stride with the Your ment that pulse beats faster with all the fervor of a great Fritz Kreisler, Eugene "She’s a grand old flag,” he murmured. Ormandn nation pouring out its soul in heroic song. Beecham, Jascha Heifetz, and others ni

.7 Magnavox Regency © Symphony

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Send for Booklet-Every parent, every youngster, will want to read Dr. Spaeth’s "Music ... A Priceless Heri- tage.” Ask for a free copy at your Magnavox dealer, or send a ten cent War Stamp (to cover cost of mailing) to The Magnavox Co., Dept. ET-9, Fort Wayne 4, lad.